Basic Folk – Ken Yates

Ken Yates grew up in the college town of London, Ontario and he is truly Canada’s Next Top Model, by which I mean he is wonderfully talented, disarmingly nice, and from Canada, obviously. Ken is a Berklee College of Music graduate, and I took the opportunity to talk with him about that experience. Why would somebody choose to go to music school, what were you hoping to gain, and what did you actually get out of it, are questions that are fascinating to me, and Ken’s answers were super interesting. One takeaway I learned from his stories of Berklee is that even some of the most talented musicians feel like they have no idea what they’re doing.

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Ken’s breakout 2016 album, Huntsville, earned him the Emerging Artist of the Year award at the Canadian Folk Music Awards. It was not just a huge and competitive honor, but it was also a defining moment where Ken started getting categorized as a folk artist.

Ken released a beautiful album, Quiet Talkers, in 2020, and instead of touring in support of that album, he had to do a bunch of covid-era online shows. I was impressed with how gracious and level-headed he seemed despite the crappy circumstances. This grace, perspective, emotional openness, and flexibility are a big part of what makes his new album, Cerulean, so special. Cerulean came out in 2022 and it bridges the gap between folk and indie rock, between skepticism and hope, between the pain of losing someone and the possibility of embracing what you have. Cerulean has a distinct groove, features vocals from Americana stars like Kathleen Edwards, Liz Longley, and Katie Pruitt, AND some of the prettiest production I’ve heard all year.


Photo Credit: Jen Squires

Songs of Joy and Celebration Aboard Cayamo

Editor’s Note: We’re headed back out to sea for the 15th edition of Cayamo: A Journey Through Song! There are still cabins available if you’d like to join in the fun.


The BGS team is currently working on getting our land legs back after a week at sea with the Sixthman team, as we made our music-filled journey from Miami to St. Thomas and St. Kitts aboard the 14th edition of Cayamo – and what a week it was!

After two long years away from much of our roots music community (in person, at least) Cayamo felt like a reunion – and we were so happy to celebrate BGS’ 10th birthday with a huge jam set with so many of our friends. Sierra Hull and Madison Cunningham hosted The Bluegrass Situation’s Party of the Deck-ade, a set that took place on the pool deck as we pulled away from St. Kitts, featuring songs of joy and celebration via collaborations amongst the likes of Aoife O’Donovan, the Punch Brothers, Kathleen Edwards, Brittney Spencer, Robbie Fulks, Jim Lauderdale, Tommy Emmanuel, Missy Raines, Rainbow Girls, Dear Darling, Laney Lou and the Bird Dogs, and Hogslop String Band as our trusty house band.

On top of all this music, we were also grateful for the chance to simply sit and talk – and Fiona Prine took advantage of this time with her Let’s Sit and Talk series, having in-depth conversations with Emmylou Harris, as well as members of John Prine’s band. (Be on the lookout – these conversations are coming to BGS in podcast form soon!)

Cayamo was a week of non-stop music, unforgettable collaborations, and moments of joy, from a nautical set by the Punch Brothers, to mid-set stage dives – into a literal pool – from Hogslop String Band, to many opportunities to honor the memory and music of John Prine and those we’ve lost in the past few years – just to name a few. Below, take a look at some of our favorite moments from the Party of the Deck-ade and the entire Cayamo trip, as captured by Will Byington and Cortney Pizzarelli:

 


Cover Image: Cortney Pizzarelli
All photos by Will Byington and Cortney Pizzarelli

2021 Americana Honors & Awards Nominees Announced

Brandi Carlile, Jason Isbell, Amythyst Kiah and Allison Russell are the leading nominees for the 20th annual Americana Honors & Awards, set for September 22, 2021 at the Ryman Auditorium in Nashville, Tennessee. Familiar names like Tyler Childers, Steve Earle, Sarah Jarosz, John Prine, and Sturgill Simpson are also on the ballot.

Carlile and Isbell are joined by Kathleen Edwards, Margo Price, and Billy Strings in the Artist of the Year category. On the ballot for Duo/Group of the Year, Carlile is also nominated as a member of The Highwomen, while Kiah and Russell are part of Our Native Daughters. As solo artists, Kiah and Russell are both nominated for Emerging Act of the Year as well. In addition, Kiah’s version of “Black Myself” (which was earlier recorded by Our Native Daughters) will compete for Song of the Year, bringing her total nominations to three.

Other contenders for Emerging Act are Charley Crockett, Joy Oladokun, and Waxahatchee. The Duo/Group category also includes Black Pumas, The War and Treaty, and Gillian Welch and David Rawlings. The Americana Music Association’s Lifetime Achievement Awards, including the NMAAM co-presented Legacy of Americana Award, will be announced at a later date. The awards ceremony is a cornerstone of AmericanaFest, which returns for its 21st year on September 22-25.

Keb’ Mo’ and Old Crow Medicine Show’s Ketch Secor unveiled the nominations during a socially-distanced ceremony at Nashville’s National Museum of African American Music. The intimate event featured acoustic performances from nominees Valerie June and Allison Russell. A full list of categories and nominees for the Americana Music Association’s 20th annual Americana Honors & Awards is below:


ALBUM OF THE YEAR:

Cuttin’ Grass – Vol. 1 (Butcher Shoppe Sessions), Sturgill Simpson, Produced by David Ferguson & Sturgill Simpson

J.T., Steve Earle & The Dukes, Produced by Steve Earle

The Moon and Stars: Prescriptions For Dreamers, Valerie June, Produced by Valerie June, Ben Rice & Jack Splash

Reunions, Jason Isbell and the 400 Unit, Produced by Dave Cobb

World on the Ground, Sarah Jarosz, Produced by John Leventhal


ARTIST OF THE YEAR:

Brandi Carlile

Kathleen Edwards

Jason Isbell

Margo Price

Billy Strings


DUO/GROUP OF THE YEAR:

Black Pumas

The Highwomen

Our Native Daughters

The War and Treaty

Gillian Welch and David Rawlings


EMERGING ACT OF THE YEAR:

Charley Crockett

Amythyst Kiah

Joy Oladokun

Allison Russell

Waxahatchee


INSTRUMENTALIST OF THE YEAR:

Megan Coleman

Robbie Crowell

Ray Jacildo

Philip Towns

Kristin Weber


SONG OF THE YEAR:

“Black Myself,” Amythyst Kiah, Written by Amythyst Kiah

“Call Me A Fool,” Valerie June ft. Carla Thomas, Written by Valerie June

“Dreamsicle,” Jason Isbell and the 400 Unit, Written by Jason Isbell

“I Remember Everything,” John Prine, Written by Pat McLaughlin & John Prine

“Long Violent History,” Tyler Childers, Written by Tyler Childers

BGS 5+5: Zach Schmidt

Artist: Zach Schmidt
Hometown: Nashville, Tennessee
Latest Album: Raise a Banner
Personal nicknames (or rejected band names): Schmidty is kind of a birthright when your last name is Schmidt, you are going to be called it whether you like it or not.

Which artist has influenced you the most … and how?

If I have to pick just one, without a doubt I would say Guy Clark. I have loved his music as long as I can remember. Sometimes I feel like it has always been a part of me. Every time I listen to him I hear something I have never heard before. The songs tend to evolve over time for me. Over the years I have studied his words in written form, learned his songs, and listened countless times. I don’t think I could ever get tired of listening to Guy Clark and his music has absolutely changed my world in a dramatic way.

What other art forms — literature, film, dance, painting, etc. — inform your music?

I try to draw inspiration from everything that I encounter but literature and film certainly inspire my writing in a significant way. The song “I Can’t Dance” from this album was written right after I saw the movie Manchester by the Sea. I won’t try and spoil it for people who have not seen it, but the house fire scene absolutely wrecked me when I saw it. Facing loss and working through it is something we all can relate to, especially after a year like 2020 and the way that movie portrayed the protagonist was so beautifully heartbreaking.

What’s the toughest time you ever had writing a song?

I think when I try to co-write with someone I don’t know very well. That is something I didn’t know anything about when I moved to Nashville and something I reluctantly tried. Trying to force out a song for the sake of time or a sense of accomplishment is brutal. These days I don’t mind writing with friends but I always need some time to work into my own creative flow.

Which elements of nature do you spend the most time with and how do those impact your work?

I will make any excuse to spend some alone time with Mother Earth. Being alone out in the woods is one of the best ways to clear your head. I love to hike and mountain bike any chance that I can. I also find myself digging through the trash and recycling a fair amount to sort what belongs where. We have to take good care of this place.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

Since I was talking about Guy Clark earlier I will stay with him. As he says in “Lone Star Hotel”: “Give me greasy enchiladas and a beer to wash it down.”


Photo credit: Curtis Wayne Millard

WATCH: Kathleen Edwards Keeps Her “Options Open” on ‘CBS This Morning’

After an extended break due to burnout and depression, Canadian singer-songwriter Kathleen Edwards at last returned in 2020 with a long-awaited collection of new material, Total Freedom. Her first release since 2012, it’s an effortless return to her usual pace, with songs that remind listeners of her many peak moments since her 2003 debut, Failer. Edwards began a “working sabbatical” in 2014, during which she rediscovered old passions and kindled new creative flames. In a trailer for the album she explains, “Total freedom is having a dog. Total freedom is liking coffee and then opening a coffee shop. Total freedom is getting older. Total freedom is not worrying about what’s happening tomorrow.”

These various concepts helped Edwards reapproach music with a fresh perspective and an eager spirit, not to mention that the songs coming out of those creative detours are of the highest order. In November, she offered a concert film (shot in 2018) titled Live at Massey Hall, capping a comeback of critical acclaim from Rolling Stone and NPR. Total Freedom also led Edwards and her band to CBS Saturday Sessions. Enjoy their performance of “Options Open.”


Photo credit: Remi Theriault

BGS 5+5: Gillian Nicola

Artist: Gillian Nicola
Hometown: Hamilton, Ontario, Canada
Latest album: Dried Flowers
Personal nicknames (or rejected band names): Ginny, Giggy, Giggz

Which artist has influenced you the most … and how?

This is a really tough question for me to pin down, because I am influenced by so many people. Kathleen Edwards is probably my most influential songwriter. I love her storytelling and how easily she can float between fragility and strength. She was one of the first Americana/Canadiana artists I started listening to and I think her music very much shaped the way I think about songwriting. I am also very influenced by genre-fusing artists like Joni Mitchell and Kacey Musgraves.

What’s your favorite memory from being on stage?

Last year, I performed a small house concert in cottage country in Ontario. We performed the concert on a dock and it was a very beautiful, intimate concert — with a nice summer breeze as the sun was setting. That on its own was magical enough. What I didn’t know at first was that while we were playing, boats were pulling up to watch from the lake. It was such a perfect Canadian scene and I will remember that one forever.

What was the first moment that you knew you wanted to be a musician?

I don’t remember this one too clearly, but I’m often told this story by my family. When I was about 4, I was at a family friend’s birthday. In a party mostly full of boys who were playing sports and racing around the room, I took out a chair, sat down, and insisted that everybody stop what they were doing, because I was “going to sing for them now.” Music has always been a part of me — it’s not a firm memory, but rather, an inseparable part of who I am.

Which elements of nature do you spend the most time with and how do those impact your work?

I think open space and the atmosphere of nighttime is a strong part of my work. I sing about the night a fair bit on my new album (“Night Comes to Call” and “Moonshine”) and write the most during the night. There’s also been a lot of influence from water, mostly in terms of writing about space and distance, and how well that’s reflected through bodies of water.

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

I have a very strict policy of never revealing who a song is about and whether or not it’s a personal anecdote or about someone else. Many of my closest friends don’t know who or what I am singing about (though I’m sure many could take a stab at it) and I prefer to keep it private that way. The only song that I’ve written where I explicitly talk about who the character is on “Across the Sea” off of Dried Flowers.

I wrote this song about one of my best friends who moved to London, England, a few years ago. He is the first person I send new songs to and despite the distance, we have remained very close. It was really nice to be able to write a love song for a friend, instead of from a romantic angle. Other than that, everyone will just have to make their own assumptions, which they probably would do anyways even if I confirmed or denied anything.


Photo credit: Jen Squires

MIXTAPE: Nate Sabat’s Quiet, Poignant & Powerful Playlist

Something completely magical happens when musicians find the perfect blend of darkness, quietness, and intensity. It almost feels like the bottom drops out of the music, guiding the listener’s ears into the void of beautiful nothingness below. I still can’t pin it, how such a soft sound can feel so immeasurably huge, like it somehow contains the entire universe within itself. It’s something I’ve grown to love over the past few years, and I hope these songs will touch you as they’ve touched me.

P.S: The tracks on this list have been responsible for the majority of my tears over the past few years, so get your tissues ready. — Nate Sabat

“Humble Me” – Norah Jones

The raw story mixed with the incredibly honest delivery of the lyric always gets me with this one. Norah at her absolute best. I also particularly love the line “it never rains when you want it to.” I feel like it sticks out in a really, really good way.

“Pink Champagne” – Kathleen Edwards

The combination of Kathleen Edwards’ brilliant songwriting and Justin Vernon’s production approach are in full force on this track. Since hearing this song I’ve made it one of my life goals to not feel like this on my wedding day.

“Unless” – Hawktail

I love the winding, lush melody of this tune, paired with the beautifully shot video at Nashville’s Downtown Presbyterian Church. And also, I like, TOTALLY geek out at Paul’s bass shredding. Ya know, as a fellow bass player and all.

“Louise” – Daniel Romano

I first heard Daniel Romano on WUMB, Boston’s premier folk music radio station, with his song “Time Forgot (To Change My Heart).” Since then I’ve dug into a ton of his stuff, and particularly love his record Modern Pressure, an ode to the psychedelic sounds of yesteryear.

“Dreams of Nectar” – Abigail Washburn

This track is so cool and collage-like. I’m such a sucker for horns, so was instantly pulled in from the start the first time I heard it.

“Turning Away” – Crooked Still

I love how exposed Greg Liszt’s banjo part is on this track. The track is so short, but also the exact right length.

“Bonden & fan / Leffes polska” – Hazelius Hedin

This pair of tunes from Swedish duo Hazelius Hedin are so dark, so expansive, and so, so rich. I always picture a dark Swedish forest after an intense rainfall when I listen to this one.

“Your Long Journey” – Sam Amidon

This song, written by Rosa Lee and Doc Watson, has been beautifully reimagined by the great Sam Amidon. In my opinion he’s one of the greatest interpreters of folk and traditional music on the scene today, so definitely check out more of his stuff if you haven’t already.

“Harbour Hawk” – Becca Stevens

Becca Stevens’ music is some of the most interesting stuff I’ve heard to date. Constant texture and groove changes are tied together with impeccably crafted lyrical content. I love the opening riff of this song, and how it re-enters throughout in such a smooth way.

“00000 Million” – Bon Iver

One day last summer I was in a dark place, so naturally I listened to Bon Iver, specifically the entirety of 22, A Million. This song, the final one of the record, was so comforting. I remember being amazed at how powerful music can be, that it could somehow reach into my mind and make me feel better.

“Closer” – Joe Walsh

Man, Joe wrote an absolute gem. I don’t know if I’ve ever heard a melody so simple and profound. I told him how much I loved this tune, and that I always thought of the name as meaning “closer to someone or something,” but he told me that it’s actually “the closer of the album,” as it is actually the closer of his latest album, Borderland. Go figure.


MIXTAPE: Elise Davis’ Songs I Love and Why

Below is a list of songs I think are special and timeless. Some are songs I’ve loved for many years, others are songs I was particularly influenced by during the making of my new album, Cactus. Get ready for a party in your ears. — Elise Davis

Willie Nelson – “Time of the Preacher”

I’ve always loved Willie Nelson but recently had a revival of that love. I decided I wanted to go out to the desert to shoot the album cover so I packed up my car and drove to Terlingua, Texas. I stayed in the middle of Big Bend so there was no cell phone reception, which was appreciated and amazing other than the fact that while driving around in the desert I couldn’t listen to any music other than what CDs were in my car. Turned out I had Willie Nelson’s Red Headed Stranger in my car. I put it in the player and never took it out. The whole week that album was on low in the background and sometimes the foreground and I never wanted to turn it off. The experience led me to dig into older Willie records that I hadn’t heard much, and now I have gone through phases of also obsessively listening to Teatro and Stardust. His voice is one of a kind and he has made so many timeless albums.

Lucinda Williams – “Lonely Girls”/“Ventura”/“Those Three Days”/“Drunken Angel”/“Something About What Happens When We Talk”

This was too tough to name one song. She is my all-time favorite songwriter. I am a huge album person, so I picked songs from my favorite albums but I suggest just listening down to the whole album in its chosen sequence. Like Willie, Lucinda has a one-of-a-kind voice. She always has killer musicians and great production on her albums, which only enhance the songs that strongly stand on their own with just an acoustic guitar and vocal. I am a lifer fan of Lucinda. My favorite albums: Sweet Old World, Essence, Car Wheels on a Gravel Road, and World Without Tears.

Aimee Mann – “Thirty One Today”/“Goose Snow Cone”

I have loved Aimee Mann since I was 16. She has such a cool vibe, intelligent lyrics, awesome melodies – it’s good shit. One of my all-time favorite songs of hers is “Thirty One Today.” I’ve had a plan for a long time to book a show on the day I turn 31 and cover it. “Goose Snow Cone” is a track off her most recent album, Mental Illness. This album completely blew me away. The whole thing is so good!!!

Kathleen Edwards – “House Full of Empty Rooms”

When I first heard this song I cried. I was blown away by its beauty. The lyrics are so simply put yet so impactful and heartbreaking. Her voice is soothing. I have listened to her album Voyager hundreds of times over the years and I feel Kathleen is a hidden gem.

Bahamas – “Like a Wind”

This is a current band I really dig. I haven’t caught a show yet but am going to as soon as I can. The songs are catchy, the harmonies throughout are amazing, it’s upbeat and feel-good but has depth and character. My favorite albums: Bahamas Is Afie and 2018’s Earthtones.

Sharon Van Etten – “Tarifa”/“I Wish I Knew”/”Every Time the Sun Comes Up”

Her voice is so unique and beautifully melancholy. I am the kind of person that likes to listen to depressing music when I feel depressed and Sharon’s albums have been a go to for me on the darker days. “Tarifa” and “Every Time the Sun Comes Up” are off her 2014 album, Are We There. That record as a whole is pretty intense and sad, but one of my all-time favorite albums.

Loretta Lynn – “When the Tingle Becomes a Chill”

I am a huge Loretta Lynn fan. She is a pioneer for women in country music and cut so many songs that were edgy, even controversial, lyrically at the time. And I love that. This was hard to pick one, but I chose “When the Tingle Becomes a Chill.” She is singing about when a husband comes home at night and gets in bed, what used to be a tingle of sexual desire is now replaced with a chill. It’s real, and raw, and that’s what I’m all about.

Harry Nilsson – “Everybody’s Talkin”

To me this is one of the most beautiful songs ever recorded. I have spun this hundreds of times. His music was authentic and he was a true artist.

Tom Petty – “Time to Move On”

As with most of the artists I am naming here, one song is really hard to pin down as a favorite. I chose this song because during the time of recording my new album, Cactus, I was obsessively listening to Tom’s album, Wildflowers. It is one of those records you can just let roll through the whole thing over and over. I love the freeing mood of “Time to Move On.” It makes you want to go on a drive, roll the windows down, and let go of all the bullshit you’ve been carrying around.

Wilco – “Jesus, Etc.”

I had to include a Wilco song because I have loved this band for a long time. They have their own sound, clever lyrics, and just an overall great band. This was one of the first songs that got me into them so I chose this one. Others I really love “How to Fight Loneliness,” “Please Be Patient with Me,” and “Hate It Here.” My favorite albums: Yankee Hotel Foxtrot, Summer Teeth, and Sky Blue Sky.

Sheryl Crow – “Maybe Angels”

This song is off of Sheryl’s massively famous self-titled album, which includes mega hits such as “If It Makes You Happy,” “Every Day Is a Winding Road” and “A Change Would Do You Good.” But to me every song on that record is fuckin’ timeless. I have said this many times over the years and still wholeheartedly stand behind it: I think if this record came out today it would have the same amount of success. It’s just that good. She was a big influence to me as a 12-year-old learning to play guitar and beginning to write songs, and still as an adult this album is a classic and one of my all-time favorite albums.


Photo credit: Alysse Gafkjen

MIXTAPE: WDVX’s Radio Un-Friendly Favorites

As Music Director at WDVX, a large part of my job deals with previewing new releases and selecting which songs will receive airplay at the station. We broadcast on the FM band and are obliged to adhere to FCC guidelines regarding language and decency. In my position, there’s nothing worse than getting a couple of minutes into an amazing new song and having one four-letter word completely derail any chances of that song ever making it on the air. What follows is a list of some of my favorite songs that I can never share with you on the radio. — Nelson Gullett

Lydia Loveless — “Longer”

This song from Lydia’s new album is the one that started me down the path of putting this list together. I first heard the album version of it a few hours before I was scheduled to host a new music show on WDVX. I immediately loved the song and was heartbroken when I came to the lyric that raised the FCC flag. Fortunately, Bloodshot Records always sends radio stations a “clean” version of all of Lydia’s records, and this song — a version of it, at least — is currently spinning at the station.

Lucinda Williams — “Essence”

I should state that I am not personally offended by any of the songs on this list. To the contrary, I applaud any artist who has the conviction to use the precise language in a song that will carry their message and get their point across … regardless of what that does to their radio prospects. Lucinda Williams is a master of conveying emotion and desperation in her songs. Any phrase other than the one she uses here, would have robbed this song of a certain degree of power behind those emotions. There is no need for Lucinda to pull any punches.

Kathleen Edwards — “What Are You Waiting For?”

In many ways, Kathleen Edwards is a very similar artist to Lucinda. There’s often an edge to her writing that feels very earnest and genuine. Here, Kathleen’s exasperation leads her to a point where her exclamation feels fully earned. Like Lucinda, any phrase other than the one she uses would dull the impact of the song.

Greensky Bluegrass — “Windshield”

In contrast to the previous two songs, I do sometimes get a little peeved when I feel like the language that excludes a song from airplay could have just as easily been left out. This is the opening track (and lead single) on Greensky Bluegrass’ 2014 album, If Sorrows Could Swim. The first verse contains a usage of the f-bomb that seems as though it was just wedged into the lyric to add a couple of beats in order to fit the words to the measure. I’ll admit that it did sour my initial impressions of the band and the album. Fortunately, we found plenty of other songs from the album that worked for our station, and the band has done very well on our airwaves.

Todd Snider — “In the Beginning”

Rule number one with any new Todd Snider record that comes to the station: “Read the lyric sheet before playing on the radio.” Todd is a noted offender of offensive language rules and generally requires a little extra screening. When it came our way in 2012, six of the ten songs off Todd’s Agnostic Hymns & Stoner Fables album were deemed too hot for WDVX for various reasons. This is one of them.

Hayes Carll — “She Left Me for Jesus”

It isn’t always explicit language that keeps a song off our airwaves. Sometimes content comes into play, as well. Knoxville is squarely located in the Bible Belt, and we do typically try to stay away from polarizing political or religious topics. Hayes Carll’s tone in this tune is fully tongue-in-cheek, but given the controversy surrounding this song upon its release — and having a feel for how portions of our audience might react to it — we left it off our playlist. Incidentally, this song was named Song of the Year at the 2008 Americana Music Awards. I voted for it.

James McMurtry — “We Can’t Make It Here”

The other Song of the Year winner to never make it to air at WDVX is this 2006 winner from James McMurtry. (I voted for it, too.) This one falls a bit into the polarizing political statement category, having been released squarely in the middle of President George W. Bush’s final term. Ultimately, though, it was language usage rather than legislative leanings that kept us away from this one.

Ryan Adams — “Come Pick Me Up”

This is my favorite Ryan Adams song. Always has been. I don’t know if it’s the loping banjo, or Kim Richey’s backing vocals, or just the sheer languidness of it all … but something about this song has always spoken to me. It certainly can’t be the profanity-laced chorus. Nah … that can’t be it at all.

Gillian Welch — “Revelator”

Full disclosure: I have played this song on the radio many, many times. I listened to it over and over before I ever realized that Gillian slipped in the word she slips in about four minutes into the tune. It wasn’t until I saw Chris Thile and Nickel Creek sing this live a couple years after its release that I actually heard what was always there. I don’t know if Chris enunciated better than Gillian or if I just didn’t want to believe that Gillian says what she says. It sounds completely obvious to me now, but back then …

The Baseball Project — “Ted Fucking Williams”

I love baseball. I love Scott McCaughey, Mike Mills, and Peter Buck. Ted Williams is the “Greatest Hitter that Ever Lived.” I love this song. I can’t play this song for obvious reasons.

Monty Python’s Flying Circus — “I Bet You They Won’t Play This Song on the Radio”

Just for fun … This song from Monty Python and Eric Idle has been running through my head ever since I agreed to write this.