BGS 5+5: Isaac Hoskins

Artist: Isaac Hoskins
Latest Album: Bender
Hometown: I spent the majority of my formative years in Wellington, Kansas. A small wheat-farming town between Wichita and the Oklahoma state line. I’ve lived in Denton, Texas, for 19 years and I definitely call it home now but Wellington still has a great deal to do with the way I see the world.

Personal nicknames: When I was a kid there was another boy who lived down the street who, for some reason, couldn’t pronounce my name instead called me Izeke (eye-zeek). My mother started calling me Zeke and it stuck. To this day, a lot of people in Kansas call me Zeke.

Which artist has influenced you the most … and how?

Oh, man! There are so many. I’d imagine that Steve Earle is probably the biggest influence that I’ve had as a songwriter and performer. Obviously, Steve’s music was and continues to be a massive influence but most any other artist that I became a fan of early on was because they were in and around his orbit. The internet was still a pretty new thing, so discovering music that wasn’t on the Top 40 chart was pretty difficult without some sort of road map. Guy Clark, Townes Van Zandt, Rodney Crowell, Jerry Jeff Walker, all of the usual suspects came to me after reading Steve’s biography (Hardcore Troubadour). Steve Earle was my gateway drug.

What’s your favorite memory from being on stage?

When I was in junior college I was in a choir that was invited to sing a piece of music entitled The Testament of Freedom at Carnegie Hall. The piece was composed by a man named Randall Thompson and inspired by writings of Thomas Jefferson. It was the spring after the 9/11 attacks and the entire experience was incredibly moving. Both the subject matter and setting were something I’ll never forget. I’m told that Kevin Bacon was there so perhaps I’m one degree closer than most.

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

I knew that I wanted to be a musician from a very early age, but given my surroundings I never felt like it was something that was attainable. I attended a music festival in Helotes, Texas, called Jack Ingram’s Real American Music Festival and that was the day that I knew for sure, that was the day that I felt like it was something that I could do. I was watching all of these incredible performers that, up to that point, I had never even heard of. The Bottle Rockets, James McMurtry, Hayes Carll and so many other people were proving to me that you don’t have to be Garth Brooks to make a life in music and I was immediately obsessed.

What has been the best advice you’ve received in your career so far?

I had the opportunity to talk to Don Schlitz once. He told me, “Write the song you want to hear and you’ll be surprised who wants to hear it too.” I think of that often, so concise, so true. Thanks, Don.

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

I’m a duck hunter, and more often than not, I hunt alone on public land. Hunting on public land means that you’ve got to get there earlier than anyone else if you want to be sure that you have your spot. Most days I’ll begin my walk to the lake at four o’clock which means I’ve got somewhere in the neighborhood of three hours to hike in, find my spot, put my decoys out and get a decent hide before shooting time (30 minutes before sunrise). That time before and during sunrise is my favorite. I use it to think about the people, places and things that matter to me and might also matter to someone else. Watching the day come alive is a spiritual moment for me, every time. Living in the business of making noise, it’s nice to soak up a little silence.


Photo Credit: Peter Salisbury

BGS 5+5: Joshua Hedley

Artist: Joshua Hedley
Hometown: Naples, Florida
Latest Album: Neon Blue
Personal Nicknames: Mr. Jukebox

Which artist has influenced you the most…and how?

I found Bob Wills at a very young age. Probably 10 years old or somewhere around there. I was instantly obsessed. He really struck a chord with me. Something about the blend of country and jazz resonated with me and particularly inspired me to be better at my instrument. I would lock myself in my parent’s bathroom with a CD player and my fiddle and just wear out this Bob Wills greatest hits CD for hours, trying to learn all the fiddle parts and solos and stuff. It really strengthened my ear at that age when you just soak up knowledge like a sponge. I probably wouldn’t be playing at the level I’m at today if I hadn’t discovered Bob Wills when I was so young.

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

Honestly, it’s almost like I was born into it. I don’t remember the first moment I knew. I just always did. I asked my parents for a fiddle when I was 3. They told me to ask again when I was older, and I did, five years later. They got me one when I was 8 and I just took to it almost instantly. I just knew that’s what I was going to do with my life from then on. I started playing for real, professionally in bands, when I was about 12 and after that it was all over. That was it. I decided then I was going to move to Nashville and play country music for the rest of my life.

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

I always have a tough time writing. More specifically with finding inspiration and focus. I had this brief period of inspiration when I wrote Mr. Jukebox, but before that and ever since, I’ve always had a hard time writing. I struggle with ADHD, so it’s hard for me to stay focused on a single idea long enough to write a whole song. There’s also a level of self confidence needed to be a great writer that I lack. I can recognize a great song that someone else wrote, but even if other people tell me how much they love my songs, I always second-guess them myself. I always feel embarrassed playing my own music.

What has been the best advice you’ve received in your career so far?

Don’t read your press. Especially the reviews. Good or bad, they’ll affect your ego negatively. Someone once told me when I was just a kid, “You’re never as bad as they say you are, but you’re never as good as they say you are either.” You can’t control what people write about you. If it’s negative, it can crush you, but if it’s positive, it can inflate your ego too much. Neither of those things are good for you. Staying away from your own press seems like good advice to me, even if I don’t always take it.

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

You can probably tell just by looking at me that I enjoy food. I like everything from Michelin Star to Taco Bell. My buddy Sean Brock is absolutely crushing the food game in Nashville right now. It’d be cool to do a show where he catered it. Maybe do a bunch of traditional Florida foods like gator tail, smoked mullet, frog legs, Cuban sandwiches, key lime pie — stuff like that. Then me and Elizabeth Cook and Wade Sapp can play a bunch of country music from Floridian artists like Mel Tillis, Pam Tillis, Slim Whitman, Vassar Clements, John Anderson, Terri Gibbs, Gary Stewart (not actually Floridian, but we claim him), etc. Actually…I kind of want to make that happen now.


Photo Credit: Joshua Black Wilkins

WATCH: Eli Paperboy Reed feat. Sabine McCalla, “Today I Started Loving You Again”

Artists: Eli Paperboy Reed feat. Sabine McCalla
Song: “Today I Started Loving You Again” (written by Merle Haggard and Bonnie Owens)
Album: Down Every Road
Release Date: April 29, 2022
Label: Yep Roc Records

In Their Words: “Back in 1969, Capitol Records commissioned a duet version of this song from Buck Owens, who was their biggest country star, and Bettye Swann, who was their most successful soul singer. The label ultimately shelved it out of fears that an interracial collaboration would damage Buck’s career, but a few of the acetates eventually leaked out, and I happen to own one of them. It’s probably the most straight ahead interpretation on the album, and that’s the way I wanted it. The arrangement was good enough to be released back in 1969, but it never had a chance to get the respect it deserved. To finally officially put that song out as a duet with a woman of color after all these years feels consequential to me.” — Eli Paperboy Reed

“When Eli told me the origin story behind Merle’s famous song I knew I had to sing it. I’m so grateful that since Loving vs. Virginia interracial couples have become so widely acceptable. It’s high time the history of black musicians as creators and cultural bearers of country and soul is honored, and I hope I do justice by Bettye Swann.” — Sabine McCalla

LISTEN: Robert Plant & Alison Krauss, “High and Lonesome”

Artists: Robert Plant & Alison Krauss
Song: “High and Lonesome” (written by Robert Plant and T Bone Burnett)
Album: Raise the Roof
Release Date: November 19, 2021
Label: Rounder Records

In Their Words: “It’s such a far cry from everything I’ve done before. I love the whole kaleidoscope of music that I’ve explored, but this is a place where you can think within the song, you can decide how to bring home an emotion. It’s another blend that we’ve got, and long may we have more of them.” — Robert Plant

“One of my favorite parts of this is the songs and songwriters that I had never heard of. Working with Robert, and with T Bone, is always a great education in music history.” — Alison Krauss

Editor’s Note: Plant and Krauss’ 2007 album, Raising Sand, won six Grammy Awards. Like its predecessor, Raise the Roof was produced by T Bone Burnett, and features twelve new recordings of songs by legends and unsung heroes such as Merle Haggard, Allen Toussaint, The Everly Brothers, Anne Briggs, Geeshie Wiley, Bert Jansch, and more. The collection also includes “Can’t Let Go,” written by Randy Weeks and first recorded by Lucinda Williams.


Photo credit: David McClister

MIXTAPE: Staci Griesbach’s Great American Songbook of Country Music

The Great American Songbook of country music is a vast terrain to cherish and celebrate. So vast, in fact, that to narrow it down into one playlist of favorite “picks” is an incredible challenge! That said, I’m sharing here a selection of songs that are some of my all-time favorite lyrics and melodies. (The kind of songs you’d take with you to a desert island.) When you look through this list, it is no doubt that you’ll agree: each one of these songs rightly deserves its space in the pages of 20th century American music history for the mark the songwriters and the musical icons performing them have made. The generations these songs have touched (and hopefully will continue to touch)… the audiences moved by performances, in some cases to tears… all from the impact of a single song. Amazing!

As I hope to do with my Songbook series of recordings, my artistic path honors these songwriters and musical icons in reimagining these songs in a new way, offering an inspired interpretation of some of these classic songs (as you’ll see below). I hope you enjoy a slice of what I like to call “My American Songbook.” — Staci Griesbach

Dolly Parton – “Coat of Many Colors”

Dolly Parton’s “Coat of Many Colors” celebrates its 50th anniversary in 2021, and in my mind, there may be no more perfect storytelling song with a purpose in all of country music. Through the lyrics, Dolly approaches some important underlying themes in her message with this song. From humble beginnings to the love of a mother to encouraging self-talk and faith to the discussion of bullying, this song is so inspiring no matter where you live or what your upbringing was like. Coupled with her incredible human compassion and all she does with her celebrity to make the world a better place, Parton continues to be awesomely inspiring. For my interpretation, we played up the whimsical nature with the Joseph and the Amazing Technicolor Dreamcoat reference to also celebrate Dolly’s immense talent in the Broadway space. Fun fact: I was once “Narrator” in the musical production, so there’s a special sort of kismet connection!

Willie Nelson – “Blue Eyes Crying in the Rain”

When a song is recorded by Hank Williams, Roy Acuff, Willie Nelson, and probably hundreds of other artists, you may wish your name was songwriter and country music legend Fred Rose. Willie Nelson’s voice and this song pair so well for me. It’s his renditions — especially the live acoustic ones where he brings the tempo down — that are my favorite.

Patsy Cline – “Crazy”

If you’re going to do a playlist about country music standards, then this one has got to be on the list and perhaps top the list. As the most-played jukebox hit in history, the combination of Willie Nelson’s pen and Patsy Cline’s voice makes for a combination that never gets old.

Merle Haggard – “That’s the Way Love Goes”

Merle Haggard could sing the phone book to me, and I’d fall in love. This classic Haggard tune shows off some of his trademark moves, hitting the low notes with a sense of natural charm that could arguably make any gal swoon. His influence from Lefty Frizzell, who penned the song and had a strong arm in shaping many of country music’s early male voices in terms of style, is clear.

Anne Murray – “Could I Have This Dance”

I’m a sucker for a country waltz and the romantic in me gets caught up in this lyric every time I hear it. While the vocal is more modest in range and dynamic, it’s the sweetness of the tune that makes it feel like you’ve just put on your favorite winter sweater and nestled up to the fireplace.

George Jones – “He Stopped Loving Her Today”

Classified by many as the greatest country song of all time, it’s an exemplary tale of great songwriting paired with incredible talent. The song, the lyrics, and the vocal performance George Jones gives in this tear-stained ballad can’t possibly leave a dry eye in the room, no matter how many times you’ve heard the recording! This was the first song we tackled for my album celebrating Possum’s 90th birthday, and I was thrilled when songwriter Bobby Braddock shared his praise. In my cover version, arranger Jeremy Siskind arguably created a stage for this song to really sit in a spotlight it has never been in before.

Ernest Tubb – “Waltz Across Texas”

Listening to this song play as a young girl, I used to dream of being swept off my feet in love someday, filled with the imagery of waltzing across a big ballroom with someone serenading me. When Ernest Tubb calls out his band members, it feels like you’re right in the room listening as they’re playing. I’ve always enjoyed his iconic characteristics in his sense of showmanship.

Patsy Cline – “Walkin’ After Midnight”

Several songs in Patsy Cline’s catalog can be called standards in country music and this is one of them. A favorite for many girl singers who adore her, Patsy’s swagger comes through in her bluesy vocal performance adding just the right touch of cry to connect us with her desire for finding love. For my cover version, also from arranger and pianist Jeremy Siskind, the song offers more of a meditative groove creating a moodiness that implores a sense of searching matching the lyrics with a more internal reflection.

Ray Price -–”Make the World Go Away”

The great Hank Cochran had a way with songwriting and that’s no secret. One of my favorite songwriters in Nashville history. His songs create a lasting impression, especially this one recorded by Eddy Arnold, Elvis Presley, Martina McBride, and the late great Ray Price.

Tammy Wynette – “‘Til I Can Make it On My Own”

When you put Tammy Wynette, George Richie, and Billy Sherrill in a room, you know a hit song will find its way out of the door. Wynette’s performance is simply stunning here, and this song really showcases her dynamic range as a vocalist. I also really enjoy Martina McBride’s cover on her standards tribute album.

Merle Haggard – “Today I Started Loving You Again”

The poetic nature of Merle Haggard’s catalog cannot be questioned, and while he’s known as the poet of the common man, it’s his love songs that have me right in the palm of his hand. Penned along with Bonnie Owens, this song might top the Haggard catalog for me.

Dolly Parton – “Here You Come Again”

Only recently I became aware that this song was written by the great Cynthia Weil and Barry Mann. I’ve always associated the song with Dolly, and with her incredible songwriting prowess, it was a natural assumption. This is definitely one of my favorite songs in Dolly’s catalog. For my cover, which is the flip side of my Digital 45 with “Coat of Many Colors,” Jeremy Siskind and I explored a ballad context to really bring out the emotional quality of the lyrics and the feelings that bubble up when you’re so in love with someone and forget for a moment that they’re not good for you.

Hank Williams – “Cold, Cold Heart

There’s a lure around Hank Williams like no other in country music. And it’s no surprise when you listen to Williams’ catalog why George Jones and so many others looked up to and tried to emulate Williams at the beginning of their careers. A true country music standard for its number of covers (including Tony Bennett), I’m a huge fan of Norah Jones’ performance.

Patsy Cline – “Lonely Street”

From Kitty Wells, Melba Montgomery, and Emmylou Harris to Ray Price, George Jones, and Tammy Wynette, this song has been recorded many times over. While Andy Williams’ version might have hit the highest notes on Billboard’s charts, it’s Patsy Cline’s heartache-filled performance that is my favorite version. There were a few of her classic hits that didn’t make my tribute album and this one might top that list.

Kris Kristofferson – “Help Me Make it Through the Night”

The stories of Kris Kristofferson and Bill Withers have always touched me in the fact that both of them were working everyday jobs (sweeping floors and working at an airplane parts factory respectively) when their demos catapulted them into the spotlight. I’ve seen Mr. Kristofferson perform this live a few times and my heart melts every time.


Photo credit: Kim Thiel

BGS 5+5: Jason Eady

Artist Name: Jason Eady
Hometown: Stephenville, Texas
Latest album: To the Passage of Time

Which artist has influenced you the most … and how?

Merle Haggard. No question about it. I have learned from him in every way. His effortless style of singing, the simplicity in his writing style, the way he covered different genres, the way he managed his career, all of it. Everything I do is in some way influenced by Merle Haggard, whether I’m aware of it or not. I think he was the best all-around country artist who has ever lived.

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

I’m very into photography lately. I got into it about four years ago as a way to have a hobby on the road and it really took. I didn’t realize when I started that it would affect my music the way it has. It has changed the way that I see the world, specifically in looking for more details. After a while with photography, like songwriting, you realize that you’ve exhausted everything that you can see on the surface and you have to start looking deeper for details. Seeing those details through photography has definitely expanded my imagery in my songwriting.

What rituals do you have, either in the studio or before a show?

Quiet. That’s the most important pre-performing ritual. I need time to focus and center. If I go straight from noise and commotion to the stage, it can take a while for me to relax into what I’m doing. I always try to set aside the 30 minutes prior to performing to just be quiet and get centered and ready.

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

When I’m on the road I try to make an effort to stop every day and just walk, preferably in nature. This job can be very chaotic at times, and intentionally stopping to walk and look around is a great exercise. If I can walk somewhere quiet then that’s even better. I’m very aware when I come across places where there is no noise. It’s crazy that when you start looking for that you realize how hard it is to find. Just complete silence. But when I find it I try to stop and appreciate it, and what a rare moment it is.

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

Almost always. Every character I write has some version of me in them. It’s not always 100 percent true, and usually isn’t, but there’s always some truth about me in there somewhere. I honestly don’t know if I’d be able to write a character that is completely separate from me.


Photo credit: Brandon Aguilar

MIXTAPE: Jeremy Garrett’s Melting Pot of Influential Music

My mind has been concentrated on making music for my latest record, Wanderer’s Compass. I let Wanderer’s Compass be a collection of as many influences in music I’ve had as possible. I’ve been playing long enough that I used to learn my fiddle parts from an LP and move the needle back to catch the solo parts. Then of course over time, with the advent of the internet, the influence highway, so to speak, became much wider. I’ve always thought it is hard to put music in a box, since it is art, even though I essentially understand the reason for genres. To me the whole point of art is to let all of your influences and experiences be the palette in which to create your vision. This playlist is really fun for me to listen to, and I hope you enjoy it as well. — Jeremy Garrett

Dire Straits – “Where Do You Think You’re Going?”

This song was off a record that I heard early on in my life and the soul that Mark Knopfler brought to this song continues to influence me to this day.

Larry Sparks – “Blue Virginia Blues”

Larry is a master of song delivery, selection, singing, and incredibly soulful guitar playing that is old school, yet crosses any boundaries from that world into the new because art like that knows no bounds.

Tony Rice – “Urge for Going”

From the album Native American, this track is the epitome of how to produce a song to pull all of the essence from it for the listener to hear. Any bluegrass musician can tell you that Tony Rice is the man to listen to for song production, not to mention his unmatched guitar skills.

Jeremy Garrett – “Wishing Well”

“Wishing Well” is an original and on this track I stretch way out on the fiddle for a jam.

David Grisman – “Fish Scale”

David is one of the best and truest musicians of our time. This is a one-of-a-kind song from a one-of-a-kind artist, David Grisman. I particularly love Tony Rice’s playing on this track.

The Stanley Brothers – “The Lonesome River”

This is one of history’s most eerie and interesting sounding bluegrass duos. Their songs and the way they sing them are my personal favorite sounds of the traditional bluegrass era.

Strength in Numbers – “Blue Men of the Sahara”

This ensemble was one of the most creative in acoustic music. This particular song showcases what happens when you marry music stylings from around the globe, and Mark O’Connor rips a fiddle like nobody’s business.

Merle Haggard and Willie Nelson – “Pancho and Lefty”

This cut is pure magic if you ask me. I love everything about it, from the wacky-sounding synth stuff to the magic that Haggard brings when he comes in for his verse. Sends chills up my spine.

George Jones – “Choices”

There may not be any better country singing than this right here.

Jimi Hendrix – “Red House”

There is perhaps no one more inspiring to a musician who wants to tap into soul and vibe. Hendrix is the one who paved the way for all of us in that regard.

Deep Forest – “Sing with the Birds”

This music was an indicator for me at an early age that I loved world music and the technology that continues to evolve to help create some of it. This is programming at its finest and it’s flowing with creativity.

Jeremy Garrett – “Nevermind”

This is a Dennis Lloyd cover that I love to perform. Dennis is an Israeli pop artist. It’s a culmination of my bluegrass chops on fiddle, guitar, mandolin, along with effects, experimentation, and programmed beats.


Photo credit: J.Mimna Photography

BGS 5+5: Mike and the Moonpies

Artist: Mike and the Moonpies
Hometown: Austin, Texas
Latest Album: One to Grow On
Personal nicknames: The Moonpies

All answers by Mike Harmeier

Which artist has influenced you the most … and how?

It would be impossible for me to narrow it down to just one artist. Early on, I was heavily influenced by George Strait and ’80s/’90s country artists, in general. I really thought that was the path I would take — a very commercial approach to country music. I would later gain a new perspective when I started listening to more songwriters like Guy Clark and John Prine. It was then that I wanted to add more depth and sincerity to my music. When I moved to Austin in 2002, I started to get more into the art of record making and that process was heavily influenced by bands like Wilco and Radiohead. Lately, I’ve kind of melded all that into an approach that’s more along the lines of Jerry Jeff Walker. Freewheeling records with thoughtful lyrics and just having fun playing music with my friends.

What’s your favorite memory from being on stage?

I’ve had countless moments that stick out in my memory from being on stage. Most of them include our artist friends joining us on stage. From the big jams we usually host at Mile 0 Fest in Key West, to our encores with the opening bands joining us for a cover song to end the night. Most recently, Jerry Jeff Walker’s son Django joined us on stage in Alpine, Texas, for our rendition of “London Homesick Blues.” It’s a song written and performed by Gary P. Nunn and made famous on Jerry Jeff’s Viva Terlingua record. We cut it in London at Abbey Road Studios for our Cheap Silver and Solid Country Gold record. That was a very special moment and felt like a culmination of a lot of things for us. You never know who will join you or when, and that excitement always makes for a memorable show.

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

I’ve always found a lot of inspiration in film. Especially when that film uses the right music for a particular scene. I can’t tell you how many times I’ve hit pause on a movie to write a song. Some songs can take on a whole new meaning when you put them behind the right scene or character and I will sometimes use those character’s emotions to inspire a new subject to write about. I’ve written quite a few songs just off one line I heard in a movie or TV show.

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

I actually had a lot of tough moments writing songs for this record. I had more time than normal to write and rewrite these songs. There were countless edits and rewrites and versions of the songs that we just scrapped and then started over. While I think these are some of the best songs I’ve written, it really took much longer to get to a place where I was happy with them. I think if you spend too much time on one thought it can be a dangerous game to play. I’m still learning when to put the pen down and be satisfied with what came naturally. It’s a fine line.

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

I think I have subconsciously done this a lot with many songs in our catalogue. Not until this record have I made the conscious decision to write from a character’s perspective. While I was experiencing or have experienced a lot of the feelings and virtues of the character on this album, I tried to take myself out of it as much as I could. I wanted to broaden the scope and viewpoint beyond my own personal experience so I strayed away from talking too much about road life or really much to do with my personal experience with my work as a musician. I wanted to project a world view from the perspective of an everyday nine-to-fiver and play with how that intersected in my own personal experience. While there is a lot of myself in these songs, I think it translates to the everyman in a very relatable and accessible way. At least to anyone that works hard to get where they want to be.


Photo credit: Lyza Renee Photography

LISTEN: Robert Plant & Alison Krauss, “Can’t Let Go”

Artists: Robert Plant & Alison Krauss
Song: “Can’t Let Go”
Album: Raise the Roof
Release Date: November 19, 2021
Label: Rounder Records

In Their Words: “We wanted it to move. We brought other people in, other personalities within the band, and coming back together again in the studio brought a new intimacy to the harmonies.” — Alison Krauss

“You hear something and you go ‘Man, listen to that song, we got to sing that song!’ It’s a vacation, really — the perfect place to go that you least expected to find.” — Robert Plant

Editor’s Note: Plant and Krauss’ 2007 album, Raising Sand, won six Grammy Awards. Like its predecessor, Raise The Roof was produced by T Bone Burnett, and features twelve new recordings of songs by legends and unsung heroes including Merle Haggard, Allen Toussaint, The Everly Brothers, Anne Briggs, Geeshie Wiley, Bert Jansch and more. The collection also includes a Plant-Burnett original, “High and Lonesome,” and “Can’t Let Go,” written by Randy Weeks and first recorded by Lucinda Williams.


Photo credit: Frank Melfi

LISTEN: Bobby Osborne, “White Line Fever” with Alison Brown and Special Guests

Artist: Bobby Osborne (feat. Alison Brown, Stuart Duncan, Trey Hensley, Sierra Hull, Tim O’Brien & Todd Phillips)
Hometown: Hyden, Kentucky
Song: “White Line Fever”
Release Date: March 26, 2021
Label: Compass Records

In Their Words: “When I first heard ‘White Line Fever’ it was a ballad-type song. When Alison discussed it with me, she said she wanted to do it in a bluegrass style. It’s a great song, and I enjoyed recording this version for Compass Records. I hope everyone also enjoys ‘White Line Fever’!” — Bobby Osborne

“On his birthday last year, I asked Bobby if he thought it would be fun to record a version of ‘White Line Fever’ which he was totally up for doing. The song was a hit for Merle Haggard who cut it in late 1960s with a mid-tempo country feel, but it always seemed to me that it would make a great bluegrass song. As Garry West (co-producer) and I started working on the re-arrangement we felt like it was missing a second verse, so we asked Jeff Tweedy if he would be up for writing some lyrics to tell the story of Bobby’s 60-plus year career on the road. He came up with the perfect handful of lines with nods to Bobby’s Kentucky roots and Ohio ties. We got some of our favorite bluegrass collaborators to cut the song (Stuart Duncan – fiddle, Sierra Hull – mandolin, Trey Hensley – guitar and harmony vocals, Todd Phillips – bass, Tim O’Brien – harmony vocals, with me on banjo) and, once we heard Bobby’s incomparable vocal in the track, it was hard to believe the song hadn’t been a bluegrass standard all along.” — Alison Brown


Photo credit: Jay Blakesburg