Tag: mickey raphael

You Gotta Hear This: New Music From Darren Nicholson, Maya de Vitry, and More

Posted on by Justin Hiltner

To welcome you to the end of the week, we’ve got a slate of superlative premieres from across the roots music landscape.

Below, find new tracks from singer-songwriters – Maya de Vitry, who sings a song from her upcoming co-written with Caitlin Canty, as well as Lucy Isabel bringing “A Hero’s Welcome.” We’ve also got a few Western North Carolinians in our round-up, including bluegrass mandolinist Darren Nicholson playing a song about a true mountain man, John Colter, and Amanda Anne Platt & the Honeycutters offering “Big Year.”

Plus, guitarist Jacob Johnson is joined by Willie Nelson & Family harmonica player Mickey Raphael on an acoustic Allman Brothers cover and Tommy Emmanuel pays tribute to Chet Atkins’ 100th birthday with a video BGS premiered earlier this week.

It’s all right here on BGS – and You Gotta Hear This!

Maya de Vitry, “Odds of Getting Even”

Artist: Maya de Vitry
Hometown: Lancaster, Pennsylvania
Song: “Odds of Getting Even”
Album: The Only Moment
Release Date: July 12th, 2024
Label: Mad Maker Studio

In Their Words: “I wrote ‘Odds of Getting Even’ with my dear friend Caitlin Canty at a kitchen table in Nashville, several years ago. I was borrowing a friend’s snare drum at the time and having so much fun just grooving on that drum and singing. We were really moved by an article laying on my table, it was about the late Sharon Jones. Her story is powerful – her devotion to music in spite of so many years of rejection and really outright dismissal by the music industry – and then her battle with cancer, and performing in the midst of treatment… Against so many odds, she persisted in making her music. And singing was the only thing that could take her pain away.

“The band Della Mae made the first recording of this song on their 2020 Headlight album. It’s a real honor and thrill to hear another band bring your song to life. Then, Caitlin recorded her own version on Quiet Flame, which came out last summer. One of the things I love most about making records is making a collection of songs that feel like they magnetically want to live alongside each other, like companion plants or something – and this one just absolutely belongs in the song garden of The Only Moment. And to hear Phoebe Hunt on harmony vocals… well I just think Phoebe is an absolute legend. I’m so lucky to get to sing with her.” – Maya de Vitry

Track Credits:
Maya de Vitry – Vocals, acoustic guitar, synth
Phoebe Hunt – Harmony vocals
Anthony da Costa – Electric guitar
Ethan Jodziewicz – Bowed upright bass
Dominic Billett – Drums

Lucy Isabel, “A Hero’s Welcome”

Artist: Lucy Isabel
Hometown: Nashville, Tennessee
Song: “A Hero’s Welcome”
Album: All The Light
Release Date: June 28, 2024 (single); October 11, 2024 (album)

In Their Words: “‘A Hero’s Welcome’ is the only song on the album that wasn’t written specifically for the album. I taught myself to play guitar in college and started writing music pretty much right away. ‘A Hero’s Welcome’ was the first song that I ever felt proud of writing; I felt like I had found my voice. While I was in the process of writing the bulk of this album, I hung out with a college friend who reminded me of ‘A Hero’s Welcome.’ I suddenly realized that it was a perfect fit for All The Light and I added it to the track list. It’s been really fun to revisit this song that I wrote as a 21-year-old and hear how it’s transformed through the production process.” – Lucy Isabel

Track Credits: Written by Lucy Isabel Fortune-Cabrera.
Produced/mixed by Jared Anderson.
Mastered by Preston Cochran.
Lucy Isabel – Vocals, BGVs
Jared Anderson – Guitar, bass, pianos, percussion
Andy Ellison – Pedal Steel

Jacob Johnson, “Jessica” featuring Mickey Raphael

Artist: Jacob Johnson
Hometown: Greenville, SC
Song: “Jessica” feat. Mickey Raphael
Release Date: June 21, 2024

In Their Words: “It’s an unwritten rule for musicians that if your darlin’ (that’s how we say “significant other” or “partner” in the South) is named after a famous song, you must learn the song and you must use it to serenade them. Unfortunately, my wife was named after a 7-minute Allman Brothers jam. Eventually, I got serious and put together a solo/acoustic version of ‘Jessica’ that I later played as she danced with her dad at our wedding reception on May 31, 2019. It’s been knocking around in my head since then and earlier this year I decided it was time to flesh out the arrangement with some collaborators.

“Jack Ryan and Stephen Campbell from the dangerously hot Marcus King Band laid down a groovy, breathing foundation on drums and bass respectively, and Aaron Bowen supplied tasty keyboard lines throughout. In addition to the main melody, I played the second solo on my trusty Takamine acoustic guitar, but I knew I wanted to feature another special guest for the first solo section. I was completely blown away when my first choice, Mickey Raphael, legendary harmonica player for Willie Nelson and Family, agreed to participate. Mickey has played on some of my favorite albums of all time, and his lyrical, melodic style was just what the track was asking for. Having part of his magic on one of my tracks has been on my musical bucket list for many years.

“Of course, this entire project was created with lots of love and respect for its composer, the great Dickey Betts, who we lost not long after production was completed. If you know Southern music, you know he was one of the greats. Though I never had the opportunity to meet the man, I hope that my arrangement and attention to the details of this composition can honor his legacy in some small way.” – Jacob Johnson

Track Credits:
Jacob Johnson – Guitars
Mickey Raphael – Harmonica
Jack Ryan – Drums
Stephen Campbell – Bass
Aaron Bowen – Keyboards
Produced by Jacob Johnson.
Recorded by Shane Nelson at Asaph Studios & Mike McCarthy in Jack Ryan’s Garage.
Mixed by Shane Nelson at Asaph Studios, Greenville, South Carolina.
Mastered by Anna Frick at Ally Sound.

Darren Nicholson, “Big Sky”

Artist: Darren Nicholson
Hometown: Canton, North Carolina
Song: “Big Sky”
Release Date: June 21, 2024
Label: Mountain Home Music Company

In Their Words: “This is one of my favorite cuts of my entire recording career. I feel there’s a special spirit in the song and the way it turned out. It’s based on the true story of early American explorer, John Colter. He was a member of the Lewis and Clark Expedition and became the first known person of European descent to enter the region which became Yellowstone National Park. There’s several fascinating periods of his life and career. I became aware of him through a fabulous book about his survival and harrowing adventures called Colter’s Run. He was one of the first true mountain men. This was the inspiration for the song when Charles Humphrey and myself set out to write it. I also think it would make a great film. I feel the musicians knocked it out of the park in regard to capturing the mood and old-time essence. Hope you enjoy!” – Darren Nicholson

Track Credits:
Darren Nicholson – Mandolin, octave mandolin, lead vocal, harmony vocal
Tony Creasman – Drums
Kristin Scott Benson – Banjo
Zach Smith – Upright bass;
Colby Laney – Acoustic guitar
Deanie Richardson – Fiddle
David Johnson – Dobro
Kevin Sluder – Harmony vocal
Jennifer Nicholson – Harmony vocal

Amanda Anne Platt & the Honeycutters, “Big Year”

Artist: Amanda Anne Platt & The Honeycutters
Hometown: Asheville, North Carolina
Song: “Big Year”
Album: The Ones That Stay
Release Date: August 9, 2024
Label: Mule Kick Records

In Their Words:“I wrote the first line of this song in 2018, after what felt like a really big year. I would revisit it from time to time, trying to find the rest of the words. And while I was doing that, the years just kept getting bigger and bigger. Good stuff, bad stuff, life just gets overwhelming at times. And of course there was a global pandemic. I’m still waiting on a smaller year, but maybe I’m also learning how to ride the wave a little better.” – Amanda Anne Platt

Track Credits:
Amanda Anne Platt – Acoustic guitar, lead vocal
Matt Smith – Dobro
Rick Cooper – Electric guitar, vocal harmony
Kevin Williams – Piano, vocal harmony
Evan Martin – Bass, drums, percussion, vocal harmony

Produced by Scott McMicken and Greg Cartwright, FrogHouse Productions, and Amanda Anne Platt.

Tommy Emmanuel, “Mr. Guitar (Live)” 

Artist: Tommy Emmanuel
Hometown: Nashville, Tennessee
Song: “Mr. Guitar (Live)”
Album: Endless Road: 20th Anniversary Edition
Release Date: May 28, 2024
Label: CGP Sounds

In Their Words: “The one and only Chet Atkins would be celebrating his 100th year if he were still here in body. We miss him. We love his playing, we remember all the great lessons and wisdom he handed out freely to us.  We always use his example as the one written in stone. My fellow CGPs, John Knowles and Steve Wariner, have their own experiences and memories to share, and they have lived a different life to me. Yet, because of our love for Chet’s music, we are forever joined, like family…” – Tommy Emmanuel

More here.

Photo Credit: Maya de Vitry by Kaitlyn Raitz; Darren Nicholson by Jeff Smith.

Photos: Bob Weir and Wolf Brothers Lead Tornado Relief Benefit at Ryman

Posted on by Editor

Bob Weir and Wolf Brothers turned their Nashville gig into a tornado relief concert and, yes, we are grateful for it. On Saturday night, Weir welcomed many special guests to the Ryman Auditorium stage, including Frankie Ballard, Jamey Johnson, Buddy Miller, Margo Price, and Mickey Raphael.

The primary charity partner for the event is The Middle Tennessee Emergency Response Fund of The Community Foundation. The organization collected a percentage of proceeds from ticket sales and providing a text-to-donate option for all patrons. Donate now.

All photos: Chad Crawford Photography

Colter Wall Revives Western Country on ‘Songs of the Plains’

Posted on by Editor

He’s only 23 years old, but Western Canadian musician Colter Wall has created an album which echoes through time with Songs of the Plains.

A traditional Western love letter to the wide open, often-frozen prairies of his native Saskatchewan, Wall’s sophomore project once again highlights booming baritone vocals and an appreciation for historic sounds – but it’s more living artifact than relic of the past. Mixing originals in with covers of Canadian classics like “Calgary Round Up” (by Wilf Carter), “Night Herding Song” and “Tying Knots in the Devil’s Tail” (both cowboy traditionals), its 11 tracks feels as fresh as the first wildflower bloom of spring.

Dave Cobb produced Songs of the Plains, with Canadian country stalwarts Corb Lund and Blake Berglund joining harmonica great Mickey Raphael and pedal steel legend Lloyd Green as guests. But it’s Wall’s youthful enthusiasm for the genre – and his timeless approach to song craft – which stands out. He spoke with The Bluegrass Situation about his love for Saskatchewan, working with his heroes and what it’s like recreating a good-old-fashioned campfire song.

You grew up in Saskatchewan, and Songs of the Plains is very much a Western album. What makes a life out West different? Why does it lend itself to inspiring its own genre?

That’s a great question. Just like any place, the people have an entirely unique culture, and we have our way of doing things, our own way of talking and our own way of telling stories. When I think of the West, because of its history and because of the way people romanticize it, it’s sort of a land of myth. It’s a land of harsh realities and a sort of mythos – one of wild, tall tales. And it’s been painted in a lot of different ways, often by people who aren’t actually from that part of the world.

Not many people are doing this kind of music anymore. How did you get turned on to traditional Western music, especially being such a young guy?

Well I’m just a huge fan of traditional music in general and have been for a long time. … I love those old tales and folk songs and how they’re so rooted in people, being passed down from year to year, changing and shifting over time. I’ve always been fascinated by that. Probably the first cowboy songs that I heard and really dug – and tried to learn – were done by Ramblin’ Jack Elliot, who was notorious for doing cowboy and Western songs, but he played folk music from all over. He would also play Blind Lemon Jefferson songs and Woody Guthrie songs, bluegrass traditionals, country traditionals, and then those old cowboy songs. So I had been listening to his catalog and stuff like Jimmie Rodgers and from there I started to dive down the rabbit hole and discovered all the greats like Marty [Robbins], Tex Ritter, and all those guys.

I really love the opening track, “Plain to See Plainsman.” It seems like autobiography, so what did getting away from home teach you about it?

The short answer is that distance makes the heart grow fonder. I had always loved Saskatchewan, but I didn’t realize how much until I moved down here [to Nashville] and started to travel around a lot. I think I became more interested in our history and culture. Before [moving] I was aware of it, but maybe not trying to actively learn about it and write about it.

“Saskatchewan in 1881” speaks right into that history, right? It’s kind of a warning to a city slicker from Toronto about what he’ll find if he comes West looking to get rich. Why did you set the story in 1881?

That’s my take on prairie humor. The 1880s are when they first started to ship people out to the Western Provinces – and they weren’t even provinces yet, they were territories. The people in the cities back East had just realized that we had all these natural resources out West, so they started surveying the areas and sending people out to settle them. That started in the early 1880s, so the premise was to tell in a humorous way about the lives of people and what life might have been like back then, having to deal with all the frustrations of frontier life. It’s kind of a regional joke.

You’ve got Mickey Raphael and Lloyd Green on this album, and they add so much Western flavor. What was it like bringing those guys on board?

I had known I wanted Mickey to play on the record long before we went into the studio. I had met him probably a year ago at a show where he was part of the house band, and I was already a huge fan. I think he’s the best harmonica player in the world. Since then he’s been really nice and supportive and kept in touch, so that was just a matter of waiting to get in the studio.

With Lloyd, I have to be honest. I wasn’t even aware he was still around. I told Dave [Cobb] I wanted some pedal steel, and he said ‘Why don’t we get Lloyd Green?’ My eyes about fell out of my head. So we called Lloyd and sure enough he came down. I helped him carry his stuff in, then I got to hear him play pedal steel on my songs for about an hour – which was pretty incredible – and then after that I got to listen to him tell stories about playing with [George] Jones and [Johnny] Paycheck, all these legends. It was surreal.

The power and depth of your vocal has always stood out. Does it still surprise people?

The most common thing I get is ‘How old are you?’ And I tell them, and then there’s always some surprise there.

When did you notice you had this deep, timeless baritone of singing voice?

I’ve been working at it for a long time. When I turned 18 I had been trying to sing, and it wasn’t really working out, but I realized I could sing low a little bit in the baritone register. It felt natural, so I kept doing it, and I’m still working at it. I feel like these three records, to me they’re like little stepping stones on my road of trying to figure out how to sing. Listen to that first EP and then the first album, there’s quite a difference in the vocal. And then if you listen to this new record, this is the first time I’ve felt comfortable and like I had control over my voice. I think it sounds better.

You let your voice stand on its own on “Night Herding Song,” and I read you left the studio to record that. How did that decision happen?

We tried to cut it in the studio, but the thing about RCA [Studio A] is that it’s a really big room, but it’s a studio so it’s kind of dead in there – there’s no natural reverb. I don’t record with headphones on, so singing a capella in a room like that, it’s kind of hard to hear. It just wasn’t working out, so we decided to go out to Dave’s house – this tucked-away little spot in the trees with a studio in the basement. But just outside the studio is this patio and fire pit, and we figured we’d cut it outside, just pull the microphone out the door. I was really trying to get a campfire vibe going on, which is a cowboy tradition, and really went with the nature of the song. So I went out there and started a little fire, and recorded it that way. It was a lot easier, and it turned out great.

Did this project satisfy your urge to make a real Western album? Where will you go from here?

Yeah, I’m pretty pleased with the way it turned out. I had more of an idea of what I wanted going into the studio than ever before, and I’m proud of it. As for the future, I’ve got a few ideas of where I might want to go, but it’s hard to say this early. I’ve been playing a lot more shows with my new band, and we’ve been messing around with some interesting sounds, but I just hope people enjoy this one when it comes out. After that we can start worrying about the next one.

Photo credit: Little Jack Films

Derek Hoke, ‘Trouble in Mind’

Posted on by Editor

If you live in Nashville — specifically East Nashville — then Derek Hoke is your eminent host, with his weekly $2 Tuesdays event at the 5 Spot serving as your best bet to catch a smartly curated collection of emerging talent, drink cheap beers, or make an unexpected musical discovery. (Usually, it's all of those things.) But he doesn't just throw the party; he makes its soundtrack, too. Hoke appears on stage most Tuesdays, where he works through a catalogue of songs that shudder, shake, and groove with the steely composition — and slick propriety — of boogie-woogie kings like Roy Orbison. There's a classic touch and reverence for the dying rock 'n' roll tradition of occasionally keeping it clean — crisp lyrics, tight production unmarred by fuzz, tasteful riffs, and unwrinkled blazers — with an emphasis on putting the grit where it belongs. And that's in a dirty guitar vamp or wail of the harmonica.

Nowhere is this tactic more apparent than on "Trouble in Mind," off of his new third album, Southern Moon. With mouth harp courtesy of Willie Nelson's right-hand man, Mickey Raphael, the song slinks in with a bluesy roll that Hoke's smooth vocal croons right over. Like the Black Keys on "Howlin' for You," Hoke knows the power of a good Lightnin' Hopkins-era riff sidelined by a thumping drumbeat to propel a song straight to both the balls of the foot and the gut.

"I feel it down in my soul, into my heart, out of my head, I'm always thinking of you," Hoke sings. He's got trouble in mind, alright, but it's the music itself that hints at just what kind of mischievous behavior he might be after.