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Roots Culture Redefined

Posts Tagged ‘Mixtape’

Love More, Care Less: Martin Kerr’s Songs of Hope for Dark Times

I left home (a sleepy market town in middle England) the day after high school finished and traveled around the world with just a guitar and a backpack. I paid my way by teaching English and singing songs in cafes. Five years, 36 countries, and two unfinished degrees later, I moved to Canada to marry a girl I’d once met at a party in Beijing and started my new career as a street performer.

Since then, I’ve played about 3000 gigs, from street corners to stadiums, successfully avoided getting a real job, and raised three amazing ginger kids. I love meeting and singing with people of all walks of life, especially the ordinary, humble folks who are often overlooked. I’m not really interested in finding a niche or a scene – I’m much more keen on finding ways to bridge the gaps between them.

One thing we all have in common is hard times and a need to hold on to hope through our grief and disappointment. Songs have always helped me, and do that, and I feel that I’m not alone. These tunes have inspired and comforted me over the years, and a couple of my own can do the same for you. – Martin Kerr

“Love More, Care Less” – Martin Kerr

I recorded this live in one take, because it’s a song about honesty and acceptance, and because there’s already enough airbrushing and auto-tuning in the world. ‘Love more, care less’ is how I’m trying to live my life now.

“Better, Still” – 100 mile house

This gem of a song beautifully encapsulates the feeling of being a young couple trying to find your place in a senseless world. 100 mile house have disbanded now, and they never got the recognition they deserved, but to me this song is timeless.

“Sometimes” – James

I still remember the first time I heard this song, wedged into the middle seat of an old car with new friends on a dark country road in northern England as the rain poured down. It’s an ecstatic, defiant celebration of song, storms, death, and the meaning of life.

“Big Bird In A Small Cage” – Patrick Watson

The softness of this song’s beginning is so inviting. It grows, line by line, with new instruments and harmonies, the song spreading its wings like the bird in the title. I love a song that grows and lifts and takes you on an unexpected journey. Plus, it’s my wife’s favorite, so I always get extra points for playing it.

“Re: Stacks” – Bon Iver

Usually I favor narrative songwriting with a clear story. But this abstract work of genius somehow immerses me in a world, a heart, and a feeling without making any outward sense. It’s the perfect end to a mind-blowing album, carrying the listener from anguish through acceptance to a new day.

“Feather On The Clyde” – Passenger

Passenger was a street performer when he made this record, busking on the streets of Sydney to pay for the recording and sleeping on the studio couch at night. I love the vulnerability and honesty in this simple song with its intricate fingerpicking that ebbs and flows like the titular river. I remember listening to this 20 times in a row on a long flight home and resolving to allow myself to be carried by the flow of life like the feather he sings about.

“A Case of You” – Joni Mitchell

Possibly the greatest vocal performance on any record ever. I’ve always wanted to cover this song, but never felt I could do it justice. Joni paints vivid pictures of heartbreak with her words and illuminates them with the glow of her perfect voice over a lonely dulcimer. The peak of confessional singer-songwriting. I listened to it endlessly in my first apartment in Beijing when I owned nothing but a sofa, a discman, and a handful of pirated CDs bought from the street market.

“Fast Car” – Tracy Chapman

I love that this song was rediscovered by a new generation recently, but the original version can never be beaten. As a 5-year-old hearing this for the first time, I’m not sure I understood the whole story at first, but I pored over the lyrics on the back of the vinyl dust-cover in my sisters room until I knew every word and every note of this young woman’s story from half the world away. The lift into the chorus captures the bittersweet exhilaration of escaping something that was once beautiful, but now has turned dark and needs to be left behind.

“Can’t Unsee It” – Martin Kerr

Unspeakable things are happening in the world at the moment and we’re told to look the other way, to pretend it’s not happening. I made this song to try and express the grief in my heart at witnessing the genocide in Gaza, while being powerless to stop it. The melody is inspired by “Here Comes The Sun,” in the hope that there could yet be some light at the end of this long darkness for the children of war.

“Guiding Light” – Foy Vance

My parents used to sing me to sleep with old Scots lullabies that I only half understood. Foy Vance manages to bridge the gap between Gaelic traditions and the modern world in his music and this song gives me a timeless feeling of home and belonging.

“Innocence and Sadness” – Dermot Kennedy

Hearing Dermot sing this solo for a whole stadium every night was magical. I got to open for him on his cross-Canada tour last year and it was unforgettable. His songs are so nostalgic and so fresh at the same time, ancient and modern, so personal yet universal. I try to reach for that in my own songwriting and performing.

“Farewell And Goodnight” – Smashing Pumpkins

I used to fall asleep to this song every night when I was 16 and 17, when I was trying to figure out who I was, where I belonged, and why the girls I fell for never fell for me. Listening now I can hear it starts with a brush on a snare drum, but I always thought it was the waves lapping on the shore. The song is a calm and wistful end to a chaotic album full of angst and confusion (Mellon Collie And The Infinite Sadness). I think it taught me the value of simplicity and comfort, of contrast and context. I can still hear the click of the stop mechanism that would almost wake me up as the tape ended on my cheap plastic boombox.


Photo Credit: Shaun Scade

MIXTAPE: “Tempus Fugit” – Joe Mullins’ Past, Present, and Future Playlist

I’m rarely satisfied with the status quo. And I love roots music that is bona fide. Well, I’ve used up most of my Latin vocabulary very quickly.

I didn’t know what “Tempus Fugit meant until I got a wonderful new song from Tim Stafford and Missy Raines, both great artists, writers, and old friends. Missy and I were together with our bands at Americanafest in Nashville in 2024. I was chatting with her and said, “We’ve been doing this a long time,” since we got acquainted in the 1980s, as we were both learning everything about the bluegrass community. Missy said, “Yes, but we have heard so much great music and met so many wonderful people. And getting older isn’t a bad thing!” Then she told me she and Tim had a song about the subject. I had to hear it and I loved it!

Our new single, “Time Adds Up (If You’re Lucky)” is out just a few weeks after the new gospel album from JMRR was released in March. Thankful and Blessed is a collection of eight new sacred songs and two revived oldies. I’m grateful for the opportunity to deliver the spiritual message and provide an inspiring gospel collection, but I’m thankful for a great variety of music, and I’ve been blessed by the powerful talents of great musicians, singers and songwriters of all kinds.

So, this Mixtape is truly a mix – some songs from the past that inspire me, a tune from the current JMRR gospel album, and our latest bluegrass single from an album releasing in the near future. Carpe diem! – Joe Mullins

“Time Adds Up (If You’re Lucky)” – Joe Mullins & The Radio Ramblers

“Time Adds Up (If You’re Lucky)” is the new bluegrass single by JMRR. “Tempus Fugit” are the first words of the song, meaning time flies. The lyrics were so relatable for me at this phase of life. I have been on stage with a banjo and on radio in some capacity since 1982. Now, over four decades later, I have my first grandchild – and she’s gorgeous by the way!

I’m not just lucky, I’m thankful and blessed.

“My Ropin’ Days Are Done” – Blue Highway

Tim Stafford is such a great writer! This is a favorite recording of one of the most consistent bands of the past 30 years. Wayne Taylor sings with soul and the song is as lonesome as a one-car funeral procession.

“Yardbird” – Larry Cordle

Music has to be fun sometimes! I love a good sad song, but clever lyrics that are so entertaining have been penned by Larry Cordle for years. And the mighty Cord is a great singer, too. Cord is also one of my favorite people, one of those who you always look forward to seeing. He’s been very supportive of my recording career, providing many songs. He and Larry Shell wrote “Lord I’m Thankful” in our new gospel album and a new working man’s song in the Radio Ramblers bluegrass album that releases soon.

“Andy – I Can’t Live Without You” – Ashley McBryde

She has such a believable delivery, and this song is gritty and sincere. The beauty of simplicity can’t be beat – a great voice, a killer song, and one guitar.

“Gonna Be Movin'” – Larry Sparks

Sparks is a stylist, both vocally and instrumentally. He’s an original in every way. I’m pretty sure he has his own zip code. Interestingly, Larry sings three of the four vocal parts in the quartet portions of this recording from the 1980s. Randall Hylton was a superb songwriter and performer whose home-going was way too soon. His bluegrass gospel songs will be enjoyed eternally and this is one of Randall’s best. I was fortunate to have a song from Randall’s catalog that was never recorded, and it’s the a cappella selection in our new album.

“Looking at the World Through a Windshield” – Daniel Grindstaff with Trey Hensley

One of East Tennessee’s great banjo men, Daniel Grindstaff, produced one of my favorite recordings of 2024. I love good, driving country music. I’ve managed a small network of radio stations for many years and we feature a lot of hard-hitting country music from every era. Daniel and Trey nailed this old truckin’ tune with a contagious, grassy groove.

“Beneath That Lonely Mound of Clay” – George Jones & The Smoky Mountain Boys

Yes, it’s a sad song. Graveyard tunes have always been part of the bluegrass and country canon. But I want the world to be aware of this album. Jones went to the studio with Roy Acuff’s band in the very early 1970s and recorded his favorite Acuff songs. The album wasn’t released until 2017. I’m a huge fan of George’s music from his six-decade career and he was in his prime here with an acoustic band that helped define country music on the Grand Ole Opry stage.

“Journey On” – Joe Mullins & The Radio Ramblers

If you’re enjoying the mixtape in order, we need something uplifting after our stop at the cemetery. This is a new song featuring the Ramblers quartet. The perseverance of the saints is celebrated in this tune from our new album Thankful and Blessed.

“From Life’s Other Side” – Lee Ann Womack

I was fortunate enough to produce an award-winning album during the pandemic. This song is on the 2021 IBMA Album of the Year, Industrial Strength Bluegrass. The album celebrates music I grew up on in my neighborhood, Southwestern Ohio. Dave Evans was an Ohio singer and songwriter with soul oozing out of every note he breathed, like Lee Ann Womack. Her treatment of one of Dave’s rare songs was a highlight of that album that is so special to me.

“Lonesome Day” – The Osborne Brothers

I must include an Osborne Brothers song, because I’ve listened to their music almost daily for my entire life. Bobby’s vocal delivery and Sonny’s banjo genius are among my greatest influences. This cut was produced about 1977. They went to the studio to record a collection of songs from their traditional bluegrass roots, after crossing over into mainstream country during the previous decade. You’ll be hard-pressed to find a more pure voice, and each instrument rings with huge tone because of the perfect touches, including Kenny Baker and Blaine Sprouse on fiddles, and the legendary Bob Moore on bass. Just turn it wide open on repeat!


Photo Credit: Brandy Buckner

MIXTAPE: Tony Kamel’s “We’re All Gonna Live” Playlist

Life is weird. In the words of Dan Reeder, “What the fuck is that about?”

Everyone tells me I seem mellow and laid back – and I am. That said, if anyone were to take one step into my head, they’d be bombarded with a maelstrom of wonderings about death, intrusive thoughts, forgotten location of keys and wallets, constant attempts (mostly failures) at descriptive alliteration, wildly sweeping feeling of love, wildly sweeping feelings of grief – and constant hunger. All of which eventually spin back around to complete peace and acceptance.

Music tends to get me back to that point. These songs bring peace to my ’90s-fuzzy-porn-like mess of a mind by reminding me (in one way or another) that it’s somewhat preposterous that we exist at all. A lot of these tracks are attached to personal moments in my own timeline, but hope they bring you peace too. – Tony Kamel

“Deep Breath” – Riley Downing

“Take a deep breath, it’ll be alright…”

I love this guy’s tunes. He has a poignant way of presenting life’s weirdness. Also as a recent yogi, it’s a good reminder to come back to my breath.

“Monster Truck” – Ramsay Midwood

“You don’t like it, you can kiss my ass. ‘Cause I drive a monster truck…”

This record, Shootout at the OK Chinese Restaurant, is funny, odd, and just a fantastic timeless reflection on the insanity we’ll always exist inside. Is he celebrating or making fun of these people? I don’t know. I don’t care. It’s funny.

“People Talkin’” – Hurray for the Riff Raff 

“People, they’re trying to tear us apart…”

Alynda Segarra is a national treasure. This record just blows my mind and has been a staple for me for a long time. It reminds me that I’m old now and I’m glad to be.

“Sue” – Tony Kamel

“If you’re livin’ and breathing, and doing that right, you ought to be lovin’ with all of your might…”

The second verse of this tune holds the keystone to my upcoming record, We’re All Gonna Live. Obviously, our relationships with other people define much of our lives. Sue was a wonderful person. I miss her dearly.

“Waxing and Waning” – Melissa Carper

“Waxing and waning, wishing and waiting…”

Melissa is one of the best writers and singers out there. Her retro voice puts me at ease.

“Don’t Tell the Boys” – Petey USA

“Lets talk about how childhood trauma guides our actions as adults…”

This tune reminds me of me and my old buddies. I’m lucky to have them. We’ve been friends for 30+ years and we can be ourselves and tell each other anything without fear or judgment – something I treasure deeply.

 “Louie” – Arcy Drive

“Baby remember, this is our December…”

I just love this song and it’s reminiscent of ’90s alternative rock Weezer era. It makes me happy to see Gen Z-ers throwing down with a rockin’ live band like this. It feels cyclical.

“Problem Solver” – Slimdan

“Maybe I should be someone who listens and not try to fix it/ … You don’t want a problem solver…”

This is a beautiful love song about being a typical dude and doing typical dude things like I tend to do in my marriage. I’ve come a long way though… so has this guy.

“Joyful” – Kelley Mickwee

“The beauty of life is the movement of change…”

Kelley rocks and this album rocks. That’s all.

“The Illinois River Song” – The Brother Brothers

“I proclaim the Illinois River gonna swallow me up whole and not a soul will know that I am missing…”

I’m a sucker for a good river/life metaphor. The melodies that weave in and out of this tune are infectious. It could be about anything and I’d love it.

“Everything Is Everything” – Cappadonna

“Everything that you see ain’t reality, they’re just illusions…”

Hip-hop on a bluegrass website? Duh. Can always count on a member of the Wu-Tang Clan to remind you that we might live in a simulation.

“They’ll Never Keep Us Down” – Hazel Dickens 

“We won’t be bought, we won’t be sold…”

Just because everything is uncontrollable bullshit doesn’t mean we don’t fight. This tune speaks for itself. Bless Hazel Dickens.

“Born a Worm” – Dan Reeder

“Born a worm, spins a cocoon, goes to sleep, wakes up a butterfly. What the fuck is that about?”

I do not know, Dan. None of us do. I implore everyone reading this to listen to Dan Reeder’s songs.

“We’re All Gonna Live” – Tony Kamel

Yes we are.

I’m tired of talking about myself. Y’all can figure it out. Love you.


Photo Credit: Josh Abel

MIXTAPE: Michigan Rattlers’ Rebirth of Spring Playlist

Spring is a transformation. A reawakening. A rebirth.

Time marches on and no matter how cold the winter may be, the spring arrives and reminds us that we can start again. These songs represent that sound and spirit.

The past three years have felt like a long spring for our band. From writing and recording our album, Waving From A Sea, to now playing those songs every night on tour, we have found the warmth and growth within ourselves. – Michigan Rattlers

“You Must Believe In Spring” – Bill Evans

Bill Evans’ music sounds like the 30 minutes before sunrise or after sunset. It’s like wet soil for me as an artist – refreshing and fertile. – Graham Young

“Everything Is Peaceful Love” – Bon Iver

I’ve heard Justin Vernon talk about this record as finding what he loved again about making music, it’s a rebirth of sorts for him. Even the GOAT loses the muse sometimes; an inspiration for us all to keep trying. – GY

“Inconsolable” – Katie Gavin

I found a shaky fan video of this months before it ever went live and haven’t stopped listening since. To me, this song is about nurture versus nature and choosing to defy patterns and spring a new path for yourself. – GY

“Geranium Day” – Michigan Rattlers

This is a song from our new album, Waving From A Sea, that is about those moments that bring your life into focus. Times that make you feel the ground beneath your feet. It’s about making it through the transformation of spring into summer and soaking up every bit of the day that you can. – GY

“Joy Spring” – Clifford Brown, Max Roach Quintet

I love the melody in this song, it reminds me of spring. The standard’s title is the pet name Clifford Brown gave to his wife. You can’t go wrong putting Clifford and Max together. – Tony Audia

“Spangled” – Fust

Fust’s latest album, Big Ugly, has been in my heavy rotation this spring. The song “Spangled” features moments of frustration and doubt. I get the sense that many Americans are feeling the same way this spring. – TA

“Countdown” – Phoenix

The line in the song, “We’re sick for the big sun,” sums it up. You’ve gotta have a Phoenix song if you’re talking about the rebirth of spring. – TA

“The Birthday Party” – The 1975

This song feels like waking up to me. The muted instruments and the intimacy and fragility of the vocal all feel like thawing out after a long winter. Both outside and in. – Christian Wilder

“Tinseltown is in the Rain” – The Blue Nile

I fell in love with The Blue Nile about a year ago. I’m perpetually obsessed with how they make this song switch feels and sway using pretty much all synthesized and gridded out sounds. This song is for standing outside pub at 2 a.m., rain coming down, it’s April fools day. – CW

“Bright Future in Sales” – Fountains of Wayne

Every spring carries with it an inherent sense of optimism. This is gonna be the big year, this is the year it all happens, this is the year I get my shit together. Almost never pans out the way you think, but it’s fun to pretend. I got a “Bright Future in Sales,” baby. – CW

“Under a Stormy Sky” – Daniel Lanois

This song feels like spring up north. The weather is chaotic and awful, yet you notice the birds returning and there is reason to celebrate change. Also, those lines about feeling pulled toward the city resonate with me. Winter where we’re from is pretty isolating, and I associate this time of year with anticipation for summer festivals and baseball games and just being among people again. – Adam Reed

“Light of a Clear Blue Morning” – Dolly Parton

This is a springtime song if I’ve ever heard one. It’s practically perfect, I don’t think I need to explain it. – AR

“To-Do List” – The Felice Brothers

For me, spring always brings an aspirational feeling, more daylight, more possibilities. This song gets right at that manic but euphoric headspace that comes right after thinking, “What the hell was I doing all winter?” – AR


Photos courtesy of Michigan Rattlers.

MIXTAPE: Will Holshouser on the Accordion in Country, Bluegrass, and Roots Music

The accordion is like a cousin you don’t see very often, but who is an integral, colorful member of the family. In country, folk, bluegrass and related roots music from the U.S., the accordion has always been there, more of a presence than you might think. It’s central to styles such as zydeco, Cajun, and conjunto music, but also many foundational bluegrass and country artists – such as Bill Monroe and the Carter Family – used accordion in their music at times. The accordion was in the environment, part of the sound world of mid-20th-century popular music, adding a special touch to bands of all kinds. Although it did not continue to flourish as a central bluegrass or country instrument, there’s no musical reason for that absence: it fits right into the sound. Whether playing rhythm or lead, it can be versatile, punchy, and expressive.

If country music is our unifying theme here, the accordion makes a great lens for viewing the vast diversity of the genre and its extensive family tree: Tejano-conjunto accordion playing, with its polka and Spanish origins and its two-beat and waltz rhythms, is a natural fit with country; zydeco and Cajun music overlap with it seamlessly; Western Swing bands, which merged jazz and country, often included accordionists from the Midwest with Central or Eastern European backgrounds. Of course, the impact of African American blues, swing, and jazz is so strong in all these styles that it’s more than just an “influence” – really a foundation. Jewish klezmer music is also a branch of the “roots music” tree; it came from Europe and developed in the U.S., absorbing many of the same influences as the other genres while making great use of the accordion. – Will Holshouser

“Together Again” – Steve Jordan

The incredible Esteban “Steve” Jordan grew up playing conjunto music in Texas and expanded his repertoire to include country, Latin music, rock, zydeco and more. He was known as “El Parche” for the patch he wore over his blind eye and also as the “Jimi Hendrix of the accordion,” since he played through an effects pedal (flanger or phaser). On his version of this Buck Owens tune, he plays many roles brilliantly: lead vocals, accordion solo, fills and accompaniment.

“J’ai Eté-Z-Au Bal” – Steve Riley & the Mamou Playboys

Steve Riley is one of the finest Cajun accordionists working today; this blistering version of a classic Cajun tune (“I Went to the Dance”) shows his virtuosity, the Cajun (diatonic) accordion in a lead role, and his band’s deep groove.

“Tennessee Waltz” – Pee Wee King & His Golden West Cowboys

Pee Wee King was born Julius Frank Anthony Kuczynski to a Polish-American family in Wisconsin. He learned accordion from his father, who played in a polka band, and went on to become a famous Western Swing bandleader and write the music for this country classic. His beautiful, single-reed accordion fills and moving thirds sound totally country, while revealing a Slavic touch.

“Blues de Basile” – Amédé Ardoin

Amédé Ardoin made some of the very first accordion records in Louisiana and is a common musical ancestor of all zydeco and Cajun accordion playing. His innovative, rhythmic, virtuosic accordion style and haunting vocals won him a great reputation both inside and outside his Afro-Creole community. He often played dances and made records with his close musical partner, Cajun fiddler Dennis McGee, including “Blues de Basile” in 1930. His life ended tragically when he was beaten by white vigilantes.

“Hard to Love Someone” – Clifton Chenier

Known as the King of the Bayous, Chenier brought together southwestern Louisiana zydeco rhythms and Delta blues. On this slow blues tune recorded in 1970, his fluid improvising and support of his own singing is nothing short of glorious. His brother Cleveland Chenier plays the rubboard.

“Bluegrass Special” – Bill Monroe (with Sally Ann Forrester)

Most people know that Bill Monroe defined the classic bluegrass sound. Some may not know that an early version of his band, The Blue Grass Boys, included a Blue Grass Girl, Wilene “Sally Ann” Forrester, on accordion. Her solid rhythm playing and all-too-short accordion break add warmth to this early instrumental, a 12-bar blues. If things had worked out just a little differently, maybe every bluegrass band today would include an accordion! (Hey, it’s not too late, folks.)

“Root, Hog or Die” – Mother Maybelle & The Carter Sisters (with Helen Carter)

Later in her life, Mother Maybelle Carter of the iconic Carter Family had a long performing career with her daughters. The group featured Helen Carter playing great accordion and often Chet Atkins on guitar. Here, too, the influence of swing and blues is readily apparent. “Root, hog, or die” is an old expression that means “you’re on your own.”

“Alon Kouri Laba” – Corey Ledet Zydeco

Corey Ledet, one of today’s most exciting zydeco accordionists, plays beautifully and sings in Louisiana Creole on this high-energy tune from his album Médikamen (2023).

“American Without Tears” – Elvis Costello (with Jo-El Sonnier)

Accordionist Jo-El Sonnier brings his sensitive touch and gorgeous Cajun waltz style to this song from Elvis Costello’s album King of America. (Rock producers and engineers, please take note: this is where an accordion should be in the mix – loud enough that it can breathe dynamically and find its place among the other instruments.)

“Shouting Song” – Will Holshouser

Here’s a tune from my new album, The Lone Wild Bird. I wrote “Shouting Song” with the sound of shape note singing in mind. This is a choral tradition in the rural U.S., mostly in the South, with a unique sound: shape note composers ignored (or just didn’t know about) many European harmonic rules which disallowed features like parallel fifths and chords with only two notes. Along with influences from various folk traditions and camp meeting spirituals, that stark approach to harmony gives the style its sound, which I use here as a point of departure.

“Un Mojado Sin Licensia” – Flaco Jimenez

The creative genius of the great Flaco Jimenez is on full display in this conjunto song about the hardships faced by a Mexican immigrant in Texas. His rhythmic drive, melodic inventiveness, and roller-coaster chromatic runs are thrilling to the ears.

“Streets of Bakersfield” – Dwight Yoakam (with Flaco Jimenez)

Here’s Flaco again, on a recording that went to the top of the country charts in 1988. This song was written by Homer Joy, first recorded by Buck Owens in 1972, and re-done here by Dwight Yoakam with both Buck and Flaco as guest stars.

“Spadella” – Spade Cooley (with Pedro DePaul)

Accordionist and arranger Larry “Pedro” DePaul grew up in Cleveland, Ohio, where he studied music at the Hungarian Conservatory. Spade Cooley, originally from Oklahoma, was a popular Western Swing bandleader in the LA area. There’s a grisly tale behind this tune: Cooley wrote it for his wife Ella, who he was convicted of murdering in 1961.

“Second Avenue Square Dance” – Dave Tarras with the Abe Ellstein Orchestra

Any discussion of the accordion in American roots music should include klezmer, Eastern European Jewish music that came to the U.S. and absorbed influences such as the drum kit, certain jazz band formats, etc. On this tune the great clarinetist Dave Tarras plays the lead, but the anonymous accordionist is heard prominently, playing beautiful fills and rhythm, harmonizing with the melody, and using rich chords to blend with the horns. Second Avenue in Manhattan was the epicenter of the Yiddish theater scene, which had a huge impact on Broadway. The title could be just a lark, or a nod to the musical kinship between klezmer and country music!

“Atlantic City” – The Band (with Garth Hudson)

Garth Hudson’s adventurous playing with The Band carved out a role for the accordion in that kind of rock music. (He also played the horizontal keyboards: organ, etc.) I had the thrill of meeting him when we both played on Martha Wainwright’s live Edith Piaf tribute album (Sans Fusils, Ni Souliers à Paris). Unfortunately, the producers had us playing on different tunes, not at the same time! On this cover of a Bruce Springsteen song, recorded in 1993, Garth creates a fantasy using multi-tracked layers of accordion and organ.


Photo Credit: Erika Kapin

MIXTAPE: Shoals Gold with Mike Farris

Playlists are the new Mixtape – and who doesn’t love a good Mixtape? With the release of my brand new album, The Sound of Muscle Shoals, recorded at legendary FAME Studios in Muscle Shoals, Alabama, I thought it would be cool to highlight not only a few of the most important – albeit ubiquitous – classic songs, but more importantly some of the rare gems from the legendary Muscle Shoals canon. For a nerd like me, to be able to have personal access to reach out to guys like Norbert Putnam and David Hood and ask, “Where was this recorded?” is a surreal and cherished thing. I had no idea that Leon Russell’s “Stranger in a Stranger Land” was recorded down there– just amazing.

For this list, I didn’t want to put just the usual suspects on it, but how could you do a Muscle Shoals playlist and not include the song that launched Aretha’s career, “I Never Loved a Man”? For me, everybody on this list is owed some more attention, but the big three that jump out to me that should be way more well known, in my opinion, are Candi Staton, George Jackson, and Arthur Conley. Enjoy! – Mike Farris

“You Left the Water Running” – Otis Redding

Written by the great Dan Penn along with Rick Hall and Oscar Franks. I believe this may be the only record the Big O recorded at FAME – Rick Hall had merely asked Otis to sing the demo for an upcoming Wilson Pickett session – as this predates Otis’ ascension the King of Soul. This is one of the many great songs Dan Penn had a hand in, by the way.

“I Never Loved a Man (The Way I Love You)” – Aretha Franklin

A must for any Shoals playlist. The song that launched the Queen of Soul!

“Stranger in a Strange Land” – Leon Russell

I actually had no idea “Stranger” was recorded with the Swamper crew. There was a lot of confusion online about this one, but in the sometimes surreal nature of the music business, I realized that I could just text the great David Hood and simply ask him about it, which is nice. And he did, in fact, confirm it was recorded at Muscle Shoals Sound.

“Mustang Sally” – Wilson Pickett

Another must-have. I always imagined being in the studio watching everyone’s expressions on their faces while WP sang. It had to have been unreal. Also, this groove is DEEEP!

“Ease On” – Mike Farris

I tried to demo this song a few times, but it never came close to what I was hearing. From the moment we stepped out on the floor with all the FAME guys in FAME Studios’ legendary Studio A, I knew this song was being delivered to the right guys. It’s everything I imagined it to be and then some…

“You Better Move On” – Arthur Alexander

Arthur Alexander gave Rick Hall and FAME Studios their first hit record with “You Better Move On” and he was just getting started.

“Heart on a String” – Candi Staton 

Candi is one of the greatest R&B singers, period. I could literally fill this playlist with all of the great Candi Staton songs.

“You Got a Lot to Like” – George Jackson

George Jackson was one of the most prolific and important writers in the Southern R&B and rock and roll world, make no mistake, but he was also a great artist in my opinion. This one highlights his great vocal ability.

“I’m Your Puppet” – James & Bobby Purify

A great song by the great Dan Penn and Spooner Oldham. In addition to being an all-around damn fine composition, “I’m Your Puppet” has to be one of the hardest hittin’ mid-tempo grooves of all time.

“When a Man Loves a Woman” – Percy Sledge

I once asked Spooner Oldham and the late Jimmie Johnson why they chose to use a Farfisa instead of a Hammond organ on “When a Man Loves a Woman.” I would actually throw these questions out knowing full well that it would spark a long, meandering, completely engaging conversation with them that could and would take you all over town and back before finally coming back around to what would typically be a simple answer. This question was no different. The answer, given by Jimmie and agreed upon by Spooner was, “We used the Farfisa because that was all we had.”

“I’ll Take You There” – The Staples Singers

Produced by Al Bell, possibly the biggest hit by The Staples features an iconic shoutout by Mavis to the legendary “Swamper,” David Hood, on bass. Jimbo Hart pays homage to his hero, David, on “Learning to Love,” from my new album, The Sound Of Muscle Shoals, which I am forever grateful for.

“Loves Me Like a Rock” – Paul Simon

One of my favorite songs growing up. I clearly remember hearing this song play over WCDT 1510-AM radio station in my hometown as a kid and being completely taken with the backing vocals of the great gospel group, The Dixie Hummingbirds.

“Sweet Soul Music” – Arthur Conley

Classic soul swing-dance groove with one of the most explosive and iconic horn intros of all time! Soon as they heard that intro in the control room, you just know that they knew they had a hit on their hands.

“I Worship the Ground You Walk On” – Jimmy Hughes

Jimmy Hughes at his best with a very underrated classic

“This Love of Mine” – Arthur Conley

Incredible number with an amazing arrangement by the one of the greatest soul singers of all time, Arthur Conley.

“Before There Was You & I” – Mike Farris

I had the verses and chorus when I showed up at FAME. What I didn’t have was the B section for the solo break and the outro, which the great Will McFarlane came up with. It made the song

“Lovin’ the Easy Way” – Candi Staton

This has to be one of the steamiest, sexiest songs ever.


Photo Credit: Ed Rodes

MIXTAPE: What’s In a Name? Thin Lear’s Moniker Mixtape

Upon relaying my artistic moniker to people, I’m usually met with one of two reactions: 1. “Oh, weird…that’s interesting” or 2. “Oh, weird… I don’t get it.” (I guess a third option would be, “Well, that’s stupid.”)

My process of finding a moniker came out of a desire for artistic freedom in my writing, as I felt constrained performing under my government name, the far less interesting sounding “Matt Longo.” Within a moniker, my writing (in my mind) could be uninhibited despite me being, you know, the same human.

Originally, I was thinking I’d go by “Tin Ear,” as I simply liked the sound of the way the words sat together, but I quickly discovered that was already a glam band from the ’70s. Then, around the time of my name hunt, I had a very strange dream wherein I sat on a subway car across from a gaunt, regal-looking king. I awoke with the words “Thin Lear” in my head, no doubt the result of my brain privately re-working “Tin Ear” and conveniently giving me a dream origin story to go along with it.

What a journey, I know. So, to celebrate the release of my new EP, A Shadow Waltzed Itself, I’ve put together a Mixtape of some of my favorite solo artist monikers, for various reasons, all paired with choice tracks. Enjoy. – Thin Lear

“Maybe I’m the Only One for Me” – Purple Mountains

A sad and beautiful song from a modern master, David Berman. The moniker is pitch perfect; it conveys majestic sadness, like so much of his art.

“Golden Wake” – Mutual Benefit

An underrated moniker for an underrated artist, Jordan Lee. It’s off Love’s Crushing Diamond, which is really one of the finest complete albums of the 2010s, with its homespun warmth.

“Come Down in Time” – Bedouine

The thoughtful moniker of Azniv Korkejian, whose music is equally as carefully considered. Her take on Elton John’s track from the classic Tumbleweed Connection really rivals the original and wraps the melody in an achingly delicate arrangement.

“Beauty of the Shifting Tide” – Thin Lear

Oh, hey, would you look at that? It’s me. How’d that get in there?

This tune is the closing song off the new EP, A Shadow Waltzed Itself, and also the most personal, unfortunately. I had been walking along the beach in a bad mood for seemingly no reason one day, so removed from my surroundings, watching my partner and daughter enjoy themselves ahead of me. I began to envision myself as this sullen entity that was just kind of trudging behind joy – and the uselessness of that role in a family. This isn’t a place I find myself in all the time, but it happens; I wrote the song later that night as I was so disgusted with my default settings. In the song, my narrator acknowledges his envy of the tide, how it can change on a dime with all its might and that his own will “breaks in half the time.”

It sums up my greatest fears in a few minutes and is my least favorite song I’ve ever written, as I depict myself in such harsh lighting, but it felt like I needed to put it out for that very reason.

“Tyrant Destroyed” – Twin Shadow

A cool, catchy moniker for an artist who makes cool, catchy music. And what an opening track this is off his debut album, Forget. It’s such a sure-footed, fully-realized artistic mission statement to kick off a career.

“Noon” – Twain

I really can’t express why the moniker of Mat Davidson is so perfect. Maybe it’s because the arrangements and vocals in his music are so careful and delicate that the whole thing feels like it could split in two at any moment.

“Honey” – Drugdealer & Weyes Blood

Two excellent monikers for the price of one. Michael Collins & Natalie Mering doing a pitch perfect ’70s pastiche.

“Hood” – Perfume Genius

Maybe the most brilliant moniker on the list, achieving a level of poeticism we can only all aspire to with our monikers. “Hood” is one of the best songs ever written that clocks in at under two minutes, delivering a devastating gut punch in no time at all.

“The Mermaid Parade” – Phosphorescent

Matthew Houck’s music does indeed sound like a radiant glow in the dark. A killer breakup song from 2010’s Here’s to Taking It Easy.

“Only Son of the Ladiesman” – Father John Misty

Well, you knew this one was coming. Truly a perfect moniker for Josh Tillman, as it conveys a mystical sleaze and it’s funny, mysterious, and inviting.


Photo Credit: Shervin Lainez

MIXTAPE: Strengeplukk’s Intro to Scandigrass

Since Strengeplukk (translation: “string plucking”) formed in Stavanger, Norway, in 2015, we have established ourselves as one of our country’s most dedicated bluegrass bands. For the last ten years, we’ve played hundreds of concerts spanning the entire latitude of our homeland, as well as several festivals around Europe. Known for combining differing bluegrass traditions with Norwegian lyrics in our diverse and distinct dialects, Strengeplukk consists of Andreas Barsnes Onarheim (mandolin), Jakob Folke Ossum (guitar), Mikael Jonassen (banjo), Nikolai Storevik (fiddle) and Vidar Starheimseter (bass). We are now based in Oslo, but Andreas still resides in Stavanger.

As an introduction to Scandinavian bluegrass, we have collectively gathered a playlist of Norwegian and Scandinavian bluegrass-adjacent music. The list is populated with some favourite music from our friends and colleagues on the scene, as well as some historic cuts from Norwegian bluegrass history. It also features some brand-new tracks from our newest album, Neste steg, which released on March 7! – Strengeplukk

“Aust-Vågøy” – Strengeplukk

This is one of the more progressive Strengeplukk tunes, featuring lyrics from a war poem written by Inger Hagerup in 1941. Musically, it’s a song that pays tribute to many of the present day bluegrass musicians and bands that influence us. It was composed by Andreas as a homage to his grandfather who fought in the resistance during WWII.

“Kjekt å ha” – Øystein Sunde

Inspired by the ’60s folk revival, Øystein Sunde was part of the first generation of bluegrass musicians in Norway – and started Norway’s first bluegrass band, Christiana Fusel & Blaagress in the late ’60s. For the ’80s song “Kjekt å ha,” well-known by all Norwegians, he went to Nashville to record with the best of the best session musicians at the time, including Béla Fleck, Mark O’Connor, and Jerry Douglas.

“Springar” – Earlybird Stringband

An early example of Norwegian folk music and bluegrass fusion, pioneered by our friends in the Earlybird Stringband.

“Havly” – Strengeplukk

For our fiddle player Nikolai’s graduation fiddle concert, we arranged his tunes inspired by a mix of Norwegian folk music traditions and bluegrass. The resulting arrangements turned into half of our 2020 album, Nyslått Gras. This song is based on one of the oldest forms of folk music in Norway, the folk music from Setesdalen.

“Gone With the Wind” – Dunderhead

Dunderhead is one of neighbouring Sweden’s best known bluegrass bands. This one is a real banger, sung by Angelina Lundh.

“Father’s Presence” – Lars Endrerud

Lars is mostly seen playing bass with various bands and artists, but also picks guitar, mandolin, and more like a pro. This beautiful instrumental is from his solo album, Mandouche, and features him playing his Norwegian-built Rian mandolin. Rune Thoen, who joins Lars, plays various other string instruments.

“Et hundredels sekund” – Strengeplukk

This one is about getting lost in your hobby. An amateur photographer wants to take a photo of him and his girlfriend, but he spends too long fumbling with the gear and the girl disappears.

“Oriental Hoedown” – Gammalgrass

Norway’s foremost multi-instrumentalist Stian Carstensen – known for his work with artists eclectically ranging from Jacob Collier and Michael Brecker to Mike Patton – spearheads the band Gammalgrass together with award-winning jazz fiddle player Ola Kvernberg.

“Creedence på kassett” – Ila Auto

With a four-figure number of concerts played and several Spellemannprisen (Norwegian GRAMMY) wins and nominations behind them, Ila Auto has for the past 20 years been the face of bluegrass bands featuring original songs with Norwegian lyrics. This is one of their hits.

“Legg han i bløyt” – Strengeplukk

On this uptempo song, we wanted to recreate a fast and fierce sound inspired by bands like Kentucky Thunder. The lyrics are about an angry housewife who grows tired of raising both her kids and her husband and ends up taking matters in her own hands.

“Fast Forward” – The Bluegrass Playboys

This band consists of present and former members of Øystein Sunde’s lineup. The tune is written by Dobro player Knut Hem.

“Bode’s Reel” – Open String Department

More good friends on the list. These guys are on the A-list of virtuosos in both bluegrass and jazz. Open String Department combines these genres in a smooth and tasty way. Their compositions are both complex and catchy, and their improvisations are creative and inspiring. They’ve always been someone to look up to.

“Caravelle” – Strengeplukk

Strengeplukk spent our early days touring the western parts of Norway in an old, red Volkswagen Caravelle. This song is about those days, those memories, and the fact that even though you’re on the road doing what you love, there’s no place like home.

“Annie on My Mind” – Happy Heartaches

Some of our best jamming has been together with these lovely Swedes, who we’ve run into at numerous bluegrass festivals over the years. Last year they released their debut album, A Place to Land, on CD only, but it will be available on streaming later this spring.

“Dry River” – Twang

The Danish trio Twang are kings of tasteful arrangements and their take on swing-inspired folk with a bluegrass-inspired instrumentation and beautiful vocal sounds.


Photo Credit: Nikolai Grasaasen

MIXTAPE: Denison Witmer and the Meaning of “Home”

What does “home” mean?

Answering this question became one of the main themes in my lyrics over the last several years – especially on my new album, Anything At All. After touring consistently for the first 15-20 years of my music career, I finally bought a house in South Philadelphia. Ten years later, my family and I relocated to my hometown, Lancaster, Pennsylvania. Before moving back to Lancaster, most of the places I lived felt kind of like a coat rack. Sure, most of my belongings were there, but I knew I’d be traveling again soon – things that felt centering or “home-like” to me existed outside of the confines of a space.

My current life is a lot different than that time. Now I am a husband, a dad of two young kids, a carpenter, and a part of my local community. I spend a lot of time trying to build a comfortable and consistent home life for myself and my family. My idea of what a home means is changing yet again. I’ve compiled a few songs that encompass the various meanings of “home” to me. – Denison Witmer

“Homesick” – Kings of Convenience

I think this is one of the best opening tracks on any album. The way the two guitars immediately start walking down the scale is captivating. My favorite lyrics are the last few: “A song for someone who needs somewhere to long for/ Homesick because I no longer know where home is…” It makes me think about the many days I’ve spent in headphones traveling in trains or tour vans, leaning my head against the window and listening to music that made me feel at home.

“Rene And Georgette Magritte With Their Dog After The War” (Original Acoustic Demo) – Paul Simon

I put this song on almost every mix I make. This is Paul Simon at his finest – just him and a guitar. In this story we follow Rene and Georgette Magritte as they reflect on the differences between their time in New York City and their lives in Europe during WWII. Ordinary moments like opening dresser drawers or window-shopping trigger memories of home.

 “Just A Song Before I Go” – Crosby, Stills, & Nash

Starting with a crash cymbal and leading right into a fuzzy guitar riff, this song has an instant warm vibe. I’ve always loved the way Graham Nash leans into writing about his life as a musician/songwriter. There’s a risk that it might not be relatable to a wider audience, yet he always finds a way to make the feeling universal. The lyrics “When the shows were over/ We had to get back home/ When we opened up the door/ I had to be alone…” connect deeply with me.

There were a lot of times on tour that I felt like I was turning into a ghost – passing through towns and people with no real sense of deeper connection or longevity. No real sense of home. Sometimes weeks would pass with mostly small talk and I would lose sight of who I was. Finally getting home, dropping my bags, closing a door behind me, and spending a week alone in silence was just what I needed to recoup.

“In Tall Buildings” (Live) – Gillian Welch

A lovely song written about returning to and centering your life around the things that really matter to you. I love the lyrics “When I’m retired/ My life is my own/ I made all the payments/ It’s time to go home/ And wonder what happened/ Betwixt and between/ When I went to work in tall buildings.” It’s a beautiful reflection on the things that we leave behind either knowingly or unknowingly when we get swept up in the paths our lives take. Gillian Welch’s vocal delivery is always beautiful. The way she can take any song and filter it through her own style with honesty and sincerity is incredible.

“A House With” – Denison Witmer

Yes, adding one of my own songs here. It fits with the theme. Mid-COVID lockdown, my wife and I got really into two things: birding and plants. We did everything we could to get birds to visit our yard. We did everything we could to green the outside and inside of our house. This led to hanging bird feeders all over the place and planting everything from shrubs to trees to lots (and I mean lots) of indoor plants.

This song started as kind of a joke. I often walk around my house playing a small classical guitar and making up goofy songs to make my wife and kids laugh. This song started that way — I was watching the birds on our feeder and naming them as I saw them, then I went from room to room naming the plants we have in our window sills. I recorded an iPhone voice memo and forgot about it. I’m not sure what motivated me to share it with Sufjan (who produced my new album and this track), but I think it was because I knew he is a fan of concrete nouns and words that are interesting phonetically. He ended up choosing this from the batch of demos I presented to him. I am glad he did, because it’s one of my favorite songs on the album.

Sufjan didn’t like the original lyrics of the last verse… I remember him saying, “In the first two verses you are telling us what you are doing and how it fills your heart, but you never tell us why. You should try to answer that question for yourself.” I rewrote the ending and it was at that moment that things clicked into place for me.

“Take Me Home, Country Roads” – John Denver

You can’t really go wrong with the earnest nature of John Denver. I love the lilting quality of this song – lyrics about longing juxtaposed against the happy upbeat sound. It’s a love song to a place. I have a lot of respect for John Denver, because he was always unapologetically himself. He talked about how he wanted to not just entertain people, but also touch them. I think he understood the magic of music and connection. Listening to John Denver also makes me think about my dad because he was his favorite musician.


Photo Credit: Lindsay Elliott

MIXTAPE: Max McNown’s Northwestern Woods Adventure

(Editor’s Note: Indie-folk singer-songwriter Max McNown released his anticipated new album, Night Diving, on January 24. Only 23 years old, McNown is a bit of a social media sensation, his energetic and passionate songs having already garnered millions of streams, fans, and listeners. To celebrate Night Diving, he has curated a Mixtape for BGS that pays tribute to the beautiful natural locales of his Oregon and Pacific Northwest homelands. Enjoy a playlist adventure into the Northwestern Woods with Max McNown.)

These are the songs that inspired me to go on late night drives to the Oregon coast with the windows down, feeling the breeze funnel across my face while I sing every word at the top of my lungs. – Max McNown

“The Stable Song” – Gregory Alan Isakov

I first heard this in the movie The Peanut Butter Falcon. The song, coupled with the adventurous feel to the movie, makes it one of my favorite camping songs.

“By and By” – Caamp

Due to similar vocal tone, this song is one I feel confident belting with the volume high on a late night drive.

“Vagabond” – Caamp

The folky nature of this song fits perfectly with the Mount Hood National Forest scenery.

“Flowers In Your Hair” – The Lumineers

When I discovered this song, I had just found a path I could drive down to reach the coast, directly onto the sand. This song will forever remind me of the sunset that evening.

“Big Black Car” – Gregory Alan Isakov

I play this song on repeat when hiking on the Columbia River Gorge.

“Angela” – The Lumineers

This is one of the first songs I’ve ever tired learning on the guitar & will always remind me of my parents’ place in Oregon.

“Amsterdam” – Gregory Alan Isakov

One of the many songs by Gregory Alan Isakov that makes me feel like I’m in the Northwestern woods when I feel homesick.

“Late to the Fire” – Sam Burchfield

Sam Burchfield, in my opinion, is one of the most underrated artists on the scene. There aren’t many other songs filled with as much nostalgia for my younger years than this one.

“Forever” – Noah Kahan

“Forever” is the most influential song in my songwriting journey. Noah’s folkiness and Northeastern upbringing fits the theme well.

“Northern Attitude” – Noah Kahan

I’ve experienced the northern attitude on the other side of the country, and found this song to be very relatable to me and inspirational.


Photo Credit: Benjamin Edwards