Tag: Mountain Home Music Company

You Gotta Hear This: New Music From Lonesome River Band, Lily Talmers, and More

Posted on by Justin Hiltner

Where did the first month of 2025 go!? Wherever it went, we’ve got an excellent batch of premieres for your final New Music Friday of January.

Below, check out brand new music and performance videos like Amanda Bjorn’s “Until We Become Earth,” a song about searching for yourself set to a gorgeously warm and retro video shot on film. Pitney Meyer (a duo of longtime country and bluegrass pals, John Meyer and Mo Pitney) bring a live performance of their new single, “Bear Creek Clay,” as well.

Bluegrass mainstays Lonesome River Band bring back a Jimmy Yeary song that Sammy Shelor turned into a classic, “I’m On To You,” with the full LRB on this new rendition. Plus, Dave Murphy calls on Mark Erelli for his new number, “Planet of Pain II,”  a sequel to the original “Planet of Pain” from his 1998 album, Under the Lights.

Elsewhere, don’t miss Joshua Finsel’s “Before the Snow,” about through hiking the Appalachian Trail and cresting Mount Katahdin in Maine before wintertime hits. And, Lily Talmers celebrates release day for her new album, It’s Cyclical, Missing You, by bringing us that project’s lush and deep folky title track.

It’s all right here on BGS – we’ve said it before, we’ll say it again: You Gotta Hear This!

Amanda Bjorn, “Until We Become Earth”

Artist: Amanda Bjorn
Hometown: Los Angeles, California and Spain
Song: “Until We Become Earth”
Album: That Kind of Woman
Release Date: January 24, 2025 (single)

In Their Words: “‘Until We Become Earth’ is the first single off my upcoming debut album, That Kind of Woman, which is set to release in April 2025. A blend of blues and folk with a bit of Americana, the new album reads like a diary touching on major changes in my life – balancing motherhood with artistry, finding and losing myself within relationships, postpartum mental health, and the transformation that happens from living abroad and returning home.

“The song was written in a School of Song workshop with one of my favorite songwriters, Adrianne Lenker, exactly one year ago. Without ruining it, the song is about that search for self-identity within a relationship, the vulnerability of building your own voice, and the risk it takes to keep expanding.

“With the help of my old friend, producer Aaron Stern, I recorded the album this past summer in Los Angeles at Verdugo Sound. With the help of some very talented musicians, we performed live together in the same room for most of the album, our aim was to capture the magic of improvisation and the authentic energy that arises from truly listening and connecting, free from a click track.” – Amanda Bjorn

Track Credits:
Phillip Krohnengold – Guitar, keys
Michael Villiers – Drums
Aaron Stern – Bass
Amanda Bjorn – Vocals
Adam Ayan – Mastering
Aaron Stern – Producer

Video Credits: Filmed by Giacomo Gex; color by Ruben Sogomonian; film processed by Kafard Films, Paris, France.
Starring Amanda Bjorn and Brando Wild.

Joshua Finsel, “Before the Snow”

Artist: Joshua Finsel
Hometown: Jim Thorpe, Pennsylvania
Song: “Before the Snow”
Album: No Honey
Release Date: February 6, 2024

In Their Words: “‘Before The Snow’ is a song about an Appalachian Trail through-hiker whose river meditation is interrupted by a daydream. Mount Katahdin in Baxter State Park in Maine is the northern end of the trail, and a hiker must get there ‘before the snow’ in order to be allowed to finish the journey.

“The lyrics are autobiographical. I teamed up with the famed string trio Bizarre Star Strings (Brandi Carlile, Madison Cunningham, The Shins) for the lush, theatrical river-like passages. Award winning fiddle player Katelynn Casper and mandolinist Quentin Fisher of Serene Green added to the arrangements. Finally, David Bowie producer and bass player Mark Plati mixed the record and played fretless bass.” – Joshua Finsel

Lonesome River Band, “I’m On To You”

Artist: Lonesome River Band
Hometown: Floyd, Virginia
Song: “I’m On To You”
Release Date: January 31, 2025
Label: Mountain Home Music Company

In Their Words: “‘I’m On To You’ is a song written by my friend Jimmy Yeary, who has become one of the most in-demand writers in Nashville. I recorded this song back in 1997 and it was the first song Jimmy had featured on an album. The album is long out of print, but this song kept making its way into sound checks and the show every now and then. It has that ’80s country vibe that we felt would lend itself to the sound we are doing for this upcoming album. We hope you like this version!” – Sammy Shelor

Track Credits:
Sammy Shelor – Banjo, vocal
Jesse Smathers – Acoustic guitar, lead vocals
Mike Hartgrove – Fiddle
Adam Miller – Mandolin, vocals
Kameron Keller – Upright bass

Dave Murphy, “Planet of Pain II” (Featuring Mark Erelli)

Artist: Dave Murphy
Hometown: Madison, New Jersey
Song: “Planet of Pain II” featuring Mark Erelli
Album: A Heart So Rare
Release Date: January 31, 2025

In Their Words: “The song is a rumination on the fragility of life, disappointment, lessons learned, and carrying on. This theme is illustrated in my lyrics, ‘Ashes to ashes, dust to dust/ Sometimes it feels like it’s all just too much/ When something is lost (they say) something is gained/ Still finding my way on this planet of pain.’ The original ‘Planet of Pain‘ appeared on my first album, Under the Lights. It was just one voice, one acoustic, and a lap steel. Part II borrows some lyrics, but elevates the song to a different level with the support of Chris Tarrow’s mysterious pedal steel playing, Shawn Pelton’s percussion, and Mark Erelli’s haunting vocals.” – Dave Murphy

Track Credits:
Dave Murphy – Vocals, acoustic guitar
Shawn Pelton – Drums
Chris Tarrow – Electric guitar, pedal steel
Richard Hammond – Bass
Mark Erelli – Backing vocals

Pitney Meyer, “Bear Creek Clay”

Artist: Pitney Meyer
Hometown: Nashville, Tennessee
Song: “Bear Creek Clay”
Album: Cherokee Pioneer
Release Date: January 10, 2025 (single); April 18, 2025 (album)
Label: Curb Records

In Their Words: “‘Bear Creek Clay’ is a song brought to the group by Danielle Yother from North Carolina. It’s a snapshot of a pioneering Daniel Boone-type of character, blazing a trail to a home in the mountains. ‘Bear Creek Clay’ was the title we settled on, which in the moment I figured was something we would come back and edit later, but come to find out, there are creeks and rivers by that name all over Tennessee, Kentucky, and Missouri. Driving through Bon Aqua, Tennessee, I noticed on the map I was nearing a Bear Creek. This was just a few miles from the log cabin where we would be recording. When we cut the song to tape a few days later, I knew we had to drive down to the creek first. The water was brown and rushing fast, swollen from the rains the night before. We made it back to the cabin a bit soaked but ready to step in and sing this song that seemed to be coming to life in the landscape around us.” – John Meyer

Track Credits:
Mo Pitney – Guitar
John Meyer – Banjo
Nate Burie – Mandolin
Blake Pitney – Bass
Jenee Fleenor – Fiddle

Lily Talmers, “It’s Cyclical, Missing You”

Artist: Lily Talmers
Hometown: Birmingham, Michigan and Brooklyn, New York
Song: “It Is Cyclical, Missing You”
Album: It Is Cyclical, Missing You
Release Date: January 30, 2025

In Their Words: “This song is sort of meant to mirror the experience of running up and down a hill, continuously. It was born of witnessing two brothers arguing in a parking lot– the younger, around five years old, was sobbing trying to get his older brother’s attention. The older brother, around age seven, clearly had the awareness that ignoring someone only makes them more desperate for your attention, and wouldn’t look his brother in the eye. The whole record is sort of a big statement of what it means to be in both of these positions, cyclically. I am both the desperate, reaching brother, and the power-hungry, indignant brother who hasn’t learned the responsibility of loving other people.” – Lily Talmers

Track Credits:
Lily Talmers – Vocals, acoustic guitar, music, lyrics
Raffi Boden – Cello
Konstantinos Revelas – Bouzouki
Alec Spiegelman – Clarinet, bass clarinet, flute
David Ward – Drums, percussion

Photo Credit: Lonesome River Band by Sandlin Gaither; Lily Talmers by Bailey Lecat.

You Gotta Hear This: New Music From Seldom Scene, Swearingen & Kelli, and More

Posted on by Justin Hiltner

You’ve reached the end of the week! For a little treat, how about a few brand new songs and music videos? You Gotta Hear This!

If you’re looking for bluegrass, we’ve certainly got it this week– Chris Jones & The Night Drivers share their first recording of a Tom T. Hall original, “Mama Bake a Pie (Daddy Kill a Chicken),” since their dear friend and Bluegrass Hall of Famer passed away a few years ago. Plus, bluegrass legends Seldom Scene preview their upcoming album, Remains to Be Scene, with a new single, “Last of the Steam-Powered Trains.” And, wrapping up our bluegrass trifecta, banjo player Max Wareham pays tribute to NHL team the Boston Bruins with an excellent shredding instrumental tune, “The Black & Gold.”

From elsewhere across the roots music landscape, duo Swearingen & Kelli offer “Break Me Down,” a powerful acoustic number with plenty of grit, slide guitar, and blues influence. Plus, don’t miss Justin Wells’ new music video for “Sad, Tomorrow,” a contemplative slow burn of a song that focuses on mental health, melancholy, and forging ahead.

It’s a lovely collection of new roots music to take you into the weekend, and you know what we think – You Gotta Hear This!

Chris Jones & the Night Drivers, “Mama Bake a Pie (Daddy Kill a Chicken)”

Artist: Chris Jones & The Night Drivers
Hometown: Nashville, Tennessee
Song: “Mama Bake a Pie (Daddy Kill a Chicken)”
Release Date: January 17, 2025
Label: Mountain Home Music Company

In Their Words: “This is an old and lesser-known Vietnam War-era song of Tom T. Hall’s and the first song of his I’ve recorded since his passing a few years ago. I think I didn’t feel ready to until now. He had a unique ability to incorporate bits of humor into a sad story, and this is definitely one of those. This song is vivid and poignant in a way that is vintage Tom T. I was going to record this several years ago, but when I brought it up to Tom T. and Dixie, they wrote ‘Hero in Harlan’ that very day to give me something new to do instead.” – Chris Jones

Seldom Scene, “Last of the Steam-Powered Trains”

Artist: The Seldom Scene
Hometown: Bethesda, Maryland
Song: “Last of the Steam-Powered Train”
Album: Remains to Be Scene
Release Date: January 14, 2025 (single); March 14, 2025 (album)
Label: Smithsonian Folkways

In Their Words: “This song was written by Ray Douglas Davies and recorded by the rock group The Kinks in the 1960s. The Scene has always looked outside the box for material, and we thought this one fit the bill.” – Lou Reid

Swearingen & Kelli, “Break Me Down”

Artist: Swearingen & Kelli
Hometown: Nashville, Tennessee
Song: “Break Me Down”
Release Date: January 24, 2025
Label: Gone Rogue Music

In Their Words: “I wrote this song a few years back, but it never really got its due. I was also really obsessed with slide guitar at that time. It’s a little gritty, and when Jayne added her vocals on top, I thought, ‘Ok, this is exactly what this song needs.’ I love the discovery process of writing and recording. Sometimes it takes a while to find the exact combination of sounds with an arrangement to tell the story the way you really want to.” – AJ Swearingen

Track Credits:
AJ Swearingen – Guitars, drums, percussion, bass, vocals
Jayne Kelli – Vocals, organ

Max Wareham, “The Black & Gold”

Artist: Max Wareham
Hometown: Boston, Massachusetts
Song: “The Black & Gold”
Album: DAGGOMIT!
Release Date: January 17, 2025 (single); February 21, 2025 (album)

In Their Words: “Sports and music might have more in common than we think – this tune is a tribute to the Boston Bruins’ legendary ’22-’23 season, during which they broke most NHL records. Musically, the A part was inspired by Bill Emerson and the B part is a nod to the style of banjo legend, Rudy Lyle.” – Max Wareham

Track Credits:
Max Wareham – Banjo
Laura Orshaw – Fiddle
Chris Henry – Mandolin
Chris Eldridge – Guitar
Mike Bub – Bass
Larry Atamanuik – Snare

Justin Wells, “Sad, Tomorrow”

Artist: Justin Wells
Hometown: Lexington, Kentucky
Song: “Sad, Tomorrow”
Album: Cynthiana
Release Date: January 15, 2025 (single); February 20, 2025 (album)

In Their Words: “The title of the song comes from a story Nicole Kidman told Marc Maron on Maron’s podcast, WTF. Kidman talked about how she often took her characters home with her, acting in front of a mirror. Her young child had grown accustomed to seeing and hearing her mother work on these roles. A day or so after Kidman’s father died, she was grieving at home, and her kid heard this. Her kid asked ‘Mom, why are you crying?’

“‘Well, I’m crying because I’m sad, because Papaw died.’

“Her child, accustomed to seeing her Mom go in and out of emotions while working on her acting, replied, ‘Well, are you gonna be sad tomorrow?’

“I wanted to write this song about that feeling of helplessness you have when a friend is struggling with depression, when the only thing you can do sometimes is just be there. I ended up asking my dear friend Adam Lee to help me finish it, which was considerably apropos, because we’d both been each other’s therapist through lockdown, when we were kinda losing our minds. Considering all of the above, the song carries an even bigger weight because it’s one of the last songs that my friend Robby Cosenza played on before he passed. Robby was a Lexington icon, playing on hundreds of albums including a Ringo Starr record as well as my debut album, Dawn in the Distance, and he was instrumental in helping me get my legs under me when I started my solo career.” – Justin Wells

Photo Credit: Seldom Scene by Jeromie Stephens; Swearingen & Kelli by Daniel Shippy.

You Gotta Hear This: New Music From Sister Sadie, Golden Shoals, and More

Posted on by Justin Hiltner

As usual, it’s Friday and we’ve got a handful of videos and tracks you gotta hear this week!

Kicking us off, bluegrass and old-time duo Golden Shoals offer their fresh, topical take on a classic from the American songbook with “New White House Blues.” Then, singer-songwriter Heather Maloney brings us along through a “Labyrinth in the Weeds,” a nostalgic track about the circuitous, non-linear quality of grief and loss.

GRAMMY-nominated bluegrass supergroup Sister Sadie return to the round-up with a new single, “If I Don’t Have You,” a Dani Flowers-penned love song that’s as good as love songs get – because it keeps it simple. To wrap up this edition, Evan Westfall (who you may know from CAAMP), debuts a fascinating and ethereal instrumental, “SISDM,” that’s timeless and modern all at once.

They’re all right here, on BGS, and you know what we think– You Gotta Hear This!

Golden Shoals, “New White House Blues”

Artist: Golden Shoals
Hometown: Nashville, Tennessee / Vancouver, British Columbia
Song: “New White House Blues”
Album: The Dream and the Hunger
Release Date: January 17, 2025 (single)

In Their Words: “At the center of a Venn diagram featuring history, politics, and bluegrass music is a special kind of nerd. ‘White House Blues’ has always been a favorite of mine and I wanted to dive deeper into the story behind the McKinley assassination. The culprit, Leon Czgolsz (who is unnamed in ‘White House Blues’), was disillusioned by the inequity of the Gilded Age, and felt his actions would usher in a revolution for the working class. He truly was the Luigi Mangione of his day. The consequent presidency of Teddy Roosevelt looks like a win for the common man, but that idea is a house of cards. The motives of these assassins resonate with me, but these moments highlight this fact: without collective action, true and lasting change will never come. Through this 10-verse murder ballad, we pay tribute to Charlie Poole’s initial recording of ‘White House Blues’ by gradually speeding up, which builds tension and atmosphere.” – Mark Kilianski

Heather Maloney, “Labyrinth in the Weeds”

Artist: Heather Maloney
Hometown: Northampton, Massachusetts
Song: “Labyrinth in the Weeds”
Album: Exploding Star
Release Date: January 31, 2025
Label: Signature Sounds

In Their Words: “This song is an ode to one of my earliest and most favorite memories at my childhood home, which was at the edge of the Appalachians in northwest New Jersey. My dad would let the grass in the field grow until late summer. When it came time to mow, he didn’t cut it down all at once– he’d weave through on the John Deere, making a sort-of maze for us kids and we’d follow behind.

“I remember how it felt so viscerally; the smell of the grass, the crunch under my feet, and especially the giddy feeling of losing sight of him when he rounded a new corner. After he died this actually came to mind. I had a sense that my dad, who was always making a game out of things, had just rounded another kind of new corner I couldn’t yet see past. It was a comforting thought and the inspiration for the song.” – Heather Maloney

Sister Sadie, “If I Don’t Have You”

Artist: Sister Sadie
Hometown: Nashville, Tennessee
Song: “If I Don’t Have You”
Release Date: January 10, 2025
Label: Mountain Home Music Company

In Their Words: “I don’t write too many love songs. Most of the songs in my catalog are admittedly pretty depressing. But ‘If I Don’t Have You’ is just that – a love song about loving someone so much that everything you’ve ever wanted or hoped to accomplish now pales in comparison to the need you have to be with that person.” – Dani Flowers

“Dani Flowers came to me with this sweet melody and the first two lines of this song. We finished it that day. This is my favorite kind of love song; simple melody and simple lyrics. It doesn’t get much better than Dani’s angelic voice singing about how going through life and experiencing the most amazing things wouldn’t mean half as much ‘If I Don’t Have You.'” – Deanie Richardson

Track Credits:
Dave Racine – drums
Deanie Richardson – fiddle
Gena Britt – banjo
Mary Meyer – mandolin, piano
Maddie Dalton – Upright bass
Seth Taylor – Acoustic guitar, electric guitar
Dani Flowers – Lead vocals
Jaelee Roberts – Harmony vocal

Evan Westfall, “SISDM”

Artist: Evan Westfall
Hometown: Columbus, Ohio
Song: “SISDM”
Album: Is This Our Exit?
Release Date: January 8, 2024 (single); January 24, 2024 (album)
Label: Super Sport Records

In Their Words: “This song came together by accident after I started tuning my guitar with no direction and stumbled into the tuning of EBEF#BD#. This song title is a reference to an essay by the Columbus-based poet Hanif Abdurraqib about the transition from summer to fall. You can really feel that shift in seasons here in Ohio, the excitement that comes with the fresh start of something like a new school year or football season, even though that season ends up in bare trees and cold grey skies. It’s a hopeful melody, but overly dramatic.” – Evan Westfall

Track Credits:
Evan Westfall – Guitars, banjo, drums
Dan Alvarez – Guitars, banjo, bass, drums
Jordan Dunn-Pilz – Guitars, drums

Photo Credit: Golden Shoals by Mike Dunn USA; Sister Sadie by Allister Ann.

An All-Star Lineup Salutes Folk Legend Tom Paxton On ‘Bluegrass Sings Paxton’

Posted on by Justin Hiltner

There is no disputing that Tom Paxton is a living music legend. In the early 1960s, he was a major player in the vibrant Greenwich Village folk scene, along with the likes of Bob Dylan, Phil Ochs, and Peter, Paul & Mary. The writer of such classic tunes as “Last Thing On My Mind,” “Bottle Of Wine,” “I Can’t Help To Wonder (Where I’m Bound),” and “Ramblin’ Boy,” Paxton has earned Lifetime Achievement Awards from the GRAMMYs, ASCAP, and the BBC. The beloved songwriter has had his tunes covered by a wide spectrum of acts, ranging from Harry Belafonte and Neil Diamond to the Pogues and Norah Jones. While several fellow singer-songwriters (notably Carolyn Hester and Anne Hills) have devoted entire albums to Paxton music, it took a group of admiring bluegrass musicians to deliver the first multi-artist tribute album of his songs.

Bluegrass Sings Paxton, which came out August 30 on Mountain Home Music Company, offers an impressive lineup of contributors that cuts across several generations of bluegrass musicians. Performers include celebrated acts, such as Alice Gerrard, Claire Lynch, Laurie Lewis, and Tim O’Brien along with younger stars, like Sister Sadie, Della Mae, Steep Canyon Rangers’ singer/guitarist Aaron Burdett, Unspoken Tradition’s Sav Sankaran, and current IBMA Male Vocalist of the Year Greg Blake.

Paxton, speaking to BGS from his home in Virginia, said that he had a mostly hands-off role in the making of Bluegrass Sings Paxton. “I just sat on the sidelines in amazement”; however, he confided, “I was just blown away” after listening to the entire album for the first time. The 86-year-old singer-songwriter was also being a little modest about his own contributions. This collection contains two new Paxton tunes, and he sings on a pair of tracks as well.

The genesis for Bluegrass Sings Paxton started with a conversation that GRAMMY-winning musician/producer Cathy Fink had some years ago with Paxton, who she has worked with since the early 1980s and has known even longer. “I know Tom’s catalog really well and have often thought there was great material there for bluegrass,” she shared with BGS. “I could hear this album before we even began.” The idea further evolved a while later when Fink brought up the idea to award-winning songwriter, producer, and Mountain Home executive Jon Weisberger at IBMA a few years back, and he immediately came aboard.

Several of Paxton’s tunes have been very popular in bluegrass circles over the years. A half century ago, Kentucky Mountain Boys covered “Ramblin Boy” while the Dillards and the Kentucky Colonels were among those who have recorded “The Last Thing On My Mind.” More recently, “I Can’t Help But Wonder (Where I’m Bound)” was a hit for Ashby Frank and “Leavin’ London” is a live staple of Billy Strings’ concerts. However, both Fink and Weisberger thought the project was a terrific way to get Paxton’s deep songbook better known in the bluegrass world. As Weisberger explained, “I had no doubt that there were more [songs] – both already written and yet to be written – that would work well within bluegrass, and that bringing them to light would encourage artists looking for songs to look to his catalog.”

Several acts came into the project with specific songs that they wanted to do. Blake, who fatefully was sitting at the same table with Weisberger and Fink at IBMA, quickly put dibs on “Leaving London.” Danny Paisley, who remembered his dad, ’80s bluegrass star Bob Paisley, taking him to the Philadelphia Folk Festival as a child and seeing Paxton play there, requested “Ramblin’ Boy,” because it was a song his father had performed. “I Can’t Help But Wonder (Where I’m Bound)” was already part of Della Mae’s live repertoire, so doing that tune was a natural fit for them.

When it came to what songs other acts took on, Fink gave the performers a lot of free rein to delve into Paxton’s vast treasury of tunes, a decision that worked out wonderfully. “Each artist made the song their own and it really worked,” she confided. Claire Lynch chose “I Give You The Morning” and Alice Gerrard selected “The Things I Notice Now” from Paxton’s 1969 The Things I Notice Now album. Chris Jones picked “The Last Hobo” from 1986’s And Loving You. Paxton’s 2002 album, Lookin’ for The Moon, was the source for both Aaron Burdett’s selection of and Sav Sankaran’s rendition of the title track. Laurie Lewis, meanwhile, found “Central Square” from 2015’s Redemption Road. In case you haven’t done the math, these songs alone cover nearly 50 years of Paxton’s recordings.

Paxton, too, was thrilled with the selections, proclaiming “I liked every one of the songs that they chose.” While he expected tunes like “Can’t Help But Wonder,” “Ramblin’ Boy,” and “The Last Thing On My Mind” would be part of the set, Paxton said he “was just tickled to death” over the inclusion of such lesser known numbers as “Central Square,” “The Same River Twice,” and “The Last Hobo.”

Chris Jones revealed to BGS that he picked “The Last Hobo” because the tune “felt like a classic Tom Paxton third-person story song, sort of in the spirit of ‘Ramblin’ Boy,’ in a way. It has a kind of tenderness that is so often present in Tom’s songs.”

Jones was also a member of the de facto “house band” that played on the majority of Bluegrass Sings Paxton’s tracks. A secret weapon behind the album, this team of bluegrass all-stars includes IBMA award-winners banjo player Kristin Scott Benson (the Grascals), fiddler Deanie Richardson (Sister Sadie), and Jones on guitar, along with mandolinist Darren Nicholson (formerly of Balsam Range), bassist Nelson Williams (Chris Jones & the Night Drivers, New Dangerfield) and harmony singers Travis Book (The Infamous Stringdusters) and Wendy Hickman.

Jones felt that everyone “clicked well together” and gave the music “a natural sound, which helped give the impression that these were bluegrass songs to begin with, even if they weren’t.” He also credited producers Weisberger and Fink for “coming up with arrangements that really fostered that feeling, too.”

Bluegrass Sings Paxton opens with one of the tunes that Paxton sings on. He was able to join Della Mae on “I Can’t Help But Wonder (Where I’m Bound)” as the band was recording in Maryland, not too far away from Paxton’s home base in Virginia.

“We did it live in the studio. No overdubs or anything,” he revealed. “I had a ball doing that track with them.” Paxton also sang with long-time collaborators Cathy Fink & Marcy Marxer – the three did a double album, All New, together in 2022 – on the up-tempo love tune, “All I Want,” which is also one of the two of new Paxton tunes on the project. The other new number, “You Took Me In” is a co-write with Tim O’Brien and his wife Jan Fabricius. One of the first tunes he wrote with the couple, Paxton said that “it had to be chosen. It’s such a good song.” He described it as “gospel without being gospel,” adding, “I took the literal gospel out of it and kept everything else.”

Fink & Marxer and O’Brien & Fabricius are among the handful of musicians that the still highly-active octogenarian collaborates with via Zoom each week. Folk luminary John McCutcheon, Colorado troubadour Jackson Emmer, and the rising Pittsburgh band Buffalo Rose are also among his regular online songwriting coterie. Paxton says he sometimes writes three to five songs a week. “Lots of folks would retire to the golf course at this point in their lives,” Fink marveled, “but Tom is driven by writing the next song.”

Over the years, Paxton has penned hundreds and hundreds of songs, and more than 60 albums bear his name, beginning with 1962’s I’m the Man That Built the Bridges that was recorded live at New York City’s fabled Gaslight Club. Even from the start, Paxton filled his records predominately with originals, which wasn’t typical at that time. Dylan’s 1962 debut, for example, contained only two originals. Dave Van Ronk, in fact, famously proclaimed in his memoir that it was Paxton who kicked off the folk scene’s “New Song Movement,” not Dylan as often credited.

The best-known songs from his debut, somewhat curiously, are three tunes that might best be described as children’s music: “My Dog Is Bigger Than Your Dog,” “Marvelous Toys,” and “Going To The Zoo.” Writing and performing kids songs was not an isolated occurrence for Paxton, who went on to release several children’s albums, including the GRAMMY-nominated Your Shoes, My Shoes, and to write books for kids. Paxton very much sees himself as continuing the legacy of his heroes, Woody Guthrie, Pete Seeger, and The Weavers – artists who performed all types of songs, from story songs and ballads to children’s tunes and political songs.

“Everything I do is really rooted in traditional music,” Paxton elaborated during his phone interview. “I’m always going back to that well of traditional folk music, Appalachian music, cowboy music. It’s a wonderful tradition – great, great songs, and I just keep trying to write songs that feel the way they felt.”

Paxton cites one specific musician – the late, great Doc Watson – to explains his “best route” to bluegrass music. He saw Watson when Ralph Rinzler first brought him to play in New York City and came away so impressed. “I was very fond of him and adored his music. I think he liked me, too. Doc recorded many of my songs over the years.” He also remembered sharing a bill with Watson once in Tampa and being brought out on stage to perform “Bottle Of Wine.” Paxton was rather intimidated over Watson’s and his guitarist Jack Lawrence’s virtuosity. “Why do I feel like I’m wearing painter’s gloves,” he recalled saying while admitting “it was a lot of fun.”

Weisberger describes Paxton’s place in American music as a unique one. “He was an integral part of the transition from wholly traditional folk music to the more modern conception of the field, with its inclusion of performing songwriters, but where a lot of his contemporaries moved on in one way or another, he went deep rather than broad… I think that’s what makes so many of his songs sound so natural and organic and almost effortless. That is an artistry that is really easy to overlook or under-appreciate, so I’m happy to have put together a collection that will, I hope, bring more attention and appreciation to that still ongoing legacy.”

When asked how his songwriting has changed over the years, Paxton replied that he hopes it’s deeper and more developed, adding rather humbly that “I’m still the same writer I was when I wrote ‘Last Thing On My Mind.’ It’s like a farmer who puts in the same crop every year. It’s the same farmer.”

Photo courtesy of Fleming Artists. Album cover courtesy of Crossroads Label Group.

Tray Wellington’s ‘Detour To The Moon’ is Out of This World Bluegrass

Posted on by Justin Hiltner

On his 2022 album Black Banjo, Tray Wellington thwarted stereotypes and pushed the boundaries of what bluegrass music can be. On his new EP, Detour To The Moon, he picks up right where he left off, weaving in jazz, hip-hop, country, and more into his trailblazing banjo bangers.

The meshing of influences on the seven-song project serves as a segue between full-length records; the EP is the first of a planned conceptual series showcasing the picker’s sonic and personal evolution.

“I want to keep pushing myself and growing until I’m at my max potential, and I don’t feel like I’m anywhere close to reaching that yet,” Wellington tells BGS of the project’s concept. “So if we’re talking in terms of the universe, I want to get way past the moon, because we’ve already been there and because my influences are constantly evolving and I want to be able to reflect on all of it.”

Although he’s most proficient on banjo now, Wellington’s musical development began years prior on the guitar – until he stumbled upon Doc Watson’s music while browsing his grandfather’s record collection. By middle school, the Western North Carolina native had joined a mountain music club that traveled to local communities playing traditional bluegrass music. Eventually one of his teachers, Josh Church, introduced him to the banjo and he never looked back.

“I’d never heard him play banjo to that point, but he pulled it out that day and started playing ‘Salt Creek,’” Wellington recalls. “I was instantly hooked by its sound and fell in love. From there he taught me a song or two, leading me to beg my mom for a banjo over the summer before starting ninth grade.”

Since taking to the banjo Wellington has grown to be one of it’s most promising young pickers, most notably winning the International Bluegrass Music Association’s 2019 Momentum Award for Instrumentalist of the Year, graduating from East Tennessee State University’s Bluegrass, Old-Time and Roots Music Studies program, and helping to form New Dangerfield — a Black roots supergroup also comprised of vocalist/multi-instrumentalist Kaia Kater, bassist Nelson Williams, and fiddler/vocalist Jake Blount.

That promise shines bright throughout Detour To The Moon, which sees an equal mix of him creating his own instrumental soundscapes as well as taking other’s songs, like Duke Ellington’s “Caravan,” “John Hiatt’s “Lift Up Every Stone,” and Kid Cudi’s “Pursuit Of Happiness,” and making them entirely his own.

In particular, Wellington says that Cudi’s certified diamond hit, first released in 2009, was one that he had to record upon first hearing it in 2023, due to its message of drug abuse and escapism that he resonated with deeply.

“That, and witnessing the profoundly positive impact it had on others of lifting them out of the dark places they were once in, is what made me want to record it,” Wellington explains. “If a tune has that much power, it deserves to be re-recorded and spread to as many new audiences as possible.”

In addition to pushing boundaries with his music, Wellington also pushed them with his own creative abilities on the artwork for Detour To The Moon, which he made himself. The first-time occurrence is one that he was thrust into after a graphic designer he had commissioned back out of the project as a deadline for their work was fast approaching. Rather than hire someone new to complete the work or delay it (and risk pushing back the entire project as a whole), he began completing it on his own. Featuring Wellington standing stoically with his banjo on a cratered moon surface with a looming purple glow, the artwork is a display not only of his creativity, but the improvisation and ingenuity that also make him a top notch musician.

“It took me 30 hours to create,” Wellington says with a chuckle of making the artwork. “I had to imagine the concept and find reference pictures before sketching ideas and putting it all into Photoshop. It took a long time, but I’m proud of how it turned out and now I have this new skill I can continue to hone and potentially help other artists with as well.”

Aside from Wellington’s ingenuity coming out in the EP’s cover art and in its choice of songs, it’s also displayed in the players who joined him on the project. For the first time in his three studio albums Detour To The Moon includes drums courtesy of the Steep Canyon Rangers’ Michael Ashworth. It also features fellow Asheville mainstay Drew Matulich (The Grass Is Dead) on guitar. Pedal steel guitarist DaShawn Hickman, vocalist Wendy Hickman, and Kater were other contributors.

Those pivots came after Wellington went into the recording process, planning for the players joining him to be exclusively from his traveling band – bassist Katelynn Bohn, mandolinist/fiddler Josiah Nelson, and Nick Weitzenfeld. While it does include each of them on all or a portion of the project, it also blossomed into something bigger that celebrates not only Wellington’s sonic evolution, but the many ways that Black music of old still shares with that of the present.

Connecting those dots and pushing for more diversity within bluegrass and roots music have long been part of Wellington’s creative work. While he’s done more than his part to advance those efforts, he says it’s going to take much more to see representation where it matters most – the audience.

“I’ve seen a lot more Black and other people I didn’t usually see before picking up a banjo, fiddle, or mandolin and playing bluegrass music in the last five years, but in the grand scheme of things it’s still a very small number of us,” asserts Wellington. “It’s on the venues, labels, artists, fans – all of us – to get involved and push for change because at the end of the day nobody wants to go out to shows where they know they won’t feel comfortable at.”

Photo Credit: Heidi Holloway

You Gotta Hear This: New Music From Amythyst Kiah, Jordie Lane, and More

Posted on by Justin Hiltner

The last Friday of July came up fast, didn’t it? To close out the month, we’ve got another excellent round up of bluegrass, country, and Americana premieres that you won’t want to miss.

In the bluegrass department, we’ve got a brand new track from bluegrass hitmaker Ashby Frank featuring his labelmate Jaelee Roberts, Dallas Moore gives an intimate solo performance of “Up On That Mountain,” and we close our DelFest Sessions series with IBMA Award nominees Sister Sadie.

Coming from Americana and country camps, don’t miss a hilarious video from Jordie Lane paying homage to an East Nashville favorite, Nashville Biscuit House, Cole Gallagher shares a track that dropped earlier this week entitled “Traveling Man’s Blues,” and Mike Montrey Band serve up a quintessentially country love song, “Holdin’ on to Nothin’.”

Plus, Amythyst Kiah has just announced her upcoming Butch Walker-produced album, Still + Bright, with a lead single that features S.G. Goodman entitled, “Play God and Destroy the World.”

It’s all right here on BGS and you know what we think – You Gotta Hear This!

Ashby Frank, “God Gave Me Horses”

Artist: Ashby Frank
Hometown: Nashville, Tennessee
Song: “God Gave Me Horses”
Release Date: July 26, 2024
Label: Mountain Home Music Company

In Their Words: “‘God Gave Me Horses’ was co-written by one of my favorite Nashville songwriters, the great Connie Harrington, along with Leigh Nash, who is well-known for her solo recording career as well as being the lead singer for the band Sixpence None The Richer. A mutual friend of mine and Leigh’s played me her original cut of this song when she released it and I was blown away by the lyrics and instantly knew I wanted to record it with a rootsy bluegrass treatment. There are a lot of classic ‘prison songs’ that are considered bluegrass standards that talk about despair, hopelessness, and regret, but this composition has a more contemporary and positive message that I think will resonate with listeners of every generation. I’m so pleased with how this track turned out, and especially grateful for my great friend and Mountain Home Music labelmate Jaelee Roberts for lending her voice to this track. I can’t wait for everyone to hear it.” – Ashby Frank

Track Credits:
Ashby Frank – Mandolin, vocals
Seth Taylor – Acoustic guitar
Travis Anderson – Bass
Matt Menefee – Banjo
Jaelee Roberts – Harmony vocals

Cole Gallagher, “Traveling Man’s Blues”

Artist: Cole Gallagher
Hometown: Nashville, Tennessee
Song: “Traveling Man’s Blues”
Release Date: July 25, 2024
Label: Raggy & Balls

In Their Words: “In order to really understand what ‘Traveling Man’s Blues’ is about, you’ve got to understand that I spent almost two years on the road with my father a few years back. Earlier this year, I moved from LA to Nashville, so when I got back out on the road to shoot a video for this song, I had nothing but nostalgia shooting through every frame of this video. I wasn’t much older at the time than I was driving across with my dad. But it was enough time to have forgotten how beautiful the sun looks setting in Arizona or an amazing bright blue sky over the Cadillac Ranch in Amarillo, Texas. I felt like I was both discovering and re-discovering myself at the same time.” – Cole Gallagher

Track Credits:
Barry Billings – Guitar
Chad Gamble – Drums
Cole Gallagher – Guitar, vocals
Jimbo Hart – Bass
Jon Eldridge – Keys
Sadler Vaden – Guitar

Video Credits: Shot by Cole Gallagher.
Produced by Cole Gallagher.
Edited by Abe Barrington.

Amythyst Kiah, “Play God and Destroy the World” (Featuring S.G. Goodman)

Artist: Amythyst Kiah
Hometown: East Brainerd, Tennessee
Song: “Play God and Destroy the World” (Featuring S.G. Goodman)
Album: Still + Bright
Release Date: July 26, 2024 (single); October 25, 2024 (album)
Label: Rounder Records

In Their Words: “This song is about coming of age as a misfit in suburbia. At home, I was encouraged to be curious to and express myself, and pursue whatever interests I wanted to regardless of gender, race, sexuality, or beliefs. However, I was not always met with this same attitude out in the community I lived in and it was frustrating to feel like I couldn’t really be myself. Being a naive kid, I would sometimes fantasize about being all-powerful and changing things the way I saw fit, but it is not up to me, or anyone, to tell everyone else how to live their life. We are all from this green and blue dot in space and will return to it all the same. There’s enough suffering in life as it is, why make it worse by policing each other’s way of life?” – Amythyst Kiah

Track Credits: Written by Amythyst Kiah, Sadler Vaden.
Produced by Butch Walker.
Amythyst Kiah –  Vocals, background vocals, acoustic guitar, electric guitar
S.G. Goodman – Vocals, background vocals
Butch Walker – Bass guitar
Ellen Angelico – Electric guitar, baritone guitar, mandolin
Matty Alger – Drums, percussion

Jordie Lane, “Biscuit House”

Artist: Jordie Lane
Hometown: Thornbury, Australia (Based in Nashville, Tennessee)
Song: “Biscuit House”
Album: Tropical Depression
Release Date: July 25, 2024 (single); August 16, 2024 (album)
Label: Blood Thinner Records, under exclusive license to ABC Music/The Orchard

In Their Words: “As with so many of my songs, I started out writing ‘Biscuit House’ with co-writer Clare ‘Lollies’ Reynolds about something external… somebody else. It’s a way to trick yourself into feeling less vulnerable. And it’s a way to observe the character in a more realistic and less biased way. But long story short, ‘Biscuit House’ is about imposter syndrome. Something so many people feel at some point in their lives, but especially creatives in the arts. And so the idea to dress up as this weatherman character, Tom Willing, to play in the video felt very fitting to explore being an imposter in a literal sense and get completely ridiculous and over the top.” – Jordie Lane

Track Credits:
Jon Radford –Drums, percussion
Jon Estes – Bass, pedal steel, keys
Jeremy Fetzer – Electric guitar
Clare ‘Lollies’ Reynolds – Backing vocals
Jordie Lane – Acoustic, tenor, piano, vocals

Video Credits: Directed by Mackenzie Brassfield & Jordie Lane.
Camera, editing & color by Mackenzie Brassfield.
Assistant Director of Photography, Mikey Haydon.

Mike Montrey Band, “Holdin’ on to Nothin'”

Artist: Mike Montrey Band
Hometown: Spotswood, New Jersey
Song: “Holdin’ on to Nothin'”
Album: Love, Time & Mortality
Release Date: August 2, 2024

In Their Words:“‘Holdin’ on to Nothin’ is about the process of love. It seems, more often than not, the story of love in songs is about the beautiful beginning, the tragic end, or the celebration of sustained love. However, it is often what we choose to hold on to or let go of in the most critical moments of a relationship that allows us to move forward or move on. Sometimes we just hold on to hope and sometimes we’re holdin’ on to nothin’.” – Mike Montrey

Dallas Moore, “Up On That Mountain”

Artist: Dallas Moore
Hometown: San Antonio, Texas
Song: “Up On That Mountain”
Album: Gems & Jams
Release Date: August 9, 2024
Label: Sol Records

In Their Words: “I’ve always loved bluegrass and really cut my teeth and learned guitar sitting in on countless bluegrass jam sessions back in Kentucky and southern Ohio when I was kid first starting out. My mama Madgelee played mountain dulcimer and she turned me on to a lot of bluegrass, Appalachian, and gospel music. Jimmy Martin, The Carter Family, John Hartford, The Osborne Brothers, and Flatt & Scruggs were some of my favorites to jam on and definitely influenced my style of playing and songwriting.

“‘Up On That Mountain’ is a song that I had written several years ago and that I have always called ‘a little bit of heathen preachin’.’ I even had a version of it that was recorded live in the Bullitt county jail but it’s been out of print for a while now. This song has been a staple of my live shows for many years and I’m always excited and proud that my 7 year-old daughter Victory Lee Moore joins us on stage for this one. I had a lot of fun with this solo acoustic arrangement and it felt like a perfect fit for the closing of this Gems & Jams album. Wherever I am this song always takes me back home.” – Dallas Moore

Track Credits:
Dallas Moore – Vocals, guitar
Brian DeBruler – Producer, engineer

DelFest Sessions: Sister Sadie

We are so excited to unveil the final installment of our DelFest Sessions, featuring Grammy-nominated bluegrass supergroup Sister Sadie. Over the course of the Memorial Day festival in Cumberland, Maryland, BGS contributors and videographers I Know We Should shot a half dozen superlative live performances on the gorgeous banks of the Potomac River. From festival hosts the Travelin’ McCourys, Big Richard, and Wood Belly to East Nash Grass, Mountain Grass Unit, and now the Sadies, each edition of our DelFest Sessions has been an audio swatch of the incredible national string band scene we all adore.

With a raucous “WOO!” shouted to the festival-goers floating by in their inner tubes and kayaks on the river, Sister Sadie stepped up to the mics to deliver two gentle, burning, emotive tracks pulled from their critically-acclaimed album, No Fear, which was released earlier this year. The first, “Blue As My Broken Heart,” was written by Dani Flowers – who sings lead on the number – with co-writers Victoria Banks and Rachel Proctor. Evocative imagery and detailed text painting here feel more than appropriate for the setting, in the verdant foothills of Appalachia on the cusp of spring and summer. You can almost feel the blue sky above and you can certainly grasp, immediately, why this group is up for eight IBMA Awards this year – including Entertainer of the Year and Vocal Group of the Year…

Watch the full session here.

Photo Credit: Amythyst Kiah by Kevin & King; Jordie Lane as “Tom Willing” by Mackenzie Brassfield.

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.

You Gotta Hear This: New Music From Gangstagrass, Jaelee Roberts, and More

Posted on by Justin Hiltner

This week, it’s a tale of two Mothers in our premiere round-up! First, Gangstagrass bring us their latest single, “Mother,” ahead of their full album release next week, then Portland, Oregon-based string band Never Come Down bring us their own track, “Mother,” performed live at Ear Trumpet Labs. The serendipitously themed selections couldn’t be more distinct and unique, relative to the other, demonstrating the depth and breadth of these roots genres.

Plus, elsewhere in our collection of new music, hear fresh tracks from Jaelee Roberts, Kate Prascher, Karen Jonas, and Eddy Lee Ryder – a taste of bluegrass, a dash of singer-songwriter, a heaping helping of reckless abandon, and so much more.

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

Gangstagrass, “Mother”

Artist: Gangstagrass
Hometown: All over the USA! Rench: Brooklyn with Oklahoma roots; Dolio the Sleuth: Pensacola, Florida; R-SON the Voice of Reason: Philly; Danjo: Washington, D.C.; Farrow: Omaha; Sleevs: Baltimore.
Song: “Mother”
Album: The Blackest Thing on the Menu
Release Date: June 7, 2024 (single); June 14, 2024 (album)
Label: Rench Audio

In Their Words: “It started as a poem I wrote one day on tour. We were in the north of France, and just as described, I was sitting under a tree looking around me thinking about the world, our place in it, and what major changes we’d have to make in order to ensure the survival of humanity. My younger brother was actively deployed at the time and since my family has generations of men who’ve served, including my father, grandfather, great-grandfather, and numerous uncles and aunts and cousins, there is always real concern about why the country is involved in active aggression, especially when that same country is obsessed with committing violence against its own citizens, my community in particular. I shared it with the crew, and Rench cooked up a haunting oeuvre.” – Dolio the Sleuth

Karen Jonas, “Gold in the Sand”

Artist: Karen Jonas
Hometown: Fredericksburg, Virginia
Song: “Gold in the Sand”
Album: The Rise and Fall of American Kitsch
Release Date: June 7, 2024 (single); August 9, 2024 (album)
Label: Yellow Brick Records

In Their Words: “My dreamy Las Vegas wedding song; it’s an against-all-odds love story, a starry-eyed late-night wedding, the sweet optimism of love at first sight. I pictured a very zoomed-out and very zoomed-in Vegas as I wrote this, a drone image of a city rising from the desert and her hand tightly in his as they walk down the neon-lit midnight strip. We stumbled into Benji Porecki’s bittersweet piano intro during our live-in-the-studio recording session, with fiddle by Bobby Hawk and a tearing solo by guitarist Tim Bray capturing the intimacy and boldness of this love story. The monochromatic gold-washed video by videographer Ryan Poe feels like a retro dream sequence, pairing performance with delicate details.” – Karen Jonas

Track Credits: Written by Karen Jonas.
Karen Jonas – Vocals, acoustic guitar
Tim Bray – Electric guitar
Benji Porecki – Piano
Bobby Hawk – Fiddle
Seth Morrissey – Bass
Ben Tufts – Drums
Ahren Buchheister – Pedal steel

Video Credit: Ryan Poe at Oddbox Studios in Fredericksburg, Virginia

Never Come Down, “Mother”

Artist: Never Come Down
Hometown: Portland, Oregon
Song: “Mother”
Album: Greener Pastures
Release Date: June 7, 2024

In Their Words: “I wrote ‘Mother’ after finding myself living back at home, at my Mom’s house, and with my sister there, too. I had just left an emotionally turbulent relationship and was kind of broke and starting over at 29, but also extremely hopeful and grateful that I had my life back and could decide what I wanted to do with it. Having my sister and my mother around was really important for me at that time, to get me back to a place of feeling unconditionally loved and safe. The song came out of my subconscious need for those women to tell me what to do and to be there for me as I figured out what to do.

“I feel like it’s a really simple song, actually. I think most of us can relate to needing a parent or a mother figure or somebody that’s not family that’s a mother figure to be guided by. In this day and age, we all need mentors and guides more than ever and the age old wisdom of women, of mothers, of nurturers, of ‘kissing it to make it better’ and softness and the divine feminine.

“I hope all that comes through in this song. Because when I was writing it I wasn’t thinking about all those things, I was just singing my own little mantras out of my head, things that were just making me feel safe and loved. I hope this song makes people feel safe and loved. I hope people relate to it in all the ways that we relate to our mothers. Sometimes it’s hard, sometimes it’s lovely. I think if we all lived like our mothers were still watching over us or were in their presence, we’d all be happier and kinder human beings.” — Crystal Lariza

Video Credit: Ear Trumpet Labs

Kate Prascher, “Mary Ellen”

Artist: Kate Prascher
Hometown: Hudson Valley, New York
Song: “Mary Ellen”
Album: Shake The Dust
Release Date: August 30, 2024

In Their Words: “This song names the sensations of a summer’s day when she decides to leave, a taxi ride and the cigarette smoke that both soothes her and sets her free. Banjo and drums and the steady rhythm of driving wheels.” – Kate Prascher

Jaelee Roberts, “Georgia Rain”

Artist: Jaelee Roberts
Hometown: Nashville, Tennessee
Song: “Georgia Rain”
Release Date: June 7, 2024
Label: Mountain Home Music Company

In Their Words: “I wrote ‘Georgia Rain’ after experiencing my first breakup/heartbreak when I was 16 years old. Interestingly enough, I had the melody come to me first and then the lyrics, which isn’t the normal songwriting process for me. I really do love this melody and the little twist in the chord structure. If you know me or have followed my musical journey so far, you know that I absolutely love a good ole heartbreak song and having rain be part of the scenario makes a heartbreak song even more lonesome and sad! When I wrote ‘Georgia Rain’ it really came to me like a movie and the words are really visual and I hope that y’all will be able to hear it and see it along with me when you listen.” – Jaelee Roberts

Track Credits:
Jaelee Roberts – Vocals
Stephen Mougin – Harmony vocal
Byron House – Bass
Cody Kilby – Acoustic guitar
Andy Leftwitch – Mandolin
Stuart Duncan – Fiddle
Ron Block – Banjo
John Gardner – Drums

Eddie Lee Ryder, “Bad Decisions”

Artist: Eddy Lee Ryder
Hometown: Woodstock, New York (current); Irvington, New York (hometown)
Song: “Bad Decisions”
Album: Sweet Delusions
Release Date: June 6, 2024 (single); July 19, 2024 (album)

In Their Words: “The song is a collection of fragments from a story marked by a string of bad decisions, beginning with falling for someone who misled me about their relationship status. However, the song sat in the dust-bin for a long time until I knew it would ultimately be a story about crashing and burning. I began noticing his intense jealousy, which you will find in lines woven into the song like, ‘Don’t ask me how I know those guys you wouldn’t like to know.’ The song is about being reckless and wild, which is the state we were in when we fell for each other. But when I was ready to move past being reckless and wild, to just stay home and watch crime shows together, that’s when he left. So anyways, I’m back to making ‘Bad Decisions’ and it’s going great.” – Eddy Lee Ryder

Track Credits: Written by Eddy Lee Ryder.
Produced, Engineered, mixed by Dave Cerminara.
Mastered by Adam Ayan.

Daniel Chae – Bass, guitar
Dan Bailey – Drums
Eddy Lee Ryder – Vocals
Rich Hinan – Pedal steel
Todd Caldwell – Organs

Photo Credit: Gangstagrass by Melodie Yvonne; Jaelee Roberts by Eric Ahlgrim.

You Gotta Hear This: New Music From Rising Appalachia, Tim O’Brien, and More

Posted on by Justin Hiltner

What a week in music! Not only has our Artist of the Month, Kaia Kater, released her new album Strange Medicine today, but we’ve also got an absolutely incredible premiere round-up filled to bursting with brand new videos, songs, and tracks.

First, there’s transcendent sister duo Rising Appalachia with a James Blake/Bon Iver cover, “I Need a Forest Fire,” and Tim O’Brien pays tribute to iconic folk songwriter Tom Paxton with a song they co-wrote, “You Took Me In.” Plus, don’t miss new songs from Ellorie McKnight, Natalie Spears, and Nick Taylor.

We round out our list with two premieres that debuted on BGS earlier in the week, a new one from Alisa Amador’s just announced album that features Madison Cunningham and Meadow Mountain continue their SkyTheory Sessions series with “Waiting for Tomorrow.”

It’s all right here on BGS and to be perfectly honest, You Gotta Hear This!

Rising Appalachia, “I Need a Forest Fire”

Artist: Rising Appalachia
Hometown: Asheville, North Carolina
Song: “I Need a Forest Fire”
Album: Folk and Anchor
Release Date: May 17, 2024

In Their Words: “‘I Need A Forest Fire,’ is our interpretation of a rich and righteous James Blake track. We have been big fans of his artistry and aural weavings for many years and wanted to do a folk rendition of this striking song. The texture of its sounds stretch far and wide in atmospheric rhythms as well as the lyrics and it took some deep digging to conceptualize what Blake was perhaps trying to say… Our interpretation is this:

“We live in a time of rapidly destructive (and so often man-made) wildfires in many parts of this planet. Singing a song that says ‘we need a wildfire’ felt cautionary, but enticing, as we explored the many metaphors that ‘forest fire’ could represent. We came to believe it is about the burning of the ego, the take down of destructive habits and destructive relationships, even destructive sides of self. In a time where everyone is on one side of the coin or the other, in a highly polarized nation, a burning symbolizes a great reset. A death and rebirth cycle. We hope you enjoy our take on this track as much as we have enjoyed stretching into its different sounds.” – Rising Appalachia

Tim O’Brien, “You Took Me In” (from Bluegrass Sings Tom Paxton)

Artist: Tim O’Brien
Song: “You Took Me In”
Album: Bluegrass Sings Paxton
Release Date: May 17, 2024 (single)
Label: Mountain Home Music Company

In Their Words: “Jan and I came of age listening to and then singing Paxton songs before we ever knew his name. We both learned ‘Last Thing on My Mind’ and sang it around campfires before we met each other. So like a lot of folks, we kinda have Paxton in our musical DNA.

“Tom has been friendly and supportive over the years and in recent years often expressed his desire to write together. With this project, push came to shove and Jan and I wrote ‘You Took Me In’ with Tom on our second session. I had the lyric idea and imagined some Earl Scruggs-style gospel guitar as backing. We had the song in about an hour. When we were done I asked Tom how many songs he’d written that week and he said, ‘I’ve written four songs today!’

“Paxton’s early songs were the kind that sorta begged audiences to sing along. This one reaches in that direction. I love how simple and direct it is. Since that day, the three of us have written another 15 songs, all of which are daring Jan and I to record them, so stay tuned. Songs are like little puzzles that a certain strata of musicians have fun solving. We’re just honored to sit beside Tom, even if only virtually, as he does his masterful thing. He knows to let the song happen. He can pull a lyric from an instrumental riff, he improvises easily, and you can just trust him. When he says to go higher with the melody or go to the four chord, we’re never afraid to follow.” – Tim O’Brien

Track Credits:
Tim O’Brien – Guitar, lead vocal
Jan Fabricius – Mandolin, harmony vocal
Shad Cobb – Fiddle, harmony vocal
Mike Bub – Upright bass

Ellorie McKnight, “Whitepass”

Artist: Ellorie McKnight
Hometown: Whitehorse, Yukon
Song: “Whitepass”
Album: Equinox
Release Date: May 3, 2024

In Their Words: “White Pass is a magical, remote mountainous area connecting Yukon’s southwest with Alaska. If you’re driving from Whitehorse, YT to Skagway, AK, you pass through mountains and boreal forest until you reach the Canadian border crossing, after which the road winds through 25km of treeless, rugged alpine terrain before dropping down towards the ocean, where you then drive through the US border and then into the coastal ecosystem of Skagway. There is no reception on this stretch of road and no sign of humans except for the road and the border patrol buildings.

“This part of the world is like a dream in summer: the sound of creeks is loud and the wild blueberries are everywhere. In the winter, the area is mystical no matter the weather, with meters of snow blanketing the valleys and mountains. I was making the trip from Whitehorse to Skagway in the middle of winter one year, late at night, to visit a friend. There was a raging blizzard and snow drifts forming on the road, it was hard to see more than a few feet ahead and the going was slow. I pulled over to catch my breath and stepped outside. The wind was steady and the sharp snowflakes bit into my cheeks. I looked up and was surprised when I saw a waxing moon in a clear night sky just above the fog of the ground blizzard. It was a moment of awe, of wonder, of feeling so intertwined with the earth and yet also so small. The song ‘Whitepass’ tries to capture the many similar moments I’ve felt spending time in this stunning part of the world.” – Ellorie McKnight

Track Credits: 
Ellorie McKnight – Guitar and vocals
Brigitte Desjardins – Drums
Jeff Dineley – Upright bass
Ryan McNally – Pedal steel and harmonies
Kieran Poile – Fiddle

Video Credit: Midnight Light Media

Natalie Spears, “Hymn Of Wild Things”

Artist: Natalie Spears
Hometown: Carbondale, Colorado
Song: “Hymn Of Wild Things”
Album: Hymn Of Wild Things
Release Date: May 17, 2024 (single); June 28, 2024 (album)
Label: SleeLee

In Their Words: “Early one chilly autumn morning, I awoke to the chortling cries of Sandhill Cranes echoing through our town. Their sound is one like no other, awkward, beautiful, and haunting. It is a sound that we only hear a few times a year as they journey along their migratory path towards warmer shores. Whenever I hear them, I drop everything I’m doing and try to find them. On that particular morning, I got up with my sweet pup and followed their cries to a local nature park near my home. The clouds were sunk low in the valley and although we could hear them close by, we still couldn’t see them. We sat quietly waiting and eventually the sun’s heat lifted the clouds revealing the ghostly shapes of two beautiful Sandhill Cranes. The words to this song began to take shape in my mind and it was then that Hymn Of Wild Things was born.” – Natalie Spears

Track Credits:
Written by Natalie Spears (BMI)
Produced by Jayme Stone

Natalie Spears – Voice
Christine Bougie – Guitars, lap steel
Pat Keen – Bass
Jayme Stone – Synth, drum programming

Nick Taylor, “Dogs”

Artist: Nick Taylor
Hometown: Austin, Texas
Song: “Dogs”
Album: Not Alone
Release Date: June 21, 2024

In Their Words: “As one of the earliest compositions I laid down for the album, it’s personal and cathartic, a reflection of the anxiety that’s been an ongoing part of my persona. Sometimes it gets particularly overwhelming and that’s how this song was born. It speaks to uncertainty — how it manifests, how it’s perceived by others, and how it affects those around us. When we went into the studio to record it, it just came alive. It was important to me to get it out into the world. It’s the song that inspired the album title, Not Alone, but more importantly, it explores topics that society tends to dismiss — especially when it comes to matters having to do with mental health, insecurity and stability. It calls for understanding and in that regard, my hope is that it will help anyone dealing with a similar situation feel less alone.

“‘Dogs’ is such an emotional song, almost a confessional, that we wanted to make sure the video felt personal. Shooting just one scene created a space where the lyrics were being recited directly to the audience and I think that format really works well with the song. Huge thanks to Will and the team for their vision and direction.” – Nick Taylor

Track Credits:
Written by Nicholas Taylor Wimberg

Nick Taylor – Lead vocals
Wayne Killius – Drums
Dave Francis – Bass
David Flint – Electric and acoustic guitars
Chris Nole – Piano/keys

Video Credits:
Produced by Charlotte Avenue Entertainment
Directed by William Gawley
Shot by Austin Boylen and Dominick Sotis

Meadow Mountain, “Waiting for Tomorrow” (SkyTheory Sessions)

Artist: Meadow Mountain
Hometown: Denver, Colorado
Song: “Waiting for Tomorrow”
Album: June Nights
Release Date: May 13, 2024 (single)

In Their Words: “This song attempts to answer the question, ‘What if, instead of starting the band Foo Fighters, Dave Grohl had picked up a mandolin and spent a year exclusively listening to Alison Krauss & Union Station?’ I guess I was doing a lot of thinking and writing about time – the great healer, but also that which brings an end to all things. And then a new beginning. This is a song about time, and hope.” – Jack Dunlevie

More here.

Alisa Amador, “Heartless Author” (feat. Madison Cunningham)

Artist: Alisa Amador
Hometown: Boston, Massachusetts
Song: “Heartless Author” (featuring Madison Cunningham)
Album: Multitudes
Release Date: June 7, 2024
Label: Thirty Tigers

In Their Words: “I love this song. I love it because it acknowledges all of the uncertainties and pain of life and it shines compassion on all of it. ‘It’s okay not to know.’ It was such a joy to sing this one with Madison Cunningham. She learned it right then and there in the studio, and her voice says so much.” – Alisa Amador

More here.

Photo Credit: Rising Appalachia by Syd Woodward; Tim O’Brien by Scott Simontacchi

You Gotta Hear This: New Music From Carson Peters, Jessie Wilson, and More

Posted on by Justin Hiltner

It’s another full week of new releases and exciting premieres! Leading off our round up this time is young fiddlin’ phenom Carson Peters singing a Bob Seger classic, “Long Twin Silver Line.” Plus, don’t miss bluegrass tracks from our friends Unspoken Tradition and Meadow Mountain – the latter of whom debuted the first installment of their SkyTheory Sessions on BGS yesterday.

There’s also plenty of Good Country to find herein! Kyle McKearney is joined by bluegrass flatpicker Trey Hensley on “Lonesome,” Jessie Wilson brings us a new one, “Outlaw,” and Will Stewart & the Gold Band share a tune from their Live in Norway project. Plus, Jordie Lane brings us a new single, too.

Yesterday, Donovan Woods exclusively premiered a new Lori McKenna and Matt Nathanson co-write on BGS,. as well so don’t miss that! It’s all below and really, You Gotta Hear This!

Carson Peters, “Long Twin Silver Line”

Artist: Carson Peters
Hometown: Nashville, Tennessee
Song: “Long Twin Silver Line” (Bob Seger cover)
Album: Silver Bullet Bluegrass
Release Date: July 12, 2024
Label: Lonesome Day Records

In Their Words: “Randall Deaton approached me with this tribute project a while back, and I loved the idea and jumped at the chance to be included with the great artists that were already on board. I grew up listening to classic rock and roll music riding in my parents’ car. It definitely helped me appreciate all styles of music and I always enjoyed hearing Seger songs. Randall had most of the track ready for me when I came in to put vocals and fiddle on it, and his ideas and choices made this song even better than I imagined. We played around with arrangements for a fiddle break in the middle, but he was the brain behind the arrangement for sure. I think (and hope) that the youthfulness in my voice and aggressive style of fiddle playing suits this song well, and gives it a nice spin. I am working up a live version with my band so we can put into our shows.” – Carson Peters

Track Credits: Written and published by Bob Seger, Gear Publishing Company
Producer – Randall Deaton
Engineers – Randall Deaton, Jimmy Nutt
Tracked at Lonesome Day Recording Studio, Booneville, KY / The NuttHouse Recording Studio, Muscle Shoals, AL.
Mixed at The NuttHouse Recording Studio, Muscle Shoals, AL.

Guitar – Stephen Mougin, Gary Nichols
Mandolin – Darrell Webb
Banjo – Ned Luberecki
Bass – Mike Bub
Dobro – Jake Joines
Fiddle – Carson Peters
Harmony vocals – Sarah Borges

Kyle McKearney, “Lonesome” (Featuring Trey Hensley)

Artist: Kyle McKearney
Hometown: Calgary, Alberta, Canada
Song: “Lonesome” (featuring Trey Hensley)
Release Date: April 26, 2024
Label: Kyle McKearney Music

In Their Words: “I’ve been following Trey Hensley for years and have always been a huge fan of his playing, singing, and Southern charm. I got to meet Trey at a gig in Colorado and I was blown away to learn that had been a fan of mine as well. My keyboard player James and I wrote ‘Lonesome’ with Trey in mind, hoping that he’d jump on for a shred on his flattop. I love how this song turned out and am grateful to Trey and team for their contributions. I can’t wait for folks to hear this burning two stepper!” — Kyle McKearney

“I became a huge fan of Kyle McKearney the moment I heard his music several years ago. I became an even bigger fan when I got to meet him and hear him live out in Colorado last year. I knew then that I would love a chance to work on some music with him in the future. I was thrilled when the opportunity arose for me to go up to Alberta and record with Kyle for his new song ‘Lonesome.’ As soon as I heard the song, I immediately knew this was going to be a blast… and sure enough, it was an absolutely incredible experience. Kyle is such a phenomenally talented artist, and I’m beyond honored to be included on ‘Lonesome.’ I can’t wait for y’all to hear it!” — Trey Hensley

Jessie Wilson, “Outlaw”

Artist: Jessie Wilson
Hometown: Phenix City, Alabama
Song: “Outlaw”
Release Date: May 3, 2024 (single)

In Their Words: “‘Outlaw’ depicts a universal feeling – no matter what field you are in or where you’re at in life, almost everyone has felt like they weren’t good enough and wanted to fit into a certain group at some point or another. I wrote this song about Nashville; I’ve often wondered what I need to do to be wanted in this town and the music industry. Is it about dating the right person, or changing my morals – what’s the answer? This song was written from that state of mind. It took a lot of vulnerability for me to admit that there was a time when I would do anything to fit in and gain the love of others, because deep down I was so lonely and lost. It’s typical to want to compare yourself, but you have to steer your mind away from that idea. I’ve since learned that I don’t have to change who I am and that the right people and opportunities will come to me and love me for the person I am.” – Jessie Wilson

Track Credits:

Producer – David Dorn
Acoustic & electric guitar – Tim Galloway
Bass – Tim Denbo
Drums – Matt King
B3/Synthesizer – David Dorn
BGVs – Kristen Rogers and Caleb Lee Hutchinson
Recorded at Farmland Studios.
Mixing – Mark Lonsway
Mastering – Mayfield Mastering

Will Stewart & The Gold Band, “Real Drag” (Live)

Artist: Will Stewart & The Gold Band
Hometown: Birmingham, Alabama
Song: “Real Drag” (Live)
Album: Will Stewart & The Gold Band Live in Norway
Release Date: June 7, 2024
Label: Cornelius Chapel Records

In Their Words: “Ross Parker, my longtime friend and bassist, sent me a rough demo of ‘Real Drag’ last year. I slightly tweaked the arrangement and melody and added a verse and it immediately became a staple in our live set. I get to throw in some jangle on this one, and Janet’s guitar playing compliments that in a nice way. The lyrics sort of speak for themselves, but it’s about a series of unfortunate events after a long night of being out, which seems to be a common theme in a lot of my songs, now that I’m thinking about it. It’s a combination of people and places that we’ve encountered over the years.” – Will Stewart

Track Credits:

Will Stewart – Guitar, vocals
Janet Simpson – Guitar, vocals
Tyler McGuire – Drums
Ross Parker – Bass
Recording Engineer – Harvard Soknes
Mixed by Brad Timko.
Mastered by Alex McCollough.

Jordie Lane, “The Changing Weather”

Artist: Jordie Lane
Hometown: Melbourne, Australia (Based in Nashville, Tennessee)
Song: “The Changing Weather”
Album: Tropical Depression
Release Date: May 2, 2024 (single); August 23, 2024 (album)
Label: Blood Thinner Records, under exclusive licence to ABC Music/The Orchard

In Their Words: “I had just got back to America after the terrible 2019-20 Australian bushfires when this massive EF-3 Tornado devastated our East Nashville neighborhood. Everything in my mind and body was kind of in shock about this severe weather, being so close to being hit. It scared the sh*t outta me. The song came after thinking about how people often complain about the very things that could and should be seen as a gift. Like the simple act of getting caught in the rain.

“Humans are remarkably good at denying the truth sometimes and covering it up with a bunch of other crap that we pretend is more important. We tend to just wanna get on with our lives, and not think about the scary things inside us, or with this planet we live on. This song is my take of an easy-breezy ’60s song to keep cruising along to, until the moment it’s all too late.” – Jordie Lane

Track Credits: Written by Jordie Lane.
Produced by Jordie Lane & Jon Estes.

Video Credits: Director, director of photography, editor – Korby Lenker
Aerial photography – Travis Nicholson
Producers, production designers – Jordie Lane & Clare Reynolds

Unspoken Tradition, “Georgia In Her Eyes”

Artist: Unspoken Tradition
Hometown: Cherryville, North Carolina
Song: “Georgia In Her Eyes”
Release Date: May 3, 2024
Label: Mountain Home Music Company

In Their Words: “‘Georgia In Her Eyes’ is a deeply personal song that I wrote in a fit of inspiration not long after meeting the woman who is now my wife. Looking through the perspective gained from 12 years together, the lyrics are even more meaningful. I’m excited that the guys in the band chose to help bring this song to life.” – Sav Sankaran, bass and songwriter

Track Credits:

Audie McGinnis – Acoustic, vocals
Sav Sankaran – Vocals, bass
Tim Gardner – Fiddle, vocals
Zane McGinnis – Banjo
Ty Gilpin – Mandolin

Donovan Woods, “Back For the Funeral”

Artist: Donovan Woods
Hometown: Sarnia, Ontario, Canada
Song: “Back For The Funeral”
Album: Things Were Never Good If They’re Not Good Now
Release Date: July 12, 2024
Label: End Times Music

In Their Words: “‘Back For The Funeral’ is a story that a lot of us end up experiencing. Big life events – deaths, births, divorces – seem to pull us out of the flow of time somehow. The days around these events can feel like a dream wherein the regular rules of our lives don’t apply. People fall back onto old habits or maybe construct a new temporary-self to shield them from grief or shock. What I like best about this song is that it reflects that dream-like feeling without sacrificing clarity. It feels the way those life-dividing days feel. I wrote it with Lori McKenna and Matt Nathanson. I’m about as proud of it as anything I’ve written. I hope it’s useful to people.” – Donovan Woods

More here.

Meadow Mountain, “June Nights” (SkyTheory Sessions)

Artist: Meadow Mountain
Hometown: Denver, Colorado
Song: “June Nights”
Release Date: April 30, 2024 (single)

In Their Words: “It sometimes feels like my life is split up into eras – periods of a year or two that, upon looking back, have a distinct, overarching feeling. As I get older I’ve started to recognize when I’m on the edge of one era, moving into the next one, and I begin to get a sense of the overall color of my recent life. I had that feeling as spring moved into summer last year and wanted to document it in a song. It recounts moments in the Colorado wilderness, misadventures in love, and my abiding wish to be Sam Bush in the 1980’s.” – Jack Dunlevie, mandolin and songwriter

More here.

Photo Credit: Carson Peters by Cora Wagoner; Jessie Wilson by Sam Aldrich.