Tag: Neil Young

MIXTAPE: Jesse Terry’s Pure Seventies Troubadour Gold

Posted on by Editor

I’m not sure what it is about this era that has permanently ensnared my soul. Perhaps the raw, confessional nature of the troubadour has always reassured me that I am not alone. These are the songs that made me abandon my fine art career at the age of 18 and embark on a lifelong quest to appease the songwriting gods. The fact that all of these songs can be fully delivered with one instrument and one voice has always amazed and inspired me. It was wonderful to record a few of these classics on my current EP, Seventies Roots, part of a double album of covers that I’m releasing in February 2022 called Forget-Me-Nots. — Jesse Terry

Joni Mitchell – “A Case of You”

Was there any doubt it would start with Joni and a song off her masterpiece, Blue? I put Joni in a Jimi Hendrix-type category, where it feels like the artist was transported from outer space, in perfect revolutionary form. Her songs, chord progressions, lyrics and vocals have always been otherworldly to me. It was thrilling to record this song on my Seventies Roots EP. Actually it was intimidating, but in the end I love the song too much not to do it.

James Taylor – “Fire and Rain”

The blueprint for confessional, honest songwriting. It’s awesome to hear JT tell the story behind the song and know that he put every last personal detail into his lyrics. This inspired me to be vulnerable and completely open in my writing. Nobody sings or plays like JT. And to this day, if I’m having a rough go of it, I blast his records and let that warm voice console me.

Jackson Browne – “For a Dancer”

Another true original with an unmatched voice and sense of melody. I think Jackson is without a doubt one of the best lyricists of all time. His lyrics and melodies flow effortlessly off the tongue and never tire.

Bruce Springsteen – “Growin’ Up”

Springsteen is a legendary rocker and performer. But what really impresses me about the Boss is his songwriting. All of his anthems can be stripped down to an acoustic guitar and still deliver with the same emotion. There aren’t many songwriters that can paint pictures like Springsteen. With him, you’re not just listening to the song, you’re IN the song or maybe even one of the characters.

Carole King – “Will You Love Me Tomorrow”?

Like all of the truly great songwriters, her songs transcend and feel universal and timeless. This song feels perfect, whether you’re listening to Carole’s version or The Shirelles.

Tom Waits – “Shiver Me Timbers”

A truly masterful and utterly unique songwriter. Waits writes about characters and tells stories better than anyone. His lyrics and penchant for perfect timing are well-known, but I also adore Tom Waits’ gift for melody and harmony. His melodies break my heart and are married flawlessly to the lyrics.

Paul Simon – “American Tune”

If you created a singer-songwriter in a lab it would be Paul Simon. Some of the most endearing lyrics and melodies of all time. His songs are so perfect, it’s easy to overlook his guitar playing and singing, which are equally remarkable. Music schools often try to dissect his songs to display the craft of songwriting, but I get the sense that this magic simply flowed out of him.

Elton John – “Mona Lisas and Mad Hatters”

Over the years, some very talented folks have sent me lyrics and poetry to set to music and I’ve always been disappointed with my results. That makes me even more knocked out by Elton John’s ability to marry Bernie Taupin’s lyrics to the most perfect melodies, tempos and chord progressions. I recorded “Goodbye Yellow Brick Road” on my Seventies Roots EP, but I easily could have chosen “Mona Lisas and Mad Hatters,” or any number of tunes. Way too many great options to choose from.

Neil Young – “Comes a Time”

What songwriter list would be complete without Neil Young? Neil is raw unfiltered emotion, live to analog tape with no rewriting or editing. That makes him so special. I can’t think of another songwriter that can cover so much ground with such authenticity.

Randy Newman – “Marie”

Randy Newman is a genius. His character-based songs are on the same level as Tom Waits and his lyrics are just as evocative, biting and unique. It’s impossibly rare to find Newman’s talents as an orchestrator and arranger in the body of a singer-songwriter. “Marie” especially breaks my heart. I believe every word Randy Newman sings.

Townes Van Zandt – “No Place to Fall”

A mythical figure in songwriting, Townes wrote some of the most beautiful and enduring songs of all time. “No Place to Fall” has always spoken to me and broken my heart. Was an honor to record this one.

Bob Dylan – “Simple Twist of Fate”

I admit, as a young kid I was more seduced by the “singers” in this group — artists like Joni, James and Jackson that could sing the phone book. But eventually I became spellbound by Dylan and my affection for him has never waned since. And as I listened more in my life, I realized what an amazing singer and communicator he was. His phrasing, his lyrics, his melodies and his hooks convey the lyrics perfectly. There will never be another Dylan.

Loggins & Messina – “Danny’s Song”

Kenny Loggins went on to have a huge solo career, but the music that he released in the ‘70s with Jim Messina in Loggins & Messina will always be my favorite work. My father used to sing this song to me when I was a kid and it felt like he wrote it for me.

Stevie Wonder – “Love’s in Need of Love Today”

Admittedly my playlist is Laurel Canyon-heavy and that’s what inspired me the most. But I also remember Stevie blaring through speakers as I was growing up. Again, one of the classic singer-songwriters that will never be replaced nor imitated. One in a billion. And on top of that, one of the best, most flexible voices of all time.

Crosby, Stills, Nash & Young – “Our House”

I’ll end my playlist with this classic song that transports you to another time and place. You can almost smell the flowers blooming in this song.

Photo Credit: Alex Berger

WATCH: Son Volt, “Livin’ in the USA”

Posted on by Editor

Artist: Son Volt
Hometown: St. Louis, Missouri
Song: “Livin’ in the USA”
Album: Electro Melodier
Release Date: July 30, 2021
Label: Thirty Tigers

In Their Words: “The song didn’t start out as an intentional homage thing, but in retrospect I see it as a nod to Springsteen’s ‘Born in the USA’ or Neil Young’s ‘Rockin in the Free World.’ Those songs established a thematic tradition. I’m just updating and asking similar questions. How can so much wrong happen in this country that’s held up as an example of what’s righteous? Is America the healthiest or happiest country? Democratic Darwinism is the brutal American reality……” — Jay Farrar, Son Volt

Photo credit: Auset Sarno

LISTEN: Mara Connor, “Old Man”

Posted on by Editor

Artist: Mara Connor
Hometown: Los Angeles, California
Song: “Old Man” (Neil Young cover)
Album: Decades EP
Release Date: May 20, 2021
Label: Side Hustle Records

In Their Words: “I recorded this with Jon Estes in Nashville at the same age Neil Young was when he wrote it (’24 and there’s so much more’) about a caretaker who lived on his ranch. When I first heard the song I was struck by the empathy exhibited by such a young songwriter. I’m also impressed by his economy of language, how in so few words he conveys so much: that as humans, we’re more alike than we are different, and at our core, we all just want to be loved. It’s an affirmation that if we took the time to really look into each other’s eyes and see the humanity there, the world would be far better for it. Can you imagine an insightful folk rock song about an elderly ranch foreman charting on the Billboard Hot 100 today? Me neither, and that’s a shame.” — Mara Connor

Photo credit: Schuyler Howie

8 of Our Favorite Underrated Sitch Sessions

Posted on by Justin Hiltner

Since our first excursion to Bonnaroo in 2013 BGS has been filming, crafting, and releasing Sitch Sessions with the absolute best and brightest musicians and artists in roots music. We’ve been so fortunate to work with new and old friends, freshly discovered and up-and-coming artists, and legendary performers with enormous legacies. After nearly eight years, we’ve amassed quite an archive of sessions, and within that archive more than a few stellar songs and performances have seemingly fallen to the wayside. 

These 8 Sitch Sessions from the BGS archives are a few of our most favorite, underrated moments from our years of shooting sessions. We hope you’ll enjoy a few of these “reruns” — and take a deep dive into our past featured videos yourself!

Nathan Bowles – “Burnt Ends Rag”

One of our favorite shooting locations is a rooftop in downtown Los Angeles, where countless BGS Friends & Neighbors have taped their Sitch Sessions over the years. One of our favorites is this clawhammer banjo performance by Nathan Bowles, which demonstrates that old-time music and its trappings can be perfectly at home in modernity — and in urban settings, too. More banjos in DTLA, please and thank you!

Andrew Combs – “Firestarter”

One fine AmericanaFest week in Nashville in September a few years back we partnered with Crowell Floral, Jacob Blumberg, and Dan Knobler on The Silverstreak Sessions, a series of Sitch Sessions set in a vintage Airstream and flanked by gorgeous flowers and verdant foliage. At the time, “Firestarter” had not yet been released — now you can hear it on Combs’ 2019 release, Ideal Man. For this session all Combs needed was his guitar, this heartfelt song, and that honey sweet, aching voice. 

Alice Gerrard – “Maybe This Time” 

Every opportunity we’ve had to collaborate or speak with Bluegrass Hall of Famer and living legend Alice Gerrard, we’ve taken it! This session is two of a pair we shot with Gerrard, the other a stark, awe-inspiring a capella number that was quite popular on our channels. This Alice original, “Maybe This Time,” is cheerier, lighter, and has that charming old-time bounce in its bluegrass bones. 

With a new documentary film available, You Gave Me a Song, perhaps it’s about time for another session with this hero of ours!

Ben Sollee – “Pretend”

Maybe you’ve seen Mark O’Connor play fiddle while skateboarding, or Rushad Eggleston performing all manner of acrobatics and avant garde silliness with his cello, but do you remember when Ben Sollee toured America by bicycle? In this 2016 session, Sollee demonstrates his cello-while-pedaling chops. 

We’re firm believers that the world needs more bluegrass, old-time, and Americana cello and we’re happy to return to this archived Sitch Session for that reminder!

Caroline Spence – “Mint Condition”

Another session filmed on our home turf in Los Angeles, Nashville-based singer-songwriter Caroline Spence brought “Mint Condition” to her taping fresh off her debut, eponymous release on Rounder Records in 2019. “Mint Condition” displays Spence’s unique skill for writing strong, unassailable hooks that on almost any other songwriter’s page might trend cheesy or trite. Spence instead displays the simple profundity in her lyrics, a skill evidenced plainly in this session.

Laura Veirs – “July Flame”

Over the years, we’ve partnered with festivals, companies, and brands on tailor-made sessions — like our Portland series, where we partnered with our friends at Ear Trumpet Labs on some of our most popular, most viral Sitch Sessions ever! This beautiful, sunny, summery rendition of “July Flame” by Laura Veirs certainly deserves a re-up. 

In 2016, after this session was published, Veirs went on to release case/lang/veirs with Neko Case and k.d. lang. Remember that!? 

Kelsey Waldon – “Powderfinger”

We first filmed a Sitch Session with Kentuckian country singer and songwriter Kelsey Waldon in 2015 — after the release of her debut album, The Goldmine, in 2014. In the time that’s elapsed since, Waldon has followed her golden debut with two more impeccable studio albums, the latest being White Noise / White Lines, which was released on the late John Prine’s Oh Boy Records in 2019. On the tail of White Noise / White Lines, Waldon gave us this gorgeous cover of Neil Young’s “Powderfinger” displaying her talent for cover song interpretations as well as original song sculpting.

Sunny War – “He Is My Cell”

Guitarist and singer-songwriter Sunny War has just released a brand new album, Simple Syrup, as charming and entrancing as ever and built firmly, yet again, upon her unique and idiosyncratic guitar picking style. In 2018 she released With the Sun, an album that included “He Is My Cell,” which ended up featured in a Sitch Session in early 2019 on BGS. 

War recently appeared as a guest on our Shout & Shine series – read our interview here. 

 

The Show on the Road – Bettye LaVette

Posted on by Shelby Williamson

This week on The Show On The Road, we feature an intimate conversation with beloved soul and R&B singer, Bettye LaVette.

LISTEN: APPLE PODCASTS • SPOTIFY • STITCHER

Covering her remarkable six decades in show-business, we dive deep into LaVette‘s beginnings as a Detroit hit-making teenager during Motown’s heyday (her neighbor was Smokey Robinson), to her early career touring with Otis Redding and James Brown, and the hard times that followed, as a music industry steeped in racist and sexist traditions largely turned its back on her.

While other soulful song stylists like Sharon Jones, Tina Turner, Mavis Staples and others saw their status and popularity rise with time, LaVette remains an underrated, best kept secret on the Americana circuit, with younger listeners just discovering her remarkable work covering anyone and everyone from The Beatles to Neil Young to Billie Holiday.

After nearly dropping out of music, her remarkable comeback began in 2005 with a string of acclaimed records — bringing her from half-filled bars to singing “Blackbird” at The Hollywood Bowl with a 32-piece orchestra, being nominated for five Grammy awards, and being inducted into the Blues Hall of Fame.

One thing you’ll notice immediately is her fiery laugh, which punctuates the episode — even when telling the darkest stories, like her early manager getting shot and her 1960s hits being recorded by white artists, leaving her versions largely forgotten. Her Grammy-nominated newest LP Blackbirds, produced by legendary drummer Steve Jordan, shows her at her most vulnerable best.

Photo credit: Mark Seliger

Blending Folk and Soul, Black Pumas Gain Grammy Attention (Part 1 of 2)

Posted on by Editor

About four years ago in Austin, Texas, Eric Burton and Adrian Quesada were recommended to one another through a mutual friend — someone who could imagine the inevitable magic of pairing Burton’s magnificent singing to Quesada’s cool, pulsating productions. Although these two musicians didn’t know each other, they somehow needed each other. As a songwriter inspired by folk music and soul music alike, Burton sought a vehicle to carry him from busking to the bigger stage, while Quesada — already a Grammy winner for his work with Grupo Fantasma — sought that voice to flesh out the instrumental tracks he’d crafted in his studio, Electric Deluxe Recorders.

Nobody could accuse them of rushing it, as phone calls turned into studio collaborations, and ultimately a few gigs at the South Austin venue, C-Boy’s, just to show their friends what they were working on. However, once the secret was out, the lines to see them perform stretched around the block and Black Pumas promptly landed a recording contract, with a self-titled debut album landing in 2019. Since then, their partnership has led to four Grammy nominations, a trophy for Emerging Act of the Year from the Americana Music Association, an invitation to perform a song for the Biden-Harris inauguration, and even a Super Bowl commercial. In conversation, they are quick to credit each other with the sonic touches that have turned this intriguing duo into an international draw.

For the first part of our two-part Artist of the Month interview with Black Pumas, Burton and Quesada chatted with BGS about the roots of “Colors,” their first show together, and what the Austin music community is really like.

(Editor’s note: Read part two here.)

BGS: Finding the acoustic version of “Colors” was such a nice surprise. What kind of vibe were you going for when you recorded that version?

Eric: I think that the first time Adrian heard “Colors” was when I brought the guitar to the studio. I had been trying to record that song with different engineers and producers, and a lot of my friends would reflect that, “Man, the acoustic version has always been my favorite!” When I finally met Adrian, who was equally moved by the song, we were able to not necessarily think about it, really. Adrian started with a palette of sound that went hand in hand with the way that I write music as well. We just did it together and it came out how it did. We have amazing band members and we were able to just press record and do the thing.

Adrian: We recorded quite a few acoustic things, and as much as “Colors” is a Black Pumas performance, at the core it’s something that Eric wrote on acoustic guitar. So whenever you get to hear it like that, it’s more from the source.

I love the acoustic version of “Fast Car,” too. What was going through your mind when you heard that on playback for the first time?

Eric: You know, any time I play that song, a tear comes to my eye because it is one of a few covers that I knew when I was busking. It was a song that would move people to stick around, or tip, or want to engage after the song. So, it was an interesting feeling listening back to that song as a Black Puma, with Adrian Quesada, because I could feel how far I’d come from busking on the Santa Monica Pier to recording at Electric Deluxe.

Is there a lyric in that song that still tugs at your heart when you sing it?

Eric: The lyric that I really attach to is “You’ve got a fast car and I want a ticket to anywhere.” The first lyric is one of the most powerful lyrics. It sets the emotional canvas for the rest of the song. It’s just reflective of the strong desire in many people who start off in the troubadour style of playing and performing, a presentation to passersby.

Adrian, how did you approach that session, being a classic song that everybody knows?

Adrian: Oh man, I just tried to stay out of the way, honestly. Eric’s played it for so long and so well. We were going to work up an arrangement for the band to start playing it at our shows, but we didn’t get it together in time, so he just did it himself as an encore one night. All of us were watching from the side of the stage. It was like, man, why would we try to reinvent the wheel? I just try to complement the song, and the way that Eric emotes it is something that doesn’t need a lot. You don’t need to overthink it.

I love the falsetto on songs like “OCT 33.” It’s effective because you don’t use it all the time. Did you have to figure that out naturally? Or was there ever a conversation like, “Whoa, too much falsetto”? Or, “I think we need more”?

Eric: Honestly I come from playing folk music. I love Neil Young and Bob Dylan and dig on the Beatles — so when I first started playing music, I was playing acoustic folk soul music. When I got Adrian some tracks, I was living with a roommate and he was saying, “Hey man, I think you’re singing a little bit soft on these songs.” I said, “What do you mean?” And he’s like, “Just go back and listen to Wilson Pickett and Marvin Gaye and Otis Redding,” and when I did that, I was able to kind of integrate the way Marvin Gaye did that head voice, like, “Oooh!” That’s kind of his move. So, I was able to borrow some of the razor-sharp vocal sounds that you hear in these individuals to make some better paints for the canvas that was Adrian’s awesome production.

Adrian, you have a great vocal range to work with. What is that like for you as a producer, knowing you could take these arrangements anywhere?

Adrian: Yeah, I’m a big fan of the falsetto, but I was digging everything he was throwing out. So, when he goes falsetto, I go for it. When it’s not falsetto, unless I feel like it doesn’t work, I just let Eric’s instincts guide him, and what he feels like singing.

What do you remember about the first show you played together?

Eric: It was amazing, right? It was rad.

Adrian: We didn’t even rehearse a lot. We threw it together in a couple of days and we didn’t know what we were getting into. I remember thinking, like, “All right, this should be fun. Worst case scenario, we could drink some liquid courage before the show and have fun. But it completely surpassed my expectations and it was a blast, man. Those early shows we did at C-Boys still live in my memory as some of the best times.

Why did C-Boys seem like a good place to kick this off?

Adrian: It feels like a cool, downhome, neighborhood bar that has amazing music. Steve Wertheimer, who’s the owner, really believed in myself and Eric early on. It’s a competitive town for live music and he’s always been a huge supporter. We just sent him a song and he dug it, and gave us a residency. It was pretty amazing that he took a chance on it. Eric did a solo residency for a while at one of his other venues. He was always a big supporter.

Tell me what you mean when you say that the Austin music scene is competitive.

Adrian: I would say “competitive” in the way that there’s a lot of talented people, but not “competitive” in a way that’s cutthroat, you know what I mean? I feel like there’s a good support system, where everybody’s supportive of people. It’s not competitive in that way. It’s like, you better bring something to the table because there are a lot of people that play and are very talented.

So when this was all happening, were you thinking of a record deal and management and all that? Or was it more about just getting together to play?

Eric: I think we were just both stoked to get on a stage. At that point, we had spent a few months together in the studio. Adrian presented some instrumentals that he was working on, for me to then write songs over. And then I was introducing myself to Adrian through my songwriting and sharing some of the music that I came up with, for him to arrange around. We were having so much fun that we were saying, “Well, we should take this to the stage, just to see what our friends think about it. I don’t think either of us invited too many people to the show, or promoted it, or anything big like that. We were just curious about how it would go over with the people that we know.

Adrian: We just played and we weren’t thinking industry. We were just going to have fun. Originally we thought we would maybe play for a month or two. We didn’t have a big plan other than to play music. We didn’t think that far into the future. We thought, “We’ll do this until it’s not fun.” There wasn’t a detailed, long-term plan for anything. One thing was just leading to another.

Editor’s Note: Read the second half of our interview with Black Pumas here.

Photo credit: Jackie Lee Young

LISTEN: Kandle and Kendel Carson, “Only Love Can Break Your Heart”

Posted on by Editor

Artist: Kandle and Kendel Carson
Hometown: Vancouver, British Columbia
Song: “Only Love Can Break Your Heart”
Album: Birds EP
Release Date: January 1, 2021

In Their Words: “As a ’90s kid surrounded by rock ‘n’ roll, I couldn’t help but fall in love with Neil Young. Many of his songs were the first I ever learned to play on guitar and his influence has always been a little bit present in my songwriting. Kendel Carson and I set out to do this project simply to bring a little joy into our lives and to those who choose to listen. These are dark times and often on a hard day, all I need to lift me up is a beautiful melody and a lyric I can relate to.” — Kandle

Photo credit: Jeff Mitchell

MIXTAPE: An Indigo Takeover by Spotify’s Laura Ohls

Posted on by Editor

“Our Nashville-based team had been having ongoing conversations since early 2019 regarding just how diverse the taste of our country music audience was. It was clear to us that there were many modern songs in the genre, touching on Americana, rock, roots, and bluegrass, that had sonic and thematic throughlines. We were also seeing many of these artists on the road together (Marcus King Band joined Chris Stapleton, Yola toured with Kacey Musgraves), talking to each other on socials, echoing the strong community within the scene. With this in mind, the goal was to create a playlist brand that reflected these intersections and the audience appetite for a playlist of this nature. With the success of the playlist since its launch in March, Indigo has continued to be a priority for us, which is reflected by enthusiastic listening from users. We’re celebrating the playlist this month with a sizzle video, new video playlist formats, artist sharecards, billboards, and more, in hopes of bringing more fans aboard the Indigo train.” — Laura Ohls, Senior Editor, Folk & AAA, Spotify

 (Editor’s note: Listen to Laura Ohls’ Indigo Takeover Mixtape below.)

Zach Bryan – “Heading South”

Twenty-three years old and on active duty in the US Navy, Zach Bryan might not be what one would expect from a country act on the rise. The Oklahoma native’s self-released material from the fall of 2019 is gaining traction on Spotify, creating buzz throughout the Nashville music industry. At the time of its initial release he had no publicist, no manager, no team to speak of whatsoever, yet his live videos sparked the interest of an audience on social media — which ultimately led to the flood of activity on streaming we are seeing today. His biggest song to date, “Heading South,” has been included in our Indigo playlist since its launch in March and remains a consistent tentpole track. Though he hasn’t had the opportunity to tour as a result of deployments and the pandemic, expect crowds of fans when the time comes.

Caylee Hammack – “Small Town Hypocrite”

One of country’s most notable rising stars, Caylee’s powerful and vulnerable ballad proves how strongly personal songwriting still resonates in the genre. A vocal standout in the playlist, you’ll feel her heartbreak and strength throughout the song.

Flatland Cavalry – “War With My Mind”

While the song was not written during the pandemic and this time of quarantine, the Texas band’s newest song lyrics grapple with internal battles we all face due to lack of stability, isolation, or just general disruption, which certainly resonates with listeners today.

Brent Cobb – “Keep ‘Em on They Toes”

A real toe-tapper, this track encourages the listener to follow your own path versus one that has perhaps been laid out for you. The song also suggests taking higher ground when being tested by others, some sage advice we could all use during these stressful times. Cobb’s classic, warm tone shines through this cut.

Hailey Whitters – “Heartland”

The Iowa-native-turned-rising-country-star pays homage to her roots in this nostalgic song about the place she was born and raised. As the saying goes, you can take the girl out of the Heartland…

Cut Worms – “Sold My Soul”

A hint of Neil Young, a splash of Guy Clark, a shake of Gram Parsons, and you get this great tune from Cut Worms, AKA Max Clarke, embodying country-folk storytelling at its finest.

Jonathan Terrell – “Never Makes a Sound”

I have seen Jonathan Terrell’s music described as “Springsteen in a Honky Tonk,” and no song better reflects said description on Terrell’s new record than this one. Passionate and driving, it’s a real rocker on Indigo.

Aubrie Sellers – “Far From Home”

A little bit country, a little bit rock ‘n’ roll, Aubrie makes the kind of gritty Americana that a playlist like Indigo was made for. The title track and opener off her newest album is a more subtle take on her “garage country,” but is exemplary of how dynamic she is as an artist.

The War & Treaty – “Five More Minutes”

The husband-and-wife duo have always written songs that strike a chord and can often bring the listener (me) to tears, but they’ve managed to accomplish this with a song that feels upbeat and… happy? The roots of the song, however, are quite dark. Michael Trotter Jr, after years of mental and financial struggles, contemplated leaving this world. In response his wife, Tanya, pleaded to him, “Just give me five more minutes. Stay with me. Just five more minutes to love you.”

Charley Crockett – “Welcome to Hard Times”

Is there really another song title on this playlist that is more appropriate for our day and age? Following his 2019 album, The Valley, and a severe health scare, Charley’s newest album (and title track) touches on failures and a system that’s rigged for said failures. Crockett is one of those artists that embodies all subgenres and eras under the American roots umbrella, and it’s songs like these that showcase how his art feels old and familiar while simultaneously being new and exciting.

Images and artwork courtesy of Spotify

BGS 5+5: Native Harrow

Posted on by Editor

Artist: Native Harrow (Devin Tuel and Stephen Harms)
Hometown: Just outside of Philadelphia
Latest album: Closeness
Personal nicknames (or rejected band names): A good band name we didn’t use is “Tuel & Harms.” As for personal nicknames, well, those are secret and too embarrassing to share.

Answers provided by Devin Tuel

Which artist has influenced you the most … and how?

Though I could list about 50 artists, I feel the most honest answer is Neil Young. I used to listen to Live at Massey Hall while I rode the M1 bus up and down First Avenue from my college to the Lower East Side. Listening not just to the brilliant songs and guitar playing, but also to the way he held attention, to the way he tuned, to his grumbling, and his storytelling. I was transfixed by that record.

I grew up listening to Neil. My Dad is a huge fan. He took me to see him perform when I was young and I remember being on the edge of my seat the entire show, mouth agape. I felt so electric after seeing that. And thru the many years of my own career I have looked to him for inspiration, for guts when I can’t find mine, and for a “What would Neil do?” approach to difficult situations. He seems to have a reverence for nature that I share and I have always felt he could appreciate an open field just as I do.

What’s your favorite memory from being on stage?

This past year and much of 2019 we have been in the UK more than the States supporting our release of Happier Now with Loose. We have played in so many beautiful spaces and met many wonderful people. These are some of our favorite memories of touring to date. And in January we played a sold-out show at Paper Dress Vintage in London during the Americana UK Fest, and as I was singing the opening notes of our first song, “Can’t Go On Like This,” I realized there were people in the audience singing along with me. If any musician ever says they don’t care about that, they’re lying. It’s the most special, heartwarming, exciting thing ever. Someone loves your song enough that they want to sing with you. That’s the best.

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

I grew up dancing — I was a ballerina with a Pennsylvania-based ballet company for about 13 years. So since a very young age I have been exposed to theatre life and the world of the performing arts. I still find seeing ballet so moving I often end up in tears. The classical music I grew up dancing to feels deeply rooted in my muscles and bones. It is so evocative of human emotion and passion and can take your spirit on such a journey. I think that is something we are always trying to achieve with our albums. We want to take you on a journey where the listener is transported away for a while and when the last notes ring out, you are slightly changed by what you’ve just experienced.

Certainly poetry has long been an art form that I have drawn inspiration from. I am deeply connected to nature and thus very moved by the poetry of the natural world — Whitman, Wordsworth, Frost, Keats, etc.

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

Stephen and I take two walks daily that wind up and down the rolling hills near our home, past fields of sweet grass and hay, dense forest, and old farm houses. Whether the sun is shining or grey clouds and rain accompany us, it’s so necessary to turn off and just be in nature. I am always making a reference to the weather, the season, or birds on several songs on each album we’ve made. The song “Turn Turn” on Closeness begins with “Turn, turn, watch the weeks go by, moving slowly ‘cross the field ‘til the grass is greener….”

I have written poetry for over a decade and almost all of it is nature-based! There is endless inspiration and it is ever-changing, full of life and full of mystery.

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

Hardly ever! I am honest when it is about me. Which for better or for worse has kept our songs raw and truthful. The best material I have to draw from is that which is stirring in my own heart and before my own eyes. So I try to tell it honestly and rarely rely on fiction to save my face.

Photo credit: Parri Thomas

BGS 5+5: Grant-Lee Phillips

Posted on by Editor

Artist: Grant-Lee Phillips
Hometown: Nashville, Tennessee
Latest album: Lightning, Show Us Your Stuff
Personal nicknames (or rejected band names): Pistol, Ranchero

Which artist has influenced you the most … and how?

Neil Young I suppose. His music hit me at just the right time. I had been playing guitar for two years when I first heard “Down by the River” and “Cortez the Killer.” I was 16. My ears were wide open. Young’s songs spoke to me like no other. He was also the first singer I saw in concert. All alone, with a rack of acoustic guitars, an upright piano on one side of the stage, a grand on the other, a pump organ. I was mesmerized.

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

My family loved music. Hee Haw was a big one. We never missed a show. My grandma loved Elvis and Johnny Cash. The excitement I felt when Roy Clark played “Orange Blossom Special” or “Foggy Mountain Breakdown” on the electric guitar, I wanted to feel that all the time. The TV show Austin City Limits introduced me to Lightning Hopkins, John Prine and Tom Waits. I recall those moments like yesterday.

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

The hardest prolonged period of song wrestling was back in the ‘90s after Grant Lee Buffalo had put out a few albums. The pressure was on to deliver. The question was, deliver what to whom? I did my best to put all that noise out of my head. You can go from dancing on a ledge like Buster Keaton one minute to vertigo the next. Thankfully I had come across the film director Andrei Tarkovsky’s defiant book Sculpting in Light and that became a temporary manifesto.

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

I paint a great deal these days. Landscapes and still life. It slows me down and demands another degree of focus. Composition involves strategic thinking but there’s a wild side to painting. I like that balance. It gives me insight to making music.

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

Tennessee is one of the greenest states in the country. I’m never so in tune with my own spirit as when I surrounded by elms and oaks. During this pandemic our family has made a point to take a drive every day. We drive through the country, roll down the windows and breathe some fresh air. One of my other rituals involves drawing. Every day I set aside 20-30 minutes to sketch. I have notebooks full of trees, landscapes in the works. Trees, clouds — that’s my sanctuary. Some of these images find their way into my lyrics, which is just another way of painting a picture.

Photo credit: Denise Siegel-Phillips