Tag: North Carolina

LISTEN: The Dead Tongues, “Garden Song”

Posted on by Editor

Artist: The Dead Tongues
Hometown: Asheville, North Carolina
Song: “Garden Song”
Album: Dust
Release Date: April 1, 2022
Label: Psychic Hotline

In Their Words: “Dust came together like no other record I’ve done. It came out of a period of silence and isolation where most days I would find myself studying trees and cutting trails through the deep woods. Writing, recording and producing this album was as much about finding new ways of relating to making music as it was about making a record. Dust is simply a byproduct of that exploration when the silence finally broke. It was written in a matter of weeks, recorded in days. It just flowed. It’s this idea of uprooting and rebirth and cycles, and the past informing the future, and the future informing the past. There is no single story. Everything is connected. ‘Garden Song’ touches on an idea of trying to be where we are, rather than getting too caught up in building narratives and making judgments on our experiences in the moment. It’s a song about finding home in constant transition.” — Ryan Gustafson, The Dead Tongues

Photo Credit: Charlie Boss

WATCH: Valorie Miller, “Apocalachia”

Posted on by Editor

Artist: Valorie Miller
Hometown: Asheville, North Carolina
Song: “Apocalachia”
Album: Only the Killer Would Know
Release Date: May 6, 2022
Label: Blackbird Record Label / Indie AM Gold

In Their Words: “‘Apocalachia’ is not only a song on the record, it’s also an imaginary realm I inhabit when wrestling with life’s larger conundrums. When I realized that my beloved Appalachian home was contaminated with chemicals manufactured for warfare, it seemed natural to merge the word ‘apocalypse’ with ‘Appalachia.’ While the subject seems dark to many, I’m simply writing what happens to me and exhibiting willingness to speak of subjects that most would rather avoid. No, it’s not ‘upbeat,’ but it’s real and it contains a message of hope: the earth will heal herself from wounds inflicted by humans. A whole new garden will grow, y’all!” — Valorie Miller

Photo Credit: Meg Reilly

Amanda Anne Platt & The Honeycutters Deliver ‘The Devil and the Deep Blue Sea’

Posted on by Editor

On a clear, blue, late-winter afternoon outside of Black Mountain, North Carolina, Amanda Anne Platt was sitting alone on the deck of a coffee shop. Across the state road were dormant railroad tracks and beyond them the Blue Ridge Mountains, too close to see the blue ridge they cut across the sky. Workers were on the roof sawing and nailing shingles. Platt put away her book, pushed aside her long-finished coffee mug, and smiled against the sun.

For someone who sings so many sad songs, Platt is pretty easygoing. Granted, it’s not news that singing sad songs makes people feel better, and there are enough on her new album to give a singer a whole new lease on life. Then again, Platt barely remembers the album is new. The process this time, she notes, “has been so gradual that it doesn’t even feel like it was a mountain to climb, or that there’s any big release. It was a very gentle roll that gathered some momentum and happened.”

The resulting project, The Devil and the Deep Blue Sea, features songs that Platt and her band, the Honeycutters, released two per month over the past year, gradually amassing enough to satisfy a vision of a double album that she’d had for a while. “I had, a long time ago, decided I wanted to make an album called The Devil and the Deep Blue Sea,” she says. “I had the concept of one half being more upbeat, full-band treatment, and the other half being quiet, introspective, more solo-type stuff.”

Though the “Deep Blue Sea” portion of the album is not entirely solo, the concept plays nicely together. It is thick on Platt’s unrestrained vocals, intimate melodies, and truth-centered storytelling. The album ruminates on the concept of home in a way that stretches beyond the stuck-at-home-and-made-an-album themes coming from so many songwriters in the Covid era. Part of that is due to the way the recording process evolved.

“When the pandemic hit,” she says, “we started doing some home recordings. Then I went in alone to the studio to do a few demos, to inform the home recordings. That morphed into getting the whole band involved in remote recording, and that morphed into doing the singles. And then that morphed into [thinking] we need to do this every month or we’ll never get this done because we don’t work well without deadlines—or, I don’t work well without deadlines.”

As organic and quarantine-influenced as the recording process was, its themes—loss, family, home, the relationship Platt, as the band’s songwriter, has with all these things—were borne out of a period preceding the pandemic, when a few major life events took place one after another.

“A lot of these songs,” she explains, “were written right when my parents were selling the house that I grew up in, and there was a lot of change and upheaval going on in my life at that point. That was right before the pandemic and right before I had my daughter. There were a few years there where it felt like nothing was sure. Everything I ever thought of as home was like—never mind, that’s gone. [Also] everything I thought I knew about myself, because you know becoming a mother is such a mind-blowing experience. And then the pandemic happens, and now everybody feels that way regardless of how their last few years have been.”

Platt and her husband relocated from Asheville to Black Mountain around that time, making a conscious move away from the town that had been home since she arrived in Western North Carolina in 2004.

Originally from New York, Platt moved South to pursue her music because she had grown up listening to the country music her parents always played. They had both lived for a time in Austin, Texas, and had a soft spot for Southern artists like Lucinda Williams and Jimmie Dale Gilmore. Thus, when she gained traction playing shows around the Asheville area, she was shy about publicizing her upbringing in the Northeast, lest anyone write her off as a country-singing poser.

“I felt like being a Yankee was sort of a handicap,” she admits, “and really, those first couple years and on our first album—I listen to that first album and I sound like I’m trying very hard to sound like a country singer. Whereas I feel like over time I’ve become more comfortable with who I am.”

Indeed, over the course of seven full-length albums, Platt’s voice has become more sure-footed. She may say that’s because she’s no longer trying to hide her Yankee origins, but there’s more to it than just that. Her songwriting has become stronger and there’s more authority in the instrumental breaks as well. Part of this is what happens when a singer gets used to the sound of her own voice on tape, when a band has clocked as many miles together—both literally and figuratively—as have the Honeycutters. But whatever it is that has swirled together, The Devil and the Deep Blue Sea carries with it some of Platt’s finest work yet.

“When I first moved to North Carolina,” she continues, “I was trying very hard to sound like I was from North Carolina and writing songs about North Carolina. Maybe me writing so much about New York and me thinking so much about that on this album was a bit of a homecoming in a way.”

One of its strongest tracks is titled, simply, “New York.” It’s heavy on sentiment and beautifully captures the conflicting emotions of saying goodbye to her childhood house for the last time.

My whole world grew up from this house
Now we’re turning all the lights out
And I’m standing in the doorway with one eye on the street
Afraid I’ll take the floorboards with me if I move my feet.

To hear Platt tell it, there is something meaningful to the fact that her parents sold her childhood home around the same time she moved to Black Mountain and became a parent herself, leaning into building a new home that will become such a space for her daughter. Hard times ultimately lead to growth, after all, and Platt is at a place in her life where she welcomes the evolution—both personally and musically.

“For a long time,” she says, “I was more reliant on my band. I’m still reliant on them in the way that I love playing with them and I love what they bring to the table, and I always feel stronger when I have them behind me. But over the years I’ve gotten more able to hold my own. I think it makes me more able to sing over them and be in front of them when I’m with them. Part of that was [shifting] to using my own name several years ago. And then just being more comfortable by myself now, too. I used to feel very sheepish playing solo shows and now I don’t mind them.”

Photo Credit: Sandlin Gaither

Carolina Calling, Greensboro: the Crossroads of Carolina

Posted on by Shelby Williamson

Known as the Gate City, Greensboro, North Carolina is a transitional town: hub of the Piedmont between the mountain high country to the west and coastal Sandhill Plains to the east, and a city defined by the people who have come, gone, and passed through over the years. As a crossroads location, it has long been a way station for many endeavors, including touring musicians – from the likes of the Rolling Stones and Jimi Hendrix at the Greensboro Coliseum, the state’s largest indoor arena, to James Brown and Otis Redding at clubs like the El Rocco on the Chitlin’ Circuit. Throw in the country and string band influences from the textile mill towns in the area, and the regional style of the Piedmont blues, and you’ve got yourself quite the musical melting pot.

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This historical mixture was not lost on one of Greensboro’s own, Rhiannon Giddens – one of modern day Americana’s ultimate crossover artists. A child of black and white parents, she grew up in the area hearing folk and country music, participating in music programs in local public schools, and eventually going on to study opera at Oberlin Conservatory in Ohio. Once she returned to North Carolina and came under the study of fiddler Joe Thompson and the Black string band tradition, she began playing folk music and forged an artistic identity steeped in classical as well as vernacular music. In this episode of Carolina Calling, we spoke with Giddens about her background in Greensboro and how growing up mixed and immersed in various cultures, in a city so informed by its history of segregation and status as a key civil rights battleground, informed her artistic interests and endeavors, musical styles, and her mission in the music industry.

Subscribe to Carolina Calling on any and all podcast platforms to follow along as we journey across the Old North State, visiting towns like Durham, Wilmington, Shelby, and more.

Music featured in this episode:

Rhiannon Giddens – “Black is the Color”
Andrew Marlin – “Erie Fiddler”
Carolina Chocolate Drops – “Cornbread and Butterbeans”
The Rolling Stones – “Rocks Off”
Count Basie and His Orchestra – “Honeysuckle Rose”
Roy Harvey – “Blue Eyes”
Blind Boy Fuller – “Step It Up and Go”
Rhiannon Giddens, Francesco Turrisi – “Avalon”
Carolina Chocolate Drops – “Snowden’s Jig (Genuine Negro Jig)”
Barbara Lewis -“Hello Stranger”
The O’Kaysions – “Girl Watcher”
Joe and Odell Thompson – “Donna Got a Rambling Mind”
Carolina Chocolate Drops – “Country Girl”
Carolina Chocolate Drops – “Hit ‘Em Up Style”
Our Native Daughters – “Moon Meets the Sun”
Rhiannon Giddens, Francesco Turrisi – “Si Dolce é’l Tormento”

BGS is proud to produce Carolina Calling in partnership with Come Hear NC, a campaign from the North Carolina Department of Natural & Cultural Resources designed to celebrate North Carolinians’ contribution to the canon of American music.

Photo Credit: Ebru Yildiz

Enter to win a prize bundle featuring a signed copy of author and Carolina Calling host David Menconi’s ‘Step It Up and Go: The Story of North Carolina Music,’ BGS Merch, and surprises from our friends at Come Hear North Carolina.

BGS Top 50 Moments: Shout & Shine

Posted on by Shelby Williamson

It was late 2016 when the world first learned of North Carolina’s HB2 – the “bathroom bill” – prohibiting trans folk from using bathrooms and locker rooms that aligned with their gender identity. The International Bluegrass Music Association was having its conference in Raleigh that autumn, and we at BGS were feeling restless about wanting to do something at the conference to create a safe space for marginalized artists who were already not feeling welcome at the annual event. And thus the first ever Shout & Shine was conceived and held at the Pour House in Raleigh on September 27, 2016.

In the years since its inception, Shout & Shine has taken on multiple forms – from a one-night showcase, to a day-long stage, to an ongoing editorial column and video series on the BGS homepage, Shout & Shine continues to create a dedicated space for diverse and underrepresented talent in the roots music world.

“Shout & Shine began with a simple mission, to create a space for marginalized and underrepresented folks in bluegrass to be celebrated for who they are, unencumbered by their identities,” explained Shout & Shine co-creator Justin Hiltner. “Since 2016, it’s grown into so much more but above all else, it continues to be exactly what we created it to be first and foremost: a community. Our Shout & Shine community demonstrates that these roots music genres are for everyone; they always have been and they will be in the future, too.”

Past lineups have included Amythyst Kiah, Nic Gareiss, Kaia Kater, Alice Gerrard, Jackie Venson, Lakota John, The Ebony Hillbillies, Cathy Fink & Marcy Marxer, Yasmin Williams, and many more.

You can read about the first Shout & Shine event from 2016 here and more Shout & Shine video sessions and features here.

Carolina Calling, Shelby: Local Legends Breathe New Life Into Small Town

Posted on by Shelby Williamson

The image of bluegrass is mountain music played and heard at high altitudes and towns like Deep Gap and remote mountain hollers across the Appalachians. But the earliest form of the music originated at lower elevations, in textile towns across the North Carolina Piedmont. As far back as the 1920s, old-time string bands like Charlie Poole’s North Carolina Ramblers were playing an early form of the music in textile towns, like Gastonia, Spray, and Shelby – in Cleveland County west of Charlotte.

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In this second episode of Carolina Calling, a podcast exploring the history of North Carolina through its music and the musicians who made it, we visit the small town of Shelby: a seemingly quiet place, like most small Southern towns one might pass by in their travels. Until you see the signs for the likes of the Don Gibson Theatre and the Earl Scruggs Center, you wouldn’t guess that it was the town that raised two of the most influential musicians and songwriters in bluegrass and country music: Earl Scruggs, one of the most important musicians in the birth of bluegrass, whose banjo playing was so innovative that it still bears his name, “Scruggs style,” and Don Gibson, one of the greatest songwriters in the pop & country pantheon, who wrote “I Can’t Stop Loving You,” “Sweet Dreams,” and other songs you know by heart. For both Don Gibson and Earl Scruggs, Shelby is where it all began.

Subscribe to Carolina Calling on any and all podcast platforms to follow along as we journey across the Old North State, visiting towns like Greensboro, Durham, Wilmington, Asheville, and more.

Music featured in this episode:

Charlie Poole & The North Carolina Ramblers – “Take a Drink On Me”
Flatt & Scruggs – “Ground Speed”
Don Gibson – “I Can’t Stop Loving You”
Andrew Marlin – “Erie Fiddler” (Carolina Calling Theme)
Hedy West – “Cotton Mill Girl”
Blind Boy Fuller – “Rag Mama, Rag”
Don Gibson – “Sea Of Heartbreak”
Patsy Cline – “Sweet Dreams ”
Ray Charles – “I Can’t Stop Loving You”
Ronnie Milsap – “(I’d Be) A Legend In My Time”
Elvis Presley – “Crying In The Chapel”
Hank Snow – “Oh Lonesome Me”
Don Gibson – “Sweet Dreams”
Don Gibson – “Oh Lonesome Me”
Chet Atkins – “Oh Lonesome Me”
Johnny Cash – “Oh, Lonesome Me”
The Everly Brothers – “Oh Lonesome Me”
Neil Young – “Oh Lonesome Me”
Flatt & Scruggs – “Foggy Mountain Breakdown”
Bill Preston – “Holy, Holy, Holy”
Flat & Scruggs – “We’ll Meet Again Sweetheart”
Snuffy Jenkins – “Careless Love”
Bill Monroe – “Uncle Pen”
Bill Monroe – “It’s Mighty Dark To Travel”
The Earl Scruggs Revue – “I Shall Be Released”
The Band – “I Shall Be Released”
Nitty Gritty Dirt Band – “Will The Circle Be Unbroken”
The Country Gentlemen – “Fox On The Run”
Sonny Terry – “Whoopin’ The Blues”
Sonny Terry & Brownie McGee – “Born With The Blues (Live)”
Nina Simone – “I Wish I Knew How It Would Feel To Be Free”

BGS is proud to produce Carolina Calling in partnership with Come Hear NC, a campaign from the North Carolina Department of Natural & Cultural Resources designed to celebrate North Carolinians’ contribution to the canon of American music.

Greensky Bluegrass Embrace Musical Therapy Throughout ‘Stress Dreams’

Posted on by Editor

For a band as enmeshed in the live-show experience as Greensky Bluegrass, COVID-19 has been a heavy load to bear. Through cancelled shows, isolation and a two-decade milestone that came and went without proper celebration, a band notorious for letting their creative freak flag fly on hot-rod fusions of bluegrass, jam rock and Americana was cooped up … and stressed out. But not anymore.

Now back on the road and releasing that pent-up energy, Greensky Bluegrass have dropped their eighth studio album, Stress Dreams, which helps capture their difficult chapter in unique terms. For the first time, new members contributed songs to a project surely born of the moment, but not limited by it either. Fresh sounds, expansive arrangements and the most inspired storytelling of their career helped drive the group off the couch and back where they belong, with their ambition clearly intact.

“We’ve accomplished a lot,” dobro player Anders Beck tells The Bluegrass Situation. “We have an incredibly loyal fanbase. We play three nights at Red Rocks that are sold out [each year]. We’ve done it, whatever it is. But for me the idea of someone who’s never heard this band hearing this album, that’s what’s exciting to me, and I hope that happens. … We’re never gonna be [the biggest band in the world], but I hope the sincerity of our music comes through, and the sincerity of these five friends who support each other.”

Just before the album arrived, Beck called in to chat about Stress Dreams — and where the band finds itself, two decades in and one pandemic down.

BGS: You’ve just passed the 20th anniversary of the band, and this album makes it seems like everyone is still inspired by making music. How cool is to still feel that way after so long?

Anders Beck: Yeah, it’s crazy to me. It really is. It’s insane to think the band has been doing this for that long. I joined the band [13 years ago], but Dave [Bruzza], Paul [Hoffman] and [Michael Arlen] Bont, when they were living in Kalamazoo, they were literally like 19- or 20-year-olds. … The first time they played was a Halloween party at Dave’s house full of stoner crazy people, and someone asked what the name of the band was. They didn’t have one, so someone said, “You should call it Greensky Bluegrass.” It was the first time they played! To me it’s really funny.

At the time they were a traditional bluegrass band, and for the first seven years or so they played around a single mic. But the joke of Greensky Bluegrass, the pun at the heart of it, is that “Greensky” is the opposite of “Bluegrass,” right? That’s why it was funny, it was a joke. But then as we have evolved, we have become more like our name than anyone could have imagined! I was talking to someone about it the other day, and it was like “We play bluegrass, but we also play the opposite of bluegrass, and that’s what Greensky Bluegrass is.” The name that someone made up at a house party has really come to fruition.

Last time we talked, it was 2019 and All for Money was just coming out. A big part of that was capturing the passion of the live show, so what was the approach for Stress Dreams?

We had sort of planned on making a record around 2020 or so, and then, you know, a global pandemic hit. We didn’t see each other for months and everything was shut down, so I think we all started writing a little more topically. … It was weird for us, and the songs sort of evolved because of the situation we were in. It was incredibly unique, and not something I expected – and also not something I’d ever choose to do again. But to have our bass player, [Mike] Devol, for example, who has never written a song (or at least never showed us a song he wrote), all the sudden he sends us these songs that are unbelievable, like “Stress Dreams,” “New and Improved,” and “Get Sad.”

Even I wrote a song called “Monument,” and it’s the first one I’ve ever written for an album of ours. … After COVID, I just felt like I had something to write about, and that’s what “Monument” is. The reality is you spend so much time building something, and then suddenly it’s just kind of swept away. The rug gets pulled out from under you. … But we decided that we didn’t want it to be a sad song — like it should be optimistic — so we made the melody and chords and the whole vibe like, if this is the first song we play when we come back, and there’s 10,000 people in a field at Telluride or Bonnaroo or something, let’s make it feel like that vibe. So we did, and it worked! Playing that song at Red Rocks this year, after having one or two years cancelled, it was fucking emotional.

How did recording Stress Dreams work out? Was that one of the first times you could all get back together?

Totally. We did some pre-production in Winter Park, Colorado, where we went to a cabin and started sharing songs for like five days. … Then we all flew to Vermont, and this was like the height of COVID. Like, sketchy times. At the studio, we were nervous about getting COVID from the studio people, and they were nervous about getting COVID from us, so they literally just handed us the keys. It was awesome. … We were there for two weeks. Then we went home for a month or two, listening, then we go back to Asheville to Echo Mountain, where we’ve recorded before. That place feels really comfortable. We did two weeks there, then went home for a while and then came back to do two more weeks [in Asheville]. It was almost, I don’t want to say leisurely, but we had time to fuck around.

That’s not the normal pace, since you’re usually busy on the road. Did that have on any impact on how the sound evolved? I noticed a lot more classic rock-y guitars and pianos.

Well, the electric guitar sound is me on dobro, and that’s evolved from our live shows. I’ve created this thing with my dobro where I put an electric-guitar pickup on it, and Paul Beard, who builds my dobros, helped me do that. So, I can flip a switch and it goes to an amp, so it’s actually a real electric guitar. …

Like on “Grow Together,” I was playing my dobro through twin Marshall stacks, the exact year and setup that Jimi Hendrix used. Glen, our engineer, was like, “Well, you know what Jimi did,” and he flipped some cables around and I sent a video of it to Jerry [Douglas], and he texted me back like, “Did it feel like it was about explode?” [Laughs] … The piano player is Holly Bowling, who got famous by transposing the Phish and Grateful Dead jams note for note. She’s one of the two “sixth members” of our band, and Sam [Bush] is the other sixth member. [laughs]

After a lot of tension and anxiety in the album’s first few acts, it ends on a more hopeful note with “Grow Together” and “Reasons to Stay.” Did you purposely try to leave fans with that feeling?

The idea at the end, the feeling for me is that we made it through. “Reasons to Stay” was kind of a late addition to the album, and at first I was like “I don’t know,” but then two hours later I was like “This song is the shit! It’s cool and sexy.” Then songs like “Give a Shit,” which are fun songs. Paul showed me that and I was like, “Yeah buddy, good job.” Then you’ve got songs like “Get Sad,” which is one Devol wrote, and that’s just intense. I remember when he showed us that and I was like, “Jesus Christ dude, that is emotional stuff.”

Maybe this is too much, but when we record albums, there’s always a weird something weighing on you. All your favorite bands, at some point you’re like, “Man, I liked the last album better.” At a certain point that happens, and I personally don’t feel like that has happened to us yet. Every album we make, I feel like the growth is important and real. We keep creating Greensky music through this evolution of ourselves, and it’s such an interpersonal process.

We’re just being ourselves, and we used to be so nervous about “Are we playing bluegrass or not?” And all the traditional people hate us or whatever because we had the word bluegrass in our name – but they didn’t get the joke! Greensky is the opposite! We had to spend so much time explaining that “We’re like bluegrass, but we’re not,” that it was hard for a while to deal with that. I think now, it’s evolved enough that we’re just ourselves. And it feels good.

Photo Credit: Dylan Langille

LISTEN: Dedicated Men of Zion, “Lord Hold My Hand”

Posted on by Editor

Artist: Dedicated Men of Zion
Hometown: Eastern North Carolina
Single: “Lord Hold My Hand”
Album: The Devil Don’t Like It
Release Date: March 3, 2022
Label: Bible & Tire Recording Co.

In Their Words: “The difference in making this album from the last album was the level of comfort. With the first album we were all getting to know one another. I found personally with myself that my level of pressure is much higher when I am working with someone for the first time. So, I would say one key difference in making the first album and the second was comfort level. It was Bruce [Watson, founder of Bible & Tire Recordings] that made everyone comfortable in the first album. Which in return made the second album very much comfortable for everyone. Working with Bruce has been one of the greatest experiences that I have personally experienced working with producers. Bruce has a way of pushing an artist to get the best out of them without the artist ever knowing that they are being pushed. I do not want to sound cheesy bragging about Bruce. However, the guy is just extraordinary as a person as well as a producer.

“Let’s talk about the band. Somehow Bruce has brought together a group of guys that can bend music around any kind of song and make it work. Bruce found a group of guys that are extraordinary musicians with the humblest attitudes ever. We have had session after session and in most cases when we finish, we are burned out and ready to go. However, the sessions that we have had at Delta Sonics are like none other. It is as if when the session is over everybody just wants to stay and enjoy one another. I credit this to Bruce and the band. Our first album posed the biggest challenge for our group. We were just like many artists today attempting to stay with the times and present creativity through our songs. Bruce presented us with an entirely different style. At first, we were reluctant but we were willing to give it a try.

“To make a long story short we dived into the songs to try and recapture the originality of the song. When we joined up with Bruce and the band it happened. ‘Lord Hold My Hand’ kept its original feel, while progressed and converted to sacred soul music. With our second album, The Devil Don’t Like It, we were excited and had a new level of expectations. Just like before, we went into the studio with Bruce and the band, and they excelled our expectations and took sacred soul music to another level. Trust me when I tell you an outstanding band and a great producer can really bring the best out of an artist and a song. Bruce’s vision of preserving the originality of sacred soul music has shown to be educational, unique and inspiring.” — Anthony “Amp” Daniels, Dedicated Men of Zion

Photo Credit: Bill Reynolds

LISTEN: Pretty Little Goat, “30 Mile Run”

Posted on by Editor

Artist: Pretty Little Goat
Hometown: Western North Carolina
Song: “30 Mile Run”
Album: Big Storm
Release Date: Single: February 4, 2022; Album: March 25, 2022

In Their Words: “The lyrics to ‘30 Mile Run’ are inspired by various stories I heard growing up about a real legendary mountaineer and moonshiner named Palmo McCall. My dad and I occasionally traveled up the mountain behind our house where Palmo lived. I remember trying his whiskey once; some people even said he would burn the stuff in his truck. He had a kind soul and a good heart, but had a habit of getting in trouble with the law. Palmo is gone, but his legend lives on. I just wanted to do my part in keeping his ‘mountain man’ character alive in a fun way by writing this song and recording it with the band.” — Josh Carter, Pretty Little Goat

Pretty Little Goat · 30 Mile Run

Photo Credit: Leahy Brevard