Tag: playlist

Artist of the Month: Sarah Jarosz

Posted on by Justin Hiltner

The songs of Sarah Jarosz have always been snapshots. Each, whether literally or obliquely, is a tableau – a window into a moment in time, an attempt to capture but never contain the intangible present. Whether demonstrable story songs or abstract, poetic text paintings, Jarosz’s catalog of material shows a ubiquitous skill – a writerly athleticism – for ushering her listeners into the scenes she inhabits or constructs. From her earliest release to her newest, Polaroid Lovers (out January 26 on Rounder Records), Jarosz’s point of view has been confident, relatable, and inviting.

Simultaneously, the expansive body of work she’s produced since her 2009 Sugar Hill debut, Song Up in Her Head, tells a tale as much of uncertainty as of skill and finesse and, within that uncertainty, a commitment to relishing the journey – rather than rushing toward an arbitrary destination.

A teenager when she first gained national notoriety, Jarosz was often compared to her mentor-peer-friend Chris Thile and her contemporary, Sierra Hull. While child bluegrass, Americana, and string band stars – proverbial and oft-mythologized prodigies – have a much more gentle route to adulthood than say, their Hollywood counterparts, it’s still a time hallmarked by experimentation, growing pains, exploration, and a prerequisite amount of floundering. Musically, Jarosz may have “floundered” a bit less than say, Hull or Thile or any kid whose teen years may have had a recorded, audio history. Nevertheless, you can trace a through line of angst, introspection, and finding oneself underlying the precocious self confidence of her early albums.

By the time Jarosz reached 2013’s Build Me Up From Bones, which gained her her first Best Folk Album Grammy nomination, that uncertainty was no longer an undertone, but a focal point in her music. On both Bones and the follow up full-length, Undercurrent, which then won the Grammy for Best Folk Album, Jarosz picks up and runs with those musical expectations, whether overt or projected. She plays with the dichotomy between the public nature of her growing up a heart-on-her-sleeve songwriter and bluegrass picker and the individual, private nature of seeking and finding her own agency within those paradigms. She purposefully built broad and appealing, commercial songs that are both assured in their sincerity and unconcerned with virtuosity or authenticity for their own sakes. She knows exactly what she’s doing, even – if not especially – when she does not.

Needless to say, the following projects World On The Ground and Blue Heron Suite feel like they are both indelible home bases built on the steady foundation of the albums that led to them. Each are distillations of Jarosz’s musical commitment to bringing her audience inside the turmoil and delight, growth and doubt, beauty and bittersweetness of life and song. Jarosz had arrived at her destination, hadn’t she? In her beloved New York City, a Grammy winning artist, picker, and songwriter who knows who she is and why she does what she does.

Ah, but remember, it’s the journey Sarah Jarosz is after and not the destination. Polaroid Lovers is a lens into the new growing pains, the new uncertainty, the new uprooting and, eventually, re-rooting Jarosz finds herself in the middle of now. She recently moved to Nashville, building a life with her new husband, bassist Jeff Picker. Polaroid Lovers, like its predecessors, brings the listener into how living in Nashville has reshaped Jarosz’s songwriting and creative and recording processes.

It may not sound like a Music Row album – it sounds, as all of her work does, exactly like Sarah Jarosz. Whatever that sounds like! – but it’s a collection that has the Row tangled among its roots and certainly in the water. Polaroid Lovers was recorded at Sound Emporium and produced by Daniel Tashian, plus it has many a credited co-writer, a bit of a departure for the songwriter who, besides in her work with Aoife O’Donovan and Sara Watkins in I’m With Her, rarely co-writes material for her own albums, preferring to pen most lyrics and tunes herself. Music Row and Americana hit writers like Ruston Kelly, Natalie Hemby, Jon Randall, Gordie Sampson, Tashian, and others each lent their own fingerprints and touches to this set of song snapshots.

Does Polaroid Lovers sound new? Does it sound like Nashville? Yes, it certainly does, but it doesn’t sound instant or ready-made either, and it always sounds like quintessential Jarosz. This is evidenced nowhere on the record as strongly as one of its lead singles, “Columbus & 89th.” Among more than a few masterworks in Jarosz’s catalog that center on her beloved, transplanted (former) hometown, New York City, “Columbus & 89th” is perhaps the best example of the form. Wistful and hopeful, with a tinge of bittersweetness from the wisdom that comes with age, it paints such a specific picture – of a literal street corner – but, as in all of her snapshots, this polaroid is not confining or finite, it’s resplendent and limitless. Following the photography metaphor one step further, it’s not difficult to see how the perspective Jarosz has gained by moving away from the city might have enabled her to render such a picture perfect homage to New York.

This is a vibrant, animated collection of Polaroid Lovers. This is Sarah Jarosz at her best– for now.

Watch for our Artist of the Month interview feature with Jarosz to come later this month, plus we’ll do a catalog deep dive and showcase plenty more content pulled from the BGS archives. For now, enjoy our Essential Sarah Jarosz Playlist:

Photo Credit: Shervin Lainez

MIXTAPE: Bonnie Montgomery’s Music of an Arkansas Childhood

Posted on by Justin Hiltner

I was born into a music-centered family in small town Arkansas near “where the Delta meets the Ozarks.” My grandparents started a music store on the court square in the 1960s and they sold instruments and equipment, et al. – and also carried the top records of the day. So, music and musicians were infused into my life from birth and my family was at the center of a vibrant musical community.

At every holiday or birthday or community event, we played music together and sang with a cast of characters ranging from the local church organist to Sun Records session players. I thought every family was like that, but as I’ve grown older and a lot of those characters have passed on, I’ve realized how rare my upbringing was and I cherish it with all my heart.

I remember the voices and the sounds of the jams like it was yesterday, and I’m honored to make a playlist of some of the favorites we played and sang together. I didn’t discover a lot of the recordings of these songs until much later in my life because we played them by rote – or sheet music – at those beautiful, heavenly hoe-downs. These songs are the soundtrack of my early life. I’m honored to share them. – Bonnie Montgomery

(Editor’s Note: Scroll to find the full Mixtape playlist below, to enjoy while you read.)

“Precious Memories” – Merle Haggard & The Strangers featuring the Carter Family

I chose Merle Haggard and the Carter Family’s version of this hymn, because it’s the closest version to what I remember our hoe-down version sounding like. My grandfather Ivan would always request this song and all the old-timers would sing with such passion, and even tears. I remember the far away look in their tear-filled eyes when they sang it, and although I never felt it like they did back then, I loved the song. We always thought it was a funny selection too, because they would always sing it “pray – shush mam -ries” over and over, which made us laugh. But now that those faces are all passed and gone across the great divide, I feel it like my grandfather used to. Now, just like them, all I have is the memories. Sacred, precious, treasured memories gathered around the piano in my grandparent’s music room – in what feels like a lifetime ago.

“Your Cheatin’ Heart” – Hank Williams Sr.

I didn’t hear the recorded Hank Williams version of this until my late teen years, but we sang it as the grand finale of the Christmas Eve hoe-down every year. After hours of singing the entire catalogue of Christmas carols and standards, my grandfather would sing this one with the most volume and gusto of them all. My mother, or our dear family friend Teddy Reidel, would play a romping walking bass line on the piano with it. So when I went Christmas caroling with friends at age 11, I was ready for the big grand finale and started in on “Your Cheatin’ Heart,” but none of my friends knew it! It was then that I realized “Your Cheatin’ Heart” in fact wasn’t a Christmas carol!

“Born to Lose” – Ted Daffin

My grandfather always requested this song when I was playing piano, whether at the jam sessions or after school, when I would be practicing piano at their house. I never understood it, because the lyrics were so depressing and I wondered why anyone in their right mind would want to profess to being such a huge loser, ha! I remember practicing my classical pieces (I rebelled in the ultimate way by falling in love with classical music at a young age) and Papaw would holler “quit playing that long hair music and play ‘Born to Lose.'” By “long hair,” he meant classical, as in Handel or Beethoven’s long hair. I still laugh about that – instead of long haired hippies, he was talking about the wild artists from centuries ago.

“Sentimental Journey” – Doris Day, Les Brown & His Orchestra

This was my grandparents’ song. They would request this one and dance together every time we played it. During the Great Depression, my grandfather left Arkansas and went to California to look for work. Once he was there, he sent for my grandmother Frances and when she was out there, they got married. They both missed home terribly, so around 1943, when they finally arranged to go back, they had to go separately because of money. My grandmother was expecting their first child by then and had to ride all the way home from California to Arkansas in the back of pickup truck. She always called it her sentimental journey and you could just see the love between them every time we played this one.

“Tennessee Waltz” – Connie Francis

This was another favorite at the hoe-downs. I must have played it a million times while everybody danced and sang. And other times, when we were just hanging out at home, my grandmother would sit in a chair near the piano and ask me to play this one. She would have such a huge smile on her face and she just seemed to melt into the song. I’m so grateful for her encouragement with my musical endeavors.

“Sweet Dreams” – Patsy Cline

This was another of my grandmother Frances’ favorites. She was a fashion-forward, tall, beautiful red-head, full of life and fire. For small town Arkansas she was way ahead of her time. She started her own businesses (the music store was her main project) and ran for mayor in the ’60s too. She adored Patsy Cline and always thought she was so classy compared to the other female country singers of her time. We didn’t jam on this song, but we listened to the recording at full volume. The string arrangements from those Patsy songs have a huge influence on my string arrangements (arranged and played by maestro Geoffrey Robson) in the studio.

“Goin Down the Road Feelin’ Bad” – Woody Guthrie

My grandfather used to take us to his farm in Garner, Arkansas almost every morning in the summer. It was pure heaven for us as children – we could run wild and do whatever we wanted, ride horses, swing on the barn swing, go fishing, drive old cars and tractors around the farm, eat turnips straight out of the ground when we got hungry, crawl around with the pigs in the pig pen, and much more. We would sing in the truck with him all the way to the farm and he loved to sing this song and make up new verses such as, “I’m goin’ where the boys don’t blow their nose…”

That farm lives in my memory every single day – and incidentally, the highway it’s on (old highway 367), got named the “Rock and Roll Highway,” because it’s the road all the Sun Records artists would drive from Memphis to Helena back in the day. I didn’t know that when I was young, but it makes sense that Johnny Cash, June Carter, Elvis, Roy Orbison, Carl Perkins, etc. knew that road well.

“The Strawberry Roan” – Sons of the Pioneers

My grandfather on my father’s side, a wild cattle auctioneer named Leon Montgomery, used to drink his whiskey and burst in the door with his cowboy hat and a grin and croon out “Oh, That Strawberry Roan” as a greeting.

“Gonna Burn Some Bridges” – Ray Price

Ray Price was another familiar voice in the musical landscape of my childhood and is pretty much the ultimate crooner in my opinion. I’m including this tune because it’s direct inspiration for a song on our new album.

“I Was Fine” – Bonnie Montgomery

I’m including one of the songs off my new album, because it was inspired by the music of my childhood and, in particular, the music of Ray Price. My bandmate and engineer, Kevin, came up with a steel guitar riff that’s a direct nod to the steel guitar riff on Price’s “Gonna Burn Some Bridges.” We recorded this one with vibraphone and full string orchestra and I sang my heart out for Ray.

Photo Credit: Jamie Lacombe

BGS Wraps: Brenda Lee, Andy Thorn, Joy Clark, and More

Posted on by Justin Hiltner

Hanukkah has begun, advent calendars have barely three weeks left, and days will start getting longer when we reach winter solstice in merely 13 days – but who’s counting? As we lean further and further into the coziest, roots music-iest time of year, we’re rounding up our favorite seasonal and holiday albums, tracks, and shows each week on BGS Wraps. Scroll to find this list in playlist form, plus don’t miss our Classic Holiday Album Recommendation of the week.

We’ll be back next Friday with more BGS Wraps! Until then enjoy some hot cider or some eggnog and some delightfully festive bluegrass, country, and roots music.

Hayes Carll and Melissa Carper, “Christmas in Prison”

A perennial favorite penned by none other than John Prine, “Christmas in Prison” is a rare country Christmas song that can be sung year-round. Like your favorite holiday movie that’s actually not specifically a holiday movie – Die Hard? Little Women? – this is a song so classic, so iconic, that it demands recognition across the calendar and not merely in December. Hayes Carll and Melissa Carper join together on this brand new rendition and they do the song justice, for sure.

Joy Clark, “Gumbo Christmas” 

As most holidays are, Christmas is its own familial and cultural melting pot, and guitarist and singer-songwriter Joy Clark highlights her own New Orleans traditions with “Gumbo Christmas.” It’s a song with a recipe both literal and figurative, a combination all of the best holiday dishes know intimately. That Big Easy horn section is fit to carry us into 2024.

CMA Country Christmas (December 14, ABC; December 15, Hulu and Disney+)

The queen of Christmas in Nashville, Amy Grant, is co-hosting this year’s CMA Country Christmas TV special on ABC with none other than Trisha Yearwood. With performances by The War & Treaty, Ashley McBryde, Jon Pardi, reigning CMA Entertainer of the Year Lainey Wilson, and more. Tune in on Thursday, December 14 for the live program, or watch the following day – and throughout the season – on Hulu and Disney+. For those of us who won’t make Vince Gill and Grant’s annual holiday residency at the Ryman in Nashville, this show will be an excellent consolation prize.

Rose Cousins, “I’ve Got My Love to Keep Me Warm”

There’s almost no better artist to turn to for delicious melancholia than Rose Cousins. Her new holiday single, “I’ve Got My Love to Keep Me Warm,” demonstrates this fact and then some. Winter songs without a specific religious or traditional bent are too rare, so we especially love this track for its “agnosticism” and relatability. Why care how much it may storm, if you’ve got your love to keep you warm? We hope you are surrounded by love this holiday season, and however lonesome or joyous you’re feeling this year, Cousins’ voice will envelope you like a toasty hug.

Bridget Kearney, “Don’t Think About the Polar Bear”

A vibey and meditative new track from Lake Street Dive bassist Bridget Kearney is another holiday track of the Die Hard sort – not demonstrably seasonal, but it works so we’re accepting it with open arms into our wintry celebration. The accompanying animated music video is whimsical enough to be a fitting addition to any lineup with The Grinch, Rudolph, and all of your other favorite Christmas animated TV specials. If your intention is to not think about someone this holiday season, you might just find them wandering across your mind – so don’t think about the polar bear, instead.

The Kody Norris Show, “Mountain City Christmas”

The territory surrounding Mountain City, Tennessee, in the Blue Ridge Mountains of East Tennessee, Western North Carolina, and Southwest Virginia is home to most of the farms that grow most of the Christmas trees for the eastern seaboard of the United States. It’s more than fitting, then, to take this nostalgic and magical Kody Norris Show-led journey through the picturesque counties they call home. What’s more bluegrass than singing about snow, home, family, faith, and rhyming “there” with “Christmas carol”?

Larry & Joe, “Mi Burrito Sabanero”

Bluegrass banjo player and fiddler Joe Troop and harpist, multi-instrumentalist Larry Bellorín are Larry & Joe. Their new holiday single, “Mi Burrito Sabanero,” is a funny, raucous, and enjoyable version of a quintessential Latin American holiday tune written by Venezuelan harpist and composer Hugo Blanco. Much of Troop’s work connects the dots between Latin folk music and American roots music, crafting idiosyncratic amalgamations often expected to be more disparate and dissonant than they really are. For this track, Bellorín set aside the harp and picked up the cuatro, with Troop adding twin fiddles and banjo in another instance of remarkable latingrass fusion.

Maddie & Tae, We Need Christmas

Maddie & Tae, of “Girl in a Country Song” fame, recently released an extended cut of their 2020 holiday EP, We Need Christmas, adding three new tracks – each classic Christmas carols – to the fan favorite collection. Both women are now married and starting families and there’s a confidence and ease they’ve grown into at this phase of their careers. Easily some of the most interesting pop country being made, and certainly an excellent holiday manifestation of the form.

Brenda Lee, “Rockin’ Around the Christmas Tree”

For the first time in her 60+ year career Brenda Lee has scored a Number 1 hit on Billboard’s Hot 100 chart with her truly unforgettable holiday single, “Rockin’ Around the Christmas Tree.” How she supplanted Mariah Carey’s “All I Want for Christmas,” we’ll never know, but we are so glad for Lee that she’s notched this incredible milestone even at this late stage in her lifelong music-making. She first recorded the iconic track as a thirteen-year-old and in an emotional video posted by Billboard and to her social media, you can tell she never imagined this song would be the gem it is in the crown of her music career. Congratulations, Brenda Lee!

Kaitlyn Raitz, “River”

Cellist, composer, and arranger Kaitlyn Raitz released a stunning, instrumental string-centered cover of Joni Mitchell’s “River” a handful of weeks ago, a timely tune drop for those of us struggling to navigate the holidays without Mitchell’s catalog available on a certain streaming service. Lush and romantic, Raitz’s cut of the track is high concept while down to earth, like a perfect Christmas Eve program at a local church, stained glass bookended by poinsettias and candles. A must-add for your instrumental holiday playlists or perfect to soundtrack your cookie icing party or frenzied gift swaps.

Matt Rogers, Have You Heard of Christmas?

BGS Wraps would be simply incomplete without a laugh-so-hard-you’re-crying option, supplied here by comedian Matt Rogers’ holiday outting, Have You Heard of Christmas? With guests such as Muna (swoon-a), Bowen Yang (Rogers’ co-host of the hit podcast, Las Culturistas, known from SNL), and Leland, Have You Heard of Christmas is pure chaos, absolutely unhinged. Melodrama meets the chronically online. Joe’s Pub, dragged through 54 Below. When you’re offered aux this year at your holiday gatherings, put this one on. We dare you.

Andy Thorn, High Country Holiday

Banjoist Andy Thorn was known as Leftover Salmon’s banjo player, before a video of him serenading a wild fox went mega viral and eclipsed all other entries on his resumé. Thorn – who is a self-professed Christmas fanatic – has recently released a brand new holiday album, High Country Holiday, drawing on inspiration from his Colorado backyard and his musical community to put together a bevy of carols and one bespoke original, “The Bells of Boulder.” Add it to your stack of bluegrass Christmas records! It’s destined to become a classic in that category.

Tim and James, A Tim and James Christmas

Los Angeles-based string duo Tim and James – Tim Reynolds and James Spaite – have followed up their popular debut, Lemon Tree, with a holiday EP, A Tim and James Christmas and it’s already a favorite of ours. These simple duets feel fully realized, even while they remain contained, and draw on folk, new acoustic, and chambergrass influences. The kernel within Tim and James’ music – that took their songs from beginning as a regular Tuesday collaboration to tens of thousands of streams – is on full display. There’s something entrancing about this bare bones, four-song collection.

Our Classic Holiday Album Recommendation of the Week:
Béla Fleck & the Flecktones, Jingle All the Way

Each year we are reminded of the sheer genius of Béla Fleck & the Flecktones’ Jingle All the Way. It’s a Christmas album we return to again and again and we know we aren’t the only ones – it was chosen by O magazine (yes, Oprah’s publication) as 2008’s Best Christmas Album and it peaked at Number 1 on the contemporary jazz charts. Béla and the Flecktones’ cultural impact was certainly solidified by the time Jingle All the Way had released, but this album – perhaps more than any other music by the group in the 21st Century – cemented their broad, far-reaching influence.

Photo Credit: Joy Clark by Nkechi Chibueze; Rose Cousins by Lindsay Duncan; Andy Thorn courtesy of the artist.

BGS Wraps: Irene Kelley, Jon Pardi, Wynonna, and More

Posted on by Justin Hiltner

To celebrate one of the most roots music-y times of year – the winter holiday season – we’ll be showcasing the best in new and classic holiday music from our BGS family with a weekly BGS Wraps round up. Welcome to its first edition!

Whether you adore or abhor holiday music – and we certainly understand both of those mindsets – we hope you’ll find plenty to love with our BGS Wraps playlist (below) and these bluegrass, country, folk, and Americana albums, songs, videos, and shows all celebrating the most wonderful time of the year. From Irene Kelley to Jon Pardi, Wynonna to Brandy Clark, Daniel Donato’s Cosmic Country Christmas to Warren Haynes’ Christmas Jam, BGS Wraps is a splendid roots music family reunion. Plus, don’t miss our weekly Classic Holiday Album Recommendations to close out each edition of this mini-series. Check it all out:

Brandy Clark, “My Favorite Christmas” / “I’ll Be Home For Christmas”

Brandy Clark’s self-titled, Brandi Carlile-produced album released earlier this year has been a favorite good country record of the BGS team this year. For the holidays, Clark has followed up the success of her full-length 2023 release with an A side / B side single of an original, “My Favorite Christmas” and a classic, “I’ll Be Home for Christmas.”

Helene Cronin, Beautiful December

Singer-songwriter Helene Cronin has released an EP of six original holiday songs entitled Beautiful December. This track, “I Could Use a Silent Night,” is described by Cronin as “a song for all who are holiday weary, tired of the commercial chaos that comes around every year at Christmas.” We can certainly relate! Roots music is always a perfect reminder of what really matters this time of year: People, love, kindness, and togetherness.

Daniel Donato’s Cosmic Country Christmas Jam (December 16, Nashville, TN)

If you’ve been enjoying Daniel Donato’s recent Cosmic Country Mixtape – a BGS exclusive – you won’t want to miss his Cosmic Country Christmas Jam at Brooklyn Bowl in Nashville on December 16. (Tickets and info here.) It’ll be pickers’ polar paradise with appearances by Sierra Hull, Duane Trucks, Grace Bowers, Willow Osborne, and many more. 

Steven Gellman, “Jewish Christmas”

An adorable and delightfully cheesy holiday song – as all of the best holiday songs are – that reminds us how cultural traditions blend and transform, not only in the American “melting pot,” but all around the world, too. Hear more from this award winning folk singer-songwriter with our October premiere of “Little Victories.”

Warren Haynes Presents: Christmas Jam (December 9, Asheville, NC)

If you’re in North Carolina’s High Country, here’s a rockin’ Americana Christmas Jam you won’t want to miss. The annual event, organized and hosted by Grammy Award winner Warren Haynes, will be held on December 9, benefits Asheville Area Habitat for Humanity, and will feature appearances by Billy F. Gibbons, John Medeski, Gov’t Mule, Bill Evans, and many more. Plus, its bonus/offshoot event, Christmas Jam by Day, will showcase a handful of fast-rising roots artists including Colby T. Helms and Red Clay Revival. Tickets are still available and, if you don’t happen to live within striking distance of the Blue Ridge Mountains, you can stream Christmas Jam live on Volume.com.

IBMA Holiday Benefit Concert (December 11, Nashville, TN)

A heavenly host of our bluegrass buddies will be convening at the World Famous Station Inn in Nashville on December 11 to raise funds for the IBMA Trust Fund and the IBMA Foundation. The lineup – anchored by house band Missy Raines & Allegheny – features a wide swathe of artists and community members from reigning IBMA Award winners to acclaimed songwriters to exciting up-and-comers. Holidays in Nashville are truly incomplete without a visit to a festively decorated Station Inn.

Irene Kelley and the Kelley Family, The Kelley Family Christmas

Staying with bluegrass for another moment, venerated bluegrass songwriter Irene Kelley has brought along her two talented daughters, Justyna and Sara Jean – both successful artists and songwriters in their own right – for a cozy and comforting album of holiday classics, Kelley Family Christmas. The project benefits Patio Records’ Healing Gardens initiative, with a goal of raising funds to build healing gardens at hospital treatment centers. It’s a lovely family-centered album that showcases how much great music runs in the veins of the Kelleys. 

Paul McDonald & the Mourning Doves, “Maybe This Christmas”

If the holidays make you blue, you’re not alone. There’s plenty to enjoy in this tune of Christmas misery from Paul McDonald & the Mourning Doves. “So maybe this Christmas folks will just leave me alone,” he sings, plaintively. “And quit asking how I’m doing without her and if I’m ever going to let that girl go.” There’s a delicious quality to holiday melancholy and that’s on full display here, in this languid and loping alt-country holiday song of lost love.

Mr Sun, Mr Sun Plays Duke Ellington’s Nutcracker Suite

We’re big fans of the bluegrass, old-time, and new acoustic tradition of artful and virtuosic cover albums. Here, Mr Sun bring the form to its highest level, synthesizing and transforming Duke Ellington’s Nutcracker Suite into compositions fitting of a four-piece, ostensibly bluegrass string band. We premiered a track from this collection, “Shovasky’s Transmogrifatron (Ballet Snow Scene),” earlier this week, so we can guarantee Grant Gordy, Joe K. Walsh, Aidan O’Donnell, and Darol Anger’s rendition of this classic record will make your jaw drop – and your toe tap!

Jamie O’Neal & Ty Herndon, “Merry Christmas Baby”

Pop country is often good country too, and this collaboration from Jamie O’Neal and Ty Herndon demonstrates how artful the format can be – that ear-grabbing chromaticism in the melody of the first line, for instance. “Merry Christmas Baby” is another holiday lament, but packaged in a radio-ready production style that belies the loneliness in the lyrics, co-written by O’Neal and Allen Mark Russell. If this track came on the local Top 40 country station, none of us would be complaining. Merry Christmas, BGS readers – wherever you are!

Jon Pardi, Merry Christmas From Jon Pardi

We can’t believe just how perfect this intro is played on pedal steel and, despite the fact that we don’t think Jon Pardi could hit Mariah’s whistle notes, his rendition of this quintessential holiday smash hit is ideal for Christmas boot scootin’. Pardi is a definitional example of timeless country traditions packaged for the mainstream. His entire holiday album, Merry Christmas From Jon Pardi, is a heavy dose of joy, fun, and delight executed with flawless old country musicality. Twin fiddles on “All I Want For Christmas?” Yes, a thousand times, yes.

Wynonna, “Beautiful Star of Bethlehem”

While we argue over which modern version of this track is the exemplary version – The Judds’ or Patty Loveless’, of course – the holiday season is the perfect time to hold our fond memories of Naomi while we celebrate how Wynonna and her husband/producer Cactus Moser pay tribute to 1987’s Christmas Time with The Judds with this new iteration of “Beautiful Star of Bethlehem.” No matter who sings the song, its bluegrass bones and Stanley Brothers touches are obvious, and we adore how simple and unpretentious this recording by Wynonna and Cactus is.

Our Classic Holiday Album Recommendation of the Week:
Sharon Jones & the Dap Kings, It’s a Holiday Soul-Party

We miss Sharon Jones desperately. Each year, when the holidays roll around, we go back to our (now classic) Non-Crappy Christmas Songs playlist and, in general, try to remind ourselves just how much actually good Christmas and holiday music exists out there. As we do, this album from Jones & the Dap Kings is one of the first to come to mind. It’s iconic, it’s traditional, it’s far out, it’s comforting, it’s surprising, and it’s effortlessly inclusive in its scope and its sonics. We come back to this record year in and year out, so it’s a perfect first pick for our Classic Holiday Album Recommendations.

More BGS Wraps are coming your way next week!

Photo of Jon Pardi: John Shearer
Photo of Wynonna: Eric Ryan Anderson
Photo of Brandy Clark: Victoria Stevens

MIXTAPE: Daniel Donato’s Cosmic Country

Posted on by Justin Hiltner

It is a tale as old as time itself. As above so below. Yin and Yang. The explored and the unexplored. The hero’s journey, any and all of them, are exposed to the eternally enduring dance of chaos and order. We must leave the garden, enter into the forest to find the gold, kill the dragon, and return back to where we began, returning back more harmonized, realized, and higher frequency than we began.

Musically, Cosmic Country takes this pattern and uses it as its sole fuel for the soul and all of its musical fruits. Cosmic Country is an approach that uses simplicity, complexity, and truth to tell stories of life that bring beauty and goodness into reality. This 9-track mixtape I have assembled for your enjoyment and exploration today covers some ground of the far-flung lands of music that is Cosmic Country, where the high frequencies fall like rain and blossom like lilies in the fields that never end nor never began. Let’s get Cosmic. – Daniel Donato

“Honky Tonk Night Time Man” – Merle Haggard

This is a country song. But just like any country, there is more nuance to be discovered and brought to light than meets the eye. This is an archetypal honky-tonk song. A few of these will be on here. Honky-tonk songs cover truthful states of life that apply to all of our brothers and sisters sojourning in space and time together down on this chaotic planet. This song talks about relief from the grind and finally getting around to what is right for the soul when quittin’ time comes around.

“Doggone Cowboy” – Marty Robbins

This is also a country song, but it is also more nuanced than that. This is a cowboy song. The cowboy is one of the great American archetypes. The cowboy embraces a life of service, hard work, endurance, adventure, and most enduringly, faith. It takes faith to stay patient and persistent in pursuing your work through realms of chaos that you must travel through and come out on the other side stronger than you did prior. Marty had a way of personifying sorrow, acceptance, reflection, and hope in his delivery of these transcendant, simple lyrics.

“Mystery Train” – Jerry Reed

It can’t be fully Cosmic Country unless it moves you. Internally, songs move us, but sometimes the pocket and groove move us externally, which is a brilliant expression of personality. What I love about this song is that Jerry Reed always had a vision in his mind that could create a groove for people to dance to and for players to have fun-expression in. Everyone knows “Mystery Train,” but this version can make any club, honky tonk, theatre, or arena dance and move all together. Bonus points for a train song. Everyone loves a train song.

“Everybody’s Talkin’” – Harry Nilsson

The bottomline is that we are on our own trip. It is an individual experience of life, personality, and dynamics that only you experience. No one will ever live your life for you or as you. Songs that find promise and truthful reflection on the truly individualized nature of existence are my favorite. The movie Midnight Cowboy turned me onto this song when I was 16. I’ve never wished I had written another song as much as this American classic.

“I Can’t Help It (If I’m Still In Love With You)” – Hank Williams

The Shakespeare of country music. The man who was able to take the power of the word – through a Western lens of faith, hardship, and hard living – and deliver to us some of the most truthful and beautiful songs composed of themes ranging from love, loss, religious experience, jail time, honky tonkin’, and the universe. This song specifically has a brilliant form to it, just one verse and two B sections, coupled with that classic lap steel signature sound from Don Helms.

“Waiting for a Train” – Jimmie Rodgers

Any storyteller of American songs, country songs, any songs based in truth and experience, must tip their “Slouch Hat” to Jimmie Rodgers in one way or another. A lot of everything country begins with the songbook of Jimmie Rodgers. This song is just a fantastic story through and through. The lyrical furniture, the sophisticated use of actual terms of water tanks, brakemen, boxcar doors, all bring the listener into the simulated reality that this song conjures.

“Long Black Veil” – Lefty Frizzell

Murder songs are a necessity. The reaper takes his toll, and with that, law and order speak their truth. One of the brilliant elements of this song is that the perspective is from the deceased character. That is innately Cosmic, especially given the window of time this song was released. Lefty was one of Merle’s favorite vocalists, and was the band leader with which Roy Nichols and Merle Haggard first played together when Merle was 16.

“You Ain’t Goin’ Nowhere” – The Byrds

Even though Bob Dylan penned this one on the side of the road, in the rain, waiting for a motorcycle fix, The Byrds – with Gram Parsons and Clarence White – deliver to us one of the most archetypal Cosmic Country recordings there will ever be. The instrumentation, the vocal melody, and harmonies on this song alone explain this sentiment, but the lyrical detail is another universe worth noting with great reverence. The olden language of the great folk songs of America inform the meter and colloquialisms in this song, giving it an ability to exist in the past through its roots, the present through its great orchestration and arrangement, and the future through its seeds of truth, beauty, and goodness – the only values in any creation that endow it to persist through the fleeting episodes of space and time.

“Truck Drivin’ Man” – Buck Owens

If I left out truck driving songs, then everybody from my time at Robert’s Western World would be ashamed of me. The truck driver is a minister of the highways, the great vehicle of true exploration and discovery. The eternal, long white line drags on and on, and the road songs of her fruits just keep coming, but some of the great ones came from Capitol Records in L.A. in the early ’60s.

An element of Cosmic Country that this song relates to is the overall “sound.” What is “the sound?” It is ultimately unqualifiable – it cannot be fully explained or qualified by words – especially when The Sound is doing what it can be doing in potential, which is rendering feelings that hit deeper than words can describe. With the Transcendant Twang of Don Rich’s Telecaster, the immensely clean and powerfully compressed sound of Mickey Cantu’s snare drum, along with that Tic-Tac Fender Bass playing, Buck Owen’s vocal and story rests upon a divinely simple and reverberated landscape of country gold. If there ever was a record that “sounds” like a country song, this one certainly qualifies.

Photo Credit: Jason Stoltzfus

MIXTAPE: Mick Flannery on Melody and Meaning

Posted on by Justin Hiltner

Most songs stay in one musical scale or “key.” In this key there are 6 chords which are widely used. The 1 chord is the root chord, usually used to end the song and give a definite feeling.

Chords 2 and 3 are sad sounding minor chords in most cases. Chord 4 and 5 often give a feel of expectation to the ear, willing the melody back to the root (1) chord. The 6 chord is a relative minor to the root, often sad sounding.

In my opinion, some of the most successful moments of empathy occur when the feel of the chords and melody marry in harmony with the meaning of the lyrics. The lyrics themselves can also provide a musical feeling, the choice of vowels can marry to emotions, the consonants selected can give a nod to drum-like rhythm. I will try to give some examples here. – Mick Flannery

Bob Dylan – “Changing of the Guards”

Dylan uses a mixture of metaphors for social struggle and revolution in this epic song. The frequent use of the root chord and its relative minor at the end of phrases helps to add weight to the lines. This gives the song a definite feel, as he is ending on these strong chords as opposed to chords 4 or 5, which suggest a question unanswered.

Bob Dylan – “Baby, Stop Crying”

An example of melody marrying to feeling. The line, “Please stop crying,” is expressed with a longing in the melody concurrent with the meaning of the words. Also, “You know, I know, the sun will always shine” has a comforting feel in the melody with the word “shine” being on the root chord, helping it to sound definite and consoling.

Adele – “Someone Like You”

The top of the chorus in this song works very well between meaning and melody. The word “nevermind” is dismissed in quick order, as it would be in common parlance, giving a natural, talkative feel. The internal rhyme of “mind” and “find” gives a rhythmical feel to the line as a whole, allowing the listener to imagine a snare sound on the “I” vowels. The use of this internal rhyme makes the song universally easy on the ear, even to non-English speakers.

Lana Del Rey – “Video Games”

“It’s you, it’s you, it’s all for you, everything I do…” This whole line is placed on a 5 chord, which gives a feeling of something needing to be resolved, so the listener doesn’t know if the narrator is placing her trust in the right place.

“I tell you all the time” lands on a 4 chord – again, an expectant feel – making the listener wait for the line, “Heaven is a place on earth with you” landing on the 1 chord. This gives a definite note to the feeling, but narratively the listener is still left unsure if the feeling is requited, owing to the amount of time spent on uncertain footing in the melody.

Arctic Monkeys – “Fluorescent Adolescent”

The quick, rap-like nature of the verses are aided by the use of short vowels (“I” “E”) and short-sounding consonants like “T” and “K.” The line, “Flicking through your little book of sex tips,” almost sounds like a rhythm played on a high-hat, because of the choice of words.

Tom Waits – “Martha”

The chorus here leans on long vowels to intone nostalgia, “Those were days of roses, poetry and prose and… no tomorrow’s packed away our sorrows and we saved them for a rainy day.” The choice of words echoes a longing and almost sounds like a groan of regretful realization, as per the theme of the song.

Blaze Foley – “Clay Pigeons” 

In this soft and low intoned song, Foley utilizes “T” and “K” with short vowels to inject a spot of rhythm in the line, “Gonna get a ticket to ride.” The line, “Start talking again when I know what to say,” lands on a 4 chord which has an unresolved feel, marrying well to the meaning of the line, wherein we hear that the narrator has not yet reached a certain point.

Anna Tivel – “Riverside Hotel”

“Someday I’m gonna laugh about it, looking down from heaven’s golden plain,” moves from the 4 to the 1 and then 4 to 5. “Someday” marries nicely with the unresolved feel of the 4 chord. Ending on the 5 leaves the listener waiting for a resolve, which comes on the root chord in the line: “But for now I’ve found some piece down by the water, just to watch a building rise up in the rain.” This line uses a root chord on “for now” which gives a reassuring, steady feel concurrent with the sentiment.

Anna Tivel – “The Question”

The title of this song in itself sets the listener up for an unresolved feeling. The use of long “A” sounds (razor, saved, saving, hallelujah waiting, raise, etc.) leading up to the line, “A prayer that never mentioned,” works very well, as it sounds like an expectant chant. On the last words, “The glory of the question and the answer and the same,” the word “glory” lands strongly on the sad sounding relative minor chord, while the line ends on an expectant 5 chord. This gives a juxtaposition, the narrator has seemingly answered a question, but also left it open to further thought because of the use of this uncertain chord underneath.

Eminem – “Lose Yourself”

This song is a masterclass in internal rhyme. The lines of the verses are so phonetically intertwined that they begin to sound like the components of a drum kit. This is easy for the human ear to digest even in an unknown language. The fact that the lines make perfect sense narratively is the “icing” achievement.

Tom Waits – “Hold On”

Long vowels in the chorus marry to the meaning of patience and perseverance. In meditation, long vowels are used in calming chants, which is echoed here in the repetition of  “Hold on.” This feel is broken up slightly by the words “take my hand” where Waits accentuates the “T” and “K” to give a burst of drum-like rhythm.

Photo Credit: Susie Conroy

BGS 5+5: Ariel Posen

Posted on by Justin Hiltner

Artist: Ariel Posen
Hometown: Winnipeg, Manitoba, Canada
Latest Album: Reasons Why
Personal Nicknames (or rejected band names): AP or Guitariel

Which artist has influenced you the most – and how?

I think I’d have to say the Beatles. It was what I was brought up on and, even though I don’t like to compare things in music, they have always acted as a musical measuring stick for songs. I know they were and still are a huge influence on a lot of people, and it’s for good reason. They’re just kind of the greatest.

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

I think from a very early age. My parents were both musicians and I was also immersed in their shows, their travel and the lifestyle. Once I started playing guitar, started actually getting somewhere with it, and had my first gig, it was clear to me that this was my path and that I might actually be able to make a living doing it, too.

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

I’ve had a couple songs that I thought I had figured out right from the get-go, and as time went on, I started demoing them, and ultimately recording them, I realized they weren’t where they needed to be, yet. I basically started from scratch and built the blocks once again, around what I felt was holding up, and it took a couple of tries to get it right. I think chasing those type of things always end up being worth it!

What has been the best advice you’ve received in your career so far?

That no one is going to give you anything or “make anything happen” for you. It’s all gotta come from you. You will start to get what you put into it. No one’s out there that’s going to give you opportunities, because they are too worried about themselves and who they think is looking out for them! Get out there and make opportunities happen for yourself, put the work in and just be nice.

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

Probably 70/30. Writing about myself and my own experiences is the most authentic form of songwriting and feels the most genuine. However, sometimes I love to write about other peoples’ experiences, often people I know, as I’ve seen these experiences occur from outside the looking glass, so to speak. Both perspectives have a lot to offer. Nothing is more honest than you being you, though!

Photo Credit: Calli Cohen

MIXTAPE: Chris Pierce on the Healing Powers of Music

Posted on by Justin Hiltner

Hello Folks! My name is Chris Pierce. I’m a musician, songwriter and storyteller. My new album, Let All Who Will, was created to offer a message of resilience and empowerment – and to remind those who have been pressed to never give up the good fight for justice and equality. The songs are there for folks to hear, dissect and discuss. They also offer suggestions of ways to speak up and move together from a place of common ground. I believe that compassion is the only way forward. I fight with compassion. I sing with compassion. For this Mixtape, let’s explore a theme of the healing powers of music. Songs of liberation, pain, encouragement, empowerment and togetherness. – Chris Pierce

Reverend Gary Davis – “Let Us Get Together Right Down Here”

Starting with a song from Rev. Gary Davis – also known as Blind Gary Davis (born on April 30, 1896) – a blues and gospel singer who was also proficient on the banjo, guitar, and harmonica. Born in Laurens, South Carolina, and blind since infancy, Davis first performed professionally in the Piedmont blues scene of Durham, North Carolina, in the 1930s. After relocating to New York in the 1940s, Davis experienced a career rebirth as part of the American folk music revival that peaked through the 1960s. I’ve always been particularly moved by this song by Rev. Davis as it draws the listener in right away and encourages us all to “get together” as part of the great congregation of humanity.

Nina Simone – “Backlash Blues”

Growing up, my mother was an English teacher and I was fortunate enough to have access to books by some of the greatest writers of our time. I gravitated towards studying Langston Hughes from the time I was around 10 years old and the inspiration from reading his profound works is one of the reasons that I became a songwriter. “Backlash Blues” is one of his poems that was given a melody and was sung by the high priestess of soul, Nina Simone. It was written as a sign of hope for Black people during times of segregation.

Chris Pierce – “It’s Been Burning for a While”

This song is a response to the furor surrounding the tragic death of George Floyd in 2020. It was beyond puzzling to see how surprised many voices were, in the media and beyond, at the anger people felt. My co-writer and I collaborated on this song in an effort to point out that while all these stories have been making the headlines a lot recently, repression of the marginalized is nothing new.

Richie Havens – “Handsome Johnny”

Richie Havens’ music has elements of folk, soul and rhythm and blues. He had an intense and rhythmic guitar style and often played in open tunings. A lot of folks know him from Woodstock, but he continued on playing concerts right up until his passing in 2013.

I’ve been deeply inspired by Richie Havens in my own songwriting and growing up hearing songs like “Handsome Johnny” inspired me to expand my writing. To me, “Handsome Johnny” testifies about the sacrifices and inner struggles of the soldier and describes soldiers of all kinds going off to fight for what they believe in.

Lead Belly – “In the Pines” / “Black Girl” / “Where Did You Sleep Last Night?”

I’ve studied Lead Belly’s songs throughout my journey as a songwriter. His songs covered a wide range of genres and topics including gospel music; love, loss, liquor, prison life and racism; and folk songs about cowboys, prison, work, sailors, cattle herding and dancing. His version of “In The Pines” is one of the most widely known.

“In the Pines” is an American folk song originating from two songs, “In the Pines” and “The Longest Train,” both of whose authorship is unknown and date back to at least the 1870s. The songs originated in the Southern Appalachian area of the United States. Historians have said this song was probably born from African Americans living along or east of the Appalachian Mountains around the turn of the 20th century. Huddie Ledbetter, better known as Lead Belly, recorded over half-a-dozen versions between 1944 and 1948, most often under the title “Black Girl” or “Black Gal.” His first rendition, recorded for Musicraft Records in New York City in February 1944, is arguably his most familiar.

Odetta – “Got My Mind on Freedom”

Odetta Holmes, known as Odetta, is an inspiration to all. Born in Birmingham, Alabama on December 31, 1930, her voice has inspired hearts all over the world and she is often referred to as “The Voice of the Civil Rights Movement.” Odetta truly embodied a voice that inspired change. Martin Luther King Jr. called her the queen of American folk music. 

Terry Callier – “Spin, Spin, Spin”

Terry Callier was born in the North Side of Chicago. He was a childhood friend of Curtis Mayfield, Major Lance and Jerry Butler and he sang in doo-wop groups in his teens. In 1964 he recorded his debut album on Prestige Records. The album wasn’t released until 1968 as The New Folk Sound of Terry Callier. A dear musician friend of mine gifted me a copy of the album around 20 years ago and it’s been in steady rotation in my house ever since. My opinion, widely shared, is that Terry Callier didn’t get the popular recognition his varied talents deserved. Nonetheless, he released a string of enduring and influential albums.

Josh White – “Southern Exposure”

When I was in the 6th grade, I wrote a book report on the music of Josh White. I remember heading to the library in Claremont, California, and finding a treasure chest of literature and recordings by White. I dove in and was deeply inspired by the man, the songwriter, guitarist and civil rights activist that he was. White grew up in the South during the 1920s and 1930s. He released a prolific output of recordings in genres including Piedmont blues, country blues, gospel music and social protest songs. His music went on to influence several generations of artists, including yours truly. White’s album, Southern Exposure, is known as a political blues album and dealt with issues of Jim Crow. The album as a whole, to me, is a protest album of protest albums.    

Bob Dylan – “Only a Pawn in Their Game”

Bob Dylan sang a stirring solo performance of “Only a Pawn In Their Game,” at The March on Washington, a retelling of the murder of civil rights activist Medgar Evers. The lyrics attribute blame for the killing and other racial violence to the rich white politicians and authorities who manipulated poor whites into directing their anger and hatred at Black people. The song suggests that Evers’ killer does not deserve to be remembered by name, unlike the man he murdered (“They lowered him down as a king”), because he was “only a pawn in their game.”

Chris Pierce – “Mr. McMartin”

My song, “Mr. McMartin” from my new album, Let All Who Will, is about a street sweeper who has seen a lot of what human beings are capable of in the past 40 years on the job. He sweeps after celebrations, uprisings, political rallies, parades, holidays and catastrophes. As he sweeps on through the years, he wonders if we are capable of real change or just broken promises and broken prayer.

Photo Credit: Mathieu Bitton

BGS 5+5: Shadwick Wilde

Posted on by Justin Hiltner

Artist: Shadwick Wilde
Hometown: This is a tricky one–

I was born in Boston, Massachusetts, and I was raised primarily in San Francisco, but we lived in Havana and Amsterdam before settling in Kentucky, ancestral homeland of my maternal grandfather. My family on my grandmother’s side were Roma and Jewish, my grandfather’s, Scotch Kentuckian. My mother took after hers, and we moved around a lot while she made documentaries and wrote poetry.

Latest Album: Forever Home (out September 22, 2023)

Personal nicknames (or rejected band names):
Sadwick, Dadwick, Sandwich, Shadooby, sometimes I am Henry, and so on. We have many names and take many forms.

What’s your favorite memory from being on stage?

If I’m doing my job well, I don’t really retain memories of being onstage… The “I” disappears into the music. Of course, if something goes badly, I will remember it for the rest of my life. But my dearest onstage memory is from recently at a festival in Wisconsin – a tattooed dad and his two punk-rocker daughters were all singing along to every word of our songs. That felt really special… I may have cried about it. I definitely cried about it.

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

I remember being five years old, dancing in the mirror with my plastic guitar and ripped jeans to my mother’s Bruce Springsteen records. She likes to remind me of that memory. I guess I have always known. Even though there are many career paths that I would like to explore in other lives – baker, teacher, postman, monk – this one is for songs, and I am rich with them. Laden, even.

If you had to write a mission statement for your career, what would it be?

Sing from the heart. Don’t take it too seriously. Remember to have fun, and to be kind. That’s pretty much it! We have a tendency to overcomplicate things, when the simplest answers are often the truest.

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

I love to watch trees. We are rich with trees in Kentucky, and out where we live on the farm (just outside Louisville). The last few years I have been trying to learn all of their names, their leaf shapes, their bark textures. A favorite hobby of mine is foraging – black walnut, mulberry, gingko. Mushrooms, too. This year we got lucky with the morels. Last year I missed morels, but was lousy with the butteriest chanterelles, from a hillside near Greenbo Lake in Eastern Kentucky.

I have always felt connection in nature, in a spiritual sense. Nurturing that connection is essential for my mental health, and, I believe, also for our survival as a species. Our dominant culture would have us believe that humankind is separate from nature, but of course we know that’s not the case. We are wholly of the Earth, our larger body. It is this imaginary separation that allows us to objectify and exploit her, which of course has brought about this very real existential threat that is the climate crisis.

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

This is such an interesting dance, as a writer – the one between subject and object. Every time we perform, we are creating a character for the purpose of communicating this particular story. When I was a younger songwriter, I would tend to write about things that had really happened to me – heartbreaks, epiphanies, tribulations and such. Nowadays, I don’t find my autobiography to be quite so interesting. And although there are many such personal narratives on Forever Home, the “I” and the “you” are ultimately “us,” and the perspectives of “writer” and “listener” can be interchangeable in that same way: telling the stories of the human heart and mind, that are universal in more ways than they are disparate. So yes, very often, because in the end, there is only us; only One consciousness experiencing our human and cosmic dramas through the infinite and beautiful forms we take.

Photo Credit: Wes Proffitt

MIXTAPE: Jill Andrews’ Soundtrack for the Making of ‘Modern Age’

Posted on by Justin Hiltner

I wrote the songs for Modern Age over a period of a few years. It was a time of reflection. I was looking back on my past, because I had recently gone back to my hometown to sing at a childhood friend’s memorial service. I’m normally a present and future thinker, but this gave me the opportunity to sit with my past for a bit and spend time remembering. I walked around my old neighborhood and drove by my high school. I sat in my car at the park that my friends and I used to go to after school to talk and hang out. The songs that came were a mixture of simple, joyful childhood memories juxtaposed with the beauty and heaviness of adulthood. I listened to quite a bit of music over this period of time. Most of the songs that I was drawn to had beautiful melodies, lush production, and very descriptive lyrics. Here are a few of my favorites. – Jill Andrews

“Beauty Into Cliches” – Madison Cunningham

I first heard this song on the Cayamo cruise, which is a music cruise that sails through the Caribbean. I was a featured artist on the ship, as was Madison. I love the way Madison calls out the beauty standards of our society in this song. As a female artist, this feels especially poignant. There are extra pressures to look and act certain ways in the music industry. Madison’s lyrics are creating space for everyone. Not only is it a positive message, the melody is lovely and the rhythm is so vibey.

“Nightflyer” – Allison Russell

Allison and I run in some of the same circles in Nashville, so when I heard she was putting out an album I immediately checked it out. I was drawn to this song for the obvious reasons, the melody and overall vibe are gorgeous and, in addition, the descriptive nature of her lyrics really made me feel like I was in the same room with her. She uses all of her senses to let the listener in. It’s so descriptive and sings like a poem. “I’m the melody and the space between. Every note the swallow sings. I’m 14 vultures circling. I’m that crawling, dying thing…”

“Pressure Machine” – The Killers

The desperation of this song gets me every time. It describes hard living in a small town in such a visceral way. “A mattress on a hardwood floor. Who could ever ask for more? I’ll get up and cut the grass. Ain’t nothing wrong with working class.” I have listened to this song over and over. It always hits me in a new way. The melody is so delicate and gorgeous.

“First Time” – Becca Mancari

“I remember the first time my Dad didn’t hug me back. Under the porch light with my sister’s old cigarettes. With your hands hanging to your side and my face to your chest.” I love Becca’s description of this moment. It’s so sad and so beautiful. After I heard this song, I messaged Becca and asked her if she would sing on Modern Age. We had met a few years prior, but didn’t know each other well. She ended up singing on three of the songs: “80’s Baby,” “Kids,” and “Better Life.” She is such a talent.

“Teenage Drug” – Ethan Gruska

The production of this song is really cool. It feels very alive, the way that it moves and breathes. I love how the melody follows the instrumentation in the chorus. I first heard this song on a playlist when I was jogging. I kept coming back to it over and over.

“Chemicals” – Gregory Alan Isakov

I played a show that Greg was on a few years back with Hush Kids. When I saw him live, I fell in love with his music. I have listened to his album, Evening Machines, hundreds of times since then. “Chemicals” is my favorite song on that album. I love the lines, “You saw her bathing in the creek. Are you jealous of the water?”

“The Night We Met” – Lord Huron

I first heard Lord Huron play this song at Forecastle Festival in Louisville, Kentucky, a few years ago. I had just gotten done performing and I wandered to the nearest stage to see who was playing. Seeing it live got me hooked. This song feels like a dream. I think it’s a mixture of the heavy tremolo on the electric guitar and the vast reverb on his vocals that capture this dream-state so perfectly. The lyrical theme of wanting to go back in time sits so nicely in this vibe.

“Slow Burn” – Kacey Musgraves

I love the vast soundscape on this song. The album Golden Hour is such a good example of music blurring the genre lines in whatever way feels natural to the artist. These songs could have been produced in a traditional country format, but instead she and producers, (and buddies of mine!) Daniel Tashian and Ian Fitchuk, decided to take it a totally different, interesting way. This was incredibly inspiring and helped guide my way of thinking during the making of Modern Age.

Photo Credit: Fairlight Hubbard