Tag: rock

You Gotta Hear This: New Music From Brothers Comatose, Caitlin Canty, and More

Posted on by Justin Hiltner

Your weekly dose of brand new roots music is here – You Gotta Hear This!

Our West Coast friends, The Brothers Comatose, kick us off this week with their new single, “Golden Grass.” The title track for their upcoming album, it’s a loping bluegrass number that pays tribute to the special regional string band styles and genre-bending of their home state, California. From the opposite side of the country, Caitlin Canty brings us “Hotter Than Hell,” a nostalgic song about nighttime summer drives, first loves, and first jobs that features fellow Vermonter Matt Lorenz on backing vocals.

We have a couple great new music videos, too, this week. Singer-songwriter Kai Crowe-Getty shares a live performance video of “Dancing on a Razor’s Edge,” a heartfelt original song about grief, loss, that takes inspiration from – as Joni Mitchell would put it – “you don’t know what you got ’til it’s gone.” Meanwhile, Hillary Reynolds also comes to us from an Americana space with her new track, “Can’t Turn Off My Mind,” a song about insomnia with an accompanying video that demonstrates how, to Reynolds, sleeplessness can become a familiar friend.

Keep scrolling though, because Nashville-based honky-tonker and picker-singer-songwriter Mose Wilson gives an unexpected flair to traditional country with his song, “Since I Lost You.” Wilson’s friend and sometimes bandmate, award-winning bassist Vickie Vaughn, returns to You Gotta Hear This once again with her latest Mountain Home Music Co. single, a fiery, soulful, and plaintive rendition of Vince Gill’s classic, “Liza Jane.” And, from just up the road across town in Nashville, string duo and old-time aficionados Golden Shoals turn their skills to “dad rock” for their pro-worker, anti-work-week summer anthem, “Five Day Weekend.” Of course, it’s just perfect for entering a long holiday weekend.

Country, bluegrass, folk, Americana, and blends of all of the above are all right here on BGS. You Gotta Hear This!

The Brothers Comatose, “Golden Grass”

Artist: The Brothers Comatose
Hometown: San Francisco, California
Song: “Golden Grass”
Album: Golden Grass
Release Date: May 21, 2025 (single); September 12, 2025 (album)
Label: Swamp Jam Records.

In Their Words: “We wrote ‘Golden Grass’ about the current wave of string bands coming out of California that are creating a new take on an old style of music. They start with their foundations in traditional bluegrass and incorporate folk, rock, and jam elements to form that Western ‘golden grass’ sound. Lots of great string bands have come out of California, like AJ Lee & Blue Summit, Molly Tuttle, and even going back to Old & In the Way who were trailblazers for this type of sound. It’s about taking the heart and soul of bluegrass and infusing it with everything we love about music today.” – Ben Morrison

Caitlin Canty, “Hotter Than Hell”

Artist: Caitlin Canty
Hometown: Danby, Vermont
Song: “Hotter Than Hell”
Album: Night Owl Envies the Mourning Dove
Release Date: May 22, 2025 (single); October 2, 2025 (album)
Label: Distributed by Tone Tree

In Their Words: “This is the first track I’m sharing from my forthcoming record, Night Owl Envies the Mourning Dove, out October 2. This song grew from the ground in Vermont, where I was born and raised and have recently returned to raise my little kids. On those hot humid nights before we had air conditioning, my folks would pack us all in the truck and we’d drive along mountain roads with the windows down to cool off. ‘Hotter Than Hell’ is a nostalgic summer throwback to first love, first jobs – those ephemeral firsts seared into memory.

“And making this record was my first time partnering with Sam Kassirer, who produced and played keys. I was nearly 8 months pregnant when we cut the record live at his Great North Sound Society in Maine. I just love to hear fellow Vermonter, Matt Lorenz (The Suitcase Junket) singing his blazing backing vocals on this song.” – Caitlin Canty

Track Credits:
Caitlin Canty – Vocals, acoustic guitar, songwriting
Jeremy Moses Curtis – Bass
Rich Hinman – Electric guitar
Sam Kassirer – Piano, organ
Matt Lorenz – Backing vocals
Ray Rizzo – Drums, percussion

Kai Crowe-Getty, “Dancing on a Razor’s Edge”

Artist: Kai Crowe-Getty
Hometown: Nelson County, Virginia
Song: “Dancing on a Razor’s Edge”
Album: The Wreckage
Release Date: May 23, 2025 (single); June 27, 2025 (album)

In Their Words: “In my life, I’m not one who does a lot of looking backwards or dwelling in the past with much intention. This song, like several on the record, does exactly that. The Joni Mitchell refrain of ‘don’t know what you got ’til it’s gone’ was a lost inspiration here. My mother died when I was young and this collection of memories, some with her, some without, is trying to make sense of the present in one of my more personal writes. Like many things we avoid, tuck away, wait to face another day, it tends to come out in unexpected floods and fissures as we navigate the grief of it, standing on different shores.” – Kai Crowe-Getty

Video Credits: Filmed by Zach Phillips. Edited by Kai Crowe-Getty.

Golden Shoals, “Five Day Weekend”

Artist: Golden Shoals
Hometown: Nashville, Tennessee; Vancouver, British Columbia, Canada
Song: “Five Day Weekend”
Album: The Dream and The Hunger
Release Date: May 23, 2025

In Their Words: “We live in a world where we’re pushed to our limits of productivity while being sold tons of garbage that we don’t need. At the same time, we could be harnessing AI to do the work that allows humans more leisure time, but Big Tech seems intent on replacing meaningful human work instead. The song just kind of manifested with a dad rock vibe. It details my dream for a world that I think is possible – where we all spend a significant, but not overwhelming, amount of time doing the hard work that a society needs to thrive and the rest of the time taking care of ourselves making the world a great place to live in.” – Mark Kilianski

Track Credits:
Mark Kilianski – Electric guitar, vocals, songwriting
Amy Alvey – Fiddle, vocals
Chris Sartori – Electric bass
Alex Bice – Drum kit, cowbell

Hillary Reynolds, “Can’t Turn Off My Mind”

Artist: Hillary Reynolds
Hometown: Appleton, Wisconsin (for the summer) and Los Angeles, California (for the winter)
Song: “Can’t Turn Off My Mind”
Album: Changing Seasons
Release Date: May 22, 2025 (single); August 8, 2025 (album)

In Their Words: “‘Can’t Turn Off My Mind’ ended up being the first song I wrote for my album. It came in stages. I wrote the first half by myself and when I felt like it needed fresh energy, I turned to my dear friend and fellow artist, Madison Malone, for a little nudge. Simply put, ‘Can’t Turn Off My Mind’ is a song about insomnia. I love how the narrative has evolved over time. Since finishing this song, Madison and I have become mothers and insomnia has taken on a new meaning, becoming a familiar friend – whether it was breast feeding and watching Schitt’s Creek in the wee hours of the morning or having an endless to-do list running through my brain at 3 a.m., I love that this song is the first single, setting the tone of my forthcoming morning album, Changing Seasons.” – Hillary Reynolds

Track Credits:
Hillary Reynolds – Vocals, piano, songwriting
Madison Malone – Background vocals
Benjamin Kopf – Acoustic guitar, bass, singing bowl
Tom Shewmake – Octave mandolin
Matt Musty – Percussion
Jim Frink – Drums

Video Credit: Directed and filmed by New Normal Studios.

Vickie Vaughn, “Liza Jane”

Artist: Vickie Vaughn
Hometown: Nashville, Tennessee
Song: “Liza Jane”
Release Date: May 23, 2025
Label: Mountain Home Music Company

In Their Words: “I’ve loved Vince Gill’s ‘Liza Jane’ since I heard it on local country radio when I was little. His version is so iconic and playful and the groove is intoxicating. I wanted to take to the song and add some serious drama, giving it a little bit of a darker vibe and instead of just singing about Liza Jane, I wanted to be pleading and angry and desperate about her.” – Vickie Vaughn

Track Credits:
Vickie Vaughn – Upright bass, lead vocal
Cody Kilby – Guitar
Casey Campbell – Mandolin
Wes Corbett – Banjo
Dave Racine – Drums
Deanie Richardson – Fiddle
Lillie Mae Rische – Harmony vocal
Frank Rische – Harmony vocal

Mose Wilson, “Since I Lost You”

Artist: Mose Wilson
Hometown: Nashville, Tennessee
Song: “Since I Lost You”
Album: That’s Love
Release Date: May 28, 2025 (single); July 17, 2025 (album)

In Their Words: “‘Since I Lost You’ is unlike anything I’ve released before. It’s a bridge between worlds – a song that could invite listeners from outside the traditional country audience to experience something new and unexpected. It’s a story of love lost told with a groove that’s both timeless and entirely my own.” – Mose Wilson

Track Credits:
Henry Long – Keyboards
Norbert McGettigan – Bass
John Papageourgiou – Drums
Will Johnson – Electric guitar
Stephen “Tebbs” Kearney – Dobro
Mose Wilson – Vocals, acoustic guitar

Photo Credit: Brothers Comatose by Jessie McCall; Caitlin Canty by Laura Partain.

MIXTAPE: Shoals Gold with Mike Farris

Posted on by Justin Hiltner

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

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

“You Left the Water Running” – Otis Redding

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

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

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

“Stranger in a Strange Land” – Leon Russell

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

“Mustang Sally” – Wilson Pickett

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

“Ease On” – Mike Farris

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

“You Better Move On” – Arthur Alexander

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

“Heart on a String” – Candi Staton 

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

“You Got a Lot to Like” – George Jackson

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

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

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

“When a Man Loves a Woman” – Percy Sledge

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

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

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

“Loves Me Like a Rock” – Paul Simon

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

“Sweet Soul Music” – Arthur Conley

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

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

Jimmy Hughes at his best with a very underrated classic

“This Love of Mine” – Arthur Conley

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

“Before There Was You & I” – Mike Farris

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

“Lovin’ the Easy Way” – Candi Staton

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

Photo Credit: Ed Rodes

Basic Folk: Lilly Hiatt

Posted on by Justin Hiltner

Singer-songwriter Lilly Hiatt has an interesting way of working melodies and a down-to-earth way of telling stories about her life and about how she sees the world. All of her albums have cool, crunchy guitar parts that take folk songwriting to a rockin’ level. On her new album, Forever, her diverse influences are woven into songs that touch on everything from relationships to anxiety and mental health to good old-fashioned rock and roll.

LISTEN: APPLE • SPOTIFY • AMAZON • MP3

In our Basic Folk conversation, we talked about the lessons that Lilly learned growing up the daughter of legendary songwriter John Hiatt and what it meant to her to see her dad go through the ups and downs of the music business while having the humility and self-belief to keep going. She also talks about how she thinks about herself as a performer – and how that’s changed since the pandemic. Before the pandemic Hiatt had a couple of really big records (Trinity Lane, 2017 and Walking Proof, 2020) that gained a lot of hype and attention. Once coronavirus hit, she had to sit in the house and ask the big questions like a lot of us did. She sat with the loneliness, alienation, and uncertainty.

You can hear in our interview just how much mutual respect and admiration we have for each other and how much belief we have in one another, not only as songwriters, but as women and as people who are in recovery. Very LYLAS vibes, lots of laughs.

Photo Credit: Jody Domingue

Oliver Wood Gets “Weird” On Second Solo Album, ‘Fat Cat Silhouette’

Posted on by Justin Hiltner

As the frontman/guitarist of The Wood Brothers, Oliver Wood is well versed in the art of roots experimentalism, but even that genre-blurring trio can’t satisfy all of his curiosity. With his second solo album, Fat Cat Silhouette (out now), the singer-songwriter set out to reach a new creative plane of existence.

Featuring nine playful, untethered tracks exploring pure sonic adventurism, the set became a case study in songwriting for songwriting’s sake; it’s a joyful mix of folk, jazz and free form pop. Recorded analog to tape by Wood Brothers percussion polymath Jano Rix, it features guest appearances by Katie Pruitt and Los Lobos saxophonist Steve Berlin, and some of the most irreverent, open-minded musical journeys ever taken. Each day, Wood would wake up, grab a coffee and sit down in a comfy chair, looking out the window to write whatever crossed his mind. The result was musical mood-shift, just a refreshing as it is insightful.

Ahead of another Wood Brothers tour, BGS talked with the artist about clearing his creative mind and getting “weird.”

It seems like you were purposely expanding your horizons on this second solo record, right? Why did you want to open up the floodgates?

Oliver Wood: I don’t know, it just felt like time to do that and time to experiment. … The Wood Brothers, we put out an album last spring and when we were done, I guess I was just still writing tunes. But also, I’ve always just liked in the last few years to make it a point to collaborate with some people outside of the band. And then production-wise, I felt like we’ve just done this album with The Wood Brothers a certain way, and a lot of times we react as artists and as writers. You sort of react to what you did before, and you try to be different, even though there’s not necessarily an exact sound in mind. It’s like, “What can we do that’s weirder?”

I love that idea of being a little weird, because why not, right? But the funny thing is that as a band, The Wood Brothers does not exactly seem limiting in terms of creativity.

No not at all.

So was there just still more in you, that had to get out creatively, or what?

I think so, yeah. And I’m sure there’s a subconscious part of me that wants to figure out what is my musical identity. I know what it is within The Wood Brothers. That’s sort of our bread and butter, but when I do my own thing, I feel like I can do whatever I want. … Maybe nobody will even hear it, so why don’t I just do get as weird as I want to get?

In the album bio, you talk about practicing songwriting without self-judgment and I think that’s a cool idea. Can you explain what that is to you and how you go about getting there?

Yeah. I think that is, first of all, almost impossible. However, maybe putting myself in a frame of mind that I was under less pressure to make something that people would like helps get there. It’s all subconscious, but when we’re with The Wood Brothers, even though we’re not trying to please anybody but ourselves, we do have to make our living, so in the back of our heads it’s like, “Oh, this song will sound good at Red Rocks or the Ryman Auditorium.” In other words, “People are going to love this.” I can’t help but think that in the back of my mind probably. But as far as writing without judgment and what that looks like? I think it looks like trust. I think it looks trusting that oftentimes your first instincts are right.

You don’t have to fix something or change something. You can trust that your soul and realness is going to come out if you just let it, and you write something down or play something, rather than going over it and editing it. I feel like I did that a lot with lyrics on this record. I wrote some things and I was like, “That doesn’t make any sense.” I caught myself thinking that, and then I was like, “Screw it. I trust that that’s what my subconscious told me to write. And it’s real.” I don’t think you really have to try to do that. In fact, the more you try, the less authentic it might be.

What came out is these nine tracks that to me are really playful and enthusiastic. What do you like about where the sound went? You definitely took some leaps.

Well, I talked with [album producer and fellow Wood Brothers member] Jano a lot about maybe being a little bit less on the drum set side, a little more on the percussion side. He is my favorite drummer ever, but sometimes I get tired of drum sets. I mean I love classic rock ‘n’ roll and R&B drums, all that stuff. But sometimes when you think about it, it sounds like everything else. So it was like “What if we didn’t have that?” There was one point where it’s like, “Jano, why don’t you do that percussion part vocally?” With the song “Whom I Adore,” not only did he play the Sitar and the tambourine, but he also did this weird shaker part with his mouth. Sometimes when you avoid one thing, you have to innovate to replace it with something else. And that was kind of the idea.

I use this really dull, rubber-bridge guitar on a lot of the songs, so there’s some more atypical guitar sounds. And of course, Steve Berlin and the bari-sax was a really cool thing. There was one section where we were wishing we had a horn section and instead Jano and I just sang all the parts. That was for “Star In the Corner,” and we just sang them like idiots – like fake opera singers! It’s kind of silly, but it was like, “That’s cool. And we haven’t done that before.”

That to me was the way to go to be non-judgmental, to be like you called it, playful. Sometimes you feel like you can control something and make it just perfect. But the opposite of that is letting go and trusting that if you try something, it may or may not turn you on, but when it works, it’ll surprise you and delight you. And that’s so much more fun than trying to control something and never quite being happy.

Tell me about the track “Little Worries.” This contains the album title, Fat Cat Silhouette, which is so fun. How does that song speak to the project overall?

Some of the themes, I feel like bloomed from that song. I have a ritual where I’ll go downstairs in the morning and have a cup of coffee in this armchair, which is right by a window facing my front yard. And I usually go down there and I write and sometimes I just write in a notebook, just sort of freeform. Sometimes it’s working on a song, but it’s wide open and several of these songs kind of started that way.

The idea of the Fat Cat Silhouette was really just an actual thing. I’m sitting there in that chair with my cup of coffee and I have these semi-transparent sheer curtains, and there’s a cat sitting there looking out the window. Sometimes for me – and I’m pretty sure for a lot of other songwriters – you don’t know what you’re going to write about, but you may see something that gets you started. And so the beginning of that song is literally me describing sitting in the chair with my cup of coffee and there’s a fat cat silhouette in the window.

That sort of observation, oftentimes if you write it down, can lead to a story. The first song on the album, “Light and Sweet,” happened the same way, sitting in the same spot looking out the window and there’s a sparrow. I started the song and then I started fantasizing. He’s on the phone with his lawyer talking about his divorce with his soon to be ex-wife.

[Laughs] You don’t hear many songs about bird law.

Exactly! But with the “Little Worries” song, I think writing that song and writing in general every morning is a good way for me to deal with anxieties and overthinking things. And that kind of turned out to be what that song was about.

How about “Yo I Surrender.” This is another track about giving up control, but also I think the most fun on the record. I love how you said it has the worst guitar sound ever. Why does that work for you?

That’s one that Jano and me and [bassist] Ted [Pecchio] were warming up one day, and we just started playing that groove. We just had fun playing that groove and I saved it on my phone, and then Steve Berlin from Los Lobos was in town with his bari-sax, and we invited him to come into the studio, help us finish writing that song. So the four of us sort of arranged the music and parallel to that, I was starting to think about the lyrics. I was also reading some cool books that were giving me some cool vocabulary words that I was like, “I just want to use that word. I don’t even care if it fits. I don’t even care if it makes sense.” It was definitely one of those things where it was musically such a group effort, and then lyrically one of those things – let it be weird, let it be ambiguous. I think some of my favorite songs that I’ve heard over the years are always a little bit ambiguous.

Photo Credit: Alysse Gafkjen

You Gotta Hear This: New Music From Dan Tyminski, Liam Purcell, and More

Posted on by Justin Hiltner

Americana, alt-folk, bluegrass – whatever form these tracks may take, You Gotta Hear This! Our premiere round up this week includes plenty of Texas, a dash of Missouri, and a heaping helping of the Southeast, too. From new bluegrass numbers by the legendary Dan Tyminski and up-and-comers Liam Purcell & Cane Mill Road to thoughtful and intentional Americana by John Calvin and Goodnight, Texas. Plus, there’s a musical tribute to Godfrey, Missouri, a small town on the mighty Mississippi River, by Lost on the Metro and the Steel Wheels reunite with Malena Cadiz on a Paul Simon cover.

Our second-to-last installment of our DelFest Sessions – featuring Mountain Grass Unit – is included here as well, as it premiered on the site earlier this week. It’s a mighty fine collection of music and you know what we think… You Gotta Hear This!

John Calvin, “Austin Chalk”

Artist: John Calvin
Hometown: Recently Boca Raton, Florida, but this record was written living in Dallas, Texas (and this song is very Dallas-centric).
Song: “Austin Chalk”
Album: Greener Fields & Fairer Seas
Release Date: July 25, 2024 (single); January 24, 2025 (album)

In Their Words: “North Texas rests on an ancient deposit of chalk and marl that sits about five feet below the topsoil and runs for hundreds of feet below that. Living in North Texas, you realize how much of our present is determined by an ancient past. The Austin chalk formation leaves torrential rain with nowhere to go. Rivers, like the Trinity River, flood easily and entire neighborhoods and can be underwater in a matter of hours. There are beautiful communities on the banks of the Trinity like Joppa and Bonton that were only able to stabilize and grow with the extension of the levee system by the Army Corps of Engineers in the early 1990s. Our foothold is always more tenuous than we think, and that’s truest for those that can least afford to move.” – John Calvin

Track Credits: Written by John Calvin.
Produced by Nate Campisi.
John Calvin – Vocals, acoustic guitar
Greg DeCarolis – Piano, bass, electric guitar, OB-8 synth
Pat Coyle – Drums, percussion
James Hart – Pedal steel
Eric DeFade – Alto, tenor, baritone sax
Robert Matchett – Trombone
Joe Herndon – Trumpet
David Bernabo – Brass arrangement

Goodnight, Texas, “A Bank Robber’s Nightmare”

Artist: Goodnight, Texas
Hometown: San Francisco, California (Avi Vinocur) and Chapel Hill, North Carolina (Patrick Dyer Wolf); the real town of Goodnight, Texas is the exact mile-for-mile midpoint between the two locales.
Song: “A Bank Robber’s Nightmare”
Album: Signals
Release Date: July 19, 2024
Label: 2 Cent Bank Check

In Their Words: “We’re enjoying some light world building. Our most recent single, ‘The Lightning and The Old Man Todd,’ fleshes out the tragic story of a character from a previous song of ours, ‘The End of the Road.’ Meanwhile, ‘A Bank Robber’s Nightmare’ checks in a decade later on the once carefree, now world-weary and estranged heroes of our 2014 song, ‘A Bank Robber’s Nursery Rhyme,’ which has been a fan favorite and staple of our live shows. The scene is kind of a bittersweet reunion, emphasis on the bitter. What do you say to your former partner in crime?” – Patrick Dyer Wolf

Lost on the Metro, “Godfrey”

Artist: Lost on the Metro
Hometown: St. Louis, Missouri
Song: “Godfrey”
Album: Resonance and Regrets EP
Release Date: July 25, 2024 (single); September 20, 2024 (EP)

In Their Words: “We have this giant river confluence here in St. Louis, and it’s common to take a drive along the river road from St. Louis to get away from the city for a while. Godfrey is a real town along the Mississippi River. Imagine bluffs, eagles flying overhead, touristy shops and restaurants, and the river road cutting through it all carrying cars, trucks, boats, bikes, to some unknown destination. The lyrics focus on getting older in a relationship, and the doubts that creep in, and that need to find a way to clear your head. There’s a dark element to Godfrey as well. It’s definitely a driving song on the surface, but the undercurrent holds all the worries and doubts and fears and hopes that float around as we find our way alone. It’s those thoughts in your head that you’re not sure you want other people to know you’re thinking. Driving down the river road with an open window and the wide Mississippi next to me lets me think those thoughts and then let them go.” – Lost on the Metro

Track Credits:
Jilly Morey – Songwriter, lyricist, lead vocals, percussion
David Morey – Songwriter, composer, arranger, rhythm guitar, vocals
Chris Dunn – Composer, arranger, lead guitar, vocals
Lucan Stone – Composer, arranger, bass, vocals
Josh Bayless – Composer, arranger, drums, vocals

Liam Purcell & Cane Mill Road, “Old Man’s Dream”

Artist: Liam Purcell & Cane Mill Road
Hometown: Deep Gap, North Carolina
Song: “Old Man’s Dream”
Album: Yellow Line
Release Date: April 5, 2024
Label: Pinecastle Records

In Their Words: “This song is one of the most personal stories I’ve ever released. I wrote it one day while my father and I were working at my folks’ place in Deep Gap. The land next door had been sold off for housing development and we had to prepare for them to widen the road. Over the next few months, I watched the trucks come and go, watched the bulldozers change the shape of the mountains, and watched the destructive path of progress as it made its way through our little mountain community.” – Liam Purcell

The Steel Wheels, “Gone at Last” featuring Malena Cadiz

Artist: The Steel Wheels featuring Malena Cadiz
Hometown: Harrisonburg, Virginia (The Steel Wheels) and Kalamazoo, Michigan (Malena)
Song: “Gone At Last”
Release Date: July 19, 2024
Label: Big Ring Records

In Their Words: “This Paul Simon song has been a favorite of ours for awhile. The plain spoken, down to earth writing with a gospel-sounding flare. We have been known to sing a cappella from time to time, but this was an opportunity for strong vocals with a bed of active bass and drum parts.

“Last February we were asked to play as the house band for the International Folk Alliance Music Awards in Kansas City. The house band job comes with the joy of meeting and playing with a variety of musicians. When we got a chance to play and sing with Malena Cadiz, we immediately fell in love with her voice. We were inspired to look for a chance to record together and ‘Gone At Last’ was that chance.” – Trent Wagler

Dan Tyminski, “Whiskey Drinking Man”

Artist: Dan Tyminski
Hometown: Originally from West Rutland, Vermont. Lives in Nashville, Tennessee
Song: “Whiskey Drinking Man”
Album: Whiskey Drinking Man
Release Date: July 19, 2024 (single); August 16, 2024 (album)
Label: 8 Track Entertainment

In Their Words: “My first single off of the new project is one I’m very excited to release. It’s written to be a toe tapping burner in the party spirit. This one should get your juices flowing.” – Dan Tyminski

DelFest Sessions: Mountain Grass Unit

Our second-to-last installment of our DelFest Sessions features Birmingham, Alabama-based jamgrass group, Mountain Grass Unit. Videographers I Know We Should were on hand at this year’s DelFest in Cumberland, Maryland over Memorial Day Weekend to capture a collection of beautiful, fun, and engaging live sessions on the banks of the Potomac River. (See all of our DelFest Sessions here.) For their shoot, Mountain Grass Unit played a pair of exciting cover songs.

Their first selection, “Big River,” is a funky and charming re-imagination of a Johnny Cash classic with a mash-tastic, blues-inflected groove. Drury Anderson, the group’s mandolin picker and lead vocalist on the track, sings with a drawl seemingly from right down the proverbial road from Cash’s homeland (near Memphis, Tennessee). It fits the bluesy undertones of their rendition perfectly, equal parts Muscle Shoals and Bean Blossom. Cash is a common cover subject in bluegrass, and MGU’s version of “Big River” demonstrates exactly why that’s the case.

Watch the full session here.

Photo Credit: Liam Purcell & Cane Mill Road by Pinecastle Records; Dan Tyminski by Jeff Fasano.

MIXTAPE: Blackwater Railroad’s Music From the Last Frontier

Posted on by Justin Hiltner

Alaska is an incredible melting pot for artists. Despite our sparse population, we are filled with wonderful creative types and a bustling music scene. Lots of our music and tradition stems from bluegrass and string music, the roots of which can be seen in so many of our incredible acts. As a band, we seek to celebrate our state and our scene, both of which are thriving and yet largely ignored by the lower 48. – Blackwater Railroad

“Heirlooms” – Josh Fortenbery

Josh’s new album is so immediately captivating. His voice is incredible, the instrumentation divine, and his songwriting is top notch. You can lose yourself instantly in the images he paints in your mind. He’s also part of Muskeg Collective, a Juneau-Based supergroup of folk musicians.

“Call Me a Fool” – Erin Heist

Erin is also part of the Muskeg Collective and another great example of the high standard that Juneau musicians bring to the world. Her smooth voice and raw lyrics speak directly to our hearts. Be sure to listen for the wonderful mandolin work by her husband, Andrew Heist, on this track. Power couple much??

“Sundays” – Wiley Post

We’ve had the pleasure of sharing the stage with these folks a few times now. They have an eclectic indie vibe that is so characteristic of our scene. Enjoy soaring fiddle lines, tasteful piano, and angelic vocals on this one!

“Brand New Love” – Black Barrel & The Bad Men

One of the more recent additions to our Alaskan scene, BB&TBM have hit the ground running. Their debut EP is gold and their live performances are top-notch. They ooze passion in their vocal arrangements and instrumentation. Their songs get stuck in my head constantly. I would not doubt big things to be coming to these (really good) Bad Men.

“Sink or Swim” – Zen Trembles

Becky Kotter has one of the most unique approaches to guitar and music that I’ve ever seen. She uses multiple capos and open tunings, playing entirely by ear to create her special brand of folk. Her voice is so nuanced and creative and every song you hear is creative and fresh!

“The Cuckoo” – Annie Bartholomew

Annie B is an undeniable talent. Her songwriting and lyrics resonate so strongly for us, and her aesthetic in general is delightful. Every time I’ve had the pleasure to see her perform live was an enchanting experience. The world needs more Annies!

“Orbiting Things” – Fireweed Fiddle

Ok, ok, yes, Fireweed Fiddle does happen to be our very own fiddle player, Rachel DeTemple. When she’s not sitting in with us all across Alaska, she’s writing brilliant music of her own. Rachel’s new album showcases her wonderful skills as both a singer and a player, all while being wrapped in a perfect folky bow.

“Traveler’s Waltz” – Hope Social Club

This is one of the most iconic acts we have in our state. They have a rich history of incredible music and live performances. Enjoy their entire catalog, and if you’re lucky enough to see one of the few shows they play a year, you’re in for a treat!

“Pray for John” – Roland Roberts

Roland is such a good storyteller. Even without guitar in hand you can listen to him wax poetic about anything. This is a slower tune, brilliant in all respects, but be sure to check out his other tunes for some more upbeat and rocking pieces as well. Roland also helped write one of the tunes on our new album, “Road to Make Believe”!

“Not Over You” – Evan Phillips

This tune has a wonderful vibe. I got to enjoy this one for the first time on a long trip back home in the band van. The dreamlike production paired with nature’s majesty on the highway made for one of the most delightful moments I’ve had in a long time. For a moment, I forgot I was stuck crammed in a van with five other stinky dudes for eight hours. I mean, that’s gotta count for something, right?

“Lucky Tennessee” – Bethlehem Shalom

This is such a cool track by such a creative artist. I think within a few seconds her iconic flavor will pour out of your speakers. A great example of the creative sounds and experiences you can get out of living in our wild state.

“Rock and Roll Man” – Blackwater Railroad

Hey, it’s us! This is the most rock-oriented song on our new album. It also might be the one that was the most exciting to make. The build up at the end features Taylor Vidic on vocals. We turned out the lights in the studio and just asked her to ad-lib based on how the track felt to her. She delivered 1000% and made for what might be the most iconic moment on the album.

“Lonely House” – Steve Brown and the Bailers

This is an awesome tune on the road. Alaska is huge and spread out so we spend a lot of time on the highway. Tunes like this keep the wheels turning and the spirits high. This song gets more and more creative as it evolves, so be sure to keep listening to see what happens. Spoiler: it’s sick.

Photo Credit: David Juarez

Out Now: Joh Chase

Posted on by Justin Hiltner

This week, we’re excited to feature Joh Chase in Out Now. Joh is an artist from Seattle, Washington now rooted in Los Angeles, California. They’ve spent the past two decades developing their craft as a songwriter and performer and they’ve opened for artists like Noah Gunderson and David Bazan. Joh’s music steps outside the lines of any single genre and blends influences of blues, folk, pop, and indie rock.

Joh Chase’s brand new album, SOLO, was released today. It features diverse sounds, intimate lyrics, and an exploration of love, loss, self-discovery, and independence. Our conversation touches on why they create music, their greatest fear, and their process of self-funding tours and crowdfunding albums.

Why do you create music? What’s more satisfying to you, the process or the outcome?

I create music because I am lucky to have claimed music as something that I do. I just do music as much as humanly possible, because it makes me feel alive and helps me know who I am and how much I love the world and life and others. Both the outcome and the process are satisfying. The payoffs for showing up always feel rewarding, but the long game reward of gaining muscle memory around showing up when it feels like the last thing you wanna do, is its own kind of reward.

Do you create music primarily for yourself or for others?

I’m very “Oliver Sacks” about music. I unabashedly create music for selfish reasons – coping, pleasure, and connection. And then I love playing music for people or hearing the music of others because everyone has a “secret public song space” in their bodies and minds and they want to be there as much as possible.

Your songs cover a wide range of genres with traces of blues, pop, folk, and indie rock influences. How do you navigate genre diversity while maintaining a cohesive sound throughout the album?

I think the genre diversity and how that comes across in the different sounds is a reflection of the kinds of music I used to make and the sounds that have stuck with me throughout the years. Using the baritone saxophone, finding a way to express some soul music as well as some Americana licks amongst folky tunes indie folk/rock sounds are endemic to my musical expression. Over the years people have said, “Oh your voice would sound good singing… country, bluegrass, blues, soul…” and in this record I found a way to fit the genres to my voice, a bit. The surprising Flaming Lips-sounding party that is “Daniel” or the more jammy “Smoother” with its less Western sounding scale, are consequences of me feeling 100% happy with creating and releasing music that genre melds, as opposed to making sure I stay in some sort of shape, genre-wise.

The lead single, “Avalanche,” is both explosive and personal. What is the inspiration and significance of this track?

I honestly cannot remember the exactitude of where or when I wrote “Avalanche.” It was in the same set of songs as “Gone” when I first wrote it, but I can’t remember that session as well as I can remember the writing of “Gone.” The song centers itself around the powerful polarity of belonging and loss. Love is not just the “hot fire sex flame” of pop bangers, but also the unexpected mountain shelf of love that you didn’t know you had until it was gone.

This album, SOLO, reflects your do-it-yourself perspective as an artist. Could you share the challenges and rewards of self-funding tours and crowdfunding projects?

One of my favorite books that I was reading around the time that I decided to do the crowd funding that led to this record is the book Real Artists Don’t Starve. The book inspired me to go back to school while I was making this record. The record business is tough and very uncontrollable, but I will never stop making music. So it’s not a question of “do I want to keep making music”, but rather how and at which costs? I think some artists or bands are in a place where they feel comfortable sharing the financials of their music business with fans and some do not for many valid reasons. I feel comfortable sharing with my fans, I need $x to do this, will you help me make it happen. It’s much more acceptable now to have folks follow your Patreon or Substack or subscriptions than it was, so I feel grateful that there are things like Kickstarter and Patreon etc.

What would a “perfect day” look like for you?

Eating a Berliner from Black Forest Bakery in Los Feliz with my coffee, going home to the studio and making music or playing out with my band.

What’s your ideal vision for your future?

I’m sitting behind some tape machine or TEAC-2A, coming up with my next record and building more beautiful songs. I’m walking my dog and going to queer line dancing and the LA women’s soccer games with my city and then touring and meeting wonderful people and getting to play music for them. Definitely going back to Europe for more shows – I’d really love to do that.

What is your greatest fear?

My dog dying when I’m on tour.

What’s the best advice you’ve ever gotten?

Get pet insurance.

What is your current state of mind?

I’m so deeply excited about playing these new songs for people this year and for people to hear this record. I couldn’t sleep last night after doing my taxes, ’cause I was so buzzed from the band rehearsal.

Who are your favorite LGBTQ+ artists and bands?

Brittany Ann Tranbaugh. Brennan Wedl. Bitch. Melissa Ferrick. Perfume Genius. Hand Habits. Sasami. Rhett Madson. Rachel Mazer. Ryan Cassatta. Brittany Howard. Sinead O’Connor. Jonnie Reinhart. Hurray for the Riff Raff.

For anyone reading this who might not be out of the closet, were there any specific people, musicians, or resources that helped you find yourself as a queer individual?

Willie Nelson’s “He Was A Friend of Mine” – I think struggling to come out of the closet or living in it or the aftermath of coming out revolves around loss of community and friendships. Nelson’s version of this song helps me still deal with some of the sadness around that loss. I was lucky enough to get sober and it was through the 12 step community that I met lovely, strong, vulnerable queers in LA who showed me the beauty and joy of what it’s like to be out and to be sturdy in your own way. I’m also spoiled with LA’s LGBT center – it’s an incredible organization with so many resources and events. Find the queers you want to be when you grow up. And then be the queer you want to be when you grow up.

What does it mean to you to be an LGBTQ+ musician?

I think it means that my music gets to be a safe LGBTQ+ place. That my shows and my music centers the queer experience.

What are your release and touring plans for the next year?

After touring this summer to promote the record on the West Coast, I’ll head east later in the year and jump into some Folk Alliance conferences. No release plans on the radar yet after SOLO.

How do you find a balance between the business and artistic aspects involved in your career as a musician?

I honestly don’t totally know. It’s intuitive and chaotic and intentional and has been part of my personality or my way of life for so long, now, that I don’t know if I can pinpoint one precise center of gravity. I have to protect my creative time, nurture my playfulness in life, let myself ditch friends or ditch overworking or ditch over-cleaning to let those creative moments remind me of who I am. I am lucky to have a manager, a team at Kill Rock Stars and friends who support me and my music. Inside of community, the glaring nature of the music industry is dulled out quite a bit.

Photo Credit: Shervin Lainez

Blackberry Smoke’s New Album Offers a Crunchy Continuation of String Band Traditions

Posted on by Justin Hiltner

With 23 years behind them, Blackberry Smoke are still one of the best examples of Southern rock in the modern era – but what does that even mean, right?

Led by singer, guitarist, and primary songwriter Charlie Starr, the band does indeed have roots pointing straight to hard-driving ‘70s icons like Lynyrd Skynyrd, the Allman Brothers Band, and more. That’s true, but they also pull inspirations from farther back. And to Starr, Southern rock, at its core, is a continuation of the Appalachian tradition: “String band music and storytelling.”

With their latest album, Be Right Here, some of that old-time tradition shines through the cracks of a warm, distorted wall of sound, with heartfelt song craft and acoustic-guitar melodies front and center. Meanwhile, the band continue to prove crunchy, doubled guitar solos, thundering drums, and anthemic vocals never go out of style.

BGS spoke with Starr before Be Right Here was released, to see what has changed (and what will always stay the same) for one of the most dynamic Southern rock bands in history – a history they know all too well.

I thought I’d kind of start just seeing how you’re feeling at this point. You’ve been burning up the road for over two decades now, which seems crazy to me. How do you feel about where you’ve have been, and where you are now?

Charlie Starr: I mean, I’m tired. [Laughs] No, I feel good. We all do. It doesn’t seem like it’s been that long. It’s surreal to think it’s been 23 years. I don’t feel like I’m old enough to say that I’ve been doing anything for 23 years other than breathing, but I’m proud of what we’ve accomplished. It feels good.

Blackberry Smoke is one of the best pieces of evidence that Southern rock is still alive and well. But I was just wondering, do you think there’s still more to say in that? Is the form still inspiring to you?

Totally. Just listen to any song from those amazing early Skynyrd records or Allman Brothers or Marshall Tucker Band records, Blackfoot – all those bands are so different, and it really was just geography that tied ‘em all together. They all had their own fingerprint. And I think that we do, too.

I was listening to Patty Loveless in an interview and she was talking about bluegrass – which I grew up playing and I dearly love also – and she was talking about how those first generation bluegrass bands, like Bill Monroe and the Blue Grass Boys, Flatt & Scruggs, and the Stanley Brothers, they came from this rich musical heritage of the mountains where they grew up in Kentucky, Virginia, Tennessee, North Carolina. And what they were drawing from was acoustic string band music and storytelling.

Well, now, fast forward all this time, and modern bluegrass musicians not only have that, but they also have Led Zeppelin and the Beatles and the Rolling Stones and all this. There’s so much more. So I kind of look at it in a similar fashion with “Southern rock” bands, because those guys were listening to not only what I just mentioned, with the hillbilly country music and string band music, but also the British invasion and then traditional country and the Beach Boys. As time moves along, there’s just more and more that gets poured into the soup. So to answer your question in a very long-winded way, I think that it can go on forever.

So you’re kind of the third wave of popular Southern music, taking all that was done before and adding in the new influence, too.

Yeah, if we were a tribute band that just dressed up like some old ‘70s band and played their songs, then it would suck. But since we have the freedom to explore our own musicality, it can never end.

The new album is called Be Right Here. What was the spark that got this one going?

In my case, it’ll usually be a little explosion of songs. I’ll know that album time is coming, and so I’ll get to work on writing a batch of songs. It doesn’t always come quickly but it usually seems to work out, which I’m happy to say, because it kind of falls on me – which I don’t complain about that at all. I dearly love to write songs and I’m glad that it’s my job. There are worse jobs to have. Writing songs for Blackberry Smoke is much easier than working in a body shop, which I did for years.

At this point, 23 years on, are you still writing about the same stuff?

Well, I guess stories can all be new, stories of love and loss and frustration and women and men and drinking – or not – whatever. But if you look at popular music as a whole, there are new subjects that enter our culture, like cell phones and the internet and Facebook. I don’t know if I’ve ever used the word Facebook in a song. I probably won’t. But no matter what comes along technology wise, time stays the same. It’s still moving at 60 seconds per minute, and that’s not going to ever change. And human beings behave really the same way.

That said, the internet’s changed everything really. Not entirely, but it’s added a new accent to everything we do. I think John Mellencamp said it best, he goes, “I’m not sure if we’re supposed to hear this many voices at all at once.” That complicates life, really. It might push me back into my hermit hole a little more. As a songwriter even, it pushes me to the old ways more, melodically and musically. I don’t think anything really new can be said. We’re just trying to find an interesting slant on the way we say it.

You teamed up with Grammy-winning producer Dave Cobb for the second time, and he’s famous for live recording and loving first takes. Does that work well for a band like you guys, who are very live-show oriented?

It does. And in this case, it’s very interesting. We went back to RCA Studio A again, and he said, “This time I’m going to put the drums and amps and you guys all in the big room, so we’re all going to be in a little cluster.” And I was like, “Really?” As soon as we started playing together, it was like, “Oh man, okay, this is working. We don’t necessarily need all the separation.”

Some producers would be like, “Hell no. There’s no way I’d ever make a record like that.” It can be too sloppy. But Dave was like, “Well, we’re capturing this one sound. Let’s capture it all in the room, like a ‘60s record or even a ‘50s record.” So that’s what we did.

Tell me a little bit about “Dig a Hole.” It was the first track written, the first track on the album and the first one released, with a theme of choosing your own path – for better or worse. Is that kind of what you have done as a band?

We have. It’s been our only choice, really, because nobody’s ever come around with a different idea. [Laughs] It’s funny, I put together a [track list] and sent it to Dave, and I had “Hammer at the Nail” first. And Dave goes, “Are you insane? ‘Dig a Hole’ is first. Why would you think that ‘Hammer at the Nail’ should be first?” I said, “Because it’s faster.” And he said, “I don’t give a shit about fast. ‘Dig a Hole’ is like you guys are winding up to kick somebody’s ass!”

“Azalea” leans more into the folky aspect of what Blackberry Smoke does. It’s got that acoustic shimmer of a classic-rock ballad. Where does that come from for you?

Man, I just love that kind of acoustic music. Again, that kind of stuff was my upbringing, and I’ll never turn it loose. That song lyrically was about fatherhood, because here we are now, our children are all growing up. I’ve already seen one go to college, graduate, now get married, so it’s like, “Well you hold on tight, but you don’t want to smother ‘em.” They have their own path to forge, so all you can do is try to be there for ‘em.

I’ll leave you with the big picture. After 23 years, what you hope people take away from this particular record?

I just hope they dig it. I mean, I don’t know if I expect people to experience it in a different way than I do or not. I don’t know. But I do get a lot of enjoyment right now listening to it.

Photo Credit: Andy Sapp

BGS Wraps: Luke Bulla, Celeigh Cardinal, Scythian, and More

Posted on by Justin Hiltner

Happy Holidays from the entire team at BGS! The holiday weekend fast approaches and while we’re taking time away from our screens and inboxes this season, we hope you are, too. We’ll be back with more roots music content next week, but for now enjoy our final BGS Wraps before Christmas.

Wherever you travel and whatever your plans are as you wrap up 2023 and look ahead to 2024, we’re so grateful that you’re part of the BGS family.

Ellen Angelico AKA “Uncle Ellen,” Christmas at the Firehouse

Ellen Angelico is an in-demand side musician and session player in Nashville, touring, recording, and performing with artists like Cam, Amythyst Kiah, Adeem the Artist, Allison Russell, and many more. Christmas at the Firehouse is a fun and light holiday EP full of classic tunes and even a number for the Scandinavian winter holiday, St. Lucia’s Day. It’s a perfect addition to BGS Wraps!

Luke Bulla, Holiday Songs

Only available via Bandcamp, fiddler and singer-songwriter Luke Bulla’s seasonal album, Holiday Songs, showcases the particular intersections of Bulla’s musical career and artistry – Texas and Nashville, bluegrass and country, contest fiddling’s polish and old-time fiddling’s grit. “Christmas for Cowboys” is delightfully country & western and his version of “Auld Lang Syne” has us looking ahead to the new year already.

Celeigh Cardinal, “Party of One”

“New Year’s never comes/ When you’re nothing more than a party of one/…”

One of Celeigh Cardinal’s most experimental and far-reaching releases, this vibey and lush alt-pop track celebrates and bemoans solitude at the holiday season, especially the transition from the old year to the new. Add this one to your NYE playlist for sure.

Erin Enderlin, “A Horse Named Christmas”

Horse Girl Christmas is an aesthetic we could certainly get behind! Country singer-songwriter Erin Enderlin is joined by Kimberly Kelly on “A Horse Named Christmas,” a rare instance of a waning country and roots music tradition – the horse song. Co-written by Enderlin and Kelly, the track is a love song meets story song about a wayward, down-trodden horse showing up at the back gate in December.

Sarah King, “The Longest Night”

The light is coming back! If you’ve been counting down the days to solstice’s long, dark night and the eventual return of the sun, you’re not alone. On Sarah King’s soulful new track, “The Longest Night,” hope shines through a sense of weary perseverance. It’s an excellent song to score your solstice.

Alan Lomax Collection, Songs of Christmas, Midwinter & New Year

Another Bandcamp exclusive, the Alan Lomax Collection released a new compilation earlier this month called Songs of Christmas, Midwinter & New Year. The album features tracks recorded by Lomax in the ‘50s and ‘60s and highlights folk traditions from all around the world, from Italy to Trinidad, Harlem to Nevis.

J. Morrow, Lauren Morrow, “Strange Christmas”

An alt-rock, Americana number that celebrates – and decries – a strange, strange Christmas. We all know the sort of holiday, where the best strategy is to just get through it. Maybe your tree is a little wonky, your loved ones are far away, and you’re feeling more like Scrooge than Tiny Tim. It’s okay to have a “Strange Christmas.”

Mason Ramsey, “Run Run Rudolph”

We are proud and unapologetic Mason Ramsey fans over here and not just for his Wal-Mart yodeling. Who else agrees!? A fun and raucous holiday track from Ramsey adds a bit of chicken pickin’ to the forward leaning, Chuck Berry-inspired sound.

Scythian, Christmas Out at Sea

If you’re one of the folks for whom 2020’s sea shanty craze never ended, Scythian have released a holiday album just for you! Christmas Out at Sea is a maritime holiday delight by the premier dance and late night band of the roots music festival scene. Of course the collection kicks off with “I Saw Three Ships.”

Serabee, “Bayou Christmas”

Maybe your Christmas tree is a cypress or a live oak? Maybe you’re spending the holiday on stilts or boiling seafood or slow simmering gumbo? However swampy your season, Serabee’s “Bayou Christmas” will get you in the mood.

Jordyn Shellhart, Cross-Legged By the Fireplace

Jordyn Shellhart made our BGS Class of 2023 Good Country year-end round-up and the country artist – with a solidly mainstream sound – put out a cozy and delightful holiday EP this year, as well. She covers Joni Mitchell’s “River” and another more recent holiday song, “You Make It Feel Like Christmas.” On the latter, the EP’s standout track, she’s joined by Austin Snell for a tender duet. The project culminates with an original, “Coming To Town,” that will have you curling up by the fireplace, too.

Hunter Stone, “Ugly Sweater Party”

As you don your hideous-yet-beautiful holiday sweaters this season, Hunter Stone has the soundtrack for you! Although, a bit of critical feedback Hunter, we don’t think your pictured sweater is nearly ugly enough for the album art. This is a toe-tapping song that will have you grinning above your turtleneck. Lose that button on your slacks!

Our Classic Holiday Album Recommendation of the Week:
Vince Guaraldi Trio, A Charlie Brown Christmas

BGS Wraps would have been an absolutely phony endeavor if it didn’t end up including Vince Guaraldi Trio’s A Charlie Brown Christmas as a Classic Holiday Album Recommendation. This record can do it all, from the fanciest of dinner parties to the most casual and unhinged dance pajama parties with the siblings and cousins. It’s a heavy dose of nostalgia and an unimpeachable collection of music, too.

Happy Holidays from all of us at BGS! We’ll have a New Year’s themed BGS Wraps for you next week, ‘til then – peace, love, and joy from us to you.

 

BGS 5+5: Glitterfox

Posted on by Justin Hiltner

Artist: Glitterfox
Hometown: Bakersfield, California (Solange); Charlotte, North Carolina (Andrea); Eugene, Oregon (Eric)
Personal nicknames (or rejected band names): We definitely joke about our pretend side project punk band Litterbox and Clitterbox (not sure the genre of that one yet). “Solo,” nickname for Solange.

(Editor’s Note: Answers provided by Andrea Walker.)

What’s your favorite memory from being on stage?

When we were first getting started we were asked to play in a battle-of-the-bands called “Buskerfest” in Long Beach, California. To say we were long shots at winning the competition would be an understatement. At 8 p.m. we went out on stage for our 30-minute set in front of the biggest crowd we’d ever been in front of and all of a sudden the sound system started going haywire. My microphone stopped working. The guitar amp stopped working. It’s like everything that could go wrong with the sound system did. But at the same time, all of our friends were right there in front and just so proud and excited for us. We were up there together, just the two of us and we kept rolling with it – whatever went wrong, we just smiled and kept going. We played for the biggest crowd we’d ever been in front of that night and in the end were named the grand prize winners. That night changed the course of our lives, because it gave us the confidence and conviction that we needed to follow our hearts and quit our jobs and try to make a life for ourselves in music.

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

In 2013, I lost my mom to breast cancer. We were incredibly close and the loss was utterly devastating. I started writing a song called “Cold Steel of Night” a few weeks before she passed. The lyrics to the chorus literally came to me while I was broken down on the carpet crying uncontrollably and the verses I wrote a few months after she was gone. The whole experience of writing the song was pretty cathartic for me and helped me to process her loss, but it was also the hardest to write, because I was going through the saddest experience I’ve ever been through.

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

Back in the summer of 2015 we decided that we were going to quit our jobs, give up our apartment, live in a van on the road, and do whatever it took to support ourselves 100% from playing music together. Before leaving Long Beach, we had lunch with a friend, Josh Fischel, who sat us down and spoke with us earnestly about the life we were embarking on. He said, “Always remember, this is a marathon – not a sprint.” That advice has proved helpful every step of the way, because it’s been a reminder to be patient, to make sustainable choices, and to try and stay grateful for wherever we are in our career. We’ve come a long way and still have a long way to go.

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

Solange and I live right next to an 85-acre park in Portland and we both walk our dog, Gilly, in the park every day. The park is full of massive trees and forested paths and is just a really peaceful place to explore. Writing songs is such an intensely cerebral activity for me that it’s really helpful to step away and take a walk through the park when I’m working. A lot of times when I take a break the ideas get a chance to gel and I’ll come back to the writing process with new inspiration about how to move forward.

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

Actually, never. Solange and I both write from our direct experience and point of view, so reading the lyrics of a song is almost like reading a page from one of our journals. We definitely use imagery and metaphors to tell the story and deliver emotional content, so a lot of times the true meaning of a line may be hidden in there. But all of the songs are written from a very personal, first person narrative perspective.

Photo Credit: Jaquelyn Cruz