KC Johns is an incredible singer-songwriter and artist based in Nashville, Tennessee. We had an excellent Only Vans conversation live from the mountain at Steamboat MusicFest 2025! In this episode we get into old fashioneds, cruise ship jobs, Nashville, singing in the mountains, touring overseas, and more.
KC Johns and I met over social media and we became fast friends. She is a whiskey girl like me and has her own mesquite-smoked Thunder Whiskey. This was a live-audience episode recorded and filmed at MusicFest in Steamboat, Colorado. The audio for her live acoustic performances ended up being unusable, totally on our end, and I am so sorry about that. KC is such a great live singer, but unfortunately the recording was too distorted to use. Please go see her sing live if you can, or check her out on Instagram.
During this episode, I jump into talking about her life as a cruise ship performer, and also provide no context when I bring up her super clever song, “I Wanna Rock for Christmas.” Sorry gal, I just love that tune!
Anyway, this is KC Johns. Check out her new single, “Break From the Heart,” and KC, I will come find your next Key West show at Hogs Breath and crash your stage!
And, happy birthday to Only Vans producer Kyle! You rock.
The last Friday of March brings a weekly new music roundup that includes bluegrass, folk, Americana, and more!
Kicking us off, Boston-based Autumn Hollow have a new single, “After All of This Is Gone,” a jangly, deep-pocketed rocker that reflects on the new reality we all find ourselves living in – or perhaps coping with through abject denial – after the COVID pandemic. Bold Forbes also unveil the first half of an A Side/B Side single release, “Make Away,” a song that’s string band and folk revival combined, but in a twangy, modern sonic package.
Blue Cactus call on their friends Brit Taylor and Russ Pahl for “Bite My Tongue,” a track and accompanying music video that takes on inequalities, patriarchy, and injustice (with a danceable groove!). Susto Stringband also bring us a video on their album release day, “Double Crown.” It’s got an old-timey line up of instruments, but a decidedly pop sensibility, and it celebrates community – that is, their favorite neighborhood honky-tonk haunt in Asheville, the eponymous Double Crown.
We’ve got plenty of bluegrass herein, as well. Jaelee Roberts has a brand new single, which was co-written by two of her mentors, Tim Stafford and the late Steve Gulley. “Heavy As A Stone In Her Heart” floored Roberts with its lyrics and raw emotion and she just knew she had to cut it. Kristy Cox has a brand new music video for her new single, too, which features John Meador – who recently announced his departure from Authentic Unlimited to perform in Vince Gill’s touring band. Cox and Meador team up to great success on “In My Dreams,” which of course includes plenty of dreamy harmonies. Don’t miss North Carolina powerhouses Balsam Range with a new track, as well. “When It Comes to Loving You” was written by Daniel Salyer and Jeff McClellan, features Don Rigsby, and is built around Balsam’s classic, driving sound.
There’s plenty of excellent roots music to enjoy. You Gotta Hear This!
Autumn Hollow, “After All of This Is Gone”
Artist:Autumn Hollow Hometown: Boston, Massachusetts Song: “After All of This Is Gone” Album:Say No More Release Date: March 28, 2025 (single); May 2, 2025 (album)
In Their Words: “‘After All of This Is Gone’ reflects on the lingering impact of the pandemic and the rush to return to normal. As a teacher who returned to in-person work early, I saw how quickly the conversation shifted away from what we had all been through. There was little acknowledgment of the lasting changes – only an expectation to move forward. This song serves as a reminder that the effects of that time didn’t simply disappear and that it’s important to recognize how they continue to shape us.” – Brendan Murphy
Balsam Range, “When It Comes To Loving You”
Artist:Balsam Range Hometown: Haywood County, North Carolina Song: “When It Comes to Loving You” Release Date: March 28, 2025
In Their Words: “The wait is over! From the first time I heard Daniel Salyer’s demo of ‘When It Comes to Loving You,’ I knew it would make a great Balsam Range song and I believe it has! It’s our first new single since the release of our last album, Kinetic Tone, in December 2023, and I couldn’t be more excited for music fans to hear it. With a cool groove and lyrics that are so well put together, I truly hope you all enjoy it as much as we do creating it. Me, Tim, Marc, and Alan are so excited to be joined by the great Don Rigsby on tenor vocal and fiddle. There will be no mistaking when you hear his powerful voice. Thanks to Daniel Salyer and Jeff McClellan for a great song!” – Caleb Smith
Track Credits: Caleb Smith – Acoustic guitar, lead vocal Tim Surrett – Bass, harmony vocal Marc Pruett – Banjo Don Rigsby – Fiddle, harmony vocal Alan Bibey – Mandolin
Bold Forbes, “Make Away”
Artist:Bold Forbes Hometown: New York City, New York Song: “Make Away” Release Date: March 27, 2025
In Their Words: “I wrote ‘Make Away’ after a dinner party I attended in Austin, Texas, some years back. I left the party feeling like ‘this is why one stays alive,’ but also I somehow mistrusted this feeling. What kinds of lives and labor went into producing the food we ate that night, how fragile was the peace that allowed us to meet so joyously and cavalierly, and how long would it last?
“I traveled to the central valley of California on a road trip the summer before – where so much of that night’s food came from – and the rows and rows of crops seem to stretch forever in all directions away from you on that flat, hot road. Billboards line the highway with propaganda advertisements from the farm owners lobbying for more water from the state, with photographs of ‘family farmers’ – inevitably blond, white, crisp-collared people. Of course, very few of the thousands of workers working the rows of crops fit that description: people being criminally underpaid for doing the hardest work in the country and then being rhetorically savaged every day by this country’s citizens who profit and benefit from this work.
“What does it mean to take pleasure in the daily indulgences of life in a society organized in this way? Could the daily sweetness of life ever merge with the struggle for a better, more just world? ‘Make Away’ is a song that prays for an answer to these questions.” – Nick Bloom
Track Credits: Nick Bloom – Rhythm guitar, lead vocals, songwriter Reid Jenkins – Fiddle, vocals David Halpern – Bass, vocals, guitar
Blue Cactus, “Bite My Tongue”
Artist:Blue Cactus Hometown: Chapel Hill, North Carolina Song: “Bite My Tongue” Album:Believer Release Date: April 25, 2025 Label: Sleepy Cat Records
In Their Words: “‘Bite My Tongue’ is a call to continue raising our voices and speaking out against injustice until we are finally heard. While we’ve certainly made progress, the fight for equality is far from over. What I will say, and what this song is ultimately saying, is that the power has always been and will always be with the people; if it didn’t, they wouldn’t be trying to ban protests. Special thanks to Brit Taylor for singing with us on this song and to Russ Pahl for the guitar duet Mario’s always dreamed of.” – Steph Stewart
Track Credits: Steph Stewart – Vocals, acoustic guitar, songwriter Mario Arnez – Vocals, electric guitar Brit Taylor – Vocals Whit Wright – Pedal steel, producer Russ Pahl – Electric guitar Jonathan Beam – Bass Ryan Connors – Keys Taylor Floreth – Drums, percussion
Kristy Cox, “In My Dreams” (Featuring John Meador)
Artist:Kristy Cox Hometown: Nashville, Tennessee, by way of Adelaide, Australia Song: “In My Dreams” (feat. John Meador) Album: Let It Burn Release Date: May 31, 2024 Label: Billy Blue Records
In Their Words: “I’m excited to release this new song and video with my friend John Meador for our song, ‘In My Dreams.’ I had a lot of fun writing and recording this track and love where Steve Kinney took the concept for the video.” – Kristy Cox
Jaelee Roberts, “Heavy As A Stone In Her Heart”
Artist:Jaelee Roberts Hometown: Nashville, Tennessee Song: “Heavy As A Stone In Her Heart” Release Date: March 28, 2025
In Their Words: “The first time I heard the demo of ‘Heavy As A Stone in Her Heart’ I was absolutely floored by the lyrics, melody, and raw emotion and knew without a doubt that I had to record it. Slow, sad songs that tell a story always speak to me most and this one absolutely stole my heart and broke it, too. ‘Heavy As A Stone in Her Heart’ is extra special to me because it was written by two of my favorite songwriters and singers that are also my mentors – Tim Stafford and Steve Gulley. I have looked up to Tim and Steve my entire life and I feel so grateful that this song made its way to me! ‘Heavy As A Stone In Her Heart’ came together so beautifully in the studio with a very stripped-down arrangement and without harmony vocals with the intention of focusing on the depth and feeling of the lyrics and I hope that it resonates with all of you the way it does with me. I so wish that Steve was still here with us but I know he’s listening from Heaven and this song is dedicated to him and his musical legacy.” – Jaelee Roberts
“I’m so glad that Jaelee Roberts is releasing ‘Heavy As A Stone In Her Heart’! Steve Gulley and I wrote this song back in 2007 and I know Steve would be absolutely thrilled at the news and to hear the song done so beautifully. Jaelee is a special talent and I can’t think of anyone who could have done a better job with this song.” – Tim Stafford
Track Credits: Jaelee Roberts – Vocals Byron House – Bass Cody Kilby – Acoustic guitar Andy Leftwich – Mandolin John Gardner – Drums Ron Block – Acoustic guitar
Susto Stringband, “Double Crown”
Artist:Susto Stringband Hometown: Asheville, North Carolina Song: “Double Crown” Album:Susto Stringband: Volume 1 Release Date: March 28, 2025 Label: New West Records
In Their Words: “This song is a tribute to one of our favorite dive bars in Asheville called The Double Crown. When we were living in Asheville, my wife Caroline and I would often go to The Double Crown for Western Wednesdays, where they feature lots of honky-tonk and adjacent genres of music. She’s from Texas, so it was fun for her to get a little slice of home when we’d go there on Wednesday nights to listen to the music, drink Lonestar, and two step a bit.
“One night in particular we were crossing the street to get to Double Crown and we just started making up a song about it. We finished it later on, but to this day the opening lines of this song remind me of crossing the street with her in the moonlight with the music coming from the bar and a bunch of folks (and dogs) crowded outside waiting to get in, or waiting at the window for drinks. The place had such a magical vibe for us that night, and I’m so glad we captured it in a song.
“When we started working on the Susto Stringband album, I showed the tune to Clint (of Holler Choir) and Ryan (our producer) and they figured it would be very fitting to include it on the record, given that the whole project was born in Asheville and the song is not only a tribute to the double crown, but the whole scene Caroline and I found ourselves in when we lived there.” – Justin Osborne, Susto Stringband
“Justin really captures the essence of our local favorite bar, The Double Crown, in its truest form with this song, in my opinion. Western Wednesday is hosted there each week and has become an Asheville cultural staple. The images referenced in the lyrics –two-stepping and romances, both fleeting and permanent – are vivid and very real. The sweetness of the melody pairs perfectly with the sentiments I feel about this bar. I’m very proud to be a part of this representation of a time and place that holds so much personal relevance for me.” – Clint Roberts, Holler Choir
Photo Credit: Balsam Range courtesy of the artist; Bold Forbes by Julia Discenza.
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.
Our partnership with our friends at Real Roots Radio in Southwestern Ohio continues as we move from Black History Month to Women’s History Month! This time, we’ll bring you weekly collections of a variety of powerful women in bluegrass, country, Americana, folk, and elsewhere who have been featured on Real Roots Radio’s airwaves each weekday in March, highlighting the outsized impact women have on American roots music. You can listen to Real Roots Radio online 24/7 or via their FREE app for smartphones or tablets. If you’re based in Ohio, tune in via 100.3 (Xenia, Dayton, Springfield), 106.7 (Wilmington), or 105.5 (Eaton).
American roots music, historically and currently, has often been regarded as a male-dominated space. It’s certainly true of the music industry in general and these more down-home musics are no exception. Thankfully, American roots music and its many offshoots, branches, and associated folkways include hundreds and thousands of women who have greatly impacted these art forms, altering the courses of roots music history. Some are relatively unknown – or under-appreciated or undersung – and others are global phenomena or household names.
Over the next couple weeks, we and RRR will do our best to bring you more examples of women in roots music from all levels of notoriety and stature. Radio host Daniel Mullins, who together with BGS and Good Country staff has curated the series, kicked us off last week with Dottie West, Gail Davies, and more. This week, we’re shining a spotlight on Kristin Scott Benson, Crystal Gayle, Big Mama Thornton, Reba McEntire, and Rose Maddox. We’ll return next week and each Friday through the end of the month with even more examples of women who blazed a trail in roots music.
Plus, you can find two playlists below – one centered on bluegrass, the other on country – with dozens of songs from countless women artists, performers, songwriters, and instrumentalists who effortlessly demonstrate how none of these roots genres would exist without women.
Crystal Gayle (b. 1951)
She’s a country music icon with signature floor-length hair and a voice as smooth as silk – Crystal Gayle!
Born Brenda Gail Webb in Paintsville, Kentucky, Crystal Gayle stepped out of the shadow of her legendary sister, Loretta Lynn, to carve her own path in country and pop music. She scored her first Top Ten hit in 1975 with “Wrong Road Again.” However, her major breakthrough came in 1977 with the GRAMMY Award-winning “Don’t It Make My Brown Eyes Blue,” a crossover hit that topped the country charts and even made waves on the pop scene. It peaked at Number Two on the overall Hot 100, setting Gayle up to be one of the premiere crossover artists of the era.
With 18 Number One hits, Crystal Gayle has the fourth most chart-topping songs for a female in country music history, even more than her older sister. She became a defining voice of the late ’70s and ’80s, blending country with soft pop for her signature sound. Who could forget those long, flowing locks – almost as famous as her music! A member of the Grand Ole Opry and the Kentucky Music Hall of Fame, she even has a star on the Hollywood Walk of Fame in addition to scores of other awards, honors, and accolades. Crystal Gayle is still shining today, proving that true talent – and great hair – never go out of style!
Before Elvis shook his hips and Janis wailed the blues, there was Big Mama Thornton. Born Willie Mae Thornton in 1926, this powerhouse of a woman changed music forever.
Thornton’s deep, growling voice and raw emotion made her a legend in blues and rock and roll. She recorded “Hound Dog,” which was written specifically for her, in 1952 – years before Elvis made it even more famous. It sold over half a million copies and reached the Top Ten on the Billboard R&B charts. Her recording of “Hound Dog” is regarded as a pivotal recording in the birth of rock and roll, and truthfully, her female perspective makes the song make a lot more sense.
Like many Black artists of her time, she never saw the wealth or credit she deserved. Big Mama wasn’t just a singer – she played drums, harmonica, and wrote music, influencing generations of artists. Janis Joplin’s hit “Ball and Chain” was written by Big Mama.
As a blues icon, she toured the United States and Europe, worked at many prestigious folk, blues, and jazz festivals, and even recorded an album with Muddy Waters. Sadly, her life was cut short after years of alcohol abuse, passing away at the age of 57 in an LA boarding house; Big Mama was buried in a potter’s field.
Big Mama Thornton paved the way for rock and roll, blues, and soul, and was posthumously inducted into the Rock & Roll Hall of Fame in 2024.
A South Carolina native, Kristin Scott Benson is a six-time IBMA Banjo Player of the Year and an absolute force on the five-string. She was a mandolin player as a youngster, but caught the banjo bug at nine years old when she saw Doyle Lawson & Quicksilver in the 1980s with their exciting brand of bluegrass – and a young Scott Vestal on banjo. She joined the all-female bluegrass band Petticoat Junction when she was just a senior in high school, moving to Nashville in 1994 to attend Belmont University.
Unknowingly, she made history during her sophomore year in college when she was hired by The Larry Stephenson Band. She is viewed by many as having “broke the glass ceiling” in bluegrass, by playing in a male-dominated professional bluegrass band, without being married to, dating, or being related to any of the other members – she was simply a powerful picker. Kristin worked two different stints with The Larry Stephenson Band, in addition to working with Larry Cordle & Lonesome Standard Time. She joined The Grascals in 2008, where she has remained for over fifteen years.
Pointing to Sonny Osborne as her banjo mentor, she has fit The Grascals’ sound like a glove with their heavy Osborne Brothers influence. (It was actually Sonny who recommended her to The Grascals for their banjo job.) In addition to kicking tail on stage and in the studio with The Grascals, in recent years Kristin has formed a recording duo with her husband, mandolin master Wayne Benson of Russell Moore & IIIrd Tyme Out. Together they are simply known as Benson.
Kristin Scott Benson received the Steve Martin Prize for Excellence in Banjo & Bluegrass in 2018, and was inducted into the American Banjo Hall of Fame in 2024.
She was bold, she was brash, and she helped shape country as we know it! Rose Maddox wasn’t just another singer, she was a trailblazer.
Born in Alabama and raised in Modesto, California, Rose and her brothers – The Maddox Brothers and Rose – became pioneers of the “hillbilly boogie” sound. Performing on radio as teenagers, their career really took off when Rose’s brothers returned from World War II, anchored by her powerhouse vocals. One of the first hillbilly bands to come from California, The Maddox Brothers & Rose cut a wide swathe, touring across the country, performing on the Louisiana Hayride, and making smash records.
With wild outfits, high energy, and Rose’s infectious laugh, they were country music’s first real rock stars, known as America’s most colorful hillbilly band. In the 1950s, The Maddox Brothers & Rose parted ways and Rose pursued a solo career. She broke barriers as a female country star, scoring over a dozen Top 30 hits like “Sing a Little Song of Heartache” and inspiring legends like Dolly Parton and Emmylou Harris. She also recorded several popular country duets with another legend with ties to southern California – Buck Owens. In 1962, she released the first bluegrass album by a female artist, Rose Maddox Sings Bluegrass, joined by Bill Monroe, Don Reno, Red Smiley, Donna Stoneman, and more.
She would continue to tour and record, even recording an album with Merle Haggard & The Strangers as her backing band. The Hag always pointed to The Maddox Brothers & Rose as one of his influences. Maddox also performed on stage and in studio with California bluegrasser Vern Williams, and even received a bluegrass GRAMMY nomination for her Byron Berline-produced album $35 & A Dream, shortly before her passing in 1998 at the age of 72.
Honky-tonk, bluegrass, rockabilly – Rose did it all and she did it first! So next time you hear a fiery female country singer, tip your hat to Rose Maddox, the original queen of country sass.
From the heart of Oklahoma, one voice has echoed through the decades, captivating fans with her powerhouse vocals and undeniable charm. Reba McEntire, one of the true Queens of Country Music, has been breaking barriers since she first stepped onto the scene in the 1970s.
Her big break came in 1974 when country & western singer Red Steagall saw Reba perform the National Anthem at a rodeo event in Oklahoma. He then helped her land her first record deal. But she was hardly an immediate success, working to find her footing in the music industry and after four years, she scored her first Top Ten hit, “(You Lift Me) Up To Heaven.” After that, she hasn’t looked back!
Reba topped the Billboard country singles chart for the first time in 1983 with “Can’t Even Get The Blues,” the first of her many Number One hits. With over 40 chart toppers and a career spanning more than four decades, she’s done it all. From mega hits to her legendary TV show, Reba, she’s not just a country icon, she’s a cultural force. However, Reba’s most iconic hit only reached #8, from her classic 1990 album, Rumor Has It. A song she learned from Bobbie Gentry, that has been a signature song of Reba’s ever since, it has been certified double-platinum, selling over 2 million copies: everyone loves “Fancy.”
Known for her fierce spirit and down-to-earth personality, Reba’s music continues to inspire generations of fans. Whether she’s singing about love, heartbreak, or resilience, one thing’s for sure – Reba’s voice is timeless. Reba McEntire, a true legend and a voice like no other.
The music release cycle marches on, bringing us to our first premiere roundup of March!
Below you’ll find new tracks and videos from artists like Big Love Car Wash, who take us on a tour of our collective subconscious with a bluegrassy-folky track, “Dream Journal.” Plus, mandolinist Danny Roberts – who you may know from The Grascals – pays tribute to two of his mandolin heroes with his new instrumental, “Lawson Sizemore.” And Dallas Ugly bemoan a bit too much indulgence and “sweets” with “Sugar Crash,” a deliciously saccharine number produced by Justin Frances from their upcoming album, See Me Now.
Country rocker Joel Timmons returns to his recent release, Psychedelic Surf Country, with a lyric video that tells the story of his dad burning piles of Christmas trees on “Just a Man,” complete with vintage 8mm family footage. Don’t miss singer-songwriter Grayson Jenkins turning over aging, mortality, and the constants of life on “Taxes & Time” with a charming video and a clean honky-tonk sound.
It’s all right here on BGS! Scroll for more, because You Gotta Hear This.
Big Love Car Wash, “Dream Journal”
Artist:Big Love Car Wash Hometown: Austin, Texas Song: “Dream Journal” Album:Daydream Release Date: March 14, 2025 (single); June 6, 2025 (album)
In Their Words: “For me, ‘Dream Journal’ is about a fork in the road, about making a pivotal decision. The decision that inspired this song was between attending law school and dedicating myself to music. At its heart though, ‘Dream Journal’ is about really listening to yourself. When you’re dreaming peacefully, where are you?” – David Rabinowicz, songwriter, guitar, lead vocals
Track Credits: David Rabinowicz – Guitar, lead vocals, songwriter Sol Chase – Mandolin, harmony vocals Everett Wren – Fiddle, shaker Taylor Turner – Double bass Joseph Holguin, Arlyn Studios – Recording, mixing engineer Andrew Oedel – Mastering engineer
Dallas Ugly, “Sugar Crash”
Artist:Dallas Ugly Hometown: Nashville, Tennessee Song: “Sugar Crash” Album:See Me Now Release Date: March 6, 2025 (single); April 18, 2025 (album)
In Their Words: “This song was inspired by the reliability of a low showing up after a high, specifically in a romantic setting. You know if you keep playing with fire you’re going to get burned, but it’s just so much fun. Besides, even when things are going well, falling for someone is a mix of fear and excitement. Sonically, we wanted to make this a sweet little candy bop and our producer, Justin Francis, nailed it with the warbley synth sounds he added. We also went for some cheekier arrangement choices to just really drive the playful aspect home. Hope this little twangy, twee song makes you dance!” – Libby Weitnauer
In Their Words: “‘Taxes & Time’ spilled out onto my notebook page early one morning after a restless night of sleep spent on an air mattress at a family member’s house. Nine times out of ten, those things go flat in the middle of the night – no fault to my hosts. This time, though, it also happened to be in the middle of the pandemic and one of the first times I had left home and my own bed in many months. I woke up at 5:00 am or so thinking about my grandfather, including a very distinct memory from my childhood of someone saying something to the effect of, ‘Papaw doesn’t travel outside of this many miles from home, because he has to get back to sleep in his bed.’ In about five minutes, I’d written the whole song with no melody or instrumentation in mind. This all happened around the time I turned 30 and it was cathartic to put my thoughts on paper about getting older, feeling and looking older, and thinking about what the important things in my life should be moving forward.” – Grayson Jenkins
Track Credits: Grayson Jenkins – Songwriting, acoustic guitar, vocals Paddy Ryan – Drums Aaron Boehler – Bass Jesse Aycock – Dobro Fats Kaplin – Fiddle Kevin Gordon – Backing vocals
Danny Roberts, “Lawson Sizemore”
Artist:Danny Roberts Hometown: Nashville, Tennessee Song: “Lawson Sizemore” Release Date: March 7, 2025 Label: Mountain Home Music Company
In Their Words: “While I was putting together songs for this record I knew that I wanted to salute two of my favorite mandolin players – Doyle Lawson and Herschel Sizemore. Both of these men not only had an impact on me musically, but personally as well, and I wanted to pay tribute to them by writing a song that would show their influence on my playing and ‘Lawson Sizemore’ is it. I really enjoyed writing this tune and I hope I did two of my mandolin heroes justice with ‘Lawson Sizemore.'” – Danny Roberts
Track Credits: Danny Roberts – Mandolin Andrea Roberts – Bass Tony Wray – Acoustic guitar, banjo Jimmy Mattingly – Fiddle
Joel Timmons, “Just A Man”
Artist:Joel Timmons Hometown: Folly Beach, SC Song: “Just a Man” Album:Psychedelic Surf Country Release Date: February 7, 2025 (album); March 7, 2025(video)
In Their Words: “‘Just a Man’ is the true story of my early childhood introduction to pyromania. The lyrics tell the story (fairly accurately) of my father gathering a pile of Christmas trees in our backyard and setting it on fire, nearly burning down our house and neighborhood. Woven through this humorous recollection is the realization that my dad is ‘just a man.’ Though he seemed like a flame-wielding mythical god to me as a little boy, he was full of his own dreams, doubts, questions, hubris, and fears. I edited together the lyric video with some vintage 8mm movie film footage that my mother shot. The final result feels like an intimate home movie night and it’s a visual love letter to my dear dad, Clyde. The recording features fantastic fiddling from another sweet man that I love, Jason Carter.” – Joel Timmons
Video Credits: Videography by Carlin Timmons. Edited by Joel Timmons.
Photo Credit: Danny Roberts by Sandlin Gaither; Dallas Ugly by Betsy Phillips.
Most people know Patterson Hood as the frontman (really one of two frontmen) for the long-running rock band Drive-By Truckers. Had they come up in the 1970s instead of the ‘90s, the Truckers would have been mentioned in the same breath as bands like Lynyrd Skynyrd and The Allman Brothers Band. Led by Hood and fellow singer-guitarist Mike Cooley, they play kickass Southern rock — but the caveat is that this is intelligent kickass Southern rock. And much of the band’s sensibility is informed by Hood’s unique youth. He grew up in Alabama, but was raised by liberal parents (his dad is legendary Muscle Shoals bassist David Hood). As Patterson says, “Dualities have always been an obsession of mine and to some extent [of] the band itself.”
Over the years, Hood has also kept a solo career going on the side. But his new album, Exploding Trees & Airplane Screams, is unique for a couple of reasons. For one thing, it’s his first solo record in 12 years. For another, it’s a somewhat different beast, musically, from most of his albums – both with and without the Truckers. There’s considerably less guitar-based rock and roll, and other instruments, such as piano and even woodwinds, have been pushed more to the fore.
This is still very much a Patterson Hood disc. You can’t miss his distinct, gravelly vocals. His storytelling – often stories of what it was like to come of age in 1970s Alabama – retains a sharp eye for detail and the aforementioned dualities. There’s a lot of pathos in Hood’s writing, but there’s always some humor as well. Exploding Trees features appearances from the Truckers’ Brad Morgan and Jay Gonzalez (on drums and keyboards, respectively), not to mention Lydia Loveless (on the heartbreaking “A Werewolf and a Girl”), Steve Berlin, and producer Chris Funk, among others.
Good Country recently had the pleasure of catching up with Patterson Hood.
You’ve been very prolific with the Truckers, but Exploding Trees & Airplane Screams is your first solo album in more than a decade. Why a solo album now?
Patterson Hood: That’s a great question. The reason, I guess, is that I’ve been super busy with the band. The Truckers have been in a really good place for over a decade now. So I wasn’t particularly eager to do a side project just for the sake of doin’ one.
But [with] every album, there’s always a couple of songs that somehow get lost in the shuffle. Particularly after the record comes out – they turn out to be great tracks on the record, but they never get played live. So they are kind of forgotten songs that I care a lot about. I kind of started a file some years back for those songs. It’s not that the band can’t play them; the band played the shit out of ‘em. [It’s] more just the way our shows are, the flow of the show, the rooms we play. You know, the emphasis live often gets put on a certain level of rock, for lack of a better way of puttin’ it. There are songs that might be a little more introverted. So I’ve had a stack of those songs that were sitting there.
And I also, about 10 years ago, became friends with [producer] Chris Funk. We would play together from time to time, usually in the Northwest, because we both live in Portland. We had this cool chemistry. So for a long time, we’ve been talking about making a record together. And during the lockdown – when I was stuck and couldn’t go anywhere or do anything – I spent a lotta time up in my music room. I wasn’t really able to write a lot during lockdown, because my brain was just not functioning very well. I was very depressed. It didn’t make for good songs. But I could go back and go through song fragments and hone in on things. I could really edit like crazy! So I spent a lotta time working on those songs – instead of thinking in terms of what I would do in a rock band format, what I would do in not a rock band format. You know, like “I could hear woodwinds on this song!” Things like that.
We cut it pretty quick. But I spent a long time working on it before we recorded it, you know? Including Funk telling me a few months before we went in, “I hope you’re practicing that piano, because I want you to play it on the record.” I’m like, “No, that wasn’t the plan. The plan was to have someone who can actually play the damn thing!” I’m thankful, because if he hadn’t kicked my ass, I probably wouldn’t have played piano, to be honest. It forced me out of my comfort zone, which I think was as much the point as anything for him. I think he wanted to keep me in a state of perpetual terror! [Laughs]
I had been wondering if that was you playing most of the piano, whether it was Jay Gonzalez or someone else?
I played a lot of it. I mean, I’m not playing all of it; Jay’s definitely playin’ on it. And I think Funk and I both play piano on one song. Funk played a lotta synthesizers. Jay’s playing some old vintage weirdo keyboards that have names that I can’t even remember. Phil Cook played that organ part on “The Forks of Cypress” too. But as far as the songs that seem to be built around a simple piano part – that tends to be me. That’s what I play: simple piano parts! [Laughs] I’m not Randy Newman.
Can I ask you about a few of the specific tracks? I understand that “Exploding Trees” was based on an actual event.
Yeah. It was kind of like a meteorological phenomenon, I guess. It was in my hometown in February of 1994. It was right before my 30th birthday [and] right before I moved to Athens, Georgia. The weather had been warm and it rained a lot for a couple of weeks. It just rained and rained, you know? Borderline flood conditions. There’s a lot of pine trees, particularly in my home area. And they all got completely waterlogged by all the rain and with the warm temperatures.
Then there was this sudden freeze; the temperature dropped like 40 degrees in a couple of hours. And all the water in those trees froze. Particularly those pine trees – I guess they splinter easier anyway. The trees basically exploded all over town, kind of at the same time. Thousands of fucking trees! I mean, flattening cars, buildings, people. It was really awful. … And I had been out of town. I had ironically visited Athens a couple of nights before for the very first time – which directly led to me living there shortly after. I was driving back home as it happened; I basically drove right into the middle of it. I was trying to get to my grandmother’s house to check on her. I got to the house and there were, like, pieces of trees that had gone through the roof. And I couldn’t find her anywhere. [It turns out] she was fine. She was at a neighbor’s house.
I love the line “beauty queens in hospital gowns.”
Right. Well, one of the worst injuries of this storm was a girl I knew. I worked at a restaurant with her. She had just won Miss UNA, the beauty pageant, and was like two weeks away from going to compete for Miss Alabama. Lovely, lovely young woman. Very sweet – super Christian. And an oak tree fell on her car, with her in it. And it knocked her head down into her body cavity. It completely pulverized her neck and back – but she lived! She’s a quadriplegic [now, but] that accident led to [that line].
Oh God. That’s awful.
It feels like there’s a theme on a few songs of reckoning – coming to terms with past events, maybe.
Sure. Or trying to make sense of things. “Miss Coldiron’s Oldsmobile” – I was too young when that was happening to really wrap my head around what all of that meant. But as an adult, you can go, “Okay. She was being gaslighted, you know?” Every time she would ask for money, she’d get reminded of the mental hospital she had spent some time in. Things like that. It was pretty fucking insidious.
“The Van Pelt Parties” – you know, that was some of my first experiences with drinking and how adults partied. I was a little kid, sneaking booze from the punchbowl. I was the only kid at the party and we would go every year. And the older I got, the drunker I got. And the grownups were too drunk to notice! [Laughs]
Was Van Pelt a part of Alabama?
They were a family. He was a college professor, she was a schoolteacher. Their daughter was a painter who had been my babysitter. And my parents were right in the middle of their ages – kind of ended up becoming friends with all of them, with the daughter and the parents. So they were a big presence in my life growing up. You know, I loved ‘em. Their daughter, who’d been my babysitter, taught me a lot of cool stuff. She turned me on to some cool music. I actually have a painting she made after tripping on acid at a Doobie Brothers concert!
Maybe it was because we were young, but I think the ’70s had a much cooler vibe than the present.
Well, about anything’s better than [now]. I hate saying this so bad because I’m not prone to romanticizing the past; I’ve always rebelled against glory days. But right now sucks! The level of fucking misinformation and just the insanity right now is so insidious. It’s hard right now not to feel a certain amount of nostalgia for any time in the past.
You and Mike Cooley have been playing together for almost 40 years or more. And other members of the Truckers have come and gone. But the drummer, Brad Morgan, has been with you guys forever and we don’t hear a lot about him. Tell me a little about Brad and what he brings to the band.
The band wouldn’t exist without Brad. Brad was the glue that kept all this crazy shit together all these years. You know, he’s that guy that’s really even-keeled. And he brought that to the table at times when the band was far too tumultuous and emotional for our own good. We call him Easy B. There’s a golden rule in the band and that’s “Don’t piss off Easy B!” Because if you’re fucking up enough to where Easy B gets mad at you, you are fucking up! And you don’t want the phone call from Easy B! He doesn’t get mad often so if he’s mad, there’s a good reason for it and you better take heed. He’s also a colossal drummer. He so often takes such a subtle approach to things that people don’t realize what a bad-ass drummer he is.
I know you have some solo dates lined up. What can people look forward to when you’re touring with this album? I assume it’ll be a little different than a Truckers show?
Yeah! Very different. But at the same time, it’s the same universe. [Lydia Loveless] is in the band that’s touring this record. She’s gonna open the show and she’s gonna play bass and sing harmonies in my band.
I think anyone who’s into the Truckers – if they can tolerate my voice, they’ll probably like this too. [Laughs] If you’re there for the big frontal assault and guitars and sweat and spit that comes with a Truckers show, it’s very different. Although I’m not ruling out those things happening, too. But it’s a quieter show. It’s gonna be built around these songs, with some other stuff that stylistically or thematically works with this. And it’s cool.
Artist: Amy Irving Hometown: San Francisco, California Latest Album: Always Will Be (out April 25, 2025)
What has been the best advice you’ve received in your career so far?
I’ve been an actor all my life. I began on this new path, making music with the band GOOLIS, a few years back. And I’ve been learning so much from them, especially our band leader Jules David Bartkowski.
I remember going into the studio to record our sophomore album, Always Will Be, and Jules suggested I improvise some. Well, let me tell you, as an actress, I had been traumatized in acting school improv class. I was never comfortable acting without a script. I’ve always considered my gift was in interpreting playwrights’ words. So, when I sang, I followed the notes exactly. But Jules and Aaron, our keyboardist, insisted that I try. I complained my mistakes would be so loud and they replied, “Oh yeah, Amy, we never make mistakes here.” Okay, I got it. I did it. And now you can’t keep me down on the farm.
What rituals do you have, either in the studio or before a show?
Before every show, after sound check, I retreat to my dressing room, to meditate and rest my voice. It’s a time to conserve my energy. I eat some protein that will not talk to me on the stage. Half a beta blocker keeps my hands from shaking. I do a vocal warmup, either alone with a taped class or over FaceTime with my wonderful vocal coach, Celeste Simone. Gabriel Barreto, my son and manager and record producer and photographer, then digs his elbows into my tight shoulders. When it’s five minutes to showtime, I usually run to the bathroom and have to throw up (yes, I get terrible stage fright), knock back a shot of tequila, then Jules leads us all in an exercise of shaking all the tension from each part of our bodies.
Genre is dead (long live genre!), but how would you describe the genres and styles your music inhabits?
Working with bandleader Jules is a thrill, because our music covers so many genres, once he decides on his arrangements. He has taken the songs of Willie Nelson and transformed them from punk rock to samba.
Broadly speaking, Jules was going for a kind of golden age of mid- to late-century global pop/rock approach. To offer a more specific example: the first song of the record Always Will Be, “Dream Come True,” was, for Jules, an attempt to channel 1960s Italian rock acts like Mina and Adriano Celentano, while throwing in some Vegas-style late Elvis maximalism and some doo-wop baritone sax. On the song “Getting Over You,” he was trying to find an intersection between The Clash and The Supremes. On “Everywhere I Go” he was trying to mix the Mexican influence of the original with the connected worlds of Klezmer and Balkan music and 1970s Ethiopian jazz.
Since food and music go so well together, what is your dream pairing of a meal and a musician?
I’d like to eat foie gras and fig jam on a baguette with a glass of pinot noir while Édith Piaf sings to me “Non, je ne regrette rien.”
Does pineapple really belong on pizza?
I think anything goes. I remember a long time ago when Wolfgang Puck first opened Spagos on Sunset Boulevard in Los Angeles, I was appalled to see “Jewish Pizza” on the menu. Well, it was smoked salmon and cream cheese pizza and I’m here to tell you it was delicious!
(Editor’s Note: No Skips is a brand new feature from BGS that asks artists, songwriters, musicians, and industry professionals what albums they regard as perfect, with every track a masterpiece – i.e., No Skips!
For the first edition of the column, songwriter-artist-musician Adam Wright highlights Mark Knopfler’s seminal album, Shangri-La, as we look ahead to Wright’s own upcoming project, Nature of Necessity, coming later this year.)
There are only a few times in your creative life when someone’s work hits you so hard it rearranges your artistic DNA. I could probably count those moments for me on one hand.
Shangri-La was a big one. It told me that you can write away from the outside understanding of things. That you can start from the inside of your own knowledge and continue inward. It also taught me that you can write about anything you find interesting. That being understood is not as important as whether or not you’ve put something down worthy of working out for whomever decides to try to understand it. And that there are so many things to write about that are not falling in and out of love. (People probably could have stopped writing love songs in 1950 and we still would have too many.)
The depth and perspective of the storytelling, the crafted excellence of the writing and the sublimely tasteful musicianship make it, to me, Knopfler’s masterpiece. He’s done this on all of his albums, they all include brilliant gems of songs, but Shangri-La is just perfection from top to bottom. – Adam Wright
“5:15 AM” (Track 1)
Like all of the songs on this album, “5:15 AM” is exquisitely written and recorded. It is the story of a coal miner on his way home from the night shift discovering a murder victim who turns out to be involved with organized crime. It is chock-full of lingo and references to specifics about gambling machines, nightclubs, and lots of mining terms. The way Mark weaves all of this language into lyricism and brings it back to the tragic lives of the coal miners at the end is exceptional and beautiful writing. The recording is gorgeous and still somehow earthy as dirt. Just a masterclass in songcraft.
“Boom, Like That” (Track 2)
“Boom, Like That” is about the rise of Ray Kroc from a milkshake salesman to a fast food emperor. Like “5:15 AM,” there are plenty of specific references in this one. “Going to San Bernardino, ring a ding ding. Milkshake mixes, that’s my thing now.” You’re in the middle of the beginning of a story right off the bat. I love songs from the character’s perspective and few writers do that as well as Knopfler.
The movie The Founder was filmed in my hometown of Newnan, Georgia. I noticed the town when I saw it, so I looked it up and read a bit about the filming. While the song was inspired by the book about Kroc, I’d read the movie was actually inspired by the song. Even if the song weren’t so well-written, the riff at the end of the chorus is enough to keep any guitar player happily busy for days.
“All That Matters” (Track 11)
Much of Shangri-La is written from the perspective of the characters in its songs. The title track and “All That Matters” seem to be more personal. “All That Matters” is just a sweet, simple song from a father to his children. Again, beautifully written and pretty as porcelain. It has some surprising chordal and melodic turns in the B section to juxtapose the nursery rhymey-ness of the verses. Just perfect. And a nice respite from the mostly cynical tone of much of the album.
“Stand Up Guy” (Track 12)
“Brew the coffee in a bucket/ Double straight man and banjo/ If you don’t got the snake oil/ Buster, you don’t got a show.”
Again, you’re right smack dab in the middle of someone’s story. This time it’s a musician in a group of traveling, Victorian-era pitchmen. They apparently have teamed up with “the Doctor” who peddles snake oil medicine to townspeople and does it well enough to keep them fed on beefsteak and whiskey. Just wonderfully interesting, both lyrically and musically.
If you wanted to become a very good songwriter (or musician or producer, for that matter), you could only study Shangri-La for years and get a very long way toward the goal. I’ve been mining this album for inspiration for twenty years. It always gives me something more.
(Editor’s Note: This special episode of Basic Folk featuring Gary Louris is guest-hosted by singer-songwriter and friend of the podcast Mark Erelli.)
You probably know Gary Louris as the leader of The Jayhawks – or as they refer to themselves, “a band from Minnesota.” The Jayhawks are pioneers of roots rock, alt-country, and Americana. Whatever you wanna call it, they’ve been making records where rock, pop, country, and other forms of American roots music overlap since the mid-1980s.
But Louris’s hidden superpower is that he’s kind of like a musical Swiss Army knife – he’s basically got a creative skill for any application. Want him and his band to serve as accompanists for some of the most distinctive singer-songwriters, like Wesley Stage and Joe Henry? He can do that. Looking for achingly perfect, near-fraternal harmonies on hit songs like Counting Crows’ “Mr. Jones”? He can (and did) do that. If you’re Tedeschi Trucks Band or The Chicks and looking for someone to write you some catchy, melodic, roots-pop songs? Gary’s your guy. If that’s not enough, he has also produced records for artists like Dar Williams, The Sadies, and The Jayhawks, too. Whatever your musical need may be, chances are that Gary Louris can do it.
In between all these varied musical roles, Louris has also found time to release several solo albums, the newest of which – Dark Country – was released earlier this month. He recorded it mostly solo in his home studio and the word on the street is that this collection of songs, inspired by his wife, is his most intimate and romantic album yet. I’ve been a big fan of Gary Louris for basically my entire adult life and enjoyed our wide-ranging Basic Folk conversation, touching on the way technical limitations can shape an artist’s style, what he’s learned from a career’s worth of collaborations, his process working on his new solo album, the relationship between versatility and longevity, and what the influence of romance on his songwriting looks like now, in the fifth decade of his music career.
To celebrate Black History Month – and the vital contributions of Black, Afro-, and African American artists and musicians to American roots music – BGS, Good Country, and our friends at Real Roots Radio in Southwestern Ohio have partnered once again. This time, we’ll be bringing you weekly collections of a variety of Black roots musicians who have been featured on Real Roots Radio’s airwaves. You can listen to Real Roots Radio online 24/7 or via their FREE app for smartphones or tablets. If you’re based in Ohio, tune in via 100.3 (Xenia, Dayton, Springfield), 106.7 (Wilmington), or 105.5 (Eaton).
American roots music – in any of its many forms – wouldn’t exist today without the culture, stories, skills, and experiences of Black folks. Each week throughout February, we’ll spotlight this simple yet profound fact by diving into the catalogs and careers of some of the most important figures in our genres. For week three of our celebration, RRR host Daniel Mullins shares songs and stories of Linda Martell, B.B. King, Miko Marks, Darius Rucker, and Rhiannon Giddens. Be sure to check out the first week and second week of the series, too.
We’ll return for one last edition next Friday to bring you even more music celebrating Black History and the songs and sounds we all hold dear. Plus, you can find a full playlist with more than 100 songs below from dozens and dozens of seminal artists, performers, songwriters, and instrumentalists from every corner of folk, country, bluegrass, old-time, blues, and beyond.
Black history is American roots music history; the two are inseparable. As we celebrate Black History Month and its legacy, we hope you’ll join us in holding up and appreciating the artists who make country, bluegrass, blues, folk, and Americana the incredible and impactful genres that they are today.
Linda Martell (b. 1941)
She was a trailblazer, a pioneer, and a voice that country music wasn’t ready for – but she made sure they heard her anyway!
Linda Martell, the first commercially successful Black female country artist, broke barriers in the late 1960s with her soulful voice and undeniable talent. In 1969, she made history with her hit song “Color Him Father,” reaching the Top 25 on the country charts before the release of her debut album – Color Me Country on Plantation Records — resulting in two more charting singles. She became the first Black woman to perform on the Grand Ole Opry, making a dozen appearances on the historic radio program and appearing as a special guest on television programs like Hee Haw, proving country music is for everyone.
Despite her success, the industry wasn’t kind. Racism and label conflicts cut her career short, leaving her influence overlooked for decades. She would spend many of those decades settling into domestic life, working a variety jobs including as a school bus driver. Still, her legacy lives on, inspiring a new generation of Black country artists. She is an influence on many African American country artists today, including Mickey Guyton. When Rissi Palmer began her program on Apple Music Radio, it was intentionally named “Color Me Country” after Martell’s historic album. As she puts it, she was “paying homage to the foundation on which my house is built, and that is Linda Martell.”
In 2021, Martell was recognized with CMT’s Equal Play Award and has had an even greater spotlight shone on her groundbreaking work after she made guest appearances on Beyoncé’s Cowboy Carter album, resulting in Martell’s first GRAMMY nomination at age 83. Thankfully, Linda Martell is finally getting the recognition she deserves. Her story is one of resilience, talent, and breaking down barriers—one song at a time.
Let’s talk about a blues icon who found inspiration in country music – B.B. King! Born on a Mississippi plantation in 1925, B.B. grew up listening to blues. But did you know he also had a love for country music? As a young man, he was inspired by the guitar playing of country stars and tried to emulate the sound of a crying steel in his bluesy pickin’ style with his guitar, Lucille. He would frequently collaborate with country music stars both on stage and in the recording studio, including on his album, Deuces Wild, which featured appearances from Willie Nelson and Marty Stuart.
He performed at Willie’s FarmAid, on the GRAMMYs with Keith Urban, and even appeared on the popular That Nashville Music TV Show with Jerry Reed. In the ’90s, the hit all-star album Rhythm, Country & Blues closed with a legendary collaboration between B.B. King and George Jones on the old story song, “Patches.”
B.B. King proved that great music knows no boundaries. Blues, country, rock and roll – it’s all about storytelling from the soul and letting the good times roll! B.B. King was inducted into the Rock & Roll Hall of Fame in 1987. He passed away in 2015 at the age of 89.
She’s breaking barriers, blending genres, and bringing a fresh voice to country – meet Miko Marks. Born in Flint, Michigan, Marks has been redefining country since the early 2000s. She was named Best New Country Artist in 2006 by New Music Weekly and won several awards at the Independent Music Awards in the early aughts as well. With a voice that’s equal parts soul, blues, and traditional country, she has a compelling sound full of power and conviction.
After years of industry struggles, Marks focused on her role as a mother for the next decade-plus. She mounted a powerful comeback with her 2021 album, Our Country, earning critical acclaim and recognition from Rolling Stone and NPR. The equally impressive follow-up, Feel Like Going Home, was released in 2022. She was named one of CMT’s Next Women of Country that same year.
Miko’s music speaks of resilience, hope, and inclusivity, carving a space for new voices in country. Her release Race Records features her take on country classics from The Carter Family, Willie Nelson, and more. From performing at the Grand Ole Opry to rocking major festivals, Miko Marks is a name you need to know. If you haven’t heard her yet, now’s the time!
From Hootie & the Blowfish to country superstardom, Darius Rucker has done it all. This GRAMMY-winning artist first made waves in the ’90s by leading popular alt-rock band Hootie & The Blowfish, which he helped found while attending the University of South Carolina. They scored half a dozen Top 40 hits, including “Hold My Hand,” “Let Her Cry,” and “Only Wanna Be With You.” There were seeds even then of his future country success, especially with the band’s bluegrass-flavored “Desert Mountain Showdown” from their Musical Chairs album.
Rucker began pursuing a country career in 2008. His debut country single, “Don’t Think I Don’t Think About It,” made history as he became the first Black artist in over 25 years to top the country charts. He was named CMA’s New Artist of The Year in 2009, making him only the second African American artist to win a CMA award – the first being Charley Pride. He would join the Grand Ole Opry in 2012 as only the third Black member of country music’s oldest institution.
He has continued to release many country hits, including nine chart-toppers. In 2013, he released the biggest song of his career, his take on an Old Crow Medicine Show song, “Wagon Wheel.” This number one hit is only the fourth country song to be RIAA-certified Diamond (for 10 million units) and earned Darius Rucker a GRAMMY Award for Best Country Solo Vocal Performance, making him only the third Black artist to win a country vocal performance GRAMMY. With his distinctive voice, heartfelt lyrics, and undeniable charm, Darius Rucker continues to break barriers and bring fans together. Whether it’s rock, country, or beyond, one thing’s for sure – this guy’s got soul.
From the rolling hills of North Carolina to the world stage, Rhiannon Giddens is a musical force re-centering American roots music. A singer, songwriter, multi-instrumentalist, and historian, Giddens brings the forgotten voices of history back to life one song at a time. After leading the GRAMMY-winning old-time band, the Carolina Chocolate Drops, she has focused on her solo career for now more than a decade.
Rhiannon blends folk, blues, gospel, country, Celtic influences, and more into her dazzling brand of American roots music, all while shining a light on Black contributions to the American musical landscape. Her voice? Soulful. Her banjo? Revolutionary, as she is a recipient of the Steve Martin Prize for Excellence in Banjo and Bluegrass. Giddens has also earned MacArthur Genius honors, collaborated with folks like Elvis Costello, Eric Church, and Gillian Welch, written ballet music, and even composed a Pulitzer Prize-winning opera! (She did study opera at Ohio’s Oberlin College after all.) She has even written several children’s books based off some of her original songs.
Recently, Giddens has partnered with fellow Carolina Chocolate Drops co-founder Justin Robinson to shine a light on fiddle & banjo music from North Carolina. Whatever she sets her sights on, Rhiannon Giddens tackles it head on, inspiring us all in the process.
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Photo Credit: Rhiannon Giddens by Ebru Yildiz; Linda Martell courtesy of the artist; Miko Marks by Karen Santos.
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