MIXTAPE: Jeremie Albino’s Songs That Take Him Back

The other day I was going through my closet doing some spring cleaning, when I found a box with a bunch of old things that just took me back. One thing in particular was my old CD binder that I used to keep in the first car I ever owned, my parents old Ford Windstar. When I started looking through the binder, it brought me right back to the first time I moved away from home. At 19, I decided to leave the city and start working on a vegetable farm as a labourer. I was really into gardening and growing food at the time. Being out there was a time of many firsts, first time moving from home, first love, first time out partying (I’d always been a homebody).

This find made me think of turning them into a digital playlist, “Songs That Take Me Back.” Something that I could take with me, wherever I may go. Here’s a playlist of songs that somehow take me back to a moment in my life, and I’d like to share them with you. – Jeremie Albino

“Trouble” – Ray LaMontagne

This was the first CD in that CD binder that really brought me back. I could just smell the lilacs in the spring time driving out in the country with my old Windstar with the windows down, blasting this record.

“Sylvie” – Harry Belafonte (At Carnegie Hall)

This song brings me right back to an early Sunday morning when I was a kid. I’d be sleeping in and my dad would throw this on his five disc CD player, blaring records while he’d clean the house. This is probably one of my all time favourite records.

“Dust My Blues” – Elmore James

When I hear this tune, it reminds me of the first open mic I ever participated in. I was probably 15 or 16, I had been so in love with this song and had to learn it. I didn’t do too bad, the audience seemed to enjoy a 15 year old trying to play the slide guitar.

“Only Son” – Shakey Graves

This song takes me back to the summer of 2015 — I was so in love with a fellow farmer who worked at a farm not too far from mine. She was so cool, she had the coolest taste in music. One of the first times I had found someone who liked so much of the same music as I did. The song specifically reminds me of that first date, where we had pizza on a dock and listened to Shakey Graves.

“Harriet” – Hey Rosetta

This song reminds me of the first tour I ever went on. I was in a folk trio with my best friends called En Riet. We went on an epic first tour, drove eastern Canada all the way to Newfoundland, one of the most beautiful places I’d ever seen. We would listen to Hey Rosetta driving through some of the most scenic drives I’d experienced in my life, the music felt so fitting and right.

“Hey Boogie” – John Lee Hooker

The first CD I ever purchased was a compilation record called Blues Legend. It was all John Lee Hooker. I got it from the Future Shop (fellow Canadians, do you remember this store? So good.) when I was 7 or 8. I have no idea why I bought it or why I was drawn to it, I think my parents probably told me I liked blues and brought me to the blues section. I ended up picking it cause I thought the cover looked cool! Turns out it was a good pick and listening to it now, it brings me back to being a kid.

“Shipwreck” – Jeremie Albino

This is the first song I ever wrote. I wrote this one 10 years ago; it’s always nice to look back to see how things started for me. At the time I was having such a hard time writing music, and on weekends I would meet up with some friends and have a kitchen jam session. We’d go in a circle, sharing songs. My friends would always share a new song they’d been working on, and I would just play covers, since I still hadn’t written a full song. After coming home from one of these sessions, I told myself, “That’s it! I’m writing a song.” So I thought about how much of a hard time I was having writing and the line “I’m a wreck” came to me cause that’s what I was feeling when I was writing. Eventually one thing led to another, and I started thinking about what other things are wrecks and long story short, “Shipwreck” was born.

“Stumblin’” – Jackson & the Janks

“Stumblin’” was a song that was a must-listen when I was on tour with Cat Clyde. I remember the Mashed Potato records compilations had just come out and I started listening to these songs non-stop. With “Stumblin’” in particular, I just couldn’t get over how good it was! I had sent over the album to Cat so she could listen to how good it was, too! So by the time we hit the road together, we probably listened to that song a million times combined, no word of a lie.

“Boxcar” – Shovels & Rope

I remember the first time I heard this song was one of the first times I went to a bar and partied with friends. A local band was covering the song. When I finally got my hands on the record I fell in love with their music, the songwriting and vocals. I had a huge crush on Cary Ann’s voice. After that Shovels & Rope turned out to be one of my favourite bands. Ten years later, we actually ended up hitting the road together for a tour and it was one of my “I made it” moments. I feel very blessed to call them my friends, it’s funny to see how things come full circle sometimes.


Photo Credit: Colin Medley

WATCH: Jeremie Albino, “Acre of Land”

Artist: Jeremie Albino
Hometown: Toronto
Song: “Acre of Land”
Album: Past Dawn
Release Date: April 1, 2022
Label: Good People Record Co.

In Their Words: “Wrote this one with my pal Khalid Yassein (Wild Rivers) at a summer BBQ and my pal Michael Trent (Shovels & Rope) helped bring it to life via the power of the internet. At the time I wrote this song, I was stuck at home and all I seemed to write about was missing tour and at the same time missing home haha. Seems like there’s always a battle of wanting to have the stability of finding a partner, a home and settling down, and the pull of being out on the open road. I’m hoping I can find a balance in both one day. I guess this song leans more on the ‘yearning for a love and home’ type of song. I feel pretty grateful right now to have both those things but for some reason I have a feeling I’ll still be writing songs about missing something in years to come. Hopefully it’s just about missing my keys or misplacing my wallet haha! This song actually ended up being my favourite of the bunch of songs on my new EP, Past Dawn, in many ways. I especially loved making the video in one of the most beautiful places I’ve ever been. That deserted space between Nevada and California really helped capture that feeling of being free and wild roaming the highways of America!” — Jeremie Albino


Photo Credit: Colin Medley

BGS 5+5: Sophie & the Broken Things

Artist: Sophie & the Broken Things
Hometown: Nashville, Tennessee
Latest Album: Delusions of Grandeur

Answers by: Sophie Gault

Which artist has influenced you the most … and how?

Lucinda Williams. In high school, I had the 1998 Austin City Limits DVD with the Car Wheels band, and every night I’d stay up for hours playing my guitar with it on repeat. It was like this world I could escape to and I learned a lot from it, from guitar playing to singing to songwriting. That was the most formative thing ever for me, musically.

What’s your favorite memory from being on stage?

My fondest memory of being on stage is getting to play at Americanafest last year where I got to sing with Logan Ledger and trade guitar licks with Jules Belmont.

What inspired your new single, “Golden Rule”?

I got home late one night from my mail sorting job and came up with the melody. Then I kept working on the words on my drives from Nashville to La Vergne where my job was. I really wanted to write a song for working-class people. And I mentioned DC because it’s a really nostalgic place for me. My mom used to work at a healthcare nonprofit there and I went to preschool there. They used to take us on day trips to the free museums, the Capitol, the Lincoln Memorial, and other landmarks. I remember one of the preschool teachers writing the Golden Rule on a chalkboard and teaching what it meant. That’s a vivid memory. I really love the wind chime percussion on this. Lemmy Hayes makes all his own percussion so it’s always exciting to see what he’s going to choose.

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

When I was 12 I had a crush on this guy who liked Linkin Park. I wanted to impress him so I decided to learn the guitar. I don’t think it ever worked but I stuck with it anyway, haha.

Since food and music go so well together, what is your dream pairing of a meal and a musician?

A bowl of Tom Yum soup and Shovels & Rope.


Photo Credit: Laura Partain

LISTEN: Shovels & Rope, “Divide & Conquer”

Artist: Shovels & Rope
Hometown: Charleston, South Carolina
Song: “Divide & Conquer”
Album: Manticore
Release Date: February 18, 2022
Label: Dualtone Records

In Their Words: “This is a song about a marriage seemingly worn down by life. The loss of a parent, the pressure of being parents, illness, weather or injury can unintentionally launch a snowball of resentment and accumulated conflict. This song is not about us. But it is informed by our lived experience as partners in life. The daily division of labor it takes to accomplish what is necessary in business and family is universally challenging. It’s about the weathering of it. And in the end, learning to surrender to the alchemy of time and experience, letting it have its effect on your emotion metal. The patina is beautiful. Like a classic car or a lovely old house, is not judged only for its immaculate outward appearance but by its sturdiness despite the years.” — Michael Trent and Cary Ann Hearst, Shovels & Rope


Photo Credit: Leslie Ryan McKellar

BGS 5+5: RC & the Ambers

Artist: RC & the Ambers
Hometown: Tahlequah, Oklahoma
Latest Album: Big Country
Personal nicknames: RC “Rooster” Edwards

Which artist has influenced you the most … and how?

Probably have to say John Prine. Something about the way he could be heartbreaking, hilarious, and most of all clever in the same song. He teaches a lesson about not taking yourself too serious. Nothing wrong with a song being fun. Nothing wrong with a song being sad. Sometimes both. Gotta remind myself that sometimes.

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

Two events come to mind. I was maybe 6 or 7 or so and my ma took me to see this group play in the parking lot of the Hardee’s burger place in Sallisaw, Oklahoma. Everybody was singing, dancing, having a ball. I thought, man, I wanna make people do that. That group was the California Raisins.

At some point my brother got a VHS copy of the Richie Valens biopic La Bamba starring Lou Diamond Phillips. He watched it over and over again so I did too. “Here’s a bit of a rattlesnake.”

What rituals do you have, either in the studio or before a show?

My favorite has to be when Turnpike used to have a pre-show ritual known as the Golden Hour. One hour before doors we would all gather up, drink a few salty dogs, and watch an episode of The Golden Girls. Started out it was just me and Laser. A week later you had to get there early to get a seat.

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

The river for sure. We go kayaking almost every Sunday or Monday at Diamondhead here in Tahlequah. Our version of the Illinois River is beautiful here. It’s always been sort of reset button to chill out and start a new week.

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

Too often probably. Classic deflection mechanism. I’ve also written a song about someone else and later realized it was about me.


Photo credit: Amber Watson

The Show on the Road – Shovels & Rope

This week, The Show On The Road celebrates the newest record by Charleston’s hellion harmonizers, Shovels & Rope, with a new conversation with the married duo of Michael Trent and Cary Ann Hearst.


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You’d be hard-pressed to find two harder working singer-songwriters than this prolific duo, even before they got together to record their honey-voiced self-titled debut over a decade ago. Thinking it was just a sonic souvenir before they split off again to pursue their barnstorming bar-band solo careers, their human hearts and some encouraging listeners had other plans, convincing them to keep creating as a team. They’ve been off to the races ever since — making five acclaimed records of originals beginning with O’ Be Joyful and following with three gritty covers albums with collaborators like Lucius, Shakey Graves, Brandi Carlile, The War & Treaty, and more.

Shovels & Rope’s newest cover project, Busted Jukebox Volume 3, which dropped on February 5 via Dualtone Records, is a new experiment. You could say it’s an angsty rock record for kids or maybe it’s an homage to the yearning, defiant, ever-hopeful teenager in all of us. With indie-darlings like Sharon Van Etten sitting in on standouts like the Beach Boys’ “In My Room” and Deer Tick joining a rollicking version of the Janis Joplin favorite “Cry Baby,” like a good Pixar animated flick, this collection has just as much to offer Mom and Dad as it does for the kiddos.

If you’ve seen Shovels & Rope live, you’ll notice that Trent and Hearst often face each other, not the audience; their eyes never seem to leave each other. Almost all their songs, like the award-winning favorite “Birmingham,” include spot-on harmony and intensely-focused unison singing. Somehow they create a blisteringly big sound despite always remaining a duo. Even on the biggest stages, from Red Rocks to their own acclaimed festival High Water Fest (set in their longtime South Carolina home base), they stick to their simple but potent formula. Switching back and forth between jangly and crunchy guitars, humming keyboards and pounding piano, hopping from sweat-strewn stripped-down drum kits to aching accordions, their joyous garage-rock Americana keeps gaining them new fans worldwide.

If you’re stuck at home and have kids running rowdily through your house like Shovels & Rope do, (this taping had to be rescheduled three times), maybe try turning on Busted Jukebox Volume 3 nice and loud and see what little ones think. Or just put them to bed and rock out yourself!

Stick around to the end of the episode to hear Shovels & Rope present the sweet campfire jam “My Little Buckaroo” featuring M. Ward.


Photo credit: Mike Crackerfarm

MIXTAPE: Music to Drive Your Kids Around (Without Driving Yourself Crazy)

Among the many writer’s hats I wear is one of children’s music reviewer. When my daughter was in grade school, it was fun playing various kids CDs for her. She’s in college now, so those days are gone. I did keep her in mind, however, when putting together this playlist, thinking about songs that she would tolerate listening to now.

A lot of people associate children’s music merely with those simple, preschool music-time tunes about numbers, letters, and other lessons for toddlers. And there certainly a lot of those songs. But, as in any genre, there is a lot of interesting children’s music being made too.

This mixtape is a “mix” in a several ways. It mixes together songs by “adult” musicians who have ventured nicely into the family music world as well as children’s musicians with what some might call “crossover potential.” There are originals and covers. Fast songs and slow ones. And hopefully it’s a mix that Bluegrass Situation families can enjoy on an hour-long drive, whether it’s a fast drive or a slow one.

To create some parameters, I chose recordings released since 2000, only recordings made for children, and, yes, only recordings found on Spotify (I couldn’t find Jessie Baylin’s Strawberry Wind or I Love: Tom T. Hall’s Songs of Fox Hollow or else they might have been represented here). Also, I also stayed away from songs that seem to appear on every fourth children’s album (sorry, “Rainbow Connection”). — Michael Berick

The Okee Dokee Brothers – “Hope Machine”

These “brothers,” Joe Mailander and Justin Lansing, have put out a handful of excellent, old-school, folk-inspired albums that mix originals with traditional tunes. You can hear the Woody Guthrie influence in this cheery, gently philosophical original from their 2020 album, Songs for Singing. Here, as in all their music, there’s a wonderful, easy-going approach that doesn’t dumb down to kids.

Elizabeth Mitchell – “Blue Sky (Little Martha Intro)”

This Elizabeth Mitchell isn’t the actress from Lost, but the singer/guitarist from ’80s indie rockers Ida. Over the past 20 years, she has also made many terrific children’s albums, mainly for Smithsonian Folkways. Featuring nifty guitar playing from her husband and longtime collaborator Daniel Littlefield, Mitchell’s acoustic cover of this Allman Brothers classic hails from her Blue Clouds album, where she also reconceives Bowie, Hendrix, and Van Morrison songs.

Randy Kaplan – “In a Timeout Now”

On his album Mr. Diddie Wah Diddie, Randy Kaplan has great fun taking “poetic license” with old blues tunes and, in this case, the Jimmie Rodgers hit “In the Jailhouse Now.” Kids will love the comical lyrics and parents will appreciate Kaplan’s inventive, child-friendly renovations on roots music nuggets.

Laura Veirs – “Soldier’s Joy”

I read somewhere that “Soldier’s Joy” is one of the most played fiddle tunes of all time — and that it was a slang term for morphine during the Civil War. Veirs, who hails from the Northwest indie rock scene, keeps her version on the toe-tapping PG side. This duet with The Decemberists’ Colin Meloy comes from her highly recommendable, and only, children’s album, Tumble Bee.

Wee Hairy Beasties – “Animal Crackers”

This kooky side project by alt-country all-stars features Jon Langford (Waco Brothers/The Mekons), Sally Timms (The Mekons), Kelly Hogan, and Devil in the Woodpile. Pun lovers of all ages will revel in the wild wordplay running through the title track to this decidedly goofy 2006 album.

Little Mo’ McCoury – “The Fox”

Little Mo’ McCoury arguably stands as the most authentic bluegrass album for children, at least in the 21st century. Ronnie McCoury leads his family band through a set of old-timey tunes plus “You’ve Got A Friend” and “Man Gave Name to All the Animals.” While there are some overly familiar choices (“This Old Man,” “I’ve Been Working on the Railroad), “The Fox” provides a frisky workout of this bluegrass standard.

Meat Purveyors – “The Crawdad Song”

“The Crawdad Song,” along with “Froggie Went A-Courting/King Kong Kitchie Kitchie Ki-Me-O” must rank as the traditional tunes most frequently recorded for children. I included “Crawdad” here because it is the one ingrained more in my brain. And I picked this version because of the Meat Purveyors’ speedy bluegrass-y rendition. You’ll find it on Bloodshot Records’ irreverent kids’ compilation, The Bottle Let Me Down (although parents might want to listen to it before sharing with their little ones).

Red Yarn – “Rabbit in a Log”

Red Yarn (the nom de plume for Oregon-based musician Andy Furgeson) makes rootsy music that appeals to all ages. He frequently travels an early rock and roll route but he follows a more acoustic road on this hopped-up banjo-powered take of the old folk tune that appears on his Born in the Deep Woods album.

Johnette Downing – “J’ai Vu Le Loup, Le Renard Et La Belette”

Louisiana music is a popular Americana style in children’s music, probably because it so easily gets kids dancing. On her album Swamp Rock, the New Orleans musician Johnette Downing does a marvelous job presenting, and explaining, a variety of Louisiana-bred music and culture. This bilingual animal tale (“I Saw the Wolf, the Fox and the Weasel”) showcases two Cajun greats: fiddler Joel Savoy and accordionist Roddie Romero.

Kare Strong & Josh Goforth – “To The Country We Will Go”

Slowing down the tempo a bit, “To the Country We Will Go” offers a leisurely family trip. This song, as with most Kare Strong’s music, contains elements of English folk ballads. Providing the banjo, fiddle and other musical accompaniment is Josh Goforth, a bluegrass vet who has played with David Holt, Appalachian Trail, and Carolina Road.

Francis England – “Blue Canoe”

Sticking in the traveling mode, “Blue Canoe” is a charming little outing from Francis England, who makes consistently excellent music for families. This tune appears on her debut, Fascinating Creatures, an album where I would recommend “Charlie Parker” and “The Books I Like to Read” too.

Dan Zanes featuring Valerie June – “Take This Hammer”

While Zanes is right at the top of the best-known kids musicians today, I couldn’t resist including something by him. He has a whole bunch of fine tunes to choose from and I wound up landing on this one, which he sings with Valerie June, from his 2017 tribute album, Lead Belly, Baby!

Sarah Lee Guthrie – “Go Waggaloo”

I couldn’t exclude the name “Guthrie” from this mixtape. For this title track to her family music album, Sarah Lee (Woody’s granddaughter and Arlo’s daughter) wrote a song using unpublished lyrics her grandfather had written. Starting off like a silly sing along, the tune quickly goes deeper becoming a somewhat autobiographical look at Woody’s life.

Josh Lovelace with Spirit Family Reunion – “Going to Knoxville”

Lovelace took a break from his day job as keyboardist in rock band Needtobreathe to make a kids album. A standout track on Young Folks, “Going to Knoxville” is joy-filled, driving-in-a-car love song, with Spirit Family Reunion’s Nick Panken and Maggie Carson contributing some singing and banjo playing.

Beth Nielsen Chapman with Kid Pan Alley – “Little Drop of Water”

Kid Pan Alley, a Virginia-based nonprofit, sends songwriters into schools to collaborate with students. Chapman wrote this song with a third-grade class. Besides its strong message about water conservation, it’s pretty darn catchy too. My family still remembers it over a dozen years after the disc was last in our car’s CD player.

Justin Roberts – “Rolling Down the Hill”

One of the most skillful songwriters in the children’s music scene, Roberts usually operates in the pop/rock field, so this is a rare tune of his with a fiddle. Roberts injects just enough details into this playful ditty to make it resonate with both parents and kids — without slowing down the momentum.

Shovels & Rope with The Secret Sisters – “Mother Earth Father Time”

The just-released third volume in Shovels & Rope’s Busted Jukebox series is a set of family-oriented covers entitled Busted Juicebox. The husband-wife duo Michael Trent and Cary Ann Hearst partnered with The Secret Sisters for a sweetly sung rendition of this tune from the 1973 animated film version of Charlotte’s Web.

Sarah Sample and Edie Carey – “If I Needed You”

These two singer-songwriters teamed up back in 2014 to make ‘Til the Morning, a lullaby album that shouldn’t just be restricted to nap time. This Townes Van Zandt gem was a particularly inspired choice and their tender interpretation is quite moving.

Alastair Moock with Aoife O’Donovan – “Home When I Hold You”

Moock is a Massachusetts singer-songwriter whose family albums often tackle themes like inclusivity or social action. This track comes from Singing Our Way Through, an inspiring, powerful work he made for families dealing with pediatric cancer. His duet with Aoife O’Donovan conveys a simple yet poignant message of love from parents to a child.

Sara Watkins – “Pure Imagination”

Watkins’ first family album, Under the Pepper Tree, arrives on March 26, and its first single offers an appetizing hint of what’s to come. Watkins’ heavenly, soaring vocals highlight her gorgeous rendering of this Charlie and the Chocolate Factory tune. And celebrating the magic of creativity and the freedom of possibilities seems like a sweet note to leave families with.


 

LISTEN: Shovels & Rope, “C’mon Utah” (Acoustic)

Artist: Shovels & Rope
Hometown: Charleston, South Carolina
Song: “C’mon Utah” (Acoustic Version)
Album: By Blood Deluxe Edition
Release Date: August 28, 2020
Label: Dualtone

In Their Words: “Presenting the campfire version of this traveler’s journey atop a magical horse named Utah, who leads him on a quest through the southern Midwest back to his family from whom he’s been separated by a heinous, authoritarian evildoer.” —Michael Trent & Cary Ann Hearst, Shovels & Rope


Photo credit: Mike Crackerfarm

MIXTAPE: The Milk Carton Kids, In Harm’s Way

“There’s a paradox at the heart of great harmony singing: when voices combine in so elemental a way that they disappear into each other, the effect is dizzying, mystifying, disorienting, and yet by far the most satisfying sound in music. Here’s a VERY incomplete playlist, spanning a few generations, of bands defined by their harmonies, who set my mind spinning with their vocal arrangements, execution, and pure chemistry as singers.

“Full disclosure: my own band is included aspirationally and for the sake of self-promotion. Author’s Note: Sorry not sorry for naming this playlist with a pun.” — Joey Ryan, The Milk Carton Kids

The Jayhawks – “Blue”

That unison in the first few lines is so thrilling cause you know what’s about to happen, and when the parts separate it just feels so good.

Gillian Welch – “Caleb Meyer”

The harmonies and Dave’s playing are so intricate in this song you’d be forgiven for glossing over the lyrics, which tell the story of an attempted sexual assault victim killing her attacker with a broken bottle. Check out the Live From Here version with Gaby Moreno, Sarah Jarosz, and Sara Watkins, and catch the alt lyric subbing “Kavanaugh” for “Caleb Meyer” about halfway through.

Gram Parsons & Emmylou Harris – “Hearts on Fire”

Just one of the all-time great duets. Who’s singing the melody, Emmylou or Gram? Hint: trick question.

Our Native Daughters – “Black Myself”

Do all supergroups hate being called supergroups? I wouldn’t know. Our Native Daughters is a supergroup though, and the power of their four voices in the refrains and choruses of this one are all the proof I need.

Dolly Parton, Linda Ronstadt, & Emmylou Harris – “Those Memories of You”

It’s insane that three of the great singers of their generation just so happened to have this vocal chemistry. Their voices swirl together like paint and make a color I’ve never seen before.

boygenius – “Me & My Dog”

Favorite game to play when this song comes on is “try not to cry before the harmonies come in.” Very difficult. Impossible once they all sing together.

The Smothers Brothers – “You Can Call Me Stupid”

GOATS. IDOLS. Favorite line is, “That’s a pun isn’t it?” “No, that really happened.”

The Milk Carton Kids – “I Meant Every Word I Said”

My band. Imposter syndrome. We recorded the vocals on this whole album into one mic together. It helps us disappear our voices into each other’s.

Crosby, Stills, Nash & Young – “Carry On”

For me, CSNY are the pinnacle of that disorienting feeling harmonies give you when you just have no idea what’s going on. I’ve never been able to follow any one of their individual parts and I LOVE that.

Sam & Dave – “Soothe Me”

When the chorus comes around and you can’t decide which part you want to sing along with, you know they did it right.

Louvin Brothers – “You’re Running Wild”

The Louvins sound ancient to me. Primal. The way their voices rub against each other in close harmony is almost off-putting but I’m addicted to it.

The Highwomen – “If She Ever Leaves Me”

There’s probably even better examples of the Highwomen doing that crazy thing with their four voices where they become one entirely unique voice, all together, but this song is just so good I had to go with it. And the blend in the choruses is just as intoxicating as it gets.

I’m With Her – “See You Around”

Really an embarrassment of riches in modern music on the harmony front. Hearing I’m With Her perform around one microphone drives me insane with the best possible mix of confusion, jealousy, and joy.

Mandolin Orange – “Paper Mountain”

The melancholy is so satisfying when either one of them sings alone, and then they bring that low harmony and I have to leave the room.

Skaggs & Rice – “Talk About Suffering”

This whole record is a masterclass in two-part harmony. It changed my entire concept of singing. I’m Jewish, but when this song comes on it makes me sing wholeheartedly of my love for Jesus.

The Everly Brothers – “Sleepless Nights”

The absolute masters of both parts of a two-part harmony standing alone as the melody. Credit to Felice and Boudleaux for that, for sure, but the Everlys executed it better than anyone before or since.

Simon & Garfunkel – “59th Street Bridge Song (Feelin’ Groovy) — Live at Carnegie Hall, New York, NY – July 1970

This is far from my favorite S&G song, but this live version especially showcases what geniuses they were at arranging crossing vocal lines, unisons, parallel melodies, nonsense syllables and swirling harmonies. Plus the nostalgic “awwww” from the crowd gives me hope that a sensitive folk duo could one day achieve mainstream success again.

Shovels & Rope – “Lay Low”

This starts out as a song of profound loneliness with just one voice singing, then the harmony comes in and it gets… even lonelier? Harmony is magic.

Boyz II Men – “End of the Road”

I’m a child of the ‘90s, don’t @ me. I never realized at all those 8th grade slow dances that we were subliminally being taught world-class harmony singing and arranging. Good night.


Photo Credit: Jessica Perez

The Ever-Shifting Dance of Shovels & Rope

On an unseasonably cool summer afternoon in Los Angeles, something very interesting happens as Cary Ann Hearst and Michael Trent chat with a third person at a cafe patio table, though it takes a few minutes to unfold.

The topic, at first, is how much real life is in the songs Hearst and Trent make as the sweetly rackety, Charleston, South Carolina-based duo Shovels & Rope. Does it reflect their decade’s worth of experiences as a married couple and, now, their experiences with two small kids? The material, after all, gets kind of dark at some turns.

“Yes and no,” Trent says. “I mean, we’ve always kind of been character writers. That’s just the type of writing that’s been interesting to us. And also, we’re, you know, generally happy people. We don’t need the suffering to…”

“I hate suffering,” Hearst interjects cheerfully.

“Some people feel they need to experience firsthand some kind of suffering to make art,” Trent continues. “And I’ve never really subscribed to that. We just make up the world and make up the character thing and write about it.”

Then, as it does, the subject turns to murder ballads. They’ve done a few in the course of their time together. There’s “Evil,” a song they wrote on the 2014 album Swimmin’ Time. And their new album By Blood features “Pretty Polly,” their reinterpretation of the staple of the British-Appalachian folk canon.

“We’ve got a song like ‘Evil,’ right?” Trent says. “So we didn’t have two kids at the time. And we’ve definitely never abused them. And Cary’s still alive. So that’s obviously just a made-up story.”

“And ‘Pretty Polly,’” Hearst notes. “We’ve never gotten anyone pregnant and killed her by the river.”

But then things take an intriguing turn. They get talking about the whole nature of murder ballads, the enduring place of them in music and culture. Hearst wonders about the clearly misogynistic violence of the form still having a place in our supposedly enlightened culture: “Why is it OK in this day and age that the murder ballad is this weird, sacred musical thing that we aren’t like, ‘Cancel! Hashtag cancel’?”

As they discuss this, though, they focus on each other. They lock eyes, talk only to each other, and it’s as if the rest of the world has gone away. He defends the form, noting the relationship to and appeal of crime drama and horror stories.

“You’re right,” she concedes. “I never thought of it that way. It just feels closer to home and personal because these are songs. Maybe it’s like, ‘What are you singing this song for? Did you do that? Is that what you think?’”

Trent shrugs. “I don’t know.”

“Just occurred to me that you might have the answer,” Hearst says.

“Oh, like I’ve got some dark secrets?” Trent wonders.

And so it goes for a few minutes.

If you’ve seen them in concert, you’ve seen this. In a small L.A. club the night before this conversation, it seemed they spent the first several songs hardly looking at the audience at all, just staring into each other’s eyes as they performed before later turning things more outward.

They laugh at this notion. The truth is, they say, on stage that behavior tends to be more pragmatic than romantic.

“I think we were trying to figure out what this was,” Trent says. “We check in with each other a lot. This was a bit of a weird show in a weird place. And we also do a lot of musical communication on stage, just checking in with each other. A lot of people mistake that for us, like, lovingly looking at each other. And it’s really like, ‘Oh. I know you missed your cue…’”

“‘Are you going to miss it again?’” Hearst interjects.

Their 2008 debut, self-titled album, they say, preceded them becoming a real item in life and music. Since that time, they’ve figured out the ever-shifting dance of the personal vs. the professional, art vs. life. They’ve figured out how to put them together when necessary and keep them apart when demanded. After making 2016’s Little Seeds as new parents, they added a buffer between work and family space.

“After Little Seeds, when our first kid was born, we were like, ‘This is insane,’” Trent says. “We need a place that’s not in the house. So we just built a utilitarian building in the backyard. Now we have a place that we can separate the work by at least a few feet.”

“Being parents for the first time, everything was insane,” Hearst says. “We would have somebody come over to hold the baby while we went upstairs to record, and you can hear it, the baby’s screaming downstairs. It’s just so much better now. It’s saved everything. It felt like it was a smart move to make.”

And, touring now for the first time with two kids, they’re spending part of the summer as the opening act on fairly big shows with Tedeschi Trucks Band and Blackberry Smoke.

“First of three acts at big sheds,” Hearst says. “Great catering! On early, like around 7.”

“We’ll be able to put our kids to bed at night and then have our jammies on by 8:30,” Trent adds.

Still, they allow, there are some deeply personal things that, pardon the expression, bled through on By Blood. The opening song, “I’m Coming Out,” with its very specific birth references and their second child now having been born a mere five months ago? That’s just the start.

“There’s some pretty personal things on this record for sure,” Trent says. “Like ‘Carry Me Home.’ Is it a pretty confessional song? Yeah, that’s true, like leaning on the other person.”

And there’s “The Wire,” which opens with the line, “I’ve been a disappointment at times.”

“‘The Wire’ is very much about how nobody is the perfect partner that you want to be,” Hearst says. “If you’re accountable, and they want accounts, good enough. This whole record is people who are jussssst good enough, but want to be a little bit better.”

Then there’s the title song, about the light and shadows of being in each other’s space all the time, of never having to be alone but never getting to be alone. Not only does the song close the album, but they put the lyrics of it in clear, can’t-miss type right on the front cover. That, and the whole album, per Hearst, serves as something of a marker in their lives and career.

“I think that we have many years of records in us,” she says. “But if this were to be the last stand, you know, of our creative output, there is a kind of timestamp with By Blood. We’re like this little baby that’s grown from making our first homemade record in the most rudimentary situation, and we got a little better at our instruments, a little better at record-making.”

But it goes deeper than that.

“I feel like we’ve become adults on records,” she continues. “Definitely we got adulted by Little Seeds. I mean, that time period after Swimmin’ Time and before Little Seeds was like, ‘Oh, you mean we’re growing older? We’re not gonna live forever? And our parents are getting old and babies are coming? Oh my God, we have to have life insurance and how come we can’t be just like, you know, freewheeling children for the rest of our lives?’ It kind of turned inward and now we’re kind of on the other side looking out and moving forward.”


Photo credit: Curtis Millard