Tag: soul

Brent Cobb
Ain’t Rocked In a While

Posted on by Justin Hiltner

He might be a renowned lyricist and self proclaimed songwriter-singer (not singer-songwriter). His typical sound may simmer with a supremely chill mix of country, blues, and soul. But Brent Cobb got his start with the crunchy thunder of guitar-driven rock ‘n’ roll and his seventh album takes him back.

Tapping the raw rage of garage rock, the distorted domination of ‘70s proto-metal, and more, Ain’t Rocked In a While finds this GRAMMY-nominated master of phrase returning to a world where the guitar riff is king – his first love as a musician. Co-produced with Oran Thornton and recorded live, 10 songs combine Cobb’s laid-back style with the immortal edge of bands like Black Sabbath, Metallica, and heavier inspirations still. But while old metal heads do tend to get rusty, this project is razor sharp.

Speaking with Good Country, Cobb explains the change of pace. Including his abiding love for the rock ‘n’ roll spirit and his new appreciation for classic-rock lyrics. Plus, the long-haired country boy explains how Ain’t Rocked In a While could fairly be considered “dad rock.”

I want to get the story behind this record. Ain’t Rocked in While is one of those projects that really seems to do what it say it’s going to do. How much of a creative release was this for you?

Brent Cobb: Well this project was cool because I was focused more on riff and just really digging back into the foundation of what I grew up on. My first band was a rock band with my best friend Justin, who played guitar. He was real into Pink Floyd and AC/DC and Black Sabbath, and had me learning all those songs to sing. So when I was writing riffs and lyrics for this album, I sort of went back and was rediscovering those songs that I grew up learning.

Back then, even though I was learning the lyrics, I was just learning them to sing it. I wasn’t really paying attention to what they were saying and I didn’t think of those songs as very lyrical songs. I just enjoyed the groove. With this go ‘round, it really took all the pressure off of trying to write a lyrical song – which in turn made the lyrics come way easier. It also made me aware of just how lyrical those old classic rock songs were.

Oh, right!

I didn’t notice it or I didn’t appreciate it, but I don’t guess you would as a teenager. So that was the whole process – I was just trying to write a riff album and wanted to rock a little and show the audience a reference for a live show when they came, but wound up writing lyrical songs anyway.

I guess you just can’t help it. You’ve always been known as a storyteller and a songwriter first, and you even did a gospel record just a few cycles ago. Where does hard rock fit into your listening habits?

It all has always coexisted in my little world. My mom’s from Cleveland, Ohio, and my uncles – her brothers – they were all rockers into Led Zeppelin, The Beatles, and just the classic stuff. But then here, my dad was in a band with his brother – my other uncle – and my dad would cover the early ‘50s and ‘60s rock ‘n’ roll and my uncle would do classic country. So I grew up around that, but if you looked at any of my playlists, it’s just always been real eclectic that way for sure. For this album, Master of Reality [by] Black Sabbath was probably the biggest influence and the one that I would keep returning to for inspiration. And not just in riffs, but in the way that they structured that album to ebb and flow.

This might be a hard question to answer, but how heavy do your tastes get? What do you think would be the hardest hitting band in your collection?

Oh man. Well, [for] modern [artists], I’d probably say the band Sleep. Have you ever listened to much of them?

I don’t think so. I’m going to have to check that out right after this.

It’s like stoner metal. That’s probably the hardest stuff that I’ll listen to right now. But I don’t know – I mean, Sabbath is so hard still to this day. Those first five albums are unreal. … With Sleep, that’s some heavy stoner metal.

Yeah, I’m looking on Spotify right now. They’ve got songs like “Marijuanauts’s Theme.” [Laughs] That’s an awesome title.

Dude, I know! But that stuff is like, you can go find sections of old Sabbath songs and it’s kind of like [Sleep] built a whole sound on little sections of Sabbath songs. But then if you go further, it’s all blues – that’s all it is.

For any true rock record, the recording itself is so important – trying to capture the energy. I know you recorded live-to-tape and that seems like the rock ‘n’ roll dream, right? Was that experience different from digital recording?

Well, honestly, each of my albums have always been recorded to tape except Keep ‘Em On Their Toes. But with that said, it is a modern world and we still record to tape and then dump all that into Pro Tools to where it’s easier to edit, then take that and dump it all back to tape. You get the original physical, sonic difference that is recording to tape when each tape is completely different, because the needle’s hitting different, the amp was hotter, or whatever. But then we fast forward to the modern world to where we can just really be quicker and more efficient.

I think we had 10 days blocked off to record, and then I got sick on the first two days. And then Oran [Thornton], my co-producer and head engineer, he got sick for two days. And so we wound up recording in seven or eight days.

That is a plus of the modern age for sure. In any case, it came out sounding really tight – you recorded as a band, right?

That’s right. It’s the touring band [The Fixin’s] I’ve had for a while now. … The studio we recorded at in Springfield, Missouri, was this little bitty, almost like broom-closet size live room, and they were all in the main live room together. I did want to isolate myself, so I was in an even smaller little isolation booth with a window where we could still see each other. … I obviously am not as experienced in singing those type songs and playing those type riffs at the same time, so I knew I was going to screw up some lyric phrasings and I didn’t want to mess everything else up. So I was the only thing I isolated.

Where’d that title track come from? “Ain’t Rocked In a While” – this definitely has that Black Sabbath feel, stretching out to five minutes.

Straight up. It started because I had bought my son a little drum kit for his fourth birthday a couple years ago. He just loves the drums … and then I would set my amp up and get my guitar out and we’d just be jamming in his room. One day he was like, “Dad, play some rock ‘n’ roll guitar.” And I’d hit a little lick and he’s like, “No, no, rock ‘n’ roll.” I’d play another little lick. And he said, “No, dad, like Mattman” – which is [the Fixin’s guitar player] Matt [McDaniel]. I was doing the best I could, really just trying to prove to him that daddy could rock.

That’s funny!

So I came up with that “Ain’t Rocked In a While” riff and then it turned into me proving to my son, “I have rocked before, boy. It just ain’t been a while.” I thought it would be funny, but I also thought, “Well, all of us are sort of that way.” I’m nearly 40 and a father of two, so you could definitely consider this album Dad Rock, but all our kids don’t know. We all had some rock eras, whether that be in life or musically or whatever it is.

Well, you still got the hair, so I think it’s easier to make that case.

[Laughs] Hell yeah. It’s funny you say that. My mama just yesterday, she used to be a hairdresser and had her own business, and she was like, “You need to let me cut your hair.” And I was like, “Look, I’m going to keep it growing until it don’t grow no more.” I’m barely gray and I ain’t thinning too much yet. Until that happens, I’m going to keep rocking the long hair.

A little earlier you mentioned how [hard rock is] all blues at the bottom, right? I think that really comes through in a song like “Do It All the Time.”

Man, I’m going to have to give my son some co-writing credit on this album, I guess. That riff did come out very Skynyrd-esque, but … I was actually trying to do my best James Gang feel with the riff, the melody, and the double vocals on that chorus. That early James Gang stuff is so badass – but I think Skynyrd also was probably trying to do their best James Gang on some of their stuff.

Anyway, the idea of that song is from when [my son] Tuck was even younger, we’d be like “Oh man. Look dude, you ate all your food!” And he would say, “I did it, and I do it all the time.” So I always had that. I started saying “I do it all the time!” And then I don’t know how much I should say, but sometimes when you’re parents, you and your other half may not be on the same page. … You’re just both sleep deprived and sometimes it’s hard to see. And so I think we were having a little moment of that and I was going, “I tried then and I try now and I try all the time. I did it and I do it all the time, babe!” So that’s where it came from.

Okay, one more thing here. For fans who come out and see you live, do you think this is going to change the shows? Are you guys going to rock out more or what?

I mean the only way that we’ll rock out more is we just have more songs to rock out to. But no, in every album that I’ve ever put out all the way back to 2006 with No Place Left to Leave, there’ve always been rock leaning songs in my catalog – including songs that others have recorded; some of the Whiskey Myers stuff, or The Steel Woods stuff. For a little bit there seemed like a disconnect, because I don’t think [people at my shows] were aware of that rock stuff, but it’s just a funner show to me and for us especially.

Now we just have more to pull from, and for people who show up, it’s the same show. I try to do songs from every album and I’ll take requests, too. I don’t turn those down. But now, I think people will show up and they won’t be taken by surprise at all if it does drop.

Photo Credit: Jace Kartye

Finding Lucinda: Episode 6

Posted on by Justin Hiltner

Ismay travels from Texas to Mississippi to visit the studio where Lucinda Williams made her first record. There, Ismay interviews Wolf Stephenson, who was the engineer that day in 1978, to learn about what happened during the session and whether Lucinda was confident through that initial challenge of recording. They discuss what results when artists get rejected and what keeps certain artists moving forward in spite of various roadblocks. Stephenson oversaw the development of Malaco Records, which produced R&B, soul, and gospel hits. Elsewhere in the episode, Ismay also takes time to visit the stretch of country between Austin, Texas, and Jackson, Mississippi, in order to understand the landscape that informed Lucinda’s work.

LISTEN: APPLE • SPOTIFY • AMAZON • MP3

Produced in partnership with BGS and distributed through the BGS Podcast Network, Finding Lucinda expands on the themes of Ismay’s eponymous documentary film, exploring artistic influence, creative resilience, and the impact of Williams’ music. New episodes are released twice a month. Listen right here on BGS or wherever you get podcasts.

Finding Lucinda, the documentary film that inspired and instigated the podcast, is slated for release in the fall. Both the film and podcast showcase never-before-heard archival material, intimate conversations, and a visual journey through the literal and figurative landscapes that molded Lucinda’s songwriting.

Credits:
Produced and mixed by Avery Hellman for Neanderthal Records, LLC.
Music by Ismay.
Artwork by Avery Hellman.
Jackson, MS Recording: Recorded at Malaco Studios.
Sound Recordist: Rodrigo Nino
Producer: Liz McBee
Director: Joel Fendelman
Co-Director & Cinematographer: Rose Bush
Special thanks to: Mick Hellman, Chuck Prophet, Don Fierro, Jacqueline Sabec, Rosemary Carroll, Lucinda Williams, & Tom Overby.

Find more information on Finding Lucinda here. Find our full Finding Lucinda episode archive here.

Sho-Bud Steel Guitars Relaunches, A Family Business Once Again

Posted on by Justin Hiltner

Tone: it’s the Holy Grail for musicians, and it’s the cornerstone of Sho-Bud, the iconic pedal steel guitar company founded in 1955 by Harold “Shot” Jackson and Buddy Emmons. When Emmons moved on, Jackson continued with sons Harry and David, handcrafting instruments integral to the sound of country music.

In the early 1980s, Sho-Bud was acquired by Fred Gretsch. In 2005, after twenty years away from the business, Harry and David Jackson, joined by David’s daughter, Dawn Jackson, resumed building instruments. As Jackson Steel Guitar Company, they introduced new pedal steel, lap steel, resonator, and slide guitars.

In December 2024, the third generation of Jacksons, siblings and co-CEOs Dawn and Will Jackson, reacquired the company name and family legacy. “We knew that the name carried a lot of weight,” says Dawn Jackson. “It’s our heritage, and we wanted to bring it back while Dad and Harry were still building.”

“I want to acknowledge Fred Gretsch, his wife Dinah, his family, and his team,” says Will Jackson. “A lot of people approached him to acquire the Sho-Bud name over the years, and he didn’t do it. He saved it for us. We very much appreciate what he did in terms of preserving the name, keeping it intact, and not selling it to someone else. We’ll be eternally grateful to him for that.”

Sho-Bud relaunched this year with new and classic gear, plus several projects across platforms and generations. The reach stretches from traditionalists devoted to the classic instruments they saw on the Opry stage, to young musicians incorporating steel in everything from country to metal.

Central to all of this, of course, are the instruments, which include the high-level, traditional, maple cabinet Pro V; bender-equipped, stand-up SlideKing LS lap steel; and best-selling Maverick II.

“It’s not the Maverick of old,” says Will Jackson of the Maverick II. “The original Maverick was designed to be a low-cost, entry-level, beginner guitar. With the Maverick II, our objective was to build one of the sweetest-sounding guitars. We developed a front and rear extruded aluminum panel that has a hard rock maple soundboard that sits between them. On top of that, the one-piece aluminum neck now binds the key head and tail plate together.

“When you sandwich all that together, this particular guitar, as Dawn describes it, cuts through all the other noise. It’s distinctive, it’s clear, it rings and resonates. It has that Nashville sound because we still utilize the exact same pickup design that Shot developed back in the ’50s. When you marry that to this modern design cabinet, it is incredible. The Maverick II definitely stands out in terms of its tonal qualities. It’s pretty much unmatched. It’s quite an advancement in terms of pedal steel guitar technology.”

Sho-Bud plans a reissue of the signature Lloyd Green model, the LDG, which the Jacksons describe as “a continuation of the original classic design,” and a limited-edition LDG, cut with modern components and updated mechanisms, each one signed by Lloyd Green, David Jackson, and Harry Jackson. Other reissues will follow, including Jimmy Day’s Blue Darlin’.

Sho-Bud co-CEOs and siblings Will Jackson and Dawn Jackson.

 

“Relaunch,” in Sho-Bud vernacular, is all about name recognition, product reputation, and upholding a decades-old legacy. “We built steels for the past twenty-five years under the name Jackson Steel Guitars,” says Dawn Jackson. “So the relaunch, for us, circles around the Sho-Bud name.

“What’s happened in the months since we secured the name again, the outpouring of support from the guitar industry in general has been overwhelming,” she says. “That lends itself to the weight this brand carried around the world, and how throughout the years of its ‘dormancy,’ it maintained a true following, and not only from older generations. Younger people love the brand too. When we mention Sho-Bud, every door is open. So that’s really the relaunch. We maintained building these amazing instruments during our Jackson Steel era, but the [Sho-Bud] brand itself has the leverage and momentum behind it.”

“A lot of people have asked, ‘Is this just a rebranding of Jackson Steel Guitars?’ Definitely not,” says Will Jackson. “We’ve been sitting on a few patents that we’ve obtained over the last couple of years. They’ve got about fifteen years or so left on them while we fine-tune these components.”

Those components include a tunable vibrato, on-the-fly D Drop, The EDGE® multi-bending system, and Core-Over™ strings, all of which they’ve introduced to Sho-Bud artists with positive response.

“When a traditional, fretted-instrument guitarist is, say, holding a chord, when they use an old-school vibrato — let’s say a Bigsby, for example — when they hit that thing, all those strings are falling out of tune,” says Will Jackson. “Our tunable vibrato doesn’t destroy the chord. When they’re holding a chord and they go down, all those strings fall in tune now.

“We’ve got a Drop D tuner that allows an artist, again on a fretted instrument, to simply roll their E down to a D while they’re playing. They don’t have to take their fretting hand off and adjust anything on the key head. They don’t have to stop and tinker around with their picking hand to adjust anything. They’re able to use the palm, the heel, of their hand, roll it right down to a D, and roll it right back up to an E. So it’s very novel, very easy to use.

“With our Core-Over strings, we take the winding off up to where it passes the bridge and on the pickup side of the nut, so it’s just the core of the string going across those two touch points. It creates incredible amounts of sustain. The sound profile of the string is much rounder, bigger, fuller. It’s amazing.”

(L to R) Kyle Ince, Bob Sheehan, Slash, Ted Stern, Andrea Whitt, Skunk Baxter, Dawn Jackson, Pavel, Hexx Henderson, Mark Tucker, Rocco DeLuca, and Will Jackson pose for a group photo at the Sho-Bud Showcase Live at the Desert 5 Spot in Los Angeles.

 

On April 24, in Hollywood, the company celebrated the return of Sho-Bud Showcase Live, national concerts spotlighting steel-centric artists in all genres. The series kickoff, Sho-Bud’s first live event in over forty years, included, among its many participants, Jeff “Skunk” Baxter, Robert Randolph,
Andrea Whitt, Rocco DeLuca,
Hexx Henderson, Hatfield Rain, Shooter Jennings, and Slash.

Sho-Bud Music is a record label and publishing company originally established by Dawn Jackson to release an album by her band, the aforementioned Hatfield Rain. “Around that time, I started working with Dad and Harry on Jackson Steel and never did anything with the [album] mixes,” she says. “It’s getting ready to come out after all this time, so I’m super-excited.” Along with that recording, Sho-Bud Music is promoting other Sho-Bud artists.

Coming soon is Shot Jackson’s Sho-Bud Showcase radio program, which will now become a podcast featuring music, interviews, and over 150 digitized reels from the original 1970s and early 1980s WSM broadcasts. “We have all the reels and we’re going to start releasing them,” says Dawn Jackson. “The podcast will also include interviews with today’s Sho-Bud artists and, of course, our dad and Harry.”

Harold “Shot” Jackson built Sho-Bud on a foundation of superior instruments, customer service, customer satisfaction, and customer loyalty. Those values remain at the core of Dawn and Will Jackson’s goals, whether putting instruments in the hands of internationally renowned musicians or newcomers learning their way around pedal steel.

Sho-Bud CEO Dawn Jackson poses with Slash and a Sho-Bud Steel Guitar.

 

“These instruments are not like traditional fretted instruments,” says Will Jackson. “Fretted instruments don’t have moving parts per se. But these do. Because they have those linkages and mechanical pulling mechanisms, as they’re used, they wear. Anytime you make a change to these instruments, you have to be careful, because in the interest of trying to maximize performance or life on one end, you can impact tone on the other end, and that is something we can’t sacrifice.

“Sho-Bud has always been known for that Nashville sound, the tone that we got. The story I recall as a kid was Shot sitting there on a pickup-winding machine, which was made out of an old sewing machine motor. He had apple bushels next to his workbench. He would wind a pickup, plug it in, and if it gave him the tone he was after, performed the way he wanted it to, it went in the keeper bushel. If it didn’t, it went into the discard bushel.

“That is how our family has built these things. There are no Rhodes Scholars over here or MIT graduates in engineering. These guys developed these instruments through pure trial and error and using their ears to develop that tone. Again, we can’t sacrifice mechanical advantages over tone. Some guitar companies do, but we cannot do that. For us, it is about tone, tone, tone. We live and die by that.”

“We’ve always maintained the tradition and look of our guitars — the beautiful cabinets, our certain inlays, the finishes,” says Dawn Jackson, “but aesthetics are second. Tone has always been number one for us.”

“These instruments require maintenance,” says Will Jackson. “If there is a nut, a screw, a bolt, it will get turned by someone. When these things leave the shop, they’re set perfectly. People will start adjusting things, and that’s what they’re for. You need to fine-tune things ergonomically to make it fit. But, because these things can be very sensitive, sometimes they overdo it, or they have trouble chasing the tuning back to where they wanted it.

“We are here to support them in terms of Zoom calls, where they can show us exactly what they’re doing, what the instrument is doing, or what it’s not doing that they would like it to do. We can help walk them through that, using a blend of modern technology to help them fine-tune some of these traditional instruments. We’re always looking for ways to make it easier for them to keep these guitars maintained.”

As a family-owned and operated company, versus a multi-department corporation, the Jacksons are front and center when phones ring, texts chime, and emails arrive – no call centers, AI assistants, or being transferred through a half-dozen departments and hold times. They field calls, walk customers through setups, stay active via social media, keep up with forums, provide instructional videos, and cherish human-to-human relationships.

Slash plays a Sho-Bud Steel Guitar.

 

“Will and I have been a team since we were kids playing football in the backyard,” says Dawn Jackson. “We really believe in team efforts, and that’s why we’re so big on using the words ‘Team Sho-Bud.’ The dynamics between us, our father, and our uncle – we’re all creators and passionate about the things we do.

“We have the same objective in mind, which is to maintain our family heritage,” she says. “I am so proud that Sho-Bud is still a family business, and that people love and respect that. We work together, play off of each other, and it just works and works well.”

“I’m proud of my family – our dad, our uncle – for the sacrifices they made over the years to build these instruments, and to deliver the tone and the sounds that everyone enjoys,” says Will Jackson. “I’m very proud of the work they put into this, and of Dawn for rolling up her sleeves and helping them. I’m proud of the way Sho-Bud has evolved. It’s fun to be a part of the rebirth of Sho-Bud. These instruments, these new components, are going to be total game changers. I’m very proud to represent these products and wear the old brand. It’s exciting times.”

All Photos: Ashley Marie Myers, courtesy of Sho-Bud. Lead and alternate images: Slash plays a Sho-Bud pedal steel guitar.

You Gotta Hear This: New Music From Tift Merritt, Kyshona, and More

Posted on by Editor

Folk, country, and Americana join together in this week’s edition of our new music and premiere roundup. You Gotta Hear This!

The lovely and ethereal Tift Merritt is celebrating 20 years since the release of Tambourine this year with an upcoming vinyl reissue and a special collection of demos to go alongside it. Kicking off our new music collection today is one of those demos, “Good Hearted Man,” an intimate kitchen recording of just piano and vocals.

From the country realm, two impeccable artists and singer-songwriters have new albums out today, William Beckmann and Kelsey Waldon. Kentuckian Waldon sings about family ties, generational cycles, and finding oneself on “My Kin,” available today on her stunning new project, Every Ghost. Texan Mexican American Beckmann, for his part, brings a gorgeous, retro-styled music video for “Lonely Over You” that draws inspiration from classic television variety shows and huge musical personalities like Roy Orbison and Elvis.

Elsewhere in our collection you’ll find Steve Gillette paying tribute to his friend, musician and songwriter Gamble Rogers with the touching homage, “Song for Gamble.” The bluesy, energetic track is paired with vintage clips of Rogers set alongside photos and performance and recording footage of Gillette.

To celebrate Juneteenth yesterday, Kyshona released a new single, “More In Common (Live From the Blueroom Studio),” contextualizing the track saying, “I’m releasing ‘More in Common’ on Juneteenth as a reminder that none of us are truly free until all of us are free.” It’s an excellent, all-too-timely reminder – and you’ll be sure to enjoy the performance video shared below.

We always love wrapping up the week with the best new roots music. And you know what we think– You Gotta Hear This!

Tift Merritt, “Good Hearted Man (Kitchen Recording)”

Artist: Tift Merritt
Hometown: Raleigh, North Carolina
Song: “Good Hearted Man (Kitchen Recording)”
Album: Time and Patience (a collection of demos releasing in tandem with the 20th anniversary vinyl reissue of Tambourine)
Release Date: June 18, 2025 (single); August 29, 2025 (album)
Label: One Riot Records

In Their Words: “When I hear my 27-year-old self singing this song, after just having finished writing it, recording in the kitchen on an ADAT machine, I hear my dreams. I can’t help but smile – at my big dreams, the raw reaching, the no costume. I am enormously proud of these kitchen recordings and Tambourine, so happy they are coming out to the world this fall.” – Tift Merritt

Track Credits:
Tift Merritt – Piano, vocals

Kyshona, “More In Common (Live From The Blueroom Studios)”

Artist: Kyshona
Hometown: Nashville, Tennessee by way of Irmo, South Carolina
Song: “More In Common (Live From The Blueroom Studios)”
Release Date: June 19, 2025
Label: Lamiere Records/Moraine Music Group

In Their Words: “I’m releasing ‘More in Common’ on Juneteenth as a reminder that none of us are truly free until all of us are free. What if we took ‘I,’ ‘mine,’ ‘them,’ and ‘me’ out of our vocabulary—just for a moment? It’s so easy to tune out, to disassociate from the chaos we’re witnessing. But what if we remembered that we are under attack? That every child is our child?

“After a full year of touring the Legacy album, it’s been deeply moving to see how my own family’s story – of freedom, land ownership, and the wisdom of our elders – resonates with people from all backgrounds. No matter your race or religion, there’s a common thread in how we were raised and what we’ve inherited.

“When we peel back the layers that divide us and look closer at our shared values and stories, we begin to reconnect. The conversations that have come out of this tour have been powerful. People aren’t talking about differences – they’re talking about what unites us.

“As a society, I think we’ve gotten lazy. We’ve stopped looking for what ties us together. My hope is that this song reaches the quiet few who’ve been asking, ‘What happened to us? May it serve as a gentle nudge to follow the thread instead of cutting the seams.

“There’s a lot of noise in the world right now, and I know this message may not reach everyone. But if it reaches even one person – someone overwhelmed by it all – let it be a reminder: we can make ripples of good.

“All it takes is open eyes, open ears, and the courage to show up for each other. Let people know they are seen. Let them know their existence matters.” – Kyshona

Track Credits:
Larissa Maestro – String arrangement, cello
Kristin Weber – Violin
Kyshona Armstrong – Vocals, songwriter
Simon Gugala – Songwriter

Video Credits: Recorded at The Blueroom Studios.
Videographer – Jesse Carr
Edited by Caryn Johnson, Tiny Sunshine Studios.

William Beckmann, “Lonely Over You”

Artist: William Beckmann
Hometown: Del Rio, Texas
Song: “Lonely Over You”
Album: Whiskey Lies & Alibis
Release Date: June 20, 2025
Label: Warner Music Nashville

In Their Words: “I wrote ‘Lonely Over You’ with Jesse Frasure and Jessie Jo Dillon. It’s probably my favorite song that I wrote for this album. To me, it feels reminiscent of Roy Orbison, and there’s definitely some Elvis influence in there too. I love the way it was tracked and recorded—there are a lot of stacked harmonies, which give it that lush sound. It’s a new direction I was able to discover and bring to this record. I also think the music video for ‘Lonely Over You’ is my best yet. We shot it all on film in Austin, Texas, and aimed to capture the vibe of the Elvis comeback special. The set design was incredible and made it feel like we were in the late ’60s or early ’70s. Altogether, it’s a special song. I’m very proud of it, and the video that goes with it is a great piece of art as well. We’re looking forward to sharing it.” – William Beckmann

Track Credits:
William Beckmann – Lead vocals, background vocals, acoustic guitar, songwriter
Chad Cromwell – Drums, percussion
Craig Young – Bass
Jedd Hughes – Electric guitar, acoustic guitar
Jesse Frasure – Baritone guitar, background vocals, songwriter, producer
Jimmy Wallace – B3, piano, synth
Jon Randall – Acoustic guitar, producer
Todd Lombardo – Acoustic guitar
Jessie Jo Dillon – Songwriter

Kelsey Waldon, “My Kin”

Artist: Kelsey Waldon
Hometown: Monkey’s Eyebrow, Kentucky
Song: “My Kin”
Album: Every Ghost
Release Date: June 20, 2025
Label: Oh Boy Records

In Their Words: “I am the best of my kin and I am the worst of my kin. I got all of it. It took me a long time, but now, I love that for me. That means I got all of the character, the resilience, the grit, the beauty, the spirit, the humor, the independence, the self-sufficient ideals, the wisdom, and so much more. That, unfortunately, also means I also got the generational trauma, the demons, the stubbornness, the guilt, the defensiveness, and the thing that makes me want to push away anyone who tries to help or love me. I got the gene that makes me want to self-destruct a little bit, for sure. This song is saying, ‘I am all that, and I do have these issues, but the difference is that I am willing to learn and grow, and I am finally willing to break these cycles as well.’ These things are a part of me, and you will have to take me as I am, to a certain extent, and have patience with me. And don’t you love that all these things make me who I am? We just have to learn how to reign them in and use them for good.” – Kelsey Waldon

Track Credits:
Kelsey Waldon – Rhythm acoustic guitar, lead vocals
Junior Tutwiler – Electric guitar, baritone, high strung guitar, lead acoustic guitar
Cooper Dickerson – Pedal steel guitar
Blakely Burger – Kentucky fiddle
Erik Mendez – Electric bass, Rhodes, and Wurlitzer electric piano
Evan Kesel – Drums, percussion
Kristen Rogers – Background vocals

Steve Gillette, “Song for Gamble”

Artist: Steve Gillette
Hometown: North Bennington, Vermont
Song: “Song For Gamble”
Album: Steve Gillette – The Best Of…
Release Date: June 20, 2025
Label: Compass Rose Music

In Their Words: “I met Gamble [Rogers] at the Bitter End in New York in 1967 and we bonded over songs and Merle Travis’ guitar finger picking that became known as ‘Travis Picking.’ Over the years, we would often run into Gamble at festivals or when he was in the New England area. One time stands out for me, when I arrived in Kerrville in 1984: Gamble was booked to perform on the main stage, but he also gave a special one-hour workshop on his guitar technique and his performance ideas. He was so generous about sharing the secrets of his showmanship, and of course, that was consistent with his selflessness as a person. Sadly, it was just his willingness to consider others before himself that contributed to his losing his own life while trying to help another. He was with his family for a day at the beach just south of St. Augustine, Florida, when a little girl ran up to him in tears, begging him to help her father, who was in trouble in the surf. Gamble went into the water, but was unable to help the man and, sadly, both were drowned. That beach is now known as the Gamble Rogers Memorial State Recreation Area.” – Steve Gillette

Track Credits:
Steve Gillette and Charles John Quarto.

Video Credit: Thank you to Rick Davidson, Cathy Roberts, and Sherry Boas for their photos and video contributions.

Photo Credits: Tift Merritt by Alexandra Valenti; Kyshona by Anna Haas.

Sawtooth
Country Soul

Posted on by Shelby Williamson

To say Kashus Culpepper’s life has changed over the last five years is an understatement. A former state champion wrestler, firefighter, and EMT, the Alabama native developed a raspy, smoke-and-voodoo vocal while stationed in Spain with the U.S. Navy in 2020, forced to pass the pandemic in his bunk. Since then, he’s knocked over one milestone after another.

With a distinctive mix of country, blues, Southern rock, and soul, the 27-year-old cites Robert Johnson, Bill Withers, and Hank Williams as inspirations and is now bringing his roots-renegade instincts to mainstream fans. Despite only releasing his first official track in June of 2024, the music industry short-timer has earned big-time appreciation.

That includes the respect of heroes like Elton John and John Mayer, a Grand Ole Opry debut, tour dates around the country, and inclusion on 2025 “artist-to-watch” lists at GRAMMY.com, Apple, Billboard, Pandora, and more. Culpepper just finished a run of dates with Leon Bridges and he’ll hit the road with Whiskey Myers in June before joining tours by Sierra Ferrell, Darius Rucker, and others later on in the summer. It would all be overwhelming, if he had time to think about it.

“I’ve just been taking it day by day,” Culpepper tells Good Country with a hearty laugh, waiting to perform at a community festival in Arkansas last month. “I think that’s the best course of action. Don’t think too far in the future and just take each show, each writing session, each recording session one at a time. Just pray everything works out and keep going. … Because when things started happening, I was like, ‘Oh, snap.’”

We wanted to get to know Culpepper before anything else “happens,” and figure out what’s fueling the hype. As it turns out, this all-natural talent is just going with the flow.

I read that you didn’t even start playing guitar until you were in Spain for the Navy, right? What made you want to do that?

Kashus Culpepper: Yeah, in Spain we got shut down and I didn’t have nothing else to do, man. I mean, literally I was bored out my mind. It’s a different type of boredom, because during COVID you couldn’t do nothing. It’s not like you can just go outside or go to a bar or hang with your friends. We couldn’t do nothing. So this was a weird point in my life and my buddy had a guitar in the barracks. I was like, “Well, this is a perfect time. I literally have nothing to do.” I just went on YouTube and looked up covers I wanted to learn. Music has always been something I go back to whenever life is hard. So I resorted back to music and that ended up leading me to learn guitar, eventually learn to write songs.

Thank God for YouTube, huh?

Shout out Marty Schwartz!

You seem to have a lot of diverse tastes, but that bluesy, soulful country thing – why did that speak to you?

I think maybe that’s just my music taste. My first taste of music was gospel, and I’m from Southern Alabama, so gospel there, it’s really rootsy already. It already sounds like a folk song. And the way they sing it sounds so bluesy, like old Son House type of vibes. From there I got into blues music outside of church. I got into country music and R&B and folk music a little. I’m all over the place when I listen to music. I can go from Allman Brothers to a Conway Twitty song really quick.

But I know you like John Mayer and all that stuff, too, right?

Yeah, yeah. I mean, I love so many of those rock artists, ZZ Top, Led Zeppelin, Skynyrd. People ask me all the time my influence and I’m just like, “Bro, it’s so hard to name everybody.” John Mayer was a huge thing for me. Recently I went back to Norah Jones, I’m like, “Man, I used to love this record.” But with my music, at the end of the day, it’s just centered on my lyrics. I just want it to feel as rootsy as possible, because all the music I come from – blues, folk, R&B, soul, gospel – it’s all roots music at the end of the day.

Your voice is so good at expressing these really raw emotional states, I think. Is that how you are naturally? Or does that only come out in your music?

Most of the time? Honestly man, it’s just with the music. It’s hard to open up to the people. I think for me music has been great, just to express how I actually feel through my singing and my lyrics. I don’t usually just tell people.

So you’re from Alabama. After the Navy, did you go home and keep playing?

I got out the Navy in 2022 and by that point I already had gigs booked on the Mississippi Gulf Coast. I was booked at all these casinos, all these bars. I was booked out for a year in advance. I got out and went straight to full-time doing cover band shows pretty much for another year, until I literally couldn’t take any more of it. Then that’s when I decided I really want to write songs. Literally, I decided “I’m going to move back home to save as much money as I can and move to Nashville.” I was home for maybe a week or two and posting a lot on TikTok and I remember I was in my mom’s living room. I posted a TikTok, I went out because I had an interview for a job, I got back home, and it had reached 100,000 views. From there it was just, “Oh, snap. It’s going on.”

@kashculpeppermusic Replying to @Casey Wayne One week till “Man of His Word” drops! Appreciating all the support on this one❤️ Pre-save link in bio🔥 #country #singersongwriter #original #kashusculpepper #newmusic #livemusic #countrymusic #countrymusiclover #tour #soul #newcountry ♬ original sound – Kashus Culpepper

That’s awesome. Congratulations on how that all turned out. I think one reason for it might be that your music seems so unconventional, almost untamed. Maybe because you did it on your own? Do you feel like fans are hungry for that?

I think so. We talked about John Mayer. John Mayer is kind of like that. He’s all over the place. Sometimes he’ll do a blues song and then straight up pop, and then an R&B song with Leon Bridges. I think people just love that from artists. Artists just being artists. Just do whatever the song feels like. That’s how I feel with songs.

“A Man of His Word” is super soulful, with lots of that gospel influence and a big raspy vocal. Tell me about being the man a girl deserves. Where’s that theme coming from?

I wrote that song with Natalie Hemby and at the time we was just talking about life. The song is from a perspective of a guy looking into a girl and she’s going through hardships, because she don’t have a man of his word. She’s drinking a lot, doing a whole bunch of stuff. The song has a lot of me in it. I grew up with a single mother and you don’t know how those things can affect you without having somebody in your life you can trust. You get the feeling you can’t really trust nobody, because that’s not part of your life, and that leads to mental health problems or substance abuse. You don’t even notice it at the time, until you look back and you’re like, “Dang, that’s why I feel that way.”

After that comes “Broken Wing Bird” with Sierra Ferrell and it’s on the opposite end of the spectrum. Very threadbare and folky, right?

Oh man. So I’m a huge fan of Willie Nelson. One of my favorite songs is “Funny How Time Slips Away” – I just love so much the crooner era that he was doing – and I wanted a song that felt like that.

I wrote the song about somebody that’s not really good for you and you just keep taking ‘em back regardless, because you love them and no matter what they do, you’re always going to. So she’s like my broken-winged bird – no matter what she does, she’s flying back and I’m always going to help her out and then she’ll probably be on her way again.

It’s been good getting to know you a little. Big picture, what do you hope people take away from your music?

I think overall, I hope they can see I’m just an artist trying to express the way I see things, and I hope in some way they can find music that can fit every part of their life. Whether they’re trying to have a good time out partying, or if they want to soak into the sadness of a lover they lost, I just hope my music can fit some aspect of their life. And I hope they can enjoy it.

Photo Credit: Cole Calfee

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Mavis Staples Finds a Place to Call Home in Frank Ocean’s “Godspeed”

Posted on by Editor

Mavis Staples counts herself among the legion of Frank Ocean fans and she’s just released her rendition of “Godspeed” as a sign of her admiration. Of course Staples is an iconic voice of her generation through her groundbreaking music with the Staple Singers on “I’ll Take You There,” as well as the family group’s participation in the 1960s civil rights movement alongside Dr. Martin Luther King Jr. For this heartfelt track, Staples and producer Brad Cook bring in songwriter and Youth Poet Laureate Kara Jackson for spoken word vocals.

“Channel Orange was my first introduction to Frank Ocean and I was just amazed at the writing and soulfulness coming from his voice,” Staples said. “And I loved Blonde when that record came out. That first line in ‘Godspeed’ of ‘I will always love you’ just crushes me every time I hear it… or sing it. It’s just such a beautiful song and he sounds amazing on it so I was a little nervous if we could pull it off. I was honored to sing his words.”

This weekend in Canada, Staples will sing at jazz festivals in Ottawa, Toronto, and Montréal before crossing back over the border for shows in Knoxville, Tennessee, and Brevard, North Carolina. After a number of American concerts in July, she’ll pause just long enough to celebrate her 86th birthday. Then she’s bound for dates in Norway, the Netherlands, and Sweden in August, with even more stops scheduled throughout the U.S. through early October.

Yes, she’ll take you there… but only if you can keep up. Check out the Rock & Roll Hall of Fame member’s cover of Frank Ocean’s “Godspeed” released by ANTI- Records below.

Photo Credit: Myriam Santos

GC 5+5: Southern Avenue

Posted on by Justin Hiltner

Artist: Southern Avenue
Hometown: Memphis, Tennessee
Latest Album: Family
Personal Nicknames (or rejected band names): We don’t remember any rejected band names, but being from Memphis we definitely call everybody “mane.”

Answers have been provided by Tierinii Jackson, Southern Avenue lead vocalist and songwriter.

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

It wasn’t one moment, it was the absence of one. I never imagined not being a singer and a songwriter. I grew up singing in church with my sisters and family and even when I ran away from all of that, the music stayed with me. Beale Street gave me my second education. That’s where I chose to be a full-time musician, even if the world didn’t choose it for me.

What is a genre, album, artist, musician, or song that you adore that would surprise people?

I love musical theater. It’s drama, it’s storytelling, it’s emotion on 10. I used to want to be on Broadway. Sometimes I still do. The song “Flying” on our new album is just about that. My mom actually turned the plane around mid-air so I wouldn’t fly to New York to make my dream come true. I do believe that it all connects and I have plenty of time to still do something special in that world.

What’s one question you wish interviewers would stop asking you?

People always ask how we met and how the band started. It’s everywhere online already. We just hope to get asked about new things now, go a little deeper. But it’s all good, no hard feelings at all. We love it when we have an interview where the person in front of us already has an understanding of who is in front of them.

What’s your favorite memory from being on stage?

When we toured with Willie Nelson, Bob Dylan, and John Mellencamp, it was already unbelievable. But then we found ourselves on stage at FarmAid, after two weeks on the road with them for the Outlaw Tour. I remember standing there thinking, “Am I dreaming?” It was one of those moments where everything just hits you, how far we’ve come, and how real it all is.

Genre is dead (long live genre!), but how would you describe the genres and styles your music inhabits?

We like to describe our music real simple. It’s Memphis music. That’s what raised us. We’re a mix of where we come from, how we grew up, and everything we dreamed of becoming. It all comes together in the sound.

Photo Credit: Rory Doyle

Celebrating Women’s History Month: Sister Rosetta Tharpe, Laurie Lewis, and More

Posted on by Justin Hiltner

Our partnership with our friends at Real Roots Radio in Southwestern Ohio concludes as we wind down our weekly celebration of Women’s History Month. We’re proud to have brought you four 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 underappreciated or unsung – and others are global phenomena or household names.

Over the last few weeks, radio host Daniel Mullins, who together with BGS and Good Country staff has curated the series, has brought you just a few examples of women in roots music from all levels of notoriety and stature. Week one featured Dottie West, Gail Davies, and more. Week two shone a spotlight on Big Mama Thornton, Crystal Gayle, Rose Maddox, and more. Week three, paid tribute to Emmylou Harris, Wild Rose, Mother Maybelle, and more. This final installment of the series celebrates Laurie Lewis, the Coon Creek Girls, Amanda Smith, Sister Rosetta Tharpe, Petticoat Junction, and Jeannie Seely.

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.

Laurie Lewis (b. 1950)

A GRAMMY-winning singer, songwriter, and fiddler, Laurie Lewis is a California native who has been blazing trails in bluegrass for over four decades. She became enamored with folk music after attending the Berkeley Folk Festival in her youth – she has since made an indelible mark on American roots music with her work in bluegrass and beyond!

Whether leading her band, Laurie Lewis & The Right Hands, performing solo, or collaborating with her pal Kathy Kallick – with whom she helped found the Good Ol’ Persons in 1970s, pushing norms in the process – Laurie’s soulful vocals and skilled fiddle work have made her a standout in bluegrass for a lifetime. Her songwriting paints vivid pictures of love, loss, and the land, while her honest voice pulls at the heartstrings, earning her two IBMA Female Vocalist of the Year awards.

Her recording of “Who Will Watch the Home Place” was named IBMA’s Song of the Year in 1994 and has touched hearts for generations. It’s a certified bluegrass classic and is still a staple on bluegrass radio programs. Another beloved composition, “Love Chooses You,” has been recorded by Laurie, Jeannie Kendall, Kathy Mattea, and more.

Laurie Lewis isn’t just a performer – she’s a mentor, a producer, and a keeper of the bluegrass flame, not only by encouraging the next generation of bluegrass music makers, but also by shining a light on significant voices of the past like Vern & Ray and Hazel & Alice. This West Coast bluegrass leader was honored by the IBMA with their Distinguished Achievement Award in 2024.

Suggested Listening:
“Love Chooses You”
“The Bear Song”
“I’m Gonna Be the Wind”

The Coon Creek Girls (active 1937 – 1957)

We’re heading back to the 1930s with an all-female string band that made history, the one and only Coon Creek Girls! It was 1937 when talent scout and radio pioneer John Lair formed the Coon Creek Girls for the Renfro Valley Barn Dance radio show on the airwaves of Cincinnati’s WLW. Led by the talented Lily May Ledford on banjo alongside her sister Rosie, Esther Koehler, and Evelyn Lange, these ladies brought high-energy mountain music to the masses.

Their popularity on radio brought opportunities to tour around the Midwest and even record in Chicago. They didn’t just play, they broke barriers! In 1939, First Lady Eleanor Roosevelt selected the Coon Creek Girls to perform at the White House for President Franklin D. Roosevelt and the King and Queen of England. A hillbilly band of women? Unheard of at the time! But they proved talent knows no boundaries.

The Coon Creek Girls would be an influence on folks like Cathy Fink, Suzanne Edmondson (of The Hot Mud Family and Dry Branch Fire Squad), and even Pete Seeger. While the historic group would disband in the 1950s, John Lair would revive their legacy decades later by helping pull together another all-female bluegrass band to again perform at the Renfro Valley Barn Dance (which had relocated to Mount Vernon, Kentucky, becoming a popular country music tourist destination for decades). With the blessing of Lily May Ledford, this new act was called The New Coon Creek Girls and would make music consistently for nearly twenty years, helping springboard the careers of Pam Perry and Pamela Gadd (of Wild Rose), Wanda Barnett, Vicki Simmons, Deanie Richardson, Dale Ann Bradley, and more.

The Coon Creek Girls inspired generations, proving women belonged in country and bluegrass. Their legacy lives on in every banjo-pickin’ girl who follows in their footsteps!

Suggested Listening:
“Flowers Blooming In The Wildwood”
“Banjo Pickin’ Girl”

Amanda Smith (b. 1975)

Amanda Smith’s voice soars like the mountains of West Virginia from which she comes. She has been a force in the bluegrass world for years. Amanda met her husband Kenny in the mid ’90s at a Lonesome River Band concert (he was playing guitar with LRB at the time). Not only did Kenny fall in love with Amanda, but he fell in love with her voice as well.

Kenny would leave LRB at the turn-of-the-century and he and Amanda would form the renowned Kenny & Amanda Smith Band, a duo celebrated for their tight harmonies and masterful musicianship. They were named Emerging Artist of the Year by the IBMA in 2003 and they haven’t slowed down since. With a sound built on Amanda’s gripping vocals and Kenny’s exquisite guitar work, they have been a staple of the bluegrass world for nearly twenty-five years, racking up many #1 hits on bluegrass radio and frequently seen on stages across the country – both as a duo and with the Kenny & Amanda Smith Band.

Their band has also introduced bluegrass audiences to some of the top pickers of today’s generation, including Jason Davis, Zachary McLamb, Cory Piatt, and Alan Bartram (Amanda’s brother-in-law). Whether delivering beautiful ballads or bluegrass barnburners, Amanda’s voice is one of the most beloved in the genre today, leading to multiple awards, including the IBMA Female Vocalist of the Year honor in 2014. From festival stages to radio waves, Amanda Smith continues to leave a lasting mark on bluegrass.

Suggested Listening:
“Feeling of Falling”
“Mountain Top”

Sister Rosetta Tharpe (1915 – 1973)

The Godmother of Rock ‘n’ Roll, Sister Rosetta Tharpe was one of the most influential artists of the 20th century. Born in 1915, Tharpe was shredding on an electric guitar before rock even had a name! With a gospel heart and a rock and roll soul, she fused spirituals with electrifying riffs, paving the way for Chuck Berry, Elvis, and even Jimi Hendrix. Her hit, “Strange Things Happening Every Day,” was one of the first gospel songs to cross over to mainstream charts and is pointed to by many as the first rock and roll record, proving that faith and fiery licks could share the stage.

The juxtaposition of performing her powerful gospel songs in smoky barrooms is the stuff of legend. Her gospel hits like “This Train,” “Down by the Riverside,” “Up Above My Head,” and “The Lonesome Road” are still revered and helped shape the musical identity of artists as diverse as Johnny Cash, Elvis Presley, Tina Turner, Jerry Lee Lewis, Rhiannon Giddens, and more. Despite being a woman in a male-dominated industry, she didn’t just break barriers – she smashed them! Sister Rosetta Tharpe was posthumously inducted into the Rock and Roll Hall of Fame in 2018.

Suggested Listening:
“This Train”
“Up Above My Head”

Petticoat Junction (active 1988 – 1998)

A bluegrass festival mainstay of the ’80s and ’90s, Petticoat Junction was a popular all-female traditional bluegrass band that helped open doors for some of today’s “girl groups” like Della Mae and Sister Sadie. In fact, there are several direct connections between Sister Sadie and Petticoat Junction. Not only was Sadie banjoist Gena Britt a member of Petticoat Junction (primarily playing bass), but reigning IBMA Female Vocalist of the Year Jaelee Roberts has followed in her mother’s footsteps. Andrea Mullins Roberts was an anchor of Petticoat Junction’s sound with her rich, traditional voice and strong guitar playing before becoming a respected booking agent, manager, and behind-the-scenes businessperson in today’s bluegrass industry.

One of the most celebrated lineups of Petticoat Junction featured Robin Roller (banjo) and Gail Rudisill-Johnson (fiddle) alongside the aforementioned Andrea and Gena. This particular four-piece ensemble released a pair of great albums for Pinecastle Records in the early ’90s, in addition to touring heavily at festivals from coast-to-coast. Deriving their name from the popular ’60s sitcom (whose theme song would be a hit for Flatt & Scruggs), their heartfelt vocals and instrumental prowess shone brightly, whether on original songs or on material from the likes of Jimmy Martin, Reno & Smiley, Flatt & Scruggs, and more.

In addition to continuing to open avenues for other all-women bands, Petticoat Junction’s influence is still being felt in the 21st century as they’ve influenced acts like Flatt Lonesome and Starlett & Big John.

Suggested Listening:
“I’d Miss You”
“Lift Your Eyes To Jesus”

Jeannie Seely (b. 1940)

From the bright lights of the Grand Ole Opry to the heart of country music, today we’re tipping our hats to “Miss Country Soul,”  Jeannie Seely! Born in Pennsylvania, but a Nashville star through and through, Jeannie Seely made history in 1966 with her Grammy-winning hit “Don’t Touch Me,” an envelope-pushing and controversial song due to its featuring a woman expressing sexual desires. With her bold style, unmistakable voice, and trailblazing spirit, she became a beloved icon in country music.

Seely shattered barriers, becoming the first performer to wear a miniskirt on the Opry stage (among other fashion trends she helped bring to country music), being the first woman to host an Opry segment, and fiercely advocating for women in country. Jeannie’s also a respected country music songwriter, writing hits like “Leavin’ and Sayin’ Goodbye” (Faron Young), “He’s All I Need” (Dottie West), “Enough to Lie” (Ray Price), and more; folks like Merle Haggard, Rhonda Vincent, Connie Smith, Ernest Tubb, and Little Jimmy Dickens have recorded her songs over the years.

More than 50 years later, Jeannie is still gracing the Grand Ole Opry stage, holding the record for the most Opry performances ever – 5,200+ appearances and counting! Just as Dottie West encouraged her when she was a young country artist, Jeannie is constantly investing in the future of country as a dear friend and mentor to her Opry sisters, like Carly Pearce and Rhonda Vincent, and even to the young bluegrass band, Cutter & Cash and The Kentucky Grass. She proves that true country never fades. So here’s to Jeannie Seely – an icon, a trailblazer, and a country legend who continues to shine!

Suggested Listening:
“Can I Sleep In Your Arms”
“So Far, So Good” (featuring The Whites)

Photo Credit: Sister Rosetta Tharpe from the Michael Ochs Archives; Jeannie Seely by Cyndi Hornsby; Laurie Lewis by Irene Young.

MIXTAPE: Shoals Gold with Mike Farris

Posted on by Justin Hiltner

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

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

“You Left the Water Running” – Otis Redding

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

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

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

“Stranger in a Strange Land” – Leon Russell

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

“Mustang Sally” – Wilson Pickett

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

“Ease On” – Mike Farris

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

“You Better Move On” – Arthur Alexander

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

“Heart on a String” – Candi Staton 

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

“You Got a Lot to Like” – George Jackson

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

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

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

“When a Man Loves a Woman” – Percy Sledge

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

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

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

“Loves Me Like a Rock” – Paul Simon

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

“Sweet Soul Music” – Arthur Conley

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

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

Jimmy Hughes at his best with a very underrated classic

“This Love of Mine” – Arthur Conley

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

“Before There Was You & I” – Mike Farris

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

“Lovin’ the Easy Way” – Candi Staton

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

Photo Credit: Ed Rodes

Celebrating Black History Month: Big Al Downing, Yola, Elizabeth Cotten, and More

Posted on by Justin Hiltner

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. To kick us off, RRR host Daniel Mullins shares songs and stories of Big Al Downing, Yola, Cleve Francis, Charley Crockett, Elizabeth Cotten, Dom Flemons, and Lead Belly.

We’ll return each Friday through the end of the month 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.

Big Al Downing (1940 – 2005)

Big Al Downing was an engaging entertainer whose winding career included forays into many genres, including country music. An Oklahoma boy, Downing played piano on Wanda Jackson’s signature rockabilly hit, “Let’s Have A Party,” before pursuing a solo career, finding some mainstream success, dabbling in R&B, and even scoring a Number 1 disco hit, “I’ll Be Holding On.”

However, Downing made history in country as one of the earliest Black artists to find success in the genre. Beginning in the late ’70s, he would have a string of fifteen singles hit the Billboard country charts over the next decade, three of which reached the Top 20. He was nominated by the Academy of Country Music for their Top New Male Vocalist award in 1980. Big Al would be a frequent guest on the Grand Ole Opry, Hee Haw, Nashville Now, and more.

Downing’s soulful singing on hardcore country songs like “Bring It On Home” and “Touch Me (I’ll Be Your Fool Once More)” endeared him to fans, while his story song “Mr. Jones” has remained beloved by country enthusiasts. His career spanned five different decades of country, rockabilly, and more, remaining active in the country music world until shortly before his passing in 2005 after a brief battle with leukemia. Downing is a member of the Oklahoma Music Hall of Fame and Rockabilly Music Hall of Fame, and his legacy is still remembered by longtime fans of country music.

Suggested Listening:
“Mister Jones”
“Touch Me (I’ll Be Your Fool Once More)”

Yola (b. 1983)

Yola is a soul, country, and roots powerhouse! Born in the United Kingdom, Yola’s voice is a force of nature – rich, soulful, and packed with emotion. She started as a songwriter and backing vocalist before stepping into the spotlight with her 2019 debut album, the GRAMMY-nominated Walk Through Fire! Featuring contributions from Vince Gill, Molly Tuttle, Charlie McCoy, Ronnie McCoury, and more, the project was produced by Dan Auerbach of The Black Keys, and quickly endeared her to roots music lovers everywhere. She even appeared as a guest vocalist with all-star group The Highwomen.

With her unique blend of country, rock, and soul, Yola shatters boundaries. In 2021, she dropped Stand for Myself, an album full of bold, genre-blending anthems that brought her more GRAMMY noms. She has even dabbled in acting as of late, appearing on Broadway in Hadestown and playing Sister Rosetta Tharpe in the hit blockbuster Elvis. Do yourself a favor and check out this bon a fide star in roots music.

Suggested Listening:
“Whatever You Want”
“Hold On” (featuring Sheryl Crow, Brandi Carlile, & Natalie Hemby)

Cleve Francis (b. 1945)

Do you remember Cleve Francis? He grew up listening to Hank Williams in Louisiana as a child before making his first guitar out of window screen wire and a King Edwards Cigar Box on his way to becoming an inspiring country artist. Cleve isn’t just a singer – but he’s a songwriter, a dreamer, and a doctor? That’s right, before he hit the stage, Cleve was saving lives.

Dr. Cleve Francis was a practicing cardiologist before he pursued his passion for country music full-time in the late ’80s. Cleve brought a fresh voice to the genre in the 1990s with his smooth voice and heartfelt lyrics that resonated with country fans, resulting in four singles on the Billboard country charts. Cleve’s style of country earned him appearances on major stages like the Grand Ole Opry, The Today Show, and more.

Though he eventually returned to medicine, Francis left an enduring legacy, inspiring many Black country artists who have followed in his wake. He was instrumental in the curation of the Country Music Hall of Fame & Museum’s “From Where I Stand: The Black Experience in Country Music” exhibit while also helping found the Black Country Music Association in the mid ’90s.

In 2021, he was recognized with a Black Opry Icon Award, and his album Walkin’ is on display at the National Museum of African American History & Culture in Washington D.C., where he could still been seen frequently performing at the legendary Birchmere music club until his retirement in 2021.

Suggested Listening:
“Love Light”
“You Do My Heart Good”

Charley Crockett (b. 1984)

One of the most authentic voices in modern American roots music, Charley Crockett has a story that sounds borderline mythical. A descendant of Davy Crockett who grew up in Texas, Crockett spent his early years busking on street corners from New Orleans to Dallas to New York, learning the art of storytelling from life itself. His travels took him to California, Paris, Spain, and Morocco before returning to Texas and releasing his debut album in 2015. Crockett’s recording output has been impressive, frequently releasing multiple albums a year and balancing his records with heartfelt originals and a deep catalog traditional songs from the likes of Tom T. Hall, Hank Williams, Willie Nelson, George Jones, Johnny Paycheck and more.

The common denominator is Charley – his voice carries a raw, timeless quality that cuts straight to the heart. Now performing at the Ryman Auditorium and on Jimmy Kimmel Live!, Charley’s rise hasn’t gone unnoticed. He’s earned critical acclaim and has racked up accolades from the American Music Association and a GRAMMY nomination. With black, Cajun, Creole and Jewish heritage, Crockett’s unique take on country and American roots music is sure to speak to music lovers everywhere for years to come.

Suggested Listening:
“Jukebox Charley”
“$10 Cowboy”

Elizabeth Cotten (1893 – 1987)

An underappreciated hero of American folk and blues, Elizabeth Cotten was born in 1893 in Chapel Hill, North Carolina. Growing up in a musical family, by the time she was 7 Elizabeth taught herself to play guitar left-handed. She flipped the guitar upside down, creating her own unique picking style, now known as “Cotten picking,” which featured alternating bass notes played with her fingers while her thumb played the melody.

Elizabeth wrote her iconic song, “Freight Train,” when she was just 12 years old. This classic has been recorded by Bob Dylan, Joan Baez, Tommy Emmanuel, Doc Watson, and dozens more artists across multiple genres. But her music remained largely unheard for decades as she spent much of her life working as a domestic housekeeper. It wasn’t until she reached her 60s, while working for the Seeger family – yes, that Seeger family – that her incredible talent received a proper platform. Working for a family that loved and appreciated music inspired Elizabeth to resume playing. With the Seegers’ encouragement, Elizabeth recorded her first album, Folksongs and Instrumentals with Guitar, in 1958, recorded at home by Mike Seeger, a member of the Bluegrass Music Hall of Fame.

Cotten went on to perform at major festivals thanks to the folk revival, w0n a GRAMMY at age 90, and inspired countless musicians before passing away in Syracuse, New York at the age of 94. Elizabeth Cotten was posthumously inducted into the Rock & Roll Hall of Fame in 2022.

Suggested Listening:
“Shake Sugaree” [Live]
“Oh Babe, It Ain’t No Lie”

Dom Flemons (b. 1982)

Let’s shine a spotlight on a modern-day troubadour, the Grammy-winning musician, historian, and storyteller Dom Flemons, The American Songster. An avid folk music fan, Flemons was a busker in his home state of Arizona before moving cross country to North Carolina to help found the Carolina Chocolate Drops, a band that revived the nearly forgotten legacy of Black string band music.

Flemons has been a successful solo artist for the last decade-plus. He is a master of multiple instruments – banjo, bones, guitar, harmonica – you name it! His music blends old-time, folk, blues, jazz, and country, tracing the deep roots of African American contributions to American music. From the Grand Ole Opry to Carnegie Hall, Flemons brings history to life with every note.

His 2018 album, Black Cowboys, uncovered the often overlooked stories of African American pioneers in the West, earning critical acclaim and a GRAMMY nomination. Today, whether performing solo or collaborating with legends like Taj Mahal, Sam Bush, and Rhiannon Giddens, Flemons keeps the rich traditions of American roots music alive. In addition to educating audiences about the origins of roots music, Flemons creates great original music as well, truly embodying his moniker.

As The Boston Globe said, “most folk artists go by ‘singer-songwriter’ or simply ‘musician.’ But ‘American Songster’ speaks to a greater truth about the work Flemons, a multi-instrumentalist, has accomplished.” We couldn’t agree more.

Suggested Listening:
“Steel Pony Blues”
“Nobody Wrote It Down”

Lead Belly (1888 – 1949)

He was a man of legend, his voice as powerful as the chains that once bound him. Born Huddie Ledbetter in 1888, the world knows him as Lead Belly. Imprisoned and pardoned multiple times, Lead Belly carried his music from the prison yards of Louisiana to the streets of New York City.

Legend has it that his musical gift led to his release. His background makes his prison, chain gang, and work songs even more haunting, including “Midnight Special.” His original song, “Goodnight Irene,” has been recorded more than two hundred times, including versions by Ernest Tubb & Red Foley, Moon Mullican, Frank Sinatra, Jerry Reed, and Johnny Cash. It is viewed as a verified country standard.

“Duncan and Brady,” “In the Pines,” “Cotton Fields” – his songs told stories of hardship, freedom, and the American experience. Lead Belly’s music shaped folk, blues, rock, and country inspiring legends like Creedence Clearwater Revival, Bob Dylan, Robert Plant & Alison Krauss, Pete Seeger, Johnny Cash, The Johnson Mountain Boys, and Nirvana.

Lead Belly died in 1949, but his music lives on. His voice still echoes in every blues riff and folk song today. Lead Belly was posthumously inducted into the Rock & Roll Hall of Fame in 1988.

Suggested Listening:
“Black Girl (In The Pines)”
“Irene (Goodnight Irene)”

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Photo Credit: Big Al Downing via Team Entertainment Records; Elizabeth Cotten via Smithsonian Folkways Recordings; Yola by Valeria Rios.