Tag: spotify

Roots Songs All About Mental Health

Posted on by Justin Hiltner

May is Mental Health Awareness Month, but for those with lived experience, every day is about mental health awareness. During the most difficult times, many creators and listeners turn to music. It’s where we connect through lyrics and melodies that express the things we so often cannot, will not, dare not say.

The intersection of music and mental health is nothing new. Long before memes and catchphrases about “break the stigma,” Hank Williams did just that with “I’m So Lonesome I Could Cry.” Years later, Porter Wagoner exposed the ugly unspoken truth about “The Rubber Room.” 

Thankfully, through incremental steps, times have changed – although not enough – in terms of media portrayal and public discourse. With great courage, more and more artists are coming forward about their struggles. Dozens of artists and musicians have spoken openly with BGS and Good Country about how mental health challenges move them to create songs and albums that make us all feel a little bit less alone. (Scroll to find our playlist of roots songs all about mental health below.)

Artists and bands like Becky Buller, Courtney Marie Andrews, Sister Sadie, and Tenille Townes give us glimpses at how mental health and self-care inform their creative processes and how they craft their songs, albums, and sets. Groups like Southern Avenue and the Band Loula – who make music built on the sonic and storytelling traditions of the South – subvert regional expectations about what’s “allowed” to be spoken about in the light of day with their approaches to infusing mental health awareness into their songs. Still more conversations with artists like Fruit Bats, Cole Chaney, Emily Scott Robinson, and Chely Wright reinforce that mental health in roots music isn’t a fad or passing trend, it’s an intentional through line. Songwriting and roots music are perfect vehicles for this sort of vulnerability and these once forbidden topics.

The proliferation of YouTube and democratization of music videos in the 2000s and 2010s opened up new dimensions for artists, giving them more formats in which to express themselves, depict their work, and consider mental health. Additionally, of course, it offers live performances that go beyond anything a studio recording can capture.

“I Think It’s Going to Rain Today” – Randy Newman

Randy Newman’s masterpiece has been covered many times, and the internet is full of those recordings – as well as his. This performance, however, at his induction into the Rock and Roll Hall of Fame, may very well surpass them all.

“God, Can You Hear Me?” – Dax

Dax is fearless in addressing the most difficult and “taboo” topics. “God, Can You Hear Me?” asks the unspoken question within the context of a subject that far too many people refuse to address: suicidal ideation. (Content warning: graphic.)

“Let the Circle Be Broken” – Sister Sadie

In genres predicated upon generational legacies and “handing down” tradition, Sister Sadie’s song of release, letting go, and stepping out from underneath the long shadow of generational traumas is more than powerful. By the same token, that it was written and is sung and performed by a band of all women makes it a truly transcendent message. Some circles are meant to remain unbroken, others must be demolished.

“Bench Seat” – Chase Rice

Chase Rice broke down walls and stereotypes and opened doors to discussions about suicide with this multiple-award-winning video. Country needed this. Country needs more of this. (Content warning: graphic.)

“Hurt” – Johnny Cash

Johnny Cash. Enough said.

“I’m Gonna Be the Wind” – Laurie Lewis

Bluegrass legend Laurie Lewis has penned many a fine song tackling issues of mental health, but this is the song for when you’re ready to stride out anew again. It’s a song of strength, resilience, of realizing that often one of the primary forces keeping us down is our own mindset. Tired of being a blade of grass, bent and bruised by the wind? Be the wind!

“Sunday Morning Coming Down” – The Highwaymen

Mickey Raphael described them as “like Mount Rushmore onstage” and called Kris Kristofferson “the Shakespeare of our time.” This is why.

“Will the Sun Ever Shine Again” – Bonnie Raitt

One of the best songs Bonnie Raitt has ever sung and released was recorded for the 2004 animated film Home on the Range. Devastating, endlessly relatable, but ultimately hopeful, the film cut of “Will the Sun Ever Shine Again” is hard to track down on streaming services and online, but it’s truly lovely. A gem of a soundtrack find from an often overlooked Disney children’s movie from the aughts.

“Alone Again (Naturally)” – Gilbert O’Sullivan

In 1971, Gilbert O’Sullivan bravely addressed loss, grief, heartbreak, loneliness, depression, suicidal thoughts, and questions of faith, wrapped them up in a lovely melody, set them to a catchy beat, and rode to the top of the charts with one of the most gutting, most accurate depictions of mental health challenges ever put to song. Decades and numerous cover versions later, stripped down to keyboard and guitar, his voice aged like fine wine, “Alone Again (Naturally)” remains poignantly accurate and relatable.

“Bad Mind” – Erin Rae

A song so perfect in its illustration of how we project and ascribe mental health, onto ourselves and others. We all may know, somewhere inside ourselves, that there is no such thing as a “Bad Mind,” but stigma and internalized expectations leave so many of us feeling broken and “incorrect.” Listening to Erin Rae sing this lovely, devastating song brings an immediate feeling of needing to reassure the singer that there really aren’t bad minds… and thereby the realization we should also apply that grace to ourselves.

Below, you’ll find our full playlist of nearly 8 hours of roots music created by the teams at BGS and Good Country that features some of the many excellent songs that address mental health. For Mental Health Awareness Month and beyond.

Photo Credit: (L to R) Cole Chaney by Anthony Simpkins; Sister Sadie courtesy of the artist; Dax by Annie Devine.

Additional curation and contributions by Shelby Williamson and Justin Hiltner.

Phillip Phillips’ Songs for Curing (or Wallowing in) Homesickness

Posted on by Justin Hiltner

This Mixtape sits in that space between where you came from and where life has taken you, full of memories, change, and longing for home. Songs like “Old Friends” by Ben Rector and “Rivers and Roads” by The Head And The Heart reflect on growing up and holding onto the people who shaped you, while “Fast Car” and “Clocks” capture that pull between escape and comfort.

At the center is my song, “Homesick,” written from the tension of chasing a dream while missing the people I love most. It’s about time passing, love deepening, and the quiet ache of being away from home. I’m excited to be touring later this year and releasing more music, and this playlist feels like a piece of that journey I get to share. – Phillip Phillips

“Old Friends” – Ben Rector

I love how this song connects the dots of those friends you grew up with and where you are as you’re older with them. Things change. Life goes on. But the memories and things you shared growing up with someone you’ll always remember. I love the lyric, “But I’ve never seen their parents’ back porch…” Such a real thing.

“Clocks” – Coldplay

Timeless song. You feel as though you need to be somewhere that gives you comfort if things start to feel uneasy or too much.

“Home” – Phillip Phillips

It’s me. Take it as you will and have your own meaning!

“Fast Car” – Tracy Chapman

Such an emotional song about needing to get out of the place that feels like it’s suffocating you. Sometimes the places we come from can feel that way.

“Rivers and Roads” – The Head And The Heart

For me it’s feels like time passing. Longing for the little moments that made life feel slow. I have kids now and it hits that much harder. To go the distance to see the ones you love just one more time.

“To Build a Home” – The Cinematic Orchestra, Patrick Wilson

I cry every time I listen to this song. So pure and raw. “Emotional” is an understatement for this one. It’s hard to listen to sometimes for me.

“Homesick” – Phillip Phillips

This is my newest song. I love it so much. I travel a lot and I get to do something I love, but I also have to sacrifice, spending time away from the people I love more than anything. I wrote this while my son was napping. Knowing that I was going to leave for another trip soon. I love playing music, but I love to be home to change the dirty diapers and take the trash out. Playing in the mud. I hope you love it as much as I do.

“Danny’s Song” – Loggins & Messina

Love over money. Always the goal. I love this classic song. Makes me think about being with my wife before getting married and having kids. How special those times are when you’re building a foundation in a relationship.

“The Book of Love” – The Magnetic Fields

I didn’t hear this song until later in life and it hit me like a train. Gets me emotional every time. Saying that love is boring and long. Which it really can be at times, and that’s okay. Loving someone is difficult. And for me, this song speaks to all relationships. Not just a husband or wife. I have flashbacks of my life when listening to this song.

“Livers and Onions” – Aaron Espe

My good friend wrote this song and when I first heard it, it made me think of growing up and being with my uncle Joey and my dad and thinking about my relationships as a kid with my cousins and family. Such a great song.

“Father and Son” – Yusuf / Cat Stevens

This song is just everything. I can only dream to write a song half as good as this. Makes me cry. Makes me think of being a father to my son and my relationship with my father.

Photo Credit: Sean O’Halloran

Old Spot’s Transatlantic Old-Time Playlist

Posted on by Justin Hiltner

(Editor’s Note: Below, United Kingdom-based old-time duo Old Spot – Rowan Piggott and Joe Danks – curate a Mixtape for BGS celebrating old-time music of the UK and Ireland. In order to include as many tracks as possible representing the vibrant string band scene in the UK, some selections are shared via Spotify and others via Bandcamp, depending on availability. We hope you enjoy listening and learning about transatlantic old-time – and that you support all roots musicians directly whenever possible.)

This is a Mixtape designed to highlight some of the amazing old-time string band music coming out of the UK and Ireland at the moment. Old Spot is a product of a vibrant scene, with the fiddlers and bands around us just as influential to us as their American counterparts.

This playlist looks to reflect some of the musicians performing string band music today, whilst shining a light on lesser-known gems. In compiling it, we’ve realized how much of the music we love on the old-time scene here isn’t on Spotify – if you love any of this music, buy it from the artists who made it! Anyway… less jawin’ more sawin’… – Old Spot

“Elzick’s Farewell” – Rattle On The Stovepipe

Rattle On The Stovepipe formed in 2003 and have played up and down the UK spreading old-time with band stalwarts Pete Cooper and Dave Arthur joined later by Dan Stewart – probably our favorite banjo player in the UK. This groovy version of “Elzick’s Farewell” is from their first album with Dan, No Use In Cryin’.

“Maggie Mead” – Follywren

Follywren is the brainchild of Bristol musician Kai Carter. We love lots of stuff that Kai does – his old-time trio is great and his original music (Kai & Hollis) is also a tour car staple. We have a real soft spot though for this amazing Follywren album, described as a kind of New Orleans-inspired electric string band. The tuba and electric banjo actually end up landing you somewhere between Clyde Davenport, Ghanaian Highlife, and Captain Beefheart’s Shiny Beast era… a good place to be.

“Rainbow” – Cath & Phil Tyler

Cath & Phil Tyler straddle the traditional and experimental music scenes in the UK and run the Newcastle sacred harp singers. Their albums are a treasure trove of ballads, with Phil’s mesmeric guitar and banjo playing supporting Cath’s one-of-a-kind, transportive voice. In some ways though, they are at their best a cappella where their background in shape note style really shines.

“Shanghai Skyline” – Jeri Foreman & Ruth Eliza

Jeri Foreman & Ruth Eliza are a powerhouse fiddle and banjo duo and you always want to see them on a festival lineup. Where these guys go, good tunes follow and their debut album shows off their musical connection beautifully. Recorded live, we’ve chosen one of Jeri’s tunes to highlight here.

“Chicken & Dumplings” – Ben McManus

Welsh musician Ben McManus is a multi-instrumentalist and promoter of old-time music in the UK. He’s schooled in the history of old-time and has done a number of interesting projects exploring the connections between Wales and Appalachia. He’s also interned at the Smithsonian – absolute dude. This is a laid-back clawhammer guitar and cello version of “Chicken & Dumplings,” a favorite of UK sessions. This record makes us miss Ben, and not just because he makes a mean Negroni.

“Dormae” – Hannah Read

Hannah Read’s first Fungi Sessions album is one of our favorite ever records as a band. We loved the sonics of it so much that we travelled to the studio in Scotland where it was recorded to make our new album. Hannah is now based in the US, but hails from Scotland and comes over frequently to collaborate with the incredible Michael Starkey. Hannah has collaborated with indie royalty Big Thief, Julien Baker, and Lucy Dacus, and you can hear this broader sonic palette across her output. But the real star of these Fungi Sessions albums is her incredible composition and the subtle magic of her bow arm.

“Wolves A’ Howlin'” – Kieran Towers & Charlotte Carrivick

Kieran Towers & Charlotte Carrivick can most often be found in the bluegrass scene in the UK, but came together for this one-off old-time album of absolute rippers. Charlotte, one of the best flatpickers in the UK, reveals herself to be one of the finest clawhammer players, and Kieran, best known for shredding bluegrass solos, turns into prime Bruce Molsky. Being able to just casually drop this album as a side project is outrageous. A frustratingly brilliant album from two undeniable musical geniuses.

“Glory In The Meeting House” – Ben Paley & Tab Hunter

In our opinion, Ben Paley is the jewel in the crown of British old-time music. He’s performed in loads of different lineups with musicians from the South of England – probably most notably The Long Hill Ramblers and with his dad Tom Paley of The New Lost City Ramblers. His fiddling is just as good as it gets, full of character, groove, and skill. On this record from 1999, he’s backed by Tab Hunter who is an old-time backer with taste, power, and pocket.

“Pterodactyl” – One Night Stringband (Old Spot, Jeri Foreman, Ruth Eliza)

We recorded this collaborative album with Jeri Foreman and Ruth Eliza over the course of one night and a bottle of whisky. We put it out the following day after some hungover mixing and now we perform sporadically as The One Night Stringband for square dances and concerts. We’ve got our seventh and eighth gigs together this summer!

There’s a kind of exploratory madness in these recordings and we all chose tunes we couldn’t get to hang quite right in our duos. There’s a raging version of Rhys Jones’ “I’ll Reap What I’ve Sown,” a version of “Josie-O,” and this, Ruth’s prog-y old-time wig-out “Pterodactyl.”

“Benton’s Dream” – High Strung Trio

From Cork, Ireland, this is one of our favorite old-time records of the last few years. From ex-members of the Grits & Gravy Stringband comes a new trio record of uncompromising ragers. Fiddle player (and luthier) Ian is an absolute machine on this record, laying down danceable bangers like it’s nothing. A great record to pick up new tunes or to power a long car journey, we can’t stop listening.

 “Two Little Sisters” – Sugarwell Hill

Sugarwell Hill is a trio from Leeds in Yorkshire. This is a new record from them that the scene has been anticipating for a while. Recorded confidently and simply, it’s a great snapshot of what is so magical about this laid-back band. “Two Little Sisters” features Simon’s relaxed vocal delivery and groovy banjo playing set against Mick’s gritty fiddle playing. We’re so lucky to have these three in the scene over here, and can’t think of a bad time to stick this beautiful new record on.

“Walk Me Round” – Rhona Dalling

Rhona is another Bristol-based fiddler, singer, and banjo player. This record is, so far, her only recorded output, but like so many of the best trad musicians, her best music happens in sessions and muddy fields. She has an incredible fiddle style, full of poise and effortless technique, and a beautiful voice. This quietly beloved record features a great waltz and her tune “Balfour Road,” which is played in trad sessions up and down the country and has really transcended the old-time scene, thanks to a recording by bal folk band Topette!. Perfect for a rainy day.

“Bear Creek” – Lankum

Whilst most of their repertoire is drawn from Irish folk, experimental trad behemoths Lankum often close their sets with this old-time tune. We couldn’t not include it after watching 20,000 people bouncing up and down to it at Glastonbury!

“Bowling Green” – Joe Mansfield & The Temperance Two

Bristol-based Joe Mansfield is another person you love to see walk through the door at a jam. He’s got an amazing repertoire and is a great hang. He’s got a new duo called The Low Line (watch that space), but he gigs out all the time with the Temperance Two. This is a great version of “Bowling Green.”

“The Roustabout Song” – Old Spot

We heard “The Roustabout Song” sung at a Morris Dance festival singing session. The song sounded distinctly American – a bit of digging led us to English folklorist Sandy Paton and, in turn, the songwriter Dillon Bustin. The song was written at Pinewoods Camp and according to Paton presented both a cappella and with a “lazy river” banjo accompaniment. We’ve done a new joyful fiddle-singing version, bringing out the song’s subtle political undertones. Unfortunately the parasols are twirling faster than ever.

“June Apple” – The Firecrackers

The Firecrackers are five of the UK old-time scene’s stalwarts, and they whip up a frenzy wherever they go. This album of field recordings is a good snapshot of them doing their thing and Benton Flippen’s “June Apple” is their signature tune.

One of the band’s fiddle players, Dave Proctor, edits Old Time News, the quarterly old-time magazine published by FOAOTMAD (Friends of American Old Time Music and Dance), a grassroots organization that has supported the growth of old-time in the UK so much over many years.

Photo courtesy of the artist.

Dale Watson’s Ameripolitan Today Playlist

Posted on by Justin Hiltner

Ameripolitan music can be best defined as original music with prominent roots influence, and it has four categories: honky tonk, Western swing, rockabilly, and outlaw. My Mixtape features a song by an artist that represents the roots and then I’ll play a new artist that directly was influenced by them. You can hear the natural growth of country music when you listen to Lefty Frizzell and Merle Haggard or Kitty Wells and Loretta Lynn back to back. (Many of the roots artists had nicknames, I miss that.)

While some may hear an artist’s influence and say they are copying them, I’m of the opinion that John Lennon shared when asked about The Beatles’ influences. He said, and I paraphrase here, “One’s originality comes out in their inability to imitate their influences.” Very well said. – Dale Watson

“Who’s Gonna Take The Garbage Out” – Loretta Lynn, Ernest Tubb

Ernest Tubb had a distinctive voice as you hear on this song he sings with Loretta Lynn. Here’s the Texas Troubadour with the Coal Miner’s Daughter.

“My Wife Thinks You’re Dead” – Junior Brown

And no one is more evidently influenced by him than Junior Brown.

“Undo the Right” – Johnny Bush

Johnny Bush, otherwise known as the “Country Caruso,” was a drummer for Ray Price, the Cherokee Cowboy, before going out on his own. You would definitely hear that influence if you back-to-back Ray Price to Johnny Bush. Both are huge influences to every singer that grew up in Texas.

“Texas Honky Tonk” – Justin Trevino

This young man from Texas is carrying the Bush torch.

“D-I-V-O-R-C-E” – Tammy Wynette

The First Lady of Country Music, Tammy Wynette was married to the Possum, George Jones. She is easily at the top of women that influenced the newer singers.

“Houston Belongs To Me” – Sunny Sweeney

Singing her own divorce song, here’s Sunny Sweeney!

“Big Balls in Cowtown” – Bob Wills & His Texas Playboys

In the Western swing category this is the master, Bob Wills & His Texas Playboys.

“Riding High in Texas” – Asleep at the Wheel, Billy Strings

Though they’ve been around a while, they still burn up the road and proudly wear Bob Wills as their biggest influence. Ian Stewart sings as guest picker Billy Strings shines.

“Here in Frisco” – Merle Haggard

The Hag has influenced generations and even in death he still does. He once told me he forgot he wrote this song and was glad I brought it up so he can add it to his playlist again.

“This Highway” – Zephaniah OHora

Zephaniah OHora is now based in Nashville and he’s got a lot of great original songs. On this song you can hear the Hag in him.

“Bob Wills Is Still the King” – Waylon Jennings

In the outlaw world there is none more influential than Waylon, and in Texas we were all influenced by Bob Wills.

“Long White Line” – Sturgill Simpson

This particular song draws heavily on Waylon’s influence. And I like it.

“Ramblin’ Man” – Hank Williams

Hank Williams’ voice is one of the most recognizable in music. His songs are timeless and still inspire singers and songwriters alike.

“Thunderstorms and Neon Signs” – Wayne Hancock

You can definitely hear Hank in Wayne Hancock, but his own voice is definitely original, too – as well as his great songwriting.

“Guitars, Cadillacs” – Dwight Yoakam

Dwight Yoakam has influenced many a newcomer. Just as he was obviously influenced by Buck Owens. He came along when Nashville needed reminded of its roots.

“Lost in the City Lights” – Johnny Falstaff

Though not well known as of yet, Johnny Falstaff is picking up Dwight’s hat.

“Blue Kentucky Girl” – Loretta Lynn

The Coal Miner’s Daughter definitely left big shoes to fill, but her sassy songs inspired many women artists.

“Don’t You Ever Give Up On Love” – Brennen Leigh

That inspiration can be traced right to Brennen Leigh.

“Good Hearted Woman” – Waylon Jennings, Willie Nelson

Here’s the quintessential outlaw song by the most famously influential artists, the Red Headed Stranger, Willie Nelson, and Waymore, sometimes called Wautawsha, Waylon Jennings.

“Willie Waylon and Whiskey” – Dale Watson

The last song I’ll put in here’s is mine, because with pride I will state, yes, I am heavily influenced by Willie and Waylon. And sometimes whiskey.

Photo Credit: Jacob Blinkenstaff

Vaiano’s Paisanos Valsa Continental Playlist

Posted on by Justin Hiltner

Honestly, I think the reason I am a nerd about string band music is that it offers a beautiful way of thinking about how music moves – not just through instruments traveling, but also through melodies, rhythms, and ideas making their way through people and place and time.

Maybe that means across the globe, but it could mean between a dining room and a basement, whatever the dialogue. The tracks in this playlist are a winding path through a tiny subsection of this sonic world. – Rachel Meirs, fiddle, Vaiano’s Paisanos

“Rosa Negra Vals Venezolano” – Orquesta De Lionel Belasco

“Rosa Negra Vals Venezolano” comes from Lionel Belasco, a Trinidadian-Venezuelan pianist and composer whose recording career spanned five decades. This waltz is a really joyous piece recorded by Belasco’s orchestra, who recorded an incredible number of sides for Columbia Records in New York City in the late ’20s and early ’30s. An iteration of a calypso band with piano, woodwinds, strings, and syncopated rhythms that all give a hint to which version of the journey this waltz form took to arrive.

“Para Mi y Para Mi Novia (Vals Foxtrot)” – El Ciego Melquiades

“Para Mi y Para Mi Novia (Vals Foxtrot)” comes from El Ciego Melquiades, “The Blind Fiddler,” who recorded in San Antonio. It sounds like a Tex-Mex fiddle tune, since that’s the way he plays it, but the most compelling thing about it is how unintuitive it is. I could never figure out why its form and melody were so strange, but a friend recently tipped me off that it’s his take on “For Me and My Gal,” a 1917 pop song (later popularized by Judy Garland), which also made the song title make more sense.

“Rolling Mill Blues” – Peg Leg Howell

Discovering the origins of “For Me and My Gal” brought to mind this Peg Leg Howell recording from 1927. I loved his recordings with Eddie Anthony on fiddle, but when I heard “Rolling Mill Blues” I remember thinking it was beautiful and strange. Instead of Eddie Anthony’s driving country-blues style fiddle, the violin’s counter-melody takes on an almost ethereal tone. I don’t know if it is a coincidence or not how much that melody calls to mind the pop song, “Tonight You Belong to Me,” which was first recorded in 1926.

“Smart (Tango Argentino)” – Kostas Bezos, Loudiana, Aspra Poulia

On the theme of the crazy routes music takes, I think saying that this next one, “Smart (Tango Argentino)” comes from Kostas Bezos, who led a Hawaiian band in 1930s Athens, is sufficient!

“Cariño” – Cuarteto de Cuerdo de F. Facio

Orquestas de cuerdas were small string bands that played for dances and social functions in Northern Mexico. The entire Arhoolie compilation Orquestas de Cuerdas: The String Bands: The End of a Tradition 1926-1938 is worth listening to, but “Cariño” from Cuarteto de Cuerdo de F. Facio has always stood out to me for what I think is a cello or bowed bass in addition to violins and bajo sexto. This adds a significant low-end to an already dramatic song – this one goes through a lot of emotions.

“Valsa Continental” – Abrew’s Portuguese String Trio

This next one comes from another compilation series I recommend for anyone looking to deep dive into this music across even more territory. Check out Pat Conte’s anthology series, The Secret Museum of Mankind (now on our label, Jalopy Records, since 2021.) Another waltz, which I named this playlist for, “Valsa Continental” comes from Abrew’s Portuguese String Trio. Composer, violinist, and bandleader Augusto Abreu led this Cape Verdean trio from New England who recorded four discs for Columbia Records in 1931.

“Abrew’s Portuguese Jazz” – Vaiano’s Paisanos

It’s hard to say, but since Abrew’s Portuguese String Trio is one of my favorite bands, and because the recordings are still hard to find digitized, this next one is our band Vaiano’s Paisanos take on “Abrew’s Portuguese Jazz.” Our version keeps the violin part, but instead of guitar and cavaquinho, we have mandolin adding harmonies and rhythm, and tenor guitar playing the melodic runs that make up the tune’s backbone and bass line.

“Quisiera Olvidarte” – Pastorita Huaracina

This style of melodic accompaniment reminds me of the relationship between a country-blues fiddle line and a song’s vocal melody (for instance “Rolling Mill Blues,” on this playlist) is one of my favorite things to hear. Maybe that’s why I have listened to “Quisiera Olvidarte” by Pastorita Huaracina so many times in a row. This track comes from another great Arhoolie compilation, Huayno Music of Peru, Vol. 1.

“Il Mio Cuore E Tuo” – Giovanni Gioviale

I knew I wanted to include a track to represent some of the Italian-American music of the era. For many of the tracks on this playlist, I have been trying to decide between polkas, mazurkas, waltzes, foxtrots, and tangos, a reminder many of these groups were dance bands. The mazurka form comes from Poland, a dance in 3/4 or 6/8. This mazurka comes from Giovanni Gioviale, a mandolin virtuoso from Sicily who recorded in New York between 1926 and 1929. “Il Mio Cuore E Tuo” features Gioviale on the tenor banjo– another marker of combined musical histories.

“Black Mountain Mazurka” – Gu-Achi Fiddlers

The next tracks have us following mazurkas to the Southwest. “Black Mountain Mazurka” is Gu-Achi fiddle from the Tohono O’odham people of Southern Arizona. This Southwest fiddle sound is made even more distinct with the addition of drums and very sweet harmonies.

“Bailando en Phoenix” – Lone Piñon

Staying nearby but jumping ahead into this century, Lone Piñon (also on our label, Jalopy Records), plays New Mexican string band or “orquesta típica” music. “Bailando en Phoenix” shows both the amazing energy and musicianship of the whole band. Their whole album is a beautiful tribute to their attention to learning, playing, and performing this musical style.

“Tarantella” – Magic Tuber Stringband

One more modern band, to remind ourselves that we are all participating in the process of reimagining music across time and space. And we will be for as long as we engage with these old traditions and continue to make music. The cross-tuned fiddle on North Carolina-based Magic Tuber Stringband’s “Tarantella” so effectively calls to mind the droning sound of a zampogna (an ancient bagpipe played in southern and central Italy), and the track fades to a fitting end for this playlist.

Photo Credit: Brian Geltner

FARHOF’s Roots That Built the Hall Playlist

Posted on by Justin Hiltner

Located inside the historic Wang Theatre and founded by the Boch Center, the Folk Americana Roots Hall of Fame is Boston’s premier cultural and educational initiative dedicated to celebrating America’s rich musical heritage. Since its launch in 2019, FARHOF has honored the artists, songs, and movements that have shaped folk, Americana, and roots music while creating immersive exhibits, educational programming, and live experiences that connect audiences to the stories behind the sound. Guided by iconic artists and industry leaders, the Hall exists to honor the past, celebrate the present, and nurture the future of these genres.

On March 24, 2026, FARHOF will host its 2026 Induction Celebration at the Wang Theatre, an unforgettable evening recognizing the artists and industry leaders who helped build the foundation of folk, Americana, and roots music. This year’s honorees, whose collective achievements include 30 GRAMMY Awards and countless other accolades, represent the influence and ongoing evolution of the genres we preserve.

Our playlist theme, Roots That Built the Hall, celebrates the legacy and influence of this year’s inductees. Each song reflects the innovation and cultural impact of the artists who shaped Folk and Roots music, reminding us why this music endures and continues to inspire. – Denise Arellano, The Boch Center

“(I’m Your) Hoochie Coochie Man” – Muddy Waters

Muddy Waters electrified the Delta blues and carried it into the urban North, shaping the sound of modern roots music. This track demonstrates that blues roots continue to inspire folk and Americana, exemplifying the music and legacy the Folk Americana Roots Hall of Fame celebrates.

“Chain of Fools” – Aretha Franklin

Aretha’s voice bridges gospel, soul, and rhythm & blues, reminding us that roots music is inseparable from the Black musical traditions that shaped America. Her artistry embodies FARHOF’s mission to celebrate music as both cultural expression and social force.

“Suzanne” – Leonard Cohen

With poetic lyricism and folk instrumentation, Cohen represents the storytelling tradition central to folk music. His work highlights how intimate songwriting can shape national culture and influence generations to come.

“Make Me A Pallet On Your Floor” – Mississippi John Hurt

Hurt’s fingerpicking style and oral storytelling roots in this country blues standard echo the preserved histories and rare artifacts celebrated within FARHOF’s exhibits.

“My Journey To The Sky” – Sister Rosetta Tharpe

Blending gospel and the electric guitar, Sister Rosetta Tharpe helped lay the groundwork for rock ‘n’ roll. Her inclusion reflects FARHOF’s commitment to honoring artists whose innovations continue to ripple across genres.

“Running on Empty” – Jackson Browne

A pillar of folk and Americana, Browne captures the restless spirit of life on the road. His songs blend roots traditions with raw, lived experience, shaping the sound and soul of a generation.

“Both Sides Now” – Judy Collins

A defining voice of the 1960s folk revival, Collins helped bring reflective and socially aware songwriting to the mainstream. Her work showcases the genre’s power to spark dialogue and deepen cultural understanding.

“Harvest Moon” – Neil Young

Young’s blending of folk intimacy and country influence illustrates the fluid evolution of roots music. Songs like this show how tradition can feel timeless while still speaking to contemporary audiences.

“The Last Thing on My Mind” – Tom Paxton

Paxton’s songwriting embodies the heart of the folk process, simple melodies carrying profound emotional truth. His legacy reinforces FARHOF’s mission to preserve the craft of storytelling through song.

“Urge for Going” – Tom Rush

Rush played a pivotal role in championing emerging songwriters and expanding the Boston folk scene. His work connects directly to FARHOF’s educational spirit by nurturing future generations while honoring those who paved the way.

“Go Down Sunshine” – Odetta

Odetta’s commanding voice became a soundtrack to the Civil Rights Movement, proving music’s power to inspire social change. Her artistry ties directly to FARHOF’s belief that folk and roots music are not just entertainment, but vessels for justice, unity, and cultural preservation.

“All I Want” – Joni Mitchell

Joni Mitchell’s intricate songwriting and emotional clarity helped redefine the possibilities of folk music in the 1970s. “All I Want” is built upon the deeply personal storytelling that continues to influence generations of artists, embodying FARHOF’s commitment to honoring innovation within tradition.

“Tear the Fascists Down” – Woody Guthrie

Woody Guthrie stands as one of the foundational voices of American folk music, using song as a vehicle for social conscience and collective resilience. This track underscores how roots music has amplified the voices of working people and movements for justice, a legacy FARHOF preserves.

“Black Betty” – Lead Belly

Lead Belly’s recordings carried traditional work songs and prison chants into the American mainstream, ensuring these stories were not lost to time. “Black Betty” represents the oral traditions and lived histories that form the foundation of roots music and the cultural preservation FARHOF continues to strive for.

“It Ain’t Me Babe” – Joan Baez

Joan Baez helped bring folk music into the national spotlight during a pivotal era of cultural change. Her interpretation of this song reflects the genre’s spirit of independence and social awareness, qualities that continue to shape the folk and Americana traditions celebrated within the Hall.

Graphics courtesy of the Folk Americana Roots Hall of Fame.

The Foreign Landers Celebrate the Banjo in Ireland & Northern Ireland

Posted on by Justin Hiltner

The five-string banjo is often associated with Appalachian music, but its reach has always extended beyond one place. In Ireland, the banjo is traditionally heard as the four-string tenor banjo, a cornerstone of Irish folk music. This playlist celebrates the banjo in Ireland and Northern Ireland, but focuses instead on five-string banjo players, highlighting Irish and Northern Irish artists who are bringing bluegrass banjo into folk, Americana, and contemporary acoustic settings. The tracks here feature musicians working across traditions and genres, using the banjo as a bridge rather than a boundary.

For us, The Foreign Landers, this playlist is closely tied to our own story. Our songs, woven throughout the playlist, reflect life lived between Northern Ireland and the U.S., and the relationships, faith, and sense of distance that shape that experience. In a small way, that mirrors the five-string banjo’s own journey across time and place. Our new album, Made to Wonder, is our expression of these ideas; including our music alongside these other innovative artists helps frame our transatlantic sound within a much larger conversation.

Alongside our music, you’ll hear boundary-pushing banjo work from artists like Flook, JigJam, Damien O’Kane, Ron Block, I Draw Slow, Brian Finnegan, and NÁVA, each offering a different answer to the same question: What does bluegrass banjo become when it’s rooted in Irish soil?

The result is a playlist that honors tradition while continuing to move forward. We hope you enjoy. – The Foreign Landers

“Made to Wonder” – The Foreign Landers

The title track from our new album, this banjo-centric song is about stepping away from noise and busy-ness to find true rest and belonging in Christ, whose yoke is easy and burden light. Featuring Tristan Clarridge (Crooked Still) on cello, adding depth and resonance.

“Road to Errogie” – Flook

There’s something infectious about Flook’s craftsmanship and energy – especially when five-string banjo enters the mix, played by the incredible Leon Hunt of the UK. A major influence on our sound.

“Gold Mine” – I Draw Slow

Irish-based and deeply rooted in both Appalachian and Irish traditions, this clawhammer-driven track blends heritage with heart.

“Johnny’s Peacock / The Red-Tailed Hawk” – The Foreign Landers

Two original tunes deeply informed by Tabitha’s heritage, joined by John Doyle, Brian Finnegan, and Cathal Murphy, bringing Irish tradition and bluegrass energy together.

“John D. McGurk’s (The Heartbeat of St. Louis)” – JigJam

JigJam seamlessly bridge U.S. and Irish folk scenes. Irish banjoist Daithí Melia delivers powerful five-string work on this fun, high-energy track.

“Mario Kart Rides Again” – Ron Block & Damien O’Kane

Two banjos – five-string and four-string – done right. Ron Block of Alison Krauss & Union Station and Damien O’Kane of the Kate Rusby band make for an unxpected delightful pairing. Here is a playful, virtuosic track from their album Banjovial that’s near to Mario Kart-loving hearts.

“Pictures” – The Foreign Landers

Led vocally by David with Tabitha on banjo, this original song draws on our own experience of long-distance dating. “Pictures” captures the quiet weight of distance – and how old photographs can briefly collapse time and place. The unconventional role of banjo on this track is one of our favorite sounds on the new album.

“Marga’s” – Brian Finnegan

A must-include from the County Armagh master himself, featuring Crooked Still with Greg Lizst on five-string banjo. Both four-string and five-string banjo shine in this expansive, genre-blurring piece.

“The Thrifty Wife” – Ron Block & Damien O’Kane

Another Ron and Damien double-banjo banger. Their three collaboration albums are essential listening when talking about banjo in Irish music. Bonus mando moments from Sierra Hull seal the deal.

“Traveler”– The Foreign Landers

Narrated from the perspective of Tabitha’s parents back in Northern Ireland, “Traveler” reflects on growing older, separation, and the tenderness of loving someone from afar. Another unconventional banjo track that we loved making.

“Magic Box” – Nava

Irish Americana and folk meet Persian influences, led by Ireland’s Paddy Kiernan on five-string banjo. A rich example of cross-cultural musical exploration.

“Hope” – Cup O’Joe

Featuring Tabitha’s two brothers (alongside David and Tabitha), this title track from Why Live Without blends Northern Irish roots with progressive Americana.

Photo Credit: Nicole Davis, Storied Artisan Photography

Jason Sinay’s Peace & Love Playlist

Posted on by Justin Hiltner

It’s 2026 and the world remains deeply shaped by persistent conflicts and social divisions, making songs of peace and love an essential “universal language” for fostering unity. As global tensions in regions like Ukraine and the Middle East continue to create an us-versus-them mentality, music serves as a critical bridge that transcends cultural and linguistic barriers to remind us of our shared humanity.

These songs do more than provide comfort; they act as a tool for disarming hearts and promoting reconciliation in an increasingly polarized landscape. By lowering anxiety and increasing empathy – the emotional foundation for peaceful coexistence – music provides a rare space where diverse groups can connect without prejudice. Now more than ever, these songs are needed to shift the global narrative from division and “moral degradation” toward a future built on compassion, harmony, and collective resilience. The lyrics of these amazing songs epitomize “peace & love” and speak for themselves. – Jason Sinay

“Imagine” – John Lennon

This song still remains a timeless global anthem that serves as a “hymn for peace.” It transcends cultural and political boundaries by challenging listeners to envision a utopian reality free from the divisions of nationality, religion, and material possessions.

“Blowin’ in the Wind” – Bob Dylan

Dylan uses evocative symbols like the “white dove” to represent the enduring human quest for a world without conflict. Its series of rhetorical questions challenges listeners to confront social injustices and the “cannonballs” of war, suggesting that while the answers for global harmony are as ever-present as the wind, they require collective courage to grasp and implement.

“Get Up, Stand Up” – Bob Marley & the Wailers

Marley emphasizes that true harmony can only be achieved through justice and the active defense of human rights. The song challenges listeners to seek fulfillment and equity “on earth,” rather than waiting for divine intervention, serving as a global rallying cry for unity against all forms of oppression.

“Give Me Love (Give Me Peace On Earth)” – George Harrison

This amazing song’s lyrics act as a personal mantra for divine guidance, asking for the “light” and “life” necessary to heal a world filled with conflict and social burdens.

“Ripple” – Grateful Dead

“Ripple” promotes a sense of shared humanity by acknowledging that while every individual must walk their own path, we are all “in the same boat” and should reach out to help one another.

“Heart Of Gold” – Neil Young

Written while Neil was physically vulnerable and recovering from a back injury, he describes himself as a “miner” traveling across oceans and forests. The song emphasizes that the pursuit of a loving and compassionate soul is a lifelong, global journey that connects us all.

“She’s a Rainbow” – The Rolling Stones

This incredible tune captures the vibrant spirit of the Summer of Love through its whimsical, baroque-pop arrangement. It functions as a “pure love song,” departing from the Stones’ typically gritty style to offer a colorful, psychedelic tribute to femininity and universal beauty.

“Ophelia” – The Band

While this song is often interpreted as a lively, Dixieland-style track, it functions as a song of peace and love in exploring the deep emotional bonds and protective concerns shared between friends or lovers.

“Feels Like Home” – Randy Newman

This song truly captures the profound sense of safety and belonging found in a deep connection. The lyrics contrast a harsh external world with the sanctuary of a relationship.

“The Best Part of the Day” – Elton John & Leon Russell

This incredible tune celebrates the simple sanctuary of a deep, lifelong friendship. It portrays a serene “peace of mind” found in the presence of someone who has shared one’s “crazy ways” and provides comfort through life’s trials.

Photo courtesy of the artist.

Modern Old-Time Sounds From Canada

Posted on by Justin Hiltner

A few years back, we put out an album called Modern Old-Time Sounds for the Bluegrass and Folksong Jamboree. The title was a nod to that 1960s trend of naming records in a way that tried to cover every possible base. It was tongue-in-cheek, but it still sums up what we do – and what you’ll hear on our latest Lonesome Ace Stringband album, Big Wing. We don’t really play old-time music so much as make a modern old-time sound, and that’s exactly what this playlist is all about

Up here in Canada, we have a wealth of traditional music – distinct regional fiddle styles from coast to coast, songs and ballads that reflect the multicultural makeup of our country, and Indigenous music that predates all of it. Even with this abundance of homegrown music to draw from, many of us have found ourselves charmed by the traditional “old-time” sounds of the American South.

Being far away – geographically and culturally – from the source of the music you love presents some challenges, but it also affords a certain freedom. The first step is always to understand where the music comes from and its history; eventually, though, we all need to find our own voice within it. That’s sometimes easier to do when you’re removed from entrenched scenes and long-established communities.

One way I see this playing out in the old-time music coming from Canada is that writing original tunes and songs seems to come naturally and early in the journey. Whether it’s composing new tunes in the tradition or letting the sounds and themes of traditional music color our lyric writing, we’ve developed a wealth of modern old-time sounds up here – and I’m excited to share a few examples in this playlist. – Chris Coole, Lonesome Ace Stringband

“Maggie At The Door” – Arnie Naiman

Arnie Naiman has been playing old-time music longer than anyone else on this list. When I first met him in the early ’90s, he’d already been playing for around 20 years. Back then, he was mostly on fiddle, but sometimes he’d pull out the banjo at the end of the night and share some of the original tunes he always seemed to be writing. This led to us making a couple of albums together – and to me becoming a lifelong fan. “Maggie at the Door” is a great example of how he can write a banjo tune that also works on the fiddle – not as easy as it sounds. It was written for his dog and it’s probably the most badass-sounding tune ever written for a golden retriever.

“Lonesome Song” – Rube & Rake

Rube & Rake are Josh Sandu and Andrew Laite. Both live in St. John’s, Newfoundland, and are writing beautiful songs while touring hard. We ran into them in the UK last year and were instantly taken by their deft playing and the “low lonesome” sound of their harmony singing. “Lonesome Song” is a moody example of all that.

“Platform Four” – The Slocan Ramblers

The Slocan Ramblers are Canada’s bluegrass band – at least as far as I’m concerned. Although Frank Evans no longer plays full-time with the group, I chose this tune to remind everyone that while he’s mostly known for his three-finger bluegrass playing these days, he’s also on another level as a clawhammer player. There are a few licks on “Platform Four” that he’ll probably take to the grave.

“Narrow Line” – Mama’s Broke

Mama’s Broke are another duo from Eastern Canada (Nova Scotia). We crossed paths with Lisa Maria and Amy Lou Keeler at the Baltimore Old-Time Gathering a few years ago. They put on a riveting show and blew us away with their singing and playing. The arrangements on their records are so imaginative – they capture the spaciousness of their live sound while layering on subtle textures. “Narrow Line” is an excellent example of this and one hell of a song.

“White Horse Plains” – The Red River Ramblers

The Red River Ramblers feature the music of Douglas Richard Sinclair, a Red River Métis musician whose last album, Reverie, showcased original tunes inspired by the Métis fiddle tradition. “White Horse Plains” highlights Douglas’ tuneful guitar playing and answers the question: What would Norman Blake have sounded like if he’d been Métis?

“Saint Elizabeth” – Kaia Kater

Kaia Kater’s 2016 album Nine Pin made a lot of folks take notice of this exceptionally talented songwriter. Kaia is a perfect example of someone who’s really tried to get to the roots of the music; she studied Appalachian traditions at Davis & Elkins College in West Virginia. She’s taken what she learned there and carried it to a creative place that defies genre or categorization. “Saint Elizabeth” is a perfect example.

“New Caledonia” – Pharis & Jason Romero

Pharis & Jason Romero probably need no introduction to anyone here. They’re old friends of ours and we’re big fans of their music. It almost seems remiss to share a song that doesn’t feature their beautiful singing and lyrics, but we’re always enchanted by Jason’s tune writing, backed by Pharis’ always-right-on-the-money guitar playing. “New Caledonia” is one of those tunes that instantly takes you somewhere. It manages to say a lot without a single word.

“The Wheels Won’t Go” – Hannah Shira Naiman

Hannah Shira Naiman comes to the music honestly. She grew up learning fiddle and banjo from her dad, Arnie Naiman, while listening to her mom, Kathy Reid-Naiman, sing the songs of Jean Ritchie, the Georgia Sea Island Singers, and the Delmore Brothers. Hannah has taken it all in and made something uniquely her own. “The Wheels Won’t Go” is the title track of her 2022 album.

“Wellington” – Allison de Groot & Tatiana Hargreaves

Allison de Groot is one of our most treasured banjo exports – clean, hard-driving, and full of tone. Best known these days for her work with Tatiana Hargreaves, she’s also a fine composer. “Wellington” is one of her own tunes, a reminder that she’s as creative as she is technical.

“Mama’s Boy” – Lotus Wight

Lotus Wight (AKA Sam Allison) is best known for his work with Sheesham and Lotus & Son. He’s a beautiful banjo player, a lovely jaw-harpist, a rock-solid bassist, and even plays the contrabass harmoniphoneum. I didn’t know until his last album that he’s also a moving songwriter, somewhere between John Hartford and Leon Redbone. “Mama’s Boy” tells the story of the three men who were fathers to Sam over the course of his life. I can’t remember the last time I heard such an honest and tender song.

“From Silence” – Daniel Koulack

Daniel Koulack hails from Winnipeg, Manitoba, where he’s been making music and teaching banjo for many years. (Allison de Groot is one of his students.) Daniel has always been game to take the clawhammer banjo to new and unexpected places – which might explain “From Silence,” possibly the only clawhammer banjo and saxophone duet in the known universe.

“At the Airport” – Old Man Luedecke

Old Man Luedecke is one of the crown jewels of Canadian singer-songwriters and he also happens to be one hell of a clawhammer banjo player. He’s written most of his songs on the banjo (at least the early ones), which gives them those unmistakable twists and turns – in both phrase and melody. And he has that rare gift for putting a bit of hope into everything he writes, whether the song is sad, funny, or introspective. “At the Airport” is a perfect example.

“May Day” – The Andrew Collins Trio with The Lonesome Ace Stringband

The Andrew Collins Trio (Andrew Collins, James McEleney, Adam Shire) collaborated with us on “May Day,” a tune Andrew and I wrote together many years ago. These three are next-level players who are always pushing the boundaries of what’s possible on their instruments. Known for mixing new acoustic bluegrass with classical and jazz influences, we had fun diving into some weird old-time with them on this track from our new album.

Photo Credit: Jen Squires

BGS 5+5: Lauren Lovelle

Posted on by Justin Hiltner

Artist: Lauren Lovelle
Hometown: Newton, Kansas
Latest Album: My EP, Other Dreams, released September 9!
Personal Nicknames (or rejected band names): Lolo or Lo. I really liked the band name “Lauren Lovelle and the Matter Babies,” too.

Which artist has influenced you the most – and how?

I’ve always been mesmerized by Linda Ronstadt’s voice, and the passion she channels when singing. She pours her entire heart out. Every song she ever sang felt like it was completely her own.

What’s your favorite memory from being on stage?

My favorite memories onstage are with my dad’s band as a child. There is something supernaturally special about making music with kin. I started playing with him when I was four. The memories of my father and grandpa teaching me to play and perform pass through my mind to the soundtrack of that ABBA song, “Thank You For the Music.”

“Thank you for the music, the songs I’m singing/ Thanks for all the joy they’re bringing… Thank you for the music, for giving it to me.”

What other art forms – literature, film, dance, painting, etc. – inform your music?

I absolutely love to dance. It’s so necessary and healing. Just like my therapist would tell me to do with emotions, I like to identify where exactly I feel the song in my body. It can be powerful to share the emotional embodiments of the songs with the band to help us communicate and feel it as a unit. Sometimes, I write something that I feel in my legs and feet and it makes me want to stomp and strut around the stage. Sometimes I write something in my shoulders and chest and it makes me feel like I’m floating. Sometimes the song springs from my gut or hips where it feels more natural to dig my feet in, staying planted and upright.

If you didn’t work in music, what would you do instead?

I’m a nursing school dropout. I was a CNA for awhile, so I could’ve likely continued down that path. I always told my mom I’d be a truck driver so I could listen to music and sing in the car as loud as I want all day. But when I was old enough to find out they can’t smoke weed, I decided that was no longer in the cards for me.

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

It’s simple, but listening to Hank Williams and eating beans or chili and cornbread feels right. I have done it before on purpose and by accident. Real cowboy meal. Makes me feel close to my grandpas.

Photo Credit: Deanie Chen