Tag: spotify

One to Watch: AJ Lee & Blue Summit

Posted on by Justin Hiltner

With citrusy melodies full of zest and spark, AJ Lee & Blue Summit demonstrate that California bluegrass is alive and well. Based in the Bay Area, they first took to the stage in 2015. Though the group has morphed in shape and size over time, they have delivered musical excellence for nearly a decade.

Currently, the band is composed of four tremendous musicians – AJ Lee (vocals and mandolin), Scott Gates (guitar and vocals), Sullivan Tuttle (guitar and vocals), and Jan Purat (fiddle) with a couple of rotating bassists. AJ’s velvety vocals blend seamlessly atop the many textures and tones this uncommon instrumental lineup can accomplish.

With their third studio album set to be released sometime this year, AJ Lee & Blue Summit set sail for their tour across North America earlier this month. Their emotive, erudite songwriting is brought to life by the band’s natural compatibility.

What is the nature of your musical chemistry? How would you describe it?

Scott Gates: Well, we all grew up going to California bluegrass festivals, and that gives us kind of a through-line. We all grew up with similar mentors and similar principles, so we all have similar ideas of what bluegrass is and what it isn’t, and how to bend those boundaries.

What do you think makes the bluegrass scene in the Bay Area distinct from other bluegrass scenes?

SG: Yeah, I think that there’s more homogeneity in a lot of other bluegrass associations across the country. You know, Tennessee is known for its singers. North Carolina is known for its banjo players, and they turn out some serious musicians. But something I’ve noticed with a lot of Tennessee singers is that many of them sound the same. And it allows for incredible blend and unity in sound, but California tends to reward individual individuality. When somebody has a really unique voice, they’re exalted.

Jan Purat: In the Bay Area scene, there’s a surprisingly large interest in bluegrass that dates back a long time. There’s this really thriving jam scene with lots going on. People in California as a whole tend to really nerd out on bluegrass from from the mid ’40s to the ’60s, that era of the Stanley Brothers, Bill Monroe, Flatt & Scruggs, and such. A lot of reverence for traditional sound and energy, I think, is a big part of why people really gravitate towards it. And in California, trying to channel that kind of fiery energy that you find in the more traditional stuff is definitely part of the sound, as opposed to more of the second gen and third gen newgrass circuit.

A pretty cool aspect of the California scene has been discovering that amazing lexicon of music, especially as the one band member that got into bluegrass a little bit later. I came into it during my college years, but the rest of these guys all grew up together. I met Scott busking when he was like 19, and I met AJ and Sully shortly after I first started going up to Grass Valley, around when I was 22. I started out with second-generation exposure to bluegrass, like John Hartford and similar acts, but going to the festivals and getting turned onto all this amazing music from earlier definitely feels like a big part of why I fell in love with the California bluegrass scene.

So you all share similar roots – on the flip side, what would you say the biggest difference in your respective musicianship is?

AJ Lee: Well, we all like to listen to different things, even though we’re in the same band and we unify on bluegrass. I listen to a lot of indie punk on Spotify, and I know Sully listens to some dark metal. Jan is a little bit more cultured, and Scott likes hip hop. So, there are a lot of bases covered, but we also can all appreciate what the others listen to, which is also unifying in a way.

JP: Yeah, although we love bluegrass, after a certain point we play it so much, but we don’t always listen to it that much.

AJ: I don’t think I’ve actually had a listening session of bluegrass for maybe five years.

Fair enough! What is your collaboration process like with songwriting and figuring out arrangements?

AJ: Since the early days, I’ve been the primary songwriter. I do a lot of my own original material, but since Scott’s joined, he’s brought a lot of his original material to the table as well. And I think nowadays, the songwriting process is more like a collective band arrangement. I’ll bring an unfinished song to the band and someone will say something like, “There’s a part here that I’m not really too sure about. I think it needs this,” and then together we’ll come up with something. Unlike before, when we would mostly just play all of my finished songs, now it’s more of a collective Blue Summit songwriting style.

SG: And we’ve got to give credit to the original guitar player, Jesse Fichman, who definitely helped arrange and put together some serious parts for AJ’s earlier originals.

AJ: Yeah, for a while Jesse was really the only one that I would ever write with. So he had a lot of hand in the first album.

So the first two albums are pretty different in style and tone. Can you talk about what we should expect for your third?

Sullivan Tuttle: Well, the first one had a lot of electric and a lot of drums, basically on half of the songs. And then the second one was all acoustic, all the way through. This one’s maybe somewhere in between. It’s mostly acoustic, but with a little pinch of other things.

JP: Yeah, Lech Wierzynski from the California Honeydrops produced it, so there’s definitely some of his influence. He brought in a cover for AJ to sing and it ended up being really successful and a really good choice. It’s a bluegrass instrumentation take on an old school soul song – some new territory that I haven’t really heard too many bands do. So it’s pretty exciting. And it’s just super nice working with a producer for the first time. He’s also an amazing hang, and one of the funniest people and a great buddy. It was awesome to work with him.

SG: I would say that variety is the main name of the game. When we craft a set list for a show, our goal is to bring as much to the table as possible, so that we don’t have songs that sound similar or the same over and over and we’re not fighting ear fatigue at all times. So we try to bring as many different sounds and approaches and genres together as possible. And I think this album reflects that, more so than any of the others.

Okay, here’s a silly question for you. If we were in an alternate universe, and you guys were all still a group of some sort, but it wasn’t a musical group – you’re connected by some other thing, premise interest, etc. – what would it be?

ST: Could see like a Scooby-Doo type of scenario where we all investigate things together. [AJ, Jan, and Scott emphatically agree.]

JT: We’ve got our next Halloween costume now! I know I have to be Shaggy, it’s fine.

[Laughs] I can definitely see it. I’ve heard that you have famously had to navigate some tricky traveling situations. What’s your favorite one to tell people about?

JT: Rockygrass is a good one to talk about, because it was the second time that we had to do an all-night drive from somewhere like New York City or Boston to an entirely different city like six hours away. Our Boston flight kept getting delayed, so we drove all the way to Philly overnight and got the last flight out. It was brutal. We did not sleep a wink and barely got to Rockygrass in time to play our set on the main stage. And it was our first time playing the main stage there. We were just so haggard, but apparently it was good! I had no perspective because I was so sleepy, but people liked it!

ST: I think that was my favorite, because we actually made it. Other ones didn’t have a happy ending.

Wow. You all must be really great traveling companions.

AJ: Well, we have the perfect travel attire that a lot of people tend to notice.

What is it??

AJ: I think Scott is gonna take the lead on this one. [Scott dons an incomprehensibly fashionable and utilitarian navy blue robe.]

SG: It’s a towel. It’s a blanket. It’s a robe. It’s a pillow. It’s everything that you might possibly need on the road. It keeps you warm. It keeps you dry. You can sleep at noon facing the sun.

AJ: We all have one. And everyone is always asking, hey did you guys come from a pajama party?

Okay, I feel like the Scooby-Doo thing is making more and more sense. You’re coordinating and you’re tackling obstacles!

So the two guitars situation – how did that come to be? And how do you go about arranging with two guitars?

ST: We just formed the band with two guitars – me and Jesse Fichman. When we started, I was already used to playing with two guitars because I played in the family band with my sister, [Molly Tuttle], and we usually had two guitars for that, other than when she played banjo. So it felt pretty natural, to me at least. And then when Jesse left, Scott joined, and we already had all the parts arranged for two guitars. We wanted to keep him on guitar even though he also plays mandolin. When one guitar solos you still have the rhythm guitar behind it. And as long as we’re not both just slamming away on rhythm the whole time, it works out.

It does! No complaints here. So do you guys hate banjos?

AJ: No, we actually really like banjo! Just not in our band.

SG: It’s kind of nice having it this way, because it means that when we’re at a festival, and we have a buddy that plays banjo, then we can just invite them up to play with us. There’s definitely a banjo slot for certain songs, and we can interchange that whenever we want.

AJ: I would also say that when seeing other bluegrass bands without banjo, it feels kind of refreshing to not have that sonic space filled. It gives the music opportunities to go other directions if you wanted to. And the banjo can scratch an itch, for sure, but you can’t scratch for too long or it’s going to make a rash!

So you’re our One to Watch, but who are you watching? Are there any artists, creatives, musicians, etc. that you’re appreciating especially right now?

AJ: Crying Uncle!

SG: Yeah, best band at IBMA. Hands down!

AJ: Yes, definitely the best thing I saw at IBMA. Also, another young band that’s great is Broken Compass Bluegrass. They’re up and coming as well.

JT: I like Viv & Riley – really great music. And their old time band, The Onlies, is great as well. I hope that project continues.

Photo Credit: Natia Cinco

MIXTAPE: Daniel Donato’s Cosmic Country

Posted on by Justin Hiltner

It is a tale as old as time itself. As above so below. Yin and Yang. The explored and the unexplored. The hero’s journey, any and all of them, are exposed to the eternally enduring dance of chaos and order. We must leave the garden, enter into the forest to find the gold, kill the dragon, and return back to where we began, returning back more harmonized, realized, and higher frequency than we began.

Musically, Cosmic Country takes this pattern and uses it as its sole fuel for the soul and all of its musical fruits. Cosmic Country is an approach that uses simplicity, complexity, and truth to tell stories of life that bring beauty and goodness into reality. This 9-track mixtape I have assembled for your enjoyment and exploration today covers some ground of the far-flung lands of music that is Cosmic Country, where the high frequencies fall like rain and blossom like lilies in the fields that never end nor never began. Let’s get Cosmic. – Daniel Donato

“Honky Tonk Night Time Man” – Merle Haggard

This is a country song. But just like any country, there is more nuance to be discovered and brought to light than meets the eye. This is an archetypal honky-tonk song. A few of these will be on here. Honky-tonk songs cover truthful states of life that apply to all of our brothers and sisters sojourning in space and time together down on this chaotic planet. This song talks about relief from the grind and finally getting around to what is right for the soul when quittin’ time comes around.

“Doggone Cowboy” – Marty Robbins

This is also a country song, but it is also more nuanced than that. This is a cowboy song. The cowboy is one of the great American archetypes. The cowboy embraces a life of service, hard work, endurance, adventure, and most enduringly, faith. It takes faith to stay patient and persistent in pursuing your work through realms of chaos that you must travel through and come out on the other side stronger than you did prior. Marty had a way of personifying sorrow, acceptance, reflection, and hope in his delivery of these transcendant, simple lyrics.

“Mystery Train” – Jerry Reed

It can’t be fully Cosmic Country unless it moves you. Internally, songs move us, but sometimes the pocket and groove move us externally, which is a brilliant expression of personality. What I love about this song is that Jerry Reed always had a vision in his mind that could create a groove for people to dance to and for players to have fun-expression in. Everyone knows “Mystery Train,” but this version can make any club, honky tonk, theatre, or arena dance and move all together. Bonus points for a train song. Everyone loves a train song.

“Everybody’s Talkin’” – Harry Nilsson

The bottomline is that we are on our own trip. It is an individual experience of life, personality, and dynamics that only you experience. No one will ever live your life for you or as you. Songs that find promise and truthful reflection on the truly individualized nature of existence are my favorite. The movie Midnight Cowboy turned me onto this song when I was 16. I’ve never wished I had written another song as much as this American classic.

“I Can’t Help It (If I’m Still In Love With You)” – Hank Williams

The Shakespeare of country music. The man who was able to take the power of the word – through a Western lens of faith, hardship, and hard living – and deliver to us some of the most truthful and beautiful songs composed of themes ranging from love, loss, religious experience, jail time, honky tonkin’, and the universe. This song specifically has a brilliant form to it, just one verse and two B sections, coupled with that classic lap steel signature sound from Don Helms.

“Waiting for a Train” – Jimmie Rodgers

Any storyteller of American songs, country songs, any songs based in truth and experience, must tip their “Slouch Hat” to Jimmie Rodgers in one way or another. A lot of everything country begins with the songbook of Jimmie Rodgers. This song is just a fantastic story through and through. The lyrical furniture, the sophisticated use of actual terms of water tanks, brakemen, boxcar doors, all bring the listener into the simulated reality that this song conjures.

“Long Black Veil” – Lefty Frizzell

Murder songs are a necessity. The reaper takes his toll, and with that, law and order speak their truth. One of the brilliant elements of this song is that the perspective is from the deceased character. That is innately Cosmic, especially given the window of time this song was released. Lefty was one of Merle’s favorite vocalists, and was the band leader with which Roy Nichols and Merle Haggard first played together when Merle was 16.

“You Ain’t Goin’ Nowhere” – The Byrds

Even though Bob Dylan penned this one on the side of the road, in the rain, waiting for a motorcycle fix, The Byrds – with Gram Parsons and Clarence White – deliver to us one of the most archetypal Cosmic Country recordings there will ever be. The instrumentation, the vocal melody, and harmonies on this song alone explain this sentiment, but the lyrical detail is another universe worth noting with great reverence. The olden language of the great folk songs of America inform the meter and colloquialisms in this song, giving it an ability to exist in the past through its roots, the present through its great orchestration and arrangement, and the future through its seeds of truth, beauty, and goodness – the only values in any creation that endow it to persist through the fleeting episodes of space and time.

“Truck Drivin’ Man” – Buck Owens

If I left out truck driving songs, then everybody from my time at Robert’s Western World would be ashamed of me. The truck driver is a minister of the highways, the great vehicle of true exploration and discovery. The eternal, long white line drags on and on, and the road songs of her fruits just keep coming, but some of the great ones came from Capitol Records in L.A. in the early ’60s.

An element of Cosmic Country that this song relates to is the overall “sound.” What is “the sound?” It is ultimately unqualifiable – it cannot be fully explained or qualified by words – especially when The Sound is doing what it can be doing in potential, which is rendering feelings that hit deeper than words can describe. With the Transcendant Twang of Don Rich’s Telecaster, the immensely clean and powerfully compressed sound of Mickey Cantu’s snare drum, along with that Tic-Tac Fender Bass playing, Buck Owen’s vocal and story rests upon a divinely simple and reverberated landscape of country gold. If there ever was a record that “sounds” like a country song, this one certainly qualifies.

Photo Credit: Jason Stoltzfus

BGS 5+5: Jason Hawk Harris

Posted on by Justin Hiltner

Artist: Jason Hawk Harris
Hometown: Houston, Texas
Latest Album: Thin Places
Personal Nicknames (or rejected band names): “J,” “Jase”

What’s your favorite memory from being on stage?

I was playing at the Milk Bar in San Francisco with the Show Ponies once. The crowd was responsive to what we were playing in a way that I’ve never experienced before or since. We would get louder, and they would move like a wave of silk. We’d get quieter and they would be still as candles. It was a really wild moment that I’ll never forget. It’s a small, divey place, but even still, it’s like walking into a church for me these days, because I always remember that show.

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

Lyrically, literature is a big influence on me. My favorite authors are those who write in the magic realism vein. Salman Rushdie, Gabriel García Márquez, Carmen Maria Machado, Haruki Murakami, and Charles Williams are some of my favorites. I like the genre (magic realism) because it seems to view the physical and spiritual plane of existence as one in the same. The world has always made more sense to me when I think of it in those terms. Empiricism holds no interest for me, personally. The nature of existence has always seemed bigger to me than what I can touch, taste, smell, hear, or see.

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

I wish I had a more hip answer to this, but I don’t. When I heard Simba sing the song “I Just Can’t Wait to Be King” in the Lion King, I knew I wanted to sing in front of people for the rest of my life. I was 6 when I first saw it and that song absolutely enthralled me. I think there were earlier moments than that while watching my parents sing in church, but that song was a very formative moment for me. I remember my parents having to ask me to sing something besides the one song from Lion King.

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

“Jordan and the Nile” legitimately took me five years, from first spark to final mix. The refrain came to me in about 10 seconds, but everything else came at a crawl. I wrote around 40 verses and they all seemed wrong in one way or another. Then, when I’d finally finished the verses and felt good about them, I started arranging. It’s usually the lyrics that take me a while. The music almost always comes easy. Not the case with “Jordan.” I must’ve trashed everything and started over on this song at least five times. It was labor, but I’ve never been happier with a final product than I am with that song.

If you had to write a mission statement for your career, what would it be?

Don’t let the cynicism of the streaming age inform the music you write. This is, and has been, my mantra for a while now. I think in this day and age, musicians are under constant pressure to write music that people “like” instead of writing something that we think is good. The temptation is stronger than ever. Being placed on a Spotify sponsored playlist can make you thousands of dollars in a way that other avenues of income won’t. I have personal experience with this. The Show Ponies, the band I was a part of for seven years, were placed on a playlist back in 2013. We still receive monthly checks and we haven’t played a show in over four years. It’s powerful, but I don’t want a tech company deciding what music I make is or isn’t worthwhile.

Photo Credit: Daley Hake

WATCH: Golden Shoals, “Bitter”

Posted on by Justin Hiltner

Artist: Golden Shoals
Hometown: Nashville, Tennessee / Vancouver, B.C.
Song: “Bitter”
Release Date: September 13, 2023

In Their Words: “This song, co-written by myself and Rachel Baiman, is a culmination of the frustrations I felt being a musician during the pandemic. Our jobs were the first to go and the clunkiest to return to full capacity. Performance opportunities are back, but the struggle of sustaining a career continues to weigh heavy on all artists alike. Obviously Spotify is mentioned in this song, and I even call out the media machine and the ‘pay to play’ nature of PR campaigns. We both connected to this song so much that Rachel even recorded a brooding version on her newest album, Common Nation of Sorrow. Our livelier version features banjo, baritone guitar and pedal steel.” – Amy Alvey

Track Credits: Produced by Thomas Bryan Eaton and Golden Shoals

Amy Alvey – acoustic guitar, vocals, harmonies
Mark Kilianski – banjo, harmony vocals
Thomas Bryan Eaton – piano, pedal steel, baritone guitar
Jamie Dick – drums
Miss Tess – bass

Photo Credit: Kaitlyn Raitz
Video Credit: Trent Freeman

MIXTAPE: Chris Pierce on the Healing Powers of Music

Posted on by Justin Hiltner

Hello Folks! My name is Chris Pierce. I’m a musician, songwriter and storyteller. My new album, Let All Who Will, was created to offer a message of resilience and empowerment – and to remind those who have been pressed to never give up the good fight for justice and equality. The songs are there for folks to hear, dissect and discuss. They also offer suggestions of ways to speak up and move together from a place of common ground. I believe that compassion is the only way forward. I fight with compassion. I sing with compassion. For this Mixtape, let’s explore a theme of the healing powers of music. Songs of liberation, pain, encouragement, empowerment and togetherness. – Chris Pierce

Reverend Gary Davis – “Let Us Get Together Right Down Here”

Starting with a song from Rev. Gary Davis – also known as Blind Gary Davis (born on April 30, 1896) – a blues and gospel singer who was also proficient on the banjo, guitar, and harmonica. Born in Laurens, South Carolina, and blind since infancy, Davis first performed professionally in the Piedmont blues scene of Durham, North Carolina, in the 1930s. After relocating to New York in the 1940s, Davis experienced a career rebirth as part of the American folk music revival that peaked through the 1960s. I’ve always been particularly moved by this song by Rev. Davis as it draws the listener in right away and encourages us all to “get together” as part of the great congregation of humanity.

Nina Simone – “Backlash Blues”

Growing up, my mother was an English teacher and I was fortunate enough to have access to books by some of the greatest writers of our time. I gravitated towards studying Langston Hughes from the time I was around 10 years old and the inspiration from reading his profound works is one of the reasons that I became a songwriter. “Backlash Blues” is one of his poems that was given a melody and was sung by the high priestess of soul, Nina Simone. It was written as a sign of hope for Black people during times of segregation.

Chris Pierce – “It’s Been Burning for a While”

This song is a response to the furor surrounding the tragic death of George Floyd in 2020. It was beyond puzzling to see how surprised many voices were, in the media and beyond, at the anger people felt. My co-writer and I collaborated on this song in an effort to point out that while all these stories have been making the headlines a lot recently, repression of the marginalized is nothing new.

Richie Havens – “Handsome Johnny”

Richie Havens’ music has elements of folk, soul and rhythm and blues. He had an intense and rhythmic guitar style and often played in open tunings. A lot of folks know him from Woodstock, but he continued on playing concerts right up until his passing in 2013.

I’ve been deeply inspired by Richie Havens in my own songwriting and growing up hearing songs like “Handsome Johnny” inspired me to expand my writing. To me, “Handsome Johnny” testifies about the sacrifices and inner struggles of the soldier and describes soldiers of all kinds going off to fight for what they believe in.

Lead Belly – “In the Pines” / “Black Girl” / “Where Did You Sleep Last Night?”

I’ve studied Lead Belly’s songs throughout my journey as a songwriter. His songs covered a wide range of genres and topics including gospel music; love, loss, liquor, prison life and racism; and folk songs about cowboys, prison, work, sailors, cattle herding and dancing. His version of “In The Pines” is one of the most widely known.

“In the Pines” is an American folk song originating from two songs, “In the Pines” and “The Longest Train,” both of whose authorship is unknown and date back to at least the 1870s. The songs originated in the Southern Appalachian area of the United States. Historians have said this song was probably born from African Americans living along or east of the Appalachian Mountains around the turn of the 20th century. Huddie Ledbetter, better known as Lead Belly, recorded over half-a-dozen versions between 1944 and 1948, most often under the title “Black Girl” or “Black Gal.” His first rendition, recorded for Musicraft Records in New York City in February 1944, is arguably his most familiar.

Odetta – “Got My Mind on Freedom”

Odetta Holmes, known as Odetta, is an inspiration to all. Born in Birmingham, Alabama on December 31, 1930, her voice has inspired hearts all over the world and she is often referred to as “The Voice of the Civil Rights Movement.” Odetta truly embodied a voice that inspired change. Martin Luther King Jr. called her the queen of American folk music. 

Terry Callier – “Spin, Spin, Spin”

Terry Callier was born in the North Side of Chicago. He was a childhood friend of Curtis Mayfield, Major Lance and Jerry Butler and he sang in doo-wop groups in his teens. In 1964 he recorded his debut album on Prestige Records. The album wasn’t released until 1968 as The New Folk Sound of Terry Callier. A dear musician friend of mine gifted me a copy of the album around 20 years ago and it’s been in steady rotation in my house ever since. My opinion, widely shared, is that Terry Callier didn’t get the popular recognition his varied talents deserved. Nonetheless, he released a string of enduring and influential albums.

Josh White – “Southern Exposure”

When I was in the 6th grade, I wrote a book report on the music of Josh White. I remember heading to the library in Claremont, California, and finding a treasure chest of literature and recordings by White. I dove in and was deeply inspired by the man, the songwriter, guitarist and civil rights activist that he was. White grew up in the South during the 1920s and 1930s. He released a prolific output of recordings in genres including Piedmont blues, country blues, gospel music and social protest songs. His music went on to influence several generations of artists, including yours truly. White’s album, Southern Exposure, is known as a political blues album and dealt with issues of Jim Crow. The album as a whole, to me, is a protest album of protest albums.    

Bob Dylan – “Only a Pawn in Their Game”

Bob Dylan sang a stirring solo performance of “Only a Pawn In Their Game,” at The March on Washington, a retelling of the murder of civil rights activist Medgar Evers. The lyrics attribute blame for the killing and other racial violence to the rich white politicians and authorities who manipulated poor whites into directing their anger and hatred at Black people. The song suggests that Evers’ killer does not deserve to be remembered by name, unlike the man he murdered (“They lowered him down as a king”), because he was “only a pawn in their game.”

Chris Pierce – “Mr. McMartin”

My song, “Mr. McMartin” from my new album, Let All Who Will, is about a street sweeper who has seen a lot of what human beings are capable of in the past 40 years on the job. He sweeps after celebrations, uprisings, political rallies, parades, holidays and catastrophes. As he sweeps on through the years, he wonders if we are capable of real change or just broken promises and broken prayer.

Photo Credit: Mathieu Bitton

MIXTAPE: A Little Bit Gospel, A Little Bit Bluegrass, and Everything in Between

Posted on by Justin Hiltner

My sophomore album, A Cowgirl Rides On, set to be released October 20, 2023, is a true reflection of my heart and what keeps me going – bluegrass, gospel, western, Jesus, horses, love, and even a little bit of heartache. The songs written for the record were hugely inspired by the songs I included on this playlist. All of these artists and songs are ones I hold near and dear and have moved me in some big way.

I became strong in my faith as a Christian in my early 20s, which is around the same time I began performing and writing a ton. Being introduced to gospel and bluegrass had a big impact on me, and it continues to deeply connect me to my faith.

It’s been a long–time dream to release a record that feels a little bit bluegrass, a little bit gospel, and everything in between. Here are the songs that guided me there. I hope you find so much joy in them and that they become the soundtrack to your long drives, or to enjoy over your Sunday pancakes, or during the times you just need a little light. – Victoria Bailey

 “Waiting At the Gate” – Ricky Skaggs & Kentucky Thunder

This song is one of my all–time favorites. This whole album, Soldier of the Cross, is pure gospel gold. I actually cover this song on my upcoming record, and it was one of the most fun songs for us to record in the studio. Ricky Skaggs is just simply the best.

“Wayfaring Stranger” – Emmylou Harris

This Emmylou Harris album is really the pinpoint of when I fell in love with country music. Many have covered this classic song, but Emmylou’s version of “Wayfaring Stranger“ is my favorite by far. Her voice and the tone of this song are so haunting and beautiful… nothing compares. 

“The Seeker”– Dolly Parton

Oh, Dolly… what would a playlist be without her? Dolly is undeniably the best and has inspired me in so many ways, but especially her love for Jesus and how she ties in a little bit of the gospel to most of her records. This song really gets me moving and grooving around my house. 

“I Just Want to Thank You Lord” – Marshall Family

These harmonies are so good, and they really inspired how I wanted the harmonies to sound on my own record. I also wanted it to feel just as timeless and simple as this song by the Marshall Family. This song ends up being on most of my roadtrip playlists. 

“The Fields Have Turned Brown” – Ralph Stanley

Ralph Stanley is a huge inspiration to me and such an important figure in bluegrass music and in the banjo world. The banjo is one of my all–time favorite sounds, and I included a lot of it on my new record. It just takes you to a good place. 

“Wild and Blue” – Alan Jackson

I turn to this album quite often. What a combo! Alan Jackson and bluegrass/gospel. It’s just so good. 

“Snake Trails” – Victoria Bailey

This is by far my favorite song on the record. It is a gospel song I wrote while riding my horse, Weasley, through the canyon one day. It brings me back to that place every time I sing it. It was one of the first written for the project and really sets a tone for the rest of the record. It was inspired by my horse and finding peace and connection to my faith being out on the trails. 

“I Must See Jesus” – Snooks Eaglin

This song always gives me the same feeling as when you just finished a really good movie. My whole heart swells, and it brings me to a really special, peaceful place. His voice is incredible, and you can hear all the passion and honesty and faith in his delivery. 

“End of the Line” – Moonsville Collective

These guys are like family to me and have inspired me endlessly over the years, watching them play and the way they are beautifully representing bluegrass/Americana music. This song, written by Corey Adams, is one that has always hit home hard for me at many times in my life. It is truly one of my favorite songs ever written, and it was an honor that I actually got to cover this song on my upcoming record. 

“I’ll Fly Away” – Gillian Welch, Allison Krauss

When my producer, Brian Whelan, and I sat down to talk about making this record, we referenced the O Brother, Where Art Thou? soundtrack often. Not only is this movie legendary, so are all of the musical performers on the soundtrack. We loved the style of the recordings. Live, all in one room together, where you can hear all the cracks and the love, and it‘s exactly what we tried to emulate for my own record. Recording live was such a special part of making A Cowgirl Rides On.

“Where the Soul of Man Never Dies” – Ricky Skaggs & Tony Rice

Doesn’t get much better than this duet. This is often a Sunday soundtrack for me. 

“Long Journey Home” – Billy Strings & Terry Barber

Billy Strings is such an amazing representation of modern bluegrass. His sound is timeless, and his guitar playing and songwriting match up to some of my bluegrass heroes. I’ve always loved this song, and he covers it so well. 

“Angel Band” – The Stanley Brothers

This song just always pops in my head any time I hear the word bluegrass. It is so classic and pure, and the harmonies pull on all the heartstrings. 

“Just Like Leaving” – Bella White

I have been a longtime Bella White fan, and she is such an important female artist in keeping the bluegrass sound alive. The rest of the record is incredible as well. 

“Green Green Grass of Home” – Merle Haggard

You can’t have a playlist without Merle. This song always brings me to tears and really is a beautiful representation of Merle’s songwriting and voice. 

Photo Credit: Stefanie Lee Johnson

The BGS Radio Hour – Episode 220

Posted on by Shelby Williamson

Welcome to the BGS Radio Hour! Since 2017, this weekly radio show and podcast has been a recap of all the great music, new and old, featured on the digital pages of BGS. This week we have John Prine’s final recording, a BGS exclusive performance from Americana duo Jackson+Sellers, a playlist in 3/4 time, personally curated by Dori Freeman, and much more.

APPLE PODCASTS, SPOTIFY

John Prine – “I Remember Everything”

The Americana Music Association was able to celebrate the works of its community in-person last week, for the first time since the beginning of the pandemic, with the 20th Annual Americana Honors & Awards held at the historic Ryman Auditorium. And one of the night’s biggest awards, Song of the Year, was given posthumously to none other than John Prine for his final recording, “I Remember Everything.” Watch below to see John perform the song himself, followed by a tribute from Brandi Carlile, Margo Price, and Amanda Shires at last week’s awards ceremony.

Martin Sexton – “Riding Through the Rain”

New York’s Martin Sexton spoke on performing at Madison Square Garden, his pre-show and pre-studio rituals, the influence of artists and performers from Black Sabbath to Looney Tunes, and more in a recent edition of 5+5.

Rod Gator – “Out Here in Echo Park”

Rod Gator wrote “Out Here in Echo Park” during his last year living in Echo Park, when every evening he’d walk down to the L.A. River and sit along the bank. Take a listen, and you might start missing Echo Park, too.

Jackson+Sellers – “Hush”

Jackson+Sellers’ debut album, Breaking Point, comes out next month, but until then, we’re listening to the song that brought the pair of songwriters together as a duo. Jade Jackson initially reached out to Aubrie Sellers about singing harmonies on a new song she had written, and the rest is history! On their partnership, Jackson says, “Collaborating with someone who’s so energetically strong, it gives you even more creativity and license to explore.” Watch the duo’s performance of “Hush” from our Yamaha Artist Sessions below.

Dori Freeman – “The Storm”

For a recent Mixtape, our friend and songwriter Dori Freeman crafted us a playlist celebrating waltzes –her favorite type of song — which always touch her heart in ways other songs don’t.

Kirby Brown – “Ashes and Leaves”

“Ashes and Leaves,” the latest from singer-songwriter Kirby Brown, is a meditation on acceptance: “Sometimes, we are the ones being left — by lovers, friends, family, etc. At other times, we are the leavers. Maybe this is one of the inevitable arrangements of life…”

Brad Kolodner – “Foggy Mountain Special”

Old-time musician and radio host Brad Kolodner was a recent 5+5 guest, speaking about his new album, Chimney Swifts, his earliest on-stage memories, the soul-nourishing experience of the Appalachian String Band Music Festival, and more.

Béla Fleck featuring Sierra Hull & Molly Tuttle – “Wheels Up”

No matter how far afield he may roam, with his new album our Artist of the Month Béla Fleck wants the world to know his bluegrass heart will always call bluegrass home. And this rip-roaring number is about as bluegrass as it gets. The studio recording features the talents of Molly Tuttle and Sierra Hull, while this live performance below features Fleck’s current all-star live lineup: Sierra Hull on mandolin, Michael Cleveland on fiddle, Mark Schatz on bass, Bryan Sutton on guitar, and Justin Moses on dobro.

The Barefoot Movement – “Back Behind the Wheel”

“Back Behind the Wheel” is ultimately a song about hope and the idea of letting yourself feel what you need to feel, but not allowing that to be the end of the journey. “When it comes to this, I don’t know what it means to quit…”

Tammy Rogers & Thomm Jutz – “I Surely Will Be Singing”

“I Surely Will Be Singing,” a new release from songwriter Thomm Jutz and The SteelDrivers fiddler Tammy Rogers, was written at the beginning of the pandemic, as a hymn to nature and to the spirit of human resilience in the face of adversity.

The Secret Sisters – “Dust Cain’t Kill Me”

A new Woody Guthrie compilation from Elektra Records isn’t just a tribute album, it’s a reimagination. Home in this World: Woody Guthrie’s Dust Bowl Ballads features a host of compelling modern artists — like John Paul White, Colter Wall, and Chris Thile – offering their takes on Guthrie’s seminal Dust Bowl Ballads. One standout is The Secret Sisters performing “Dust Cain’t Kill Me.”

With such passion at the heart of it, Home in This World brings new life to music that has shaped American culture in the 20th and 21st centuries. “Woody Guthrie’s Dust Bowl Ballads is as relevant as ever,” producer Randall Poster states. “While profiteers exploit our natural resources, there is a growing sensitivity to the harsh farming practices that put our well-being at risk, and a concerted movement toward regenerative agriculture that can reinvigorate the soil and push back on climate change. I asked some of my favorite artists to help render these songs, hoping that this collection will reinforce the enduring power and prescience of Guthrie’s music and reveal the power of song.”

Caleb Lee Hutchinson – “I Must Be Right”

Caleb Lee Hutchinson teamed up with Trey Hensley on a new song, “I Must Be Right,” as he tells us: “I have been a fan of Trey for quite some time and was very excited to write with one of my favorite guitar pickers… It’s one of my favorite songs I’ve ever written as a result.”

Abby Posner – “Low Low Low”

Los Angeles-based musician and songwriter Abby Posner is joined by Constellation Quartet on a new video for “Low Low Low,” a beautiful, contemplative song about depression, anxiety, and learning how to live with the darkness within.

Colin Linden – “Honey On My Tongue”

“Roots music and blues do speak to a lot of people right now. Much of the healing and release you get from listening to this music… has shown itself to be so vital in these times… I hope the memories of every soul who has loved and been loved are like honey on our tongues,” says Linden of his track, “Honey on My Tongue.”

Photos: (L to R) Dori Freeman by Kristen Crigger; John Prine by Danny Clinch; Jackson+Sellers by Ashley Osborn

The BGS Radio Hour – Episode 206

Posted on by Shelby Williamson

Welcome to the BGS Radio Hour! Since 2017, this weekly radio show and podcast has been a recap of all the great music, new and old, featured on the digital pages of BGS. This week, we bring you new music from jam-grass band Leftover Salmon, the debut single from Watchhouse (formerly known as Mandolin Orange,) and so much more! Remember to check back every week for a new episode of the BGS Radio Hour.

APPLE PODCASTS, SPOTIFY

Leftover Salmon – “Boogie Grass Band”

Leftover Salmon has been playing what you could call “boogie grass” for over 30 years now. After their COVID-induced live music hiatus, the founding Colorado jam-grass band brings us a new album Brand New Good Old Days, and this next song celebrates that boogie grass sound that everyone loves.

Avi Kaplan – “Song for the Thankful”

Avi Kaplan brings us a song about finding gratitude and beauty in every realm of life, good or bad. His hope for the listener is that they can “find gratitude in their life regardless of what end of the spectrum they are currently in.”

Peggy Seeger – “Lubrication”

As our Artist of the Month for April Peggy Seeger put it herself, “Folk is full of raunchy songs, but they’re not often sung.” In our recent interview, and on her recent album First Farewell, Seeger ruminates on the joys and sorrows of aging.

Sam Armstrong-Zickefoose – “Heart of Mine”

Sam Armstrong-Zickefoose wrote this song about feeling you’re on the outside looking in. Sometimes even after moving towards the direction of “fitting in,” it’s still easy to feel out of place.

John R. Miller – “Faustina”

John R. Miller is a true West Virginia picker-singer-songwriter if there ever was one. While inspired by folks like John Prine and Steve Earle, Miller is celebrated among the same stature — including by his friend from the same region, Tyler Childers. We mark John R. Miller’s 2021 signing with Rounder Records with “Faustina,” a single that brings promise of a great debut record.

Lady Nade – “Willing”

From Bristol, UK, Lady Nade wrote “Willing” to foster acceptance, loyalty, and friendship. The video was filmed in her hometown along the route of a Black Lives Matter protest last summer. As she explains, “the way the video and song came together portray the message of self, as well as community.”

John Mailander’s Forecast – “Returning”

For fiddler John Mailander, “Returning” captures the collective feeling amongst the musicians in the studio playing together at the time of recording, the rediscovery of connection and joy after so many months of isolation.

Watchhouse – “Better Way”

After more than ten years as the duo Mandolin Orange, burdened by the dichotomy between the name and the music they strived to create, Andrew Marlin and Emily Frantz changed their name to Watchhouse, deciding through the COVID-19 pandemic that the time for change was now, given the growing and soon-to-be opportunities for bands to share their music on a live stage again. Here’s their first single since the change!

Alex Heflin – “Guest Room”

With his new album, Room for Everyone, Alex Heflin intends to highlight that inclusivity in both genre and personality always adds interest and excitement to a medium. In this case, the track “Guest Room” benefits from that approach.

Zach Schmidt – “I Can’t Dance”

Zach Schmidt spoke with BGS in a recent edition of 5+5 on the influence of Guy Clark – and greasy enchiladas! – on facing loss and working through it, spending time with Mother Earth, and more.

Mark Rubin, Jew of Oklahoma (feat. Danny Barnes) – “My Resting Place”

Mark Rubin wrote this old-time bluegrass number inspired by the drive of Jimmy Martin, yet based on a 100-year-old Yiddish poem. He says, “If I’m being honest, I wrote it with Del McCoury in mind as the thought of a 100-year-old Yiddish labor ballad sung on bluegrass stages cheers me to no end.”

Richie Furay – “Go and Say Goodbye (Live)”

Rock and roll legend Richie Furay’s new collection 50th Anniversary Return to the Troubadour celebrates his long career with bands like Poco and Buffalo Springfield — and his connection with former bandmate Stephen Stills’ music remains as strong as ever. Furay has recorded this song, written by Stills, with every band he’s been a part of over a half-century career.

The Rose Petals – “They Say You Loved a Good Man”

“They Say You Loved a Good Man” was written about former president Calvin Coolidge and his wife Grace, but ultimately, it’s a song about regret — living your life with the best intentions, yet still falling short of expectations.

Abby Hollander Band – “Still Got It Bad”

Abby Hollander recently joined BGS for a 5+5 — that is, five questions and five songs — and brought us this tender bluegrass heartbreak tune.

Photos: (L to R) Peggy Seeger by Vicki Sharp; Watchhouse by Kendall Bailey; Avi Kaplan by Bree Marie Fish

The BGS Radio Hour – Episode 205

Posted on by Shelby Williamson

Welcome to the BGS Radio Hour! Since 2017, this weekly radio show and podcast has been a recap of all the great music, new and old, featured on the digital pages of BGS. This week, we bring you new music from Sara Watkins featuring her old bandmates from Nickel Creek, newly released tracks from Shakey Graves’ archive, and so much more! Remember to check back every Tuesday for a new episode of the BGS Radio Hour.

APPLE PODCASTS, SPOTIFY

Sara Watkins (feat. Nickel Creek) – “Blue Shadows on the Trail”

Sara Watkins recently sat down with BGS to talk about the set of film classics that defined her childhood, and are featured on her new album. With songs like “Pure Imagination” and “Moon River,” this album isn’t just for kids, even if it was first imagined as a collection of lullabies. Instead, it’s a meditative look at these songs which have impacted more than just one generation. And who could forget this classic from the 1980s classic comedy Three Amigos?

The Ladles – “Pages”

Here’s a song about the experience of reading through an old journal and being confronted with your past self — not a particularly comfortable experience. However, for Katie Martucci of The Ladles, it’s a reminder that at any given moment, we only know what we know, and we’re all doing the best we can.

The Antlers – “Porchlight”

“Porchlight” is about a powerful partnership, “knowing somebody so well as to recognize when they’re lost, and helping them find their way back home.”

Andrew Adkins – “This Old Knife”

When asked to be a part of a tribute album to singer-songwriter John Lilly, Andrew Adkins knew exactly what song he wanted to sing: one that he’d had a remarkably personal connection to the first time he heard it.

Shakey Graves – “Roll the Bones”

It’s hard to believe that Shakey Graves’ debut album Roll the Bones came out 10 years ago. Since the album’s quiet 2011 release, he’s emerged from the shadows, releasing multiple albums and garnering a substantial following. In celebration of the decade since, Shakey brings us Roll the Bones 10, a deluxe edition which also features 15 unheard songs from the same era as the original album.

Bridget Rian – “Trailer Park Cemetery”

Inspired by a trailer park cemetery seen while driving through Florida, this song is more a commentary on life than it is death. Bridget Rian says she has a “fear of being forgotten, of not making a difference” with her life – and this song was a mode of expressing this fear.

Jason Davis (feat. Dan Tyminski) – “Modern Day Jezebel”

Dan Tyminski sings lead and plays guitar on this tasty modern bluegrass tune from Jason Davis.

Peggy Seeger – “Gotta Get Home By Midnight”

Folk legend Peggy Seeger is our Artist of the Month for April here at BGS, and we’re so grateful to have been able to speak with her on her new album First Farewell, her lifelong career in folk music, her hopes for social justice and peace, and much more.

Garrison, Gordy, Hargreaves, Walsh – “Sports”

Bluegrass instrumental supergroup Garrison, Gordy, Hargreaves, Walsh have set their fun, rollicking instrumental tune “Sports” to a zany, hand-drawn music video by banjoist Danny Barnes.

Donovan Woods – “Whatever Keeps You Going”

Canadian singer-songwriter Donovan Woods recently joined BGS for 5+5 on reading lots of fiction, a memorable London show, writing with Lori McKenna, and more.

The Sweet Lillies – “My Brother’s Hill”

Boulder’s The Sweet Lillies bring us their version of a tune originally released by The Stray Birds, a song they chose because they were deeply inspired by its stunning vocal harmonies, its beautiful and meaningful lyrics, and its old-timey structure.

Giri Peters – “Fallin'”

Those who frequent bluegrass festivals in the south may already be familiar with the young savant Giri Peters. Giri and his sister Uma quickly gained popularity in the last number of years for their impeccable musical skills, not to mention at such a young age. Giri, originally known as an up-and-coming mandolinist, has continued to grow as a songwriter and solo artist. His most recent single is a testament to his musical and artistic growth, and brings much promise of an exciting career ahead.

June Star – “I Don’t Wanna Know”

“Human beings are messy emotional creatures,” says June Star’s Andrew Grimm. “Sometimes when we struggle to communicate in relationships it’s because there’s the voice we speak with and that voice in our head. ‘I Don’t Wanna Know’ bounces between a professed love to another person and a confessed loneliness on the inside.”

Miles Gannett – “Thunder River, Tumbling Down”

Miles Gannett heard the melody and some lyrics of this song, including the lines “Thunder River, tumbling down; catch your babes before they drown” in a dream — and it kind of creeped him out. He sat with it for a couple of years before it all came together in this final semi-apocalyptic song.

Photos: (L to R) Shakey Graves by Magen Buse; Sara Watkins by Jacob Boll; Peggy Seeger by Vicki Sharp

The BGS Radio Hour – Episode 202

Posted on by Amy Reitnouer

Welcome to the BGS Radio Hour! Since 2017, the Radio Hour has been our weekly recap of all the great music, new and old, featured on the pages of BGS. This week we’ve got music by Charley Crockett, Danny Barnes, Rhiannon Giddens, and more! Remember to check back every week for a new episode of the BGS Radio Hour.

APPLE PODCASTS, SPOTIFY

Charley Crockett – “Lesson in Depression”
After Charley Crockett’s 2020 release, Welcome to Hard Times, we didn’t expect another great record so soon – but here we are! Crockett’s latest, Lil’ G.L. Presents: 10 For Slim Charley Crockett Sings James Hand, is a tribute to his hero, Texas’ James “Slim” Hand, who passed away in 2020.

Reid Jenkins – “Strange Lover”

New York City’s Reid Jenkins brings us a new single from his upcoming project, A Beautiful Start, due in April on Nettwerk. “Strange Lover” explores the tension between avoiding the unknown and being drawn in by the thrill of beauty and discovery.

The Golden Roses – “When I’m Gone”

John Mutchler of the Golden Roses wrote this song after visiting his grandfather’s neglected grave – but it’s more like the song was sent to him. “When I’m Gone” asks the question (while we’re still alive) of whether or not anyone will come and visit us when we’re gone.

Valerie June – “Fallin'”

This west-Tennessee born and Brooklyn-based artist is our March Artist of the Month here at BGS!

Israel Nash – “Canyonheart”

From Dripping Springs, Texas, Israel Nash joins us on a 5+5 this week – that is 5 questions, 5 songs. We talked with “Izz” about everything from nature to songwriting to the larger purpose of his career: to be inspired, create, and inspire others to create.

Andy Leftwich – “Through the East Gate”

The bluegrass world hasn’t heard much from Andy Leftwich since he left Ricky Skaggs & Kentucky Thunder several years back. The fiddler (and overall multi-instrumentalist) just signed a deal with Mountain Home Music Company, and this first single is an excellent sign of what’s still to come from Leftwich!

Danny Barnes – “Awful Strange”

It’s been just over a week since the Grammy Awards, where so many deserving roots artists (and friends of BGS) were recognized for their work with multiple nominations. One who sticks out is Danny Barnes, formerly of the Bad Livers, whose 2020 album Man on Fire garnered a nomination for Best Bluegrass Album. BGS caught up with Barnes from his Northwestern home to talk about the record, his creative methods, and how he’s remained busy during the pandemic.

Drew Holcomb and the Neighbors – “I Need to Go Somewhere”

Drew Holcomb shares a sentiment that is familiar to us all – we need to go somewhere, just anywhere. As the world’s cabin fever continues to grow, the promises of warmer weather, vaccines, and brighter days are ahead. Continue to stay safe, until we can all join Holcomb on that journey.

Greg Loiacono and Jamie Drake – “Bound to Fall”

From Southern California, Loiacono and Drake bring us a song in the spirit of the old heartbreak numbers by artists like Patti Page and the Everly Brothers. Their first duet, “San Felipe,” provided a platform for the writing and recording of “Bound to Fall.” It definitely seems they’re natural collaborators, here’s hoping they keep at it!

Jackson Scribner – “County Rd 497”

Jackson Scribner wrote this song in the front of his grandparents’ house that sits on County Rd 497. It’s about the things we have in our young life that feel like they’ll never go away – but as we get older, life changes, people and places come and go, and there’s never certainty of what comes next.

Williamson Branch – “Which Train”

From their new album Heritage & Hope, family band Williamson Branch brings us a video this week for “Which Train,” a haunting tune about eternal decisions. The all-female harmonies drive that train feel, just like the lonesome whistle.

Rhiannon Giddens and Francisco Turrisi – “Waterbound”

This spring brings about a second collaborative record from Rhiannon Giddens and Francisco Turrisi! The second single, “Waterbound,” is originally from the 1920s, but its lyrics are especially true for Giddens in this day and age, who has spent the pandemic in Ireland, looking across the Atlantic toward her North Carolina home.

Samantha Crain – “Bloomsday”

An Indigenous singer-songwriter from Shawnee, OK, Samantha Crain brings us a song of her upcoming I Guess I Live Here Now EP. “That old traditional gospel song ‘This Little Light of Mine,’ it feels so childlike and so ancient and wise at the same time and it has such a calming effect on me,” Crain told BGS. “I wanted to incorporate that feeling of hope and lightness in with my lyrical explorations of mindfulness and fortitude in my own life.”

Abigail Dowd – “Beautiful Day”

To end this week’s BGS Radio Hour, Abigail Dowd brings us a new single, written while living at various friends’ homes after a flood, while waiting on the city to buy and demolish her own home. Though those days sound bleak, in Dowd’s memory they are gifts of time, as she gives us a reminder to enjoy the moment, and have faith that a brighter day is always coming. There’s a mantra for your Tuesday!

Photos: (L to R) Valerie June by Renata Raksha; Rhiannon Giddens by Ebru Yildiz; Charley Crockett by Ryan Vestil