Tag: texas swing

BGS Wraps: Patty Loveless, Darin & Brooke, Brei Carter, and More

Posted on by Justin Hiltner

How is December already half over? Christmas is merely 10 days away – and in just over six days, Winter Solstice will bring the light back into our lives. We hope your home smells of evergreen and sugar cookies and that a seasonal roots music tune is wrapping you up in wintry coziness. If that isn’t the case, we can help with the rootsy seasonal tunes bit!

For our third week of BGS Wraps, we have celebratory bluegrass alongside loping country, introspective indie and gothic Tim Burton-esque tales, too. Plus, don’t miss Jeannie Seely as Grand Marshal of the Donelson Hermitage Christmas parade in Nashville tomorrow.

Whatever you’re celebrating this season, we’ve got the music, songs, albums, and events to pair with your peace and joy.

Darin & Brooke Aldridge, Hometown Holiday

One of bluegrass’s preeminent couples, Darin & Brooke’s new Christmas album, Hometown Holiday, feels like an afternoon visit in their living room, as they play down a few of their favorite seasonal numbers. The husband and wife duo are known for their covers of non-bluegrass songs, and several among this collection truly shine – like Joni Mitchell’s “River,” rendered beautifully by Brooke. You’ll hear country piano, a modern classic popularized by Amy Grant, “The Chipmunk Song,” and more, all packaged with a neat and tidy bluegrass bow.

Beth // James, Christmas at the Burchills

Friends of BGS will know this team loves a good tiki drink, so including this Beth // James original seemed essential for our holiday Wraps. “Tiki Christmas Land” is one of four originals – joined by a cover of “Blue Christmas” – on Beth // James’ new EP, Christmas at the Burchills. Make yourself a holiday mai tai or painkiller and enjoy your visit with Beth, James, and the Burchills.

Brei Carter, Twinkling Tales of Christmas

Your cheeks may be a bit rosier after listening to Brei Carter’s jazzy, pop country holiday collection, Twinkling Tales of Christmas – and not just because of the chill in the air! “50 Shades of Christmas” will certainly get you in a festive and adventurous mood, and “Santa Wontcha” is for all Christmas season fans who proudly extend the season well prior to Thanksgiving. But “Bow on You” and “Christmas Is You” are certainly the stand out tracks.

38th Annual Donelson Hermitage Christmas Parade December 16, with Grand Marshal Jeannie Seely

If you’re near to Music City USA, head out to Donelson tomorrow afternoon, December 16, to catch country legend Jeannie Seely as she Grand Marshals the 38th Annual Donelson Hermitage Christmas Parade. Seely is standing in for Brenda Lee, who ended up being unable to attend the event – and who better to step into Lee’s Christmas hit-singing shoes? Seely has been involved with the parade many a time before and this year is an especially perfect time for the Grand Ole Opry member to Marshal, as she just released a holiday single with the Flat River Band entitled “Christmas Time.”

Pat McGrath, “Let’s Just Get Past Christmas”

A smooth, swingin’ Christmas song from singer, songwriter, studio musician Pat McGrath that looks forward, willing the new year to come fast and wipe the slate clean. A great tune for anyone who feels the holidays are often bittersweet, with a heavy dose of love and putting one foot in front of the other, you can get past just about anything. Christmas included.

Drake Milligan, “Cowgirl for Christmas”

More Christmas songs need yodeling, right? Right. Drake Milligan’s “Cowgirl for Christmas” is a delight, from the sound stage music video set that feels direct from a ‘50s western to the catchy, yodeled hook, to the danceable, western swing beat. Not a brand new track or video, but one worth remembering each year when December rolls around for sure. You’ll be wishin’ for a cowgirl under your tree, too.

The Nields, “The Darkest Day”

A harmony rich neo-folk song from The Nields, “The Darkest Day” was released earlier this year on their brand new album, Circle of Days. To herald solstice, they’ve brought out a video to highlight the track and ask the titular question, “What do you want on the darkest day?” A timely reflection, as we welcome back the sun and look ahead to spring – however far away it may feel.

Malin Pettersen, “Santa”

Malin Pettersen’s first ever Christmas song is an entire vibe. With a classic R&B back beat and conversational tone with Americana touches, Pettersen lays out her wishes for the holiday – for her longing to end and for some light to brighten the holidays and dark January. Whomever you’re trying to manifest into or out of your life, Pettersen can offer a shortcut to writing your letter to the big man at the North Pole.

Hannah Rose Platt, “The Wendigo Rag”

Wendigos and skinwalkers, oh my! If your TikTok For You Page knows that you love a cryptid tale or the paranormal or other unexplained phenomenon, Hannah Rose Platt has made a wintry, stop motion, Tim Burton-esque video just for you. And if you’d like to continue your rootsy Wendigo songs playlist, we have another selection from back around Halloween by Thunder & Rain you’d enjoy, too.

Larry Sparks, “White Christmas”

Each Christmas we’re reminded of this amazing album by bluegrass legend Larry Sparks and especially of this four-chord version of a holiday classic, “White Christmas.” Only a picker like Sparks could pave over such an iconic chord progression without leaving the listener missing it – at all. “White Christmas” is a jam buster no more, anybody can play along. We put this album on every year around the holidays and are never disappointed.

Sofia Talvik, “Alone for Christmas”

Swedish folk and Americana singer-songwriter Sofia Talvik utilizes jazz touches and dramatic strings to paint a lonesome Christmas portrait that both relishes and abhors the season. Playing around within that paradox – how can lonely holidays feel so bereft of Christmas spirit, while also epitomizing so many of the feelings of the season? The repetition in the song (“Alone for Christmas… Again. Again.”) underlines how being “Alone for Christmas” really isn’t as uncommon or unfamiliar as any of us would hope it is.

The Wildwoods, “Somewhere in the Snow”

Nebraska-based folk trio The Wildwoods offer their first-ever holiday song, “Somewhere in the Snow,” replete with a Peanuts-style animated video. It’s gauzy and sweet with a burnished patina and tone of redemption. Whether you love or hate the snow, it certainly seems like a perfect place to bury your troubles and fears.

Our Classic Holiday Album Recommendation of the Week:
Patty Loveless, Bluegrass & White Snow, A Mountain Christmas

Patty Loveless’s bluegrass bona fides are unassailable, it’s true, but this album might clinch her claims to the genre, if ever challenged by a naysayer or proverbial chair snapper. Bluegrass & White Snow is a perfect combination of classic, sing-along carols and bluegrass staples, plus a couple of bespoke beauties, too, sung as only Patty could sing them. With a big, belty voice that carries with it some of that signature high lonesome grit. Dr. Ralph would be proud. (And he was.)

Photo Credit: Darin & Brooke Aldridge by Kim Brantley; Brei Carter courtesy of the artist; Drake Milligan courtesy of the artist.

LISTEN: Skillet Licorice, “3-in-1 2-Step”

Posted on by Editor

Artist: Skillet Licorice
Hometown: San Francisco, California
Song: “3-in-1 2-Step”
Album: Allsorts Orchestra
Release Date: September 10, 2021
Label: Tiki Parlour Recordings

In Their Words: “‘3-in-1 2-Step’ was one of the first East Texas Serenaders tunes that we learned. One listen and you feel transported 100 years into the past. It is so named because it borrows its melody from three other tunes: ‘Dill Pickle Rag,’ ‘The Entertainer’ and ‘I Don’t Love Nobody.’ As such, it’s perfectly emblematic of the ETS. They weren’t jazz players and they weren’t classical players, but these talented Texans were able to seamlessly incorporate elements from disparate genres to create something new, something their own, yet somehow familiar. Our version features a driving yet elegant banjo-mando harmony part played by San Diego old-time wunderkind Clinton Davis.” — Elise Engelberg and Matt Knoth, Skillet Licorice

Photo credit: Sean Kelly.
Skillet Licorice Allsorts Orchestra Illustration by ‘The Simpsons’ artist Joe Wack

MIXTAPE: Eleven Hundred Springs’ Songs by Talented Friends

Posted on by Editor

I have always maintained that whatever you do as a career, the great takeaway is the relationships you make along the way. That’s certainly been my experience in music. I have had the opportunity to get to know and share stages with so many talented people that play many different styles of music. This Mixtape is just a taste of the long list of friends who blow me away regularly with their songs, live shows, and friendship. — Matt Hillyer, Eleven Hundred Springs

Brennen Leigh & Noel McKay – “Breaking Up Is Easy”

I have been a fan of each of these folks independently of each other before they started making music together. Both of them sing and write so well. I chose this song because I really dig the groove and the way they sing together on it. There’s a moment when Brennen is singing underneath Noel while he’s singing the lead that is just so great. Truly though, I’m a fan of everything they’ve done. Separate or together.

Courtney Patton – “So This Is Life”

Courtney is like my sister. We have a lot of fun together. This song is just about as perfect an example as I’ve ever heard of an honest accounting of witnessing love coming together and falling apart. Being that honest is so difficult and she nailed it.

Max Stalling – “Blue Eyes”

Max is one of my best friends in “the biz.” We both kinda got our start at the same time and place, and he’s super great guy. He’s also able to paint a picture with words like no one else. This song I love because it’s a testament to his abilities as a poet, but also with melody. It’s a straight ahead danceable country love song.

The Wagoneers – “Sit A Little Closer”

When I started playing in bands I was 13 and into rockabilly. Through some twist of fate I crossed paths with this band and they took me under their wing. They were my introduction to so much great country music. They have such a great live show. Their frontman, Monte Warden, taught me so much about how to write songs.

The Derailers – “100% Pure Fool”

When Eleven Hundred Springs was beginning, The Derailers were a real example to us. The band was so tight. Their love of all things traditional country, particularly the Bakersfield sound meant a lot to us. They had roots in the rockabilly world. They were our kind of band. They were also very kind to us every time we got the chance to share the stage. This song was always a barn burner at their shows.

Mike & The Moonpies – “Steak Night at the Prairie Rose”

In the same way that I think the Derailers felt good about a young band coming up behind them that cared about traditional country music when they looked at Eleven Hundred Springs, that’s how we feel about the Moonpies. They’re great and they give a damn. They work their asses off and write great songs. I feel like they’re just getting better and better. The Steak Night record felt like a real turning point for them though.

Jason Eady – “Wishful Drinking”

Jason’s A.M. Country Heaven record is one of my favorites of all time. It’s a solid collection of great country songs. It’s hard for me to narrow down any one favorite, but this may be it.

The Tejas Brothers – “Don’t Be So Mean”

The music of the Texas Tornados and Doug Sahm have always been so influential to Eleven Hundred Springs. The first time we played with The Tejas Brothers, it was a natural match. Their connection to that sound was something we loved. We became friends instantly and found as many ways to collaborate as we could and we remain close to this day.

Joshua Ray Walker – “Canyon”

When we discover new artists on the scene that are doing really great things, it’s so exciting. Joshua Ray Walker is someone who’s topping that list right now. He’s such a great writer, singer, and guitar picker. Our friendship is just beginning, but I look forward to a lot of fun collaborations with him.

Reverend Horton Heat – “We Belong Forever”

Jim Heath has been one of my biggest mentors since I was 12. He’s always been like a big brother. Not only is his talent and voice one of a kind, but his work ethic has been a huge example. He and his band are truly self-made. This song isn’t the typical loud rocking tune the band is known for, but it showcases their ability to take it down to something quiet and also play something beautiful. I love the way the guitar melody on the high strings go along with the walking bass on the low strings. Not everybody can do that.

Tommy Alverson – “My Hometown”

Over the years Tommy and I’s relationship has evolved from him being a mentor to friendship. I have learned a lot playing shows with him, and I always feel like family when I’m with him and his son Justin, who is also a dear friend.

Walt Wilkins – “When It Was Country”

When spending time with Walt, I always hope some of his cool will rub off. This song makes the hair on the back of my neck stand up every time.

Michael Cleveland, “5-String Swing”

Posted on by Justin Hiltner

Yes, Michael Cleveland’s brand new album, Tall Fiddler, includes a track called “5-String Swing,” and yes, perhaps the world’s foremost banjo player, Béla Fleck, is a guest on the song, but do not be fooled. This is not a banjo tune, this is is not an incendiary breakdown or a Scruggs-conjuring, “Foggy Mountain Special”-esque number. This is a fiddle tune. A five-string fiddle tune.

An eleven-time winner of IBMA’s Fiddle Player of the Year award (and current nominee for what may be his twelfth honor), Cleveland’s “ax” of choice has long been a fiddle with five strings — instead of the standard four — with a low, C-tuned string beyond the usually-lowest G string, essentially combining a viola and a violin on a violin’s frame.

In more standard, traditional bluegrass that fifth string doesn’t always jump out, but in a song such as this — skipping, gallivanting swing with a touch of Texas and a dash of Django bolstered by bluegrass — it can change a fiddler’s entire mindset, leading them toward sumptuous, lush double and triple stops that defy any sort of quantification. Cleveland is well known for milking these jazzy harmonies, leaning into quarter tones that no fretted instrument — and very few other fiddlers — could ever accomplish with such exact, scientific precision.

Besides Fleck, and his similarly innovative approach to combining rootsy aesthetics, Cleveland is joined by producer Jeff White on guitar, Tim O’Brien on mandolin, and Barry Bales on bass, perfect pals with which to swap licks over this cheery, energetic, toe-tapping tune.

The Show On The Road – Hot Club Of Cowtown

Posted on by Chris Jacobs

Z. speaks to Hot Club Of Cowtown — the genre-defining Western swing trio that has quietly crafted over thirteen records, and has traveled a quarter of a century on the road together.

LISTEN: APPLE PODCASTS • MP3

On this episode, Z. was lucky enough to record two live performances from Hot Club Of Cowtown, and is there anything better than guitar, fiddle, and bass going full tilt around one mic? Both tunes are included, as well as an enlightening discussion about the scariest hotel room they’ve ever stayed in, playing together for over twenty years, and what it was like to tour with Willie Nelson and Bob Dylan…on the same tour.

Getting Better with Age: An Interview with Leigh Nash

Posted on by Editor

Singer/songwriter Leigh Nash grew up in rural Texas with country music and mariachi bands filling her ears and her heart. Though those influences are hardly evident in her pop work with Sixpence None the Richer, Nash's new album, The State I'm In, puts them center stage. The set is a mix-and-match collection of original tunes that harken back to days gone by. Some ring right out of Tennessee, while others echo back to Texas or point west toward Southern California. But all of them reflect Nash.

A lot of different eras and styles are on this new record of yours. “Cruel Heart” is about as close to a Patsy Cline melody and vibe as I've heard, but then “What's Behind Me” heads straight for Southern California. Were you wary of putting all those elements side-by-side on one record?

A little bit, and I don't think I really thought that I was going to be mixing it up as much as it turned out that we did. But it was inevitable. I think a record full of “Cruel Hearts” would have been kind of boring, so I'm glad there are a lot of styles represented, because it represents my history. I've been around making records for a long time, so I think it was bound to happen.

One of my favorite topics is exploring how geography affects artistry. I know that's playing a big part here. Talk to me about Texas Hill Country. How did growing up there make you who you are as an artist?

That is such an interesting subject because it informs my family's musical taste, as well. My parents and my grandparents are all from this tiny town in east Texas called Carthage. Jim Reeves was from around that area. I think he might've been from Shreveport, LA, or somewhere like that. So Jim Reeves ended up being one of my favorite artists because … my grandmother had these eight-tracks. She had Conway Twitty and Loretta Lynn, Patsy Cline, Jim Reeves … and I was just obsessed with those artists. That just kind of continued with the records that my parents had around.

Then, on the trips we would make into San Antonio pretty often to go walk on the Riverwalk or eat at the restaurants there, I constantly was able to hear mariachi music. I loved it and associate that with home. Just the sound of it makes me homesick. So, absolutely, geography informed so much about this record.

The other thing that stands out for me, here … the lilt in your voice is still there, for the most part, but it also feels heftier on the new record, at least compared to the big Sixpence hits. Is the new musical setting to credit for that? Or just, you know, life?

I think it's life and age. I'm coming into my own, probably more so than ever. I'm in my late 30s, as a vocalist. I listen to records — from the very first one that we ever put out which came out in '92 or '93 — and, yeah, I sound like a different person to myself. It was kind of terrible. [Laughs] I can't believe anybody wanted to hear more of some of that stuff … because of me and not the songs. My voice was so puny. I'm definitely a better singer than I've ever been. I'm not saying it sounds better, but to me it does. It sounds better and fuller and, yeah, just more experienced because I am all those things.

Just don't lose part of your range, like Joni Mitchell did, from chain smoking and Corona drinking.

Oh, right. Exactly. Well, luckily I haven't picked up smoking yet, so I probably won't. [Laughs]

It's always bizarre to me when I see singers who smoke. I don't understand that.

I know. I think it's … if it's something you start young and they must just think, “Well, this is the way I'm going to sound because I've already started.” But, yeah, if I were to start smoking now … [Laughs] To get that kind of effect on my voice would be kind of sad, I think.

It would be a whole other record you'd have to make. [Laughs]

Exactly. Exactly. [Laughs]

So, loss is a recurring theme here, in various incarnations. Have you found that grief is grief no matter what it is that goes missing? Or have there been wildly different experiences of loss for you?

No, not wildly different. And, yes, I do think grief is grief, to a certain extent. There are probably certain things in life that maybe surpass the average grieving experience. But loss is loss — that's a really good way to put it. I've had my share over the years of heartache and loss, so these songs came out of it. But I don't think they came out of that in a gratuitous way. As I reflect on the writing and everything, it's all definitely what I was feeling, and it feels really good to finally be putting this out. But I don't look at it as a record that's just entrenched in all my sad experiences. It is sad, though. But …

But it's not heavy.

It's not heavy. No. I don't think so.

Pouring all that into the songs must have felt pretty good.

It definitely did. Yes.

So how's it going to be, going back and playing them live? Will that be a different level of cathartic?

I think so. I'm so excited. And I have played them live quite a few times now. My favorite setting, live, is to do it with a full band, and we've only gotten to do that one time. So we'll be able to do that a little bit more as we go into the Fall. But a lot of times, it's just my husband and me playing them acoustically. Even that has been really fun and I keep hearing from people … and I don't know, because I'm paranoid that it's not enough, just him and me … but people keep saying, “It is. There's nothing missing. It sounds so great. The song is represented. I can hear the lyrics well …” And that makes me really happy. But, yeah, it's been wonderful getting to play them.

When they were brand new, I had a hard time getting through them. I would cry in some of the songs. Now, that's not happening anymore, so there's no risk of an emotional breakdown on stage. So that's positive. [Laughs]

[Laughs] Phew!

Things are looking up! [Laughs]

And that's the test of great songwriting … if it can stand up in an acoustic setting.

Right. Yeah. I hope so. I think so. There was a wonderful morning show at the Country Music Hall of Fame [recently] with Suzy Bogguss. I was thinking that about her, about how wonderful her songs sounded just with her, her guitar, and her lovely voice. So I agree.

To write real country songs … and I agree with you on this … you feel like you had to live some life first. Do you think that's part of mainstream country's shift toward pop? Because nobody would buy a 20-year-old singing “Stand by Your Man” or “Crazy.”

Right.

They kind of have to make it a little bit fluffier.

That's a really good point. Last year, I was having a day where I was like, “This is just pointless. I'm too old to be starting this entire new career course. This is silly.” My husband and a couple of friends made the point, “Who are your favorite singers?” Everybody that I mentioned were all up there in age and writing some of their best stuff. The point was quickly made that the bulk of the music that I pay attention to and listen to is because the person has more life experience and something to write about. So, yeah, I definitely agree with that. It takes getting some dirt on your clothes to really come out with a good story. [Laughs]

And it is a musical shift for you, but I don't think anyone should accuse you of being a carpetbagger. You come by this music honestly.

I definitely have. I appreciate that. I know. I had a guy, somebody doing an interview, roll his eyes. [Laughs] He said, “When I first heard you were doing this …” He rolled his eyes and said he thought, “Oh, Lord. Here we go.” But he said, “After I heard it, I was like, 'no, no, I totally get this.'” And hearing me talk about it a little bit.

Since you love both Willie and Patsy, is it safe to say that “Crazy” is in your Top 10 all-time favorite songs?

Absolutely. Yes. I mean “Walking after Midnight” … everything Patsy ever did. “Back in Baby's Arms” … I just obsessed over it as a kid and tried to sound just like her. That's how I first started singing in the first place because my dad was very entertained by me just mimicking her.

I love it when I hear … Brandi Carlile has a similar story of mimicking Patsy Cline as a kid. It's a funny image to think of — a little kid mimicking Patsy Cline, who has one of the most womanly voices we've had.

[Laughs] That is interesting. There are a lot of things about her voice that make it worthy of imitating. The inflections she used … there's so much. It's so rich. I think it probably made it a challenging landscape, vocally, to try to go and try to copy. But my dad thought it was hilarious. That's why I did it. [Laughs]

[Laughs] No Madonna. Patsy Cline!

Right. Right! [Laughs] Exactly!

Photo credit: Alysse Gafkjen