Tag: The SteelDrivers

New Singer, Same Edge: The SteelDrivers Deliver on ‘Bad For You’

Posted on by Editor

The SteelDrivers’ new lead singer, Kelvin Damrell, already grasps the driving force behind the band, which is marking its 12th year with a brand new album, Bad For You.

“You couldn’t play our songs if you weren’t passionate about what you were doing,” the Berea, Kentucky, native believes. “It wouldn’t sound right at all, in any position in the band. From the mid-range harmony part to the hardest-playing guitar riffs, to the hardest-playing fiddle, it wouldn’t sound nearly as good as it does if you didn’t love what you were doing, and playing with as much passion as you could.”

On Bad For You, Damrell steps into a role once filled by Gary Nichols and Chris Stapleton for the group’s first album since winning a Grammy with 2015’s The Muscle Shoals Recordings. All five of the SteelDrivers — Richard Bailey, Damrell, Mike Fleming, Tammy Rogers (whose daughter discovered Damrell on YouTube), and Brent Truitt — invited BGS over for a chat.

Kelvin, how long had you been in the band by the time you went into the studio?

Kelvin: Goodness, how long has it been now? I joined in October 2017. I was just so looking forward to the release date of the album that I’d forgotten when we went in.

Mike: He had to go to boot camp first. [Laughs] Bluegrass boot camp! We had to take him out of Kentucky. He had his first airplane flight. You saw the ocean for the first time, right? You left a lot of things laying around. [All laugh] You went through airports with knives when you shouldn’t have. But listen, it was good! We all got comfortable with each other, and we needed some time just to feel that, and it got to that point.

Kelvin: When I joined the band, I was really unsure about what was going on, about my position. I had made the cut as far as getting to be in the band, but Brent kept telling me we needed a couple of months to see how we jibe together. I thought that was just him saying that, but it was the truth. We switched vehicles pretty regularly and I rode with different people. We really saw how we jibed together before we made a full decision on whether we were going to keep me, or if I was going to go back to sweeping chimneys.

The song “Bad For You” has such a cool groove. You sent it out as your first single and you named the album after it. What is it about that song that is special to you?

Brent: To me it was the perfect fit for this band. It was the song that hit me right out of the chute. It encapsulates the sound. It’s really edgy, and we’re a little bit on the edgy side of bluegrass.

Mike: It was one of the strongest songs, as far as that kind of feel. It’s like a “Here we are!” kind of song. You know, “Look out!” The way Kelvin sang it, Tammy told him, “Sing it like a rock ‘n’ roll singer.”

Kelvin: I almost got emotional when we played it for the very first time. I really did, that’s the truth. The first night we debuted it, after we hit that last big note, I almost did get a little emotional because it’s like something is finally coming to fruition with my position in the band. I’d done all this other stuff that vocally belonged to Gary and vocally belonged to Chris, and now this one vocally belongs with me at the lead. And man, that three-part harmony! Everything about it was good, and it really did make me emotional.

I’m glad you mentioned harmony because that’s a really important component of this band that doesn’t get talked about enough — how well you can stack those voices.

Tammy: Thank you. But you’re exactly right, I think that’s always been a really strong facet of the band. It’s this rock ‘n’ roll lead singer with this really strong three-part harmony coming in on the chorus. From a writer’s perspective on this album, I thought about that a lot, and how that was still a big part of the sound, and to keep that consistent because I think that does set us apart.

Brent: In our live set, I’m thinking of one or two songs that end with the vocal trio by itself, doing the swell and bending into a note, and the crowd loves it every time. It’s a big part of bluegrass, period, but it’s a big part of our music too.

Brent, how would you describe the SteelDrivers’ sound?

Brent: For me, personally? It’s gritty, grind-y bluegrass. With a lot of soul.

Tammy: Think about the Rolling Stones if they were to play with bluegrass instruments. That’s us.

Mike: With a blues/rock ‘n’ roll singer. … It’s intense! I’m tired after our set. It’s a workout. We keep the emotion and the intensity going quite a bit, but we let up occasionally and do a nice song.

On this record, you do have that slower moment on “I Choose You,” which brings out another side of the band.

Tammy: Yeah, we’ve always had a song or two like that. On the first record, “Heaven Sent” has always been one of our most-requested and popular songs, and it has that great, easy, rolling feel to it. We call it the hippie dance. And when Thomm Jutz and I wrote “I Choose You,” that was definitely musically where I wanted to go with that, to have that feel to it. But it’s still a very serious lyric, even though it has a positive message, in a way. It has a lot of depth and meaning to it.

Richard, do you have a favorite track on this album?

Richard: Umm… “Forgive.”

What do you like about that one?

Richard: I like what I played on it. [All laugh]

Tammy: See, it’s all about the banjo! We joke about it but people love the banjo!

Mike: It’s got a great groove.

Brent: It’s one of my favorite songs too.

Kelvin: It’s funky. It’s like “Bad For You” is rock ‘n’ roll and “Forgive” is funky!

Kelvin, what were you listening to about three years ago, before joining the band?

Kelvin: Three years ago I was on a really big Cinderella kick. [All laugh] I’m still on the kick. I still listen to mainly rock ‘n’ roll when it’s just me in my truck, driving for hours on end.

Did the band prepare you for the honesty of bluegrass fans, and how they’ll tell you what they think?

Kelvin: I was ready for it before I started! I knew how much of a following they had. I know how much people loved Gary. I know how much people loved Chris. And I was ready for it – I prepared myself for people saying, “This guy sucks. You need to get somebody else.” [I’ve heard that] twice, I think, the whole time I’ve been with the band. It’s been great — because I was expecting it at every show!

Tammy, do you have young women coming up and telling how cool it is to see a woman on stage?

Tammy: Yeah, it’s really awesome and I appreciate it a lot. Because when I was growing up there were very few women playing, and the ones that did were usually bass players. Mama might be back there thumping on the bass or whatever. There were very few women role models for me, of that generation. There were a couple — I remember Lynn Morris was playing and Laurie Lewis was playing a few years ahead of me in those circles. Not many in the country world. I was a huge Mother Maybelle fan and part of that was because she played the guitar. That was fascinating for me as a kid.

And now in the generation after me, there’s just unbelievably talented women – not just singers, but instrumentalists. It’s phenomenal, the jump from mine and Alison Brown’s ages, to Sierra Hull, who is a genius on the mandolin, and Kimber Ludiker and all the Della Mae girls we love, and Molly Tuttle is absolutely slaying it on guitar. Sara Watkins, I’m With Her, Sarah Jarosz … it’s just on and on and on. If I in any way influenced any of those players, I am deeply honored.

What would you want bluegrass fans to know about this new record?

Tammy: We’re excited this year to get out and we’ll be playing a lot of different kinds of venues. We don’t play that many traditional bluegrass festivals anymore, but it’s my hope that people hear the music and still see the thread that’s in there. The subject matter that we choose to sing about is not as cleaned up as some other stuff, but to me it’s just another facet of the music, and I think we’re hopefully carrying it forward and carrying a torch.

Photo credit: Anthony Scarlatti

10 Bands Returning with New Music in 2020

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Roots music is already taking hold this decade, with ten notable bands preparing to release their newest albums in the months ahead. From award-winning bluegrass bands to prominent Americana ensembles, here are ten projects BGS believes are worth your attention.

The Ballroom Thieves, Unlovely (February 14)

This band’s undeniable energy has endeared them to crowds at Boston Calling, Newport Folk, Moon River, Mountain Jam, and Calgary Folk. However, folk music is just one part of their approach. The political messages are especially evident in Unlovely, while a new relationship between band members Callie Peters and Martin Earley informs the songwriting as well. Listen for Darlingside on the title track.

Della Mae, Headlight (January 17)

Prodigiously talented as instrumentalists and empowered by their mission of women’s rights, Della Mae make a statement on Headlight, especially in their support of those women whose claims of sexual abuse have been questioned. This time out, their sound is bolstered by keys, drums, and electric guitar. The trio of Jenni Lyn Gardner, Kimber Ludiker, and Celia Woodsmith will be touring in the U.K. this month.

Drive-By Truckers, The Unraveling (January 31)

The modern political climate informs Drive-By Truckers’ The Unraveling, with titles like “Armageddon’s Back in Town,” “Thoughts and Prayers” and “Babies in Cages.” Patterson Hood and Mike Cooley battled writer’s block for their first album in four years but it’s easy to figure out who ultimately inspired this set of songs, which were recorded in Memphis with producer David Barbe and engineer Matt Ross-Spang.

Dustbowl Revival, Is It You, Is It Me (January 31)

Dustbowl Revival decided to shake things up on Is It You, Is It Me. First of all, the Los Angeles-band wrote the songs in a two-week window in the studio, rather than fine-tuning them on the road. Second, the musical inspirations stretch further than usual, with pop vibes and percussion getting ample space. With Z. Lupetin and Liz Beebe on lead vocals, and produced by Sam Kassirer, this is one of the most exuberant records you’ll hear this year.

The Haden Triplets, The Family Songbook (January 24)

After an uncle discovered a songbook from the Haden Triplet’s grandfather, a radio star in the 1930s, the LA ensemble carried the material to the studio. The Family Songbook echoes that earlier era, while its covers range from the Carter Family to Kanye West. Their brother Josh Haden wrote “Every Time I Try.” A stunning musical blend comes naturally to the siblings, as their father was jazz bassist Charlie Haden.

The Lil Smokies, Tornillo (January 24)

While this roots band has origins in Montana, the Lil Smokies recorded Tornillo in a Texas town of that name – the site of Sonic Ranch Studio. While clearly influenced by bluegrass, the Lil Smokies capably transcend its borders. Their instrumental and vocal skills are evident in “Worlds on Fire,” yet bandleader Andy Dunnigan writes abstract lyrics that are just open-ended enough to put your own experiences inside.

The Lone Bellow, Half Moon Light (February 7)

Everything that has propelled The Lone Bellow into the hearts of live music fans is found in abundance within Half Moon Light. The passionate delivery, the poetic lyrics, the propulsive melodies – all accounted for. This time the trio teamed with The National’s Aaron Dessner, who produced the album at his studio in upstate New York. A three-month U.S. tour kicks off Feb. 12-13 at the Troubadour in Los Angeles.

The SteelDrivers, Bad for You (February 7)

The lonesome growl of the SteelDrivers is now delivered by Kelvin Damrell, a raspy singer and guitarist who makes his debut recorded appearance in the lineup on Bad for You. (No pressure, but their 2015 album won a Grammy for Best Bluegrass Album.) Founding member and fiddle player Tammy Rogers co-wrote 10 of the 11 new songs and sings harmony, too. Their spring tour launches February 6 in Bristol, Tennessee.

The Wood Brothers, Kingdom in My Mind (January 24)

Even when they’re writing about heavy topics, the Wood Brothers bring joy into their music. Kingdom in My Mind offers a mature perspective with a timeless groove, although the album came together by chance after building their own studio in Nashville. After listening back to some jam sessions, they discovered they could carve out some new tracks. Tunes like “Little Bit Sweet” capture that unmistakable magic.

Wood Belly, Man on the Radio (January 31)

A bright spot on Colorado’s bluegrass scene, Wood Belly worked with producer Sally Van Meter to further tap into their harmony-driven sound and arrangements. “Can’t Get Behind” (with special guest Jeremy Garrett) is about needing acceptance, although the band has found exceptional allies already with an IBMA Momentum Award nomination and a win in the 2018 Telluride Bluegrass Band Competition.

Photo of The Ballroom Thieves: Shervin Lainez

Six of the Best: Dervish’s Cathy Jordan Chooses Her Favorite Irish Tunes

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What would the world be without Irish tunes? A lot quieter, that’s for sure. Ireland’s musical tradition has enlightened, infiltrated, and inspired all corners of the planet – and American roots music owes it a huge debt.

Irish folk group Dervish have just released their first studio album in a decade, a loving tribute to the songs from their home country that have travelled the world. The Great Irish Songbook is studded with guest stars – from David Gray to Steve Earle, Kate Rusby to Andrea Corr, not to mention an appearance from Hollywood actor Brendan Gleeson.

But what are the band’s favourite Irish songs? We asked singer Cathy Jordan to choose six of the best.

“Whiskey in the Jar”

“This is an incredible example of a song that has journeyed around the world and been adapted to the particular environment it found itself in. It was originally written about a Co. Kerry-based military official who was betrayed by his wife, but adaptations also turn up in the American South, the Ozarks, and the Appalachians. On our album we did a version with The Steeldrivers, but we’re also big fans of this one by iconic Irish rock band Thin Lizzy.”

“Ye Rambling Boys of Pleasure”

“This is such a beautiful song of unrequited love: a young man regretting love lost because of immaturity. The song forms the basis of a poem written by the famous W.B. Yeats (he was trying to recall a ballad he’d once heard a peasant woman sing to herself in Sligo). The poem is commonly known as ‘Down by the Sally Gardens’ and was itself later put to music — I sing a version with Kate Rusby on The Great Irish Songbook.”

“Nothing But The Same Old Story”

“Written by Paul Brady, this song captures what life was like for Irish immigrants heading to England to find work during The Troubles in Northern Ireland. Their lives involved a mixture of exhausting work, discrimination, and distrust, while longing for a normal life and to go home. The song first appears on Paul’s album Hard Station in 1981.”

“The May Morning Dew”

“The heartbreaking story of a woman who recalls her old friends, family and loved ones as she walks by their deserted dwellings in post-famine times. It’s sung here by one of my favourite Irish singers, Dolores Keane.”

“Rainy Night in Soho”

“To me, Shane McGowan of The Pogues wrote one of the most amazing love songs of all time with this one. [It’s a] love that survives through years of friendship as well as hardship. Oh, to have the last line written about you: ‘You’re the measure of my dreams, the measure of my dreams.’ This version is sung by another great Irish singer and songwriter, Damien Dempsey.

“Mná na hÉireann” (Women of Ireland)

It’s fitting that Kate Bush, one of the most poetic of all pop artists, recorded this song. It was written by 18th century Ulster poet Peadar Ó Doirnín; the music was added by composer Seán Ó Riada in the mid-20th century. Ó Riada was really important in the revival of traditional Irish folk and the words to this song are as powerfully Irish as you can get.

Photo credit: Colin Gillen

MIXTAPE: Gangstagrass’ Standard Setters

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As purveyors of genre crossing, we like to recognize standouts within a genre that innovated simply by epitomizing a sound with particular skill: tracks that demonstrated what virtuosity could do within a genre, that pushed the genre to new heights (or at least new places) for us, tracks that maybe we used to judge what came afterward. We could list a lot of classics, but this list is really about the tracks that were the standard setters for each of us personally, making a mark in how we thought about a genre or sound. For our Mixtape, we selected a few songs and described the impact the tracks made. — Gangstagrass

Flatt & Scruggs – “Foggy Mountain Special”

Earl’s fast, regular picking in songs like “Foggy Mountain Breakdown” made his three-finger rolls, like the Foggy Mountain roll, iconic. But this heavily-swung tune, while not a slow song by any standard, really explores the bluesy side of bluegrass banjo. The syncopated banjo kick, with the band entering on the second beat, throws off the listener’s perception of time. The main lick itself deserves to be as iconic as any fast-flowing Scruggs roll. And that solo! From the single-string bends to that chromatic octave line, Earl knows to keep playing it just a little bit longer. You couldn’t go back and redo any part of this any better, not in a hundred years. They nailed it.

Norman Blake and Tony Rice – “Little Beggarman/Gilderoy”

Tony Rice sounds his best on duo albums, whether it’s with country superstar Ricky Skaggs on a journey to reconnect with his bluegrass roots, or songster Norman Blake, whose clear-as-a-stream picking and earnest vocals are augmented by Tony’s unparalleled rhythm work and rich baritone. On this instrumental track, guitar and mandolin trade breaks and, unusually, trade tunes. Because they’re both in A, with similar chords and melodies, you almost don’t notice the transition, except that the tune Blake plays on mandolin is minor, while Tony’s guitar tune is major. It’s a beautiful, subtle effect that showcases both artists and enhances the sound of each instrument.

The Steeldrivers – “Ghosts of Mississippi”

Before Chris Stapleton was Chris Stapleton, he was in a band called the Steeldrivers. The mainstream music audience has rightly picked up on his powerful vocals and formidable songwriting, but arguably his best work has been with this band that gave him a perfect setting. From the smoldering growl of the banjo to the searing whine of the fiddle, the sound has not been surpassed by either Stapleton’s pop work or by any other bluesy bluegrass band. This track in particular sets the bar, serving up equal parts groove, emotion, and one hell of a catchy melody.

Béla Fleck and the Flecktones – “Hole in the Wall”

The Flecktones represent Béla’s furthest ventures outside traditional bluegrass, and this late track on their second album, Flight of the Cosmic Hippo, is a representative example of their early sound. Of note, Howard Levy’s keys get more room than on most other tracks which tended to feature more of his admittedly superlative harmonica work. Near the end, there’s enough sonic buildup to justify a fantastic extended banjo solo with fluidly shifting time signatures and tonalities. Banjo players who have tried to emulate this piece will have noticed that, like many Béla tunes, it centers around a particular lick, in a particular nonstandard key, played in open G tuning. But as with magic, sometimes understanding the trick doesn’t make it any less exciting to see it performed right in front of you. — Gangstagrass

Pharoahe Monch feat. Black Thought – “Rapid Eye Movement”

Every now and then there’s a collaboration that you just know is going to be dope just by the parties involved. “That’s what I figured when I saw these two MCs on a track from Pharoahe Monch’s 2014 album P.T.S.D. I wasn’t prepared for HOW DOPE, however,” says R-SON. Pharoahe Monch drops bars about being in a relationship with his ammunition and then filing for divorce and releasing his “ex-calibers.” Not to be outdone, Black Thought starts his verse with the last two lines of Pharoahe’s and goes on to “send shots to ancient Greece to pop Socrates.” Black Thought’s line “the ex-slave sado-masochist/who gave massa my ass to kiss” is, as R-SON puts it, “just another example of Black Thought’s conscious swagger that laces every verse that he blesses a track with.”

Black Star – “Thieves in the Night”

Mos Def and Talib Kweli came together on the Black Star album and created gems but this was the standard for R-SON. Their distinct flows built two very different parts — Kweli’s recounting what his man Louis said and thought and how those thoughts affected Kweli. Mos Def’s verse, on the other hand, had a breakdown of the hook where he responded to the things said in it. The song ends with one of the great lines in the genre’s history: “I give a damn if any fan recall my legacy, I’m tryina live life in the sight of God’s memory.” R-SON notes that “in my younger days the song brought tears to my eyes and I’m happy to say that it still does.”

Mos Def – “Mathematics”

We cannot think of another time when someone counting from 1 to 10 (Dolio the Sleuth on “Ain’t No Stopping” aside) has had more meaning. Mos raps, “5 dimensions, 6 senses, 7 firmaments of heaven and hell, 8 million stories to tell, 9 planets keep orbit around the probable 10th, the universe expands length….” He continues his “…numbers game, but shit don’t add up somehow,” speaking of the number of bars he has to do what he does, and the minimal amount of money he gets from it all. “6 million ways to die for the 7 deadly thrills / 8-year-olds getting found with 9 mils / it’s 10 p.m., where your seed, he’s on the hill/….pumping crills to keep they bellies filled.” His word (and number) play is immaculate.

UGK – “Int’l Players Anthem (I Choose You)”

A seminal “posse cut” that unites two legendary duos of Southern hip-hop, UGK and Outkast, exhibiting four distinct flows and approaches to the subject of being a “player.” Each emcee delivers a memorable verse complete with the stunning street poetry they’re known for, with cadences that ride the beat (or the lack of beat, in the case of Andre 3000’s intro verse) that samples heavily from Willie Hutch’s “I Choose You” from the soundtrack of 1970s Blaxploitation flick, The Mack.

Ralph Stanley and the Clinch Mountain Boys – “Nobody’s Love Is Like Mine”

Rench was listening to 1970s-era Clinch Mountain Boys when he started putting Gangstagrass together as a sound. There’s been a good deal of attention to the Stanley Brothers, but the sound was developed and refined to a new level with the addition of Ricky Skaggs and Keith Whitley. The vocal harmonies are tight and the full string section is on point in a way that epitomizes the best of classic bluegrass sound.

Stuff Smith – “Serenade for a Wealthy Widow”

Stuff Smith is one of the few truly iconic jazz fiddlers. His style is on Charlie Parker’s level. “In an alternate reality, where we weren’t so hung up on jazz’s horn players, I feel Stuff would have been one of the fathers of bebop,” says Brian. Stuff’s style pulls from such a diverse array of influences, from Stéphane Grappelli to the Western swing fiddlers like Bob Wills. The gruffness of his tone and clarity of his lines point to the meld between the character of string band/blues fiddlers players before him like Clifford Hayes and Robert Roberson, and the progressive harmonies that took over jazz after bebop. Stuff is the perfect example of harmonic personality over the harmonic intellectualism that followed. “This track is one of the more off-beat compositions that I love to surprise folks with,” Brian adds.

Slam Stewart – “Oh Me, Oh My, Oh Gosh”

“I feel much the same way about Slam as I feel of Stuff; his musical voice is synergistic of the eras before and after him,” Brian says. The way he rides the rhythm comes from an era of bassists mimicking the sound of tubas in marching bands, indicative of players like Bill Johnson, Wellman Braud, and Pops Foster. His style foreshadows others like Jimmy Blanton, Oscar Pettiford, and Ray Brown with their strong solo personalities. This tune is a favorite; it’s a slick lyric and showcases what Slam can do on all fronts.

Outkast – “Rosa Parks”

This one came out of left field in 1998 — when Southern rap was growing into national attention — and planted a flag with the trademark quirkiness of Outkast style, including a harmonica breakdown in the middle of the song. Their fast-flow style is undeniable and surgical here, while their unabashed Southern drawls in this radio hit opened the floodgates for Southern hip-hop to start dominating the charts.

Wilson Pickett – “Hey Jude”

This has a lot to do with the way the Swampers in Muscle Shoals epitomized the soul sound of the ‘60s in the best way, but this track in particular pushed boundaries by including what would later become familiar Southern rock sounds, courtesy of a young Duane Allman. Of course, the wicked Mr. Pickett kills it with a prime example of soul vocals just owning the track.

Photo credit: Sean Aikins

Old Settler’s Music Festival 2019 in Photographs

Posted on by Justin Hiltner

We’ve loved Texas’ Old Settler’s Music Festival for years now, with their carefully curated lineups steeped in roots and peppered with bluegrass, folk, and Americana. We even filmed a handful of Sitch Sessions (with Earls of Leicester, Sierra Hull, the Hillbenders, and David Ramirez) on site a few years back. This year, BGS photographer Daniel Jackson was on hand to capture all of the Old Settler’s magic so that you can relive last week’s festival in photographs.

All photos by Daniel Jackson

Get Off Your Ass: November Cometh

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Shovels & Rope // The Fonda // November 2

Paper Bird // Bootleg Theater // November 3

Jared & the Mill // The Satellite // November 4

Joan Baez // Walt Disney Concert Hall // November 5

Robbie Fulks // McCabe's Guitar Shop // November 6

Jonny Fritz // El Rey // November 10

Sean Hayes // The Satellite // November 10

James McMurtry // Troubadour // November 11

Erykah Badu // Memorial Coliseum Exposition Park // November 13

Sturgill Simpson // The Wiltern // November 15-16

Amanda Shires // Echo // November 17

Kris Kristofferson // The Rose (Pasadena) // November 17

Loretta Lynn // Opry House // November 1

Chicago Farmer // The 5 Spot // November 3

The Steeldrivers // Opry House // November 4

Kelsey Waldon // Station Inn // November 5

O'Connor Band // City Winery // November 7

The Stray Birds // Station Inn // November 9

Madeleine Peyroux // City Winery // November 10

Radney Foster // City Winery // November 12

Darrell Scott // City Winery // November 19

Boo Ray // The 5 Spot // November 19

Will Kimbrough // The Bluebird Café // November 26

Vince Gill // Ryman Auditorium // November 30

Ryley Walker // Villain // November 3

Chatham County Line // Rockwood Music Hall // November 4

Mipso // Rough Trade (Brooklyn) // November 5

Toshi Reagon // Joe's Pub // November 6

Brandy Clark // Mercury Lounge // November 11

The California Honeydrops // Bowery Ballroom // November 13

Charlie Parr // Rockwood Music Hall // November 14

Hiss Golden Messenger // Music Hall of Williamsburg // November 15

Lydia Loveless & Aaron Lee Tasjan // Bowery Ballroom // November 16

Margo Price & Sam Outlaw // Music Hall of Williamsburg // November 16

Infamous Stringdusters // Brooklyn Bowl // November 18

Chely Wright // The Bell House (Brooklyn) // November 29

ARTIST OF THE MONTH: The SteelDrivers

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Rounder recording artists THE STEELDRIVERS are back this month with a brand new record, Hammer Down (one that’s already been hailed for it’s ‘masterful playing’ by everyone from GAC to NPR…), and with it, a new lineup and invigorated sound.  CHRIS MATEER got the scoop from our latest ARTIST OF THE MONTH…

[GIVEAWAY: The first five readers to email The Sitch will receive an exclusive copy of Hammer Down courtesy of Rounder Records!]

 

A lot has happened to the SteelDrivers since the 2010 release of Reckless, specifically the departure of Chris Stapleton and the addition of Gary Nichols, as well as the departure of Mike Henderson and arrival of Brent Truitt.

Tammy Rogers: Yes, a lot has happened since 2010, but we are just happy to be able to continue to play the kind of music we all love! We have been able to go out and tour, take the music to our fans and win them over with the new line-up. Now that the new cd is out, it feels like the final piece is in place.

Can you talk about Chris Stapleton’s departure? How and when did that happen and what was the plan for the SteelDrivers to move forward?

Tammy: Chris left the band at the end of 2009. He did a show or two at the beginning of 2010 as we were transitioning to Gary. Initially, I didn’t think we should try to find a voice that was similar to Chris’. The whole premise of the band had always been to allow everyone to be unique and individual, so it seemed contradictory to our original intent to try to find a ‘copy’ if you will, of Chris’s sound.

When Janet Henderson stumbled across Gary’s website and heard his voice, it was remarkable! Gary just naturally has a gravelly, soulful kind of voice, so it was an amazing thing to have him show up and start singing with us! The transition was so much smoother than I ever thought possible. I really thought for a while that we should go in an entirely different direction. Fortunately for us, we didn’t have to.

How and when did you connect with Gary and Brent? What was it about Gary and Brent that made you realize these two were the perfect fits for joining the SteelDrivers?

Tammy: Gary joined the band two years before Brent came on board, so he had really established himself in the band by the time Mike Henderson left. The addition of Brent was easy in that he had actually gone out and subbed with the band in 2009. So, he knew a lot of the material already.

Both of these guys had played a lot of different kinds of music and had an ear for things outside the traditional bluegrass world so I think that made them the perfect fit for the band as much as anything. It didn’t hurt that Brent and Richard had spent about 10-15 years together in a band called the Cluster Pluckers!

Gary and Brent — Can you each describe your previous musical experiences before joining the SteelDrivers?

Brent Truitt: Mine goes back to age 12 when I first started playing. Both my parents played old time country music and sang duets. My grandad was an old time fiddler. Dad played guitar and Mom played piano in our tiny country church. She also taught me how to sing harmony at a very young age. I think I was around 6 or 7 years old?

From there I went on to play in regional Midwest bands and pretty much toured in the summer months and on weekends from age 13. Jump forward several years to 1984 when I moved to Nashville. Since then I’ve played with everyone from John Hartford and Vassar Clements to Dolly Parton and The Dixie Chicks. I’ve circled the globe many times playing music… very dadgum lucky!

Gary Nichols: This is a long one, I will try to keep it short. I began playing guitar when I was a toddler, started taking guitar lessons and joined my first top 40 country band at age 6. I remember the first gig making $25 for singing and playing 3 songs. After leaving that band at age 9, I started singing in church and started a band with three other 8 and 9 year olds at Maranatha Bible Fellowship. At 14, it was back to top 40 country band with a mixture of southern rock, blues and funk covers. After a couple years with that band, ‘Young Country’, I joined up with my mentoring uncle, Larry Condrey and best friend Jamie Cook (now drummer of the Black Lillies).

A few years later at the age of 21, I started a southern-funk band Gulliver and signed a publishing deal with Muscle Shoals, Alabama’s FAME Recording Studios/House of FAME Publishing. It was this contract that led me to a handful of cuts as a writer and then landed my very own solo country music record deal with Mercury Records.

After having some success with a top 40 single and CMT Top 20 video for my song ‘Unbroken Ground’ and being featured in EA Sports NASCAR ’07 with rocker ‘Going Fast’ (co-written by John Paul White), I came back to Muscle Shoals to focus on writing, producing, and being a father before joining The SteelDrivers.

When you each joined the band, what were your expectations?

Gary: My only true expectations were to perform and create music I loved and have a great time doing it. It has been truly a blast and so much more fun than I ever envisioned.

Brent: There were no surprises for me at all. I already knew most of the band and had been close friends with Bailey since we were kids. Plus, I had subbed for Henderson a good bit when Stapleton was in the band and some with Gary too. I knew I was gonna like G-Ray immediately. He’s such a talented dude and keeps us laughing pretty much all time… except in the mornings before coffee.

I knew it was gonna be fun and fairly smooth sailing. Everybody in the band was already a seasoned road dog with years of experience in dealing with the rough travel and all the challenges that can pop up.

What have been some of your most surprising experiences after joining the band?

Gary: It has been a pleasant surprise to me that the younger generations are enjoying authentic music, without all the bells and whistles. I have noticed this not only with The SteelDrivers but The Lonesome River Band, Blue Highway, The Black Lillie’s, The Civil Wars, Jason Isbell, Larry Cordless, Josh Williams, Hot Rise and so many more wonderful bands.

Brent: In 2012, I was not only the new guy, I was the guy and replacing the man who put the band together! Someone I have so much respect for and someone who was so different from me musically. Henderson is one of the best slide players alive, and I make cat death sounds when I try to use a slide.

My big and very real concern was what the fans would think and how they’d react to this missing ‘slide resonator’ link! So I guess my big surprise was the way the SteelHeads (our hardcore fans) took to me right away and seemed to be digging’ the new sound so quickly. They were very welcoming right off the bat.

When Gary and Brent joined the band, what were your expectations? Any surprises?

Richard Bailey: When Brent joined the band, I knew exactly what to expect. We had played in a band together for 14 years. I knew what a great musician he was. I knew he’d been around the world and was easy to travel with, and that he had a great business head. He’s an old friend and we were lucky to get him out of his studio and back on the road.

Gary was an unknown quantity. I expected him to be a pro, since he’d had a record deal. What I didn’t expect was how good he is. He had a lot of pressure at the beginning and he handled it with grace and humor. I didn’t know how funny he is, and how he would come to own it on stage. And what an awesome picker he is.

How does writing/ playing/ performing/ recording within the SteelDrivers influence each of you as a collective, as well as individually?

Tammy: I think playing in a band like the SteelDrivers allows all of us an amazing amount of creative freedom. It truly is a band in the sense that everyone has a say in the songs and arrangements that we choose to play and record. It is the old ‘strength in numbers’ concept! For me personally, being in the SteelDrivers has really elevating my playing and singing. I am challenged all the time to play better and sing more emotionally than ever before.

How has Gary and Brent joining the band enhanced the work of The SteelDrivers?

Tammy: The addition of Gary and Brent has certainly changed the sound of the band. I don’t think it has necessarily changed the direction or goals of the band. We still want to feature original music with a blues/soulful base, played with acoustic instruments that feature strong 3 part harmonies.

Gary is a really inventive guitarist so we have definitely incorporated more guitar parts into the arrangements. Likewise, Brent is a very melodic mandolin player so I think we feature more instrumental work throughout the band now than we ever have. Gary’s songwriting is also taking the band into some new territory and that is pretty exciting for all of us. I have always thought that each project should continue our creative journey.

I’m not really interested in putting out the same music over and over again. I think Hammer Down takes us to some new places and hopefully our fans will go with us! I hope we will always continue to grow and evolve as a band.

You have been playing together for a while before beginning work on a new record. Can you talk about how the chemistry developed and when the band felt like a refreshed unit?

Mike Fleming: We had been playing at least half of the songs for a couple of years before we recorded them. The others fell into place a month or so before the recording. When Mike Henderson left, we asked Brent Truitt to step in. He had already performed with us in the past and knew our repertoire. After a few months we noticed that there was going to be a musical expansion with the instruments. Brent started taking leads where there weren’t any before.  And then Gary started doing to same thing. It has brought new life to the old songs.

How and when did you begin work on material that would become the new record?

Mike: The new material began to flow a couple of years ago. It always starts with one of the songwriters saying “I have this idea” or “Listen to this”. The nice thing is everyone gets to develop this idea for the song.

Did you have a set vision for the new album?

Mike: Not really. We feel that the SteelDrivers are about a mix of musical elements that has been dubbed ‘bluesgrass’ or ‘rhythm & bluesgrass.’  We like that our content has been called “Uneasy Listening”. But we know that when you have two personnel changes the music will change some also.  And as artists you want to keep evolving, because there is not much enjoyment in repeating the same thing.

Did you feel any pressure with this one?

Mike: Sure. You only hope that people like yourself will listen to our new offering and review the music on its own merits.

Gary: We came together as a band and listened to songs that Tammy and I had written as well as some Henderson and Stapleton tunes. When we knew we had the nest group of songs for this album, we took them on the studio, pressed record and drove some steel until we had a great take or a broken string!

Can you discuss your songwriting processes, both musically and lyrically. How do these culminate and/or influence each other?

Gary: Usually I have an idea sheet with random lyrics, titles or partial ideas. Then when in the room alone or with a co-writer, I hash through the ideas wile playing whatever music hits me at the time. Eventually I find a combination that works and we write it as if it is our last song ever to write!

What were you listening to during this time of writing and recording that was significantly inspiring and/ or influential?

Gary: I listened to the first two SteelDrivers albums, as well as Larry Cordle, and a ton of random blues music.

Richard: I guess “I’ll Be There” turned out to be a breakout tune for all of us. It kind of reminds me of “Sticks That Made Thunder” from the first album, in the sense of being so different, yet fitting the band, and the set of material we chose for the album. “Burning the Woodshed Down” was a challenge in the sense that the banjo went back and forth between and old-timey feel and a melodic approach.

Can you discuss your intentions behind the recording processes of the album? What were your goals sonically, and how did you work to accomplish these?

Brent: I’m not sure we had a bunch of intentions other than bringing in awesome songs. That’s what The SteelDrivers have always been about anyway. Those killer songs that grab you right away and don’t turn loose for a long time. We’re really fortunate that TK and G-Ray are great writers themselves and that Mike and Chris were still contributing to the SteelDrivers as writers.

As far as recording, we did a lot of the album live, except for an overdub here and there. TK added some strings and cello on ‘I’ll Be There’. I added a few parts at my studio also. Most of the songs I kept my tracking parts. There were a couple songs where I wasn’t happy with my tracks so I fixed ’em! On ‘I’ll Be There’, I got a little odub happy, adding a couple of octave mando parts and layers. That song is so haunting and heavy with vibe that we had to get in there and layer it up a bit.

In terms of The SteelDrivers’ discography, which aspects would you say Hammer Down possesses that connects it most to the self-titled album and Reckless?

Richard: The song themes, the vocal blends, and musical approach, in the sense that musically, we’re trying to serve the song are all components from the first two CDs.

Which elements do you believe set Hammer Down most apart from the other albums?

Brent: With two new band members, Hammer Down was automatically set apart from the previous SteelDriver projects before it was even recorded. As someone who produces records for a living, I’ve helped a lot of bands go through lead singer/band member transitions and the making of a ‘next record’.

My advice to those clients has always been to retain the vibe and what was good from the old sound, but don’t try to hide what the new members do. Embrace your brand new sound, put it right out front and roll on.

What’s next for The SteelDrivers in 2013?

Brent: Well, we just did an awesome music video for ‘I’ll Be There’ directed by Dycee Wildman and filmed by Chris Durai. I’m announcing here, that my good friend Nora Jane Struthers is our lead actor in the video and she did a spectacular job! I cannot wait for everybody to see this video.

We also just got a new website pulled together with Bob Delevante at the helm on design. It has all been so busy, I’m not sure what is all lined up for 2013. I know we’re hitting the road pretty hard in February and March to support Hammer Down.

We do have a bunch of great festivals coming up this year which you can see on our website. And honestly, it’ll be time to start thinking about writing and getting more songs together soon. Even though Hammer Down was just released!