Tag: Thomm Jutz

The SteelDrivers Celebrate 20 Years, Usher in New Chapter With ‘Outrun’

Posted on by Justin Hiltner

With four lead vocalists, seven studio albums, one GRAMMY Award to their name, and countless fans won over, The SteelDrivers have been one of this century’s most consistent and trailblazing bluegrass bands. That longevity can be credited to three things – the strength of their catalog of all-original songs, their collective precision picking, and the family atmosphere the band has cultivated together since forming in 2005.

Despite not joining forces until then, banjoist Richard Bailey says he’s known bandmates Tammy Rogers (fiddle) and Brent Truitt (mandolin from 2012 to present) since they were teenagers. His first run in with Mike Fleming (bass) and Mike Henderson (mandolin 2007 to 2011) came not long after during a college ski trip, with the group remaining close ever since. In the early 2000s Bailey relocated to Nashville from Memphis and reconnected with Henderson, regularly joining him at the Station Inn during Sunday night bluegrass jams and setting the foundation for what would eventually become The SteelDrivers. Then one day Henderson rang him up and was glowing about a young kid he’d just started writing with named Chris Stapleton who was wanting to play a little bluegrass.

“We eventually got together at his house and nobody knew Chris except for Henderson,” Bailey tells BGS. “We rehearsed a few bluegrass standards and then Chris began singing and Tammy, Mike, and I all looked at each other and went, ‘damn!’ I remember asking if the song he sang was an old Stanley Brothers tune and he said that it was actually one that he wrote.”

By that point, Henderson and Stapleton had already been penning songs together for a few years, with one of their most notable co-writes to that point being “Higher Than The Wall” from Patty Loveless on 2003’s On Your Way Home – a full seven years before The SteelDrivers eventually cut it on 2010’s Reckless. With their songwriting prowess already well established, the band opted to lean all the way in, keeping to the pattern of only recording songs crafted by them. Early on that mostly consisted of songs from Stapleton and Henderson, but has extended to all of the band in the years that followed, with Rogers writing the entirety of 2020’s Bad For You and the band’s newest member, Matt Dame, contributing songs for the first time ever on the group’s latest effort, Outrun.

“Starting with our very first record we determined that we were only going to play original music and we’ve never wavered from that,” explains Rogers. “It’s always been when you come to see The SteelDrivers that you’re not going to hear an updated version of ‘Little Cabin Home On The Hill’ or a modern country song done bluegrass style. There’s nothing wrong with any of that, but the whole point of the band originally was two songwriters coming together – Chris Stapleton and Mike Henderson – and everything else grew around that.”

That persistence of sticking with original material doesn’t only extend to The SteelDrivers recorded catalog, though. As Rogers points out, you’ll also be hard-pressed to hear any covers during the band’s live show. Per Bailey, the only such instance came during their televised Grand Ole Opry debut in 2008 when Charlie Daniels joined them on stage for a sing along to Flatt & Scruggs’ “I’m Gonna Sleep With One Eye Open.”

However, the band has regularly employed and worked with writers outside the group to craft songs centered around what Fleming describes as “uneasy listening music where bad things happen to good people.” This includes the likes of the venerable Verlon Thompson (“Booze And Cigarettes”), George Strait, Martina McBride, and Pam Tillis collaborator Leslie Satcher (“Outrun,” “Bad For You”); and German-born Thomm Jutz (“I Choose You,” “Cut You Down”), with whom Rogers has written over 140 songs (and counting).

“We’re fortunate to have always had wonderful songwriters in the band no matter who the membership was,” clarifies Fleming. “As it’s morphed through different CDs and personnel the strength of the songwriting has never wavered. Our goal has always been to serve the song, no matter who is singing it.”

Regardless of who’s been writing – or singing the songs for that matter – the band’s impeccable storytelling and bluesy grit has never faltered, even when lineup changes shook the band to its core. The first of those came in 2010 when Stapleton left to begin pursuing his solo career – a move that has resulted in him becoming not just one of the most well known country singers, but one of the most renowned vocalists of any genre globally. Henderson followed a year later, with Gary Nichols and Truitt stepping in to fill each of their shoes, respectively.

“I would’ve loved it had Stapleton never left the band – I mean who doesn’t want to be in a band with Chris Stapleton?” Rogers continues, “But when he left we had to make the decision of do we keep going or do we stop, because it wasn’t going to continue the same way that it had before. It wasn’t even a choice to me, though – I wanted to keep playing. To me that was better than no SteelDrivers at all.”

With two of their founding members gone, the band set out to prove they could still create bluegrass bangers and it didn’t take long for their efforts to pay off. Five years into their new look lineup The SteelDrivers won their first GRAMMY Award, taking home the honor for Best Bluegrass Album with The Muscle Shoals Recordings at the Academy’s 58th annual gathering in 2015. According to Rogers, the GRAMMY completely changed the band’s trajectory and continues to have a positive impact over a decade later.

“There’s been a lot of discussion in recent years about the validity of the GRAMMYs, but for us the recognition from the Academy has been a game changer,” states Rogers. “There’s a huge difference between being GRAMMY-nominated and a GRAMMY winner. For us, we were suddenly validated and were able to play bigger shows and venues that wouldn’t have considered or booked us prior to winning.”

In addition to validating their decision to keep pushing on, the band’s success post-Stapleton has also proven that they excel at finding new vocalists with their own distinct styles and vibrant storytelling to fill the void. First it was the funky, bluesy, and soulful sensibilities of Nichols. After him came the rock ‘n’ roll energy and piercing holler of Kelvin Damrell – who Rogers described as “the highest pitched singer of anyone we’ve had in the band.” He’s the only Kentuckian other than Stapleton to ever be in the band and sang lead for over three years – including on 2020’s Bad For You – prior to stepping aside in the summer of 2021.

It was then that the band recruited Matt Dame, solidifying the lineup they still have today. While each of the four singers have their own sounds, Rogers says there’s also plenty of characteristics that tie each of their eras together. “We figured out early on that it’s not about finding someone who sounds like Chris, but finding someone with a soulful, gravely, raspy and bluesy quality and letting them put their own spin on things,” says Rogers. “Aside from looking for those attributes we’ve never asked anyone to sing a certain way. Even though they sound similar, within two seconds of listening to a song I can tell whether it’s Kelvin, Chris, Gary, or Matt singing. They’re all distinct in my mind.”

Arguably even more impressive than the band’s success and consistency in sound through its different chapters has been their knack for continuing to make cutting edge bluegrass music with singers not steeped in bluegrass history with voices that generally “don’t fit” the traditional blueprint. From Stapleton on, the band has gravitated toward gritty blues and southern rock more than anything else. They’re comfortable at the confluence of electric and acoustic sounds, with one foot firmly planted in the past and the other stirring up dust and turning heads as it propels string band music into a completely new dimension.

“Chris Stapleton was not a bluegrass singer,” insists Fleming. “He was more of a blues singer, but the arrangements were always with bluegrass instruments. As a result, our propensity was to go toward playing bluegrass, but we never shied away from a song we thought we might not be able to play. For instance, ‘Midnight Train To Memphis’ from our first album was a bluesy rock ‘n’ roll number that Richard Bailey messed around on with on banjo one day. We have these bluegrass instruments, but we’re not confined to exclusively playing that way as long as we’re serving the song.”

Much like they’ve always served the song, The SteelDrivers’ fans have served them well in return, sticking by their side and continuing to buy tickets and albums through the years as the group has weathered changes in their lineup and sound. It’s led to an unprecedented run of success that Rogers jokingly compared to another bluegrass great.

“It’s almost the Ralph Stanley model,” she jokes. “After Carter [Stanley] passed away he had Larry Sparks, Roy Lee Centers, and Keith Whitley join him. It was a great line of singers that followed, all of whom embodied that Carter Stanley sound. We’ve also had several incredible vocalists with their own styles come through the band that we’ve been able to have success with by honing in on a singular sound together.”

The latest person the band brought in to hone in on that sound, Matt Dame, is a longtime Nashville songwriter and session player who joined in 2021 after a referral by friend and esteemed writer Gary Baker (John Michael Montgomery, Alabama, Lonestar). A couple rehearsals followed and by the end of July he was out on the road playing his first shows with the group. Having worked behind the scenes in the music industry for nearly as long as The SteelDrivers had been around, the move to performing in front of large crowds night in and night out was a big adjustment for Dame, but one he quickly found himself falling in love with.

“You do anything for 15 or 20 years and it becomes your comfort zone,” admits Dame. “I really enjoyed the session world, but it’s a lot different. Now I get a realtime reaction to what I do – there’s no stopping to go live again because you were flat. What I’ve loved most from our shows is the crowd singing the songs back to us, which can really carry you along.”

“There’s never a spot where you lose the audience or feel the need to kick into ‘Wagon Wheel’ to get everyone singing again, because the body of original work is so strong. It stands tall on its own,” he continues. “That speaks more to the power of the song than of any one vocalist, which says a lot because the band has had some incredible singers through the years. I’m just hanging on and trying to put my own spin on things.

“We’re all different, but one way we’re all the same is we all can deliver the songs in our own way that’s very believable. It sounds like somebody’s really living what they’re singing, not just going through the motions.” Even having been on the outside looking in for so long, Dame says that it’s hard to ignore the formidable nature of The SteelDrivers’ songwriting catalog, one that he’s thrilled to finally be a part of on Outrun – the band’s first project on the famed Sun Records (and also the label’s first bluegrass album). The record is his second with the band following 2023’s gospel project, Tougher Than Nails, that saw him only singing and playing guitar. Now, on his second go-round, he integrates himself even further, helping to write the songs “On My Way,” “Emma Lee,” and “Rosanna.”

“It was a really cool feather in my hat to be able to write some songs for this album and getting to do it on Sun Records is like the icing on the cake,” he exclaims. “I’m a huge Elvis fan and growing up in Arkansas listened to Johnny Cash all the time, so my eyes lit up when I heard we’d be their first bluegrass album ever.”

In addition to featuring the co-writes from Dame, Outrun also sees the band paying tribute to Henderson, who died unexpectedly from a pulmonary embolism in September 2023 – mere weeks after the release of Tougher Than Nails – with cuts of his songs “Prisoner’s Tears” and “Painted And Poison.” Although he hadn’t played with The SteelDrivers since 2011, his loss shook the band, which Rogers calls him the architect of, along with the entire bluegrass and country worlds.

“We knew we wanted to honor him in some way, which is what kickstarted talks for this new record and led to our shortest cycle between records yet,” confides Rogers. “In addition to recording two of his songs on it we’re also planning to have a slideshow commemorating him and 20 years of the band on some of our tour dates later this year.”

It’s tough enough to survive as a band for two decades when everything is going right, so it speaks volumes for The SteelDrivers making it as long as they have with all the obstacles that have gotten in their way. At the same time, the group’s unrivaled level of talent – both on their respective instruments and with their insatiable songwriting – have more than cemented their place in the bluegrass and American roots music zeitgeist for generations to come. For Dame, it’s a legacy that’s equally intimidating and exciting to be a part of.

“Professionally I’ve grown, because I’m doing something that’s new to me, but also because I’m doing it surrounded by a band where everybody does their parts with excellence,” he reflects. “If you don’t carry your weight it’s really going to be noticeable, which has pushed me to be better with everything that I bring to the group.”

Photo Credit: Glenn Rose

LISTEN: Martin Simpson & Thomm Jutz, “Come All You Fair And Tender Ladies” (feat. Cara Dillon)

Posted on by Justin Hiltner

Artist: Martin Simpson & Thomm Jutz
Hometown: Sheffield, England & Nashville, TN
Song: “Come All You Fair And Tender Ladies” (featuring Cara Dillon)
Album: Nothing But Green Willow: The Songs Of Mary Sands And Jane Gentry
Release Date: September 29, 2023
Label: Topic Records

In Their Words: “‘Come All You Fair And Tender Ladies’ is one of the most hauntingly beautiful songs that I know. It is one of the better-known songs from the Sharp collection that is still sung on both sides of the Atlantic. Depending on where it is sung and by whom, different shades of meaning are illuminated – only a truly great song has this quality. We ran through this song twice in Cara’s kitchen, then headed upstairs to her studio and recorded it in one take. I have been a fan of Cara’s singing for a long time. Playing this song with her and Martin Simpson, one of the greatest guitarists on the planet, has been a highlight of my musical life.” – Thomm Jutz

“I’ve long considered that ‘Come All You Fair And Tender Ladies’ was one of the brightest jewels of Anglo-American folk songs. It has a bitter lyrical intensity and an exquisite and poignant melody which serves it so well. This setting and performance was the work of no time in recording terms, but it is three lifetimes worth of musical and personal experience, which allowed it to be captured with such ease. I loved working with Thomm on Nothing But Green Willow, and Cara Dillon is simply one of the finest singers of traditional song, as she demonstrates here.” – Martin Simpson

Photo Credit: Booney Crawford

Tim Stafford & Thomm Jutz Excavate the Stories of Appalachia on ‘Lost Voices’

Posted on by Editor

Tim Stafford’s 97-year-old mother, Bernice, still saves newspapers—big stacks of yellowing back issues, should she ever need to retrieve some scrap of local intel. She will clip the occasional notice from those aging pages and dispatch them to her son Tim Stafford, too. The Blue Highway cofounder and former member of Alison Krauss & Union Station now lives 40 miles south of his Kingsport, Tenn., hometown.

Late in 2021, Bernice didn’t even need to cut and post. Instead, she simply handed him a recent series from the Kingsport Times News and pointed at Kinnie Wagner. An Appalachian outlaw, Wagner ran off with the circus, ran moonshine for a sheriff, and repeatedly ran away from jail after killing multiple cops nearly a century earlier. The saga might be a song, Stafford thought, but Bernice just wanted her son to know he was also a dashing folk legend.

“He was this self-styled ladies man. Have you seen pictures of him, that Harry Houdini haircut?” Stafford, 62, says, laughing from his home outside of Greeneville, Tenn. “She wanted to let me know that her grandmother thought he was the stuff. He was a local hero.”

Despite a master’s degree in history from nearby East Tennessee State University and a lifelong enthusiasm for Appalachian lore, Stafford had never heard of Wagner. As he began to ponder the renegade, complexities emerged—his deification by disenchanted locals as a Robin Hood acolyte whose funeral was allegedly attended by 10,000, his vilification by locals who had lost family members to a murderer, the gray area in between. “In the ’20s, before mass media, it was easy to build up this myth,” Stafford says. “But good or bad, it’s the sort of thing that needs to be preserved. His story was definitely a lost voice.”

“The Ballad of Kinnie Wagner” is now an early standout on Lost Voices, an absorbing debut LP written and recorded alongside Nashville songwriter Thomm Jutz. Above darting banjo and pensive fiddle, the pair relay a first-person synopsis of Wagner’s deeds and misadventures, ending on twin notes of resignation and redemption.

That sense of sympathetic storytelling indeed shapes most of Lost Voice’s 14 tales, from a barnstorming Black baseball team in the Appalachian foothills to the region’s amateur physicians and midwives who healed with home remedies passed among generations and neighbors. Lost Voices is a thematically sprawling bluegrass record, reaching across multiple decades, disparate traditions, and far-flung regions to offer cautionary and sometimes complicated accounts alongside songs of hopeful redemption. Think of it as Howard Zinn’s hidden American histories meets Wilma Dykeman’s ethnographic Appalachian books, bound by an unfailingly poised melodies.

“Bluegrass is all about sad stories, morbid stories—murder ballads, you know?” Stafford says. “But one thing I have learned is that there are very few topics that can’t be songs. And some of the ones we have written are pretty far out.”

Jutz may, at first glance, seem like an unlikely writing partner for these songs of the rural South. Born in 1969 in Germany’s southwest corner, not far from the Swiss and French borders amid the Black Forest, he is a classically trained guitarist. But a 1981 television performance by Bobby Bare captivated him, prompting an obdurate interest in country and its kin.

“The allure of this music is that it lives in the past and present at the same time, but it’s almost easier to learn about it if you look to the past,” says Jutz, 53, between classes at Nashville’s Belmont University, where he teaches songwriting. “But I didn’t live in an environment where that was around me, so I had to find it in literature and music. So I’ve always been interested in American history.”

In 2002, Jutz landed a “diversity visa” and emigrated to Nashville a year later, soon pulling triple duty as a producer, touring guitarist, and songwriter. The tunes seemed to pour out. After meeting The SteelDrivers’ Tammy Rogers at a Music City industry soiree in 2016, for instance, their regular writing sessions yielded an astonishing 140 songs before the pair finally released a dozen last year.

He found an even faster rhythm with Stafford, especially after most cowriting sessions reverted to Zoom during pandemic lockdowns. Stafford had played on Jutz’s sharp 2016 solo debut, Volunteer Trail, but their work together first trickled in, with maybe five songs finished during Stafford’s occasional sojourns west to Nashville. During the pandemic, Jutz used the break from touring to earn a graduate degree in Appalachian Studies from Stafford’s alma mater. They’d meet several times a week online and talk about stories they’d recently learned, two regional history buffs swapping new finds. They’ve now finished more than 100 songs together, each an attempt to give volume to one of these so-called lost voices.

“We’d catch up a little bit first: What’s been happening since last week? What have you been reading? Guitars, whatever,” remembered Jutz. “But we had this running list of titles, concepts, and scenes we wanted to write about, all distinctly American. Our cowriting sessions are expensive—we always end up buying books because we talk so much about what we read.”

For his coursework, for instance, Jutz had to dive into The Dollmaker, the lauded 1954 novel by Kentucky writer Harriette Arnow, a tragic work that exposed the unstable underbelly of transitioning from tolerable rural penury to tempting urban prosperity. Stafford had already read it and even gotten to know the family, so discussions of its painful plot flowed. The pair reduced it into four graceful and heartsick minutes, a tender ballad for what’s left behind when you leave tradition in the rearview. On Lost Voices, Dale Ann Bradley delivers the resulting “Callie Lou” with lived-in sympathy, as if she too has shielded her eyes from bright city lights.

Stafford, on the other hand, recommended Where Dead Voices Gather, Nick Tosches’ fraught and freewheeling biography of Emmett Miller, a yodeling star of early 20th-century blackface minstrelsy. His commercial participation in that vile, racist system helped foster country music and all the pop that followed. How would Miller feel, they wonder aloud in “Vaudeville Blues,” to live on infamy and influence? He is neither a sympathetic figure nor abject villain here, just a person weighed down by his choices.

“He informed so many people, from Jimmie Rodgers to Hank Williams,” says Stafford. “But he’s this cat who was so misty that we don’t know much about him. I like that approach.”

Just then, Stafford brings up Jesus, zigging in a way that reflects not only his debut with Jutz but also the ecumenical approach to their partnership at large. As the world’s largest religion, Christianity doesn’t represent a lost voice, per se, but many of its core tenets—“turn the other cheek, do unto others, all very revolutionary stuff,” Stafford says—have been largely discarded in the commodified modern American iteration. The pair harmonizes sweetly during “Revolutionary Love,” more a non-denominational hymn of forgiveness and forbearance than some attempt to proselytize. It feels like a campfire hymn.

Lost Voices’ most disarming quality, though, might be how Stafford and Jutz sing about their subjects with the elan of students and not the stolid erudition of professors, which they have both been. There is a sense of delighted wonder as they deliver “The Blue Grays,” an admiring portrait of a Black baseball team in Elizabethton, Tenn., that proved a formidable foe for two decades. “Code Talker,” their ode to the indigenous Americans whose native languages became an indispensable cryptological tool during World War II, not only celebrates their accomplishments but lampoons their cross-generational oppression in the United States.

This isn’t a political record, Stafford says, but it’s hard not to feel its gentle push for inclusion, empathy, and appreciation, extended far beyond people who happen to look like you. “I know the bias against bluegrass, this music, and the region itself. Some of those stereotypes are based in reality,” offers Stafford. “But there is diversity here, mystery, and these stories are not that hard to find.”

Lost Voices is the public launch of the prolific Stafford-Jutz tandem, not at all the culmination. Jutz has already gone through his Civil War phase; the first song the pair wrote together was actually about it. He is now deeply invested in how the Roaring ’20s gave way to Whimpering ’30s and how those decades continue to shape culture a century later. Decades ago, Stafford gave up his doctoral pursuits (“the application of metaphor theory to the history of ideas,” he says with a bemused chuckle) to instead pursue bluegrass.

But he soon learned about the academic exploration of bluegrass, even getting to know the historian Neil V. Rosenberg. He’s now working on the follow-up to Rosenberg’s canonical Bluegrass: A History, trying to pull that epic forward 50 years. There will be, it seems, no dearth of new interests.

“Everything is interesting, and everything has to be interesting if you’re a writer of any kind—poets, novelists, songwriters, journalists, all first cousins,” Jutz says, his words rushing with excitement. “You look for meaning, living images, things that spark your creativity. That’s the job description.”

Photo Credit: Jefferson Ross

LISTEN: Tim Stafford & Thomm Jutz, “Take That Shot”

Posted on by Editor

Artist: Tim Stafford & Thomm Jutz
Hometown: Kingsport, Tennessee; and Buehl, Germany (actual) / Nashville, Tennessee (felt)
Song: “Take That Shot”
Album: Lost Voices
Release Date: June 28, 2022
Label: Mountain Fever

In Their Words: “‘Take That Shot’ is a song about how images influence our perceptions of people and events. We cover a pretty wide range of photos in this song. From Billy the Kid, to Marilyn Monroe, to Bill Monroe and Robert Johnson. Tim and I are both very interested in history, so writing these types of songs comes natural to us.” — Thomm Jutz

“If you’re like me, you can’t pass up the chance to snap a photo in certain situations — a beautiful scene, something unusual that catches your eye. ‘Take That Shot’ is kind of unique in the bluegrass field, since there aren’t many ‘grass songs about photography, and especially historically important ‘shots.’ But they capture so much, about us individually and our culture — without words.” — Tim Stafford

Photo Credit: Jefferson Ross

Tammy Rogers & Thomm Jutz Keep It Simple on ‘Surely Will Be Singing’ Debut

Posted on by Editor

Oftentimes keeping things simple yields the most profound results. Such is the case for accomplished fiddler Tammy Rogers of The SteelDrivers and well-traveled guitarist Thomm Jutz, the reigning IBMA Songwriter of the Year. Surely Will Be Singing, a new compilation of their co-writes, marks their first album together.

Having known of each other through bluegrass and roots music circles for years, the two finally met at a SESAC music industry dinner and awards show in 2016. Although neither won any awards that night, Rogers and Jutz were seated together, leading to the beginning of a long and fruitful friendship. After exchanging phone numbers on their way out of the gala while waiting in the valet line, the two met up at Rogers’ home the following week for their first songwriting session. Coming from that meet-up was “Old Railroads,” a song Jutz recorded for his 2017 album Crazy If You Let It as well as Eric Brace & Last Train Home’s Daytime Highs & Overnight Lows. Since then, Rogers and Jutz haven’t slowed down, writing on average one song per week for an cumulative total of over 140 songs and counting.

BGS: Considering you’ve written over 140 songs together, how’d you go about dwindling those down to the 12 that made it on the album?

Tammy Rogers: It’s a really hard process because we write so much together and love all the songs. They’re all like children to us. That being said, we don’t usually set out with the mindset of writing for Del McCoury or Tim McGraw. We just sit down and write whatever we’re feeling that day. Oftentimes a book, show, current events or just a random conversation will spark an idea. When we started talking about doing this record, the idea of keeping it simple kept coming up. Part of that was because when we began recording, we were still in serious lockdown mode. We knew we wouldn’t be able to get together in a big studio with our friends to record something really grand, so the simplicity was born out of necessity. The songs we chose lend themselves well to simple production.

Thomm Jutz: We also searched our catalogs for songs that would work well as duets. We’re also both big fans of the Carter Family, the Monroe Brothers, the Blue Sky Boys and other early country music. We didn’t necessarily want to make a full-band record. We wanted to have some bands on it, but at this point in my life with my own work I’m really intrigued by just whittling it down to duo and trio stuff with as much simplicity as possible.

Earlier y’all mentioned getting song inspiration from everything from current events to books and even television. Do you try to tie a lot of those themes back into your own lives with your songwriting or do you prefer going the fictional route? Or is it a bit of both?

Rogers: I don’t even know that I could even quantify how that would split because Thomm is the kind of writer who always has his antennas up. Whether he’s reading a book, watching a documentary or just letting his mind wander in conversation, I think he’s always listening for a phrase or thought that could turn into a song. I’m the same way. Just the other day I said something to a friend and immediately thought, “Hey, that’s a song!” I texted it to Thomm and he was on board. It’ll probably be the next song we work on. When you’re a writer and you’re really in the flow of it, anything can inspire. And if something catches your ear, whether it’s a fleshed-out story or a phrase that could be a title, you run with it. I do that all the time without thinking of a backstory. A phrase will pop into my head or I’ll say something and someone will follow up with something else and an idea snowballs from there.

Jutz: It’s important to pay attention. I think that’s the whole job description of a songwriter, or at least 90 percent of it. It’s also important to take good notes, whether it be a verse, one line, a title or just a general idea. I write all that stuff down, but like Tammy, I don’t try to overthink things. It’s important to keep an open mind because if you bring that into a co-writing session someone may interpret something completely different than you. But Tammy and I mostly write off of titles or general ideas. One of the nice things with bluegrass is that there’s a sort of vocabulary that goes with it. There are rules of what you say and how you say things that help us to focus on that structure when we’re writing. It’s like figure skating. You have to do certain poses or jumps to express yourself within the given parameters. That’s something I’ve always been intrigued about with bluegrass and American roots music. There’s a sense of structure already there and you have to try to do right by that.

Tammy, a moment ago you mentioned Thomm always having his antennas up. Going off that, what is it you each appreciate most about one another as songwriters and artists?

Tammy: One of the things I love most about writing with Thomm is that I’m from the Appalachian Mountains of East Tennessee and even though he’s from Germany, he’s studied my part of the world and is familiar with the culture. If I tell him we should try coming at something with a Carter Family approach or the Monroe and Stanley Brothers he knows exactly what I mean. That makes the process so fun and easy. I don’t think we’ve ever argued about a song and the direction it should go. It really allows us to get inside of a song and go to that place.

Jutz: I think what we both appreciate about each other is that we both take the work very seriously without taking ourselves too seriously. That’s not something that either of us came up with, but rather something that William Faulkner said when asked about writing for movies out in California. I think that mindset is a good recipe for a successful collaboration. In regards to Tammy, she’s just so musical. Not to say that other songwriters aren’t, but Tammy and I approach songwriting as instrumentalists. With that comes a different skill set that allows us to communicate differently than with people who work primarily as songwriters only. It’s very different writing with someone who’s a good instrumentalist, which Tammy obviously is.

That’s the second thing I find unique about our writing relationship, it just comes easy. We get along well and we’re close to the same age but have completely different life experiences. Tammy has children and I don’t, for example. Our lives are very similar and very different at the same time, which makes for a great exchange of ideas.

Speaking of the songwriting process, I love the song “Speakeasy Blues” and the Prohibition Era vibes it radiates. Can you tell me about the song’s story and how you pieced it together for the album?

Jutz: It doesn’t really tell the story of a book, but Tammy and I both had just read a book by North Carolina author Terry Roberts called The Holy Ghost Speakeasy and Revival. It’s a really cool story about the prohibition era and a preacher who had his own train and would recruit misfits to join his crew, preaching to them and selling them liquor. It’s a wild story. One day we were talking about it and I remember Tammy saying that “Speakeasy Blues” sounded like a good song idea, and we ran with it.

Rogers: That song is a great example of how Thomm and I write. We share a lot of books and always share stories we enjoy with one another. It’s fun making music with literary sources because not everyone who hears the song has read the book, which leaves some nuances of the song up to interpretation. On that song in particular, after framing it into the Prohibition Era, we sought to make sure it had a fast tempo and driving beat similar to a train because in the book that’s how they traveled. There’s stuff like that that’s almost subliminal that you may not catch as a listener but that we were aware of when constructing it. Those little easter eggs are fun.

Jutz: Another interesting side to that song is that the book’s author, Terry Roberts, wrote the liner notes for our record. After sending it over and asking him to write for us he said he first listened to it while in London and upon hearing the first line of “Speakeasy Blues” said, “That’s Jedediah. That’s the preacher from my book!”

Rogers: I just started reading another book of his called A Short Time to Stay Here. I really like the title, so maybe one day it’ll become a song, too.

Photo Credit: Anthony Scarlati

WATCH: Jr Williams, “Railroad Town Without a Train”

Posted on by Editor

Artist: Jr Williams
Hometown: Irvine, Kentucky
Song: “Railroad Town Without a Train”
Album: Railroad Town
Label: Mountain Fever Records

In Their Words: “When Mark Hodges and I talked about me recording a solo project, he mentioned some writers that would have material I could look through. One of the first songs was by Tim Stafford and Thomm Jutz, called ‘Railroad Town Without a Train.’ Listening to it twice, I knew I had to record it. It reminds me so much of my hometown, and the railroad yards left pretty much abandoned by a drop in the coal industry. I also realized there were many towns like this in Eastern Kentucky, West Virginia, Virginia, Pennsylvania, Tennessee, and I’m sure the Carolinas. I knew that it would resonate with a lot of people in this region. I’ve had tremendous feedback from it and appreciate the guys for such an incredible tune.” – Jr Williams

Photo Credit: Stuart Rose

LISTEN: Tammy Rogers & Thomm Jutz, “I Surely Will Be Singing”

Posted on by Editor

Artist: Tammy Rogers & Thomm Jutz
Hometown: Nashville, Tennessee
Song: “I Surely Will Be Singing”
Album: Surely Will Be Singing
Release Date: September 21, 2021
Label: Mountain Fever Records

In their Words: “We wrote this song at the beginning of the pandemic. We both noticed how much more we paid attention to bird life when everything slowed down. We also talked about the fact that while music is a career choice, it is important to continuously find joy in making music, without the need for outside approval — like a bird that sings to himself, with no regard for applause. This is a hymn to nature, and to the spirit of human resilience in the face of adversity.” — Tammy Rogers & Thomm Jutz

Photo credit: Anthony Scarlatti

Tim Stafford Shares Memories of Steve Gulley, Alison Krauss, and Tony Rice

Posted on by Editor

Tim Stafford could be renowned for any one of his many contributions to bluegrass music over his prolific career, his talents as a musician and writer having been showcased in so many of its important creations. He is perhaps most well-known as a founding member of Blue Highway, one of the most influential and decorated bands in bluegrass. Prior to that, he formed Dusty Miller in the late 1980s, and Alison Krauss hired him in 1990 as part of her band, Union Station, with whom he recorded the Grammy-winning album, Every Time You Say Goodbye.

Stafford is also an accomplished author. In 2010 with Caroline Wright, Stafford issued Still Inside: The Tony Rice Story, the authorized biography of the flatpicking icon and Bluegrass Music Hall of Fame member. As a songwriter, Tim has placed more than 250 cuts and was named IBMA’s Songwriter of the Year in 2014 and 2017. He notably co-wrote IBMA’s 2008 Song of the Year, Blue Highway’s “Through the Window of a Train,” with Steve Gulley. Tim and Steve were frequent collaborators and released a duo album in 2010 called Dogwood. Ten years later, they created another album of co-written material, but Gulley passed away suddenly from cancer soon after it was completed, making the title, Still Here, all the more meaningful.

BGS: How does it feel to release this record? With Steve’s unexpected passing I imagine it must be a more heavy feeling than a typical record release.

TS: Yeah, I’m really glad it’s finally out. Steve was really looking forward to this record coming out. We were both excited about the songs and it ended up being his last recording, which was hard on all of us. And now it’s part of his legacy. After Steve passed, I talked to the label about maybe coming up with a different title besides Still Here, but we decided it was a very appropriate title because his music is still here. He would have been proud of it. I know that for sure.

How long had you known Steve?

I didn’t know him when I was younger, although he was around and playing. He was mainly playing up at Renfro Valley in Kentucky and he didn’t travel much until he joined Doyle Lawson & Quicksilver which would have been in the late ‘90s or around 2000. I was playing a festival somewhere with Blue Highway and he came up to the record table and we started talking like we’d known each other forever because we knew a lot of the same people. We just hit it off. He was the one that first suggested we write and it was either the first or second time we got together we wrote four songs in one day. And all four of them got cut. I felt like at that point we had something special. We seemed to have a wavelength that we could touch off of each other. That’s really rare. You don’t get that with a lot of people.

The subject matter in the songs on this record seems very personal, and often about people you know. I would imagine that it’s sort of therapeutic, maybe in the same way that journaling might be, to write about personal things like that. Is that how you feel about it?

That’s a good way to put it and I did used to journal. Some of them, like “Back When It Was Easy,” are just about general topics that we know about. Whereas “Long Way Around the Mountain” and “She Threw Herself Away” are about things that actually happened that we chronicled about friends. And sometimes they are big stories that you just can’t stay away from. “She Comes Back to Me When We Sing” is a story we’d both seen on Facebook about this guy’s mother who was in advanced stages of Alzheimer’s and didn’t know anybody until she sang with her son. And when that happened, she remembered all the words and she could remember everything. We thought that was a really inspirational story and deserved to be a song.

You’ve been writing for so long that it seems like you’ve been able to build the skill of telling a story through song, rather than narrating a timeline to music.

Yes, that’s where it’s at. That’s where the craft comes in that you only develop by doing it. I really didn’t know how to write a song when I started. But you learn little things along the way through trial and error. It’s like anything but it’s really difficult to learn how to do something like write a song out of a book — although I have a whole collection of them here. I have lots of books about songwriting like Jimmy Webb’s Tunesmith and Sheila Davis’ The Craft of Lyric Writing which is really good. You can learn tips, but you’re not going to learn how to write from a book. So it’s a matter of doing it.

I don’t remember exactly where I heard it, but I think I remember Jimmy Webb talking about writing “Wichita Lineman” and him saying that it was fully fictitious. But that he felt like, as a songwriter, he should be able to write about people he didn’t know. That he should be able to understand people well enough to write a story that was convincing without it having to be true. I could be misremembering that, though.

You may not be. I think that there’s actually a book out about that song, “Wichita Lineman,” that I finished here last year and I believe you’re right and he’s right. I think that being able to tell a story about somebody you don’t know is important. There’s a song that I wrote really early on called “Midwestern Town” that Ronnie Bowman recorded. That song is totally fictional. I didn’t know anybody like the character in that song. But I’ve had a lot of people come up and say that they did know someone like that or that it could have been them and that song made a big difference to them. It was a comforting song. You’ve got to be able to get inside people’s heads and think the way that they would. You have to know what your character might do in any given scenario. I can’t remember all the times I’ve been co-writing and said, “What would this guy do?”

Have you written songs as long as you’ve been playing guitar? When did you started writing songs?

I guess I wrote all the way back when I first started playing guitar, but I wasn’t really serious about it. I had written some songs before I played with Alison in the early ‘90s and we actually recorded one of them, but it never came out which was my fault. She wanted to put an instrumental I’d written called “Canadian Bacon” on Every Time You Say Goodbye, but I talked her out of it. I told her we needed to record “Cluck Old Hen” because we were so psyched about Ron [Block] being in the band and his playing on that. And I don’t regret that though it probably would have meant more money.

You were in Union Station from 1990 to ‘92, right? That was a very cool lineup of that band. How did you feel about it at the time?

I was blown away by it. I loved it and it was really cool that it worked out because the first time she talked to me about playing with her, it was back when I was in a group called The Boys in the Band. We played at SPBGMA and her band was there but her guitar player, Dave Denman, was leaving. She called me a few weeks after that and asked if I’d be interested. At that point, she had only recorded Too Late to Cry and I was really impressed with the songs, with John Pennell’s writing, and her singing. I had already committed to playing with a different group though so I had to decline.

About two or three years later I had started a group called Dusty Miller that she was a fan of. That band had Barry Bales and Adam Steffey in it. The three of us kind of grew up together playing music. We’re all from Kingsport, Tennessee. I actually gave Adam his first mandolin lesson, which is such a joke. [Laughs] Adam didn’t know anything about the instrument at all at the time. I tried to show him some stuff and I just kept thinking, “That guy’s never gonna get it.” And I barely knew how to play myself but I tried to show him “Bluegrass Breakdown” and he just couldn’t get it. He got with a different teacher after that and got real serious about it. The next time I saw him play, I was like, “What happened here?” [Laughs] It was like the most amazing thing I’ve ever seen in my life. I take absolutely no credit for that whatsoever.

Barry Bales was a student of James Alan Shelton. And James and I both taught at the Guitar Shop in Kingsport. That’s where I met Adam and gave him that lesson, and I met Barry down there, too. We all three ended up playing in The Boys in the Band. And then we started Dusty Miller. Alison liked that rhythm section so she offered the job to all three of us at the same time, and we took it. This was early 1990 and we played our first show in May — I think it was at the Station Inn. It was just incredible. We played some amazing places, but it was during the period of the band when we were all traveling in a van and staying in one hotel room.

I was playing with Alison when I met Tony Rice. We ended up playing a lot of shows together because he and Alison had the same agent and were on the same label. I never will forget the first time I really ever talked to Tony much. We were playing right before him at Winterhawk (which is now Grey Fox) and I broke a string on the last song we played. We got a standing ovation so I was backstage digging around, trying to find a string so we could do an encore. And Tony walks over with “the antique” and says, “Hey, man, here, play this.” I had a smile from ear-to-ear and Alison was smiling too.

What was it like getting to put that biography of Tony together? What led to that?

Well, a few years after that, after I left Union Station and started Blue Highway, I was still playing shows with Tony because Blue Highway had signed with Rounder, too. We were at a show with Tony and I said, “Man, have you ever thought about a biography?” And he said, “Well, actually, yeah, I have thought of that. But I’ll tell you what,” he said, “I think you’d be the ideal person to write it.” I said OK and started on it. That was about 2000 and it took 10 years to finish.

Three years into it, Caroline Wright came on board through Pam [Rice, Tony’s wife]. Caroline is a journalist and her mom was a member of the bluegrass community from New York state. Caroline lived in Hawaii at that time and had written a really well-done article about Tony in Listener magazine. I had started Tony’s book, but I was bogged down with it and wasn’t making a lot of progress and Pam suggested that Caroline come on board. We did four or five major, huge interviews with Tony that could have each been a book by themselves. And when we started transcribing them, we realized that Tony was so eloquent that we had to put it in Tony’s words. We couldn’t make it a narrative biography. That’s why it’s laid out the way it is. It’s chronological but in Tony’s words.

I’m really glad that we got to do it. Somebody would have done a book on him eventually, but I’m really glad that it came out before he left us. He’s one of those generational talents. I just don’t know that there’s going to be many people ever come along again who have an impact like that. He’s in the same league as Earl Scruggs, a top talent who created a language on the instrument.

So, it’s been a weird year, obviously. What have you been doing during this time?

I’ve been doing a lot of co-writing over Zoom. The other day I wrote my one-hundred-and-fourteenth song since the pandemic started.

Whoa!

Thomm Jutz and I’ve written 40 or so, just the two of us and, you know, you just get into the habit of doing it every week. I feel like Zoom is going to stick around and be the standard after the pandemic. I think it’s changed the way a lot of people think about co-writing. It makes you more disciplined and more productive. The technology just makes it easy. There’s no reason now for me to make a trip to Nashville, which is like four and a half hours, and get a hotel and all that when I can do all of it from home on my computer.

When you’re writing or doing work, are you the sort of person that has to change into regular people’s clothes to feel productive, or can you stay in your pajamas and be productive?

I think I’ve written at least a hundred of those 114 songs in my pajamas. [Laughs] I’m not going to dress up, I just want to be comfortable.

Photo credit: Ben Bateson

John Prine, Brittany Howard, Sarah Jarosz Among Winners at 63rd Annual Grammy Awards

Posted on by Justin Hiltner

The 63rd Annual Grammy Awards were held yesterday afternoon and evening, Sunday March 14, 2021. Here are the nominees and winners in the American Roots Music fields:

Best American Roots Performance

Black Pumas, “Colors”

Bonny Light Horseman, “Deep in Love”

Brittany Howard, “Short and Sweet”

Norah Jones & Mavis Staples, “I’ll Be Gone”

John Prine, “I Remember Everything”

Best American Roots Song

“Cabin,” Laura Rogers & Lydia Rogers, songwriters (The Secret Sisters)

“Ceiling to the Floor,” Sierra Hull & Kai Welch, songwriters (Sierra Hull)

“Hometown,” Sarah Jarosz, songwriter (Sarah Jarosz)

“I Remember Everything,” Pat McLaughlin & John Prine, songwriters (John Prine)

“Man Without a Soul,” Tom Overby & Lucinda Williams, songwriters (Lucinda Williams)

Best Americana Album

Courtney Marie Andrews, Old Flowers

Hiss Golden Messenger, Terms of Surrender

Sarah Jarosz, World on the Ground

Marcus King, El Dorado

Lucinda Williams, Good Souls Better Angels

Best Bluegrass Album

Danny Barnes, Man on Fire

Thomm Jutz, To Live in Two Worlds, Vol. 1

Steep Canyon Rangers, North Carolina Songbook

Billy Strings, Home

Various Artists, The John Hartford Fiddle Tune Project, Vol. 1

Best Traditional Blues Album

Frank Bey, All My Dues are Paid

Don Bryant, You Make Me Feel

Robert Cray Band, That’s What I Heard

Jimmy “Duck” Holmes, Cypress Grove

Bobby Rush, Rawer Than Raw

Best Contemporary Blues Album

Fantastic Negrito, Have You Lost Your Mind Yet?

Ruthie Foster Big Band, Live at the Paramount

G. Love, The Juice

Bettye LaVette, Blackbirds

North Mississippi Allstars, Up and Rolling

Best Folk Album

Bonny Light Horseman, Bonny Light Horseman

Leonard Cohen, Thanks for the Dance

Laura Marling, Song for Our Daughter

The Secret Sisters, Saturn Return

Gillian Welch & David Rawlings, All the Good Times

Best Regional Roots Music Album

Black Lodge Singers, My Relatives “Nikso Kowaiks”

Cameron Dupuy and the Cajun Troubadours, Cameron Dupuy and the Cajun Troubadours

Nā Wai ʽEhā, Lovely Sunrise

New Orleans Nightcrawlers, Atmosphere

Sweet Cecilia, A Tribute to Al Berard

Also, note these Americana winners in other categories:

Best Rock Song

“Kyoto,” Phoebe Bridgers, Morgan Nagler & Marshall Vore, songwriters (Phoebe Bridgers)

“Lost in Yesterday,” Kevin Parker, songwriter (Tame Impala)

“Not,” Adrianne Lenker, songwriter (Big Thief)

“Shameika,” Fiona Apple, songwriter (Fiona Apple)

“Stay High,” Brittany Howard, songwriter (Brittany Howard)

Best Country Solo Performance

“Black Like Me,” Mickey Guyton

“Bluebird,” Miranda Lambert

“Stick That In Your Country Song,” Eric Church

“When My Amy Prays,” Vince Gill

“Who You Thought I Was,” Brandy Clark

Best Country Song

“Bluebird,” Luke Dick, Natalie Hemby & Miranda Lambert, songwriters (Miranda Lambert)

“The Bones,” Maren Morris, Jimmy Robbins & Laura Veltz, songwriters (Maren Morris)

“Crowded Table,” Brandi Carlile, Natalie Hemby & Lori McKenna, songwriters (The Highwomen)

“More Hearts Than Mine,” Ingrid Andress, Sam Ellis & Derrick Southerland, songwriters (Ingrid Andress)

“Some People Do,” Jesse Frasure, Shane McAnally, Matthew Ramsey & Thomas Rhett, songwriters (Old Dominion)

Best Roots Gospel Album

Fisk Jubilee Singers, Celebrating Fisk! (The 150th Anniversary Album)

Mark Bishop, Beautiful Day

The Crabb Family, 20/20

The Erwins, What Christmas Really Means

Ernie Haase & Signature Sound, Something Beautiful

Photo by Kevin Winter/Getty Images for The Recording Academy

2021 Grammy Awards: See Nominees in American Roots Field

Posted on by Editor

The 2021 Grammy Awards finalists were revealed on Thursday, November 24. Here are the nominations in the American Roots field:


Best American Roots Performance

Black Pumas, “Colors”

Bonny Light Horseman, “Deep in Love”

Brittany Howard, “Short and Sweet”

Norah Jones & Mavis Staples, “I’ll Be Gone”

John Prine, “I Remember Everything”

Best American Roots Song

“Cabin,” Laura Rogers & Lydia Rogers, songwriters (The Secret Sisters)

“Ceiling to the Floor,” Sierra Hull & Kai Welch, songwriters (Sierra Hull)

“Hometown,” Sarah Jarosz, songwriter (Sarah Jarosz)

“I Remember Everything,” Pat McLaughlin & John Prine, songwriters (John Prine)

“Man Without a Soul,” Tom Overby & Lucinda Williams, songwriters (Lucinda Williams)


Best Americana Album

Courtney Marie Andrews, Old Flowers

Hiss Golden Messenger, Terms of Surrender

Sarah Jarosz, World on the Ground

Marcus King, El Dorado

Lucinda Williams, Good Souls Better Angels

Best Bluegrass Album

Danny Barnes, Man on Fire

Thomm Jutz, To Live in Two Worlds, Vol. 1

Steep Canyon Rangers, North Carolina Songbook

Billy Strings, Home

Various Artists, The John Hartford Fiddle Tune Project, Vol. 1

Best Traditional Blues Album

Frank Bey, All My Dues are Paid

Don Bryant, You Make Me Feel

Robert Cray Band, That’s What I Heard

Jimmy “Duck” Holmes, Cypress Grove

Bobby Rush, Rawer Than Raw


Best Contemporary Blues Album

Fantastic Negrito, Have You Lost Your Mind Yet?

Ruthie Foster Big Band, Live at the Paramount

G. Love, The Juice

Bettye LaVette, Blackbirds

North Mississippi Allstars, Up and Rolling


Best Folk Album

Bonny Light Horseman, Bonny Light Horseman

Leonard Cohen, Thanks for the Dance

Laura Marling, Song for Our Daughter

The Secret Sisters, Saturn Return

Gillian Welch & David Rawlings, All the Good Times

Best Regional Roots Music Album

Black Lodge Singers, My Relatives “Nikso Kowaiks”

Cameron Dupuy and the Cajun Troubadours, Cameron Dupuy and the Cajun Troubadours

Nā Wai ʽEhā, Lovely Sunrise

New Orleans Nightcrawlers, Atmosphere

Sweet Cecilia, A Tribute to Al Berard

Photo of John Prine by Danny Clinch