As a duo rooted in both Celtic and American traditions, we find the intersection of these worlds to be a rich and endlessly inspiring place. From the rhythmic drive of Irish & Scottish reels to the melodic storytelling of ballads, we’ve always been captivated by how these two traditions speak to one another. They each carry a sense of community and history, and both offer the chance to push boundaries and explore something new.
Our latest album, Now, O Now, wants to embrace this duality. It’s a reflection of our love for these traditions, but also a hope to continually reinterpret them. This Mixtape is a collection of the kinds of tunes and songs that have shaped our journey – music that evokes both the wild energy of a late-night session and the quiet contemplation of a solo walk through the woods.
These tracks are selected from the voices of friends, mentors, and heroes who have inspired our original music along the way. We hope you enjoy the mix! – Rakish
“6 Then 5” – Seamus Egan
We love to put this track on at the beginning of a long drive. Seamus continues to be a master of bringing together composition, sound design, and groove.
“Goodbye” – Sean Watkins & The Bee Eaters
This whole record is great; it combines Sean Watkins’ brilliance with the thoughtfulness of The Bee Eaters, who happen to be some of our favorite musicians in the world.
“765” – Rakish, Jamie Oshima
We composed these tunes and had the idea of having our good friend Jamie Oshima produce/remix the track. He’s an incredibly thoughtful and agile musician and brings such a unique aesthetic to new fiddle music. Thanks Jamie!
“Hidden Love/Sheila Coyles” – Four Men & A Dog
We listened to this album in the car recently and this track was so good that Conor had an epiphany about how it brought together all the elements of arranging music that inspire him: highly poetic language, mystery, and an excellent Irish tune.
“City In the North” – Maeve Gilchrist
Maeve is remarkable at seemingly everything she puts her hands to; this song highlights not only her virtuosity and inventive harmony, but also her narrative ability to weave melancholy and joy.
“Bull Frogs Croon (Suite)” – Aoife O’Donovan
This whole record is potent for so many reasons. Aoife’s setting of Peter Sears’ poems is a reminder of her singular gift for putting melody to text, and Jeremy Kittel’s string arrangements are some of the best we’ve ever heard!
“Jack Dolan” – John Doyle
Just of the grooviest versions of a ballad ever from the preeminent master of Irish guitar in the modern era.
“Imaginary People” – Viv & Riley
Viv & Riley are at the forefront of writing incredible original music inspired by their traditional music backgrounds. We’ve admired them for a long time and they always blow us away.
“6 O’Clock in the Morning” – Darrell Scott
Tristan Clarridge, who always has the best listening recommendations, turned us onto this album. This track stands out with its intense lyricism and amazing instrumental orchestration.
“Turn the Page Again” – Tim O’Brien
We’ve loved this song for so long. This whole album is incredible, but this track in particular has been a source of inspiration by bringing together Tim’s songwriting, John Doyle’s groove, and Casey Driessen’s improvisational style.
“We’ve Got Our Friends” – Maura Shawn Scanlin
Maura’s solo record impeccably brings together the many things she excels at (and some of the things this playlist hopes to demonstrate): instrumental acuity, lyrical thoughtfulness, and masterful arranging.
“Strange Vessels” – Caoimhin Ó Raghallaigh & Thomas Bartlett
Conor listens to this album all the time. It’s a source of inspiration and a reminder to make music that feels relaxed and to not use too many notes.
“Dear Starling” – Pumpkin Bread
This is a favorite tune from a band with some of our best friends we were a part of in our college days. Thanks for listening!
This week, banjoist and Nitty Gritty Dirt Band founding member John McEuen kicks off our You Gotta Hear This round up with a track from his brand new album, The Newsman: A Man of Record. Check out his adaptation of a Robert Service poem, “The Cremation of Sam McGee” below.
Plus, we’ve got track premieres from gritty country outfit Tylor & the Train Robbers, from Claire Lynch singing Tom Paxton for an upcoming album, Bluegrass Sings Paxton, from the Stetson Family contemplating mortality, and from the Onlies a rendering of a classic old-time ballad.
Don’t miss our video premiere from Max McNown, too, which posted to BGS just yesterday. It’s all right here and, if we do say so ourselves, You Gotta Hear This!
John McEuen, “The Cremation of Sam McGee”
Artist:John McEuen Hometown: Oakland, California Song: “The Cremation of Sam McGee” Album:The Newsman: A Man of Record Release Date: April 12, 2024 Label: Compass Records
In Their Words: “Using sound effects, music I composed, and some ‘recording tricks’ with instruments, I concocted the back up for one of my favorite poems, ‘The Cremation of Sam McGee.’ My (late) older sister would sometimes tell her 8-10 year old brother, me, this favorite Robert Service poem from 1906, captivating me with the story of a place unknown. I later found it in my high school English book and fell in love with it again. It takes me away to that strange time in these miners’ lives, and while starting kind of morose, manages (in my opinion, anyway) to reach a ‘happy ending’ with Sam finally getting warm! Trying to make the ‘definitive’ version of this classic was a challenge. It is one of my best ‘works.’ I am hoping each time a listeners hears it they will hear something different show up in the mix, as I planned it to be ‘with surprises’ like that.” – John McEuen
Claire Lynch, “I Give You The Morning” (by Tom Paxton)
Artist:Claire Lynch from Bluegrass Sings Paxton Hometown: Toronto, Ontario, Canada Song: “I Give You The Morning” Album:Bluegrass Sings Paxton Release Date: April 12, 2024 (Single) Label: Mountain Home Music Company
In Their Words: “Claire Lynch has one of the most recognizable and expressive voices in bluegrass. We knew we wanted to have that voice on the album and her choice of ‘I Give You The Morning’ was a great call — it’s got an old-fashioned ballad construction, a deliciously unusual yet natural rhythm to the first lines in each verse, a captivating melodic rise in the refrain, and an evocative lyric. And, the band has just the right balance of strength and delicacy to complement those same qualities in her approach. It’s a performance that brings out so many aspects of what makes Tom Paxton’s songs so memorable, and I can’t think of a better way to introduce this project to listeners!” – Jon Weisberger, co-producer
“Since the early 1960s, when bluegrass and the emergent folk revival first crossed paths, arguably no songwriter from the latter world has seen more of their songs adopted by the former than Grammy Lifetime Achievement Award recipient Tom Paxton. From early covers of his epochal ‘The Last Thing On My Mind’ by Bluegrass Hall of Famers, The Dillards and the Kentucky Colonels, to regular performances of ‘Leaving London’ by IBMA Entertainer of the Year Billy Strings, to Ashby Frank’s version of ‘Can’t Help But Wonder Where I’m Bound,’ which landed a place among the 30 most-played tracks on bluegrass radio in 2023, Paxton’s creative visions have echoed in bluegrass studios, on bluegrass stages and in bluegrass jam sessions for generations.
“Now a broad-ranging group of artists in and around bluegrass are paying explicit tribute to this vital legacy in a new Mountain Home Music Company collection — Bluegrass Sings Paxton — that places these classic songs alongside less familiar, but no less finely crafted material from the Tom Paxton songbook, including new songs written especially for the project.” – Mountain Home Music Company
Track Credits: Claire Lynch – Lead vocal Darren Nicholson – Mandolin, octave mandolin Deanie Richardson – Fiddle Chris Jones – Acoustic guitar Kristin Scott Benson – Banjo Nelson Williams – Upright bass
Tylor & the Train Robbers, “Workin Hands”
Artist:Tylor & the Train Robbers Hometown: Boise, Idaho Song: “Workin Hands” Album:Hum of the Road Release Date: April 12, 2024 (single); May 3, 2024 (album)
In Their Words: “I wrote this one around a guitar riff I had been playing with for a while. The riff is busy, but something about it stuck in my head and I decided to write a song to match it. I wanted to keep the intensity of that guitar part and extend to every instrument in the band, pushing us all musically. Everyone in the band worked to find the right parts that brought it all together. The vibe is inspired by bands like Barefoot Jerry and the Amazing Rhythm Aces, it’s unpredictable and keeps you on your toes. It’s definitely not a song I would ask someone to sit in with us on unless they came prepared, but it’s become a favorite for us to play live. I think it really showcases the musicianship of everyone in the band.” — Tylor Ketchum
Track Credits:
Tylor Ketchum – Lead Vocals and Rhythm Guitar Jason Bushman – Bass Guitar and Harmony Vocals Tommy Bushman – Drums and Harmony Vocals Rider Soran – Lap Steal Guitar Johnny Pisano – Electric Guitar Cody Braun – Hand Claps and percussion Katy Braun – Hand Claps Jonathan Tyler – Hand Claps and percussion
Recorded at Yellow Dog Studios in Wimberley, Texas. Producer – Cody Braun Engineer – Adam Odor Mixed by Jonathan Tyler. Mastered by Adam Odor.
The Stetson Family, “Make Me Ashes”
Artist:The Stetson Family Hometown: Melbourne, Australia Song: “Make Me Ashes” Album:The Stars, If You Look Closely Release Date: April 19, 2024
In Their Words: “‘When it’s time to meet my maker, come the fire or the hole…’ – the words ‘fire or the hole’ come from a conversation I had with a woman who was the owner of a Vietnamese restaurant in Melbourne where my family and I went every Wednesday night for many years. When my mum passed away, Lisa, the lovely Vietnamese owner, asked me in broken English, ‘Does your mum have the fire or the hole?’ Meaning, ‘Will she be cremated or buried?’ I loved her humble way of asking, it was so heartfelt. It got me thinking about when it’s my time, will I have the fire or the hole? This song lets people know I’ve chosen the fire.” – Nadine Budge
Track Credits: Nadine Budge – Writer, lead vocal, rhythm guitar, resonator guitar John Bartholomeusz – guitar, harmonies Colin Swan – banjo, harmonies Greg Field – fiddle, mandolin, harmonies Luke Richardson – double bass, harmonies
The Onlies, “Matty Groves”
Artist:The Onlies Hometown: Nashville, Tennessee; Durham, North Carolina; Whitesburg, Kentucky Song: “Matty Groves” Release Date: April 12, 2024
In Their Words: “A couple years ago, our friend Sonya Badigian sent a recording of Doc Watson playing this song and recommended we learn it as a band. Before going into the studio, Leo spent many weeks singing the long, epic poem which tells the story of Matty Groves stealing Lord Daniel’s wife and the dramatic duel that later ensues. This story dates back to 17th century Northern England, closely related to Child ballad #81, ‘Little Musgrave and Lady Barnard.’ When we got together to work up an arrangement, a driving fiddle melody emerged to accompany the lyrics. We recorded it late at night in a small studio in Eunice, Louisiana, with the help of incredible engineer Joel Savoy and the unmistakable bass groove of Nokosee Fields.” – Sami Braman
Track Credits: Leo Shannon – lead vocal and guitar Vivian Leva – harmony vocal and guitar Sami Braman – fiddle Riley Calcagno – banjo Nokosee Fields – bass
Max McNown, “Worry ‘Bout My Wandering”
Artist:Max McNown Hometown: Bend, Oregon Song: “Worry ‘Bout My Wandering” Album:Wandering Release Date: April 12, 2024 Label: Fugitive Recordings x The Orchard
In Their Words: “‘Worry ‘Bout My Wandering’ was probably the most difficult song for me to write as it’s so personal. It came from being far away from my family and thinking about my mom and wondering how she feels about my life and the direction it’s taken. Shooting the video in my beautiful home state of Oregon was very important to me… I just always want to make my family and hometown proud.” – Max McNown
With citrusy melodies full of zest and spark, AJ Lee & Blue Summit demonstrate that California bluegrass is alive and well. Based in the Bay Area, they first took to the stage in 2015. Though the group has morphed in shape and size over time, they have delivered musical excellence for nearly a decade.
Currently, the band is composed of four tremendous musicians – AJ Lee (vocals and mandolin), Scott Gates (guitar and vocals), Sullivan Tuttle (guitar and vocals), and Jan Purat (fiddle) with a couple of rotating bassists. AJ’s velvety vocals blend seamlessly atop the many textures and tones this uncommon instrumental lineup can accomplish.
With their third studio album set to be released sometime this year, AJ Lee & Blue Summit set sail for their tour across North America earlier this month. Their emotive, erudite songwriting is brought to life by the band’s natural compatibility.
What is the nature of your musical chemistry? How would you describe it?
Scott Gates: Well, we all grew up going to California bluegrass festivals, and that gives us kind of a through-line. We all grew up with similar mentors and similar principles, so we all have similar ideas of what bluegrass is and what it isn’t, and how to bend those boundaries.
What do you think makes the bluegrass scene in the Bay Area distinct from other bluegrass scenes?
SG: Yeah, I think that there’s more homogeneity in a lot of other bluegrass associations across the country. You know, Tennessee is known for its singers. North Carolina is known for its banjo players, and they turn out some serious musicians. But something I’ve noticed with a lot of Tennessee singers is that many of them sound the same. And it allows for incredible blend and unity in sound, but California tends to reward individual individuality. When somebody has a really unique voice, they’re exalted.
Jan Purat: In the Bay Area scene, there’s a surprisingly large interest in bluegrass that dates back a long time. There’s this really thriving jam scene with lots going on. People in California as a whole tend to really nerd out on bluegrass from from the mid ’40s to the ’60s, that era of the Stanley Brothers, Bill Monroe, Flatt & Scruggs, and such. A lot of reverence for traditional sound and energy, I think, is a big part of why people really gravitate towards it. And in California, trying to channel that kind of fiery energy that you find in the more traditional stuff is definitely part of the sound, as opposed to more of the second gen and third gen newgrass circuit.
A pretty cool aspect of the California scene has been discovering that amazing lexicon of music, especially as the one band member that got into bluegrass a little bit later. I came into it during my college years, but the rest of these guys all grew up together. I met Scott busking when he was like 19, and I met AJ and Sully shortly after I first started going up to Grass Valley, around when I was 22. I started out with second-generation exposure to bluegrass, like John Hartford and similar acts, but going to the festivals and getting turned onto all this amazing music from earlier definitely feels like a big part of why I fell in love with the California bluegrass scene.
So you all share similar roots – on the flip side, what would you say the biggest difference in your respective musicianship is?
AJ Lee: Well, we all like to listen to different things, even though we’re in the same band and we unify on bluegrass. I listen to a lot of indie punk on Spotify, and I know Sully listens to some dark metal. Jan is a little bit more cultured, and Scott likes hip hop. So, there are a lot of bases covered, but we also can all appreciate what the others listen to, which is also unifying in a way.
JP: Yeah, although we love bluegrass, after a certain point we play it so much, but we don’t always listen to it that much.
AJ: I don’t think I’ve actually had a listening session of bluegrass for maybe five years.
Fair enough! What is your collaboration process like with songwriting and figuring out arrangements?
AJ: Since the early days, I’ve been the primary songwriter. I do a lot of my own original material, but since Scott’s joined, he’s brought a lot of his original material to the table as well. And I think nowadays, the songwriting process is more like a collective band arrangement. I’ll bring an unfinished song to the band and someone will say something like, “There’s a part here that I’m not really too sure about. I think it needs this,” and then together we’ll come up with something. Unlike before, when we would mostly just play all of my finished songs, now it’s more of a collective Blue Summit songwriting style.
SG: And we’ve got to give credit to the original guitar player, Jesse Fichman, who definitely helped arrange and put together some serious parts for AJ’s earlier originals.
AJ: Yeah, for a while Jesse was really the only one that I would ever write with. So he had a lot of hand in the first album.
So the first two albums are pretty different in style and tone. Can you talk about what we should expect for your third?
Sullivan Tuttle: Well, the first one had a lot of electric and a lot of drums, basically on half of the songs. And then the second one was all acoustic, all the way through. This one’s maybe somewhere in between. It’s mostly acoustic, but with a little pinch of other things.
JP: Yeah, Lech Wierzynski from the California Honeydrops produced it, so there’s definitely some of his influence. He brought in a cover for AJ to sing and it ended up being really successful and a really good choice. It’s a bluegrass instrumentation take on an old school soul song – some new territory that I haven’t really heard too many bands do. So it’s pretty exciting. And it’s just super nice working with a producer for the first time. He’s also an amazing hang, and one of the funniest people and a great buddy. It was awesome to work with him.
SG: I would say that variety is the main name of the game. When we craft a set list for a show, our goal is to bring as much to the table as possible, so that we don’t have songs that sound similar or the same over and over and we’re not fighting ear fatigue at all times. So we try to bring as many different sounds and approaches and genres together as possible. And I think this album reflects that, more so than any of the others.
Okay, here’s a silly question for you. If we were in an alternate universe, and you guys were all still a group of some sort, but it wasn’t a musical group – you’re connected by some other thing, premise interest, etc. – what would it be?
ST: Could see like a Scooby-Doo type of scenario where we all investigate things together. [AJ, Jan, and Scott emphatically agree.]
JT: We’ve got our next Halloween costume now! I know I have to be Shaggy, it’s fine.
[Laughs] I can definitely see it. I’ve heard that you have famously had to navigate some tricky traveling situations. What’s your favorite one to tell people about?
JT: Rockygrass is a good one to talk about, because it was the second time that we had to do an all-night drive from somewhere like New York City or Boston to an entirely different city like six hours away. Our Boston flight kept getting delayed, so we drove all the way to Philly overnight and got the last flight out. It was brutal. We did not sleep a wink and barely got to Rockygrass in time to play our set on the main stage. And it was our first time playing the main stage there. We were just so haggard, but apparently it was good! I had no perspective because I was so sleepy, but people liked it!
ST: I think that was my favorite, because we actually made it. Other ones didn’t have a happy ending.
Wow. You all must be really great traveling companions.
AJ: Well, we have the perfect travel attire that a lot of people tend to notice.
What is it??
AJ: I think Scott is gonna take the lead on this one. [Scott dons an incomprehensibly fashionable and utilitarian navy blue robe.]
SG: It’s a towel. It’s a blanket. It’s a robe. It’s a pillow. It’s everything that you might possibly need on the road. It keeps you warm. It keeps you dry. You can sleep at noon facing the sun.
AJ: We all have one. And everyone is always asking, hey did you guys come from a pajama party?
Okay, I feel like the Scooby-Doo thing is making more and more sense. You’re coordinating and you’re tackling obstacles!
So the two guitars situation – how did that come to be? And how do you go about arranging with two guitars?
ST: We just formed the band with two guitars – me and Jesse Fichman. When we started, I was already used to playing with two guitars because I played in the family band with my sister, [Molly Tuttle], and we usually had two guitars for that, other than when she played banjo. So it felt pretty natural, to me at least. And then when Jesse left, Scott joined, and we already had all the parts arranged for two guitars. We wanted to keep him on guitar even though he also plays mandolin. When one guitar solos you still have the rhythm guitar behind it. And as long as we’re not both just slamming away on rhythm the whole time, it works out.
It does! No complaints here. So do you guys hate banjos?
AJ: No, we actually really like banjo! Just not in our band.
SG: It’s kind of nice having it this way, because it means that when we’re at a festival, and we have a buddy that plays banjo, then we can just invite them up to play with us. There’s definitely a banjo slot for certain songs, and we can interchange that whenever we want.
AJ: I would also say that when seeing other bluegrass bands without banjo, it feels kind of refreshing to not have that sonic space filled. It gives the music opportunities to go other directions if you wanted to. And the banjo can scratch an itch, for sure, but you can’t scratch for too long or it’s going to make a rash!
So you’re our One to Watch, but who are you watching? Are there any artists, creatives, musicians, etc. that you’re appreciating especially right now?
AJ: Crying Uncle!
SG: Yeah, best band at IBMA. Hands down!
AJ: Yes, definitely the best thing I saw at IBMA. Also, another young band that’s great is Broken Compass Bluegrass. They’re up and coming as well.
JT: I like Viv & Riley – really great music. And their old time band, The Onlies, is great as well. I hope that project continues.
Vivian Leva and Riley Calcagno, known as Viv & Riley, dive deep into the nuances of old-time music, their folk influences, and the process behind their album, Imaginary People. The duo, who met at a music camp in Port Townsend, Washington, trace their roots from Riley’s disciplined musical practice to Viv’s intuitive approach. The two found inspiration from growing up in the Seattle area listening to KEXP to living in Portland, Oregon, to their current home in Durham, North Carolina. Drawing on their experiences at fiddlers conventions and music camps, Viv & Riley reflect on the transformative power of collaboration and the vibrant community that has shaped their unique sound in their duo as well as their other band, The Onlies.
As they share insights into their songwriting process, the episode unravels the intricate layers of Imaginary People, delving into the harmonious blend of indie roots and experimental production that defines their latest release. With a nod to their eclectic influences, including the supportive atmosphere of Durham, North Carolina, the duo discusses the evolution of their sound under the guidance of producer Alex Bingham from Hiss Golden Messenger, who produced their latest album.
Comprised of singer-songwriters and instrumentalists Vivian Leva and Riley Calcagno, Viv & Riley are an up-and-coming musical duo that defy definition. Their new album, Imaginary People, is a masterful blend that weaves together their shared reverence for traditional Appalachian music alongside indie-folk, pop-leaning adornments. The result is an emotionally potent 10-track album that covers a vibrant range of personal and universal truths — from the bittersweet nostalgia of visiting a beloved childhood hideaway decades later, to the poignant curiosities that accompany reckoning with climate grief.
Based out of the dynamic music scene in Durham, North Carolina, this duo is currently on tour across North America. With their insightful explorations of the past and creative probings of the future, Viv & Riley uncover rich and complicated explorations of what it means to be alive in this precise moment.
So how did the two of you first start making music together?
Vivian Leva: Well, we first started making music together when we first met in 2016, the summer after we both graduated high school. I grew up in Lexington, Virginia, and Riley grew up in Seattle, Washington, and we just happened to meet at a camp in Port Townsend, Washington. It’s one of those camps that has weeks back to back — there was a vocal week that I was teaching with my mom, and then Riley came to teach fiddle the following week. We happened to overlap by a few days, and Riley was there with his band The Onlies. The first night we met, we played music together all night! After that, I joined the band, and we also started playing together as a duo and writing songs.
Riley Calcagno: The origin of our sort of band, our duo, came later that year, in the fall. We had been communicating and texting some music back and forth, and then Viv invited me down to Asheville to play a gig with her and her dad. I was a fan of her dad, James Leva, for his fiddle and singing, so we did that gig. But we thought it’d be also fun to try out some duo material while we were down in the same place, even though we had never played songs just the two of us. We emailed a venue in Asheville called Isis Music Hall, which was a prominent venue there at the time. Somehow they slotted us in, on a Wednesday night, into this big hall that they had — 200-person capacity, maybe bigger. We had never played music together going into that, but we put together some material and we enlisted some friends to play with us. It was a bold move! Talk about faking it until you make it. Only about 15 people came out to the show, and I’m sure it sounded terrible. But it was fun!
That sounds amazing. So how would you describe your musical chemistry? What is it like playing together?
VL: Well, I think our initial musical chemistry initially came from our shared background in old time music and traditional music. That first night that we met, we played a lot of fiddle tunes, old music, and traditional songs. So it kind of began from a place of excitement about being exactly the same age, having never before met, and somehow both being raised around this same music that we have a shared respect and love for. So that was the initial spark of actually finding another young person who’s into the same niche genre and community. But since then it’s totally stretched into other realms. We are both so open to other kinds of music, and we have very similar tastes and aesthetics. It’s very easy to create music together because we come to it from a similar place.
RC: One of our dynamics in making music together has also been sharing our individual strengths with the other person. When we first started playing together, I couldn’t really sing harmony or find a harmony part. Vivian was very patient with me and helped me learn, and I still feel like I’m getting better all the time. That’s exciting!
VL: I just play guitar, and Riley plays every other instrument. He’s a great fiddler, guitar player, banjo player, mandolin player— instrumentally he brings so much to the table. And I feel I bring a lot of singing and songwriting-focused material to the table. We stretch each other, fill in the gaps for each other, and learn from each other.
What a beautiful thing! So what do you each feel like the biggest difference in your respective musicianships is?
RC: Viv is a very natural musician. She grew up traveling around with her parents as they toured, sitting in on harmonica at her dad’s gigs when she was only three or four. I also was born and raised around music, but it was a bit more formalized, whereas Viv’s music just comes very naturally and it’s not forced in any way. She does what she does super well and consistently and steadily, and I’m a bit more erratic. I take chances and get obsessed with things and take big leaps that sometimes fall flat. Every time she steps on stage, Viv can knock out a great performance, and I feel more streaky.
VL: But he tries lots of different things! And like he mentioned, Riley has a more formal background in music. He took lessons, he learned how to read music, he knows music theory, he did classical violin. So I think a big difference is that he technically knows what’s going on, whereas I don’t have the language or skills that he has. I’m definitely more intuition based than technically based.
You really balance each other out! So your new album, Imaginary People, just came out on September 15, and I’m wondering how your songwriting, as it appears on this album, has shifted since you first began as a duo.
RC: Well, in the past, before we started writing music for this record, we were living in different places so it was a lot of collaboration from afar. A lot of the songs on our last record came from texting voice memos back and forth. And you know, it’s not utterly different to work on them in person, but some of these new songs came out playing them together in the moment.
VL: Another big difference is Riley has started writing way more. So I think there’s more of an equal voicing on this record than in the past. There’s more of his perspective in it. And I think now that we’re living in the same place it’s also allowed us to write about a more diverse range of things. We’ve written a lot of intense emotional, romantic songs in the past, but in this recent past couple of years, we’re more interested in other things, like our shared experiences about other parts of life.
RC: And it’s also partly stylistic. Our last record was pretty much a country record. During that time, I was listening to a lot of classic country music, and this time we were listening to a wider range of things. Having a broader array of influences definitely helped us push the narrative forward.
What are you each proudest of on the album?
VL: I think what I am most proud of isn’t a specific track or anything — mostly it’s this feeling that I unlocked something. I think I let go of some fears in the process of making this record. I felt more free to just say yes to trying new things and became less concerned with things like what genre it was going to be considered, or if the people who liked our last record would like this record… and so on. I stopped worrying about categories like, “This doesn’t sound traditional enough,” or “This isn’t country enough,” or “That’s too rocker or indie.” Instead, I was able to adopt the mentality of “Hmm, that sounds interesting, let’s try and just do what feels fun!” I think I’m most proud that I was able to do that. It felt amazing to take things a little lighter and to roll with ideas that felt a little outside of the mold.
RC: When you start making music, being young musicians, you get immediately labeled. It’s not something that I think either of us necessarily anticipated, but when that first record got classified, people said it was Appalachian and classic country. And then the next one was classic country and Americana. Like “Hits-the-Spot Americana,” whatever that means. And I think there’s an urge for musicians, when you get labeled as something, to keep reproducing it. There’s this toothlessness to the modern Americana music label— it’s the creation of music that is literally meant to sound like other music under a category. I don’t have a problem with genre or specifications, I think it’s oftentimes useful, but it’s [useful] when you’re trying to reproduce sounds so that you can cater to an audience, it’s like you’re trying to sell something in a market that’s already been created. I think that can be the “dampification” of art. And while I think there’s been so many amazing things created within the Americana industry, I also think it often leads to less creativity and less interesting music.
Coming out of our last record, we had some buzz in the Americana world, and it would have been easy for us to make another “Hits-the-Spot Americana” record. But I don’t think that we did that, and I feel proud of that. Like Viv was saying, we didn’t just do what we were supposed to do. You know, there’s synthesizers, but there’s also a fiddle track, and personally, I think it all works together. So maybe if you’re an Americana devotee, you’re not going to love this album, but that’s okay with me. I think there’s a power in making an album that the machine doesn’t really know what to do with. The machine can make up albums and spit them out, but I feel proud that this one isn’t something that can just be spit out because of how we combine traditional and non-traditional music. For example, there were super organic moments where we all stood around one mic and sang together, coupled with other moments where we had things locked in, produced, and added synths because a particular song called for it. Making those two things coexist in the same ecosystem was definitely a challenge, but listening to the record, I think it all makes sense together.
It’s an album full of teeth! Now, before we wrap up, I have to ask: you’re our One to Watch, but who are you watching right now? Any creatives, musical artists, or otherwise that are inspiring you right now?
RC: One is our neighbor in Durham, North Carolina, Alice Gerrard. She’s almost 90, and she’s putting out a record on this indie label from the area called Sleepy Cat. She’s collaborating with a bunch of young people and their art for the record, like making these amazing videos. It’s a really cool thing! People around here are really conscious and thoughtful about aesthetics and sound and ethos. Everything is done with integrity, so it’s a cool scene around here in that way. Alice makes amazing music, I’m really excited for her upcoming record — I think we’ll all be glued to it once it comes out. Another one is our friend who we wrote two songs with on our previous record, “Love and Chains” and “Time Is Everything”— often people’s favorite songs of ours. I just had the honor of producing his upcoming record under his band’s name, Preacher & Daisy. I love the music, so I definitely want to give them a bump! The fun thing is that all this music is sourced locally from the Durham, North Carolina area, where we’re based.
VL: Some folks I’m enjoying listening to right now, not that they’re not already being watched, are: KC Jones, Canary Room, Dori Freeman, Alexa Rose.
We were both old-time music festival kids, showing up at our parents’ jams with dirt-covered feet, stopping for a moment to listen to the tunes and songs that would undoubtedly carry on late into the night. When we met and first played music, it wasn’t to write or sing songs, but to stay up all night playing fiddle tunes, thrilled by the parallel experiences we shared that allowed playing together to feel effortless. Though the songs on our upcoming duo record aren’t traditional and draw a wide net of inspiration, we aimed to have the groove and groundedness of string band music woven into the feeling of the album.
This playlist includes some of our favorite (deep) cuts of old-time music, at least the ones that have been published for streaming and don’t linger on a cassette or family archive. We selected these to give you a sense of how each song or tune has spun a web of connection that somehow wound its way in our direction. We chose many songs that are somehow close to us and the people we know. We chose some that, by their very existence, make clear the injustice that this music and the people who make it are grappling with and/or trying to overcome.
Old-time music isn’t any one particular thing, but is instead filled with contradictions. Even its name feels odd to write and at odds with how we view it. Yet, it is the music that feels like home to us. Come and join our tragic and raging old-time party. – Vivian Leva and Riley Calcagno
Dirk Powell – “Three Forks of Cumberland”
This is one of our favorite recorded instances of old-time music and its unique, reckless drive. This twisty tune is a rare occurrence of a melody that came from sheet music, off the Hamblon family manuscripts. Dirk Powell is joined here by the original members of Foghorn Stringband, recorded live in Eugene, Oregon. You can hear us play this tune live during a jam at the Appalachian String Band Music Festival in Clifftop, West Virginia, on this Bandcamp release.
The Renegades – “Chilly Winds”
In the ‘90s, Vivian’s parents, Carol Elizabeth Jones and James Leva, played in The Renegades with Richie Stearns and June Drucker. Their combination of old-time string band music, harmony singing, and original songs are unique and well-crafted. Riley discovered this band in his dad’s iTunes library in high school before ever meeting Viv and was instantly hooked. Here, they play a song from the Round Peak region of North Carolina called “Chilly Winds.”
Lily May Ledford – “White Oak Mountain”
Lily May Ledford of Powell County, Kentucky sings this song of a woman who has been betrayed and seeks revenge. Ledford was the leader of the Coon Creek Girls, a widely recognized string band from the ‘30s to ‘50s. Viv’s mom Carol Elizabeth Jones sings this song (with the name “44 Gun”) on the recently re-released 1991 cassette, Rambling & Wandering, by the Wandering Ramblers.
Tara Nevins – “Rocky Island”
This record from Tara Nevins is one of our favorite traditional/original fusion projects. Check out that bouncy electric guitar… wowza. This one is sung by Jim Miller, now one of our label-mates with Western Centuries.
Hazel Dickens & Alice Gerrard – “Let Me Fall”
Hazel Dickens and Alice Gerrard sing this Round Peak classic on this practice tape, recorded live in Alice’s kitchen and released by Free Dirt Records.
Tommy Jarrell – “God Gave Noah the Rainbow Sign”
The musician who arguably had the most influence on today’s old-time music scene is Tommy Jarrell of Surry County, North Carolina. Tommy welcomed younger visitors in the 1970s and ‘80s (including Viv’s dad, James, on many occasions) to his house to learn tunes, swap stories, and pass on ideas about the music. Inspiration from Tommy’s playing, especially his bowing, has spread throughout the old-time scene. For more of Tommy, check out this video of Tommy and his frequent musical partner Fred Cockerham playing on a porch in 1971.
Paul Brown – “Red Clay Country”
Paul Brown beautifully picks the banjo and sings this old song on his record of the same name. He learned it from his mom, Louise Dichman Brown, who learned it in the 1920s from two brothers, John and Harry Calloway of Bedford County, Virginia. Paul told us that there are some early recordings of this song on so-called “race records,” the name given to records released featuring Black musicians in the highly segregated and exploitative record industry. This song in particular was a work song, sung by workers on the railroads. These laborers were often wrongly convicted Black people working dangerous and sometimes deadly jobs. Kevin Kehrberg and Jeffrey A. Keith write about this in their research on Swannanoa Tunnel (both the song and construction of the tunnel), a song that is similar to “Red Clay Country.”
Plank Road String Band – “Sail Away / George Booker”
This band came out of Vivian’s home county, Rockbridge County, Virginia, in the 1980s and features her dad James Leva. This track was featured on The Young Fogies, a compilation of the old-time music community during the ’80s revival era. The fabulously frenetic cello, played by Michael Kott, is unique for old-time music, as is the tenor banjo played by Al Tharp. The band had a few successful and influential tours in Scandinavia.
Bruce Molsky – “Last of Harris”
John Morgan Salyer of Magoffin County, Kentucky, was a fiddler who lived from 1882-1952. Though music was never his career, he played unique, often “crooked” (meaning an unexpected number of beats in each part) versions of fiddle tunes. His family recorded him at home in the 1940s, but these recordings weren’t made publicly available until nearly 50 years later thanks in large part to the work of Vivian’s grandfather, Loyal Jones. Here is one of our favorite Salyer tunes, played by one of our favorite fiddlers, Bruce Molsky (along with his partner, Audrey Molsky) on his 1993 Yodel-Ay-Hee cassette, Warring Cats.
Foghorn Stringband – “Best Timber”
Riley grew up around the band Foghorn Stringband and absorbed their uniquely driving sound at Stickerville in Weiser, Idaho, at the Portland Old-Time Music Gathering, and in lively kitchen parties around the Pacific Northwest. They learned this tune from the great Midwestern fiddler, Garry Harrison.
Gribble, Lusk, and York – “Rolling River: Country Dance”
Murphy Gribble, John Lusk, and Albert York of Warren County, Tennessee, were one of the best string bands of the 20th century. Even so, they were never commercially recorded because they were a Black string band at a time when record companies wouldn’t record such a band. (Black musicians were essentially barred from recording string band music and their recordings were segregated into “race records” which we mention above.) Murphy Gribble’s banjo playing in this recording is especially notable as creative and exceptional three-finger picking. More resources on Black string band music is on our friend, spectacular musician, and labelmate Jake Blount’s website. More writing on Gribble, Lusk, and York in an article by Linda L. Henry here.
Roscoe Holcomb – “Hills of Mexico”
Speaking of divine picked banjo, Roscoe Holcomb of the town of Daisy in Perry County, Kentucky, sings this story, “Hills of Mexico.” Mike Seeger, at a performance at Holcomb’s nursing home in Hazard, Kentucky, said that what set him apart is “that he had that real drive, like he really meant it… he had real conviction to his playing, and of course he sing with that high voice, and he’d take a lot of those old mountain songs and make them real special.” Viv’s mom, Carol Elizabeth Jones, also sings this song on a recording with The Renegades.
Bigfoot – “The Dying Cowboy”
Susie Goehring of Northeastern Ohio sings this heartbreaker on the great album by elusive string band Bigfoot. Rhys Jones plays some appropriately mournful fiddle lines under the vocal on the recording. We aren’t entirely sure where Susie learned it but Vivian sings a version from Sloan Matthews, recorded in Pecos, Texas, in 1942.
The Onlies – “Look Up, Look Down”
We also play in an old-time string band called The Onlies that Riley started with his friends Sami Braman and Leo Shannon when they were seven years old. Viv joined in 2017 after a chance meeting during the days between Centrum’s Voice Works and Fiddle Tunes workshops in Port Townsend, Washington. This track is sung by Leo on The Onlies newest record. We learned this version from the great Gaither Carlton.
The Humdingers – “Cumberland Gap”
There is something difficult about capturing the distinct energy of a string band on a recording. Often the best music happens late at night, far off in a field, and certainly never gets uploaded to Spotify. Here is a recorded instance of a band finding the center of the groove on one of the best fiddle tunes there is, “Cumberland Gap.” This recording is of the band The Humdingers with Brad Leftwich on the fiddle, Linda Higginbotham on the banjo uke, Bob Herring on guitar, Ray Alden on banjo, and Dirk Powell on bass.
Photo credit: Brendon Burton
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