LISTEN: John R. Miller, “Faustina”

Artist: John R. Miller
Hometown: Hedgesville, West Virginia
Song: “Faustina”
Release Date: April 23, 2021
Label: Rounder Records

In Their Words: “I wrote ‘Faustina’ a few years ago as a salve when I needed one; one part road-ode, one part a nod to long hours spent in search of mystics and saints while navigating cycles of addiction. I love John Clay and Jonathan Beam’s comfortable groove here on drums and bass respectively, Adam Meisterhans’ backdrop of electric guitar flourishes, and Russ Pahl’s effortless-sounding pedal steel ebbing throughout the song.” — John R. Miller


Photo credit: David McClister

LISTEN: Alex Heflin, “Guest Room”

Artist: Alex Heflin
Hometown: Los Angeles, California // Morgantown, West Virginia
Song: “Guest Room”
Album: Room for Everyone
Release Date: March 26, 2021
Label: Hat Full of Rain Records

In Their Words:Room for Everyone as an album was intended to highlight that inclusivity in both genre and personality always adds interest and excitement to a medium. ‘Guest Room’ is meant to represent the core of this message. In a somewhat nontraditional band setup, the mandolin is the focal point of this upbeat ‘Nashville funk’ tune. I played mandolin and guitar on this track and I was lucky enough to have Nick Campbell (bass), Jordan Rose (drums), and Swatkins (keys) fill out the rest of the song. I originally got the idea to write a tune in this style after hearing Chris Thile play with the Fearless Flyers. That idea sat in the back of my head for more than a year before I sat down to write what would become this song. From there I recorded the mandolin and guitar and the rest is history!” — Alex Heflin


Photo credit: Caitlin O’Connell

WATCH: Andrew Adkins, “This Old Knife”

Artist: Andrew Adkins
Hometown: Fayetteville, West Virginia
Song: “This Old Knife”
Album: April in Your Eyes – A Tribute to the Songs of John Lilly
Release Date: April 16, 2021
Label: Diamond Ranch Records

In Their Words: “I’ve always admired John Lilly as a person and as a songwriter. The first or second time I saw him perform, he played ‘This Old Knife’ and I was in love. I literally stuck my hand in my pocket and held the knife that my father gave to me. When asked to be a part of this album, I knew exactly what song I wanted to sing, because I’ve sang it so many times since I first heard it that night.” — Andrew Adkins


Photo credit: Tara Fowler

WATCH: Olivia Ellen Lloyd, “Loose Cannon”

Artist: Olivia Ellen Lloyd
Hometown: Shepherdstown, West Virginia
Song: “Loose Cannon”
Album: Loose Cannon
Release Date: February 26, 2021
Label: via Brooklyn Basement Records

In Their Words: “I started to write this song when I was feeling very lost. I was very briefly a flight attendant right out of college and it immediately didn’t pan out. I spent my first year of non-college adulthood moving around every few months and unable to lock down a solid job. After that, I immediately settled down with my ex-husband and lived a very externally ordered life. But it wasn’t what I wanted to be doing — I just felt like a failure at 23 years old. I wasn’t adventuring or creating or writing music, but everyone was complementing me on how ‘together’ I was. This song is about how it doesn’t matter if you’re put together or not. If you’re not living a life you want you’re probably not going to be particularly happy.” — Olivia Ellen Lloyd


Photo credit: Light Found Photography

WATCH: Trae Sheehan, “Paris”

Artist: Trae Sheehan
Hometown: Martinsburg, West Virginia
Song: “Paris”
Album: Postcards from the Country
Release Date: September 18, 2020
Label: Half Moon Records

In Their Words: “Somewhere in a hazy, black & white, overcast New York City full of briefcases and energy is where I found ‘Paris.’ It was a song I wanted to write for a while but I didn’t know how to approach it. The first line was with me for a few days before I sat down to write, and by the time I was at the kitchen table with my notebook and guitar, all I could see in my head was SoHo in New York City in this strange 1950s kind of way. I mixed that imagery with how out of place someone can feel in the dating world and that’s where the song lives. It’s probably my favorite song on the record.” — Trae Sheehan


Photo credit: Misty Sheehan

LISTEN: William Matheny, “Mind for Leaving”

Artist: William Matheny
Hometown: Morgantown, West Virginia
Song: “Mind for Leaving”
Album: Split 7″ single with Frontier Folk Nebraska
Release Date: July 11, 2020
Label: Soul Step

In Their Words: “‘Mind for Leaving’ was written and recorded in January, which feels like approximately 800 years ago at this point. In between tour dates, we holed up in a cabin outside of Point Pleasant, West Virginia (home of the Mothman, Shawnee leader Hokoleskwa and Mister Bee Potato Chips). No one was socially distancing yet, but given the set and setting, it felt like we got an early jump on it. Like most Januarys, I remember the days being brief, gray and severe. I finished the song while the mics were getting placed and we arranged and tracked it that same afternoon. It was just the way my band and I like to work: quickly, without distractions and, hopefully, no cell phone service.” — William Matheny


Photo credit: Max Nolte

WATCH: Crandall Creek, “This Heart of Mine”

Artist: Crandall Creek
Hometown: Moundsville, West Virginia
Song: “This Heart of Mine”
Album: Headed South
Release Date: May 15, 2020
Label: Bell Buckle Records

In Their Words: “The song ‘This Heart of Mine’ is a coming-of-age ballad about acceptance and moving on when love doesn’t work out as planned. Crandall Creek works together as a team to write, record, and arrange our bluegrass music style, which has become a crossover, acoustic country style. Lilli Gadd, who is singing lead, really knocks it out of the park when it comes to delivering a song. Our harmonies are our own, it almost feels like a family band, but we are not… we are just connected musically.” — Jerry Andrews, Crandall Creek


Photo credit: Bruce Winges

LISTEN: Joe Hott, “Sweet Loving Lies”

Artist: Joe Hott
Hometown: Augusta, West Virginia
Song: “Sweet Loving Lies”
Album: West Virginia Rail
Label: Rural Rhythm Records

In Their Words: “‘Sweet Loving Lies’ was written by Glen Duncan, Adam Engelhardt, and myself. A lot of the songs we write have a Stanley Brothers feel, but with this song, the way it was written and put together it has a strong original Carter Family feel, lyrically. I was so excited when we came up with the line ‘Spring flowers were bloomin’ when you came to me.’ It really set the tone for the song and you could just hear Sara Carter singing that line as only she could. The original Carter Family has been a big influence on me over the years and to have a song that resembles them on this new album is amazing. ‘Sweet Loving Lies’ is a great old school song that I know the fans will enjoy.” — Joe Hott


Photo credit: Stacie Huckeba

Three Decades In, Leftover Salmon Let out a ‘Festival!’ Yell

Three decades ago at the Telluride Bluegrass Festival, two bands of oddballs who couldn’t get invited to play the main stage said “screw it,” and teamed up for a bar gig back in town… And the rest, as they say, is history.

That slapped-together combo took the name Leftover Salmon. They’ve since gone on to influence an entire generation of bluegrass-based music. Most fans are familiar with the broad strokes of their tale — the renegade musical brotherhood of Vince Herman and Drew Emmitt, the band’s bluegrass/rock fusion and resulting evolution into the prototypical jamgrass group, and the spirit of good times, good friends, and good tunes which still permeates the scene they helped create. But few have heard the entire story until now.

In Leftover Salmon: Thirty Years of Festival!, author Tim Newby dives deep into hazy memories and unforgettable highlights, tracing the twisted path that led the band to its current, esteemed place in roots music lore. Across 13 chapters and more than 300 pages Newby coaxes the story from the band’s revolving lineup — deftly treading the line between historian and hardcore fan — and in the end much is revealed of the band’s high-minded beginnings and unshakable ethos, as well as the struggles they’ve seen along the way. And it’s all done with a wild “Festival!” yell running between the lines.

To be sure, the Leftover Salmon story is not over yet. The band continues to traverse the country on tour – recently swinging through Nashville’s Ryman Auditorium and thrilling a hometown crowd at Denver’s Red Rocks Amphitheatre shortly after — and they plan on returning to the studio this fall to record “three or four tunes” for release “over the interwebs.” But in the meantime, Herman shared some laughs with The Bluegrass Situation about the process of looking back, what the book means to the band, and why none of this would have happened if not for the Iran-Contra scandal.

BGS: Were you surprised Tim wanted to do this book?

Herman: Absolutely. It’s a massive endeavor and he put like three years into it. That alone is an amazing honor — no matter how it came out. [Laughs] But no, we were definitely surprised and delighted that he wanted to do it.

Was there any hesitation in laying everything out there?

Not on my part. We were pretty psyched about all the fun we’ve been able to have over the years, and to have somebody locate it within the larger picture of the music community, it just felt like an honor. Sure, we had some rowdy times and wild things have happened, and it might sound a little more like a rock ‘n’ roll band in the book than a bluegrass band, but I hope it throws some light on how deeply we respect the bluegrass tradition, where that all sprang out of and how we are trying to integrate that along with a more inclusive rock ‘n’ roll vision. I think the book addresses pretty well how we tried to walk that tightrope.

Tim told me you let him root around in your lives for weeks at a time. He said he was at your house digging through old file cabinets and everything. What was that like from your perspective?

Well, it was comforting because I’ve moved around a whole lot over the years and I’ve been toting that stuff with me for a long time. [Laughs] There was finally some validation of “All right, maybe it was a good idea to keep this stuff.”

Did he dig up anything you had forgotten about, or give some insight on how the others viewed things that happened?

One of the things he dug up that I hadn’t looked at in years and years were [late, founding banjo player] Mark Vann’s calendars. He was sort of like our manager early on, and it was cool because they had notes on them about booking gigs and what we got paid, some expenses and all that. Man, we played a lot of years for $500 a night! [Laughs]

One thing I learned was that the Iran-Contra scandal helped create the band, and this was not a connection I would have made on my own. Can you explain?

[Laughs] Well, there are two ways it affected me. When I moved to Boulder, [Colorado] from Morgantown, [West Virginia] in 1985, I was just gonna be here for a couple of months and then go be a witness for peace on the border of Nicaragua, so that part of the Iran-Contra scandal was definitely on my mind when I moved here.

But a few years later when I started a band called The Salmon Heads, we had played our first gig on the hill at Taylor’s in Boulder, and we had an accordion and washboard instead of drums. We played our first set and the bar manager said, “You guys don’t have to do your second set. We’re gonna call it, you don’t play college music.” But we said “Fuck that shit” and continued to play, and it was fun.

That night after the show, someone threw a brick through the window of the club in a random act — and it was not related to us in any way shape or form — but the next morning everyone on the hill was wondering what happened to Taylor’s last night. So we seized that opportunity and made some posters for a house party we were playing, and they said, “Come see what the Aya-Taylor had determined was not college music!” At the time the Ayatollah was in all the papers, so we created the Aya-Taylor, and that party was raging that night. It’s the intersection of history and music.

It’s not all funny stories, as the book goes into some of the more difficult decisions you’ve had to make and plenty of hard times. Were there any tender spots where it still hurt to think about?

Oh yeah, definitely. Especially around Mark Vann [who died from cancer in 2002] and rebuilding and trying to keep going. We finally decided to call it quits for a while and didn’t really expect to come back, and that was an intense time. We were driven to the point where we just weren’t having fun hanging out together anymore, and it was tough because we never really took the time out to grieve Mark, I think. We had to push on because that’s how we all made our living — it’s always been a blue collar band working paycheck to paycheck. That was really difficult and eventually the spiritual price of it was just too much.

The book also traces the evolution of Colorado’s music scene, which you guys were sort of inadvertently at the epicenter of.

Yeah, when we got to town there wasn’t a bluegrass scene. I rolled into a Left Hand String Band show when I drove here from West Virginia and that connection was made immediately. But bluegrass was kept in its corner and the big thing in town was blues and electric stuff. We just felt like we were this musical niche that was best used for Grange Halls and old-timey dances, and to see it move out of Grange Halls and into concert halls over time was definitely a satisfying experience for us, and something I think we might have had a little to do with.

But it’s certainly not like we started anything new, and I’ve always been the guy who says we were really just walking in the footsteps of New Grass Revival and the Nitty Gritty Dirt Band. People like to say, “This started here” and “That started there,” but it’s always a continuation of some tradition with a new twist, perhaps.

After looking back on these 30 years, do you feel like the band has changed – musically or as friends? Or is it still the same spirit as when you began?

I just had a friend from Japan who was my college roommate in 1982 come visit, and I hadn’t seen him all those years. He came and we went to our show at Red Rocks, and then a friend of mine gave him a ride to the airport. On the way my friend asked my old roommate, “So how’s Vince seem to be doing all these years later?” And he answered, “Vince is still in college!” So I guess we won!

Maybe that’s part of why this thing has worked for so long.

We get to have these joyous jobs where we meet new friends and constantly reconnect with old ones, and play a lot of festivals, which is when humans are at their finest form, I think. And through all this stuff, we’ve been able to build this life that’s pretty dang pleasurable. Not that it’s easy on relationships or anything, but our day-to-day living is pretty dang pleasant.


Photo credit: Bob Carmichael

LISTEN: Fletcher’s Grove, “Stray Bird”

Artist: Fletcher’s Grove
Hometown: Morgantown, West Virginia
Song: “Stray Bird”
Album: Waiting Out the Storm
Release Date: May 17, 2019

In Their Words: “I’m a longtime fan of the likes of Bill Monroe and Del McCoury, so I often look to those folks and their ilk for inspiration. I wanted to write a classic country song for our new record. ‘Stray Bird’ is a modern take that pays homage to an earlier era. One of the last songs to be brought into the studio, ‘Stray Bird’ came together quickly and stood out as a different sound for the band that fit this record.” — Ryan Krofcheck, Fletcher’s Grove


Photo credit: Dan Gifford