Tag: Willie Nelson

BGS 5+5: The Delines

Posted on by Editor

Artist: The Delines
Hometown: Portland, Oregon
Latest album: The Imperial
Band members: Amy Boone, Cory Gray, Sean Oldham, Freddy Trujillo, Willy Vlautin

Answers by Willy Vlautin

Which artist has influenced you the most … and how?

Man oh man that’s a tough question. I go in phases so I can’t name just one. I grew up worshipping Willie Nelson, he’s always been my personal sorta saint, next was X and then The Pogues and Los Lobos then probably Tom Waits and Louis Armstrong and a dozen others as well.

What’s your favorite memory from being on stage?

The Delines were playing a gig in Madrid and in the audience, right in front of the stage, were two couples making out. A man and a woman and then two men, and I went to myself, goddamn maybe what we’re doing is working! With Richmond Fontaine no women ever came to our shows. It was all middle-aged drunk dudes and none of them had probably made out with anyone in years.

What other art forms — literature, film, dance, painting, etc — inform your music?

I always write songs thinking they are part of a movie and I write novels for a living so those two have always been a big part of my life. I love novels more than anything and I could spend my life in a movie theater. Since I started, I’ve written in characters and stories. For a shy kid it was always easier for me to do it that way. I could say what I needed to say without anyone looking at me. I was way too insecure otherwise. Writing in stories gave me complete freedom from everything, including myself.

What’s the toughest time you ever had writing a song?

Probably from age 12-26. I wrote obsessively, hundreds of tunes and not one good one. Not a single one. You would have thought I’d have stumbled upon one or two but I didn’t. But I loved writing them even though I knew I was no good at it. And then finally a good song came to me. I was 27 and worked at a trucking company loading trucks and all the drivers were talking about seeing shit on the road late at night, white line fever. I was like hot damn, I’ll write that tune. So I write the tune about a long haul trucker who never calls his wife and all the while his wife is on a bender and ends up in a psych ward. I was so proud of the tune, my first good one after 14 years of writing bad ones. Then I played it in a bar one night and a guy comes up to me and says, “That sure don’t sound like Merle’s ‘White Line Fever’ to me.” That’s when I found out Merle Haggard had already written the tune. Even when I was certain I’d gotten a good one someone had already done it.

What was the first moment that you knew you wanted to be a musician?

It started for me around ten but I never thought I would be much of a musician. I just always wanted to plant my flag with musicians because I grew up believing in records more than anything else. Records were always my favorite friends in life. So after a while, just to get closer to them, I joined up.

Photo credit: Jason Quigley

Asleep at the Wheel Navigate ‘New Routes’

Posted on by Editor

For nearly 50 years, Asleep at the Wheel have been anything but that. Since the Western swing outfit formed in 1970, members have come and gone, but bandleader Ray Benson — he of the towering 6’7” frame — has remained the one constant. The Texas institution now boasts musicians from Wisconsin, Washington, and beyond, with influences that inform an ever-widening soundscape. As Benson writes in the prologue to his 2015 book with Dave Menconi, Comin’ Right At Ya: “I’ve always played retro music that’s out of step with the mainstream, but that hasn’t kept me from being ahead of the curve on a lot of things.”

Asleep at the Wheel’s newest album, New Routes, touches on Cajun swamp, Irish traditional music, gypsy folk, and more. Although the band has released multiple tributes to Western Swing star Bob Wills, their new project closes with “Willie Got There First,” a clever tribute to Benson’s longtime friend, Willie Nelson. Written by Seth Avett and recorded with Scott and Seth Avett, the song claims that Nelson has already written and sung practically every feeling that needs to be written and sung.

That may be true, yet one of the band’s sultry new numbers, “Call It a Day Tonight,” marks the first time Benson has written with a member of Asleep at the Wheel since the 1980s. In this case, it’s Katie Shore, an accomplished singer and fiddler who joined Benson for a chat with the Bluegrass Situation.

What was the collaborative process like for “Call It a Day Tonight”?

Ray Benson: It was the first time I had ever co-written with somebody and could use texting and mobile phone.

That would make such a difference.

Benson: Yeah, you didn’t have to be in the same room, or make a tape and send it in the mail.

Katie Shore: For me, one thing that’s hard about writing with someone is I still have to go be alone with it. I think that Ray’s kind of similar. We had time to be apart and we ended up sending ideas back and forth, so the song wrote itself. We were really on the same page. … That’s the thing about this record—it was everybody bringing a piece of yourself and an idea. We recorded close to 30 songs at the end of it, and then had to whittle it down.

Benson: We haven’t been able to do anything more because we’re working: Getting up every day, getting on the bus. It’s been a month-and-a-half tour and a month before that.

That kind of daily grind, for anyone who’s creative, can take that impulse or spark out of the desire to write.

Shore: We spend a lot of time cruising down the road and I’m always trying to write little ideas or jot things down. But we don’t really have any space to get any instruments out, which all of us that write in the band kind of need.

Benson: But then again I wrote a melody today. I was waiting for our hotel room, and it’s like, “Ok, file that away.”

I know that it’s possible to write on the road, but I think there’s a certain kind of mental space you lack too when you’re on a bus.

Benson: Oh yeah. Just energy too. All you want to do is get a little bit of rest, shower, get your clothes on, get something to eat, and then go do the show. [“Call It a Day,”] it’s a good one though.

It is a good one, and I was also dumbstruck by the rhythm and feel you’ve got on “Pass the Bottle Around.” That deep, gritty sound.

Benson: I spent a lot of time in the Cajun world back in the ‘70s. I had this idea — I was listening to Blind Willie Johnson — and I started singing. Suddenly, I realized I had taken inspiration from him. You know, I wrote that for Emily Gimble, who’s Johnny Gimble’s granddaughter. She sang with us for a while. I had this idea for her, then I realized it’s for me. I remember when I brought it to the band, they said, “We’ll put saxophones on it.” I said, “No, no, no, this is swampy.”

It reminded me of Tony Joe White, but I love how you’re taking it in this whole contemporary direction.

Benson: Tony Joe came and played with us on my birthday last year. That’s as high a compliment as you could’ve paid me. I love Tony Joe. He’s the funkiest white man I ever met.

That’s the truth! The album’s title, New Routes, seems to juxtapose the ending song with its suggestion that everything’s been written — at least by Willie Nelson. Do you think there are still new avenues to explore?

Benson: Oh yeah. I started Asleep at the Wheel 48 years ago, and it’s always been a collective. The direction of Asleep at the Wheel is the direction that the personnel are capable of doing. This bunch really have a creative energy that’s going to create a whole lot of cool stuff with the Western swing mode, the gypsy swing mode, rockabilly. That’s what Asleep of the Wheel has always been about—that wide range of Americana music.

What do you look for in terms of your collaborators?

Benson: What we have, which is great talent and contribution. We might be the primary writers, me and Katie, but the other guys write too. Even if they don’t write, the arrangements they do…

Shore: Everybody is such a serious musician in this band. I think that is what’s kept Asleep at the Wheel going for 50 years—a lot of great players have come in and out of this band. What’s cool is a lot of us have been friends for a long time, even some of the younger folks in the band. Everybody comes from a different influence, and yet we all grew up loving the same stuff. It’s cool to see Western swing evolve. Ray hires people for what they can do, and everybody’s really different. We’re kind of a hodgepodge.

Benson: It’s a tapestry, not a hodgepodge. [Laughs]

You said you started off with 30 songs for this album. What was the recording process like?

Benson: Some of them are half-finished and sitting in the can at the studio. I know we’ll use some of them because it was hard to whittle it down to the 10 or so. Then with the Avett Brothers, Seth sent me that song [“Willie Got There First”], and I said to him, “Hey guy, we oughta do this sometime.” He and Scott got together and said, “Alright, we’re going to come down and do it with y’all.”

It is really magic and then to get Bobbie, who is Willie’s sister, and Mickey Raphael, who I’ve known before he joined Willie Nelson. I hadn’t recorded with Mickey since 1974 and it was really neat to have this homage to Willie, and of course Willie being the funny sonabitch that he is, I sent him the song before I recorded it and I said, “What do you think about it?” and he said, “It’s so hard to be humble.” He’s so funny. He’s still got that great quick wit.

I know you have a long history with Willie, but what brought about this tribute? Seth really just came to you with a song?

Benson: I had met them a number of years ago and we were kindred spirits in our love of roots music, so we became friends. [Seth] had read my book with Dave Menconi and we started texting back and forth. He sent me that song because it’s very sweet of him to do that; he knows my relationship with Willie.

In fact, that’s how they met. The Avett Brothers were coming through town and I was putting together that show with George Strait and everybody [an all-star fundraising concert for Texas wildfire relief in 2011]. I said, “Hey, you’re coming through town anyway. You can come up and sing ‘Will the Circle Be Unbroken’ with Willie and us. We became friends. It’s the same thing as the people who drew their inspiration from roots music but create their own modern music.

And they came down to Austin to record the song?

Benson: Yeah, we booked a show with the Avetts and Asleep at the Wheel. That’s how we made it possible for them to come down. They were very generous, and they happened to be coming through Texas in that time period, and it all worked out. As my friend Big Boy Medlin says, “Everything works if you let it.” You have to trust the cosmos is going to come your way when it’s supposed to.

I love that it’s a family reunion in a few different ways.

Benson: Yeah, that’s funny because we cut the track and we were done, and I said, “Seth, I’m going to try and get Bobbie and Mickey to do this.” He said, “Let’s do it. That makes this history as opposed to just another song.” I’m usually against those kinds of songs that mention the name of the song and get so corny, but to me it was poetry. You’ve got poetry, let’s go with it.

Photo credit (live shot): Patrick Carnahan
Photo credit (posed shot): Asleep at the Wheel

MIXTAPE: Elise Davis’ Songs I Love and Why

Posted on by Editor

Below is a list of songs I think are special and timeless. Some are songs I’ve loved for many years, others are songs I was particularly influenced by during the making of my new album, Cactus. Get ready for a party in your ears. — Elise Davis

Willie Nelson – “Time of the Preacher”

I’ve always loved Willie Nelson but recently had a revival of that love. I decided I wanted to go out to the desert to shoot the album cover so I packed up my car and drove to Terlingua, Texas. I stayed in the middle of Big Bend so there was no cell phone reception, which was appreciated and amazing other than the fact that while driving around in the desert I couldn’t listen to any music other than what CDs were in my car. Turned out I had Willie Nelson’s Red Headed Stranger in my car. I put it in the player and never took it out. The whole week that album was on low in the background and sometimes the foreground and I never wanted to turn it off. The experience led me to dig into older Willie records that I hadn’t heard much, and now I have gone through phases of also obsessively listening to Teatro and Stardust. His voice is one of a kind and he has made so many timeless albums.

Lucinda Williams – “Lonely Girls”/“Ventura”/“Those Three Days”/“Drunken Angel”/“Something About What Happens When We Talk”

This was too tough to name one song. She is my all-time favorite songwriter. I am a huge album person, so I picked songs from my favorite albums but I suggest just listening down to the whole album in its chosen sequence. Like Willie, Lucinda has a one-of-a-kind voice. She always has killer musicians and great production on her albums, which only enhance the songs that strongly stand on their own with just an acoustic guitar and vocal. I am a lifer fan of Lucinda. My favorite albums: Sweet Old World, Essence, Car Wheels on a Gravel Road, and World Without Tears.

Aimee Mann – “Thirty One Today”/“Goose Snow Cone”

I have loved Aimee Mann since I was 16. She has such a cool vibe, intelligent lyrics, awesome melodies – it’s good shit. One of my all-time favorite songs of hers is “Thirty One Today.” I’ve had a plan for a long time to book a show on the day I turn 31 and cover it. “Goose Snow Cone” is a track off her most recent album, Mental Illness. This album completely blew me away. The whole thing is so good!!!

Kathleen Edwards – “House Full of Empty Rooms”

When I first heard this song I cried. I was blown away by its beauty. The lyrics are so simply put yet so impactful and heartbreaking. Her voice is soothing. I have listened to her album Voyager hundreds of times over the years and I feel Kathleen is a hidden gem.

Bahamas – “Like a Wind”

This is a current band I really dig. I haven’t caught a show yet but am going to as soon as I can. The songs are catchy, the harmonies throughout are amazing, it’s upbeat and feel-good but has depth and character. My favorite albums: Bahamas Is Afie and 2018’s Earthtones.

Sharon Van Etten – “Tarifa”/“I Wish I Knew”/”Every Time the Sun Comes Up”

Her voice is so unique and beautifully melancholy. I am the kind of person that likes to listen to depressing music when I feel depressed and Sharon’s albums have been a go to for me on the darker days. “Tarifa” and “Every Time the Sun Comes Up” are off her 2014 album, Are We There. That record as a whole is pretty intense and sad, but one of my all-time favorite albums.

Loretta Lynn – “When the Tingle Becomes a Chill”

I am a huge Loretta Lynn fan. She is a pioneer for women in country music and cut so many songs that were edgy, even controversial, lyrically at the time. And I love that. This was hard to pick one, but I chose “When the Tingle Becomes a Chill.” She is singing about when a husband comes home at night and gets in bed, what used to be a tingle of sexual desire is now replaced with a chill. It’s real, and raw, and that’s what I’m all about.

Harry Nilsson – “Everybody’s Talkin”

To me this is one of the most beautiful songs ever recorded. I have spun this hundreds of times. His music was authentic and he was a true artist.

Tom Petty – “Time to Move On”

As with most of the artists I am naming here, one song is really hard to pin down as a favorite. I chose this song because during the time of recording my new album, Cactus, I was obsessively listening to Tom’s album, Wildflowers. It is one of those records you can just let roll through the whole thing over and over. I love the freeing mood of “Time to Move On.” It makes you want to go on a drive, roll the windows down, and let go of all the bullshit you’ve been carrying around.

Wilco – “Jesus, Etc.”

I had to include a Wilco song because I have loved this band for a long time. They have their own sound, clever lyrics, and just an overall great band. This was one of the first songs that got me into them so I chose this one. Others I really love “How to Fight Loneliness,” “Please Be Patient with Me,” and “Hate It Here.” My favorite albums: Yankee Hotel Foxtrot, Summer Teeth, and Sky Blue Sky.

Sheryl Crow – “Maybe Angels”

This song is off of Sheryl’s massively famous self-titled album, which includes mega hits such as “If It Makes You Happy,” “Every Day Is a Winding Road” and “A Change Would Do You Good.” But to me every song on that record is fuckin’ timeless. I have said this many times over the years and still wholeheartedly stand behind it: I think if this record came out today it would have the same amount of success. It’s just that good. She was a big influence to me as a 12-year-old learning to play guitar and beginning to write songs, and still as an adult this album is a classic and one of my all-time favorite albums.

Photo credit: Alysse Gafkjen

Dawes’ Taylor Goldsmith, The Over-Sharing Songwriter

Posted on by Editor

Taylor Goldsmith is done trying to be cool.

“I feel like there’s an aversion to sentimentality in 2018,” the Dawes frontman (pictured far right) says from his home in Los Angeles. “And I think for a long time I wanted to try to figure out a way to play by those rules. I would write the songs in a certain way; I would maybe even carry myself onstage in a certain way because I was aware of that fact. There was a coolness that had always been there I guess to varying degrees, but I feel like now more than ever it’s important that if you’re a guy in a band, you have to not mean what you say, not know what it means, you have to kind of keep your ballcap pulled down as far as it can go and just kind of recede into the shadows of coolness. And as time goes on and when I feel most myself, I find that just not who I am, and I’m never gonna be.”

That self-awareness is evident on Passwords, the band’s sixth record. It’s an outward-looking album, one that deals with modern themes ranging from the current political climate to social media’s effect on our lives, but it also sees Goldsmith stretching his wings as a songwriter by both pushing himself out of his comfort zone and leaning in to an emotionality that has always been a part of Dawes’ oeuvre.

Case in point: the lovely “Never Gonna Say Goodbye,” written for his fiancée, the actress Mandy Moore. That song poured out of him one night while he was on tour in Detroit. (“Songs typically don’t come out that fast for me,” he says. “They take a good month or two sometimes.”) It was meant as a private “I miss you,” and Goldsmith never intended for it to be heard by anyone besides Moore until she and his brother Griffin convinced him it belonged on the record.

“The main thing [I struggled with] really was the sort of lover’s language that’s really nobody’s business, like the way anyone speaks to the person they’re with when they’re going to bed at night or waking up in the morning or the way they look at each other,” Goldsmith says. “That is the most sacred, private world that I would never dream of wanting any access to. So for me, I was like, ‘Man, this is a very vulnerable moment for me, to say “I love you and I miss you.”‘ It was just a quick thing and I didn’t really want everyone to be eavesdropping, you know? But that ended up being what I liked about it. Because it was like, ‘Okay, what is art? What is music supposed to be other than sharing these personal attitudes that can resonate with someone else?'”

Producer Jonathan Wilson, who worked with the band on their first two records and reunited with them on Passwords, helped Goldsmith feel that he made the right choice about “Never Gonna Say Goodbye” when they got into the studio to record it.

“I was talking to Jonathan about it, and I was like ‘Is this song a little too…much?'” he explains. “I feel like we would all love it if Willie Nelson recorded it in 1973 maybe, but in 2018 is that acceptable now? And Jonathan was like, ‘That’s exactly why I like this song so much. That’s exactly why this should be on the record, because people don’t have the guts to go to this more vulnerable and intimate and earnest place.’ And so that’s something that I used to be scared of because I wanted to be this sort of obtuse artist that was impenetrable because that’s what I’ve always admired in songwriters, but the reality is I’m never gonna be that. The more I embrace what comes out naturally, the better it all feels.”

That approach helped him unlock the album’s themes; though Passwords is not a concept record, its songs share a commonality that make it feel cohesive and uniquely tethered to life in 2018. Goldsmith credits “Crack the Case,” a call for empathy in a time when our country is more divided than ever, with helping him find a direction for the rest of the album’s tracks.

“Oftentimes I find that the themes and ideas present themselves,” he says. “‘Most People’ and ‘Things Happen’ are pretty much about the same thing, and I think that’s pretty cool. I think that’s indicative of a certain attitude being consistent, or something that was really on my mind. Or when I listen to ‘Born to Run’ and ‘Thunder Road,’ one’s almost a continuation of the other, but it’s something that I love about those two songs and that time in Bruce Springsteen’s career, where ‘there’s a better world out there and get on my motorcycle and I’m gonna take you there.'”

He laughs. “In every Bruce Springsteen song, it becomes the identifying mark. It becomes the fingerprint. So with this album, after writing ‘Crack the Case’ and then all of a sudden writing ‘Living in the Future,’ in a way it’s like these songs are about the same thing. One of them comes from a much more paranoid place, but it’s still in the chorus like ‘we’re living in the future, so shine a little light.’ That line could be in ‘Crack the Case.’ So the way that certain songs would bleed into each other and kind of play different angles of the same conversation, that’s something I didn’t think about until it was all written.”

But his plea for entertaining other perspectives on “Crack the Case” isn’t just directed at others. As he gets older, he has challenged himself to get out of his own head and try writing more through the eyes of others, whether it’s the fear and resignation of “Stay Down” or the weariness of “Feed the Fire,” where he’s “working for attention I’ll eventually resent.” (“The song is in this mode of ‘I,’ it’s in first person, but it’s not representative of how I feel,” he says.)

“I think that as time goes on, like anything, anyone who does anything for a living, there become things where you feel like, ‘Cool, I did that and I don’t want to do it anymore because I know how to do it now. I wanna do something that I don’t know how to do,'” he explains. “And for a long time certain approaches to songwriting or to song structures became what I would go back to because that’s what I wanted to learn how to do, especially like ‘Coming Back to a Man’ or ‘That Western Skyline,’ songs that I’m very proud of but also songs that were sort of building blocks for me to take those concepts and then follow into the way I speak as an adult rather than a young guy looking to be a songwriter. There’s a lot of talk of like sunsets and mountains and rivers on our first few records.”

He laughs before continuing, “It is very songwriterly. And that’s because I was learning the language, and as time has gone on, I’ve been trying to figure out how to find the lyrical, find the song in something that otherwise wouldn’t seem like one, you know? When I wrote ‘From a Window Seat’ I was really excited, I was like, ‘This is a song about the weird, obscure metaphysical fear of flying, and it should be off-limits from a band like Dawes, but here it is.’ And I try to keep chasing that down, finding things that just seem like they’re not lyrical and they’re not up for discussing through song. But then more than that, the thing that’s important to me is trying to explore the difference—like when I listen to early music that I wrote, it’s a lot of just me, me, me.”

He adds, “And that’s still the case, and that’ll always be the case, but at the same time, I want to make sure I’m coming from a place where I can adopt attitudes that I don’t identify with….certain perspectives that are not my own, certain narratives that I’m not even a part of, that stuff I feel like is newer. That’s how my writing’s changed. I feel like it’s all as indicative to how I view the world as it ever has been, but trying to take it beyond ‘I love you and you love me, let’s not lose each other, blah blah blah.’

“Because that’s part of what it is to be in your early 20s, but now I look at these songwriters that have these long, rich careers, and a lot of it is because they know how to tackle concepts that are bigger than relationships, that are bigger than self-reflection. They might involve those qualities, but they reach for more ambitious concepts. And so that’s something that I try not to think about too much, but I know that when I sit down to write a song, if it’s going to motivate me to finish it, I want to feel like it’s terrain that I haven’t covered before.”

Even when he doesn’t necessarily agree with what he’s singing, there’s a certain sincerity at the heart of Goldsmith’s songs—perhaps stemming from his ability to place himself in someone else’s shoes sans judgment—that he’s learning to take pride in, no matter how unhip that makes him.

“There’s this coolness that exists right now, and when we come across people that stand up against it and just say how they feel and they don’t mind being emotionally available and earnest and clear and proud, it’s an inspiring attitude,” he says. “I mean, that can come from a person like Bruce Springsteen or it can come from a person like The Rock. His attitude and his sense of gratitude and the way he presents himself in this world, I think there’s something very deep and enlightened about it. He has transcended coolness, and that’s amazing because he’s not here to pretend like he’s some impenetrable artist. He’s not here to pretend like he doesn’t care. He definitely cares, and he’s definitely grateful, and he’s definitely proud, and if we all took a bit of a tip from that attitude towards life, I think it would actually edify us. It would motivate us.

“And so I think for me as a songwriter, after all this time of not knowing where I stood, like, ‘Well, how do I be the cool guy? How does David Bowie be David Bowie? How does Father John Misty be this kind of enigmatic Father John Misty?’ And the reality is that’s just who those people are. And I am the person talking to you right now; I’m the over-sharer. And me coming to terms with that has been kind of the best feeling I’ve had as a songwriter in a long time, like the more I embrace myself directly corresponds to how true I feel my music is. It should be a simple enough lesson to learn pretty early on, but it’s not. It’s really hard. There are few things harder than getting to know yourself and then committing to it. So if someone heard this new album and felt like ‘I’m more willing to be myself. I’m more willing to be open and earnest and share the way I feel,’ I dunno, it sounds cheesy saying it out loud, but I feel like if that were to be something that someone was left with, that would mean a lot.”


Photo credit: Magdalena Wosinska

Way Above the Chimney Tops: A Pride Celebration of “Over the Rainbow”

Posted on by Editor

As we celebrate LGBTQ+ Pride, let’s go “Over the Rainbow.” The amount of artists that have covered this song (written by Harold Arlen and Yip Harburg) is practically innumerable — and of course Judy Garland’s version from 1939’s The Wizard of Oz is the emerald standard. Yet we looked behind the curtain and found 10 roots, country, and folk-tinged versions that we think stand at the top of the heap. What’s your favorite version?

Eva Cassidy

This acoustic cover of “Over the Rainbow” made Eva Cassidy a star, but it didn’t happen until five years after her death in 1996 when a homemade video was shown on BBC’s Top of the Pops 2.

Willie Nelson

Why are there so many songs about rainbows? Willie chose Somewhere Over the Rainbow as the title of his 25th studio album, featuring 1940s pop standards, released in 1981.

Tommy Emmanuel

Officially released in 2004, Tommy Emmanuel had been playing this masterful solo version for years. He says he adapted this arrangement from Chet Atkins’ rendition, then allowed it to evolve over time.

Jerry Lee Lewis

Leave it to ol’ Jerry Lee to insert himself into the story. Even without a broomstick, he swept onto the charts with this cool rendition in 1980, giving him Top 10 country hits across four consecutive decades.

Leon Russell with Newgrass Revival

From a 1981 live album, this version smolders with understated keys and the unmistakable voice of Leon Russell. And this trippy video mixes color and black-and-white footage, just like The Wizard of Oz!

Martina McBride

She’s not in Kansas anymore. Released as a single in 2015, Martina sang “Over the Rainbow” on numerous TV broadcasts, including American Idol and the Opry. Give the people what they want!

Chet Atkins, Les Paul

A beautiful instrumental recorded in 1978, Les is on electric, while Chet provides the fingerpicked classical guitar. Look for it on the great and powerful Guitar Monsters album.

Ingrid Michaelson

Released in 2006, Ingrid Michaelson would go on to perform “Over the Rainbow” with a choir of kids from Sandy Hook Elementary School in January 2013. She considers it a “positive and hopeful song.”

Israel Kamakawiwo’ole (“Somewhere Over the Rainbow / What a Wonderful World”)

Perhaps the best-known cover, the singer known simply as ‘Bruddah Iz’ around Hawaii found posthumous fame with this inescapable medley. According to NPR, he recorded the song spontaneously in 1988, intending it to be a demo.

Jake Shimabukuro

Iz isn’t the only contemporary Hawaiian musician to tackle “Over the Rainbow.” Check out this solo version by Shimabukuro, who has been playing ukulele since he was 4 years old. It’ll make you want to tap your heels together.

Photo by Redfishingboat (Mick O) on Foter.com / CC BY-NC

Capturing the Outlaws: Country Music Hall of Fame Salutes the 1970s

Posted on by Editor

Waylon Jennings and Willie Nelson are familiar to every country fan – and more than a few would consider them the original Outlaws. In a brand new exhibit, Outlaws & Armadillos: Country’s Roaring ’70s, the Country Music Hall of Fame and Museum in Nashville strives to explain how that name stuck. More importantly, it traces the connection between Nashville and Austin to show how these cities shaped country music in the 1970s, considered one of the genre’s most incredible periods of creativity and individuality.

The emergence of Willie Nelson as an iconic Texas musician is central to the exhibit. His blue sneakers and other parts of his casual wardrobe are emblematic of how he stood apart from country entertainers in that era.

Waylon Jennings and his wife, Jessi Colter (shown above), appeared on the first-ever platinum country album, Wanted! The Outlaws (1976). Guitars, a Grammy Award, and posters from Jennings’ performances in Nashville and Austin are on display.

A poster of the film Heartworn Highways is displayed next to a poncho embroidered with “… and Lefty,” which belonged to Townes Van Zandt. Items from Guy Clark, coach Darrell Royal, Alvin Crow, and Uncle Walt’s Band are also featured.

The comprehensive exhibit explains the contributions of Jerry Jeff Walker, Asleep at the Wheel, Michael Murphey, Doug Sahm and Freda & the Firedogs, through rarely-seen memorabilia provided by the artists.

Joe Ely poses next to the uniform he wore while working for the circus. Ely became a force in Texas music as a member of The Flatlanders and through a number of acclaimed solo projects. He also performed on opening night.

Texas natives Tanya Tucker and Billy Joe Shaver catch up at the opening night party. Jennings’ 1973 album, Honky Tonk Heroes, is composed almost entirely of Shaver’s songs. Tucker broke through in 1972 with “Delta Dawn.”

Text by Craig Shelburne

That Ain’t Bluegrass: Lonely Heartstring Band

Posted on by Editor

Artist: Lonely Heartstring Band
Song: “Rambling, Gambling Willie” (originally by Bob Dylan)
Album: Deep Waters

Where did you first hear “Rambling, Gambling Willie?”

Patrick M’Gonigle: Matt [Witler] actually found the song. It was released probably seven or eight years ago now, as part of The Witmark Demos — a set of outtakes from when Bob Dylan recorded The Freewheelin’ sessions. He released a whole bunch of other music from that session. I think it was Matt that thought it would make a cool bluegrass song.

We actually have an interesting side note about that: We had a guy come to a show a couple of years ago and we played that song, introducing it as a song that didn’t make The Freewheelin’ Bob Dylan record. The guy said he went home very confused. He had The Freewheelin’ Bob Dylan album, and he said, “I grew up listening to that record. I know that song intimately. And I never had The Witmark Demos. So I don’t get this.” When he found his copy and looked at the track order, sure enough “Rambling, Gambling” was not on the track order. Then he put the record on and “Rambling, Gambling” was on it! He had one of a very small handful of misprints of the stereo version of that record, and it’s worth a ton of money.

I thought this was going to be a Mandela Effect kind of thing!

It was actually on there!

The title of the song almost answers this question, but what made you all think this would make a good bluegrass song?

It’s got a great, classic chord progression. Also, the timing of the words allowed us to speed it up and have it work. A lot of songs, you speed them up, and the words just become insane or crunched together. The song itself, the words are at a slower pace, so when we sped it up, they totally fit. It’s super fun to play on as a soloist. It had all of the elements. We did the same thing recently with a song that we learned from Willie Nelson. If we hear [three-chord] songs that are slow, but also have a slow word flow, they lend themselves to this. “Rambling, Gambling Willie” was our first experiment with that.

What was your process of arranging the song and putting it together?

It was a few years ago now. When we sped it up, the verses ended up being quite short. There are a lot of them — I think the original version has maybe eight or nine verses. We chose six of them. We chose the ones that told the story cohesively. We cut a bunch of them, and we realized, because we were speeding it up, it didn’t make sense to do verse-chorus-solo. So we did two verse-choruses in a row between solos, which kind of acted as one verse.

The other thing we did, when we worked up the harmonies on the first chorus of each pair, we would do a low harmony and, the second one, we’d do a high harmony, so it would still have kind of an arc over the two verses. One of our favorite, one of our most popular bluegrass songs when we arranged that song was “Born to Be with You” by J.D. Crowe and the New South, which we still play. That has a really cool arrangement style where the banjo finishes every break. We applied that to this song, too. When it gets to the chorus parts, because we would solo over verse-chorus, Gabe [Hirshfeld] on the banjo would always solo over the chorus part.

Bluegrass has always had this tradition of reworking and revamping songs from outside of bluegrass since the very beginning. Why do you think this still happens?

I feel like there are several answers to that. For us, we love — in terms of traditional bluegrass sounds — J.D. Crowe and the New South. J.D. is a great example of someone who does that. Like the song “Born to Be with You,” that’s a ‘50s doo-wop song by the Chordettes. The original sounds nothing like what J.D did with it.

Also, I think a lot of the bluegrass themes are pretty constant throughout bluegrass. We have a banter joke on stage that there are only like six themes in bluegrass: heartbreak, drinking or making alcohol, trains, God, and death. In pop music, especially folk revival — ‘60s, ‘70s pop music — there was a kind of poetic awakening and there was a lot more content. That’s one answer: You can talk about more complex themes.

Then, on the other hand, it’s just natural. Especially in this day and age, when there’s so much good music happening all over the place, if you grow up listening to the radio, it’s not just the Grand Ole Opry anymore. Everyone’s listening to everything.

You know that ain’t bluegrass, right?

Whatever, man. [Laughs] In our band, it’s different for everyone, but I think, in general, I see the term “bluegrass” as either a help or a hindrance. It’s a double-edged sword. On the one hand, sure, it’s bluegrass. In my opinion, bluegrass is whatever anyone wants to call bluegrass. I’m not concerned with it. Maybe it’s not traditional bluegrass, if you define traditional bluegrass as anything that happened before 1953 or whenever. I don’t feel like it’s constructive, especially in our band, to talk about what is or isn’t bluegrass. To us, that song is bluegrass because we’re taking pentatonic solos over essentially a 1-4-5 [chord progression,] the mandolin is chopping, the banjo is rolling, and we have three-part harmony that’s stacked in thirds. That’s awfully bluegrass, if you break it down as a specific musical form.

If you start trying to define what bluegrass means to us, it can start holding us back, because we can easily decide that nothing is bluegrass. I think it’s better for everyone, especially touring, performing musicians who are trying to expand their markets, trying to talk about diversity, or any sort of expansion, because if you start putting labels on whatever bluegrass is, the conversation is over pretty quickly. Everyone has a different idea.

But, at the same time, bluegrass as a positive aesthetic is really powerful. Bringing in the imagery of traditional bluegrass, in a good way, to any sort of music, incorporated into any of those styles can be super awesome. People can immediately conjure some sort of nostalgic, rural, aesthetic. Those are powerful aesthetics that are very popular in American culture. That’s the double-edged sword, to us.

Ken Irwin had a very interesting thing to say to us after we played at Pemi Valley Bluegrass Festival in New Hampshire — that’s a pretty traditional festival. We were up there playing our music, but at that point, we were probably playing more of the Flatt & Scruggs and Bluegrass Album Band kind of stuff. I kept saying, “Here’s one of our songs” and then, “Here’s a traditional bluegrass song.” Ken pointed out that, if we say that, people will start putting those divisions in their own minds about our music. If the audience loves traditional bluegrass and they want to call our music “bluegrass,” then we should let them. But as soon as we start saying what is or isn’t bluegrass from stage, we might be steering someone’s opinions in directions they wouldn’t otherwise go.

A Musically Fashionable Reunion, Luck-Style

Posted on by Editor

“Damn, I forgot how good-looking everyone is in Texas!” the woman next to me said, as we approached the gates of Luck Ranch. My smile was equal parts Texas pride and pure excitement, as I took in my hill country surroundings — an oasis amidst the SXSW madness. The women, men, and kids sharing Willie Nelson’s ranch for the day rocked various combinations of leather boots, chain-stitched denim, hand-crafted hats, and custom jewelry, as well as other items rooted in traditional craft. If you didn’t arrive in any of these items, there’s a good chance you left with one, after visiting the skilled Luck vendors. I know I did!

On the repurposed set of the 1986 film, Red Headed Stranger, the annual Luck Reunion draws a specific audience in with its well-curated line-up of artists, vendors, and other creators who “cultivate the new, while showing honor to influence” in their work. It’s hard to believe this idyllic, single-day music festival wasn’t a mirage or dream induced by way too much of Willie’s Reserve. Here was a damn good-looking group of people listening to some damn good tunes.

Lilly Hiatt

Micah Nelson wearing Featherweight

Aaron Lee Tasjan in Lone Hawk; Caleb Caudle; and Devon Gilfillian

The Texas Gentlemen

Sam of Quaker City Night Hawks

Nikki Lane  in Wallflowers suit and Worth & Worth hat; Sam Lewis; and Onye  wearing her own designs, Effie and Onanu

 

Nashville illustrator Emily Miller

Marie of Lockhart Embroidery

Lede image: Ft. Lonesome

Traveler: Your Guide to San Antonio

Posted on by Editor

San Antonio is a multicultural city with a rich history and vibrant art culture. A museum goer’s dream, the second largest city in Texas is packed with evolving and impressive museums and galleries galore. San Antonio’s music scene attracts outlaws, the art scene attracts Picassos, and the culinary scene attracts Mexican food perfectionists. Plus, who wouldn’t want to go to the city which holds a world record in tamale making?

Getting There

River Walk at Dusk. Photo credit: Tim Thompson

Located in south central Texas, San Antonio is nearly nestled against the Mexican border. San Antonio International Airport (SAT) is located northeast of San Antonio proper, offering plenty of nonstop flights in and out daily. If you want to tack onto a trip to Austin or Houston, San Antonio is a one- or three-hour drive, respectively.

Where to Stay

Inn on the River Walk

The Inn on the River Walk is a classic bed & breakfast, sprawling throughout three 1900s homes along the famous River Walk, while Hotel Havana is a boutique hotel overlooking the River Walk with a noteworthy bar called Ocho. There are plenty of affordable Airbnb options, too. Stick to looking in the downtown and River Walk areas, East San Antonio, Alamo Heights, and the King Williams Historic District for staying in lively areas.

The Hotel Emma

The Hotel Emma is a destination in and of itself because of its unique trappings and in-house upscale restaurants. It’s worth a meal just to peep the decor inside.

What to Do

McNay museum. 

San Antonio is museum central. Everything from Picassos to O’Keeffes reside in the McNay, a world-class modern art museum with more than 20,000 works. The Witte Museum is an interactive science-meets-nature-meets-culture experience, and the brand new DoSeum Children’s Museum features STEM-centric, hands-on exhibits for kids like Spy Academy and Sensations Studio.

Botanical Garden. Photo credit: visitsanantonio.com

Freshly renovated, the San Antonio Botanical Garden includes a family garden, Texas Native Trail, bird watching opportunities, and a tropics-heavy conservatory.

The Alamo. Photo credit: visitsanantonio.com

Though San Antonio is a history nerd’s playground, the Alamo is a given stop on any traveler’s itinerary. Originally established as a one of the early Spanish missions in Texas, the fortress has had many uses and is now preserved as a UNESCO World Heritage Site. It’s free and spans four acres, so it’ll take a few hours to cover the grounds. San Antonio Missions National Historical Park is home to four of the city’s five Spanish missions — outposts that date back to the 17th century.

Under construction and opening in 2019 is Ruby City, a contemporary art center designed by Sir David Adjaye — the same architect who designed the Museum of African-American History and Culture in Washington, DC.

If you like your learning with a side of live music, check out Jazz, TX at Pearl, Paper Tiger, and Willie Nelson’s Luck Reunion fest every March.

Eats & Drinks

Hotel Havana

With more than 1,000 Mexican restaurants, authentic Texas BBQ, and international cuisine from every corner of the world, San Antonio’s culinary scene is robust. The Pearl District and Southtown are restaurant-rich parts of town where you can point to pretty much any spot on the map and strike gold. Grab a drink at Ocho (in Hotel Havana), and you’ll be situated in a glass conservatory overlooking the River Walk sipping locally inspired cocktails.

The Esquire Tavern

The Esquire Tavern is a James Beard-nominated bar with the longest wooden bar top in Texas. Its vibe is informed by the year it opened — 1933. Don’t miss their smoky, chimichurri-doused chalupitas.

Breakfast options include Bakery Lorraine, which moved from the San Francisco area to the Pearl in San Antonio and offers renowned tarts and macaroons. Chef Johnny Hernandez is a local celeb and his Frutería-Botanero will prove why. This Southtown gem serves fresh-pressed juices and smoothies by day and transforms into a Mexican-style small plate bar by night. If you’re feeling a good ole’ American meal of BBQ & beer, hit up the Granary.

Luck Reunion Tips

Valerie June at Luck Reunion. Photo credit: Nathan Poppe

An hour-and-a-half north of San Antonio, musical outlaws gather every March among the fading movie set facades for a musical reunion. Luck Reunion was originally Willie Nelson’s brainchild, beginning on his ranch in Luck, Texas.

Sure, the Reunion’s lineup is stacked with big names, but the fest is equally as dedicated to encouraging music fans to experience rising acts who are doing it all on their own terms. The festival organizers program the early slots to be filled with the artists they believe will be the next crop of rogue music legends.

The Nelson family’s cardinal rule is “Don’t be an asshole,” and that rings true during the festival. Don’t take the historic property, the people you’re surrounded by, or the music for granted while you’re (literally) in Luck. And, no, that is not a skunk you smell.