Billy Bragg joins hosts Lizzie and Cindy on board Cayamo to talk about songwriting, social justice, punk rock and, of course, The Little Guy (Bragg’s nickname for Woody Guthrie). In our interview, we talked about Billy using humor as a way to connect to his audience, so that he can bring up his political activism – such as fighting for transgender rights, the importance of unions and abortion rights. It’s interesting to hear how he wants the Americana audience to remain as relevant as he does. Billy talked about his place as a British artist in the genealogy of folk music and how working on Mermaid Avenue with Wilco allowed him to be a part of the folk tradition.
He also shares how he overcame anxiety as a teenage musician. Standing in front of a crowd playing with his friends in a band really boosted his confidence. Meanwhile, the old school “stiff upper lip” of British culture created an emotional barrier between Billy’s and his parents’ generations. The older generation grew up with the cultural heritage of separating oneself from any emotion. When Billy was a teen, his father was dying. The doctor recommended not telling the patient or talking about it at all. Several decades later, his mother insisted that everyone talk to and about her terminal cancer diagnosis.
Bragg also gets into the merits of socialism, why nostalgia rubs him the wrong way and his favorite English treat. Spoiler: It’s marmite. Gross.
You’ve reached the end of the week and we’ve got your soundtrack to take you into your weekend! This Friday, we’re showcasing premieres from indie folk singer-songwriter Malena Cadiz, from our old friends the Barefoot Movement, and Steven Keene gives a Woody Guthrie classic a new spin. Plus, Norwegian-via-Louisiana country artist Rainy Eyes takes us on a road trip down the “Lonesome Highway” and Darin & Brooke Aldridge bring a new lyric video for “Same Ole New Love.”
Don’t miss the conclusion of our Rootsy Summer Sessions series, too, featuring roots duo Violet Bell and special guest Emily Scott Robinson. Scroll for more, because You Gotta Hear This!
Malena Cadiz, “Getting By”
Artist:Malena Cadiz Hometown: Los Angeles, California Song: “Getting By” Album:Hellbent & Moonbound Release Date: October 20, 2023
In Their Words: “I think of ‘Getting By’ as a love song for the long haul, appreciating that the highs and lows of life that are all part of the beautiful, messy ride. Getting to move through them with the person I love is something I’m really grateful for. My producer, Andrew Lappin, suggested we bring in Lara Somogyi to play harp on the recording. In the live video, Tyler Cash & Jason Abraham Roberts reinterpret that part on keys and guitar. I love how it elevates and brings magic to the unglamorous, scrappy stories of day to day life – lying on the linoleum floor of my kitchen after a long waitressing shift, buying fancy foods with EBT, getting bit by a chihuahua, voicing the feeling that ‘this isn’t where I thought I’d be.’ This whole record is really about that – learning to let go of the expectations we’ve internalized around what and where we “should” be and instead embrace our own paths and our own unique journeys.” – Malena Cadiz
Track Credits:
Lead vocals – Malena Cadiz Bass – Aaron Stern Electric guitar – Jason Abraham Roberts Vocals – Leeann Skoda Drums – Sam Kauffman-Skloff Keys – Tyler Cash
Producer, Music Director, Mixer – Andrew Lappin Engineer – Brittney Orinda Assistant Engineer – Ian Fogarty
Video Credits:Director & Videographer – Audrey McGee Assistant Camera – Haden Cadiz Editors – Thaddeus Ruzicka, Casey Jones, Audrey McGee Hair & Makeup – Bethany Johnson
The Barefoot Movement, “Sarah Jane”
Artist:The Barefoot Movement Hometown: Raleigh, North Carolina Song: “Sarah Jane” Album:Let It Out Release Date: April 19, 2024 Label: Box Monkey Studios
In Their Words:“One of the last times I saw my great grandmother, I took her out of the nursing home to treat her to a manicure. I started rubbing her back while the technician was working on her nails and it must have felt really good, because she uttered this exclamation I’d never heard before: ‘Jump back Sarah Jane!’ The next time I saw her a few months later, she had had a stroke, she didn’t recognize me, and she died soon thereafter, so the Sarah Jane moment was one of my last memories of our time together.
“To some, she lived a rather ordinary, unremarkable life, but to us she was everything. She had an alcoholic husband, who died from complications of a car accident, leaving her to raise their three boys on her own. She worked at the cotton mill in Roxboro, North Carolina her whole life, until she retired. She loved her children, grandchildren, great grandchildren, and great-great grandchildren fiercely, and she made sure we knew it. She also made legendary biscuits from scratch.
“After she died, I was thinking about the life she lived and the phrase ‘Jump back Sarah Jane’ kept coming back to me. I wondered what it would have been like to raise kids through such tumultuous times in the 1940s, when it probably felt like the world was ending. This song is me imagining what a day in the life would have been like from her point of view, navigating a sense of impending doom while knowing that priority number one had to be showing up for her family. She did it well. And there were always biscuits on the table.” – Noah Wall
Video Credit: Workshop Media
Darin & Brooke Aldridge, “Same Ole New Love”
Artist:Darin & Brooke Aldridge Hometown: Cherryville, North Carolina Song: “Same Ole New Love” Album:Talk of the Town Release Date: April 19, 2024 Label: Billy Blue Records
In Their Words:“‘Same Ole New Love’ is an original tune co-written with our good friend Dennis Duff. Dennis brought the idea for this song to the table based on the long standing relationship and bond that he’s always shared with his wife after he noticed the same kind of love between Brooke and I. Through all the ups and downs in life, time and time again, love will always conquer and keep coming back around to that same ole love.” – Darin Aldridge
Track Credits: Brooke Aldridge – Vocal Darin Aldridge – Vocal, mandolin, guitar Mark Fain – Acoustic bass Cody Kilby – Rhythm guitar Jacob Metz – Dobro Samantha Snyder – Fiddle Lynn Williams – Percussion
Artist:Steven Keene Hometown: New York City, New York Song: This World Is Your World Release Date: April 19, 2024
In Their Words: “As one of the first, if not the first true Americana protest songs ever written, Woody Guthrie’s ‘This Land Is Your Land’ was a landmark song that defined Woody and the genre of folk protest music as a whole. It was all about opening the public mind to what was going on in America at the time from a social and economic perspective. Instead of just talking about how great our country is, it was a call to talk about how divided this nation was with its walls of social division and exploitative economic practices.
“The idea behind ‘This World Is Your World’ was to take that important message and relate it within the context of the modern globalized world and to what we are going through right now as a universal society. In many ways, the world is smaller than it was 50 years ago, so I think it’s a song that has so much importance and relevance to what’s going on in the world today, from the threat of international conflict to the need to collectively address global environmental concerns.
“I’m very thankful to the Guthrie family for allowing me to change up some of the words and music and for granting me a co-write with Woody.” – Steven Keene
Rainy Eyes, “Lonesome Highway”
Artist:Rainy Eyes Hometown: Lafayette, Louisiana Song: “Lonesome Highway” Album:Lonesome Highway Release Date: July 12, 2024 Label: Royal Potato Family
In Their Words:“‘Lonesome Highway’ was written over the course of several years, and came about as an attempt to write a short movie in song form. Drawing loosely on inspiration from the personal experience of having to sever ties with toxic family members, and knowing that you can’t always help the people you love. Change has to come from within and sometimes you just have to take that lonesome highway and trust that if you take the leap of faith into the unknown, the universe will catch you.” – Rainy Eyes
Track Credits:
Irena Eide – Vocals, acoustic guitar Dirk Powell – Violin, electric guitar, wurlitzer, accordion Bill Smith – Drums Gina Leslie – Background vocals
Video Credits: Honest Art – Production Syd Horn – Director Olivia Light – Camera Emily Istre – Makeup, hair & stylist Rainey Credeur – Makeup & hair
Rootsy Summer Sessions: Violet Bell
After seven gorgeous and lovely Rootsy Summer Sessions, we’ve reached the final installment of this series with two songs featuring Americana string duo Violet Bell. Shot overlooking the waters of the Kattegat, a bay on the North Sea, you may recognize the golden hour location from our earlier session with Emily Scott Robinson, who makes an appearance with Violet Bell after the North Carolina-rooted band appeared as guests in Robinson’s performances, as well.
Last summer, during Rootsy Summer Fest ’23, the videography team from I Know We Should captured this series of eight sessions in Falkenberg, Sweden featuring more than a dozen performers and nearly twenty individual tracks from Americana, country, and folk artists from across the genre spectrum and from both “sides” of the Atlantic.
Completing the series, Violet Bell – Lizzy Ross and Omar Ruiz-Lopez – first perform “Fisherman’s Daughter,” a fantastic story song from their critically acclaimed 2022 album, Shapeshifter.
While we could easily be mistaken for “a pair of demure young ladies playing in a mid-19th century parlor” as thoughtfully observed by Bluegrass Today some years ago, we are in fact drawn to folk music not for its wholesomeness, but for its realness and its capacity to have you at the edge, staring down the rocky cliffs of life into the depths of your humanity. The songs that endure and have been carried into the future often tend to have a lot of darkness balanced with beauty (reverence and irreverence), because that’s what resonates with folks. It’s what we’re made of. And anyone who dares to sing complex truths and carry stories around in their heads can be a folk rebel.
On our new album, Listen to the World Spin, we stopped worrying about how traditional we sound or “should” sound and just made the music we wanted to make. These songs tend to have themes of the contrast between connection, solitude, our personal struggles, and how we relate to the greater world around us. We ask a lot of questions on this album, the answers to which could be complicated, but ultimately are simple because there is no answer. Sometimes the best thing one can do in life is just listen.
This playlist of songs features friends, heroes, and legends; inspiratoria from our pasts and present. As we refuse to put ourselves into a musical box, so too do the artists on this playlist. Best enjoyed on a long walk or drive, preferably alone or with someone who gives you company without robbing you of your sense of solitude. Much love, – W & E, Paper Wings
“Same Old Man” – Karen Dalton
I love this combination of rough old-time banjo and electric guitar. What a voice. – EM
“Nine Hundred Miles” – Barbara Dane
I remember hearing this track for the first time on Democracy Now and it hit me as being so so cool… a feeling I only really get from punk music and raw, gritty folk. If you haven’t heard of Barbara Dane, you must look her up. She was a very involved activist during the civil rights movement and also wrote some very sharp political songs. – WF
“Sunlight” – Rushad Eggleston
I am a huge fan of the cello goblin’s love song era. – EM
“I don’t love nobody” – Elizabeth Cotten
Nobody plays guitar this good. Elizabeth Cotten is a legend, not much else to say. – WF
“I’ll Wash Your Love From My Heart” – Hazel Dickens & Alice Gerrard
Hazel & Alice are such heroes of ours! Independent, fierce, deeply committed humanists and musicians who have shone light on the path of living a life that is true to those values. – EM
“What Will We Do?” – Foghorn Stringband
Reeb Willms and Nadine Landry are true modern badasses. This track features them singing a capella on this foghorn record, and somehow it’s just as energetic and captivating as when the whole band is playing. They are incredible instrumentalists, but they don’t even need their instruments to make really good music. – WF
“No Reason” – Sunny War
I first heard Sunny play this song live in Nashville and the guitar part instantly stuck in my head. It’s so satisfying, my brain craves it. – EM
“Bad Repetation” – Woody Guthrie
From the spelling of the title, to the pronunciation of “window,” to the fact that the timing changes on every refrain and I still haven’t worked it out, Woody is the epitome of bad-boy-American-folk-singer-fun-rebel-friend. – WF
“Say Darlin’ Say” – Laura Veirs
It was bold to do this song this way with electric guitar. The hook at the end gets stuck in my head from time to time. There are so many poorly reimagined/re-harmonized trad songs, and to me, this one works because it is sparse, it is catchy, and it isn’t perfect. – WF
“Lopin’ Along Through the Cosmos” – Judee Sill
Our friend John Mailander turned me onto Judee Sill in 2019 and I listened to nothing but her for months, absolutely obsessed. The words to this song mean so much to me, “However we are is ok.” Nobody writes a melody like Judee. – EM
“Cumberland Gap” – Spencer & Rains
I remember hearing Howard and Tricia practicing this version of “Cumberland Gap” at Clifftop as they were camped next to me and being totally obsessed. I don’t know where they dug up this version, but it’s so fun and a good reminder that even when you think you know the coolest version of a song, there is probably a cooler one still out there. Also, this whole album is fun and you can even hear Emily play bowed bass on it, watch out. – WF
“Chewing Gum” – The Carter Family
I dare you to jump rope with your best friend to this song and try not to laugh when you sing the words, “I wouldn’t have a doctor, I’ll tell you the reason why/ He rides all over the country and makes the people die.” – WF
“Left Hand Lane” – Paper Wings
We wrote this song on a night drive home to Berkeley, talking about doing our taxes and being afraid of accidentally doing them wrong. We had borrowed a car from our friend Vynce. I somehow managed to live in the San Francisco Bay Area for 7 years and never had a Fastrak beeper (the toll taking company for bridges, express lanes, IYKYK) but we got to live that Fastrak life on this particular trip and it made it into the song. Thanks Vynce!! – EM
“Pretty Bird” – Laurie Lewis & Linda Ronstadt
I listened to Laurie’s albums growing up and long before I even played music. I am lucky now to call her a dear friend. I love her writing and her taste in covers. To some this might be a song about a little bird but it takes next to no imagination to hear it cautioning a young woman “he would only clip your wings.” – EM
I was born into a music-centered family in small town Arkansas near “where the Delta meets the Ozarks.” My grandparents started a music store on the court square in the 1960s and they sold instruments and equipment, et al. – and also carried the top records of the day. So, music and musicians were infused into my life from birth and my family was at the center of a vibrant musical community.
At every holiday or birthday or community event, we played music together and sang with a cast of characters ranging from the local church organist to Sun Records session players. I thought every family was like that, but as I’ve grown older and a lot of those characters have passed on, I’ve realized how rare my upbringing was and I cherish it with all my heart.
I remember the voices and the sounds of the jams like it was yesterday, and I’m honored to make a playlist of some of the favorites we played and sang together. I didn’t discover a lot of the recordings of these songs until much later in my life because we played them by rote – or sheet music – at those beautiful, heavenly hoe-downs. These songs are the soundtrack of my early life. I’m honored to share them. – Bonnie Montgomery
(Editor’s Note: Scroll to find the full Mixtape playlist below, to enjoy while you read.)
“Precious Memories” – Merle Haggard & The Strangers featuring the Carter Family
I chose Merle Haggard and the Carter Family’s version of this hymn, because it’s the closest version to what I remember our hoe-down version sounding like. My grandfather Ivan would always request this song and all the old-timers would sing with such passion, and even tears. I remember the far away look in their tear-filled eyes when they sang it, and although I never felt it like they did back then, I loved the song. We always thought it was a funny selection too, because they would always sing it “pray – shush mam -ries” over and over, which made us laugh. But now that those faces are all passed and gone across the great divide, I feel it like my grandfather used to. Now, just like them, all I have is the memories. Sacred, precious, treasured memories gathered around the piano in my grandparent’s music room – in what feels like a lifetime ago.
“Your Cheatin’ Heart” – Hank Williams Sr.
I didn’t hear the recorded Hank Williams version of this until my late teen years, but we sang it as the grand finale of the Christmas Eve hoe-down every year. After hours of singing the entire catalogue of Christmas carols and standards, my grandfather would sing this one with the most volume and gusto of them all. My mother, or our dear family friend Teddy Reidel, would play a romping walking bass line on the piano with it. So when I went Christmas caroling with friends at age 11, I was ready for the big grand finale and started in on “Your Cheatin’ Heart,” but none of my friends knew it! It was then that I realized “Your Cheatin’ Heart” in fact wasn’t a Christmas carol!
“Born to Lose” – Ted Daffin
My grandfather always requested this song when I was playing piano, whether at the jam sessions or after school, when I would be practicing piano at their house. I never understood it, because the lyrics were so depressing and I wondered why anyone in their right mind would want to profess to being such a huge loser, ha! I remember practicing my classical pieces (I rebelled in the ultimate way by falling in love with classical music at a young age) and Papaw would holler “quit playing that long hair music and play ‘Born to Lose.'” By “long hair,” he meant classical, as in Handel or Beethoven’s long hair. I still laugh about that – instead of long haired hippies, he was talking about the wild artists from centuries ago.
“Sentimental Journey” – Doris Day, Les Brown & His Orchestra
This was my grandparents’ song. They would request this one and dance together every time we played it. During the Great Depression, my grandfather left Arkansas and went to California to look for work. Once he was there, he sent for my grandmother Frances and when she was out there, they got married. They both missed home terribly, so around 1943, when they finally arranged to go back, they had to go separately because of money. My grandmother was expecting their first child by then and had to ride all the way home from California to Arkansas in the back of pickup truck. She always called it her sentimental journey and you could just see the love between them every time we played this one.
“Tennessee Waltz” – Connie Francis
This was another favorite at the hoe-downs. I must have played it a million times while everybody danced and sang. And other times, when we were just hanging out at home, my grandmother would sit in a chair near the piano and ask me to play this one. She would have such a huge smile on her face and she just seemed to melt into the song. I’m so grateful for her encouragement with my musical endeavors.
“Sweet Dreams” – Patsy Cline
This was another of my grandmother Frances’ favorites. She was a fashion-forward, tall, beautiful red-head, full of life and fire. For small town Arkansas she was way ahead of her time. She started her own businesses (the music store was her main project) and ran for mayor in the ’60s too. She adored Patsy Cline and always thought she was so classy compared to the other female country singers of her time. We didn’t jam on this song, but we listened to the recording at full volume. The string arrangements from those Patsy songs have a huge influence on my string arrangements (arranged and played by maestro Geoffrey Robson) in the studio.
“Goin Down the Road Feelin’ Bad” – Woody Guthrie
My grandfather used to take us to his farm in Garner, Arkansas almost every morning in the summer. It was pure heaven for us as children – we could run wild and do whatever we wanted, ride horses, swing on the barn swing, go fishing, drive old cars and tractors around the farm, eat turnips straight out of the ground when we got hungry, crawl around with the pigs in the pig pen, and much more. We would sing in the truck with him all the way to the farm and he loved to sing this song and make up new verses such as, “I’m goin’ where the boys don’t blow their nose…”
That farm lives in my memory every single day – and incidentally, the highway it’s on (old highway 367), got named the “Rock and Roll Highway,” because it’s the road all the Sun Records artists would drive from Memphis to Helena back in the day. I didn’t know that when I was young, but it makes sense that Johnny Cash, June Carter, Elvis, Roy Orbison, Carl Perkins, etc. knew that road well.
“The Strawberry Roan” – Sons of the Pioneers
My grandfather on my father’s side, a wild cattle auctioneer named Leon Montgomery, used to drink his whiskey and burst in the door with his cowboy hat and a grin and croon out “Oh, That Strawberry Roan” as a greeting.
“Gonna Burn Some Bridges” – Ray Price
Ray Price was another familiar voice in the musical landscape of my childhood and is pretty much the ultimate crooner in my opinion. I’m including this tune because it’s direct inspiration for a song on our new album.
“I Was Fine” – Bonnie Montgomery
I’m including one of the songs off my new album, because it was inspired by the music of my childhood and, in particular, the music of Ray Price. My bandmate and engineer, Kevin, came up with a steel guitar riff that’s a direct nod to the steel guitar riff on Price’s “Gonna Burn Some Bridges.” We recorded this one with vibraphone and full string orchestra and I sang my heart out for Ray.
Told that a song on his new album brings to mind The Doors, Marty Stuart is bemused, but open to the idea.
“Did it?” he responds during an interview. “That’s fine. If so, why not?”
“Nightriding,” from new album Altitude by Stuart and His Fabulous Superlatives, kicks off with droning guitars, then evolves to a riff somewhat like that of Jim Morrison’s “Roadhouse Blues”
“Cadillac, sundown,” Stuart intones. “Think I’ll investigate this town.”
To be clear, most of the cuts on the Altitude are more evocative of The Byrds than The Doors. So, is Marty Stuart really a country music traditionalist, as many people perceive him? Yes. And also no.
“I’m totally fine with it,” Stuart says when asked if the country music purist reputation is OK with him. “It’s a self-appointed mission. But my comment would be that country music has broad shoulders.”
Dante Bonutto, who heads up Snakefarm Records, which is releasing Altitude, says that Stuart has earned the right to experiment.
“Since he’s definitely someone who pretty much invented the wheel, he’s allowed to put different spokes on it when he wants to, I think,” Bonutto said.
Stuart, who’s been a bluegrass prodigy, a mainstream country music star, and remains a prodigious collector of country music artifacts, was born in 1958, making him a child of the 1960s, with all that comes with it.
“I still think of when The Byrds and Bob Dylan and all those guys came to Nashville to make their records in the late ‘60s,” he says. “That is like contemporary stuff to me. …That was the stuff that touched me when I was growing up, so it was just a part of country music to me.”
At a recent benefit concert for Northwest Mississippi Community College, Stuart’s base was definitely country — he and the group appropriated the whole history of the genre as their back catalogue, doing songs by Merle Haggard (“Brain Cloudy Blues”), Marty Robbins (“El Paso”), Waylon Jennings (“Just to Satisfy You”) and Stuart’s own hits from the early 1990s such as “The Whiskey Ain’t Workin.’”
The casually virtuosic Fabulous Superlatives band (Kenny Vaughan on guitar, Chris Scruggs on bass and Harry Stinson on drums; all of them sing) wore matching glitter-flecked black suits, and Stuart’s performing style still owes a debt to his former boss and mentor Johnny Cash.
But that wasn’t all. During the hour-long set before a well-heeled audience dressed in tuxedoes and evening gowns, there was also a Woody Guthrie indictment of the rich, a mandatory gospel number, and a big helping of surf rock, obviously a favorite of Vaughan in particular.
“We hereby declare Senatobia, Mississippi, as the surf capital of the world,” Stuart announced before Vaughan launched into a Telecaster version of “House of the Rising Sun.” Also, “Wipeout” was played by Scruggs solo on the upright bass, with Stinson slapping out the drum solo on the cheeks of his face.
“Well, it doesn’t really matter how people categorize us,” Stinson said. “If anybody’s interested in what you’re doing, then they listen a little bit deeper and find a much wider spectrum, in terms of the music. I think Marty is much more than just a traditional country artist. He came from that world and uses that as a place to plant himself, and then branches out in different directions.”
Possibly because the Altitude album hadn’t been released yet during the March 25 concert in Mississippi, that audience didn’t get a taste of its cosmic, sometimes psychedelic country music.
The album’s beginnings go back to 2018, when Stuart, Vaughan, Stinson, and Scruggs toured with Roger McGuinn and Chris Hillman to celebrate the 50th anniversary of the pioneering country rock album Sweetheart of the Rodeo by The Byrds. McGuinn and Hillman were original members, along with the late Gene Clark, David Crosby, and Michael Clarke.
“That was Roger McGuinn’s idea,” Hillman recalled. “Roger had done some dates with Marty; he knew him really well. …He knew the Superlatives would be right on the money because he had done a couple of Byrds songs with them onstage.”
Hillman rates the Superlatives as “the best band probably in this country right now, if not the Western Hemisphere.”
“We had so much fun doing the Sweetheart of the Rodeo Tour,” said Hillman, who was also a member of the Flying Burrito Brothers and Desert Rose Band. “The arrangements were the same as we did on the album in 1968,” he said. “We played the songs better, but we didn’t change anything. It was a joy to go back out and do those songs, especially with the Superlatives.”
Stinson says the tour with The Byrds was “a joyous experience.”
“I got to play with some of my heroes,” he said. “I grew up on those records and so to get to play that music, especially the Sweetheart record, which was kind of groundbreaking. I got to go back through it and really dissect it, and then put it on stage. It was surreal for me.”
The Sweetheart of the Rodeo Tour, coming around the same time Stuart and the Superlatives were opening for Chris Stapleton and the Steve Miller Band, had a profound effect on Stuart’s songwriting.
“It got me in the mood to write songs with all the sounds that were left hanging around in my head,” Stuart said. “We were hot on those ideas, and I just carried the inspiration in with me.”
Like a lot of albums released in the past year, Altitude was recorded while COVID-19 was at its height.
“We rehearsed,” Stuart said. “Most of the producing of this record was done in dressing rooms and at soundcheck and trying songs out there in shows before we ever went to the studio.” The original plan to record was ruined by the coronavirus.
“We were hot, we were ready to go to Capitol Studios in Hollywood (California), and make a record,” Stuart said. “Well the pandemic crashed and Capitol Studios shut down, so we found East Iris Studios (in Nashville). We put on our masks and stood 6 feet apart and soldiered on.”
“I’m glad everybody agreed to do that, because I think this record would not have sounded like it does if we would have had to wait several months and relearn it.”
The album’s Byrd-like sound, complete with the jangling guitars that are McGuinn’s trademark, has Hillman’s endorsement.
“What they’ve done is not a tribute to The Byrds,” Hillman said. “It just has a few little nice, ever-so-tasty hints of what we did.”
Hillman thinks the driving “Country Star,” which also owes a debt to Chuck Berry, has the feel of Byrd’s songs such as “So You Want to be a Rock ‘n’ Roll Star.”
“There’s a lot of influence there — not overtly, but it just is there. Marty doesn’t stray far from the well, meaning the bluegrass well. I never did either.”
Stuart’s ability on mandolin shouldn’t be overlooked, Hillman said. “Marty is an unbelievably gifted musician,” he said. “I love Ricky Skaggs’ playing and Ronnie McCoury,” he added. “But I told Marty when we were on the road, ‘You got that machine gun hand.’ He says, ‘Yeah, that’s Everett Lilly.’”
Lilly (1924-2012), played mandolin and sang tenor with the Lilly Brothers and Don Stover. He also spent a couple years with Flatt and Scruggs.
“(Lilly) had that cool right hand and when he took a break on ‘Earl’s Breakdown,’ when he played with Flatt and Scruggs, it was great,” Hillman said. Factor in Vaughan on guitar in the Superlatives, and “you can’t get any better,” Hillman says. “But it’s two different approaches to music.
“Marty really grasped ahold of the pulled string stylings of Clarence White (who played with The Byrds and Kentucky Colonels before his 1973 death)”, and then Kenny “is so good, all over the place.”
“He doesn’t overblow; he plays just what is needed,” Hillman said of Vaughan.
While Stuart released his last album, Way Out West, on his own Superlatone Records, he’s partnered with Snakefarm, a subsidiary of Universal Music Group, for Altitude.
Bonutto, a journalist and record company executive, heads up the roots-rock focused Snakefarm and its sister label Spinefarm Records, which specializes in heavy metal. In addition to Stuart, Snakefarm has acclaimed Southern rocker Marcus King on its roster.
“(Stuart is) obviously an artist I’ve always been aware of, because I love country music and I’m aware of its legacy,” Bonutto said. “The first time I saw him was when he played the Country to Country (music festival) in London, which is a big annual country music event. I thought his personality was fantastic and his playing is obviously unbelievably good.”
Bonutto wrangled a quick meeting with Stuart at the festival, but had to wait a while before Stuart and his management were ready to sign a new record contract.
“I’m trying to build the Snakefarm label into a global entity [in Americana music],” he said. “The best way you can build anything is to attach yourself to people who are legendary and iconic. Hopefully you do an amazing job for them and they speak well of you and they become part of the fabric of what you do.”
Bonutto noted that Stuart, who is also a photographer and working on a facility to display his country music artifacts, is not “a one-dimensional character.”
“He’s a man with a fantastic vision,” Bonutto said. “I think that comes across in the other things.”
Stuart is a leading collector of country music memorabilia, and he’s working on a $30 million museum to display it in his hometown of Philadelphia, Mississippi. A 500-seat theater is already open, and 50,000-square-feet of exhibit space for 20,000 artifacts will be the second phase. An education center is planned after that.
“I was a fan, going back to those country or gospel groups or bluegrass groups who come through my hometown when I was a kid,” Stuart said. “I’d always buy a record and ask for an autograph or ask one of the pickers if I could grab a pick.”
In the 1980s, he observed that “old timers, the pioneers, the people who had raised me, were being disregarded.”
“Their treasures, their personal effects, their guitars and costumes, were winding up in junk stores around Nashville,” he said. “I found Patsy Cline’s makeup kit for 75 bucks in a junk store on Eighth Avenue in Nashville. I couldn’t believe it.”
Stuart met Isaac Tigrett of Hard Rock Café in London, and he showed Stuart how that restaurant chain was investing in and exhibiting rock music memorabilia.
“Even though it was a hamburger joint, I understood the importance of them collecting and curating stuff from The Beatles and the Stones and The Who. … Beyond the Country Music Hall of Fame, I didn’t see anybody doing it, so it just became a self-appointed mission to start rescuing a lot of those things that were winding up in junk stores.”
Stuart’s collection includes treasures such as the handwritten lyrics of “I Saw the Light” and “Cold, Cold Heart” by Hank Williams Sr., the boots Patsy Cline was wearing during her 1963 fatal plane crash and Cash’s first all-black performance outfit.
Speaking of country music history, Stuart began his career in bluegrass backing up Lester Flatt before joining Cash’s band. He’d like to return to those roots and record a bluegrass album.
“I need to, I need to,” he said. “But it needs to be authentic. It needs to be the real deal, blood-curdling bluegrass.”
If you had to write a mission statement for your career, what would it be?
To use music to help build a front porch around the world. We need that right now. To help music lovers find a new, defined direction for their music. Music doesn’t have to be your livelihood to be a powerful part of your life. To gather the global community of front porch-minded musicians and help them do good work, bring roots music education into schools free of charge, and enhance communities by redirecting the tremendous energies of local musicians.
What other art forms — literature, film, dance, painting, etc. — inform your music?
All of it, really. I’ve written five books, a children’s book I illustrated myself, I had a published cartoon strip in 17 newspapers, written three movie scripts and, during the pandemic, took up oil painting. Obviously I have a syndicated radio and TV broadcast as well, so it is a tapestry of art. I’ve written plays and even an opera about the day Woody Guthrie wrote “This Land Is Your Land.”
As a musician and artist, what are some of the ways you like to give back to the community?
That’s hard to explain. And I offer this not in the spirit of boasting but to encourage other artists to look past their vision of “stardom” and see instead the value of doing good work with their music. It is better than a hit record. I created the SongFarmers community to help musicians the music business left behind; there are now 89 active chapters across America and Ireland. I created the WoodSongs Artist Gathering to help poets, painters, authors and songwriters find encouragement and feel like their efforts have value; so far 19 events have happened or are being organized. We have over 1,000 WoodSongs broadcasts that I consider an education into America’s front porch, so we attached lesson plans for classrooms and homeschool parents to introduce this rural heritage to their kids, all free.
I’ve performed hundreds of concerts for the homeless, the environment, farm families, battered women and children, concerts about the earth and nature as well as teenage suicide. This year tornados destroyed much of Western Kentucky and I used the WoodSongs community to collect nearly 1,000 instruments to give musicians in the region who lost everything, all for free. A few months later, floods destroyed much of Appalachia and again collected hundreds of guitars, banjos, flutes and more and gave them out free to musicians in the mountains. Recently I launched another volunteer-run project to welcome young musicians to our front porch world called WoodSongs Kids, sort of a Mr. Rogers meets the Grand Ole Opry.
Which artist has influenced you the most … and how?
I think without a doubt Pete Seeger. Perhaps not so much musically; my style is much different from his, but his vision for music, community, using song for a purpose other than “selling” things. He was my neighbor on the mountain along Rt. 9D by the Hudson River in New York, although I really didn’t understand who he was. Just a pleasant fellow who claimed to be a musician … but played the banjo. I gravitated to the musicians in his orbit as well, folks like Harry Chapin, Arlo Guthrie, Roger McGuinn, Odetta, Libby Cotton, Don McLean and others. I found his log cabin life, the rustic lifestyle, and organic thinking very close to my own. Certainly Henry David Thoreau and Vincent van Gogh have been major wellsprings of imagination for me.
What’s the toughest time you ever had writing a song?
As I write this, we are in preproduction for my new Garden of Time album. I approached the project completely backwards. I knew what the album title would be; I even designed the album art. I had everything ready except writing the actual title song. “Garden of Time” was going to be about Vincent van Gogh’s final day in the summer of 1890. But I couldn’t grab the song, it was beyond me. So I got in my car and went to the Detroit Institute of Art to see the 26 original canvases of van Gogh. To stand in front of the actual paintings, in the same space he stood with his brush in hand, was very moving. I got back home to my log cabin, fired up the wood stove, and “Garden of Time” was born in 10 minutes.
While putting the finishing touches on my new record, At First There Was Nothing, I found myself living beside the tracks of the Durango & Silverton Narrow Gauge Railroad in southwestern Colorado. Widely considered one of the most scenic train trips on the continent, the jaw-dropping route stretches 45 miles through pristine wilderness, along impossibly narrow cliff ledges, and above roaring river rapids.
Though it was originally constructed in order to haul gold and silver ore from the otherwise inaccessible San Juan Mountains, these days it’s a tourist line beloved by sightseers, backpackers, and whitewater rafters. Even though the cargo has changed, the railroad is still powered by steam engines, just as it was 140 years ago when it first opened, and it’s hard not to fall in love with the sights and sounds and smells that go with it.
When it came time to make a video for the album’s lead single, “Long Haul,” I knew that I wanted to find a way to bring the railroad into it, and fortunately they were gracious enough to let us commandeer a caboose for the finale.
Returning to Durango for the project had me thinking about the strong connections between music and railroads. For as long as there have been trains, there have been train songs: some are joyful celebrations, others, mournful laments. A train whistle can mark a long-awaited arrival or a much-dreaded departure, the start of a new adventure or the end of the good old days. It’s hard to know where to begin when it comes to putting together a playlist of railroad songs, as trains have been written about from nearly every angle in nearly every genre, but here you’ll find some of my favorites, which I hope may inspire you to hit the rails yourself. — Anthony D’Amato
The Band – “Mystery Train”
A cornerstone of American rock and roll, “Mystery Train” has been performed and recorded by just about everyone over the years, but I chose to kick things off with The Band’s version. Musicians use the term “train beat” to refer to a certain kind of basic drum pattern, but Levon goes above and beyond here. There’s a relentlessness and a momentum to his groove that genuinely evokes the feeling of wheels rolling down the track, and it’s utterly mesmerizing.
Howlin’ Wolf – “Smokestack Lightnin’”
Eerie and hypnotic, “Smokestack Lightnin’” is an all-time blues classic. Howlin’ Wolf said the title was inspired by sitting in the country at night and watching sparks fly from the smokestack of passing trains. Close your eyes while you listen and it’s easy to see the red-hot embers dancing in the empty black sky.
The Kinks – “Last of the Steam-Powered Trains”
The through line from Howlin’ Wolf to The Kinks is pretty obvious when you listen to these songs back to back.
The Staple Singers – “This Train”
There are a whole host of versions of this song to choose from, but I’ve always loved The Staple Singers’ take on it, which blurs the lines between gospel and blues. The train is a potent symbol not just in 20th century music and art and literature, but in religious expression, as well, and this is a prime example.
Bruce Springsteen – “Land of Hope and Dreams”
Springsteen references a number of train songs (including “This Train”) within “Land of Hope and Dreams,” which was a live favorite for years before he recorded it on the Wrecking Ball album. I’ve always been drawn to the imagery in this tune, as well as the intricate way in which the words all fit together like puzzle pieces without a single wasted vowel or consonant. “Big wheels roll through fields where sunlight streams” is as clean a line as you could ever hope to write.
Elizabeth Cotten – “Freight Train”
Written when Cotten was still quite young, “Freight Train” is an enduring classic more than 100 years later, and her performance here is utterly timeless. Interestingly enough, the tune made its way to England in the 1950s, where it was covered by a skiffle group called The Quarrymen (which eventually evolved into The Beatles). Seems everyone cut their teeth on train songs.
Lead Belly – “Midnight Special”
The passing headlight of a train is a sign of freedom and salvation for a prisoner in this song, who lets the glow wash over him like baptismal waters in his penitentiary cell.
Ernest Stoneman – “Wreck of the Old 97”
Trainwrecks have been fertile ground for songwriters through the years, and who could blame them? Trainwrecks have it all: drama, heroism, danger, tragedy, sacrifice. If all we got out of this tune was Rhett Miller and his compatriots in the Old 97s, it’d still be worthy of inclusion here.
Woody Guthrie – “John Henry”
Railroads have produced their fair share of local and regional folk heroes over the years, but none as iconic as John Henry, who wins the battle of man versus machine but pays with his life. There’s a whole lot about capitalism and labor and race and technology all wrapped up in this song, which could be said of the railroads themselves, too.
Bob Dylan – “Slow Train”
There’s a simmering intensity to this song that stares you dead in the eye and refuses to blink. I don’t think it’s any coincidence that Dylan chose a train as the central metaphor in this scathing assessment of America.
Arlo Guthrie – “The City of New Orleans”
Steve Goodman’s “City of New Orleans” is another well-covered train song, but as far as I’m concerned, Arlo Guthrie has the definitive version. It’s a beautiful slice of life from the perspective of a traveler looking out the window at a changing country.
Justin Townes Earle – “Workin’ for the MTA”
It’s hard to write a modern train song that doesn’t sound like Woody Guthrie cosplay, but Justin Townes Earle did a brilliant job of updating the form on this tune, which is sung from the perspective of a New York City subway worker.
Amanda Shires – “When You Need a Train It Never Comes”
This one’s about a lack of trains, but I think it still qualifies. This was the first song of Amanda’s I ever heard, and I was instantly drawn to her unique perspective on what could otherwise be well-worn territory. Like the Justin Townes Earle tune, it’s a rare contemporary take that feels genuinely original.
Brad Miller – “Reader Railroad No 1702 2-8-0”
This might be considered cheating since it’s not technically a song, but over the years there have been a number of LPs released by and for railfans that consist entirely of field recordings of trains. Many have been relegated to attics and secondhand shops, but some were digitized and made the leap to streaming. I chose this recording from a 1972 album called Steel Rails Under Thundering Skys because I think it offers a great entry point to someone asking the perfectly reasonable question, “Why the hell would I want to listen to that?” The mix of steam trains, falling rain, and rolling thunder is incredibly soothing. Put it on and watch your blood pressure drop.
Hiss Golden Messenger is wrapping up the year with an unexpected delight: O Come All Ye Faithful. Along with the familiar title track, the set gathers a few other hymns (“Joy to the World,” “Silent Night”) and three new songs written by Hiss Golden Messenger’s MC Taylor. The lead track, “Hung Fire,” echoes the feeling of the artist’s album from earlier this year, Quietly Blowing It. Meanwhile, it winds down with a warm cover of Creedence Clearwater Revival’s “As Long as I Can See the Light.”
As for that album cover? It’s an homage to Emmylou Harris’ classic Christmas collection, Light of the Stable. Indeed, both projects provide a subtle (and often lovely) interpretation of seasonal music. On O Come All Ye Faithful, Taylor puts a different spin on “Shine a Light” by Spiritualized as well as “Hanukkah Dance” by Woody Guthrie. He also wrote three new songs for the album.
“Big, brash holiday music — the type that we hear in big-box stores in the middle of December — has never resonated with me, and this past year it felt absolutely dissonant. I wanted to make a seasonal record that felt more in step with the way that I, and so many others, experience this time of year: quiet, contemplative, searching and bittersweet,” Taylor says. “The intention was to make a seasonal record with vibe.”
Special guests on O Come All Ye Faithful include Erin Rae and Buddy Miller, along with members of Hiss Golden Messenger’s extended family. For example, speaking about one of the album’s new tracks, Taylor states, “‘Grace’ is about keeping a light for those that are struggling or lost or confused or grieving: the gone ones, our children, poets, teachers. My friends Nathaniel Rateliff, Aoife O’Donovan and Sonyia Turner help me on the choruses.”
At BGS, we’ve been a fan of Hiss Golden Messenger from the start, so we’ll be sharing some of our archived content on our site and socials, like this interview from June 2021. And in the coming weeks, we will present an exclusive interview with MC Taylor — along with plenty of other holiday content.
As we begin to say goodbye to the year, we’re grateful for the music we’ve received in 2021 and we look forward to more. Season’s greetings to all, and please enjoy this BGS Essentials playlist for Hiss Golden Messenger below.
Welcome to the BGS Radio Hour! Since 2017, this weekly radio show and podcast has been a recap of all the great music, new and old, featured on the digital pages of BGS. This week we have John Prine’s final recording, a BGS exclusive performance from Americana duo Jackson+Sellers, a playlist in 3/4 time, personally curated by Dori Freeman, and much more.
The Americana Music Association was able to celebrate the works of its community in-person last week, for the first time since the beginning of the pandemic, with the 20th Annual Americana Honors & Awards held at the historic Ryman Auditorium. And one of the night’s biggest awards, Song of the Year, was given posthumously to none other than John Prine for his final recording, “I Remember Everything.” Watch below to see John perform the song himself, followed by a tribute from Brandi Carlile, Margo Price, and Amanda Shires at last week’s awards ceremony.
New York’s Martin Sexton spoke on performing at Madison Square Garden, his pre-show and pre-studio rituals, the influence of artists and performers from Black Sabbath to Looney Tunes, and more in a recent edition of 5+5.
Rod Gator wrote “Out Here in Echo Park” during his last year living in Echo Park, when every evening he’d walk down to the L.A. River and sit along the bank. Take a listen, and you might start missing Echo Park, too.
Jackson+Sellers’ debut album, Breaking Point, comes out next month, but until then, we’re listening to the song that brought the pair of songwriters together as a duo. Jade Jackson initially reached out to Aubrie Sellers about singing harmonies on a new song she had written, and the rest is history! On their partnership, Jackson says, “Collaborating with someone who’s so energetically strong, it gives you even more creativity and license to explore.” Watch the duo’s performance of “Hush” from our Yamaha Artist Sessions below.
For a recent Mixtape, our friend and songwriter Dori Freeman crafted us a playlist celebrating waltzes –her favorite type of song — which always touch her heart in ways other songs don’t.
“Ashes and Leaves,” the latest from singer-songwriter Kirby Brown, is a meditation on acceptance: “Sometimes, we are the ones being left — by lovers, friends, family, etc. At other times, we are the leavers. Maybe this is one of the inevitable arrangements of life…”
Old-time musician and radio host Brad Kolodner was a recent 5+5 guest, speaking about his new album, Chimney Swifts, his earliest on-stage memories, the soul-nourishing experience of the Appalachian String Band Music Festival, and more.
No matter how far afield he may roam, with his new album our Artist of the Month Béla Fleck wants the world to know his bluegrass heart will always call bluegrass home. And this rip-roaring number is about as bluegrass as it gets. The studio recording features the talents of Molly Tuttle and Sierra Hull, while this live performance below features Fleck’s current all-star live lineup: Sierra Hull on mandolin, Michael Cleveland on fiddle, Mark Schatz on bass, Bryan Sutton on guitar, and Justin Moses on dobro.
“Back Behind the Wheel” is ultimately a song about hope and the idea of letting yourself feel what you need to feel, but not allowing that to be the end of the journey. “When it comes to this, I don’t know what it means to quit…”
“I Surely Will Be Singing,” a new release from songwriter Thomm Jutz and The SteelDrivers fiddler Tammy Rogers, was written at the beginning of the pandemic, as a hymn to nature and to the spirit of human resilience in the face of adversity.
A new Woody Guthrie compilation from Elektra Records isn’t just a tribute album, it’s a reimagination. Home in this World: Woody Guthrie’s Dust Bowl Ballads features a host of compelling modern artists — like John Paul White, Colter Wall, and Chris Thile – offering their takes on Guthrie’s seminal Dust Bowl Ballads. One standout is The Secret Sisters performing “Dust Cain’t Kill Me.”
With such passion at the heart of it, Home in This World brings new life to music that has shaped American culture in the 20th and 21st centuries. “Woody Guthrie’s Dust Bowl Ballads is as relevant as ever,” producer Randall Poster states. “While profiteers exploit our natural resources, there is a growing sensitivity to the harsh farming practices that put our well-being at risk, and a concerted movement toward regenerative agriculture that can reinvigorate the soil and push back on climate change. I asked some of my favorite artists to help render these songs, hoping that this collection will reinforce the enduring power and prescience of Guthrie’s music and reveal the power of song.”
Caleb Lee Hutchinson teamed up with Trey Hensley on a new song, “I Must Be Right,” as he tells us: “I have been a fan of Trey for quite some time and was very excited to write with one of my favorite guitar pickers… It’s one of my favorite songs I’ve ever written as a result.”
Los Angeles-based musician and songwriter Abby Posner is joined by Constellation Quartet on a new video for “Low Low Low,” a beautiful, contemplative song about depression, anxiety, and learning how to live with the darkness within.
“Roots music and blues do speak to a lot of people right now. Much of the healing and release you get from listening to this music… has shown itself to be so vital in these times… I hope the memories of every soul who has loved and been loved are like honey on our tongues,” says Linden of his track, “Honey on My Tongue.”
Photos: (L to R) Dori Freeman by Kristen Crigger; John Prine by Danny Clinch; Jackson+Sellers by Ashley Osborn
Artist:Kris Gruen Hometown: Worcester, Vermont Song: “Pictures Of” Album:Welcome Farewell Release Date: September 24, 2021 Label: Mother West
In Their Words: “My firstborn has started a list of her first choices for college. I’m gonna look past how stereotypical I sound and just say it… Feels like yesterday that I was swinging her to sleep in her detachable car seat and spinning her favorite episodic bedtime story, Stanley the Friendly Whale. I’ve written her songs, and into songs, in the past. One of them was about a deep nostalgia for her younger years, but ‘Pictures Of’ is a tribute to her maturation and readiness for the world. It’s a Woody Guthrie-esque declaration of belief in her courage and her right to be in love with the world, recognizing that we, her elders, spend hours every day filling her ears with reasons to fear it. ‘Pictures Of’ says, ‘Yes, be excited for and in love with the world! Regardless of our collective fear in the unknown, I can tell you want to be! And you’re right to be! And I’m glad you are!'” — Kris Gruen
Photo credit: Jeff Forney
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