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Monthly Archives: March 2021

Track Premiere: My Kind of Nightlife from Carley Arrowood

Posted on March 31, 2021 by Azlyrics

Mountain Home Music has a number of new releases this week, starting with a lovely country-infused bluegrass single from Carley Arrowood.

Carley’s debut album with the label is expected later this year, and already several songs have found favor with bluegrass radio audiences who appreciate her down-home vocal delivery, not to mention the fiery fiddle she lays down on demand.

This latest track, My Kind of Night Life, is a contribution from her producer and bassist, Jon Weisberger, along with country music songwriter Jenn Schott. It’s a perfect song for the emerging spring weather with its promise of a lazy summer to come. In the lyrics we hear of the pleasures to be found at home with family, as opposed to the bright lights of the big city, enjoying precious moments with the ones you love.

Carley says that this one recalls her not-so-distant youth, while at the same time inspiring reflection on her own impending nuptials with Trailblazers guitarist, Daniel Thrailkill.

“My Kind of Night Life paints such a beautiful picture of simplicity. It captures the very essence of nostalgia and, for me, reminds me of my childhood with every line. I grew up on a dirt road in western North Carolina, and my summer evenings were spent barefoot in the backyard, playing endless pretend and catching lightning bugs with my sister and brother with nowhere in particular we had to be.”

“During the pandemic, and especially now that I’m planning my wedding. I’ve come to cherish the nights when my whole family is home together, and I look forward, Lord willing, to the days when I can raise a family in the same way: running barefoot in the yard, catching lightning bugs, and just simply loving the life that God gives us.”

Arrowood is supported here by Thrailkill on guitar, Kristin Scott Benson on banjo, Wayne Benson on mandolin, and Weisberger on bass. Carley’s sister, Autumn, and her fiancé, Daniel, sing harmony vocals.

My Kind of Night Life will be available on April 2 wherever you stream or download music online. Radio programmers can grab the track now at AirPlay Direct.

Posted in Lyrics | Leave a comment |

From The Side of the Road… what we’ll miss when COVID is through

Posted on March 31, 2021 by Azlyrics

We’re all well aware at this point of all we’ve been missing—in some cases starving for—during the year-long and counting COVID-19 pandemic. We miss bluegrass festivals, needless to say. Professional touring musicians miss at least some aspects of the road, playing music with bandmates, jamming with other musicians, singing Ruby Are You Mad without a mask on, and the list goes on.

Something we think about less often, and in some cases may not want to admit to ourselves, is that when we’ve finally put this period in history behind us, there are a few things about the pandemic lifestyle we’re going to miss:

Not being on the road

For musicians for whom being on the road was mostly a chore, a means to an end, this will be especially true. It will also be true, though, for some more experienced road musicians who had started to get a little fussy about their travel conditions: “If I can’t sleep in my own bed, and be in my own environment, I want to be in a 4-star hotel, transported by limo from the airport, and served a high-quality meal before the show.” Or in more extreme cases (most often found outside of bluegrass music): “If I can’t sleep in my own bed, I need to be in a 5-star hotel, served a gourmet meal of healthy, sustainable, locally and ethically-sourced organic food, plus some non-sustainable but outrageously expensive booze, and I need to be transported on a cloud. Also, no one may speak to me or look at me without my permission.” You get the idea. For these people, every inconvenience of the road—and there are many, granted—has become just a little more bothersome with each passing year, so when it’s time to go back out there and experience this again, there’s going to be some serious longing for the days when we were all just hanging around the home place eating (a lot of) whatever we wanted and operating a TV remote we actually understood.

Related to the above:

Being with family

This was a revelation to many road musicians, but it turns out that many of us are married to fairly nice and attractive people, and who knew our kids were this interesting? Or that we had so many of them? Getting to know them has been an unexpected bonus of the pandemic. 

Wearing the same clothes

. . . day after day after day. Are we ready for a world in which you have to change your pants periodically, or even wear pants at all? It seems like such an ordeal. Those who have done livestream concerts have at least had to come up with a different shirt for the event, but many had stopped trying in that department, too. Shoes are also worn in the outside world, so that too will be an imposition on our pandemic lifestyle of convenience. Our society was already skewing towards comfort over appearance, but the COVID era has determined the hands-down winner of that contest. The first bluegrass band to play a festival’s nighttime headliner slot wearing pajamas and slippers will be setting a trend that may take years to break.

Being able to avoid all in-person activities

Here’s where the introverted and extroverted among us part company, but there’s a sizeable chunk of people, who may have even been performers in their past lives, who are just not that thrilled about leaving the house and going out in the world again. Especially when this means going through checkout lines, going through security lines, trying on clothes in a change room, or just interacting with human beings face-to-unmasked face. For some, it’s all so unclean, awkward, and icky.

Not lugging heavy instruments around

When musicians have to once again lug upright basses or banjos in flight cases (which weigh approximately 400 pounds) from the parking lot to a faraway stage, there’s going to be some wistful nostalgia for the COVID era. We’ll reminisce about the days when all you had to do was reach for an instrument sitting on a stand. If it was just out of reach it was always possible to convince a family member to pick it up and hand it to you, avoiding the necessity of getting out of your chair.

Having too much time on our hands

Remember when our problem was running out of things to binge-watch? Some even had to resort to home renovation and songwriting. Somehow the time vacuum always fills up, even when unemployed, but when we’re out there operating like our former over-scheduled selves again, we might just miss that peaceful feeling of being bored.

Being bitterly divided

Whether it was complaining about pandemic restrictions or complaining about other people’s unwillingness to follow those restrictions, whining about the government’s action or its inaction, the pandemic has been a golden era for divisive argument, righteous anger, and self-proclaimed expertise. And this isn’t counting the effects of the fiercely contested 2020 election at the same time. In what other period of our history have people walked up to perfect strangers in a public place and taken them to task for what they were wearing or not wearing as the case may be? Sometimes there were even physical altercations that could then be recorded with people’s phones and posted to social media for an additional level of online disagreement and mutual hostility. It’s all been a huge adrenaline rush for some people, and it’s not so easy to let that go. What will we have to keep the indignation and division going? I might suggest one or more of the following topics to fight over: Scruggs or Monroe? Who really started this music, and what is bluegrass anyway? Is it okay to still call a resonator guitar a “dobro,” and is it really a bluegrass instrument? Was the moon landing real? Is rhubarb a fruit or a vegetable? Spam: yes or no? (the meat product, not your junk email). These won’t inspire the same level of adrenaline-producing vitriol, but maybe they’ll help us gradually ween from it so we won’t have to go cold turkey.

Posted in Lyrics | Tags: COVID | Leave a comment |

Scott Napier to Wildfire on mandolin

Posted on March 31, 2021 by Azlyrics

Nothing says that bluegrass is getting back to normal like the annual band shuffles that take place at the beginning of the festival season. And with the warmer weather, that is exactly where we are.

Wildfire has announced that Scott Napier will be joining the band on mandolin, taking the spot previously occupied by Chris Davis before he took a job with The Grascals. Scott is an experienced veteran in the bluegrass biz, having worked stints with such legends as Larry Sparks, Lost and Found, and Marty Raybon. These days he works on the faculty of the Kentucky School of Bluegrass and Traditional Music at Hazard Community and Technical College in Hyden, KY as an Associate Professor.

Scott’s memorable time with Lost and Found followed the tragic death of founding member Dempsey Young in 2006. He stepped in and accurately represented Dempsey’s unique and original mandolin style, both on stage and on their 2009 album, Love, Lost and Found.

He joins Wildfire founders Robert Hale on guitar and Curt Chapman on bass, along with Johnny Lewis on banjo and Matt DeSpain on reso-guitar. Wildfire started as a partnership between Hale, Chapman, and Phil Leadbetter and Darrell Webb, and has evolved over time to its current formation.

Like everyone else in our industry, they are hoping to hit the road again this year and see you at your favorite festivals. Check their web site for show dates as the year progresses.

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Deep River – new single from Rick Faris

Posted on March 31, 2021 by Azlyrics

Dark Shadow Recording has another new single today, the first from their upcoming second album with Rick Faris. This is Rick’s initial output since his recent departure from Special Consensus, where he had held forth since 2009, first on mandolin and eventually on guitar. Faris left the band specifically to focus on establishing a solo career on his own, and this sophomore effort is a fine step.

For the debut single, they has selected Deep River, one Rick wrote with Brink Brinkman. He is supported in the studio by Laura Orshaw on fiddle, Russ Carson on banjo, Harry Clark on mandolin, and Zak McLamb on bass. Rick plays guitar and sings lead, with harmony vocals from Shawn Lane.

For Faris, getting back in the studio was like much needed therapy.

“This has been long overdue for my pickers soul! The groove was instant and they are all great friends of mine, as well as top class musicians. I’m honored they wanted to be on the project and cannot thank them enough for their beautiful talents and everything they brought to the recording session!”

He and Brink put together this bluesy grasser about a lonesome soul looking for the mighty river to take him far from where his heart is broken.

Dark Shadow label head and album producer Stephen Mougin is especially excited about this next Faris project.

“Rick is a tremendously talented picker, singer, songwriter, and performer and it has been a joy to watch him grow since I first met him in 2002. For this album, he got out of his comfort zone and started co-writing with some of bluegrass’s finest, coming up with a really strong collection of songs. The fiery band of pickers kept inspiring each other and elevating the recording, allowing for some powerful music. I’m thrilled for folks to hear this new single and get a glimpse of Rick climbing The Next Mountain.”

Have a listen to the single.

Deep River from Rick Faris is available now wherever you stream or download music online. Radio programmers can get the track via AirPlay Direct.

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California Report: Christine Wilhoyte of North Country Blue

Posted on March 30, 2021 by Azlyrics

Christine Wilhoyte is a second-generation bluegrass picker following the footsteps of her dad Mike, and stepmom Karen in Marin County. Another product of the California Bluegrass Association Youth Programs (CBA), Christine is the current Butte County Area Vice President two years running. She certainly knows her way around a guitar, but her solid banjo playing and high lonesome harmonies stand out in the current bands she plays in, North Country Blue and Green Mountain Bluegrass.

Hi Christine, thanks for your time. Tell us how you got into playing bluegrass.

Hey Dave, thanks for thinking of me! My dad and stepmom introduced me to bluegrass. They brought me to my first CBA Father’s Day Festival when I was 14. I think they’d taken me to Good Old Fashioned Bluegrass Festival the year prior, but I hadn’t met any other kids there, so Grass Valley is the one that stands out. I had the best time there, and after meeting some other kids my age and watching them jam, I was hooked. The next week my dad taught me my first song on guitar, Wildwood Flower. 

North Country Blue in the 2019 Rockygrass Band Competition Finals

Do you get to play much with your family these days?

Not as much as I’d like since I live in Chico and they’re in Novato. The couple times I’ve visited them since the pandemic, we’ve had some really good jams and those were quite special. My dad and I are actually planning to record an album together soon. I’m really looking forward to that!

What was your first instrument, and what other instruments do you play?

My first instrument ever was the clarinet. I played for a year before switching over to violin, which I played for a couple of years. I took drum lessons for a while and tried out ukulele before I went to Grass Valley, where I realized that bluegrass is where it’s at. Now I stick to guitar and banjo. 

What banjo style do you favor?

Well, my skill set certainly lies more in three-finger traditional banjo. I’ve been playing banjo for about six years now, and I spent the first three or four pretty solidly focused on absorbing the traditional style first. I still have quite a ways to go, but it’s been fun lately trying to play more old-time tunes in the three-finger style and working up tasteful banjo accompaniments for solo banjo and vocals. 

I recently reached out to Emily Mann of the Paper Wings duo (who are awesome!) for a clawhammer banjo lesson, and she suggested a lesson trade, which was super fun. She taught me some clawhammer and I showed her some three-finger stuff, and we of course got to chat about the fun and nerdy nuances of banjo playing. 

While we’re on the hotly debated topic of three-finger vs. clawhammer vs. two-finger vs. flatpick, etc., I have to say that one of the things I’ve come to love most about banjo is the way that it distinctly fits into such a variety of musical settings. When you look at it in the context of just one specific style, like traditional bluegrass, it seems to fit into such a particular spot – constantly rolling, filling out the sound, keeping the groove chugging, etc. Yet the banjo has its role in a diverse range of music – traditional bluegrass, melodic, jazz, Irish, clawhammer folk, old-time, two-finger, etc. – and each role is unique to each style, with different dynamics and techniques. It’s so crazy. I love diving into those tiny details, and it’s been super fun dipping my toe into clawhammer and old-time. 

Talk about your approach to vocals and, of course, some favorites.

To be honest, I don’t consider myself much of a singer. I try to stay relaxed without straining my voice, and to use breathing techniques to help the air flow more evenly. Though the whole staying-relaxed-and-without-strain thing goes right out the window at a late jam or busking at the farmer’s market! 

Since quarantine, I’ve been listening to quite a lot of Pharis and Jason Romero. They’re a beautiful folk duo. They cover My Flowers, My Companions, and Me by Banjo Bill Cornett, and it’s become one of my favorite songs to sing. 

As far as bluegrass and old-time, it’s tough to pick a favorite vocalist. There are so many that I love! Some that stand out to me right now are Carol Elizabeth Jones, Reeb Willms, Caleb Klauder, Jim Miller, Lynn Morris, Bella White, and Gillian Welch. I’ve been spending lots of time in the Boots albums that Gillian Welch just released – they’re pretty much a gold mine. Bella White’s album is also definitely worth checking out.

Christine and AJ Lee backing up Rebekah Speer

Do you ever compose?

I’m not sure that I’m good at it, but I’ve played around with writing more in the last year. I have a few instrumentals I’m happy with and one complete vocal song. Maybe one day they’ll get recorded! 

Do you feel music is a full-time or part-time endeavor?

That’s a tough question to answer. I think it depends on the individual. Of the professional musicians I know, I can say that it’s almost certainly much more than a full-time endeavor for them. Through North Country Blue’s recording experience last year, I got to spend a lot more time with our mentor and producer, Sharon Gilchrist. I could go on for a while about how inspiring she is – work ethic, musical taste, and all-around an admirable human and a kind soul. That recording and mentorship time was a great learning experience for me. Folks in the professional world really work their rear ends off! I feel very fortunate to be a hobbyist and to remain deeply connected to the community through picker friends, bands, and gigs. 

For other hobbyists, I think that whichever amount of time works for someone’s lifestyle is the right amount. Personally, I cycle through phases of spending more time in different areas of my life – work, friends and family, music, biking, and other outdoor activities. That all being said, music is a huge part of my life and on my mind almost constantly!

A lot of young players stray from bluegrass as they mature. Do you see that happening with you?

I can maybe imagine a day when I don’t primarily call myself a bluegrass musician, but I think that would be to maintain the integrity of what comprises bluegrass. I play bluegrass but not everything I play is bluegrass. There are so many totally different sounds that are perceived as bluegrass, I don’t want to muddy the water anymore!

I enjoy exploring other styles of music, and when I sit down to write, I don’t usually gravitate towards bluegrass songs. I wouldn’t want to label something bluegrass if it simply wasn’t. That all being said, bluegrass will always have a special place in my heart. I’ve written a couple of tunes that are for sure grassy, and I’ll always love playing bluegrass music. There’s really nothing like ripping banjo on a Johnson Mountain Boys song in a 2:00 a.m. jam.

What bands are you active in?

At the moment, North Country Blue and Green Mountain Bluegrass. I’m not sure what my dad and I will call our band yet! 

Are there any new releases available or planned?

North Country Blue released an EP summer of 2020, which was my first real full-length recording. Talk about a valuable learning experience – that was a real blast. It’s crazy to think it happened a year ago now! 

I also had the good fortune to lay some banjo down on a song for AJ Lee and Blue Summit’s upcoming album. Unfortunately, I had a COVID scare from work and wasn’t able to make it up to their actual recording session, which means I didn’t get to snoop on the rest of their material as I had planned! So I’m super excited to hear how that whole album comes out. 

There’s also that album with my dad that I mentioned. We’re working the material up this week, starting today! Depending on how things go, that’ll likely be available by the end of the year if folks are interested. We’ve been wanting to record something together for a while, so I’m excited for us to have a little musical project to work on together. 

Finally, my good pal Dana Frankel (of Mission Blue) and I are planning to record an album sometime this year of old-time, folk, and bluegrass. That probably won’t be until later in the year. So there’s kind of a lot coming down the pike this year.

What are some of your musical challenges or goals?

As I mentioned, I enjoy the fine details of tone and technique. When I’m making enough time for music to feel physically in sync with my instrument, I find that adding those layers of complexity to my playing is a challenge that will probably continue… forever, haha. 

One day I’d like to put out a full album of original material. It may be a while. I have a big trip coming up this summer, so I’m excited to see what kind of music I write along the way. Some songs worth remembering, I hope!

Tell us about your involvement with the California Bluegrass Association.

I’ve had the fortune to teach at the Youth Academy at the Father’s Day Festival, and to serve as the Butte County Area VP for two years. This past year has been pretty quiet with COVID, unfortunately. I’m also involved in the CBA membership committee, and I try to stay connected in helping out Darby and Kimber with the youth program. They’ve got some awesome stuff planned for kids. I hope that one day I’ll have made a tiny fraction of the impact on the bluegrass community that Darby Brandli has made. She’s a fantastic role model and inspiration.

What’s happening in the Chico bluegrass scene?

As of now, not too much that’s CBA sponsored. However, there’s a solid crowd of folks here who pick, and I hear they’ve continued to find safe ways to get together and jam. There are a couple of active bands around here as well. I hope to see more public gigs and jams as things with the virus start to calm down. 

What are you studying at school?

I actually just finished up my degree at California State University, Chico in exercise physiology – this is my first semester with no school! I’m unsure where I’m off to next as far as schooling is concerned – maybe physical therapy or physician’s assistant. 

Until I figure that out, my plan this summer is to ride my bike across the country to raise money for physical education instruction in rural communities. I’m still working on the details of a GoFundMe or a pledge. For now, if folks would like to donate to the cause they can contact me: christinewilhoyte@yahoo.com. I’d like to be able to purchase some equipment for the schools in the towns whose beauty I’ll be enjoying this summer.  

What are your non-musical interests? 

Before I got into bluegrass, my love was soccer. Now I have two loves – music and physical activity. 

I love spending time in nature and playing sports. Recently it’s been a lot of bike rides, hiking, and snowboarding. Since being in Chico, I’ve gotten more into rock climbing and had lots of fun playing spikeball and going tubing down the river with coworkers. I also enjoy reading and learning about exercise science and the like. 

It’s pretty much the best of both worlds being able to enjoy creative and physical expression in one lifetime. To be a little serious – I work in a hospital right now, so I meet a lot of folks whose bodies struggle to support the activities they love to do. It’s heartbreaking. All we want as people is for our souls to be seen. I feel very lucky to get to do all the things that I do. 

What are you most looking forward to this year?

I’m really excited to do those recordings with my dad and Dana Frankel, but I’d have to say I’m most looking forward to my bike trip. It’ll be at least three months of riding across the country, and hopefully I’ll stop at RockyGrass in Colorado on the way – if the COVID situation allows. I’m really excited to connect with lots of people, learn about different communities, and hopefully write some songs! 

Is there anything else you wanted to mention?

If anyone out there has tips for the TransAmerica Trail or is interested in donating to help me purchase PE class equipment for rural schools along my trip, please contact me through email: christinewilhoyte@yahoo.com or Venmo: Christine-Wilhoyte.

Thanks much for your time Christine. Can’t wait to see you on the circuit.

Thank you for taking the time, Dave. I hope we can all be pickin’ again soon. 

North County Blue set from 2019 Parkfield Bluegrass Festival (full set)

Copy editing by Jeanie Poling

Posted in Lyrics | Tags: California Bluegrass Association | Leave a comment |

When The Water Goes Down from ETSU Pride Band

Posted on March 30, 2021 by Azlyrics

The Pride Band of the Bluegrass, Old Time & Country Music Studies program at East Tennessee State University has released a single, When The Water Goes Down. It’s a new song written by program alumni Tim Stafford and Becky Buller, who also participated in the recording.

All students enrolled in the bluegrass program at ETSU must be part of a band, and each semester generally finds several dozens such groups of varying levels of skill and experience. The Pride Band is chosen from among the most accomplished students, usually 4th years, and is coached by program director Dan Boner. It is a great honor to be included, and many former Pride Band members have gone on to careers in bluegrass music.

When The Water Goes Down surrounds a true story of the town of Butler, TN, which was evacuated and moved to higher ground in 1948 when the Tennessee Valley Authority flooded the region to create Watauga Lake. The fictional events in the song tell of a preacher long suspected of killing his wife, but the facts don’t emerge until the lake is drawn down 35 years later to overhaul the dam. Tim and Becky used the fact that these exact repairs were made at Watauga Lake in 1983, giving a ring of reality to their composition.

Boner, who produced the single and sings harmony on the track, recalls how When The Water Goes Down first came to his attention.

“Becky sent me this song about 16 years ago when I was looking for material for a new record, and it captured my attention right away. First, the local history about Watagua Lake and Old Butler is still part of the community narrative. Second, who wouldn’t enjoy a fictional (presumably) murder mystery about a preacher-gone-to-the-dark-side?

The Bluegrass Pride Band and I are so excited to bring this song to life, and to share this with Becky and Tim, who are part of ETSU’s great history.”

Performing on the single are Pride Band members Adam Miller on lead vocal and mandolin, Katelynn Lowe on bass, Jacob Metz on reso-guitar, and Justin Alexander on banjo. They are joined by Tim Stafford on guitar and Becky Buller on fiddle, who also sings a harmony part.

ETSU has created a music video of the recording session at Echo Mountain Recording, housed in a former church building in Asheville, NC. Dan said they chose this site because of their need to space out due to COVID restrictions at the time. It took place on Halloween 2020and was shot and edited by Will & Deni Films.

When The Water Goes Down by the ETSU Pride Band is available now as a single wherever you stream or download music online. Radio programmers can find the track at AirPlay Direct.

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King Records facility gets financial support for ongoing restoration

Posted on March 30, 2021 by Azlyrics

King Records, the iconic Cincinnati label that produced several celebrated and legendary musicians from the 1940s into the early 1970s (including first-generation bluegrass acts Jimmy Martin and Bobby Osborne; Reno & Smiley; The Stanley Brothers [and Ralph Stanley after 1966]; Moore & Napier; the Green Valley Quartet (the Easter Brothers) and the lesser-known Bill Duncan), will receive support from PromoWest based at the Ovation Music Pavilion just over the river in Newport, Kentucky, for the revitalization of the former King studio in the Evanston district of the city.

According to a press release, PromoWest Productions’ CEO Scott Stienecker announced that the company will be donating $20,000 to the project.

In 2015 the King Records’ old, dilapidated studio/office on Brewster Avenue was named an historic landmark by the city, thus preventing its threatened demolition and, in April 2018, after fighting for more than a decade to save the property, the Cincinnati City Council approved a land swap with the then owner, Dynamic Industries. 

Led by Cincinnati Mayor John Cranley and a united City Council, repair of the buildings has started with a new roof. Shortly before the pandemic began, King Records Legacy Committee was established to oversee the future of the King Records buildings for a new music-making and cultural center, museum, and more. A new non-profit organization, King Records Legacy, was formed in October 2019. 

Long-term aims include the provision of a museum, a studio, and community space. The Committee believes that there needs to be a “people’s history,” one that honors and respects all the musicians and other workers who helped create what King Records became.

It is hoped that the building will serve residents of Evanston (the district in which it is located), especially students, by offering music education, as well as being a source of community pride.

King Records was founded by Cincinnati record store owner Syd Nathan in 1943, and the label continued to issue new bluegrass music recordings until 1973. It was one of the first, and largest, independent record labels in the USA. 

Unlike other labels that tended to concentrate on one genre, King Records covered a variety of styles of vernacular American music, including Country (JE Mainer, The Delmore Brothers, Cowboy Copas, and Grandpa Jones, are just four examples); blues (an early signing was Lonnie Johnson); rhythm ’n’ blues music (such as doo-wop artists Roy Brown and Wynonie Harris); and western swing, as well as bluegrass music. 

Locally-born bassist Bootsy Collins and drummer Philip Paul, from Harlem, were King session musicians and both are ambassadors for the regeneration project. Another member of the King Records Legacy Committee is singer Otis Williams, also from Cincinnati. Collins went on to make a name for himself playing funk music.

Nathan’s greatest claim to fame was his association with the young Gospel singer, James Brown, who transformed soul music in the 1960s. 

Racially integrated – before it was required by law – King Records was one of the few recording companies to make a record from start to finish, all under one roof.

Queen, Federal, and De Luxe are all subsidiary labels within the King Records’ empire. 

In 2006 Nathan was posthumously inducted into the IBMA Hall of Fame. 

A Bluegrass Discography

These excellent 4-CD boxsets are still available, as are several smaller collections …. 

Various Artists 

  • Best of King and Starday Bluegrass (Gusto-2188)

Stanley Brothers 

  • The Early King Years-1958-1961 (King-7000)
  • The King Years 1961-1965 (Gusto-2180)

Reno & Smiley 

  • Don Reno & Red Smiley And The Tennessee Cut-Ups 1959-1963 (Gusto-2209)

Don Reno, Red Smiley & Bill Harrell

  • 1963-1972 Complete Starday King Recordings (Gusto-2176)
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2021 Kentucky State Fiddle Championship highlights

Posted on March 30, 2021 by Azlyrics

The Bluegrass Music Hall of Fame & Museum in Owensboro, KY was recently the host of the 2021 Kentucky State Fiddle Championship. The Museum will be the home of this fiddling tradition going forward.

Held on March 20, the Championship featured almost 90 contestants in 9 categories, and drew entrants from 14 states to compete for $10,000 in prize money. Trophies were awarded for fiddle, flatpick guitar, mandolin, bluegrass banjo, and dancing. A large crowd was in attendance to see the contest go down, and when it all was over, the following winners were announced.

  • Overall Kentucky State Fiddle Champion – Joel Whittinghill
  • Jr Jr Fiddle Champion (ages 12 and under) – Noah Goebel
  • Jr Fiddle Champion (ages 13 to 17) – Nathan Pedneault
  • Adult Fiddle Champion (18 to 49) – Joel Whittinghill
  • Sr Fiddle Champion (50 and over) – Mark Ralph
  • Mandolin Champion – Joel Whittinghill
  • Flatpick Guitar Champion – Ivy Phillips
  • Bluegrass Banjo Champion – Rance Fouts
  • Dancing – Junior (ages 17 and under) – Emily Brown
  • Dancing – Senior (ages 18 and over) – Ivy Phillips

The Hall of Fame created this video of highlights from the Championships.

As you can see, social distancing was the order of the day, and while contestants were not required to wear masks on stage, they were necessary throughout the museum and in the audience.

Keep an eye on the Hall of Fame web site for more events coming up there in Owensboro, including live concerts, bluegrass jamming classes, and their annual festival, ROMP.

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Savannah Church – American Idol Contestant 2021

Posted on March 30, 2021 by Azlyrics

Bluegrass singers are well represented in this season’s American Idol competition. One of those contestants is Savannah Church, formerly of the twin sister duo, The Church Sisters.

Born and raised in Danville, VA, Savannah started singing around age five. 

“My mom sang around the house all the time. It was beautiful. I asked her, ‘How do you do that?’ I started listening to country greats.”

At age nine, Savannah enrolled in her first talent competition, called WAKG Rising Stars, sponsored by a local radio station. Unfortunately, she didn’t make the cut.

A year later, her fraternal twin sister, Sarah, decided to get involved.

“Sarah said, ‘Why don’t we try something?’ We started singing a song from the Disney Channel. Sarah has a natural ability and can hear harmony parts. We sang for mom in the car and she was flabbergasted.”

Savannah auditioned for the same talent show, but this time with Sarah by her side. They not only got to compete, they won for their age division.

“Things just took off after that. Our stepdad played guitar, and we started singing at fairs, festivals, and churches.”

Over the years, the sisters played the Nashville icons like the Ryman Auditorium and the Station Inn. They recorded for Carl Jackson’s Grammy-winning Orthophonic Joy project, and sang backup for Eric Church and Hank Williams, Jr. on the CMAs. They were featured on the TV shows, Larry’s Country Diner and Country’s Family Reunion. Promoting Virginia tourism, they traveled to London and played the Underground Club with the Virginia Luthiers.

As the girls matured and married (a week apart), they decided on different paths. Sarah wanted to take a break from music. Savannah sought it as a career. That decision did not include a nationally televised singing contest.

“American Idol was definitely not on my radar, but in 2020 COVID hit,” the young vocalist stated. “Shows shut down. Producer Julian Raymond called and got me set up with a producer of the show. After a couple of Zoom meetings where I sang 3-4 times for different producers, I was selected to go for audition with the celebrity judges.”

On October 13, Savannah flew to San Diego. She brought Sarah with her, and was grateful for her support.

“No matter what you go through in life, as a twin you’re born with a best friend.”

Due to the pandemic, strict guidelines were in place for the American Idol auditions. Once the twins arrived at the hotel, they were tested for COVID and ordered to remain in their room for the first full for day.

“Everything was in the hotel. They had us on lockdown trying to keep everyone safe. There was a lot of sitting and waiting. We had to be in the lobby everyday at 6:00 a.m. in our audition clothes. We waited three or four days.”

Wearing masks and socially distanced, Savannah did interviews and visited the social media room while she waited her turn to perform for Lionel Ritchie, Katy Perry, and Luke Bryan. 

Finally, the south Virginia native’s turn came. She talked briefly with Ryan Secrest, and stepped into the judges’ arena.

“I wasn’t nervous going in, but my heart was beating so fast when I came out. Before I sang, I talked about my background.”

With the show’s Phredley Brown accompanying her, Savannah performed two songs: I’ll Always Remember Us This Way from the movie, A Star Is Born, and Ghost in This House, Alison Krauss’ version. 

The judges were intrigued. They asked who came with her, invited Sarah into the room, and encouraged her to sing. Savannah’s twin performed the same tune, I’ll Always Remember Us This Way.

“Lionel said she was super talented and tried to get her to audition. Sarah said no, that she was here to support her sister.”

With a golden ticket in hand, Savannah talked again with Secrest as she exited, did more interviews capturing her reactions after being selected, and was filmed as she walked away. The whole audition experience lasted a week from start to finish. She headed to Hollywood the second week in December.

“It was a quick trip. I was only there three days and no one could come with me. I had a really good time, but it was very nerve-racking.”

The first level of the Hollywood competition was the genre challenge. Savannah selected country as did many other contestants. 

“I was in line six or seven. They lined you up, and you walked out on stage and sang one at a time. I had to fight through nerves.”

The judges asked each competitor why they think they are the next American Idol.

“I said, ‘I believe if you work hard enough to get something, it will come to you.’ I also added a Reba quote, ‘You don’t have to be the best, you’ve just got to want it the most.”

Then the young vocalist sang Miranda Lambert’s, The House That Built Me.

Once her line was called out, Savannah was cut for the competition.

“There wasn’t a lot of feedback. I was a little bit shocked, but I had no expectations so I wouldn’t be disappointed. I was happy with what I did. I was honored to just be included.

After you’re cut, you are sent on your way. Presley Barker and I went to the airport on the same bus.”

Savannah flew back home to Bluefield, WV, and re-joined her husband of five years, Zach Alvis, lead vocalist and mandolinist with Chosen Road. The couple have just announced that they are expecting their first child in September.

Savannah isn’t giving up on music as a career. “I’m getting back to my Gospel roots.”

Currently, she is in the studio recording a bluegrass Gospel album. 

“Tyler Roberson, Chosen Road’s banjoist, is helping me work on it. Zach is producing it. In the Garden is one of the songs. It’s one that I’ve never recorded and I’m anxious for people to hear my version.”

Look for much more music from Savannah Church. “American Idol is not the end of me,” she confidently stated.

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Happy Go Lucky from Doyle Lawson & Alan Bibey

Posted on March 30, 2021 by Azlyrics

Attention mandolin fans!

Billy Blue Records has released an interesting one-off single featuring two of the preeminent bluegrass mandolinists of the past 35 years, Doyle Lawson and Alan Bibey. Both have been innovators in our music for decades, and while Lawson has Bibey beat by 20 years or so, they each field a touring bluegrass group under their own names.

The two have recorded a twin (and triple!) mandolin version of Happy Go Lucky, one that Doyle wrote and included on his 1976 solo album. It was the younger mando icon who came up with the idea or cutting it together, and when he reached out to Doyle he was all for it. Since both artists record for Billy Blue, they got together at Eastwood Studio in Cana, VA earlier this month and came up with a stellar version.

Bibey says that it was a day to remember.

“It was a true honor to get to record a tune with one of my all-time mandolin heroes. I’ve always loved the song, Happy Go Lucky since I first heard it on Doyle’s Tennessee Dream album. I know it was a great day in the studio I’ll never forget. Thanks for everything, Doyle, but most of all for the friendship. By the way, Doyle crushed it!!”

Assembled for the recording were Doyle and Alan, with Ron Stewart on banjo, Jeff Huffman on guitar, Stuart Duncan on fiddle, and Zak McLamb on bass.

The tune opens with twin mandolins in harmony, then Alan takes one following a banjo break. Doyle plays one after that, and then a fiddle break, and then Doyle plays the melody with Alan putting on two harmonies on mandolin. The ending goes to four parts with the fiddle joining in.

He says it worked him hard…

“That was a wicked baritone and tenor part to do on the end with him. It took a minute or two… I got him though.”

Have a listen in this static video from Billy Blue.

Al tells us that they had so much fun that they cut another tune that day as well, a new one Lawson wrote. No word yet from Billy Blue as to whether either Doyle or Alan might include them on a future CD release. 

Doyle spoke quite highly of his mandolin partner on this project.

“For the record, I’ve got a few years on this kid, and I’ve known him since he was a kid. His playing has always impressed me. He has a great selection of notes, and he plays clean. I was, quite honestly, a little surprised when he gave me a call and asked me to play a song with him. We liked it so good we did two!”

Happy Go Lucky is available as a single from a number of prominent download and streaming sites online. Radio programmers can get the track via AirPlay Direct.

Thanks to Mr. Bibey for also sharing a few studio images from their day together.

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Caleb Bailey – Poplar & Pine

Posted on March 29, 2021 by Azlyrics

A singer and songwriter from Virginia’s Shenandoah Valley, Caleb Bailey offers a striking solo debut with Poplar & Pine, an album that explores a range of emotions and experiences with an exceedingly impressive drive and dynamic. Bailey, a one time member of the bluegrass band Allegheny Blue, makes a marked impression, but one also has to give credit to the impressive ensemble that offers him such striking support from the first song to the last.

Indeed, with opening track, Grim Reaper, Bailey and company immediately assert their emphatic stance. Both driving and deliberate, it sets the tone for all that follows from that point on. The title track, and Red County Clay, detail the daring exploits of outlaws fully committed to pursuing a life of crime and carousing. So too, the rambling narrative, Hard Cider, provides an intoxicating entry all its own. Likewise, the busy picking and plucking shared in When the Power Fell On You finds drive and devotion stirred up emphatically with equal measure.

That energy is impressive, but Bailey is best defined by the depth of emotion he invests in each of these entries. The heart-wrenching ballad, How Do You Say Goodbye, emphasizes the difficulties of saying a final farewell to those you love, whether it’s a child striking out on her own or an elderly grandparent facing an incurable illness. Likewise, Eagles Are Made to Fly is a ballad about the joys of experiencing the true measure of freedom in a universe that’s too often constrained by conformity. Still, the most poignant song of the set figures to be United Flight 93, a song that details, from a first-hand perspective, what it was like to witness the final descent of the plane that was famously diverted away from the Capitol by its courageous passengers and then crashed in a field in Pennsylvania on 9/11. With guest vocalist Wayne Taylor adding to its emotional read, it rekindles the shock and sadness that’s no less difficult to reconcile even some 20 years on.

Ultimately, it’s that ability to seize emotion from such a personal perspective that defines Bailey’s abilities and makes Poplar & Vine such a genuinely impressive offering. He’s not only got a gift for detail, but an evocative and expressive way of conveying the sincerest sentiments as well.  Consider this effort both stoic and celebratory, and indeed, quite an initial accomplishment.

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20 Things you didn’t know about Jerry Salley

Posted on March 29, 2021 by Azlyrics

Referred to by Billboard Magazine as “One of Music Row’s greatest veteran tunesmiths,” Jerry Salley is a multi-award winning songwriter. Nominated in 2019 for the Nashville Songwriters Hall of Fame, and for a GRAMMY for producing the multi-artist project Gonna Sing, Gonna Shout, Salley is the 2019 and 2018 IBMA (International Bluegrass Music Association) Songwriter of the Year. He is a Dove award winner and was named the 2003 SESAC Country Music Songwriter of the Year. Salley has had over 500 different songs recorded with multiple hits in country, bluegrass, and Gospel music. His own latest album is Bridges and Backroads (Very Jerry Records).

1. Jerry claimed a $10 first prize in an elementary school talent contest for singing the Johnny Cash classic, I Still Miss Someone.

2. Jerry has a Bachelor of Business Administration degree from Ohio University in Athens, Ohio.

3. While in college, Jerry was a regular performer on the WMNI Country Cavalcade, a Saturday night live radio show, broadcast from the historic Southern Hotel in downtown Columbus, Ohio. His memories from that show include the time a special guest, famous country songwriter Tommy Collins asked Jerry to please tune his guitar right before he went on stage, as Tommy had enjoyed a few too many adult beverages and couldn’t tune it himself. Tommy’s real name was Leonard Sipes, and Merle Haggard would immortalize him in his song, Leonard.

4. Jerry moved to Nashville in 1982 and became a cast member of the Country Music, USA show at the popular Opryland theme park. He spent five consecutive years performing at the park.

5. Exactly one week after the birth of his first child, Lindsay Jo in 1984, Jerry was invited by Porter Waggoner to make his debut on the Grand Ole Opry.

6. Jerry has performed on the Grand Ole Opry multiple times, including as a guest with the King of Country Music, Roy Acuff. Mr. Acuff signed several mementos for Jerry over the years

7. During his time at Opryland theme park, one of the characters Jerry portrayed was country comedian Rod Brasfield. Jerry would perform that role alongside several different female cast members who portrayed Minnie Pearl. The real Minnie Pearl, Sarah Cannon, personally spent time with Jerry, showing him TV clips of her and Brasfield performing together, and taught Jerry almost all of the Rod jokes he would tell from the theme park stage.

8. Legendary Hee Haw star and comedian, Archie Campbell, urged Jerry to consider a career as a comedian rather than a singer, saying, “Man, you’re funny!”

9. Due to a botched retinal reattachment surgery in 2003, Jerry is blind in his left eye.

10. Jerry and his wife, Erin, are avid hikers. They have spent the night at Mt. LeConte, which can only be reached on foot, and is one of the most popular spots in the Great Smoky Mountains.

11. Jerry loves to fish and has gained a reputation for his ability to deep fry his catch for gatherings with family and friends.

12. As a kid, Jerry’s family always planted big gardens, sometimes having two and three different large areas plowed up on their homeplace just outside Chillicothe, Ohio. That instilled a love of gardening in Jerry, and today he still enjoys planting – and especially eating – fresh homegrown vegetables. He is crazy about tomatoes, and although he gets much ribbing from his southern friends, he insists that the best tomato sandwich is on white bread with Miracle Whip. Yes, Miracle Whip! In addition, wife Erin has learned how to can and enjoys it as much as growing the food.

13. Jerry enjoys trips to Florida and has amassed an enormous shark’s tooth collection. Shark tooth hunting is one of his favorite hobbies.

14. Jerry performs his self-choreographed and much anticipated annual “Sparkler Dance” on the 4th of July for his grandkids’ enjoyment.

15. Jerry has been parasailing with youngest daughter, Maggie Kate.

16. In 1995, Jerry and dear friend Carl Jackson flew to New York City to rehearse and perform with the legendary Linda Ronstadt on The David Letterman Show, The Regis and Kathy Lee show, and The Today Show, to help promote her then-current album, Blue Train. Catch a young Jerry backing up Ronstadt below.

17. Jerry has ridden in a hot air balloon over Australia with songwriting friends Jim McBride and Rod McCormack, and has snorkeled the Great Barrier Reef with his wife, Erin.

18. Jerry was a presenter on the nationally televised Australian Country Music Awards show in 2009 – the first American to do so since Charlie Daniels several years earlier.

19. In 2011, Jerry was honored to hand deliver a letter from then Nashville mayor, Karl Dean, to Col. Murray, the mayor of Tamworth, New South Wales, Australia, inviting Tamworth to become one of Nashville’s Sister Cities. In 2013, Jerry later attended the ceremony at Nashville’s Country Music Hall of Fame to witness the official signing of the Sister City relationship between Nashville and Tamworth.

20. The first time Jerry ever saw Ralph Stanley in concert was in 1967, soon after Larry Sparks joined the band after Carter passed away.

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Bobby Osborne covers Merle Haggard on White Line Fever

Posted on March 27, 2021 by Azlyrics

Bobby Osborne with Alison Brown of Compass Records at Bonnaroo in 2017 – photo by Jay Blakesburg

Compass Records also has a new single out today, a bluegrass cover of the great Merle Haggard’s White Line Fever, sung by the legendary Bobby Osborne.

Alison Brown, co-founder of Compass, had the idea to speed the song up into a grasser, and add some additional lyrics to personalize it a bit. She pitched the idea to Bobby, who jumped on board, so Brown brought in Jeff Tweedy of Wilco to compose a final verse. It tells of Bobby’s own 60 years in bluegrass, both with Sonny as The Osborne Brothers, and as a solo artist following Sonny’s retirement in 2005.

Brown played banjo on the track, with Trey Hensley on guitar, Sierra Hull on mandolin, Stuart Duncan on fiddle, and Todd Phillips on bass. Hensley and Tim O’Brien provide harmony vocals.

Have a listen  in this static video.

Bobby’s White Line Fever is available now from many of the popular download and streaming sites. Radio programmers can find the track at AirPlay Direct.

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Kiss On a Cold Cold Stone video from Jesse Brock

Posted on March 27, 2021 by Azlyrics

Sound Biscuit Productions has a new single today from Jesse Brock, a second from his upcoming Streamliner album. Known as a skilled mandolinist, this will be his second solo effort, and his first with Dave Maggard and Sound Biscuit.

From the time he was quite young, Brock kas worked as a professional bluegrass artist, including memorable stints with The Lynn Morris Band, The Gibson Brothers, Michael Cleveland, and Audie Blaylock and Redline. He currently performs as a member of Fast Track.

For this release, Jesse has chosen a song that he says goes back quite a few years, one called Kiss On A Cold Cold Stone. It tells of someone who takes a flower to visit his his departed spouse’s grave site, and places a kiss on her tomb stone.

Jesse says that he is pleased to have recorded a song from a good friend.

“A hidden gem from decades ago, brought to me by my talented friend, Louisa Branscomb. Her collaboration with long-time friend, Geri Byrd, has rendered a treasure to round out this project nicely. Thank you for your offering of love and devotion to your craft that is to be shared with the world.”

Greg Blake sings lead and plays guitar, with Jesse on mandolin, Russ Carson on banjo, Josh Swift on reso-guitar, and Barry Reed on bass. Jesse and Felicia Mikels sing harmony.

Jesse and Sound Biscuit have created a music video for the single, shot and edited by DF Production Services in Knoxville, TN, which nicely captures the somber theme of the song.

Kiss On A Cold Cold Stone is available now from many of the popular download and streaming sites online. Radio programmers can get the track at AirPlay Direct.

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Rebel offers remastered Tony Rice California Autumn CD

Posted on March 26, 2021 by Azlyrics

The shock passing on Christmas Day last year (2020) of stellar guitarist and ace vocalist Tony Rice created an outpouring of affection for him, personally, and increased interest his music. 

One example of this is the great demand for one of Rice’s early recordings, Rebel’s California Autumn (SLP-1549 (1975 and 2021)). Mark Freeman, President of Rebel Records, elaborates …

“This only just came together in the last few months. We were down to a few hundred or so copies of the original CD in the warehouse when word came of Tony’s passing on Christmas and, as you can imagine, they quickly flew off the shelf in a matter of weeks. Since the art files we used to reprint the original inserts and trays were no longer good (it was first pressed back in the early ’90s) and the graphics were in dire need of a fresh look, we decided to completely overhaul the artwork. The CD now comes newly packaged in a four-panel digipak and features an eight-page booklet with notes by Tim Stafford, along with some cool never-before-seen photos of Tony. The album has been completely remastered from the original analog tapes as well!”

As well as providing some general background, Tim Stafford, Rice co-biographer with Caroline Wright, shares some personal recollections about listening to the album when he moved to the East Tennessee State University campus in January 1979, and the enduringly powerful impact of these recordings done over four years earlier.  

Rice (lead and rhythm guitar) adds his vocals to two solo songs and is backed on harmony vocals by John Starling and Ricky Skaggs on two others. 

Starling, who also plays rhythm guitar on two tracks, produced the 12-track collection and engaged the services of Seldom Scene cohorts Tom Gray (bass), Ben Eldridge (banjo) and Mike Auldridge (reso-guitar), along with Larry Rice (mandolin) to provide the core instrumental support. Also, he brought in Ricky Skaggs (fiddle, viola and mandolin) and Jerry Douglas (reso-guitar) to both make their recording debuts with Tony Rice. The New South leader J.D. Crowe adds banjo to one track.

Continuing with the credits, the legendary George Massenburg was responsible for the mixing, and as engineer he was assisted by Bill and Fran Tate. This new release was re-mastered by David Glasser, Airshow Mastering, and artwork newly designed by David Lynch, Lynch Graphics. 

The photographs that Freeman speaks of are from the BOM Services/Red Clay Records/Moon Shiner magazine archives.

The material includes two Rice originals, one from brother Larry, an eclectic mix of other songs and tunes (with composers including Cy Coben; Jimmie Skinner; Hank Williams; Jack Pettis, Billy Meyers and Elmer Schoebel; Hoagy Carmichael; and Art Garfunkel and Paul Simon) and three traditional songs. 

Track listing ….. 

California Autumn / Bullet Man / Mr. Poverty / Billy In The Low Ground / Red Haired Boy / Good Woman’s Love / You Don’t Know My Mind / Alone And Forsaken / Bugle Call Rag / Georgia On My Mind / Scarborough Fair / Beaumont Rag. 

It’s great to know that California Autumn is still proving to be so popular and will remain in circulation in this enhanced format. The remastered CD is available for sale online.

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Rick Lang to Dark Shadow Recording, new single releases

Posted on March 26, 2021 by Azlyrics

Dark Shadow Recording has announced the signing of award-winning bluegrass songwriter Rick Lang, with a new single for one of his songs releasing today.

Rick has had an unusually prominent career as a tunesmith, producing a number of albums of his songs, performed by a who’s who of bluegrass vocalists. While most writers are happy to see their songs cut on records by popular artists, Lang goes the other way, bringing them in to sing his songs on his own projects. And there is nobody in our industry that isn’t pleased to work with him. Not only is Rick a gracious and self-effacing person, he is exceedingly generous to the bluegrass community, sharing the proceeds from his music by funding scholarships for young songwriters and other charitable efforts. He’s definitely one of the good guys.

But don’t forget the music! Lang is a tremendous writer whose personal expansion of the bluegrass catalog has added a wealth of songs to the genre, with dozens of artists recording his compositions in addition to his eight solo albums.

Another is revealed today, Lost Town, his first single for Dark Shadow, that tells of a the flooding of parts of Massachusetts in 1938 in order to put the Quabbin Dam and Reservoir into operation. The town of Dana was given over to the flooding, along with three others, when this area in the central part of the state was intentionally flooded to create a large, man-made lake. Anyone who saw the classic O Brother, Where Art Thou film by the Coen Brothers will recall that just such an eventuality was a central plot point in the story.

Rick says that he was inspired to write by seeing eyewitness accounts, preserved by the history, of the flooding in a town that simply disappeared.

“After reading transcripts of one of the town residents I was moved to write this song and tell the story based on recollections of this life changing event. My research has been fascinating, discovering the challenges of providing for the greater good (drinking water for Boston), versus the sacrifices of the many residents in those four towns who watched as their homesteads were burned, cleared, and then flooded. Graveyards were relocated, churches torn down, as well as mills and factories decimated, during a time when work was scarce.”

Jame Kee takes the lead vocal this one, and plays the mandolin, supported by producer Stephen Mougin on guitar, Becky Buller on fiddle, Ned Luberecki on banjo, and Todd Parks on banjo. Stephen and Jana Mougin provide harmony vocals.

Lost Town is available now wherever you stream or download music online. Radio programmers can get the track at AirPlay Direct.

Posted in Lyrics | Tags: Dark Shadow Recording, Rick Lang | Leave a comment |

Ask Sonny Anything… how ’bout Billy Strings and his Grammy?

Posted on March 26, 2021 by Azlyrics

Good morning Chief! Well the bus is packed with all the usual suspects and we’re ready to roll. Today it looks like we’re heading back to 1996 and Bobby’s River Bend Festival. Also, one of your fans is asking about life on the road back in the day. Plus, we lost another legend in our industry with the passing of J.T. Gray this week.

T.

===========

Sonny, thank you so much for sharing your stories and insight, I sure do appreciate it. With the recent passing of J.T. Gray, I’m hoping you can share a few special memories with us of the World Famous Station Inn.

Lilly D.

Lilly, let me welcome you in here. We going to take a ride in Larry’s fancy 45 foot long truck. Unfortunately, I had bad experiences at the Station. Partially my fault, some not. I was sitting at a table talking with my banjo camp partner when this drunk wandered up, saw me and wanted to talk. He leaned over to speak, and not realizing it he also allowed the beer bottle to lean too which poured a bottle of beer all over me.

Then there was the time I went to see Kenny Ingram play one of my banjos. I was sitting in a chair in the small dressing room. This guy who’s name I won’t tell sat down beside me and asked if his girlfriend could take our picture. Of course I said yes. He started counting. On three she snapped the shutter. At that precise time, Nameless chose to grab me in the crotch.

Then, I went to hear the Grascals shortly after they organized. El, Smitty, Matty, all ex-employees of the Brothers. I told them to please don’t draw attention to me and they agreed. Dave Talbot, fine banjo player went to the mic and I heard Terry Smith say, “he is not going to like it. We promised him.” Dave said he was going to do it any way. He pointed me out, I got up and left. There is more but I think you get the idea.

We arranged a roast for Lance Leroy. Lotta fun. Right? Ummmhmmm! David Parmley and I were MC for it. All of a sudden, as Lance was sitting on stage, this woman just walks up to Lance and throws her coat off, and she is very scantilly dressed, proceeded to sit on his lap. David and I are flabbergasted. I yelled to David to get her the hell outa here.

This seemed to happen every time I went in the place. J T was a good friend and a wonderful man. My condolences to his family. That man will be missed…by many. Although I rarely saw him, I can’t seem to get the fact that today when I woke up, he was gone. RIP brother JT.

s

—–

Hey Sonny, I wonder if you remember a festival, I think called Bobby’s River Bend in ol KY? A specific time, 1996, I was there with my dad and uncle who was playing with Melvin Goins at the time. You gave me your video camera to record uncle’s playing. My question is do you remember that instance and if you still had the tape? I think there was an incident after your show which was interesting to say the least. Hope you are well!

Wes V.

Wes Vanderpool, friend, banjo player, bought Krako number 6. That thing is going to blow you right on out of h’yer…Son! I remember that time and place. I still ache because I did a thing I will regret forever. Dale Vanderpool was one of my best fans and very close friends. Fine banjo player but easily rattled. Nerves. I asked him to come on stage with us and play. I asked if he knew Tennessee Hound Dog. He said he did. He played about five seconds into the break and then went mentally somewhere else. It embarrassed him and that was the last thing on this earth I would have intentionally done. 25 years later and I still have an ache in my heart.

Already irritated, this drunk insisted on standing directly in front of us and dancing…alone. I asked him to please sit down, people were complaining. They couldn’t see us. I told him that, and he told me what I could go do to myself, which would have been physically impossible. I asked him to meet me right beside the stage and I would detach him from his ass. He said he’d be there. I don’t ever remember being so mad. We finished and I gave my banjo to Dale. Take it to the bus, put it my room, shut the door.

An old boy walked up and told me to not get my hands dirty, “we’ll find him, we know him. We’ll take care of him for you!” I remember that place well.

s

—–

Sonny,

You may have noticed a lot of discussion here about Billy Strings since he won the Grammy. Some love him, some not so much, but Vince Gill had an interesting take awhile back on the changes to country music as well. When asked his opinion he said: In fact I do like it, it’s just “not my cup of tea. But I don’t know if I was Merle Haggard’s cup of tea when I first got going. And I don’t know if Merle Haggard was Roy Acuff’s cup of tea. I don’t know if Roy Acuff was Jimmie Rodgers’ cup of tea. To me, to be ‘that’ guy that looks back, you sound like a curmudgeon, you sound like you’re bitter, you sound like all those things…I love seeing young people just out there doing what they love.”

So whadda ya say Sonny, ready to give Billy Strings a break? After all, you kinda started this. LOL.

Walter B.

Walter, sit right down. {that’s make believe} Billy Strings. I’ll give him a break in C# or A flat…Billy, he say “Duh”…I have listened to two songs by Billy boy. Both were bluegrass, both performed live, with a sub par sounding band. Listen now, I did this for over 50 years and can you imagine how many bluegrass bands I’ve heard; some good some bad. So at this time of my life if it’s not on the level of good solid picking and singing, like maybe Jim and Jesse, Doyle Lawson, Flatt and Scruggs, Larry Stephenson Band, Country Gentlemen when Bill Emerson was with them…(to name a few) I really didn’t listen. My blunder.

I might have paid better attention If I had known I would be grilled at some point in my life…{;~0>) make no mistake, I love doing this. So, Billy Strings. He might be the best singer, guitar player…(I would think Josh Williams, Clarence White, or Tony Rice would have something to say about that), best dude on the planet, I don’t know him so maybe I’m not qualified to have an opinion. So far he’s just not “my cup of tea..black gold, Texas tea.” Here it is Walter, if Billy is promoting Bluegrass Music, by Golly…I love him. He won a Grammy…Lawd How Moicy!!!!!

s

—–

Sonny,

I love, love, love your column. Never miss it and it always brightens up my Friday mornings. So here’s my question: I’ve spoken with a good number of musicians over the years and the ones who are honest often tell me after years of touring, they’re just burned out and tired of the road. So much so, they dread getting back on the bus. Did that ever happen to you and if so, are there times now that you miss being out there laying down miles to another festival?

Virginia P.

…Hey girl, thank you for your time. Let me see now. Just guessing I would say we worked over 10,000 shows. I’ve played in boiling heat, rain and snow, sub zero, 120 degree, so tired I could barely stand, seen good and bad…in the ’50s I called my Dad several times at 3:00 in the morning, he always said how much and where can I send it. Never questioned me but always asked if we were safe.

I tell you this so you might know that we saw the good and bad…both sides of the coin. Made it to the Grand Ole Opry, played in the White House for the Nixon bunch, big crowds, no crowds. Probably traveled a total of 6 million miles and right now, if I were healthy I would do it all over again, jump right in that white Eagle… (nicknamed by Russell Moore..”The refrigerator”) and gladly drive it the 600 miles to tomorrow’s date. I loved it that much. I loved hearing Bobby’s voice…Paul’s voice and guitar, Benny and Dale blending in our trio. I’d do it all over again if I could…starting this evening….yep, I would…befo da good lawd say, THAT’s ALL!

s

If you have something you would like to ask Sonny, be sure to post it in the comments below, or send it to us directly.

Posted in Lyrics | Tags: Ask Sonny Anything, Billy Strings, KY, LOL | Leave a comment |

Various Artists – Industrial Strength Bluegrass

Posted on March 26, 2021 by Azlyrics

It’s a little early in the year to be making album of the year lists, but I can just about guarantee that once awards season rolls around, Industrial Strength Bluegrass will be a top contender. The Joe Mullins-produced effort from Smithsonian Folkways chronicles the booming bluegrass scene in southwestern Ohio in the early days of the genre. While doing so, it also creates one of the biggest all-star collaborations in recent years, drawing from bluegrass, country, and Gospel artists to truly hit it out of the park.

Many readers will have heard the album’s first single and opening track, Readin’, Rightin’, Route 23, which Joe Mullins and the Radio Ramblers premiered during last year’s IBMA Awards, and was released to radio earlier this year. Written and originally recorded by country artist Dwight Yoakam, it serves as a theme song of sorts for the album, relating the tale of the thousands of folks who made their way up the “hillbilly highway,” US Highway 23, from rural Appalachia to the industrial areas of southern Ohio. It’s a catchy, solid number (and a perfect fit for Mullins’s vocals), guided by Joe’s banjo and resophonic guitar from guest Jerry Douglas.

The rest of the album is a mixture of classic bluegrass hits and standards, and some more obscure numbers from smaller, regionally-based groups. One that will have everyone singing along is Dan Tyminski’s cut of 20/20 Vision, the album’s tribute to Jimmy Martin and the Osbore Brothers, who spent much of their early careers in and around Dayton, Ohio. Tyminski doesn’t necessarily add anything new to the song, but does he need to? It’s always great to hear Tyminski sing straightforward, traditional grass, and Glen Duncan’s fiddles are spot on. Another fine traditional track is The Stanley Brothers’ Stone Walls and Steel Bars, featuring the excellent trio of Ronnie Bowman, Don Rigsby, and Kenny Smith. Bowman was a great choice to sing lead here; there’s plenty of lonesome in every note. 

There are few artists I like and respect more than Larry Sparks, and the album offers a nice homage to him through a medley of some of his classic hits – Dark Hollow, A Face in the Crowd, and These Old Blues. Personally, I might have included Blue Virginia Blues or John Deere Tractor, but it’s really almost impossible to narrow down the best or most representative Larry Sparks songs. Josh Williams takes the lead on a bouncy Dark Hollow, Bradley Walker tackles A Face in the Crowd (capturing some of Sparks’s inflections), and Russell Moore tears into These Old Blues with vigor. The band on this track is hot, with particular note given to Mullins’s banjo, David Harvey’s mandolin, and guitar from Kenny Smith and Williams. 

The album includes several Gospel tracks, of which the best might be Doyle Lawson & Quicksilver’s version of When He Blessed My Soul. Lawson leads a quartet including Jerry Cole (tenor), Eli Johnston (baritone), and Matt Flake (a wonderful bass). Lawson’s arrangement is bright and joyful, honoring the Brown’s Ferry Four’s contributions to Gospel music. Family Reunion, recorded as a duet between Caleb Daugherty and Rhonda Vincent, is another fine number. Daugherty and Vincent offer a heartfelt, country-leaning reading of the song, and Brent Burke’s resophonic guitar is top-notch.

Mo Pitney and Merle Monroe tackle Harley Allen’s Suzanne. Though the original from Allen and Mike Lilly is hard to beat, Pitney’s earnest lead accompanied by Tim Raybon’s high harmony will likely be a repeat listen for most fans. Vince Gill reminds us all of his bluegrass cred with a swingy Baby Blue Eyes, doing Lester Flatt proud. Some listeners may wonder why Flatt and Scruggs are included on an album honoring southwestern Ohio, but some of their earliest recordings after leaving Bill Monroe were made in Cincinnati – including Baby Blue Eyes, the first song they recorded there.

Mullins’s care in arranging this album becomes evident with the final song – Bobby Osborne performing the Boys from Indiana’s We’ll Head Back to Harlan. With this cut, the album seems to come full circle, as the homesick hillbilly from Readin’, Rightin’, Route 23 finally decides to head back to Kentucky. There are very few of the artists honored on this album that are still performing – or even still living – so Bobby Osborne was a fitting choice to lead this song. He lived the life spoken of in the opening and closing songs himself, and fills the song with heart and conviction.

I could probably talk about this album, the artists it pays tribute to, and the artists who perform on it, for days. This right here is the kind of music I grew up listening to, and what I still prefer personally today. But I’ll stop, and let you buy the album and enjoy the rest on your own – with the help of the meticulously detailed and researched liner notes, mostly penned by Daniel Mullins. Kudos to all those involved for truly capturing the spirit of bluegrass music on this album.

For more information on this album, visit Smithsonian Folkways online. The album is available from a variety of online music retailers.

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Marty Raybon back to bluegrass, signs with Billy Blue Records

Posted on March 26, 2021 by Azlyrics

When Marty Raybon announced back in 2014 that he was rejoining Shenadoah, the country act that had brought him international acclaim, he was quite adamant in telling us that his bluegrass fans shouldn’t despair. He swore that he would be back to bluegrass before long, and he has proven true to his word.

Today we have great news to share, that Raybon is at work now on a new bluegrass and acoustic roots album, and has signed on with his old friend Jerry Salley at Billy Blue Records.

He says that it feels like home cutting grass tracks again.

“I am proud to say I have inked a deal with Billy Blue Records. The past few weeks have been more than satisfying. To get in the studio and hear banjos and fiddles in the headphones has been a soothing of the spirit.

After being away from it for a while, I realized this is more than scratching an itch for me,. It is truly the addition of the drive and strum of bluegrass music. I love it.”

In addition to this exciting report, we have a sneak peek at Raybon’s new single, releasing tomorrow. It’s one written by his brother Tim, of Merle Monroe, called Walking The Floor, a good, old fashioned “I’m through with you” number with a driving bluegrass beat.

Here’s a lyric video, perhaps styled to take advantage of Marty’s popularity in the country market. He is supported here by Tony Wray on guitar and banjo, Jason Roller on mandolin and fiddle, and Kevin Grant on bass. Harmony vocals are provided by Jimmy Fortune and Mike Rogers.

Salley, Creative and A&R Director for Billy Blue, says that he and his team are stoked to be working with Raybon.

“I have been honored to be Marty’s friend for many years. There just aren’t words to express how excited our team is to welcome him back to his bluegrass roots. We’re thrilled to represent Marty’s creative bluegrass efforts, and eager to share his forthcoming album.”

Walking The Floor will be available on Friday, March 26, from many of the popular download and streaming sites online.

Hallelujah! It’s so nice to hear Marty Raybon back in the bluegrass.

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Love In The Mountains video from Gary Brewer and Ashton Shepherd

Posted on March 25, 2021 by Azlyrics

Gary Brewer & The Kentucky Ramblers have released a music video for the third single from their 2020 album, 40th Anniversary Celebration. This project features Gary and the boys teamed up with many of the consequential artists he has known and recorded with over the years.

Previous releases from this record have included songs cut with The Travelin’ McCourys and Doug Phelps of The Kentucky Headhunters, and the new video finds Brewer and his sons with renowned country artist, Ashton Shepherd. Her first two albums delivered a pair of top 20 country hits, Takin’ Off This Pain and Look It Up.

Now she has collaborated with Gary, Mason, and Wayne Brewer on one Gary wrote called Love In The Mountains. They shot the video back during the bleak winter months giving the production something of a desolate look, even though the track tells of the sweetness of a romance kindled in the hills. Gary and Ashton trade verses and share vocals on the chorus as they take a stroll through the chill mountain scenery.

Love In The Mountains and the full 40th Anniversary Celebration project are available wherever you stream or download music online. CDs and downloads can be purchased directly from the Brewers online as well. Radio programmers can get the tracks from AirPlay Direct.

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Track Premiere: One More Night from Seth Mulder & Midnight Run

Posted on March 25, 2021 by Azlyrics

Mountain Fever Records doesn’t waste any time. Just two weeks after announcing the signing of Seth Mulder & Midnight Run to the label, here they are with a new single from the band, perfectly in keeping with Mulder’s neo-traditional vibe.

Since forming to play at the Ole Smoky distilleries in east Tennessee, Seth and the boys have refined a clever throwback sound that captures the energy of 1950s bluegrass and combines it with clever songwriting and a lighthearted stage presentation. Mulder is on mandolin, with Ben Watlington on guitar, Colton Power on banjo, and Max Etling on bass. Nathan Aldridge of IIIrd Tyme Out sits in on fiddle for the new album.

This first single is one Seth wrote called One More Night, a rousing lost love lament in the key of E, that he says is a true song.

“As is the case with many bluegrass songs about losing the one you love to another, this one is based on a true story. A good friend of mine was going through a tough time as he had recently ended a serious relationship. As time went on, I helped him work through his hardship until one day, something in my head just clicked. So, as any good friend would do, I took the opportunity to turn his bad luck into my good fortune, and that my friends is how One More Night came to be. I hope you enjoy it.”

Have a listen…

One More Night from Seth Mulder & Midnight Run is officially available tomorrow, March 26, from Mountain Fever Records. Look for it wherever you stream or download music online. Radio programmers will find it at AirPlay Direct.

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Bluegrass Beyond Borders: The Louvat Brothers bring their bluegrass to Belgium

Posted on March 25, 2021 by Azlyrics

While Belgium might seem an unlikely point of origin for an eclectic bluegrass band, The Louvat Brothers prove that nationality has no bearing when a genuine love of music is concerned. Indeed, over the past 25 years, Steve Louvat and his trio have won critical kudos by providing a unique blend of bluegrass, folk, jazz, classical, and world music influences, as demonstrated by their appearances throughout Europe, the US, and Canada. Further proof of their prowess was realized when they won the prestigious Liz Meyer Award at the European World of Bluegrass Convention in the Netherlands in 2012. Likewise, the praise that accrued from such legends as Byron Berline and Bill Keith, both of whom hailed the trio for their acumen and ability, also confirms their credibility. 

“They are fantastic musicians,” Berline once wrote. “When I first met Steve and Jefferson, I was impressed with their enthusiasm and eagerness… Give a listen to these guys; you will not be disappointed!”

Keith hailed them as “Belgium ‘s best-kept bluegrass secret,” and noted Steve’s “complex and compelling banjo playing, as well as his writing skills,” before concluding that, “These guys are really good!”

“My younger brother Jefferson and I started playing because our father was attracted by American music,” Steve Louvat explains. “I was four or five when he would borrow records from the local media library. He first learned about the blues, along with country and bluegrass music. As a result, we grew up with the sound of the Marshal Tucker Band, the early New Grass Revival, Tony Trischka, and Doc Watson, along with Jacky Galou (a French singer, composer and writer who made some wonderful bluegrass album in French for children), and the finger-picking guitar player Marcel Dadi, to name but a few.”

Those influences played a significant part in the brothers’ own musical development, and Steve recalls a point in particular where it all started to gel. “I will never forget this crucial moment,” he says in retrospect. “I was 13 when I saw a friend playing some guitar at school, and it really made a spark in my mind. I thought, ‘I want to do that!’ So when I came back home at the end of the week, I asked my parents if I could learn the guitar. They thought it was a good idea, but my mother suggested, ‘Guitar is cool, but very common … how about the 5-string banjo? The sound is fantastic and it’s not so often that we can hear it.’ Since I was familiar with its sound and the music it made, I naturally considered it and then agreed to try it. I received my first banjo — a left handed Aida — for Christmas 1987. I was so excited. I still smile when I remember the song that seemed so appropriate — Santa Never Brings Me a Banjo by David Miles. I love that tune.”

Accordingly, Louvat also holds fond memories of his initial banjo lesson. “It was in February 1988 with the banjo player Guy Donis in Liège, Belgium,” he reflects. “I was completely blown away by the sound that was occurring live and in front of me, as well as the feeling of the picks on the strings. I knew then that I would be spending a lot of time practicing. A little bit later, I experienced the same feeling while meeting the Belgian finger-picking guitar player, Jacques Stotzem. When I received my first guitar at 15, I took some lessons with him. Since the guitar allows me to express myself and to write tunes in a complementary way to the banjo, I also pursued a solo separate career with it, and I’ve continued to keep both instruments with me along my musical journey.”

At that point, it was clear he had found a definitive path forward. “Jefferson and I started to give local concerts soon after that,” he recalls. “We always had our instruments with us. I remember I had my 17th birthday just a few days before we played at a big country festival with André Vandomber on guitar and Wally Lawers on bass, in front of thousands of people. We spent all the money we earned buying a top bluegrass vinyl album collection recorded by our bluegrass heroes.”

At that point, things began to accelerate. Louvat picks up the narrative.

“It started with a duo,” he explains “Jefferson started playing the mandolin a little bit after I took up the banjo, and so we grew up as brothers as well as musicians, playing and learning bluegrass together from the beginning. We tried forming several bands — the very first one was with our parents — but it wasn’t easy because very few people played that style of music, or were as involved in it as we were. So Jefferson picked up the guitar and we started to give concerts and to tour as a duo named Steve & Jefferson Louvat, and that turned into The Louvat Brothers after playing in the States at the Oklahoma International Bluegrass Festival in 1997 and 1999, and at the IBMA in Louisville in 2000 with Mark Schatz. That unforgettable experience taught us how much fun and how important it was to play with a bass player.”

In the meantime, certain of their idols instilled their own impact on the brothers’ progression, Bill Keith in particular. 

“I feel very lucky about that,” Louvat insists. “I remember being a teenager  practicing and trying to figure out what my heroes were playing on their recordings. I was dreaming about someday meeting them as well. When I was 16, I met Bill at a workshop in Bruxelles that my friend and fellow banjo player, Thierry Schoysman, organized. That day changed my life. I was blown away by the power and the creativity of Bill’s playing. When I was 18, Bill became my mentor. Then in July 1993, I turned 19 and I found myself touring several states in the US with Bill. I did so again in 1996 and 2004, and these wonderful travels allowed me to meet and play with most of my heroes — Bill, of course, and also, Béla Fleck, Scott Vestal, Sammy Shelor, Tony Trischka, Dave Dick, and Jens Kruger, plus all the musicians I met when Jefferson and I played at the IBMA in Louisville, along with all the musicians we met at the Byron Berline’s Oklahoma International festival in Guthrie — where we played five times — and those we met at the festivals were I played alone or with the trio. It was a true pleasure each and every time to meet and to play with fantastic musicians and great  human beings. It taught me so much about how to reach an authentic sound.”

By 2008, after a few false starts with some bassists that turned out to be only temporary, the trio began to gel. In October 2010, Byron Berline invited the Louvats back to his Oklahoma music festival, and Steve and Jefferson decided to take what they saw as “a big turn.” That’s when the decision was made to perform their own original music.

“Since it was not only traditional bluegrass any more, but rather some personal compositions that drew from various influences, we thought it was time to focus on some specific arrangements with one permanent bass player — a musician named Michel Vrydag — and have him come with us,” Louvat says. “He said yes right away, so we decided to take up the challenge together. We worked hard on the arrangements of the pieces we had already written, and we also started to write new tunes with him as part of a trio. This musical approach was completely different; Michel brought his wonderful, and different, musical background and knowledge, his virtuoso technique and his humor. At that point, we started to develop a new sound all together, and he became the third Louvat Brother.”

Nevertheless, in 2015, their efforts took another big turn. Jefferson decided to work full-time in a duo he had started with fiddle player Ariane Cohen-Adad, so Steve turned to a Canadian friend named Jeff Cardey to take his place. “Jeff was living in Bruxelles for some years, and he is a wonderful mandolin and guitar player,” Louvat says. “He also sings and his musicality was very compatible with our project. As life is a perpetual evolution and these changes are part of the trio’s story, we kept the name Louvat Bros., and we welcomed Jeff Cardey as our new musical brother.”

The band’s output has been prodigious and prolific ever since. They’ve recorded three albums as the Louvat Bros. an eponymous debut, their sophomore set, Contrastes, and a third titled Between the Heart and Reason, all in addition to their appearances on various compilations and an assortment of individual projects.

“Each of us loves to write music, and we enjoy creating the arrangements together,” Louvat says. “We practice the new tunes while sharing spontaneous ideas, but we also carefully analyze each part to create a full score. Each of us reads music and we study the harmony that finds bass, guitar, banjo, and mandolin coming together as if they were part of a big keyboard playing all the notes together, with each note having its perfect place in the mix. The main inspiration and energy come from the wonderful moments we share while being on tour, traveling throughout Europe, the United States, Canada, and India. It also comes from the cultural richness and the generosity of all the people we meet on the road. That’s one of the aspects I love the most being a musician.”

Louvat also shares his passion for making music by passing on what he’s learned to others. “I feel very blessed and thankful to have met so many amazing musicians who taught me what I know, as well as those who are still teaching me today,” he says. “So I love to share that, probably because I see myself in the people who find they are unable to sleep unless they know how it all works. I do workshops at festivals, as well as banjo and finger-picking guitar lessons on Skype, and I’ve also been organizing a workshop once a year for ten years here in Libin, the village where I live in the southern part of Belgium. It’s tailor-made for various skill levels to fit everyone’s expectations. It takes place in a lovely little old hotel and it always leads to a wonderful time of sharing music.”

That said, he admits that it took some indoctrination to get the people back home acclimated to the trio’s sound. While there were certain connections to the country’s traditional music, bluegrass in particular wasn’t necessarily known.

“As far as I remember, the people here in Belgium always enjoyed the exotic sound of the banjo and the mandolin… and the happy music they are connected to,” Louvat suggests. “However, to be honest, since it is not part of the musical culture here, the first reaction was usually to associate it with cowboys, hats and guns. Being teenagers and completely in love with our instruments, and later discovering the recordings of the people we considered masters — Sam Bush, Tony Rice, Bill Keith, Béla Fleck and many others — we knew about the music’s amazing potential. So it was frustrating sometimes, but very soon we realized that if we wanted people to be aware about the finesse of this music and these uncommon instruments, it was our responsibility to bring the subtlety to them, not the other way around. Very soon we started to incorporate various styles of tunes into our repertoire, and we’ve been doing that at every concert and sharing that idea with everybody we meet. I always feel like I’m a musical ambassador of some sort, but after doing this for 30 years now, I can tell you not only that it’s worked, but it’s also led us to play in many kinds of places, from bars and music clubs and schools, to radio and a wide array of major festivals worldwide.”

Naturally then, Louvat has his own idea as to why bluegrass seems to catch on so quickly. 

“This music has a fantastic and positive energy,” he insists. “Even if the lyrics are sad, you can start a fast tune with a banjo lick and people will quickly start to smile and dance spontaneously. I think the instruments involved, such as the banjo, the mandolin, dobro, fiddle — combined with the way they are played — creates something really mysterious and magical that makes you want to understand what’s happening, and sometimes you just want to tame it. It also has a familiar sound with its groove and vocal harmonies. So even if you don’t know what it’s called, you recognize it after just a few bars. It’s a music full of sensibility and subtlety, and since it’s constantly evolving, you can fully express yourself with a unique touch and color.”

He pauses for a moment and then adds, “It’s a music that’s close to the people and also close to the heart. You can just feel it.”

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Raking Leaves on Broadway from Sam Balson

Posted on March 25, 2021 by Azlyrics

Sam Balson is an independent bluegrass and folk artist living in Vancouver, writing and singing his music both as a solo artist and with friends accompanying him.

A new single has just been released, Raking Leaves on Broadway, a thoughtful song which he says came from realizing how few of the folks who attempt to earn a living in music ever really succeed.

“I wrote this song a little while back at fiddle player Mitch Howanyks house. I just wanted to attempt to capture the difficulty of the music industry, and the difficulty of pursuing the arts in this modern age. Using the metaphor of the big stage and an old timey broadway stage, I attempt to take the listener on a little journey down the path of an artist and walk a mile in his/her shoes.

I’m very happy with how producer, Jeff Zipp,  put his flavor into this one and kept it in the roots and bluegrass genre. I’ve always loved picking bluegrass, and it was important that we didn’t stray too far from that point.”

Supported on the track by Mitchell Howanyk on fiddle and Rhi Brunker on drums, Balson plays mandolin, banjo, and guitar, and provides the vocals.

Raking Leaves on Broadway is available now wherever you stream or download music online.

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Tommy Emmanuel plays Flatt Did It with Rob & Trey

Posted on March 25, 2021 by Azlyrics

CGP Sounds has announced a four-track EP from Tommy Emmanuel in May, featuring him recorded live in the studio with Rob Ickes & Trey Hensley. Titled Accomplice Series Vol. 1, it finds these three virtuosic pickers trading licks and having fun in their natural artistic environment.

Emmanuel has long been known for his free form guitar style, displaying a mastery of both the finger and flat picking genres. He first hit the music scene from his native Australia as a disciple of the great Chet Atkins, who later conferred on him the title, Certified Guitar Player, one of only five to be so named. Recent years have seen Tommy more involved in the bluegrass world, recording one of his original tunes with Michael Cleveland, Tall Fiddler, and appearing on Kristy Cox’s latest album. He has also been appearing live and virtually with Jerry Douglas.

A music video has been released for the album’s first single, a classic instrumental called Flatt Did It, recorded by Doc Watson and Chet Atkins in 1980. The melody is clearly based on the now standard guitar lick Lester Flatt played, generally known today as The Lester Flatt G-Run.

Tommy says the video was shot as the three of them were tracking this tune, and that the whole time in the studio had a loose, impromptu feel.

“The sessions were very spontaneous, and in fact, I suggested Flatt Did It and Copper Kettle as pieces on the day we recorded them. That’s how it came about. It was very spontaneous.”

Check out the video, where the contrasting guitar styles of Tommy and Trey play off of Rob’s silky reso work. It really looks like they were having a blast.

Ickes agreed, saying that fun was indeed the order of the day.

“I love to hear Tommy and Trey play together. There’s a great respect between the two of them. They are both so brilliant. It’s great to hear them feeding off each other. And this song is just the perfect vehicle for a Dobro, so I’m enjoying the whole thing!”

Other tunes on the EP include Razz-Ma-Tazz Polka and It’s Never Too Late.

Accomplice Series Vol. 1 will be available on May 7, with pre-saves and pre-orders enabled now online.

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Orrin Star Scholarship for online music students from DCBU

Posted on March 25, 2021 by Azlyrics

The DC Bluegrass Union has announced a change to its annual Orrin Star Scholarship for young music students pursuing bluegrass and old time music in the mid-Atlantic region of the US.

When the scholarship was first announced in 2019, following Orrin’s death at the relatively young age of 62 in 2017, the funds were meant to assist students attending workshops at Common Ground on the Hill in Maryland. Today, DCBU has shared information that the $500 scholarship is available to a student 21 or younger who is studying instrumental or vocal music in the bluegrass/old time realm who is or will participate in any live or online instructional options.

The award is limited to students in Washington, DC, Virginia, West Virginia, Maryland, Pennsylvania, and Delaware.

DCBU has made a habit of remembering important musical artists who called the area their home, with their yearly Hazel Dickens Song Contest and Mike Auldridge Instrumental Composition Contest. Given that Star was such a noted instructor in bluegrass, as well as a gifted performer, they chose to honor his memory this way. Orrin taught thousands of students over his career, both locally in the capitol region and at camps and workshops all over the US. He had also released a number of books and instructional videos on bluegrass guitar.

The scholarship is meant for a young student who has been studying and showing promise, and the application requires input either from a teacher who has worked with them closely, or an experienced player who is aware of their abilities. Also required is a one-page essay from the applicant explaining their experience to date, and what they expect to achieve with the $500 grant.

The successful candidate will have $500 paid directly to the instructor, camp, workshop, or online service detailed in the application.

An official application form can be downloaded from the DCBU web site. Submissions will be accepted through June 30, 2021.

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Track Premiere: Still Waters from Jaelee Roberts

Posted on March 24, 2021 by Azlyrics

Mountain Home Music has a single this week for their new bluegrass “it girl,” Jaelee Roberts, whose music career is exploding before she reaches her 20th birthday. Still in college in Tenessee, Jaelee is already seeing her solo projects achieve critical and consumer success, and was recently named as the new guitarist and vocalist with IBMA superstars, Sister Sadie.

They have chosen a new bluegrass Gospel number, Still Waters, sung in waltz time, and written by Kelsi Harrigill who also provides harmony vocals along with her husband, Paul. Taken from one of the most popular of the Psalms, #23, it tells of how the Lord provides all that is good for those who follow his commandments.

Roberts says that she knew she wanted to include a song like this on her album, and knew right where to go to get one.

“When I started gathering songs to record I knew I wanted to include Gospel songs, of course. Immediately I reached out to Kelsi Robertson Harrigill to see if she had written anything she could send me. Kelsi is an amazing songwriter and especially of Gospel songs — In The Heat of the Fire, In The Morning, Draw Me Near, Happy ‘Til He Comes, Just Any Moment recorded by Flatt Lonesome, and There Is You by The Grascals — so I was very excited when she said she had something for me! As soon as I listened to the demo of Still Waters I knew I had to record it; the lyrics, the melody, the tempo — it all spoke to me right away. I’ve grown up singing in church and Gospel music is very special to me, and the words to this are especially comforting: ‘He takes my hand and leads me beside Still Waters.’”

If you miss the music of Flatt Lonesome, this track is very reminiscent of that sound, while providing a wondrous vehicle for Jaelee to display her vocal brilliance.

Still Waters will be available on Friday, March 26 wherever you stream or download music online. Radio programmers can find it now at AirPlay Direct.

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From The Side of the Road… can you not be in two places at one time?

Posted on March 24, 2021 by Azlyrics

When COVID relief has been debated in the past year, there has been some concern in congress that the government might be creating an incentive not to work by paying people too much while they’re idle. For now we’ll just leave aside the thick irony of politicians complaining about other people being paid too much to bother with honest work, but as I thought about this a little longer, I began to take it personally. Isn’t every dollar spent by people on the music they love going to support full time musicians going another year without having to get a real job? Is this not a worthy cause? I realize that many bluegrass musicians have some form of day job, too, so in that case, money spent on their music goes to ensure that they remain stressed out while trying to juggle two careers. This is also a worthy cause, since I can say from experience that those jugglers wouldn’t know any other way to live. 

I will say as a side note, though, that if you can see your way to invest even more money in these particular multi-tasking musicians’ careers, they might eventually quit their day jobs, thereby opening up positions for other deserving workers in traditional musician day job areas like coffee baristahood (not a word), pizza delivery, and personal injury law, which helps in turn to create jobs and stimulate the economy.

The pandemic has taken this all a step further, though, and fundraisers are now happening to support bluegrass music events that aren’t taking place. I don’t just mean livestream versions of events. I mean non-events. I was recently notified about another fundraiser being held for a festival that won’t be happening this year. This former festival will be holding its non-event August 12-15 (it’s expanded to four days this year); make plans now not to be there—tickets and non-campsites are going fast.

Can this approach be taken by bluegrass artists and musicians? In the past year we’ve used the livestream concert as a medium for providing some entertainment, raising some badly needed cash, and showing off our favorite pajamas. Maybe this was the wrong approach. Maybe we simply needed to be holding fundraisers with promises not to perform at various locations where we had previously been scheduled. 

In future years, when live music is once again part of our lives (hallelujah!), we can still raise funds to support our absence at festivals and concerts we would like to have played but weren’t invited to. This will be in essence a promise not to perform, with payment for services not rendered, and it will certainly take the sting out of rejection. 

This would also not preclude actually playing events where we’ve been booked while raising funds for events we aren’t playing on the same dates. This would be a form of double-booking, though, and perhaps it would be wise not to have these twin bookings within a 100 mile radius of each other. Otherwise we’d be in the position of explaining to the promoters that we’re happy to play their show but that we’re also not playing a similar event just 75 miles away.

Just think, next year could be your best year ever, with a calendar that’s simultaneously empty and full. I’m feeling optimistic about the future.

Next week: crowdfunding and album release events for non-recordings.

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James Reams releases first single from soundtrack album

Posted on March 24, 2021 by Azlyrics

Veteran bluegrass performer James Reams is preparing to release a soundtrack album from Like A Flowing River, a film about his life and career that came out last year. It will include music from the movie, as well as previously unreleased material from he and his band, The Barnstormers, and with iconic artists like Walter Hensley and Tom Paley.

A first single is available this week, with a lyric video, for the song River Rising, one James has written. He is supported by his current Barnstormers, Michael Rolland, Evan Ward, Dan Meyer and Billy Parker.

Looking back on 30 years in bluegrass, Reams expressed his gratitude for the embrace from the bluegrass world since he stepped in back in the early ’90s.

“I am truly honored and humbled for a lifetime of being welcomed into the bluegrass, old time, and country community. I want to celebrate and share this amazing milestone with fond reflection and embrace the new chapter with people who made it all happen.”

Here’s River Rising.

Look for more news on the soundtrack album soon.

Members of Amazon Prime can view Like a Flowing River: A Bluegrass Passage at no additional charge online. James and the Barnstormers will do a two-day residency at Gilley’s in Las Vegas this weekend, March 26-27.

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Let’s Talk About Jesus from Bobby & Teddi Cyrus

Posted on March 24, 2021 by Azlyrics

Pinecastle Records has a new single this week from Bobby & Teddi Cyrus, ahead of the release of their debut album with the label in April.

This time it’s a grassy Gospel song which Bobby wrote with Ronnie Bowman, called Let’s Talk About Jesus. Teddi takes the lead on this one, powered by a talented studio band consisting of Kenny Smith on guitar, Don Rigsby on mandolin, Mark Fain on bass, and Justin Moses on banjo and fiddle.

Both Bobby and Teddi grew up playing and singing music in their native Kentucky, but only met and married later in life. Bluegrass and country music was part of both families in their youth, and Teddi and Bobby separately pursued a career in the business before they met and began performing together at the Cyrus Family Theater in Pigeon Forge, TN.

And yes, regarding the last name… Bobby is the younger cousin of country icon Billy Ray, and second cousin to pop superstar Miley.

Cyrus says that he and his famous cousin didn’t really have a musical relationship until they were adults.

“Billy is 9 years older than me. As a kid I saw him at reunions and I always knew him, but we never really connected. At the time I was catching tadpoles and he was breezing in and out and doing whatever he was doing. Later on when I started performing, we connected. In the early ’90s, I was playing nightclubs and anywhere I could play, and he was shooting to the top. I was proud and tickled to death for him.”

“Both of our fathers died within about eight months of each other back in 2005. That really brought us closer, in a way. Billy and I had performed together a few times in the past, but when he heard some of the songs I had written and was singing, he was really supportive.”

Here’s the new single.

Let’s Talk About Jesus is available now wherever you stream or download music online. Radio programmers can get the track at AirPlay Direct.

The self-titled album from this husband-and-wife duet partnership is due from Pinecastle on April 9.

 

 

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Walls of Time video from Sara Shiloh Rae & Bluebird Junction

Posted on March 24, 2021 by Azlyrics

We have written a couple of times about Sara Hershkowitz, a noted opera performer who has recently been returning to the bluegrass roots she grew up on. In order to avoid confusion appealing to such widely divergent audiences, she now goes as Sara Shiloh Rae for her acoustic string music, accompanied by a band known as Bluebird Junction.

Sara’s re-entry into the bluegrass world has been by way of Max Hoetzel, a veteran of the west coast music scene, who plays guitar and banjo with her on these grassy recordings. Bluebird Junction is Max, and a number of rotating pro pickers including Dominick Leslie on mandolin, Alex Hargreaves on fiddle, and Myles Sloniker on bass.

To date, their recordings have all been completed virtually, in the manner with which many musicians have become familiar this past year, made into music videos that have won them plaudits from both the longhair and the crewcut crowds.

This latest, an arrangement of Bill Monroe and Peter Rowan’s classic number, Walls of Time, finds Sara and Max in the California brush land, with video contributions from Bluebird Junction superimposed on screen.

Sara likes to make plain that she is not trying to blend her operatic training with acoustic music, or mix influences from one into the other. In fact she gets mildly defensive when someone suggests that she is, and Ms. Shiloh Rae is one of the most non-confrontational people you’ll ever meet.

She shared her thoughts about this question in a recent post at Noteworthy Music, where she issued a manifesto of sorts.

“I would love to clarify something. I am not a crossover artist. You will never see me make a crossover album. I do not combine opera with bluegrass. I do not combine opera with folk. I was singing and listening to this stuff way before I knew what opera was.”

At this point, Sara Shiloh Rae is not offering any of her bluegrass music for sale, simply making it available at no charge on YouTube and Facebook. But she and Max may yet combine these socially-distanced recordings into an album.

Keep an eye out for Sara Hershkowitz, or her nom de grass, Sara Shiloh Rae.

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