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For Your Love from Michael Cleveland with Billy Strings

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Michael Cleveland and Billy Strings – photo by Jesse Faatz

For the third single from his upcoming Lovin’ Of The Game album on Compass Records, fiddle maestro Michael Cleveland has selected a grassed up version of For Your Love, from Texas rocker Joe Ely.

Michael’s cut, which features Billy Strings on guitar and lead vocal, is a far cry from Ely’s hard rockin’ arrangement from the 1980s, which fits perfectly in a bluegrass pocket.

Further support on this track comes from Rob McCoury on banjo, Ronnie McCoury on mandolin, and Alan Bartram on bass. Jeff White sings the harmony vocal.

Michael wasn’t shy about admitting that this sort of number is out of his normal comfort zone.

“People know me as a traditional bluegrass fiddle player, which is what I love to do, but this album is more than just the pure tradition. It’s a little bit of a departure for me.”

For Your Love is a smoker…

For Your Love is available now from popular download and streaming services online. Pre-orders for Lovin’ Of The Game are also enabled online. The full album is scheduled to drop on March 3.

Long Journey Home video from Billy Strings and Terry Barber

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Bluegrass flatpicking rebel Billy Strings has released a new single from his upcoming album, a duet version of the classic song, Long Journey Home, sung with his dad, Terry Barber.

The whole project features Billy with his pop, who is the one who taught him to play when he was just a lad. And to make sure you get it, the record is titled, Me and Dad.

They brought in Gary Paczosa to co-produce with Billy, and headed to Nashville’s Sound Emporium Studio with Ronnie and Rob McCoury, Mike Bub, and Michael Cleveland. Other guests include Jerry Douglas and Jason Carter, plus Billy’s mom, Debra Barber, who adds her voice to one track.

If you know Billy’s story, there was much upheaval during his youth, when his parents, whom he dearly loved, became involved in drug abuse to such an extent that he left home as a young teen. But both have overcome their addiction, and now Strings says that he has made it a priority to get this record made.

“As long as I can remember, I wanted to make a record with my Dad. I’ve been burning up and down the highways the last 12 years, and as time slips away, you start thinking, ‘I need to make time.’ It’s been a bucket list thing for me, something I’ve been afraid I wouldn’t find the time to do. And that scared me; not doing this record scared me.”

All of the 14 tracks are familiar standards, though not all are traditional folk songs like Long Journey Home. The track listing reads like a jam list at most any parking lot or campground session, with selections from the catalog of heroes like Doc Watson, George Jones, Flatt & Scruggs, The Stanley Brothers, Larry Sparks, Carl Story, and more.

  • Long Journey Home
  • Life To Go
  • Way Downtown
  • Little Blossom
  • Peartree
  • Stone Walls and Steel Bars
  • Little White Church
  • Dig A Little Deeper (In The Well)
  • Wandering Boy
  • John Deere Tractor
  • Frosty Morn
  • I Haven’t Seen Mary In Years
  • Little Cabin Home On The Hill
  • Heard My Mother Weeping

The first single is played in as straightahead a grass style as you might ever want, with Billy singing lead and Terry adding tenor. Seeing the pure joy both men experience recording together is a delight, wholly apart from the music.

Enjoy…

Long Journey Home is available now as a single from popular download and streaming services online. Pre-orders for Me and Dad, which will release November 18 on Rounder Records, are also enabled.

Lindsay Lou duets with Billy Strings on Freedom

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Americana artist Lindsay Lou has reached back to her bluegrass roots for a new single, Freedom, written and performed as a duet with Billy Strings.

Back in their salad days, she and Billy lived near each other in east Nashville and were part of a vibrant young artistic community before either were headlining artists. Lindsay had been part of a bluegrass group for several years with her ex-husband, Josh Rilko, Lindsay Lou & The Flatbellys, and we featured several of their releases here at Bluegrass Today.

She says that Freedom came from a session after moving south, with inspiration from a timeless literary classic.

“Billy and I both transplanted to Nashville from Michigan and wrote this song on a rare snowy day in Nashville while we were neighbors on Petway Ave. We wanted to write something of our own that felt like the bluegrass standard, Daniel Prayed, to sing. There are a lot of references to Kalil Gibran’s writings in The Prophet ‘On Freedom’ in the lyrics, which I’m always reading and referencing because it grounds me in the same way an old traditional song does.”

Lindsay was so pleased with their demo of the song, that she sought to recreate that vibe when they tracked it for her upcoming EP, You Thought You Knew. 

“When Billy and I wrote Freedom at the table, he used a cheap old Silvertone catalog guitar given to him by Fanny’s House of Music in town. I wanted this recording to have the same sound as the demo we made right after we wrote it, so I tracked down the guitar and brought it to the studio for our session.”

The resulting recording has a wonderful gritty sound in an old time call-and-response style that will resonate with fans of traditional bluegrass, and remind listener that both can get down on some grass.

You Thought You Knew is something of diversion from Lou’s contemporary musical direction, returning to an old time and grassy sound, which she hopes won’t alienate followers of her more experimental sound.

“I hope my long-time fans will appreciate the EP as a sort of peace offering before I take another jaunt into the exploratory world of my multifaceted musical identity.”

Freedom is available now from popular download and streaming services online.

Billy Strings nominated for Americana Music Association Artist of the Year

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In this afternoon’s announcement of the nominees for the 21st annual Americana Honors & Awards, presented by the Americana Music Association, we see that Billy Strings has been nominated for Artist of the Year.

While there is usually a limited amount of crossover in the AMA Awards, with a bluegrass artist or two earning a nomination, it is rare to see one receiving this top line notice, a bit like IBMA’s Entertainer of the Year award. Of course Billy draws an audience from well outside the bluegrass fan base, but his music remains decidedly bluegrass.

The uniqueness of this honor is underscored by a listing of the others nominated in this category.

  • Brandi Carlile
  • Jason Isbell
  • Allison Russell
  • Yola

Two other grassers received an AMA nod, with both Justin Moses and Shelby Means nominated for Instrumentalist of the Year. Justin plays every instrument in the book, records widely as a session player in Nashville, and occasionally tours with his wife, Sierra Hull. Shelby has been the bass player with the recent Molly Tuttle bluegrass tour, and worked for several years with Della Mae.

Winners will be announced on September 14 during the Americana Honors & Awards show at the Ryman Auditorium, in the midst of the annual AmericanaFest.

Best of luck to all the nominees, but go Billy!

Billy Strings donates guitars to all the students at his former school

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We’ve noted in the past how the immense popularity of bluegrass guitarist and singer, Billy Strings, within the wider pop culture, is having a real influence on young people becoming interested in the music. And he just demonstrated that in a large and public fashion.

Ahead of a pair of shows at The Fillmore in Philadelphia, Billy and his group visited his old school in Ionia, MI, today, bringing with him a new acoustic guitar for every student. They pulled up in their two tour buses and a U-Haul filled with 200 guitars, with ukuleles for the kindergartners.

Though he was born in Lansing, MI, and spent part of his childhood in Kentucky, Billy went to school while living in Muir, MI after his family moved there when he was a child. He attended the Twin River Elementary School as a boy, and said that he was only too happy to come back bearing gifts for the current students.

“My guitar has always been there for me. Through good times, bad times, and everything in between. The guitar has taken me places that I could only dream of. My hope is that one of these guitars does the same thing for one of these kids. I look forward to coming back and seeing how these future musicians progress for years to come.”

He also spoke to the students before handing out instruments outdoors, masked and using a megaphone, telling them about his music teacher while he was there at Twin Rivers, and how she helped spark his interest in music as a boy.

What a wonderful gesture, and a true act of kindness for the students at his old school.

Hats off to Billy Strings!

Billy Strings takes mountain sound to Jimmy Kimmel Live

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For his appearance last night as musical guest on Jimmy Kimmel Live, Billy Strings cowboyed up in full western gear and played a heartfelt version of Red Daisy from his current Renewal album on Rounder Records.

Both their appearance and the performance of a hard driving, Stanleyesque number on national TV seemed like a “so there” to all the people who say that Billy and his crew don’t play bluegrass. Lester and Earl would have been proud of these boys, and I dare say, even our dear departed Sonny Osborne would have approved had he been watching.

Well done all – Billy Strings on guitar and lead vocal, Billy Failing on banjo and harmony vocal, Royal Masat on bass, and Jarrod Walker on mandolin.

Have a look/listen…

Keep taking bluegrass music to new audiences, Billy!

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

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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.

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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

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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

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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

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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.

The Great Divide from Luke Combs and Billy Strings

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Bluegrass music may not be cool enough for country radio – or big Nashville labels – but it clearly is appealing to country artists, especially those of the edgier variety. The past few years have seen bluegrass projects from a number of prominent singers, including Sturgill Simpson, Alan Jackson, Dwight Yoakam, and even Shania Twain. Others like Zac Brown have made it part of their live shows, and nothing lights up a country arena crowd like some rollicking bluegrass.

Now that grassers Sierra Hull and Billy Strings are finding popularity outside the conventional bluegrass scene, even more young country artists are drawn in by the somewhat punk aspect of modern bluegrass, at least as compared to the strictures of contemporary country.

This week we have an entry from hitmaker Luke Combs, in association with Billy Strings, a song they wrote together with Wyatt Durrette. It’s called The Great Divide, and is in response to the growing political division in the US this past few years, exacerbated by the recent elections. A number of country artists have addressed this issue of late in new songs, and Combs shared a few words on Instagram about this one when it was released unexpectedly on Sunday evening.

“It was originally intended to be on a bluegrass album that I was working on, but that has been put on pause for now and album 3 is up next. However, I thought now was a good time to put this song out with everything that has been and is going on in the world. It isn’t meant to be political or try and tell you what to think or believe; that’s not my job. It’s just me saying how I felt when I wrote it and I wanted y’all to hear it. Since it was meant to be on my bluegrass album, it will sound a little different than what y’all are used to hearing from me, but would love for y’all to check it out.”

It is interesting that he provides that caveat to his country fans, because bluegrass lovers should receive a similar caution, in that it doesn’t sound like contemporary bluegrass either. But I remain firm in my belief that every major artist should be expected to cut some grass before being accepted as a “real star.”

You can hear The Great Divide in this lyric video. Billy is on guitar, his bandmate, Royal Massat, plays bass, Charlie Wortham is on banjo and mandolin, with Eric Darken on percussion. Luke sings the lead.

Let’s hope that the bluegrass album he mentioned above comes to fruition before too long, and that his fans respond positively to this new track.

The Great Divide is available now wherever you stream or download music online.

Ask Sonny Anything… you are missing the boat on Billy Strings

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Ask Sonny Anything is a recurring feature where our readers pose questions to the great Sonny Osborne, one half of the iconic Osborne Brothers who redefined bluegrass music in the 1960s, and noted banjo maven and collector of fine prewar instruments. Everyone is encouraged to pose queries of your own each week in the comments, about his history in the music, his wealth of banjo knowledge, or regarding any life advice you might be needing.

Hello Brother Sonny!!! I spend some time on you tube and watch old footage of “The Brothers,” and lament the fact that I never got to see you all live. Well Thanks for your contribution to the greatest music in the greatest Era.

I was wondering your thoughts about the soul of bluegrass music. The music is an outpouring of a musicians life and upbringing and beliefs and struggles etc. Can a man (or woman) brought up in today’s world have the same “purity of stuff” in the soul to produce genuine bluegrass. I guess it might never be the same as it was because the world has changed so much????

Also, do you think Don Reno was a better guitar player than a banjo player (not putting down his banjo playing of course) He was just a darn good guitar man. Also did you ever jam any or run across Doc Watson on the road ?? Thanks.

John E.

Hey my Brother John, I welcome you in. Glad you’re participating in our little To Do! I knew Doc Watson and we worked several places with Doc, but we never played a note with him, sorry to say. I respected his playing and Raymond E Huffmaster loved Doc’s playing. The soul of Bluegrass Music. I am grateful to my God to have let me live during the greatest era of real Bluegrass Music. We were there when it started, thankfully able to participate, and I’m afraid we saw that era pass.

You’re right it comes from folks who were brought up during a time when life was much different than now. The ’30s, ’40s and even into the ’50s, didn’t have the technical advantages as young folks have now. Only a few being cell phones, internet, being able to call anywhere free, and the ability to find the answer to darn near anything in seconds… and then musically, the ability to slow down an original banjo break or idea that came right out of someone’s head, why… they can slow that down to one note at a time and be able to do it in record time… I mean like minutes instead of days or months. So that takes originality right on out of playing an instrument.

People never heard of Rudy Lyle, one of the great innovators ever… when it comes to doing completely different things on a five string banjo…. and I simply must say that banjo tone and/or setup escaped him, but up until 1954, before going into military, his ability to innovate was mighty good. I would be inclined to agree with you that it will never be the same because our world has changed.

Was Don Reno a better guitar player than banjo? I will not answer that the way you asked or maybe expect, but I will say this… can I say this…. He recorded Home Sweet Home and played every instrument and sang all the parts. And, the banjo didn’t have D tuners. I hope that answers your question. Don Reno was one hell of a musician, singer, songwriter, and one of the best, closest friends this old man ever had…and I miss him! s

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Hi Sonny, glad you’re doing OK again.

Back in the late 1980s or early 1990s you were booked on a new bluegrass festival in the eastern Pennsylvania country. Wilma Lee Cooper and Ricky Skaggs were also booked. We New Englanders and New Yorkers were eager to support a new bluegrass festival so we hauled our campers out to this brand newly prepared festival site in a big pasture. I wish I could remember the name of the town.

Anyway, a very small crowd showed up; I guess advertising was neglected. We were stunned to see a HUGE brand new wooden stage as big as a respectable barn, or maybe Shakespeare’s old Globe Theater. The buzz was, it had been a requirement of Skaggs’ contract or some such thing. Well the show went on to a SMALL crowd. I remember the lady promoter was in tears to have Wilma Lee on her stage. By the time you and Bobby took the stage the word had gone ’round the promoter had gone bust and only Wilma Lee was getting paid, or something like that. You all took the stage looking mad as wet hens and announced you would play both of your scheduled sets, but back-to-back, for your fans, and then would be leaving.

As far as the crowd knew, you had been stiffed. But you hung in there for your fans and did a 90 minute full show that was great. We in the crowd had a lot of respect for your good attitude toward the fans.

If you can remember that event, any comments on it, or similar experiences of satisfying your fans in a bad situation?

Thanks, Dick in New York

Come right on in Dick. We have plenty room. Now, I don’t remember the town in Pennsylvania but I do remember the place, the massive stage, and time.

The woman who booked the date just ran out of money and didn’t advertise…. I mean at all. I will have to rely on your memory about who played and seems like one, Wilma or Skaggs refused to go on… may be wrong. I know I discussed it with Bobby and we decided to do our shows for the 20 folks who were there.

The lady was in tears… but she just ran out of money. We all do sometimes. I felt sorry for her, she was so disappointed. That wasn’t the only time that was to happen, so be it… it is what it is.

Once we played In Georgia and the guy just said, “boys, I don’t have all of it. I think he gave me $300 and told us to take all the hot dogs, buns, and everything else we wanted from the concession stand. We did… we left there with quite a load. I think I remember the guy’s name because I went to school in Ohio with a kid… 5th and 6th grades… with the same name. John Cable. Never forget it!

Once in a place outside San Diego we had a pretty good crowd and the guy left between shows… with the money. Folks, it ain’t all peaches and cream, but when everything is right and hitting on all cylinders, man, it takes you to another world. To be on the stage with Gene Wooten, Terry Smith, Terry Eldredge, David Crow, every night for about 13 years, and the likes of Benny Birchfield, Ronnie Blackwell, Dale Sledd, Ronnie Reno, Jimmy D Brock, Paul Brewster, Blaine Sprouse, Raymond E Huffmaster, and my Brother Bobby. So good it hurts…..
s

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Great memories, as usual, Sonny. I like your comment about Bill Emerson’s praise swelling your head. My head hasn’t come down since I picked some with Bill at NashCamp Banjo Camp many years ago back when Bill Evans used to lead it, and when Bill (Emerson) learned that I lived at that time about a half hour from him in Northern Virginia commented, “you’re really good on that banjo. How come I haven’t heard of you?” Well, that was it! I had arrived and had nowhere else to go! And my hat still doesn’t fit. Good memories.

Re: Chinese Breakdown, my Dad used to play that tune on the mandolin – do you know where it originated? Keep at it, Sonny. You are the best, and I HAVE heard of you!

Mark B.

Hello Mark. Thank you for sharing a few moments with us. You mentioned a bestest friend. Man, Don, Bill, JD, Dana, Lincoln, Derek, Tony, Earl, few of my best friends. But for now the spotlight is on Bill Emerson. One of the nicest Gentlemen ever.

I think the banjo camp with Bill E was the camp Bill Evans and I had several years ago. We had Mr. Emerson with us twice I think. His banjo playing speaks for itself. His character is something else. Always squared away, most of the time he has a smile for you. For him to compliment you is the real deal. I’ve known Bill and Lola for a very long time. I’m talking about a lot of years… perhaps 40+. He’s always the same. Every time you see him. I’ve heard the Chinese Breakdown for a long time too. Trouble is, I couldn’t hum a note of it if my life depended on it, which it might.
s

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Regarding Billy Strings:

Well, Sonny, you will be missing out if you don’t listen to Mr. Apostol. He knows and loves the roots of our music, and like Bill Monroe and the Osborne Brothers, is taking it new places. The old fuddy-duddies of your youth didn’t necessarily like the drums and steel guitar in your music 50 years ago.

Mitchell R.

Mitchell. Glad you could join us. Come in. Billy Strings… Apostol, if you will. That’s his name and that’s what I’ll call him. I just might be missing the greatest that’s ever graced the face of the earth, but I’ve heard Josh Williams, Tony Rice, Clarence White, Grady Martin, Hank Garland, Leon Rhodes… and throw Buddy Emmons in there for good measure. Charlie Byrd, Chet Atkins, Jerry Reed, I think I’ve made my point, which is… I’ve heard and played with the best in the world and I’m not easily impressed. And so far Mr. Apostol is a good guitar player. Maybe in time my mind will change. Maybe Billy Boy will be the greatest bluegrass picker of all time, and if I’m still here and not assumed room temperature, I’ll be the first in line to sing his praises.

50 years ago…nahh, they didn’t like it that we “sold out,” but they bought the records. Whether it was to make fun of, or enjoy what we did, they bought the records, and for the most part they bought tickets and filled the seats at most places we played. I’m not bragging but I’m just telling you fact and truth. Matter of FACT, this whole thing that I write is based on FACT and TRUTH!
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.

Watch It Fall video from Billy Strings

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Rounder Records has released a new music video from Billy Strings, featuring one of the songs from his current album, Home.

Billy has a reputation as the crazed flatpicker, based on his frenetic and highly energized live performances, where he mimics the sort of stage theatrics more commonly utilized by rock guitarists, from Jimi Hendrix forward.

But his music isn’t so radical as the reputation, as you can see in the video for Watch It Fall. The song, and his guitar playing, is quite reminiscent of the music of Norman Blake, showing that young Mr. Strings knows and respects the guitarists that came before him. And that fact has been shared in numerous interviews where he shrugs off the notion that he is the greatest flatpicker alive.

Have a look/listen…

Billy is supported on this track by his touring band: Jarrod Walker on mandolin, Billy Failing on banjo, and Sterling Masat on bass.

Watch It Fall and Home are available wherever you Home.

Billy Strings on Jimmy Kimmel, live from the Station Inn

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Last night Billy Strings was the musical guest on Jimmy Kimmel Live on ABC television.

Everyone’s favorite head banging grasser contributed two songs on the show, a socially-distanced home recording of Watch It Fall, and a live version of Taking Water from the stage of Nashville’s Station Inn. Both tracks are included on Billy’s current Rounder release, Home.

He was accompanied by his regular band: Jarod Walker on mandolin, Billy Failing on banjo, and Royal Masat on bass.

Here’s guest host Joel McHale introducing the first song from his pool.

Viewers are encouraged to visit the web site of the National Independent Venues Association, and urge your member of Congress to support financial support from the federal government for small music venues which have been devastated by enforced closures during the COVID-19 restrictions. More details about the efforts of this newly-formed organization can be found on the web site.

And here’s Billy and the boys on Watch It Fall.

Billy Strings and his Streaming Strings Tour 2020

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Bluegrass/newgrass touring sensation Billy Strings has announced a new way to get his music out in front of the people during this time of limited performing opportunities.

Billed as Streaming Strings 2020, he and his band will appear at a number of Nashville music venues next month, with the live shows streamed online for a modest fee, far lower than most concert tickets. Though his recordings have been quite successful to date, it has been his wild and wonderful live sets that have cemented him as a fan favorite among young followers of contemporary acoustic music.

Billy is partnering with several streaming services to offer these concerts, with a portion of the proceeds donated to a number of his favorite charitable organizations. All ticketing is handled by the individual services (Station Inn TV, Nugs.net, FANS), with each show costing only $9.99. To ensure that everyone can receive a quality stream, tickets will be capped at 10,000 per show.

Here are the scheduled performances:

  • July 16 – Brooklyn Bowl (Streamed live via FANS)
  • July 17 – Brooklyn Bowl (Streamed live via FANS)
  • July 18 – Station Inn (Streamed live via Station Inn TV)
  • July 19 – Station Inn (Streamed live via Station Inn TV)
  • July 22 – City Winery (Streamed live via Nugs TV)
  • July 23 – City Winery (Streamed live via Nugs TV)
  • July 24 – Exit/In (Streamed live via TourGigs)
  • July 25 – Exit/In (Streamed live via TourGigs)
  • July 26 – 3rd & Lindsley (Streamed live via Nugs TV)

Strings will be accompanied at each show by his regular touring band, Jarrod Walker on mandolin, Billy Failing on banjo, and Royal Masato on bass.

No audience will be in attendance, and crew will be limited to avoid viral exposure.

Tickets are available now online, and since the shows can sell out, advance purchase is recommended. Special tour merch will also be offered online during individual shows.

Bluegrass Beyond Borders: Johnny & the Yooahoos play Bavarian Bluegrass

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Bavaria may be known to much of the world for its majestic mountains, its celebration of Oktoberfest, its rich cuisine, and a host of oompah bands. So credit Johnny & the Yooahoos with adding their own bluegrass imprint as well.

A talented and tenacious four piece acoustic ensemble, the band — currently consisting of Johnny Schuhbeck (mandolin, lead and baritone vocals), Bastian Schuhbeck (banjo, dobro, lead and baritone vocals), Bernie Huber (guitar, harp, lead and tenor vocals), and Jonas Kollenda (bass, bass vocals) — Johnny & the Yooahoos formed relatively recently, in 2017 to be exact. And while their center of operation may seem somewhat off the grid, the group has pursued bluegrass in its essential form by employing its traditional instrumentation, effusive harmonies, and lightning fast picking. They even dress like the typical traditional troubadours, and in so doing, provide an appropriate presentation when it comes to their concerts as well. 

While their reverence for bluegrass roots is apparent, it’s also obvious that they’re intent on having fun and also encouraging their audiences to share that celebratory spirit. At the same time, they’re unafraid to bend a few boundaries every so often to ensure that the music remains both varied and vibrant.

“Three of us had been playing together in a progressive rock band called Karakorum and other blues rock formations,” Schuhbeck explains. “It was me, Basti, on drums, Bernie on electric guitar and Joni on electric bass. Back then, we already knew that everyone of us had a love for bluegrass, folk, and country music. After my brother Johnny got more into singing and mandolin playing, we found that we had a complete bluegrass quartet, so we thought we’d try to play out in that format and style.”

It seemed a natural choice given the band’s essential influences. “All of us have ‘60s / ‘70s musical backgrounds, mainly through our dads,” Schuhbeck says. “For Johnny and me, it was Creedence Clearwater Revival and John Fogerty’s first two solo albums that got us more into country and bluegrass. Joni is a big Bob Dylan fan, but he also became more interested in this style through the Oh Brother, Where Are Thou movie. Bernie’s early influences were more in the blues/rock field. When it comes to bluegrass, for us it all started with the Stanley Brothers. What we do today is still somehow based around their music.”

Surprisingly, Schuhbeck insists that there is an audience for bluegrass in his country, although he says that it draws mainly from an older concert-going crowd. “It’s a genre for the connoisseurs,” he says. “Not for the pop charts crowd.”

That said, Schuhbeck sees several indications that newer audiences are gradually coming into the fold as well. “It’s exciting that artists like Billy Strings bring this music to a younger generation in the US,” he notes. “With our concerts, we also try to bring this music to younger people.”

Ironically, the connection is clearer than one might think. In fact, there are various cultural ties that can connect bluegrass music to the vintage sound of their native environs. 

“Songs based on 1,4,5 chords and close harmony singing are very popular in traditional Bavarian music,” Schuhbeck explains. “Also, there are similar song topics, like love, home, traveling and nature.” He goes on to point out that, like bluegrass, Bavarian music tends to be acoustic, and played on string instruments without the use of drums.

“I think that people enjoy the harmony singing and the fact that this kind of music is purely acoustic,” he muses. “Of course, there are always folks that are new to the genre, and who enjoy the more uptempo songs. We also love playing non-bluegrass songs in a bluegrass style. People always like that because they know the song, but have never heard it done that way before.”

Happily then, Johnny & the Yooahoos have found an audience of their own. “Last year we performed mostly in southern Germany,” Shuhbeck explains. “This year’s summer performances would have been our first to feature more international shows. We would have played in Ireland, France, Switzerland, Austria, and the Netherlands. Most of these festivals have of course been cancelled due to the corona crisis.”

Prior to the pandemic, the band did have opportunity to share stages with several notable artists. “We had the honor to pick and sing for an encore with Jeff Scroggins & Colorado, the Price Sisters, the Brother Brothers, Bill and the Belles, Golden Shoals and Chicken Wire Empire during the Bluegrass Jamboree tour here in Germany,”  Shuhbeck notes. “All great people and incredible musicians!”

It’s little wonder that Schuhbeck is so intent to share a response when asked why bluegrass retains its persistent popularity worldwide. “Beneath all the fascinating musical features of bluegrass — the harmony singing, instrumentation, virtuoso solos, etc. — the beauty of this music lies in its authenticity and its tradition. That is why I think it is real and why there will be always people that listen to it.”

Little wonder then that like elsewhere, bluegrass in Bavaria is alive and kicking.