Americana Rhythm is published six timesa year.All correspondence should be sent to PO Box 45, Bridgewater VA, 22812 or email to greg@americanarhythm.com. Copies of Americana Rhythmaremade available freeat variouspickuplocationswithin thepublication’sregion.SubscriptionsareavailableinsidetheUnited States (only) for $24 US currency made payable by check or moneyorder sent to, Subscriptions at PO Box 45, Bridgewater, VA, 22812. Foreign subscription requests should be sent to greg@americanarhythm.com. Copyright 2022. All rights reserved. Reproduction of any content, artwork or photographs is strictly prohibited without permissionofthe publisheror original owner. All advertising material subject to approval.
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But,DoesItPay?
Has thatthoughtevercrossed your mind? But does it pay?Asmusicians, somedaysyes,somedaysno.Some days it’shard to tell.Youhaveto ask yourselfwhat exactlydefines pay? Whenyouarebroken downonthe sideoftheroad, wonderingwhatit willcosttofixitthistime,wondering ifyouwillmakeitto thenextshowin time; In that moment, you might wonder, does this pay? But if you haveaband withagoodattitudeand someoneisyuckingitupandlaughing, therecan bethat specialsense ofa band ontheroad, beatingtheodds andworkingtogether.Idonotthink youcanbuythatfeeling.
When I ask myself the does it pay question, I always think of the experiences Ineverwould havehad ifIhadn’tsaid yes.
Just recently, in the last issue of Americana Rhythm, I wrote about playingtheFetedelaMusique,inthe small town of St Jean de Losne, France. It was after that show that we learned the Olympic torch was settorunthroughSJLonthewayto Paris!Whataluckybreaktobeable toseethat.Butwaitthereismore…
strength of these bikes. They have regularbikefrictionbrakesthatreally don’tworkverywell,so youdo the bestyoucan. This was acherished childhood memory of mine, and I havealwayswantedtorideoneagain.
Themayor’shusbandsaidheisvery familiarwithSolexbikes;heowns10; is presidentofthelocalSolexclub; andwouldbehappytogetmeonone. This was great news that got a lot better. The next day, I received a messageaskingifAmyand Iwould like to help represent St Jean de Losneandrideas partoftheofficial SolexclubleadingtheOlympicflame paradethroughtown.Whatanhonor, and of coursewesaid YES!These twowaywardtroubadours fromthe USA got to participate in the 2024
Aftertheshow,duringaconversation withthemayor’shusband, Iaskedif he knew what a Solex bike was. Here, I digress a bit. When Iwas a kid, myuncleinFrancehadaSolex he let me ride whenever I wanted. TheSolexisaFrenchmotorizedbike builtfromthe1950sto 1970s.Ithas a tiny gas engine that mounts on a pivotoverthefront tire. Thewayit works is, you start pedaling, then, pivot the engine down so that a friction rubber drive wheelhits the fronttireandstarts turningtheengine over until it starts. This happens slowlywhileyouarepedaling…putt, putt, putt, faster, faster until it is runningsmoothly.Allthewhileyou are steering with one hand while adjusting the throttle and fuel-air blend with the other. Top speed is maybe 25 mph. Stopping isn’t a
ParisOlympicFlamejourney.Itwas the only way wecould ever be, ‘in theOlympics’(lol).
Iamrelatingallofthisto answerthe leading question; does it pay?Had wenotbeenoutthereperformingat theFetedelaMusique(forfree),the Olympic -Solexopportunitywould neverhavehappened.Itwasanevent youcouldneverpurchase,butonce again, playingmusicbroughtitto us.
So did it pay? Yes, indeed, in overwhelmingdividends,memories, newfriendsandfutureadventures. Bythewayplease,checkoutournew single and video, ‘Flew Away’we’resoexcited. Cheers!
The Bluegrass Festival
In early August a few of the AR staff attended a marvelous fiveday bluegrass festival held in a small town in eastern West Virginia. It was a real fun treat and presenteda festivalfullof thebest artists in the business but more on this festival later. Let us first start this story with a question: Just what is bluegrass music and what is a bluegrass festival?
We attend some exceptional Americana string music (aka bluegrass music) festivals throughout the year. My wife and I often find ourselves heading off for the enjoyment of a bluegrass festival experience, when friends and family members say to us, “Do you just sit and listen to music all day?” It is difficult to answer such a question posed by a person with less interest or passion or need to hear the artistic effort of the performers than do ourselves; however, the real answer is, “Yes, but . . .” Let me answer those inquisitors and share with you that which is more than just the music. It all began with a name.
Where It Started
This bluegrass subset of Americana string-music has an evolutionary growth. With its origins in the Eastern Appalachian mountains as ancient Scot-Irish and English ballads infused with enslavedAfricaninfluences,it first morphed into a folksy sound that changed every time someone new playedits melody andsangits lyrics; however, it eventually gelled into a genre known as old-time music. With the emergence of recorded music andradio air play, this old-time music became somewhat standardized. Then, along came Kentuckian, Bill Monroe and his band who was namedafter that famous KYbluegrass. They produced a new, faster, hard driving way of playing that same old-time music. Sometime inthe 50’s or early 60’s, folks began referring to this style of play as “bluegrass music”. Withthat naming,it soonbecame its own genreof sound. Whilethis genreof music has steadilyexhib-
ited generational change, it has never strayed too far from its roots.
Bluegrass music never really became a separately recognized art form until the first exclusively namedbluegrassfestivalwas produced by Virginia resident, Bill Clifton at Oak Leaf Park in Luray, VA on July 4, 1961. This one-day event was quickly followed by what is now known as Carlton Haney’s Roanoke Bluegrass Festival,whichwas heldon Cantrell’s Horse Farm in Fincastle, VA on September 3–5,1965. This secondevent is now recognized as the first ever multi-daybluegrass festival.The format that festivaltook moreor less set the formula for festivals from then on until the present where thousands of bluegrass events are held around the world annually.
So, what is a bluegrass music festival? It is somuchmore thanjust the listening experience. While the focus is upon the performers and their performances, the down-time between those performances is filled with experiences both diverse and interesting. Of course, all festivals are a bit different but in many ways they are all the same. There are many experiences that are duplicated moreor less at everyfestival both large and small. Here is a capsule of what a typical bluegrass festival has to offer:
Multi Performances
Abluegrass festivalwillshowcase multiple performers and multiple performances. At most festivals, each act presents a set that is in turn followed by another act and thenanother until allhaveshared a time on the stage. Usually this revolving performance is repeated with the acts showcasing different material for the second appearance. At some point, the show breaks for an intermission; and that intermission is usually followed by performances from a fewheadliningartists. Eachday of the festival features a completely different lineup of performers.
By Edward Tutwiler
The Merch
No matter what festival you attend or who the performing artists may be, nor even where it might be held, commemorative tee-shirts abound.(If it is a multiyear festival, attendees strive to
display of keepsakes and stacks of their recordings for folks to purchase. Plus, all bluegrass festivals feature vendor tents showcasing jewelry, clothing, musical instruments,and soforth. Bigfestivals might have rows and rows of vendor tents toutingevery type of collectable. It is very easy to spend too much time pursuing the vendor tents and miss the
record that longevity with multiyear shirt collections.) Tee shirts are merely the tip of the iceberg. All the performing artists have a
start of the next act on stage. In fact, stories have been told of shoppers whonever makeit tothe music.
We Be Jammin’
Speaking of missing a performance, some festival attendees do not sit through every performance as a passive observer. It is the rare festival, that does not feature groups of fellow attendees sitting around in a secluded area of the festival grounds playing and singing their own versions of what is going on up on the main stage.
Yummy
Every festival large or small makes a valiant effort to feed the attendees. Granted, the effort at a small gathering might not compare to that of the major ones; nevertheless, food is essential— whether it is a modest food tent or truck or a major effort with many selections.
A Place To Park Your Bed
Every multi-day bluegrass festival, beginning with that first one in Fincastle, VA,has a camp ground available for rent. It might be a modest tent space or it might be full hook up for Air Streams®. (One festival I attended recently had fully equipped so called glam-camp tent enclosures available for rent).
One Of Our Favs
Nowthat we have a capsule of bluegrass festivals in general after they exist and are thriving, the next question is how does a festival get started and evolve into a living thing? To answer this question, reflect back to that eastern WVA festival I earlier mentioned attending. It is named, Pickin’ in Parsons Bluegrass Festival. This festival is considered to be one of the finest small bluegrass festivals in the business. In fact, in 2017 the IBMA voted it to be the best bluegrass event of the year. What follows is an overview of what the promoters, Joyce and John Bowers, experienced in making it into what is today.
John Bowers and his wife Joyce grew up in the same WVA hometown and developed a love for the bluegrass music that surrounded them.After attending festivals both small and large, John decided he wanted to host a festival of his own. With Joyce’s blessing, they started the process.
For months they looked for the perfect location until a real estateagent located for them a piece of property that was available for lease in Parsons, WVA. Joyce and John surveyed those eight acres, and even though it was an hour and a half from where they currently lived, they took a gamble and signed for the property. It was by a river and overgrown but they could see its potential.
They packed up their present home; gave notice at work; and relocated to Parsons in a 30-
foot camping trailer. The couple immediately cleared the property; hired some bands and a sound company; bought a stage; and printed fliers. The summer was nearly over but they were anxious to have the first event. Knowing that bluegrass music fans like to camp, they added 10 full servicecampsites twodays beforethe opening performance. Thus, on August 21, 2004, the first Pickin’ in Parsons Bluegrass Festival got under way as a one day event with six local bands. Joyce remembered, “It was a complete disaster. It rained parallel with the ground for six straight hours. We had about 50 attendees, if you count staff and dogs.”
Not to be deterred, the Bowers remained committed and started immediately planning continued on page 6
Festival
continued from page 5
for the second annual Pickin’ in Parsons. The following year they added a second day to the festival and hired Ronnie Reno and Reno Tradition as their first national touring act. Every year since that dismal start in 2004 they increased the number of bands and occasionally added a day to the event until Pickin’ in Parsons now is five full days of music and features 25 national touring bands. From that original
it’s honest, down to earth approach. They are fans first and promoters second. The top-tier touring artists consider it a privilege to be asked to play at Parsons and striveto be invited back year after year. Festival attendees feel the same way as many purchase tickets for the next year’s event while attending the present one.
Year 2024 showcased the 20th Pickin’ in Parsons Bluegrass Festival and the promoters are currently working out the details for
IBMAOnThe Move
Most of us connected to the business side of bluegrass in some fashionhave knowfor a fewyears now, that the International Bluegrass Music Association (IBMA), which has heldit’s annual conference in the cityof Raleigh, NC, would be concluding that partnership after the conclusion of conference this year (September 2024).
woman Patsy Hazlewood. “We are excited to support this event that will bring Bluegrass enthusiasts together in our city and give us an opportunity to showcase Tennesseeand Chattanooga to an audience coming from literally around the world.”
And for many, we’ve all speculated where the 2025 conference and beyond might relocate to.Well, thewait is over, andfrom what I can tell, the decision to partner with the Tennessee Department of Tourist Development, and the Chattanooga Tourism Co., seems to be a favorable one. So Chattanooga, Tennessee it is!
Barry White, president and CEO of the Chattanooga Tourism Co., said “The Tourism Co. is honored to be the first recipient of Tennessee’s new Special Event Fund and to welcome the WOB to Chattanooga. We are extremely excited tobringthis event toChattanooga and highlight our city’s flourishing cultural scene,while also generating economic returns to our community.”
eight acres, they have expanded the facility to 48 total acres; 120+ fullservicecampsites;and10,000 square feet of covered seating.
Location Makes It Special
Joyce and John Bowers are not strangers toWestVirginia andthe deep held traditions of folks that live there. Their homegrown sensibilities have helped them be good neighbors to their adopted town; and their no-nonsense, notrouble way of running their festival has endeared them to the community. They maintain an alcohol and drug free event with a 10pm noise shut down. John Bowers runs a tight ship which attendees and performing artists alike appreciate. During the time of thePickin’ inParsons Bluegrass Festival, the local population triples providing a boon to the local economy; and the local community is very welcoming to the festival attendees.
Bluegrass music is special to the Bowers, and it shows. They love
the 2025 edition. Just as it has been from the beginning, the Bowers strive to offer the best in traditional bluegrass for a great price. That is five full days of musical entertainment from 11am to 10pm every day with each day providing the very best A-list bluegrass artists in the world.
I’ve only hit the highlights of what it takes to produce a successful bluegrass festival. I’ve neglected to describe the tons of hardphysicallabor;thehead-aching stress of processing and planning; the worries about the weather; and the 47 other things that could and most likely will go wrong. All of this must be endured as a labor of love or the endeavor will not be a success. Keep all this in mind the next timeyou kickbackand singalong with your favorite bluegrass artist at thenext editionof thePickin’ inParsons Bluegrass Festivalor at any of your other favorite bluegrass festivals.
The new home of IBMA’s World of Bluegrass (WOB) multi-day event will take place there for at least 2025, 2026, and 2027, with the inaugural event taking place September 16-20, 2025.
Houseand SenateFinance Chairs Rep. Patsy Hazlewood (R-Signal Mountain) and Sen. Bo Watson (R-Hixson) also named Chattanooga as the first recipient of the Tennessee Special Event Fund. In 2022, Tennessee Gov. Bill Lee partnered with the General Assemblyto appropriate$25 million in the state budget for a fund designedtoattractlarge-scaleevents expected to generate at least $10 million invisitor spendingand $1 million in state and local taxes. The Chattanooga Tourism Co. will use the awardto invest in the support and growth of the WOB event.
“Tennessee is proud to welcome IBMA’s World of Bluegrass to Chattanooga. This event is not only a testament to our state’s vibrant cultural heritage but also a significant economic driver for our communities,” said Chair-
The 5-day IBMA World of Bluegrass event, scheduled for Sept. 16-20, 2025, will feature a convention, tradeshow, awards show, artist showcases across downtown, and a two-day live music festival withtop bluegrass artists worldwide.
The Chattanooga Tourism Co. estimates the 2025 WOB event will attract 18K+ overnight visitors and more than 45K+ including day visitors, generate $30.1 million in economic impact, and yield $1.1 million in state tax revenue. Visitor spending will support local jobs and additional tax revenues, benefiting multiple industries beyond tourism.
“In our mission to spread the music, IBMA considered 30+ destinations for a new home. While other cities could offer the necessary commitment, the passion and enthusiasm of the people of Chattanooga truly stood out. We areincrediblygratefulfor thesupport from the state of Tennessee and the welcoming spirit of Chattanooga. This city’s uniquecharm and hospitality makes it a perfect home for WOB artists and guests,” said Ken White, executive director of IBMA.
Healed By A Song
Once again, this beloved country is gearingupforourfouryearrigamarole as we creeptoward the voting booths, to place a check mark by our choice for the next president of the United States. And, once again the atmosphere is heating up, with each side feeling righteous over issues and solutions. Once again doubt, anger, finger pointing, fear, blame, and news coverage is running rampant, leaving some of us in a quandary, trying to figure out what the next four years should look like for us. Once again, I am choosing to remain an escape for my audiences, standing on neutral ground. Oh, it’s a lovely thing.
Last night was an example of how precious both sides of this political arena are. I performed in a songwriting round; a very intimate
setting where the audience was literally at my feet. There were probably 40 people in this small room, sitting shoulder to shoulder, as I sang and told stories about where the songs came from. No one inthatroom,forourhourlong show, gave a flying fig about all the hooplaflashingacross the newschannels. They were caught up inside the music, and the ride Iwas taking them on, skirtingthe crookedpath, heading to the Clinch Mountains. Isang about life in the rural parts of our world, of how folks get from day to day, of heartache, triumphs and sassy stuff too.As I was regaling them with tales
ofmysongwriting,there wascommon laughter, not blue or red, just a full mixture of colors that mingled together in the joy of entertainment. I watched as people escaped the cloudy, gnarly parts of their day, and it made me smile,because I loved the break too. I am quite sure there were “left” shoulders pressed against “right” shoulders in a room full of strangers and nobody cared; instead, for one hour, we were united.
I wish all our troubles could be healed by a song, wouldn’t that be something?
Bob Dylan splashed on the scene writing politicalsongsin the 60’s,helping spur a movement during those days. Actually, lots of groups in those days chose to write and singabout the politics and protests going on. These talented troubadours of the 60’s were young, at the beginning of their ca-
reers, unafraidof what taking a politicalstand coulddo.They justfollowed their hearts andbeliefs, and it worked for them. If I were writing and singing then, and young and fiery, maybe Iwould have beentempted to take my pen on like a silver sword and write my own opinions too; but now? I’m probably too long in the tooth to take those kinds of charged chances, and to be honest, I’mnot interestedin going that route. Ilove writing universal messages, I do. I love connecting to an audience through shared life and family experiences.
Reality is with us all day long, and sometimes shows upin oursleep too. I don’t know about you, but after the two years I’ve just survived, I seek ways to escape my troubles, and music isone ofthe mostrelaxingchoices for me. I wish all our troubles could be healed by a song, wouldn’t that be something?
Donna is the IBMA Songwriter of the year for 2016, And 2017 Song of the Year winner. She was also the 2018 SPBGMA Songwriter of the year. Her latest CD, Livin’ Large, on Blueboy Records, was released in February 2022. DonnaUlisse.com
IndustryAward Nominations
Follows are the IBMA nominations for the 35 annual bluegrass industry awards. The results of the balloting will be revealed at the IBMA Bluegrass Music Awards on Thursday, September 26, at the Martin Marietta Center for the Performing Arts in Raleigh, North Carolina.
Awards are voted on by the professional membership of the International Bluegrass Music Association (IBMA), the professional nonprofit association for the bluegrass music industry.
A partiallist of nominations for thisyear include:
ENTERTAINEROFTHEYEAR
Billy Strings
MollyTuttle & Golden Highway
DelMcCouryBand
SisterSadie
ThePo’ Ramblin’ Boys
VOCALGROUPOFTHEYEAR
Authentic Unlimited
SisterSadie
BlueHighway
DelMcCouryBand
MollyTuttle & Golden Highway
INSTRUMENTALGROUPOF THE YEAR
Billy Strings
MichaelCleveland& Flamekeeper
Travelin’McCourys
East NashGrass
MollyTuttle & Golden Highway
SONGOF THE YEAR
“Fall in Tennessee” –Authentic
Unlimited
Songwriters:JohnMeador/Bob Minner
Producer:Authentic Unlimited Label: BillyBlue Records
“Willow”–SisterSadie
Songwriter:Ashley McBryde
Producer:SisterSadie
Label:MountainHome
“Too Lonely, Way Too Long” – Rick Faris withDelMcCoury
Songwriter:RickFaris
Producer:StephenMougin
Label:DarkShadowRecording
“ForeverYoung”–DanielGrindstaff withPaul Brewster & Dolly Parton
Producer:AppalachianRoadShow Label: BillyBlue Records
NoFear–SisterSadie
Producer:SisterSadie Label:MountainHome
So Muchfor Forever–Authentic Unlimited
Producer:Authentic Unlimited Label: BillyBlue Records
GOSPELRECORDINGOFTHE YEAR
“When IGetThere” – Russell Moore & IIIrd Tyme Out
Songwriter:MichaelFeagan
Producer: Russell Moore & IIIrd
Tyme Out
Label:Independent
“Thank YouLordfor Grace”–Authentic Unlimited
Songwriter:JerryCole
Producer:Authentic Unlimited Label: BillyBlue Records
“Just Beyond” – BarryAbernathy withJohnMeador, Tim Raybon, BradleyWalker
Songwriters:RickLang/Mike Richards/Windi Robinson
Producer:JerrySalley Label: BillyBlue Records
“GodAlreadyHas” –DaleAnn Bradley
Songwriter:Mark “Brink”Brinkman/ DavidStewart
Producer:DaleAnnBradley Label:Pinecastle
“MemoriesofHome” –Authentic Unlimited
Songwriter:JerryCole
Producer:Authentic Unlimited
Label: BillyBlue Records
FEATURE ARTISTS
Thanks to ourpartnership with ReverbNation (www.reverbnation.com)we are honored togive you a peak at afew of the nation’s hardest working indie artists. Each month we select oneentry to showcase for you here. Enjoy!
By Greg Tutwiler
Derek Wray
Pennsylvaniaishome for singer-songwriter, Derek Wray. Derek says he began playing a guitar in highschool, in his hometown ofWarrington, a suburb of Philadelphia. But he never pursued it seriously, or played in bands, until after the school years. He picked it up again duringthe pandemic and found renewed interest in songwriting.
He works by day as a recruiter, while he also works to get his music careeroff the ground. While he’s yet to release afull length album,he’s been recently releasing singles, and has seven available on his ReverbNation page (https:// www.reverbnation.com/ derekwray), that he’s either written himself,or co-written.
“My latestthree releases were actually with aCo-writer I met through NSAI, named Danah Alexander. She had adream of writing and recording musicfor Pink. We workedtogether with a producer, got the songs recorded, andhad Lindsay Jordan,
a local up and coming artist, do the vocals on the songs.”
“I havewritten mostly country music, however,”he said. “I actually have apersonal connection to Pink, so I agreed to cowrite these songs. I would say the three songs that we just released, “Everything I’m Not,” “Beautiful,”and, “Ageless,”are really written in a similar style
to Pink,in that they all have to do withself-identity, and realizing that everyone has an inner beauty, andtheir own identity inside ofthem, despite what anyone else saysor thinks about them.”
“When I amwriting on my own, I use myown personal stories, and try tomake it a universal
message,” Derek said. “For example, my first single, “Don’t Wanna Fight No More,” is about a guy in a relationship, where hereally loves someone, butthere is constant fighting,and he is struggling to decide to stay, or leave the relationship. Some of the songs that I have written (but haven’t beenreleased yet), are morecountry/pop, fun summer songs.”
One of Derek’s big goals is to get signed as a writer for apublishing company, and/or record label, and start abandwhere he can play his original music, along with covers of his favorite country music.
“I would love to have one of my songscut by Chris Stapleton,”he mused. “He is my favorite artist, and if he ever cut one of my songs, it wouldbe such an honor. I didhave two of my songscut by Matthew Dame, who is lead singer of The Steeldrivers, Chris Stapleton’s original band.”
Derek’s song, “Don’t Wanna Fight No More,”made its radio debut as the “Country Catch of The Week,”on Brad Mercer’s Bands and fans, which gets syndicated nationally,and to number threeon local country radio stationsthis past May.
Find Derek on the ReverbNation site!
JustHappenedTo BeTogetherFor50Years
Nearly 50 years ago, a group of fellow musicians all met at the University of Chicago. They all shared a passion for bluegrass music,leadingthem to the likely decision to form a band.They eventuallycalled themselves Special Consensus, a nod to their unique blend of traditional bluegrass with a modern twist. Their goal was simple: to bring the joyful sounds of bluegrass to new audiences and honor the genre’s rich heritage.
“We were all kind of learning together,” remaining founding member, banjo player, Greg Cahill, shared with me recently. “The university has this folk festival (the Eastern European Folk Festival celebrates 50 years this year), and we’d all go down there and listen to the music. In between acts on the main stage, we would go out in the hallway, and everybody would be playing bluegrass music. That’s how we all originally got to be friends. It was a great time. Eventually, we
started getting together in one of the guys apartments, and pretty soon we were a band.”
Taking It Serious
In the beginning the group had several different names and different personnel. “When we finally narrowed it down, we were a five piece band. That was late
By Greg Tutwiler
real beginning of the actual serious band concept.”
By late 1978 the band had recorded their first single, and released their first full album in 1979 on a local Chicago label.
The original line-up consisted of Greg Cahill on banjo, who had a reputation for his nimble fingers and inventive picking; Rick Faris on guitar, known for his smooth vocals and innovative rhythms; Dan Eubanks on bass, whose deep, resonant tones laid a solid foundation for their sound; and Rob Ickes on dobro, a master of both traditional and contemporary techniques.
1973 or early 1974. We played some clubs around Chicago,” Greg told me, “but it wasn’t until 1975 when the bass player and I said, ‘you know, we really want to give this a shot; go full time; quit our day jobs, give it a try for a couple years.’ That was in 1975, so that’s why we consider it the
The band released a second album, all thewhile trying to establish their niche’ in the bluegrass world. “We said we,re going to do it a coupleyears,” Gregsaid.“And we were closing in on that decision moment. It was like, ‘Oh,
continued on page 17
Source: https://bluegrasscountry.org/festivals/
Jeff Christie; The Music Still Flows
Here and Now is the latest album by Jeff Christie, due out in September 2024. It serves as proof that the 78-year-old singersongwriter’s best known hit, “Yellow River,” has never rested on his laurels and continues living out his musical calling after more than five decades.
Hailing from Leeds in northern England, Jeff found himself in the thickof theBritish poprock scene in the late 1960s. In 1970, his band, Christie, had a worldwide hit with “Yellow River.” Jeff says the song was inspired in part by a favorite of his at the time, Glen Campbell’sversionof “Galveston” (written by Jimmy Webb), with its protagonist being a soldier thinking about his girlback home as he heads off to fight in the American Civil War. He had also been reading a lot about that conflict as well.“Asa songwriter,” Jeff says, “you’re listening to other people’s songs all the time and you can’t help but be influenced by things.”
“Yellow River” flips the perspective to a soldier returning from war, which helped the song connect with many of the Vietnam War generation. The song has proven to be a true classic, with a variety of artists covering it over the the years, including Elton John and R.E.M. Like many well-written songs, it easily translated into an Americana setting when Doyle Lawson & Quicksilver gave it an exhilarating bluegrass treatment in 2006.
By Dan Walsh
Jeff remembers first experiencing the power of music as a young child, when his parents foundit hard to drag him away from brass band concerts at a local park. Piano lessons followed, then, when adolescence hit, he found himself playing in bands. By the mid-Sixties one of them had landed some auditions with record companies—and failed them all. But after one attempt, a word of friendly advice set Jeff on a newpath. He remembers, “The A&R man at one of these sessions approached me afterwards and said, ‘It’s a good band you’ve got but you’ve got
to be doing original material, not covers,’ which is what we were doing at the time.” It then fell to Jeff to begin writing material for thegroup.Fortunately,to goalong with his basic drive to succeed, a seed had been planted during his previous piano lessons that was ready to sprout. While practicing classics byBeethhoven or Mozart, he says, “I would kind of wander off and start making up little tunes…” The rest, as they say, is history.
Here and Now is culmination of threeor four years, includinga bit of remote work during the pandemic, combining “newish” songs with a few reworked older songs, which Jeff felt all fit together well. One of the older ones is “Man of Many Faces,” originally a 1971 Christie release. “There areso many ways you can work a song…” Jeff says. “I completely reworked that one. I used different chords…completely different rhythm…It’s almost like a different song.”
ARTICLESBYDANWALSH
As a young girl, Adele Lassiter was inspired by the loveof music her momand grandmother exuded, and felt drawn, early on to singing and songwritingas herown mode of expression.
Duringherhighschoolyears,Adeledeveloped her musicalskills inanumber of separateways at first. While shecontinuedwritingsongs forherself that sheonlysharedwithfriends,showchoirintroduced herto performing,andworkon thehigh schooltv stationgaveher some experience withhow music andvideocould work together.
When she went to Nashville to attend Belmont University, Adele started playing out.
“Even though it’s kind of embarrassingnow, looking back at someofmyearlier gigs, I did like everyopen mike night…It’simportantto find thosesituations whereyou have…people who see the value inyourmusic and want tohelp you improve. Becausenobody’sperfect when theyfirst start.”
It took adramatic eventto clarifywhatwas truly important for Adele. While livingin Montana to initially attend college there, she rolled her SUV on a gravel road, endingup with a broken neck andother injuries. “Iwokeupinthe hospital,and literally right before that I had been prayingand thinkingthatmusicwas so importanttome, that I really wanted to do something with music, like ‘please letthere be a pathtoward this’...
“I madea fullrecovery,butduringthat recovery process that’s when a lightbulb went off in my head, like,I needto justgo allin withmymusic.
American Nomad isAdele’s debut five-songEP, which has taken a while to come to fruition, but shesays, “Iwantedtohavethebestpeopleonthe album…”EliBeairdofBeairdMusicGroupplayed bassand produced,and alongwith ateam ofsessionpros,“kind of helpedme…bringmyvisionto life,”Adele says.
Jeremy Parsons
“It started for me when I was 17,” says San Antonio native Jeremy Parsons. “I was a junior in high school, and looking for a new hobby.” Sports had lost their luster for him (too much pressure from coaches). Luckily, he says, “there was a guitar lying around.” He was immediately hooked.
Then, after six or eight months, he found himself in a state that he would periodically slip into, where the pressure of something in life would lead him to what he calls an extended rant: “I’ll start walking around, just like a sitcom, just ranting about random stuff…” This particular time, though,something changed. “My dad was like ‘Why don’t you just put it to music.’” This idea overcame Jeremy’s usual irrational process and provided a helpful way to process emotions, as well as a creative outlet—and ultimately a career.
At age 20 he moved to Nashville and made some connectionswithinonlythree months, the mostconsequentialone beingwiththe Grascals,who recorded one of his songs and opened a bunch of doors for him; a number of playing and touring experiences followed.Essentially,Jeremysays,“Nashville ended up being my college.”
Apparently Jeremy excelled in this practical music schooloflife,ashe hasrecentlywonCountryBreakthrough Artist of the Year at the 2024 New Music Awards. Additionally, he was named a finalist in the 2024 NewFolk Competition.
After three albums, which leaned either toward the more traditional or the more Americana-based, Jeremy is now rolling out singles leading up to a triple EP release. “It’s Americana like you’ve never heard it before,” the Jeremy says. “It’s got electronic element.It’s gotalt-indie stuffinthere.Andthenthere’s me, who just always sounds like Americana, altcountry, country, whatever you want to call it.” ” The first of the two EPs will be called Life, the second, Death and the third, The Inbetweens. Each record will contain six or seven songs and they’ll followeach other in quick succession.
To find out more, visit www.jeremyparsonsmusic.com
Luanne Hunt recently celebrated her30thyearinthe music business and released her 24th album, fittingly titled Miles and Memories
The current Floridian originally from Pennsylvania, has certainly logged countless miles and accumulated a treasure trove of memories along with many chart successes and accolades throughout her career as an independent singer-songwriter. About the new album’s title track,along withcommemoratingher artistic journey, she says it’s about “all the wonderful things and all the ups and downs that happen to everybody.”
Despite having a deep love of music from her earliest days, she had to overcome a large amount of resistance from those closestto her, who discouraged her from pursuing music early on. It wasn’t until she got married in her twenties that she took more proactivestepsinthatdirection.“Ijuststarted to take some voice lessons,” Luanne remembers. “...I was singing at county fairs and retirement homes and things like that, and got a little bit of experience under my belt.” When her newspaper writer husband discovered a gift for songwriting, the two began a new phase as Luanne recorded his songs, then began writing herself. She has chronicled this whole journey in a documentary, Luanne Hunt: I Won’t Stop Singing! (linked at her website), which is sure to be an encouragement to other artists with obstacles to overcome.
Over time, her engaging stories set to music have touched a lot of listeners and garnered her numerous accolades. “It was awesome to finally have something tangible to show for what I had done,” she says. “Because as an independent artist, you don’t oftenget somethingtangible. So,it’s validating, for sure.” Her many awards include being a six-time American SongwritingAwards winner and a three-time “CD of the Year” recipient from the National Traditional Country Music Association (NTCMA), along with five Josie Music Awards nominations, as well as two Grammy nominations (Best CountrySong andBest Female Country Performance)forhersong“Solace InThe Wind,”from her 2007 album, Breaking Through
Listen to the expanded interviews by searching Americana Music Profiles on all of your favorite Podcast platforms!
Luanne Hunt
Adele Lassiter
Special
C, continued from page 13
well, we have this really great gig next year, and surely, after that, we’ll be better known, and can get some really good paying gigs.’ In the meantime, we’re driving around in an old station wagon, sleeping on friends floors. We just kept going. It was 10 years, and then 15.” Eventually Greg and Mark (bass) were the remaining original members, and they became partners in the band. “He stayed about seven more years in the band once we did that,” Greg recalled.
Taking The Helm
Greg became the remaining, original member of Special Conesus. “2025 will actually be the 50th anniversary of the band,” he said, “and we’ve probably, by that time, will have had maybe 53 members. But in the grand scheme of things, you know, a lot of bands have even more turnover than that. People will give me six months, or a year’s notice, or whatever. Everybody’s beenreally good about that. Some guys stay 10 years, and some guys stay three. It’s just the way this industry seems to go.”
The band that was just going to “try it for a few years,” over the span of the past 50 years, have amassed quite the list of acknowledgements. They released 21 albums. Greg is a recipient of the prestigious Distinguished Achievement Award from the International Bluegrass Music Association (IBMA), and was inducted into the Society for the Preservation of Bluegrass Music in America (SPBGMA) Hall of Greats. The band has received seven awards from the IBMA, and two Grammy nominations. Current guitarist and lead singer, Greg Blake, was awarded the 2023 IBMAMale Vocalist of theYear, andnominated again for the 2024 award.
Rivers and Roads, the band’s 19th recording, was nominated for a 2018 Grammy, and was awarded the 2018 IBMA Album of the Year. Thetune“SquirrelHunters,” from that recording, received the Instrumental Recorded Performance of the Year award.
The band now records for Compass Records, and proudly celebrated its 45th anniversary in 2020 with the release of Chicago Barn Dance. This recording also celebrates the longstanding connection of country and bluegrass music with Chicago from the time of the WLS “National Barn Dance,” that was a precursor to the Grand Ole Opry. The songs on this recording either relate to Chicago and/or are written by artists who once lived in Chicago. The title song “Chicago Barn Dance” received the 2020 IBMA Song of the Year Award.
International tours have brought the band to Australia, Canada, Europe, South America, Ireland and the United Kingdom. The band has also appeared on National Public Radio, The Nashville Network, the Grand Ole Opry at the historic Ryman Auditorium in Nashville, Tennessee, and in concert with symphony orchestras nationwide.
I asked Greg if there was anything he could observe that makes a bluegrass band from Chicago different from a band more southern in it’s origins.
“You know, it’s probably phrasing,” he observed. “For example; we had Bobby Osborne sing on one of our songs, “She Took The Tennessee River.” He sang a verse.And we had to really listen to his phrasing, because it was a littledifferent. It was different enough that you could tell. A lot of folks think the accents would be different, and they are, but I think they’re really noticeable things like phrasing. And the more we’ve done it, we start leaning towards probably somebody from North Carolina instead of somebody from Chicago, withregardtophrasing, just becauseit fits well with some of our Bluegrass stuff.”
50 More?
I asked Greg what the future of Special Conesus looks likeafter 50. “I’mafraid tothink
about that,” helaughed. “Well,of course,we’re booking up pretty well already for 2025, and we’ve already started booking some stuff in 2026. You know, we’ll just go with the flow and see what happens. I mean it. The reason I’m so shocked that it’s 50 years is because I’m always thinking, ‘let’s see where we’re going next week. And do we have to get plane tickets for two months from now. I’ve forgotten about that festivalinCalifornia,theoneinNew York. So wait a minute, how are we going to route that?’ You know what I mean? And so you’realways thinkingaheadabout howyou’re going to get there and what you’re going to do next. And then, when we record, we’re thinking about what was the arrangement on that song, and how did we do that? Yeah, so it’s never more than where are we going to go in five years, or anything like that. I don’t even think about it. There’s no time to really. We’re justa band that’s happened to be together for 50 years. ”
BYDANWALSH
Richard Lynch
With fourdecadesincountrymusic underhisbelt andamembershipinthe Ohio CountryMusic Hall of Fame, it’s safe to say Richard Lynch has become somewhat of an Ohio “institution” in the genre. He certainly maintains some real country street cred: “I’m a farmer. I’m a builder. I do a lot ofthingsto make aliving,”he says.“Butthe music is mypassion.” HisKeepin’It CountryFarm even combines it with working farm life, resulting in a unique southeastern Ohio attraction for country music lovers, featuring monthly appearances by GrandOle Oprymembersand aresidencyofsorts for the Richard Lynch Band.
Robert Ross
Hailing originally from small town NewBrunswick, Canada, singer-songwriter Robert Ross grew up in a music-loving household and started singing at a young age. “I was shy as a kid. I kind of just sang in the back room,” Robert remembers. His first public performance came at the tender age of twelve, at a community fundraiser. He laughs, “I was kind of forced into it.” But the music bug had taken hold. The next major step would come when Robert was 20 and serving in the Canadian military. Picking up a guitar for the first time and playing with friends led to a realization of “hey, this is cool…I can do this.”
Rusty Gear
Pursuing his passion since about age 15, Richard paid his dues in the honky tonks, andoverthe last 12 years or so has unleashed his creativity, crafting a large repertoire of original songs. “There is nothing more enjoyable for me,” he says, “than to take that idea that Igot atthekitchentableandgetintothe studio andsee it come to life with these session players in Nashville. That’s reallyrewarding for me.”
But Richard’s latest album (his eighth full-length studio effort)isacollectionofotherpeople’ssongs, cleverlytitled Pulling Up the Covers,featuring14 of Richard’s favorites, lovingly interpreted. “I’ve always wanted to do a cover album. It’s somethingthatwe’ve justwantedto do forever,”he says. He realized, however, that the timing in terms of his career was important. “I’m glad we didn’t do itearlier,because youneed to getalittle bitofexperience andhave alittle bitoflife underyourbelt before youcanreallydive into analbum…Iwanted to showrespectforallthese artiststhatI’ve grown uplisteningto.”
Richard’s track list is not a “typical” one. He explains:“Iwantedto paytribute to some of myearliestreferences,andjustshowhowmuchtheoriginal artists, people like Mel Tillis and Johnny Rodriguez…[and]RonnieMilsap,were some ofmy big, big influences asa youngster.And Iwanted to touch on some of those songs that you don’t necessarilyhear anymore.”
After completing more than a decade of service, Robert decided on a complete change of scene, so he moved to Australia. When asked for a reason, his answer is succinct: “No snow.” During fifteen years there, his part-time music-making developed into afull-time career,whichthenledto the decision to come to Nashville in 2023. He laughs about the timing: “...coming to Nashville, they had one of the coldest winters they’ve experienced in a very long time…unbelievable!”Althoughhe enjoyedmuchsuccess in Australia, Robert saw the shift to Nashville as the best way to take his career to the next level.
Comparing and contrasting the music scenes he has experienced in three different countries,Robert says, “There’s a lotofsimilarities when you’re playingfestivalsandconcert-style…people are there for the music.” On the other hand, he finds the bar scene in Australia differs from that of the US and Canada, in that “people go to a pub for one reason and that’s to drink…whereas in the US, you still get a lot of people who are there for the music.”
Abouthisclassic-country-tingedsound,Robertsays, “I grew up listening to all the greats, like Johnny Cash, Merle Haggard, Kris Kristofferson…I tend to classify myself as a neo-traditionalist…With the newalbum, there’salittle taste ofrockabillyinthere as well.”
To find out more, visit www.richardlynchband.com To find out more, visit www.robertrossmusic.com
When Connecticut’s Rusty Gear got started in music, he was playing bass along with his older brother John, who was an accomplished guitarist. At a certain point however, Rusty decided that he too would like to play guitar. “I went to a friend’s house, a guy who was pretty handy. And we drilled a couple of extra holes in it, put two more strings on it…it didn’t work great, but my first guitar actually was a bass.”
Rusty played in bands throughout his high school and college years, including grad school, then after that in a hit or miss fashion, until about 10 years ago, when he got a bit more serious with a mostly-cover band. Then, a few years later, he took the next big step. “I decided to go down to Nashville and record some music,” says Rusty. “For the first time Iwrote some original songs to work on in that session. And I enjoyed the process so much and the songs came out well…So I just kept doing it.”
Nine albumslater, Rustyisstilldoing it.Although he has had a wide variety of musical experiences over the years, he says, “Nothing was as satisfying as writing a song, working on it, and then going and getting it cut, and having it come out in a way that you were proud of…Every time I go into the studio it’s just like the first time, honestly…”
“I’ve always been a passionate outdoors person. And if you listen to my songs, there’s a ton of outdoorimagery…”Forexample,hisrecentsong, “Rest Easy” was at least partially inspired by a 17-year cicada emergence and fishing with cicadas.
As far as the style of his music, Rusty enjoys the freedom that the realm of Americana provides. “It gives me a license to do blues, to do rock & roll, to do contemporary country…I feel free to write whatever comes to mind, and as long as it fits within that very, very broad umbrella it’s really just a question of…howdo Ipromote it most effectively.”
Listen to the expanded interviews by searching Americana Music Profiles on all of your favorite Podcast platforms!
For a complete listing of all of the nominations, visit https://ibma.org/press-releases/ nominations-for-the-35th-annualibma-bluegrass-music-awardsannounced/
“It Can’t Be 20 Years”
““It just feels like, it can’t be 20 years.” That’s what founding member, Danny Roberts said to me recently, when we sat down to chat about the 20 year anniversary of the Grascals.
“We’ve had some ups and downs, and a few member changes along the way, but it’s been a great ride this far. I just can’t I look back and think, ‘Wow, this 20 years has gone by so quickly.’ I’m just really looking forwardto the next 20,” he laughed.
The beginnings of this band was magical. Danny shared that several of the guys from the original line-up were allhanging out at the StationInn, in Nashville, back in the day, playing music together, and filling in withother musicians asneeded. Jimmy Mattingly, Jamie Johnson, and Terry Eldridge, all eventual founding members, were there every week. “Jamie and Jimmy Mattingly got to talking about, ‘let’s put a band together,’Danny recalled. “At that time, David Talbot was playing there too, and they wanted him to join. Jimmy and I grew up together, inKentucky; played music as kids; but we hadn’t got to play together since we were younger,” he recalled.
“So whenthey started talking about who they wanted to get together, Jimmy said, I’d like to try out Danny, onmandolin. And then it was kindof unanimous. Everybody wantedTerry Smith, because they’dall work together with him. So we put this thing together, and it was just kind of like friends, hanging out, youknow, having a good time doing music that we wanted to do.”
The guys went in the studio to work on their first record. They just happened to be in the same studio using the same engineer that Dolly Parton uses to do her records. He played some of their
music for her, and she immediately knew she wanted to work with them.
Hello Dolly
“Dolly called Jimmy and said, ‘I want to go out and do a tour. I want to have you guys open the show, and be my band,’ Danny recalled. “That just opened so many doors for us. From that, we toured with her for about two years, opened for her, and then became her band. Then we did two or three different tours with Hank Jr. We’ve gotten to open so many country shows. It was so weird. You know, We’d ask the audience, ‘how many folks here have ever heardbluegrass?’ You know, you’re inarena with 15,000 people, and there’s not 100 people raise their hands. We’d always go out after the show and talk to people, and they would come up and say to us, ‘we don’t like bluegrass, but we like what you are doing.’ It was a great feeling.”
As the band continued to carve a name for themselves in the bluegrass world over the years, band members have come and gone; and as in the case of Jamie Johnson, come back again. “It’s still fun,” Danny told me. “In fact, we feel a renewed since of energy with Jamie back.”
By Greg Tutwiler
another Nicholson-contributed number, the JohnBryan-led“Just Let MeKnow.” Ringing new changes onthe group’s wellestablished soundare the instrumental “12th& Pine,” co-authored by mandolinist Roberts and teen phenom Wyatt Ellis, the contemporary flavor of “Reflection” — written by Johnson, sung by Bryan — and a masterful take on Stephen McWhirter’s “Come Jesus Come” that providentially was recorded before the recent cover from gospel sensationCeCe Winans. There’s even a bluesy vocal contribution fromnew fiddler Jamie Harper, who takes on a “deep catalog,” typically whimsical selection fromCountry Hall of Famer Roger Miller.
So What’s Next?
Celebrating 20 With 13
What better timing now, than with the 20 year celebration of the band, that they just released a celebration album, simply titled, 20. (Whichis actually album number 13.) Among the songs, is lead-off track,“Tennessee Hound Dog,” and “Georgia Pineywoods,” two Felice and Boudleaux Bryantpenned Osborne Brothers classics — athirdremaining founder, singer/bassist Terry Smith is an alumnus of the Brothers’ band, and the group was often joined at early StationInn appearances by Bobby Osborne — as well as a pair of ballads, “The First Step” and “Jenny,” that feature lush trio vocals throughout. Johnson’s “I Go,” written withDarren Nicholson, and“PullThe Trigger,” written with Shawn Camp, fall into the already-hits category alongside
“Right now, we’re just touring to support this record; very busy over the next couple of months, and just always excited,” Danny said. “We’re onthe Grand Ole Opry againtomorrow night, and then following that, going up to JD Crow fest, after that, off to Sam jam, and thenScruggs festival, and so on. So as far as the future, we’re just goingto keep plugging along and doing what we do and just see where it goes. Maybe it will be another 20.”
Music FromYour Neighbors
As Fall season approaches, festivals continue to happening everywhere. We hope you made it to a few this year! We have 14 more hot new CDs foryour consideration. Thank you for checking out allthisgreatnewmusic!Buy the ones you like. Support your favorite musician, so they can keep making new music for you! Oh, and tell them we sent ya.
Got one you want us to consider? send it to: Uncle Woody
The Spin Doctor, PO Box 45 Bridgewater, VA 22812
Freddy Trujillo I Never ThrewA ShadowAt It www.alfreddytrujillo.com
FreddyTrujillo splits his time betweenSimi ValleyCA,and Portland OR. His latest project is his fourth, and it’s music is based around his Chicano experiences. The flavor isthis reallycool funky, bouncy, folk, soul vibe. We like it.
A. Lee Edwards InterpretingHeart Sounds www.aleeedwards.com
After a few years in a hiatus of sorts,A.Lee Edwards decided to reboot his music making in February, 2023. With basically a new band, theylaiddownthetracks that wouldbecomethesubstance for this project. You will like thesenew songs.
Tiffany Williams & Dalton Mills Wasted Luck
tmwilliamsmusic@gmail.com
Two Kentucky songwriters come together for this EP collaboration.TheirKentucky heritage bleedsover into the lyrics of their originals, and thetraditionalflavorisevident in their A.P. Carter cover, “Gold WatchandChain”.
Virgil Virgil www.cordinternational.com
Thisself titleddebut albumof all original material is itself a celebration - of artist Virgil Wallace’s60thbirthday.It’s a rockin’ taste of Americana. This four decades artist makes thetransitioninto music flawlessly..
Ashtyn Barbaree SentThrough The Celing www.ashtynbarbaree.com
Jim Patton & Sherry Brokus Harbortowne www.pattonbrokus.com
John Lomax III AmericanFolk Songs www.thelomaxonlomaxshow.com
Rock Hearts UnfinishedBridges www.rockheartsbluegrass.com Fayetteville, Arkansas is home for this internationally touring, Americana singersongwriter. She is often acknowledgedforherdistinctive vocals and melodies, passionatesongwriting,anddedicationto her craft. Her latest projectis noexception.
This husband and wife duo takesketchesofeverydaylife and transform them into musicalstoriesthatrelatedeeply to the listener. This classic, folk-rockcollectionistheseventh album from the Austinbasedcouple.
Decended from the Alan Lomax fame, 52 year music veteran,JohnLomaxIII,takes his turn at reimagining the Americanfolk songcatalogOld Dog, New Tricks. The Aug. 20threlease also commemoratedhis80thbirthday. Thanks John. What fun.
This southern New England bluegrass band formed in 2013, with a passion for pickin’ bluegrass and traditional country music. They showcasedatIBMA in2021, and have been on the move ever since. They’ll gain momentum withthis new CD.
Troy Engle Back Home www.troyengle.com
Forthis12track,newrelease from TroyEngle - Troy plays every instrument on the release.The Pennsylvania nativealsowrote orco-wrote everytrack.It’scontemporary bluegrass with a sophisticatedfeel.Watchfor thisone to show up onthe charts.
Glen Erb has been making music in and around North Carolinaforalmost60years. BornandraisedinKentucky, Glenhasamassedalifetime of stories and songs. In his latestproject, Catagory Four, he’s decided to share some of those withus. Fun.
Greg Copeland Empire State www.marathonentertainment.com
Rooted in a tradition of songs that tell complicated stories in the fewest possible words, Greg Coplend’s latest project, Empire State, brings the listener on an emotional ride. This is album #4, in a career dating back to his debut in 1982. Gotta love that tradition.
Alan Walker A Little Too Late www.alanwalkermusic.net
Former frontmanof the NYC band, The Brilliant Mistakes, A Little Too Late, is Alan Walker’ssophomorerelease. The Boston Globe said this nine track CD was filled with “restlessly catchy hooks ... heart, soul, and smarts.” We agreewiththatassessment.
Susan Santos Sonora www.susansantos.info
We love it when foreign projects land on our desk! Madrid’s (Spain) Susan Santos won the 2018 Best Musician at the European Blues Awards, and Best FemaleAlbumatthe2019LA Critics’ Awards. Her latest should enhanceher cred!.
Ben Graves Settle Down
Ben wanted “lightening in a bottle” with his band for this latest project, Settle Down. Seems like it worked. This Americanarocklacedcollection reflects Graves Tenn. roots. He’s sung and picked with some of the industries best musicians. It shows.
