Americana Rhythm Music Magazine #102

From Across The Pond; Here Comes JigJam

By Dan Walsh

To paraphrase the Irish band’s PR material, JigJam is abluegrass/Americana outfit that is here in America to “take back”the music styles that can be traced, in part, back “across the pond”to their musically prolific home isle. The band’s appropriately titled fifth album, Across The Pond,wasreleased on March 1. Jamie McKeogh says “The themethroughout is about Irish peopleand their journey, settling in America, bringing their music and traditions with them. Our Irish roots are deeply reflected in the album, and so is our American influence…”

JigJamoriginatedin 2012 andis made up of founding members Jamie McKeogh (lead singer and guitar) and Daithi Melia (five-string banjo and dobro), who were joined by Gavin Strappe(mandolin and tenorbanjo) in 2016, and recentlyby St. Louisnative Kevin Buckley (fiddle).

WhileIrish audiences have been supportive, the band has effectively relocated, tomoreefficiently access their much largerAmerican audiences. “It’s not a massive audiencein Ireland for what we do,” Jamie explains. “Our main following is over here in the States for playing our type of music, as in our original stuff.”A testament to the band’sAmerican success came in 2023 with a “bucket list gig” for

Jamie, as they made their Grand Ole Opry debut—to critical acclaim and a standing ovation from a sold-out crowd.

Those original songs are steeped in the separate but related traditions of bluegrass and Irish music. “Wegrew upplayingthe Irishstuff,”saysJamie.

“Daithi [pronounced doh-hee], who plays the five-string in our band, he playsScruggs-style, soI suppose everything naturally started sounding quitebluegrassy.Soit’sonlywhenwe really delved into it that we realized how similar bluegrassand Irish music are…we tracked back the history of it all and it made completesense…to go for that crossover…”

When asked about JigJam’s affinity to progressive bluegrass groups like New Grass Revival, Jamie says, “I suppose wetry to bring that jam aspect into the Irish music,”explaining that the Irish tradition is to play allthe melodies inunison, without muchimprovisation. “And sometimes wejust flip itthe other way and take thebluegrass tunes and play them like Irish tunes, in unison.”

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Counting Flowers On The Wall

By EdwardTutwiler

There is a sad feeling that sometimes over-takes those of us who reach an old age and suddenly realize a lifetime has unrolled toward a retreating past and cannot be retrieved. That feeling sometimes includes the realization that onehasmissed an important happening that cannot be recreated.

Being a writer for a music magazine has permitted me to encounter many music artists and many music styles over time; and seldom does greatness pass by unnoticed. However, such a realization did happen to me recently. Let me tell you about my experience.

A good church friend, Larry Johnson, recently asked me if I was a fan of TheStatler Brothers; and would I care to read a book about them he had received for Christmas. My reply was that I was somewhat familiar with the group seeingas theywere natives of nearby Staunton, VA but was not too aware of their body of work; nevertheless, I certainly would love to read his new book. What follows here is a qusi-review of Larry’s book but also my sad admission that I missed an important musical happening that cannot be recreated.

The book is titled: The Music of the Statler Brothers, An Anthology, and it is written by Don Reid and published by Mercer University Press, Macon, GA 31207. Don Reid, of course, was lead singer andone of thefounding members of the Statler Brothers quartet, which included Don and Harold Reid, Phil Balsey, and Lew DeWitt (later replaced by Jimmy Fortune).

Telling Stories

Mr. Reidis an excellent story teller with an easy to readwritingstyle. This book is only the latest in a line of nine books he has written—stores about a long musical career; diverse fictional novels; and road memories. This particular book tells the storybehindthe writing of manyof the successful songs recorded by thegroupover their career. Many of those songs were written by Don Reid alone or co-written with his brother, Harold, or sometimes with his son, Debo. In fact, Don has had over 250 of hissongs recorded by not only The Statlers, but also by Johnny Cash, Tammy Wynette, TheCathedrals, andElvis Presley to name a few. He personally has won 18 BMI WriterAwards (these awards are given for the most played songs on the radio each year). Many ofDon’s songs have

been top ten and number one records.

Mr. Reid sets this book into sections headed by album titles and then lovingly tells the story behind each of the 10 or 11 songs that made it onto each album.

Here is a good place to explain in Don’s own words how the group pickedthe songsto includeon an album: “When you have four opinions to consider, it gets alittle complicated so we invented what we called (for the rest of our career) the 4-Star System. We would sit down at our offices in Staunton, weeks before we were due in Nashville to begin a new album with a stack of tapes and lyric sheets in front of us. Each of us would bring songs we had written, songs we had been pitched, and old songs to which we thought we could give a new spark, and we would sing them or play a tape of them for the other three.

How We Did It

As we listened, each of us would make a list of the titles, and after hearing them all, we would vote on them. We may have 20 or more songs, and we had to choose 11 of the songs for the album. We gave each song from one to four stars on our individual lists.

Maybe wewouldgive one anda halfstars to a song, maybe three or three and a half stars, and so forth. If we would really love a particular song, we would give it the highest rating of four stars. After voting, we would all give Phil our lists for him to add up. (Not sure why, but from day one, it was alwaysPhil.)After his calculations, each entrywould have anywhere

from four to 16 stars. The 11 highest rated songs would beour album, and any that earned 16 stars becamethe singles. Can you think of a fairer or more diplomatic way ofeach partner getting an equal vote? We could not. That was our star system, andit always worked for us.”

Needless to say, TheStatler Brothers musical quartet passed this writer by in their mid 20th centuryrise to the top of the country music world. I was then being dazzledby groups featuring three electric guitars, loud drums, and a screaming tenor. Oh, I remember, visitingmy string-musicloving mother sometimes as she and my Dad watched Johnny Cash’s TV show that featured the Statlers; and I wasvaguelyaware that their 4th of July free concerts in Staunton, VA drew many thousands of fans for 25 years.

Variety Show

I may have even watched one of their award-winning Saturday night TV variety shows that ran from 1991 to 1997 on The Nashville Network (TNN) and wasthat network’stop-ratedprogram. (As

an aside, the group wrote all the scriptsfor these shows, and wrote them in a manner that made them resemble a typical 1950s varietyshow—a strategytheydeliberately pursued to reach a wide, often underserved audience.) While hit records eluded them during this tenure, the TV exposure supported their tours where theyconsistentlyplayed to sellout crowds until they retired continued on page 6

The

Statlers

concluded from page 7

from the road in 2002.

Nevertheless, while some of us find ourselves in the presence of greatness and immediatelyrecognize where we are and bask in it; others, like me, let greatness pass us by until it is too late to catch it. Alas, I was never aware of how reallygreat thoseguyswere while in their prime until reading Don Reid’s Anthology. For example, did you know:

The Statlers released over 40 albums. This discography consists of 37 studio albums, 18 compilation albums, three live albums, 83 singles, and 14 music videos. 13 of the albums received gold status and eight received platinum status.

The group won three Grammy Awards and was named top vocal group by the Country Music Association not just once, but nine times. In addition they garnered 48 Music City/TNN Awards.

The Statlers earned the number-one spot on the Billboard chart four times, for “Do You Know You Are My Sunshine?” in 1978, “Elizabeth” in 1984, and in 1985, “My Only Love” and “Too Much on My Heart.”

They are the most awardwinning act in the history of country music.

The Statlers were inducted into the Gospel Music Hall of Fame in the fall of 2007; and in 2008 they were inducted into the Country Music Hall of Fame. They are only the sixth act ever to be entered into both Halls.

One Last Time

In 2002, The Statler’s presented a final concert show in Roanoke, VA and quietly retired from show business after 40 years. Lew had retired from the group in 1982 in ill health and passed away in 1990, Harold died in 2019 at age 80. Phil now lives a quiet life in

Staunton; Don embarked upon a successful writing career and still lives in Staunton as well. Jimmy went on to a successful solo career as a singer/songwriter and now residesin Nashville.

As of 2023, the combined net worth of the Statler Brothers is estimated to be approximately

$100 million, making them one of the wealthiest groups in the country music genre. Their enduring success, driven by their exceptionaltalent and dedicated fan base, ensuredtheir financial prosperity throughout the years.

After reading Don Reid’s Anthology, I immersed myself in all things Statler by listening to their albumsandwatching a DVD of their farewell concert of 2002. I truly didnot know what I had missed until now.

If you were a fan, then you must read Don Reid’s book. The book willcapstoneyour fandom. Ifyou, like me, failed to catch the ride, you will still enjoy the story. Thank you, Larry, for sharing your Christmas present with me.

Sierra Hull; In It For Life

Sierra Hull, now in here early thirties, has already accomplished more as a musician than most artists dream about. Considered by many to be a master musician as a mandolin player, shewas the first female to win IBMA’s mandolin player of the year –and has since won it six times, as well as being nominated twice for a Grammy award.

Sierra said she always knew that being a musician is what she was meant to do. From a young age, she felt called to pursue music, and it has always been her passion. Although there are moments of frustration and doubt, she is certain that this is the path she was meant to take.

“I love this career so much,” shesaid. “I almost feel like it chose me. I know peoplesay that, but when I hear somebody say that, I know a hundred percent what they mean, because from the time I was eight years old and taking up the mandolin, and getting excited about music, it didn’t take me long to just know, and also feel called. not to be overly spiritual about it, but I do feel like I know without a shadow of a doubt that, this is trulywhat I’vealways wanted to do andwhat I’ve alwaysfelt called to do. Even if I don’t always know what the next project looks like or what the next step is. I never doubt where I’m at.”

Free To Be

One of the things Sierra loves most about being a musician is the ability to do what she loves every day. She recognizesthat not everyone has the opportunity to pursue their passion and feels grateful for the chance to stand on stage and pour her heart into her music. “When you’ve accomplished so many things so early

in your career; it’s like, well, what’s next?” she said. “What are the new goals? Having gotten to whereI wouldhope to get, I think that there’s always something new to aspire to, whether it be more like a career benchmark, or a musical exploration, or whatever it might be. And so I feel really fortunatethat I’ve at least had the opportunity through so many years of doing it, to learn and grow, but also takeit slowly, ifthat makes sense. I’ve never wanted to just be content as a one-hit wonder, someone who chasesthe thing that’s popular in the moment. I know that can be a beautifulthing too when that lines up properly for people, but I’m a lifer. I’m in this for the long haul. So it’s always been really important to me to make decisions that aren’t just good decisions in the moment, but are decisions that I can still be proud of 20, 30 years from now.”

By Greg Tutwiler

More Than The Music

However, Sierra also acknowledges that being a musician isnot always glamorous. There is a lot of hard work anddedication that goes into being successful in the music industry. It’s not just about the music itself, but also about the business side of things and the constant travel. She’s very clear that being a musician requiresa fullcommitment and that it’s not always easy, yet she believes that if you truly love what you do, you will find a way to make it work. “I think people see the kind of shiny moments from afar, where it looks cool; you’re standing on a stage and everybody’s clapping and cheering; the moments of what feels like adoration that come with it, but man, there’sthis wholeother chunk, which is the bigger chunk of it,” shecontinued, “That’s alot of hard work and practice, not just the music, but also all the

things that it takes to keep a business running, if this is what you choose to do; and all the travel which reallycan take atollon you as well, not to mention just the emotional roller coaster of pouringinto the thing that you’re passionate about, pouring your life into it. Whereas, some other jobs, people might not get the same kind of highs, but I don’t know that the lows are always as low either.”

She also values the moments of downtime that she gets in between toursand shows. While she admits that even during these breaks, she is often still working on other projects or responsibilities, she cherishes the moments when shecan truly turn her brain off and enjoy simple activities like taking a walk, baking, or spending time in her own home. These moments of relaxation and normalcy help her recharge and remind her that life is good.

“I was recentlygone for 50 something days, which wasmaybethe longest ever that I’ve been gone.

continued on page10

Seasons roll around closer together these days. It used to feel like long stretches between Christmas and Easter. Don’t you remember, when you were a kid, how torturous the calendarwas; how long it would take to get from Halloween to Halloween? My parents and grandparents; really, anyone older than me, when I was a youngin’, loved to tellmethattimerolls faster as you get older. Yeah, yeah, yeah, I thought, as I looked into their wisened faces, that’s just something you say when you’re old. Ha! Now I feel like I’m at warp speed, meeting the summers, falls, winters and my favoriteseason,spring,withsomething akin towhiplash! Ican almostseethe earth turning like a car in aNASCAR race, speedingtowards thecheckered flag. I find myself telling my own grandkids to appreciatethe days and months being slowerfor themnow becausein a few years they willbe just

as mystified as I am right now; on how fast timehas flown.

Here we are; arriving at another spring time.Don’tgetmewrong,I’m just as grateful as ever to see the grasses turning green, to watch the buds on the trees wake up after a long, cold nap, to hear the birds rejoicein the morning sun. But thereality oftherushoftimepassingbecomes a gulp moment for me when I slow down todigest thechanges. Funny,in my mind I still feel young, like the baby rabbitsjumping across our yard. Then I seethehorror on myown face as I stare into the mirror and see the proof of many spring times lying like roadmaps upon myskin, sigh.

When I was 16 years old, I have a vivid memory of wanting to be 18, a high school graduate, anew voter in elections, and in those days I could

legally have a drink in a bar, before they raised the drinking age to 21. I would also be able to make more of my own decisions, because at 16, I truly thought myparentswerewrecking all my dreams. The word “no” was an absolutefavorite word mom and dad used over and over again. And, that year when I was stillsweet sixteen, spring represented the nearingofthe end ofmy11thgradeschool year, and also my Aprilbirthday; one year away from my dream of being 18.Ah, what a silly fantasy that was as I am facing the rest of what spring times I have left now. That is said with a laugh, not the morbid thought ofmy passing.I’marealist. and know how allour stories end. But the truth is, I cherish each new spring I have with an appreciation for how the rebirth of the earth happens. It’s beautiful.

Spring still represents hope for me. The longwait bundled up insweaters

and coats, shivering under blankets, slurping soupsandspooningstewsinto my mouth. Watching the sun set by 5:00 pm always reaches that “I’ve had enough” stage just as I spy the first daffodils. When my eyes fall across the delicate yellow flowers standing bravely against the last vestiges of winter, I am filled with the courage to facethe changes too.I am ready to seecoloron the treetopsand birds busy assembling nests. It’s just like the world wakes up andis setting thingsright again.So, in thecrowded songwriter mind of me, I have to ask myself the question. Wouldn’t it be nice for the seasons to roll easy and breezy, like, spring into spring into springinto spring? Hopewould begiving birth to more hope all the time. Summer, falland winter would just be a muggy, leaf crunching, frigid memory?Hmmm, somethingto ponder indeed. Oh, and happy Spring to you.

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

Sierra Hull

Continued from page 8

And yet some of that kind of turned into a fun trip. We did three and a half weeks with Bela Fleck in Europe, and then, if I flew back to the States, I wasgoing to have to turn right around and fly right back with my band. So Justin and I, my husband, just stayed and squeezed a little Italy trip in there for eight days, which was amazing.”

“But I’ll be honest,” she said, “This week is a perfect example of where I’ve got seven days at home. And the truth is, when you’re gone so much, there’s so much you need to do at home too. I’m sittingin aparking lot right now at a gas station to take this call, while I’m out running errands, and I’ve still got to go ship a ton of merch to my management office in LA so that they can then send it wherever it needs to go for the various tour dates we have. It’s always something, so I feel like for me, even in those times off, sometimes they don’t always feel off. But, when I can truly turn the brain off, which is kind of rare for me to be quite honest, it’s those moments where I go, okay, today’s the perfect weather in Nashville, andgetting out, taking a reallylong walk, just enjoying a podcast or an audio book; maybe even something as simple as; the other night I madesome peanut butter chocolate chipcookies –just beingin my own kitchen, at my own house for a little while. That’s when I really feel like, oh, life really IS good, you know?”

What’s Next?

It’s been a little while since Sierra’s last album – 25 Trips (2020) and it seems like it’s time for a new one. “I’ve got a bunch of music ready to go,” she said. “We’re waiting to find the right partner for releasing it. It’s important for me this time around. This is one of the first timesthat I’ve made the musicwithout knowing where it was gonna land, which is an exciting place to be, because I was with Rounder Records my entire career, and this feels like a fresh and exciting chapter; making the music I want to make, and also really being in the driver’s seat of what happens with it.”

“The songs are basically done,” she said. “It’s funny. I never deem anything done until I’m forced to. I’m one of those you know, it’s very hard for me to ever completely feel done and satisfied, so I won’t say they’re completely finished. We’ll still probably have another round of mixes and small tweaks, but yeah, everything’s pretty well recorded. ”

A Life of Sorrow

The life and times of Carter Stanley— A Theatrical Performance

ByEdwardTutwiler

Some years back we told you the tragic story of Carter Stanley who, along with his brother, Ralph, formed the Stanley Brothers of early bluegrass fame.

In the early days of bluegrass music formation, Carter Stanley and his brother Ralph wrote songs and made early recordings that set standards that manyothers followed to their own path to fame (including his little brother Ralph’s later rise to stardom). In fact Bill Monroe once called Carter Stanley the best natural leadsinger that he hadever heard sing. But that was then and this is now. Carter Stanley has been gone for 50 plus years and his legacy is largely faded from memory.

But wait; severalyears ago a playwright named Gary Reid of Roanoke, VA, in an attempt to revive the memory of Carter Stanley, wrote a one-act play about Carter’s life. It was a good play and well received and has revived interest in Carter Stanley.

Mr. Reid tours the play all across theAppalachian region. I saw this play performed at the City of Raleigh Museum several years ago while I was in Raleigh for the IBMA conference, and can attest to how well it is done.

Reid’s play is titled, ALife of Sorrow, and it permits bluegrass music fans of today a chance to connect with one ofthe founding fathers of a musical genre that reaches international audiences. ALifeof Sorrow is a one-man play that combines songs by Carter Stanley interspersed with word monologues told in first person and in character by the actor to detail Carter Stanley’s tragic and short life.

Mr. Reid has been a music historian andbluegrass enthusiast for over 40 years. He has been involved in bluegrass and old-time music as a fan, a picker, a recording company executive and a playwright. He is regarded as the foremost authority on Carter and Ralph Stanley, and several years

ago released a deeply researched print book titled, The Music of the StanleyBrothers, which traces their 20 years recording history.

events at regionalcommunitytheatres as an actor, producer, and stage manager and has appeared in several short films and commercials. He is a three-time recipi-

In the process of research and writingthat book, Reidconceived theideaof putting together a oneman play about Carter Stanley. To that end, he took two semesters of acting at Virginia Western Community College to prepare himself. Prepare well he did as I found Reid’s A Life of Sorrow to effectively capture the sadness that wasCarter Stanley. Reid does that by reciting sadand poignant anecdotes and soulfully singing songswritten byCarter andother meaningful public-domain old time period songs.

In addition to his one-man show, Gary Reid has also been a part of many other productions and

ent of the IBMA award for Best Liner Notes andis a co-author of the booktitled, TheBluegrassHall of Fame Inductee Biographies 1991-2014, as well as other well researched books and stories..

By all means if you are a fan of those old original bluegrass pioneersandthemusic that they produced, you will enjoy this oneman show andshould not passup a chance to see it. To find out when the next production will be held or to host a performance of ALife of Sorrow, you can contact Mr. Gary Reid at: PO Box 13413, Roanoke, VA 24033; telephone or text (540) 982-6900; or email Mr. Reid at: CopCrk@gmail.com

Bluegrass Music Gets It’s Own Stamp

Bluegrass is astaplemusic for many, and it’s only fitting that the genrefinallygetshonoredwithit’sownstamp. The signature sound of bluegrass music is undeniable. It’s uniquely Americanmusic stylethat blends oldtime folk and fiddle music with elementsofblues, jazz,country,andgospel. Born in the mid-20th century, it has since become a beloved genre that defies time.

Bluegrass draws inspiration from the past whilealso embracing innovation, relying on amix ofacoustic stringinstruments. The five-string banjo is a dominant instrument in bluegrass music, along with the guitar, mandolin, and bass. These instruments set

therhythmic foundation ofthe music, often characterized by its fast-paced nature. The fiddle, mandolin, banjo, and guitar also contribute to the melodicflavorsandemotions of bluegrass music through their solosandbackup.

On March 15th, 2024, the United States PostalService(USPS) released anew stamp to celebratethe music’s rich history. The stamp, called the Bluegrass stamp, willbe availablefor purchase nationwide. This Forever stampwillbe priced atthe First-Class Mailrateand willcomein apressuresensitive adhesive (PSA) pane of 20 stamps.

The Bluegrass stamp features a design inspiredbyvintagebluegrass con-

cert posters. Itshowcasesfouracoustic stringinstruments commonlyfound in bluegrass bands:guitar, five-string banjo, fiddle, andmandolin.The word “Bluegrass” is displayed below the instruments,whilethetopof thestamp reads “High Lonesome Sound.”This phrase is not only the title of a 1963 documentary about Appalachian folk musicbut alsoawell-knownnickname for bluegrass.

The stamp art was created by art directorAntonioAlcaláand designer/illustrator Heather Moulder. Together, they truly captured the essence of bluegrassmusic inthis beautifulstamp design.

Thanks to our partnership with ReverbNation (www.reverbnation.com) we are honored to give you a peak at a few of the nation’s hardest working indie artists. Each month we select one entry to showcase for you here. Enjoy! THIS

MONTH’S FEATURE: By GregTutwiler

Prettier Than Matt

FEATURE ARTISTS

The duo, Jessica Skinner and Jeff Pitts, have developed a certain chemistry on stage, which has allowed them to make a name for themselves in the Carolinas. Their newly released album, Better Left Said , blends upbeat originals into a coffee house feel in the flavor profiles of Americana, pop, rock, and more.

Both Jeff (guitars and vocals), and Jessica (vocals and ukulele) were born and raised in South Carolina. They met after both moving to Columbia and have been playing together ever since. “We’ve done a lot of regional travel and some national travel, but will definitely always call Columbia our base. It’s been such a good town to us and we love it,” Jeff exclaimed.

Jeff originally played in a rock band that started in Florence, while Jessica was a Musical Therapy major in college. Neither had established a career much before they met. So the first time both of them made a stable living playing music was with their duo, Prettier Than Matt, Jeff recalled.

“We started performing together in 2010 but this became our only gig around 2012. In 2021, Jessica had her daughter Piper, so she went on a four month break, and I started to perform with my friend Charles and solo at well,” Jeff said. “I still

do those things, but Prettier Than Matt is what we’d call our job.”

When it comes to songwriting, Jeff said they don’t just have one process. “Some are more written by Jessica, some more by me. And then some are also split right down the middle. If that’s the case, I’ll usually have music and she’ll put words to it. One of our songs called, “Flower in The Sidewalk,” was a poem she had written years ago. One day we decided to put music to it, and that kicked off the process for our next record, which came out the following year.”

When asked what influences their songwriting process, Jeff exclaimed, “So many things!” with a laugh. “I know that’s a safe answer, but it’s true. Musically we have very different influences, so we just make music that each of us agree that we like. My favorites are Bon Jovi, Metallica and Paramore, and she is more into

Ingrid Michaelson, Sara Bareillis and Grace Potter. But it doesn’t stop there. When I listen to any music, I’m trying to find inspiration or some new approach to the next song.”

The pair have released eight physical projects, and currently have four CDs and two vinyl records in their catalog. “Our most recent was called Colors, and it came out in 2021. In 2023, we released a digital single called, “Better Me,” and this year, we are going to release a new EP.”

Many bands strive to receive a record deal in order to get their music out to their fan base. Jeff and Jessica have prefered the DIY method. “As long as it continues to work, we’ll continue to self produce,” Jeff said. “We don’t want to scream out into the world and have no one hear us, and we do see some signs of our ways of

getting the word out are a bit outdated. We are working on that, and we may have a new approach to our next release. But up to this point, it worked well for sure. I found that all the successes, bigger or smaller, we had were based on effort, and always working to be a little better the next day. We wanted to write and record, without co-writers. We wanted to book our own tours. These are things we did and are proud of, but as I mentioned, we may change it up a bit later this year. Content is different these days and we want to be on the winning side of social media usage, but I also want to see growth expand beyond just clicks. We want people to come back around to us after they discover us. We also may have our first co-writer this year. You could call this maturing, haha. We do like how we’ve done it, but maybe let’s look to the future now.”

Jeff says their long term goal as musicians is to continue to find new ways to expand and modernize the approach. “Musically, we have our thing, but how we get it out is where modernizing things is exciting. A few years ago we had our first television placement, and since we’ve had five, so that’s an area we never want to stop working on. This year we will release a new EP, a Christmas album, and we are working on a compilation with the Babcock Center. There will be a lot of live shows, as always. It’s such a fun job to have.”

Listen to the expanded interviews by searching Americana Music Profiles on all of your favorite Podcast platforms!

The Plate Scrapers Cliff& Susan

A. H. Pettus

As banjo player Derek Kretzer of The Plate Scrapers speaks about the band’s beginning, it becomesclear that his own journey intofolk music, the assembling of the band, and their evocative nameare all intertwined. After spending his high school years playing guitar in a variety of band settings and genres (along withhis younger brother, a drummer at the time) he was drawn into folk musicaftermeetingAndrew Jordan(later The Plate Scrapers’ guitarist). Derek explains, “Mutual friends would have a Sunday ‘picking party’at theirfarm, and everySunday for acouple of years straight, people would just come out and kind of hang out and play music, swim in the pool, and have a potluck…That’s how I got into playing bluegrass and Americana…”

Making new friends and absorbing a lot of the bluegrass songbook brought about a logicalnext step. Derek says they realized “We’re learning all these song, we’ve amassed this repertoire— why don’t we actually have a band and go play gigs?...”So they did just that and started playing out and attending bluegrass festivals; they also startedwriting their own music along theway. “I always gravitated toward writing music…and when I started playing in this genrethat was kind of new to me…when I started playing banjo, I used that as a vehicle to write songs…It didn’t take long to amass enough originalsongs so that wesaid, ‘Hey man, weneed to make a CD!’...” The result was the band’s first album, Contact,a 12-song, all-original collection released in 2016. To date, they’ve released three live albums and three studio albumsand aresetto releaseafourth studio effort, Artifacts, in June 2024.

Along with Derek and Andrew the band’s current lineup also includes Robbie Mann (fiddle), Jody Mosser (dobro), and Kevin Johnson (bass). The members live in four different states, but actually notthat far from each other, centered on western Maryland.

To find out more,visit https://www.theplatescrapers.com

With ascheduleencompassingmorethan 200 shows per year, running amusic production and artist development company,creating aregular podcast,and even sharing their experience with aspiring artists throughan online academy, Cliff& Susan (akaCliff and Susan Prowse) are the definition of musical power couple—aduo completely focused on making an impact with their music and their lives.

And somehow the couple managed to squeeze in theproductionoftheir own debutalbum into the mix. The record, Fiddle & Keys, hit theUSiTunes CountryAlbums Top 40 upon its releaseinOctober2023. After building a devoted fan base over the years, with their highly interactive shows,Susansays,“We were like ‘We’ve got enough music’—wefelt like we had an album’s worth. And we were ready to make our stamp in the world…”

Both life-long Arkansans, Cliff & Susan bonded immediately over music and never looked back. They met on stage at a dueling piano club called Willy B’s in LittleRock. Susan had been touring the piano bar circuit extensively. “I immediately said ‘Comejoin meat the show’ [acasino residency she had, which they’ve continued together since then]...and love happened. And we eloped in Vegas ayear later.”

They camefrom somewhatdifferent directions into the world of music prior to that fateful meeting. Cliff had grown up immersed in themusic of the Heartland, withasinger-songwriter dad and grandparents who would “always take me to Mountain View,Arkansas, wherewe’d watch the ‘Musicon the Square’...Ikind ofgotmy startthere.” When he met Susan, Cliff was doing music mainly on the weekends and working apharmacy day job.

After a stint in the corporate world (as aradio frequency engineer with a math major and minor in physics), Susansays, “In 2003…I discoveredI had a valid path into the music business through piano bars…”Shehad 10 years of classicallessons under belt and loved toplay forpeople.“I was alittlescared to sing; but I faced my fear and here I am 20 years later…”

To find out more,visit www.cliffandsusan.music

www.AmericanaRhythm.com

A.H. Pettus is one of those folks whose creativity simply has to flow out in many directions. Whether it involvesvisualarts likefilm makingor painting, acting, fiction writing or songwriting, this artist has a lot to share. Most recently, he has returned tomusic asaway to work through challenging life events and raw emotions. His new solo record, How The West Was Once, is made up of “songs ofresilience”writtenbefore, during, and after his recent divorce, providing “an intimatelook inside the rise and fallof a love story,” using the Old West as abackdrop and aunifying theme. The sound encompasses country,Appalachian folk, indie rock, and even a little bit of punk. The album title is more than just a clever pun. “Once you’ve lived in a place with someone…whatever it was before, thosememories arethere…they’llalways have adeep-rooted place in you.You can’t help but go back to that placeand have those memories…”

As far as the musicalside of his creativity, A.H. identifies his teen years as a key developmental period. “I started in high school, really, trying to write my own stuff, and then played around town…”Headds that alack of guitar skills played a role. He “would get frustrated trying to play other people’s music”and used writing as away to get better at music overall.

Later,afterattending film schooland pursuing that creative avenue, he says “I kind of fell into this band, and…we played up and down the East Coast…” That band was a collective of Charlotte, NC-area rock musicians known as Remy St. Claire. A decade further down the road, the artist explains his gravitation toward a more Americana,singer-songwritermodethisway:“...at the end of the day…those arealways the songs thatI turn onbecausethey’retheones thatI connect with more…They make mefeelbetterabout the day I just had…” Apparently, A.H. has figured out how to channel that vibe into his own songs; he shares that onefan, commenting on his new music, said, “It feels like awarm hug at the end of the day.”

To find out more, visit www.ahpettus.com

ARTICLES BY DANWALSH

Listen to the expanded interviews by searching Americana Music Profiles on all of your favorite Podcast platforms!

Bill Abernathy

Asthe“baby”ofhis musically-inclinedfamily, Kansas City singer-songwriter BillAbernathy recalls being “thelittleeight-year-oldkid that was hanging around watching my brothersing folkmusic…with abunch of his friends in the living room.”Music becamean important part of his life, aswell.

But despite performing throughout his youth and into adulthood, Bill opted for the “practical” approach:“Idecided…thatraisingafamilyasasingersongwritersitting on achairin thecornerof acoffeeshop was maybenotthe best way…”Hespent 43 years living the American dream—but never stopped playingandwriting musicinhissparetime. Andafter getting his kids off to collegesuccessfully, Billturned his focus back to themusic.

In about 2014, Bill says, “I looked in a drawer one day andsaw awhole bunch of ideas for songs I’d written down, and sat down and startedfinishingthemup.”Despitecuttingwhathe considers a “rough” record with some friends, “...therewereacoupleof songs onthatalbumthat gotsome attention, and the process began.”

Fast-forwardto2024 andBill’smusicaldreamcontinues rolling out nicely, with four albums, ample streaming chartsuccess and radio airplay asproof. His latest album releaseis More, which dropped in September 2023.

“I’m a lyrics-first guy,” says Bill. “...I write the story,I writewhatI want to say, and then Ifigure out what genreof music would maybebe best to make thatpalatable…”Theresult isaneclectic mix: “The More album actually has about six different genres of music in it, which is kinda cool…everything from rockto pureacoustic…”

About More, Billcontinues, “It’s fun to get in the studioandjustturntheguysloose…and say ‘What do you thinkabout this?What wouldyou do here? That’s wheresomeof the moreinteresting songs [comefrom]…Onthetitlecut,therearesomethings ontherethatwedidwithguitars thatactuallysound like…whalesongs…That’swhatmakesit fun.”

To find out more, visit www.billabernathy.com

Sugarcane Jane

Anthony Crawford and Savana Lee, collectively known as SugarcaneJane,have been lauded as“one ofthebestduossinceJohnny andJune”(NancyDunham, The Washington Times). So, how did this pair, now hailingfromLoxley,Alabama,cometogether and attain sucha levelof acclaim?

Savana recalls meetingAnthony whileshewas living theaspiringartist’s lifein Nashville,doingstudio work, playing songwriters’ showcasesand even managing astudio(DeepFieldinWestMeade).“Hewouldcome over and record there,” she remembers. “We were friends for probablyabout six orseven yearsbefore we actually got to do anykind of music together.”Justasshe was intending to leave Nashville, Anthony helped hermakearecord.

Savana continues, “When wesang together, wefell for each otherfor themusic, and then...it allseemed perfect. So,herewearethreekids later…”

Anthony’s musical career has led him all over the world,taking him from Oprylandat age eighteen, to performingattheGrand OleOprywithRoyAcuff,to touring with NeilYoung, SteveWinwood, Vince Gill, andmany others.Yet he confessesthat hehad toadjust his view ofsuccessat acertainpoint, away from avision of rock stardom to something morereal.“I moved away [from Nashville] with Savana and we found ‘success’—andwedid not measureit bydollars, wemeasured it by ourhappiness.”

Along the way the duo has recorded eleven albums, the latest being On a Mission, out March 1, 2024, which offers a“joy ride”through rock, country,and gospelgenres.Thisrecordalsofeaturesauniquecombination of the new and the old. “I recorded alot of music on cassettesand tapeand allthat from thelast 45 years…”Anthony says.“So Iwent back through my wholecatalog, and after peeling through some really bad songs, I would find, occasionally, somethingwhereIwas just spot onfor what’s happening right now.”With the originaldemos as click tracks, Anthonythen recorded fresh takes on the best from throughout hiscareer.Savanaadds,“I hadnever heard thosesongs before,andI immediatelyfellinlovewith them.”

To find out more, visit www.sugarcanejanecom

www.AmericanaRhythm.com

Racyne Parker

It took a little while, but Racyne Parker seems to have finallyfigured out whereshe should really be. She’s found her identity as asingersongwriter after pushing as far as she could in other areas ofher life.

The seeds of her current musicallife wereplanted firmly whenshe was little, mainly by her singer-songwriterdad. “Hewas part of alocalband inKlamathFalls for20years or so…Mymomwasn’t a musician but…the radio was always on. It just seemslikemywholelifewassoundtrackedbysomething…”The roleher dad played inplantingthe seed was a bit more active than passive. “My dad had beengigging around…I watched himand I thought ‘I want to do that’. And he was so kind and he’d bring me up on stage and I’d get to play tambourine…I’d singmy littleheartout up there…As akid, Iwanted to be arock star…”She took guitar lessons during her elementary years, and says, “I never really got that good, but it was something I could always gobackto…”

Racynemoved away from the rock star dream as she got older. Her community held sports in high regardand she excelled at track& field andbasketball. She alsoworked hard academicallyandthought acareer in medicine might be in her future. Meanwhile, although it seemed dormant, bythe timeshe graduated college, the seed of her own singersongwriter careerfinally sprouted.

“My senioryear of college,I wroteafew songsthat, for thefirst time, Ithought, ‘Ithink theseareOK. I think I could share these with people’…So I sent them to mydadandhewaslike‘You gottagorecord those.’”Asgraduationwasapproaching,Racynehad been strugglingwith what shewantedtodo withher life,so she started writing to helpprocess her emotionsandthoughts. “Thatwas not onlycathartic, but also Ithink justasignoflike‘Oh, thisis kindamaybe what you should do,sincethis is what you’returningto inthesemomentsof doubt…”

Now Racyneisactivelycultivatinghermusic career, writing,releasingsinglesinanticipationofafull-length record, playing alot ofsoloacoustic gigs,and lookingforward todevelopingafullbandpresentationin thefuture.

To find out more, visit www.racyneparker.com

ARTICLES BY DANWALSH

Listen to the expanded interviews by searching Americana Music Profiles on all of your favorite Podcast platforms!

Dave Lebenthal

Growingup in Southern Californiaduring the‘80s, Dave Lebenthal’s interest in music was initially fueled by the eclectic mix albums he heard his older sister playing. “Being a young kid,” he remembers, “Iwas hearing allthat.And then onceI became12or 13I would spend my pocket change on buying albums.”Although he played brass instruments inthe junior high band, byhigh school, Davesays, “...of courseI neededto get myhands on a guitar.”As he learned guitar and played in bands, “that’s when the bug really spiraled out of control.”

During this timeDave also caughtthe writing bug: “It didn’t take long untilIwas like,

‘I wonder if I could write a song. I’ve got some ideas here…’”

Songwriting became his primary free-timeactivity during college. Healso gained valuableexperiencewhen he brought hisband in to record in the studio where he was taking an electronic music class. In hindsight, Dave notes, “You know, we only had four tracks in those days…We learned to coalesce ideas into…the best form they could be, using that number of tracks…”

Dave spent about eight years making his living as acover band musician, which hecreditsfor building his chops, but which also took its toll. After this, he opted for aday job and acontinued presenceinthe LAclubscene, whilealso pursuing the elusive “recorddeal”forhis originalmusic.“Honestly when it comes to thebusiness side of things andbeing hereinLA—man, Ididn’t barelyscratch a dent.”

At this point (the mid ‘90s) Dave’s focus turned to his family, and stayed therefor two-and-a-half decades. But as he entered his sixties, with his twosons grown,the music bug reasserteditself in hislife. Hestartedwriting new songs on hisacoustic guitar and learned how to record them in his home studio. The ultimate result is The Long Player, a self-produced collection of 11 Americana, blues and rock tracks that oweadebt to the likes of James Taylor, Ryan Adams, The Eagles, Tom Petty, and the Beatles.

To find out more, visit www.dlmusic.us

Lolly Lee

Lolly Lee credits her fifth or sixth grade chorus teacherinTallahassee, Florida with planting thesinging seed that would grow to bear fruit much later: “...[she]pulled me aside one day and she’s like, ‘You’re reallygood.You’ve got a“different”voice,’and I was like ‘Huh?’”Into adolescence, Lolly wasfocusedmoreon instruments, playingpiano and teaching herself guitar from aMel Bay chord book and by listening. She remembers, “Back when you only had records…I would try to figure out the chords; then all of a sudden I could playaJoniMitchellsong…”

Soon enough, Lolly was performingpublicly.By way of ahigh schooltalent contest win and subsequent “talent exchange” at other schools she got her first regular gig.Aboy from oneof the other schools approachedherand her parentsaboutpartnering upfor asummer-job-styleregular gig at asmalldowntown establishment.“Hewasasweetheartand hewastrustworthy, andthat’s when I started playing out.”

ThevehiclesforLolly’smusicaljourneythrough1980s took the formof a number of rock bands, including her“favorite,”The Mortals, astapleatBirmingham’s Old Town Music Hall. “We werereally popular because, I think we were about the only band doing originalmusic…”Afterfour mostlyfull-timeyearsof music making, Lolly’s roadturned toward family life andchildren.

Fast forward to the origin of Lolly’s self-titled solo debutat age 63:Afternavigating averydark stretch, asher husbandsuffered fromandsuccumbed tocancer, shefound powerfulnew inspirationin his words toher:“Beforehepassed,hetoldmesincerely,‘You’re always fullof joy, and I can seethat diminishing becauseI know allyou do is take careof me.’And he said‘WhenI’m gone, please, getback out, playmusic and find your joy.’And that was a realgift.”

Reconnectingwithlong-timefriend andguitarist/producerAnthonyCrawford(who has workedwith Neil Young among others), helped Lolly craft an album from the many demos she had recorded. “I have Garageband and I’d recorded tons of songs [and I] sent him alot ofthem.”

To find out more, visit www.lollyleemusic.com

www.AmericanaRhythm.com

Unlikethe stories of youthfulencouragementmany artists shareintheseprofiles,Kim Broglirecalls what discouragedherfrom singingat ayoungage. “It was elementaryschoolwhen Itried outforthelittleschool choirand Ididn’tmakeit.I wasjust like‘Ok.There’s that. Iguess Ican’t sing.’…I was super-effectedby people’sopinions.I wasalwaysaverysensitivekid.” However,Kim’slove ofmusicneverfaded andonlygrew quietly strongerastheyears passed.

Throughout those years,Kimexpressed hercreativity prolifically through the writtenword:fiction, poetry andespecially through journaling.“I sayI’ve always been a writer becauseI have journaled my entirelife. I’vealways had towritejustto processlife.”

Lifeafter collegefound Kim in acareer that paidthe bills but didn’t feed her soul.And likemany others she had pandemic mind shift:“Covid hit and it was just kind ofthis moment where I was like ‘Do I really want to be doing this?’” This combined with a her serendipitous birthday purchaseof guitars for hertwin boys.After seeing themlearnsomechords she had anotherlife-changing realization:“Thenext dayI was like‘I thinkI can dothat’ and Ijustpicked it up. It was like the earth stopped…It was like my heart and souland everything aligned…”Next, she began voicelessons, secretly at first. Itwasn’tlong beforeshecombined her newfound musicalendeavorswith herlifelong passion for words.

After connecting viasocialmediawith producer Will Gawley, whosaw herpotential, Kim releasedan EP entitled TheFight inOctober 2023. Looking toward the futureshe continues to hone in on what really matters to her. “Gaining confidenceasawriter has really helped. SoI’m just kindof getting to the heart of thekind of music Iwant tomake, which is really cool.”

Kim loves to perform, but is in the early stages of taking thatnextstep to sharehermusic.“I’mafreshman,”she laughs. Moregenerally about her music careershesays,“I’m enjoying thejourneymorethan the outcome, which is a really coolplace to be…I think when you get so focused on the outcomes, it really robsyou of yourcreativity.

To find out more, visit www.kimbrogli.com

Kim Brogli

ARTICLES BY DANWALSH

Lorrie Morgan

When I asked Lorri about the evolution of her music over the years, she had this to say; “I’m not sure I think of it so much as an evolution as I think of each recorded projectas just another part of the journey. When I was a young artist, I didn’t have as much control or choice over songs. Thereare some I maynot have recorded, others perhaps I should have, and afew that Idid record, like, “SomethingIn Red,” were excellent choices by those whoknewbetter. Ilovethatsong, and I’m so grateful for it, but I didn’t want to record it at first; didn’t even want to hear the whole thing because Ithought it was just another lost love story. However, the lyrics are so brilliant, coveringthe journeyof a love story in such a sweet way. Angela Kaset crafted a wonderful songin that one, and that’s what it isalways about for me; finding songs that fit my

style andmy perspective. Iam a writer, but I don’t insist on only recording my own songs or cowrites. If a song is great, it is great. Period.AndIwant tosing it. The new album, Dead Girl Walking, wasrecorded with my old friend Richard Landis, and I’m so sad that we lost him last year before its completion. I believe it’s the final producing credit of his brilliant career. I played a very active role in selecting songs that mean something to meat this time of my life.”

Jones, just to name afew. We just sit down and chat about whatever comes to mind; life,

airing on the Heartland Network this year. So, it’ll be out there as an audio podcastandalsoon TV. It’sso differentfrom traveling or runningintopeopleon the road. This is a personal conversation with every guest. I’m hoping to havesomeguestsfrom outsideof music, too. There are acouple of women I really admire who I hope to sit down with, like ConnieElder, thefounderofPeak 10 Skin. She’s a savvy entrepreneur and product developer. She’s adomestic abuse survivor who bravely moved on with averypublic career.Another remarkable woman is Renee Landers, who became a body builderin her 60’s after suffering a back injury. Ilove these stories oftriumph as much asI love just chatting with industry friends. I hope everyone enjoysbeing afly on thewall.”

continued from page 14 concluded on page20

Lorrie also recently launched a new Podcast, War Paint with Lorrie Morgan, and it has been picked up for broadcast TV, launching June 2024 on Heartland Network. “I love to dish with familyandfriendsand to share real personalities and ideas with fans, but that really comes second to the personal conversations. So far, we’vehad Pam Tillis, Vince Gill, Jimmy Fortune, Larry Gatlin, Jerry Salley, Jeannie Seely, and Nancy

career, family, relationships. Funnystoriesand memories pop up. It’sjust agood, intimatetime. I’m so excited to see it begin

Lorrie had this to say aboutheer viewon country music industry is today; “I’ll always love traditional

Jon Shain

Originallyfrom Massachusetts,Jon Shain ended up adopting Durham, NC as his home, after attending DukeUniversity and, more importantly, finding a musical home; a place where he would add the blues to his rock and soul background and come up with his own uniquestyle.

Jon remembers his earliest intentional exposuretomusic by way of hisdad, a member of the first rock & rollgeneration:“When wewerelistening to the radio in the car, we were always listening to…’the golden oldies,’themusicof the ‘50s and the early ‘60s…He wouldbe quizzingme:‘Who’sthis?’ [I’d say]‘Is it Roy Orbison?’‘Yup, that’s right.’” Jon cites the strong melodies of this music, as well as Motown, as key for his development.

After picking up the guitar in his younger days,Jonended upinacollege rock band that had a bluesy edge. Their style attracted the attention of blues DJ, Slewfoot, and through him they ended up as the backing band for Piedmont blues legend, Big Boy Henry, providing Jon withakind of “apprenticeship” inthe blues.“Atthe sametime,”Jon says, “I was really exploring the

fingerstyle acoustic thing.” This would set the stagefor his further adventures in blues-centered music-making.

Jon went straight from finishing his history degree into full-timemusic.His band worked hard, touring and recording on their own, but never broke through in a major way. After later hooking up with Dave Mattacks (drummer for FairportConvention and many other major acts) as a producer for two albums, he and his partner onbass, FJ Ventre, “really paid attention to what they were doing…and we kind of learned how to make records…”

The duo parlayed that knowledge into a broader music career that pays the bills in amorepredictable way. “We branched out to be producers forotherpeople.”Jon adds, “I was already teaching guitar, so it was apretty naturalmove to start helping peoplerecord too.”

After ninesolo albums and twoduo efforts, Jon has again teamed up with FJ to create their newest album, Restless Soul Syndrome, due for release inApril 2024. On it listeners will enjoy a unique mixture ofimprovisedpiedmont blues,bluegrass,swing andragtime sounds.

To find out more, visit www.dlmusic.us

Lorrie Morgan concluded from page 19

country, and I love the new traditionalists. Everything changes, ebbs, flows. I’ve sure seen a lot of those changes over time. I truly just believe in the music. Trends or the latest hot stories will come and go, but truly great music lasts. It becomes a part of you, part of your memory. It underscores important times in our lives. The lines have become blurred and in some ways, I think that’s a good thing. Yearsago, youcouldturn onAM radio and hear Elvisfollowed by George Jones and then Frank Sinatra or Dusty Springfield. It was later when radio became segmented by format or genre. Now, you might turn on an XM station and hear an outlaw country song followed by

bluegrassbysomeone likeMolly Tuttle or Billy Strings, and then a more contemporary singer/ songwriter song. I love how the term Americanahas really come to be a concept that embraces quality music and artists, regardless of format. Americanais rooted in what is American, whether its blues, jazz, country, pop, etc.

I just hope that the evolution, wherever itgoes, alwaysvalues the quality of the creativeprocess; real songwriters, great songs, great musicians, moving melodies and lyrics; no matter the label or genre or format. People will always find thatquality. Weneedthebusiness of music to stay focused on that goal, too. I hopefans willalways seek outandsupport live music. Those littleclubs alloverAmerica are the lifeblood for touring artists.

Bluegrass Country’s Festival Listing Report

Folks have asked if we would publish a list of regional Americana string music festivals for 2024. That task wouldtake a staff much bigger than we have at our disposal; however, the folks at Bluegrass Country (producers of Bluegrass Country Radio (BCR)), do make a dynamic, nation-wide list available on their web site (Bluegrass Country is a nonprofit, listener-supportedradiostation playing bluegrass, old time and other Americana roots music. They broadcast on 88.5 FM HD2 in the Washington DC area and worldwide on the WEB. You can listen through the website, using their iPhone® or Android® app, or through Amazon® or Google® smart devices. They have listeners and supporters around the world. Their full IP address is: https://bluegrasscountry.org/americanamusic-on-bluegrass-country/.)

The BCR folks gave us permission toreprint relevant portions of their list here. We editedthat list to reflect our narrower Appalachian centric and eastern US locations (although we did include a few of the well known national festivals). We will provide the remainder of the list in a later issue.

While our static list should be enough to whet your interest and make your plans, BCR’s on-line list is dynamic and nation-wide. To view their list, take your computer’s browser to:

https://bluegrasscountry.org/festivals. After you’ve chosen your festivals, open the appropriate web sites or Facebook® pages for time and travel details.

For acompleteand up to datelist, visit https://bluegrasscountry.org/festivals

www.AmericanaRhythm.com

The Yamaha FG9 Acoustic

At the NAMM show this past January, we had the opportunity to check out the new series of Yamaha acoustic guitars, specifically designed for acoustic musicians. This particular line was showcased at the InternationalBluegrass Music Association (IBMA) last September. One of the models they featured was the FG9, which comes in both Rosewood(FG9R) and Mahogany (FG9M) varieties.

The FG series has a long history, dating back to 1966, and has been beloved by musicians for decades. However, the FG9 takesthings to awhole new level. Yamahahas completely rethought and revamped this flagship line of acoustic guitars, resulting in a significant upgrade.

Let’s take a closer look at the features of the FG9 series:

Superior Sound Quality

Thetopsof these guitarsare made from Adera Spruce, which has a wide set grain. What sets these tops apart isthat theyaretapered, with thecenter being about 2mm thicker than the exterior rim. This design allows for the center to be more structurally sound while keeping the edges free to vibrate. The result is a phenomenal resonance that is sure to impressany musician. Additionally, the FG9 series features Adirondack Spruce bracing, which is scalloped for optimal sound projection.

Extensive Research and Development

Yamaha’s commitment to quality is evident in the extensive research and development process behind the FG9 series. The acous-

tic guitar Master, Lu, in Los Angeles builds each guitar by hand and sends it to Japan for detailed

By Robert Lindquist

Washi paper label on the inside, adding a touch of Japanese influence. The body is adorned with Japanese rope purfling and double ropes aroundtherosette, further enhancing the visual appeal. The inlays on the guitar are inspired by kumiki woodworking, atraditional Japanese woodworking technique. These inlays curve over the top of theguitar, creatingavisually stunning effect.

Bolt-OnNeckConstruction

One interestingaspect of the FG9 series is the use of a bolt-on neck construction. Yamaha experimented with different neck joints and construction methodsduring the development process, and found that the bolt-on neck provided the best resonance, clarity, and volume. This construction method also allowed for separate finishing of the neck and body. Theneckhasa satin finish, which provides a non-stick feel, while the body has a glossy finish that gives it a classic look.

Overall, the Yamaha FG9 series is a testament to Yamaha’s dedication to creating high-quality acoustic guitars. With its superior sound quality, meticulous craftsmanship, and attention to detail, the FG9 is sure to impress acoustic musiciansof all levels. Whether you’re aprofessional musician or a passionate hobbyist, the FG9 series offers a top-of-the-line acoustic guitar that will elevate your playing experience.

If you’re in themarket for ahighquality acoustic guitar, the Yamaha FG9 series is definitely worth considering.

analysis. This process involves building and analyzing 45 handmade prototypes before arriving at the finaldesign. The guitarsare then handbuilt in Japan byasmall team of highly skilled luthiers.

Why Adera Spruce?

One might wonder why Yamaha chose Adera Spruce for the tops of the FG9 series. Adera Spruce is a superior tonewood that offers exceptionalvolume and clarity. Its loud and clear sound makes it perfect for genres like Bluegrass, where the guitar needs to cut through the mix andhold its own against other stringinstruments. Adera Spruce also provides ample headroom, allowing musicians to dig in and play with intensity without sacrificingsound quality.

Attention to Detail

In addition to the exceptional sound quality, the FG9 series boasts several aesthetic features that showcase Yamaha’s attention to detail. The guitars feature a

www.AmericanaRhythm.com

MusicFromYour Neighbors

Spring is here! That means festival season is just around the corner! Oh, we can’t wait for this spring/ summer/fall tradition. And we have 14 new CDs for your consideration. Thank you for checking out all this great new music!! Buy the ones you like. Support your favorite musician, so they can keep making new music! Tell them we sent ya.

Got one you want us to consider?sendit to: Uncle Woody

The Spin Doctor, PO Box 45 Bridgewater, VA 22812

Roe FamilySingers

Sisters and Brothers www.roefamilysingers.com

The 12 original tracks, all penned by QuillanRoe,along with the unique vocals ofthe Roe familysingers,exemplify their signature sound. Elements ofOld Time, Folk, Bluegrass and Americana. There’s something for every style ofmusic lover.

JayGavin Road Ready www.jaygavinmusic.com

Jay’s catchy hooks, and everyman songs arecatching on withAmericana / Country fanseverywhere. Hailingfrom a close-knit fishingvillage on Prince Edwardisland, Jay’s recent project, Road Ready, earned him NSAI “one to watch,” statusin 2023.

Music From Around The World

AlexMiller

MyDaddy’s Dad www.alexmillercountry.com

Alex Miller says his late Grandpa (GB Miller) is the one who inspired him to pursueCountrymusic. Thusthe EP tribute, My Daddy’s Dad Alexis a youngtraditionalist with all the makings ofa future authenticcountry star.

Lance Cowan

So Far So Good www.lancecowanmusic.com

Most of Lance’s career has been spent represententing some ofthe country’s finest songwriters; including Joe Ely, MichaelMartin Murphy, and more. His new album showcases Lance’s own songwriting skills. What took youso long?Great job!.

The Stetson Family

The Stars, If You Look Closely www.thestetsonfamily.com

It’sbeennineyearssincethis Australainband droppedtheir last CD. The Stars is the fourth from this Bluegrass formed16 yearsago-inspired by the Oh Brother soundtrack. There are 11 original tracks on this long awaited new project.

ReesShad

The Galahad Blues www.reesshadmusic.com

ReesShad began his career three decades ago, in 1994. He’s released some 30 albums in that timespan, each with it’s own emotionandexpression. The Galahad Blues is no exception, and carries onthegroovy vibe Rees isso knownfor.

RowdyMcCarran Here www.rowdymccarran.com

David Brim, AKA Rowdy McCarran, has been hooked onmusicsince he wasthree. His songwriting style and musicalapproachbring to the tableamuchmissingauthentic appeal inmodern country musictoday.It’s refreshingto hearsomerealrootscountry.

Ted Russell Kamp

California Son www.tedrussellkamp.com

Texas Scratch

Texas Scratch

https://blues.quartovalleyrecords.com/ texas-scratch/

HeavenlyCream

An Acoustic Tribute www.caseypennmusic.com

Although the band Cream was only together less than three years - their musical influenceshave spanneddecades. This acoustic tribute to the music of Cream features noted musicians, and is a must add to any early rock music enthusiast.

Armchair Boogie

Times & Deadlines

www.armchairboogiemusic.com

Armchair Boogie might be a newgenre?The bandis sure catching on. Jamgrass, newgrass, funkgrass - this Wisconsin based grass inspired quartet mix timeless covers with catchy originals in their bouncy live sets. The newCD won’t disappoint.

James Tally Bandits, Ballads,

This legendary singer/ songwriter’s career has spanned morethan50 years. James Talley’s latest, his 15th, Bandits, Ballads, and Blues,contains 12newstory style tracks told only how Jamescantellthem.Theyare already timelessclassics.

Grant Langston aLAbama www.grantlangston.com

Rooted in Honky-tonk tradition; California, singersongwriterGrant Langston;a multi-instrumentalist; offers up his latest, Southern inspiredoriginals.“Iwantedto bring both sides of both my influences intothis,” he said. Good job Grant!Itworked.

TexasScratchbringstogether two hot guitar players from Texas and their friends, performing foot tappin’ bluesTexasbar-b-queblues.These are original tunes fromsome fine songwriters. This album could be your summer pick.

How about a classic bluegrassalbumre-issue? Forthe first time ever - the re-mastered Lester Flatt album is available on CD. This 1976 album is a gospel bluegrass classic. Bluegrass fans will want to add this record.

YoucansendnewAmericanaCD releases for consideration toPO Box 45,Bridgewater,VA, 22812/ greg@americanarhythm.com

Ted Russell Kamphasworkd withmanyoftheoutlawcountry artists, like Shooter Jennings,JessiColter,Tanya Tucker, and more. But he’s alsocultivatedhisown following with his own style of Americana music. California Son is his 14th album. Nice. www.AmericanaRhythm.com

Heaven’s Bluegrass Band LesterFlatt & The Nashville Grass

and Blues www.jamestalley.com

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