Country Fried Rock

Melissa McClelland and Luke Doucet joined creatively to form Whitehorse, after many years of successful, separate music careers in Canada.   Their first release together sounded like alternating their individual sounds, but their new album, The Fate of the World Depends on This Kiss, creates a new sound that is neither his nor hers, but theirs.  With this record, Whitehorse decided to expand into the States.  Leaving their comfort zone of Canada and their established careers proved challenging--not just in building new audiences, but also in the realistic logistics of constant touring and creating their sound with limited personnel. Making music work right now requires more than just being "all in" with the art; it also necessitates the leanest live interpretation of a band's music possible, without compromising the ethos.  Financially, many songwriters have opted for stripped down touring with the lofty goal of just breaking even while on the road.  Whitehorse holed up in a cottage on a lake and crafted a live performance with just the two of them--yet still nearly replicating the layered sounds of their studio album. By seamlessly integrating technology--particularly a brilliant use of a looping pedal--and alternative gear like an old-fashioned telephone receiver as a microphone, Whitehorse crafted a dynamic and fascinating live show full of instrumentation and sound.  Their set is not a note-for-note replication of their album, but a creative extension of the vibe of their songwriting.  The performance mesmerizes audiences.  Whitehorse is poised to dominate late-night television, and engage fans in a variety of genres.  Our prediction?  By the end of 2013, the duo will dominate critics' picks lists and people who see them live will win over their own friends to being fans of Whitehorse.  The Fate of the World Depends on this Kiss is sleek, but Whitehorse's show is spell-binding. Liner Notes: Whitehorse The Fate of the World Depends on This Kiss  I was familiar with both Melissa McClelland and Luke Doucet's prior work, then I had the honor of emceeing their showcase at the Americana Music Festival 2012 at the High Watt, Nashville.  Their set was mesmerizing.  Of all the 2012 AMA showcases, this was one of the best.  If you get the chance, you really must see them live. k.d. lang Absolute Torch and Twang "Big, Big Love" Sarah McLachlan Rarities "Blackbird" She has a beautiful voice, and I just really like this Beatles tune. Sloan One Chord to Another "Good in Everyone" (the bevy of drummers on Whitehorse's album)  The Weakerthans Reconstruction Site (more from the bevy of drummers)  Lee DorseyFreedom For The Funk "Wonder Woman"  The title of Whitehorse's album comes from a vintage Wonder Woman comic, but I have always loved Dorsey's soul and funk, and this fits lyrically more than the campy TV theme.  Besides, in case you did not grow up knowing his music, this album is a great place to start.  Trampled By Turtles Stars And Satellites  "Midnight on the Interstate"  Chosen because TBT was also on the Festy bill in 2012, but also because of the discussion about life on the road and avoiding the cliche of road songs, while still acknowledging that is one's actual life.   Video: Paying our bills: // //

Bloodkin's 25th anniversary box set, One Long Hustle, is everything a retrospective should be, yet it is completely new, too. The booklet of the band's history reminisced and revealed by Daniel Hutchens, the collection of previously unreleased tracks, and the stories they tell are as much about Athens, Georgia's musical spiderweb as they are of the band itself. Despite collaboration with legends like Moe Tucker and Sterling Morrison of the Velvet Underground and Southern stalwarts like Gov't Mule, Bloodkin might be the band that was always there for every amazing show-- that you have never heard of before...but you have probably heard their music. Friends and conspirators with the guys in Widespread Panic from the beginning, many of Hutchens' and Eric Carter's songs gained notoriety when played by the jam band, like "Can't Get High," "True to My Nature," and "Henry Parsons Died."  One Long Hustle is like being transported to the nights you might have missed at their famed High Hat residency "way back when."  Bloodkin's songs sound like them, but definitely do not sound the same.  They travel through their different sounds in a natural flow, bringing their own history, the sounds of their friends who play on various tracks, and their latest muse with them. What appeals most about One Long Hustle is the breadth of the recordings:  living room tapes on a 4-track Tascam, cleaned up in the studio by David Barbe, but wisely not sanitized into a shiny version apart from the original, studio outtakes from a variety of formal and informal sessions throughout the Southeast,and alternate takes that did not make an album playlist for one reason or another.  Bloodkin's 25th anniversary is not just about history; it's also about where they are headed.  They recorded a few new tunes for the release, too.  Listening to all 88 songs carries me through the 25 years of Georgia music that formed me, too, from the Athens, Georgia Inside Out days (which was around or just before when Hutchens and Carter arrived from West Virginia) to the current success of The Whigs or Drive-By Truckers. Author's Note:  Bloodkin generously donated "Henry Parsons Died" for a worldwide debut for Country Fried Rock's Compilation Vol. 1 to Benefit Nuci's Space in Athens, GA, available for free download here.  Please consider a generous donation to Nuci's Space in return for the download.  They prevent musician suicide by removing barriers to mental health care and a lot more. 100% of the money in the compilation's "tip jar" goes directly to Nuci's. I personally covered all the expenses of the album. SS Liner Notes Bloodkin You should buy the One Long Hustle box set from the band just for the amazing liner notes.  The music is, of course, worth every penny.   Widespread Panic Hugely supportive of Bloodkin's music, recording and playing several tunes from Hutchens and Carter over the last 25 years.  Vic Chesnutt Athens' songwriter (anti-)hero, who passed away a few years ago. At least 2 documentaries  about him are floating around.  The Rolling Stones Some Girls (Deluxe Version) Bob Dylan Street-Legal Brute (Originally, a collaboration between Vic Chesnutt and some of the members of Widespread Panic.  On the second album, I believe the whole band joined Chesnutt.  WP still plays "Blight," and other Chesnutt songs, like "Aunt Avis," regularly.)  Nine High A Pallet Sugar: Copper Blue (Deluxe Remaster) Engineer and producer to the stars, songwriter, singer, player, leader of the Quick Hooks, David Barbe also played bass in Sugar.  Bob Mould (formerly of Husker Du) still plays these songs regularly.  The Heap: Deluxe The Heap horns. So fabulous that they are going to be the bed music for the 2013 Country Fried Rock radio shows. Betsy Franck Franck was featured in 2011 on Country Fried Rock. She is a fixture of Athens' current music scene, singing on hundreds of bands' albums, in addition to her own music. 

When Gretchen Peters decided to write about her private upheaval of the last few years, she chose to record these songs herself.  Calling on a small circle of close friends, including her new husband--but longtime bandmate--Barry Walsh, Peters crafted a dark but cathartic album.  For listeners familiar with her previous albums, Peters' voice explores the lower end of her register, hinting at the difference in this theme and what is to come in Hello Cruel World. Most Americana fans know Rodney Crowell for his songwriting and performing, but to Peters and Walsh, he was also their marriage officiant, with a certificate straight off the Internet.  Despite their familiarity with each other, Peters was a bit intimidated to work with Crowell on this record, and especially on the song that turned into their duet.  Even noted songwriters like Peters can have professional idols and a little bit of fangirl-dom, too! Country Fried Rock probably would not have been tapped into Peters' album if she had not stopped by  Couch By CouchWest 2012, a virtual music festival held each March.  In this event, songwriters send exclusive videos of themselves performing from a couch--or elevator, sofabed, recliner--and music fans all over Twitter join in.  This year, #CXCW went crazy when noted writers Ray Wylie Hubbard and Gretchen Peters, respectively, sent in videos.  Thanks to a fun time on the Internet, we rediscovered a writer we may have overlooked. Liner Notes:  Gretchen Peters has extensive liner notes for Hello Cruel World on her website. Gretchen Peters Hello Cruel World [Explicit] Kim Richey Wreck Your Wheels Daddy (Will Kimbrough and Tommy Womack) For A Second Time Mickey Newbury An American Trilogy Bob Dylan and The Band The Basement Tapes Video Support This Program You oughta get yourself a Kindle. Download the Podcast

Mike Cullison writes country songs, the kind that pretty boys in rhinestone skinny jeans don't sing. Cullison's latest album, The Barstool Monologues,is the most brilliant country concept album in years: auditory theater, imagery via sound, and a premise that pulls it all together. Somewhat like Marty Stuart's album, The Pilgrim, Cullison calls upon his network of friends to perform his songs (so, the lineup is not Cash, Jones, Harris, and Scruggs, but the idea is similar) and his role as the narrator, in this case, The Bartender, keeps the thread going. As a songwriter, Cullison crafts his tunes with others' voices in mind from the beginning, so listening to this album and hearing his own songs sung by others was not odd---it was by design. For listeners unfamiliar with songwriters' concept albums, one could imagine this as a tribute album in which the writer is the collaborator and even instigator. The Barstool Monologues is a very sensuous collection (if you remember the grocery store grammar lesson in Animal House) appealing to the senses musically, and filling the stories with smoke and scenery. It is as if a short film is running for each song, which is very much intended. For the CD release show, Cullision created the entire scene of the Roadhouse, with him as narrator and the players rolling in and out. As a premise, this could easily be picked up into a TV series, playing on the success of Nashville, but more purposely focused on the grittier side of music. The idea would play well on stage, too, or even in a genius viral video campaign for the right product. All of this supports the songs, which are exactly what a straight-up country song should be, no pretense. Thanks for buying the music in this radio show! A small percentage of your purchase supports this program, at no additional cost to you. Amazon links are in the text and iTunes links are small buttons. Mike Cullison Mark Robinson: Produced this album and several of those of The Regulars. He also has a great record of his own, the autobiographical, Quit Your Job, Play Guitar. Hank Williams: From Cullison's early music influences Dobie Gray: "Love Is on the Line" was co-written by Don Goodman (Cullison's early mentor), Waylon Jennings, and Troy Seals Brian Langlinais: One of The Regulars Delbert McClinton: Cullison's music has been described as a cross between McClinton and Hank Williams John Mellencamp: "Crazy Ones" was co-written with Randy Handley, one of The Regulars Tommy Womack: Daniel Seymour is one of The Regulars, and frequently plays bass with Womack, including on his most recent album Jon Byrd: One of The Regulars These battery operated warm white lights work like a charm on merch tables and you don't have to worry about another extension cord. Help your fans find you!

Michelle Malone was part of the Atlanta music scene that evolved from the Indigo Girls' success, enjoying national attention for the music of Shawn Mullins, Tinsley Ellis, and Drivin N Cryin, with her band at the time, Drag the River. The confluence of blues-tinged Southern music at the time made for an exciting music scene, that was later replaced by the still-dominant hiphop scene. Atlanta is a weird place filled with temporary residents who are not from the area, but it is also a collection of neighborhoods with their own identities and people who are part of the arts culture and give different places their distinct vibes. It is from the latter community that Michelle Malone emerges, not as an ingenue, but as the definition of the Atlanta rock sound--Southern, blues-touched, guitar-driven, but still about the song. When Malone decided to record her most recent album, Day 2, she called upon her long-time friend, Shawn Mullins, to produce. Mullins and Malone collaborated to include their friends in the project, including Gerry Hansen (as co-producer), Phil Skipper, Tom Ryan, Trish Land, Chuck Leavell, Marty Kearns, Glen Matullo, and Randall Bramblett. Pretty much everyone who has ever been in the Atlanta roots scene has played with one or more of these stellar musicians. Malone knew her songs and vision were in excellent hands, and sought out their ideas and guidance in the recording process. Currently, Day 2 is available in limited release directly from Malone's website. She has released music within the spectrum of independent to labels and back again, finding the "new normal" DIY allows the artist to retain creative control. Michelle Malone plays regularly, both solo and with her band. If you get a chance to see her, you should try to catch a show in each setting, as the songs adapt to the venue, and bring fresh sounds with each format--more Southern than bluesy this time around. Malone is a player and songwriter that should be as recognizable to roots music fans as Bonnie Raitt is to blues rock fans. Please support the musicians by purchasing their music through these Amazon and iTunes links. A small portion of your purchase also supports this radio show, at no extra cost to you. Thank you. Michelle Malone Day 2 currently only available for purchase via her website. National release expected mid-2013. Indigo Girls "I Don't Wanna Know" selected from Strange Fire because it is co-written with Michelle. Shawn Mullins produced Malone's current album. Callaghan also on Cayamo 2013, as well as another album produced by Mullins. Drivin N Cryin "Honeysuckle Blue" from Mystery Road chosen because Malone's vocals are distinctly essential in this song. Sea Level chosen because of Chuck Leavell, the keyboard player most known for his stint in the early 1970's with the Allman Brothers Band, who also played on Malone's album.  Sea Level, from C. Leavell, was his mid-late 1970's band that garnered Southern recognition, but not national attention. Linda Ronstadt was Malone's gateway to the music of Little Feat, Hank Williams, The Everly Brothers, Buddy Holly, Neil Young, and more. Little Feat quintessential Southern fusion band, defying genre and beloved to many. Shop Amazon - Most Wished For Items

Humming House reversed all the normal processes for their first album.  When songwriter Justin Wade Tam went into the studio for a one-off single recording with legendary producer Mitch Dane, Tam did not even have a band assembled.  As he gathered his friends and their friends to fill the instrumentation he wanted for his songs, his professional relationship with Dane and the players grew, and the opportunity to record an album seemed possible.  As the assembly of players readied for the process, a family emergency pulled Dane away unexpectedly and the pre-production was scrapped as they were gratefully handed over to colleague Vance Powell to record the album--a happy accident, for sure. In the process of recording the album, the group of players revealed themselves to be a band.  Although they did not start out that way, by the time the album was finished, Humming House had forged a musical path together.  As they have taken the album on the road over the past year, they have matured as a group, yielding clearer musical voices for each of the players and a more collaborative approach to the new songs they have written.  Humming House is already tossing around ideas for their next album, which will highlight Kristen Rogers soulful vocals more like their live shows than their first record indicates. Humming House plays regularly, keeping their performances lively and throwing in unexpected covers, like Whitney Houston, Bill Withers, and the Beastie Boys--even the Ghostbusters Theme for Halloween.  They have become a band and putting the cart before the horse did not send them down the wrong path.  They started with their dream team, and have lived up to it as they have grown. *************************************************************************************************** Thanks for helping these musicians keep making great albums! Buy their music here on Amazon our iTunes: Humming House "Gypsy Django," "Stop Me Still," "Young Enough to Try" Angel Snow "Lie Awake" Andrew Combs "Worried Man" Beastie Boys "Intergalactic" The Dirt Daubers "Wake Up Sinners" Kristen Rogers "Don't Let Me Win" (Could not find a link.) The Raconteurs "The Switch and the Spur" Carolina Story "Carry Me Home"

Holy Ghost Tent Revival took their lowest point in the last five years and used it as a reason to find a new sound and revive their music. It's not any easier to pigeonhole their work than it was before the departure of their bass player and harmony vocalist, but their music is definitely easier to dance to now than it was before. Despite having almost nothing in common with bluegrass music, they are often lumped in there with old time bands--great for a festival lineup, but inaccurate in categorization. Think of the Avett Brothers with a horn section, and you are much closer to the sound of Holy Ghost Tent Revival. HGTR built their fanbase over their first five years with regular regional dates, playing nearly 200 nights a year and expanded with some key festivals, like Shakori Hills.  Following their band's membership shuffle, though, they felt like they were starting over.  Defeated and unsure of their future as a band, their confidence expanded when they joined Langhorne Slim for a key set of dates, boosting them enough to commit to recording their latest album, Sweat Like the Old Days, and relocating their groove. Recording actually gave HGTR new purpose, allowing them to commit to their new sound.  While their presence is still regional, now that they are back on solid footing as a band, they are ready to return to heavy touring and reaching better audiences.  No matter what the venue, though, bring your dancing shoes to a Holy Ghost Tent Revival show. Please support the bands in this radio program by buying music at the Amazon or iTunes links below: Holy Ghost Tent Revival Leftover Salmon Sharon Jones and the Dap Kings Crystal Bright and the Silver Hands Hoots & Hellmouth Dr. Dog Langhorne Slim Holy Ghost Tent Revival--"Telephone Wire" from Harvey Robinson of Monkeywhale.com.

The Whispering Pines find music that binds them together in thrift shops and flea markets, in the cardboard boxes of vinyl that spent decades in isolation and are once again coveted items.  Bands like Cowboy and The Allman Brothers seeped into their ears, meshing with California-influenced psychedelic folk rock bands to create a new generation of songwriters like Neal Casal, Jonathan Wilson, and The Whispering Pines.  The 1970's bands permeate their influences and recording. The Whispering Pines are not a "throw back" band, though, as their creative partners and good friends from the band Everest helped with ideas along the way, bringing the recordings from three different studios together into one cohesive album.  Their self-titled second record should be hear in its entirety, like most records of the 1970's.  Its beauty is not in any one single, but in the songs together as a vibe and mood--West Coast easy, without getting too heady. Their next record is already in the works, and given the growth of the band between these two releases, it should prove to be an even clearer reflection of The Whispering Pines and what they want from their records.  As they develop their live performances and take their show to new audiences outside Southern California, their sound will emerge as one with a gentle groove that attracts fans. If you like what you hear in this radio show, please support the bands by buying their music here (Amazon or iTunes): The Whispering Pines Everest Into the Grey Allah-Las The Who The Ultimate Collection Jonathan Wilson Gentle Spirit Cowboy Reach For The Sky

We apologize for the audio quality in this program. After an extended run in the US, The Sheepdogs are heading north to their native Canada for a while.  Their music fits my missing 1970's 8-track collection, while still sounding fresh and not as derivative as some of the seventies-influenced folk rock that seems to be coming from California right now.  Ewan Curry readily shares his love for Humble Pie with a dark-haired Peter Frampton and The Allman Brothers, and I hear touches of Edgar Winter Group merged with them (listen to "Javelina!" and then think if "Frankenstein" morphed with "In Memory of Elizabeth Reed").  Personally, I like to hear a band that is happy to make good rock and roll and is not afraid to honor their influences. The Sheepdogs are not musically stuck in a decade that happened before they were even born, though.  Their appreciation of the Black Keys merged with a fantastic opportunity to work with Pat Carney of the band as their producer for their most recent album.  That influence is most obvious in the effects on "Feeling Good."  (Tell me that you hear a bit of Norman Greenbaum's "Spirit in the Sky" in that song, too?)  For a band that did not have a massive grassroots following in Canada, their fortunes were exponentially improved when they won a Rolling Stone contest, catapulting them into relentless international touring and the chance to make a major label album with one of their heroes. While the logistics of such an insane tour schedule have not always been ideal--like flying to Australia for two days--the Sheepdogs decided that they were going to take every opportunity presented to them and make the most of it.  This intentional decision to make these chances work for them have led to a successful US tour that saw packed clubs and appreciative crowds, even in notoriously tough music towns, like Chicago.  As the Sheepdogs return to Canada for the next bit of their tour, they also return to familiar territory with a renewed appreciation for the fans who knew them "back when." Songs in this radio show include: The Sheepdogs Humble Pie Black Keys Charles Bradley Yukon Blonde Buffalo Killers The Allman Brothers

UPDATE:  Nobody Knows You by Steep Canyon Rangers was just nominated for a Grammy Award! Congratulations! Steep Canyon Rangers forged their way in the traditional music scene from their home state of North Carolina through regular forays into the Rockies and back at their base in the Western North Carolina mountains, putting in over 20,000 hours of hard work along the way.  (Even Bob Lefsetz might approve of their drive.)  Over the years, they have made their own mark within the tight-knit scene, but it was not until they were selected to be Steve Martin's backing band that their name-recognition expanded beyond Americana, bluegrass, and old time fans.  Add in a whirlwind few years of selected shows in Martin's support and some hefty awards and honors, and the stringband from Carolina was suddenly time-warped from headliner to sell-out headliner. Along the way, Steep Canyon Rangers took Martin's advice and emphasized their strengths.  His encouragement and seeing their ability to "hold their own" in such esteemed company yielded their most clearly defined album.   Highlighting the "Steep Canyon Rangers' sound" allows them to stand out in a bluegrass or traditional music festival, but also to captivate an audience when sharing the stage with other genres; in fact, that contrast of sounds often produces a better show for both bands.  As a thank you gift for supporting his performances, Martin facilitated a graphic design partnership for Steep Canyon Rangers' record, Nobody Knows You, for which they just won an International Bluegrass Music Association (IBMA) award for packaging design. Despite their international recognition and recent success, Steep Canyon Rangers continue to support their region of North Carolina. Their festival, Mountain Song, held in Brevard, NC, has raised over $300,000 for the Boys and Girls Club of Transylvania County.  The band is taking their knowledge of hosting a great traditional and acoustic music event to another stage this winter, launching the inaugural Mountain Song at Sea cruise (NOTE:  not for the benefit of the charity) in February 2013.  With much the same line-up as their festivals on land, this themed cruise should be quite fun.  (NOTE:  Country Fried Rock is in no way affiliated with the cruise, the band, nor the promotion company behind the cruise.  We receive no advertising, sponsorship, or trade from any of these entities.) Thanks for Shopping in the Record Shop for This Radio Show: Steep Canyon Rangers <A HREF="http://ws.amazon.com/widgets/q?rt=tf_w_mpw&ServiceVersion=20070822&MarketPlace=US&ID=V20070822%2FUS%2Fcoufriroc07-20%2F8014%2Fe6af1cfa-9ada-4088-b139-83a06b82417d&Operation=NoScript">Amazon.com Widgets</A> Steve Martin and the Steep Canyon Rangers <A HREF="http://ws.amazon.com/widgets/q?rt=tf_w_mpw&ServiceVersion=20070822&MarketPlace=US&ID=V20070822%2FUS%2Fcoufriroc07-20%2F8014%2F0918c2f4-ec5c-4091-89a7-209318c132c5&Operation=NoScript">Amazon.com Widgets</A> JD Crowe <A HREF="http://ws.amazon.com/widgets/q?rt=tf_w_mpw&ServiceVersion=20070822&MarketPlace=US&ID=V20070822%2FUS%2Fcoufriroc07-20%2F8014%2Fab913d9b-4f2f-4b37-aedf-b6c0608fe488&Operation=NoScript">Amazon.

The Corduroy Road's fans sounded alarm bells when the band left their life on the road for a long hiatus, but after nearly an eight-month break, the core of the band emerged with some new players in the lineup, refreshed and ready for the next phase of the band. The Corduroy Road musically balances between Americana and bluegrass in the dance-able area we refer to as "upbeat string band." Their songs make you move, and you might even miss the weight of some of their lyrics, such as a hunter stumbling upon a meth lab in the woods where the meth-farmer and sheriff are in cahoots. Southern Gothic lyrics to outsiders, perhaps, but just another day in the country to some of us enmeshed in baffling small-town alliances. With a loyal regional following, The Corduroy Road regularly pack small clubs and local music festivals. Even when in a lineup with bands like The Steel Wheels, Hoots & Hellmouth, Holy Ghost Tent Revival, or Joy Kills Sorrow, they are one of the bands people remember and love, and return to see again. Drew Carman and his band are on the edge of stepping up to larger festivals and supporting national touring acts. The Corduroy Road brings their own crowd, but they also keep the audiences who have not yet heard of them engaged and ultimately, win them over with their set. Two Step Silhouette, their latest record, reflects the band's recent circumstances of doing it all themselves. The Corduroy Road was one of those rare bands whose first album was picked up before it was released and re-recorded with a legendary producer (John Keane), and having to revert to a full DIY model was overwhelming for the guys at first. Thus yielded their productive and creatively essential hiatus, from which they have emerged. They are still one of those bands whose energy is best transmitted live, and who is best appreciated from the dance floor or a lawn chair at a festival, but only because you are too tired from dancing to their first set! The Record Shop for this radio show: The Corduroy Road Mark Cunningham Easter Island Shovels and Rope Holy Ghost Tent Revival Steep Canyon Rangers The Reverend Peyton's Big Damn Band Thanks for buying music here on Amazon or iTunes. Your support helps the bands and this radio show. We appreciate you.

The Pollies' record almost did not happen. Songwriter, Jay Burgess, began recording some of the songs nearly 2 years ago, in what he now considers demo tapes, but the intent was not to make a record; it was merely a side-project from his previous band, Sons of Roswell. As it became apparent that Sons of Roswell were fading away, Burgess' writing never ceased, and the demo recordings became more of a focus. Fellow musician friends from the Shoals area of Alabama (the "Quad Cities") came and went with the project, leaving national acts to go solo again and others finding an international audience seemingly overnight for their other bands. Thus has been the whirlwind impacting what has ultimately become Where the Lies Begin, The Pollies' debut record on This Is American Music record label. Essentially, the album was recorded twice. Chris James (also formerly of Sons of Roswell), Daniel Stoddard (who also plays with Dylan LeBlanc), Matt Green (also with Belle Adair), Ben Tanner (also with the Alabama Shakes), and Reed Watson round out the current lineup for the Pollies, demonstrating the interwoven, mutually supportive music community of the Shoals. Mutual friends' support for the demos and internet leaks of songs via YouTube ultimately led Burgess to bring focus to the Pollies project and make it a real band with a real focus on making a record. As it all came together, the visual presentation of the album helped define its title and ultimately, the theme: Where the Lies Begin. Chris James had the idea for a bird's nest and reverse side of an album cover with smashed eggs in a nest for a long time, but it was in discussing the songs on this record with Burgess that the complete concept revealed itself. In what others have described as "Southern Gothic rock and roll," sometimes the adult realization that the stories your family tells about itself are not accurate. The deeper story that lies beneath is darker, more uncomfortable, and less simplistic than the tales we repeat trying to make them be true. A favorite uncle might also beat his wife. Your granddad might have spent his life abusing your grandmother. What happened behind closed doors does not go away by ignoring it. Such are the stories that lead to where these lies began. Thank you for purchasing the songs in this radio show! Your purchase supports the musicians and this program. We appreciate you. The Pollies Where the Lies Begin "Good for Nothing," "Something New," "Little Birdie" (Direct from their label)  Ramones "Commando" Doc Dailey "Picture Frames" from the upcoming release (International debut of this song!) Belle Adair "No Reply" Sons of Roswell "In the Moonlight" (not available on Amazon or iTunes) Alabama Shakes (from their original EP when they were still a four-piece called The Shakes, before Ben was regularly part of the touring band) "On Your Way" Jason Isbell "In a Razor Town" (chosen because the lyrics reference a female character with abuse in her past, as part of the conversation about truth revelaing itself in our personal stories) Centro-Matic "Twenty Four" Neutral Milk Hotel "Holland, 1945"

"Sometimes, we're the weird band in a bluegrass festival; sometimes, we're the bluegrass band in a weird festival." Either way, Greensky Bluegrass fans will pack their festivals, large and small, usually for the entire run of their shows. From their home base in Michigan, Greensky Bluegrass rapidly developed a devoted following and spread that dedication to their music across the country playing hundreds of shows per year for years on end. The hard work has paid off, as the band is readily mentioned in the same phrases as Yonder Mountain String Band and the Infamous Stringdusters--bluegrass-ish bands with more in common than just their feat of bringing the hippies into the bluegrass fold; the three bands also share a songwriting mentor in Benny Galloway. For modern bluegrass players who did not grow up with an Appalachian music heritage, pickers are usually brought into the style in two major ways: either they played punk rock and found the traditional instrumentation appealing, or they were jamband fans, who followed the path from The Grateful Dead through Jerry Garcia to Old and in the Way to David Grisman, Tony Rice, and pretty soon, they were playing Flatt and Scruggs tunes. While the traditional and progressive bluegrass camps may not always agree about "bluegrass," the latter methods have brought more young musicians under the tent. In about five minutes of listening, fans can easily tell which influences formed the band. Anders Beck joined Greensky Bluegrass after an earlier run with the Wayword (sic) Sons.  As it became apparent that the Wayword Sons were not going to be a full-time touring band, Beck decided to examine the bands who were making music he liked who were also on the road constantly  and determine which ones could benefit from the addition of a dobro.  After a tour to test each other out, Beck became part of the band nearly five years ago.  Since then, his instrumentals and hooks have added to the main songwriting of Greensky's mandolin player, Paul Hoffman (who, interestingly, writes songs on acoustic guitar).  To find out Beck's connection to Metallica, though, you'll have to listen to the radio show. Songs in this week's radio show: Thank you for buying the music from the bands in this week's radio show. Your purchase shows your support for them and for this program. We appreciate you. Amazon links are in the phrase and iTunes links follow. Greensky Bluegrass (limited edition vinyl available directly from the band HERE) Handguns [Explicit] "Don't Lie," "All Four," "I'd Probably Kill You" The Beatles Sgt. Pepper's Lonely Hearts Club Band "Fixing a Hole" Todd Snider Agnostic Hymns & Stoner Fables "New York Banker" Railroad Earth "Long Walk Home" The Best Of The Staple Singers "Unlock Your Mind" Infamous Stringdusters Silver Sky  "Fire"

The Brothers Comatose  bring a lifetime of rock appreciation to their string band. Bouncing between traditional and progressive numbers, their instrumentation lumps them into the "bluegrass" tent, but their folk and rock sensibilities keep the party going. Their instrumental, "Pennies Are Money, Too," would get nods from even the most rigid bluegrass traditionalists. Comprised of two real-life brothers and their three buddies, The Brothers Comatose share stages at festivals and music halls with a variety of fellow band-friends. They intentionally join and create bills with bands who keep the same energy, but musically vary from their style. They partner with neo-soul and roots rock friends, to keep the evening diverse and interesting, but still upbeat and dance-able. Rarely--even at the mellowest festival--will you see people sitting down at a Brothers Comatose show. Creatively, The Brothers Comatose develop the roots of their songs individually, then expand the instrumentation together. On their last record, they used actual "live takes," but the odd part of recording music is that a "live" sound is not captured through "live" methods. On Respect the Van, they continued to strive to capture the live sound, this time using the quirks of the recording process to create a sound that feels more live. Got that? Buy music from The Brothers Comatose! Support the band and this radio show using these links (Amazon in the phrase and iTunes in parenthesis): The Brothers Comatose Respect the Van "Modern Day Sinners," "Feels Like the Devil," "Blackbirds" (The Brothers Comatose on iTunes) Weezer Weezer (Rarities Edition) "Jamie" (Live and Acoustic) (Rarities Edition: Weezer on iTunes) California Honeydrops Soul Tub! "Soul Tub" (Soul Tub! The California Honeydrops on iTunes) Justin Townes Earle Nothing's Going to Change The Way You Feel About Me Now "Memphis in the Rain" (Nothing's Gonna Change the Way You Feel About Me Now - Justin Townes Earle on iTunes) The Kinks RCA Years "Slum Kids" (take 1)(The Kinks: RCA Years (Box Set) on iTunes) Lake Street Dive Lake Street Dive "Got Me Fooled" (Lake Street Dive - Lake Street Dive on iTunes) Nicki Bluhm and the Gramblers I Can't Go For That (Van Sessions) is a free download on their website. Buy their current album here:Driftwood (Driftwood - Nicki Bluhm on iTunes) The Good Luck Thrift Store Outfit The Ghost of Good Manners "Classy" (The Ghost of Good Manners - The Good Luck Thrift Store Outfit on iTunes)

Kevin Gordon's album, Gloryland, explores the blues side of roots music, with lyrics that would make the Drive-By Truckers jealous.  Gordon grew up in Monroe, Louisiana, and although he has been away for decades, the reality of life there and the people he knew bring grit to rural life without glorification.  Glorylandis not about redemption or salvation, and definitely not about glossing over the seamy and sadistic side of life in the deep South. Gordon has an advantage over many songwriters, in that he earned his Masters degree in Poetry while studying in Iowa--but the leverage is less in writing and more in his extensive reading and weekends on the road touring the upper Midwest with his friend Bo Ramsey after escaping The Compound.  Those miles tracing the routes of Chess Records' legends helped Gordon hone his tour skills, refining how to perform as a solo act, make money on the road, and get his music to people.  Eventually, Gordon realized that music, and not poetry, was his muse, and he needed to relocated to a music town--East Nashville. The music industry makes Nashville a natural place for many musicians, but it's the music community of East Nashville where the real creativity happens.  Songwriters and players from many genres, particularly the Big Tent of roots music, live and work in this funky part of town.  With constant interaction with other creative minds, and neighbors who face similar work-life challenges, the vibe of East Nashville keeps writers like Gordon active and moving forward with his craft.  It's not just "hit makers" here, but artists. Songs in this radio show include: Kevin Gordon Gloryland "Gloryland," "Bus to Shreveport, "Don't Stop Me This Time" X Under The Big Black Sun "Under the Big Black Sun" Marshall Crenshaw Definitive Pop (Mcup) "Cynical Girl" (Loose association on this selection--Garry Tallent, mentioned in the conversation, produced Crenshaw's version of the Buddy Holly tune, "Crying, Waiting, Hoping," on this same compilation, but with the discussion of Gordon's teenager and a pop sound, rather than choose a Ron Sexsmith tune, the lyrics to this song appealed to me for some reason--a bit random, but a wayward branch on the musical family tree.) Eddie Cochran Live & Dangerous "Milk Cow Blues" Ray Charles Lonely Avenue Hits "What'd I Say, Parts 1 and 2" Mike Farris Salvation in Lights "Streets of Galilee" (Joe McMahan plays guitar on this album, and I wanted to bring in the blues-rock fusion that Gordon perfects in a more secular form) Buying songs with these links supports the musicians and this radio show.  Thank you.