Word on the Street | Tamara Saviano

Hello and welcome to a new episode and a new year Americana Podcast listeners. We’re so happy to be back and we have a very exciting episode for you today to celebrate the new year. I’m particularly excited for this show because it really brings us to a full circle moment in the history of this podcast. From long-time audience members to latest episode listeners, you know that every episode features a  break in programming to feature the wonderfully written recommendations from our friend and contributor Will Vogt. Will has been with us since the very first episode of the show and has been on the ground floor for many artists—kindly sharing with our audience who he’s been listening to during his segment. Which brings us to this episode’s guest- Hiss Golden Messenger. 

One of the first picks Will ever submitted was one detailing the works of M.C. Taylor, aka Hiss Golden Messenger. A native of California but long time North Carolina resident, Hiss Golden Messenger brings together the elements of soul, rhythmic rock, blues and experiential lyricism. His punk-rock DIY acumen combined with an elevated style of songwriting has garnered praise from both fans and critics alike, as well as grammy nominations. And since his first ever feature as a Will’s Pick, I can biasedly say he’s one of my all time favorite artists working in the Americana scene today. 

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We have a very special guest in this episode. Today, we're diving into the rich tapestry of the extraordinary songwriter, Gretchen Peters. Growing up next to the legendary Greenwich Village folk scene, before moving to Colorado where she cut her teeth as a performer, and finally settling in Nashville at the height of the traditional country to pop country split in the 90’s and early aughts. Peters’ story is something that music journalists and authors could only dream of living. And during all this time, she has etched her name into the annals of American music history with her poignant lyrics and haunting melodies.

In the early '90s, Peters released her debut album, 'The Secret of Life,' which quickly garnered attention for its lyrical depth and Peters' distinctive, emotive voice. Throughout her illustrious career, Peters has penned songs that resonate with a raw, emotional honesty and capture complexities of the human condition. Her songs have been cut by the likes of Martina McBride and Trisha Yearwood, and has been a longstanding advocate for musician’s rights in an increasingly complicated industry that looks more and more like a battleground everyday. 

Having recently retired from touring, it’s time to take stock of  Gretchen Peters' immeasurable impact on music. Her dedication to storytelling has earned her a place among the most revered songwriters of our time. So join us today as we speak with Gretchen Peters about her serendipitous career, women’s music in country and Americana, and whether or not there really is a difference between being a songwriter and being a performer. 

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It's time to break out the party hats and pop the champagne because the Americana Podcast is celebrating its 4th anniversary! For the past four years, this podcast has been a leading voice in the Americana music scene, sharing interviews, stories, and music from some of the genre's most talented artists. And in our tireless efforts to promote and celebrate the diverse range of sounds and styles, we’ve made plenty of memories and laughter along the way. We’ve strived to provide insights into the creative process, the challenges of the music industry, and share the rich history and culture that inspires Americana music. In order to celebrate this fun little birthday of ours, I’m very pleased to invite you to a live panel recording we did at the Arcadia Live in Kerrville Texas!

Moderated by Tamara Saviano, Americana Podcast welcomes Robert Earl Keen, Bruce Robison, Richard Skanse, Jamie Lin Wilson, Dr. Ian Peddie, and Clara Rose to talk about the history and future of Americana music. With special live recordings by Terry Allen!

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It seems we’re back in that strange space in time where there are days that can 70 degrees and sunny and beautiful. The birds are singing and the blossoms on trees are beginning to light up the branches like a holy and natural Christmas lights… and then the next day we’re right back into the holds of a winter that every year seems to overstay its welcome. You get a taste of that warmth in your bones, and it’s just enough to whet your appetite for all the things that feel so far away… long walks outside, swimming, afternoons on restaurant patios with friends… and the sun not setting at 4:30 pm. 

It's like a brief kind of nostalgia. We know that these things were within our grasp just few months ago but a few months darkness is enough to make it feel like it’s been that much longer. And it’s in this liminal space, it’s nice to reflect on some of the things that reminds of these warmer points in time.

Its in the sunshine and humid air of the summer of 2022 that we sat down with John R. Miller and Chloe Edmonstone. John is a singer-songwriter and West Virginia native, orginally from the Shenandoah Valley. A long-time songsmith, Miller has been running in the Appalachian circuit for a few years before settling in Nashville. His first studio album “Depreciated” was released in July of 2021. Miller’s songwriting style is as natural as flowing river and and is backed by voice that has a crackling warmth to it. It is friendly and picturesque, even in his darker moments across the album. Backed by harmonies and almost familial sounding fiddle playing by Chloe Edmonstone (who was a founding member of the group Locust honey)- the album is all parts familiar and strange. 

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It’s a new year Americana Podcast listeners! And with a new year, means new discussions on what makes Americana… well Americana. When we look at this genre, we talk a lot its history and its future. And over time we’ve been able to piece together this ongoing timeline and certain elements that are key to its existence. Base influences in songwriting, certain instrumentation, and geography. If you’ve been a long-time listener, you know that many of our previous guests have attributed a great deal of their musical identity to where they learned music from. 

This of course is a holdover from the new world mentality in the west, where many genres developed due to particularly regional and social integrations over extended periods of time. When looking at Americana we are specifically looking at the European folk trad to bluegrass, blues to rock, and then rock and bluegrass to country as we know it today. That’s a lot of words to basically say the place that you identify as home, has as significant of an effect on your musical education as who’s albums you choose to listen to growing up. 

And Kentucky aside, some of the artists that know that best are from Texas and Oklahoma.

There’s a lot of opinions on the state of Red Dirt Music and Texas Country. Developing as sub genres in the late 80’s to early 00’s, this very regional brand of music came up in response to commercial country. And I’m not talking Florida Georgia Line commercial, I’m talking Tim McGraw commercial. Whom we love. 

There’s a lot of ups and downs and opinions in the overall conversation but the general one is that Red Dirt and Texas Country became a space for outsiders beyond the Nashville standard. Piggybacking off of the outlaw movement and the historical legacies of artists, particularly Texas native Willie Nelson, these scenes were able to flourish in their respective regions and began to go a bit beyond. They were in a position to challenge the value of industry effect in radio versus organic growth in listenership. They developed loyal followings, local radio play.... The works. But due to a long series of unfortunate commercial circumstances, the scenes have presently been relegated very much south of the red river. 

And I could go on about this, but fortunately on this episode you can hear it straight from the quarter horse’s mouth. 

Americana Podcast speaks with the artists who possibly have the most pertinent opinions on the state of Red Dirt and Texas Country and their weight in the views of Americana music. On this episode we have musical and actual giant Ray Benson from Asleep at The Wheel. Defender of the Dance Hall Randy Rogers, Okie not from Muskogee Jason Boland of Jason Boland and the stragglers, young blood William Beckmann, whip smart Wade Bowan, and philanthropist at heart Josh Abbott. Saddle up and enjoy the show. 

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Many would know Vince Herman as the guitarist and primary lead vocalist and songwriter of the renowned jam band, Leftover Salmon. Herman has been playing professionally since the late 80’s and, Leftover Salmon aside, also formed and played in ever-evolving project group Great American Taxi. Between the two bands, Herman has recorded over 10 albums and has toured the world over, whilst simultaneously developing his festival guru persona. 

Sometime in 2021, Vince Herman moved from Colorado to Nashville, TN where he took on a totally new project… himself. 

Partnering with renowned producer Dave Ferguson, as well as a myriad of friends and session players- Herman embarked on his first ever solo album. Released November 18, 2022- “Enjoy the Ride” explores the nuances and roots of country and Americana music as Herman has known and experienced it through his life. Everything from cajun influences to bluegrass picking can be found, but it is undoubtedly all Vince Herman. Once and for all. 

So join us today as our host, Robert Earl Keen goes song by song with Vince Herman. Exploring the parts that make up a musical life and identity. 

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Born in Kenosha, Wisconsin but raised in Tupelo, Mississippi, Paul Thorn has had quite the roundabout career. Son of a Pentecostal preacher, Thorn wasn't allowed to indulge in music outside of the church, but honed his skills early on within its walls. Thorn worked as everything from a professional boxer to a furniture manufacturer before being discovered by famed manager Miles Copeland. In 1997, Thorn released his first record Hammer and Nail  and has been on the road ever since. 

Paul Thorn's stage career began opening for Sting, and since then he has played with other greats including but not limited to, Mark Knoplfer, Jeff Beck, Richard Thompson, and John Prine. in September 2021, Thorn released his latest album Never Too Late to Call. 

On this episode of Americana Podcast, Thorn discusses getting sober, his upbringing, Elvis, writing  and more. 

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There are four types of discourse in language- descriptive, narrative, expository and argumentative. And it seems that all four of those are readily present in any niche interest group on the internet these days. Anything from the way a machine works (descriptive), the exact timeline of Tolkien's world building (narrative), someone breaking down the latest universe development in a comic-book based film (expository), and argumentative which that one goes without example. If you need one, go to twitter.

On the note of argumentative, some may disagree with this next statement, but the difference between good discourse and bad discourse depends on the presence of resources. Resources establish credibility in ones' opinion and or points. They inform subsequent works, and if you're bibliography and research nerd, they are excellent road maps to other sources of information that you can sink your teeth into. Really exciting stuff, I know. But, when those resources aren't made readily available, that's where discourse breaks down. Without them, there's a few formal problems, like credibility and the questioning of objectivity. Mainly, the problem- is without resources how were you able to effectively formulate your contribution to the discussion at hand, and why should others participate with you.

One of the key ways we talk about music with musicians, is by asking about their influences. Influences tell us so much about who we're speaking with and how they developed.They give us a way to describe an artist's sound. Influences tell the story of formative discovery. They give us a timeline of the kinds of music that shaped an artist in different eras. Influences allow us to argue what was ultimately important in flows of time and culture. See where I'm going with this? Musical influences are just one part, but a big one in terms of musical resources.

Artists don't owe us that information. We know that. "What are your influences?" Is a boring question and its asked in pretty much every interview. They can keep their secrets, but its nice when that door is open.

Which brings us to this episode's guests- The Boxmasters. The Boxmasters is made up of Bill Bob Thornton and JD Andrews. Thornton and Andrews in 2007 when Thornton brought in Andrews as a sound engineer for his 2007 record "Beautiful Door".  The two found that the had similar approaches and views of music and started playing together somewhat regularly. After some time, the two began recording and eventually created their band "The Boxmasters" the name comes from southern slang referring to a hotshot with echoes of Porter Wagoners "The Wagonmasters" which Thornton had previously played in for a time. Since 2007, the group has toured extensively with the likes of Willie Nelson and Ray Price, taking a break between 2010-2015 where they reconvened to make the record "Somewhere Down the Road". The released their latest album "Help Im Alive" in April of 2022 (when this interview was recorded).

The Boxmasters do not shy away from their influences and what the build their sound on. Pulling from groups like The Beatles, The Rolling Stone, Mott and the Hoople- the duo works to echo the sounds the personally loved from the 60's and 70's- whilst also giving it a somewhat more southern edge with original lyrics.. all topped off with classic Bakersfield like production. And neither Andrews or Thornton will shy away from telling you as such.

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If it’s one thing that we love here at americana podcast, it is the concept of the artistic process. We’re not alone in this, it seems that when anyone speaks about artists, musical, visual, conceptual- you name it- one of the first things people will go into or ask about, is how a piece of art came to exist.

We’ve been doing it for three years on this show. 

And even when you ask an artist “how did you do this?” There’s no guarantee you’re going to get a straight answer. If anything, in the interest of mystique- you’re more likely to be left with more questions about creation than you are to be given clarity. 

Our curiosity about the subject is inherently curious. If it present, if it already exists for us to view, or listen to or think about, why do we care how it got there? 

That feels like a much deeper question that a philosopher would probably be able to answer. But as a semi-professional music lover with a microphone, I think it’s because the artistic process reminds us that art, no matter it’s shape, is still inherently human. That it is subject to the time, and strengths, and limitations, and abilities of the one who makes it. The artist lives a life, inherently creates based on that experience, and then puts those creations out into the world to say “I’ve made this”.

It’s a very human process. And even when it’s difficult to like humanity, it is easy to love that which reminds us that we’re still human. 

On today’s episode, we welcome an artist who embraces that humanity and pursues creation and the artistic process. Enough to have made 34 records so far in his career. Jim Lauderdale, a native of Troutman, South Carolina released his first record in 1991. A natural collaborator, he’s worked with the likes of Rodney Crowell, Buddy Miller, Nick Lowe, and Roland White. And he’s had songs cut by everyone from Elvis Costello to George Straight. And like anyone in the music industry, he’s had ups and downs. And he’d be the first to tell you. 

In just a few moments of being in a room with Lauderdale, it is difficult not be struck by his kindness and forthcoming nature (he’s also a bit of a prankster, I found out the hard way). 

So Join us on this episode as our host Robert Earl Keen, speaks with Jim Lauderdale about the artistic process, the documented phenomenon of “the Jim Lauderdale effect”, and more.

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Over the course of nearly three years, we at Americana podcast have spoken with a wonderful collective of artists and industry professionals alike about the workings in and of this ever expanding umbrella of music we lovingly refer to as Americana music. Parts of that discussion have at times touched on its history- but we have never really broached the subject of its early days and what that entailed. And who exactly was there at the beginning. 

With that in mind, we’ve decided to shake it up a bit and welcome longstanding Americana advocate and friend Rob Bleetstein. Bleetstein in casual circles, is a music lover. A long time ticket collecting, road junkie, band following fan if there ever was one.  Which all tracks for an original deadhead mind you- but he’s not someone stuck completely in the past either. Driven by just the desire to hear good music- there isn’t an artist old or young on the scene that he seemingly doesn't already know about. And if you happen to somehow introduce him to someone he hasn’t heard of- he’ll send you what can only be described as an essay or a review of his thoughts on their first two records in addition to the direction their heading with their next one. You can’t beat him. 

Professionally, Bleetstein’s credentials range from publicist, archivist, and currently producer and host on Pearl Jam Radio and the Grateful Dead Channel on Sirius XM. What he is to Americana as a genre though… well he was one of the early, if not original adopters of the term when he worked at the Gavin Report in the 90’s. Rob Bleetstein is not only a music lover- but a true music shaper. 

So Join us as our host Robert Earl Keen speaks with Rob Bleestetin about the early days of Americana, his experiences as a long-time music lover, his contributions, and what’s on the horizon of the genre

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