Jeff Black is one of our absolute favorite Nashvillian singer/songwriters. Check out Jeff's Special Christmas Podcast here - and if he is new to you, we encourage you to visit his website sometime to get better aquainted!
In the coming days, we'll post Folk Alley staff and host's Favorite CDs of 2008 on this website, but if you'd like to see a preview, snapshot sampler of our individual lists - check out the the NPRMusic website. There you'll see 10 examples of our Top Picks of the Year, as submitted by Chris Boros, Ann Verwiebe, Jim Blum, Doug Hite (Jim Blum's trusty production assistant) and me.
To see our Top CD Lists from 2007 and 2006 - click here!
We are very saddened to annouce the passing of the great folk blues legend, Odetta. She was 77 years old. Odetta had recently been hospitalized in New York City for kidney failure, and succumbed to heart failure on Tuesday.
On a personal note, I will remember the first time I met Odetta at the Town Hall Theater in NYC, when I was booking the musical guests for A Prairie Home Companion. As soon as she walked through the door for sound check that day, her commanding presence and energy filled the room. She was a strong, funny, wise and gracious woman.
Here's Odetta's obituary sent from her record label - M.C. Records:
Odetta was born in Birmingham Alabama, Dec. 31 1930.
Her father, Reuben Holmes, died when she was young, and in 1937 she and her mother, Flora Sanders, moved to Los Angeles. Three years later, Odetta discovered that she could sing.
She found her own voice by listening to blues, jazz and folk music from the African-American and Anglo-American traditions. She earned a music degree from Los Angeles City College. Her training in classical music and musical theater was "a nice exercise, but it had nothing to do with my life," she said.
In 1950, Odetta began singing professionally in a West Coast production of the musical "Finian's Rainbow," but she found a stronger calling in the bohemian coffeehouses of San Francisco. "We would finish our play, we'd go to the joint, and people would sit around playing guitars and singing songs and it felt like home," she said.
She began singing in nightclubs, cutting a striking figure with her guitar and her close-cropped hair.
Her voice plunged deep and soared high, and her songs blended the personal and the political, the theatrical and the spiritual. Her first solo album, "Odetta Sings Ballads and Blues," resonated with an audience hearing old songs made new.
Bob Dylan, referring to that recording, said in a 1978 interview, "The first thing that turned me on to folk singing was Odetta." He said he heard something "vital and personal," and added, "I learned all the songs on that record." It was her first, and the songs were "Mule Skinner," "Jack of Diamonds," "Water Boy," " 'Buked and Scorned."
Her blues and spirituals led directly to her work for the civil rights movement. They were two rivers running together, she said in her interview with The Times. The words and music captured "the fury and frustration that I had growing up."
Her fame hit a peak in 1963, when she marched with the Rev. Dr. Martin Luther King Jr. and performed for President John F. Kennedy. But after King was assassinated in 1968, the wind went out of the sails of the civil rights movement and the songs of protest and resistance that had been the movement's soundtrack. Odetta's fame flagged for years thereafter.
In 1999 President Bill Clinton awarded Odetta the National Endowment for the Arts
Odetta was married three times: to Don Gordon, to Gary Shead, and, in 1977, to the blues musician Iverson Minter, known professionally as Louisiana Red. The first two marriages ended in divorce; Mr. Minter moved to Germany in 1983 to pursue his performing career.
She was singing and performing well into the 21st century, and her influence stayed strong.
The critic called her "a majestic figure in American music, a direct gateway to bygone generations that feel so foreign today."
It's that time of year to reflect back on all the great music released in 2008, and to compile our annual "Best Of" lists. We'll be posting our individual Folk Alley staff picks on the website soon, but this is the place for you - the Folk Alley audience - to tell us your favorite new CDs released in '08 (so far), your favorite new musical discoveries (e.g. new artists or bands that you recently discovered,) or how about your favorite new songs of the year?
Please add your favorites for 2008 below, and help us build our Best of 2008 Side Stream that will be available on-demand at the end of December and through the month of January.
Let's hear 'em!
To help refresh your memory, see below for a list of (most of) the new music added to Folk Alley in 2008..
Kelly Mulhollen and Donna Stjerna are Still On The Hill. They are from the Ozarks and have been creating quirky and creative traditionally based music for years. Recently they began quizzing their audiences to see if anyone knew of any interesting backwoods people with untold stories. They received enough suggestions for a dozen albums.
They discovered Clara Byler, a woman from Batesville who began collecting coffee mugs and tying them to a tree in her front yard. This was creative therapy for Clara who learned that her son was dying of AIDS. They learned about Jessi Jones who made banjos and could whittle wood chains 20' long. He told them a funny story about 7 pies. You'll hear it on Folk Alley. Through this album you'll discover the talents of an ex-slave stonemason named Willie. Somewhat forgotton, his grave now has a proper tombstone commemorating his efforts. Then there is Coin Harvey who wanted to build a pyramid to warn future civlizations not to make the same mistakes.
Kelly and Donna's research generated enough interest that they received a grant to complete the project. They have captured a part of the history of their region and made it into a musical documentary that we can all be proud of. Reading about and listening to Ozark: A Celebration in Song is an enlightening experience and should make you curious about the untold wonder in your own neighborhood.
Greensky Bluegrass is a contemporary bluegrass band based out of Kalamazoo, Michigan.They won the best new band contest at Telluride in 2006 and have been opening for groups like Sam Bush, Ralph Stanley, and the Flecktones.
What does that mean, anyway - contemporary bluegrass? Well, the group features bluegrass instruments: banjo, guitar, mandolin, dobro, and upright bass. They can sing high and lonesome if required. What separates them from most traditional bands is that they write and perform their own songs. More significantly, they cover topics usually not included in the standard fair: accepting the natural decline of life ("Old Barns"), a reflection about personal sacrifice for the good of others ("Reverend") and a zen appoach to making decisions ("Against The Days").
The chord structure is thoughtful as well, and the arrangements often allow for solo improvization. Musically, any of these songs are worth hearing, but the fact that they bring up these topics makes them worth hearing over and over. The heart is drawn to appearances, but it's the mind that falls in love. These songs stay with you.
The only knock might be the production values. The levels aren't well mixed. The vocals don't stand out above the instruments and the instrumental solos don't stand out against the rhythm section. I saw them live and noticed the same thing, so perhaps this is the sound they are going for. Either that or this is the sound producer Tim Carbone (Railroad Earth) likes. Tim has produced their last two CDs. It might be time for a set of outside ears. That's all Greensky needs to get to the next level.
You've heard them on A Praire Home Companion over 3 decades, but you might still see them at a house concert. Despite being the most familiar artists on Garrison Keillor's radio show, Robin and Linda are as genuine and as down to earth as your favorite aunt and uncle. On top of that they are musical poets.
The album begins with a marvelous observation about successful relationships. The best couples give each other freedom which only makes their bond stronger. ("Tied Down, Home Free"). The Williams are also not hesitant to tackle controversy. "I'm Invisible Man" discusses the homeless, raising the point that not everyone is on the streets because they didn't try. Robin told me in our recent interview, which you can hear on Folk Alley, that homelessness, usually ignored, will soon be our problem like it or not. There is also a testimony to famous instruments which you can see in the Country Music Hall of Fame ("Maybelle's Guitar and Monroe's Mandolin.") Though the heroes have left us, their tools remain, and seeing them behind glass is like witnessing the results of an archeological dig.
Like fine wine, Robin and Linda just keep getting better. Producer Tim O'Brien, who plays on almost every song, respected their material, and coaxed the best out of his performers.
There is plenty of variety in the subjects covered, the instruments chosen and the arrangements created. Ask for this bottle of Robin & Linda Williams, as you'll find something to go with any meal.
Born in Iowa, Lindsay Mac has quite a resume of the places she's been. She has studied at the Interlochen School for the Arts, The Royal College of Music in London, the San Francisco Conservatory, The Berklee School of Music in Boston, and Dartmouth College, where she studied medicine. She has also been a ski patroller in Utah and lived in a cabin with a wood stove. Needless to say, she has some life experiences to draw from.
Not too many songwriters accompany themselves on cello. Even fewer are women.
That makes Lindsay Mac pretty special. She is not a gimmick however; Lindsay's songs
hold up and she delivers them with flair.
"Faith" reveals the story of two people with entirely different backgrounds, one wealthy and one not. Both are miserable, but have high hopes. Why? Mac is hoping you'll figure it out.
"Does She" crys out with emotions we've all worked through - the wonder about our replacement in a broken love affair. We learn about a young man's dreams, and how they were changed by a well trained army recruiter ("His Dreams"). There's even a Beatle tune, "Blackbird," and if you listen closely, you'll hear the sound of the imperfections of a vinyl record skipping to the beat. Lindsay must be too young to remember that sound, but you may remember wishing that the skip would join the beat. Here it does.
Some of the songs are too personal, and sometimes Mac's delivery is a bit strident, but the songs above are top shelf, and seem too grow better with each listen. That usually means there was a lot there to begin with.
Why Workshops Work (25 Kent State Folk Fest Sessions are Different)
November 18, 2008
Years ago as a kid I heard Al Bartholet talking about the Kent State Folk Festival on the radio. Ready for something different I decided to go. Much to my disappointment the concerts were sold out, so I went to the free workshops. To many, a workshop means you bring your instrument and sit in on a group lesson. Not at Kent State. These workshops are more discussion/illustration and often focus on themes. Stage/audience barriers are gone and it's easy for a surface interest in folk music to become infatuation.
There are 5 per hour covering 5 hours. You cannot get to all of them, though I tried.
Rio Neon offered "Re-arrangements." The five piece band showed how they take an existing song and change it to fit their group. They played a recording of the earliest version of the song and then they performed it their way. It was fascinating and there were lots of questions. The Rhondas demonstrated harmony as Jen Maurer coaxed the audience into singing the three parts.
Several from the Folk Alley music library led sessions. Jann Klose and Adam Klein held a discussion about "Performing Abroad." Jann is from Germany and Adam has lived in Mali and worked with the Peace Corp. Chris Castle joined Matt & Shannon Heaton for "Folk Alley Networking." The three explained how they used Folk Alley's Open Mic website feature to gain exposure and then to find work around the country. Matt & Shannon also presented "Anatomy of an Irish Session" and filled in for Alex Bevan with "Making Your Own CD"
There WERE some opportunities for beginning players. Woodsy's Music guitar instructor Kerry Kean talked about "Effective Practice." Another Woodsy's teacher, Dale Galgozy, offered "Instructor/Student Dynamics," cleverly presenting two teachers and two students allowing the audience to witness the interaction. Despite what I said earlier about these workshops being mostly demonstrational, I see the festival presenting more opportunities for attendees to actually play, likely in an organized jam setting.
One of the best sessions was "Bluegrass and Old Time, What's the Difference?" Hillbilly IDOL guitarist, Paul Kovac, had a bluegrass banjo player and a bluegrass fiddler standing to his left and an old timey fiddler and banjo player seated to his right. He played with both sets of players. Paul compared the differences and similarities to Democracy and Socialism: "Old Time music is like socialism. Everyone plays in unison, and takes pride in the group effort. There is no required beginning or end to the tune and often no one sings. Bluegrass is like a democracy. The songs are very structured but individuals can show their own personality through improvisation." Paul then added, slightly tongue in cheek: "The problem with Bluegrass as a democracy is that everyone gets their chance at a solo whether or not they have anything brilliant to add."
The Kent State Folk Festival workshops are an introduction. They are a means for anyone to develop more of an interest, plus they are loads of fun. Since they are free, there is no barrier to entry.
Often a musical moment finds you in the strangest ways. Last Sunday while watching my newest favorite HBO series, True Blood, with my stepdaughter, I heard a familiar voice and a familiar tune. The voice, unmistakably Dr. John, the tune I knew, but I couldn't place it immediately. And then it hit me like a brick. It was Dr. John doing John Martyn's "I Don't Want to Know." Wow. John Martyn - one of my musical heroes from college radio, when I play albums like Sold Air quite often and absolutely loved his work. Later, when my radio career took me to Macon Georgia in the late 70s, I saw John warming up for Eric Clapton and to be honest, I felt like I was the only one who knew who John was in Macon. So, after I gathered myself, I went immediately to YouTube to see what I could find. I was saddened to see that life and time has not been kind to John.
In February, John received the BBC Radio 2 Folk Award for his lifetime of achievement. The award was presented to him by his old friend Phil Collins and he was later joined on stage by John Paul Jones who played mandolin with John.
John has a vocal style that is so soulful and doesn't mask the pain he has suffered in his life - it's chilling at times. His guitar playing is unique, in fact years ago I discussed John's style with Michael Hedges. While we were driving to Kent to produce a television show, Michael told me that John was his favorite guitarist and one of his major influences (which, in a way, wasn't too surprising). So we listened to John's music most of our drive together.
I've offered two videos to remind us that John is still hanging in there making music with the same passion. Here's to you John!
Mark Erelli's latest project is multi-faceted. The production varies from solo acoustic to a fully electric 5 piece band. There are two very long songs, while others pass by in an instant. He writes about Iraq and personal failures, and features songs inspired by abandoned farms and Studs Terkel. His somewhat raspy delivery is full of insight as you discover new ideology and find yourself thinking twice about the things you previously believed in.
Take for example the album's first song: "Hope Dies Last," inspired by Terkel's book of the same name from 2003. Mark lists examples of recent events in our lives, and wonders if we are NOT improving. It's hard to disagree. He sings of blame in "Volunteers," the story of a national guardsman who volunteered for duty but was among the first to be accused, along with other soldiers, when the war in Iraq became unpopular. The album's best may be "Unraveled," a road song full of angst, alliteration, and decision. The arrangement is a mix of contemporary and traditional, with guitar, harmonica, drums, and banjo.
There is a note on Mark Erelli's one-sheet about a "change in direction." Though Mark is now a father, the change is implied to be musical, but the same vision and savvy still emanates from him; I don't think he can change that.
A few years ago I interviewed Pete and I was told beforehand that he would not sing or play. Yet, he brought his banjo to the interview. Ten minutes later he was singing and playing. He also said that he would refuse to participate in the three Appleseed Tribute albums --- until they were being recorded. He's on all three of them. Even though he claims he cannot sing anymore and that he struggles to play, he cannot stop, and we are all the more fortunate. He's trying to be considerate, but I think he knows we still crave him.
He does have a lot of help, however. A large group of family and friends, likely unknown outside his Hudson River Valley, handle the bulk of the singing, and are often featured in choral sing-alongs. Sometimes these arrangements come off a little "stagey," but they all have strong messages delivered with courage. Pete does play the banjo well and is featured on several solos.
On "At 89" he deliberately sings, plays, and talks. He is candid and as sharp as always. He is disturbed by what he sees, and though forever hopeful, Pete now has serious doubts about the future of the world. I fear that world without him.
Australian Kasey Chambers has fluctuated between rock, pop, folk, and, bluegrass. Despite these swings, she has drawn a different audience with each style presented, and remarkably kept another audience which favors everything she does. With "Rattlin' Bones" she is at it again. Now teamed with partner (and husband) Shane Nicholson, we have an album of Americana duets. On top of that, they are all original, and they are all strong.
The album's lead track offers and example of poetic personification with Nicholson talking to sorrow as if it was another person standing there. "Once in a While" is a bittersweet wish to be remembered positively despite falling short in a lover's eyes and heart: "...If I'm not what you wanted, I hope I gave you a few smiles." The song "Monkey on a Wire" separates a person from their desires, difficult for most of us to consider. "Wildflower" urges lovers who may be different in age not to give up: "She's a wildflower; he's an old man."
All of these gems are acoustic with a full complement of players (mandolin, banjo, dobro). All of them are bouncy and fun, even the sad ones are a joy to hear because of the connections you make with them.
Years ago we thought it was strange when Johnny Cash recorded versions of his most famous songs in foreign languages. It was even stranger to hear of bluegrass bands from Japan, Italy, Russia, and the former Czechoslovakia. More recently, the Scottish band Shooglenifty recorded a live album in Mexico City. Perhaps it's not strange at all. There are audiences everywhere who appreciate and enjoy traditions outside their own, and these same individuals realize that they have the power to refuse the pop-pabulum that is being served through conventional commercial broadcast. You can turn off the ordinary and search for the unique. Today the internet (including Folk Alley) makes those searches even easier.
That's a long way of saying that having a Swedish group Vasen, (pronounced "VEH-sen") record a live album in Japan may not be odd after all. The audience cheers them on like they were at a sporting event. The sound of the fiddle or viola (Mikael Marin) and the three row chromatic nyckelharpa (Olav Johannsen) is exciting and dramatic even if it is new to your ears. A whole album may be a little same-sounding, but a number of these tunes will really spice up our mix and yours.
The 60's folk revival was centered around two locations, Greenwich Village in New York City and Harvard Square in Cambridge, Massachusetts. At the heart of the Harvard Square scene was a small coffeehouse called Club 47, currently known as Club Passim.
On Friday, October 24 at 8 a.m., Noon, 8 p.m. and Midnight EDT (GMT -5) Folk Alley presents a "Club Passim Turns 50" - a radio special, produced by WGBH in Boston, celebrating this important folk music mecca. The special mixes interviews with performances by many of the singers and musicians who played an active role in the development of the Club 47 and the 60's folk revival. Peter Rowan, Geoff Muldaur, Carolyn Hester, and Bob Jones are just a few of the many voices that tell the story of the Club 47's humble beginnings, its legacy as a launching pad for artists like Joan Baez, Bob Dylan, Tom Rush, and Taj Mahal, and the birth of a new American bohemianism.
Recorded at the Brattle Theatre in Harvard Square on the 50th anniversary of the day the Club 47 opened in 1958, the program (in the best of folk traditions) is an oral history of a time that was indeed "a changin'".
While they were passing through town, Robin & Linda Williams (and Their Fine Band) took a small detour to come into the Folk Alley studios and record a Folk Alley Extra. As they were setting up, I took some video with my new camera (an RCA Small Wonder, which has a flash drive and takes really low-res pics - I broke my last camera, so I'm simultaneously going high and low tech with the new one). Hear a song from their new album Buena Vista (and check it out when their dog walks through the room - he's so cute)!
Fotheringay 2 - The Lost Second Album - Jerry Donahue Interview
October 14, 2008
When Sandy Denny left Fairport Convention in 1969, she formed the band Fotheringay. They made one highly regarded album in 1970 and split up due to Sandy's decision for a solo career. Before they called it quits though, the band were working on a second album, but it was never released - until now. Thirty-five years later, Fotheringay 2 finally sees the light from Fledg'ling Records. Taken from the original master tapes, this new recording is superb with crystal clear quality. Highlights include the first recorded version of Sandy's "John the Gun" and a rocking interpretation of the traditional "Eppie Moray." Recently, I spoke with guitarist Jerry Donahue about the production of this new album, along with the history of Fotheringay. Listen to the exclusive story and interview below with many sound samples from this new album. Check out the rare video clip too of Fotheringay in action from 1970.
Listen: Exclusive Fotheringay 2 interview with Jerry Donahue:
The newly formed partnership between Jamie Dailey and Darrin Vincent picked up a whopping six IBMA Awards from the International Bluegrass Music Association for their debut effort. Included in their stack were prizes for Entertainer of the Year, Vocal Group of the Year, Male Vocalist of the Year (for Dailey), Album of the Year, Gospel Recorded Performance of the Year and Emerging Artist of the Year.
Shocker of the year was Dale Ann Bradley breaking Darrin's sister Rhonda's hold on the Female Vocalist of the Year title. Instrumental Group of the Year went to Michael Cleveland & Flamekeeper, Song of the Year to Blue Highway's "Through the Window of a Train," Instrumental Album of the Year to Sound of the Slide Guitar from Andy Hall and Recorded Event of the Year to Everett Lilly & Everybody and Their Brother (which, looking at the list of participants, is an apt title).
Instrumental titles went to Kristin Scott Benson for banjo (becoming only the third woman to win an IBMA instrument award), Barry Bales for bass, Michael Cleveland for fiddle, Rob Ickes for dobro, Josh Williams for guitar and Adam Steffey for mandolin.
Kingston Trio Founder Nick Reynolds Passes at Age 75
October 3, 2008
Nick Reynolds, a founding member of the legendary '60s folk group the Kingston Trio, died Oct. 1 from complications following surgery. The beginning of a pop/folk movement in the late '50s that used banjos and acoustic guitars to back up tight vocal harmonies of traditional folk songs, the Kingston Trio had a huge hit with "Tom Dooley" in 1958 that led to multiple hit albums on Capitol and a long list of groups inspired by their style. At a time when acoustic music and beautiful vocals crowded the top of the charts, the Kingston Trio led the pack, selling millions of records and creating a genre. When the change in political climate and rise of rock and roll prompted the group to split, Reynolds retired the music industry in 1967 and turned his attention to ranching and selling antiques in Oregon. He moved to Southern California in the mid-80s and performed with a new version of the Kingston Trio for a decade beginning in 1988.
For those of us that really meant to stay up and watch Pete Seeger (with Guy Davis, Ruthie Ungar Merenda, Tao Rodriguez-Seeger and I'm guessing Michael Merenda) on The Late Show with David Letterman, I found some video on YouTube. Great stuff, especially when Pete gets the audience to join in on the chorus and then clap along. I'll bet that doesn't happen too often with bands on Letterman.
Bob Dylan is releasing another collection of "bootleg" recordings on Oct. 7. The Columbia release Tell Tale Signs covers the past two decades of material from America's most-famous singer/songwriter. You can preview the 2-CD package online now, before it hits stores, exclusively at NPR.org/music. Listen to complete songs and find liner notes (like they used to have when we bought everything on vinyl). It's been getting a lot of good buzz - and for those who aren't crazy about electric Dylan, he does some acoustic versions of his rockier hits.
On The Alleycast for September 2008, we feature our exclusive concert recordings from David Francey and Harry Manx from Folk Alley's 5th Anniversary Concert. Plus, we'll hear a segment from our interview with bluegrass musician Rhonda Vincent, and hear from September's featured Open Mic artist Peggy Lynn. Download The Alleycast today!
Our Fall Fund Drive in underway as we celebrate our 5th year of streaming folk music!
We'd like to congratulate Fran Bates of Beaverton, Oregon for winning our Pre-Stream Drawing for a Box of 25 Folk CDs. Fran was randomly selected out of 147 entrants as the winner of the drawing. We hope you enjoy the CDs, Fran - there's a great collection of music on its way to you!
As I write this, so far we've heard from 247 listeners and have raised just over $24,000 towards our goal of $100,000. $76,000 left to go in order to meet the Juliano Challenge and receive an additional $20,000! Truthfully, fund drives are always a nerve wracking experience because although we know we have 10's of 1000's of listeners all over the US and abroad, our survival depends on whether what we're doing is something worthy of our listeners' support. In short - without your financial support, Folk Alley ceases to exist.
But - the great part about fund drives is reading all the wonderful comments and feedback that we receive from our audience.
Here are some recent listener comments left on donation forms:
"I listen to Folk Alley every day at work and love being able to get a great mixture of classic folk artists and the latest up-and-coming artists on the folk scene right here in my office. Keep it up, Folk Alley!" ~ Tracy, a new member from Decatur, Georgia
"Folk Alley is the most awesome music station I have listened to in my life. It is so very hard to find folk music anywhere in our society today. I teach computer literacy to 350 children each week and we play your station in the lab daily. It is wonderful to see the children get to listen to music they would NEVER be exposed to in their lives. Thanks Folk Alley, you keep American ALIVE AND WELL." ~ Jane, a renewing member from Ruidoso, New Mexico
"What a sad world it would be if you guys ever went off the air. Keep up the great work. I listen whenever I can at work or home. Your music sunshine brightens all of us who listen." ~ Daryl, a renewing member from Santa Monica, California
"Congratulations to you all for 5 years of dedicated service to the folk music community. As well as enjoying the excellent programming, along with membership privileges, the Village Jammers have made some good friends through Folk Alley. Thank you for making this possible for all of us. May the circle grow unbroken for a long, long time. Enjoy a well deserved celebration." ~ Mike, a renewing member in Westerly, Rhode Island
"Best thing I ever found on the Net." ~ Lucy, a renewing member from Jasper, Alabama
"Earlier comments that I have made always referred to how soothing and uplifting I found Folk Alley to be. I can now add healing to the list. Folk Alley was my constant companion after my quadruple bypass in mid-May. Bless Folk Alley and all who create her." ~ Michael, a renewing member from Victoria, Australia
"I have moved from Massachusetts and love that I can get the same great music anytime, no matter where I live. This is my fourth year listening to Folk Alley, and my second year as a member. Keep it up, guys and dolls." ~ Samuel, a renewing member from Parkton, Maryland
"I listen to Folk Alley at 7am when I get to work...and the day just gets better and better...congratulations once again." ~ Peter a renewing member in Montreal, Quebec
"My donation is a small payback for what I get from Folk Alley. I listen almost on a daily basis and always enjoy the eclectic blend of music and insightful commentary." ~ Tim, a renewing member from Spearfish, South Dakota
"Have been enjoying your podcasts for a few months now. I like the variety of music, the open mic sessions and the concerts are really great. Keep up the good work and look forward to hearing and seeing more and more of what makes this nation great. Hearing the hearts of the people through song." ~ John, a new member from Canyon Lake, Texas
"We love dancing to Folk Alley's music on the weekends with our baby." ~ Lara, a new member from Worcester, Massachusetts
"We really appreciate Folk Alley, which we stream to our stereo system in the house. The cable company has dropped our FM service for local FM, and antennas do not work here, so we are dependent upon great stations like yours. Thank you." ~ Ron and Sally, new members in Malibu, California
Please feel free to leave your comments here too, if you'd like! And we hope that if you haven't done so already, you'll visit our support page soon to help us reach our fund drive goal so that we can pay the bills and continue to stream great folk music to you for years to come. Thanks!
After this release Bob Dylan's son may be better known for his own name. Having a famous father never hurts, but most of the songs on SEEING THINGS carry their own weight. And they are all very acoustic, mostly solo, or with a 2nd guitar playing subtle leads. Three songs offer sort of a roots based quartet - very catchy.
Jakob also covers a lot of ground. The first song emphasizes the existence of evil, but by the 8th song he is full of hope. He sings of war and children and about working the night shift. He identifies easily with the everyday person's troubles and triumphs making these songs engaging to listeners who secretly struggle to deal with their own problems.
The young Dylan has the same sense of observation as his father; the last song focuses on "the other end of the telescope." After all, that's where most of us are.
It's hard not to become excited when you hear from Liz Meyer. She's been working for years - 10 years - to promote Bluegrass in Europe. Meyer's efforts have culminated in the release of this live 2 CD collection. You'll hear groups from Belgium, France, Ireland, Italy, and the Slovak Republic, among many other countries. It's both strange and delightful to hear all the different accents on southern gospel quartets or on songs about missing the Blue Ridge Mountains. A few American performers who happened to be overseas are also included (Bill Clifton, Claire Lynch, and the Chapmans).
Not every arrangement of well know songs is original, and in fact, the groups with their own songs excel, and those are the ones Folk Alley will play (Meantime, Carmel Sheerin, Hickory Project) Overall, this is a solid release, and the result of a lot of love and hard work, especially considering Liz's personal struggles with her own health.
I will never forget standing behind Bill Monroe backstage at a festival years ago watching him watch a bluegrass band from the former Soviet Union (Kukuruza). I couldn't tell if it was sinking in what a huge impact this man had on so many people from around the world. To make sure he knew - I tapped him on the shoulder and told him.
Along with The Pine Leaf Boys, Feufollet represents Cajun youth. Since we're seeing so many young Bluegrass bands, Americana/roots groups, Celtic and French Canadian ensembles there's no reason to be surprised. You'll hear Cajun tradition all right with fiddle and accordion, but Feufollet ("fuf fah lay") adds almost a rock energy and a jazz like approach in their arrangements. For example, you'll often hear the fiddle, accordion and guitar players splitting breaks and taking solos instead of the more traditional ensemble playing. It's still dance music, but it's fun to listen to it even when you're not dancing.
There are several different singers, but the standout is Anna Laura Edmiston. A female lead singer in this genre is not common. But then, nothing this group brings to the table is what you've had before. Try "Femme L'A Dit" which fuses Cajun with New Orleans Jazz. What a hoot. I would have seen this group at Merlefest last year, but they were playing in the student center to a restricted crowd of 18 and under. 18 and under? Usually my fake ID works to my advantage. Darn!
Despite some changes over the years, Donna the Buffalo continues to rage on. Tara Nevins, on fiddle & accordion, and Jeb Puryear on guitar and the cool hat are the original members still remaining. Kathy Ziegler now plays organ to keep the original sound, and she doubles on piano on several of the songs on SILVERLINED. Guitar whiz Tyler Grant is a special guest as is Bela Fleck on two numbers.
Like Feufollet above, it's fun to dance, groove, or simply drive a car with Donna the Buffalo - it's great road music. The group has also always offered, however, social or philosophical motifs. That's what makes the songs worth hearing over and over. "Beauty Within," by Tara, warns of fading youth; "The Call," featuring Jeb, reminds us of how precious and temporary life is. The group is getting older, and if you are too, it's nice to know that you are still invited to keep dancing with Donna.
Through the miracle of new technology, we now have a toll-free phone number. And, just in time. With the 5th anniversary coming up in September, we would love to have people call up with birthday wishes, etc. (and by etc., I don't mean profanity or naughty voicemails). The new number is 877-765-FOLK (3655). As they say on American Idol, this is an 877 number, NOT an 800 number. Please dial carefully - alternate versions of this number go to an adult phone service (if you get my drift).
Ronnie Drew, founder of The Dubliners and Irish music icon, died Aug. 16 of complications related to throat cancer. Drew originally founded the band as the Ronnie Drew Group in 1962 and began performing in Dublin's O'Donoghues pub. Known for his renditions of raucous bar songs, Drew sang lead on The Dubliners' big hit, Seven Drunken Nights. This year, a group of Irish artists that included U2, Sinead O'Connor and Christy Moore recorded The Ballad of Ronnie Drew to raise money for the Irish Cancer Society. Drew was 73.
The Alleycast for August features Folk Alley's exclusive in-studio session recording with legendary musician Janis Ian. Plus, we hear the sounds of this month's featured Open Mic artist, The Honeydew Drops. We'll also listen to Folk Alley's exclusive concert recording with David Bromberg and hear about Robbie Basho - a mystic guitar player who highly influenced John Fahey, Leo Kottke and William Ackerman. Download The Alleycast today!!
