Finally, A Country That Welcomes Her: Rissi Palmer

Imagine getting your dream job and immediately being scrutinized for your appearance; being asked to wear a wig that was nothing like your natural hair; being quizzed on obscure bits of the history of your field; being asked whether you took the job as a stepping stone to another one. Imagine getting lots of hate mail about the fact that you look different than everyone else with that job. What about being stopped by security when they did not believe that you were really supposed to be in front of people at your own event? Would you stay in that job? I would not. And neither did Rissi Palmer, at least for a time. Fortunately, she came back in a few years, and she has a remarkable tale to tell, which is reflected in her latest album, Revival.

Palmer tells us about that comeback, which began in earnest with the 2020 debut of her Apple Music series Color Me Country Radio With Rissi Palmer; the love she has for her adopted hometown of Durham, NC; hints of what is to come in her next album, and much more in this episode which features excerpts of her music both live and on album.

Rissi Palmer performs at Earl Scruggs Music Festival 09-03-23 (photo: Joe Kendrick)

Songs heard in this episode:

“Seeds” by Rissi Palmer, from Revival

“I’m Still Here” by Rissi Palmer feat. Miko Marks, excerpt

“Summerville” by Rissi Palmer, live at Albino Skunk Music Festival 05-12-23

“Speak On It” by Rissi Palmer, from Revival

Thank you for visiting us and giving this podcast a listen! This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, and to Joshua Meng, who wrote and performed out theme songs.

This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Is Making A Year-End Top 10 List Relevant Anymore?

It is that time of year when the pundits and hoi polloi alike sharpen their pencils to whittle down the previous twelve months’ worth of music into crisp, definitive lists of favorites. The intensity of this navel-gazing exercise varies widely, but the imperative remains the same: one must make a top 10 and publish it, preferably with a lot of pomp and fuss.

For someone like myself, a public radio program director, music blogger and podcaster, it is part of my job, so misgivings notwithstanding, you are going to see my top 10 albums of 2023 here. It is a good list. Maybe not what you would pick, but a solid group of great albums which are deservedly celebrated by music aficionados and casual fans alike. But what the list contains is not my focus here; what the list itself represents, and its context are what gives me most pause. There is an accelerating irony at play here, where every favorites list adds to the declining returns of their overall impact, where these tidy summations of a year’s worth of music are a tool that answers the problem of having too much good music for any one person to take in by nailing it all down into a format that presumes we could actually listen to it all.

The amount of music produced now is astounding: there are something like 11,000 songs released daily. For music lovers, that has to be a great thing, right? Well, yes and no. There are a lot of great songs in that 11,000, sure. But even if it were humanly possible to listen to all of them, who would spend all their time that way? And with this much music at our fingertips, how does that affect our listening, and how we value songs and albums? Music is a medium that is more like wallpaper then ever, with each song and album blurring into the background of our near constant consumption of curated playlists and social media reels. There never really was a time when we shared the same well of music to draw from, but our exposure to music was at least far more uniform — back in the day, you might not have cared for Prince, but you could likely hum one of his tunes. Today, you know who Taylor Swift is, but you can avoid her melodies easily enough because there is so much more to choose from on so many more platforms than there were when Prince’s music was inescapable.

We are all more like the blind men from the parable about the elephant than ever before, feeling around the massive musical beast and concluding that what we found in each part of what we explored was its sum total. Every top ten list, every year-end favorites collection springs from this myopia and lands with what is supposed to be a sharply focused picture of at least a large swath of the musical world. This is no great revelation, granted, but the fact that you already knew this on some level does not help you come to terms with a yearly landslide of lists, each of which invariably, probably immediately make you realize just how much you missed. Each of which serves to show you just how few experiences in common you have with your fellow music lovers with every unfamiliar name you read, with every pick that did not make it onto your own list.

That is the heart of it all — those common experiences with music. In our quest to boil down the year’s offerings into a favorites list, we are all abstracting a big chunk of what it means to be alive, and implicitly, hoping that others affirm that experience as well. With much less common ground but far more ground we could cover, we find ourselves sending out our messages in a bottle only to then find the shore piled with bottles containing messages that reflect a world we never knew. In an exercise that works to make sense of the musical universe, to connect with fellow music lovers, and hopefully receive some affirmation of our lived experience, we are more and more looking at a jigsaw puzzle that is impossible to solve, but are still trying to solve it the same way that we did when it had about a million fewer pieces.

This may seem cynical or pessimistic, but truly, I do believe that making a favorites list is still a worthy endeavor. Many of these lists with their unfamiliar artists are a great way to discover compelling new music. I hope you may find something here that inspires you to discover what made me feel most alive in 2023. Would that I could have fallen in love with many more that might have made it onto this list, but then again, that is a good problem to have.

1. Pony Bradshaw – North Georgia Rounder

2. Mapache – Swinging Stars

3. Mighty Poplar – Mighty Poplar

4. Viv & Riley – Imaginary People

5. Wednesday – Rat Saw God

6. Nick Shoulders – All Bad

7. Miss Grit – Follow The Cyborg

8. Get Right Band – iTopia

9. Bella White – Among Other Things

10. Justin & the Cosmics – Cool Dead

This is not the first time I have written about year-end favorites and the phenomenon of choosing them. Here is an article I wrote in December of 2010, with a focus on the psychology and rationales of list making. Enjoy, and Happy New Year!

During my preparation for a conversation with NPR's Bob Boilen and Robin Hilton about the year in music, and in sorting through all the hundreds of fantastic records in contention, I thought about the whole process of year-end lists and the personalities of those who make them.

There's the erudite list, with artists you've never heard of. The makers of these lists are the holier/obscurer-than-thou stereotype. Anything celebrated by people outside their niche, especially including their past favorite artists that went on to become popular outside those circles, may be pointed out for ridicule.

The inverse of the erudite list is the reverse psychology list, wherein an uber-hipster picks a massive hit or hits in posturing that they are truly self-actualized. "You've got Horse Feathers as number one?! Obviously you just won't admit to the genius of Jack Johnson."

There's the dilettante list, with flavors of the month and ubiquitous hits. The makers of these lists often go by name recognition and may make them after consulting with their hip friends first, and may or may not have actually listened to the albums in question.

Closely related to the dilettante list is the idolater's list, with records from all-time favorite artists. These lists will gladly inhale any bathtub farts, tout covers records as far better than the originals, and if necessary, sift down to collaborations and guest appearances.

The stepchild of the idolater's list is the campaigner's list. This is created by an artist's band mates, girlfriends, relatives and friends in an effort to gain attention that they never got in the form of actual airplay. It often involves alliances with other artists and bands to vote for each others demos and EPs as many times as humanly possible. The aural results of these year-end favorites can resemble a pot luck dinner with everyone bringing, say, casseroles or desserts.

In the same vein of the campaigner's list but from a smaller segment of the music business is the you-scratch-my-back list. Writers, publicists and broadcasters are the usual authors of these paeans to the hands that fed them, with the (usually) conscious decision to keep their supply chain of clientele, favors and access well-greased. 

There's the bonus list and the short list, with either more than 10 albums in a top-10 album format, or fewer than 10 (because this year's crop wasn't up to snuff, ya know).

Don't forget Pazz and Jop lists, weighting the picks. In this list, you divvy up 100 points amongst the ten albums according to how good they were.

Also there is the agonized list, with untold numbers of drafts leading up to a year-end favorites list that has been second, third, and fourth guessed.

A cousin of the agonized list is the desperation list, which is often a last-minute exercise in navel gazing that can lead to picking Wolf People when you really liked Wolf & Cub instead but got confused, or dismissing Black Angels because Black Mountain is already a lock and you just can't have too much of the same sounding bands in your list. 

There's the atheist or nihilist list, which will be a protest vote of no favorites or something like all reissues from the time period when the list maker still felt alive.

Does anyone make a bottom 10 list? That's what I would like to see.

Cross Fading All Over the Place With Nora Jane Struthers and Joe Overton

 It is easy to think of musical genres as enduring, definitive territories that are discovered as much as they are created. But even continents drift, and when you dig deep into the careers of artists who are said to be from musical land X,Y or Z, you find that they often do not stay in one place for long, and are likely to be pushing their home territories in new directions. Nora Jane Struthers and Joe Overton are such artists, having come from the land of old-time and all things grass, but who are now several steps removed from being thought of as residents of only those two domains.

Despite bearing a title that might seem to point back to the old world, Nora Jane Struthers’ latest collection Back To Cast Iron finds the Nashville-based artist striding confidently into more electric, rock and roll type territory. In this episode, she addresses this evolution in her sound; she describes having gone from telling other women’s stories to telling her own; husband and bandmate Joe Overton talks about his love of rock bands like Wednesday and Slow Pulp; we hear how both Nora and Joe balance work and life now that they have two children, and much more. Recorded in October 2023 at the Albino Skunk Music Festival in Greer, SC, this episode also features music from their set.

Nora Jane Struthers

Nora Jane Struthers with Joe Overton (right, on pedal steel guitar) and band at their Albino Skunk Music Festival performance 10/06/23

Songs heard in this episode:

“Grass” by Nora Jane Struthers, live at Albino Skunk Music Festival 10-06-23

“Barn Dance” by Nora Jane Struthers & the Party Line, from Carnival, excerpt

“Bottom of the Glass” by Vivian Leva, from Time Is Everything, excerpt

“Imaginary People” by Viv & Riley, from Imaginary People, excerpt

“Cornbread and Butterbeans” by Carolina Chocolate Drops, from Genuine Negro Jig, excerpt

“Too Little, Too Late, Too Bad” by Rhiannon Giddens, from You’re The One, excerpt

“Can’t Wait To Get Back on the Road” by Nora Jane Struthers, live at Albino Skunk Music Festival 10-06-23, excerpt

“I Can Hear The Birds” by Nora Jane Struthers, performed live at Albino Skunk Music Festival 10-06-23

Thank you for visiting us and giving this podcast a listen! This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to everyone at the Albino Skunk Music Festival; many of the great people at Albino Skunk made this episode possible, and you can listen to more episodes on this series on artists who played there, like Shinyribs, Darrell Scott, Miko Marks and Eilen Jewell. We also have an interview with the band Stillhouse Junkies from last fall’s Albino Skunk Fest coming up, as well as conversations with Pete Wernick among others from this fall’s IBMA conference, and Travis Book of the band Infamous Stringdusters, who has a new solo record out.. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, and to Joshua Meng, who wrote and performed our theme songs.

Southern Songs and Stories was recently ranked in the top 20 Southern podcasts here on feedspot.com, and remains a top 5% globally ranked podcast by Listen Notes, which makes us smile.

This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

The Broadside: What It Takes To Make Music in Prison

At Southern Songs and Stories, we have become fans of the WUNC - North Carolina Public Radio podcast The Broadside, and here we collaborate to give you a special presentation of one their recent episodes. The Broadside explores news, history, and pop culture stories rooted in the American South. Plus, the show was recently named “New & Noteworthy” by NPR! 

In today’s episode of The Broadside, co-host and producer Charlie Shelton-Ormond looks at the influential, exploitative and evolving world of music in Southern prisons. You’ll hear from a historian and incarcerated musicians, one of which is rapper Deon Thomas. As a person incarcerated in the state of Virginia, Deon doesn’t have access to a recording studio. Instead, he’s part of a small group of artists who record songs through phone calls and distribute them through a prison-only digital music service. It's a modern twist on a long and complicated tradition.

Legacy Media, Legacy Artists and Bluegrass’ Big Pivot With No Depression’s Stacy Chandler at IBMA

When was the last time you picked up a book or a magazine instead of going to your smart phone or computer to read about music? I admit that, like so many of us these days, my first instinct is to scroll through social media or look at websites. The rise of digital media along with the ubiquity of smart phones has been nothing short of dramatic; the subsequent decline of print and other physical media is also impossible to ignore. Roots music journal No Depression, like so many others, went out of print in the midst of that sea change, although it continued online. Eventually it would reemerge, however, with new ownership and a new format as a quarterly publication, while offering a website covering music news as well as articles, columns and reviews. In an era where the expense of printing a magazine is more and more impossible to recoup, No Depression has managed to do just that. It remains as one of only a handful of music publications, and that is remarkable by itself. This is just part of our story here, though, as we welcome Assistant Editor and nodepression.com director Stacy Chandler to this episode of Southern Songs and Stories.

Stacy spoke with me at the end of September, 2023 in Raleigh, North Carolina during the International Bluegrass Music Association’s yearly event. Comprised of a wide ranging music industry conference as well as a music festival, the IBMAs, as it is often called, feature music panels geared towards music artists and professionals, showcase events where attendees can get introduced to new artists, and even Tai Chi classes courtesy of Jim Lauderdale. I was not up at 8 a.m. to take Jim’s classes, but I did take in as much as I could in the whirlwind week of all things bluegrass, including this conversation with Stacy Chandler as well as bluegrass legend Pete Wernick, and both Steve Mougin and Ben Wright, who will be featured in upcoming episodes here.

Stacy Chandler of No Depression interviewed at the IBMA conference 09-30-23

In this episode, we touch on the history of No Depression as well as some of the artists and articles in its current issue, plus we share takeaways from this year’s IBMAs while we examine the bigger picture of bluegrass music in 2023. It is a far ranging conversation which focuses on one of the biggest weeks of the year for the genre, the ways bluegrass has changed over the decades, as well as the parallel story of print journalism in the age of smart phones.

Songs heard in this episode:

“No Depression In Heaven” by The Carter Family

“Thirsty” by Mipso, from Book Of Fools, excerpt

“Slipknot > Casey Jones” by The Waybacks & Friends, from One Way Or Another, excerpt

“Listen To The Radio” by Billy Strings and Molly Tuttle, from More Than A Whisper: Celebrating the Music of Nanci Griffith

Thank you for visiting us and giving this podcast a listen! This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to everyone at the International Bluegrass Music Association for making this episode possible, and to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, and to Joshua Meng, who wrote and performed out theme songs.

This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Peering Into Darkness While Dancing In the Light with Kev Russell of Shinyribs

Shinyribs is an Austin Texas band that began in 2007 as a side project for Kevin Russell, who also goes by Kev, and was then still committed to The Gourds, the band he had co-founded fifteen years earlier. A few years later, The Gourds released their last album, and Kev sauntered over to Shinyribs full time. Known for his showmanship on stage and for a big band approach to both the concept and performances of his music, and drawing from a smorgasbord of funky roots-rock, big band swing, Tex-Mex, screaming soul and burlesque blues, while pumping out infectious rhythms and topping it all with hooky harmony, Shinyribs is a party waiting to happen. At least that is what it sounds like on first listen, and looks like at first glance.

Shinyribs is a shindig, and a large one at that, but it is also a vehicle for Kev’s unique brand of poetry, which can point to deeper, darker issues at times, especially on his latest album Transit Damage. I spoke with Kev in early October 2023 on a crisp, clear autumn afternoon in the rolling foothills of the Upstate of South Carolina countryside before Shinyribs’ performance as a headliner at The Albino Skunk Music Festival, where we talked about the secret sauce that went into his new album, about making good records in the studio and being equally good live, how starting Shinyribs felt like a hail mary to him at first, plus we discuss James Brown and an Albino Skunk Fest memory which parallels one of The Godfather of Soul’s signature parts of his shows. There is a lot more, including live music from Shinyribs’ performance from that night, all simply waiting for you to press play.

Songs heard in this episode:

“Simply Belong To You” by Shinyribs, performed live at The Albino Skunk Music Festival 10-06-23

“Song of Lime Juice and Despair” by Shinyribs, performed live at The Albino Skunk Music Festival 10-06-23, excerpt

“Dark Cloud” by Shinyribs, performed live at The Albino Skunk Music Festival 10-06-23, excerpt

“Poor People’s Store” by Shinyribs, recorded live at The Albino Skunk Music Festival 10-06-23, excerpt

“If Love Is Earned” by Shinyribs, performed live at The Albino Skunk Music Festival 10-06-23

Thank you for visiting us and giving this podcast a listen! This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to everyone at the Albino Skunk Music Festival as well as John Gillespie for sharing some of his great photos of the Shinyribs show — many of the great people at Albino Skunk made this episode possible, and you can listen to more episodes on this series on artists who played there, like Miko Marks, Darrell Scott, and Eilen Jewell. We also have interviews with Nora Jane Struthers and the band Stillhouse Junkies from this fall’s Skunkfest coming up, as well as conversations with Pete Wernick among others from this fall’s IBMA conference. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, and to Joshua Meng, who wrote and performed out theme songs.

Southern Songs and Stories was recently ranked in the top 20 Southern podcasts here on feedspot.com, which is worth a look.

This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Science Fiction Themes in Music on What It Is with Jeff Eason, Fred Mills and Carol Rifkin

Credit Halloween coming up for this.

You probably know that this podcast has a direct tie to public radio station WNCW — it is produced in studio there where I am program director — but its origin can be traced all the way back to the 2006 Podcaster Con in Chapel Hill, NC, where I witnessed an event reflecting and directing the medium at its inception point, and gathered ideas for my own eventual foray into long form audio. The idea that first came to life was the music talk show What It Is, which aired weekday mornings on WNCW beginning in September 2007 and running until April 2012. Starting with music writers/editors Jeff Eason and Fred Mills, we added writer, musician and WNCW old-time music host Carol Rifkin to the music roundtable before bringing in many more voices over the series’ nearly five year run. In 2009 I began my first blog site for What It Is and started podcasting in earnest — you can reference those archives here.

On What It Is, we had wide latitude and an almost infinite supply of material to work with — after all, most everyone on the show (and especially the late Jeff Eason, Fred Mills and Carol Rifkin) was a music nerd of the highest order, and could talk about their love of it for hours if you let them. One of the themes we explored more than once was science fiction themes in music, first in May 2009 and then again that July. Carol Rifkin was along for the first conversation, which was longer than when Jeff, Fred and I revisited the topic that summer.

Almost fifteen years later, I am digging around for ideas to round out my Halloween themed radio show, and thought back to my days producing What It Is, wondering if we made any episodes touching on the holiday. While we did not make an explicitly Halloween-centered episode, we got a good bit of the way there with these conversations which will give you plenty of ideas for a space-age playlist as we travel back in time for this special holiday podcast of Southern Songs and Stories.

Songs heard in this episode:

“Forbidden Planet” film score opening theme, by Bebe and Louis Barron

“Creature With The Atom Brain” by Roky Erikson, excerpt

“Rock Steady” by Aretha Franklin, excerpt

“The X Files” by Mark Snow

Thank you for visiting us and giving this podcast a listen! This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW.

Southern Songs and Stories was recently ranked in the top 20 Southern podcasts here on feedspot.com, which is worth a look.

This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Family Ties and Roots Music Foundations: Jonathan Wilson and Bella White

For Jonathan Wilson and Bella White, family figures prominently not only in their lives behind the scenes, but also in the musical paths both chose early on. It should come as no surprise that as a boy in rural North Carolina, celebrated producer and artist Jonathan Wilson played in a family band of sorts (he would fill in for various band members in his father’s band at their practices), or that rising star Bella White’s father played in old time and bluegrass bands in Calgary, Canada when she was growing up. What may seem much more novel is that the common thread between their two experiences, separated by decades of time and thousands of miles, is also roots music like country and bluegrass. 

For Bella White, roots music like bluegrass is easily identifiable in her sound; for Jonathan Wilson that foundation is not nearly as obvious. But as you will hear in our conversations, their love of music began with their shared background in acoustic roots music in places far beyond the limelight of Nashville or Los Angeles, where their paths eventually led. Bella White brought on Jonathan Wilson to produce her second and latest album Among Other Things, while Jonathan’s latest album Eat The Worm takes off into decidedly psychedelic territory. 

I caught up with Bella White after her debut performance at MerleFest last spring, which followed her debut on the Grand Ole Opry, while Jonathan Wilson spoke with me recently by video call from his studio in Topanga Canyon, California. This episode features music from both artists as well as their conversations which touch on everything from Jonathan’s wife using AI in creating his latest music videos to Bella White’s intentional honesty and vulnerability in her songwriting, and much more. 

Songs heard in this episode:

“The Way I Oughta Go” by Bella White, from Among Other Things

“Charlie Parker” by Jonathan Wilson, from Eat the Worm, excerpt

“Break My Heart” by Bella White, from Among Other Things, excerpt

“The Village Is Dead” by Jonathan Wilson, from Eat the Worm, excerpt

Thank you for visiting us and giving this podcast a listen! This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng, who wrote and performed our theme songs. A big thank you to Ayappa Biddanda at Concord, Jonathan Wilson’s manager Peter Sasala and father Al Wilson for their help in setting up interviews for this episode.

This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Questions From the Hat at The Earl Scruggs Music Festival With Michael Daves, David Lamotte, Josh Carter and Dean Jenks

Over the four days of the 2023 Earl Scruggs Music Festival, held at the Tryon International Equestrian Center over Labor Day weekend, I was alternately emceeing performances, working with WNCW staff, taking in as much music as possible and talking with artists when I had the chance.

Here, I spoke with Michael Daves, the renowned guitarist who has played with folks like Chris Thile, Steve Martin, Aoife O'Donovan, Rosanne Cash and Tony Trischka, in addition to his own recordings; songwriter, author and speaker David Lamotte, who performed with the Fine Tuned showcase; Josh Carter of the old-time renaissance band Pretty Little Goat as well as Dean Jenks, who played extensively with Earl Scruggs’ brother Horace. Each pulled questions from a hat, which resulted in animated conversations that found myself and each artist wandering into a kind of zone of roots music serendipity each time they would dig out one of the twenty questions.

Photo credits: Cora Wagoner (Michael Daves, David Lamotte); Eli Johnson (Pretty Little Goat); Joe Kendrick

Songs heard in this episode:

“Flint Hill Special” by Flatt & Scruggs

“If I Should Wander Back Tonight” by Chris Thile and Michael Daves, from Sleep With One Eye Open, excerpt

“Heavy Traffic Ahead” by Bill Monroe and His Blue Grass Boys, excerpt

“Rock Salt & Nails” by J.D. Crowe and the New South, excerpt

Thank you for visiting us and giving this podcast a listen! This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng, who wrote and performed our theme songs. A big thank you to everyone at the The Earl Scruggs Music Festival, The Earl Scruggs Center, Tryon International Equestrian Center and WNCW for their roles in making this episode possible.

This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Playing Through Pain With Cristina Vane

Sometimes people have a determination and intensity that is not obvious at first. In our conversation after her performance last August at the Reeves Theater in Elkin, NC, Cristina Vane said, “I'm not gonna wait for something, some miracle to happen, right? So I have to get out there and like, just do it. Nike sign style, you know, just do it. And so that's what I I've always done is just get in my car and do it.” She said it without reference to her show, an intense enough environment on a good night, let alone a night where she stood atop a very recent gash on her foot. In Cristina’s case, the cut would have to take a back seat to this tour and this night’s performance, and be relegated to remain there for a half hour more while we spoke. Intensity, indeed.

Hers was not the only example of an artist playing through pain there at the Reevestock Music Festival.  Saturday’s headliner was Darrell Scott’s Electric Trio, and just days ahead of their performance, drummer Jeff Sipe had undergone hand surgery; he played with a large bandage nonetheless. Both bands put on fantastic shows as it turned out, with the backdrop of injury only adding charge to the atmosphere. Cristina played her set mostly standing, but did sit while playing some of her songs, which included music from her second and latest album, Make Myself Me Again. She played plenty of new music as well, which is coming sometime in the future on album number three. Afterwards, we enjoyed a lively conversation touching on everything from the apparent irony of how she fell in love with American blues music at a pub in England; how growing up in Europe affected her perceptions of both her American and Guatemalan identity before coming to live in the U.S. and then falling in love with the American West; how she has rewritten her own priorities while still staying true to her purpose in life; her obsession with Skip James and Blind Willie Johnson, and much more.

Cristina Vane poses for a photo before her performance at the Reeves Theater in Elkin, NC 08-04-23

Thank you so much for dropping by and giving this podcast a listen. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs. And big thanks to everyone at the Reevestock Music Festival for having me emcee the event, which gave me this opportunity. This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

What's It Worth To Sing This Song: Ed Snodderly

Ed Snodderly is a renaissance man -- he is a prolific songwriter with a who’s who of artists performing his compositions; his lyrics to the song "The Diamond Stream" are featured in Nashville’s Country Music Hall Of Fame; he is half of the duo The Brother Boys with musical partner Eugene Wolf going back to their inception in the late 1980s, and this year he gave us his tenth solo album, Chimney Smoke. Ed also teaches songwriting at East Tennessee State University’s Bluegrass, Old-Time and Roots Music program; we bring in commentary from one of many notable program graduates, Amythyst Kiah, to this episode as well.

We talk about the title song specifically, as well as what makes this collection, as Ed Snodderly’s press release says, a “quintessential Southern album”. In our conversation via video call, we also take on the meaning of Americana, what artists get from studying music from previous decades and centuries, how he sees the live music business in the age of COVID-19, and much more, including music from Ed’s new album.

Ed Snodderly

Songs heard in this episode:

“Chimney Smoke” by Ed Snodderly, from Chimney Smoke

“Just Like You River” by Ed Snodderly, from Chimney Smoke, excerpt

“Better Just Ride The Mule” by Ed Snodderly, from Chimney Smoke, excerpt

“Crow’s Fever” by Ed Snodderly, from Chimney Smoke

We appreciate it so much when you tell someone about this series, and it is easy to follow us on your podcast platform of choice, where it will only take a minute to give us a good rating, and where it is an option, a review. When you do that, it makes this series go up in the rankings, which means that more people just like you will find it, and more people will get turned on to the artists and endeavors we profile. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes of this podcast on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs.

This is Southern Songs and Stories: the music of the South and the artists who make it. — Joe Kendrick

Going Home to Where Dreams Come True: Miko Marks

As Carl Sandburg said in his poem “Washington Monument by Night”, "Nothing happens unless first we dream." In the case of Miko Marks, her music career took off only after she had a literal dream, where she reunited with her old producer in a jam session. Prior to that, her dream of making it as a country music artist had long laid fallow, having been put to rest for more than a decade. Even without the backdrop of dashed hopes, dropping out and eventually, sweet redemption, Miko Marks’ story is a remarkable one. Her music is central to this resurgence, with three strong albums to her credit in the past two years, including her 2022 country soul collection Feel Like Going Home. That album especially set in motion a wave of accolades and media coverage, and set the stage for her to tour all over the US, including an appearance at the Grand Ole Opry, and Merlefest, where she also sang with Little Feat, whom she had toured with as well.  

I caught up with Miko Marks recently at her return engagement at the Albino Skunk Music Festival in May 2023. We spoke before her set, and talked about the connections between country music, gospel and soul, her unique comeback story, and what changes in the music business she believes would help artists like herself, who have historically been on the outside looking in.

Miko Marks performing at the Albino Skunk Music Festival in Greer, SC 05/12/23

Songs heard in this episode:

“One More Night” by Miko Marks, performed live at Albino Skunk Music Festival, 05/12/23

“Hard Times“ by Miko Mark, performed live at Albino Skunk, 05/12/23

“Long Journey Home” by Miko Marks, live at the Albino Skunk Festival, 05/12/23, excerpt

“Feel Like Going Home” by Miko Marks, live at Albino Skunk Fest 05/12/23

Thank you so much for dropping by and giving this episode a listen. Was this the first podcast from an artist performing at the Albino Skunk Music Festival that you have heard on this series? I bet you would enjoy recent episodes on Eilen Jewell and Jake Xerxes Fussell, who also performed at the festival last spring. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs. And big thanks to everyone at the Albino Skunk Music Festival for their incredible hospitality. This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Roots Reinterpreted: The Folk Revival of Jake Xerxes Fussell

In this series, we often spend time with artists and styles of music that are not celebrated in the mainstream, and our guest here is no exception. With a focus on music that is from artists living in the South and on music that has roots from the region, we are constantly talking with bluegrass, blues, country, rock and Americana artists in this endeavor. These forms of music are immensely important to the history and legacy of original music in this country, but they seldom are associated with today’s biggest stars, and even they are not the only game in town when one treks to the musical land of Niche. One reason why we love those genres is simply because they became so popular, fueling one of America’s great exports to the world. But it is easy to get wrapped up in that history and culture and lose sight of other traditions that also are not celebrated in the mainstream, nor are part of the narrative where roots music born in the South becomes foundational to a preponderance of popular music in the twentieth century. In this conversation with Jake Xerxes Fussell, I was reminded of that.

That reminder is just one part of our conversation, which took place in mid May 2023 at the Albino Skunk Music Festival in Greer, SC. Jake played a solo set on guitar, and afterwards we spoke about his deep roots in folklore, about his fourth album Good and Green Again, being a DJ on WHUP in Hillsborough NC and more in this episode which also features excerpts of music from his live set.

Jake Xerxes Fussell performs at the Albino Skunk Music Festival, 05/13/23

Songs heard in this episode:

“Raggy Levy” by Jake Xerxes Fussell, live at Albino Skunk Music Festival 05/13/23“Rock Steady” by Aretha Franklin, excerpt

“Morning Train” by Precious Bryant, from The Truth, excerpt

“Frolic” by Jake Xerxes Fussell, from Good and Green Again, excerpt

WHUP’s Fall Line Radio show excerpt from 07-12-23

“The River St. Johns” by Jake Xerxes Fussell, live at Albino Skunk Music Festival 05-13-23

We are so grateful when you tell someone about this series, and it is easy to follow us on your podcast platform of choice, where it will only take a minute to give us a good rating, and where it is an option, a review. When you do that, it makes this series go up in the rankings, which means that more people just like you will find it, and more people will get turned on to the artists and endeavors we profile. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes of this podcast on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs.

This is Southern Songs and Stories: the music of the South and the artists who make it. — Joe Kendrick

A Soundtrack for July 4th

It is that time of year again -- the beginning of summer and in the U.S., Independence Day. The July 4th holiday is celebrated in many ways, including in song, like the one that starts off this podcast, Billy Stewart’s version of the George Gershwin and Edward Dubose Heyward classic “Summertime”. With over 25,000 versions recorded in its now almost 90 year history, it is the most recorded song in the world. 

What are your favorite songs for the summer and for the holiday? We talk about the abundance of summertime and July 4th soundtrack possibilities in this episode, as we go back in time to a conversation I had on public radio station WNCW on my old show What It Is, a music talk show that featured a rotating roster of guests -- writers, music artists, DJs from WNCW and elsewhere, and music professionals. What It Is aired from 2007 to 2012, and this episode is from 2010, with the late Jeff Eason, along with then-WNCW host Zak Sitter, and Carol Rifkin, who continues to host the old time music show This Old Porch on WNCW on Sunday afternoons. 

Fireworks! (photo: Jill Wellington)

Songs heard in this episode:

“Summertime” by Billy Stewart

“Rock Steady” by Aretha Franklin, excerpt

“The Star Spangled Banner” by Bela Fleck & The Flecktones, from Flight Of The Cosmic Hippo

Thanks for dropping by, and we are even more grateful whenever you share this with someone. Sharing in person is tops, but please also follow us on your podcast platform of choice, and then it will only take a minute to give it a top rating and, where it is an option, a review. It makes a great impact! Great ratings, and reviews especially, will make Southern Songs and Stories and the artists it profiles more likely to find a home with more fans. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes of this podcast on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs.

This is Southern Songs and Stories: the music of the South and the artists who make it. — Joe Kendrick

Getting Back to the Essence of the Song With Greg Cartwright, Amanda Anne Platt and Wes Pearce

This story begins with Citizen Vinyl, a combination vinyl pressing plant, recording studio, bar and restaurant in downtown Asheville, North Carolina, in the old Citizen-Times building. Built in the late 1930s, it was originally the home of two newspapers and the WWNC radio station. Wanting to host more events there, Citizen Vinyl reached out to Greg Cartwright, well known for his work in his band Reigning Sound; Greg then invited Amanda Anne Platt, who has been playing with her band The Honeycutters for more than a decade, and a relatively new artist in the Asheville scene, Wes Pearce. 

Postcard from 1939 depicting Asheville, NC’s Pritchard Park and WWNC radio station

The three artists shared the stage on the ground floor of the three story building, in the open space between the bar, record shop and pressing plant, and played from their existing catalog of songs as well as many brand new songs that have not yet had their chance to make it into the adjacent room to be pressed into discs. The audience was quiet and attentive, and while Amanda, Greg and Wes played, the rest of the world receded to the background as everyone focused on the trio, who took turns playing their songs on acoustic guitar.

After their set, Amanda, Greg, Wes and I went upstairs to the old WWNC live performance studio to talk about the romantic atmosphere of their show, the resurgence of vinyl’s popularity and how the collectability of 45s and LPs has flipped since COVID-19 changed so much for all of us, how they navigate their music careers post-COVID, the local Asheville scene and more.

Live performance from 1939 on the radio in the WWNC studio where we taped our interview

Songs heard in this episode:

Amanda Anne Platt & the Honeycutters “The Road” from Amanda Anne Platt & the Honeycutters

“Burden” by Wes Pearce, from Death & Darlins, excerpt

“Alive” by Reigning Sound, from Memphis In June, excerpt

“Girls Like You” by Amanda Anne Platt & the Honeycutters, from The Devil and the Deep Blue Sea

Thanks for dropping by, and we are even more grateful whenever you share this with someone. Sharing in person is most appreciated, but please also follow us on your podcast platform of choice, and then it will only take a minute to give it a top rating and, where it is an option, a review. It is hugely impactful when you do this! Great ratings, and reviews especially, will make Southern Songs and Stories and the artists it profiles more likely to find a home with more fans. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes of this podcast on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs. Thanks also to Greg and Amy Gerald for hosting me during my stay in town and to Gar Ragland and everyone at Citizen Vinyl for their hospitality.

This is Southern Songs and Stories: the music of the South and the artists who make it. — Joe Kendrick

Like Scenes From a Black & White Movie: Retro Cool and Minor Key Mystery With Eilen Jewell

It was a warm and picturesque spring day in the South Carolina countryside, just outside of the city of Greer, on the grounds of the Albino Skunk Music Festival, which got its name from some white skunks that were on the property, land which used to be a working farm. Now a largely wooded little valley of twenty plus acres, with one stage and many vintage RVs and campers that have been repurposed as a green room, accommodations, even storage, as well as a 1951 GMC bus that was originally owned and operated by Greyhound, which still runs and occasionally travels to other festivals. I sat with Eilen Jewell at the building dubbed the Nap Shack, on the hillside behind the stage.

(L to R) Jerry Miller, Eilen Jewell, Jason Beek, Matt Murphy perform at the Albino Skunk Music Festival 05-13-23

It has been a tumultuous couple of years or so for Eilen Jewell. Much of the adversity and life lessons she took from this time are chronicled on her new album Get Behind The Wheel, her first involving an outside producer, Will Kimbrough — we touch on that as well as her love of Loretta Lynn, how she took her dad’s record collection as a kid, which transported her to a past filled with artists like Mississippi John Hurt and Bessie Smith that continue to inspire her today, and how her young daughter has picked up playing the guitar without learning, as Eilen says, all her own bad habits on the instrument. 

Songs heard in this episode:

Eilen Jewell “Where They Never Say Your Name” live at Albino Skunk Music Festival 05-13-23

“The Bitter End” by Eilen Jewell, from Get Behind The Wheel, excerpt

“The Pill” by Eilen Jewell, live at Albino Skunk Music Festival 05-13-23

“Alive” by Eilen Jewell, live at Albino Skunk Music Festival 05-13-23

Thank you for being here, and we are even more grateful whenever you share this with someone. Sharing in person is most appreciated, but please also follow us on your podcast platform of choice, and then it will only take a minute to give it a top rating and, where it is an option, a review. Great ratings, and reviews especially, will make Southern Songs and Stories and the artists it profiles more likely to find a home with more fans. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes of this podcast on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs. Thanks also to Charles Wiggins at the Isothermal Community College library for pointing me to examples where people talked about feeling like they were born too late, as well as Touring Logistics for supplying audio of the live performances at Albino Skunk, to Mark Johnson for recording Eilen Jewell’s performances, and to Zig and everyone at the festival for their generous hospitality.

This is Southern Songs and Stories: the music of the South and the artists who make it. — Joe Kendrick

Connections, Reflections and Collaborations: Peter Rowan’s Cosmic Americana

We talked for an hour and a half and could have easily talked for much longer, although even in this relatively short time, it felt like our conversation was far greater than the time it occupied, almost like seeing the whole world in a grain of sand. Collaboration was the main topic we discussed, and as you will hear, collaboration for Peter Rowan comes naturally, and goes a lot deeper than just the songs themselves. Sixty years ago, he set foot on a path that would lead to one of his most noteworthy collaborations with Bill Monroe, joining the Blue Grass Boys in 1963. It was with Bill that he wrote the song “The Walls Of Time”, and in our conversation he details its genesis in a fateful sunrise experience with an enduring impact on him all those years ago. 

Following his years with Monroe, Peter Rowan collaborated with Jerry Garcia, Tony Rice, Flaco Jimenez, David Grisman and more recently, Molly Tuttle, to name just a few. Peter and I talk about those collaborations; about standing close to the fire of the great Bill Monroe; which roots music artists from younger generations have that fire today; we dive into a bit of music theory as well as Buddhist concepts that can also apply to music, and much more in this easy going and far reaching conversation.

Peter Rowan

Songs heard in this episode:

“The Walls Of Time” by Peter Rowan, from Crucial Country

“Doc Watson Morning” by Peter Rowan, from The Old School, excerpt

“Midnight On The Stormy Deep” by Bill Monroe, excerpt

“Midnight Moonlight” by Old & In The Way, from Old & In The Way, excerpt

“Squeeze Box Man” by Peter Rowan, from Texican Badman

Thank you for visiting, and are even more grateful whenever you share this with someone. Please follow us on your podcast platform of choice, and then it will only take a minute to give it a good rating and, where it is an option, a review. Great ratings, and reviews especially, will make Southern Songs and Stories and the artists it profiles more likely to be found by more people just like you. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes of this podcast on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs. Thanks also to our guests, and we encourage you to check out their work.

This is Southern Songs and Stories: the music of the South and the artists who make it. — Joe Kendrick

Sierra Ferrell, Revisited

Hello and welcome to Southern Songs and Stories, with a favorite episode from 2021 here on this re-podcast of The Country Heart and Jazz Mind of Sierra Ferrell, published in late July of that year. Since then, Sierra Ferrell has enjoyed seeing the ranks of her fans swell on the heels of Long Time Coming, her album released later that summer. Currently, she is working on her next album with a bigger sound, including drums and pedal steel guitar, as well as fiddle tunes. 

Sierra Ferrell at the Albino Skunk Music Festival in May 2021

I interviewed Sierra Ferrell at the Albino Skunk Music Festival, which is happening again this week, May 11th through 13th in Greer SC, where I plan on interviewing more artists for future episodes here, so as we say in radio, stay tuned! Hopefully everything will line up for conversations with Miko Marks, Jake Xerxes Fussell and Eilen Jewell. Hope I am not jinxing things by saying that before I have the interviews in hand!

And a big tip of the hat to the Albino Skunk Festival, which is always punching above its weight with getting such great artists. Sierra Ferrell has blown up after playing there, and in its decades long history, internationally known artists like Lake Street Dive, The War and Treaty and Billy Strings have played the festival many times. The War and Treaty talked with me at Albino Skunk in 2019, by the way, and that remains one of my favorite episodes here as well. 

Just two weeks ago I was at Merlefest where I interviewed Peter Rowan and Bella White, and you should be seeing episodes with their conversations here before too long. Lots going on as always in podcast land, and I hope to share another bit of positive news here soon, but nothing is set in stone so that will have to wait. What will not have to wait is for you to share Southern Songs and Stories with someone you know who likes music, or history and culture, and follow and give us a top rating on your podcast platform of choice. 

Oh, and speaking of history, thanks to one of my favorite podcasts, The Road to Now, for sharing a clip from my podcasts on The Shelton Laurel Massacre on one of their recent episodes. You can find The Road To Now on Osiris Media, and co-host and Avett Brothers bass player Bob Crawford recently published his podcast miniseries Founding Son, on America’s sixth president John Quincy Adams, which is well worth a listen also. 

Thanks again, and I hope you enjoy our episode on Sierra Ferrell.

Songs heard in this episode:

“Lonesome Woman Blues” by Sierra Ferrell live at Albino Skunk Festival 05/14/21

“I’d Do It Again” by Sierra Ferrell, live at Albino Skunk Festival 05/14/21, excerpt

“T For Texas” by Sierra Ferrell, live at Albino Skunk Festival 05/14/21, excerpt

“Whispering Waltz” by Sierra Ferrell, live at Albino Skunk Music Festival 05/14/21, excerpt

“Why’d Ya Do It” by Sierra Ferrell, live at Albino Skunk Festival 05/14/21, excerpt

“In Dreams” by Sierra Ferrell, live at Albino Skunk Music Festival 05/14/21

An Amalgamation Of Lineage and Style With Zoe & Cloyd

They call it “Klezgrass”. Taking equal parts bluegrass and klezmer, husband and wife duo Zoe & Cloyd use fusion as their north star to guide their musical direction on their latest collection Songs Of Our Grandfathers. John Cloyd Miller and Natalya Weinstein’s fifth album draws from songs associated with John’s grandfather Jim Shumate, the fiddle player known for his time with Bill Monroe and Flatt & Scruggs, and Natalya’s grandfather David Weinstein, a professional klezmer musician.

In this episode, John Cloyd Miller and Natalya Weinstein talk about the concept of their new collection, the importance of harmony to their sound and more, plus we welcome WNCW’s jazz host Roland Dierauf, as we dive into the world of old-time, bluegrass and klezmer music, featuring new music from Zoe & Cloyd, and sampling a famous jazz fusion record along the way as well.

John Cloyd Miller and Natalya Weinstein (photo By Sarah Johnston Photography)

Songs heard in this episode:

“Bei Mir Bistu Sheyn” by Zoe & Cloyd, from Songs From Our Grandfathers

“On the Corner” by Miles Davis, from On the Corner, excerpt

“Up and At ‘Em” by Zoe & Cloyd, from Songs Of Our Grandfathers, excerpt

“We’ll Meet Again Sweetheart” by Zoe & Cloyd, from Songs Of Our Grandfathers

Thank you for visiting, and are even more grateful whenever you share this with someone. Please follow us on your podcast platform of choice, and then it will only take a minute to give it a good rating and, where it is an option, a review. Great ratings, and reviews especially, will make Southern Songs and Stories and the artists it profiles more likely to be found by more people just like you. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes of this podcast on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs. Thanks also to our guests, and we encourage you to check out their work.

This is Southern Songs and Stories: the music of the South and the artists who make it. — Joe Kendrick

Psychedelia in the Carolinas Then and Now With The Get Right Band and Ken Friedman

To be honest, I had never considered The Get Right Band to be psychedelic, and before hearing their album iTopia, had thought of them more as a kind of power pop group. But when I started diving in, one of the first things that jumped out was their own description of themselves as a “psychedelic indie rock power trio”, which was a kind of “a-ha” moment, because I was also listening to the new compilation Psychedelic States: The Carolinas in the 60s and thinking of how to include it in an episode here. Although Psychedelic States and iTopia were separated by more than a fifty year span, and by their overall sound -- with The Get Right Band producing a far more crisp, bright and layered collection than what the scores of bands in the Psychedelic States compilation made -- the through line was undeniable: all of these songs are from North and South Carolina artists who are tagged as “psychedelic”.  These were simultaneous discoveries that were just begging to be put side by side. First, we have a current band that proclaims to be psychedelic which I had not thought of in that context (iTopia certainly is), and second, we have a massive, three disc compilation of first generation psychedelic bands that were all but forgotten -- with the overall feeling of discovering an extinct species in our backyard, only to find that there is a ‘Psychedelisaurus’ alive and well in the same area. 

The Get Right Band

Starting with the dawn of psychedelia in the mid 1960s, there has been a veritable rabbit hole of trippy music coming from both of the Carolinas, which Ken Friedman helped document in the new three volume set Psychedelic States: The Carolinas in the 60s. Carrying the mantle of mind bending music in 2023 is Asheville NC trio The Get Right Band, who have released the concept album iTopia, their sixth and most ambitious collection. In this episode, you will hear from The Get Right Band’s front man Silas Durocher and radio veteran and record hound Ken Friedman about the history of psychedelic music in the Carolinas, how the Psychedelic States compilation came into being against some pretty tall odds, and about The Get Right Band’s new album, its concept and creation, and musical excerpts from both collections.

Bands from Psychedelic States: The Carolinas in the 60s

Songs heard in this episode:

The Electric Prunes “I Had Too Much To Dream Last Night”, excerpt

“iTopia” by The Get Right Band, from iTopia

“If I Had It” by The Wyld, from Psychedelic States: The Carolinas in the 60s, excerpt

“Black Holes of Negativity part 3 (saying no)” by The Get Right Band, from iTopia, excerpt

“I Guess That’s Why” by Teen-Beets, from Psychedelic States: The Carolinas in the 60s, excerpt

“Hell Yes, Refresh” by The Get Right Band, from iTopia

Thank you for visiting, and are even more grateful whenever you share this with someone. Please follow us on your podcast platform of choice, and then it will only take a minute to give it a good rating and, where it is an option, a review. Great ratings, and reviews especially, will make Southern Songs and Stories and the artists it profiles more likely to be found by more people just like you. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes of this podcast on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs. Thanks also to our guests, and we encourage you to check out their work.

Want to hear more about North Carolina’s often overlooked musical legacy? In this episode Ken Friedman mentioned that Chris Stamey and Peter Holsapple were among the kids who picked up on the vibe of local acts like Teen-Beets -- Stamey and Holsapple would form The dB’s, who were hugely influential and popular in the New Wave era.  My hunch is that you would probably enjoy our previous episode titled We Thought You Wanted To Know, Too: Peter Holsapple and The dB’s 

Also, there is much more conversation with Silas Durocher and Ken Friedman that did not make it into this episode. So if you’re wanting to hear those in full, please let me know, and you can find me on social media and by email at southernsongsandstories.com.

This is Southern Songs and Stories: the music of the South and the artists who make it. — Joe Kendrick