Liked on YouTube: Lilly Hiatt – “Trinity Lane” [Official Video]

Lilly Hiatt – “Trinity Lane” [Official Video]
From the new album ‘Trinity Lane,’ available August 25. Pre-order now: http://ift.tt/2ta1IW7

Directed by Michael Carter

SLAID CLEAVES – ‘GHOST ON THE CAR RADIO’ OUT TODAY

Grew up in Maine. Lives in Texas. Writes songs. Makes records. Travels around. Tries to be good.

Slaid Cleaves lives with his wife of 21 years, Karen Cleaves, in the Hill Country outside Austin, Texas. While Karen books the shows, the flights, the hotels, and the rental cars; designs, orders and sells the CDs and T-shirts, pays the band, updates the web site, answers fan questions, does the taxes and makes dinner, Slaid writes his little songs (and fixes things around the house). They travel around the world together while Slaid plays for fans far and wide and gets all the glory. If it wasn’t for Karen, Slaid would be carrying all he owned in a shoe box, scrounging around for a happy hour gig.
 

 

 

SLAID CLEAVES – ‘GHOST ON THE CAR RADIO’ (OUT JUNE 23 on CANDY HOUSE MEDIA,
both on CD and on 140 grms vinyl)

Now twenty-five years into his storied career, Cleaves’ songwriting has never been more potent than on his new album ‘Ghost on the Car Radio,’ out June 23.
‘Ghost on the Car Radio’ is Cleaves’ first release since 2013’s ‘Still Fighting the War,” which was praised as “one of the year’s best albums” by American Songwriter and “carefully crafted…songs about the struggles of the heart in hard times” by the Wall Street Journal. The New York Daily News called his music “a treasure hidden in plain sight,” while the Austin Chronicle declared, “there are few contemporaries that compare. He’s become a master craftsman on the order of Guy Clark and John Prine.”

Described as “terse, clear and heartfelt” (NPR Fresh Air), Cleaves speaks to timeless truths in his songs. “I’m not an innovator. I’m more of a keeper of the flame,” he says.
“I think of songs as the whiskey of writing. Distilled down to the essence, powerful, concentrated, immediate. You can take it all in and really feel it in just seconds,” says Slaid Cleaves.

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Sammy Brue – I Am Nice

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“Stories are all around us, and I’m listening to people even when they think I’m not,” states Sammy Brue.  “If I get to the emotion of it, I can find the words.”  
 
Realism and storytelling are qualities that are prominent on I Am Nice, the 15-year-old Utah singer-songwriter’s New West debut.  The 12-song album—produced by Ben Tanner of Alabama Shakes and John Paul White of the Civil Wars—shows the young troubadour to be a timeless talent whose catchy compositions embody the sort of wisdom, empathy and insight that’s usually associated with more experienced songwriters. 
 
Sammy Brue likes to think of himself as a normal fifteen year old kid – he plays video games, hangs out with his friends and eats cereal in the afternoon. On “I Know,” the first single from his upcoming debut LP on New West, the John Paul White and Ben Tanner-produced I Am Nice, Brue balances a mature, brooding sense of folk with wistful, youthful lyricism: on one hand, he’s an artist gifted way beyond his years. On the other, he’s a teenager who misses the girl he left behind. 
“I wrote that song in my underwear at three in the morning,” Brue tells Rolling Stone Country. “It was about someone chasing after their dreams and leaving a person they loved behind to do it. Only to find out that the person they left was more important than the dream. It’s probably the most personal song I’ve written for this album.”
 
The Ogden, Utah-based Brue started writing music at ten years old, and was snatched by Justin Townes Earle for the cover of his 2014 album, Single Mothers, for his uncanny resemblance to the singer songwriter. His similarities to Earle weren’t just in the physical – he, too, plays his guitar with a heavy thumb that tends to conjure up a bygone era, with lyrics firmly footed in the present. By fourteen, Brue had already released two EPs under the tutelage of musicians like Earle, Joe Fletcher and Joshua Black Wilkins, who saw more than just the novelty of a young kid at the mic: they saw an artist. Young or not, Brue’s songs were emotionally stirring and stark, garnering him spots opening for Hayes Carll, Lydia Loveless, John Moreland, Lukas Nelson, Lucinda Williams, Asleep at the Wheel and Earle, and a deal with New West records.
 
“Sam is not only a friend, but a peer,” says Wilkins, also a photographer who shot Brue for the cover of Single Mothers. “I started playing music at fifteen, so to witness someone so focused and inspired, and talented, is a constant reminder that I can always improve my craft. Sammy Brue gets better every day, and does it with a focus and drive that almost no one can match.” “Watching Sammy grow as a writer and performer over the past few years has been the most inspiring thing I’ve seen happen during my music career,” echoes Fletcher. “He is so hungry for new influences and seeing him devour them and process them and make them his own is a constant reminder to me of what drew me to this life in the first place.”
 
For I Am Nice, Brue headed to Florence, Alabama to make the album with Tanner and White – he’s finishing high school online these days – and he embraced the opportunity to add a fuller band to his spare acoustic sound. At first, he was a little intimidated by White’s austere persona, but soon found the man behind the press to be much different than he imagined. “I was kind of nervous at first because when you see pictures on the Internet [of White] he looks super serious,” Brue says. “But then he was a really big goofball.” I Am Nice infuses a new complexity into Brue’s style: a little doo-wop on “Was I The Only One,” some Nirvana-inspired scruff on “Control Freak,” the echoing introspection of “Salty Times.”
 
“I don’t have a lot of experience playing with a band so I didn’t know what to expect other than I wanted the Muscle Shoals vibe,” says Brue. “Just hearing the recordings after each take was cool. When Ben Tanner put keys on it I kind of didn’t ever want to play solo again. I actually have a band back in Ogden now, too, because I really love playing with other musicians. I didn’t have a sound in my head before because I didn’t want to ruin what John and Ben were going to come up with. After hearing the final mastered versions I really loved it. I think people will know where it was recorded when they listen to it.”
 
Though Brue is clearly influenced by Woody Guthrie and Bob Dylan – his first EP was titled The Ghost of Woody Guthrie and evokes a young Dylan heading to New York and ambushing his idol at the hospital – his tastes range far beyond just folk.

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NURIEL “Beautiful Day” Video

Jerusalem based indie rock band NURIEL is pleased to announce the release of their debut single and music video “Beautiful Day”!

In the summer 2015, brothers Yonatan (singer-songwriter) and Michael Attias (cello) joined up with long time friend and drummer Tzvi Solomons to make music. They were joined soon afterwards by brother David Attias (lead guitar) and childhood friend Benny Firszt (bass). Lively and thoughtful debate, playing out of over a period of time, inspired them to name the band NURIEL.

NURIEL’s music rapidly caught the attention of the diverse music scene in their hometown of Jerusalem. The band has filled many prestigious venues with enthusiastic crowds, resulting in a loyal and growing fan base. They have also performed and collaborated with numerous acts, sharing the stage with the likes of Feter Hendel and the New-York-based trio Zusha.

NURIEL’s musical style infuses folk with intricate harmonies, driving rock, and world music. Their sound is said to be meditative and uplifting; a combination of evocative music and thought-provoking lyrics that slide easily into the psyche to resonate with the soul.

Following a string of sold out shows, the band released their eagerly awaited single, “Beautiful Day,” on April 2nd 2017. The release has received warm feedback and favorable reviews.

NURIEL’s debut EP is scheduled for release during summer 2017.

Get up on the latest with NURIEL on 


The Rive Video Team
 John, Kenny, JP, Kim & Alicia

Rachel Baiman and Modern Mal release music videos

Baiman’s “Shame” and Modern Mal’s “Just a Satellite” get the video treatment, World Cafe releases Rev. Sekou live videos

We’ve got a couple fantastic music videos premiering today, from Baiman’s feminist title track “Shame” called “a potent message from an especially powerful messenger” by Paste Magazine to Modern Mal’s Psychedelic-Surf Rock rumination on self-esteem on “Just A Satellite”, with Rachel Brooke coming to the conclusion that “Some things can still be beautiful, even if they are a rusty man-made piece of space-debris” over on American Songwriter.While Rev. Sekou’s full World Cafe interview and session won’t be live until Friday, Vuhaus has a taste of the cuts he did of “Resist” and “Muddy and Rough” at the WXPN studios accompanied by Alvin Youngblood Hart and the North Mississippi Allstars!

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Bluegrass Ramble Schedule Announced

IBMA logo
2017 Bluegrass Ramble at WOB - official logo

Schedule Announced:

Bluegrass Ramble Official Showcases September 26-28

At 2017’s World of Bluegrass in Raleigh, NC, we’ll feature these 30 Official Showcase artists. They were selected from more than 160 submissions representing the vitality of bluegrass from its traditional roots to its furthest offshoots all around the world. Learn more about the Bluegrass Ramble acts.
Want to experience the Bluegrass Ramble? An IBMA Business Conference badge (buy now—first-time attendee discount offered) or Bluegrass Ramble wristband (buy now) will get you into all venues. Admission into a single club will be sold at the door for $10.[WOB Business Conference registrants do not need to purchase Bluegrass Ramble tickets.]

BANDS and VENUES

Architect Bar & Social House: (108 East Hargett Street)
Tuesday, September 26:
7:00        Caroline Gallagher
8:00        Travers Chandler and Avery County
9:00        Mile Twelve
Wednesday, September 27:
7:00        Cathy Fink & Marcy Marxer
8:00        Sam Gleaves
9:00        Jonathan Byrd
Tuesday, September 26:
7:00        The Savage Hearts
8:00        Deer Creek Boys
9:00        FY5
Wednesday, September 27:
7:00        Richie and Rosie
8:00        The Po’ Ramblin’ Boys
9:00        The Small Glories
Lincoln Theatre: (126 East Cabarrus Street)
Tuesday, September 26:
7:00        NewTown
8:00        Forlorn Strangers
9:00        The Lonely Heartstring Band
Wednesday, September 27:
7:00        Hank, Pattie & The Current
8:00        The Railsplitters
9:00        Fireside Collective
Pour House Music Hall: (224 South Blount Street)
Tuesday, September 26:
7:00        Cup O’ Joe
8:00        Molsky’s Mountain Drifters
9:00        Sheriff Scott and the Deputies
Wednesday, September 27:
7:00        The Slocan Ramblers
8:00        Quiles & Cloud
9:00        Mr Sun
Raleigh Convention Center Masters Workshop Stage (500 South Salisbury)
Tuesday, September 26:
7:00        Fireside Collective
7:35        The Po’ Ramblin’ Boys
8:10        Jeff Brown & Still Lonesome
8:45        Salt and Light the Moore Family Band
9:20        The Railsplitters
Wednesday, September 27:
7:00        High Fidelity
7:35        The Price Sisters
8:10        Forlorn Strangers
8:45        Travers Chandler and Avery County
9:20        NewTown
Raleigh Convention CenterRoom 304 (500 South Salisbury)
Tuesday, September 26:
7:00        Quiles & Cloud
7:35        Richie and Rosie
8:10        Sam Gleaves
8:45        The Slocan Ramblers
9:20        Mr Sun
Wednesday, September 27:
7:00        Deer Creek Boys
7:35        Caroline Gallagher
8:10        Mile Twelve
8:45        FY5
9:20        Molsky’s Mountain Drifters
Vintage Church: (118 South Person Street)
Tuesday, September 26
7:00        The Price Sisters
8:00        Cane Mill Road
9:00        High Fidelity
Wednesday, September 27
7:00        Jeff Brown & Still Lonesome
8:00        Flats and Sharps
9:00        Salt and Light the Moore Family Band
 
I C Y M I
Wide Open main Stage art listing first round of featured artists
Wide Open Main Stage:
BUZZ-
WORTHY
Wide Open Main Stage
You won’t find this lineup anywhere else! Bluegrass greats, emerging stars, one-of-a-kind jams. You’ll hear eighteen incredible acts in two days. One- and two-day tickets with good seats still available. You have to experience this
!
And every ticket purchase benefits the Bluegrass Trust Fund.

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Matthew Ryan – Hustle Up Starlings

 

 

“Crazy Horse meets The Replacements, with a nod to Tom Waits” – Paste

 

“If Arcade Fire’s The Suburbs captured a moment in time for suburban kids, Matthew Ryan is their blue-collar companion” – No Depression
“An essential American voice.” – Riverfront Times
“He continues to bring heartfelt emotion to rock & roll, one day soon I hope the rest of the world will wake up to the genius that is Matthew Ryan.” – Mike Marrone, Sirius/XM’s The Loft
“A writer who pens love songs as tough as Jim Thompson novels. Some rockers must scream when they plumb emotions at this depth. Ryan rarely has to raise his voice above a raspy whisper.” – USA Today
“An enviable knack for elevating the everyday into the realm of the eternal distinguishes Matthew Ryan from the alt-country pack.” – Drowned In Sound

 

 
Matthew Ryan – Hustle Up Starlings
 

Matthew Ryan is experiencing a kind of noisy renaissance. It began in 2014 with the release of Boxers, a fevered and smart rock ‘n’ roll record about the working class, produced by Kevin Salem. May 2017 will see the follow-through with Hustle Up Starlings, a heart-on-the-sleeve collection of silvery anthems that further illustrate Ryan’s reinvigorated love of language, noise, and cinema.



Produced by Brian Fallon from The Gaslight Anthem, Starlings shimmers with an immediate and captivating focus. The 10-song set clocks in at 40 minutes with no prevarication or bluster, just a celebratory noise alight with hearts and history, broken-in voices and poetry.

 

Matthew Ryan grew up in Chester, Pennsylvania just south of Philly, and spent his teens in Newark, Delaware. In his early 20s, he moved to Nashville, where he was first signed to A&M Records, releasing May Day (1997) and East Autumn Grin (2000) before falling prey to the titanic label mergers of the early aughts.

 

What followed was more or less an album a year by any and all means possible until 2012’s In The Dusk of Everything. After moving to Western Pennsylvania in 2011, Ryan quietly decided that he’d had enough. Dusk would be his last album. “Music had become too lonely,” he said.

 

But soon after that declaration, a sudden friendship with the frontman from The Gaslight Anthem, Brian Fallon, reignited something in Ryan. Fallon invited him out on some tour dates, and after performing a version of Ryan’s “I Can’t Steal You” (off of 2003’s Regret Over The Wires) together in New York City, the two decided they’d like to work together one day. Fallon just wanted to play guitar, but Ryan suspected he’d found a producer.

 

Hustle Up Starlings was recorded last summer in Nashville at Doug Lancio’s place on the East Side. Ryan assembled the cast because they all shared a common ethos and similar roots — The Clash, The Replacements, Bob Dylan, Bruce Springsteen, Leonard Cohen, The Cure, The Jam… Each of them hard working lovers of pop music with a black eye, a brain, and soul.

 

Things were a little tense at the start. “Artists are like boxers,” Ryan says. “They have to test each other a little before they can trust each other.” And this was a roomful of artists. Brad Pemberton (Steve Earle, Ryan Adams) played drums and percussion; Brian Bequette (long-time blood brother and band member of Ryan’s) played bass; Fallon played electric and acoustic guitars while helming production; Doug Lancio engineered and mixed while adding synth and additional guitars. Ryan sang and played guitar as well. David Henry (former cellist for Cowboy Junkies) added strings where needed.

 

Fallon had a sense of the orchestration and arrangement already filed in his mind. They’d gather and play a song acoustically, discuss what they were hearing and what needed to happen, then Fallon would take the lead, check in with Ryan and off they’d go. Lancio would hustle around getting the mics and levels sorted then press record. They kept the takes that moved them, that felt alive. Most of the vocals you’ll hear were of the moment, as is the band’s performance.

 

There was some minimal overdubbing, then Fallon would add backing vocals while the energy of just capturing a new recording was still in the room. Song after song played out like this. 7 days were booked, and they were finished in 5.

 

Hustle Up Starlings is an album in the truest sense of the word — it’s a cohesive sonic and narrative expression with a beginning, middle, and end. It was in a conversation with the great producer and songwriter Joe Henry that Ryan realized once again the importance of committing to the fullness of experience that an album offers. “It’s an intimate story I’m telling here. These songs are personal, but if I’m lucky and I’ve done my job, they become universal. The story I’m living and writing about is happening in the context of this world we’re all observing and feeling right now, a world that feels like it might catch fire with all its uncertainty and friction, the ugly politics and rising impulses.”

 

Ryan explains further, “You see, this is what we do though, even when the world feels like it’s about to burn down, we keep leaning for tomorrow in our own lives and stories and families. It’s all hope and perseverance. We get up and we go to work. We believe in tomorrow, even when we’re not sure what tomorrow will be. Joe helped me to realize that I should probably tell the whole story as best I could. Brian and Doug and the band helped me bring it to life so it could be heard and shared. And hopefully felt.”

 

On Hustle Up Starlings, we find an artist who has shifted into some higher gear and come into full fruition. The entire collection is not only bolstered by a great band and their sonic immediacy, the songs are so generous with incisive couplets and soaring, searing choruses that repeated listens don’t dull its charm. Each song and performance in this collection leans on perseverance like a car leans into a hard curve — the thrill of “(I Just Died) Like An Aviator,” the inspired grit of “Battle Born,” the unguarded intimacies of “Maybe I’ll Disappear,” the jilted humor and meanness of “Bastard.”
 
There’s romance and doubt, there’s memory informing the phantoms of the future, there’s work and hope-tinged despair. There are moments that arrive and feel like instant classics. The title track, “Hustle Up Starlings,” comes in like an ambient Rolling Stones tune and unfolds in a filmic, breathtakingly honest way. Each detail glows as the story builds upon itself, cool and warm, incisive. The entire album works like this, each song into the next, moment after moment. It doesn’t let up.

 

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Charlie Whitten to release EP “Playwright” August 25th

We’re excited to be working with Charlie Whitten, whose new EP Playwright is coming out August 25thThe whole thing is phenomenal, a quick 4-song EP showcasing a moment in time for the young songwriter. The songwriting on each of these tracks is wonderful and points to Whitten’s budding brilliance but the up-tempo, jaunty, pining of “Since She’s Gone”, with it’s duality of heart-break and acceptance is really impressive.
Whitten grew up in Charlotte, NC and was born in Charleston, WV. He’s released a few pieces under his own name but says he “enjoys being sideman just as much as a singer-songwriter.” Pretty obvious that he enjoys it when you can catch Charlie playing guitar for Jake McMullen and Becca Mancari, and while he just returned from touring for two months with Andrew Combs as his bass player. He’s also played and sang with Molly Parden, Erin Rae McKaskle, Caleb Groh, Chrome Pony, and his current side project, Stationwagon; a band of tall songwriters and friends featuring Mark Fredson, Pete Lindberg, Andrew Hunt, Brett Resnick. You can hear bits a pieces from his heroes Jim Croce, Don McLean and Harry Nilsson in his songs. There’s a bit of Rayland Baxter in his arrangements as well.

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Whitehorse – Panther In The Dollhouse

SEX, LOVE AND THE LIVES OF CONSENTING ADULTS:
WHITEHORSE DELVE INTO BODY POLITICS ON
PANTHER IN THE DOLLHOUSE, OUT 4th AUGUST VIA SIX SHOOTER RECORDS

“Whitehorse are ready to gloriously bust some balls again”
– Noisey

“Rhythm-heavy and shivery.”
– Chicago Tribune

“Superduo whose music swirls together the swampy swagger of the Bible Belt, the minor-akey melancholy of film noir soundtracks and the raw stomp of rock & roll.”
– Rolling Stone



As genre chameleons, Whitehorse’s brazen sonic breadth encompasses a driving Americana image with psychedelic surf, arid border rock, lo-fi ingenuity and icy 80’s sparseness. Panther In The Dollhouse brings another twist to Whitehorse’s studio approach with the addition of NYC hip-hop production duo Like Minds (Kanye West, Snoop Dogg), as well as the return of Gus Van Go and Werner F as producers/engineers.

Retro psychedelic pop bubbles up on “Nighthawks,” a new single out now from Panther In The Dollhouse that questions the constructs of perpetrator and victim on the streets. “Nighthawks” is a companion piece to the slow-burner “Evangelina,” (from the album Leave No Bridge Unburned), in which the namesake character is a sex worker superhero, in celebration of those who challenged Canada’s prostitution laws at the Supreme Court of Canada in 2013.

“Nighthawks” (recently performed live in a 5-star Minneapolis diner of the same name) is one example of Panther In The Dollhouse’s deep dive into body politics. Throughout the album, Whitehorse explore issues of consent, self-determination and, ultimately, freedom, largely from the perspective of women. 


Whitehorse have also unveiled the video to “Die Alone,” from Massey Hall’s new Ghost Light Sessions, was shot on the theatre’s grand and storied stage and shows Luke Doucet and Melissa McClelland’s exquisite harmonies and tones. From The Road To Massey Hall, an EP celebrating artists whose careers are intertwined with the venue’s history, to this striking stripped-down performance, Whitehorse’s reverence for this stage has become part of their story as well.

“Die Alone” is found on the forthcoming Panther In The Dollhouse, an album that examines the conventions and assumptions of domestic life. “Die Alone” is a devastating grindhouse ballad about the havoc wreaked by and for love. Endurance and exhaustion are two sides of the coin Whitehorse flips: “You got down on one knee and pulled the rug from my feet,” sings McClelland.


Alongside “Boys Like You”, “Die Alone”, and the peroxide burn of “Trophy Wife,” Panther In The Dollhouse paints a conflicted picture of domesticity and adulthood. Seedy, slinky and suggestive, the characters that populate Panther In The Dollhouse do what they can, what they must and – often – what they really shouldn’t (but can’t resist).

In their six years, Whitehorse has been known as a folk duo, a neo-noir Americana outfit, and as live looping mad scientists. Now, Whitehorse lets loose with a brand new full band, on glorious display in Part 1 of their CBC’s First Play Live session. See “Nighthawks,” “Evangelina” (never before performed live) and other songs here.

Whitehorse recently have been announced to perform as part of the upcoming  Canadian Songwriters Hall of Fame induction of Neil Young, Bruce Cockburn, and others. Further details of Whitehorse’s role in this ceremony will be released soon

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Michael Daves – Orchids and Violence

Orchids and Violence is the first solo full-length by Michael Daves. (The Grammy-nominated Sleep with One Eye Open was a collaboration with Chris Thile.) Mixed by Vance Powell,
it’s a double album whose discs contain the exact same songs — the
first is acoustic, the second electric. The material comprises
traditional bluegrass and country standards — and Mother Love Bone‘s “Stargazer.” The first disc was cut live to tape in a 19th century church. Daves flatpicks and strums like a madman, surrounded by a smoking cast: bassist Mike Bub, fiddler Brittany Haas, mandolinist Sarah Jarosz, and banjoist Noam Pikelny. The electric second disc was recorded in Daves‘ home studio. He played guitars, pianos, and drums — electric bass was played by Jessi Carter. The way Daves
renders all these tunes underscores his rep as a “renegade
traditionalist.” Contrast both versions of the old fiddle tune “June
Apple.” The acoustic version is deft and quick paced, played with enough
ensemble energy to make it crackle. The electric take sounds like Richard Thompson playing with Robert Quine. On disc one Bill Monroe‘s
“Darling Corey” walks a tightrope between rural country boogie,
rockabilly, and swinging bluegrass. On the second half it sounds like the Hollies‘ “Long Cool Woman in a Black Dress” played by Ali Farka Touré and Toumani Diabaté (thanks in no small part to Tony Trischka‘s
psychedelic cello banjo). While the acoustic version of “The Dirt That
You Throw” is a midtempo mountain waltz with gospel and blues overtones,
on disc two it comes through as an elegiac dirge filtered through
psychedelic country. The first version of the aforementioned “Stargazer”
is a sprightly, quick-moving bluegrass tune with extended vocal
harmonies — and sounds like it originated with the Stanley Brothers. Its electric companion is rife with Neil Young and Crazy Horse-esque sustain and distortion. The initial version of “A Good Year for the Roses” (associated forever with George Jones)
is rendered raw, stripped-down, and bereft of anything but grief. The
second, more bewildered that bereft, could have been arranged by Paul Westerberg and Gary Louris. Ralph Stanley‘s
classic “Pretty Polly” reveals its deep Delta blues roots without
straying from the mountain tradition on disc one; its mirror image is
twisted and bent through the ghost of Dock Boggs and Junior Kimbrough. “The 28th of January” is rendered on disc one as a picker’s hornpipe tune (with Trischka on cello banjo). Its electric read is a strutting instrumental boogie filtered through Marc Bolan‘s shadow. Daves
considers bluegrass a music whose heritage was fostered by a tension
between various musical traditions — blues, gospel, country, folk,
swing jazz — and the desire of its creators for innovation on these
forms. Taking Orchids and Violence as a whole illustrates that in spades. In the 21st century, these songs as covered by Daves not only retain their meaning but cut deeper into the American grain.

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