Music, at its best, is a statement in a larger conversation. The Mean Days by 8 Inch Betsy is a particularly great example of this.
The Mean Days is a collection of 14 songs being released digitally five and a half years after the tragic death of lead singer Meghan Galbraith. READ MORE…
Steph Bishop and Robert Maril, former bandmates in queer country outfit Kings, spent years apart before reuniting as Tender Creature. Leaning into the uncertainties of transformation, instead of struggling to recreate something long gone, is in part what makes the duo’s electronic folk-pop debut, An Offering, so compelling. READ MORE…
Rev. Greg Spradlin and The Band of Imperials: Singer-guitarist Spradlin shines on this remarkable album that was released July 17 on the Out of the Past label. He and a stellar band of all-stars, including David Hidalgo of Los Lobos, former Elvis Costello drummer Pete Thomas and the late keyboardist Rudy Copeland, generate a gloriously greasy convergence of rock, country, blues, soul and gospel that sounds perfect and timeless.
Michelle Billingsley’s song “Gaslighting”—from her new debut album Not the Marrying Kind“—is featured on the most recent episode of the Adobe and Teardrops podcast. The track begins at 53:00.
American Songwriter recently called Michelle’s work “charming” and Glide said it was “biting & enigmatic” with the “knock ’em dead bravado of Nancy Sinatra and the blunt storytelling of Neko Case.”
Billingsley wraps her slyly cutting lyrics in her dry and dark sense of humor and whipsmart-assed vocal delivery. Her songs are genuine, irreverent, unique and fearless, and Not the Marrying Kind is a deceptively heavy set of songs. Yet somehow it’s still undeniably fun—fantastic whimsy mixed with black comedy and brisk little melodies that make the journey all the more powerful, human and affecting.
“Gaslighting” is a perfect example, an upbeat country-folk tune with plenty of John Prine-style wit and wise-assery on display as Billingsley’s unrepentant cheater of a protagonist tells a cockamamie tale that gets harder to swallow with each verse. LISTEN HERE…
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Ned Hill – By the Light of the Radio // out October 2 on WhistlePig Records
Roots rock/Americana stalwart, Ned Hill–raised on the sounds of FM Radio, American Bandstand and drug store jukeboxes in the small town of Horse Cave, KY–has kept his sights on Music City, where he’s planted his feet for over 20 years, performing regularly at East Nashville’s The Five Spot, and touring the south, midwest and New England. While frequently collaborating with one of Nashville’s most coveted auxiliary players, Michael Webb (John Prine, Sturgill Simpson, Chris Stapleton, Hank Williams Jr.), it’s no wonder outlets like No Depression, The Associated Press, Nashville Scene, Elmore Magazine, and Americana Highways have been singing their praises.
Tracking an expansive career, from the cowpunk grit of Ned Van Go to the Paul Westerberg-tinged aggression of The Cowards, it’s plain to see how prolific Hill has become, with such a wide-ranging oeuvre; although, his burgeoning solo career has only just begun. On his forthcoming, sophomore LP, By the Light of the Radio (out October 2 via WhistlePig Records), Ned Hill promises the working-class ethos of Springsteen, embracing the country blues, Big Daddy-era spirit of personal Midwestern hero, John Cougar Mellencamp, all while framing the bubbling anxieties of more woke Southern influences, such as Drive-By Truckers.
In the studio, helping to nurture Hill’s ambition, was Michael Webb (piano, organ, mandolin, vocal harmonies)–one of four-time Grammy award-winning Americana producer, Dave Cobb’s “secret weapons”–Dave Coleman of the Coal Men (lead & rhythm guitar), Tina Simpson on violin, viola and vocal harmonies (Tommy Emmanuel), Jeffrey Perkins on percussion (Billy Joe Shaver, Paul Thorn), Ralph Friedrichsen on bass (Paul Thorn), and Laur Joamets (Sturgill Simpson, Drivin N Cryin) on lead guitar & rhythm. By the Light of the Radio was recorded at THE BUNK HOUSE in Detroit, MI, produced, engineered and mixed by WhistlePig label owner and Motor City native, Bunky Hunt, who also provided acoustic guitar and vocal harmonies to the record. Additional tracking was provided by Michael Webb at 8:05 Studio in Nashville and Tracehorse Studio in Berry Hill, TN.
The hard-hitting opener, “Lonely Heart of Mine,” establishes that listless and idle feeling of sitting at a bar, on a cold and rainy night, alone and clueless of what’s to come, in the looming presence of darkness and existential dread. Meanwhile, the purring registers of Michael Webb’s organ offer warmth, purity and stillness, like a stiff drink, while sweeping string arrangements underscore vivid reminders of what it’s like to yearn for blissful moments of respite.
Hill’s distinctive and enigmatic vocals are showcased on “Take Me Out of this World,” where spiritual reckoning comes into the fold, ruminating on Tom Petty’s ragged rock and roll tunes with brutal confessions of the heart. “Thunder in December” continues Hill’s narrative of disenchantment before he unpacks the silver lining—or rather, “the saving grace of love”—as foretold on the previous track, “Wake Me Up.” The striking visuals and poeticism of Hill’s lyrics also offer insight into reservations about growing older: “And some things you still remember/Like thunder in December/Silver flashes cutting through the gray/And though your eyes look weary/The dust that falls is merely/Waiting for a little bit of rain.”
Hill assures us, there’s still fire in the belly: “No matter how old you grow, there are always moments that stick with you, that will always be ingrained. There’s still fire, when you thought there was none. ‘Thunder in December’ started with the title, which was an awakening from a period of dormancy. Usually these kinds of things get stirred up from love of family or love of another, which seems to be the only way to kick some thunder into these inching feelings of loneliness,” says Ned.
By the Light of the Radio, as a whole, came to fruition by stream of consciousness, collecting memories of Twin City Drive-In outings in Horse Cave, KY, as Hill summons clear and vibrant imagery on “Meet Me at the Drive-In”: “You’ll dress up in corvette-red and I’ll be in Plymouth-blue/And you’ll be there with your friends/And I’ll be there with mine/We’ll slip behind the concession stand at intermission time.” Hill’s narrative strikes a balance between nostalgia-heavy numbers like these, and a slightly more nihilistic song and dance on tracks like the aforementioned “Thunder in December,” where he resonates, wistfully, in a more character-driven approach: “He was a poet desperado/The King of Colorado/Left nothing in his gun but broken dreams.”
On the more political end of the spectrum, Hill acknowledges the uphill battle with what Drive-By Truckers would aptly describe as “duality of the southern thing” on American Band. Hill allows for that very kind of passion and verisimilitude on “Movin’ On” and “I Refrain” to close out the album, singing “The flag is raised for all to see/As they applaud the bootleg preacher/Spewing out his bitter rage.” The amount of snark that’s loaded into the analogy, referring to POTUS as a “bootleg preacher,” is impressive. Hill decries Southern resistance to change in such a way that’s not mawkish or navel-gazing, which is an accomplishment by its very nature. Hill cites Springsteen as fuel for inspiration, when it comes to writing apt lyrics: “Never sing a lyric that you don’t feel good about. There’s nothing worse. You have to feel strongly about it, and stay within that mindset,” says Hill.
Without cease, he continues to boast and chide the South on their bootleg preacher: “I want a brand new president/I don’t like the one we sent,” he sings on the guitar-driven barn burner, “I Refrain,” an outlaw country lynchpin and closer. Hill takes pride in having tough conversations, while always striving to listen, intently, to opposition. Perhaps that’s why he’s constantly sitting in his old rocking chair, “thinking, and thinking, and thinking,” in quiet contemplation, considering the next lyric or turn of phrase, and reflecting on the human condition, while relishing on the hope that remains and cherished memories intact.
“I wanted to give this record a throwback feel, and capture the big Midwestern band vibes of Seger and Mellencamp. I don’t hear enough of that sound these days. Maybe Isbell? In any case, I hope for that comeback,” says Hill.
By the Light of the Radio is due out October 2 via WhistlePig Records.
