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No Depression shares Thorp Jenson’s new video “Oklahoma”

“Oklahoma” showcases Richmond, VA’s Thorp Jenson’s disarmingly catchy songwriting and free-spirited knack for blending the kind of anthemic, psych-tinged indie rock and Americana perfect for echoing out across the festival masses, from Bonnaroo to Coachella. Jenson’s “Oklahoma”—featuring warm, soulful vocals atop blankets of chiming guitar and subtle electric organ—explores the mental space between what is and what could be. READ MORE…

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by Baby Robot Media

Great Peacock Display their Musical Colors on New Album, Premiere “One Way Ticket”

“A peacock has so many colors, and that’s what we want our sound to be like. It’s clearly rock ‘n roll. It’s clearly country. It’s clearly folk. There’s definitely blues and elements of R&B in there, too,” says Nelson.

With their forthcoming sophomore release, Gran Pavo Real, Nashville’s Great Peacock?? Andrew Nelson (lead vocals and guitar), Blount Floyd (guitar), drummer Nick Recio (drummer) and Frank Keith IV (bass)?? obscure the lines between rock ‘n roll, folk, blues, and Americana while tackling the universal themes of heartache, loneliness, and desperation with a striking emotional precision.

Recorded at Nashville’s Sound Emporium, the breadth of Gran Pavo Real is apparent on first listen. Produced by Dexter Green (Jason Isbell, Elizabeth Cooke), who aided the quartet in fusing varied sonic elements, the ten tracks lead the listener into songs both heartbreaking and brittle to those more desolate and uneasy. Enlivened by their nimble musicianship, lyrical insight, and Nelson’s soulful vocals, the band’s grooves run thick on “Rattlesnake,” cut to the bone on “Oh Deep Water,” and emit a palpable yearning on “All I Really Want Is You.” Today, the band shares their first single from the project, “One Way Ticket.” A solid drumbeat lays the foundation for the sweeping, hymn-like track that is supported by alluring key-work, dynamic guitar solos, and Nelson’s hypnotic vocals which tell the story of a free soul who’s reminiscing and finding his path.

Blount Floyd had this to say about the album,

“I’m sure most bands deal with the same trials and tribulations in what is best described as the journey of making a record, I am here to tell you our story of how Gran Pavo Real came to fruition. It always begins and ends with the songs, which some have been kicking around for quite a while…”

by Baby Robot Media

Ross Cooper – “Lady of the Highway” (audio) (premiere)

Behind every great country artist is a song about hitting the road. Johnny Cash has “I’ve Been Everywhere”, Merle Haggard has “White Line Fever”, and, of course, Willie Nelson has “On the Road Again” under his hat. In a sense, Nashville’s Ross Cooper is following tradition with “Lady of the Highway”. Meanwhile, the cowboy-turned-music artist is carving his path forward on the Americana circuit.

Sonically, Cooper doesn’t ramble like Cash’s road anthem, nor does he really intend to soar like Willie Nelson. He doesn’t quite trudge through the swamps either. “Lady of the Highway” is a brisk, but mellow and an emotional, but comforting tune with a heart all its own. Cooper shows his storyteller’s chops off on the track here beside his ability to front a band. It’s no wonder why many are pegging him as one of the top dogs in Nashville to look out for these days.

It doesn’t hurt that the song was produced brilliantly by Nashville icon Eric Masse (Miranda Lambert, Rayland Baxter), either. Additionally, it’s a co-write with Jordan Lehning and Andrew Combs, both of whom have been known for prolific contributions to the Americana circle themselves throughout the years. The premiere of “Lady of the Highway” predates the release of Cooper’s upcoming album, I Rode the Wild Horses, coming 9 March 2018.

by Baby Robot Media

11 QUESTIONS TO A NASHVILLE MUSICIAN: ROSS COOPER

When asked what Americana music was, my flippant answer was “Country music that doesn’t suck.” I later gave a more detailed one which described an Americana artist to be one who writes their own songs, plays an instrument and sings without Auto-Tune. In other words, there’s much more to the package than just wearing a hat and warbling on stage.

Ross Cooper is one new Americana artist who I find satisfying on all three counts: writing, playing and singing. And if there’s justice in Music City, his upcoming record “I Rode the Wild Horses” will surely get him the notice he deserves. About wearing that hat, Cooper has every right to do so. For as the haunting title track of his record reveals, Ross was once a rodeo cowboy back in his native Texas.

While the Lubbock native’s bio comes with an enticing RIYL (“recommended if you like”), I was also equally impressed with his RBHL (“recommended because he likes”) that you will read below. My thanks to Ross Cooper for introducing me to his music and subjecting himself to my 11 Questions.

Where are you from originally, when did you move to Nashville and why?

I’m from Lubbock, TX originally. I moved to Nashville a little more than five years ago. I moved here because this town is the music mecca. I started finding out more and more about this phenomenal music scene that was happening under the radar. I had a bit of an epiphany when I realized all of the bands I was digging happened to live in East Nashville. It’s a really special time to be here.

by Baby Robot Media

JAMIE MCLEAN BAND NEW ALBUM OUT 2/23 + WINTER TOUR

Jamie McLean Band has been receiving great press in anticipation of its new LP, One and Only, produced by ex-Wilco drummer Ken Coomer (Steve Earle, Emmylou Harris) at Nashville’s legendary Sound Emporium, and featuring contributions from an impressive list of guest artists, from Americana mainstay Sam Bush to reed man extraordinaire Jeff Coffin (Bela Fleck, Dave Matthews Band) and mesmerizing British singer/songwriter Lucie Silvas. No Depression, PopMatters and Glide have all shared singles leading up to the Feb. 23 release.

When Jamie McLean and his band get cooking, signature Gibson Les Paul slung over his shoulder, jangling downhome American rock & roll blaring from the speakers—damn the torpedoes, it’s like 1976 all over again. With the depth and honesty of his songs, and the effortless showmanship of his live performances, you can trace a clean lineage straight back from McLean to the legends whose influence he’s proudly stitched on his sleeve.

“I’ve been working at this long enough now that I know what’s going to be a great song and what feels extra,” McLean says. “Tom Petty had the line, ‘Don’t bore us, get to the chorus.’ That always resonated with me.”

McLean’s new LP, One and Only (out Feb. 23), was brought to life with the help of producer/ex-Wilco drummer Ken Coomer (Steve Earle, Emmylou Harris), and it’s the most assured studio expression yet from the Jamie McLean Band. The album also gets a lift from its impressive collection of guest artists including Americana mainstay Sam Bush, who serves up potent flights of mandolin picking; reed man extraordinaire Jeff Coffin (Bela Fleck, Dave Matthews Band); and mesmerizing British singer-songwriter Lucie Silvas.

by Baby Robot Media

The Bluegrass Situation names “Warning Shot” by Pedigo’s Magic Pilsner as their Song of the Week

Music has a way of speaking for those who cannot: the thoughts of a secret lover, a disenfranchised worker, a child unborn. That’s why honesty, rather than explicit or factual truth, is one of the most powerful tools a songwriter can have. What can you imagine? What brain can you get inside? Who can you be or who can you sing for, and can that be someone who could never speak themselves?

On “Warning Shot,” from his new record, Magic Pilsner, John Pedigo — one half of the O’s — does this by imagining the thoughts of someone only after they have died, en route to their own funeral. Not watching from above in a religious or spiritual way, but in true quest to uncover what a man who is no longer with us might actually be thinking. In “Warning Shot,” this message comes straight from the casket, but Pedigo treats death as enough of an open-ended concept so a funeral — and our ashes — aren’t only concepts experienced by those no longer breathing. Alternating subtle acoustics with piano and strings, it’s a song that helped Pedigo come to terms with the loss of his own father. But the healing doesn’t end there.

“The record was a mostly solitary adventure, and I was racing against time trying to finish it and still create a definitive sound,” Pedigo says. “It became much more to me than a song; it was the driving force for me to continue.” Rebirth through death: seeing life the way only a songwriter can.