Emmylou Harris & Rodney Crowell "Back When We Were Beautiful"

Usually, when we're putting together the Top 25 list for MVY, the very top spots are left intact, straight from the voting.  But when you get down to the last 5 or so slots, only a vote or 3 can separate #20 from #40.  With so many albums so close, some shuffling around will happen, and the last few albums are usually decided not by votes, but by gut.

We take into account how important the album was to the MVY playlist, how well it was critically received, how well it sold, and how much longevity it feels like the record may have.

Admittedly, these characteristics are somewhat subjective.

With only 5 slots left, and 15 to 20 records that are legitimate contenders, there is some hashing out to be done.

Barbara was pretty adamant that "Old Yellow Moon" from Emmylou Harris and Rodney Crowell make the list.

I wasn't so sure.

I thought it was a good record, and it was certainly well received by the critics.  But we didn't play it a ton, didn't get a ton of requests for it, and there was no second single to keep it alive on the air throughout 2013, so it had faded into memory a bit.

But she argued so passionately for it, talking about the beauty and the craft, and saying that it was the kind of record that touched the hearts of people who really listened.  She said, decisively, that it HAD to be on the list.

I was smart enough to trust her gut.

Guess who won Best Americana Album at The Grammys last night?


Hear the song on Youtube.

The Civil Wars "The One That Got Away"

I was going to write a bit about how the new Civil Wars track was an "automatic add," meaning we'd play it (almost) no matter what, not unlike the Fleetwood Mac song I wrote about a few weeks back.

Something kinda shocking crossed my mind.

Of course, heritage artists with a major history on MVY are automatic adds.  But it was only 2 1/2 years ago that this unknown band was cycling through my iTunes playlist and I thought they were compelling enough to give them a shot.

But with the story that has unfolded over the last 30 months (success; Grammys; collaborations with Taylor Swift, Emmylou Harris and The Chieftains; an abrupt break up; a surprise 2nd album) has made their new song a Must Listen.

So yes, expect to hear this on MVY.


Hear the song on Youtube.

Son Volt "Hearts & Minds"

Sometime shortly after I have become Program Director at MVY, I was down at the Pub where I hung out.  One of my buddies was saying to a third guy:  "Did you hear that PJ got promoted at MVY?"

The third guy shrugged.  "MVY?  I stopped listening to them since they went country."

Went country?

The previous month, we'd done an On The Road trip to Merlefest, the premiere East Coast Americana music festival hosted by Doc Watson.

We gave it massive coverage on the air, playing cuts from bluegrass, country, roots and Americana artists not typically found in large supply on our station.

Was it wall-to-wall country?  No.  But here in the Northeast, a little country goes a long way.

It's always important to keep a good balance, and air only a moderate supply of songs that push away from the center-boundary of what is mvyradio.

If you look back at the old entry about how we choose songs for mvyradio, you'll see that I expressly mention that we're okay when we have a couple of Country-leaning songs.  Anything over that, and we risk sounding "too country."

So what do you do when there's a plethora of great, mvy-friendly country music out there?

We're suddenly deluged with great albums that can't really be ignored, by Son Volt, Buddy Miller and Jim Lauderdale, Emmylou Harris and Rodney Crowell, Steve Martin and Edie Brickell, and Steve Earle.  Not to mention the banjo and dobro inflected likes of The Avett Brothers, Mumford & Sons and Jerry Douglas.

I guess the answer is, you go with it. 

We can't not play the Steve Earle.  Or the Emmylou & Rodney.  It would be weird for MVY, long-time Earle and Harris supporters, to suddenly ignore a critically-praised major release of theirs.  And the curiosity factor of the Steve & Edie record alone is reason to play it---it's the kind of oddball release that listeners expect to have a place on our eclectic indie station.

I say this all the time to listeners who complain about hearing too much of one new song or another:  Songs come and songs go.  If you don't like this one, don't worry, it will run its course and fade. 

Three months from now, many of these songs will be gone from our "current" playlist, and the balance of the station will be restored, or will perhaps lean in another direction that we'll have to course-correct for.

In the meantime, we haven't "gone country."  We're just enjoying the twang.


Hear Son Volt on Youtube.


Hear Buddy & Jim on Youtube.


Hear Emmylou & Rodney on Youtube.


Hear Steve & Edie talk about their record on Youtube.


Hear Steve Earle on Youtube.

Emmylou Harris & Beck "Sin City"

If you've had a kid in the last decade, chances are pretty good you've had a copy of "What To Expect When You're Expecting" in your house.

One of the pieces of advice that I remember from it, was about singing to sooth a crying child. Something about how babies like singing and don't even notice the worst, out-of-tune off-key warbling. They just like the sound of your voice.

My wife has been singing to our kids at bedtime ever since they were born. She's got a really nice voice, and I'm sure it's a very pleasant way to go to sleep.

After teeth-brushing and a few books, she turns out the light and goes into her repertoire of songs.

Usually it starts with the song from Dumbo, "Baby Mine," which Bonnie Raitt and Alison Krauss have both recorded. On a good night, one song is all that it takes.

But not every night is a good night. Sometimes it takes a bit for the kids to settle down.

So she'll sing "Lullaby" by Billy Joel. Then maybe "Beautiful Boy" by John Lennon for my son. My daughter has always been inexplicably calmed by my wife's version of Ingrid Michaelson's "The Way I Am."

Some combination of those songs sung by my wife, usually is enough to get the kids to drift off.

But on certain occasions, my wife isn't home for bedtime.

Consistency is the key to parenting, so with great care I make sure we go through the same pajama-putting-on, teeth-brushing, story-reading routine. In exactly the same way my wife does it.

Then I turn out the light.

My voice is no where near as good as my wife's, but it's not a total disaster.

I do just fine with "Baby Mine." I'll even repeat the last verse and chorus 3 or 4 times, to stretch out the song.

If that doesn't do the trick then it's on to "Lullaby."

Their still awake and need more?

"Beautiful Boy" then "The Way I Am."

No? Not asleep yet?

Okay, a medley of The Beatles' "Golden Slumbers" and "Good Night."

At this point, if they're not asleep, I'm out of lullabies.

It used to be that panic would set in, and I'd start over with "Baby Mine."

Then I realized that the kids probably don't care too much about the words, as long as the melody is pleasing.

I'm not the best singer. But within a limited range, I can do alright.

So if all else fails, I usually sing "Sin City." The version that Emmylou Harris did with Beck, falls within (what we can be liberally described as) my wheelhouse.

The lyrics don't, in any way, qualify as restive, lullaby-ish or sleep-related. The mix of religion and politics and its "whole town insane" vibe won't ever replace "Rockabye Baby."

But to a Dad just trying to do the best he can, it works.

Emmylou Harris & The Civil Wars "Evangeline"

I caught the end of The Civil Wars set, when they took a moment to show some very sincere appreciation for the Newport Folk audience.

When you're a band like The Civil Wars, and your performance is all about quiet dynamics and chemistry, well, an outdoor music festival is not always conducive. Hootin' and hollerin' and folks not paying attention can often be the scene.

But folks were there to see The Civil Wars. To listen to The Civil Wars.

I'm sure that after years of playing in small venues, bars, coffee houses, etc, for less than attentive audiences, flashed before them, as they seemed to realize that they had reached a place where, when they sang, the audience paid attention.

But the real moment of joy came an hour later, as Emmylou Harris invited them to the Main Stage, to join her for "Evangeline."

I was on the side of the stage, and I could see Joy Williams sing a line, and then turn toward Emmylou Harris to watch her sing, with this look that was purely ecstatic, a look that said, "I can't believe I'm here. I can't believe I'm so lucky."

Seeing an artist appreciate their audience, appreciate that they are appreciated, and seeing them radiate it back, well that just makes me appreciate The Civil Wars even more.

You can hear The Civil Wars' set and Emmylou Harris' set in the mvyradio archives.

Hey, it's Garth Hudson's birthday, so I thought I'd post The Last Waltz version of "Evangeline." Check him out on accordion!

See the video on Youtube.

The McGarrigle Sisters & Emmylou Harris "Green Green Rocky Road"

Barnes Newberry played this song on a recent episode of My Back Pages," and hearing it took me right back to one of my many awkward fan moments.

I was at the Ryman in Nashville, Tennessee, and I had paid a little extra in my ticket to a Anti-Death Penalty benefit show, so I could go to a post show Meet & Greet with the artists.

Not only had a met Sister Helen Prejean, the nun who wrote "Dead Man Walking" (portrayed in the film by Susan Sarandon), but I had already met Steve Earle.

Indigo Girls and Jackson Browne were also signing autographs, but it was Emmylou Harris that I really wanted to meet.

We were in a backstage area where there were a good 100 or so fans, surrounding each artist, who were each milling about the room, not unlike how Goofy and Donald and Pluto work a crowd at Disneyworld.

I had been in the right place at the right time when Emmylou appeared, and though she was quickly surrounded by the crowd, I was right up front. Unfortunately, I was just to her left, and she started signing autographs, slowing turning to her right, away from me.

And as she turned, this enormous, rock solid Ryman security staffer stayed stuck to her left shoulder. As she turned, he turned, edging me out.

Like a man looking down from a mountain, he cast his eyes down at my somewhat pitiful, squeezed-out fandom and said, softly, "Sorry, Dude."

So I waited, with a lot of time to think.

What should I say to Emmylou Harris?

I was a huge fan. Maybe not her "number one fan" on the planet. But I had seen her in concert the previous summer, and was just knocked out. I had enormous respect for her work, and was sincere in my devotion.

I didn't want to be one of those weird autograph seekers, who just want the paper. They may not even be real fans.

No, I had to say something that let her know I wasn't just a casual fan.

But it also couldn't suggested that I was a psycho fan either. I didn't want to sound rabid or obsessed.

I settled on "Green Green Rocky Road."

The McGarrigle Sisters had put out a CD in the recent past, on which Emmylou guest appeared. And this was one of the songs she sang on.

I figured, if I mentioned this project, it suggested that I was a serious music fan, and was well-aware of things she was working on. But it was recent enough that it wasn't some piece of obscure minutiae.

Confident in my choice, I watched her patiently, politely, generously, give each fan a few moments, and then graciously, gracefully move to the next. Say what you will about Country Music, there is no other genre who's stars are nicer to their fans.

She had almost fully circled around at this point. The crowd had dissipated. It was only Emmylou, the security rock, a few more autograph seeker, and me.

My turn.

I handed her my concert stub to sign and said, "I loved that version of 'Green Green Rocky Road' that you did with the McGarrigle Sisters."

And then she did something unexpected.

She looked up, brightened, and said "Aren't they wonderful!" and as she did this, she reached out to touch my hand.

And I then also did something unexpected.

My knees buckled.

It was just a split-second, but I was, apparently, so overcome in my fandom over the fact that Emmylou Harris was about to touch me, that I lost my balance.

And in that split-second, she pulled her hand back, gave me a flash of a look that said, "What's wrong with this guy," regained her poise, smiled and moved on.

So much for not looking like a crazy fan . . .

Check out the track at Grooveshark.

Hear Emmylou, live this weekend during our coverage of Newport Folk, and check out her album tonight as we play it in its entirety for our Album Of The Week.

Emmylou Harris "Every Grain Of Sand"

What with The Rapture on everyone's mind, I thought I'd post some Dylan Gospel, rendered in spiritual beauty by Miss Emmylou Harris. I'm not particularly religious, but I do find this tune gorgeous.

For more takes on Dylan songs, visit the station's Dylan Cover Tunes Channel.


See the video on Youtube.

Emmylou Harris "The Road"

I got to interview Emmylou Harris once, by phone.

Being an interviewer gives you license to ask questions. It even gives you license to ask questions that you wouldn't ask a total stranger under any other circumstances.

In short, you can ask personal questions---up to a point---without seeming . . . unusual.

Musicians (and actors) have been asked probing questions thousands of times before, and if your question crosses a line, most know how to simply deflect it if it's something they don't want to answer.

Knowing this as an interviewer, I'm aware of the kind of question a particular interviewee has been ask before, and I usually try to avoid asking it if I know they're not going to answer.

Talking to Emmylou . . . I really wanted to ask probing questions about her relationship with Gram Parsons. But geez, Gram died nearly 40 years ago, so if she were going to talk about it in detail, she would have done it somewhere else already.

I mean, she'll talk about him. I asked her an open-ended question about him, to see where she'd take it.

I'm my interview fantasy world, I'd ask her to talk about what her relationship with Gram Parsons was like, and she'd refuse to answer, and instead tell me that everything she has to say, is in the song, "The Road."

And really, telling you everything you want to know through their art, is how pretty much every musician (and actor) would prefer to answer all questions . . .


See the video on Youtube.

Emmylou Harris "Not Enough"

This week, guest blogger Lori Bargeron writes about 5 Celebrity encounters where she works, at Bobbie's Dairy Dip in Nashville, Tennessee.

How can I say I live in Nashville and not be a fan of Emmylou Harris? She’s as uniquely Music City as the Dip is. I know, I know. It's just, folk music has never been my thing. But I do have a particular fondness for Emmylou as a person-- "my thing" or not, her talent really is beyond words. And there's no denying that she puts countless efforts into bettering the community. She is a blessed woman who radiates kindness.

Activism is a large part of her life as she annually organizes a benefit tour called Concerts for a Landmine Free World, which benefits Veterans of the Vietnam War. She took part in an anti-death penalty concert called Journey of Hope, and also featured Jackson Browne and Steve Earle, among others. And of course, Emmylou rode in the feminist wagon touring with the Lilith Fair several times.

But I think what impresses me most is housed in Emmylou's own backyard. Her love for animals inspired her to turn part of her property into a shelter for homeless or unwanted dogs, a shelter she has dubbed Bonaparte's Retreat (named for her late poodle mix, Bonaparte, who was her constant touring companion). Emmylou takes in some of the dogs the Nashville Humane Association just doesn't have room for, and with the help of a network of foster volunteers, homes are found for the animals.

I myself adopted a dog from the Humane Association, and I whole-heartedly support any organization that will keep animals from shelters that will euthanize them if not adopted.

"Not Enough" is a song Emmylou wrote in tribute to her beloved pal Bonaparte. With lyrics so heartbreaking and personal, you could be led to think Emmylou is singing about a lost friend, a loved one---a human nonetheless. I'm with you, Emmy. My pets are amazing, and I love them more than I can describe. Ever so often I hug my dog and cat, telling them, "Ok, here's how it is. Y'all can't ever die." It’s this kind of shared love for something that gives you a sense of connection with celebrities; the kind of thing that helps you realize just how normal they actually are.

"I still have your memory.
One or two pictures of you and me.
Life is long and life is tough,
But when you love someone,
Life is not long enough."