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Playlist: Tex Bailey's Favorites

Compiled By: Tex Bailey

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The Beatles: Every Little Thing - Episode 4

From Andy Cahn | Part of the The Beatles: Every Little Thing series | 54:00

ELT 4 includes a "Songs Within Songs" set (songs with references to other Beatles songs in the lyrics,) plus a two-fer from a John Lennon collection, and George Harrison discussing his first composition.

Elt-logo3_small ELT 4 includes a set of Beatles songs that mention other Beatles songs in the lyrics, Ringo Starr covering a Beatles song as a tribute to John, Paul McCartney teaming up with another British legend,  a two-fer from a John Lennon collection, and George Harrison discussing his first composition.

Beyond a Song (Series)

Produced by ISOAS Media

Most recent piece in this series:

Beyond a Song: Bill Scorzari (Part 2)

From ISOAS Media | Part of the Beyond a Song series | 01:00:00

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BILL SCORZARI (Part 2): PUBLISHED ON PRX 10 / 28 / 2022 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUB, REAL TO REELS RECORDING STUDIO, AND VISITBLOOMINGTON.COM

Beyond a Song host Rich Reardin interviews New York-based singer/songwriter Bill Scorzari. “…singer-songwriter Bill Scorzari transcends titles like songwriter or poet. He catapults past categories into a dark ruminative and ultimately life-affirming realm where folklore, memories, pain, prayer, and incantation meet.”
-
Acoustic Guitar Magazine - March/April 2020 issue

"...His voice is the essential heart of his music... as it delivers his thoughtful, crafted lyrics in a way very few others could...

It is the kind of music that envelopes you. ...something that tends to bring you closer to its heart with frequent listening."
-
Lonesome Highway - by Stephen Rapid / July 24, 2022

Bill Scorzari is a New York based singer-songwriter. Since 2014, he has independently released four albums to critical acclaim including, "Just the Same” (2014), “Through These Waves” (2017), Now I’m Free” (2019) and most recently, “The Crosswinds of Kansas,” released on Friday, August 19, 2022.

Bill Scorzari's songs explore the depths of the human condition and, with a life-affirming embrace, point a way through. His music is captivating and nuanced, his lyrics deliberate, intimate, compelling, and his voice enigmatic, unmistakable. Merging the familiar with the uncanny, Bill's vocal style is at times akin to spoken word, and yet remains melodic even in those extremes. That resonant and varied vocal foundation is the platform from which he narrates stories that will remind you of your own. Peruse the reviews to date and you will find comparative descriptors such as, "...perhaps Dylan or Townes could go toe to toe...," "...a modern-day Rod McKuen," "...you might want to think about Tom Waits a little...," "...Tom Waits or Malcom Holcombe, Scorzari's voice is in that neighborhood but still stands apart...," "...a little less sandpapery than Dave Van Ronk's..," "...the spoken poetry...that Sam Baker has perfected...," "...Kris Kristofferson...," "...Bob Dylan, Leonard Cohen, Neil Young...," "Artists that have this ability are rare—Waits, Dylan, Cohen, and today’s John Moreland and Jason Isbell..."

"BILL SCORZARI IS A MASTER STORYTELLER.
HE PUTS IT TO MUSIC AND CREATES PURE MAGIC!!"
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JAY VEE MUSIC REVIEW by Jeff Vallet / July 22, 2022

Since 2014, Bill has performed at venues and terrestrial radio stations across the country and completed two national tours (“Through These Waves” in 2017 and “Now I’m Free” in 2019). He has opened for such artists as Billy Strings, Whiskey Myers, Big Country and more, and has shared bills with Sarah Jarosz, Sam Outlaw, The Dustbowl Revival, Tall Tall Trees, Seldom Scene, Frank Fairfield, Tom Marion, Zak Sokolow, Jonah Tolchin, Jenni Lyn Gardner (Della Mae), Jeff Scroggins and Colorado, Twisted Pine, and many more. Bill's performances of note include AmericanaFest 2016, and Newport Folk Festival 2019 for the “For Pete’s Sake” program curated by Chris Funk of The Decemberists.

Artists who have performed in the studio with Bill, and who can be heard on Bill’s records, include Joachim Cooder, Chris Scruggs, Kim Richey, Laur Joamets, Marie Tomlinson Lewey and Cindy Richardson Walker a/k/a "The Shoals Sisters," Matt Menefee, Kyle Tuttle, Erin Rae, Neilson Hubbard, Will Kimbrough, Eamon McLaughlin, Fats Kaplin, Michael Rinne, Danny Mitchell, Brent Burke, Juan Solorzano, Jonah Tolchin, Danny Roaman, John Estes and more.

For those who do not yet know how Bill's story began or how it has led him to the present, we invite you to read on.

On the very day that Bill was born, his dad (a preeminent New York Trial Attorney), met with the Dean of his law-school alma mater, and together, the two friends completed a “mock” application for young Bill’s immediate enrollment as a student of the law. Following in the footsteps of his proud father and role model, Bill later officially applied for admission to that very same law school, graduated, passed the New York State bar exam and, at the age of 27, embarked upon his own accomplished career as a New York trial attorney. Many years later, in 2012, when confronted with the devastating passing of his Dad, and with a new awareness of the fleeting nature of life and time, Bill felt the pull to refocus his energies and devote more of himself to his passion for creating and performing music--the very same passion that had ignited when Bill had received his first guitar as a gift from his Mom and Dad at the age of 8. Although his parents quickly discovered that 8-year-old Bill was thoroughly uninterested in learning beginner guitar-lesson songs and scales, they saw the passion that drove him to take that guitar into his own hands and figure out, on his own terms, how to play the sounds he was hearing on the recordings that he loved. Many of those recordings had been given to Bill by his cousin, who was 10 years older to the day, and played a Hammond B3 organ in a rock band from Queens, New York (the NY County in which Bill was born). They include the Beatles/Abbey Road, The Who/Live at Leeds, Simon and Garfunkel/Bridge Over Troubled Water, The Rolling Stones/Hot Rocks, Grand Funk Railroad/Closer to Home, Deep Purple/Machine Head and many others. Bill eventually formed his own band with some of the older kids in the neighborhood, which in turn led him to playing his first club gig at the age of 13. Bill's passion for music continued to grow as he explored different genres throughout his childhood, high school, college and law school years. In 2008, by day, Bill was practicing law as a trial attorney in his own law firm, and by night, he was performing with a "Classic Rock" band that included some of the original "kids" from the old neighborhood band. In 2010, he stumbled upon a Live-at-Paste recording of Justin Townes Earle performing “Mama’s Eyes.” It was a deeply defining experience, the kind of life-altering discovery that you hear people speak of as being that moment when "everything changed."

And everything did change. Completely. In the six years that followed, Bill found himself writing songs—acoustic songs, folk songs, "Americana" songs. He was writing a lot of them and there was no turning back. Around 2013, with the encouragement of Bill Herman, of Paradiddle Records (a close friend and local recording engineer/studio owner), Bill began recording his debut album, intentionally ironically titled, Just the Same. Before the album was completed, Bill performed as a solo artist in a contest, and was chosen by popular vote, to be the opening act for "Big Country" at The Paramount Theater, in Huntington, New York (a 1500-capacity concert venue). He formed a new band to accompany him for the show, and later continued performing his songs live in New York City and in the surrounding areas, both with his new band mates and as a solo artist. In 2014, two years after Bill's Dad had passed, Bill independently released Just the Same to critical acclaim. He continued performing and writing, relentlessly developing a new career path focused on music, while spending less and less time practicing law.

2014 also found Bill at AmericanaFest in Nashville, TN, which is where he was introduced to Yep Roc recording artist, Jonah Tolchin. They became friends, performed together and later agreed that Tolchin would produce Bill's second album, Through These Waves. They met many times in 2015 and early 2016, sorting through the songs that Bill had written, and finally, in November of 2016, they met again, at the famed Bomb Shelter recording studio in East Nashville, TN. There, together with musicians Joachim Cooder, Kim Richey, Chris Scruggs, Laur Joamets, Eamon Mclaughlin, Will Kimbrough, Brent Burke, other musicians, and engineer Billy Bennett, they recorded, mixed and mastered Through These Waves, in just 14 days. The album was released on March 10, 2017, a 10,000-mile national tour began, and Through These Waves jumped straight to #1 on the Americana Music Association’s Most-Added-Radio-Stations Top-50 chart, in its first week. The album later also landed on many Top-Albums-of-2017 lists, including Folk Alley and Elmore Magazine. 2017 was a good year and many more would follow.

No Depression said, "Bill Scorzari is a force. His songwriting is stellar, his picking above par and his voice fits his songs perfectly." “Tom Waits or Malcolm Holcombe... Scorzari’s voice is in that neighborhood but still stands apart. …thoughtful, cinematically shaped songs that continue to resonate after repeated listens. Yes, this is a 'must hear' for singer-songwriter aficionados." - Elmore Magazine. One such 'aficionado,' WFUV's John Platt, said, "Bill Scorzari has a lived-in voice that says, 'Listen to these songs. They spring from the earth and the ocean with an open heart and the wisdom of experience.’" “Artists that have this ability are rare—Waits, Dylan, Cohen, and today’s John Moreland and Jason Isbell….” -Lonesome Banjo Chronicles.

Bill's path forward was clear, and numerous performances followed as he continued to write new music and to wind down his practice of law.

The following year, in early 2018, Bill and Artist/Producer Joe Henry, were introduced, and over the coming months, the two discussed Bill's most recent compositions and the prospect of Joe Producing Bill's third album, Now I'm Free. As Bill's 11,000-mile national tour in support of the album, was scheduled to start in late July of 2019, they planned to start recording the album before year's end, 2018. The availability of the guest musicians who Joe wanted to bring into the recording sessions, was confirmed, and the studio and hotels were booked. Then came the devastating news of Joe's cancer diagnosis and need for treatment. The recording sessions were cancelled and rescheduled several times through the early months of 2019, after which it was agreed that Joe's energies would be best devoted to healing, rather than to continuing to try to fully engage in the recording project. With Joe's blessing and gracious offer to assist in finding a replacement to fill the Producer's chair in Joe's absence, Bill joined forces with Artist/Producer, Neilson Hubbard.

Now I'm Free, was Produced by Hubbard and recorded by Engineer Dylan Alldredge at Skinny Elephant Recording in Nashville, Tennessee, in April and May of 2019. It includes performances by Erin Rae, Will Kimbrough, Eamon McLoughlin, Michael Rinne, Juan Solorzano, Hubbard and more. The album was Mastered by Jim DeMain at Yes Master Studios, also in Nashville, in June of 2019. In the following month, the tour for the album release began with Bill's July 26th, 2019, performance at Newport Folk Festival in the "For Pete's Sake" program curated by Chris Funk of The Decemberists. Guitarist, Solorzano, Cellist, Jonathan Preddice and Upright Bass player, Charlie Meunsch accompanied Bill for the landmark performance.

The 15-song, Now I'm Free album was Premiered by Billboard with an exclusive interview by Gary Graff on September 16, 2019, and was released mid-tour, on September 20, 2019. Singles from Now I'm Free were also Premiered by The Bluegrass Situation (“Treat Me Kind”) and Americana Highways (“It All Matters”). Billboard’s Gary Graff says, “Now I’m Free,” is “delicately nuanced” with “detailed arrangements.” "...Scorzari had good reason to enjoy the recording process this time around." The album performed well in the charts (coming in at #15 on the NACC Folk Chart and #8 on the Weekly Top 50 Alternative Folk Album Chart, with the single "Over Again" reaching #4 on the Weekly Top 50 Alternative Folk Song Chart), and later made its way onto many "Best of 2019" lists, including mericana Highways and Making a Scene. Now I'm Free can be heard at: → https://nowimfree.hearnow.com

Producer, Neilson Hubbard said, "Bill tears himself open on these 15 songs and leaves it all out there in plain sight. He is an open book delivering a record of astonishing intimacy... and the gravel and whispers in his voice carry a true knockout punch."

Multi-instrumentalist, Will Kimbrough who appears on the record, said, "... This is a fine record indeed."

Excerpts from the album's many press reviews include the following:

"I love this album. I’m going on record and naming 'Now I’m Free' as the best album of 2019 and I’ll stand on anyone’s coffee table and say it. ...There are poets, there are songwriters, there are painters of fine art, and there’s Bill Scorzari. The new album, 'Now I’m Free' is a bold and delicate balance of each. To say it is a thing of beauty is an understatement. ...Perhaps Dylan or Townes could go toe to toe, but my money’s on Scorzari." - Making A Scene By Viola Krouse. "Bill Scorzari scores one of 2019's finest... There may be a handful of songwriters as good as Scorzari but no one else could deliver these stunning songs. It’s even deeper and every bit as good as his last one. Bigger names will get more recognition but Scorzari’s getting there. He did play the Newport Folk Festival this year. He has my vote for Americana Album of the Year." Glide Magazine - By Jim Hynes. “This new album simply blows me away, I must say…. The lyrics are extremely important and the voice, that gritty kind of a voice... I tell somebody: Bill Scorzari is… you might want to think about Tom Waits a little, but better. I’m not saying that because you are sitting in front of me... I am really drawn to your voice... if someone hears this...hears this music, hears your new album, they are gonna know this is Bill Scorzari, because there’s not many people that have this voice and evoke this kind of emotion. The lyrics themselves, when you listen to the lyrics… yeah." Mostly Folk Podcast with Artie Martello - From the 8/25/2019 WIOX FM Radio Catskill's Cafe' Interview and Live Performance. “…That voice will make you pay attention to lyrics that can turn a phrase, make you think, or make you thankful that there’s someone out there to relate to.” Medium. “Scorzari sings, but his version of singing is more of the spoken poetry…that Sam Baker has perfected over the course of four albums and innumerable gigs. ... You listen and think, Yes—I’ve felt that…” Fervor Coulee. “A stunning work. Bill’s poetic lyrics are a frozen rope to the heart.” --Podcast interview on The Marinade with Jason Earle. “With a somber musical style and a hushed, gritty vocal that rises like the morning mist to mingle with Erin Rae’s grounded tones, ‘It All Matters’ is just outright pretty. Now I’m Free should be nominated for awards this year with its depth of grace and innovative tones; Scorzari taps into a nexus between the familiar and the uncanny.” --Americana Highways by Melissa Clarke – Song Premiere of the single, “It All Matters." “Like the songs on his last CD... the ones here are all original, deeply personal and affecting; and Scorzari’s earthy vocals, which are just a bit less sandpapery than Dave Van Ronk’s, drive them home. With any luck, this guy is going places, and chances are, you’ll want to follow along for the ride.” --The Morton Report, Americana Highways, Jeff Burger. “Like singer-songwriters, Kris Kristofferson, Leonard Cohen, and Tom Waits, Bill’s raspy baritone snarls, hisses, and whispers through his heartfelt lyrics. Sometimes leaving the melody and just speaking the words, he comes off like a modern-day Rod McKuen, sweeping us up in his narratives and wringing out their plaintive content." --WTCA 106.1 FM & 1050 AM, South Bend Tribune, Kathy Bottorf. “Singer-songwriter Bill Scorzari skates in the ether with a sort of Ry Cooder ambient dream. But his voice is absolutely of the earth with its whiskey-borne rasp. Scorzari sings in the folk tradition of those who aren't afraid to jerk a few tears but doesn't mask his intentions or pull any punches. Sometimes the man gets mean.” --Rochester City Newspaper, Frank De Blasé. “Fans of Bob Dylan, Leonard Cohen, Neil Young and anyone who likes quality song writing will dig this” --Live Music News and Review, Phil Simon. “A superb singer/songwriter with an outlaw rasp and a heavy-hearted soul” --The Ripple Effect. “Wonderfully gruff and oozing with emotion and raw honesty.” --Listening Through the Lens, Rob Dickens. "Once or twice a year, an album rolls onto the scene that is quickly and widely hailed as a game-changer...musically, the real standout feature on 'Now I'm Free' is Scorzari's voice. His gruff, halting style gives his singing the kind of authentic old-timer crackliness that some male C & W and Americana artists spend half their lifetime trying to acquire--and Scorzari has it in spades... given how heart-wrenchingly sincere, complex, painstakingly crafted an album like 'Now I'm Free' is, it's definitely worth a listen... 'Now I'm Free' is not to be taken lightly. Americana-uk.com

After the "Now I'm Free" tour ended in late 2019, Bill returned to writing at home in New York, starting with the songs he had already begun creating while on the road during that tour. Ultimately, his plan was to finish writing enough songs for a new album and then return to Nashville to record them. He spent the first few months of 2020 continuing toward that end, before news of the Covid-19 pandemic began to circulate and forever changed the plans of an entire planet. With both in-person interactions and travel to Nashville no longer being an option, Bill adjusted his focus, and added to his list of immediate goals, the new task of finishing the construction of his New York recording studio, which he had been working on from time to time in prior years. During the first few months of the pandemic, Bill completed the construction of what is now known as, "First Thunder Recording Studios," in self-isolation. With social distancing and lock downs in New York and elsewhere increasing, and with no end in sight, Bill began to self-record his fourth album. The Crosswinds of Kansas, at First Thunder in May 2020 and continued recording through July of 2021. Later, when the new Covid vaccines had been approved and adopted by many, and there was a brief return to less social distancing and isolation, Bill once again drove to Skinny Elephant Recording in Nashville TN to finish the new album there. With Dylan Alldredge assuming the recording duties in August and September of 2021, the performances of guest artists Fats Kaplin (John Prine), Matt Menefee (Mumford & Sons), Michael Rinne (Miranda Lambert), Danny Mitchell (Miranda Lambert), Will Kimbrough (Emmylou Harris) Eamon McLoughlin (Emmy Lou Harris), Kyle Tuttle, Juan Solorzano, Neilson Hubbard and more, were added to the recordings that Bill had made in New York. The final recording session was completed in 2022. The new album, The Crosswinds of Kansas, was coproduced by Scorzari and Hubbard 2020 - 2022, Recorded and Mixed by Scorzari and Alldredge in NY and Nashville, TN in 2020 -2022, Mastered by Jim Demain at Yes Master Studio in Nashville, TN, in 2022 and was released on Friday, August 19, 2022. Here are some of the pre-release reviews:

"...Scorzari’s message is powerful and profound.
The raspy, emotive voice and the chanting ruminations throughout are a joy...
this listener cannot get enough of “All Behind Me Now”, “Try, Try Again”
and the eleven-minute glorious, meditative opus “Tryin’, Tryin’, Tryin’, Tryin'”.
Oh, and “Patience and Time” might well be the most tender and loving song I’ve heard this year.
...
The Crosswinds of Kansas is an indisputable triumph
and presented in a lavish, detailed CD package, which was an utter joy to review."
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Listening Through The Lens – by Rob Dickens / July 20, 2022

"...His voice is the essential heart of his music and of this album as it delivers his thoughtful, crafted lyrics in a way very few others could...

It is the kind of music that envelopes you. ...something that tends to bring you closer to its heart with frequent listening."
-
Lonesome Highway - by Stephen Rapid / July 24, 2022

From New York Trial Attorney to full-time musician, Bill Scorzari makes the seemingly 180-degree transition to a new life look natural.
The captivating folk n’ roots songwriter recently released his latest track,
“The Broken Heart Side of the Road”, which is his second single from his forthcoming album, The Crosswinds of Kansasset to drop later this month. ...With the resonating acoustic guitar strums and banjo lines prominent in the mix, along with a goosebump-inducing fiddle, the whole package resonates with deep down-home fervor.”
Music Mecca by Morgan Brady / August 2, 2022

"...The Crosswinds of Kansas? Another level. ...Each song envelops the listener, sharing its secrets and truths... Man, to have been gifted such concise wisdom... I’ve not discovered many albums the quality of The Crosswinds of Kansas this year.
I think that speaks more about Bill Scorzari than it does to what I’ve been listening to.
A masterful creation…”
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Fervor Coulee by Donald Teplyske / August 4, 2022

"Singer, songwriter, Americana hypnotist Bill Scorzari effortlessly captivates with his forthcoming 'The Crosswinds of Kansas'... If you're familiar with his work at all, this will come as no surprise." " ...Scorzari’s vocals immediately grab hold of your attention with this or any of his previous work, bleeding with honesty and conviction while gravelly capturing your imagination... The mixed textures of Crosswinds spellbind ...will have you diving into the lyrics, the assemblies, and contributions of each of the thirteen tracks. ...in a testament to the collective artistry and vision of Scorzari and supporting fifteen musicians. ...Bill Scorzari is more than Americana or some offshoot of country. ...He is a songwriter, years from now the next mainstream rock success will reference as a turning point discovery in their life. To review Bill Scorzari seems counter-intuitive. Scorzari’s music reflects against your own experiences... It makes sense to the roads you’ve travelled and the emotions you’ve felt. It is precisely that connection that makes Bill Scorzari more than a singer-songwriter, he is a modern gem and deserves to [be] recognized as such. The Crosswinds of Kansas is no exception, it is yet another exhibit to reinforce the sentiment. ..."
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NANOBOT ROCK / August 12, 2022

"The Crosswinds of Kansas… from New York–based singer, songwriter, and multi-instrumentalist Bill Scorzari… may be his best yet. That’s saying plenty given the excellence of such earlier efforts as 2017’s Through These Waves and 2019’s Now I’m Free. Scorzari’s raspy vocals... add weight to his wise, poetic lyrics and contrast beautifully with the album’s frequently sweet-sounding music… Songs like “All Behind Me Now” and “Inside My Heart” will have you hanging on every word and wondering why Scorzari isn’t famous yet."
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AMERICANA HIGHWAYS by Jeff Burger / August 12, 2022

Bill Scorzari has done it again. This writer finds it remarkable that the New York-based singer-songwriter and former trial lawyer could produce works as strong as his 2017 Through These Waves and 2019 Now I’m Free but his Crosswinds of Kansas is every bit their equal and maybe just a tad better. We throw around terms like a “songwriter’s songwriter” and Scorzari fits that to a tee. ...a blend of prose and poetry put to music, a Walt Whitman of sorts for our times. …”
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Glide Magazine BY JIM HYNES / August 18, 2022

Musical selections include: Oceans in Your Eyes, Not Should've Known, A Ghost My Hat and My Coat, Broken Heart Side of the Road, Tryin' Tryin' Tryin' Tryin'

For more information, visit BEYOND A SONG.COM

Still Singing the Blues (Series)

Produced by Richard Ziglar

Most recent piece in this series:

Crescent City Blues

From Richard Ziglar | Part of the Still Singing the Blues series | 55:00

Young_at_heart_small_small Crescent City Blues  takes listeners to the hidden world of New Orleans corner joints—bars far from the French Quarter, in neighborhoods like Central City, Treme, and Pigeontown. These clubs, patronized almost entirely by locals, nurture a resilient blues and rhythm-and-blues scene that is often overshadowed by the Crescent City’s legacy as a jazz town. They are an essential part of New Orleans’ cultural history, but they are struggling—because of the recession, the aftermath of Hurricane Katrina, and potentially the BP oil spill.

This hour-long music-rich documentary features four talented musicians: Tommy Singleton, a vocalist who until recently drove an oyster truck for a living; John T. Lewis, a former appliance repairman who now plays R&B guitar full-time; Ernie Vincent, a bandleader and guitarist who learned to play at the neighborhood fish fries of his childhood; and Deacon John Moore, a bandleader and guitarist who played on hundreds of R&B recordings in the 1950s and ’60s. Also interviewed are bar owners Betty Fox (Mother-in-Law Lounge) and Guitar Joe Daniels (Guitar Joe’s House of Blues), along with other veterans of the city’s music scene.

The program takes readers back into history. They’ll visit bars like the Dew Drop Inn, with its female impersonators and all-night jam sessions, the Green Room, with its smells of spilled liquor and spittoons; and the Sportsman’s Lounge, where an underaged Deacon John witnessed police raids and back-room gambling.

Crescent City Blues is the second of a two-part series, called “Still Singing the Blues,” about older musicians in New Orleans and South Louisiana. Part 1, also called Still Singing the Blues, was released in June. The two hours can be broadcast separately and independently. Accompanying this series is a web site, http://stillsingingtheblues.org, which features additional audio clips, photographs, a blog, and links for readers who want to obtain CDs, find music venues, and learn more about non-profit organizations that promote Louisiana's music and support its musicians. The producers will add audio and photos to the site throughout the coming year.

Producers Richard Ziglar and Barry Yeoman have been interviewing older Southern blues and R&B musicians for the almost two years. Their first blues documentary, Truckin' My Blues Away, was commissioned and distributed by AARP's Prime Time Radio and broadcast on 340 stations.

The current, independently-produced “Still Singing the Blues” series is sponsored by Filmmakers Collaborative and funded, in part, by a generous grant from the Louisiana Endowment for the Humanities, a state affiliate of the National Endowment for the Humanities.

Project director Richard Ziglar is an audio documentarian whose credits include Oprah Winfrey’s Harpo Productions; AARP’s Prime Time Radio; American Public Media’s “The Story”; and the North Carolina Arts Council. Reporter Barry Yeoman, a former Louisianan, is a freelance journalist who writes for O, The Oprah Magazine; AARP The Magazine; Audubon Magazine; OnEarth; and Good Housekeeping. His radio program Picking Up the Pieces, about the parents of injured veterans, won the 2009 Gracie Allen award for outstanding mid-length documentary. Ziglar and Yeoman can be reached at info@stillsingingtheblues.org.

The Top 10 Texas Songs That Changed Rock and Roll

From KUT | 01:47:15

Which Texas songs forever changed the rock and roll landscape?

Bholly2_small Texas has left an indelible mark on the history of American music, but its impact on rock and roll has sometimes been underestimated.  When asked in an online poll which ten Texas songs changed rock and roll, our listeners picked some interesting choices, eschewing obvious names for a more varied sonic field: blues, psychedelia, soul, and even country wound up in our top ten. With insightful commentary by music journalists, local luminaries, and even rock and roll academics, we'll discover some unheralded names and even find out John Lennon's important connection to Texas music.  Hosted by David Brown.  This program is a production of Texas Music Matters, the award-winning music journalism unit at KUT Austin.

Rolling Stones Radio Hour (Series)

Produced by Kevin Yazell

Most recent piece in this series:

Rolling Stones Radio Hour/Bernard Fowler Inside Out Interview Special

From Kevin Yazell | Part of the Rolling Stones Radio Hour series | 56:56

Inside_out_record_cover__small I spend the hour with Bernard Fowler's new release Inside Out. Bernard reworks and reinterprets 8 Rolling Stones songs. The songs have been turned "Inside Out" and shed new light on each of these songs' content and context.

Johnny Cash: Legend (Series)

Produced by Joyride Media

Most recent piece in this series:

Johnny Cash: The World Needs a Melody

From Joyride Media | Part of the Johnny Cash: Legend series | 01:00:40

Cashgreenacres_small One of the first country stars to write most of his own material, Johnny Cash created a songbook to rival Porter and Gershwin. We look into the craft of Cash, how he shaped his stories, told tales of the people and places around him, and influenced the songwriting and arranging of artists now. Audio will be available here by Aug 10, 2005. Please contact Andy Cahn at cahnmedia@comcast.net or 201-386-1736 for more details.

An Evening with Los Lobos-Acoustic En Vivo

From Southwest Stages | Part of the Southwest Stages series | 58:26

This program features an evening of music and interviews with Los Lobos-Acoustic En Vivo. This performance was recorded live at the Historic Rialto Theater in Tucson, Arizona.

Los_lobos__small This program features an hour of music by Los Lobos, Acousic En Vivo. This performance was recorded live at the Historic Rialto Theater in Tucson, Arizona in February of 2007. This show also contains a phone interivew with Los Lobos' Steve Berlin by Southwest Stages' host John Strader.

For nearly three decades Los Lobos have been exploring the artistic and commercial possibilities of American biculturalism, moving back and forth between their Chicano roots and their love of American rock. Although the band first gained fame as part of the early-'80s roots-rock revival, they don't so much strip music down as mix it up, playing norteño, blues, country, Tex-Mex, ballads, folk, and rock.

Los Lobos have been guests on albums by Ry Cooder, Elvis Costello, Fabulous Thunderbirds, Roomful of Blues, and Paul Simon. Their music has been used in the films La Bamba, Eating Raoul, The Mambo Kings, Alamo Bay, and Chan Is Missing.

Cesar Rosas, Conrad Lozano, David Hidalgo, and Louie Perez have known one another since they were adolescents in East L.A. They formed Los Lobos (Spanish for “the Wolves”) to play weddings and bars in their neighborhood. Although they had previously played in rock and Top 40 bands, together they decided to experiment with acoustic folk instruments and explore their Mexican heritage, playing norteño and conjunto music on instruments including the guitarron and bajo sexto. Los Lobos got their first full-time gig in 1978, playing at a Mexican restaurant in Orange County. That year they also released their debut album, Just Another Band From East L.A..

Eventually, Los Lobos’ experimentation led them back to electric instruments. They played one of their last acoustic shows opening for Public Image Ltd. at the Olympic Auditorium in L.A. in 1980, where they were booed by the audience. Nonetheless inspired by punk’s energy, Hidalgo and Perez began writing songs and playing Hollywood clubs. The Blasters became fans and urged Slash to sign Los Lobos.

...And a Time to Dance was produced by T Bone Burnett and Blasters saxman Steve Berlin. Its divergent collection of dance songs included the 70-year-old Mexican Revolution song “Anselma,” which won a Grammy in 1983 for Best Mexican-American Performance. Berlin joined Los Lobos for Will the Wolf Survive? a much praised album whose title track later became a country hit for Waylon Jennings. On By the Light of the Moon, coproduced by Burnett, Los Lobos wrote political songs about life in the barrio.

In 1987 Los Lobos recorded several Ritchie Valens songs for the La Bamba soundtrack (#1, 1987). Though the success of the title track (#1, 1987) and “Come On, Let’s Go” (#21, 1987) suddenly lifted Los Lobos out of their bar-band, critics’ fave status, they took a noncommercial detour with La Pistola y el Corazón, featuring the traditional Mexican music they had played throughout the ’70s.

On The Neighborhood they returned to more rocking material, working with John Hiatt, the Band’s Levon Helm, and drummer Jim Keltner. The album’s title paid homage to the deep connections the band still feels to East L.A. In 1991 Hidalgo and Perez wrote songs with the Band for that group’s reunion album. The material inspired Kiko, an evocative, avant-Latin-pop album produced by Mitchell Froom. In 1993 Slash released a 20-year-anniversary retrospective of Los Lobos songs; Just Another Band From East L.A.: A Collection includes material from the band’s debut LP, rare B sides, and live tracks, as well as theband’s hits.

Latin Playboys (1994), a self-titled album by an ad hoc group consisting of Hidalgo, Perez, Froom, and Tchad Blake, was a cross between the music of Los Lobos and Captain Beefheart. The muscular funk rock of Los Lobos’ next album, Colossal Head (#81 pop, 1996), split the difference between Kiko and Latin Playboys.

In 1998 Rosas and Hidalgo released Los Super Seven as part of a loose-knit Latin supergroup of the same name that included Freddy Fender, Joe Ely, and accordionist ace Flaco Jiménez, among others. A followup was released in 2001, which included vocalists Raul Malo of the Mavericks and Caetano Veloso. In 1999 Rosas released Soul Disguise, a gritty, R&B-inflected solo record. For his part, Hidalgo teamed up with ex–Canned Heat guitarist Mike Halby as Houndog for a self-titled blues album. After this rash of side projects, Los Lobos returned to the studio to make This Time, the final installment in a trilogy of heady, groove-rich albums (including Kiko and Colossal Head) exploring Mexican folklore and mysticism. In 2001 Los Lobos was the recipient of the Billboard Century Award.

from The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001)

The Byrds: There is a Season / Farther Along (Series)

Produced by Joyride Media

Most recent piece in this series:

The Byrds (part 2): Farther Along

From Joyride Media | Part of the The Byrds: There is a Season / Farther Along series | 59:05

Unissued_small The second of two one-hour documentaries on The Byrds, the continuously groundbreaking band who bridged the gaps between The Beatles, Bob Dylan, Pete Seeger, the Beach Boys, the Los Angeles psychedelic underground and classic country. Each hour is hosted by singer-songwriter Laura Cantrell, and covers a distinct period of their prolific history that can either be aired as one two-part series, or as your choice of two insightful one-hour programs. FARTHER ALONG picks up the story in 1968 and details how the Byrds' legendary Act I was followed by one of rock history's most fascinating second acts. Despite their lower record sales, the Byrds' later incarnations alternately defined and re-defined "country-rock," thanks to the influential contributions by folks like Gram Parsons and guitarist Clarence White. As with the first segment, FARTHER ALONG feature the wide range of music that made The Byrds of the 60s most influential bands, along with comments by its two longest-lasting members: Roger McGuinn and Chris Hillman. Writers David Fricke, Anthony DeCurtis, Lenny Kaye and Byrds historian Sid Griffin are also interviewed. Instead of being directed by the singular vision of one leader, The Byrds were consistently led by everybody's contributions - from their original five members to the musicians involved with their later years. "They all brought something new and something defining," says journalist David Fricke, "and it all became part of the Byrds sound. They didn?t change the Byrds to the degree that it changed the sound. What they did became the Byrds." Broadcast Window: Begins late September 2006, available for all USA radio broadcasters at no cost. 9/30 update: In addition to the 0:59 version posted on the audio page, there is also a 0:54 "news-hole" show in two parts - a 1:00 billboard and the 53:00 program.

A Tribute to Spalding Gray

From Jon Kalish | 28:51

Interviews with Gray and those who knew him, as well as excerpts from one of his performances.

Default-piece-image-0 New York reporter Jon Kalish spent a significant amount of time with Spalding Gray in the last years of the performer's life, interviewing him about another autobiographical performer and doing a profile of Gray for NPR. The late performance artist explains the mechanics of his craft to a seminar of aspiring monologuists at a New Age institute. Kalish hangs with Gray at home on Long Island and at a summer home in upstate New York where Gray recounts his horrific auto accident in Ireland. Included in the program are excerrpts from a monologue-in-progress about the accident. Kalish also talks to performer Eric Begosian and storyteller Mike Feder, both of whom were close to the man.