Lukas Nelson
“In case you didn’t know, Willie Nelson has a son. His name is Lukas Nelson.
Lukas Nelson has long been better known for being the son of a country music legend than for the music he’s made, but that’s changing.
With the release last summer (2023) of their eighth album, “Sticks and Stones,” Nelson and his band, Promise of the Real, are affirming their identity as musicians who can play just about anything, from rock to country.
“I’m discovering more who I am in every album. And this album is completely who I am,” Nelson says in an interview on his website. (Michael Shapiro, The Press Democrat)
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Steve Forbert
Steve Forbert
Samuel Stephen “Steve” Forbert is an American pop music singer-songwriter. Bob Harris of BBC Radio 2 said Forbert has “One of the most distinctive voices anywhere.” His 1979 song “Romeo’s Tune” reached No. 11 on the U.S. Billboard Hot 100 and No. 13 on Billboard’s Adult Contemporary Chart. Wikipedia
2020 release – Early Morning Rain — In Steve’s own words:
“For the past few years things have been extremely hectic–nonstop issues and distractions. Now we’re trying to cope with a full-on pandemic – the very kind of contagious thing we studied back in history class! My new record is my idea of rather a “breather”. I’ve released 20 studio albums of original material by now and I’m taking my time writing more songs…but this EARLY MORNING RAIN “cover” album is a what you might call an “easy assignment” for Americana/folk music fans. You don’t have to study new chapters here, just enjoy these renditions of songs you already know and probably love!”
Still prolific Steve has a 2022 and 2023 release. Check out Moving Through America and Streets of this Town – Revisited
For more video variety vist Steve Forbert on social media.
And check out his book:
Big City Cat: My Life in Folk Rock
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Eilen Jewell
From: Bernard Zuel – Music Journalist
FULL DISCLOSURE: WHY THE RULES HAVE CHANGED FOR EILEN JEWELL
MAYBE IT’S THE MIDWEST UPBRINGING of politeness and reserve that lay behind it. Maybe it’s the natural defence of someone who already was out and exposed as an artist in a corner of Americana that values the personal as much as the historical. Whatever it might be with Eilen Jewell, in about 13 years of interviewing her, she has always shown herself adept at talking about her songs and her life in a way that deflected personal revelations.
It’s not that she didn’t answer questions, but those answers made the generalities of her characters the focal point and gave just enough to let us see how she’d build relationships to them but not be defined by them. It was politely done of course, and was not without things to chew on given a sharp intelligence and an eye on American culture whether it was her love of Loretta Lyn and Howlin’ Wolf, the pay gap between the sexes, or political resistance as something of a progressive island in a state that’s anything but.
Well, things have changed with the coming record, Get Behind The Wheel. Not only has Jewell written an album that came out of the Covid-era breakup of her marriage to long-time drummer, co-manager, and co-parent, Jason Beek, and some deaths in her wider family, but she has been talking openly, frankly, about her circumstances.
It’s hard to imagine that was a comfortable transition, not least because growing up in Idaho you kept your business to yourself, but you have to wonder if it has been dragged out of her, or did she feel it was inevitable and stopped fighting.
“It is really new for me to talk about anything having to do with my personal life,” the Boise-based Jewell says. “But this time around it seemed like it would be wrong to not discuss it because this album is so, so directly influenced by everything that I’ve gone through in the past couple of years. I just feel like I would be lying if I said ‘oh, I don’t know, it’s just about people and things’ [she laughs].
“Also the pandemic taught me that that there’s something really important about sharing parts of ourselves. That’s what sharing my music is [and] I guess it dawned on me this actually could be a good thing for me, it could open me up to my fans and there’s a chance there could be some cathartic sharing on both sides.”
There probably won’t be any problems getting her fans to share their thoughts next month when she will spend several weeks in Australia (heaven knows we’re not a quiet bunch), but when you put these things out like Jewell is now doing, not only are you exposing yourself but you are setting the agenda for how things are interpreted. And this is before even considering that Beek is still playing in her band and will be on the tour.
How people interpret your songs and your album, and inevitably yourself, will be shaped by these revelations and explanations. Is that a good thing? Was it even planned?
“The label was saying you’ve got to figure out how to talk about this new album, so I was like, yeah, shoot, I’ve gotta decide how much do I want to disclose? How much do I want to set the stage for these songs?,” she says. “Because, yeah, in the past I’ve not done that and thought that the songs should stand on their own and people can interpret them how they want. People are still free to interpret them however, obviously, but this album really did occur at a particular point in time for me. It was a disaster of a moment in my life this album was born out of, beyond anything else I’ve ever experienced, and I felt this album deserved an exception to my normal rule.” It was time? At 43, maybe it’s as simple as that.
“I guess I do want to talk about this stuff, this stuff being the pandemic, the divorce that came out of that, or coincided with it, and then family losses, people near and dear to me – not even Covid-related, but just one after another,” Jewell says. “For the first time in my life it feels cathartic to talk about what was going on behind the scenes. I don’t think it’s necessary information to appreciate the album, but there’s a few Neil Young albums where I gleaned he was going through a particular thing in his life and then read later that in fact, yes that’s happening, and something about that makes me appreciate the album just a little bit more. I have a sense of who he is more.”
From a long low base of knowledge about the album so far – it’s not yet available to media, let alone the public, though we will hear some songs from it at her March shows – a title like Get Behind The Wheel suggests maybe taking control of her life, or at least setting the direction. How did she handle this resetting and reclaiming of control?
“It’s really been a mixed bag,” she confesses. “I think when I wrote that song – the song that contains that phrase ‘get behind the wheel’ is called Alive – I felt so inspired to take control and have agency, it was all very new. I was like, well, so much is crashing down around me but this is an opportunity to just up inside my life in a really authentic way. And that’s still present, but I’m also realising that it’s much harder than it sounds, and sometimes [she laughs ruefully] it’s awful.” No one would blame her for looking away.
“There’s part of me that would just love to drift around and say ‘I don’t know, someone else take the wheel: I’m getting tired already’,” says Jewell. “But I was guilty of some of that for many years, going with the flow with my career, and my personal life too … being cooperative, and they really comes at a cost eventually. You can’t keep whittling your life away like that. Eventually you realise that your heart is not fully in it, and there’s always a reckoning with that.” When she looks at who she was, even three years ago, and who she is now, how does she judge that person?
“I … think … that … person … was … somewhat,” she says slowly, before a long pause. “Somewhat overeager to find distractions. The old me really didn’t want to look at life just as it is. The old me was always kind of looking into the future, thinking about how things will be better or should be better, or the past. The here and now was something that I tended to avoid. “But all we really have is the here and now. The past is gone and the future is a fantasy.”
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John Hiatt
John Robert Hiatt is an American singer-songwriter and musician. He has played a variety of musical styles on his albums, including new wave, blues, and country. Hiatt has been nominated for nine Grammy Awards and has been awarded a variety of other distinctions in the music industry.
COUNTRY MUSIC HALL OF FAME® AND MUSEUM TO FEATURE JOHN HIATT AS NEXT POETS AND PROPHETS HONOREE
NASHVILLE, Tenn. – July 9, 2024 – The Country Music Hall of Fame® and Museum will feature singer-songwriter John Hiatt in the next installment of its in-depth interview series Poets and Prophets. The series features songwriters who have made significant contributions to country music. The program will take place on Saturday, Aug. 10, at 2:30 p.m. in the museum’s Ford Theater and is included with museum admission.
Throughout his 50-year recording career, Hiatt has established himself as one of the most acclaimed singer-songwriters of his generation, as well as a hit composer for country and rock artists alike. Bob Dylan, Bruce Springsteen and Country Music Hall of Fame members Emmylou Harris and Willie Nelson are among the artists who have covered his acerbic, soul-stirring songs.
Hiatt began his professional songwriting career at age 18, when he moved to Nashville to work at Tree Publishing. Over the next two decades, his songs became hits for Rosanne Cash (“The Way We Make a Broken Heart”), the Desert Rose Band (“She Don’t Love Nobody”) and Three Dog Night (“”Sure as I’m Sittin’ Here”). Hiatt found success as a recording artist with his landmark 1987 album, Bring the Family, which featured “Have a Little Faith in Me” and “Memphis in the Meantime,” among other enduring songs. In its wake, he went from earning cuts to being covered by some of music’s biggest names, including Bonnie Raitt (“Thing Called Love”) and B. B. King and Eric Clapton (“Riding with the King”).
Following a stint in Los Angeles, Hiatt returned to Nashville in the mid-1980s and has continued to write, perform and record. He has released more than two dozen albums, most recently 2021’s Leftover Feelings, a highly regarded collaboration with the Jerry Douglas Band, recorded at historic RCA Studio B. In 2008, Hiatt was inducted into the Nashville Songwriters Hall of Fame and received a lifetime achievement award for songwriting from the Americana Music Association. In 2019, he became the third recipient of the BMI Troubadour Award, which recognized his work as a songwriter.
