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Folk Radio UK pens a great review of The Deep Hollow’s new LP “Weary Traveler”

Weary Traveler is a view of life taken at an age where a certain amount of knowledge and experience has already been earned. We have a package of love, love lost, untimely death and personal reflection, all good Americana themes and all available here.

This is The Deep Hollow’s sophomore album as they say (though I probably wouldn’t) and a movement on from the earlier more acoustic sounding album. The harmonies are good, and the bigger production does not swamp the words, ever important with these songs.

The Weary Traveler of the album title reflects the feeling that everywhere you go there are things that have to be dealt with, relationships come and go, places come and go, but this is Real Life, and the aspirations of youth are viewed with a certain amount of disdain: “What are you waiting for – real life to begin?” This is it. This is what it is.

Perhaps nowhere is Real Life more clearly seen than on the streets. On Freedom Street, where the prostitutes, the drug pushers, the users and the drunks mix with the homeless and they are all called to be saved by the Bible carriers. However, the response can usually only be “If you’re saving souls, don’t worry about mine – its always going to be for sale anyway. What I need ain’t no lesson.”

Relationships feature in this collection. Well, I say relationships, but the story is in the breakdown, or, as in the case of Now I See, the possible unravelling of one. It starts out as if it is new love but becomes quite clear that it is a longer relationship and one that might be about to enter that angry and anguished final stage….READ MORE

by Baby Robot Media

PopMatters premieres Mad Crush’s new song “Stay in Bed”

While Mad Crush are set to release their self-titled debut LP, Joanna Sattin and John Elderkin have been collaborating for years. That goes to explain the artists’ inimitable, undeniable qualities as a duo, playing off of one another with an instantly infectious melding of charisma, heart, and sass. Though Mad Crush is a serious endeavor for the North Carolina front-people and their band—drummer Chuck Garrison and violinist Laura Thomas—it’s their knack for often imbuing humor in their work alongside the heartache that elevates them onto a plane relative to other great duos in roots music, like Johnny Cash and June Carter. They take influence from these very names, and it shows in their delightful, banter-full work.

“Stay in Bed” captivates with its heartful charms straightaway, with a lilting arrangement that accentuates the back-and-forth between Sattin and Elderkin. The acoustic number comes further alive with its subtle, swirling incorporation of Thomas’ fiddle, flourishing in vibrant colors across the song’s bridge.

On the song, Elderkin tells PopMatters, “I’d been listening to Porter Wagoner and Dolly Parton duets after a heavy dose of June Carter and Johnny Cash. The sassy back-and-forth songs. But this one popped out as its own thing, thankfully. I like that it uses mundane chores as a way into daydreaming about love. Take a good listen to Laura Thomas’ violin solo here. It’s fabulous, and it helped define the Mad Crush sound. She creates a space that’s a little bit country but also formal in a slightly classical way, too. We all followed her lead from here.”….READ MORE

Charles Wesley Godwin

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Seneca

West Virginia is far more than meets the eye. A native of Morgantown, singer-songwriter Charles Wesley Godwin paints a rich and honest portrayal of his homeland and its people with his debut album. Seneca is a moving snapshot of his 26 years of life and well-soiled roots in the Appalachian hills, a backdrop that has given birth to some of the most intelligent and hard-working people in the country.

When you partake in his gripping storytelling, it comes as no surprise that Godwin’s shared bills with the likes of Shooter Jennings, Tyler Childers, Colter Wall, Luke Combs, Aaron Watson, David Allan Coe, Sundy Best, Waymore’s Outlaws and Nicholas Jamerson. Godwin is truly at home on stage and alongside like-minded musicians who go against the grain and shake up the status quo.

“This album will give people a really good look into what it’s like culturally in Appalachia. People have a way-off view from the outside of what we’re all about, what our priorities are and how smart we are,” says Godwin. The record is steeped to perfection in gentle mountain streams and a way of living that is surprisingly universal. Through earnest, sinewy craftsmanship, he mitigates the stereotypes that plague the state and reconfigures expectations.

“Coal Country” brings the listener into the reality of coal workers and their families with a sharp, warm humanity. “It’s my best attempt to examine the current state of things,” he says, framing the song as an unwitting statement in these dire cultural times. “I tried to give a perspective of what happened and what came out of it and how I see things playing out, for better or worse.”

Godwin’s voice is weighed down by the current condition of the world, but he doesn’t allow the tragedy, pain, or regret sour his view of life. That’s what makes him an exceptional storyteller; he employs his experiences into melodically profound and timeless compositions. “Seneca Creek,” a stunning ballad laced with both melancholy and hope, tells the tale of his grandparents and their courtship in the spring of 1949.

Another essential piece of his story, “Shrinks and Pills” exhibits a dry, sly humor and sees Godwin lament the roar of the open road in his ears and an unquenchable homesickness wedged deep in his bones. He misses the comfort of his homestead, but he wouldn’t have it any other way–heartache be damned. “Hardwood Floors” dazzles in the dim light of a local pub as he shares a tender embrace with his wife amidst the ho-hum of the crowd.

Seneca is the “autobiography of an Appalachian boy,” as Godwin tells it, and by all accounts, the record is as lonesome as it is optimistic. Sound engineer and producer Al Torrence approaches the stories and melodies with care and insight. Inside the walls of an 1890s-era Victorian house turned studio in New Brighton, Pennsylvania, Godwin infuses his music with vintage stylings–earthy but lush, remarkably evocative but plainspoken. “We work really well together,” says Godwin. “Al has a really good sense of how to compliment to my songs.”

Notable players include Eric Heywood (Son Volt, Ray LaMontagne & the Pariah Dogs) on pedal steel and Ben Townsend (of Hillbilly Gypsies) on fiddle and banjo. From start to finish, the record is riddled with an abundance of “human things,” Godwin says, like failure, the ups and downs of marriage, and getting back to a simpler way of life.

His ideals seep into every inch of his work and stem from humble beginnings of working the West Virginia land and being taught what really matters in life at an early age. Godwin’s father was a coal miner and his mother a schoolteacher. He grew up hunting, fishing, and playing sports, living a pretty traditional homespun life.

It wasn’t until much later–after being cut from auditions for the West Virginia University football team–that he picked up the guitar in his spare time. A year later, he could play a full song quite expertly, and he knew then he was on to something. During his 2013 study abroad in Estonia, his frequent rehearsal sessions in his apartment flat drew the attention of flatmates and led to his first-ever gig at a fashion show. “It was really never anything I intended to do,” he recalls.

But it was clear this was his destiny. When he returned to the United States and later graduated from WVU in 2014, he realized he had a great talent in singing and playing bluegrass and traditional country music. Godwin soon started touring and playing out professionally, beginning a full-time music career in 2015. He enjoyed a short run in a band called Union Sound Treaty, but conflicting schedules led to lackluster shows and overall unreliability.

It was time to branch out on his own, and that’s when Seneca began to take shape. The album, especially in such moments as “The Last Bite” and “Sorry for the Wait,” is an amalgam of influences, running from Creedence Clearwater Revival to Simon & Garfunkel to The Allman Brothers. Godwin’s voice echoes off the weathered but still vibrant Appalachian countryside, rumbling up the peaks and tumbling back down into the valleys, and his heart-torn confessionals are born of the earth itself.

Charles Wesley Godwin carries his past firmly on his shoulders. He hasn’t been damaged by such a symbolic act, however, and he’s only grown wiser and more aware. On Seneca, he proves to be a fitting ambassador for West Virginia and a people long misunderstood and tragically forgotten. If anything, listeners will rediscover their own wants and desires within the album’s sonic walls and universal themes of compassion, strength, and unity.

“One of country’s new singer-songwriter golden voices.” – Glide Magazine

“Particularly prevalent in Godwin’s songs is a sense of place…vivid language…scenic ambience.” – Billboard

“His voice, with its tight, old-world vibrato, is perfect for the song, as are the light layers of violin and pedal steel.” – Rolling Stone Country

“Rich and weighted with details of struggle, strife, and the fog of depression.” – New Slang

“8.5/10…Forged through the authenticity of a local experience, but are worthy of being enjoyed by a national and international audience.” – Saving Country Music

“Rooted in old-world melodies and modern struggles.” – Wide Open Country

“From the old timey rhythms, to the clarity of the acoustic guitar and stringed instruments, this one will take you back to a old style country barndance love story.” – Americana Highways

“[Godwin’s] sentiment is universal.” – The Boot

“Seneca shines, its pitch perfect production balancing traditional sounds with a more contemporary approach to arrangements.” – Routes & Branches

“Stellar…earthy Americana with a strong streak of storytelling.” – YabYum Music + Arts

Publicist: Rachel Hurley

“Rachel Hurley knocked my campaign out of the park! I was a nobody from nowhere, with no following, with a killer album and she, along with the Baby Robot team, got Seneca in all the right hands. They gave me 110% and showed absolute dedication to me. Rachel and the team brought the credibility needed for the music to be heard and speak for itself. I recommend Rachel Hurley and Baby Robot Media with all of my heart!” – Charles Wesley Godwin

by Baby Robot Media

Dominique Pruitt shares playlist with B-Sides & Badlands

Any frequent karaoke-goer worth their salt has a well-rehearsed repertoire they can whip out a moment’s notice. From tender tear-jerking torch ballads to the rollicking soft-rock scorchers, you’ve gotta have all your bases covered just in case. And you can count soul-country starlet Dominique Pruitt among those who certainly know their stuff, as she’s equipped with a wide-range of musical styles and a certain panache for the glittery and the bold. In any case, she’s mastered the dive-bar art-form, drawing upon her own craftsmanship at the microphone and a dazzling throwback style.

Exclusive to B-Sides & Badlands, she’s curated some of her top karaoke picks in a handy-dandy playlist, from Concrete Blonde and Alannah Myles to Shania Twain, Skeeter Davis and Sheryl Crow. However, she makes a pointed warning. “Whatever you do, do notsing ‘My Way’ by Frank Sinatra. People get literally murdered for that often in the Philippines. Just don’t do it.”

Below, Pruitt walks us through each of her karaoke essentials, which includes her brand new comeback single “High in the Valley,” a soon-to-be gold standard in the vein of Nancy Sinatra and Patsy Cline…..READ MORE

by Baby Robot Media

Adobe and Teardrops reviews Nick Dittmeier & The Sawduster’s new album “All Damn Day”

Nick Dittmeier’s got packs a lot of life into his new album, All Damn Day — but it’s not necessarily his. As you’ll hear on this Friday’s podcast, Dittmeier likes to create distance between himself and his songs by writing from the perspective of specific characters. But that doesn’t mean these songs aren’t informed by real life. Following the loss of Dittmeier’s mother-in-law, great grandmother, and dog in a brief span, All Damn Day, confronts mortality.

These songs aren’t dour, either. The Sawdusters support Dittmeier’s tales with quite a bite. As the band swings from country radio-friendly hooks to bar-backroom guitar heroics, the core themes of loners who are this side of desperate remains. On “Love Me Like You Did,” the narrator regrets a lost love over meaty riffs. “O’Bannon Woods” is a rough-and-tumble rocker that reminds us that the country should be a character in country music more often. The song is almost gothic, describing how the woods in a small heartland town seem to swallow lives whole.

For me, the standout is “Two Faded Carnations.” The song tenderly unfurls along a baritone guitar line. The narrator carefully sets the scene as he describes the bouquet he places at a beloved friend’s grave. The song details some youthful misadventures gone horribly wrong. Even as the song details some larger-than-life experiences, it’s an intimate look at grieving — something our culture often keeps hidden away. It cements Dittmeier’s abilities as a storyteller — just as All Damn Day shows that Nick Dittmeier and the Sawdusters are a band to watch….READ MORE

by Baby Robot Media

The Bluegrass Situation premieres Charles Wesley Godwin’s new song “Coal Country”

“This song is about the coal industry in West Virginia in the past and present. It’s my best attempt to articulate, through music, the mixed bag of good and bad that it’s brought to us. On one hand, it has given economic mobility to countless families, including my own, in the 20th and 21st centuries and it has contributed greatly to the economic strength of the United States these many years. On the other hand, it has also taken the lives of thousands of miners, scarred the land, and has a somewhat dark history of companies taking advantage of workers and violating their rights. This song was completely influenced by my father. He’d been crawling in coal for years when he was my age, so I just wanted to make something beautiful out of that sacrifice. This was the only way I knew how.” — Charles Wesley GodwinBluegrass Situation