It’s feeling a little autumnal. As I write this the skies are darkening a little overhead and the possibility of lighting the fire tonight and staying in gets more and more attractive. The soundtrack is Dorothy Love Coates and assorted Gospel gems and I’m inclined not to move too far from this sofa for a few hours.

I’m never sure what my father would have made of great African American or Country Gospel music, but I have a feeling he would have enjoyed it for bringing together his love of music and his desire to spread the word whenever he could. Fathers and sons eh? Even years of separation don’t seem to break the bonds of growing up. I got a call from my own son this afternoon and immediately we fell back into familiar themes of conversation that have marked our life together. Though we are hundreds of miles apart it felt as if we were still riding in the car together, going up to the game or up to the hills above the city for a long walk.

We have a bit of a father/son theme going on in this week’s Another Country. Our very special guest is The Wallflowers’ very own Jakob Dylan, whose the son of Bob. I really enjoyed talking to Jakob a few weeks back, but felt acutely aware that there was an elephant in the virtual room and I wasn’t going to be the one who’d mention it first. It’s hard enough making a name for yourself in this musical world without worrying that every time you release a song it gets compared to the ultimate pop/rock catalogue. I’m therefore delighted to tell you that with or without the knowledge of Jakob’s lineage The Wallflowers new record, Exit Wounds is a fine piece of work. There’s much to enjoy in the interplay of the current lineup whose album is the first under that name for eight years. It’s interesting too to understand Jakob’s rules of what defines a band project against the records he’s brought out in his own name.

While we’re on this theme we will remind you of the talent that was Justin Townes Earle who, sadly, died far too young last year with a reminder of the potency of his father’s songwriting thrown in for good measure. There’s a new record too from the third generation of Williams as we introduce you to new Nashville star, Sam Williams, grandson of Hank. Will you hear a Hank classic? I suspect you know the answer to that one.

Elsewhere in two hours of country we will bring you some great new collaborations from Adia Victoria and Matt Berninger, David Ferguson and Margo Price as well as Carly Pearce and Ashley McBryde. It will be a packed two hours which all kicks off at five past eight on BBC Radio Scotland FM this Tuesday evening, or BBC Sounds wherever, whenever you fancy. Join me if you can.

I was chatting to my cousin on Friday night. We were doing some texting and as an afterthought she added she had been mesmerised by the BBC4 documentary on The Everly Brothers.  She made the very valid point that when she was a teenager in the 60’s she paid so little attention to them as they were deemed a little ‘uncool.’ I have to say I concurred with her. So many people were passed over by kids of my generation because they didn’t fit into our idea of what a pop star should look like. Inversely too, there were those who deserved far less attention but stayed on our radar as we expected them to be as good as they looked. It wasn’t until we reached a respectable age that we all realised the complete folly of our teenage prejudices.

Mrs R and I watched The Every Brothers doc on the iPlayer on Sunday night and I can only implore you to do the same if you haven’t yet seen it. It’s beautifully produced and includes some very telling interviews with some people who really know what they’re on about. Particular praise should go to British trio Teddy Thompson, Dave Edmunds and Albert Lee.  I loved seeing the enigmatic Will Oldham who, of course, made a very good Everly Bros tribute album a few years back with Dawn McCarthy.

As you now know, Don Everly died towards the end of last month and this week we are finally get a chance to pay a proper tribute. The Everlys’ legacy will live on as will another great country artist and songwriter who died around the same time. Tom T Hall’s songs were often better known than he was, and it was only many years later that I realised how many of his songs I knew. We’ll give you a taste of the catalogue and the man himself on this week’s show.

Listen out for some fine new records from Sturgill Simpson, Kacey Musgraves and Robert Plant and Alison Krauss. We also have new names to share with you and we think you’ll really like Emily Scott Robinson, Watchhouse and Elijah Ocean. 

This week’s show is all records. We have recent releases and country classics that, (if you don’t already own them) may send you scrambling for your bank card. As ever we will be live from five past eight on BBC Radio Scotland and on the BBCSounds from the same time and for the next while after. If you’re in the Sounds app you may want to check out my Ricky Ross Meets series which now contains interviews with fourteen different artists including Del Bryant whose parents, Boudleaux and Felice wrote the biggest hits for The Everly Brothers. Do join me in any of these radio adventures live or any time you’d like to listen.

Somedays you write the song and some days the song writes you. It’s the saddest thing, but that Guy Clark aphorism seems more truthful about sitting down to write the Blog on this sorrow filled day.

Last Friday the news came in via a kind fellow music lover on twitter that Nanci Griffith‘s death had been announced. In some ways the news didn’t surprise me as much as it would of one or two artists who are more senior in years. From what I understood, Nanci’s health had not been good and there has been a prolonged absence from any kind of involvement with public life or performance for a number of years.

Nevertheless, in an age when we have just celebrated a new album by the great Connie Smith on her 80th birthday, it does seem to be tragic to be bidding farewell to such a talent as Nanci, who is twelve years her junior.

I only got to know Nanci a little in the last few years of her creative life, which came to an end after her final studio album, Intersection, in 2012. I had made a bad start. In 1986, my late colleague and first mate, Graeme Kelling and I were asked to review recent single releases for the List magazine by the music editor. So desperate must we have been to promote our own music that we accepted the challenge without giving any thought to how it might look to pass opinion so glibly on a fellow musicians’s output. I’ve run a mile from ever doing such tawdry tasks ever since. Then there was a pile of 45’s and we came across a song called, From A Distance by Nanci Griffith. We both disliked the record but I felt a particular dislike for the song. The central idea of a God who is distant and watches in judgement didn’t really sit well with my own faith experience. I was pleased to learn that this artist, who I’d begun to hear more and more about, wasn’t responsible for writing it.

A couple of years passed before I heard Nanci properly, her own songs, on her own albums and realised I’d been guilty of dismissing her for a crime she never committed. As penance for my sins I went over to my nearest record shop and bought all the Nanci Griffith albums they had in stock. I still have the vinyl to this day. They were: There’s A Light beyond These Woods, Once In A Very Blue Moon, The Last Of The True Believers and Little Love Affairs. I enjoyed them all and fell head over boots in love with her voice and her songs.

Then a funny thing happened. Many of my friends kept me updated on Nanci’s career and especially her live performances which, for reasons that probably involved being on the road myself, I never managed to experience at first hand. So years passed, Nanci’s popularity grew and equally, as it tailed off a little, it came to pass I was set to visit Nashville for the first time in 2007. I was searching around for anyone I knew who could point me to songwriters with whom I should collaborate. A dear friend called Edwina Hayes, a fine songwriter from Yorkshire, had spent some time there and I asked her if she could recommend anyone who might spare a day for me. She supplied a great list and then left an intriguing hanging sentence at the end of her email which, as I recall, went a little bit like….’and, of course, there’s always Nanci?’

Was she serious, I asked? That Nanci? Might she be open to the idea? It turned out she was. And so it passed that we spent a day working on a new song, Nanci came over to my house on her return to come on tour that summer to record a demo and the song, to my delight, made her next album.

Since that time I’ve interviewed her for Another Country three times and finally experienced what it was so many friends had told me about; her compelling live presence.

I’ve also witnessed her deteriorating health at first hand and like many other fans, have come to the conclusion that we were no longer going to experience the joy of new material any time soon. Instead, I’ve done what I am doing right now; I’ve gone back to enjoying her great back catalogue of albums from the eighties and onwards. It’s a body of work which deserves to be celebrated properly. So on this week’s Another Country we will do just that. We’ve assembled a show which will reflect the stories you’ve shared on Twitter and Facebook over these last few days. We loved hearing your stories of where you encountered Nanci’s music and which songs you associate most with the memory. This Tuesday evening we’ll put the memories to music on BBC Radio Scotland and BBC Sounds from five past eight . Join me if you can.

The Blog is taking a little holiday. It shall return mid September.

It’s Monday evening. The rain has gone off for a little while and there’s even a trace of blue in the sky over the park from my studio window. Before we pulled down some rather ugly old conifers summer evenings would bring a local bat out of his daytime hang and he’d perform some excellent loops around the small square of grass in front of my window. These days the view is clearer and I’m a little more able to enjoy the late light summer brings.

Today on my weekly shop in my fave supermarket they were peeling away the 2metre distancing signs which had been on the floor of the aisles for the last eighteen months or so. There was an interesting discussion which ensued on twitter when I shared this yesterday, but in all honesty, I couldn’t contain my delight that, at last, we seemed to be moving away from the life we’ve been forced to live.

Last Saturday, again, I was on stage in front of an audience of thousands playing music and embracing the freedom. A couple of hours before we went on stage I made it through the mud to see Nick Lowe making everyone very happy with a set which finished off with ‘I Knew The Bride.’ It was a joy to behold. It’s these moments we’ve waited for, and should I be a little early to my celebration, then forgive me, but allow at least this smile to stay on my lips for a short while. After all, it’s been a long old winter.

Having said all that, I’m having a wonderful night to myself listening to a little Ray Price and thinking about a photograph I saw over the weekend which made me (almost) as happy as doing the gig. It was a shot from the rear of the Opry stage with this week’s star turn performing to a packed house. Connie Smith was back at the Opry. I love Connie. When we first went to Nashville to pick up and record stories for the show it was Connie that took us into RCA Studio B and told us about her first ever recording session back in 1964. Next Saturday Connie will be eighty years old just before she releases her new album. She’s been busy too, recording with her husband, Marty Stuart and co writing for the Wandering Hearts. We will pay our own tribute to this worthy country legend on this week’s show.

We have two hours of records to share and we’ll go from Webb Pierce, who was born 100 years ago this month, to another Pearce…Carly! As well as that you’ll hear Adia Victoria, Watchhouse (formerly Mandolin Orange) and Natalie Hemby. Carly Pearce has been thinking about Loretta so you can probably guess there will be a Loretta Lynn moment in there too. It’s two hours of country music our way and you can hear it all from five past eight this Tuesday evening on BBC Radio Scotland FM or on BBC Sounds at your own choice of place and time. Either way, join me if you can.

I feel it my duty to bring you this week’s report from the front line. On Saturday past, along with my musical brothers and sister, I played my first notes of music in front of an audience for nineteen months. The last time Deacon Blue had played a chord in anger was on the 1st of December 2019 in a continent far away. For purists, yes we did play some songs on the telly at New Year, but an audience of be-masked runners, camera crew and assorted TV people does not an audience make. So at 9:30 on a beautiful Somerset Saturday evening in front of quite a few thousand people we gathered on a stage, plugged in some instruments to their respective amps and, with the help of some creative lighting engaged in a concert. It’s not for me to tell you how good we were, but whatever good we gave out, we received back ten fold from a great audience who even managed not to let a five minute rain shower dampen their enthusiasm. To say we were grateful is a vast understatement. Folks, we were ecstatic. Even as we walked from the tented dressing room across to the backstage area there was part of me fully expecting a ‘ping’ or a tap on the shoulder to say we should proceed no further, that it never came was such a great relief. I don’t know if we’ll get another show under our belt next Saturday, but I’ll keep you posted.

Before I left on my wild southwestern adventure I managed to record a conversation with one of my all time favourite singer-song writers. Jackson Browne was in his studio and I was in mine when we hooked up for one of these Facetime chats I’ve become quite used to in the last eighteen months or so. On the day his new album, Downhill From Everywhere arrived in the shops it was great to see how happy Jackson still gets about seeing the birth of a new body of work, even after fifty years doing just that. His is an amazing career but, although the new album sounds agreeably like it could fit right into being the next record after Late For The Sky, thematically, however, Jackson is very much thinking about now and the future. We talked about the business of writing, some of the collaborations he’s been making, about why he keeps returning to Haiti and his own experience of true faith as witnessed by a priest on a motorbike. It was a fascinating chat which we will be playing out for the second half of this week’s AC.

Elsewhere we have more from Joy Oladokun, The Wallflowers and Son Volt as well as some new gems from Lily Rose and a return from Cale Tyson. As ever, we’re live on BBC Radio Scotland from five past eight and BBC Sounds whenever and wherever. Join me if you can.

Dear Listener,

Thank you. Thank you for listening. Thank you for keeping listening and thank you too for interacting. I’m particularly grateful this week because the last two shows have been given a lot of love from you. Our Allison Russell interview made waves across the Atlantic and this Sunday (BBC Sounds still has it) it even made Pick of The Week on Radio 4. Our Linda Ronstadt special also made an impact and it was really lovely to see so much love and gratitude for Linda coming back to me via twitter, this blog and general comments.

Sometimes, however, it’s just good to take stock and allow ourselves to be thankful. Life is not perfect, we’re still in the business of fighting the virus and nearly eighteen months on it sometimes feels like we’re never going to get there. We are however, and we’ve all come a long way since last year at this time. Perhaps too we can be a little grateful that in a year when none of us can travel very far, we only need to step outside our front door to enjoy a little sunshine. That, as compensation goes, is as good as it gets in the month we often mistake for summer here in Scotland, July.

In that spirit this week’s AC focusses on the positives too with a celebration of all that is great about country music. I really want you to hear the new album by Joy Oladokun. We featured Joy recently on the show and this is another great track from her brilliant debut album, ‘in defense of my own happiness.’ (Now there’s a title).

Here’s Joy from her own biog on Spotify…so good I had to quote it in full:

hi i’m joy! i’m a songwriter, a sensitive stoner, and i’m currently trying to become so good at COD: Black Ops that it makes white boys shake. i live in nashville with my girlfriend and my dog. i make most of these songs in a studio on the second floor of the house we share and they’re all about life as i learn to live it. i hope these songs help you the way they help me in writing them. i have a new album out called “in defense of my own happiness”…you should listen to it. if you want.. i’m not here to tell you what to do. -joy PS. BLACK LIVES MATTER.

If that doesn’t make you want to listen in, then I can’t help you. Elsewhere we have more joy from the brilliant new Wallflowers album, which really must be one of the best albums of the year so far. We’ll have more from Robert Finley and Yola who are sharing producer, writing and label credits. We’ll have Jason Isbell doing Metallica, something current from Chris Stapleton and pay an audio visit to The Ice Road courtesy of Luke Combs.

All this in two hours? Oh yes, but to find out how we do it, you’ll need to listen on BBC Radio Scotland FM from five past eight this Tuesday evening or check us out on BBC Sounds any time after. Did I say thanks for listening? Never mind, I want you to know, I’m deeply grateful.

I’ve always been interested in the Asylum Records story. For a while, in the early seventies, they almost held a monopoly on the most talented Californian singer-songwriter acts of the day. The Eagles, Jackson Browne, Tom Waits, Joni Mitchell, Andrew Gold, John David Souther, Judee Sill and Linda Ronstadt were all significantly big-selling artists of these years. To own one album was often to open a window onto all the other acts on the label. Linda Ronstadt and JD Souther had been partners, and it was Souther who partly produced her first Asylum Records album, the first album she felt really represented what she was trying to do.

I wonder, looking back on her story, what a young Linda Ronstadt would have done had she started out this century. Like so many artists we feature on the show, she went over to Nashville to record, but unlike many that we know, she didn’t enjoy the experience. Instead she stayed in the Hollywood Hills and followed her own unique path. That path, which clearly owed so much to country and roots music, brought bountiful success and allowed her to make the diverse directions in music which have signified her career.

This week she will be seventy five years old and, unlike so many senior artists we’ve featured over the years on the AC, unable to celebrate that by way of performing. She announced her retirement in 2011 and revealed shortly afterwards that she is no longer able to sing as a result of a degenerative condition later determined to be progressive supranuclear palsy. So, in the light of all that, we felt the best thing to do was to celebrate the contribution she has made to country music in particular over the course of her hugely successful career. In choosing tracks to play on this week’s two hour Linda Ronstadt special I have leaned towards the many contemporary artists she championed including the aforementioned, JD Souther, whose beautiful song, Prisoner In Disguise, became the title track to one of her biggest mid-seventies albums.

There were others too. Linda covered Jackson Browne, her one time back up band, The Eagles, Karla Bonoff, Neil Young, The McGarrigle Sisters and her studio musicians included the super talented, Andrew Gold. She covered classic country by Roy Orbison, The Everly Brothers and Patsy Cline and she found and reinvented traditional songs. She said she liked to be surrounded by talented musicians but she knew her way around music as she had been taught by her brother who, in turn, was taught by her father to play guitar. In the show you will hear the voices of some of the people whose songs she has made her own including, Jimmy Webb and Dolly Parton. You’ll hear songs in English and Spanish and you will enjoy her singing harmony with so many artists who asked her to contribute to their own projects including the greatest country singer of them all, George Jones.

Putting this show together was a labour of love. It all starts at five past eight this Tuesday evening on BBC Radio Scotland or any time you fancy after on BBC Sounds. Join me if you can.

As each year begins I often find myself wondering what new things will come along which, by the end of that year, we might look back and think, ‘How did we manage to live without that?’ I guess we could apply this to all manner of items, inventions, apps or innovations but I like to think of it in a musical context. On BBC One the other night they were showing the film, ‘Yesterday‘ which (though I still have to watch it) is based on the idea of a world where no one has heard of The Beatles. Such a central part of our culture is almost impossible to imagine being missing from our lives, but as years pass by, I find myself adding songs and artists I would surely have missed had they not made records I go back to again and again.

So it is this year with the first ever solo album by Allison Russell. Perhaps we should have seen it coming. Allison is no overnight success. We have played her records as a member of Birds of Chicago and more recently as part of the folk collaborative, Our Native Daughters  where she shared the billing with Rhiannon Giddens, Amythyst Kiah and Leyla McCalla. All of that could well lead an astute listener to expect something as life changing and brilliant as Outside Child, but I’m afraid it still took me by surprise. Put simply. Allison’s first ever solo album is a stunning piece of work on many levels. Firstly, musically it’s a great listen. It plays to her strengths which include her distinctive voice and sense of harmony, her collaborative instincts and her desire to tell her own stories. It’s the stories, however, which mark this record out as a unique piece of art which should be viewed as that. It’s the songs that really make this count. Allison isn’t afraid to tell a story which many artists would find almost too painful to revisit. Her songs are about her childhood in Montreal suffering at the hands from a step-father who, not only, abused her sexually but was also a racist whose values and behaviour were formed in the white supremacist community in Indiana where he was born in 1936. In this week’s Another Country you can hear Allison explain what a ‘sundown town’ is and what it meant for her growing up. She also talks about her own sexuality, how looking for refuge from the torment of her family led her to explore that more fully and how all of this impacted on her as an artist and a mother.

Please don’t imagine for a second that this makes the album or the interview too hard a listen. What is remarkable, in all of this, is how much joy there is in Allison’s performance on the record and in what she has to say about her life now. I found it THE MOST moving interview I have ever recorded in the many years I have been on air with the AC and I recommend our second hour to you on this week’s show.

We will also take time to bring you some great new records by Son Volt, Holly Macve, Jackson Browne and a real return to form from Yola. As ever, we’re on BBC Radio Scotland from five past eight and you can catch the show anytime and any place you happen to be on BBC Sounds. Join me if you can.

I wonder what event, dinner, family gathering or expedition we will all look back upon and agree that was the night when we knew this awful time was finally over? I remember in the early days of the pandemic there was a feeling that there would be a VE type announcement and we’d all go to the pub or to a gig, the first chord would be played and we’d be back. I don’t need to tell you that it’s not been that simple and that there is still a little way to go.

On Saturday night, however, we went out for a meal, met a few old friends at the restaurant and enjoyed sitting outside for a drink as music played and for a while, just for an hour or so, it felt like old times. Getting back in the taxi and putting the masks on is a quick way of reminding ourselves that there is still a little while to go, but even as we wander through our cities, towns or villages we’ll see signs of life we’d begun to think, a few months ago, we’d never see again.

One of the things we lost during these last few months is our catch-ups with our Nashville correspondent, Bill DeMain. Bill’s legendary walking tours round Music City’s historic sites had to be stopped during the pandemic and it’s only in the last few weeks he’s reconvened on his beat and welcomed visitors to the city with his stories of Chet Atkins, Cortelia Clark and the Twitty Burger. You may have heard Bill tell us some of these tales when we visited in the city a few years back to record some special shows, but if not, I really hope you get a chance to go in person and walk with Bill, as it’s the best way to fall back in love with country music.

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So, we are delighted that Bill’s tour is back on and with that he’s been gathering up enough news and gossip to join us again this week to share more stories from Twang Town. For our part we will bring you some great new music from former guests, The Lone Bellow, Lauren Jenkins, Hiss Golden Messenger and something hot off the press from Tenille Townes which may well make your week.

I’ve also been finding songs from years gone by which we’ve not heard for ages and will bring you some choice cuts over these next few summer months. We’ll hear some older classics from Willie Nelson and Waylon Jennings as well as from the man whose songs they’ve both covered, Kris Kristofferson who has eighty five candles alight on a birthday cake this week.

As ever, we’ll be on BBC Radio Scotland from five past eight and you will be able to find us and listen any time of your choosing on BBC Sounds. If you are free however, I’d love your company from five past eight this Tuesday evening.

I started writing the blog on Monday morning, full of hope and excitement for the Scotland game. Fortunately I’m old and have learned to pick myself up, dust myself off and start all over again. As I remind my family and friends too, supporting a team like Dundee United has given me all the grounding I need in learning to live with disappointment.

There are some things we can rely on however, and as ever, country music will provide us all with any consolation we might be requiring. I knew too that we had something rather special in the can for this week’s show. We have long been fans of all three Pistol Annies on the AC. You will remember previous sessions and conversations with Angaleena Presley (Holler Annie) and a week rarely goes by without a song from Miranda Lambert (Lonestar Annie). However, on this week’s show we’ll be hearing from Hippie Annie, the third member of the trio, Ashley Monroe.

‘I don’t want a hint of sadness,’ was the agenda Ashley set out  for making her new album. You can understand why too. Rosegold is the first new record by Ashley since she gave birth to her son, Dalton, three years ago.

On this week’s Another Country we will play out a conversation I recorded with Ashley a few weeks ago just as the album came out. It’s a lovely listen and if it’s any kind of genre it’s a summer record. There’s sunshine pouring in through every space on this album and it works perfectly. Sure, it’s like so many records that come out of Nashville in that it adheres to the rule that artists, who are mainly songwriters first, enjoy collaborating with other writers. But, in this case, Ashley has departed from her normal template and palate of instrumentation to make a very interesting, fresh and often blissed out record. Judge for yourselves on this week’s show, when you can hear Ashley’s album and her take on it.

Elsewhere there’s new music from Teddy Thompson and Jenni Muldaur doing Porter and Dolly, Chris Stapleton being brilliant on the CMT’s, Nashville’s new star, Lily Rose as well as Jack Francis.

I am delighted to say we won’t be on air next Tuesday evening, as correctly, we’ll all be watching the games. I know that many of you will be as keen to watch England as Scotland but you probably know by now who I’ll be supporting. It wouldn’t be fair not to send out a little greeting to any listeners we have from Wales too. Good luck to all of us!

Either way, as the great Michael Marra often reminded us in song, ‘Win lose or draw, you get home to your bed just the same.’ See you on the other side. Meanwhile we will be on BBC Radio Scotland this Tuesday at five past eight or any time of your choosing on BBC Sounds.