Sonny Landreth & Cindy Cashdollar and more on Mountain Stage

1900 Kanawha Blvd E,Charleston , WV WV 25305

09 October, 2022

Description

Sonny Landreth & Cindy Cashdollar and more on Mountain StageWith Guest Host Larry GroceALL AGES Sonny Landreth, Cindy Cashdollar, Parker Millsap, Caleb Caudle, The Paranoid Style Lucy Kaplansky This milestone 1,000th episode of Mountain Stage features Sonny Landreth & Cindy Cashdollar, Parker Millsap, Lucy Kaplansky, Caleb Caudle, and The Paranoid Style with guest host Larry Groce. Mountain Stage plans to tape this episode at 100% capacity. If you have questions or concerns, please reach out to [email protected].  Ticket Info All tickets to this show are e-tickets, and will be emailed to you upon purchase. Open up the pdf and the QR code on your ticket will be scanned at the door. This event will also be offered as a live stream. Mountain Stage Members Tickets on sale: Friday, July 22, 10am ET Public Tickets on sale: Friday, July 29, 10am ET Watch the Livestream! Mountain Stage livestreams are free, however there are some incredible folks out there who’d like to show their support through a donation-based, pay what you want ”ticket” for the livestream. This is a donation-based “ticket” to show some love for the program and is not a ticket to the live event. You’ll be able to catch the show from the comfort of your home (or wherever you wish) Sunday, October 9,  at 7 PM ET at mountainstage.org. Sonny Landreth & Cindy CashdollarSonny Landreth and Cindy Cashdollar are making some rare duo appearances in 2022. Louisianas slide guitar wizard will deliver his bottle neck style slide chops while Austins sweetheart of the steel guitar will showcase the renowned talent that earned her a spot in the Texas Music Hall of Fame. Revered for his unique slide guitar technique, Sonny Landreth has collaborated with many legendary performers including John Hiatt, Jimmy Buffett, Mark Knopfler and Eric Clapton. Summer of 2013, Sonny was part of the Peter Frampton led Guitar Circus tour, often closing the night playing with Frampton on an extended While My Guitar Gently Weeps. Cindy Cashdollars expertise is in great demand on both steel guitar and dobro. She has worked with many leading artists in various genres including Bob Dylan, Van Morrison, Rod Stewart and Ryan Adams. With the iconic western swing group Asleep At The Wheel, she garnered 5 Grammy awards and was the first woman to be inducted into the Texas Steel Guitar Hall of Fame in 2011. Performing a mix of original songs with contemporary and traditional blues and roots music, the show is electric, virtuosic, and tastefully delivered by these two great instrumental masters. Parker MillsapThe fifth album from Oklahoma-bred singer/songwriter Parker Millsap, Be Here Instead emerged from a wild alchemy of instinct, ingenuity, and joyfully determined rule-breaking. In a departure from the guitar-and-notebook-based approach to songwriting that shaped his earlier work, the Nashville-based artist followed his curiosity to countless other modes of expression, experimenting with everything from piano to effects pedals to old-school drum machines (a fascination partly inspired by the early-’70s innovations of Sly Stone and J.J. Cale). As those explorations deepened and broadened his musical vision, Millsap soon arrived at a body of work touched with both unbridled imagination and lucid insight into the search for presence in a chaotic world. Produced by John Agnello (Kurt Vile, Sonic Youth, Waxahatchee) and mainly recorded live with Millsap’s full band, Be Here Instead marks a stylistic shift from the gritty and high-energy folk of his previous output, including 2018’s acclaimed Other Arrangements and 2016’s The Very Last Day (an Americana Music Association Awards nominee for Album of the Year). With its adventurous yet immaculately detailed sonic palette, the album warps genres to glorious effect, at one point offering up what Millsap aptly refers to as a “disco-Americana showtune.” In another creative breakthrough, Be Here Instead forgoes the character-driven storytelling of his past in favor of a more introspective and endlessly revelatory form of lyricism, an element he traces back to the charmed nature of his songwriting process. “Because the lyrics were appearing seemingly out of nowhere and with no prior intent, some of them started to feel like transmissions from my subconscious, rather than the preconceived linear stories or waking thoughts of my earlier songs,” says Millsap. “They feel like words I needed to hear from myself, and not just things I wanted to say to someone else...” Continue reading here Lucy KaplanskyShe started out singing in Chicago folk music clubs as a teenager. Then, barely out of high school, Lucy Kaplansky took off for New York City. There she found a fertile community of songwriters and performers—Suzanne Vega, Steve Forbert, The Roches, and others. With a beautiful flair for harmony, Lucy was everyone’s favorite singing partner, but most often she found herself singing as a duo with Shawn Colvin. People envisioned big things for them; in fact, The New York Times said it was “easy to predict stardom for her.” But then Lucy dropped it all. Convinced that her calling was in another direction, Lucy left the musical fast track to pursue a doctorate in Clinical Psychology. Upon completing her degree, Dr. Kaplansky took a job at a New York hospital working with chronically mentally ill adults, and also started a private practice. Yet she continued to sing. Lucy was often pulled back into the studio by her friends, (who now had contracts with record labels) wanting her to sing on their albums. She harmonized on Colvin’s Grammy-winning "Steady On," and on Nanci Griffith’s "Lone Star State of Mind" and "Little Love Affairs." She also landed soundtrack credits, singing with Suzanne Vega on "Pretty in Pink" and with Griffith on "The Firm," and several commercial credits as well—including “The Heartbeat of America” for Chevrolet. Then Shawn Colvin—who was itching to produce a record—hooked up with Lucy, her ex-singing partner. They went into the studio, and when Lucy’s solo tapes got into the hands of Bob Feldman, president of Red House Records, he was blown away. Suddenly, Lucy was back in the music business. She signed with Red House Records and started playing gigs. Red House released The Tide in 1994 to rave reviews, and within six months Lucy signed with a major booking agency—Fleming Artists—and began touring so much it required leaving her two psychologist positions behind... Continue reading here Caleb CaudleCaleb's songs weave their way into the listener's life. His reflections Connect with those who embrace the vast spectrum of emotion between the Joy and sadness of our shared experiences. His catalog is a soundtrack to weddings, births, funerals, first dates, road trips, family reunions and long afternoons spent on the porch. Following his critically acclaimed 2020 release of “Better Hurry Up”, Caleb Caudle is back in the legendary Cash Cabin Studio recording his new untitled album, produced by John Carter Cash. The album features Jerry Douglas on dobro and lap steel, Sam Bush on mandolin and fiddle, Dennis Crouch on bass, Fred Eltringham on drums, with backing vocals by Carlene Carter, Elizabeth Cook, and Sarah Peasall McGuffey. Caudle’s music has been featured on CMT’s Nashville and Netflix’s The Ranch, with key adds to Spotify’s Indigo and AppleMusic’s Southern Craft Playlists. “Better Hurry Up” spent weeks in the Top 30 Americana Radio. Caleb was also featured on NPR’s All Things Considered in 2020. The Paranoid StyleFor Executive Meeting is an album about the dignity of labor and the courage of workers who refuse to give up hope, even as the modern world arrays itself ever more exploitatively against their interests. It begins with an elegy for the radical, tragic Pop Art titan Barney Bubbles and ends with a revved-up cover of Rosanne Cash’s peerless “Seven Year Ache.” Throughout the ten songs in-between, Elizabeth Nelson weaves together a cinematic omnibus of stories about figures like Steve Cropper, P.G. Wodehouse, and Doug Yule as well as plenty of her own. She visits her hometown of Northport, Long Island and ponders Jack Kerouac’s house in her childhood neighborhood, where the writer spent his feckless later years spiraling into oblivion. She opens for Wussy at the Bowery Ballroom and tears the house down, but only after throwing up from nerves on the way to the show. She laments the loss of David Berman and Adam Schlesinger, and duets with Patterson Hood from the Drive-By Truckers on an infectious tribute to John Prine. She ponders the desecration of the music industry in an annihilating miasma of tech-addled greed. She drinks her beer in a tavern and sings the working gal’s blues. Taken together, For Executive Meeting is thirty-four minutes of vivid detail, towering hooks and indelible riffs which serves as thrilling confirmation of what in-the-know critics have been saying for years: Elizabeth Nelson is one of the best songwriters in the world.