Chuck Prophet, Kim Richey, S.G. Goodman & Sierra Ferrell on Mountain Stage

For more than 30 years, Mountain Stage has been the home of live music on public radio. Produced by West Virginia Public Broadcasting and distributed by NPR Music, each two hour episode of Mountain Stage can be heard every week on more than 240 stations across America, and around the world via NPR Music and www.mountainstage.org. Recorded in front of a live audience, Mountain Stage features performances from seasoned legends and emerging stars from genres across the board.

Mountain Stage

Join Mountain Stage 11/1 for a special live stream event!

Chuck Prophet

Kim Richey

S.G. Goodman 

Sierra Ferrell

On Sunday, 11/1 at 7pm ET Mountain Stage will record a fresh episode with Chuck Prophet, Kim Richey, S.G. Goodman, and Sierra Ferrell. The best part is you get to cheer them along from the comfort of your home! We&#x27;re taking all the precautions to keep our friends and guest artists safe, and we hope you can join us for this special evening of music on Mountain Stage. **This is a free show that can be viewed at MountainStage.org, but viewers are encouraged to purchase a “pay what you wish ticket” via Eventbrite with the option to add on a Mountain Stage face mask or a Mountain Stage bandana.**We&#x27;re giddy to get back to it, y&#x27;all.

<h1><a href="http://www.chuckprophet.com/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Chuck Prophet</a></h1>

Since his neo-psychedelic Green On Red days, Chuck Prophet has been turning out country, folk, blues, and Brill Building classicism. THE LAND THAT TIME FORGET is something different, a weather vane picking up signals from outer space – or maybe it&#x27;s the Heartland.Priced out of his beloved hometown, San Francisco, Prophet found himself re-energized in Upstate NY just a few miles from the Vermont border – and made a record that is much a 21st century exorcism as it is America.The songs inhabit a world where a Fast Kid might be on the run from the truant officer or a handsy boss...or the Immigration Service. These are love songs that turn political on a dime (Love Doesn&#x27;t Come from the Barrel of a Gun), and melodic hallucinations about kicking back in the Oval Office after hours &quot;talking to my baby, saying baby, let&#x27;s not fight.&quot;Where else besides a Chuck Prophet LP are songs going to come at you from both the Tenderloin and an English roundabout, with stopovers in Nixonland and a love-struck mirror on a Saturday night while a workingman tries his Best Shirt On? With special appearances by the ghost of Johnny Thunders and Willie Wonka and John the Baptist and the train that brought Abraham Lincoln home one last time.In Waving Goodbye, a young girl leaves small town attitudes behind to conquer the world one gig at a time. Then there&#x27;s a dance Marathon, lost in time and reborn as a reality show. According to Womankind, men had their run, but it&#x27;s over. (The good news is he can still try to sing his way into her heart.)And it all leads up to 1600 Pennsylvania Avenue where a singer has his say, in two and a half loping verses and a middle eight.Here&#x27;s Chuck:&quot;Have any of you been to a 24-hour Walmart on the outskirts of Pittsburgh after midnight lately? It was just me and a couple tweakers roaming the auto parts aisles. We got along just fine. Long story short, I fixed that guitar by my lonesome and am playing it right now. I&#x27;m kind of proud of that.&quot;&quot;I will say this, though, about Ohio. Some of my truest hard earned fans are in Ohio. Go on and call it a fly-over-state, but not while Chrissie Hynde is in earshot, unless you want a vegan boot up your ass. All I&#x27;m saying is that a state is a lot more than which candidate won by how many votes. I mean you gotta feel sorry for the conservatives. The only songs they can play at their rallies without getting hit with a cease and desist order are by Ted Nugent and Charlie Daniels. And those two sure aren&#x27;t shy about expressing their opinions.&quot;THE LAND THAT TIME FORGOT got off the ground in the Money Belt, only to find its legs in the Borscht Belt. Musically it has deep roots, from the Southern Delta to the discos of Munich. There&#x27;s a kind of folkish inevitability to it, lots of acoustic instruments, on top of each other and side by side. But as much as folk music is the soil all music grows from, it never hurts to have a boiler room. So, there&#x27;s always a rhythm section shuffling under your feet here.Written mostly with longtime co-conspirator klipschutz, this LP steps out of Chuck Prophet&#x27;s comfort zone (&quot;two guitars, bass, and drums&quot;). After nailing three tracks in S.F. with Grammy-winning alchemist Matt Winegar, Prophet confesses, &quot;We hit a wall. Schedules. Money. Towed vehicles: a thousand large to get one van out of lockup.&quot;So he went out on tour, a solo tour. Driving through the Catskills he dropped into Kenny Siegal&#x27;s Old Soul Studios, in a &quot;5-bedroom Greek Revival listed on the National Registry,&quot; Chuck and Kenny immediately began to argue. Over anything. Whether it was too hot or too cold (according to WHOM?). At the end of the day – &quot;a very long day, three weeks of them – let&#x27;s just say Kenny&#x27;s the man. At Old Soul, musicians drop in, sometimes complete blind dates. We did everything live. The drummer gigs with Kevin Morby. The bass player, out of some jazz scene. Piano player, an honorary Bad Seed. A mish mash of personalities and styles. Turns out you can make a lot of noise with acoustic instruments, if there are enough of them.&quot;When asked about his life, Prophet is candid and evasive all at once: &quot;What do you want to know. Death, health issues, financial hijinks, I&#x27;ve had them all the past few years. We lost my dad and we lost Stephie&#x27;s dad too. The basement flooded. My shoulder went out. I got hives over 80% of my body; was quarantined. The only break I caught was when the ear, eye, nose, and throat doctors were all in the same building. Oh, and I almost got killed about seven times in rented cars in snowstorms, lost on the way to gigs. Hey, maybe we should talk about songs instead.&quot;

<h1><a href="https://kimrichey.com/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Kim Richey</a></h1>

“I started off that record scared to death,” Kim Richey recalls of making Glimmer with producer Hugh Padgham back in 1999 in New York and London. A disastrous haircut, unfamiliar musicians, and oversized budgets didn’t help matters. “It wasn’t the way I was used to making records.”The way Richey was used to making records was with friends in a vibed-out, low-key setting. That’s how she made her debut album with Richard Bennett, and it’s how she made her new album, Long Way Back… The Songs of Glimmer, with Doug Lancio. So Glimmer was different, and not just on the production side.Then, as now, the compositions that comprise Glimmer were the Grammy-nominated singer/songwriter’s first collection of true confessionals. Prior to that she’d been a staff writer at Blue Water Music writing from a more arm’s-length vantage point for her first two releases, 1995’s Kim Richey and 1997’s Bitter Sweet. But Glimmer was all her.Revisiting that history for A Long Way Back was both emotional and edifying for her. “I was pretty broken-hearted when I wrote and recorded most of those songs and I remember feeling that way,” she says. “At the time, I needed to really get out of my head and out of Nashville. I think that was what appealed to me so much about making a record somewhere that wasn’t home and with new people. Recording these songs again was a good way to look back and remember I made it through those times.”The 20 years of distance between then and now provided another benefit, as well: Richey is more comfortable with her voice, both literally and metaphorically. As a result, Long Way Back sounds like it has nothing to prove and nothing to hide. It’s more spacious, but not less spirited, with Richey’s voice, in particular, feeling more relaxed and rounded than on the original. Starting with “Come Around,” the 14 new renderings take their time to make their points, meandering casually around, much like their maker.An Ohio native, Richey’s passion for music was sparked early on in her great aunt’s record shop where she’d scour the bins and soak it all in. She took up the guitar in high school and, while studying environmental education and sociology at Western Kentucky University in Bowling Green, she played in a band with Bill Lloyd. But it didn’t stick… not right away.After Kentucky, Richey worked in nature centers in Colorado and Ohio and traveled to Sweden and South America. She eventually landed in Bellingham, Washington, where she worked as a cook while her boyfriend went to grad school. Their deal was, she got to decide where they went after he graduated. One night in 1988, some old friends — Bill Lloyd and Radney Foster — rolled through town. She sold t-shirts at their gig, and they talked up Nashville. To drive the point home, Lloyd sent her a tape with Steve Earle and others on it. So taken by the songwriting, Richey and her partner loaded up their Ford F150 and headed to Music City.In Nashville, Richey cooked at the famed Bluebird Café and gigged around town at writers’ nights. At a show one night at 12t h &amp; Porter, Mercury Records’ Luke Lewis approached her. In classic Richey fashion, she didn’t know who he was. Still, she went to a meeting with him and Keith Stegall, played one song, talked a lot, and got a record deal at the musical home of Billy Ray Cyrus and Shania Twain. Remembering the glory days of major labels in the ’90s, Richey says, “They gave me way more than enough rope to hang myself with. I could do whatever I wanted.”What she wanted was to work with her friend, producer Richard Bennett. So she did. For Bitter Sweet, she put Angelo Petraglia at the helm, before turning to Padgham for Glimmer. “Bitter Sweet was recorded in Nashville with my road band and friends,” Richey says. “That record was as if the kids had taken over the recording studio while the adults were away. Glimmer was more pro and less messing around having fun. The musicians were all super-talented and gave the songs a voice I never would have thought to give them. Hugh was up for trying anything and really encouraged me to add all those vocal arrangements that ended up on the record”.For 2002’s Rise, Richey took another left turn, signed to Lost Highway Records, and hired Bill Bottrell as producer. Though it was her first time writing in a studio with a band, the players’ talent and Bottrell’s whimsy proved to be great complements to Richey’s own rule-breaking style. The resulting record was quirky, confessional, mesmerizing, and masterful. And it officially set her outside contemporary country’s bounds which was fine by Richey, whose music had always broken barriers.A greatest hits collection dropped in 2004, buying her some time to tour, write, and make 2007’s Chinese Boxes with Giles Martin in the UK, followed by 2010’s Wreck Your Wheels and 2013’s Thorn in My Heart, both produced by Neilson Hubbard in Nashville. The latter landed her at Yep Roc Records, where she also released 2018’s Edgeland, made with producer Brad Jones in what she has described as the easiest recording process she’s ever had, despite working with three different tracking bands in the studio.Through it all, Richey has worn her heart on her lyrical sleeve, revealing herself time and again. “I started writing songs because of Joni Mitchell, probably like most women songwriters of a certain age,” Richey confesses. “I loved being able to write songs because I was really super-shy. I couldn’t say things to people that I wanted to say. If I put it in a song, there was the deniability. If I ever got called on it, I could say, ‘Oh, heavens no, that’s just a song! I made that up.’”Though she could fall back on plausible deniability, with Richey, what you hear is actually what you get. “I don’t have a lot of character songs because I’m not that good at making things up out of thin air.” Even when it comes to the main narrator of a song like Edgeland’ s “Your Dear John,” Richey demurs with a laugh, “I do think that song is probably just another song about me and I’m pretending to be a barge worker.”On Long Way Back… The Songs of Glimmer, though, she’s not pretending to be anything or anyone she’s not, and neither are the songs. Richey and Lancio set out to make a guitar/vocal record, but the songs had something else in mind, and that something included drums by Lancio’s legendary neighbor, Aaron “the A-Train” Smith, among other things. “Once we stopped making rules about what could and could not be on the record, the songs spoke for themselves,” Richey says. “I knew all along I wanted Dan Mitchell to play flugelhorn, and the two tracks he played on are two of my favorites. In the end, the songs decided.”From her move to Nashville to her making this record, for Kim Richey, the songs have always decided.

<h1><a href="http://www.sggoodman.net/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">S.G.Goodman</a></h1>

When S.G. Goodman was growing up, her farmer father would plant an annual crop of sweet corn for his three kids, which they later harvested by hand and sold for money to buy their school clothes.The farm isn’t Goodman’s home anymore: “I live in a house where the backyard is too shaded by these maple trees so that I can’t really grow anything,” she says. But the Murray, Kentucky-based singer-songwriter, 31, maintains a deep connection to the place that shaped her on her debut album, Old Time Feeling. Produced by Goodman with bandmates S. Knox Montgomery and Matthew Rowan, plus fellow Kentuckian Jim James of My Morning Jacket, it’s at once earthy and otherworldly, relaying her personal experiences alongside razor-sharp social commentary about the South.Raised primarily in Hickman (“The town, not the county — it’s a very important distinction. People get ticked about that,” she says), Goodman relocated to Murray for college and quickly fell in with the town’s thriving post-punk scene, which includes the popular record store Terrapin Station. For a time, she recorded under the Savage Radley moniker, contributing a song to the Pine Mountain Music Sessions, a local benefit album whose producer introduced her to James. “That’s what it’s all about,” she says. “Just these little pockets of subculture in these areas that you have to seek out.”On Old Time Feeling, she’s both an outsider and close enough to her roots that she can sympathize with the people around her, even if they don’t always agree. “Oh sharecropper daughter, she sings the blues of a coal miner’s son,” Goodman sings on “The Way I Talk,” as martial drums trudge forward and guitar feedback buzzes ominously in the background. She touches on the struggles of average farming families, the outside forces that guide those struggles, and the magical ability of the people in power to “turn the poor against the poor.”“Southerners should be telling their own stories — that’s important when you’re thinking about this,” she says. “And it’s the rest of the world’s responsibility to actually listen to people from these areas and what they have to say. And maybe take it upon themselves to dig a little deeper.”With the garage-y title track, Goodman acknowledges some of the problems plaguing her part of the world and then saves some of her sharpest barbs for people who’d complain about it from afar: “Oh and I hear people saying how they want a change/And then the most of them do something strange/They move where everybody feels the same.”“I’m very aware that many people don’t have the luxury to stay in the place they were born — in that either their mental health could be in jeopardy, there’s no work there, or they’re not safe,” Goodman says. “The best way to bring about change in a place that is maybe really isolated is [to] represent your political ideas, and the best way to do that is live ‘em out in front of people.”She strikes a more conciliatory tone in the album opener, “Space and Time,” mining a dreamy Roy Orbison-style melody to talk about the ways she was formed by her experiences, both positive and negative.“A person’s life really amounts to the people you share it with, whether that be good experience or bad,” she says. “We don’t thank people enough for what they’ve brought to our lives or tell people we love them enough.”Citing Link Wray’s raw 1971 self-titled album as a major inspiration, Goodman explains that she left many of the tracks on Old Time Feeling intentionally unvarnished. Band members talk in the background, guitars buzz, and little blemishes are left like Easter eggs for listeners to find.“I didn’t want to take the human element out of whatever we were doing,” she says. “There’s a few songs that are maybe a little more polished than normal, but that’s just because that’s what the song called for.”Even when she’s not tackling the social and economic issues of the South, the region still shows up as a character in songs like the heartbroken “It Ain’t With Me Babe” and “Ain’t I a Big Girl Now.” There are mentions of cotton blooms, pecan hulls, and the wind rustling through the trees in a way that feels fully lived in, not perfunctory. Her voice takes center stage through it all, alternately sounding vulnerable and tough, diving and swooping in intuitive-yet-surprising ways.“When I started playing with a full band behind me and realized I couldn’t be a whispery singer-songwriter, I started letting it loose,” she says. “Any musician who started out playing dive bars and loud rooms understands: You should never assume you’ll be able to hear yourself.”Goodman ultimately sees Old Time Feeling as a document of her mindset when she was writing the songs, in all its complexity.“As much as I would like to be one of those writers who’s like, ‘All right, I’m gonna write a concept album today,’ I just don’t write like that,” she says. “It’s just a snapshot of a particular time period, and in this particular time period I was going through heartbreak, which is there too. That’s a picture of real life: You can worry about your neighbor and their economic plight, but you can also be sad in your room and have your heart broken.”

<h1><a href="https://www.sierraferrellmusic.com/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Sierra Ferrell</a></h1>

Wicked and wild, her sirens call an oil spill, floating atop thee languid waves of torment, a nanny-nanny-bew-bew to the ocean beneath, she caresses thee buoying masses, holding them aloft with thee effortless grace of a branch-bearing dove. Born from the dark, rich soil of West Virginia, raised in the clear, hop-scented country air, Sierra Ferrell cut her teeth on the rail lines, truck stops, street corners, and dingy, dimly lit listening rooms all across the land, belting out her old-time melodies, a sorcery, drawing her patrons, ever more deeply, into her animated tapestry of forlorn, star-crossed love, of longing, poverty, of suffering and triumph, encompassing that irreconcilable thrum of the human spirit and all the complexities of emotion that come with it.One moment, with startling clarity, she calls to bear the opium opulence, that seductively solemn soujorn of the 1920s jazz club stage, the next, she'll have you taking to your toes, dancing in careless merriment, whirling, winking, and carrying on with all the confidence of a honky tonk king or queen, while she plays, sings, stomps, and yodels out the utter essence of the honky tonk country blues. You turn to your partner, peer into their eyes with the recognition of a perfect moment, and plant a kiss firmly upon their lips. They smile as your lips meet, pull you in tighter, romance... is born anew! Catch her now, folx, in this most intimate of settings, for her Star is ever on the rise!

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Chuck Prophet, Kim Richey, S.G. Goodman & Sierra Ferrell on Mountain Stage

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Chuck Prophet, Kim Richey, S.G. Goodman & Sierra Ferrell on Mountain Stage

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