#cory younts

[krispyweiss]

Old Crow Medicine Show at KEMBA Live!, Columbus, Ohio, Jan. 25, 2024

Old Crow Medicine Show ain’t sellin’ no snake oil. No, Sir and Ma’am. Their music is a proven elixir for all that ails at the end of a long day.

And the septet has no problem transforming a bluegrass-country show in to an arena-rock extravaganza, making Ketch Secor’s greeting of: “Let’s get ready to rock ‘n’ roll” entirely plausible despite denim, cowboy hats and mostly acoustic instrumentation.

For just as the balmy, rainy Jan. 25 weather made the Columbus, Ohio winter feel like spring, the Medicine men proceeded to make the rural rock - hard - on the show-opening “Tell it to Me,” delivered as it was with the exuberance of a final encore as the band members danced around the stage like youngsters overdosing on caffeine. That the music inside KEMBA Live! was as tight as the players were loose is just another part of Old Crow’s irresistible appeal, even as cheesy faux-preacher asides and incessant references to Ohio and its Buckeyes college football team grew tiresome over the course of the two-hour gig in front of a respectable-for-a-Thursday-night-sized audience.

The engine-revving continued on the aptly titled “Alabama High-Test” and - despite the occasional balladic breather - across the set that chronicled OCMS’ sonic evolution from the 2004 Bob Dylan leftover-cum-huge-hit “Wagon Wheel” to the social commentary of 2023’s “Louder than Guns.”

And by the time the rambunctious, early-set “Carry Me Back” screeched to a dime-stop close, the audience was crackling with as much electricity as the band. The glorious transfer of energy from stage to floor and back continued all evening, whether the band members were arrayed at their individual mics singing two- to seven-part harmonies or lined up at the lip of the stage tossing harmonicas and guitar picks in to the audience.

This was one of the first Old Crow gigs of 2024. And while the band is looking forward to what’s about to unfold, the players spent a portion of the show arrayed around a single mic and looking back at the musicians lost in 2023 with a medley that included Sinead O’Connor’s “Nothing Compares 2 U,” CSN’s “Teach Your Children,” Gordon Lightfoot’s “Early Morning Rain” and Jimmy Buffett’s “Margaritaville.”

Performing in front of a circus-tent backdrop emblazoned with their name, Old Crow Medicine Show traded instruments and swapped lead-vocal duties, making themselves sound like a different band on various songs. Working as one, the seven Medicine men, Secor (fiddle, keys, harmonica, guitar, banjo, ukelele); Cory Younts (mandolin, melodica, banjo, keys, harmonica); acoustic and electric bassist Morgan Jahnig; PJ George (banjo, accordion, mandolin, fiddle, guitar, drums); Mike Harris (guitar, mandolin, banjo, Dobro); Dante’ Pope (drums, percussion, keys); and Mason Via on guitar, guitjo and mandolin - transformed CCR’s “Proud Mary” into a hybrid soul-grass revue with dueling fiddles; presented “Tequila” as a drunken barn dance with a guest spot from the sax player of Bird and Byron, whose homecoming opening set served to help the neo-soul group develop before a large audience; and unrolled C.C. Rider as a piano-driven blues as Pope took the keys and mic while George held steady at the kit.

Shades of the big-“B” Band. But this small-“b” band of brothers, is, despite lots of covers - including an angry rendition of “Ohio” and its celebratory antithesis “Hang on Sloopy” with Ohio- and Old Crow-specific lyrics added - its own singular thing. This is what makes an OCMS show one of the only places on Earth a concertgoer can find himself in the 1950s singing to “Great Balls of Fire;” straddling the distant and recent past while dancing down the middle of “Dixie Avenue” and lustily cheering Secor’s taunting of Ohio’s fearmongering Statehouse.

“Trans kids can dance here, too.” he declared.

No snake oil here. Just the healing and the facts, Ma’am and Sir.

Grade card: Old Crow Medicine Show at KEMBA Live! - 1/25/24 - A-

See more photos on Sound Bites’ Facebook page.

1/26/24

[nofatclips]

Frightened by the Sound by Justin Townes Earle from the album The Saint Of Lost Causes - Directed by Joshua Britt & Neilson Hubbard of Neighborhoods Apart Productions

[thebowerypresents]

Old Crow Medicine Show Return to NYC to Play the Town Hall Tomorrow

Deftly mixing folk, country, bluegrass and roots music with a punk-rock mentality, Old Crow Medicine Show have been putting on energetic, crowd-pleasing performances since they began busking on street corners two decades ago. Originally formed in western Virginia and now based in Nashville, Tenn., the six-piece string band put out their sixth studio album, the universally acclaimed Volunteer (stream it here), in spring last year. “Old Crow Medicine Show broaden their sonic palette without abandoning their devotion to old-timey string music,” says AllMusic. “It’s a credit to the band’s honesty and humility that even though they now find themselves on a higher plateau, they haven’t abandoned their rugged credo,” adds Paste. “One of their finest collective efforts so far—no small claim in itself—Volunteer clearly serves its purpose.” While the band’s recorded catalog is impressive, they’re best experienced live. “There’s enough revved-up, high intensity, chill-inducing energy pulsating out of each song to blow the roof off the hallowed Nashville establishment many times over, even with few plugged-in instruments,” says American Songwriter of the just-released Live at the Ryman (stream it here). So give it a listen and then go see Old Crow Medicine Show on Thursday night at the Town Hall. Band member Charlie Worsham opens the show.

[crank11news-blog]

Old Crow Medicine Show release Volunteer

Old Crow Medicine Show release Volunteer

20-Apr-2018: ‘Volunteer’, album by Old Crow Medicine Show Released on Label: Old Crow Medicine Show / Columbia Nashville.

Old Crow Medicine Show’s twelfth album was released on label Old Crow Medicine Show / Columbia Nashville and can now be streamed on Spotify. The album is not rated on Last.FM, indicating it’s not all that popular or needs some time to get played.

Even if you have never…

[peterhutchins]

Old Crow Medicine Show, 50 Years Of Blonde On Blonde Tour - Ketch Secor, Critter Fuqua, Kevin Hayes, Morgan Jahnig, Chance McCoy & Cory Younts @ Lincoln Theatre, Washington, DC on Monday, May 22, 2017.

50 Years Of Blonde On Blonde Tour Setlist:

Rainy Day Women #12 & 35 Pledging My Time Visions of Johanna One of Us Must Know (Sooner or Later) I Want You Stuck Inside of Mobile With the Memphis Blues Again Leopard-Skin Pill-Box Hat Just Like a Woman Most Likely You Go Your Way and I'll Go Mine Temporary Like Achilles Absolutely Sweet Marie 4th Time Around Obviously Five Believers Sad-Eyed Lady of the Lowlands

Encore: Knockin' on Heaven's Door Quinn the Eskimo (The Mighty Quinn) Wagon Wheel

[don-lichterman]

Live Rogue Valley music, wineries, growers markets & more: July 15 – Medford News, Weather, Sports, Breaking News

Live Rogue Valley music, wineries, growers markets & more: July 15 – Medford News, Weather, Sports, Breaking News

Old Crow Medicine Show — Morgan Jahnig, left, Mason Via, Ketch Secor, Jerry Pentecost, Cory Younts, Mke Harris — performs at Britt Saturday, July 16. Photo by Kit Wood Friday, July 15 Jackson County Fair: The annual Jackson County fair runs Wednesday through Sunday, July 13-17, at the Expo, 1 Peninger Road, Central Point. Fair hours are 11 a.m. to midnight Friday and Saturday, and 11 a.m. to 7…

[444names]

the entire list of ancient greeks from wikipedia

Abaridamum Abder Abour Aboved Accour Achelp Acrates Acratus Acronias Adeiman Aedes Aeimnes Aeliodurus Aero's Aetoldier Agarchias Agarius Agathat Agather Agatides Agator Aglaonides Agresius Agriscove Alexandros Allicrator Ameinos Anaxidas Anaxilades Ancienes Ander Andom Andreia Andrian Annice Antes Antilip Antinos Antipato Apiodurus Apolemates Apolemetron Apoliam Apolis Apollimage Appas Appidas Arates Arcellen Arcent Arces Arcessa Arcetas Archares Archer Archidia Archilus Archippus Archius Archus Archy Areon Aretagene Areter Aretria Arimmiaeus Arisclepist Arist Aristan Aristor Arson Artesia Asthen Asthered Astiades Atary Athagoras Athean Attia Attus Autocrater Basilus Biogendas Blact Blinks Brysthens Caestor Calacked Calicholar Callides Callimas Callindas Callishop Callus Capply Carchius Cenus Ceostochus Chales Challector Champrus Chareanor Charing Charmenes Charmiae Choerias Chris Cinary Cithemus Clazomers Clean Cleantinus Cledon Cleidas Cleist Cleistor Cleoitary Cleombryon Cleomedias Cleomedicus Cleonike Comedit Comenianzus Coriciad Coris Critus Culptologic Currenaeus Cyrenander Damothsayer Daught Deinice Demaeus Dement Demos Depon Diochaon Dioger Diomerocles Diotonides Dosias Dracius Durus Ecphais Ecphanes Edite Eleucus Eleum Empedia Enting Entingdom Epapher Epicle Epictys Epicus Epigene Epigramman Epimedias Epiphane Epiphus Epitades Epitarna Epitary Erace Erate Eretesicles Erinnes Eryximedes Euanguage EucleTalk Euclidas Eudamisia Eumene Eumolemaica Eunomedylus Euphranus Eurybattle Eurylonius Euryphro Fabulus Fatharia Figurer Finander Findicer Forgenes Forman Fourtius Galerence Glaus Glycrean Greatidemus Grytos Gyneges Hagnodotus Harment Harmodiccas Hecator Hecatorian Hellady Helles Hephiodorus Hephistary Herallides Herammon Herms Hippus Hisodotus Histeus Homenestus Hownload Hypers Hypsicinus Illyrian Invasius Iphion Irenaean Ischytes Isocratus Italcetas Ixionymus Kleon Kybiades Lacedes Laconianus Langed Laërtis Laërtist Learch Leged Leochus Leonius Leucus Lexander Lexandreia Linda Lindara Linna Linus Logito Lyconstably Lygdamas Lysan Lysianuary Maced Machus Mallid Manthing Marax March Maritius Maticine Mation MediaMobius Median Megas Melaus Melian Meliod Menaic Menes Menistron Mercopides Mercylax Messander Miccas Miliphus Minda Mnassants Mnesion Modicides Mologitos Moscort Musia Myrander Myranthus Myrtista Mythara Nabishop Navigarist Neople Neopollere Newspapezus Newspañol Nical Nicarp Nicato Nichaedrus Nicians Nicocreants Nicomedon Niconian Nobilete Nobius Numelius Oenocrated Oldings Olympiadas Origent Oright Orince Pager Pagitomania Painthydes Pallinus Parilliable Parious Parmenes Paros Parta Pausolding Peitus Peletes Pelopas Perdiccian Perievents Perill Perist Permippus Persinian Pharchinus Pherecon Phian Phicrates Phidiple Philaidas Philistomic Philodotus Philolaeus Philolon Phistephane Phocid Phocidas Phrysodotus Phrysteas Pigrapher Pigraphis Pirron Pisias Pittack Pittactria Pittal Platonides Pleaseas Pleidetes Pleist Poeta Poliodorus Polycratic Polycrean Polygnon Posimacher Prieged Priener Prienes Prienesippe Prinus Procles Procops Prodiscles Prodotus Prother Prothera Protus Publicratus Pupily Pyrrhaps Pytharachon Pythat Regist Remeas Repute Rhetaeus Romatis Rulere Runnes Sacchylus Sagenestias Salactor Samophon Santiphron Satylus Satyrander Satyranor Schon Scippus Scyron Seleclus Seles Sevent Slavelles Socration Soleon Soothenedes Sopates Sopher Sophilip Sophon Sosidorus Spart Spinia Stesimus Strates Stravelius Syrannic Syric Telmesias Telmess Termus Thalamis Tharus Thasianuary Theaean Thean Themisus Thermias Thesseum Thibrarion Thirth Thracrean Tician Timoclus Tragast Tratedly Tration Traxilaus Troesus Ulyssene Uncles Unclus Varilus Varist Warsyas Womeas Womedy Womenides Writimus Yount Zalen Zenodited Zonidess Σθένιππίδας

[alwayssummerblog]

A Look Into Margo Price’s ‘All American Made’

Margo Price’s new album, All American Made, came out last Friday, October 20, 2017. Largely a political and social commentary, the LP embraces Price’s position to use her words to provoke change. Price sat down with Rolling Stone to discuss the many inspirations for her album.

My new album ALL AMERICAN MADE (for Tom Petty) is out today on @thirdmanrecords! Listen with an open heart and mind. https://t.co/Am28drPey7 pic.twitter.com/usJ1rYBM5c

— Margo Price (@MissMargoPrice) October 20, 2017

"Like a lot of America, I was kind of in shock. The songs had already been written up until that point but it did steer it a little bit, especially deciding to put All American Made on it. During the Obama administration was when that song was initially written, but it just took on a completely different meaning after the election."

Price had decided that she wanted to speak out in her music. "I've always been one to want to discuss those things and try to make our country the best that it can be," says Price. "But it's so many complex and so many ugly, violent things that have been happening. It's really hard to turn a blind eye to that. I think it's important to voice your opinion and, regardless of people who tell me otherwise, I think that's what makes our country beautiful ... our freedom to express our thoughts and views. Our voices are all we have right now, and it's important to use them."

My new album ALL AMERICAN MADE (for Tom Petty) is out today on @thirdmanrecords! Listen with an open heart and mind. https://t.co/Am28drPey7 pic.twitter.com/usJ1rYBM5c

— Margo Price (@MissMargoPrice) October 20, 2017

"I know people don't want to lose standing, and a lot of people think that music is not a place for politics. But in these times, it is the country audience that I think has a unique chance to be honest and stand up and say, 'We're not going to allow things to revert back to the Fifties.'"

Not only did she experiment with political lyrics, Price also explored different genres of music for this album. She wanted to expand beyond her first album and added artists such as Willie Nelson and Old Crow Medicine Show’s Cory Younts to give her music a new twist. "There's so much musical history in America, styles that were developed here. If it was good, we just decided to do it."

Listen to and buy All American Made HERE.

[americanahighways]

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photos by Jimmy Faber

There’s something relaxed and comfortable about Hayes Carll, so that listening to his tunes sometimes feels like slipping into an old, favorite pair of jeans. He’s easy to get into, doesn’t chafe, and feels snug and familiar. After a while you start feeling like you could happily sit around with him all evening, just telling stories and shootin’ the breeze.

That’s partly because his chord changes and melodies really ARE familiar, since he borrows copiously — though nimbly and tastefully — from his Austin-area influences: Ray Wylie Hubbard, Willie Nelson, Kris Kristofferson and Guy Clark. He has also clearly studied the song-craft of folks like Bob Dylan, John Prine and Steve Earle — whose former -ex, Allison Moorer, Carll legendarily “stole,” to Earle’s dismay — along with other, younger Americana penmen like Todd Snider and Ryan Adams. Nevertheless, Carll’s is an original and invigorating voice rather than a merely derivative one.

Carll also has the kind of laid-back, drawling persona that can lull you into thinking he’s not going anywhere quick, when all of a sudden — WHAM! — it hits you that he just snuck another genius line or unshakeable melody deep into your subconscious, where it’s likely to sit and ferment until it hits you hard between the eyes.

He’s a sneaky puncher, that guy.

And then every once in a while his serious, more edgy, political side shows up to remind you that he has a less laid-back, more observant side, too. Though he’s only 43 years old, with just six albums to his credit, it seems like he’s been around (and been through) a whole lot more. In short, he seems like an old, wise soul at times, who has maybe gleaned more than a few nuggets of wisdom from his friend and mentor Ray Wylie.

Carll’s performance with his band The Gulf Coast Orchestra (featuring Travis Linville on steel, guitar, and dobro, Mike Meadows on drums, Geena Spigarelli on bass, and Cory Younts on piano, mandolin, and harmonica) at the Ardmore Music Hall on April 4 exhibited all of the above-mentioned qualities. His 22 song set (including three encore numbers) spanned his entire career, with a natural emphasis on his new album, What It Is.

Dressed in his customary blue, Western-cut workshirt, jeans and boots, and playing a trusty, scratched-up Gibson J-45, Carll choose to open the show with the train-beat propelled country honker “If I May Be So Bold.” Interestingly, No Depression had recently published an essay/statement of Hayes’ by the same title, in which he took a public stance with regard the country’s wide political divide. Though he felt uncomfortable about “being seen” in that way, he felt he finally had to do so after suffering an ugly on-line incident. (In brief: after Carll announced via social media that he would be playing a concert in support of Beto O’Rourke, “someone left a comment stating that he hoped I got shot on stage.” You can read his full response to the incident via the link provided below.)

In a way, starting the show with that particular song was like making a statement about a statement, saying in effect: This is who I am, take it or leave it. Or as he says in the essay, “I’ve decided I would rather be criticized for the things I believe in than be embraced for the things I don’t.”

Statement made, Carll proceeded to show his kinder, gentler side via ballads like “Nonya Business,” “In Times Like These” (which he introduced via a story about the time he and Allison Moorer made up a persona — a librarian — during a Southwestern Airlines flight), and “Jesus and Elvis” (about Lala’s Little Nugget, in North Austin). He interspersed those tunes with others highlighting his pointedly political side, such as the irony-laced “Fragile Men,” as well as his rowdier side with rockers like the joyous “Beautiful Thing” (from the new album) and the scorcher “KMAG YOYO” (an abbreviation for the military phrase “Kiss my ass goodbye, you’re on your own).

The band exited the stage after that last number, leaving Carll to accompany himself on the lovely “Beaumont” from 2008’s breakthrough Trouble in Mind, which he followed with his lilting, cheerful tale about the quirky courtship of Billy and Katey, “Girl Downtown.” Linville returned to the stage to accompany Hayes on dobro for the latter tune.

The rest of the band rejoined Carll and Linville and quickly picked up where they had left off with a rousing version of the Hubbard classic “Drunken Poet’s Dream.” They followed that with “What It Is” off the new album, which featured a tasteful dobro solo by Linville; the humorous “I Got a Gig” from Trouble in Mind, Carll’s rocking version of Scott Nolan’s “Bad Liver and a Broken Heart,” which drew thunderous applause from the crowd; “It’s a Shame,” solidly anchored by Spigarelli’s loping bass; and finally a kickass version of “Stomp and Holler,” which got the audience doing exactly what the title says.

Carll and company’s encore consisted of three tunes: the ballad “I Will Stay,” during which Carll held the audience completely in thrall (you could hear the proverbial pin drop as it ended); “Wild as a Turkey,” whose steady thumping beat was ably provided by Meadows, while Linville added another nice dobro/slide solo; and finally, Carll’s lyrical tour de force, “Sake of the Song.”

By show’s end the comfort level between Carll and the audience was beyond that of a cowboy and his favorite pair of jeans; it was well nigh down to the skivvies. Carll seemed particularly happy with the venue, noting that he usually plays “The type of place that has a mechanical sheep.” I’m not exactly sure what that means, but like the rest of the audience I enjoyed the casual, drawling way he said it.

—————

Ben Dickey, who opened for Carll and his band, was a bit more of an enigma to me. Like many other audience members, no doubt, I was intrigued to see how Dickey’s on-stage persona might align (or not) with his amazing on-screen portrayal of Blaze Foley in Ethan Hawke’s film “Blaze.” Despite his lack of experience as an actor Dickey absolutely owned that role and seemed completely comfortable and convincing in conveying the title character’s legendarily cantankerous, outsized personality.

He didn’t seem quite as outsized as a solo, live performer on stage, however, though his guitar chops were pretty darned impressive. Playing a black semi- hollow 1935 Gibson archtop through a chorus pedal, and at times running that combo through a looper pedal to stack multiple layers of guitar tones, Dickey provided a nifty nine-song set that culminated with a trio of tunes by John Prine (“Long Monday”), Blaze Foley (the unmistakable “Clay Pigeons”) and Townes van Zandt (“No Place to Fall”). Dickey sang that last tune with conviction, delivering its dark delicacy beautifully. Its legendary author no doubt would have approved.

Dickey seemed slightly more circumspect in delivering his originals, however. Perhaps it was nervousness in returning to the city (Philadelphia) where he’d struggled through some hard times, working feverishly as a chef at the fabled music club Johnny Brenda’s and experiencing “some kind of breakdown” after his band Blood Feathers broke up and a good friend died in a bicycle accident — this was before Hawke drafted him for the lead role in Blaze — but Dickey’s interactions with the audience seemed a bit halting at times. The only reference he made to his Philly past came when he mentioned the local phrase “down the shore” — “I never heard that phrase before I came here,” he said. No further comment was extended.

He was similarly reticent on the topic of portraying a songwriting legend like Foley. That experience was “really strange,” he said — “mystical and magical” — but he did not proffer any specifics about why, or what had made it so.

Which was just fine, as long as he was dazzling us with his nimble guitar playing and somewhat unexpected tunes. The chorus of the balled “Man with a Hammer” goes “Tallyhoo, time to go / Lay down your bones to be free, old soul,” which sounds rather old-timey; but when mated with chorus and tremolo effects pushed through a slowly distorting looper pedal, it became something else entirely. During an upbeat blues number with a strong affinity to Dylan’s “Highway 61,” Dickey shredded on a rockabilly style solo; another song had the flavor of surf music-meets-psychedelic rock, while a fourth featured a nifty bridge with R & B flavored stops.

The man definitely has some chops, and his voice has a husky, pleasantly Dylanesque quality to it. I’m hopeful that Dickey will begin to open up and establish even more of a rapport with his audiences, so he can convey the kind of breathtaking intimacy his portrayal of Foley delivers. He’s definitely a talent to keep your eyes on, whether for his acting or musical endeavors.

—————

Upcoming tour dates for Hayes Carll, along with videos, recordings and merchandise, can be found at: http://www.hayescarll.com

Carll’s essay “If I May Be So Bold” can be found at: https://www.nodepression.com/if-i-may-be-so-bold-an-essay-by-hayes-carll/

Americana Highways’ review of Hayes Carll’s What It Is can be found at: https:// americanahighways.org/2019/02/14/review-hayes-carlls-what-it-is/ and interview with Hayes Carll is here: Interview: Hayes Carll on “What It Is,” Reading More and a Sense of Humor

More info on Ben Dickey, along with tour dates, videos and music can be found at: https://www.bendickeymusic.com

An account of Dickey’s time in Philadelphia (entitled “When musician Ben Dickey left Philadelphia, he was depressed. Now, he’s a movie star”) can be read at: https://www.philly.com/entertainment/music/ben-dickey-ethan-hawke-blaze-foley-20190329.html

Americana Highways’ recent interview with Ben Dickey’s can be found at: Ben Dickey Releases “A Glimmer on the Outskirts”

Review: Hayes Carll and Ben Dickey: An Old, Comfy Pair of Jeans and a Bit of An Enigma @hayescarll @bendickeymusic @alleyesmedia @ardmoremusicPA photos by Jimmy Faber There's something relaxed and comfortable about Hayes Carll, so that listening to his tunes sometimes feels like slipping into an old, favorite pair of jeans.

[awesomejanekellyblog-blog]

11-30 FRANKLIN, TN - NOVEMBER 21: Ben Gould, Gill Landry, Critter Fuqua, Cory Younts, Kesha, Matt Kinman, Ketch Secor and Chance McCoy take photos backstage before CMT Crossroads featuring Kesha ... http://dlvr.it/Q3k0x3

[krispyweiss]

Song Review: Old Crow Medicine Show - “Methamphetamine” (Live)

Meth, the drug, is powerful - in a bad way.

But “Methamphetamine,” the song, is also powerful - in a good way.

And it carries a strong message about yet another hardship to pummel Appalachia, courtesy of Old Crow Medicine Show.

But, Mama, she ain't hungry no more/she's waiting for a knock on the trailer door, the band sings about the drug that will rock you like a hurricane - in a bad way, not in a Scorpions way.

As it prepares to release Live at the Ryman on Oct. 4, Old Crow’s dropped two live versions of the track.

One is the band gathered around a single mic playing to an empty Ryman Auditorium. The other is the fuller, album version - with drums, natch - performed before a full house.

Each is powerful - musically and message-wise - in its own way. And that’s how songwriter Ketch Secor envisioned it.

“I hoped that by writing a song about crank in East Tennessee that I could add a little bit of the healing and restorative nature of music to something that’s really, really screwed up,” he said in a video for the Grand Ole Opry’s “The Write Stuff.”

“You can sing about moonshine and you can sing about mountain-top removal. I tried to roll it all up into one and say that meth is symbolic of the pillaging of the region of Appalachia that’s been happening for 200 years with almost total disregard for the folks who call it home.”

Grade card: Old Crow Medicine Show - “Methamphetamine” (Live) - B+

9/5/19

[lauraepartain]

#TBT to my pal Cory Younts hamming it up for me in May 2016 at Old Crow Medicine Shows 50 Years of Blonde on Blonde performance at the Country Music Hall of Fame and Museum. Love ya, bud <3

[thebowerypresents]

Deftly mixing folk, country, bluegrass and roots music with a punk-rock mentality, Old Crow Medicine Show have been putting on energetic, crowd-pleasing performances since they began busking on street corners two decades ago. Originally formed in western Virginia and now based in Nashville, Tenn., the six-piece string band (above, doing “Flicker & Shine” for KGSR FM) put out their sixth studio album, the universally acclaimed Volunteer (stream it here), this past spring. “Old Crow Medicine Show broaden their sonic palette without abandoning their devotion to old-timey string music,” says AllMusic. “It’s a credit to the band’s honesty and humility that even though they now find themselves on a higher plateau, they haven’t abandoned their rugged credo,” adds Paste. “One of their finest collective efforts so far—no small claim in itself—Volunteer clearly serves its purpose.” And although this is the first LP to really capture their live spirit, Old Crow Medicine are still best experienced in person. And to that end, go see them on Thursday night at SummerStage. Grammy-winning country act Alseep at the Wheel open the show.

[ustribunenews-blog]

Old Crow Medicine Show's new album is available on Spotify

Old Crow Medicine Show’s new album is available on Spotify

20-Apr-2018: ‘Volunteer’, album by Old Crow Medicine Show Released on Label: Old Crow Medicine Show / Columbia Nashville.

The twelfth album by Old Crow Medicine Show is named ‘Volunteer’ and was just released on label Old Crow Medicine Show / Columbia Nashville and is now available on Spotify. The album has no rating on Last.FM, indicating it’s not too popular or it is too close to its release…

[crank11news-blog]

The 6th single 'Flicker & Shine', by Old Crow Medicine Show is now available

The 6th single ‘Flicker & Shine’, by Old Crow Medicine Show is now available

19-Jan-2018: ‘Flicker & Shine’, single by Old Crow Medicine Show Record Label: Old Crow Medicine Show / Columbia Nashville.

Wake up, It’s time for some morning greatness! Old Crow Medicine Show’s sixth single ‘Flicker & Shine’ has hit the streets, and you can be one of the first to listen to the single. Even if you have never heard of Old Crow Medicine Show, we want you to know that Old Crow…