When I met lifelong musician Red Young on board Delbert McClinton’s Sandy Beaches Cruise, I knew I had to interview him. He’s had one of those journeyman’s careers that ties together all the threads of American music, from pop to R&B to jazz. He’s a pianist, Hammond organ specialist, singer, arranger and producer, and at 76 years old, he’s seen it all. He’s worked with Kinky Friedman, Joan Armatrading, Dolly Parton, Sonny & Cher, Linda Ronstadt, Eric Burdon of the Animals, Marcia Ball, Janiva Magness, and of course Delbert McClinton himself, whom he met in his home town of Fort Worth, TX some sixty years ago. Sit back and enjoy the stories.

I was raised on instrumental music before I fell in love with songs and songwriters, so I keep my radar scanning for contemporary instrumental records in the roots music space. For years, such albums came predominantly from the bluegrass universe, but through 2024 and on into this year, I kept latching on to sonic excursions encompassing rock, blues, guitar folk and twangy jazz. Here’s a roundup of recent recordings that will set your head bobbing while requiring no verbal skills.

It would be hard to name any songwriter in Nashville’s long history whose work has been recorded by more stars across more genres of music than Gary Nicholson. The Texas native came to Nashville in 1980 after stints in Ft. Worth and Los Angeles, and not only did he amass an impressive string of country music hits with Vince Gill, Patty Loveless, and more, he became Music City’s go-to soul and R&B man, conjuring songs for Bonnie Raitt, Etta James, BB King, The Fabulous Thunderbirds and even Ringo Starr. Now at 74 he’s turned his own performing/recording life to songs of conscience and social protest, as on his new album Common Sense.

Sierra Ferrell, fresh off her Artist and Album Of The Year wins at last Fall’s Americana Honors & Awards, went four-for-four in her first-ever nominations on Sunday at the 67th Grammy Awards. She shared American Roots Song honors with Nashville’s Melody Walker. Songwriter Ruthie Foster secured a first-ever Grammy for herself and her new label Sun Records. Billy Strings and the duo of Gillian Welch and David Rawlings won awards as well. While on the prime time broadcast, roots music didn’t get its turn.

Sam Grisman, the 35-year-old son of mandolin icon David “Dawg” Grisman, grew up in a unique and supercharged musical environment, to put it mildly. Jerry Garcia was coming over all the time to the family home to pick and record old-time folk music with the elder Grisman. Bluegrass legends came and went, rehearsing and recording, and giving Sam something to aspire to when he picked up the bass as a little kid. After a decade working and touring as sideman, he’s now based in Nashville leading his own collective, the Sam Grisman Project, which is nurturing the repertoire of the Grisman/Garcia partnership, with selected tunes from the Grateful Dead repertoire as well. With a remarkable concert at the Ryman Auditorium in January 2025, Sam stepped into a new phase of his musical life.

After decades in the shadows as a catalog company, historic Sun Records was acquired four years ago by the global music and media company Primary Wave. Now headquartered in Brentwood, a refreshed Sun is an active label again, and its 2024 releases by Americana standouts Amy Helm and Ruthie Foster - plus a flurry of vintage reissues - suggest that it’s going to make a substantial impact on the roots music space in the years to come.

For country singer Kaitlin Butts, 2023 was very good and 2024 was even better, with an Americana Award nomination, praise in Rolling Stone magazine, and festival dates she’d been dreaming of. Her reputation and acclaim grew on the strength of her feisty stage temperament, her bold and cutting voice, and her fearless songs. Raised in Oklahoma on theater and country music, the iconic Rodgers and Hammerstein musical set in her state became a touchstone. Years later, she’d take the bold step of writing and recording a concept album reacting to and enlarging on the themes of the show. It’s called Roadrunner!, and it was among the most impactful albums in Americana and country music last year.

I've posted a couple of coy, mysterious photos of clear blue ocean on my socials this week, but now I'll come clean. For the second year in a row, I was invited to be an official part of Delbert McClinton's Sandy Beaches Cruise, the longest running music cruise in the business and a who's who of Texas/Gulf Coast blues and R&B. My job is to host daytime interview sessions with selected artists, this year Paul Thorn, The McCrary Sisters, Teresa James and the mighty Los Lobos. Last year you might recall, I posted an account of my experience with context about the music cruise business as both a web story and an hour of The String. This is not that. I just wanted to dash off a postcard in hopes that it will send a little warmth and energy back home to a chilly Middle Tennessee.

It was 50 years ago this month that a 23-year-old Mickey Raphael felt his way through his first recording session with his relatively new band boss Willie Nelson. And it was no small thing, producing the iconic Red Headed Stranger. It was one event in a charmed life that set this Dallas musician on a path to the ultimate steady gig for more than 50 years, plus stature as the world’s most on-call harmonica player. Raphael’s played and recorded with Merle Haggard, Leon Russell, Don Williams, Emmylou Harris, Ray Charles, Bob Dylan, Paul Simon, Norah Jones, Wynton Marsalis, and even U2 and Motley Crue. In a session taped at WMOT’s East Nashville satellite studio, we talk about it all.

This one’s personal. Eight years ago, when we launched the Roots Radio format on the historic signal WMOT 89.5 FM, a few of us knew we could have no better program director than Jessie Scott, and we were fortunate that she was in the right time and place to come on board. Her 50 years of on-air experience, her expertise in Americana music, and her warm and knowledgeable voice have become the core of WMOT’s sound. She governs the deep and excellent WMOT playlist and its mix of new and legacy music, plus she’s a fountain of enthusiasm on the air every weekday afternoon from 4 to 7 pm. So after all this time and hearing some of her career stories, it was time to invite her on The String for a special year-end episode.