Americana

William Bell | This Is Where I Live

“Bell, who had his first hit in 1961 with the song ‘You Don’t Miss Your Water,’ brings his trademark compassion and tenderness to his new album,” (NPR). “Critic Ken Tucker calls 2016’s This Is Where I Live a triumph.

Bell first had a hit with the song ‘You Don’t Miss Your Water’ in 1961. Bell co-wrote the classic blues song ‘Born Under a Bad Sign’ and recorded R&B for Stax Records in the ’60s and ’70s … William Bell sings with a warmth that remains undimmed more than 50 years after his first hit. He was never a huge star, but for anyone aware of his work he’s been a constant, steady source of pleasure, a singer whose sense of intimacy with his audience forms a direct connection. At his best, William Bell can seem to be inside your mind, articulating hopes, fears and doubts you may have had yourself.”

During “This is Where I Live,” an early half-step key change hits at 1:07. Occasional emphasis on the relative F# minor scroll by, but overall, the tune strongly resides in A major.

Brandy Clark | Daughter

“Brandy Clark is one of the names most identified with queer country music,” (CountryQueer.com). “An openly lesbian major-label country artist who sits comfortably in the top tier of Nashville’s finest songwriters, Clark has co-penned radio hits for years, like the groundbreaking ‘Follow Your Arrow’ for Kacey Musgraves, boldly asserting freedom of sexual preference. And Clark has famously channeled other marginalized characters in her own releases. Her influence within mainstream country music has rippled far beyond what’s suggested by mere name recognition.”

“Low-key and wry, Clark is a meticulous songwriter who made hits for Reba McEntire, Miranda Lambert, LeAnn Rimes and Kacey Musgraves before she put her own name on an album (NPR Tiny Desk Concerts) … But when Clark steps in front of a mic and turns on the charm, her humor pulls the audience right into every single joke … In anyone else’s hands, (‘Daughter’) might have been a bitter revenge fantasy, but Clark’s gently swooping verses and puckered choruses sketch the bemused, from-the-front-porch distance of wronged party who knows that fate is likely to do more damage to a cad than a key would ever do to his car’s glossy paint job.” Clark garnered “eleven (Grammy) nods in previous years. She was up for six trophies at the 2024 Grammy Awards (American Songwriter) … (her) impressive range as an artist landed her in three categories — Americana, country, and theater.” This week, she finally took home her first Grammy.

“Daughter,” from Clark’s 2016 release Big Day in a Small Town, makes great use of her sharp observational wit and top-drawer songcraft. The tune is built in G major overall; a transitional pre-chorus at 0:31 hides all the seams while leading us to a chorus in Bb major in 0:41. At 1:08, the next verse returns in G major and the cycle continues. There are three tunes included in this Tiny Desk concert; “Daughter” is the first, but all of them are worth a listen!

Nickel Creek | Love of Mine

Acoustic trio Nickel Creek‘s first self-released recordings appeared in the 1990s; its platinum-selling eponymous major label debut was in 2000. 2014’s A Dotted Line appeared after a break of nearly a decade. “There’s a fluid confidence that takes (Nickel Creek’s) precocious virtuosity into a musicianship that is as supple as it is kinetic,” (Paste). “…the progressive bluegrass they embraced as teenagers is a mere starting point—integrating the places the trio explored during the seven years since they released a studio project.

(Mandolinist/vocalist) Chris Thile emerges as perhaps the unrepentant romantic. ‘Love of Mine,’ with his voice tenderly tentative, weightlessly caresses what might be (then later might not). The see-saw of emotions is so well-reflected in how the instruments tangle, merge and fall out—paralleling what’s being sung … Not merely a product of maturity, Nickel Creek has grown without losing its palpable joy or wondrous ability to make musicianship as accessible as the engaging way their voices draw listeners to them.”

After a start in F# minor, a brief foray into F minor appears at 0:44 before reverting to the original key at 0:51. The two keys then proceed to quarrel it out to a draw, the intensity of the upward key changes only magnified by the common melody note on either side of the modulation.

Emmylou Harris | Making Believe

Born in 1947 into a military family stationed in Birmingham, Alabama and raised in North Carolina and Virginia, Emmylou Harris was valedictorian of her high school class. Though she won a drama scholarship to the University of North Carolina, she gravitated more and more towards music.

“Blessed with a crystalline voice, a remarkable gift for phrasing, and a restless creative spirit, few artists had as profound an impact on contemporary music as Emmylou Harris,” notes AllMusic. “She traveled a singular artistic path, proudly carrying the torch of ‘cosmic American music’ passed down by her mentor, Gram Parsons, which made a profound mark on both country and rock. Beginning as a folk singer in New York City, Harris released her first album in 1970.” Later in her career, she is “consistently iconoclastic, eclectic, or daring … Harris’ latter-day music remained as heartfelt, visionary, and vital as her earliest recordings.”

“Making Believe,” written by Jimmy Work, was first recorded by Kitty Wells in 1955. The song is on many lists of all-time top country music songs and has been covered by a varied list of artists, including Bob Dylan, Johnny Cash, Dolly Parton, and Merle Haggard — but also soul great Ray Charles, punk band Social Distortion, and Danish metal band Volbeat. Harris’ 1977 version hit #8 on the US Country charts and #1 in Canada. In 1978, the tune was honored by BMI as one of the 101 most award-winning Country songs. According to The Tennessean, songwriter Jimmy Work later lived a quiet blue collar life: he went to work for Goodyear Tire, then retired as a millwright. He passed away in 2018 at age 94.

A classic whole-step key change hits at the 1:53 mark.