Krauss, being a local, may just be aware of the high likelihood that any room in the South this time of year could be overly air-conditioned. We thought it was the most incredible thing. And this journey to get to this point, in this room, was a long one.
So to maintain inspiration and have some idea of an endgame has been very odd. There was a brief attempt to record a second album together in the late s, but the wanderlust that made Plant interested in exploring American roots pushed him into panning for global gold. I wanted to hear the Berbers singing in the fields. I wanted to hear that thing that I have no understanding of.
We were playing around Marrakech, and I was traveling down the Moroccan coast, because I needed somebody to knock me about musically. My other family. My sister, almost. Krauss puts it in less hygienic terms. She teaches me a lot, which is great. I make a hash of it, but somebody can mop it up. Can lightning strike three times?
Producer Burnett, for one, eager to keep the band together this time. So many people have used that group as a sort of springboard to kill the very essence of what it was. Not that I created, but that spawned this thing. So I tried to get the hell out of it. Like, say, his early solo career, as something that represented some bumpy road blocks on the path to a peaceful present. To his later chagrin, a new wardrobe was involved in that, too. Plant laughs. I just wanted to get the hell out of there.
I was young enough to actually make a break for it, to see if I could get past the perimeter fence, but I kept falling into the quagmire more and more. Plant finally found his new voice, in Marrakech and other far-flung climes … but also in Austin and Nashville. And he is the same way. Radio has always been just a little bit left of diabolical in the U. That was our childhood. It was either that or some schmooze, sugarcoated, hardly palatable music. The game has changed so much.
Jim Wright. Things may have changed over the years, but the poetic kind of abstractness of what we've recorded through the years never lost that message—not to me. Plus, I have a lot of the things that my mother grew up with her house, and we connected on bluegrass, so I think there's a real personal connection to that time.
Is it what they experienced or is it what they daydreamed about? My whole musical life started looking out the window at cornfields while we drove around. I think of all the teeny people today on their phones, taking that daydream time and breaking it up. Oh, no! I don't want to turn back either—I don't want to turn back on me. You can't recreate who you are. You need to stay honest, or it just doesn't work. People respond to the truth in something.
I want to listen to someone where I feel like I'm getting who they are. You've got to be a vessel for your work. That said, you have to be connected to important moments in your past—like, for example, that life-changing evening when you won five GRAMMY awards!
When you started making music, were awards close to your radar? No, no, no. I didn't even think I'd get to do this for a living. Even though I was passionate and obsessed, I just didn't even think like that. I was obsessed with those records. That was all I did, but I didn't think I would get to end up doing it. I didn't think I'd ever look in the audience and see people singing along with our songs.
The first time I saw, I was blown away. It feels like a very private thing for you. Your passion comes from your family and your history. It's true, though; there was some isolation. That kind of music in general was not accessible. If you made bluegrass, you were kind of in your own club. You couldn't find it on the radio. People traveled all over the country to get to be with other people who played that music, and they'd play like crazy—play in the parking lot, play in the lobby of the hotel.
But it was a lot of fun. I have some really great, sweet memories of that time. Well, Robert [Plant] is just so much fun, just silly and so sweet. He is such a great personality and person, and I had a lot of fun doing all that stuff with him. T Bone was funny, too. I know people liked the record and we had a great time. Really the funny thing with that album in the first place, when we got together, Robert was like, "Let's give it three days, and if it doesn't work and we don't like it, we can just move on.
I've always said that every record you make is like your last and your first. You'll never do another one and you've never made one. That night was fun—but I was mostly concerned about my dress staying up. And Robert was like, "Now watch it, because people will see you getting mad!
That's such a miniscule thing that you forget might bother you, but when you are in public and you're about to win an award that becomes a big thing. Were you nervous? Nervous isn't the word, but uncomfortable is a more natural word. We'd been on tour up until that point, and people would come in and say things, like, "Oh, the record's doing good. It was just really sweet, the way it all happened. Robert is such a light, and he's one of those folks where you know exactly why that person has had an effect on so many people as he has.
I just thought that he was just a great person. The first conversation that he and I had was about Ralph Stanley. He has such a knowledge of music, and both he and T Bone have incredible musical histories and that made for a great experience. I was really happy to get to have that natural musical experience. He may have a really expansive career, but was there something that you brought that Robert had never experienced?
It sounds like he wouldn't work with anyone if he isn't learning and growing as well, just like you. Well, he'd never done harmony to that point. The kind of harmony that I grew up with is very consistent.
You're doing a very stacked trio, and it's very consistent. Everybody knows where to come in, and the plan is to always come in at the same time. There's not a lot of improvising within that harmony. The high part may do some, but the lead stays straight on those choruses so that everybody has their part to showcase the trio. With Robert, his singing was always so free and changed all the time. It would be really funny for him to have to keep doing it the same way twice.
But when we sang together, the more different we were, the more it worked. I just enjoyed my time with him and with T Bone. Were you aware of the company that you joined in that moment? Not at all—it's just a surprising life for me. I didn't even think I would do this for a living, let alone win awards like that.
It makes me a bit uncomfortable because I don't see myself in that company. They are so strong. I'd have to say I don't. But I am beyond touched that I would be recognized or have my name with those ladies. Those are very powerful women. When you were reading the list out, I was sinking in my chair.
I'm sure any of those women would feel the same. It is a strange thing to suddenly be put in that position; you put yourself there through your work. I don't reflect a lot on it, because I feel like if I were to pay attention to that, I feel like it would possibly affect the next thing I record.
It could infect what I would want to do next, and I have to be very natural. I'm sure a lot of women have come to you and either asked you for advice or just told you how inspiring you are. I just think, "Really? Even just talking about it is making me a little bit weepy. Those are the kinds of things I don't tell anybody about, but I'll call my mom and dad. It's really a beautiful thing to think your work might have inspired someone.
Are you hoping to catch up to Quincy Jones and the classical conductor Georg Solti? I have experienced more than I could've ever dreamed of. A neighboring structure was purchased at the same time to augment the complex of eight buildings and five recording studios on East Iris Drive. Nashville's Berry Hill recording complex has so much history that it even has Memphis music history — House of Blues had moved the facility's Studio D to the location in from its previous existence as House of Blues Memphis.
Here is looking forward to more history-making recordings ahead! Want to hear some music-business inside baseball? The arrival of fall means this is the last part in the year where it gets really busy before things calm down a bit as the holidays approach. But if the arrival of so-called "spooky season" means busy days and long nights, then bring it on: There are some seriously high-caliber releases in the pipeline.
Wondering what to pre-save as heat and humidity give way to much-anticipated jean-jacket weather? Proceed with caution. Whether it be due to holiday season dread or something as simple as earlier sunsets, fall can be a difficult season for many, but GRAMMY-nominated country artist Mickey Guyton sets out to make sure everyone who listens to her debut album Remember Her Name feels seen.
All those years ago, I set out to create music that would make people feel self-empowered, loved, and comfortable with being themselves and this album holds true to all of that.
I had a big writer's block. Fast forward to , Youngboy has been behind bars since March and released no new projects all year. After gaining a reputation for frequent releases, his passionate fan base is likely starving to hear what he penned on Sincerely, Kentrell. Instead of binge-watching everything in sight or sleeping the day away, the six-time GRAMMY winner spent her quarantine diving into her past and writing out her thoughts for In These Silent Days.
Just one year after the K-pop band was formed through a South Korean survival reality show, the septet already has over 3. Oh, and that's with no album under their belt. Let Young Thug 's Punk serve as your motivation to fully chase that idea you've always had. From his one-of-a-kind deliveries to his head-turning fashion choices, Young Thug has stood out from other rappers since day one. Fall is one of the four temperate seasons, but inside fall lives the beginning of another almost equally significant yearly staple: cuffing season.
Where there's smoke, there's fire, and where there's cuffing season, there's heartbreak. Actually, Snail Mail's upcoming album Valentine has you covered, but the point remains. You'll always know where to find me when you change your mind. Valentine will serve as the followup to Snail Mail's critically-acclaimed debut album, Lush. Autumn welcomes back a lot of beloved traditions, and this year one of those traditions comes in the form of Robert Plant ' s and Alison Krauss ' excellence.
Nearly 13 years since her second studio album Fearless went diamond and signaled the birth of a megastar, Taylor Swift has had her fair share of dominant eras, but her current era may be the most important one yet. On her quest to take back ownership of her masters, Swift is essentially juggling two megastar-sized legacies, as she releases original albums like Album Of The Year Folklore and re-releases past works like Album Of The Year nominee Red.
Beyond the re-release and the nine new tracks set to come alongside , Red Taylor's Version is as inspiring as it will be nostalgic. As Valerie Teicher Barbosa recalls, for a time the city acted as an effective creative incubator while she made music as Tei Shi. It was where she introduced herself in , anonymously at first, with a series of crystalline vocal loops she called "mermaid music. But after closing what she calls a "chapter with a lot of baggage," she knew it was time to leave.
Like many artists before her, the Buenos Aires-born Barbosa ventured West, landing in Los Angeles' Elysian Park, a neighborhood known for hiking, Dodger Stadium, and—like most places in Southern California—year-round sun. I felt like I had stepped into this otherworldly paradise. That vitamin D-saturated euphoria informed her forthcoming sophomore effort, La Linda , arriving on Nov.
Barbosa is especially eager to put La Linda out in the world, as it spent most of lost in, as she diplomatically puts it, "label purgatory.
Ahead of the release, Barbosa spoke with the Recording Academy about Spanish representation, refusing to fight fate and a surprisingly influential apartment building. It's representative of how I was feeling during the phase when I was first writing the album. I had just moved to L. I was so inspired and felt so free. I felt in this really beautiful state of mind.
It was sunny and beautiful and nature all around. Every day I would wake up and I felt like, oh open space. I can breathe and take my time with things. I live in a house now. I would do writing in my little studio and then I would go lie outside for a couple of hours and get some ideas and go back in. It was something that I had never experienced before. I feel like in the past, when I made music it was, "Okay, we have this amount of time in this studio.
I think what was going on internally and in my life on a personal level was playing into that. I felt like when I was leaving New York I was closing this chapter with a lot of baggage.
When I came here it was almost like rebirth. I was so much happier immediately. I think that combined with the sun and the green just made me feel so euphoric. I wanted the album to reflect that. The title was something I came across; it was an apartment building called La Linda. It had this sign. A really cool sign. I took a photo out in front of it. In Hollywood. In Mid-City. And stuck with me. The name felt right to me.
It felt like that vision of that sign stuck in my head. It was a sign for something I was entering into. It was something I wanted the album to feel like and look like. All the visuals to reflect that. The album includes the wonderful Spanish track "No Juegues.
After I released Crawl Space and that song in Spanish, I got a lot of response from my listeners and fans. I realized there are a lot of Spanish-speaking people who listen to my music, which encouraged me to tap into that more. But it was more an organic thing. The past few years I've been more actively reading in Spanish, watching more stuff in Spanish.
Revisiting the music that I grew up listening to and loved and influenced by that. I lived in Columbia until I was eight years old. And then my family moved to Canada.
To Vancouver. And then when I was teenager we moved back to Columbia and then back to Canada. I basically grew up back and forth between Columbia and Canada. It was almost polar opposite places. But the cultures really complimented each other in how I absorbed them. I think once I opened up that, okay—let me actually try to write stuff in Spanish I'll try to release, it was really interesting and really freeing. Like anyone, you hit walls sometimes creatively.
Once I was writing more in Spanish, it allowed me to step outside of myself a little bit. I definitely want to tap in more. I want to be an international artist.
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