“I don’t think you can get this sound unless it’s borned in ya,” said bluegrass legend Ralph Stanley, when asked about what he called “old-time mountain music.” When Melissa Carper heard those words, something jumped inside her. While staying in the country with a friend, she found an old DVD of Down From the Mountain, the documentary and concert film of the “O, Brother Where Art Thou” soundtrack that featured this particular Stanley interview. She immediately jotted down “borned in ya” on a piece of paper. “I knew I had to write that song,” she recalls.
In the Spring of 2023, Carper went back to East Nashville’s Bomb Shelter — the same “analog wonderland” where she’d recorded Ramblin’ Soul and its predecessor, Daddy’s Country Gold, and enlisted the help of her trusted co-producers — Dennis Crouch and Andrija Tokic. “Borned In Ya” would become the title track of the new album, out July 19th via Mae Music/Thirty Tigers.
Like much of her writing, the song applies a homespun sensibility — and a bit of humor — to questions about life’s journeys. “I was turning over in my mind what it means to have something ‘borned in ya,'” she said. “The song evolved as I was writing it to be more about having your soul ‘borned it ya,’ and the more life experience you have, you hopefully grow to embody the highest version of yourself that you can be.” “Borned In Ya” could certainly stand as a reflection on Carper’s life in music. “Authentic” might be an overused word to describe an artist’s appeal, but there’s something so natural and true about Carper’s musicality that she must have been born with it: An easy sway to her singing, a precise, but laid back sense of timing. A feel. And, lyrically, she has an instinctive sense for storytelling, both observant and intuitive.
As with the message of “Borned In Ya,” these traits have been sharpened by life experiences — including early music influences and the many turns of her career as a performer. Carper, born into a music-loving family, was raised on roots music, immersing herself in a family record collection that featured Hank Williams Sr., Loretta Lynn, Patsy Cline, Ray Charles, Johnny Cash, Elvis Presley, and more. The public school music curriculum in her home state of Nebraska gave Carper an opportunity to learn upright bass. “I remember wanting to play bass, to play the biggest string instrument, ” she recalls. Carper performed in her school orchestra — and also in her family’s country band. Led by her mother, the group played a mix of classics and the new country of the 80’s, but it was the old stuff that stuck with the young bassist. Along the way, Carper’s father gave her a collection of Jimmie Rodgers recordings, which made a defining impact. “He combined country and blues and jazz,” she recalls. “All of those elements, and the rawness of those recordings… I can’t quite put a finger on it, but I was obsessed.” Carper earned a music scholarship to attend the University of Nebraska-Lincoln. College didn’t quite take, but while there, she spent hours in the music library, drawn to jazz vocalists like Billie Holiday, Ella Fitzgerald and Frank Sinatra, and she discovered seminal blues artist Lead Belly.
You’ll hear all of these influences in the music Carper has made over the years as a member of numerous touring acts and as a solo performer. Classic country and Western Swing sounds come to the fore on Daddy’s Country Gold, Carper’s 2021 album. Country roots and old-time jazz are at the heart of ‘Ramblin’ Soul‘ too, but the album also ventures confidently into R & B and Soul territory. Those albums helped Carper establish a growing fan base and earn accolades from music reviewers. One writer lauded her “cool jazz-infused hillbilly serenades that linger in the air like fresh-cut hay.” Rolling Stone Country praised both her writing and musical stylings: “Singer-bassist Melissa Carper sounds like a voice from a bygone era . . . evoking the cool, smoky croon of a lounge singer, Carper gives some winking commentary about having a good time.”
Perhaps the most meaningful praise for Carper’s music has come from the world-class musicians she’s worked with onstage and in the studio. One is multi-instrumentalist Chris Scruggs. He’s a veteran of Nashville’s studio world, has played with influential roots-country-rockers BR-549, and currently tours as a member of Marty Stuart and the Fabulous Superlatives. Scruggs has been proud to contribute to Carper’s albums, including her recent ‘Borned In Ya’ sessions. “She’s as good as it gets,” he said, “She has a quality that really transcends time and fashion.” It was Scruggs who dubbed Carper “Hilbillie Holiday” — an admiring nod to her marriage of country and jazz vocal styles. ” I stand by that,” he said. “She can sing Hank Williams and then handle these old pop tunes, and the great thing is how natural she is — she doesn’t even really change her delivery.”
Borned In Ya showcases Carper’s long-standing influences as well as her artistic growth and sense of adventure. The old-time jazz sounds we came to know on Daddy’s Country Gold are back in full force along with the R&B and Soul of Ramblin’ Soul. Perhaps, the least ‘country’ of her albums, the country roots are still felt as you can never remove the ‘hillbilly’ from Carper’s sound. In addition to her familiar blend of country with jazz, blues, soul, and R&B, the new album sees Carper exploring a more subtle and expert crossing of these genres and with a matured lyrical depth. The title track kicks things off with a gospel-style vocal chorus before settling into an impeccably funky groove. “Evil Eva” recalls the classic R&B of the 50s and 60s, and “Let’s Stay Single Together” puts Carper’s crooning vocal to a delightful jazz-tinged country soul feel. “There’ll Be Another One” sounds like classic Roy Orbison with Carper floating atop the bed of ever growing emotion, fueled by the stunning string arrangement from fiddler, Rebecca Patek. “Somewhere Between Texas and Tennessee” is straight out of the honky tonk and “Lucky Five” is reminiscent of an old Frank Sinatra swinger. Carper rounds out this album with covers of two classics, “That’s My Desire,” crossover jazz/country tune from the 30s, and a beautiful rendition of Cole Porter’s “Everytime We Say Goodbye.”
In addition to Scruggs, Borned In Ya features a cast of top-flight musicians like bassist Dennis Crouch (Johnny Cash, Gregg Allman, Alison Krauss, Robert Plant), pianist Jeff Taylor (The Time Jumpers, Riders in the Sky), fiddle master Billy Contreras (Ricky Scaggs, Buddy Spicher, George Jones), and multi-instrumentalist Rory Hoffman (Ricky Skaggs, Kathy Mattea, John Cowan). This is Carper’s first album featuring horns; Doug Corcoran, from JD McPherson’s band, plays trumpet and saxophone. And there are soulful backup vocals by Kyshona Armstrong, Nickie Conley and Maureen Murphy, as well as beautiful harmonies by Carper’s longtime music pal and bandmate, Jenn Miori Hodges (Carper Family). Carper penned the majority of the album’s 12 songs herself, though she co-wrote three tunes with friend and bandmate, Brennen Leigh (Wonder Women of Country). “Brennen is just brilliant with lyric ideas and we always have a good time writing together, ” Carper said.
Carper is eager for the release of Borned In Ya, and hopes it will resonate with fans of her earlier work while establishing an artistic step forward. “People call me retro or throwback, and I’ve been OK with that,” she says. “But, I feel like I’m still creating something new. I’m taking styles and blending things in a way that maybe hasn’t been done before. And, in the process, I’m evolving in my own way.”
Kassi Valazza
Kassi Valazza
From Newman Street
May 2nd, 2025 via Fluff & Gravy Records
“Sometimes it takes four or five tries to realize something just isn’t working,” says Kassi Valazza. “I wrote this after my thirteenth try.” She’s referring to the song “Roll On” specifically, but the stagnating pull of repeating patterns—and the brutalizing work of breaking them—inform every song on her new album From Newman Street. “In songwriting and in life, you can’t keep expecting the same thing to work every time.”
Valazza grew up between Prescott and Phoenix, Arizona. She penned her first song at age ten but in those early efforts to perform, found herself halted by stage fright of a clinical level. “I’ve gone to therapy for it,” she says, half-laughing. She didn’t stop writing music but she let less paralyzing means of expression lead the way, eventually enrolling in arts school for painting, an illustrative instinct that inevitably reveals itself in her vivid songwriting. It wasn’t until she relocated to the Pacific Northwest as an adult that Valazza picked back up the proverbial—and actual—guitar.
“Zach Bryson was kind of like the honky tonk ambassador of Portland when I got there,” Valazza says. “He was so welcoming and encouraging.” She discovered an inspiring, supportive artistic community, a less rigid relationship with musical output, and then—vocal nodules. “It was actually kind of the best thing that could have happened, because I learned about the
crossover of physical and mental that takes place in performance.” Recovery entailed recognizing the reflexive functions of the voice in response to anxiety; as is the case throughout the human body, stress reactions can be damaging. “Because I suddenly understood what was happening with my voice, I could handle it, wield it. I felt more confident.” Valazza recorded an album with Bryson in an old-house-turned-studio. It was an informal, friendly endeavor, though not at all small. “I think probably thirty people contributed,” she says. “I listen back to that album and I think ‘this was me learning how to do this.’ I can hear that moment in time.”
Valazza’s debut Dear Dead Days fused the Southwest’s rustic romance with the Pacific Northwest’s rocky realism and garnered Valazza a cult following. She landed a deal with Fluff & Gravy, a label known for launching earthy, emerging treasures like Anna Tivel and Margo Cilker, and toured with folk favorites including Melissa Carper and Riddy Arman. Her sophomore album Kassi Valazza Knows Nothing followed, a glimmering set of sonic talismans among Ann Powers’ Favorite Songs of 2023 for NPR and Bandcamp’s Best Country Music of 2023, with praise from KEXP, Uncut, MOJO, and Brooklyn Vegan to boot.
By the time Valazza was ready to record her third album, she had spent a decade in Portland—and that, she realized, was enough. “As someone with anxiety, I always want to know what’s going to happen,” she says. “But knowing can be limiting. Getting comfortable with the uncomfortable, that’s growth. That’s what this album’s about, really.”
On “Weight of the Wheel,” a weepy slide guitar underscores Valazza’s listless lament: All things look the same / From the pillow on my bed / I’m stressed out I’m far away / There’s dizzy dancing in my head. The song sounds like urgency, grief, surrender, and embrace—all at once. It’s feeling like some kind of fight to outgrow / The way I fear slowing down before I’m old. By 2022, that dizzy demise of cyclical living had set Valazza still—in a basement apartment there in Portland. “You’re going to be a different person after every album,” she says. “And you have to keep moving forward.”
Sights set on Nashville, Valazza landed in New Orleans. “It wasn’t the plan. I spent three months there between tours, and it just kind of happened.” The bright newness of The Big Easy illuminated fresh inspirations and unexpected love. But it also cast a stark light on Valazza’s sense of self; in a new place, you can see more clearly what you want to be, as well as what you haven’t been. “I discovered the less likeable parts of myself in that time,” Valazza says. Album standout “Your Heart’s a Tin Box” encapsulates precisely this, with a cynical-yet-sunny likeness to Joni Mitchell and lyrical acuity: I moved down to New Orleans / Thinking love would reappear / But people tell you everything / but what you wanna hear / You relied on fixated
company / Now you’re drowning in your ego’s gluttony. The patterns of her Portland life had stalled Valazza. It wasn’t the city’s fault so much as the natural consequence of complacency, the stagnance that comes with too much of the same. Valazza knew she was due for a personal evolution, and when faced with those innate, bristling pangs of change, could soothe herself with that certainty.
The track sequence on From Newman Street is audibly intentional—from a deep lull and dull itch, to a barbed clash with cognitive dissonance, to humble submission, and an ultimate, open-armed acceptance of new life. Poetically enough, half the songs on the upcoming album were written in Portland, the other half in New Orleans. Valazza returned to her former hometown to record with Matt Thomson at Echo Echo Studios, and titled the release From Newman Street in tribute to an apartment she lived in deeply and left with heavy heart. The album is as much a fond farewell as it is a fervent step forward.
Valazza made the official move to New Orleans in February of 2024. “Coming from placid, wintry Portland straight into Mardi Gras—I would not recommend it.” She recalls the time with humor, grace, and sensitivity for her past self, qualities that shine through the album. “I’ve always been a believer that music is only good if it’s really raw, really honest—probably coming from a place of hurt,” Valazza admits. “But I’m trying to embrace chaos these days, and bring a little more light into my life.”
Sean Tracey
I started playing the harmonica in the early 90’s as a boredom cure for down times working on commercial fishing boats. There were, and probably still are, a lot of commercial fisherman in Alaska that are musicians; a lot of which were adherents to Old-Time and Bluegrass traditions, but not all by any means. Melody driven fiddle tunes were my gateway to locking down melodies on the harmonica and eventually led to the formation of the first working band I got to be a part of. Good ol’ PCRB, the Panhandle Crabgrass Revival Band. We made two records and and toured extensively all over Alaska and down the West Coast, playing many dive bars and festivals including Wintergrass, the Portland Old-Time Gathering and the San Francisco Bluegrass and Old-Time Festival.
In 2007, I won an Individual Artists award from the Rasmussen Foundation which allowed me to record my first solo project “TROUBLE”, available for streaming and for sale on the MUSIC page of this site.
Since then, I’ve had the sheer luck to perform and record with more bands than I can list. Some of these bands are still working, some defunct, some literally dead. When I moved to Texas in ’09, I had the great honor to work with some of my heroes including the late James “Slim” Hand, and Wayne “the Train” Hancock.
In ’09, the Austin Steamers were formed and had a lot of success and fun, playing at SXSW, a Mountain Song at Sea Bluegrass Cruise, Stubb’s Barbeque, as well as long (2 year +) weekly residencies at the legendary Hole in the Wall and White Horse in Austin. We played many festivals in central Texas and were featured in Richard Linklater’s Golden Globe winning and Oscar nominated movie “Boyhood” (playing my song the Old Black Crow) as well as more venues in Austin than I can hope to remember. I also recorded the “Steamroller Sessions Vol. I” around this time and which is available to stream and for sale in digital and (Double 7”) vinyl formats.
I’ve been most recently working with Hillfolk Noir out of Boise Idaho and will link recordings I’ve made with them as they are released. I got lucky to get adopted by them and have toured all over the west with them, sometimes opening solo. Check out their label, “Junkerdash Records” for which I’ve written an article in their ‘zine and is on the blog page for your reading.
