Song Talking with Hamell On Trial

Song Talking with Ed Hamell
I’m thrilled to announce that the second episode of Song Talking, my new live online interview/performance series, will feature the one and only Hamell On Trial. He’ll be in my home studio on Sunday, March 8, at noon EDT to play songs and talk music—taking questions from me and the online audience.

I first heard Ed Hamell back in the ’90s, opening for Ani DiFranco out in California, and was shocked and awed by his intensity (musical and verbal), humor, and fearlessness—he’s truly an equal opportunity offender. Around the same time, when I was editor of Acoustic Guitar magazine, we ran a short profile of Hamell that generated an extraordinary amount of reader mail—indignation as well as praise. He’s just as feisty and funny today. Here’s a recent performance.

The Song Talking show airs on my Concert Window channel, and you can pay what you want for tickets. Post a question, request a song, and say hello.

Invite friends on Facebook.

Grateful Dead for Acoustic Guitar workshop at Union Music

On April 11th I’ll be back at Union Music in Worcester, Massachusetts, for a Grateful Dead for Acoustic Guitar workshop. Looking forward to sharing some arrangements of classic Dead songs! Find more info on the workshops here.

That night I’ll also be playing a house concert in Concord, along with Wendy Ramsay, and then on the 12th we’ll be at the Burren in Somerville with others as part of the Back Room Acoustic Series. Check out the details on the full calendar.

I’ll be bringing my shovel in case friends in the Boston area still need a hand!

Dead workshop Union Music 11x17-lo

Acoustic Guitar cover story on the New Basement Tapes

“It was our good fortune that these lyrics came to light and we were given them to play with. It was a playground.”
—Elvis Costello

For the April 2015 issue of Acoustic Guitar, I wrote a cover story on The New Basement Tapes, the remarkable project in which five songwriters set to music newly discovered lyrics written by Bob Dylan in 1967—at the time he recorded the original Basement Tapes with the Band. I interviewed Costello along with album producer T Bone Burnett, Taylor Goldsmith of Dawes, and Rhiannon Giddens of Carolina Chocolate Drops.

Elvis Costello Acoustic Guitar magazine April 2015

Almost There SAMMY nomination for Best Americana

SAMMY AwardsI’m happy and honored to announce that Almost There has been nominated for a 2015 SAMMY Award for Best Americana. The awards will be presented March 6 at the Palace Theater in Syracuse. Jon Fishman of Phish will be receiving a lifetime achievement award, and rock producer Chris Goss is among the musicians who will be inducted in the SAMMY Hall of Fame.

Congratulations to all the nominees and honorees in this talent-rich Central New York music scene. Here’s a complete list.


About the song: Almost There

Oddly enough, the title track of the Almost There album was originally sparked by a song it sounds nothing like: “You Really Got Me,” by the Kinks. I love figuring out fresh, unusual arrangements of classic songs, and I’d done that with “You Really Got Me”—instead of the speedy, sliding power chords that Dave Davies played with the Kinks, I worked out an alternate version in dropped-D tuning that was a blast to play on acoustic guitar. One day I was fooling around with the riff from my Kinks arrangement and wound up slowing it way down and totally changing the rhythm, and suddenly I had a new groove that became the starting point for “Almost There.”

(By the way, messing around with another song is a great way to spark ideas for your own songs. In fact I wrote a lesson for Acoustic Guitar about this subject. Here’s an excerpt.)

Anyway, I started singing over my new guitar groove, and something like the opening lines popped out: “Almost certain that I’m almost there / Almost across the line.” I liked the repetition of almost and began collecting phrases with the word: almost heaven, almost cut my hair, almost famous, almost fine, etc., with no idea how or why I might use them. Having no idea is key—at this initial stage, the cardinal rule of songwriting, for me, is to avoid having any ideas or judgments about what I’m doing. As I like to tell my students: Write first, think later.

Eventually a character began to emerge in these lyrics, a well-meaning guy who keeps trying but doesn’t fully deliver on anything (isn’t he a bit like you and me?). A story was forming. At this point I shared what I had with Wendy Ramsay, my partner in crime, and she came up with the chorus melody, which brought a kind of ’60s grooviness to the song that I loved. She also had the idea of overlaying a bit of the melody of Gershwin’s “Rhapsody in Blue,” played on the flute, over my rhythm guitar; live, we sometimes perform the song this way.

JPR and Wendy Ramsay at the Almost There sessions. Photo by Juan Junco.

JPR and Wendy Ramsay at the Almost There sessions. Photo by Juan Junco.

In terms of the songwriting, the last piece to fit in was the bridge (“The time is coming…”), which takes a number of unexpected harmonic leaps. I have no clue where those came from—they are purely instinctual. It was a fun, sort of mathematical challenge figuring out how to navigate back to the chorus and the original key from this twisty interlude.

The core album track was recorded live in the studio, with me on acoustic guitar and vocal, Josh Dekaney on percussion, John Dancks on upright bass, and Wendy singing and playing flute. Later, back in my home studio, Wendy layered a couple of clarinet parts to create the sweet instrumental harmonies on the bridge and ending.

We often open shows with this song, and the groove never fails to make me smile. Ooh yeah.


Words by Jeffrey Pepper Rodgers, music by Jeffrey Pepper Rodgers and Wendy Ramsay

I am almost certain that I’m almost there
Almost across the line
I am almost wishing that I cut my hair
Guess I’m looking almost fine
Check it

If this is almost heaven, then I’m almost dead
Off to a better place
I could be almost famous for the life I led
Or vanish without a trace
Check it
Ooh yeah

Anytime you call me you will find me standing by
Any situation I will almost be your guy
Check it

Almost told you how I almost feel
Almost every night
Sang my confession on a reel-to-reel
Almost got it right
Check it
Ooh yeah

Anytime you call me you will find me standing by
Any situation I will almost be your guy

The time is coming when I’ll cross that line
With the banners waving, the sun will shine
As I raise the cup, celebrating the day
Balloons are rising in the azure sky
In the blur of faces I catch your eye and then
All the other voices fade away

Anytime you call me you will find me standing by
Any situation I will almost be your guy
Any way you want me
I will try to satisfy
Anything you ask me
You know this is my reply
Ooh yeah

“Understated raw beauty”: Minor 7th reviews Almost There

“If you’ve ever doubted that music creates happiness, this top-notch CD will quash your reservations: Almost There will raise even the darkest spirits, even when the lyrics depict life’s sadness. You will be compelled, as Pepper Rodgers, a triple threat as singer, guitar player, and lyricist, sings on jaunty ‘Eight Days in January': ‘I found this little tune, so freaking cheerful I can’t help but sing along.’

“The album of twelve songs of roots rock/blues/folk has an understated raw beauty; Rodgers’ spare, tasteful guitar and banjo are given inspired accompaniment by Wendy Ramsay on flute/clarinet/accordion/backup vocals, Josh Dekaney on percussion, and John Dancks on upright bass. Pepper Rodgers was a grand prize winner in the John Lennon Songwriting Contest, and this varied collection shows why. Every song is a winner, thick with evocative lines—’a crunch of gravel in the noonday still….I hang my soul to the wind’ (‘The Wrong Way Home’), strong melodies (‘Don’t Think That I Can Say Goodbye’), powerful grooves (‘Almost There’), and wickedly good, subtle, understated guitar playing (‘Closer’). Especially among the mostly uptempo pieces, the slow, bluesy ‘Somehow’ is an absolute stunner.

“Pepper Rodgers would undoubtedly be much more widely known had he not been busy focusing on teaching and music journalism (he’s a founding editor of Acoustic Guitar magazine) but this grievous oversight is one that Almost There should go a long way to correct. In ‘Turn Away’ he sings: ‘If I sing this song for you, will you sing with me?’ You bet you will—this CD will hold you hostage.”
Céline Keating, Minor 7th