Skip to main content

Blue Mountain

Blue Mountain

Alternative country group

For the Record

Selected discography

Sources

Arootsy rock group that harkened from Oxford, Mississippi, Blue Mountain rose from the pack of alternative country bands that appeared in the 1990s. Borrowing from their Southern influences, the trio blended country, blues, and rock into their own versatile sound, winning comparisons to Neil Young. Anchored by husband-and-wife band members Laurie Stirratt and Cary Hudson, the group disbanded in 2001 when the couple divorced.

Lead vocalist and guitarist Cary Hudson grew up listening to a Jackson, Mississippi, radio station that played a mixture of hard rock and punk. In the late 70s, they were the only station around to play the Sex Pistols and Patti Smith and Television, Hudson told Billboards Chris Morris. I was listening to that stuff, and then playing in country bands, cause [those were] the only other musicians around where I was fromold country guys. In 1988, he got together with John Stirratt, later the bass player for Wilco, in Oxford, Mississippi, and formed a punk-tinged rock band called the Hilltops. Stirratt called on his twin sister, Laurie, to play bass in the band. It was the opportunity I had been waiting for, Laurie told No Depressions Grant Alden. I had been trying to play with some people in New Orleans, and it wasnt really working out. John and I had both played guitar for years, but Id never played bass before so it was a crash course. She moved up to Oxford, Mississippi, where John had been attending college, and joined the band.

The Hilltops played together for two years before Laurie Stirratt and Hudson decided to move to Los Angeles. (Black Dog released a collection of the early Hilltops songs in 1996 on Big Black River). The band broke up, and Hudson and Stirratt spent most of their time working at jobs that didnt involve music and found little to like about Los Angeles. When they formed a new band, they called it Blue Mountain, after a small town near Oxford. Growing more and more homesick, they nevertheless played a few gigs and tried out a variety of drummers. Rivers Cuomo of the group Weezer recorded Blue Mountains first demo on a four-track in his basement. But Hudson and Stirratt felt like fish out of water and gave up on Los Angeles in less than a year. When you get taken out of the environment that you grew up in, Hudson explained to Jon Maples of No Depression, You start to realize who you are. I started hearing country or Southern-type music in my head. And it made me realize that being able to play that kind of music with soul is important.

Back in Oxford, Blue Mountain began performing in earnest with drummer Matt Brennan. Soon, Frank Coutch replaced Brennan, and in 1993 the band released their self-titled debut album on their own 4-Barrel Records. We recorded it for $1,000, and it sounds like a $1,000 record, too, Stirratt told Maples of No Depression. But that was probably the best thing we could have done to attract a record label. Jeff Pachman, director of A&R for Roadrunner Records, a New York-based label specializing in heavy metal acts, took note of the album. When he caught Blue Mountains live show, he was anxious to sign them. They have the capacity to play all kinds of music, and play with a lot of soul, which is pretty good for some white folks. To me it was a no-brainer, he told Maples. Pachman signed the group to a five-record deal in 1995.

Hudson and Stirratt liked the idea of building their careers slowly. They wanted to tour and create a strong fan base and word-of-mouth buzz, because they thought it would give their band a longer life. You want to work your way up so that you have some clout when you start dealing with a major label, Stirratt told Maples in 1996. If you dont, youre at (the major labels) mercy. Hudson added, I would have preferred a three-record deal, but youve got to give and take.

Blue Mountains first Roadrunner album, Dog Days in 1995, was produced by ex-Del Lords member Eric Roscoe Ambel in two weeks and included some rerecorded songs from Blue Mountains first album. The group soon began attracting greater attention after the release of the album. The band became part of a burgeoning young roots-rock movement that held great promise. Bands such as Sun Volt and Wilco were on the rise, and record companies took note of their marketability. Blue Mountain began touring extensively, opening for the Jayhawks, Wilco and Son Volt, among others. Billboard wrote: [Blue Mountain] combines acoustic purity with Neil Young-styled aggression. MusicHound Country s Daniel Durchholz called the album

For the Record

Members include Frank Coutch (left group, 2001), drums; Ted Gainey (joined group, 2001), drums; Cary Hudson, lead vocals, guitar; George Sheldon (joined group, 1997), bass; Laurie Stirratt, bass, guitar, vocals.

Group formed in Los Angeles, CA, early 1990s; released independently-produced debut album Blue Mountain, 1993; signed with Roadrunner Records, released Dog Days, 1995; followed with Home Grown, 1997, and Tales of a Traveler, 1999; released Roots on their own Blue Mountain label, group disbanded, 2001.

Addresses: Website Blue Mountain Official Website: http://www.bluemountain.com.

a memorable effort from start to finish. The bands ensemble playing is tight, and Ambels production is nearly perfect. Hudsons songs were lauded for being about somethingeverything from Jimmy Carter, which used the ex-president to pay homage to the summer of 1976, to A Band Called Bud, which told the story of the Memphis band, the Grifters. The songs showed a range of country, blues, punk, and rock influences. At live performances Blue Mountain showed off its harder edge, reveling in the seasoned interplay between Hudsons electric guitar and Stirratts bass.

In 1997, the band released Home Grown, with Ambel once again serving as producer. Rolling Stones Don McLeese liked the conviction of the album, writing: [Blue Mountain] combines a sound rooted in its native Mississippi with a spirit of restless yearning that resists retro complacency. He described Bloody 98 as a feverishly bluesy, banjo-driven ramble and Babe as a sexy romp. George Sheldon joined the band as the bass player, and Stirratt switched to acoustic guitar and began writing songs with Hudson. The band made the road its home, touring both the United States and Canada. But, with the firing of their A&R representative at Roadrunner, Blue Mountain realized their relationship with the label was weakening. They were one of only a few non-metal bands with Roadrunner and decided they wanted out of their contract. Still, they released one more album, Tales of a Traveler, in 1999, before being released from their contract. Stirratt later noted one of her greatest regrets came with the sequencing of the songs on the album. She told Contemporary Musicians: Our song sequence made Tales more of a concept album, a story told all the way through. This was the way the record was written. The record company didnt dig it and pressured us to change it so a more radio friendly song would kick off the album. It changed the whole mood of the record and took away the continuity.

It felt like the whole momentum had really slowed down with that third record, Hudson told Alden. We wanted to keep it going, but it wasnt the right time to try to scramble and write an albums worth of songs. Hudson sought out traditional songs for their 2001 independent release, Roots. They recorded the album at Fat Possum Studios, known for its low-gloss approach, and included folk classics such as Rye Whiskey and Come All You Fair and Tender Ladies. One has but to listen to the joy and verve with which these songs are played to count Roots among the bands finest, most free, most joyful recorded work, wrote Alden. The tour that followed the release of Roots marked drummer Coutchs departure from the band. Stirratt told Contemporary Musicians: He is one of the best drummers Ive ever played with. He never got as much attention as Cary and I did, but our band was never the same after he decided to stop touring with us. It was like losing a family member. Drummer Ted Gainey stepped in as Coutchs replacement.

The band was changing at the same time Hudson and Stirratts marriage was falling apart. Blue Mountain performed for the last time in 2001. One of their final performances, a live web-cast recorded at Schubas Tavern in Chicago, was to be released in August of 2002 by Digital Club Network as Tonight Its Now or Never. After the couples split, Stirratt began work on a record with her twin brother John, and played bass with another Oxford-based band called Tyler Keith and the Preachers Kids. Stirratt told Contemporary Musicians that she wasnt sure about the work Hudson might move on to, but she felt it would involve playing and recording.

Selected discography

Blue Mountain, 4-Barrel, 1993.

Dog Days, Roadrunner, 1995.

Home Grown, Roadrunner, 1997.

Tales of a Traveler, Roadrunner, 1999.

Roots, Blue Mountain, 2001.

Tonight Its Now Or Never, Digital Club Network, 2002.

Sources

Books

Mansfield, Brian, and Gary Graff, editors, MusicHound Country: The Essential Album Guide, Visible Ink Press, 1997.

Periodicals

Billboard, June 17, 1995.

No Depression, Winter 1996; January-February 2001.

Rolling Stone, September 4, 1997.

Online

Blue Mountain, VH-1, http://www.vh1.com/artists/az/blue_mountain/bio.jhtml (July 7, 2002).

Additional information was obtained through an interview with Laurie Stirratt on July 10, 2002.

Janet Ingram

Cite this article
Pick a style below, and copy the text for your bibliography.

  • MLA
  • Chicago
  • APA

"Blue Mountain." Contemporary Musicians. . Encyclopedia.com. 20 Sep. 2018 <http://www.encyclopedia.com>.

"Blue Mountain." Contemporary Musicians. . Encyclopedia.com. (September 20, 2018). http://www.encyclopedia.com/education/news-wires-white-papers-and-books/blue-mountain

"Blue Mountain." Contemporary Musicians. . Retrieved September 20, 2018 from Encyclopedia.com: http://www.encyclopedia.com/education/news-wires-white-papers-and-books/blue-mountain

Learn more about citation styles

Citation styles

Encyclopedia.com gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).

Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list.

Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.com cannot guarantee each citation it generates. Therefore, it’s best to use Encyclopedia.com citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites:

Modern Language Association

http://www.mla.org/style

The Chicago Manual of Style

http://www.chicagomanualofstyle.org/tools_citationguide.html

American Psychological Association

http://apastyle.apa.org/

Notes:
  • Most online reference entries and articles do not have page numbers. Therefore, that information is unavailable for most Encyclopedia.com content. However, the date of retrieval is often important. Refer to each style’s convention regarding the best way to format page numbers and retrieval dates.
  • In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. Therefore, be sure to refer to those guidelines when editing your bibliography or works cited list.