Named for a Jack Kerouac poem, it’s been twenty-five years and counting since New Jersey’s Railroad Earth emerged on the scene with their unique genre-spanning blend of americana combining elements of bluegrass, folk, rock, country, jazz and Celtic, and even splashes of classical music. While it’s their sound that first got them noticed, it quickly became apparent that, in addition to some extraordinary musical chops, they also possessed a level of songwriting skills that quickly separated them from the rest of the pack. Indeed, while the band members’ dexterity on several instruments and their propensity to stretch out musically at times in concert sometimes lumps them into jam band territory, on record, any extended musical interplay is done strictly in service to the song.
The band formed in early 2001 when players in the local music scene began informally getting together to jam. It didn’t take long for it to become apparent that something special was taking place. Shortly thereafter, they recorded a five-song demo of original songs that got them noticed and ultimately landed them a spot at the coveted Telluride Bluegrass Festival. Sensing something special was occurring, the band quickly reconvened in the studio to record a further five tracks to complete an album in time for their Telluride appearance. The resulting album, The Black Bear Sessions, was released independently in June 2001, and its warm reception resulted in an offer of a recording contract with the acoustic music scene’s esteemed label, Sugar Hill Records.
Since then, Railroad Earth have officially released eight additional albums, with the most recent being 2022’s All For The Song. Through constant touring, they have built up a strong following of fans who gladly follow them down any track, regardless of how far off the main line they veer. At the same time, their albums have seen the band continue to push the envelope by incorporating stellar playing with some innovative arrangements, all rooted in a strong batch of melodic songs. In between, they have found time to collaborate with other like-minded artists such as Warren Haynes from Gov’t Mule, whom they backed on his 2015 release, Ashes & Dust. In 2018, in collaboration with the John Denver estate, they released a 7″ double-sided single consisting of two songs with previously unknown lyrics penned by John Denver and music composed by the band’s principal songwriter and singer, Todd Sheaffer. The single was released on April 22 of that year, Earth Day, to honour both artists’ commitment to the environment. In 2020, the band contributed a lovely rendition of Delta Queen Waltz to On the Road: A Tribute to John Hartford, an artist they have frequently cited as a major influence on their music.
In concert, they are known to include spirited and inventive covers of songs from a variety of artists, including The Waterboys, Neil Young, Tom Waits and The Band, with an assortment of traditional songs such as The Cuckoo, Dance Around Molly and Peggy-O liberally sprinkled in the mix. It doesn’t hurt that band members are virtuosos on their primary instruments and play many others as well, which provides an ideal opportunity for exploring different sounds.
The following list is by no means complete, or in any particular order, for that matter. Consider it a mixtape of musical highlights featuring a few savoury slices of their americana pie.
Number 10: Head from The Black Bear Sessions (2001)
The first song off the first album and still a concert favourite, this boisterous track served as the perfect way to introduce the band. From the opening flourish of driving banjo and chorus of rich harmonies to the rock steady rhythm section, this playful number makes an immediate statement. It’s a great introduction to their rootsy sound and stellar ensemble playing. Oh, and it’s great fun to sing or play along with an on-air banjo, speaking for a friend, of course.
Number 9: Bird In A House from Bird In A House (2002)
From their sophomore release, and first on Sugar Hill Records, the title track is a bouncy folk-rock number with a lovely, lingering melody and a showcase for Sheaffer’s knack for composing instantly memorable tunes that always leave enough space for the rest of the band to work their magic on.
Number 8: Mighty River from Bird In A House (2002)
Also from Bird in a House, this upbeat number, with its rippling mandolins and big chorus, is a fine example of the band’s ability to add a myriad of instruments to texture and colour their songs without ever detracting focus from the words being sung.
Number 7: Lone Croft Farewell from Railroad Earth (2010)
A highlight from their sixth album, the song is a bittersweet lament for Sheaffer’s family home, lost in the name of progress. A rootsy, fairly straightforward and unadorned arrangement, at least by their standards, lends a sense of sadness to the song as Sheaffer sings: “So goodbye bird and bear, goodbye tree and land / Goodbye to all I know, like knowing the back of my hand / I’ll walk the grounds and make the rounds of this place I’ve loved so well / Fire up the diesel, bid a last Lone Croft Farewell”.
Number 6: Lois Ann from Bird In A House (2002)
The band regularly sprinkle a selection of instrumentals throughout their recordings and concerts, and this one, in particular, with its sprightly Celtic feel, stands out for its absolute cheerfulness. With its beautiful melody and some lively playing, a sense of joy permeates the track. It really should come with a warning about inducing uncontrollable smiling.
Number 5: Monkey from Last Of The Outlaws (2014)
Showcases a funkier dimension to the band, with a robust, full sound bolstered by the addition of horns and piano. Its uncharacteristic sound was one of several tracks on The Last of The Outlaws record that saw the band continue to evolve their sound in new and exciting directions. A happy-go-lucky feel, combined with an infectious, soulful groove, equals irresistible.
Number 4: Seven Story Mountain from The Black Bear Sessions (2001)
Another track from their auspicious debut, featuring a raga-inspired introduction and some brilliant lyricism concerning a spiritual journey. Over six minutes, this track makes a bold statement with its swirling violin, slightly jarring melodic twists and turns and adventurous fusion of sounds, all funnelled through a very catchy melody.
Number 3: Driftin’ (The Bardo) from All For The Song (2022)
Something from their most recent album, the first without founding member Andy Goessling, who passed away in 2018. To honour their late bandmate, the band used ukulele and high-strung guitar parts that Goessling had recorded during early sessions for the album as a template to complete the track. It starts off as a mysterious-sounding folky piece that shifts into a poignant piano-based instrumental section with a slight Celtic aura to it. An album highlight, it’s both tuneful and inventive all at once.
Number 2: Day On The Sand from Railroad Earth (2010)
The song presents the folkier side of the band, proving there’s room for quiet and intimacy in their songs as well. Featuring some intricate fingerpicking, it’s a tender reflection on loss and grief, made the more so by some honest and vulnerable vocals. A lovely piece.
Number 1: Keep Your Eyes Open from AnUntitled Upcoming Release (2026)
We end with the latest addition to the band’s catalogue, a single from an upcoming album due out later in the year. It may be a little too soon to include this cautionary tale as essential listening, but there’s no doubt that the song’s key message and timing are certainly essential for the times. Railroad Earth have never shied away from tackling bigger issues in their songwriting, and this track sits nicely alongside some of those songs.
Featuring some nimble fretwork by cosmic country wunderkind Daniel Donato, providing a rockier, slightly menacing edge, the song further demonstrates their ability and willingness to experiment with different styles while remaining true to their core sound.
“Watch out brother it’s happening fast / Losing the future, losing the past / Watch out for thieves rewriting the rules/ Looting the temples and stealing the jewels”.
