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DECEMBER 2013
Bluegrass, New Grass, Old Time, Mountain Blues, Folk, Roots, String, and all groovy things music in between!
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December 2013
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December 2013
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Table Of Contents:
4 7 What Will I Do? 8 Darrell Scott 10 Shenandoah Music Trail 10 Sounds Of Raleigh 12 13 14 15 Market Place
This was a week for numbers. I crossed the threshhold of 50, which is still hard to comprehend. Hanging out with all this great music, you never feel like you really grow up - not sure if that’s a good think or not. The second milestone is that this issue of Americana Rhythm marks eight years for us. Again, some days, it’s hard to comprehend that we’ve been putting this thing together for that long. And it seems like we’ve only scratched the surface when it comes to harnessing the essence of this great music genre’. We’re so glad you’re still along for the ride. We sure are having fun, and I hope Publisher, Greg Tutwiler you are too. Things are always changing, and not necissarly for the good - but whenever we get to spend a little time hanging out at a music hall, or festival, or performance of some kind, it seems like time and the outside world goes on hold for a little while. Now, that’s a good thing. You’re a big part of that too. We wouldn’t get to do this without you so thanks! It makes it all worth it. We’ll see you out there somewhere soon.
Questions, comments, suggestions: greg@americanarhythm.com
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Americana Rhythm is published six times a year. All correspon- Business office 540-433-0360 CONTRIBUTORS dence should be sent to PO Box 45, Bridgewater VA, 22812 or Ed Tutwiler email to greg@americanarhythm.com. Copies of Americana Kaye D. Hill Rhythm are made available free at various pick up locations within Wayne Erbsen the publication’s region. Subscriptions are available inside the United Ryan Babarsky States for $16 US currency made payable by check or money UNC Ashville Students Andrew McKnight order sent to Subscriptions at PO Box 45, Bridgewater, VA, 22812. Doak Turner Foreig n su bscrip tion req u ests shou l d b e sen t to Becky Allen greg@americanarhythm.com. Copyright 2013. All rights reserved. Don DePoy Reproduction of copy, artwork or photographs is strictly prohibited DISTRIBUTION without permission of the publisher. All advertising material subEd Tutwiler ject to approval. Zebra Media PUBLISHER/EDITOR IN CHIEF Associated Dist. Greg E. Tutwiler The Southern Downtown Books EDITORIAL ASSISTANTS The Purple Fiddle Ed Tutwiler Floyd Country Store Jacenta Tutwiler Shen. Valley Farmers Mkt. Lisa Tutwiler Heritage Farmers Mkt. MARKETING & PROMOTION ... many more! Mark Barreres (GrassRootsNetworking.com) Letters, Comments, Suggestions ADVERTISING greg@americanarhythm.com Greg Tutwiler www.americanarhythm.com
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December 2013
By Edward Tutwiler
At The Old Dominion Barn Dance Recently, I toured the Mountain Music Museum in Bristol, TN. The memorabilia that I saw on display spoke of forgotten personalities of recorded string music’s early days. Many of those names were familiar and caused me to recall some childhood memories. When I was a child in the pre-TV days of the late 1940’s and early 50’s, my mother had every radio dial setting memorized that tuned the string-music sounds that she so enjoyed. She had several favorites but I particularly remember her tuning in a program aired over the CBS network and broadcast via WRVA in Richmond, VA. The program was called the Old Dominion Barn Dance. I had not thought of this program in years but some of those forgotten names were folks who made appearances on that show. The Old Dominion Barn Dance was a county music and comedy radio show that aired twice every Saturday night (once at 7:30PM and again at 9:30PM) over WRVA-AM, Richmond, Virginia. The CBS radio network sent the show live into over 38 states and Canada. It really is fair to call the show’s contents country because the genre had not yet spun off into the splinters of old-time, bluegrass, and Nashville sounds that occurred much later. Thus, we listeners were entertained by the likes of Grandpa Jones, Earl Scruggs, The Carter Sisters, Chet Adkins, and many more folks both famous and unknown.
Glory Days
During its glory years, the show became known not only through the network broadcasts but also from several magazine articles. One article is reported to have awarded the show with the honor as being the “Outstanding Contribution to American Folk Music in Radio and Theater Enter-
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tainment”. The radio station tape recorded half of the show each week and delivered the tape to Westover Air Force Base in Massachusetts. From there, it was flown to Africa where it was then re-broadcast via the Armed Forces Radio Service network to service men throughout the world. The show originated on the stage of the 1913 Lyric Theater (later known as the WRVA Theater) located at North 9th Street and East Broad Street in downtown Richmond. The show was so popular with fans that the theater was filled to capacity every Saturday night with people standing in lines that wrapped around the block to get seats. The audiences consisted of all age and class of folks. The honorable William Munford, Governor of VA from 1946-1950, had a seat reserved just for him and he would frequently attend the show on Saturday nights. The center of it all was a powerful woman known as Sunshine Sue AKA Mary Higdon Workman. She was an Iowa to Virginia transplant who served as both MC and featured entertainer during the program’s heyday from 1946 through 1957
First Female Emcee
This exposure gave Sunshine Sue the distinction to be known as American’s first female emcee. She began a radio career as a regular performer on the National Barn Dance radio program aired in Chicago during the early 1940s
and move to Virginia to star on the Old Dominion Barn Dance. In 1949, VA Governor William M. Tuck crowned Sunshine Sue as the Queen of the Hillbillies. This title followed her from then on through her musical career.
December 2013
In a paper generated by Ms. Caroline C. Morris of the College of William and Mary, Ms. Morris describes Mary Workman (AKA Sunshine Sue) as a powerful
woman away from the microphone who was skilled in business and in creating a radio personality that celebrated working folks and country ways coupled with old-time values. Morris further said that Workman, for the most part, allowed other people to define her and her work. In so
doing, she gave herself cover to pursue her career goals. Morris wrote, “Fans, colleagues, and reporters alternately described her as a masterful showman, a de-
voted housewife and mother, an accomplished musician, and a savvy businesswoman. In a typical workday, she played every role, tailoring the performance to the audience. Audiences from Capitol Hill to Appalachia then projected their own hopes and desires onto her….”
Sunshine Sue held center stage at the Old Dominion Barn Dance until 1957 when the producers of the show moved it’s location to the nearby Bellevue Theater and changed its name to the New Dominion Barn Dance. Booking agent Carlton Haney took over the MC duties from her, and Sunshine Sue retired shortly thereafter. The show limped slowly into the mists of time soon there after. While some went on to fame and greatness on the music trail, many of the personalities that shared the stage with Sunshine Sue faded into the shadows of obscurity to be remembered only as museum artifacts fittingly in Bristol TN/VA, which is remembered as the birthplace of modern recorded country music. Ms. Workman continued to perform in a limited way for some time and died in 1979 at the age of 68
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Rockahock Family Bluegrass October 17 - 20, 2013 Lanexa, VA www.rockahockbluegrass.com 40th Home Craft Days Festival October 18 - 20, 2013 Big Stone Gap, VA www.homecraftdays.org Blue Ridge Folk Life Festival October 26 , 2013 Ferrum, VA www.blueridgeinstitute.org Christmas In The Smokies December 11 - 14 , 2013 Pigeon Forge, TN www.bluegrasschristmasinsmokies.com
Richmond Bluegrass Jam February 23 , 2014 Richmond VA, VA www.rvabluegrassjam.com Blue Ridge Acoustic Uprising April 11 - 12, 2014 Wytheville, VA www.acousticuprising.com
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December 2013
What’ll I Do?
since, moving to Nashville. While there I had a song recorded by Randy Travis, ‘Would I’ and it was released as a single. I wrote there for three years.”
From the pen to a hit ...
By Ryan Babarsky
Imagine you’ve written a song.
Now, imagine that song being recorded by a band full of bluegrass giants and superheroes. Further, imagine that a Grammy Awardwinning, International Bluegrass Music Association and Country Music Association-recognized mandolin player sang the vocal track on your song. Feels pretty good, yes? Well, that’s the position that Mark Winchester and Milan Miller are in right now. They co-wrote the song “What’ll I Do?” which banjo player Terry Baucom recorded on his new album Never Thought of Looking Back. Baucom recorded the album with the likes of Jerry Douglas and even Sam Bush, who sang the vocals on Winchester and Miller’s single.
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Upright Citizen
Rubbing elbows with famous, well-known, and successful musicians is simply a day in the life of Mark Winchester, and he feels “blessed” to have had such a full career so far. Winchester, a standup bassist and guitarist as well as a songwriter, started off writing songs in high school and playing rockabilly in college. After college, he made the move to Nashville to pursue a career in music in earnest. He landed a spot playing upright bass in Emmylou Harris’ band The Nashville Ramblers, all the while continuing to write. Reminiscing, Winchester remembers, “once in Germany with Emmylou, we came out for the encore in this beautiful old theatre, and the entire place was
Terry and his Derring Banjo.
packed, everyone on their feet, and from the downbeat of the song, the people started thunderously clapping in time. Usually those audience clap-alongs peter out, or drag and get so out of time it is distracting, but these folks nailed it from start to finish-louder than the P.A. I don’t think I’ll ever forget that feeling.” After the Nashville Ramblers folded, Winchester was hired as a professional songwriter: “I finally got signed as a staff songwriter at Starstruck Writers’ Group- Reba McIntire’s publishing company. I had been pursuing a writing gig
Next, Winchester was hired to “slap the bass” for the Brian Setzer Orchestra, which put out “Jump, Jive, an’ Wail,” which was a huge hit. Next time you hear it, listen for the walking bass line! He remembers being startled by how incredibly powerful the band was at first, but then he “got used to it.” He played with Brian Setzer for 5 years. Milan Miller, the multi-instrumentalist who co-wrote “What’ll I Do?” with Winchester, started playing here and there with Winchester in the 1990’s. They formed a group with Buddy Melton called The Erstwhile Ramblers, which has put out two CDs (and one on the way!) all with songs based on historical figures and events. The two that are out are called Songs from Haywood County and Songs from Jackson County.
December 2013
What’ll I Do?
“What’ll I Do?” was a joint effort between Miller and Winchester. Winchester describes how they wrote it: “Well, like most good songs, it kind of dropped out of the ether while I was sittin’ around pickin’ in my music room one day. I started playing that riff for some reason and then busted out singing that first line. The first verse came really quick and the chorus, although I wasn’t happy with how I was getting the last line of the chorus to fall musically. I thought to myself, this would be a great little bluegrass tune, and since my tendency is to take
things a little more left of center, or rock-n-roll sometimes, I decided to see if Milan would be interested in helping me finish it. Milan dug the riff, and expertly solved the melody problem at the end of the chorus, and we wrote the second and third verses together.”
How It Came To Be
As for how the song came to be on Terry Baucom’s album, with Sam Bush singing the leads, Winchester credits Miller: “Getting the song to Terry was all Milan Miller. He was/is experiencing well deserved success with his songs in the bluegrass world, with several hits for Balsam Range, and an IBMA Song of the Year nomination for ‘Pretty Little Girl From Galax’ recorded by 3rd Tyme Out, among others, so I think Terry and his wife Cindy contacted Milan to ask him if he
had any songs Terry could record on his new album. Milan had made a killer demo of ‘What’ll I Do?” so he included that one in the pitch and Terry loved it.” Now, the song is achieving success. It was nominated for Best Recording Event at the International Bluegrass Music Awards. Even while playing with Emmylou Harris and Brian Setzer, and even while writing songs for Starstruck Writers’ Group, Winchester has had one eye on his solo career. He has made and self-produced two CDs, one called “All These Young Punks” and his latest one called “Upright.” You can find either of them on CD Baby at c d b a b y. c o m / a r t i s t / markwwinchester. Not All Roses Like many musicians trying to make it on their own, Winchester has found some parts of the business more difficult than others: “as far as getting out there, touring, booking shows, promoting myself and my CD, I struggle with that side of the business—which many do-it-yourself artists do, I believe. Plus, I find myself working on the bass for other people quite a bit in order to continue to make a living. Lately, Winchester has had solo gigs where he’s accompanied his own vocals using the upright bass (and sometimes the guitar and/ or ukulele!). “ It’s unique for people to see that, and a challenge to pull off, but it went down great, so I hope to do more one-man shows like that.” You can hear some of his tracks and look up his gig dates on his Reverbnation page: www.reverbnation.com/ markwwinchester or find some info on him on his Facebook page by searching for “Mark W. Winchester.” Also, you can get Terry Baucom’s album featuring “What’ll I Do?” at http://www.terrybaucom.com/ or you can download a digital copy of either the album or just the single at iTunes.com
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December 2013
Darrell Scott: Americana Poet Some of the Americana Rhythm staff members spent a bit of time the last part of September at music festivals and at the IBMA gathering’s music ramble. Needless to say, we heard an earful of great memorable Americana string music. The singers and their music reached our heart and soul and more than once caused tears of emotion to flow.
A singer that is skilled at delivery has a magic way of drawing a listener into the emotion of a song; however, it is the lyrics, the words and the poetry, of that song that causes the emotions to swell. When the singer and the song writer are the same person, the magic is the most intense. There is a special person in this world of Americana music that fits this role, and that person is Darrell Scott. I first heard Mr. Scott perform some years ago at a Merlefest appearance. His music touched me, and I became a fan. Since then, I have acquired several of his CD releases and caught a number of his live performances. Most recently, I heard him perform at a Bristol Rhythm and Roots appearance where he did a wonderful set while seated at the grand piano on the Paramount theater stage. Currently, Darrell Scott is touring a duet act with Mr. Tim O’Brien and is finishing out this tour at the Court Square Theater in Harrisonburg, VA in late November. In light of this appearance in AR’s neighborhood, I though that you might care to know a bit about this great singer/ songwriter; so I sat down for a chat with Mr. Scott to learn a bit about the man and his craft.
The Early Stages
I first asked Mr. Scott about his early years and his heritage. He told me that he was born in Kentucky into a family that has over 100 years of roots in that state. His ancestors were coal miners
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By Edward Tutwiler
and tobacco farmers. Scott referred to his family background as just plain hill people and Appalachian folks. He quickly added that music was always a big part of that heritage. He said, “Music was always around and my family always played music.” During the 1950’s people started moving north to the manufacturing jobs that were becoming available, and Scott’s family was no exception. They worked in the steel mills and the auto factories. He said that his father worked in the car factories before coming back to KY were Darrell was born and then went on to Chicago to work in the steel mills. I wondered how music played a part in this migration. Here is how he described that. “Through all that moving around, music was always a part of our life—primarily county music. I listened to the Grand Ole Opry and Bluegrass was foremost with a mixture of the Monroes, the Osbornes, and others. I grew up with this influence of country music but also with Sunday church music. That was my childhood background. I grew up in a family band where all my brothers played along with my Dad. We were mostly influenced by Hank Williams and Johnny Cash and a good input of church music as well. Because we were young growing up in the 60s and 70s, we started paying attention to other things such as the Beatles and some of the singer/ songwriter stuff. That is what I started gravitating toward. By the age of 14, I was playing at honkytonks. My dad was the leader of
a small-time bar band. That is how I got to play. Of course, you don’t get paid for playing as a 14 year old. That’s my background. My music comes through the family.”
Career In Transition
I ask Mr. Scott to tell us when music became a career for him and what drove that choice. Here is his reply. “My dad was involved in music maybe not in a professional level per say in that he never went to Nashville or sold anything but he was a fan in the biggest degree possible. Because of this, he essentially raised his boys to be a band. So, I never really had any other jobs. Our family did fence construction as a business on contract to the large home improvement companies. Those were my options: Playing music or doing really hard construction digging post holes and stringing barbed wire and such. I’d been around music all my life, and I had an older brother who was a great singer and guitarist in the style of Jerry Reed and Chet Adkins. He was amazing at 14 and as a six year old, I became
the bass player. That was a good thing because the bass is a great instrument to start on. With it, you learn the foundation that music is built upon. So, music is all I have ever done. In my early 20s, I quit music and went to collage because I thought that I was not going to do anything with music, and I had not up to that point. I became an English major in college, and that study really improved my song writing. (I had been writing songs since I was 12 years old.) Being exposed to a lot of poetry and literature really changed and improved my song writing ability. I started college at 23 because I had been on the road playing music. At 28, I graduated with my English degree. At that point I took all that I had learned in college with the study of literature and poetry and folded it into making music. From then on, I’ve been making original music. I found my writers voice in college and I’ve been at it every since.”
With A Message
I mentioned that much of his song material was about tobacco farming, coal mining and factory
December 2013
hard times. He replied, “There is no way that I could not have been influenced by all that. It’s hard to explain. Certainly the country music was there and the old Southern Baptist hymnal music was there but there is a deeper Appalachian mountain roots thing there as well. I’m not sure where I ever learned it but it just seemed to always be there. The more I started getting together in Nashville with people like Tim O’Brien and Sam Bush and others, the more that roots influence started coming out in my own work. Not everything I’ve done has been mountain or Appalachian based but there is definitely a trend going through it.
Award Winning
After writing Hank Williams’ Ghost, which was named the 2007 Americana Song of the Year, Darrell Scott was asked to be a part of Robert Plant’s 2010 Band of Joy album. (It is worth noting that this album was nominated for two Grammy Awards.) I asked Darrell to tell us a bit about that
experience. Here is what he related, “Robert Plant is a lover of roots music—not only of his homeland but here in the US as well. He is very interested in the mountain and blues music from here. I was involved as a multiinstrumentalist in that band. I played fretless banjo and acoustic guitar but I also added harmony singing to Robert and Patti
Griffin and Buddy Miller. (ed. note: The record credits lists Scott with playing acoustic guitar, mandolin, octave mandolin, banjos, accordion, pedal steel guitar and lap steel guitar, as well as backing vocals.) The voice thing was maybe more important to me than the instrumentation. It was great, and I would do it again if the opportunity came about. It involved more that a year of traveling with Robert and I think we became a very special band once we got on the road and stated playing together.”
Partner In Tunes
That discussion brought us to this current project with Tim O’Brien. Thirteen years ago Darrell Scott teamed up with Tim O’Brien to produce an album named Real Time, which was filled with Americana originals and old country covers. In the intervening years, things have been busy for both of these gentlemen but they’ve finally found the time to do a follow up project titled Memories & Moments. In this new project, the two draw upon
their shared Appalachian roots and inspiration from country music’s roots. Scott was reported elsewhere as describing the new album as, “bigger than the sum of our parts, and our parts are pretty good to begin with.” I asked Mr. Scott if he would tell us about this new project. Here is his take, “In my audience and continued on page 11
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December 2013
September Song By Greg Tutwiler
For the past several years, I have
looked forward to the month of September as my Americana overload. One year we hit a festival every weekend, even camping at several of them. Another year we attended five festivals in two weeks. So this year, I wondered what I could do to top that. Not to worry! Thanks to the International Bluegrass Music Association’s recent move from Nashville, TN, to Raleigh, N.C, the coup de gras to my September this year was in place. We set out on Friday morning, September 20th bound for Bristol, VA/ TN and the annual Bristol Rhythm and Roots Festival. Bristol, considered the birthplace of country music, celebrates annually the heritage that made American roots music what it is today. Attended by thousands of folks from all across the country, the two and a half day music bash shuts down State Street, dividing Virginia and Tennessee. Every nook and cranny, theater, pub, and coffee shop fea-
Friday afternoon on the 27th, we had to sneak out early in order to head back to Buena Vista, Virginia in time to catch the second The Steel Wheels at Raleigh’s historic Lincoln Theatre. round of artists at the annual Nothin’ Fancy Bluegrass festured a full menu of Americana tival hosted by award winning acts. And the mile plus stretch of Nothin’ Fancy band. The warm street lined with food and crafts and friendly atmosphere promoted tantalized your curiosity as you by the host band and the cadre of whisked past on your way to anannual attendees and vendors other great performance. makes this the perfect down home festival; and what a way to cap off We settled in Sunday night to rest our eight day voyage. I must say our senses and prepare for the four though, it sure made it a little difhour trek over to Raleigh, NC and ficult to return to civilian life on the week long IBMA and Wide Monday morning Open Bluegrass event. It’s the
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Along
the Shenandoah Music Trail
By Don DePoy PhD
Indoor Season
As fall settles in, for the listener, it’s now time to seek out and attend live indoor concerts. If you are a picker and still wanting to improve your chops, it’s time for “woodshedding” and attending an open jam session. Most are free and open to the public. There are several sources for both listeners and pickers to find music outlets. Local newspapers have concert and jam listings both in the paper and online at their community calendars. Local and regional state tourism offices publish local music events. And there are many on-line web sites that list and support live music and jam sessions. Notable sites include: Shenandoah Music Trail (www.shenandoahmusictrail.com), The Crooked Road, serving southwest Virginia
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crowning moment of the who’s who in the Bluegrass industry as IBMA issues it’s annual awards and then treats fans to a weekend street fest filled with all kinds of grassy flavors. For it’s first installment in their new home, from all accounts, IBMA and the city of Raleigh are on the right track writing a new chapter, and expanding and shaping the future of Bluegrass heritage. (See the separate list for individual winners.)
(www.thecrookedroad.org), Washington, DC Bluegrass Union (http:/ /dcbu.org/jams.htm), and Tidewater Bluegrass Music Association (www.tidewaterbluegrass.org). Other listings can easily be found by using any on-line search engine. For national on-line listings for live concerts and jam sessions try www.simplybluegrass.com. If you are a business owner offering live music or a jam session, listing on any of these sites is usually free. If you frequent a jam or live music venue please share with the organizers or the owners your appreciation of their efforts to keep music making alive.
Bluegrass Internationally
Northern Kentucky University’s School of Business is offering a class
focusing on business strategies to globalize bluegrass music internationally. I have been asked to be involved as a class resource and now ask you the reader to consider entering the conversation and contributing your thoughts. Bluegrass music is enjoyed worldwide and sharing multiple ideas and points of views can help us all understand how to promote and market this popular music. Here are some of the specifics being discussed pretaining to promoting the globalization of Bluegrass music. What is it that promoters are seeking to internationalize? Get people to play traditional instruments associated with Bluegrass, and in Bluegrass style; sales of musical instruments associated with Bluegrass (Who makes them? Where are they made?); increase sales of Bluegrass music internationally; increase live performances by Bluegrass artists internationally; encourage non-Bluegrass artists to cover Bluegrass songs, include Bluegrass influences?; establish more international Bluegrass festivals; and use of Bluegrass music in films, and films about Bluegrass.
2013 IBMA AWARDS Entertainer of the Year: The Gibson Brothers Vocal Group of the Year: The Gibson Brothers Instrumental Group of the Year: The Boxcars Male Vocalist of the Year: Junior Sisk Female Vocalist of the Year: Claire Lynch Emerging Artist of the Year: Della Mae Album of the Year: Papertown, Balsam Range Song of the Year: “They Called It Music,” The Gibson Brothers Mandolin Player of the Year: Adam Steffey Dobro Player of the Year: Rob Ickes Bass Player of the Year: Barry Bales Fiddle Player of the Year: Jason Carter Guitar Player of the Year: Bryan Sutton Banjo Player of the Year: Mike Munford Bluegrass Songwriter of the Year: Eric Gibson Broadcaster of the Year: Ronnie Reno Hall of Fame Inductees: Tony Rice, Paul Warren For an expanded list visit www.ibma.org
Which countries with musical traditions that influenced Bluegrass (e.g. Ireland and Scotland) are more receptive to Bluegrass music than countries with very different musical traditions? What would increase with Bluegrass-related tourism; increase in foreign musicians coming to perform and learn at Bluegrass festivals in the USA; are there major tourist attractions in the USA for Bluegrass music lovers or those seeking to learn more? The International Bluegrass Music Museum has been re-located from Owensboro, KY to Nashville, TN how many visitors does it attract per annum; what percentage are from overseas? Why is Nashville the home of Country & Western? Is there any alternative city that offers more differentiation, and less competition? You can read more at this web address: http://strategycapstone.ning.com/ page/globalize-bluegrass. Feel free to contact Don for more information about the Shenandoah Music Trail at depoyd@hotmail.com
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December 2013
Scott, continued from page 9 in Tim’s audience the first album has become one of the favorite albums that either of us has ever made in our own work or otherwise. For years I have had fans tell me that they have loved it and asked when we going to do more work together. So that is how it came about way back. It has just taken us 13 years to make it happen.” “We each have our own careers and it has just taken a long time for us to get the time to get together to write. We did feel that this is the right time and the people have been very supportive of it. We used Kick-Start (ed note: an internet-based fund raising site) to fund some of the effort and the people came through with flying colors. The record came out the third week of September. We started with shows in Nashville and we hit the road from there. Our last gig of this year is in Harrisonburg, VA. It’s just the two us like on the record singing full-out harmony. We
have fiddle, banjo, guitars and other instruments that we play. We are doing songs from this new record and some from our first one as well. We each know country songs and bluegrass songs so
each performance will be different. We’re fearless together. We try new stuff and mix it up each night. I thing our recording captures some of that, and the live performance can’t help by capture some as well.” I asked Mr. Scott to describe what he hoped listeners received from his music. Further, I asked him if
he thought that he could keep going ahead or did he worry that his creativity could dwindle. He answered the first question in a straight forward manner by saying, “I hope it shakes up something or moves something in them. I hope it stirs them up like music has stirred me up over the yeas and still does. I hope it makes them think about something.” Then he left me with some very insightful thoughts about the second question that could apply to anyone who sits down with pen or keyboard. Here is what he said, “I once worried about things like writers block but now I’m not even sure there is such a thing. There are times where writers do not write but that does not mean it is blocked. It just means that writers are not writing because something else is going on in their lives that need their attention. I have found that you go back to the writing when the time is right. I have learned to not worry about when songs show up or when they do not. In my world, I’ve written two songs in a day and I’ve gone nine months without writing a song ”
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December 2013
Thanks to a new partnership with ReverbNation (www.reverbnation.com) we are honored to give you a peak at a few of the nation’s hardest working indie artists. Each month we’ll select one entry to showcase for you here. Enjoy! THIS MONTH’S FEATURE:
By Greg Tutwiler
The David Luning Band FEATURE ARTISTS Becky Sanders of American
Songwriter said singer/songwriter David Luning “tells strong stories and paints vivid pictures with his lyrics.” It’s an accolade that any artist would be proud of. Hailing from Forestville, CA, David has been racking up the awards in the past three years, including being nominated for the “Best Americana Band” in the North Bay; and has opened for acts such as Leon Russell, Dave Alvin, Ramblin Jack Elliott, Rodney Crowell, and Junior Brown. He has headlined at major venues, and been invited to play at noted festivals such as EarleFest and The Stagecoach Festival. I asked David to give me some insight into the journey that brought him to this stage in his musical career. “I was studying piano and film scoring at Berklee College of Music, when I discovered Americana music,” he recalled. All through high school David said he was listening to bands such as Mr. Bungle, Melvins, Aphex Twin, Radiohead, Pixies etc. and had actually never really listed to Americana, folk, or even country. “When I was in Boston, I was having a hard time and I was pretty bummed out. I met these two guys, Johnny Nicholson, and Jordan Tarrant, who lived in my apartment building, and they
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invited me over a few times to hang out and share songs.” David remembered them both as phenomenal songwriters and recalled how they would show him songs they had written, and a bunch of great music that he hadn’t listened to before, like John Prine, Ryan Adams, and Old Crow Medicine Show. “Something just clicked,” he said. “I got inspired and wrote my first Americana song about my troubles in Boston and wanting to return home to California (called “Northern California”). After I wrote that, I knew that being an Americana artist was exactly what I wanted to do.” So David left school and moved back to California to start pursuing a full time career in Americana music. And of course, it worked. David is riding the success of his debut CD along with a group of musician friends collectively called the David Luning Band. The Americana/Rock collection called, Just Drop on By, has received comments like, “a gritty, joyful, soulful piece of Americana”, “a phenomenal experience” and “an album you’ll want to revisit again and again”. And David himself has
been called “one of those exceedingly rare talents who deserves your full attention.” “Right now I fell very lucky to be playing with a group of guys that are ridiculously talented and super easy to get along with,” he said. “We just went on our first tour together in a van and got along beautifully. Dave Sampson, “Super Dave”, plays electric guitar, mandolin, lap steel, dobro, and slide guitar; He’s a mad man, and I am so stoked to be having him play with me. Linden Reed is a high-in-demand monster drummer who is in several bands ranging from metal, to Americana, to 80’s dance music. He also does an incredible Gollum impression. Lastly, on bass I have Ben Dubin, who is, in addition, a total shredder on the harmonica. He is also an expert at making a crappy situation hilarious.” David, a big DIY guy shared his day to day life as this: “I wake
up, put on some music, make about a half a pot of coffee, eat breakfast and drink that coffee while I take care of emails and shamelessly promote myself on Facebook etc. Then the rest of the day may be filled with shows, making posters, putting together newsletters, writing, recording, plotting revenge on my toaster for burning my bagel, rehearsals, web design, writing shot lists for a new music video etc. It’s a good time for sure.” David’s a busy guy for sure. Music is a completely full time venture. “Right now I am actually in two full time bands,” he told me. “My other band is a San Francisco based cinematic folk duo with Brodie Jenkins called Ghost & Gale. And since I’m into doing it all DIY (including graphic design etc.), I am pretty darn busy. Though, when I’m not working on music, I really like to act.” There’s that Berklee influence coming out. Go get ‘em Dave
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December 2013 Paul and Silas Pig in a Pen Rocky Top Shady Grove
That Dreaded Count In Perhaps you’re a lurker at the bluegrass jam or pickin’ session. Sometimes you’ve heard the musicians count at the beginning of the songs with “one, two, three” or “one, two, three, four” and wondered how (and why) they’re doing that. You may have been in a position of having to start a song in a jam, and you’ve dreaded having to do the count-in. In either case, read on. When it’s your turn to start a song in a jam, the surest way to get the other musicians to come in at the right place isLester to count themand in. To illustrate this, Flatts let’s take the song “Footprints in the Earl Scruggs Snow,” which starts with the words “Some folks.” If you start tapping your foot and then sing or think the words “some folks,” you’ll see that “some” starts on the first downbeat of the song. To count in a song like this, you would count “one, two, three, four.” The other musicians would come in on the next “one.” Your challenge will be to count at the very same speed you want the song to be played at. You should practice the count in at home before you try it at a jam. Besides songs like “Footprints in the Snow,” where the lyrics start with the first downbeat of the song, you’ll find that many songs begin with several pick-up notes. A good example of this is “Red River Valley.” The first verse begins with “From this valley...” To count in this song, you would count “one, two, three” with the group coming in on “four.” If you’ve got to count in a song in 3/4 or waltz time, the counting is a little different. Take a song like “All The
Good Times Are Past and Gone,” which starts on the first beat of the song. In this case, you would count “one, two, three, one, two, three.” The group would join you on the next “one.” “Amazing Grace” is an example of a song in waltz time that has a pick-up. In this case, the first syllable of “Amazing” is the pick-up note. You would count “one, two, three, one, two.” The group would come in on the “three” with the first syllable of “Amazing.” If you’re still confused by the counting, watch and listen how the more seasoned musicians do the count-in, and you’ll soon get the hang of it. In writing this article, I made a random list of sixty bluegrass songs. Out of these sixty songs, only sixteen started right on the first beat of song, while forty-four had pick-up notes at the beginning of the song. That means that almost three times more songs start with pick-up notes than start with the first beat of the song. Although this is a rough estimate, it’s useful information to know how the majority of songs will start.
Here’s some songs with pick-up notes at the beginning of the verse: Amazing Grace Angel Band Back Up and Push Banks of the Ohio Blue Ridge Cabin Home Bury Me Beneath the Willow Cabin in Caroline Cherokee Shuffle Colleen Malone Columbus Stockade Blues Crying Holy Unto the Lord Dark Hollow Deep Ellen Blues East Virginia Hand Me Down My Walking Cane High on a Mountain Honey, You Don’t Know My Mind House of the Rising Sun I Am a Pilgrim In the Pines John Henry John Hardy Just Over in the Gloryland Katy Dear Keep on the Sunny Side of Life Knoxville Girl Little Birdie Hand Me Down My Walking Cane High on a Mountain Honey, You Don’t Know My Mind House of the Rising Sun I Am a Pilgrim In the Pines
Just for sport, here is my list of songs that start with the first downbeat of the verse : Black-Eyed Susie Cripple Creek Don’t This Road Look Rough and Rocky Down the Road Footprints in the Snow Handsome Molly I’ve Just Seen the Rock of Ages Long Journey Home Mama Don’t Allow Man of Constant Sorrow Old Joe Clark Pass Me Not
Wayne Erbsen is a jam-leader, musician, author, publisher and radio host. He h as w ritten th irty songbooks and instruction books for banjo, fiddle, guitar, mandolin and dulcimer. His newest books include Bluegrass Jamming on Banjo, Bluegrass Jamming on Mandolin and Bluegrass Jamming on Fiddle. Check out his web site www.nativeground.com. Call or email for a free catalog (828) 2997031 or banjo[at]nativeground.com.
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John Henry John Hardy Just Over in the Gloryland Katy Dear Keep on the Sunny Side of Life Knoxville Girl Little Birdie Little Girl in Tennessee Little Maggie Lonesome Road Blues Love of the Mountains Midnight on the Stormy Deep Nine Pound Hammer Red River Valley Red Rocking Chair Rocky Road Blues Roll on Buddy Sittin’ on Top of the World Take This Hammer There’s More Pretty Girls Than One When the Saints Go Marching In Wildwood Flower Will the Circle Be Unbroken Working on a Building
Happy Holidays!
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December 2013
Music From The National Scene
Music From Your Neighbors
welcome to our latest edition of SPINS! How can these guys keep making such great music? Wow! Grab your iPad or Smart Phone and dial up some of these fine folks. We bet you love them all - we do!
Of course, soon you’ll be able to hear cuts from these groups featured on our Internet radio station, Americana House Party as well. You can turn us on from the home page of our web site at www.AmericanaRhythm.com. Uncle Woody, The Spin Doctor
Junior Sisk & Joe Mullins Hall of Fame Bluegrass
Detour Bluegrass Ahead
Kenny And Amanda Smith Catch Me If I Try
Lou Reid & Carolina Live At The Downhome
Darin & Brooke Aldridge Flying
www.loureidandcarolina.com Celebrating 20 years with their live CD, Lou Reid is no newcomer - notching stints with Doyle Lawson, Ricky Scaggs, and Vince Gill, and a current member (for 18 years) of Seldom Scene. This current disc is spot on
www.darinandbrookaldridge.com
Lorraine Jordan & Carolina Road
www.detourbluegrass.com Michigan based bluegrass band Detour is among the new breed of grass entertainers. Times; they are changing, and Detour is out in front of the pack. Lead singer Missy Armstrong fronts this group of veteran musicians
First saw this couple several years ago at the International Folk Festival - what a treat to see this group evolve into the multi-nominated musicians they have become today. Their new CD is top notch
The Church Sisters There’s You
Nothin Fancy
James King
A Nothin Fancy Christmas
Three Chords And The Truth www.thejameskingband.com Martinsville, VA native James King has been making Bluegrass records since the early 80s and is a festival favorite for many fans of traditional bluegrass music. His new CD, Three Chords And The Truth will make his fans quite happy
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www.kenny-amandasmith.com
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2011 IBMA emerging artists of the year, Darin and Brook Aldridge have taken their contemporary grass sound to new levels with their latest, Flying. Love Brooke’s rich country laced vocals. This is the Americana act to watch
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Two of this generation’s future hall of famers, Junior Sisk and Joe Mullins hook up to pay tribute to the IBMA’s past hall of fame musicians. They are joined by an award winning cast for this must have collection
www.thechurchsisters.com This Virginia born, Tennessee transplant sister act is such a joy to watch. I saw these young ladies when they were just getting started. You knew then they were destined to shine - and they are. This collection, There’s You, is a must for your collection
This group has been together since 1994, getting their humble start at Captain Sam’s in Waynesboro, VA. 9 CDs and oodles of awards later, they team up here with National Media Services for this special collection of classic
Me & Martha Whispering Pines
Memories Of That Old Country Church
Robin & Linda Williams Back 40
www.meandmartha.com
www.michaelmartinmurphy.com
www.robinandlinda.com
www.terrybaucom.com
Things That Used To Shine www.wildponies.net
Sharing their well crafted new release, Shenandoah Valley natives Don Depoy and Martha Hills spend their days traveling and performing traditional music of the Valley; when Don is not teaching bluegrass instruments at Eastern Mennonite University.
This classic collection of 16 Gospel songs, preserved here by Rebel Records, is performed by legendary artists such as Ralph Stanley, Mac Wiseman, Jim & Jesse, and Paul Williams. Gospel Bluegrass fans will want to own this CD
40 years! When someone has successfully been making music for 40 years, what more can you say except, thank you - and yes, it’s still really good stuff. Robin and Linda Williams fans will be proud to partake of the seasoned performance.
Virginia’s Americana crafters, The Woodshedders, bring together the diverse influences of American Country, Rhythm & Blues, Old-Time, Bluegrass, and Gypsy Jazz for this latest, Wildfire. Very uniquely entertaining.
Formaly known as Doug and Telisha, the revamped act morphed into the Wild Ponies, added drums, more spunk, fancy electric guitar licks - and bam! It works! And their debut CD, Things That Used To Shine, is already heading up the charts
www.rebelrecords.com
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www.nothinfancybluegrass.com
Christmastunes.Nice.
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The Woodshedders Wildfire
You can send new Americana CD releases for consideration to PO Box 45, Bridgewater, VA, 22812
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www.carolinaroadband.com A solid traditional bluegrass band, Carolina Road, lead by mandolinist Loraine Jordan, makes a solid debut on Pinecastle records with this latest project. The CRB are also hosts of the really cool Christmas In The Smokies bluegrass festival
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Wild Ponies
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December 2013
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