Americana Rhythm Music Magazine Issue #100

Issue 100

What Keeps You Going First of all, a BIG Congratulations to Greg Tutwiler and Americana Rhythm Magazine! You are reading the 100th issue right now!

Wow, this is a milestone worth celebrating. Free to the public, available online and in print. Pretty amazing to say the least.

As the end reader, you may not see the work that goes into producing a magazine like this, print deadlines, little things like Covid to deal with, how to finance it, and find writers and advertisers to help keep it going. It really is a work of dedication and love of music. After all, that dedication is why we meet on these pages, isn’t it?

We share a love of music - playing, performing, writing, producing it?

www.mikeandamyaiken.com For up to date tour information

Americana Rhythm is published six times a year. All correspondence should be sent to PO Box 45, Bridgewater VA, 22812 or CONTRIBUTORS email to greg@americanarhythm.com. Copies of Americana Ed Tutwiler Rhythm are made available free at various pick up locations within Wayne Erbsen the publication’s region. Subscriptions are available inside the United Donna Ulisse States (only) for $24 US currency made payable by check or Mike Aiken money order sent to, Subscriptions at PO Box 45, Bridgewater, Andrew McKnight VA, 22812. Foreign subscription requests should be sent to Dan Walsh greg@americanarhythm.com. Copyright 2022. All rights reRebecca Frazier served. Reproduction of any content, artwork or photographs DISTRIBUTION is strictly prohibited without permission of the publisher or origi- North River Publishing Integrated Music Media nal owner. All advertising material subject to approval.

PUBLISHER/EDITOR IN CHIEF Greg E. Tutwiler Associate Editor Ed Tutwiler MARKETING & PROMOTION Mark Barreres (GrassRootsNetworking.com) Letters, Comments, Suggestions ADVERTISING greg@americanarhythm.com Business office 540-433-0360 www.americanarhythm.com advertising@americanarhythm.com

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100 issues … I haven’t been with AR for all 100 issues, but I can measure my time in years. My goal has always been to entertain you, share some stories and lend hard-earned advice gained from my experiences. I consider it a win if I can inspire you on your musical journey.

What Keeps You Going?

Each year someone asks me, at least once, ‘what keeps you going?’ The answer isn’t simple. But it does boil down to a love of the road and everything I see and experience on it.

I trust that comes out in my music. It is the joy of being able to touch someone’s heart through a song or story. It is the pleasure and frustration of always trying to be a better writer and player.

This article finds me writing from Amy’s sister’s house in Frederick, Maryland, on our way to our third fans and friends cruise aboard a Windjammer schooner out of Rockland, Maine. It is a way for us to spend up-close and personal time with friends and fans, and for them to do

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the same with us. This year is on the schooner Grace Bailey. She was built in 1882 and happily plies the waters of Penobscot Bay. We go out for a week of three unplugged shows on deck, incredible scenery, beautiful sailing on flat water and great food!

We all tell stories, laugh a lot, hang out and maybe even write a song.

[Check out the video for ‘Timber She’s Hauled,’ written on a past cruise.]

Living The Next Song So, we are on a run from our home in Norfolk, Virginia to Maine. We will be out a week then return to Norfolk.

We’ll have five days to unload and reload for a three month run in Europe.

This will be almost four months of traveling, preforming, playing music, meeting new people and seeing old friends/fans and making new friends and fans. All good stuff!

Will there be mishaps? I am sure there will - always are …Will there be missed or cancelled flights? I hope not but who knows? Will there be breakdowns? If so, they will not have been the first. Am I dying to go? You bet your sweet behind I am! Will I come back with more stories for you?

I most certainly will! Catch us live every Wednesday on Facebook live, and we will take you with us.

I would like to thank a couple of the companies that have been over-thetop supporters. TKL cases, and Takamine guitars; thanks guys, you’ve been with us each trip and every mile.

Until next time please keep sending us your comments and keep the music alive. Be good to each other.

Here’s to the next 100 issues of Americana Rhythm! Cheers! www.mikeaikenmusic.com

Issue 100

Hitting A Mile Stone Firstly, Thank you Mike Aiken (see opening article to the left), along with all the other contributors to this milestone issue [Edward Tutwiler, Donna Ulisse, Dan Walsh, Rebecca Frazier, Charlie Young, Lee Zimmerman, and Pamm Tucker], along with the many, many folks who’ve contributed in the past, as well as advertisers, partners, artists, labels, venues, festivals, friends and family, and especially YOU - the reader which really, without you, there wouldn’t be any reason to do this. So, Thank You - Thank you ALL!

Did I Plan This?

There was no real game plan when I started Americana Rhythm back in 2005. I had attended my first Merlefest in 2004 where I was promoting Singer & Musician Magazine; an industry trade publication I was copublishing with a friend and mentor from New York.

I was blown away by the festival.

Twenty years ago, I was more of an indie-rock connoisseur. Although I’d grown up in the Shenandoah Valley of Virginia - my musical exposure growing up in the 70s and 80s was Classic Rock. My short-lived performance life was as a bass player in a classic rock cover band in high school and college. So, when I discovered the Americana music world that I stumbled into at Merlefest - I was an instant fan! I ate it up. And when I returned home all excited about it, only to find none of my friends knew what I was talking about, it seemed like a problem I had to fix.

I was already helping produce a magazine, so how hard could it be to create a little newsletter about what I had discovered in Wilkesboro, NC that weekend at Merlefest.

My initial goal was to enlist enough local advertisers to help cover the cost

of producing and printing my first three editions. I asked my dad if he’d write a couple articles for me - and let’s see if anyone cares. [Almost 20 years later, dad’s still writing - Thanks so much, dad (Ed)! I know many of you enjoy his retrospective articles.]

It worked!

It worked. Now what? I quickly realized we struck a chord (pun intended?), and we were onto a niche’ that needed a vehicle. I had a lot of learning to do - a lot of people to meet, and a lot of history to delve into. It went from local, to regional publication in three issues, to a national in two years, to an international reach not long after that with the creation of AmericanaMusicMagazine.com.

Producing five to six editions a year, I didn’t start thinking that 100 was actually on the radar until around issue 80 or so. As the world, politics, economics, and other factors have affected how we produce and consume entertainment, and entertainment media - it’s always hard to look too far into the future with ventures like this. But we made it! Even through a global economic shut down, we survived - just like you did. And here we are, holding Americana Rhythm, issue #100.

It’s run the spectrum of experiences, from complete frustration to an absolute blast. What’s been the most fun though, are the opportunities to meet, and make friends, with so many people I would have otherwise not had the opportunity to meet. That’s what really keeps the operation going.

Musicians make music, producers produce, promoters promote - journalists? We journal. We journal about what interests us. And sometimes; sometimes we get lucky enough that people like you (the reader) find what we write about, and what we discover, interesting enough to read it, and encourage us to do it again, and again.

For that, we ALL thank you! So, I think we’ll do it again.

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Future of Bluegrass

Issue 100

By Edward Tutwiler

Wow! This is Americana Rhythm’s 100th issue. It is going on 18 years we’ve been writing essays about our favorite genre of music—the music that Virginian Ralph Stanley once described as, “That music they call bluegrass”.

Of course, in a different setting it is that music my mother called “string-music” when she and I, as a child, listened to the radio broadcasts of the old time and classic country music. A chance encounter with my musical roots one spring at Merlefest brought me back to ground zero; and at the same time opened our publisher’s eye’s to potentials that helped conceive this publication.

Here we are today looking forward and speculating about musical futures. Because I do not want my thoughts alone to conjure this future, I have conferred with some heavy hitters in this business to lend their views as well: We have AR’s esteemed friend, Ms. Donna Ulisse (a successful songwriter and IBMA song writer of the year winner; as well as someone who enjoyed a good run as a country music recording star). Plus, Mr. Greg Blake (IBMA and SPBGMA nominated male vocalist of the year; founding member of Jeff Scroggins and Colorado; and current lead vocalist and guitarist for The Special Consensus).

Americana String Music

This bluegrass subset of Americana string-music has had an evolutionary growth. With its origins in the Eastern Appalachian mountains as ancient Scot-Irish and English ballads infused with enslaved African influences, it first morphed into a folksy sound that changed every time someone new played its melody and sang its lyrics; however, it eventually gelled into a genre known as old-time music. With the emergence of recorded music and radio air play, this old-time music became somewhat standardized. Then, along came Kentuckian, Bill Monroe and his band who was

named after that famous KY bluegrass. They produced a new, faster, hard driving way of playing that same old-time music (my music teacher, Dulcimer Diana, never ceases to mention, “Bill Monroe stole old-time music”).

Nevertheless, sometime in the 50’s or early 60’s, bluegrass music became its own genre of sound and never looked back.

Bluegrass music has gone through several eras: from the origin players such as Monroe, the Stanley brothers, and other similar sounding folks; a second wave such as Seldom Seen, Country Gentlemen, and other innovating artists; a third generation filled with artists such as The Steep Canyon Rangers and many others; and this present group of artists who are just now making their mark. The bluegrass genre has always exhibited generational change. Greg Blake put it this way, “The bands to which I listened as a child were then considered contemporary, progressive, and on the edge; and now those bands are considered traditional. I think we will continue to see that kind of move.”

Donna Ulisse’s take on the present is this, “I am excited for bluegrass music! There is an abundance of talented folks writing and recording songs with a mountain flavor and filling the airwaves with banjoes and fiddles.

I am happy to hear the new music.” Greg Blake concurred by adding, “Many young fans are currently turned by great young artists like Molly Tuttle and Billy Strings as well as many other new-comers. I know both of those folks personally, and their heart’s are definitely into the music. They have a great appreciation for the past. You can hear that in their playing, and you can hear it in what they say when they talk to you as well.”

continued on page 6

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Issue 100 continued from page 5

Where We Go Now

But this is the present; where do we go from here? That question begs another. Is there a future for bluegrass music as a viable musical art-form? While this is a music genre that has a rich history, it actually can only claim a small but loyal fan base—many of which sport gray hair. Like any of the past genres of music, this music art form must adapt to changing times if it is to remain viable. Ms. Ulisse sees this point a bit differently and says, “The tried and true classics should always be an integral part of this genre because I believe that’s the heartbeat of this music.” Greg takes a somewhat different slant in saying, “Bluegrass music is easily adaptable, and it has room for just about everybody.” Okay, both fair points. Let us explore the current state of bluegrass music, the challenges it faces, and the opportunities that exist for this genre to continue to thrive in the years ahead.

While originally only regional in nature, bluegrass music today has a national exposure and is enjoyed almost anywhere it is played with its distinctive instrumentation that includes: banjo, mandolin, fiddle, guitar, and bass (violin); plus a few recent additions such as resonator guitars, mouth harps, and yes, even drums.

Thus, bluegrass music continues to attract that small loyal fan base that value’s its traditional sound and instrumentation. Many fans are drawn to the nostalgic and sentimental lyrics, which often tell stories of rural life and the struggles of everyday people.

Bluegrass festivals and concerts currently draw large crowds throughout the nation, and the genre has spawned a cohort of successful musicians and bands over the years.

Facing Challenges

Despite all this, bluegrass music faces a number of challenges in the modern music industry—the biggest of which is its limited appeal outside of its core fan base.

Although bluegrass music has enjoyed some mainstream suc-

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cess in recent years, it remains a niche genre with a relatively small audience when compared to other popular music genres.

Another challenge facing bluegrass music is the changing nature of the music industry itself.

While SirusXM® internet radio currently includes Bluegrass Junction on its station list; it jerks that channel around to suit its own agenda. Add to that the rise of streaming services like Spotify®, Apple Music ® and others that

rations have become popular in recent years, and some bluegrass musicians are working with artists from a wide range of musical backgrounds to make a hybrid form of the genre.

This thought leads one to conclude that bluegrass musicians must grapple with the ongoing debate over what constitutes authentic bluegrass music. Some purists argue that the genre must adhere to strict rules and traditions, while others believe that

these new programs These programs are all over the place these days Every time I turn around I see a new one popping up. The folks coming from these schools are skilled, well trained, and well grounded.” A testament of sorts to this innovation is this: A successful and well-known bluegrass singer, Dave Adkins, is currently touring with a very young group of hot bluegrass pickers comprised almost completely of currently enrolled ETSU students and recent graduates.

Thus, there are opportunities for bluegrass musicians to expand their audience and reach new fans. By embracing technology, collaboration, formal college-level study, and continued innovation, bluegrass musicians can ensure that the genre remains a viable and vibrant art form for many years to come.

Several thousand bluegrass fans enjoying music at Pickin’ In Parsons in August, 2023

have disrupted traditional revenue sources for musicians.

When combined, these changes make it difficult for artists to generate a living wage playing bluegrass music. Also, the decline of recorded album sales has made it harder for bluegrass musicians to fund their tours and recording projects even though boxes of CDs (what’s those?) set front and center on every merchandise table at every festival.

Must bluegrass musicians be willing to adapt to changing times and find new ways to connect with audiences? Maybe, but what are those ways? Maybe they must embrace new technology by using social media, online streaming platforms, and other digital tools to reach fans and build an audience. To be fair, many bluegrass musicians are already doing this by using social media platforms to share their music and connect with fans all over the world. Another way to expand the appeal of bluegrass music is by collaborating with musicians from other genres. Cross-genre collabo-

the genre must evolve and adapt to changing times. This debate is unlikely to be resolved anytime soon, but it underscores the importance of innovation and experimentation within the genre.

Future Looks Bright

Despite the challenges, the future of bluegrass music looks bright.

The genre has loyal fans that value the traditional sound and instrumentation yet are willing to expand its listening tastes to enjoy some hybrid variations as well.

Many young, talented pickers and singers do not look the part of traditionalists but they sure do put heart and soul into their performances and value lessons from the past. Billy Strings, for instance, credits Doc Watson as his greatest influence.

Schools such as East Tennessee State University (ETSU) and various community colleges throughout the Appalachian region offer courses of study that lead to degrees in bluegrass and old-time music studies. Blake’s view of this innovation is, “I am a believer in

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Recently, AR’s publisher was chatting off the record with a respected member of the bluegrass community about the future of bluegrass. The general conscience of that conversation was bluegrass music is currently riding a wave of popularity and that wave might ebb and flow over time.

Further, bluegrass could crudely be compared to the punk music scene—it might not be in the popular eye but it can be found playing anywhere fans were willing to look and it will never fully go away. They concluded that a younger audience is finding bluegrass music and as the older audience slowly moves on, this younger group of fans will keep the music alive—it too will be found anywhere fans will be willing to look and it too will never fully go away.

Loyal Fans Deep Roots

In conclusion, bluegrass music has a rich history and a loyal fan base; and with its deep roots in American culture and that dedicated fan base, there is no reason to believe that it cannot thrive for many years to come; however, it faces a number of challenges. To remain viable, bluegrass musicians and bluegrass music fans

Issue 100

The yoke of success now rides the necks of the emerging avantgarde who may look and sound a bit different than those who came before. These folks will and do embrace technology, and find new ways to connect with audiences (and those audiences will adapt). These new bluegrass musicians can and will ensure that the genre remains a vibrant and relevant art form in the future but at the same time never forgetting

its storied past and its valuable use as their touchstone.

Donna Ulisse has this upbeat final thought, “The tried and true classics should always be an integral part of this genre because that’s the heartbeat of this music.

However, as I share my take on songwriting with young, hungry writers, I am assured the future of bluegrass music will play on.

The new songs being written are creative and interesting; still consisting of real life struggles and stories being set to melodies that support great harmonies and musical arrangements. Today’s artists mostly include that high lonesome element and have reminiscent strains inside their songs, allowing this music to carry on into the next generation.” Greg Blake’s final words on the subject were these, “I believe these young people today play with a lot of heart; and if that is the case, then bluegrass music is going to stay around for a long time ”

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Mail with your check or money order for only $20 payable to Americana Rhythm, and send this to PO Box 45, Bridgewater, VA 22812. PLEASE PRINT CLEARLY! MAKE IT A DOUBLE! Two years for just $35! Why not ADD a T-shirt? Make it $50 and we’ll cover shipping!

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must adapt to changing times. It is no longer my Mother’s stringmusic that she nurtured me upon in its emergence era; nor is it the music that reintroduced itself to a new generation some years later; or even the music of that next wave of new folks that later emerged. Those eras are gone. In the last few years, almost all of the founding artists are gone; many of those second generation and even some of the third generation of pickers and singers have faded into memory as well.

Merry Christmas!

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Issue 100

Music, A Life Long Passion The 100 th issue of Americana Rhythm comes in my 50th year as an attendee of bluegrass and folk festivals. My first festival was a memorable one, the 1973 Warrenton Folk and Bluegrass Festival here in Virginia, one that took place during a turbulent time but brought people together in the joyful way that music often does.

My friend Bill Rowe recently transferred some color slides he took that weekend to digital images (some of which are included here) that bring back the memories of the performers, ranging from traditional music stars Earl Scruggs, Mother Maybelle Carter and Doc Watson to the younger generation of performers who were transforming the music: John Hartford, The Dillards, The Nitty Gritty Dirt Band and others. The crowd reflected that divide between the old and the new. At times there

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was tension, but it ultimately was resolved by the music.

Several of the headliners that weekend were among the artists who created the historic “Will the Circle Be Unbroken” triple-LP set which was released in time for Christmas the previous year. The

John Hartford in Warrenton, 1973

By Charlie Young finale of the weekend was billed as a “Circle Reunion,” so that was one of the reasons the crowd was the biggest in the eight-year history of the festival at that point.

Music In Wheeling

One of the audience members was an aspiring bluegrass musician named Tim O’Brien, a 19-year-old whose musical resume in 1973 included just a little guitar playing and early efforts at songwriting. Tim heard about the festival from a friend and drove from Wheeling, West Virginia for the weekend, camping on the festival grounds. He was drawn there by the big names in traditional bluegrass as well as artists he enjoyed like the Country Gentlemen. Tim didn’t even bring an instrument, but by the time the weekend was over, he was inspired

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Mother Maybelle in Warrenton, 1973

enough to learn to play fiddle and other instruments beyond the guitar.

In an email exchange for this article, Tim told me that festival was one of the pivotal experiences that set him on the road to a now halfcentury career as a professional musician. “What I remember most was the workshop stage Saturday afternoon” where he saw musicians he’d work with in later years, stars including the New Grass Revival and singersongwriter Steve Goodman. One standout song he recalls from Goodman’s set was “City of New

Issue 100

Orleans,” spontaneously backed by the Country Gentlemen, called up onstage without rehearsal but they nailed that nowclassic song that at the time was new.

Earl Scruggs in Warrenton, 1973

O’Brien was impressed by the versatility of the Country Gentleman, a group he’d viewed as a “traditional act, although I now know how innovative they’d always been.” Tim O’Brien, of course, went on to his OWN innovative bluegrass and Americana career that has earned him two Grammy Awards and two IBMA Awards.

When asked about the difference in festivals in that era and today, Tim mentioned the divide be-

tween more traditional bluegrass festivals and others, a divide that not only includes music differences but issues like how to handle alcohol and tobacco use.

I first met Tim as well as the publisher of Americana Rhythm at the Red Wing Roots Festival, a family-oriented festival that also provides an area for those who want to consume alcohol and/or tobacco products. There’s even a stage with kid-friendly music and other areas for children to play.

They really do everything right and it brings me back year after year.

Grandpa Jones

I enjoyed not only the newer music in Warrenton but also the old timey music I saw there. I recall Grandpa Jones playing his banjo as his wife clog-danced with bells on her shoes. I’d never seen anything like that before, and maybe seeing that as well as Mother Maybelle and the 1973 version of the Carter Family inspired me to catch the Galax Old Time Fiddlers Convention for the first time. My

with his Telecaster and became a legend: Danny Gatton.

Lifetime Fan

Many of the artists I saw at that 1973 Warrenton Festival were folks I saw time after time. I caught many John Hartford shows and got to know him a bit when I worked for the publisher of one of his books. Another group I saw in Warrenton at one of their rare East Coast appear-

Wild Atmosphere

It’s interesting to think back to what Tim calls the “wild” atmosphere of the Warrenton festival 50 years ago. He recalled a story told to him by his friend, Bryan Bowers, the autoharp virtuoso, a guy assigned the task of calming the crowd when “the festival staff was wary of the large crowd getting out of control on the last day as they anticipated that big Circle Reunion finale.”

Bowers delivered a quiet set (he was, after all, just one man with an autoharp) and even managed to get the crowd to sing along with him. His mission was accomplished. O’Brien says, “the promoters wanted nothing like Woodstock, let alone like Altamont.”

So that festival all those years ago ultimately was a triumph and a step toward a new music born of deep roots. I was the same age as Tim O’Brien when we both happened to buy tickets for that weekend. Unlike Tim, I brought along an instrument, my mandolin, a cheap one I never learned to play well. After hearing Sam Bush and David Grisman play mandolin at that festival, I soon unloaded mine and started writing ABOUT music rather than attempting to play it.

Old In The Way in Warrenton, 1973

mother grew up on a farm near there and I spent many summers with my grandparents but didn’t make it to the Fiddlers Convention until I was 20 years old. That music was in my blood.

Later in the 1970s, I became a regular at the National Folk Festival during the years it was held at Wolf Trap Farm Park. I saw unknown blues, folk and bluegrass artists along with legends like Pete Seeger and Elizabeth Cotton, both during daytime workshops and small stage performances as well as evening concerts on the main stage of the Filene Center.

I wrote music pieces for the college paper including one about a group called Liz Meyer and Friends. Liz wound up moving to Europe and becoming an awardwinning bluegrass artist there and recording with the likes of Bela Fleck and Sam Bush. Liz had Maryland State fiddle champ Jeff Wisor playing in her band along with a banjo player who went solo

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ances was Old and In the Way, then featuring Jerry Garcia on banjo along with David Grisman, Peter Rowan and Vassar Clements. I later saw Garcia play with his band, The Grateful Dead, and saw Grisman and Rowan in later years as well.

My first interview for a Washington, DC arts paper called Unicorn Times was with Bryan Bowers before a show at the place that became my favorite listening room, the Birchmere, and I ultimately contributed sections to the book a friend wrote about the storied history of that great venue.

That 1973 Warrenton Festival shaped my musical life just as it shaped Tim O’Brien’s award-winning career. Ultimately, it’s all about the music, and it’s wonderful we still have festivals offering the wide range of music that one did 50 years ago and presenting it in an organized and enjoyable way. I can’t wait for the next one.

Pictures courtesy of William A. Rowe

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Issue 100

· Bonnie Raitt Folk Americana Roots Hall of Fame · Ramblin’ Jack Elliot or Group of Musicians – Announces Inaugural Class of Inductees Duo The Duo or Group of Musicians The Folk Americana Roots Hall of Fame (Boston, MA) as an organization (FARHOF) exists to celebrate Folk, Americana and Roots music through displays, memorabilia, artifacts, events, lectures, exhibits, concerts, and educational programs.

The first induction ceremony of FARHOF will take place in midApril 2024. The list of nominees were recently announced. Living and deceased artists, songwriters, record executives, managers and concert promoters tied to elevating Folk, Americana and Roots music were all eligible, at Boston’s living music museum and newest cultural and educational initiative inside the Boch Center Wang Theatre.

·

Joni Mitchell

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Bob Dylan

·

Joan Baez

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Mavis Staples

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Willie Nelson

·

Emmylou Harris

·

James Taylor

·

Taj Mahal

are performers whose initial impact on the genre was at least 25 years prior to the year of Induction. ·

Peter, Paul & Mary

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The Band

·

The Byrds

·

The Weavers

Folk, Americana and Roots music has paved the way for generations of musicians and activists who use their voices to speak their truth, address social justice issues, and act as modern-day troubadours reporting on the human condition.

FARHOF offers a glimpse into the rich tapestry of these genres and the profound impact it has had on society.

The inaugural class and categories include: Solo Legacy Artist – A solo legacy artist is a performer whose initial impact on the genre was at least 45 years prior to the year of Induction. ·

Odetta

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Pete Seeger

·

Woody Guthrie

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Lead Belly

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Richie Havens

·

Josh White

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Oscar Brand

·

Johnny Cash

·

John Prine

·

Jean Ritchie

·

Gordon Lightfoot

Solo Living Artist – A solo living artist is a contemporary performer whose initial impact on the genre was at least 25 years prior to the year of Induction.

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“When we created the Folk Americana Roots Hall of Fame, identifying the inaugural class and those after was going to be a big part of our initiative with focus on preserving these important genres and the history they created,” said Joe Spaulding, President and CEO of the Boch Center and founder of FARHOF. “The diverse inaugural class reflects activism and social justice that shaped our world today, and we look forward to inducting these national treasures into the Folk Americana Roots Hall of Fame.”

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and learned the quantity of material before or since. And I got really good at learning tunes quickly. Not just learning tunes, but learning arrangements quickly. I spent a lot of time in the car driving here there and everywhere and just immersing myself in the music I was going to be playing.”

Guitarist Stephen Mougin On Saturday nights at music festivals across the nation, there’s a man in a fedora hat holding a dreadnought guitar.

He’s got a commanding rhythmic style and improvises through solos and jams with clean, rapid-fire precision. That man on stage with the Sam Bush Band is Stephen Mougin, and he actually wears many hats. He’s not only a recognized and celebrated bluegrass guitarist—he’s a talented and skilled mandolin player. He’s also a powerhouse singer and vocal educator, with a degree in vocal pedagogy. He’s a prolific songwriter and record producer.

And as a record label head, he owns Dark Shadow Recording with wife Jana Mougin.

Mougin’s musical path began at an early age in New England, where he grew up in western Massachusetts.

He remembers, “When I was six years old, my dad decided he was going to get a guitar and learn to play. He discovered that some of his work pals had a local gathering where they’d get together and jam.

By the time I was eight, I was picking with them and doing shows.”

As a teenager, Mougin was already touring in an established bluegrass band. “When I was 15, I joined a band which ended up being two of the guys that taught me how to play,” he recalls. “The guitar player who taught me, and the banjo player who taught the guitar player when he was a kid. So it was three generations of music with that group, Thunder Mountain Bluegrass, and I was with them for 10 years until I moved down to Nashville. We played regionally throughout New England.”

The steady stream of performing, jamming, and hearing legendary bluegrass artists in the Northeastern festival scene provided a strong foundation for Mougin’s multifaceted bluegrass career. “From the

time I was about seven or eight, every summer was filled with bluegrass festivals throughout New England, and I got to see a lot of the greats in the music: Bill Monroe, Osborne Brothers Jim & Jesse, Bill Harrell, Bluegrass Cardinals, all these classic groups,” Mougin says.

Despite his bluegrass expertise, Mougin decided to go in another direction as he matured into adulthood. “I was interested in music of all sorts, and I wasn’t convinced that playing bluegrass was going to be a potential for actual earning,” he explains. “So I decided to go to college for vocal music education and studied for four years—classical music and vocal jazz. I got a job straight out of college teaching at a school in Massachusetts.”

Mougin eventually migrated to Nashville in 2002 and began playing in various bluegrass outfits. “It was tough when after the first year and a half, I was sort of broke and homeless for a while; I remember two times in my life when I poured the last nine dollars of money I had into my gas tank to get to the next gig. It happened twice,” he shares.

“So yeah, it was a hard road for a while; but there were some really cool things that happened along the way. I remember one summer I was in seven different bands, none of them full time, and I was still sitting home every other weekend. It was a really good learning experience, and I don’t think I have ever dug in

The rich bluegrass background, the musical education, and the intensive learning and ear-training involved with his Nashville performance gigs coalesced when he was selected in 2006 for the bluegrass A-list position as guitarist in the band of bluegrass icon, Sam Bush. His skill-building and hard work was paying off, and he and his wife Jana Mougin—a talented bluegrass musician in her own right—began building the foundations for their recording studio and record label, Dark Shadow Recording. Mougin racked up a steady catalog of production and songwriting credits, and has continued steadily touring and teaching vocal and instrumental workshops across the nation.

Mougin’s guitar style is built upon his vocal artistry; and he strives to come up with new ways to express his guitar finesse in a unique improvisational style. “I’ve oscillated between trying to do the jazz thing where you’re singing the solo while you’re playing it. And I find I never do it on mic, but there are times when I’m kind of singing it to myself, because for me, it kind of connects through the voice. I’m more aware of musicality as a singer than I am as a player. I just feel more connected to it that way,” he observes.

“In the Sam Bush Band, we have regular solos that go over a particular chord change that is a section of the song, like the chorus or verse— bluegrass style. And then we have long extended jams that might be over a static chord progression, whether it’s moving or whether it’s over one chord that goes for as long as you have ideas or want to play.

Those were really challenging for me, and continue to be…because you sort of continue to play and it’s easy to run out of ideas and then feel like you’re playing all your dumb licks,” he laughs. “One of the things that I consciously try to warm up on any given day, is to spend enough time noodling with some kind of soundtrack until I’ve played through all of my dumb licks and try to get them out of my system, and then try to create something new.

What I want to be happening is to make little motifs. I don’t know if

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I’m ever particularly successful with it, but that’s always my drive.”

Mougin emphasizes listening as his single piece of advice for developing musicians. “I can’t express enough how important listening has been for me - And focused listening,” he advises. “I had a professor once who said, ‘If you steal from one person it’s plagiarism; if you steal from everybody it’s research.’ So, I try to take that to heart as I’m listening. I’m just picking and choosing from things I really dig, and also learning things that I don’t like. I think that’s just as valuable in the listening experience.”

But how does Mougin make it look so natural and easy to play bluegrass guitar with such power and skill? “I’ve noticed, the older I get, it feels like I’m a beginner every single day I start. And it’s really frustrating when my hands just don’t work. You know, it’s like I’ve never touched a guitar before, it feels like the pick’s a two by four,” he laughs.

Mougin prioritizes practicing guitar and warming up in the days leading up to his tour dates, which can be tricky during his busy periods in the recording studio. “Yeah, I really struggle with that, because there’s not enough practice in the world that gets you ready for playing on stage with Sam Bush Band. But I do have to play midweek for sure, to keep it up, and I struggle with that sometimes in the studio. You know, if I’m doing 10 hours a day behind the [studio] console, the last thing in the world I want to do is pick up a guitar. And so that is a struggle for me and something I’ve had to work on, and have not been really great at. It’s easy to let life get in the way of all of that, and I try to keep an eye on when it’s coming. So several days before I go out, I’m really getting back into things. But I’m losing a lot of ground on that, unfortunately, and it’s one of my personal frustrations.”

Mougin’s honest approach and musical self-awareness are qualities that seem to push him further each day on his journey, as he’s never complacent about his success. “One of the things that I feel like I’m not super strong with is taking a really established melody and improvising in a way that still sounds like the melody, but you’re doing something new with it. I feel like I am either straight-on going to rail the melody, or I’m going to be off in Egypt somewhere,” he muses. “So it’s one of the things I’m working on as a player, to try to connect those two in a more meaningful way ”

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Issue 100

Marty Falle’s striking new album, My Farm. My Bluegrass By Lee Zimmerman Marty Falle isn’t simply a bluegrass devotee. He’s a dedicated artist whose connection to the music is imbued in the very lifeblood that’s inherent to both his purpose and his passion.

That fact was immediately evident with his previous album, the well-received Kentucky Bluestar, his fifth effort overall and third devoted entirely to bluegrass. The album also spawned a successful single “Kentucky Bluestar,” which recently climbed to Number One on the Bluegrass Jamboree Top 100. The song debuted at Number Six on The Bluegrass Today Singles Chart and reached number eight on the Top 50 APD Bluegrass/Folk Albums in April 2023, eventually climbing all the way to number 11. Falle was also selected as bluegrass deejay Michelle Lee’s Artist of the Month.

In addition, the album overall attracted international interest, landing Falle considerable press and worldwide airplay.

Kentucky Bluestar followed on the heels of Virgin on the Bluegrass, an initial offering that found Falle

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paying particular allegiance to bluegrass basics. Aside from his critical kudos — one of his songs, “Superman Jimmie,” even got him coverage in a NASCAR publication — he’s been featured on CMT Prime Time courtesy of his song “Hoochie Coochie Gal from the Buckeye State,” which in turn garnered over three million views on YouTube and became a certified internet sensation.

singer for Patty Loveless, contribute backing vocals. Falle himself plays guitar and sings lead and background vocals. Many of those same musicians worked with Falle on Kentucky Bluestar.

Naturally then, Falle’s love for his early environs and the places that originally bred bluegrass music is immediately apparent. So too, the irrepressible instrumental “Chimney Letters,” the heavenly glow of “The Calling” and the driving and determined sweep of “Praise the Lord and Pass the Gravy” offer additional affirmation.

His new album, My Farm, My Bluegrass — released August 25, 2023 — maintains that momentum while sharing a similar upbeat attitude. It features 11 original songs and an all-star backing band, one that includes Dale Ann Bradley (a six-time Female Bluegrass Vocalist of the Year) singing on three of the tracks, along with guitarist Carl

Miner (a Flat picker of the Year Champion), acclaimed bassist Mike Bub, Rob Ikes on dobro, Matt Menefee on banjo, and producer Jonathan Yudkin, playing fiddle and mandolin. Marty Slayton of the George Strait band, Kim Parent of Brooks and Dunn and Marcia Ramirez, a back-up

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The first single from the album, “Ode to Ale 8,” is a barnstorming bluegrass tune featuring Dale Ann Bradley. Like each of his singles, it’s an original offering, part of a singular strategy that finds Falle writing, performing and overseeing his own material.

While it’s not necessarily an easy way to produce or promote, Falle says that by doing it that way, he’s able to make a more emphatic continued on page 17

Issue100

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Issue 100

Listen to the expanded interviews by searching Americana Music Profiles on all of your favorite Podcast platforms!

ARTICLES BY DAN WALSH

The Scooches

Charlotte Morris

Kevin Slick

The last time we talked to guitarist Nick Russo about his eclectic endeavors was in 2018, when his band, then known as Banjo Nickaru & Western Scooches, had an album out called Get Us Out Of Fearland. Fast-forward past the major upheaval of the covid era, and another check-in finds Nick and his partner, singer-songwriter Betina Hershey, charting new musical waters with a new band moniker—simply The Scooches.

While growing up in suburban Philadelphia, Charlotte Morris began building a strong musical foundation that would serve her well in the future. Classically trained on violin beginning at age four, she also taught herself guitar, piano and other instruments, adding voice and pursuing a degree in musical theater to build a powerful set of performance skills. Theater was initially her focus.

Kevin Slick has been playing music professionally, in many different ways, for four decades, with the latter two of those being primarily within the Americana/folk/bluegrass fold. He also expresses his creativity as a visual artist. He remembers a very specific date that set his trajectory on being a musician: “I like to tell people that I became a musician on February 9, 1964, when I saw the Beatles on the Ed Sullivan Show when I was five years old …

That’s when I realized ‘That’s what I’m gonna do.’”

While Nick and Betina also work on some jazzspecific, cover-oriented projects, including a sister group called the Hot Jazz Jumpers (featuring New Orleans and 1920s jazz), The Scooches is now the primary outlet for their original creations. Nick says, “We tend to focus on …

Betina’s originals ... I may write a little bit or arrange or hear some different instruments.” In fact, the band’s name change is partially due to a reorientation toward original songwriting. Betina was a regular as a singer-songwriter in the New York folk music scene prior to meeting Nick. “I said, ‘Nick, if we’re gonna have a band in the folk scene…we should do an album of all originals.’”

The result was Lift You Up, their July 2023 release.

The rebrand also helps describe the band stylistically, as Betina explains: “The way that we think of it now … is ‘scooching together’ many different musics and genres. Like ‘scooch on over to where we are and we’ll scooch to where you are,’ just that idea that we should all get closer, bring our diversities closer.” They offer a unique blend of world rhythms (Caribbean, Mexican, Indian and more) with Americana, folk, New Orleans influences, alt grass, the music of the 1920s, and bluegrass. Ultimately though, all the descriptors are left at the door when gig time rolls around. “They feel it and have a great time, they feel it right away,” says Nick.

To find out more, visit www.theschooches.com

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“I moved to New York expressly to pursue theater,” she explains. “I was doing it for my first three years out of school befor e…c ovid threw a wrench in everything…I was in New York auditioning, performing around the country, and I was on a few tours, so that was really exciting and really fun. I definitely miss it sometimes.”

As songwriter, Charlotte began honing her craft around the age of 12 (“not songs that the public ever needs to hear”) but put it on the back burner while she dealt with the demands of college. Then, moving to New York City jump-started her writing. “That’s when writing came back to me and I was writing a ton, because it was this huge life change. It was the biggest shift I’d had up to that point and the only way for me to really process through it was to write.”

Appropriately, her first EP, released in 2018, was called To New York, With Love. Her subsequent releases were Sputnik (EP, 2019) and her first full-length album, Songs For My Next Ex, in 2020. Charlotte’s second album, Wild Child, is due out in late September 2023. About the upcoming release she says, “I think some of these songs are my most personal and vulnerable to date.”

Now in Nashville, Charlotte feels fortunate to have landed a fully remote and flexible job (in the financial tech sector), which provides her with money to pay the bills and also flexibility to pursue her music career.

That career has gravitated toward Americana, with varying amounts of country, folk, rock and jazz in the mix. “I write what feels authentic to me in the moment, and … to me it’s genuine emotional music.”

To find out more, visit www.charlottemorrismusic.com

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After picking up the guitar at 12 or 13, and always coming up with his own songs, Kevin cites the advent of home multitrack recording in the 1980s, with gear from companies like Tascam, as a formative moment. “Suddenly it was possible for someone like myself to—with not a lot of investment in terms of equipment—to make recordings. That coincided wonderfully with the emergence of the cassette as kind of the dominant music format …[I] could make a recording of original songs … and create a cassette that you could sell in a store.”

Originally drawn to acoustic greats like Bob Dylan, Kevin later played in rock bands. Most recently however he has returned to the acoustic-oriented environs of folk and bluegrass. He notes, on a practical level, instead of a lugging pile of different guitars and amps to gigs, “Now I mostly just carry a mandolin.”

His latest project is with the band, Orchard Creek.

In 2019 he joined the quartet to make it a quintet, adding his voice, mandolin and songwriting to the group. The album is called Listening for Your Call, due out in September 2023.

The group’s first full-length album features equal amounts of material from the band’s four songwriters. “We did a fairly democratic setup…We said ‘Let’s put 12 songs on this album; everyone gets three picks.” The title song originated from the last phone call Kevin Slick had with his father. Mike Mitchell helped craft the song, weaving family traditions, favorite songs, stories and places into the lyrics.

To find out more, visit www.kevinslick.com

Issue 100

Pondering Upon The Morning Did you ever wonder what in the world we are supposed to be doing here? I mean, what job were we put on this earth to do? Yeah, a big topic for sure, but one I’ve pondered many times through the years, and likely, if I am fortunate to keep on being part of this world, I will continue to ponder.

When the day breaks, I try to add something here, on this planet that is positive and uplifting as I go about breathing and living. My plan is to leave a good message through the music I write and sing, and the posts I continue to do on Facebook each morning (well, almost each morning).

My hopes are to inspire more people to do the same; to add something positive, to be better to others, to instill hope instead of hate and to reach out a helping hand when someone else is in need. I am no saint, and will never be awarded that trophy as I continually fail to be anywhere near

perfect. But that’s alright at the end of the day, because I get up the next morning and try all over again on my journey to become a better human being and guardian of this incredibly world we are privileged to walk on for a short time.

That still hasn’t addressed my initial question of what I am here for, right?

I ask this because most days I feel like I’m in Groundhog Day. There is a sameness to the hours no matter how hard I try to change them. I wake up, say a morning praise to my Creator and ask for guidance, drink a couple cups of strong coffee and do some writing. Sounds fairly normal, doesn’t it? The thing is, how often do I ask for guidance and then truly listen to that inner voice trying to have a say?

Hardly ever.

There is a quiet voice within each of us. Some call it a sixth sense or

intuition. I call it the voice of God, and I mostly ignore it. I’ve had full on conversations with God, and almost always monopolize the chat, never waiting for His feedback. Sometimes I imagine a response and believe I made it up myself, because it was what I wanted to hear … like …’God, are you listening?,’ ‘Yes, I’m here’.

See, I could have just imagined that because I needed a platform for some issue I’m working through. But really, it is the voice of reason, the rock of ages, and He loves me enough to stayed tuned into whatever I’m concerned over. If I could just shore up my faith enough to start trusting that wee voice, there’s no telling what I might actually accomplish.

I’ve come to this conclusion; I am here on this earth to do the job of getting Donna right! Yes, if I could get me right through more faith, trust, surrender and obedience, well, wouldn’t I have more time to actually make a difference? If I had more faith in the

fact that something bigger, and more beautiful than the morning sunrise created everything and offer humble, sincere respect for this supreme being with my whole heart then I would see more hope and love reflected in every dawning! If I had more trust in the instinct I should heed every time it whispers within, then I would surely hear the voice of God in every decision I needed to make! If I could surrender to the things I can’t control and need to let go of, I would have more time to work on the faith and trust thing. Any resistance I put up tends to create a big mess and brings on my own unhappiness and confusion anyway. I could just use my tears for joy instead of sorrow. Wow, I should do these things. It sure would make life a lot easier. I suppose awareness is a large part of the cure, and I plan on working every day I have left towards being a better person. Now, bring on the morning and let me ponder on.

Donna is the IBMA Songwriter of the year for 2016, And 2017 Song of the Year winner. She was also the 2018 SPBGMA Songwriter of the year.

Her latest CD, Livin’ Large, on Blueboy Records, was released in February 2022.

DonnaUlisse.com

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Issue 100

Listen to the expanded interviews by searching Americana Music Profiles on all of your favorite Podcast platforms!

ARTICLES BY DAN WALSH

Jill Riley

Daryl Mosley

Charlsey Etheridge

Jill Riley remembers “... when I was five years old, standing on the front porch of my granny’s house, and I had the water hose as a microphone and the grass was my audience.” Later, at pickup time, her grandmother told her mother, “... listen to her, I think she can sing!” Hearing that sparked something powerful in the young Jill: “The minute she said that it was like a five-year-old knew what she was gonna do.”

Fa s t - f or wa r d five years and another defining moment for Jill was when her mom put on a Jessi Colter record for her to hear. “Between the sound of her voice and the sound of steel guitar, I was ruined … I was like ‘I have to do this.’”

When it comes to Daryl Mosley’s craft, take it from another great singer-songwriter, Jerry Salley, when he says “He is a songwriter’s songwriter.” Although he has done a few other things along the way, Daryl says, “Music’s always been the driving force, it’s always what I wanted to do. I love the touring and the travel, and after all these years I still do.”

Hailing from Dalton, Georgia, C h a r l s e y Etheridge can’t remember a time when music wasn’t central to her life. “On my wall I have a picture of me when I was probably about three, and I was in my grandfather’s basement and I have a microphone and headphones on, with a huge boombox behind me.” She remembers writing her first song at age seven.

Growing up with musical grandparents, singing in a rural Southern Baptist church and in school choirs, and then studying music in college, all contributed to Charlsey’s deep roots, especially in southern gospel and bluegrass, from which she has grown her music career.

As for writing songs, Jill remembers starting to do it around age 12, when they “just started to come” to her. “I don’t ever remember wanting to be a songwriter…it was just something that was there.” At around 15, Jill’s mom (who was a paralegal) provided a powerful left-brain tool for her daughter’s budding music career when she gave her books on the legal and business side of the music industry. “That was a rare thing. Most songwriters enter Nashville completely blind…”

Only by taking a break from Nashville was Jill able to realize her affinity to the Outlaw country artists of the past. “I came back to Texas to take a break from Music Row and the whole deal and I built a power company, believe it or not. I’m one of those weird “left-brained” artists…” Now, she has a new musical home: “The Americana genre—I feel like that opened doors to such freedom, to just be you.”

After getting his start at age 15 when his neighbor, Loretta Lynn, asked him to do a nightly show at her dude ranch, Daryl saw music as a something that could become his vocation. And although he was raised in a country and gospel music atmosphere, he ended up feeling most at home in the realm of bluegrass, and would go on to tour with New Tradition and the Osborne Brothers.

Daryl credits his time as a sideman with the Osborne Brothers with changing his perspective on professionalism: “Stepping into that role and for the first time learning the rules, so to speak…It causes you to always bring your A-game.”

Daryl has been writing songs since the beginning, but, until recently, he was content to call himself simply a singer and musician. The transition began after his time with the Osbornes when he was lead singer for the band Farm Hands. About labeling himself as a “songwriter” he says, “I do now. You know, for a long time I didn’t. I thought of myself as a singer … It took me some years and some time around other writers to realize [it].” Once he started treating it as a craft to be developed, Daryl would go on to write 10 number one songs, and a number of songwriting awards.

In 2003, Charlsey moved to Nashville right after college and began a somewhat typical journey for aspiring artists in that town. “For the first couple of years I waited tables,” she remembers. “You know, that kind of worked pretty well. I was able to wait tables at night and I write during the day.”

Later she began teaching music lessons.

After releasing a bunch of EPs, Charlsey released her first full-length album in 2014, Memories of Mine. “... [the album] pays homage to my roots and the songs that I grew up singing—a tribute to people in my life who shared music with me, like my grandmother.”

In contrast, Charlsey’s new release, Scars of Mine (coming out in September 2023), is an intimate all-original collection, with eight of its nine songs written by her. The title track provides a taste of the kind of emotional storytelling listeners can expect from the album, focusing on one of her grandmothers.

Jill’s latest upcoming release is Common Ground (due out in October 2023). Writing for it involved a deep dive into her Texas cattle-ranching family’s history. “My relatives went through the Great Depression, the Dust Bowl, had 10 kids, and lost a baby,” she says. “Everything they suffered through and endured gives me hope that we can get through this too. We really can get to the other side of it.”

Daryl’s newest album is A Life Well Lived, which came out in July 2023. The focus is on small town life: family, faith and traditional values and customs.

A featured single and video from the release is “Mayberry State of Mind.” “That sense of doing the right thing, taking care of your friends and family,” says Daryl, “all the…values of that show—I believe it’s more of a mindset than a location.”

When it comes to sharing her music with audiences, Charlsey prefers intimate settings. Of course she’s paid her dues in loud bars and clubs, but she says “I love listening rooms…I like to be in environments where people want to hear stories behind the songs.” Festival stages also provide her a point of connection with engaged listeners.

To find out more, visit www.commongroundalbum.com

To find out more, visit www.DarylMosley.com

To find out more, visit www.charlseyEtheridge.com

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Issue 100

Marty Falle continued from page 12 impression, ensuring that his overall vision stays in sync.

It’s further evidence of his commitment to originality and authenticity. There’s no place for posturing or pretense. With Falle, what one sees is what one gets.

While the instrumentation conveys an assured authenticity throughout — one that adheres to bluegrass basics within a contemporary context — it’s also clear that Falle finds inspiration from a lifestyle that binds him to the land and the traditions which are so firmly entrenched in those very fertile fields in Kentucky.

His 200 acre farm is located within Kentucky’s Eastern coalfield region, an area rich in natural resources that borders the Daniel Boone National Forest. His farm boasts two old tobacco barns and stone walls stacked stone by stone, vivid reminders of those rugged individuals that originally settled in this verdant region and established the traditions that grew out of the Appalachian environs. Horse Lick Branch Creek flows through the

property while wildflowers blanket the strip mines that were long ago abandoned.

It was here that Falle also found the inspiration for Kentucky Bluestar, which took its name from the blue wildflowers that mask the scars created by the coal companies a century ago. The new album feeds off that lingering legacy as well, in both an aural and visual way. The cover, painted by Disney artist TJ Matousek, captures Falle’s old barn with striking imagery, fully capturing the furtive beauty of this rugged and resilient landscape. It’s part of an overall package that allows the ideas and the imagery to stay in sync.

As the lyrics for “Praise the Lord and Pass the Gravy” make clear, the secular and the spiritual find common cause. ”I love the history of bluegrass music in the Appalachian Region and the emphasis on acoustic instruments and vocal harmonies, “Falle told one writer. “It is raw and pure. I have a deep connection to Appalachia, and I am especially drawn to the music and culture of Eastern Kentucky.

Many of my songs share stories inspired by that region.”

In truth, Falle’s inherent music started early on. It was initially sparked when, as a boy, he found himself watching re-runs of “The Andy Griffith Show.” It was there that Falle encountered a fictional band called the Darlings, who were, in fact, played by The Dillards, a seminal ensemble who helped further the crossover from its archival origins to more contemporary credence.

His interest in music continued while in high school after being persuaded to join the school choir. From that point on, he was lured to several different styles of music, ranging from classical to contemporary. He was enticed enough to participate in his high school musicals, and then ventured on from there to various other endeavors, including a barbershop quartet, a pop singing ensemble and the high school orchestra before making yet another move, this time to a ‘50sstyle doo-wop group.

Like many young people, he was subsequently drawn to rock and roll, but eventually, the music he

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encountered in his college town of Athens, Ohio brought him to bluegrass. That interest was further fostered while working in Eastern Kentucky coal country, following his graduation from college. He found an indelible bond in the environs where bluegrass music initially flourished — Kentucky, Georgia and currently, South Carolina. It was there that he absorbed the Appalachian influences that would influence the music he makes today.

So too, those stories and songs created a lingering impression in other ways as well. A history major in college, Falle frequently draws on the tales and travails of those storied settings in his own original music.

Soon the lure of Nashville came calling. It was there that he met Jonathan Yudkin, the man that became his producer, collaborator and instrumental arranger.

Still, Falle had his misgivings about the business of making music. Already a successful entrepreneur — his desire was based on a creative compulsion alone. continued to page 20

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Issue 100

Listen to the expanded interviews by searching Americana Music Profiles on all of your favorite Podcast platforms!

ARTICLES BY DAN WALSH

Bruce Humphries

Jason Byrd

Marc Miner

Bruce Humphries set out on the full-time musician road a little later in life, but is certainly “killing it” now. After spending many years pursuing positions as a college art educator, he finally decided to take the plunge. “Teaching gigs are hard to come by. I could teach part-time … but I was like ‘How long am I gonna do that? Do I wanna be 60 years old and still an adjunct? Music was my true passion all along, but I never thought that I could actually pursue it.”

For Jason Byrd, music was in the air—literally— when he was a child in rural Tallahassee, Florida (which he still calls home). Without other home entertainment options like cable TV, he says, “...you know, the radio was always playing…so I was always around music.” Despite having no family influences in that direction, as he got older he realized that music would be his life-long passion. “It wasn’t until I was a little older that I decided that I would try to do it for a living.”

Alternative/outlaw/country/rock and Americana artist Marc Miner was born in Poland to an American dad and German mom. His journey from this beginning to his current home in Vienna, Austria, physically and harder-edged Americana, musically, was interesting, to say the least. After being immersed in his father ’s mostly guitar-driven musical tastes from birth. Marc, as a teen, sang and played bass in bands focused on the rebellious sounds of rock, punk and grunge.

Bruc e woke up completely to his musical identity after he hit age 50 and looked back on all the music-making he had done throughout his life. He had always played in bands on the side. But the time had come to bring his music to the front burner. “It made sense; I was like ‘All right, I’m over 50; I’d better do this, if I’m gonna do it.’ Because who knows for how long I can do it?”

Bruce traces his love for rockabilly back to the 1980s and his first encounter with the Stray Cats.

“I was into the Beatles, then I got into New Wave and punk rock,” he remembers. Then as MTV exposed him to the resurgence of rockabilly with the Stray Cats. “I saw them on MTV and really liked them. I got their album and said ‘Yeah, it’s ok.’ And then I saw them live and it was just a life-changing experience for me.”

Bruce has been with his band, the Rockabilly Rebels for six years. Their latest release is Live It Up, which is currently available, in full, only on CD and vinyl, while singles are being gradually released to the streaming services. The record features a variety of sounds, including full-throttle rock & roll, country, surf, punk, even a touch of psychedelia, all laid down within the rockabilly context.

To find out more, visit www.humphriescom

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Rather than pack up everything and move to Nashville, like so many others, Jason ended up living a double life of sorts. Being a third-generation fire fighter meant that he had a regular job at home, but he would also spend time in Nashville working on his music. It’s an approach he continues today, even after his retirement as a Battalion Chief of the Tallahassee Fire Department.

One notable connection helped Jason grow in the country world while also staying rooted in Florida.

“I was fortunate enough, early on in my career, to get hooked up with George Jones and his wife, Nancy.” Working with George on the road (usually as an opening act) and with Nancy as his manager for a period of time, their friendship deepened beyond the music business. The effect on Jason’s progress in the country music game was profound. “It kind of let me skip ahead of the line a little bit,” he admits.

Jason cherishes George’s mentorship.

As a fitting postscript to this musical friendship, Byrd released a song that he had written and then recorded as a duet with George Jones, “Better Life,” which he’d previously kept under wraps. The song had been ready just prior to Jones’ passing in 2013, but Byrd held off on releasing it out of respect for his friend. In 2021, with the blessing of Nancy Jones, he released the tune. It garnered a nomination for Single of the Year at the Josie Music Awards.

This fall, look for a Jason Byrd album collecting 10 tracks that have been released gradually as singles over the previous year, called Sounds Good to Me. To find out more, visit www.jasonbyrdmusic.com

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Almost like a gritty, real-life reflection of an Americana song, Marc’s personal journey took him across Europe and to the States by way of a container ship. Rather than continuing as a sailor and leaving with the ship, he decided to stay. Having survival skills helped. “I already knew how to live on the street. You know, it sounds rough and tough, but it’s not that bad if you can make friends in new places.” Many of Marc’s experiences in the US became songs that made up his first album.

Back in Europe, Marc found audiences were not primed to receive the country music he had to offer. It was a gradual process of building his confidence to perform it and educating his audiences.

At one open mic night he decided to play a Merle Haggard song. “Everybody thought it was mine!”

He continues, “I always told the people, ‘You know, there are folks like Willy Nelson, Merle Haggard, Johnny Cash—you have to know them.

Why don’t you like it like I do!?’”

Marc’s upcoming sophomore release is called Last Heroes. The title is partially a tribute to Marc’s band. (When he plays with a band they are billed as Last Heroes featuring Marc Miner). But Marc also says, “I always liked stories about heroes.

Not like Superman, who’s always good … I was more into Batman … he was a hero but there was a dark side to him.” The record also puts a spotlight on the struggles of everyday heroes. “I thought, ‘Everyone can be a hero’ … Sometimes we struggle but we keep on fighting to make a good life.

To find out more, visit www.marcminer.com

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Listen to the expanded interviews by searching Americana Music Profiles on all of your favorite Podcast platforms!

ARTICLES BY DAN WALSH

Mama Said String Band

Paul J Bolger

Louisville, Kentucky’s award-winning Mama Said String Band has been together for seven years, but each of the four members brings between 15 and 20 years of personal musical experience to the table. The group includes David O’Neal on vocals and strings; Katie “Didit” Caudill on vocals and upright bass; Kaitlen Farmer on vocals and guitar; and Kris Potts on vocals and mandolin.

Trying to keep up with Irishman Paul J Bolger’s fast-paced conversation, you might immediately get the idea that he has a lot going on—and you would be right. At the moment he’s focusing on music; but his creative spirit ranges widely. “... I do a lot of film work and I’m an illustrator, writer, lots of different things.”

He “drifted away” from music for a while, but has been making and releasing music more intentionally for the last six years.

We spoke with Katie about the band’s new music and previous history. She says, “We were basically just friends who would hang out at campfires late at night at different festivals. We all liked playing music, and we figured whenever we got together it sounded pretty all right, so we pushed it a little bit further, and now, seven years down the road, we find ourselves doing it full time.” The band’s name was a result of practices at a friends house, where the friend (a good cook and a hospitable host) would shout out things like “Mama said it’s time to eat!”

The string band concept anchors the group in the newgrass genre while allowing all those influences to blend into a compelling brew. When asked about who their music resonates with, Katie laughs and responds, “You know, that’s a funny question because I feel like the two biggest fans that we have are older people who sit in lawn chairs and very young people who wear tie-dyed and have dreadlocks.” But she feels their eclectic influences should draw in everyone in between as well: “I feel like there’s definitely something within our music for everyone to enjoy.”

The band took a holistic approach to creating and producing Seasons of Change, thoroughly planning the song sequence to make the album flow very specifically and lending it a cinematic vibe.

“I also feel like this album has more of a soundtrack sound to it,” says Katie, “kind of like a movie in its movement of pieces.

To find out more, visit www.mamasaidstringband.com

In contrast to the painstaking production of animation,, he finds a bit more instant gratification in the outlet of music. “It’s a much more immediate process,” he says.

Paul isn’t alone on the Emerald Isle in his love of this genre. It enjoys popularity in Ireland, and “there’s even more in Europe and in the UK. It’s huge over there…and it’s getting more and more popular.” From track to track, you’ll hear rock & roll, folk, blues, along with traditional Irish elements, but getting down to the essence of the music, he says, “There’s always this common thread…it’s organic, and it has to be played on real instruments …”

When Paul get a song idea, he tends to not let go until a song is created. “Once I sit down, it’s actually quite mechanical … I’ll spend a day. I’ll be the last one to go to the bathroom and the last one to eat, because I want to get that thing done …”

Paul’s new album is called Beware of Trains and is available via his Bandcamp page (pauljbolger.bandcamp.com). (Paul’s previous releases are available at his website shop link.) Concerning the title, he says, “I could make up a big crazy story, but…we have train tracks next to a port that’s no longer in use and they have an old sign that I just took a photograph of, that says ‘Beware of trains - Don’t walk on tracks,’ and I went ‘That’s a great name for an album!’”

To find out more, visit www.pauljbolger.com

www.AmericanaRhythm.com

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concluded from page 17 “I’ve met too many successful artists who didn’t seem satisfied despite the fact they had amassed considerable fame and fortune,” he reflects. “I certainly didn’t want to fall prey to those same doubts and desires. The only way I felt I could achieve my goals was to do something that I could be proud of and then pursue my creative instincts to the best of my ability. I think I’ve achieved something special over the course of my career, and that’s enough to tell me that I’m on the right track.

God gave me a gift, and it’s only right that I use it to the best of my ability.”

Consequently, it’s clear that he’s able to straddle the line between passion and purpose. At the same time, he remains an exceedingly modest man. “I remember thinking that I had secured my success because it had given me enough money to buy a pair of snakeskin boots and a new set of Goodyear Wranglers with raised white lettering,” he reflects.

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As for now, Falle says he’s happy and content with all he’s done so far. He’s never strayed from the desire to make music borne from his own personal perspective.

Given the effort and emotion Falle puts in to making his music, the rewards that are reaped for both he and his listeners are equally enriching.

Ultimately, Marty Falle’s music is his and his alone, a sound borne from the inspiration of both passion and purpose. It doesn’t get any more demonstrative than that.

Lee Zimmerman is an accomplished writer, blogger and reviewer. He contributes to several publications.

His book — Americana Music: Voices, Visionaries and Pioneers of an Honest Sound — is published by Texas A&M University Press.

Lee has worked with ABC Records and Capitol Records. As a result, he’s had opportunity to work with a number of artists over the course of his career, including Tom Petty, Bob Seger and Jimmy Buffett.

www.AmericanaRhythm.com

Premier Bluegrass Weekend Says Goodbye Festivals seem to have a life span of their own. While there are many that have stood the test of time – many more seem to reach an end.

The answer to “why?” has different responses depending on the circumstances, but regardless, it’s always sad to see a long cherished music festival call it quits. Such is the case for Myrtle Beach, SC Ocean Lakes Campground and their Premier Bluegrass Weekend.

“After 25 years of Bluegrass, it is bittersweet to see this event come to an end,” said Barb Krumm, Director of Marketing and Public Relations at Ocean Lakes Family Campground. “I started this show in 1999 to increase occupancy during a lower occupancy time of year. At Ocean Lakes, we do things big, and we do things right. We wanted to bring in the bands that true bluegrass fans love, and over the last 25 years, we have brought in 77 different award-winning bluegrass bands. From the volunteers, the bands, teammates,

making site availability more challenging for guests coming to the show. We are looking at more micro-events, so perhaps we would feature a Saturday concert during another time of year. The Recreation Center stays extremely busy yearround, so we need to consider the calendar of events, group rallies, and more.”

guests, and loyal fans, we have created this family unit and have brought together so many wonderful people.”

The 25th

(and final) campground exclusive, Annual Premier Bluegrass Weekend was celebrated this past August 25 th and 26 th.

2023 lineup featured Rhonda Vincent, Russell Moore & IIIrd Tyme Out, The Malpass Brothers, and Sideline.

“I was honored to perform at the 2023 Ocean Lakes Premiere Bluegrass Weekend again,” said Steve Dilling of Sideline. “I have been fortunate enough to play there many times over the years.

The staff at Ocean Lakes is absolutely the best. They take care of their artists, as well as their patrons to suit any needs that they have. To top it off, I got to perform a few tunes with my old bandmate, Russell Moore. Together with the guys from IIIrd Tyme Out, we were

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the “unofficial host band” for the first several bluegrass weekends at Ocean Lakes, so it is only fitting that we perform together for the final bluegrass weekend at Ocean Lakes.”

According to the campground website, there were several factors that contributed to the conclusion of the anual event. “There are several reasons; The main one is the summer season has ballooned out,

www.AmericanaRhythm.com

Even though it’s sad to know this is the last year for the bluegrass shows, I’m so honored to have been a part of the last 25 years,” said Russell Moore. “I can honestly say that some of my best times playing music have been at the Ocean Lakes. They have given me so many great memories that will stay with me forever! I’d also like to thank all the staff and volunteers, past and present, for the many years of hospitality and giving bluegrass music a home with wonderful experiences for all who have attended....Kudos!”

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Visit our booth in the IBMA exhibit hall

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www.AmericanaRhythm.com

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Music From Around The World

Music From Your Neighbors

welcome to the Fall edi-

tion of SPINS for 2023. Festival days are winding down, and we’re headed into the IBMA week in Raleigh, and the Americana week in Nashville once again this September. Oh, and 100 issues of AR that’s 1,400 CDs here in SPINS. Wow! Thank you for checking out all these great new ones too! Buy their CD. Support your favorite musician, so they can keep making new music!

Got one you want us to consider? send it to: Uncle Woody The Spin Doctor, PO Box 45 Bridgewater, VA 22812

John Surge and the Haymakers Almost Time www.johnsurge.com Think Bakersfield style when you consider John Surge.

John says the theme running throughout - Barroom tales.

The nine originals and one on Almost Time take you on a dusty honky tonk ride through a Tex-Americana roadhouse

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Danny Burns Promised Land

Painted Mandolin

Pert Near Sandstone

The Goodwin Brothers

High Fidelity

Sweet Rain www.paintedmandolin.com It’s the debut record for this band whose name is taken from the lyrics of a Grateful Dead song. And yes, Painted Mandolin has that classic Garcia feel when you listen to it. Any ‘deadhead” will appreciate getting in the groove with Sweet Rain

www.pertnearsandstone.com

www.thegoodwinbrothers.com

www.highfidelitybluegrass.com

These long time stewards of the modern stringband revival celebrate their latest effort, Waiting Days. Formed nearly 20 years ago, the bands natural evolution is evident in these new tracks - in a good way of course. We like it

This Kentucky based grass trio brings us their latest; If You Hadn’t Noticed. Known for their tight harmonies, this trio’s latest single, “Everyday Thing” spent several weeks in the top five on the Grassicana charts

The latest project from this traditional bluegrass outfit features gospel classics and treasures that will move your feet and your soul. For one cut, they go all the way back to 1927 to revive the song, “Music In My Soul.”

Chris Pierce

Carrie Newcomer

Robert Rex Waller Jr.

Charlotte Morris

Let All Who Will

See The Big Man Cry

www.chrispierce.com

A Great Wild Mercy www.carrienewcomer.com

www.robertrexwallerjr.com

Wild Child www.charlottemorrismusic.com

Los Angeles based Chris Pierce drenches this Americana roots/blues album with his deeply soulful vocals. The vibe and rhythm are harmonic and playful while carefully deliv ering Pierce’s well thought out lyrics on this 15 song collection

Boston Globe described Carrie Newcomer as a “prairie mystic.” She’s released three books of poetry and essays, and created 19 nationally released albums. Her latest, A Great Wild Mercy, takes on the subject of life, post pandemic, with heartfelt insight

Robert Rex Waller Jr. has been one of principle song writers and lead singer for the LA based band, I See Hawks in L.A. They have released 10 studio albums over the last 20 years. This is Waller’s second solo project - a true Americana collection

Charlotte Morris grew up just outside of Philadelphia, PA where she discovered her passion for music at an early age.

Charlotte moved to Nashville in 2021 to pursue her solo career. Her passion for singing and songwriting craft shine through on her latest

Tim Raybon Band

The Kennedys

Bruce Humphries and the Rockabilly Rebels

Left Handed Salute

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I Could Get Used To This

Waiting Days

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Headwinds

If You Hadn’t Noticed

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Music In My Soul

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Bob Cannon

www.dannyburnsband.com

www.timraybon.com

www.kennedysmusic.com

Live It Up

Tim’s first album in 2019 took the bluegrass world by storm - netting multiple chart topping hits, followed by a second album with the same credentials. Now, their third release, I Could Get Used To This, is poised to repeat the process.

We love your formula Tim; keep it up

This couple began their writing and touring life together 30 years ago as members of Nanci Griffith’s Blue Moon Orchestra. After three years off the road, this is their latest project - the results of a deep dive into American roots music. Well done you two

www.bobcannonmusic.com

Danny spent 20 years as a traveling folk singer before releasing his debut record in 2019. North Country was a top 10 Billboard bluegrass record and earned him wide acclaim.

His latest, Promised Land, has every bit of the sauce needed to do it again

www.brucehumphries.com

Bob Cannon has immersed himself in music life for years - as a singer/songwriter, a guitar teacher, even writing for various music pubs over the years. His third CD release, Left Handed Salute, has Bob embracing multiple styles and genres. Nice, Bob, well done

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Milwaukee based Bruce Humphries has found a way to keep the rock-a-billy genre alive and relevant in the modern day music landscape. You must check out this CD package too.

Oversized and 3D. Love it

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You can send new Americana CD releases for consideration to PO Box 45, Bridgewater, VA, 22812 / greg@americanarhythm.com www.AmericanaRhythm.com

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