Americana Rhythm Magazine Issue #74

May 2018

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By Edward Tutwiler

Welcome to the Spring edition of Americana Rhythm Music Magazine! Thanks for being a part of our little tribe. Wow, do we have a season in store for us this year! As you journey through this edition, take note of all of the awesome festivals highlighted throughout; Houstonfest, River and Roots Festival, Bloomin’ Barbeque & Blue-

grass, Nothin’ Fancy, Bluegrass and BBQ Festival, Circa Blue Fest, Hills of Home Festival, ROMP, World of Bluegrass, Amelia Family Bluegrass Festival, Rockahock Bluegrass Festival, Americanafest, NC State Singing Competition, Willow Oak Bluegrass Festival, and Folk Alliance International.

A great big thank you to all of those fine folks as well as the rest of our outstanding advertising partners.

Please be sure to tell them you found them right here in Americana Rhythm.

And by the way, hello Merlefest!

Thanks for picking us up!

Questions, comments, suggestions: greg@americanarhythm.com

Americana Rhythm is published six times a year. All corresponCONTRIBUTORS dence should be sent to PO Box 45, Bridgewater VA, 22812 or Ed Tutwiler email to greg@americanarhythm.com. Copies of Americana Wayne Erbsen Rhythm are made available free at various pick up locations within Donna Ulisse the publication’s region. Subscriptions are available inside the United Shelby Gold States (only) for $18 US currency made payable by check or money Andrew McKnight order sent to, Subscriptions at PO Box 45, Bridgewater, VA, 22812.

Mark Whetzel Foreign subscription requests should be sent to Scott Perry greg@americanarhythm.com. Copyright 2017. All rights reserved.

DISTRIBUTION Reproduction of any content, artwork or photographs is strictly Ed Tutwiler prohibited without permission of the publisher or original owner. All Zebra Media advertising material subject to approval.

Associated Dist.

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

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May 2018

Lest We Forget

By Edward Tutwiler

Pres·er·va·tion (prezYrÈvâSH(Y)n): The action of preserving something or the state of being preserved, especially to a specified degree.

The action that one takes for preservation means different things to different folks depending upon the subject one is pondering. The subject of preserving this mountain sourced, string music that we now call Americana came up among a few of us after a recent house concert; and germinated the thoughts for this essay.

If you’ve followed my stories at all, you know my personal preservation bent from the stories and essays that I often bring to you about those artists that I remember from my youth, and from remembering my mother’s love for the string-music that she tuned in on her AM radio day and night in the 1940’s and 50’s. As the clock and pages of time keep turning, most of the first performers in this genre of music in the early age of recording and radio have passed on. The same can be said for some of that second-wave of artists that traveled the festival circuit in the 1960s. Thus, I feel a need for the preservation of the memory of these folks. Some would call my action preserving the history of the people and their events of bygone days. Others, including some of the contributors to the pages of this magazine such as Wayne Erbsen who writes the Behind the Song column, preserve the history of old songs and their origin. People in the musical community at large preserve in a different manner. They preserve a style of playing or a style of sound, and they do so to keep that which they preserve from being lost or forgotten. They feel that preservation means preserving the sound of an era and presenting that sound for today’s audiences to enjoy. I reached out for a few thoughts on their effort.

Fifties Music Gene Bowlen, Phillis and Jim Gaskins, and Brent Holl play music in a music group named The Highlander String Band and claim to play music of the 50s and 60s—that is the 1850s and 60s.

Their instrument line-up includes a mountain dulcimer played Galax-style by the acclaimed master of that style, Ms. Gaskins, thus preserving a rare and unique playing style on an instrument not often heard. They play traditional Appalachian Mountain music, which provides a vivid portrayal of the history of the early settlers throughout the Appalachian Mountains.

Members of the band have been collecting tunes for most of their lives and enjoy sharing their love of the music. Here is what Gene had to say about their preservation effort. “For those who care about where we came from, the answer to why we play old-time, might seem obvious but the point is: this is how music moved through the population and did so up until the radio came along and effected a sudden change in music styles.”

Gene explained that in the eastern mountains and valleys the standard dance music for a long time was a fiddle player and a banjo player. In his band they include the mountain dulcimer because that instrument is derived from a similar stringed instrument brought along with early German settlers and reinvented by them in their new world. After this evolution took place, the dulcimer became the third part of the string bands from the mid 1800s through the end of the 19 th century. Gene reminded us that the guitar did not show up on the scene until the early 20th century when mail order guitars became available.

Gene injected, “The guitar is part of our band now but to be truly accurate to the 1850s we would not include that instrument.”

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The tunes played by The Highland String Band have origins in the British Isles, Ireland, and Scotland. Gene said, “The tunes have much in common with folks tracing their family tree. One can start tracing the history of a tune that might be known by one name here but if one would get together with an Irish player, he or she might play the same tune yet know it by another name. With this connection, one can see how immigrants to the new world brought the music along with them and preserved it.”

He continued, “The old time string music is community oriented. People ask us to describe old-time music, and I always describe it as a community. I believe that is one reason people of that time were excited about music: because of the community.

If someone had a need to build a barn, the entire community came together and worked like crazy to get that barn built. They then had something good to show for the effort and something to celebrate.

Those people had traveled a long distance to give of their effort so now they were going to celebrate that effort. Thus, they threw a huge party that lasted all night and maybe the next day, and music was a big part of that party.

People were open to have the band come in and play; and what the band did was make the sound of everything better. I really enjoy that part very much—that communal sharing aspect of the music. So, if history interests you at all, you have that aspect to consider and that is preservation.”

Gene then tied that aspect to the present by saying, “Much of the old-time music played today is played on the potluck circuit, that is; someone will suggest getting together around food that everyone contributes and then play music all night.”

The old-time music bands whose memory that The Highland String Band and a few similar bands strive to preserve were set up to produce music for dancing rather than show-casing any individual member’s playing skill.

The Underground Tapes During the interview with Gene Bowlen, he mentioned that he did

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research and recording work for a preservation group known as the Field Recorders Collective (FRC). You may remember AR did an in-depth story about this group some years ago (Issue 28).

The FRC is a not-for-profit organization that is governed by an expanded leadership and board of directors that insures their collecting and preserving effort will be on going. The FRC is dedicated to the release of materials (music and photographs) from private collections. The FRC contributors use professional-grade digital audio workstations to produce quality product with a focus on old-time and traditional music by obscure but brilliant artists who would otherwise disappear into the mists of time. The FRC creates a public archive that insures that these recordings will not disappear into a private, university, or government collection and thus never be readily available to the general public or amateur musicologists.

Promoting Preservation As any fan of Americana string music is aware, the face and the sound of it are changing especially in the genre known as Bluegrass.

This changing appearance, while embraced by legions of fans, does place the root origins in danger of being forgotten. Fortunately, there is a trade organization existing to preserve those roots and that is the Society for the Preservation of Bluegrass Music of America (SPBGMA (spig’ ma)).

The SPBGMA group is a not-forprofit corporation set up under the laws of the State of Missouri since 1974. According to its charter, SPBGMA works to preserve the traditional spirit and art form of Bluegrass music. The group offers a management service for any community desiring to hold a Bluegrass festival. It organizes and conducts Bluegrass band competitions. An important fact to note is that all SPBGMA sponsored events must be performed with traditional acoustic instruments and with no electrified instruments permitted.

Also, performers at SPBGMA events are encouraged to exhibit professionalism in appearance continued on page 10

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Performing Across The Pond, Part 2 Nuts & Bolts To The DYI Approach In Part I started the discussion of performing in Europe. We covred the basics of building a network, relationships and the type of work ethic you need to make it a reality. (See Issue #73 – March 2018) Let us fast forward and assume that you are going to perform in Europe for the first, or the tenth time. As you make your preparations to leave, make your checklists of what to take and what to do ahead. Here are some suggestions to keep in mind. This is not meant to be allinclusive but a launching point to help your tour be easier and more successful.

requirement to get an International license though it cannot hurt.

Renting Vehicles Reserve your rental car ahead of time from the States. You will pay when you reserve but you can cancel if your plans change and refunded. Check the prices and size of the vehicle. When we tour as a duo, I always reserve a fourdoor hatchback with a diesel engine and manual transmission.

Fuel is very expensive in Europe and diesel is the least expensive plus it gives the best fuel economy. Remember, roads are small and parking is tight. You do not want anything bigger that you need.

The Passport This is SO basic but many folks do not have a passport, cannot find it, and/or have let it expire.

Get your passport and keep it current. It is your ticket to the world! Do not delay in applying for one. Check online or at your local post office for the current processing time. When you receive it, make a copy of it and leave that with someone at home.

Take a photo of it to keep on your phone. That way, if you lose it or it’s stolen, you have a starting place to keep going. If you are taking band members with you, make sure they have current passports. This is a good time to learn a little more about your band – i.e. can they get one or do they have a past that prevents it?

You might be surprised. The same applies to your driver’s license.

Make sure it is current so you can rent a vehicle. Take a photo and make a copy for home too. We have not found it to be a

AC Electrical Power You will find 220-volt power everywhere in Europe but the plug configuration varies country to country.

Check the configuration for each country you will visit. Purchase a couple of adapters before you go. They are not easy to find once you arrive. I also recommend carrying U.S. power strips. You can adapt one U.S. power strip and plug in multiple U.S. devices. Check all of your devices. Your phone charger, laptop, tablet, hair dryer etc. will most likely operate on either voltage. I searched online for a daisy chain power supply continued on page 10

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As I sit here at my writing desk I am overwhelmed by the shape my life has taken these days. Oh, it’s a good complaint to have for it seems that all the years of hard work and dogged dedication to the craft of songwriting has finally caught up to where I am sitting.

This wonderful publication that has allowed me to have a platform for songwriters gently reminded me this past week that I was tardy in getting this article together. I laughed out loud because I love doing this so much and for it to start slipping my mind is more proof of the load on my plate. So, I have decided that this is worth talking about. How do writers balance themselves when their ship starts sailing at full speed?

I take stock and decide everyday to now head into my office, which is located down the hall from my kitchen, by 9:00 am. Yes, that is a

whole hour earlier than the old days when I used to show up on Music Row in Nashville at 10:00 am for my writing appointments. It also seems that I stay in my office until my stomach growls for dinner, announcing quitting time.

We are eating later and later each evening so that I can keep up with what I have created. There is the tiniest fear that I am letting my day to day songwriting slip in order to be an attentive member of the bluegrass community, edit other writers songs, teach workshops, tour as an artist, maintain a band of musicians and record new material. Still, I make myself find time to include creating my own songs in this busy schedule, even if it’s the precious time I have when I drink my first cup of coffee in the mornings.

some hogs. Elegant, gentle necks are bent down to dine on the grass and hay and that simple picture is all I need to jumpstart my imagination for the day.

I suppose I am using that time as a nature filled meditation where I can see my thoughts and hear my heart. As I walk those 15 steps down the hall to this desk, I try and come up with an idea to whittle on for the first hour of my day. That hour is what I demand of myself, a daily ritual. It is the least I can do for this talent that is my good friend and my great success these days.

Usually, with that much of an open mind I will write fragments which later become songs and therefore, I rescue myself from the fear of letting my own songwriting slide into the cruel world of writers block.

These days, I head over to my big picture window with that steaming mug in my hand and gaze out, laying my eyes upon the fields loaded with God’s critters; cows, horses, lots of goats and

I know so many of you reading this have full time jobs and are shaking your heads because it is obvious that writing is my full time job. I say again, as nicely as I can, if you want to be great at

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songwriting you will have to carve the time in your day to devote to this craft. The glimpse into my daily life is to support a topic that I am passionate about and have been redundant with; and that is to do something for your songwriting EVERY day. If you only have the time it takes to drink a cup of coffee and reflect on something that inspires you, than make that your daily journey and use it to hone your songwriting. You will find it strengthens you and your imagination and loads that ship full of your songs that you want to see set sail at a break neck speed. That’s what it takes and until next time…write on!

Donna was the 2016 IBMA songwriter of the year, and cowriter of the IBMA Song of the Year for 2017. Reach Donna at www.DonnaUlisse.com.

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that would supply 110v or 220v to my 9-volt pedal board. I found one on Ebay for about $30. Invaluable.

Flying and Your Bags When booking your flights, arrive a day early if you can. This will help if your bags do not arrive on time and might net you some sleep.

Cutting the start of your tour too close just adds anxiety.

Checked Bags: Check the airline luggage allowances BEFORE you buy your ticket. Most give you one checked bag, up to 50 pounds, for free and charge you substantially for any extras. Practice packing wisely and check your weight ahead of time – it stinks to repack at the airport.

Carry-ons: I always carry on one guitar and am ready to gate check it if necessary. Be polite but firm when carrying your instrument on. I have a double electric guitar soft case with wheels that I carry on. One section holds my National and the other holds my pedal board that I built to fit that exact space. I pack performance clothes around the guitar and board in case my checked bag is lost or delayed.

Medications: If you have any special meds, you need to take them with you. Trying to get a prescription filled will be nearly impossible and very time consuming. If you have favorite OTC cold remedies, pack those too. Long distance flights are petri dishes of germs.

Pharmacies are different and you will not find the same brands you are used to. Trying to talk to a doctor or pharmacist in a foreign language is challenging enough without adding feeling under par.

Your Instruments To rent or carry? Most large cities will have rental companies with experience renting instruments and/or backline to U.S. artists.

You may find that the additional airline baggage charges make it less expensive to rent gear. This comes with lots of logistical considerations that only you can weigh more.

Traveling with your vintage wooden instruments? DON’T!! Leave them at home and bring a solid working substitute with you.

There are too many horror stories of instruments being confiscated at the border because of the CITES Treaty. This is an International treaty to protect endangered materials. In the case of stringed instruments, this could be the ivory nut on the neck or the wood itself. If discovered your instrument could be confiscated, end of story.

Hope this helps with tips and tricks I have learned. There is certainly more to the subject but this will get you started. If you are reading this at MerleFest, the Mike Aiken Band will be performing and we hope to see you. Check the schedule and say hello. Until next time…happy trails!

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Preservation Continued from page 6 and showmanship. Finally, SPBGMA encourages the support of various Bluegrass publications and associations.

We must not forget that the term preservation can also be applied to what the promoters of these large traditional music festivals like Merlefest in Wilksboro, NC accomplish. Every spring, Merlefest gears up to preserve the memory of Doc and Merle Watson by presenting the Tradition-Plus musical style the Watsons toured the world showcasing. This festival brings together grizzled old-timers and pink-cheeked newcomers and they present their tradition plus musical effort to thousands of avid listeners. The attendees of Merlefest are a cross-section of young, old, rich, and working class folks; in other words—an Americana audience.

We have covered a great deal of ground in advocating and defending the preservation effort pursued by caring folks in the Americana music arena. If I have whetted your preservation interest just a bit, you can learn more about our subjects by pointing your computer’s browser to the following sites: Learn more about Gene Bowlen and The Highlander String Band here: www.bearcademusic.com/the-highlanderstring-band/ Check out the FRC here: www.fieldrecorder.com.

Direct your SPBGMA questions here info@spbgma.com While it might be a little late by the time you get this issue to make plans to attend Merlefest 2018, you can check out their WEB site nonetheless at: http://merlefest.org/.

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the melody. You only need four notes.

Take a gander at the tab/music, below. For those of you who read music, you should be all set. Above each line of music is a form of tab I developed that puts the name of the note (A, B, C#) on the string that it’s played on.

By Wayne Erbsen

2 Chord Songs For Mandolin Many folks are on the lookout for easy and foolproof ways to learn to play their favorite musical instrument. Who can blame them?

Everyone wants a free ride down music alley. These kind of folks get lured to websites that make grand promises of quick success if you try their method. Not being afraid to jump on this bandwagon, I just wrote and published my newest book entitled Easy 2-Chord Songs for Mandolin.

It doesn’t get much easier than this.

Just as you would suspect, the songs I’ve chosen can comfortably be played using only two chords.

Making it even easier, I’ve selected chords that mainly use only two fingers. Actually, some of the songs use chords that can be played using only ONE FINGER. And believe it or not, I’ve included a number of songs using chords that require NO FINGERS. There are actually a ton of great songs that only require two chords, so it wasn’t like I was scraping the bottom

of the barrel. Here is a partial list of songs in the book: Angelina Baker, Boll Weevil, Buffalo Gals, Bury Me Not on the Lone Prairie, Clementine, Cotton-Eyed Joe, Darling Cory, Down in the Valley, Fly Around My Pretty Little Miss, Handsome Molly, Hot Corn, I Wish I Was a Mole in the Ground, I’ve Always Been a Rambler, Jimmie Brown the Paper Boy, John Henry, Little Birdie, Muley’s Daughter, My Home’s Across the Blue Ridge Mountains, Oh Susanna, Old Dan Tucker, Old Gospel Ship, Old Joe Clark, Old Time Religion, Pretty Polly, Raleigh and Spencer, Red Rocking Chair, Reuben’s Train, Row, Row, Row Your Boat, Rye Whiskey, Shady Grove, and Shortenin’ Bread.

Let’s take a stab at playing one of the songs in the book, “They Gotta Quit Kickin’ My Dog Around.” This hilarious song is as fun to sing and play as it is to listen to. Not only are the chords easy to play, but also to play

The two chords you’ll need to play “They Gotta Quit Kickin’ My Dog Around” are D and A7.

Note: When you see two eighth notes, go down with your pick on the first eighth note and up with your pick on the second eighth note. Go down with your pick on all the quarter notes.

For those history buffs, here is a little history of this song. Take a look at it while you’re resting your sore fingers.

Also known as “The Hound Dog Song,” “They Gotta Quit Kickin’ My Dog Around” sounds like it was written by an old mountaineer who lived in a tar paper shack back in the hills of Kentucky or Tennessee. In fact, it was a carefully crafted composition from 1912 by two skilled songwriters, Webb M. Oungst (lyrics)

and Cy Perkins (melody). Cy Perkins was the pen name for Sarah Ann Stark, the wife of the legendary ragtime publisher John Stillwell Stark. While living in Sedalia, Missouri, John Stark heard the piano player Scott Joplin play The Maple Leaf Rag, and on August 10, 1899, he purchased Joplin’s composition for $50 plus one cent royalty. This proved to be extremely lucrative for both of them.

The melody of They Gotta Quit Kickin’ My Dog Around reminds me of the family of such tunes as Fly Around My Pretty Little Miss. It was first recorded in 1916 on RCA Victor

by Byron J. Harlan, and was a hit for Gid Tanner & His Skillet Lickers, who John Prine recorded it in Atlanta, Georgia on April 17, 1926. If I can hazard a guess, I would say that these recordings were made to cash in on popularity of the song that was generated when the Missouri Democrat Champ Clark used it as his theme song for his unsuccessful 1912 bid for the presidential nomination against Woodrow Wilson. With its widespread exposure during the campaign, the song was seriously considered to be the state song of Missouri.

Wayne Erbsen has been chasing the origins of songs for fifty years or more.

Check out his easy instruction and songbooks for bluegrass and clawhammer banjo, mandolin, fiddle, guitar, ukulele and dulcimer.

Www.nativeground.com

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Adam Steffey and the

Highland Travelers

By Greg Tutwiler Adam Steffey started playing bluegrass music in the early eighties, as a freshman in high school, on a mandolin his grandfather got him at a flea market. “I was actually a late starter,” he commented. “So many kids these days, they are eight years old and just blastin’ already. But I took an interest in it right away. I took lessons and just continued to get consumed by it.”

An eventual collaboration with Tim Stafford, guitar player and songwriter with Blue Highway, and school friend Barry Bails led Adam to the big stage. “It was with those guys that I started getting outside of the local reach,” he said. “We played more regionally at first, and then we started spreading out further in the summertime. It was during that time we became acquainted with Alison Krauss. She was 15 or 16 at the time, with a record out and a second one on the way with her group Union Station.”

Through playing with Allison, Adam was able to meet a lot of other people and enjoy opportunities to play on a lot of things for a lot of people that probably wouldn’t have happened otherwise. “Of course Allison is a legend now sure but she’s still just a great friend to me,” he said.

“I’ve been really fortunate. It’s just always surreal when you’re doing it,” Adam said. “I got to play with the Dixie Chicks, and we did shows with Alan Jackson and played the Grand Ole Opry almost every week in the wintertime because Allison was a member there. With all that stuff going, it was like a dream world.”

I’m Actually Doing It “Everything was sort of a blur,” he recalled. “I was in my 30s and thinking, ‘wow, this is pretty cool, I’m actually doing it.’ As much as I would have wanted to when I was a young man, I never thought I’d be able to do this. And so I still kind of feel that way. It’s like, ‘OK this is sort of what I do now. All that time with Allison was a huge, huge learning experience and a great, great opportunity that I’m just so fortunate to have been a part of that.”

Adam moved on from Alison’s band to spend a season with the bluegrass gospel super group, The Issacs. “I thought it was going to be a year and it ended up being three. It was intense. We were going five days a week. One year I figured I was on the road almost 300 days between traveling with them and doing studio work and any other thing I could get. It was a wild ride, you know. But it was it was fun too.”

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Highland Travelers cont.

Adam then played with Mountain Heart for about eight years before his friend Dan Taminski “my old buddy from Alison’s band,” contacted him about a solo project he was working on. After a few years with Dan, Union Station got back together. Adam and band mate, Ron Stewart, decided to keep on playing together. “That’s when we formed the Box Cars,” he said.

That was a project that lasted until just this past December when the band decided to step away, and take some different directions.

Time For A Change “We were together for about eight years and put out four albums during that time together.

Everybody in that group was great. But we just thought it was time to take a rest, time for something different. We just wanted to end on a good note while we were all still friends,” he said.

Adam’s new band is the Highland Travelers with Keith Garrett and Gary Hopeman, who were originally part of the boxcars.

“Gary and Keith and I wanted to continue to play on together and see what could happen. We had gotten together many times previously with Cameron Keller who now plays bass with the Travelers, and also with Jason Davis, who to me is just a monster on the banjo.”

“Jason had been traveling with Junior Sisk and Rambler’s Choice.

Junior was getting ready to change directions with his band, and Jason wanted to slow down a little bit. It just felt right to put something together. We started a little late in the game; kind of an odd time of the year to put the word out in the middle part of January, but we are fortunate to be working with Jim Rowe at Rowe Entertainment. He’s been great finding things for us. The schedule’s not as full as it will be in 2019, but we’re happy. We’re rehearsing right now, getting ready to do some shows in April.”

Adam say the guys have made a conscious effort not to just work up old Boxcar songs, or Junior Sisk songs. They’re not planning to play any of those live. “We may have a couple of traditional songs that folks are familiar with from the catalog of bluegrass historic songs,” he said, “But we’re going to steer away from any songs that the Boxcars have recorded or any songs that maybe those guys were doing with Sisk. It’s going to be hard enough already for a lot of folks to make that disconnect. I’m sure there’ll be folks asking for something we may have cut. And I won’t rule out the possibility that if two or three people are hollering for a particular song we might just throw it the in set somewhere. But it’s not going to be the standard or the rule by any means. For certain the set will take on a different feel because there are

different personalities onstage; and we will change up the whole lay out of how the show works.”

That New Feeling Adam says the guys love the feeling of being in a new band.

“You have to pay attention. This will keep all of us on our toes. It’s fun to have that kind of nervous energy out there; Not that being super comfortable isn’t cool too, but it’s neat to have that feeling again.”

As an artist, you get to that place where you don’t want to be too comfortable, you want to be challenged again, and that’s what allows different musicians to be almost interchangeable with different bands, or new projects continued on page 21

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A Concert In My House?

By Harry Jarrett Editor’s note: Every year we like to take the opportunity to fly the House Concert flag. If you’ve never experienced one, you should. It’s the only music genre’ of which I know that affords musicians the opportunity to sustain a musician’s lifestyle simply by performing a few times a week, in someone’s living room. Gather two dozen friends all pitching in to compensate the artist, bring along some pies and peanuts, and your favorite beverage, and it’s one of the best evenings you can spend with your mate and friends.

My friend Harry Jarrett owns and operates an old farm converted into a venue space, predominately dedicated to wedding industry. On the property sits a restored, historic farm house, recently vacated. “It’s the perfect setting for a house concert,” I said as I encouraged Harry to play along with the idea.

We eventually scheduled a three date series this past winter.

Following is H a r r y ’ s observations from his first ever house concert.

Last night was a special night for me and the 20 plus family and friends that gathered with me. I think I understand now where the phrase “packed house” comes from. Though it wasn’t really packed, it was packed full of life and music.

Giving It A Name It was the first ”Passin’ Through” house show I, and my friend, Greg Tutwiler, hosted.

And it was perfect. We rearranged the living room of the Home Place on Sunny Slope Farm I built onto the farm house that my great, great grandfather, John Wampler, built in 1872. We all gathered around the fireplace one cold night in January in anticipation of our first artist, Kipyn Martin. The fireplace may have warmed us on the outside,

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but Kipyn and her guitar warmed our hearts & souls, and opened minds.

Kipyn Martin is a young artist with a rich, old soul. She grew up in West Virginia, in the low lands of the Shenandoah Valley near the Shenandoah River. Her lyrics run as deep as that river, and sore higher than our mountain peaks.

She took my heart to places that night it had missed for years. The tears and smiles I saw emerging throughout the room that evening told me that she was doing the same for many others.

Most of her songs seemed to be birthed out of her own life experiences. But somehow, as she sang, I felt as though she was singing my life songs and those of others sitting in the room.

I would love to be able to tell you which song was my favorite. But I cannot pick one, not yet. I need to rest in her lyrics and the warmth of last evening. The memory of her words to the audience that evening; “I can tell from what I know about Harry and his family, music has long been in the wood of this house,” make me smile as I write this.

I can, however, tell you which song was the most poignant to me. It was “God is Love.” Michael Granberry, and Arts Writer stated it well in an article I found the morning as I pondered that beautiful evening. continued on page 20

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Thanks to our 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 select one entry to showcase for you here. Enjoy!

THIS MONTH’S FEATURE:

By Greg Tutwiler

James Armstrong ww w.jarmblues.com

“It has been 20 years since the incident. I still struggle with the pain and the nerve damage,” he said. But it hasn’t stopped him. Catfood Records announced the release of James Armstrong’s latest CD, Blues Been Good To Me, on October 20th 2017.

FEATURE ARTISTS Bluesman James Armstrong hails from Santa Monica California. Born into a family of music in 1957, it seemed his destiny to follow in the family footsteps. “My father was a jazz guitar player and my mom was a blues singer. When I was five years old dad and I had a duet in which I played drums and he played guitar,” James shared with me recently. By the time he was seven years old though, he had a guitar in his hands.

“Around 13 years old I was really into Jimi Hendrix’s album, Experience,” James said. “It was the first album my father bought for me.

So I would listen to Hendrix and try to duplicate what I was hearing on the guitar and try to sing like him. So I put together an original band. We did only originals, no covers. At 17 I went on my first road tour; with a local country band,” he mused.

By his 20s, James started making waves on the local California blues circuit, becoming the youngest member of Smokey Wilson’s band.

In the 1980s, he was a founding member of the band Mama Roo and received his first recording contract for Crescendo Records.

By the early 90s things were looking promising for James as he had gotten plenty of exposure from his musical influences, including Albert Collins, and Sam Taylor. Soon after, he was discovered and signed by HighTone Records to his next record deal.

In 1997 though, James’ career would get derailed, almost for good.

blues guitarist” and for “best song of the year” with “Pennies and Picks.”

He’s had songs placed in three major motion pictures. “Bank of Love” was used in Hear No Evil, with Martin Sheen and Marlee Matlin.

“Two Sides to Every Story” was featured in Speechless with Michael Keaton and Geena Davis, and also in The Florentine with Jeremy Davies and Luke Perry.

“I was living in Sunnyvale California at the time,” he recalled. Just as he was about to tour with his critically acclaimed first album, Sleeping with a Stranger, tragedy struck. “On April 28 there was a home invasion at my house. An unknown intruder walked in the door and went into the kitchen and grabbed a knife out of the kitchen drawer. He started stabbing me repeatedly. My two and a half year-old son James Jr. and my nine month old son John were both in the home at the time. The first stab wound was in my upper left shoulder, followed by numerous others. He then grabbed my son James Jr. and threw him over a second-story balcony outside. My son James Jr. is 22 years old today and has minor brain disorder. I lost total use of my left arm and hand for about a year.”

After the attack, James could barely hold a guitar, let alone play it. “For years I only had one nerve damaged finger that I could use to play. I didn’t want to play guitar anymore so I tried to stop. I felt embarrassed because I could not play like I used to, or like other guitar players.”

Because of his friends, fans and the record company who never gave up on him. James kept trying. “I’ve played guitar since I was seven years old,” he said. “So I guess that’s

all I’ve ever wanted to do. Hightone Records kept pushing me to go on tour so I decided to go, just to shut them up, and I figured they would realize how bad it was and then leave me alone. My band at the time made a table to lay my guitar on because I could not put a strap on my shoulder or use my fingers.

That’s when I started playing slide guitar.”

“I remember talking to my friend mine, Doug MacLeod, about a year after the incident. We were talking about writing songs. I told him I only had one finger at that time that worked. So he sent me a song called “Too Many Misses For Me,” and I rewrote that song using one finger, that’s what got me into writing music again.”

Armstrong released his second album two years after the incident, Dark Night. What he lost in the tragedy he gained in, “a whole new respect for the music itself, the power in slow blues, how the silences between the notes are as important as the notes.” James turned his efforts to perfecting his songwriting, vocal and slide guitar skills, all the while developing his gift for turning hardship into song. The results were a third album, Got It Goin’ On. That CD earned two Blues Music Award nominations for “best

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He has performed in many countries throughout North America, Europe, Scandinavia, Asia and the Middle East, and shared the stage with many artists like ‘Keb Mo’, Chaka Kahn, Shemekia Copeland, Charlie Musselwhite, Ricky Lee Jones, and many more.

Last year James performed at over 140 shows in the US, spent two weeks in Spain also a month in Europe. “This year I just got off of the road after 14,000 miles in seven weeks,” he said.

“I’m extremely happy with my new CD. I’m usually very picky when it comes to recording my music in the studio. But on this project I did not have much time to prepare because I was so busy on the road. So I just went in with the idea whatever happens, happens. So what came out for me was more of a raw sound not so produced.”

“For years I was so embarrassed when I was around other guitar players because I could not play like I used to or like I think other players sound. Lately though, I’ve been getting compliments from accomplished guitar players. Once again I’ve realized that less is more, it’s the silence between the notes that matter.”

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Listen to the expanded interviews at www.spreaker.com/show/ americana-music-profiles, or search Americana Music Profiles in iTunes!

Nefesh Mountain For Eric Lindberg and Doni Zasloff, New York based Nefesh Mountain is more than just a bluegrass band. It’s a celebration of the foundational roots of music and traditions from not only the heritage of the folks who settled the mountainous regions of the US but also of the rich Jewish culture they live in. It’s not a gimmick or a parody. It’s intentional, and it’s from the heart.

Lindberg says that while they call Nefesh Mountain a place, “it’s actually more of a metaphorical place in their hearts, and our ethos as a band,” he said.

Nefesh is actually a Hebrew word that loosely translates to the soul, or the spirit of something.

“That word mixed with mountain ends up being a place in our minds and our lives, and when we play our own music it feels like we go to that place.”

On paper, bluegrass music and ethnic Jewish music may seem like an odd combination, but the bottom line is, as Eric puts it, “is that we’re Americans.

We both grew up in this country feeling very soulful about the music indigenousness to this country.

Starting with the music from the civil war era and before, moving through the ages with the African influence, and that of the Scott/Irish traditions, and this whole melting pot thing that became Americana; I feel very drawn and spiritual just musically about that form. As an American, I feel very at home in that sound. Somewhere along the line Klezmer became the only music that was associated with Jewish people. but I don’t see it that way. I think when you get all the way down to the roots of music it’s really not that weird to be playing Jewish Bluegrass.”

Their new CD, Beneath The Open Sky, eloquently combines all of those traditions into one beautifully unique collection of songs. One quote says it all; “It is a soulful, euphoric, folk-flavored outpouring of hope and joy, propelled by the kind of crisp, crystalline picking that gives lyrics wings.”

Tennessee Jed

Although originally from Tennessee, Jed now has two home bases, one in North Carolina, the other, Vermont. The album by the same name, Pimpgrass, produced by Scott Vestal (Sam Bush Band) is his third full length record, and there’s already a forth and fifth on the way, One of which will be titled, The Soular Sessions. It will be a solo EP recorded using solar power during a windstorm in the Arizona desert. Vestal commented that Pimpgrass was, “the most fun project I’ve ever been a part of.”

Jed, who’s real name is John, says he’s gone by the name Jed his whole life.

“Something my parents gave to me – a combination of letters from my name. But with a name like Tennessee Jed, a lot of people think I perform a Grateful Dead tribute. Although I went through my Dead phase, obviously I’ve expanded my musical pallet sense then,” he said.

Jed started out his musical experience as a hard rocker. “I was learning stuff like the Scorpions and old Black Sabbath,” he recalled. “I went through a lot of musical phases though, and ended up joining a country band – playing with Jason Michael Carroll.

“I eventually came up with this weird fusion of music, and my friend Al Al Ingram coined this phrase, soul country pipmgrass, to describe what I was doing. I said, ‘I’m gonna use that.’ I ended up writing a song, and then we made a video, and then a whole album. The name got shortened, and that’s how we got Pimpgrass.”

To find out more, visit www.nefeshmountain.com

Nashville based, f o lk - A mer i c a na group, Raven and Red has been heralded by Country Music People Magazine as “very entertaining with warm melodies and even a slight commercial edge.” Classically trained Brittany Lynn Jones (Raven), along with Mitchell Lane (Red), and his brother Cole not only have impressive musical resumes, more importantly, they have a ton of talent.

They’ve just released their first full-length CD, We Rise Up, of all original material. Filled with warm harmony vocals, their violin, banjo, bass instrumentation is “a perfect bridge between tradition and modernity” and an “outstanding debut with razor-sharp and sometimes goosebumpsinducing singing”, said No Depression magazine recently.

Brittany’s raven dark locks and Mitchell’s bold red hair made for an obvious name when choosing Raven and Red Mitchell told me recently. The pair met in college in 2009 while studying classical music at UNC School of the Arts. But Brittany had a strong interest in performing folk/bluegrass/ Celtic/Americana music. “Of course that’s hard to find in classical music school,” Mitchell chided.

“So we got together and decided to do our own thing.” Brittany went on to study Bluegrass and Celtic at ETSU in Johnson City, TN. Mitchell tagged along with guitar in tow. “We just started playing together there,” Brittany said, “And started writing our own music.”

“I really liked the training you get from the classical side,” Mitchell said. “They really do train you to be the best performer that you can be. That was very exciting for me, and I wanted to learn how to sing properly too.”

The new CD is, “just one milestone in our musical journey,” as Mitchell sees it. “We love songs that tell true stories. Many of the songs on this album are inspired by true stories, but even the fictional stories reveal human truths that are familiar to everyone,” explained Brittany.

To find out more, vivit www.ravenandred.com

To find out more, visit www.tnjed.net Check out

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Raven and Red

In a world where titles and definitions seem to matter, Jed “Tennessee Jed” Fisher has carved another notch in the bluegrass belt with his own contribution – Pimpgrass. It’s “soul and funk rock crossed with bluegrass and country music, aka: Bluegrass with bling.” And it’s catching on. Jed’s been traveling all across the US performing and recording with an A-list of artists including Steve Martin & Steep Canyon Rangers, Sam Bush Band, Lyle Lovett Band, Ricky Skaggs & Kentucky Thunder, Infamous Stringdusters, Leftover Salmon, Dailey & Vincent, Mountain Heart, and more.

on iTunes www.AmericanaRhythm.com

May 2018

It’s True Grass Again Aris Paul Americana songwriter/guitarist Aris Paul hails from Pittsburgh, PA. He’s just released his first full length album, Drive All Night. “It’s a roadintensive album,” he told me. “And I think it’s a great offering of solid production, soulful lyrics, and top-notch musicianship. It’s a very solid collection of so many sub-genres from blues and rock to alt. country and folk.”

Like many younger musicians these days, Aris comes from a music rich family history. His father, Paul Pantelas was a lifelong musician and touring guitarist throughout the 1970s and 1980s. “Lucky me,” Aris said, “All of his road gear was littered all throughout the house. I was about 9 or 10 when I started playing around with his guitars.”

His dad and uncle, George Pantelas, had a hand in Pittsburgh’s blues scene. Aris told me, “They founded Excuses Bar together, which was a little corner bar on the south side of town. A lot of the old blues greats that were playing shows around town would get word to come down and check out this little dive bar on the south side because that’s where all the musicians were playing late at night.”

Fueled by the blues influences in his blood, Aris was writing his own songs by age 16. He recalled what legendary Pittsburgh rocker, Norman Nardini, told him one day; “Find out what you want to say and say it as best you can.” ”That was some of the most invaluable advice I’ve ever been given,” Aris said.

By 18 he had been signed to a contract with Plateau Records in Nashville. “My dad and I sent my songs to a studio down there, and surprisingly they got back to us and wanted to record them. It wasn’t my best work, obviously, but for an eighteen year old, it was pretty impactful.”

“My music is hard to pin down,” he said.

But it’s a blend that he’s quite proud of.

To find out more, visit www.arispaulband.com

Many revere Lorraine Jordan as the keeper of tradition in bluegrass music. She originally hailed from the coast of North Carolina but currently resides in Garner, NC, which is just outside of Raleigh, NC. She holds court in her namesake coffee shop/music venue, Lorraine’s Coffee House, when she is not out on the road with her band, Carolina Road. She is a talented performer, songwriter, emcee and show organizer who has received many honors from both the IBMA and SPBGMA for her songwriting and musical performance. We caught up with Lorraine a few days ago and interrupted her busy day to learn a bit about her current musical involvement.

about why can’t bluegrass just stay true grass.

We think people who want to hear the music like it once was will really like it.”

Something New The single is from an up-coming album that will release on Pinecastle Records sometime around mid-summer. This new CD is titled True Grass Again. Loraine said, “It is going to feature some big hitters.” The new album features two well known singers in the traditional style—Junior Sisk and Danny

To begin, we acknowledged her longevity in bluegrass music and asked her to give us the Reader’s Digest ® version of her music and a snapshot of her career. Ms. Jordan said, “I’ve been playing bluegrass music for about 40 years and I’ve fronted my own band, Lorraine Jordan & Carolina Road, for about 18 years.” She, continued, “We are a traditional bluegrass band and are hard driving all the way; however, in 2016 we did a CD called Country Grass.

That was a very special project. We got some classic country artists to sing their songs and we were the backup band and harmony singers. We’re back to traditional grass since then.”

Keepin’ It Real Traditional music is important to Ms. Jordan and, she has involved herself in several preservation projects trying to keep that old sound alive. I asked her to expound upon that idea a bit. Here is what she told us, “Right now, I see a trend where people are calling whatever they are playing bluegrass no matter whether it includes electric banjos or added guitars or whatever. Someone at a festival wanted to know which type of bluegrass we play—did we play traditional or contemporary style. I replied no, we just play Bluegrass. You do not need to attach a label to bluegrass because when you play bluegrass, it is traditional. I’m not saying bluegrass can’t have a little flavor but it needs to stay with the core instruments like the guitar, banjo, fiddle, mandolin, and bass.

We don’t need anything much past that.”

She and her band have a new single to be released by Pinecastle Records on April 6th titled “True Grass”. Ms. Jordan said, “This song was written by David Stewart who cowrites with Eddie Raven. The song talks

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Paisley. Also, back in time to sing the last song on the album is Tommy Long, who has been on medical leave recovering from throat cancer. While Tommy was out on medical leave, Jerry Butler, Brad Hudson and Troy Pope filled in for him, and each of these singers are featured on this new CD as well. Lorraine also told us that she wanted some good high baritone singing that is popular in traditional bluegrass so she brought in Randy Gramm to sing a few songs and also sing the harmony parts with her. While the CD features songs by other songwriters, some six or seven of the songs included were penned by Ms. Jordan herself, many that she had not previously recorded.

He’s Back We asked about Tommy Long’s recovery, and Lorraine said that he is now back full time with Carolina Road and is singing better than ever.

Lorraine commented, “When you hear Tommy sing “True Grass Again” on this new CD, you will say, ’Wow’. His voice is now so powerful and pure.”

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May 2018

Touched By A Song “’God Is Love’ is a song our nation needs to hear, warning of the sin of using religion as a weapon to justify misguided political or social beliefs that do anything but show “God Is Love.” The song closes with lyrics that serve as a gentle but forceful reminder of how it should be, a truth, Martin, now 30, said she learned the song in a loving Presbyterian church that opens its doors to all: “God is love and love abides And when we meet with the rejected That our arms can open wide God is love and love is kind And when ideas steeped in fear close our hearts We can open and change our minds.”

There was a story she told for each song.

Sometimes, they were so compelling to her, and us, that she forgot to tune her Gibson guitar (personal pronoun she) during them.

But we did not mind and she laughed it away with us as she tuned up and down all six strings like the classically trained guitarist she is. As we chatted at the end of the night and I thanked her, I had to tease her about the precision of her tuning. There was a story for that too.

Kipyn Martin and her life songs inspired me that evening. I think that they will inspire many. One day soon, I imagine, she will become way too big for my large living room.

I hope so. I write this in hopes that my words will move you to listen to her words. So that she might warm your heart and soul and open your mind as she did mine

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Highland Travelers continued from page 14 because it’s that challenge of starting over and learning the way new guys play, and learning a new style that actually keeps the whole thing interesting. Fortunately the bluegrass fans follow artists as much as they follow bands, so they’re just as curious to see what this new project is going to sound like just as much as the guys in the band are.

were excited about picking material, excited about wondering what it would sound like if we work a particular song out. It just put a whole new spin on it again.”

The new album is self titled. “It’s just going to be the Highland Travelers. The main thing right now is just to get the name out there and have people associate the players and singers with the band and then get this album under way, and get the wheels on the road with it,” Adam concluded

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www.HighlandTravelers.com

“That’s a perfect way of putting it,” Adam said.

“That’s an absolutely ideal way of stating that because it is that way. I was certainly happy and comfortable with the Boxcars, and everything was great. Everything was going well, but it was almost like it was it wasn’t fluid anymore. With the Travelers, from the minute we talked about it, we felt like it would be so exciting. We were ready to jump in the studio immediately and we wanted to play now. We

Amelia Family Bluegrass Fest NEW DATE: October 4 - 6, 2018 Rockahock Fall Bluegrass Fest October 18 - 20, 2018 www.AmericanaRhythm.com

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May 2018 Don Brown has spent the better part of his career doing what he calls, “helping people with people.” He’s written five books, including his latest, Simple Truths in Music and Life. This latest project is a collection of wisdom gathered from Don’s experiences and time spent with Uwe Kruger of the Kruger Brothers.

Do Less, Not More “You’re doing way too much with the instrument. You’re actually stopping the guitar from producing sound. Every time you touch the strings you make it stop sounding and it has to start anew.

Do less, not more. Let the guitar do the work!” Uwe Kruger Do you ever get frustrated in a jam session? There are lots of people there, and lots of noise. It feels like you can’t even hear your own instrument, let alone be heard by any one else. What do we do? Play harder, play louder, and play more! How about when you’re playing solo? You have a vision in mind of the piece you’re playing, of what it should sound

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like - except that your vision of the piece is one being performed by four musicians on four instruments accompanying three voices. What do we tend to do? If you’re anything like me you still try to play harder, play louder, play more. How’s that working?

Do less, not more. Sounds pretty “Zen” doesn’t it? But guess what?

It works. First of all, in a group setting, doing less simplifies and removes notes rather than adding to the noise. It allows us to listen for space, for quiet in which to play, even if only for a note or two. And when we’re playing solo, the instrument is permitted to carry fewer but richer tones, and we can better hear and project our own intentions for the piece. Think about it for a

minute. As a parent, if I am constantly yelling, always louder in competition with a child, what message will come across? The child hears a meaningless, indistinct garble. Is that what I want for my family, for my music? Do less, not more.

Without A Mistake Is Almost Impossible “To play something fast can be easy. To play something slowly can be really hard. To play without a mistake is almost impossible.”

Uwe Kruger I choose this truth as a final “conceptual” note around technique. Let’s spend a minute with this quote to close out what Uwe would like us to keep in mind. “Without a mistake is almost impossible.” Perfection is a tall order! Playing a perfect piece; being the perfect parent; perfect brother; sister; friend; partner or associate is in fact usually out of reach for most of us.

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Now, is that all that this is about, simply knowing that we’re going to make mistakes? Perhaps, but I believe there’s a deeper message here. I believe it has to do with self-forgiveness. Most of the people I come in contact with are far gentler with others than they are with themselves.

Forgive

– to grant pardon, to cease to blame or feel resentment, to excuse, absolve, release

We’re all guilty to some degree. I think Uwe’s message here is to simply be kind to you. Play music, and realize in the end, it is still a game. To play without a mistake is almost impossible.

Don’t worry about perfection, just let it bring you joy. Forgive yourself. Grant yourself a personal pardon. Take technique seriously - it matters - but then let it go and play!

“Never think badly about your own playing, otherwise why are you here? You’re just like me or anyone else in the room. There is no need to put yourself down.

Ever.” Uwe Kruger

May 2018

So You Like Your Bluegrass Underground?

Perhaps you’ve seen the PBS series, Bluegrass Underground?

The 13-time Emmy winning series is literally filmed underground; in a cave. Now in it’s seventh season, the series was originally taped 333 feet underground in the Volcano Room; in a subterranean amphitheatre of the Cumberland Caverns, below McMinnville, Tennessee.

A recent move to what is considered it’s new, permanent home, to The Caverns, marks the start of it’s new season. The Caverns is located at the foot of Monteagle Mountain in the rolling hills of Grundy County, Tennessee. Its close proximity to Nashville, Chattanooga, Knoxville, Atlanta and other major cities, makes the series available to even more patrons.

“Many great folks have labored this past year to shine a light on one of the most singular and special spaces on earth. The

Caverns are magical and perfectly suited for music—it’s one of the most rewarding projects any of us has ever been involved with,” said venue owner and Bluegrass Underground creator Todd Mayo. “I can’t say enough about the spirit of our team that has worked so hard to get us to this point. When we welcome our first guests into The Caverns on March 24th, I have no doubt that the natural beauty and the crystal clear acoustics will create a breathtaking experience for everyone.”

The Caverns design extends past the music and venue interior when considering the guests’ needs. According to the venue’s General Manager and Associate

Producer Joe Lurgio, “every aspect of the patron experience has been improved and enhanced – a streamlined ticketing process, closer parking, nicer bathrooms, more comfortable seating, better sightlines and more. The space itself is even grander and we have added upgraded food and beverage concessions that will include a longtime request from our patrons—beer.”

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“We had great expectations for our first year of operation, but since announcing The Caverns a few months ago, the response has surpassed even our wildest dreams,” said Mayo. “We’ve announced 25 shows with amazing artists across many genres to introduce The Caverns to the world. We’re offering not only the best talent, but also an experience that combines the finest musicians in a setting that took millions of years to build and that is second to none—music in an underground cave that will be fitted with the best sound system and customer amenities, surrounded by the natural beauty of Tennessee. What more could anyone desire when seeking a one of a kind experience?”

Packages and tickets for all events are on sale now and can be purchased at www.thecaverns.com.

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May 2018

In Pursuit Of The Gig Life Editor’s note: We met Emily three years ago while she was coproducing a small jam festival with her boyfriend. Over these past years as I’ve seen her grow and mature, not only as a musician, but also as a person, I’ve found her story to be not unlike many young aspiring musicians. She also aspires to be a writer, so I asked Emily to write down her story, in her words, for us to share with you. I hope Emily’s story inspires you.

The courtyard of the small-town Vermont campus was filled with happy college students. I sat down among them in their circle. One girl strummed a guitar, singing with closed eyes while others sang along dreamily. I knew then that I needed to play guitar. I wanted the ability to play the songs I loved, granting me the freedom to sing them with accompaniment. The girl with the guitar; she turned out to be my roommate.

One afternoon while she was out, I began furiously teaching myself

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guitar chords using the internet.

I worked my hands into seemingly impossible positions on the strings and fretboard, grew frustrated at myself, until finally, a beautiful sound came out from the sound hole in the rosewood. I was so delighted at the gorgeous sound that a G chord made, and so proud that I was the one who created that sound. The people who play an instrument seem the most free to me, like they know some secret about life that the rest of us don’t. I wanted to feel that way too. And thus the journey with my own guitar began.

I eventually had an opportunity to travel to Ireland. With my guitar on my back, I headed off to see what the other side of the world had to offer. I felt excited and inspired to wander down the cobble streets of Galway city. It was there that my music career began; as a “busker,” or street performer. I stood on the side of the busy walkways and poured

myself by playing music on the streets. On the day before my departure, I took the bus to the

By Emily Julia Kresky same cobble street where the journey had begun. I opened my my heart and voice into the case for the last time on that trip. streets of Ireland, not really And I played, and sang. knowing what I was looking for in return. I sang songs by Stevie However, it was rainy and cold that day, and few people were out.

Some passed by but few turned their heads. Feeling defeated, I packed up my guitar, walked to the nearest pub, and bought a pint of the crisp hard cider that I had grown to love. I chatted with people and danced to a traditional Irish band. When it came time to leave, I realized I didn’t have enough money to take the bus back to my friend’s apartment.

Just as I was starting to panic, a Nicks and Tracy Chapman. I gentleman walked up to me and scribbled down some lyrics of my said, “You were playing guitar on own in my journal. Some folks the street before. I didn’t have any actually stopped to listen; and money on me then, but I wanted some even tossed coins into my to give you this.” He handed me open guitar case. the exact amount of money I needed for the bus. It was a small, I stayed in Ireland for two simple act of kindness, but it was months, moving from town to enough for this young girl in a town, staying on farms with foreign land exploring life strangers who became friends, through music to return home working in exchange for a bed certain that I had made the right and something to eat. I sustained choice

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May 2018

Music From The National Scene

Music From Your Neighbors

welcome to the SPRING

edition of SPINS! Check out all this wonderful ear candy (in no special order)! 2018 is in full swing and we can’t wait to see these gems out on stage.

Grab your iPad or Smart Phone and dial up some of these fine folks. And please let them know we sent you. We’ve got some great CDs to start your spring/summer fest tour!

Wayward Troubadour

Becky Buller Crepe Paper Heart

James Scott Bullard Full Tilt Boogie

Wood & Wire North Of Desire

www.mikeaikenmusic.com

www.beckybuller.com

www.jamesscottbullard.com

www.woodandwireband.com

Mike Aiken blends a cool cowboy persona with his maritime lifestyle to paint up a delightfully fun summer time feel on his new CD, Wayward Troubadour. Mike’s 7th studio CD, no doubt will deliver a big dose of happy

Becky Buller became the first person ever to win in both IBMA instrumental and vocal categories in 2016. She’s won five in the last two years. Her 20 year career in bluegrass shines through on her latest project, Crepe Paper Heart

James is not new to the Americana scene, having shared the stage with the likes of David Allan Coe. His latest CD, Full Tilt Boogie, is an edgy, gritty, intoxicating ride through his originally penned Americana gems

This Austin-based Americana band is pleased to announce the release of their latest, North Of Desire. As avid songwriters, they pride themselves on making new music that stands on it’s own. Good stuff guys! You’ll like this one

David Adkins Right Or Wrong

Banjo Nicharu & Western Scooches

Clay Bank No Escape

Echo Valley Rise And Shine

Leftover Salmon Something Higher

www.daveadkinsmusic.com

Get Us Out Of Fearland

www.claybankbluegrass.com

www.echovalleybluegrass.wordpress.com

www.leftoversalmon.com

I’ve followed Dave’s career nearly from the beginning. His gritty Bob Seger meets Chris Stapelton voice is just the right flavor His latest CD, Right Or Wrong, just might be his best yet. Check out his version of “I Can Only Imagine.” Keep your eyes on this fella

www.banjonickaru.com

Clay Bank represents the freshman class of grassers for 2018. Gary Trivette is the veteran along with a cast of up and coming musicians. Their first offering, No Escape, shows promise for sure. It’s classic grass with contemporary overtones

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This sibling band lives on a farm in western Pennsylvania when they’re not on the road.

Formed in 2008, they blend traditional, and gospel bluegrass with celtic and folk styles to create that perfect family band sound. Their latest is Rise And Shine

One of the premier Americana bands is still on the road after nearly 30 years - Leftover Salmon still knows how to keep it fresh! Their latest, Something Higher, continues to keep that bluegrass picking, Cajun two-stepping country blues tradition alive

Hot Club Sandwich No Pressure

Peter Rowan Carter Stanley’s Eyes

Victor Wainwright and The Train

Got one you want us to listen to? send it to:

Uncle Woody, The Spin Doctor PO Box 45 Bridgewater, VA 22812

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The Nouveaux Honkies Loud In Here www.tnhband.com

In 2014 Rebecca Dawkins and Tim O’Donnell set out on their rebuilt RV across the county performing their brand of Honky Tonk misic. 150,000 miles and 600 shows later, they are pleased to share their latest project, Loud In Here. It’s “just plain fun”

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Mike Aiken

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Get Us Out Of Fearland is the second CD from the NY based rhythm oriented troup.

Featuring a 1920s Jazz feel, these guys toss in folk/Americana flavors with New Orleans, and even some GullahGeechee. Fun stuff guys

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Sideline Moves Front And Center www.sidelinebg.com It literally started as a side line project for the original cast of this now power grass band from Raleigh, NC. With several charting songs in their wake, this latest project, Moves Front And Center, just could be the one to take them across the top. We dig it

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www.hotclubsandwich.com

www.peter-rowan.com

www.victorwainwright.com

Washington State is home base for this swing ensemble.

No Pressure is the fifth installment for this group. They blend improv, jazz manouche, and bolero romantico, to lay down that Django sound that so hot today. You’ll want to add HCS to your list

Peter Rowan got his start as one of Bill Monroe’s Bluegrass Boys in the mid-60s as the band’s guitarist and lead singer. In his latest CD, Carter Stanley’s Eyes, Rowan pays his respect to bluegrass’ most famous brother, and Rowan’s story of meeting Carter

Wainwright’s back with a new band and 12 new original songs on his latest selftitled CD. Victor’s dssire is to push the music forward with new collection. He’s doing that, and more, for sure.

It’s boogie-woogie folk sure to get your toes tappin’

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You can send new Americana CD releases for consideration to PO Box 45, Bridgewater, VA, 22812

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www.AmericanaRhythm.com

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May 2018

www.AmericanaRhythm.com

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