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Monthly Archives: May 2020

Stringdusters try hip hop with G Love

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And now for something completely different…

The Infamous Stringdusters have never been afraid to take their music in new directions, or to apply their forward-looking grass to different styles. So you may not be shocked to learn that their latest collaboration is with rapper G. Love (Garrett Dutton) on his hit with Special Sauce, Cold Beverage. Love’s original track had been made in 1994 and saw success in the alternative rap market, and he says he was immediately up for working with the Stringdusters.

“Andy Falco and I met and jammed at the Grey Horse Tavern a couple years back with Ron Artis during my BeachSide Blues tour. We’ve kept in touch since then, and when Andy suggested a collaboration with The Stringdusters I was over the moon. I was thinking either let’s cook something up from scratch or do a bonafide hit down home style. We decided to rock the Special Sauce hit Cold Beverage which has become one heck of a great drinking song over the years. I went down to Philly the day before Halloween as everybody was off before the Stringdusters’ Halloween show at the TLA, so we had some studio time in Germantown (where I went to high school). We circled up and ran the song acoustic til we had a killer arrangement. We cut it live and nailed it in the first couple takes and added a few harmony vocal overdubs.The next night I sat in at the Stringdusters show and we debuted the collaboration to a full house. It was such a pleasure to get to work with these amazing musicians and I look forward to the jams to come.”

The ‘Dusters released this sneak preview video last week with a taste of the latest collab from December 2019.

Stringdusters guitarist Andy Falco shared a bit about how this came about.

“I met G. Love a few years ago at my favorite local venue here on Long Island called Grey Horse Tavern. Last fall [the band] wanted to head into the studio to record collaborations, so I reached out to G. and he was down. The Stringdusters were due in Philly for our annual Halloween show (where G. is originally from) and coincidentally he was going to be in town at the same time. We booked some time at Rittenhouse Soundworks which has a very cool old warehouse-looking live room, and tracked a bluegrass version of G. Love’s hit, Cold Beverage. We did it live (aside from a few background vocals), and had such a blast hanging and making music with G, who is such a seasoned pro. It was really a special day in Philadelphia. [We] hope the fun we were having in the studio comes through in the track, enjoy!”

The finished track is now available wherever you stream or download music online.

Tony de Boer passes

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Tony de Boer, widely regarded as the Grandfather of Canadian bluegrass, passed away on May 20. He was 81 years of age.

According his family, Tony was walking out to his garden that day when he suffered a brain aneurysm, and died on the way to the hospital.

For the past 46 years Tony promoted bluegrass music in northern Ontario, starting with small local festivals and eventually a winter tour of the provinces by US artists. In 1984 he purchased a park in River Valley, ON, which came to be known as the River Valley Music Park. There he held the annual River Valley Bluegrass Jamboree starting in 1985, and another, the Country & Bluegrass Gathering at River Valley, which launched in 1988.

The goal was to create an atmosphere where everyone could come and enjoy bluegrass music. He built the park from a vacant property into a true destination point for bluegrass fans in Ontario. Both events, and others, are still held there to this day.

De Boer was actually born in Holland, where his father was stationed during WWII, though the family moved to Canada when he was 9 years old. As an adult, Tony traveled throughout Canada and the US to participate in bluegrass music events, so much so that his family referred to him as their Bluegrass Gypsy.

Tributes from bluegrass artists have come in since the 20th, like this one from Steve Gulley…

“I’m heartbroken to hear of the passing of my dear friend, and one of the greatest lovers and promoters of bluegrass, Tony de Boer. He always believed in me and my music and even more importantly, was a true friend, musically and otherwise. He always greeted me with a smile, a ‘How’s it goin’ Stevie!’ and an outstretched hand. I was a part of the winter Canadian tours he put together multiple times and played numerous festivals, concerts, and shows that he and his wonderful family organized and promoted. I was always treated like family. He was the reason so many of us were able to come to Canada and perform. The bluegrass community both here and in his native Canada have lost a fine man and good friend. Prayers for the family. RIP Tony. I’ll miss you.”

Alex Leach, who was very helpful in assembling information for this article, shared this story that came from Tony.

“He has told me this story several times when we’ve been together… ‘It was 1986 and I had always wanted to book Mac Wiseman. I booked him that year and I’ll never forget about mid ways through his set, he started singing Wabash Cannonball, and right about that time… the train came through River Valley and the whistle was blowing. What a great feeling that was.’”

For the last 16 years, he and his wife, Tessie, ran the River Valley Restaurant at the park.

Many thanks to Tony’s daughter, Cindy, for sharing information about her dad. She asked us to pass along thanks from the entire family for all the kind messages and well wishes they have received since his passing.

R.I.P., Tony de Boer.

New Beginnings drops for Stephen Mougin

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Today is a big day for Dark Shadow Recording. Not only is it the release day for New Beginnings, the new single from Stephen Mougin’s debut solo project, Ordinary Soul, it’s also his birthday. Happy Birthday Mojo!

And to celebrate the event – or should we say, events? – his co-writer on the track, Kelly Riggins, and the various artists who played on it with him, created this message of congratulations.

New Beginnings does carry a positive message, of overcoming and carrying on, which Mougin sees as a consoling influence.

“The song New Beginnings is an oddly-appropriate tune for our times. It paints the picture of an optimist who has survived tough times by realizing that: “as sure as the rain falls, the sun will shine again… I see a new beginning ‘round the bend. It’s a slamming bluegrass track that was a TON of fun to put together and I’m thrilled with how it turned out!”

As you saw in the video above, supporting Stephen are Ned Luberecki on banjo, Cory Piatt on mandolin, Laura Orshaw on fiddle, Alan Bartram on bass, and Rick Faris with harmony vocals.

New Beginnings is available now wherever you stream or download music online. Radio programmers can find the track at AirPlay Direct.

Look for Ordinary Soul to drop on the Dark Shadow Recording label later this year.

Ask Sonny Anything… Tell us about Little Roy’s antics on stage

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Ask Sonny Anything is a recurring feature where our readers pose questions to the great Sonny Osborne, one half of the iconic Osborne Brothers who redefined bluegrass music in the 1960s, and noted banjo maven and collector of fine prewar instruments. Everyone is encouraged to pose queries of your own each week in the comments, about his history in the music, his wealth of banjo knowledge, or regarding any life advice you might be needing.

Hi Sonny! While searching thru a pile of CDs at a Goodwill Thrift Store in North Port, FL this winter, I came across a CD titled The Osborne Brothers Radio Media Sampler, #3 of a 4 part series. The pic on the CD shows a very young Sonny and Bobby Osborne. Best 99¢ I ever spent! Wish all four in the series were there. This CD appears to have been released in 2003 by Pinecastle Records in Orlando. Care to comment on how they were distributed and how they helped promote your career?

Bill in Nova Scotia

Well Bill in Nova Scotia….We played Halifax in 1958 with Johnny Cash and the Tennessee Two. Which means nothing, and I want you to know that I know it means nothing….. The CD you are referring to was probably a sample sent to radio stations for publicity. We had a 4 part album series depicting the four phases of our career which led us to Nashville and The Grand Ole Opry. We tried to record songs and tunes from the time period of that particular album and our career.

Distribution of recordings on a small independent record label is not an easy thing to accomplish. To do it right takes quite a sum of money, and the smaller labels just don’t have it to spend. That’s not a knock on small record companies, at least it’s not intended to be. They obviously get the job done as well as possible for their artists.
s

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Hey Mr. Sonny,

First, thank you for taking your time to write these columns: by far my favorite bluegrass writings in our modern times!

I have long admired players such as yourself, Raymond Fairchild, Little Roy Lewis, Mr. Crowe etc. Would you care to share some of your, dare I say, favorite, or most memorable moments with Little Roy’s antics? There are so many photographs I’ve seen where the two of you are obviously in the thick of it on stage and I’ve always wanted to know the story behind.

I also learned recently of a bluegrass cruise where I believe you, Roy, and Raymond were all on the same ship for about 5-7 days…I can’t imagine how that was!

Thanks so much Sonny O.

Matt T.

Matthew…actually there were no planned actions between Roy and I. We just knew that at some point Roy would appear on stage dressed in the most awful garb imaginable. That in itself was something to behold, then he would do things which we knew nothing about until he did them.

I will tell you about a few of those but I assure you there was no story behind any of his antics, all just ad lib. Once in KERRVILLE, TEXAS while we were on he got himself with banjo attached, above us in the rafters and as we finished a song he dropped right beside me and looked up at me and said; “HELLO SONNY!” Not as funny when it’s written.

DESTIN, FLORIDA… Dr. Roy and Sarah Martin festival… We were on stage and Roy Lewis Jr. found a bicycle, and came riding it across the stage just like we weren’t there. When he went off the other side the sprocket caught the edge of the makeshift stage and Roy on the bicycle went head first onto a concrete floor. I saw his head hit the concrete and thought he was REALLY hurt… I mean seriously hurt. I remember jumping off the stage and going to him and he reassured me he was OK. Scared me…I thought he was hurt bad, but he wasn’t.

COUSHATTA, LOUISIANA…. Roy had a pair of these elevated shoes… I can’t remember what they are called…. and when he jumped off the stage he turned his ankle and I guess this 11 or 12 year old boy took that as his cue to come at Roy with one of these hard rubber tomahawks and proceeded to start seriously beating on Roy. Somehow Roy escaped further damage.

Ok, now…the show is over and behind the stage Roy and I are standing in this road talking, and this same boy came running up and started beating on Roy again….Roy was guarding his face and the kid was doing a number on Roy’s arms. Without thinking I grabbed this boy by the shirt and said some very rude things and ended it by saying….”KID, GET OUTA HERE BEFORE I KICK YOUR …!” The kid’s eyes got really big, he dropped the tomahawk and there was dust coming from him…he was in a hurry getting out of Dodge!” What is that old saying…”He turned that corner so fast his pockets was a’ dippin’ sand!” Yep. That’s it. Roy and I had some good times together.
s

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Sonny, you’ve mentioned several times the importance of practice, practice, practice. But I’m curious, when you went into the studio, did you rehearse/practice ahead of time what you were about to record, or did you draw on your years of skill and play what you were feeling in the moment? This question pertains more to new material that wasn’t a regular feature of your live shows.

Thanks for all the joy you’ve given us fans over the years, and for opening this window into your career!

Bob W.

Bob, welcome. Thank you for you time. I appreciate it, a bunch. I love doing this thing. I emphasize practice strongly for someone who is trying to learn to play the banjo, or any instrument for that matter. You can’t practice enough, never.

We, The Brothers band ran over the tunes a few times to get familiar with the melody and how the words fit together, and to get our phrasing correct. So far as he banjo, I actually did more thinking about each song than actual practice. My house was about 25-35 minutes from Bradley’s Barn, where we did most of our recording. I used that time to get an idea of what I wanted to play and when we got right down to recording. I mostly played what I heard in my heads at that moment.

Now, I know there are those out there reading this who are saying that I’m lying. That would be wrong. Ask Bobby, Digger, Crowe, Wynn, Mosely, Tim Graves, El, Smitty. Bobby was the same way, as were the other guys in our band. They were good, reliable, we knew them and knew they would have their parts. And they did.

I’ll tell you about harmony singers and phrasing. If you position yourselves in the studio where you can see each other…especially the mouth…you will invariably say your words like the lead guy. Easy to do, hard to get used to doing, but it works…I guess I should say, It worked for us..like a charm.

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Hey Sonny. My questions concern bluegrass and murder/death ballads. How did murder/death ballads and bluegrass become intertwined? What were your favorites? Were any of them true? Any stories behind the ones The Osborne Brothers recorded?

Though not a murder ballad, Bringing Mary Home has always been one of my favorite “death” songs in bluegrass. Brings a tear to my eye even now. Thanks for spending a few moments with us!

Tim L. here from Dayton, OH, Chief #5

Tim from Dayton. Used to live and work in Dayton. Our first little house was on Pittsburg Ave. off Salem. Judy (wife and two kids were born in Dayton).

So, you want to know about murder songs. We did The Knoxville Girl, Little Rosewood Casket, Samuel Wilder’s Will, and Down In The Willow Garden. Tragic Romance and The Wreck of Old 97 might be considered in that category. I played Jesse James, which is song with lyrics but I played it as a banjo solo.

I don’t know the answer to your question. They’re good, well written songs, and the ones we did just seemed to fit our way of singing. Larry Stephenson liked the way we did Knoxville Girl so, he did it too. Had a great record on it too.😁 Seriously, only one that I know was a true story.

The Death of Little Kathy Fiscus was a song written about a 3 year old girl in California who fell into an abandoned well. Jimmy Osborne…no relation….that I know of…wrote and recorded a song by the same title. I’m sure we all know of more songs but those are the only ones that are close to home.

You mentioned that you have Chief Number 5. Built Sept 9, 1998….Dana Cupp, and Dale Perry had that banjo before you…and there might have been more but those two are the only ones I know.

YOU ALL STAY SAFE, PLAY BY THE RULES, WEAR THOSE DUMB LOOKING BUT LIFE SAVING MASKS. PLEASE REMEMBER, IT’S YOUR LIFE YOU’RE PUTTING At RISK WHEN YOU MIX AND MINGLE TOO CLOSE.

s

If you have something you would like to ask Sonny, be sure to post it in the comments below, or send it to us directly.

Danny Roberts takes his mandolin expertise to McClanahan

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Bluegrass folks have known, and admired, Danny Roberts for many years. These days we think of him as the mandolinist with The Grascals, where he has been since 2004 as a founding member. But he had a long career in the music before that.

Danny was also a co-founder of New Tradition, who played grass and Gospel all over the US for close to 20 years. When they disbanded in 2000, Roberts took a job at Gibson, allowing him to work in luthiery, where he had dabbled all of his adult life. He rose to the position of plant manager for Gibson’s Original Acoustic Instruments, where he oversaw construction of all mandolins and banjos made with the Gibson brand, plus the Dobro resophonic guitars.

Gibson mandolins built and signed by Danny are prized by modern instrument fanciers, and since leaving their employ, he has continued to do repair work for a select group of clients who trust their valuable mandolins to his care. This side business, which he calls Just Off The Bench Stringed Instrument Repair, has been a blessing to he and his wife, Andrea, as the only income they have coming in while both of their main music jobs are shut down.

Just recently, another opportunity in luthiery has come his way, pairing his many years of experience with the brilliant custom mandolins made by Jonathan McClanahan. The McLanahan mandolins are widely hailed by professional bluegrass artists for their similarity to the great Loar F-5s that Gibson made in the 1920s, and for the detail work that Jonathan puts into each individual instrument. Top players like Wayne Benson of IIIrd Tyme Out, CJ Lewandowski of Po’ Ramblin’ Boys, plus Chris Davis and Jesse Brock use and endorse them, as well as a long list of serious amateur and part time musicians.

Now Roberts makes a couple of trips each week to the McLanahan shop in Hendersonville from his home in Murfreesboro, TN to assist the master builder.

He described how this all came to be.

“I had known Jonathan since the New Tradition days. He played in a band then too, and I would see him regularly at The Milton Opry. I knew him when he was first building arch top guitars. One day he put up a video online, and I really admired how he talked naturally about his work, and how God had blessed him to be able to do it.

So I called him to catch up, and he invited me to come out to the shop. So I went out there, and had no thought of getting one of his mandolins; been a Sorenson guy for years. Jon works for the railroad, 3rd shift, and as we talked I could see that he was real tired looking. As we chatted he said, ‘I could really use some help here.’”

Roberts told us that he never thought of turning the McClanahan mandolins into Gibsons. He just wanted to help Jonathan make them.

“I’m going up there now one of two days a week, bending rims, and watching him go about his work. He does everything by hand – and by ear. He has that ability to hear something with wood, and knows how to take a piece of wood and scrape away everything that’s not a mandolin.

I always have respected someone who can just take a piece of wood and build an instrument from scratch.

When I was at Gibson, it was more like building a kit. We got the parts pretty much ready to put together. Jon was in the custom shop when I was there, but we never interacted much back then since they were in a different location.

I’m learning so much from him, and am so excited about the future with McClanahan. He’s still getting better at what he does. We’re having a ball, getting the work done and enjoying each other’s company.”

Danny plans to continue offering his own repair and restoration services as Just Off The Bench, and says that his association with McClanahan now allows him the use of some of the tools and equipment which he doesn’t have at home. He is not only enhancing his own skills, but shortening the wait time for Jonathan’s mandolins.

You can learn more about McClanahan Mandolins online, and see additional photos of his work.

13 Or So – Nick Hornbuckle

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Instrumental albums can present something of a challenge. Without the benefit of vocals or clearly defined melodies, listeners may not find a means to connect, especially with a lack of lyrical narrative. That said, credit Nick Hornbuckle with creating an album that doesn’t depend on words to mine the accessibility factor. A renowned banjo picker and resident of British Columbia’s Vancouver Island, he’s perhaps best known as a longtime member of John Reischman’s band, the Juno-nominated Jaybirds. As such, he’s a gained an enviable reputation for his masterful finger style technique, an approach that fuses the influences of the clawhammer sound with the inventive efforts of Earl Scruggs and other innovators of an earlier era. In the process, he’s won the praises of another notable banjo picker — that being Steve Martin — who cited him for a sound Martin called “so brilliant and beautiful.”

Happily then, Hornbuckle’s second solo outing merits that profuse praise. It expands on the approach of his 2015 highly acclaimed debut, 12X2(+/-1), which was nominated for Solo Instrumental Album of the Year by the Canadian Folk Music Association. Comprised of all original tunes, and marking his initial effort for his own Ruby’s Slippers Records label, the new album proves equally enticing.

Indeed, its dozen tunes prove quite compelling, and, in fact, capable of enticing its listeners even without benefit of a singer at the center. Zebadiah’s Stomp, Wellesley Station, Hopping Harvey, and The Crooked Man are unceasingly upbeat, engaging and infectious, each guaranteed to get toes tapping and moods soaring thanks to the energy and enthusiasm that comes across with every note and nuance. At the same time, Hornbuckle captures essential emotion on the slower songs as well — among them, A Farewell (to the Cowgirl with the Pigtails), Cleo Belle, and Chausson de Ruby. Sentiment shines through with wordless stories being shared.

That said, the credit doesn’t belong to Hornbuckle alone. He’s enlisted an impressive cast of players that helps him maintain this mantra. So while he can take credit for the tunewriting and arrangements, 13 Or So is actually an ensemble effort, a cohesive combination that provides instant appeal. At this point in fact, it wouldn’t be surprising to find Hornbuckle moving front and center and furthering his own solo career. Why not? 13 Or So provides him with an ideal vehicle for garnering audience appreciation.

Nefesh Mountain signs new management and booking deals

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New Jersey’s Nefesh Mountain continues their climb as a bluegrass/Americana act by announcing new management and representation agreements this week.

The band, fronted by the husband-and-wife team of Eric Lindberg and Doni Zasloff, has found great success this past few years by turning a tongue-in-cheek inside joke into a reality. For years, certain northeastern grassers would refer to their music as “jewgrass,” a play on the fact that Jewish musicians seemed an outlier in the southeastern US playing bluegrass.

But Doni and Eric have done just that, combining their deep faith with their love for traditional string music. They have created  a hybrid sound that appeals both to the temple crowd, who enjoy hearing acoustic bluegrass treatments of familiar ancient liturgical music, and to more general audiences who are enthralled by the Jewish themes painted in song just as Christian ones have been for years in this style.

I first encountered them in a small showcase room during the World of Bluegrass convention in Raleigh about five years ago, and was immediately drawn to their sound, their sincerity, and Doni’s engaging stage presence. Following their set, I was similarly impressed by their earnest humility, and felt right away that I had made new friends.

So it is a special treat to note that Nefesh Mountain has now signed with Rockit Artist Entertaiment for management, and with Madison House for artist representation. Their publicity will continue to be provided by Morris Public Relations and Alison Auerbach Public Relations.

Nefesh Mountain is working now to finish up their third album, with an expected release sometime in the fall of 2020. Recording and touring with the group are Alan Grubner on fiddle, David Goldenberg on mandolin, and Max Johnson on bass. Lindberg plays both guitar and banjo with the band, and Zasloff is the primary vocalist.

Here’s one of the songs that initially captured the attention of the music world in 2016, Esa Einai, an old Hebrew hymn.

Onward and upwards for Nefesh Mountain.

Stephen Burwell stepping away from Doyle Lawson

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Stephen Burwell with Quicksilver at the 2019 Darrington Bluegrass Festival – photo by Eric Frommer

Fiddler Stephen Burwell has announced that he is stepping down from his position with Doyle Lawson & Quicksilver after more than five years.

The talented bowman grew up near Galveston, Texas, but now makes his home in Nashville, where he hopes to make his way working in the city’s many recording studios.

Stephen says that his plans also include refining his technique and fiddle knowledge, on top of completing a solo project he has been working on for some time.

“I’m really looking forward to studying many different old school fiddlers and recording for people here in Nashville. I would love to be able to fill in with folks as well. Recording engineering has always fascinated me and I’ve been doing it since I was 17 or 18. I’d also like to take this time to learn more from other players and form my own musical identity. I love being on the road and traveling, so I’m not looking to get away from that.”

Here’s a quick video he made last fall for AcoustiCult, his take on the classic Snowflake Reel.

Anyone interested in working with Stephen can reach him through his Facebook page.

The Way I Feel Tonight from Chris Roberts

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Engelhardt Music Group has released a new single for bluegrass singer/songwriter Chris Roberts, The Way I Feel Tonight.

It’s a Don Cook song that Bobby Bare recorded back in the ’70s, and Chris gives it a new flavor in his cut. Bobby did it much slower, in almost a blues vein, but when you assemble a Nashville bluegrass wrecking crew like Scott Vestal, Aubrey Haynie, Cody Kilby, Dennis Crouch, Casey Campbell, and Rob Ickes, grass is what you get.

Chris is a highly entertaining vocalist, with previous experience both in country music with One Flew South in the mid-aughts, and on the Broadway stage as well. He brings a great deal to his budding career in bluegrass.

The Way I Feel Tonight will be included on Roberts’ upcoming EMG project, Mountain Standard Time. The single is available now wherever you stream and download music online, and to radio programmers at AirPlay Direct.

Bill Monroe Dr. Pepper spot from 1975 surfaces online

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Many thanks are due to Dave Houle who found this classic Bill Monroe clip from 1975 and has shared it on YouTube.

It finds Bill and the Blue Grass Boys in the studio recording a jingle for Dr. Pepper, during which time they conduct a brief interview with the Master. The entire video runs about two and a half minutes, and any bluegrass fan will delight in watching it.

I recall seeing this clip back in the ’70s, but don’t remember where, or on which channel or show. This was long before the notion of sharing videos online was even a dream, and while VHS technology had been introduced, it was not widely available to consumers in 1975.

We invite anyone who knows more about this clip to share what you have in the comments.

And just for fun, let’s see who can identify all the Blue Grass Boys with Bill in the studio!

The Mountain Minor to make broadcast debut next week

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Warren Waldren, Judy Waldren, Hazel Pasley, Amy Clay, Jonathan Bradshaw, Asa Nelson, and Elizabeth LaPrelle

Great news for fans of traditional mountain music!

The Mountain Minor, a new film project from writer/director Dale Farmer, is set to make its television broadcast debut next weekend on the Heartland network. We’ve written about this film in the past, especially noting Farmer’s decision to go against the grain, and hire actual old time musicians to play the main characters. He figured it would be easier to train these performers to act than to try to fake actors playing the music.

Dale explained a bit about his project and its goals.

“We’re part of a grassroots movement encouraging Appalachians, both in Appalachia and in the places their families migrated, to embrace their amazing heritage. We’re doing it though the music that has had a resurgence of popularity in recent years. Musicians and fans of traditional Appalachian music of all ages will experience the substance and special meaning of the music as it was passed down over the generations to today’sstages, porches and media devices. 

Our narrative feature film, The Mountain Minor, follows an old fiddle through five generations of the Abner Family from Eastern Kentucky in 1932 to a music stage in Cincinnati today. The journey of that old fiddle will give insights into the lives of many thousands of Appalachian families who either stayed or migrated to a land of many challenges to overcome. And, that they did!

Appalachians who migrated to urban centers for work in the 1930s-1960s became the heart of the working middle class. And they brought with them a most valuable resource: their music. Appalachians have long been misrepresented in film and popular culture; we hope our film will help shift this paradigm—revealing the great contributions Appalachians have made to society through their hard work and resourcefulness.”

Musicians who appear in the film include Elizabeth LaPrelle, The Tillers, Dan Gellert, Ma Crow, Trevor McKenzie, Lucas Pasley, Hazel Pasley, Asa Nelson, Warren Waldron, Judy Waldron, Aaron Wolfe, and Jean Dowell and Susan Pepper.

The Mountain Minor was produced by Susan Pepper, herself a singer-songwriter and old time musician, who has both practical and academic experience behind her. Her Master’s Degree in Appalachian Studies was received at Appalachian State University where she wrote a thesis on NC ballad singers. Pepper has done extensive field recording throughout western North Carolina, and produced a number of albums from what she captured there.

Farmer is a musician as well, raised in southern Ohio where he now lives after a sojourn in Nashville, and performs with a number of bands in the Cincinnati area.

He shot the project in somewhat drab and somber tones, reflecting the difficult life that mountain folk endured both at home in the Appalachians and once they moved into the cities.

The Heartland premiere of The Mountain Minor is set for June 6 at 8:00 p.m. (ET/PT). Heartland is available on a great many cable and satellite networks in the US, and its signal is also streamed live online and through their ROKU app for smart TVs.

Should you miss the premiere, encore presentations are also scheduled for June 15, at 7:00 p.m., June 21, at 4:00 p.m., and June 27, at 10:00 p.m (ET/PT). 

The Mountain Minor is also available for rent or purchase through Amazon Prime.

O-hio video debuts for Joe Mullins & The Radio Ramblers

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Joe Mullins & The Radio Ramblers have just released a music video for one of the songs on their current For The Record project.

The song is O-hio, written by Tom Ewing, about the region where the Mullins family has lived for several generations. It celebrates all the reasons Ohioans love their Buckeye state, played and sung in a style reminiscent of the classic hits from The Osborne Brothers. 

Like the rest of the US, Mullins and his Ramblers have been  holed up at home this past few months, so the video was produced in the quarantine fashion, with each member filmed separately and then stitched together after the fact. It still conveys the joy and good cheer the song elicits, and is a fine welcome to the reopening that we are starting to see.

It’s a good’n.

For The Record is available now wherever you stream or download music online, and on CD or vinyl directly from the band. Radio programmers can find the tracks at AirPlay Direct.

The last batch of quarantine songs, or homebound songwriters lament

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Some aspects of our economy and our society opened up to varying degrees over the Memorial Day weekend, but the fact remains that we have all spent a great deal of time at home, going pretty much nowhere. I’ve been wondering how this has affected bluegrass songwriters, and what kinds of songs are going to result from this time in seclusion.

Initially of course, the temptation to write some kind of light-hearted COVID-19 song was overwhelming. Songwriters can’t help this, and the more industrious ones have already gotten a few of these cut and released, some with video. First out of the gate, still in the month of March, was Donna Hughes’ I Miss When Corona Was a Beer, and now there’s a recent one from the South Carolina band Backline: If Corona Don’t Get Me, Quarantine Will. My personal favorite is the new one from Teazed Grass: Virus Why Did You Wander?

After that phase passes, though, and songwriters have to draw inspiration from their current surroundings, will the challenges of home schooling, home improvement projects, or the latest slow cooker recipe really provide fodder for enough good songs in the coming year? Most songwriters travel far and wide, and in some cases thoroughly mess up their lives in the quest for song material. If all else fails, there are always bluegrass songs about bluegrass or songs about the moonshine business, the two dominant subjects in current bluegrass songwriting.

I believe there are ideas to be found right at home, if you look in the right places. For example, my family has recently gotten into the poultry business, and I’ve already written three songs about chickens: Weasel Be Gone!, Under the Heat Lamp, and Please Don’t Crow So Soon.

Without naming names, I know a few bluegrass artists who have used the stay-at-home time to actually go into the moonshine business (see “Services, essential”), and that’s going to lend a whole new level of authenticity to those songs.

Here are a few other ideas for you, though, even if you haven’t gotten into the livestock or homebrew business:

The opposite of the pining for home song:

  • I Long to Get Out of the Old Home
  • Home is Where the Heart is Up to a Point

Gushing pandemic romance:

  • Come Away With Me (to the Living Room)

Deciding what to cook:

  • I’m Making Meal Plans

Bluesy cooking theme:

  • I Smell My Bread a’Burnin’

Worship choice:

  • You Watch Your Church Livestream and I’ll Watch Mine

Socially distant relationship:

  • The Girl Behind the Plexiglass

Here are a few to avoid, though, no matter how much these song ideas may speak to your quarantined condition. Their wider appeal is likely to be limited:

  • I Cut My Darling’s Hair (and Badly)
  • The Same Sweat Pants
  • Grandpa’s Homemade Hand Sanitizer
  • Watching Another Crime Series I Never Liked
  • Our Cats Are Sick of Us
  • Yet Another Way to Prepare Okra
  • The Scale Has to be Wrong

Will The Angels Play Their Harps For Me from Dailey & Dailey

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Pinecastle Records has released another single from Step Back In Time, the celebrated album of traditional country duets between Jamie Dailey and his father, JB.

Anyone who loves the sound of the great brother duets of the 1930s-1950s will enjoy hearing this classic number from many years back, Will The Angels Play Their Harps For Me. Believed to date back prior to WWII, the song was famously recorded by Frank Luther and Josef Locke, and brought into bluegrass by Doyle Lawson on his 2003 project, Thank God. Jamie was the tenor singer with Doyle on that cut, though I suspect that JB knew it from well before then.

It’s truly a lovely song, and the Daileys give it a beautiful reading on Step Back In Time.

Here’s a taste…

Step Back In Time is widely available wherever you stream or download music online or on CD from Amazon. Radio programmers can get the tracks via AirPlay Direct.

Banjo tab book available for Gomez & Redon album Una Más

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Fans and students of the five string banjo have been enjoying the recent album, Una Más, released earlier this year by two of Europe’s premier banjo players, Lluis Gomez of Spain and Jean Marie Redon of France.

Una Más, or One More, features compositions from this pair of heralded banjoists, both following in the more contemporary mode of bluegrass, with a couple of old time fiddle favorites thrown in for good measure. Some of the tracks find Lluis and Jean Marie playing twin banjos in harmony, while others find them soloing separately on each other’s instrumental pieces.

The record is a delight for modern banjophiles, and a transcription book has just been made available with the opening themes and harmony parts for all 9 tracks that have double banjo. All the tunes are presented in clear, easy-to-read, metered tablature with rhythm markings, and the authors have included occasional left hand markings where appropriate.

Across the 9 tunes you’ll find examples of Scruggs-style 3 finger banjo, along with melodic and single string examples. Una Más, the book, runs to 28 pages and will present a fine challenge to any banjo picker looking to expand their horizons. But if you have a 5 string buddy to play with, learning the twin banjo arrangements should be both demanding and entertaining.

You can contact Gomez online about obtaining a copy of the book.

Martin hopes for nod  to reopen guitar building

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It looks like C.F. Martin and Co. will soon resume making its iconic guitars at its Nazareth, PA, factory. 

Manufacturing, shipping, and repair operations came to a halt on March 19, when Gov. Tom Wolf, a Democrat, ordered all non-essential business to cease in-person work because of the coronavirus.

Since then, 49 of Pennsylvania’s 67 counties have been removed from the most-restrictive “red” phase of Wolf’s orders. But that list doesn’t include Northampton County, where Martin is based. 

That should soon change. The governor recently announced that the remaining counties should move from red to yellow by June 5. That would allow most businesses to reopen, provided they follow requirements from the Centers for Disease Control regarding masks, social distancing, hand washing, temperature checks for employers, and how to respond if an employee tests positive for the virus. The guitar company has already drawn up a required plan for complying with the CDC edicts, so getting back to business should be relatively speedy once the county’s status changes.

If he follows his previous pattern, Wolf will announce this Friday that moving the final counties into yellow status will take place the following Friday.

There is also a chance that Martin will get a reprieve even sooner than the end of next week. Two state senators representing the area wrote to the governor on May 21, asking that he grant a waiver allowing an immediate return to manufacturing. Such waivers can be granted at any time.

Some waivers have been granted since the mid-March stay at home orders were issued, but the rate of issuance seems to have slowed since counties started reopening.

The May 21 request from Sen. Mario Scavello, a Republican, and Sen. Lisa Boscala, a Democrat, said Martin was at a “serious disadvantage” because competitors in California, Arizona, and Maryland have been able to resume operations. They asked Wolf to issue an executive order to allow manufacturing to resume statewide, or for a waiver specific to Martin to be issued immediately. Removing the remaining counties from red status would essentially grant the relief.

In the near term, after the shift to yellow, customer service and marketing representatives will continue working from home, as they have from the start. But the factory floor should soon be humming again. That’s great news for bluegrass pickers and fans of G-runs everywhere, since Martin has been the guitar of choice for most bluegrass pickers at some point in their careers.

A Martin spokesman did not return messages seeking comment by the time this was published. We will update if the company responds and will monitor developments and report back as necessary.

Moonlight Gown live video from Jakob’s Ferry Stragglers

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I first became acquainted with this talented Pennsylvania group when I misread their name as the Jakob’s Ferry Stranglers, and credited them thusly in a set of concert photos. That prompted guitarist and lead vocalist Gary Antol to reach out and gently point out my error, which was promptly corrected. I believe that I suggested to him at the time that I liked my version better!

In any event, the Jakob’s Ferry Stragglers have a unique and original sound, based on Gary’s songs and singing, and those of fiddler and co-founder Libby Eddy, performed in a style that floats on the line between bluegrass and old time music. They use a resophonic guitar, played by Jody Mosser, instead of banjo, with Niko Kreider on bass and Ray Bruckman on mandolin.

Their star has been definitely been on the rise this past few years. The Stragglers were selected as Bluegrass Ramble showcase artists during the 2018 World of Bluegrass, and have performed at major venues like Delfest, Grey Fox, Delaware Valley Bluegrass Festival, and the Darrington Bluegrass Festival. After three independently-produced albums, they felt confident enough in their stage show to record the next one live.

And so The Straggle is Live was released last week on the Bell Buckle Records label, presenting 15 tracks that the Stragglers have become known for, recorded live at The Church Recording Studio in Pittsburgh by Dana Cannone. The live tracking was done in October of 2019, before an intimate, invited audience of supporters.

Bell Buckle has released a live video of one of the songs, Midnight Gown, which carries something of a western theme.

The Straggle Is Real is available now wherever you stream or download music online, and to radio programmers via AirPlay Direct.

Dreaming Small – Timothy Scott

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There’s both sweetness and sincerity imbued in Dreaming Small, the ironically named EP from North Carolina native Timothy Scott. It’s an easy and amenable song that allows for a clear connection and a sense of familiarity even when hearing these songs for the first time. He effectively navigates using a musical style suggestive of the ‘60s and the singer/songwriter sensibility that echoed through the ’70s, topping it all off with an ample amount of pop pleasantry and pure down home designs. It’s a fertile combination and one that’s carefully crafted as well with traditional bluegrass instrumentation.

It’s also worth noting that Scott’s songs evoke a sound that seems as if it was borne from another era, a time when the space between people was negligible, and one’s view of the world was tinted and toned in a sepia sort of hue. Scott’s songs ring with both innocence and enthusiasm, and though there’s no hard truths or any attempt at revelation, his upbeat attitude suffices.

In that sense, Scott possesses an uncanny knack for parlaying earnest emotion into an otherwise unassuming setting. Scott and his wife and collaborator Sarah Williams allow Down Below, By the Railroad Track, The Way It’s Gonna Be, and the title track to roll forth via a kind of celebration of serendipity, supplemented by a jaunty delivery, happy harmonies, and no small helping of his unyielding optimism. On the fifth and final song in this all too abbreviated set, Scott brings his homespun sentiment to its fullest measure. It’s found in the gentle yet still jaunty Mama’s Table, a number that stirs nostalgia, optimism and innocence all in equal proportion.

That, then, is the secret to Scott’s success, that is, his ability to find common ground between bluegrass, country, and a more mainstream mantra. There’s little here that should alienate anyone on the basis of genre alone. Modest though it may be, Dreaming Small ought to be the effort that takes Scott to a more ample-sized audience.

Steve Harris and Valerie Smith duet on I Sing Your Song

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Circa Blue has released a new recording, with a music video, of a song they originally cut back in 2016.

It’s one called I Sing Your Song, written by Steve Harris, with David Morris and Dawn Kenney, which is offered now as a duet between Harris and Valerie Smith. Circa Blue is working with Bell Buckle Music, Val’s record label, and she says that the song really spoke to her with its story of watching a loved one pass from a terminal illness.

“I heard the lyrics to this song, and it touched on some personal experiences of mine. I’ve had friends who have lost themselves to depression, dementia, and other illnesses. It’s heartbreaking, and all you can do is have empathy.” 

So they have re-recorded the song, starting with a sparse accompaniment of guitar and mandolin, giving new life to this story of love and loss.

Harris and Smith are supported in fine form by Ryan Mullins on mandolin, Matt Hickman on banjo, and Jacob Bly on bass.

The single for I Sing Your Song is available now wherever you stream or download music online. Radio programmers can find the track at AirPlay Direct.

Carolina Blue Monday launches tonight on Facebook Live

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Carolina Blue reports that the response to their Facebook Live concerts has been so positive that they are planning to make them a regular feature to thank their fans for supporting them through the shutdown.

This fast-rising bluegrass quintet from western North Carolina has won admirers across the music spectrum for their fresh take on traditional bluegrass, with a decided nod towards the classic sound of Bill Monroe and his Blue Grass Boys. Mandolinist Timmy Jones plays in a style that calls Big Mon to mind, but with an updated, more contemporary sound, and his tenor singing definitely recalls the high lonesome vocal performances that solidified the bluegrass vibe in the 1940s and ’50s. And with the living embodiment of Kenny Baker in the form of Aynsley Porchak on fiddle, Carolina Blue pays a very effective tribute to Monroe feel of the ’70s and ’80s.

Of course the whole band is top notch, with James McDowell adding his Reno-based banjo playing to the band, ably supported by Bobby Powell on guitar and lead vocals, and Reese Combs on bass. Bobby is also a primary songwriter for the band, as is Timmy. Together they present new music with vitality and charm that, combined with their vintage stage attire, connects the new with the old for bluegrass lovers.

Starting tonight (May 25), they launch their free concert webcast, titled Carolina Blue Monday, which they plan to offer on a twice-monthly basis on Facebook Live. Just visit their Facebook page at 8:00 p.m. (EDT) to see them performing live, all together in one place, highlighting new music from their upcoming Billy Blue Records project, favorites from the band’s repertoire, and requests from viewers online.

Most of our readers will know how to bring up Facebook on their phones and laptop computers, but did you know that Facebook Live content can also be accessed on most smart TVs as well? If your television allows you to download apps for specific content, you should find one for Facebook in the app store. Devices like AppleTV and ROKU can also download a Facebook Live app. Any of these will give you the advantage of the larger screen and higher quality audio while watching Facebook Live presentations.

So make Monday evenings (every other week) a Carolina Blue Monday until we can see them out on the road again.

Industrial Strength Bluegrass – Southwestern Ohio’s Musical Legacy

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The Fall 2020 catalog from the world-renowned University of Illinois Press (UIP) is now available and the most notable feature for bluegrass music enthusiasts is the inclusion of the book, Industrial Strength Bluegrass, about bluegrass music’s legacy in south-western Ohio. 

Sub-titled Southwestern Ohio’s Musical Legacy, UIP describes the forthcoming 272-page volume thus ..….  

In the twentieth century, Appalachian migrants seeking economic opportunities relocated to southwestern Ohio, bringing their music with them. Between 1947 and 1989, they created an internationally renowned capital for the thriving bluegrass music genre, centered on the industrial region of Cincinnati, Dayton, Hamilton, Middletown, and Springfield. Fred Bartenstein and Curtis W. Ellison edit a collection of eyewitness narratives and in-depth analyses that explore southwestern Ohio’s bluegrass musicians, radio broadcasters, recording studios, record labels, and performance venues, along with the music’s contributions to religious activities, community development, and public education. As the bluegrass scene grew, southwestern Ohio’s distinctive sounds reached new fans and influenced those everywhere who continue to play, produce, and love roots music. 

Revelatory and multifaceted, Industrial Strength Bluegrass shares the inspiring story of a bluegrass hotbed and the people who created it. 

In his foreword Neil V. Rosenberg offered further insight … 

A new urban folk music, nurtured and shaped by a folk community in an industrial setting, has made the world familiar with southwestern Ohio’s bluegrass. Many facets of the region’s rich musical heritage are explored and celebrated in this book, a welcome addition to the literature on bluegrass.

The contributors to the book are Fred Bartenstein, Curtis W. Ellison, Jon Hartley Fox, Rick Good, Lily Isaacs, Ben Krakauer, Mac McDivitt, Nathan McGee PhD, Daniel Mullins, Joe Mullins, Larry Nager, Phillip J. Obermiller PhD, Bobby Osborne and Neil V. Rosenberg. Most writers have been directly involved in bluegrass music in the south-western Ohio area at some time or other.

Details – 

  • Industrial Strength Bluegrass – January 25, 2021 
  • ISBN 0252043642, 9780252043642; paperback (priced $29.95) 
  • Dimensions: 15.6 x 23.5 cm (6.125 x 9.25 in.) 
  • It is part of the esteemed Music in American Life series.
  • It includes 112 black and white photographs.

Publication is supported by a grant from the Judith McCulloh Endowment for American Music, named after the American folklorist and ethnomusicologist who worked as an editor at the UIP for 35 years.

Fred Bartenstein is an adjunct instructor in music at the University of Dayton. He is the editor of Bluegrass Bluesman, The Bluegrass Hall of Fame, and two anthologies of writings by folk arts impresario Joe Wilson. 

Curtis W. Ellison is a professor emeritus of history and American studies at Miami University. He is the author of Country Music Culture: From Hard Times to Heaven and editor of Donald Davidson’s The Big Ballad Jamboree. 

I Still Call It Home from Tommy Buller

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As the market for bluegrass music expands internationally, it has not only scooped up a more urban audience who enjoy the more modern or progressive string band style, it has likewise widened to encompass a growing market for traditional acoustic country. And with the big Nashville labels turning a blind eye to these folks, the artists and fans have begun to find a home under the swollen bluegrass umbrella.

One such is Tommy Buller, an old hand around Music City who has taken his songs and his guitar wherever anyone would listen for the past few years, and has developed a regular following at Layla’s on lower Broadway. The Nebraska native has the real country sound in his voice, and though he is usually seen with a chapeau, his isn’t hat country or bro country in the least.

The bluegrass bug bit Tommy as a youngster playing with his family’s band, and the love for the style has never left him. He is recently signed by RBR Entertainment, founded by fellow singer/songwriter Billy Droze, and has a single released today written by Droze and Chris Myers called I Still Call It Home.

Buller says that after spending much of his adult life on the road, the song hit him right away.

“The first time Billy played it for me, I listened to the words and I fell in love with the song because it’s kind of the way I feel. I love being in Nashville, but I always miss being at home with Mom and Dad.”

Here’s a taste..

I Still Call It Home is available now on popular download and streaming services, and to radio programmers at AirPlay Direct.

American Banjo Museum set to reopen in June

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The American Banjo Museum in Oklahoma City is delighted to announce that they will be reopening on June 2, with additional safety protocols in place.

Executive Director Johnny Baier says that, “While we have enjoyed providing virtual tours via the Internet, nothing compares to an in person American Banjo Museum experience. We are very excited to be able to offer that experience again.”

Following procedures recommended by the CDC and Oklahoma state health leaders, visitors will be asked to wear masks while in the museum, and attempt to maintain distance between themselves and other guests. They will also be advised to avoid touching any of the exhibits or museum surfaces if it can be avoided.

On June 2 when they reopen, the Museum will unveil its latest exhibit, Women of the Banjo, which they describe as “chronicling the contributions of women to the colorful past, vibrant present, and unlimited future of the banjo. From prominent contemporary performers such as Alison Brown and Rhiannon Giddens to pop icons Taylor Swift, Dolly Parton and many others, historic insights, instruments, stage attire, and a glimpse of ever-changing fashion trends all help in the telling of this important aspect of banjo history.”

They are returning a popular past exhibit as well, The Banjos That Made The ’20s Roar, which features highly ornate jazz age banjos from the collection of museum benefactor Jack Canine.

Museum Outreach and Promotions Coordinator, Lucas Ross, says that their reach has gone global since debuting their online virtual tours during the shutdown, and they look forward to welcoming new visitors when they can throw open the doors in June.

“In the current situation, it has been encouraging to see how our community has grown. We’ve had people interacting with us from around the world – many of them discovering us for the first time.”

The American Banjo Museum will resume regular hours on Tuesday, June 2: Tuesday-Saturday 11:00 a.m.-6:00 p.m.; Sunday: Noon-5:00 p.m. They are closed on Mondays. Admission, membership, and group rate information can be found online.

Steve Wilson to Deeper Shade Of Blue on banjo

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Following the surprise retirement of banjo player Jim Fraley earlier this month, Deeper Shade Of Blue has announced that Steve Wilson of Westminster, SC will become their new five string man.

It wasn’t a tough choice for the group, as Steve has been their go-to fill-in guy for the past year and a half. He knows the material, and the guys, and everyone gets along well together.

Wilson says that he is ready to take on this position, knowing he has big shoes to fill.

“I am very excited about what the future holds with these guys and humbled to have been chosen to step in where such an iconic musician is taking his exit. Jimmy Fraley has been a staple in not just this band, but the bluegrass music community as a whole and that is not something I take lightly. I’m looking forward to continuing forward with Deeper Shade, making great records and playing fun shows. This is a great fit for me as a banjo player and for my life.”

Steve is a busy guy in the bluegrass world. In addition to playing the banjo, he builds custom professional instruments as Wilson Banjo Company, utilizing skills he developed working in the Gibson Custom Shop. He had also founded a band with that same name, initially formed to showcase the sound of his banjos, but which has since become a popular performing group on its own. Then there is the recording studio where he produces and engineers bluegrass projects in South Carolina.

Though much of this season’s shows have been cancelled, Deeper Shade Of Blue is eager to get back out on stage, and anticipates seeing their fans and friends when live music picks back up in the near future. There are also plans to start work on a new album with Mountain Fever Records sometime later this year.

Here’s a look at Steve with the band back in January.

Ask Sonny Anything… Worst gig ever?

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Ask Sonny Anything is a recurring feature where our readers pose questions to the great Sonny Osborne, one half of the iconic Osborne Brothers who redefined bluegrass music in the 1960s, and noted banjo maven and collector of fine prewar instruments. Everyone is encouraged to pose queries of your own each week in the comments, about his history in the music, his wealth of banjo knowledge, or regarding any life advice you might be needing.

As this is the one year anniversary of Sonny’s column, we want to start off with a query from the biggest banjo celebrity in today’s world, actor, comedian, writer, and banjo player Steve Martin.

“What are the worst circumstances you ever played under?

Steve Martin

Steve….welcome in to our shin dig. Reminds me sometimes of Lavonia, Georgia, or Columbus, Ohio. The good times.

The worst circumstances. There were several that I would think twice before going there again. Now, I have a choice… then I didn’t.

1. Winter of 1953 – We were working in Knoxville, TN for Cas Walker, since November 6. Bobby was 22 (just released from the Marine Corp and back from Korea), I was 16. Downtown Knoxville, flatbed truck bed, 25 degrees, snowing hard, 1 week before Christmas. When Cas said play, you play or go…. in this case we had to play or we wouldn’t get our $25 that week. But Lord, it was cold. My right hand was numb, I couldn’t feel the picks, trying to play the banjo and it had a skin head. Enos Johnson and L.E. White were there with Bobby and I. Thirty of the coldest minutes known to man.

2. November 1955 – Quebec Canada, snowing for a week, we had been playing every night for that week, no crowds, Not enough gas in the car to get back to Wheeling….Stress 101….5 PM…Kids were playing Hockey in the street. 7 PM a few people started to gather. 7:30…No one showed up to open the building, we needed every penny to buy gas…Food? What’s that? We needed gas for the hungry car. Top priority.. I found a window unlocked which I opened, climbed in and with a flash light found a light switch, unlocked and opened the front door, stood there and collected $490… did our show, people were happy, we were ecstatic, they loaded the car, while I locked the front door, locked the back door, turned off the lights, climbed back out the window, went back to Wheeling…still broke, but lived in the USA to play another day.

3. Presque Isle, Maine – Summertime 1968. Bobby, Dale Sledd, Ronnie Reno, and I (that’s me of course, how else would I know…DUH). We go on stage at the fairgrounds with over 5000 people in the bleachers. By our 3rd or 4th song the large, unhappy crowd had thinned down considerably. They left in droves of 20-50 each…’twas a mass exodus. There might have been 200-300 diehards remaining. Man, we didn’t even want to look at one another. Embarrassed, there must be another word, I know what that word is too, but it is not appropriate in mixed company. We felt better after I went to the office and collected our dough. I found out they had advertised us as The Osmond Brothers. I can just hear the conversation between a couple old ladies…”Which one is Marie?”

Steve, this probably doesn’t answer your question but these were a few of the trying times which makes one appreciate the good ones, and also makes one realize that there must, simply must be a higher power.
s

—–

Hi Sonny. Sure Fire is one of my favorite tunes. Can you tell us how that one came about? All the best, Chuck.

Chuck V.

Chuck, come on in here…Thank you for your time. It’s appreciated you know. Sure Fire is a mandolin tune written by my brother Bobby. The Wilburn Brothers, Doyle, Teddy, Leslie, and Lester are the people responsible for quite a lot of the successful paths we took which brought us to this town and being able to further our career playing the music we grew up around. And not to mention a membership in the Greatest show in the history of Country/Bluegrass Music…The Grand Ole Opry…back when that membership really meant something.

I mention all of the above to get to the point that the Wilburns owned a publishing Company with the name of Sure-Fire Music. We recorded many of the songs Teddy found for us, and Bobby wrote several too, all which were published by Sure-Fire… One being an instrumental with the name of Sure Fire. Great tune played by close to 100% of all mandolin players.
s

—–

Ok, I’ll bite. Tell us about the great con job of the recording industry. Truly enjoy your music and have been a fan as long as I can remember. Thanks for giving us an inside view. Your music has always been the best.

Larry Stahl

Larry, I don’t want to do this, but it says ask me anything. I do appreciate your time and I thank you.

1959. We realized that we HAD to have a good record deal and The Grand Ole Opry. The Wilburn Brothers seemed to be the most probable to get that done for us.

Fast forward to Doyle Wilburn’s office, Nashville, April of 1963. Doyle is on the phone with Owen Bradley, head of Decca records in Nashville. He is telling Owen that we are good and Chet Adkins is going to sign us on RCA this afternoon. Owen can get us for Decca if he’ll do it NOW.

Owen says No. We’re devastated.

Yes, we had been to Chet at RCA and he turned us down flat. Doyle says not to worry, he’s not done yet. He puts a call in to New York, the absolute head guy of Decca (seems like I remember his name as Sid). Doyle tells him the same story and that Owen has turned us down, and Decca would be losing a good group to RCA if he didn’t do something right them. And he closed that with “Have I ever steered you wrong?” He hung up and Doyle looked at us Bobby, Benny Birchfield and I and just smiled and winked. He said, “Owen will call in about 10 minutes.”

I will swear to this as truth. Under 10 minutes his secretary opened the door and said…”Mr. Bradley is on Line 5.” Doyle picked up and said “Owen, how you doin’?” “Yeah, They’re still here….sure, we’ll be right over.”

So, all this happened within a period of 45-60 minutes and we signed the first of 13 one year contracts with Decca.

We told Doyle we needed the Opry and he promised that in 18 months. 13 months later, late July 1964 we were members of the aforementioned Grand Ole Opry. Wilburns were a powerful bunch mid ’50s throughout the ’60s . s

—–

Hi Sonny, It’s always so good to read your posts at Banjo Hangout and on Bluegrass Today. I have Chief MP-13 built in 2007, which is a good un of course. Sounds and looks awesome! Do you know how many of the MP Chiefs were made? Thanks so much!

Gary

Gary….Thanks for following Banjo Hangout and do you realize how long the Hangout thing has been going? I said that because I want to remind everyone who reads this that Terry Herd and John Lawless have endured me for one, uno, ein, year with this episode. My goodness.

Gary you asked how many Maple Chief banjos were built…I would guess probably 250-300 range. Maybe 50-75 Mahogany and Walnut. That number is a guess. I don’t want to actually get down in the floor with books and figure it out. Too hard to get up. It was all fun though. June 16 will be 22 years. And I didn’t spend one cent advertising the Chief banjo. I wanted them to sell themselves and they did. I didn’t want to be in the banjo building business, just make a professional quality banjo, reasonable price. I did that. Only a few banjo companies left…reason… folks started building they own…(they comes from Raymond Huffmaster.) That’s my opinion.

s

—–

Kirk and Kate Schaumannk wanted to know about Jim Mills’ Old Banjo Seminar. I’m sorry to say I don’t know that but I will try to get your interest known to Jimmy and perhaps he’ll follow through.

s

Ask Sonny Anything is a recurring feature where our readers pose questions to the great Sonny Osborne, one half of the iconic Osborne Brothers

DelFest At Home taking place this weekend online

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For everyone missing DelFest on this, its traditional weekend time slot, you will be cheered to know that the curators of this popular annual event are instead managing an online festival today through Sunday night.

Billed as DelFest At Home, it will feature classic pre-recorded sets by many of the artists who had performed previously, live on stage at DelFest. You’ll see your hosts, of course, The Del McCoury Band, plus live sets from Sam Bush, The Travelin’ McCourys, Greensky Bluegrass, Bela Fleck & Chris Thile, Billy Strings, The Infamous Stringdusters, Yonder Mountain String Band, Marty Stuart, Sierra Hull, and many other headliners on the progressive bluegrass circuit.

While the streams are free to watch online, the promoters are urging viewers to also make a donation to the DelFest Foundation, which supports charitable efforts in the Allegheny region of Maryland, where the festival is held. Contributions to the Foundation are shared with Western Maryland Food Bank, Legal Aid, Hot Stove League, Associated Charities, Allegany Health Right, Salvation Army, Jane’s Place, Family Crisis Resource Center, Allegany County Habitat for Humanity, Mission of Mercy, and Boy Scouts of America – Potomac District.

The DelFest At Home stream can be seen via Nugs.tv, and on DelFest’s YouTube channel or Facebook page. 

Or you can watch it all here at Bluegrass Today by clicking on the video below between:

  • 4:30-9:30 p.m. on May 21
  • 2:30-9:30 p.m. May 22
  • 12:30 a.m. May 23 to 1:00 a.m. May 24
  • 11:30 a.m. May 24 to 12:30 a.m. May 25

Well done, DelFest, giving fans a taste of what they would be missing had this year’s festival been able to go on as scheduled.

California Report: New CBA President and Turn Your Radio Online webcasts

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Outgoing CBA President Darby Brandli and new President Theresa Behr Gooding

It was good catching up recently with incoming CBA President Theresa Behr Gooding, and getting a status of what’s going on.

Hi Theresa, how are you and your family doing, and how many are at home?

We’re doing as well as most. The upside for me was having all three boys at home with school and live performances canceled. Josh is back in Tennessee now, but I’m grateful to have had a full house for the early weeks of the shelter at home.

Other than the coronavirus, how has the transition to CBA President been for you?

Well, I’ll say this…………very quickly my sons observed, “nice job mom, your first year as president and the festival is canceled.” Other than that, my approach is to not attempt to fill Darby’s shoes. That would be a fool’s errand. My hope is to connect on a personal level with as many of our members as possible; hearing ideas, encouraging participation, building community.

What is the state of CBA affairs after having to cancel/postpone the Father’s Day Festival?

I am so impressed with the hard work, dedication, skill, and creativity that our CBA board and volunteers are demonstrating. Equally impressive is the passion and generous spirit of our membership. It is very difficult for small, non-profit organizations like the CBA to weather significant financial impacts like the cancellation of our festival, but I’m confident that the hard work and hard decisions being made will not only see us through, but also allow us to support our impacted community.

Did you get any interesting messages from artists when the FDF was canceled?

We received many messages of genuine understanding and heartfelt support. This is a time of such great personal challenge for our artists; the words of encouragement sent from them were very touching.

Are there any alternative plans for special events later in the year?

Yes! I mentioned the dedication and creativity of our board, but that also extends into our membership community of remarkable volunteers. Hopefully, you’ve begun to see the promotional materials for Turn Your Radio Online (TYRO), a series of webcasts that will support a relief fund for California bluegrass and old-time artists impacted by COVID19 as well as allow our community an opportunity to gather virtually. Webcasts begin May 23 and run through June 20.  Information is available on all our CBA online outlets including the CBA YouTube channel.  

Note: The first of this series is Saturday May 23rd at 6:00 p.m. (PST) and features performances by Frank Solivan, Bill Evans, Crying Uncle, the BettyJacks, and Kathleen Rushing. More information is at www.turnyourradio.online.

What are some strategic long-term goals or directions you think are most important for CBA?

I would like to see the CBA continue its outreach and partnership efforts to expand and strengthen our community of artists and fans.  

Thank you, Theresa, thank you for stepping up and we’re all behind you as we move through this challenging period.

Thank you too. We’ll all get through this together!

While everyone is hanging at home, here are a couple of videos from previous Fathers Day Festivals to sit back and enjoy.

Frank Solivan with Kids on Bluegrass at the 1992 Fathers Day Festival.

2015 Mando Madness – David Grisman, Mike Compton, Roland White, Ed Neff, Butch Waller, and Chris Henry

Bluegrass Beyond Borders: Police Dog Hogan grasses it up in the UK

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The British band Police Dog Hogan may seem to wield a rather unlikely handle for a band that ploughs a grassicana terrain, but that doesn’t deter the band from making music that spans a wide array of essential influences and seminal sounds. 

For the record, they took their name from a heroic canine officer who once got cited for helping to break up a riot. It’s an odd reference but, loosely interpreted, it reflects a regimen of their own, one that emphasizes a devotion to duty.

“We can’t play fast or accurate enough to be true keepers of the flame,” James Studholme, the band’s singer and guitarist admits when asked to define the band’s sound. “We’ve become some sort of seven-headed bringer of joy as we’ve evolved our live shows using every musical tool at our disposal. We never thought people would want to see us, but it turns out, that’s what they like the most. What we try to do is use the sonic landscape of Americana, bluegrass, roots music — call it what you will — but put it lyrically into our world. Roads not highways. I draw a lot on my home county of Devon where I am now in lockdown and live when I’m not in London.”

That said, it is interesting to note the wide array of sounds that shaped the individual band members’ early interests. Studholme notes that he was initially attracted to glam rock and then punk after that. “You can get our age from that, and the fact that we grew up in the UK,” he suggests. “For me, it’s always great songwriters. Warren Zevon, Randy Newman, Steve Earle, Bruce Springsteen… now I love Jason Isbell, Avetts, Old Crow, Gil Landry, Langhorne Slim, Josh Ritter, Darlingside. I love the Transatlantic sessions live every year.”

Fiddler, mandolin player and singer Edward Bishop shares Studholme’s choices. “He brought a love of Chatham County Line to the band, which was the ethos around which we formed,” Studholme recalls. “We assumed playing acoustically round a central mic would be easy, but it wasn’t and it’s taken us the years to get any good at it… though only arguably!”

The band’s banjo, slide guitar player, and vocalist Tim Dowling hails from Connecticut. He mentions Fountains of Wayne, the Felice Brothers and the Milk Carton Kids as among his prime preferences. Singer, accordion, keyboard and harmonica player Shahen Galician cites any number of honkytonk piano playing heroes, as well as Elton John, Billy Joel, while also professing a weakness for jazz and blues. Likewise, bassist Don Bowen also shares a love for the blues.

The band is rounded out by drummer Al Hamer and vocalist, trumpet player Emily Norris.

Studholme says the band first formed in the basement of his flat in London’s Shepherds Bush. “I used to play in an alt-country band in the UK in the ’80s called The Wright Brothers. They did pretty well without being overly troubled by commercial success,” he recalls. “After a long break where the normal real life stuff had to happen — work, marriage , kids etc. — I got back to music around 2006. I stared writing songs again. These people just started showing up at my house to play. We got into Chatham County Line, particularly the album 4, and the incredibly melodic banjo playing of Chandler Holt. We were inspired by them, but we soon veered off in pursuit of the songs we were writing.”

Indeed, as evidenced by their ongoing series of releases spanning the past decade or so — Fidelis Ad Morten (2010), From The Land of Miracles (2012), Westward Ho! (2014), Wild By The Side of The Road (2016) and various EPS (their latest, Hard Times appeared late last year and a new album, titled Overground, is in the works as well) — the band puts their emphasis on their original compositions. “It’s all about the writing songs for us,” Studholme suggests. “That’s where the energy that drives us forward comes from — writing, recording and getting out to play our new songs.”

Nevertheless, Police Dog Hogan doesn’t eschew covers entirely. Studholme notes that the group will occasionally thrown some outside songs into their sets, among them, The Galway Girl (Steve Earle), If I had a Boat (Lyle Lovett), The Warden, and Wagon Wheel (Old Crow Medicine Show), and Alabama Pines (Jason Isbell).

It’s little surprise then that the band find themselves sharing certain similarities with the music that originates on the other side of the ocean, given the fact that much of what was played in the American heartland came from the British Isles to begin with. 

“We kind of ping it back and forth across the pond I guess,” Studholme acknowledges. “Our general musical influences are American, but we certainly use all roots idioms in service of the song. The song tells you what it needs to be. That can go from pretty much trad folk, via bluegrass, through country rock and regional roots music. We’re fully eclectic. There’s always a bluegrass section around the mic in our shows now. It’s all about the songs.”

The band’s touring itinerary has primarily focused on the UK, but they’ve also performed in France and played a showcase in Nashville as part of the Americana Fest. Studholme adds that 2021 already promises to be a busy year as well.

While Studhome says that Britain’s affinity for bluegrass is not as prevalent as in the US (“We’re not capable of being that purist”), the country does host an array of boutique festivals where it finds its niche. So too, the ample reason why it’s attained such worldwide popularity.

“It’s so damned honest and the playing is unbelievable,” he reflects. With people like Sarah Jarosz and Chris Thile, the virtuosity crosses all boundaries. The songs are so timeless.”  

On This Day #60 – Steve Earle and Del McCoury

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On this day …  

On May 21, 1999, Steve Earle accompanied by The Del McCoury Band performed at the Butterworth Hall, Warwick Arts Centre, Coventry, England, in a UK tour to promote their recently released collaboration, The Mountain (E-Squared / Artemis 1064-2). 

The personnel involved were Steve Earle (guitar), Del McCoury (guitar), Ronnie McCoury (mandolin), Robbie McCoury (banjo), Jason Carter (fiddle) and Mike Bub (bass).

The set list for the concert was as follows …  

Texas Eagle / Yours Forever Blue / My Old Friend the Blues / The Graveyard Shift / Outlaw’s Honeymoon / Dixieland / Connemara Breakdown / Harlan Man / The Mountain / I Still Carry You Around / More Than I Can Do * / Now She’s Gone * / Goodbye * / Taneytown * / Halo ‘Round the Moon * / Another Town * / South Nashville Blues * / I Ain’t Ever Satisfied * / Mystery Train Part II / Leroy’s Dustbowl Blues / Hometown Blues / Long, Lonesome Highway Blues / I’m Looking Through You / Ben McCulloch / Tom Ames’ Prayer / Carrie Brown / Copperhead Road 

Encore … 

Johnny Come Lately / Hillbilly Highway / Down the Road 

The asterisks represents the songs performed solo by Steve Earle. 

Award-winning bass player with the Del McCoury Band at the time, Mike Bub, reflects …. 

“I don’t remember a thing about that specific show, unfortunately. I probably have a recording of it in my tapes somewhere. We basically did the same show every night. We were based at the Sheraton Hotel in Kensington, and would go up to a different town by bus and play a show every day and return to the hotel each night. At the same time, the Mavericks were playing a week long run of sold out shows at the Royal Albert Hall, and all of their band and crew were staying at the same hotel. We would gather in the pub every night and have a few drinks. We did the Jools Holland Show with them. 

That tour was really fantastic for a young musician, like myself, who had pretty much never toured at that level before. We had a double decker tour bus and a full-time traveling caterer making dinner for us every night. Unfortunately, it was during this time that Del decided to end his touring partnership with Steve… probably more like the managers deciding. It pretty much came to an end when we returned to the states. 

It was back to the bluegrass circuit for us but eventually, the impact of touring with Steve finally caught up with us and it helped take Del and band to a whole new audience and level of venues and events. In spite of upper level managerial conflicts, I loved touring with Steve. He worked very hard to get his bluegrass chops up to speed, and he wrote some fantastic songs for the album.

Conversely, we had never been around or involved with an activist before. Someone who used the stage to espouse a political ideology and that was something we had to adjust to. But, it was just that bit of tension and message that made the whole thing more eventful. It really was a collision of two very different worlds, but the outcome was beneficial to both camps.”

Steve Earle and The Del McCoury Band perform Carrie Brown live at the Farm Aid concert in Tinley Park, Illinois on October 3, 1998 

While The Del McCoury Band did collaborate with him for a track, I Still Carry You Around, on an earlier Steve Earle CD, El Corazón, a full album and tour was a somewhat incongruous combination, and many reviewers spoke of the differences, as did Tim Perry writing for Country Music International magazine.  

At the same time, it has been said that the link-up was beneficial to both parties. The Mountain was generally well received being registered as a top-20 hit on Billboard’s Top Country Albums chart. 

As far as the show in England’s West Midlands is concerned, a Steve Earle fan left as a big Del McCoury Band enthusiast also. 

In penning all the songs on The Mountain CD, Steve Earle acknowledged another recurring topic in the annals of bluegrass music …