Del McCoury Band at Silverados in Black Rock, NC – photo © Steve Wittenberg/MeanPonyProductions
Steve Wittenberg with MeanPonyProductions was on hand this past weekend for a show in Black Rock, NC featuring both The Travelin’ McCourys and The Del McCoury Band.
It was held at Silverados outdoor amphitheater near Asheville, and Steve captured the performances on stage along with the changing light as the afternoon turned into evening.
Thanks Steve! We look forward to seeing more of his work.
Randy Smith, beloved banjo picker from Monroe, North Carolina, is a grateful man. The picker of the five-string who has played with Pinecastle recording artists, Gentlemen of Bluegrass, plus numerous regional bands, is recovering from triple bypass surgery last week.
Smith participated in late night jams, some with the Malpass Brothers, at Denton FarmPark throughout Mother’s Day weekend. Afterward, the 66-year-old musician realized that something just wasn’t quite right. Returning home on May 8 from several days of camping and picking, he picked up debris in his yard leftover from storms, cared for his animals, ate supper, and then his health condition began to slowly deteriorate.
His girlfriend, Candace Greene, stated, “He turned around and said, ‘Check my blood pressure.’ For a man who doesn’t complain, I knew it was something.”
Greene checked it three times and his blood pressure was running high.
“Subtle things reared their head,” she shared.
With an elevated heart rate, clammy skin, cold hands, and his left shoulder blade hurting, they called for medical assistance. EMS evaluated him and suggested that he go to the hospital. The couple headed to a hospital in Matthews, NC. Following a heart catheterization, Smith was diagnosed with several arterial blockages and transferred midweek to Charlotte.
“After the test results, the surgeon determined that the success rate was better for (bypass) surgery than stents,” Greene explained. “His overall health is good. He’s not a smoker, and hadn’t had a heart attack, but our body is designed to tell you if something is not right. He did not ignore it. It was a heart attack waiting to happen.”
Smith is recovering well and hopes to be released from the hospital later this week. However, he won’t resume picking for a while.
“For six weeks he can’t drive or can’t pick a banjo. He can’t do anything that causes his arms to lift,” Green elaborated. “After that, he has to have rehab three times a week for a month. It will be August before he’s back to normal.”
Smith, who is a first cousin to Gena Britt, has not only picked banjo with the Gentlemen of Bluegrass, but also with the Red White family, and New Highway to name a few others.
Greg Penny, bassist with the Gentlemen of Bluegrass, who currently also plays with Caroline & Company, shared, “I met Randy in a band, and we quickly became good friends. He is a great musician and even better friend. If you can’t get along with Randy, then you probably couldn’t get along with anyone. We’ve had some good years playing music together, and look forward to many more.”
“I have a jam at the beach every year, and once Randy started coming, all my other picking buddies would always ask if Randy was coming because he was so well-liked for his picking and easy-going personality. Randy is really one of my favorite friends and picking buddies of all time.”
Tom Langdon added, “I was privileged to play with Randy Smith in a band called The Gentlemen of Bluegrass for a few years. I found him to be one of the most tasteful banjo players in bluegrass. He knows when to play, and what to play to back up vocals. Randy is well liked by fans and a pleasure to travel with.”
Banjoist, Ben Greene, Smith’s longtime friend from the same town, stated. “I’ve known Randy for probably 50 years. He’s like a brother. We keep in touch and enjoy picking together. He is a humble, fine person, and a great friend.”
One of Smith’s first musical gigs was as sound man for Boone Creek. He was witness to Ricky Skaggs and Wes Golding composing their classic tune, One Way Track, while traveling with them on the road. Performing throughout his lifetime, the soft-spoken musician is thankful to have caught his heart complication in time.
“I feel pretty good, but sore,” Smith shared in a phone interview on Sunday afternoon, just two days following surgery.
“I walked the first time this afternoon. They said I was a star student. At the festival, I had no idea (there was a problem). I felt good at Denton.”
Due to germ exposure, no visitors are allowed at this time. Prayers are greatly appreciated.
“God is good,” Smith concluded.
We wish Randy Smith a speedy recovery!
Goodfellers at the WPAQ 74th anniversary celebration – photo by Laura Tate Photography
This past Saturday, February 5, WPAQ 740 AM radio in Mt. Airy, NC celebrated its 74th anniversary on the air, broadcasting bluegrass, old time, and Gospel music in north central North Carolina. Laura Ridge was on hand for the live radio show Saturday afternoon, and the evening festivities, and filed this brief report with photos.
We all had a great time at the 74th anniversary celebration, located at the Earle Theater in downtown Mt. Airy. The first band up on the Merry Go Round radio show from noon to 1:30 p.m. was Caroline (Owens) and Company, with Matt Hooper on fiddle, Joe Pessalono on banjo/mandolin, Parks Icenhour on guitar, and Greg Penny on bass.
The celebration started at 5:30 p.m. in the theater with the Goodfellers. They did some fine bluegrass covers along with special guest and fiddler, Rex McGhee. The rest of the evening was filled with many great bands and pickers including The Country Boys, The Slate Mountain Ramblers, The Nunn Brothers, and Harrison Ridge.
Special thanks to all the staff at WPAQ who work so effortlessly to keep such a historical radio station running and supporting bluegrass music. Happy Anniversary, WPAQ!
Sonny is again unable to answer questions this week, so we are rerunning one of his classic columns. Let’s hope he will be back with us next week.
Sonny, If you don’t mind, please a few words and thoughts about Kenny Ingram. He was such a wonderful guy and I am sure you have some good thoughts to share. Thanks Chief.
– STLIL
Brother STLIL I would be more than happy to share with you all that I know about Kenny Ingram.
I met him in 1973, I don’t rightly remember the actual place but in one of the many hours we shared talking, and discussing “things” he told me exactly where it was but 50 years has slipped past and I have forgotten. I seem to remember Georgia though. I believe he had just started with Lester Flatt where he remained until Flatt’s passing.
We talked about banjo playing… right hands in particular. I had been around the block a few more times than Kenny, and in the beginning he was full of questions, like how did you do this, why did you do this, when do you do this. It went on like this for a couple years and Kenneth kept gaining, growing in confidence when already he had the fastest right hand I had ever seen. Boy could play some kinda fast for sure. But at the same time he was growing into a good man, and making himself into the great banjo player that we remember.
The last time I saw Kenny was one year ago last Sunday I believe. You have to know this part of the story too. The past few times Kenny came to lunch his actions and attitude were changing. But, I need to mention that he was probably the most private person I ever knew. He worked the last 10 years with Larry Stephenson. Larry and I discussed Kenny’s health more than once. He was changing right before us. We kept asking him if he was OK, and he kept assuring that he was, but dammit we could see.
After the last time we saw him, I tried to talk to Kenny, Larry, and Lincoln also tried. But like me, they got no response. Dammit, maybe I should have tried harder but he was so private that I didn’t want to invade his world, whatever it might be. We live with regrets, that will be one of mine.
s
—–
Hey Sonny, so glad to see you’re still active in the bluegrass world. I so enjoyed the times I spent watching your group and many others at the Snuffy Jenkins festival at Cliffside, NC, and wondered if you had a special memory from those appearances?
– Lane K.
Lane… come right on in. Your question about the Snuffy Jenkins festival brings back a couple of memories. If I’m thinking of the right place, it’s near Earl’s home. Between shows we had several hours and I went to Earl’s house, where he lived as a kid. Where he learned to play a little bit. I got to meet Junie for the first time. Got to meet Snuffy Jenkins for the first time, and got to see and hold his RB4. I got to sit on the porch where Earl told me several years later, that’s where he learned to play Reubin the right way, and Junie heard it for the first time. It actually got a reaction out of Junie and Earl said: “I knew I had something right there!”
I sat on that porch. I SAT ON THAT PORCH, FOLKS. WHERE “THE MAN” STARTED IT ALL. And I believe it because HE told me where it was. As I’ve said many times before. Me and Brother Bobby went on one hellacious ride together.
s
—–
Hi Sonny, Stan here…occasionally known as Jebbh Mixus from The Mixus Brothers (which we named as an homage to you two)…anyhoo, I have three questions for you as you were so kind to answer one for me about singing a few months ago, and now I’m being selfish… first one is: I was listening to the song you did called One Tear and noticed that the internet’s said it was written by someone named Judy Osborne… did that happen to be any relation to you?
Secondly, I have noticed that the YouTube has many live recordings of ya’ll, and in many of them there are moments during and between songs where I say you were absolutely funny as all get out with your comments and shenanigans… do you think having fun on stage is and was one of the most important parts of having as long of a career as you did??
Lastly, and I appreciate your patience with me, when you toured Sweden and recorded one of your shows there for the public consumption that is now on YouTube, you of course played Ruby but I must say that your solo during that song was one of the most god forsaken amazing displays of banjo playing in the history of mankind… in the video you, after the solo, you shook your head and it seemed like you were playing like a man possessed. Do you remember it and do you think you can pinpoint that period or any period as having the best command of the neck and your creative mind for soloing?? Even if you answer even one of these questions or none, I am much obliged to you for letting us delve into your psyche on playing and unabashed memories of your life so, thank you!
Stan
Stan…good questions. Thank you. First one…Judy is my wife of 62 years. She wrote this poem while she was in the 8th grade. And I’ll let her tell you in her own words.
Sonny was looking for new songs to record. I showed him a poem I had written, he put it to music and Voila!
They began rehearsing the next day at Bobby’s and when they got around to working on One Tear, Sonny called me and asked if I could write another verse. Words came to me as fast as I could write them down. I called him back in just a few minutes.
We ran over it a time or two, and the song came to life. It’s been recorded a dozen times or more. Very good bluegrass tune.
You asked about Sweden and the recordings made of our Stockholm show. I’ve been asked many times when I play certain things am I playing what I have planned to play or does it just happen. It’s just a thing that goes as it goes. I know the fingerboard pretty well so I don’t get lost and from there it just happens.
I’ve heard some things back and wonder what I was thinking, to do stupid things like that. Our shenanigans, as you called it, was not part of our plan but it did come in handy at times. We watched many bluegrass bands through the years and they, for the most part, were dead serious on stage and seemed as though their faces would break if they were to smile. We decided to have a good time and try to see that our audience laughed along with us.
s
—–
Mr. Osborne, Joe Medford was one of the less-heralded first generation bluegrass banjoists, in spite of his ability. He recorded with Mac Wiseman in the early 1950s. Did you ever cross paths with him?
– Bzrdhd
Bzrdhd…Sorry to say I never had the opportunity to meet Joe. Funny thing about him. When he recorded the several tunes with Mac and the several with Charlie Monroe, you would swear at certain points it was Earl, but I heard some other things he did and they were not so… I should say AS good. Wrong phrasing, conflicting background notes. Almost like it was some other guy playing. Strange. I talked with Mac several times about Joe, as to the kind of guy he was, etc. This probably won’t sit to well with some, but Mac said Joe had a tendency to over indulge in adult beverages so from personal experience this would cloud one’s vision…so, maybe that’s the answer.
Great tone out of an RB100..he had that “THING” didn’t he? YES HE DID.
s
—–
Sonny, in my work archiving the decades of recordings and videos my mother left behind, I ran across an Osborne’s set at the Festival of the Bluegrass. On a break between songs, Bobby can be heard off mic giving you a string of jabs about “I don’t know how you ever think you are going to keep a banjo that cheap in tune.” I’m wondering if there is more to that story. This would have been around 1985.
Charles C.
Charles… welcome my brother… Butch Robins and I had just paid $5000 for our banjos… the highest price ever for that time. Butch bought one of the two best RB4 style banjos ever, and I think I got the finest, best sounding banjo Gibson ever made. It is a 1934 flat head Granada original 5 string. The other RB4 that is that good is owned by Dana Cupp. I rarely tune on stage with the exception when KRAKO show his a–! Then there is no tuning.
So Bobby, knowing how much I paid and realizing I did nothing during that show but tune, made his infamous statement. “I don’t know how you ever think you are going to keep a banjo that cheap in tune!”
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.
Sonny was not able to answer new questions this week, so we are running a classic edition of his column. We hope to have a new set of responses from him next Friday.
Sonny, years ago you said that there was a team of tiny men who lived in your banjo and were responsible for broken strings, going out of tune, etc., and that the guy in charge of them was named Krayco. What ever happened to Krayco and his team? Are they still around? Have they moved to someone else’s banjo? I notice that Ron Block tunes a lot… maybe they’re with him now?
Ned L.
Ned…due to the fact that I only know one person named Ned, I feel rather safe in assuming that he be thee! (That’s a little CHURCH Talk) Anyhow, You are one of the most talented musicians I have ever known. I wanted you to know that now, for fear that I hadn’t told you that before. So now let’s talk about Krako. He lived in my banjo resonator and every so often I would hear this voice that would say, “Not Tonight. You will play out of tune or not play.” He accounted for broken strings, bridges, tuning problems, just anything that could go wrong would go wrong. I never saw him… not once… but I had long conversations with him after a particularly bad tuning show. I have always detested seeing someone, anyone playing any instrument, stand up on the stage before a paying audience, TUNE…TUNE…Tune… after every song. We just never did that much. We had a Peterson strobe tuner installed on our bus, and everyone would tune with it before going on stage. You asked what happened to him KRAKO…. I had to stop playing the banjo in 2003 because of rotator surgery so I lost contact with The Kraco Team. They were with me so long, though, I had to honor them somehow so I realized, several months ago, that I had enough parts in my garage to build a banjo… so I did. It came out sounding so good, I thought someone should be playing it. Lincoln Hensley has agreed to play it, so Lincoln now plays the only KRAKO banjo in existence. Ronnie Block does not deserve a group like Krako … BUT, Come to think of it, Ron does tune a lot…HMMMMMM!
—–
Sonny, In one of the videos with Mac Wiseman from 1999, you talked about being in some small town in Quebec, Canada in the wintertime and playing a show where the promoter never showed up. Do you remember where in Quebec this show took place and who was playing guitar for you at the time?
Peter D.
During that time, 1955, Bobby and I worked with Charlie Bailey in Wheeling, WV. So he would be the guitar player. It was snowing so hard you could hardly see the building. Kids were playing hockey in the street. So, showtime came and the promoter was not there to open the door, and the building was locked. We were all broke too with a half tank of gas. Tough times. I saw a few people gathering at the door so I started looking or some way to get in… I found an unlocked window and crawled through. Found a light switch and opened the front door. By then a pretty decent crowd had appeared so I got a chair and collected admission… When they stopped coming I had amassed a total of $490… and I started hoping the guy wouldn’t show up because that was enough to get us back to Wheeling, and have some left over. He didn’t show, we kept it all, did a decent show, the folks were pleased, we loaded our equipment up, I locked the front door, turned out the lights, crawled back out and shut the unlocked window and we had a pretty good trip back to Wheeling.
—–
Sonny, How did you guys come to tour with Haggard? What is one experience that stands out most while touring with him? I’m glad to see you’re doing well, I miss seeing you out on the road.
Thanks, Wes V.
We worked a show in Pennsylvania with Merle and I guess he liked what he heard. In 1971 we won The CMA VOCAL GROUP OF THE YEAR and our presenters were Roy Clark and MERLE HAGGARD…maybe that had something to do with it, I really don’t know that as fact, but I can’ think of any other reasons that he would request us to be his opening act…whatever, we did it for 4 (four) years (1971-1975) and it was a dream to see him every night. We, of course went on first and before Merle went on I would find a chair and place it behind the curtain close to Roy Nichols. I literally loved his Guitar playing, and to see Haggard bringing it every night. He could work a Mic as good as Marty Robins, and Marty was the best I ever saw. One thing that happened…we played The White House with Merle. Nixon, his family, members of Congress, and a whole room full of dignitaries were there and we were all nervous, to say the least…My goodness, two 10th grade dropouts from Thousand Sticks Kentucky being allowed to play in the White House. Well, after we struggled through our 20 minutes we watched Merle sing…On Fighting Side Of Me. He dropped his Guitar pick and I think he changed the last words to: WHEN YOU’RE RUNNING DOWN OUR COUNTRY MAN YOU’RE FIGHTING ON THE WALKING SIDE OF ME. The great ones get scared too. We talked with Nixon some…about 10 minutes, and I found out he had pretty good knowledge of common profanity!
_____
Sonny, There has been much discussion about what is and isn’t bluegrass music. People claim that Sirius/XM’s Bluegrass Station plays music that is not bluegrass and currently on this site there is discussion about the IBMA nominating people/groups for awards that are not bluegrass. Many are afraid that if bluegrass is not properly defined, any music or anybody looking for a home will be thrown into it and bluegrass will end up being diluted/polluted like country music. With that said, would you care to give us your definition of bluegrass or how you determine if something is bluegrass? And keeping that in mind, would you care to give us your opinion of the state of bluegrass today? Thanks.
STLIL
Man, I don’t know how to define bluegrass style music. To begin with it consists of the five main instruments… guitar, bass, fiddle, banjo, and mandolin. Of course you can add to that… Dobro being one, another fiddle or two, lead guitar too is acceptable now… Tony Rice made that a possibility. I tend to agree that more and more pop singers are easing their way into country music and country singers are doing the same with bluegrass. My own preference would go back to the ’40s with Bill, Lester, Earl, Chubby, and Cedric. That’s what I call true bluegrass music… but, then look what we did in the ’60s-’80s strictly to make more money and draw more people. I honestly believe we did a lot to put bluegrass music into different venues, which I believe made it possible, and easier for others to make a better living playing a form of bluegrass music. So, I guess you can’t actually define what is or what isn’t any style music. It’s just whatever a certain individual wants to spend his money to hear. For me it’s ’46 – ’48 Bill Monroe and 1950 – 1954 Lester and Earl. Now that’s not to say I don’t like other groups and different styles music, that’s just what I would prefer my BLUEGRASS to sound like. I don’t personally like the state of bluegrass right now, but we have better players, better singers, all for the most part. So once again we come back to the fact that there really is not a true answer to your statements. Boils down to what YOU prefer.
—–
Sonny, the first time I remember seeing the Osborne Brothers was in 1974 at the Camp Springs, NC bluegrass festival. Somehow it seems to me that y’all were riding in matching white Ford LTD station wagons. I remember buying a promo picture from you for $1, that you were selling out of the back of one of those station wagons. I still have the photo! Did I imagine the station wagons, or did y’all actually travel that way in the early ’70s?
Lynwood L.
Lynwood. That certainly was our means of travel. We had a deal with the Ford dealer in Gallatin where we could get two new station wagons every 20,000 miles. We did this for about 3 years. On my car we had an instrument trailer which hauled our equipment, which included a pretty good sound system. It was built by Bobby’s son Robby, who was a genius at such things. He could do anything. 1974 was our last time we used the Ford wagons. We went from that to a beautiful 1975 Cadillac limo. We put 175,000 miles on that car.
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.
Founded in 1989, Louisa Branscomb’s Georgia Woodsong Songwriter Retreat is likely the oldest continuous songwriter retreat in the genre, a distinction leading to her current nomination for IBMA Mentor of the Year. In the majestic setting of the farm’s rolling hills, heart pine planks, and winding fences, the mentor/songwriter/performer has helped some 500 children and adult participants transform life through the art of songwriting, most returning year after year. On July 1, Louisa closed the barn doors for the last time and headed to North Carolina, taking the spirit of the Farm and its community of writers with her. That moment is reflected in her song, Riding Double on my Old John Deere: “I turn the key to neutral, and lay this loader down. No engine hum can see me through my tears” (featuring Josh Williams on Louisa’s 2011 Compass release, I’ll Take Love).
As she leaves her beloved home, Louisa’s grief is shared by three decades of others who have found inspiration and guidance at her Woodsong Farm retreats. One four-year participant, Lea Kimbrough, explained, “Louisa’s work transforms the person while transforming their stories into song. I will attend her workshops throughout my life. I wanted a part of the old farm so the barn door we used to have our meals on went with me back to Florida.”
Coming full circle, Louisa is taking the now-honed vision of Woodsong to North Carolina, where she launched her professional music career some forty years ago. The singer-songwriter/multi-instrumentalist began her musical journey in 1971 in Winston Salem, taking to the road with her band, Boot Hill, co-led with Sam Sanger. It was there she learned banjo, wrote Steel Rails, and began a catalog of over 300 recorded songs, many making history in the hands of artists such as Dale Ann Bradley, Alison Krauss, Claire Lynch, John Denver, Jesse Brock, and countless others.
The 1980s saw Louisa leave North Carolina for Georgia to pursue graduate degree in Clinical Psychology. “I wanted to understand the human spirit – how people transform their lives, what creativity is really for.” It’s the theme of her unique model of songwriting.
In 1991, her life was unexpectedly touched by Alison Krauss’s ground-breaking hit with Steel Rails, the song credited with bringing an entire new generation to bluegrass. It was in that moment that the dream of an ongoing songwriter retreat was born.
“I was around 40 years old, and I felt I had had more than my share of luck. I thought it was time to give back things I wish I had had in my career to other songwriters. I never had a mentor. I had never known a songwriter up close. I didn’t have a community of songwriters and I had rarely seen a woman songwriter on stage in my formative years. So I founded Woodsong Farm Songwriter Retreat and began to figure out how to create a songwriter community. I didn’t want it to be just my home place, I wanted it to be the home place for every songwriter who came looking for something. And I wanted to make a place for children, too, to find a way to tell their stories through songs.”
With the chance to be a part of her unique artist-focused mentoring model and the vibrant Woodsong community, most Woodsong students come not once, but year after year, to hone their skills under Louisa’s tutelage. Five-year Woodsong veteran Katrina Brake stated, “Louisa has a depth of knowledge matched with gentle, personal guidance on how to write from the depth of one’s true self. It is an unmatched synergy.”
Louisa defers to the farm. “Mostly I just stay out of the way of the farm and trust the process. Something about a farm, the natural beauty – beauty made by hard work, makes it feel like a sanctuary, a place where it all makes sense. You feel the history here and become a part of it; you belong, and you feel like you go back before your time. The land makes a place for you that takes you deeper into your soul. And that’s the source of the song. A farm remembers everything you give to it and it gives back. All these writers have given their songs back to these hills. I somehow think that will always ride on the wind there with all the laughter and connections songwriters have shared.”
Indeed, an astronomical number of songs have been composed or shaped in some 120 retreats in the Farm’s inviting setting. There, Louisa has served four decades of children, many of them with high needs in state custody, giving them a tool to tell their stories. One such family, the Howard boys, began their mentoring seven years ago as small children. Now they have come to Asheville to volunteer their help on the new Woodsong Farm, giving back what they were given through Louisa’s songwriter non-profit, ScreenDoor Songwriter Alliance. They have literally grown up writing and singing songs that inspire others, such as one performed at Louisa’s presentation of her Kidswrite program at IBMA WOB in 2017: “When We See in Color, Not in Black and White.”
Louisa, too, has been nurtured by the farm as an artist. Fans will recognize countless farm-inspired songs, including Dear Sister, written with and recorded by Claire Lynch, about a similar cotton farm in Louisa’s heritage. I’m Gonna Love You, (co-written with Claire Lynch from 2011 Compass Album, I’ll Take Love), tells of coming home to the farm after being on the road. This Side of Heaven, recorded by the Whites on the same album, forecasts the tornado that destroyed the farm in 2011, and required a decade to rebuild.
“It’s a labor of hands and heart that is sometimes back breaking, but gratifying beyond words. It also means loss. I have three horses and a donkey, Elmer, buried here,” the IBMA Distinguished Achievement Award winner confessed.
Asked why she made the decision to leave, the once-touring banjo player explained, “I wanted to make the farm into everything it could be, in all its glory, while I’m still able to. I felt the mountains calling. It was time to take the essence of the work and begin a new chapter.”
Prior to her departure, Louisa hosted a reunion of songwriters and pickers who had attended workshops and jams at Woodsong. They played under the old oak tree, sending final melodies into the hills.
The following evening, in the silence that followed 33 years of friends, students, and songs written and played, Louisa feared leaving would be nearly impossible. “I felt my heart was breaking. I couldn’t see me without the farm, or it without me. But I went outside and the whippoorwills started singing all around me across the valley and the frogs were croaking in the pond. And I thought, they are letting me know because if I can’t carry the tune for a minute, they’ve got it, and it’s beautiful, and it will go on even when I’m gone.”
The next day she composed her last song from the farm, with the chorus:
Then the sun sets down on the mountain
and the whippoorwills call all night long
sayin’ you don’t have to worry
you don’t have to weep
’cause even when you can’t keep singing
we’ve got the song.
Having found the heart of the matter in a simple song inspired by a farm, the songwriter and teacher felt ready to make the move. Bound for new topics, new retreats, and new mountains, Louisa carried a scrapbook of remembrances lined with old plows, hillside pastures, and steady streams of songwriters gathered on a hillside.
The video for Gone captures the freedom of life change with images of the farm itself, co-written with Diane King, featuring Dale Ann Bradley, Tina Adair, Steve Gulley, Casey Campbell, Deanie Richardson, Charlie Cushman, and Missy Raines. All lyrics copyrighted, used by permission.
“The last thing I did was take down the Woodsong Sign in Georgia, and my first official moment in North Carolina, I was hanging the sign in my new farmhouse. I have learned that Woodsong is a spirit; it is something in the hearts of people, and it can go where we go. The ‘new’ old farm has that same Woodsong spirit; it is just a mountain farm rather than an old cotton farm. That brings in a new history and new images for songwriters. It needs a lot of work, but it looks out on the mountains and the sunset. We share our songs and our lives. There’s lots of excitement about what lies ahead.”
Louisa’s first retreat in her new location is scheduled for October 15-17. Back in the old North State, back where her life’s mission began, a string of songs ago.
Sonny,
Let me say first off that if it wasn’t for Sonny and The Earl, I would never have picked up a banjo. I’ve been playing now for 23 years, but it only feels like 5. Did time fly by for you when you were on the road playing with Bobby and the band?
Also, One of my best mentor’s, Doug Greene (banjo) from Lake Okeechobee, FL area, and later on moved up to western NC, had a band called The Prospectors with his brother Jerry (guitar). They have both passed on now. They were huge Osborne Brothers fans that have played festivals with The Brothers in the ’70s and ’80s. My question to you is, do you have any recollections of Doug and/or Jerry Greene? They sure spoke highly of you, Bobby, and the band. Thank you so much for your wealth of knowledge and stories on this column. They are priceless!
Scott H.
Hey Scott. Thank you for your time, appreciate it. When I was on the road with the Brothers band, time did not fly by as you say. It still took 14 hours to drive 800 miles, and no matter how it felt it still took that long to get 800 miles from one date to the next. I don’t know how many times I sat there and daydreamed about time travel, and how I could just automatically be in Sacramento, CA but no….I had to go from St Louis, to Kansas City and Denver, and then think … why it’s only another 4 or 5 hours to Sacramento.
I know a guy named Doug Greene, but I’m sure it’s not the one you mentioned, because I don’t think he had a brother named Jerry. I appreciate the fact that they were friends and fans of the Brothers, and I’m sorry that I don’t remember them.
S
—–
Have you considered a podcast, MC-ing festivals, or hosting a radio show? We enjoy this column, and I bet the fans would love to hear you in different settings.
– Brian M.
Brian, thank you for participating in our chaotic free-for-all. I have never considered a podcast, whatever that is, nor would I ever take the job of MC-ing a festival. And hosting a radio show takes a whole lot of planning and to maintain this little column takes all I want out of me at this point.
S
—–
Hi Sonny,
Thanks for taking the time each week to answer questions and share your thoughts and memories from your career.
My question is what role did the song Foggy Mountain Breakdown play in your deciding to learn to play the banjo, or did it at all? I think for many players like me, hearing that song played by Earl, in particular the 1949 recording, spoke us in a way that pulled us in to the instrument and then kept us there. To me, the combination of both speed and maintaining separation of notes in the 1949 recording is always head-shaking stuff.
What are you memories of when you first heard this recording, and then when you would hear it over the years as you became an expert professional player?
Last year I thoroughly enjoyed reading Earl Scruggs and Foggy Mountain Breakdown, The Making of an American Classic by Thomas Goldsmith. Did you happen to read it? It provides a wonderful overview of Earl’s life and career, but also provides a detailed analysis of the 1949 recording of Foggy Mountain Breakdown.
Finally, when you would perform the song, would you usually play the break, third section in the 1949 recording, based on Columbia, The Gem of the Ocean? I really like that break in the song.
Thanks much,
Perry
Perry…Thank you for joining us. I know this sounds a little weird, but Foggy Mountain Breakdown had nothing to do with my learning to play the banjo. The first guy who raised my interest at 11 year old was Larry Richardson, and I asked him to let me see his right hand, and instead of turning where I could see it, he turned his back on me so that I couldn’t see his right hand and that proceeded to piss me right on off.
Later that night, I told my dad, “You know what? I betcha I could learn that if you would buy me a banjo” ….which he did. And I did. I was playing Cripple Creek in no time. Not very good, mind you, but playing it.
My inspiration to play the banjo came from hearing James Bower play I’m On My Way Back to the Old Home on the Grand Ole Opry with Bill Monroe. I just had to learn how to do that. Which I did.
Books pertaining to music are so full of lies and authors’ ideas or concept of what really happened, and what should have happened…to me it’s a waste of time to read that stuff because in most cases I know what happened first-hand. I know Tommy Goldsmith, and he’s a good straight-up guy, but I did not read that book. And I knew Earl on a first-name basis, and we never discussed the making of Foggy Mountain Breakdown. I have heard people say that Earl has said in interviews that a section of it was based on Columbia the Gem of the Ocean, but the Earl never told me that personally, so I take that as hearsay…as they say on Judge Judy’s show. Thank you for your interesting comments.
My best memory of Foggy Mountain Breakdown was in the movie of Boney and Claude, when that car around that curve and the Earl hit that 1st, 3rd, and 5th string I almost went through the chair. It was so damn good.
Thank you Perry.
S
—–
Hey Sonny
I just wanted to let you know that I really enjoy learning more about the history of our family from the questions you are asked. Since I never saw you much after my son won that last baseball game in Goodlettsville, I was wondering if you guys were able to catch any of the other games. I appreciated the support and speaking with you guys during the team’s run. I remember looking out to center field to see if there was any Kentucky blue out there. 🙂
Galen O.
This paragraph does not pertain to music, but to my brother’s great-grandson, Blake Osborne’s Little League baseball heroics. Robby, Bobby’s son, who played drums with the Brothers’ band had a son named Galen, and Galen’s son is Blake….whose Little League team went all the way to the LL World Series championship game, and we suffered through the whole thing with them. We did not go to Williamsport, but thanks to TV we were there in spirit.
Thank you Galen, for bringing this up, and reminding us what an exciting time it was to go to Goodlettsville and watch them play.
Sitting here, dilly-dallying with your questions, we just got word that our 3rd great-grandchild has been born…. a boy. Congratulations are in order. Thank You.
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.
Local dignitaries and townspeople turned out last week in Mt. Airy, NC for the official dedication of The Easter Brothers mural painted downtown by Tim White.
From their home base in Mt Airy, The Easter Brothers delighted bluegrass and Gospel music fans over a career that spanned more than 50 years. Recently, the city arranged to have this 18 x14 foot painting commissioned just across the street from the music store run by the sole remaining brother, James Easter, Mayberry Music Center on Main Street.
White is well known to bluegrass lovers as the host of the PBS television show, Song of the Mountains, broadcast from Marion, VA. He completed the portrait over the course of nine days in April. His talents as a sign and mural painter are less well known, with his larger painting in Bristol, TN celebrating the iconic Bristol Sessions being his most prestigious work.
James and Tim were both on hand for the dedication on May 15, which included the installation of a plaque marking the mural, The Easter Brothers, and the artist. Both the current and previous mayors were in attendance, and bluegrass music was performed for the crowd.
Congratulations James, and Tim!
Hello Sonny. I seen the brothers many times in and around Burlington, NC at Bass Mountain festival and The Big O Jamboree. Do you remember the Big O and any stories? One time I remember seeing Glen Duncan was on fiddle, was that his first show with y’all? Bobby even twinned with Glen that night. Thanks for the article. I look forward to it every week.
Randy
Hey Randy, I appreciate your time. Sorry I missed last week.
I do remember the Bass Mountain festival, and especially Mike Wilson. We were talking out where our bus was parked when a guy came running down and said a couple guys were causing a disturbance…you know, like showing they —! Well Mike, at 6’4” and 260 said I’ll be back in a minute. He ran up to the pickup bed and literally reached into the melee, grabbed this guy by the hair, a longish braid like thing, and proceded to half drag him and fast walk him to the waiting police cruiser. Thus coming to an end of those two old boys Bass Mountain Festival for that year. I loved that place…Big O I don’t remember, however Glen did play the fiddle with us then. Most enjoyable time musically to work with the great fiddle player, Glen Duncan.
S
—–
Years ago when I was young and uneducated, I would listen to Flatt and Scruggs records of Blowin’ in The Wind, Like a Rollling Stone, and Down in the Flood, and thought they were just the neatest things….then many years later I found out that they were Bob Dylan and other “folky” songs, and that Lester hated them, and that was one of the reasons for the big breakup of Flatt and Scruggs. To be honest, after listening to the Bob Dylan and other original versions of those songs, I think Lester and Earl did much better versions. I know I am in the minority in those beliefs, but as an artist how do you feel when you have recorded music that after a while you really don’t care for, and the fans latch on to it and think it’s some of your best recordings. I wish I was around back in the day and was able to sit down and talk to Lester and tell him how versatile he was, and how he could take any song and make it pure bluegrass.
Thanks Sonny.
Cory S.
Cory….I apprecate your valuable time. Thank you.
I hope I can get through this subject without hurting too many feelings. You must remember that I considered me to be one of the most intent followers of The Earl. After 1957, not nearly as much. WHY? I felt like along about then, he took his foot off’n the gas pedal.
Earl and I became pretty good friends through most of the ’60s….once at his house, The Earl told me he hadn’t been interested in the banjo in 10 years. Which ripped me a pretty large one. He also told me he wanted out because he wanted…needed…to be with his boys. There’s only so many ways you can play Cumberland Gap. I didn’t understand this until 30 years later.
So by doing a completely different sound, I was put into the position of liking or disliking what my pal was doing. Being such a fanatic follower in the ’50-’53 version of the greatest 5 string banjo playing..player…in history, I decided I did not like the contemporary sound they were doing. Good though it might be…hell, the younger generation was going wild for it…but, Hello! I was not that generation, didn’t want to be. Chose not to be. Granted the Dylan songs were good…for Peter Paul and Mary…but not good for me. I liked Benny Martin and The Earl…still do…always will. Long way of answering your question, if there was one. If not, sorry, maybe next time.
You know what, Cory? If you were lucky enough to sit down and talk to Lester Flatt and tell him what great songs Blowin’ in the Wind etc were, and how he made them into pure bluegrass songs, he would probably just get up and walk off because he hated these songs so much, and detested the idea of calling their music bluegrass. I don’t know why, but I never heard Lester or The Earl refer to what they were doing as bluegrass.
s
—–
Sonny,
I am reading this week’s column and Mark K asked you about your break on Sunny Side Of The Mountain on the Bluegrass Collection album.
I went over to YouTube and listened to it, then decided I wanted the entire album so I went to iTunes and bought it.
I guess my question is two parts and if I’m being too personal I sincerely apologize.
1. Do you get any kind of payment from YouTube for us listening to your songs.
2. I just bought the song on iTunes do you receive anything for that.
Thanks,
Lenny
Lenny, thank you for joining our weakly get together. Your questions were of a personal nature, but I’ll answer them as best I can. When you download or buy any music we do get paid through a company called Soundexchange. That’s as far as I care to take this. Like I said it is rather personal. You understand, I’m sure. Good question though…connect with me again, anytime. As for that last part of the break…it was conceived on the spot…first time through. My mind just told my hands that it was the thing to do, so they did it.
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.
Good morning Chief,
I hope you get this. When I got off the bus last week we were in 1996, I turned around and you boys were gone. Very funny.
Fortunately we have dial-up internet. I’m out front here at Bean Blossom…reading about this guy named Theodore Kaczynski that they finally caught about 2 weeks ago. The good news is, it’s safer to open your mail now.
I’m waiting…
T.
============
Hey Sonny! I’ve got two questions: I know you’ve not picked a banjo in years because of the shoulder issues, but if you were to just play one song, what would it be? Secondly, Doyle Lawson announced his retirement recently and I wondered if you have any memorable experiences with him over the years. Thanks for humoring our questions!
Michael O
Greensboro, NC
—-
Hey Mikey!!!!
If I could play one more tune, it would be in the key of G and the title would be No Mother or Dad.
Bobby and I always wanted to sing and play with Doyle, but when he was working with other bands, before Quicksilver burst on the scene, we tried but he was too expensive. Not to imply that he was too expensive, he was for us. Man, the few times we sang together, he was so good, and he had the great thing going with the guitar.
Back in the day, before the Opry, Decca records, and all that, we had been to Nashville to record and were on the way back to Dayton. this would be about late 1957, early 1958. Dayton disc jockey Les Bodine was with us. We stopped in Louisville for gas and the guy pumping gas told us our car had a muffler which was dragging, and did we want him to wire it up so it wouldn’t drag. We said yes and he fixed it. We went on our merry way. Years later we were reminded that the guy who fixed our car was the leader of the band known as QUICKSILVER… ’twas none other than….The great Doyle Lawson.
S
=================================
Good afternoon, Mr. Osborne. I was just listening to a few recordings that Johnnie and Jack made with your clawhammer instructor, Grandpa Jones. Were the Osborne Brothers influenced by the trio harmony of the Tennessee Mountain Boys? Did you ever rub elbows with Johnnie and Jack before Mr. Anglin died?
Thank you for this wonderful series, not to mention all of your contributions to the music we descendants of hillbillies and briarhoppers cherish so much.
BK
BK…thank you for coming our way today….Ha, that rhymes.
When I joined Bill Monroe’s band as a legitimate Blue Grass Boy I was a very green kid of 14, and I guess I didn’t belong. I was treated as an outcast, in that no one would talk to me. At the Opry I just stood around. Bill was off doing what he was doing, Jimmy and Charlie didn’t want to be seen with a child, everyone except George Morgan, Jack Anglin, and Hank Williams. I reckon they felt sorry for a kid and went out of their way to speak, if nothing else. George and I were sitting on the stage years later and Billy Grammer walked by. (Note: George had an eye problem that couldn’t be corrected) So Billy stopped and held his watch high and to the right and said, “Hey George, what time is it?” Then broke out in a laugh and proceeded on his way. George was hurt and said, “He didn’t have to do that.” Incidentally, it is my understanding that Billy Grammer was blind when he crossed over.
Grady Martin told a Hank Williams story that he swore to be true. Grady played fiddle for the Hank Williams band for a spell. They were filming the Kate Smith network show…Hank was rehearsing his song, Milton Berle who was also on the show was on the side of the stage, upstaging Hank. Hank stopped, traips’d over to Berle and politely said, “Now Uncle Milty, I do appreciate your talent but if you don’t get your big ass off the stage while I’m on, I’m gonna wrap the neck of this D28 Martin Guitar around your f……. neck!” Uncle Milty left the stage area.
Note: (the word ‘traips’d’ is a Judy-word from the ’60s)
S
============================
Sonny,
I remember a few years ago when you’d post on the Banjo Hangout forums that you were working on an autobiography of your life and times in music. I’m wondering if you’re still working on it, and if you are, I’d be the first one to buy!
– Corey
Hi Corey. Thank you for joining us.
My book. Scott Street, RHS, started the book idea and asked me if it was something I would be interested in if he agreed to do all the work, and all I would have to do was allow him to interview me. I told him to have at it, and did he ever. He spent hundreds of hours and many thousand miles on his car, driving all over doing interviews. After Scott’s untimely death, Bill Evans agreed to finish the book, and all the material from Scott went to Bill. It just so happened that Bill’s wife was diagnosed with Leukemia and Bill, being the sole caregiver, did not have the time to work on the book. After about a year, he decided he couldn’t finish it and it was subsequently awarded to Daniel Mullins, and it sat in his basement for a year, at which time I gave up on the idea and asked my attorney, Steve Martin, if he would get the material and hold it for me, and he agreed to do that and, dear friends, that’s where it will remain until Judy, my wife, or one of our heirs sees fit to go get it. While I think it will be an interesting read for some people, I think where it winds up is where it needs to be. Would you say I’ve lost interest?
S
=================
Hey Sonny, I was wondering if you were to listen to one group of your choosing right now who would it be? Also other than yourself, who would you say is the best banjo player? Lastly, what do you think of your Granada compared to some other banjos?
– PhillipH
Hello Phillip, thank you for your time.
Due to the COVID pandemic, I have no idea who is playing with whom and so I honestly can’t answer that. I did hear a few Facebook tunes recorded by Aynsley Porchak, Lincoln Hensley, and Dan Boner on a thing they call Tone Tuesday. They really played some good music, but they’re not a band. I enjoy listening to them.
So far as bands existing before, I would have to say The Del McCoury Band, and The Grascals (Terry Eldredge and Jamie Johnson era). Actually the best banjo player on the planet is Jens Kruger, but due to the fact that no one can understand what he’s doing, I would have to say the best traditional 5-string banjo player is Rob McCoury. My reasoning is that Rob does his own thing and doesn’t lean on anything for his material.
You asked about my Granada, and I would have to say that, for me, there is no comparison to any instrument I ever touched. In order to get the best out of an instrument, you two have to be friends. In my opinion, Earl and Bluegrass Breakdown, Foggy Mountain Breakdown, Dear Old Dixie, Randy Lynn Rag…Earl seemed like he was mad at the banjo, and his banjo sounded like it was mad at him. The RB-3 that I owned for many years (the banjo Aaron McDaris has now)…. while I had that banjo it was a constant battle, and while Aaron has had it, it seems to have settled down and found a home with Aaron. But I didn’t like it much, and it surely didn’t like me. But then the Granada felt right at home from the very beginning. Love at first sight on both sides. And if you listen to the recordings that it made for me, I would beg you to find a better tone. That banjo knew it was home and knew that the guy that was playing it, loved it dearly. And the two together, in my opinion, created the best tone ever recorded with a 5-string banjo. I reckon that answers your question.
If there are any doubts, please listen to the Essential Bluegrass album that we recorded with Mac Wiseman, and specifically the banjo break on Shackles and Chains. Banjo tone doesn’t get any better. As dash-2 sits in my living room, the love affair continues.
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.
Hey good morning Chief! We’re all out here with coffee and donuts, looking at the buds on the apple and dogwood trees, and reminiscing. This sure feels like the official kickoff to bluegrass festival season to us. We’ve been swapping stories about the different shows we saw the bros perform all down through the years, so whadda ya say, let’s take a ride and revisit some of those memories this morning before Larry eats too many of these things and loses his boyish figure?
T.
Hey T…we’ll be in a bit of a rush today…won’t be able to go far. Gotta get back, Larry, Nick, and Derek plus a new bass man have to take Krako #3 and lite out for Texas, I reckon. I wish I was able to go with them…man, do I ever!
s
==============================================================================================================
Sonny,
My brother and I grew up in the 1970s listening and loving real country and bluegrass music. We have played together for over 40 years now and you and Bobby were some our biggest influences because of your unique harmonies. We saw you on the Opry many times and had the chance to meet you several times and you were always generous with your time and just good down home folks. I know you and Brother Bob played the White House with Hag for Pat Nixon’s Birthday. Any good White House stories? Thanks for the music and memories Brother Sonny!
Mickey J.
Mickey, welcome in here. You know, there is absolutely no need for one human to act better than another. Break it right down and we’re all God’s children. One ain’t no better’n the other. The White House was a tremendous accomplishment for us, and for Haggard, and every one of our bands. You’re on a stage, having been introduced by The President of The United States of America. Quite possibly the most powerful man in the world. Nervous? How bout scared —-less!
Let’s back up a few minutes. We are standing in an aisle to the left of the stage, and when he goes into our introductions we are supposed to make our way to the aforementioned stage. Which we tried to do. Right in front of me was a CBS camera man and he had his foot in the direct path of me boot heel…a sharp cupped heel western rodeo guys wear…my heel came down on his ankle. And I heard it crunch…I knew it was broken but getting to the stage appeared to be the most important item at the moment on our agenda! Would you agree?
I didn’t hear anything else about it, however I did notice the we got all kinds of coverage from NBC, ABC, and several other networks, all that is except CBS. NONE. Not a word. Oh, they talked about Merle, but not a word was mentioned about the Brothers. Oh well, The Brother was a little mad at Nixon right then anyhow. We did however shove Ruby and Rocky Top down their throats on that night. Sometime later Nixon’s entourage came to visit the Opry. Bob Eubanks and I were standing backstage and Nixon recognized me… “Osborne, from Kentucky!” and chose to walk over, shake hands and say a few words to me. When he left, I showed Bob my shoulder holster with a loaded 38 swinging under my arm. He called me some serious names which are not repeatable. He said had they seen it, that could have been some serious jail time. Lucky me….
s
—–
Sonny,
I understand that you and Bobby were born in Roark, Kentucky, and that your house burned down when you were very young. Is that correct? Do you have any recollections of that event that you can share with us?
Alex W.
Alex, please come right on in here. We just kinda hanging around today…trying to solve a few world problems and not having much success.
Lets see, Roark, Kentucky. I don’t know about that. My Grandmother’s name was Nancy Roark. So maybe we were, I say “we”…. Bobby and Louise might have been borne in the house that burned. Bobby was born in 1931 and Louise 1933…I was an afterthought…1937.
I reckon the burned house had been replaced by the cabin I was born in, which was about 500 yards down the hill. Every time I go to Hyden I always go look “up in the holler.” Across the river from the Leslie County High School. Why? I don’t know. I know where the old house was before a tree fell through it. (Boyce Dixon 1941) is still carved in a tree down near the road.
Incidentally, the road is called “Osborne Way”…Proud, Yep…Bigheaded or conceited…Hell NO…not one drop of that kinda blood flows through my veins. I just stand there and look across the football field where Tim Couch broke all kind of records, (that boy could play some football. Quarterbacked the Kentucky Wildcats and then went to the Cleveland Browns) and just look, and think about how on earth did that woman raise 8 people, by her self…you got it right…by her self. Thank you Lord!
s
—–
Sonny,
As far as I know, all bets are off when it comes to personal names. I have no idea. But I Googled it and Wikipedia lists the Biblical name simply as “Eli,” so I guess that’s another possibility along with the ones you mentioned. In the case of the murder ballad Eli Renfro, we’d have to ask songwriter Don Humphries of Asheville, NC, who also happens to be one of the best bluegrass rhythm guitarists I’ve ever picked with!
Sandy Rothman
Hey Sandy. Ole pal of yesterday. “Yodel la dee, le hee wo lay hee!” Reminds you of your Blue Grass Boy days, eh? You was a good’n….Good to know, about the name. Really, the reason I asked other than Eli’s name is Eli. BUT….and this is the reason. Blaine Sprouse, superb fiddlist who worked with the Brothers for a few years, early to mid eighties. He told me his name was..is..Elijah Blaine Sprouse. That got me to wondering if everyone who called themselves Eli were actually named Elihue or Elijah. You’d be surprised and or shocked to know what goes through your mind at 3:00 a.m. driving a bus load of sleeping bluegrass musicians across Iowa or Nebraska, two of the most desolate areas in the US…well maybe add New Mehico or Arizona at 3:00 a.m.
Good to hear from you Sandune…ah…Sandy!
s
—–
Hey Sonny, do you remember the exact moment as a youngster when you realized your brother Bobby had something special in that beautiful voice of his? What went through your mind when it occurred to you this guy who is your brother, was a world class talent?
Meredith K
When I was 12 and Bobby 18, Otis Ginter brought a wire recorder to our farm and recorded some of the first Osborne recordings. Players and singers consisted of Sister Louise Osborne (16 yrs old), Bobby Osborne (18), Jimmy Martin (22), Me (12). They sang a song Ott had written entitled The New Freedom Bell. We did it in E as I remember. I don’t know which one sang the verses, their voices were identical. But I do know Louise sang the lead on the chorus. We played it through several times and Bobby sang harmony. It was/is so high and clear…I mean unbelievable.
I remember looking at him and there was no strain. Normal human beings just don’t sing that high…but he did. If you want to get that, listen to the beginning of a career that’s still going. Not that high nor clear but he’ll be 90 this coming December 7. I heard him do wonders every night for 50 years. World class is a great way to say it Meredith. Thank you for your time and interest. Come back and join us again, any time.
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.
Here’s some more good news for live music fans.
The Infamous Stringdusters, Travelin’ McCourys, and Sierra Hull & Justin Moses will appear next month at VanHoy Farms in North Carolina for a two-day, socially-distanced outdoor mini festival. Billed as The VanHoy Revival Music Series, this April 23-24 event will feature the ‘Dusters both nights, with the McCourys joining them Friday evening, and Sierra and Justin on Saturday. Camping on site is available both days.
The promoters are certain they can keep everyone safe by requiring masks, and by using a pod system for seating on the natural amphitheater at VanHoy. Tickets are being sold by pod, allowing up to four people inside their own 8×10 foot wooden boxes, situated six feet from one another on the hillside sloping down to the stage. Masks must be worn anytime you are outside your pod, and no pod visiting or mixing will be allowed.
Food and beverage vendors will be on site all weekend, and both primitive and RV camping spots can be purchased with a pod ticket. Many other accommodation options are available within a few miles of VanHoy Farms.
Pod tickets start at $200, and run up to $320 per day, based on proximity to the stage.
You can find full details on The VanHoy Revival Music Series web site, where tickets and camping spots can be purchased now.
Those of us in the bluegrass world know Joey Lemons as mandolinist and vocalist with Terry Baucom & The Dukes of Drive. If you’ve chanced to meet him at festival and conventions, you’ll also know as a jovial, and fun loving guy, quick with a laugh and some good humor.
Joey has recently attained a very high honor in his day job with the Stokes Country, NC Sheriff’s Department. After ten years with the department, starting as a patrol deputy, Lemons has been named as Sheriff, serving out the remainder of the term of Sheriff Mike Marshall, who announced his retirement in mid-February owing to ongoing health concerns. Prior to receiving this appointment, Joey had worked in the Sheriff’s Department as a detective, undercover narcotics detective, Lieutenant of Investigations, and member of the Special Response Team, culminating in the position of Chief Deputy prior to being named Sheriff.
Stokes County lies in north central North Carolina, just above Winston-Salem, along the border with Virginia.
Since he will be completing the term of Sheriff Marshall, Lemons will have to run for reelection to this post, which ends in December 2022.
We offer our sincerest congratulations to Joey for reaching this pinnacle, but he tells us that it comes with a price.
“With the demanding schedule that comes with the office of sheriff, it has become necessary for me to totally focus on my law enforcement career. For Dukes of Drive confirmed performances this year, Troy Boone will be on vocals and mandolin. I know that he will do great job.
I have nothing but fond memories of my time with Terry Baucom’s Dukes of Drive. Terry, Cindy, Will, and Joe are all top shelf people. We made some great music, had fun travelling, and Im so glad to have been able to do it. I cant wait to see what’s next for Bauc and the band, because I know great things lie ahead.”
Here is video of Lemons’ swearing in ceremony on March 1.
We feel certain that all of our readers will share in our congratulations to Sheriff Joey Lemons, and wish him well in his new job.
Detail from The Easter Brothers mural – James Easter and Tim White
While most bluegrass lovers in the US know Tim White as the genial host of the syndicated PBS program, Song of the Mountains, those in southwestern Virginia and east Tennessee also know him for his long running bluegrass radio program, and as an extremely gifted painter.
His mural in Bristol, TN that marks the historic Bristol Sessions across the street in Bristol, VA, has been a major tourist attraction since it was dedicated in 1986, and he tells us that he has been commissioned to create a similar, if slightly smaller mural of The Easter Brothers for their hometown of Mount Airy, NC.
The Easters were a dominant force in bluegrass Gospel music from the time they started in the business in the 1960s. Known for their old time style sibling harmony, Russell, James and Edd Easter also contributed hundreds of new songs to the genre during their active years. Among them are songs that have become standards like They’re Holding Up The Ladder, Heart That Will Never Break Again, He’s The Rock I’m Leaning On, and Hand Me Downs.
We lost Russell Easter in September of 2020, after losing Edd in January of 2019, leaving James as the only surviving brother. James continues tp perform with his wife, Denise, and also operates Mayberry Music Center on Main Street in downtown Mount Airy. Tim’s mural will be painted directly across the street from the store, which is managed by James’ daughter, Teresa.
White expects to start work on this 18 x 14 foot painting in April when the weather will be more conducive. The brick and mortar wall has already been pressure washed and sealed, and Tim has painted a smaller scale work approved by James for this project.
Anyone interested in helping the Mount Airy Downtown Business Association cover the costs of this project are invited to send financial contributions marked for this purpose to:
Miracle Waters Worship Center
P.O. Box 1744
Mount Airy, NC 27030
Further details can be obtained by contacting Roger Easter (336-429-9827), Tammy Miller (336-326-6766), or Phil Marsh (email).
An official dedication will be scheduled for later this spring.
Well Chief, I hope you stayed inside this week and enjoyed perusing Marty’s Valentine’s gift. From the sounds of things on the news, it’s a good thing we didn’t venture far from the driveway last week — at least to Texas. Our friends there have really been suffering. Good news though, Larry has the Bluegrass Express time machine all fired up and we’re ready to head out this morning, with the usual crew onboard.
Looks like we’ll be revisiting Mansfield, Ohio, along with memories of Chubby Wise, John Duffey, and a quick stop in 1974, but we’ll kick it off with a short stop over in the early ’80s when Bobby had an issue with a bad finger. This oughta be good.
Let’s go Chief!
T.
===========
Hi Sonny
Just a little note to say thanks. You autographed an album I bought at one of your concerts in Augusta Georgia back in 1968. I later traded that autographed jacket to a friend that had introduced me to you and your brother’s music with the stipulation that if he ever decided to sell his banjo (mid ’60s Gibson RB-800) I would get get first crack at it. His arthritis got to the point that he could no longer play so he sold it to me…. 50 years later! I was thrilled he remembered and kept his word. Just thought I’d say thanks again!
Jim S.
–
Well Jim, you made it short and sweet and I appreciate that. It seems as though I autographed an album cover to Jim and he traded it to some other guy, and this guy was a banjo player and he had a mid-’60s RB-800, and he promised Jim if he ever got rid of the banjo he would give Jim first crack at it. So, as fate would have it, 50 years later this banjo player grew arthritic and he couldn’t play anymore, and guess what? He offered it to Jim and Jim bought it. And so Jim told me thanks and I wondered what for, so I went back and re-read what Jim had written. I find that I had made a mistake. Lord have mercy! I had autographed an album for Jim in 1958 and later Jim traded that autographed album jacket to a friend who introduced him to the Brothers’ music. And that friend just happened to be the afore-mentioned banjo player.
S
—–
Heya Sonny, just wondering, did John Duffey ever pop out on stage with you and Bobby and ask to do a song or two with you guys? If so where, and do you recall the songs?
BTW in 1974 I was at Stadler Music when you and Bobby came pulling in one day. You both talked to me. You sat down and I was playing a Lowrey organ, lol. I was 14 years old.
Thanks..Randy P. – Reidsville, NC
Randy, thanks for joining.
I don’t remember the incident that happened at Stadler Music, but we did quite of lot of business there at Stadler’s Music store.
My first Fender twin reverb amp and my Marlen steel guitar all came from that place. I had banjo strings, Bobby had mandolin strings, and Dale Sledd had guitar strings, all from that company. So we did a lot of business there, and anytime we were close, we stopped in.
Randy, you also asked a question about John Duffey. So the answer is, yes. John did come out one time and it seems as though it was Short Creek, KY (which is just below Long Creek, KY) but I might be wrong on that. I think John and his followers classified him as the best high voice in all of bluegrass music, and my brother and his followers were in the midst of owning that title. I think John took exception to that. And of course there’s no way to prove this one way or the other. But Bobby had a better vehicle in WSM, the Grand Ole Opry, a better shot at national television exposure, Decca Records, etc.
John told me on several occasions, that he could sing in our trio and I kept telling him that he could not, because our trio was different from his.
So on this one day, John wandered out on stage and wanted to sing Making Plans with us. I felt bad because I knew that John was not going to fare well in that endeavor. But he insisted, so what were we to do? We went into singing Making Plans. We got to the second line and John was suddenly singing my part and I stopped and I said, “No, John, as I told you before, our trios are different from yours.”
Sometime in the future, if anybody’s interested in knowing the difference in the way we sing and the way they sing, I will be glad to go into detail, but I’m not going to at this point. On this particular day, we realized and he realized, that there was a major difference and we made a big joke of it and the crowd thought it was funny and John finally wandered off the stage.
Now, I want to make a statement that I’m not trying to put John Duffey down at all, because he has millions of fans who believe him to be what HE believes he is. However, I’m not one of them because for over 50 years I stood beside the best.
S
—–
Sonny, my aunt was married to Louie Osborne, and she always claimed he was kin to you. I was just wondering if that was true. I know she loved your music and introduced me to the Osborne Brothers back in the ’60s. I have enjoyed your music ever since.
James R Moore
James… my wife has done some genealogy on my family, and she says she has not come across a Louie Osborne. Thank you for participating. We appreciate that a great deal.
Don’t be a stranger.
S
—–
Hello there Sonny! Zach Willier from Edmonton, AB here, I am very fond of the fiddle playing of Chubby Wise, and have studied his playing very much. As a fiddle player myself I picked up of some of his licks here and there. I was just wondering if you have any stories or insights about him. Ever seen him at the Opry? Ever been on the road with him? Anyway thanks for your time and take care!
Zach Willier
Hey Zach from Edmonton beautiful Alberta, Canada.
Zach is a fiddle player and he loves Chubby Wise and he wanted to know if there are any interesting stories about Chubby.
I produced an album on Chubby and he, as many old-timers are, only wanted to play it one time and that’s all. Unfortunately recording doesn’t work that way in modern times. And when Chubby would finish a tune he’d say, “Well boys, that’s about the best I can play it, right there.” And during that tune I noticed a couple of glitches that had to be fixed. And Chubby would say, “Nahhhhh. Just let it go.” So when the album came out, it would have my name as producer, and with the great Chubby Wise doing a couple bad things. that would come back on me as producer…so I started making up excuses about why we had to do it again. I blamed the guitar player who was David Crow for a couple times and I was running out of people to blame and so the last one I blamed it on the engineer, and he stood up and threw both hands in the air as if to say, “What the hell did I do?”
Now here’s the clincher. Chubby played fiddle for Hank Snow for a number of years and sometimes Hank wouldn’t be feelin’ too good. And Chubby is on Hank’s left side and Curt Gibson is on his right side, right up against Hank. As Hank was singing, Chubby went into one of those real long bow things that fiddlers do, and the end of Chubby’s fiddle bow caught on what? Why I’ll tell you where it caught. It caught on Hank’s toupee and lifted the damn thing right off the top of Hank’s head.
I wasn’t there and didn’t see it, but 2 or 3 close friends were and told me it happened. And so, I have to believe it happened.
I’ll close this with, “and that’s the truth if I ever told it.”
S
—–
Hey Sonny,
Back in the early ’80s, on a February evening, my father-in-law, Pearl Hamilton, put on an evening show at a union hall in Mansfield, Ohio. The Osborne Brothers were on the bill that night along with a couple other local bands. We were reminiscing about the show the other night and my father-in-law recalled that the evening you guys played Bobby was complaining about his finger hurting or being broken from somebody throwing something at him on stage maybe at a previous show that weekend. He recalled you and Bobby both asking people from the stage not to throw anything towards the band. He said a big blizzard came that night and they had just enough people to pay all the bands. I was wondering if you remembered what the circumstances were to that story. Hope you’re doing well.
Thanks,
Chris S.
Chris, welcome in. I’m glad you’re participating and I appreciate that very much.
You mentioned a show that we did in Mansfield, OH and to be quite honest I don’t remember that specific date. You also mentioned that Bobby was complaining about his finger and that someone had thrown something at us from the crowd at some other place and hurt his finger. The only time I ever remember anyone throwing anything, it was in Chillicothe, OH and some clown threw a swizzle stick and hit one of our guys, I think it was the guitar player, right on the nose. Unfortunately, the guy who threw it was treated to a little rough-house by several people … including the guitar player. I don’t remember Bobby ever, in all the time that we worked together, having a problem with his fingers. But you are probably right, and here in my 83rd year I may be losing something. You reckon?
You said that we had just barely enough people to pay everything and that is very encouraging because Mr. Pearl Hamilton did not lose any money.
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.
Good morning Chief, it’s that time again. I’m out here in the bus with Larry, Lincoln and Professor Dan. The Prof. was sick about missing last week’s trip, but is raring to go this morning. And I mean that literally. He’s so jacked up on caffeine I haven’t been able to get a word in edgewise…and you may not either. He drank 3 double espressos and topped it off with a grande, iced, sugar-free, vanilla latte with soy milk, caramel drizzle and half twist of lime!
T.
Hey T, good to see you. Derek, Aynsley, and Nick are late. She’ll worry us all to the brink. She won’t put that fiddle down. That’s alright though. Thought we’d run over to Knoxville. Maybe get up with Larrry Mathis and Jim Smith. Man, Larry used to have the best RB-11 I ever, ever, saw. Reckon he’s still got it, Man it was a dandy. Used to work at WROL over in Knoxville…lived at the Gilbert Hotel, ate every day at the Golden Sun, right across the street from the Gilbert. Made $25 per week plus the extra we made from playing a percentage school house at night…this brought in an extra $10 (or less) every night. We didn’t draw large crowds in 1953. Ate a few Blue Circle hamburgers every night.
T. S. Old Lawrence can drive that bus can’t he. His and Dreamer’s little girl, Whisper, is into barrel racing I think, pretty good too.
=========================
Sonny, when I was a kid you guys played an old school house in Hickory Grove, SC. I think the local fire department held the event to raise money. Hickory Grove, SC was the home town of bluegrass promoter Roy Martin. Hickory Grove was in the middle of nowhere. Lol. Anyway, there was a guy in the crowd who actually had a very powerful, high range voice. He would continually yell out, “play that Cotton Eyed Joe.” I think he finally pissed you off and you let him have it. Lol. Do you recall this at all? I thought it was hilarious!! Hope you are doing well.
Neil
Cleveland, NC
Neil…Thank you for jumping right on back there to ’66 or ’67. I believe Roy was there that night. And if I’m not mistaken, we had a decent crowd of folks. If we had a heckler, that was one of our most detested parts of the business, and I would bet some pretty good $ that Bobby, or I didn’t let it go on very long. I never got the meaning of what a person who disrupted everyone came for. Recognition, surely if he kept on he was certain to get…reprimanded…or chastised…which one is the most harsh. What do you reckon they’re trying to do… embarrass the artist. Why do they pay $10-$20 to even come? If they come to see the Brothers’ show in Hickory Grove, South Carolina why in Heaven’s name would they request Cotton Eyed Joe when at the time we did not have a fiddle player.
I don’t recall that specific incident but I have been there done that many times. Once in Lavonia, or Ella Jay, Georgia. We had played song after song with no talking…must have been nearly 40 minutes, as we did on most our shows. We stopped to introduce our band and this goofball immediately starts screaming for us to play, not talk. I stopped the show, called for security to come get this guy, go to the gate and give his money back, and get him outa here. I said I would pay for his return money. They did.
s
—–
Hello Sonny. There have been many great musicians who have become, for lack of a better term, forgotten by many as time has passed. One such musician is the great banjo player, Emmett Sullivan. Being the phenomenal player that you are, what are your thoughts on Emmett’s playing and what were some of your personal experiences with him?
Eli P.
Eli, I appreciate you taking the time. In answer to your question… Emmett was a good friend, funny man…very funny man. We didn’t work much with the Sullivan Family, but when we did, Emmett and I were close. I have run into this and been asked the same thing more than once, so I do have an answer that makes sense, to me. When a good player such as Emmett, plays with a group such as the Sullivan Family, their fans on a normal basis, come to hear the message in the songs, not specifically to hear Emmett…or others in this same predicament…who play the banjo, or fiddle, etc. I believe it happened to Allen Shelton because he worked for Jim and Jesse most of his career. He was not the featured musician in that band. Jesse’s unique style of playing the mandolin was the center of attention, thus getting Allen overlooked.
S
—–
Sonny, one thing that amazes me in these exchanges is your ability to remember specific shows from specific years, many of which were decades ago. One would think that, as hard as you hit the road for so many years, that each show, festival, and town would blur into the next, and each year would sort of blur into the next. How are you able to recall so many shows so specifically?
Brian M.
Brian….appreciate your company. Come on in out of the cold, sit right there by the “far…but don’t git barnt!”
I can’t explain that memory thing. I have always been very observant and just remembered things, unique things that happen. I can remember an instrument lick that I heard…piano, steel, electric guitar, or Miles Davis. Any instrument, I could just remember it for years… then when a song appeared and that lick would fit right there, I remembered it. We incorporated many steel guitar licks in our vocal. Weird I guess, huh?
S
—–
Sonny, I was at a show in Summersville, West Virginia, in the late eighties or early nineties that had “The Brothers” on the lineup. I remember being in the backstage area and overhearing you or a band member of yours talking about how high Bobby could sing back in the day. I don’t remember the specifics, just the subject matter. But it was mentioned that a fella one time “challenged” that he could sing higher than Bobby, and Bobby accepted that challenge…whatever that entailed. I’m not sure if there was money involved, bragging rights, or some good old fashioned fisticuffs. Do you remember this incident or did I just dream this?
Dale Vanderpool once told me that Red Allen used to say, “them boys sang so high that the baritone singer would get laryngitis.” Now that is high! Incidentally, I got to play that same festival, in Summersville, West Virginia, a few years back with Bobby. He was feeling a little hoarse that day and decided to sing the low tenor part on the choruses for one set. It didn’t seem right at all to me, but I can now say I got to sing the part above Bobby…more bragging rights, huh. Lol!
On a similar note, I read your “Harley Gabbard stories” section a few weeks back. I heard tale of Harley often coming down by the stage to watch the Brothers back in the day. Legend goes that when Bobby would start into Hey Bartender, Harley would become so excited at hearing Bobby’s high notes that he would haul off and slug whomever was standing next to him square in the upper arm. Not sure if this was a one-time incident or a recurring one, but it’s a pretty good story and sounds exactly like something Harley would have done.
Thanks again for all you’ve done and continue to do to inspire me. You’re one of the good guys.
~Tom F. from Indiana
Tom from Indiana…. I appreciate your kind words, more than you might know. Thank you.
Harley Gabbard would do that when he heard Bobby do Today Has Been a Lonesome Day.. I imagine Bartender too. Bobby was not the dude to challenge. We are completely different on that subject. Bobby’s answer to a challenge of that nature would be, “Prove it!” Mine would be, “OK, good, if you think so, I really don’t care!”
It happened at the University of Chicago. Mike Seeger and I were having a conversation and we overheard this guy tell Bobby that he thought he could sing higher. I had seen this before, and I told Mike that it was not going to have a pretty ending. No money, fistfights, or such was mentioned. But the challenge was there. They were sitting on a couch across the room from us, and it started with each singing a verse of a song with a very high line. Start in G, then A, then Bb, then B, and I could hear this old boy strain a bit. Bobby heard it too I reckon. He said to move it on up to D. Bobby hit the note without a problem. The guy tried, I’ll give him that BUT… Mike and I heard a pop across the room. The guy never said another word. Matter of fact, I saw Mike a couple years later and he told me the guy never sang again.
Lesson: You don’t challenge an old Marine that was front line in Korea that’s had a couple beers!
s
—–
Since you and Bobby traveled so much did you ever get recognized and get special treatment by a fan at some place like a diner or gas station?
Ever get the “cold shoulder?”
Mike E.
Mike….Thank you for joining this free for all. We a’havin’ a big time. You’ve mentioned something that had happened to us many times but most of the time we declined. We found out early that if you accept their generosity, you leave yourself wide open for future favors, in some instances…not all by a long shot. I don’t mean to imply that at all. Then, if you can’t comply, you become the bad guy all of a sudden… Favors like, get them front row at the Opry, or something of that nature. Their cousin and 6 members of his wife’s third cousin’s brother in law is going to be in town and could you get them in to your show….maybe take them out to dinner after the show.
Now, I do things like this often when I want to, but I want to do it on my terms. Not because we accepted an offer of a Coke in 1956. Believe me, some people are like that….I’ll rephrase that….I want to make certain you understand that I said “some” people are like that. “Cold shoulder?” Why, yes I believe so, a few times. It seemed humorous to me because it was always as “pay back” for not complying to someone’s wishes. Like it was breaking our hearts. My goodness. It really pleases me no end, though, when I can pull some strings and do some one a favor. Don’t cost anything, maybe a phone call and don’t expect anything in return. Good feeling.
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.
Good morning Chief!
Hey, looks like Larry just pulled up in the bus. Put on your warmest coat and galoshes (that’s Southern for fur lined Birkenstocks) and take these questions/comments with you from your fans and friends. Enjoy the ride and let us know how it went.
BTW, we’re heading back to the ’50s today, so your iPhone won’t do you any good if you need to text Judy about dinner.
T.
Hey Terry…Beings we’re going back, how ’bout getting ole Lawrence to pick up Derek and Nick. See if Aynsley, Lincoln, and Professor Dan would want to see where we used to fill all 9300 seats, St. Louis, MO. Old Kiel Auditorium…or rather the spot where it was til 1992…where Waylon Jennings sneaked up behind me and whispered to me, “Trust not a man who talks through hair.” He hadn’t seen my facial hair till that day. Lord, the memories. What would we do without ‘um? St. Louis is only bout 400 miles. Larry’s got that series 60 in his bus and man, it will go yonder!
S
Roger that. Mr. Peabody, you heard the Chief…
===============
Sonny,
I have been a big fan of bluegrass and you and your brother as long as I can remember. Thank you. I grew up and still live in the Detroit area, and would like to hear more about your times/experiences in Detroit. Really love the stories, thank you!
Doug G.
—–
Doug the Detroit man….had some fun times in Detroit. Thank you Doug, for sharing a few minutes with us. First went to Detroit as a member of The Blue Grass Boys…bout 1952 or 53. I remember that there had been a tornado, and where we were going was pretty much leveled, except a church and it hadn’t been touched. We came back to Detroit in August ’54 till August ’55. Lived on St. Jean, about 3 blocks off Mack Ave. Me, Bobby, and Jimmy Martin joined the Casey Clark Lazy Ranch Boys Jamboree show held at 12101 Mack Ave.
Casey had a very top notch band. Good band. Buddy Emmons played steel, Hoppy Hopkins guitar, Herb Williams, Brownie, Dick Cobb played piano. That guy could play true banjo licks on the piano. Foggy Mountain Breakdown and Flint Hill Special were no problem. He got every note too. Only guy I ever saw do that. He also had perfect pitch. Hum a note, he could tell you what it was..G, A, C#…Dude could play some piano too…also if it was not on pitch, flat or sharp.
I watched Buddy Emmons come undone when he saw Earl play Flint Hill Special. I’d been telling him about Earl, and he didn’t believe me ’till that day. Cobo Hall was another place like Kiel in St Louis.
I completely lost Doug’s question…let me see hyer….Oh yeah…Cobo is where Liberace’s brother George came to hear Hank Snow and a few others. He also just came to hang out and shoot the s… with us hillbilly people. Like not playing, just standing back stage at the Opry in full dress, George came to Cobo in FULL STAGE ATTIRE. Looked like he was ready to go on with Ray Charles…or some such! We did a Sal Hepatica commercial, got standing ovations for singing “SLOWLY” and enjoyed doing CKLW TV in Windsor, and of course WJR. 50,000 watts of power in Detroit.
S
—–
Sonny, I want to tell you that I am really enjoying this column each week.
The Osborne Brothers and the Lewis Family used to play at a school here in Winston Salem, NC each year. Please let us know about those shows, the Lewis Family and Little Roy.
Thanks again.
Dean S.
Dean, welcome. Thank you. Originally, that show was either them or us who had it first. Next year requesting the other join the show. Enjoyed the times we worked with the Lewis Family. That was a good show…good mixture. They went on first and just destroyed the crowd…then we tried to follow them…of course, the reasoning for this timing was so Little Roy Lewis JR could come out and mess with us…which he did lots. It was all in fun and entertaining like no other for the audience.
I remember so many things…many I have told you about…and I hate to keep telling them over…it’s hard to remember which ones I have told already. I’ll try to press on though. You ask, I’ll tell. I know.
This actually happened. Roy Lewis is one hell of a bus driver. So, now remember I might not have these cities right but the deed is correct. We’ll just say they were coming out of Oklahoma, or Texas. Winter time. Late November, colder than a well digger’s… in January.
So they’re headed for Myrtle Beach. Roy is going along at a safe speed, it might have some slick spots, so he’s careful and he starts across this 200 foot bridge. Common knowledge tells us that ice will freeze on a bridge before anywhere else. But the road is dry and as soon as he hits the bridge the bus starts slipping…woah..sideways. It’s turning and amidst holler’n and shout’n he realizes the bus is going to make a complete turn. 360°…(I bet you’re wondering how I did that. Thank you Judy)
Folks he’s on solid ice in a 45ft. 40,000-50,000lb bus and it’s probably going at least 40 mph. It came full circle and still headed the way they were going. They made it to Myrtle Beach and when he told me about this thing that happened, I just looked at my little friend standing here and I remember the feeling I had. Had it been me I would have been so scared, and I realized he must have been that scared too.
Once in Davenport, Iowa… 2:00-3:00 a.m., cold and pitch dark. Every inside and outside light on the bus went out. Headlights, interior lights, everything. I’m doing about 75 mph and I still had air for the brakes. I literally stood up on that pedal. 20-30 seconds later everything came back on. I was scared. For me, who or what I hit, and for the men on that bus with me. Roy had to be that scared. I felt so sorry for him.
s
—–
Hi Sonny. Longtime O’Bros fan here. I have recently learned that my Morgan ancestors come from Hardy Bottom/Stinnett/Wendover, KY. The Osborne Brothers Pavilion sits at the entrance to territory that my Morgan ancestors settled in the early 1800s. This is all news to me, and pretty exciting stuff. Friends often joke that I “try to make us kin.” Did you know of any Morgans from the area coming up, and were any of them musicians? Thanks for your time, and for this great article. I look forward to it every Friday.
Roscoe Morgan Jr.
Roscoe…thank you for jumping right on in here. Man, I wish I could help out but I can’t. I remember hearing my parents mention the Morgan name, and my wife has done some extensive genealogy studies and she too remembers the name being mentioned by my parents, but neither of us knows who, what, when, nor where. We’ll keep trying though. I’m, sorry. I will mention this bit though, Mary Breckinridge, who started the Frontier Nursing Service, built it, and I came and stayed in her house in Wendover…you mentioned Wendover.
S
—–
Sonny, I’m a long time fan and admirer of your very unique style of 3 Fanger Banjer pickin’… I appreciate the parameters established by Mr. Scruggs, but also delight in those – like yourself – that have crafted a unique style from within those parameters. 🙂 BTW, this column is serving to highlight some things that have never been published and once it ceases some incredible stories will perish with it. Long live Ask Sonny Anything!!
That being said, I am also a big fan of Little Roy Lewis. In my view, he too has developed a most unique style (that is immediately recognizable) from within the strict parameters of the Scruggs method. My question is this; what is your opinion of Little Roy Lewis as a musician (not necessarily the entertainer). I know that the “Brothers” have shared the stage with “The Family” and Little Roy on many, many occasions. I would love to hear your honest assessment… and perhaps a story or three about your appearances with Little Roy. Thanks again for the time and effort you put into this column!
Terry E. K.
Terry EK…thank you for your time and know that it’s appreciated.
You made some very complimentary statements concerning my banjo playing. Well, sorry to say I don’t play at all since 2003, but what you have said makes an old man feel mighty good. I thank you for that. Bless you.
Little Roy’s banjo style is the most unique. It’s not so much different than anything else you may hear, but what he hears and plays is very different, in that it fit the Lewis Family’s choice of songs and the way a 5 string banjo is made, or forced to fit that style of vocals. That in turn will tend to make The Lewis Family sound different than any other that I’ve heard..Roy has a very fast right hand and he just simply plays their songs.
I have not heard Roy and Lizzy so I can’t comment on their sound. They’re both pretty good players so I would imagine it’s pretty good music. I will add this about his ability to play the first string with his index finger in a normal forward or backward roll would be kinda hard to do, I think. But he makes it work for him and that’s all that is necessary. Wherever he is and who he’s with, that crowd of people is getting entertained.
S
—–
Sonny,
Based on accounts documented in your Bluegrass Today articles, Ask Sonny Anything, the Louie B. Nunn Center for Oral History interview you did in 2009, and observations provided by others as documented in Dennis Satterlee’s Teardrops In My Eyes biography, the relationship between my father (Red Allen) and you and Bobby followed the same pattern of many bands throughout Blue Grass, Country and Rock & Roll history. Make good music together and enjoy the success and notoriety that comes with that. But then egos get in the way and before you know it the band blows up. It sure seems that the Red Allen and Osborne Brothers era became victims of this same pattern. Nothing new. Egos, jealousy, all those negative human expressions that left unchecked, will certainly crater the best of the best.
The breakup of The Osborne Brothers and Red Allen is documented to be in June of 1958. Some 63 years ago. An unfortunate turn of events that makes one wonder what would have happened if things were different. Further, my father died in April of 1993, 28 years ago. Time has a funny way of affecting our memory.
So, what we are reading and hearing from you today is your account of how certain events occurred that you refer to in ways that disparage my father’s contributions and tarnish his memory. And what makes it hard to accept is that we are without the benefit of hearing Red’s side of the story. We are hearing only one side and as the Scripture says:
“Any story sounds true until someone tells the other side and sets the record straight.” (Proverbs 18:17 TLB)
I am reminded that there are always two sides to every story so I would appeal to you to refrain from disparagingly bringing my father’s name into your public accounts of the Osborne’s history with Red Allen.
Greg Allen, Red Allen’s Son
Greg, I’ve known you a very long time. I knew your brothers, Ronnie, Neil, Harley, and you , Greg. I’m sorry, I can’t remember your sister’s name. Delores comes to mind. You 5five and your devoted Mom, Clara, were the nicest people a person would want to be around.
You are correct Greg. There are two sides to every story. However, I know both sides. That’s all I’ll ever say. Red’s name will not be mentioned again by me. If the truths I told hurt you or anyone, I’m sorry. I will repeat. Red Allen’s name will not be mentioned by me in this column, or anyplace else, again.
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.
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.
Sonny my dad is Boyce Edwards. I am the youngest of his daughters. I remember him playing fiddle with you and Bobby. My question is do you know of any songs that you guys recorded with him playing the fiddle? I love all your guy’s music. And people don’t believe me when I say I know you all…lol. But I’m trying to get any albums that he’s playing on while he was playing in different bands. And I remember him saying with you and Sonny the most. Any help would be greatly appreciated.
Judy H.
Judy….Nice name. My wife has the same one. Welcome to our weakly get together. A good time is had by all…mostly! We do try.
To get to your question. Boyce Edwards played the fiddle with us when his work would permit. On some weekends he would go with us when we played the WWVA Jamboree in Wheeling, WVA. Sometimes, his Brother Billy would also go and play bass. At those times, we would appear to have a full band. {;-0> Which was a joke within itself…We just barely could afford us…what was it Roger Miller said..’We were so broke we could barely pay attention!’
When we recorded it was always during the week and in Nashville. We would be gone for most of a week so that would eliminate Boyce doing any recording with us. I remember those two so well.
Did you know that your uncle Bill was terrified of tunnels? He would hide his face if you went through one. And, did Boyce ever tell you about the time on the stage of The Worlds Original Jamboree which is how they would do their publicity for the WWVA Jamboree. Sounds pretty good.
My mind just wandered…but I’m back now…Bobby, Red, and I are singing Precious Memories, a Gospel song, and we heard this cracking noise. It came from our right, in the neighborhood of where your Dad (Boyce) would be standing. He had dropped his fiddle bow and was on the way, bending over, to pick it up. If you can visualize this, he was in the process of picking the fiddle bow up from the floor and was looking up at us and at the same time his hand was feeling all over a 12 inch area of the stage of The Worlds Original……! You get the idea I reckon. One of the funniest things to ever happen. If you knew Boyce, he was one of the nicest people you would ever meet…but, if you asked him anything you had better be ready for a direct answer. We thought the world of Boyce and Bill Edwards.
S
—–
Sonny, much attention and admiration, and rightly so has been given to Bobby’s wonderful voice. However, you had a very good voice too. Sometimes I think fans overlook that and mostly focus on you as a banjo player; which is understandable because you are one of the greats.
My question: what was the highest and hardest notes you had to sing to give Bobby the harmony he needed? I have heard you hit many F and F# notes. Did you ever have to sing higher? G, G#? Anything you can tell us about you as a singer would be appreciated.
Neil – Cleveland, NC
Neil…Wow, you came right on in there didn’t you. The highest notes I was required to hit would be on the ending of Sweet Thing…The third note, second line of the bridge of Take This Hammer…(Note: I sang the high, tenor on the first two lines of the bridge) and quite possibly an A flat or A note on Never Grow Old. Maybe a note on Give This Message To Your Heart.
Man, you bring up a good subject here because, you made me think about it some, That’s something we never talked about. Where best we could play it, is where we sang it, so I’m not sure there was a limit. It was just where we sang it and my job was to sing my harmony note, as was EL, Smitty, Daryl, Paul Brewster, Dale, Benny and Ronnie to sing their note. Of course, when we grew older it became more of an issue that when we were 40 years old.
S
—–
Hi Sonny,
I’ve been going to Bean Blossom (June & September) for 29 consecutive years. I remember when Bill (Monroe) would make Dana Cupp do the MC work. It seemed Dana was always looking at his watch, but Bill didn’t care!! Did Dana ever share any stories when he did the MC work?
What memory of Bean Blossom or Bill sticks out in your mind?
I enjoy your column and hold the Osborne Brothers as one of the tops in bluegrass. I’m happy to say I’ve enjoyed several shows 🙂
Thanks for your time,
Randy P.
Randy… glad to hear from you. I appreciate your presence. Thank you for participating.
You asked about something that would have occurred while Dana was doing MC work. I don’t remember Dana saying anything that would have happened during his time doing that job, other than doing it free. Saving Birch an MC fee. However, there was a Terry Smith thing that happened that was quite funny, at least it was when it happened. I wasn’t there but I knew Bill, and the Monroe’s pretty well.
So Terry and Archie Martin were supposed to bring the mules pulling a wagon by the stage while Bill sang The Mule Skinner Blues. Very thoughtful added thingy. They did their chore on the first show but surely he wouldn’t do the Mule thing on the second go ’round. But he did. So they were out by the park entrance and heard Bill do The Mule. They hurried and got the wagon hooked up, but by the time they got to the stage with the wagon, Bill was singing “There’s an Old, Old House,” so here comes young Terry Smith and Archie Martin herding the Mules and wagon by the stage. The story goes that he didn’t say a word about the wagon or Mules, that was completely out of character for Bill…truth be known I would bet a few greenbacks that someone got chastised for doing their job, or the lack of….!
I’m fortunate to have known Bill, and several parts of his family, although I was a 14 year old child who certainly didn’t belong there, musically or mentally. But I was. I will never know why the good Lord put me in that position, but he did.
S
—–
Sonny, Back when you worked for Bill Monroe, you were playing in Kingsport, TN. You said you went out back and Mr. Monroe was scratching his mandolin all over. What did he use to do this with and why was he doing that?
Mark K.
Hey Mark…Thanks for joining us. Sit right over there by the fire and tell me your story…(ask me anything) by golly!
There are conflicting stories about this incident. I remember Jimmy Martin, and perhaps Charlie Cline, and going to eat between shows. We were playing at a theater in Grundy, Virginia. When we got back we heard this scraping noise as we got closer to the back stage area. Bill was scraping the front of the mandolin with a small knife. Neither of us had the nerve to ask him what he was doing, but that’s the story of what I saw.
Some have said they saw him using a bottle cap, piece of glass, etc. Everything short of a shotgun with bird shot in it. I can only tell you what I saw. If Frog or Charlie were here they would tell you the same…or maybe they wouldn’t. That would depend.
Sometime later, in my house in Dayton, Ohio, I heard Bill tell my Dad, who had nerve enough to ask; “Why did you scrape the finish off your mandolin and take the Gibson name out of the peg head.” Bill said, and I quote: “I did it to keep people from asking to let them see, hold, and/or play it. Now what they see is an ugly THE Mandolin. People don’t want to see it no more.” End of quote and story. I know this is true because I was standing right beside them, in our dining room, on our farm, on Olt Road, off Dayton Farmersville Road, which is off Germantown Pike…a few miles West of Dayton. That happened!
Fast forward to 1980s. I bought my Granada banjo from Tom McKinney for a staggering $5,000. It was quickly being called he best of the best, and people wanted to see, hold, and play it, but other than tear my inlay or the peg head up with a pocket knife, I just insulted several people and said no. Politely I might add. Folks don’t ask a mechanic to see his tools, or a carpenter his golden hammer. I looked at it as my work tool. Now, end of story.
S
—–
Sonny, I know Carlton Haney was quite a personality!
Could you tell some favorite stories about yours and Bobby’s interactions with him?
Sammy D
Sammy. Have you got several days? First though, thank you for participating in our free for all. Without all you guys and girls, this wouldn’t happen. I appreciate that. I love doing it…you probably know that. Thanks to Terry and John.
Carlton Haney… Interesting man. My friend. Weird ideas. Some good, some not so good. He was using his brain in the God given sense it was given. Aren’t we, as musicians, given the same thing? In our world it’s called talent. Some ideas (called licks) work and some do not.
If not for Carlton Haney, the time period from about 1960 to the late ’80s would have been many more hungry days for us without the bluegrass festivals, ‘twould have been a different era than it was. So, like Earl, Rudy, Benny, Monroe, and more who used their “talent” to create something, so did Carlton. He booked The Brothers at Luray Virginia, Maybe 1962-63…and between shows we went to a restaurant and Carlton sat there and told us of his idea of booking every bluegrass band and have it happen at Berryville, or Culpeper…We laughed at his plan, told him that they would kill one another.
In those days there was jealousy galore between bands…the haves and the have nots. The haves were few and far between. BUT THEN…Friday, September 3-4-5, 1965, Fincastle, Virginia…The first Bluegrass Festival happened and Carlton was the dude that made it happen. We didn’t play the first one, we were playing in Texas, although we were on the list of entertainers scheduled to appear.
So, we, as musicians who create music, the same happened with the festival. We create, others replicate. Carlton Haney created, and VOILA, within a few summers there was a festival everywhere. We have worked huge festivals in Japan, Germany, Switzerland, Sweden, Beautiful Canada and more. The Carlton Haney idea gave us all a lucrative business in which we could survive, and the more creative would thrive. Thank you Lord, please take care of Carlton. Amen.
Hey, Enough for now. If you want to hear more Carlton, let us know. I’ll talk.
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.
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.
Jamie Grascal Johnson, formerly of The Grascals, (I bet you guessed that didn’t you) wanted to know if I knew Claude Stewart. Maybe his whereabouts. I believe he has passed from this life. But yes, I knew him around the Dayton area when I first began my Journey with the Banjo. Claude was the mandolin player in the first little band in which I played. Claude Stewart, Jerry Williams, Carl Eldredge, and me. The very first time I played on the radio…WPFB in Middletown Ohio…they were doing a remote from a clothing store in Miamisburg, Ohio, Bout 1949-51. I was scared. Funny, wonder what it is you’re scared of. Reckon I was afraid KRAKO was gonna jump out of the radio and do things???
s
—–
Sonny… I read your description about playing with the symphony and got a good laugh. My question has to do with bridging the gap between the formal music world and bluegrass. Bluegrass seems to struggle getting booked into places like Art Centers because they think it’s beneath them…except when they need your services for free for a fundraiser. Have you ever been snubbed other than that symphony experience?
Nigel W.
Nigel, come in and sit right there. If I don’t answer your question specifically, I promise I will next week. Please bear with me while I relive that San Antonio experience. I’m not proud of that, but you must understand the strain and stress we were under at the time. And when we started playing, I guess they had never heard such garbage that they were being asked to play…being downgraded…I mean with all the hours they spent learning to read what is put in front of them, and up there stands five people playing funny sounding “music” (or some would call it that), and they’re just standing there, without music…and they are going what does “that garbage” have to do with us?
The violin section was right behind me, and they laughed. All this was going through my mind and I couldn’t take it any more. A gasket in my brain blew!!
I really don’t see that gap being closed because it is really so involved. We were lucky that we knew BUDDY SPICHER, AND HE KNEW KRIS WILKENSON. The expense to do all they did for us was staggering. And before a performance are rehearsals. *80+ people get paid for that too.
So, I don’t think the bluegrass world will ever have the desire to co-exist with formal music…just that, It’s much too involved. We like to have Raymond park the bus as close to the back door as possible, he gets his “plunder” out and sets it up, we “get dressed” go do our show, (yell at the sound person) do autographs at the “Plunder table,” and while they are tearing down, I go get paid, get back on the bus and Raymond takes us to the next day. Simple.
We Mississippi, Alabama, South Carolina, Kentucky, Kansas, Virginia, North Carolina, Florida, Tennessee, Georgia….that type old boys…I don’t know if we want the challenge, to bridge that gap. What do you think? ‘Course, nowadays there is so much sophisticism (that ain’t a word) it might…could happen, I reckon!
s
—–
Sonny, I’m sure this happened pretty often but were there times, do you recall, when Bobby sang a note in a live performance that dropped your jaw? I thought the show in Japan (Country Gold – YouTube) was exceptional. Another example that caught me by surprise was a live performance of Ruby. Instead of hitting the high D in falsetto Bobby hit it in full voice.
Neil
Cleveland, NC
Neil, we got plenty room, thank you for taking the time to be with us today. Bobby and his voice…man, he did that to us thousands of times. He was simply the best. I know this is like me bragging … or anything else you can come up with.
Tell you what, I have approximately 70 albums that are proof. Brother was in a world of 1. Funny, when this happened, you could hear Terry Eldredge, or one of the others say Golly…(cleaned up a little) really more like “Damn,” or just a laugh. I just looked at him. Really, you know…I don’t think he had a limit.
I remember when we recorded Mule Skinner Blues, He asked me where the old man…Monroe…did it, I told him G. He said let’s do it in A. We recorded it in A. It’s higher, yes. That’s for his ego. But for reality he’s doing it higher but he isn’t losing quality, or tone…Paul Williams and Ira Louvin retained their tone. My opinion…. s
—–
Sonny, thanks so much for explaining the studio layout. You’ve got a great memory—and those have got to be some favorite memories, too! Could I ask just a few more details?
1) In the older sessions, did you use the same triangle vocal setup, and would I be right to guess in those early sessions the third singer played guitar?
2) Was a click-track used, and if so, about when did that start? Finally:
3) Were headphones used by anybody? Many thanks.
Sandy R.
—–
Sandy, Going back to the Jimmy Martin days, no we did not, Red Harley Allen, Yes we did. After that, about 1959…we started using that configuration exclusively, I don’t remember our studio setup during the time on MGM with John Slagle (Jimmy Brown) period.
When we recorded with Benny Birchfield, yes, we used it from that time, 1963 to 2005. Benny, Dale, Ronnie Reno, Paul Brewster and Terry Eldredge all played the guitar except on a difficult song. Ronnie Reno played some mandolin twin with Bobby.
I remember one thing, I believe it was on Son of a Sawmill Man, Ronnie played rhythm on the mandolin. During the mid ’60s is when we got into using the Neuman U87 microphones, for vocal, my banjo and Bobby’s mandolin. Hal Rugg on steel, Grady Martin and Leon Rhodes on electric guitars, Ray Edenton rhythm guitar, Buddy Spicher, Vassar Clements, and Willie Ackerman on drums, and Hargis (pig) Robinson on piano periodically all used head phones, but as a rule, it was all recorded live and, we never used a click track.
s
—–
Hello Mr. Sonny, my name is Jacob Pattison. I met you in Canton, Texas years ago. I know you said you worked with Stringbean years ago, did you ever work with Grandpa and if you did, do you have a Grandpa story to share? Thank you so much for sharing these stories with us! God Bless!
Jacob
Jacob….Thank you for the entering the gang of “know everything.” Was Canton the place where I had the ceiling fan ordeal???? Oh well, yes we worked some with Beans…and a few dates with Grandpa Jones.
Mark, Pa’s son, told a funny story about he and his dad putting fence up on their property. When they got it finished they discovered the Jeep was inside the fenced in area, and there was no gate. Pa was not happy.
We played a date with the Great Grandpa Jones in Watertown, Tennessee I believe at the fairgrounds. The stage was set up on the infield and the crowd was in the bleachers. A track was around the infield, which put it between the entertainment stage and the crowd. While Pa was on, a lady was exercising her horse by riding around the track. Wouldn’t you know, that horse stopped right directly in front of Grandpa Jones and relieved herself by unloading at least 5 gallons right there…you might ask, “what did Grandpa Jones say?”….so use your imagination. Oh my goodness, was he mad!!!!!!
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.
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.
Sonny, I hope this finds you doing better/well! As we get older falls are one of the most dangerous things!
I saw your show at Sunset Park, PA many years ago and it was great! There was another place near there called New River Ranch at Rising Sun, MD. I was wondering if you ever played there? Now as you know Sunset Park [Mr. Lawrence Waltman] did not allow alcohol period! New River Ranch, did and was a whole different story! That place was rowdy! My father played in the “house band” at both places.
Dale Q.
Dale. Thank you so much for the donation of your time, and now you have me wondering who was your Dad. I betcha I knew him. Several more friends will be along presently so leave room for them over there.
During the day, Bobby and I played Sunset Park more than 30 times. We were very familiar with Lawrence’s “No alcohol” rule, which was violated regularly, not by The Brothers and our bands. We valued being able to play there as often as we did. It seems as though Lawrence told me that we were near the top of the list of non-local bands who had played there over the years.
I remember the first time. It was in 1952 as a member of Bill Monroe’s Blue Grass boys. That was also my first time to ride on “The Pennsylvania Turnpike.” Not only had I not heard of such a thing as a turnpike, to actually be on it was worthy of a letter to my Mom and Dad telling them of my experience.
I’m also familiar with New River Ranch. Yes, they did allow alcohol which was responsible for some of the most bizarre moments from the stage and definitely a couple of the rowdiest fights I’ve ever witnessed. On one occasion, Big Jim Webb, a well known steel player, ran up to me and told me that he had just left a drunk stuck in the mud. The rain and the river running right by the park both contributed to the mud, and…Big Jim was 6’7″ and weighed about 300. Big man! I saw Jimmy (Frog) Martin and LE White swim in that river.
s
—–
Hey Sonny,
Really enjoy your banjo playing, I’ve always been a fan of the Osborne Brothers since I first saw you all in the early ’80s, to me you’re the Cadillac of banjo pickers. I was wondering what you thought about J.D Crowe? Did you all work a lot of festivals together?
Thanks
Preston r.
Preston welcome. If you can find room over there by the far, tell me what you want to know. JD Crowe? One of my truly close, best friends. However I’ve known of JD since I was 13 years old… of course you know that he is 2 months and 2 days older than I…I’ve made that perfectly clear over the years, haven’t I?
Gibson created 3 banjos in 1934 that were superior to all others. Serial numbers 9584-3, 2, and 1. Earl Scruggs acquired number 3 in 1949….He traded the model 75 for -3, the 75 which Don Reno played for the remainder of his career. I bought -2 from Tom McKinney in 1978 for $5000 cash. -2 has been referred to by many folks who would know such things, as the best banjo Gibson ever produced. I had the pleasure of that banjo being my companion until the end of my banjo career, November 23, 2003. One is able to hear that banjo’s beautiful voice on the many recordings old 1934 9584-2 accompanied me.
Dave Osborne (no relation) purchased 9584-1 about the same time as I. 1977-78. Once, at Renfro Valley, Dave was there and I played that banjo. It was good but not as good as Earl’s or mine. I credited that to set up, strings, head, etc. and the fact that -3 and -2 had both been played a lot. So, move ahead 40 years. Old “follow the leader CROWE” had the opportunity to join the leaders so he talked Mr Ed Lowe, owner of Lowe’s Vintage Instruments and the aforementioned -1, into a trade for one of his banjos. So JD has 9584-1, 40 years after the issue had been settled. Earl has passed this life, my health has failed me miserably, SO…Congratulations Crowe. You have 9584-1…which proves??? Tom told me that he took -2 to your house in 1970 and offered it to you, but you turned down the best banjo Gibson ….ah, well we’ve covered that, right? Right!
Let us cover another 9584-1… Crowe related subject. 1959, it was rumored…maybe fact…that Earl had put a mahogany neck in his 9584-3. Why? I have NO idea. so JD, not being satisfied with how -1 sounded, and because Earl did it, “Old Follow The Leader” had Frank make a mahogany neck for his Granada. Two others hearing this, rushed right up to Kentucky and Had Frank make mahogany necks for their banjos… Forgetting the fact that Earl had that failed experiment replaced with a curly maple neck…like the original. Leaving at least 3 disgruntled banjo players. Sometimes it pays to be a leader….10/4!!!!
—–
Hi Sonny,
I bet you remember performing in Michigan at the Charlotte Bluegrass Festival (called the Stringbean Memorial Festival for a few years). A cozy festival at the county fairgrounds — The Brothers played there many summers. You won’t remember me, but I wonder if you remember this occasion. One year in the late ’70s you were there, Saturday night and Sunday afternoon as I recall. I lived just up the road a piece. I missed the Saturday show, but got a call Sunday morning from my friend who was running sound for the festival that year. He asked, “Joel, could you come down and run sound for the Osborne Brothers this afternoon?” I asked why. He said “Well, if Sonny sees me running the board, I think he might kill me.” I said “Oh… Okay,”
I came down and looked for you while your band was tuning up, and said, “Sonny, I’m running the sound for you today. Anything special you want?” And you told me clearly, “Make my banjo mic the loudest thing. Everything else comes down from there.” I said, “Yessir!”
So I turned the knob for your banjo up to 10, and everything else down a notch from there. Monitors the same as the house. Then adjusted the master volume so everybody could hear you. I will never forget it. You gave me the biggest grin a human can grin, and a big thumbs up. And you boys sounded great!
I am not a professional sound man, but I have played many times on stage at these smaller bluegrass festivals. Job one is play your best. Job two is to work the mics. Job three? Tell the soundman to keep his cotton pickin’ hands off the knobs once they’re set right.
Bless you, Mr. Osborne, for your wise words.
Joel M.
Joel…Come on in and sit beside Preston. We got room.
Hey, I remember well the times we performed at the Fairgrounds in Charlotte, Michigan. One of the many really good places to play. And, I enjoyed it for the most part but as usual we had problems with the sound. I never understood, the guy running it seemed to be qualified to do it, but it just didn’t happen. See, what he did wrong was try to readjust our mics once we had them set. They call that riding gain.
What that means is when an act is on stage they try to continually set everyone’s level to how he hears it. Only thing when a sound guy does that for experienced road musicians they throw all our practice and self mixing skills right on out the window. For a good road band nothing, repeat…NOTHING can be more frustrating. So that’s what must have happened there, that day. So you enter the fray and come to the rescue, saving the day and making for the fans who were there a pleasant and hopefully good sounding show on behalf of the Osborne Brothers. It doesn’t take much effort….just ask what they want, go to the board and set it how they want it, and we’re all happy.
I don’t remember that actual incident but it happened more than once…many times over the years. Speaking of Charlotte, MI, would you happen to have been there the day some old boy went La La and rode a motorcycle through everyone’s camp sites? He was so messed up on some drug-related substance it was not funny. It took 5 police officers to finally subdue him. They had to handcuff his hands and feet behind his back and carry him away as you would a basket. Never forget that one.
s
—–
Hey Sonny! I really enjoy your column each week, and our opinions of this music we love and call BLUEGRASS, are mirror images!! My questions may revive a memory or two from the “glory days” of the Camp Springs, NC festivals. There was a performer, fairly local to the area, who often worked those festivals in the early/mid ’70s. His name was Roby Huffman and although no one was quite equal to Bobby Osborne when it came to singing, in his best days, Roby was pretty darned close. And of course, he did a bunch of songs by the Osborne Brothers. I have heard it said that you had a clause in your contract that you would not follow Roby Huffman at Camp Springs. Is there any truth to that? Do you have any memories of Roby? Thanks!
Lynwood L.
Hey Lynwood, welcome back. Been a while. Don’t stay gone so long…
I knew Roby… South Carolina guy I believe. This is a touchy situation in that Roby actually thought he was equal to Bobby. Once in Withlacoochee, Florida, a great festival run by Lonnie Knight, Roby was on and we were on the way to the stage when Roby saw us. He made the mistake of telling the audience that he was going to sing Ruby and that he thought it was as good as our record. An he proceeded to sing Ruby. Not half bad, but that made it only half good, Eh?
I knew it was a mistake on Roby’s part because he didn’t know my brother like I did. And, obviously he didn’t know Mr. Lonnie Knight very well either. When we went on Bobby went straight to the mic and as Roby was walking from the stage Bobby stopped him and told him to wait right there and he would “show you how it really goes!” After the show Lonnie called me over, paid me, and apologized for allowing that to happen and assured me that Roby would never be there again. I felt sorry for all that happened but Roby should have known better.
s
—–
Sonny, I’m curious about the 6 string banjo. More specifically, what came first, the chicken or the egg? Did you have a certain song that you wanted to play and thought the 6 string would make it sound better, or did you get the banjo and look for ways to incorporate it into songs?
Dan M.
Dan…. thank you for your time. The 6 string banjo was an idea I had for years before it actually became a reality. There’s a note that a regular banjo tuned in G just doesn’t have. So I took my problem to a friend at the time and explained it. C.E. Ward listened closely to what I was suggesting that he build for me. A neck with exactly the identical inlay pattern of the banjo I wanted the 6 string neck for. He built it just exactly to my specifications. He called and said it was ready, we stopped in Charlotte and picked it up late one Saturday night. I took it home and with Dale Sledd’s help, we installed it on my banjo. You asked why I wanted the same inlay as the five string neck, so if I couldn’t play it I could reinstall the five string neck and no one would be the wiser. It worked like a charm.
I recorded Listening to the Rain two days later. I could play it just fine. That was 1970 and I used it until 1976.
Was it the first of it’s kind? Yes. So to answer your question, the idea came first. Then I made it work. Hardest thing was to keep from hitting that extra bass string. Just a matter of adjustment though. Several other guys tried it, JD Crowe was one, Rual Yarborough another. Obviously they didn’t think it rewarding enough. Fun being the first to do something though. Then see other guys try to do it too. 10/4. Such is life.
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.
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.
Sonny, If you don’t mind, please a few words and thoughts about Kenny Ingram. He was such a wonderful guy and I am sure you have some good thoughts to share. Thanks Chief.
– STLIL
Brother STLIL I would be more than happy to share with you all that I know about Kenny Ingram.
I met him in 1973, I don’t rightly remember the actual place but in one of the many hours we shared talking, and discussing “things” he told me exactly where it was but 50 years has slipped past and I have forgotten. I seem to remember Georgia though. I believe he had just started with Lester Flatt where he remained until Flatt’s passing.
We talked about banjo playing… right hands in particular. I had been around the block a few more times than Kenny, and in the beginning he was full of questions, like how did you do this, why did you do this, when do you do this. It went on like this for a couple years and Kenneth kept gaining, growing in confidence when already he had the fastest right hand I had ever seen. Boy could play some kinda fast for sure. But at the same time he was growing into a good man, and making himself into the great banjo player that we remember.
The last time I saw Kenny was one year ago last Sunday I believe. You have to know this part of the story too. The past few times Kenny came to lunch his actions and attitude were changing. But, I need to mention that he was probably the most private person I ever knew. He worked the last 10 years with Larry Stephenson. Larry and I discussed Kenny’s health more than once. He was changing right before us. We kept asking him if he was OK, and he kept assuring that he was, but dammit we could see.
After the last time we saw him, I tried to talk to Kenny, Larry, and Lincoln also tried. But like me, they got no response. Dammit, maybe I should have tried harder but he was so private that I didn’t want to invade his world, whatever it might be. We live with regrets, that will be one of mine.
s
—–
Hey Sonny, so glad to see you’re still active in the bluegrass world. I so enjoyed the times I spent watching your group and many others at the Snuffy Jenkins festival at Cliffside, NC, and wondered if you had a special memory from those appearances?
– Lane K.
Lane… come right on in. Your question about the Snuffy Jenkins festival brings back a couple of memories. If I’m thinking of the right place, it’s near Earl’s home. Between shows we had several hours and I went to Earl’s house, where he lived as a kid. Where he learned to play a little bit. I got to meet Junie for the first time. Got to meet Snuffy Jenkins for the first time, and got to see and hold his RB4. I got to sit on the porch where Earl told me several years later, that’s where he learned to play Reubin the right way, and Junie heard it for the first time. It actually got a reaction out of Junie and Earl said: “I knew I had something right there!”
I sat on that porch. I SAT ON THAT PORCH, FOLKS. WHERE “THE MAN” STARTED IT ALL. And I believe it because HE told me where it was. As I’ve said many times before. Me and Brother Bobby went on one hellacious ride together.
s
—–
Hi Sonny, Stan here…occasionally known as Jebbh Mixus from The Mixus Brothers (which we named as an homage to you two)…anyhoo, I have three questions for you as you were so kind to answer one for me about singing a few months ago, and now I’m being selfish… first one is: I was listening to the song you did called One Tear and noticed that the internet’s said it was written by someone named Judy Osborne… did that happen to be any relation to you?
Secondly, I have noticed that the YouTube has many live recordings of ya’ll, and in many of them there are moments during and between songs where I say you were absolutely funny as all get out with your comments and shenanigans… do you think having fun on stage is and was one of the most important parts of having as long of a career as you did??
Lastly, and I appreciate your patience with me, when you toured Sweden and recorded one of your shows there for the public consumption that is now on YouTube, you of course played Ruby but I must say that your solo during that song was one of the most god forsaken amazing displays of banjo playing in the history of mankind… in the video you, after the solo, you shook your head and it seemed like you were playing like a man possessed. Do you remember it and do you think you can pinpoint that period or any period as having the best command of the neck and your creative mind for soloing?? Even if you answer even one of these questions or none, I am much obliged to you for letting us delve into your psyche on playing and unabashed memories of your life so, thank you!
– Stan
Stan…good questions. Thank you. First one…Judy is my wife of 62 years. She wrote this poem while she was in the 8th grade. And I’ll let her tell you in her own words.
Sonny was looking for new songs to record. I showed him a poem I had written, he put it to music and Voila!
They began rehearsing the next day at Bobby’s and when they got around to working on One Tear, Sonny called me and asked if I could write another verse. Words came to me as fast as I could write them down. I called him back in just a few minutes.
We ran over it a time or two, and the song came to life. It’s been recorded a dozen times or more. Very good bluegrass tune.
You asked about Sweden and the recordings made of our Stockholm show. I’ve been asked many times when I play certain things am I playing what I have planned to play or does it just happen. It’s just a thing that goes as it goes. I know the fingerboard pretty well so I don’t get lost and from there it just happens.
I’ve heard some things back and wonder what I was thinking, to do stupid things like that. Our shenanigans, as you called it, was not part of our plan but it did come in handy at times. We watched many bluegrass bands through the years and they, for the most part, were dead serious on stage and seemed as though their faces would break if they were to smile. We decided to have a good time and try to see that our audience laughed along with us.
s
—–
Mr. Osborne, Joe Medford was one of the less-heralded first generation bluegrass banjoists, in spite of his ability. He recorded with Mac Wiseman in the early 1950s. Did you ever cross paths with him?
– Bzrdhd
Bzrdhd…Sorry to say I never had the opportunity to meet Joe. Funny thing about him. When he recorded the several tunes with Mac and the several with Charlie Monroe, you would swear at certain points it was Earl, but I heard some other things he did and they were not so… I should say AS good. Wrong phrasing, conflicting background notes. Almost like it was some other guy playing. Strange. I talked with Mac several times about Joe, as to the kind of guy he was, etc. This probably won’t sit to well with some, but Mac said Joe had a tendency to over indulge in adult beverages so from personal experience this would cloud one’s vision…so, maybe that’s the answer.
Great tone out of an RB100..he had that “THING” didn’t he? YES HE DID.
s
—–
Sonny, in my work archiving the decades of recordings and videos my mother left behind, I ran across an Osborne’s set at the Festival of the Bluegrass. On a break between songs, Bobby can be heard off mic giving you a string of jabs about “I don’t know how you ever think you are going to keep a banjo that cheap in tune.” I’m wondering if there is more to that story. This would have been around 1985.
Charles C.
Charles… welcome my brother… Butch Robins and I had just paid $5000 for our banjos… the highest price ever for that time. Butch bought one of the two best RB4 style banjos ever, and I think I got the finest, best sounding banjo Gibson ever made. It is a 1934 flat head Granada original 5 string. The other RB4 that is that good is owned by Dana Cupp. I rarely tune on stage with the exception when KRAKO show his a–! Then there is no tuning.
So Bobby, knowing how much I paid and realizing I did nothing during that show but tune, made his infamous statement. “I don’t know how you ever think you are going to keep a banjo that cheap in tune!”
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.
Shelby, NC, the birthplace of Earl Scruggs and the home of the Earl Scruggs Center, has set aside funding for murals of both Scruggs and country legend Don Gibson, also a hometown boy.
Destination Cleveland County and Uptown Shelby Association announced the project today, along with news of the completion of the Scruggs portrait, which emblazons the pedestrian alley side of Newgrass Brewing Company, just one block from the Earl Scruggs Center. Patrons of the brewery will sit at outdoor dining tables alongside the mural, which is taken from one of the most iconic photos taken of Earl as a young man when he first joined the Blue Grass Boys.
Eagle-eyed banjo aficionados will note that he is playing a style 11 banjo, before he acquired the Hearts & Flowers Granada so commonly associated with him during his time with Flatt & Scruggs.
Work on the Gibson mural is set to begin soon. It will be located on the building that houses Miss Molly’s Boutique, which was the one-time residence of Don’s wife, Mrs. Bobbi Gibson.
Scott Nurkin of The Mural Shop in Chapel Hill, NC, is the painter for both projects, as a part of the North Carolina Musician Murals Project. He says that it gives him great pride to be able to remember them in this way.
“Earl and Don are two of the biggest names in country and bluegrass music, and given their undeniable talent and accomplishments, they had to be a part of the NCMMP. The work of the performers included in the project covers an immense spectrum of musical genres and makes me proud to call North Carolina my home. My hope is that these murals recognize the accomplishments of these incredible musicians as well as spark interest and curiosity.”
Nurkin is currently completing a mural of John Coltrane in his birthplace of Hamlet, NC.
So when visiting Shelby to see the Earl Scruggs Center, be sure to visit Newgrass Brewing and pay your respect to the great Earl Scruggs.
In what may be the most perfect pairing since Martha White sponsored Flatt & Scruggs, Carolina Blue has announced that they have taken on the sponsorship of Hawg Wild BBQ in Brevard, NC.
The popular restaurant has operated at the entrance of the Pisgah National Forest, serving up the smoked meats for locals and tourists alike since 1997. They are big bluegrass music fans who have known the band for some time.
Guitarist and co-founder Bobby Powell says that this has been a regular stop for them for the past ten years, and that owners Don and Sandy Brown have become friends.
“We’ve all eaten at Hawg Wild BBQ over the years and Don and Sandy have always been so kind to us. The news of this sponsorship comes at absolutely the perfect time as most of our shows have canceled throughout the summer. The online concerts have been a great way for us to keep our playing chops up, stay connected with our fans, and make a few bucks through donations to help sustain the band until we can get back out on the road. Don and Sandy are a blessing to us and their BBQ is amazing. It’s going to be really easy to sing about a place we already love!”
Powell and his co-founder Timmy Jones are at work now creating a jingle for Hawg Wild that they will premiere on their June 22 live stream Facebook concert. The whole region has embraced Carolina Blue as hometown heroes, and these concerts are quite popular in the area, as well as throughout the Facebook community.
Don Brown said that it was a perfect way for them to give something back after appreciating their music for years.
“Carolina Blue is homegrown and we’ve worked with them over the years at different catering events. We’ve always enjoyed their music and I’ve even had the opportunity to take some banjo lessons from James McDowell. During this pandemic, I started thinking of ways that we could all help each other. Sandy and I decided to sponsor Carolina Blue as part of our commitment to support community schools, groups, or organizations that promote education, good character, and our traditional style of music from this part of the country.”
Well done all! If you find yourself in Brevard, NC, be sure to visit Hawg Wild BBQ and git ya’ some.
The IBMA Songwriter Showcase Selection Committee has announced the finalists for the Songwriter Showcase, to be held in late September during their 2020 World of Bluegrass convention.
Writers are chosen for this honor each year when the committee considers submissions from all over the world. These finalists will be able to perform their songs before the attendees at the showcase, which include top artists and producers from across the bluegrass and acoustic music spectrum.
Here are the chosen songwriters, who represent a wide range of ages and backgrounds within the bluegrass realm.
There is an entire track during World of Bluegrass dedicated to the craft of songwriting, bearing the fairly obvious name, the Songwriter Track. It includes about a half dozen events over the three days specifically for writers to meet each other, exchange ideas, and pitch songs to the wider professional community.
At this point, the World of Bluegrass and its attendant shows are still scheduled for September 29 through October 3 in Raleigh, NC. The IBMA has yet to announce a cancellation, though the Governor of North Carolina has not yet released restrictions that prevent gatherings of this kind. Intense deliberations are currently underway to be ready to convert to an all-virtual conference should these restraints not be lifted.
Many conventions in the state have already postponed or moved their events due to the uncertainty, and the IBMA will likewise need to make a go/no go decision quite soon.
We will certainly let everyone know what the call is made.
There’s really nothing special about missing outdoor events this summer. All over the world, popular gatherings have been cancelled for 2020, with even a few next year already announcing postponements.
But it’s doubtful that anyone is grieving harder than those who regularly attend the various contests and fiddlers conventions held across the Appalachian region every year. Long running events like the Old Fiddlers Convention in Galax, VA have been cancelled, along with similar ones in Sparta and Mt Airy, NC, leaving annual visitors who plan their vacations around them each year feeling mighty blue.
So Clay Jones, notorious North Carolina guitar slinger and outsized bluegrass personality has decided to do something about it. In just a few weeks’ time, he has organized what he is calling the 1st Annual Overlook Farm Fiddlers Convention, set to run the same week in August as the Galax convention would have been held.
He tells us that it was actually his girlfriend who was the impetus for the creation of this new event.
“I was talking with my girlfriend, Donese Helms, who was just distraught over Galax being cancelled. She goes every year, and looks forward to it for months as soon as the weather warms up. So we basically looked at each other and thought, why don’t we do one here?”
Here being Overlook Farm, a 100 acre horse ranch in Stoneville, NC where he is currently working tending horses and cutting fields. So he spoke with the owner, Abby Jones (no relation), and she loved the idea right away. It won’t be high tech, but he says it will serve as a place where people can get together and pick, something most grassers are feeling after months of social isolation and COVID-19 restrictions.
The Convention will run August 4 – 8, and registration will be on site only, first come, first served. Rough and RV camping will be offered, but no hookups as they don’t have time to bring that all in. Campers are welcome to bring and use generators, and there is a full service campground just across the street.
Jones offers tremendous credit to the farm’s owner, an experienced horsewoman who used to train the Lippizzaner Stallions for their show in Las Vegas.
“Abby has really opened up her heart, as she understands that people are dying to pick and get together.
We know that some people are still cautious about getting together in groups, and we respect everyone’s decision – no judgement. But I also respect those who just want to get out there and pick like we used to as a kid.
And since this is private property, if the governor doesn’t approve we just hold a peaceful music protest.”
Some of Clay’s enthusiasm to move ahead with this surely comes as a result of a recent near death experience. He tells us that he has recovered nicely from triple bypass surgery just a few weeks ago.
“I was working in the Texas oilfields over the winter, and suffered a heart attack while I was coming back. I had been driving about 18 hours and thought I was just really tired. When I filled up with gas in Birmingham, two cops who were at the next pump asked me if I was OK. They said I was sweating a lot and it was really cold, and they wanted to call the paramedics to check me out before I headed back out.
Once they got there, they told me I was having a heart attack and took me straight to the hospital. The doctor said I had 100% blockage in one artery, 80% in another, and 70% in another. He told me that I would have died on the road if they hadn’t brought me right in.
I feel awesome now. It was tough after the surgery but feel like I’m 20 years old again. I Feel so much better, and know that I’m fortunate to be alive.”
Overlook Farm Fiddlers Convention will accept competitors in the usual competition categories for both bluegrass and old time music, but the actual contest won’t be broken into certain times. Anyone with a contestant registration can come up anytime over the weekend and compete, regardless of whether it is a band or an individual, on any instrument.
Tickets will be sold at the gate – $40 for a contestant ticket, $40 for the full week, and $100 for RV camping. Each contestant will receive their fee back after they play on stage. Clay is especially excited about launching the Clay Jones Flatpicking Guitar Contest, where the winner will receive a title belt just like the wrestlers do.
Jones invites everyone to come on out the first week of August. The gates will open on Tuesday morning, August 4, with youth competitions on Thursday and regular adult competitions on Friday. He says that there is a golf course across the street, and the Dan River park is only a short distance away. They will not be able to allow 4-wheelers or dirt bikes on the farm, or glass containers.
“We want to make this a low key and very enjoyable convention, like I remember as a kid. And electric bass is OK!”
More details can be found on their Facebook page, where you can contact Jones for additional details.
If you are tired of being cooped up inside, and can’t wait to hear some live music, here’s a festival coming up next month that will be held as scheduled.
The Willow Oak Bluegrass Festival in Roxboro, NC is on for June 18-20. Hosted by Lorraine Jordan & Carolina Road, it promises all the great music, good times, and family atmosphere you have been missing since the shutdown began. Other entertainers include Russell Moore & IIIrd Tyme Out, Sideline, Carolina Blue, The Malpass Brothers, and many more. Believe me, they are just as excited about getting back on stage as you are to get to see them!
Willow Oak Park has a jam tent set up 24/7, with plenty of other activities for non-pickers. A stocked fishing pond can be accessed on site, and hot showers are available in the park.
Full details on tickets and camping/hookups can be found online.
Let’s hope to hear of many more festivals that are going ahead this season after learning of all the cancellations.
The International Bluegrass Music Association has announced the first round of artists invited to showcase as part of the Bluegrass Ramble during the 2020 World of Bluegrass convention in Raleigh, NC.
The annual convention, which the organization calls “the biggest week in bluegrass,” involves a three day business meeting followed by the annual International Bluegrass Music Awards show, and then a two day festival held in downtown Raleigh.
Members of the wider bluegrass community look forward to this week every year, as an opportunity to get together, hear great music, take care of business, and make plans for the future. With 2020 getting off to such a rough start for performers and event producers, IBMA Executive Director Paul Schiminger knows how much being able to assemble in Raleigh means to all of us.
“We believe this year’s IBMA World of Bluegrass will be more important for our industry than ever, and the IBMA team is working hard (from home, of course!) to produce an event that will be a key part of our industry’s recovery effort. The events remain as scheduled as we build plans for live and/or virtual formats, depending on what is allowed and prudent for the health of our community.”
As part of this celebratory event The Bluegrass Ramble, which invites promising artists and acts to perform before the assembled industry professionals, is a major highlight of the week. Showcase invitees are chosen from among dozens who submit from all over the world for this prestigious honor, and can be the spark that ignites a successful career in many cases.
Acts are selected based on one of two criteria: newer artists who are prepared to make a big jump forward, and established acts who have made a considerable change in their personnel or approach.
The 2020 Bluegrass Ramble invitees are:
Each invited showcase act will be given at least two opportunities to perform during World of Bluegrass, which runs from September 29 through October 3. Full details about the event and its various sub-events can be found online.
The Coronavirus has affected everyone’s lives and livelihoods. One profession hit hard during the stay-at-home orders, of course, is entertainment. No one understands this more than Nu-Blu, a full-time touring bluegrass band based out of Siler City, NC. They have a special free offer during the lockdown to keep music fans entertained.
“Our plan is to resume touring as soon as things open back up. But for now, we wanted to find a way to bring music right into people’s homes. We’ve decided to offer our DVD, The Stories We Can Tell, for free! You can get all the music, interviews, and track by track, all for free,” shared Carolyn Routh of Nu-Blu.
Order online at www.nu-blu.com. Use the code: freedvd.
“We’ve all been locked in just like you guys, and it’s getting a little crazy. We sure are missing being out on the road playing for everyone, and we thought, hey, why not just do something that could bring our show into people’s homes! So we are giving away a copy of our DVD to anyone that wants one. We hope to see you all and get back out on the road real soon!”
The vocalist and bass player elaborated…
“COVID-19 has been a hard hit for the band. We were in California when everything started shutting down. The dates we had left to play while on the West Coast were all canceled within a period of two days.”
“We finished shooting a video in the California desert for our new single, Horse Thieves and Moonshiners, and started back home to North Carolina. Soon after, our full tour schedule for the next few months started to melt away. All of our shows through the end of June have been canceled/rescheduled, many not until next year.”
So what does this mean for the working band?
“Unfortunately, we are still out of work at the moment. This makes things especially hard because Nu-Blu is all of our full time jobs. I always tell people, ‘If we don’t play, we don’t eat.’ That somehow doesn’t seem as funny right now.”
Carolyn’s husband, Daniel, is guitarist and vocalist in Nu-Blu. Other members of the band are Justin Harrison, mandolinist and fiddler, from Beargrass, NC, and Austin Hefflefinger, banjoist and vocalist, from Rimersburg, PA.
For almost two decades, Nu-Blu has been making remarkable strides in the music industry.
Carolyn recalled…
“Now at almost 17 years later, we have released 7 albums, 5 of which have landed in the Billboard Top 10 chart, and the DVD. We’ve had our music featured on CBS Sunday Morning, performed live on Fox, Imus in the Morning, the Huckabee show (yes, the former Arkansas governor played bass with us), and countless regional and local TV and radio networks.
“We’ve done collaborations with the legendary Rock and Roll Hall of Famer, Sam Moore (from Sam and Dave), the original ‘soul man’ himself. We’ve brought in Grammy winners, Rhonda Vincent and Jimmy Fortune (of the Staler Brothers), for duets on songs. It’s amazing how each project lends itself to opening up another door or another rung up the ladder.
“Most recently, we were asked to become the full time hosts of TV’s Bluegrass Ridge show! Not in a million years, did we ever think we would get an opportunity like this! The show is syndicated weekly and we host 5-6 bluegrass music videos, along with an interview with a special guest artist or personality. The show has grown so much since we started hosting in August of 2018. Now we are in over 250 million homes each week! The greatest thing is that not only are people seeing us, but more importantly, they are seeing bluegrass and we are presenting so many other new artists and getting them in front of all those new fans!”
Bluegrass Ridge can be viewed online at www.bluegrassridgetv.com.
Though their professional lives have been greatly affected, the Rouths retain a positive attitude and stay focused.
“Despite everything else, it has been nice to stay still and just breathe. Our lives are usually so hectic that it’s hard to get things done at home. Business consumes a lot of time, sometimes more time than you actually have to allot. Being on stage is the fun part. The hard work happens behind the scenes.”
Even with shows canceled, the band still has several projects in the works.
“We’re taking time to put the final touches on our new CD (slated to release later this summer) and just launched our new single. During this time that everyone is shut in due to COVID-19, we think this is the perfect song to release. It’s all about where you came from and your family stories. What a perfect time to learn those great family stories and learn more about your history. Who knows, there just might be a horse thief or moonshiner (in your family)!
We’re also working on new music and revisiting our past catalog to spice up our shows which has been channeling our creative energy. It’s always fun to work on music and it’s a great stress relief.”
Nu-Blu has also been developing an on-line livestream website.
“We’ve not been sitting idle at home, in fact, just the opposite. We have focused on launching a brand new subscription site called Nu-Blu LIVE. Each month we will host livestream concerts, upload lessons for different instruments, and host live Q and A’s with different band members. Folks can subscribe on our website for only $2.99 at www.nu-blu.com/live.”
The performer does admit to disappointments while locked down.
“We all miss being on the road. When you are accustomed to being out over two hundred days a year, it’s hard to be grounded for an extended period of time. There are so many friends we miss getting to see, and lots of places we look forward to going, but that’s not happening right now. Playing music and traveling full time is very addicting, and we are all having withdrawals. We are also missing each other as well. Nu-Blu is family. We are missing making music together and just hanging out.”
Carolyn concluded by offering words of encouragement.
“It’s a frightening virus and it’s very real. I have heard from friends that know someone who has been infected. The best word to describe it is ‘beast’. We continue to pray that healing will soon come for all. I feel we all need to try and find positive ways to use our time. It’s important to not let yourself lapse into a bubble. Find new ways to keep yourself relevant.”
Bluegrass lovers in northern Maryland and southern Pennsylvania are without one of their favorites, as Tom Reeves passed away at his home in Aberdeen, MD on April 8, 2020. He was 86 years of age.
Born Thomas Earl Reeves in 1934, he was a native of Sparta, NC where his father, Kilby, was a well known old time fiddler. Tom’s first cousin and next door neighbor as a child was Del Reeves, who went on to have a very successful run in country music during the 1960s.
Though never a famous touring musician, Tom played his fiddle every chance he got, between a long career working at the Bata Shoe Factory in Belcamp, MD, and a second career in the Harford County Public School system after retiring from the factory.
Reeves was a member of several bluegrass groups in and around Aberdeen, and spent the past ten years with The Barn Owls, who performed every Friday night at Pop’s Place near Havre De Grace. He played an energetic style of bluegrass fiddle, which always brought out the dancers on fiddle tunes.
He also enjoyed the greatest thrill any musician can achieve, that of seeing his son, Tommy, embrace music as well. This third generation of bluegrass pickin’ Reeveses is a member of Bluetrain, where he plays bass and sings lead and harmony vocals. Tommy’s dad was always proud to see his son on stage at venues in their region.
Tommy also tells of his dad taking them all out to see cousin Del at Sunset Park in Chester County, PA, one of the more iconic venues for bluegrass and country artists on the east coast circuit from the 1940s into the mid ’90s. It was designated as a Pennsylvania landmark in 2018 by the state’s Historical & Museum Commission.
Both family and friends mourn the passing of this life long fiddler, family man, and church member.
R.I.P., Tom Reeves.
Yeah Yeah, Yeah, grab the pump pump (yeah)
It’s on we ’bout to thump thump
[NOYD verse]
Well if I jump I feel bad luck upon me
Make me grab my pump and call my Brook-Lyn army
We buy QB to NC
Niggas don’t want it
Debate to the G’s and the west all on it
We all flaunt it guns & chicks
And all my duns rhyme holding their dicks
With a nine on their side from hip to hip
You know the mobb niggas is sick and stay bent
Twist it get right, me and my guns is tight
And we both heated when the funds ain’t right
Because we know someone getting stuck tonight
Before I crash I’m a fuck me some ass tonight
With a pocket full of dough
The bottle of the dro
With dreams of fucking some R&B ho
They call me N-O-Y-D baby
From QB baby don’t hate me
We live, I rep Queens
[Hook: repeat 2X]
NOYD: Queens!
Godfather: Where niggas they get caught up in between guns
NOYD: Queens!
Godfather: Casino cash, cream killa Queens dun
NOYD: Queens!
Godfather: Where I live, what I rep
NOYD: QB dun, Queens!
Godfather: The Mobb rep
NOYD: Queens!
Godfather: You know we rep
[Ty Knitty verse]
I blow dro in Q-boro
Ain’t nothing change same boro
Just more places now
I’m tatooed up now
Still rep 41st, ’til I be put up in the hearst (you heard?)
Even after that yo my daughter and my son ‘gon live on
7, 1, 8 zip code triple 1, O,1
A yo its queens, money, whips and fiends
Bald heads and fades, du rags and waves
Can’t forget about braids
Niggas don’t rock like us
Ain’t no hood like us
A yo I rep QB ’til I R.I.P
96 buildings 6 blocks in QB
Everyday is like a movie, so you know we had to pursuit it
First joint "murda muzik"
A yo y’all niggas ‘gon feel it
The hood is running wild
Every clique ‘gon throw it up
Y’all know what up
Queens don’t give a fuck
[Hook 2X]
NOYD: Queens!
Godfather: Where niggas they get caught up in between guns
NOYD: Queens!
Godfather: Casino cash, cream killa Queens dun
NOYD: Queens!
Godfather: Where I live, what I rep
NOYD: QB dun, Queens!
Godfather: The Mobb rep
NOYD: Queens!
Godfather: You know we rep
[Twin Gambino verse]
Queensbridge, and thats how it is
If I can’t I get you I’m a bring it to your kids
Your moms, whatever it takes to strike back
I’ll be waiting in your crib with the mack
Black gloves, no mask so you can see my face
And realize QB ain’t playing no games
We think long range
So we can ride for the kids
And look out for my niggas up north doing bids
[Prodigy of Mobb Deep verse]
Thun we’ll stop your shine, we Queens niggas
Plus my Bed-Stuy niggas will shoot up your medinas
We the black entrepreneurs we the black mobb
I told you it was more real than words can muster
I see you faggots don’t listen wanna bite my shit
You better walk with security my niggas dump clips
Catch you with your rap clique, and beat the shit out y’all
You could have a 30 deep entourage
You could have guns galore, shanks and more
We can bang to the EMS come and haul us off
I could give a fuck for what projects you ride for
We got dogs out there and we not scared
Nigga I’m not the one, we not the team
Matter fact don’t even write me back see me in the streets
See me at the next show
Catch me at the club
We terrorize y’all niggas dun
[Hook 4X]
NOYD: Queens!
Godfather: Where niggas they get caught up in between guns
NOYD: Queens!
Godfather: Casino cash, cream killa Queens dun
NOYD: Queens!
Godfather: Where I live, what I rep
NOYD: QB dun, Queens!
Godfather: The Mobb rep
NOYD: Queens!
Godfather: You know we rep