Americana Rhythm Music Magazine Issue #35

20 e c S in Cel ebr

Issue #35

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October 2011

E E R F

ati ng 6 y ear s!

Music Culture of the Shenandoah Valley, Central Virginia, Blue Ridge, Piedmont, South West,Virginia Highlands, and beyond

IN THIS ISSUE: v One Man’s Journey v Rebel Records v Americana School v Rare Hank Find

PLUS:

v v CD Profiles

and Reviews . . . and More!

Darin & Brooke Aldridge See Our Ad on the back page for great prices!

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Table Of Contents

5 10 New Home

Used to be as mid-summer festivals

would start winding down, it spelled the end of another season. Not so anymore.

From the looks of our calendar this time around, and the great line-ups of our advertisers, there’s as many opportunities to get out and enjoy live music this fall as there was this past spring and summer. Don’t miss it!

We’ve got the first part of a great two part story with Rick Altis of High Ground, and I had a fun chat with up and coming duo, Darin and Brooke Aldridge. There’s all kinds of great new music on the horizon too; check out the SPINS and Americana Profiles sections.

If this is your first time through an issue of Americana Rhythm, welcome! Let us know what you think. We love hearing from our readers. And when you get a chance, check out our artist features at www.AmericanaMusicProfiles.com.

Check out our new music Profiles web site!

11 12 Sweethearts 14 Record Deal 16 17 Genre’ Specific 19 More Of A Legend 20 FEST GUIDE 22 23 Americana Rhythm is published six times a year. All correspondence CONTRIBUTORS should be sent to PO Box 45, Bridgewater VA, 22812 or email to Ed Tutwiler greg@americanarhythm.com. Copies of Americana Rhythm are made Kaye D. Hill available free at various pick up locations within the publication’s reWayne Erbsen gion. Subscriptions are available inside the United States for $15 US Ryan Babarsky currency made payable by check or money order sent to Subscriptions UNC Ashville Students at PO Box 45, Bridgewater, VA, 22812. Foreign subscription requests Andrew McKnight should be sent to greg@americanarhythm.com. Copyright 2008. All Doak Turner rights reserved. Reproduction of copy, artwork or photographs is strictly Becky Allen prohibited without permission of the publisher. All advertising material Scott Perry subject to approval.

DISTRIBUTION PUBLISHER/EDITOR IN CHIEF Mark Barreres Greg E. Tutwiler David LaFleur EDITORIAL ASSISTANTS Nate Sparks Ed Tutwiler Ed Tutwiler Jacenta Tutwiler Doug Williams Lisa Tutwiler Stuart Thomas MARKETING & PROMOTION Floyd Country Store Mark Barreres (GrassRootsNetworking.com) Letters, Comments, Suggestions ADVERTISING greg@americanarhythm.com Greg Tutwiler www.americanarhythm.com Business office 540-433-0360

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Questions, comments, suggestions: greg@americanarhythm.com Listen to our streaming radio station, 24/7/365. Click the radio button from our web site, www.AmericanaRhythm.com

www.AmericanaMusicProfiles.com

October 2011

By Edward Tutwiler This is part one of a very interesting interview our writer Ed Tutwiler conducted with a band member from one of our many talented regional acts. Part two will appear in the October/November issue. ~ editor.

It goes without saying that we all

have our favorite music groups and favorite pickers and singers.

When we kick back at that just right festival, and tune in to the sounds that take us to our special happy place, we take for granted our music heroes standing upon the stage. It is just a given to us that they will give of themselves with all the heart that they have.

Too often, we fail to appreciate the fact that these folks who’s talent we’ve come to love, did not just wake up that morning fully skilled in their craft and free of all the daily concerns that everyone experiences. The talented folks who grace our Americana stages are real people just like you and me— abet with a whole lot more musical talent. To give you some appreciation of what we mean, I recently sat down to talk with Mr.

Rick Altis who is the base player for High Ground—a popular local bluegrass band. I got Mr. Altis to tell us about himself, his music, his association with the High Ground band and what it takes to keep it all balanced together.

shocked to learn that. That is how prevalent music was in our home.”

It Started In The Home

I began by asking Rick to give us some background about how he got started in music. He was born into a working class family but that didn’t keep his hard working parents from taking time for music and to encourage their three children to do the same. Rick told me, “From first memory I had music in my home. My mom and dad were musicians. They were semi-professional but they played together a lot just like I do today all through the 1940s and dad into the 1950s. We always had musical instruments available in the house. As children, my two sisters and I were always expected to play music and sing. I remember being in the second grade before I found out everyone did not play a musical instrument. I looked around at the kids in my class and

thought they all could play. I remember talking to the other kids and found out that none of them played an instrument; they didn’t sing at home; and I was really

Music has always been apart of Rick Altis’ life. As a teen, he started playing rock music but by his 20s he’d come full circle back to his roots. He became a founding member of The Cabin Fever Band, a popular bluegrass group.

With this group, he recorded two albums and toured for 14 years.

During that time, he wrote several original bluegrass songs. Nevertheless, Rick says he has an appreciation for all kinds of music. He said, “You’ve heard the High Ground show so you know you’ll hear some fairly eclectic music.

Our band does a lot of stuff that is not traditionally bluegrass. I also have a great appreciation for the early leaders in the field—Monroe and the Stanley brothers—all the past leaders in bluegrass who persevered to make it what it is today.” continued

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I asked if he thought the music would continue to be a part of his life and he got quiet for a minute and then he said, :”I’m reasonably sure it will baring any health issues. I’ve become one of the grayhairs now—I’m 62, and I know a lot of folks younger than me that just sit around. They don’t work much, and they don’t do much. I don’t intend to do that. I can foresee me for at least five or seven years still doing it depending on how long my body will let me do it. Right now I don’t see an end to it. Even if the band does not go on at the pace we’re going now you’ll see me playing music somewhere.

I’ll being playing a guitar and singing somewhere.”

Something From Within

I asked Mr. Altis if he could explain what it was deep inside that made him a musician. “I’ve wondered about that a lot. People ask me how they can learn to play the guitar or how do you do this or do that. Or, how can you get up on stage and talk to people freely and not be frightened. I honestly do not have an answer. I’ve thought about it a lot, and I believe everyone can learn to play music.

I also believe that some people don’t have as hard a time learn-

ing as do others. It might just be an inherent talent that you have, and I don’t pretend to know those things. It never came hard for me.

I’m not the best musician by far. I am the worst musician in the High Ground band. That is one key to my success, I surround my self with talented people. All the guys in the band are more talented than I am.”

I asked Rick if he would tell us about the balancing act that comes with having family, day jobs and the music. “You know, busy people probably do more things than people that aren’t busy, and I found that out. My wife and I have

Juggling the Flow

He went on, “I don’t have trouble grasping music, and I can get by; however, I can’t fix a light socket or a bathtub, and I have friends that can do that, and I envy them.

I have a friend that is real handy.

He can build decks and such and I try to help him but I just get in the way. He just jokes about it— he says he’ll do the work and let me sing a song about it because that is what I can do well. I don’t know where it comes from—I’m just not sure. I would not discourage anyone who wanted to, at any age, learn to play an instrument.

You may never play it as well as some famous player but it will still bring joy to you. I have fun just sitting down and playing the guitar with no one around, and anybody who would learn to play would get peace from it.”

two sons and three grandsons. We have ball games; we have family gatherings; plus, I just want to be with them. I find time to do that, and I make time. I’m running from here to there usually but I guess that’s the only way I know how to do things. Actually, I work two jobs. I work full-time in the transportation department of a local industry and I have a part-time job at a motorcycle shop that I’ve held for 37 years. A typical day for me is like tomorrow’s schedule—I’m

going to work all day at the motorcycle shop; leave there and go meet the guys and go play in Luray; come back and get some sleep; go to work Sunday at my full-time job; and leave there and go to play a show in Charlottesville. That’s typical for me. The only way I can do this is have an understanding wife and an understanding family. I have been married 42 years and have been a musician for almost as long as we’ve been married. She knew that going in and has been extremely patient with me, and we have a great relationship. We couldn’t have stayed married 42 years if we did not. She not only puts up with it, she encourages me. When Larry called me about doing an album together, she was the one who said you need to do this for a legacy for your grandchildren. Then, when we decided to maybe put a band together she was right there again telling me you know you need to play go ahead and play because you are never happier than when you are playing.”

Graceful Helping

He continued, “My employer bends over backwards to help me continued

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out to play music. I appreciate that and in turn I try to help them out anyway I can. They have been so good to me. I try not to make music a priority in my life but it seems to keep sneaking in there. My first priority is to my wife and my children and grandchildren and my second priority should be to my job (and it is, because that is the only way I can maintain part A of the story). Sometimes, I feel bad because I’ve gotten someone to work for me so I can go play and that gives me a guilt feeling. I’m coming on toward retirement time. I don’t know when that will come but when it does I will have more time to devote to music.”

He went on to say, “Now, I know people who have donated their life to music. They have never become famous and are always living hand to mouth. I respect them for that; however, I have a deeper commitment to my family and try to make a living for them. Had I been single all my life, I’d probably have been like one of those musicians that never worked regular but just played music. I owed my family to support them so I got in the habit of going to work I can’t say I enjoy work as much as I enjoy playing music. I go to work, go play music and

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sometimes go back to work. I’m glad I am able to do it.”

Walking The Walk

I wondered if the other guys in High Ground had similar stories, and Rick said they did to one degree or another. One is a teacher with summers off; one is self employed who can flex his hours; one is a full-time farmer who can get away; and one is an estimator for a building supply company who has a very understanding boss.

That seemed to be a good time in the interview to get Mr. Altis to tell us about the band and how it got started. Here’s his description of how that happened, “In the summer of 2004, Larry Taylor, a lifelong friend, called and asked me to help him put together a bluegrass album. Now, we’d both played music a long time but not much together. I filled in with his band or he’d fill in with my band as the need arose. We’d been friends a long time. I said ‘Larry you’re crazy’—I’d been out of music since about 1998, and I thought that was it and that I’m too old, and I’m not going to do this any more. I had stopped performing when I quit playing with the Cabin Fever Band. I said that I was busy enough, and I just re-

tired from playing. I was still holding down two jobs and we had some grandchildren coming along, I decided that I needed to try to slow down. Anyway, Larry called and I said you’re crazy and he said look, we can do all the parts and with modern technology we can dub it all in ourselves.

I still thought Larry was crazy. It was a costly venture—several thousand dollars—and meanwhile we’d just had our first grandson. My wife told me that I might want something for him to be able to look at later in his life and that caused me to think that I wish that I had some of my parent’s recordings. So, I wound up doing the project just for that reason. It turned out really well.

I’m so proud of it, and Larry and I did most of the music. We got some help from our friend Will Parsons to do the banjo work because neither Larry nor I do banjo.

Larry and I did all the vocal parts.

The album came out, and we gave them to friends and family.

It Worked

The next thing we know, people are calling and asking if we could play at so and so. I would tell them ‘but you don’t understand we don’t have a band it is just two of

us’. It got to be more and more calls, so Larry and I talked about it and decided that we’d go play a few dates. I called Jim Almarode a mandolin player who has been another lifelong friend and musical partner since back in the 70s. I called him up on a Sunday evening. I said, ‘how you doing Jim, and he said Yes. I said yes what. He said you going to ask me to play in a band with you and Larry, right? And I said yeah’. He knew me that well. He also said ‘I got a banjo player I know who would like to play with us. Let’s meet Wednesday at the high school and see how it goes’. That was Sunday, and on Wednesday night at the high school where Jimmie teaches, we four sat down and started playing and singing like we’d been together all our lives. It was wonderful.

The Desire To Succeed

How could you not be filled with joy when something like that happens? It might sound like a fairy tale but that’s how it happened.

Jimmie and I hadn’t sung together since1998 and it was like yesterday. So, that is how High Ground got started. It was October 2004, and by then we decided that we did not want to go out and play a bad show—we’d seen so many

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bands that did not start and stop right—we wanted to have a professional show so we practiced several months thru the winter at least once a week. In the spring, we did our first show, and it just blossomed from there. We picked up a guitar player, Ben Swarey, who is a young phenomenal guitar player before we ever got started. He played with us the first year; however, he had a small child and a family and by the end of that year we were traveling into Tennessee, Ohio and DC playing regularly. He came to me and said with his young family he could not play as much as we were playing. I understood. I told him to take care of his family and if he ever wanted back on the stage with us, he could. In March of 2011 he called and said things had calmed down and he wanted to come back. So he’s back with us again. It’s five of us now: Jim Almarode, Jeff Ritchie, Larry Taylor, Ben Swarey, and me—Ben adds so much to the band. So, High Ground actually got started in the spring of 2005.

Musicians Are People Too

So, dear AR readers, all those folks up on the stage are real people too. There is a rest-of-the-story quality to every one of the musical heroes whose talent we admire so much. But there is something else—some quality that maybe many of us don’t possess. People who have music in their hearts have a special joy that we can’t ever feel, and this joy just overflows in happiness, and we, the listeners, the festival goers, the fans are the richer for it. Rick Altis says it best when he said, “You know, for two hours on a Saturday night I don’t worry about anything. I’m the happiest guy in the world. You can watch our shows and tell that. I think all of us are like that. Maybe, that is the key to our success—I don’t know. We all have those same daily worries that everybody has: finances, family, jobs—all those things that worry you but for two hours or one hour or three hours or whatever the show’s length, I don’t think about anything else. I’m only thinking about the show and I’m enjoying it so much. It just fills my heart with joy to sing and play and watch the crowd react and be there with four of my best friends playing music. So, as my wife said when Larry called me, ‘you need to do this because you are never happier than when you’re playing music’”

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Rural Rhythm Upbeat About Move Rural Rhythm Records, with a catalog of bluegrass artist such as Russell Moore and III Time Out, The Roys, Lonesome River Band, Carolina Road, Grasstowne, and many more; is set to move operations from the west coast to Tennessee. “Pam and I have been contemplating this move for a few years,” said Sam Passamano, Jr., president of Rural Rhythm. “Pam is a native Californian from the Sacramento area and a lot of my family moved to the Los Angeles area from the east coast in the 60's and 70's. Our family is very important to us, so to relocate our residence and business from the west coast to the Nashville area was a major life changing decision.”

“We have made so many great friends over the years that we feel like we are coming home to our huge family of friends when we arrive in Tennessee. We are really looking forward to this next chapter in our lives and for Rural Rhythm Records and Rural Rhythm Christian,” he continued.

“There are definite signs that the music retail business has bottomed out after a most a decade of staggering losses. This is very good news for all of us and should help our Bluegrass music lovers find more product at the music retail level.

However, a lot has changed over the last decade in terms of marketing Bluegrass music to our artists’ fans.

We are working on several major media exposure opportunities for our artists which will be announced shortly and being in the Nashville area will be crucial."

“One of the most compelling reason for us to relocate our business to the Southeastern area has to do with being a lot closer to our artists and having the ability to meet and have creative conversations. We see a strong opportunity in the music business today and feel very blessed for the quick growth at Rural Rhythm Records and Rural Rhythm Christian, and appreciate all the help and support everyone has given us to get to were we are today.

Having our Headquarters in the Southeastern area will certainly help us get our Bluegrass and Gospel music to our Artists fans in different ways and to a larger audience,” he concluded

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While in the area please visit our other local attractions

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Nashville To Host 73rd annual National Folk Festival boy, bluegrass, klezmer, oldtime, Cajun, rhythm and blues, mariachi, western swing, and zydeco, as well as traditional music and dance from Native American, Celtic, Acadian, Middle Eastern, Caribbean, Asian, Appalachian, Hispanic, Eastern European, African and Pacific Island cultures. The National Folk Festival is truly the ultimate tour of folk music around the world.

It’s heralded as the “oldest and

longest-running multicultural festival in the nation”; The National Folk Festival; is happening again Labor day weekend. Traditionally, the festival changes host cities every three years, and this year it has settled

in Nashville, TN. The stint will carry it through its 75th celebration in 2013.

September 2nd – 4th marks the 73rd installment for this free event created by The National Council for the Traditional Arts (NCTA) in1934. Attendees can enjoy performances by legendary masters (Samba Mapangala & Orchestre Virgunga, The Holmes Brothers, Dale Ann Bradley) as well as the next generation of dynamic young artists (Özden Öztoprak, Genticorum) as they celebrate the musical roots of America.

The festival features authentic blues, gospel, jazz, polka, cow-

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The festival celebrates the deep rich culture of folk art, customs and music that make this country so colorful and diverse. Folk arts are “those deeply held grassroots cultural expressions – music, dance, crafts, stories and foodways – passed down through time by families, communities, tribal, ethnic and occupational groups.” The focus of the festival’s programming is to embrace the heritage and

traditions of all Americans – “from those whose families have been here for centuries to those of our country’s most recent immigrants. Legendary masters as well as the next generation of dynamic young artists celebrate the musical soul and cultural roots of America ”

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For more information, visit www.nationalfolkfest.com.

Check out: www.AmericanaRhythmWeekly.com for more great stories like this!

We’re all over the web!

October 2011

Asheville. Among the songs he recorded that day was “Lovesick Blues.”

By Wayne Erbsen

Lovesick Blues It was Saturday night, June 11, 1949 when twenty-five year Hank Williams walked on to the stage of the Grand Ole Opry for the first time and began singing “Lovesick Blues.” The audience was electrified. No other performer had ever been brought back to the stage of the Grand Ole Opry for a six encores like Williams did that night. With is debut of “Lovesick Blues” a triumphant Hank Williams basked in the glow of his nowfound fame. Meanwhile, Emmitt Miller, who first recorded

“Lovesick Blues,” sat at home, completely forgotten and down in his luck.

Turning back to the mid-twenties, when Hank Williams was only a toddler of two years old, it was Emmett Miller who was riding high.

His career as a black-faced vaudeville star was going nowhere but up.

Stopping in Asheville, North Carolina, Miller played to capacity crowds at the Majestic Theater on the corner of College and Market Streets. On September 1 of 1925, Miller participated in Okeh Records’ first field recordings at the newly-constructed Vanderbilt Hotel in downtown

Although “Lovesick Blues” was a career-changing song first for Emmett Miller, and then for Hank Williams, neither of these powerful musicians wrote the song. Instead, credit for this 1922 composition goes to Irving Mills (lyrics) and Cliff Friend (music). Both Mills and Friend were key players in the New York City songwriting/publishing industry known as Tin Pan Alley.

Along with his brother Jack, Mills built a publishing company that would be the envy of the entire music world. Their publishing empire was a key factor in promoting the careers of such recording artists as Hoagy Carmichael, Cab Calloway, Duke Ellington, Jack Teagarden and Benny Goodwin.

Wayne Erbsen’s is Director of the Appalachian Music Program at Warren Wilson College in Swannonoa, North Carolina and president of Native Ground Music, which produces recordings and books on old time music. Wayne is an active teacher of banjo, fiddle, mandolin and guitar. Contact Native Ground Books & Music, 109 Bell Road, Asheville NC 28805 (800) 752-2656. http://www.nativeground.com/ Free catalog available.

These are the lyrics as sung

by Emmett Miller on September 1, 1925 Well, I'm in love, I'm in love with a beautiful gal That's what's the matter with me I'm in love, I'm in love with a beautiful gal But she don't care about me To make her love me I tried Lord, I was sad and I cried But she just refused And ever since my mama's gone away, I've got them lovesick blues I got a feelin' called the blues since my mama said goodbye It seems I don't know what to do, all I do is sit and cry, oh Lord That last long day we spent alone I'm yearning for again It thrills me, fills me, with a kind of lovin' I never will forget The way she called me sweet daddy Was just a beautiful dream I hate to think it's all over I've lost my heart it seems, oh Lord!

I got so used to her somehow I'm nobody's cracker papa now, it's awful when you're lonesome You got them lovesick blues, oh Lord!

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Sweethearts Of Bluegrass

I find it so refreshing to encounter young artists in the Americana/bluegrass field like Darin and Brook Aldridge. Unlike many young artists from pop music scene, gone is pretense, and the drama and, the Hollywood glare. Instead, you find good hearted, down-home, humble folks just chasing a dream and grateful for the opportunity to get heard.

Tom T. and Dixie Hall recently referred to them as the Sweethearts of Bluegrass.

The two newlyweds from Avery County North Carolina have burst onto the bluegrass scene with a charm and character, and a sound that is likely here to stay. Bluegrass Unlimited described their Gospel recording I’ll Go With You by saying that they “set a new standard of excellence in bluegrass gospel.” I got a chance to find out a little more about this delightful duo when I caught up with Darin a few mouths ago after their return from a festival in Vermont.

High School To Gents

Darin told me that he went into music straight out of high school, playing and traveling a short stint with a band called Acoustic Syndicate.

FromInthere terna he worked t io nal at a Ftheme o l k park A lin l i en c e Blowing Confe Rock, enceNC r with several area pickers including Jason Burleson from Blue Highway fame. That took him through the fall of ‘99, when he was hired by the Country Gentlemen. Darin stayed with the famed Gents until founder Charlie Waller passed in August 2004.

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“I got to do a lot of really neat stuff playing with the Gents,” Darin told me. “We played all the major festivals and even a president’s inauguration. It was just a really great experience for me. We were all real close with Charlie, you know, it was like a little family. I really got to learn

a lot about the business working with Charlie and the Country Gentlemen. Things like how to deal with the different promoters and festivals, and song and set arrangements.”

Darin met Charlie in Ashville, NC at the SPBGMA bluegrass awards where he was in a bluegrass competition. The guys heard him playing and singing,

and when the opportunity arose, they called him in for an audition and he got the job. “I was with them for seven years,” he recalled. “He passed in August, and we finished out the bookings with his son Randy into the early part of 2005.”

A New Chapter

Some of the remaining band members stayed together and formed a band called the Circuit Riders. “We cut one album after Charlie’s passing.

We played a few festivals but the energy just wasn’t there.

We’d all traveled so much in the past with Charlie and some other bands that we were actually enjoying the laid back approach and taking our own pace with the band.”

Along about that time Darin met a singer named Brooke Justice in a church in the mountains in North Carolina.

“It’s where both of our families are from; near Avery County. Her family knew my family and they told her about me; she had been singing all her life either in bands or competitions. People kept trying to hook us up for about two years to sing together, and one day God just worked it out.”

By Greg Tutwiler

Darin and Brooke started dating after they had been singing together for a while. “She was in a band, and they would have me come in and sit in with them at times,” Darin recalled. “We started singing together and performing in church and fairs and other events around the area. People heard we were singing together and kept calling us. The closer we got, I would bring her with me when I was doing some Circuit Rider gigs, and the guys would get her up to sing a few numbers with us. We’ve always just had a very good blend with our voices. And we liked singing together, so we decided we needed to do this on our own together.

That led to our first CD, a gospel album. I was ready to work more than the Circuit Rider guys wanted, and Brooke was getting ready to graduate from college. She was ready to pursue a music career like she had always wanted, so the timing seemed right for the move. So we just struck out together, and our marriage just flowed right along with it.”

The Next Level

In 2010 Jerry Salley brought the duet to Nashville to cut their first traditional bluegrass CD. The album did really well with

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the single reaching number two on the Bluegrass Unlimited charts, and number four on the national album charts. “So we were really pleased with that,” Darin said. “It was number one on Sirius and XM for two

named us the Sweethearts of Bluegrass, and that has helped us with notoriety.”

Darin considers them progressive type singers that do a little harder style of bluegrass. “It’s just us. We do what we like. But I guess we’re not one hundred percent traditional. It’s a traditional sound with a new edge to it. We mix in old country duets like Porter and Dolly, to hot band numbers, to gospel which is real thick in our roots. And we’ve got a new Americana flavor to this new album. (August 16th)”

Branching Out

months in a row for their most played song and album for August and September of 2010.”

And the two just hooked up with Sun Drop as a tour sponsor.

“We’re getting to do a lot of really neat things this year working with those folks.

They’ve been a Carolina/regional soft drink for years, and are looking to take the brand national. So we are getting to play some neat promotional type gigs with them. So we’re able to reach a lot of new people that might not have heard us otherwise.”

Darin also credited Sirius and XM as being instrumental for them as well.

We go to these festivals and folks who’ve never seen us before are singing along with our music because they’ve heard us on the satellite, and ordered our CD. Without a doubt it’s been a huge part of our growth.”

“This year has been our busiest touring schedule so far,” he told me. “We’ve almost doubled from where we were last year.

We played close to 20 dates on the road in May (2011) alone.

We’ve been all over, including a recent festival in Vermont. Tom T. And Dixie Hall recently

Jerry’s

Perhaps you’ve heard Darin and Brooke Aldridge. If so, I think you’ll agree that the two have all the makings of a long term duet that will leave a significant impression on the bluegrass music scene, and set the stage for those younger musicians who will follow in their footsteps. And if you haven’t, you owe it to yourself to check them out. You’ll be able to say I knew them when

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WeCanPublishYourBook.com

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October 2011

Rebel With A Cause Since 1960, Rebel Records, an

independent label based out of Central, VA, has been putting out the “Best in Bluegrass.”

Artists who have put out recordings for Rebel include legends like Ralph Stanley (who is still on the label), Tony Rice, The Seldom Scene, Del McCoury, Ricky Skaggs, and the Lonesome River Band. Though the rapidlychanging music industry continues to present challenges for independent labels, Rebel Records means to continue seeking out rising stars in the bluegrass world, as well as to continue putting out new music from your old favorites.

A Label with a History

A man by the name of Dick Freeland started Rebel Records in 1960 in Maryland. The label was started casually, and the records were often sold to stores on consignment, however, the business grew. Freeland had been working closely with a mail order company that specialized in bluegrass and old-time

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By Ryan Barbarsky

records called County Sales, which was owned by Mark Freeman’s (the current Rebel president) father Dave Freeman.

When Dick Freeland got to the point where he was ready to

college, so like the mid-nineties.” The company was located in Roanoke at that point, but the Freeman family “just fell in love with the [Charlottesville] area” when Mark’s sister was at UVa.

move on, it made sense to sell Rebel to someone who knew the business well.

So, they decided to move the business.

So, in 1980, the business transferred over to the Freeman family, who still runs it today.

Mark Freeman, the current president “started with the company just a year or two after

Mark Freeman recalls just how much work it was to relocate: “It was a big transition because not only did my folks have to move, but we had to move the whole business too. We spent a year driving down to Roanoke. We

bought some land by the airport and we built a warehouse. While they were doing that, we were going back and forth down to Roanoke for a whole year. That was a little tough. Our building now has been standing for about 10 years.” And that is where Rebel is still located.

Independent Label

An “indie” label like Rebel helps its artists with a plethora of things, a lot of which is in the PR and media realm of the music business. When an artist signs, with Rebel, they usually sign what Freeman calls a “one record deal.” Unlike a giant label, Rebel is not interested in trapping an artist for an extended period of time; they work album to album so that both parties feel free to move on if need be.

President, Mark Freeman says that Rebel Records takes care of contacting “media people, radio stations, we press the CDs, so the artist doesn’t have to worry about that stuff. They don’t have to worry about setting up radio tours or radio interviews, I mean we want the artist to be active, but we can lay the

October 2011

groundwork in setting that stuff up.” The label basically takes care of a lot of the extras so that the band or artists can mostly focus on creating music.

Because Rebel is still relatively small (in size, not scope!), Freeman is personally responsible

of these other kinds of bands.

But, right now, I’m torn. Right now, my heart is with the Dave Evans’s, the Larry Sparks’s of the world. Not many younger folks are doing the hardcore stuff.”

Right now, Freeman is happy to sign a new artist or two every

“What

we do is traditional bluegrass, and as long as there’s still an audience for it, we’ll keep tracking it down and putting it out.” for taking care of all the artists on the label, and he has a staff of just four helping him. He likes to have about ten groups on the label at one time.

year. Though he’d like the record label to keep growing, he recognizes that the music industry may not necessarily allow for it.

Freeman also greatly believes that it is important for the artists to get along with him and his staff: “We potentially go after artists we like musically, and more important, that we like personally, that we can work with. There are some bluegrass divas out there (and I’m not talking specifically female); we try to stay away from that.

Sometimes you don’t realize they’re like that until you work with someone closely.”

Though it may seem contradictory, it is becoming increasingly important for small labels to keep up with modern technology and expectations, even if they are putting out “traditional” styles of music. Rebel has its entire catalog on iTunes and continues to re-release tunes in box sets and on “best of’ albums.

And they will continue to search for young bluegrass bands that can capture the hearts of a younger audience.

Strictly Bluegrass

Rebel Records prides itself on putting out traditional-style bluegrass music, and they are always looking for new groups who are following that path musically. Their most wellknown artist currently is bluegrass legend Ralph Stanley.

However, they recently signed a young band out of Ashville, NC called Dehlia Low, which Freeman says is the “most progressive or contemporary group” they have on the label.

Though his passion is traditional bluegrass, Freeman admits that there may be a time in the future when Rebel may have to start branching out musically: “In bluegrass, for the most part, the demographic is over-40’s. Since we’re releasing traditional bluegrass, we may have to make a decision at some point where, in order to stay afloat or keep relevant, we’ll have to sign more

Keeping With The Times

Mark Freeman plans to keep on keeping on, as long as people still want to hear the music Rebel is putting out: “What we do is traditional bluegrass, and as long as there’s still an audience for it, we’ll keep tracking it down and putting it out. Hopefully the audience will always be there.”

You can check out Rebel Records online at www.rebelrecords.com, where you can find info on new releases, new artists, and label news. You can also purchase any record put out on Rebel from their site or from www.countysales.com

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October 2011

East Coast Piedmont Blues Written by UNC Asheville students enrolled in the Liberal Studies Introductory Colloquia, “The Art of the Blues” (Fall 2005) and “Jazz and Blues in American Culture” (Fall 2003) Supervised by Project Advisor: Bryan Sinclair.

Elizabeth “Libba” Cotten

By Samantha Bibeau and Aaron Melcher, former UNC Asheville students

Elizabeth Cotten was born in

vorced, however, and in 1947 Chapel Hill, North Carolina.

Elizabeth moved with her daughter Though it was some sixty seven to Washington D.C., where she years before she would begin her ended up working for Ruth and professional career, her musical Charles Seeger. Through their sense was exposed and developed friendship and support, Cotten from a young age. The youngest of picked up the guitar again after five children, Elizabeth grew up nearly twenty five years. and around eight years old began playing her brothers' banjo, and In 1957, Cotten began recording eventually their guitar, which they with the help of the Seegers and tried to hide from her. Self taught, cut her debut album, Folksongs & Elizabeth had a Instrumentals. Though natural talent and it is she didn’t receive believed she could much immediate play a newly-learned commercial success, tune after hearing it Cotten played domesonly once. At eleven, tically at various Elizabeth quit school colleges and folk and saved up for her festivals with the likes first guitar. She of major blues figures needed a year before like Muddy Waters.

Photo Courtesy of Arhoolie Records. Her respect among the writing perhaps her most famous song, blues and folk com“Freight Train”, which influenced munity steadily increased and in many local Piedmont blues 1970 she began to actively tour. musicians. The song was recorded Cotten’s music was uniquely "prefirst by Peter, Paul, and Mary, and blues;" in fact her professional since has been reproduced by such debut was as a folk singer. Her artists as the Grateful Dead. unique alternating bass style is Cotten played at family gatherings, known as “cotten picking” and church gatherings, and house considered very influential among parties where her music gradually guitar finger pickers. Cotten used a became exposed to the greater normal guitar and played it left blues community. One of her handed; she adapted to this songs, "Ain't Got No Honey Baby inverted version and would play Now," was in fact recorded by the bass pattern with her fingers, Blind Boy Fuller under the title using her thumb for the melody.

"Lost Lover Blues" in 1940.

Cotten became more recognized as Marriage brought change in her career progressed and continCotten’s life. Her husband Frank ued to tour throughout the 1970s Cotten, daughter Lillie, and the and early 1980s. In 1985, Cotten religious community would recorded Live!, which would go on eventually cause her to cease her to win a Grammy for best tradipursuits in a musical career. tional folk music recording. She Persuaded to leave North Carolina, also won a National Endowment Cotten moved with her family to for the Arts National Heritage open a chauffeuring business in Fellowship award. Ms. Cotten died New York. She and Frank diin 1987 at 95 years old.

“Influenced by ragtime, country string bands, traveling medicine shows, and popular song of the early 20th century, East Coast Piedmont Blues blended both black and white, rural and urban song elements in the diverse urban centers of the Southeast and mid-Atlantic region. In contrast, the Delta blues style of rural Mississippi is believed to have less of a white influence, as it was produced in a region with a higher concentration of African Americans. Although it drew from diverse elements of the region, East Coast Piedmont Blues is decidedly an African American art form. The Piedmont blues style may even reflect an earlier musical tradition than the blues that emerged from the Mississippi Delta.” http://toto.lib.unca.edu/sounds/piedmontblues/

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Teaching Mountain Music

October 2011

A Long Way from The Mountains “ T he hills are alive with the sounds of music”. Hills? Wait a minute, music maybe, but there are not blue and smoky Appalachian hills in Kansas. No hills, but you still can hear sounds of (Appalachian style) music. Yes, the sounds created by fiddles, mandolins and other string instruments are loved there too.

Down at the southern end of Lawrence, Kansas and on Topeka’s west side, there exists a unique place—a place that you would more quickly expect to find in western North Carolina. This place is The Americana Music Academy (AMA). Yes, I know, generic music academies can be found all over that teach voice and piano and other refinements of the arts; however, this place is different. It teaches Americana. With a mission statement that states “Teaching the Music America Plays and Serving Community through Music” AMA is a place for all musicians be they beginner or professional; a place where

they can learn to play, to jam, to teach; and a place that provides musical opportunities to the community.

enough, AMA provides music therapy for the disabled community in Lawrence and Topeka.

By Edward Tutwiler

other's musical horizons and spread the word about America's roots music be it blues, bluegrass, folk and, yes, even jazz and rock.

I recently contacted Ms. Diane Gillenwater, who is the current director of AMA, and asked her to tell us a bit about this very unique place. She began by telling me that the AMA was started about 10 years ago by guitar player and teacher, Thom Alexander. He has just recently stepped down as director and Ms. Gillenwater is picking up the task of running AMA. Alexander does plan to continue teaching part time and do some writing.

AMA offers group and private music lessons in a relaxed setting that is taught by some of the regions best and respected pickers, players, singers and songwriters.

And if that is not memorable

Like No Other

This unique academy has become a focal point for musicians throughout the region. They gather here to jam and feed off each other. They do this with a two-fold purpose: to expand each

She related that the AMA teaches all styles of music according to what the students would like to learn. Here’s how she described what is going on, “We do a lot of Bluegrass, Blues, Celtic, Folk and Rock styles. Some of our students have gone on to become professional players and some are now continued

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October 2011

Academy cont. teachers themselves. We have a big three story1900's era house on the main drag in Lawrence and the house has a wonderful ambiance for playing music with it's old wood floors and plaster walls.

We have several lessons going most all the time somewhere in this old house. In Topeka where we are just getting started, we house in the lower level of a turn of the century Presbyterian Church. The congregation is very small and only uses the main level, which gives us lots of room to teach and play. We have even added the Americana Art Academy at our Topeka Location and have a couple of art classes for kids and adults there.”

Currently, there are approximately 80 to 100 students per week in private lessons in guitar, fiddle and violin, banjo, mandolin, bass, piano, voice and drums.

In addition, AMA holds weekly community acoustic jams at both locations on Saturday afternoons and a monthly gospel jam in Topeka. They also hold a weekly beginners jam in Lawrence. Further, they are in the process of creating a youth jam as well.

Multiple Choices

AMA offers three different methods of learning: private individual lessons where students get personal attention that is so beneficial to musical growth; group classes with three or more students per class work toward a common goal; and music therapy classes, either private or group, where trained Music Therapists assist or motivate a student toward specific non-musical goals.

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Who Does It

I asked where the teachers and students come from and Diane told me, “We get our teachers and many of our students by word of mouth, and we do limited advertising. Lawrence, Kansas is a college town and home to Kansas University so there are lots of

young families with children and adults that are interested in learning to play or continuing to play.

We have students from 6 years old to 75 years old.”

Of course, funding such an altruistic endeavor as the AMA is always a concern. The Americana Music Academy is a non-profit 501c3 organization with the main purpose of teaching the music America plays and serving community through music. Ms. Gillenwater also said, “We have a few events every year for fund raising including a community Christmas show, a summer music festival, local farmer’s market appearances and more. We receive some private funding and a little from grant writing.” We make money teaching lessons and we will try to continue to offer scholarships to kids and people who cannot afford lessons and instruments. Our teachers donate their time to teach those in need. I have two scholarship students myself.

It's just part of what we do.”

Vision For Future

I asked Ms. Gillenwater to sum up her vision for the AMA. Here is how she stated it, “Our goals are to continue to grow our student base and hopefully expand into

other communities in Kansas.

There is a real need especially in our rural areas for music lesson opportunities and we can offer a paradigm that has worked. If someone is a teacher and they can find a building in which to teach, they can easily start these music academies in smaller towns. It can provide a good living for music teachers and music for the outlying communities. We know that we are laying groundwork for the future so that the people of Kansas will have a place to learn and play Folk or Americana Music styles. It doesn't happen overnight but it will be in place for future generations to enjoy and sustain.”

I suggest to you, gentle readers of Americana Music Magazine, if this Americana Music Academy works in Kansas a long way from these blue, smoky mountains that we love so much, it might work here too. Any musical entrepreneurs out there interested? Get in touch with Ms. Diane Gillenwater at 785-249-8830. You can write to the Americana Music Academy at: 1419 Massachusetts St., Lawrence, KS 66044; or you can send an email to: info@americanamusicacademy.org

October 2011

Restored Recordings From A Music Legend R icky Scaggs commented re-

cently how he delighted in the memory of the day when bluegrass and country music could be heard on the same radio station.

Times were certainly different then. Broadcasted music was in its infancy. And fans were, for the first time, getting choices in their music. Folks like Bill Monroe were laying down the foundation for bluegrass, and Hank Williams was paving the way for the future of country music.

So, for fans of the genre, especially those who’ve been enjoying this music for most of their lifetime, the discovery of previously unreleased material from any legendary artist is worth taking notice. And Hank Williams Sr. is no exception. Preservation technology then was even newer still, and to find material from any artist of that era is music to fan’s ears.

Time Life and the Estate of Hank Williams has recently announced that on September 13, 2011 they will release newly discovered historic Williams’ recordings that have been meticulously restored

with state of the art technology.

The collection titled, Hank Williams: The Legend Begins, is a 3CD package containing one disc entitled “Rare And Unreleased,” which contains the earliest recordings of a 15-year-old Williams and four songs from a home recording in 1940. The other two CDs are from Williams’ first syndicated radio show in 1949, Health And Happiness, that have also been restored. According to the press material, you will be about to hear Williams’ performances as they were originally heard more than sixty years ago.

These recordings are a God send and very special to me and Hank’s fans.”

“Talk about a discovery!,” exclaimed Hank’s daughter, Jett Williams. “The first recording of my dad when he was fifteen was given to me decades ago, and then the 1940 home recordings followed a few years later. My husband Keith and I finally got up the nerve to get with the best sound people in Nashville to see if we could salvage these extraordinary recordings. It worked! We did it!

What a special treat for music lovers around the world to listen to the talent of an evolving genius.

“Hank continues to speak to and entertain us across the generations,” says Mike Jason, Senior Vice President of Retail, Time Life.

“These recordings give us a rare and special insight as this American music giant begins his career.”

This is the first time these recording have been heard since 1938.

Hank Williams had started building a local following in Montgomery, Alabama at the time and the songs are said to display an incredible confidence at such a

young age. Additionally, on these early recordings Williams is joined by his long-time pal and accordionist, Pee Wee Moultrie.

A 1940 home recording shows how much Williams’ voice had matured in two years when he rocks out to four classics of American music; Freight Train Blues, New San Antonio Rose, St. Louis Blues, and Greenback Dollar. The songs ultimately ended up in the possession of Jett Williams, and the tunes show a wide range of musical styles from an ancient Appalachian song to popular charted hits of the era.

Also included on the “Rare and Unreleased” CD is an additional program. The March Of Dimes show features several songs and a touching monologue from Williams, in which he talks about the fear of polio that blighted every summer in the early 1950’s; in particular, he expresses his concern that Hank, Jr. might contract the disease. Williams died on January 1, 1953, shortly before the cure was announced that ended the scourge

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October 2011 Spring 2011

AUGUST Bluegrass In The Blueridge August 4 - 6, 2011 Luray, VA www.bluegrassinluray.com

Highland Jam August 26 - 27, 2011 Elkins, WV (304) 642-2351 www.highlandjam.com

SEPTEMBER

Appalachian String Band Fest August 3 - 7, 2011 Clifftop, WV (304) 558-0220 www.wvculture.org/stringband

Grottoes Family Bluegrass Festival September 8 - 10, 2011 Grottoes, VA www.bluegrassingrottoes.com

75th Old Fiddler’s Convention August 8 - 13, 2011 Galax, VA www.oldfiddlersconvention.com

25th Rockbridge Mountain Music & Dance Festival September 9 - 10, 2011 Buena Vista, VA (540) 291-2414 www.rockbridgefestival.org

Oak Grove Folk Music Festival August 5 - 7, 2011 Verona, VA www.oakgrovefestival.com Stoney Creek Bluegrass Festival August 12 - 13, 2011 Greenville, VA www.stoneycreekresort.net

Pickin’ In The Panhandle September 9 - 11, 2011 Martinsburg, WV (304) 264-8801 www.panhandlepickin.com

Mountain Music Festival August 12 - 14, 2011 Pops PopsWaynesboro, VA Stoneman Stoneman www.waynesborodowntown.org

Jumpin’ Bluegrass & Virginia State Bluegrass Championship September 15 - 18, 2011 County Fair Grounds, Chesterfield, VA (804) 347-2925 www.vafolkmusic.org

Blue Ridge Mountain Music Fest August 13, 2011 Wintergreen, VA (434) 325-8292 www.wintergreenperformingarts.org

Bristol Rhythm & Roots Reunion September 16 - 18, 2011 Bristol, VA (423) 573-4898 www.bristolrhythm.com

Central VA Family Bluegrass Fest.

August 18 - 20, 2011 Amelia VA www.ameliafamilycampground.com

Watermelon Park Fest September 22 - 24, 2011 Berryville, VA (304) 839-2439 www.watermelonparkfest.com

Vinton Old Time Bluegrass Fest.

August 19 - 21, 2011 Vinton, VA (540) 345-8548 Mr. Bs Bluegrass Bluwout August 26 - 28, 2011 Ladysmith, VA (804) 449-6350 www.mrbspark.com

Nothin’ Fancy Bluegrass Festival September 22 - 24, 2011 Buena Vista, VA (540) 461-0954 www.nothinfancybluegrass.com Fortune-Williams Music Festival September 23 - 24, 2011 Staunton, VA www.fortunewilliamsmusicfestival.org

List Festival Event Here info@AmericanaRhythm.com

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OCTOBER Big Lick Blues Festival October 1, 2010 Roanoke, VA www.biglickblues.org Aiken And Friends Fest September 30 - October 1, 2011 Smith Field, VA www.aikenandfriendsfest.com Crozet Music Festival September 30, October 1 - 2, 2011 Crozet, VA www.crozetmusicfestival.com Norton Wine & Bluegrass Festival October 1-2, 2011 Petersburg, VA www.chrysaliswine.com/ Mountain Magic Bluegrass Festival October 1, 2011 Buchanan, VA www.townofbuchanan.com Shakorihills Grassroots Festival October 6 - 8, 2011 Pittsboro, NC www.grassrootsfest.org Richmond Folk Festival October 14 - 16, 2011 Richmond, VA www.venturerichmond.com The Festy Experience October 7 - 9 , 2011 Nelson County, VA www.thefesty.com 40th Home Craft Days Festival October 14 - 16, 2011 Big Stone Gap, VA Blue Ridge Folk Life Festival October 22 , 2011 Ferrum, VA www.blueridgeinstitute.org

October 2011

All4Hym Bluegrass Band For 15 years, The gospel bluegrass themed All4Hym has been known for having a creative, fresh and unique sound as a band full of heart and love for God, family and people. Their eighth CD release is approximately titled Faith & Family and marks their first project with Rural Rhythm Christian Records.

Since its inception, Virginia based All4Hym has been gaining popularity not only in Virginia, but other states as well including West Virginia, Pennsylvania, Ohio, Maryland, North Carolina, Kentucky, Florida and Tennessee. And more recently the group has gained overseas in Germany, England, France and The Netherlands.

Singer Terri Kreitzer says, “All4Hym has always followed the mantra that if a song deeply touches you; makes you cry or makes you feel-period, then it’s a keeper for our album.” While the group’s main focus has been Gospel Bluegrass, They have begun to mix in some of the more traditional Bluegrass songs as well.

The group is comprised of Chester & Terri Kreitzer and their son, Cory, who also sings and plays mandolin. And they are backed by a powerful acoustic ensemble including long time band members; Aaron Murphy (Lead guitar), Dan Murphy (bass), and Troy Stangle (Banjo & Dobro).

They have shared the stage and/ or have been the opening act for groups such as Doyle Lawson & Quicksilver, The Churchman, The Cherryholmes Family, The Seldom Scene, The Lonesome River Band, The Issaacs, Rhonda Vincent, Larry Sparks, and more

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www.All4Hym.com

The Zinc Kings University of North Carolina Greensboro students Christen Blanton, Dan Clouse and Mark Dillon formed their group The Zinc Kings originally as a sideproject in the fall of 2010. The

young musicians realized that while they loved Appalachian music, they recognized that there seemed to be an absence of the music of the North Carolina Piedmont style.

Music from that region of Carolina tends to be more heavily influenced by the blues tradition, and shows up in the music that generates from that area of the country.

It seemed like a natural transition for the band and the desire to help preserve the unique musical culture led to the final musical direction. They quickly found themselves overwhelmed by the demand for music from the North Carolina Piedmont.

Each the three founding members have long backgrounds in music.

Blanten is a professional viola player, Dillon a longtime songwriter and Clouse a professional tuba player. Very few of these skills make it into the Zinc Kings but their experience in playing the music is reflected in their lively performances.

Since their inception in the fall of 2010, The Zinc Kings have seen a consistent run of non-stop performances at local venues and regional festivals. And in the summer of 2011 The Zinc Kings became the house band for the North Carolina State University (NCSU) Theaterfest production of Where Music Kills Sorrow.

In the spring of 2011 The Zinc Kings released their self-titled debut album of the same name.

Recorded over the course of a extended weekend, with no overdubs and two microphones, the is an accurate representation of The Zinc Kings live perfor-

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mances

www.TheZincKings.com

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October 2011

Music From The National Scene

Music From Your Neighbors As mo re a nd more peopl e di sco ver AR Ma ga zi ne, mo re a nd more groups and labels are getting in touch with us - Here are some of our favorite picks! Some tell me this is their favorite page - cool! I know the artists like to hear that. We give you a web link as often as possible so you can listen and decide for yourself. Try iTunes too. If you discover something you like - tell them AR Magazine sent you!

www.lhway.com Got Away With Murder is the latest project from Romney, WV quintet Lonesome Highway. Great songwriting and tight harmonies make this popular festival band one to take note of. Put ‘em on your list of bands to check out

Dehlia Low Ravens & Crows www.dehlialow.com It’s bands like Dehlia Low that help define the Americana/ bluegrass genre. Another Ashville, NC group, this gang serves up a haunting set of mountain flavored soul on this new project. I love this new CD. Great stuff

Audie Blaylock and Redline I’m Going Back To Old Kentucky www.rebelrecords.com Audie Blaylock is no stranger to bluegrass music, having spent time with Rhonda Vincent and Jimmy Martin just to name a few. Audie’s high tenor vocals are as smooth as butter on this new collection. It’s a must add for your collection

Sweetback Sisters Looking For A Fight www.thesweetbacksisters.com Wow! What a cool set. Rocka-billy, country swing, western folk, and plenty of twostep grooves make for a completely unique sound. The Sweetback Sisters took me by surprise, and I love it! You gotta check these gals out

The Twilite Broadcasters The Trail Of Time www.twlitebroadcasters.com Said to sound like a cross between BR549 and The Carolina Chocolate Drops, The Twilite Broadcasters need no comparison. Their pickin’ sets them apart and the vocal harmonies a great compliment to the unique blend

David LaFleur Them Bones www.davidlafleurmusic.com Hot guitar pickin’ singer/ songwriter David LaFleur’s new CD, Them Bones, is a seasoned collection from the 20 year music vet. A mixture of Appalachian folk, blues, and unique humor; David’s live shows are a real treat

Michael Martin Murphy Tall Grass & Cool Water www.ruralrhythm.com Murphy’s last two CDs leaned in the bluegrass direction; Tall Grass & Cool Water continues to blend cowboy music with grass flavors with great success. This new collection of cowboy grass tunes just might define a new genre

The Berrys Fairmont Station www.jtheberrysmusic.com Philly based folk rock band The Berry’s new CD Fairmont Station is a pleasant feel-good collection of “driving home songs.” Pop folk music fans will enjoy this collection. My guess; it’s a great live show too

Johnson’s Crossroad www.johnsonscrossroad.com Often referred to by friends as anything from “Appalachian Soul,” to “Hillbilly Me ta l,” Jo hn so n’s Crossroad’s Paul Johnson cites a John Hartford performance as the catalyst for this alternative mountain group from Ashville, NC. Fun stuff

Michelle Nixon & Drive A Place I Belong www.michellenixon.com This award winning vocalist is back with a new project that was worth the wait. A Place I Belong; an autobiographical title, is a great collection of hard driving grass from a very talented Virgina gal. Welcome back Michelle

Ricky Scaggs Country Hits Bluegrass Style www.scaggsfamilyrecords.com What can you say about a veteran like Ricky Scaggs. He pretty much revived the bluegrass industry in the 80s with his unique Nashville/Country flavored style. His new CD brings back some old hits

withnewtwists. Loveit.

Cumberland River The Life We Live www.Cumberland-River.com You know you got something good when you click on the tube and hear your music on a hit TV show - six songs of FX’s Justified. This young progressive grass sounding group has bright future ahead

Nu-Blu The Blu-Disc www.nu-blu.com Another great Carolina bluegrass band; out with their sophomore project - Nu Blu is part of the family of newer progressive grass sounds.

Certain to gain plenty of positives with this new disc, they’re another to watch

Dale Ann Bradley Somewhere South Of Crazy www.compassrecords.com Three time IBMA winner, and Kentucky native Dale Ann Bradley has a sound that is distinctively all hers. Considered one of bluegrass music’s vocal treasures, her new CD, Somewhere South Of Crazy, is delightfully refreshing

CD Submission: Americana Rhythm Magazine, PO Box 45, Bridgewater, VA 22812.

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Lonesome Highway

Got Away With Murder

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

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October 2011

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