Americana Rhythm Music Magazine Issue #100

www.mikeandamyaiken.com

WhatKeepsYouGoing

Firstofall,aBIGCongratulations toGregTutwilerandAmericana Rhythm Magazine! You are reading the 100th issue right now!

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

As the end reader, you may not see the work that goes into producing a magazinelikethis,printdeadlines,little thingslikeCovidtodealwith,howto finance it, and find writers and advertisers to help keep it going. It reallyisaworkofdedicationandlove of music.After all, thatdedication is whywemeetonthesepages,isn’tit? We share a love of music - playing, performing,writing,producingit?

the same with us. This year is on the schoonerGraceBailey.Shewasbuilt in 1882 and happily plies the waters of Penobscot Bay. We go out for a week of three unplugged shows on deck, incredible scenery, beautiful sailing on flat water and great food! We all tell stories, laugh a lot, hang out and maybe even write a song.

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

Living The Next Song

Americana Rhythm is published six times a year.All correspondence should be sent to PO Box 45, Bridgewater VA, 22812 or email to greg@americanarhythm.com. Copies of Americana Rhythmaremadeavailablefreeatvariouspickuplocationswithin thepublication’sregion.SubscriptionsareavailableinsidetheUnited States (only) for $24 US currency made payable by check or money order sent to, Subscriptions at PO Box 45, Bridgewater, VA, 22812. Foreign subscription requests should be sent to greg@americanarhythm.com. Copyright 2022. All rights reserved. Reproduction of any content, artwork or photographs is strictlyprohibited without permission ofthe publisher or original owner. All advertising material subject to approval.

PUBLISHER/EDITORINCHIEF

GregE.Tutwiler

AssociateEditor EdTutwiler

MARKETING&PROMOTION

MarkBarreres(GrassRootsNetworking.com)

ADVERTISING

Businessoffice 540-433-0360 advertising@americanarhythm.com

CONTRIBUTORS

Ed Tutwiler

Wayne Erbsen

DonnaUlisse

MikeAiken

Andrew McKnight

DanWalsh

Rebecca Frazier

DISTRIBUTION NorthRiverPublishing IntegratedMusicMedia

Letters, Comments, Suggestions greg@americanarhythm.com www.americanarhythm.com

SUBSCRIBE TODAY! Send us your name and address along with your checkormoneyorderfor$20for6issues,madeouttoAmericanaRhythm, toPO Box45, Bridgewater, VA, 22812. (PLEASE PRINTCLEARLY)You canalsosubscribeViaPayPalonlineatwww.AmericanaRhythm.com

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100issues…Ihaven’tbeenwithAR for all 100 issues, but I can measure mytimeinyears.Mygoalhasalways been to entertain you, share some stories and lend hard-earned advice gained from my experiences. I consider it a win if I can inspire you onyourmusicaljourney.

What Keeps You Going?

Each year someone asks me, at least once, ‘what keeps you going?’ The answer isn’t simple. But it does boil down to a love of the road and everythingIseeandexperienceonit. Itrust that comes out in mymusic. It is the joy of being able to touch someone’s heart through a song or story.Itisthepleasureandfrustration of always trying to be a better writer and player.

This article finds me writing from Amy’s sister’s house in Frederick, Maryland,onourwaytoourthird fans and friends cruise aboard a Windjammer schooner out of Rockland,Maine.Itisawayforusto spendup-closeandpersonaltimewith friends and fans, and for them to do

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So,weareonarunfromourhomein Norfolk, Virginia to Maine. We will beouta weekthenreturntoNorfolk. We’ll have five days to unload and reloadforathreemonthruninEurope. This will be almost four months of traveling,preforming,playingmusic, meeting new people and seeing old friends/fans and making new friends and fans.Allgoodstuff!

Willtherebemishaps?Iamsurethere will - always are …Will there be missedorcancelledflights?Ihopenot but who knows? Will there be breakdowns?Ifso,theywillnothave beenthe first.AmIdyingtogo?You bet your sweet behind I am! Will I comebackwithmorestoriesforyou? I most certainly will! Catch us live every Wednesday on Facebook live, and wewilltake youwith us.

I would like to thank a couple of the companies that have been over-thetop supporters. TKL cases, and Takamineguitars;thanksguys,you’ve beenwithuseachtripandeverymile.

Until next time please keep sending usyourcommentsandkeepthemusic alive. Be good to each other.

HittingA Mile Stone

Firstly, Thank you Mike Aiken (see opening article to the left), along with all the other contributors to this milestone issue [Edward Tutwiler, Donna Ulisse, Dan Walsh, Rebecca Frazier, Charlie Young, Lee Zimmerman, and Pamm Tucker], along with the many, many folks who’vecontributedinthepast,aswell asadvertisers,partners,artists,labels, venues, festivals, friends and family, and especially YOU - the readerwhich really, without you, there wouldn’tbeanyreasontodothis.So, ThankYou - Thank youALL!

Did I Plan This?

There was no real game plan when I started Americana Rhythm back in 2005. I had attended my first Merlefest in 2004 where I was promotingSinger&MusicianMagazine; anindustrytradepublicationIwascopublishing with a friend and mentor from New York.

I was blown away by the festival. Twenty years ago, I was more of an indie-rock connoisseur.Although I’d grown up in the Shenandoah Valley of Virginia - my musical exposure growing up in the 70s and 80s was Classic Rock. Myshort-lived performance life was as a bass player in a classicrockcoverbandinhighschool andcollege.So,whenIdiscoveredthe Americana music world that I stumbled into atMerlefest- Iwas an instant fan! I ate it up. And when I returnedhomeallexcitedaboutit,only tofindnoneofmyfriendsknewwhat I was talking about, it seemed like a problemIhadtofix.

Iwasalreadyhelpingproduceamagazine,sohowhardcoulditbetocreate a little newsletter about what I had discovered in Wilkesboro, NC that weekend at Merlefest.

My initial goal was to enlist enough localadvertiserstohelpcoverthecost

of producing and printing my first threeeditions.Iaskedmydadifhe’d write a couple articles for me - and let’s seeif anyone cares.[Almost 20 yearslater,dad’sstillwriting-Thanks so much, dad (Ed)! I know many of you enjoyhis retrospectivearticles.]

Itworked!

It worked. Now what? I quickly realized we struck a chord (pun intended?), and we were onto a niche’ that needed a vehicle. I had a lot of learningtodo-alotofpeopletomeet, and a lot of history to delve into. It wentfromlocal,toregionalpublication in three issues, to a national in two years, to an international reach not long after that with the creation of AmericanaMusicMagazine.com.

Producingfivetosixeditionsayear, I didn’t start thinking that 100 was actuallyontheradar untilaround issue 80 or so. As the world, politics, economics, and other factors have affected how we produce and consume entertainment, and entertainmentmedia-it’salwayshardtolook too far into the future with ventures like this. But we made it! Even throughaglobaleconomicshutdown, we survived - just like you did.And here we are, holding Americana Rhythm,issue#100.

It’s run the spectrumof experiences, from complete frustration to an absoluteblast.What’sbeenthemostfun though,aretheopportunitiestomeet, and make friends, with so many peopleIwouldhaveotherwisenothad the opportunityto meet.That’s what reallykeepstheoperationgoing.

Musicians make music, producers produce,promoterspromote-journalists? We journal. We journal about what interests us. And sometimes; sometimes we get lucky enough that peoplelikeyou(thereader)findwhat wewriteabout,andwhatwediscover, interestingenoughtoread it,and encourage us to do it again, and again. For that, we ALL thank you! So, I thinkwe’lldoitagain.

FutureofBluegrass

ByEdwardTutwiler

Wow! This is Americana Rhythm’s 100th issue. It is going on 18 years we’ve been writing essaysaboutourfavoritegenreof music—the music that Virginian Ralph Stanley once described as, “That music they call bluegrass”. Of course, in a different setting it is that music my mother called “string-music”whensheandI,as a child, listened to the radio broadcasts of the old time and classic country music. A chance encounter with my musical roots one spring at Merlefest brought me back to ground zero; and at the same time opened our publisher’seye’stopotentialsthat helped conceive this publication. Here we are today looking forward and speculating about musical futures. Because I do not want my thoughts alone to conjure this future, I have conferred with some heavy hitters in this business to lend their views as well: We have AR’s esteemed friend, Ms. Donna Ulisse (a successful songwriter and IBMA songwriter oftheyearwinner;as well as someone who enjoyed a good run as a country music recording star). Plus, Mr. Greg Blake(IBMAandSPBGMAnominated male vocalist of the year; founding member of Jeff ScrogginsandColorado;andcurrentleadvocalistandguitaristfor The Special Consensus).

Americana String Music

This bluegrass subset of Americanastring-musichashadanevolutionarygrowth.Withitsorigins in the Eastern Appalachian mountains as ancient Scot-Irish and English ballads infused with enslavedAfricaninfluences,itfirst morphedinto afolksysoundthat changedeverytimesomeonenew playeditsmelodyandsangitslyrics; however, it eventually gelled into a genre known as old-time music. With the emergence of recorded music and radio air play, this old-time music became somewhat standardized. Then, along came Kentuckian, Bill Monroe and his band who was

namedafterthatfamousKYbluegrass. They produced a new, faster, hard driving way of playingthatsameold-timemusic(my music teacher, Dulcimer Diana, never ceases to mention, “Bill Monroe stole old-time music”). Nevertheless, sometime in the 50’sor early60’s,bluegrassmusic became its own genre of sound and never looked back.

Bluegrass music has gone through several eras: from the origin players such as Monroe, the Stanley brothers, and other similar sounding folks; a second wave such as Seldom Seen, Country Gentlemen, and other innovatingartists;a thirdgenerationfilledwithartistssuchasThe SteepCanyon Rangers and many others; and this present group of artists who are just now making their mark. The bluegrass genre hasalwaysexhibitedgenerational change. Greg Blake put it this way, “The bands to which I listened as a child were then considered contemporary, progressive, and on the edge; and now thosebands areconsidered traditional.I thinkwe willcontinue to see that kind of move.”

Donna Ulisse’s take on the present is this, “I am excited for bluegrass music! There is an abundanceof talented folkswriting and recording songs with a mountain flavor and filling the airwaveswithbanjoesandfiddles. I am happy to hear the new music.” Greg Blake concurred by adding, “Many young fans are currently turned by great young artists like Molly Tuttle and Billy Strings as well as many other new-comers.Iknowbothofthose folks personally, and their heart’s aredefinitelyintothemusic.They have a great appreciation for the past. You can hear that in their playing, and you can hear it in what they say when they talk to you aswell.”

continued on page 6

continued from page 5

Where We Go Now

But this is the present; where do we go from here? That question begs another. Isthere a future for bluegrassmusicas a viablemusical art-form? While this is a music genre that hasa rich history, it actually can only claim a small but loyal fan base—many of which sport gray hair. Like any of the past genres of music, this music art form must adapt to changing times if it is to remain viable. Ms. Ulisse sees this point a bit differently and says, “The tried and true classics should always be an integral part of this genre because I believe that’s the heartbeat of this music.” Greg takes a somewhat different slant insaying,“Bluegrassmusiciseasily adaptable, andit has room for justabouteverybody.”Okay,both fairpoints.Letusexplorethecurrent state of bluegrass music, the challengesitfaces,andtheopportunitiesthat existforthisgenreto continue to thrive in the years ahead.

While originally only regional in nature,bluegrassmusictodayhas anationalexposureandisenjoyed almostanywhereitisplayedwith its distinctive instrumentation that includes: banjo, mandolin, fiddle, guitar, and bass (violin); plus a few recent additions such as resonator guitars, mouth harps, and yes, even drums. Thus, bluegrass music continues toattractthatsmallloyalfanbase that value’s its traditional sound and instrumentation. Many fans are drawn to the nostalgic and sentimental lyrics, which often tell stories of rural life and the struggles of everyday people. Bluegrass festivals and concerts currently draw large crowds throughout the nation, and the genre has spawned a cohort of successful musicians and bands over the years.

Facing Challenges

Despite all this, bluegrass music faces a number of challenges in the modern music industry—the biggest of which is its limited appeal outside of its core fan base. Although bluegrass music has enjoyed some mainstream suc-

cess in recent years, it remains a nichegenrewitharelativelysmall audience when compared to other popular music genres.

Another challenge facing bluegrass music is the changing nature of the music industry itself. While SirusXM® internet radio currently includes Bluegrass Junction on its station list; it jerks that channel around to suit its own agenda. Add to that the rise of streaming services like Spotify® , Apple Music® and others that

rations have become popular in recent years, and some bluegrass musicians are working with artistsfrom a widerange ofmusical backgrounds to make a hybrid form of the genre.

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

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

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

have disrupted traditional revenue sources for musicians. When combined, these changes makeitdifficultforartiststogenerate a living wage playing bluegrass music. Also, the decline of recorded albumsaleshas madeit harderforbluegrassmusiciansto fund their tours and recording projects even though boxes of CDs (what’s those?) set front and center on every merchandise table at every festival.

Mustbluegrassmusiciansbewilling to adapt to changing times and find new ways to connect withaudiences?Maybe,butwhat arethoseways?Maybetheymust embrace new technology by using social media, online streaming platforms, and other digital tools to reach fans and build an audience. To be fair, many bluegrassmusiciansarealreadydoing this by using social media platforms to share their music and connect with fans all over the world.Anotherwaytoexpandthe appeal of bluegrass music is by collaboratingwithmusiciansfrom othergenres.Cross-genrecollabo-

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

Future Looks Bright

Despitethechallenges,thefuture of bluegrass music looks bright. Thegenrehasloyalfansthatvalue the traditional sound and instrumentation yet are willing to expand its listening tastes to enjoy some hybrid variations as well. Many young, talented pickers and singers do not look the part oftraditionalistsbut theysuredo put heart and soul into their performancesandvaluelessonsfrom thepast.BillyStrings,forinstance, credits Doc Watson as his greatest influence.

Schools such as East Tennessee StateUniversity(ETSU)andvariouscommunitycollegesthroughout the Appalachian region offer courses of study that lead to degrees in bluegrass and old-time musicstudies.Blake’sviewofthis innovation is, “I am a believer in

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Recently,AR’spublisherwaschatting off the record with a respected member of the bluegrass community about the future of bluegrass.Thegeneralconscience of that conversation was bluegrass music is currently riding a waveofpopularityandthatwave might ebb and flow over time. Further, bluegrass could crudely be compared to the punk music scene—it might not be in the popular eye but it can be found playinganywherefanswerewilling to look and it will never fully go away. They concluded that a youngeraudienceisfindingbluegrass music and as the older audience slowly moves on, this younger group of fans will keep the music alive—it too will be foundanywherefanswillbewilling to look and it too will never fullygo away.

Loyal Fans Deep Roots

In conclusion, bluegrass music has a rich history and a loyal fan base; and with its deep roots in American culture and that dedicated fan base, there is no reason to believethatit cannotthrive for many years to come; however, it faces a number of challenges. To remain viable, bluegrass musicians and bluegrass music fans

Severalthousand bluegrass fans enjoying music at Pickin’In Parsons inAugust, 2023

must adapt to changing times. It is no longer my Mother’s stringmusicthatshenurturedmeupon in its emergence era; nor is it the music that reintroduced itself to a new generation some years later; or even the music of that next wave of new folks that later emerged. Those eras are gone. In thelastfewyears,almostallofthe founding artists are gone; many of those second generation and evensomeofthethirdgeneration of pickersandsingershavefaded into memory as well.

Theyokeofsuccessnowridesthe necks of the emerging avantgardewho maylookandsounda bitdifferentthanthosewhocame before. These folks will and do embrace technology, and find new ways to connect with audiences (and those audiences will adapt). These new bluegrass musicians can and will ensure that the genre remains a vibrant and relevantartforminthefuturebut at the same time never forgetting

itsstoriedpastanditsvaluableuse as their touchstone.

Donna Ulisse has this upbeat final thought, “The tried and true classics shouldalways beanintegral part of this genre because that’s the heartbeat of this music. However, as I share my take on songwriting with young, hungry writers, I am assured the future of bluegrass music will play on. The new songs being written are creative and interesting;stillconsisting of real life struggles and stories being set to melodies that support great harmonies and musical arrangements. Today’s artists mostly include that high lonesomeelementandhavereminiscent strains inside their songs, allowing this music to carry on into the next generation.” Greg Blake’s final wordson the subject werethese,“Ibelievetheseyoung people today play with a lot of heart; and if that is the case, then bluegrass music is going to stay around for a long time. ”

Mail with your check or money order for only $20 payable to Americana Rhythm, and send this to PO Box 45, Bridgewater, VA 22812. PLEASE PRINT CLEARLY!

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Music,ALifeLongPassion

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

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

wastension,butitultimatelywas resolved by the music.

Several of the headliners that weekend were among the artists whocreatedthehistoric“Willthe CircleBeUnbroken”triple-LPset which was released in time for Christmas the previous year. The

ByCharlieYoung

finale of the weekend was billed asa“CircleReunion,”sothatwas oneofthereasonsthecrowdwas the biggest in the eight-year history of the festival at that point.

Music In Wheeling

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

enoughtolearntoplayfiddleand other instruments beyond the guitar.

In an email exchange for this article,Timtoldmethatfestivalwas oneofthepivotalexperiencesthat sethimontheroadtoanowhalfcentury career as a professional musician. “What I remember mostwastheworkshopstageSaturday afternoon” where he saw musicianshe’dwork withinlater years, stars including the New Grass Revival and singersongwriter Steve Goodman. One standout song he recalls from Goodman’s set was “City of New

Mother Maybelle inWarrenton, 1973

John Hartford in Warrenton, 1973

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

tween more traditionalbluegrassfestivals and others,a dividethatnot onlyincludes music differences but issues like how to handle alcohol and tobacco use. IfirstmetTimaswell as the publisher of Americana Rhythm at the Red Wing RootsFestival,afamily-oriented festival thatalsoprovides an area for those who want to consume alcoholand/ortobacco products. There’s even a stage with kid-friendly music and other areas for children to play. Theyreallydoeverything right and it brings me back year after year.

Wild Atmosphere

It’s interesting to think back to what Tim calls the “wild” atmosphere of the Warrenton festival 50 years ago. He recalled a story toldtohimbyhisfriend,Bryan Bowers,theautoharpvirtuoso, aguyassignedthetaskofcalming the crowd when “the festival staff was wary of the large crowdgettingoutofcontrolon thelastdayastheyanticipated thatbigCircleReunionfinale.” Bowersdeliveredaquietset(he was,afterall,justonemanwith an autoharp) and even managed to get the crowd to sing along with him. His mission was accomplished. O’Brien says, “the promoters wanted nothing like Woodstock, let alone like Altamont.”

Grandpa Jones

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

with his Telecaster and became a legend: Danny Gatton.

Lifetime Fan

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

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

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

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

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

Later in the 1970s, I became a regular attheNationalFolkFestivalduringtheyearsitwasheldat Wolf Trap Farm Park. I saw unknown blues, folk and bluegrass artistsalongwithlegendslikePete SeegerandElizabethCotton,both during daytime workshops and small stage performances as well as evening concerts on the main stage of the Filene Center.

I wrote music pieces for the college paper including one about a group called Liz Meyer and Friends. Liz woundupmovingto Europe and becoming an awardwinningbluegrassartistthereand recording with the likes of Bela Fleck and Sam Bush. Liz had Maryland State fiddle champ Jeff Wisor playing in her band along withabanjoplayerwhowentsolo

ances was Old and In the Way, then featuring Jerry Garcia on banjoalongwith David Grisman, Peter Rowan and Vassar Clements. I later saw Garcia play withhisband,TheGratefulDead, and saw Grisman and Rowan in later years as well.

My first interview for a Washington,DC artspapercalledUnicorn Times was with Bryan Bowers before a show at the place that became my favorite listening room, the Birchmere, and I ultimatelycontributedsectionstothe bookafriendwroteaboutthestoried history of that great venue. That 1973 Warrenton Festival shaped my musical life just as it shapedTimO’Brien’saward-winning career. Ultimately, it’s all about themusic,and it’swonderful we still have festivals offering the wide range of music that one did 50 years ago and presenting it in an organized and enjoyable way. I can’t wait for the next one.

Earl Scruggs in Warrenton, 1973

Old In The Way in Warrenton, 1973

Pictures courtesy of William A. Rowe

FolkAmericanaRootsHallofFame AnnouncesInauguralClassofInductees

The Folk Americana Roots Hall of Fame (Boston, MA) as an organization (FARHOF) exists to celebrate Folk, Americana and Roots music through displays, memorabilia, artifacts, events, lectures, exhibits, concerts, and educationalprograms.

The first induction ceremony of FARHOF will take place in midApril 2024. The list of nominees wererecentlyannounced.Livingand deceased artists, songwriters, record executives, managers and concert promoters tied toelevating Folk, Americana and Roots music were all eligible, at Boston’s living musicmuseum andnewestcultural andeducationalinitiativeinsidethe BochCenterWang Theatre.

Folk, Americana and Roots music has paved the way for generations of musicians and activists who use their voices to speak their truth, addresssocialjusticeissues, andact as modern-day troubadours reporting on the human condition. FARHOF offers a glimpse into the richtapestryofthesegenresandthe profound impact it has had on society.

The inaugural class and categories include:

Solo Legacy Artist – A solo legacyartistis aperformerwhose initial impact on the genre was at least 45 years prior to the year of Induction.

·Odetta

·Pete Seeger

·Woody Guthrie

·LeadBelly

·Richie Havens

·Josh White

·Oscar Brand

·Johnny Cash

·JohnPrine

·JeanRitchie

·Gordon Lightfoot

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

·JoniMitchell

·Bob Dylan

·Joan Baez

·Mavis Staples

·WillieNelson

·Emmylou Harris

·James Taylor

·Taj Mahal

·BonnieRaitt

·Ramblin’JackElliot

Duo or Group of Musicians –

The Duo or Group of Musicians areperformers whose initial impact on the genre was at least 25 years prior to the year of Induction.

·Peter, Paul & Mary

·The Band

·The Byrds

·The Weavers

“WhenwecreatedtheFolkAmericana Roots Hall of Fame, identifyingtheinauguralclassandthoseafterwas goingtobe abigpartofour initiative with focus on preserving theseimportantgenresandthehistory they created,” said Joe Spaulding,PresidentandCEOofthe Boch Center and founder of FARHOF. “The diverse inaugural classreflectsactivismandsocialjustice that shaped our world today, and we look forward to inducting thesenationaltreasuresintotheFolk Americana Roots Hall of Fame.”

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OnSaturdaynightsatmusic festivals acrossthe nation, there’s a man in a fedora hat holdingadreadnoughtguitar. He’s got a commanding rhythmicstyleandimprovises throughsolosandjamswith clean,rapid-fireprecision.That man on stage with the Sam BushBandisStephenMougin, and he actually wears many hats. He’s not only a recognizedand celebratedbluegrass guitarist—he’sa talented and skilledmandolinplayer.He’s also a powerhouse singer and vocaleducator,witha degree in vocalpedagogy.He’sa prolific songwriter and record producer. And as a record label head, he owns DarkShadowRecordingwithwife JanaMougin.

Mougin’smusicalpathbeganatan early age in New England, where he grew up in western Massachusetts. He remembers, “When I was six years old,my dad decided he was goingtogetaguitarandlearnto play. He discovered that some of his workpalshadalocalgathering where they’d get together and jam. By the time I was eight, I was pickingwiththemanddoing shows.”

As a teenager, Mougin was already touringinanestablishedbluegrass band.“WhenIwas15,Ijoineda bandwhichendedupbeingtwoof the guys that taught me how to play,” herecalls. “The guitar player who taughtme,and the banjoplayer who taught theguitar playerwhen he was a kid. So it was three generationsofmusicwiththat group,ThunderMountainBluegrass, and Iwas with them for 10 years untilImoved downtoNashville.We playedregionallythroughoutNew England.”

The steady streamof performing, jamming,andhearinglegendary bluegrass artists in the Northeastern festivalsceneprovided a strong foundationforMougin’smultifaceted bluegrass career. “From the

time I wasabout seven or eight, everysummer was filledwith bluegrass festivalsthroughout New England,and Igotto see a lot of the greatsinthemusic:BillMonroe, Osborne Brothers Jim& Jesse, Bill Harrell,BluegrassCardinals,all these classic groups,” Mougin says. Despite hisbluegrass expertise, Mougindecidedtogoinanother directionashematuredintoadulthood.“I was interested in music of allsorts,and Iwasn’tconvinced thatplayingbluegrasswasgoingto be a potentialfor actual earning,” he explains.“SoIdecidedtogoto collegeforvocalmusiceducation and studiedfor fouryears—classical musicandvocaljazz.Igotajob straight out of college teachingat a school in Massachusetts.”

Mougineventuallymigratedto Nashvillein2002andbeganplaying in variousbluegrassoutfits. “It was tough when after the first year and a half, Iwas sort of broke and homeless for a while; I remember twotimesinmylifewhenIpoured the last nine dollarsof moneyI had into mygas tank to get to the next gig. It happened twice,” he shares.

“So yeah,it was a hardroad for a while; but there were some really coolthingsthathappenedalongthe way. I remember one summer I was insevendifferentbands,noneof themfulltime,andIwasstillsitting home every other weekend. It was areallygoodlearningexperience, and Idon’tthink Ihaveeverdugin

and learned thequantityof material before orsince.And Igot really goodatlearningtunesquickly.Not justlearningtunes,butlearning arrangements quickly. I spent a lot of time inthe car driving herethere and everywhereand justimmersing myself inthemusicIwas goingto beplaying.”

Therichbluegrassbackground,the musicaleducation,andtheintensive learningandear-traininginvolved withhisNashvilleperformancegigs coalesced when he was selected in 2006forthebluegrassA-listposition asguitarist intheband of bluegrass icon,SamBush.Hisskill-building and hardworkwaspayingoff,and he andhis wifeJana Mougin—a talentedbluegrassmusicianinher ownright—beganbuildingthe foundationsfortheirrecording studioandrecordlabel,Dark ShadowRecording.Mouginracked up asteadycatalogof production andsongwritingcredits,andhas continuedsteadilytouringand teachingvocalandinstrumental workshops across the nation.

Mougin’sguitarstyleisbuiltupon his vocalartistry; and hestrives to come up with new ways to express hisguitarfinesseinauniqueimprovisationalstyle.“I’veoscillated betweentryingtodothejazzthing whereyou’re singingthesolowhile you’replayingit.AndIfind Inever doitonmic,buttherearetimes whenI’mkindofsingingitto myself,becauseforme,itkind of connects through the voice. I’m more aware of musicality as a singer than I amas a player. I just feel more connected to it that way,” he observes.

“In the Sam Bush Band, we have regular solos that go over a particular chord change that is a section of the song, like the chorus or verse— bluegrass style.And then we have longextendedjamsthatmightbe overa static chord progression, whether it’s moving or whether it’s over one chord that goes for as long as youhave ideas or want to play. Thosewerereallychallenging for me, and continue to be…because yousortofcontinuetoplayandit’s easyto run outof ideasand then feellikeyou’replayingallyour dumb licks,” helaughs.“Oneof the thingsthat I consciouslytry towarm uponanygivenday,istospend enoughtimenoodlingwithsome kindofsoundtrackuntilI’veplayed throughallofmydumblicksandtry to get themout of mysystem, and then try to create something new. WhatI want tobe happeningis to makelittlemotifs.Idon’tknowif

I’m ever particularlysuccessful with it, butthat’s alwaysmydrive.”

Mouginemphasizeslisteningashis singlepieceofadvicefordeveloping musicians. “I can’t express enough howimportantlisteninghasbeenfor me-And focusedlistening,” he advises. “I had a professor once who said,‘If youstealfromone personit’splagiarism;ifyousteal from everybody it’s research.’So, I try to take that to heart as I’m listening.I’mjustpickingand choosingfromthingsIreallydig, and alsolearningthingsthatIdon’t like.Ithinkthat’sjustasvaluablein the listening experience.”

ButhowdoesMouginmakeitlook so naturaland easytoplaybluegrass guitar withsuch power and skill?“I’venoticed,theolderIget,it feels like I’ma beginner every singledayIstart.Andit’sreally frustratingwhenmyhandsjustdon’t work.Youknow,it’slikeI’venever toucheda guitarbefore,itfeelslike the pick’s a twobyfour,” he laughs. Mouginprioritizespracticingguitar andwarmingupinthedaysleading up tohistourdates, whichcan be trickyduringhisbusyperiodsinthe recordingstudio.“Yeah,Ireally struggle with that, because there’s not enoughpracticeintheworld that gets you readyfor playing on stage with SamBush Band.But I do have to playmidweek forsure,to keep it up,and Istrugglewiththatsometimesinthestudio.Youknow,ifI’m doing10hoursadaybehindthe [studio]console,thelastthinginthe worldIwanttodoispickupa guitar.And sothat is a struggle for me and somethingI’ve had towork on, and have not been reallygreat at. It’s easyto let life getin the way of allof that,and Itryto keep an eye on whenit’s coming. So several days beforeI goout,I’mreally gettingbackintothings.ButI’m losingalotofgroundonthat, unfortunately,andit’soneofmy personalfrustrations.”

Mougin’shonestapproachand musical self-awareness are qualities that seemto push him further each dayon hisjourney,as he’s never complacent about his success. “One of the things thatI feellike I’mnot superstrongwithistakingareally establishedmelodyandimprovising inawaythatstillsoundslikethe melody,butyou’redoingsomething new with it. I feellikeIameither straight-ongoingtorailthemelody, orI’mgoingtobeoff inEgypt somewhere,” he muses. “So it’s one of thethings I’m workingonas a player, to tryto connect those twoin amoremeaningfulway. ”

GuitaristStephenMougin

MartyFalle’sstrikingnewalbum, My Farm. My Bluegrass

Marty Falle isn’t simply a bluegrass devotee. He’s a dedicated artist whose connection to the music is imbued in the very lifeblood that’s inherent to both his purpose and his passion.

That fact was immediately evidentwithhispreviousalbum,the well-received Kentucky Bluestar, his fifth effort overall and third devotedentirelytobluegrass.The album also spawned a successful single “Kentucky Bluestar,” which recently climbed to Number One on the Bluegrass Jamboree Top 100. The song debuted at Number Six on The Bluegrass Today Singles Chart and reached number eight on the Top 50 APD Bluegrass/Folk Albums in April 2023, eventually climbing all the way to number 11. Falle was also selected as bluegrass deejay MichelleLee’sArtistoftheMonth. In addition, the album overall attracted international interest, landing Falle considerable press and worldwide airplay.

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

paying particular allegiance to bluegrass basics.Asidefromhis critical kudos — one of his songs, “Superman Jimmie,” even got himcoverageina NASCAR publication — he’s been featured on CMT Prime

Time courtesy of his song “Hoochie Coochie Galfrom the Buckeye State,” which in turn garnered over three million views on YouTube and became a certified internet sensation.

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

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

By Lee Zimmerman

singerforPattyLoveless,contribute backing vocals. Falle himself plays guitar and sings lead and background vocals. Many of those same musicians worked with Falle on Kentucky Bluestar. Naturallythen,Falle’sloveforhis earlyenvironsandtheplacesthat originallybredbluegrassmusicis immediately apparent. So too, the irrepressible instrumental “Chimney Letters,” the heavenly glow of “The Calling” and the drivinganddeterminedsweepof “Praise the Lord and Pass the Gravy” offer additional affirmation.

The first single from the album, “Ode to Ale 8,” is a barnstormingbluegrasstunefeaturingDale Ann Bradley. Like each of his singles, it’s an original offering, part of a singular strategy that finds Falle writing, performing and overseeing his own material. While it’s not necessarily an easy way toproduceorpromote,Falle saysthatbydoingitthatway,he’s able to make a more emphatic

continued on page 17

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ARTICLESBYDANWALSH

The Scooches

The last time we talked to guitarist Nick Russo about his eclectic endeavors was in 2018, when his band,thenknownasBanjoNickaru&Western Scooches, had an album out called Get Us Out Of Fearland. Fast-forward past the major upheaval of the covid era, and another check-in finds Nick and his partner, singer-songwriter BetinaHershey,chartingnewmusicalwaterswith anewbandmoniker—simplyTheScooches.

While Nick and Betina also work on some jazzspecific,cover-orientedprojects,includinga sister group called the Hot Jazz Jumpers (featuring New Orleans and 1920s jazz), The Scooches is nowtheprimary outlet for their original creations. Nick says, “We tend to focus on … Betina’s originals ... I may write a little bit or arrange or hear some different instruments.”Infact, theband’snamechangeispartiallyduetoareorientationtowardoriginalsongwriting.Betinawas aregularasasinger-songwriterintheNewYork folk music scene prior to meeting Nick. “I said, ‘Nick, if we’re gonna have a band in the folk scene…weshoulddoanalbumofalloriginals.’” The result was Lift You Up, their July 2023 release.

Therebrandalsohelpsdescribethebandstylistically,asBetinaexplains:“Thewaythatwethink ofitnow…is‘scoochingtogether’manydifferent musics and genres. Like ‘scooch on over to whereweareandwe’llscoochtowhereyouare,’ just that idea that we should all get closer, bring ourdiversitiescloser.”Theyofferauniqueblend ofworldrhythms(Caribbean,Mexican,Indianand more)withAmericana,folk, New Orleansinfluences,altgrass,themusicofthe1920s,andbluegrass. Ultimately though, all the descriptors are leftatthedoorwhengigtimerollsaround.“They feel it and have a great time, they feel it right away,” says Nick.

CharlotteMorris

WhilegrowingupinsuburbanPhiladelphia,Charlotte Morris began building a strong musical foundation that would serve her well in the future. Classically trainedonviolinbeginningatagefour,shealsotaught herself guitar, piano and other instruments, adding voiceandpursuingadegreeinmusicaltheatertobuild a powerful set of performance skills. Theater was initiallyher focus.

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

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

Appropriately,herfirstEP,releasedin2018,wascalled To New York, With Love. Her subsequent releases were Sputnik (EP, 2019) and her first full-length album, SongsForMyNextEx,in2020.Charlotte’ssecond album, Wild Child, is due out in late September 2023. About the upcoming release she says, “I think some of these songs are my most personal and vulnerable to date.”

Now in Nashville, Charlotte feels fortunate to have landedafullyremoteandflexiblejob(inthefinancial tech sector), which provides her with money to pay the bills and also flexibility to pursue her music career.

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

To find out more, visit www.charlottemorrismusic.com

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Kevin Slick has been playing music professionally,inmanydifferentways,forfourdecades,with the lattertwoof those beingprimarilywithin the Americana/folk/bluegrassfold.Healsoexpresses his creativity as a visual artist. He remembers a veryspecific date that set histrajectoryonbeing a musician: “I like to tell people that I became a musicianonFebruary 9, 1964, when I saw the Beatles on the Ed Sullivan Show when I was five years old … That’s when I realized‘That’swhat I’m gonna do.’”

After picking up the guitar at 12 or 13, and always coming up with his own songs, Kevincitestheadventofhomemultitrackrecording in the 1980s, with gear fromcompanies like Tascam,asaformativemoment.“Suddenlyitwas possible for someone like myself to—with not a lotofinvestmentintermsofequipment—tomake recordings. That coincided wonderfullywith the emergence of the cassette as kind of the dominant music format …[I] could make a recording of original songs … and create a cassette that youcould sellina store.”

OriginallydrawntoacousticgreatslikeBobDylan, Kevin later played in rock bands. Most recently however hehasreturned to the acoustic-oriented environs of folk and bluegrass. He notes, on a practicallevel,insteadofaluggingpileofdifferent guitars and amps to gigs,“Now I mostlyjust carrya mandolin.”

Hislatestprojectiswiththeband,OrchardCreek. In2019hejoinedthequartettomakeitaquintet, addinghisvoice,mandolinandsongwritingtothe group. The album is called Listening for Your Call,dueoutinSeptember2023.

Thegroup’sfirstfull-lengthalbumfeaturesequal amounts of material from the band’s four songwriters. “We did a fairly democratic setup…We said ‘Let’s put 12 songs on this album; everyone gets three picks.” The title song originated from the last phone call Kevin Slick had with his father. Mike Mitchell helped craft thesong,weavingfamilytraditions,favoritesongs, stories andplaces intothe lyrics.

To find out more, visit www.kevinslick.com

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

Pondering UponTheMorning

Did you ever wonder what in the world we are supposed to be doing here? I mean, what job were we put on this earth to do?Yeah, a big topic for sure,butoneI’veponderedmany timesthroughtheyears,andlikely,if I am fortunate to keep on being part ofthisworld,Iwillcontinuetoponder.

When the day breaks, I try to add something here, onthis planet that is positive and uplifting as I go about breathing and living. My plan is to leave a good message through the musicIwriteandsing,andthepostsI continue to do on Facebook each morning(well,almosteachmorning). Myhopes are to inspire more people to do the same; to add something positive,tobebettertoothers,toinstill hopeinstead of hateand toreach out ahelpinghandwhensomeoneelse is inneed.Iamnosaint,and willnever be awarded that trophy as I continually fail to be anywhere near

perfect. But that’s alright at the end of the day, because I get up the next morningandtryalloveragainonmy journey to become a better human beingandguardian ofthisincredibly worldweareprivilegedtowalkonfor a short time.

That still hasn’t addressed my initial questionofwhatIamherefor,right? I ask this because most days I feel like I’m in Groundhog Day. There is asamenesstothehoursnomatterhow hardItryto changethem.Iwake up, say a morning praise to my Creator and ask for guidance, drink a couple cups of strong coffee and do some writing.Soundsfairlynormal,doesn’t it? The thing is, how often do I ask for guidance and then truly listen to thatinnervoice tryingto have a say? Hardly ever.

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

intuition.IcallitthevoiceofGod,and I mostly ignore it. I’ve had full on conversations with God, and almost always monopolize the chat, never waitingforHisfeedback.Sometimes I imagine a response and believe I made it up myself, because it was whatIwantedtohear…like…’God, are you listening?,’ ‘Yes, I’m here’. See, I could have just imagined that becauseIneededaplatformforsome issueI’mworkingthrough.Butreally, it is the voice of reason, the rock of ages, and He loves me enough to stayed tuned into whatever I’m concerned over. If I could just shore up my faith enough to start trusting thatweevoice,there’snotellingwhat Imightactuallyaccomplish.

I’ve come to this conclusion; I am hereonthisearthtodothejobofgetting Donna right! Yes, if I could get merightthroughmorefaith,trust,surrenderandobedience,well,wouldn’t I have more time to actually make a difference?If Ihad more faith in the

fact thatsomething bigger, and more beautifulthanthemorningsunrisecreatedeverythingandofferhumble,sincere respect for this supreme being withmywholeheartthenIwouldsee more hope and love reflected in every dawning! If I had more trust in the instinct I should heed every time itwhisperswithin,thenIwouldsurely hear the voice of God in every decisionIneededtomake!IfIcouldsurrendertothethingsIcan’tcontroland need to let go of, I would have more time to work on the faith and trust thing. Any resistance I put up tends tocreateabigmessandbringsonmy ownunhappinessandconfusionanyway.Icould justusemytearsfor joy instead of sorrow. Wow, I should do these things. It sure would make life a lot easier. Isuppose awareness is a large part of the cure, and I plan on workingeverydayIhavelefttowards being a better person. Now, bring on themorningandletmeponderon.

Donna is the IBMA Songwriter of the year for 2016, And 2017 Song of the Year winner. She was also the 2018 SPBGMA Songwriter of the year. Her latest CD, Livin’Large, on Blueboy Records, was released in February 2022. DonnaUlisse.com

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ARTICLESBYDANWALSH

JillRileyDarylMosley

Jill Riley remembers “... when I was five years old, standing on the front porch of my granny’s house,and Ihadthe water hoseas amicrophone and the grass was my audience.” Later, at pickuptime,hergrandmothertoldhermother,“...listen to her, I think she can sing!” Hearing that sparkedsomethingpowerfulintheyoungJill:“The minute she said that it was like a five-year-old knew what she was gonna do.”

Fast-forward five years and anotherdefining moment for Jill was when her mom put on a Jessi Colter recordforherto hear. “Between thesoundofher voice and the soundofsteelguitar,Iwasruined…Iwaslike‘I have to do this.’”

As for writing songs, Jill remembers starting to do it around age 12, when they “just started to come”toher.“Idon’teverrememberwantingto be a songwriter…it was just something that was there.”Ataround15,Jill’smom(whowasaparalegal) provideda powerfulleft-brain toolfor her daughter’s budding music career when she gave her books on the legal and business side of the music industry. “That was a rare thing. Most songwritersenterNashvillecompletelyblind…”

Only by taking a break from Nashville was Jill ableto realizeheraffinityto the Outlaw country artists of thepast. “I came back toTexas to take abreak fromMusic Rowand thewholedealand I built a power company, believe it or not. I’m oneofthoseweird“left-brained”artists…”Now, she has a new musical home: “The Americana genre—Ifeellikethatopeneddoorstosuchfreedom,tojustbeyou.”

Jill’slatestupcomingreleaseis CommonGround (dueoutinOctober2023).Writingforitinvolved adeepdiveintoherTexascattle-ranchingfamily’s history.“MyrelativeswentthroughtheGreatDepression, the Dust Bowl, had 10 kids, and lost a baby,”shesays.“Everythingtheysufferedthrough and endured gives me hope that we can get through this too. We really can get to the other sideofit.”

WhenitcomestoDarylMosley’scraft,takeitfrom another great singer-songwriter, Jerry Salley, when hesays“Heisasongwriter’ssongwriter.”Although hehasdoneafewotherthingsalongtheway,Daryl says, “Music’s always been the driving force, it’s always what I wanted to do. I love the touring and the travel, and after all these years I stilldo.”

Aftergetting his start at age 15 when his neighbor, LorettaLynn,askedhimtodoanightlyshowather dude ranch, Daryl saw music as a something that could become his vocation. And although he was raised in a country and gospel music atmosphere, he ended up feeling most at home in the realm of bluegrass,andwouldgoontotourwithNewTradition and the Osborne Brothers.

DarylcreditshistimeasasidemanwiththeOsborne Brothers with changing his perspective on professionalism: “Steppinginto that role and for the first time learning the rules, so to speak…It causes you to always bring yourA-game.”

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

Daryl’s newest album is A Life Well Lived, which came out in July 2023. The focus is on smalltown life:family,faithandtraditionalvaluesandcustoms. A featured single and video from the release is “Mayberry State of Mind.” “That sense of doing therightthing,takingcareofyourfriendsandfamily,” says Daryl, “all the…values of that show—I believe it’smore of a mindsetthan a location.”

CharlseyEtheridge

Hailing from Dalton, Georgia, Charlsey Etheridge can’t remember a time when music wasn’t central to her life. “On my wall I have a picture of me when I was probably aboutthree, and Iwas in mygrandfather’sbasement and I have a microphone and headphones on, with a huge boombox behind me.” She remembers writing her first song at age seven. Growingupwithmusicalgrandparents,singingin a rural Southern Baptist church and in school choirs,andthenstudyingmusicincollege,allcontributed to Charlsey’s deep roots, especially in southern gospel and bluegrass, from which she has grown her music career.

In2003,Charlseymoved toNashvillerightafter collegeandbeganasomewhattypicaljourneyfor aspiringartistsinthattown.“Forthefirstcouple of years I waited tables,” she remembers. “You know,thatkindofworkedprettywell.Iwasable towaittablesatnightandIwriteduringtheday.” Later she began teaching music lessons.

AfterreleasingabunchofEPs,Charlseyreleased her first full-length albumin 2014, Memories of Mine. “... [the album] pays homage to my roots andthesongsthatIgrewupsinging—atributeto peopleinmylifewhosharedmusicwithme,like my grandmother.”

In contrast, Charlsey’s new release, Scars of Mine (comingoutinSeptember2023),isanintimateall-originalcollection,witheightofitsnine songs written by her. The title track provides a taste of the kind of emotionalstorytelling listeners can expect from the album, focusing on one of her grandmothers.

When it comes to sharing her music with audiences, Charlsey prefers intimate settings. Of courseshe’spaidherduesinloudbarsandclubs, butshesays “Ilovelisteningrooms…Iliketobe in environments where people want to hear stories behind the songs.” Festival stages also provide her a point of connection with engaged listeners.

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

Marty Falle

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

It’s further evidence of his commitment to originality and authenticity. There’s no place for posturingorpretense.WithFalle, what one sees is what one gets.

While the instrumentation conveys an assured authenticity throughout — one that adheres to bluegrass basics within a contemporary context — it’s also clear that Falle finds inspiration from a lifestyle that binds him to thelandandthe traditionswhich are so firmly entrenched in those very fertile fields in Kentucky. His 200 acre farm is located within Kentucky’s Eastern coalfield region, an area rich in naturalresourcesthatbordersthe DanielBooneNationalForest.His farm boasts two old tobacco barns and stone walls stacked stone by stone, vivid reminders of those rugged individuals that originally settled in this verdant region and established the traditions that grew out of the Appalachian environs. Horse Lick Branch Creek flows through the

property while wildflowers blanket the stripmines that werelong ago abandoned.

It was here that Falle also found the inspiration for Kentucky Bluestar, which took its name from the blue wildflowers that maskthescarscreatedby thecoal companiesacenturyago.Thenew album feeds off that lingering legacyaswell,inbothanauraland visual way. The cover, painted by Disney artist TJ Matousek, captures Falle’s old barn with striking imagery, fully capturing the furtive beauty of this rugged and resilient landscape. It’s part of an overall package that allows the ideas and the imagery to stay in sync.

As the lyrics for “Praise the Lord and Pass the Gravy” make clear, the secular and the spiritual find common cause.

”I love the history of bluegrass music in the Appalachian Region and the emphasis on acoustic instruments and vocal harmonies, “Falle told one writer. “It is raw and pure. I have a deep connection to Appalachia, and I am especially drawn to the music and culture of Eastern Kentucky.

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

In truth, Falle’s inherent music started early on. It was initially sparked when, asa boy, hefound himself watchingre-runs of “The AndyGriffithShow.”Itwasthere that Falle encountered a fictional band called the Darlings, who were, in fact, played by The Dillards,aseminalensemblewho helpedfurtherthecrossoverfrom its archival origins to more contemporary credence.

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

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

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

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

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

Still, Falle had his misgivings about the business of making music.Alreadyasuccessfulentrepreneur — his desire was based on a creative compulsion alone.

continued topage20

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ARTICLESBYDANWALSH

Bruce HumphriesJasonByrd

Bruce Humphries set out on the full-time musicianroadalittlelaterinlife,butiscertainly“killingit”now.Afterspendingmanyyearspursuing positionsasacollegearteducator,hefinallydecidedtotaketheplunge.“Teachinggigsarehard tocomeby. Icould teach part-time … butI was like‘How longamIgonna dothat?DoIwanna be 60 years old and stillan adjunct? Music was my true passionall along,but I never thought that I could actuallypursueit.”

Bruce wokeup completelytohismusicalidentityafterhehitage 50 and looked back on all the music-making he haddonethroughouthislife.Hehadalwaysplayed in bands on the side. But the time had come to bringhismusictothefrontburner.“Itmadesense; I was like ‘All right, I’m over 50; I’d better do this,ifI’mgonnadoit.’Becausewhoknowsfor howlongIcandoit?”

Bruce traces his love for rockabilly back to the 1980sandhisfirstencounterwiththeStrayCats. “IwasintotheBeatles,thenIgotintoNewWave and punk rock,” he remembers. Then as MTV exposedhimtotheresurgenceofrockabillywith the StrayCats. “I saw them on MTV and really likedthem.Igottheiralbumandsaid‘Yeah,it’s ok.’And then I saw them live and it was just a life-changingexperienceforme.”

Bruce has been with his band, the Rockabilly Rebels for six years. Their latest release is Live ItUp,whichiscurrentlyavailable,infull,onlyon CD and vinyl, while singles are being gradually released to the streaming services. The record featuresavarietyofsounds,includingfull-throttle rock &roll,country, surf, punk,even a touchof psychedelia, all laid down within the rockabilly context.

For Jason Byrd, music was in the air—literally— when he was a child in rural Tallahassee, Florida (whichhestillcallshome).Withoutotherhomeentertainment options like cable TV, he says, “...you know, the radio was always playing…so I was always around music.” Despite having no family influencesinthatdirection,ashegotolderherealized thatmusicwouldbehislife-longpassion.“Itwasn’t until I was a little older that I decided that I would trytodoitforaliving.”

Ratherthanpack upeverythingand movetoNashville, like so many others, Jason ended up living a double life of sorts. Being a third-generation fire fightermeantthathehad aregularjob athome,but he would also spend time in Nashville working on hismusic.It’sanapproachhecontinuestoday,even after his retirement as a Battalion Chief of theTallahassee Fire Department.

One notable connection helped Jason grow in the country world while also staying rooted in Florida. “I was fortunate enough, early on in my career, to get hooked up with George Jones and his wife, Nancy.” Workingwith Georgeon theroad (usually as an opening act) and with Nancy as his manager for a period of time,theirfriendshipdeepenedbeyond the music business. The effect on Jason’s progress in the country music game was profound.“Itkind of let meskip ahead of the line a little bit,” he admits. Jason cherishes George’s mentorship.

Asafittingpostscripttothismusicalfriendship,Byrd released a song that he had written and then recorded as a duet with George Jones, “Better Life,” which he’d previously kept under wraps. The song hadbeenreadyjustpriortoJones’passingin2013, but Byrd held off on releasing it out of respect for hisfriend.In2021,withtheblessingofNancyJones, he released the tune. It garnered a nomination for Single of theYear at the Josie MusicAwards.

Thisfall,lookforaJasonByrdalbumcollecting10 tracks that have been released gradually as singles over the previousyear, called Sounds Good to Me

Alternative/outlaw/country/rock and Americana artistMarcMinerwasborninPolandtoanAmericandadandGermanmom.Hisjourneyfromthis beginning to his current home in Vienna, Austria, physically and harder-edged Americana, musically,wasinteresting, to say the least. After being immersed in his father’s mostly guitar-drivenmusical tastes from birth. Marc, as a teen, sang and played bass in bands focused on the rebellious soundsofrock,punkandgrunge.

Almostlikeagritty,real-lifereflectionofanAmericana song, Marc’s personal journey took him acrossEuropeand totheStatesbywayofacontainership.Ratherthancontinuingasasailorand leavingwiththeship,hedecidedtostay.Having survivalskillshelped.“Ialreadyknewhowtolive onthestreet.Youknow,itsoundsroughandtough, but it’s not that bad if you can make friends in new places.” Manyof Marc’s experiences in the US became songs thatmade up his first album. Backin Europe,Marc found audiences werenot primed to receive the country music he had to offer.Itwasagradualprocessofbuildinghisconfidencetoperformitandeducatinghisaudiences. AtoneopenmicnighthedecidedtoplayaMerle Haggardsong.“Everybodythoughtitwasmine!” He continues, “I always told the people, ‘You know, there are folks like Willy Nelson, Merle Haggard,JohnnyCash—youhavetoknowthem. Whydon’tyoulikeitlikeIdo!?’”

Marc’supcomingsophomorereleaseiscalled Last Heroes. The title is partially a tribute to Marc’s band.(Whenheplayswithabandtheyarebilled asLastHeroesfeaturingMarcMiner).ButMarc also says, “I always liked stories about heroes. Not likeSuperman,who’salways good …Iwas more into Batman … he was a hero but there was a dark side to him.” The record also puts a spotlight on the struggles of everyday heroes. “I thought,‘Everyonecanbea hero’…Sometimes we struggle but we keep on fighting to make a goodlife.

To find out more, visit www.humphriescom

To find out more, visit www.jasonbyrdmusic.com

www.AmericanaRhythm.com

To find out more, visit www.marcminer.com

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

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

ARTICLESBYDANWALSH

MamaSaidStringBand PaulJBolger

Louisville,Kentucky’saward-winningMamaSaid String Band has been together for seven years, buteachofthefourmembersbringsbetween15 and20 years of personalmusical experienceto the table.Thegroupincludes DavidO’Neal on vocalsandstrings;Katie“Didit”Caudillonvocalsanduprightbass;KaitlenFarmeronvocals andguitar;andKrisPottsonvocalsandmandolin.

We spoke with Katie about the band’s new musicandprevious history.Shesays, “We were basicallyjustfriends whowouldhang outatcampfires late at night at different festivals.Weallliked playingmusic,andwefiguredwheneverwegot togetheritsoundedprettyallright,sowepushed italittlebitfurther,andnow,sevenyearsdown theroad,wefindourselvesdoingitfulltime.”The band’snamewasaresultofpracticesatafriends house,wherethefriend(agoodcookandahospitablehost)wouldshoutoutthingslike“Mama saidit’stimetoeat!”

Thestringbandconceptanchorsthegroupinthe newgrassgenrewhileallowingallthoseinfluences toblendintoacompellingbrew.Whenaskedabout whotheirmusicresonateswith,Katielaughsand responds,“Youknow,that’safunnyquestionbecauseIfeellikethetwobiggestfansthatwehave areolderpeoplewhositinlawnchairsandvery young people who wear tie-dyed and have dreadlocks.” But she feels their eclectic influencesshoulddrawineveryoneinbetweenaswell: “Ifeellikethere’sdefinitelysomethingwithinour musicforeveryonetoenjoy.”

Thebandtookaholisticapproachtocreatingand producing Seasons of Change,thoroughlyplanningthesongsequencetomakethealbumflow veryspecificallyandlendingitacinematicvibe. “I also feel like this album has more of a soundtracksoundtoit,”saysKatie,“kindoflike amovieinitsmovementofpieces.

Trying to keep up with Irishman Paul J Bolger’s fast-pacedconversation,youmightimmediatelyget theideathathehasalotgoingon—andyouwould be right. At the moment he’s focusing on music; but his creative spirit ranges widely. “... I do a lot offilmworkand I’manillustrator, writer,lotsofdifferent things.” He “drifted away” from music for a while, but has been making and releasing music more intentionally for the last six years.

Incontrasttothepainstakingproductionofanimation,,hefindsabitmoreinstantgratificationinthe outletof music. “It’s a muchmore immediateprocess,” he says.

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

When Paul get a song idea, he tends to not let go untila songis created.“Once Isit down,it’sactuallyquitemechanical…I’llspendaday.I’llbethe last one to go to the bathroom and the last one to eat, because I want to get that thing done …”

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

To find out more, visit www.mamasaidstringband.com

To find out more, visit www.pauljbolger.com

www.AmericanaRhythm.com

concluded from page 17

“I’vemettoomanysuccessfulartists who didn’t seem satisfied despite the fact they had amassed considerable fame and fortune,” he reflects. “I certainly didn’t want to fall prey to those same doubtsanddesires.Theonlyway IfeltIcouldachievemygoalswas to do something that I could be proudofandthenpursuemycreative instincts to the best of my ability.IthinkI’veachievedsomething special over the course of my career, and that’s enough to tellmethat I’montherighttrack. God gave me a gift, and it’s only right that I use it to the best of my ability.”

Consequently, it’s clear that he’s able to straddle the line between passionandpurpose.Atthesame time, he remains an exceedingly modest man. “I remember thinkingthatIhadsecuredmy success because it had given me enough moneyto buy a pair of snakeskin boots and a new set of Goodyear Wranglers with raised white lettering,” he reflects.

As for now, Falle says he’s happy and content with all he’s done so far. He’s never strayed from the desire to make music borne from his own personal perspective. GiventheeffortandemotionFalle puts in to making his music, the rewards that are reaped for both he and his listeners are equally enriching.

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

Lee Zimmerman is an accomplished writer, blogger and reviewer. He contributes to several publications. His book — Americana Music: Voices, Visionaries and Pioneers of an Honest Sound — is published by Texas A&M University Press.

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

www.AmericanaRhythm.com

PremierBluegrassWeekendSaysGoodbye

Festivalsseemtohavealifespanof their own. While there are many that have stood the test of time –many more seem to reach an end. Theanswerto“why?”hasdifferent responses depending on the circumstances, but regardless, it’s always sad to see a long cherished music festival call it quits. Such is the case for Myrtle Beach, SC Ocean Lakes Campground and their Premier Bluegrass Weekend.

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

guests, and loyal fans, we havecreatedthisfamilyunit andhavebroughttogetherso many wonderful people.”

The25th (and final) campground exclusive, Annual Premier Bluegrass Weekendwascelebratedthis past August 25th and 26th . 2023lineupfeaturedRhonda Vincent, Russell Moore & IIIrdTymeOut,TheMalpass Brothers, and Sideline.

“I was honored to perform at the 2023 Ocean Lakes Premiere Bluegrass Weekend again,” said Steve Dilling of Sideline. “I have been fortunate enough to play there many times over the years. The staff at Ocean Lakes is absolutely the best.They take care of their artists, as well as their patronstosuitanyneedsthat they have.To topit off,Igottoperform afewtuneswithmyoldbandmate, Russell Moore. Together with the guysfromIIIrdTymeOut,wewere

the “unofficial host band” for the firstseveralbluegrassweekendsat OceanLakes,soitisonlyfittingthat we perform together for the final bluegrass weekend at Ocean Lakes.”

According to the campground website, there were several factors that contributed to the conclusion of the anual event. “There are severalreasons;Themainoneisthe summerseasonhasballooned out,

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

Eventhoughit’ssadtoknowthis isthe last year for the bluegrass shows, I’m so honored to have beenapartofthelast25years,” saidRussellMoore.“Icanhonestly say that some of my best times playing music have been at the Ocean Lakes. They have given me so many great memories that will stay with me forever! I’d also like tothankallthestaffandvolunteers, past and present, for the many years of hospitality and giving bluegrass music a home with wonderful experiencesfor all who have attended....Kudos!”

MusicFromYourNeighbors

Got one you want us to consider?sendit to: UncleWoody

The Spin Doctor, PO Box 45 Bridgewater, VA 22812

Painted Mandolin Sweet Rain www.paintedmandolin.com

It’s the debut record for this band whose name is taken from the lyrics of a Grateful Deadsong.Andyes,Painted Mandolin has that classic Garciafeelwhenyoulistento it. Any ‘deadhead” will appreciate getting in the groovewith Sweet Rain.

Pert Near

Waiting Days www.pertnearsandstone.com

Theselongtimestewards of themodernstringbandrevival celebrate their latest effort, WaitingDays.Formednearly 20years ago,thebandsnaturalevolutionisevidentinthese newtracks-inagoodwayof course. Welikeit.

The Goodwin Brothers If You Hadn’t Noticed www.thegoodwinbrothers.com

Music From Around The World welcome to the Fall editionofSPINSfor2023.Festival days are winding down, and we’re headed into the IBMA week in Raleigh, and the Americana week in Nashville once again this September. Oh, and 100 issues of ARthat’s 1,400 CDs here in SPINS.Wow!Thankyoufor checkingoutallthesegreat newonestoo!BuytheirCD. Support your favorite musician, so they can keep making newmusic!

This Kentucky based grass trio brings us their latest; If You Hadn’t Noticed. Known fortheirtightharmonies,this trio’slatestsingle,“Everyday Thing”spentseveralweeksin thetopfiveontheGrassicana charts.

High Fidelity Music In My Soul www.highfidelitybluegrass.com

Thelatestprojectfromthistraditional bluegrass outfit features gospel classics and treasuresthatwillmoveyour feet and your soul. For one cut, theygoall the way back to 1927 to revive the song, “MusicInMySoul.”

John Surge and the Haymakers Almost Time www.johnsurge.com

ThinkBakersfieldstylewhen you consider John Surge. Johnsaysthethemerunning throughout - Barroom tales. Thenineoriginalsandoneon Almost Time take you on a dustyhonkytonkridethrough aTex-Americanaroadhouse.

Chris Pierce Let All Who Will www.chrispierce.com

Los Angeles based Chris Pierce drenches thisAmericana roots/blues album with hisdeeplysoulfulvocals.The vibeandrhythmareharmonic and playful while carefully delivering Pierce’s well thought out lyrics on this 15 songcollection.

A Great Wild Mercy www.carrienewcomer.com

See The Big Man Cry www.robertrexwallerjr.com

Charlotte Morris Wild Child www.charlottemorrismusic.com

Danny

Promised Land www.dannyburnsband.com

Danny spent 20 years as a traveling folk singer before releasinghisdebut recordin 2019.NorthCountrywasatop 10Billboardbluegrassrecord andearnedhimwideacclaim. His latest, Promised Land, has every bit of the sauce neededtodoitagain.

Tim Raybon Band

I Could Get Used To This www.timraybon.com

Tim’sfirstalbumin2019took thebluegrassworldbystorm -nettingmultiplecharttopping hits,followedbyasecondalbum with the same credentials.Now,theirthirdrelease, I Could Get Used To This, is poisedtorepeattheprocess. We love your formula Tim; keep it up.

BostonGlobedescribedCarrie Newcomer as a “prairie mystic.”She’sreleasedthree booksof poetryandessays, andcreated19nationallyreleasedalbums.Herlatest,A Great Wild Mercy, takes on the subject of life, post pandemic,withheartfeltinsight.

CharlotteMorrisgrewupjust outside of Philadelphia, PA whereshediscoveredherpassionformusicatanearlyage. CharlottemovedtoNashville in 2021 to pursue her solo career.Herpassionforsinging and songwriting craft shinethroughonherlatest.

The

Headwinds www.kennedysmusic.com

Thiscouplebegantheirwritingandtouringlifetogether30 years ago as members of Nanci Griffith’s Blue Moon Orchestra.After three years off the road, this is their latest project - the results of a deepdiveintoAmericanroots music.Well done you two.

Bruce

and the Rockabilly Rebels

Live It Up www.brucehumphries.com

Milwaukee based Bruce Humphries has found a way tokeeptherock-a-billygenre alive and relevant in the modern day music landscape. You must check out this CD package too. Oversizedand3D.Loveit.

Robert Rex Waller Jr. has been one of principle song writersandleadsingerforthe LAbasedband,ISeeHawks inL.A.Theyhavereleased10 studioalbumsoverthelast20 years.ThisisWaller’ssecond solo project - a true Americanacollection. www.AmericanaRhythm.com

www.bobcannonmusic.com

Bob Cannon has immersed himselfinmusiclifeforyears -asasinger/songwriter,aguitar teacher, even writing for variousmusicpubs overthe years. His third CD release, Left Handed Salute,hasBob embracingmultiplestylesand genres.Nice,Bob,welldone.

Sandstone

Carrie Newcomer

Robert Rex Waller Jr.

Burns

Humphries

Bob Cannon Left Handed Salute

Kennedys