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June 2015
Let life be like music. ~ Langston Hughes ~
As I put the finishing touches on this issue, preparing it for publication, I found myself almost giddy with anticipation of the coming outdoor music season. I mean, just gazing at the landscape of our little corner of the Americana world, I’m having a hard time deciding how I’m going to squeeze it all in! It’s a great time in the music world to be a string music fan. With every new round of interviews and CD SPINS we encounter, I can almost literally see/hear/feel the evolution taking place. New terms like indiemountaingrass, and Smokey Mountain folk, as well as unique genre’ specific classifications like Swamp-pop, and Zyda-grass show up every week, adding more and more cool music to listen to. We just call it all Americana Rhythm! We’ve got lots of festivals, events, conferences, and camps for you to partake of this go ‘round. I hope you’ll have as much fun thumbing through as we did curating it all for you too. Oh, and watch for our newly remodeled site coming on-line early this summer. See you out there! Questions, comments, suggestions: greg@americanarhythm.com
PUBLISHER Image credit https://trueblueridge.files.wordpress.com
Americana Rhythm is published six times a year. All corresponCONTRIBUTORS dence should be sent to PO Box 45, Bridgewater VA, 22812 or Ed Tutwiler email to greg@americanarhythm.com. Copies of Americana Wayne Erbsen Rhythm are made available free at various pick up locations within Donna Ulisse the publication’s region. Subscriptions are available inside the United Don and Martha DePoy States (only) for $16 US currency made payable by check or money Andrew McKnight order sent to, Subscriptions at PO Box 45, Bridgewater, VA, 22812. Donna Marie Miller Foreig n su bscrip tion req u ests shou l d b e sen t to greg@americanarhythm.com. Copyright 2014. All rights reserved. DISTRIBUTION Reproduction of any content, artwork or photographs is strictly Ed Tutwiler prohibited without permission of the publisher or original owner. All Zebra Media advertising material subject to approval. Associated Dist. PUBLISHER/EDITOR IN CHIEF Greg E. Tutwiler Associate Editor Ed Tutwiler MARKETING & PROMOTION Mark Barreres (GrassRootsNetworking.com) ADVERTISING Letters, Comments, Suggestions Business office 540-433-0360 greg@americanarhythm.com advertising@americanarhythm.com www.americanarhythm.com
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Puttin’ The Beat In It
June 2015
By Edward Tutwiler
About two years ago, in (Issue 44)
Americana Rhythm, we delved into the use or absence thereof of drum sets in the old-time and traditional bluegrass genres of Americana string music; and for that matter at that time, also in progressive and new-grass iterations as well. I even went so far as to observe that I had no desire to hear a drum line chasing through my Steep Canyon Ranger listening experience. My-oh-my what a difference two years make. About a year ago, I went to a live performance by the Steep Canyon Rangers at the Carnegie Hall in Lewisburg, WVA and discovered that this progressive bluegrass group had added a percussion type of instrument and a dedicated player thereof to their
standard line-up. I caught them live again at Merlefest last spring— rhythm percussion is a permanent part of their act now.
The Rhythm Section
Last summer at an outdoor festival featuring some mainline bluegrass acts and an up and coming bluegrass gospel group named The Church Sisters. I had lunch between sets with their manager, and she posed this question to me, “What do you think about my girls adding percussion to the backup band?” Now, this is not an old-time or traditional act but they do sing gospel songs in a pure mountain manner abet with a fresh young
sound and back up themselves with the expected instruments. Given my negative drum prejudice, I slowly responded with this, “Well, maybe a beat-box type of instrument but never a full drum set.” She replied that was her thought as well. I haven’t heard them live lately so I do not know if they’ve yet made the addition but I expect they will. If you remember, most of the respected folks we consulted at the time of that first article, alluded there has always been a presence of rhythm percussion in old-time and traditional music—just produced with obscure instruments such as metal spoons, fiddlesticks and some foot-clogging but done in a subtle manner. Last fall at the IBMA’s big bluegrass gathering in
Raleigh, NC, one could hear infrequent sounds of rhythm percussion in some of the performances. Percussion is going to be more prevalent among the divergent young string music groups of that there is no doubt; and I expect it to take the form of simplistic rhythm percussion We’ll never hear (I certainly hope) a 10-minute long, frenzied drum solo like Gene Krupa’s big band renditions from the 1930’s, but percussion will emerge. Having said that, let us tell you about the most probable instruments to expect. cont. on page 6
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June 2015
Beat Box Style
I mentioned the term beat-box a bit ago. That was a somewhat inaccurate response to the Church Sister’s manager. That term originated within the hip-hop music scene and actually defines a form of vocal percussion that primarily involved the performer using mouth, lips, tongue, and voice to produce drum beats, rhythm, and musical sounds. A more exact term for what is being used most frequently in string music is a box drum and a more precise term for that box drum is Cajón. This is a Spanish term best pronounced as Ka-hon and generally denotes a box, crate, or drawer. Commercial manufacturers produce fancy and elaborate versions of this instrument but many performers construct their own units from plywood using plans that they pass from artist to artist. The Cajón is of Peruvian origin (probably by way of West Africa via the slave trade) and is nominally a six-sided plywood box that is played by slapping the front or rear faces with the hands, fingers, or sometimes various implements such as brushes, mallets, or sticks. The sound produced is a very pronounced yet unobtrusive and somewhat hollow sounding rhythm that compliments well the string instrument sounds. The modern Cajón is often used to accompany an acoustic guitar, and is fast becoming popular in a broad range of musical genres. The Cajón is often used instead of a full drum kit when a group or solo performer is performing in minimalist settings. As you might have surmised, this box drum type of rhythm percussion is rooted in African music; and since the early Appalachian music was an amalgamation of 18th. Century Scot-Irish and AfricanAmerican musical traditions, it is easy to see how this latest trend toward simple rhythm percussion seems to now fit so well in the modern equivalent of that style of music—the old has once again become new.
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Just Stomp It
Another rhythm percussion instrument that one sometimes hears with string music bands is a Stomp Box. A Stomp Box consists of a small wooden box placed under a musician’s foot. The performer taps or stamps on
rhythm to a performance. In modern use, a microphone, or piezo transducer, is usually placed inside the box to send a signal to a small portable electronic amplifier. Commercially produced Stomp Boxes are readily available but performers often
Scott Senior, former precussionist with the Duhks.
the box rhythmically to produce a sound similar to that of a bass drum. A Stomp Box allows a performer (such as a singer or guitar player) to create a simple rhythmic self-accompaniment. The most common use of these instruments is in folk and blues music but certainly not limited to that genre as you can hear them being used across the musical spectrum: A Stomp Box can be a pure acoustical instrument as a simple means to add a subtle hint of
simply put a microphone inside whatever box they have handy. A great listening example of Stomp Box playing is on some songs performed by The Steel Wheels, an eclectic hard to define folk/old-time acoustic string band with a national following. The Steel Wheels lead singer, Trent Wagler, also uses a unique rhythm percussion device that consists of a four-foot tall colorful wooden stick emblazoned with
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large metal washers and rattles that he shakes tambourine-style and sometimes uses with his Stomp Box when his group does their version of raw, powerful African-American spirituals. (As an aside, Pete Vigor, who heads an old-time string music group based in Central VA, mentioned a similar rhythm device festooned with soda bottle caps that was used by folk-singer Pete Seeger when he did AfricanAmerican influenced spiritual songs.) Recently, I contacted Trent Wagler and asked him to give us the proper name of his instrument, and here is what he told me, “In Australia they call it a Lagerphone; and we’ve collected names for ours including The Gospelator and Jingling Jonny, but we just call it the Washer Stick.” (Editor note: for my part, considering how emotionally moving I find the Steel Wheel tunes to be when the sound of the Gospelator is added, I want to also give it a middle and a last name: Spirit and Stick—thus, The Gospelator Spirit Stick.)
Hambone It Up
When we speak of Af ricanAmerican influenced rhythm percussion in Appalachian influenced string music, we would certainly be amiss in not mentioning the Hambone. Now, less you think this is some obscure art form from the way-back, let me quickly dispel that notion. I saw an excellent presentation of Hambone in a fullon progressive bluegrass festival in Washington, DC just last month. It is not at all obscure. Hambone is another form of body music that adds percussion to
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string music performances. The performers use their hands to slap the thighs and the chest muscles of their body in a .rhythmic patting motion. Most sources place the origin of Hambone in West African dance and of course in the migration through the misery of slavery to the US south. No one
really knows why the art form is called Hambone but it is easy to assume that the term was derived from the action from hitting your thigh—your actual hambone. Nevertheless, doing the Hambone is not an uncommon part of primarily the old-time and bluegrass
genres of Americana string music performance. We could go on sighting obscure and some not so obscure examples of rhythm percussion like the occasional snare drum/steel brush combination but suffice to say the use of rhythm percussion threads through and through Americana string music reaching far back before the time of recorded music. There is no doubt that rhythm percussion is here to stay because it was really never ever missing. I find my bias shrinking as some of my favorite groups incorporate some rhythmic percussion sound to enhance the richness of the sound produced by their talented string instrument players. However, having said this, I never ever want to hear Americana string music accompanied by a harsh, pounding, overpowering array of drum paraphernalia, which is apparently required in the over amplified, electrified world of rock and modern country music
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June 2015
I love being a happy girl. I’m
most comfortable in this state and annoyingl y will ing to share my joy through positive songs that I write and perform. Lately, my Snow White approach to daily life has been smudged by friends goi ng through personal crises and loss and has left me hurting for them. Don’t get me wrong, my life is not so charmed that I whiz past any personal sorrow or that I haven’t had my own kinds of heartache. I have, oh, I have, and maybe that is why I am able to take on someone else’s anguish. I tend to borrow heartache every now and then. In fact, my first bluegrass CD was filled with thoughts of a good friend’s divorce and teardrops. Shameful, I know, but a
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real treasure trove for my song catalog and the launching pad for my bl uegrass career. I thank her to this day for letting me sing out her broken heart.
can’t think of a sadder thing. It puts life out of order somehow. This particular friend has had a large portion of heavy loss and this was more than a shoulder should have to bear.
Saying Good Bye
In my writer’s heart, I tried to imagine what my friend was feeling. If this had happened to me I would not be able to see the sun shining even on the sunniest, warmest of days. In my mind my heart would turn wintery. We have all been told that at some point there will be a thaw but when in the throes of this kind of heartbreak, I don’t imagine seeing past the gray, cold sorrow. I took all of this imagery and all the sadness I felt for my friend
This past winter season was an especially tough one, cold, icy and long. The frigid months gathered up some dear, old friends and escorted them into the great beyond. Sayi ng goodbye to cherished parts of my past is never an easy chore and as years go by this task hits harder and harder - sad emotions that turn my pen and paper into therapy. Not only have I lost friends but also I have had to watch a sweet friend go through the loss of her child. I
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and turned it into song. I’d like to share what I came up with and let you see how I see heartache.
Date Of Creation
Underneath the title and my name you will notice the date. Before the date you will see DOC. This stands for date of creation. Heading your songs just the way you see mine is a good habit to get into as you write your songs. The date of creation is important for a few reasons: you or your publishing house will need to record this date for copyright enrollment, and if there are ever any legal issues you will certainly need proof of when you composed your song.
THOUGH THE GOLD OF SUMMER SHINES Written by Donna Ulisse © 2015 Uncle Hadley Music (ASCAP) DOC March 6, 2015
HEARTACHE HITS LIKE BLINDING SNOW LEAVES ME STUMB’LIN IN THE COLD THIS ICY CHILL IS SO UNKIND THOUGH THE GOLD OF SUMMER SHINES GRAY FILLS UP THIS HEART OF MINE ROLLS IN WAVES OF WINTERTIME IN SEARCH OF WARMTH I CANNOT FIND THOUGH THE GOLD OF SUMMER SHINES FLOWERS USED TO CHEER ME UP I ALWAYS LOOKED FOR BUTTERCUPS NOW YELLOW CANNOT CATCH MY EYE THOUGH THE GOLD OF SUMMER SHINES GRAY FILLS UP THIS HEART OF MINE ROLLS IN WAVES OF WINTERTIME IN SEARCH OF WARMTH I CANNOT FIND THOUGH THE GOLD OF SUMMER SHINE I LONG FOR SUN UPON MY FACE BUT I AIN’T GOIN’ OUT TODAY I’VE LOCKED THE DOOR AND CLOSED THE BLINDS THOUGH THE GOLD OF SUMMER SHINES GRAY FILLS UP THIS HEART OF MINE ROLLS IN WAVES OF WINTERTIME IN SEARCH OF WARMTH I CANNOT FIND THOUGH THE GOLD OF SUMMER SHINE
Women Only
June 2015
Things have changed in the world of music. What was once a male dominated genre’ now features quite a few notable female front ladies like Rhonda Vincent, Alison Krauss, Dale Anne Bradley, Donna Hughes, and Loraine Jordan, just to mention a few. Some history even suggests that the high tenor vocal lead present in traditional bluegrass originated with the woman supplying the vocals. However, it’s still intimidating for a lady to sit down with a big circle of men and “jump right in,” Martha Hill stated. Martha fronts for the old-time duo, Me & Martha, with her husband, Don Depoy. For the past five years Martha has performed at private and public music venues from Maine to Florida. “Women playing bluegrass music often need to be encouraged to join the male dominated jams. “My goal is to invite women to have some fun while learning skills to make them feel more confident when joining any music jam,” she said. So, ladies, here’s something just for you! Martha Hills, Outreach Coordinator for The Shenandoah Music Trail, has created a woman’s only bluegrass jam workshop planned for June 6th from 10:30am to 3pm at Eastern Mennonite University’s Music Department, Lehman Auditorium, in Harrisonburg, Virginia. “The Bluegrass Jam Workshop for just women will be for all bluegrass instruments and all but beginner levels,” Martha said. If you know how to tune, know basic chords, and can lead a song or two, this workshop is for you. The goal is to help you improve jamming and singing skills in a welcoming and empowering environment. This workshop covers standard bluegrass songs, will encourage good timing, playing, lead and harmony singing, jam etiquette, trading breaks, playing back up, kickoffs and endings. “There will be just enough music theory to not mess up your playing,” Ms Hill said. To be a part of the workshop you can call Martha at 540-209-3540 or email martha_hills@hotmail.com for registration and information
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June 2015
Thanks to our partnership with ReverbNation (www.reverbnation.com) we are honored to give you a peak at a few of the nation’s hardest working indie artists. Each month we select one entry to showcase for you here. Enjoy! THIS MONTH’S FEATURE:
By Greg Tutwiler
Steph Stewart And The Boyfriends utes to the songs the band chose to call their own. Two of the songs on the new record were co-writes in terms of lyrics. Stephanie wrote “All Over the City” with Nick, and “Promised Land” with Mario. Mario wrote one of the songs on the new album too; “Songs & Arms.” “Everyone pretty much forms his own parts and contributes to the arrangements,” she said.
FEATURE ARTISTS
Before Stephanie Stewart formed
Steph Stewart and the Boyfriends, she grew up on a steady diet of classic country and traditional Christian hymns in the foothills of North Carolina. “I grew up listening to my Grandfather’s classic country records and singing traditional hymns with my Grandma in church,” Stephanie recalled. The voices of Patsy Cline, Johnny Cash and Ernest Tubb were among several of the first influences in her early life that made her want to sing. In 2013 Stephanie formed her first official Americana string band, and they just recently released their second album, Nobody’s Darlin’. Although she couldn’t play an instrument yet, Stephanie began writing songs in fifth grade. “It was just lyrics with a melody I had created and memorized,” she said. It wasn’t until years later that she decided she wanted to accompany herself with guitar. “At that time, only teenage boys were playing guitar in the small, rural town where I grew up, and I got tired of singing along to all of the music they wanted to play. I wanted to make my own songs, so I picked up my dad’s old Kent electric guitar, and got a small amp that year for Christmas, along with a book of chord charts and Beatles songs, and I taught myself the basics.”
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All For One
At 16, Stephanie was a regular at the local coffee shop’s open mic nights where she performed original tunes and other things from the infamous Lilith Fair cannon. “I suppose that was pretty much the beginning of where I am today,” she recalled.
country feel (like “Pearl”) while others lean more towards traditional Appalachian folk music. “Americana is a catch-all phrase really, but it’s probably the best way to describe our sound,” she said.
New Influences
Stephanie met her first band mate Omar Ruiz-Lopez in the summer of 2011. They were both playing with different people and happened to be on the same bill at a show in Chapel Hill, NC. “That fall he sat in with me and a friend and the rest is pretty much history,” Stephanie said. “The following year he convinced his friend from music school, Mario Arnez, to move from Florida, and the three of us started playing together regularly.” In January of 2013 they met Nick Vandenberg at a Mandolin Orange concert and he has been their bass player ever since, as well as produced their first album and mixed the current one.
Stephanie said her childhood influences were very informative as her foundation in music goes. “But as an adult,” she added, “I have continued to actively seek out new music and find inspiration from new sources. As of late, I have enjoyed binging on old Alan Lomax and Bill Ferris folk music documentary films, which has definitely made an impression on the songs I wrote on this current album. I love the rawness and emotion that comes through in the music of folks like Clarence Ashley, Roscoe Holcolmb, and Sarah Ogan-Gunning. They weren’t just performers - they actually lived the tragedies and strife they sang about, and I think you can hear that in their voices.”
In describing their music, Stephanie said some songs have a more classic
Everyone in the group is a songwriter, and everyone contrib-
Putting It All Together
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“I think it’s pretty unique how we constantly motivate and inspire one another to be better. For example, I never had plans to play banjo, but Omar heard it in my music and loaned me his, saying I needed to learn. Finally I broke down and took some lessons. It’s been the best thing. So many new songs and sounds I had never known were inside of me came out through that instrument, and I owe that to him.” All the guys studied music in college; while Stephanie was an English major who liked writing songs. “I’ve learned so much about music theory and song craft from working with them.” In addition to fronting her band, Stephanie is a full time Montessori teacher for children three to six years old as well as an outdoor educator at Learning Outside. “I do all the booking and publicity along with my husband and gig in my free time (weekends, holidays, summer),” she said. “Our goal is to keep getting our music out there for people to hear and writing songs together that we enjoy bringing to the stage. It’d be great to reach that place where we can afford to hire an outside person to handle the business side as well ”
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www.stephstewart.net
June 2015
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June 2015
the following day for a crime that is long forgotten. Outside the window of his cell he could hear carpenters building his gallows. The jailhouse walls were too thick to tunnel through, so he was desperately trying to figure out a
By Wayne Erbsen Chatam County Line
Hangman’s Reel © 2015 by Wayne Erbsen “Hangman’s Reel” always reminds me of my old friend and mentor, Albert Hash. I first met Albert at the Grayson County Fiddlers Convenion in the summer of 1972, and took an instant liking to him. Not only was he a great old-time fiddler, but I was drawn to him by his plain-spoken ways and his humble spirit. He spoke in an old-time Southwest Virginia dialect, and I hung on his every word. The man was wise from his head to his toes, and I spent a lot of time hanging out and playing music with him at his
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pretended that he was the greatest fiddle player in that entire region. They got to arguing back and forth, and the prisoner managed to goad the jailer into make a bet. If he could prove that he was the
Whitetop Mountain home. His wife, Ethel, used to serve me instant coffee with hot water from the tap. It was delicious! Back in the early 1970s, Albert taught me “Hangman’s Reel” along with the story that goes with it. Over the years, I’m sure I’ve embellished both the tune and the story. Anyway, here’s the story. Many years ago way up in Canada there was a prisoner who was locked tight in his cell, awaiting his execution
Albert Hash and Emily Spencer Terry way toand escape his fate. Looking his through the bars, he could see an Derring old fiddle and bow hanging on the Banjo. jailhouse wall. That gave him an idea. He called the jailer over and
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greatest fiddler, he would be set free. But if he was lying, and was not the great fiddler that he claimed he was, then he would meet his fate at the end of the hangman’s rope. They shook hands
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and sealed the bet. The jailor did allow the prisoner to keep the fiddle and bow in his cell overnight. The next day, with the noose around his neck, he would get the chance to play the fiddle for the crowd and settle the bet once and for all. The truth was that the prisoner had never held a fiddle in his hands before, but it was the only thing he could think of to try to win his release. You can bet he stayed up late that night trying to figure out how to play that fiddle. On the gallows the next morning, the prisioner raised the fiddle and played the tune that has since become known as “Hangman’s Reel.” History did not bother to record whether the prisioner won his freedom or instead, received a “suspended” sentence. However, it is a darn good tune!
Hangman’s Reel Tab
For more information about playing banjo in clawhammer style, check out Wayne Erbsen’s book: Clawhammer Banjo for the Complete Ignoramus! Wayne has written three bluegrass banjo books: Bluegrass Banjo for the Complete Ignoramus, Bluegrass Jamming on Banjo, and Starting Bluegrass Banjo from Scratch. Also check out his instruction books for fiddle, mandolin and guitar at www.nativeground.com. Free catalogs are available by calling Native Ground Books & Music at (828) 299-7031. Hangman’s Reel is arranged for clawhammer style banjo. For detailed instruction for the clawhammer style, check out Wayne’s book, Clawhammer Banjo For The Complete Ignoramus! You might also enjoy the Youtube clip “Wayne Erbsen Teaches the Clawhammer Banjo.” Lick.” By the way, this tab of “Hangman’s Reel” will be included in Wayne’s upcoming book, Clawhammer Banjo – Tunes, Tips and Jamming available from www.nativeground.com.
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June 2015
New Grass Voices
By Greg Tutwiler
At the influence of
his father, northern Mississippi’s Glen Harrell started playing guitar when he was nine years old, and picked up the fiddle when he was just 14. Just last year, the parttime insurance salesman, along with his band, Mountain Fever Recording artists, Volume Five earned two IBMA nominations – a long way from hometown, childhood fiddle and guitar contests – but not surprising. Quickly becoming a band to watch – Volume Five’s latest CD, Voices, just might be the record that puts them on the map for good. In his early teens, Glen eventually got together with some kids his age that were playing, and they formed a band. Over the years he jumped in and out of different groups, all the while learning more and getting better as a musician and a singer. “We did a lot of jamming in between,” he recalled as we sat down to talk.
Heading Out
Glen landed in a bluegrass gospel group, which lasted four or five years, and then went on to play fiddle with Marty Raybon for about six years. “Being a fiddle player all the time, you don’t get to sing very much,” Glen laughed. “I’d always wanted to put my own group together,” he said. So he did. “I like to sing, and in the gospel group I did quite a bit of singing, (harmony and lead) and I missed it. I thought to myself, ‘if I’m ever going to do this, I better do it before I get too old,” he quipped. “But let me tell you, it doesn’t matter what you’ve done, or who you’ve played with – when you put a group together you’re back at zero. I have really worked my
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butt off trying to build this band. I guess in some ways, I had no idea what was involved, but it’s worth it for sure.” “More than anything,” Glen said, “I wanted this band to play music that would define us and let everybody in this band create their own identity. Instead of sounding like every other band – you know, having that same sound or same feel – and playing whatever is hot on the radio at the time. We really wanted to create our own distinctive sound. I want to be able to walk around places like IBMA and hear other people playing our songs too. To me, that’s the best compliment you can have.”
A New Breed
Volume Five is a one of the new generation bluegrass bands. They are a hybrid of contemporary and traditional sounds melded with a creative new approach to bluegrass. “I’m a baritone singer,” Glen said. “So I’m not going to put my guitar in a higher key and scream
and try to reach the note – I sing in the key that best fits my voice – and sometimes the sound we get is not what a typical bluegrass band sounds like. We want the vocals to be really crisp and clear, and to play music not just for the people that have been going to bluegrass festivals a long time, but also for the people who are new to bluegrass. We want to attract a newer, younger audience, as well as the long standing bluegrass fans,” he said. “I think we’ve got something for everybody. I just don’t want to be labeled as contemporary or traditional. To me, music is either good or it’s not. I’m pretty cut and dryed about that. I really appreciate different styles of music, and I’m very open-minded. I appreciate the mountain sound of the old-time stuff – but I don’t just want to play everybody else’s music all the time either.” It is hard to be completely original, of course, and Volume Five doesn’t
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mind mixing in songs from other bands and artists. “For example,” Glen said, “we love Lost And Found. I think those guys produced some of the best original music. So we’ll play some of their songs from time to time. It’s good to have a few familiar songs that audiences know right off the bat. And I love the old Country music songs too like those from Merle Haggard and George Jones. We don’t mind playing some classic stuff, but we also want to be know as a band that’s bring new, original music to the catalog for others to be able to play too. The only way to create your own identity is to be original as much as you can.”
We Write The Songs
“We probably write about half of our own songs, and the rest we choose from other song writers we know, or songs that get sent to us,” Glen said. “For the most part I’m the one picking the material, and the first thing I look for is, does it have a good story? Does it say something that’s interesting to
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people? And, could it impact a
person’s life? Then I listen for the melody. If a song doesn’t have a good melody, I don’t care what it says, it’s just hard to sing. And if someone sends me a song, I’ll listen to it three or four times to see if it will
songs but they’re just not what I’m looking for,” he said.
Making It All Work
“You’ve got to be a highly motivated person,” Glen said. “You’ve got to set goals, and more than anything, you’ve got
work for us, and then I don’t want to hear it again. I’ll write the lyrics down on a piece of paper. If I listen to something too long I will start to sound like the demo. I really don’t to do that. I want to put our own twist on each song we do. After that, all these guys in the band are great musicians, and they can bring a great song to life.”
to go after it. You really do have to work hard. People aren’t just going to beg you to play for them, or hand you a record deal. You can have the talent – but that’s only about 20 percent of what you need to make it in this business. It’s not the Friday and Saturday work. It’s the Monday through Thursday part that’s going to make you successful. The weekend work is the gravy.”
“Great songs are what really make a band great. I’ve been really blessed over the last seven years with this band,” Glen reflected. “We’ve had some guys that were really great song writers, or they knew someone that was a good songwriter. So we’ve been fortunate to find really good songs. I’m really, really picky on what we record. I have tons of music sent to me every year. A lot of them are really great
“Just because you can make it sound good doesn’t mean your telephone is going to start ringing. You’ve got to be a person who’s pretty good at talking with people because everything in this business is based on relationships. I love people. You have to love people in this business, and it’s the people that I’ve met – the relationships that this business has allowed me to make – that means as much to me as getting to make music ”
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June 2015
Making It ...
By Matt Hoggatt
What Does That Mean Anyway? You might recall a ReverbNation feature we did with Matt Hoggatt in our October, 2014 issue (#53). Matt’s story is a bit of a fairy tale story, with a crescendo of sorts, and back down to earth again. Matt recently shared the follow letter with his Facebook followers. We share it now with you – not so much as a “poor Matt” but really as an encouragement to any and all musicians out there striving to share your craft. There are ups, and there are downs. However the downs don’t have to mean you’re out. - editor
Folks, in case you didn’t know, I’m
not touring full-time anymore. I don’t have a booking agency, a record label, or a manager. I’m just a one-person, one-guitar, completely independent singer/ songwriter that only plays select shows that invite me to perform. The last three years have been a lot of fun, but unfortunately fun doesn’t always translate into monetary profit; and so I’ve returned to working full time. I’m not upset, let-down, disappointed, or mad that I didn’t MakeIt. What does that phrase really mean anyway? I got to live a completely different life for three years that took me all over the country and introduced me to all kinds of people and all kinds of cultures. Most of the time I was completely in debt, and barely broke even in most cases. But it was a great experience, and one I can be proud to share with my children as they get older. Now, if that’s not making-it, then I don’t know what is anyway.
A Whirlwind
In the last three years I wrote a song, won a song contest, played on stage in front of thousands, quit my day job, became a traveling
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musician, stayed at Jimmy Buffett’s House, toured the country as traveling musician, wore out my mini-van, bought a bigger van, put a cot and a microwave in the back of the bigger van, lived out of the van, toured the country playing small venues and house concerts, drove Jimmy Buffett around New Orleans while he ate my beanie-weenies (last can of beanie weenies), sold as many records as I gave away for free, met tons of cool people, tons of great tailgate party hosts and ate TONS of great food, stole a beer from Jimmy Buffett’s dressing room, made a new record, ate peanut butter and rice cakes with Keith Sykes, got “sweated” on by Lionel Richie, saw most of the country through the windows of my van, held off the bill collectors, mortgage company, insurance company and I.R.S for two years and barely kept from going bankrupt. Finally, in December of 2015 to make ends meet, I made the hard/not so hard decision to go back to work full-time. And thankfully, I’m still hear to talk about it.
All’s Well
Here’s the happy ending to that story though. Since returning to work, I’ve been able to concentrate on booking better shows and writing more music, and I’ve had even better record sales now that I can concentrate on quality gigs instead of quantity. I still play virtually every weekend and have shows lined up in Texas and Florida this summer, and a busy calendar. My message to anyone trying to make it in the music business; you have do whatever it takes. Stick to your guns and stay original even if you have to work a day job to make the nightlife a reality!
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June 2015
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June 2015
Along
to the person in the back of the room. This is your moment. Shine!
the Shenandoah Music Trail
Banjo Jokes Aside
By Don Depoy, Phd.
Jam One, Jam All Most public jams have a variety
of musician skill levels from beginner to professional. Music Jams serve as a viable way to encourage musicians to improve their instrumental skills, learn how to play well with others and most importantly respect their own journey and their fellow musician’s journey. Anyone young or old who picks up an instrument with a desire to learn how to play should be celebrated and encouraged every step of the way. I believe that musicians who attend jams want to play their instrument and perhaps lead a song or two. Some are reluctant to take their instruments out of the car, others out of the case, some, with encouragement, are willing to stand in the circle and some have found the way to play well with others.
Jam Hogs
A musician at a local music jam recently quipped to me, “The jam’s name should be changed to the Four Brothers Show.” He went on to explain that certain members of the jam monopolized about every song and it left little time for other musicians to play their songs. He’d even noticed that a number of regulars had stopped coming. So this month we felt it important to highlight some Music Jam Etiquette. As the Jam leader, I do understand your concerns. When I lead a jam the intention is for it to be a circle jam, where everyone has the opportunity to play and/or sing a song in whatever key they choose. I believe a jam leader should be welcoming and supporting of everyone who is there as a musician and encouraging (asking) everyone
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to lead a song or two. If there is no designated leader with that mindset at the jam, then it can feel like a “show” to some of the more inexperienced musicians. A “show” can evolve if no one is willing to step up and play. The more seasoned jammers will just start playing songs they know. As the jam progresses, however, anyone should be able to ask the perceived leader to sing or play his or her particular song. As a jammer, I encourage you to seize the moment. Have a song ready. State the name and key so everyone can hear and if you want someone to do a kick-off ask that person if they know the song. If it’s a standard song, they might ask, “how fast?” Take a breath. Take a look around and make sure everyone is ready, (especially the banjo). This is your chance to perform! Put your fears away and let ‘er go! Sing
To my comment, “Wait for the banjo.” We all know the jokes about banjo tuning. However, there is a good reason why the banjo is hard to tune and here it is! The difficulty with tuning comes in part with the constant key changes. A banjo has to re-tune with every key change. So you might wonder why the banjo is so different. The piano, guitar, mandolin, and other fret-
ted instruments and your electronic tuner are even-tempered scales. Banjos, Dobros and fretless instruments like the fiddle have an untempered scale and require time to tune the harmonic overtones to the fundamental first note of the song’s key. So changing keys from A to B to C back to G up to A, requires tuning time. With more than one guitar slightly out of tune with the others or multiple banjos, the tuning quickly becomes a banjomare (nightmare on steroids). Most seasoned jammers will typically, sing/play songs in one key as long as possible. And keep the circle going around until it arrives back to the one who choose the first song. Then perhaps play one more song and then move on to the next person and make a key change if necessary. (Having said that, sometimes it’s just time to change keys.)
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All Inclusive
The Jam Leader is there to make sure that other singers and instrumentalists have equal time to play songs in “their” favorite key. For example, when going around the circle and the fiddler asks to play the tune “Old Joe Clark,” everyone knows it’s in the key of A. I might ask the fiddler to, “Hold that tune until we get to A.” and we all play another song in “B”. The roll of the jam leader is not to forget the fiddler. For that matter, everyone should be encouraged to pick and play songs as the key moves around. If you play in a jam long enough you know the players and the singers and the songs they like to sing and play. As a jammer, you might even suggest a song you’d like to hear sung or played by someone else in the circle. The bottom line, some musicians only get one chance a week to play/ sing. The local circle jam is their life’s blood to learn to play well with others. Depending on the size of the circle, it may take a while to get back to your turn. So over the course of a two or three hour jam, jammers may only get a chance to lead four or five songs, (assuming there are no jam hogs.) One final though. If you can’t hear a singer clearly or a solo break from an instrument, someone is playing too loudly. Is that someone you? Sometimes it’s ok to just stand and listen to the unbroken circle
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Don and Martha host the Bluegrass Music Jam at the Elkton Community Center in Elkton, Virginia every Tuesday evening from 6 to 8:30 pm. It’s free and open to the public, and all levels of pickers and listeners are welcome. For information on The Shenandoah Music Trail is spon See more at: www.svmmma.org.
June 2015
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June 2015
44 Years Of Good Folk Fun
Kerrville, Texas has been the
home now for 44 years for the Kerrville Folk Festival. Since 1972, the festival founded by Rob Kennedy, has been held annually for 18 consecutive days in the late spring/early summer at Quiet Valley Ranch. And each year the Folk Festival draws nearly 30,000 folk music lovers to this music mega event. Fans and artisans, as well as a strong artist community gather for performances, workshops, education, camping, songwriting, jams, good food, and good folk fun.
Longest Running Festival
According to their website, the festival is “more than just a folk music festival. Kerrville offers music of many styles including traditional folk, bluegrass, acoustic rock, blues, country, jazz, and Americana. The common thread is songwriting. The focus of the festival is to promote emerging artists while giving our audience exposure to both new and recognized, seasoned talent.” According to the festival information it is the longest continuously
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running festival of its kind in North America. “Over the years it has become known internationally as a Mecca for singer songwriters of varying musical styles … a place where those just beginning to develop their skills have the opportunity to play their music alongside those who are masters. Emerging songwriters as well as teachers are drawn to the festival’s many learning opportunities.” Those opportunities include the 35th Annual Songwriters School, the Roots / Blues Guitar Workshop, Harmonica Workshop, Ukulele Workshop, a Music Law Panel Discussion, and the 14th Annual Professional Development Program for Teachers.
Grassy Hill Kerrville
One of the featured events is the yearly Grassy Hill Kerrville New Folk Competition. Its goal is to discover promising new singersongwriters. A field of 800 entries are narrowed down to 32 finalists who get to share two of their original songs in an afternoon appearance on the stage of the
This year ’s festival runs from Thursday, May 21 through Sunday, June 7, 2015 and will again feature some amazing artists including David Crosby, Emmylou Harris, Rodney Crowell, Tom Rush, Peter Case, Ruthie Foster, John Fullbright, Wood & Wire, Sam Baker, Ray Bonneville, Gurf Morlix, David Wilcox, Peter Yarrow, and Trout Fishing in America, just to name a few.
About Kerrville
Davis Crosby Threadgill Theater. Six winners are eventually selected by a small group of well-established performing songwriters. In addition to cash and prizes, each winner is invited to the main stage to perform a 20-minute set. A win at Kerrville carries considerable prestige in the singer-songwriter community due in part to the peer-professional judging and the festival’s long history of recognizing emerging artists who have later gone on to wider success.
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Kerrville Texas was settled in the mid 1800s as a territory for a new industry making cypress shingles. Initially named Brownsborough after shingle maker and settler Joshua Brown, at his request, it was renamed Kerrsville, for his friend and fellow veteran of the Texas Revolution, Major James Kerr. Kerrsville became the county seat and later the “s” was dropped and the town became known as “Kerrville.” It’s located in the heart of the Texas Hill Country, and considered by many a special paradise, “with friendly people, where the air is always clean and fresh, and the low humidity climate is wonderful year-round.”
June 2015
In this new series, we get a little deeper into the inside track with some of our featured artists. These stories are just a snapshot of a longer interview that you can hear in it’s entirety by clicking the link on our web page; www.AmericanaRhythm.com.
The Judy Chops
Harrisonburg, Virginia is home to The Judy Chops – an “original mountain swing” ensemble, seven members strong. They are a high energy group specializing is gipsy swing, roots Americana, and all around good sting fun. They’ve opened for folks like The Black Lillies, Miss Tess & The Tailbacks, and The David Mayfield Project. Front man Bill Howard told me that, at least in part, the band’s sound centers around a strong emphasis on vocal harmonies thanks to the strong vocal presence of sisters Molly and Sally Murphy. They enjoy writing their own material whenever they can, and when they do play covers, they still like to put their own interpretation on them. “We try to cover some traditional stuff as well as some western swing, but the mash-ups are where we tend to get a little weird,” Bill laughed. “But it’s all in good fun. The audiences like hearing a familiar tune mixed in with the set.” Although the band has been together for seven years, their journey together started further back when several of the members were involved in other projects. “I remember late nights after performances with our other band we’d have late night jam sessions, and I remember saying to Molly at one of those sessions, ‘one day we’ll have a band together, I just know it.’ We eventually melded the remnants of a few groups into what we now call The Judy Chops.” “We’re a melding of some swing, rock-a-billy, and blues,” Bill said “with a nod to the old-time sound. Several of the girls in the band have family rooted in old-time music, so we definitely see that showing up in our music. Mountain Swing is about the best we could come up with that covered what we do.” To find out more, visit www.TheJudyChops.com
John & Judy Rodman Nashville, TN is home for John and Judy Rodman. Judy is an award winning recording artist, stage and television performer, producer and songwriter – husband John is a classical percussionist, touring drummer, and was a session drummer for one of the world’s largest jingle companies.
The Road House Clams The name Road House Clams invokes visions of a Jimmy Buffet style rock band at a local sea side fish house, right? The Clams, fronted by vocalist/guitarist Rik Ferrell, have their roots along the fertile musical soil of Maryland’s eastern shore. Rik and the band feature that juke joint punch, riddled with clever lyrics, and tight harmonies. Original tunes like, “I like You Better When You Been Drinking” set the tone for a high-energy, country infused evening out with the Clams.
Both are longtime career entertainers who both got their professional start doing jingles in Memphis, TN at a young age. Judy recalls; “We just wanted to play full songs, so we formed a top 40 band with friend,” and found each other at the same time. “That’s why this project that we’re doing now feels like a full circle kind Rik and fellow songwriter Keith Thompson started the band in 2010. “We played around at other gigs of thing,” she said. and jams together,” Rik recalled, “and every time John was raised in Memphis, while Judy, born in Cali- we got together there was that magic; that little bit fornia, was from a military family, and moved a lot with of a spark – the harmonies where already there – her parents while she was growing up. “Nashville’s been without even really rehearsing a lot.”
my home though, for longer than I’ve lived anywhere,” Keith, from southwest Virginia, brings a rootsy flashe said. vor to the band, especially with his Mandolin playWhen what seemed to be the end of a long and success- ing, whereas Rik is more of the rock and roll influful career, John and Judy both felt like they weren’t ence. “It’s a really nice crosshatch of sound,” Rik quite ready to quit playing music. Together, along with said. some of Nashville’s elite session players, they recorded their new CD, Here We Are. “I was enjoying doing other stuff,” John said. “But we were watching a James Taylor reunion with Carol King a few years ago, and that’s what sparked it – I said let’s play again. Judy was mostly producing and teaching, and I wanted to find out if I could still play, so we went for it. And it feels like I’m better now than I was,” he quipped. “In the mentoring and producing others and John’s spark coming along, it has been so wonderful to come to this point and time where we can take all of our past and love of music and freshly make new stuff,” Judy said. “So we started writing, and before we knew it, we had seven songs. And we just decided to go into the studio and record them and see what happens. They’ve been getting wonderful feedback,” Judy said. To find out more, visit www.JohnandJudyRodman.com
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Although their music has a seemingly 70s vibe, Rik said, “None of it was really intentional. We weren’t quite sure where we were going, but we didn’t want to limit the songwriting. I don’t worry about genres. I listen to a lot different kinds of music, and that influences spills over into our songwriting,” he said. For their new CD, Raw Barn, the bend traveled to Washington D.C. to work with top notch producer, Mark Williams. He was a stickler for detail and making sure the sound was just right. “It like you wanted to strangle him, but when we heard the final track it was like, ‘that’s exactly right.’ We definitely learned to trust him. It was a lot of fun.”
To find out more, visit www.RoadhouseClams.com
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June 2015
A Sound Philosophy Not that long ago, if you were an
aspiring musician with a real desire to record a record, you didn’t have much choice other than to set out for Nashville, TN in hopes of a record deal. The break-up of corporate record labels, and the advent of digital technology has changed all that in recent years – but this fact remains, if you want it to sound right, then you need to have it recorded and produced right. Thus returns the big question; should I head out to Nashville to find a quality studio to help me make my record? Nope – not now. The Shenandoah Valley of Virginia is rich in so many things. At the basin of the Shenandoah and Blue Ridge mountains, Harrisonburg VA is quickly becoming a destination for many – whether to visit, or settle down. And it’s a great place to hang out while you’re cutting your next recording project. With a studio like Blue Sprocket Sound as your option, you can have that
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By Greg Tutwiler
Nashville quality and still enjoy a small town relaxed atmosphere while you hone your craft.
Blue Sprocket Sound is the brain
child of Chris Jackson and founding partner Travis Whitmore. I had the opportunity to tour the studio and chat with Chris, and studio employees Logan Stoltzfus and Alan Sites recently to learn about the uniqueness of their vision for Blue Sprocket.
Gaining The Experience
Chris Jackson grew up in the Shenandoah Valley – a music tech by training and nature – he loved hanging around with local garage
bands while he was growing up. “I’ve been a musician most of my life but I’ve always gravitated toward the recording side of things,” he recalled. When I was in junior
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high school I heard about this guy who had an 8-track recorder and everybody wanted to get their band recorded by him.” That was all the inspiration Chris needed to
June 2015
fuel his passion for the recording side of music. So much so, that he bargained with his parents; “I made an agreement with my parents that if I got straight As for one term they’d help me buy a little 4track recorder.” It worked, and Chris got his recorder and recorded his band, and everyone else’s he knew too. Wanting to do the “right thing,” he applied and got accepted to the local college, James Madison University, right out of high school. But it just wasn’t his thing. “I think I went for one semester, and said, nah, not for me, not right now.” So he packed a bag and headed to Nashville, TN. “Mostly by luck,” Chris reflected. “Through a neighborhood friendship, he ended up with an internship at the famed John and Martina Mcbride’s Blackbird Studio. [Blackbird studio has been described as the ultimate marriage between cutting edge and vintage.] “I think John, whether he would admit it or not, wants to build America’s Abby Road – He’s the biggest Beatles fanatic I’ve ever met,” Chris quipped. “And, he has the world’s biggest vintage recording equipment collection of anyone I know at this point.”
Miking It Right
Chris was actually working for a studio tech company repairing condenser microphones that John had relocated from Pittsburg to Nashville. “I think it was so that he could have the best mic techs on premises,” Chris said. “I would also do freelance production around town at other studios on my off days, because most of my clients couldn’t afford Blackbird,” he laughed. “It was cool working there because you got to see how all these top notch records got made. And Nashville has such rich history that even the affordable studios were still great quality places to work in.” Chris’s parents encourage him to continue perusing school though, so he enrolled in a recording program while in Nashville. “Most of my education really has been by watching and being involved in it though,” he said.
Back To The Roots
In 2007 Chris moved home to Harrisonburg, VA. “I moved back to the Valley because I would come back and visit my parents and I was constantly surprised by the way this area was changing. And as much as I enjoyed my time in Nashville, I think I just missed the Valley. The pace of life here is different. And this area has such a rich tradition of music about it. People I would meet in Nashville were here and would be coming there because there wasn’t an infrastructure here for them to take advantage of for recording the way they wanted to,” he reflected. Chris built a small home studio to begin pursuing his dream. He picked up his college study back at JMU in telecommunications, and continued to spend time between his home studio in the Valley and traveling back to Nashville working on recording projects for old and new clients.
capturing and helping to facilitate great performances and recording those. We’re all about creating an environment that’s comfortable. And the studio is built to really be a studio. The infrastructure is such that when someone says, ‘hey, I want
One For All
Groups recently who have enjoyed the opportunity to work with the guys at Blue Sprocket include The Steel Wheels, and The Judy Chops. “We are not genre’ specific either,” Chris said. Logan Stoltzfus added, “It’s always great to hang around too – we’ll have a hip-hop session on Friday, Country on Saturday, and Rock on Monday – and then bring in a Bluegrass band one night during the week.” The studio is intimate enough to record a singer/songwriter project, or big enough to capture a 50 piece orchestra. With several isolation rooms available, and state of the art gear and software available, they also don’t mind rolling out the vintage Hammond organ for a session either.
to do ___,’ we can say, sure, no problem. The technical aspects of it should never get in the way. It’s a playground, both for the musicians as well as the engineers and the producers. It should inspire creativity and then be able to capture the fruits of that creativity in the best way possible.
“I feel like the multifaceted accessibilities of being able to help the client do whatever they want to do helps make us a viable option. I have broad access to the right people to help the artist make the recording they want to make. I can put you with a producer or an engineer who understands your kind of music.”
Eventually outgrowing the home setting, he knew it was time to expand. In April, 2013 they secured a lease on a vacant building just off the main highway and began renovations. “It took us nearly six months to turn what was basically this giant shell into the studio that we have here now.” “It’s been a phenomenally exciting thing to be a part of this,” he said. “We asked people, if there was a studio in this area that had everything you needed, what would that look like? And then we set out to try to figure out how to make that.”
The Right Approach
“The whole idea behind Blackbird is that no one should ever show up there and feel like they can’t do whatever they want to do,” Chris said. “And on a much smaller scale, we sort of tried to say, how can we create a really incredible studio where this is essentially a playground with the sole purpose of
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June 2014
APRIL
Chantilly Bluegrass Festival May 22 - 23, 2015 Floyd, VA www.chantillyfarm.com
Ocracoke Folk Festival June 5 - 7, 2015 Ocracoke, NC www.ocracokealive.com
DelFest May 21 - 24, 2015 Cumberland, MD www.delfest.com
Blue Ridge Old Time Music Week June 7 - 13, 2015 Mars Hill, NC http://www.mhc.edu/oldtimemusic
MAY
Kerrville Folk Festival May 23 - June 10, 2015 Kerrville, TX www.kerrvillefolkfestival.org
Mountains Of Music June 12 - 20, 2015 Southwest, VA www.thecrookedroad.org
Houston Fest May 1 - 2, 2015 Galax, VA www.houstonfestgalax.com
Little John Mountain Music Festival May 21 - 23, 2015 Snow Camp, NC www.littleJohnsMountainMusic.com
Shenandoah River Fest June TBA, 2015 New Brunswick, MD www.shenandoahriversidefestival.com
Guy Carawans Bluegrass Jam May 2 - 3, 2015 Buena Vista, VA www.glenmaurypark.com
Crooked Road Dulcimer Festival May 21 - 24, 2015 Ferrum, VA http://crookedroaddulcimerfestival.org/
Rockahock Bluegrass Festival June 18 - 20, 2015 Rockahock, VA www.rockahockbluegrass.com
Heart Of Virginia Festival May 2, 2015 Farmville, VA www.heartofvirginia.org
Gathering In The Gap May 23, 2015 Big Stone Gap, VA www.gatheringinthegapmusicfestival.com
Wayne C. Henderson Music Festival June 20, 2015 Mouth Of Wilson, VA www.waynehenderson.org
Doyle Lawson Bluegrass Festival May 7 - 9, 2015 Denton, NC
Fiddlers Grove Festival May 22 - 24, 2015 Union Grove, NC www.fiddlersgrove.com
Music In The Mountains Festival June 24 - 27, 2015 Summersville, WV www.adamsandandersonbluegrass.com
Luray Veterans Bluegrass May 28 - 30, 2015 Luray, VA www.vfwpost621.org
River And Roots Festival June 26 - 27, 2015 Berryville, VA www.riverandroots.com
Graves Mountain Festival May 28 - 30, 2015 Syria, VA www.gravesmountain.com
Grayson Co. Fiddlers Convention June 26 - 27, 2015 Elk Creek, VA http://www.ecvfd.net/home/graysoncounty-fiddler-s-convention
Merlefest April 23 - 26, 2015 Wilkesboro, NC www.merlefest.com Charm City Bluegrass April 25, 2015 Baltimore, MD www.charmcitybluegrass.com
http://www.farmpark.com/doyle-lawsonbluegrass/
Loudoun Bluegrass Festival June 26 - 27, 2015 Tysons Corner, VA www.bluegrassloudoun.com Central VA Family Bluegrass May 14 - 16, 2015 Amelia, VA www.ameliafamilycampground.com Bloomin’ Barbeque & Bluegrass May 15 - 16, 2015 Sevierville, TN www.bloominbbq.com Hills Of Home Bluegrass Festival May 21 - 23, 2015 Coeburn, VA www.drralphstanleyfestival.com
JUNE Bluegrass In Cherokee June 4 - 6, 2015 Cherokee, NC www.adamsbluegrass.com
Email festival listings to info@americanarhythm.com
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South Branch Valley Festival June 27, 2015 Romney, WV
Pickin’ & Streamin’
I think that we all can agree that
live music trumps the prerecorded variety every time. This time though, there is a twist. How about live music streamed via the internet as it is performed. The publisher called me the other day and asked if I’d do a piece about such an event that he’d recently heard about. Down in Bloomingdale, GA (located a few miles west of I-95 and Savannah, GA), master luthier, Randy Wood, has been producing top-quality instruments since the 1960s. Wood has a multi-fold business—creating custom-made fretted instruments, repairing fretted instruments of all types, and running a retail store that offers a wide variety of new and used stringed instruments and accessories, including some of Randy’s famous custom-made instruments. By his estimate, Randy Wood has handcrafted upwards of 3000 stringed music instruments, which now are in the hands of acoustic music players around the world.
Wood turns out 15 stringed instruments per year, all pre-ordered and pre-paid. On top of all this, is the thrust of this story: Randy Wood’s Pickin’ Parlor.
Organic Roots
Randy Wood comes to this interesting life in an organic way. His father was a carpenter and played a little music on the side. An Army tour gave Randy the opportunity to run the base woodshop and gain woodworking skills. During the early 1960’s folk revival, Wood built for himself an autoharp and began developing some musical chops as well. After returning home to Georgia, Randy and his brother began playing some R&B gigs around town. Around this same time, Wood became interested in bluegrass music. Day job opportunity as a draftsman took him to Atlanta where he made friends with a fellow woodworker and resonator guitar player. After their respective jobs ended for the day, they spent evenings in the wood
working shop turning out handcrafted banjo necks, which they sold at bluegrass events all over the south. Wood eventually started handcrafting mandolins and never stopped. His handcrafting and instrument repair business grew to the point that he gave up his day job and moved the instrument repair business to Muscle Shoals, AL.
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June 2015
The Go-To Guy
Wood’s legend as a great repair tech grew, and many famous pickers used him as their go-to guy. In 1970, Wood and two partners opened a shop in Nashville, TN to put them closer to the music center. The business shared an alley with the Ryman Auditorium allowing some famous folks in the country music business easy access. In 1972, they moved the business to a location that included an attached performance space. This performance space became the Old Time Pickin’ Parlor and soon became the go-to spot for musicians and fans alike. In time, they expanded the performance space and held twice a week shows that featured the best acoustic performers around. In fact, many later to be famous performers got their start at the Pickin’ Parlor.
Something More
Wood sold that business in 1979 and moved back to Georgia. For the next 20 years the semi-retired Randy Wood ran a woodshop, and a small mail-order business; howContinued on page 26
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June 2015
Music From The National Scene
Music From Your Neighbors
welcome to the latest edi-
tion of SPINS! Feast your ears on these delicious musical morsals (in no special order) - How can these guys keep making such great music? Wow! Grab your iPad or Smart Phone and dial up some of these fine folks. We bet you’ii love them all like we do! And they’re just in time to help you plan your spring and summer fest schedule. www.AmericanaRhythm.com. Uncle Woody, The Spin Doctor PO Box 45 Bridgewater, VA 22812
Band Of Ruhks Band Of Ruhks
John McCutcheon Joe Hill’s Last Will
The Foghorn Stringband Devil In The Seat
Anielle Reid Ain’t Like ‘Em
Adkins & Loudermilk Adkins & Loudeermilk
www.foghornstringband.com With eight CDs under their belts - thousands of shows, and 10 years as a band, The Foghorn Stringband is considered by many to be the American standard for string music. Their latest, Devil In The Seat, is right on par
www.aniellereidcom Using music in hope to make positive change in the world, African-American Anielle brings a fresh sound to the Americana/string/folk genre. Annielle kicks her solo career into hig gear with her latest, Ain’t Like ‘Em.
www.adkinsandloudermilk.com
www.folkmusic.com/joehillplay
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Dave Adkins and Edgar Loudermilk pair together for this new self titled band and CD. Both with plenty of history behind them, they are poised to be Bluegrass’ new hot band on the block. Dave’s gritty vocals rock
John McCutcheon has been at it for over 40 years. The six time Grammy nominee’s latest, Joe Hill’s Last Will, is John’s 37 release - and says it’s possibly his favorite. It’s all about activist Joe Hills “working class” music
Blackberry Smoke
Poky LaFarge Something In The Water
The Gibson Brothers Brotherhood
The Revelers Get Ready
www.pokylafarge.net
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Holding All The Roses www.blackberrysmoke.com
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www.bandofruhks.com Now, this is some good music - a collaboration between Kenny Smith, Ronnie Bowman, and Don Rigsby - all 1990s members of the Lonesome River Band. Need we say more? Born out of a recent LRB reunion, the trio wanted more. We’re glad
Hedging on the edge of Outlaw Country, we like it anyway. It’s right down the middle between Outlaw and Americana Rock, with a little barb-que sauce on the side. The latest from these fellas is smokin’ good stuff. Check ‘em out for sure
What a mix - early jazz, ragtime, country blues, western swing, and little of this and that - Poky LaFarge makes uniquely strange actually something fun to listen to. Can’t wait to here him play this new stuff live - you gotta check out a Poky show
www.thesteelwheels.com 2011, 2012, 2013 IBMA winners, The Gibson Brothers, are likely the best sibling fronted bluegrass band playing today. Eric and Leigh Gibson pack a harmony punch to be reckoned with. And their new project, Brotherhood, is another classic
www.revelersband.com Formers members of the Redstick Ramblers and the Pine Leaf Boys hook up on the this new project, The Revelers. Flavored with Louisiana culture, It’s full of Swamp-pop Cajun, Blues, and Zydeco. We like this, a lot
Trout Stake Revival Brighter Every Day
Della Mae Della Mae
Sugarcane Jane Dirt Roads End
The Honey Cutters Me Oh My
Chris Howdyshell East Elizabeth Street
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www.troutsteak.com
www.dellamae.com
www.sugarcanejane.com
www.honeycutters.com
www.cdbaby.com/cd/chrishowdyshell
This Denver, CO in diemountaingrass quintet are quickly carving a new niche’ for themselves. Steeped in Rocky Mountain culture, Trout Stake Revival won the 2014 Telluride band competition - and yes, they’re that good. Great sound y’all
These ladies have been together since 2009. With a Grammy nomination in 2013, thei r sophomore CD for Rounder records promises to be every bit as good - maybe even better. Their unmistakably rich harmonies are a treat to listen to
The Alabama Gulf Coast duo of Anthony and Savana Lee Crawford make up Sugarcane Jane. Yet another genre’ twist - it’s a 70s tinged, folk rock collection - homegrown, and organic. Another great CD to add to your collection
Organic country roots is what they call this Ashville, NC based group, The Honey Cutters. Me Oh My is their third CD. Music City Roots called it “Smoky Mountain area modern folk,” we like it. It’s music you can dance to
“I never thought this album would be finished,” said Harrisonburg, VA native Chris Howdyshell. The folk-rock, Americana leaning CD, East Elizabeth Street, has hints of 80s garage punk mixed with 60s bar room folk - Fun stuff Chris, good job
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You can send new Americana CD releases for consideration to PO Box 45, Bridgewater, VA, 22812
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Pickin’ continued from page 24
ever, he began to yearn for something more, and thus 10 years ago he purchased some property and built a house, a workshop and a retail store; and then later, added a 100-seat performance venue that he named Randy’s Pickin’ Parlor. Some of the best bluegrass, country and acoustic musicians have since appeared on that stage mostly because they know Randy Wood, and his reputation. This is the point where our story really begins. Beginning in 2013, Randy Wood’s Pickin’ Parlor started delivering live streaming concerts to fans around the world. They have hosted concerts for many acclaimed performers such as: Vassar Clements and Tony Rice, John Jorgenson, Doyle Lawson & Quicksilver, The Boxcars, Mountain Heart, J.D. Crowe, Claire Lynch, Tommy Emanual, Lawrence Juber, just to name a few. Randy has said that his goal with this hall is to reach as many people as possible with the best quality
June 2015
Americana, Bluegrass, Acoustic and other genres of music. He is quoted on his web site as saying, “Americana music has been very good to me over the years, and I feel, with this pulpit, I can give back a little to this great and important music genre. We hope to be able to live stream and archive very important pieces of Americana music.” By teaming up with some very experienced audio-visual folks, Wood is at the very cusp in providing realtime content by capturing the inhouse experience of live music and delivering it directly to fans on their laptop, tablet or smart telephone. Randy Wood’s Pickin’ Parlor is committed to delivering the highestquality broadcast to this virtual audience free of charge. Check out this live-stream concert venture by pointing your computer browser to http://www.randywoodmusic.com/ pickinparlor.html . You can seek the Parlor on Facebook at: h t t p s : / / w w w. f a c e b o o k . c o m / RandysPickinParlor. You can email them at: team@randywoodmusic.com and their snail mail address is: Randy Wood Guitars, 1304 U.S. 80, Bloomingdale, GA 31302.
We’d love to show up in your mail box six times a year!
The rich culture of Americana music is the fastest growing music today! Let’s stay in touch subscription to Americana Rhythm. It’s only $16. Send us your name and address along with your check or money order for $16 made out to Americana Rhythm, to PO Box 45, Bridgewater, VA, 22812. (PLEASE PRINT CLEARLY) You can also subscribe Via PayPal on line at www.AmericanaRhythm.com
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