Podcast appearances and mentions of Alice Gerrard

The duo is one of the strong traditions in folk music, and on this program we'll present some pairs of musicians who play well with others. You'll hear Robin and Linda Williams, James Bryan and Carl Jones, Hazel Dickens and Alice Gerrard, Sara and Maybelle Carter, and many more, from the past and recorded more recently. Duets in song and tune … this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysJames Bryan & Carl Jones /”Belles of Blackville” / Two Pictures / MartinThe Two Man Gentlemen Band / “Two Star Motel” / Two at a Time / Bean ToneMouths of Babes / “Lock & Key” / Brighter in the Dark / Wide Awake MusicThe Mastersons / “You Could Be Wrong” / Transient Lullaby / Red HouseZoe & Cloyd / “Fast Air” / Eyes Brand New / Z & C RecordsSara & Maybelle Carter / “While the Band is Playing Dixie” / An Historic Reunion / KochFlatt & Scruggs / “My Saro Jane” / The Essential Flatt & Scruggs / ColumbiaThe Delmore Brothers / “Blues Stay Away From Me” / Freight Train Boogie / AceHazel Dickens & Alice Gerrard / “Lover's Return” / Pioneering Women of Bluegrass / Smithsonian FolkwaysJames Bryan & Carl Jones /”Forty Drops” / Two Pictures / MartinAlasdair Fraser & Natalie Haas / “The Devil & the Gypsy” / Ports of Call / CulburnieBela Fleck & Abigail Washburn / “New South Africa” / Bela Fleck & Abigail Washburn / RounderNathan Gourley & Laura Feddersen / “The Blackbird-The Road to Garrison” / Life is all Checkered / Self-producedRobin & Linda Williams / “They All Faded Away” / These Old Dark Hills / Red HouseTeddy Thompson & Kelly Jones / “Never Knew You Loved Me Too” / Little Windows / Cv 30Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

One of the best songs written about West Virginia in the past half century was created by a man who was nicknamed for a state two time zones away.Bruce “U. Utah” Phillips wrote “The Green Rolling Hills of West Virginia” in 1971 while reflecting on a visit to the Mountain State years earlier."We were driving in an old car that had a bad leak in the radiator,” Phillips recalled in a story on his website. “We stopped every now and then in these hollers to get water and to talk to the people.“In one place, there was a woman about 50 years old who let us use her pump. I commented to her that down in the town, it seemed that everybody I ran into wanted to get out, wanted to go north or go west and find some decent work…."But, back in the hollers,” Phillips added, “it seemed like the people were rooted to the land, didn't want to go anywhere, even though there wasn't any work.”She gave him many reasons, some of which he didn't fathom, “but she gave me one I could understand, because I have a great affection for the mountains in my state, and I miss them when I spend a lot of time in the east. “She said to me, 'It's these hills. They keep you. And when they've got you, they won't let you go.' "Her comment inspired the key line in the chorus of the song that Phillips would later compose: The green rolling hills of West Virginia Are the nearest thing to heaven that I know. Though the times are sad and drear And I cannot linger here, They'll keep me and never let me go.The Hazel and Alice ContributionIn 1973, when Hazel Dickens and Alice Gerrard recorded their first album together, they wanted to include Utah Phillips' lovely ode to their home. However, they felt the song needed a better ending, one that offered not only a bit of hope, but also a call to join the fight to preserve those green rolling hills. They added a new last verse: Someday I'll go back to West Virginia, To the green rolling hills I love so well. Yes, someday I'll go home And I know I'll right the wrong. These troubled times will follow me no more.EmmyLou Steps UpEmmylou Harris, who recorded the song on her classic 1978 album Quarter Moon in a Ten Cent Town, said she loved how the song was about homesickness and displacement.But she added that it took on new meaning when she learned about the menace of mountaintop removal, decapitating hundreds of peaks and poisoning thousands of miles of streams in Kentucky, West Virginia, Virginia and in her home state of Tennessee.“It seems like artists today, particularly country artists, tend to play it safe,” Harris said, “and I count myself in there. I've never been that comfortable with overtly political songs. But mountaintop removal is based on pure greed and it's doing such incredible damage.”That's why, she said, Phillips' stark tune so resonated with her.Our Take on the TuneFifty years ago, The Flood's dear friends H. David Holbrook, Bill Hoke and Susan Lewis formed the core of the best local string band, The Kentucky Foothill Ramblers, and, gee, but they taught everyone a slew of wonderful tunes.The group used to sing “Green Rolling Hills of West Virginia” at nearly every show. The Ramblers are long-gone now, but home recordings preserve a lot of the band's repertoire as performed at those parties where The Flood was born back in the ‘70s.Nowadays "Green Rolling Hills of West Virginia" is always on the playlist whenever Floodster Emerita Michelle Hoge is in the room, as she was one night last month.More West Virginia Tunes?Finally, if you'd like more of The Flood's Mountain State melodies, check out the playlist the guys put together a few years ago to celebrate West Virginia Day. Click the link below: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Welcome to Get Up in the Cool: Old Time Music with Cameron DeWhitt and Friends. This week's friend is Irene Herrmann! We recorded this last week at her home in Santa Cruz, CA. Tunes in this episode: * Walking in the Parlor (0:35) * Betty Likens (18:25) * Folding Down the Sheets (31:34) * Shoes and Stockings (47:31) * Sheep Shells Corn by the Rattle of his Horn (52:47) * Bonus Track: Shaking Down the Acorns Buy The Early Years from The Harmony Sisters (https://alicegerrard.bandcamp.com/album/the-early-years) Check Irene's Paul Bowles collection with the University of Delaware (https://findingaids.lib.udel.edu/repositories/2/resources/2075) Support Get Up in the Cool on Patreon (https://www.patreon.com/getupinthecool) Send Tax Deductible Donations to Get Up in the Cool through Fracture Atlas (https://fundraising.fracturedatlas.org/get-up-in-the-cool) Sign up at Pitchfork Banjo for my clawhammer instructional series! (https://www.pitchforkbanjo.com/) Schedule a banjo lesson with Cameron (https://www.camerondewhitt.com/banjolessons) Visit Tall Poppy String Band's website (https://www.tallpoppystringband.com/) and follow us on Instagram (https://www.instagram.com/tallpoppystringband/)

Welcome to Get Up in the Cool: Old Time Music with Cameron DeWhitt and Friends! This week's friend is Alice Gerrard with special guests Tatiana Hargreaves and Reed Stutz. We recorded this at the beginning of July in Port Townsend, Washington. Tunes and songs in this episode: * Train on the Island (1:12) * Remember Us (Alice Gerrard original) (14:08) * Tater Patch (18:53) * The One I Love Is Gone (44:45) * Little Black Dog Came Trotting Down The Road (48:38) * Bonus Track: Custom Made Woman Blues (Alice Gerrard original) Visit Alice Gerrard's website (http://www.alicegerrard.com/) Follow her on Instagram (https://www.instagram.com/alice.gerrard/) Visit Tatiana Hargreaves' website (https://www.tatianahargreaves.com/) Follow her on Instagram (https://www.instagram.com/alice.gerrard/) Visit Reed Stutz's website (https://www.reedstutz.com/) Follow him on Instagram (https://www.instagram.com/reedstutz/) Support Get Up in the Cool on Patreon (https://www.patreon.com/getupinthecool) Sign up at Pitchfork Banjo for my clawhammer instructional series! (https://www.pitchforkbanjo.com/) Schedule a banjo lesson with Cameron (https://www.camerondewhitt.com/banjolessons) Visit Tall Poppy String Band's website (https://www.tallpoppystringband.com/) and follow us on Instagram (https://www.instagram.com/tallpoppystringband/)

Esta semana hemos querido reunir en el porche de RADIO CON BOTAS una docena de canciones de Americana que se han publicado hace pocos meses, escasas semanas o, incluso, no han visto la luz en el mercado. Pero todas tienen un nexo común: son versiones de temas atemporales desde las más diversas y eclácticas formas de la música popular. De esta forma, escuchamos a Ward Hayden cantando a Springsteen, Town Moauntain saboreando los sonidos de Dire Straits, Jaelee Roberts llevando al bluegrass a Stealers Wheel o Della Mae dejándose seducir por Blind Melon. Además, Bella White se entrega a Lucind Williams, The Cartlellows lo hace a Emmylou Harris y Kelsey Waldon lo hace a Hazel Dickens y Alice Gerrard con la ayuda de S.G. Goodman. Rising Apalachia se sumerge en uno de los grande clásicos de Dylan, mientras Margo Price junto a Mike Campbell o Steve Earle rinden homenaje a Tom Petty. La nueva gira de Hootie & The Blowfish nos permite resucitar a Buffalo Springfield y hasta Flatland Cavalry se han inclinado ante la categoría de Fleetwood Mac. Por favor, subscríbete y déjanos un comentario. Queremos saber de ti. PLAYLIST 01-WARD HAYDEN & THE OUTLIERS “Brilliant Disguise” (Springsteen) Faster Horses 02-TOWN MOUNTAIN “So Far Away” (Knopfler) New West 03-JAELEE ROBERTS “Stuck In The Middle With You” (Rafferty/Egan) Mountain Home 04-DELLA MAE “No Rain” (Smith) Della Mae 05-BELLA WHITE “Concrete And Barbed Wire” (Williams) Rounder 06-THE CASTELLOWS “Red Dirt Girl (Acoustic Sessions)” (Harris) Henry-Dixon Line/Warner Nashville 07-KELSEY WALDON feat S.G. GOODMAN “Hello Stranger” (Carter/Riddle) Oh Boy! 08-RISING APPALACHIA “I Shall Be Released” (Dylan) Rising Appalachia 09-MARGO PRICE feat MIKE CAMPBELL “Ways To Be Wicked” (Petty/Campbell) Legacy/Big Machine 10-STEVE EARLE “Yer So Bad” (Petty) Petty Legacy/Big Machine 11-HOOTIE & THE BLOWFISH “For What It's Worth” (Stills) UMG 12-FLATLAND CAVALRY “Landslide” (Nicks) Interscope

Send us a Text Message.Irene Kelley's love of music has been imbued in her memory practically from the very beginning. She became wholly entranced by it while hearing it for the first time in her dad's basement TV repair workshop as a young girl. After hearing it around the house, the music became so imbued in her that she began writing music early on and joined her first band at the age of 15.In 1981, she made her big career leap when she was invited to join the bluegrass band Redwing as lead singer. She soon found herself performing at any number of major festivals and gaining major traction in the process. Her move to Nashville in 1984 added increased momentum and she was soon signed to MCA Nashville for whom she recorded her first album which also featured an all-star line-up in the persons of Sam Bush, Carl Jackson and Mark O'Connor.  She also found success as a songwriter, penning songs for the likes Alan Jackson, Ricky Skaggs and Sharon White, Loretta Lynn and Trisha Yearwood. Nevertheless, despite her accomplishments, her devotion to the basics of bluegrass remained first and foremost. With early influences that include Jean Ritchie, Hazel Dickens and Alice Gerrard, Rodney Crowell, Pete Goble, Greg Allman, Dolly Parton and Loretta Lynn.These days, Irene is carrying the torch forward, not only through her own efforts, but that of her daughters as well, all of whom joined her for her recent holiday LP Kelley Family Christmas.My Backstage Pass recently had the pleasure of speaking with Ms. Kelley in a sit-down face to face interview which found her sharing her musical journey and her fervent belief in bluegrass past and present. Learn more about Irene Kelley at https://www.irenekelley.comHost Lee Zimmerman is a freelance music writer whose articles have appeared in several leading music industry publications. Lee is a former promotions representative for ABC and Capital Records and director of communications for various CBS affiliated television stations. Lee recently authored the book "Thirty Years Behind The Glass" about legendary producer and engineer Jim Gains.Podcast producer/cohost Billy Hubbard is an Americana Singer/Songwriter and former Regional Director of A&R for a Grammy winning company. Billy is a signed artist with Spectra Music Group  and co-founder of the iconic venue "The Station" in East TN. Billy's new album was released on Spectra Records 10/2023 on all major outlets! Learn more about Billy at http://www.BillyHubbard.comMy Backstage Pass is sponsored by The Alternate Root Magazine! Please subscribe to their newsletter, read the latest music reviews and check out their weekly Top Ten songs at this link http://www.thealternateroot.com

We learned this tune from the late Floodster Emeritus Bill Hoke, who — like many other people — said he first heard it at a folk festival some time in the early 1990s.It has been about 25 years ago now. Bill stopped off to visit at the Bowen House while on a trek from his Abingdon, Va., home to Dayton, Ohio, to see his dad. We can still picture him there in The Flood band room, picking up Charlie Bowen's guitar and strumming a chord or two.“You guys ought to do this song,” he said softly, and started singing:I have seen rain on a cloudless day,I have see snows that fell in May ….We were hooked before he even got to the chorus. “No Ash Will Burn” has been in The Flood's repertoire ever since.EmpathyThat memory came rushing back to us last week when our friend David Click mentioned on Facebook how much he has enjoyed the band's performance of that song over the years.In a later message to Charlie, David added that while the song is sad, he found a kind of commiseration in the lyrics, an empathy that touched him especially in times of loss and grief.We understand; the song moves us that way too. For instance, the performance featured in this week's podcast comes from back in mid-November of last year. It was the first rehearsal we had in the days after we learned of the death of our old buddy and band mate Doug Chaffin.Doug absolutely loved this song ever since we included it on our 2011 Wade in the Water album. In this track you might hear how we felt a little closer to our dear companion as we sang it in his memory on that cold November night.About the SongWhen Bill Hoke taught us the song a quarter of a century ago, we didn't even know who wrote it. It was the mid-1990s and the World Wide Web wasn't yet the thing it is today, so we couldn't so easily find out such basic facts as writing credits.Only later did we learn that “No Ash Will Burn” is the work of Muscle Shoals singer/songwriter Walt Aldridge, an Alabaman whose songs over the past 60 years have been recorded by a diverse group of artists, from Lou Reed to Reba McEntire. Inducted into both the Nashville Songwriters Hall of Fame and the Alabama Music Hall of Fame, Aldridge has written chart-busting hits for Ronnie Milsap ("No Gettin' Over Me," 1981), Earl Thomas Conley ("Holding Her and Loving You," 1982), Travis Tritt ("Modern Day Bonnie and Clyde," 2000), and Heartland ("I Loved Her First," 2006).In the late 1980s, Aldridge also sang lead vocals in the band The Shooters, a country band which charted with seven singles for Epic Records. It was during this creative period that he penned “No Ash Will Burn.”The song was first recorded on Western Dream, the 1989 debut album of Ranch Romance, a Seattle-based western swing, alternative country and bluegrass band.Versions of the tune quickly began circulating in folk music circles after Alice Gerrard recorded it in 1994 and Molly O'Brien released it four years later.A particular favorite of ours is the 2009 rendition by our friend Sallie Sublette and her Idaho-based band, Wild Coyotes, on their Coyote Tracks album.Our Take on the TuneLike a long-time running buddy, “No Ash Will Burn” has been with us for so long that it has generated its own store of Flood lore. One of the best “No Ash” stories comes from about 10 years ago at one of our stranger gigs.It was late May 2013 — about a week before Memorial Day — and after days in the 70s and 80s, the temperature suddenly plunged as we drove north to Fairmont, WV, for the Friday night concert. It was down to the 50s when we took the stage at the amphitheater at Prickett's Fort State Park, and by the time the show was finished 90 minutes later, the mercury had dropped to 45. The cold, along with a brisk west wind, made for a fairly frigid Flood, but it also produced some laughs. As we were shivering on stage and Charlie sang the opening lines -- I have seen rain on a cloudless day / I have seen snows that fell in May -- Dave Peyton leaned over and groaned, "Damn straight!" We cracked up and so did the audience.In this cut, you can hear us rehearsing the song a few days before the big Fairmont Freeze.More Folk Music?Finally, if you'd like more tunes from The Flood's folkier files, check out the Folk playlist on our free Radio Floodango music streaming service. Click here to give it a spin. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

A true mountain murder! This case inspired a local murder ballad in our county. This week we're discussing Oma Hicks Naillon Brown, a woman who grew up in an isolated area of Haywood County known as Big Bend. Oma's first husband Benjamin Naillon mysteriously disappeared without a trace. Years later, Oma's second husband and friend vanish. A Chicago detective who happened to be vacationing finally cracked the case. A double murder, clannish mountain folk, moonshine and mystery surround the Big Bend killing!Hosts Heather and Dylan PackerIntro Music by Joe Buck Yourselfwww.patreon.com/mountainmurderspodcastWe're proud to be part of the Darkcast Network!Big Bend Killing is performed by Alice Gerrard

Episode 6 features folk legend Alice Gerrard, LA poet Bridgette Bianca, and singer-songwriter Cary Morin. — The Great American Folk Show is written, recorded, and hosted by folksinger and songwriter Tom Brosseau and produced by Erik Deatherage at Prairie Public Broadcasting in Fargo, North Dakota. Podcast artwork design by DLT. Find Prairie Public (@prairiepublic) and The Great American Folk Show (@greatamericanfolkshow) on Facebook and Instagram.

Born of Appalachian soil in Sharps Chapel, Tennessee, Sarah Kate Morgan sings, plays, and writes like she's been in these hills since the dawn of time. She's had plenty of varied influences, beginning with hearing a classical music CD belonging to her family and going on to discover old time music through a dulcimer built by her grandfather. She began playing dulcimer at age 7.   This proved to be a pivotal moment. At 18 years old, Sarah Kate placed 1st at the 2012 National Mountain Dulcimer Championships in Winfield, Kansas. She's gone on to build a unique personal style which honors mountain dulcimer giants such as Jean Ritchie while working across genres to build something new. Her dexterous approach to the instrument is one that only masterful artists can bring to the table; much like Bruce Molsky and the fiddle, having been a dedicated student of the dulcimer's complexities Morgan is able to distill them into a beautifully polished package. Well-known and widely respected as one of the leading experts of the mountain dulcimer, Sarah Kate is also a first-rate singer and songwriter. Her earthy and poetic lyrics embrace the highs and lows of southern appalachian life while her voice does the same – moving between alto and soprano parts with ease. Her crystal-clear but rootsy vocal style combines the best of country, old time, bluegrass, and gospel influences who, like Morgan, foreground their cultural roots. All of this goes hand in hand to create a musical experience akin to a sonic baptism. None of this is lost on the giants of roots music. Sarah Kate has performed and/or recorded with artists like Tyler Childers, Alice Gerrard, and Erynn Marshall & Carl Jones. In addition to her musical prowess, Sarah Kate is an accomplished scholar who graduated from Morehead State University with degrees in Traditional Music, Appalachian Studies, and Arts Administration. Currently based in Hindman, Kentucky, she practices, cultivates, teaches, and preserves Appalachian folk traditions in her role as the Hindman Settlement School's Traditional Arts Education Director. Whether calling square dances, playing the mountain dulcimer, or making music and creating art with Appalachian youth, Sarah Kate Morgan's work centers on a lived belief that art and tradition are living, breathing tools that foster hope, build community, and create change.

Bluegrass hero and former weird kid Alice Gerrard strongly believes that traditional music is connected to everyday life. She has said: “When you listen to traditional music you have such a sense of this connectedness of this person's life. It comes out of the earth.” She was first exposed to folk music while attending Antioch College. Jeremy Foster (her boyfriend at the time, who would become her first husband) introduced her to The Harry Smith Anthology of American Folk Music. Upon listening, she became hooked and more drawn to lonesome and rough folk songs versus the pristine vocalists. That mentality of keeping her performance untarnished and imperfect has followed her ever since.After she and Jeremy moved to Washington DC, she became acquainted with Hazel Dickens. She considered Hazel a mentor figure and studied her musicality. The two would record four albums together as the seminal duo Hazel Dickens and Alice Gerrard. The two did not speak for many years after they split in the late 70's. The breakup was messy and hard for both, particularly Hazel. Years later, they reconciled and would perform and were close until Hazel's death in 2011. Nowadays, Alice, who lives in Durham, NC, has begun digitizing her huge photo archive for a book as well as performing with the younger generation of traditional music. People like Tatiana Hargreaves, Reed Stutz and Phil Cook are regulars on her stage. They also contribute to her new album Sun to Sun. Alice digs in talking about her unorthodox parenting style (which is no secret), imperfectionism, appreciating memory and the fantastic new record.  Follow Basic Folk on social media: https://basicfolk.bio.link/Sign up for Basic Folk's newsletter: https://bit.ly/basicfolknewsHelp produce Basic Folk by contributing: https://basicfolk.com/donate/Advertising Inquiries: https://redcircle.com/brands

For this episode, we feature some musicians who have acted as mentors to young traditional musicians. We'll hear from Dwight Diller, Mike Seeger, Val Mindel & Emily Miller, Alice Gerrard, Norman Blake and many more. Dewey Balfa always said that a culture is preserved one generation at a time, so we'll pay it forward … this week on the Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysOld Buck / “Mike in the Wilderness” / Old Buck / Tin HaloDwight Diller / “Waynesboro” / W Va Mountain Music:Harvest / Yew PineMike Seeger / “Little Birdie” / Southern Banjo Sounds / Smithsonian FolkwaysAny Old Time Stringband / “Turkey Buzzard-Chinquapin Hunting” / I Bid You Goodnight / ArhoolieVal Mindel & Emily Miller / “Gone Home” / Close to Home / Yodel-Ay-HeeMarcus Martin / “Gray Eagle” / When I Get My New House Done / University of North CarolinaTommy Jarrell / “John Brown's Dream” / Legends of Old-Time Music / CountyTommy Jarrell / “Greasy String” / Legends of Old-Time Music / CountyJimmy Triplett / “Piney Woods” / Natural History / BemlarOld Buck / “Highlander's Farewell” / Old Buck / Tin HaloCraver, Hicks, Watson & Newberry / “Sally Ann” / You've Been a Friend to Me / BarkerPete Sutherland / “Pioneer Children Sang as they Walked-ye ke ke” / Streak O' Lean / EpactAlice Gerrard / “Wild Hog in the Woods” / Big Bend Killing / Great Smoky Mountains AssociationDon Pedi / “Old Black Cat Couldn't Catch a Rat” / Short Time Here / Walnut Mountain The Pilot Mountain Bobcats / “Sugar Hill” / Dance By the Light of the Moon / Yodel-Ay-HeeNorman Blake / “Whistling Rufus” / Green Light on the Southern / PlectraphonePete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

On this week's installment of the program we'll feature some of my favorite music and musicians from the Mountain State. We'll open with Hazel Dickens' “West Virginia, My Home,” performed by Hazel and Alice Gerrard. Our theme music, “Roaring River, is from Ben Townsend, a wonderful banjo and fiddle player. We'll follow that with lots of other musicians and tunes connected to West Virginia … this week on The Sing Out! Radio Magazine. Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysBen Townsend and Friends / “Roaring River” / Deep End Sessions Vol. III / Deep End SessionsHazel Dickens & Alice Gerrard / “West Virginia My Home” / Hazel Dickens and Alice Gerrard / RounderThe Sky Island Stringband / “Cranberry Rock” / Adventures in Old Cranberry / BemlarCosta & Campbell / “Sweet Bunch of Daisies-Rise When the Rooster Crows” / with Amazing Jim Lloyd / EastwoodDaniel Koulack & Karrnel Sawitsky / “Groundhog” / Songs from the South-Tunes from the North / Self-producedJohn Lilly / “Whodunit” / Last Chance to Dance / Self-producedOscar Wright / “Elkhorn Ridge” / Fifty Years of County Records / CountyLong Point String Band / “Piney Woods” / Piney Woods / Self-producedJesse Milnes & Emily Miller / “Fun's All Over” / Deep End Sessions Vol. II / Deep End SessionsBen Townsend and Friends / “The Gooson Quadrille” / Deep End Sessions Vol. III / Deep End SessionsTim O'Brien / “Get Out There and Dance” / Chameleon / Howdy Skies-ProperBilly Edd Wheeler / “Coal Tatoo” / Ode to the Little Brown Shack Out Back / KappKathy Mattea / “A Far Cry” / Calling Me Home / Sugar HillTodd Burge / “Time to Waste Time” / Imitation Life / Bunj JamGandydancer / “Boozefighters” / The Appalachians / DualtoneDan Cunningham / “Deep River Blues” / Simple Gifts / PickndawgPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Links:Alice GerrardHazel DickensThe Old Time HeraldHarry Smith's Anthology of American Folk MusicMichael DavesAlice Gerrard & Hazel Dickens DC TapesSunset Park, New River RanchClick here to watch this conversation on YouTube.Social Media:The Other 22 Hours InstagramThe Other 22 Hours TikTokMichaela Anne InstagramAaron Shafer-Haiss InstagramSend us your feedback!The Other 22 Hours FeedbackAll music written, performed, and produced by Aaron Shafer-Haiss.

Murphy Hicks Henry is well known in the bluegrass community for her banjo playing, her Murphy Method by-ear teaching videos, her book Pretty Good for a Girl: Women in Bluegrass (University of Illinois Press), her long-running General Store column in Bluegrass Unlimited magazine and, in earlier years, her lively performing with the band Red and Murphy & Co. It was while playing with Red and Murphy & Co. that Murphy honed her considerable skills as a songwriter. Recently, for her 70th birthday, her son Christopher totally surprised her by masterminding and producing When My Momma Sang to Me: Songs of Murphy Hicks Henry, a CD which features over 30 well-known women in bluegrass playing and singing 23 of Murphy's original compositions. The project includes early songs like “Riding Around on Saturday Night” and “Grandmother's Song” as well as later songs like “All of Us Used To Be Skinny” and “Save Me A Square On The Floor.” In between are solid favorites like “Fried Chicken,” “M and M Blues,” and “I Ain't Domesticated Yet.” Helping out on this project (and keeping totally mum!) were Rhonda Vincent, Alice Gerrard, AJ Lee, Kristin Scott Benson, Gina Furtado, Cathy Fink, Marcie Marxer, Laura Orshaw, Bronwyn Keith-Hynes, the Price Sisters, daughter Casey Henry, and a host of other women including Murphy's sisters.

This week's show features music from Owen Sound's Al Walker, from British guitarist Davy Graham, Pentangle, John Martyn, Nick Drake, Marianne Girard, Hazel Dickens and Alice Gerrard, Sierra Hull, Molly Tuttle and Rob Green.

LINKSToy Heart with Tom PowerApril 2, 2020https://thebluegrasssituation.com/read/alice-gerrard-toy-heart-a-podcast-about-bluegrass/You Gave me a Song - A Film About Alice Gerrard2019 Kenny Dalsheimerhttp://www.alicegerrardfilm.com/Bluegrass Unlimited Podcasthttps://www.bluegrassunlimited.com/podcasts/99-bluegrass-unlimited-podcast-with-alice-gerrard/New York Times By Grayson Haver CurrinOct. 13, 2022https://www.nytimes.com/2022/10/13/arts/music/alice-gerrard-pioneering-women-of-bluegrass.htmlAlice Gerrard Go Fund Mehttps://www.gofundme.com/f/alicegerrardAlice Gerrard on Spotifyhttps://open.spotify.com/search/alice%20gerrard Hosted on Acast. See acast.com/privacy for more information.

This week we feature musicians who have acted as mentors to young traditional musicians. We'll hear from Dwight Diller, Mike Seeger, Val Mindel & Emily Miller, Alice Gerrard, Norman Blake and many others. Traditional mentors are paying it forward … this week on the Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysOld Buck / “Mike in the Wilderness” / Old Buck / Tin HaloDwight Diller / “Waynesboro” / W. Va. Mountain Music:Harvest / Yew PineMike Seeger / “Little Birdie” / Southern Banjo Sounds / Smithsonian FolkwaysAny Old Time Stringband / “Turkey Buzzard-Chinquapin Hunting” / I Bid You Goodnight / ArhoolieVal Mindel & Emily Miller / “Gone Home” / Close to Home / Yodel-Ay-HeeMarcus Martin / “Gray Eagle” / When I Get My New House Done / University of North CarolinaTommy Jarrell / “John Brown's Dream” / Legends of Old-Time Music / CountyTommy Jarrell / “Greasy String” / Legends of Old-Time Music / CountyJimmy Triplett / “Piney Woods” / Natural History / BemlarOld Buck / “Highlander's Farewell” / Old Buck / Tin HaloCraver, Hicks, Watson & Newberry / “Sally Ann” / You've Been a Friend to Me / BarkerPete Sutherland / “Pioneer Children Sang as they Walked-ye ke ke” / Streak O' Lean / EpactAlice Gerrard / “Wild Hog in the Woods” / Big Bend Killing / Great Smoky Mountains AssociationDon Pedi / “Old Black Cat Couldn't Catch a Rat” / Short Time Here / Walnust Mountain The Pilot Mountain Bobcats / “Sugar Hill” / Dance By the Light of the Moon / Yodel-Ay-HeeNorman Blake / “Whistling Rufus” / Green Light on the Southern / PlectraphonePete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Saturday on PBS News Weekend, we look at what the appointment of a special counsel means for former President Donald Trump's ongoing legal troubles. Then, we get the latest on the ground in Kyiv as the war in Ukraine enters its 10th month. Plus, bluegrass artist Alice Gerrard reflects on her trailblazing musical career. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

With their unique harmonies, the bluegrass duo of Hazel Dickens and Alice Gerrard blazed trails for female folk singers in the 1960s and '70s. They were also civil rights activists who used their music to speak out politically. To celebrate the pair's legacy, last month the Smithsonian released a selection of remastered versions of their music. Ali Rogin speaks to Gerrard about her career. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Escuchamos algunos discos cosechados en la English Folk Expo, que ha tenido lugar recientemente en Manchester, y continuamos con otras novedades que nos llevan por el sonido «bluegrass» norteamericano y nos hacen viajar por Europa y el Extremo Oriente. We listen to some records picked up at the English Folk Expo, which recently took place in Manchester, and continue with other new releases that take us through the North American bluegrass sound and make us travel through Europe and the Far East. Gavin Fairhall Lever – The great debate – Gavin Fairhall Lever Gilmore & Roberts – Bone cupboard – A problem of our kind Kathryn Roberts & Sean Lakeman – Down, down, down – Saved for a rainy day Tamsin Elliott – Old wax jacket / A coat of sawdust – Frey Barokk Boreal – Evig liv – Sanger om død og glæde av Dorothe Engelbretsdatter Hazel Dickens & Alice Gerrard – Weary lonesome blues – Pioneering women of bluegrass: The definitive edition Hazel Dickens & Alice Gerrard – Walkin’ in my sleep – Who’s that knocking? [2022] Hazel Dickens & Alice Gerrard – Sugar tree stomp – Won’t you come and sing for me [2022] Iron Horse – Iron horse – Horse and pen A Moving Sound – Toh de gong – Starshine Masahiko Togashi with Don Cherry, Charlie Haden – Words of wind pt. 2 – Session in Paris, vol. one: Song of soil M.Chuzi – Tahini miso – Papara Imagen: / Image: Gilmore & Roberts (📸 Elly Lucas)

This week we feature Alice Gerrard, one of the first ladies of bluegrass music.  Her musical partnership with Hazel Dickens led her to being inducted, along with Hazel, into the Bluegrass Music Hall of Fame in 2017.  Alice was also part of the group that started Bluegrass Unlimited Magazine in 1966 and she later was the founder of the Old Time Herald.  During the interview we talk about her music career starting in the 1950s all the way up to the present day.

We traveled back to West Virginia for the Memorial Day weekend and to celebrate my birthday. We had a wonderful time and on this program we'll sample some of my favorite artists and music from West Virginia. We'll hear Hazel Dickens & Alice Gerrard, Tim O'Brien, Kathy Mattea and many more. We'll take a trip to The Mountain State … this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkwaysBen Townsend and Friends / “Roaring River” / Deep End Sessions Vol. III / Deep End SessionsHazel Dickens & Alice Gerrard / “West Virginia My Home” / Hazel Dickens and Alice Gerrard / RounderThe Sky Island Stringband / “Cranberry Rock” / Adventures in Old Cranberry / BemlarCosta & Campbell / “Sweet Bunch of Daisies - Rise When the Rooster Crows” / with Amazing Jim Lloyd / Eastwood Daniel Koulack & Karrnnel Sawitsky / “Groundhog” / Songs from the South - Tunes from the North/ Self ProducedJohn Lilly / “Whodunit” / Last Chance to Dance / Self ProducedOscar Wright / “Elkhorn Ridge” / Fifty Years of County Records / CountyLong Point String Band / “Piney Woods” / Piney Woods / Self ProducedJesse Milnes & Emily Miller / “Fun's All Over” / Deep End Session Vol. II / Deep End SessionsBen Townsend and Friends / “The Gooson Quadrile” / Deep End Session Vol. III / Deep End SessionsTim O'Brien / “Get Out There and Dance” / Chameleon / Howdy Skies-ProperBilly Edd Wheeler / “Coal Tatoo” / Ode to the Little Brown Shack Out Back / KappKathy Mattea / “A Far Cry” / Calling Me Home / Sugar HillTodd Burge / “Time to Waste Time” / Imitation Life / Bunj JamGandydancer / “Boozefighters” / The Appalachians / DualtoneDan Cunningham / “Deep River Blues” / Simple Gifts / PickndawgPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkways

Help produce Basic Folk by contributing at https://basicfolk.com/donate/When Tatiana Hargreaves was younger, she was a shit-hot fiddle player; recording her debut album at age 14, a first prize winner at the Clifftop Appalachian Stringband Festival Fiddle Contest that same year and gaining all sorts of accolades before even graduating high school. After some thought, she went after a degree in ethnomusicology and performance at Hampshire College in Amherst, MA, where she continued to play fiddle like a maniac. Her time in college allowed her to reconnect with her friend, the equally impressive banjo player, Allison de Groot. She reflects on one summer where she and Allison kept finding each other and jamming at various events and festivals. They decided to record their debut album and tour. The duo are back again with the new record Hurricane Clarice, using traditional stringband music as a way to interpret our uncertain times. Our conversation leads into topics like the negative impact of music as competition. Tati has spoken before of her experience competing on the Texas Fiddle circuit that's pretty popular on the West Coast. Also, after college, she moved to Durham to be closer and work with old-time legend Alice Gerrard. Since 2017, she's been soaking up Alice's influence and knowledge through being her fiddle player and digitizing her old photos. This has led to a vast amount of inspiration, from recording songs on the new record that Alice had introduced to her to going back to school to study archival science. I am fascinated by this person and her work. Tatiana keeps it close to the chest, but I'm grateful for what she shared in conversation.Allison de Groot & Tatiana Hargreaves' new album, Hurricane Clarice Advertising Inquiries: https://redcircle.com/brands

Featured in this Episode: Jean Ritchie (:28) Ola Belle Reed (17:48) Hazel Dickens & Alice Gerrard (35:41) Alison Krauss (55:54) Teaser: Her family is considered one of the wealthiest in the ballad tradition, preserving hundreds of songs from their lineage to Scotland in their home of Kentucky, and is single-handedly responsible for bringing the Appalachian dulcimer to prominence in America. Born in the mountains of North Carolina, she paved the way for both bluegrass music and old-time with her brother through their pioneering work at music parks, on the radio, and during the folk revival. They're considered the first women to front a bluegrass band, and in their wake are generations of women thanks to their contributions. A child prodigy, she was signed to Rounder Records at 14 and now is one of the most decorated bluegrass and female musicians of all time, still turning heads today with her many collaborations. --- "Shine A Light" | Pretty Good For a Girl: Women in Bluegrass by Murphy Hicks Henry Follow American Songcatcher | Instagram Support | Join Patreon or send a one-time donation: Venmo // PayPal Source Credits: Jean Ritchie: KET | Library of Congress | NPR Ola Belle Reed: Blue Ridge Heritage | Arts.gov | NC Pedia | SML Hazel Dickens and Alice Gerrard: NY Times | Folkstreams | Official | BG Hall of Fame | Pinecone | Birthplace of Country Music Alison Krauss: NPR | Britannica | Grammy | NY Times --- Support this podcast: https://anchor.fm/americansongcatcher/support

Immersed in the bluegrass scene since the early 1980s, Jon Weisberger has enjoyed success in multiple aspects of the music business and community.  As a music journalist, his work earned him two International Bluegrass Music Association awards, as well as the Charlie Lamb Award for Excellence in Country Music Journalism, while his resume as a bluegrass broadcaster includes more than a dozen years as producer and co-host of the popular SiriusXM Bluegrass Junction show, “Hand-Picked With Del McCoury.  As a bassist, Jon spent more than 17 as a member of both Chris Jones & the Night Drivers (with whom he recorded seven albums) and the Roland White Band (whose 2018 all-star Tribute To The Kentucky Colonels he produced), while making appearances on stage or in the studio with a variety of other artists ranging from Country Music Hall of Fame member Tom T. Hall to Jim Lauderdale, Pam Tillis and bluegrass Hall of Famers Hazel Dickens, Del McCoury and Alice Gerrard.  Today, he serves as an A&R Director for the Crossroads Label Group, while producing a growing group of artists that includes Carley Arrowood, Aaron Burdett, Fireside Collective, the Alex Leach Band, Unspoken Tradition and the award-winning collaborative series, Bluegrass at the Crossroads.Still, Jon is best known as one of bluegrass music's most prolific and widely recorded songwriters.  In 2012, after a year in which more than two dozen of his songs were recorded, he was named the IBMA's first Songwriter of the Year.  His songs have appeared on 5 Grammy-winning bluegrass albums, including 4 of the past 5 recipients, and on another 5 nominated projects.  To date, he's credited with more than 200 cuts by the Night Drivers (including multiple #1s); the Infamous Stringdusters; the Travelin' McCourys; the O'Connor Band; the Del McCoury Band; Billy Strings; Thomm Jutz; Doyle Lawson & Quicksilver; Balsam Range; Blue Highway;Sierra Hull; Jim Lauderdale; Joe Mullins & The Radio Ramblers; Lindsay Lou; Carley Arrowood; the Danberrys and more.  Jon released his first album of his own songs in 2008 (If This Road Could Talk), and followed it up in 2014 with I've Been Mostly Awake; both albums featured a stellar list of players and co-writing guest singers ranging from IBMA Male Vocalist of the Year Shawn Camp to IBMA Female Vocalists of the Year Dale Ann Bradley and Claire Lynch to Americana favorite Kim Richey.  In 2018, he and banjo player Justin Hiltner issued Watch It Burn (Robust Records), an entire album of co-writes that featured backing from a dozen young musicians, including award-winning guitarist Molly Tuttle; the duo have a second project—a bluegrass gospel EP—slated for an early 2022 release.  Learn more about Lyte.  Hosted on Acast. See acast.com/privacy for more information.

Immersed in the bluegrass scene since the early 1980s, Jon Weisberger has enjoyed success in multiple aspects of the music business and community.  As a music journalist, his work earned him two International Bluegrass Music Association awards, as well as the Charlie Lamb Award for Excellence in Country Music Journalism, while his resume as a bluegrass broadcaster includes more than a dozen years as producer and co-host of the popular SiriusXM Bluegrass Junction show, “Hand-Picked With Del McCoury.  As a bassist, Jon spent more than 17 as a member of both Chris Jones & the Night Drivers (with whom he recorded seven albums) and the Roland White Band (whose 2018 all-star Tribute To The Kentucky Colonels he produced), while making appearances on stage or in the studio with a variety of other artists ranging from Country Music Hall of Fame member Tom T. Hall to Jim Lauderdale, Pam Tillis and bluegrass Hall of Famers Hazel Dickens, Del McCoury and Alice Gerrard.  Today, he serves as an A&R Director for the Crossroads Label Group, while producing a growing group of artists that includes Carley Arrowood, Aaron Burdett, Fireside Collective, the Alex Leach Band, Unspoken Tradition and the award-winning collaborative series, Bluegrass at the Crossroads.Still, Jon is best known as one of bluegrass music's most prolific and widely recorded songwriters.  In 2012, after a year in which more than two dozen of his songs were recorded, he was named the IBMA's first Songwriter of the Year.  His songs have appeared on 5 Grammy-winning bluegrass albums, including 4 of the past 5 recipients, and on another 5 nominated projects.  To date, he's credited with more than 200 cuts by the Night Drivers (including multiple #1s); the Infamous Stringdusters; the Travelin' McCourys; the O'Connor Band; the Del McCoury Band; Billy Strings; Thomm Jutz; Doyle Lawson & Quicksilver; Balsam Range; Blue Highway;Sierra Hull; Jim Lauderdale; Joe Mullins & The Radio Ramblers; Lindsay Lou; Carley Arrowood; the Danberrys and more.  Jon released his first album of his own songs in 2008 (If This Road Could Talk), and followed it up in 2014 with I've Been Mostly Awake; both albums featured a stellar list of players and co-writing guest singers ranging from IBMA Male Vocalist of the Year Shawn Camp to IBMA Female Vocalists of the Year Dale Ann Bradley and Claire Lynch to Americana favorite Kim Richey.  In 2018, he and banjo player Justin Hiltner issued Watch It Burn (Robust Records), an entire album of co-writes that featured backing from a dozen young musicians, including award-winning guitarist Molly Tuttle; the duo have a second project—a bluegrass gospel EP—slated for an early 2022 release.  Learn more about Lyte. 

This week we focus on traditional music masters – both instrumentalists and singers – who have inspired the next generations of young tradition bearers. We'll hear from Dwight Diller, Mike Seeger, Val Mindel & Emily Miller, Alice Gerrard, Norman Blake and many more. It's traditional music mentors … this week on The Sing Out! Radio Magazine.Episode #21-48: Paying It ForwardHost: Tom DruckenmillerArtist/”Song”/CD/LabelPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysOld Buck / “Mike in the Wilderness” / Old Buck / Tin HaloDwight Diller / “Waynesboro” / W Va Mountain Music:Harvest / Yew PineMike Seeger / “Little Birdie” / Southern Banjo Sounds / Smithsonian FolkwaysAny Old Time Stringband / “Turkey Buzzard-Chinquapin Hunting” / I Bid You Goodnight / ArhoolieVal Mindel & Emily Miller / “Gone Home” / Close to Home / Yodel-Ay-HeeMarcus Martin / “Gray Eagle” / When I Get My New House Done / University of North CarolinaTommy Jarrell / “John Brown's Dream” / Legends of Old-Time Music / CountyTommy Jarrell / “Greasy String” / Legends of Old-Time Music / CountyJimmy Triplett / “Piney Woods” / Natural History / BemlarOld Buck / “Highlander's Farewell” / Old Buck / Tin HaloCraver, Hicks, Watson & Newberry / “Sally Ann” / You've Been a Friend to Me / BarkerPete Sutherland / “Pioneer Children Sang as they Walked-ye ke ke” / Streak O' Lean / EpactAlice Gerrard / “Wild Hog in the Woods” / Big Bend Killing / Great Smoky Mountains AssociationDon Pedi / “Old Black Cat Couldn't Catch a Rat” / Short Time Here / Walnust Mountain The Pilot Mountain Bobcats / “Sugar Hill” / Dance By the Light of the Moon / Yodel-Ay-HeeNorman Blake / “Whistling Rufus” / Green Light on the Southern / PlectraphonePete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

This week on Transmissions, our weekly series of strange conversations: Scott Hirsch. Perhaps you know his name from the credits of albums by William Tyler or Alice Gerrard. Or perhaps you're into his solo records: the nocturnally grooving Windless Day is the latest. He's a long time collaborator of M.C. Taylor of Hiss Golden Messenger, and their relationship stretches back to the post-hardcore band Ex-Ignota. Hirsch joins host Jason Woodbury from his Ojai studio Echo Magic. On this episode, we discuss JJ Cale, the spiritual topography of California, and his punk rock immersion into the broader world of independent rock.

The Pandemic has caused many families to be apart. Betty and I last visited our son and his wife in West Virginia for Christmas 2019. Little did we know at the time, it would be 18 months until we could return. Well, we've all had our innoculations and we headed back to the Mountain State for the Memorial Day weekend to celebrate my birthday. We had a wonderful time, so this week we'll sample some of my favorite artists and music from West Virginia. We'll hear Hazel Dickens & Alice Gerrard, Tim O'Brien, Kathy Mattea and many more. Let's take a trip to The Mountain State … this week on The Sing Out! Radio Magazine. Episode #21-22: Return to the Mountain State Host: Tom Druckenmiller Artist/”Song”/CD/Label Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkways Ben Townsend and Friends / “Roaring River” / Deep End Sessions Vol III / Deep End Sessions Hazel Dickens & Alice Gerrard / “West Virginia My Home” / Hazel Dickens and Alice Gerrard / Rounder The Sky Island Stringband / “Cranberry Rock” / Adventures in Old Cranberry / Bemlar Costa & Campbell / “Sweet Bunch of Daisies-Rise When the Rooster Crows” / with Amazing Jim Lloyd / Eastwood Daniel Koulack & Karrnnel Sawitsky / “Groundhog” / Songs from the South-Tunes from the North Self Produced John Lilly / “Whodunit” / Last Chance to Dance / Self Produced Oscar Wright / “Elkhorn Ridge” / Fifty Years of County Records / County Long Point String Band / “Piney Woods” / Piney Woods / Self Produced Jesse Milnes & Emily Miller / “Fun's All Over” / Deep End Session Vol II / Deep End Sessions Ben Townsend and Friends / “The Gooson Quadrile” / Deep End Session Vol III / Deep End Sessions Tim O'Brien / “Get Out There and Dance” / Chameleon / Howdy Skies-Proper Billy Edd Wheeler / “Coal Tatoo” / Ode to the Little Brown Shack Out Back / Kapp Kathy Mattea / “A Far Cry” / Calling Me Home / Sugar Hill Todd Burge / “Time to Waste Time” / Imitation Life / Bunj Jam Gandydancer / “Boozefighters” / The Appalachians / Dualtone Dan Cunningham / “Deep River Blues” / Simple Gifts / Pickndawg Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / SmithsonianFolkways

When Rhiannon Giddens first heard folk/bluegrass music pioneer Alice Gerrard’s song “Calling Me Home,” she felt it deeply. Inspired by the music of the South and drawn to the sound of Giddens’ adoptive country Ireland, we’ll honor St. Patrick’s Day with this little ditty. 

Singers of Note Singers from many Centrum programs, lots of duets, including: The Brain Marshall Family Band, Laurel Bliss and Cliff Perry Jody Stecher and Kate Brislin, Pharis and Jason Romero, Mary Sherhart, Alice Gerrard, Julie Fowlis, Shaye Cohn and Erika Lewis, the Lonesome Doves, Morten Alfred Høirup and Mia Guldhammer, Riley Baugus, and the Birmingham Sunlights If you can’t hear it live - most Crackin the Vault shows will be available on the Centrum podcast channel: https://centrum.org/artists-in-place/crackin-the-vault-2/ Thanks for listening, have fun! Peter

Brandi Carlile acaba de hacer pública su reciente versión de "Take Me Home, Country Roads" de John Denver como avance del próximo spin-off de El Silencio de los corderos que la cadena CBS ha titulado Clarice, el nombre de la protagonista de la novela de Thomas Harris. Es una buena forma de abrir un programa sobre la actualidad de la Americana. Sarah Jarosz también se ha inclinado por hacer algunas curiosas versiones en este tiempo de pandemia. Extraído de la serie de NPR Morning Edition Song Project, la tejana nos ha sorprendido cantando simplemente con un micro y su guitarra “I Still Haven’t Found What I’m Looking For” que U2 llevaron a su quinto álbum The Joshua Tree en 1987. Ese concepto de hogar de estos tiempos es la excusa de Rhiannon Giddens y Francesco Turrisi para completar un nuevo álbum, They're Calling Me Home, donde recuerdan incluso a Alice Gerrard. “Midnight Train To Georgia” es una composición de Jim Weatherly convertida en todo un himno de la música sureña. El nativo de Mississippi ha muerto el pasado día 3 y hemos querido que Joan Osborne recordará aquel tema antológico. También es tiempo de celebrar un cuarto de siglo de una discográfica independiente dedicada a la Americana. Se publica Golden Age: 25 Years of Signature Sounds donde podemos encontrar grabaciones de Josh Ritter, Lake Street Dive, Chris Smither, Lori McKenna, Zoe Muth o Eilen Jewell, una de nuestras favoritas. Brennen Leigh, una mujer con una facilidad especial para contar historias creíbles que han sido interpretadas por artistas bien conocidos, ha querido que su sexto álbum, Prairie Love Letter, sea un homenaje a su natal Minnesota. Ten Penny Gypsy, desde Arkansas, son un dúo que en su segundo LP, Fugitive Heart, es un oasis sonoro que se convierte en necesario en estos tiempos. De igual manera no debería dejar pasar inadvertido a Mac Leaphart, de Carolina del Sur y con un álbum como Music City Joke que es una cosa seria en la que a veces es Bob Dylan, otras es John Prine y también nos recuerda a Jerry Jeff Walker. En ese sentido, Jared Tyler, habitual acompañante de las últimas visitas de Malcolm Holcombe se ha puesto al frente de Saugeye, un proyecto compartido con otros cuatro okies y cuyo nombre tiene que ver con ese pez híbrido que también define a la perfección su música. Bo Armstrong es un tejano de Dallas que se enmarca en la sencillez de un álbum Chasing Ballads, donde reconoce el pasado y se motiva de cara al futuro. Nuestra despedida tiene que ver con el álbum That’s Life, la última entrega discográfica de Willie Nelson y el segundo de sus álbumes dedicado a Frank Sinatra, que nos deja una colaboración de Diana Krall, la pianista canadiense, que se ha acercado algo más a la Americana desde que se casó en 2003 con Elvis Costello. Escuchar audio

In lieu of new episodes of The Breakdown, co-host Emma John introduces an episode of "Toy Heart", the most in-depth podcast about the origins of bluegrass ever created. Hosted by CBC radio host Tom Power ("q") and distributed by BGS (The Bluegrass Situation), Tom Power sits down with luminaries of the genre such as Del McCoury, Ricky Skaggs, Alice Gerrard, Jesse McReynolds, Jerry Douglas and more for an intimate conversation about their origins within the world of bluegrass music. On this episode, Bluegrass legend and Country Music Hall of Famer Ricky Skaggs talks to TOY HEART host Tom Power about what it was like to grow up as a child prodigy, the real story of how he got pulled on stage by Bill Monroe, how meeting Keith Whitley changed his life forever — and the last time they ever spoke. Plus, a never before told story of how Bill Monroe thought Ricky would make a “fine Blue Grass Boy.” It's the story of Ricky Skaggs… but the one that you may not expect. Skaggs is a notable entry point to bluegrass for many listeners and fans — like our first guest, Del McCoury is as well. Though his story is familiar: From playing the Grand Ole Opry as a tot, joining Ralph Stanley's Clinch Mountain Boys, and going on to perform and record with J.D. Crowe and the New South, to his own smashing success in mainstream country and eventual return to his now dynastic bluegrass career. Still, Tom Power displays Skaggs in a fresh light, with stories from and impressions of the icon that even veteran fans will find refreshing and illuminating. Subscribe to TOY HEART: A Podcast About Bluegrass wherever you get your podcasts. New episodes drop every other Thursday through May. PRODUCED BY: Tom Power and Amy Reitnouer Jacobs / BGS CO-PRODUCED AND EDITED BY: Stephanie Coleman THEME MUSIC BY: Chris Eldridge and Kristin Andreassen

Let's get ready to rock on the weekend. Here are some streams coming up that we think you might be interested in. Goose Bingo Tour. Both Friday and Saturday nights, Goose will be live streaming and performing songs that are pulled out of a bingo roller. If you listened to last weekend's Drop, you're familiar with the content. It's really fun, both nights the show starts at 8pm. Sunday is an acoustic stream at 8pm. Shakedown Stream 10/2/87. On Friday, Shakedown Stream is back with a “hot one” from Shoreline, 10/2/87. Pre-show includes Widespread Panic bassist Dave Schools and Circles Around The Sun keys wizard Adam McDougall, along with Dave and Gary this week. Donations this week will benefit Musicares and the Neal Casal Foundation.⁣ Roots Annual Picnic. On Saturday, in partnership with Michelle Obama's When We All Vote, the 13th annual picnic will be happening with tons of music. Performances by The Roots, H.E.R., Roddy Ricch, Lil Baby, and appearances by Michelle Obama, Lin Manuel Miranda, Chris Paul, Tom Hanks, Janelle Monáe and more.Black Power Live. Hosted by Black Lives Matter co-founder Patrisse Cullors, with a musical lineup that features Miguel, Devonté Hynes, Doja Cat, Kamasi Washington and others. This is on Saturday as well.Bluegrass Pride Queer-Antine Festival. Saturday and Sunday! From the website, the statement says “In the wake of a global pandemic, we found ourselves in the same position as many of the talented musicians with whom we work: facing the cancellation of an entire season of events. These include our San Francisco Pride float and marching armada, the annual Bluegrass Pride Celebration Concert (in San Francisco), our annual Portland Bluegrass Pride celebration, and the inaugural Nashville Bluegrass Pride celebration. These celebrations help us to grow our connections and create a deeper community with supporters like you, who live our mission every day.” Performers include Molly Tuttle, Front Country, Alice Gerrard and many others. See acast.com/privacy for privacy and opt-out information.

The Rapture are one of my favourite bands. They were the sound of the noughties; with their punk-funk party out of New York City, they'd define a scene and fill every dancefloor on Indie night at the local pub. Every now and then, I like to dip into the Take 5 archives and share a conversation from the past because, while this podcast has been around for almost three years, the Take 5 has been going for more than fourteen. I'll be honest, some of these early conversations are a bit rough. You'll hear a bit of room sound in this Take 5, you'll notice some nerves in my voice too (like I said, I'm a fan) but one of the strangest things about this Take 5 is that Luke, Vito and Gabe from The Rapture picked the songs but only Luke and Vito turned up to the chat. Don't worry, we call Gabe at the beach, halfway through. From heartfelt moments to all out parties, this is a wild ride with some lovely lads. The Beatles - ‘Julia' MGMT - ‘Weekend Wars' Roxy Music - ‘Remake Remodel' Hazel Dickens & Alice Gerrard — ‘The One I Love Is Gone' Aaliyah - ‘4 Page Letter'

The Rapture are one of my favourite bands. They were the sound of the noughties; with their punk-funk party out of New York City, they’d define a scene and fill every dancefloor on Indie night at the local pub. Every now and then, I like to dip into the Take 5 archives and share a conversation from the past because, while this podcast has been around for almost three years, the Take 5 has been going for more than fourteen. I’ll be honest, some of these early conversations are a bit rough. You’ll hear a bit of room sound in this Take 5, you’ll notice some nerves in my voice too (like I said, I’m a fan) but one of the strangest things about this Take 5 is that Luke, Vito and Gabe from The Rapture picked the songs but only Luke and Vito turned up to the chat. Don’t worry, we call Gabe at the beach, halfway through. From heartfelt moments to all out parties, this is a wild ride with some lovely lads. The Beatles - ‘Julia’ MGMT - ‘Weekend Wars’ Roxy Music - ‘Remake Remodel’ Hazel Dickens & Alice Gerrard — ‘The One I Love Is Gone’ Aaliyah - ‘4 Page Letter’

The Rapture are one of my favourite bands. They were the sound of the noughties; with their punk-funk party out of New York City, they’d define a scene and fill every dancefloor on Indie night at the local pub. Every now and then, I like to dip into the Take 5 archives and share a conversation from the past because, while this podcast has been around for almost three years, the Take 5 has been going for more than fourteen. I’ll be honest, some of these early conversations are a bit rough. You’ll hear a bit of room sound in this Take 5, you’ll notice some nerves in my voice too (like I said, I’m a fan) but one of the strangest things about this Take 5 is that Luke, Vito and Gabe from The Rapture picked the songs but only Luke and Vito turned up to the chat. Don’t worry, we call Gabe at the beach, halfway through. From heartfelt moments to all out parties, this is a wild ride with some lovely lads. The Beatles - ‘Julia’ MGMT - ‘Weekend Wars’ Roxy Music - ‘Remake Remodel’ Hazel Dickens & Alice Gerrard — ‘The One I Love Is Gone’ Aaliyah - ‘4 Page Letter’

Tom Power is a Canadian broadcasting great and frontman for folk band, The Dardanelles. He's also the host of 'Toy Heart: A Podcast About Bluegrass,' which has quickly become one of our favorite listens. On this week's FJ Podcast, we talk to Power about growing up in St. John's, Newfoundland, discovering bluegrass music through the 'O Brother, Where Art Thou?' soundtrack, and his unlikely and fateful meeting with Blue Grass Boy Tom Rosenberg (one of only two other St. John's residents who played the banjo). Power walks us through his career in broadcasting (he hosts the popular, nationwide Q show), explains why he decided to travel through America interviewing bluegrass legends, and shares some of his favorite memories from meeting Alice Gerrard, Del McCoury, Bela Fleck and others. If you're into bluegrass music (or the roots of Americana), we can't recommend Tom's podcast enough. Listen to Toy Heart here or through Apple Podcasts. Support the Fretboard Journal by getting a digital subscription to our magazine for just $30.  This week's podcast is sponsored by Retrofret Vintage Guitars and Mono Cases.

Old-time legend and Bluegrass Hall of Fame member Alice Gerrard talks to host Tom Power at her kitchen table in North Carolina. Gerrard tells stories of how she and other college students from the northern U.S. found bluegrass and old-time, of the lifelong influence of the Antioch College folk scene, meeting her Hall of Fame partner Hazel Dickens and making some of the greatest records in the genre. She goes on to describe her split from Hazel, her work since, the creation of print publication The Old-Time Herald, of which she is the founding editor. In tender moments, she shares the last time she ever spoke with Hazel, and describes what she sang to "sing her back home."

CBC radio host Tom Power ("q") and BGS (The Bluegrass Situation) bring you the most in-depth podcast about the origins of bluegrass ever created. Power sits down with luminaries of the genre such as Del McCoury, Ricky Skaggs, Alice Gerrard, Jesse McReynolds, Jerry Douglas and more for an intimate conversation about their origins within the world of bluegrass music. Premiering March 5, 2020, full episodes will be released bi-weekly on TheBluegrassSituation.com and wherever you get your podcasts.

We've teamed up with Come Hear NC on a podcast series that explores North Carolina music one song at a time. On this episode, folk musician Alice Gerrard talks about Elizabeth Cotten's 'Freight Train.' On Saturday night at Red Hat Amphitheater in Raleigh, an all-star group of musicians pays tribute to the music Alice Gerrard made with Hazel Dickens. Most of the seats are free. Then on Sunday in Elizabeth Cotten's hometown of Carrboro, there will be free music all over town at the Carrboro Music Festival . https://www.youtube.com/watch?v=IUK8emiWabU

The 1976 album Hazel Dickens and Alice Gerrard (not to be confused with their earlier recording Hazel and Alice) is dissected, a release that came out after the unlikely duo already broke up. Hazel and Alice have become one of the most influential artists in the history of bluegrass, tackling subjects that range from racial injustice to the hardships of being a working woman in their music.

Season 6, Episode 7 ​Hosts: ​Sarah Wood & Thomas Albert​Special Guests: ​The Herald Angels featuring Alice Gerrard, Kay Justice & … The Floyd Radio Show Podcast: March 4, 2017 Read More » The post The Floyd Radio Show Podcast: March 4, 2017 appeared first on The Floyd Country Store.

In honour of their upcoming induction into the Bluegrass Music Hall of Fame at the Bluegrass Music Museum we salute Hazel Dicken and Alice Gerrard! We have birthdays and new music to celebrate as well as a memorial two song remembrance for the late Ralph Lewis.

Ozark Highlands Radio is a weekly radio program that features live music and interviews recorded at Ozark Folk Center State Park’s beautiful 1,000-seat auditorium in Mountain View, Arkansas. In addition to the music, our “Feature Host” segments take listeners through the Ozark hills with historians, authors, and personalities who explore the people, stories, and history of the Ozark region. This week, prodigious purveyors of the past, multi-instrumentalists, singers and story tellers, Anna & Elizabeth perform live at the Ozark Folk Center State Park. Also, interviews with these unique performers. Mark Jones offers an archival recording of Ozark originals The Hall Family, performing the traditional song “Cowboy’s Dream.” Author, folklorist, and songwriter Charley Sandage presents a portrait of world famous cowboy poet & singer Glenn Orhlin. The collaboration between Anna & Elizabeth spans worlds — between their homes in Brooklyn and rural Virginia -- between deep study of mountain ballads with old masters and explorations into the avant garde — between music, performance, and visual art. Anna & Elizabeth have performed across the country and in Europe. Highlights include: The Newport Folk Festival; NPR's Tiny Desk Concert; The Chicago Folk Festival; The High Museum of Modern Art (Atlanta); and the Cambridge Folk Festival (UK.)  Their work has been featured on BBC Radio 2 and BBC3's Late Junction, Vice’s Noisey, the Huffington Post, and No Depression. They have shared the stage with Alice Gerrard, Mick Moloney, Sam Lee and Riley Baugus, Bruce Greene, Abigail Washburn, Wayne Henderson, and also National Heritage Award winners Sheila Kay Adams and Billy McComiskey. Elizabeth Laprelle lives on a farm in Rural Retreat, Virginia, where she grew up, and  has pursued her interest in mountain ballads for over a decade. Since the release of her debut album at age 16, she’s been hailed as one of the most dedicated students of the traditional unaccompanied style of her generation. The student of master singer Ginny Hawker and National Heritage Fellow Sheila Kay Adams, Elizabeth was the first recipient of the Henry Reed Award from the Library of Congress at age 16, and won the 2012 Mike Seeger Award at Folk Alliance International. She has released three solo ballad albums, and was called “the best young Appalachian ballad singer to emerge in recent memory” by UK’s fRoots Magazine.  Anna Roberts-Gevalt is a voracious and curious multi-instrumentalist originally from Vermont, described by Meredith Monk as a "radiant being." She fell in love with the sound of banjo in college, moved to the mountains, and learned with master musicians in Kentucky, Virginia, and North Carolina, becoming a blue-ribbon fiddler and banjo player (WV State Folk Fest, Kentucky Fiddle Contest.) She was a fellow at the Berea College Archive, a 2014 OneBeat fellow (Bang on a Can's Found Sound Nation,) artistic director of Kentucky’s traditional music institute, the Cowan Creek Mountain Music School, and curator of Baltimore's Crankie Festival.  She has recently delved into new musical worlds, including recent work with composers Brian Harnetty, Nate May and Cleek Schrey, Matmos, David Rothenberg, Susan Alcorn, and saxophonist Jarrett Gilgore. She has contributed writing to No Depression and The Old Time Herald. In this week’s “From the Vault” segment, musician, educator, and country music legacy Mark Jones offers an archival recording of Ozark originals The Hall Family, performing the traditional song “Cowboy’s Dream,” from the Ozark Folk Center State Park archives. Author, folklorist, and songwriter Charley Sandage presents an historical portrait of the people, events, and indomitable spirit of Ozark culture that resulted in the creation of the Ozark Folk Center State Park and its enduring legacy of music and craft. This episode focuses on world renowned cowboy poet, balladeer, and story teller Glenn Orhlin.

Alice Gerrard, a living legend herself, wrote a song about another musical legend, Elizabeth Cotten, who she knew and whose conversation with her inspired this song, released on Alice's CD Bittersweet. As I listened to the CD this song moved me to attempt it on banjo and I've had the delight of learning more about these two amazing women. As the lyrics say, "And won't you sing to me as I take my leave, you're going to miss me when I'm gone."

Alice Gerrard, a living legend herself, wrote a song about another musical legend, Elizabeth Cotten, who she knew and whose conversation with her inspired this song, released on Alice's CD Bittersweet. As I listened to the CD this song moved me to attempt it on banjo and I've had the delight of learning more about these two amazing women. As the lyrics say, "And won't you sing to me as I take my leave, you're going to miss me when I'm gone."

This week on StoryWeb: Hod Pharis’s song “I Heard the Bluebirds Sing.” In honor of the first day of spring I first encountered Canadian songwriter Hod Pharis’s song “I Heard the Bluebirds Sing” on Pathway to West Virginia, the first album recorded by Ginny Hawker and Kay Justice. It was 1989, and my good friend Rolf had just returned from a road trip that had taken him through West Virginia. Rolf was the quintessential lover of old-time and early country music. He and his sister had been at a rest stop, and he asked about the music being played. The clerk said, “Oh, yes! Great album! Ginny Hawker and Kay Justice.” Rolf bought a cassette tape and brought it back to our group of grad school friends in Madison, Wisconsin. We were all entirely captivated and mesmerized by these two singers – such beautiful voices, exquisite but often unusual harmonies, Ginny’s Primitive Baptist cadence blending with Kay’s alto. “I Heard the Bluebirds Sing” quickly became our favorite cut from the album. Oh, how we loved the story of the young man who meets a girl in the hills. She sweetly steals his heart, and they plan to be married in the spring, which seems like it will never come. But eventually spring arrives, and their wedding is “just like a dream come true.” Such a lovely tale, such a sweet and joyous song. What was not to love? We were so inspired by the song, in fact, that we figured out how to play and sing it. I played my violin – which I was learning to play more like a fiddle and less like the classical violin I’d grown up playing in school. Bill played guitar. Deb, Rolf, and Wendy joined in on the singing, and we memorized the intricate lyrics. We finally had it all together and “performed” it on my screened-in, second-floor porch one summer day. When we finished, we were surprised to hear applause erupt from outside – my neighbors had enjoyed hearing our rendition. Within a couple of years, I had taken a job as an English professor in West Virginia and had met Ginny and Kay, both of whom I count among my beloved Appalachian friends. I love hearing them sing at festivals and in late-night jam sessions afterward. And of course, I love listening to their many recordings. Together, they’ve recorded Come All You Tenderhearted and Bristol: A Tribute to the Carter Family. Ginny appears with Hazel Dickens and Carol Elizabeth Jones on Heart of a Singer. She also recorded The Family Reunion: Three Generations of Southern Singing with her father, Ben Hawker, and her daughter, Heidi Christopher. Ginny has also recorded solo albums, Letters from My Father and After It’s Gone, frequently backed by her husband, fiddler Tracy Schwarz. Ginny and Tracy together have released two albums, Good Songs for Hard Times and Draw Closer. Next week, Kay will release Tear Down the Fences, recorded with bluegrass pioneer Alice Gerrard. The first cut is – wait for it! – “I Heard the Bluebirds Sing.” Though this will always be Ginny and Kay’s song to me, the composer is actually Alberta’s Hod Pharis, and the song – written in 1952 – has been recorded by numerous acts. Though Pharis recorded a couple of versions of the song in the 1950s, it did not become a hit until it was recorded in 1957 by The Browns (a trio comprised of Jim Ed Brown and his sisters, Maxine and Bonnie). The Browns took the song to number four on the U.S. Billboard country charts. After the song hit it big, many other acts recorded it, making it one of the most recorded songs written by a Canadian. Given its great success, “I Heard the Bluebirds Sing” was inducted into the Canadian Songwriters Hall of Fame in 2015. Visit thestoryweb.com/pharis for links to all these resources and to get a taste of Ginny and Kay’s beautiful singing on a recording of “On the Rock Where Moses Stood.” You can also watch the Browns sing their chart-topping hit, “I Heard the Bluebirds Sing.” If you’ve been waiting for winter to end, you’ll enjoy this song about the joyous arrival of spring.

This week on StoryWeb: Helen Matthews Lewis’s book Living Social Justice in Appalachia. In honor of International Women’s Day, coming up this Wednesday, I want to pay tribute to one of the great teachers of my life, Helen Matthews Lewis. Known fondly as the mother or grandmother of Appalachian studies by the many people whose personal and professional lives she has touched, Helen – as always – modestly denies this title, saying instead that other leaders gave birth to and shaped the interdisciplinary movement. But as her colleague Stephen L. Fisher points out, “there is little question that her program at Clinch Valley College [in Virginia] served as the major catalyst for the current Appalachian studies movement and that no one has done more over the years to shape its direction than Helen.” For me, as for so many others, Helen set the standard for engaged scholarship, activist teaching, and pure regional enjoyment – whether that region is Appalachia or Wales or southern Africa. Helen weaves it all together: she revels in learning, delights in talking with and listening to everyone she meets, energetically taps her foot at bluegrass and sings gospel songs with unbridled glee. It’s perfect, then, that her 2012 book, Living Social Justice in Appalachia, is a quilt of her writings (essays, articles, and poems), her reflections given through numerous interviews, pieces others wrote about her influence on them, photographs of Helen at key times in her life, and even her famous recipes (including instructions for making chowchow, one of my grandmother’s favorite foods). Longtime friends and colleagues Patricia D. Beaver and Judith Jennings edited the volume, working with Helen to bring to life the many facets of her career and her personal journey. How do you separate the lived self from the professional self? In Helen’s mind, you don’t – and Living Social Justice in Appalachia in its form and in its very title makes clear that the personal, professional, and political are tightly fused. I’ve spoken before on StoryWeb of the special and powerful way I met Helen – in a series of visits to the Highlander Research and Education Center, founded by Myles Horton and located in New Market, Tennessee. In Appalachian studies circles, it is not at all uncommon to hear of the way Helen has touched someone’s life. In my case, she actively encouraged me to embrace participatory, liberatory teaching and offered a much-needed critical and supportive eye to my memoir, Power in the Blood, when it was just starting to form in my mind. I thought I was writing a novel. Helen gently disagreed, telling me she thought I was writing “cultural and family history told in a narrative form.” We had that conversation one afternoon at her home in Highlander. Her comment crystallized the entire project for me and remains one of the most important discussions of my life. The time I spent with Helen at Highlander was always special, whether we were tending to her garden, watching videotapes of Bill Moyers interviewing Myles Horton on the back porch of what was now Helen’s home, or chatting with friend after friend and colleague after colleague who stopped by to say hello. Helen can whip up a mean cocktail, and she was always at the ready to welcome her frequent visitors. One of my favorite stories about Helen involves a leadership award she won in the 1990s. The organization giving her the award commissioned an artist to create a small sculpture in Helen’s honor. Rather than giving her a standard trophy, the organization wanted to capture the spirit of Helen’s example. The sculpture depicted a figure leading a line of figures behind her. Looking back over her shoulder at those following her, the figure’s face is a mirror: she understands that real leadership is about reflecting back to each “follower” her own image, her own potential. This small sculpture – which Helen displayed proudly in her home at Highlander – perfectly summed up Helen’s way of leading. Helen has lived a lot of life in her ninety-plus years. She was born in rural Georgia and raised in Cumming (notorious for its extremely racist views and brutal treatment of African Americans), attended the Georgia State College for Women (along with her classmate and fellow yearbook editor, Mary Flannery O’Connor, who drew the illustrations to accompany Helen’s text), and became radicalized through the church and through state political activities. Attending graduate school at Duke University, she met her future husband, Judd Lewis, and then moved with him to Virginia. After a teaching stint at East Tennessee State University and a PhD in sociology from the University of Kentucky, Helen was divorced from Judd. From there, she traveled the world, exploring the connection between working people and participatory education in Appalachia, Wales, Nicaragua, Cuba, Holland, Belgium, France, Botswana, Zimbabwe, Namibia, and South Africa. She’s been let go from more than one teaching position, no doubt due to the empowering, engaged pedagogy she practiced. She’s directed Highlander and the Appalachian Center at Berea College. She’s worked at AppalShop in Whitesburg, Kentucky, and co-led community-based, participatory research in Ivanhoe, Virginia. She’s received a commendation from the Kentucky state legislature and been the recipient of honorary degrees. She’s had awards, study experiences, and lecture series named in her honor. And along the way, more than anything else, she has lifted up those she has met, provided that empowering mirror so that everyone in her field of vision sees all the potential they have inside. If you know Helen or her work, reading Living Social Justice in Appalachia will be a real treat. It brings our colleague and friend to life in such vivid ways. If you don’t know Helen or her work, reading Living Social Justice in Appalachia will give you the chance to “meet” one of the great thinkers, teachers, and leaders of our time. The book is a fantastic read from beginning to end, whether you’re jotting down her notes for growing a great garden or mixing up an old fashioned from her recipe (which specifies that you should make just one glass at a time!), whether you’re learning about how she developed anti-racist consciousness or reading first-hand accounts of those whose lives she’s touched. In the end, Helen understands that it all comes back to story. She believes strongly in telling the story of Appalachia, her region, and she believes in hearing and celebrating the stories of other folks in other regions. With StoryWeb, I celebrate stories of all kinds – and I owe a huge debt of gratitude to Helen Matthews Lewis for helping me see the value of stories. “Why am I here?” she asks near the end of the book. What is my story? Which story do I tell? Everybody and every community, place, and region needs stories, narratives, tales, and theories to serve as moral and intellectual frameworks. Without a “story,” we don’t know what things mean…. We are swamped by the volume of our own experience, adrift in a sea of facts. A story gives us a direction, a kind of theory of how the world works and how it needs to work if we are to survive. . . . We need to take back our stories. Visit thestoryweb.com/lewis to view “Keep Your Eye Upon the Scale,” a short documentary film about Helen’s exploration of the connections between coal miners in Appalachia and those in Wales. A recent interview with Helen is woven throughout the film, and you’ll also see her collaborators on the project, John Gaventa (an American political sociologist) and Richard Greatex (a British filmmaker). Those who follow old-time and bluegrass music will be especially interested to see the appearance of the Strange Creek Singers: Hazel Dickens, Alice Gerrard, Mike Seeger, and Tracy Schwarz. They came from Appalachia to Wales to share American coal mining music with the Welsh miners. Helen Matthews Lewis’s Living Social Justice in Appalachia is one good story. I highly recommend it.  

Artist feature is in honour of Beverly Smith. Beverly has a brand new CD with John Grimm and a recent CD with Alice Gerrard, both new to Pacific Pickin' Central this week. We added a track from an earlier CD with Carl Jones. Mighty fine old-time music! Plus more birthdays and new music to celebrate!

Rhiannon Giddens, The SteelDrivers, Jesse Milnes & Emily Miller, Alice Gerrard and Sam Gleaves, featuring Ricky Simpkins. Recorded live at the Augusta Heritage Center on the campus of Davis & Elkins College.

PODCAST: 22 Feb 2015 01 – Yarmouth Town – Bellowhead – Hedonism02 – I Want To See The Bright Lights Tonight – Richard Thompson – Acoustic Classics03 – Gypsy – Addison’s Uncle – I’d Like To Tell A Story04 – The Streets Of New York – The Wolftones – The Greatst Hits05 – Dashing Away – Edward II – Wicked Men06 – The One I Love Is Gone – Hazel Dickens And Alice Gerrard – Pioneering Women Of Bluegrass07 – Limbo People – Kieran Halpin – Crystal Ball Gazing08 – Little Musgrave 1 & 2 Sword In Hand – Hanz Araki and Kathryn Claire09 – Made Of Light – Kara – Waters So Deep10 – The Orchard – Sean Tyrell – The Orchard11 – 1952 Vincent Black Lightning – Del McCoury Band – Del and The Boys12 – Circle For Danny – Duncan McFarlane Band – Marked Out In Pegs13 – Barratts Privateers – The McCalmans – Peace and Plenty14 – The Heart Of The World – Iarla Ó Lionáird – Foxlight15 – Gweebarra Shore – Maggie Boyle – Gweebarra

Season 3, Episode 9 Hosts: Elizabeth LaPrelle and Anna Roberts-GevaltGuests: Alice Gerrard, Cliff Hale, Sandy LaPrelle, Chris Owen Host Anna Roberts-Gevalt recounts a … The Floyd Radio Show Podcast: May 3, 2014 Read More » The post The Floyd Radio Show Podcast: May 3, 2014 appeared first on The Floyd Country Store.

FTB podcast #226 features the new album by Tim Easton called Not Cool.   Also new music from Sam Baker, Alice Gerrard and The White Buffalo.  Here's the iTunes link to subscribe to the FTB podcasts.   Show #226 TIM EASTON - Troubled Times  MICHELLE MALONE - Immigration Game  (Day 2) WOODY PINES -  I Love the Way My Baby (Rabbits Motel) THE WHITE BUFFALO - Don't You Want It  (Shadows, Greys & Evil Ways) (mic break) ALICE GERRARD - Bittersweet  (Bittersweet) DAN IMHOFF -  Tumbleweed  (Agraria) LIZANNE KNOTT -  Stones Throw Away  (Standing in the English Rain) THE BAND OF HEATHENS - Miss My Life  (Sunday Morning Record) TIM EASTON - Don't Lie  (mic break) T. HARDY MORRIS -  Lucky (Audition Tapes) STEPHEN SIMMONS - I'll Be Your Johnny Cash  (Hearsay) SARA PETITE - Perfume  (Circus Comes To Town) TODD MAY - Build A Better Rocket  (Rickenbacker Girls) SAM BAKER - Button by Button  (Say Grace) (mic break) TIM EASTON - Gallatin Pike Blues 

We check out some historical duet performances from old-time music virtuosos Doc Watson and Bill Monroe, Piedmont Blues legends John Cephas and Phil Wiggins, and women bluegrass pioneers Hazel Dickens and Alice Gerrard and the hypnotizing sounds of Indian Tabla Tarang master Pandit Kamalesh Maitra.

This hour features bluegrass music on Folkways Records. Bluegrass is a style developed mostly in Appalachia that combines the music of Scots-Irish, African-American, jazz and blues. Michael presents a personal journey, choosing from those performances he considers 'classic.' Performers include Bill Monroe, Hazel Dickens and Alice Gerrard, Roger Sprung, The Country Gentlemen, The Lily Brothers, Eric Weisberg, Ralph Rinzler and Mike Seeger. Smithsonian Folkways: Sounds to Grow On is a 26-part series hosted by Michael Asch that features the original recordings of Folkways Records.