October 2011

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

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PLUS:v CD Profilesand Reviews. . . and More!

Darin & BrookeAldridge

Darin & BrookeAldridge

PLUS:v CD Profilesand Reviews. . . and More!

IN THIS ISSUE:v One Man’s Journeyv Rebel Recordsv Americana Schoolv Rare Hank Find

IN THIS ISSUE:v One Man’s Journeyv Rebel Recordsv Americana Schoolv Rare Hank Find

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Americana Rhythm is published six times a year. All correspondenceshould be sent to PO Box 45, Bridgewater VA, 22812 or email togreg@americanarhythm.com. Copies of Americana Rhythm are madeavailable free at various pick up locations within the publication’s re-gion. Subscriptions are available inside the United States for $15 UScurrency made payable by check or money order sent to Subscriptionsat PO Box 45, Bridgewater, VA, 22812. Foreign subscription requestsshould be sent to greg@americanarhythm.com. Copyright 2008. Allrights reserved. Reproduction of copy, artwork or photographs is strictlyprohibited without permission of the publisher. All advertising materialsubject to approval.

PUBLISHER/EDITOR IN CHIEFGreg E. Tutwiler

EDITORIAL ASSISTANTSEd Tutwiler

Jacenta TutwilerLisa Tutwiler

MARKETING & PROMOTIONMark Barreres (GrassRootsNetworking.com)

ADVERTISINGGreg Tutwiler

Business office 540-433-0360

CONTRIBUTORSEd TutwilerKaye D. Hill

Wayne ErbsenRyan Babarsky

UNC Ashville StudentsAndrew McKnight

Doak TurnerBecky AllenScott Perry

DISTRIBUTIONMark BarreresDavid LaFleurNate SparksEd Tutwiler

Doug WilliamsStuart Thomas

Floyd Country StoreLetters, Comments, Suggestions

greg@americanarhythm.comwww.americanarhythm.com

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Questions, comments, suggestions:greg@americanarhythm.com

Used to be as mid-summer festivalswould start winding down, it spelled theend of another season. Not so anymore.From the looks of our calendar this timearound, and the great line-ups of our advertisers,there’s as many opportunities to get out and enjoylive music this fall as there was this past spring andsummer. Don’t miss it!We’ve got the first part of a great two part storywith Rick Altis of High Ground, and I had afun chat with up and coming duo, Darin andBrooke Aldridge. There’s all kinds of great newmusic on the horizon too; check out theSPINS and Americana Profiles sections.If this is your first time through an issue ofAmericana Rhythm, welcome! Let us know what youthink. We love hearing from our readers. And when you get achance, check out our artist features at www.AmericanaMusicProfiles.com.

Check out our new musicProfiles web site!

www.AmericanaMusicProfiles.com

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button from our web site,www.AmericanaRhythm.com12 Sweethearts

17 Genre’ Specific19 More Of A Legend

2220 FEST GUIDE

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By Edward Tutwiler

It goes without saying that we allhave our favorite music groupsand favorite pickers and singers.When we kick back at that justright festival, and tune in to thesounds that take us to our specialhappy place, we take for grantedour music heroes standing uponthe stage. It is just a given to usthat they will give of themselveswith all the heart that they have.Too often, we fail to appreciate thefact that these folks who’s talentwe’ve come to love, did not justwake up that morning fully skilledin their craft and free of all thedaily concerns that everyone ex-periences. The talented folks whograce our Americana stages arereal people just like you and me—abet with a whole lot more musi-cal talent. To give you some appre-ciation of what we mean, I re-cently sat down to talk with Mr.

Rick Altis who is the base playerfor High Ground—a popular lo-cal bluegrass band. I got Mr. Altisto tell us about himself, his music,his association with the HighGround band and what it takes tokeep it all balanced together.

It Started In The HomeI began by asking Rick to give ussome background about how hegot started in music. He was borninto a working class family butthat didn’t keep his hard workingparents from taking time for mu-sic and to encourage their threechildren to do the same. Rick toldme, “From first memory I hadmusic in my home. My mom anddad were musicians. They weresemi-professional but they playedtogether a lot just like I do todayall through the 1940s and dad intothe 1950s. We always had musicalinstruments available in thehouse. As children, my two sistersand I were always expected toplay music and sing. I rememberbeing in the second grade before Ifound out everyone did not playa musical instrument. I lookedaround at the kids in my class and

thought they all could play. I re-member talking to the other kidsand found out that none of themplayed an instrument; they didn’tsing at home; and I was really

shocked to learn that. That is howprevalent music was in ourhome.”

Music has always been apart ofRick Altis’ life. As a teen, hestarted playing rock music but byhis 20s he’d come full circle backto his roots. He became a found-ing member of The Cabin FeverBand, a popular bluegrass group.With this group, he recorded twoalbums and toured for 14 years.During that time, he wrote severaloriginal bluegrass songs. Never-theless, Rick says he has an appre-ciation for all kinds of music. Hesaid, “You’ve heard the HighGround show so you know you’llhear some fairly eclectic music.Our band does a lot of stuff that isnot traditionally bluegrass. I alsohave a great appreciation for theearly leaders in the field—Monroeand the Stanley brothers—all thepast leaders in bluegrass who per-severed to make it what it is to-day.”

This is part one of a very interestinginterview our writer Ed Tutwilerconducted with a band member fromone of our many talented regionalacts. Part two will appear in theOctober/November issue. ~ editor.

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I asked if he thought the musicwould continue to be a part of hislife and he got quiet for a minuteand then he said, :”I’m reasonablysure it will baring any health is-sues. I’ve become one of the gray-hairs now—I’m 62, and I know alot of folks younger than me thatjust sit around. They don’t workmuch, and they don’t do much. Idon’t intend to do that. I can fore-see me for at least five or sevenyears still doing it depending onhow long my body will let me doit. Right now I don’t see an end toit. Even if the band does not go onat the pace we’re going now you’llsee me playing music somewhere.I’ll being playing a guitar andsinging somewhere.”

Something From WithinI asked Mr. Altis if he could ex-plain what it was deep inside thatmade him a musician. “I’ve won-dered about that a lot. People askme how they can learn to play theguitar or how do you do this ordo that. Or, how can you get upon stage and talk to people freelyand not be frightened. I honestlydo not have an answer. I’vethought about it a lot, and I believeeveryone can learn to play music.I also believe that some peopledon’t have as hard a time learn-

ing as do others. It might just bean inherent talent that you have,and I don’t pretend to know thosethings. It never came hard for me.I’m not the best musician by far. Iam the worst musician in the HighGround band. That is one key tomy success, I surround my selfwith talented people. All the guysin the band are more talented thanI am.”

Juggling the FlowHe went on, “I don’t have troublegrasping music, and I can get by;however, I can’t fix a light socketor a bathtub, and I have friendsthat can do that, and I envy them.I have a friend that is real handy.He can build decks and such andI try to help him but I just get inthe way. He just jokes about it—he says he’ll do the work and letme sing a song about it becausethat is what I can do well. I don’tknow where it comes from—I’mjust not sure. I would not discour-age anyone who wanted to, at anyage, learn to play an instrument.You may never play it as well assome famous player but it will stillbring joy to you. I have fun justsitting down and playing the gui-tar with no one around, and any-body who would learn to playwould get peace from it.”

I asked Rick if he would tell usabout the balancing act that comeswith having family, day jobs andthe music. “You know, busypeople probably do more thingsthan people that aren’t busy, and Ifound that out. My wife and I have

two sons and three grandsons. Wehave ball games; we have familygatherings; plus, I just want to bewith them. I find time to do that,and I make time. I’m running fromhere to there usually but I guessthat’s the only way I know how todo things. Actually, I work twojobs. I work full-time in the trans-portation department of a localindustry and I have a part-time jobat a motorcycle shop that I’ve heldfor 37 years. A typical day for meis like tomorrow’s schedule—I’m

going to work all day at the mo-torcycle shop; leave there and gomeet the guys and go play inLuray; come back and get somesleep; go to work Sunday at myfull-time job; and leave there andgo to play a show inCharlottesville. That’s typical forme. The only way I can do this ishave an understanding wife andan understanding family. I havebeen married 42 years and havebeen a musician for almost as longas we’ve been married. She knewthat going in and has been ex-tremely patient with me, and wehave a great relationship. Wecouldn’t have stayed married 42years if we did not. She not onlyputs up with it, she encouragesme. When Larry called me aboutdoing an album together, she wasthe one who said you need to dothis for a legacy for your grand-children. Then, when we decidedto maybe put a band together shewas right there again telling meyou know you need to play goahead and play because you arenever happier than when you areplaying.”

Graceful HelpingHe continued, “My employerbends over backwards to help me

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out to play music. I appreciate thatand in turn I try to help them outanyway I can. They have been sogood to me. I try not to make mu-sic a priority in my life but it seemsto keep sneaking in there. My firstpriority is to my wife and my chil-dren and grandchildren and mysecond priority should be to myjob (and it is, because that is theonly way I can maintain part A ofthe story). Sometimes, I feel badbecause I’ve gotten someone towork for me so I can go play andthat gives me a guilt feeling. I’mcoming on toward retirementtime. I don’t know when that willcome but when it does I will havemore time to devote to music.”He went on to say, “Now, I knowpeople who have donated theirlife to music. They have never be-come famous and are always liv-ing hand to mouth. I respect themfor that; however, I have a deepercommitment to my family and tryto make a living for them. Had Ibeen single all my life, I’d prob-ably have been like one of thosemusicians that never workedregular but just played music. Iowed my family to support themso I got in the habit of going towork I can’t say I enjoy work asmuch as I enjoy playing music. Igo to work, go play music and

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

Walking The WalkI wondered if the other guys inHigh Ground had similar stories,and Rick said they did to one de-gree or another. One is a teacherwith summers off; one is self em-ployed who can flex his hours; oneis a full-time farmer who can getaway; and one is an estimator fora building supply company whohas a very understanding boss.That seemed to be a good time inthe interview to get Mr. Altis totell us about the band and how itgot started. Here’s his descriptionof how that happened, “In thesummer of 2004, Larry Taylor, alifelong friend, called and askedme to help him put together abluegrass album. Now, we’d bothplayed music a long time but notmuch together. I filled in with hisband or he’d fill in with my bandas the need arose. We’d beenfriends a long time. I said ‘Larryyou’re crazy’—I’d been out ofmusic since about 1998, and Ithought that was it and that I’mtoo old, and I’m not going to dothis any more. I had stopped per-forming when I quit playing withthe Cabin Fever Band. I said that Iwas busy enough, and I just re-

tired from playing. I was still hold-ing down two jobs and we hadsome grandchildren comingalong, I decided that I needed totry to slow down. Anyway, Larrycalled and I said you’re crazy andhe said look, we can do all theparts and with modern technol-ogy we can dub it all in ourselves.

I still thought Larry was crazy. Itwas a costly venture—severalthousand dollars—and mean-while we’d just had our firstgrandson. My wife told me that Imight want something for him tobe able to look at later in his lifeand that caused me to think that Iwish that I had some of myparent’s recordings. So, I woundup doing the project just for thatreason. It turned out really well.I’m so proud of it, and Larry and Idid most of the music. We gotsome help from our friend WillParsons to do the banjo work be-cause neither Larry nor I do banjo.Larry and I did all the vocal parts.The album came out, and we gavethem to friends and family.

It WorkedThe next thing we know, peopleare calling and asking if we couldplay at so and so. I would tell them‘but you don’t understand wedon’t have a band it is just two of

us’. It got to be more and morecalls, so Larry and I talked aboutit and decided that we’d go play afew dates. I called Jim Almarodea mandolin player who has beenanother lifelong friend and musi-cal partner since back in the 70s. Icalled him up on a Sundayevening. I said, ‘how you doingJim, and he said Yes. I said yeswhat. He said you going to ask meto play in a band with you andLarry, right? And I said yeah’. Heknew me that well. He also said ‘Igot a banjo player I know whowould like to play with us. Let’smeet Wednesday at the highschool and see how it goes’. Thatwas Sunday, and on Wednesdaynight at the high school whereJimmie teaches, we four sat downand started playing and singinglike we’d been together all ourlives. It was wonderful.

The Desire To SucceedHow could you not be filled withjoy when something like that hap-pens? It might sound like a fairytale but that’s how it happened.Jimmie and I hadn’t sung togethersince1998 and it was like yester-day. So, that is how High Groundgot started. It was October 2004,and by then we decided that wedid not want to go out and play abad show—we’d seen so many

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While in the area please visit our other local attractions

bands that did not start and stopright—we wanted to have a pro-fessional show so we practicedseveral months thru the winter atleast once a week. In the spring,we did our first show, and it justblossomed from there. We pickedup a guitar player, Ben Swarey,who is a young phenomenal gui-tar player before we ever gotstarted. He played with us the firstyear; however, he had a smallchild and a family and by the endof that year we were traveling intoTennessee, Ohio and DC playingregularly. He came to me and saidwith his young family he couldnot play as much as we were play-ing. I understood. I told him totake care of his family and if heever wanted back on the stagewith us, he could. In March of2011 he called and said things hadcalmed down and he wanted tocome back. So he’s back with usagain. It’s five of us now: JimAlmarode, Jeff Ritchie, Larry Tay-lor, Ben Swarey, and me—Benadds so much to the band. So,High Ground actually got startedin the spring of 2005.

Musicians Are People TooSo, dear AR readers, all those folksup on the stage are real peopletoo. There is a rest-of-the-storyquality to every one of the musi-cal heroes whose talent we admireso much. But there is somethingelse—some quality that maybemany of us don’t possess. Peoplewho have music in their heartshave a special joy that we can’tever feel, and this joy just over-flows in happiness, and we, thelisteners, the festival goers, thefans are the richer for it. Rick Altissays it best when he said, “Youknow, for two hours on a Satur-day night I don’t worry about any-thing. I’m the happiest guy in theworld. You can watch our showsand tell that. I think all of us arelike that. Maybe, that is the key toour success—I don’t know. We allhave those same daily worriesthat everybody has: finances, fam-ily, jobs—all those things thatworry you but for two hours orone hour or three hours or what-ever the show’s length, I don’tthink about anything else. I’monly thinking about the show andI’m enjoying it so much. It just fillsmy heart with joy to sing and playand watch the crowd react and bethere with four of my best friendsplaying music. So, as my wife saidwhen Larry called me, ‘you needto do this because you are neverhappier than when you’re playingmusic’”.

Rural RhythmUpbeat AboutMoveRural Rhythm Records, with acatalog of bluegrass artist such asRussell Moore and III Time Out,The Roys, Lonesome River Band,Carolina Road, Grasstowne, andmany more; is set to move opera-tions from the west coast to Tennes-see. “Pam and I have been contem-plating this move for a few years,”said Sam Passamano, Jr., presidentof Rural Rhythm. “Pam is a nativeCalifornian from the Sacramentoarea and a lot of my family movedto the Los Angeles area from theeast coast in the 60's and 70's. Ourfamily is very important to us, so torelocate our residence and businessfrom the west coast to the Nashvillearea was a major life changingdecision.”

“We have made so many greatfriends over the years that we feellike we are coming home to ourhuge family of friends when wearrive in Tennessee. We are reallylooking forward to this next chapterin our lives and for Rural RhythmRecords and Rural Rhythm Chris-tian,” he continued.

“There are definite signs that themusic retail business has bottomedout after a most a decade of stagger-ing losses. This is very good newsfor all of us and should help ourBluegrass music lovers find moreproduct at the music retail level.However, a lot has changed over thelast decade in terms of marketingBluegrass music to our artists’ fans.We are working on several majormedia exposure opportunities forour artists which will be announcedshortly and being in the Nashvillearea will be crucial."

“One of the most compelling reasonfor us to relocate our business to theSoutheastern area has to do withbeing a lot closer to our artists andhaving the ability to meet and havecreative conversations. We see astrong opportunity in the musicbusiness today and feel very blessedfor the quick growth at RuralRhythm Records and Rural RhythmChristian, and appreciate all thehelp and support everyone has givenus to get to were we are today.Having our Headquarters in theSoutheastern area will certainly helpus get our Bluegrass and Gospelmusic to our Artists fans in differentways and to a larger audience,” heconcluded.

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It’s heralded as the “oldest andlongest-running multiculturalfestival in the nation”; TheNational Folk Festival; is hap-pening again Labor day week-end. Traditionally, the festivalchanges host cities every threeyears, and this year it has settled

in Nashville, TN. The stint willcarry it through its 75th celebra-tion in 2013.

September 2nd – 4th marks the73rd installment for this freeevent created by The NationalCouncil for the Traditional Arts(NCTA) in1934. Attendees canenjoy performances by legend-ary masters (Samba Mapangala& Orchestre Virgunga, TheHolmes Brothers, Dale AnnBradley) as well as the nextgeneration of dynamic youngartists (Özden Öztoprak,Genticorum) as they celebratethe musical roots of America.The festival features authenticblues, gospel, jazz, polka, cow-

Nashville To Host73rd annualNational Folk Festival

boy, bluegrass, klezmer, old-time, Cajun, rhythm and blues,mariachi, western swing, andzydeco, as well as traditionalmusic and dance from NativeAmerican, Celtic, Acadian,Middle Eastern, Caribbean,Asian, Appalachian, Hispanic,Eastern European, African andPacific Island cultures. TheNational Folk Festival is trulythe ultimate tour of folk musicaround the world.

The festival celebrates the deeprich culture of folk art, customsand music that make this coun-try so colorful and diverse. Folkarts are “those deeply heldgrassroots cultural expressions –music, dance, crafts, stories andfoodways – passed downthrough time by families, com-munities, tribal, ethnic andoccupational groups.” The focusof the festival’s programming isto embrace the heritage and

traditions of all Americans –“from those whose families havebeen here for centuries to thoseof our country’s most recentimmigrants. Legendary mastersas well as the next generation ofdynamic young artists celebratethe musical soul and culturalroots of America.”

For more information, visitwww.nationalfolkfest.com.Check out:www.AmericanaRhythmWeekly.comfor moregreat storieslike this!We’re allover the web!

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By Wayne Erbsen

Lovesick BluesIt was Saturday night, June 11,1949 when twenty-five year HankWilliams walked on to the stage ofthe Grand OleOpry for the firsttime and begansinging “LovesickBlues.” Theaudience waselectrified. Noother performerhad ever beenbrought back tothe stage of theGrand Ole Opryfor a six encoreslike Williams didthat night. With isdebut of“Lovesick Blues”a triumphantHank Williamsbasked in theglow of his now-found fame. Meanwhile, EmmittMiller, who first recorded

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

Turning back to the mid-twenties,when Hank Will-iams was only atoddler of twoyears old, it wasEmmett Miller whowas riding high.His career as ablack-faced vaude-ville star was goingnowhere but up.Stopping inAsheville, NorthCarolina, Millerplayed to capacitycrowds at theMajestic Theateron the corner ofCollege and MarketStreets. On Sep-tember 1 of 1925,Miller participated

in Okeh Records’ first field record-ings at the newly-constructedVanderbilt Hotel in downtown

Asheville. Among the songs herecorded that day was “LovesickBlues.”

Although “Lovesick Blues” was acareer-changing song first for

Emmett Miller, and then for HankWilliams, neither of these powerfulmusicians wrote the song. Instead,credit for this 1922 compositiongoes to Irving Mills (lyrics) andCliff Friend (music). Both Mills andFriend were key players in the NewYork City songwriting/publishingindustry known as Tin Pan Alley.Along with his brother Jack, Millsbuilt a publishing company thatwould be the envy of the entiremusic world. Their publishingempire was a key factor in promot-ing the careers of such recordingartists as Hoagy Carmichael, CabCalloway, Duke Ellington, JackTeagarden and Benny Goodwin.

Well, I'm in love,I'm in love with a beautiful galThat's what's the matter with meI'm in love,I'm in love with a beautiful galBut she don't care about meTo make her love me I triedLord, I was sad and I criedBut she just refusedAnd ever since my mama's gone away,I've got them lovesick bluesI got a feelin' called the blues since mymama said goodbyeIt seems I don't know what to do,all I do is sit and cry, oh LordThat last long day we spent aloneI'm yearning for againIt thrills me, fills me,with a kind of lovin'I never will forgetThe way she called me sweet daddyWas just a beautiful dreamI hate to think it's all overI've lost my heart it seems, oh Lord!I got so used to her somehowI'm nobody's cracker papa now,it's awful when you're lonesomeYou got them lovesick blues, oh Lord!

Wayne Erbsen’s is Director of the Ap-palachian Music Program at WarrenWilson College in Swannonoa, NorthCarolina and president of NativeGround Music, which produces record-ings and books on old time music. Wayneis an active teacher of banjo, fiddle,mandolin and guitar. Contact NativeGround Books & Music, 109 Bell Road,Asheville NC 28805 (800) 752-2656.http://www.nativeground.com/ Freecatalog available.

These are the lyricsas sung

by Emmett Milleron September 1, 1925

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Interna-t i o n a lF o l kAllienceC o n f e r -ence

By Greg Tutwiler

I find it so refreshing to encoun-ter young artists in the Ameri-cana/bluegrass field like Darinand Brook Aldridge. Unlikemany young artists from popmusic scene, gone is pretense,and the drama and, the Holly-wood glare. Instead, you findgood hearted, down-home,humble folks just chasing adream and grateful for theopportunity to get heard.Tom T. and Dixie Hallrecently referred to them asthe Sweethearts of Blue-grass.

The two newlyweds fromAvery County North Caro-lina have burst onto thebluegrass scene with acharm and character, and asound that is likely here tostay. Bluegrass Unlimiteddescribed their Gospelrecording I’ll Go With Youby saying that they “set anew standard of excellencein bluegrass gospel.” I got achance to find out a littlemore about this delightfulduo when I caught up withDarin a few mouths agoafter their return from afestival in Vermont.

High School To GentsDarin told me that he went intomusic straight out of highschool, playing and traveling ashort stint with a band calledAcousticSyndicate.From therehe workedat a themepark inBlowingRock, NCwith severalarea pickersincludingJasonBurlesonfrom BlueHighwayfame. Thattook himthrough thefall of ‘99,when hewas hired by the CountryGentlemen. Darin stayed withthe famed Gents until founderCharlie Waller passed in August2004.

“I got to do a lot of really neatstuff playing with the Gents,”Darin told me. “We played allthe major festivals and even apresident’s inauguration. It wasjust a really great experience forme. We were all real close withCharlie, you know, it was like alittle family. I really got to learn

a lot about the business workingwith Charlie and the CountryGentlemen. Things like how todeal with the different promot-ers and festivals, and song andset arrangements.”

Darin met Charlie in Ashville,NC at the SPBGMA bluegrassawards where he was in abluegrass competition. The guysheard him playing and singing,

and when the opportunity arose,they called him in for an audi-tion and he got the job. “I waswith them for seven years,” herecalled. “He passed in August,and we finished out the book-ings with his son Randy into theearly part of 2005.”

A New ChapterSome of the remaining bandmembers stayed together andformed a band called theCircuit Riders. “We cut onealbum after Charlie’s passing.We played a few festivals butthe energy just wasn’t there.We’d all traveled so much inthe past with Charlie andsome other bands that wewere actually enjoying thelaid back approach and takingour own pace with the band.”

Along about that time Darinmet a singer named BrookeJustice in a church in themountains in North Carolina.“It’s where both of our fami-lies are from; near AveryCounty. Her family knew myfamily and they told herabout me; she had beensinging all her life either inbands or competitions. People

kept trying to hook us up forabout two years to sing together,and one day God just worked itout.”

Sweethearts Of BluegrassDarin and Brooke started datingafter they had been singingtogether for a while. “She was ina band, and they would have mecome in and sit in with them attimes,” Darin recalled. “Westarted singing together andperforming in church and fairsand other events around the

area. People heard we weresinging together and keptcalling us. The closer wegot, I would bring her withme when I was doing someCircuit Rider gigs, and theguys would get her up tosing a few numbers withus. We’ve always just had avery good blend with ourvoices. And we likedsinging together, so wedecided we needed to dothis on our own together.That led to our first CD, agospel album. I was readyto work more than theCircuit Rider guys wanted,and Brooke was gettingready to graduate fromcollege. She was ready topursue a music career likeshe had always wanted, sothe timing seemed right forthe move. So we just struckout together, and our

marriage just flowed right alongwith it.”

The Next LevelIn 2010 Jerry Salley brought theduet to Nashville to cut theirfirst traditional bluegrass CD.The album did really well with

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the single reaching number twoon the Bluegrass Unlimitedcharts, and number four on thenational album charts. “So wewere really pleased with that,”Darin said. “It was number oneon Sirius and XM for two

months in a row for their mostplayed song and album forAugust and September of 2010.”

“This year has been our busiesttouring schedule so far,” he toldme. “We’ve almost doubledfrom where we were last year.We played close to 20 dates onthe road in May (2011) alone.We’ve been all over, including arecent festival in Vermont. TomT. And Dixie Hall recently

named us the Sweethearts ofBluegrass, and that has helpedus with notoriety.”

Darin considers them progres-sive type singers that do a littleharder style of bluegrass. “It’sjust us. We do what we like. ButI guess we’re not one hundredpercent traditional. It’s a tradi-tional sound with a new edge toit. We mix in old country duetslike Porter and Dolly, to hotband numbers, to gospel whichis real thick in our roots. Andwe’ve got a new Americanaflavor to this new album. (Au-gust 16th)”

Branching OutAnd the two just hooked upwith Sun Drop as a tour sponsor.“We’re getting to do a lot ofreally neat things this yearworking with those folks.They’ve been a Carolina/re-gional soft drink for years, andare looking to take the brandnational. So we are getting toplay some neat promotionaltype gigs with them. So we’reable to reach a lot of new peoplethat might not have heard usotherwise.”

Darin also credited Siriusand XM as being instru-mental for them as well.We go to these festivalsand folks who’ve neverseen us before are singingalong with our musicbecause they’ve heard uson the satellite, and or-dered our CD. Without adoubt it’s been a huge partof our growth.”

Perhaps you’ve heardDarin and BrookeAldridge. If so, I thinkyou’ll agree that the twohave all the makings of a

long term duet that will leave asignificant impression on thebluegrass music scene, and setthe stage for those youngermusicians who will follow intheir footsteps. And if youhaven’t, you owe it to yourself tocheck them out. You’ll be able tosay I knew them when.

Jerry’s WeCanPublishYourBook.com

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Since 1960, Rebel Records, anindependent label based out ofCentral, VA, has been puttingout the “Best in Bluegrass.”Artists who have put out record-ings for Rebel include legendslike Ralph Stanley (who is stillon the label), Tony Rice, TheSeldom Scene, Del McCoury,Ricky Skaggs, and the LonesomeRiver Band. Though the rapidly-changing music industry contin-ues to present challenges forindependent labels, RebelRecords means to continueseeking out rising stars in thebluegrass world, as well as tocontinue putting out new musicfrom your old favorites.

A Label with a HistoryA man by the name of DickFreeland started Rebel Recordsin 1960 in Maryland. The labelwas started casually, and therecords were often sold to storeson consignment, however, thebusiness grew. Freeland hadbeen working closely with a mailorder company that specializedin bluegrass and old-time

records called County Sales,which was owned by MarkFreeman’s (the current Rebelpresident) father Dave Freeman.When Dick Freeland got to thepoint where he was ready to

move on, it made sense to sellRebel to someone who knew thebusiness well.

So, in 1980, the business trans-ferred over to the Freemanfamily, who still runs it today.Mark Freeman, the currentpresident “started with thecompany just a year or two after

college, so like the mid-nine-ties.” The company was locatedin Roanoke at that point, but theFreeman family “just fell in lovewith the [Charlottesville] area”when Mark’s sister was at UVa.

So, they decided to move thebusiness.

Mark Freeman recalls just howmuch work it was to relocate: “Itwas a big transition because notonly did my folks have to move,but we had to move the wholebusiness too. We spent a yeardriving down to Roanoke. We

bought some land by the airportand we built a warehouse. Whilethey were doing that, we weregoing back and forth down toRoanoke for a whole year. Thatwas a little tough. Our buildingnow has been standing for about10 years.” And that is whereRebel is still located.

Independent LabelAn “indie” label like Rebel helpsits artists with a plethora ofthings, a lot of which is in the PRand media realm of the musicbusiness. When an artist signs,with Rebel, they usually signwhat Freeman calls a “onerecord deal.” Unlike a giantlabel, Rebel is not interested intrapping an artist for an ex-tended period of time; theywork album to album so thatboth parties feel free to move onif need be.

President, Mark Freeman saysthat Rebel Records takes care ofcontacting “media people, radiostations, we press the CDs, sothe artist doesn’t have to worryabout that stuff. They don’t haveto worry about setting up radiotours or radio interviews, Imean we want the artist to beactive, but we can lay the

By Ryan BarbarskyRebel With A Cause

15

October 2011

groundwork in setting that stuffup.” The label basically takescare of a lot of the extras so thatthe band or artists can mostlyfocus on creating music.

Because Rebel is still relativelysmall (in size, not scope!), Free-man is personally responsible

for taking care of all the artistson the label, and he has a staff ofjust four helping him. He likes tohave about ten groups on thelabel at one time.

Freeman also greatly believesthat it is important for the artiststo get along with him and hisstaff: “We potentially go afterartists we like musically, andmore important, that we likepersonally, that we can workwith. There are some bluegrassdivas out there (and I’m nottalking specifically female); wetry to stay away from that.Sometimes you don’t realizethey’re like that until you workwith someone closely.”

Strictly BluegrassRebel Records prides itself onputting out traditional-stylebluegrass music, and they arealways looking for new groupswho are following that pathmusically. Their most well-known artist currently is blue-grass legend Ralph Stanley.However, they recently signed ayoung band out of Ashville, NCcalled Dehlia Low, which Free-man says is the “most progres-sive or contemporary group”they have on the label.

Though his passion is traditionalbluegrass, Freeman admits thatthere may be a time in the futurewhen Rebel may have to startbranching out musically: “Inbluegrass, for the most part, thedemographic is over-40’s. Sincewe’re releasing traditionalbluegrass, we may have to makea decision at some point where,in order to stay afloat or keeprelevant, we’ll have to sign more

of these other kinds of bands.But, right now, I’m torn. Rightnow, my heart is with the DaveEvans’s, the Larry Sparks’s of theworld. Not many younger folksare doing the hardcore stuff.”

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

year. Though he’d like the recordlabel to keep growing, he recog-nizes that the music industrymay not necessarily allow for it.

Keeping With The TimesThough it may seem contradic-tory, it is becoming increasinglyimportant for small labels tokeep up with modern technol-ogy and expectations, even ifthey are putting out “tradi-tional” styles of music. Rebel hasits entire catalog on iTunes andcontinues to re-release tunes inbox sets and on “best of’ albums.And they will continue to searchfor young bluegrass bands thatcan capture the hearts of ayounger audience.

Mark Freeman plans to keep onkeeping on, as long as peoplestill want to hear the musicRebel is putting out: “What wedo is traditional bluegrass, andas long as there’s still an audi-ence for it, we’ll keep tracking itdown and putting it out. Hope-fully the audience will always bethere.”

You can check out Rebel Recordsonline atwww.rebelrecords.com, whereyou can find info on new re-leases, new artists, and labelnews. You can also purchase anyrecord put out on Rebel fromtheir site or fromwww.countysales.com.

“What we do is traditionalbluegrass, and as long asthere’s still an audience for it,we’ll keep tracking it downand putting it out.”

16

October 2011

Elizabeth “Libba” Cotten

Written by UNC Asheville students enrolled in the Liberal Studies IntroductoryColloquia, “The Art of the Blues” (Fall 2005) and “Jazz and Blues in AmericanCulture” (Fall 2003) Supervised by Project Advisor: Bryan Sinclair.

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

East Coast Piedmont Blues

By Samantha Bibeau and Aaron Melcher, former UNC Asheville students

Elizabeth Cotten was born inChapel Hill, North Carolina.Though it was some sixty sevenyears before she would begin herprofessional career, her musicalsense was exposed and developedfrom a young age. The youngest offive children, Elizabeth grew upand around eight years old beganplaying her brothers' banjo, andeventually their guitar, which theytried to hide from her. Self taught,Elizabeth had anatural talent and it isbelieved she couldplay a newly-learnedtune after hearing itonly once. At eleven,Elizabeth quit schooland saved up for herfirst guitar. Sheneeded a year beforewriting perhaps hermost famous song,“Freight Train”, which influencedmany local Piedmont bluesmusicians. The song was recordedfirst by Peter, Paul, and Mary, andsince has been reproduced by suchartists as the Grateful Dead.Cotten played at family gatherings,church gatherings, and houseparties where her music graduallybecame exposed to the greaterblues community. One of hersongs, "Ain't Got No Honey BabyNow," was in fact recorded byBlind Boy Fuller under the title"Lost Lover Blues" in 1940.

Marriage brought change inCotten’s life. Her husband FrankCotten, daughter Lillie, and thereligious community wouldeventually cause her to cease herpursuits in a musical career.Persuaded to leave North Carolina,Cotten moved with her family toopen a chauffeuring business inNew York. She and Frank di-

vorced, however, and in 1947Elizabeth moved with her daughterto Washington D.C., where sheended up working for Ruth andCharles Seeger. Through theirfriendship and support, Cottenpicked up the guitar again afternearly twenty five years.

In 1957, Cotten began recordingwith the help of the Seegers andcut her debut album, Folksongs &

Instrumentals. Thoughshe didn’t receivemuch immediatecommercial success,Cotten played domes-tically at variouscolleges and folkfestivals with the likesof major blues figureslike Muddy Waters.Her respect among theblues and folk com-

munity steadily increased and in1970 she began to actively tour.Cotten’s music was uniquely "pre-blues;" in fact her professionaldebut was as a folk singer. Herunique alternating bass style isknown as “cotten picking” andconsidered very influential amongguitar finger pickers. Cotten used anormal guitar and played it lefthanded; she adapted to thisinverted version and would playthe bass pattern with her fingers,using her thumb for the melody.

Cotten became more recognized asher career progressed and contin-ued to tour throughout the 1970sand early 1980s. In 1985, Cottenrecorded Live!, which would go onto win a Grammy for best tradi-tional folk music recording. Shealso won a National Endowmentfor the Arts National HeritageFellowship award. Ms. Cotten diedin 1987 at 95 years old.

Photo Courtesy of Arhoolie Records.

17

October 2011

“The hills are alive with thesounds of music”. Hills? Wait aminute, music maybe, but thereare not blue and smoky Appala-chian hills in Kansas. No hills, butyou still can hear sounds of (Ap-palachian style) music. Yes, thesounds created by fiddles, mando-lins and other string instrumentsare loved there too.

Down at the southern end ofLawrence, Kansas and onTopeka’s west side, there exists aunique place—a place that youwould more quickly expect to findin western North Carolina. Thisplace is The Americana MusicAcademy (AMA). Yes, I know,generic music academies can befound all over that teach voice andpiano and other refinements of thearts; however, this place is differ-ent. It teaches Americana. With amission statement that states“Teaching the Music AmericaPlays and Serving Communitythrough Music” AMA is a placefor all musicians be they beginneror professional; a place where

By Edward Tutwiler

they can learn to play, to jam, toteach; and a place that providesmusical opportunities to the com-munity.

AMA offers group and privatemusic lessons in a relaxed settingthat is taught by some of the re-gions best and respected pickers,players, singers and songwriters.And if that is not memorable

enough, AMA provides musictherapy for the disabled commu-nity in Lawrence and Topeka.

Like No OtherThis unique academy has becomea focal point for musiciansthroughout the region. Theygather here to jam and feed offeach other. They do this with atwo-fold purpose: to expand each

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

I recently contacted Ms. DianeGillenwater, who is the currentdirector of AMA, and asked herto tell us a bit about this veryunique place. She began by tell-ing me that the AMA was startedabout 10 years ago by guitarplayer and teacher, ThomAlexander. He has just recentlystepped down as director and Ms.Gillenwater is picking up the taskof running AMA. Alexander doesplan to continue teaching parttime and do some writing.

She related that the AMA teachesall styles of music according towhat the students would like tolearn. Here’s how she describedwhat is going on, “We do a lot ofBluegrass, Blues, Celtic, Folk andRock styles. Some of our studentshave gone on to become profes-sional players and some are now

Teaching Mountain MusicA Long Way from The Mountains

continued

18

October 2011

teachers themselves. We have abig three story1900's era house onthe main drag in Lawrence andthe house has a wonderful ambi-ance for playing music with it'sold wood floors and plaster walls.We have several lessons goingmost all the time somewhere inthis old house. In Topeka wherewe are just getting started, wehouse in the lower level of a turnof the century PresbyterianChurch. The congregation is verysmall and only uses the mainlevel, which gives us lots of roomto teach and play. We have evenadded the Americana Art Acad-emy at our Topeka Location andhave a couple of art classes for kidsand adults there.”

Multiple ChoicesAMA offers three different meth-ods of learning: private individuallessons where students get per-sonal attention that is so benefi-cial to musical growth; groupclasses with three or more stu-dents per class work toward acommon goal; and music therapyclasses, either private or group,where trained Music Therapistsassist or motivate a student to-ward specific non-musical goals.

Currently, there are approxi-mately 80 to 100 students perweek in private lessons in guitar,fiddle and violin, banjo, mando-lin, bass, piano, voice and drums.In addition, AMA holds weeklycommunity acoustic jams at bothlocations on Saturday afternoonsand a monthly gospel jam in To-peka. They also hold a weekly be-ginners jam in Lawrence. Further,they are in the process of creatinga youth jam as well.

Who Does ItI asked where the teachers andstudents come from and Dianetold me, “We get our teachers andmany of our students by word ofmouth, and we do limited adver-tising. Lawrence, Kansas is a col-lege town and home to KansasUniversity so there are lots of

young families with children andadults that are interested in learn-ing to play or continuing to play.We have students from 6 years oldto 75 years old.”

Of course, funding such an altru-istic endeavor as the AMA is al-ways a concern. The AmericanaMusic Academy is a non-profit501c3 organization with the mainpurpose of teaching the musicAmerica plays and serving com-munity through music. Ms.Gillenwater also said, “We have afew events every year for fundraising including a communityChristmas show, a summer musicfestival, local farmer’s market ap-pearances and more. We receivesome private funding and a littlefrom grant writing.” We makemoney teaching lessons and wewill try to continue to offer schol-arships to kids and people whocannot afford lessons and instru-ments. Our teachers donate theirtime to teach those in need. I havetwo scholarship students myself.It's just part of what we do.”

Vision For FutureI asked Ms. Gillenwater to sum upher vision for the AMA. Here ishow she stated it, “Our goals areto continue to grow our studentbase and hopefully expand into

other communities in Kansas.There is a real need especially inour rural areas for music lessonopportunities and we can offer aparadigm that has worked. Ifsomeone is a teacher and they canfind a building in which to teach,they can easily start these musicacademies in smaller towns. It canprovide a good living for musicteachers and music for the outly-ing communities. We know thatwe are laying groundwork for thefuture so that the people of Kan-sas will have a place to learn andplay Folk or Americana Musicstyles. It doesn't happen overnightbut it will be in place for futuregenerations to enjoy and sustain.”

I suggest to you, gentle readers ofAmericana Music Magazine, ifthis Americana Music Academyworks in Kansas a long way fromthese blue, smoky mountains thatwe love so much, it might workhere too. Any musical entrepre-neurs out there interested? Get intouch with Ms. Diane Gillenwaterat 785-249-8830. You can write tothe Americana Music Academy at:1419 Massachusetts St., Lawrence,KS 66044; or you can send anemail to:info@americanamusicacademy.org

Academy cont.

19

October 2011

Ricky Scaggs commented re-cently how he delighted in thememory of the day when blue-grass and country music could beheard on the same radio station.Times were certainly differentthen. Broadcasted music was in itsinfancy. And fans were, for thefirst time, getting choices in theirmusic. Folks like Bill Monroe werelaying down the foundation forbluegrass, and Hank Williams waspaving the way for the future ofcountry music.

So, for fans of the genre, especiallythose who’ve been enjoying thismusic for most of their lifetime,the discovery of previouslyunreleased material from any leg-endary artist is worth taking no-tice. And Hank Williams Sr. is noexception. Preservation technol-ogy then was even newer still, andto find material from any artist ofthat era is music to fan’s ears.

Time Life and the Estate of HankWilliams has recently announcedthat on September 13, 2011 theywill release newly discovered his-toric Williams’ recordings thathave been meticulously restored

Restored Recordings From A Music Legendwith state of the art technology.The collection titled, Hank Will-iams: The Legend Begins, is a 3-CD package containing one discentitled “Rare And Unreleased,”which contains the earliest record-ings of a 15-year-old Williams andfour songs from a home recordingin 1940. The other two CDs arefrom Williams’ first syndicatedradio show in 1949, Health AndHappiness, that have also beenrestored. According to the pressmaterial, you will be about to hearWilliams’ performances as theywere originally heard more thansixty years ago.

“Talk about a discovery!,” ex-claimed Hank’s daughter, Jett Wil-liams. “The first recording of mydad when he was fifteen wasgiven to me decades ago, and thenthe 1940 home recordings fol-lowed a few years later. My hus-band Keith and I finally got up thenerve to get with the best soundpeople in Nashville to see if wecould salvage these extraordinaryrecordings. It worked! We did it!What a special treat for music lov-ers around the world to listen tothe talent of an evolving genius.

These recordings are a God sendand very special to me and Hank’sfans.”

“Hank continues to speak to andentertain us across the genera-tions,” says Mike Jason, SeniorVice President of Retail, Time Life.“These recordings give us a rareand special insight as this Ameri-can music giant begins his career.”

This is the first time these record-ing have been heard since 1938.Hank Williams had started build-ing a local following in Montgom-ery, Alabama at the time and thesongs are said to display an in-credible confidence at such a

young age. Additionally, on theseearly recordings Williams isjoined by his long-time pal andaccordionist, Pee Wee Moultrie.

A 1940 home recording showshow much Williams’ voice hadmatured in two years when herocks out to four classics of Ameri-can music; Freight Train Blues,New San Antonio Rose, St. LouisBlues, and Greenback Dollar. Thesongs ultimately ended up in thepossession of Jett Williams, andthe tunes show a wide range ofmusical styles from an ancient Ap-palachian song to popular chartedhits of the era.

Also included on the “Rare andUnreleased” CD is an additionalprogram. The March Of Dimesshow features several songs anda touching monologue from Will-iams, in which he talks about thefear of polio that blighted everysummer in the early 1950’s; in par-ticular, he expresses his concernthat Hank, Jr. might contract thedisease. Williams died on January1, 1953, shortly before the cure wasannounced that ended thescourge.

Spring 2011

PopsStonemanPopsStoneman

List Festival Event Hereinfo@AmericanaRhythm.com

AUGUSTBluegrass In The Blueridge

August 4 - 6, 2011Luray, VA

www.bluegrassinluray.com

Appalachian String Band FestAugust 3 - 7, 2011

Clifftop, WV (304) 558-0220www.wvculture.org/stringband

75th Old Fiddler’s ConventionAugust 8 - 13, 2011

Galax, VAwww.oldfiddlersconvention.com

Oak Grove Folk Music FestivalAugust 5 - 7, 2011

Verona, VAwww.oakgrovefestival.com

Stoney Creek Bluegrass FestivalAugust 12 - 13, 2011

Greenville, VAwww.stoneycreekresort.net

Mountain Music FestivalAugust 12 - 14, 2011

Waynesboro, VAwww.waynesborodowntown.org

Blue Ridge Mountain Music FestAugust 13, 2011Wintergreen, VA(434) 325-8292

www.wintergreenperformingarts.org

Central VA Family Bluegrass Fest.August 18 - 20, 2011

Amelia VAwww.ameliafamilycampground.com

Vinton Old Time Bluegrass Fest.August 19 - 21, 2011

Vinton, VA(540) 345-8548

Mr. Bs Bluegrass BluwoutAugust 26 - 28, 2011

Ladysmith, VA(804) 449-6350

www.mrbspark.com

Highland JamAugust 26 - 27, 2011

Elkins, WV(304) 642-2351

www.highlandjam.com

SEPTEMBERGrottoes Family Bluegrass Festival

September 8 - 10, 2011Grottoes, VA

www.bluegrassingrottoes.com

25th Rockbridge Mountain Music& Dance Festival

September 9 - 10, 2011Buena Vista, VA(540) 291-2414

www.rockbridgefestival.org

Pickin’ In The PanhandleSeptember 9 - 11, 2011

Martinsburg, WV(304) 264-8801

www.panhandlepickin.com

Jumpin’ Bluegrass &Virginia State Bluegrass Championship

September 15 - 18, 2011County Fair Grounds, Chesterfield, VA

(804) 347-2925www.vafolkmusic.org

Bristol Rhythm & Roots ReunionSeptember 16 - 18, 2011

Bristol, VA(423) 573-4898

www.bristolrhythm.com

Watermelon Park FestSeptember 22 - 24, 2011

Berryville, VA(304) 839-2439

www.watermelonparkfest.com

Nothin’ Fancy Bluegrass FestivalSeptember 22 - 24, 2011

Buena Vista, VA(540) 461-0954

www.nothinfancybluegrass.com

Fortune-Williams Music FestivalSeptember 23 - 24, 2011

Staunton, VAwww.fortunewilliamsmusicfestival.org

20

October 2011

OCTOBERBig Lick Blues Festival

October 1, 2010Roanoke, VA

www.biglickblues.org

Aiken And Friends FestSeptember 30 - October 1, 2011

Smith Field, VAwww.aikenandfriendsfest.com

Crozet Music FestivalSeptember 30, October 1 - 2, 2011

Crozet, VAwww.crozetmusicfestival.com

Norton Wine & Bluegrass FestivalOctober 1-2, 2011

Petersburg, VAwww.chrysaliswine.com/

Mountain Magic Bluegrass FestivalOctober 1, 2011Buchanan, VA

www.townofbuchanan.com

Shakorihills Grassroots FestivalOctober 6 - 8, 2011

Pittsboro, NCwww.grassrootsfest.org

Richmond Folk FestivalOctober 14 - 16, 2011

Richmond, VAwww.venturerichmond.com

The Festy ExperienceOctober 7 - 9 , 2011Nelson County, VAwww.thefesty.com

40th Home Craft Days FestivalOctober 14 - 16, 2011

Big Stone Gap, VA

Blue Ridge Folk Life FestivalOctober 22 , 2011

Ferrum, VAwww.blueridgeinstitute.org

21

October 2011

The Zinc KingsUniversity of North CarolinaGreensboro students ChristenBlanton, Dan Clouse and MarkDillon formed their group TheZinc Kings originally as a side-project in the fall of 2010. The

young musicians realized thatwhile they loved Appalachianmusic, they recognized that thereseemed to be an absence of themusic of the North CarolinaPiedmont style.

Music from that region of Carolinatends to be more heavily influ-enced by the blues tradition, andshows up in the music that gener-ates from that area of the country.It seemed like a natural transitionfor the band and the desire to helppreserve the unique musicalculture led to the final musicaldirection. They quickly foundthemselves overwhelmed by thedemand for music from the NorthCarolina Piedmont.

Each the three founding membershave long backgrounds in music.Blanten is a professional violaplayer, Dillon a longtimesongwriter and Clouse a profes-sional tuba player. Very few ofthese skills make it into the ZincKings but their experience inplaying the music is reflected intheir lively performances.

Since their inception in the fall of2010, The Zinc Kings have seen aconsistent run of non-stop perfor-mances at local venues andregional festivals. And in thesummer of 2011 The Zinc Kingsbecame the house band for theNorth Carolina State University(NCSU) Theaterfest production ofWhere Music Kills Sorrow.

In the spring of 2011 The ZincKings released their self-titleddebut album of the same name.Recorded over the course of aextended weekend, with nooverdubs and two microphones,the is an accurate representationof The Zinc Kings live perfor-mances.

For 15 years, The gospel bluegrassthemed All4Hym has been knownfor having a creative, fresh andunique sound as a band full ofheart and love for God, family andpeople. Their eighth CD release isapproximately titled Faith &Family and marks their firstproject with Rural Rhythm Chris-tian Records.

Since its inception, Virginia basedAll4Hym has been gaining popu-larity not only in Virginia, butother states as well including WestVirginia, Pennsylvania, Ohio,Maryland, North Carolina, Ken-tucky, Florida and Tennessee. Andmore recently the group hasgained overseas in Germany,England, France and The Nether-lands.

Singer Terri Kreitzer says,“All4Hym has always followed themantra that if a song deeplytouches you; makes you cry ormakes you feel-period, then it’s akeeper for our album.” While thegroup’s main focus has beenGospel Bluegrass, They havebegun to mix in some of the moretraditional Bluegrass songs aswell.

The group is comprised of Chester& Terri Kreitzer and their son,Cory, who also sings and playsmandolin. And they are backed bya powerful acoustic ensembleincluding long time band mem-bers; Aaron Murphy (Lead guitar),Dan Murphy (bass), and TroyStangle (Banjo & Dobro).

They have shared the stage and/or have been the opening act forgroups such as Doyle Lawson &Quicksilver, The Churchman, TheCherryholmes Family, The SeldomScene, The Lonesome River Band,The Issaacs, Rhonda Vincent,Larry Sparks, and more.

www.All4Hym.com

All4Hym Bluegrass Band

www.TheZincKings.com

22

October 2011

As more and morepeople discover ARMagazine, more andmore groups and labelsare getting in touch withus - Here are some ofour favorite picks! Sometell me this is their fa-vorite page - cool! Iknow the artists like tohear that. We give youa web link as often aspossible so you can lis-ten and decide for your-self. Try iTunes too. Ifyou discover somethingyou like - tell them ARMagazine sent you!

CD Submission:Americana Rhythm Maga-zine, PO Box 45, Bridgewa-ter, VA 22812.

Johnson’s Crossroadwww.johnsonscrossroad.comOften referred to by friendsas anything from “Appala-chian Soul,” to “HillbillyMeta l,” Johnson’sCrossroad’s Paul Johnsoncites a John Hartford perfor-mance as the catalyst for thisalternative mountain groupfrom Ashville, NC. Fun stuff.

Dehlia LowRavens & Crows

www.dehlialow.com

Michelle Nixon & DriveA Place I Belong

www.michellenixon.comIt’s bands like Dehlia Low thathelp define the Americana/bluegrass genre. AnotherAshville, NC group, this gangserves up a haunting set ofmountain flavored soul onthis new project. I love thisnew CD. Great stuff.

Music From Your Neighbors Music From The National Scene

Ricky ScaggsCountry Hits Bluegrass Stylewww.scaggsfamilyrecords.com

Cumberland RiverThe Life We Live

www.Cumberland-River.comYou know you got somethinggood when you click on thetube and hear your music ona hit TV show - six songs ofFX’s Justified. This youngprogressive grass soundinggroup has bright futureahead.

The Twilite BroadcastersThe Trail Of Time

www.twlitebroadcasters.comAudie Blaylock is no strangerto bluegrass music, havingspent time with RhondaVincent and Jimmy Martinjust to name a few. Audie’shigh tenor vocals are assmooth as butter on this newcollection. It’s a must add foryour collection.

Audie Blaylock and RedlineI’m Going Back To Old Kentucky

www.rebelrecords.comSaid to sound like a cross be-tween BR549 and The Caro-lina Chocolate Drops, TheTwilite Broadcasters need nocomparison. Their pickin’ setsthem apart and the vocal har-monies a great compliment tothe unique blend.

Sweetback SistersLooking For A Fight

www.thesweetbacksisters.comWow! What a cool set. Rock-a-billy, country swing, west-ern folk, and plenty of two-step grooves make for a com-pletely unique sound. TheSweetback Sisters took me bysurprise, and I love it! Yougotta check these gals out.

What can you say about aveteran like Ricky Scaggs. Hepretty much revived the blue-grass industry in the 80s withhis unique Nashville/Countryflavored style. His new CDbrings back some old hitswith new twists. Love it.

Nu-BluThe Blu-Disc

www.nu-blu.com

Michael Martin MurphyTall Grass & Cool Waterwww.ruralrhythm.com

Murphy’s last two CDs leanedin the bluegrass direction; TallGrass & Cool Water contin-ues to blend cowboy musicwith grass flavors with greatsuccess. This new collectionof cowboy grass tunes justmight define a new genre.

The BerrysFairmont Station

www.jtheberrysmusic.comHot guitar pickin’ singer/songwriter David LaFleur’snew CD, Them Bones, is aseasoned collection from the20 year music vet. A mixtureof Appalachian folk, blues,and unique humor; David’slive shows are a real treat.

David LaFleurThem Bones

www.davidlafleurmusic.comPhilly based folk rock bandThe Berry’s new CD FairmontStation is a pleasant feel-goodcollection of “driving homesongs.” Pop folk music fanswill enjoy this collection. Myguess; it’s a great live showtoo.

Dale Ann BradleySomewhere South Of Crazywww.compassrecords.com

Three time IBMA winner, andKentucky native Dale Ann Bra-dley has a sound that is dis-tinctively all hers. Consideredone of bluegrass music’s vo-cal treasures, her new CD,Somewhere South Of Crazy,is delightfully refreshing.

Another great Carolina blue-grass band; out with theirsophomore project - Nu Bluis part of the family of newerprogressive grass sounds.Certain to gain plenty of posi-tives with this new disc,they’re another to watch.

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

This award winning vocalistis back with a new project thatwas worth the wait. A Place IBelong; an autobiographicaltitle, is a great collection ofhard driving grass from a verytalented Virgina gal. Welcomeback Michelle.

Lonesome HighwayGot Away With Murder

www.lhway.comGot Away With Murder is thelatest project from Romney,WV quintet Lonesome High-way. Great songwriting andtight harmonies make thispopular festival band one totake note of. Put ‘em on yourlist of bands to check out.

23

October 2011

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