Page 2 – The Birthplace of Country Music

What makes an instrument iconic? The Story of Duane Allman’s 1961

Instruments Personalities

February 11, 2024

Posted on February 11, 2024February 11, 2024 by Guest Blogger

Bob Beatty, Ph.D., is an author, historian, and principle of the Lyndhurst Group.

I’m a lifelong fan of the Allman Brothers Band and Duane Allman. In addition to my publications—Play All Night! Duane Allman and the Journey to Fillmore East (2022) and Long Live the ABB: Conversations from the Crossroads of Southern Music, History, and Culture — I’m also a museum professional.

One thing I’ve long found fascinating is why certain artifacts instill such reverence. Nowhere is this more true than in music history circles.

In recognition of National Guitar Day on this February 11th, this is the story of Duane Allman’s 1961 Gibson Les Paul.

Some Background

Guitarist Duane Allman founded the Allman Brothers Band (ABB) in March 1969. Based in Macon, Georgia, the ABB are the first group to emerge from the South in the rock era. From Macon, the band toured relentlessly, spending 300 days a year on the road and building a devoted audience.

The ABB had a unique lineup that included two drummers—Jaimoe and Butch Trucks—and two lead guitar players—Duane Allman and Dickey Betts. Bassist Berry Oakley and Duane’s brother Gregg Allman (organ/vocals) rounded out the group.

The band recorded their third album live on the biggest stage in rock. At Fillmore East a one-take album with no overdubs. The record hit gold (500,000 sales) within 3 months. Days after learning the news, Duane Allman was killed in a motorcycle accident in Macon. His bandmates responded by finishing Eat a Peach, which they were working on when Duane died.

Duane played four main guitars in his Allman Brothers Band tenure. This is the story of one of them.

The Guitar

This 1961 Gibson Les Paul (SG)¹is one of the more significant in Allman Brothers history because it is the only guitar that I know of that both Duane and his guitar partner Dickey Betts played on a regular basis. Dickey throughout 1970, Duane in 1971.²

*1961 Gibson Les Paul/SG on display at Songbirds Museum in Chattanooga, TN. Courtesy of of Bob Beatty/Long Live the ABB.*

Lipham’s Music January/February 1970

Betts bought the guitar in 1970 from the place every road musician in Florida shopped: Lipham’s Music in Gainesville. Just one year earlier, Buster Lipham had advanced the band more than $10,000 in equipment, which they were paying back in weekly installments of several hundred dollars each.³

Duane’s SG was part of a separate transaction altogether, Chuck Emery of the Royal Guardsmen explained. “On a trip to [Lipham’s] in early ’70 a beautiful SG caught my eye. I came to a deal; and the sales guy put the guitar [aside] until my return the next week. The following Monday the sales guy said, ‘Uh, Duane and them came in…played the SG, and uh, well, they bought it.’”⁴

Dickey Betts and the SG Spring 1970

The SG became Dickey’s main stage guitar throughout 1970. It originally had a sideways Vibrola tremolo which he later swapped out for a stop bar tailpiece (see photos below):

The Allman Brothers Band at Florida Presbyterian (now Eckerd College) St. Petersburg, Florida, April 18, 1970. Photo from Logos, Florida Presbyterian College, 1970, courtesy of the Eckerd College Archives, St. Petersburg, Florida.

*Dickey Betts onstage at the Atlanta Pop Festival July 3, 1970. Notice the difference between this photo and the one above. Courtesy of Dennis Eavenson.*

The guitar is identifiable by its three “snakebites”—screw holes where the original tailpiece was.

*Detail of “snakebites” on Duane Allman’s SG, on display at Songbirds Museum. Courtesy of Bob Beatty/Long Live the ABB*

From Dickey to Duane Spring 1971

The guitar ended up in Duane’s hands in 1971. Because he preferred to play slide in open-E tuning, Duane regularly had to retune his guitar. It not only slowed down pacing, it also bored Dickey Betts.⁵

“When Duane wanted to play slide he would have to retune his one [damn] guitar every time. I got tired of it and said, ‘Here, take this guitar and tune it, and leave it tuned!’”

Though it’s unclear whether Duane played the guitar on At Fillmore East, he definitely played in on “One Way Out” from Eat a Peach—recorded the closing night of Fillmore East, June 27, 1971 (photo below)

*Duane Allman from the Fillmore East stage, June 27, 1971. Image credit, Don Paulson*

When Duane died in a motorcycle accident October 29, 1971, the original intention was to bury the guitar with him. This didn’t happen. Gregg played it through 1972 before giving it to Gerry Groom, a protégée of Duane’s. Groom later sold it to Graham Nash.

Duane’s other Allman Brothers Band Guitars

The SG is one of four Les Pauls Duane played in his Allman Brothers Band career. Three of them, a 1957 goldtop he used through September 1970, a 1959 cherry burst, and a 195(?)⁶ tobacco burst. A private collector owns the goldtop and it’s often on display at the Big House Museum in Macon. Duane’s daughter Galadrielle owns the other two, which she’s loaned out for exhibition from time to time, most recently the Bill Graham and the Rock & Roll Revolution.

In 2011, Gibson reissued the guitar, dubbed “From One Brother to Another.” Duane’s daughter gave Artist’s Proof #4 to Derek Trucks, who played in the Allman Brothers Band from 1999-2014. It’s been Derek’s main stage guitar for more than a decade now.

Duane’s SG Today

The SG stayed out of the public eye for many years. The first I remember it appearing was a 2013 exhibit called Guitars! Roundups to Rockers at the Eiteljorg Museum in Indianapolis. In 2019, Nash made the guitar available for the Metropolitan Museum of Art’s Play It Loud exhibition. He sold the guitar to a private collector who has it on loan to the Songbirds Museum in Chattanooga. Yours truly wrote the label copy.

*Derek Trucks and his SG. Note the snakebite holes. Image credit Amy Harris.*

Footnotes

1 Though it’s a misnomer to call Duane Allman’s cherry 1961 Gibson Les Paul an SG (that name, short for “Solid Guitar,” arrived in 1963), pretty much everyone calls it an SG. I follow that convention here. 2 Dickey Betts also played the SG in some of the too-rare video footage of the Duane-era Allman Brothers Band, including at Bill Graham’s famed Fillmore East in September 1970. 3 Bob Beatty, Play All Night! Duane Allman and the Journey to Fillmore East (Gainesville: University Press of Florida, 2022), 120. 4 I love Emery’s conclusion, “I was [exploitive] at Duane and them for quite a while, even after I learned about the Allmans.” Ground Guitar, “Duane Allman’s 1961 Gibson SG / Les Paul,” accessed October 31, 2023. 5 Open E is tuned to the E chord on a guitar–EBEG#Be. Standard tuning is EAGBDe. 6 See Ground Guitar, “Duane Allman’s 1961 Gibson SG / Les Paul.”

Bob Beatty is a historian who writes Long Live the ABB: Conversation from the Crossroads of Southern Music, History, and Culture . His latest book, Play All Night! Duane Allman and the Journey to Fillmore East (University Press of Florida 2022), is a musical biography of the Allman Brothers Band.

Author Bob Beatty. Image credit Tyler Beatty.

Ten Years and Ten Things: The Birthplace of Country Music Museum

Exhibits History Museum

February 9, 2024

Posted on February 9, 2024February 9, 2024 by Rene Rodgers

By Dr. René Rodgers

The Birthplace of Country Music Museum opened its doors to the public on August 1, 2014 with a weekend of music, history and culture, food, friends and family, and so many amazing visitors. Through the past several years, as we’ve seen changes and growth; hundreds of exhibits, outreach activities, and educational and public programs; and a pandemic, we are proud and excited to be celebrating our 10th anniversary! We’ll be sharing stories, images, and videos to mark this milestone throughout the year, but today we wanted to share ten things you might not know about the Birthplace of Country Music Museum:

1. Archaeology in a Country Music Museum?

The museum is in a historic building from the 1920s, formerly a Chrysler distributorship owned by Frank Goodpasture Sr. The building was later used for entertainments like sporting matches, musical concerts, and dances, and it also once housed a cab company, barbershop, shoe store, and newsstand. All of these different uses meant that when the building was being renovated to become the museum, the construction crew found lots of archaeological curiosities from the building’s previous lives – from an intact Edison lightbulb (now hanging in the porch area of our permanent exhibits) to pieces of china to an empty bottle of Dr. H. S. Thacher’s Cough and Croup Syrup!

*Several of the archaeological finds from the museum’s renovation: a glass inkwell, patent medicine bottle, and china handle. © Birthplace of Country Music; photographer: Ashli Linkous*

2. Local Voices

Creating a museum is a big job, and creating the content and exhibits is turned over to a company who does that work for a living. At the early planning stages, that was the intent, but it soon became apparent that we had numerous local scholars, experts, and musicians on our doorstep who had the expertise to do this work. And so a local content team was pulled together – led by ethnomusicologist Dr. Jessica Turner, the team included scholars and musicians from East Tennessee State University (Roy Andrade, Dr. Lee Bidgood, Amythyst Kiah, and Dr. Ted Olson) and King University (Ryan Bernard); former Birthplace of Country Music Alliance director Bill Hartley; and researcher/writer/editor Dr. René Rodgers (me!) and Sarah Tollie. Over the course of two years, this team met regularly – along with the museum’s architects Peyton Boyd and Michael Haslam, the exhibit design team at studioMUSarx, and Hillmann & Carr, the media producers – to discuss the textual panels, images and objects, and audio-visual elements that would fill the permanent exhibit space with engaging content. This decision to stick with local community members to tell the important history of the 1927 Bristol Sessions and our regional music heritage has resulted in a museum where these stories are explored with passion, deep knowledge, and personal connection, making the museum experience that much richer to our visitors.

3. Wax People

Lots of museums have dioramas with taxidermy animals or scenes/exhibits with wax museum figures. And early in the content development process, we considered two such scenes – one of The Carter Family recording in the makeshift studio on State Street and one of a producer or DJ and a band in a radio station. These wax figures can be wonderfully realistic but sometimes also just a little bit creepy – akin to dolls and all of the associated weirdness we feel with them! In the end, the cost of the wax people was out of our budget, but most importantly, after discussion and ambitious speculation, we decided to figure out how to turn what was meant to be a simple radio station exhibit into an ACTUAL live, working radio station – and Radio Bristol was born!

*Radio Producer Kris Truelsen, NOT a wax person. © Birthplace of Country Music*

4. Twinkle in the Eye

As we began thinking about this 10th anniversary, we started digging into our institutional archives to stir up some memories – and we found a treasure trove of stuff! One of the coolest was a stash of blueprints from past iterations of the museum design before we got to the museum we know and love today. Some things stayed pretty similar across designs, but there were also some surprises. For instance, one plan showed a second exterior marquee-style sign above the Moore Street side door bearing the words “Playing Tonight: Bill Hartley,” which would have been a great addition! Another plan illustrated a different configuration for the first-floor theater, one where there were 11 rows of seats in front of the stage in a typical theater configuration. This layout would have given the room around the same number of seats that we have today, but our current configuration is much more intimate and engaging for audiences. Finally, the biggest surprise was a plan for a third floor to be built onto the original two-story building – this space would have included offices and other administrative areas, but it was ultimately nixed as this type of construction is not allowed on buildings where historic tax credits are used to help fund the work.

*The blueprint with the marquee-style sign. © Birthplace of Country Music; photographer: Ashli Linkous*

5. Hip Hip Hooray!

Early in the museum’s life, we were excited to be recognized by peers and scholars in the museum and history fields. For instance, in 2015 the museum won the Past Presidents’ Award of Excellence from the Tennessee Association of Museums; that same year, the poster design for the Birthplace of Country Music Museum’s grand opening won in the American Alliance of Museum’s Publications Design Competition. In 2016 we were honored with an American Association for State and Local History Leadership in History Award.

*The poster from the museum’s grand opening in August 2014 is reminiscent of Hatch Show Print designs. © Birthplace of Country Music; designed and letterpress printed by Hound Dog Press*

6. Ghostly Moments?

Any historic building can be spooky at night when the lights are low and you might be the only one in a particular space – there are mysterious creaks and pops, dark corners, old photographs and objects, and often overactive imaginations at play. The display case dedicated to the story of Bristol’s own hometown musical hero, Tennessee Ernie Ford, frequently helped to put chills down our spines when an 8-track tape would regularly fall over with no real explanation as to why. Its mount had been built specifically for its dimensions, the mount’s attachment wasn’t loose on the back of the case, the case was sturdy and not easily moveable… Was the ghost of Ernie Ford communicating with us? Was it the ghost of a music geek who was sharing their contempt for the oft-maligned 8-track format? We’ll never know!

*The Tennessee Ernie Ford case with the haunted 8-track in question! © Birthplace of Country Music; photographer: Ashli Linkous*

7. Family Connections

*Georgia Warren cuts the ribbon at the museum’s Grand Opening; Roni Stoneman can be seen behind her. © Birthplace of Country Music; photographer: Angela Freese*

One of the biggest pleasures of working at the Birthplace of Country Music Museum has been the connections we have made with family members of the 1927 Bristol Sessions artists. Over the years, these relationships have helped us to tell the stories of these musicians in more detail and with more interest; they’ve shared objects and photographs with us that have enhanced our exhibits; and we’ve enjoyed spending time with them and seeing their own joy of their relatives being recognized and celebrated in the museum. At the museum’s grand opening, Georgia Warren, the last surviving member of the artists who recorded at the 1927 Bristol Sessions, and Roni Stoneman, daughter of Ernest Stoneman, participated in the ribbon cutting. Two branches of Alfred Karnes’ family connected through the museum’s Green Board, and then later held reunions at the museum. Charles McReynolds’ grandson, Jesse McReynolds, played his fiddle on Radio Bristol’s original Farm and Fun Time show. Blind Alfred Reed’s grandson brought his fiddle to the 90th anniversary of the Sessions where it was admired by Ralph Peer II, Ralph Peer’s son. The family of Jimmie Rodgers loaned us his Blue Yodel guitar in 2023, recently extending that loan through 2027 and the Bristol Sessions’ 100th anniversary! We hope these connections and relationships continue to grow, and that family members always hold the museum and the story we tell in their hearts.

8. Design Details

When designing the museum’s exhibits, the studioMUSarx team and their partners did an amazing job creating engaging displays and panels. But what’s even cooler are some of the hidden design details that can be found throughout the museum. For instance, different tonewoods were used in the downstairs theater – for those who don’t know, tonewoods are different types of wood that are used for acoustic string instruments due to their tonal qualities. Similarly, the floor of The Museum Store is made of curly maple, a wood often used when crafting guitars. Another great design detail can be seen on the reader rail in front of the radio station booth where the material used to cover speakers has been used behind the cut-outs on the rail. There are many more of these wonderful details to be found in the museum – but you’ll have to wait for a blog on another day to learn about them all!

*The speaker material on the reader rail in front of the radio station is a nice design touch. © Birthplace of Country Music; photographer: Ashli Linkous*

9. Ramped Up!

Being a historic building, there were several elements of the original construction that we had to keep in place. One of the coolest is truly behind the scenes so not experienced by our visitors, but always appreciated by staff. In the loading bay of the museum, you can see the very top of the original ramp that led from the Goodpasture building’s first floor to its second. This was the ramp that the distributorship’s workers would have used to drive cars up to the second-floor showroom. The museum’s architect and contractors were allowed to take out the majority of this ramp during the renovation, but the top of it was kept in order to preserve the physical connection to the building’s history.

*The acoustic tiles in the performance theater are both functional and striking. © Birthplace of Country Music; photographer: Haley Hensley*

10. Acoustic Engineering

As a music museum, each room is filled with music, which requires sophisticated acoustic engineering solutions – for instance, overhead acoustic panels that direct sound downward to minimize its bleed into other areas of the space (I think of these as “sound umbrellas”!). But because it is a museum, those solutions also needed to be integrated in innovative ways into the exhibits and different spaces. In the downstairs theater, some of the speakers are hidden behind patterned acoustic tiles, while the upstairs theater has acoustic fabric on the walls to help deliver the film’s sound. Sound drivers were originally attached to the backs of the acrylic panels of the foyer sculpture, turning this piece of art into a giant speaker. Similarly, sound drivers/speakers have been placed under the pews in the chapel theater space so that when you sit in there to watch the film, you can actually “feel” the music! Steve Haas, the museum’s acoustical engineer, even created a creative acoustic activity for our educational programs – a sound driver and amplifier that we often use to show how sound travels through different materials creating different levels and quality of sound.

Dr. René Rodgers is the Head Curator of the Birthplace of Country Music Museum. She has been with the organization, first as a freelance writer/editor and later on the curatorial team, since 2012.

A Blog of Soundtracks and Books

Music & Songs

January 24, 2024

Posted on January 24, 2024January 24, 2024 by Erika Barker

Connections between the Hunger Games and Appalachian Traditions and Music in the Hunger Games

By Erika Barker, Curatorial Manager

Sometimes people discover new passions in unexpected places. The 2023 release of the movie adaptation of The Hunger Games: A Ballad of Songbirds and Snakes, is helping introduce new audiences to Appalachian culture and country music. Although it might be surprising that a dystopian young adult novel about children being forced to fight to the death could even loosely be based on real cultural and physical landscapes, this is not the first time a Hunger Games book has sparked a conversation about Appalachia.

The first Hunger Games book was released in 2008 and spent more than 100 weeks on the New York Times bestseller list. Since then, the series has been translated into 52 languages and sold over 100 million copies worldwide. The first three books have won a combined 77 literary awards with the film series grossing over $3.3 billion worldwide and is the 20th highest-grossing film franchise of all time. The books are about a totalitarian country that forces two teenagers from each of its subjugated districts to fight as tributes in a highly publicized battle to the death called the Hunger Games. The Hunger Games are an annual reminder of the Capitol’s power and the failed rebellion of previous generations from the districts. Although the series is fictional, through the popularity of these books, and their respective movies, a wider audience has been subtly introduced to some of the places, people, and music that makes Appalachia unique.

So, how does the Hunger Games make people think about Appalachia? Well, Suzanne Collins’s fictional country of Panem is set in North America at an unspecified date in the future after an apocalyptic event has left the continent with little resemblance to the Americas we know today. The country is divided into a Capitol and 13 districts. Each district has a distinctive export that symbolizes that region, such as luxury items, textiles, grain, livestock, fishing, or electronics. Katniss Everdeen, the protagonist of the original trilogy and Lucy Gray Baird, a protagonist in the prequel, A Ballad of Songbirds and Snakes are both from District 12, a district centered around coal mining. These two characters give us a glimpse at the fictionalized traditions inspired by real Appalachian people. Here are just a few examples of real Appalachian music, landscape, and cultural connections found in the world of The Hunger Games.

Two images show a group of coal miners walking forward in the open. The image on the left is a scene from the 2012 Hunger Games movie and shows citizens from Panem wearing helments, dark clothing, and carrying lunch boxes. The image on the right features a historical image of coal miners in the same setting from the mid 20th century. — Left: Still of miners from District 12 in The Hunger Games (2012) film. Right: Miners Line Up to Go Into the Elevator Shaft at the Virginia-Pocahontas Coal Company Mine #4 near Richlands, Virginia. This media is available in the holdings of the **National Archives and Records Administration,** cataloged under the National Archives Identifier (NAID) **556338.**

Mining and southern stereotypes

District 12 is based in the southern Appalachian region, an area that has historically produced and exported coal as a resource across the country. Several movie scenes were filmed in North Carolina where interested fans and movie buffs can visit those locations and experience the natural beauty of the region firsthand. Although Katniss and Lucy Gray both think fondly of the woods and natural landscapes of the district, they are not blind to the plight of the people living there.

District 12 is the poorest district, with industry centered on coal mining. Throughout all three Hunger Games books and the prequel, many citizens of Panem look down on District 12. Outsiders talk about the district in ways that resemble the real-life negative stereotypes often placed on the people of Appalachia.

In Appalachia, the coal industry has sustained mountain communities for over a century despite being a notoriously dangerous profession. In addition to being an intensely physically demanding job, occupational hazards such as collapses, explosions, accidents, and ailments like Black Lung disease have ensured coalfield communities are consistently among the least healthy. Oppressive business practices, like those portrayed in the Hunger Games reflected in the Capitol’s treatment of District 12, led to even worse living conditions and quality of life for coal miners and their families.

Beyond the surface-level similarities between the fictional and real-world regions, there is also a strong underlying similarity in the history of resilience and resistance found in the people of Appalachia. It is fitting that the location of the West Virginia Mine Wars was the inspiration for the birthplace of the girl who was brave enough to defy the Capitol with compassion and spark a revolution.

Protest Music

Appalachia has a strong tradition of turning current events, especially tragic events, into songs. In A Ballad of Songbirds and Snakes, Lucy Gray Baird writes a song after witnessing a hanging. Lucy Gray’s “The Hanging Tree” is reminiscent of Florence Reece’s “Which Side Are You On,” which Reece wrote after a raid on her house during the Harlan Country Wars. The song became a popular protest song and has been used for many causes since. In the same way, Katniss Everdeen sings Lucy Gray’s “The Hanging Tree” over 60 years later, turning the tune into the anthem of a revolution. Just like how music reaches people on an emotional level, often inspiring them to action in the books, music has been used as an outlet for frustrations and a rallying cry for solutions throughout much of Appalachian’s history.

Video: Black Lung was written by Hazel Dickens about her brother’s struggle with the miner’s disease.

Balladry

Murder Ballads are one of the most popular forms of balladry in folk music today. Ballads are a narrative form of songwriting that tells a story, in this case, one of murder. The book, A Ballad of Songbirds and Snakes, is written in much the same way as a traditional murder ballad and explores many of the same themes commonly found within the genre. Murder ballads often expose the weakness of humanity in much the same way Coriolanus Snow realizes the brutality of hunger games in the books.

The Carter Family

The early country music scene of the 1920s and 1930s is easily spotted in the dance scenes at the Seam – referring to the most distressed area of district 12 – in A Ballad of Songbirds and Snakes. Collins even pays homage to The Carter Family when Maude Ivory sings “Keep on The Sunny Side.” While many of the songs are inspired by the real music of Appalachia but written as originals for the books and movies, “Keep on the Sunny Side” is one of the few cover songs that make an appearance. Lucy Gray’s vintage Gibson L-10 guitar is another notable nod to the Carter Family. While Lucy Gray’s guitar may not be the exact same model, it is clear that an effort was made to match Mother Maybelle’s iconic guitar.

The soundtrack

Much like the O Brother, Where Art Thou? soundtrack from 2008, the 2023 soundtrack for A Ballad of Song Birds and Snakes is making waves and bringing new attention to country music styles. Many roots and Americana musicians are represented on the soundtrack including Billy Strings, Sierra Ferrell, Charles Wesley Godwin, Bella White. Molly Tuttle contributed her version of another Carter Family classic, “Bury Me Beneath the Willow,” which they first recorded at the 1927 Bristol Sessions! Tuttle also lends her guitar skills to the character of Lucy Gray. She and Dominick Leslie provided the guitar and mandolin parts for much of the film.

May the music be ever in your favor.

Erika Barker is the Curatorial Manager at the Birthplace of Country Music Museum.

The Power of Music: Five Songs for Civil Rights

Exhibits Museum Music & Songs

January 15, 2024

Posted on January 15, 2024January 24, 2024 by Rene Rodgers

January 15th is recognized as Martin Luther King Jr. Day. In recognition of Dr. King’s important work and fight for the equal rights of black Americans during the Civil Rights movement, this blog details the music of the movement. Originally posted on December 29, 2018 and written by Rene Rodgers.

Here at the Birthplace of Country Music Museum, we’ve spent the past month and a half exploring the power and impact of visual imagery through the NEH on the Road exhibit For All the World to See: Visual Culture and the Struggle for Civil Rights (on display until January 7, 2019). But we’re a music museum, and one thing we know for sure: music has power and impact too.

And that is certainly true when you think about the music of the Civil Rights movement. Many of these songs had their origins in traditional hymns and African American spirituals, and while they weren’t all originally about freedom and social justice, their message was clearly relevant. Some were also revised to include new lyrics that spoke directly to the issues people were facing, such as voting rights. Others grew out of the musicians’ personal experiences or observations of the discrimination around them. These songs – often and rightfully called anthems – inspired determination and bravery, helped to lessen fears and steady nerves, focused activists’ passion and energy on the task at hand, and acted as motivators to protesters and observers alike. They were delivered by professional musicians and groups like the Freedom Singers, but more importantly they became the unified voice of ordinary people displaying extraordinary courage at rallies, marches, and protests and in churches, meetings, and workshops.

The Congress of Racial Equality (CORE) produced a record of “sit-in songs” in 1962, which included “We Shall Overcome.” The musical notes are in the form of diner counter stools. This record went along with the Freedom Highways project, when activist volunteers worked to integrate chain restaurants along the main federal highways. Image from https://library.duke.edu/exhibits/johnhopefranklin/civilrights.html

There are many accounts of this music history and the songs of the Civil Rights struggle in books, audio collections, and films such as Strange Fruit: The Biography of a Song, We Shall Overcome: A Song That Changed the World, Let Freedom Sing: The Music of the Civil Rights Movement, Sing for Freedom: The Story of the Civil Rights Movement Through Its Songs, Voices of the Civil Rights Movement: Black American Freedom Songs, 1960-1966, Freedom Song: Young Voices and the Struggle for Civil Rights, and Soundtrack for a Revolution (screened at the museum in November). All of these are worth exploring to get a better understanding of the place and significance of music in the fight for civil rights over the years.

A blog post about this music would be incredibly long – it’s a long and interesting history and each song has a story! And so, we’ve chosen just five songs that highlight the power of this music, including a brief history or description of each, to get you started on an incredibly inspiring musical journey.

“Uncle Sam Says,” Josh White (1941)

Josh White’s 1941 record Southern Exposure: An Album of Jim Crow Blues, co-written with poet Waring Cuney, was called “the fighting blues” by author Richard Wright, who wrote its liner notes. One of its songs, “Uncle Sam Says,” highlighted the frustration felt by African Americans when faced with the continuing effects of Jim Crow even as they fought and gave their lives for their country. It was inspired by White’s visit to his brother at Fort Dix in New Jersey where he saw the segregated barracks and unequal treatment of the black servicemen. After the album was released, White was invited by President Franklin Delano Roosevelt to the White House for a command performance, the first black artist to do so.

“This Little Light of Mine,” Rutha Mae Harris

For many of us, “This Little Light of Mine” is a song of our childhood sung at school or church. But the song has a much more interesting history within the Civil Rights movement and beyond as a “timeless tool of resistance” – check out this NPR piece from August 2018 that celebrated the song as a true “American Anthem.” The song, both a spiritual popular in the black churches and a folk song, became even more impactful when it was employed by Civil Rights protesters and activists who often personalized the lyrics to the situation or as a way to name the oppressors they were facing. Original Freedom Singer Rutha Mae Harris demonstrates the energy and power of the song as she leads a contemporary group in its verses at the Albany Civil Rights Institute:

“I Shall Not Be Moved,” The Harmonizing Four (1959)

This African American spiritual is based on Jeremiah 17:8—9, reflecting the idea that the singers’ faith in God will keep them strong and steadfast. The song became a popular resistance anthem during the Civil Rights movement, especially in relation to sit-ins; it was also used as a labor union protest song. As with “This Little Light of Mine,” the lyrics were sometimes altered to speak to the specific cause. Maya Angelou’s poetry collection I Shall Not Be Moved was named after the song.

“Why Am I Treated So Bad?,” The Staple Singers (1966)

The Staple Singers met Dr. Martin Luther King Jr. in 1963 after a performance in Montgomery, Alabama. Roebuck “Pops” Staples, the band’s patriarch, said afterwards: “I really like this man’s message. And I think if he can preach it, we can sing it.” The group went on to write and perform many Civil Rights songs, including “March Up Freedom’s Highway” and “Washington We’re Watching You.” “Why Am I Treated So Bad” was written in reference to the treatment of the nine African American children at the forefront of integration in Little Rock, Arkansas, in 1957. It became a particular favorite of King’s and was often sung before he spoke to a crowd.

“We Shall Overcome,” Mahalia Jackson (1963)

One of the most well-known songs of the Civil Rights movement, “We Shall Overcome” exemplifies the resilience, determination, and hope of the activist leaders and the everyday protesters alike. Its origins stretch back to the early 20^th century with Charles Tindley’s “I Will Overcome.” Striking workers took up the song in the 1940s, later sharing it with Zilphia Horton at the Highlander Folk School in Tennessee, a center for social justice and activism. White and black activists came together at Highlander for workshops and planning during the Civil Rights movement, and some of that work involved learning songs and how to employ them in protests. Musical director Guy Carawan learned a version of the song from Pete Seeger; Carawan later introduced the song at the founding convention of the Student Non-Violent Coordinating Committee. (To hear Candie Carawan talk about the work at Highlander and the power of music during the Civil Rights movement, check out December 19’s archived On the Sunny Side show on Radio Bristol; her interview is towards the end of the show.)

https://www.youtube.com/watch?v=vTyKJjj2oC0

Finally, did you know that there is a connection between Carter Family favorite “Will the Circle Be Unbroken?” and civil rights? The song has been sung by various activist musicians, including Jimmy Collier and the Movement Singers and Freedom Singer Bernice Johnson Reagon, and an audio history of the Civil Rights movement takes the song title on as its name.

Rene Rodgers is the Head Curator of the Birthplace of Country Music Museum.

Unwrap the Joy: Birthplace of Country Music’s 2023 Holiday Gift Guide is Here!

Uncategorized

December 6, 2023

Posted on December 6, 2023December 6, 2023 by Charlene Baker

– PROMOTIONAL CONTENT –

Are you ready to rock around the Christmas tree and surprise the music lover in your life with gifts that hit all the right notes? 🎄🎵 Well, buckle up because the Birthplace of Country Music‘s holiday shopping guide is dropping some serious beats and festive treats!

From vintage vibes to strum-tastic swag, our curated collection is here to transform your gift-giving game into a chart-topping hit! And the best part? You can snag these melodic masterpieces both online at BirthplaceofCountryMusic.org and in person at The Museum Store inside the Birthplace of Country Music Museum.

But wait, there’s more! When you shop with us, you’re not just getting awesome gifts – you’re supporting a nonprofit that’s all about keeping the music alive. 🎶✨ Your purchase goes the extra mile, helping us continue our mission to celebrate the rich musical heritage that makes our community sing.

And speaking of community, let’s crank up the volume on supporting small businesses! Explore the wonders of Historic Downtown Bristol, where local shops are ready to make your holiday shopping as unique as a catchy country tune. Your support means everything! 🌟🛒

Get ready to sleigh the season, support local, and spread the joy of music! Happy holidays, y’all! 🎅🤘 #ShopSmall #MusicMagic #HolidayHarmony

Weekend Passes to Bristol Rhythm & Roots Reunion

Buy Now! | $135

Why settle for a run-of-the-mill present when you can gift an experience that will be music to their ears? Weekend passes to the 23rd annual Bristol Rhythm & Roots Reunion music festival (Sept. 13-14) isn’t just a gift – its the key to a sonic adventure that traverses the magic of live performance, foot-stompin’ beats, and the electric energy that only this legendary festival can deliver. The colorful packaging for festival wristbands is a presentation in itself and contains a postcard you may send to a friend! 🎁🎸

Bristol Rhythm Swag

Buy Now! | $35 Shirt, $30 Hat

Deck yourself in fresh festival flair with a 2024 Bristol Rhythm & Roots Reunion t-shirt and Honky Tonk trucker hat combo! Infused with the spirit of the music-filled weekend, these must-have accessories are more than just stylish – they’re a badge of support for the Birthplace of Country Music. Embrace the groove and let the world know you dig the Bristol Rhythm vibe! 🎸🧢

Bristol Babies

Buy Now! $23.99 Shirt, $12.99 Book, $11.99 Train Whistle

Introduce the youngest members of your tribe to the heart of Bristol with our delightful collection of kid-friendly treasures! From adorable Bristol sign T-shirts and onesies to the charming baby book “It’s Bristol, Baby!” and the timeless joy of an old-fashioned wooden train whistle – these gifts are a whimsical journey into the essence of our beloved city. Immerse your little ones in Bristol’s culture from the get-go, creating memories as cherished as the melodies of a Bristol Rhythm & Roots Reunion. Let the fun begin, and watch as the magic of Bristol unfolds for the next generation! 🚂👶

Roots & Branches

Buy now! $45 Necklace

Elevate your style with the “Tree of Life” necklace, a stunning creation handcrafted by local artisan Kathryn Jenkins. Crafted from intricately woven copper wire, this exquisite piece not only complements your wardrobe but also serves as a symbolic ode to our Appalachian heritage. With every delicate detail, the tree becomes a timeless emblem of our roots, connecting wearers to the rich tapestry of our community. Embrace the artistry and spirit of the Appalachians with this uniquely crafted necklace. 🌳✨

Vintage Vibes

Buy now! $20.00 On Sale!

Show your support for independent radio in style by donning the WBCM Radio Bristol “Putting the Roots Back in Radio” t-shirt in a beautiful shade of deep teal. This shirt isn’t just a fashion statement; it’s a bold declaration of support for the authentic voices that independent radio brings to our ears. Featuring a vintage gramophone design, it’s a nod to the roots of radio that paved the way for the diverse tunes we love today. Wear your support proudly and showcase your love for the airwaves with this cozy and chic tee. 🎙️👕

It’s 5:00 Somewhere…

Buy Now! $50.00 Wine Cup

Sip in style with the enchanting handcrafted wine cup by Jen Otey of MOONbow ARTworks. Residing in the Appalachian Mountains of Southwest Virginia, Jen infuses her creations with the magic of the region’s natural beauty. Each cup is a testament to her artistic prowess and passion, offering a whimsical touch to your sipping experience. Elevate your moments with a piece of art that not only captures the spirit of the Appalachians but also supports the creative endeavors of a local artist and educator. 🍷🎨

Art Imitates Life

Buy Now! $40.00 Johnny Cash, $40.00 Dolly Parton

Bring the legends of country music to life with Richard Graves‘ stunning fine art Giclee prints, featuring Johnny Cash and Dolly Parton. As a Neo-Appalachian artist hailing from the Wolf Hills of Abingdon, Virginia, Graves infuses his work with a captivating blend of portraiture, figure drawing, and the surreal. These prints not only pay homage to the iconic voices of Cash and Parton but also serve as windows into the creative spirit of the Appalachian region. Each print comes in two sizes, 8″ x 10″ or 11″ x 14″. Elevate your space with the essence of music icons, crafted by a local artist with a unique and visionary touch. 🎨🎶

Hitting all the Right Notes

Buy Now! $139.95 Box Set

Immerse yourself in the timeless melodies of a true American icon with the “Tennessee Ernie Ford: Portrait of an American Singer” CD box set. This meticulously curated collection spans Ford’s inaugural twelve years as a recording artist (1949-1960), capturing the essence of his unparalleled musical journey. With a comprehensive 120-page hardcover book and 5 CDs featuring 154 tracks, this box set celebrates the legacy of Tennessee Ernie Ford, a native of Bristol, Tennessee, and one of America’s most treasured entertainers. 🎤🎶

A Taste of the Region

Buy Now! $35.00 Recipe Book

Embark on a culinary journey through time with the “Past & Repast” cookbook from the Bristol Historical Association. This delectable collection not only brings together recent and vintage recipes from local culinary enthusiasts, but also serves up a visual feast with captivating pictures and stories from the rich archives of the BHA. Dive into the flavors of Bristol’s history and savor the traditions that have seasoned generations, all while supporting the preservation of local heritage. Spice up your kitchen with this delightful blend of recipes, anecdotes, and community spirit. 🍽️📖

Flavor of the Season

Buy Now! $4.95 – $8.95 Assortment

Indulge your taste buds in the sweet symphony of the season with Birthplace of Country Music’s apple-infused delights! Elevate your holiday spread with the warm, comforting flavors of apple butter, the zing of apple cinnamon jelly, and the irresistible sweetness of Dutch apple jam. For a savory twist, drizzle your festivities with the delectable apple cinnamon barbecue sauce. Each jar is a delicious nod to the Appalachian orchards, making these delights the perfect addition to your festive feasts and a thoughtful gift for fellow food enthusiasts. 🍎✨

Wishing you and your family a joyful holiday season from all of us at the Birthplace of Country Music! 🌟🎄

CLICK HERE to shop The Museum Store online for more great gifts!

The Carter Sisters Radio Transcriptions with Chet Atkins

History Museum

September 25, 2023

Posted on September 25, 2023December 21, 2023 by Guest Blogger

Ed Hagen is a volunteer gallery assistant and guest blogger at the Birthplace of Country Music Museum. His recent blog posts include The Carter Family on the Border Radio and Will the Circle Be Unbroken.

The original Carter family became nationally famous after being recorded in the 1927 Bristol sessions. A. P. Carter sang bass and harmonies on many songs, and very occasionally played guitar, but his principal contribution acted as a songcatcher, working to find, rewrite, and rearrange traditional songs. His wife Sara Dougherty Carter was the lead singer, co-wrote many songs, and performed playing either a guitar or autoharp. Sara’s cousin Maybelle Addington Carter, (who was married to A. P.’s brother Eck) also sang, but is remembered today as a guitar virtuoso (more on that later).

Their record sales crashed with the Great Depression of the 1930s, but an opportunity to perform on a radio station on the Mexican border revived the fortunes of the group. In those days, Mexico and the United States had a dispute over AM radio signals, and some Mexican stations were given many times the wattage of U.S. stations. That meant that the Carters’ border radio shows were heard all over the country, reviving their popularity. The border radio station XERA had a massive 500 kilowatts, and could broadcast across 48 states and into Canada. Visit my previous blog post, The Carter Family on the Border Radio, to learn more about that story.

*Carter Sisters and Maybelle September 1944. Left to right: Anita, June, Maybelle, and Helen*

A new generation traveled with the Carters to the Mexican border. A.P. and Sara brought their two children, Janette and Joe. Maybelle and Eck brought their three daughters, Helen, June, and Anita. The children sang on the radio show (but not on records). The original group continued to perform for several years, but that ended when Sara moved to California in 1943.

Maybelle and her daughters continued to perform after the original Carter Family disbanded, performing as “the Carter Sisters and Maybelle Carter” on local radio stations in Richmond, Knoxville, and Springfield, Missouri. They became local celebrities in each city with big crowds as the stars of local “barn dance” radio shows, and they took their act to every town within range of the local radio signal. They were eventually signed by the Grand Ole Opry in Nashville in 1950.

With that extended introduction, and with today being National Daughter’s Day, let’s take a look at the radio transcriptions of the Carter Sisters. Years ago, radio shows were often recorded on “transcription discs,” special high-quality recordings that would be distributed to radio station affiliates. These disks had pauses in them so that the affiliated stations could insert their own commercials. The disks were never intended to be distributed to the public, but thousands of them have survived, later archived to tape and digital recordings by “old time radio” enthusiasts. These include recordings of a dozen Carter Sisters shows from 1949 and 1950 (just before they were signed by the Grand Ole Opry) that can be listened to today via YouTube.

*Carter Family circa 1939. Standing A. P., Janette, announcer Harry Steele, Sara, Maybelle. Seated Helen, Anita, June.*

By the 1950’s, The Carter Sisters lineup included Helen, then age 22, playing the accordion and guitar; June, age 20, playing autoharp and ukulele; and Anita, age 16, playing upright bass. By this time June, a natural comedienne, introduced the songs and pitched sponsored products. Maybelle anchored the group playing her 1928 L5 guitar, which she bought with royalties from the 1927 Bristol Session recordings. What makes these recordings extraordinary is that the costar of the show was a then-unknown guitar player, Chet Atkins. Think about it; here we have recordings of perhaps the two most influential country guitar players of all time playing together just before they joined the Grand Ole Opry.

Why were Maybelle and Chet influential? Let’s start with Maybelle, the inventor of the “Carter scratch.” She would play the melody of songs such as “Wildwood Flower” and “Keep on the Sunny Side” on the bass strings of the guitar using a thumb pick, while rhythmically brushing the other strings with her fingernails or finger picks. Essentially, she played rhythm and lead guitar at the same time. This was revolutionary, because country guitar players didn’t see the guitar as a lead instrument before that.

Maybelle, an extraordinary musician, mastered other styles of playing. She can be seen on videos playing rhythm guitar up and down the neck like a jazz guitarist on some songs, and Mexican-inspired fills on others. She also played something the Carter family called the “blues.” Years later, in a wonderful documentary, Mother Maybelle’s Carter Scratch, Helen explains that Maybelle learned to play the “blues” around 1930 from Leslie Riddle, an African-American man in Kingsport. Riddle taught Maybelle guitar, and therefore played a direct impact on the early styles of country music, but due to race and discrimination was never able to reach the success the Carter Family achieved. This guitar style featured an alternating bass played with the thumb, with the melody played on the top strings (the reverse of the Carter scratch, where the melody was played on the bottom strings). Most people today call this style “Travis picking” because it was popularized by Merle Travis.

*Carter Sisters with Chet Atkins circa 1950*

If you look closely at videos of Merle Travis playing this style, you’ll see that he used a thumb pick and just one finger for the melody. He got a miraculously full sound with this technique, but Chet Atkins, using all of his fingers, took Travis picking to another level. He went on to have a long and successful career, with best-selling instrumental hits like “Mr. Sandman” and “Yakety Axe”.

The shows starts with thirty seconds of their theme song, the “Columbus Stockade Blues,” just enough for one chorus and a sizzling Chet Atkins guitar break. They close each show with “In the Pines.” In between, different sisters are featured vocals, and Chet played instrumentals (check out, for example, Peach Pickin’ Time on show 17 and Humoresque on show 39). He also sings a bit, and plays the fiddle, something he’s not known for. Check out his version of Shortnin’ Bread in show 17.

Maybelle shows off her Carter Scratch on show 17, playing and singing the old Carter Family standard, “You Will Miss Me When I’m Gone”. We sure do, but these old radio shows bring them all back to life.

East Tennessee Fiddlers and Their Fiddles

1927 and 1928 Bristol Sessions Collections History Instruments

September 14, 2023

Posted on September 14, 2023December 6, 2023 by Julia Underkoffler

By Julia Underkoffler, Collection Specialist at the Birthplace of Country Music Museum

Fiddle me this: What’s the difference between a violin and a fiddle? One has strings, and the other has strangs!

East Tennessee is known for its music, and in particular, it was home to several well-known and influential old-time and bluegrass fiddlers. The museum is fortunate to have three fiddles on loan that were owned and played by Charlie Bowman, Edd Vance, and Benny Sims, all of which are currently on special display in our permanent exhibits. Instruments – and other objects – like these help us to tell the stories of the music, people, and cultural heritage that make our region so special.

Fiddlin’ Charlie Bowman was born on July 30, 1889 in Gray Station, Tennessee. Bowman started playing music from a young age – he started recording as early as 1908 on a neighbor’s Edison Cylinder phonograph, and by the early 1920s, he was regularly being hired to play at square dances and political rallies. When Bowman started to enter fiddling contests around the area, other local fiddlers got quite mad because Bowman just kept on winning!

A black and white image of Charlie Bowman. He is seated on a small bench and holding a fiddle in his lap. He is wearing a collared shirt. The image is old and not completely clear, his face is slightly fuzzy. — *Charlie Bowman, from the Lewis Deneumoustier Collection, Archives of Appalachia, East Tennessee State University*

In 1928, when the Columbia record label came to Johnson City, Tennessee, to do a location recording session, Bowman and several other musicians, including his daughters, recorded six songs. He also traveled the East Coast vaudeville circuit with his daughters and his band – in 1931 alone, they played 249 days of the year. Bowman was later hired to perform by B. Carroll Reece, who served as representative for the first district of Tennessee. They stayed lifelong friends, and Bowman even wrote “Reece Rag” for Congressman Reece. Alongside his solo career, Bowman was also a member of the Hill Billies and the Blue Ridge Ramblers.

The museum has two Bowman family instruments on loan: Charlie’s fiddle and his daughter Jenny’s accordion, which is currently on display in the museum’s special exhibit, I’ve Endured Women in Old-Time Music.

Edd Vance – more commonly known as Red – was born on November 19, 1923 in Sullivan County, Tennessee. Red became recognized in East Tennessee for his old-time fiddling skill, and he performed at The Down Home, a well-known musical hub in Johnson City, Tennessee.

Red followed in the footsteps of his father, Dudley Vance, who was born on March 12, 1880 in Bluff City, Tennessee. During the second week of May 1925, Dudley played at the first Mountain City Fiddlers’ Convention, held at a local high school. This event featured famous fiddlers Charlie Bowman, Fiddlin’ John Carson, Fiddlin’ Cowan Powers, Charlie Powers, and G. B. Grayson. Dudley famously beat everyone with his rendition of “Twinkle Twinkle Little Star.” Two years later, Dudley and his brother traveled to Winston-Salem, North Carolina, to record three records for Okeh Records, under the band name Vance’s Tennessee Breakdowners. These were the last professional recordings done by Dudley. The museum has Edd Vance’s fiddle and several other items related to Dudley and Edd Vance on loan from their descendants.

*Edd “Red” Vance’s fiddle shows the wear of a lifetime of skilled fiddling. On loan from the descendants of Edd and Dudley Vance. © Birthplace of Country Music; photographer: Ashli Linkous*

Benny Sims was born on August 4, 1924 in Sevier County, Tennessee. Sims was drafted into the U.S. Army Air Corps and was stationed in Foggia, Italy during World War II. While in Italy, Sims played with the U.S. Air Force Orchestra. He played fiddle with the Morris Brothers, but he is best known for his time performing with Lester Flatt and Earl Scruggs. Sims recorded with Flatt & Scruggs over 25 times as part of the Bluegrass Boys, including on their famous “Foggy Mountain Breakdown.”

*The cover of a music book, “Fiddle Favorite” by Benny Sims, pictured.*

After Sims left Flatt & Scruggs, he went to work for WNOX in Knoxville and WJHL-TV in Johnson City until he retired in the early 1960s. When he retired from the music industry he worked at Life & Casualty Insurance Company and gave private fiddle lessons. Just months before Sims’ death in 1995, the Birthplace of Country Music Alliance held a tribute to him at the Paramount Center for the Arts. Today, East Tennessee State University awards the Benny Sims Scholarship to one Bluegrass, Old-Time, and Roots Music Student each year.

This fiddle is on loan from Benny Sims’ family and is believed to be the one that he played on the “Foggy Mountain Breakdown” recording. On loan from the descendants of Benny Sims; © Birthplace of Country Music Museum; photographer: Ashli Linkous

Round Two: Ashli’s Top 5 Bristol Rhythm Must-Sees

Festival Music & Songs

September 4, 2023

Posted on September 4, 2023December 6, 2023 by Ashli Linkous

By Ashli Linkous, Marketing Specialist & Photographer

It’s almost time for my second festival as a staff member here at the Birthplace of Country Music, so here’s year two of Ashli’s “Must Sees” at Bristol Rhythm & Roots Reunion, coming up this week on September 8-10th, 2023!

Larkin Poe

When I heard that Larkin Poe was on this year’s lineup, I was stoked! I grew up listening to rock music, so I’ve always had a soft spot for anything rock and roll. The sister duo’s unique sound is a melting pot of blues, gritty southern rock, gospel, and even bluegrass and old-time country music. It’s not surprising that the sisters draw from such genres as bluegrass and old-time – you may remember when the sisters were in an acoustic trio called The Lovell Sisters. Personal favorites from Larkin Poe are “Kick the Blues,” “Mississippi”, and “Deep Stays Down.” They headline Cumberland Square Park Stage on Saturday, September 9th at 10:00 PM! Don’t miss it! This show will be such a vibe with the atmosphere of the Cumberland Square Park stage lights at night!

Sons of the East

I learned about Australian based indie-folk band Sons of the East when they made their way through Bristol in 2022. They played at the Hard Rock Hotel & Casino last October and came to the Birthplace of Country Music Museum for a spur of the moment tour the next day. I’ve been hooked ever since! For fans of Bristol Rhythm alumni such as CAAMP and Rainbow Kitten Surprise, this band is a must see! Trust me, you’ll be bragging about seeing them at Bristol Rhythm in a year or two. We are lucky enough to have them play twice for us: opening the State Street Stage on Friday, September 8th at 5:00 PM and on the Piedmont Stage on Saturday, September 9th at 3:45 PM! Personal favorites are “On My Way,” “Millionaire,” and “Into the Sun.”

Three young men are posing and smiling for a promotion image of their band. The man on the far left is smiling and wearing a white button up shirt and jeans. The man in the middle is wearing a brown shirt and jeans and leaning down towards the camera, his hair is in his face. The man on the far right is leaning against a yellow wall behind the other two men, and wearing a blue button up shirt with a white tee shirt with the text “NYC” on the shirt. — *Australian indie folk trio formed in 2011 by Nic Johnston, Dan Wallage, and Jack Rollins.*

Arcy Drive

If you loved Briston Maroney’s Sunday set (or missed out and heard about it later) at last year’s festival, then you have to add Arcy Drive to your list! This four piece band has dubbed their music “attic rock,” and have racked up accolades such as Luck Reunion’s Southwest Air “Artist on the Rise” winner. They recently embarked on their first sold out headlining tour, so it’s going to be awesome to have this band make a stop in Bristol before they absolutely blow up, because they definitely will! Personal favorites are “Roll My Stone,” “Smoke & Fire,” and their newest release “Wicked Styley.” They play Cumberland Square park Stage on Saturday, September 9th at 4:00 PM.

A black and white image of 4 young men in the back of a vehicle. The men are all smiling and have their arms around one another. The men are wearing t-shirts and hoodies. — *Promotional image of the band Arcy Drive.*

HAPPY LANDING

If you are in search of a feelgood band that will get you on your feet, then look no further! Perhaps the band I am most excited to see at this year’s festival, HAPPY LANDING is a folk rock band that hails from Oxford, Mississippi. If you like bands such as The 502s, The Head And The Heart, or Oliver Hazard, or The Backseat Lovers, you should make plans to be at Cumberland Square Park on Saturday, September 9th at 2:00 PM. Personal favorites are “Love Your Guts,” “October,” and “Carry On, Carry On.”

Five people are wearing blue, or white, or orange jumpsuits and are jumping in mid air on a beach. — *Promotional image of HAPPY LANDING.*

Holy Roller

Back in July I got a taste of Richmond, Virginia based band Holy Roller at our Road to Bristol Rhythm & Roots Reunion show and I’ve been listening nonstop ever since. Their energetic live show blew me away. Their fans in the Richmond music scene showed up in droves and sang every word to their songs. The strength of their local fan base felt very similar to the momentum 49 Winchester was gaining right here in Southwest Virginia back in 2021. I feel that Holy Roller will likely find a similar path to success in the coming months/years. With a sound combining southern rock, Americana, folk, and country, personal favorites are “Flat Track Fire,” “Honey Where’d You Sleep,” and “Muscle Up.” They play for us twice: Friday, September 8th at 6:00 PM on the Lauderdale Stage and Saturday, September 9th at 3:00 PM on 6th Street. I would make plans to see both.

A fun group image of the band Holler Roller. The group consists of six men and one woman, they are all sitting on a porch with their arms around each other. The man on the far left is holding a white dog in his lap. Everyone is wearing colorful clothing and smiling and laughing. — *Promotional image of Holler Roller.*

You can buy tickets to Bristol Rhythm & Roots Reunion right now at a special rate! Our prices rise at the festival gates, so buy early and save!! We also offer discounted weekend tickets for groups of 10+ at $100 each! Visit BristolRhythm.com for more information.

Ashli Linkous is a Marketing Specialist & Photographer at the Birthplace of Country Music, Inc. and an avid music lover!

The Carter Family on the Border Radio

History Museum

September 1, 2023

Posted on September 1, 2023December 6, 2023 by Guest Blogger

By Ed Hagen, volunteer gallery assistant and guest blogger at the Birthplace of Country Music Museum.

Here at the Birthplace of Country Music Museum, we celebrate the 1927 Bristol Sessions that launched the recording careers of a number of traditional music acts, notably Country Music Hall of Fame artists Jimmie Rodgers and the Carter Family.

Three members of the Carter Family pose for a promotion photo taken in black and white. Maybelle Carter is seated holding a guitar and facing the camera. She is wearing a unique coat with a wooden clasp at the collar. Seated beside her is Sara Carter - she is holding an auto harp instrument in her lap and pressing the keys. She is wearing the same outfit as Maybelle, a unique coat with a wooden clasp at the collar. Leaning behind them is A.P. Carter, he is wearing a dark suit jacket and tie. — *The original Carter Family: Maybelle, A. P., and Sara Carter*

The Carter Family is now considered to be the “First Family of Country Music” after gaining commercial success and stardom from their 1927 Bristol Sessions recordings. The original group was a trio made up of A. P. Carter, his wife Sara Dougherty Carter, and Sara’s cousin Maybelle Addington Carter, who was married to A. P.’s brother Ezra “Eck” Carter. All three members of the Carter Family were born and raised in SouthWest, Virginia in an area called Poor Valley, Virginia (also known as Maces Springs) and were steeped in mountain musical traditions. Sara was the lead singer of the group – unusual for the time period – singing and playing guitar and autoharp, with Maybelle singing, playing lead guitar, and creating her own style of guitar playing known as the “Carter scratch”. A.P. Carter acted as songcatcher and band leader singing harmony vocals. In November 1927 and following months, the Victor record label released all six songs from the Carter Family’s Bristol Session recordings, and by the end of the 1930’s the group had sold over 300,000 records. As their popularity grew due to the success of the 1927 recordings, for years the group then recorded over 250 songs under the RCA Victor label, Decca and the American Record Corporation, had regular performances and saw great commercial success. But business slowed a bit during the 1930s as the Depression badly hurt consumer spending for things like record players and records. In addition to a collapsing economy, the Carters’ ability to tour was also hampered by the breakup of A. P. and Sara’s marriage, which was finalized in 1936, but the group still continued to record and perform together, even after Sara’s marriage to Coy Bays (A.P.’s cousin).

During the mid- late 1930’s, the Carter Family had a unique opportunity to take a job on the border of the U.S. and Mexico on the XERA radio station in Del Rio, Texas. The Consolidate Royal Chemical Corporation had contacted them with an offer to perform on their border radio station XERA daily. XERA was a 500 kilowatt border blaster, and the station’s location in Mexico had a powerful broadcasting signal with the ability to reach much of the U.S. with its broadcasting ability. With the possibility of reaching a national audience through XERA’s station, the Carter’s took the gig, which led to their next surge in popularity. This opportunity took them from their quiet country home in Southwest Virginia to living just across the Mexican border in Texas.

This is where this story gets odd: John Romulus Brinkley was the station manager at border radio station XERA and also the infamous “goat-gland doctor.” A “doctor” with specious credentials, Brinkley achieved fame and fortune in Kansas in the early days of radio by advertising surgical clinics where he performed xenotransplantations of goat testicles into humans. This supposed cure for male impotence was the foundation of a medical quackery empire worth millions of dollars. Chased out of Kansas and other states by outraged medical boards, he set up business across the border in Mexico, where the American limits on radio station power did not apply. Brinkley’s million-watt station XERA could be heard all the way to Canada and in 48 U.S. states.

a black and white image of a women and a man looking directly at the camera performing surgery on a person laying on a table with a white sheet placed over their body. The women is wearing a surgical hat, and round glasses. The man is to her right and also wearing a surgical hat and round glasses, and is holding a surgical tool in his hand and gloves — *“Doctor” John Romulus Brinkley performing a surgical procedure, date unknown. Image via LegendsofAmerica.com.*

In 1938, Brinkley’s Mexican based border radio station XERA featured obscure hillbilly acts who played on the Good Neighbors Get Together show. That show aired for four hours every night, and again the following morning. For six months out of the year in 1938 and 1939, the Carter Family and their children lived in Del Rio, Texas performing regular spots on the radio with the sessions being recorded. They were offered $75 a week – serious money at the time. The Carters agreed and took the opportunity despite A. P. and Sara’s uncomfortable domestic situation. During a radio segment in February of 1939, Sara dedicated a song, “I’m Thinking Tonight of My Blues Eyes” to Coy Bays who was living in California – shortly afterwards the two were married and Sara moved to California. Brinkley’s empire was eventually brought down by a series of lawsuits and a federal mail fraud prosecution. He died bankrupt and penniless in 1942.

At this point the next generation of Carters appear in our story: A. P. and Sara’s children Gladys, Janette, and Joe, and Eck and Maybelle’s children, Helen, June, and Anita. The Carters did not want to disrupt their children’s schooling, so only the youngest child, five-year-old Anita, went with them the first year. Anita was part of the act and, as you can imagine, the other children, living with relatives in Virginia and listening to XERA at night, got very jealous. In subsequent years all of the children made the trip and sang on the radio shows.

A black and white image of three young girls, Anita, June and Helen Carter. The Girls are singing and dressed in the same overall dress outfit with bows at their necks. Helen is standing, singing and playing a guitar, June is in the middle touching an autoharp on a table in front of her, and Anita is smiling and singing. — *Maybelle’s daughters left to right: Anita, June and Helen during a 1941 photoshoot with Life Magazine that was never published. Image from Life.com*

The border radio shows were a great success. Young listeners to these radio programs included future country stars like Johnny Cash, Chet Atkins, Tom T. Hall, Waylon Jennings, and Buck Owens.

Each show was repeated the following morning. In those days, this was done by recording the evening show direct to “transcription disks”, a special phonograph record intended for, or recorded from, a radio broadcast. Nobody at the time thought much of the historical value of these disks. One story has it that they were sold to a Mexican contractor who used them as roofing tiles. Miraculously, seventeen disks with seventy-eight songs from the 1939 season were discovered in a San Antonio radio station in 1963 and were issued as LPs. The LPs are long out of print, but the recordings are available for purchase on the Internet in CD and mp3 formats, and are also posted on YouTube. Take a listen to these recordings here via this YouTube playlist.

The recordings are interesting alternate takes of previously recorded Carter Family songs, but also include previously unreleased songs. The border transcriptions are a bit shorter than the Carters’ commercial recordings on the Victor label, typically two minutes rather than three minutes long (perhaps shortened to save room for commercials), but the performances are flawless.

The original Carter Family disbanded in the 1940s, still performing together on occasions. Maybelle Carter and her daughters began performing as a separate act as “Mother Maybelle and the Carter Sisters” featuring Anita, Helen and June and also performed under the groups original name “The Carter Family”, after 1960. The musical legacy of the Carter Family is one that continues to play an impact on musicians and fans of music to this day.

This blog post is a condensation of a colorful story told at much greater length in the XERA chapter of the excellent book about the Carter Family by Mark Zwonitzer and Charles Hirschberg, Will You Miss Me While I’m Gone. Another source was Ed Kahn, The Carter Family on border radio (University of Illinois Press 1996).

Radio Bristol Spotlight: The Dimestore Cowboys

Music & Songs Radio

August 24, 2023

Posted on August 24, 2023August 24, 2023 by Ella Patrick

Ella Patrick is a Production Assistant at Radio Bristol. She also hosts Folk Yeah! on Radio Bristol and is a performing musician as Momma Molasses.

Radio Bristol is proud to offer a platform to local and regional artists, artists who are often underrepresented on a national level yet deserving of that audience. In expanding upon Radio Bristol’s core mission we are pleased to bring you our latest series – Radio Bristol Spotlight. Radio Bristol Spotlight is a series highlighting top emerging artists in our region. Through interviews and performance we will learn more about the musicians who help to make Central Appalachia one the richest, and most unique musical landscapes in the world.

A few different names, 15 years of performing, and two lead singers later, The Dimestore Cowboys have re-emerged as a major player in the Tri-cities music scene. Originally known as JB Five and Dime, the band was started as a passion project between bass player and songwriter, Jason Shaffer and his long time singing buddy James Brashears. The two began playing at local watering holes and small venues around 2008, and shared lots of music and good times.

A promotional image of the group The Dimestore Cowboys. A group of six musicians are posing all facing the camera and looking into the lens. They are sitting on an old 1970’s style floral couch next to an old large TV with amps and other miscellaneous music equipment surrounding them. The lighting is moody and dark, no one is smiling. Members of the group are dressed in rustic western attire and dark clothing. — *The Dimestore Cowboys. Left to right: Jason Vaper, Julia Wilson, Torrey Warren, Jason Shaffer, Adilene Delgado, and Travis Bentley*

However, with the onset of the pandemic, the band came to a screeching halt causing the lead singer of the group to step down to refocus on work and family. The Dimestore Cowboys reformulated with a new line up adding frontman Travis Bentley, harmony vocalist and fiddle player Julia Wilson, Adilene Delgado on drums, lead guitarist Torrey Warren, and Jason Vaper on keys. Shaffer, the only original member remaining, has continued to be a driving force within the band and currently shares songwriting duties with Bentley. Shaffer was raised in Hiltons, VA just a few miles from the Carter Family Fold, and cites The Carter Family and old mountain music as a major inspiration for his writing. Travis Bentley grew up singing gospel music in church just outside of Bristol in Hickory Tree, TN and possesses a velvety twang that will make your hair stand on end. When not playing out, you can find Shaffer working at the well known local music store Campbell’s Morrell Music.

With their new line up in place the band has exploded onto the scene scoring high profile gigs opening for acts such as Mark Chestnut, Laid Back Country Picker, Tan and Sober Gentlemen, and is slated to be on the lineup for Bristol Rhythm and Roots this coming September. With two electric guitars, a Fender Rhodes organ, and fiddle in toe the band has some major grit with plenty of old school vibes. Shaffer says the talents of the new group and vocal harmonies between Travis and Julia have been taking the band to the next level. In 2022 Dimestore Cowboys released a new album aptly titled Let’s Try This Again recorded mixed and mastered by Mike Stephenson at Classic Recording Studio in downtown Bristol, VA.

A stand out track from the new record, Appalachian Troubadour displays major radio playability dealing with themes of classism in Appalachia, spirituality, and the pressure of social norms. Listening to the new record you can’t help but feel like you’re hearing the next big band to emerge from the growing country music scene in the region which has recently birthed major talent such as 49 Winchester and Amythyst Kiah. Listeners can also hear influences from bands such as The Drive By Truckers and American Aquarium. You can listen to their latest release by visiting The Dimestore Cowboy’s bandcamp.

Currently the group is working on a second release which is due out this coming Fall, and are looking to tour more extensively. This summer has proved to be busy for The Cowboys, with regional festivals, theater shows, and outdoor events. Follow their music and tour schedule by visiting their Facebook.