Daniel Mullins, Author at Bluegrass Today

Shawn Camp on Guy Clark

Recently, the American music industry was rocked by the loss of Guy Clark. The iconic singer-songwriter passed away at age 74. The author of such classic songs as Desperadoes Waiting For A Train (The Highwaymen), The Last Gunfighter Ballad (Johnny Cash), Texas Cookin’ (George Strait), New Cut Road (Bobby Bare), and more, Guy Clark was a staple of the Nashville music scene for decades, and a mentor to so many of today’s most popular songwriters, including Shawn Camp, Rodney Crowell, Darrell Scott, and more. Hailing from the Lone Star state, Clark had the ability to simply state human emotions in a way that was both simple and profound. The literary depth of his songs is truly remarkable, and worth absorbing by any music fan, regardless of background.

Surprisingly, several of Guy Clark’s songs have been turned into bluegrass hits. Here is a small sampling of the Guy Clark songs that have been recorded “bluegrass-style.”

Dublin Blues
Anyhow, I Love You
Sis Draper
Heartbroke
Out In The Parking Lot

To further grasp his impact, here are just a few of the artists from bluegrass and country who have recorded Guy Clark’s songs.

Ricky Skaggs
Earl Scruggs
Shawn Camp
Bryan Sutton
Vince Gill
Johnny Cash
Bobby Bare
Newtown
Darrell Scott
Tim O’Brien
Rodney Crowell
Shotgun Holler
Steve Earle
Willie Nelson

The reigning IBMA Male Vocalist of the Year, Shawn Camp, and Guy Clark were extremely close. Clark was a mentor and hero of Camp’s, and they remained great friends over the past couple of decades. Camp even produced Clark’s final album, the Grammy award-winning My Favorite Picture of You, as well as the Americana Music Award-winning tribute album to Guy Clark, This One’s For Him. Last week, Shawn Camp joined Clark’s family and friends, including Rodney Crowell and Steve Earle, in delivering Clark’s ashes to New Mexico, to be used (per Clark’s request) in a commemorative sculpture by Clark’s friend, Terry Allen.

I was grateful to chat with Camp regarding his relationship with the late, Guy Clark.

D: Unfortunately it is with the heavy heart that I’m talking to you today, because one of your dear friends has passed away, Mr. Guy Clark. You guys were very close weren’t you?

S: Yeah, we really were. He just was a mentor to me and a really good friend. I don’t know. He was a smart guy and just an artist. A real dyed in the wool, true Texas style artist. He knew how to get it done.

D: When did you first meet Mr. Clark?

S: When I got on Warner Bros. which was ’92, they said, “Is there anybody you’d want to write with that you don’t necessarily work with yet that we could hook you up with?” I was young and naive enough to think that I could just shoot for the stars and I said, “Guy Clark.” And that’s the only name I gave them. Before I realized it, I had a writing appointment to go to Guy’s house.

We wrote a song called Cow Catcher’s Blues. That was really our initial meeting. It’s a song that kind of bridges the gap between Texas and Arkansas. So, it had references to both Texas and Arkansas.

We hit it off, and after that I was gone a bunch on the road. I wasn’t around him for a year or two, and I still didn’t really know him and I didn’t want to bother him. I was just a kid, and I was on Warner Bros. They just kind of pushed me over there on him. I went over to — my buddy, Jim Rooney, I went to his wedding to his wife, Carrol, in ’95 or ’96. Guy was there smoking a cigarette and said, “When we gonna write another song?” I said, “Whenever you’re ready.” He said, “Come on!” So, I called him and started making appointments and went over there hanging out with him in his workshop.

He did a lot of that with young writers, and he was always eager to meet young people that had new ideas and had enough grit in them to want to dig in and do it. They had an excitement about them that I think he fed on. Seemed to be the way he worked. Every day, if he was able, he was working with someone or co-writing. I don’t know when he started doing the co-writing thing, but I know he did most of his early work solo. It kind of evolved from there. He was a master.

D: He was such a great mentor in Music City to guys like you and Rodney Crowell, Emmylou Harris. It’s so encouraging hearing him want to spread his wisdom with the generation coming up behind him.

S: I guess he did. He was never anything other than Guy Clark. He was always as real as you can imagine. His songs and his approach to performing those songs, it was just like he was sitting in your living room. So, he didn’t change what he did when these new kids would come through. He just did what he did, and the new kids would soak something up from that.

D: When did you just first fall in love with Guy’s songwriting?

S: I remember I started playing guitar when I was five and mandolin at about seven. When I was 15 I started playing fiddle. First six months of me playing fiddle, I ended up going to work playing fiddle. Must have sounded horrible, but fiddle players were hard to find in Arkansas. Haha! I remember when I was about 15 and had just started picking up the fiddle, I was standing on a step ladder with my daddy, we were remodeling a house, putting sheet rock up in the ceiling. We had a radio in there and Bobby Bare’s New Cut Road came on the radio. That was about 1980-81, and that thing just blew me away, and I immediately figured out who wrote the song, and Guy Clark was the one who wrote it. After that, I was aware of Home Grown Tomatoes on the airwaves, and he just kind of seemed to morph into my life and I don’t even know how. When I moved to Nashville In January of ’87, that’s when I really soaked it up more. Then, before I knew it, here we are.

D: You probably never would have been able to dream of being able to co-produce his last album would you?

S: No, I couldn’t have planned that. I don’t even know how it happened. I just really feel blessed to have been on the earth the same moment as Guy Clark was. He was a powerful, powerful cat, you know? Just a master. He’s one of the greatest writers that I ever heard of. You can put him up next to anybody.

D: What was the experience like being in the studio with Guy and producing his last album, My Favorite Picture of You?

S: Well, Verlon Thompson was right there through the whole thing. Verlon was one of those guys that was his sidekick. Probably his best friend, they worked together for 20 years on the road. He really should have been co-producer on there as well, but he wouldn’t accept co-production credit. He claimed he wasn’t there all the time, but he brought a lot to the table. I think with Verlon being there we pulled a lot out of Guy.

Guy was sick at the time and had been going through chemo. We just put it together and actually in the end, Guy’s vocals, to me, he sang better than he had in the last ten records. His voice sounded so right. It was aged to perfection. The delivery and sincerity and tone in his voice on that last record was what sold that record, you know?

I don’t know how much different they were than the other records; all his recordings had a common thread going through them. The band almost sounds similar from records from ’92 and ’93 and all the way up to the last one in a way. They have kind of the same musicianship in the band, even if it’s different musicians. I don’t know what made that record stand out more other than just Guy himself, maybe just finally ripened to perfection.

D: Like a home-grown tomato?!

S: Exactly.

D: That just had to be a surreal experience to be behind the board with the master laying doing such a masterful album…

S: Yeah, it was really cool. Chris Latham is co-producer too and I mean, Chris is an amazing engineer and a great fiddle player too. There are times on that record Chris would play string parts; he played violin parts on Guy’s records on occasion. He just put it together like magic. He’s a real great engineer and a great musician.

D: What was it like to co-produce the award winning tribute album to Guy Clark? How did the idea come about, and how were you able to grab such all-star talent?

S: I tell you what. We had to shut the door on droves of great artists that wanted to come be a part of that album because we ran out of budget and ran out of space. It started out just being one album, and it turned into a double album. Thirty-three artists are on that album. Tamara Saviano, the co-producer, she’s the one that brought me in on that album to do the band leader thing or whatever. It just kind of morphed into me being a co-producer. It was great.

Everybody wanted to be a part of it, because everybody loved Guy Clark. If you don’t have that album, do yourself a favor and go get it. It’s packed with really cool versions of Guy’s songs. We’ve got Kristofferson doing Hemingway’s Whiskey and Willie Nelson doing Desperadoes Waiting for a Train. I don’t even remember who all. Roseanne Cash, Lyle Lovett, Shawn Colvin. I’m blanking out. It’s just a great, great record. Steve Earle did The Last Gunfighter Ballad.

D: Before I let you go, Mr. Camp, what is your favorite Guy Clark song, and what made Guy so different than all the other singer/songwriters?

S: Man, I tell you what, I just think Guy was such an individual artist in a league all his own. There was never anyone who could understand how amazing that guy was. He’s as unique as a fingerprint. He built guitars that are like dream guitars. [He put] his autograph on the label in the guitar, then he’d stick his thumb, or cut his thumb and he’d use that thumb print and that would be the label inside his guitar. He put that label on anything he ever did, whether it was a painting…he was an amazing painter. He just had an eye for it. He knew who he was and how to get out the best piece of art that he was working on. He knew how to make it happen.

Hopefully, he left a little of that in us. As far as a favorite song? Probably Desperadoes Waiting on a Train. There’s so many. There’s all just babies. They’re all individuals. Listen to Randall Knife, that’s one of the best ever. Listen to The Last Gunfighter’s Ballad, anything. You listen to Home Grown Tomatoes, it has it’s place; it is a great song. Everything he did seemed to be the best that it could be. That’s all I know.

Blue Highway says “Thank You!” with One-of-a-Kind Fan Experience

Blue Highway has raised the bar in bluegrass originality ever since they first burst onto the scene in the 1990’s. Well, after their upcoming fan appreciation event, they may also be known for raising the bar in delivering the band’s fans with the ultimate experience.

The award-winning, Blue Highway will be hosting their first ever “Fan Appreciation Concert” on Saturday, April 30th, at Emory & Henry’s McGlothlin Center for the Arts in Emory, VA. The luxurious, $20 million venue welcomes Blue Highway as its first outside concert.

This will truly be the ultimate Blue Highway experience. When fans purchase their tickets, they will also be voting for which songs will appear on the band’s setlist. Any song from the band’s ten albums are fair game! In addition to truly being an all request show, a handful of lucky fans will receive the honor of getting to introduce their favorite Blue Highway songs on stage.

The event will completely immerse fans in the world of Blue Highway. Fans will choose whether they would like to sit in sections such as “Marbletown” (Front Row), “V-Bottom Boat” (Orchestra), “Sycamore Hollow” (Mezzanine), “Keen Mountain” (Balcony), or “In The Gravel Yard” (Floor Box Seats), all Blue Highway songs. All fans will also be eligible to win many special door prizes throughout the concert, including some one-of-a-kind Blue Highway items.

There are special lunch and dinner tickets available as well, featuring a gourmet all-you-can-eat buffet. Tickets will be available tomorrow, March 11, at 10:00 a.m. on the band web site.

Fans can also participate in workshop events with the band the day preceding the event, on Friday, April 29th.

The Blue Highway Fan Appreciation Concert includes a matinee and an evening performance. Each performance will include two one-hour sets with an intermission. For tickets and more information, be sure to visit blue highway.com .

This special event will be a first of its kind in the band’s twenty-two year tenure, and I, for one, am very excited about this ultimate Blue Highway experience!

Unofficially Announcing the 2015 Bluegrass Person of the Year!

Since 1927, Time magazine has named bestowed the honor of Person of the Year (formerly Man of the Year) to an individual, group, or idea that “for better or for worse…has done the most to influence the events of the year”. Winners have included presidents, queens, and dictators, alongside soldiers, activists, scientists, and even YOU! (Yes, YOU won Person of the Year in 2006. Be sure to add it to your resume.)

The allure of this incredible honor, caused me to ponder: why don’t we name a Bluegrass Person of the Year? The title will be placed on the individual or group who made the biggest impact on the bluegrass world over the past year. Keep in mind, this is all a matter of opinion (my own), and I would love to hear your thoughts and suggestions in the comments below.

Honorable Mentions

The Cox Family

After having been largely absent from the music industry at large over the past fifteen years, The Cox Family made a triumphant return this year with the release of their latest album, Gone Like The Cotton. The record was eighteen years in the making, and for me, was truly the “feel good” release of the year. While the album would not be mistaken for bluegrass, the family harmonies and simple purity of their music reminds everyone why they were one of the top bluegrass bands of the nineties. Just listen to the striking beauty of the album’s title track, and you’ll know why the music world has been abuzz since its October release. The Cox Family’s return has excited everyone, and bluegrass fans are anxious to see what 2016 may hold for the musical family from Cotton Valley, LA.

Paul Schiminger

After one of the tumultuous periods in the history of the International Bluegrass Music Association, Paul Schiminger accepted the position as the organization’s Executive Director in 2015. Charged with healing the association after an exhaustingly bitter few months, while being severely understaffed, Paul rose to the occasion. Tackling this daunting task with confidence, poise, and dignity, he weathered the storm in Raleigh (quite literally as a hurricane forced the Wide Open Bluegrass festival to move indoors), and the organization came out better for it. His charge to IBMA’s members to not just “buy a book, but write a chapter” spoke to all. Well done, Paul.

Dailey & Vincent

What a year it has been for Dailey & Vincent! Dubbed “The Rockstars of Bluegrass” by CMT, D&V took their brand to the next level this year. Capitalizing on the energy and excitement of their popular live shows, the band released a live CD, DVD, and PBS television special in the first half of the year, all of which was merely a precursor to their biggest announcement: the premiere of The Dailey & Vincent Show on RFD-TV. The program has featured a variety of guests from the world of bluegrass, country, and Gospel music, including Vince Gill, Dan Tyminski, Steve Wariner, and Flatt Lonesome. The show has already developed a loyal following, and is scheduled for a star-studded Season 2 in 2016. Thanks to Dailey & Vincent for delivering bluegrass entertainment nationwide every weekend on RFD-TV.

Chris Stapleton

While he no longer pitches his tent exclusively in the bluegrass camp, Chris Stapleton has still brought much attention to the genre in 2015 due to his breakthrough year in country music. After sweeping the CMA awards, winning Best New Artist, Best Male Vocalist, and Album of the Year, Chris Stapleton instantly became a household name. His album, Traveller, shot to number one on iTunes and Billboard, and his performance with Justin Timberlake made headlines. (I would assume he holds the distinction of being the only bluegrass artist to perform with JT?)

His success generated a renewed interest in bluegrass, and not just in his former band, The Steeldrivers. The music industry has taken notice to Chris’s bluegrass roots, resulting in some country artists to strip it down and (hopefully) begin to steer away from the pop-infused bro-country drivel. Heck, I even heard Chris’s song, Parachute, on ESPN last night while watching college football, a nice change of pace from Luke Bryan (who, ironically, happens to be one of Stapleton’s biggest fans). Only time will tell if Chris will become this generation’s Ricky Skaggs by coming from bluegrass, dominating country, and ushering in a new new traditionalist movement. One thing is for certain though, it only helps bluegrass to cheer Chris on in his newfound popularity. Here’s to Chris sweeping the Grammys, with his nominations for Best Country Album, Best Country Solo Performance, and Album of the Year. (The dude is straight killin’ it!)

J.D. Crowe

J.D. Crowe played his banjo publically for the last time in 2015. He had retired from maintaining a touring band a few years ago, but had maintained a light schedule of special event performances since 2012, primarily with Doyle Lawson and Paul Williams. However, per doctor’s recommendations, J.D. was told to enjoy a full time retirement beginning this past summer. A member of the Bluegrass Hall of Fame and arguably bluegrass’ most influential banjo player since Earl Scruggs, J.D.’s legacy is one of the largest in bluegrass. His hard-driving banjo helped define the sound of Jimmy Martin’s Sunny Mountain Boys, and as a bandleader, he helped shape contemporary bluegrass. Forty years after the release of one of (if not the) most influential albums in bluegrass history, his 1975 release J.D. Crowe & The New South is still one of the most talked about and most beloved albums in bluegrass (and about the only one known by its stock number: Rounder 0044).

How fitting that four decades after the album that changed bluegrass was released, J.D. Crowe would go out still on top! He retired with nothing to prove, and today’s artists can learn from J.D. how to retire gracefully and preserve your legacy. There is a false assumption that there is dignity in legends performing even after time and health conditions have severely taken their toll; unfortunately, these circumstances all too often result in a very disheartening experience for longtime fans and an inaccurate representation of an artist’s true impact to those who are new to the music. We should all respect J.D.’s choosing to step away and leave us still wanting more! Long live, J.D. Crowe!

Runner-Up

Mountain Faith

2015 was the year that the rest of America caught up to the bluegrass world; we had long known of the immense talent which Mountain Faith possessed, but what a thrill it was to see America fall in love with this youthful North Carolina band. Their run on America’s Got Talent was one for the ages, making it all of the way to the semifinals, and bringing a newfound respect to bluegrass from the nation-at-large along the way.

Weeks after their elimination from the country’s biggest talent show, Summer McMahan won a Vocalist Momentum Award at the IBMA’s in Raleigh, while the band was nominated for Emerging Artist of the Year. Mountain Faith has developed a sound of their own, that is both fresh and appealing to fans of all ages and musical backgrounds, and is well-represented on their new album, That Which Matters. Their stellar 2015 was topped off by performing the national anthem at last week’s NFL battle between the Carolina Panthers and the Atlanta Falcons, as well as a halftime performance, a rare treat for any band, but especially for a family bluegrass band! Easily the most-talked about and most-watched bluegrass band of the year, Mountain Faith has represented bluegrass with class, dignity, and professionalism on a national stage this past year, and we are all the better for it.

2015 Bluegrass Person of the Year

Larry Sparks

2015 was the year of Larry Sparks. More than five decades after he first began his bluegrass career with The Stanley Brothers, Sparks is still “the man.” Being able to see a legend of his stature, with no signs of slowing down any time soon, is remarkable.

What helped Sparks dominate bluegrass in 2015 is his current lineup of the Lonesome Ramblers. He has gathered together a stellar group of young talent around him, all of whom are hungry to succeed and eager to learn from a bluegrass icon. Not only have the latest rendition of the Lonesome Ramblers properly accentuated the Sparks sound, but they have Larry excited and ready to outshine these talented young whippersnappers, and show them that he has still got it because he’s never lost it.

Few living legends still generate the excitement and allure at a bluegrass event that Larry Sparks does. Everytime he is on stage, you can bet that the first few rows will be filled with artists watching one of their heroes. When he steps off stage, the first folks asking for pictures aren’t screaming fans (although there are still plenty of those), but modern luminaries who realize how great he still is.

What an honor to be in attendance at this year’s IBMA awards show, and to see Alison Krauss induct Larry Sparks into the Bluegrass Hall of Fame. To see the the most Grammy-awarded female of all time present one of her biggest heroes and inspirations with bluegrass’ highest honor provided one of the most poignant moments in the award show’s history. Alison then joined Larry and The Lonesome Ramblers on stage for a powerful medley of some of his signature songs, and in true Sparks fashion, there was no question who was in charge. He brought the Duke Energy Performing Arts Center to its feet, and it was the most talked about moment of this year’s show. Many young folks left the theater blown away, as they had never been succumbed to the power of Sparks before. “That was amazing!” “Why have I never seen him before?” “All I can say is, ‘Wow!’” were some of the many phrases uttered by fans exiting the awards show, and those thoughts maintained throughout the weekend.

Few artists of Sparks’ generation are still with us, and even fewer are still performing on a regular basis. To be able to see Larry Sparks perform at this high of a level and generate this much buzz, five decades plus after he first stepped on a bluegrass stage, is remarkable. A newfound excitement and respect around Sparks and his music permeated 2015, and it culminated with his beautiful Hall of Fame induction.

There was really no other choice for 2015 Bluegrass Person of the Year.

Cherryholmes & Friends – The Show Must Go On!

After the unfortunate announcement yesterday that the Bluegrass Island Festival in Manteo, NC would be canceled for the rest of the weekend, the Cherryholmes had a decision to make. Many fans were anxiously awaiting one of the family’s few reunion shows since they disbanded in 2011, and four of the six family members had already arrived in the area, looking forward to reuniting for the audience. Well, this is show business after all, so “The show must go on!”

Skip, Cia, Jere, and Sandy Cherryholmes will be performing a Cherryholmes & Friends Show in Garner, NC at Lorraine’s Coffee House & Music on Saturday for all of the fans who came to Outer Banks in order to see the talented family. Unfortunately, BJ and Molly Cherryholmes will not be performing, as they are out on the road with Dailey & Vincent and Mountain Heart respectively, and travel plans had not placed them in NC before the unfortuante weather.

Skip Cherryholmes, the family’s stellar guitarist and current member of Sideline, offered up these details about the show.

Cherryholmes regrets to announce that the Reunion show scheduled for the Outer Banks Bluegrass Island Festival this weekend has been cancelled due to drastic weather. The entire Cherryholmes Family sends out their apologies to everyone that made plans to attend the show. Things are in the works to try to reschedule the reunion, and we appreciate everyone’s patience while we work out all of the details. We will get the word out as soon as something is confirmed. In the meantime, we would like to announce that at least 4 of the 6 family members, along with some special guests, will be doing a Cherryholmes and Friends performance at Lorraine’s Coffee House & Music in Garner, NC Saturday night, and invite everyone to come for an evening of family fun and music! Thank you so much for your understanding, and a huge thank you to Corey Hemilright and the entire Outer Banks gang for their hard work. Prayers go out to the team as they get all of the attendees safely on the road and close things down before the weather sweeps them over.

For folks who had planned on attending the Outer Banks Bluegrass Island Festival this weekend, Cherryholmes & Friends seems like a fun alternative! And being so close to the Raleigh area, perhaps folks who make it into town early for IBMA week will be able to catch this fun and memorable show.

A Day In The Life: Flatt Lonesome’s Opry Debut

It is the ultimate achievement for anyone who plays bluegrass and country music: to play the Grand Ole Opry. The Grand Ole Opry is not only “The Show That Made Country Music Famous,” but is where bluegrass a as a genre was born in the mid-forties. To be able to step into the historic Opry circle where Bill Monroe stood seventy years ago, and bring one’s music to a packed Opry house and millions of listeners on “The Air Castle of the South,” WSM AM650 and wsmonline.com, is as big as it gets for our kind of music. For one young band, this dream became a reality this past weekend.

Flatt Lonesome has been one of the hottest bands in bluegrass since they burst onto the scene just a few years ago. After being named “Emerging Artist of the Year” at last year’s IBMA Awards Show, the band has had a very memorable 2015, including receiving two 2015 IBMA noms for Vocal Group of the Year and Album of the Year (for 2014’s successful, Too), and the announcement of their third album, Runaway Train, which will be released October 2nd. Their whirlwind of a year came to a head last Saturday, as the band made their long-awaited Opry debut. Here is their account of the day their dreams came true.

——

Saturday, August 29th, 2015

7:30 a.m.

Paul Harrigill wakes up, looks at the clock, and decides to go back to sleep. Today was a big day, and he would need his rest.

9:00 a.m.

Paul Harrigill wakes up, for real this time.

9:30 a.m.

Michael Stockton feels as if he is nine years old and it is Christmas morning. The only difference is that he wanted Santa Claus to bring him a toy army set for only a few months, and he has been dreaming of playing the Grand Ole Opry for his entire life. For the rest of the day, he would be getting waves of different emotions. He would be feeling fine for a while and not nervous. Out of the blue though, the magnitude of the day would hit him again, and he would be nervous for a while, before, once again, being back to normal for a while. This roller coaster ride would continue all day long.

9:45 a.m.

Dominic Illingworth is getting a haircut in Murfreesboro, TN. He knows he has to look sharp for his big day! It’s still hard to comprehend that he is actually having a conversation with his hairdresser about Flatt Lonesome getting to play the Grand Ole Opry! As a fan and follower of the band, of course his hairdresser is very excited for him and the band. Dominic is also happy that his girlfriend, Samantha, was able to make the trip from Ohio to join him for this once-in-a-lifetime opportunity. He knew that being able to spend the rest of the day with her, would calm any nervousness he still had.

10:00 a.m.

Buddy Robertson is eating breakfast at one of the most luxurious hotels in the world. Later today, Buddy; his twin sister, Charli Robertson (fiddle); older sister, Kelsi Robertson-Harrigill (mandolin); brother-in-law, Paul Harrigill (banjo); and two best friends, Michael Stockton (dobro) and Dominic Illingworth (bass) will be making their Grand Ole Opry debut, a dream all six of them have held since they were children. While he was eating breakfast at the Opryland hotel surrounded by his family, it felt as if time was dragging along as his mind kept thinking about what he would be doing later that day.

10:30 a.m.

Paul Harrigill and his wife, Kelsi, are spending the morning at their Murfreesboro apartment with Paul’s parents, who had made the trip from Louisiana for the big day. Although it seemed like a normal Saturday morning with the eating of breakfast and changing of instrument strings, today was definitely no ordinary Saturday. Kelsi is sitting on the couch texting her best friend, Kristen, whom she so desperately wishes would be with her on her big day. Before too long, there is a knock on the door, something which the young couple is not accustomed to on a Saturday morning. Paul, with hair standing straight up and pajamas turned in to shorts, answers the door. It was Kristen! Kelsi’s sneaky snake sister, Charli had worked out a top secret plan for Kristen to surprise Kelsi on the most important day of her career! After smiles, hugs, and lots of laughs, the girls begin helping Kelsi prepare for the big day. Kristen would be the sole reason Kelsi would be able to “keep it together” in spite of the nerves and excitement leading up to the big night.

11:00 a.m.

Charli Robertson is on the way to get a spray tan. She has been batting the idea around in her head for the past day or so, and she is finally on the way to get one… maybe. Too worried about how her legs might look against her dark dress on the Opry stage tonight, she thinks a spray tan may be just the trick. She has been thinking about this night non-stop for over a month, and it was just a few hours away. She still couldn’t decide whether she was going to be nervous or not, just like she still couldn’t decide whether she was actually going to go through with this spray tan idea or not. She ultimately decided against the spray tan, as horrific images raced through her mind of people thinking there was something wrong with her if for some reason this brilliant idea didn’t turn out. A much more suitable replacement to put her mind at ease would be going to Starbucks for her beloved coffee. That always fixed everything. She knows this for sure.

3:00 p.m.

Buddy Robertson and his family are at the Bass Pro Shops at Opry Mills. An avid fisherman, one would assume that Buddy would be like a kid in a candy store, especially considering that it was his first time in this temple to all things bass-fishing. For one of the few times in his life, Buddy actually is having trouble focusing on fishing; his first time on the Grand Ole Opry stage supersedes any inaugural trip to Bass Pro Shops. His mind was far removed from the busy Opry Mills store, as all he could do was think about what would be happening later that night.

3:30 p.m.

Paul, Kelsi, and company begin getting ready for the big night. They were going to change clothes at the Opry, so all they were gathering up everything they would need for the evening and checking things off of their list. Paul is waiting on Kelsi to finally give up the bathroom, so he can shower (“Story of my life…” he thinks to himself). While waiting, he sits down and begins changing the strings on his banjo and guitar. He feels so honored to be able to play his dad’s Martin guitar on the Opry stage tonight.

5:45 p.m.

Dominic and his girlfriend, Samantha, are on the way to the Opry. It was finally beginning to set in: in a few hours, he would be playing on the Grand Ole Opry. The nerves were starting to kick in. Thankfully, he had Samantha with him. She start calmly talking to him and telling him how he was going to do great, and was able to calm him down and set his mind at ease.

6:00 p.m.

Buddy and his parents arrive backstage at the Opry before everyone else. He knows he was supposed to get there at 6:30, but he couldn’t help it. He had been dressed for a couple of hours already, and he and his dad had already gotten coffee; he was running out of things to occupy his time. After finding the dressing room Flatt Lonesome had been assigned for the evening, he walks out onto the historic Opry stage. The auditorium was empty, but the experience was still humbling just the same. He stands in the Opry circle with his parents, thinks about all of the hard work he and the band had put in over the years, and cried.

6:30 p.m.

Paul and Kelsi arrive backstage at the Grand Ole Opry. They pass the security guards, and are still trying to process that their names were on a list of performers for the night. As they pull into the parking lot, the reality of what Kelsi was about to do began to set in… She couldn’t hold back the tears any longer. Paul sat with her and held her hand. “I need just a minute,” she says. These are tears for years of dreams and hard work becoming reality, tears of humility, honor, excitement, nervousness and so much thankfulness! She and Paul pray together before getting out of the car — thanking God for all His wonderful blessings. They ask for grace; for courage to walk out on the same stage as so many of our heroes had done; and they, once again, thanked Him.

6:40 p.m.

The band is all gathered in the parking lot backstage at the Grand Ole Opry, surrounded by friends and family. After gawking at the “Grand Ole Opry Artist Entrance” sign (“I’ll never get tired of that sight!” thinks Kelsi.) the band walks backstage, signs in, and heads to dressing room #10 — the “Friends & Neighbors” room — where they found a bouquet of flowers from some dear friends, congratulating them for this major accomplishment.

6:55 p.m.

After setting his stuff down in the dressing room, Michael heads to the Opry stage. The magnitude of what he was about to do really hit him hard for the first time as he walks out onto the stage for the first time as an artist. The curtains are closed, and there are tech people running around like crazy preparing for the show. He looks around the stage, marveling at how big it is, how much gear is on the stage, and how many people had a hand in the production of the show of which he was about to part, for the first time.

7:35 p.m.

As a way to loosen up, calm the nerves, and have some fun, the band gets out their instruments and begins jamming in the dressing room. After practicing one of their new songs which they will be performing tonight (You’re The One), they tear into one of their favorite Del McCoury songs, Rain and Snow. The young band’s energy causes a small crowd to gather outside of their open dressing room, many of whom are taking photos and videos with their phones. Even in the midst of new country, fresh bluegrass will always be welcome at the Grand Ole Opry.

7:50 p.m.

Flatt Lonesome’s dressing room jam still continues, and catches the ear of Charles Esten, star of the hit television drama, Nashville. The actor, who has appeared on not only Nashville, but on Whose Line Is It Anyway? and The Office, listens to the band tear into Flatt & Scruggs’ Sleep With One Eye Open, and smiles for a while, before being ushered into the dressing room for a photo op. He shakes hands with the band, congratulates them, and shares some words of wisdom before telling them to get back to pickin’!

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Aubrey Holt Update

Aubrey Holt is, without a doubt, one of the greatest songwriters in the history of bluegrass music. That is an undeniable fact.

Aubrey rose to prominence alongside his brothers, Tom and Jerry Holt; his uncle, Harley Gabbard; and friends, Paul “Moon” Mullins and Noah Crase as The Boys From Indiana. The Boys From Indiana were one of the premiere festival acts of the seventies and eighties due to their energetic stage shows, tight harmonies, and Aubrey’s original songs. Atlanta Is Burning, arguably the band’s most enduring hit, has become a bluegrass standard.

Aubrey’s songs have been recorded by the likes of Blue Highway, The Grascals, Joe Mullins & The Radio Ramblers, Michael Cleveland & Flamekeeper, Dry Branch Fire Squad, Vince Gill, Rhonda Vincent, Feller & Hill, and more. Below is just a small sampling of the Aubrey’s songwriting credits.

Atlanta Is Burning
Feeling Blue
Good Time Blues
Headin’ South
Here Comes Polly
Hey Baby
My Night To Howl
Sad Wind Sighs
We Missed You In Church Last Sunday
When The Warden Turns The Key
You Can Mark It Down

After a very successful run, The Boys From Indiana retired in the nineties. However, Aubrey’s son, Tony Holt continues the band’s style of bluegrass with his own band, Tony Holt & The Wildwood Valley Boys. Aubrey had been traveling with The Wildwood Valley Boys for the past several years, until health complications earlier this year forced him to retire full time. Aubrey’s health issues have included congestive heart failure and kidney problems, resulting in a mound of medical bills.

However, our bluegrass community came through in a BIG way to help Aubrey this past weekend. The Bluegrass Benefit for Aubrey Holt was this past Sunday, August 9th, at Turfway Park in Florence, KY. The all-star benefit for this bluegrass legend featured Rhonda Vincent & The Rage, The Grascals, Michael Cleveland & Friends, Joe Mullins & The Radio Ramblers, Feller & Hill, and The Wildwood Valley Boys all celebrating the music of Aubrey Holt in an effort to raise money to help with medical expenses.

The best news is, Aubrey was able to attend! Aubrey is doing better and is in good spirits. His nephew, Tom Feller of Feller & Hill, passed along this update after the benefit.

The show was an overwhelming success! The helpful staff and the beautiful weather added to that success. The event raised $10,600 on Sunday. Aubrey’s wife informed me that they have also received more that $3,500 in private donations and the Give Forward campaign has received over $1,300, at last glance. It will remain open for donations until the beginning of September. Aubrey and Thelma both had tears of joy when I presented them the earnings, and they asked me to thank as many people as I could for all the donations and support in their time of need. Special thanks once again to all the artists who generously donated their time and efforts. We were blessed with a first class lineup, and we are so thankful for such a wonderful day. Terri Hudson was the winner of the Nichols Road guitar donated by Bruce Clark and the raffle raised $1200 towards the cause

Wonderful news! Thanks to all who came out to support Aubrey Holt, proving that, once again, the bluegrass community is the most supportive and most generous in the entertainment industry.

Life-changing is an Understatement: Flatt Lonesome on St. Jude’s and the MACC

The Musicians Against Childhood Cancer [MACC] festival is next week in Columbus. The festival is a benefit for St. Jude’s Children’s Research Hospital, and has raised over $800,000 to help fight cancer. Darrel and Phyllis Adkins began the MACC after their daughter, Mandy Adkins, passed away. Artists donate their time to play the MACC, in order to help raise funds for St. Jude’s Children’s Research Hospital.

Reigning IBMA Emerging Artists of the Year, Flatt Lonesome was blessed to tour St. Jude’s Children’s Research Hospital with Darrel and Phyllins Adkins last year in order to gain a better understanding of what the MACC is all about. This is an account of their experience, and helps explain why the MACC is so much more than a music festival.

Michael Stockton [MS]: The festival itself is special obviously for the biggest reason: what it’s all about, where they’re donating our time for as worthy of a cause as you’re going to find. But at the same time, everyone’s there; all these musicians that are usually out traveling, playing their shows, and then getting back on the bus and leaving to go to another show. Most of the time, everyone stays there for that whole week, so you kind of get almost like a mini-IBMA, mini-SPBGMA.

Kelsi Harrigill [KH]: You see so many different people and play music together.

MS: It’s kind of like a reunion. So it’s special because the cause is awesome. And then the people that run the festival are so awesome. Darrel and Phyllis are seriously some of the best people ever.

KH: They’re so first class about everything they do.

MS: It’s just like all around — because of the cause, everyone stays there, so it’s a really cool atmosphere.

Dominic Illingworth [DI]: The people come out and support it.

KH: I don’t think any of us realized how important it was, and how big of an effect it had on the kids at St. Jude’s until we got the opportunity to go visit [St. Jude’s] with Darrel and Phyllis. That was a life-changing experience.

MS: Well, I expected to go in there, and this is something that I’ve heard other people that have gone to St. Jude’s say: I expected to go in there and just carry around a box of tissues and cry my eyes out all day. Which I did at some point; some places you’re just — you just can’t believe how sad it is, what’s going on. But then in other places you see these kids over here sitting around playing music with their music director, and they’re having what looks like the time of their life, and they’ve got terminal cancer.

Paul Harrigill [PH]: It’s one of the happiest places you can go to in your life.

MS: If you’re not careful, some kid’s going to run around the corner on a tricycle and run your leg over.

Buddy Robertson [BR]: But then you’ll walk around the corner and see some dad holding his kid crying.

KH: Life-changing is an understatement.

PH: Then, the facilities for the families that have sick kids that are going to have to be at the hospital all the time. The housing is unreal.

MS: That’s another thing that kind of hit home with me, too, is seeing those houses, and the different people that I guess are a lot bigger than us; like, Brad Paisley has a room that he paid for in one of the houses. It’s kind of like a trickle down effect because — not that we’re in a position to help a lot of people, but kind of almost in the same direction when we do these workshops with kids at festivals and stuff. It’s a little easier for me to be like, okay, let’s help these kids; instead of being like, God, I have to teach a workshop this morning. When you see all this stuff that’s going on, to help other people — it’s kind of easier for me to do it.

KH: We were able to take a tour with the lady who was one of the scientists that actually works on the specific type of tumor that Darrel and Phyllis’ daughter had.

MS: She was awesome. Probably the smartest person I’ve ever been around.

KH: She was the most pleasant person. When you think of a woman who’s a scientist, you think of that girl on like NCIS with the goofy glasses and the pigtails, you know?

MS: She wasn’t, though.

KH: She was pretty, and just nice and pleasant. She talked about her son all the time, and she gave us a tour of the entire place. Walked us through every bit of it. We were walking through some of the places with Darrel and Phyllis, and they’d stop and have a story around every corner. We walked into the school that they have at St. Jude’s. When the kids find out they’re going to be there for months at a time, they work with the kids’ previous schools, and they get them on track to where they were when they left. They have individual teachers for some of them who are aggressively sick, and they have other classrooms. They said, “Sometimes we have to take breaks because kids will get sick, or we’ll have to take breaks because kids have treatments.” Treatment comes first. Their health comes first. And then they work school around when they’re feeling well enough to do it. We walked in there, and there’s just all these motivational quotes all over the place. And Darrel and Phyllis are standing there, and it’s like it’s never gonna leave them. It’s never gonna get easier, but they can learn to be happy, live life, and still grieve at the same time.

BR: Those people genuinely love that place. They LIVE to represent and to advertise that place.

DI: That’s their whole life.

KH: It’s incredible. We saw the labs where this lady, where she actually does the research. She spends hours a day in that lab.

BR: You walk in that one little room, and they [Darrel and Phyllis] say, “Guys, this is where all the money’s going to.” With the MACC — that’s where every bit of money: just trying to find the cure for the disease their daughter had.

KH: And that’s what Darrel talks about. What the MACC raises does not go to keep the lights on. It doesn’t go to a general fund at St. Jude’s. It goes specifically to that brain tumor, and she told Darrel that. She said “Because of the MACC, I didn’t have to ask for a grant to buy this machine to do research.”

BR: All the money that comes from the MACC, they don’t have to ask what to do with it; they use it just for research.

DI: It’s harder for them to get money for that research than it is to get money for like the lights, or food, or stuff like that.

KH: They have flags in one of their lobbies. There’s probably 30 flags representing every country that has at least one doctor from St. Jude’s working with kids in those different countries.

BR: It’s unreal.

MS: That place is unbelievable.

PH: It’s an awesome place.

KH: There’s a wall of all these notes, or sayings, or poems, or letters that kids have written when they’re sick, just talking about — “When I am going to not throw up every day?” or “When am I not going to feel nauseous anymore?”

MS: That wall of letters is like the ABCs. And the kids had to fill out — like, they had a letter like ‘D’, and then they had to write some kind of paragraph pertaining to cancer to ‘D.’ One of them was the letter ‘P’, and the little girl wrote like “P is for puke, and I don’t want to puke anymore.”

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Bean Blossom 2015 – Day 6

Daniel Mullins will be reporting from the 2015 Bean Blossom Festival all week, as Internet service in the campground allows. Check back each day for his reports and photos. The remainder of his reports will be after the fact.

The sixth day of the 49th Annual Bill Monroe Bean Blossom Bluegrass Festival was an exciting one, featuring some high octane bluegrass!

The day started off with one of the most successful bluegrassers in the Buckeye State, Larry Efaw and his band, The Bluegrass Mountaineers. They featured down-the-middle traditional bluegrass, which can only be expected when one names their son “Stanley.” Larry Gillis and his unique style of “Swampgrass” began their two-day stint at Bean Blossom. For those not familiar, if Ralph Stanley and Merle Haggard lived next door to the Duck Dynasty gang, Swampgrass would be the style of music that would have emerged. Gillis’ style is truly unique and entertaining, but his show is highlighted by his “little buddy,” Colonel Isaac Moore. Hall of Famer, Melvin Goins also appeared for the first half of his two-days at “The Bean.” While Melvin is not as young as he once was, he is still grateful for an opportunity to take the stage and, more importantly, visit with his fans. (He even got in a visit with Ramble the Lonesome Squirrel, who was visiting Bean Blossom from the IBMA offices.)

Thursday at “The Bean” was my first chance to catch Steve Gulley & New Pinnacle in person, and I was quite impressed. I’ve been a lifelong fan of Steve Gulley’s singing, but was curious to see how his brand new band would sound as a unit. My concerns were obliterated in about two notes. New Pinnacle played with a tightness that it takes some bands years to develop, and hearing Steve Gulley use his golden voice is always a highlight of any festival.

Special Consensus completed their two-day run at Bean Blossom on Day 6. Their live show is full of contagious energy, and I consider it a real treat to get to see “Special C.” If you haven’t seen Greg Cahil & Co in a few years, you need to amend that void in your life ASAP; you won’t be disappointed. Special Consensus’ time at “The Bean” was capped off with a “special” surprise guest during the final set; Duane Sparks from The Radio Ramblers showed off his dance moves during Special C’s final number, resulting in applause from the audience and tears of laughter from Special Consensus!

Joe Mullins & The Radio Ramblers also brought their dynamic stage show to the historic Bean Blossom stage. The moment is always special for Joe, as Bean Blossom was the first paid gig of his musical career when he was a young teenager. The current edition of The Radio Ramblers is firing on all cylinders, and the band strives to maintain a smooth sound marked by a “polished with soul” delivery, which they readily accomplish. Jason Barie has really elevated the Radio Ramblers’ stage presence, as his stellar musicianship not only excites the crowd, but his fellow bandmates as well. Joe Mullins & The Radio Ramblers’ sets were highlighted by a medley of classic train songs and a Tom T. Hall classic (Shoeshine Man) which showcased Mullins’ newfound harmonica talent!

Marty Raybon is a ball of energy, and it’s hard not to enjoy watching him and Full Circle. Marty has developed a bluegrass style of his own, and is easily the most accepted “country star turned bluegrass artist” which we have seen. While his shows do include several Shenandoah classics (to the crowds’ delight), he does not lean solely on his country success. His appreciation for bluegrass music is felt through original interpretations of bluegrass classics (especially those from Jimmy Martin!) and through many of his own successful bluegrass hits. It’s hard to sit still when watching Marty Raybon, because his powerful voice is as big as his Alabama heart!

Blue Highway was truly a highlight of Bean Blossom 2015, and could have played all night if they had been allowed. That band has more talent than they know what to do with, it is almost sickening that five individuals with that much vocal and instrumental prowess are in the same band. The most impressive thing about these guys is that, although it’s hard to believe, they are an example of the sum being greater than the parts. While each member of the band is a star in their own right, together, they make up a musical tour-de-force. They could do no wrong as they captivated the Bean Blossom crowd, and left everyone scratching their heads as to why it had been so long since they had last played “The Bean.” After a double encore (that could have easily been a triple or quadruple), something tells me that the festival promoters will be eager to bring Blue Highway back to Bean Blossom in 2016.

Bean Blossom 2015 – Day 5

Daniel Mullins will be reporting from the 2015 Bean Blossom Festival all week, as Internet service in the campground allows. Check back each day for his reports and photos.

The fifth day of the 49th Annual Bean Blossom Bluegrass Festival featured a great variety of bluegrass favorites new and old.

The Punches Family and their family harmony returned to start the day. The Wildwood Valley Boys, no strangers to the Hoosier State, brought their wonderful sound and original songs to the stage. One could only reflect on how fitting it was to see band leader, Tony Holt, on the the biggest stage for bluegrass in Indiana, as his father, Aubrey Holt, had done so many times before with The Boys From Indiana.

Hall of Famer, Little Roy Lewis (the sixth of eight Hall of Famers to perform this week) took the stage with The Little Roy & Lizzy Show, and Little Roy’s wide open style of music and showmanship was on full display. I think it is safe to say that Little Roy had more energy than any human being at Bill Monroe Music Park this week. Known for his on-stage antics, Little Roy was beat at his own game when show promoter, Tim Dillman, crashed in on Little Roy’s signature song, Honey In The Rock.

Wednesday also featured a Main Stage performance of the Youth Bluegrass Boot Camp, led by Rickey and Sarah Wasson. The camp has been held at Bean Blossom for over ten years, and this year, nearly eighty-five young folks participated. Bluegrass is in good hands after seeing all of the great young talent on stage.

Danny Paisley and his “pedal-to-the-metal” style of bluegrass got the crowd fired up. His unique manner of singing is an acquired taste for some, but beloved by most as one of bluegrass’ true stylists. Danny’s son, Ryan Paisley is also one of the top young mandolin players in bluegrass today, and showed off for the folks at Bean Blossom. Ryan was not the only second generation ‘grasser who wowed the crowd with his mandolin playing. Jacob Burleson, whose father, Jason, plays banjo for Blue Highway, is now playing mandolin for The Kenny & Amanda Smith Band. Jacob’s effortless approach fit nicely with Kenny and Amanda’s smooth sound. The reigning IBMA Female Vocalist of the Year and her modern guitar legend of a husband could be dubbed bluegrass’ hottest celebrity couple, especially after how hot their band sounded at Bean Blossom.

Bluegrass veteran, Larry Stephenson sounded as good as ever. The Larry Stephenson Band consistently delivers great bluegrass with class to any crowd, and this performance was no exception. Larry performed many songs from his latest Gospel project, one of 2014’s most under appreciated albums. Kenny Ingram’s picking has never sounded better, and the banjo legend fits Larry’s sound like a glove.

Greg Cahill and Special Consensus began their first of two days at Bean Blossom on Wednesday. In the four decades of Special Consensus, this is the by far the best lineup of Special C. The combination of powerful singing and in-your-face picking is a magical combination.

To end the day, Dailey & Vincent brought their powerhouse show to the historic Bean Blossom stage. Their show featured a wonderful mix of bluegrass, classic country, and down home fun, as they wowed the audience. The addition of a complete drum set has worked well with the band, and the percussion has complemented D&V’s sound quite nicely, particularly on their more country-leaning material. Jamie Dailey and Darrin Vincent always bring the crowd to their feet, and ensure that their show has something for everyone. Jessie Baker may have been the biggest ham of the show, which is really saying something when you share the stage with big personalities such as Jamie, Darrin, and Jeff Parker. All-in-all, Dailey & Vincent still remain one of the top acts in bluegrass, even if they refuse to be bound by genre restrictions.

Bean Blossom 2015 – Day 4

Daniel Mullins will be reporting from the 2015 Bean Blossom Festival all week, as Internet service in the campground allows. Check back each day for his reports and photos.

The fourth day of the 49th Annual Bill Monroe Bean Blossom Bluegrass Festival could have been called the week’s “fun day.”

Tuesday’s shows got kicked off with The Punches Family, their first of two days at the historic festival. Delta Reign and their laid back style of acoustic music followed. Though The Moron Brothers capitalize on comedy, don’t sell them short on musical talent. They kept the audience in stitches and in awe with their comedy and talent.

Indiana’s Blue Mafia played to a hometown crowd, but it wouldn’t have mattered if they were playing in Timbuktu — they rocked the house. Their modern, soulful kind of bluegrass, highlighted by the wicked guitar stylings of Tony Wray, were a huge hit. This Hoosier band is surely on the rise.

Adkins & Loudermilk brought a boldness to the stage with the big voices of Dave Adkins and Edgar Loudermilk. Showcasing many original songs, they ensured everyone had a good time with their hard-driving approach.

Chris Jones & The Nightdrivers (or is it Chris Jones & Bluegrass Junction?) accounted for the second, third, and fourth Sirius/XM disc jockeys to visit Bean Blossom this week, as Kyle Cantrell was a guest emcee over the weekend. Chris’ signature voice echoed through “High Lonesome Holler” as the smooth sounds of The Nightdrivers soothed the crowd. Chris was one of several artists who paid tribute to the late Miss Dixie Hall during his sets, to whom this year’s festival is dedicated.

This was the first time I had seen Wildfire following their hiatus, and I was quite impressed. The trio of Robert Hale, Chris Davis, and Greg Luck was very strong, and they made me quite anxious for their upcoming album. An impromptu Wildfire reunion show took place as well, as founding members Phil Leadbetter and Barry Crabtree bum-rushed the stage. Speaking of Crabtree, he was definitely the MVP of the day, as he not only sat in on a few with Wildfire, but also played a combined four sets with Adkins & Loudermilk and Dale Ann Bradley.

The show concluded with the first class entertainment of The Tennessee Mafia Jug Band. If you can’t have fun while seeing Leroy Troy and company, then you must hate America. Their original blend of old-time, bluegrass, stringband and early country music is as entertaining of a show as you will ever see. Their show even included a special guest; a member of the Memphis Mafia Jug Band (show promoter Tim Dillman) joined the band for Kansas City Star. I was thoroughly pleased that the band performed my favorite: Ghost Chickens In The Sky. Their playful take on Johnny Cash’s hit, Ghost Riders In The Sky, tells the tale of a flock of ghost chickens seeking revenge on their former farmer, and may be the greatest song of all time.

Day 4 was loads of fun, and I can’t wait to see what Day 5 will bring!