Search Results

Tune History The Stories Behind Your Favorite Tunes < Back To List Billy In The Low Ground Who is Billy? What is The Low Ground? Who is Billy and what is the Lowground? As it turns out, there are lots of possibilities.The following is only a partial list of options: Billy? William the Conqueror , or King William III (aka William of Orange, aka King Billy ), or a male goat (Billy), or a female donkey (Jenny), or maybe even a girl named Jinny. Most researchers go with King William III. Lowground? literally low land or ground - a swamp, or the Battle of the Boyne in 1690 where a "deep swampy ravine" figured in the tactics of the Irish battle, or the low country of the Netherlands (see King William III - born in The Hague ), or a grave, or the southern part of Scotland, i.e. Lowlands vs. Highlands . Again, most researchers go with King Billy and the Battle of the Boyne. According to The Traditional Tune Archive , this melody is reportedly centuries old and is also known as "Beaus of Albany," "Billy in the Low Land," "Braes of Auchtertyre," "Fiddler's Drunk and the Fun's All Over," "Jinny in the Lowland," "Kerry Fulton's Schottishe," "Kerryman's Daughter " and lots of others. "Billy in the Lowground '' is one of the most enduring and widespread of American traditional dance tunes. Most versions are played in the key of C. There is a Henry Reed tune "Billy In The Low Land" , which is a totally different tune. And there is an "Old Time Billy In The Low Ground" , which is also a different tune. This version was reportedly being played in Franklin, KY in the 19th century. Versions of Billy In The Lowground continue to evolve. Check out the Calico tuning version by The Onlies HERE . There is a related Old Time tune courtesy of King Billy - "Boyne Water" . As you may suspect, it started as a ballad celebrating Billy's victory at the battle of the Boyne, journeyed across the ocean to America, and has now become an Old Time fiddle tune. King William III Crossing The Boyne 1690 Billy in the Low Ground notation Burnett and Rutherford recorded "Billy" in Atlanta in 1927 King William III Crossing The Boyne 1690 1/5 Braes Of Auchtertyre Roots of Billy In The Low Ground Eck Robertson "Billy In The Low Ground" 1923 (starts at 1:22) Burnett and Rutherford "Billy In The Low Ground" 1927 Old Time Billy In The Low Ground Kelly Gilbert 00:00 / 01:07

Tune History The Stories Behind Your Favorite Tunes < Back To List Mountaineer's Love Song Goodbye Liza Jane Mountaineer's Love Song was popularized in 1926 by Al Hopkins & His Buckle Busters . Al Hopkins was from Watauga County, North Carolina. His best known fiddler, Charlie Bowman , was from Gray Station (now known as Gray), near Johnson City, TN. He joined the band when he met Hopkins at the 1925 Mountain City, TN Fiddlers Convention . They made musical history when they entered a New York studio to record six sides for Ralph Peer and OKeh Records in 1925. Looking for a name for the band, Peer originally called them the Hill Billies after Hopkins said, "We're nothing but a bunch of hillbillies from North Carolina and Virginia. Call us anything." The term stuck. Soon, any early country track being issued at the time was called (and marketed as) "hillbilly music." Learn more about Charlie Bowman, Al Hopkins and His Buckle Busters/Hill Billies, and Charlie's tune East Tennessee Blues HERE . Popularized (again) as a 1942 hit western swing number from Bob Wills, this tune is also known as: "It’s Goodbye Liza Jane,” "Goodbye Liza Jane", “Liza Jane;” “Susan Jane,” "Saro Jane”; “Black Them Boots;” and "Little Saro Jane ". Civil war variations include: "Shilo"; “Goin' Down to Cairo;” “Charleston Is Burning Down” and/or “Charlottestown Is Burning Down”. There are reported roots in minstrelry from the late 1800's, but as is often the case, we will likely never know the origin of the original melody. From the Library of Congress: “In short, the tune is cut of a cloth so common in the Upper South, and in musical domains touched by the influence of the Upper South, that it could be described as a paradigmatic Southern tune, appearing in so many related versions, allied forms and modified guises that it almost defies genetic tracing." Ed. note: "musical domains", "allied forms", "modified guises", "paradigmatic"; "genetic tracing" - just a pretty fancy way of saying that there's a whole bunch of tunes like this. Here is some more history of the tune from Bluegrass Messengers. Editor's Note: Just an observation, but where are the Old Time love songs? Titles in the Old Time repertoire abound with people's names, places, geography, and animals, but there are very few with the word "love". A quick search of the Slippery Hill website shows only about 15 tunes with "love" in the title - and there are thousands of tunes in this library. Why is that? You may discuss this amongst yourselves quietly. HERE is one more to enjoy! The Hill Billies Charlie Bowman Cairo, Illinois Civil War map The Hill Billies 1/5 Mountaineer's Love Song Al Hopkins and His Buckle Busters 1926 Liza Jane Foghorn Stringband 2015 Goodbye Liza Jane Bob Wills and His Texas Playboys 1946 Universal Pictures short Goin' Down To Cairo (2016) Home Brew 00:00 / 02:36

Tune History The Stories Behind Your Favorite Tunes < Back To List Knoxville Rag Richard Burnett, Byrd Moore, and Dick Taylor Knoxville Rag was recorded for Gennett Records in Richmond, Indiana, on October 29, 1928, played by the trio of William B."Byrd" Moore 1889-1949 (guitar), Richard "Dick" Burnett 1883-1997 (banjo), and Dick Taylor (fiddle) as the B side of Gennett 6760 . It was also issued as the B side of Supertone 9310 (Sears, Roebuck and Co.) showing the artists to be The Southern Kentucky Mountaineers - who were Taylor, Moore, Burnett, and Leonard Rutherford . The A side of the Supertone record was Cumberland Gap. Regarding the Cumberland Gap recording: Burnett used various mechanical devices and made unusual effects with his voice as part of his stage performances, which are often confused for bad singing or a poor recording (mp3 below). The A side of the Gennett record, "Goodnight Waltz", names only Rutherford (fiddle) and Moore (guitar) as artists. Additional biographical information on Dick Taylor is very scarce, although he is credited on several Gennett recordings. The significance of Knoxville in the title of this tune is not clear, but Burnett performed from Ohio to Florida, so the “big city” of Knoxville would have been one of his stops. Could it be that the tune was “collected” in Knoxville? Was it a studio creation during the recording session? We don't know for sure, but Burnett generally gets writing recognition for Knoxville Rag. Burnett, from Monticello, Kentucky, was blinded by a shotgun blast to the face when he was robbed in 1907. As a result, he became known as "Blind Dick Burnett". He collected songs as he traveled and sold "ballets" (single sheets with the words to the song printed on them) to earn extra money. He teamed up with 14 year old Leonard Rutherford, and Burnett agreed to teach Rutherford how to play the fiddle in exchange for assistance getting around. This partnership lasted 35 years. Learn lots more about Burnett and Rutherford on their MUSIC page. Byrd Moore performed and recorded with many of the top artists of the time, but drinking and diabetes took its toll, and he died in a Wise County (VA) poorhouse in 1949. Dick Burnett William B. "Byrd" Moore "Cumberland Gap" Supertone 9310-A 78 rpm record label 1929 Dick Burnett 1/6 Knoxville Rag Burnette, Moore & Taylor 1928 Cumberland Gap Burnett, Moore & Rutherford 00:00 / 02:51

Music Exploring Old Time Recordings and Artists < Back To List John Morgan Salyer "Mozart of Old Time" from Eastern Kentucky John Morgan Salyer (1882-1952) was born and raised in Magoffin County, Kentucky . He has come to be recognized as a major influence on Old Time music. His crooked tunes and unique bowing and phrasing continue to challenge fiddle players even today. Well known Salyer tunes include Billy In The Lowground, Indian Ate The Woodchuck, Lost Girl, Mike In The Wilderness, Jeff Sturgeon, Last Of Harris, and Duck River. When he was about eight years old, John fell out of a tree and broke his leg. His father (a fiddler) bought him a half-size fiddle to keep him occupied while recovering. In 1901, he enlisted in the army and served three years in the Philippines. Salyer returned home to marry Minnie Gullett on August 11, 1905. They eventually had nine children together: seven girls (two of whom died young) and two boys. Rosemary Carlson, Salyer's great niece, wrote a short article called “Appalachia: John Morgan Salyer, father of bluegrass music and Kentucky fiddle music” that reveals some more family history. There are many excellent sources to learn more about John Salyer. One of the best is this compilation from Old Time Central , which includes information from the Salyer family along with research from player and historian Bruce Greene . Salyer made no commercial recordings. In 1933, while working with his horse in the fields, he was approached by a scout to make records. After hearing the proposal, which he thought was very unfair, he reportedly said "Get up Kate; we can make more money plowing than playing the fiddle!" It was only at the insistence of Salyer’s sons that he agreed to record some of his tunes, which took place between 1941-42. These original discs of 84 sides are now housed at Berea College , and are available for listening on the Digital Library Of Appalachia website. In an interesting note, Salyer was working as a pipefitter for the oil companies in Knoxville around 1937, when field recorders from the Library of Congress came through Magoffin County, Kentucky. While there, they recorded another fiddler from the area, W.H. (Bill) Stepp . Stepp's tunes are now well known in Old Time circles, especially his playing of Bonaparte’s Retreat . Who knows how history could have been different if Salyer had been at home at the time? Read more about John Salyer’s tune “Duck River” in the Tune History section. John Morgan Salyer 1882-1952 John Salyer approx. 1901-1904 Phillipines-WW1 Salyer headstone John Morgan Salyer 1882-1952 1/5 Rayna Gellert Plays 'Lonesome John" Paul Kirk Plays "Mike In The Wilderness" Steve Blake Plays "Gilda Roy" Jenny Get Around John Morgan Salyer 00:00 / 01:39

Tune History The Stories Behind Your Favorite Tunes < Back To List Nail That Catfish To The Tree By Steve Rosen From The Volo Bogtrotters Lots of people have inquired about the history of the popular jam tune “Nail That Catfish To The Tree,” also known as “Nail That Catfish,” or just simply “Catfish.” In the key of G, this tune is a modern (circa 1985) composition by Volo Bogtrotters member Steve Rosen. Steve is an avid fisherman , and one possible story of the origin of the tune (the title at least) is based on advice Steve received from an old man in Florida on how to clean a catfish, known to be a difficult task due to their tough skin. The man is reported to have said “…nail its head to a tree and pull the skin off with pliers”. We talked to Steve and he confirmed, " That's pretty much the story". He also said, "Any other questions, bring 'em on." Steve lives in Evanston, IL and when not playing, teaches at The Old Town School Of Folk Music in Chicago. Steve says on his website : “‘Nail That Catfish To The Tree’ is a fiddle tune I wrote a long time ago and people seem to like to play it. The first recording of it was by the band the Volo Bogtrotters, on our first release . Since then, many bands have recorded it, and I have made tens of dollars on royalties.” For the source recording, Steve plays it for us in the mp3 file below. Two versions of his tune (studio & live band) are also on Steve’s 2014 album “Old - Timey Music” . Just for the record, nailing a catfish to a tree and pulling its skin off with pliers really is a technique for skinning the fish. There is a video below that shows it being done. And don’t forget your catfish skinning pliers, which are also a real thing, available wherever fine fishing gear is sold. Hammer and nail sold separately. Catfish T Shirt Art by Steve Rosen Volo Bogtrotters 1990 cassette Steve Rosen and Bass Steve really likes fishing Catfish T Shirt Art by Steve Rosen 1/8 Nail That Catfish To The Tree Steve Rosen, Chirps Smith and Fred Campeau How To Clean A Catfish Nail That Catfish To The Tree Steve Rosen 00:00 / 00:36

Music Exploring Old Time Recordings and Artists < Back To List Burnett & Rutherford An Old Time Partnership Of 35 Years Richard Daniel "Dick" Burnett and Leonard Rutherford were a well known duo from south central Kentucky. They recorded for the Columbia label beginning in 1926, and for Gennett Records in 1928-29. Popular locally for years, their experience and talent made them a perfect fit as musicians for the new and red hot recording industry category of "Country" music - and a hungry nationwide audience. Their records, popularity on radio, and entertaining live appearances kept them performing until 1950. Their music has influenced countless fiddlers, singers, and pickers over the years, and is still relevant for today's Old Time players. Richard "Dick" Burnett (1883-1997) was born into a farming family and was orphaned at 12 years old. He showed musical ability very early, and by age 13 was playing dulcimer, banjo, fiddle, and guitar. He held many jobs, including logger, oil driller and barber. Blinded by a shotgun blast when he was robbed 1907, Burnett was unable to work and became a traveling musician to support his family. He gained the nicknames "Blind Dick Burnett" and "The Blind Minstrel of Monticello" as he performed and collected songs. He sold ballets (single sheets with the words to the song printed on them) and songbooks to earn extra money. Burnett teamed up with 14 year old Leonard Rutherford (1898-1951), a beginning fiddler from nearby Somerset, Kentucky. He taught Rutherford how to play the fiddle in exchange for assistance getting around and playing music. This partnership, with Rutherford on fiddle and Burnett singing and playing banjo, lasted 35 years. There is lots more to learn about these two in this biography from the Bluegrass Messengers website. Even more detail, along with recording dates, can be found on Dick Burnett's Wikipedia page , and on Leonard Rutherford's Wikipedia page . Burnett is also credited with publishing the popular song "(I Am A) Man Of Constant Sorrow" in 1913, but he may not have been the writer. The complete recordings of Burnett and Rutherford from 1926-1930 are available from Document Records. Tunes include Lost John, Billy In The Low Ground, Cumberland Gap, and Knoxville Rag. Additional tunes can be found on the 1975 Rounder Records "A Ramblin' Reckless Hobo" For more on the duo's "Knoxville Rag," please visit our Tune History page. Well known Old Time fiddler Clyde Davenport often cited Rutherford's "flawless technique" as inspiration for making the fiddle his instrument of choice, though Davenport is also widely recognized for his old-time clawhammer banjo playing. Burnett (r) & Rutherford (l) Dick Burnett Burnett & Rutherford A Ramblin' Reckless Hobo album cover Burnett (r) & Rutherford (l) 1/4 Billy In The Low Ground Lost John Sleeping Lulu Ramblin' Reckless Hobo Burnett and Rutherford 00:00 / 03:35

Tune History The Stories Behind Your Favorite Tunes < Back To List Hangman's Reel A Popular Canadian Export Also known as Hanged Man’s, The Hanged Man’s, Hangman’s, The Hangman’s, Hangmans, Le Reel Du Pendu, Reel Du Bourreau, Reel Of The Hanged Man, The Reel Of The Hanged. This is a very popular and fun tune, appropriate for any jam setting. Usually played in the key of A with four parts, open fiddle tuning AEAe or AEAc#. The origins of the tune are somewhat obscure (of course), but most believe that the version we know is a Canadian export, much like ice hockey and Celine Dion. New York fiddler Judy Hyman of the Horseflies believes it originally derived from the Québecois tune "Reel du pendu" (Hanged Man's Reel) and that it was rendered in a Southern old-time style by younger upstate New York fiddlers. The Horse Flies released a version in 2002 on their album "Two Traditions" . Reel Du Pendu was popular with French-Canadian fiddlers as a show tune . The earliest sound recording appears to be by Quebec fiddler Joseph Allard in 1928 . The tune was recorded in more of a bluegrass style in 1968 by fiddler Albert Hash of Grayson County VA; he reportedly learned it from Texas fiddler Bill Northcutt , who also recorded it in 1968. The folklore associated with this tune is usually a version of a story about a condemned man about to be hanged, and an offer of reprieve for playing a fiddle tune. He played this melody, which was then forever known as Reel du Pendu, or Reel of the Hanged (Man).* And you thought you were under pressure when it was your turn to start a tune at the jam! *ed. note: if the man was spared, shouldn't the title be "Reel of The Almost Hanged Man?" Joseph Allard (1927) Bill Northcutt Texas Fiddler The Horse Flies Two Traditions Album Cover Joseph Allard (1927) 1/4 Reel Du Pendu Joseph Allard 1928 Bill Northcutt, Texas Fiddler Hangman's Reel 1968 Albert Hash, Grayson County Virginia Fiddler Hangman's Reel circa 1968 Hangman's Reel The Horse Flies 00:00 / 03:19

Music Exploring Old Time Recordings and Artists < Back To List Edden Hammons West Virginia Fiddler The Hammons family members are one of the few, sometimes the only, sources of many traditional songs that are popular today. In the early 1970’s an extensive study of the Hammons family music and stories resulted in a boxed LP set produced for the Library Of Congress titled “The Hammons Family: A Study Of a West Virginia Family’s Traditions.” However, this set does not include any recordings of Edden’s fiddling. Fortunately for us though, folklorist and West Virginia University professor Louis Chappell conducted an ambitious field recording project to document West Virginia's fading musical traditions in 1947. As part of this effort, he captured 52 tunes by a then 72 year old Edden on ten inch aluminum discs (a 1937 disc recorder). Chappell eventually donated these recordings to the University of West Virginia in 1977. In 1984, 15 of Edden’s tunes were released as a vinyl LP by the West Virginia University Press Sound Archives, titled "The Edden Hammons Collection.” Some of these tunes included "Washington's March", "Shaking Off the Acorns", and "Fine Times At Our House". These records are now collector’s items, fetching hundreds of dollars . The album was reissued on CD in 1999 as “The Edden Hammons Collection: Volume 1.” A two-disc second volume was released in 2000 in a set called (with no points for creativity) "The Edden Hammons Collection, Volume 2", which contained more songs from the same recording session. This release contains such tunes as "Birdy", "Jake's Got the Bellyache", "Big Hoedown", and my new favorite not suitable for (most) jams title, "Old Black Cat Sh*t in the Shavings". Edden Hammons Edden Hammons and his son James Hammons gravesite Edden Hammons 1/6 youtube.com Edden Hammons - Sandy Boys Forked Deer Edden Hammons 00:00 / 03:53

Tune History The Stories Behind Your Favorite Tunes < Back To List Hy Patillion Chattanooga Fiddler Jess Young This tune came from the playing of Chattanooga area fiddler Jess Young, who recorded it for Gennett Records in 1925 under the band name Homer Davenport and Young Brothers. The next year, the band was known as Jess Young’s Tennessee Band. They recorded 10 numbers for Gennett, with the best known being a waltz called “Sweet Bunch Of Daisies”. "Hy Patillion" is also known as “Hy Patittiam/Patitian” and “The Allen Brothers Rag”. The Allen Brothers were another Chattanooga area group, who recorded the re-named tune in 1936. They were also known as The Chattanooga Boys. Multiple sources refer to Hy Patillion originally being a Hawaiian number, but I couldn't find any information on it by that name on the early Hawaiian recordings websites. Recall that Hawaiian music took the US by storm in the 1900’s and by 1915 was outselling every other genre of recorded music. It is very likely that the Hawaiian song name was something else, and it is also unknown, but possible, that Hy Patillion/Patitian is a person's name. Ed Note: Maybe the person Jess Young got it from? " Hy Patillion" could also just as easily have been a typo by Gennett Records, just as when Young's 1925 recording listed as "Sequethic (Hornpipe)" was probably supposed to be "Sequatchie Valley". Mysteries abound in the origin of lots of Old Time tunes! I reached out to Joe DeCosimo , who has studied and written about Jess Young and his music to ask him about Hy Patillion. Joe said, "The origins of the tune are a bit of a mystery to me. I believe most of what I know about it comes from an article in The Devil's Box (magazine) from decades ago. It is a similar melody to a tune that the Allen Bros. called "The Allen Brothers' Rag." I have no idea if it is connected to a person's name. Young was trying to work as a professional musician in Chattanooga and developed an eclectic repertoire that likely reflected the tastes of his audience in the growing, bustling city. His recorded output draws on older fiddle pieces, some learned from Black musicians, to rag and pop pieces. It wouldn't be surprising if he came across Hy Patillion and just decided to work it into his repertoire. I wish I knew more." Thanks again to Mike Searcy for the tune inquiry. Mike also shared an excellent live recording of Hy Patillion from the Davis camp at this year's Clifftop festival. When Joe Decosimo recorded it for his 2012 album "Sequatchie Valley", he wrote in the liner notes for the album, " It’s a fine example of what can happen when the billies get a hold of some Hawaiian music." The Allen Brothers’ version features a kazoo! Learn more about Jess Young in the MUSIC section. Jess Young Gennett 5919-A Hy Patillion Jess Young Jess Young 1/5 Homer Davenport & Young Brothers Hy Patillion youtube.com Jess Young's Tennessee Band - Sweet Bunch of Daises Jess Young, f.; prob. Alvin Young, g.; Dan Hornsby, v.Columbia 15400-DRecorded in Atlanta, Georgia on April 19, 1929*Historical recording for education Jess Young's Tennessee Band Sweet Bunch Of Daisies Allen Brothers Rag Allen Brothers Hy Patillion The Davis Camp 00:00 / 04:31

Music Exploring Old Time Recordings and Artists < Back To List Clyde Davenport Passing The Old Time Torch Clyde Davenport (1921-2020) is likely one of the best known Old Time fiddlers. He was an important connection for passing on many Old Time tunes from south central Kentucky and the Cumberland plateau area. Starting in the 1970’s he welcomed folklorists, researchers, and players to share his musical knowledge. Many of the tunes in his repertoire of original and regional tunes have since become Old Time “standards”, such as Callahan, Five Miles From Town, Flatwoods, Jenny In The Cotton Patch, Liza Jane, and Roses In The Morning. There has been much written about him, and a good place to start is the bio from his 1992 National Endowment For The Arts Fellowship (excerpt): Clyde Davenport was born October 21, 1921, in Mount Pisgah, in south-central Kentucky. He was raised in the Blue Hollow area of Wayne County in the Cumberland Plateau region. When he was nine, Davenport made his own fiddle from barn boards, using hair from his family's mule for bowstrings. At 11, he made his first banjo, which he taught himself to play. In his mid teens, Davenport first heard the music of the widely admired fiddle and banjo duo of Blind Dick Burnett and Leonard Rutherford, perhaps the greatest single musical influence of his life. His attraction to Rutherford's flawless technique led him eventually to make the fiddle his instrument of choice, though he is also widely recognized for his old-time clawhammer banjo playing. ( see more on Burnett and Rutherford here ) The traditional fiddling style of this region is solo, and often the fiddle is cross-keyed. Unlike many of his fellow old-time master fiddlers, Davenport is not a contest fiddler. In his musical memory he kept more than 200 fiddle tunes, many of which are rare tunes learned from his father, grandfather, and fiddling neighbors of earlier generations. Through his appearances at festivals, concerts, school programs, workshops, and music camps, Davenport has enlightened thousands to the subtleties of old-time music. His belief that the music he learned from his father and neighbors is good and should be played with excellence has inspired him to share his music with anyone interested in learning. Complete NEA page here . Professor of Ethnomusicology Jeff Titon spent about 4 months with Davenport in 1990 learning and documenting his fiddling and views on life and music. Here are some excerpts from Titon’s Brown University’s library page: About Clyde’s Repertoire: Jeff: Now your daddy didn't show you how to play? Clyde: Nobody ever showed me anything or I never listened to nothing to learn how to play anything. Jeff: But you must have got your tunes from somewhere. Clyde: Just like I said, I could hear a tune, hear a man play a tune, and I'd have it. I didn't want to hear it no more. It just stayed with me, you see. The Difference Between Old Time Fiddling and Bluegrass/Country: Jeff: What's the difference between Old Time fiddling and, well, some other kind of fiddling? Clyde: Well, there's a lot of difference between it and bluegrass. Bluegrass fiddlers, they don't play nothing. They just run around over it. They don't play a tune. The old-time fiddlers play the tune. And them old time fiddlers around through this part of the country could play a fiddle. And I used to be, I could play one. Jeff: What do you mean, they run around it? Clyde: Well, just kindly chord around, you know, run around over it. They don't play a tune. Many of them. Now, Bill Monroe mostly plays the tune, you know. Of course it's not a fiddle tune. Jeff: What do you mean, it's not a fiddle tune? Clyde: Well, it's just a song, you know. But he's about the only one you'll hear do that. Jeff: Kenny Baker and the fiddle players who play for Bill Monroe? Clyde: Mm. Jeff: What about fiddling in country music? Clyde: No difference. I don't like country music. Jeff: Why not? Clyde: Just don't like it. Jeff: You must have your reasons. Clyde: Well, I have. There's just nothing to it. I don't call it music. Just a big racket. A bunch of old guitars a-beating and a-thrashing. Not music. Playing In Different Keys: Jeff: What about the different keys that you play in? Do they have a different kind of quality to them? Clyde: Well, they're different keys, right smart. A's a high key and D is a low key, E is a low key, Bb is a low key, and C, did I call C? They's a difference. D is sort of in between; G key is a like a standard. Jeff: I notice you play a lot of tunes in G. Clyde: Well, that's where I always heard them played. The old people didn't know one key from the other. They could play in G [but] they didn't know what they was playing in. They could play in C, and they didn't know what they was playing in; they could play in D and didn't know what they was playing in. That's the three keys they played in. Mostly all was played in G. Jeff: What about. did they retune the fiddle? Clyde: Yeah, they cross-keyed their fiddles. Jeff: A lot? Clyde: Yeah, now, some of them I never did hear do that. Leonard Rutherford, I never did hear him cross-key his'n. About Sharing His Tunes: Jeff: I got another subject, and that is how do you feel about all the attention that you've been getting since Charles Wolfe came around and recorded you and W. L. Gregory , and now that fiddlers are stopping by. Clyde: It's just like it was before it ever happened. I think nothing about it. Never did go to my head. Anybody comes here who wants my music can get it. You go other places, they don't want to give it to you. I think nothing of it. It makes me no difference. Jeff: Are you glad that people are coming by? Clyde: Yeah. I like company. Yeah, I'm glad people come. Jeff Titon's Book: "Old Time Kentucky Fiddle Tunes" Clyde Davenport 1992 NEA National Heritage Fellow Monticello, Kentucky Clyde Davenport around 2013 Clyde Davenport Volume 2 Field Recorders Collective (2005) Clyde Davenport 1992 NEA National Heritage Fellow Monticello, Kentucky 1/7 Cumberland Gap Clyde's version Clyde Davenport & Ralph Troxell (1992) Shades Of Clyde 2009 DVD more than an hour of Clyde telling stories and playing music Five Miles From Town Clyde Davenport & Bobby Fulcher (1993) Flatwoods Clyde Davenport 00:00 / 01:19

Music Exploring Old Time Recordings and Artists < Back To List Spencer and Rains Art and Music Spencer and Rains Tricia Spencer was born and raised in Big Springs, Kansas and Howard Rains grew up in the small Texas town of Sherman. The married couple are both fiddlers, guitar-players, and singers known for their distinct twin fiddling and close-knit vocal harmonies. Howard and Tricia are also artists, and their artwork reflects the close ties with their music. Their 2017 album, The Skeleton Keys for example, comes with a 40 page book of color illustrations, weaving a story of each of the 17 tracks in pen and ink or watercolor. The couple are dedicated to the preservation, performance, and sharing of old time music while preserving and building upon the traditions of their home states. Both were brought up with a deep sense of history and culture. Tricia was born into a family of farmers and old time musicians and learned the fiddle from her grandpa, Vernon Spencer. Howard was also brought up in a musical environment where singing songs and playing instruments was a very important part of family life. He cites his grandfather and stepfather as being big influences for his creativity Howard is recognized as an authority on old Texas-style fiddling and tries to keep the traditional and rare tunes alive through his playing. Tricia is not only a seasoned performer, known for her unique seconding on the fiddle, she is also a teacher, composer, and author. She has very recently launched a new website that “...celebrates the beauty of the fiddle and the art of fiddling,” and has published a new book, "The Fiddle Garden." Howard and Tricia have 6 album releases , and are very active on social media and YouTube . They were recently instructors at the John C. Campbell Folk School in Brasstown, North Carolina, and will be in Mars Hill, NC June 9-15, 2024 in association with Blue Ridge Old Time Music Week. You can sign up for their monthly newsletter that features a lot of artwork, photos, and musings that don't appear on social media. Tricia Spencer and Howard Rains Spencer and Rains Spotted Pony Album Cover (2016) Spencer and Rains Tricia Spencer and Howard Rains 1/9 Old Beech Leaves The Wounded Hoosier Recorded at John C. Campbell Folk School from the playing of Marcus Martin Goodbye My Little Darlin' Spotted Pony Spencer and Rains 00:00 / 02:17

Exploring Old Time Artists and Recordings Burnett & Rutherford An Old Time Partnership Of 35 Years Learn More Chance McCoy and the Appalachian String Band Debut (2008) Learn More Clyde Davenport Passing The Old Time Torch Learn More Edden Hammons West Virginia Fiddler Learn More John Ashby The Free State Ramblers Learn More Mike Bryant and Paul Brown Bryant and Brown (2018) Learn More Spencer and Rains Art and Music Learn More Uncle Am Stuart Pioneering Fiddler From Morristown, TN Learn More Canote Brothers West Coast duo (with a Knoxville connection) Learn More Charlie Acuff Left Handed Fiddler Learn More David Bragger Old Time Tiki Parlour Big Fancy (2016) Learn More Jess Young Chattanooga Fiddler Learn More John Morgan Salyer "Mozart of Old Time" from Eastern Kentucky Learn More Roane County Ramblers Fiddler "Uncle Jimmy" McCarroll Learn More Tennessee Chocolate Drops Knox County Stomp Learn More Music