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Rabbit Skips And The Rabbit Hops Tune History The Stories Behind Your Favorite Tunes < Back To List Buck Eyed Rabbit Rabbit Skips And The Rabbit Hops Buck Eyed Rabbit is a catchy 2 part tune played in the key of G. Buck-eyed is slang for having eyes considered out of the ordinary, cross-eyed, squinting, protruding, speckled, etc. It is one of several Old Time tunes with rabbit's eyes in the title, such as “Big Eyed Rabbit,” and "Brown Eyed Rabbit.” According to the liner notes on Mike Bryant and Paul Brown’s self titled album, “Buck Eyed Rabbit” is “An old minstrel-era song recorded by Al Hopkins & His Buckle Busters in 1926 . Mike was inspired to learn it years ago after hearing Paul Brown fiddling it.” The lyrics are appropriately minstrel-like. Al Hopkins & His Buckle Busters recorded “Buck Eyed Rabbits” on October 22, 1926 in New York, NY. for the Brunswick label. The B side of the record was “Bristol Tennessee Blues.” East Tennessee fiddler Charlie Bowman played banjo on this recording, and the fiddler was Tony Alderman . Alderman was the original fiddler for Al Hopkins when the band was known as the "Hill Billies." “Bristol Tennessee Blues” is provided in the mp3 player below. Buck eyed rabbit behind that pine Buck eyed rabbit, you are mine Rabbit skips and the rabbit hops Rabbit ate my turnip tops Cocked my gun and the hammer flew Tore that rabbit square in two Yes, O lord, I’m a gettin’ there now Yes, O lord, I’m a gettin’ there now Way down yonder on Cedar Creek All them gals grow eleven feet Jump into bed but it ain’t no use Feet stick out like a chicken roost Yes, O lord, I’m a gettin’ there now Yes, O lord, I’m a gettin’ there now Al Hopkins & His Buckle Busters Buck Eyed Rabbits Al Hopkins & His Buckle Busters 1926 Bristol Tennessee Blues Al Hopkins & His Buckle Busters 1926 Al Hopkins & His Buckle Busters 1/5 Buck Eyed Rabbits Al Hopkins & His Buckle Busters 1926 Buck Eyed Rabbit Mike Bryant & Paul Brown Buck Eyed Rabbits Paul Brown Bristol Tennessee Blues Al Hopkins & His Buckle Busters 00:00 / 02:48

A Midwest Favorite With Lots Of Different Names Tune History The Stories Behind Your Favorite Tunes < Back To List Dubuque A Midwest Favorite With Lots Of Different Names The reel "Dubuque," or "Old Dubuque," is a representative of a large tune family that began in the Midwest, although it is now routinely found in other regions. There are numerous (!) variants and titles, but most have the same general feel and the characteristic first few measures of the first strain. The earliest known sound recording of the melody is by William B. Houchens (1923), under the title "Bob Walker." The Mississippi River city of Dubuque, Iowa , takes its name from Sieur Julien Dubuque (who some say was a fiddler), a French-Canadian who was one of the first white men to settle the area, which at that time was under the control of the Fox tribe of Native Americans and the Spanish monarchy. If you want a deeper dive into the history of the fiddle tune: https://tunearch.org/wiki/Annotation:Dubuque One of the criticisms we have all heard about Old Time music is that "All the tunes sound alike". This type of remark might come from a normally patient spouse who has endured a partner learning banjo and fiddle from scratch. Emphasis on the scratch. But as we all know, once familiar with the tunes, they are mostly identifiable and distinct. That being said, Dubuque and Duck River (from the playing of Kentucky fiddler John Salyer ) actually do sound a lot alike - enough to where you probably wouldn't play them back to back in a jam setting. Are they two distinct tunes - or variants of each other? Remember that Dubuque, Iowa and Magoffin County, Kentucky are quite a distance apart. Listen and decide for yourself. Dubuque, Iowa 1872 "Bob Walker" 1923 Gennett 5516-A by William B. Houchens Julien Dubuque Dubuque, Iowa 1872 1/4 Dan Levinson plays Dubuque in a small jam setting Dubuque A Fiddle Tune for String Orchestra Paul Hemmer 00:00 / 01:58

Art and Music 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

From The Mississippi Possum Hunters Tune History The Stories Behind Your Favorite Tunes < Back To List Possum On The Rail From The Mississippi Possum Hunters The Mississippi Possum Hunters were Lonnie Ellis, John Holloway and Pete Herring from near Winona, Mississippi. Ellis and Holloway traded fiddling duties, with Ellis also playing mandolin and Holloway playing cello. Herring was a contest winning guitarist and singer. On May 28, 1930, at the Ellis Auditorium in Memphis, Tennessee, the band recorded six tunes for Victor. The four chosen for release were “The Last Shot Got Him,” “Rufus Rastus,” “Mississippi Breakdown,” and “Possum On The Rail.” Ellis, who played fiddle on the recording of “Possum On The Rail,” said he learned the tune from his brother, Homer. Holloway played cello with Herring on guitar. The band members were paid $50 each for their work. Uncommon for the time, Ellis also received a half cent royalty on "Mississippi Breakdown" and "Possum On The Rail," which, Ellis reported, translated to about $300-$400 over the next 15 years. (Only 1242 copies of "Possum" were sold.) In 1931, the tune was recorded as “Racoon On A Rail” by The Hometown Boys from north Georgia (Bill Helms, fiddle, Gid Tanner, banjo, and Riley Puckett, guitar). “Possum On The Rail" is a two part tune, recorded originally in the key of G, and is still played that way by most. The first part features a quick slide up to a high B note for the fiddlers (the hiss of a possum?), and the second part is very similar to “Bile Them Cabbage Down.” An excellent resource for information on other great Mississippi bands, such as "Freeny's Barn Dance Band" is “Fiddle Tunes From Mississippi” by Harry Bolick and Tony Russell . Possum On The Rail record label by the Mississippi Possum Hunters Possum On The Rail Trivia: Both possum and opossum correctly refer to the Virginia opossum as seen here. Possums are an entirely different animal and live in Australia. If possums had a band Possum On The Rail record label by the Mississippi Possum Hunters 1/6 Possum On The Rail Mississippi Possum Hunters May 1930 Possum On The Rail Rhys Jones and Friends Clifftop 2018 Raccoon On A Rail The Hometown Boys 00:00 / 03:06

From Virginia Fiddler John Ashby and The Free State Ramblers Tune History The Stories Behind Your Favorite Tunes < Back To List Going To The Free State From Virginia Fiddler John Ashby and The Free State Ramblers This is a lively two part fiddle tune in cross A tuning (AEae) from northeast Virginia fiddler John Ashby (1915-1979). The tune is found on Ashby’s “Down On Ashby’s Farm" album (1974) as “Gone To The Free State.” However Ashby, on Field Recorders Collective 108 ”John Ashby & The Free State Ramblers” clearly introduces the tune as “Going To The Free State” as one he wrote, and it is listed on the album as such. The "Free State" of Fauquier County, Virginia (home of the Ashby family) refers to an area of roughly 12 square miles located north and west of Warrenton that was known for its residents' defiance of authority and lawlessness dating back to colonial times. Disputes over property rights led residents to ignore rent and tax payments as they claimed ownership of the land they lived on. They declared themselves independent of the U.S. and even named a King. John Ashby’s uncle Charlie was King of the Free State in the late 19th century. Over the generations, stories were passed down about violence, fighting, bootleg liquor production, and tax avoidance in the Free State area. ( ed. note: Reads kind of like the early history of East Tennessee , doesn’t it?) There are several tunes that have very similar melodies as "Going To The Free State," and (at least) a couple of more with the same title. First is a tune called “Clinton” which, according to The Traditional Tune Archive , is actually a misnomer stemming from a confusion in labeling of “Going To The Free State” by 'revival' fiddlers in the 1970's. As the tune spread, so did the erroneous title. The second example is one with the same melody that, according to Traditional Tune Archive, the Volo Bogtrotters play as Appleknocker." There is yet another tune with the same melody called “Halifax” , which comes from fellow Virginia fiddler N.H. Mills (1907-1981) of Boone’s Mill, VA. (Boone’s Mill is just south of Roanoke in Franklin County - Halifax is a city and county in south-central VA near the NC line.) There is no enlightenment from Mills regarding the origins of “Halifax.” Mills was protective of his privacy, and after he was recorded by Armin Barnett in 1972, he said to Barnett, "If anyone asks about me, tell them I'm dead." Next up is a tune called “Going To The Free State” attributed to southern Illinois fiddler Mel Durham (1914-2008). Durham’s tune appears on David Bragger’s “Big Fancy“ album (2016). Even though it's the same title, this is definitely not the same melody as Ashby’s tune - it is what most will recognize as “Avalon Quickstep”. " Avalon Quickstep " is well known, and attributed to the playing of the 1920’s Mississippi duo Narmour and Smith , so this appears to be another example of title confusion over the years. Durham knew of the inconsistency; after attending west coast festivals in 1992, he said that in Port Townsend (WA) there were some people who played "Going To The Free State" as "Avalon Quickstep". Lastly, John Ashby and the Free State Ramblers play a tune Ashby calls “Hornpipe In A” - but then Ashby additionally calls it “Free State Hornpipe.” The melody is not far from "Going To The Free State." Authorship is generally attributed to one of Ashby's musical influences, Winchester fiddler Ralph Lamp. ( ed.note: It sounds to me a lot like a notey, hornpipe version of Going To The Free State. Could this have been the inspiration for Ashby’s tune?) Whatever you choose to call it - it’s a good tune. And you can take advantage of this 5 for 1 deal: learn the melody once, then play it as five different tunes - Going To The Free State, Clinton, Halifax, Appleknocker, and maybe even Free State Hornpipe! Learn lots more about Virginia fiddler John Ashby on our Music page. John Ashby John Ashby Charles B. Ashby grave marker John Ashby's uncle, known as "King Of The Free State" John Ashby 1/7 Halifax The Onlies Clifftop 2018 Going To The Free State John Ashby and the Free State Ramblers Apple Knocker Free State Hornpipe John Ashby and the Free State Ramblers 00:00 / 03:14

Angelina Baker and Hard Times Come Again No More Music Exploring Old Time Recordings and Artists < Back To List Stephen C. Foster Angelina Baker and Hard Times Come Again No More When we think of Old Time music, famed composer Stephen Collins Foster (1826-1864) might not be at the top of the list of songwriters who immediately come to mind. But during his lifetime, he penned hundreds of songs, many of which, according to the Songwriters Hall Of Fame , have come to be thought of as “... foundation stones of the American songbook.” Several of his songs float around the fringes of the Old Time and Bluegrass, such as “Oh Susanna (1848),” “Camptown Races (1850),” “My Old Kentucky Home (1853),” and “Old Folks At Home/Swanee River (1851).” Two of his compositions are heard quite frequently at Old Time and Bluegrass jams: “Angelina Baker,” (1850) and “Hard Times Come Again No More (1854).” Angelina Baker/Angeline The Baker Angelina Baker was written by Foster for the Christy Minstrels, and was published in 1850. Like fellow songwriter Henry Clay Work (“Kingdom Coming/Year Of Jubilo”) , Foster had a profitable business relationship with Edwin P. Christy, who headed the most popular minstrel troupe in the country. The original lyrics lament the loss of a woman slave, sent away by her owner. Like most all minstrel songs of the day, the lyrics were written in caricatured heavy dialect, meant to be performed by blackface troupes. In today’s time, the original lyrics and dialect are seen as demeaning or offensive, so lots of variations have been created for those who want to sing. Most of today’s lyrics tell of Angeline not wanting to marry, give her an “age of 43,” and her last name has become her occupation, leading the song to now be commonly called “Angeline The Baker.” The original sheet music indicates the song is to be performed “Moderato,” as it was intended to relate a sad and mournful story of lost love, but the song has morphed over time to a quicker, jaunty and upbeat fiddle tune and song. Hard Times Come Again No More When it comes time for slow songs around the jam circle, there are few better from which to choose than Foster’s “Hard Times Come Again No More,” which was published in 1854. Known early in his career for his successful minstrel songs, Foster later focused on writing songs like this one, laced with nostalgia. It is said that Foster used a melody that he heard as a child in an African-American church as a basis for the melody of this song. But unlike his earlier works, the lyrics have no dialect, no mention of slavery or other minstrel themes, and the song was described on its printed cover simply as one of “Foster’s Melodies.” The song’s imagery is impressive, as in “pale drooping maiden,” and “frail forms fainting at the door;” with verses pleading for hard times to not come again. “Hard Times Come Again No More" is seen by some as tragically prophetic, as it has been reported that Foster sang this song quite often in his last days. It is the most recorded of all his works, and like all of his other songs, is considered in the public domain. The most famous and popular songwriter of the Civil War era died, penniless, on January 13, 1864, at the age of 37. In the mp3 file below, please enjoy dulcimer virtuoso Sarah Kate Morgan performing “Hard Times,” recorded during a live performance in 2013. Ed Note: This is my favorite recording of this song! Stephen Collins Foster 1826-1864 Angelina Baker Original sheet music cover sheet 1850 Hard Times Come Again No More page 4 Stephen Collins Foster 1826-1864 1/9 Angelina Baker (as originally written) performed by Tom Berghan Angeline The Baker (Bluegrass Style) - Ian Lane, fiddle Hard Times Come Again No More by the Edison Male Quartet 1905 Hard Times Come Again No More Sarah Kate Morgan 00:00 / 04:36

From The Collection Of Bascom Lamar Lunsford Tune History The Stories Behind Your Favorite Tunes < Back To List Booth Shot Lincoln From The Collection Of Bascom Lamar Lunsford “Booth Shot Lincoln”, also known as “Booth Killed Lincoln", or just “Booth”, is a well known and frequently played Old Time fiddle tune. The title refers to an important historical event - the assassination of President Abraham Lincoln by actor John Wilkes Booth on April 14, 1865. It is in the key of A and can be played at most any tempo; the speed seems to be a regional preference. Western North Carolina fiddlers Marcus Martin , Osey Helton , and Bascom Lunsford are commonly associated with this tune. The melody for “Booth” most likely comes via the British Isles. One theory considers “Old Rosin The Beau” , a good candidate. This popular drinking song was first published in Philadelphia in 1838, but the melody itself goes back to the 1700’s or before. Another more likely possibility is the Scottish tune “The 100 Pipers” , which was published in 1852 (but there is little reference as to the actual age of the melody). See the videos below - listen to the two tunes and decide for yourself. Did you know “Booth" has lyrics that tell the story of Lincoln's murder? It has been widely accepted that the song’s lyrics were written shortly after the event, much in the tradition of a broadside ballad . Song collector Bascom Lamar Lunsford (1882-1973) from Mars Hill, NC documented the song for the Library of Congress Folk Song collection in 1949 with 14 verses. Lunsford stated, “The title of this ballad is ‘Booth’, or ‘Booth Killed Lincoln.’ It’s an old fiddle tune, and there are a few variants of the song. I heard my father hum it and sing a few of the stanzas when I was just a boy about six or ten years old.” (see center video below) Lunsford documented several of the tune’s variants, but interestingly, a version with lyrics was not recorded until 1935. According to author Stephen Winick, writing for the Library of Congress Blogs , “Bascom Lamar Lunsford’s three recordings of “Booth” leave us with the following probable timeline: sometime around 1890, Lunsford first heard the fiddle tune “Booth” in the form of humming and singing of some verses by his father. Sometime before 1925, he learned to play the fiddle tune, but he did not yet know the ballad in 1925. By 1935 he had learned the ballad. By 1949, he had either changed it intentionally or he remembered it imperfectly.” “Unfortunately, while we now know more about when Lunsford picked up this remarkable ballad text, we don’t know anything about where or from whom he learned it. It would still be possible, of course, for the song to have been created in 1865, transmitted entirely orally, and collected only by Lunsford, and for him then to have recorded it several times without ever divulging where he got it. That would be consistent with there being no recorded version until 1935, and no printed version until the 1952 liner notes.” “This leaves us with a few possibilities: the “Booth” ballad was never written down, but came down to Bascom Lunsford from its author purely orally; it came to Lunsford in writing in a unique manuscript; or it was written by Lunsford himself”. Like a lot of Old Time music, who wrote what, or when, will likely never be clear. What is clear is that "Booth" is a good fiddle tune! A fast version by Uncle Earl can be heard in the mp3 player below. Bascom Lamar Lunsford 1882-1973 From Mars Hill, NC Bascom Lamar Lunsford Minstrel Of The Appalachians album cover (1956) Lincoln Shot Bascom Lamar Lunsford 1882-1973 From Mars Hill, NC 1/6 Old Rosin The Beau The 97th Regimental String Band Booth Killed Lincoln Ballad and Fiddle Tune (1949) (fiddle tune starts at 2:50) Bascom Lamar Lunsford The 100 Pipers Kevin Lees (fiddle) & Sebastian Bloch (guitar) Booth Shot Lincoln Uncle Earl 00:00 / 02:10

What's a chinquapin? Why hunt it? Tune History The Stories Behind Your Favorite Tunes < Back To List Chinquapin Hunting What's a chinquapin? Why hunt it? What is a Chinquapin? Chinquapin, or "chinkapin," is a cousin of the American chestnut also known as a dwarf chestnut. The name comes from the eastern-dwelling Algonquian Indian language. There are several varieties, and chinquapin trees are known as far west as Texas. In East Tennessee and Western North Carolina the principal chinquapin tree is the genus Castanea, species pumila. Small and shrublike, and often with several trunks, a chinquapin seldom grows above 20 to 30 feet in height. The wood of chestnuts and chinquapins is extremely rot resistant and has been used in making railroad ties and posts and rails for fences. Why would you hunt it? Chinquapin husks contain a single kernel that, when ripe in the fall, produces a tasty nut for humans as well as animals. Chinquapin nuts were so plentiful that they were scooped up with shovels and loaded into wagons to be used as livestock feed, to eat, and to sell. According to the Encyclopedia of North Carolina, “...in the early 1950s it was possible to buy a bag of chinquapins at roadside stands in hilly, rural North Carolina counties such as Stokes and Surry. The bag was approximately the same size as a bag of peanuts sold at a ball game and usually cost a nickel.” I've never seen a Chinquapin tree or nut. What happened? The arrival of chestnut blight, a fungal pathogen from Asia which was introduced to the United States on imported chestnut trees during the late 1800’s, caused the steady decline of this species, as well as the disappearance of most all native chestnut family trees. There are many groups currently working on the breeding of blight resistant varieties of the chestnut family trees, including the Chinquapin. The Tune(s) There are four Chinquapins you should be familiar with. They are all completely different tunes. Chinquapin Hunting. This is a 3 part tune in the key of A, associated with the playing of Hillsville, Virginia (near Galax) fiddler Norman Edmonds (1889-1976). His version is the one that you will most likely encounter at a jam or Festival. The modern version's B and C parts differ slightly from Edmonds’ original, likely a result of “Festivalization” over the years. Listen to Norman Edmonds play Chinquapin Hunting . Watch Rachel Eddy and friends play the tune at a 2013 Clifftop jam . Bruce Molsky and friends are in the video below. Chinquapin Hunting. This is a 2 part D tune from the playing of Hiram Stamper (1893-1992), which was passed down to his son, Art Stamper (1933-2005), both from Hindman, Knott County in Eastern Kentucky. There is not much information on the history of the tune, but Hiram Stamper said he thought it was at least as old as the Civil War. Hiram Stamper’s version has a very old/archaic alternate tuning sound to it, with simple A and B parts. Listen to Hiram Stamper’s version . Art Stamper’s “Lost Fiddler” album (1982) has a fast studio version. Listen to Art Stamper’s 1982 recorded version . Modern Festival/jam versions seem to be generally close to Art Stamper’s album version. Watch Art Stamper play at a Clifftop jam (Video also below). Recorded in 2003, it is interesting that this Chinquapin Hunting sounds closer to his father’s version than Art’s 1982 album version. Also interesting- Art Stamper and John Herrmann play a GDGD tuned version . Chinquapin/ Chinky Pin . This is a two part tune from the playing of West Virginia fiddler Clark Kessinger (1896-1975). He and his brother were successful recording artists for Columbia records in the 1920’s. Clark was rediscovered in the early 1960’s, going on to win fiddle contests and record several albums. His last album was recorded in 1971 with plans for more, but a stroke robbed him of his ability to play the fiddle for the remainder of his life. The Kessinger melody comes from the British Isles, specifically a traditional fiddle and bagpipe piece, "My Love She's But a Lassie Yet." Published in 1756, “Miss Farquarson’s Reel,” also has the same melody. Kessinger plays this extremely notey tune at an incredibly fast pace in the key of D in his recorded version. Listen to Kessinger play it here. The title appears as “Chinky Pin” instead of "Chinquapin'' on the record label supposedly due to a Brunswick record clerk’s error. The Festival version popular now is recognizable as a descendant, but more moderately paced, much less notey, and easily settles into a first class Old Time groove. Watch Rhys Jones and friends play it at a 2013 Clifftop jam with fiddles cross tuned in A. (Video also below) Chinquapin Pie. This is a modal banjo tune from Hobart Smith (1897-1965) of Saltville, Virginia. Smith’s playing at the White Top Folk Festival in Grayson County, VA in 1936 attracted the attention of First Lady Eleanor Roosevelt, who invited him to play at the White House. This led to recognition from folklorists and musicologists, notably Alan Lomax, for whom Smith recorded 40 tracks. He made several albums over the years and enjoyed a resurgence of popularity in the 1960’s folk music revival. Listen to Hobart Smith playing Chinquapin Pie from his 1964 Smithsonian Folkways recording. Also in the mp3 below, it appears to be in an A modal tuning. Watch David Bragger’s instructional video on how to play Chinquapin Pie. David plays it in G modal tuning. Chinquapin Nuts Chinquapin Castenea pumila aka Dwarf Chestnut Hobart Smith Chinquapin Nuts 1/7 Chinquapin Hunting Bruce Molsky 3 Parts, Key of A, from the playing of Norman Edmonds Chinquapin Hunting Art Stamper 2 Parts, Key of D Chinky Pin/Chinquapin Rhys Jones and Friends 2 Parts, Key of A, modern take of Clark Kessinger's version Chinquapin Pie Hobart Smith 00:00 / 01:54

By Steve Rosen From The Volo Bogtrotters 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

A Birthday Gift From June Drucker (and nothing to do with Israel) Tune History The Stories Behind Your Favorite Tunes < Back To List Going Back To Israel A Birthday Gift From June Drucker (and nothing to do with Israel) If you are seeking the unique sound of minor tunes to add to your setlist, June Drucker’s “Going Back To Israel” is an excellent choice. June is a multi-instrumentalist, best known for her bass playing with a number of Old Time and Contra bands over the years. This original tune was included on her 2003 “Tumble and Leap” album. “Going Back To Israel,” is slightly crooked and in the key of A minor (played in standard tuning). It has become a Festival favorite and has been covered by several other bands. We reached out to June for some insight on the tune’s origin. She said, “...it was written in about 10 minutes sitting on the counter in Godfrey Daniel’s Cafe in Bethlehem, PA on the way up to the Hudson River Festival. It was almost written as a joke for my friend Tara Nevins who had written some tunes and we were both going to be at the festival, so I gave that tune to her as a birthday present. There was really no thought put into it, just a noodle and ended up a tune.” June credits Tara Nevins’ playing as contributing to its popularity, because, “...she is a much better fiddler than me…” As for the title, June stated that she didn’t name it. A friend of hers suggested “Going Back To Israel” after joking that the tune sounded like something some of their other fiddler friends would play - and as June explained, “...that was that. It really has nothing to do with Israel. So that’s about it. Not too exciting a story, but hope this helps.” Included below is the original from June’s album, and a version performed by June with Bruce Molsky, Rose Sinclair, and The Horse Flies’ Judy Hyman and Jeff Claus at the 2001 Falcon Ridge Folk Festival in Goshen CT. A high octane rendition by The Mando Mafia from their 2004 “Get Away” album, and (on the mp3 player) , a unique jammy rock/electric fiddle interpretation from Seattle’s Celtic/Surf/Roots band “The Irish Experience,” provide additional takes on the original. June Drucker The Renegades 2008 recording on Field Recorders' Collective label. "The Renegades are veterans of notable old time bands (Richie Stearns of the Horse Flies, June Drucker of the Heartbeats, Carol Elizabeth Jones of the Wildcats, and James Leva of Plank Road and the Hellbenders)" The Mando Mafia Get Away album (2004) June Drucker 1/5 Going Back To Israel (fast forward to 39:15) (then go back and listen to the whole set!) Bruce Molsky, June Drucker, Judy Hyman, Rose Sinclair, Jeff Claus 7/29/01 Falcon Ridge Folk Festival Going Back To Israel June Drucker Tumble and Leap (2003) Going Back To Israel The Mando Mafia Get Away (2004) Going Back To Israel The Irish Experience 00:00 / 03:43

List of Old Time Artists and Recordings availble in the Music section of www.knoxvilleoldtime.org 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 Freeny's Barn Dance Band Later Known As The Freeny Harmonizers Learn More John Ashby The Free State Ramblers Learn More Mike Bryant and Paul Brown Bryant and Brown (2018) Learn More Roane County Ramblers Fiddler "Uncle Jimmy" McCarroll Learn More Stephen C. Foster Angelina Baker and Hard Times Come Again No More 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 Festival Season By Dolly & the Devil Learn More Jess Young Chattanooga Fiddler Learn More John Morgan Salyer "Mozart of Old Time" from Eastern Kentucky Learn More Presidential Fiddle Tunes 28 Tunes With Presidents' Names plus bonus Leap Year tune Learn More Spencer and Rains Art and Music Learn More Tennessee Chocolate Drops Knox County Stomp Learn More Music

Monthly letter from the Editor, how to contact us, and subscribe to the newsletter Knoxville Old Time Bending forms at Jean Horner's shop. If you love Old Time music - welcome to our family! Knoxville Old Time is a gathering place for everyone who shares a love of Old Time music We are proud of Knoxville and East Tennessee's musical history, which is very much a part of the fabric of Old Time music. But no matter where you are, that musical tradition is being honored and kept alive by passionate people just like you. Fiddle back being carved at Jean Horner's shop. (2019) April From The Editor Did March go out like lamb? April has its own weather lore sayings - the most famous being “April showers bring May flowers.” Which also spawned the also traditional accompanying dad joke: “If April showers bring May flowers, what do May flowers bring?” The painfully groaning answer is, of course, “Pilgrims.” An alternative from The Farmer’s Almanac to the well worn April showers saying is respectfully submitted: “If it thunders on All Fool’s Day, it brings good crops of corn and hay.” I came across this very concerning article in the Bluegrass Intelligencer titled “Old-Time Music Permanently Revokes All Song Titles.” Apparently, The National Council of Elders has unanimously voted to end the practice of using words to name old-time fiddle tunes. Beginning April 1st, musicians will identify fiddle tunes only by playing the first four bars, since tune titles have become meaningless. This far reaching decision could really impact your next jam experience! That brings us full circle to All Fool’s Day/April Fool’s Day. This tradition has been around for thousands of years , but no one really knows how it got started. It is probably not a coincidence that a lot of the history behind the day is also a hoax. Watch your back on April 1st - just to be safe. The latest addition to the Song History page is “Kingdom Coming,” more commonly known in Old Time music as “Year of Jubilo.” Songwriter and abolitionist Henry Work wrote this song in 1862 for performance by blackface troupes. The lyrics describe the impending freedom of a group of slaves after their master flees the plantation to avoid capture by advancing Union troops. This incredibly popular song reversed the standard minstrel formula, which typically depicted stereotyped caricatures of docile slaves and an oppressive master. The lyrics need to be considered in historical context, but the catchy melody is an Old Time jam favorite. The last weekend of April is the 7th annual Upper East Tennessee Fiddlers Convention in Flag Pond . I am hoping to see some of you there, and to bring home some new tunes. If you have never been to this event, please consider giving it a try, as it is very well run and attracts some outstanding musicians from East Tennessee, Western North Carolina, and beyond. And it’s only a two hour drive from downtown Knoxville! Mark Newsletter Signup Get notified when new content is added each month on this site, and when Festivals and other area Old Time music related events are announced. Email addresses are never shared. We do not sell anything. You can unsubscribe at any time. OPTIONAL - City & State Instrument Played (if any) I want to subscribe to your mailing list. Submit Thanks for joining our Old Time family! Newsletter Signup/Contact