Tom Dooley

Some years back Vickie and I vacationed near Boone, NC, home of Doc Watson. We stayed in a place with a view of Grandfather Mountain and traipsed around in the Smokies for a week. It was great. We ventured over to Wilkesboro, NC where the events remembered in the old murder ballad “Tom Dooley” happened. There are many versions of the story and many versions of the song, but here is a more traditional one I recorded a few years ago more in the style of Doc.

Read a most interesting piece on the migration of lowland Scottish people to Appalachia via a stay and invitation to leave Ireland for the new world. Fortunately they brought their music with them and a century later, thanks to their geographical isolation, they had preserved it almost without alteration. Because they were from the lowlands of Scotland, they emphasized the fiddle rather than bagpipes, for which we may be grateful. The highland pipes are wonderful, but you can’t listen to a two hour concert of them. They’re like the accordian–better confined to Lawrence Welk reruns or background. (Yes, I know the old definition of perfect pitch–you through the banjo into the dumpster without touching the sides and it lands on an accordion).

At any rate, these fierce, independent mountain people of the South were hard working, resentful of interference and suspicious of outsiders. And occasionally murderous. Wilkesboro was the capital of the moonshine runners who eventually took their souped up cars and started NASCAR. “Family Feud” was not a television show. It was a matter of honor and violence.

Thank goodness the territorial domination of men over women is no longer the same among intelligent people, but the song is a memory of a time when things were a certain way and shame was powerful. You may have heard the Kingston Trio’s version or any of a hundred folkies in the Sixties. I was attracted to that version when I started playing, but I like this one better.

In Wilkesboro they put on an outdoor drama every summer of the story of Tom Dooley and the murder of poor Laurie Foster. It starts with a Civil War re-eneactment, allowing the men and boys to shoot off blanks for way too long with almost no relevance to the story advancement, but it’s great fun. We waited out a downpour to see it, and had a great time. It’s a sad story and justice was severe in those days, but at least there were concessions. It’s worth a see. Take some earplugs.

Maybe it’s true what Elie Wiesel told us–to forget our sins is as great a transgression as to have committed them in the first place. Remembering and grieving are essential to healing.

New Songs Out

At long last, the new CD, FLAT TIRE ON MEMORY LANE is to be released shortly. I’m posting some of the songs already as singles for you to listen to and enjoy.

“If I Only Had One” is the first single release that will be on our album. The idea is pretty straightforward. “What if this was my last day, year, chance?” What would I do differently? And why don’t i go ahead and live that way now?

Human nature being the way it is, I suppose most of us only focus when we have to. But the thought of it was very meaningful to me. Brought back the quote from Annie Dillard in THE WRITING LIFE: “How you spend a day is how you spend a life.”

“Will You Love Me If I Have One Eyebrow” is a song that was inspired first by the music. Fooling around one evening with some swing-y chord changes and this one came forth. I love swing, funny songs, and anything Harry Connick might do. This is the second song I’ve written for Harry. Of course, he doesn’t know about it, but it’s here if he wants it! Enjoy. It’s about love in the sunset years, when everything starts heading south physically. Your knees start to snap, crackle and pop and hair grows in all the wrong places. Is love strong enough to survive?

Please click and enjoy!

Living Through Exile

I wrote this to our church back at the beginning of April. I hoped, like all of us, that we’d be “back to normal” by now. But we aren’t. So in looking back at this, it’s more relevant than I thought. We’re in it for a while. Hold on.

The exile in ancient Israel was a traumatic disruption.  The city of Jerusalem and all the towns of any size were sacked and burned, people scattered and all the Judaeans with any talent, leadership or education were marched across the desert to Babylon Iraq where they lived in an ethnic ghetto, not speaking the language or having any access to power, wealth and influence in their new land.

It was a time of terrible devastation. Excavations at Debir, Lachish and Beth-shemesh show enormous devastation.  No town in the south escaped. Many died in the siege, many died of disease and starvation.  The population decreased from 250,000 in the 8th century to perhaps 20,000 after the return .

The Exile presented many problems. First, of course, was simple survival. And how do you live in an  interim?  But by far the most profound was a theological and spiritual crisis. Their whole world, the one they knew, had disappeared from under their feet.

It became a profound time of spiritual change. They began to transfer and organize their scriptures from collections and memories into books. The synagogue was born, since the Temple was gone. But above all their was their shared memory.  Psalm 137:5-6 comes from the exile.

                        If I forget you, O Jerusalem, let my right hand wither!

                        Let my tongue cling to the roof of my mouth,

                        if I do not remember you, if I do not set Jerusalem above my highest joy.

It was a time when they realized that only God could taken them home again–and they eventually did. At times, as in Jeremiah 29, they had premature hopes that it would happen fast, but eventually they settled in for the long haul. Exekiel 37, a vision of resurrection for the nation (from which James Weldon Johnson’s wonderful“Dry Bones” comes from), saw a return to the life they loved. But alas, not right away.

It is breathtaking how quickly our full and prosperous lives of ballgames, family gatherings and entertainment venues was collapsed by a tiny little virus. Now we sit in our homes, even unable to come to God’s houses to worship together. Hugging our friends, sitting together on the pews, choir rehearsal, Wednesday night supper, is now cut off for a little while. No ballgames, no concerts, no movies at the theater.

We’re making the best of it, and praying, helping and trying to keep the kids going, as much normal as possible. It dawns on us that this passage is going to be tough. So what to do?

We’re figuring out how to survive, how to do the interim, keep it going. We post things to lend a little courage to one another.  But the spiritual crisis is also pervasive. And it’s not what self-anointed prophets of doom proclaim. I’ve been listening to those people since the 1970s, convinced that the end of the world is now at hand. Maybe, maybe not. Jesus said you and I don’t get to know that. Period. (Acts 1:7). The book of Revelation is not a how-to book of prediction for us to know ahead. It’s a promise that God will outlast evil.

Interestingly, there are people who can help us. A member of our church whose husband received a heart pump in a near death crisis five years ago emailed me this week and said, “We’ve laughed and said that actually everyone is now living our lives that we inherited five years ago — that we can never be apart from each other and we really go very few places anymore.” People in nursing homes understand, as do caregivers of the elderly, prisoners and parolees. Life is has edges that are determined by realities external to your will.

So what now? Just keep on. Live your faith, teach your children, laugh and rejoice all you can. Help out, and pray for the helpers. But above all remember that this is not the first time of crisis for the world. The spiritual opportunity is not about scaring people into faith—it’s about revealing that the way of a cross always was the way. The only way over it is through it.

As we finish this Lenten journey, the tone of our moment is matching the Jesus story in a remarkable coincidence. We aren’t just reading about disciples afraid of the unknown up ahead. It’s real. We don’t know where it’s going or how many of us will get through it unscathed. There is only surviving, holding on, trusting in faith.

There is precedent for this moment. And with that I tell you, “Hold on.” There’s always something on the other side of every cross.

At least that’s what I trust, even when my knees are shaking a little. I’ve been listening to Bob Dylan again, a lot. This one is a hard song, but still speaks to me.

A Guitar for Christmas

I have a modest guitar collection if you compare to some. Each instrument I have and play, though, is as unique as a child. Each has its own “voice,” and no two instruments are exactly alike, even if they are identical models. Each piece of wood sounds a little different from all the others. You learn this if you are a serious player.

Instruments have their oddities, too. Sometimes, tuning is not precisely right on every fret, or the “feel” of the instrument varies. Some applies to guitars, violins, banjos, mandolins, any instrument of wood and wire. This eccentricity, like that of human voices, is a source of delight, not frustration. The reason I generally hate a lot of electronically created music is the sameness of it.

Human voices are like that. I like gravely voices, deep voices, angelically soft voices, and raspy voices. Each voice expresses who that human being is, at least in part.

My very first guitar of my own was a Yamaha FG-230 Twelve String guitar.  My parents got if for me for Christmas of 1971, I think. I had started playing music with two great friends who were musicians.

Gary Woody Paul (1)
With Woody and Paul, Christmas 1971. Instead of new sweaters.

Both would go on to professional music careers, one still in it. My friend Woody had a Hoffner bass like Paul McCartney played in the early Beatles’ music, but that year got a Fender Jazz bass.  Paul, who already played a Fender Telecaster like a pro by age 17, got a Yamaha six string the same Christmas. We both loved old country music and bluegrass. Paul introduced me to everything else in the world–he liked all kinds of things, from Grand Funk Railroad to Dillard and Clark to the Incredible String Band.

We were writing songs and Continue reading A Guitar for Christmas

Lenten Speaker Series Continues: Kate Campbell

Last evening, we kicked off our series, “The Callings That Find Us,” with Dr. Danny Potts.  An overflow crowd filled the room and was not disappointed as he shared his personal journey with brokenness and new life through his father’s long battle with Alzheimer’s disease.  It was inspiring and so helpful to all who were there.

Next Wednesday we welcome folksinger Kate Campbell. Kate is a favorite singer-songwriter for many.  She is a storyteller and singer with a unique voicrockcitye that blends faith, justice and humanity in her writing and singing.  Growing up in the south as the daughter of a Baptist preacher, Kate’s formative years were spent in the very core of the Civil Rights Movement of the 1960’s, and those years left a mark on her.  

Her Two Nights in Texas CD received the prestigious Mississippi Institute of Arts & Letters Award. Ballet Memphis featured several tunes from her song catalog as well as a live performance by Kate and band at a ballet entitled South Of Everywhere. Three of Kate’s songs (“Ave Maria Grotto,” “William’s Vision,” and “Fordlandia”) were recently featured in documentary films.  A variety of artists have recorded Campbell’s songs including Laurie Lewis, Missy Raines, Ronnie McDowell, and the Nashville Bluegrass Band who covered her compelling snake-handling song “Signs Following.”

Campbell has played the prestigious Cambridge Folk Festival (England), Merlefest, Philadelphia Folk Festival, and Port Fairy Folk Festival (Australia), been featured on National Public Radio’s Morning Edition, All Things Considered, Live From Mountain Stage, and had her story (and haunting song “When Panthers Roamed In Arkansas”) included in the debut issue of The Oxford American’s ultra-hip Southern Music series. Kate’s latest release Damn Sure Blue, a heart-felt collection of tunes that pays a respectful nod of admiration to the Man in Black and reverberates with the soulful sounds of award-winning Americana guitar whiz and producer Will Kimbrough.

Kate lives in Nashville with her husband, Ira, a minister a

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