folk music – The Flatpickin' Pilgrim's Progress

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.

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 voic rockcity e 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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Start Young

If you don’t know who Ricky Skaggs is, then you really don’t know anything about bluegrass and old-time music. It’s important to distinguish those two terms. “Bluegrass” technically didn’t exist before the 1940s. It was literally invented as a form by Bill Monroe, recasting the traditional old time music of his Kentucky and Appalachian roots with a new sound built around his unique mandolin playing. The mandolin took a new role as a centerpiece performing lead instrument in

Monroe’s vision. He was truly a unique American music phenomenon.

Monroe inspired an entire generation of musicians and his influence lives on in all the varieties of bluegrass, newgrass, swing, jazz and a hundred other variations of playing involving the mandolin, but no one has embodied that variety more than a kid from Kentucky named Ricky Skaggs. His father started him out with a mandolin around age 6 and before he was out of his teens, he played on stage with Monroe himself, with childhood buddy Keith Whitley, Flatt and Scruggs and toured with the Stanley Brothers.

Bluegrass and its predecessor, the “old time” music, that was originally the dance music and music played in homes and small communities of the South that had traipsed across the Atlantic from the border regions of Scotland through Ulster and Ireland as immigrants to the New World, settling in the mountains of the South. They brought with them the instruments of their folk music, and it underlay their common life for generations. Like all immigrants, their music was a powerful identity that helped buffer them against the hardships of fitting into a new and strange country that did not always want them.

Like all people, the love for their children motivated their work, way of life, and the sharing of their music. Today, like few other music forms, you will see men in their eighties at a bluegrass festival sitting in a circle jamming with teenagers strumming guitars and 6 year old fiddle and mandolin players. Ricky Skaggs was one of those children.

It gives hope to look at our children and imagine what they might do. They are not jaded yet by our own deep prejudices and ignorant opinions

about “how it is.” So today, I share this video I came across of little RIcky Skaggs, age seven, playing on television with Lester Flatt and Earl Scruggs. Teach your children well. And maybe their elder’s failures will give way to something wonderful, unexpected and new.

Doesn’t conflict at this moment in Lent to me at all, when we are wringing hands, troubled in mind, struggling with hope and anxious to the gills, to pick up my mandolin at home, play a tune, and feel something lift out of the room. Wherever that sound came from (and as a man of faith, I think I know), it says, “There’s still something unexpectedly beautiful up ahead. Go on, and don’t give up.” If you don’t know any seven year olds, I suggest you enlarge your life and bit, get out of yourself, and look for hope in the strings and paintings and delightful voices of the young.

Uncle Vance’s Guitar

Originally written in 2017 when I rolled out the album. it was my best effort to date. Every songwriter i know says, “Write about things you are interested in or care about, otherwise you won’t write songs worth hearing.” I agree. And you have to keep digging and working on them until you get to the bottom of what you care about. Here’s the title song from the album.

Writing songs started for me at age 16. I have been singing, though, all my life. I sang in church, hummed to myself, started plucking guitar and piano and anything else with strings. Somehow marrying melody with words came naturally. I would memorize tunes and never forget them. So it was not completely foreign to me when I started trying to do it intentionally. I have so enjoyed in recent years the experience of learning, crafting, writing and performing original songs.

In recent years, I have completed three CDs. My first was permanent world of pretend, the second was Overload of Bad News Blues and the third was What it Is. Recently I remastered the second and third one and re-did the artwork. They are now available on CD Baby for purchase and download. A few weeks ago, though, I finished my newest, four years in the writing and “trying out.” It’s titled Uncle Vance’s Guitar and it centers around the title cut, based on the story of a guitar that’s been in my family. My dad and his brothers all played and sang, and Uncle Vance had a turn playing with a well-known North Carolina performer, J. E. Maynor in the 1940s. The song is about him, and about how music is a way to express and bear our lives. I hope you’ll take a listen!

Last Thursday, I had an official CD release concert in Birmingham at Moonlight on the Mountain. My good friend and fellow songwriter Keith Elder opened for me. I was joined by a very talented group of friends and supporting musicians, Brent Warren on guitars and mandolin, Don Wendorf on mandolin, banjo, drums and harmonica, Rachel Turner on bass and vocals, Mark Weldon on fiddle, and my Shades Mountain Air bandmates Nancy Womble and Melanie Rodgers were special guest artists, stepping up for some extra good work on a couple of songs.

A great crowd turned out, and now the CD is available for purchase. You can get downloads online at by clicking the player up above, but if you’re a CD buyer, you can order direct from me and I’ll put it in the mail to you. The cost is $9.99 plus $3.63 for shipping. I’ll bill you by email! Just contact me at bhmpicker@gmail.com Love to hear from you!

Mapping the Bluegrass Genome

“The genetic code of bluegrass and old time music is more sophisticated than that. It carries stories of birth, life and death in the old days. It tells of children dying young, tragic love, shame, murder, alcoholism and faith. To learn the code, no stereotype will do. You have to descend into the music and listen.”

In 2005 I took a three month sabbatical to study, pray, and feed the senses. I went to art museums, read books, went to Nashville to learn about the music industry and played at open mic at the Bluebird Café, reaching one

of my bucket list items (the ultimate would be a gig on the “Prairie Home Companion Show” while Garrison Keillor is still on earth!). But a lot of that time was “exploring my roots,” musical, theological and spiritual—which led to a week at Steve Kaufman’s Acoustic Kamp.

I’d been to the Kamp before, in Maryville, Tennessee. Unless you are a devotee of the guitar and acoustic cousins like the mandolin, the “fiddle” (violin played a certain way), bass, banjo or dobro, you don’t realize that hundreds of camps happen every year across the world where musicians gather and play and learn the heritage of “roots” music—folk, jazz, country, celtic, and so on. In these places, campers rub shoulders with the legends of bluegrass, swing, fingerpicking and new acoustic music. I met legends like Bill Keith, Clarence White, Continue reading Mapping the Bluegrass Genome