She hadn’t meant to fall asleep, but she was a bit like a cat herself, forever wandering in the woods, chasing after squirrels and rabbits as fast as her skinny legs could take her when the fancy struck, climbing trees like a possum, able to doze in the sun at a moment’s notice. And sometimes with no notice at all. — Lillian in Charles de Lint’s The Cats of Tanglewood Forest
This night, as all nights are on this Scottish Estate far from the light pollution of any city, is a good night for star gazing if weather permits. I’ve got my gaggle of Several Annies, my always all female Library Apprentices (and yes I do know their names but I usually use this appellation) are getting a stars-related mythology lesson from Tamsin, our resident hedgewitch, on this crisp evening. And her owls are helping her out.
I listened for awhile but realized being warm was a far better option so I decided that I’d stitch together this edition in the Pub while ensconced in a chair near the fireplace with a generous pour, neat of course, of Talisker Storm whisky as the Neverending session backs a sweet sounding red-headed freckled coleen singing ‘Run Sister Sister’, a Red Clay Ramblers song with deep Appalachian roots.
Everything this addition is of an Appalachian nature, be it books, the graphic novel, the music is as always alive cut that I or Gary selected. Gary of course selected Music as he always does and I think he does a splendid job of it, don’t you?
Andrea looks at an Appalachian set tale for you: ‘Ghost Rider is a novel in Sharyn McCrumb’s “Ballad Series.” Ghost Riders is different from the others in the series in that there is no mystery (in the “mystery novel” sense of the word) to be solved. In the other books, the storyline goes back and forth between past and present, the stories linked sometimes obviously and sometimes tenuously. Usually in the “modern” story there is a mystery which the story in the past fleshes out or provides with a new insight. In Ghost Riders there are two separate tales from the past and a storyline set in the present. The narratives set in the past are linked by a chance meeting but still remain separate tales. One of these stories has a direct influence on the present. There are various characters, past and present, whose lives intertwine briefly in interesting and occasionally surprising ways.’
Andrea looked at another in that series: ‘Ghost Riders is the latest novel in Sharyn McCrumb’s “Ballad Series.” Ghost Riders is different from the others in the series in that there is no mystery (in the “mystery novel” sense of the word) to be solved. In the other books, the storyline goes back and forth between past and present, the stories linked sometimes obviously and sometimes tenuously. Usually in the “modern” story there is a mystery which the story in the past fleshes out or provides with a new insight. In Ghost Riders there are two separate tales from the past and a storyline set in the present. The narratives set in the past are linked by a chance meeting but still remain separate tales. One of these stories has a direct influence on the present. There are various characters, past and present, whose lives intertwine briefly in interesting and occasionally surprising ways.’
Cat had high hopes for Philip DePoy’s The Devil’s Hearth, as he has ‘a special fondness for mystery series set in the Appalachian Mountains, even though there aren’t a lot of good ones and a lot of not so great ones. Sharyn McCrumb’s Ballads series had some memorable outings, particularly among the later novels, and one which was outstanding, Ghost Riders.’ Read his review to see if DePoy lived up to his expectations.
The Ballad Book of John Jacob Niles, says Kim, answers a question you might’ve had: ‘Ever wonder what happened to the Child ballads that came across the water? Have you been curious about the lives of the folks whose wavery voices emerge from Lomax’s home recordings? This book contains the answers, plus over one hundred New World cousins to those ballads collected by Child, transcribed by balladeer John Jacob Niles in his trips through the southern Appalachians during the 1920s and 1930s.’ You can here Niles singing ‘The Carrion Crow’ here. It’s better known as Child 26, ‘Twa Corbies’ which is here performed by the Old Blind Dogs.
She also has a review of Ralph Lee Smith’s Ralph Lee Smith’s Appalachian Dulcimer Traditions: ‘If you play the Appalachian dulcimer and want to know more about its history, or want to preserve the memory of an instrument played by elderlies in you family, this is the book for you. It is meticulously researched, and contains pictures of early instruments, makers and players, as well as references for home recordings by the Lomaxes, and other resources — all the information a musician treasures and often misses in books aimed at the general public. However, casual fans may find the history too detailed, and technically oriented.’
Robert starts off a review I think is perfect for Summer reading this way: ‘I’ve long followed Charles de Lint’s writing, starting with, if I remember correctly, Moonheart way back when, and I’ve been as close as I ever come to being a fan for years. (I even got my hands on some early stories, somehow.) So when I was asked to do a review of The Cats of Tanglewood Forest, I said, “Yes. I haven’t had a chance to read de Lint in a while.”’
Of course Robert also reviewed the sequel: ‘I’ve long followed Charles de Lint’s writing, starting with, if I remember correctly, Moonheart way back when, and I’ve been as close as I ever come to being a fan for years. (I even got my hands on some early stories, somehow.) So when I was asked to do a review of The Cats of Tanglewood Forest, I said, “Yes. I haven’t had a chance to read de Lint in a while.”’
Debbie took a thorough look at Charles Vess’ The Book Of Ballads And Sagas #1 – 4. ‘Vess, who has a solid reputation for illustrating such works as Neil Gaiman’s Sandman stories (also published in graphic novel form) also loves the ballads and sagas that have been entertaining people for hundreds of years, and in this series of books he has collaborated with some of the best-known writers in fantasy literature, including Gaiman, Jane Yolen, Charles de Lint, Sharyn McCrumb (not a fantasy writer but an author of mysteries with an Appalachian folkloric theme), Midori Snyder, Robert Walton and Delia Sherman (whew!) — I hope I’ve not left anyone out!’
Gary here with a bunch of Appalachian music reviews from the Archives.
Big Earl was pleased with a three-disc set Doc Watson and David Holt’s Legacy, which consisted of two discs of the two in verbal and musical conversation, and a third with a live concert recording. ‘The set is loosely parallel to the interview discs, with the artists performing songs from Watson’s past, utilizing uncommon instruments (such as a diddley-wah and a guitjo). But get Doc back to his guitar for his wonderful takes of “The Telephone Girl” and “Just To Ease My Worried Mind,” and you understand why Watson has influenced so many players.’
Brendan had high praise for Deep River of Song: Black Appalachia, one of a series of releases containing field recordings made by John and Alan Lomax in the 1930s and ’40s. ‘The sheer variety of songs here is daunting; there are fiddle reels, work chants, square-dancing numbers, hoedowns, blues, as well just straightforward folk songs. What makes this CD so interesting is that the Lomaxes (travelling with famed bluesman Leadbelly) recorded these songs at a time of great transition for the American folk song.’
Chris wrote up a collection of field recordings from the 1950s, Mrs. Etta Baker, Family and Friends’ Instrumental Music of the Southern Appalachians. ‘The most surprising thing about the music is how modern it all sounds. The recording quality is exceptionally good considering how roughly and how long ago the tunes were taped, and it is worth reflecting on how the trend in much of today’s folk music has reverted back to the raw, driving style found in these recordings. The standard of performance is very high, the tunes a good selection of dances and song melodies.’
David reviewed Charlie Louvin’s Sings Murder Ballads and Disaster Songs, a late career recording from a pioneer of Appalachian music. ‘Somehow having an 80-year-old man sing songs about life and death (“Darling Corey”), about the Titanic (“Down With the Old Canoe”), about “The Little Grave In Georgia” adds new resonance to the lyric. Combine Charlie’s clearly aged but true voice with the solid picking support from the younger band, and you have a real recipe for success.’
David also reviewed Hobart Smith’s Blue Ridge Legacy, field and other recordings from a long life. ‘Smith’s early recordings (circa ’40s-’50s) inspired musicians like Mike Seeger and John Cohen to play early American music. He had played in minstrel shows in 1915 and dance parties throughout the Appalachians. He played at auctions, for society events and even in dance halls.’
A few years back I reviewed a recording of home rehearsals by bluegass pioneers Hazel Dickens & Alice Gerrard called Sing Me Back Home: The DC Tapes, 1965-1969. They don’t confine themselves to bluegrass and oldtime music, I noted. ‘That’s evident in the collection’s title Sing Me Back Home taken from the 1967 Merle Haggard song (and his 1968 No. 1 album of the same title). They give it a beautiful old-time vocal arrangement, and accompany themselves on autoharp (Alice) and guitar.’
I also reviewed the debut self-titled recording by Allison de Groot & Tatiana Hargreaves. ‘Above all else, this is a highly entertaining album of old-time music drawn from a wide variety of sources, played by two very talented young people who sound like they’re having a great time. These two really are in the vanguard of a new generation of musicians playing old-time music but not strictly hewing to the standard form.’
Unadorned Appalachian folk songs are at the heart of Texas Gladden’s Ballad Legacy, another Alan Lomax project I reviewed. ‘The songs include many Child ballads like “Farmer’s Wife,” and a virtual library of traditional American folksongs, largely from the Anglo-Celtic tradition: “Barbara Allen,” “The Three Babes,” “Lord Thomas,” “I’m Never to Marry,” “Gypsy Davy.” There are also some early country songs like “The Wreck of the Old 97.” ‘
Kelly Hunt sings and plays banjo on her debut album Even The Sparrow. I noted, ‘These songs and the lives they illuminate feel lived-in, inhabited by real folks.’
Dori Freeman’s debut self-titled recording impressed me. ‘This talented young woman from Galax, Virginia, has a gift for songwriting that runs as deep as the veins of coal in her native Appalachia, and a voice that can sing pretty much any style of country music.’
No rundown of modern Appalachian music is complete without something from Anna & Elizabeth. I reviewed their reissued debut, Sun to Sun. ‘Anna & Elizabeth make music in the old-time Appalachian tradition, singing close harmonies in the style they’ve learned from recordings and musical mentors. Anna sings in a craggy and powerful alto and plays fiddle, guitar and banjo, while Elizabeth’s vocals are a bit lighter and sweeter, and she plays banjo. It’s an arresting and lovely experience, listening to this music.’
Kim was enthusiastic about an early solo effort from mandolinist Chris Thile, Not All Who Wander Are Lost. ‘I was a bit surprised that the album is entirely instrumental, as Thile does the vocal honors for Nickel Creek on occasion. During his performance last summer at the Winnipeg Folk Festival, a friend commented that he definitely fancies himself as a ballad singer, and I suspect his singing, which is fine, will mature to match his instrumentals, which are superlative.’
One of our diverse voices, Peter Hund, wrote up the first live disc released by Alison Krauss and Union Station, lo these many years ago now. ‘Over the course of the 25 songs here, there are more than a few non-Krauss-vocal numbers, so fans of her singing be warned. But the instrumentals and the songs with Tyminski singing lead break things up nicely, reiterating that this is a group — not just an angelic singer and her crack backup band.’
In new music, I bring you a new release from banjo picker Wes Corbett. ‘As I was giving Wes Corbett’s Drift a listen on my headphones — at the gym, as it happens — I thought the fiddler sounded familiar on one decidedly Celtic sounding track. Was that Brittany Haas?’ Read my review to find out.
Next up is The Ghost of Sis Draper, the tale of an Arkansas fiddler, so not Appalachian but close: ‘Fans of the late Guy Clark, and of top-notch acoustic Americana, rejoice! Shawn Camp, one of Guy’s long-time songwriting partners, has released a concept album of songs they wrote together over many years about the legendary Arkansas fiddler known as Sis Draper.’
In 2010 a Russian pianist recorded an album ‘with two of the top rhythm section players in the jazz world, bassist Christian McBride and drummer Jack DeJohnette. I’ve not seen any explanation as to why it’s only being released now, 15 years later, but I’m glad SteepleChase put out Ivan Farmakovskiy’s Epic Power. All fans of modern hard bop piano trio jazz should rejoice, as well.’
I also reviewed the vinyl re-release of Niels-Henning Ørsted Pedersen’s 1976 album Jaywalkin‘. ‘The nine tracks include six Pedersen originals plus three covers that cover the bases from fleet bebop to bossa nova to romantic standard. Throughout, Niels-Henning Ørsted Pedersen’s playing is transfixing, melodic and rhythmic, a commanding presence that’s always front and center in this ensemble.’
Robert talks about growing up in the Appalachian Mountains: ‘That’s my mountains, or a little bit of them. You’d call them “southern Appalachia.” It’s where I spent a chunk of my growing up time — learned to pitch in, to do for myself, climb the side of a road cut, handle a gun (rifle and handgun, and I’m a very good shot), split firewood without cutting my foot off, avoid packs of feral dogs. And I spent a lot of time just rambling, with the cousins and alone, just looking at what was there. That was the best part.’
So for our music this time, let’s go with something from the late Robert Hunter as I rather like ‘Brown-Eyed Women’ quite a bit as it has a distinct Appalachian feel to it. Now my favorite version isn’t the one with Garcia singing that the Dead did, but rather is one someone here found some years back. Hunter who wrote much of what they played including this, and my favourite version is done by him during a show at Biddy Mulligan’s in Chicago some forty years ago. So let’s now listen to him doing that song.
What’s New for the 9th of November:
Intro notes
Book reviews.
Next I listened to a bigger ensemble on the Chris Byars Sextet’s The Dark Forest. ‘Chris Byars’ sextet combines the best of two jazz worlds, the sophisticated sonic palette of the big band and the nimble nature of the smaller bop combo that leaves more room for soloists to shine. Leader and composer Byars, who here plays tenor sax, clarinet and flute, is perhaps strongest as an arranger, giving each of these tunes its own character and drawing on the many colorations possible from a mid-sized ensemble.’
Then there is an album of through composed music for a jazz quintet plus a string quartet plus a DJ and electronic music artist, built around a formula that involves the circle of fifths and constellations in our night sky. ‘The origin story, many of the technical details and some of the music on this album flummox me. But that doesn’t stop me from recognizing Patricia Brennan’s Of The Near And Far as an astonishing work of art, and indeed some of this music is among my favorite of 2025.’
In archival reviews, I noted that The Decemberists drew heavily on their love for and knowledge of progressive English folk rock in their 2016 album The Hazards of Love, which I reviewed that year. ‘This album tells, in its own winding way, the story of Margaret and her doomed love affair with a shape-shifting lover, William, whose mother is the forest queen. There’s also a subplot involving a character known only as The Rake, who does away with his children after their mother dies in childbirth.’
The songs and the musicians are all superb on one of my favorites, I note in my archival review of Bert Jansch’s Moonshine. ‘Another key factor that elevates this record to classic status is Jansch himself. He has a vocal style that is distinctive, heavily accented and very nasal. And of course his percussive guitar playing is even more distinctive and was highly influential on artists from Nick Drake to Jimmy Page to Neil Young.’
I was intrigued by Makam’s Almanach, an album of Hungarian music that also shows influences from U.K. and U.S. folk and rock. ‘This music is as different as can be from the more traditional Hungarian folk music that other groups have popularized in Western Europe and the U.S., but it springs from the same earthy roots.’
Kim reviewed the scene, the food, and especially the music at Toronto’s famous Nora Keogh Irish Pub. ‘Dora’s is usually packed on session nights, and the Sunday session (from 6:30 p.m. – my observation) often includes younger players — sometimes as young as early teens out with their parents. The Thursday session begins around 9:30 p.m., and goes to whenever the musicians get tired.’
Mike Stiles was ensorcelled by Herne’s Apprentice, an album from the Welsh musician who performs as Damh the Bard. ‘I could write pages about this album but I’ll keep things in as much focus as I can. Damh draws deeply from Cymric myth and legend as found in primary sources like the Mabinogion. This is not just a tribute to that material, it rebirths it and creates a wonderful gateway for those who should explore it.’
‘These two CDs benchmark the glorious growth of the guitar in Celtic music,’ he said of Steve Reel’s Celtic Knights and The Unfortunate Rakes’ Rakes Alive! Of the former, he notes, ‘Steve’s guitar playing draws from many sources, but to give you a rough idea, its foundation rests on the flat-picking styles pioneered in the Bluegrass tradition by Doc Watson and cohorts. You will also hear more than a passing strain of Ian Anderson of Jethro Tull.’
Mike Wilson liked Darren Black’s Thinkers & Fools, which has contributions from some English folk heavyweights. ‘Everything about Thinkers & Fools is likeable. Black’s lyrics are thought provoking and reflective; the instrumental arrangements are accomplished but never intrusive.’
Naomi reviewed a nifty record of Cape Breton Island fiddling, The Lighthouse by fiddler and lighthouse keeper Paul Cranford & Friends. ‘Should you like good Cape Breton fiddling and original compositions, then this is the disc for you. Paul Cranford is a talented fiddler with sensitive fingers and impassioned playing.’
I’ve been reading Charles de Lint‘s ‘The Moon is Drowning While I Sleep’ story, which is collected in Dreams Underfoot which has the following lovely passage about old hag tunes: ‘She looks like the wizened old crone in that painting Jilly did for Geordie when he got into this kick of learning fiddle tunes with the word ‘hag’ in the title: ‘the Hag in the Kiln,’ ‘Old Hag You Have Killed Me,’ ‘The Hag With the Money,’ and god knows how many more. Just like in the painting, she’s wizened and small and bent over and … dry. Like kindling, like the pages of an old book. Like she’s almost all used up. Hair thin, body thinner. but then you look into her eyes and they’re so alive it makes you feel a little dizzy.’
Okay, let’s see if there’s any Old Hag tunes on the Infinite Jukebox, our digital media server. I’ve got one by the Bothy Band whose Old Hag You Have Killed Me is one of best Irish trad albums ever done, and we’ve audio of them performing ‘Old Hag You Have Killed Me’ which we’ll share with you as it’s very splendid.
No idea when it was done, though about fifty years ago is the most common guess among those who speculate about such things, or where it was recorded for that matter. But here it is for your listening pleasure.