An installment in John T. Edge’s Points South column, Local Fare. Time at Helen’s raises questions, small and large. Other than great barbecue, and my respect and affection for the woman who owns the restaurant, what calls me to Brownsville?… by John T. Edge | Sep, 2018

A Points South essay from the North Carolina Music Issue. The songs I heard growing up, sung at family gatherings, and later as I documented music in recordings at Lumbee churches, ring with longing and sometimes nostalgia. They were standard… by Malinda Maynor Lowery | Nov, 2018

A poem from the North Carolina Music Issue. It’s not what you think, not a back-tease aerosol of a band head-banging to a half-cracked amp nor the flame-decal of a beater revving the gravel lot out back, hungry for a big-tiddied girl… by Nickole Brown | Nov, 2018

Track 1 – “Lights in the Valley” (Live) by Joe & Odell Thompson  They were part of a dying tradition: musicians from the community playing functional music for social dances, not to make a living but because that’s simply what… by Rhiannon Giddens | Nov, 2018

A Points South essay from the North Carolina Music Issue. As deeply in love as I was with blaring guitars, exploding amps, and metallic raving, I’d also been listening to James Taylor’s more intimate style of music since his first… by Will Blythe | Nov, 2018

Notes on the songs from our 20th Southern Music Issue Sampler featuring North Carolina. The profiles, eulogies, and essays herein boast of remarkable achievements of North Carolina’s musicians across eras and genres: from unassailable legends (High Point’s John Coltrane, Tryon’s… by Oxford American | Nov, 2018

Sarah Winchester and the legacy of living with guns  It’s difficult to understate how the repeating rifle revolutionized killing, of both animals and man, as it brought the world from the single-shot muzzle-loaded rifle to a gun that could hold multiple… by Sara A. Lewis | Sep, 2018

A feature essay from the Fall 2018 issue. Prine radiates a sense of well-being, along with a sort of amused nonchalance toward potential disaster. This is a good thing, because the Coupe, as it turns out, has no passenger-side safety… by Tom Piazza | Oct, 2018

November 20, 2018

Track 22 – “Somebody Else’s World” by Sun Ra & His Arkestra FEAT. June Tyson 

Sun Ra—master jazz pianist, composer, visionary, and astral traveler—is why many jazz listeners entered the Space Age before there was a Space Age. And June Tyson gives vibrational birth to Sun Ra’s visions. 

November 20, 2018

Track 21 – “Me Oh My” by The Honeycutters

If I’d been asked, I might’ve said I was held hostage, and truthfully I kind of was. Platt sang and her voice sank its claws into me and I didn’t move. One song bled into the next and I sat there until she was finished. I would’ve sat there for days if she’d kept singing. When the show was over, I pulled out what little money was in my wallet and shoved those crumpled bills in a jar by the stage for the only album the Honeycutters had at the time, a record called Irene. I played that record on a loop for months. 

November 20, 2018

Track 20 – “Mill Mother’s Lament” by Ella May Wiggins; Performed by Shannon Whitworth

Ella had grown up in the Smoky Mountains, first on farms and then in lumber camps, where she and her mother took in laundry while singing old mountain ballads. According to accounts, Ella’s singing voice was deep and seasoned with pain, and her lyrics reflected the plainspoken style of her speech. 

November 20, 2018

Track 15 – “Holy Ghost, Unchain My Name” by Elizabeth Cotten

Mentor to Alice Gerrard, beacon to all of us North Carolina folkie wannabes, revered by those of us with any musical knowledge, and—music’s highest compliment—sung by many of us who don’t know how we know the words. This Chapel Hill woman is the very heart of what we call Piedmont blues. 

November 20, 2018

Track 11 – “You Don’t Come See Me Anymore” by Malcolm Holcombe

This is the second time I’ve heard him play in the past few months and it’s always the same: nobody knows who Malcolm Holcombe is, except those who do. And those who know really know. You listen to him and you become evangelical about his music, this scarecrow of a man folded over his Martin guitar. 

November 20, 2018

Track 5 – “Don’t Play That Song (You Lied)” by Ruby Johnson

Then there’s the stripe of love-sickness where you’re not even sure it’s hurting. The pain often masquerades as energy, even optimism, yet there is always, in Johnson’s phrasing—in the way she hesitates against the beat—the hint of denial and delusion, and the suggestion, in those seconds where her voice rises and cracks, of trouble ahead. It might let you sleep, but it will be with you first thing, and stay with you all day. 

November 20, 2018

Track 1 – “Lights in the Valley” (Live) by Joe & Odell Thompson 

They were part of a dying tradition: musicians from the community playing functional music for social dances, not to make a living but because that’s simply what they did. They were also among the last living links to a vast black string band tradition that used to be spread all over the South and other parts of the U.S. but had slowly disappeared until very few were left. And they were swallowed up by the wider societal notion that fiddle and banjo music was strictly a white preserve. 

November 20, 2018

Notes on the songs from our 20th Southern Music Issue Sampler featuring North Carolina.

The profiles, eulogies, and essays herein boast of remarkable achievements of North Carolina’s musicians across eras and genres: from unassailable legends (High Point’s John Coltrane, Tryon’s Nina Simone, Chapel Hill’s James Taylor) to contemporary masters (Snow Hill’s Rapsody, Jacksonville’s Ryan Adams, Raleigh’s 9th Wonder) to the seen-afresh (Dunn’s Link Wray, Kannapolis’s George Clinton, Winston-Salem’s dB’s, Charlotte’s Jodeci)—and, of course, the often-overlooked and in-between (Winston-Salem’s Wesley Johnson, Morganton’s Etta Baker, Chapel Hill’s Liquid Pleasure, Kinston’s Nathaniel Jones, Black Mountain’s period of hosting John Cage). 

January 11, 2018

Kentucky Music Issue web-exclusive: a conversation with director Vic Rawlings.

“Lee Sexton is a living master with four tracks on Mountain Music of Kentucky, a beautiful Smithsonian Folkways record from 1960. It remains a favorite record of mine—has been since I first heard it in the mid-nineties. I went to a few places mentioned in the liner notes when I made my first trip to Eastern Kentucky in 2004. My first stop was Roscoe Holcomb’s grave; it turns out he and Lee are cousins. After that, hoping to find Lee, I asked where Linefork was, and I was directed to drive along a two-lane road. I expected to find a small town or a store somewhere along there and planned to ask again about Lee. There was no town center, not even a gas station, and I spent most of the day searching.” 

December 11, 2017

Kentucky Music Issue web-exclusive liner note.  

For some twenty-five years I’ve maintained an obsession with four specific seconds in all the history of rock & roll. Four seconds of a single guitar ripping a hot lick, the opening salvo to a rock & roll song from 1969, a song I don’t particularly love (it’s not my typical go-to music), played by a band I almost never listen to (no disrespect intended). But these scant seconds thrill my ear, lift my spirit, and send me back to my own guitar with renewed enthusiasm, and they capture the singular virtuosity of Steve Ferguson—a great musician from Louisville you’ve likely never heard, which I consider truly unfortunate, because boy is he ever worth the hearing.

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