The 1937 Flood Watch Podcast

Charles Bowen

Each week The 1937 Flood, West Virginia's most eclectic string band, offers a free tune from a recent rehearsal, show or jam session. Music styles range from blues and jazz to folk, hokum, ballad and old-time. All the podcasts, dating back to 2008, are archived on our website; you and use the archive for free at: http://1937flood.com/pages/bb-podcastarchives.html 1937flood.substack.com

  1. 6d ago

    Gee, Baby, Weren't They Good to Us?

    As we start thinking about what The Flood should play for its set at the latest Diamond Teeth Mary blues festival here in Huntington later this month, one song seems like a natural. “Gee,Baby, Ain’t I Good to You?” is a near-century-old tune that touched the lives of two great West Virginia jazzmen a dozen years apart. Big band composer Don Redmond, who hailed from the eastern part of the Mountain State, wrote the song in 1929. Then in 1941, the phenomenal saxophonist Chu Berry from Wheeling recorded it in his very last studio session. Here’s The Flood’s latest take on the Redmond-Berry classic from last week’s rehearsal. About the Song As reported here earlier, the mid-1920s had been good to Don Redman. Just barely out of his teens, he was already responsible for integrating the rhythmic approach of Louis Armstrong’s playing into the work of Fletcher Henderson’s Orchestra. In 1927 Redman was wooed away from Henderson to join McKinney’s Cotton Pickers, the house band at the celebrated Greystone Ballroom in Detroit. “Gee, Baby, Ain’t I Good to You?” was the first song that Don wrote for the Cotton Pickers. After its 1929 release, though, the tune went into cold storage. More than a decade passed before the next major jazz artist recorded the song, and, as we say, it turned out to be yet another West Virginian. Wheeling’s proud native son, tenor saxophonist Chu Berry, recorded the song in 1941 on the flip side of his rendition of “Sunny Side of the Street.” (Sadly, it would be Berry’s last recording; an automobile accident in northern Ohio later that year ended his life at just 33.) Two years later, Don’s song finally made The Big Time when Nat King Cole turned “Gee, Baby, Ain’t I Good To You?” into a national hit, topping the 1943 R&B charts. Around the same time, Count Basie also adopted the song as a favorite, using it to showcase his band’s various vocalists, including legends like Jimmy Rushing and Joe Williams. For more about the song, as well as about Redmond and Berry, see our earlier Flood Watch article by clicking here. Mark Your Calendar The Flood will be at the Diamond Teeth Mary Medicine Show on Saturday, Aug. 22, at Heritage Station, 210 11th Street, in beautiful downtown Huntington. The guys are honored to open the festivities with a set at 6 p.m. And we’re pleased that our old friend Jim Rumbaugh has agreed to sit in with us on bass, subbing for Randy Hamilton, who can’t make the gig. And hey, we’re open to suggestions if you’d like to help up figure out our set list for the show. To get you in the mood, you can swing by the free Radio Floodango music streaming service and turn on the band’s Blues Channel for a randomized playlist of the band’s bluesier bits over the years. Oh, and remember we’ve now got ways to mobilize the ol’ Floodanago. Click here to find out how to put the Flood radio on your computer desktop and on an iPhone to make your Flood fix always just a click away. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

  2. Jul 31

    Railroads on the Mind and on Down the Line

    Surely, no innovation in modern human history has gotten so deeply into our psyche — into our hearts and into our very minds — as the railroad. Train imagery fills our art and music, symbolizing so many beginnings … and, well, endings. Here’s a train tune from our folk-infused youth. About the Song As reported here earlier, singer/songwriter Eric Andersen introduced his “Dusty Boxcar Wall” in 1965 on his debut album for Vanguard Records, Today is the Highway. A few years earlier, Andersen dropped out of college in Geneva, NY, and hitchhiked west to San Francisco to try his luck singing solo in North Beach coffeehouses and to seek out his heroes, the poets of the Beat Generation. In liner notes for that first album, Stacey Williams said “Dusty Boxcar Wall” was written “on the Bay Bridge between Berkeley and San Francisco,” adding, “Eric had been performing at the Cabale coffeehouse in Berkeley with a city group that did country music, The Snopes County Camp Followers.” Wanting to do a solo with the Snopes group, according to Williams, Andersen wrote “this archetypal song of death, love and separation.” For more about this seminal Eric Andersen song, see our earlier Flood Watch article by clicking here. More Music, Please If this week’s podcast has you in the mood for more tracks about trains, boy, do we have ya covered! Visit the free Radio Floodango music streaming service, and under “The Special Blends,” click on “The Train Set.” The link below tells you all about that particular project: And if you want even more folk in your Flood Friday, turn on our free Folk Channel. Or just click here to to take the express route to start that randomized rotation of more than a hundred folky Flood tracks recorded over the decades at jam sessions, rehearsals and gigs. Finally, remember, we’ve now got cool ways to mobilize the ol’ Floodango. Click here to find out how to put The Flood’s radio activity on your computer desktop and on an iPhone. That way, your Flood fix will always be just a click away. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

  3. Jul 24

    "Murder of Mountains"

    Dave Peyton inspired our writing of this song. West Virginia’s greatest defender — and her harshest critic — Dave spoke tirelessly from his popular newspaper columns and in his frequent radio and television appearances… … but also anywhere else that people would listen, in coffee shops and at conferences, in living rooms and at dinner tables, on concert stages and in our band room between our weekly tunes. Railing against what he saw as the relentless ravaging of the state, he’d say, “Sometimes I think the worst thing that ever happened to West Virginia was when somebody discovered coal. “But they never stop,” he’d add. “First they came for the timber. Now, after they’re done murdering the mountains, they’ll find something else to take from us.” Whispered Legacy What bothered Dave as much as what they took was what the exploiters left behind: a paralyzing — if seldom-spoken — sense of guilt running through generations of Mountain State natives, a communal sorrow for not being able to stop the rape of our home. “It is whispered if spoken at all,” as our song says: Of a broken trust and a grief that must Be the cut that has wounded us all. A half dozen years before Peyton’s death in 2020, his words inspired us, and “Murder of Mountains” started taking shape. With it now finally finished, we are pleased to have it as a tribute to Dave and to all he taught us. “Star of the County Down” The melody we use for our new song is the late Joe Dobbs’ version of the Irish tune called “Star of the County Down,” and thereby hangs another tale. Back in the early 1980s, when Joe’s Fret ‘n Fiddle music store was still in its original location on Huntington’s West 14th Street, a bluegrass mandolin player from Boston was passing through and spent a few nights at the Dobbs house. During a jam session there, the lad played this tune, and Joe loved it. When asked about it, the man said, “It’s an Irish song, but we’ve Americanized it.” A few months later at the next Bowen Bash, Joe taught it to the the rest of us, as you can hear in the above video (extracted, incidentally, from our Bowen Bash Legacy Film Series). It turns out that Joe’s house guest had been taking lessons up in Boston from an Irish fiddler. “I guess that’s where he got it,” Joe said. Anyway, for years, Joe and his Flood brothers played “Star of the County Down” in the same moody, stately manner as he had learned from that kind Yankee visitor. It was only later — decades later, in fact — that Joe learned just how “Americanized” the song had been. Say What Now? That was when another visitor — this one a fiddler from Ireland — later listened to Joe’s rendition and asked the name of the melody. He was surprised when Joe told him, “Why, that’s ‘Star of the County Down.’” “Really?” the visitor said. “Well,” he added sheepishly, “there’s good news and bad news, Joe. The good news is that it’s really lovely! The bad news is that’s not how that tune goes.” “What?!” Joe said. “Well,” the stranger said, “I’ve never heard anyone play only the harmony part. Uh …. Here’s how we play it.” The visitor feared his revelation would embarrass or anger his host, but, on the contrary, Joe found the news hilarious. The rest of The Flood did too. “So,” Dave chortled, “guess we oughta write some words to go with that song you wrote, Joe,” planting a seed in Charlie Bowen’s mind that only now is bearing fruit in “Murder of Mountains.” Epilogue I Here’s a footnote to the “Star of the County Down” part of this story. The Flood finally took steps to set the melodic record straight when back in 2020 the guys went into Paul Martin’s studio to record their Speechless: The Instrumentals album. In the years after Joe’s death, Doug Chaffin had stepped up to play The Flood’s fiddle. Click the button to hear his rendition of “Star” from those sessions. In it you hear Doug open the number by faithfully stating the melody that Joe brought us all those years ago. Then the album’s guest artist, Floodster Emeritus Stewart Schneider, comes forward for a fine Autoharp solo that nails the original melody as it is played in the aire’s Irish homeland. After that, the track rocks back and forth between the two variations. Epilogue II By the way, we have also felt it appropriate to add “Murder of Mountains” to the curated “West Virginia Blend” playlist in our free Radio Floodango music streaming service. Click below to read all about this particular special blend. And remember, we’ve now got ways to mobilize the ol’ Floodanago. Click here to find out how to put the Flood radio on your computer desktop and on an iPhone to make your Flood fix always just a click away. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

  4. Jul 17

    Folk Vibe

    Charlie Bowen remembers a conversation he once had with his old buddy Jim Strother. It was decades ago and the two of them were reminiscing about a time even earlier. “Remember,” Jim said, “when you’d see a fella ramblin’ along carrying a guitar case, and he’d have his coat collar turned up against the wind and a cap pulled down over his eyes. “Just one look and you knew everything you needed to know about that guy.” You know, it probably wasn’t always spitting snow, but it certainly is in today’s fanciful memory of that scene. And the soundtrack? Then and now? Why, it was always an early Bob Dylan tune, wasn’t it? Like this one. Those memories came roaring back at last week’s rehearsal when the first tune that popped into the guys’ heads that evening was “Don’t Think Twice, It’s All Right,” a song that Charlie loved from 1963’s Freewheelin’ Bob Dylan album. Learning To this day Bowen still remembers Strother using the same song to patiently try to teach him the “Merle Travis pick” whose alternating bass characterized so much of 1960s folkdom. Curiously, the young Dylan said he himself was still learning his composition. “It’s a hard song to sing,” he told journalist Nat Hentoff, who wrote the liner notes for the album. “I can sing it sometimes, but I ain’t that good yet.” Bob noted that he didn’t yet know how to “carry myself” the way veteran musicians like Big Joe Williams, Woody Guthrie, Leadbelly and Lightnin’ Hopkins did. “With those older singers,” Dylan told Hentoff, “music was a tool, a way to live more, a way to make themselves feel better at certain points. As for me, I can make myself feel better sometimes, but at other times, it’s still hard to go to sleep at night.” As repored here earlier, Bob said of “Don’t Think Twice” that a lot of city singer “make it sort of a love song — slow and easygoing — but it isn’t a love song. It’s a statement that maybe you can say to make yourself feel better. It’s as if you were talking to yourself.” For more about the song’s history, click here for an earlier Flood Watch article. More Music? Step Right Up! If all this ramblin’ down the foggy ruins of time has you in the mood for more Dylan tunes, boy, do we have you covered! Our free Radio Floodango music steaming feature has an entire “Bob Dylan Birthday” playlist with more than an hour’s worth of Flooderiffic Bobby bits. Click below to check it out. And if you’d like to put even more Floodified folk in your Friday, tune into the band’s free Folk Channel: About a hundred tracks from decades of jam sessions, rehearsals and gigs are waiting for you there. Click here to turn us on. Public Floodify Finally, in case the heat wave breaks next week and you feel like stepping out again, mark Thursday, July 23, on your calendar. That’s when the band rolls back into good ol’ Bahnhof WVrsthaus & Biergarten, 745 7th Avenue. Come on down for good food, good tunes and a great jump on your weekend! We play from 6:30 to 8. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

  5. Jul 10

    Crossings

    While last week’s rehearsal was our first time to play with the remarkable fiddler John Ace, that evening was likely the last time that Floodster Emeritus Dave “Bub” Ball will get to jam with his old friend. It was only at the end of the evening we learned that John — after two decades of snow-birding it from Virginia to Florida — is at a new crossroads in his life, set to move permanently to New Hampshire to be near his daughter. In fact, just hours after the last notes were played that night, Ball drove Ace to the depot so he could board a train for his Alexandria home. After that, Dave turned the car south for his long drive back to his home with his wife Yvonne in Jupiter, FL. “John and I will stay in touch,” Bub said in an email this week, “but with him in New Hampshire and me about 1500 miles away, the odds are we won’t be able to get together again.” A train song seemed like the most appropriate choice for the last number of the night and we picked one of the best in our repertoire. Bub and John’s Journey As reported here recently, in 2005 John Ace sold his house and car and moved to the sea, living full time on “Four Aces,” his 36-foot fiberglass Cabo Rico sailboat. From then on, he divided his time between summers in Virginia and winters in Florida … and/or the Bahamas, Jamaica, the Cayman Islands, Honduras, Guatemala, Belize, Mexico … wherever the winds carried him. Now, though, “at 76 traveling becomes a factor,” Bub said of his old friend. Bub met John about three years ago during one of those winter treks to warmer climes. “The band he was playing with at the time, Gypsy String Revival, needed a fill-in bassist and gave me a call,” Ball recalled. “He and I became friends and started playing jams together.” Later, when fiddler Paddy King, one of the original 3 String Circus members, couldn’t make a renaissance fair gig, John filled in. “He spent Thanksgiving and Christmas with us here and we became close friends,” Bub recalled. “We played many Faire gigs together.” This summer The Flood got to meet John because Bub needed a fiddler to share the stage with him at the Lewisville, WV, renaissance fair. “John just happened to be in Alexandria, a five- or six-hour train ride to Alderson,” Ball said. “Soooooo, John filled in, and brilliantly I might add.” About the Song Featured in this week’s podcast, those last notes of our last evening with John and Bub are from “Yellow Dog Blues,” W.C. Handy’s 1915 masterpiece that speaks so elegantly of the passages in life. As reported earlier, it is the song that brought a classic line to the blues world, talking about going to “where the Southern cross the Yellow Dog.” For more on the history of this grand old tune, see this earlier Flood Watch article. And for more of John Ace’s fine fiddling with The Flood during his West Virginia trek, click here and here. Meanwhile, in Flood Movie News… Well, Georgia is on our mind these days. Randy Yohe’s award-winning “These Boys” documentary about The Flood has been selected to participate in Augusta’s 12th annual Black Cat Picture Show film festival. Black Cat is the Georgia city’s only adjudicated international festival for independent films, hosted at Le Chat Noir theater, a 100-seat black box theater in downtown Augusta. This recognition now brings to a half dozen the number of honors the film has received this year. As reported earlier, the picture has been praised by two French festivals — ARFF Paris // International Film Festival and the Cine Paris Film Festival — as well as here in the States by The East Village New York Film Festival and Texas’s Austin International Art Festival. Also the Appalachian Film Festival screened the documentary as the featured film on the opening night. Right now “These Boys” is working its way through film festivals like these, but we look forward to sharing the completed film with everyone later this year. We’ll keep you posted. Click here to read more about the work on “These Boys.” This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

  6. Jul 3

    "This Land Is Your Land"

    Recognizing a tune that many of us think ought to be the national anthem, The Flood is celebrating America’s 250th birthday with Woody Guthrie’s most beloved song, as seen in Pamela Bowen’s video below: Just nine years after President Herbert Hoover signed a 1931 congressional resolution to make “The Star Spangled Banner” the country’s official anthem, Woody wrote “This Land Is Your Land.” About the Song Guthrie — having only recently landed in a fleabag boarding house in New York City after rambling and roaming, hitchhiking and hoboing across the country from California — wasn’t thinking about targeting the anthem as he wrote “This Land.” However, he did have another song in his sights. Irving Berlin’s “God Bless America,” recorded by Kate Smith in 1939, famously irked him — Woody thought it just didn’t tell America’s full story — and his 1940 composition was inspired as a protest against that tune. The reason for his ire? Well, everywhere that Woody had wandered in his long trek across the country, he heard “God Bless America” roaring from jukeboxes and radios. For him Berlin’s song was too sappy, too blindly patriotic, too cut off from the hard-knock life that many Americans were facing as the Great Depression dragged into its 10th year. Guthrie wrote his song as almost a parody. “And I don’t mean that in a humorous sense,” his daughter Nora Guthrie has said. “I mean that strictly in the literal sense of parody as a response to something.” Woody’s original title was “God Blessed America for Me.” Nora notes, “He crossed it out later and called it ‘This Land Was Made for You and Me.’ See, the parody turned into a more mature comment.” The Melody Woody borrowed the melody, as he did for most of his songs. “He tended to write words first, and later on picked out a tune,” said Pete Seeger, Guthrie’s long-time friend and rambling partner. “Woody once said, ‘When I’m writing a song and I get the words, I look around for some tune that has proved its popularity with the people.’” In this case, the melody of “This Land” is very similar to “Oh, My Loving Brother,” a Baptist hymn that The Carter Family had recorded a decade earlier as “When the World’s On Fire.” That same melody also had inspired the Carters’ own “Little Darlin’, Pal of Mine” a couple of years before that. “Missing” Verses In penning the lyrics to “This Land is You Land,” Guthrie, true to his original mission of protest, included several verses critical of the American economic system. Then, according to biographer Joe Klein, “he completely forgot about the song, and didn’t do anything with it for another five years.” By the time Woody debuted the song on his weekly radio show in 1944 at the height of World War II, he had revised it, softening the criticism and nixing the more controversial verses about businessmen’s greed and disregard for the needy. Of this and later self-editing, Woody’s daughter said, “This is the early ‘50s, and [U.S. Sen. Joseph] McCarthy’s out there, and it was considered dangerous in many ways to record this kind of material.” “Like most of the things, if we’re talking about my dad,” Nora added, “it gets very complex here.” Noting that when The Weavers recorded the song in the mid-1950s, they also sang only the first three verses, “which, in one way, was very, very helpful to my dad, because we had no money. So thank God that they recorded something, and our family was able to get some royalties from that.” More recently, a growing number of singers have dusted off one or two of Guthrie’s “lost” lyrics, as The Flood does in this rendition from a recent rehearsal, ending with: As I went walking I saw a sign there  And on the sign it said “No Trespassing.”  But on the other side it didn’t say nothing,  That side was made for you and me. Legacy Forty years ago a 1947 release of “This Land is Your Land” on the Asch record label was inducted into the Grammy Hall of Fame. In 2002, it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry. In 2009, Pete Seeger joined rocker Bruce Springsteen to sing it from start to finish as part of President Barack Obama’s inaugural celebration. In 2021, it was listed by Rolling Stone magazine among its “Top 500 Greatest Songs of All Time,” and just last year it was put at No. 11 on its list of “The 100 Best Protest Songs of All Time.” Cap’n John Guests on This Podcast Meanwhile, back to this week’s podcast, we have a guest artist. As reported earlier, fiddler John Ace from Alexandria, Va., accompanied Floodster Emeritus Dave Ball to the latest Flood rehearsals to sit in. With Dave, John was on the way from Florida for gigs in Lewisburg, WV. Of Fourths Past Finally, over the years Independence Day has played an important part on many a page in The Flood’s scrapbook. For instance, playing for a Huntington community party during the nation’s bicentennial 50 years ago this weekend was a sweet memory in the band’s first decade. Read all about it and other Fourths by clicking below: Happy Birthday, America! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

  7. Jun 26

    When Randy & Danny Bring the Chill Pill

    When the room needs a respite from the band’s frequent fare of loud and raucous tunes, Randy Hamilton and Danny Cox always have just what the doctor ordered. Friends since high school, these two seem to be able to read each other’s mind when it comes to music. Just listen to how they make this 60-year-old Danny O’Keefe composition sound like something they themselves just wrote. As reported here earlier, O’Keefe, a Washington State folkster, wrote “Good Time Charlie’s Got the Blues” in 1967, but its early trips to the recording studio were largely fruitless. Danny’s own recordings of the tune in 1971 and ’72 were generally ignored. But then the following year the song played a part in the turning point in another artist’s career. When Waylon Did the Song That’s when country music star Waylon Jennings had started getting restless, wanting to wrestle creative control away from the slick, over-produced “Nashville Sound” establishment that he had grown tired of. The seminal Good Hearted Woman album, quickly followed by Ladies Love Outlaws and Lonesome, On’ry and Mean were Waylon’s personal declaration of independence, establishing him as a prominent representative of the new “outlaw country” movement. Watching and listening from the sidelines, O’Keefe later said that Jennings’ cover of “Good Time Charlie” on that third of those albums was his absolute favorite version of his own song, capturing the groove and swagger he had always intended. And O’Keefe’s lyrics — about aging, watching friends drift away and using “pills to ease the pain” — perfectly fit the rugged, hyper-honest persona of the burgeoning outlaw movement. When Willie Answered A half dozen years later, Waylon’s fellow outlaw Willie Nelson also took a turn with the tune, but his take of “Good Time Charlie’s Got the Blues” gave it a much different vibe. On his 1979 collaborative album with Leon Russell, One for the Road, Willie treated the song as an intimate, jazz-infused acoustic prayer. In his characteristic style of singing slightly behind the beat, Willie captured the lyrics’ quiet, lonely acceptance of sitting in an empty room after the party is over, much as Randy and Danny do in this rendering from a recent Flood rehearsal. For more on the history of this lovely tune, see this earlier Flood Watch article. Mid-Year Report So, we’ve reached the midpoint of 2026. If you’d like a sample of what the Floodisphere has been sounding like so far this year, tune into Radio Floodango. Its “Hear by Year” section enables you to aim your time machine at the podcasts of any specific year since 2009. Click to here to reach the 2026 tunes. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

  8. Jun 19

    "Brown's Ferry Blues"

    Rabon Delmore never learned to drive a car, so it was always his older brother Alton behind the wheel as they tooled between gigs in the early days of their career during the Great Depression. That routine played a big part in The Delmore Brothers’ prolific songwriting life. As he later described it in his autobiography, Truth Is Stranger Than Publicity, Alton would hum melodies while he drove and he and Rabon would harmonize on new verses as they occurred to them. Riding shotgun, Rabon acted as the editor and scribe. He wrote down the words on the fly, adding, deleting and refining the lines to fit the duo’s signature syncopated rhythm. Because of this practice, the Delmores’ songs were well polished by the time they got to a recording studio to preserve them for later generations of fans. It also gave them an edge in other ways too. Brown’s Ferry Debut For instance, while “Brown’s Ferry Blues” wasn’t released on record until 1934, the song had began developing in their minds four or five years earlier, and it served as their secret weapon at a crossroads moment in Athens, Alabama: the February 1930 Limestone County Fiddlers’ Convention at the Old Athens Agricultural School. The poverty-stricken brothers arrived carrying their guitars in makeshift cases that their mother had sewn out of cotton picking sacks on with their names were painted in pokeberry juice. Facing stiff competition — including a tie-breaker with three heavily favored local girls — their well-honed tune sealed the win. “We had ‘Brown’s Ferry Blues’ down pretty pat,” Alton wrote in his memoir. “In fact, we could play it then just as good as we ever did... When we did it, the people really went wild and we won that contest without any question or any doubt. And that started us on our way to the Grand Ole Opry and the big record companies.” Whither Brown’s Ferry? The title of the tune, incidentally, was inspired by Alton and Rabon’s deep roots in northern Alabama, named after an old ferryboat that crossed the Tennessee River about 30 miles south of their home in Elkmount, Ala. Alton’s book noted the old crossing was a place he and Rabon loved to visit when they were growing up in their lean years as a tenant farmer’s sons. By the way, decades later that peaceful river spot of the 1920s underwent a massive transformation. In 1973, the Tennessee Valley Authority opened the Browns Ferry Nuclear Plant on that exact site, turning the idyllic old-time ferry landing into one of the largest nuclear power facilities in the country. Song Legacy The song “Brown’s Ferry Blues” was a milestone in establishing Alton and Rabon as one of the most influential duos in early 20th century American music history. In December 1933, the Delmores traveled to Chicago for their first recording session with RCA Victor’s budget label, Bluebird. “Brown’s Ferry Blues” was recorded on the first day and sales quickly made the number a hit. The pair soon became the most popular act on the Grand Ole Opry. Starting in the mid-1930s, they recorded more than 80 sides for Bluebird. The shadow of “Brown’s Ferry Blues” followed them. In 1943, when Alton organized an all-star gospel quartet at WLW in Cincinnati alongside Merle Travis and Grandpa Jones, they chose as the group’s name “The Brown’s Ferry Four.” Flooding the Ferry Dave Peyton, Roger Samples and Charlie Bowen used to play this tune back in the 1970s when the band was just getting started at the Bowen Bashes. But the song only recently has come back into the Floodipshere. Here it is from a recent rehearsal, featuring Danny Cox’s guitar and Jack Nuckols’ fiddle. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

About

Each week The 1937 Flood, West Virginia's most eclectic string band, offers a free tune from a recent rehearsal, show or jam session. Music styles range from blues and jazz to folk, hokum, ballad and old-time. All the podcasts, dating back to 2008, are archived on our website; you and use the archive for free at: http://1937flood.com/pages/bb-podcastarchives.html 1937flood.substack.com