The 1937 Flood Watch Podcast

Charles Bowen
The 1937 Flood Watch Podcast

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. 1D AGO

    Dave Peyton's 'Happy Birthday' Song

    For many decades, whenever anyone at a Flood gathering was celebrating a birthday, the guys turned to David Peyton to lead them in a rousing rendition of … no, oh, hell no, not THAT song… (Does this bunch really look like “Happy Birthday to You” people?) No, Br’er Peyton suggested a much more appropriate nativity-observing song for the Flood flock. Not only that, Dave enhanced the tune with his own special touch, the addition of a juicy reference to a sex scandal that was rocking West Virginia politics. More on that little tidbit in a moment. For now, you can hear Dave’s birthday tune — a sassy 1930s hokum number — by scrolling back to the top of this article and click the Play button on the video that Flood Manager Pamela Bowen shot 14 years ago this week. The occasion for Pamela’s footage was a housewarming at the clubhouse at the Wyngate retirement village where devoted Flood fans Norman and Shirley Davis had just moved. For the fun evening, about 30 of the Davises' new neighbors were in the audience. Among them were guitarist Jacob Scarr’s grandparents who were also new residents. The senior Scarrs had been regulars at Flood gigs ever since their grandson’s joined the band several years earlier. The Song A highlight of the evening was Peyton’s performance of the birthday song; The Flood’s version of “You Can’t Get That Stuff No More” with Charlie Bowen and Michelle Hoge’s harmonies and solos by Dave, Jacob, Joe Dobbs and Doug Chaffin. Back in 2003, when a take on the tune was included on the I’d Rather Be Flooded album, the band described it as a 1932 Tampa Red/Georgia Tom song. That was correct as far as it went, but a little deeper research would have taught the guys that the song actually was written and recorded a year or two earlier by a remarkable young singer/actor/comedian named Sam Theard. Performing well into the 1970s under assorted stage names — including Lovin’ Sam and Spo-Dee-O-Dee — Theard was born in New Orleans in 1904. Before he was 20, he was performing with a circus, then working in theaters and nightclubs. Meeting up with Flood heroes Tampa Red and Cow Cow Davenport, Theard recorded one of his best known songs — "(I'll Be Glad When You're Dead) You Rascal You” — for Brunswick in 1929. Over the years that song was covered by everyone from Louis Armstrong, Cab Calloway and The Mills Brothers to Fats Domino, Dr. John and Taj Mahal. In the 1930s and ’40s, using the name Spo-Dee-O-Dee, Theard was a regular as a comedian at New York’s Apollo Theater. It was during this period that he co-wrote his next famous song, “Let the Good Times Roll,” with Louis Jordan, who recorded it with his Tympany Five in 1946. In 1961 at the 3rd Annual Grammy Awards ceremony, Ray Charles won a Grammy for his version of that tune. In the 1950s, Theard wrote for a number of jazz greats, including Hot Lips Page, Count Basie, Eddie “Cleanhead” Vinson and Roy Eldridge. Then in the last decade of his life, Theard was discovered by television, appearing in episodes of a variety of shows, including “Sanford and Son” and “Little House of Prairie.” The Ickie Frye Infusion But you’re still thinking about that political sex scandal, aren’t you? The one that Peyton worked into The Flood’s version of “You Can’t Get That Stuff No More”? Okay, here’s that story: The original song, as recorded in 1932 by Tampa Red and Georgia Tom, included this verse: There goes Joe with a great big knife Somebody been messin' round with his wife. However, when The Flood recorded it in a marathon studio session in Charleston in November 2003, Dave sang the verse as: There’s Ickie Frye with a great long knife. Somebody been a-messin' round with his wife… Uh, Ickie who? Sure, that’s not a well-known name today, but if you were a news-reading West Virginian in 2003, you certainly would have known about Phillip “Ickie” Frye, a bass-playing TV/computer repairman who had just blown up Gov. Bob Wise’s political career. Newspapers across the state trumpeted the news of how Frye revealed that his wife — state employee Angela Mascia, in charge of European projects for the state development office — was having an extramarital affair with the governor. Red-faced, Wise admitted his infidelity. “I apologize deeply,” Wise said, “to the people of our state for my actions. In my private life, I have let many people down." The following year, Frye even filed to run for governor to "dog Wise," he said, over the affair, but he dropped out when Wise himself announced he would not seek re-election. Soon after The Flood’s album was released, Ickie Frye emailed Peyton to thank him for the shout-out on the tune. The ex-governor had no comment. 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 min
  2. 5D AGO

    "I Can't Help But Wonder Where I'm Bound"

    For a half dozen years beginning in the late 1990s, The Flood always greeted March’s arrival with an annual road trip into the mountains. Providing an evening of music, jokes and stories, the band would entertain a roomful of visiting volunteers, kindly students who had come more than 600 miles from Milwaukee’s Marquette University to use their spring break helping with assorted post-winter chores around the little mining town of Rhodell on Tams Mountain about 20 miles south of Beckley. As reported here earlier, from 1997 to 2002 The Flood’s original three amigos — Joe Dobbs, David Peyton and Charlie Bowen — shared this weird, wonderful way to celebrate the coming of spring. To read more about these Tams Mountain adventures, click here. But, Hey, This is About a Song… Each year, party hostess Martha Thaxton never failed to ask the guys to play one particular tune before they left for their two-hour journey back to Huntington. It was a song that seemed to speak to Martha’s own rambling soul as a die-hard folkie, a beloved Tom Paxton composition from his 1964 debut album for Elektra Records. “I Can’t Help But Wonder Where I’m Bound” was a song Dave and Charlie knew well — they had played it with Roger Samples back in the old Bowen Bash days — so they were happy to dust it off for Martha and her visiting good samaritans. In the past 60 years Paxton’s song has been recorded by everyone from The Mitchell Trio and The Kingston Trio to Tiny Tim and Dion (no, really!), from The Country Gentlemen and Country Joe to Doc Watson and Nanci Griffith. But surely the most touching rendition was Johnny Cash’s recording of the song in his final session in February 2010. In a recent interview, Paxton noted that Cash used to come in The Gaslight back in the early 60s “in what we now know was his worst period. “He was skinny as a rail because of all the pills he was doing. He had not had his renaissance yet. But he was a gentle man. He was a direct man and he took you as you were. I just liked this man.” Paxton said he was “absolutely thrilled … to hear him sing the song. That’s just a once in a lifetime kind of thrill.” Elijah Wald Blazed the Trail Speaking of being thrilled, members of The Flood’s crack research department are always overjoyed whenever they discover the blazed trails and rambling footprints of the incomparable Elijah Wald on some musical terrain they’ve come to explore. For nine years now, Wald’s online “Songbiography” has been his musical memoir, giving history and personal reflection on some of his favorite songs, which often turn out to be Flood favorites too. Elijah’s site was barely a month old when he took up “I Can’t Help But Wonder Where I’m Bound.”It is a tune he loved as a young man, but, he writes, he couldn’t “help noticing that Paxton himself got married back when he was writing these songs, and the marriage lasted, and he moved out to the country and raised a family, and all in all has had one of the most settled and stable lives of anyone on the folk scene. “It’s as if he actually meant the last verse, where he sings that anyone who sees the ramblin’ boy goin’ by and wants to be like him should just ‘nail your shoes to the kitchen floor, lace ’em up and bar the door/Thank your stars for the roof that’s over you.’” In retrospect, Wald said, “I think it’s a nice touch that the singer keeps bemoaning his sad ‘n’ ramblin’ ways, but it’s the girl, rather than him, who leaves on the morning train.” Our Take on the Tune So this is an evergreen song, and that word has special meaning in The Flood band room. It is reserved for tunes that are timeless. This Tom Paxton classic might be 60 years old, but it feels it could have been written last week — or, well, a century ago. 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 min
  3. FEB 28

    "Satin Doll"

    We remember the night Joe Dobbs wandered into The Flood band room a couple of decades ago and said, “Hey, do you know the song ‘Satin Doll’?” Boy, was he asking the right guy. Charlie Bowen grew up in a home full of his dad’s jazz records by Ella Fitzgerald and Duke Ellington and Count Basie and his mom’s Harry James and The Mills Brothers. In BowenWorld, “Satin Doll” was as much a part of the household soundtrack as anything on the radio right then. Joe didn’t really know any of the tune’s honored status in the jazz world. However, he was tickled by a folksy jazz rendition of it that was recorded live by fiddler Stephane Grappelli and David Grisman in 1981 and he was ready to tackle it himself. With that, the tune trotted into The Flood repertoire. Click the button below to transport back to 2011 and hear Joe with Flood Lite (Doug Chaffin on bass, Charlie on guitar) sampling the song at the start of a jam session at the Bowen House. About the Song In 1953, Duke Ellington interrupted his long-time association with Columbia Records to sign with Capitol, thinking the upstart recording company might more effectively promote his music. Among the tunes waxed in the first Capitol session that spring was “Satin Doll,” a song Ellington had just written with his favorite collaborator, Billy Strayhorn. Duke wrote the riff sketch and Strayhorn fleshed it out with harmony and lyrics. Billy’s lyrics, though, were not were not considered commercially viable, so Duke’s 1953 recording was an instrumental. It was five years later when lyricist Johnny Mercer — a Capitol Records cofounder — wrote sassy new words that resulted in the song we know today. But Who WAS the Satin Doll? Strayhorn biographer David Hajdu famously advanced the notion that Billy named the song after his mother, Lillian, saying that the composer’s pet name for his mom was “Satin Doll.” That’s a charming story, but the Ellington family has a different take on the tale. Duke’s son Mercer wrote in his 1978 memoir that he suspected the mystery woman was his dad’s long-time companion, Beatrice “Evie” Ellis. Writing in Duke Ellington In Person: An Intimate Memoir, Mercer said Evie continued to believe the song was written for her. “Pop would always be leaving notes in the house addressing her affectionately as ‘Dearest Doll,’ ‘Darling Doll’ and so on.” Today’s Flood Take on the Tune “Satin Doll” lately has started visiting the Flood band room again. It was the first tune of the evening at last week’s rehearsal. Listen as Randy, Jack and Charlie start outlining the tune, laying down the rhythm and those cool chords while Danny is still setting up. You’ll hear Charlie sing the first verse. By the second verse in comes Dan’s beautiful guitar. In a minute, he’s in full gear, and then he’s soloing on two idea-filled choruses that define the entire outing. Got That Swing Finally, if you’d like to put a little more swing in your Friday thing, remember that the free Radio Floodango music streaming feature’s gotcha cover. Click here to tune in the Swingin’ Channel for a randomized playlist of some of The Flood’s jazzier moments over the years. 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 min
  4. FEB 21

    "Angelina Baker"

    Around campfires North and South, many of the tunes played and sung during the Civil War were the work of a 35-year-old Pennsylvanian who was America’s first full-time professional songwriter. By the time the war started, Stephen Collins Foster — who as a youth taught himself to play the clarinet, guitar, flute and the piano — had published more than 200 songs. His best ones — “Oh Susannah,” “Camptown Races,” “Old Folks at Home (Swanee River),” “My Old Kentucky Home,” “Jeanie with the Light Brown Hair,” “Hard Times Comes Again No More” — already were widely known throughout the country to amateur and professional musicians alike. About “Angelina Baker” This song, though, was not one of the famous ones. Foster wrote “Angelina Baker,” sometimes performed as “Angeline the Baker,” in 1850 for use by the theater world’s Christy Minstrels troupe. Today folks know it primarily as an instrumental dance tunes performed by old-time and bluegrass bands, almost always with a lively fiddle leading the way. An early version was recorded for Victor in 1928 by Uncle Eck Dunford of Galax, Va. Meanwhile, West Virginia fiddler Franklin George called it "Angeline" and played it with Scottish overtones. Foster’s original, though, was a bit slower and had lyrics that lamented the loss of a woman slave, sent away by her owner. Huntington-born music historian Ken Emerson — who in 1997 wrote a definitive biography called Doo-Dah!: Stephen Foster and the Rise of American Popular Culture — said that “Angelina Baker” entered the American consciousness during a period of great controversy between free and slave states. The Fugitive Slave Act of 1850 was among the hotly debated topics at the time of the song's composition, and, Emerson noted, Foster's lyrics obliquely acknowledge these controversies. (Angelina likes th’ boys as far as she can see ‘em / She used to run old Massa round to ask him for to free ‘em…. Angelina Baker, Angelina Baker's gone / She left me here to weep a tear and beat on de old jawbone… ) Our Take on the Tune The Flood has always celebrated diversity. The guys often follow a folk blues with a swing tune or chase a 1950s jazz standard with some 1920s jug band stuff. And deep in The Flood’s DNA are the fiddle tunes learned from Joe Dobbs and Doug Chaffin. This Civil War-era tune the band learned from fiddlin’ Jack Nuckols, their newest band mate. From the Archives: How We Met Angelina As reported earlier, Dave Peyton and Charlie Bowen started 50 years ago trying to draw Nuckols into the band. On an April evening back in 1974, Peyton and Bowen trekked over to Jack and Susie’s place in South Point, Ohio, for a jam session. It was during that session that they first heard “Angelina Baker.” Here from the fathomless Flood files is that specific archival moment. Click the button below to travel back 51 years and hear Jack on fiddle, Dave on Autoharp and Charlie on guitar: More Instrumentals? Finally, if all this has you wanting some more wordlessness in your Friday Floodery, tune in the Instrumentals channel in the free Radio Floodango music streaming service. There you’ll have a randomized playlist of everything from folksy fiddle tunes to sultry jazz numbers without a lyric or vocal in sight! Click here to give a try. 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 min
  5. FEB 14

    A Flood Valentine: "Peggy Day"

    Shortly after he recorded “Peggy Day” — exactly 56 years ago today, in fact, an appropriate choice for Valentine’s Day! — Bob Dylan told Rolling Stone magazine, “I kind of had The Mills Brothers in mind when I did that one.” A laugh was shared by Dylan and RS Editor Jann Wenner over that thought. However, the remark later really would resonate in the world of The Flood, which has taken much musical inspiration from The Mills Brothers, on everything from “Up a Lazy River” and “Lulu’s Back in Town” to “Am I Blue?” and “Opus One.” In other words, Floodsters heard in Bob’s little-loved love song a kind of pastiche of the 1930s and ‘40s, its rhythms recalling that era’s classic swing thing. Stepchild Still, "Peggy Day" remains one of the stepchildren in the Dylan oeuvre. In fact, the tune's only claim to fame is that it was the B-side when Bob released "Lay, Lady, Lay" as a hit single in the summer of '69. Unlike a lot of Dylan songs, "Peggy Day" has no intriguing backstory or associated legend, no deep, nuanced lyrics to invite exegesis by college graduate seminars. As a result, some Dylanologists seem to actually hate the tune. “Frankly, embarrassing,” Clinton Heylin once said of it, while Billboard magazine was even cheekier about the entire Nashville Skyline album from which it came: “The satisfied man speaks in clichés,” the magazine purred with a pucker. Shout-Out to The Flood No wonder “Peggy Day” is so seldom performed by other artists. A few years ago, Tony Attwood started covering Dylan covers in a series of articles for his fascinating Untold Dylan web site. When Tony turned to “Peggy Day,” he located only one non-Dylan recording of the song: The Flood’s version on its 2013 Cleanup & Recovery album. Attwood was complementary of The Flood’s performance on the album, which featured the call-and-response vocals by Charlie Bowen and Michelle Hoge. (Click here to hear it, complete with solos by Sam St. Clair, Dave Peyton and Doug Chaffin.) “It’s a jolly bit of fun,” Attwood wrote, “which shows this is certainly a song that has cover possibilities — in terms of a second vocalist — the harmonies in the middle 8 are gorgeous as is the instrumental break.” A Little Sumpin’ Sumpin’ from The Vault Actually, a decade before that the song almost made it onto an earlier Flood album. “Peggy Day” was among the dozens of numbers the band recorded during a 10-hour marathon studio session with the late, great George Walker, an evening that yielded 2003’s I’d Rather Be Flooded. The tune didn’t make the cut for the album, but since things don’t get thrown away much around here, the rendition has been patiently passing its time in The Flood Files, just waiting for this moment to arise. Click the button below to hear this archival “Peggy Day” treatment with Sam’s harmonica and Charlie’s vocals along with a bevy of late Flood tribal elders, including Joe Dobbs on fiddle, Chuck Romine on tenor banjo, Dave Peyton on Autoharp and Doug Chaffin on bass: Our 2025 Take on the Tune So, this bit of fluff from Bob’s fat and happy country squire days of the late 1960s is one of his least-recorded song, but The Flood obviously has always enjoyed playing it over the decades. Here’s a joyous take on the tune from a recent rehearsal, featuring solos from everyone in the room, Danny and Randy, Sam and Jack. Happy Valentine’s Day, dear ones! And Speaking of Love… Finally, if you’d like a little more Flood in your day of love, remember The Valentine Blend playlist in the free Radio Floodango music streaming service. Click below to read all about it! 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 min
  6. FEB 8

    It's Always a Ball at Bahnhof!

    Even a rainy winter’s night can be fun at one of Huntington’s hottest venues, the remarkable Bahnhof WVrsthaus & Biergarten on 7th Avenue. The band hit the Bahnhof stage early Thursday evening, a dozen hours after a night of torrential storms that soaked and raked the entire tri-state from midnight onward. “Listening to The Flood after a flood?” mused by hardy fan at a ringside table. “Well, I can’t decide if that’s appropriate behavior … or whether we’re just poking the eye of the storm gods!” Hard to tell. However, the fact is that it did start raining again before the band’s set was finished. Weather Tunes The weather had an impact on the guys’ song selection. For instance, Pamela’s video from the evening opens with a highly hum-able hymn for any deluge — “Wade in the Water” — and the guys even invited the assembled flood victims to sing along. Then the musical weather forecast turned a bit more optimistic. In the hey-just-six-more-weeks-of-winter mindset, the band offered “Windy and Warm” — the John D. Loudermilk classic made famous by Doc Watson — which in Floodom is a Danny Cox specialty. The song wasn’t originally on the set list, but when the band mates saw Flood friends Andrea and Scott Austin in the audience, they edited in the addition. Scott, a big Watson fan, often asks for the tune whenever he drops by The Flood rehearsal. The Dancing Doctors Speaking of docs, a perfect Floodish evening also includes a visit with the band’s favorite prancing professors, Bonita Lawrence and Clayton “Doc” Brooks. Faculty stars of Marshall University’s mathematics department, Doc and Bonnie started dancing to Flood tunes more than a dozen years ago. Initially they favored the late Joe Dobbs’ Irish gigs and Doug Chaffin’s waltz tunes, but lately, the dancing doctors have revealed a much broader repertoire. Pamela’s video closes out featuring the pair hoofing it to the 1920s rocker, “If I Could Shimmy Like My Sister Kate.” 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

    10 min
  7. FEB 7

    "(Sitting Back) Loving You"

    What an amazing year 1966 was in music. Dylan’s Blonde on Blonde hit the racks. So did The Beatles’ Revolver, The Beach Boys’ Pet Sounds, The Stones’ Aftermath and so many more. Into this stellar crowd quietly strolled Hums of the Lovin’ Spoonful, the third studio album by Greenwich Village’s own folk-rock mavens. Today the disc just barely makes it onto a list of the top 50 albums of that lush, flush year, but in its own way, it made wonderful waves. Hums — which would ultimately be the last full project by the Spoonful’s original lineup — was the band’s concerted effort to record in a wide variety of styles on a single disc. For it, they composed and played pop-, country-, jugband-, folk- and blues-fused tunes. The album spawned four charting singles, including “Summer in the City,” “Rain on the Roof,” “Nashville Cats” and "Full Measure.” Of “Nashville Cats,” principal songwriter John Sebastian said, "We thought our version would cross over to the country market. It never did. So we're always kinda, gee, well, I guess that tells us what we are — and what we aren't." Incidentally, Flatt & Scruggs did take "Nashville Cats" to the country charts, hitting No. 54 with it as a single. And elsewhere in the country crowd, Johnny Cash and June Carter covered Hums’ “Darlin’ Companion” on 1969’s Johnny Cash at San Quentin album. About This Song “Loving You,” Hums’ opening track, was never a hit single for the Spoonful, but a month after the disc’s release in November 1966, Bobby Darin made the Top 40 with a cover version of the tune. Subsequently, the song also became a good vehicle for four different female vocalists, including Anne Murray (1969), Helen Reddy (1973) and Dolly Parton (1977) and Mary Black (1983). Meanwhile, the song came into the Floodisphere before The Flood was even The Flood. In 1975, after a year of regularly jamming together, Charlie and David started looking for new material to work on beyond their main interests in folk music, and for a brief time they landed on The Lovin' Spoonful's catalog. Here — like the audio version of a crinkled old baby picture — is a sound clip fished from The Flood archives. Click the button below to hear Charlie and Dave sampling the song exactly 50 years ago this week at a jam session at the Peyton House: The Spoonful’s Jug Band Roots Only later did Bowen and Peyton realize that The Lovin’ Spoonful had been heavily influenced by some of the same 1920s-’30s jug band tunes that The Flood loves. Before he founded the Spoonful, John Sebastian with his partner Zal Yanovsky, long active in Greenwich Village's folk scene, set out to create an "electric jug band.” "Yanovsky and I were both aware of the fact that this commercial folk music model was about to change again,” Sebastian recalled, “that the four-man band that actually played their own instruments and wrote their own songs was the thing.” In early 1965, as they prepared for their first public performances, Sebastian and Yanovsky along with their new band mates Joe Butler and Steve Boone, searched for a name. It was Fritz Richmond, the washtub bass player for the Jim Kweskin Jug Band, who suggested “The Lovin’ Spoonful,” referring to the lyrics of the song "Coffee Blues" by the country blues musician Mississippi John Hurt. It worked and it stuck. Our 2025 Take on the Tune At last week’s rehearsal, The Flood channeled those rich jug band roots of the Spoonful. For this tune, Jack switched from his usual drum kit to those funky wooden spoons and Charlie reached for the five-string. Then Danny, Sam and Randy just did what they always do to make it all work. 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 min

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

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