
North Carolinians have a long history of masterfully expressing their identity and community culture through song writing. One of our state's most celebrated traditional song writers is Ashe County's Ola Belle Reed, whose songs have been recorded by hundreds of musicians. Below you'll find a profile of Ola Belle Reed from the Blue Ridge National Heritage Area's Traditional Artist Directory. We invite those of you interested in honing your own song writing to participate in the Ashe County 2019 Ola Belle Reed Song Writer's Retreat, an intensive weekend of training lead by Alice Gerrard, Cathy Fink, Sam Gleaves, Claire Lynch and Marcy Marxer and sponsored by Come Hear NC.
One of thirteen children in a musical family in Lansing, North Carolina, Ola Wave Campbell (she changed her name to Ola Belle) became a prolific songwriter and performer. In 1986, she was awarded the National Heritage Fellowship by the National Endowment for the Arts for her banjo playing and singing.
Musical influences came from both sides of her family. Grandfather Alexander Campbell, a Primitive Baptist preacher, was “notorious” for playing his fiddle. Ola Belle’s father, Arthur Harrison Campbell, a schoolteacher and storekeeper, played fiddle, banjo, guitar and organ and organized a band with his brother Doc and sister Ellen. She learned her clawhammer banjo style from her Uncle Dockery Campbell before she was old enough to go to school, and later learned guitar and organ from her Aunt Ellen. Her Uncle Bob Ingraham, her mother’s cousin, conducted singing schools in the mountains, and Uncle Herb Osborne sang mining songs from the coalfields of West Virginia. From her grandmother and mother, she learned many of the traditional ballads and songs of the Appalachian region.
In 1934, the Campbells moved from Ashe County to southeastern Pennsylvania, then to Maryland. In the wake of the Depression, many people from Northwest North Carolina and Southwest Virginia were making similar moves in search of jobs and good farmland. Invited to join the North Carolina Ridge Runners, one of the first hillbilly bands in the Delaware-Maryland area, Ola Belle put her musical skills to work in 1936. The Ridge Runners were popular performers on live radio broadcasts and for dances and other social gatherings among Appalachian migrants in the region. Her brother Alex, who served in World War II, joined the band as guitarist after the war.
Ola Belle’s marriage to Ralph “Bud” Reed in 1949 brought another musician into the family. Together they made ends meet doing various kinds of work, along with their music and raising two boys. During that time, Ola Belle and Alex began what became a long and influential career in radio broadcasting. Their group, New River Boys and Girls, performed in the area for nearly 30 years. Alex and Ola Belle also opened the New River Ranch music park in 1951, which featured performances by bluegrass and country stars for seven years. In 1969, Ola Belle, Bud, and their son David began performing together regularly, returning Ola Belle to a family band setting where her music flourished.
Ola Belle Reed was a featured performer at the 1972 Smithsonian Folk Festival in Washington, DC, and she recorded 75 songs for the Library of Congress. Several of her compositions, including “High on a Mountain,” and the autobiographical “I’ve Endured,” have been widely recorded and performed. Since 2006, the Ola Belle Reed Homecoming Festival has been held in Lansing in honor of Ola Belle and the Campbell family.
The Ashe County Arts Council welcomes the weekend retreat of songwriting, making music, and celebrating the work of Ola Belle Reed with the Song Writer’s Retreat. The workshop will be held at the Ashe Civic Center Friday, April 12 through Sunday, April 14, 2019. It is open to songwriters of all genres and styles, and all accompaniment instruments are welcomed. Instructors include Cathy Fink, Alice Gerrard, Sam Gleaves, Claire Lynch and Marcy Marxer.

Did you know that one of the first women credited with recording country music was from North Carolina?
Born the daughter of a well-known fiddle player, Samantha Biddix Bumgarner, taught herself how to play the fiddle and the banjo while growing up in Dillsboro in Jackson County. She and Eva Smathers Davis made history when they recorded a number of songs for Columbia Records in 1924 that would lead to them being the first women to be credited to record country music.

Some of the most esteemed and respected women in old-time music will lead workshops in fiddle, banjo, guitar, bass, mandolin, flat foot dance/square dance calling, and harmony singing during the Women! Mount Air Old-Time Workshops scheduled Thursday, Feb. 28 to Saturday, March 2.
Hosted by the Surry Arts Council with support from the N.C. Department of Natural & Cultural Resources the workshops are being held in conjunction with the Tommy Jarrell Festival, which also kicks off on Thurs., Feb. 28 with old-time dance lessons.
Registration is still open, and students and adults of all ages are invited to participate. Register online through the Surry Arts Council's secure Eventbrite site. Tuition is $300 and includes classes, meals (lunch and dinner), event tickets, and a t-shirt.
Classes will be held at the Andy Griffith Playhouse and the Historic Earle Theatre in Mount Airy, N.C.
The following musicians are leading the workshops:

Caroline Beverley teaches mandolin, singing, guitar and string band classes at Alleghany JAM (Junior Appalachian Musicians) at Surry Community College in Dobson and plays mandolin for the Virginia based old-time band, the New Ballards Branch Bogtrotters, as well as other N.C. bands.
Trish Kilby Ford started playing old-time music as a young teenager under the instruction of Emily Spencer and many other old-time and bluegrass musicians around her hometown of Lansing in Ashe County, N.C. In the 26 years of playing old-time music, Trish has been influenced by legends in traditional music, including Thornton and Emily Spencer, Dean Sturgill, the Birchfield Family, Ola Belle Reed, just to name a few. She has played with many groups and traveled internationally.

Erynn Marshall is an old-time fiddler who lives in Galax, Virginia and is known nationally and beyond for her traditional music she learned Appalachian old-time fiddling from rare recording and visiting 80-95-year-old southern fiddlers for decades. Erynn performs at festivals and music camps around the globe and often tours with her husband – songwriter and multi-instrumentalist Carl Jones.

Terri McMurray has great chops on 5-string banjo, banjo uke, and guitar. She studied with many masters including the late Tommy Jarrell and has played with great banjoists including Dix Freeman, Fields West, Benton Fllippen and Kyle Creed. Terri co-founded the Old Hollow String Band and has also performed with the Toast String Stretchers, the Mostly Mountain Boys and the Mountain Birch Duo with Paul Brown. She has taught at numerous banjo camps, including in England.

Emily Spencer is a certified PK-12 teacher and has taught fiddle, banjo, guitar, mandolin, dulcimer and bass in the schools and at Wilkes Community College and Wytheville Community College. She has played music since childhood and started playing with the Whitetop Mountain Band in the 1970s with Thornton Spencer and continues with the band today.

Martha Spencer is the daughter of Emily and Thornton Spencer, the leaders of the Whitetop Mountain Band. She began dancing and playing at a young age and currently plays fiddle, banjo, guitar, bass, and dulcimer. She has won countless competitions for her Appalachian dancing and has taken part in master dance workshop at the National Folk Festival (USA), Woodford Folk Festival (AU) and Lowell Folk Festival (USA). Her music passion includes passing on the traditions and she has been an instructor in the Junior Appalachian Music (JAM) program in Ashe County and plays with numerous bands.
To find out more visit: http://www.surryarts.org/mountairyoldtime/women.html

The following post draws from the traditional artist directory of our partners at the Blue Ridge National Heritage Area.
With an entertaining career that spanned more than 60 years, Carl Story (1916-1995) has been called “The Father of Bluegrass Gospel Music.” Story played fiddle with Bill Monroe’s Bluegrass Boys starting in 1942, before joining the Navy in 1943. After his discharge, Story helped shape the bluegrass gospel style and led a band that served as a training ground for many musicians.
Born in Lenoir in 1916, Story grew up hearing his father play fiddle. By the time he was a teenager, Story was playing fiddle and guitar and performing on local radio programs. He led a band in his early twenties that included a three-finger banjo player, helping pioneer the bluegrass sound. Story traveled around the region playing on different radio stations. He played in Lynchburg, Virginia, in the early 1930s, and moved to Spartanburg, South Carolina, in the mid-’30s, where he joined Johnnie Whisnant and formed the Lonesome Mountaineers and Rambling Mountaineers. He played with these groups until joining Bill Monroe’s band in 1942.
After World War II, Story reorganized his band in Asheville, signed with Mercury, and performed at radio stations in Knoxville and Bristol, Tennessee. His group, the Rambling Mountaineers performed both secular and sacred music, but most of their repertoire was gospel.
Story’s band recorded with Mercury for five years, and later recorded on the Columbia and Starday labels. During the peak years of his career, Carl Story and his Rambling Mountaineers hosted radio and television shows in several Southeastern states and had a 10-year affiliation with WNOX’s Tennessee Barn Dance program in Knoxville. His band was a fixture at bluegrass festivals throughout the 1970s, ’80s, and early ’90s.
Story retired to Greer, South Carolina, where he worked as a disc jockey and continued to perform until his death in 1995. Over the course of his entertainment career, Carl Story recorded more than 2,000 songs and 55 albums. A section of NC Highway 18 that passes through his hometown of Lenoir is named in his honor and he is a member of the International Bluegrass Music Association’s Bluegrass Hall of Fame.

The mountains and foothills of North Carolina are known internationally as places rich in traditional old-time music, stringband music, ballad singing and bluegrass, and ways to experience authentic music flourish throughout the region. From hometown opry’s and informal jam sessions to concert stages, festivals and old-time music conventions, visitors can enjoy traditional music and dance in friendly, informal settings, some dating back almost a century. The North Carolina Arts Council developed the Blue Ridge Music Trails to encourage travelers to explore the regions incredible music experiences.
An important focus of Blue Ridge Music traditions is the town of Mt. Airy, the hometown of Andy Griffith (and inspiration for his famous Mayberry). Nestled in the foothills of the mountains, the town is home to the second longest currently running live radio program in the nation: WPAQ’s Merry-Go-Round. Every Saturday WPAQ presents live, local and regional music on the Merry-Go-Round, a live radio broadcast staged in The Earle, a vintage movie theater in the heart of Mt. Airy. The podcast Down The Road, a production of the Blue Ridge Music Trails by the Blue Ridge National Heritage Area, explores the history of WPAQ’s Merry-Go-Round in this episode.



Listeners from around the world can tune into WPAQ's Merry-Go-Round broadcast on Saturdays between 11 a.m. and 1:30 p.m. here.

Since 1989, the State of North Carolina, through the North Carolina Arts Council, has honored dozens of folk artists with the North Carolina Heritage Award. Throughout 2019, we will highlight the eminent musicians honored with the award. Today, we republish the official N.C. Heritage Award profile of the Wilson Brothers, a gospel duo from the western part of the state who received the award in 1998. Jerry Wilson passed away in 2016, and Ray is no longer performing music, but their families continue the tradition of performing to this day, as documented by Jerry’s daughter Tipper Pressley here.
“I know that there’s a gift, a natural gift, that a lot of people have more than others," says Ray Wilson. "But if you don’t work on that to perfection, you don’t ever do much with it.” Ray and his brother Jerry have approached their music with this idea firmly in mind. Influenced by the brother duos that had their heyday in the 1930s, the Wilsons have worked out precise harmonies for the duets that have become the signature of their style. By their own choice, the Wilson brothers have focused their efforts on singing gospel, even when they could have enjoyed greater financial gain and attention by performing other types of music.
Jerry and Ray grew up in a religious family that has its roots in Cherokee and Clay Counties. Their father preached and both parents sang in the choir. However, their first forays into music were instrumental jam sessions with neighbors. Then, asserts Ray, “we got saved and got to going to church, and we started using our talents for the Lord.” They began playing at church revivals and singings, performing songs remembered from their youth and learned from radio and records.
By the late 1960s, the Wilson brothers were performing in churches located in mountain communities throughout southwestern North Carolina, northern Georgia, and eastern Tennessee. Balancing their desire to make music with their need to make a living wasn’t easy. “We’ve always had to work hard for a living,” says Jerry, “and you can cut pine woods like Ray did and work with your hands all the time, why you’re not too apt to have the flexibility you need in your hands.”
Despite such challenges, Jerry and Ray have always held their singing and playing to a high standard. They sing tightly harmonized duets that combine a lead with high-tenor harmony, and they pitch songs in keys that allow for a smooth blending of their voices. While both men are accomplished instrumentalists — Jerry plays an acoustic guitar while Ray plays both guitar and mandolin — they prefer instrumental accompaniment that complements rather than competes with the lyrics. “The gospel, to us, is more important than anything--the message,” says Jerry.
Their desire to spread a gospel message to their audience kept the Wilson Brothers from crossing over to perform other types of music. “Here everybody knows you,” Ray explains. “Say you go on a Friday night and you sing country music and then Sunday morning you’re singing gospel songs in church. It just won’t mix that way. You lose all your influence you might have on people.”
Several of their children and grandchildren sing and play instruments, “So it’s going on down,” muses Jerry. “They’re picking it up.”
“I think that it’s the truest music there is. It has a good melody and it has a good message,” Ray says of their bluegrass influenced gospel music. “We’re sincere in what we do. We do it first for the Lord and then we hope the people enjoy it.”