This week, Ozark original singer, multi-instrumentalist and hit song writing powerhouse Shawn Camp recorded live at the Ozark Folk Center State Park.  Also, interviews with this #1 country song writing genius.

Some careers can be described with a couple of words but Shawn Camp's isn't one of them. A bold and distinctive singer, a songwriter who's provided material for artists ranging from Ralph Stanley, Del McCoury and Ricky Skaggs to Garth Brooks, Alan Jackson, Porter Wagoner, Loretta Lynn and Brooks & Dunn with hits such as “Two Pina Coladas” (Garth Brooks,) “Nobody But Me” (Blake Shelton,) “Would You Go With Me” (Josh Turner,) “River Of Love” (George Strait) and Billy Currington’s hit single “Love Done Gone.”  Along with being a hit writer, he is a gifted multi-instrumentalist who's played as a touring/recording musician with everyone from Jerry Reed, Trisha Yearwood, Shelby Lynn, and Alan Jackson to the Osborne Brothers, Guy Clark and John Prine. - https://shawncamp.com/bio  

Shawn is joined in this performance by fiddle champion and multi-instrumentalist Tim Crouch.  A bluegrass and country fiddle player from Strawberry, Arkansas, Tim got his start fiddling with Jim & Jesse as a Virginia Boy when he was 19 years old. He has since worked with a long list of country and bluegrass artists including Alan Jackson, Dolly Parton and Alison Krauss. He is a former staff fiddle player for Nashville’s "Grand Ole Opry" and has also performed on numerous television programs including "Late Night with David Letterman," “The Conan O’Brien Show," "CBS This Morning," "Austin City Limits," "Hee Haw" and others.

In this week’s “From the Vault” segment, OHR producer Jeff Glover offers an archival recording of Ozark original fiddle master Tim Crouch playing the tune “Tom and Jerry” at the 1981 SPBGMA Fiddle Contest held at the Ozark Folk Center State Park.

In his segment “Back in the Hills,” writer, professor and historian Dr. Brooks Blevins discusses the Ozarks’ influence at the “Festival of Festivals,” the first National Folk Festival held in St. Louis, Missouri in 1934. (Part 1)

Ozark Highlands Radio

OHR Presents: Shawn Camp & Tim Crouch

Tim Hedlund on Banjo; produced by Dr Lucid Lucy loop.

FIDDLE & FLOW

This week, Ozark original old time harmonica and guitar duo Seth Shumate & Roy Pilgrim recorded live at the Ozark Folk Center State Park.  Also, interviews with this dynamic musical duo.  A feature performance by renowned singer George Hulsey this week as well.

Ozark original Seth Shumate plays harmonica in ways that one does not hear too often anymore. His phrasing, technique and style go back to the pre war days of traditional American music when the harmonica was a lyrical and melodic instrument.   Another Ozark original, Roy Pilgrim is arguably Arkansas' premier Old-Time fiddler. Like his counterpart, Roy takes his musical cues from traditional American old time but with an emphasis on fiddle tunes from the Ozarks of Arkansas and Missouri.

Roy and Seth also perform together as part of the Ozark Highballers, who have earned a well-deserved reputation as one of today's premier Old-Time groups and dance bands.

Originally from Louisiana, George Hulsey moved to Mountain View, Arkansas a few years back and has become a well known singer in the local Stone County music scene.  George is accompanied on this performance by multi-instrumentalist Duane Porterfield, fiddler Mary Parker, bassist Chris Smith and vocalist Carolina Mendoza.

In this week’s “From the Vault” segment, OHR producer Jeff Glover offers an archival recording of Ozark original harmonica legend Percy Copeland playing the traditional tune “Wabash Cannonball,” from the Ozark Folk Center State Park archives.

In his segment “Back in the Hills,” writer, professor and historian Dr. Brooks Blevins discusses the Ozarks’ influence at the “Festival of Festivals,” the first National Folk Festival held in St. Louis, Missouri in 1934. (Part 2)

OHR Presents: Seth Shumate & Roy Pilgrim

This week, a tribute to legendary singer-songwriter John Prine by his son Tommy Prine & longtime friend and co-writer Keith Sykes recorded live at the Ozark Folk Center State Park.

John Prine was an American singer-songwriter of country-folk music. Widely cited as one of the most influential songwriters of his generation, Prine was known for his signature blend of humorous lyrics about love, life, and current events, often with elements of social commentary and satire, as well as sweet songs and melancholy ballads. He was active as a composer, recording artist, live performer, and occasional actor from the early 1970s until his death in 2020.  John was connected to Mountain View, Arkansas through his love of fishing and Jack’s Resort on the beautiful White River.  John visited Mountain View regularly since his childhood and made many friends in the area.  In fact, according to John, his first public performance as a teenager was for fellow patrons at Jack’s White River Resort.
https://www.johnprine.com/about  

Tommy Prine is an American singer-songwriter and is the youngest son of John Prine.  After his father's death in 2020, Tommy decided to pursue a musical career.  At the age of 10, Tommy learned how to fingerpick from his father.  As a teenager, Prine traveled with his father's tour primarily to assist with merchandise, then occasionally joining him on stage for the encore.  While Prine endeavored to create distinct and independent music from his father, his influence is remembered by everything from covering John Prine songs to writing songs about his father.  While Tommy is often compared to John, he developed his own path while acknowledging the legacy of his award-winning father.
https://www.tommyprine.com/  

Once upon a time in the summer of 1967, Keith Sykes hitchhiked to the Newport Folk Festival and saw Arlo Guthrie perform “Alice’s Restaurant.” In the fall of that year he got a copy of the album, learned the whole song and sang it at a Holiday Inn in Charleston, South Carolina. They hired him on the spot for a regular gig playing music in the hotel.  In the more than 40 years that followed, he would become a troubadour and storyteller, a massively successful songwriter with more than 100 songs recorded by artists as diverse as Rosanne Cash and George Thorogood. He would tour every corner of America and play in just about every conceivable kind of venue, appear on Saturday Night Live and Austin City Limits, and host songwriter nights on Memphis’ legendary Beale Street with many of music’s most talented songwriters. He would join Jimmy Buffett’s Coral Reefer Band, tour the country and record the Volcano album – the title track for which he co-wrote with Jimmy.  - http://www.keithsykes.com/

In this week’s “From the Vault” segment, OHR producer Jeff Glover offers a 1976 archival recording of John Prine himself performing his famous song “Paradise,” from the Ozark Folk Center State Park archives.

In his segment “Back in the Hills,” writer, professor and historian Dr. Brooks Blevins discusses the Ozarks’ influence at the “Festival of Festivals,” the first National Folk Festival held in St. Louis, Missouri in 1934. (Part 3)

OHR Presents:  A Tribute to John Prine

A bluegrass type tune on the acoustic guitar backed with the banjo, mandolin and simple percussion.

Jug Band

I've Been Workin' on the Railroad

i've been workin'
on the rail-road (all)
the live-long day—
workin', workin', passin' time
away (can't you hear
the whis-tle blow?)

di-nah won't you blow
dinah blow, blow (blow
your horn)



I've been workin' on the railroad
All the live-long day
I've been workin' on the railroad
Just to pass the time away
Can't you hear the whistle blowing?
Rise up so early in the morn
Can't you hear the captain shouting?
"Dinah, blow your horn"

rise up (early
in the morn)
the captain calls (dinah)
blow, blow, blow your horn


Dinah, won't you blow
Dinah, won't you blow
Dinah, won't you blow your horn?
Dinah, won't you blow
Dinah, won't you blow
Dinah, won't you blow your horn?

Someone's in the kitchen with Dinah
Someone's in the kitchen, I know
Someone's in the kitchen with Dinah
Strummin’ on the old banjo

someone's in the kitchen (with dinah)
strummin', hummin', old banjo strings (fee
fie fiddle-e-i-o)


Fee, fie, fiddle-e-i-o
Fee, fie, fiddle-e-i-o-o-o-o
Fee, fie, fiddle-e-i-o
Strummin’ on the old banjo

and i've been sail-ing
on the ocean (starry, starry)
guided by a moon so bright (can't
you hear the wind)
a-howl, howl (waves rise high)
captain's voice (steady
steady) fly—fly—fly

I've been sailing on the ocean
All the starry night
I've been sailing on the ocean
Guided by the moon so bright
Can’t you hear the wind a-howlin'?
Rise up, the waves are high
Can’t you hear the captain shouting?
"Steady, as we fly!"

sailor, won't you row (row row)
sailor, won't you
row your boat


Sailor, won't you row
Sailor, won't you row
Sailor, won't you row your boat?
Sailor, won't you row
Sailor, won't you row
Sailor, won't you row your boat?

someone's in the galley (makin' stew)
chop chop chop (veggies too)
the sea calls
(oh so true)

Fee, fie, fiddle-e-i-o
Fee, fie, fiddle-e-i-o-o-o-o
Fee, fie, fiddle-e-i-o
The sea is callin' true

I've been fishing in the river
Casting lines all day
I've been fishing in the river
As the water swept away
Can’t you see the fish a-jumpin'?
Leaping in the light
Can’t you hear the birds a-singin’?
"Dawn is breaking bright"

and i've been fishing (casting lines)
river rushing
water sweeps (can't you see the fish a-leap)
light leaps too—too—too


fisher won't you cast
cast cast (your line

Fisher, won’t you cast
Fisher, won’t you cast
Fisher, won’t you cast your line?
Fisher, won’t you cast
Fisher, won’t you cast
Fisher, won’t you cast your line?

someone's in the garden (pulling beets)
rows so neat
fee fie fiddle-e-i-o
harvest is (so sweet)

Someone's in the garden
Tending rows so neat
Someone's in the garden
Pulling up the beets

Fee, fie, fiddle-e-i-o
Fee, fie, fiddle-e-i-o-o-o-o
Fee, fie, fiddle-e-i-o
Harvest time, so sweet

and i've been ridin'
on the railway (up up up
the mountain high)
clouds (watch 'em float)
engine roars (around the bend
wheels turn)
'til the journey's
end (end end)

I've been ridin' on the railway
Up the mountain high
I've been ridin' on the railway
Watch the clouds go by
Can’t you hear the engine roaring?
Rolling 'round the bend
Can’t you see the wheels a-turning?
Till the journey’s end

engineer, won't you drive (drive)
won't you drive the train
drive, drive (your train)
Someone's in the galley with sailor
Someone’s makin' stew
Someone's in the galley with sailor
Choppin’ veggies too

Engineer, won't you drive
Engineer, won't you drive
Engineer, won’t you drive the train?
Engineer, won't you drive
Engineer, won't you drive
Engineer, won’t you drive the train?

I've Been Workin' On The Railroad

A dramatic song about a park ranger's hidden love for pickles, filled with longing and mystery. Set to a moody, atmospheric tune, it explores the conflict between desire and secrecy.

Lyrics:
(Verse 1)
Late at night, under neon skies,
We meet in secret, where no one spies.
You and me, a taste so sweet,
A forbidden love that no one can beat.

Green and crisp, you draw me in,
It’s a guilty pleasure, can’t resist the sin.
Every crunch, electric vibe,
This love’s illegal, but we come alive.

(Pre-Chorus)
Pickles on my lips, yeah, we’re breaking the rules,
Dancing in the dark, but we’re playing it cool.
Briny temptation, I can’t get enough,
This is what they call forbidden pickle love.

(Chorus)
Forbidden love, we can’t stop the beat,
Pickles in the night, making us complete.
Dance with me, through the taste and the thrill,
We’ll savor this secret, we always will.
Forbidden love, under flashing lights,
Pickles in the shadows, hidden from sight.
We’re breaking free, but we’re hiding still,
Dancing to the rhythm of forbidden dill.

(Verse 2)
In the club, where the lights flash bright,
You and me, it feels so right.
Salty whispers in my ear,
Pickles in the air, but no one hears.

We’re moving fast, under cover of sound,
Pickle love’s a secret underground.
The DJ’s spinning, the crowd can’t know,
But this briny love, we’ll never let go.

(Pre-Chorus)
Pickles on my lips, yeah, we’re breaking the rules,
Dancing in the dark, but we’re playing it cool.
Briny temptation, I can’t get enough,
This is what they call forbidden pickle love.

(Chorus)
Forbidden love, we can’t stop the beat,
Pickles in the night, making us complete.
Dance with me, through the taste and the thrill,
We’ll savor this secret, we always will.
Forbidden love, under flashing lights,
Pickles in the shadows, hidden from sight.
We’re breaking free, but we’re hiding still,
Dancing to the rhythm of forbidden dill.

(Bridge)
Undercover, we slip away,
In the pickle groove, we just can’t stay.
But the taste of danger’s got me hooked,
Pickle love in every look.

(Chorus)
Forbidden love, we can’t stop the beat,
Pickles in the night, making us complete.
Dance with me, through the taste and the thrill,
We’ll savor this secret, we always will.
Forbidden love, under flashing lights,
Pickles in the shadows, hidden from sight.
We’re breaking free, but we’re hiding still,
Dancing to the rhythm of forbidden dill.

(Outro)
Pickles in the dark, the taste’s so true,
This love is forbidden, but I’m stuck on you.
We’ll dance in the night, where secrets stay,
Our pickle love won’t fade away.

Forbidden (Pickle) Love

lyrics:
Intro:
The crowd is waiting, lights dim low,
They don’t know what’s coming, but they’re here for the show.
A digital storm brews up in the night,
When the banjo drops in, better hold on tight.

Verse 1:
City lights flashin’, beats pound the street,
Tech rules the future, but this sound's so sweet.
He steps on the stage with a banjo in hand,
Not just a musician, a one-man band.
Robots and ravers, they're ready to go,
But they ain’t prepared for that bluegrass flow.
He picks up the strings, electricity hums,
Then he pulls back, BAM—everybody’s stunned!

Chorus:
Hit 'em with the banjo, fast or slow,
Digital beats with a country glow.
Shockwave strummin', make the whole place blow,
Ain’t nothin’ like hittin' ‘em with the banjo!

Verse 2:
Lasers and strobes as the bassline drops,
His banjo strings hit like a hundred watts.
He swings that thing like it’s some kinda sword,
Cyber battles won by a musical chord.
Every pluck strikes deep, every note ignites,
Crowds gettin' rowdy, dancing in the lights.
You’d think it’s a weapon the way people react,
One strum too strong, sends ‘em flyin’ back!

Chorus:
Hit 'em with the banjo, fast or slow,
Digital beats with a country glow.
Shockwave strummin', make the whole place blow,
Ain’t nothin’ like hittin' ‘em with the banjo!

Bridge:
The city rumbles as the banjo speaks,
A fusion of sound for the modern freaks.
From the mountains down to the neon haze,
The banjo’s rebellion breaks through the craze.
He grips it tight—just one more blow,
Gotta let them feel it in their bones before they go.

Outro:
As the final strum fades into the night,
The crowd still feels that electric bite.
He leaves the stage with a wink and a smile,
Hit ‘em with the banjo—gonna take a while.

TheTimeMerchant

hitemwith_THEB4NJ0

Hit'em with the B4NJ0

Just riffing on the chant Om Bhur Bhuvah Svah in a bluegrass style.

Om Bhur Bhuvah Svah
Tat Savitur Varenyam
Bhargo Devasya Dheemahi
Dhiyo Yo Nah Prachodayat.

Om Bhoor Bhuvah Svah Bluegrass

Round two, trying this bluegrass thing. Just riffing on the chant Om Bhur Bhuvah Svah in a bluegrass style. This is round one https://soundcloud.com/nik-bear-brown/om-bhoor-bhuvah-svah-bluegrass?si=179591e5f5cd4d1aa7b3f97783d68db4

Om Bhur Bhuvah Svah
Tat Savitur Varenyam
Bhargo Devasya Dheemahi
Dhiyo Yo Nah Prachodayat.

Om Bhoor Bhuvah Svah  Bluegrass Take 2

in fields of green where mountains rise,
we gather close beneath wide skies,
to sing a song, both ancient, bright—
Om Bhur Bhuvah Svah, transcends the light.

from banjo’s hum to fiddle’s sigh,
we lift our voices, spirits high,
each note a prayer, the divine entwined—
Bhargo Devasya, hearts aligned.

Dheemahi, in cosmic glow,
Dhiyo Yo Nah, we rise, we flow,
Dheemahi, Prachodayat,
in Bluegrass fields, our souls take flight.

Dheemahi, Dhiyo Yo Nah Prachodayat,
Om Bhur Bhuvah Svah
Tat Savitur Varenyam
Bhargo Devasya Dheemahi

Om Bhur Bhuvah Svah Bluegrass

Follow the yellow brick road
Now that's the way to go
Dorothy Gale of Oz
You're on a journey
Don't you know

With your ruby slippers
Click your heels and say goodbye
Leave your troubles behind
Under the blue sky

Lions
Tin men
And scarecrows
Walking by your side
Facing wicked witches with their evil ways
They try
But you're strong, Dorothy
Your heart full of love and grace
Spreading hope and kindness wherever you embrace

On the yellow brick road
The melodies unfold
We'll sing in harmony
A tale of courage to be told
Oh Dorothy Gale of Oz
You've stolen our hearts
In this acoustic qawwali
Together we shall embark

Follow the yellow brick road
Now that's the way to go
Dorothy Gale of Oz
You're on a journey
Don't you know

With your ruby slippers
Click your heels and say goodbye
Leave your troubles behind
Under the blue sky

Lions
Tin men
And scarecrows
Walking by your side
Facing wicked witches with their evil ways
They try
But you're strong, Dorothy
Your heart full of love and grace
Spreading hope and kindness wherever you embrace

On the yellow brick road
The melodies unfold
We'll sing in harmony
A tale of courage to be told
Oh Dorothy Gale of Oz
You've stolen our hearts
In this acoustic qawwali
Together we shall embark

Follow The Yellow Brick Road, You Know

This week, old-time Appalachian multi-instrumentalists and educators Dan Levenson & Bob Carlin recorded live at the Ozark Folk Center State Park.  Dan and Bob acted as judges at our annual old-time fiddle & banjo contest where they also gave us this masterful evening performance.

“Dan Levenson is an Appalachian native who has grown up with the music of that region.  Today he is considered a respected master teacher and performer of both the clawhammer banjo and Appalachian style fiddle.  Dan performs and teaches regularly throughout the world, including in England, Ireland, Israel and Brazil.  He has taught at many music schools and camps, including in the John C. Campbell Folk School, Mars Hill, Maryland Banjo Academy, The Ozark Folk Center at Mountain View, AR, Banjo Camp North, The Rolland Fiddle Camp and Dan’s own Clawcamp and Old-Time Music instructional weekends held at various locations throughout the country.” - https://clawdan.com/about/  

“Banjoist Bob Carlin has been offering performances, lectures and workshops for over thirty years.  Carlin had largely left the solo arena in the mid-1990s after an invitation to join the band of songwriter John Hartford.  For six years, Bob Carlin toured throughout the United States and Canada with Hartford, even accompanying John on a ten day Japanese sojourn.  Since the death of John Hartford in 2001, Bob Carlin has returned to solo performing, teaching and appearances with other musicians.”
- http://www.bobcarlinmusic.com/teacher+performer/index.htm  

In this week’s “From the Vault” segment, OHR producer Jeff Glover offers an archival recording of Ozark original old-time fiddle champion Shay Pool playing the traditional tune “Grigsby’s,” from the Ozark Folk Center State Park archives.

In his segment “Back in the Hills,” writer, professor and historian Dr. Brooks Blevins discusses the Ozarks’ influence at the “Festival of Festivals,” the first National Folk Festival held in St. Louis, Missouri in 1934. (Part 4)

OHR Presents: Dan Levenson & Bob Carlin

lyrics:

Intro
I’m just sitting here, staring at the moon,
Quietly hoping for it to fall soon,
Upon this planet, where we all live,
Dude, that would be splendid—let’s play another riff.

Verse 1
Oh... oh my, it’s too late,
And it’s falling, falling, it looks so great,
Getting bigger, soon we’ll be squished by the moon,
Dude, feels like a toon,
Sitting here, staring at the moon.

Chorus
The campfire bristles, sparkles twisting flames,
I keep wondering, have I charmed enough dames?
Played enough games? Oh, I guess I'll never know,
'Cause soon the falling moon will end the show.
Oh my, oh my, dude, feels like a toon,
Sitting here, staring at the moon.

Verse 2
As it draws closer, the night fills with mist,
Everything brightens as it enters the abyss,
Should I go for a last jog or just stay right here?
Oh my, oh my, dude, the end is near,
Feels like a toon, sitting here, staring at the moon.

Bridge
Can’t be long now, the air’s heating up,
The moon’s now a fireball, everyone’s given up,
But I’m still here, sitting by the flame,
Staring at the moon, playing this game.

Chorus
The campfire bristles, sparkles twisting flames,
I keep wondering, have I charmed enough dames?
Played enough games? Oh, I guess I'll never know,
'Cause soon the falling moon will end the show.
Oh my, oh my, dude, feels like a toon,
Sitting here, staring at the moon.

Outro
A few moments pass, earth is no more,
And I’m just floating here in space’s core,
Thinking, what a bummer—have I played enough games?
Have I charmed enough women? Oh, it’s all the same.
Earth’s gone, so is the moon,
Dude, I’m just floatin’, feels like a toon.

LUN4R_CR4SH_BLU35

LUN4R CR4SH BLU35

Loki Steals an Apple

Song lyrics by Nik Bear Brown https://soundcloud.com/nik-bear-brown

In a land where the gods sip eternity’s brew,
Lived Idunn with apples of gold, it’s true.
These weren’t your ordinary apples, but ones that keep
All the gods young, strong, and never weak.

One day Loki, the trickster sly,
Got in a scuffle, oh me, oh my!
His mischief brewed a fearsome storm,
And from Asgard’s walls, he’d soon be torn.

Through his antics, so bold and brash,
Idunn was snatched in a lightning flash.
Thiazi, a giant with a fierce, cold stare,
Took her away, through the icy air.

Fly high, fly true, brave falcon in the blue,
Rescue the keeper of youth, make the old anew.
In the dance of giants and gods, where shadows weave,
Find the light, find the apples, and never leave.

But Loki, you see, couldn’t let this be,
For without the apples, no immortality.
So he turned to a falcon, swift and keen,
To rescue Idunn, unseen, serene.

Back to Asgard, they did fly,
With Thiazi chasing through the sky.
But the gods were ready, their weapons drawn,
And Thiazi was defeated, gone by dawn.

Fly high, fly true, brave falcon in the blue,
Rescue the keeper of youth, make the old anew.
In the dance of giants and gods, where shadows weave,
Find the light, find the apples, and never leave.

His daughter Skadi, with eyes so cold,
Came seeking vengeance, bold and told.
But the gods are clever, they made a pact,
With marriage and laughter, they’d enact.

Skadi’s heart was won with charm,
And Njord’s hand, which brought no harm.
In the end, peace was found,
And Idunn’s apples, safe and sound.

Fly high, fly true, brave falcon in the blue,
Rescue the keeper of youth, make the old anew.
In the dance of giants and gods, where shadows weave,
Find the light, find the apples, and never leave.

So if you find an apple, golden and sweet,
Think of the tales where gods and giants meet.
For every fruit has a story ripe,
In the orchard of gods, bold and type.

Fly high, fly true, brave falcon in the blue,
Rescue the keeper of youth, make the old anew.
In the dance of giants and gods, where shadows weave,
Find the light, find the apples, and never leave

Take One -- Loki Steals An Apple

hush, little baby, don’t say a word
daddy’s gonna buy a mockingbird
and if that bird won’t sing,
a diamond ring, oh, he’ll bring

hush, little buddy, don’t make a noise
daddy’s gonna bring you toys
and if they stall or fall or flat,
he’ll bring a fire truck, then a bat

if that mockingbird won’t sing,
daddy’s gonna buy a diamond ring
if that diamond turns to brass,
or the glass breaks—
he’ll bring a billy goat to pull the cart

hush, little buddy, if the fire truck stalls,
daddy’s gonna bring you a basketball
if that basketball goes flat,
a bat will be next, imagine that

and if the boomerang won’t sway,
you’ll still be the coolest kid today

if the baseball bat won’t swing,
daddy’s got a boomerang he’ll bring
and if the boomerang falls down,
you’ll still be the sweetest kid in town

if the diamond ring turns brass,
daddy’s gonna bring a looking glass
if that looking glass breaks apart,
a billy goat will pull the cart

and if the billy goat won’t pull,
a cart and bull will be full

if that cart and bull turn over,
daddy’s gonna bring a dog named Rover

but even if Rover won’t bark,
or the horse and cart fall down,
you’ll always be the sweetest kid in town

Take Five -- Hush, Little Buddy (Lullaby Riffs)

Multi-instrumental song writer Keith Randall delivers a modern, heart felt, Americana take on living life and celebrating Love over the Holiday season while facing hard times.

The Giving Season's Here

This ol steamboat has a story to tell, so lets settle down and listen.

You may use this for any project that are freely available and open to the public (YouTube, Facebook, ect) so long as it is used along side other content (no audio showcase videos that feature only the music). You may reupload if sufficient changes or alterations are made to the original work, but do not reupload or share this audio to other sites or services. DO NOT enter into a content or copyright management system, even if you make changes.

SteamBoat Threw The Cypress

Greetings from Hershey, PA. My names Keith. I write and record music that lies somewhere in the Americana and Bluegrass traditions. You can catch me performing live throughout North and South Central Pennsylvania and occasionally along the Jersey coast with my Wife Sonya in the Ridge n' Valley Ramblers. Thanks for your interest in my music.

I have a passion for creativity across various domains. As a Music Composer, IT Manager, Photographer, and Videographer, I find joy in weaving together diverse elements to create a harmonious and visually compelling narrative.

My journey in the realm of music composition has felt like a melodic exploration of emotions in storytelling. With a background in both classical and contemporary genres, I specialize in crafting soundscapes that evoke emotions and enhance visual experiences. In creating orchestral arrangements, my compositions aim to elevate and complement the narratives they accompany.

my music is artificial, enjoy my lyrics.
drop a comment, if you like it make sure to hit that like button.
feel free to repost, download or share my tunes, if you use them somewhere for your own stuff, make sure to mention me.

Ozark Highlands Radio is a weekly radio program that features live music and interviews, recorded at Ozark Folk Center State Park’s beautiful 1,000-seat auditorium in Mountain View, Arkansas.  In addition to the music, our “Feature Host” segments take listeners on a musical journey with historians, authors, and personalities who explore the people, stories, and history of the Ozark region.

Nik Bear Brown – Known for his unique storytelling style, Nik Bear Brown fuses traditional folk themes with modern insights, especially in ballads and narrative songs.

Nik Bear Brown is a songwriter seamlessly blending the roles of poet, lyricist, and digital artist to craft immersive sonic experiences.  Nik Bear writes new songs and novel arraignment's of public domain classics. With a deep appreciation for the power of words, he weaves intricate narratives and evocative imagery into his lyrics, capturing the essence of human emotions and experiences.

Embracing the digital age, Nik utilizes cutting-edge electronic tools to enhance every facet of his music. From manipulating his vocals with innovative effects to exploring unique arrangements, he creates a rich tapestry of sound that elevates the poetry within his songs. This fusion of traditional poetic elements and modern technology not only amplifies the emotional depth of his work but also invites listeners to engage with his artistry in new and exciting ways.

I got whatever healing frequency you need.

New tracks tagged #Banjo,