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)

Ozark Highlands Radio

OHR Presents: Dan Levenson & Bob Carlin

This week, in honor of Hispanic history month, OHR presents California based multi-instrumentalists, singers and purveyors of traditional Southwestern American folk music Frank Fairfield & Zac Sokolow recorded live at the Ozark Folk Center State Park.  Also, interviews with Frank & Zac.

Music has the power to transport us to another time and place.  Frank Fairfield loves to harness that power with a broad audience of fellow music lovers and passionate musicians alike.  Ever since a young age, Fairfield has found great joy and satisfaction by being involved in the creative music process.  Frank plays down-home, old time folk music.  He plays fiddle, guitar, banjo and he sings.  Frank has been featured on NPR’s Tiny Desk Concert, as well as the PBS documentary series American Epic.  Born in Fresno, California, he now lives in Los Angeles with his wife.
https://www.frankfairfield.net

On this show, Frank will share the stage with the equally adept multi-instrumentalist & singer Zac Sokolow.  Zac is at home on guitar, banjo, fiddle, as well as mandolin.  Sokolow is a founding member of the contemporary Americana band “The Americans,” also featured on PBS’ “American Epic.”  Zac began learning music from his father at an early age, playing bluegrass as a child.
http://www.theamericansmusic.com

In this week’s “From the Vault” segment, musician, educator, and country music legacy Mark Jones offers an archival recording of Ozark original Frank Ellis performing the tune “Seamus O’Brien,” from the Ozark Folk Center State Park archives.

Author, folklorist, and songwriter Charley Sandage presents an historical portrait of the people, events, and indomitable spirit of Ozark culture that resulted in the creation of the Ozark Folk Center State Park and its enduring legacy of music and craft.  This episode brings us a portrait of The Meadowcreek Project, a sustainable agriculture & education facility located in the Ozarks.

OHR Presents: Frank Fairfield & Zac Sokolow 2024

This week, Toronto, Canada old time trio The Lonesome Ace Stringband recorded live at the Ozark Folk Center State Park during our annual String Band festival.  Also, interviews with Lonesome Ace founder and banjo player Chris Coole.

“The Lonesome Ace Stringband bring grit, skill and abandon to Americana music, bridging old-time, bluegrass and folk traditions into a seamless hybrid of original material that is at once fresh and timeless.  The trio’s sound is anchored in the fiddle and clawhammer banjo of John Showman and Chris Coole.  They are joined by a rotating cast of extraordinary upright bassists (including founding member Max Malone, James Mceleney, and Lotus Wight).  The band moves freely between a sound so commanding it doesn’t seem like it should be coming from a stringband, to a sparse fragility that draws the listener closer.  Whether singing about climate change, modern love, BBQ techniques or life's inevitable existential crises, the band cuts to the core.  They can also turn and churn out a tune with so much verve that it will make your heart spin and set the dance floor swirling.”
https://lonesomeace.com/about 

In this week’s “From the Vault” segment, OHR producer Jeff Glover offers an archival recording of Ozark original Lisa Wiede singing the cowboy ballad “John Martin Duffy,” from the Ozark Folk Center State Park archives.

In this week’s guest host segment, renowned traditional folk musician, writer, and step dancer Aubrey Atwater discusses the seafaring song “Jamestown Homeward Bound.”

OHR Presents: The Lonesome Ace Stringband

On the Edge of Eighteen” is a powerful anthem of youth, dreams, and determination. This song captures the excitement and uncertainty of stepping into adulthood, filled with hope, ambition, and the thrill of chasing the future. From the first step towards independence to the fire within to move mountains, this track is a celebration of embracing change and reaching for the sky. Let the journey begin!

On the edge of eighteen

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#country  #countrymusic  #countryrock 

[Verse 1]
Midnight gravel under Goodyears hummin’ slow,
Firefly lanterns in the corn rows start to glow.
Card deck sittin’ on the dash, queen of hearts in hand—
But I’ve never been the kind to play what dealers planned.
Boot heels tap the rhythm on an old truck door,
You laugh like creek-water hittin’ red dirt shore.
Back-road breeze smells of diesel, sweet alfalfa hay;
Girl, the moon’s beggin’ us to wander, not to stay.
[Chorus]
Let’s roll where the -- whip poor wills cry,
Kill the headlights, let the stars testify.
Slide off the lane to that rusted river gate,
Turn the dial till we find a Merle Haggard tape.
If daybreak still feels like home—
I’ll shift us back down that ridge-top road,
But if your heart hates sleepin’ alone—
We’ll waltz ’til the rooster crows.
[Verse 2]
You trace constellations on my flannel sleeve,
Talk of hometown rumors you can’t wait to leave.
I ain’t promisin’ a chapel, diamonds, or a vow—
Just porch-swing futures carved somewhere down the line.
Moonshine kisses taste of peaches, corn, and sin,
Steel-string echoes ripple low across your grin.
Tailgate blanket, checkered quilt, crickets keepin’ time;
Two renegade hearts in the clover, barely tow’n the line.
[Chorus]
Let’s roll where the -- whip poor wills cry,
Kill the headlights, let the stars testify.
Slide off the lane to that rusted river gate,
Turn the dial till we find a Merle Haggard tape.
If daybreak still feels like home—
I’ll shift us back down that ridge-top road,
But if your heart hates sleepin’ alone—
We’ll waltz ’til the rooster crows.
[Bridge]
When dawn slings thin arrows through the cedar haze,
We’ll toast to that morning sunrise with creek cold praise.
Laughing at our boot prints looping circles in the dew—
No one but the 
ole
 cow will ever have a clue.
[Final Chorus]
So let’s roll where the whip-poor-wills cry,
Daylight’s jealous but it can’t deny—
Two silhouettes dancin’ by a truck-bed glow,
Merle still croonin’ on the radio.
If Monday calls us back home—
We’ll promise “next Friday” before we go,
’Cause when your wild heart rhymes with my own—
You and me own that back-road show.
[Outro]
Tailpipes whisper, crickets fade,
Moonshine tailgate serenade.

Borrowed Skies, Stolen Nights

The Irish folk repertoire was mostly composed between the seventeenth and eighteenth centuries by musicians who handed down the music orally.

irish pub

Capo Malin

my ireland

today there is peace in ireland

the green Ireland

How about some Nordic influenced Folktronica? Been working on this one for a bit. Nyckelharpa is such an amazing instrument.
Don't forget to like and repost!

Kettle hiss. Wobbling chair.
Radiator ticks a crooked pair.
Drips find a lane—steady.
Boots on the mat give back rain.
Thumbnail scores a narrow line.
Your steps—hallway spine.
What we couldn’t say, we set in time.
Light switch clicks. Ready sign.

Hands flat. Listen. Measure is small.
Hold the room steady—follow the fall.
Name every seam the day tore open.
Sew it shut on the offbeat’s turn.

Stamp.
Count me in — two and four.
Heel to the floor — keep it lean.
Say what you mean in the space between.
Stamp.
If yesterday calls, let it lose its claim.
I move with the pattern your hands just made.
I’ll stay where your rhythm’s found.

Two and four — stamp it clean
Heel to the floor — keep it lean
Say what you mean in the space between
Two and four, two and four (two and four!)

Loose screw rattles in the laundry spin.
Pencil-stub list; thumb-smudged grin.
You laugh off-key—lands just right.
Fiddle on the wall warms into night.
We leave a pocket where trouble might grow.
Half-beat back. Let it flow.
What holds is grain. And glue.
Say it in rhythm; I’ll answer you.

Hands flat. Listen. Measure is small.
Hold the room steady—follow the fall.
Name every seam the day tore open.
Sew it shut on the offbeat’s turn.

Downbeat.
Count me in — two and four.
Heel to the floor — keep it lean.
Say what you mean in the space between.
Downbeat.
If yesterday calls, let it lose its claim.
I move with the pattern your hands just made.
I’ll stay where your rhythm’s found.

Old nail taps in the porch-rail breeze.
Train two streets over bends the keys.
Bare feet count the knot in the floor.
Leave what you can’t sing—ask the drum for more.

Stamp. 
Count me in — two and four.
Heel to the floor — keep it lean.
Say what you mean in the space between.
Stamp.
If it’s real, let it carry your name.
I move with the pattern your hands just made.
I’ll stay where your rhythm’s found.

Two and four — stamp it clean
Heel to the floor — keep it lean
Say what you mean in the space between
Two and four, two and four

Two and Four

Are you ready for the fight

“Buggy Boy’s Golden Years” by Dr. Elliot Lach tells the tender story of Buggy Boy, an aging gelding living out his final days in peace at a Kentucky sanctuary. Once a weary cart horse, he found new life and love when Edith, a younger mare, came into his world. Now inseparable, they share endless fields of Kentucky bluegrass, quiet companionship, and a gentle bond that proves it’s never too late for love. With acoustic guitar, fiddle, banjo, and soft flute, this heartfelt folk ballad captures the beauty of second chances and golden years. For more info, go to http://Manecharacters.org.

Buggy Boy’s Golden Years

this is done as a hobby for now enjoy 🙂

am skilled in producing a wide range of musical styles, even those in languages from different cultures. Crafting music is not just a pastime for me, but a passion that brings me great pleasure. If you have a specific genre or style

- Update: October, will hit back with something tasty.
- Please subscribe:
https://www.youtube.com/@theartificialhomewreckers

Rock n roll has been a fun ride but for now county is calling the soul once again. You can easily navigate genres in the Playlist section.

Strumming their way through heartbreak, hilarity, and highway hijinks, The Artificial Home Wreckers are a country rock band like no other. Born from a chance encounter at a roadside diner with a broken jukebox, these renegades of rhythm specialize in songs that sound like a wild Friday night and feel like a hungover Saturday morning.

Their music is a cocktail of twangy guitars, foot-stomping beats, and lyrics that toe the line between tragic and downright ridiculous. From ballads about exes who "borrowed" their truck (and forgot to return it) to anthems about that one unforgettable karaoke night gone horribly wrong, they’ve got a tune for every lovable misfit out there.

Catch them on tour (if their GPS actually works this time), and remember their motto: “Breaking homes one chorus at a time!”

I'm a producer, singer and guitarist.
xardxbiz@gmail.com for business inquiries.

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.

Nicola Porcu 
artistic name: nikproteus

The contact with music begins as a child listening to hours of music on the radio.
At 7 years he studied piano and began to compose his own songs.
At 15 he studies drums and percussion.
He began a musical career that led him to play in various musical groups throughout Italy.
In the meantime he begins to study composition and work with computer programs.
Over the years he dedicated himself to the study of mixing and mastering and began studying bass and ukulele.
Now after years of experience in the music industry, has a vast musical repertoire of different genres and is dedicated mainly to music for film and video of various kinds, working with several musicians, directors and music platforms.

New tracks tagged #fiddle,