101 Natural Elements OfNorth Carolina W e c u r a t e p r o d u c t s f o r a natural lifestyle • A full-range of NC grown CBD products • Delta 8 and Delta 9 products • Elderberry Syrup • Organic vitamins & supplements • Honey • Dried Herbs and Tinctures • Essential Oils • And more! 122 Boundary street nw Lenoir, NC 28645 828/929/2420
102 Down the Road Podcast In addition to offering a roadmap to North Carolina’s traditional music scene, the Blue Ridge Music Trails also host Down the Road, a story-driven podcast that explores the history, traditions, and cultural significance of Appalachian music. Each episode delves into different aspects of the region’s musical heritage, featuring interviews with musicians, historians, and cultural experts, along with recordings of the music itself. For fans of Doc Watson, several episodes provide invaluable insights into his life, career, and enduring influence: • Season 2, Episode 7: "How Doc Watson Found Success in the Sixties" – This episode examines Doc Watson’s rise to fame during the folk music revival of the 1960s, tracing his journey from local performer to national treasure. It explores how audiences outside of Appalachia discovered Watson’s music and how his flatpicking style revolutionized the role of the acoustic guitar in folk and bluegrass music. • Season 2, Episode 6: "Doc Watson Recalls Mountain Childhood" – A deeply personal episode, this conversation captures Doc Watson’s own recollections of growing up in Deep Gap, North Carolina. Listeners hear firsthand about the musical influences that shaped him, from the gospel songs sung by his mother to the old ballads and fiddle tunes that drifted through the mountain air. • Season 1, Episode 22: "Doc Watson Defined Mountain Music" – This episode explores how Doc Watson came to embody the essence of Appalachian music, not just as a performer, but as a bridge between old traditions and new audiences. Through archival recordings and expert commentary, it examines why Doc’s music remains timeless and how his legacy continues to shape the sound of Western North Carolina. Keeping the Tradition Alive Through its interactive website, live events, and educational outreach, the Blue Ridge Music Trails of North Carolina ensure that the sounds of the mountains continue to be heard, played, and cherished. By guiding people to authentic musical experiences and offering resources like the Down the Road Podcast, the initiative keeps traditional Appalachian music accessible, relevant, and alive for future generations. Whether you’re a lifelong fan of mountain music or someone just beginning to explore its depths, the Blue Ridge Music Trails offer a gateway into a world where music is more than entertainment—it’s a way of life. By following the trails, tuning into the podcast, and experiencing the region’s music firsthand, you become part of a story that stretches back centuries—a story that continues to unfold down the road.
103 RV SITES/TENT SITES/LODGING. QUIET, SECLUDED, ADULTS-ONLY WWW.DARKRIDGEHIDEOUT.COM Text: 828-260-7169
104 The Blue Ridge Music Center: Preserving and Celebrating Mountain Music Perched along the picturesque Blue Ridge Parkway near the Virginia-North Carolina border, the Blue Ridge Music Center stands as a vibrant tribute to the rich and enduring musical traditions of the Appalachian region. This center is not just a museum or concert venue—it is a living, breathing testament to the music that has echoed through these mountains for generations. Operated by the National Park Service in collaboration with the Blue Ridge Parkway Foundation, the Music Center is dedicated to preserving, celebrating, and sharing the traditional sounds that have shaped American roots music. Whether visitors come to hear a live performance, explore the interactive exhibits, or simply soak in the atmosphere of this historic musical crossroads, they are immersed in a legacy that continues to evolve while staying deeply rooted in its past. At the heart of the center’s mission is its state-of-the-art outdoor amphitheater, where audiences gather for a beloved summer concert series showcasing bluegrass, old-time, folk, and Americana musicians. These concerts provide a unique opportunity to experience the sounds of the region in a breathtaking setting, surrounded by rolling hills and the beauty of the Blue Ridge Mountains. The performances range from local artists carrying on the traditions of their ancestors to nationally renowned musicians who draw inspiration from Appalachian roots music. Many of these events are deeply interactive, encouraging audience participation and storytelling—an integral part of folk and traditional music culture. For a more intimate musical experience, visitors can enjoy the Midday Mountain Music Sessions, held daily from noon to three on the open-air, covered breezeway next to the visitor/interpretive center. These informal performances allow guests to sit just a few feet away from the musicians, gaining a deeper appreciation for the craftsmanship and emotion behind the music. These sessions often feature multi-generational musicians, where young performers learn alongside seasoned veterans, ensuring the continuity of Appalachian traditions. The setting is relaxed and welcoming, creating a space where music is shared as it always has been—among friends, family, and fellow travelers passing through. For those eager to dive into the historical and cultural roots of Appalachian music, the Roots of American Music Museum offers an unparalleled experience. This interactive exhibit traces the evolution of traditional music in the region, revealing how the sounds of early Scots-Irish settlers, African American blues musicians, and Indigenous influences merged over time to create the unique Appalachian musical identity. Visitors can explore how these styles shaped and were
105 shaped by the emergence of American genres like blues, country, bluegrass, and even rock & roll. Among the many legends highlighted in the museum are Doc Watson, the Carter Family, Ralph Stanley, Wayne Henderson, and Bill Monroe—musicians whose contributions to American music are immeasurable. Each of these artists left a lasting mark on traditional music, carrying forward old songs while introducing new techniques and styles that shaped generations to come. Bill Monroe, the “Father of Bluegrass,” pioneered a high-energy string band sound that redefined Appalachian music, while Ralph Stanley’s unmistakable voice and banjo work helped preserve the mountain ballad tradition. The Carter Family’s early recordings brought folk and country music to a national audience, laying the foundation for future generations of performers. Wayne Henderson, both a celebrated musician and master luthier, has ensured that traditional flatpicking guitar styles live on through his craftsmanship and performances. At the center of this musical legacy is Doc Watson, whose revolutionary flatpicking technique transformed the role of the acoustic guitar in traditional music. His precise, lightning-fast picking brought new life to oldtime melodies, while his deep connection to the folk traditions of Western North Carolina kept his music firmly rooted in the past. Doc’s ability to seamlessly blend Appalachian ballads, blues, country, and gospel into his sound made him a bridge between generations, influencing artists across multiple genres. The museum brings these legends to life through an extensive collection of recordings, rare photographs, instruments, and personal artifacts, allowing visitors to step into the world of the musicians who shaped America’s folk and bluegrass traditions. The Blue Ridge Music Center is more than just a place to listen to music—it is a place to experience, understand, and be part of an ongoing tradition that continues to inspire musicians and audiences alike. Whether you are a lifelong fan of Appalachian music or discovering it for the first time, the center provides a deep, immersive journey into one of America’s most cherished musical landscapes.
Honoring the Legacy of Doc Watson One of the center’s most cherished traditions is its annual celebration of Doc Watson, the iconic flatpicking guitarist and folk musician from Deep Gap, North Carolina. Each year, musicians, historians, and fans gather to honor Watson’s immense contributions to traditional music. Among the most notable tributes is DocStock, a multi-day event organized in partnership with The Ramkat, a popular music venue in Winston-Salem, North Carolina. Held around Doc Watson’s birthday, DocStock features concerts, storytelling sessions, and panel discussions that highlight Watson’s legacy. Past events have included performances by artists influenced by Watson’s style, as well as book readings and discussions on his life and impact. Additionally, the Blue Ridge Music Center presents special video series and concerts focused on Doc Watson’s music. The Legacies: Doc Watson Musical Tribute Series brings together musicians who knew or were influenced by Watson, such as T. Michael Coleman, Jack Lawrence, Wayne Henderson, and Jack Hinshelwood. Through live performances and personal anecdotes, these tributes keep Doc’s spirit alive for new generations of music lovers. For those who appreciate the deep roots of American music, the Blue Ridge Music Center is a must-visit destination. Whether you’re attending a summer concert, exploring the museum’s extensive exhibits, or taking part in the annual celebrations honoring Doc Watson, the center offers a profound connection to the past, present, and future of Appalachian music. Doc Watson’s legacy is deeply connected to the Blue Ridge Music Center, where he gave one of his very last performances. The image below captures a quiet yet powerful moment—Doc preparing to take the stage alongside his longtime friend and collaborator, David Holt. With the backdrop of the rolling Blue Ridge Mountains, this performance was a fitting tribute to his lifelong dedication to Appalachian music. His presence at the Music Center remains a cherished part of its history, a place where his music and influence continue to inspire generations of artists and fans.
107 Since 1990 2613 N Center St, Hickory (828) 323-8477 kellyandcompanysalon.com Use this QR code to book your appointment! Keeping the Music Alive The music of Western North Carolina isn’t just a relic of the past—it’s a living, breathing tradition that continues to evolve while staying deeply rooted in its history. From the timeless melodies of Doc Watson to the next generation of pickers learning their craft at places like the Blue Ridge Music Center, Hickory Music Factory, and the John C. Campbell Folk School, this music is as vibrant as ever. It thrives in concert halls, front porches, festivals, and impromptu jam sessions, carried forward by dedicated musicians, educators, and fans who recognize its power and beauty.What makes this tradition so special is its interwoven nature—it is not just about the performers on stage but about the people sitting in the audience, the teachers passing along a tune, the families playing music together, and the young musicians picking up a guitar for the first time. Whether it’s through formal instruction at places like Appalachian State University, hands-on workshops at folk schools, or casual picking circles in country stores and breweries, the music finds new ears and new hands to carry it forward. Through annual celebrations like DocStock, institutions like the Roots of American Music Museum, and educational programs that welcome players of all ages, the music of these mountains continues to be passed down just as it always has—by playing it, sharing it, and keeping it alive in the hearts of those who listen. The legacy of Doc Watson in particular reminds us that the music of these hills is universal—it has the power to reach beyond Appalachia, influencing musicians across genres and inspiring people who may have never set foot in the Blue Ridge Mountains. His playing set a standard that musicians still strive for today, not just in technique but in the way he played—with soul, humility, and deep respect for the tradition. And yet, as much as this music carries history, it also welcomes the future. New generations are learning these old songs, and while they honor tradition, they also add their own voices and styles. This fusion of past and present is what makes Appalachian music so enduring— it grows while staying true to its roots.
108 REVIEWING EDDIE HUFFMAN'S Doc Watson: A LIFE IN MUSIC Eddie Huffman’s Doc Watson: A Life in Music is an unflinchingly honest look at Doc Watson’s life, his music, and his impact on the world. At 288 pages, the biography is exceedingly comprehensive, providing background on nearly every Doc Watson story most folks have ever read. This book stands as the most in-depth biography of Watson to date, chronicling his journey from a blind child growing up in Deep Gap, North Carolina, to a world-renowned flatpicking guitarist who redefined American folk music. In its review, Library Journal praised Huffman’s approach, calling the book "thoroughly researched and fluently written," noting its importance for both longtime fans of Doc Watson and those interested in the evolution of traditional American music over the last century. The University of North Carolina Press similarly described the book as "the most comprehensive biography of Watson to date, offering an affecting and informative portrait of the man known as Doc." Huffman masterfully interweaves Watson’s musical achievements with the realities of his personal life, showing how his deep humility, unshakable work ethic, and family ties shaped the sound that would influence generations of musicians. Bluegrass Today highlighted the book’s accessibility, noting that its "concise yet deeply detailed" narrative, enriched with historical photographs, makes it an essential addition to any Doc Watson fan’s collection. Huffman paints a vivid picture of Doc’s early days playing for change on the streets of Boone, his rise to festival headliner, and his lasting impact on generations of musicians. Readers will find themselves immersed in stories that highlight not only his unparalleled guitar skills but also his kind and unassuming nature. While the book rightly celebrates Doc’s musical brilliance, it does not shy away from the hardships he endured—his lifelong blindness, the struggles of making a living as a musician, and the devastating loss of his son and musical partner, Merle Watson. Huffman’s balanced storytelling ensures that readers see the man behind the legend: a devoted husband, father, and craftsman whose talents extended far beyond his guitar. Huffman’s writing style is engaging, blending deep research with a storytelling approach that keeps the reader turning pages. The book doesn’t just recount events—it places them in the broader context of American music history, showing how Doc’s artistry bridged old-time Appalachian traditions with the folk revival that propelled him to national fame. For those seeking a deeply engaging and historically rich account of one of America’s most influential musicians, Doc Watson: A Life in Music is an indispensable read. It cements Watson’s place not only as a master of his craft but as a bridge between generations of music lovers. We're excited to share an excerpt of the book. Doc Watson: A Life in Music is available at Barnes & Noble, Amazon, and the University of North Carolina Press.
109
110 EXCERPTS FROM Doc Watson: A LIFE IN MUSIC A FAMILY OF MODEST MEANS Pioneer days were a recent memory when Doc was born—his mother grew up going to church in a covered wagon. “We could not afford a coal-oil lamp, so our only light of a night was from a stick of rich pine stuck in a crack inside the fireplace,” she said. Doc’s family lived on a patch of land at the eastern edge of Watauga County in the Deep Gap community, part of the Stony Fork township. About 13,000 people lived in the county in 1920, and just a couple hundred in Deep Gap. There was money in Watauga County, but most of it was concentrated eighteen miles southwest in Blowing Rock, a resort town where wealthy flatlanders had escaped the summer heat since Reconstruction. The wealth of the original colonists didn’t trickle down to Doc’s family. The Watsons’ house had no electricity or running water. They burned wood for heat and cooking. One of Doc’s cousins, John Idol, wrote about growing up nearby under similar circumstances: “Typical of its time, the house had no insulation, and its clapboard siding had sizable cracks and numerous holes left by knots that had fallen out over the years. Only a blazing fire in the hearths kept Arctic weather at bay in winter.” Doc recalled waking up on especially cold mornings with frost on his pillow. The Watsons stayed busy chopping wood, handwashing clothes, and growing and preparing food. They canned fruits and vegetables to get them through those long winters. Apart from sugar and coffee, they ate almost nothing they didn’t raise themselves. Pigs and cattle supplied meat, as did wild game. Corn provided a homegrown grain. General occasionally earned money working at a relative’s sawmill or on the construction of highways and buildings at the state college in Boone, ten miles down the road. “Both of my parents worked very hard to keep us from starving,” Doc said. IMPROVISING A BANJO HEAD While Doc was home from the State School for the Blind and Deaf around the time of his eleventh birthday, his father, General Dixon Watson, decided the boy had the potential to expand his rudimentary banjo picking skills: “I believe you could learn to play a banjo, Son. I’ve got a mind to make you one.” His father pieced one together while Doc was home on summer vacation, starting by boiling a piece of wood and bending it into the right shape. “He made a round maple hoop, managed to find some tension hooks, and
111 made it so that the head part looked a little like a northern banjo—or one that was built in a factory,” Doc said. General stretched a groundhog skin for the head, but it was too thick to make a good sound. He had seen Joe Rogers banjo heads advertised in the Sears, Roebuck catalog, and those were made from catskin. Self-sufficient mountain people knew there was more than one way to skin a cat, and General’s mother had just what the doctor ordered. “My grandmother Watson lived a hundred yards away from us and she had an old cat,” Doc said. The elderly pet was blind, deaf, and lame. When Linney walked by with a bucket of wash water for his mother, Lottie offered her grandson a quarter or two to put the cat out of its misery. “I don’t like to hurt anything,” Linney said. Lottie reminded him that he shot animals when hunting, and she trusted him not to make the cat suffer. Once the deed was done, the boys skinned the cat. “It took me and Linney two days to wash the smell off our hands,” Doc said. The guilt lingered much longer: “It took me a long time to forget about that cat, and I had bad dreams for months.” TROUBLE ON AIR In the 1950s, Doc and his friend Clarence “Frog” Greene sometimes landed gigs as a trio with a salty moonshiner and fiddler named John Henry Hodges, better known as Pedro, who knew where to find the liquor houses in dry Watauga County. One night they hit the bottle too hard during a performance. Writer Will Shade heard Hodges and Doc retell the story: “By the end of the gig, the trio were absolutely hammered. Pedro was drunk enough to suggest to Doc that he drive them all home. Doc was drunk enough to acquiesce! He started the car and was ready to go before Frog sobered up enough to realize—drunk as he was—he’d rather drive than let a blind man do so.” They got in trouble another time when they played a popular Sunday afternoon gospel radio show broadcast out of Wilkesboro. “During a commercial break, Doc began to tell Pedro and Frog a dirty story,” Shade wrote. “They chortled and snorted until the producer ran into the room, exhorting them to look at the overhead light that indicated they were back on air. Doc, of course, couldn’t see when they had come off the commercial break. His risqué joke went out over the airways and the station’s telephone switchboard was jammed with dozens of irate callers, complaining about blue language and lack of morals.” MERLE’S DEBUT On May 22, 1964, President Lyndon Johnson gave a speech heralding the most ambitious expansion of the federal government since the New Deal: the Great Society, targeting social ills including poverty in Appalachia. That same day, Doc returned home from his first solo tour and, for the first time ever, had the opportunity to play guitar with his son. Merle had turned fifteen in February. “He’d made a silent wish the year before that he
112 wanted to be playing the guitar by his next birthday, and he was,” Doc said. Merle learned on a Gibson J-45 his father had borrowed. The first songs Rosa Lee taught him would be “something with not too many chords in it so I could learn it,” Merle said. He turned out to be an even quicker study than his father. “When I got back home, he could already play accompaniment to a lot of the old Clarence Ashley tunes, and a couple dozen other things, in just a little over two months,” Doc said. “I found out you didn’t have to teach that boy—he’d heard the old music so much, it just ran out his fingers.” In June, Doc told Merle, “Son, I believe you’re ready to play some backup with me on stage. You wanna go to Berkeley?” Just like that, they became a duo. “First thing I knew I was out on the road working,” Merle said. His trial by fire came at a warmup gig three days before the Berkeley Folk Festival. The Folk Song Jamboree took place on Sunday, June 21, across the bay at Stern Grove Park in San Francisco. “I knew about six chords, and I was out there in front of 12,000 people,” Merle said. “It scared me to death.” Mississippi John Hurt was also on the bill. “I think one of the things that helped Merle was seeing John Hurt walking out on that stage just like he owned the place, and just picking,” Doc said. The boy did all right for himself. “He stands up there and plays backup to all the tunes that he’d worked with me on, about four or five tunes on the set, and doesn’t miss a chord, son,” Doc said, thinking to himself, “That boy’s got what it takes—he ain’t scared.” Merle’s performance filled Doc with “the most pride I’ve ever known in my life,” he said. “He did so well. The good Lord knows how well he did. But all he could say to me after the concert was, ‘Gosh, Dad, I wanted to run so bad.’” Doc had a confession to make: “Well, Son, I didn’t let you know it up there, but I did, too.” DOC’S SURPRISING SKILLS Doc drove surprisingly well but lacked subtlety when it came to stopping. “He’d hit that brake and we’d all come flying to the front,” said Joe Smothers, a musician who played with Doc and Merle. They put him behind the wheel of the Winnebago a time or two, but not on the road. “We were in a parking lot one time and Merle said, ‘Dad, do you wanna drive a little bit?’” “Sure, I’d love to.” Doc accomplished things many sighted people wouldn’t have attempted. A Holiday Inn room in Atlanta had a light fixture above a table, and Doc kept hitting his head when he stood up. “That night, I heard a noise and turned on the lights,” Smothers said. “Doc had finished taking that damn light down.” He clipped the wires, wrapped everything up, and stashed it under the table, saying, “Now I’ll put this back up before we leave on Sunday, but I won’t bump my head on that thing again.” One time their camper collided with the eaves of a restaurant, knocking a big hole in the vehicle’s roof.
“Doc got up there with some duct tape and fixed it, at least till we got where we were going,” Smothers said. “There weren’t too many things Arthel couldn’t do.” THE FIRST MERLEFEST On April 30, 1988, music fans rolled in on a perfect spring day in the North Carolina mountains, with clear skies and the temperature cresting just above 70 degrees. A blackand-white banner hanging from the front of the outdoor stage read, “MERLE WATSON MEMORIAL FESTIVAL.” John Hartford wore his trademark bowler hat and suspenders, Doc modeled a western shirt, and the young male performers were all business in the front, party in the back, sporting obligatory eighties mullets. Performers autographed a giant guitar that Ralph Williams built with a sign that read, “DONATIONS FOR EDDY MERLE WATSON MEMORIAL GARDEN.” Doc’s wife, Rosa Lee, couldn’t attend because she was recovering from a recent hospital stay. “It’s wonderful,” she said. “It’s really wonderful, and we’re happy. And we love all the people for caring and everything. But I don’t think there’s anything on earth that’s going to ease the pain. It’s a beauty and a sadness at the same time.” Across the two days, some of the best pickers and fiddlers on earth strutted their stuff indoors and out for about 4,000 fans, raising $80,000 for the Merle Watson Garden of the Senses. The college president, David Daniel, acknowledged the distances people traveled to attend the festival, coming from other states and even countries in Europe and Asia. He brought out a young couple in matching Flatt and Scruggs sweatshirts who had journeyed from Tokyo to spend their honeymoon at the festival. Then Daniel set the stage for Doc with the kind of gushing introduction the guitarist actively discouraged: “It gives me a great deal of pleasure to present to you a man who has meant more to music practically than any other single individual. Ladies and gentlemen, the incomparable Doc Watson.” Doc thanked the performers, the college, and the community for making it happen: “God bless you all, and thank you so much.” He offered thanks on behalf of his wife and their daughter: “Rosa Lee and I certainly appreciate it, and Nancy, for doing this in behalf of Merle’s memory.” The Eddy Merle Watson Memorial Festival closed out with an all-star singalong of “A Song for Merle,” written by family friend Wayne Hayes and sung to the tune of “Will the Circle Be Unbroken.” His daddy is his daddy, but most of all his friend And someday we’ll have Merle to pick around with once again Yes, Merle’s gone to heaven to pick flat-top for his lord
114 The First MerleFest
2025 Autographs:
May 24 Amythyst Kiah May 31 Melissa Carper June 7 The Dirty Dozen Band June 14 Shadowgrass June 21 Sierra Green & the Giants June 28 Wyatt Ellis July 5 An Evening with Steep Canyon Rangers July 19 Wonder Women of Country August 16 Sister Sadie August 30 Del McCoury Band deep roots many voices summer outdoor concert series , Saturday Evenings at 7 p.m. Open Seasonally - May through October Spacious outdoor amphitheater on the Blue Ridge Parkway Milepost 213 Plus FREE Midday Mountain Music: Daily noon - 3 p.m. and Roots of American Music Museum: Daily 10 a.m. - 5 p.m. Blue Ridge Music Center, Galax, Va BlueRidgeMusicCenter.org