#27
September 1, 2026#30
September 1, 2026
Searchable issue transcript
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Featuring Jack Lawrence Sam Bush Peter Rowan Jim Gavenus and more Doc's Issue Doc's Issue Display until 7/25/25 $10.95
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"Doc had this quiet power about him. He never played to show off, but every note he picked showed you just how much soul he carried in his heart." — David Holt "Doc Watson is a powerful influence on just about everyone who's ever heard him. He's a great guitar player, a great singer, and a great person ." — Bob Dylan "Doc's music is a cornerstone of American traditional music. He set a standard that musicians still strive to meet." — Ricky Skaggs "Doc Watson’s music is a national treasure. He brought the spirit of Appalachia to the world, and in doing so, he reminded us all of the beauty and strength of our shared heritage." — Bill Clinton "Doc Watson was a bridge between the old and the new, bringing traditional music to modern audiences with grace and authenticity." — Ketch Secor "Doc Watson set the bar high for all of us. His influence is immeasurable." — Sam Bush "When Doc played, it wasn’t just about the notes; it was about the stories and the heart behind them. He had a way of making everyone feel like they were part of something bigger." — Jean Ritchie "Doc Watson's music has enriched the lives of countless Americans. His dedication to preserving traditional music is commendable." — Jimmy Carter Photo, and cover photo, by Jim Gavenus
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4 foothills Digest 3838 Cleary Rd Laurel Springs, NC 28644 Issue #28 2025 Phone: 828.475.1323 E-mail: editor@foothillsdigest.com Website: foothillsdigest.com Stock by Adobe Stock Created using Adobe Suite Edited with the assistance of Open AI PRINTED IN USA PARTNER COMPANY: ECKARD PHOTOGRAPHIC C A R M E N E C K A R D Editor-in-Chief Author J O N E C K A R D Principal Photographer J O E Y O S B O R N E Partner F E AT U R E D P H OTO G R A P H E R S : Jim Gavenus Michael Freas Willa Stein
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Dear Readers, It’s my great honor to present you with an entire issue dedicated to Doc Watson. It would be impossible to overstate his importance—not just in the world of traditional music, but in western North Carolina and all of southern Appalachia. Doc wasn’t just a talented musician—he was a master. His flatpicking changed the way people played guitar, his voice carried the weight of generations, and his music feels like home to anyone lucky enough to hear it. His influence stretches far beyond these mountains, but his roots will always be here, woven into the very fabric of this place. My maiden name is Watson, and I’ve always felt a special kind of kinship with Doc. I didn’t grow up knowing him personally, and I don't think we're related, but his music was always around, and his name— our name—was one I heard with admiration. As I’ve gotten older and come to understand the depth of his legacy, that connection has only felt stronger. I’ve had some really cool jobs in my life, but one of my favorites was working backstage at Farthing Auditorium in Boone. My usual job was in lighting, but when Doc Watson played a two-night show, I had the absolute privilege of making sure he had everything he needed backstage. I didn't realize what an opportunity that was, and if I could go back to that day, I’d ask better questions. I’d listen harder. And I’d make sure he knew just how much his music would come to mean to me. Putting this issue together has been one of the most rewarding things I’ve ever done. I’ve had the chance to talk to some true legends, hear incredible stories, and piece together something that I hope does justice to Doc’s legacy. And if you’re at MerleFest (and honestly, you should be at MerleFest), come say hi in the Shoppes area. Foothills Digest is honored to sponsor the festival, and we’re proud to help keep Doc Watson’s music and memory alive. Enjoy the issue!
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3 Quotes about Doc 5 Letter from the Editor 8 A Song for Every Page 10 Doc Watson: A Timeless Voice 16 Jim Gavenus' Lens on Doc Watson 26 Strings and Shadows 34 Discography 38 Jack Lawrence 44 Sam Bush 48 B Townes 50 Peter Rowan 52 Mitch Greenhill 54 Jim Avett 56 The Kruger Brothers 58 Doc Watson and the Profile Trail 62 Pop Doc by Patrick Harris 64 Doc on the Map 66 Annual Festivals Honoring Doc 68 Photography by Willa Stein 70 MerleFest Featuring Michael Freas 90 Doc's Musical Legacy 108 Eddie Huffman's Doc Watson: A Life in Music 115 Photography: The First MerleFest Table of Table of Contents Contents By Michael Freas By Jim Gavenus By Jim Gavenus By Jon Eckard
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8 A Song for Every Page 1 Doc's Guitar 2 St. James Hospital 3 In the Pines 4 Doc's Talking Blues 5 Look Down That Lonesome Road 6 My Dear Old Southern Home 7 Wayfaring Stranger 8 Gonna Lay Down my Old Guitar 9 Don't Tell Me Your Troubles 10 Life is Like a River 11 Deep River Blues 12 Tennessee Stud 13 Shady Grove 14 Summertime 15 Little Sadie 16 Nashville Blues 17 Muskrat 18 Sittin' On Top of the World 19 Salt Creek 20 Blackberry Blossom 21 Omie Wise 22 Columbus Stockade Blues 23 George Gudger’s Overalls 24 Alberta 25 The Coo Coo Bird 26 Corrina, Corrina 27 When Roses Bloom in Dixieland 28 Treasures Untold 29 Groundhog 30 Mama Don't Allow No Music 31 Feast Here Tonight 32 Peach Pickin' Time in Georgia 33 Will the Circle Be Unbroken 34 Sittin' Here Picking the Blues 35 The Last Thing on My Mind 36 On Praying Ground 37 The Train that Carried My Girl From Town 38 Windy and Warm 39 The Roving Gambler 40 Don't Think Twice, It's Alright 41 How Long Blues 42 Little Darlin’ Pal of Mine 43 Nights in White Satin 44 Rain Crow Bill 45 Banks of Ohio 46 Walk on Boy 47 Roll on Buddy, Roll On 48 Sing Song Kitty 49 I am a Pilgrim 50 Foggy Mountain Top
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9 51 Dark Hollow Blues 52 Ol' Ruben 53 Country Blues 54 Roll in my Sweet Baby's Arms 55 Southbound 56 I'm Going Back to the Old Home 57 Black Mountain Rag 58 Blue Ridge Mountain Blues 59 Down in the Valley to Pray 60 The Greenback Dollar 61 Anniversary Blue Yodel 62 Dream of the Miner's Child 63 Little Margaret 64 Rising Son Blues 65 Milk Cow Blues 66 Blue Railroad Train 67 East Tennessee Blues 68 Billy in the Low Ground 69 Don't Let Your Deal Go Down 70 Cumberland Gap 71 I Was a Stranger 72 Wild Wood Flower 73 Blues in my Mind 74 Tom Dooley 75 Freight Train 76 Spike Driver's Blues 77 Wabash Cannonball 78 Going Down this Road Feeling Bad 79 Froggy Went a Courtin' 80 John Hardy 81 Alabama Jubilee 82 Beaumont Rag 83 Rambling Hobo 84 Ridin' That Midnight Train 85 Old Dan Tucker 86 What Does the Deep Sea Do? 87 Little Orphan Girl 88 Frankie and Johnny 89 Gambler's Yodel 90 Otto Wood the Bandit 91 House of the Rising Son 92 Deep Elem Blues 93 Poor Boy Blues 94 Talk about Suffering 95 Way Downtown 96 I Want to Love Him More 97 Darlin' Corey 98 Georgie 99 Storms are on the Ocean 100 Down the Road 101 Dixie 102 Georgia Buck 103 Matty Groves 104 I'm Troubled 105 I'm Going Fishing 106 Greenville Trestle High 107 White House Blues 108 Train Whistle Blues 109 Miss the Mississippi and You 110 Stack-o-Lee 111 Lynchburg Town 112 Call of the Road 113 Intoxicated Rat 114 Gypsy Davey 115 Turn the Lamps Down Low 116 Your Long Journey We don't expect you to read about a musical legend without listening to his legendary music. We've compiled a playlist of songs we love, one per page of this magazine. You can find the list using the QR code, or by visiting foothillsdigest. com/Doc. We've provided a list of the songs here. You can listen to the whole playlist in row, or select the songs that go with the pages you are reading. We hope this deepens your enjoyment of the magazine, and your understanding of Doc Watson!
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Doc Watson: Doc Watson: A Timeless Voice of Appalachia A Timeless Voice of Appalachia What does it mean to live a song? For Doc Watson, the answer was simple: every note, every lyric, and every story he played was infused with a piece of himself. Whether he was flatpicking his way through a traditional Appalachian tune or collaborating with icons of bluegrass and folk, Doc brought an authenticity to his music that few could match. With a guitar in his hands, he wasn’t just playing melodies—he was preserving a culture, building a bridge between the past and the present. But the journey of a blind boy from Deep Gap, North Carolina, to the pinnacle of American music wasn’t one of easy roads. It was a tale of resilience, innovation, and a little banjo made with the hide of an old family cat.
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A Life Lived Through Music When Doc Watson sat down to play, something extraordinary happened. A man known for his humility, Doc could command an audience of thousands with just his voice and a guitar. He wasn’t flashy—his performances were stripped down, pure, and powerful. Audiences could feel the echoes of Appalachian mountains in his picking and the soul of gospel in his singing. Fellow musician Sam Bush once remarked, “He always knows the perfect notes,” but it wasn’t just the notes—it was the stories behind them. Doc’s philosophy was clear: “Keeping old songs alive isn’t just about the music; it’s about the stories and the people behind them.” This belief became the heartbeat of his music. Whether playing a tender ballad or a rollicking fiddle tune, Doc transported listeners to another time, a place where tradition and innovation walked hand in hand. From Street Corners to Center Stage Though he became a global ambassador for Appalachian music, Doc’s beginnings were humble. In the 1950s, he played street corners and amateur contests, earning his way one song at a time. His transition to professional musician was anything but glamorous—playing electric guitar in Jack Williams’ country and western band. But even then, Doc wasn’t afraid to innovate, adapting fiddle tunes to the electric guitar and breathing new life into old melodies. He called it “making the old new,” a mindset that would later define his career. It wasn’t until folklorist Ralph Rinzler discovered Doc in 1960 that the world began to take notice. Encouraged to trade his electric guitar for an acoustic, Doc stepped into the spotlight, bringing Appalachian music to national audiences. His debut at the Newport Folk Festival in 1963 wasn’t just a performance—it was a revelation. Suddenly, the acoustic guitar wasn’t just a rhythm instrument; in Doc’s hands, it became a lead voice, capable of astonishing virtuosity.
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12 The Father-Son Duo That Defined an Era One of the most poignant chapters in Doc Watson’s career was his partnership with his son, Merle Watson. Beginning in 1964, the duo toured the country, recorded over 20 albums, and mesmerized audiences with their chemistry. Doc’s intricate flatpicking paired perfectly with Merle’s slide guitar and rhythm playing, creating a sound that was both timeless and innovative. Their collaboration came to a tragic end in 1985 when Merle died in a tractor accident. For Doc, the loss was immeasurable. Yet, from that grief came a beautiful legacy: MerleFest. Founded in 1988, the festival became a celebration of what Doc called “traditional plus” music—rooted in Appalachian traditions but open to influences far and wide. Today, MerleFest is one of the largest Americana festivals in the world, ensuring that the Watson family’s impact endures. "Just One of the People" Despite his fame, Doc Watson never let success go to his head. A life-size statue of him in Boone, North Carolina, bears the inscription, “Just One of the People,” a phrase that perfectly encapsulates his character. Whether performing with legends like Bill Monroe or chatting with fans after a show, Doc was known for his humility and generosity. Fellow musicians admired not just his technical brilliance but his willingness to share his knowledge. Doc’s collaborations were as varied as they were meaningful. From contributing to the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken to working with David Grisman and Ricky Skaggs, Doc bridged generational and stylistic divides. His music wasn’t confined to any one box—it was a tapestry woven from folk, blues, gospel, and bluegrass, with a few threads of jazz and country stitched in for good measure. WPCC.EDU (828) 448-3500 1001 BURKEMONT AVE, MORGANTON Achieve Success! Experience the pioneering spirit that awaits you.
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13 Legacy in Motion Doc Watson didn’t just preserve A p p a l a c h i a n t r a d i t i o n s — h e transformed them. His innovative approach to “traditional plus” music laid the foundation for the modern Americana movement. Artists like Bob Dylan, Joan Baez, and even generations of bluegrass pickers owe a debt to Doc’s trailblazing spirit. Over the course of his career, Doc received eight Grammy Awards, a Grammy Lifetime Achievement Award, and the National Medal of Arts, presented to him in 1997 by President Bill Clinton. “There may not be a serious, committed baby boomer alive who didn’t at some point try to learn to pick a guitar like Doc Watson,” Clinton remarked during the ceremony. And yet, awards and accolades were never Doc’s focus. For him, music was about connection—between artist and audience, past and present, family and community. By Henry Horenstein, Courtesy of Smithsonian The Boy With the Banjo For all his accomplishments, Doc Watson never lost touch with his roots. He often spoke fondly of his childhood in Deep Gap, where his father built him that first fretless banjo. That humble gift, crafted from the hide of an old family cat, was the spark that lit a fire in young Arthel Lane Watson. Even then, he approached music with the same dedication that would define his life. His father’s challenge to learn “When the Roses Bloom in Dixieland” in exchange for a guitar wasn’t just a moment of determination— it was the beginning of a lifelong relationship with stringed instruments. A Living Song Doc Watson once said, “When I play a song, be it on the guitar or banjo, I live that song.” And in living those songs, he made them live for us too. Through his recordings, his performances, and the enduring legacy of MerleFest, Doc Watson’s voice continues to echo, ensuring that the music of Appalachia remains as vibrant and relevant as ever. For Doc, music wasn’t just a career—it was a way of life, a way of preserving the stories and traditions of a region, and a way of connecting us all. Though he left this world in 2012, his songs—like the mountains he called home— stand timeless.
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Jim Gavenus’ Lens on Doc Watson For Jim Gavenus, photography is more than a craft—it’s a powerful form of storytelling that transcends time, preserving moments that might otherwise fade into history. His images serve as a bridge between the fleeting and the eternal, transforming split-second experiences into enduring narratives that reveal the depth of human experience. Through his lens, he captures raw emotion, unspoken truths, and defining moments that give his subjects a voice long after the shutter clicks. Whether chronicling the exuberant joy of a music festival, the quiet resolve of a social movement, or the intimate essence of a musical icon, Jim’s work goes beyond mere documentation. His powerful photographs of legendary guitarist and folk icon Doc Watson exemplify his ability to capture not just an artist, but the spirit of a lifetime dedicated to music. In these images, Watson’s humility, wisdom, and deep connection to his craft are palpable, allowing viewers to witness the soul of a man whose influence shaped generations. At its best, photography is more than an art form—it is a means of preserving history with a heartbeat. Jim doesn’t just take pictures; he immerses himself in the world of his subjects, forging a deep connection that allows him to capture their essence with authenticity and respect. Each frame is not just about freezing a moment in time but about honoring a legacy, ensuring that the stories of his subjects are seen, felt, and remembered.
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Jim’s career is built on a profound respect for the people and moments he documents. His approach is simple yet powerful: every subject deserves dignity, and every story deserves to be told. This ethos has guided him throughout his career, driving him to photograph everything from civil rights leaders to world-class musicians. Whether capturing the quiet strength of social changemakers or the enduring presence of artists like Doc Watson, Jim’s work transcends photography—it becomes a lasting tribute to the people and histories that shape our world. A Humble Beginning Jim’s journey into photography began in Eastern Pennsylvania with a Kodak Instamatic camera and a passion for capturing the world around him. His natural curiosity and keen eye for storytelling led him to the music world, where early opportunities to photograph legendary musicians like Clarence Clemons and Levon Helm ignited his love for storytelling through imagery. As his career flourished, Jim moved to Daytona Beach, Florida, where he sharpened his craft and built a portfolio that included collaborations with Wilco, Soul Asylum, and The Jayhawks. But it was his deep connection to MerleFest—a festival that celebrates the roots and evolution of Americana music—that became a cornerstone of his career. Over the years, Jim’s reputation as a photographer grew, and he found himself documenting not only musicians but also the social movements that defined generations. His work in capturing the faces and moments of history has solidified his standing as one of the most respected photojournalists in the field. Meeting Doc Watson Among the countless musicians Jim has photographed, one holds a particularly special place in his heart: Doc Watson. As Jim recounts, his journey to becoming an official photographer for MerleFest didn’t happen overnight. “I had applied to be an official photographer for MerleFest and was turned down,” Jim explains. “But I went anyway and brought my camera with me. That year, I took some great pictures,
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including one of Doc that I was especially proud of. The following year, I used those photos to apply again, and this time, I was accepted.” It was as an official MerleFest photographer that Jim met Doc Watson for the first time. “One day, I was backstage, holding two printed pictures of Doc. There used to be a stage on a steep hill, and backstage, there was a glass door. Doc’s grandson, Richard, saw me through the door and asked, ‘Do you want to get those signed?’ I said, ‘No, I shot these, and I wanted to give copies to the family.’ His demeanor changed immediately. He opened the door and said, ‘Come in.’ “Inside, Doc was sitting with a group of musicians. At one point, he paused and said, ‘Someone is out of tune.’ Nobody admitted it, but one of the musicians said, ‘If Doc says someone is out of tune, someone is out of tune.’ “Then Doc’s friend Jim Rouse looked at the print I’d brought and said, ‘This is the best picture I’ve ever seen of Doc. It really captures him.’ That moment was life-changing for me. Somehow, I’d been let into this private, profound moment. I’ll never forget the gravity of it.”
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Building a Bond Jim’s relationship with Doc didn’t stop at that first meeting. “Later that year, I was at another Doc Watson concert. I shouldn’t have done this, but I snuck backstage. Doc was there with David Holt and his grandson Richard. They asked me to take a picture, and I took a handful. After that, things changed. “At MerleFest, Doc would ask me to sit with him. Sometimes he’d send me to fetch Rosa Lee. Over time, a real friendship blossomed. Every Sunday morning at MerleFest, Doc and Rosa Lee would sit behind the stage for a quiet moment. Doc would play and tell stories, and from the first year, it became a tradition that I was there with them. It was guaranteed—Doc, Rosa Lee, and me on Sunday mornings.” One memory stands out vividly for Jim. “Doc was playing at B.B. King’s in New York City, and I got there early for the soundcheck. Afterward, David Holt and Richard left, so it was just me and Doc. He played and played, and then he started telling me stories. “He told me about how, when he was younger, he’d struggled to provide for his family. He was waiting in line for government assistance and made a decision right then: he was going to support his family through his music. As he told me this, he started to tear up. It was such a touching moment. “He also told me that music changed when people stopped riding trains. He explained that trains had a rhythm, and that rhythm influenced him. Then he said, ‘When I die, I hope people remember me for the man I was, not just the guitar I played.’ That humility and grace were Doc in a nutshell.”
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The Art of Capturing Connection Jim’s photographs of Doc Watson have become iconic, not just for their technical brilliance but for the profound sense of presence they convey. One image, in particular, found its way to the 2013 Grammy Awards, a testament to both Doc’s legacy and Jim’s artistry. See page 3. Jim’s ability to capture emotion extends beyond music. Whether he’s photographing the jubilant energy of a festival crowd or the quiet resilience of civil rights leaders, his images reveal the dignity, humanity, and emotion of his subjects. His approach to photography— one rooted in respect, patience, and deep listening—allows him to create portraits that don’t just document history but breathe life into it. A Legacy Through the Lens Through his lens, Jim Gavenus has preserved the spirit of one of America’s greatest musical legends while telling countless other stories that matter. His work stands as a testament to the connections that define our lives: between artist and audience, photographer and subject, fleeting moments and enduring legacies. As Jim says, “Every subject, every moment, deserves respect. My goal is to honor their humanity and their impact.” His photographs don’t just preserve history; they create a bridge to it, ensuring that these stories, these moments, live on in our collective memory. From festival stages to backstage encounters, from candid conversations to once-in-a-lifetime performances, Jim’s work with Doc Watson is more than just a collection of photographs—it is a heartfelt tribute to a legend, a friendship, and a love for storytelling through the lens of a camera. Wildwood Heart Farm is a small, boutique farm in the foothills of NC. Our goal is to offer a place for peace. Hiking, bike trails, and the Wilkesboro NASCAR Speedway is all minutes away, and the beautiful Kerr Scott Reservoir is less than half a mile from our door. The farm offers yoga, reiki, nature massage & forest bathing, we can even provide your meals for a work free weekend. (336) 304-0078
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Blind Witness I. The year he was born, the chestnuts began to fall, dying slow in the mountains that had held them for centuries. By the time he was a man, the last one was gone— and with them, the high, sheltering canopy, the deep shade that once ran unbroken. And though he never saw them, he stood blind witness— felt the light shift, sharper, harsher, no longer softened by the crowns above. As their shadows thinned, as the light pressed harder through bare branches, as the woods grew spare, silent. II. March, 1923. A warm year, too warm, winter loosening its grip early. In a house without electricity without running water, without anything but what they made, they welcomed their sixth child. Nine children, hands working the land, feet planted firm in Deep Gap, as their kin had done since the 1790s. No one knew for sure why his sight slipped away. Some said silver oxide, some an infection. But before the world went dark, he remembered— A handkerchief waving over his cradle, its shape shimmering against the light. Maybe it was red. Maybe not. He remembered frost on the ground, how it sparkled before it blurred. He remembered the moon was round. Then, nothing but light and shadow. Then, only the sound of the world. II. His father built roads and schoolhouses, laid stones for places he’d never see. His mother canned vegetables, washed clothes by hand, made sure no child ever went hungry. They ate corn, pork, wild game, burned wood for heat, lived as their ancestors had for a hundred years before them. And they sang. Their voices rose in the tight walls of home, braided together in shape-note hymns. Some said it was the spirit of togetherness. Doc said, "I think it was the spirit of God." IV. The world held music, humming low, waiting for hands to let it go. He tapped rhythms on the porch rail, plucked melodies from wire and tin. Everything had a song inside it, and he was going to find them all. IV. Then came the school. A train ride east, miles away from Deep Gap, from home, from everything steady and known— clear across the state, to Raleigh, to the school for the blind, where the mountains fell away behind him. Doc and his brother cried for days, their small hands gripping their mother’s dress, their voices catching in the thick mountain air. Maybe she cried, too, but the train ran on, and the school doors closed behind them. And so the rhythm began— a boy sent away in the fall, a boy finding his way through the hush of winter, then stepping off the train in June, the mountains opening their arms again, home as it had always been, waiting. The Cat-Skin Banjo I. "I believe you could learn to play a banjo, Son. I've got a mind to make you one." So he set to work, boiled a strip of maple, bent it slow, shaped the hoop with steady hands, fitted tension hooks just right, made it factory-clean, near as he could. Something a boy could play— something that’d last. II. The Sears Roebuck catalog sat open, its thin pages whispering promise. "Cat-skin head, bright tone, clear ring." His brother read it aloud twice. And in the corner of the house, Grandma’s old tom lay curled, blind, deaf, and lame. It was time. Doc and his brother made careful work of it, the knife moving quick, their hands unclean for days, the stink buried deep in their skin, Strings and Shadows: The Life of Doc Watson By Carmen Eckard Inspired by Eddie Huffman's research and his book Doc Watson: A Life in Music
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the dreams worse— the cat’s ghost curling through the dark corners of sleep. III. General scraped the hide, tanned it slow, stretched it taut across the hoop, so thin the lamplight shone through. He rapped it with his knuckles, listened, nodded once—just right. Then he strung the thing, turned the pegs, played two songs, hands steady as creek stones. And then he passed it on. "Here, Son. Take this and learn to play it good. You might need it in this world. It’s yours now." That night, his father played for the last time. The Tunnel and the Road Home I. Summer was slipping away, the air turning sharp at the edges. He knew what came next— the train, the school, the rules, the walls, the overlords. So he did what a high-spirited boy might do— he hid. Curled up quiet in Deep Gap’s folds, waiting for summer to stretch just a little longer. Maybe they’d forget. Maybe the world would just let him be. But they found him, his parents’ voices pulling him back. And when General said it was time, it was time. II. The school took him again, but he wasn’t made for that kind of place. Too many rules, too much hush, too little room for a boy who liked to take things apart just to know how they worked. Or for a boy who loved music too much. III. He and his friend Montgomery played on stage once— "Cripple Creek," their notes bright, Doc’s foot patting time, his hands sure on the strings. The matron slapped him after. Called him conceited. The sting faded, but the lesson stayed— joy wasn’t welcome there. IV. Ask Doc, and he’d say it was the cigarettes that got him sent home for good. Ask Montgomery and he’d tell you about the radio— how they found Doc in the tunnels under the school, surrounded by wires and tubes, trying to find the heartbeat of sound. Either way, the school was done with him. And he was done with it. V. He stepped off the train, Deep Gap wrapping around him again, familiar, full of air, full of space. There was work to do, the kind that got dirt under your nails, blisters on your hands. General didn’t believe in corners for a blind boy to sit and dry up in. "I wouldn’t have been worth the salt in my bread," Doc would say later, "if it weren’t for him and Mama." VI. The house still smelled like an old battery, the family radio filling the rooms with its thick, sharp scent. That one, at least, he hadn’t taken apart. But the music stayed with him— the songs from school, the blues and the ballads, the hum of a world bigger than Deep Gap, even as his hands settled back into work. One world had closed behind him, but another— the one that mattered— was just beginning. The Guitar I. The first time he touched one, it wasn’t his own— it belonged to a friend at school, a boy who played clean and strong. They traded for a while, banjo for guitar, Doc’s hands testing the weight of it, fingers pressing down, pulling sound from steel. And that was it. The banjo was fine, but the guitar— the guitar was something else. II. Out on the streets of Boone, the banjo still earned its keep. People stopped,
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29 coins clinked, music filled his pockets. But when he thought of the sound he wanted, the feel of strings under his hands, it wasn’t the banjo he dreamed of. "When the guitar came along," he’d say later, "that was my first love in music." III. One morning, a borrowed guitar sat waiting in the Watson house. Doc ran his fingers over the frets, picked a tune while his father, General, ate his breakfast in quiet. The old man wiped his mouth, looked over, "Son, how much money you got?" "Seven, maybe eight dollars." "If you can learn to play and sing a tune by the time I get back from work— we’ll go to town Saturday and buy you one." Doc didn’t tell him he’d already learned a bit, that he’d listened close at school, that Montgomery had placed hands on the frets, teaching him how the music was brought forth. So when General came home that evening, Doc sat up straight, picked out the chords, let his voice ride the melody— "I met my honey at the railroad track, I said honey wait for me. I'm going to make a lot of money up north, and it's me for old Tennessee." IV. Saturday came, thirty miles to North Wilkesboro, dust rising behind the car as they drove to Rhodes-Day Furniture. He ran his hands down the row of guitars, found a Stella that hummed just right beneath his touch. Twelve dollars. Doc counted out seven, his father covered the rest. That was all it took. From then on, he was a guitar player. The Walk Home I. T he first time he crossed the mountain to hear Gaither Carlton play, he was just a young man with a guitar and a hunger for music. Gaither, old-time fiddler, kin on both sides, played hymns on the radio Sundays, fifteen minutes of heaven in bow and string. But it wasn’t just the fiddle tunes Doc heard that day— it was the voices, two sisters singing, sweet and strong, twined together like honeysuckle. He didn’t know then that one of those voices would soon be his whole world. II. Years passed, the war came and went, and Doc found himself again at the Carltons' home in Deep Gap, visiting with his brother Arnold. And there she was. Rosa Lee. "I noticed her as a beautiful woman." Rosa Lee said, “Hell-O!” and it might as well have been a brick to his head. "I didn’t have a lick of sense after that." III. One day, walking the road home, his mind turning slow and easy, he heard soft footsteps behind him— quick, light, full of something he couldn’t name yet.
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And then— a small hand in his. "I’m going to walk with you," she said. His heart jumped, the air went bright around him. It was young love, the best kind. "Every breath of every day was her name." IV. They married young, her just fifteen, him twenty-three. Hard years came. The loss of their first child, a sorrow too heavy for words. But love held fast. Then came Merle, then Nancy Ellen, a house full of music, a love strong enough to last a lifetime. Practice Like the Devil I. Long days, hard hands, a house to keep, mouths to feed. Work came in pieces— whatever paid, whatever kept the fire warm, the cupboards full. Music was still there, tucked into evenings, threaded between hours of labor and love. He played where he could— street corners, porch steps, Saturday night dances, the radio’s hum. But something was waiting. Something bigger. II. Then came the Jack Williams Band, country swing and honky-tonk fire, where he traded wood for wire, acoustic for electric, and made that guitar sing like it was born to. Fiddle tunes found new breath beneath his fingers, running up and down the neck, quick and clear as creek water. Square dances, radio shows, neon-lit bars, small-town stages filled with sound. Every night, every song, he worked— "Practice like the Devil." III. He played where the people were, let the music earn its keep. Street corners, hat open for change, radio shows, live and raw. Then Ralph Rinzler came, searching for old sounds, looking for mountain ghosts still living in the music. He found Doc at Clarence Ashley’s side, flatpicking the way no one else had, turning fiddle reels into something new. "Play it like that," Rinzler said, "The way you do it, that's something special." So he set the electric aside, let his fingers dance on a Martin, and the world started listening. A Father’s Pride I. The first time Merle stood beside him on stage, he was just fifteen, three months with a guitar in his hands, but his rhythm was steady, his fingers sure. It was the Berkeley Folk Festival, 1964— a father, a son, two guitars, one song. Merle played backup, his chords falling in line, his timing tight, his touch light but certain. Doc didn’t have to say much. He just nodded, let the notes say what words never could. II. F rom that day on, they traveled together, the road rolling beneath their wheels— festivals, concerts, late-night picking sessions, towns blurring past as their guitars spoke to one another, woven together like roots in the earth. Merle’s playing grew, his own style blooming— blues and country, slide and swing, his hands shaping sounds that hadn’t been there before. And with every show, every song, Doc’s music soared higher. The world was listening now. They packed concert halls, played for crowds who knew every note, recorded albums that carried their music to places neither had ever seen. This was it— Clarence Ashley, Gaither Carlton, Doc Watson, Rosa Lee Watson: Performing outside, in the John Edwards Memorial Foundation Records (20001), Southern Folklife Collection at Wilson Special Collections Library, University of North Carolina at Chapel Hill.
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the golden years, a father and son, riding the crest of something bigger than themselves. III. The years went fast, fingers faster, songs passing between them like stories around a fire. And even when the road would one day grow quiet, even when the music changed, one truth remained— A father’s pride, a son’s legacy, their music intertwined, forever echoing in the hearts of those who listened, who understood the bond they shared. The Hand That Reached Back I. I t was late, the air thick with summer’s breath, the road dark and winding. Merle knew these hills, knew the bends and hollows, but pain is a hurried thing, and his hands weren’t steady that night. A cut too deep, blood beading on rough wood, sent him riding through the dark to a neighbor’s house, searching for help, something to dull the sting. The tractor rumbled beneath him on the way home, steady, sure— until the path sloped hard, the tires catching wrong, the weight tilting, the world turning with it. Metal groaned. Rubber slipped. The tractor rolled, crushing him beneath its weight. One wrong move, one slip in the night, and the world came apart like an unstrung chord. II. When the news came, it hit like a hammer— hard, sudden, crushing the air from the room. Rosa Lee gasped. Doc had no words. Only the ache, only the empty chair, only the silence where music had been. "Without Merle’s help in the hard days and the dues-paying times, I probably would have gotten out of it," Doc would say later. "But Merle stood by me and helped me over the hump. He wasn’t only a good son, he was as good a friend as a man will ever have in this world." And now, the road stretched on without him. III. The night before the funeral, sleep came thick with sorrow. And in the dark of his mind, Doc felt himself sinking, trapped in something heavy and burning, quicksand pulling him down, hot and deep, no way out. He fought, but there was no ground beneath him. And then— A hand. Big, strong, reaching back. "Come on, Dad, you can make it." Merle’s voice, clear as morning, pulling him up, out of the heat, into cool air, sunlight on his face, a breeze rolling in like an old song. He woke with a start, the dream still wrapped around him. "Well, there it is," he thought. "The good Lord let him come and visit me even after he left this world, to show me that I must not quit." IV. For a while, the guitars stood silent, the music caught in grief’s grip. Nothing loomed larger than Merle's empty chair. But love doesn’t disappear, and neither does music. It lingers in the wind, in the notes passed from hand to hand, in the legacy of a father and son who once played as one. So they gathered— pickers and friends, voices raised, guitars ringing, a festival born from sorrow, but held up by love. They called it MerleFest. A song for the son, a song for the music, a song that would never fade. V. The years went fast, fingers faster, but time slowed that night, the moment standing still forever. Still, Doc played on. Because grief is heavy, but music lifts. Because love is lost, but never gone. And because even in silence, Merle’s music still played. Photo courtesy of MerleFest
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The Road Goes On I. The music had changed. The space beside him was empty, but the road stretched forward, and the songs still needed playing. So Doc did what he knew— he kept on picking, kept on traveling, kept on making music for the ones who still listened. T. Michael Coleman joined him first, his bass steady as a heartbeat, holding the rhythm, giving the songs a place to land. Then Jack Lawrence came along, his picking sharp, his timing sure, his guitar answering Doc’s like it had always belonged. No one could replace Merle— no one ever would— but they played beside him, carrying the music forward. And Doc played on. II. The world had been listening for years, but now, the world tipped its hat. Grammy after Grammy, the gold shining against the worn calluses of a working man’s hands. Hall of Fame honors, awards stacked up like firewood, but none of that mattered as much as the music itself. The joy of playing. The love of sharing. The way the sound could shift like a river, flowing between styles— old ballads, blues, country swing, notes borrowed from far-off places and stitched into something new. "It’s all traditional-plus," Doc would say, "the music of the mountains, plus whatever else the heart wants to play." And that was how he played— never bound by rules, only by feeling. III. Every year was a pilgrimage. Back to Wilkesboro, back to the festival, back to the place where his son’s name was sung by thousands. They stood together, picking, singing, remembering. And when the music started, it felt like church. It felt like family. It was salve for old wounds, a balm for hearts still aching, a way to heal without words. And maybe, on those festival nights, when the music was right and the wind ran through the trees, Merle was still reaching back. Epilogue: The Songs Go On Doc is gone now, but his songs are not. They live in the hands of pickers, in the voices of singers, in the hush of a crowd waiting for the first note to ring. And as long as guitars are tuned, as long as fingers find the strings, as long as hearts are lifted by melody— Doc Watson still plays. Photo by Jim Gavenus
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Studio and Live Albums: 1964: Doc Watson 1965: Doc Watson & Son 1966: Southbound 1966: Home Again! 1967: Ballads from Deep Gap 1968: Doc Watson in Nashville: Good Deal! 1971: Doc Watson on Stage 1972: The Elementary Doctor Watson! 1973: Then and Now 1974: Two Days in November 1975: Memories 1976: Doc and the Boys 1977: Lonesome Road 1978: Look Away! 1979: Live and Pickin' 1981: Red Rocking Chair 1983: Doc and Merle Watson's Guitar Album 1984: Down South 1985: Pickin' the Blues 1986: Riding the Midnight Train 1987: Portrait 1990: On Praying Ground 1990: Songs for Little Pickers 1991: My Dear Old Southern Home 1992: Remembering Merle 1995: Docabilly 1999: Third Generation Blues 2002: Legacy 2002: Round the Table Again 2017: Bear's Sonic Journals: Never the Same Way Once Discography Doc Watson was prolific, putting out a great many albums over the course of his career. These 30 albums shown were his studio and live albums.
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With The Watson Family: 1964: Treasures Untold (live) 1977: Tradition (live) 1990: The Watson Family 1994: Songs from the Southern Mountains (live) Collaborations: 1961: Old Time Music at Clarence Ashley's, Vol. 1 (live) 1963: Old Time Music at Clarence Ashley's, Vol. 2 (live) 1967: Old-Timey Concert (with Clint Howard and Fred Price) (live) 1967: Strictly Instrumental (with Flatt and Scruggs) 1972: Will the Circle Be Unbroken (with Nitty Gritty Dirt Band) 1980: Reflections (with Chet Atkins) 1990: Jean Ritchie and Doc Watson at Folk City 1993: Live Recordings 1963-1980: Off the Record Volume 2 (with Bill Monroe) 1994: Original Folkways Recordings of Doc Watson and Clarence Ashley, 1960-1962 1997: Doc & Dawg (with David Grisman) 1998: Del Doc & Mac (with Del McCoury and Mac Wiseman) 2003: The Three Pickers (with Earl Scruggs and Ricky Skaggs) Compilations: 1973: The Best of Doc Watson 1973: The Essential Doc Watson 1983: Favorites 1994: Original Folkways Recordings: 1960–1962 1995: The Vanguard Years 1996: Watson Country 1997: Elementary Doctor Watson!/Then and Now 1998: Home Sweet Home 1999: The Best of Doc Watson: 1964–1968 2000: Foundation: Doc Watson Guitar Instrumental Collection, 1964–1998 2001: Doc Watson at Gerdes Folk City (live) 2002: Then and Now/Two Days in November 2002: 14 Fabulous Tracks 2002: Lonesome Road/Look Away! 2002: Songs from Home 2003: Trouble in Mind: Doc Watson Country Blues Collection 2003: Doc and the Boys/Live and Pickin' 2003: Tennessee Stud 2004: Sittin' Here Pickin' the Blues 2006: Black Mountain Rag 2007: Vanguard Visionaries 2008: Americana Master Series: Best of Doc Watson 2013: The Definitive Doc Watson 2021: Life's Work: A Retrospective
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38 Jack Lawrence: The Guitarist Who Knew Doc Best The Guitar That Came Back to Life Jack Lawrence brushed off the dust, inhaling the scent of aged wood as he lifted the guitar. He recognized it immediately—not just from the way it felt in his hands, but from album covers he had studied as a kid. The worn fretboard and faded finish told stories of years past. As a habit ingrained in every guitarist, he leaned in and sniffed the sound hole, letting the rich aroma of old wood and history settle around him. He strummed a out-of-tune, 3-stringed chord, letting the sound linger in the quiet of Doc Watson’s music room. A voice from the doorway broke the silence. “What in the world are you doing in there?” Jack turned to see Doc standing there. “Just checking this old thing out,” Jack said, nodding toward the guitar. Doc chuckled. “I wore that out years ago. It’s been through more repairs than I can count—even survived a car wreck.” Jack ran his fingers over the wood, imagining the songs it had played. “I could bring it back,” he offered.
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For years, Doc brushed off the idea, teasing Jack more times than he could count with, “Maybe one of these days I’ll give that to you.” Then, one Christmas, he finally did. A year later, Jack placed the fully restored guitar in Doc’s lap during a recording session. Without a word, Doc ran his hands over the neck, feeling every familiar groove and dent. Recognition lit up his face. “Oh, what a good old friend this guitar has always been.” And then Jack leaned in and whispered, eyes twinkling, “Maybe one day I’ll give it to you.” A Call That Changed Everything Jack’s journey to that moment didn’t begin with an audition—it began with friendship. Before he ever shared the stage with Doc Watson, he first made music with Merle, Doc’s son. The two formed a deep musical bond, playing in bands together and swapping licks long before Jack ever dreamed of joining the legendary guitarist on stage. By October 1983, Jack was an experienced musician with years of gigs under his belt. He had left Charlotte
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right after high school in 1971, chasing a career in music, playing across the country, and eventually returning to North Carolina in the mid-1970s. That’s where he met Joe Smothers, a member of Doc and Merle’s Frosty Morn Band. The two formed a duo, and before long, Merle began sitting in on their sets, playing slide guitar. Then came the call that changed everything. “What are you doing tomorrow?” Merle asked. Jack’s answer? Yard work. “Well, I can get you out of that if you want.” The next day, Jack met Doc at the airport. Hours later, he was on stage in Chicago—no rehearsal, no warm-up, just Doc rattling off the names of three songs and saying, “That’s the first three. That’s a good start.” Jack laughed at the memory. “That was as much rehearsal as I ever did with him for the next almost 30 years.” A Musical Understanding Without Words For nearly three decades, Jack played beside Doc, blending his own voice into their performances while staying true to the intricate nuances of Watson’s playing. Their bond was built on something deeper than conversation—it was built on instinct. Doc, being blind, had a unique way of cueing Jack. He would simply turn toward him when it was time for a solo. “That was my cue—I was coming up,” Jack explained. “Doc gave everybody a chance to show what they could do.” One of the biggest challenges of playing with Doc was keeping up with his unpredictable timing. Years of listening to old 78 records—where beats were sometimes added or lost—had shaped his style.
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41 “You could anticipate it just by the way he was singing a line,” Jack said. “But if you didn’t know him, it could throw you completely off. I learned to play using his songs, so it came naturally to me.” That subtle, almost imperceptible shift in timing was what made Jack a perfect musical partner for Doc. When bassist Michael Coleman left the band, it made sense for Doc and Jack to perform as a duo. Keeping up with Doc’s rhythm was something only a musician truly in sync with him could do.
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42 MerleFest and Carrying the Legacy Jack Lawrence is one of only a handful of musicians who have played every MerleFest since its inception—a legacy that continues to this day. MerleFest, founded in 1988 in memory of Merle Watson, has grown into one of the most renowned roots music festivals in the country. It was created to celebrate the music Merle and Doc loved, and it became a place where legendary musicians gathered to honor their legacy. “I’m just glad they still call me to do MerleFest,” Jack said. He’s in good company alongside Joe Smothers, Peter Rowan, Sam Bush, and Jerry Douglas—all musicians who helped shape the festival into what it is today. Though Doc and Merle are gone, Jack carries on their music and their memory. His deep respect for Doc Watson—both the man and the musician—shines through in every story he tells and every note he plays. When asked what song people should listen to while reading this story, Jack struggled to pick just one. “There are too many,” he said. But for those wanting something special, he offered a few suggestions: The instrumental medley of Big Sandy River and Salt Creek The old Jimmie Rodgers tune Sleep Baby Sleep Or, for something unexpected… “Nights in White Satin.” Yes—the Moody Blues. fine art framing design - installations- gallery 215a 1st Avenue SW Hickory NC 28602 wednesday thursday friday 10 - 5 fanjoylabrenz.com
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43 “Doc loved the Moody Blues,” Jack revealed. “People don’t realize that.” That little-known fact is exactly the kind of detail that makes this story so special. Because beyond the legend, beyond the iconic picking style and unmistakable voice, Doc Watson was a man who loved music in all its forms. And if there’s anyone who truly understood the heart and soul behind that music, it was Jack Lawrence.
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44 Sam Bush: A Lifetime at MerleFest and the Lessons of Doc Watson Each year, when the last weekend of April rolls around, Sam Bush knows exactly where he’ll be—on stage at MerleFest. He’s played every single one since the festival’s inception in 1988, a feat only a small handful of musicians can claim. For Bush, MerleFest isn’t just another gig—it’s a reunion, a sacred gathering of old friends and a time to reflect on the deep, personal connection he had with Doc and Merle Watson. “When MerleFest hits each year, it’s like a homecoming for me,” Bush says. “It’s a gathering of old friends. I get to see my buddies, especially T. Michael Coleman and Jack Lawrence, and it brings back the closeness we all had when we played with Doc.” Bush’s relationship with Doc and Merle Watson was built over decades of shared stages, long road trips, and countless conversations. His reverence for the Watsons runs deep, not just because of their unparalleled musicianship, but because of the way they carried themselves. “Doc and Merle were incredibly good to me and to my wife, Lynn,” Bush recalls. “They were just good people. And when the festival first started, it was a way for all of us—those of us who played with Merle—to mourn him together. I think it was really important for Doc and Rosalee, too. It helped them process their loss, and for those of us who loved Merle, it gave us a place to grieve.” Lessons from Doc More than just a fellow musician, Doc Watson was a mentor to Bush. One particular lesson has stuck with him over the years, a moment of gentle guidance that shaped the way he approached music. “I was 22 years old when I recorded with Doc for the first time, on Memories in 1974,” Bush says. “I was in awe. I’d been listening to Doc Watson since I was 13, and now here I was, playing with him. I wanted Photo by Jim Gavenus
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45 so badly to impress him. We did a couple of takes, and I asked him if what I was playing was okay.” Doc’s response wasn’t harsh, but it carried the weight of wisdom earned through years of experience. “He said, ‘Son, we’re gonna play more songs today than just this one.’” Bush laughs, remembering how much of an impact those simple words had on him. “What he was telling me was, you don’t have to put everything you’ve got into every song. You don’t have to play every note you know every time you pick up the instrument. You have to play for the song. That lesson has stuck with me my whole life.” The Brotherhood of the Road Beyond the lessons in musicianship, Bush speaks fondly of the camaraderie he shared with the Watsons and the musicians who played alongside them. “When we first toured with Doc and Merle in 1974, we really got to know them well—especially Merle. Merle was our running buddy. He loved the camaraderie of the other musicians. We’d sit in the camper before soundcheck, and Merle would be playing music for Doc—turning him onto stuff like the Allman Brothers. Doc was so open-minded. He loved all kinds of music, and he could take any song and make it his own.” One of the most surprising moments Bush recalls was when Doc performed Nights in White Satin by the Moody Blues. “Doc said, ‘Here’s one brother Jack taught me, and I think this is a very beautiful melody.’ And then he sang Nights in White Satin. I couldn’t believe it. But when Doc played it, it sounded like he had written it. That’s the kind of musician he was. He could take anything and make it sound like it came from the hills of North Carolina.” Bush’s connection to Doc and Merle extended beyond the stage. It was about trust, respect, and an unspoken understanding that only comes from years of shared experiences. “It was an honor to be one of the people Doc trusted enough to lead him. That meant a lot to me. When you walked with Doc, you’d guide him by his arm, staying a half step ahead so he could feel where the ground changed. That trust—it meant the world.” Bush, along with Jack Lawrence, T. Michael Coleman, and others, has carried that legacy forward. The bonds formed in those early days of MerleFest remain unshakable. “I still talk to Jack all the time,” Bush says. “Even when we’re not playing together, we’re close. And that’s what MerleFest is—it’s about keeping those connections alive.” Doc’s Most Important Lesson Beyond the music, there was one lesson Doc Watson emphasized above all else: family. “Doc always impressed on me how important it is to take care of your family,” Bush says. “When Lynn and I got married in 1984, Doc and Merle invited us to Todd, North Carolina, to record with them. Merle told me, ‘We’ll have a nice little cottage for y’all to stay in—kind of like a honeymoon, even though you’ll be working.’” Bush chuckles at the memory. “The funny part was that Merle forgot to mention that T. Michael was staying there, too. So, you know, real romantic.” But the message Doc imparted stuck with Bush throughout his life.
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“Doc’s philosophy was like the song he sang— Walk On, Boy. Find you a woman be good to her and she’ll be good to you. That was Doc’s way. And honestly, that’s a pretty good way to live.” A Legacy That Lives On Today, as MerleFest continues to evolve, Bush finds himself in a unique position. The festival has become one of the largest in the country, featuring artists across all genres. “I’ll be standing on stage, and every year, it happens—I feel Merle go through me. And now, since Doc has passed, I feel him, too. And Rosalee. It’s like they’re still there, watching over it all.” Sam Bush Photo by Jim Gavenus Photo by Willa Stein Many of the musicians performing now never got the chance to see Doc play in person. But for those who knew him, his presence is still felt. For Bush, playing MerleFest isn’t just about keeping a streak alive—it’s about keeping a legacy alive. “I miss them. But I cherish the amazing musical moments I got to have with Doc. I was lucky. Not everyone gets to meet their musical hero. But I got to play with mine. And I got to call him a friend.” At this year’s MerleFest, Sam Bush will take the stage once again, surrounded by his musical family, playing for a man whose lessons, both in music and in life, will never fade. He'll be there next year too, and year after.
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When Doc Watson "Saw" the Garden: B Townes' Unforgettable Moment B Townes never set out to create a music festival. He was a horticulture instructor at Wilkes Community College, a man who saw potential where others saw empty spaces. In the early 1970s, when he looked around campus, all he saw was grass—too much of it. The Southern Appalachian Mountains are among the most biodiverse regions on the planet, yet the campus had little to reflect that. He envisioned gardens, not just for beauty, but as living classrooms where students could touch, smell, and experience nature firsthand. His most ambitious idea was the Garden for the Senses, designed to engage all five senses and be accessible to the visually impaired. He imagined fragrant flowers, textured plants, and Braille plaques that would allow visitors to experience the garden through touch and scent. But such a project required funding, and B needed a way to raise the money. That’s when he had an idea: a concert. B reached out to his friend Bill Young, who introduced him to Doc Watson, the legendary guitarist and singer. Doc was already deeply tied to the region’s musical heritage, and B hoped he might agree to perform. He did—but with one request. He asked that the garden be named for his late son, Merle Watson, who had recently passed away in a tragic accident. B gladly agreed. The concert was a success—far beyond what B had imagined. What started as a simple fundraiser grew into something much bigger, evolving into MerleFest, one of the most beloved music festivals in the country. Yet even as the festival flourished, B remained dedicated to the original vision: the garden. Courtesy of MerleFest
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When Doc Touched the Garden Years later, after the Merle Watson Garden for the Senses had finally been completed, B had the privilege of walking through it with Doc. Though Doc had been instrumental in making the garden possible, he had never been able to see it—at least, not in the way most people would. But this garden had been created for touch, scent, and sound. It was made for people like Doc. B led him to the stone wall, where sculpted images of Merle and Doc had been carefully carved into the surface. Slowly, Doc reached out his hands and ran his fingers across the cool stone. He traced the contours of the artwork, feeling the details through his fingertips. A smile spread across his face. "That’s Merle,” he said, his voice filled with recognition and warmth. His fingers moved further. “And that’s me!” It was a moment of deep connection—not just between a father and his son, but between the past and the present, between music and the land, between two men who had come together to create something lasting. MerleFest grew beyond what anyone imagined, becoming an economic and cultural cornerstone of the Wilkesboro community. It now has an estimated annual economic impact of more than $12 million, much of which is reinvested directly into the local community through non-profit organizations and educational programs. But at its heart, it all began with a promise—a garden for learning, a garden for remembrance, a garden where Doc Watson could "see" his son again. And it all started with B Townes. An Invitation to Experience the Garden If you attend MerleFest, take a moment to step away from the music and walk through the Merle Watson Garden for the Senses. Close your eyes and breathe in the fragrance of the flowers. Feel the textures of the leaves and the carvings on the wall. Run your fingers over the Braille plaques and sculpted faces. Let your hands guide you through the story, just as Doc once did. This garden was built to be experienced. Don’t just look—feel it.
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Peter Rowan and Doc Watson: A Musical Bond Forged in Authenticity Peter Rowan—bluegrass icon, GRAMMY-winning musician, and one of the genre’s most versatile performers—has spent a lifetime pushing the boundaries of traditional music. From his early days as a member of Bill Monroe’s Bluegrass Boys to his groundbreaking work with Old & In the Way, Rowan’s influence on bluegrass and Americana music is undeniable. Yet, no matter how far his career takes him, Rowan always makes a point to return to MerleFest, the annual festival founded in honor of Doc Watson and his son, Merle. We recently had the chance to chat with Peter Rowan to talk about his long friendship with Doc Watson, the lessons he learned from the iconic musician, and what keeps bringing him back to MerleFest year after year. “I was about 20 years old when I first met him,” Rowan shared. At the time, Rowan was performing with Bill Monroe, the father of bluegrass, and learning the ropes in a fiercely competitive environment. “Bill Monroe had such gravitas about where he stood in the world’s history,” Rowan explained. “He had survived when people like Hank Williams hadn’t. It was a world of bluegrass that was very competitive.” In contrast, Doc Watson offered something entirely different. “Doc wasn’t like that,” Rowan said. “He didn’t make you feel less than; he welcomed you. There wasn’t this strict older-generation-versus- younger-generation thing with Doc. He was wide open.” A Meeting of Musical Minds Rowan’s introduction to Doc came through the efforts of Ralph Rinzler, the influential folklorist who was pivotal in promoting both Bill Monroe and Doc Watson during the folk revival of the 1960s. Rinzler had discovered Doc in Deep Gap, North Carolina, recording him alongside Clarence Ashley and bringing their old-time music to new audiences. “When I met Doc, he was playing with Bill Monroe on a show up in Boston,” Rowan recounted. “I grew up there, searching for the real roots of bluegrass, and here was Doc—this incredible guitarist who could play old-time music, bluegrass, and so much more.” At the time, Watson’s career was just beginning to gain traction outside his home state. He had transitioned from playing electric guitar in a country dance band to becoming a standard-bearer for traditional Appalachian music, thanks in large part to Rinzler’s advocacy. But even in those early days, Watson’s approachability and openness left a lasting impression on Rowan. “He was just such a friendly person,” Rowan said. “He wasn’t like some of the tougher, older-generation guys. His musical tastes were open, and he had so much talent. He could play old-time music, bluegrass, anything.” Photo by Jim G avenus Sharing Songs and Stories One of Rowan’s fondest memories of Watson was how generous he was with his time and knowledge. “Doc made me a little tape of songs he remembered from his youth—songs that never made it to national radio but were played in the South,” Rowan shared. “It was like a gift. He had such a vast musical background, learning from his family and his community. And Ralph Rinzler recorded some of that, like the duet ‘My Lone Journey’ with his wife, Rosa Lee.”
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Rowan also recalled visiting Watson’s cousin, Willard, in Deep Gap, where he experienced the warm hospitality that seemed to define the Watson family. “Willard was so proud of his running water in the kitchen. He’d say, ‘You gotta see this!’” Rowan laughed. “We stayed up late talking, and by 4 a.m., he’d be waking us up for breakfast. Pancakes and sausages, the whole table full. It was such a genuine, down-to-earth way of life.” Doc’s Influence on a Young Musician For Rowan, who was still finding his footing as a musician, Watson’s kindness and encouragement were transformative. “If Doc ever came to Nashville, he’d ask me to come play with him,” Rowan said. “That kind of pat on the back, that kind of welcome—it goes a long way when you’re trying to get good at something.” Unlike some of his contemporaries, Watson never viewed music as a competition. Instead, he championed others, bridging gaps between generations and genres. “Doc wasn’t just about bluegrass,” Rowan explained. “His repertoire was so wide. He learned from black gospel quartets, from his family, from the radio. He wasn’t boxed in by tradition—he celebrated it, but he also expanded it.” A Legacy of Generosity Rowan’s career would go on to flourish in its own right. From his time with Bill Monroe’s Bluegrass Boys to forming groundbreaking bands like Old & In the Way, Rowan became a key figure in bringing bluegrass to new audiences. Yet, he never forgot the lessons he learned from Doc Watson. “Doc championed people,” Rowan said simply. “He had this way of making you feel like you belonged, no matter who you were or where you came from. That’s something I’ve carried with me throughout my life.” In a world where music often reflects the personalities of its players, Doc Watson’s legacy stands as a reminder that humility, kindness, and a willingness to share are just as important as technical skill. For Peter Rowan, and countless others, that legacy is as enduring as the songs Doc played so beautifully. Photo by Jim Gavenus
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When you talk to Mitch Greenhill, you can tell he’s spent a lifetime around music. He’s got the stories to prove it. Not just about Doc Watson—though he’s got plenty of those—but about a whole era of folk and roots music, the people who built it, and the lessons they left behind. As both a musician and Doc’s longtime manager, Greenhill has a unique perspective, one that he shares in his memoir, Raised by Musical Mavericks, which includes a chapter on Doc. But perhaps no story captures their relationship better than this one: Back in the late ’70s, Greenhill was still getting his footing in the business. His father, Manny Greenhill, had been managing Doc for years, and Mitch was stepping into a larger role—booking tours, handling logistics, and even producing albums. Around that time, a Serbian guitar maker named Božo Podunavac wanted to give Doc a 12-string guitar. Now, Doc had an exclusive deal with Gallagher Guitars—but only for six-strings—so they found a way to make it work. Still, Greenhill, young and new to the game, started worrying. What did Božo expect in return? Was Doc being put in an awkward position? That’s when Merle Watson stepped in. With his quiet confidence and experience, Merle helped smooth things over, making sure everything played out just right. The guitar was delivered, Božo was happy, and Doc added another beautiful instrument to his collection. But here’s where the story takes a turn. Twenty years later, Greenhill was well into middle age when a mysterious box arrived at his door. He took one look at it and thought, Well, this is either a small coffin or a large guitar… and I really hope it’s the latter. Inside, he found a guitar case. And inside that? The very same Božo 12-string. Stunned, he called Doc. “What’s this about?” he asked. With a touch of his usual humor, Doc replied, “Well, I was going to leave it in my will, but I wanted to see your face when you opened it.” Greenhill still plays that guitar, keeping his deep connection to Doc alive through music. While he brought it to MerleFest last year, he’s leaving it at home this time around. Lessons from Doc Greenhill learned a lot from Doc—not just about music, but about life. “Doc had a strong ethical sense, especially in business,” Greenhill said. “I got that from my dad, too, but it was good to see it in an artist.” Doc also had a unique duality—he was deeply rooted in his Appalachian heritage while also being a citizen of the world. “He always knew where he was from. His roots were everything to him,” Greenhill explained. “But at the same time, his music took him around the world. He played in India, Africa, Europe— he became a man of the world while still being a man of the holler.” That balance—holding onto tradition while embracing new experiences—was something Greenhill carried with him long after his years working with Doc. Mitch Greenhill: Doc's Manager and Prolific Musician in His Own Right Mitch Greenhill with his gifted guitar Photo by Jim Gavenus
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Politics, Religion, and a Pact with Doc Like any close working relationship, there were moments when Greenhill and Doc had to navigate differences. Early on, they made a pact not to discuss politics or religion, knowing these topics had the potential to create unnecessary tension. They agreed that their bond was built on music and mutual respect, and that was what truly mattered. Greenhill admits he was the first to break it, trying to convince Doc to vote for John Kerry instead of George W. Bush. “I laid out all my arguments,” Greenhill said, “and after a while, Doc just snorted and said, ‘I’ll think on it.’ That was the end of the discussion, and I knew I wasn’t going to change his mind.” Years later, Doc was the one to break the pact. As he aged, he became more religious—so much so that he got baptized for a second time. One day, he called Greenhill up and spent a few minutes trying to convince him to get baptized, too. “It wasn’t a casual conversation,” Greenhill recalled. “He really wanted me to consider it. He spoke about faith and redemption in a way that was deeply personal to him.” Greenhill appreciated the gesture, even though he didn’t share Doc’s convictions. “I haven’t done it yet,” Greenhill said with a chuckle. “My soul is still as much at risk as it was that afternoon. But I was really touched by the gesture. He cared. He wanted me to experience the same kind of peace he had found.” In the end, the two men respected each other’s beliefs—or lack thereof. Their friendship endured because it was built on something stronger than politics or religion: a shared love of music and the journey it took them on. A Life in Music, A Life in Stories Mitch Greenhill didn’t just manage Doc Watson—he lived the music, performing, producing, and even writing about it. His memoir, Raised by Musical Mavericks: Recalling Life Lessons from Pete Seeger, Lightnin’ Hopkins, Doc Watson, Rev. Gary Davis, and Others, dives into his experiences with some of folk music’s greatest names, including a chapter on Doc himself. He’s also written a novel, What Goes Around…, a journey through the 1970s music scene filled with the kind of characters you can only dream up after spending decades on the inside. If you want to hear more stories like the one about Doc’s guitar—or get a glimpse into the world of folk music from someone who was right in the thick of it—his books are well worth a read. And if you find yourself at MerleFest, listen closely. Even though the Božo 12-string is staying home this year, Greenhill’s music—and the legacy of Doc Watson—will still be ringing through the festival.
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54 Jim Avett tells us how Doc Watson Influenced One of America’s Most Successful Bands Photography by Jim Gavenus Doc Watson's influence reverberates across generations of musicians, but few stories are as captivating as the role he played in shaping one of the most successful American bands of our time—the Avett Brothers. The story begins with Jim Avett, an artist, musician, and storyteller whose true loves are art, music, and family. As the father of Seth and Scott Avett, he’s more than familiar with the highs and lows of creative life, having spent years welding bridges while playing music and creating art on the side. His connection to Doc Watson, however, adds a unique layer to his story and to the story of his sons’ rise to fame. As a lover of traditional music, Jim performed at MerleFest for seven years. He recalls one performance in particular when Doc Watson, scheduled right before him, played his set. Jim loves to tell people, with a twinkle in his eye, “Doc Watson opened for me.” But Jim’s connection to Doc Watson goes far beyond the stage lineup; it’s a story of respect, mentorship, and the transformative power of music. A Father’s Love for Music and His Sons Jim Avett’s life is a tapestry woven with the threads of art, music, and family. A proud father and passionate musician, Jim always sought to expose his children to music that transcended trends and spoke to the soul. He believed in the power of authenticity—the kind of music that could “rip your heart out” with just an acoustic guitar. It was this belief that led Jim to introduce his son Seth to Doc Watson’s music. When Seth was a teenager, Jim took him to a Doc Watson concert in Mount Pleasant. For Seth, the experience was transformative. He was mesmerized as Doc played the legendary Black Mountain Rag, his fingers dancing across the guitar strings with an ease that belied the complexity of the tune. By the end of the concert, Seth was hooked. On their way out, he convinced Jim to buy him Doc’s album, which became a staple in their home and a source of inspiration for Seth as he honed his musical skills. Years later, Seth reflected on that moment, calling Black Mountain Rag a song that changed the way he thought about music. A Day with Doc Watson Jim’s commitment to introducing his children to meaningful music didn’t end with concerts. When Seth was around 13, Jim’s friend Wayne arranged for him to spend a day with Doc Watson. As Jim tells it, he saw the opportunity as a way to open Seth’s eyes to the artistry and humanity behind the music. Before sending Seth off, Jim offered him a playful but earnest warning: “He’s either going to be like your granddad, or he’s going to tell you to sit down and shut up. Be on your best behavior and act like somebody.” Seth’s time with Doc left an indelible mark. On the way to Doc’s house, the group stopped at Haynes Music Center to pick up a harmonica rack. While Doc was surrounded by fans, Seth wandered off and found a piano with a mirrored console. He began to play.
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55 Jim recalled what happened next: “Doc told everyone to hush. He said, ‘Who’s playing that piano?’ When they told him it was Seth, Doc said, ‘Be quiet—I want to listen!’ That’s just who Doc was.” That evening, when Seth returned home, he radiantly told Jim, “He was just like my granddad.” Doc’s warmth and encouragement stayed with Seth and became a touchstone for both Avett brothers as they grew into their musical careers. The MerleFest Turning Point As The Avett Brothers began building a name for themselves, they found themselves at a crossroads. Scott, who had always been equally drawn to visual art, was accepted into an art school in Florida. At the time, the band had gained some regional recognition but hadn’t yet broken through to a wider audience. Scott was ready to leave music behind unless they received a lifeline—a chance to play MerleFest. Jim recalled the moment when Scott came to him with his decision: “Scott had already decided he was going to stick with the band, but Scott said, ‘If we don’t get MerleFest, I’m going to Florida for art school.’” The invitation came just in time. MerleFest, a festival steeped in Doc Watson’s legacy, became the launchpad for their careers. The Avett Brothers’ performance was a turning point, propelling them from a respected regional band to a national act with a loyal following. Doc Watson’s Role in the Avett Brothers’ Success Over the years, The Avett Brothers had the opportunity to open for Doc Watson a few times—an honor that felt deeply meaningful given their personal connection to him. Doc’s influence on their music and approach to performance is evident even today. MerleFest remains a significant part of the Avett Brothers’ story, and they graced North Carolina with their presence in 2004, 2005, 2006, 2008, 2010, 2013, 2015, 2017, 2019, and 2023. The festival, founded in honor of Doc’s late son, Merle, represents not only the rich musical traditions of North Carolina but also the supportive community that helped nurture their talent. They are returning to the festival this year! Jim Avett: The Heart of the Story Through it all, Jim Avett stands at the heart of this narrative. His love of music, his belief in his sons, and his connection to legends like Doc Watson helped shape the Avett Brothers into the iconic band they are today. Jim told us, "If it weren't for Doc Watson, you wouldn't be talking to me right now." Jim’s own artistry continues to thrive. Whether he’s playing music, creating visual art, or sharing stories, he embodies the values that Doc Watson championed—authenticity, humility, and a love of community. To hear Jim Avett’s music and explore his art, visit www.jimavett.com.
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The Kruger Brothers Remember DOc In 1997, Jens and Uwe Kruger stepped onto a stage in Wilkesboro, North Carolina, for what they thought would be a once-in-a-lifetime performance. The Swiss-born musicians, known for their intricate banjo and guitar work, had long admired American folk and bluegrass music, particularly the artistry of Doc Watson. But they never could have anticipated what MerleFest would mean for their future. “The way Wilkesboro took us in was amazing,” Uwe Kruger recalls. “Never in my life had I been so overwhelmed by the enthusiasm of real Southern hospitality. What we thought of as a one-time trip to America turned into a life-changing experience.” That performance at MerleFest, the festival founded in memory of Merle Watson, changed everything for the Kruger Brothers. The festival’s audience embraced them with open arms, and the experience left an indelible mark on their hearts. The connection was immediate and profound, and it wasn’t long before they relocated to North Carolina permanently, immersing themselves in the culture and musical traditions that had inspired them for so long. At the heart of their journey was Doc Watson. More than just an influence, Doc’s music had been a guiding light for Jens and Uwe since their early days as musicians. “Doc Watson’s music was, is, and always will remain my most important musical influence,” Jens says. “Not just his beautiful music—Doc was, first of all, a wonderful friend and human being, inspiring generations of musicians all over the world.” Photo by Dr. G ordon B urns Courtesy of MerleFest
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57 Photo by William Sparklin Courtesy of MerleFest Doc’s presence was more than just a musical one; it was a beacon of warmth, humility, and authenticity. His ability to connect with people through his music, despite his blindness, spoke to a deeper truth about the power of storytelling. For the Kruger Brothers, meeting Doc was like meeting the spirit of American folk music itself—living, breathing, and welcoming them into its fold. His kindness and generosity were just as impactful as his guitar playing, shaping not only their musicianship but their philosophy on life. Through their performances and compositions, the Kruger Brothers have carried forward Doc Watson’s legacy, blending technical brilliance with heartfelt storytelling. Their respect for Doc extends beyond admiration—it is a responsibility, a calling to ensure that his influence reaches future generations. “To pass on his musical heritage to new generations of audiences and musicians is a mission I take very seriously,” Jens explains. “Doc was Western North Carolina’s most influential ambassador. To honor his legacy is what we do at MerleFest.” Year after year, the Kruger Brothers return to MerleFest, not just as performers but as part of the festival’s extended family. Their music, steeped in tradition yet uniquely their own, continues to bridge continents, generations, and musical styles—just as Doc’s did. And as long as MerleFest calls, they will answer, playing for the friends and community that first welcomed them with open arms. 380 Harper Avenue NW Lenoir, NC (704) 804-0718 Sasha@HarperRealtyNC.com HarperRealtyNC.com Trust four generations of real estate expertise! Whether you're buying or selling, our 5-star-rated brokerage is here to guide you every step of the way. Proudly serving the Hickory/Lenoir area and beyond!
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Doc Watson & the Profile Trail At the heart of Grandfather Mountain, one of North Carolina’s most iconic natural landmarks, lies the Profile Trail—a path that traces the edge of rugged wilderness, offering breathtaking views and a connection to the mountain’s history. The story of its creation intertwines with the lives of remarkable individuals, including Doc Watson, the legendary musician, and the Morton family, longtime stewards of the mountain. Kinney Baughman, a key figure in the trail’s construction, recalls this remarkable tale. “Jim Morton and I were best friends,” he begins, referencing the son of Hugh Morton, the owner of Grandfather Mountain. “We had worked together on several ventures, including Mountain Living Magazine, where I first met Doc Watson.” The connection between Jim Morton and Doc Watson had begun years earlier, during a bluegrass festival at Grandfather Mountain in the late 1970s. “We did our first interview with Doc for the magazine,” Kinney explains. “We recorded it in the back of Doc's SUV, and from there, Jim kept in touch with him. They shared a love of music and struck up a friendship.” By the mid-1980s, Kinney and Jim were tasked with building the Profile Trail, a project born out of necessity and foresight. The Mortons faced the possibility of losing hiking access to Grandfather Mountain from the NC-105 side due to development pressures. “Hugh Morton decided to build a trail that skirted the eastern property line,” Kinney recounts. “He wanted to ensure access for hikers, no matter what happened to the land.” The Profile Trail’s construction was no small feat. Kinney recalls, “We started near Shanty Spring Branch. Crossing it was the first major challenge in building the trail. It was a tough stream to navigate, and our first attempts to stabilize it with rocks were washed away by heavy rains. We kept bringing in larger rocks until we finally made it work.” It was during this time that tragedy struck. Merle Watson, Doc’s son and a gifted musician in his own right, passed away in a tractor accident. The loss shook everyone deeply. “To honor Merle, we decided to name a section of the trail ‘Merle’s Milestones,’” Kinney says. “It was a quiet way to remember him as we worked.” When Jim shared this tribute with Doc Watson, it resonated deeply. “When Rosa Lee heard about it, she wanted to see the trail,” Kinney recalls. “Jim arranged for the whole family to visit. We worked tirelessly to prepare for their visit, even setting up a special path to make it easier for them to reach the site.” On a Sunday, the Watson family arrived, including Rosa Lee, Doc, and their grandson Richard. Kinney describes the unforgettable moment when Doc Watson helped place the final rock at Merle’s Milestone. “We’d set up the rock and told Doc, ‘This is the last one to finish the crossing. We want you to put it into place.’ Doc didn’t hesitate. He said, ‘Just tell me where to stand.’” As Doc worked the winch to move the massive rock, it became clear that he’d have to step into the creek to finish the job. Kinney and Jim offered to take over, but Doc refused. “He said, ‘I don’t care. I’m going to pull this rock into place.’ And he did, with one foot in the creek and his Sunday shoes on.” The rock, now known as “Richard's Rock,” became part of the trail’s foundation. “When you step off Richard’s Rock, you step onto Doc’s Rock,” Kinney says. “That rock is part of the mountain itself. There’s no moving it.” On the hike to Merle's Milestones, Doc was given a walking stick made by Jim Morton. “It was crafted from a beech sapling growing out of Doc’s Rock,” Kinney explains. “Hugh Morton took an iconic photo of Doc sitting on the rock with the walking stick. You can see that his right pants leg is wet because he put it in the creek. It’s a moment I’ll never forget.” Photo by Jim Morton Courtesy of Kinney Baughman
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Saturday Saturday , , May 10 May 10 10 10 AM AM to to 4 4 PM PM Downtown Newton Downtown Newton FREE ADMISSION FREE ADMISSION art & demos from 100+ artists art & demos from 100+ artists c c hildren’s art activities hildren’s art activities great food cold beer great food cold beer foothillsfolkartfestival.com foothillsfolkartfestival.com
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NoCo ARTS Folk Art Exhibition March 26 thru May 11 NoCo ARTS Folk Artist Social 5 to 8 PM Friday, May 9 NoCo ARTS Last Chance Soirée 5 to 7 PM Saturday, May 10 Free and open to the public nocoartsnc.com 3 Little Birds Corks & More Mother’s Day Brunch 10 AM Sunday, May 11 $20 per person 3littlebirdsnewton.com
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Art Po P Doc By Patrick Harris Born in Cool Spring, North Carolina, Patrick Harris has been creating art for as long as he can remember. Raised by an art teacher mother, he developed an early passion for painting and drawing, leading him to earn an Associate of Fine Arts from Mitchell Community College. Over the past two decades, his work has been exhibited in galleries and museums across the U.S. and internationally, including CPOP in Detroit, the North Carolina Museum of Art in Raleigh, the Octane Gallery in Nashville, and The H87 Gallery in the Netherlands. His work has garnered attention for its bold use of color and dynamic compositions, resonating with collectors and art lovers alike.
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63 Patrick played a key role in shaping North Carolina’s art scene as the co- founder and first president of Delurk Gallery in Winston-Salem. His leadership helped establish the gallery as a thriving artist-run space, fostering a community for contemporary creators. He later launched The pH Gallery in Charleston, SC, where he curated exhibitions that pushed artistic boundaries before stepping away to care for his mother. After a brief hiatus, he returned with a renewed creative force, channeling his experiences into work that is both deeply personal and universally compelling. Describing his style as pop expressionism, Patrick draws inspiration from pop culture, nature, and everyday life, transforming familiar imagery into vibrant, layered compositions. His art balances the playful and the profound, inviting viewers to see the world through a fresh lens. Whether through intricate mixed-media pieces or striking large-scale paintings, his work continues to evolve, challenging perceptions and sparking conversation. Recently, Patrick created a painting of Doc Watson, paying tribute to the legendary musician’s enduring legacy. The piece captures Watson’s spirit and influence with Patrick’s signature energetic style. He is happy to share this work, which is available for purchase at ThePatrickHarrisGallery. org. Now based in State Road, Patrick continues to work on public art projects, solo exhibitions, and group shows—always striving to bring a little pop-trash brilliance to the world while leaving his mark on the ever-changing art landscape.
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Doc on the Map: Where to Find Tributes to a Legend Doc Watson’s music is woven into the heart of Appalachia, his flatpicking guitar style forever changing the sound of American folk music. Throughout western North Carolina, his legacy endures—not just in song, but in places that honor his life and influence. Fans of the legendary musician can visit these special sites to walk in his footsteps and celebrate his extraordinary contributions to music and culture. A Seat Beside Doc: Boone’s Bronze Tribute In the heart of downtown Boone, a life-size bronze statue of Doc Watson sits at the corner of King and Depot Streets, guitar in hand, his face filled with quiet concentration. Titled Just One of the People, the statue was sculpted by Alex Hallmark and unveiled in 2011. The name is fitting—Doc never considered himself a star, despite his legendary status. The statue holds deep significance for Boone, where Doc first gained local recognition, playing on the streets for tips long before he was known on the world stage. When the sculpture was unveiled, just a year before his passing, Doc himself sat beside it, smiling, sharing space with the tribute to his younger self. Today, visitors and fans often take a seat beside Doc, pausing for a moment of reflection or strumming a guitar in his honor. Murals That Keep the Music Alive Public art across western North Carolina ensures Doc Watson’s image is as present as his music. In Downtown Wilkesboro, a mural of Doc serves as a reminder of his deep connection to the town, which hosts MerleFest, the festival he helped establish in honor of his late son. Boone has also paid tribute with mural work over the years, capturing the warmth and wisdom of the legendary musician. These murals do more than just decorate walls—they bring Doc’s presence to life for those who never had the chance to see him in concert. They remind passersby that his music isn’t just a part of history; it’s still here, still playing, in the voices and guitars of those who follow in his footsteps.
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The Doc & Merle Watson Folk Art Museum: A Family’s Story Tucked away in the historic Cove Creek School in Sugar Grove, the Doc & Merle Watson Folk Art Museum offers an intimate glimpse into the Watson family’s life. Unlike traditional museums focused solely on a single musician’s achievements, this space is a tribute to Doc, Merle, and the generations of family members who shaped their musical heritage. Inside, personal keepsakes tell their story: Doc’s early banjo, a worn hammer from his woodworking days, Rosa Lee’s lovingly stitched quilt for Merle. Nancy Watson, Doc’s daughter, curated much of the museum, personally labeling many of the artifacts. The space is filled with rare photographs, vintage instruments, and handwritten notes that give visitors a deeper understanding of the Watson family’s humble and hardworking life. The museum is only open by appointment, making it an exclusive and personal experience for those who take the time to visit. Standing in the space where their voices once filled the air, surrounded by the tools and mementos of their lives, visitors can feel the presence of Doc and Merle as more than just musical legends—they were family men, craftsmen, and storytellers whose roots run deep in the North Carolina hills. Doc Watson Theatre: A Stage with History In Boone, the Doc Watson Theatre within the Appalachian Theatre of the High Country serves as a living tribute to the music Doc championed. The venue regularly hosts folk, bluegrass, and Americana performances, continuing the legacy of the sounds he brought to the world. It’s also a full-circle moment in history—Doc himself once played at the Appalachian Theatre in the 1940s, back when his career was just beginning. Today, the same stage that once echoed with his picking now showcases the next generation of roots musicians inspired by his playing. Doc’s Legacy Lives On Doc Watson’s impact goes far beyond the songs he played. His music carries the essence of Appalachian tradition, his warm baritone voice and masterful guitar playing influencing generations of musicians. Through these tributes—whether in the form of statues, murals, museums, or the very stages he once graced—his spirit continues to inspire. Western North Carolina remains a place where his music is not just remembered but lived, where his presence is still felt in every flatpicked melody, every ballad sung by the fire, and every note that rings out in the hills he called home. Discover the Mystery of Face Jugs Face jugs are more than clay— they are captivating portraits with a rich, complex history. Early American Face Jugs by the late George Myer reveals their artistic value and unique “personality.” Known for uncovering art before it was celebrated, Myer’s collection opens new perspectives on these fascinating objects. Join Kay White and George Myer Jr. at the CVPAF for a special lecture exploring this groundbreaking work. Explore the artistry and history of these American treasures. March 28th & 29th, 2025 CATAWBAVALLEYPOTTERYFESTIVAL.COM
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Doc’s Footsteps: Yearly Tributes to a Musical Legend The most significant of these events is MerleFest, held each April at Wilkes Community College in Wilkesboro, North Carolina. Doc Watson founded the festival in 1988 as a tribute to his son Merle, who had passed away in a tragic accident three years earlier. What began as a small gathering quickly grew into one of the premier roots music festivals in the country. MerleFest embodies Doc’s musical philosophy of “traditional plus,” blending Appalachian folk traditions with bluegrass, country, blues, and even rock influences. Over the years, it has welcomed some of the biggest names in Americana music, from legends like Earl Scruggs and Dolly Parton to contemporary artists who continue to carry the torch. But MerleFest is more than just a festival; it is a living testament to the Watson family’s lasting impact on American music. Doc Watson’s legacy lives on through several annual events in North Carolina and beyond, celebrating his contributions to music and his deep ties to the region. Whether through festivals, concerts, or special gatherings, these events keep his spirit alive for new generations of musicians and fans. In Sugar Grove, North Carolina, another event honors both Doc and his wife, Rosa Lee, recognizing not just his musical genius but also the quiet strength and unwavering support that Rosa Lee provided. Originally known as the Doc Watson MusicFest, the event was later renamed the Doc & Rosa Lee Watson MusicFest to acknowledge her vital role in his life and career. She was not only Doc’s beloved wife but also a singer and songwriter in her own right, contributing to the musical heritage that surrounded the Watson family. The festival takes place at the historic Cove Creek School, a cherished landmark that Doc himself helped to preserve. The school holds a deep cultural significance in the community, and the festival serves as both a musical gathering and a fundraiser to ensure its upkeep for future generations. Attendees have traditionally enjoyed an intimate, welcoming atmosphere where bluegrass, folk, and traditional music blend seamlessly, much like Doc’s own signature style. Over the years, the festival has drawn an impressive lineup of musicians, many of whom were directly inspired by Doc or had the privilege of playing alongside him. Unfortunately, the festival faces an unexpected setback this year. Hurricane Helene caused extensive damage to the Cove Creek School grounds, making it impossible to hold the event in its usual capacity. The storm's impact has been a major challenge for organizers, who now find themselves in the difficult position of raising funds to repair the site before they can bring the festival back. Despite this setback, the community remains hopeful, and efforts are underway to secure the necessary support. Organizers are accepting donations through the festival’s website, urging fans of Doc and Rosa Lee to contribute to the restoration efforts. They believe that, with enough help, the event will return stronger than ever, continuing to honor the Watsons and their invaluable contributions to American music and Appalachian culture.
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67 Further up the mountain in Boone, North Carolina, Doc Watson’s adopted hometown, the local community has made sure his legacy is deeply woven into the town’s cultural fabric. Boone was a special place for Doc, not only because of its proximity to his birthplace in Deep Gap but also because of the way the town embraced him as one of their own. His presence was a constant in Boone, whether he was performing at local venues, lending his name to benefit concerts, or simply walking the streets and greeting fans. To honor this connection, the Town of Boone officially declared Doc Watson Day in 2011, setting aside a time each year to celebrate the man who shaped the sound of Appalachian and American roots music. Doc Watson Day is celebrated each August at the Jones House Cultural Center, a historic home-turned- community space that has long served as a hub for local arts and music. The event is centered around free concerts on the lawn, where musicians who played with Doc, as well as those who were profoundly influenced by him, take the stage to honor his contributions. For many of these performers, it’s not just a concert but a homecoming—an opportunity to share their memories of Doc, play the songs he loved, and introduce his music to younger audiences. Each year around Doc Watson’s birthday on March 3rd, fans and musicians gather to celebrate his life and legacy at DocStock , an event now held at The Ramkat in Winston-Salem, North Carolina. Originally associated with the Blue Ridge Music Center, DocStock has evolved into a collaborative effort between The Ramkat and the Music Center, blending live performances, storytelling, and discussions that explore Doc’s enduring influence on American music. More than just a tribute concert, DocStock serves as a space for fans and musicians to come together in appreciation of Doc’s music and the traditions he helped preserve. The lineup typically features artists who played with Doc, as well as those who have been inspired by his work, performing a mix of bluegrass, old-time, blues, and folk music in his honor. Alongside the music, the event includes book readings and discussions about Doc’s impact on the folk and bluegrass worlds, giving attendees a chance to reflect on the man behind the music. As a birthday celebration, DocStock carries a special energy—part heartfelt remembrance, part joyous gathering. It continues to grow each year, ensuring that Doc’s music remains as vibrant and relevant as ever. Whether through the picking of guitars, the sharing of stories, or the sense of community that defines the event, Doc Stock keeps the spirit of Doc Watson alive for new generations. Each year, Charlotte’s Neighborhood Theatre hosts a special event celebrating Doc Watson’s birthday, bringing together musicians and fans to honor his influence on bluegrass, folk, and Americana music. Headlined by Jack Lawrence, Doc’s longtime picking partner, the event features performances in the spirit of their collaborations, with past lineups including Red Rocking Chair, the Charlotte Bluegrass Allstars, and J.E.D.S. Through these festivals and celebrations, Doc Watson’s music and spirit continue to resonate, uniting generations of fans and musicians. Whether in the heart of the mountains or on stages across the country, his legacy remains vibrant—woven into the very fabric of American roots music, ensuring that his songs and influence endure for years to come.
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69 Willa Stein has been a fixture at MerleFest for years, capturing the heart and soul of the festival with her camera. A dedicated documentarian of traditional and roots music, she has an undeniable passion for the art and the artists who bring it to life. "I just love Doc Watson," she says—a sentiment that shines through in every frame she takes. Her images of Doc Watson are more than just photographs; they are windows into the essence of a man whose music shaped generations. With an eye for authenticity and an instinct for the perfect moment, Stein’s work tells the story of MerleFest itself—a celebration born from Doc's legacy and carried forward through every note played on its stages. Stein’s photography has been featured in numerous publications, including No Depression, and her work continues to be a staple of MerleFest’s visual history. Even today, you can still find her there, camera in hand, preserving the spirit of the festival for future generations. Whether it's an intimate portrait of a musician lost in song or the sweeping energy of the crowd, her work ensures that the magic of MerleFest—and Doc Watson’s enduring influence—lives on. Beyond MerleFest, Stein’s portfolio is rich with images that celebrate the beauty of live music, storytelling, and human connection. Her work captures the fleeting, electric moments of a performance—the kind that linger in memory long after the final note fades. Her ability to blend artistry with authenticity has earned her a reputation as one of the most respected photographers in the folk and Americana music scene. For more of her work, visit willastein.com. Willa Stein's Photography
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MerleFest: Carrying the Heart and Soul of Doc Watson Every spring, as the dogwoods bloom and the hills of Wilkesboro awaken with color, MerleFest transforms a quiet corner of North Carolina into a living, breathing celebration of music, community, and tradition. Families spread out picnic blankets, children dance with unrestrained joy, and a blend of banjos, fiddles, and guitars fills the air. This is more than a music festival—this is Doc Watson’s heart and soul brought to life. Photos by Michael Freas
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MerleFest began in 1988 as a way to honor Doc’s son, Merle Watson, who tragically passed away in a tractor accident in 1985. But for Doc, the festival quickly became more than a memorial. It became a stage to showcase his unique musical philosophy, a place where people of all generations could gather, and a beacon of the values that defined his life: family, community, and a love for music that knows no boundaries. Doc Watson’s Vision for MerleFest When Doc Watson co-founded MerleFest with B. Townes, his vision was clear: he wanted a festival that was deeply rooted in tradition but open to innovation—a philosophy he called “traditional plus.” For Doc, this meant celebrating the rich musical heritage of the Appalachian Mountains while embracing other genres like blues, jazz, rock, and gospel. It was a reflection of his own approach to music, which combined the old-time ballads of his youth with the versatility of a modern artist.
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72 Just as important as the music was the atmosphere. Doc wanted MerleFest to be a family-friendly event, a place where children could play, grandparents could reminisce, and everyone in between could enjoy the magic of live music. He believed music was a universal language, capable of bridging generational gaps and bringing people together. From the very beginning, MerleFest was designed to be welcoming, warm, and inclusive—qualities that mirrored Doc’s own personality. The Spirit of “Traditional Plus” At its core, MerleFest is a celebration of “traditional plus” music, a term Doc coined to describe his approach to blending Appalachian traditions with a wide range of influences. This philosophy is reflected in every corner of the festival, from the lineup of artists to the spontaneous jam sessions that spring up around the grounds. Over the years, the festival has showcased an incredible variety of music. You might hear a traditional bluegrass band like The Del McCoury Band one minute and then watch a genre-defying artist like Bela Fleck the next. MerleFest also encourages collaboration, with performers often joining each other on stage for unique, one-of-a-kind moments that embody the spirit of “traditional plus.” Doc himself was the epitome of this approach. Though he was deeply rooted in Appalachian music, he was never afraid to experiment or adapt. His guitar playing, which elevated flatpicking to an art form, became a bridge between the past and the present, and his influence can still be heard in the music that fills MerleFest each year.
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Family-Friendly Atmosphere: A Core Value One of the things that sets MerleFest apart is its family-friendly focus. From the start, Doc insisted that the festival should be a place where families could come together and enjoy music in a safe, welcoming environment. This ethos is evident in every aspect of the festival. For younger attendees, there’s the Little Pickers Stage, where children can participate in music-themed activities and watch kid-friendly performances. Families can explore the festival grounds together, enjoying everything from craft vendors to local food trucks. And the sense of community is palpable—returning attendees often describe MerleFest as feeling like a reunion of old friends. Doc’s commitment to creating a family-friendly environment wasn’t just about the logistics of the festival; it was about the spirit of the event. He believed music was something that could bring people together, strengthen bonds, and create lasting memories. That spirit lives on in the multigenerational audience that gathers at MerleFest year after year.
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Doc’s Presence at MerleFest Though Doc Watson passed away in 2012, his presence is still deeply felt at MerleFest. For those who were lucky enough to see him perform at the festival, his warmth, humility, and unmatched talent left an indelible mark. Doc’s performances at MerleFest were more than just concerts—they were opportunities for him to connect with his audience on a deeply personal level. Whether he was sharing a story about his childhood in Deep Gap or playing a heartfelt rendition of “Deep River Blues,” Doc had a way of making everyone feel like they were part of something special.
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77 Jesse Onekhena DMD, MD Alex Krisko DMD, MD
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Today, MerleFest honors Doc’s legacy through tribute performances and by staying true to his vision. Songs like “Black Mountain Rag” and “Shady Grove” often echo across the festival grounds, reminding attendees of the man whose love for music and community started it all.
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80 The Legacy of MerleFest Over the past three decades, MerleFest has grown into one of the most respected music festivals in the country, but it has never lost sight of its roots. The festival continues to celebrate the values that Doc Watson held dear: a commitment to tradition, a willingness to embrace new ideas, and a deep respect for community. Beyond its cultural impact, MerleFest has also had a significant economic impact on Wilkesboro and the surrounding areas. Local businesses thrive during the festival, and proceeds from the event support music education programs and scholarships. MerleFest is more than just a weekend of great music—it’s a force for good that uplifts the entire community.
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The festival has also played a pivotal role in launching the careers of countless artists. For many performers, playing MerleFest is a career milestone, a chance to join a lineage of musicians who share a connection to Doc Watson’s vision. The Avett Brothers are one of the best-known examples of this spring-board effect. See page 54 for that story!
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Looking Ahead: MerleFest’s Future As MerleFest continues to evolve, it remains firmly anchored in the principles that Doc Watson established. While the festival has embraced new technologies and expanded its lineup to include a wider range of artists, it has never strayed from its core mission: to celebrate music, family, and community. Each year, MerleFest finds new ways to honor Doc’s legacy while looking to the future. Whether it’s through innovative programming, outreach to young musicians, or fostering connections between artists and audiences, the festival continues to be a living tribute to Doc’s enduring influence.
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87 Michael Freas – Capturing the Heart of MerleFest and More Photography is more than just taking pictures for Michael Freas—it’s about telling real, honest stories. Since 2018, he’s been capturing MerleFest in a way that goes beyond the stage, documenting both the big, high-energy performances and the quieter, in-between moments that make the festival special. Based in Asheville, North Carolina, Michael has a knack for being in the right place at the right time, whether it’s an artist lost in the music, a spontaneous backstage interaction, or a fan completely caught up in the moment. His images don’t just show what MerleFest looks like—they show what it feels like. Michael's work at the festival has highlighted performances from artists like Sierra Hull and many other festival favorites. But what really makes his photography stand out is how he captures the atmosphere—the way music connects people, the energy in the crowd, and those fleeting interactions that would otherwise be lost to time. He doesn’t just focus on the performers; he tells the whole story of the event, from the first note to the last encore. Outside of MerleFest, Michael is best known for his work as a wedding photographer, where his documentary-style approach has earned him plenty of recognition. His ability to capture the real, unscripted moments of a wedding day has led to features in publications like Rolling Stone, Popsugar, Apartment Therapy, The Huffington Post, and I Do. He’s been recognized multiple times as one of the Top 50 Wedding Photographers in the World by the Wedding Photojournalist Association (WPJA), and he’s also been honored by Fearless Photographers, The Knot Hall of Fame, and Wedding Wire’s Couples’ Choice Awards.
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89 What makes his wedding work stand out is the same thing that makes his festival photography so compelling—he isn’t trying to stage anything or force a moment. He focuses on what’s actually happening, capturing emotions as they unfold naturally. Whether it’s a couple sharing a quiet moment before the ceremony or a crowd roaring with excitement at a music festival, he’s always looking for those real, unfiltered moments that tell a bigger story. While Michael is known for music and weddings, he also spends plenty of time photographing outdoor adventures, bringing the same storytelling approach to landscapes, hiking trips, and everyday life. His work reflects a deep appreciation for genuine moments, strong connections, and the kind of memories that only happen when people are fully present. Michael’s photography is all about connection—between musicians and their audience, between couples on their wedding day, and between people and the places that matter to them. To see more of his work, visit michaelfreas.com. Through his lens, he keeps finding new ways to document life as it unfolds, without getting in the way of the moments that make it all worth remembering.
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Doc's Musical Legacy & the many excellent music institutions in our region If you’ve ever wandered through the hills of Western North Carolina with your ears open, you’ve probably heard it—the soft strum of a banjo floating through the trees, the lonesome hum of a fiddle carried on the wind, the deep and steady rhythm of a guitar played with the kind of soul that only comes from these mountains. This land has always been filled with music, and few folks carried that tradition farther than Doc Watson. Born and raised in Deep Gap, North Carolina, Doc Watson didn’t just play music—he lived it. He grew up surrounded by the sounds of old-time tunes, gospel harmonies, and front porch pickin’ sessions that stretched long into the night. Blind since infancy, he relied on his ears more than most, soaking in every note and learning to make his guitar sing in a way that would define a generation of Appalachian musicians. His flatpicking style was fast, clean, and full of heart—so much so that it carried him from these backwoods all the way to the biggest stages in the world. But here’s the thing—Doc wasn’t just a musician. He was a bridge. A bridge between the old and the new, between mountain ballads passed down for centuries and the modern audiences who came to love them. And though he’s gone, the bridge he built still stands strong. Today, you can hear echoes of his influence all over Western North Carolina, in every fiddle contest, in every jam session on a country store’s front porch, in every young musician learning their first song from a teacher who once heard Doc play. This tradition isn't just surviving—it’s thriving. Thanks to a network of dedicated folks, from small- town music teachers to world-class institutions, traditional music is alive and well in the hills and hollers of North Carolina. Whether you’re looking to learn how to play yourself, catch a live show, or just feel the rhythm of this place in your bones, you won’t have to look far. So pull up a chair, tune up that guitar, and let’s take a trip through the sounds of these mountains. We’ll start with Doc and the deep musical roots he left behind, then make our way through the many places still carrying the torch today. Let’s pick a tune. Doc Watson’s Musical Roots Doc Watson’s love for music was planted early. Raised in a home where the family radio played old- time and country tunes, and where his parents and neighbors gathered to sing hymns and ballads, music was simply a part of life. His father taught him his first chords on a homemade banjo, but it was the guitar that truly captured Doc’s heart. He took what he learned from his surroundings—gospel harmonies sung at church, fiddle tunes played at local barn dances, and the bluesy licks drifting in from outside the Appalachian region—and
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made it his own. Unlike many traditional musicians of his time, Doc’s style evolved beyond what he first heard. He mastered a way of flatpicking that was so fluid and precise it redefined the role of the guitar in Appalachian and bluegrass music.
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Western NC as a Musical Hotspot The hills of Western North Carolina have always been alive with music. Before Doc Watson ever picked up a guitar, generations of mountain folk passed songs down from parent to child, from front porches to fiddlers' conventions. The rhythms and melodies of these hills carried stories of hardship, faith, love, and laughter—songs meant to be sung and played together. Even today, that spirit hasn’t changed. Local musicians keep these traditions alive through impromptu jams at country stores, organized festivals, and intimate gatherings where folks pass down songs the way they always have—by playing them together. Whether you’re in Boone, Asheville, or any of the small towns tucked into the Blue Ridge, you don’t have to look hard to find live traditional music. It’s part of the air, as natural as the rolling fog over the mountains. Legacy and Ongoing Influence Doc Watson’s impact on traditional music can’t be overstated. Not only did he bring Appalachian music to audiences far beyond the Blue Ridge, but he also inspired countless musicians to pick up an instrument and keep the tradition going. His playing set a standard for technical skill and heartfelt performance that remains a benchmark for bluegrass and folk musicians today. Beyond his musical influence, Doc’s humility and deep respect for his roots resonated with people from all walks of life. He reminded the world that great music doesn’t come from fame or fortune—it comes from playing what’s real, what’s true, and what speaks to the soul. That belief still echoes in the music of Western North Carolina, where new generations of musicians continue to build on the foundation he helped lay. 2220 Hwy 70 SE Suite 179 Hickory NC 28602 828-838-1011 Over 120 NC Artisans with only handcrafted items, antiques and collectibles. Located on the west side of The Hickory Furniture Mart.
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Where to Learn: Music Schools and Classes in Western North Carolina Music has long been passed down in the hills of Western North Carolina through informal gatherings and family traditions. But today, those wanting to sharpen their skills or learn something new have a wealth of educational opportunities, from formal institutions to community-driven programs. Whether you're looking to master old-time fiddle, explore classical piano, or dive into jazz improvisation, there's a place to learn. Traditional and Folk Music Schools John C. Campbell Folk School (Brasstown, NC) – Nestled in the mountains, this historic school offers workshops in traditional Appalachian music, including clawhammer banjo, fiddle, and dulcimer. The school emphasizes hands-on learning in an immersive environment. Warren Wilson College (Swannanoa, NC) – With a strong Appalachian Studies program, Warren Wilson College provides students with opportunities to explore traditional folk and bluegrass music while also engaging in music theory and composition. Blue Ridge Music Center (Galax, VA, near the NC border) – A hub for learning and celebrating mountain music, the center offers educational programs, workshops, and an extensive museum dedicated to the region’s musical heritage. Appalachian State University (Boone, NC) – Home to a respected Hayes School of Music, App State blends traditional music with classical and contemporary studies. Students can major in music performance, music education, and even music therapy.
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95 Broadening the Scope: Other Music Institutions While folk and traditional music are deeply ingrained in Western North Carolina’s identity, the region also fosters a range of other musical genres. The Music Academy of Western North Carolina (Hendersonville, NC) – This comprehensive music school offers lessons in a variety of instruments, including piano, voice, violin, and guitar, covering classical, jazz, and contemporary styles. Old Town Music School (Winston-Salem, NC) – Offering everything from classical training to modern pop and rock, this school is a great resource for musicians of all ages looking to explore different styles. No matter the genre or skill level, Western North Carolina is rich with opportunities to learn, grow, and carry on the region’s diverse musical traditions. Whether you want to master the banjo like Doc Watson or explore jazz piano, the options are endless. Hickory Music Factory (Hickory, NC) – A vibrant community music school that provides instruction in rock, jazz, blues, and more. With a focus on youth education, the factory fosters creative growth across multiple genres. Revisit the Good Ol' Days The Bluffs Restaurant on the Blue Ridge Parkway has been restored to it's original 1949 glory. Milepost 241 Blue Ridge Parkway Laurel Springs, NC (336) 372-7875 BluffsRestaurant.Org
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HICKORY MUSIC FACTORY HICKORY MUSIC FACTORY Building Futures Through Music Visit www.hickorymusicfactory.com for information about our SPRING 2025 performances, programs, lessons and MORE! 1515 12th St Dr NW, Hickory NC • (828) 308-5659
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Spotlight on the Hickory Music Factory The Hickory Music Factory (HMF) is more than just a school—it’s a thriving nonprofit dedicated to making music accessible to everyone. Located off Highway 321 near the Riverwalk segment of the Hickory Trail at Geitner Park, HMF is a place where over 300 students, from young children to adults, develop their musical abilities through private lessons, ensemble programs, and numerous performance opportunities throughout the year. A Philosophy of Group Music-Making and Performance At the heart of HMF’s teaching philosophy is the belief that group music-making and regular performance are the keys to effective musical development. Whether it’s through individual instruction, ensemble participation, or large-scale concerts, students at HMF are consistently given opportunities to refine their skills in a collaborative setting. Programs and Ensembles HMF offers a wide range of programs, ensuring that students of all ages and backgrounds can find a place to grow musically. Private and Group Lessons: The 13-member faculty provides instruction in voice, strings, woodwinds, brass, ukulele, guitar, banjo, piano, bass, drums, and percussion. Daytime Programs: Available for preschool children and home-school families. Summer Camps: Three immersive camps for students ages 5-18. Performance-Level Ensembles: Seven specialized groups, covering rock, jazz, percussion, and traditional folk, including the Uke Skywalkers, a ukulele ensemble for adults 55+. These ensembles perform regularly at the Premier, a monthly showcase featuring student musicians in a professional venue. Community Engagement and Collaboration With the strong support of the City of Hickory and its dedicated donors, HMF ensures that lessons and programs remain affordable and accessible. Much of its success comes from collaborations with like-minded businesses and nonprofits. Hickory Premier Music and Event Space: HMF co-hosts a monthly Open Mic Night, where students perform alongside a faculty house band, drawing audiences of 200-300 people.
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98 Foothills Kids Magazine provides more than 10,000 area students with a free, educational, fun magazine, but without your help, we can't do it much longer. Foothills Kids Magazine is a curriculum-aligned magazine created by the publishers of Foothills Digest for 3rd-5th grade students of the Foothills. We need your help to keep publishing issues. We are a non-profit (501)(c) and your donations keep us printing! We are also seeking large corporate sponsors, or ongoing grants that will allow us to continue printing. It costs $1 per student, per issue, but fund raising has begun to take up far more of our time and resources than creating the magazine, which is not sustainable. Use the QR code to make a donation, or give us a call at 828.475.1323 to talk about ongoing support.
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99 HMF String Band Ensemble & Hart Square Village: This collaboration provides live traditional music for a monthly Community Square Dance, a growing event that attracts dancers from across the region. Originally a quarterly occurrence in 2023, this event has since expanded due to its popularity. Director Liam Bailey is deeply passionate about preserving and promoting the culture of Appalachian music and dance through ensemble development and community performances. Music For All: A free program providing weekly group music experiences for children in partnership with organizations like Centro Latino, Boys & Girls Clubs of America, and Ridgeview School. Students who complete the program receive their own instruments. Scholarships: Funded by generous patrons, HMF awards 12- 15 scholarships per semester for lessons, camps, instrument upgrades, and repairs. Signature Events HMF’s calendar is filled with exciting performances that showcase student talent and community engagement: "Joy to the World" – A holiday production at Drendel Auditorium, featuring international artists performing alongside students and faculty, celebrating music and culture from ten countries. Percussion Ensemble: A beginner-friendly group that introduces students to rhythm, coordination, and musical artistry through interactive performance. "Swingin’ Under the Stars" – A free outdoor event featuring the Hickory Jazz Orchestra, recognized as North Carolina’s Best Downtown Event in 2009. Under the direction of Program Director Rick Cline, this event brings professional musicians and skilled dancers together in a celebration of big band jazz and the great American songbook. Program Director Rick Cline tirelessly promotes jazz appreciation and awareness through community performances with the Hickory Jazz Orchestra and the Hickory Jazz Society Concert Series. "We Will Rock You" Concert: Over 120 students perform rock songs on a fully-equipped professional stage, complete with lights, a smoke machine, and a live band, creating an unforgettable experience. By providing a space for education, collaboration, and performance, Hickory Music Factory continues to nurture the next generation of musicians while preserving and expanding the musical traditions of the region. Photo by Pat Appleson
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100 The Blue Ridge Music Trails: A Gateway to Live Traditional Music Nestled in the heart of the Blue Ridge Mountains, where music has been woven into the fabric of daily life for generations, the Blue Ridge Music Trails of North Carolina serve as a carefully curated guide to the region’s thriving musical traditions. Designed to connect both visitors and locals with authentic, immersive musical experiences, this initiative highlights the deep roots of old-time, bluegrass, and traditional Appalachian sounds while ensuring that these traditions remain accessible and relevant for future generations. Created through a collaboration between the Blue Ridge National Heritage Area and the North Carolina Arts Council, the Blue Ridge Music Trails offer an invaluable resource for those eager to experience the living history of the region’s music. Whether you’re searching for a lively fiddle contest, a foot-stomping barn dance, or an intimate ballad session, the Music Trails provide an easy way to discover the best of North Carolina’s rich musical landscape. The trails guide visitors to legendary venues, historic festivals, and beloved community jam sessions, making it easy to step into the vibrant world of Appalachian music. Must-Visit Stops Along the Blue Ridge Music Trails The Blue Ridge Music Trails guide you through a network of iconic venues, small-town music halls, and historic landmarks that have helped shape the sound of the mountains. Some of the must-visit locations along the way include: • The Mountain Dance and Folk Festival (Asheville, NC) – As the longest-running folk festival in the United States, this annual event was founded by Bascom Lamar Lunsford in 1928. It remains a cornerstone of traditional mountain music and dance, featuring performances from some of the best musicians, singers, and cloggers in the region. • The Earl Scruggs Center (Shelby, NC) – A tribute to the father of bluegrass banjo, this museum celebrates the life and music of Earl Scruggs, whose innovative three-finger picking style forever changed the sound of American music. The center hosts exhibits, live performances, and educational programs. • The Jones House (Boone, NC) – A beloved hub for traditional music, the Jones House hosts weekly jam sessions where musicians of all skill levels gather to play, learn, and share in the communal spirit of Appalachian music. Located in downtown Boone, it provides a welcoming environment for both seasoned pickers and newcomers eager to experience the tradition firsthand. Beyond these locations, the Blue Ridge Music Trails lead to dozens of hidden gems, where you can hear authentic old-time and bluegrass music in its natural setting—on porches, in town squares, and at local gatherings where the melodies are passed down as they have been for generations.
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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.
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103 RV SITES/TENT SITES/LODGING. RV SITES/TENT SITES/LODGING. QUIET, SECLUDED, ADULTS-ONLY QUIET, SECLUDED, ADULTS-ONLY WWW.DARKRIDGEHIDEOUT.COM WWW.DARKRIDGEHIDEOUT.COM Text: 828-260-7169 Text: 828-260-7169
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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
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105 unique Appalachian musical identity. Visitors can explore how these styles shaped and were 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 old-time 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.
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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.
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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.
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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.
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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
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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
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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.
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“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 black- and-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
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114 www.foothillsdigest.com Be sure to check out our new website. You can read all our back issues, find out more about the places and products we feature, and order subscriptions, t-shirts and more! You can also learn more about our advertisers, and about advertising with us. We publish four magazines a year, but we publish articles online regularly, so if you miss us between issues, the website will be the cure to your blues! To SUBSCRIBE, send a check for $32 to: Foothills Digest 3838 Cleary Road Laurel Springs, NC 28644 Name: Address: Phone: Or, we accept credit cards. Card Number: Expiration: CVV Code: Or Scan This Code foothills Digest
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The First MerleFest The First MerleFest