- [Announcer] Produced in Athens at the Ohio University Telecommunications Center.

- [Announcer] The following program was produced in part through a grant from the Ohio Educational Broadcasting Network Commission and through a grant from the Ohio Arts Council.

(upbeat bluegrass music) - [Announcer] From Athens, Ohio, "Ramblin'" with Doc and Merle Watson.

- Arthel, A-R-T-H-E-L, Arthel Lane Watson.

The Doc is actually a handle.

I guess I was about 18, Greg, doin' a little radio show from Lenore, a town about 25 miles from here on Saturday mornings, by remote control from a furniture store.

And a bunch of folks had come in to hear me and another old boy pick some on the radio that mornin', and the fellow who was doing the announcing said, "His name's Paul, Arthel."

He said, "What's a good short name for you "for the radio show?"

And some young lady that had come in there to watch us pick said, "Call him Doc," and it stuck.

What I started to say, if you came to see a formal set, we'll disappoint the heck out of ya.

But if it's just some picking and grinning, that's what we're just about to do right now.

(audience applauding) (upbeat banjo and guitar music) ♪ Way downtown foolin' around ♪ ♪ Took me to the jail ♪ ♪ Oh me and it's oh my ♪ ♪ Ain't no one to go my bail ♪ ♪ It was late last night when old Willie came home ♪ ♪ I heard him a-rapping on the door ♪ (knocking) ♪ He's a-slipping and a-sliding with them new shoes on ♪ ♪ Mamma said Willie don't you rap no more ♪ ♪ Way downtown foolin' around ♪ ♪ Took me to the jail ♪ ♪ Oh me and it's oh my ♪ ♪ Ain't no one to go my bail ♪ (upbeat harmonica music) ♪ Wish I was over at my sweet Sally's house ♪ ♪ Sittin' in that big arm chair ♪ ♪ One arm around my old guitar ♪ ♪ And the other one around my dear ♪ ♪ Way downtown a foolin' around ♪ ♪ Took me to the jail ♪ ♪ Oh me and it's oh my ♪ ♪ Ain't no one to go my bail ♪ ♪ One old shirt is about all I've got ♪ ♪ And a dollar is all that I crave ♪ ♪ I brought nothing with me into this old world ♪ ♪ And I'll take nothin' to my grave ♪ ♪ Way downtown a foolin' around ♪ ♪ Took me to the jail ♪ ♪ Oh me and it's oh my ♪ ♪ Ain't no one to go my bail ♪ (audience cheering and applauding) It's about my turn to introduce, I reckon, these two fellows right here.

Somebody already said some kind words about me.

So I better, I better say somethin' about these boys right here.

Anyway, a few folks are looking in on us tonight.

If you don't know who I am, I ain't gonna tell ya.

A good friend of mine over there on the end, doin' the good guitar playin'.

You'll find out how good he can pick directly when we turn him loose on somethin'.

My son, Merle Watson, let's make him welcome, would ya?

(audience applauding) And he's from down there at Deep Gap where I live and the man in the middle of here, well, he's originally a tar heel, but he's presently from Nashville, Tennessee.

Mr. T. Michael Coleman.

Let's make him welcome, will ya?

(audience applauding) Old Michael wrote this next little song right here.

He must've been awful lonesome about some pretty little girl.

It's called "Sadie."

(mellow bluegrass music) ♪ High on a hill sits a whip-poor-will ♪ ♪ Singin' out his old lonesome song ♪ ♪ Is it he or I wonder if it's me ♪ ♪ For I've been away from Sadie too long ♪ ♪ Sadie, Sadie, oh what a lady ♪ ♪ Sadie, Sadie, oh what a girl ♪ ♪ Sadie, Sadie, oh what a lady ♪ ♪ Sadie, Sadie, Sadie you're my world ♪ Aw, pick it, Merle.

♪ Oh the scent of your hair ♪ ♪ And your pretty face so fair ♪ ♪ Haunt me when I'm away from you ♪ ♪ Those pretty eyes that say ♪ ♪ I love you everyday ♪ ♪ Turnin' all my stormy skies to blue ♪ ♪ Sadie, Sadie, oh what a lady ♪ ♪ Sadie, Sadie, oh what a girl ♪ ♪ Sadie, Sadie oh what a lady ♪ ♪ Sadie, Sadie, Sadie you're my world ♪ ♪ While the moon shines bright ♪ ♪ Will you meet me tonight ♪ ♪ Under that old lonesome pine ♪ ♪ And I'll ask you till ♪ ♪ You tell me that you will ♪ ♪ That you'll forever be mine ♪ ♪ Sadie, Sadie, oh what a lady ♪ ♪ Sadie, Sadie, oh what a girl ♪ ♪ Sadie, Sadie oh what a lady ♪ ♪ Sadie, Sadie, Sadie you're my world ♪ (audience applauding) My first musical instrument, string instrument as such, was a little homemade banjo that my dad made me when I was 11.

But I reckon, although it came second in my life as far as owning a musical instrument, my dad helped me get me a little guitar when I was 13.

I believe it was a Stella.

Yeah, it was a Stella guitar.

And I fooled around with it some alone, but I really started trying to learn somethin' about the guitar, oh, in my later teens.

17 or 18 years old, I began to work on it some, you know, and try to really learn how to play somethin'.

And I'd go to fiddler's conventions, played a whole bunch on the street.

Earned a few dollars on Saturdays on the weekends when the weather wasn't too old.

And Ralph Rinzler came down to the Union Grove Folk Festival along with a fellow named Gene Earle.

They both were living in Passaic, New Jersey at the time.

Ralph was working with the Greenbriar Boys group, you know.

You've heard of them, I guess.

They were part of the folk festival movement in the early '60s.

Anyway, Ralph came down here looking for Clarence Ashley, one of the old-timers in country music.

And Clarence, when he found him at Union Grove, told him about me, and Ralph came and got acquainted.

And when he heard me play as, to make a long story short, he convinced me over my better judgment that I had somethin' to offer in the way of entertainment in the folk music revival.

So I got started in it, along with my father-in-law and my oldest brother, we made a few trips together and a couple of fellows, Fred Price, and Clint Howard, along with Tom Ashley.

And then, in '64 with Ralph's help, I did my first solo concert tour.

And in June of '64, I came back in May, and Merle had started learnin' to play the guitar.

And in June of '64, he went to the Berkeley Folk Festival with me, and from then up to '66, he played some on the weekends.

He was still in school then.

In '66, Merle started working on the road solid with me.

And, well, we've been at it ever since.

Lord help us.

(laughing) (audience applauding) (upbeat banjo music) (upbeat banjo and guitar music) (audience cheering and applauding) Merle, when you get that guitar back up over there, so I guess we better do a little flat pickin' right here.

Some of these fellers might say, hey, they never do no flat pickin' for us tonight.

We'll do a little bit of the "Big Sandy" and a little bit of "Old Joe Clark" and then.

When you get down there somewhere in "Old Joe Clark," Merle, I might grab a hold of that and play a little twin lead-in.

(upbeat bluegrass music) Yeah.

Aw, play her, son.

(audience cheering and applauding) All right.

Now we'll move over to the, the 60's time when some of them good songs were bein' written.

That Bob Dylan wrote a whole bunch of good songs.

And I'd like to get Merle to do a little fingerstylin' on one that Bob wrote called "Don't Think Twice," when he gets all geared up over there.

I run over one of them wires, Merle, untuned one of them there.

(chuckling) Little bit, 2, 3, 4.

(mellow bluegrass music) ♪ It ain't no use to sit and wonder why, babe ♪ ♪ If you don't know by now ♪ ♪ Ain't no use to sit and wonder why, babe ♪ ♪ 'Cause it don't matter anyhow ♪ ♪ When that rooster crows at the break of dawn ♪ ♪ Look out your window, honey ♪ ♪ I'll be gone ♪ ♪ You're the reason that I'm travelin' on ♪ ♪ Don't think twice, it's all right ♪ ♪ And there ain't no use in turnin' on your light, babe ♪ ♪ Like you never did before ♪ ♪ And there ain't no use in callin' out my name, gal ♪ ♪ 'Cause I can't hear you anymore ♪ ♪ Still I wish that there was somethin' ♪ ♪ That you could do or say ♪ ♪ To try to make me change my mind and stay ♪ ♪ But we never did too much talkin' anyway ♪ ♪ Don't think twice, it's all right ♪ ♪ Travelin' down this long lonesome road, babe ♪ ♪ Where I'm bound ♪ ♪ I can't tell ♪ ♪ Goodbye is just too good a word, gal ♪ ♪ So, honey, just let me say fair thee well ♪ ♪ And I'm a-thinkin' and a-wonderin' ♪ ♪ As I walk down this old road ♪ ♪ I've loved a woman, but a child I'm told ♪ ♪ I gave her my heart but she wanted my soul ♪ ♪ Don't think twice, it's all right ♪ (audience cheering and applauding) I reckon if I could see, I never would have gone into music as a profession.

I'd have done some other job.

I wouldn't have.

Somebody said, well, you wouldn't have been as many places, and you wouldn't know as many people.

No, but I would very likely know my family a lot better by knowing the children and being with them a lot more.

I could come home at night, but it wasn't meant to be that way.

And so it forced me to use that part of the talent that I was born with, the musical inclination that whatever I may have, I think it's God given.

And the handicap forced me to develop that because I needed to earn a living.

It didn't make me listen any better, and I don't think it made me learn any better.

Maybe if I could see, I might've learned a little more about the theory of music, even though it would have been a hobby.

I think I still would've played a lot, but I don't think it had that much effect.

I think the handicap in other ways affected me personally.

It caused me to have a persecution complex or insecurity for a long time.

All at once I realized that in all probability, and I don't know what your feelings are about this thing, I think that the handicap was allowed to be mine as a deterrent.

I think I might've been maybe a bit stuck-up or haughty if it hadn't been for that, and I think maybe the good Lord thought I needed it.

I really have come to that conclusion over the past few years.

There's a feeling about this place that it's just exactly like it was when I step outside sometimes on a cold winter morning when the air is so cold that it almost bites your nose the very minute you step out in it or your ears.

Or a beautiful spring morning when you can hear maybe 15 different species of birds within a three minute period, or maybe within one minute.

And the feeling is still the same as it was when I was a little boy.

I love this country, the mountains, the.

I think it's the spirit of it, you might say.

I don't know hardly how to put it into words.

And somebody asked me once why I didn't move to the city since I'm in the music business.

And I said, well, I have to travel all over the country anyhow so I might as well live where I like it the best.

All right.

(mellow blues music) ♪ Summer time ♪ ♪ And the livin' is easy ♪ ♪ The fish are a-jumpin' ♪ ♪ And the cotton is high ♪ ♪ Your pappy's rich ♪ ♪ And your mammy's good lookin' ♪ ♪ Hush, little baby ♪ ♪ Honey, don't you cry ♪ ♪ One of these mornings ♪ ♪ You're gonna rise up singin' ♪ ♪ Gonna spread out your wings ♪ ♪ And take to the sky ♪ ♪ Until that day ♪ ♪ You can hush up your cryin' ♪ ♪ 'Cause you're pappy and your mammy's standin' by ♪ ♪ Summer time ♪ ♪ And the livin' is easy ♪ ♪ Lord, the catfish are jumpin' ♪ ♪ And the cotton is high ♪ ♪ Your pappy's rich ♪ ♪ Yeah, your mammy's good lookin', mmm ♪ ♪ Hush, little baby ♪ ♪ Honey, don't you cry ♪ ♪ Hush, little baby ♪ ♪ Don't you cry ♪ (audience cheering and applauding) We have a new record that'll be coming out in the spring, and it incorporates everything from a good old traditional banjo tune all the way around to a Dan Fogelberg tune, which we ain't gonna do right now.

(laughing) We're gonna do one that brother Merle Travis wrote back in the '40s, and it's a fun song about the inconveniences of the smoking habit.

Not only, he didn't write this for the cancer society.

He wrote it just because, well, he'd been bothered some.

And it's called "Smoke, Smoke," 2, 3, 4.

Go, Michael.

(upbeat folk music) ♪ Now I'm a fellow with a heart of gold ♪ ♪ With the ways of a gentleman I've been told ♪ ♪ The kind of a guy that wouldn't even harm a flea ♪ ♪ But if me and a certain character ever met ♪ ♪ The guy that invented the cigarette ♪ ♪ I'd murder that son of a gun in the first degree ♪ ♪ Well, it ain't because I don't smoke myself ♪ ♪ And I don't reckon they hinder your health ♪ ♪ I smoked about half my life, and I ain't dead yet ♪ ♪ But nicotine slaves are all the same ♪ ♪ At a patent party or a poker game ♪ ♪ Everything's gotta stop while they have a cigarette ♪ ♪ Smoke, smoke, smoke that cigarette ♪ ♪ Puff, puff, puff it if you smoke yourself to death ♪ ♪ Tell St. Peter at the golden gate ♪ ♪ That you hates to make him wait ♪ ♪ You just gotta have another cigarette ♪ ♪ In a game of chance the other night ♪ ♪ Old dame fortune was doin' me right ♪ ♪ The kings and the queens just kept a-comin' around ♪ ♪ I caught a full, and I bet 'em high ♪ ♪ But my bluff didn't work on this certain guy ♪ ♪ 'Cause he just kept raisin' and layin' that money down ♪ ♪ Shoo ♪ ♪ He'd raise me, and I'd raise him ♪ ♪ Sweat or blood, got to sink or swim ♪ ♪ But he finally called it ♪ ♪ He didn't raise the bet ♪ ♪ I said, aces full, pal ♪ ♪ How about you?

♪ ♪ And he says, well, I'll tell you in a minute or two ♪ ♪ But right now I just gotta have a cigarette ♪ (audience laughing) ♪ Smoke, smoke, smoke that cigarette ♪ ♪ Puff, puff, puff it if you smoke yourself to death ♪ ♪ Tell St. Peter at the golden gate ♪ ♪ That you hates to make him wait ♪ ♪ You just gotta have another cigarette ♪ ♪ The other night then I had a date ♪ ♪ With the cutest little gal ♪ ♪ She sure did rate ♪ ♪ She with a high bred, uptown fancy little thing ♪ ♪ She said she loved me and it seemed to me ♪ ♪ That things are just about like they ought to be ♪ ♪ So hand-in-hand we walked right on down lover's lane ♪ ♪ She was, oh, so far from a chunk of ice ♪ ♪ And our smoochin' party was goin' real nice ♪ ♪ And so help me, folks, I think I might've been there yet ♪ ♪ When I gave her a kiss and a little squeeze ♪ ♪ She says, Doc, excuse me, please ♪ ♪ I'm just bound to have another cigarette ♪ (audience laughing) ♪ Smoke, smoke, smoke that cigarette ♪ ♪ That ruined my vanity ♪ ♪ Puff, puff, puff it if you smoke yourself to death ♪ ♪ Tell St. Peter at the golden gate ♪ ♪ That you hates to make him wait ♪ ♪ You just gotta have another cigarette ♪ (audience cheering and applauding) I've heard a lot of funny things.

Some of them probably really happened, and somebody that wanted to have a good laugh out of some folks probably made some of 'em up.

There's a good chance that this little tale I'm gonna tell you did happen.

There was a, a very devoted Quaker fellow moved into the community near a Baptist.

And in spite of their differences in religion, they got along somethin' wonderful as neighbors, helpin' each other with farm chores.

and in every way they could.

And one day they went down to the stock sale, and that Quaker was unlucky enough to buy the meanest milk cow that the good Lord ever let give milk.

He kept her the rest of the summer, and she'd bruised his poor old knee quite a few times with that wicked hind foot while he was sittin' on that stool a-milkin'.

And one morning after it come a big frost, and that old cow had been down that briar patch and scratch them udders all over, he come out there to milk.

And she stood there and shivered and quivered like old Elvis, you know, 'til the milk was about ready to come over the top of the bucket.

The foam was, you know.

She kicked Quaker stool and all over, and he rolls down the bank.

And he gets up and looks at her.

Aw, man, he's mad, but he doesn't say nary a word 'til his temper cools.

And he walks up, and he pats her on the head.

He said, "Nay, bossy, I cannot strike thee, "but on morrow I'll sell thee to a Baptist.

"And he'll beat the hell out of thee."

(audience laughing) (laughing) This little country church decided they get him a, one of the preachers that'd been to the seminary that know them $5 words and let their little country preacher go.

And when he moved into the parsonage, he was a fella that wore the suit and tie the whole week long and drove a big Cadillac.

And he was drivin' along on the little country road through the little hamlet one Sunday afternoon after the sermon, and he saw this little old red pickup truck, a wobbling long comin' right close up behind him in his rear view mirror.

About this time the old boy went by, and he almost side-swiped him because he'd had a few drinks to sober up on from a drunk he'd been on the night before.

(audience laughing) He looked over at his wife, and he says, "Poor fella, he must be sick."

He said, under his breath, "Soon as I get the chance in a straight place, "I'll hit my passin' gear to get around that fool "before he'll run me off the road and kill me."

Right just in a minute, here comes a little straight patch in that road and (making car revving sounds).

And he takes off in that Cadillac.

When he gets to the end of the straight place, he's by the little red pickup truck, but she won't corner.

She goes off over the embankment.

Tears the Cadillac all to pieces.

Well, here comes the little red pickup truck, and he sees the accident, you know.

And, man, he's a good old Samaritan and wants to help him.

The thing's missin' on three or four cylinders.

He rolls up to the edge of the embankment, stops it right easy, and he gets out, looks down.

He says, "Hey, feller, are you hurt down there?"

And then luckily the preacher nor his wife either weren't hurtin' much, and he was helpin' her out of the wreck.

The preacher looks up at him and kind of grins.

He said, "No, we're not hurt.

"The Lord's riding with us."

He says, "Well, I believe you'd better "let me take him the rest of the way.

"You're gonna kill him."

(audience laughing) (audience applauding) ("Sweet Georgia Brown") Sweet Georgia.

(audience cheering and applauding) Well, just some rock and roll style.

We listened to a lot of people.

I think Merle, if you had to, if you ask him who his favorite musician was, it would be, there would be two people.

It'd be his grandfather Gaither Carlton and the late Gaither Carlton.

He was with us up until '72 and then the late John Hurt.

- [Merle] My mother started me out when dad was out on the road, and the first two years I learned from just bein' around all the festivals.

I guess my main influence was Mississippi John, John Hurt.

- He learned an awful lot from his grandfather on the banjo.

If fact, all of his playin', it came from Gaither his style.

And John Hurt, well, John Hurt made an impression on everybody that listened to him.

It wasn't only his music, as a man.

- [Merle] It was the first concert I ever was on.

Oh, I just, I couldn't believe the music he did.

- John Hurt was one of my favorite people and favorite musicians out of the rediscoveries of the old-timers in the folk scene in the '60s.

And Merle and I had the pleasure of playin' a whole lot of music on shows with John Hurt, and we actually had the pleasure of sittin' down and pickin' some tunes with John a lot of times.

And we'd like to do a song here that, me and Michael kind of likes to sing too.

I kind of like the flavor of this song.

I guarantee you Merle will give you some of the John Hurt flavor on the guitar.

He plays a little stronger than brother John did, but you'll hear the flavor in there, those of you that are familiar with John's music.

"Make Me Down a Pallet on Your Floor."

All right, Merle.

Aw, pick it, son.

♪ Make me down a pallet on your floor ♪ ♪ Make me down a pallet on your floor ♪ ♪ Honey, make it down ♪ ♪ Make it soft and low ♪ ♪ And then maybe my good gal, she won't know ♪ ♪ I'm goin' out the country through that sleet and snow ♪ ♪ I'm goin' out the country through that sleet and snow ♪ ♪ Yes, I'm goin' up the country through that sleet and snow ♪ ♪ Ain't no tellin' just how far I'll go ♪ ♪ Get my breakfast here and my dinner in Tennessee ♪ ♪ Get my breakfast here and my dinner in Tennessee ♪ ♪ Well, I'll get my breakfast here ♪ ♪ And my dinner in Tennessee ♪ ♪ I told you I was a-comin' ♪ ♪ So you'd better look for me ♪ ♪ Make me down a pallet on your floor ♪ ♪ Hey, make me down a pallet on your floor ♪ ♪ Honey, make it down ♪ ♪ Make it soft and low ♪ ♪ 'Cause then maybe my good gal, she won't know ♪ All right, Merle.

Yeah.

♪ Well, now you know that I can't lay down on your bed ♪ ♪ Hey, you know that I can't lay down on your bed uh uh ♪ ♪ Now, honey, I can't lay down across your pretty bed ♪ ♪ 'Cause my good woman she might kill me dead ♪ ♪ And don't you let my good gal catch you here ♪ ♪ Don't you let my good gal catch you here ♪ ♪ If you do, she might shoot you ♪ ♪ Cut and stop you too ♪ ♪ Hey, ain't no tellin' what all that gal might do ♪ ♪ Make me down a pallet on your floor ♪ ♪ Make me down a pallet on your floor ♪ ♪ Honey, make it down ♪ ♪ Make it soft and low ♪ ♪ 'Cause then maybe my good gal, she won't know ♪ ♪ The way I've been sleepin', my back and shoulder's tired ♪ ♪ The way I've been sleepin' my back and shoulder's tired ♪ ♪ Well, the way I've been asleepin' ♪ ♪ My back and shoulder's tired ♪ ♪ I think I'll turn and try sleepin' a while on my side ♪ ♪ Make me down a pallet on your floor ♪ ♪ Make me down a pallet on your floor ♪ ♪ Honey, make it down ♪ ♪ Make it soft and low ♪ ♪ And then maybe my good gal, she won't know ♪ Pick it, son.

Hey.

All right.

(audience cheering and applauding) Along about 1939, along about 1939, brother Roy Acuff recorded the song called "The Streamlined Cannonball," and I got to think about that song a long time after that one day.

And I thought, well, now that streamlined cannonball didn't waltz down the railroad track.

You know, it got a move on.

Old Roy played her kind of like this.

♪ She moves along like a cannonball ♪ ♪ Like a star in its heavenly flight ♪ Well, I thought it ought to go a little different from that.

Something like a.

(mellow harmonica music) (upbeat bluegrass music) ♪ She moves along like a cannonball ♪ ♪ Like a star in its heavenly flight ♪ ♪ A lonesome sound from the whistle you love ♪ ♪ As she rambles on through the night ♪ ♪ A long steel rail and a short cross tie ♪ ♪ I'm on my way back home ♪ ♪ I'm on that train, the king of them all ♪ ♪ The streamlined cannonball ♪ ♪ She moves along like a cannonball ♪ ♪ Like a star in its heavenly flight ♪ ♪ The lonesome sound from the whistle you love ♪ ♪ As she rambles on through the night ♪ ♪ I can see a smile on the engineer's face ♪ ♪ And although he's old and gray ♪ ♪ Like a tender heart ♪ ♪ He waits for his call on that streamlined cannonball ♪ ♪ She moves along like a cannonball ♪ ♪ Like a star in its heavenly flight ♪ ♪ The lonesome sound from the whistle you love ♪ ♪ As she rambles on through the night ♪ ♪ Headlight she beams all out through the night ♪ ♪ And the firebox flash you can see ♪ ♪ I ride the blinds ♪ ♪ It's the life that I love ♪ ♪ It's home sweet home to me ♪ ♪ She moves along like a cannonball ♪ ♪ Like a star in its heavenly flight ♪ ♪ The lonesome sound from the whistle you love ♪ ♪ As she rambles on through the night ♪ ♪ As she rambles on through the night ♪ (audience applauding) We did 108 playin' nights this last year.

Still, it robs you of the intimacy of the family life at home, somethin' that I guess, I don't know, maybe there's city people that feel as strongly about it that have grown up in the city.

Us mountain folk feel pretty strong about families and the close-knit family life of home, fireside, bein' at the supper table, and breakfast every morning with your wife and your children.

To me, it means a whole lot.

And I reckon that's a thing, nothing to be ashamed of by no means.

There's some clubs I like to work, but I really prefer concerts, listening audiences.

They're much easier to work to.

And the set goes so smooth when you have an audience that are really there to hear what you're doing.

- [Interviewer] Come to hear.

(audience cheering and applauding) - [Announcer] Ladies and gentlemen, songwriter, singer, Grammy award winner.

Let us welcome Doc Watson.

(audience cheering and applauding) ♪ I went out one mornin' for to take a little walk ♪ ♪ And I came upon that wild Bill Jones ♪ ♪ He was a talkin' and a walkin' by my true lover's side ♪ ♪ And I bid him for to leave her alone ♪ ♪ He said young man I'm past 21 ♪ ♪ Too old for you to control ♪ ♪ When he pulled out his knife ♪ ♪ Lord, I reached for my gun ♪ ♪ And destroyed that poor boy's soul ♪ ♪ I've got a little money in my pocket, boys ♪ ♪ Won't you come and have a drink or two ♪ ♪ For I've taken the life of that wild Bill Jones ♪ ♪ And I don't know what I'm goin' to do ♪ ♪ Fill your glasses up to the brim ♪ ♪ And let the drink flow free ♪ ♪ For today was the last of that wild Bill Jones ♪ ♪ Will tomorrow be the last of me ♪ ♪ I got out of jail without any bail ♪ ♪ For the judge said I was a free man ♪ ♪ Then I looked all around 'til my true love I found ♪ ♪ But she said I couldn't see her again ♪ ♪ Yes, I took the life of that wild Bill Jones ♪ ♪ But he still took my true love from me ♪ ♪ Lord, I've been overtaken by a worried mind ♪ ♪ Will this trouble never set me free ♪ ♪ Yes, I've been overtaken by a worried mind ♪ ♪ Will this trouble never set me free ♪ (audience cheering and applauding) (upbeat bluegrass music) ♪ You asked me why I ramble ♪ ♪ And you wanna know why I roam ♪ ♪ You've been wonderin' why I run all around ♪ ♪ And I ain't ever had a home ♪ ♪ My daddy was a gambler ♪ ♪ He rambled all over this land ♪ ♪ I'm just a chip off the same old block ♪ ♪ I'm a natural born gamblin' man ♪ ♪ I'm a natural born gamblin' man ♪ ♪ Yeah, I'm a natural born gamblin' man ♪ ♪ I can throw a seven, man ♪ ♪ Follow with 11, man ♪ ♪ I'm a natural born gamlin' man ♪ Pick it, son.

♪ I rambled off down to Memphis ♪ ♪ And then I met old one-eyed Sam ♪ ♪ He said, come here, son ♪ ♪ Let's have a little game ♪ ♪ So I throwed that money down ♪ ♪ He snuck one over the bottom ♪ ♪ I seen him when he got his hand ♪ ♪ I pulled my gun, and I mowed him down ♪ ♪ I'm a natural born gamblin' man ♪ ♪ Well, they hauled me down to Nashville, of course ♪ ♪ And locked me in a dirty old cell ♪ ♪ But they give me a number from a name ♪ ♪ It was a number that I loved so well ♪ ♪ It was three 7's and an 11 (laughing) ♪ ♪ That's a good hand ♪ ♪ I knowed right then that I'd won again ♪ ♪ For I'm a natural born gamlin' man ♪ ♪ I'm a natural born gamblin' man ♪ ♪ Yeah, a natural born gamblin' man ♪ ♪ Uh uh, I can throw a seven and follow it with 11 ♪ ♪ I'm a natural born gamblin' man ♪ ♪ On the day that I got my pardon ♪ ♪ The warden, he says to me ♪ ♪ Son, why don't you take some good advice ♪ ♪ And the let the old gamblin' be ♪ ♪ I said, now lookie here, Mr.

Warden ♪ ♪ Let's me and you just play one hand ♪ ♪ And I'll bet you 10 that you can't win ♪ ♪ For I'm a natural born gamblin' man ♪ ♪ I'm a natural born gamblin' man ♪ ♪ I'm a natural born gamblin' man ♪ ♪ Yeah, I can throw a seven and follow with 11 ♪ ♪ I'm a natural born gamblin' man ♪ ♪ I'm a natural born gamblin' man ♪ ♪ Ooh, a natural born gamblin' man ♪ ♪ Oh, Jodi picked the cotton in the forks of the branch ♪ ♪ I'm a natural born gamblin' man ♪ (audience applauding) Merle, I believe we're gonna be able to get two of John Hurt's tunes in.

You see me pull that mic over there, Michael.

Turn that thing around the way I want it to.

It runs from me just like it's scared of me.

If I happen to blow in it right hard, it goes zzz.

(laughing) Well, anyway, ah, that slide guitar.

It is time for that thing on the show.

Yeah, man, you got that.

You're gonna get that thing warmed up.

Now, he plays that job with a Sears Roebuck Craftsman socket wrench.

(audience laughing) He does.

(audience applauding) Merle, touch you a third on there.

Let me tune this guitar.

It was all right, I thought.

(mellow guitar music) Ain't no used to be in too big a hurry about it.

I'm gonna get that Danson flavored harmonica up here if I can find it out that pocket there, and we'll do one of John Hurt's.

I believe this one's one of John's own tunes called "I Got The Blues and I Can't Be Satisfied."

Merle, we'll let you start this at your own discretions, huh?

(upbeat bluegrass music) Yeah.

♪ Well, I got the blues, and I can't be satisfied ♪ ♪ Yeah, I got the blues, and I can't be satisfied ♪ ♪ If the blues don't quit, I'll catch that train and ride ♪ ♪ I bought my woman a great, big diamond ring ♪ ♪ Yes, I bought my gal a great, big diamond ring ♪ ♪ I took it right back home ♪ ♪ Caught her doin' that same old thing ♪ ♪ I said, baby, what makes you treat your man this way ♪ ♪ Hey, honey, what makes you treat your man this way ♪ ♪ You know I want anything you give away ♪ All right, son.

♪ Well, I grabbed my gun, and I broke the barrel right down ♪ ♪ Hey, grabbed my shotgun, broke that barrel right down ♪ ♪ Lord, I put my baby six feet under the ground ♪ ♪ Then I cut that joker so long deep and wide ♪ ♪ I cut that joker so long deep and wide ♪ ♪ But I've still got the blues, and I can't be satisfied ♪ ♪ All right ♪ ♪ Whiskey straight will drive your blues away ♪ ♪ Hey, whiskey straight will drive your blues away ♪ ♪ Well, if that be so, I want the quart today ♪ ♪ Yes, I got the blues, and I can't be satisfied ♪ ♪ Aw, I got the blues, and I can't be satisfied ♪ ♪ If these blues don't quit, I'll catch that train and ride ♪ Take it one more time, son.

(audience cheering and applauding) All right, all right now.

Thank you very much.

I'm gonna get that little machine down there out of my way.

I might swallow that thing on the hard notes on this next one right here.

Guess we'd better to do a Jimmie Rodgers tune, Merle, to keep them kind of well-rounded out.

Here's one of the last songs that Jimmie recorded.

It's the song that borders on a line of contemporary music from the old blue yodel country-style things he did.

It's called "I Miss the Mississippi and You."

(mellow bluegrass music) ♪ I'm growing tired of the big city lights ♪ ♪ Tired of the glamor, tired of the sights ♪ ♪ I'm always dreaming of roaming once more ♪ ♪ Back to my home on the old river shore ♪ ♪ Days are dark and dreary ♪ ♪ Everywhere I roam ♪ ♪ Lord, I miss the Mississippi and you ♪ ♪ And nothing seems to cheer me under heaven's dome ♪ ♪ How I long for Mississippi and you ♪ ♪ Roaming the wide world over ♪ ♪ Always alone and blue, so blue ♪ ♪ I am sad and weary, longing to go home ♪ ♪ 'Cause I miss the Mississippi and you ♪ ♪ The mockingbirds are singing ♪ ♪ Round the cabin door ♪ ♪ While I dream of Mississippi and you ♪ ♪ And my memories are bringing ♪ ♪ Those happy days of yore ♪ ♪ I have spent in Mississippi with you ♪ ♪ Roaming the wide world over ♪ ♪ Always alone and blue, so blue ♪ ♪ Longing for my homeland on that muddy water shore ♪ ♪ I miss the Mississippi and you ♪ ♪ The Mississippi and you ♪ (audience cheering and applauding) Here's a little fun song, just a, maybe a tad rocky the way we do it.

It was written by one of the old-timey blues songwriters and recorded back in the '30s.

(gentle guitar music) And the name of this one is "Arrangement Blues."

(upbeat bluegrass music) ♪ Baby, I will split your kindlin' ♪ ♪ Honey, I'm gonna build your fire ♪ ♪ I'll do anything your little heart desires, Mama ♪ ♪ Hey, can you tell me who might your manager be ♪ ♪ Well, if you ain't got a manger ♪ ♪ Make arrangements for me ♪ ♪ I know I ain't too handsome, honey ♪ ♪ I don't dress so fine ♪ ♪ But when it comes to lovin', gal ♪ ♪ I'll pacify your mind, Mama ♪ ♪ Hey, can you tell me who might your manager be ♪ ♪ Well, if you ain't got a manager ♪ ♪ Make arrangements for me ♪ Hey, range it, son.

Aw, yeah.

Aw, now.

All right.

♪ Oh, I wish I was a big old fish ♪ ♪ Swimmin' along in the sea ♪ ♪ And I wish some sweet little thing like you ♪ ♪ Would get her hooks in me, Mama ♪ ♪ Hey, can you tell me who might your manager be ♪ ♪ Well, if you ain't got a manager ♪ ♪ Make arrangements for me ♪ (upbeat harmonica music) ♪ Hey, I will be a good provider, baby ♪ ♪ I ain't gonna fail ♪ ♪ I ain't got no other women tied to my coat tail, Mama ♪ ♪ Hey, can you tell me who might your manager be ♪ ♪ Yeah, well, if you ain't got a manager ♪ ♪ Make arrangments for me ♪ Let's take her out together, son.

(audience cheering and applauding) We wanted to keep the music live, which was good and yet not become known as art music, musical hard heads in the folk music world stickin' to one little niche.

We added a whole lot to the sets as we came along without throwin' away the root.

Homemade music, then.

I don't think you can find a better word for it.

I pick what I hear at the time, and I might not play a tune the same way tomorrow night that I'll do it tonight.

What do you think of that now?

(laughing) (audience cheering and applauding) Thank you very much.

You know, I told the man on an interview a while ago, I told Ed that my first instrument was a little five-string banjo, but actually it wasn't.

It was one of them little things right there.

The first thing I ever had as a little biddy boy I used to get one for Christmas every year.

They used to cost about a quarter.

Now they're about $10.

(audience laughing) (gentle harmonica music) There's a national anthem we've got one that they make you stand up at the ball games.

It goes.

("The Star Spangled Banner") Well, we're all familiar with that, and there was another one that was popular way back yonder in the colonial days.

("Yankee Doodle") And then there's another one that goes like this.

("I Wish I Was in Dixie Land") (audience clapping) ♪ Oh I wish I was in the land of cotton ♪ ♪ The old times they are not forgotten ♪ ♪ Look away, look away, look away Dixie Land ♪ ♪ In Dixie Land where I was born ♪ ♪ Twas early on one frosty morn ♪ ♪ Look away, look away, look away Dixie Land ♪ ♪ Well, I wish I was in Dixie away, hooray ♪ ♪ I wish I was in Dixie Land ♪ ♪ To live and die and take my stand ♪ ♪ Away, away, yes, away down South in Dixie ♪ ("I Wish I Was in Dixie Land") (audience cheering and applauding) Good night, and God bless every one of ya.

- [Announcer] The preceding program was produced in part through a grant from the Ohio Educational Broadcasting Network Commission and through a grant from the Ohio Arts Council.