F.A.M.E. is looking for a Web Master! Can you help? If so,

please email Rick: rickhill@ricksfolk.com. February 2013 Inside this issue:

From the President 2

Open Mics 2

Poetry with John Holly 3

Songwriters Showcases 3

Traditional Folk Song

Circle 4

Music Variety Showcase 4

Gear of the Month 5

Pull up a chair... 6

“Writer’s Block” Workshop

Details 8

Upcoming Workshops 9

F.A.M.E. Committees 9

Willie Barry...In the Spotlight 10

House Concert 11

In the spotlight…Willie Barry By Caryl Velisek

Despite his considerable height, he

looks to be just a kid in his plaid shirt,

blue jeans and cap. Then he begins to

sing and takes you back to the 50s

with his rich, full baritone and guitar

playing. He launches into an old Ricky

Nelson tune and follows up with some

rockabilly and soon the audience at the

Frederick Coffee Company and Café

on Shab Row, is tapping their feet,

clapping their hands, and singing

along. He’s Willie Barry and he

performs around town with Barry

Bryan and Tomy Wright, as Willie

Barry and The Chaperones. He is only

18 years old and what's so amazing,

given his talent and expertise on the

guitar, is that he's only been playing

guitar for three years!

Encouraged by a teacher, Willie’s

music just “took off,” he said.

After going solo for about a year, he

met Tomy Wright through an Open

Mic at Beans In The Belfry in

Brunswick. While playing in a benefit

[see IN THE SPOTLIGHT, page 10]

Photo by Carol Velisek

Board of Directors 12

Membership Application 12

Page 2 From the President Hi folks!

There is a difference between a musician and a performer. A musician has gained skill of

his/her instrument. A performer has gained skill with an audience. A musician knows his/

her way around their instrument of choice. A performer knows his/her way around an

audience. A musician practices with an instrument. A performer practices with an

audience. All that is to say that, if you want to play for an audience, you must spend as

much time practicing with an audience as you do practicing with your instrument. On the

national folk scene, Kim and Reggie Harris come to mind as people who have really practiced in front of an

audience. They know their way around, they know how to bring an audience along on a journey. Locally, John

Durant comes to mind as a person who has acquired great skill with an audience. I think that most of the time,

not always, but most of the time, audiences want to have an experience. They don’t come just to listen to a

technically accomplished performer. They want to be taken on a journey. The audience brings with them all

the baggage they have accumulated during the day and now they want to be freed from that baggage – or they

want to know that someone shares that baggage. Eye contact is probably one of the most important elements of

that experience. A relaxed presence on the stage is another. Willingness to share some banter with the

audience. (But don’t get carried away!) These things all take time to develop, so rehearsing in front of people

is an important part of a musician’s workout.

I remember the first times I was on stage – absolutely terrified! Get up, sing the song, get off. Over the years I

have become more relaxed in front of an audience, but there are still times when I am quite nervous and I slip

into a very mechanical presentation. I took a performance class with Paul Reisler a number of years ago and he

suggested that we “claim the stage.” We make it our own. There are lots of ways to do this, but basically it

means getting comfortable with your space. This also requires practice. Open mics and music circles are great

places to practice with very forgiving audiences. So, get out there and practice the craft of audience. ♪

Open Mics

Frederick Coffee Company & Café, 100 N. East Street, Frederick: Every

Tuesday night 7-10 PM, Todd C. Walker and Tomy “One M” Wright are co

-hosts on alternating Tuesdays. This open mic welcomes all “family friendly”

talent. Generally, performers receive the equivalent of time for two songs each.

Enjoy good food from the enhanced menu in a welcoming and warm, inclusive

atmosphere. Sign-up list fills quickly, so come early if you can.

Beans in the Belfry, 122 W. Potomac Street, Brunswick, Maryland: Third Thursday

of each month 7-9 PM, Tomy “One M” Wright hosts this cozy venue with great

acoustics, as it is an old church reclaimed as a coffeehouse with a friendly, relaxing

atmosphere. This is a SAW- and FAME-endorsed open mic which draws performers

from both groups, as well as the local area. Format is a first-come, first-served sign-up

list with usually 2 or 3 songs each. Percussion available upon request.

Jekyll & Hyde Restaurant & Tavern, 900 N. East Street, Frederick: Every

Wednesday 7:30 – 10:30 PM hosted by Mike Schirf. Three-songs: first-come,

first-served. Extra songs are often granted at Mike’s discretion, particularly if the

audience requests them. The owner is generally in attendance for the open mic,

often scouting talent for weekend entertainment in the bar area. All acoustic music

is welcome at this venue. See you there!

Peace,

Rick Hill

Sunday Songwriters’ Showcase Frederick Coffee Company and Café

100 N. East Street, Frederick, MD

Every other Sunday Todd Walker puts together an afternoon of local,

regional, and sometimes national talent. Generally three songwriters perform 30-

40 minute sets. Performers are not paid, so please tip generously.

February 10 Mark McKay February 24 Frank Viele

Brett Barry Max Honn

Dave Glaser John Seay

Monday Songwriters’

Showcase Brewer’s Alley, 2nd Floor

124 N. Market Street, Frederick, MD

Shows begin at 7:30 PM

February 4: T. Edwin Doss ~ new CD

February 11: Mary Battiata ~ Little Pink

the Band

February 18: Jim Patton & Sherry Brokus ~ all the way from Austin TX

February 25: Alex Culbreth & The Dead Country Stars~new band & CD

Now in its eighth year, Monday Night Songwriters’ Showcase can be enjoyed every Monday at 7:30 PM in

beautiful downtown Frederick, upstairs at Brewer's Alley. The program starts with a piano prelude, followed

by three songwriters doing three songs each (so you can't get bored). The featured songwriter for the evening

goes on around 9 PM for 45 minutes, followed by three more three-song performers. Somewhere in the mix,

we throw in some poetry from our resident poet, John Holly. Our MCs are Ron Goad, Todd C. Walker, and

Tomy “One M” Wright, frequently interrupted by Rod Deacey on sound. Shows are FREE — we collect

tips for the featured songwriter, but there is no door charge, so come and support LIVE MUSIC!

Our featured songwriters are a mix of national and regional touring performers, with many award winners

from all genres. If you would like a calendar for the first part of 2013, please e-mail Rod (roddc@xecu.net)

and he'll send you one. For information about playing a three-song spot, contact (1) Ron Goad:

MisterGoad@aol.com, (2) Todd C.Walker: todd@toddcwalker.com, or (3) Rod Deacey: roddc@xecu.net. For

info on featuring (the 45-minute money spot!), contact Rod Deacey: roddc@xecu.net.

Poetry with John Holly Frederick Coffee Company and Café, Every-other Thursday evening from 7-9 PM.

Come join us at the reserved tables at Frederick Coffee Company and Café for an evening

of poetry. We feature published poets and themes according to the season. We always

welcome original works from F.A.M.E. members and guests who would like to share, read,

and/or listen.

February 14 Love Poems and Sonnets February 28 African-American Poetry

Page 3

John Holly

Photo by Todd Walker

Page 4

Still need a T-shirt?

If you haven’t received a bumper sticker or T-shirt for your membership,

please email Karen: boatdrinks@comcast.net.

Music Variety Showcase The Epicure Cafe, 11213 A Lee Highway (route 29) Fairfax, VA: Second

and fourth Wednesdays at 8 PM, hosted by Ron Goad. Open Mic: Show

up, sign up, perform 1-3 songs. Epicure is an independently owned and family-

run cafe with tasty food, including appetizers, Greek specialties, salads,

sandwiches, subs, pasta, desserts, coffee drinks, wine, and beer — ask about

The Gourmet Musical Pizza! Epicure features various creative events that fill

every night of the week, including wonderful musical acts, local art

exhibitions, open mics, poetry readings, comedy, and now: storytelling! All

this and an outdoor hookah!

Traditional Folk Song Circle Dublin Roasters Coffee, 1780 N. Market Street, Frederick: Second

Saturday of each month 2-4 PM, hosted by Tomy “One M” Wright.

Our opening song is “You are My Sunshine,” from there the group takes

turns leading folk songs from Rise Up Singing. Copies of the book are

provided at the song circle for those not bringing their own and there are

extra copies for sale. Acoustic instruments of all varieties are welcome, as

well as singers and those just wishing to listen. Dublin Roasters roasts

coffee for many of the restaurants and coffee houses in the area and they

have a variety of coffees to enjoy during the event.

Our first Song Circle Event of 2013 began with a gathering of 26

attendees! Many regulars were there and we were happy to welcome several newcomers. Twenty-six songs

were sung from 17 of the

categories in the Rise Up

Singing songbook. The most

popular categories for the

week were Hope, Mountain

Voices, and Travelin’. Songs

sung from these categories

included “Blowin’ In the

Wind,” “Take Me Home

Country Roads,” and “Four

Strong Winds.” We always

close with “Goodnight Irene.”

We hope to see you at our

next event, Saturday,

February 9. ♪

Frederick News-Post staff photo by

Bill Green

Gear of the Month by Todd C. Walker

I’m a big fan of great-sounding guitars. I want them to have excellent intonation and

a full balanced sound. I don’t think that’s asking too much, especially if I’m

spending big dollars.

After buying and selling close to 200 guitars over the past 12 years, I’ve had many

disappointments in regards to playability, tuning, and sound. I’ve learned that

talented woodworkers can build instruments that are perfect works of art, but that

don’t play or sound worth a darn. I’ve had successes when I expected none, and

disappointments when I anticipated excellence. Because my search has occasionally

led me down the path to disappointment, I constantly search for ways to make marginal sounding/playing

guitars, sound and play better. Here are two inexpensive solutions to intonation/tuning problems and sound

improvement.

Good bridge pins: This may surprise some of you, but the

quality and material of bridge pins can affect sound. A guitar’s

top wood, and the way it’s braced, is the most important

ingredient. Guitar strings are attached to the top via the holes

in the bridge (to the bridge plate) and locked in place by the

bridge pins, so it makes sense that bridge pin material is

important. All inexpensive acoustic guitars are shipped with

plastic bridge pins, as are many medium-priced guitars. And dare I say that a few high end builders still ship

guitars with plastic pins. If your bridge pins are plastic, take them off your guitar and use them for a cribbage

board.

Wood bridge pins are good and can be esthetically pleasing.

Ebony pins used on an Ebony bridge would be a good match.

Rosewood with a Rosewood bridge, also good. Bone pins,

and especially metal pins, will help brighten the sound. I use

brass pins on two of my Redwood top guitars to add zing.

Another really good material is TUSQ (synthetic bone).

Whereas natural bone can have inconsistencies that may

affect sound, TUSQ is manufactured to be consistent from pin to pin. I’m a big fan of these.

Saddle material: Plastic saddles are equally as bad as plastic bridge pins are – get rid of them ! Invest in either

a natural bone or TUSQ saddle. You’ll be amazed how replacing that cheap piece of plastic will improve your

guitar’s sound. Although I’m a big fan of having guitar techs work on my guitars, I sometimes make saddle

adjustments myself. Replacing a saddle is fairly easy using the right tools. Your local guitar shop may have

replacement saddles available. If not, online sources are plentiful.

Compensated saddles: I’m a stickler for a guitar that has

excellent intonation. If the intonation is off, the guitar will not

tune well. The best way to insure good intonation is to have a

guitar tech perform a periodic set up. This means making

adjustments to the nut, saddle, and neck relief. It amazes me

how many guitar players play guitars that are in desperate need

of a set up. A product that helps intonation and tuning is a

compensated saddle. My favorite replacement saddle is a ‘fully

compensated’ saddle made from either natural bone or TUSQ. I have found that a fully compensated saddle

helps correct intonation problems. Are they the perfect answer to all tuning/intonation problems? No. A good

guitar tech is the best place to start, but a fully compensated saddle may help.

Now go make some music. ♪ Todd

Photo by Roy Greene

Page 5

Photos courtesy of Todd Walker

Pull up a chair…by Tom Kohlhepp

The True Story of the Song “Tom Dooley”

I suspect nearly everybody reading this article has heard of the classic folk song “Tom

Dooley.” Some even know that it's based on a true story from the hills of North Carolina.

I wonder how many of you know that the version sung in coffee houses all over the

country bears little resemblance to the original tune as it was written. Later in this article

I'll provide a link so you can listen to the only known recording of the original song of

Tom Dooley as sung by a blind fiddler and his guitar accompanist. First let me tell you

about my Uncle Dick.

My uncle was a good man, a simple man. He was a mechanic by trade and a singer of songs when the time was

right. He came from the mountains of North Carolina, one generation removed from hillbilly. One night when

I was very young, he pulled out his guitar and began to sing Tom Dooley. This would not only be the first folk

song I ever heard in person, it was the first time I ever heard a guitar in person. Right away I could tell that

something was familiar, but something was very different about the “Tom Dooley” he was singing. It was

more graphic and longer than what I had heard come over my silver transistor radio with the long standard

white ear plug. My uncle, you see, was playing the version he knew as a child growing up in the 30s in rural

North Carolina; the version that was hidden from us; the version that, until now, you probably didn't even

know existed. And for that I blame my old college professor and noted folklorist, Alan Lomax. More on that

later, first a little about Tom Dooley.

Let’s begin with his name. It wasn't Tom Dooley, it was Tom

Dula. In the hills of the south it was common to pronounce a

word ending in “a” like a long “e” sound; think of the “Grand

Old Opry” (for opera). If you watched the Andy Griffith show

you might have heard Andy praise Aunt Bea's cooking by saying

“That was extry good.”

Tom Dula was born into a poor family from Wilkes county

North Carolina in 1845. When he was about 15, he fell in love

with Ann Foster, but before they could marry he went off to fight

for the Confederacy in 1863. When Tom returned home in 1865

he found that Ann Foster was married to an old farmer and was

now Ann Melton. Not only did Tom renew his love affair with

the married Ann, he also started an affair with her cousin, Laura

Foster. Hang onto your hat because here's where things get really

interesting.

Laura got pregnant; and, she and Tom decided to elope. The very

night they were to meet, Laura disappeared. Her body was later

found in a shallow grave with several stab wounds in her chest.

Tom Dula quickly became a suspect and he fled to Tennessee.

He was captured by Col. Grayson and brought back to stand trial.

He was found guilty and hanged May 1, 1868. Ann Melton was

originally indicted along with Tom for the murder, although she

was never convicted. In fact, it was Ann Melton who told

authorities where Laura Foster was buried. The feeling in

the county was that Ann actually killed Laura, but Tom took the

blame upon himself. In fact, Ann confessed to the killing on her

death bed – a little too late to save Tom Dula, don't you think?

Page 6

Photo by Todd Walker

Photo of Thomas “Tom Dooley” Dula courtesy of

Ron Moody

So goes the story of the basis for the song. Now let's get to

my favorite part...the story of the development of the song.

In 1937, Frank Warner, who was a collector of folk songs

in the area, met Frank Proffitt. Proffitt was an old time

Appalachian banjoist from North Carolina. He played

“Tom Dooley” for Warner. Warner wrote it down and

even learned how to play it. Years later he met up with the

legendary Alan Lomax, who at that time was the authority

on folk songs. He played it for Lomax and credited Frank

Proffitt as the origin of the song. Later the Kingston Trio

after hearing a recording by Warner of “Tom Dooley”

sang it on their first album in 1958, which sold over six

million copies. Unaware of Frank Proffitt, they were

eventually required by the courts to not only acknowledge

their debt to Proffitt, they even had to pay him royalties for

the use of the song. In his 1991 documentary “Appalachian

Journey,” Alan Lomax describes Frank Proffitt as the

original source of the song. Well, all that sounds pretty cut

and dried, doesn't it. I'm sure we're all confident that if it

wasn't for Frank Proffitt there would have been no song

about Tom Dooley. I mean, if Alan Lomax says it's so – it

must be so, right? Well not so fast...

What would you say if I told you that I'm going to give

you a link to a recording of “Tom Dooley” made in 1929

when Frank Proffitt was only a 16 year old kid? Eight

years before Proffitt ever meet Warner, and nearly 30

years before the Kingston Trio ever heard of Tom Dooley.

This recording was made by G.B. Grayson, the blind

nephew of the Col. Grayson in the song (“If it hadn't been

for Grayson I'd a been in Tennessee”). I feel if Alan Lomax had done a better job in his research, instead of

relying on Frank Warner, he would have unearthed Grayson & Whitter. Grayson and his partner Henry

Whitter recorded “Tom Dooley” in 1929 using a fiddle and guitar. These were the weapons of choice of the

mountain balladeers of the era. Click here [http://www.youtube.com/watch?v=k9NHKINSKFk] to hear

Grayson and Whitter singing “Tom Dooley.”

While this version is different than any version of “Tom Dooley” you have ever heard, I believe it to be as

close to the original as we will ever hear. Imagine you’re on the front porch of your farm house in the hills of

North Carolina. You’re washing away the days troubles with some moonshine and some buddies come over.

You all pull out your fiddles, banjos, or guitars and break out into song. After all, isn't that what folk music

really is? It's the music OF the folk and BY the folk. Once it's written down and recorded, something happens

to it. It stands still and stops living. I’ll never forget what I read about something Huddie Ledbetter said. When

he asked John Lomax what he was going to do with these folk songs he was recording, Lomax told him he was

going to collect them. Ledbelly (Huddie’s nickname) said, “What, like a butterfly? You gonna stick pins in

‘em? You gonna kill ‘em? I'm not gonna let you stick a pin in my songs and kill ‘em. These songs need to be

free.” Ain’t that the truth, Huddie – ain’t that the truth.

Somewhere over the hills of North Carolina the faint refrain of a song may be heard as it freely blows through

the pines of the old mountains. “Hang down your head Tom Dooley, hang down your head and cry. Hang

down your head Tom Dooley, poor boy you're bound to die.” ♪

Next Month: What's the oldest English speaking folk song still regularly sung?

Tom Dooley's tale goes on haunting, even in French

Image: Courtesy of Steve Hill

Page 7

Maurice’s “Writer’s Block” Workshop for Songwriters

Saturday, March 16, 2013, 11 AM—2 PM

Make N Music, 7540 North Market St Ext. Frederick, MD 21701 $25 ($15 for F.A.M.E. Members) payable at the door.

To sign up: click here to register on line, or call Roy (301) 619-2116

Topics to be covered:

1. Overcoming obstacles in songwriting - Innovative ways for you

to stop repeating yourself (similar chords, similar rhythm patterns,

similar song form and similar song progressions)

2. A brief overview on Nashville Number System - A crash course

in the Nashville Numbers songwriting system and a quick

discourse in music theory for today's musician

3. Essential Fingerpicking Patterns for songwriters to know - All the patterns used by the most famous songwriters

of today

4. Understanding the Song Form - How songs are built

5. Building a song’s overall structure - Understanding Dynamics, Mood, Lyrical Content and Tension/Resolution

6. How to develop and record the song through a professional producer's eyes - Mapping and recording a song

with dynamics, interesting orchestration, lyrics, and the song form

7. Master Class Workshop - a chance for students to bring their own compositions and utilize these new skills

The workshop includes an instruction packet for each student. It will be filmed in HD and will be available for

sale through Maurice Arenas Guitar Academy.

Time duration of the workshop will be three hours (60 minute lecture, 30 minute break (coffee and refreshments),

90 minute performance workshop and Master Class).

Students will be eligible to perform during the Master Class Workshop. From there Maurice will provide

suggestions and encourage students with new concepts to incorporate into their own songs.

Students who wish to perform must sign up for the performance part of the workshop (20 maximum). Students

who do not wish to perform can also participate in the workshop. Performance is not mandatory. ♪

About Maurice Arenas Starting at the age of 4, Maurice Arenas has more than 38 years of playing

experience and over 22 years of teaching experience. A graduate of Peabody

Institute of Music, Maurice is a classically and jazz trained musician. He was a

full time NYC studio musician and Broadway pit musician and has played

session work on various projects that included a diverse palette of styles and

genres including Classical, Flamenco Jazz, Fusion, Rock, Electric Blues, Funk,

Latin, Acoustic Blues and Folk, Fingerstyle, Praise and Worship, Country, and

New Age guitar. During his "NYC studio rat" days, he was able to fulfill a

lifelong dream of accompanying the late great studio session master, Tommy

Tedesco.

Maurice developed his own unique teaching method and approach. With his

love of fusion music and desire to share it, Maurice created a DVD series called

"The Art of Fusion Guitar" and the video series approaches techniques and

improvisational concepts used by fusion greats like Holdsworth, Gambale,

McLaughlin, DiMeola, Coryell, Abercrombie, Lane, and more.

Maurice is also featured as an educator on the world's biggest online lesson

resource, True Fire. Here, Maurice is found with top players like Stu Hamm,

Larry Carlton, Tommy Emmanuel, Carl Verheyen to name a few. Maurice

currently teaches at Maurice Arenas Guitar Academy, where he works with

music hobbyists, preparatory students, semi-professionals, and professionals

who wish to further their musical careers. ♪

Page 8

Photo courtesy of

Page 9

Committees Members! Looking for an active role in F.A.M.E.? Here’s your chance to get involved!

Find a committee that lines up with your interests and skills and contact the chairperson.

A. Membership Committee – Todd, Chair; Karen

1. Maintain membership roster

2. Notify members when their membership renewal is due

3. Chair organizes the Membership Committee as to how they generate renewals

4. Inform Board of Directors (BoD) of steps taken to accomplish renewals/obtain new members

5. Propose membership policy to BoD

6. Maintain membership applications and record of premium distribution

7. Dispense membership premiums

8. Manage premiums (keep supply list, order shirts, etc.)

9. Coordinate membership roster with Newsletter Chair

10. Organize/facilitate/delegate and summarize annual membership meeting

11. Ensure dues are received and deposited

B. Events Coordinator Committee – Ron, Chair; Fran

1. Maintain communications with endorsed events

2. Organize and oversee concerts, concert series, music circles, open mics and other performance-

oriented programs

3. Serve as Point Of Contact for those seeking F.A.M.E. endorsement

C. Marketing and Promotion Committee – Fran , Chair; Tomy, Roy

1. Organize/coordinate community outreach with other organizations

2. Maintain F.A.M.E. website

3. Assist with advertising for specific events

4. Newsletter

5. Maintain tent, table, signage, etc.

D. Education/Workshops Committee – Mike, Chair; Hank, Co-chair, Tomy

1. Plan and oversee workshops

2. Oversee mentoring program

3. Research and identify non F.A.M.E. educational opportunities

E. Scholarship Committee – Rick, Chair; Fran

1. Establish criteria/guidelines for scholarship awards (individual and organizations) and present to BoD

for approval

2. Establish scholarship fund

3. Make recommendation to the BoD for benevolence

4. Award scholarships and benevolence

5. Formulate a percentage for annual giving and propose to BoD

6. Propose to the BoD organizations to which we may want to donate

Upcoming Workshops

April Live Performance Do’s & Don’ts Presented by Mike Schirf

May Recording Workshop I Jeff Feit

June Recording Workshop II Doug Smith

August Percussion in Performance Tomy Wright & Ron Goad

Are you a musician or in a music related business? Do you have a website?

Are you a Supporter Level member of F.A.M.E.? If you answered "yes" to all

three of those questions, then your Website can be listed on our Website. We will

create categories with a brief description of your style or business. Send your

information to Rick - rickhill@ricksfolk.com.

concert for Haiti at Beans, he was approached by Barry Bryan to form a band, which eventually became Willie

Barry and The Chaperones.

Willie has four guitars, two Martins, a Yamaha, and a Gibson. His latest acquisition is a ‘57 Re-issue Les Paul

Gibson Gold Top. Besides 1950s Rockabilly, his musical taste runs to many Elvis Presley, Johnny Cash and

Ricky Nelson songs.

He lives in Jefferson, Md., with his mom and dad, Karen and Mark Barry, is a graduate of Brunswick High

School and studies music at Frederick Community College.

When he isn't studying or playing gigs, he said, he mostly hangs out with his friends.

"We go to the "Y" and workout and swim and go to the movies," Willie said. "And I love to do outside gigs."

He's been a member of F.A.M.E. since the group started and he says he thinks he'll stick with his music

because it's what he wants in his life. ♪

Willie Barry (center) and The Chaperones (Barry Bryan, left and Tomy Wright, right) photo by Caryl Velisek

Page 10

“Comfortable Concerts” features

Jessica Smucker by Robin Markle

Friday, February 22, 2013 7:30 PM. Jessica is a unique

singer songwriter. She has a distinctive style that infuses

bluesy folk and “dark pop” with a country edge. She turns

out catchy melodies in minor keys and evocative lyrics

that infuse sad stories with some humor and hope. She

writes about controversial themes with explosive lyrics

that can range from innocence to rage...comparable to that

of Sarah McLaughlin, Alanis Morisette, or Fiona Apple.

Jessica's music has been said to be, “a real treat for the

serious listener.” Jessica has garnished awards from the

2010 Susquehanna Music and Arts Festival Songwriting

Contest (Havre de Grace, Maryland); 2010 Solarfest

Songwriting Contest (Vermont) and a Finalist in the

Indiegirl Songwriting Contest. She already has three

albums under her belt. Take a listen to her on her website,

www.jessicasmucker.com, and join me as I welcome her

to my concert series.

Doors open: 7:30 PM Music: 8 PM

Suggested donation (solely for the artist) $10-$20

CD's will be available for sale.

I provide beer/wine/non-alcoholic beverages and light

snacks. RSVP by Feb. 20 to:

kmarkle6@hotmail.com (Robin) - PLEASE REFER TO

THE “F.A.M.E. ANNOUNCEMENT” AS TO HOW

YOU FOUND OUT ABOUT THE CONCERT. ♪

Page 11

Photo courtesy of Jessica Smucker and The Sleeping World

"House Concerts - you and the music. No distractions."

3/22 RyanTennis www.ryantennismusic.com

4/12 JR Byrd www.jrbyrd.net

5/3 Tony Denikos www.tonydenikos.com

6/14 Joe Truman www.joetruman.com

7/12 Eric Scott www.ericscottmusic.com

8/9 James Hurley www.jameshurleymusic.com

9/20 Christopher Jones www.christophermarkjones.com

10/11 Ian McFeron www.ianmcferon.com

11/15 Kyle Carey www.kyleannecarey.com

12/13 Lilt (Keith Carr/Tine Eck) www.liltirishmuslc.com

Upcoming “Comfortable Concerts”

F.A.M.E. Board of Directors

Rick Hill, President

Todd C. Walker, Vice President

Rod Deacey, Vice President

Tomy Wright, Treasurer

Karen Fetters, Secretary

Ron Goad

Hank Kobrinski

Roy Greene, Editor

F.A.M.E. Newsletter welcomes your photos and stories about

local acoustic music and musicians. Please email submissions

to the editor at roy.greene@yahoo.com by the 15th preceding

the month of publication. Submissions subject to editing.

Page 12

Washington Area Music Association

Baltimore Folk Music Society

Some other organizations in the area that you may want to check out:

F.A.M.E. Goals: To nurture, promote and preserve original and traditional

acoustic music of all genres in Frederick and Frederick

County through live music, education and

community outreach.

To educate aspiring musicians and the general

public about all aspects of original and traditional

acoustic music of all genres via workshops, open

mikes, showcases and concerts.

To reach out to the community via workshops and

concerts, especially through schools and youth

organizations and the setting up of mentoring opportunities

for young and aspiring acoustic musicians.