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Terms & Conditions

Welcome to Native Ground Music, Inc.

For our privacy policy, please visit: https://nativeground.com/privacy-policy

These terms and conditions outline the rules and regulations for the use of Native Ground Music, Inc.’s Website.

Native Ground Music, Inc. is located at:

109 Bell Rd
Asheville, North Carolina  28805

By accessing this website we assume you accept these terms and conditions in full. Do not continue to use Native Ground Music, Inc’s website if you do not accept all of the terms and conditions stated on this page.

The following terminology applies to these Terms and Conditions, Privacy Statement and Disclaimer Notice and any

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Lester Woodie, Coming Up The Hard Road

Rural Roots of Bluegrass

In the Summer of 1949 a shy boy of eighteen rode up to Bristol, Virginia for his first professional job as a fiddle player. Behind the steering wheel was a man in his early twenties who had encouraged the boy’s music from the start. The older man’s name was George Shuffler.

“This is a good break for you,” George said to the younger man riding beside him. “The Stanley’s are tough, and what with making a guaranteed $50 a week, why you could send some home to the folks and still have more money than you would have ever made

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The 5-String Banjo in North Carolina by C.P. Heaton

By C.P. Heaton

North Carolina is banjo country. No other area has done more to nurture and preserve banjo traditions; no other area has had greater influence on banjo innovations. The colorful history of America’s favorite folk instrument is very nearly synonymous with the history of banjoists and the banjo in the Tar Heel state.

The American banjo is of diverse ancestry. Stringed instruments with skin heads and wooden shells are known to have existed nearly 4500 years ago in Egypt. Similar instruments have been used for hundreds of years in India, Burma, Siam, Arabia, Tibet, and the Celebes. 1

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Banjo History by George R. Gibson

By George R. Gibson

Uncle Dave Macon, the first star of the Grand Old Opry, was an extraordinary banjo player and entertainer. It is likely that black musicians as well as minstrel entertainers influenced his music. Earl Scruggs, who originated a unique style of bluegrass banjo playing, came from a mountain area where banjos and banjo songs had long been a part of the culture. Many mountain banjo songs became popular with early radio string bands, and later became bluegrass standards. When the banjo and banjo songs entered the mountains is a question that has not been definitively addressed.

Various

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eBook and MP3 FAQ

What format are your eBooks?

We currently offer PDF versions of most of our titles on this website. You can also find many of our titles available on Amazon Kindle as well.

What devices can I read your eBooks on? 

The wonderful thing about PDFs is that you can read them on any device: your computer, laptop, tablet, iPad, eReader (Kindle, Nook, etc), or smart phone. You can even print them out!

I bought one of your music instruction books but I don’t have a CD player. How do I access the audio online?

You can find all of the

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A History of Bluegrass Guitar in Western North Carolina

By John Martin

When folklorists like Cecil Sharp came to the mountains of North Carolina they found an enduring musical culture of Scotch-Irish fiddle tunes and ballad singers as well as some of the only black banjo and fiddle players in the country.  In the 1940s, western North Carolinians helped produce a new form of music: bluegrass. Earl Scruggs popularized the regional three-finger banjo style that in many ways defined bluegrass, and the state also made many contributions to guitar playing. 

While the acoustic guitar began as a rhythm instrument, North Carolinians Don Reno, Earl Scruggs, Doc Watson, and George

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“Keep a-Goin’” Musician Everett Lilly of Clear Creek, West Virginia by John Lilly. Photograph by Michael Keller

everett_lilly_089pBorn in 1924, musician Everett Lilly has been going strong for nearly 85 years, living just a stone’s throw from the Clear Creek property where he was born. A casual observer might not realize that Everett, together with his late brother “B,” traveled the world over, performing and promoting the music of his Raleigh County home.

The Lilly Brothers, playing with neighbor Don Stover, introduced countless new fans to the down-home music of southern West Virginia at the peak of their popularity during the mid- to late 1960’s. Singing tight, “brother” harmonies and playing at a breakneck tempo on guitar,

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Wiley & Zeke Morris, The Morris Brothers

Rural Roots of Bluegrass

It all started with mama. It seemed like she could make music on about anything with strings on it and some things that didn’t, like the french harp. There never was enough time for mama to play, what with raising six rambunctious sons. But often on Saturday night she would put her work aside and get together with her two brothers, Rome and Joe, to make music. Joe played banjo in the old clawhammer style, and Rome played the fiddle. In addition to the hoedown square dance tunes, Rome was known to have played some beautiful waltz music on the

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Hank Williams’ Lost Charleston Show By John Lilly

When he left his Alabama home on December 30, 1952, Hank Williams had his sights set on West Virginia. He was billed as the headline act for a gala “Western Style Revue” at Charleston’s Municipal Auditorium and was scheduled to perform two shows here on New Year’s Eve night. Sadly, he never arrived.

Little has been written about this Charleston engagement. Most authors, researchers, and fans have shifted their attention instead to Canton, Ohio, where Hank was expected to perform the following day. On January 1, 1953, in Canton, the first public announcement was made about the passing of this

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Blind Alfred Reed

Henry Reed with Fred Pendleton

The Blind Man’s Song  – Recalling Alfred Reed By John Lilly

Young Violet Reed climbed a tall tree near her family’s home in Summers County and watched the road. She was looking for her father, Blind Alfred Reed, to return from Hinton, where he would go most days with his fiddle to play and sing on a street corner, a tin cup by his side. She could see him coming from a distance, walking down the road, fiddle tucked under one arm. Sometimes, if the day went well, he’d have a pound of bacon in his hand. Or, if the

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