“A Cold Wind A’ Blowin’ ” (1991–2019)

During the period covered at the beginning of this chapter (the early 1990s), WAMU-FM and the Birchmere both still featured bluegrass; by the chapter’s close, in the contemporary period, this powerful radio station had completely transitioned to a news and talk format and the Birchmere only occasionally booked this genre. The sheer number of bands and venues diminished noticeably as did the general interest in bluegrass. The shrinkage of bluegrass programming on WAMU-FM was gradual and deliberate, occurring over some dozen years. The local bluegrass community vehemently protest, but to no avail. However, the existence of the WAMU-FM spin-off bluegrasscountry.org and the formation of DC Bluegrass Union reflect the existence of the ongoing, though diminished, local bluegrass community.

Bluegrass Unlimited (1966–1977)

Both as a radio program on WAMU-FM and as a specialized magazine, Bluegrass Unlimited informed local fans about “their” music. The impact of the radio show was local, but the magazine soon garnered national attention. The Birchmere, which became the premier spot for bluegrass in the region, was founded by Gary Oelze who still operates this venue. By 1967 all three of these forces were underpinning the local bluegrass community. In the early 1970s the Seldom Scene formed out of the core of the original Country Gentlemen and soon became the most important bluegrass band in DC and, arguably, across the United States. During this period bluegrass became increasingly popular, a trend that only accelerated during the late 1970s and early 1980s.

Not Seldom Heard or Scene (1977–1991)

This chapter focuses on the era when bluegrass was most popular in and around Washington, DC. Several dozen venues, ranging from Tiffany Tavern in Old Town Alexandria to Lucketts Bluegrass in Loudon County, offered live bluegrass performances at least once a week and dozens of bands formed to meet this interest. In the early 1980s WAMU-FM offered up to forty hours of bluegrass weekly and much of the station’s income derived from contributions by bluegrass fans. For many months in 1980 the Birchmere booked nothing but bluegrass. Bluegrass reached its height of popularity around the DMV starting in the late 1970s through the early 1980s but by the early 1990s, signs were developing that this halcyon era was coming to an end.

Country Gentlemen and the Folk Music Revival (1957–1966)

The Country Gentlemen (perhaps the most nationally acclaimed of the bluegrass genre’s second-generation bands) are at the core of this chapter. During this period record labels across the United States took a greater interest in local bands and more of them appeared on 45 rpm discs and, secondarily, albums. The most important local label, Rebel Records, started the same year (1960) that weekend bluegrass festivals debuted in nearby Berryville, Virginia. An increasing number of local venues were booking live local and regional bluegrass bands as well as national acts. Spurred by the folk music revival, among other factors like increased radio airplay, the general interest in bluegrass was clearly on the rise.

Back Then It Was Called Hillbilly Music (1946–1957)

Bluegrass began to emerge as a subset of hillbilly music shortly after the close of World War II. However, both the terms “country” music and “bluegrass” were not commonly used until the late 1950s. Throughout the 1950s WARL radio highlighted this music, mostly notably lead by DJ Don Owens. Mandolinist Buzz Busby was perhaps the most influential pioneering bluegrass music in the area and participated in the first local television show (1954) featuring this music. By the late 1940s DC Records became the first local label to record hillbilly music talent around Washington, DC, and the Happy Melody Boys were the first hillbilly/bluegrass band to appear on national television (1955). The chapter closes with the formation of the Country Gentlemen, arguably the most important local bluegrass band.

Before Bluegrass (1920s–1946)

This chapter focuses on the country music scene prior to the development of bluegrass. Much of this discussion describes early radio performances, the scattered newspaper accounts of this music, and the few commercial phonograph records made during this period. A few important hillbilly musicians like Jimmie Rodgers and the Hill Billies performed in the District in the 1920s and 1930s. The Stoneman Family and their music exemplify both the migration into Washington, DC, and the music they brought with them. Like many others who moved to the District and nearby suburbs during the first fifty years of the 20th century, most of them came from Virginia or the Carolinas. Most of them also brought their musical interests with them.