In the spotlight…Craig Donovan by Caryl Velisek

From the President 2

Open Mics 2

Songwriters’ SONGFEST 3

Songwriters’ SHOWCASE 3

Gear of the Month 4

Traditional Folk Song Circle 5

The Songs We Sing 5

Inside this issue:

F.A.M.E. Goals 16

Board of Directors 16

Pull up a chair 6

In the Spotlight 7

F.A.M.E. Songwriters Show 8

On Owning a Martin Guitar 10

Hill Chapel Concert Hall 12

Comfortable Concert Series 13

Membership Application 14

ATTENTION MEMBERS: Do you have a background in accounting or

legal or any experience filing for non-profit status with the IRS? If so,

F.A.M.E. needs your help! Please contact Todd at todd@toddcwalker.com January 2014

Photo courtesy of Craig Donovan

Craig Donovan has lived in

Maryland for five years

and he has rapidly become

a part of the music scene in

Frederick. A guitar player/

s i n g e r / s o n g w r i t e r ,

Donovan is originally from

Staten Island, New York,

where he grew up attending

concerts with his parents.

(Continued on page 7.)

Open Mics

Page 2

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.

Church Street Pub, 489 East Church Street, Frederick Wednesday nights 7-11

PM. Alternating hosts: Wally Worsley and Dave Mott. If you haven’t been to

the Church Street Pub, you owe it to yourself to stop by and find out why people

LOVE this place! Format is similar to other open mic venues: sign up and play!

Enjoy good food and drinks, good company and good music!

Staff photo

Happy New Year! Lots of folks make New Year’s resolutions and almost as

many folks break them within a matter of weeks. I think that is because the resolutions

are not connected to any serious desire to make a change. When I do leadership training,

I encourage folks to ask three questions: What?, So What?, and Now What?

“What?” takes a look at what you have done in the past. To list all the stuff you have

done, to be aware of the role you have played and the roles others have played. To see

what connections were made, what relationships were built and what were destroyed.

So What?” asks what difference all of that made. Did you have a positive impact? A

negative impact? Did you make a difference in someone else’s life; did someone make a difference in yours?

In all of the things you did, did they help you move closer to your goals or further away?

“Now What?” asks what the next steps need to be. Having looked at what you did and the difference it

made, what is next? This is where New Year’s resolutions come in. With your goals firmly in mind, plan your

next steps. Figure out what resources you will need; will you need to develop some new skills? “Now what?”

may also require you to rethink the goals you have set, to check your road map and see if that is where you

really want to go. It is also a time to find the confidence, perhaps the courage, to continue moving forward.

I am in the process of ending one job and moving towards another. There’s a lot of “What, So What,

and Now What” going on. But it helps me get some focus and make some important decisions.

I hope your New Year is filled with both new opportunities and new challenges. There is a blessing that

comes from somewhere that says, “May your journey be interesting.”

Keep listening, keep playing, keep living. ♪♪

From the President Hi folks,

Peace,

Rick Hill

Page 3

Monday Songwriters’ Showcase Brewer’s Alley, 2nd Floor

124 N. Market Street, Frederick, MD

Shows begin at 7:30 PM

Photo courtesy of Todd C Walker

Sunday Songwriters’ Songfest Frederick Coffee Company and Café

100 N. East Street, Frederick, MD

Every other Sunday at 4 PM Todd C Walker puts together an

afternoon of local, regional, and sometimes national talent.

Songwriters perform 30-40 minute sets.

Performers are not paid, so please tip generously.

6th Jennie Avila and Stephen Wright: Aca-Perco! http://www.aca-perco.com/

13th Justin Trawick http://www.justintrawick.com/

20th Chatham Street http://www.chathamstreetmusic.com/

27th Ruthie & the Wranglers

http://www.ruthieandthewranglers.com/ruthieandthewranglers/Home.html

January 12

Chris Anderson Terri Bocklund Sophie Todd

January 26

Mike Kelly Dan Kenny

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

beautiful downtown Frederick, in the upstairs dining room at Brewer’s Alley. The program begins promptly at

7:30 PM with a piano prelude. Each week a local, regional, or national songwriter showcases his/her songs

with a 35-45 minute set. Although there is no door charge, we do “pass-the-hat” during the featured artist

set. We also showcase three other songwriters who each perform three original songs. Somewhere in the mix,

we throw in some poetry from our resident poets, John Holly and Rod Deacey. Our emcees are Ron Goad,

Todd C Walker, and Tomy “one M” Wright. If time allows, our emcees may perform. Please 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.

Gear of the Month by Todd C Walker

Todd

Page 4

Now go make some music! ♪♪

By know you know that I like acoustic instruments. So much so, that I have a

house full of them. I have cases in my living room, cases in the hallway and cases in my

den/office – too many cases. My main instrument is the 6-string acoustic guitar, but I

own several ukuleles, including a bass ukulele (fun, fun, fun), and one 12-string guitar.

And, I am now the proud owner of a Deering Goodtime 5-string banjo. Banjo?? Yep.

F.A.M.E. President Rick Hill plays an old 5-string open-back banjo during

some of his shows. I heard him say that he set a goal to learn eight different acoustic

instruments (guitar, banjo, hammered dulcimer, upright bass, harp, bowed psaltery,

nyckelharpa, and accordion). I thought that was a cool idea. So much so, that I dusted

off my tenor ukulele and worked out a couple songs. To make things easier on my

troubled shoulder, I purchased a bass ukulele. (Did I mention how much fun it is?)

Watching Rick play claw-hammer style on his banjo (it

looks easy – it isn’t), I thought I’d give it a try, thus my purchase of

the Goodtime. I purchased mine used, but Boe’s Strings in Frederick carries several

versions priced between $500 and $800. The basic open-back model, used, can be found

on Ebay between $399 and $600. Not thinking, I didn’t check to see if mine came with a

case – it didn’t, so I purchased a banjo gig bag from Boe for under $40.

The Deering Goodtime was originally designed as an entry level

banjo for folks to learn on at an affordable price. The Goodtime is

considered (by banjo players) to be a much better banjo than its low price

point leads one to believe. In fact, many A-List players keep a Goodtime

around the house for daily play. Not being an accomplished “in-the-know”

banjo picker myself, I took Boe’s advice and seriously considered going

Deering instead of one of the flashy overseas models, although I was

tempted. Result: I’m impressed. The sound is basic 5-string banjo –

LOUD. Sound volume aside, the Goodtime tunes easily and plays well.

String height is not like a guitar and is taking some time to get used to, but

after a set-up from my guitar (now banjo) tech, I find it quite easy to

navigate around the fretboard. Intonation is very good – as good as a banjo can be. Build

quality is excellent – very clean. Sound is very basic, but as I said, loud. Even though the

open-back banjo is not considered a bluegrass instrument, I can see a good picker having fun drowning out the

guitar, mandolin, and fiddle in a bluegrass jam. For old-time clawhammer playing style, it is perfect. At least I

think so. I’ll let you know once I master it. I give the Deering Goodtime banjo two thumbs up.

On another note, let’s discuss instrument health. Since we are now in official winter mode, it is

important to keep our acoustic instruments humidified. Low humidity caused by home heating systems can

seriously damage instruments made from thin pieces of wood, so it’s important to make sure our instruments

don’t lack for moisture. In-case humidifiers are wonderful and inexpensive, and if used and maintained

properly, they can keep your instrument from being damaged by dry air. But why not humidify the entire

house – it’s made from wood also. Whole house humidifiers can be expensive. The ones I like the best are the

least expensive and can be purchased at CVS, Target, Walmart, and Dollar General.

Ta-da! Ladies & gentlemen, I present the low-cost Vicks Vaporizer, or what my

Mom used to call “a steamer.” It’s simple to use, low in cost and just about foolproof.

I keep two in my house. Not only do they help maintain proper humidity (45-50%

relative humidity for acoustic instruments), but the increased humidity decreases the

static charge zap so often felt in wintertime, plus you may find that you get sick less

often. And your house will actually feel warmer (think summertime high humidity).

Cost is less than $20. The vaporizer is definitely a two-thumbs up.

Gear photos by Todd C Walker

The Songs We Sing by Caryl Velisek

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

Second Saturday of each month 2-4 PM

Page 5

The Traditional Folk Song Circle was cancelled in

December due to a winter storm warning that came out the night before the Song

Circle would have taken place. The fierce winter storm that was predicted turned out

to be relatively mild. But, by the time that became obvious, it was already too late to

try to get the word out to everyone. Better to err on the side of safety (somebody said.)

But, barring another winter storm, we will be back with another Song Circle January

11. We hope to see you then! ♪♪

The title of my article this month could very well be: “The Songs We Would Have

Sung,” because, being close to Christmas, you can bet the Song Circle (had it not been

cancelled due to weather) would have sung many of the season’s favorites, like:

SILENT NIGHT – There are many stories associated with the Christmas song “Silent Night” and one I have

always heard has to do with guitars, which I am quite found of, so here it is. The song was first heard 180

years ago in a village church in Oberndorf, Austria, when the author of the words, Joseph Mohr, a young

assistant priest, and his friend, Franz Gruber, sang them, accompanied by Mohr's guitar, at midnight mass on

Christmas Eve. It is possible that it is true that for some reason the church organ would not play that night, so

Mohr played his guitar, and I like to believe that is true. It is a story that has come down to us through the ages.

No matter, “Silent Night,” or “Stille Nacht, Heilige Natcht” is one of the most often sung and most beloved

carols of the season.

JINGLE BELLS – This is probably one of the best known Christmas songs, too, but it was not always sung at

Christmas. It was actually written to be sung at American Thanksgiving. James Lord Pierpoint, the author,

originally titled it “One Horse Open Sleigh” and he wrote it in the autumn of 1957.

JOY TO THE WORLD – This is one of my favorite carols, partly because it was the processional used by

my high school choir each year at our Christmas Concert as we marched down the aisle of the auditorium. Or,

maybe because it was one of the few times that I got to sing second soprano (and harmony) instead of my

usual first soprano part. The words are from a hymn written by Isaac Watts, based on Psalm 98 in the Bible,

and it was first published in 1719. The melody is believed to have originated from Handel's Messiah. As of

the late 20th century, it was the most published Christmas hymn in North America.

WHITE CHRISTMAS – Like many other Christmas songs, “White Christmas” has its stories. It was written

by Irving Berlin and according to The Guinness Book of World Records, the version sung by Bing Crosby is

the best selling single record of all time with more than 50 million sold world-wide. Along with Crosby's,

more than 100,000 other copies have been sold. There is a story that when Berlin wrote it in 1940, he told his

secretary, "Grab your pen and take down this song. I just wrote the best song I've ever written - heck, I just

wrote the best song that anybody's ever written!"

AULD LANG SYNE – This is a poem written by one of my favorite poets, Robert Burns, in 1788, and it is

set to the tune of a traditional folk song. It's traditionally used to start the New Year in much of the English

speaking world. Singing the song at Hogmanay, or New Year's Eve, became a Scottish custom and soon

spread to other parts of the British Isles as Scots, Englishmen, and Welsh and Irish folk emigrated around the

world and took the song with them. It is often also sung at graduations and funerals, and as a farewell on other

occasions, and is used by The International Boy Scout Youth Movement in many countries to close jamborees

and other functions.

Hope everyone has a Happy New Year full of LOVE, JOY and MUSIC! ♪♪

Photo by Todd C Walker

Tomy “one M” Wright

Pull up a Chair…The best folk song you

thought you knew, but never heard of ?

by Frederick Folklorist

So here’s how the conversation usually goes…I say, “Have you

ever heard of the folk song: And The Band Played Waltzing Matilda?” And, the per-

son I’m talking to says, “Sure, I know it. It’s the one that goes ‘Waltzing Matilda,

Waltzing Matilda, who’ll go a waltzing Matilda with me,’ right?” I shake my head

and say, “No, that song is called ‘Waltzing Matilda,’ The song I’m talking about is

called ‘And The Band Played Waltzing Matilda’.” “Oh, I never heard of that one,”

they would say. So, let me tell you a little about the best folk song you think you

know, but you’ve never heard of.

The song is an account of the memories of an old Australian man who, as a youngster in 1915, had

been recruited into the Army and sent to the Battle of Gallipoli. Having suffered gruesome injuries from the

war the old man reflects on the battle as he sits on his porch watching the veterans march past on ANZAC day

(kind of like Memorial Day). With thoughts like, “The young people ask what are they marching for, and I ask

myself the same question,” you understand his view of war has changed since his youth.

“And The Band Played Waltzing Matilda” was written in 1971, as an anti-war song by Eric

Bogel, but was never sung or recorded for a couple of years. It’s kind of funny as to how the song got its first

public unveiling. Bogle was a contestant at the 1974 National Folk Festival in Brisbane, Australia and had en-

tered a different song in the contest. Everyone was supposed to sing the one song they had entered and then

leave the stage. However the guy who went on before Bogel accidentally did 2 songs. So Eric said to himself,

“Well, I have that Waltzing Matilda song, I guess I can do.” And that’s how the public first heard the song

“And The Band Played Waltzing Matilda.” By 1996, over 130 artists had covered the song in 12 different lan-

guages. Eric didn’t record the song himself until 1978, even though several other singers had already recorded

it by then. Funny, but Bogle has said he’s heard most of the versions of his song and likes his version the least!

In writing an anti-war song, he tried to avoid denigrating the servicemen who’d suffered, and wanted rather to

indict those responsible for the loss of life and limb in war, especially in unnecessary wars like Vietnam and

unnecessary actions like Gallipoli.

The version of the song I’ve

chosen is special to me. It’s sung by

Liam Clancy, one of my favorite folk

singers. I’ve heard several different

versions of this song by Liam, but this

one gets to me. The other ones just

seemed like a song on his set list. A

little more up tempo than this version

and sung when Liam was a lot

younger. In this version however, I

really sense something has changed in

his life. He really FEELS this song. He

has anger, he has frustration, and he

has sadness. He may have sensed that

his own time was growing short and

his outlook on the loss of life in war

had changed since his younger days. When he sings the song you really think it was he who was at the battle of

Gallipoli, not the old man in the song. Whatever the reason, it makes for a great folk ballad. I hope you enjoy

listening to the best folk song you thought you knew, but never heard of: http://www.youtube.com/watch?

v=PFCekeoSTwg. ♪♪

Next month: John Prine

Photo by Todd C Walker

YouTube image, Liam Clancy - Band Played Waltzing Matilda

Page 6

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, or listen.

January 9 Poems for the New Year — All poets welcome!

January 16 Carl Sandburg — Celebration of his poetry and life

January 30 Open Poetry Night. Bring poetry. Bring friends.

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!

Music Variety Showcase

In the spotlight…Craig Donovan by Caryl Velisek

John Holly

Photo by Todd C Walker

“My parents were not musicians but they took me to a lot of concerts. I did

the folk scene and listened to a lot of bands when I was growing up. I’m a big Pete

Seeger fan and some of the most memorable concerts my parents took me to were

the Thanksgiving concerts by Pete Seeger and Arlo Guthrie at Carnegie Hall,” he

said. Craig Donovan’s favorite guitarist is Pete Townshend of The Who, but he

appreciates many musicians from that era including Peter, Paul and Mary.

Donovan said he plays “some piano” and he got started with the guitar when he

was 10 or 11 years old. He started writing music while freshman in high school.

“As a musician I like a vibrant performance and as a song writer, I like words and

the crafting of words,” he noted. “I write on a variety of issues. My music

preference is eclectic. I guess I’m an old rocker with a folk influence.”

Craig said he “put it away for a while” when he went to college and later got married, but he’s very much

into his music again. “We visited Frederick and walked into the Frederick Coffee Company for something to

eat, and that led to my involvement in the music here. I came from the protection of a band but I’ve been doing

open mic here at the [Frederick] Coffee Company and at Brewers Alley.” He’s also been performing at other

venues including Politics and Prose in Washington, D.C., and the Rockville American Legion Post. He does

his recording at Shab Row recording studio using an Apple-based workshop.

Donovan has an extensive collection of guitars. His favorite acoustics are a Gibson Hummingbird Pro

acoustic-electric (starburst design) and a Takamine acoustic-electric (black). “As for my favorite electric

guitars,” he said, “I have a 1975 Gibson Black and White Les Paul Standard, a 2009 Gibson SG (burgundy

with a black pick guard), a 1988 Rickenbacker 330 (white with black pick guard), and a 1987 Rickenbacker

360 (starburst color with white pick guard). “When I play classical guitar, I use a Cordoba C3 Iberia series.”

Donovan lives in Rockville with his wife, son, and daughter. For the past 13 years, he has been employed as an

attorney at Environmental and Natural Resource Law and Intellectual Property Law with the U.S. Department

of the Interior in D.C.

“We love Frederick,” Donovan said. “The music and the history have always felt like home here.

Everyone is so supportive. It’s a very supportive community. I’ve done other venues and the level of

musicianship in Frederick is very, very high. I’m really enjoying the ride!” ♪♪

Page 7

Photo by Craig Donovan

The Frederick Coffee Company and Café was the scene of the end-of-the-year F.A.M.E. Songwriters Show-

case, December 29, 2013, presented by Todd C Walker, an annual feature of his Sunday Songwriters Songfest.

F.A.M.E. artists performing were: Tomy “One M” Wright ~ Dave Weiner ~ Jukebox Underdogs (Phil Badell

& Casey Cleveland) ~ Rick Hill ~ Rod Deacey ~ Doug Alan Wilcox ~ Max Honn

F.A.M.E. SONGWRITERS SHOWCASE

Page 8

Photos this page and next courtesy of Todd C Walker

Page 9

Jukebox Underdogs

Doug Alan Wilcox

Tomy “One M” Wright

Dave Weiner

Rick Hill

Rod Deacey

Max Honn

Page 10 On Owning a Martin Guitar, Part II

This is the second of a two-part series by Barry Bryan Designing your own “custom” Martin guitar Martin has a program where you can order a guitar from a Martin dealer and design your

own custom guitar, choosing from endless design options. You can have it shipped to

you or pick up your custom guitar directly at the Martin guitar factory in Nazareth,

Pennsylvania. Over the years I have

commissioned Martin to make

several custom guitars for me – with me picking them up at

the factory when they were finished. About a year ago,

Willie Barry rode with me up to Nazareth to pick up a

second bass guitar that they had made for me. The Martin

facility boasts a guitar factory (with free tours for visitors),

a repair and restoration department, a gift shop, and even a

guitar museum showcasing the rich history of Martin

guitars. The museum has Martin guitars on display that

formally have belonged to Elvis Presley, Ricky Nelson,

Stephen Stills, Judy Collins, Del McCoury, Curt Cobain,

Sting, Earnest Tubb, Merle Haggard, Gene Autry, Eric Clapton, Paul Simon, Merle Travis, Jim Croce, and

dozens of guitars from numerous musical celebrities.

Finding a Martin guitar to buy around the Frederick area The Martin Guitar Company has a website (www.martinguitar.com) which lets you explore the world of

Martin guitars and also information about the free tours of the Martin factory. Martin guitars can be tried out

and purchased locally at Boe’s Strings on Market Street in Frederick, Maryland, at Melody Music in Leesburg,

Virginia, and at the Guitar Center in Rockville, Maryland. List price for a Martin guitar ranges from about

$700 to $110,000 – depending on the guitar model that you choose. Average price for a Martin guitar model

that you might hold on to for the rest of your life would be about $2,200. Most dealers, including Boe’s, sell

Martin guitars about 30-35% off the suggested retail list price.

Of the several Martin guitars I presently own, half were bought new through Elderly Music, Lansing,

Michigan (they specialize in ordering custom Martin guitars); the rest were eBay purchases. And no, I’m not a

“total Martin snob” as some people have suggested. I own a couple of Gibson guitars as well and several

Fender vintage guitars and basses. I suspect though, that my custom C.F. Martin bass is recognized as my

signature performing guitar among my F.A.M.E. circle of friends.

Hank Williams’ Martin guitars Among the dozens of former celebrity-owned guitars, off in the corner in a separate display case, near the

main entrance door leading to the factory floor is one the “holy grails” of famous Martin guitars. It is the

original Martin model D-18 guitar that Hank Williams

owned and performed on throughout his musical career. It

was on that guitar that Hank Williams composed “Love

Sick Blues,” “Hey Good Looking,” “Your Cheating

Heart,” “I’m So Lonesome I Could Cry,” “I Saw The

Light” and dozens of his other hits. In any iconic picture

of Hank Williams performing, it’s his Martin D-18 that

he’s playing — the same one that’s hanging right there in

the display case. Another Martin guitar that Hank owned

at the time is a Martin D-28. This was the guitar that was

found in the trunk of Hank Williams’ chauffeur-driven

1952 Cadillac the night he was found dead in Oak Hill,

West Virginia in the back seat of his car at the age of 29—

on his way to a gig. According to the corner, Hank died

Barry Bryan

photo by Todd C Walker

A few of the “guitars of the stars” at the Martin factory

guitar museum. Photo courtesy of Barry Bryan.

Willie Barry checks out guitars formerly owned by Hank

Williams and Elvis Presley. Photo courtesy of Barry Bryan.

from "insufficiency of the right ventricle of the heart" on January 1, 1953. The Martin D-28 was

the last guitar Hank ever strummed.

The Martin Guitar Company purchased Hank’s iconic D-18 guitar a few years ago at an auction at Christies

in New York City for $134,000. And the D-28? Hank Williams son, Hank, Jr., inherited it and he traded it to

Tut Taylor, a Nashville session musician for a few shotguns. Thirty-some years ago, Tut sold it to Neil Young.

Feeling that the guitar should be played, and not just on display in museum somewhere, Neil Young still

actively performs on stage with Hank’s D-28 guitar while touring.

Willie Barry meets Hank Williams (well, at least Hank’s guitar) So, there I am looking over my brand new Martin bass guitar at the Nazareth factory along with Dave Doll, the

Martin employee that oversees the custom guitar customer service department, and Willie Barry, who’s sitting

next to us. Willie starts raving about Hank Williams’ guitar in the display cabinet out in the lobby. Dave is

enjoying Willie’s enthusiasm about seeing Hank’s old guitar for the first time, and also appreciating Willie’s

admiration for Hank William’s music. Earlier while waiting for them to bring my bass out to me from the

factory floor, Willie gave an impromptu concert in the visitor lobby playing on one of the many new Martin

guitars on display there for visitors to try out. Dave and the other visitors in the lobby liked what they heard

that afternoon, and even more, Dave Doll loved Willie’s spirited rendition of Hank William’s “Setting The

Woods On Fire” that he had overheard from the lobby earlier. As Willie listened to me playing my new Martin

bass in the factory sales room, Dave offered Willie another guitar to play along with me. I thought it was one

of the several other guitars in the room that had been left off for repairs, as it looked a bit “tired.” Willie

eagerly took the offered guitar in his hands and started playing a riff here and there and then a few chords, as

he usually does when trying out any new guitar. Dave asked for Willie’s opinion of the guitar he just handed

him and Willie replied something like he “thought it was pretty cool…” Unknown to Willie or me, Dave had

gone out to the lobby, unlocked the Hank Williams guitar display case, and brought back Hank Williams’

guitar for Willie to play! It didn’t take long for Willie to be in hillbilly heaven! Per Dave’s request, Willie

offered up another Hank Williams tune, or two. And then, in time, the guitar was returned back to the display

case for the other Martin visitors to admire – but certainly to never ever really actually touch.

Later on during our visit Chris Martin, the current C.E.O. of Martin Guitars, and the current “C.F.” of “C.F.

Martin & Co.”, (and the great-great-great grandson of the original C.F. Martin) - hearing us playing came out

from his office, and introduced himself to us. Chris listened to us both play for while - and then signed the

inside one of Willie’s Martin guitars - which Willie had brought with him that day to the factory for a possible

tune up. Without a doubt, it was a very memorable day for Willie Barry. ♪♪

Page 11

Above left, Barry Bryan, Dave Doll, and Willie Barry, who is playing Hank Williams’ 1947 Martin D-18 guitar; right, Willie Barry

with Hank Williams’s guitar in the Martin factory lobby. Photos courtesy of Barry Bryan.

Concert Hall

Upcoming Hill Chapel Concerts

Kelley and Paul Hill used to drive past Grace Church every day

and noticed that it was for sale. “We just thought it was a sin (pun

intended) for a such a beautiful building to sit vacant,” Kelley said with a

grin. “So, Paul went to see the realtor and found out that the property

came with the parsonage house. We had no idea! It was really in rough

shape, but Paul worked at it, and made it our home, too. The first floor is

for business only, primarily for weddings. There’s an office, parlor,

dressing room, and a half bath. The musical piece came by accident.”

“We started with a concept of what we wanted to present to

the community: a unique acoustical setting,”

Paul said. “A friend who hand-crafts fine

stringed instruments contacted a few of his

clients, explaining the charm of the venue

and asking if they would like to play. They

did so, and told others, who told even more

performers. The one thing that every act has

commented on is how wonderful their

instruments and vocals sound in the Chapel,” Paul said. “One can hear every note played

from everywhere, totally pure and unspoiled. The artists love it!” The Hill Chapel

Concert Hall series dates back to February, 2012, and has hosted fifty-some concerts.

For the 2014 winter/spring season, there are already 34 acts booked with

many new and exciting faces as well as several “old” friends returning. “We have had

performances that sold out (capacity is 120, max), and for those times we used Eventbrite

ticketing to help us keep track,” Paul said. “With pew-bench seating, we don’t reserve

seats,” Paul explained. “It is first come, first served. And, if you have a seat cushion, feel

free to bring it with you!”

6 East Main Street, New Market, 21774

Most THURSDAY NIGHTS — 7:30 to 9:30 PM

9 Jude Fall Parker

16 Brian Keith Wallen

23 Shenandoah Run

30 Ilyaimy ( I Love You and I Miss You)

6 Acoustical Medley of

F.A.M.E. Performers

Dave Weiner, Rick Hill, Tim Kirkner, and Ken Glasser & Angelin Donohue

14 Amy White and Al Pettaway (Special Friday Evening Concert)

20 Josh Joffen

27 Toss the Feathers

6 Robin Bullock

13 Doug Wilcox

20 Ronnie Smith

22 Tim Connell and Jack Dwyer (Saturday Night) Fundraiser

27 Andrew McKnight

Page 12

Paul Hill at The Hill Chapel

Comfortable Concerts presents...

Upcoming Comfortable Concerts

Feb 21 Dave Weiner dlwandthewoodtones.com

Mar 14 Pete Looney http://petelooney.blogspot.com/

April 11 Barbara Martin www.barbaramartinmusic.com

May 9 Jeremy Neely www.neelymusic.com

May 30 Jason Myles Goss www.jasonmylesgoss.com

June 20 Brett Barry http://www.youtube.com/watch?

v=2UrEeUsKQXQ

Page 13

January 10: Bob Sima *** January 31: Joe Marson!January will be DOUBLE the FUN! There will be two concerts this month!

Bob Sima is a nationally touring singer/songwriter based in Annapolis, Maryland. His music is uplifting

and positive with wonderful messages of love and life. He's been more influenced

by Rumi and Gandhi than Dylan and Springsteen. Bob has played a multitude of

festivals, coffee houses, and living rooms. He has won first place honors at the

Wildflower Music Festival, beating out 499 other artists.

His positive lyrics and uplifting melodies has led him to introduce his

music at spiritual centers and positive music festivals that promote personal

growth. Bob has been called, “Eckhart Tolle with a guitar”. He has shared the

stage with author and peace activist, Marianne Williamson at the “Be the Change

National Conference” performing his song, “Be the Change.” He also shared the

stage with another author, Peter Russell.

Bob Sima has graced the stages of the Kennedy Center, Rams Head

Onstage, Rams Head Live, Musikfest, and the Kerrville Folk Festival just to

name a few. His many accomplishments started in 2007 with the most recent

being the 2013 Seal of Excellence for his song, “Thin Little Veil” by the Positive

Music Association and the 2013 Rammies award, Show of the Year at Ramshead

Onstage. Please join me for an

e n j o y a b l e e v e n i n g o f

song. www.bobsima.com

Joe Marson will be returning

for his second concert at Comfortable Concerts. Joe is based in

Brooklyn, New York. He will intrigue you with his soulful

voice and his written prose of wisdom and wit. He's accompa-

nied by his fine lyrical guitar playing. Before settling down in

Brooklyn, he travelled the country to find his “sound.” You'll

notice his songs are an eclectic mix of jazz, folk, hip-hop, and

blues-infused rock. Joe's contemporary sound will captivate

your senses. Don't miss this young musical wonder! Check out

his music and newest video at: www.joemarson.com.

FOR BOTH CONCERTS: Doors open: 7:30 PM. Suggested Donation: $10-$20/person (solely for the artist)

Please refer to the F.A.M.E. newsletter. Food and refreshments are served.

Page 14

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

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 – Hank, Chair; Co-chair, Tomy, Mike

1. Plan and oversee workshops

2. Oversee mentoring program

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

E. Scholarship Committee – Fran; Rick, Chair

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

Page 15

The Institute of Musical Traditions (IMT) is an independent nonprofit 501(c)(3) organization which preserves

and promotes American and international folk music traditions and nurtures new styles evolving from these

cultural roots by presenting concerts, workshops, and educational programs.

F.A.M.E. Board of Directors

Rick Hill, President

Todd C Walker, Vice President

Tomy Wright, Treasurer

Karen Fetters, Secretary

Hank Kobrinski

Max Honn

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.

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.

Page 16

Folk Alliance International exists to foster and promote traditional,

contemporary, and multicultural folk music and dance and related

performing arts. The Folk Alliance seeks to strengthen and advance

Washington Area Music Association

Baltimore Songwriters Association

Songwriters’ Association of Washington

DC Bluegrass Union

Folklore Society of Greater Washington

Baltimore Folk Music Society

organizational and individual initiatives in folk music and dance through education, networking, advocacy, and

professional and field development.

Since 1989, Folk Alliance® has served as the headquarters for Folk Music and Dance. With over 2800

members worldwide and an annual conference that is one of the five largest music conferences in North

America, Folk Alliance continues to grow and mature while providing a unique range of member services to

our community.

Over the years, our community has grown to include record companies, publishers, presenters, agents,

managers, music support services, manufacturers and artists that work in the folk world. Folk Alliance has five

regional affiliates that provide the grass roots efforts in their respective markets.