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No Depression has been the foremost journalistic authority on roots music for well over a decade, publishing 75 issues from 1995 to 2008. No Depression ceased publishing magazines in 2008 and took to the web. We have made the contents of those issues accessible online via this extensive archive and also feature a robust community website with blogs, photos, videos, music, news, discussion and more.

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Artist: Doc Watson

Not Fade Away - Reissue Review from Issue #61 Jan-Feb 2006

Doc Watson Family – Tradition

From child ballads and British broadsides, to fiddle-and-banjo-driven dance tunes, this album offers a cross-section of mountain sounds that seem to resurface with surprising regularity. The Freight Hoppers recorded “How Many Biscuits Can You Eat This Morning?” for their debut release. “Pretty Saro” and “Am I Born To Die?” were included on the soundtracks of [...]

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Waxed - Record Review from Issue #46 July-Aug 2003

Earl Scruggs / Doc Watson / Ricky Skaggs – The Three Pickers

Count this recording of a December 2002 North Carolina concert as one of the dividends of O Brother, Where Art Thou? Without that soundtrack’s reach into the PBS audience — the show is being broadcast on the network’s “Great Performances” series, and there’s a DVD with bonus tracks coming, too — it’s unlikely this collaboration [...]

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Not Fade Away - Reissue Review from Issue #45 May-June 2003

Doc Watson – Trouble In Mind: The Doc Watson Country Blues Collection1964-1998

The producers of this new compilation remind us that with all the trouble would-be categorizers have had trying to peg Doc Watson as a folk, country, bluegrass or even (if they know their Doc history) rockabilly musician, they generally fail to bring up the one musical form he has never stopped turning to and has [...]

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Not Fade Away - Reissue Review from Issue #36 Nov-Dec 2001

Doc Watson – At Gerdes Folk City

“We got microphones of all kinds here,” declares Doc Watson. “This one must be the tape recorder mike.” It’s a right clever way to begin this document of the legendary blind singer/guitarist’s first solo engagement. Recorded over four weeks in late 1962 and early 1963 at New York’s Gerdes Folk City, these 15 never-before-released tracks [...]

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Waxed - Record Review from Issue #18 Nov-Dec 1998

Mac, Doc & Del/ Doc & Merle Watson – Home Sweet Home

Among traditional American country blues singers and guitar players, Doc Watson is without peer. When he sings in his unadorned baritone, it is as if the entire Anglo-Saxon folk tradition had been fermented in the Appalachian Mountains only to be channeled through him. Doc has been recorded and honored more than just about anyone else [...]

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The Long Way Around - Feature from Issue #13 Jan-Feb 1998

Doc Watson – Way Down Watson

To begin with, the end, or pretty much so: A man named Sherman Cooper. Abandoned heir to a decaying Southern elite, he now tends the 40 square miles of the Mississippi Delta his family once owned, before they sold it off in parcels. His family, the Taylors, left him a hundred acres and some warped [...]

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Waxed - Record Review from Issue #12 Nov-Dec 1997

Doc Watson & David Grisman – Doc & Dawg

Back in the early ’60s, as the folk movement took hold in New York City, a relatively unknown guitar player by the name of Arthel “Doc” Watson played regular opening gigs at Gerde’s Folk City. On one occasion, Doc invited a 17-year-old mandolinist named David Grisman onstage for a rendition of “In the Pines”. As [...]

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Not Fade Away - Reissue Review from Issue #3 Spring 1996

Doc Watson – The Vanguard Years

Doc Watson may have recorded for many labels over the years, but the folks at Vanguard Records have wisely recognized their cut of the pie (from 1963 to 1971) as some of Watson’s most seminal work. As a result, they’ve issued this cohesive and complex document of Watson’s most influential period of artistic growth. By [...]

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From the Blogs

  • Roger Knox: Stranger in My Land (Bloodshot, 2013)
    Moving and socially significant Australian country music Though country music is most typically associated with the Southern United States, it's impact has been felt all around the world. In addition to Nashville and Texas exports, a strong but little-known strain developed among Australian aboriginals in the second half of the twentieth century.… […]
  • The Great Escape, Brighton, 2013: day two
    It was definitely Billy Bragg's day, with a strong contender for performance of the year, not just of TGE. In comparison with the other stuff I saw, it's a bit like wondering how the rest got on when Mo Farah turned up for the dads' race at sports day... It was probably the fifth or sixth time I've seen Billy over the last 25 years or so […]
  • Brittany Holljes on the Origins of Delta Rae and Her Healthy Fleetwood Mac Obsession
    Delta Rae might sound like the down-home name of a backwoods country singer but it’s really just Greek to Brittany Holljes. “I think there are a lot of ‘Delta’ bands out there, too, so we kind of get that ... people get confused,” said Holljes, the whip-smart singer of the North Carolina-based sextet (like Deborah Harry used to say about Blondie, Delta Rae i […]
  • Crowd-sourcing to crowd-pleasing: The rise of Kat Edmonson
    If Kat Edmonson ever becomes a household name, she can put it down not just to her talent as a jazz singer, but to some decidedly modern financing as well. The 29-year-old Texan, an old-school chanteuse with a contemporary lilt, has funded production of her second album via a community workshop and through… […]
  • When to get your ass saved and when to drown
    How does the co-writing song process differ from the alone songwriting process you just wrote about? Co-writing is quite different from writing alone. When I'm working on something alone I have complete freedom. Freedom to experiment, to make mistakes, to try things I'm quite sure won't work and the freedom to reconstruct whatever has come bef […]
  • CD Review - Fiddleworms "See The Light"
    The ambitious new album See The Light, from Alabama quintet Fiddleworms is a cavalcade of styles with literally a parade of guest musicians including the University of North Alabama marching Band. The eleven original tracks are interspersed with snippets of radio sound effects and spoken word segments that flow from jazzy blues to stomping country rock fusio […]

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