WSM-Smoky Mountain Serenade 10-23-47

Summary

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Podcast Summary

Podcast: Harold's Old Time Radio
Episode: WSM-Smoky Mountain Serenade 10-23-47
Original Air Date: October 23, 1947 (rebroadcast/archived September 20, 2025)
Host: Harold’s Old Time Radio

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Overview

This episode of “Smoky Mountain Serenade,” broadcast from WSM in Nashville, Tennessee, is a lively and heartfelt tribute to the origins, traditions, and evolution of American mountain folk music. With performances and stories from authentic voices of the Grand Ole Opry, listeners are taken on a musical journey from the British Isles to the heart of Appalachia and the modern American stage. The show features performances and commentary from legends such as Bradley Kincaid, Roy Acuff, Eddie Arnold, and Uncle Dave Macon, blending historical insights with captivating live music.

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Key Discussion Points & Insights

Introduction: Setting the Scene in Nashville

• [00:37–01:01] George D. Hay (“The Solemn Old Judge”) welcomes listeners from WSM radio, introducing the Smoky Mountain Serenade as a show dedicated to the story and preservation of mountain folk music.
• [01:01–02:06] Judd Collins describes Nashville as the epicenter of American mountain folk music, comparing the Grand Ole Opry to a major country fair and highlighting its importance for the community.

Quote [01:01] – Judd Collins:
"Every Saturday night, thousands of persons from every part of our nation gather to witness the Grand Ole Opry, a veritable carnival of folk dancing and singing staged by the people of the southern mountains."

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The Roots of American Folk Music

• [02:06–03:57] Bradley Kincaid recounts the origins of Appalachian folk music, tracing its lineage from the Scotch, Irish, and English immigrants. He outlines three settler groups, emphasizing the independent spirit and musical traditions of the poor but proud third group.

Quote [02:34] – Bradley Kincaid:
"The program that we are about to present will give you a picture of our great heritage, the folkways, the more ways, the habits and customs that have been handed down to us from these early settlers."

• Kincaid asserts the importance of isolation in preserving the authenticity and purity of folk songs.

Quote [04:17] – Bradley Kincaid:
“I say it is fortunate for us that they were isolated, for it is extremely questionable whether they would have kept alive their folk songs and folklore if they had been too much exposed to outside influences.”

• He lists famous ballads preserved in the American songbook: “Barbara Allen,” “The Two Sisters,” “Fairy Ellender,” “Lord Lovell,” and classic fiddle tunes like “The Irish Washerwoman.”

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Performances: Ballads and Tunes

• [05:47–08:06] Bradley Kincaid performs “The Foggy, Foggy Dew,” a Scottish ballad, with gentle humor about being “Scotch but born in this country.”

Quote [05:47] – Bradley Kincaid:
"Of course, I'm Scotch, but I was born in this country to save transportation, I'll sing the Foggy, Foggy Dew.”

• [08:06–10:26] Kincaid follows with “Barney McCoy,” a cherished Irish song, maintaining the theme of cultural inheritance.

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Uptempo Interlude: Fiddle Tunes & Squares

• [11:26–12:36] A contrast is drawn between somber ballads and “gay fiddle tunes,” with a lively performance of “Durang’s Hornpipe.”
• Jud Collins notes that these tunes were central to social and festive gatherings in the mountains.

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Evolution and Modernization of Folk Music

• [13:15–14:22] Discussion shifts to the evolution of hill country music—how Opry stages blend ancient ballads, fiddle tunes, modern “hillbilly ballads,” and more.
• The term “hillbilly” is addressed, with an insistence on the dignity of country people.

Quote [13:59] – Jud Collins:
"Incidentally, we never use the word hillbilly when referring to the mountain people because the term was coined in derision…Country people have a definite dignity which enables them to hold their own in any company."

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The Grand Ole Opry: Origins and Impact

• [14:22–16:25] George D. Hay recounts founding the Opry in 1925, starting with Uncle Jimmy Thompson, who could fiddle for hours. Early radio customs and the story of his nickname, “The Solemn Old Judge,” are shared.

Quote [15:09] – George D. Hay:
"Uncle Jimmy was a very fine fiddler, and he played a solid hour. That was our first performance of the Grand Ole Opry…He was ready to go all night."

• [16:30–17:12] Hay describes how the Opry got its name—created in playful contrast to a formal classical program that preceded it.

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The Opry Stars & Their Music

Roy Acuff [17:12–19:48]

• Roy Acuff, the best-known Opry star, discusses his specialty in mountain love ballads and sacred songs. He credits “The Great Speckled Bird” as his career breakthrough and performs it for listeners.

Quote [17:47] – Roy Acuff:
“I believe that the number that has meant more to me than anything was the number that I brought to the Grand Ole Opry some 10 years ago, The Great Speckled Bird.”

Eddie Arnold [19:48–25:28]

• Eddie Arnold, from Tennessee’s lowlands, talks about not having formal music training but writing nearly 100 songs. He performs his biggest hit, “That’s How Much I Love You,” a modern ballad, then “The Cattle Call,” a classic cowboy tune that represents the westward journey of American folk music.

Quote [20:21] – Eddie Arnold:
“Well, Louie, I guess we'd have to say that's How Much I Love you.”

Uncle Dave Macon [25:28–27:41]

• Uncle Dave Macon, beloved as the “Dixie Dewdrop,” reflects on his 63 years of banjo playing and delivers his humorous signature tune, “Chewing Gum.”

Quote [26:05] – Uncle Dave Macon:
“Song I compose. And watching my sweetheart chew eggs Chewing…Gum Chewing gum A good old United States custom. Well, make the banjo chew with you and let's hear it.”

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The Influence of African-American Music

• [27:41–29:33] Jud Collins credits the roots of ragtime, a forerunner of jazz, to African-American traditions on Southern plantations. The band performs “12th Street Rag” as a nod to this foundational rhythm.

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Closing: Communal Tradition and Farewell

• [29:33–31:19] The show ends with all joining in “Old Joe Clark,” a classic square dance tune.
• The Solemn Old Judge delivers a whimsical, affectionate farewell:

Quote [30:57] – George D. Hay:
“It’s time for the tall pines to pine and the pawpaws to paws and the bumblebees to bumble. All around the grasshopper hops and the eavesdropper drops While gently the old cow slips away. This is the solemn old judge saying, so long and lots of good luck, everybody."

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Notable Quotes & Memorable Moments

• On the Opry’s Origins and Spirit:
  “Uncle Jimmy was a very fine fiddler, and he played a solid hour…He was ready to go all night.” – George D. Hay [15:09]

• On cultural dignity:
  “Country people have a definite dignity which enables them to hold their own in any company.” – Jud Collins [13:59]

• On cultural preservation:
  “I say it is fortunate for us that they were isolated, for it is extremely questionable whether they would have kept alive their folk songs and folklore if they had been too much exposed to outside influences.” – Bradley Kincaid [04:17]

• On the enduring power of music:
  “We're bringing you this program from Nashville Tennessee…the habits and customs that have been handed down to us from these early settlers.” – Bradley Kincaid [02:34]

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Timestamps for Important Segments

• [00:37] Show proper introduction by George D. Hay
• [01:01] Nashville as the heart of American mountain folk music (Judd Collins)
• [02:06] Bradley Kincaid introduces Appalachian roots
• [05:47] “Foggy, Foggy Dew” performed by Bradley Kincaid
• [08:06] “Barney McCoy” performed by Bradley Kincaid
• [12:36] “Durang's Hornpipe” fiddle tune
• [14:22] Opry origin story with George D. Hay
• [17:12] Roy Acuff segment and “The Great Speckled Bird”
• [20:21] Eddie Arnold on “That’s How Much I Love You”
• [23:16] “The Cattle Call” by Eddie Arnold
• [26:05] Uncle Dave Macon performs “Chewing Gum”
• [27:41] “12th Street Rag” – ragtime origins
• [29:33] Group finale: “Old Joe Clark”
• [30:57] Whimsical farewell by The Solemn Old Judge

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Tone and Style

The language is warm, folksy, and inviting, with a tone of pride, nostalgia, and gentle humor. There is a strong sense of community, heritage, and respect for musical traditions. Each performer shares personal anecdotes, creating an atmosphere of authenticity and camaraderie.

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For listeners and readers alike, this episode captures the spirit, stories, and songs that define American mountain folk music, preserving a living tradition and celebrating the colorful personalities who shaped its journey from the hills of Appalachia to the soundstages of Nashville.

Transcript

[A]

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[C]

This is the solemn old judge, George D. Hay with my characteristic steamboat whistle of radio station wsm, the home of the Grand Ole Opry down in Nashville, Tennessee, presenting the Smoky Mountain Serenade, the story of our mountain folk music.

[D]

Hello, Britain. This is Judd Collins speaking from the studios of WSM in Nashville. This capital city of Tennessee lies in the heart of the Great Smokies, a part of the sprawling chain of Appalachian mountains which extends from Pennsylvania to Alabama. Because of its location, Nashville is the point of gravitation for the best singers and instrumentalists the Hill country has to offer and has become the acknowledged center of mountain folk music. To these people, the weekly six hour session of the Grand Ole Opry is as important as your largest country fair. Every Saturday night, thousands of persons from every part of our nation gather to witness the Grand Ole Opry, a veritable carnival of folk dancing and singing staged by the people of the southern mountains. So now with a solemn old judge and his steamboat whistle, choose your partners. Up with the music and on with the show. Now allow me to introduce cousin Louis Buck, who in his capacity as Grand Ole Opry announcer has heard and enjoyed more folk music than anyone down here. Come in, cousin Louie.

[B]

Of our many present day minstrels who gather each week to broadcast their songs to America from station WSM here in Nashville, none perhaps is better known than our Kentucky mountain boy, Bradley Kincaid. In a moment, Bradley Kincaid will sing some of the better known ballads for us. But before he sings, I think it might be helpful if he pointed out for us some of the origin and growth of this particular type of folk music in America. Friends, may we present Bradley Kincaid.

[F]

Thank you, cousin Louis Buck, and greetings to all our friends overseas. It is my happy privilege to tell you the story of your hardy Scotch, Irish and English people who came to America, the land of opportunity, and had so much to do with the shaping of our destiny. The program that we are about to present will give you a picture of our great heritage, the folkways, the more ways, the habits and customs that have been handed down to us from these early settlers. We're bringing you this program from Nashville Tennessee, in the heart of the Great Smoky Mountains, where for more than a hundred years, our ancestors were locked in the fastness of the mountains and completely isolated from the outside world. Our ancestors were the ones who braved the unknown forest, built their own log houses, schools and churches in order that they might enjoy the freedom they were not able to have in their native lands. And, Cousin Louie, there were three distinct classes who came over here. First, there were the wealthy ones who established themselves as southern plantation owners. Second, the undesirables who were sent over here because they were not wanted over there. And the third class, the poor but proud people of England, Scotland and Ireland, who came seeking the opportunity to grow and expand and to enjoy life, liberty and freedom of worship which had been denied them in the old country.

[B]

Well, Bradley Kincaid, you've lived and visited for many years in these isolated mountain regions of the southern states. And of course, you've seen the processes of time working on all the people of our section. Would you say that any one of the three groups you mentioned deserves credit for keeping alive these old songs, or were they all responsible?

[F]

Well, no, it's this third group, Cousin Louis, which mostly concerns us, for they were the ones who refused to become slaves of the southern plantation owners and pushed into the southern mountains, literally carving their way through the wilderness and establishing a frugal but independent life. Civilization passed them by, but fortunately for us, they kept alive the folklore, the traditions, the habits and customs of their early ancestors. And one of our greatest heritages is the wealth of English, Scotch and Irish folk songs handed down by word of mouth from. From one generation to the other. I say it is fortunate for us that they were isolated, for it is extremely questionable whether they would have kept alive their folk songs and folklore if they had been too much exposed to outside influences.

[B]

I can see that. Well, what are some of the widest known songs in America today? Songs which trace their very origin back to the hill country?

[F]

Well, of course, there are thousands of them. But some of the songs, like Barbara Allen, and. Which has a mixture of old English and Scots. The two sisters, Fairy Ellender, Lord Lovell, and of course, the fine old fiddle tunes like the Irish washerwoman, the Clouds Reel and others no end could be mentioned. But I would like to say that we of the mountains are proud to claim this folklore as our heritage.

[B]

Well, Bradley, suppose you give us a few examples of these old ballads.

[F]

All right, Cousin Louie. I think since I'm a Scotchman, I'll do a Scotch song. Of course I'm Scotch, but I was Born in this country to save transportation I'll sing the foggy, foggy deal.

[G]

When I was a bachelor I lived by myself I worked at the weavers trade and the only, only thing that I did that was wrong was to woo a fair young maid I wooed her in the wintertime part of the summer, too and the only, only thing that I did that was wrong was to keep her from the foe Foggy, foggy dew One night she knelt close by my side when I was fast asleep she threw her arms around my neck and then began to weep.

[F]

She.

[G]

Wept, she cried she tore her hair Ah me, what could I do? So all night long I held her in my arms just to keep her from the foggy, foggy dew Again, I'm a bachelor. I live with my son. We work at the weaver's train. And every single time that I look into his eyes he reminds me of the fair young maid he reminds me of the wintertime part of the summer, too and of the many, many times that I held her in my arms just to keep her from the foggy, foggy dew.

[F]

This program would hardly be complete without an ARI song, and I'd like to sing one that's been a favorite over here for lo these many years. Barney McCoy.

[G]

I'm going far away, Nora darlin' and leaving such an angel far behind it will break my heart in two which I fondly gave to you and no other one so loving, kind and true Then come to my arms, Nora darling Bid your friends and dear old Ireland goodbye For it's happy you will be in that dear land of the free Living happy with your Barney McCarthy I would go with you, Barney darlin if my mother and the rest of them were there For I know we would be blessed in that dear land of the west Living happy with my Barney McCoy I'm going far away, Nora darlin' just as sure as the there's a God that I adore and remember what I say that until judgment day you will never see your Barney anymore I would go with you, Barney darling but the reason I have told you off before it would break my mother's heart if from her I had to part than go roaming with you Barney mc I'm going far away, Nora darlin the ship is ready anchored at the bay and before tomorrow's sun you will hear the signal gun so be ready it will carry us away Then come to my arms, Nora darling Bid your friends and dear old Ireland goodbye For it's happy you will be in that dear land of the free Living happy with your Barney McCor.

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[G]

It's.

[B]

Now that we've dealt with the origins of American folk music, let's take a big jump forward to the present time. At the Grand Ole Opry, we can hear the ballads of England, Scotland and Ireland. The early fiddle tunes, the wild eyed hoedown square dance tunes, or the modern hillbilly ballads. The songs which show the effect of outside influences upon the simple music of the mountain people. All are authentic folk tunes. Some are old, some are new, but they must be the real homespun product because they are played and sung by the mountaineers for their neighbors. And they're a critical audience quick to sense the Difference between the real and the synthetic. Incidentally, we never use the word hillbilly when referring to the mountain people because the term was coined in derision. Furthermore, there is no such animal. Country people have a definite dignity which enables them to hold their own in any company. And now on to the Grand Ole Opry personalities. First, the solemn old judge, the originator of the Grand Ole Opry. Judge, suppose you tell us how the Grand Ole Opry came into being.

[C]

Well, Louis, our station, WSM, was opened in the fall of 1925, and it occurred to me at that time that we had a wealth of talent down here in the hills of Tennessee and Kentucky folk music. And I thought we'd better try it. So I asked one old man, Uncle Jimmy Thompson, aged 83, to bring his trusty fiddle up here. Uncle Jimmy was a very fine fiddler, and he played a solid hour. That was our first performance of the Grand Ole Opry. Uncle Jimmy with his fiddle and your reporter. And we sort of suggested uncle Jimmy better quit at the end of the hour. And he said, why, shucks, man. Don't get started in an hour. He said, I just got back from Dallas, Texas. Played eight days and eight nights and took the blue ribbon.

[B]

He was ready to go all night?

[C]

Yes, he was ready to go all night. He was really sort of steamed up about it.

[B]

Well, is that typical of the enthusiasm which most of our artists play?

[C]

Yes, Louie. They really put their heart into the whole thing. And in about three months, we had a cast of about 25 or 30 people on our show. And some of them have gone way up in the business in this particular line of entertainment and have done very well all over the country.

[B]

Well, Judge Hay, because of your radio work for a great many years in the United States, people everywhere know you as the solemn old judge. Maybe a lot of them don't know, even after having heard you for many years, that your real name is George D. Hay. Suppose you tell us now, and especially for our friends overseas, just why you're called the solemn old Judge.

[C]

It's just a nickname, Louie. In the early days of radio, about 24 years ago, most of us announcers who had started in the business at that time thought we better take a nickname or a trade name. I was a pretty fair reporter over there in Memphis, and I didn't want to lose my job, you know, if I'd do the wrong thing on the radio. And I thought, well, if I take this solemn old judge, I could kind of slip out the back door, you know. And it kind of Stuck.

[B]

Well, next, how did the Grand Ole Opry get its name?

[C]

Well, Louie, that is quite a story. We'll try to cut it down for you, because about 20 years ago, soon after we started the show, and by the way, it's 22 years old now, we were immediately preceded on the air by a program presenting the classics under the direction of the famous conductor Dr. Walter Damrosh of New York City. It contained selections largely from grand opera, if you please. The contrast was so marked that I told our audience at 8 o', clock, as soon as the good doctor had finished, that from now on we would offer homespun music, which we would call the Grand Old Opry. And the name has stuck.

[B]

Thank you, Judge Hay. Now for the Grand Ole Opry Stars first, Roy Acuff. And I feel pretty sure that some of you Britons, at least, have heard American boys speak of him. Roy Acuff is probably the widest known Grand Ole Opry star we have, and that is by virtue of his long service on the stage each Saturday night on the Grand Ole Opry at WSM in Nashville. Roy, what kind of song is your specialty?

[C]

The Mountain Love Ballad and the Sacred Number. Lori?

[B]

Well, what first made you famous? I mean, what song first made you famous?

[C]

Well, I. I believe that the number that has meant more to me than anything was the number that I brought to the grand ole Opry Some 10 years ago, the Great Speckled Bird and Friends.

[B]

That song is a good example of the influence religion has had on our folk music. Okay, Roy, let's have.

[G]

What a beautiful thought I am thinking concerning a great speckled bird Remember her name is recorded on the pages of God's holy word Dishearing who lower her standard they watch every move that she makes they long to find fault with her teaching but really they find no mistake I am glad I have learned of her meekness I am proud that my name is on her book For I want to be one Never fearing the face of my Savior's true love when he cometh descending from heaven on the clouds as he rides in his word I'll be joyfully carried to meet him on the wings of that great speckled bird.

[B]

Thank you, Roy Acuff. And now, here beside me is another Grand Ole Opry star. It's Eddie Arnold. Even though Eddie Arnold and Roy Acuff both call Tennessee home, Eddie Arnold is from the lowland section of the state, which is approximately 300 miles from the hills which Roy Acuff calls home. Eddie, did you ever study music? No, I didn't.

[C]

Louie?

[B]

Well, even though you haven't, I happen to know that you have composed between 75 and 100 songs. Which one of those many songs was your biggest hit?

[C]

Well, Louie, I guess we'd have to say that's How Much I Love you.

[B]

Now, that's a typical modern ballad, isn't it? The she done him wrong type?

[C]

Yeah, that's right.

[B]

One of those kind. Well, would you sing it for us, Eddie?

[A]

I.

[C]

Sure, Louis. I might mention that this is a.

[A]

Song that went into the popular field.

[C]

Here in the United States after it.

[B]

Started on the Grand Ole Opry.

[C]

That's right.

[A]

After it started on the Grand Ole Opry.

[C]

And here it is.

[A]

Now, if I had a nickel, I know what I would do. I'd spend it all for candy and give it all to you. I'd spend it all for candy and give it all to you. Cause that's how much I love you, baby. That's how much I love you. Now if you were a kitten with pretty glossy flowers. I take you up and stroke you and listen to you purr. I take you up and stroke you and listen to you purr. Cause that's how much I love you, baby. That's how much I love you. Well, if you were a tiger, I'd hang around your den. I'd pester you, my honey, until you let me in. I pester you, my honey, until you let me in. Cause that's how much I love you, baby. That's how much I love you. Now if you were to horse fly and I an old gray mare. I'd stand and let you bite me and never move ahead. I'd stand and let you bite me and never move a hair. Cause that's how much I love you, baby. That's how much I love you. Well, if you want to marry now, let me tell you what. I'll go and find the parson and let him tie the knot. We'll go and find the parson and let him tie the knot. Cause that's how much I love you, woman. That's how much I love you.

[B]

That was great, Eddie. And since we're trying to demonstrate to our overseas audience the various kinds of folk music we have in the good old usa I don't think our story would be complete without an example. The cowboy ballad. The songs that our mountain people composed when they pushed on west of the. The covered wagons out to the Great plains to ride herd on the cattle. Now, I happen to know, Eddie, that you do very well with those cowboy tunes. So would you Give us one. Say the cattle call that sad but true story of a young cowboy.

[A]

Be glad to. The cattle are prowling the coyotes are howling Way out where the dog is born Whispers are a jingling the cowboys singing this lonesome cattle he rides in the sun that his day's work is done and he rounds up the cattle each fall Singing when his cattle call for hours he would ride on the rains far and wide when the night winds blow up a squall his heart is a feather in all kinds of weather he sings his cattle he's brown as a bear if I'm riding the prairie and he sings with an old western draw Singing his cattle.

[B]

Thank you, Eddie Arnold. And now, standing here beside me is the last, but by no means the least of the Grand Ole Opry personalities. We want you to meet Uncle Dave Macon, the dean of the Grand Ole Opry, also known as the Dixie Dewdrop. Uncle Dave is a young man celebrating for the last 10 years his 75th anniversary. He's got a little goatee on the end of his chin which has turned white for the years. Some beautiful gold teeth, a winged collar and a banjo on his knee. Uncle Dave, how long have you been playing that banjo? 63 years, sir. 63 years and never missed a lick with it. Uncle Dave, what is your favorite tune?

[F]

Song I compose.

[H]

And watching my sweetheart chew eggs Chewing.

[B]

Gum Chewing gum A good old United States custom. Well, make the banjo chew with you and let's hear it.

[H]

I'm going to sing you. About my pretty little girl she just as pretty as a plum Habit she had was one that was bad she was always a chewing Yum, yum, yum, yum yum, yum, yum Whenever she came to Sunday school She always come with with a chum Right where they that and right where they sat they were both a chewing gum Yum, yum, yum, yum, yum, yum she dressed so neat and she looked so sweet her soups and her hat were so plum Wherever she went Lord, she spent every cent for chewing she had feathers and finery and an extra ostrich plume But I will declare she couldn't put on an air without her mouth stuck full of chewing nom nom, nom, nom, nom, nom.

[A]

Nom.

[H]

Whenever she walked out of town she always did look so cute Everywhere John. She knocked party cold for a box of juice.

[B]

Well, I guess that brings us to ragtime, which was a forerunner of our modern jazz and naturally a very valuable addition to our folk music. So here's a demonstration by our instrumentalist. Ragtime got its peculiar rhythm from the Negroes on the Southern plantation. In here's a good example of it, 12th street rag. Thanks, boys. Thanks a lot. And that seems to wind up our story of folk music here in the hill country of the usa so let's all join in our theme now. The wild eyed hoedown square dance tune. Old Joe Clark. Take it away.

[A]

Here we go.

[G]

I went down to old Joe Parks Ojo wasn't at home I sat down Old Joe's here to stay till he come home and you will old Joe Clark and you will I stay and you will old your Clark on the way to stair I went down old Joe clocks Found old Joe in bed Stuck my finger in old Joe's eye and killed Old Joe's gone dead and will old Joe Clark may will I say and well old joke lark I put a way to stay Old O Clark's a mighty man what will it take to please him? Good old bottle of apple Jack and Betty Brown to squeeze him hey Will old Du Clark Hey Will I say hey Will old Duke Clark I'm on a way to stay and now, as.

[C]

We have been closing the Grand Ole opry for about 22 years, it's time for the tall pines to pine and the pawpaws to paws and the bumblebees to bumble. All around the grasshopper hops and the eavesdropper drops While gently the old cow slips away. This is the solemn old judge saying, so long and lots of good luck, everybody.

[D]

You've been listening to Smoky Mountain Serenade, a broadcast of authentic American folk music direct from the heart of hill country music. Nashville, Tennessee, station WSM and the British Broadcasting Corporation wish to thank Bradley Kincaid, Lloyd Buck, George Hay, Roy Acuff, Eddie Arnold and Uncle Dave Megan for participating in this special program. Your announcer was Jud Collins. Smoky Mountain Serenade was produced by Jack Staff.