Bill Clifton / William August Marburg
Born: April 5, 1931, Riderwood, Maryland
BMI’s database credits Bill Clifton with 111 published compositions, co-compositions,
and arrangements including:
“Lonely Heart Blues”
“When Autumn Leaves Begin to Fall”
“My Nights Are So Lonely”
The Carter Family / A. P. Carter
Came to fame with:
Bill Clifton and the Dixie Mountain Boys
Clifton Brothers, 1950
Bill Clifton and the Dixie Mountain Boys, 1953-1962
First Generation (with Red Rector and Don Stover), 1978-1990
Pick of the Crop, ca. late 1980s-to present
Led the way:
• A pioneer in taking the music to people who had never heard it before, including folk
music audiences and during his extended residency and tours in England, Europe, Asia,
• Compiled one of the first comprehensive bluegrass-friendly songbooks.
• An important figure in the early career of the Country Gentlemen (he performed and
recorded with several members of that group).
• Organized one of the first all-day bluegrass events, a precursor of the multi-day
• Served on the board of the Newport Folk Festival, where he was an advocate for
traditional and bluegrass performers.
• IBMA Distinguished Achievement Award, 1992.
• SPBGMA Preservation Hall of Greats, 1993.
• America’s Old-Time Country Music Hall of Fame, 2008.
• Bluegrass Hall of Fame, 2008.
By the Way:
• Although known primarily for his singing and guitar work, Bill’s first instrument was
• Born William Marburg, Bill adopted the stage name of Bill Clifton because his father
didn’t want the family name associated with rural music.
• Performed locally and on radio during his undergraduate years at the University of
Virginia, but never on campus.
• Bill’s first songbook, issued ca. 1951, contained a forward by famed folk singer Woody
• Featured in the Cambridge, England publications of Who’s Who in Music: Popular.
In contrast to many first-generation bluegrass performers who came from rural, mostly
mountainous, agricultural backgrounds, Bill Clifton came from a well-to-do family
residing 10 miles from downtown Baltimore, Maryland. In his teen years he developed
an interest in mountain music, when workers from Virginia on his family’s farm exposed
him to the Old Dominion Barn Dance, broadcast from Richmond on WRVA. It was
during this time that he bought his first three records – 78-rpm discs by the Carter
Family, Eddy Arnold, and Wiley & Zeke Morris – and took an interest in learning to play
By 1949, Bill was enrolled at the University of Virginia in Charlottesville. While there,
he met folk enthusiast Paul Clayton and the two formed a duo they called the Clifton
Brothers. It was with Clayton, along with banjoists Dave Sadler and/or Johnny Clark,
and bass player Carl Boehm, that Bill made his first recordings. The masters were
intended for release on the New York-based Stinson label but finally saw the light of day
in the early 1970s on the German Bear Family label.
During his college years in Virginia, Bill met A. P. Carter of the original Carter Family
and the two became fast friends. Carter appreciated the fact that his music was still
being appreciated by new audiences and Clifton relished the friendship and knowledge
imparted by his musical idol. Several years later, Bill was one of the first people to issue
an album in tribute to what became known as the First Family of Country Music.
In 1953, Bill took a leave of absence from the University of Virginia and assembled
the first version of his Dixie Mountain Boys. After brief stints at WMBG and WCOD
in Richmond, in June the group headed to WWVA in Wheeling, West Virginia, home
of the World’s Original Jamboree. Their stay there lasted from July until November.
Other members of the band included Johnny Clark and fiddler Winnie Sisk. Due to the
low pay, their tenure there was short-lived. At A. P. Carter’s urging, Bill and Johnny
ventured to Kingsport, Tennessee, to secure a spot on radio station WKIN. When this
failed to materialize, Bill ventured to WXGI in Richmond to work as a DJ. Bill Clifton’s
first recordings were released in 1954 and ’55 on Blue Ridge, a label headed by Noah
Adams and his daughter Drusilla of North Wilkesboro, North Carolina.
Shortly after receiving his Bachelor of Arts degree from the University of Virginia in
February of 1954, Bill enlisted for a tour of duty with the Marines, entered their Officer
Training Corps, and by April he was stationed in Camp Lejeune, North Carolina. He was
afforded a few musical opportunities during this time but the most important use of his
spare time was the assembling of his Bill Clifton 150 Old-Time Folk and Gospel Songs
booklet, which was initially printed with the assistance of Noah Adams of Blue Ridge
Records. With a forward from A. P. Carter, the collection reprised a number of gems
from the 1930s and ‘40s and made them available to bluegrass pickers. It remained a
popular item over the years and was reprinted on several different occasions.
Upon his discharge from the military in 1956, Bill – on the advice of Carter Stanley –
contacted Mercury Records to secure a recording contract. At the time, Mercury was
in the process of partnering with Starday Records for the purpose of having Starday
handle its country and western division. Consequently, several of Bill’s releases were
labeled “Mercury-Starday.” When the joint venture fizzled, Mercury kept George Jones
and the remainder of the other country artists – Bill Clifton included – went to Starday.
Starday, under the leadership of label head Don Pierce, did much increase Clifton’s
stature world-wide, mainly through an elaborate distribution network that placed
the label’s albums in Canada, Europe, Asia, and even Africa. Three-finger banjoist
Johnny Clark was a fixture on most of Clifton’s Mercury and Starday recordings, but
notable guest sidemen also included Ralph Stanley, Tommy Jackson, Benny Martin,
John Duffey, Curley Lambert, Eddie Adcock, and Mike Seeger. Bill’s association
with Starday lasted for seven years and many of his best recordings were made during
this period, including “Little White Washed Chimney,” “Mary Dear,” and “Springhill
Disaster.” Several thematic albums were also recorded, including his tribute to the Carter
Family, a collection of war songs called Soldier Sing Me a Song, and an anthology of folk
songs called Code of the Mountains.
In 1961, Bill leased a country music venue in Luray, Virginia, called Oak Leaf Park.
On July 4, he staged an all-day bluegrass event featuring many of the top names in
the business including Bill Monroe, Mac Wiseman, the Stanley Brothers, the Country
Gentlemen, and Jim & Jesse. A significant feature of the show was the reuniting of Bill
Monroe with a number of his former sidemen, most notably Mac Wiseman and Carter
Stanley. This was one of the first all-day bluegrass extravaganzas and was the first to
acknowledge Monroe as the central figure of the music. This event did much to set the
stage for the weekend-long bluegrass festival phenomenon that took root several years
later. The all-day bluegrass show was not repeated in 1962, as Bill accepted a board
position with the Newport Folk Festival.
In 1963, Bill and his family moved to England for what was to be a 6 to 9 month
stay. It wound up being for 15 years instead. During that time, Bill became an
international “Johnny Appleseed” for American folk music and toured extensively in
Austria, France, Germany, Switzerland, and the Netherlands. Later travels also included
performances in Australia, New Zealand, and Japan as well as the African countries of
Malawi and Rhodesia (now Zimbabwe). He also arranged for tours in Europe by groups
such as the New Lost City Ramblers and Bill Monroe and the Blue Grass Boys. During
his first several years in Europe, Bill was accompanied by the Echo Mountain Boys,
a group of young schoolboys from Kent, one of the older English public schools. Bill
was quite amazed that the school’s musical offerings included not only classical and
jazz but also a gospel quartet and a bluegrass band! One of the highlight Clifton/Echo
appearances was a sold out performance before 7,000 people at London’s Royal Albert
Hall. This was the first time bluegrass had been presented in a major European venue.
Another important facet of Bill’s time in England was his pairing with American folk
singer/activist Hedy West. The duo appeared on a number of shows together and made
several recordings, including the recently re-released Getting Folk out of the Country.
In 1978, Bill and his Dutch-born wife Tineke moved to the States and settled in Mendota,
Virginia. Located in Poor Valley, an area rich in physical beauty, an additional bonus
was its proximity (less than 6 miles) to the Carter Family homestead in Maces Springs.
It was also during the 1970s that Clifton began a recording association with County
Records. Things got underway with a reissue of recordings made in the late 1950s. This
led to studio recordings with stellar musicians such as Red Rector, John Duffey, Tom
Gray, Kenny Baker, Charlie Collins, Bill Keith, Mike Auldridge, and others. Among the
highlights for County were the albums Come by the Hills and Clifton & Company. Most
of Bill’s recordings since 1980 have been issued on his own Elf label.
Bill teamed with mandolin wizard Red Rector and ace banjoist Don Stover to form a
group called First Generation. The trio was active from the late 1970s through much of
the 1980s, playing festivals in the States and making occasional trips to Europe. They
were sometimes joined by legendary fiddler Art Stamper. Jimmy Gaudreau took over
on mandolin after Red Rector’s untimely passing in 1990. Another void was created in
1996 with the passing of Don Stover. Since that time, Bill has continued to do duet work
with Jimmy Gaudreau and perform as a solo, including annual appearances at the Carter
Family Fold festival each August. He received a Distinguished Achievement award from
the International Bluegrass Music Association in 1992 and was inducted into their Hall of
Fame in 2008.
In addition to his work as a performer, recording artist, and promoter, Bill is pleased
that he has been able to present traditional and bluegrass music to “new ears,” especially
among socio-economic groups where these forms were not traditionally played. Along
with friends such as Mike Seeger and Paul Clayton, he used numerous non-bluegrass
functions (i.e., birthday parties, anniversaries, etc.) as venues to expose people to the
music. “Many,” he noted, “went on to become life-long enthusiasts, promoters, and
supporters of the music.”
Gary Reid is a bluegrass music historian, journalist, and producer, based in Roanoke,
“It is to the early pioneer collectors [A. P. Carter, Bill Bolick, J. E. and Wade Mainer,
Bascom Lamar Lunsford, Bradley Kincaid, etc.] that I am forever indebted, for it is
through them that I learned most of the songs that I have been singing to audiences
around the world for the past 50 years or so.”
Bill Clifton, notes to Bill Clifton & the Pick of the Crop: Mountain Laurel, Elf-106,
“A. P. [Carter] was most certainly my most important mentor, and I am hard put to come
up with anyone who came close to A. P. in importance to me. But… my friendship with
Carter Stanley was extremely important to me [as well].”
Quote by Bill Clifton in e-mail to Gary Reid, July 26, 2011.
“I realized for the first time in my life that the people there [Russia] were very much like
Americans in many ways. One way is that they sing songs very much like our songs.”
Quoted by Richard K. Spottswood in “An Interview With Bill Clifton,” Bluegrass
Unlimited, May, 1968.
“I don’t think of myself as [a bluegrass artist] at all. I am just a person who sings
traditional country music… It just so happened that Johnny Clark played a three-finger
style banjo. If he had played old-time banjo, we probably would have ended up being
called old-time musicians.”
Quoted by Rienk Janssen in notes to Bill Clifton – Around the World to Poor Valley, Bear
Family BCD-16425, 2001.