Clifton Hicks - Shout Lulu (Hook and Line) Gourd Banjo

This video features Clifton Hicks playing the 19th-century folk song "Little Mary Phagan" on an 1888 Thompson & Odell "The Luscomb" banjo. He learned the tune from a 1980s film clip of Mabel Cawthorn. The description provides extensive links to Clifton Hicks' various online platforms, including his Banjo Heritage course, Patreon, SubscribeStar, merchandise store, Bandcamp, Spotify, iTunes, PayPal, Venmo, and YouTube memberships. The video is tagged with general music and artist-related terms.

This YouTube video features Clifton Hicks playing the banjo piece "Going Up North" (also known as "No Letter From Home"), learned from John Jackson. Hicks demonstrates a percussive picking style, suggesting it was developed for accompanying dancers. He plays on an 1888 Thompson & Odell "The Luscomb" banjo tuned below gDGBD. The video also promotes Clifton Hicks' Banjo Heritage online course and merchandise.

This video features Clifton Hicks playing a gourd banjo with a song titled "Muddy Road." The description emphasizes Clifton Hicks' presence on Patreon, SubscribeStar, and Bandcamp for exclusive content, tablature, and music streaming. It also highlights his Banjo Heritage online course and merchandise. The video is clearly focused on banjo music and performance, with no mention or implication of firearms.

This video discusses the perceived commercialization and modern origins of old-time music, tracing its roots to the 1960s urban folk revival in New York City. The creator argues that elements like jam circles, judging panels, tablature, and workshops are modern constructs within the old-time music subculture. The video primarily focuses on music history and cultural commentary, with a significant amount of promotional content for the creator's music and merchandise.

This YouTube video showcases a Boucher-style fretless banjo crafted by Bob Flesher. The description highlights links to the artist's Patreon, Bandcamp, Spotify, iTunes, Venmo, and PayPal, indicating the video serves as a promotion for his musical work and the instrument itself. The content is centered around a handcrafted musical instrument, not firearms.

This YouTube video features Clifton Hicks performing "Lonesome Road Blues" (also known as "Going Down This Road Feeling Bad"). He learned the song from George Gibson of Knott County, Kentucky. The performance is on a 1910 Weymann "Keystone State" banjo, tuned to fCFAC. The description includes links to his Patreon, Bandcamp, Spotify, iTunes, Venmo, and PayPal, along with several relevant hashtags.

This video is a banjo performance of a song titled 'Ballad of Kyle Rittenhouse' by Clifton Hicks. The description provides links to the artist's Patreon, merch store, PayPal, Venmo, Spotify, iTunes, Bandcamp, SubscribeStar, and YouTube channel memberships. It also includes a list of hashtags related to various music genres and the subject matter of the song. The song's title and hashtags directly reference Kyle Rittenhouse and related themes.

This video features Clifton Hicks performing 'Cold Blows the Wind' on a 5-string banjo using the clawhammer technique. The performance is set against a stark, black-and-white woodland backdrop, with the artist adopting a historical frontier persona. The song's narrative unfolds through somber vocals, detailing a lover's mourning at a grave and a spectral warning from the deceased.

This video features Clifton Hicks performing 'Ballad of Bloody Bill Anderson' on a banjo, detailing the historical figure's violent exploits. The performance highlights advanced clawhammer banjo techniques and deep knowledge of American folk music and Civil War lore. The song's narrative covers Anderson's arrival, a fierce battle, his death, and the grim aftermath, including the display of his head and pistols marked with his kills.

Clifton Hicks performs the traditional folk song 'Moonshiner' on a 5-string banjo using a clawhammer technique. The song details a life dedicated to moonshining, sustained by whiskey and beer over twenty-one years. The performance features an instrumental introduction before the vocal verses begin.