The name-game requirements were simple. Not too traditional, not at all Southern, and not too rural. Nobody recalls exactly who came up with Northern Lights. Probably it was banjoman Marcus, the organizer and educator. But it had most of what they were after...not exactly urban, but not a reminder of "Rocky Top" or "Pig in a Pen," either.

Two months later, in December, the metamorphosis was complete, when the band had its "coming out" gig, opening for Lester Flatt and the Nashville Grass at a show for the Boston Area Friends of Bluegrass and Old-Time Country Music.

The next summer, while playing at the Berkshire Mountain Bluegrass Festival (precursor of Winterhawk) in NY, the group was approached by Paul Gerry, who was looking for groups to record on his home-based Revonah label. That led to the first album, NORTHERN LIGHTS, recorded in November, 1976. It was a clear example of the mix the group would display throughout the next 15 years. It went from the tradition of "Salt Creek" and "Wicked Path of Sin" to the pop sound of "Ramblin' Man" and "Athens County" to Bob Emery originals like "Boards Across Your Windows" and "Delta Tide."

By spring of 1977, however, Marcus had left, replaced by Richard Hand. The group made it through the summer but dissolved in September. Armerding and Emery almost immediately formed a new group, String Fever, with bassist Rex Waters (an Illinois friend of Armerding, living in Cambridge to study at the New England Conservatory), and former Monroe banjoist Steve Arkin. That unit lasted until early 1981, when Waters returned to Illinois and Arkin moved to NYC with a publishing firm.

It wasn't until late 1982 that Northern Lights re-formed, following a call to Armerding from banjo prodigy Alison Brown, then a sophomore at Harvard, who was looking to do some part-time playing. Armerding had recently met guitarist Bill Henry, then living in Cambridge and attending Berklee, and the three dragged Emery out of retirement to play bass. That group recorded the second Revonah album, BEFORE THE FIRE COMES DOWN, about 18 months later, again including Emery originals, a few remakes of pop tunes, and a couple of Brown's imaginative instrumentals.

In mid 1984 the band fragmented again when Brown graduated and moved back to California. But Mike Kropp, a friend of Henry's from the CT/RI area, came in as a replacement; and the group continued to play local clubs, regional festivals, and an increasing number of arts-in-the-parks shows.

Within a year Northern Lights was fairly well established as the dominant progressive band in the area. It pretty much had that niche to itself, since the other active bands in the area (Traver Hollow, Joe Val & the New England Bluegrass Boys, Southern Rail, White Mountain Bluegrass, Green Mountain Bluegrass) were all traditional, while other progressives had either disbanded (Lost in the Shuffle) or were slowing down (Neon Valley Boys).

That line-up probably peaked in late '86 when it traveled to Louisville, KY, to finish third in the Best New Bluegrass Band competition hosted by Kentucky Fried Chicken. By then, Emery had already announced his departure to spend more time at his "real job" as an administrator at Boston University.

Before, or actually during Emery's departure, however, the group launched its third recording effort, a self-produced cassette with the most original material so far--four by Armerding, two by Emery, plus a Kropp instrumental. The album also signaled the arrival of Oz Barron on bass, who was playing regularly with the group by the summer of 1987.

It was on the strength of that recording that the band began its move toward national recognition. ON THE EDGE put Northern Lights on stage at the IBMA (International Bluegrass Music Association) "World of Bluegrass" Showcases in Owensboro, KY, where Flying Fish first expressed an interest in doing the group's next album. Two other elements contributed to the success of that weekend. Tony Rice was ill and unable to play at the Saturday evening Fan Fest; and of the 20 or so bands that would have liked to take his slot, Northern Lights got the nod. Then, minutes after the band left the stage, Peter Rowan asked Armerding to join him for the final set of the night, which also included Bill Keith, Mark Schatz, and Jerry Douglas, with appearances by Maura O'Connell and Roy Bookbinder. The Rowan connection expanded during 1989 and 1990, with numerous promoter requests for Peter Rowan/Northern Lights sets.

May, 1990, marked a major turning point in Northern Lights' career--the release of the band's first recording for Flying Fish, TAKE YOU TO THE SKY. Two Armerding originals, "Winterhawk" and "Northern Rail," soared to the top five of BLUEGRASS UNLIMITED Magazine's National Bluegrass Survey within six months, with "Northern Rail" remaining on the chart through February, 1991. "Winterhawk" was one of the five songs nominated for "Song of the Year" by the members of the IBMA. The three instrumentals were also originals--two by Henry and one by Kropp. Guest fiddlers included Grammy-Award winner Alison Krauss and Berklee String Department Chairman Matt Glaser (heard on the Civil War TV series). Peter Rowan contributed his unique vocal style to "Winterhawk."

Fiddling great Vassar Clements connected with Northern Lights in the summer of 1990, fiddling with the band at the Rochester Bluegrass Festival (NY). Their association, which included numerous appearances together, continued into 1993. The fall of that year, the band made another personnel change, with Jeff Horton replacing Oz Barron on bass and vocals.

In April of 1991 Northern Lights received the "Outstanding Country Act" award at the Boston Music Awards, the only bluegrass band nominated. The band also performed at the University of Rhode Island with folk legend Jonathan Edwards, doing both solo and joint sets, and another association was born.

Northern Lights' second recording for Flying Fish, CAN'T BUY YOUR WAY, was released in March, 1992. The album included 8 original tunes by band members and guest fiddlers Stuart Duncan (Nashville Bluegrass Band), Vassar Clements, and Matt Glaser, and spent 8 months on the National Bluegrass Survey--two months at #3.

Taylor Armerding's son Jake joined the band full time on fiddle in November of 1992, at the tender age of 14, after two years of occasionally hopping on stage to provide fiddle for a number or two.

In January, 1993, three high-energy acts combined in a triple bill in Cambridge, MA. Performing separately and together, Northern Lights/Jonathan Edwards/The Seldom Scene sold out the 1,200-seat theater nine days in advance. This show was repeated in '94 and '95, and is scheduled again in 1997.

Northern Lights' third Flying Fish recording, WRONG HIGHWAY BLUES, was released in February of 1994. This was the most eclectic album to date and included 8 original tunes and Jake's recording debut. It spent 8 months on the bluegrass chart and was the band's third straight album to spend time in the TOP TEN, reaching #9.

The band signed with Red House Records in the spring of 1996 and released its debut album, LIVING IN THE CITY, on the Minnesota-based label in July. This one runs the gamut from gospel to folk to rock and includes two originals by fiddler Jake Armerding, now 19. He wrote and sang lead vocal on "Sing to You," and he wrote and made his mandolin debut on "Ariel's Hornpipe."

The summer of '96 brought a couple of changes to Northern Lights. Contemporary Christian rock bassist Chris Miles replaced Jeff Horton on bass, bringing a more progressive sound to the band on electric bass, including spectacular breaks, and a vocal range from baritone to very high tenor. And, Jake went off to college, entering Wheaton College in Wheaton, IL. He'll join the band on school breaks and will play full time each summer.