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International Home of the Legends Thumbpicking Weekend by Scott Taylor
Fall 2015 Issue 92 Volume 23 Number 4 International Home of the Legends Thumbpicking Weekend by Scott Taylor Those of us who made it down to Moseley and friends. Paul got a laid back easy going demeanor when Muhlenberg County for the last little help from several pickers he plays. weekend in September were treated including his cousin Larry Stone and The Hall of Fame inductions with a full 3 days of guitar picking include recognizing pickers, events. Friday night was the Hall of supporting musicians, supporting Fame induction ceremonies where we fans, recording of the year and a few added some great pickers to the Hall special presidential awards. See the and recognized others for their sidebar for the complete list of thumbpicking support and awards and inductions on page 3. promotion. The annual Home of the The inductions were followed by Legends Thumbpicking Guitar a special premiere showing of a new Contest was held on Saturday KET produced special entitled followed by an evening concert. "Merle Travis: Guitar Man". KET Finally, Sunday was planned to be had helped set up the Travis Center "Pickin in the Park" but the weather with a huge screen covering most of was "iffy" and it was moved indoors the stage back for its viewing and to the Merle Travis Music Center. Michael Moseley, the Travis Center That's a busy weekend. And I had to soundman, had it run through the carve out a few hours on Saturday to house system for a great sound. The slip into a class reunion luncheon. -
Adapting Traditional Kentucky Thumbpicking Repertoire for the Classical Guitar
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2015 Adapting Traditional Kentucky Thumbpicking Repertoire for the Classical Guitar Andrew Rhinehart University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Rhinehart, Andrew, "Adapting Traditional Kentucky Thumbpicking Repertoire for the Classical Guitar" (2015). Theses and Dissertations--Music. 44. https://uknowledge.uky.edu/music_etds/44 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
SENATE JOINT RESOLUTION 803 By
SENATE JOINT RESOLUTION 803 By Henry A RESOLUTION to honor the memory of Earl Scruggs, an American musical treasure. WHEREAS, the members of this General Assembly and music fans around the globe were greatly saddened to learn of the passing of bluegrass music legend and American treasure, Mr. Earl Scruggs; and WHEREAS, Earl Scruggs was revered around the world as a musical genius whose innovative talent on the five-string banjo pioneered modern banjo playing and he crafted the sound we know as bluegrass music. We will never see his superior; and WHEREAS, born on January 6, 1924, in Flint Hill, North Carolina, Earl Eugene Scruggs was the son of George Elam Scruggs, a farmer and bookkeeper who played the banjo and fiddle, and Lula Ruppe Scruggs, who played the pump organ in church; and WHEREAS, after losing his father at the age of four, Earl Scruggs began playing banjo and guitar at a very young age, using the two-finger picking style on the banjo until he was about ten years old, when he began to use three - the thumb, index, and middle finger - in an innovative up-picking style that would become world-renowned and win international acclaim; and WHEREAS, as a young man, Mr. Scruggs' banjo mastery led him to play area dances and radio shows with various bands, including Lost John Miller and His Allied Kentuckians. In December of 1945, he quit high school and joined Bill Monroe's band, the Blue Grass Boys; and WHEREAS, with his magnificent banjo picking, the group's popularity soared and Earl Scruggs redefined the sound of bluegrass music, as evidenced on such classic Bill Monroe and the Blue Grass Boys tracks as "Blue Moon of Kentucky," "Blue Grass Breakdown," and "Molly and Tenbrooks (The Race Horse Song)"; and WHEREAS, with his mastery of the banjo and guitar matched only by his beautiful baritone, Mr. -
Voices in the Hall: Sam Bush (Part 1) Episode Transcript
VOICES IN THE HALL: SAM BUSH (PART 1) EPISODE TRANSCRIPT PETER COOPER Welcome to Voices in the Hall, presented by the Country Music Hall of Fame and Museum. I’m Peter Cooper. Today’s guest is a pioneer of New-grass music, Sam Bush. SAM BUSH When I first started playing, my dad had these fiddle albums. And I loved to listen to them. And then realized that one of the things I liked about them was the sound of the fiddle and the mandolin playing in unison together. And that’s when it occurred to me that I was trying on the mandolin to note it like a fiddle player notes. Then I discovered Bluegrass and the great players like Bill Monroe of course. You can specifically trace Bluegrass music to the origins. That it was started by Bill Monroe after he and his brother had a duet of mandolin and guitar for so many years, the Monroe Brothers. And then when he started his band, we're just fortunate that he was from the state of Kentucky, the Bluegrass State. And that's why they called them The Bluegrass Boys. And lo and behold we got Bluegrass music out of it. PETER COOPER It’s Voices in the Hall, with Sam Bush. “Callin’ Baton Rouge” – New Grass Revival (Best Of / Capitol) PETER COOPER “Callin’ Baton Rouge," by the New Grass Revival. That song was a prime influence on Garth Brooks, who later recorded it. Now, New Grass Revival’s founding member, Sam Bush, is a mandolin revolutionary whose virtuosity and broad- minded approach to music has changed a bunch of things for the better. -
Combining the Musical Styles of the Father of Bluegrass with the Okie from Muskogee Is an Exciting Proposition
Combining the musical styles of the Father of Bluegrass with the Okie from Muskogee is an exciting proposition. Feeling that “Bluegrass and Traditional Country music is America’s music, the stories of the common man and the sounds of the mountains,” Tim Raybon and Daniel Grindstaff have formed the new band Merle Monroe. With the goal of choosing songs that relate to everyday life and go “back to the country,” they, along with bandmates Jayd Raines and Josh Doss, hope to take your mind away from today’s current distractions on their new self-titled project for Pinecastle Records. They have worked extremely hard looking for and writing songs they feel will be different, yet still reflect their heroes’ music from years past. Tim and Daniel first met in the mid 2000’s when Daniel was performing with Marty Raybon at IBMA Fan Fest. They had only a short time to rehearse before they performed their set, but Tim will always remember his first impression of Daniel: ”He was the best banjo player I had ever heard and an adamant professional.” Daniel recalls that since first hearing Tim Raybon, “I have held his vocal abilities as being one of the best-kept secrets in WWW.MERLEMONROEBAND.COM WWW.FACEBOOK.COM/MERLEMONROEBAND the music business.” From the beginning they held a common bond in their love of the Osborne Brothers, Jim and Jesse, and Bill Monroe; they hit it off and have remained friends ever since. Tim Raybon has a natural vocal ability that has been described as “real” – so real that it needs no electronic masking of any sort. -
Cash Box , Music Page October 10, 1953
31 The Cash Box , Music Page October 10, 1953 lias USE BOX, Safest! anil WESTERg EOUIUf) Ray Price, whose recording of “Wrong Side of Town” and “Who Stole ffltKfrWfSTfW* That Train Off The Track” seems to be kickin’ up lots of attention is going to be real active this month with his personal appearances. Dates have been set for Price and his Drifting Cowboys band; Don Helms, Rusty Gabbard, Jerry Rivers and Cedric Rainwater in Missouri, Oklahoma, Texas, Kansas and Colorado. At the conclusion of a ten day tour around the 14th of this month, Price and his boys will be on a Deer Hunt in Colorado. Rex Allen (Decca) broke a .record recently while recording in Nashville when he went for eleven Buck Benson hours of continuous singing. Those who assisted the Don Larkin Joe Morris WLBR—Lebanon, Pa. artist were Jerry Byrd, Grady Martin, Bobby Moore, WAAT—Newark, N. J. WKDK—Newberry, S. C. 1. Caribbean (Mitchell Torok) 1. It's Been So Long (W. Pierce) 1. It's Been So Long (W. Pierce) Jimmie Self, Owen Bradley, Marvin Hughes, Farris 2. It Zat You Myrtle (Carlitlet) 2. Hey Joe (Carl Smith) 2. A Dear John Letter and the Anita Kerr Singers. Carl 3. Private Property Coursey, Smith, 3. A Dear John Letter (Shepard & Huskey) (Johnny & Jack) (Shepard Ernest Tubb, the Carter Family, with June, Helen, & Huskey) 3. 1 Forgot More (Davis Sisters) 4. Butterfly Love (Jim Reeves) 4. 1 Forgot More (Davis Sisters) 4. Hey Jee (Carl Smith) Anita and Mother Maybelle and Lonzo and Oscar played 5. -
Sweet & Lowdown Repertoire
SWEET & LOWDOWN REPERTOIRE COUNTRY 87 Southbound – Wayne Hancock Johnny Yuma – Johnny Cash Always Late with Your Kisses – Lefty Jolene – Dolly Parton Frizzell Keep on Truckin’ Big River – Johnny Cash Lonesome Town – Ricky Nelson Blistered – Johnny Cash Long Black Veil Blue Eyes Crying in the Rain – E Willie Lost Highway – Hank Williams Nelson Lover's Rock – Johnny Horton Bright Lights and Blonde... – Ray Price Lovesick Blues – Hank Williams Bring It on Down – Bob Wills Mama Tried – Merle Haggard Cannonball Blues – Carter Family Memphis Yodel – Jimmy Rodgers Cannonball Rag – Muleskinner Blues – Jimmie Rodgers Cocaine Blues – Johnny Cash My Bucket's Got a Hole in It – Hank Cowboys Sweetheart – Patsy Montana Williams Crazy – Patsy Cline Nine Pound Hammer – Merle Travis Dark as a Dungeon – Merle Travis One Woman Man – Johnny Horton Delhia – Johnny Cash Orange Blossom Special – Johnny Cash Doin’ My Time – Flatt And Scruggs Pistol Packin Mama – Al Dexter Don't Ever Leave Me Again – Patsy Cline Please Don't Leave Me Again – Patsy Cline Don't Take Your Guns to Town – Johnny Poncho Pony – Patsy Montana Cash Ramblin' Man – Hank Williams Folsom Prison Blues – Johnny Cash Ring of Fire – Johnny Cash Ghost Riders in the Sky – Johnny Cash Sadie Brown – Jimmie Rodgers Hello Darlin – Conway Twitty Setting the Woods on Fire – Hank Williams Hey Good Lookin’ – Hank Williams Sitting on Top of the World Home of the Blues – Johnny Cash Sixteen Tons – Merle Travis Honky Tonk Man – Johnny Horton Steel Guitar Rag Honky Tonkin' – Hank Williams Sunday Morning Coming -
The Bourbon Aristocracy Plays Cask- Strength Kentucky Bluegrass
The Bourbon Aristocracy plays cask- strength Kentucky bluegrass. The Bourbon Aristocracy is a 4-piece band that comprises fiddler/vocalist Ryan Hin- shaw, banjoist/vocalist Joe Rauen, bassist Pete Wojtowicz, guitarist/vocalist Ethan Taylor Sellers, and occasional guests on mandolin and dobro. The Bourbon Aristocracy’s repertoire in- cludes bluegrass classics from artists such one of Sellers’ distant relatives from Ken- as Bill Monroe, Lester Flatt and Earl Scrug- tucky, E.H. Taylor. nephew of U.S. President gs, Jimmy Martin, Del McCoury, Stanley Zachary Taylor. E.H. Taylor was the father Brothers, and many more - alongside more of the modern bourbon industry, through recent bluegrass favorites and songs by clas- his distillery and his efforts to pass the sic country artists like Hank Williams and Bottled-in-Bond Act of 1897 and Pure Food Johnny Cash. and Drug Act, which together ensure the authenticity and purity of bourbon whiskey. In addition to a variety of private perfor- mances, the band’s recent engagements have The Bourbon Aristocracy plays bluegrass included Shedd Aquarium, Horse Thief worthy of this heritage. Hollow Brewing Company, Glenview Park District, Chicago Park District, Downtown The band can go straight-up acoustic for in- Oak Park, and the Louisville Kentucky Con- timate engagements, use the venue’s sound vention and Visitors Bureau. Louisville has system, or bring its own as required. chosen The Bourbon Aristocracy to repre- sent the Bluegrass State to their high-profile For booking/demos/info: clientele for three years running. Ethan Sellers (773) 580-2108 The Bourbon Aristocracy name pays tribute [email protected] to Kentucky’s gift to the whiskey world and http://www.bourbonaristocracy.com. -
Dave Cobb Episode Transcript
VOICES IN THE HALL DAVE COBB EPISODE TRANSCRIPT PETER COOPER Welcome to Voices in the Hall, presented by the Country Music Hall of Fame and Museum. I’m Peter Cooper. Today’s guest, producer extraordinaire Dave Cobb. DAVE COBB When we approach these records we approach it much the way a record would’ve been done in 1965, 1970. And it’s humans playing together. There are mistakes all over the record. There’s timing issues, there’s tuning issues, there’s pitch issues, there’s flubs of words. The same way people are seeking out organically grown food, I think people are seeking out organically grown music at the same time. The moment I heard Chris Stapleton I was like, “Man I’ve got to track him down.” If I can just get to Nashville I’d run into him and I’d run into Jason Isbell and try to sucker them in to make records. I like to fly by the seat of my pants. Walk in and see what’s going to grab you that day. To me it was a really cool thing about linking really great artists that I like now, and linking Nashville, what Nashville is today. Taking kind of a snapshot of it. And I love it when I get to introduce somebody to somebody else I think is talented. And you see there eyes both sparkle. And I love the unity in the scene. That’s why I moved here. PETER COOPER It’s Voices in the Hall, with Dave Cobb. “4th of July” - Shooter Jennings (Black Magick / Universal South) PETER COOPER “Fourth of July,” from Shooter Jennings. -
A Biography of Doc Watson by Dan Miller Edited by Steve Carr
A Biography of Doc Watson by Dan Miller Edited by Steve Carr Introduction Over the past fifty years the guitar has had a very powerful influence on American music. Predominantly a rhythm instrument at the turn of the century, the guitar began to step out of the rhythm section in the 1930’s and 40’s and has maintained a dominant presence in every form of music from rock, to folk, to country, bluegrass, blues, and old- time. While Elvis, the Beatles, Bob Dylan, and other pop icons of the 50’s and 60’s certainly played a large role in bolstering the guitar’s popularity, the man who has had the deepest, most enduring, and most profound influence on the way the acoustic flat top guitar is played as a lead instrument in folk, old-time, and bluegrass music today is Arthel "Doc" Watson. To those of us who have spent hundreds of hours slowing down Doc Watson records in order to learn the tastefully selected notes that he plays and emulate the clear, crisp tone he pulls out of his instrument, Doc is a legend. However, Doc’s influence extends far beyond the small niche of guitar players who try to faithfully reproduce his guitar breaks because Doc Watson is not just a guitar player and singer - he is an American hero. To be recognized as a "national treasure" by President Jimmy Carter, honored with the National Medal of the Arts by President Bill Clinton, and given an honorary doctorate degree from the University of North Carolina calls for being more than a fine musician and entertainer. -
Reviews of Juke Joint Johnny
Reviews of Juke Joint Johnny | Home | Albums | History | Click on the album cover for info [from Susan Jarvis in The Sun-Herald October 27, 1991] The new album reveals the extent of their musical talents. The music is fast and furious, extremely danceable and very interesting. Highlights include the title track, "Juke Joint Johnny", the old Hank Thompson song "Six Pack to Go" and the W. Walker tune "No-one To Talk to But the Blues". For country traditionalists there is the Buck Owens song "Above and Beyond" and Marty Robbins' "Mean Mistreater", along with a traditional Tex-Mex waltz titled "Prenda del Ama". Tom Forsell has contributed several of his own tracks: "Here I Go Again", "Cajun Baby", "Walking By Myself" and "Foolin' With Me". There is also a blues instrumental by Rick Dempster titled "Shuffling with the Reeds". Other tracks include the Merle Travis song "Guitar Rag". Curtis Gordon's old rockabilly hit "Rock, Roll, Jump and Jive" and another rockabilly number, Syd King's "Good Rockin' Baby". This style of music is fairly different from what has been seen in country circles over recent years and it is being hailed by some, including writer David Latta, as part of the "new country" movement. It is, however, essentially very "old" country, transplanted from the American mid-west. The new Moonee Valley Drifters album is currently available only through Brunswick Recordings (10 Dawson Street, Brunswick, Victoria 3056) or at their gigs. However, Forsell points out the band is negotiating for a more extensive distribution, which will see CDs and albums as well as cassettes in the shops. -
A Piece of History
A Piece of History Theirs is one of the most distinctive and recognizable sounds in the music industry. The four-part harmonies and upbeat songs of The Oak Ridge Boys have spawned dozens of Country hits and a Number One Pop smash, earned them Grammy, Dove, CMA, and ACM awards and garnered a host of other industry and fan accolades. Every time they step before an audience, the Oaks bring four decades of charted singles, and 50 years of tradition, to a stage show widely acknowledged as among the most exciting anywhere. And each remains as enthusiastic about the process as they have ever been. “When I go on stage, I get the same feeling I had the first time I sang with The Oak Ridge Boys,” says lead singer Duane Allen. “This is the only job I've ever wanted to have.” “Like everyone else in the group,” adds bass singer extraordinaire, Richard Sterban, “I was a fan of the Oaks before I became a member. I’m still a fan of the group today. Being in The Oak Ridge Boys is the fulfillment of a lifelong dream.” The two, along with tenor Joe Bonsall and baritone William Lee Golden, comprise one of Country's truly legendary acts. Their string of hits includes the Country-Pop chart-topper Elvira, as well as Bobbie Sue, Dream On, Thank God For Kids, American Made, I Guess It Never Hurts To Hurt Sometimes, Fancy Free, Gonna Take A Lot Of River and many others. In 2009, they covered a White Stripes song, receiving accolades from Rock reviewers.