DOCSLIB.ORG

Bay Area Bluegrass Association, Inc. C/O Barbara Monroe 4327 Townes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bay Area Bluegrass Association, Inc. C/O Barbara Monroe 4327 Townes Bay Area Bluegrass Association, Inc. Non-Profit Organization c/o Barbara Monroe U.S. Postage Paid 4327 Townes Forest Road Permit No. 133 Webster, TX 77598 Friendswood, TX 77546-4254 Address Service Requested BA BA RT PPO SU BLUEGRASS RADIO WAVES KNES - FM 99.1 Sun. 2-5 PM Fairfield Carl Conkling KEOS - FM 89.1 Tues. 7-9 PM College Station John Roths KPFT - FM 90.1 Sun. 4-6 PM Houston Chris Hirsch KUT - FM 90.5 Sat. 8 AM-2 PM Austin Don Foster/Ed Miller KAMU - FM 90.9 Sat. 7-8 PM Bryan Rodney O'Conner KVLU - FM 91.3 Sat. 7-9 PM Beaumont KOOP - FM 91.7 Sun. 10-11 AM Austin Keith Davis/Rod Moog The KKUS - FM 104.1 Sat. 9-10 AM Tyler Dave Rousseau Arts KSHN - FM 99.9 Sat. 8:30-10:30 PM Liberty Roy Bennett KSYM-FM 90.1 Sun. Noon-2 PM San Antonio Hank Harrison Alliance Center at Clear Lake COMING IN FEBRUARY HUCK’S ACOUSTIC REVUE See www.bayareabluegrass.org for further listings Nominated 1996 and 1997 Best Bluegrass Newsletter by SPBGMA The Bay Area Bluegrass Association 301 Slossen Street, Houston, TX 77598 February 2006 “Twenty Years Strong” Volume 20, Issue 2 he Bay Area Bluegrass Association, (BABA) was organized in 1986 and incorporated in 1987 under the Texas Non-Profit Corporation Act. The primary purpose of BABA is to preserve, encourage, and promote Bluegrass and Bluegrass Gospel music as an American art form. BABA promotes Bluegrass through being active in community events, fund raisers, festivals, and monthly shows. The monthly show is free to the public and features Bluegrass from the local and national scene. The stage show begins at 6:30 p.m., but pickers are welcome to bring their instruments and come earlier. BABA’s kitchen provides tasty, inexpensive food and beverages (NO ALCOHOL). Prizes and donations are raffled off every show. Proceeds from the kitchen, raffles/donations, and memberships from individuals and businesses are used to present the monthly shows; publish the newsletter; pay for sound equipment; promote Bluegrass and for minor incidental expenses. Please help support Bluegrass. Join BABA today. Your membership will help us to meet our goals and objectives. See membership levels below. BABA is a 501(a) tax deductible organization. See any Director for information. From the President There are some new ideas and some changes going on at BABA. One concerns this newsletter and how it is delivered to you. As some of you know the BABA Bulletin has been available on the website as well as being mailed to our members. Now only a sample newsletter will be available to the public on the web site. The cost of printing and postage keeps going up and we need to save money so we are asking for your help. If you are comfortable with your computer and like doing things online, let us e-mail you a link each month which will allow you to access the Bulletin online in a PDF format. You can read it online or download it and print it out at home. If you are not a computer whiz and prefer getting your newsletter by mail, that’s OK. We’ll con- tinue to mail them to you just as we have always done. Each of you who chooses to receive your Bulletin on line will help BABA reduce costs and save labor. Printing and applying mail- ing labels and sorting per bulk mail requirements is time consuming. If you’d like to help us out by getting your Bulletin online, you need to be sure that we have your current e-mail address. We’ll have a form for you to fill out at the show. There is one in this newsletter if you want to cut it out and mail it in or you can e- mail your request to [email protected]. Just tell us you want your Bulletins in the mail or on line or both. Be sure to in- clude your current mailing address as well as the e-mail you want us to use to send your notification link. Watch this space for more new things. There are some good ideas being floated around which will make BABA membership very rewarding, and in some very tangible ways! Right now folks who join BABA between now and the April show will be entered into a drawing and could win a free three day pass to the Fire on the Strings bluegrass festival in May. I hope to see you all at the February show! Ed The BABA Bulletin is published monthly by the Bay Area Bluegrass Association, and is available for $25 a year Family Membership, $100 a year Gold Club Mem- bership or $250 Lifetime Membership. Portions of the BABA Bulletin may be reprinted with proper source citation. Articles are opinions of the writers alone and do not imply an opinion on the part of the Board of Directors or members. 2 The BABA Bulletin February 2006 would like feedback and Bluegrass articles from our Join us at Fuddruckers, NASA readers. Tidbits or article(s) can Pkwy. on the FIRST TUESDAY of be: an amusing quote; reviews of EVERY MONTH for dinner and festivals or music conventions; behind the scenes reports of bands; technical; RV & JAM!! Turn in a BABA “coupon“ PRESIDENT Ed Fryday campground reviews; or anything you feel would and we will receive a percentage of be of interest to Bluegrass enthusiasts. Articles your food and drink purchase VICE PRESIDENT may span more than one issue, and full credit Wilbur Huckabay will be given. price. SECRETARY David Culbertson TREASURER VOLUNTEERS / DONATIONS ADVERTISING RATES Chris Bagley Business Cards So many of you responded to our request for DIRECTORS $50 per year donations of door prizes or baked goods for LARRY CUDDY $5 per issue OWEN HUCKABAY the coffee table, and we thank you. Please STAN JONES Quarter Page TRAVIS POSEY $75 per year continue to bring brownies, cookies or cakes, BETTY ROBERTSON $10 per issue packaged in sandwich bags for sale at the Half Page shows, and don’t forget to sign the form at the GENERAL COUNSEL $150 per year CHARLES ORSBURN table so we can acknowledge your gift. $15 per issue Editor Full Page Barbara Monroe $300 per year 4327 Townes $30 per issue Forest Friendswood, TX Copy deadline is the 1st of each month Special thanks to the band appearing in 77546 BABA is not liable for content or claims of 281-993-1620 advertisers. January bmonroe13@hotm No alcohol advertisements ail.com Send all ads to the Editor ARBOR MUSIC BAND BABA INFORMATION NO STRINGS ATTACHED 281-332-5685 Printed by THE LONESTAR BLUEGRASS BAND Shiloh Printing Christian Bookstore & Gift WHITE DOVE Shop 904 Sheffield SLOW JAM AT EVERY MONTHLY SHOW BABA presents a show the third Saturday of every month. Join us at 6:00 before each BABA show for the Slow Jam. Our leaders will give you pointers Would you like to have your on jamming and will show you how to play all your bluegrass favorites band perform on stage? Con- tact Ed Fryday at 281-636-9419 to be added to Help keep the Civic Center clean. Please the schedule. put trash in the cans placed around the auditorium and hallway. The BABA Bulletin February 2006 3 BABA Volunteers Gold Club Members February 2006 David Blankenship, Johnnie Burleson, Mike Conwell, Larry Cuddy, David Culbertson, Paul Cutts, Kent Ellis, Kitchen Operations: Ken Kendall, Anna Kendall, Darlandria Ray Ellis, J.B. Graham, Jim Greenlee, Robert Hasserd, Hernandez, Erynn Hughes, Jessica Hood Steve Henry, Stan Jones, Ken Kendall, Rick Kirkland, Hans Longsjoen, Pat Lomas, Charles Orsburn, Rich Coffee Table Donations: Geri Gatlin, Carol Ritter, Billly Wal- Ostrem, Jimmy Pike, Laney Sims, Willie Spence, Trent lace & Ray Tyler, Chuck & Lee Ann Fau Thornton, Brian Vinson, Tom Webster, Bob Zimmer- man, Jay Zwischenberger BABA Table Volunteers: Carol Ritter, Geri Gatlin, Monica Scribner, Joyce Axelson, Sandy Roberts Membership in the Gold Club is payable annually. Drawing Donations: Geri Gatlin, Betty Lawson, Debbie Hall We thank you for your “extra” support. Set-Up & Clean-Up: Travis Posey, Jack Ritter, Tom Wood, Pat Lomas, Gerry Herman, Bill Gatlin, Larry Cuddy, Mike Conwell, Laney Sims Sound Technician: Gerry Herman M.C.: Ed Fryday BABA Bulletin: Barbara Monroe Donation Jar Passers: not available Slow Jam: Jerry Scribner Welcome New Members: David Odegar, Brent Sabo Welcome Back Renewal Members: Paul Millo, Mike & Pat Conwell, H.W. & Nita Grice BABA Lifetime Members: Dave Aldrich, Doris Arnett, O.B. Aylor, Chris Bagley, Hubert & Shirley Brasseaux, Cara Cooke, Phil & Fern Deans, Bill & Joni Dusenbury, Harry & Verna ARBOR MUSIC BAND Edwards, Ruth Evans, Ed & Becky Fryday, Mike Fuller, John & Jean Gardner, Bill & Geri Gatlin, J.B. & Nancy Graham, Jim Greenlee, Doris Grigg, Robert & Elizabeth Hasserd, Sammy & Ottie Holloway, Jim & Carolyn Johnston, Paul & Eva Koll, Bobby Little, Hans & Karen Lansjoen, Ken and Wanda MacDonnell, Phil Mathers, Paul & Madeline McKneely, Faber & Sandy McMullen, Patrick Milligan, Thomas Murphy, Charles & Ellen Orsburn, Mike Petitt, Bill & Glenna Pierpont, Norman Ponder, Billy Potts, Tony & Nema Redding, Karl Reid, Jack & Carol Ritter, Tom & Sandy Roberts, Billy & Terry Schmidt, Jerry & Monica Scribner, Gordon Spaulding, Bob & Marilyn Taylor, Scott Teven, Don & Charlene Threlkeld, Helen Vinson, Viola Wakefield, Jay Zwishenberger Lifetime Members’ names are in alphabetical order. Is yours there? CHRIS BAGLEY 4 The BABA Bulletin February 2006 UPDATE YOUR E-MAIL ADDRESS. WRITE TO BARBARA AT [email protected] The BABA Bulletin February 2006 5 Monthly Jamming & Shows Note - Please send additions or corrections to the editor. Sundays Austin, TX - Artz Ribhouse, 2330 S.
Load more

Recommended publications
  • Doo-Wah Riders
    DOO-WAH RIDERS KENNY LEE BENSON— VOCALS, ACCORDIAN, KEYBOARD, & HARMONICA When I was in my early 20s I decided to quit playing coun- try music in the beer and honky tonks of New Mexico and study music "seriously." I left Albuquerque and moved to Boston to go to music school. After two semesters I ran out of money and did what came natural... playing country music in beer joints and honky tonks. This time in the Northeast. In spite of playing with some won- derful people and players (including the legendary Sleepy La- Beef), I came to the realization that no matter where I was, I was always playing the "the worst place in town" and decided to get the hell out of Dodge. Torn between moving to Nashville and Los Angeles (I had an "ex" in Texas), I let my record collection decide for me. Emmy- lou Harris, Rodney Crowell, Brian Ahern, Byron Berline, Albert Lee and Chris Hillman were all in California and making the kind of records I wanted to make, so I packed up and moved there. Once again, I went to school and studied arranging and orchestration with Dick Grove in Studio City, California (my cur- rent home). One night after playing music at a friend's house, the guitar player and I stood in the parking lot and talked about country music until the wee hours of the morning. We found that we had a mutual passion for Bob Wills, Asleep at the Wheel, Guy Clark and, of course, Emmylou Harris; we decided that we should put a band together just for "laughs." Little did I know that the band would become a major part of my life and that I'd still be working with Lindy Rasmusson 30 years later! .
    [Show full text]
  • Roland White Band
    The Roland White Band Roland White Bluegrass mandolin master Roland White has played in some of the most influential and popular groups in the music's history, and has played a notable part in creating that history. Springing from a large family of musicians, Roland and his younger brothers Eric and Clarence first played together as youngsters in their native Maine. Moving to southern California in 1955, The Country Boys (later to become The Kentucky Colonels) won talent contests, appeared on local television shows and even landed appearances on The Andy Griffith Show. They toured the country during the folk music boom of the early 60's, creating a sensation among coffeehouse, festival and college audiences with their instrumental virtuosity, traditional brother vocal harmonies and rhythmic innovations. The Kentucky Colonels' influence far exceeded the band's short tenure as an active band. Their "Appalachian Swing" album remains one of the most important albums of that era, a landmark in the history of bluegrass. Moving from The Kentucky Colonels into a position as guitarist for Bill Monroe in the late 60's, Roland absorbed the traditional feel and repertoire from his mentor, the Father Of Bluegrass, which remains a strong element in his music today. From Monroe's band, Roland joined that of another bluegrass pioneer, Lester Flatt, playing mandolin and recording several albums as a member of The Nashville Grass from 1969-1973. In 1973 a short-lived reunion of The White Brothers was brought to an untimely end due to Clarence White's tragic death. Of this brief reunion came two concert recordings that capture the excitement of the White Brothers' sound fully matured, after Clarence's excursions in country rock with the Byrds and Roland's studies with the Monroe and Flatt.
    [Show full text]
  • Need Christmas Presents? We’Ve Got You Covered!
    Return Service Requested NON-PROFIT ORGANIZATION U.S. POSTAGE PAID PO Box 21748 Juneau, AK Juneau, AK 99802-1748 Permit #194 www.akfolkfest.org November 2014 Newsletter 41st Annual Alaska Folk Festival April 6-12, 2015 Need Christmas Presents? We’ve Got You Covered! e have reordered some of last year’s W amazing festival merchandise. Our merchandise last year sold like hot-cakes and we’ve heard from a lot of members that they wish they could still get their hands on the 40th festival items. You can find our festival merchandise at the gift store at the JACC year-round and we’ve got an extra large stock on hand for this year’s Public Market on November 28th,29th, & 30th. And for the first time ever we will have a pop-up store for Gallery Walk! The Senate Building, 2nd floor (where the fly fishing shop used to be) will be hosting the Alaska Folk Festival as part of this year’s December First Friday event, also known as Gallery Walk, on December 5th from 4:00 - 7:30pm. Come chat with board members, pick up some beautiful merchandise, and sign up for, or renew your membership. Merchandise is one of the primary ways that the festival gen- erates funds and we greatly appreciate your support, and we LOVE seeing those folk fest hoodies around town. The 2015 AFF Guest Artist: The Byron Berline Band he Alaska Folk Festival is thrilled to have the Byron Year.' As one of the world’s premier fiddle players, Berline T Berline Band as our 2015 guest artist.
    [Show full text]
  • GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie Van Varik
    GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie van Varik. As performed in principal recordings (or demos) by or with Gram Parsons or, in the case of Gram Parsons compositions, performed by others. Gram often varied, adapted or altered the lyrics to non-Parsons compositions; those listed here are as sung by him. Gram’s birth name was Ingram Cecil Connor III. However, ‘Gram Parsons’ is used throughout this document. Following his father’s suicide, Gram’s mother Avis subsequently married Robert Parsons, whose surname Gram adopted. Born Ingram Cecil Connor III, 5th November 1946 - 19th September 1973 and credited as being the founder of modern ‘country-rock’, Gram Parsons was hugely influenced by The Everly Brothers and included a number of their songs in his live and recorded repertoire – most famously ‘Love Hurts’, a truly wonderful rendition with a young Emmylou Harris. He also recorded ‘Brand New Heartache’ and ‘Sleepless Nights’ – also the title of a posthumous album – and very early, in 1967, ‘When Will I Be Loved’. Many would attest that ‘country-rock’ kicked off with The Everly Brothers, and in the late sixties the album Roots was a key and acknowledged influence, but that is not to deny Parsons huge role in developing it. Gram Parsons is best known for his work within the country genre but he also mixed blues, folk, and rock to create what he called “Cosmic American Music”. While he was alive, Gram Parsons was a cult figure that never sold many records but influenced countless fellow musicians, from the Rolling Stones to The Byrds.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center, our multimedia, folk-related archive). All recordings received are included in Publication Noted (which follows Off the Beaten Track). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention Off The Beaten Track. Sincere thanks to this issues panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir. liant interpretation but only someone with not your typical backwoods folk musician, Jodys skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like Rhinordine, Lord Leitrim, in the early 70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, Barbary Ellen. performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time.
    [Show full text]
  • Rick Roberts Windmills Mp3, Flac, Wma
    Rick Roberts Windmills mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Windmills Country: US Released: 1972 Style: Folk Rock, Country Rock, Pop Rock MP3 version RAR size: 1827 mb FLAC version RAR size: 1858 mb WMA version RAR size: 1523 mb Rating: 4.8 Votes: 500 Other Formats: AA DTS MMF TTA VQF DXD FLAC Tracklist Hide Credits Deliver Me A1 Bass – Randy MeisnerChorus – Bernie Leadon, Don Henley, Randy Meisner, Rick 4:51 RobertsGuitar – Bernie Leadon Davy McVie A2 3:45 Vocals [Harmony] – Don Henley In My Own Small Way A3 2:57 Banjo, Vocals [Harmony] – Bernie LeadonBass – Randy Meisner A4 Sail Away 7:17 Two Lovely Women B1 4:39 Electric Guitar [Rhythm] – Rick RobertsGuitar – Marc Benno In A Dream B2 4:12 Bass – Randy MeisnerVocals [Harmony] – David Crosby Drunk And Dirty B3 Bass – Chris HillmanDrums – Dallas TaylorElectric Guitar – Al PerkinsGuitar – Marc 3:42 BennoVocals [Harmony] – Jackson Browne Pick Me Up On Your Way Down B4 2:53 Vocals [Harmony] – Mother HenWritten-By – Harlan Howard B5 Jenny's Blues 3:46 Credits Art Direction – Roland Young Bass – Lee Sklar* Drums – Don Henley Engineer [Recording] – John Haeny, Kent Nebergall, Richie Moore* Engineer [Remix] – David Anderle Fiddle – Byron Berline Organ – Mike Utley* Percussion – Joe Lala Photography – Bob Jenkins Piano – Mother Hen Producer – David Anderle Steel Guitar [Pedal] – Al Perkins Vocals, Acoustic Guitar – Rick Roberts Notes ℗ 1972 A&M Records, Inc. First issue brown label. Recorded at Sunset Sound Studios, Los Angeles This album is dedicated to MICHELLE WOOD Barcode
    [Show full text]
  • What's Inside
    The Official publication of the Colorado Bluegrass Music Society december 2015 Making a List and Checking it TwiceBy Jackson Earles page 3 What’s Inside: • Looking Forward and Looking Back ..........4 • Music Stores in Colorado Springs ..............5 Address Service Requested Service Address • Meet Larry Struble ........................................ 7 Wheat Ridge, CO 80034-0406 CO Ridge, Wheat Bluegrass News P.O. Box 406 Box P.O. Performance Calendar, Music Society Music Colorado Bluegrass Colorado CBMS Bands on Call & More! From The President’sXXX Desk Dear Reader, The Official publication of the o you find yourself reading a copy of this paper COLORADO BLUEGRASS MUSIC SOCIETY that you have picked up for free at one of our many A non-profit association of Bluegrass enthusiasts. music business/education outlets in the state of Colorado? If so, wouldn’t you consider joining us DECEMBER 2015 as an official CBMS member? We, like so many ****** artistic institutions that withstand the test of time, are a non-profit organization with the mission of helping to preserve P.O. Box 406, Wheat Ridge, CO 80034-0406 Dour past through the education and performance of bluegrass Web site: www.coloradobluegrass.org music. We offer Pow’r Pickin’ as a source of information, inspiration, www.facebook.com/theCBMS outreach and to connect all of our stakeholders to what is one of the Editorial E-mail: [email protected] fastest growing and most versatile musical communities in America. Advertising E-mail: [email protected] We cannot sustain this without you, however. In a world of digital CD Reviews E-Mail: cds@ coloradobluegrass.org communications and the loss of the time-honored tradition of print media, our costs have risen to a point that the organization funds COLORADO BLUEGRASS MUSIC SOCIETY BOARD of DIRECTORS: this wonderful outlet through membership and your participation.
    [Show full text]
  • August Troubadour
    FREE SAN DIEGO ROUBADOUR Alternative country, Americana, roots, folk, Tblues, gospel, jazz, and bluegrass music news March 2007 www.sandiegotroubadour.com Vol. 6, No. 6 what’s inside Welcome Mat ………3 Contributors San Diego Folk Song Society Full Circle.. …………4 Kenny Newberry Recordially, Lou Curtiss Front Porch... ………6 Harp Guitars Steph Johnson Parlor Showcase …8 Sven-Erik Seaholm Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze Highway’s Song. …12 Leo Kottke & David Lindley Of Note. ……………13 Gaskins ‘n’ Gunner Chad Farran Alex Esther Manisha Shahane Kevin Jones ‘Round About ....... …14 March Music Calendar The Local Seen ……15 Photo Page MARCH 2007 SAN DIEGO TROUBADOUR welcome mat Sam Hinton’s Folk Song Society Turns 50 RSAN ODUIEGBO ADOUR Alternative country, Americana, roots, folk, by Allen Singer country blues, and Tblues, gospel, jazz, and bluegrass music news original material. am Hinton Members play many S has worn different instru - many hats ments at all skill MISSION CONTRIBUTORS in his life. He’s an levels and we original — a folk encourage everyone To promote, encourage, and provide an n FOUNDERS a g alternative voice for the great local music that singer, a songwriter, a scientist, an artist, i from amateur to professional to be a part Ellen and Lyle Duplessie F is generally overlooked by the mass media; a father, and a great diatonic harmonica r of the group each time we meet. We e Liz Abbott t namely the genres of alternative country, e player. On March 31, when Hinton cele - P leave nobody behind in the musical dust.
    [Show full text]
  • Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
    Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events.
    [Show full text]
  • Mundealan2011-12-08Transcript.Pdf (1.076Mb)
    Oral History Interview of Alan Munde Interviewed by: Andy Wilkinson December 8, 2011 Wimberley, Texas Part of the: Crossroads of Music Archive Texas Tech University’s Southwest Collection/Special Collections Library, Oral History Program Copyright and Usage Information: An oral history release form was signed by Alan Munde on December 8, 2011. This transfers all rights of this interview to the Southwest Collection/Special Collections Library, Texas Tech University. This oral history transcript is protected by U.S. copyright law. By viewing this document, the researcher agrees to abide by the fair use standards of U.S. Copyright Law (1976) and its amendments. This interview may be used for educational and other non-commercial purposes only. Any reproduction or transmission of this protected item beyond fair use requires the written and explicit permission of the Southwest Collection. Please contact Southwest Collection Reference staff for further information. Preferred Citation for this Document: Munde, Alan Oral History Interview, December 8, 2011. Interview by Andy Wilkinson, Online Transcription, Southwest Collection/Special Collections Library. URL of PDF, date accessed. The Southwest Collection/Special Collections Library houses almost 6000 oral history interviews dating back to the late 1940s. The historians who conduct these interviews seek to uncover the personal narratives of individuals living on the South Plains and beyond. These interviews should be considered a primary source document that does not implicate the final verified narrative of any event. These are recollections dependent upon an individual’s memory and experiences. The views expressed in these interviews are those only of the people speaking and do not reflect the views of the Southwest Collection or Texas Tech University.
    [Show full text]
  • Download a Brief History of the San Diego Bluegrass Society
    A BRIEF HISTORY OF THE SAN DIEGO BLUEGRASS SOCIETY By Dwight Worden May 13, 2014 THE EARLY YEARS The late 1960s and early 70s were a time of change in America. Students were active, an unpopular war was underway, and many young Americans were breaking with the traditions of their parents. It was the season of long hair and love. The new generation was experimenting with, among other things, music. Amidst the excitement and turmoil of the times many, both young and old, were searching for authenticity and solid values in music and lifestyles. The folk boom of the 1950's and early 60's had awakened many to the raw authenticity of acoustic, folk, and bluegrass music. It was during this time period that groups like the Scottsville Squirrel Barkers were making a bluegrass mark in San Diego. Two local members of that band went on to national rock and roll stardom, Chris Hillman (mandolin) who became a founding member of the Byrds (bass), and Bernie Leadon (guitar)who joined the Eagles (guitar). Kenny Wertz of the “Barkers” (banjo) went on to bluegrass fame in Country Gazette (guitar) and with the Flying Burrito Brothers. There were jam sessions at the Blue Guitar music store, then located in Old Town (now on Mission Gorge Road). Venues like the Heritage in Mission Beach and the Candy Company brought acts like Vern and Ray, the Dillards, and others to town. “Cactus Jim” Soldi of Valley Music in El Cajon was the first to bring Bill Monroe to town at the Bostonia Ballroom in El Cajon.
    [Show full text]
  • The Scottsville Squirrel Barkers, from the Blue Guitar to Country Rock
    THE SCOTTSVILLE SQUIRREL BARKERS, FROM THE BLUE GUITAR TO COUNTRY ROCK In the early 60’s the “folk music revival” was having a strong impact on bluegrass music across the country. In 1959 The Stanley Brothers had played the Newport Folk Festival and in 1960 both The Stanleys and The Osborne Brothers performed at Antioch College in Ohio. In 1962 The Stanley Brothers played at Oberlin College and that same year Lester Flatt and Earl Scruggs recorded a project entitled Folksongs of our Land which included 2 songs written by Woody Guthrie. These were not isolated incidents as many of the established bands as well as some regional groups were taking advantage of the interest in their music among a new generation of urban youth. Many would argue that the music was diminished by these efforts to appeal to the folk music fans, particularly the changes in repertoire, but there was no question that it’s popularity was increasing. Bluegrass was attracting new disciples to new venues in new areas of the country. One of those places was San Diego, California where a group of young men from different backgrounds were gathering to make music. Although the group was an amalgam of musical genres from folk to flamenco, one sub- group was drawn to traditional bluegrass and the individuals in this group were destined to make their mark on the soon to be born genre of country rock. That group, formed in 1962, was the Scottsville Squirrel Barkers . Bernie Leadon, contemporary of the Squirrel Barkers and later founding member of the Eagles was living in San Diego at the time and in an e-mail interview described one component of the community which would have readily embraced the sounds of bluegrass and talked about his introduction to the music scene.
    [Show full text]