Voices of Bluegrass

2 “In a town like Nashville, you can consistently get your [butt] kicked, and what a great privilege it is to get your [butt] kicked” says Eamon McLaughlin, speaking to the intensely competitive nature of Bluegrass in Nashville. This phrase not only highlights the modern reality for Bluegrass musicians, but also the earnest appreciation for the genre and those that play it. Bluegrass as both a music and a lifestyle has transformed dramatically over the years, and it continues to do so as more people take part in the making of the music. The hope of this project was to capture the voices of those that are currently expanding and advancing the genre forward to understand both how far Bluegrass has come and where it is being taken, including how different sonic influences come to be incorporated in the genre across time. This project utilized podcasts as the medium to deliver such conversations. Podcasts serve as the modern equivalent to the porch conversations that sustained the genre in the past, and therefore appropriately parallel the modernization and expansion of Bluegrass. The current paper provides a supplementary explanation of the history of Bluegrass that has led to its established sound, as well as the interview and podcast-making process. These will provide context for a following in-depth discussion of two interviewees who provide ample insight into the Bluegrass environment of Nashville and beyond. Bluegrass has been heralded as one of few genres of music that is fundamentally American. Its roots and beginnings are seated deep in the South Eastern corner of the country, where sounds, cultures, and stylistic tendencies brewed for many years, slowly evolving into the genre that Bluegrass is known for today. Much in the way that America has acquired many flavors of culture, the 3 sounds of Bluegrass were derived from equally eclectic backgrounds. Over time, those sounds have assimilated into a blended set of musical and performance standards. Going way back to the first European wave of migration, sounds from Ireland and Italy drifted over with the ships, landing the sounds of fiddle and mandolin in the ears of the pioneers.1 Meanwhile, sounds from Africa were brought by slaves who sang soulful stories and played stringed instruments made from the hide of goats stretched across a round gourd, eventually transforming into the banjo that is played in America today.2 Later came guitar, played in the blues and folk realms with artists such as Elizabeth Cotten, Robert Johnson, and Arnold Shultz.34 And the gospel tradition of singing stories and personal tales rang true to those living simply in the rural south. All of these culturally rooted sounds stewed in the seclusion of the south and eventually meshed together to form what many consider to be the “roots” of bluegrass.5 The fundamentals of the genre were established in the early 1900s with influences such as Bill Monroe, Earl Scruggs, and Lester Flatt. Bill Monroe developed a chords structure and rhythm that was simple but clean. The rhythm was usually up-tempo and followed either 4/4 or ¾ timing. Usually there would be a kick at the beginning of the song where one instrument would lead into the melody and signal 1 “A Brief History Of Bluegrass Music.” Bluegrass Heritage Foundation. 2 Allen, Greg. “The Banjo’s Roots, reconsidered.” NPR. 3 Traum, Happy. “A Brief History of the Guitar in Bluegrass Music." History of Guitar in Bluegrass Music - The Bluegrass Guitar. 4 Thompson, Richard. “I’m Going Back to Old Kentucky #196.” Bluegrass Today. 5 Steve Mullen January 15, 2011, and Kim Ruehl on May 7, 2017. "America: More Gumbo than Melting Pot?" No Depression. January 15, 2011. 4 the other players to begin. Vocals were usually high and nasally, as this was Monroe’s style of singing. These quintessential sounds can all be heard in a recording such as “It’s Mighty Dark for Me to Travel” (1948).6 Soon after came Lester Flatt and Earl Scruggs, and these two together developed the sound and style of the banjo and the use of the guitar that are considered traditional Bluegrass today. Taking from Monroe’s song structure, Flatt and Scruggs added a more hard- driving feel to the music, while still ensuring the sound was clean and tight. The banjo roll was established at this point, as well as the famous “G-run” on the guitar. This is clearly heard in the recording “Earl’s Breakdown” (1951).7 These elements added power and dynamics to an already established structure, cementing the elements that would define the Bluegrass wall of sound. What underlies the eclectic sources of influence on Bluegrass is the thread of storytelling. The development of the genre correlates with the history of events and cultural shifts that occurred across time. Not only does the instrumentation reflect periods of migration and collaboration, but the lyrics and aural stories told reflect everything from hardship, struggle, and oppression to simple living and the universal heart-wrenches of being in love. In this way, the history of Bluegrass can be heard through the music itself, and with a sharp ear one can come to understand how the genre has progressed, and how it has kept its original sounds. 8 6 Monroe, Bill. “It’s Mighty Dark to Travel.” It’s Mighty Dark to Travel/When you are Lonely. Columbia Records. 1948. 7 Thomas, Tom. “Biography of Earl Scruggs.” 8 Howard, Jason. "Roots Music Connects Contemporary Musicians to the Bluegrass State, Kentucky - Arts & Culture." Utne. 5 Born out of remote areas of the country, Bluegrass remained largely confined to specific parts of the country for many years, and even today it continues to tailor its music to specific groups of people. In its beginnings, it became known as the music of rural, white Americans. Though the musical influences from slavery were strong, the term “Bluegrass” was coined by white Americans that began to call the music their own.9 Thus, for many years, and still today, the music resonated most strongly with white Americans living in heavily cultured regions of the south, and its tradition and story were kept mainly inside those regions. Its slowness to spread limited the genre from gaining popularity, and it has not been until the past thirty years or so that Bluegrass has truly entered the mainstream. Today, the genre has begun to be adopted by individuals from other regions, with different musical backgrounds, and the genre is beginning to shift. A new, contemporary version of Bluegrass is beginning to emerge, becoming known as “Folk-Bluegrass” or “New-grass.” This branch has given a new feel to the genre, adding new rhythms and influences from other popular sources of music, such as Indie, Folk and even Jazz. These additions have also expanded the genre’s listener base, and moved it further into the mainstream. These changes are, naturally, receiving push back from many traditionalists who do not want the fundamentals to be lost in history.10 It is certainly true that this musical shift has not brought with it the stories and cultural traditions that founded the genre. Given its base in aural tradition and its secluded culture, much of the history of Bluegrass has not been 9 “A brief History of Bluegrass Music.” Bluegrass History Foundation. 10 Edmondson, Jacqueline. “Music in American life: an encyclopedia of the songs, styles, stars and stories that shaped our culture.” Santa Barbara, CA: Greenwood, 2013. 6 effectively communicated to the majority. As a result, the chronology of Bluegrass and the lives of those that play it are still unknown to many. Thus, there is a need for further widespread documentation of the genre to close this gap. Today, stories can be told in mediums that allow them to be shared. Social media allows music to be shared instantaneously, YouTube lets artists share comments on their music, and online music forums diversify knowledge and opinions on music. Podcasts can bring all of those benefits into one multi-layered production, synthesizing music listening and discussion into one cohesive narrative. Stories and background on music help create a greater understanding of a genre, and that deeper understanding often leads to a deeper appreciation for the genre as well. However, every genre of music has its own unique characteristics, and some lend themselves better to storytelling than others. Given that bluegrass has such a specific, region-based history, many have attempted to capture the essence of bluegrass by focusing on the story behind the music and/or the location of its roots.11 Numerous outlets have been used to do so. Ken Erwin, founder of Rounder Records, started this trend. He sought after musicians specifically in the Bluegrass community, which was then a fairly obscure genre to the majority. His aim was to bring awareness and appreciation to a genre that was hidden in the depths of Southern culture. Rounder Records was the first record label to focus specifically on Bluegrass, and it spread its popularity to 11 Kahle, Lauren Travis. “JFR Review for The Bluegrass Reader.” Journal of Folklore Research. 7 mainstream listeners.12 This allowed the music to be heard and appreciated by individuals who had not grown up around the culture. Simply turning bluegrass into a produced sound, however, did not capture the essence that is so central to the genre itself. Other sources have tried to emulate Rounder Records’ approach while keeping the music at its source. Old Blue Records is one such example of this. This record label focused on old-time bluegrass in the Appalachias, specifically on music being played on porches and in backyards.

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