Campground & Cabins Campground & Cabins
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
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 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. -
Clarence Belcher Collection
Clarence Belcher Collection The Bassett Historical Center is a non-circulating facility. Feel free to come in and listen to any selection from this music collection here at the Center. LOCAL 45s (recorded on one CD) 01 Dink Nickelston and the Virginia Buddies – (1) Henry County Blues; (2) Trying at Love Again 01 The Dixie Pals – (1) Dixie Rag; (2) Wedding Bells 01 The Dixie Pals – (1) The Model Church; (2) Pass Me Not 01 The Dixie Pals – (1) Who’ll Take Care of the Graves?; (2) Don’t Say Good-Bye If You Love Me 02 Ted Prillaman and the Virginia Ramblers – (1) There’ll Come a Time; (2) North to 81 Albums (* recorded on CD) 01 Abe Horton: Old-Time Music from Fancy Gap (vault) 01A Back Home in the Blue Ridge, County Record 723 (vault) 02* Bluegrass on Campus, Vol. 1, recorded live at Ferrum College Fiddlers Convention 02A Blue Grass Hits (Jim Eanes, The Stonemans) 03* Blue Ridge Highballers 1926 Recordings featuring Charley La Prade (vault) 04* Blue Ridge Barn Dance – Old Time Music, County Record 746 (vault) (2 copies) 04A Camp Creek Boys – Old-Time String Band (vault) 04B Charlie Poole – The Legend of, County Record 516 (vault) 04C Charlie Poole and the NC Ramblers, County Record 505 (vault) 04D Charlie Poole and the NC Ramblers, County Record 509 (vault) 05* Charlie Poole & the NC Ramblers – Old Time Songs recorded from 1925-1930 (vault) (2 copies) 05A* Charlie Poole and the NC Ramblers – Old Time Songs recorded from 1925-1930, Vol. 2 (vault) 06 Clark Kessinger, Vol. -
A RESOLUTION to Recognize and Honor the Grand Ole Opry on Its 5,000Th Saturday Night Broadcast
<BillNo> <Sponsor> HOUSE JOINT RESOLUTION 518 By Beck A RESOLUTION to recognize and honor the Grand Ole Opry on its 5,000th Saturday night broadcast. WHEREAS, the members of this General Assembly are proud to specially recognize a legendary institution that has contributed significantly to the country music industry and brought acclaim to the State of Tennessee the world over; and WHEREAS, on October 30, 2021, the Grand Ole Opry will send over the airwaves its 5,000th Saturday night broadcast, a momentous occasion in the history of this touchstone of American culture; and WHEREAS, "the show that made country music famous" began on Saturday, November 28, 1925, when a young announcer on Nashville radio station WSM introduced an eighty-year- old fiddle player, Uncle Jimmy Thompson, as the first performer on a new show called The WSM Barn Dance; and WHEREAS, announcer George D. Hay, who labeled himself "The Solemn Old Judge," but was neither old nor a judge, realized he had started a good thing that fateful night; and WHEREAS, this acclaimed radio show followed an NBC network radio program on Saturday nights called The Music Appreciation Hour; in 1928, Mr. Hay announced on the air, "For the past hour we have been listening to music taken largely from the Grand Opera, but now we will present the Grand Ole Opry"; the name stuck and the rest is history; and WHEREAS, crowds of people would come to the studio and stand in corridors to enjoy the Grand Ole Opry in person; WSM then decided to move the Opry to its own home, Studio C, wisely believing -
Progressions
PROGRESSIONS Play along slowly CIRCLE OF FIFTHS • G-E7-A7-D7-G MORE CIRCLE OF FIFTHS • D-B7-E7-A7-D • C-A7-D7-G7-C • A-F#7-B7-E7-A • F-D7-G7-C7-F • Bd-G7-C7-F-Bd • Ed-C7-F-Bd-Ed • E-C#-F#7-B7-E 1-6 minor-4-5-1 • G-EM-C-D-G • C-AM-F-G-C • D-BM-G-A-D • E-C#M-A-B-E • F-DM-Bd-C-F 4-2M-6M-3M-5-1-6M-1 • C-AM-EM-BM-D-G-EM-G • F-DM-AM-EM-G-C-AM-C • G-EM-BM-F#M-A-D-BM-D • A-F#M-C#M-G#M-B-E-C#M-E • Bd-GM-DM-AM-C-F-DM-F • D-BM-F#M-C#M-E-A-F#M-A ROCKY TOP • G-C-G-EM-D-G (Repeat) EM-D-F-C-G- F-G-F-G • C-F-C-AM-G-C (Repeat) AM-G-Bd-F-C- Bd-C-Bd-C • D-G-D-BM-A-D (Repeat) BM-A-C-G-D- C-D-C-D • E-A-E-C#M-B-E (Repeat) C#M-B-D-A- E-D-E-D-E 1-4-5-1-4-1-5-1 • G-C-D-G-C-G-D-G • C-F-G-C-F-C-G-C • D-G-A-D-G-D-A-D • E-A-B-E-A-E-B-E • F-Bd-C-F-Bd-F-C-F • A-D-E-A-D-A-E-A • B-E-F#-B-E-B-F#-B THE BASICS AND WHY THEY’RE IMPORTANT I think it’s very important to start with the basics no matter what your level. -
Hillbilly Music and the Roots of Bluegrass Guitar
Gregory N. Reish Chicago College of Performing Arts Roosevelt University Hillbilly Music and the Roots of Bluegrass Guitar READING COPY ONLY The guitar is an instrument that seems to need defending in bluegrass, as Bill Monroe once did by affirming its central importance to the music’s ensemble sound. “It don’t only take the fiddle or the banjo,” Monroe pointed out; “the guitar man, he’s got to learn too. It’s a style. A guitar means as much in a bluegrass band as anything else.”1 Indeed, the instrumental character of bluegrass has traditionally been defined by its original lead instruments, the fiddle, banjo, and mandolin, the last of which Monroe’s modesty may have prevented him from including in his comment. Yet even before the guitar began to emerge as a full-fledged lead instrument in the 1960s, its ubiquity in early bluegrass music bespeaks the essential role it played. And just as bluegrass evolved from the hillbilly music of the 1920s and 1930s, itself multifarious in style and repertory, so too did the essential elements of bluegrass guitar. One of the guitar’s primary functions in hillbilly music was to provide simple, unobtrusive accompaniment to singing by means of open-position chords and rudimentary bass motion. Jimmie Rodgers, whose guitar skills were scarcely polished or sophisticated, nevertheless exerted a tremendous influence with the understated effectiveness of his self-accompaniment. His “Blue Yodel #12,” recorded just a week before his death in May 1933, demonstrates all of the essential elements of his style (which -
“Blue Moon of Kentucky”—Bill Monroe and His Blue Grass Boys (1947) Added to the National Registry: 2002 Essay by Richard D
“Blue Moon of Kentucky”—Bill Monroe and his Blue Grass Boys (1947) Added to the National Registry: 2002 Essay by Richard D. Smith (guest post)* Bill Monroe Illuminating a major juncture in American popular music history--the crossroads of country music and rock 'n’ roll–is the “Blue Moon of Kentucky.” Originally composed as a lonesome but lovely waltz by Bill Monroe (1911-1996)--the innovative Rosine, Kentucky-born singer/bandleader/mandolinist who became a pillar of the Grand Ole Opry, was a major figure in the Folk Music Revival and is renowned as “The Father of Bluegrass”--it was later covered by the young Elvis Presley during his first commercial recording sessions. Indeed, it is musically and culturally significant that Presley's first single consisted of his crooning and insinuating version of Delta blues singer/guitarist Arthur Crudup's “That's All Right” on one side and a rollicking rockabilly arrangement (in 4/4 time) of Monroe's waltz on the other. The roots of rock in African American music are well known, but the parallel influence of white country music deserves greater understanding. The story of “Blue Moon of Kentucky” provides this. Bill Monroe’s earliest-known performance of “Blue Moon of Kentucky” was on the Grand Ole Opry on August 25, 1945. Monroe recorded it during his first session for Columbia Records (having previously been on RCA Victor Bluebirds) on September 16, 1946. The session was historic, both for its material and Monroe’s sidemen in the Blue Grass Boys. Participating in their first recordings with Monroe were superb lead vocalist/guitarist/songwriter Lester Flatt and the brilliant and seminal three-finger-style banjo picker Earl Scruggs. -
The Gibson Brothers They Called It Music
The Gibson Brothers They Called It Music. ~ ( ( Compass 4599 ) ) “They called it music, in the church house and the fields / It was honest, it was simple, and it helped the hard times heal” Last year, Eric and Leigh Gibson found that lyric, from the title track of their new record They Called It Music, to be truer than they could have realized. 2012 was a year of triumph for the Gibsons, who took home the Entertainer of the Year trophy, bluegrass music’s highest honor, at the International Bluegrass Music Awards. But it was also a time of tragedy due to the death of their father, the duo’s biggest supporter, who passed away before he saw his boys recognized on bluegrass music’s biggest stage. Kelley Gibson, the last in a line of family farmers who had tended soil and raised dairy cattle since the Civil War, was adamant that his two sons not follow in his footsteps; he knew all too well the backbreaking labor and financial instability such a career entailed, especially in a town like Ellenburg Depot in upstate New York, where the climate is temperamental and the land ill-suited for growing much beyond hay for the herds. When it comes to sustainability and stability, a career in music isn’t the first that comes to mind. But Eric and Leigh, despite being geographically removed from the genre’s Appalachian roots, have made a name for themselves in bluegrass over the past two decades, playing over 80 shows and festivals a year and gradually building a deeply dedicated, nationwide fan base with their spellbinding harmony singing, which can reach the high lonesome notes of Bill and Charlie Monroe and capture the tenderness of pop/country crooners the Everly Brothers.