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Ilene perguntou em Entertainment & MusicMusicCountry · Há 1 década

do you love bluegrass and folk?

can you name for me some of your favorite bluegrass artists? and maybe some of their songs?

i would really like to expand my bluegrass collection, so anything you enjoy, please share!

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    Classic Bluegrass: Volume 1

    Bill Monroe: Blue Moon of Kentucky * The Lilly Brothers: Long Journey Home * Alison Krauss: I've Got That Old Feeling * Rhonda Vincent: Bluegrass Express * Eric Weissberg and Steve Mandel: Dueling Banjos. 30 songs in all!

    Classic Bluegrass: Volume 1

    Track# Sample Title Artist/Composer Time

    1 Blue Moon of Kentucky Bill Monroe & His Bluegrass Boys 2:10

    2 I Wonder How the Old Folks Are at Home Mac Wiseman 2:53

    3 Sunny Side of the Mountain Jimmy Martin 2:34

    4 Are You Missing Me Jim & Jesse 2:25

    5 Don't Let Your Sweet Love Die Reno and Smiley 2:28

    6 Barbara Allan Moore and Napier 4:14

    7 Old Salty Dog Blues Lester Flatt and Earl Scruggs and the Foggy Mountain Boys 2:30

    8 Fox on the Run The Country Gentlemen 2:36

    9 Dueling Banjos Eric Weissberg and Steve Mandel 3:17

    10 Nashville Cats Del McCoury 3:42

    11 Bluegrass Express Rhonda Vincent 3:03

    12 I've Got That Old Feeling Alison Krauss 2:59

    13 Lonesome Old Home Longview 4:45

    14 Drifing Too Far from the Shore Boone Creek 3:59

    15 Wayfaring Stranger Emmylou Harris 3:27

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    Classic Bluegrass: Volume 1

    Track# Sample Title Artist/Composer Time

    1 The Ballad of Jed Clampett Flatt & Scruggs 2:04

    2 Rocky Top The Osborne Brothers 2:38

    3 Little Birdie Red Allen 2:37

    4 Long Journey Home The Lilly Brothers 2:16

    5 Rank Stranger The Stanley Brothers 3:10

    6 Walk Softly on My Heart Bill Monroe 2:36

    7 Uncle Pen Ricky Skaggs 2:27

    8 Rose of Old Kentucky Byron Berline 3:30

    9 Pretty Polly Ralph Stanley 3:36

    10 I Am a Man of Constant Sorrow The Soggy Bottom Boys 4:18

    11 (I Know You) Rider The Seldom Scene 5:27

    12 Don't Let Your Deal Go Down Earl Scruggs, Doc Watson and Ricky Skaggs 2:19

    13 Doin' My Time Tony Rice 4:09

    14 I Don't Believe You've Met My Baby Jerry Douglas 3:12

    15 I Am a Pilgrim The Kentucky Colonels 2:40

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    Bluegrass: the often lonesome, sometimes happy sound of the hills. Created over 60 years ago by a proud Kentuckian named Bill Monroe, bluegrass music has grown from a regional specialty to a worldwide phenomenon. Starting in the late 1930s, the world-famous Grand Ole Opry beamed Monroe's high, lonesome sound, with its soaring vocals and dazzling, fast-paced instrumentals, all over the United States. A new revolution in music was started, and the tradition has thrived ever since. Today, bluegrass is heard more and more on radio and television and at concerts and weekend-long festivals across America and around the world. There are literally hundreds of bands playing bluegrass. Many adhere to the original structures of the music as defined by Monroe, while others seek to expand those boundaries. The best recordings from the genre's history are presented here in this comprehensive bluegrass collection.

    Bluegrass patriarch Bill Monroe started his career in the '30s as part of a very popular duo known as the Monroe Brothers. By 1939 he had a band of his own; Monroe and His Bluegrass Boys soon landed a spot on the prestigious Grand Ole Opry in Nashville. He remained one of the top stars on the program until his passing in 1996. Many people feel that Monroe's sound was solidified in the mid-'40s, when his band included now legendary pickers and singers such as Lester Flatt, Earl Scruggs, Chubby Wise and Howard Watts. One of the key songs in Monroe's repertoire was his tribute to his native state, Blue Moon of Kentucky.

    Among the more traditional performers in this collection are West Virginia natives the Lilly Brothers, Everett and B. They gained notoriety in the late '40s through performances on The World's Original Jamboree, which was broadcast over WWVA in Wheeling, West Virginia. In the early '50s the brothers moved their base of operations to Boston, where they became among the first people to popularize bluegrass in the Northeast. The most famous incarnation of their band included the splendid West Virginia banjoist Don Stover (he played on some of Monroe's classic recordings from the mid-'50s) and Texas-born fiddler Tex Logan. The Lilly Brothers recorded sparingly throughout their career; one of their early classics is Long Journey Home.

    The '60s saw a number of key songs added to the bluegrass repertoire. The Stanley Brothers, one of the first bands to perform and popularize bluegrass, recorded one of their all-time classics in May of 1960 while they were working in Florida. The song was Rank Stranger, and it came from the pen of famed gospel songwriter Albert E. Brumley. Flatt and Scruggs scored a No. 1 country hit in 1963 when they recorded The Ballad of Jed Clampett, the theme song to the popular new television series The Beverly Hillbillies. The songwriting team of Felice and Boudleaux Bryant supplied a megahit to The Osborne Brothers in the form of Rocky Top. Released on Christmas Day in 1967, it has since become a state song for Tennessee as well as a favorite pep song at Tennessee Vols football games.

    The duo of Charlie Moore and Bill Napier was a mainstay at King Records for nearly a decade. Moore was a native of South Carolina who played guitar and sang in a very pleasing baritone. Napier hailed from Grundy, a town located in the far southwestern part of Virginia. As a sideman for the Stanley Brothers he had played mandolin and lead guitar, though in his partnership with Moore he specialized in the five-string banjo. One of the duo's best-remembered songs is the centuries-old English ballad Barbara Allan.

    The mainstream media has played a significant role in the popularization of bluegrass. In 1972 Eric Weissberg and Steve Mandel supplied music for the movie Deliverance. The inclusion of Dueling Banjos in the film exposed bluegrass to the masses and made the song a favorite at bluegrass festivals for a number of years. Three decades later the movie O Brother, Where Art Thou? It created sensational publicity for bluegrass. The song I Am a Man of Constant Sorrow had been a signature piece for bluegrass icon Ralph Stanley for 50 years when producer T-Bone Burnett pitched it to Dan Tyminski, a member of Alison Krauss & Union Station, to record. The version by Tyminski (aka the Soggy Bottom Boys, the fictitious band in the movie) became a hit in bluegrass, country and popular music circles and did much to solidify his reputation as a leading bluegrass player.

    Progressive styles of bluegrass came of age in the early '70s. The Country Gentlemen, long a mainstay of the Washington, D.C., area, made a bluegrass classic out of Fox on the Run, a song originally recorded by British rock band Manfred Mann. The Seldom Scene, another D.C.–based group, featured former Country Gentleman John Duffey. They turned in a tour-de-force performance of (I Know You) Rider, a song popularized by the Grateful Dead.

    One of the more popular exponents of the contemporary sounds in bluegrass is Tony Rice. A consummate guitarist and stellar vocalist, he rose to prominence in the '70s as a member of J. D. Crowe's New South. His warm and personable singing has been the perfect vehicle for acoustic treatments of songs from a variety of sources such as Gordon Lightfoot, Bob Dylan and Rodney Crowell. He's also recorded several notable jazz-tinged collections. Rice maintains a keen respect for the traditional style of bluegrass. A fine tip of the hat to classic bluegrass is his excellent rendering of Doin' My Time, a song popularized by Flatt and Scruggs.

    The songs of Bill Monroe provided fertile ground for mainstay country acts in the '80s. Ricky Skaggs had a No.1 hit in 1984 with Uncle Pen, a song Monroe had recorded in 1950 as a tribute to his musical uncle. A video produced in support of Skaggs's recording featured a cameo appearance by Monroe himself.

    By anyone's definition, Alison Krauss and Union Station have one of the most successful track records for any band associated with bluegrass. The buzz started in 1987 with the release of Krauss' first solo recording. She and Union Station have since amassed combined sales of seven million units, 20 Grammys and numerous Country Music Association and International Bluegrass Music Association awards. The runaway smash-hit soundtrack from the movie O Brother, Where Art Thou? contains selections by Krauss as well as various Union Station members. An early recorded highlight was the title track from Krauss' third album, I've Got That Old Feeling.

    Bluegrass dynamo Rhonda Vincent comes by her talent honestly. She started performing at the age of five in her family's band, the Sally Mountain Show. A stellar instrumentalist and powerhouse vocalist, Vincent has seen her career grow immeasurably in recent years. Evidence of this can be found in her unmatched string of six consecutive International Bluegrass Music Association awards for Female Vocalist of the Year. She's also received the organization's prestigious Entertainer of the Year award. Vincent's 2001 release on Rounder Records, The Storm Still Rages, contains a forceful performance of Bluegrass Express, a tune popularized by the Osborne Brothers.

    —Gary Reid

    Classic Bluegrass: Volume 2

    Bill Clifton: Darlin' Corey * The Osborne Brothers: Ruby, Are You Mad * The Dillards: Dooley * Doc Watson: Black Mountain Rag * Nitty Gritty Dirt Band: Will the Circle Be Unbroken * Larry Sparks: John Deere Tractor. 30 songs in all!

    Classic Bluegrass: Volume 2

    Track# Sample Title Artist/Composer Time

    1 Uncle Pen Bill Monroe and His Bluegrass Boys 2:47

    2 You Don't Know My Mind Jimmy Martin & the Sunny Mountain Boys 2:56

    3 I've Found a Hiding Place Carl Story & His Ramblin' Mountaineers 2:55

    4 I Know You're Married Reno and Smiley 2:38

    5 She's More to Be Pitied The Stanley Brothers 2:17

    6 Jimmy Brown the Newsboy Mac Wiseman 2:12

    7 The Legend of the Rebel Soldier The Country Gentlemen 2:59

    8 Black Mountain Rag Doc Watson 1:45

    9 Two Highways Alison Krauss & Union Station 3:36

    10 Shady Grove Ricky Skaggs 3:46

    11 The Boys Are Back in Town Patty Loveless 2:36

    12 Blue Mountain Cabin Home The Bluegrass Album Band 3:14

    13 More Pretty Girls Than One Mac, Doc, and Del 3:05

    14 Fair and Tender Ladies The Whites 3:55

    15 John Deere Tractor Larry Sparks 4:28

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    Classic Bluegrass: Volume 2

    Track# Sample Title Artist/Composer Time

    1 Foggy Mountain Breakdown Lester Flatt and Earl Scruggs and the Foggy Mountain Boys 2:44

    2 Ruby, Are You Mad? The Osborne Brothers 3:01

    3 Dooley The Dillards 2:05

    4 Nine Pound Hammer Jim & Jesse 2:08

    5 Little Maggie Ralph Stanley 2:46

    6 Darlin' Corey William "Bill" Clifton 2:26

    7 I Wouldn't Change You If I Could Jim Eanes 2:23

    8 Kentucky Waltz Bill Monroe 3:06

    9 Old Home Place J.D. Crowe 2:49

    10 Will the Circle Be Unbroken The Nitty Gritty Dirt Band 4:53

    11 The Little Mountain Church Doyle Lawson 2:46

    12 High Lonesome Sound Vince Gill 3:10

    13 Atlanta Is Burning The Boys from Indiana 3:26

    14 Mama's Hand Lynn Morris 4:16

    15 Wait a Minute The Seldom Scene 3:36

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    The duo of Lester Flatt and Earl Scruggs is rated the most successful of the early bluegrass bands. Flatt was a superb vocalist and rhythm guitarist as well as a genial master of ceremonies. Scruggs was a brilliant instrumentalist who revitalized the popularity of the five-string banjo. By the mid-1950s they had become members of the Grand Ole Opry and were sponsored on radio and television by Martha White Flour. Their association with Columbia made them the most widely distributed bluegrass artists of their time. Foggy Mountain Breakdown, one of their early instrumental recordings, remains a time-honored masterpiece.

    Guitarist and vocalist Bill Clifton has a number of impressive achievements to his credit. During the '50s he made a string of excellent recordings for the Blue Ridge, Mercury and Starday labels. In 1961 he hosted one of the first daylong multi-artist bluegrass festivals; this was several years before the first multi-day bluegrass festival. He served on the board of directors of the Newport Folk Festival and was instrumental in ensuring that bluegrass was represented there. In the mid-'60s he moved to England for 10 years and did much to promote bluegrass to European audiences. A 1958 recording session for Starday yielded a fine rendition of the traditional Darlin' Corey, featuring guest musician Ralph Stanley on banjo.

    A triad of songs from the mid-'50s proved to be career highlights for as many bands. The Osborne Brothers (with Red Allen) resurrected Ruby, Are You Mad from a 1946 recording by famed old-time banjoist Cousin Emmy. Reno and Smiley recorded one of their best-remembered songs in 1956. I Know You're Married was inspired by a true-life romance of their fiddle player, Mack Magaha. Jim Eanes, a mellow-voiced vocalist from Martinsville, Virginia, popularized I Wouldn't Change You If I Could with his recording for Starday Records in 1958. The song was given new life in 1982 when Ricky Skaggs covered it for his Highways and Heartaches album on Epic.

    As a member of Bill Monroe's Bluegrass Boys in the early '50s, Jimmy Martin was an architect of the "high lonesome" sound. He also served in a memorable partnership with the Osborne Brothers before launching his own highly successful solo career. He prided himself on maintaining superb bands; one of his best early lineups included J. D. Crowe on banjo and Paul Williams on mandolin and tenor vocals. Known for his "good 'n' country" brand of music, Martin incorporated percussion and was among the first mainstream bluegrass artists to include female vocalists. He also struck an artful balance between novelty selections and hardcore bluegrass. One of his best early recordings is You Don't Know My Mind.

    The Dillards (Doug and Rodney Dillard, Mitch Jayne and Dean Webb) burst on the bluegrass scene in 1962 seemingly out of nowhere. The Missouri Ozark natives traveled west to California and set up shop in one of Hollywood's trendy folk nightspots. Soon they were making guest appearances on The Andy Griffith Show (as part of the Darling family) and getting signed to Elektra Records. In concert the Dillards gave engaging performances that interspersed comedic wit with skillful musicianship and an eclectic repertoire. One of their best-known tunes, from both their recordings and the Griffith show, is a song about a mountain moonshiner known as Dooley.

    Doc Watson is revered today as a treasure of traditional American folk music. A native of Deep Gap in western North Carolina, he was discovered in the early '60s by folklorist Ralph Rinzler. Soon he was making appearances in New York City coffeehouses and at prestigious folk festivals such as Newport. Watson's appeal stems from his exquisite guitar playing; his arsenal of ballads, sentimental songs, folk and gospel tunes; and his endearing stage presence. For a number of years he traveled in the company of his son Merle, an equally engaging guitarist. The popular American music festival MerleFest is held annually in his honor. One of Doc's early romps on the guitar featured his interpretation of the old fiddle tune Black Mountain Rag.

    The Country Gentlemen have the distinction of being the first band to significantly challenge the boundaries of bluegrass. The classic edition of the band—featuring John Duffey on mandolin, Charlie Waller on guitar, Eddie Adcock on banjo, and Tom Gray on bass—had a unique chemistry that fused individual preferences from the various musicians. Consequently, elements of contemporary folk, country, old-time, and traditional bluegrass, along with an urban sense of humor, melded together to create the classic Country Gentlemen sound. The Legend of the Rebel Soldier, a ballad inspired by the Civil War, was one of their big hits in 1971.

    The '70s were witness to the release of several monumental bluegrass recordings. In 1971 the country-folk-rock Nitty Gritty Dirt Band embarked on an ambitious enterprise to unite an all-star cast of legendary country and bluegrass performers for a three-LP set. The project met with critical acclaim, not to mention phenomenal sales. The title track, Will the Circle Be Unbroken, features the full album cast singing on the choruses. J. D. Crowe registered one of the decade's seminal hits in 1975 with his version of Old Home Place. At the time he had a stellar band that included Ricky Skaggs and Tony Rice. This band—and this recording—did much to set the tone for bluegrass for most of the decade.

    Fate was kind to Larry Sparks when he chose the Lemco Studios in Lexington, Kentucky, to record one of his projects. While he was recording there, one of the engineers handed him a demo that someone had submitted to the studio. Sparks liked the song and decided to record it. John Deere Tractor became the title track of his album as well as one of his most requested songs. The country music duo the Judds were inspired to record the song based on the strength of Sparks' recording.

    Like a number of country music icons, Vince Gill learned the ropes of performing by playing bluegrass. He was a member of the band Bluegrass Alliance. Even after becoming a country star, he's never forgotten his bluegrass roots and has recorded several selections that honor its style, such as High Lonesome Sound. Patty Loveless is another country music performer who has flirted with bluegrass. As a child growing up in eastern Kentucky, she was constantly exposed to the bluegrass sounds of the Stanley Brothers. Loveless later included one of their songs on one of her country albums. In 2001 she released an entire album of bluegrass; The Boys Are Back in Town, recorded previously by the Nashville Bluegrass Band, is the opening track.

    A good song is a good song, and The Little Mountain Church is proof of that. Ricky Skaggs recorded it, but it was Doyle Lawson's rendition that garnered a Song of the Year award from the IBMA. Another award-winning song was Lynn Morris' recording Mama's Hand, written by legendary West Virginia singer-songwriter Hazel Dickens.

    —Gary Reid

    Classic Bluegrass: Volume 3

    Mac Wiseman: Love Letters in the Sand * Jimmy Murphy: Electricity * Rose Maddox: Footprints in the Snow * Jim & Jesse: Better Times A-Coming * The Johnson Mountain Boys: Duncan and Brady (He's Been on the Job Too Long). 30 songs in all!

    Classic Bluegrass: Volume 3

    Track# Sample Title Artist/Composer Time

    1 Blue Train Nashville Bluegrass Band 2:51

    2 How Mountain Girls Can Love The Stanley Brothers 2:08

    3 Love Letters in the Sand Mac Wiseman 2:46

    4 Once More The Osborne Brothers and Red Allen 2:44

    5 Me and the Jukebox Buzz Busby 1:58

    6 Electricity Jimmy Murphy 2:38

    7 Orange Blossom Special The Stonemans 2:36

    8 Little Georgia Rose The Seldom Scene 3:00

    9 Thirty Years of Farming James King 4:29

    11 Girl at the Crossroads Bar The Bluegrass Cardinals 2:48

    12 Bringing Mary Home The Country Gentlemen 3:03

    13 Down at the Willow Creek David Grisman 4:31

    14 I'll Fly Away Alison Krauss and Gillian Welch 4:01

    15 Get Down on Your Knees and Pray Del McCoury Band 3:43

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    Classic Bluegrass: Volume 3

    Track# Sample Title Artist/Composer Time

    1 Roll in My Sweet Baby's Arms Lester Flatt and Earl Scruggs and the Foggy Mountain Boys 2:40

    2 Hit Parade of Love Jimmy Martin featuring the Sunny Mountain Boys 2:32

    3 John Henry The Lilly Brothers 2:41

    4 Howdy Neighbor Howdy Don Reno & Red Smiley 2:00

    5 Better Times A-Coming Jim & Jesse 2:30

    6 Footprints in the Snow Rose Maddox 2:31

    7 New Muleskinner Blues Bill Monroe & His Bluegrass Boys 2:31

    8 Kentucky The Louvine Brothers 2:41

    9 Angel Band The Stanley Brothers 2:19

    10 Jerusalem Ridge Kenny Baker 3:33

    11 Duncan and Brady (He's Been on the Job Too Long) The Johnson Mountain Boys 3:17

    12 Who Will Watch the Home Place? Laurie Lewis 5:29

    13 Rock My Soul Doyle Lawson and Quicksilver 2:08

    14 One Loaf of Bread Dave Evans 4:53

    15 Bury Me Beneath the Willow Ricky Skaggs & Tony Rice 2:44

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    Affectionately known as The Voice with a Heart, powerhouse vocalist Mac Wiseman launched his band, The Country Boys, in 1950. Regular appearances from Richmond, Virginia, on The Old Dominion Barn Dance helped establish him as a household name. By the end of the decade he was putting his talents to use as a producer at Dot Records. When bluegrass festivals became popular in the '60s and '70s, Wiseman returned to performing as a solo act, usually engaging the services of various groups to augment his shows. With a prolific recorded output to his credit, the records he made for Dot in the '50s are remembered as among his finest. One such classic from this era is Love Letters in the Sand.

    In the early to mid-'50s, the lines separating country and bluegrass music were not so clearly drawn. It was commonplace for bluegrass to be mixed in with commercial country music programming on the radio, and bluegrass and country acts frequently appeared together in concert. One bluegrass-friendly artist was Jimmy Murphy, an Alabama-born guitarist and singer. His first recording session, in 1951, yielded a powerful guitar-driven semi-gospel tune called Electricity. The Country Gentlemen later covered the song in bluegrass style. One group with a profound influence on bluegrass in terms of both vocal harmony and repertoire was the Louvin Brothers. Their music was rooted in the old-time duets of the '30s, yet it reflected a '50s sensibility. Bluegrass performers have featured a large portion of the Louvin Brothers songs, including their take on the venerable old song Kentucky.

    The Stanley sound is one of the most poignant in bluegrass music. The style started in 1946, when Carter and Ralph Stanley organized their Clinch Mountain Boys. Their singing contained an incredibly emotional element that worked to good effect in an impressive arsenal of original songs. Carter played guitar, sang lead, wrote most of the songs, and acted as master of ceremonies onstage. Ralph played banjo, sang harmony, wrote songs, and handled most of the behind-the-scenes duties. The brothers traveled together for 20 years and performed and recorded some glorious music along the way. A good example is Angel Band, a religious song that was included—45 years later—in the popular movie O Brother, Where Art Thou? Among the Stanley Brothers' memorable original songs is How Mountain Girls Can Love.

    Although women have been the subject of many a bluegrass song, not many were featured performing bluegrass songs during the genre's early years. One of the first to do so on record was Rose Maddox. She gained fame in the '40s and '50s as part of the Maddox Brothers & Rose group. One of her early solo efforts, recorded in 1962, was a bluegrass album with backing by Bill Monroe and the duo Reno and Smiley. It featured her version of the classic Footprints in the Snow.

    Jim and Jesse McReynolds, natives of the southwestern part of Virginia, have the distinction of being the longest-running team (55 years) in bluegrass. They possessed a sweet duet sound that was clean and precise. It was backed by an inventive mandolin style that Jesse developed. Jesse sang lead while Jim sang tenor and played guitar. In 1964 they realized a career dream by becoming members of the Grand Ole Opry. At the time they were recording for Columbia/Epic and had a pair of albums out, Bluegrass Special and Bluegrass Classics. Their next release, in 1965, was an album of humorous songs called Y'All Come. It contained Better Times A-Coming, a lighthearted spoof on the plight of being poor.

    In a manner not unlike that of Bill Monroe, Doyle Lawson has been a mentor for a generation of aspiring bluegrass performers. His band, Quicksilver, has been a proving ground for musicians, many of whom have gone on to launch impressive careers. Lawson's own career started in the early '60s, when he was a member of Jimmy Martin's Sunny Mountain Boys. He logged time with Red Allen before joining the Country Gentlemen in the '70s. In 1979 he pioneered his own group (he recently celebrated its silver anniversary). Gospel music has been an important component of Lawson's sound. Rock My Soul was the title song of his first all-gospel album, and it has remained an in-demand number over the years.

    Old-time songs have always been a rich source of material for bluegrass performers. These songs often have a connection with the earth or with nature—or, as in two instances here, with willow trees. Bury Me Beneath the Willow was the first song ever recorded by the First Family of country music—the Carters—on August 1, 1927. Ricky Skaggs and Tony Rice teamed up in 1980 to make an album that recreated the sounds of pre-bluegrass duets, and made use of this song. Charlie Monroe popularized the murder ballad Down at the Willow Creek in the '40s; a 1988 project of traditional bluegrass by David Grisman reprised this song.

    In the '60s and '70s, traditional bluegrass was under assault from a wave of contemporary performers. In the early '80s, several groups ran smack against that current in their charge to the wellspring of the music's roots. The Johnson Mountain Boys spearheaded this resurgence as they combined the songs and styles of the Monroes, Stanleys, Flatts, and Scruggses for their own inimitable high-energy stage show. They recorded the traditional Duncan and Brady (He's Been on the Job Too Long) near the end of their 15-year run. James King used his admiration for the music of the Stanley Brothers as the foundation for his own highly emotional, tradition-laden style. Although he borrowed Thirty Years of Farming from contemporary folk sources, its theme resonates solidly with bluegrass enthusiasts.

    Bluegrass from the Golden State of California is well represented here by the talents of fiddler, singer and songwriter Laurie Lewis. As a performer she has a number of awards to her credit. She's a Grammy recipient and a two-time winner of the IBMA's Female Vocalist of the Year award, and she was part of a multi-artist Recorded Event of the Year project. Who Will Watch the Home Place? won a Song of the Year award in 1994. Lewis satisfies her passion for classic bluegrass by performing and recording with a group she calls her Bluegrass Pals. Although she's based in California, her audience is truly global; in addition to extensive touring throughout the U.S., she has enjoyed a number of overseas excursions.

    A North Carolina native raised in southern Pennsylvania, Del McCoury has been immersed in bluegrass since the '50s. He honed his skills and landed a spot in the 1963 edition of Bill Monroe's Bluegrass Boys. In the '60s and '70s he balanced a career in logging with his passion for bluegrass, performing with his group, the Dixie Pals. As various McCoury children joined the band, the group morphed into the Del McCoury Band, which is unquestionably one of today's top bands in bluegrass. They have won an unprecedented string of consecutive IBMA Entertainer of the Year awards, as well as a host of individual and band awards. Their rendering of the Bill Monroe gospel gem Get Down on Your Knees and Pray is an excellent showcase for the band's collective talents.

    —Gary Reid

    Classic Bluegrass: Volume 4

    Blue Highway: Lonesome Pine * Hot Rize: Colleen Malone * Larry Sparks: Tennessee 1949 * Ralph Stanley: O Death * Ricky Skaggs and Keith Whitley: Don't Cheat in Our Hometown * The Osborne Brothers: Tennessee Hound Dog. 30 songs in all!

    Classic Bluegrass: Volume 4

    Track# Sample Title Artist/Composer Time

    1 Mountain Dew Grandpa Jones 2:13

    2 Clinch Mountain Backstep The Stanley Brothers 2:20

    3 Tennessee Jimmy Martin 2:34

    4 Two Little Boys The Country Gentlemen 3:16

    5 Children Are Crying Earl Taylor 2:05

    6 Windy Mountain The Lonesome Pine Fiddlers 2:25

    7 Paradise Jim & Jesse 2:46

    8 City of New Orleans The Seldom Scene 3:01

    9 Dark Hollow Muleskinner 2:47

    10 Roving Gambler Peter Rowan 2:49

    11 Hobo Blues The Lonesome River Band 3:57

    12 Colleen Malone Hot Rize 3:11

    13 Shackles and Chains Wilma Lee Cooper 2:48

    14 A Voice from On High Bill Monroe 2:39

    15 O Death Ralph Stanley 2:58

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    Classic Bluegrass: Volume 4

    Track# Sample Title Artist/Composer Time

    1 I Am a Man of Constant Sorrow Ralph Stanley 2:52

    2 Sparking Brown Eyes Joe Val 3:07

    3 Tis Sweet to Be Remembered Mac Wiseman 2:57

    4 In the Pines Bill Monroe & His Bluegrass Boys 3:13

    5 The Prisoners' Song Hylo Brown 1:36

    6 Tennessee Hound Dog The Osborne Brothers 2:32

    7 Cripple Creek The Stonemans 2:37

    8 Grandfather's Clock Reno and Smiley 2:10

    9 Stone Walls and Steel Bars The Stanley Brothers 2:10

    10 Don't Cheat in Our Hometown Ricky Skaggs and Keith Whitley 2:37

    11 Lonesome River Here Today 4:07

    12 Tennessee 1949 Larry Sparks 3:29

    13 Lonesome Pine Blue Highway 3:08

    14 Looking for the Stone Dry Branch Fire Squad 2:47

    15 Cabin on the Hill Flatt & Scruggs 2:30

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    It's a commonly held notion that the 1950s were a golden era for bluegrass music. Probably no better proof exists to support this opinion than a cursory sampling of songs recorded during this period. An excellent illustration is an instrumental that the Stanley Brothers recorded in 1958 called Clinch Mountain Backstep. It has since become a staple that is often played by aspiring banjoists. Further evidence can be found in Flatt and Scruggs' 1959 hit gospel recording Cabin on the Hill. More obscure but no less classic is Children Are Crying. Earl Taylor, an artist from the vicinity of Baltimore, Maryland, wrote the song and released it on an album called Folk Songs from the Bluegrass.

    Don Reno and Red Smiley were among the most inventive of the early bluegrass practitioners. For the first decade of their association Reno wrote virtually all of the songs they recorded. Their group featured typical bluegrass instrumentation, but Reno offered some serious alterations to standard banjo fare by adding double-time rolls and single-string riffs. Smiley possessed one of the best singing voices in bluegrass, and it blended seamlessly with Reno's soaring tenor vocals. The duo enjoyed good media exposure through live radio programs such as WRVA's Old Dominion Barn Dance in Richmond, Virginia, and WDBJ's Top o' the Morning television program in Roanoke. A 1962 album for King Records yielded Grandfather's Clock, a banjo tour-de-force that highlighted Reno's prowess on the instrument.

    Other influential bluegrass tracks were recorded during the early '60s as well. Tennessee was the title song of an album by Jimmy Martin. It remained popular throughout Martin's career and was featured on a 1973 live album recorded at Bill Monroe's music park in Bean Blossom, Indiana. King Records producer Ray Pennington supplied the Stanley Brothers with Stone Walls and Steel Bars; recorded in August of 1963, it would be a highlight for them in the waning days of their career. The brothers performed the song in their last full concert together on October 16, 1966.

    The Osborne Brothers were one of the most commercial bluegrass bands. In the '60s they made a concerted effort to appeal to mainstream country music listeners by adding drums and steel guitars to their recordings. The ploy worked: They garnered a Country Music Association award for Best Vocal Group in 1971, and their records regularly placed in the country charts of the day. Bobby Osborne played mandolin and sang in a sweet, high lead vocal; brother Sonny played banjo and provided harmony vocals. One of their most fondly remembered songs from the late '60s is Tennessee Hound Dog, penned by Boudleaux and Felice Bryant.

    In 1971, Ralph Stanley discovered the talented duo of Keith Whitley and Ricky Skaggs, two Kentucky teenagers who had chosen the music of the Stanley Brothers as their mode of musical expression. They gained valuable experience and exposure while under Stanley's tutelage. Both men went on to lead illustrious careers in bluegrass before shifting toward country music. Whitley's career was cut short by his untimely passing in 1989. After helping to foster a revival in traditional country music, Skaggs returned to the bluegrass world, where he enjoys headliner status. One of Skaggs and Whitley's first recordings together was a rendering of The Stanley Brothers classic Don't Cheat in Our Hometown.

    John Duffey retired from the Country Gentlemen in 1969 to escape the hustle and bustle of life on the road and to concentrate on his instrument repair business. To satisfy his urge to play music he would have jam sessions with other players in the Washington, D.C., area such as John Starling, Mike Auldridge, Ben Eldridge and Tom Gray. Duffey's retirement turned out to be short-lived as his jam band, the Seldom Scene, became anything but seldom seen. A succession of critically acclaimed albums on the Rebel label established the group as one of the premier purveyors of contemporary bluegrass. Their first album, recorded in 1971, contains a memorable version of Steve Goodman's City of New Orleans.

    The mid-'70s were good years for Ralph Stanley. He had been working his solo career for a decade and had carved out a comfortable niche playing the bluegrass festival circuit. It was during this period that Stanley recorded one of his classic albums, Clinch Mountain Gospel. It debuted several new songs for the Stanley repertoire and reprised several favorites. One such rejoinder was O Death, a chilling relic that recounts a dying person's negotiation with the angel of death. The song would have major repercussions for Stanley later in his career. After recording yet another version for use in the soundtrack to the movie O Brother, Where Art Thou? he garnered a Grammy for Best Male Country Vocalist.

    Bluegrass veteran Larry Sparks recently celebrated his 40th anniversary as a professional musician. He observed the occasion with an award-winning collection that paired him with many of his bluegrass and country music peers. Significantly, he won his first IBMA Male Vocalist of the Year award with this project. Sparks got his first professional exposure as a guitar player for The Stanley Brothers. When Ralph Stanley launched his solo career in 1966, Sparks was his first lead singer. Three years later Sparks organized his own band, the Lonesome Ramblers. The accent is on his decidedly lonesome vocals and his riveting guitar playing. When he celebrated his silver anniversary he recorded Tennessee 1949, which has become a staple of his career.

    Proving that bluegrass is in good hands as time moves on, younger generations of bluegrass musicians are making their mark on the music. It's a different bluegrass from what their predecessors made decades before them, but a lot of it retains the necessary heart and soul. A good example is the neo-traditional group Hot Rize. They scored an IBMA Song of the Year award in 1991 for their rendition of Colleen Malone. In classic bluegrass form, the song is about the death of a sweetheart. Also in 1991, the Virginia-based Lonesome River Band released its landmark album Carrying the Tradition. The group was blessed with two phenomenal singers, Ronnie Bowman and Dan Tyminski, as well as a stellar banjoist in the form of Sammy Shelor. Everyone shines brilliantly in the song Hobo Blues.

    In 1995, Tim Stafford (formerly of Alison Krauss' Union Station), Shawn Lane (formerly of Ricky Skaggs' Kentucky Thunder), ace Dobro player Rob Ickes, banjoist Jason Burleson and bassist Wayne Taylor came together to form a new supergroup, Blue Highway. Their debut album includes the classic Lonesome Pine.

    —Gary Reid

    Classic Country: Heaven Bound - The Best of Bluegrass Gospel

    Lester Flatt & Earl Scruggs With The Foggy Mountain Boys: Get In Line Brother * The Osborne Brothers: How Great Thou Art * Ralph Stanley, Judy Marshall & Alison Krauss: Visions Of Mother * Tony Rice & Ricky Skaggs: Talk About Suffering. 30 songs in all!

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  • mr. t is writing a book here and wants you to read the rough draft.... LOL geeze... I'm still learning myself about different bluegrass artists as well as knowing off the bat the songs they sing.

    I like a lot of the songs from my O'Brother where art though soundtrack... some bluegrass there..

    Mr. T among the rest of the posts have pretty much helped you out sorry I couldn't add to their great answers...

    take care.

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  • Há 1 década

    Well, Mr. T has said an ample mouthful, and I have some of those albums, however, he forgot to mention The Isaacs. They are a wonderful Gospel Bluegrass Group. Sonia Isaacs has one of the purest blue grass voices I have heard in a long time.

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  • Anônimo
    Há 6 anos

    Hello,

    Check here http://j.mp/1pnRwvL if you want to get for free: Letters from Nowhere 2

    With this link you can get the full version completely free.

    Hidden objects games are always fun to play. People forget the without these types of games, there won’t be any of the new generation games we see today.

    For me, it's the best game ever.

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  • Anônimo
    Há 1 década

    Country Gentlemen , Don Reno and Red Smiley , Larry Sparks , and Jim Eanes

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  • Há 1 década

    well, if you like bluegrass, you already know of Bill Monroe, Flatt and Scruggs, etc.

    but what about Rhonda Vincent, Kentucky Thunder (led by Ricky Skaggs), Tony Rice, and Newgrass

    On edit

    man oh man, I forgot about Alison Kraus and Union Station!!!

    (somebody spank me) lol

    on edit, yes again!!!

    DANG!!! Mr. T !!!!

    "I PITY THE FOOL" who asks you the meaning of life !!! lol

    (Have you googled today) ??????

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  • Há 1 década

    bluegrass is the best

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