Bluegrass Bluesman: A Memoir (Music in American Life) by Josh Graves

By Josh Graves

A pivotal member of the highly profitable bluegrass band Flatt and Scruggs and the Foggy Mountain Boys, Dobro pioneer Josh Graves (1927-2006) used to be a dwelling hyperlink among bluegrass track and the blues. In Bluegrass Bluesman, this influential performer stocks the tale of his lifelong occupation in music.

In energetic anecdotes, Graves describes his upbringing in East Tennessee and the weather within which bluegrass track emerged throughout the Forties. Deeply inspired via the blues, he tailored Earl Scruggs's progressive banjo kind to the Dobro resonator slide guitar and gave the Foggy Mountain Boys their detailed sound. Graves' debts of everyday life at the highway in the course of the Nineteen Fifties and Nineteen Sixties demonstrate the band's commitment to musical excellence, Scruggs' management, and a regularly grueling existence at the highway. He additionally reviews on his later profession while he performed in Lester Flatt's Nashville Grass and the Earl Scruggs Revue and collaborated with the likes of Boz Scaggs, Charlie McCoy, Kenny Baker, Eddie Adcock, Jesse McReynolds, Marty Stuart, Jerry Douglas, Alison Krauss, and his 3 musical sons. a colourful storyteller, Graves brings to existence the area of an American troubadour and the mountain tradition that he by no means left behind.

Born in Tellico Plains, Tennessee, Josh Graves (1927-2006) is universally said because the father of the bluegrass Dobro. In 1997 he was once inducted into the Bluegrass corridor of popularity.

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Extra resources for Bluegrass Bluesman: A Memoir (Music in American Life)

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I said, “Well, what did you think? ” She’d never heard me do that roll, you know. So I was holding that in reserve until I went with Wilma Lee and them. One day Stoney come in, and he said, “Graves, I’m going to tell you. ” Stoney said, “Oh, no, that ain’t what I meant . ” There weren’t too many banjo players around at that time: Earl Scruggs . . Larry Richardson . . Don Reno. Ralph Stanley, when he started, he was doing a two-finger roll. There wasn’t too many good ones, really. Reno’s style was so different from Scruggs, and I loved his playing, too.

That never happened. I would have to get it myself. When I come here to Nashville, by the time they’d get through taking out tax and everything, it would run around $84, $85 a week, and I’d bring that check home and lay it down on the table. ” Of course, I realize times have changed. ” Well, you could get a hotel room for $2 back then. ” Later, Bill Monroe would take care of his men with rooms, you know, but Flatt just didn’t care. We’d pull up to a place, he’d grab his bag and check into a motel and leave us sitting there.

By those years, the band’s lineup was mostly set, with Lester Flatt and Earl Scruggs joined by Dobro man Josh Graves, Curly Seckler on mandolin and tenor vocals, bassist Jake Tullock, and fiddler Paul Warren. As Graves’s account of a dramatic wreck shows, Earl’s wife, Louise, and their son Randy (born in 1952) were sometimes along on the bus. Graves offers an up-close view of how the rough-and-tumble road trips turned into college tours, big-city auditoriums, and television spots, courtesy of the folk revival, the Beverly Hillbillies, and the Scruggs’s show-business savvy.

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