Podcasts about Lester Flatt

This week we feature fiddler with Johnny Warren.  As most listeners will know, Johnny is the son of bluegrass fiddle legend Paul Warren who spent years performing with Flatt & Scruggs and then toured with Lester Flatt and the Nashville Grass after Flatt and Scruggs parted ways.  Johnny is the fiddle player for the Earls of Leicester.  We talk with Johnny about his father and about playing his father's role as the fiddler in the Earls of Leicester.

This week we feature songwriter, singer, record producer, fiddler, and guitar player Shawn Camp.  Lester Flatt is on the cover of our December 2024 issue and Shawn plays Lester Flatt's role in the Earls of Leicester.  We'll talk with Shawn about working with the Earls of Leicester and his career as a songwriter and performer.

TV Stories – Chester Charles Carmer Small Town – John Cougar Mellencamp Good Ol’ Boys (From “the Dukes of Hazzard”) – Waylon Jennings Theme From Rawhide – The Blues Brothers Bonanza! – Johnny Cash Mammas Don’t Let Your Babies Grow up to Be Cowboys – Lukas Nelson & Shooter Jennings The Eyes Of The Ranger – George McAnthony We Lost It – Brennen Leigh & Jesse Dayton The Ballad of Jed Clampett – Lester Flatt & Earl Scruggs I Feel Alright – Steve Earle

We open another can from the Bluegrass 4-Pack today, as Patrick outlines the remarkable career of Lester Flatt and Earl Scruggs. They left Bill Monroe's Blue Grass Boys in 1948 and went on to take the music to a whole new audience and level of popularity.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com. 

It's time to crack into the Bluegrass 4-Pack! Patrick takes a trip back in musical history to the formation of the band that led to the genre of music known as Bluegrass. That trip begins with Bill Monroe and his brother Charlie in the mid-1930s and continues until Lester Flatt and Earl Scruggs arrive in 1946.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

On this episode Tim and Josh have a fun conversation with lead singer for Authentic Unlimited. This hot bluegrass band just won 2024 IBMA Vocal Group of The Year, Song of the Year, Video of the Year and Mandolin Player of the Year. John is one of the purest voices in all of bluegrass music and an amazing song writer.Josh also teaches how to play and sing the Lester Flatt classic song, Your Love is Like a Flower.

In this episode of The Hometown Bluegrass Show, hosts Tim Batts and Josh Williams bring you another hour of bluegrass goodness! Josh kicks things off with a classic tune from the legendary Lester Flatt, showcasing his signature picking style. Then, we sit down for a special interview with the "Banjo Preacher" himself, Steve Bruce from Tennessee. Steve shares his unique journey blending bluegrass music with his faith, and we dive into his passion for playing the banjo and spreading the gospel through music. You won't want to miss this inspiring and music-filled episode!

I Am A Man Of Constant Sorrow – The Soggy Bottom Boys New Mule Skinner Blues – Bill Monroe and His Bluegrass Boys Dixie Home (with The Foggy Mountain Boys) – Lester Flatt & Earl Scruggs That Home Far Away – The Stanley Brothers Joe’s Last Train – Country Gentlemen Dobro Joe – Doyle Lawson & Quicksilver Honky Tonk Nights (feat. Vince Gill) – The Del McCoury Band Heartbreaker’s Alibi – Rhonda Vincent & Dolly Parton The Lucky One – Alison Krauss & Union Station Flatland Girl (feat. Margo Price) – Molly Tuttle & Golden Highway Lonesome State of Mind...........

Chasing Numbers – Ellis Bullard Johnny Appleseed – Dar Williams The Ballad of Jed Clampett (with The Foggy Mountain Boys) – Lester Flatt & Earl Scruggs Here I Go – Yonder Mountain String Band Southern Soldier – 2nd South Carolina String Band Wrecking Ball – The Steel Wheels Grand Junction – The Deslondes Train Whistle – Matt Masters Someone Like You (with The Travelin’ McCourys & Sierra Ferrell) – Lukas Nelson

'The Ballad of Jed Clampett' is the theme song for the popular 1970's television series: The Beverly Hillbillies. The song was composed by Paul Henning and recorded first by Lester Flatt and Earl Scruggs in 1962. This was the first song I ever heard Dave Hum play in 2018, and it was so beautiful the way he played it (starting at 48 seconds into the song) that I literally cried. I had never heard anybody play the banjo that way before. I used Dave's recording as a template to make my backing track to share with everyone. I've made backing tracks in both the keys of A and G (Dave plays the song in A). I love this popular Bluegrass song. Enjoy

I wanted to make a backing track for something different than from songs that Dave Hum did, simply to carry on Dave's tradition of learning new songs. I heard him say that there are so many songs and so little time. He sure was right about that. I used this YouTube video of ?Blue Ridge Cabin Home? as a template. This particular recording was done by Lester Flatt and Mac Wiseman. The song is in the Key of G. Enjoy!

The first time Charlie Poole and his North Carolina Ramblers walked into a recording studio in New York City, they blew the doors off the place.It was July 27, 1925, and the first record by the three of them — banjoist Poole, fiddler Posey Rorer, whom he had met in West Virginia eight years earlier, and guitarist Norman Woodlief — sold more than 100,000 copies.That was raging success in anyone's book. It is especially true, considering that at the time there were only about 6,000 phonographs in the entire American South, the intended market for what Columbia Records called its “Hillbilly series.”It didn't make Charlie and guys rich, though. Alas, in 1925, artists were paid by the song recorded, not by the copies sold. The Ramblers got $75 for the session.About the SongThe song that made all those wave — “Don't Let Your Deal Go Down” — was an old blues that was a favorite of Piedmont pickers from Virginia down to Georgia.A year after Poole's waxing of it, Ernest Stoneman recorded a version. So did Vernon Dalhart. West Virginia singer/guitar Frank Hutchison did it as “The Deal” in 1929.Thirty years later, bluegrass pickers were loving on it. Lester Flatt and Earl Scruggs recorded a rendition in August 1957. Since then there have been tasty takes by Doc Watson, The New Lost City Ramblers, The Grateful Dead, David Bromberg, the Flying Burrito Brothers, Bob Wills and many others.The song apparently has deep roots — a man named Tyler Meeks once told a folklorist that he learned the song in 1911 from a guitarist named Charlie Blackstock — and while “Don't Let Your Deal Go Down” is often referred to a “white blues,” Black Piedmont artists like Etta Baker and John Jackson also have taken swings at the song.The Deal? What Deal?But what “deal” are we supposed to not let go down? The song's title seemed to refer to card playing, but what game?Author Zora Neale Hurston, who beautifully documented much 20th Century culture, recorded in her 1935 book Mules and Men that “Let the deal go down" was a chant associated with what card fanciers used to call “The Georgia Skin Game.” Of this largely forgotten game, Hurston wrote:Any number of “pikers” can play at a time, but there are two principals who do the dealing. Both of them are not dealing at the same time, however. When the first one who deals “falls,” the other principal takes the deal. If he in turn falls, it goes back to the first dealer. The principals draw the first two cards. The pikers draw from the third card on. Unless a player or players want to “scoop one in the rough,” he can choose his own card which can be any card in the deck except the card on top of the deck and that one goes to the dealer. The dealer charges anything he pleases for the privilege of “scooping,” the money being put in sight. It is the player's bet. After the ones who wish to have scooped, then the dealer begins to “turn” the cards. That is, flipping them off the deck face upwards and the pikers choose a card each from among those turned off to bet on. Sometimes several pikers are on the same card. When all have selected their cards and have their bets down, they begin to chant “Turn 'em” to the dealer. He turns them until a player falls. That is, a card like the one he is holding falls. For instance, one hold the 10 of Hearts. When another 10 falls he loses. Then the players cry “hold 'em” until the player selects another clean card, one that has not fallen. The fresh side bets are down and the chant “turn 'em” and the singing “Let de deal go down” [continue] until the deck is run out."Whew! That's a long trip to take to a title, but, hey, now you know….Our Take On the TuneDave Peyton and Charlie Bowen first heard this song back in the mid-1970s when they were lucky enough to regularly sit in with the good folks of The Kentucky Foothill Rambler. Band founder H. David Holbrook already was a walking/talking encyclopedia of all-things Charlie Poole — he still is! — and taught the fledgling Flood so many of those good old tunes.So it was only natural when The Flood got re-energized 30 years ago, this old tune was on the playlist. And it still here, as you can hear in this track from last week's rehearsal. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Lester Flatt, Earl Scruggs & The Foggy Mountain Boys, WSM Radio, June 1953. With Benny Martin, fiddle and vocals; Curly Seckler, mandolin and vocals.

Lester Flatt, Earl Scruggs & The Foggy Mountain Boys, WSM Radio, June 1953. With Benny Martin, fiddle and vocals; Curly Seckler, mandolin and vocals.

Lester Flatt, Earl Scruggs, & The Foggy Mountain Boys, early 50s radio broadcast. Personnel unknown.

Lester Flatt, Earl Scruggs, & The Foggy Mountain Boys, early 50s radio broadcast. Personnel unknown.

Lester Flatt, Earl Scruggs, & The Foggy Mountain Boys, early 50s radio broadcast. Personnel unknown.

Lester Flatt, Earl Scruggs & The Foggy Mountain Boys, WSM Radio, June 1953. With Benny Martin, fiddle and vocals; Curly Seckler, mandolin and vocals.

Lester Flatt, Earl Scruggs & The Foggy Mountain Boys, WSM Radio, June 1953. With Benny Martin, fiddle and vocals; Curly Seckler, mandolin and vocals.

Lester Flatt, Earl Scruggs, & The Foggy Mountain Boys, early 50s radio broadcast. Personnel unknown.

Radio broadcasts from the Grand Ole Opry, 1946-48, featuring Earl Scruggs, banjo; Lester Flatt, guitar and vocals; Chubby Wise, fiddle; Cedric Rainwater, bass; and Bill Monroe, mandolin and vocals.

Radio broadcasts from the Grand Ole Opry, 1946-48, featuring Earl Scruggs, banjo; Lester Flatt, guitar and vocals; Chubby Wise, fiddle; Cedric Rainwater, bass; and Bill Monroe, mandolin and vocals.

Radio broadcasts from the Grand Ole Opry, 1946-48, featuring Earl Scruggs, banjo; Lester Flatt, guitar and vocals; Chubby Wise, fiddle; Cedric Rainwater, bass; and Bill Monroe, mandolin and vocals.

Radio broadcasts from the Grand Ole Opry, 1946-48, featuring Earl Scruggs, banjo; Lester Flatt, guitar and vocals; Chubby Wise, fiddle; Cedric Rainwater, bass; and Bill Monroe, mandolin and vocals.

Radio broadcasts from the Grand Ole Opry, 1946-48, featuring Earl Scruggs, banjo; Lester Flatt, guitar and vocals; Chubby Wise, fiddle; Cedric Rainwater, bass; and Bill Monroe, mandolin and vocals.

Radio broadcasts from the Grand Ole Opry, 1946-48, featuring Earl Scruggs, banjo; Lester Flatt, guitar and vocals; Chubby Wise, fiddle; Cedric Rainwater, bass; and Bill Monroe, mandolin and vocals.

Radio broadcasts from the Grand Ole Opry, 1946-48, featuring Earl Scruggs, banjo; Lester Flatt, guitar and vocals; Chubby Wise, fiddle; Cedric Rainwater, bass; and Bill Monroe, mandolin and vocals.

Radio broadcasts from the Grand Ole Opry, 1946-48, featuring Earl Scruggs, banjo; Lester Flatt, guitar and vocals; Chubby Wise, fiddle; Cedric Rainwater, bass; and Bill Monroe, mandolin and vocals.

Radio broadcasts from the Grand Ole Opry, 1946-48, featuring Earl Scruggs, banjo; Lester Flatt, guitar and vocals; Chubby Wise, fiddle; Cedric Rainwater, bass; and Bill Monroe, mandolin and vocals.

Radio broadcasts from the Grand Ole Opry, 1946-48, featuring Earl Scruggs, banjo; Lester Flatt, guitar and vocals; Chubby Wise, fiddle; Cedric Rainwater, bass; and Bill Monroe, mandolin and vocals.

Radio broadcasts from the Grand Ole Opry, 1946-48, featuring Earl Scruggs, banjo; Lester Flatt, guitar and vocals; Chubby Wise, fiddle; Cedric Rainwater, bass; and Bill Monroe, mandolin and vocals.

Radio broadcasts from the Grand Ole Opry, 1946-48, featuring Earl Scruggs, banjo; Lester Flatt, guitar and vocals; Chubby Wise, fiddle; Cedric Rainwater, bass; and Bill Monroe, mandolin and vocals.

HOSMER MOUNTAIN BOYS  are a bluegrass band from the eastern hills of Connecticut with major influences from Bill Monroe, Don Reno, Earl Scruggs, Lester Flatt and Karl Shiflett, which include a 2-finger thumb picking style like Merle Travis. They play 1950s-style traditional bluegrass music ERIC VINCENT HUEY is the son of four generations of coal miners (and frontman of The Surreal McCoys. He grew up along the banks of the Monongahela River in West Virginia. On his debut solo album, Appalachian Gothic, is a musical love letter to the Appalachia of his youth while wrestling with the hard contemporary realities of a region that's been left behind in so many ways yet remains richly interwoven into the cultural fabric of America. WoodSongs Kid: Redmond Day, the 13-year-old boy from Connecticut.

What connects you to the year 1946? Think of the time immediately following World War II, and perhaps black and white images of men in fedoras and women in long dresses come to mind. Maybe you have parents or grandparents who were born around that time, or maybe you know someone who lived then and has past on. It is an era that now seems quite distant for most of us, a kind of abstraction that can be read about but which remains present only in its dusty tomes and mono records. But like all eras of our past, the time when bluegrass music was born remains with us in tangible, even impactful ways. In 1946, Bill Monroe and the Blue Grass Boys recorded their first songs with new members Lester Flatt and Earl Scruggs, and a new genre of music was born. Born that same year in New York City was Pete Wernick, who came to know all of the Blue Grass Boys as well as most if not all of the other first-generation stars, and played with many of them eventually as well. He remains one of the few people today who embodies a direct link to this era, making it leap from the pages of history across the decades and get us tapping our feet to bluegrass music that is still being born. Pete Wernick Songs heard in this episode:“Waiting For Daylight” by Pete Wernick & Flexigrass, from What The“Powwow the Indian Boy” by Hot Rize, from Hot Rize, excerpt“Untold Stories” by Hot Rize, from Untold Stories, excerpt“Spring Break” by Pete Wernick, from On A Roll Thank you for visiting us and giving this podcast a listen! This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to everyone at IBMA for their role in making this episode possible, and you can listen to more episodes on this series on artists interviewed at previous IBMA conferences, like Sierra Hull, Bela Fleck, Stephen Mougin and Ben Wright (Sam Bush Band and Henhouse Prowlers respectively), and C.J. Lewandowski (Po' Ramblin' Boys), to name a few. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, and to Joshua Meng, who wrote and performed our theme songs.Southern Songs and Stories is currently ranked #13 in Southern podcasts here on feedspot.com, and moved up to a top 2.5% globally ranked podcast by Listen Notes, which makes us smile. This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Witness living, breathing country music history and the reigning champion of its vibrant future: Join us Friday, Oct 20, when the Jim & Linda Lee Performing Arts Center welcomes five-time Grammy winner, platinum recording artist, and AMA Lifetime Achievement Award recipient, Marty Stuart & His Fabulous Superlatives. Marty Stuart has long been revered as one of the most accomplished artists in country music Born and raised in Philadelphia, MS, Stuart got his start as a 13-year-old mandolin player in Lester Flatt's band; by twenty-one, he was working in the studio and on the road with Johnny Cash. Since his solo... For the written story, read here >> https://www.signalsaz.com/articles/marty-stuart-his-fabulous-superlatives-gain-in-altitude/Follow the CAST11 Podcast Network on Facebook at: https://Facebook.com/CAST11AZFollow Cast11 Instagram at: https://www.instagram.com/cast11_podcast_network

In December of 1968, I left home alone for the very first time to go to a Pop Festival in Miami. Technically it was in Hallandale at a horse track. It was an absolutely fabulous three days except for the part where I lost my wallet and I was kind of adopted by a 29-year-old woman in an MG convertible who fed me and took me out to Miami Beach at midnight to go to a club called The Image.. And just like me, I am taking way too long with this post. Getting back to the festival there was such a diverse group of artists who played including Iron Butterfly, Chuck Berry, Lester Flatt and Earl Scruggs, and the Turtles. On the night I lost my wallet, I was in the parking lot looking for my friend's car which I could not find. From the vantage point of the parking lot, I could hear two different groups playing. On one stage which was called the Flower stage in front of the stands, I could hear Iron Butterfly. In my other ear I could hear the Turtles singing Eleanor. It was at this time that I gave up looking for my friend's car and I had decisions to make. One was to panic because I was 17 years old away from home for the first time and had no money because my wallet had disappeared and I had no ride to get back to my friend's house where I was staying. The other decision was which stage was I going to go to. I was actually in the stands when Iron Butterfly took the stage and heard most of their set before I headed out to the parking lot so I decided to go over to the Flying stage and listen to the Turtles. they were absolutely wonderful. great harmonies, very tight band and it was there that I met the wonderful lady who rescued me and took me to Miami Beach to the club and then back to her apartment to spend the night. ( that by the way is yet another story that I will never tell). The next morning after she fixed me breakfast she dropped me back off to the festival and gave me her ticket for the third day since mine was in my wallet that was gone. She also gave me $5 to buy something to drink or eat later. I wonder what happened to her, but I digress this post is about the Turtles.I did not see them in concert again until 1992 when they were part of a radio concert at Coachman Park in Clearwater that included a bunch of different bands. My teenage son TyTyler Crose was with me and anyone who knows him knows his vast knowledge of classic rock and roll. Because of my work and radio and knowing the right people I was able to gain access to the restricted area next to the stage and I took Tyler with me while the two remaining members of the Turtles Howard Kailyn, and Mark Volman We're hanging out and Tyler got to meet them both. What a bunch of people do not know is that Howard and Mark at one time in a break from Turtles fame became Fluorescent Leach and Eddie and were part of Frank Zappa's Mothers of Invention. Great evening, lots of great entertainment including the Turtles which brings me to my last paragraph.So, today because I genuinely have no life I was looking at YouTube and I see a video from the 2023 Happy Together tour. They actually were here I believe in May at Ruth Eckerd Hall but because I don't know anything that's happening I missed the show. I am kind of glad I did. As I was watching the video I got to see the Cowsills and then Gary Puckett formally of the Union Gap. As I understand it he is a local resident here in our area now. I then kind of skipped ahead a little bit because I really wanted to see Howard and Mark. They were introduced with great fanfare, except for one thing. No Howard Kailyn. Further research told me that he had retired because of some severe heart problems. I understand we are all getting old as crap. But, oh holy crap, His replacement was the guy that sang for the imaginary group called The Archies. Remember them? And to my shock and horror right in the middle of the set, he decided he was going to sing Sugar Sugar. I am so grateful for experiencing them in the beginning and midway thru. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thedailygrateful/message

If your jam is Bluegrass music, revolutionaries, political rants, and the Wild West of the Internet (otherwise known as the Deep Web), you're gonna love this episode. Daniel Torday is here to talk about his novel ‘Boomer1', a story that follows Bluegrass musician, underemployed millennial, and now PhD in English, Mark Brumfeld, who channels his desperation by posting a series of online video monologues that critique Baby Boomers and their powerful hold on the job market. When the videos go viral, Mark loses control of what he began—with consequences that ensnare him in a matter of national security. Later, mandolin player for the Bluegrass band Unspoken Tradition and music marketing director for Crossroads Studios near Asheville, North Carolina, Ty Gilpin joins me to give a crash course on Bluegrass.   MEDIA AND MUSIC IN THE EPISODE IN ORDER OF APPEARANCE:  “Old Rotten Ribbons” by Ty Gilpin (from his solo album ‘Crooked Hollows') “Christine's Tune” by The Flying Burrito Brothers “Foggy Mountain Breakdown” by Lester Flatt and Earl Scruggs “Internet” by Post Malone “John Brown's Body” by Pete Seeger  “Do I Wanna Know” by Arctic Monkeys “Mule Skinner Blues” by Bill Monroe “Mountain Dew” by The Stanley Brothers “I Am a Man of Constant Sorrow” by Soggy Bottom Boys “Pretty Polly” by Ralph Stanley “Uncle John's Band” by The Grateful Dead “Dust in a Baggie” by Billy Strings “Dooley” by The Dillards/The Darling Family on ‘The Andy Griffith Show' “The Old Swinging Bridge” by Unspoken Tradition (Ty Gilpin's band)   LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 Daniel Torday's website: http://www.danieltorday.com/ Daniel Torday on Twitter: @DanielTorday Daniel Torday on Instagram: @dtorday  Walls of Time Podcast website: https://wallsoftimepodcast.podbean.com/ Unspoken Tradition's website: https://unspokentradition.com/ Unspoken Tradition on Instagram: @unspokentraditionbluegrass Unspoken Tradition on Facebook: @unspokentradition Ty Gilpin on Instagram: @tygilpinavl Ty Gilpin on Facebook: @TyGilpin  Crossroads Studios: https://crossroadsrecordingstudios.com/ ‘Crooked Hollows' by Ty Gilpin on Apple Music: https://music.apple.com/am/album/crooked-hollows/548623407 Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/ Christy Alexander Hallberg on Twitter, Instagram, YouTube: @ChristyHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

If your jam is Bluegrass music, revolutionaries, political rants, and the Wild West of the Internet (otherwise known as the Deep Web), you're gonna love this episode. Daniel Torday is here to talk about his novel ‘Boomer1', a story that follows Bluegrass musician, underemployed millennial, and now PhD in English, Mark Brumfeld, who channels his desperation by posting a series of online video monologues that critique Baby Boomers and their powerful hold on the job market. When the videos go viral, Mark loses control of what he began—with consequences that ensnare him in a matter of national security. Later, mandolin player for the Bluegrass band Unspoken Tradition and music marketing director for Crossroads Studios near Asheville, North Carolina, Ty Gilpin joins me to give a crash course on Bluegrass.   MEDIA AND MUSIC IN THE EPISODE IN ORDER OF APPEARANCE:  “Old Rotten Ribbons” by Ty Gilpin (from his solo album ‘Crooked Hollows') “Christine's Tune” by The Flying Burrito Brothers “Foggy Mountain Breakdown” by Lester Flatt and Earl Scruggs “Internet” by Post Malone “John Brown's Body” by Pete Seeger  “Do I Wanna Know” by Arctic Monkeys “Mule Skinner Blues” by Bill Monroe “Mountain Dew” by The Stanley Brothers “I Am a Man of Constant Sorrow” by Soggy Bottom Boys “Pretty Polly” by Ralph Stanley “Uncle John's Band” by The Grateful Dead “Dust in a Baggie” by Billy Strings “Dooley” by The Dillards/The Darling Family on ‘The Andy Griffith Show' “The Old Swinging Bridge” by Unspoken Tradition (Ty Gilpin's band)   LINKS: Leave a rating and comment for Rock is Lit on Goodpods: https://goodpods.com/podcasts/rock-is-lit-212451 Leave a rating and comment for Rock is Lit on Apple Podcasts: https://podcasts.apple.com/us/podcast/rock-is-lit/id1642987350 Daniel Torday's website: http://www.danieltorday.com/ Daniel Torday on Twitter: @DanielTorday Daniel Torday on Instagram: @dtorday  Walls of Time Podcast website: https://wallsoftimepodcast.podbean.com/ Unspoken Tradition's website: https://unspokentradition.com/ Unspoken Tradition on Instagram: @unspokentraditionbluegrass Unspoken Tradition on Facebook: @unspokentradition Ty Gilpin on Instagram: @tygilpinavl Ty Gilpin on Facebook: @TyGilpin  Crossroads Studios: https://crossroadsrecordingstudios.com/ ‘Crooked Hollows' by Ty Gilpin on Apple Music: https://music.apple.com/am/album/crooked-hollows/548623407 Christy Alexander Hallberg's website: https://www.christyalexanderhallberg.com/ Christy Alexander Hallberg on Twitter, Instagram, YouTube: @ChristyHallberg Learn more about your ad choices. Visit megaphone.fm/adchoices

חברות ונאמנים.למען נחת הרוח לא נחשׁה. אשר על כן, הפכנו והפכנו בלוחות השנה והתאריכים הנשכחים העשויים להיות לנו לעזר. ובכן מסתבר כי היום - 4 ביוני 1965 - לפני 58 שנים תמימות הופיע לראשונה ניגון הנצח "Maggie's Farm" כתקליטון על אדמת אנגליה. צעד קטן לשיר - צעד ענק לעולם התאריכים ולצעירי האי הבריטי. השיר הוקלט בינואר אותה שנה וראה אור בתקליטו החמישי של בוב - Bringing It All Back Home - שיצא לחנויות כבר באפריל. אך לאנגליה הגיע ביוני. חשוב להדגיש כי למִן הקלטתו הראשונה של השיר ביצע זאת דילן באופן אֶלקטרי, חשמלי. היינו כּולם - הן בניופּורט שבאמריקה והן במנצ'סטר שבאנגליה, ידעו ידוע היטב כי דילן מנהל מגעים מתקדמים עם הקידמה ועם הגיטרה החשמלית. ולמרות כי לא היתה זו הפתעה כלל ועיקר הרי שביולי אותה שנה, קמה המהומה בפסטיבל הפולק בניופּורט על מעשיו של דילן. המשטמה היכתה שורש כזכור גם בלבבות צעירי אנגליה. ללא ספק מדובר בניגון מרכזי. היו שכינו אותו "קריאת הקרב של תרבות הנגד", אחרים ראו בו המנון שמתייחס לתנועה למען שוויון הזכויות בארה"ב: החווה, השיעבוד לאותה מגי מיסתורית, המשפחה המוזרה שלה, המשמר הלאומי הניצב מחוץ לדלת. כל אלה מופיעים בו ותרמו לפרשנויותיו השונות ולהילת המאבק שסביביו.ואכן מן הרגע בו נולד זכה השיר לביצועים באסכולות השונות, מים ועד ים.נצא אם כן הלילה בעקבי השיר ונחקור התפתחותו בימים. > הלילה ב22:00 בגל"צ.  (ואין באמת ספר כזה. הכריכה תודות לToddAlcottGraphics)   1. Bob Dylan - Maggie's Farm [Bringing It All Back Home]2. Bob Dylan - Maggie's Farm [Newport Folk Festival July 25 1965]3. Solomon Burke - Maggie's Farm [May 1965]4. Hank Squires - Maggie's Farm [1966] 5. Richie Havens - Maggie's Farm [1968]6. Lester Flatt & Earl Scruggs & The Foggy Mountain Boys - Maggie's Farm [1969]7. Booker T. & Priscilla - Maggie's Farm [1972]8. Bob Dylan - Maggie's Farm [Hard Rain]9. The Specials - Maggie's Farm [1980]10. The Grateful Dead - Maggie's Farm [Postcards of The Hanging 1987]  

Früher spielte er bei der Bluegrass-Grösse Lester Flatt und bei der Countrylegende Johnny Cash mit – heute ist Marty Stuart mit seiner Begleitband Fabulous Superlatives unterwegs. Auf ihrem aktuellen Album «Altitude» laden sie zu einem psychedelischen Country-Trip ein.

Geography lecturer and Tennessean musician Jake Watkins brings some Appalachian pride to the podcast with an album from Lester Flatt and Earl Scruggs. We detail the origins of bluegrass music, how this duo helped popularize the genre, and the "Scruggs style" of banjo playing.   If you like us, please support us at patreon.com/idbuythatpodcast to get exclusive content (episodes on 45s!), or tell a friend about us. Broke and have no friends? Leave us a review, it helps more people find us. Thanks!

ביום זה לפני 77 שנים הגיע לביקור מעבר לים, הישר אל הקמפוס האוניברסיטאי שבעיר פוּלטוֹן מיזורי שבארה"ב, ראש ממשלה לשעבר, אורח של הנשיא טרוּמן. אמנם לפני פחות משנה הצליח אותו ראש ממשלה, יחד עם בני בריתו, להכריע סוף כל סוף את הגרמניה הנאצית, אולם דווקא בבחירות של 1945, מייד לאחר המלחמה, שלחו אותו הבּוחרים הבּיתה. ווינסטון צ'רצ'יל, נישא על גלי האהדה באמריקה, נאם באותו יום מול קהל מצומצם של כ3000 איש ואישה, אך העולם כולו היטה אוזניו ועקב רדיופונית. בדרכו לצידו של הנשיא האמריקני, במכונית הפּתוחה, כשהמון בני מיזורי מריע - צ'רצ'יל ידע שוב שהוא הולך לתת עוד נאום שייזכר לדורות. באותו יום הזהיר את השומעים מדבר מסךְ ארוך ובלתי ניתן למעבר הנמתח "משטטין שבחוף הים הבּלטי ועד טרייסט שלחוף היום האדריאטי". בין עולם אחד שכינה "הספֵירה הסובייטית" לבין "המערב". המסךְ הזה, קבע צ'רצ'יל הינו מסך של בּרזֶל. מבחינה רשמית גרידא, יש יאמרו, כי באותו נאום החלה המלחמה הקרה. אך זה צורך סמלי בלבד. אמנם הביטוי "מסך הבּרזל" הופיע כשימוש לציון הגבול או היחסים בין רוסיה ו"המערב" כבר ב1920, כמו כן הופיע בתכתובות ובטרלגרמות לקראת סוף המלחמה ואפילו בתעמולה הנאצית היה לו שימוש - ברם רק היום לפני 77 שנים ניתנה לו הבּמה העולמית והוא ניטע בלבבות ובחרדות.   נאזין הלילה לקולו המנחם והמאיים של צ'רצ'יל, לניגונים שנכתבו בעקבותיו ונדון במורשת המושג ותוכנו. 1. Jimmy Dickens - They Locked God Outside The Iron Curtain 2. John D. Loudermilk - This Cold War with You3. The Zanies - Russian Roulette 4. The Wilburn Brothers - The War Keeps Draggin' On 5. Lord Ivanhoe & His Caribbean Knights - Lift The Iron Curtain 6. Ray Anderson - Stalin Kicked The Bucket 7. Hank Williams - No, No Joe 8. Lester Flatt & Earl Scruggs - Iron Curtain 9. Bobby Marchan & The Clowns - Rockin' Behind The Iron Curtain10. Mingus Big Band - Oh Lord, Don't Let Them Drop That Atomic Bomb On Me

The Doc invites an absolute legend on to the show Marty Stuart! The two talk about Marty's passion for performing live, the benefits of playing with Johnny Cash, Lester Flatt and Bill Monroe, working with Ken Burns on the Country Music documentary, starting the Congress of Country Music and his new music being released next month! Make sure to listen! Monologue (Helping Leonardo Dicaprio): 0:00:19 Birthday Suit 1: 16:40 Ripped From the Headlines: 21:37 Shoutouts: 34:38 Previously on the Doc G Show: 37:02 Leftover Headlines: 38:37 Marty Stuart Interview: 48:34 Doc G Top 3: 1:06:14 Birthday Suit 2: 1:19:52 Birthday Suit 3: 1:23:38

My good friend Barry (Baz) Paterson is in the studio with me. He's a great singer and guitarist, and has loved bluegrass music for as long as I have. I'm playing some of his selections, together with some of our regular performers, including Laurie Lewis & Tom Rozum, Doyle Lawson & Quicksilver, the Sonoran Dogs, Special Consensus, Ramona Church, the Country Gentlemen, and Lester Flatt & Mac Wiseman. We've also got a track from Baz's first band, Dunedin-based Bluegrass Expedition.

This week we welcome Stevie Lee Woods! Stevie Lee Woods was born and raised in Bluefield, Virginia in a family with an extensive musical background. His Father, Buddy Woods was a lead guitarist and previously had worked as a sideman for such artists as Lester Flatt, Earl Scruggs, Eddie Arnold and a number of other distinguished musicians. His brothers David and Greg are also gifted musicians who played music in Virginia and Florida after Stevie decided to move to Nashville TN in the early '90s. The move to Nashville ended up being a good move for Stevie as he landed his first record deal in 1993. His first top-20's opened many doors for Stevie as it landed him major representation by such agencies as Buddy Lee Attractions and World Class Talent in Nashville. From such representation, Stevie began his career appearing and touring with such artists as Lorrie Morgan, John Michael Montgomery, Martina McBride, Diamond RIO, Brooks, and Dunn. He was also an annual guest on the annual Country across America Tour which was a Major Country Music Extravaganza. Stevie has appeared on the Grand Ole Opry as well as hosted his own Television show in the '90s along with the recording artist Sylvia for the USA Network entitled Today's Hot Country. In 1998, with his career moving in a fast past direction Stevie decided to stop touring or traveling due to ailing family members. He decided to move back home and help in any way he could and come back to music at a later date. Well now he's back, and this time in Branson! Voted best new show in Branson 2020 this Grand Ole Opry style show is everything people say it is. A new twist to Branson but still keeping true to Branson roots Nashville Roadhouse Live lives up to its motto, “Where Country Meets Rock N' Roll”. Stevie Lee Woods brings not only his Worldwide years of success and entertainment to the show but also some of your favorite artists from today and yesterday. Join the ever-talented Stevie Lee Woods and Kathie Baillie & The Boys for the Nashville Roadhouse Live Show! This show is ran in Grand Ole Opry-style fashion, with new guests each and every week! This show has received outstanding reviews and is rated as one of the best new shows in Branson! For more information, call the Branson Star Theatre Box Office: 417-320-3418 or visit BransonStarTheater.com.

Some of my old vinyl LP's get a bit of an airing this week, with the likes of Lester Flatt & the Nashville Grass, the Marshall Family, Collins & Blackwell & the Dixie Bluegrass Boys, and ‘Bashful' Brother Oswald. From the CD shelves comes Chris Henry & the Hardcore Grass, Kathy Kallick, the Waller Brothers, Australian band ‘Old South', and the Po' Ramblin' Boys. There's some fine banjo playing from Beth Stevens & Edge, and a 16-year-old Carl Jackson – just a broad spectrum of bluegrass music.

This week we feature banjo player Blake Williams.  As most bluegrass fans know, Blake played banjo with Bill Monroe and his Blue Grass Boys for about a decade and before that he also performed for a year or two with Lester Flatt and the Nashville Grass.  He has some wonderful stories to tell us about being on the road with both Lester Flatt and then Bill Monroe.

By popular demand here's BLUEGRASS  at its finest.  Bill Monroe and his Bluegrass Boys,Lester Flatt and Earl Scruggs,  Jim and Jessie, as well as the great  Stoneman family.  The angelic voice of Allison Krause  and the different versions of  Muleskinner Blues like you've never heard all on the same show. Dolly Parton's version as well as Merle Haggard. Some  incredible pickin from the likes of Ricky Scaggs and the bluegrass musicians of an era I don't believe we'll see or hear again. This was a real joy to put together for you my friends. Lotsa memories for me and stories of my memorable times with these artists. Enjoy and be sure to share.

The Bob Cummings Show (also known as Love That Bob) is an American sitcom starring Bob Cummings, which was broadcast from January 2, 1955, to September 15, 1959. The Bob Cummings Show was the first series to debut as a midseason replacement. The program began with a half-season run on NBC, then ran for two full seasons on CBS, and returned to NBC for its final two seasons. The program was later rerun on ABC daytime and then syndicated under the title Love That Bob. A similar (but less successful) follow-up series, The New Bob Cummings Show, was broadcast on CBS during the 1961–62 television season. Overview. The series stars Cummings as dashing Hollywood photographer, Air Force reserve officer, and ladies' man, Bob Collins. The character's interest in aviation and photography mirrored Cummings' own, with his character's name the same as the role he played in the 1945 film You Came Along. The series also stars Rosemary DeCamp as his sister Margaret MacDonald. In some episodes, Cummings also doubled as Bob and Margaret's grandfather, Josh Collins of Joplin, Missouri. The Bob Cummings Show was important in the development of several careers including series creator, producer, and head writer Paul Henning. Henning, who a decade earlier was a major force in the character development and writing of The Burns and Allen television and radio shows, was a co-producer with George Burns of the Cummings show. He later produced such major 1960s hits as The Beverly Hillbillies, Petticoat Junction, and Green Acres. Regulars in the show included Ann B. Davis, who twice won Emmy Awards for playing Bob Collins' assistant Schultzy. Henning apparently remembered cast members Nancy Kulp and Joi Lansing favorably, giving both of them roles several years later on The Beverly Hillbillies, Kulp as Miss Hathaway (secretary to banker Milburn Drysdale — a character similar to Pamela Livingstone, the one she played on Cummings' show) – and Lansing as Gladys Flatt, wife of Lester Flatt. A decade after The Bob Cummings Show left the air, Davis went on to play the housekeeper Alice in The Brady Bunch. In the 1995 film The Brady Bunch Movie, which featured another actress playing Alice, Davis reprised the role of Schultzy for a cameo that suggests the character went on to become a truck driver. Olive Sturgess appeared in 12 episodes as Carol Henning, girlfriend to Bob's nephew, Chuck. Versatile character actress Kathleen Freeman appeared in six episodes as Bertha Krause. Perhaps the biggest career boost was received by young Dwayne Hickman, a student at Loyola University in Los Angeles, who appeared as the nephew and became a favorite with young female viewers. During the last season of The Bob Cummings Show, he was cast as the lead in CBS's The Many Loves of Dobie Gillis. This program represented the height of Cummings' television career. Although he later starred in two other early-'60s series, The New Bob Cummings Show and My Living Doll, and made guest appearances on several other TV series, he never again achieved that level of success on television. --- Send in a voice message: https://anchor.fm/dwight-allen/message

This week welcome, from Nashville Roadhouse Live, Stevie Lee Woods! Stevie Lee Woods was born and raised in Bluefield, Virginia in a family with an extensive musical background. His Father, Buddy Woods was a lead guitarist and previously had worked as a sideman for such artists as Lester Flatt, Earl Scruggs, Eddie Arnold and a number of other distinguished musicians. His brothers David and Greg are also gifted musicians who played music in Virginia and Florida after Stevie decided to move to Nashville TN in the early '90s. The move to Nashville ended up being a good move for Stevie as he landed his first record deal in 1993. His first top-20's opened many doors for Stevie as it landed him major representation by such agencies as Buddy Lee Attractions and World Class Talent in Nashville. From such representation, Stevie began his career appearing and touring with such artists as Lorrie Morgan, John Michael Montgomery, Martina McBride, Diamond RIO, Brooks, and Dunn. He was also an annual guest on the annual Country across America Tour which was a Major Country Music Extravaganza. Stevie has appeared on the Grand Ole Opry as well as hosted his own Television show in the '90s along with the recording artist Sylvia for the USA Network entitled Today's Hot Country. In 1998, with his career moving in a fast past direction Stevie decided to stop touring or traveling due to ailing family members. He decided to move back home and help in any way he could and come back to music at a later date. Well now he's back, and this time in Branson! Voted best new show in Branson 2020 this Grand Ole Opry style show is everything people say it is. A new twist to Branson but still keeping true to Branson roots Nashville Roadhouse Live lives up to its motto, “Where Country Meets Rock N' Roll”. Stevie Lee Woods brings not only his Worldwide years of success and entertainment to the show but also some of your favorite artists from today and yesterday. Join the ever-talented Stevie Lee Woods and Kathie Baillie & The Boys for the Nashville Roadhouse Live Show! This show is ran in Grand Ole Opry-style fashion, with new guests each and every week! This show has received outstanding reviews and is rated as one of the best new shows in Branson! For more information, call the Branson Star Theatre Box Office: 417-417-320- 3418 or visit BransonStarTheater.com.

Americana, Roots, Country , Folk & Acoustic music. New and Classic Tracks.  Episode includes music by  Neko Case, Mary Gauthier, Rodney Crowell, Lester Flatt and Hurray for the Riff Raff.

This week we welcome, from Nashville Roadhouse Live at the Branson Star Theatre, Stevie Lee Woods! Stevie Lee Woods was born and raised in Bluefield, Virginia in a family with an extensive musical background. His Father, Buddy Woods was a lead guitarist and previously had worked as a sideman for such artists as Lester Flatt, Earl Scruggs, Eddie Arnold and a number of other distinguished musicians. His brothers David and Greg are also gifted musicians who played music in Virginia and Florida after Stevie decided to move to Nashville TN in the early '90s. The move to Nashville ended up being a good move for Stevie as he landed his first record deal in 1993. His first top-20's opened many doors for Stevie as it landed him major representation by such agencies as Buddy Lee Attractions and World Class Talent in Nashville. From such representation, Stevie began his career appearing and touring with such artists as Lorrie Morgan, John Michael Montgomery, Martina McBride, Diamond RIO, Brooks, and Dunn. He was also an annual guest on the annual Country across America Tour which was a Major Country Music Extravaganza. Stevie has appeared on the Grand Ole Opry as well as hosted his own Television show in the '90s along with the recording artist Sylvia for the USA Network entitled Today's Hot Country. In 1998, with his career moving in a fast past direction Stevie decided to stop touring or traveling due to ailing family members. He decided to move back home and help in any way he could and come back to music at a later date. Well now he's back, and this time in Branson! Voted best new show in Branson 2020 this Grand Ole Opry style show is everything people say it is. A new twist to Branson but still keeping true to Branson roots Nashville Roadhouse Live lives up to its motto, “Where Country Meets Rock N' Roll”. Stevie Lee Woods brings not only his Worldwide years of success and entertainment to the show but also some of your favorite artists from today and yesterday. Join the ever-talented Stevie Lee Woods and Kathie Baillie & The Boys for the Nashville Roadhouse Live Show! This show is ran in Grand Ole Opry-style fashion, with new guests each and every week! This show has received outstanding reviews and is rated as one of the best new shows in Branson! For more information, call the Branson Star Theatre Box Office: 417-417-320- 3418 or visit BransonStarTheater.com.

This week's special edition of Overdrive Radio features the words and music of singer-songwriter Stephen Flatt, native of White County, Tennessee, and current Nashville resident. Flatt's first record as a solo artist, "Cumberland Bones," came out last month and features the "Hold You Tonight" single that in part takes the point of view of a long-distance hauler on his way home to the family. As you might well have guessed, Flatt's no stranger to trucking, having worked for years in shipping and receiving and thus with plenty trucking companies, owner-ops and drivers, for a few different outfits. Today he's doing logistics work in the health-care space, dealing with smaller packages but with similar concerns. If Stephen Flatt's name sounds familiar, that's because he's got bluegrass royalty a few generations behind him – one Lester Flatt, in fact, was his Great Uncle. I had the chance earlier this week to sit down with him for a half-hour to run through some of the tracks on the record, including the new single and so much more -- it's traditional country, a couple tracks with a little bit of that bluegrass influence, though as Flatt notes some might call it "alt country" today. It's a record full of narratives about characters, "whether your in-laws or outlaws, people you've worked with and been friends with." There's a lot about it to like. Listen to hear how you can get a copy of the CD mailed to your doorstep. Find a video for the new single via the post at Overdrive that houses this podcast: http://overdriveonline.com/15065688

Dr. Gregory Reish, director of the Center for Popular Music (CPM) at Middle Tennessee State University, chats with Matt about how they met, their duo album Speed of the Plow, what happens at the CPM, and a number of the wonderful albums that Greg's label Spring Fed Records has released. They focus in particular on the Tejano music that the label has put out in recent years. They also discuss Spring Fed's forthcoming Ed Haley box set that will surely send waves of excitement throughout the old-time music community. Patreon supporters of this show will get exclusive access via that site to Greg's passionate and detailed description of how he makes BBQ! Being a Relax Your Grid Superfan on Patreon also entitles you to a beautiful sticker with the show's logo on it. It ships globaly and will look perfect on your kombucha bottle or Dobro case.

Béla Fleck, (born July 10, 1958, New York, New York, U.S.), American musician recognized as one of the most inventive and commercially successful banjo players of the late 20th and early 21st centuries. Fleck became fascinated by bluegrass music during his youth in New York City. He began to play banjo when he was 15 years old, inspired by the music of guitarist-singer Lester Flatt and banjoist Earl Scruggs—the performers of the theme song of the then popular television series The Beverly Hillbillies. Throughout his student years at New York’s High School of Music and Art, he studied banjo privately, experimenting with new sounds, techniques, and genres—particularly jazz. After graduation he joined the Boston-based bluegrass band Tasty Licks and recorded two albums with the group. In 1979 Fleck made his solo recording debut with Crossing the Tracks. He then toured with the Kentucky-based band Spectrum before joining the progressive bluegrass group New Grass Revival (NGR), with which he performed and recorded throughout the 1980s. While with NGR he also produced a number of solo albums, including the highly acclaimed Drive (1988). Following the release of NGR’s final album, Friday Night in America (1989), Fleck recorded The Telluride Sessions (1989), a landmark bluegrass album, with the all-star acoustic group Strength in Numbers. By this time Fleck’s technical proficiency on the banjo and his adventurous musical experimentation had earned him an international following.

Our podcast interview this week features Roland White.  Roland is a true legend in bluegrass music having played with such prominent bands in as the Kentucky Colonels, Bill Monroe and his Bluegrass Boys, Lester Flatt and the Nashville Grass, the Country Gazette, the Nashville Bluegrass Band, and now the Roland White Band.  Roland discusses time spent with those bands and we play you a few cuts from a couple of Roland's most recent CDs.

Main Street Bluegrass Podcast #2041 for the week of October 4th, 2020. This week music from The Osborne Brothers, Lester Flatt and Earl Scruggs, Phil Leadbetter, Backline, Amanda Cook, Volume Five and more! Sit back [...]

An artist honed his craft in the Paris Metro, and another was largely self-taught, even though her great grandfather lived and worked with Lester Flatt. This is episode 40 of Caffe Lena: 60 Years of Song. Thanks to Sarah at the Caffe for selecting the artists and songs for the feature. After college, Richard Shindell took his guitar headed to Europe. He played in the Paris Metro, his repertoire consisting of fingerpicking, flatpicking and d rowing in endless open tunings. He discovered an inclination for self-imposed commercial exile and sought out less-travelled corners, loving the acoustics in the tunnels but only when they were empty. Alexa Rose is a mostly self taught musician and, though no one in her immediate family played or sang, she inherited a deep musical legacy. Her great grandfather lived and worked with Lester Flatt. When the opportunity presented itself for him to move to Nashville and continue his musical career, he decided to stay with his wife on their farm in

Bill Monroe, Jimmy Martin, Lester Flatt and Jesse McReynolds...who could ask for more?  Have a great time on the mountain with an hour of solid, traditional bluegrass music.

Esta vez queremos mostrar la faceta más tradicional, la más apegada a las raíces. En muchos casos, es la cara menos conocida de una mujer que ha sido capaz de hacer de su versatilidad una de sus características fundamentales. El pasado miércoles fue el cumpleaños número 74 de Linda Ronstadt. A lo largo de su carrera, ha cantado temas de todos los estilos musicales imaginables, desde country a opera y comedia musical, pasando por folk, rhythm and blues, rock'n'roll, pop o música latina. En todos los casos, su voz ha brillado tanto que se ha convertido en una de las vocalistas femeninas de mayor prestigio. No busques la perfección en una voz que no sea la de Linda Ronstadt. Trístemente, el Parkinson la ha obligado a dejar de hacerlo. Pero hoy estamos dispuestos a rescatar esa voz insuperable seleccionando algunas de sus canciones más cercanas a la tradición. La mayor parte de ellas no son las que suenan habitualmente cuando se recuerda su carrera. Así, hemos abierto el programa con esta versión inédita de marzo de 1973 a “Lighting Bar Blues”, un tema de Hoyt Axton que Commander Cody cantaron de forma extraordinaria. La mayor sorpresa está en el hecho de que Linda Ronstadt tocaba el fiddle junto al también violinista Gib Guilbeau,que hizo también los coros vocales junto a Herb Pedersen. En 1956, Wanda Jackson grabó por primera vez una canción compuesta por Dick Reynolds y Jack Rhodes, que fue un éxito en el 62 por los Springfields, la banda familiar londinense en la que militaba Dusty Springfield. Era “Silver Threads And Golden Needles”, grabada más tarde por artistas de country como Skeeter Davis, Hawkshaw Hawkins, los Everly Brothers, Rose Maddox, Jody Miller o los Pozo-Seco Singers de Don Williams. En 1969, Linda Ronstadt la incluiría de esta forma en su LP de debut en solitario, Hand Snow… Home Grown. Decimos “de esta forma”, porque cuatro años más tarde, en el 73, realizaría una nueva versión, mucho menos enraizada, en su álbum Don't Cry Now. John D. Loudermilk fue bien conocido como compositor en los 50 y 60 dejando canciones para la historia como “Break My Mind”, que George Hamilton IV cantó por primera vez en el 67 y que Linda Ronstadt llevó a su disco de debut, Hand Snow… Home Grown, dos años más tarde. Al margen de un sinfín de artistas que echaron mano en alguna ocasión del tema, los Flying Burrito Brothers, con Gram Parsons al frente, también la cantaron, aunque quedó fue de sus álbumes oficiales. De aquel binomio mítico formado por Lester Flatt y Earl Scruggs resultaba evidente que este último estaba dispuesto a ampliar sus horizontes desde la separación de la pareja en 1969. Tres años después editó I Saw The Light With Some Help From My Friends junto a sus tres hijos, Gary, Randy y Steve, y una pléyade de invitados como la Dirt Band, Tracy Nelson o Linda Ronstadt, con quien realizó una versión sublime del clásico de Merle Haggard “Silver Wings”. Tras la publicación en 1968 del tercer disco de los Stone Poneys, Kenny Edwards dejó el grupo tras una gira y Linda Ronstadt se quedó sola con la obligación de grabar un nuevo Lp para el Capitol. Así, al año siguiente vió la luz Hand Sown… Home Grown, un trabajo de muy escasa repercusión. Pero las cosas parecieron cambiar con su siguiente trabajo. Linda consiguió la nominación para el Grammy con "Long Long Time", incluida en el álbum Silk Purse de 1970. Pero hoy hemos preferido escuchar la versión en directo que realizó en el Troubadour de Los Angeles por aquellas fechas. Su compositor, Gary White, es un tejano al que conocimos como bajista de Circus Maximus, una banda de Austin de la segunda mitad de los 60, en la que militaba Jerry Jeff Walker. Cuando Linda Ronstadt se lanzó a la aventura en solitario, comenzó a reclutar músicos del Troubadour para formar su propia banda de acompañamiento. Instrumentistas como Bernie Leadon, Glenn Frey, Don Henley y Randy Meisner pasaron a ser sus nuevos compañeros, de tal forma que a su alrededor se estaban gestando los Eagles. En Silk Purse había una versión de “He Darked the Sun”, una canción de Gene Clark y Bernie Leadon en el álbum The Fantastic Expedition of Dillard & Clark de dos años antes. Pero Linda realizó una llamada Nashville version, con un sonido más propio de la versión original que hoy hemos querido recuperar. Ha pasado medio siglo desde la publicación de Silk Purse, en 1970, su segundo disco en solitario. Su apertura era esta versión de “Lovesick Blues”, un tema aparecido en los años 20 en un musical al que Hank Williams puso en el mapa sonoro cuando empezó a actuar en el Louisiana Hayride y lo llevó al primer lugar de las listas en el 49. Grabado en los Cinderella Studios de Nashville, fue la única vez en su carrera que la artista de Arizona se acercó a la Music City para grabar sus canciones. En aquella ocasión, Linda contó con músicos de la altura de Bernie Leadon, Weldon Myrick, Buddy Spicher, Troy Seals o Kenny Buttrey. El legendario Troubadour de Los Angeles fue la cuna de un buen número de artistas convertidos en referentes de la música popular con el paso del tiempo. Aquel local de West Hollywood del que James Taylor decía que era “como un cenicero puesto boca abajo”, vio nacer al artista de Boston, además de a Buffalo Springfield, los Byrds, Jackson Browne, Bonnie Raitt, Linda Ronstadt o los Eagles, cuyos primitivos miembros estaban en la banda de acompañamiento de Linda Ronstadt. Con ellos editó su tercer álbum, de título homónimo en 1972, con un claro sonido country‑rock grabado entre California y Alabama con la producción de John Boylan. Como muestra de su versatilidad, Linda se acercó al honky tonk con una versión de “Crazy Arms”, el primer No.1 de Ray Price en 1956. La producción de John Boylan permitió también que otros músicos como Herb Pedersen, Gib Guilbeau, Sneaky Pete, Buddy Emmons, Jimmy Fadden de la Nitty Gritty Dirt Band o John David Souther participaran en el proyecto. Aquel disco fue, en cierta forma, la puerta para conocer también a nuevos compositores como Eric Kaz, Jackson Browne, Livingston Taylor o Eric Andersen, pero también recurrió a mitos de la categoría de Woody Guthrie, Harland Howard, Hank Cochran o Johnny Cash. Del Hombre de Negro, que llevó a la vocalista a su programa de televisión en sus comienzos, eligió “I Still Miss Someone”, una pieza de finales de los 50 que había compuesto con su sobrino, Roy Cash, Jr. y que conocimos cuando grabó en la prisión de Folsom. Una de las vocalistas favoritas de Linda Ronstadt es Patsy Cline, cuya primera grabación en el sello Decca, "I Fall To Pieces", pasaría a ser el mayor de sus éxitos, consiguiendo llegar por primera vez a la cima de las listas de country poco antes de sufrir un tremendo accidente de coche cerca de su casa de Madison, un barrio de Nashville. La explosiva facilidad de Linda en sus años de Capitol Records para interpretar clásicos como este sorprendió a muchos. En su tercer disco en solitario, con su nombre en el título y editado en 1972, dejó constancia de su respeto por la tradición y de su sensibilidad extrema. Linda Ronstadt comenzó a trabajar con John Boylan en un nuevo disco para el sello Asylum Records, al que se unió John David Souther, con el que mantenía una estrecha relación, antes de encontrar a Peter Asher -antiguo miembro de Peter & Gordon- en el Bitter End de New York. El álbum Don't Cry Now salió al mercado en 1973 tras un año de sesiones, 150.000 dólares invertidos y tres productores. Aquel disco era fantástico, pero nosotros hoy estamos centrados en canciones más tradicionales. Linda había fichado por Asylum, pero debía un álbum a Capitol por contrato. Ese disco que se tituló Heart Like A Wheel y fue publicado en el 74, mezclando antiguas canciones con nuevos temas, incorporando country, rock y rhythm and blues. De todos es recordada su versión al clásico de Hank Williams "I Can't Help It (If I'm Still In Love With You)", donde Emmylou Harris hacía las armonías vocales, la llevó al segundo lugar de las de country y a conseguir un Grammy. Pero esta versión de “Honky Tonk Blues”, también de Hank Williams, que contaba la historia de un joven granjero que deja la granja familiar para irse a la ciudad, fue grabada en octubre de 1974 de nuevo junto a Emmylou y quedó inédita durante 25 años. Es muy posible que Linda Ronstadt y Patsy Cline sean las dos vocalistas más sobresalientes de la historia de la música, con una versatilidad incomparable. Patsy sufrió un tremendo accidente de coche cerca de su casa de Madison, un barrio de Nashville, se fracturó la cadera y tuvo importantes heridas en la cabeza al salir despedida por el parabrisas. Fue hospitalizada durante varios meses y, apoyada aún en sus muletas, grabó una composición de Willie Nelson llamada "Crazy", que pasaría a ser su canción más vendida. Linda Ronstadt la recordó de esta forma en Hasten Down The Wind, un trabajo de 1976 que llegó tras publicar Prisoner In Disguise Ronstadt un año antes y donde eligió canciones de amigos y compositores cercanos. No olvidemos que la madre de Linda era alemana y, sobre todo que su padre era mejicano. Este último, Gilbert, cantaba con ella y sus otros dos hijos canciones de su tierra natal en los pocos ratos de ocio que les permitía la ferretería que regentaban. Nuestra invitada de hoy nunca olvidó aquellas raíces, no solo en los distintos álbumes dedicados íntegramente a canciones hispanas, sino a lo largo de toda su carrera. Como ejemplo, hemos escogido “Lo siento mi vida”, un tema propio, creado junto a su compañero en los Stone Poneys, Kenny Edwards, y a su padre Gilbert, para el álbum Hasten Down The Wind de 1976. En 1977, Linda Ronstadt publicaba su octavo álbum de estudio, Simple Dreams, convertido en una de las más altas cotas de su carrera y vendiendo más de tres millones de copias. Es el último de los discos en los que nos vamos a detener hoy para celebrar el cumpleaños número 74 de su protagonista. Aquel registro, además, fue el encargado de desplazar del No.1 de las listas de pop al mítico Rumours de Fleetwood Mac… y a Elvis Presley de la cabecera de las de country. Producido por Peter Asher, la fórmula fue sencilla: recoger algunas de las grandes canciones interpretadas por una de las voces más distinguida, arropada por los músicos más relevantes del momento, incluidos los Eagles. Para conmemorar los 40 años desde su lanzamiento, se reeditó el disco original con tres temas de bonificación grabados en directo en un concierto especial realizado por la cadena HBO en 1980. Entre ellas estaba "Blue Bayou", un tema de Roy Orbison que la vocalista de Arizona cantó en directo en inglés y castellano. Escuchar audio

GrassTalkRadio.com - Episode 151 The Underground Tape A little humor is in order. To wit, I present you with what I consider to be the classic underground tape, handed from picker to picker over decades, of Bill Monroe and Lester Flatt burying the hatchet and ending their longstanding feud.   Smile folks. This too shall pass.   If you enjoy my podcast I hope you will keep this show going and growing by joining "the club" over on my Patreon page. Thank you, patrons! You can also support what I am doing by visiting my online store at http://www.payhip.com/bradleylaird.

In this episode of Acoustic Music Talk, we interview Bluegrass guitarist, singer and bandleader, David Peterson from Nashville, TN. David is well known on the bluegrass trail, and is perhaps one of the foremost in keeping the traditional sounds alive and well. His band, David Peterson & 1946 captures the sound, zeal, and excitement of the first generation bluegrass bands.David talks about his being captivated by the sounds of Bluegrass, his move to Nashville, acoustic guitars, recording live to analog tape, and much more!Support the show (http://www.paypal.me/acousticmusictalk)

This episode, I’ve featured some classic bluegrass from the masters, Lester Flatt and Earl Scruggs and the Foggy Mountain Boys, as well as the Dreadful Snakes (featuring the young Jerry Douglas and Bela Fleck); the Kathy Kallick Band and some music from Frenchman Jean-Luc Leroux. Paul Trenwith has always been an enthusiastic advocate for and promoter of bluegrass music. Back Porch Bluegrass features a wide range of the genre's best performers.

Bluegrass music is the fast-paced style of folk that became popular in the 1940s. Think Bill Monroe, Lester Flatt, Earl Scruggs...and yes, even the Beverly Hillbillies theme song. Thought to be new around the time of its burgeoning popularity, it actually combined many older musical ideas. The story of how those old ideas turned into a new one is fascinating. This episode delves into how the genre came to be, and the stories behind some of the first players in Canada. Hear how two Black Maritimers shaped the genre in some very important ways. Or how the father of bluegrass in New Brunswick rose out of the Acadian community.

Ozark Highlands Radio is a weekly radio program that features live music and interviews recorded at Ozark Folk Center State Park’s beautiful 1,000-seat auditorium in Mountain View, Arkansas. In addition to the music, our “Feature Host” segments take listeners through the Ozark hills with historians, authors, and personalities who explore the people, stories, and history of the Ozark region. This week, five time Grammy Award winning traditional country, bluegrass, & Americana music legend Marty Stuart and his band, The Fabulous Superlatives, recorded live at the Ozark Folk Center State Park. Also, interviews with Marty. Mark Jones offers an archival recording of himself & Marty Stuart performing the song “The Train That Carried My Girl From Town.” Marty Stuart is an American country music singer-songwriter & multi-instrumentalist, known for both his traditional style, and eclectic merging of rockabilly, honky tonk, and traditional country music. As a musical child prodigy, Marty grew up playing with some of the greatest names in bluegrass & country music. His early career saw him working with Lester Flatt, Vassar Clements, Doc Watson, Johnny Cash, Roy Orbison, Carl Perkins, Jerry Lee Lewis, Porter Wagoner, and many others. As an adult, Stuart launched a successful solo career that has spanned 30 years, and garnered five Grammy Awards. He has appeared on numerous TV shows including Hee Haw, The Nashville Network, and his own show “The Marty Stuart Show.” These days, he tours & records with his band “The Fabulous Superlatives,” featuring Kenny Vaughan on lead and acoustic guitar, Harry Stinson on drums and background vocals, and Chris Scruggs on electric, acoustic, steel and bass guitars, and background vocals. https://www.martystuart.net In this week’s “From the Vault” segment, musician, educator, and country music legacy Mark Jones offers a 1980 archival recording of himself & Marty Stuart performing the song “The Train That Carried My Girl From Town,” from the Ozark Folk Center State Park archives.

Marty Stuart, a five-time Grammy winner, singer, songwriter, multi-instrumentalist, collector, preservationist, and fierce defender of country music’s rich traditions joins us to discuss his career, artistic rebirth, and ongoing artistry. EPISODE DETAILS: PART ONE  Scott and Paul chat about image, country music hair, Elton John’s new autobiography, and two Songcraft contests that give you the chance to win one of two new books by Marty Stuart and Lamont Dozier. PART TWO - 14:15 mark Scott sits down with Marty Stuart to find out how he left home at age 13 to hit the road; what he learned from Johnny Cash about the craft of songwriting; how he found the song that launched the best-known country music supergroup of all time; the three people he considers THE standard of country songwriting; the album that cost him a record deal, a band, a manager, and a publicist; why he had to leave “butt wiggling” songs behind; what he loved about the Dixie Chicks; how a photo of Louis Armstrong gave him a sense of mission for his band; why his greatest songwriting motivation is a deadline; the reason he used to send Harlan Howard and Ralph Mooney $100 at the start of every year; and the Patsy Cline artifact he found in a junk shop that launched his interest in collecting country music memorabilia.  ABOUT MARTY STUART Five-time Grammy winner Marty Stuart only had two professional jobs before launching his own artist career: playing in Lester Flatt’s bluegrass group, then spending five years in Johnny Cash’s band. As a solo artist, Stuart has scored seventeen Top 40 county singles, including Top 10 hits such as “Hillbilly Rock," "Little Things,” “Tempted,” “Burn Me Down,” and the Travis Tritt duets “The Whiskey Ain’t Workin’” and “This One’s Gonna Hurt You (For a Long, Long Time).” Other Stuart songs that have hit the country chart include John Anderson’s recording of “Takin’ the Country Back,” The Dixie Chicks’ “Tortured, Tangled Heart,” and Clint Black and Martina McBride’s duet recording of “Still Holding On.” The release of Stuart’s concept album, The Pilgrim, in 1999 marked a turning point and creative renaissance where Marty, in his words, stopped following the charts and begin following his heart. He put together a highly-celebrated band, The Fabulous Superlatives, and has since championed the beauty and integrity of country music as a uniquely American art form. He is a frequent commentator for historically-oriented projects, including Ken Burns’ ambitious sixteen-hour Country Music documentary. His most recent effort is Marty Stuart’s Congress of Country Music, a Philadelphia, Mississippi-based museum, concert venue, educational and cultural facility that will house his personal collection of over 20,000 country music-related artifacts.  First and foremost, however, Marty is an artist and songwriter. His consistently well-reviewed albums over the last two decades are packed with original songs that celebrate country music’s roots without ever feeling dated. The Grand Ole Opry member’s songs have also been recorded by artists such as George Strait, Emmylou Harris, Linda Ronstadt, Patty Loveless, Kathy Mattea, Wynonna Judd, Gary Allan, Billy Bob Thornton, Connie Smith, Charley Pride, Porter Wagoner, Guy Clark, and Johnny Cash.

This Week Shay and Weebs Recap their trip to Point Pleasant West Virginia. The 18th Annual Mothman Festival had a lot to offer, and It was amazing. www.paranormalwarehouse.com Intro music by Annie Weible Outro Music by Lester Flatt and Earl Scruggs www.youtube.com/watch?v=z_Y3mnj-8lA

GrassTalkRadio.com - Episode 132 Stage Patter and Talk   A huge chunk of your on-stage persona is created when you step up to a microphone and say something. Something pithy. Something funny. Something poignant. Make it count. Listen to this episode where I play samples of the greatest bluegrass emcees at their finest. Introducing songs. Introducing the musicians. Yakkin' it up with the little people... the fans who make it all possible!   I have samples here from Bill Monroe, Lester Flatt (one of the best!), Jesse McReynolds, and plenty more to get you on the right path. Samples and ten tips to sharpen your image on stage.   If you enjoy my podcast I hope you will keep this show going and growing by joining "the club" over on my Patreon page. Or, you can become a GrassTalkRadio Supporter here.   You can also support what I am doing by visiting my online store at http://www.payhip.com/bradleylaird.   Additional information about the podcast is always found here on the episode show notes page: http://www.bradleylaird.com/podcast/episode-132-show-notes.html  

The Sparta Flash! Blake Williams is best known as a Bluegrass Boy, but one that witnessed some of the final years of his band leader, The Father of Bluegrass, Bill Monroe. Road stories from the last days of the first generation of bluegrass creators and Blake’s early years growing up in Sparta, TN, the home of legendary Lester Flatt, make for a must-hear history of this music. Blake Williams is a veteran of the road and stage. We will hear great stories of the life of an excellent banjo player, and a fine man. Join Daniel and Blake Williams backstage at the Southern Ohio Indoor Music Festival, for this episode of Walls of Time. This episode is brought to you by the following sponsors:-- Samson's Haircare: samsonshaircare.com (Use code BLUEGRASS to save 10%.) -- Best Self Co: bestself.co (Use code BLUEGRASS to save 15%) -- Hoosier Devil: hoosierdevil.com

Grammy Award-winning bluegrass songwriter and performer Tim O’Brien joins our Tim O’Brien to talk about his own musical journey and about America’s bluegrass musical heritage. http://traffic.libsyn.com/shapingopinion/Bluegrass_II_auphonic.mp3   According to the Bluegrass Heritage Foundation, America’s bluegrass music can trace its roots to the 1600s when people emigrated to America from Ireland, Scotland, and England brought. The Foundation says they brought with them the basic styles of music that give us the bluegrass music we know today. The music took hold in North Carolina, South Carolina, Tennessee, Kentucky and Virginia, which at the time included what we now know as West Virginia. Bluegrass music has always about stories that reflected the people from these regions. At first it was known simply as country or mountain music. Ironically, it would be the dawn of audio technology that would give bluegrass a new life. In the early 1900s, the invention of the phonograph and then later the dawn of radio introduced bluegrass music to the masses. In the 1920 and ‘30s the Monroe Brothers – Charlie and Bill – made a name for the music and themselves. In the late 1930s and early 1940s, it was Bill Monroe who coined the term “bluegrass” when he called his band Bill Monroe and the Blue Grass Boys. Bill was from the bluegrass state of Kentucky. They thought of this as traditional country music, using a sound that relied on acoustic instruments and vocal harmonies. Another key figure in the development of bluegrass music was Earl Scruggs. Earl joined Monroe’s band in the mid-1940s as a banjo player. His sound gave bluegrass what we now think of as that signature bluegrass sound. Others would make their own imprint on bluegrass, like Lester Flatt from Tennessee, Chubby Wise from Florida, and other instruments would be added to add richness to the bluegrass sound. One includes the resophonic guitar, better known as the dobro. Bluegrass music has been the soundtrack for motion pictures, television shows and has been made popular on radio stations from coast to coast for generations and millions of Americans. Links Grammy Winner Tim O'Brien's Website Tim O'Brien Returns with New Album, Rolling Stone Hot Rize Bluegrass Band Bluegrass Heritage Foundation The Origin and History of Bluegrass Music, Bluegrass World About this Episode’s Guest Tim O’Brien Born in Wheeling, West Virginia on March 16, 1954, Grammy winning singer songwriter and multi-instrumentalist Tim O’Brien grew up singing in church and in school, and after seeing Doc Watson on TV, became a lifelong devotee of old time and bluegrass music. Tim first toured nationally in the 1980’s with Colorado bluegrass band Hot Rize. Kathy Mattea scored a country hit with his song Walk The Way The Wind Blows in 1986, and soon more artists like Nickel Creek and Garth Brooks covered his songs. Over the years, Tim has released 15 solo CD’s, as well as collaborations with his sister Mollie O’Brien, songwriter Darrell Scott, and noted old time musician Dirk Powell. He’s performed or recorded with Steve Earle, Mark Knopfler, Bill Frisell, and Steve Martin, and produced records for Yonder Mountain Stringband, David Bromberg, and Canada’s Old Man Luedecke. O’Brien’s solo shows feature his solid guitar, fiddle, and banjo, along with his engaging vocals and harmony from Jan Fabricius. Expect a range of original compositions and traditional arrangements from his many discs, mixed with stories and Tim’s self-deprecating

"Trump Has Border Security Personality Disorder..." We have for your listening pleasure Episode 303 of "Troubadours and Raconteurs with E.W. Conundrum Demure." Episode 303 features a fun filled conversation with Regular Contributor, our Resident Politico, Democratic Committee Member, and Chair of Pennsylvania's Progressive Caucus - Dwayne Heisler. Dwyane and I discuss the Capital City of Harrisburg, Two Inaugurations. Legalizing Marijuana, the Rural Bill of Rights, Our Disease in Democracy, Channeling Discontent, the Others, Indivisible, the Rev. Dr. Martin Luther King... Episode 303 also includes an EW Essay titled "Champagne, ." We share a humorous essay titled "Carterism" written by Teddy Wayne for the New Yorker magazine. We revel in the words and soul of the supreme Rev. Dr. Martin Luther King Jr. We have a poem called "C'est La Vie." Our music this go round is provided by these wonderful artists: Django Reinhardt, Stephan Grapelli, Ant-Flag, Vampire Weekend, Brett Newski, Lester Flatt & Earl Scruggs, Amanda Shires, the Velvet Underground, Branford Marsalis and Terrence Blanchard. Artwork by Philadelphia Artist Watson Mere. Commercial Free, Small Batch Radio Crafted In the Endless Mountains of Pennsylvania... Heard All Over The World. Tell your Friends and Neighbors...

Released in 1963 by Columbia Records, the historic performance from Lester Flatt, Earl Scruggs and The Foggy Mountain Boys records the first time a bluegrass artist headlined the venerable New York concert hall. Emma and Patrick dissect the record and pull up archive interviews and recordings that take you behind the scenes of this classic live recording.

Today we pay tribute to Lester Flatt in honour of his birthday this week with some Flatt & Scruggs and Lester Flatt and Bill Monroe singing together!Some birthdays to celebrate and great new music!

Playlist: Lifus Gibson - Banjo SoloCharlie Parr - Last Payday At Coal CreekMelvin Dupree & Frank Locklear - Norfolk FlipDurban Crocodiles - AkasangibhaleliThe Southland Hummingbirds - There Are DaysMerry Black Birds - Chineno (Little Speech)Lillian Glinn - Wobble It A Little DaddyLester Flatt & Earl Scruggs - Little MaggieLenny Breau - Muskrat RambleRamblin' Jack Elliot & Derroll Adams - Cigarettes & WhiskeyTownes Van Zandt - Brother FlowerMimi & Richard Farina - Celebration For A Grey DayGeorge Lee - I Ain't Gonna Live It No MoreJoan Baez & Donovan - ColoursGillian Welch - Annabelle

Ozark Highlands Radio is a weekly radio program that features live music and interviews recorded at Ozark Folk Center State Park’s beautiful 1,000-seat auditorium in Mountain View, Arkansas. In addition to the music, our “Feature Host” segments take listeners through the Ozark hills with historians, authors, and personalities who explore the people, stories, and history of the Ozark region. This week, five time Grammy Award winning traditional country, bluegrass, & Americana music legend Marty Stuart and his band, The Fabulous Superlatives, recorded live at the Ozark Folk Center State Park. Also, interviews with Marty. Mark Jones offers an archival recording of himself & Marty Stuart performing the song “The Train That Carried My Girl From Town.” Marty Stuart is an American country music singer-songwriter & multi-instrumentalist, known for both his traditional style, and eclectic merging of rockabilly, honky tonk, and traditional country music. As a musical child prodigy, Marty grew up playing with some of the greatest names in bluegrass & country music. His early career saw him working with Lester Flatt, Vassar Clements, Doc Watson, Johnny Cash, Roy Orbison, Carl Perkins, Jerry Lee Lewis, Porter Wagoner, and many others. As an adult, Stuart launched a successful solo career that has spanned 30 years, and garnered five Grammy Awards. He has appeared on numerous TV shows including Hee Haw, The Nashville Network, and his own show “The Marty Stuart Show.” These days, he tours & records with his band “The Fabulous Superlatives,” featuring Kenny Vaughan on lead and acoustic guitar, Harry Stinson on drums and background vocals, and Chris Scruggs on electric, acoustic, steel and bass guitars, and background vocals. https://www.martystuart.net In this week’s “From the Vault” segment, musician, educator, and country music legacy Mark Jones offers a 1980 archival recording of himself & Marty Stuart performing the song “The Train That Carried My Girl From Town,” from the Ozark Folk Center State Park archives.

For Episode 4 we're joined by 2017 CEA Singer-Songwriter winner Noah Smith and "Cincinnati Candy: A Sweet History" author Dan Woellert. Did you know that Lester Flatt and Earl Scruggs recorded one of the most recognizable and genre-defining Bluegrass tunes right here in Cincinnati at the Herzog space? We discuss other topics like hidden gems of Cincinnati's culinary history: the first commercial Peeps, Candy Corn and "Red Hot" sauce; we debate the refrigeration of ketchup; Noah shares tales of life on the road meeting Lynyrd Skynyrd's drummer; Elias delves into proper pronunciation of "anise" - and a whole lot more!Big thanks to our sponsors, the Thunderdome Restaurant Group - bringing you favorites like the Eagle, Maplewood Kitchen and Bar, Krueger’s and Bakersfield. Also, thanks to Ottos Covington, and Eli’s Bbq.Intro/Outro music by All Seeing Eyes.Noah SmithDann Woellert

First classic bluegrass album finally! Or is it just to much banjo? Can there be to many roads to build and mountains to travel? Four brave boys meet Flatt and Scruggs.

Uur 1 1988 Alexander O'Neal & Cherelle - Never knew love like this 1968 Aretha Franklin - See saw 2000 Steve Earle - The Galway Girl 2017 Ed Sheeran - Galway girl 1980 New Musik - This world of water 2000 Eagle Eye Cherry & Neneh Cherry - Long way around 2010 Andreya Triana - Lost where I belong 2010 Di-Rect - This is who we are 1950 Lester Flatt & Earl Scruggs - Old salty dog blues 1992 Annie Lennox - Cold 1969 Les McCann & Eddie Harris - Compared to what 2017 The Killers - The man 2002 Kylie Minogue - In your eyes 1994 Counting Crows - Mr. Jones 2010 The Apples In Stereo - Nobody but you Uur 2 2017 Shawn Mendes - There's nothing holding me back 1983 U2 - New Year's Day 2015 Haevn - Where the heart is 1998 Robbie Robertson - Ghost Dance 2007 Manic Street Preachers & Nina Persson - Your love alone is not enough 1972 Lou Reed - Perfect day 2017 Writersday - Who can tell us now 2017 Kovacs - Sugar pill 1986 Mr Mister - Broken wings 2000 Bomfunk MC's - Freestyler 1991 Bonnie Raitt - I can't make you love me

Earl perfected the syncopated style of three-finger banjo picking, known as “Scruggs Style." In 1948 he joined Lester Flatt to form the Foggy Mountain Boys. Their theme to "The Beverly Hillbillies" made the Scruggs style famous worldwide.

Earl perfected the syncopated style of three-finger banjo picking, known as “Scruggs Style." In 1948 he joined Lester Flatt to form the Foggy Mountain Boys. Their theme to "The Beverly Hillbillies" made the Scruggs style famous worldwide.

Shredding on the banjo? Yeah, that’s a thing. Let’s take a trip to Appalachia with some instrumental bluegrass from 1961 by Lester Flatt and Earl Scruggs.   Listen: Foggy Mountain Banjo on Amazon Best of Flatt and Scruggs TV Show on DVD More information: Earl Scruggs on Wikipedia Lester Flatt on Wikipedia Video: Flatt & Scruggs on Grand Ole Opry

Got another great show for you folks. Me and Cleo picked out some Jimmy Martin, some Lester Flatt, some Norfolk and Southern and some Mama Corn. And then we've got some Stanley Brothers and Lilly Brothers. So for some great old time bluegrass music come on in and enjoy!

Got another great show for you folks. Me and Cleo picked out some Jimmy Martin, some Lester Flatt, some Norfolk and Southern and some Mama Corn. And then we've got some Stanley Brothers and Lilly Brothers. So for some great old time bluegrass music come on in and enjoy!

Well folks, let's see if we can impress you enough to come on in and enjoy our show. We've got Bill Monroe, Vern Williams, Mac Martin, Jim and Jessie, Wes Miller, Reno and Smiley and Lester Flatt and Earl Scruggs and the Foggy Mountain Boys. If you don't see something there you like we are sincerely sorry!

Artist feature is in honour of the birthday of Lester Flatt!

Artist feature is in honour of the 100 year anniversary of the birth of Lester Flatt which was celebrated last weekend in Sparta, Tennessee. There's lots of new music too!

This month's show was dedicated to the theme "Something Stupid I Did That Worked Out Okay." We presented a collection of listener-created 2-minute stories around that theme, played some specially chosen songs, and talked about life and whatnot. Things were learned. "McDonald's Parking Lot, Peoria, Illinois (1988)" by Greg Weinger "Sunday Morning Coming Down," Johnny Cash "Off The Tracks Asshat Shrew! You Can't Stop A Love Train" by Tracy Bonaccorso "Jackson," Nancy Sinatra and Lee Hazlewood, "The Late Local News with Skip" by Bret Emerson "That Time" by Shanon Emerson "The Man Who Couldn't Cry," Loudon Wainwright III "Shopping Genius" by Judy Ossello "Guess Things Happen That Way," Emmylou Harris "Free Mower" by Phil Tiso "Estuary" by Megan Iwami "A Boy Named Sue," Lester Flatt and Earl Scruggs "You Bent My Five Iron, You Fat Fuck" by Jack Miller "Mean Eyed Cat," Johnny Cash "Yellowstone" by John Emerson

Artist feature is Lester Flatt in honour of his birthday.

Martin Luther said that Romans 5 is the one chapter in all the Bible that every Christian ought to memorize. The entire Gospel message is in this one amazing chapter...like having the Gospel in a nutshell. Come listen as I read Romans 5 from my favorite Bible Version mingled with great music from both today's Gospel and yesteryear's Bluegrass from folks like Lester Flatt, Mac Wiseman, Larry Ford and Dixie Echoes, Chet Atkins, Wayne Raney and many, many more! A great broadcast, Folks, it will bless you!

Martin Luther said that Romans 5 is the one chapter in all the Bible that every Christian ought to memorize. The entire Gospel message is in this one amazing chapter...like having the Gospel in a nutshell. Come listen as I read Romans 5 from my favorite Bible Version mingled with great music from both today's Gospel and yesteryear's Bluegrass from folks like Lester Flatt, Mac Wiseman, Larry Ford and Dixie Echoes, Chet Atkins, Wayne Raney and many, many more! A great broadcast, Folks, it will bless you!

So you thought bluegrass was hokum for hicks. Try this tricky staple, known as the (Lester) Flatt run or G-run. Rogers also extends it up an octave to make a longer lick, partially inverts it and throws in a bluesy variation. This lesson includes Power Tab and is featured on the following CD compilations: TWANG U, ACOUSTIC U. Get more videos, notation and tab for this guitar lesson on TrueFire TV (http://truefiretv.com)

Lester Flatt