walkingdecay
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Post by walkingdecay on Jul 1, 2014 17:17:11 GMT
A track from one of my favourite hardcore bluegrass albums. Monroe's mando break around the 1.40 mark is straight out of left field.
And another classic from the same album. Don't play if you have a heart condition. It's a little bit wild.
Bill was a meticulous man, even a little bit OCD. When I took my copy of this album to him for signing he so objected to the "For Export Only" sticker that was covering its sleevenotes that he sat down and spent a couple of minutes carefully teasing it off.
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Post by scorpiodog on Jul 1, 2014 21:58:34 GMT
Blimey. That last one sounds like a 33 played at 78, WD. Brilliant. Loved em both.
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ocarolan
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Post by ocarolan on Jul 1, 2014 22:10:49 GMT
Me too. Was lucky enough to see Bill Monroe in my local folk club in the mid 1960s. Hadn't come across genuine bluegrass in live performance before (unless you count the Pete Stanley and Wizz Jones version of it) and it was a great experience, and, despite being a truly acoustic performance it was LOUD!
Thanks for the memory Pete!
Keith
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walkingdecay
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Post by walkingdecay on Jul 2, 2014 7:52:32 GMT
Blimey. That last one sounds like a 33 played at 78, WD. Brilliant. Loved em both. When my late partner and I were following Bill around the country he was getting lots of requests for the tune, but the version he played was a medium-paced, fiddle-led affair. The fiddler was Kenny Baker, one of the very best, and it was a joy to hear, but it wasn't what people were expecting, so I dared to ask Mr Monroe about it. Fortunately he was in a good mood, and he told us that the take had been all but an accident. The banjo player, Rudy Lyle, had been playing it very fast but not that fast until the count-in was set at that ridiculous pace. When Lyle just went with it, Bill and the band followed on, somehow keeping it all together. Keith, I know what you mean about the loudness. It came from playing endless tent shows and halls around the South with poor or even a complete lack of amplification. Monroe's "high lonesome" voice was so practiced that he could inject emotion into it and somehow cut through that massive and complex sound. I think the only artist I've encountered outside bluegrass who could blast you so thoroughly with nothing but voice and an acoustic instrument was John Denver.
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