Musical Genres

Bluegrass Bluesman: A Memoir 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 residing hyperlink among bluegrass song and the blues. In Bluegrass Bluesman, this influential performer stocks the tale of his lifelong occupation in music.
 
In full of life anecdotes, Graves describes his upbringing in East Tennessee and the weather during which bluegrass track emerged in the course of the Forties. Deeply motivated via the blues, he tailored Earl Scruggs's progressive banjo type to the Dobro resonator slide guitar and gave the Foggy Mountain Boys their specified sound. Graves' money owed of everyday life at the street throughout the Fifties and 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 occupation 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 realm 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 Fame.

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Additional resources for Bluegrass Bluesman: A Memoir

Sample text

I got into a fiddle contest in Lexington, Kentucky, around 1949 using a borrowed fiddle. Old-time fiddlers Carl Story and Clayton “Pappy” McMichen were there, and I won it. I told Pappy that I didn’t feel right taking the prize as I knew I couldn’t beat him. ” Back in those days, I also knew Steve Ledford and J. E. and Wade Mainer. When I had any dealings with Wade, he was on his own. J. —with that red bandana around his neck and overalls—was just a jolly fellow. Wade was more drawed back, you know .

You’d tune to what you heard; you’d hear the beat that was going, join in, and then you walked back out. ” There’s many nights I’ve sat right here at this table and worked on perfection. I’d come in, maybe twelve at night, after a local show. I’d sit here ’til four or five in the morning and work out the mistakes that I had done and I knew I did. I didn’t have to have it played back to me. ” He wouldn’t say it like I was a little dog that needs to be patted on the head, but he knew what I was doing.

He shook him and said, “Earl . . Earl . . Wake up . . ” We had two wrecks, but never did hurt none of us. We was lucky. Them old roads and an old four-banger diesel bus . . wasn’t no interstate then, you know. S. 64 in, I believe it was ’58. I know it was on my wedding anniversary, the 18th of August, and I had to leave that morning. We was going to Franklin, North Carolina. That was the most miserable week I think I’ve ever spent in show business. We wound up in Shelby, North Carolina, Earl’s hometown.

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