| | Jimmie Rodgers Country Music Hall Of Fame: 1961 CD Jimmie Rodgers Discography of CDs
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1961 Country Music Hall Of Fame: 1961 Music Country Music Hall Of Fame: 1961 Review
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Generally, it's a good idea to be wary of actors who make pop albums, but every rule has at least one exception, and She and Him's VOLUME ONE is an unfettered delight. A collaboration between actress Zooey Deschanel (ALMOST FAMOUS, ELF) and prolific indie-folk musician M. Ward, She and Him is not merely a case of a cult musician using a more famous name as an entrée into the musical mainstream: in fact, Deschanel is the primary songwriter here and sings all the lead vocals barring a pair of duets, and she scores impressively on both fronts.
Deschanel turns out to be a gifted pop songwriter with a knack for penning crisp 1960s-style pop songs like the glorious first single, "Why Do You Let Me Stay Here?" and singing them in a flirty, country-inflected ...
| | Newgrange CD (1999)
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A very sophisticated and largely academic take on traditional folk forms, NewGrange's debut is an interesting combination of smooth bluegrass, jazz, contemporary folk, and somewhat classical leanings. However studied and precise their sound may be, NewGrange avoids having their songs come across as museum pieces, as they inject a lively and tangible sound throughout. Though using mostly standard bluegrass instrumentation, the addition of a piano and adventurous ...
| | Music Of Bill Monroe CDs (1994)
Country Music Hall Of Fame: 1961 songs
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Recorded between 1936 and 1994. Includes liner notes by John W. Rumble.
There aren't many 20th Century American musicians who contributed as much to their forms of expression as mandolinist Bill Monroe did to his. After all, how many can credibly claim that they invented their style? The "Daddy of Bluegrass" surely can, since he defined not only its rhythmic breakdowns and hillbilly harmonies, but the music's scriptural intentions and fervent connections to the common folk. From his tours with brother Charlie as the Monroe Brothers, through his spotlight as smooth, expert bandleader and Grand Ol' Opry mainstay, into his autumn as a patriarchal preacher of bluegrass, he carried himself as a dignified giant--and he was. The comprehensive four-disc THE MUSIC OF BILL MONROE chronicles his long story.
All the seeds of Monroe's Eastern Kentucky-bred style can already be spotted in the Monroe Brothers selections: Bill's hyperactively precise mandolin attack, the two-part vocal harmonies, the blues and negro-spiritual influences. When he debuted the initial version of his Blue Grass Boys on national radio, driving through Jimmie Rodgers' "Muleskinner Blues," Monroe added a backwoods fiddle and a stand-up bass to the guitar/mandolin/voices lineup. He added a banjo in 1945. Monroe went through many sidemen in those years, and his choosiness paid off. His Blue Grass Boys of 1946-49--featuring guitarist-vocalist Lester Flatt and father of bluegrass banjo Earl Scruggs on some of the country's greatest musical recordings--became the standard by which all other bluegrass groups were judged, adding a jazz-influenced flexibility to the interplay.
From there on, Monroe became the music's ambassador and its main mentor. Much as with Miles Davis' jazz ensembles, just about every important bluegrass musician in existence served time as a Blue Grass Boy (just look to the credits for proof). Monroe finally passed on to the grand honky-tonk in the sky in September 9, 1996, but his legacy will not be soon forgotten.
Producers: Eli Oberstein (disc 1, track 1-2); Frank Walker (disc 1, tracks 4-5); Art Satherley (disc 1, tracks 6-11); Harold Bradley (disc 2, track 22); Owen Bradley (disc 3, tracks 2, 6-7); Harry Silverstein (disc 3, tracks 11-27); Walter ...
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Jimmie Driftwood (or Jimmy, as his name sometimes appears) was a one-of-a-kind folk singer who is known more for the songs he wrote -- "The Battle of New Orleans," "Tennessee Stud" ...
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Clearly, uniformity is the first thing that Hammond discards in his music. His stylings have a range that give difficulty to the task of classification.From old-style rhythms to post-modern themes and sexy production techniques, SRH is a master of caprice in progressive music. The influences of 1920s jazz guitar and late 20th ...
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