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Every field has its "bossman"--the one who sets the style and makes the rules. In bluegrass and early country music the man was Bill Monroe. In the world of urban blues, the man was Muddy Waters. Using their own words and dozens of remarkable photographs by David Gahr, Carl Fleischhauer and John Byrne Cooke, the author compares and contrasts the careers of these two bossmen. Both grew up in remote rural areas. Muddy Waters heard field hollers, church music, jubilees, shouts, string band music, and the raw sound of the delta blues; for Bill Monroe it was square dance music, hymns, old country ballads and the fiddling of his Uncle Pen Vandiver. Both brought their music to the big cities: Bill to Nashville, Muddy to Chicago. Musicians who passed through their bands went on to form bands of their own, giving rise to the worlds of Bluegrass and Chicago Blues. But this is more than a book about music; it is a book about black and white America. In microcosm, it is almost a history of this country; and it sets up striking comparisons that cut deep into our heritage and ways. In the words of Pete Seeger: "Anyone in the world wanting to understand American music could well start right here."
Every field has its "bossman"--the one who sets the style and makes the rules. In bluegrass and early country music the man was Bill Monroe. In the world of urban blues, the man was Muddy Waters.Using their own words and dozens of remarkable photographs by David Gahr, Carl Fleischhauer and John Byrne Cooke, James Rooney compares and contrasts the careers of these two bossmen. Both grew up in remote rural areas. Muddy Waters heard field hollers, church music, jubilees, shouts, string band music, and the raw sound of the delta blues; for Bill Monroe it was square dance music, hymns, old country ballads and the fiddling of his Uncle Pen Vandiver. Both brought their music to the big cities: Bill to Nashville, Muddy to Chicago. Musicians who passed through their bands went on to form bands of their own, giving rise to the worlds of Bluegrass and Chicago Blues.But this is more than a book about music; it is a book about black and white America. In microcosm, it is almost a history of this country; and it sets up striking comparisons that cut deep into our heritage and ways. In the words of Pete Seeger, "Anyone in the world wanting to understand American music could well start right here."
From cradle to great, the comprehensive real story of Bill Monroe The Father of Bluegrass Music, Bill Monroe was a major star of the Grand Ole Opry for over fifty years; a member of the Country Music, Songwriters, and Rock and Roll Halls of Fame; and a legendary figure in American music. This authoritative biography sets out to examine his life in careful detail--to move beyond hearsay and sensationalism to explain how and why he accomplished so much. Former Blue Grass Boy and longtime music journalist Tom Ewing draws on hundreds of interviews, his personal relationship with Monroe, and an immense personal archive of materials to separate the truth from longstanding myth. Ewing tells the story of the Monroe family's musical household and Bill's early career in the Monroe Brothers duo. He brings to life Monroe's 1940s heyday with the Classic Bluegrass Band, the renewed fervor for his music sparked by the folk revival of the 1960s, and his declining fortunes in the years that followed. Throughout, Ewing deftly captures Monroe's relationships and the personalities of an ever-shifting roster of band members while shedding light on his business dealings and his pioneering work with Bean Blossom and other music festivals. Filled with a wealth of previously unknown details, Bill Monroe offers even the most devoted fan a deeper understanding of Monroe's towering achievements and timeless music.
Lively, heartfelt, and informative, 'The Bill Monroe Reader' is a fitting tribute to the man and the musician who transformed the traditional music of western Kentucky into an international sensation.
Spanning over 1,000 separate performances, The Music of Bill Monroe presents a complete chronological list of all of Bill Monroe’s commercially released sound and visual recordings. Each chapter begins with a narrative describing Monroe’s life and career at that point, bringing in producers, sidemen, and others as they become part of the story. The narratives read like a “who’s who” of bluegrass, connecting Monroe to the music’s larger history and containing many fascinating stories. The second part of each chapter presents the discography. Information here includes the session’s place, date, time, and producer; master/matrix numbers, song/tune titles, composer credits, personnel, instruments, and vocals; and catalog/release numbers and reissue data. The only complete bio-discography of this American musical icon, The Music of Bill Monroe is the starting point for any study of Monroe’s contributions as a composer, interpreter, and performer.
Inspired by the Hank Williams and Leadbelly recordings he heard as a teenager growing up outside of Boston, Jim Rooney began a musical journey that intersected with some of the biggest names in American music including Bob Dylan, James Taylor, Bill Monroe, Muddy Waters, and Alison Krauss. In It for the Long Run: A Musical Odyssey is Rooney's kaleidoscopic first-hand account of more than five decades of success as a performer, concert promoter, songwriter, music publisher, engineer, and record producer. As witness to and participant in over a half century of music history, Rooney provides a sophisticated window into American vernacular music. Following his stint as a "Hayloft Jamboree" hillbilly singer in the mid-1950s, Rooney managed Cambridge's Club 47, a catalyst of the ‘60’s folk music boom. He soon moved to the Newport Folk Festival as talent coordinator and director where he had a front row seat to Dylan "going electric." In the 1970s Rooney's odyssey continued in Nashville where he began engineering and producing records. His work helped alternative country music gain a foothold in Music City and culminated in Grammy nominations for singer-songwriters John Prine, Iris Dement, and Nanci Griffith. Later in his career he was a key link connecting Nashville to Ireland's folk music scene. Writing songs or writing his memoir, Jim Rooney is the consummate storyteller. In It for the Long Run: A Musical Odyssey is his singular chronicle from the heart of Americana.
"A collection of outstanding folk blues lyrics composed and sung by black Americans and sold on commercial records in American black communities during the dozen or so year following World War II."--Preface.
In 1899, a fundraising program for Berea College featured a group of students from the mountains of eastern Kentucky singing traditional songs from their homes. The audience was entranced. That small en-counter at the end of the last century lies near the beginning of an unparalleled national—and international—fascination with the indigenous music of a single state. Kentucky has long figured prominently in our national sense of traditional music. Over the years, a diverse group of people—reformers, enthusiasts, the musically literate and the musically illiterate, radicals, liberals, a British gentleman and his woman companion, amateurs, local residents, and academics—have been sufficiently captivated by that music to have devoted considerable energy to harvesting it from its fertile ground, studying its various manifestations, and considering its many performers. Kentucky Folkmusic: An Annotated Bibliography is a guide to the literature of this remarkable music. More than seven hundred entries, each with an evaluative annotation, comprise the largest bibliographic resource for the folkmusic of any state or region in North America. Divided into eight sections, the bibliography covers collections and anthologies; fieldworkers and scholars; singers, musicians, and other performers; text-centered studies; studies of history, context, and style; festivals; dance; and discographies, check-lists, and other reference tools. A subject index, an author index, and an index of periodicals provide access to the materials. From early hymnals and songsters to Kentucky performers of traditional music, the bibliography is a comprehensive guide to music which has for many years been one of the major emblems of American traditional music.
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Despite the influence of African American music and study as a worldwide phenomenon, no comprehensive and fully annotated reference tool currently exists that covers the wide range of genres. This much needed bibliography fills an important gap in this research area and will prove an indispensable resource for librarians and scholars studying African American music and culture.