#Doc Watson

[friday411]

To FruitViking For Saddled in Scarlet

There once was a pair from the Wild Old West A sleuth and the doc that he loved the best Their thrilling adventures Have horses and six-shooters, And stand head and shoulders above all the rest.

-=<+>=-

A man arrives on the noon train For quiet and peace he'll remain. Adventure soon beckons John Who didn't reckon on Sherlock Holmes, who's clearly insane.

-=<+>=-

"Saddled in Scarlet" kicks off the fun. Tracking a killer down on the run. An acquaintance was made With one Sheriff Lestrade And a beautiful friendship's begun!

-=<+>=-

Read the absolutely fabulous "Saddled in Scarlet" here!!

Thank you @fruitviking!

PLEASE let me know if you want off the list!! - for either just the reruns or everything.

@stellacartography @totallysilvergirl @calaisreno @keirgreeneyes @peanitbear

Tags also in the comments ...

[pierrotsoup]

Modern americans can make yearnful music all we want but no one is doin it like an Appalachian or new englander balladeer recorded in the early revival and that's just a fact of life #sorry

[cosmogyros]

I'm an invalid and I was already productive today (went to the gynecologist and was informed that all my lady parts are in flawless condition) so now I'm doing absolutely nothing except lying on the sofa listening to vintage bluegrass all evening

[upperswampmonkey]

Cripple Creek DOC WATSON and ARNOLD WATSON

[mywifeleftme]

273: The Nitty Gritty Dirt Band // Will the Circle Be Unbroken

Will the Circle Be Unbroken The Nitty Gritty Dirt Band 1972, United Artists

Who can endure a sentimentalist music critic? Still, this morning anyway, my heart’s fit to weep over a one-hundred-and-ten minutes of exultant roots music and a beautiful idea executed to perfection. The notion behind Will the Circle Be Unbroken was to use the Dirt Band, a crew of talented longhairs from California, as a bridge between the trendy country rock of the day and the genre’s pantheon of avuncularly voiced pioneers. (And I guess in Maybelle Carter’s case ‘aunticularly voiced.’) Many of these sorts of intergenerational tribute projects give me queasy tasting notes of hapless arts council funding or the rap number from Walk Hard, but somehow this triple LP from the heart of rock’s imperial phase manages to be both reverent of traditional country and bluegrass history and present these genres as living organisms.

The Dirt Band are joined by a Field of Dreams cast of legends, plus an adjunct wing of ace players like fiddle genius Vassar Clements, and while the Dirties sneak in one original the focus is squarely on the standards. None of these takes supplant the originals, but the recording fidelity, superlative playing, and warm communal energy make for lovely alternatives. Merle Travis’s “Dark as a Dungeon,” one of the greatest folk and country songs of the century, has never sounded more lovely or doomed; Doc Watson gives Jimmie Driftwood’s “Tennessee Stud” a broad-shouldered boisterousness; Earl Scruggs and the Dirt Band’s John McEuen present the classic fiddle reel “Soldier’s Joy” as an infectious banjo duel. 

Many of the songs include snatches of studio chatter between the band and their guests: Mother Maybelle sounds like the sweetest old thing imaginable; Roy Acuff comes off like as much of a pompous Haven Hamilton-type as I’d always heard he was; Jimmy Martin gives elderly prospector cricket. The tapes are even rolling for the first meeting of guitar legends Travis and Watson, who have an adorably awkward little chat before declaring themselves “buddies.” These peeks into the process are part of Circle’s artifice, but it feels like an honest attempt to capture the historic nature of the summit. The album rounds off with nods to the deep past in the form of a number of Carter family cuts, an homage to bluegrass father “Uncle” Dave Macon, and a group singalong of the spiritual “Will the Circle Be Unbroken?” But then, right there at the end, we get 17-year-old Randy Scruggs performing a solo instrumental take on Joni Mitchell’s 1968 “Both Sides, Now.” The symbolism of the teenaged son of Earl Scruggs playing such a recent (and aptly-named) tune is clear, quietly closing the circle between past and present, a pact sealed.

273/365

[folk-enjoyer]

Newspaper clippings

[playlists-in-fall]

- folk adjacent songs

all the best debts - fever dolls

change and change and change and change - the airborne toxic event

cherry - morningsiders

civil war - the arcadian wild

cocaine and abel - the airborne toxic event

deep river blues - doc watson

ends of the earth - lord huron

fare the well (dink’s song) - oscar isaac

flowers - james spaite

from dusk to dawn - fever dolls

golden dandelions - barns courntey

graveclothes - birdtalker

hang me, oh hang me - oscar isaac

hey, runner! - the arcadian wild

i iv v - don mccloskey

kickin’ da leaves - judah & the lion

knockin’ - carolina chocolate drops

moonshine - hippo campus

not dead yet - lord huron

oh, sleeper - the arcadian wild

poor isaac - the airborne toxic event

starcrossed losers - the fratellis

stella - cereus bright

subterranean homesick blues - the lumineers

tell it like it is - the arcadian wild

there is a time - the dillards

wander. wonder. - the arcadian wild

[ferylcheryl]

Autumnal trad(ish) folk

[krispyweiss]

Hardly Strictly Bluegrass Day No. 2, Golden Gate Park, San Francisco, Sept. 30, 2023

Leyla McCalla controls the weather.

An overcast day in San Francisco’s Golden Gate Park suddenly turned sun-soaked when the former Carolina Chocolate Drop sang: My face to the sun as she performed Our Native Daughters’ “I Knew I Could Fly” during her Sept. 30 Hardly Strictly Bluegrass set on the Towers of Gold Stage.

“That’s awesome,” she said mid-verse as the Earth’s star emerged from the afternoon clouds.

Following the electric and steel guitar instrumentals of Hermanos Gutiérrez on the adjacent Swan stage and playing cello, banjo and electric guitar, backed with rhythm section and electric guitar, McCalla covered Kendrick Lamar’s “Crown” and offered a gumbo of New Orleanian, Haitian and American music delivered in English and Haitian Creole while showcasing her the Capitalist Blues and Breaking the Thermometer LPs.

The Sound Biteses’ day had begun in the pre-noon fog with the down-in-the-holler, old-time string music of Dry Branch Fire Squad playing the songs of Gillian Welch, Doc Watson and Bill Monroe on the Banjo stage. Later, it was gospel from the McCrary Sisters, who sung Stevie Wonder’s “Higher Ground,” “Amazing Grace” and other numbers backed by a full band during short, five- to 15-minute sets on the Rooster stage, where Brennan Leigh offered a lunchtime menu of traditional country music.

It was also on the Rooster that Emmylou Harris previewed her Sunday appearance by guesting with Shawn Camp and Verlon Thompson and closing their Doc Watson tribute set with Guy Clark’s “Old Friends.”

Shortly afterward, Bettye LaVette sauntered onstage to deliver her grinding version of Bob Dylan’s “Things Have Changed.” From here, it was an impassioned reading of songs from the Randall Bramblett-written LaVette! album as the singer prowled the stage and proved her 77 years have cost her nothing in vocal prowess and stage presence.

“If I could write, this is what I would have said,” LaVette said in introducing the new songs, which worked better on stage than on wax.

Rickie Lee Jones attracted a ginormous crowd to Banjo - “I haven’t seen so many people in front of me for so long,” she said, soaking it in - and their enthusiasm rubbed off. Jones, whose band included Vilray on guitar and vocals, plus accordion and bass, was animated as she danced around the stage and crooned like a lounge singer when she wasn’t playing guitar, banjo or piano.

Opening with a radically rearranged “Danny’s All-Star Joint” more suited for the streets of New Orleans than the fields of Golden Gate, Jones went on to perform “I Won’t Grow Up” - for the first time, she said - “Last Chance Texaco,” “We Belong Together” and a sinewy rendition of Steely Dan’s “Show Biz Kids” that found Jones lifting her orange sweater to sing of the Rickie Lee T-shirt beneath.

Give RLJ the MVP for turning in HSB No. 2’s No. 1 gig.

Faced with the quintessential festivalgoers’ dilemma, Mr. and Mrs. Sound Bites split the last hour between Steve Earle’s uncharacteristically sleepy solo-acoustic set on the Banjo and Irma Thomas’ barnburner R&B/soul revival at the Rooster.

At 82, Thomas played the day’s most rambunctious set, ripping into “Time is on My Side” and getting the audience bouncing and waving their handkerchiefs on her mashup of “I Done Got Over It” -> “Iko Iko” -> “Hey Pocky Way” -> “I Done Got Over It.” That one might be ringing through Golden Gate’s trees along with the birdsong for some time to come.

Read Sound Bites’ coverage of HSB Day One here.

10/1/23

[culturevulturette]

And now she's gone And I don't' worry Lord, I'm sitting On top of the world...

[jadeseadragon]

Arthel Lane "Doc" Watson (1923-2012)

Flatpicking and fingerpicking legend

[jazzdailyblog]

Al Di Meola: The Maestro of Fusion Guitar

Introduction: Al Di Meola is a name synonymous with technical prowess, innovative compositions, and genre-defying collaborations in the world of guitar music. His career, spanning several decades, has seen him push the boundaries of jazz, rock, and world music, earning him a revered place among the guitar greats. This blog post delves into the life, career, and enduring influence of Al Di Meola,…

[art-4-sale]

100+ Famous Modern Art Artists of All Time

2/8/2024 ♦ Framed Poster Print ♦ Canvas Print ♦ Metal Print ♦ Acrylic Print ♦ Wood Prints 🌐 Worldwide shipping

[upperswampmonkey]

I'm Troubled

[deebeeus]

I don't do a #flattopfriday very often, and I don't think I have *ever* led off a photo dump with a picture of an inlaid fretboard! But I think you will agree that this guitar, and this fretboard, warrant the attention.

Swipe for more photos.

This is a 2019 Wayne C. Henderson OM, with incredible inlay work by @mathisguitars, spotted at @thetwelfthfret Toronto.

If you are not familiar with Wayne Henderson, there is a book you can read called "Clapton's Guitar: Watching Wayne Henderson Build the Perfect Instrument". Wayne has an enormous cult following and his guitars have been owned by famous players such as Clapton, Tommy Emmanuel, and the late Doc Watson. I can count on two fingers the number of Henderson guitars I have seen in my life (and I only need the second finger because my friend @michaelsegui is friends with Wayne and has one! This one and Mike's might be the only two Hendersons in Canada!).

Because Wayne only builds ~20 instruments a year, and has hundreds of people on his waiting list, one can wait up to 10 years to get a Henderson. They rarely come up for resale in like this, and on those rare occasions when they do, they command premium prices. And this one is VERY premium because of its extreme fanciness!

Here is how the shop describes it on their website:

"...Spruce top paired with Brazilian Rosewood for the sides, back and head plate, Mahogany for the body blocks and neck, and Ebony for the bridge and bound fingerboard. The fingerboard features and elaborate Abalone inlay set of stacked flowerpots and vines, with a classic “torch” style inlay with an engraved ‘W C Henderson” banner on the headstock. The top and sound holes are also surrounded with an abalone layer. The neck has a vintage ‘V’ profile."

If you can, I urge you to make an appointment to visit @thetwelfthfret and see this guitar. It may be the only Henderson you ever get a chance to see in person!

#waynehenderson #waynechenderson #hendersonguitar #rugbyvirginia #acousticguitar #flattopguitar #guitarphotography #guitar#acoustic#guitars#guitarra#flattop#steelstring#guitarre#flattopfriday#guitarsdaily#chitarra