Categories
Bluegrass Music

World Bluegrass Day Channel on YouTube

If you have never checked out the YouTube channel World Bluegrass Day, you may want to, but not out of passion for bluegrass. More out of curiosity and a reason to question.

The channel has about 40,000 subscribers (including me), but if they are doing it like me, they are looking for errors. It seems that either the videos are made haphazardly, or with little or no research on the subject matter in the title.

Take for example the latest video posted – “Bluegrass Guitar Legends: 8 Unforgettable Solos.”

It starts off with an over-the-top solo by Billy Strings. Great performance? Definitely, but unforgettable? Maybe to some Billy Goat who was stoned out of his mind at that show.

The video follows with performances by Bryan Sutton, Clarence White, Doc Watson, Don Reno, Molly Tuttle, Norman Blake, and Tony Rice, respectively. To be honest, none of the solos on the video are “unforgettable,” even if the performers are legendary. For me, only the Clarence White and Norman Blake solos have that sound that is distinctive with the performer.

Then there are the Doc Watson and Tony Rice clips. They are not even solos! One shows Watson singing and strumming a Bob Dylan song, and the Tony Rice clip is of his Unit, with fiddle and dobro breaks only.

These types of errors are common among many of the videos posted on the channel. It makes me wonder who they are making these videos for. If it is for any fan with a basic knowledge of bluegrass music history, they are doing themselves a disservice, and keeping these mistakes up will make the channel the laughing stock of the bluegrass community.

If they are doing these videos to educate the newer fans of bluegrass, then they are doing those newbies a disservice. It also seems that they are putting up videos just to try to make the channel relevant. It is like those people who just have to post the most annoying videos on Tik Tok just to be noticed.

As for this video, I posted my concerns in the Comment section, and gave it a Thumbs Down. It seems like they are trying to create a topic of discussion with bad information. More research and professional production would make this and many other videos on the channel worthwhile to watch as well as being educational.

Chew on it and comment.

Categories
Bass Guitar

Fender Squier Debut Series Precision Bass – A Great Beginner Bass No Longer Produced

A few weeks ago, I bought a Squier Debut Series Precision Bass from a Goodwill auction. For the price I paid, I figured that I broke even. I replaced the jack, one control knob was missing so I put on two matching ones from another set, and sanded/repainted the bottom, as there were a number of chips and scratches.

I checked the serial number on the Fender website (https://serialnumberlookup.fender.com/lookup/) and got some more information on the bass. Part of the Squier Debut Series established by Fender to compete with the growing number of entry-level guitar brands that became popular during COVID, the Precision Bass was geared toward beginners. The hardware is good but not great, the pickup ample but not powerful, and it came in four unique finishes – sunburst, red, seafoam green and black, but all flat matte, not glossy or semi-glossy.

Playing it, I noticed a big difference in the feel. Besides being a lot lighter than a typical Fender P-bass, the neck is much narrower, more like a Jazz Bass. I cannot complain, as I prefer the J-bass neck over the P-bass. I pulled out my 1990s-era Squier P-bass to compare, and sure enough, the Debut bass is way lighter, with the headstock dropping down if you are not holding onto the neck, which is prevalent with the P-basses made in China. My older Squier has a heavier body, and the neck is much wider. FYI, when I got that 90s Squier, I added a second pickup that gave the bass a piano sound when both pickups were at 10, and added some homemade dice control knobs.

The Debut Series was introduced in 2024 and included Stratocaster and Telecaster models. This P-bass was made in July of that year. I checked out the Fender website to find out more about this series, and it seems that they have discontinued the bass, only continuing with the Strat and Tele models. Checking Amazon, it looks like basses are still available for around $170.00.

I also noticed that it had a lot of general features similar to a no-name P-Bass that I purchased from either Wish or Temu. This bass definitely came from the same factory that make the Glarry and Ktaxon guitars. I used that bass for an instructional video on YouTube and never used it again, In fact, I recently put it up for sale on Craigslist.

Speaking of YouTube, there are a number of videos there reviewing the Squier Debut Series Precision Bass. Most are generally positive for the price, but they also are critical of some bass features, stating that they modified the hardware and/or pickup. I guess that if a beginner purchased it initially and decided to keep using it when progressing, it might be worthwhile to do the modifications (which would probably be equal to the cost of the bass itself), as the weight and neck width are great features.

Since I don’t play electric bass much any more, I will probably put this bass on the sales block soon as well. For now, I will keep it to enjoy plunking while watching football on Sundays.

Chew on it and comment.

Categories
Bluegrass Music Classical Music Musical Instruments

Tidbits #10: IBMA Awards/Wieniawski Violin Competition/Ypsilanti Guitar Show

I won’t get into the IBMA awards here, as reading different articles I am seeing different winners for a few categories. I do know that Billy Strings did win Entertainer of the Year, which after seeing him this past June sitting in with a number of bluegrass bands at the Charlotte Bluegrass Festival, I can say that it is well deserved.

The past two weeks saw the 17th Henryk Wieniawski International Violin Competition in Poznan, Poland. Unfortunately, I was not able to watch much of it live due to my new job (evening performances in Poland become mid-afternoon viewing here in Michigan), but I did try to watch YouTube highlights whenever possible. This year’s winner is Bohdan Luts of Ukraine. I did catch his first performance and was extremely impressed. Although every participant was amazing, I knew that he would at least make Stage 3 of the competition.

Was his victory politically motivated, considering the current Russian-Ukraine War? Perhaps, but to watch this young man perform one could not argue about his ability. I am not a person who can competently judge classical musicians, but I could not find any fault in his playing from what I saw. Congratulations to him!

I went to the Ypsilanti Guitar Show earlier today, and came back with only a few cheap guitar tuners. The $15.00 admission seemed a bit pricey, but I had driven all that way so I might as well have gone in. Compared to last year, there was even less buying going on (I had brought a guitar to sell, but kept it in the car, as I didn’t feel like carrying it around, and I could always get it out if I found an interested buyer), and lots of high-priced guitars that didn’t even pique my curiosity. The only thing that looked half interesting to me was a Regal dobro for $275.00, but it was an ugly blue that looked like a refinish, so it may have been previously repaired.

I was hoping to find some parts, particularly a nut for my green Telecaster. There was only one luthier there, and his parts selection was very limited, choosing to market tools and kits instead. The vendor that I purchased the cheap tuners from is a great source for cheap parts such as tuning gears and bridges, so I hope to meet up with him at a future show.

By the way, there is a guitar show returning to the Detroit area (Southfield to be exact) after a few years hiatus. March 7th is the date, and I’m sure that I’ll go. Hopefully it is better than today’s show. And maybe that blue Regal will be there, so I might plan on taking finger picks and a slide.

Chew on it and comment.

Categories
Bluegrass Music

Perfect Song #15: “Choctaw Hayride” by Jerry Douglas

I have been a fan of Jerry Douglas for a very long time. Besides his solo work and being part of Alison Krauss & Union Station, there was a time when you could find his name on just about every country and bluegrass album coming out of Nashville. It seems like everything that his dobro touches sounds like it came from Heaven!

He has so many great original songs, but the one that I find absolutely perfect is “Choctaw Hayride.” It first appeared on the AKUS album New Favorite from 2001. Douglas and the band had just come off of success with work on the O Brother, Where Art Thou? soundtrack, so they could do no wrong as far as what they wanted to release. While the album is amazing to say the least, it is “Choctaw Hayride” that keeps the band firmly into bluegrass while showcasing the members’ instrumental prowess.

The song starts off with a heavy bass picking from the guitar, then Douglas kicks right in with a fast-paced dobro lick. From there, the band blasts right in, with each taking a short solo. But it is under the control of Douglas, as it pushes the traditional verse/chorus of most songs, giving us changes in time signatures and a bridge that skyrockets in tone.

It is completely bluegrass, but pushes the boundaries. That 2/4 beat stays through most of the song, with some fantastic shifts that makes heads turn. It’s Douglas’ skill with the fingerpicking and slide bar that will make any listener’s jaw drop. He is an absolute wizard.

The song has been a staple of AKUS’s live performances, and was included on the 2002 Live album.

If you want to see his real skill, check out this performance of the song with Tommy Emmanuel at the Ear Tumpet studio.

This song is what every dobro player strives for, or gives up on the instrument entirely. Douglas is a god on the instrument. He alone has set new standards for playing it, and pushed it to the forefront in bluegrass music. This song is proof.

Chew on it and comment.

Categories
Bluegrass Music Rock Music

The Scruggs/Buckingham Connection

A few months ago, my buddy Ken gave me some food for thought: Fleetwood Mac guitarist Lindsey Buckingham has stated in a few interviews that bluegrass banjo hero Earl Scruggs was a big influence on his playing.

That thought has stuck in the back of my mind for a while. The more that I thought about it, the more it made sense. Fleetwood Mac’s Rumours album has always been one of my favorites. Buckingham’s playing style is finger picking instead of using a pick, which he has done since he started playing in folk bands in the 1960s. When he and Stevie Nicks joined the band in 1974, the melding of folk-rock with the British blues style rhythm section was magic. The first album with this lineup was the self-titled disc from 1975.

On that album, listen to “Say You Love Me.” Yes, Buckingham throws banjo onto the track, which gives it a great country music feel. Then check out “Rhiannon.” He plucks the strings similar to what banjo great Don Reno was doing on some of Reno & Smiley cuts.

Then we go to Rumours. “Gold Dust Woman” not only has Buckingham picking banjo style, but he even includes some dobro. His bluegrass-tinges playing can also be heard on “You Make Loving Fun” and “Don’t Stop.” Check out his more folky picking with “The Chain.”

While Tusk from 1979 was a bit more experimental, Mirage from 1982 had Buckingham implementing his picking style into a few tracks, namely “Hold Me” and “Gypsy.” One cannot see the similarities of his guitar playing with instances that Scruggs picked up a six-string on some of the Flatt & Scruggs recordings.

As for Mr. Scruggs, the Earl Scruggs Revue did cover Fleetwood Mac’s song “Landslide” as a country-rock number. The band did a number of live shows with Fleetwood Mac in the early 1970s (before Buckingham and Nicks were members). On his 1983 Top of the World album, Scruggs recorded a composition titled “Lindsey.” He claimed that it was not about Buckingham but instead about his granddaughter. Fast forward to today, Lindsey Scruggs is now a singer-songwriter and performs a number of Fleetwood Mac songs in her live performances, as well as recording a version of “Gypsy.”

Chew on it and comment.

Categories
Old-Time Fiddle

Applefest 2026 Old-Time Fiddle Contest

Yesterday I did my annual attendance at the Michigan Old-Time Fiddlers Contest at the Huron Township Applefest in New Boston, Michigan. I prayed that it would not be as poor of a contestant turnout as last year, when only one contestant showed up (https://luegra.design.blog/2025/10/11/applefest-2025-first-guitar-lessons/).

Fortunately, there were three contestants. First place went to last year’s winner Dave Langdon. However, the best moments of this year came from the second- and third-place contestants. Two of the most adorable kids went up and played short pieces of a waltz, schottische, jig and reel. While they both were not as skilled, and the pieces they chose were more basic and not more centered toward Michigan old-time fiddling, they were both absolutely precious to watch.

Neither of them seemed too nervous to perform (probably because they are too young to experience stage fright), and there were some rough spots in their playing, but they both truly impressed me and those in attendance. Sunny and Life Collins are sister and brother, and their parents have a lot to be proud of.

Sunny Collins
Life Collins

After the awards, I made sure to talk to the parents about the Southeast Michigan Bluegrass Music Association and the upcoming Kids Academy that SEMBMA will be sponsoring at the Charlotte Bluegrass Festival in June 2027. While both kids are still too young to secure a scholarship from SEMBMA (both were definitely under 10 years old), attending the Academy would be beneficial for their music education, as well as getting the Academy more notoriety.

I have talked about it many times before in previous blogs, but I will say it again – nothing makes me happier than seeing young bluegrass players. Seeing these two kids this weekend just made me smile so much. The fact that they actually played well for their age was what made it so special. They have so much potential in their fiddling, and by the time they reach their early teens (if they keep up the interest as well), they will be in spotlights at jams and sit-ins with bands.

Chew on it and comment.

Categories
Lutherie

Harbor Freight for Lutherie Work

I had mentioned Harbor Freight a few months back when I purchased one of its mini toolboxes at a radio swap meet (https://luegra.design.blog/2026/02/21/buys-at-the-livonia-swap-meet/). However, I have never mentioned that the store is extremely useful for securing some tools to do basic stringed instrument repairs.

I joined the store’s Inside Track Club, which gets me unadvertised sales as well as additional discounts and occasional free stuff. While the store itself is geared more toward professional workers such as electricians, carpenters and auto mechanics, there are some items here that can prove priceless in the guitarist’s gigbag or on the luthier’s workbench.

Precision screwdrivers – try to use a regular screwdriver on those screws holding the tuning gears in place, and you will probably strip the head. The sets that I have purchased at the dollar stores are terrible to say the least. Harbor Freight’s Pittsburgh line of hand tools have a lifetime guarantee, and it has a few different sets of these screwdrivers for as low as $5.99.

Pliers/side cutters – the smaller-sized ones that are perfect for musicians. The small needle-nose pliers ($2.99) are great for getting in to tight spots as well as tightening an output jack nut or tuning gear nut when a small wrench won’t fit or isn’t available,. The side cutters ($2.99) are a must for cutting the cat whiskers on guitar strings.

Sandpaper – yes, you can get this just about anywhere, but not the selection that you can find at Harbor Freight. Most stores sell grit up to about 1200, but here you will find 2000 grit, which is great for final sanding on finishes.

Precision Files – while this set ($5.99) may still too wide for slots in nuts, they can still be good for getting into places that a larger files cannot, like tuning gear mounting holes and output jack holes.

Soft-face mallet – useful when you want to fit something into a tight hole and not leave scratches. This mallet ($7.99) has a rubber and plastic head for light tapping parts into place.

Ammo boxes – there are two sizes: .30 caliber ($5.99) and .50 caliber ($19.99). I use two for storign my guitar strings, and one serves as my traveling guitar repair kit, holding all the necessary tools that I may need if I have to handle a minor repair at a show for someone (it has happened).

Magnetic parts holder – this looks like a shiny metal ashtray ($4.99), but has a heavy magnet on the bottom. How many times have you taken the pickguard off of a Stratocaster and end up losing a screw or two when putting it back on? This holds those metal parts tight in the bowl until needed.

Rotary tool – Harbor carries a light-duty model ($9.99) that is a lot cheaper than a similar Dremel model, and will prove its worth when doing some small drilling/sanding/polishing jobs.

Mini toolbox – this item is perfect for keeping the small luthierie tools in one place. It usually goes for $19.99, but often go on sale for less.

Other items available are cable ties, shop towels, batteries in bulk, mini flashlights, and a lot of other stuff. Joining the Inside Track Club may be worth it at $30.00 for one year or $45.00 for two years. I use it to get plenty of other tools and accessories for home repairs plus it gets me some free stuff about once a month.

Chew on it and comment.

Categories
Bluegrass Music Songwriting

More Songwriting Woes

Maybe I’m losing it.

Songwriting for me the past few years has been a big challenge. I have written a few songs and posted them on my ReverbNation page (http://www.reverbnation.com/mitchmatthews), but I keep downing myself because I’m not as proficient as I was in my 30’s. Back then I was playing in/leading a country-influenced alternative band (what today we would call Americana music), and I could easily write a song a week that I was proud of. Heck, I was writing for a female lead singer.

I took on the reins of songwriting in my bands then because no one else had the will to do it. I never wanted to be in a cover band. All of my bands did play covers, but we were selective about the songs, and wanted to stress our originality.

As I phased out of the band-member role and considered myself more of a songwriter, this was about the same time that I delved happily into my love for bluegrass music. I found that many of my previous compositions could transfer well to bluegrass, so I have recorded some in that vein. My writing style changed as well toward the bluegrass format.

Back in 2011 or so, when I attended the IBMA World of Bluegrass Conference, I started meeting other people like me – not into playing much but working more with songwriting. It was a great experience, and I was rewarded with co-writes with two people now more prominent in the bluegrass industry as songwriters.

However, I have struggled getting any more recognition. Part of the reason is that I have a full time job in Detroit, so I am not able to travel to Nashville (let alone live there) more than twice per year. I try to hit as many bluegrass shows as possible using my time off so that I can network with touring bands, but I hit a lot of brick walls by not getting any feedback.

In a recent online discussion at SongwritingPro.com, the topic of discussion came up regarding networking as well as the quality of the demo recording to give to a prospective artist. Like I said, I try to network in any way that I can, so that was not a concern. However, recordings of demos has always been a burr in my saddle.

When recording one of my demos, I usually have just guitar, bass, and vocals, with either some harmony vocals or another instrument (mandolin, dobro). I would think as a song, giving it to an artist or producer, that would be sufficient. However, many still want a full band recording.

Think about it. A bluegrass band, no matter how great or even unique they are, all have the same basic set-up of guitar, bass, banjo, mandolin and fiddle, give or take an additional instrument. Is it necessary for me as the songwriter to do the job as producer/arranger so that the artist can hear what the song sounds like in a full band setting?

I have mentioned this phrase before in previous blogs – “It all starts with a song.” A good artist or producer should be able to hear a good song in its rawest form and know what he/she wants to do with it. “1952 Vincent Black Lightning” is a great example. Richard Thompson recording his version was just his fingerpicking guitar and vocals. The Del McCoury band heard a hit with the song, THEN recorded it as a band.

Knowing that I may have to up front money to get a band to record my song demo (and try to find reliable bluegrass musicians willing to learn an original song here in the Detroit area) gets to be defeatist. With that, I tend to lose energy to want to write some more. I have loads of tidbits of songs in my notebook, but I find myself staring at them and not being motivated.

I have plans to hit Nashville in November to use up some vacation time, and have been contacting people down there for possible songwriting sessions or even just meetings. So far I have one “maybe.” It is two months away, so it’s not like I am calling on them last minute. It gets frustrating, but I realize that I am not well-known in the industry, only having one minor songwriting hit and a few other non-bluegrass writing credits.

We shall see how this all plays out.

Chew on it and comment.

Categories
Bluegrass Music

Perfect Song #14: “Wicked Path of Sin” by Bill Monroe and the Blue Grass Boys

This is the song that pretty much set the standard for bluegrass three- and four-part harmony singing with little or no accompaniment. Bill Monroe knew what he was doing, or at least found to right people to do it and let him take credit (which was often the case).

The minimal instrumentation is rhythm guitar, bass, and mandolin picking a simple riff in between verses and choruses. The charm is the vocals. Four voices doing their particular jobs perfectly, not competing with one another. Recorded in September 1946 in Chicago, the lineup of the famous 1946 Blue Grass Boys was not even a year old. The recording consists of Bill Monroe (tenor vocals, mandolin), Lester Flatt (lead vocals, guitar), Earl Scruggs (baritone vocals), Birch Monroe (bass vocals), and Howard Watts (bass).

It is interesting that Bill brought in his brother Birch to sing the bass. Either he did not have enough confidence in any of his current band members, or he had been working on the song at home and his brother was assisting. Either way, it worked. The chorus having Birch start it off, then the rest of the singers answering, then Lester does two lines with the question/answer, then Bill takes two lines with his high lonesome tenor, continuing the question/answer, finishing off with Lester doing one line and the entire quartet singing the last line — that is genius!

Plenty of bluegrass bands have covered this song, including New Grass Revival, the Stanley Brothers, Blue Highway, and Old & In The Way. However, it is the Blue Grass Boys’ version that is the most stirring. It needs no improvement — it is raw yet polished in its outcome. It is a gospel song, but never spends a lot of time talking about God or Jesus, only that he feels safe with his Savior. The beginning theme is that the world (even in the 1940s) was sinful, and that the singer is looking forward to arriving at the Pearly Gates to hear the bells and singing angels, as well as to meet all of the dear departed friends and relatives.

Everything about the bluegrass format can be traced back to Bill Monroe and his concept of it. We have so much to be thankful for from what came from his musical mind. This beautiful song is just one example.

Chew on it and comment.

Categories
Bluegrass Music

Billy Strings’ New Video

Apologies for being a day late on this week’s blog. My allergies have knocked me out this weekend.

Well, Billy Strings does it again. When I think that he cannot get any better, he one-ups me again! So he’s a fantastic musician, a great songwriter, and a decent human being, but his creativity keeps showing how amazing he is.

A few weeks ago, his team sent me a link to his brand new video for his song “10,000 Miles From A Friend,” which is off of his new album So Much For Goodbyes. It starts off with Strings as a cashier at a truck stop talking to a trucker. One would think that this is going to be about the boring life of a truck-stop cashier, but he is only doing a cameo. The focus and story changes to the trucker, his life on the road and struggles trying to support his daughter and granddaughter.

Man! I was actually shedding a tear at the end of this one! Powerful hardly describes the theme of the video. The background on the video is that Strings and the video’s director interviewed a number of truckers to get the storyline going, and the trucker in the video is an actual trucker.

The album is a fantastic listen, to be sure. This was recorded in January of 2026, just months after the death of String’s mother. Many of the songs have a feeling of his sorrow, and the album’s artwork includes many creations by his mother. The final cut, “Debra’s Waltz,” is for her.

I am not going to laud any more about Strings or this album. Let the music speak for itself. Strings is pushing the boundaries of bluegrass while not getting above his raisin’. I hope to shake his hand some day.

Chew on it and comment.

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