Musician and writer (both song and print) for over 30 years. Primarily interested in roots music (Americana, bluegrass, blues, folk). Current contributing writer for Fiddler Magazine, previous work with Metro Times (Detroit), Ann Arbor Paper and Real Detroit Weekly, as well as other various music and military publications. As songwriter, won the 2015 Chris Austin Songwriting Contest (Bluegrass Category, "Something About A Train," co-written with Dawn Kenney and David Morris) as well as having work performed on NPR and nominated for numerous Detroit Music Awards.
Last week, we lost another great bluegrass voice and musician, Although exact information is still forthcoming, Pat Enright passed away at the age of 81. While his name was not as well-known to the general music audience, he was a stalwart in the bluegrass community, having been a member of two influential bands and a voice that was on a multi-platinum album.
Born in Indiana, he originally wanted to be an architect. However, he got bit by the folk music bug during high school. He joined the Navy in 1965 to avoid the draft, and while stationed in Washington, DC, he discovered bluegrass music. After the service, he moved to San Francisco and played in a number of area bluegrass bands. He moved to Nashville and secured a job at Gruhn Guitars. While working on a guitar, a string snapped and hit his left eye, causing it blindness.
In 1979, he was invited by Bela Fleck to join Tasty Licks, which had him move to Boston. They would later move back to Nashville and form the Dreadful Snakes. That band’s only album, Snakes Alive, is considered one of the most important bluegrass albums of the time.
In 1984, he and Alan O’Bryant formed the Nashville Bluegrass Band, The band’s 20-year run would leave an indelible impact on bluegrass music, as they not only stressed the traditional side, but included heavy influences from black Gospel, old-time string bands, and the blues. So many of the NBB songs included four-part harmonies arranged by Enright.
The highwater mark of his performing career came in 1999, when he recorded vocals for the soundtrack to O Brother, Where Art Thou?. That is his yodel on the recording of “In the Jailhouse Now,” as well as the harmony singing on “Man of Constant Sorrow.” During the Down From the Mountain US tour, NBB served as the house band to back up many of the vocalists from the soundtrack.
NBB won numerous IBMA awards during its tenure, and of course, he received a Grammy for the soundtrack for OBWAT. After the band retired in 2004, Enright stayed away from the music scene for the most part, occasionally performing at the Station Inn or other Nashville venues. My memory of him is getting to talk to him at a few IBMA World of Bluegrass conferences around 2010. We talked about old Martin guitars and the video that NBB had made for vocal harmony instruction. As with so many bluegrass artists, he was extremely humble and cordial to me and anyone else that wanted to talk. NBB has always been one of my favorite bluegrass bands, particularly due to those amazing harmonies, courtesy of Pat Enright.
Sir, your voice will surely be missed down here, but I know that you are now singing with the Angel Band.
So I have had internet access at my house for almost a year. After years of dial up, hot-spotting off of my phone, and stealing access from neighbors that didn’t use a password, I finally can work on the web whenever I need to at my computer.
So sitting around a few days ago, I realized that I can now listen to an internet radio station to my choosing 24/7. After quitting Sirius/XM years back due to cost vs. selection, my bluegrass listening was limited to four hours on Sunday through CJAM-FM out of Windsor, Ontario, or digging through my CD collection if I wasn’t that lazy.
So I did a quick search for “bluegrass internet radio station” and Live365 had a list of Bluegrass stations. I sampled a bunch, but most seemed to mix a bluegrass song in with some classic country music. Two that I have been spending time with are “Catgut ‘n Jugs Bluegrass Show” (which leans toward the modern popular bluegrass charting songs) and “Rideout’s Bluegrass Farm” (heavy on Tony Rice, Billy Strings, and Garcia/Grisman).
It is nice to have a dose of bluegrass at the touch of a button on the keyboard, and it does run 24/7 on my computer (since I am paying for internet by the month). Howver, I am noticing that both stations tend to program the same way as SiriusXM’s “Bluegrass Junchtion” channel, which is why I unsubscribed from it. One will hear very little variety, sometimes the same song by the same artist will play two hours later than the first play.
There is so much material out there, so if it is because some computer is doing the programming, then perhaps someone at one of these stations needs to be a lot more attentive and put some personality. This is just like the old days (for me, still exists) with the car radio of twisting the dial or pushing buttons to change a station to get something different.
Yes, it is nice to hear bluegrass first thing when I wake up (“Bill Monroe for Breakfast,” or some reasonable facsimile), as well as when I walk into the house after a hard day at work. Right now, I need to check out other stations, hopefully one with more variety.
This weekend was the annual US 12 Longest Yard Sale, and I took Friday off from work to do my annual trek. While I will grab just about anything that I think is a bargain or treasure, I am mostly looking for musical instrument related items. In past years, there have been about a dozen vendors selling some such items, but this year, it was down to four, and three of them were pretty much a joke.
The US 12 Heritage Way website this year included a map of vendors that listed items that they were selling. I earmarked a few of them, and the results were pathetic. One had a Taylor 3/4 size gigbag for $40.00, and Elixer guitar strings for $5.00 per set (which I can get from Temu for half of that price). Another vendor’s idea of a “musical instrument” was a giant rug shaped like a keyboard.
There were a few vendors selling a few drum pieces or an old trumpet. One vendor had a few acoustic guitars, including a Harmony archtop that looked interesting. He was asking way too much, as well as high prices for two headphone amplifiers that looked like they had seen better days. Toward the end of my drive in a town called Allen (which calls itself the Antique Capital of Michigan), there is one vendor that is there every year, selling mostly fishing and hunting equipment, but has some musical instruments. They are mostly clarinets and trombones, but he does have a few guitars. However, they are all cheap department store types like First Act that are not worth anything.
In short, other than a few Hot Wheels cars that I bought for a co-worker, the only thing that I purchased for myself was a Godzilla Sandwich from Randy’s BBQ in Onsted (https://www.randysbarbecue.com/).
One of my YouTube subscriptions is to Billy Strings’s channel. When he is on tour, he will often post his opening song live. On Friday, I noticed that he was wearing a hockey helmet while performing. I figured at first that it was some kind of joke because he was playing in a hockey arena.
What is with some idiots these days? Billy is a pretty laid back guy, and he has done his best to make up for cancelled shows due to his leg injury earlier this year. There is no doubt that he and his band put on a fantastic live show, and his fanbase has grown to amazing numbers over the past few years. However, there always seems to be one or two morons that want to ruin it for the thousands that paid good money for the show.
Billy had just started talking to the audience about how glad he was to be there, when an object (most likely a disposable lighter) was thrown from the crowd and hit him in the head. Suddenly, Billy’s demeanor changed drastically, and he not only called out the unknown assailant, but asked the crowd to “sodomize” the jerk.
Can you blame Billy? He is up there literally unprotected from any flying objects, and even something like a lighter hit in the right spot could do damage. I hope to read in the news soon that the assailant was found and charged with some crime. In the meantime, I also hope that Billy understands that the does not reflect the thousands of true fans who value his musicianship and love for his audience.
I finished up on the Squier Stratocaster that I bought on the Goodwill website two months ago (https://luegra.design.blog/2026/05/17/shopping-goodwill-online/). Estimating the time, parts and effort put into getting back into playable condition, I will definitely lose money when selling, hopefully not much.
After cleaning up the graffiti and stickers, I went to work on patching up the divot that was made by the previous owner. This was a task indeed. The wood filler was not curing and sticking to the existing wood in the body, so it took about five layers. When sanding it down, it was not holding too well, so the last layer I let cure for almost a week. It held, but there are a few scratches that were too deep to come out unless I kept going with more layers, and I really did not want to invest more time on that part of the clean up.
I used simple acrylic paint on the patch. Fortunately, the patch was all in the black part of the sunburst, so only one color was needed. The polyurethane that I used for clear coating was also giving me some issues. It was going on thin, and even after about 10 coats, light sanding with 1000 grit paper took me back to the wood filler and stripping off the paint. After touching up the paint and adding a few more coasts, I switched over to some final coats of Tru-Oil. The finished job is not professional, but it is way better than it was, and it’s a Squier, not a vintage Fender.
I replaced the knobs and pickup switch with Fender-style parts to match the pickup covers. The floating bridge needed a lot of adjustment, which meant removing the back cover and force-tightening the spring screws. I could spend a lot more time on setting it up, but right now, I want to get back to the green Telecaster.
Sound-wise, it is typical of the Squier Stratocaster. There is that buzz when only one pickup is activated. I could get back into the body and put in some conductive tape, but again, I don’t want to invest more time into this guitar. The selection of neck/middle and middle/bridge pickups gives that great glassy sound. However, as these are pretty cheap pickups, the output is pretty low.
All in all, it is a beginner guitar, or a decent back up guitar. Hopefully I will find a buyer.
I recently received an email from TMJ Software/VRII with a project that they are launching for fiddle players wanting to learn a song. You send them a bluegrass song that contains a fiddle, and the company will use AI to separate the fiddle from the track, then post the song without the fiddle as well as a copy of the fiddle on its own without the band on its website so that you can check it out. They call it “stem separation.”
This sounds interesting, but I am not sure how popular it will be. I have seen other companies produce backing tracks of popular bluegrass songs like Grasstrax, but I am not sure how much of a need there is for the backing track as well as the recording of the lone instrument on its own. Most bluegrass musicians that I know can pretty much decipher the solo and are more inclined to create their own version.
Only time will tell if this works out for anyone wanting to study a certain bluegrass song’s fiddle break. I went to the website (https://vrii.tmjsoftware.com/fiddle-challenge.html) and checked out the three songs that were there. The separation was good, but one would find it hard to follow the backing track, as in the case of the recording of Bill Monroe’s “Cotton Eyed Joe,” the fiddle kicks it off, yet you can’t tell when to start if you want to jam with the backing track. Anyone interested in trying to download a song can go to the above website.
Last week, a little voice inside of me told me to get back to practicing the Dobro. Last month when I was working the SEMBMA Petting Zoo at the Charlotte Bluegrass Festival, I was with a kid that was having a good time on one. Lately, I have been slacking off practicing any instrument due to longer hours at my job and having to take care of my brother’s house while he is on vacation.
My banjo had been leaning against the couch for a few weeks without moving, and I finally put it back in the gig bag. I had not touched the Dobro (a Regal RD-40) since I moved into my parents’ house, and I found it buried under a bunch of clothes in the basement. Surprisingly, it was still in tune when I strapped it on.
I put on a Dobro instructional DVD and found that I still knew one or two tunes. Unfortunately, my slight arthritis is not allowing for fast picking rolls. I have no problems with rhythm chops, but I do want to work on some simple leads. The DVD basically shows simple tunes, and a Jerry Douglas DVD I have is not in my plans right now (if ever). I have been watching a few YouTube beginner Dobro videos to pick up some ideas.
My hope is to hit the Cirrus Guitar jam session in the next month or two and bring the Dobro. There are too many guitars there and maybe a banjo or mandolin, so a different instrument there would be a blessing. I also want to be able to throw in a different instrument besides guitar and bass on my songwriting demos and not have it sound pathetic.
While the picking fingers are the same as the Scruggs-style playing of banjo, I find that I am more comfortable picking the Dobro strings. With both, I am having some coordination concerns doing string pinching, but that is just one of my things to work on. Both instruments are tuned to an open G major chord, so trying to slide into a minor chord is a challenge without knowing some theory.
Right now, I am trying to commit myself to at least 15 minutes practice every day after work, no matter how tired I am. Yes, the Dobro is now leaning against the couch, staring at me when I walk into my living room. I also need to look for Dobro instruction books that I know that I kept but packed away during the house move.
I should be finishing up on the green Telecaster guitar body by the end of next week, and will be working on the neck and electronics next, finishing up the guitar by mid-August. Before it gets cold outside, I do want to do build another guitar, a bass that will include some routing needed to install a second pickup. I would have a lot more time if there were not outside influences. However, I cannot use any excuses, and need to plan my time far enough in advance and keep to the schedule so that I can get more things done that I want to be done.
I leave you with one of the coolest Dobro tunes Jerry Douglas has ever written.
Fiddler Byron Berline was to me one of the most talented of fiddlers in the bluegrass field. His father was a champion fiddler, and it seemed to rub off on him. By the time he was 20, after winning numerous contests, he appeared on the Dillards album Pickin’ and Fiddlin’. He soon worked with Bill Monroe, then after serving in the US Army for two years, he moved to California to work with Doug Dillard and Country Gazette. Other notable projects included Berline, Crary & Hickman (1978-90) and California (1990-96). His fiddle work went through the entire scopy of the music world, working with Bob Dylan, the Nitty Gritty Dirt Band, Emmylou Harris, and the Rolling Stones (that is his fiddle on the recording of “Country Honk”).
In 1995 he moved back to his home state of Oklahoma and started the Byron Berline Band, as well as opening the Double Stop Music Shop in Guthrie. Unfortunately, a fire destroyed the shop in 2019, and Byron passed away from stroke complications in 2021. Fans of his not only value his contributions to fiddle and bluegrass music, but also know that he was a big Star Trek fan, appearing in the Star Trek: The Next Generation episode “Where No Man Has Gone Before” playing with a 18th century string quartet.
The Nashville Bluegrass Band are definitely the workhorses in the bluegrass music industry. Formed by Alan O’Bryant and Pat Enright in 1984, they held to traditional bluegrass ethics while also incorporating blues and gospel. Their a capella performances were heavily inspired by black gospel music, and they were known to revive songs that were long lost in the years. They were the first bluegrass band to perform in the People’s Republic of China, and helped to make the O Brother, Where art Thou? soundtrack the success that it was. They are two-time Grammy winners, and have continually supported other bluegrass artists in the studio and at live performances.
NBB’s induction in the BGHOF is long, long overdue. While they have never received acclaim like Del McCoury or Billy Strings, they have always been the biggest ambassadors of the genre. While I have a number of the band’s CDs, one of the items that I value the most from them is and instructional video that they released on Homespun Music Instruction entitled Harmony Vocal Workshop – Gospel/Bluegrass. It shows how really powerful and talented the band is when it comes to vocalizing traditional music. For anyone wanting to learn how to best harmonize when singing country, bluegrass, or gospel music, this is a must-have video.
The 25th Anniversary Deluxe Edition of Del and the Boys by the Del McCoury Band was released this week, and you can bet I went and bought it as soon as I could get to the record store. On the first listen, I had forgotten how classic this album truly is.
Del McCoury had a great reputation in the bluegrass community before this was originally released in 2001, and the band received some deserved recognition backing up Steve Earle on his The Mountain album, but this is the one that made Del legendary to this day. It helped that to support the release, Del and the band toured with the Down From the Mountain troupe that year.
However, it is the selection of material, as well as the band performing at its best, that makes this a must-own album. I had previously written about the opening track, “1952 Vincent Black Lightning,” as a perfect song (https://luegra.design.blog/2021/04/17/a-perfect-song-1-del-mccoury-band-1952-vincent-black-lightning/). Following that track were 11 songs (on the original release) that made you try to catch your breath when they were finished. “All Aboard” became an audience request number, almost as much as “1952.” “Gone But Not Forgotten” is break-neck speed with a tear-jerker storyline. “The Kings’s Shilling” is a great bluegrass-meets-sea shanty with amazing harmonies. And of course, what DMB album would be complete without an instrumental, and “Goldbricken” shows off Ronnie and Rob McCoury’s talents, as well as fiddler Jason Carter.
This release includes three extra tracks that were not on the original album. I would have bought the disc even if there was no bonus, but this makes it all the more sweeter. I am so glad that Del McCoury, as well as most other bluegrass artists, have not forgotten the hard-copy of music albums such as vinyl and CDs, unlike so many other artists in other formats that are relying on streaming. There is just something about holding an album cover and reading lyrics or liner notes while the music is playing. It helps to excite more of the senses.
I saw Del and the band two weeks ago at the Charlotte Bluegrass Festival, and at 87 years of age, he still has it. “Inspirational” is probably the best word to describe what he does for the continuing popularity of bluegrass music.
If you don’t already have this album, go out and get it! This one set the standard for modern traditional bluegrass, one that both the old-timers and progressives can truly enjoy and appreciate for a long time.
Hoping that everyone here in the US had a safe and wonderful 250th anniversary of Independence Day.
If you have been following my blogs for a while you know that I love seeing young musicians become skilled with their instruments, and that I also am not a fan of artificial intelligence (AI). That hatred for AI has reached another level this past week. There are now videos of a young musician that I follow in suggestive poses, flashing her underwear, and wearing clothing that I know she would never wear. These videos are definitely created by AI by sleazeballs looking for algorithm hits with no concern of this young girl’s reputation. I will not post her name, as I do not want to have anyone to watch them and give these pedophiles any credit. It’s bad enough that AI is used to create fake music videos and try to pass them off as real bands performing, but this is stooping way too low.
All that I request is that if you see one of these videos, please report it to YouTube. I am sure that there are a number of young female musicians having their reputations ruined by these criminals and getting away with it. It is wrong, hurtful, and should be punishable.
I am currently working on another guitar build. This one is a Telecaster style, and the body required a lot more preparation sanding. For color, I followed an idea that I saw on YouTube of diluting acrylic paint 50/50 with water and wiping it on. I chose a light green, and it seemed to soak into the wood in about 95% of the body, even after three coats. It looks better than the distressed look from the Fesley Strat I did earlier (https://luegra.design.blog/2025/07/06/the-fesley-guitar-is-finished/), but not as complete as I hoped. I also should have used a grain filler to bring out the grain better before staining.
I plan to keep it like this, and start with the multiple coats of Tru-Oil over the next few weeks. Due to the strange hours of my present job, and summer being busy with lawn and house maintenance, this one will take a lot more time to finish.
Speaking of Fesley, I recently learned that the company has gone out of business, with no notice online. Some talk in chat groups seem to think that this may be due to the ongoing lawsuits that Fender is issuing to various guitar companies for producing Stratocaster copy guitars. Ironically, the company in China that was producing parts for the Fesley guitars was also working for Fender, producing components for the Squier brand.
This is disappointing news to be sure. Of all of the kits I have built or plan to, the Fesley one was the best. The instruction manual provided was extremely thorough, and both the body and neck were finished with a very light coat, so that you could either sand it off and use your own finish, or actually build the guitar as-is and have a finished guitar. The Fesley kit was set up for the true beginner to learn about guitar building and lutherie, and I was hoping to either get another kit from them soon or recommend them to anyone interested in building one.
I wasn’t sure if last year’s Charlotte Bluegrass Festival could be topped by having Billy Strings perform, but Wes Pettinger (promoter and organizer) sure did it this year!
The 2026 Charlotte Bluegrass Festival is one for the books. It was amazing all three days, but especially on Friday and Saturday. Let’s cover it some from my perspective:
Vendors – I swore last year that I was not going to eat any of the food sold there, if it meant that I pack a bunch of granola bars in my backpack (which I did). However, dopey me had a craving for french fries one day. For $8.00 I got a Solo cup of fries that must have been cooked in oil old enough to come from King Tut’s tomb! I have NEVER tasted such bad french fries. Never again! I do have to say that the ice cream vendor was decent (you can’t go wrong with ice cream), and I did start to get addicted to the cinnamon roasted almonds. But no fried foods from the vendors ever again!
Friends – along with the usual crew from the Southeast Michigan Bluegrass Music Association, I was able to befriend a few new people. The first was a guy named Stevie (his father named him after Stevie Ray Vaughan). A big, bald loveable man who loves to cook, he was handing out sandwiches to anyone that was interested. As we sat watching bands during Friday and Saturday, he was asking me questions about bluegrass music and the bands/artists that perform. The highlight of the time hanging out with him was on Saturday night, for the 50/50 drawing, he tells me that he should buy some tickets, sonce his dad says he is a good luck charm. Sure enough, the guy won $1,100!. He did join SEMBMA, and plans to attend out annual picnic/pot luck event in August (already telling me the food he’ll bring).
Another new friend is Kaitlyn. She recently moved to Michigan from Wisconsin, and was only able to attend the Saturday evening shows due to work and school. She was dancing with an old guy (not me!) who dances with any gal that will let him, and was actually enjoying herself. We got to talking, and she didn’t have many friends or contacts in Michigan to see other bluegrass events, so I told her to stay in touch with me and I would let her know what’s going on in the area.
David Mayfield Parade – What can I say about this band that I haven’t said already? There is not another band out there (bluegrass or otherwise) that can generate that much energy on stage and geteven the lamest crowd motivated. I absolutely love these guys, they are truly one of the best out there! Unfortunately, they were only playing the festival on Thursday, so hopefully next year they will do two or all three days.
Dan Tyminski – Dan has been promoting his solo stuff for the past few years since he left Alison Krauss & Union Station. While his more recent solo material leans more toward the Americana format, he was smart enough Thursday night to know his audience. Almost all of his set was songs from his first solo project, his time with AKUS or the Lonesome River Band, and a few old bluegrass standards for good measure. He looked a lot thinner than his days with AKUS, so hopefully it is due to dieting and exercise (like myself).
Del McCoury/Larry Sparks/Billy Strings – I’ve lumped them together due to the amazing Friday and Saturday that was created. I swear, Billy must have a GPS tether on his butt, as once the rumor spread that he would be at the festival on Friday, the grounds filled with Billy Goats! Now, even if Billy didn’t show up, both sets by Del and Larry would have been extraordinary, as they are both true entertainers and legends in the bluegrass community. However, Billy’s surprise appearance on both evenings set the festival ablaze to say the least.
The Travelin’ McCourys (the Del McCoury Band without Del, and guitarist Cody Kilby added as a member) did two sets. Sons Rob and Ronnie McCoury have been doing the bluegrass circuit since they were teens, and this configuration allows them to perform material a bit more progressive than what they would be doing with their father. The afternoon set saw Billy come on to perform a few numbers with the band, which by that time there was no breathing room in front of the stage due to the Billy Goats (I can still smell the patchouli and weed two days latern and I am still gagging from it).
Del’s set was incredible to say the least. At 87 years old, he still kicks it out with an amazing tenor voice and puts bluegrassers less than half of his age to shame. Dell did only one set, and when Billy joined him, Billy brought his father on stage to play guitar as well. Those of us who were there last year remember that Billy’s mother died the night that Billy headlined the festival, and Wes would later dedicated this year’s festival to her memory.
Larry Sparks goes beyond legendary. From the time he played with the Stanley Brothers to today, his down-home voice and trademark guitar sound are an absolute treasure. Surprisingly, there were not as many Billy Goats there on Saturday, so when Billy came on stage with Larry to perform the old Stanley Brothers’ song “Lonesome River,” the front of the stage had more of the die-hard traditional bluegrass fans standing. One can definitely see the gratitude in Billy’s eyes and on his face. Like a kid in a candy store, he is totally enjoying and appreciating the fact that he is able to perform on stage with his bluegrass heroes. I was also amazed that the Billy Goats that were there knew a lot about Larry, as they were shouting out requests of his songs.
Of course, I had to bug my buddy Ken all weekend on what was happening by sending him texts and photos. Every year I tell him the dates for the festival months in advance, and every year he misses it. I told him today the next year’s dates (a whole year away), and he says that he is inking it in.
Yes, June 24-26 are already planned for me, even though I don’t have a clue as to what bands are performing. Next year’s festival will also include a Kids Academy set up by SEMBMA for children to learn more about bluegrass and learning to play instruments. At this point, I’m not sure that I’ll be able to assist in that, but I will be at the the main three days. I really do not know how this year can be topped.
This past week, Fender officially released the limited edition James Jamerson 1962 Precision Bass (https://www.fender.com/products/james-jamerson-1962-precision-bass). At a cost of $3,000.00 retail, it is definitely more than the standard Precision bass available. However, the reasoning behind issuing this tribute instrument seems totally worthwhile.
Every bassist in the rock, jazz, blues, and R&B genres today is in some way influenced by Jamerson. He is often considered the greatest bass player in modern pop music history. Born in South Carolina, he move with his family to Detroit at a young age. He learned to play upright bass while in high school, and turned down a college music scholarship in order to play in the jazz clubs around town.
In 1959, he began to get work at Berry Gordy’s Hitsville USA studio, the home of Motown Records. He became the main bass player for what became known as the Funk Brothers, a group of musicians that created the “Motown Sound” on hundreds of recordings in the 1960s and early 1970s. The list of his work is earth shaking: “My Girl” by the Temptations, “You Can’t Hurry Love” by the Supremes, “Dancing in the Streets” by Martha and the Vandellas, “Bernadette” by the Four Tops, “For Once in My Life” by Stevie Wonder, and “Going to a Go-Go” by Smokey Robinson and the Miracles just to name a few.
Because Gordy felt that the Funk Brothers were merely employees of Motown, the members never received any recognition with their work. Their names never appeared on any liner notes until 1971, when Marvin Gaye listed them on his What’s Going On album. While recording the title track, Gaye would not proceed until Jamerson was located to lay down the bass track. When found, Jamerson was highly intoxicated, and was unable to stand upright. He recorded the legendary bass lines while lying on his back.
When Motown Records moved to Los Angeles in 1972, Jamerson made the move as well, but found that LA studios had a different attitude than what he experienced in Detroit. They required exact reading of charts, and a more bright sound from the bass guitar using roundwound strings (Jamerson had always used flatwound strings, similar to what was used on upright basses). While he did appear on some disco hits of the era, he slowly lost access to studio jobs by the 1980s. In 1983, Jamerson died of cirrhosis due to complications from alchoholism.
Largely forgotten immediately after his death, a book in 1989 entitled Standing in the Shadows of Motown did an extensive biography on Jamerson, including interviews with many rock and jazz bassists. The 2002 documentary of the same name highlighted his work along with the other Funk Brothers. Today, the number of bassists that name Jamerson as an influence is endless: Paul McCartney, John Entwistle, John Paul Jones, Geddy Lee, Bootsy Collins, Flea, Stanley Clarke and Sting just to name a few. Jamerson was inducted into the Rock and Roll Hall of Fame in 2000, and the Funk Brothers received a star on the Hollywood Walk of Fame in 2013.
Back to the bass guitar, this is a recreation of the 1962 Precision bass that Jamerson used during most of his career. It was his third Precision model (the previous two were stolen), and he used a Fender Bass V and a Hagstrom eight-string bass on occasion. This bass comes with a rosewood fretboard, a three-tone sunburst body, chrome covers for the pickup and bridge, and a finger rest (guitarists playing the bass in the early days often used the thumb for plucking the strings). It is strung with flatwound strings, which give off a much more hollow sound closer to an upright bass. Jamerson was known to never change his strings unless they broke, so they may have remained on the bass for years. He claimed that the dirty strings gave the sound its “funk.”
While this bass guitar may get the player closed to the “Motown Sound,” one needs to remember that the bass is only half of the sound. In the studio, Jamerson’s bass was plugged directly into the mixing board. Strangely, many of the guitars were as well, and the monitoring for all of these instruments was done through a large speaker, which some of it bled back into the drum and other microphones while recording. When he did use an amplifier, it was usually an Ampeg B-15 Portaflex tube amp/speaker combo (one of the absolute best bass amps ever made!), or a Kustom stack.
If I had $3,000 to spare, would I snag this bass? Absolutely! Not only due to the sound that the early Precision basses gave off, but to appreciate the work that Jamerson gave to modern pop music. I recommend anyone to watch the 2002 documentary on the Funk Brothers, and if in Detroit, to visit the Motown Museum to see the “Snake Pit,” the recording studio that so many hits from the 1960s were recorded at. Jamerson deserves so much more recognition in the music industry than what he has received, but this Precision bass helps.
Next weekend I will be at the Charlotte Bluegrass Festival, so the blog may be late.
Luegra 