Categories
Bluegrass Music

The Earls of Leicester IS a Tribute Band

A few years ago, when I was still part of Leadership Bluegrass, I was involved in an online discussion with other members about bluegrass bands performing original versus cover material. The discussion led to the band the Earls of Leicester. I stated that I would compare what they are doing to what tribute bands like Beatlemania are doing. I then received lots of backlash for my statement, after which I asked what the Earls are doing in relationship to Flatt & Scruggs compared to what Beatlemania (or any other Beatles tribute band) is doing with the Beatles’ music and image.

I never got a definitive answer, only that it is a different situation. I stood by my statement, and still do. I left Leadership Bluegrass shortly thereafter for other reasons. However, this is just one of many ideas that leaders in the bluegrass industry tend to keep a closed mind to. What’s wrong with the Earls being labeled a tribute band?

Dobroist Jerry Douglas purposely formed the Earls as a tribute to the 1950s-era lineup of Flatt & Scruggs. The members of the Earls also serve in other bands doing original material. The Earls dress the part, play only those songs that F&S did during that time, and even take on the vocal inflections of the original singers. The Earls won the IBMA Entertainer of the Year Award at least once, and for good reason – they are extremely entertaining! However, to put them in the same category as, say, the Del McCoury Band, Doyle Lawson & Quicksilver, or Ricky Skaggs & Kentucky Thunder is apples and oranges. These other bands are performing mostly original material with a traditional sound. It would be wrong to think of the Earls as moving bluegrass into new territory.

The original
The tribute

There is nothing wrong with tribute bands. Besides the Beatles and Elvis, there are hundreds of other tribute bands imitating (aurally and visually) such artists as the Rolling Stones, the Smiths, Led Zeppelin, Pink Floyd, the Grateful Dead, Frank Sinatra and many others. These tribute bands give the audience a different kind of escape. They help some people remember what it was like with a past musical experience, or show off to others what they may have missed the first time it came around. They are living versions of old photographs or concert films. They are imitators, many excellent at what they do, but are not originals. For the most part, they accept that.

The problem is when I see professionals in the bluegrass music industry, those who should realize the importance of their positions as they relate to bluegrass music fans, that do not look at if from this perspective. The Earls won a Grammy a few years back. Why? A recording of a dozen or so songs originally done by F&S re-done nuance for nuance like the original should not be considered pushing the genre forward. Yes, the Bluegrass category for the Grammys is not that big of a deal in the overall music industry, and those that voted most likely didn’t recognize the other nominees. But part of that is the fault of the promoting from within the bluegrass industry.

I hope that promoters of bluegrass will start looking at originality as a major factor in giving attention to bluegrass talent. It is the one way that others will see how much we want bluegrass to be a viable and competitive format going forward.

Chew on it and comment.

Categories
Americana Music

Justin Townes Earle RIP

I received the news last night (Sunday) from a friend in Nashville that Justin Townes Earle was dead. My friend had gotten it very soon after the fact, since as I was checking the internet as soon as she texted me, there was next to nothing available news-wise. Within a half hour, the reports started rolling in.

Justin was way more than just the son of Steve Earle. His songwriting was amazing, way more noteworthy than what usually comes across from the child of a celebrity. Justin had a deep sense of human conscious that came across in his songs. Where his father’s songs usually had negative laments of past occurrences, Justin’s songs seemed more positive about future endeavors of humankind.

His adolescent and young adult life was not bright and shiny. Having Steve as a father figure was not the best influence. Steve had cleaned up by the time Justin reached adulthood, and he offered Justin a job in his band. He later fired Justin due to drug abuse. Justin was in rehab a few times, but in the last few years, he was clean and sober, He was enjoying life as a husband and father of a three-year-old daughter.

I had first met Justin a few years back at an Americana Music Association conference. We talked a long time about non-music things, but I noticed how keen he was in observing human nature and interactions. That is a gift that writers have, and I believe he used it wisely. I went to many of his shows afterwards when he came through town here in Detroit, and he remembered me when we met up.

No cause of death has been announced. Because of his lifestyle, I am sure there will be a number of rumors spread. I just want to remember him as someone who was kind to those who valued his work, a person with a wonderful, slightly sarcastic sense of humor, and a performer who knew that there were better times for all of us ahead.

Rest easy now, my friend.

Categories
Bluegrass Music

Bluegrass Unlimited Magazine Changes Hands

Earlier this month, it was announced that the Bluegrass Hall of Fame would be taking over publishing duties of Bluegrass Unlimited starting with the November 2020 issue. Ever since the passing of long-time publisher of Pete Kuykendall back in 2017, his wife Kitsy has held the reins and is eager to see this transfer come to fruition. This looks to be a good fit, as the HOF has the resources to provide historical input as well as knowledge of the audience that would read the magazine.

I know for a fact that running a business like a magazine is treacherous. I have written for a number of magazines over the years, and many of them no longer exist. Knowing the readership is probably the most important factor for keeping a magazine alive. I was a regular contributor to a magazine called Bluegrass Now years ago. It was probably the closest competition to BU. It was bi-monthly, but had a much more glossy appearance to it than BU. Unfortunately, the print costs forced BN to go online only in 2008, which led to the publication’s complete demise a short time later.

BU has a unique position in the magazine world. Its subject coverage (bluegrass music) is a niche/boutique audience. It can’t compete with other music magazines like Rolling Stone, but it doesn’t need to. It is a specialized reference for bluegrass music to other parties. It puts out special issues each year dedicated to musical instrument manufacturers, a festival guide, and an artist talent directory. Each regular issue has about five articles on either performers or venues/events, a Q&A section assisting reader inquiries, and a short “in the news” section. They also occasionally publish a “letters to the editor” section when space allows. There are a lot of advertisements, especially from festivals. Of course, with those events being cancelled during the Coronavirus, page count with BU has been down most of this year. In short, it is a comfortable read for the audience it is intended to meet.

My only real complaint about BU is the coverage of artists over the years. It seems that when you get the latest copy, the cover story is about a performer that they just did a story on within the past two years. The editorial end always feels like it is in its own comfort zone and doesn’t want to step out of it unless it is absolutely necessary. As BU is the primary resource on bluegrass music to the masses, it has so much opportunity to knock down walls and introduce its audience to new and innovative bluegrass talent. Putting a new voice in bluegrass on the cover would show that the editors and publisher have their ear to the ground and want to not only see the format continue, but also to grow even more.

At this point, it looks as though BU is being put into good hands. I hope that the new editorial staff considers the potential power that they have with the magazine and becomes more innovative than ever before. With the decline in paper publications due to access online, it will be an even greater challenge. Let’s hope they are up to the task.

Chew on it and comment.

Categories
Bluegrass Music

The IBMA Virtual Conference – Really? Really???

Even though I am no longer a member of the International Bluegrass Music Association, I still get regular emails from it regarding monthly activities and, of course, an invite to register for the annual World of Bluegrass conference. This year, due to the Coronavirus, the conference is being held virtually.

Now the IBMA knows that it could never get away with charging the usual $300 or so that it would cost for a normal in-person conference. The cost this year is $99 for members and $149 for non-members for the Business Conference portion (which is the only portion that I ever attended anyway). But what do you really get for that cost?

Well, you will get to “virtually” attend a number of seminars dealing with the business end of bluegrass music. Great, but with everyone lately doing the work-from-home option and connecting to meetings through Zoom or some other online conference application, the World Wide Web can only handle so much. The chances of crashes are extremely high. Additionally, the opportunities to ask questions and get an answer back is highly unlikely.

One of the regular activities at WOB every year is the Gig Fair, which artists do a speed-dating style of interaction with booking agents and event organizers to secure gigs for the upcoming year. I am wondering how well this will go by trying to do it over the internet instead of speaking with people face-to-face and physically handing out press kits.

However, the one concept that I have the most problems with is the Virtual Exhibit Hall. During a normal conference at WOB, dozens of musical instrument manufacturers, festival organizers, record companies and artists set up display tables in a hall and allow attendees to try out new products and talk with the band members. It is a VERY physical experience! Many attendees love to try out a new guitar or banjo, shake hands with a bluegrass performer, and grab up a bunch of free swag. With the virtual aspect, that has all disappeared. Now everything will be only available to see on the computer screen. But … the IBMA still plans to charge exhibitors $300 to $400 to appear at the Vitrual Exhibit Hall.

Seriously? Something that can be done on the manufacturer’s website, such as product questions, price guides and feedback, the IBMA is going to charge a few hundred bucks for them to do at its virtual conference? I am sure that there will be a few that will succumb to this “virtual” pick-pocketing, but I am sure that there will be many others that will opt out just for the reason that it seems ridiculous.

I am sure that there will be enough people to register for the virtual business conference for the IBMA to not lose a lot of money, perhaps even make a few bucks from it. However, for whom is this all benefitting? The WOB always served as a great networking opportunity as well as a chance for fans to get up close to their favorite bluegrass artists. The virtual idea seems only like an opportunity for someone to take someone else for granted.

The IBMA is losing touch with its original objectives and philosophies more as each year passes. The Coronavirus has screwed up everyone’s normal schedule and lifestyle. We all need to adapt. The IBMA should also remember that the bluegrass artists, event organizers, and managers went broke this summer due to cancelled shows. It should have swallowed its pride and postponed the conference for this year, or perhaps moved it up to the late Winter/early Spring of 2021 when the world may have a better handle on the virus. Instead, it continues to think only of itself and its progressive ideas. While I miss many people that I have networked with in my previous trips to the WOB conferences, I seriously feel that I am not losing anything by not attending them any more.

Categories
Bluegrass Music

Nuns Performing Bluegrass and Diversity

Scanning through other WordPress blogs, I came across this and it melted my heart:

They are the Sister Servants of the Eternal Word. Their convent is the Casa Maria Retreat House in Birmingham, Alabama. They have a number of prayer and inspirational videos on their website (https://sisterservants.org/), but this one takes the cake as far as inspirational AND toe-tapping.

It makes me think about bluegrass music and its religious connections. While so much of bluegrass Gospel music comes from the Baptist and Methodist themes, a song like “I’ll Fly Away” seems to have no religious border, especially with the Judeo-Christian sects. I have heard this song and “Down to the River to Pray” (both are heard on the O Brother, Where Art Thou? soundtrack) in a Roman Catholic church that I have attended. I have also heard other songs with Southern Gospel leanings during Catholic mass. Of course, a song like “Amazing Grace” cuts across all barriers and is performed regularly even in secular settings, along with Hank Williams’ classic “I Saw the Light.”

It got me to thinking. The International Bluegrass Music Association has been going crazy with implementing diversity into its fold. They are trying to attract more minorities, including women, African-Americans, and the LGBTQ-whatever else to listen to and perform bluegrass music. This sucking up to the liberal fold is one of the reasons that I left the IBMA – worrying more about who they don’t have listening to the music instead of supporting those that do listen. So, how would they react to a group of Roman Catholic nuns performing bluegrass music? Would that be “diverse” enough for them, or would it be something that they could not handle? In my honest opinion, they would probably ignore it or even purposely brush it off due to the Catholic Church’s views on certain topics.

The IBMA has changed dramatically in the past five years. The people in charge seem to be more concerned with being part of a political move toward the left rather than promoting and preserving the original ideals of the music. Bluegrass music was always firmly rooted in Christian values, and those have gone by the wayside in order to appease the vocal leftists. Bill Monroe is probably turning over in his grave.

As for me, I do hope that the Sister Servants do consider putting out such a bluegrass album in the future.

Chew on it and comment.

Categories
Music Stores

I Miss Mars Music

I miss Mars Music. I’ll explain.

We can order just about anything we want for our musical instrument needs through the internet. Before the Coronavirus pandemic, it could arrive in a matter of a day or two. Once the pandemic kicked in, package delivery now takes weeks. When it comes to a lot of music stuff, especially instruments, you usually don’t want to just order them – you want to sit down and try them out, take them for a test-drive.

For months, music stores were considered non-essential, so the doors were bolted shut. Now, some are open on a limited basis or by appointment. Moreover, some mom-and-pop ones have gone out of business never to return. It is a sad state of affairs.

I love music stores. To me there are two kinds: the big-box ones like Guitar Center, and the specialty smaller ones that cater to enthusiasts. I always looked at it like going out to eat. If you want something fast and maybe cheaper and are not too picky about the outcome, you go to McDonald’s. If you want to get the best steak available and are willing to pay for it in money and time, you go to a five-star restaurant.

As for the big-box music store, there is really only one out now: Guitar Center. The immediate competition is minimal. Music-Go-Round is not much of competition as far as offerings, seems to concentrate on used gear, and is limited in locations. Sam Ash is even more limited in locations and relies heavily on internet orders. GC has its ear to the ground, with numerous locations and prices that are reasonable in most cases. They really do not have any brick-and-mortar competition.

It wasn’t always that way. For a few years, from 1996 until about 2002, GC had intense competition from Mars Music. MM was founded by Mark Begelman, a former president of Office Depot and an avid guitarist. After being disappointed by an experience at a local music store, he started up MM with the intent of selling decent equipment at affordable prices and no pushy salespeople. It worked for a while. Stores were in 20 states, and it was innovative in setting up music education programs and charity programs.

What I loved about MM was that it was competitive with GC in pricing, especially with accessories. I never really purchased any big-ticket items from either store, but I relied on them for quick and easy access to strings, cords, picks, straps, and other stuff that breaks and needs replacement right away. When MM opened, they had their own brand of such items, and they were extremely affordable. You could get a box of 10 set of guitar strings for about $20.00. A set of bass strings would be about $7.00. GC shortly started selling their own brand of accessories as well at bargain prices.

Begelman had a great heart. He knew musicians liked to try out instruments and did not have a lot of money. MM was in many ways more comfortable and welcoming than GC, but the main idea there was competition. Both knew there was a decent-sized market out there, and both went to extremes to get that cash.

Sadly, MM went bankrupt within a few years due to expansion problems and poor investments. It was literally a one-day-open-next-day-closed situation. I thought about all of that branded stuff going nowhere. GC kept going, but phased out most of its budgeted self-branded accessories. While GC still has relatively good prices, there is not that competitive feel for the small-ticket items.

Recently, I needed to purchase a budget gig bag for a cheap Chinese bass guitar that I got brand new for around $65.00. I just needed a glorified dust covering, not a hardshell case or a bells-and-whistle soft case gig bag. Surfing the internet, it was extremely hard to find even a cheap-quality gig bag for under $25.00 plus shipping. I finally found one that come to about $20.00 with tax and shipping. I got it through the mail a week after ordering, and it was not much more than sewn canvas with a zipper.

This experience made me think about how much I miss Mars. Back then, I remember getting a few gig bags that were of the same quality as this recent one for about $8.00. It had the MM brand emblazoned on it, but who cares? It did its job at a musician’s price. Times change, and I realize that a lot of good things disappear. Only competition can keep the things we love affordable.

Chew on it and comment.

Categories
Musical Instruments

Quick Thoughts: 1. Rosa String Works; 2. Complaint About Gov. Whitmer

It’s Saturday morning, and I just remembered that I had a blog to post. My week has been busy caregiving my mom, maintaining her house, writing a few articles and looking for a job, so I forgot about this. So here’s a quick recommendation.

I mentioned the Rosa String Works YouTube channel in a previous post, but I highly recommend subscribing to the channel, or at the very least, checking in every few days. As a person that likes to do musical instrument repairs, Jerry gives some great home-style tips and advice. He videos some of his repairs, and talks to the audience in a very relaxing manner. It’s like sitting in the shop with your uncle or next-door neighbor and talking about mandolin repairs along with the weather and mowing the lawn.

Every one of his videos is magic. Whether he’s repairing a fiddle or the occasional non-musical instrument like his lawn tractor, Jerry has the answer for everything. I learn something new with every video. I also love that he has an assistant now, Caleb, who has the same Missouri drawl in his speech and is making some of the same helpful videos. There are also times when someone comes into the shop to test out a repared instrument and plays a tune for Jerry while he sits and listens. This is the down-home atmosphere that we all need these days while we are surrounded by fears of Coronavirus and riotous protests.

Check out some of his videos here: https://www.youtube.com/channel/UC29Dkc6-RMU8TCrloPN0Cbw

A few days ago, I was notified of the cancellation of the one remaining bluegrass festival here in southeast Michigan. It irritates me that the Coronavirus has made just about everyone nervous and on-edge to the point that every activity outside of watching TV is being cancelled. Yes, there are a number of virtual concerts online, and one bright side is that people stuck at home have been using downtime to learn a musical instrument.

However, I feel that we are being way too cautious in a lot of areas. Michigan Governor Gretchen Whitmer (as well as a few other state governors) have banned singing in church. Really? It was bad enough (and some could argue rightfully that it was unconstitutional) to close the churches in the first place. After opening and limiting attendance, something that has such meaning as singing hymnals can be banned? What is worse, the Archdiocese of Detroit (as well as other state dioceses) are cowering to the governor. When will the people of faith stand up for themselves and not allow an overzealous governor like Whitmer bully them out of their constitutional rights by using the Coronavirus as an excuse?

Chew on it and comment.

Categories
Bluegrass Music

A Brief Look at Bluegrass Fake Books

Today, internet connection is as common in life as the toilet. You can get any information that you seek (whether it is reliable or not) with a few keystrokes and the power of Google. However, a bit more than a decade ago, people still relied on old-fashioned books. Yes, there are still old fogies like me that like to read from the paper pages instead of the computer screen.

Beginner bluegrass musicians appreciate any help that they can get to comfortably jam with others at a festival or other get-together. That means if he/she doesn’t have a mentor readily available to explain chord changes, one had to secure a fake book. If you don’t know what a fake book is, well, it is a book that contains a large number of songs, usually appearing in musical notation as well as lyrics and chord changes. There are still a lot of these out there and available in print. I still have my copy called, appropriately, Bluegrass Fakebook by Bert Casey (available from www.cvls.com), which is one of the most popular. It shows its age, with pages falling out and the cover worn to almost nothing. While I consider myself to have a good ear and able to predict chord changes confidently, I still love having the book around for reference to lyrics and those songs that I am not too familiar with.

These days, you can find the words, chord charts, musical notation, and even lists of artists that recorded the songs with a quick search online. If you have a printer, you can create your own fake book. I’ve seen some people store all of the songs on iPads and take the device to the jam sessions. Hey, whatever works!

While I recommend everyone having some form of fake book, especially beginners, the problem that I always had with the ones published were the choice of songs contained within. While about half of the songs are pretty standard, the other half in the books seem to be personal choices of the author(s). This can vary from modern bluegrass songs, country songs that sound familiar, or even pop and rock songs that someone thought would make a great bluegrass song (and after one performance, they don’t!). One also has to be observant of the key that the music notation and tablature is presented. I have found a number of instances where a popular bluegrass song that was recorded by Bill Monroe, Flatt & Scruggs, or any other well-known artist in a common key of G, A, Bb or C, is presented in the book in the key of Eb or F. Why?

The best way to learn dozens of bluegrass songs is playing along with them. Whether you are working with a recording or sitting in on a jam, your ear will give you the best instruction. Getting familiar with common chord progressions and knowing where to put a capo in the case of a key change are essential to working well in a jam or even performing in a band on a regular basis. While you may start working on original material with a band, bluegrass music is one of those genres that knowing and jamming on old standards is a part of normal life. Whether you buy one or create your own, have a fake book in your arsenal and give it a regular workout. While I am one that promotes original music, there’s nothing wrong with sitting down and jamming on “Wabash Cannonball” or “High On a Mountain” with some fellow musicians when the chance arises.

Chew on it and comment.

Categories
bluegrass bass Bluegrass Music

My Charlie Daniels Memory /Bluegrass Bass Part 4.1

Last week, the music world lost a legend when Charlie Daniels passed away from complication of a stroke on July 6. There have been hundreds of blogs and tributes on Charlie, so I hope that you don’t mind if I throw in my thoughts and history.

I can still remember hearing “The Devil Went Down To Georgia” on just about EVERY radio station in Detroit! Country stations, rock stations, and Top-40 stations were all playing it. You could not help but love the song. It was a great storyline, the fiddle playing was plain crazy, and that gravelish voice was one that cut through skin. Charlie was the true connection between country and rock music, more than Hank Jr or Skynyrd. You knew that there was a good time when a Charlie Daniels show was scheduled. I went to one and was drained afterwards. I still remember the baseball caps and T-shirts that were in every truck stop during the 70s: “I party with the Daniels – Jack and Charlie!”

My sort-of connection with Charlie came in the mid 90s. I was sending out some demos of my band at the time to various record companies. Back in the day, you sent out a query letter, included a return postcard that they could reply with a yes or no on your stamp, and if they said yes, you sent off a cassette. I sent off probably a hundred or so, and one of the few that wrote back with interest was Blue Hat Records, Charlie Daniels’ private label. They were interested in hearing us, so I sent off a tape. A few weeks went by, and I got back a letter saying that they were not interested, signed by Charlie. I wish that I could find that letter, I know that I kept it.

Charlie was a true gentleman, and he will be missed. His first love was bluegrass music (his first band as a kid), but his long-time love was the USA. I hope that he knows that there are still people out there playing the fiddle breaks from “Devil.” He will never be forgotten.

I was looking over my bluegrass bass blogs a few days ago, and I forgot to mention what can be used for an amplifier until you secure a proper one.

Since most of us listen to music through our iPhones or computer, we have most likely relegated the old home stereo system to storage in the basement or garage (if it wasn’t thrown out in the garbage). If you still have it, then put it to use again! Check the back of the receiver/amplifier to see if there is an input marked AUX, TAPE IN, or PHONO. If so, you can plug your guitar cord into one of these inputs by using an adapter that converts a 1/4-inch plug to an RCA phono plug. You can probably get one of these from an audio store, I’m sure you can order one off of the internet (I do miss the old Radio Shack stores). Check which channel you plug into, Left or Right, and that should coincide with that channel’s speaker output.

NOTE: Turn the volume all of the way down before plugging in or turning the stereo on. The speakers for home stereos are not designed for musical instruments, and you could blow the speaker. Also, you will notice that the overall volume is quite low unless you are using a PHONO input that has a built-in preamp. You may also need to cut back on the bass tone control so as not to distort the speaker. You can also use the headphone jack to listen without disturbing others.

This setup should suffice for a while until you secure a decent portable amp. BTW, if you have the proper cords and adapters, you may be able to run the bass through one channel and plug your iPod/iPhone or even a CD player through the other channel and play along with songs.

Chew on it and comment.

Categories
Bluegrass Music

New Grass Revival and The Johnson Mountain Boys

So the 2020 International Bluegrass Music Association’s 31st Annual Awards nominees have been announced. I won’t go into them big here; you can take a look at them at https://bluegrasstoday.com/2020-ibma-award-nominees-announced/ . However, one thing that I do want to address is the Hall of Fame inductees, specifically two of the three that truly deserve more recognition than they have gotten from the bluegrass community.

First is New Grass Revival. Sam Bush started this band back in the early 1970s, and while there have been a number of great musicians that have served time in the group, its most famous lineup is of mandolinist Bush, bassist John Cowan, banjoist Bela Fleck, and guitarist Pat Flynn. During their tenure in the band, these guys made listeners from all different genres come to love bluegrass! They were amazing soloists, Cowan and Bush sang like their lives depended on it, and they could kick anyone’s ass when it came to live performances! Their audiences ranged from old traditionalists to mohawked punk rockers. Leon Russell took them on tour with him in 1980. Each album they put out reflected their approach with one foot in old school, the other foot aimed at the moon! What other band could cover Marvin Gaye’s “Ain’t That Peculiar” and Bill Monroe’s “Wicked Path of Sin” and make it all sound like their own as well as showing respect to each original artist? They gave the progressive “newgrass” format a whole lotta class!

Unfortunately, they decided to call it quits in 1989, right when they finally achieved some chart success with “Callin’ Baton Rouge.” Garth Brooks respected them so much that he asked the band to regroup for his 1993 recording of the song.

Their 1986 self-titled album is still in heavy rotation on my CD player and is definitely one of my Top 20 of all time favorites. Their original albums are hard to come by, even in used bins. There are a few different “Best Of” compilations floating around, so be sure to grab one if you don’t have anything by NGR.

Second is the Johnson Mountain Boys. What NGR was to progressive bluegrass in the 1980s, the Johnson Mountain Boys was to neo-traditional bluegrass. While other bands were dressing casual in blue jeans on stage, the Boys dressed as if they stepped out of a time machine from the 1940s. They approached each of their songs, whether it was an original or a cover, with the same attitude that Bill Monroe or Flatt & Scruggs would use. Formed in the mid-1970s by guitarist/vocalist Dudley Connell, other notable members included Eddie Stubbs on fiddle, Tom Adams on banjo, David McLaughlin on mandolin and Marshall Wilborn on bass. Like NGR, they had their big break about the time they decided to break up when their live album At the Old Schoolhouse was nominated for a Grammy in 1988. Fortunately, they re-formed a little while later and recorded another Grammy-nominated album Blue Diamond in 1993 before calling it quits for a second time.

After the 1996 final breakup, members secured various music jobs. Connell works with the Seldom Scene as well as worked for Folkway Records. Eddie Stubbs still handles the weekday evening hours DJ-ing on WSM in Nashville. The band was signed to Rounder Records, a label that respects all of its artists, so fortunately music of the Boys’ back catalog is still available. Anyone wanting to know how to effectively cover a bluegrass standard and not make it sound amateurish should listen to an album from the Johnson Mountain Boys.

Chew on it and comment. Have a good 4th of July!

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