Dale Ann Bradley

Bluegrass Covers of Pop and Rock Songs

Here’s something that I wanted to blog about for a while now, but I never really knew how to approach the subject. I am going to talk a little about bluegrass artists covering pop and rock songs, trying to get them to sound bluegrass.

This idea has been around since bluegrass was still in its youth and the birth of rock-n-roll. Most everyone knows that Elvis Presley’s first single contained a rockabilly send-up of Bill Monroe’s lamenting waltz, “Blue Moon of Kentucky.” Mr. Monroe didn’t think much of the cover, that is, until the royalty checks started coming in. Then, he was so impressed that he re-recorded the song to include a rockin’ 4/4 time version on the second half of the recording.

Through the years, bluegrass bands have dipped into the pop and rock-roll bag to get new musical ideas as well as to keep bluegrass relevant. Jim & Jesse McReynolds recorded a whole album’s worth of Chuck Berry songs. Through the 1960s, bands such as Flatt & Scruggs and the Country Gentlemen often picked up on rock and folk songwriters for material. Flatt & Scruggs had a minor hit with the Lovin’ Spoonful’s “Nashville Cats” (which Del McCoury also recorded, and I will look at later), and a number of Bob Dylan compositions. That led to the disagreements of the band’s direction and ultimate break up. Earl Scruggs would go on to record and perform a number of pop and rock songs with his sons, while Lester Flatt would delve back into the traditional bluegrass sound.

During the 1970s and 80s, there was a lot of bluegrass artists covering pop and rock songs. Tons of bluegrass bands were covering the Beatles’ songs because they were popular. The Seldom Scene covered Ricky Nelson’s “Hello Mary Lou” (which has now become a bluegrass standard), as well as many Grateful Dead compositions. Of course, it helped that the band, particularly Jerry Garcia, was big fans of bluegrass, and the Garcia/Robert Hunt writing team was highly influenced by old-time music. Progressive bluegrass bands such as the New Grass Revival would often incorporate pop and rock songs their albums. NGR does an amazing cover of Marvin Gaye’s “Ain’t that Peculiar.”

But what about today’s bluegrass bands and their choices in pop and rock music. Some bands such as Del McCoury can pull it off pretty well. Take his cover of the aforementioned “Nashville Cats”:

However, with his band’s cover of Buffalo Springfield’s “For What It’s Worth,” in which they are joined by Sierra Hull, the Gibson Brothers, and a few others, it comes off to me as very tiring:

A few years back, the Grascals, who have always been known to cover popular country songs, had a bluegrass hit with its version of the Monkees’ “Last Train to Clarksville.” For me, it was OK, but not fantastic. Granted, at the time of the release, the Grascals were probably the most popular band in bluegrass, so they could take a chance on material.

Of course, Alison Krauss knows a good song when she hears one, and can make it her own. While not exactly bluegrass, she did put an acoustic swing to Bad Company’s “Oh, Atlanta”:

One artist that I think has a really good ear on choosing pop and rock songs to cover in the bluegrass vein is Dale Ann Bradley. I have always been a big fan of her, and part of the reason is that she chooses great material to record. Here are two fine examples of covers – the Kris Kristofferson/Janis Joplin hit “Me and Bobby McGee,” and Tom Petty’s “I Won’t Back Down”:

A band out now that I really like is Echo Valley. They are a bunch of young kids that sound great together, and I was glad to finally see them live last January at the SPBGMA conference. They perform some great bluegrass gospel, and have a few decent traditional sounding songs. However, I am not too impressed with their choices of covering modern rock songs. Among these are Journey’s “Don’t Stop Believing,” Electric Light Orchestra’s “Don’t Bring Me Down,” and Guns & Roses’ “Sweet Child O’ Mine”:

Again, I really like this band, but the choice of rock songs makes me wince. Maybe it’s me, but I just don’t hear a good melding of genres here.

This is definitely a “Chew on it and comment” blog. I would like to hear what others think. My blog next week will be a little late, as I will be going to Owensboro, Kentucky on the Thanksgiving weekend to visit the Bluegrass Music Hall of Fame and Museum.

Charlotte Bluegrass Music Festival 2024

A day late, but I just got back from the Charlotte Bluegrass Music Festival. This year, I went the whole three days, and I am glad that I did.

While not much is different from last year’s festival (https://luegra.design.blog/2023/06/25/charlotte-bluegrass-festival-2023/), there were a few high points. Returning acts included Michael Cleveland & Flamekeeper, Williamson Branch, and one of my all-time favorite bands, the David Mayfield Parade. I cannot say enough great things about Mayfield and his band. Amazing musicians, fantastic songs, and the humor that Mayfield spills out between songs, as well as when he takes a guitar solo, is beyond energetic. They were such a big hit last year that they were booked for two days this year. That was four sets that saw only one or two songs repeated due to audience requests. I implore you to check them out on YouTube and follow them however you can. They have a new album coming out later this year, produced by Tim O’Brien. Their version of the classic instrumental “El Cumbanchuro” will leave you breathless!

There were a few stalwart bands that made a return after a few years away. Joe Mullins & The Radio Ramblers did two good sets, and are one of those bands that never disappoints. The same goes for The Grascals. Founding member Jamie Johnson has returned after eight years away, and he is honest to tell his audiences that it was due to some drinking, family, and other personal problems that he and The Lord were able to sort out. That takes a lot to feel comfortable emough to tell thousands of strangers, but bluegrass audiences are extremely supportive of performers in any situation.

One of my personal highlights was seeing Dale Ann Bradley. She has one of the most perfect voices in bluegrass, and can make any song from a slow ballad to a moving rocker sound soulful. On top of that, she is an absolute sweetheart to her fans. I haven’t talked to her in over 10 years, but she remembered that festival where we last met as well as we talked about some mutual friends. And absolute sweet lady!

I was also happy to see David Peterson & 1946 perform two sets. Long before Jerry Douglas formed The Earls of Leicester to pay tribute to the early Flatt & Scruggs days, Peterson was performing old Bill Monroe, F&S, and Jimmy Martin tunes nuance for nuance, and appearing on stage dressed for the part. Watching the 1946 band is literally like watching and listening to a bluegrass tent show from that period, as they sing and play around a single microphone and choreograph steps to control the sound.

Two bands that performed, which I have not seen before but caught my attention. The first was Highway North, a quartet of young pickers from North Ontario, Canada that made their first appearance at the festival. While the vocals were a bit laid back, the instrumental prowess on guitar and mandolin was phenomenal. Another great act was Dalton Harper. He is a singer/songwriter and a fantastic guitar picker as well. His style reminded me of Josh Williams (as it turned out, they are good friends and have performed together on occasion). I was truly impressed with his performances. I asked if he was going to be participating in the scheduled guitar workshop, and he told me that he wasn’t aware of the workshop. Sure enough, he got roped into leading the workshop the next day, and was joined by Taylor LaBreche and Jake Lavzon of Highways North for some great discussion and even better three-guitar jamming.

I helped out on the Southeast Michigan Bluegrass Music Association’s “Petting Zoo” Saturday morning. This involved having a number of acoustic instruments laid out for kids to try out to see if they would be interested in playing one at home, then talking to parents about cost and lessons. I had one young girl that was totally interested in the dobro. Fortunately, her parents are also hobbyist musicians, and encourage the daughter to pursue music as an interest. My big gripe is that a few adults show up and start jamming in the area so that kids cannot hear what they are doing, and can be overpowering when showing the kids some techniques that the kids cannot comprehend yet. Let the kids have fun first!

I stayed away from the food vendors for the most part, as the prices are way too high, and so is the grease! And of course, due to having to take insulin shots, I stayed in a nearby motel instead of camping. All in all, I will be heading back next year. Since I am not able to hit many multi-day festivals over the year, this one has a special place in my schedule.

Chew on it and comment.