The Archives

Reprinted from Bluegrass Unlimited Magazine January 1978,  Volume 12, Number 7 The hills of North Carolina have been alive with the sound of music for hundreds of years. Some of the greatest musicians have their roots in these hills, with two of those being banjo player Earl Scruggs and guitarist Doc Watson. Ironically, I recently…

Reprinted From Bluegrass Unlimited Magazine November 1970, Volume 5, Number 5 It became very obvious after spending hours talking with Doc and compiling page upon page of notes, that the hardest part of this article would be to construct a satisfactory introduction; an introduction which would serve as a solid foundation upon which to build…

Reprinted from Bluegrass Unlimited Magazine September 1982, Volume 17, Number 3 The Washington D.C. area is full of veteran bluegrass musicians who learned to play in the ’50s, when both they and the music were young. Over the years, most of them migrated to the nation’s “bluegrass capital” from Appalachia. Guitarist and singer Leon Morris,…

Reprinted from Bluegrass Unlimited Magazine December 1972, Volume 7, Number 5 The Dopera Brothers’ resophonic guitar probably has reached its greatest success in the capable hands of Josh Graves, who brought the acoustic slide guitar to Carnegie Hall for the first time when the Flatt and Scruggs organization played there in the early 1960s and…

Reprinted from Bluegrass Unlimited Magazine February 1983, Volume 17, Number 8 As the decade of the 1960s dawned, at the peak of a rediscovery of American folk and mountain music, John Herald found himself at the forefront of the movement as part of the critically heralded group called The Greenbriar Boys. Now—with a revitalized band…

Reprinted from Bluegrass Unlimited Magazine May 1983. Volume 17, Number 11 Jimmy Arnold popped in and out of the bluegrass scene in the seventies. During that time, the Virginia native managed to record one banjo and one guitar album for Rebel. Jimmy also put in a few years playing mainly banjo with Joe Greene, Cliff…