Product Description
150 pages, many artists listed even Charlie Poole, Wade Mainer and Bill Monroe; the pioneers of bluegrasss music today. This book was suppose to be a project over the last ten years, now a book.

Over 2,500 songs of bluegrass listed by title, 2 poems I wrote myself, great grandfather to bluegrass, grandfather to bluegrass and father to bluegrass.

Abigail Washburn, Alan Bibey, Appalachian Express, Arthur Smith, Becky Buller, Bela Fleck, Brother Mule, Carl Story, Charles River Valley Boys, Crooked Still, Curly Ray Cline, Don Reno, Dry Branch Fire Squad, Etta Baker, Hazel Dickens, Hylo Brown & the Timberliners, James King, Jerry Douglas, Lost and Found, Nashville Grass. Nickel Creek, The carter Family, The Churchmen, Weary Hearts, Younder Mountain String Band and more.

ISBN: 9780615269900

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Customer Reviews (4)

I'm remembered of Charlie as I read this book.
When I think about bluegrass music I'm reminded of Bill Monroe, Ralph Stanley, Dock Walsh and many more (hundreds more actually). Bluegrass Detour hit the tune I was looking for. The author surely hit the nail on the head. I loved Christopher's poems inside book. I sat back remembering my days in Virginia country. We did grow up with a backporch. My uncle played the fiddle like no other in them back woods of Virginia and we made stilled wine. You could hear the cords echo in the trees, sometimes folks would come up on the property listening to Charlie busting out that violin.

I grew personal to Charlie. After reading this book I can speak wisely about the author's attempt on specific songs. Some of the songs Charlie fiddled were inside this book. Uncle Charlie reminded me of Charlie Poole the first part of book. Bluegrass Detour touched my life. I'm so glad I read this book.

Bluegrass Detour is packed with song titles. I was amazed on how much work was put into this book. I could only imagine fifteen years writing inside this book. I did see the author state ten years. Bluegrass Detour clearly has the roots established in songs and artists listed therein.

Del McCoury Band (Foggy River 1991), The Lynn Morris Band (Kisses Don't Lie 1990), Yonder Mountain String Band (Easy As Pie 2001), The Brother Boys (Darkest Day 1993). I found some goodies. I was well pleased and did order some MP3 online. I would have never found these songs if I didn't read or open this book.

BAND NAME..... BRIEF INTRODUCTION..... BAND MEMBERS..... SONGLIST BY YEARS

You also get listed with each band member and the instrument they played. Songlist has 1993 all the songs under that year then the next drop down is 2000 with all the songs originated that year. Some detailed information lists albums or awards won by the bands or artist. I found some additional information that I didn't know before.

150 pages packed and stacked. I loved this author's work, his writing style. Some gramical errors but that had nothing to do with books excellent reading material. I look forward to order addition books by Christopher Lee Rhyne. I can't wait to read We Will Find Our Chiasm.

This book also holds some oldies later part of book. Two songs were Charlie's favorite. We sang one of those songs at his funeral back in 1999. I cried when I saw that song. Book includes past and present bands up to 2009. Excellent book, the best so far. I have read paperback and hardcover books on Bluegrass, those books didn't have information as this book had. I offer to anyone who wants striaghtforward song tiltes to read this book. $2.50 was too cheap, this book should sell for $9.99 standard price. Amazing read. I will always remember you Charlie and the tunes that came from your soul enlightened us all. Thank you Christopher Lee Rhyne for your viewpoint and clear concise literature inside Bluegrass Detour.

Good Book
Very informative with hard to find information. I recommend this book to all bluegrass lovers.

Bluegrass Music 101
I was facinated on authors ability to write about bluegrass artists. There is two poems the author wrote, even 45 lp record titles to search for. I stoped counting music titles after three hundred, I learned more about bluegrass after reading this book. Famous to not so famous artists locate five chapters inside book contents. You recieve excellent tips throughout book, I liked each page setup supporting band members, cd or cassette recordings. What you should add to your collection as a bluegrass collector. I purchased my first MP3 because I read this book. There are thousands of music titles to read about. I love this book, if you're a romantic on bluegrass music Bluegrass Detour highly recommended.

Book Was Updated Recently
I just updated book recently and purchased my own book here at Amazon. It's always best to buy your own copy to see how your book looks for buyers. So far Amazon PC KIndle has been great. I have another book about Christmas coming soon here at Amazon Kindle. Happy reading everybody! ... Read more

Customer Reviews (1)

Strong compilation
I'm no expert on bluegrass, which is why I got this CD. It provided a good introduction to what's available without buying a half dozen CDs from which I'll listen to two or three tracks at best. ... Read more

Customer Reviews (1)

Good Study of Folk Music
Neil Rosenberg wrote the introduction and edited a series of articles on the place of revivalism within folk music.Revivalism refers to a number of movements within traditional music.It can refer to ways in which older forms and genres are repopularized, a common dynamic in folk music.Revivalism can also refer to ways in which those who grew up outside of a particular musical tradition become interested in a form of musical expression.This dynamic happens a great deal as, for example, teenagers from Philadephia became interested in old-time music during the 1960s.The book provides a great range of ways to think about revivalism, and it is an excellent historical study of folk music from the 1950s and 60s.Many of the writers take very different approaches and offer different perspectives on the music, and the work should stimulate lively discussion and more study of this facet of musical history.There is a lack of a unified way of pulling together the disparate threads of thought, but perhaps that is task that remains to be done by those at the cutting edge of folklore study. ... Read more

Product Description
Contains 27 top bluegrass songs, including: Cripple Creek ¥ Cumberland Gap ¥ Dixie ¥ Keep on the Sunny Side ¥ Mountain Dew ¥ Roll in My Sweet BabyÕs Arms ¥ Salty Dog ¥ ShuckinÕ the Corn ¥ Under the Double Eagle ¥ and more. ... Read more

Product Description
The fruit of four decades of collaboration between bluegrass music's premier photographer and premier historian, Bluegrass Odyssey is a satisfying and visually alluring journey into the heart of a genuinely American music. Combining Neil V. Rosenberg's commentary with more than two hundred of Carl Fleischhauer's matchless photographs, this elegant visual documentary captures the music making, the culture and community that foster it, and "the places where bluegrass is at home."

Fleischhauer's striking photographs take the reader to the festival stages, taverns, grassy hillsides, country music halls, upscale clubs, barbershops, hillbilly storefront bars, and parking-lot jam sessions where bluegrass thrives. Inviting us in to the process of creating and celebrating this exuberant art form, his images offer an authentic and direct vision of the bluegrass community, including fans, instrument dealers, disc jockeys, and revered performers. In addition to wide-angle photographs that document the places in whichbluegrass and its people are found, Fleischhauer offers arresting performance portraits of musicians such as Bill Monroe and his Blue Grass Boys, Lester Flatt, Earl Scruggs, Ralph Stanley, Ricky Skaggs, the Lewis and Stoneman families, the New Grass Revival, J. D. Crowe and the Kentucky Mountain Boys, the Dillards, and dozens of others.

Rosenberg's narrative explores the dynamics of bluegrass performance, from the practice of "ganging around the mike," as bands bring one musical strand after another to the fore, to the tight harmonies and intricate exchanges as players respond to each other's musical ideas. Noting the blend of influences that have shaped bluegrass–ranging from rural and small-town "preachin' and prayin'" to an assembly-line precision and coordination that reflect the factories and offices to which many rural southerners migrated–Rosenberg traces the genre's emergence as a fully realized musical culture deeply rooted in community and family. ... Read more

Customer Reviews (2)

Bluegrass Photo Album
This book blends a photo essay with a well written history of early years of bluegrass music.Neil Rosenberg has performed bluegrass music for years, and his compelling writing thoroughly documents the genre's history.Carl Fleischauer photographsfolk culture with a terrific eye for ways in which music is situated with communities.There are vivid portraits of stellar bluegrass musicians and beautiful pictures of classic bluegrass venues during this formative time period.It is especially interesting to see bluegrass music's "look" from 1967-1986 still remains a presence within the contemporary bluegrass music scene.

Photo Album/Essays
I highly recommend this book to anyone interested in the history of bluegrass music. Carl Fleischhauer's photographs are worth the cost of the book alone. He has stunning black and white photos of early concerts featuring some of the greatest bluegrass musicians to grace the stage. He also has terrific backstage shots, photos of parking lot pickings, and nostalgic images, such as Uncle Pen's fiddle.These photos portray fascinating facets of bluegrass music's history. Neil Rosenberg's writing complements and enhances these images. His writing provides sufficient information to answer significant questions raised in looking at Fleischhauer's photographs. As a special treat, the book includes a fine photo memorial and essay to Bill Monroe. This book is an excellent record of the early history of bluegrass, and it vividly portrays images that ring true today. ... Read more

Product Description
Bill Monroe is so foundational to bluegrass music that the entire genre took its name from his band, the Blue Grass Boys. In "Come Hither to Go Yonder", Bob Black recounts his years spent as a member of that seminal band. While other work on Bill Monroe has been written from a historical point of view, "Come Hither to Go Yonder" is told from the perspective of a musician who was actually there. Filled with observations made from the unique vantage point of a man who has traveled and performed extensively with the master, this book is Bob Black's personal memoir about the profound influence that Monroe exerted on the musicians who have carried on the bluegrass tradition in the wake of his 1996 death.This volume also includes a complete listing of Bob Black's appearances with Monroe, his most memorable experiences while they worked together, brief descriptions of the more important musicians and bands mentioned, and suggestions for further reading and listening.Offering a rare perspective on the creative forces that drove one of America's greatest composers and musical innovators, "Come Hither to Go Yonder" will deeply reward any fans of Bill Monroe, of bluegrass, or of American vernacular music.Bob Black played banjo as one of Bill Monroe's Blue Grass Boys. He recorded with Monroe on the "Weary Traveler" album, and later played with Buck White and the Down Home Folks. He appears on a number of fiddle albums by Kenny Baker, and has performed with Ricky Skaggs, Ralph Stanley, Rhonda Vincent, Marty Stuart, Frank Wakefield, John Hartford, the Whites, and other artists. He currently lives near Iowa City, where he performs in Perfect Strangers, the Banjoy Band, and other groups. He has published articles in "Bluegrass Unlimited" and in 2002 received the Iowa Arts Council's Traditional Arts Award.Neil Rosenberg studies contemporary vernacular music traditions, including the music and lives of bluegrass, country and folk musicians in Canada and the United States. He is the author of "Bluegrass: A History". This is a volume in the series "Music in American Life". ... Read more

Customer Reviews (1)

Couldn't put it down 'til done
I've read a number of books about Bill Monroe over the years and this is the best.It is written by one who wore "the hat" and toured and recorded with Big Mon for two years.The reader benefits from an insider's perspective of what it was really like being around Monroe, not only working with him on the road and in the studio but even on his farm, mending fences and such.Bob Black is a good writer, serious and humorous at times and well worth reading. ... Read more

Product Description

Now available in paper with a new afterward, Kentucky Country is a lively tour of the state's indigenous music, from the days of string bands through hillbilly, western swing, gospel, bluegrass, and honkey-tonk to through the Nashville Sound and beyond. Through personal interviews with many of the living legends of Kentucky music, Charles K. Wolfe illuminates a fascinating and important area of American culture. The list of country music stars who hail from Kentucky is a long and glittering one. Red Foley, Bill Monroe, Loretta Lynn, Tom T. Hall, the Judds, Dwight Yaokum, Billy Ray Cyrus, Ricky Skaggs, John Michael Montgomery, and Keith Whitely -- all these and many others have called Kentucky home. Kentucky Country is the story of these stars and dozens more. It is also the story of many Kentucky musicians whose contributions have been little known or appreciated, and of those collectors, promoters, and entrepreneurs who have worked behind the scenes to bring Kentucky music to national attention.

Product Description
This practical little booklet is a great value for the price and can be kept as a daily practice guide and study reference. It includes tuning instructions, explanations of chord diagrams and time signatures, a chord diagram chart, nine tunes with strum patterns, fingerstyle arpeggio picking on three songs, how to read tablature, hammering on, a notation/tablature chart for the first five frets, and more songs in notation and tablature. ... Read more

Product Description
The subject of this study of music creativity in the oral tradition is Emile Benoit (1913-1992), a traditional fiddler from French Newfoundland. It follows Benoit through a rapidly changing musical milieau as he moves from a small rural community to international musical and folk festivals. ... Read more

Product Description
From Learning how to hold the banjo, to playing complete bluegrass songs, this easy to understand method will turn you into a banjo method in no time.This book also includes and Audo CD with demonstration tracks of the essetial bluegrass songs including: Cripple Creek, John Hardy, None Pund Hammer, Red River Valley, and others. ... Read more

Product Description
This complete guide will teach you from how to hold the mandolin, to how to play complete bluegrass songs. This book will get you playing in no time, giving you the skills to start playing with others. ... Read more

Product Description
Cloth. Discography. Index. Numerous b/w historical photos. About 120 folklore songs with tunes, lyrics, guitar or mandolin chords. Background info by Mike Seeger and John Cohen. ... Read more

Product Description
When We Were Good traces the many and varied cultural influences on the folk revival of the sixties from early nineteenth-century blackface minstrelsy; the Jewish entertainment and political cultures of New York in the 1930s; the Almanac singers and the wartime crises of the 1940s; the watershed record album Folkways Anthology of American Folk Music; and finally to the cold-war reactionism of the 1950s. This drove the folk-song movement, just as Pete Seeger and the Weavers were putting "On Top of Old Smokey" and "Goodnight, Irene" on the Hit Parade, into a children's underground of schools, summer camps, and colleges, planting the seeds of the folk revival to come. The book is not so much a history as a study of the cultural process itself, what the author calls the dreamwork of history.

Cantwell shows how a body of music once enlisted on behalf of the labor movement, antifascism, New Deal recovery efforts, and many other progressive causes of the 1930s was refashioned as an instrument of self-discovery, even as it found a new politics and cultural style in the peace, civil rights, and beat movements. In Washington Square and the Newport Folk Festival, on college campuses and in concert halls across the country, the folk revival gave voice to the generational tidal wave of postwar youth, going back to the basics and trying to be very, very good.

In this capacious analysis of the ideologies, traditions, and personalities that created an extraordinary moment in American popular culture, Cantwell explores the idea of folk at the deepest level. Taking up some of the more obdurate problems in cultural studies--racial identity, art and politics, regional allegiances, class differences--he shows how the folk revival was a search for authentic democracy, with compelling lessons for our own time. ... Read more

Customer Reviews (5)

Over your heads
This book is way over the heads of both the editorial and customer reviewers.(But then when has any reviewer for Publisher's Weekly, Library Journal, or Kirkus ever really comprehended the book they review?)These reviews (and their small number) again confirm the basic rule of the arts:The better your work, the smaller your audience. (See my comment attached to one of the above reviews.)

Strum and drang
I very seldom, and would like to never, give the lowest rating to any book, movie, or album, but I have no choice with this piece of pulp.

Can we agree to remove "folk" music from this pretentious pedestal where it sits, and write about it, argue about it, play it, and even enjoy for what it is--a musical genre just like any other that some people enjoy and others don't, played by musicians for all kinds of motives and with all levels of skill?With this agreement we could leave behind the deification, mystification, politicization, and cultural categorization (high or low, your choice, that frankly I could not care less to know).

Ahhhh, heaving a sigh of relief now that I have that out of my system, let me apologize to Mr. Cantwell, who surely meant well, but was trapped in the cesspool of credulousness that surrounds this subject.He is merely following in the line of Harry Smith and the Lomax family in capturing a supposed folk art under supposedly pristine conditions and according it a moral plane supposedly above all other forms of music.Well, as we know by now, and Mr. Cantwell might have suspected in 1996, that's crap.See my review of Chasing the Rising Sun: The Journey of an American Song for an example of a clear-eyed study of one particular song (referenced in Cantwell) and its place in the canon.

I had hoped to find a history of folk music and musicians in the 20th century, not all the other baggage that the music seems to drag with it.It is this annoying attitude that Christopher Guest so accurately and gently (even lovingly) punctured in A Mighty Wind.

Cantwell stares into the well.....
Cantwell's insights are extremely valuable in the on-going evaluation of this area of America's cultural expression. Informed opinions are the best we can do in the study of the artifacts of the human experience in America.Cantwell's ideas have come to permeate,and dominate, the criticism of this long overlooked and misunderstood area of American music.His essay on Harry Smith is a revelation.

How did music become "FOLK" music?
Cantwell is an academician but sometimes even scholars can put together a fascinating book.The music we call "Folk" music more or less surfaced in the folk revival of the late 50s and early 60s but what was its prehistory and how did "Folk" music come to be what it is perceived to be today?In a music inherently archival and conservative, why is it generally aligned with the left end of the political spectrum when it gets political?Why is a solo singer with a guitar a "folk" musician but a solo piano player not?

Cantwell traces the music and events that led to the Folk Revival from the first commercialization of non-academic music (minstrel shows, for example) through its contacts with Broadway and concert singing (Paul Robeson, John Jacob Niles, etc.) through and its affiliation with communists, campers, beatniks and folklorists.The writing is dense and Cantwell doesn't always provide clear enough landmarks to help you follow his arguments, but his conception of the complexities that lay behind the folk revival is remarkable.

Thick, thick prose masks a compelling story
I approached this book with high hopes, and found myself sorely disappointed.It had gotten such great press when it came out -- with big write-ups in the "New York Times" and elsewhere -- but frankly, I found the style and grammar so convoluted that I could hardly understand it.Cantwell's overly-academic prose is so dense and thicketed that halfway through I realized I had absolutely no idea what his book was about.Something about the American folkrevival... but what exactly was he trying to say?Cantwell, a former '60s folkie who teaches American Studies at UNC Chapel Hill, applies a nearly impenetrable acadamese to his history(?)/analysis(?)/deconstruction(?) of the folk revival, but seems unable to rise above the terminology and crowded syntax he's adopted.His writing has a piled-on, house-of-cards style, full of incredible run-on sentences and needless verbal transpositions that make practically every sentence, paragraph and chapter difficult to follow.In short:arrrrrrgh!!!The most frustrating aspect is the boggling lack of narrative skills: Cantwell sets out to tell stories and convey experiences, but inevitably gets balled up in unreasonably convoluted, digressive rhetoric.Maybe I'm just a big dummy and can't understand all that smart-feller, egghead stuff...or maybe this guy needs a more forceful editor. ... Read more

Product Description
Book comes in 3-ring binder. ... Read more