The Evolution of Bluegrass

One musical genre that is often tied back to original American Folk Music is bluegrass. Bluegrass music came about in the 1930’s and 1940’s and was originally seen as a break off of country music traditions. The rise in popularity of the Monroe Brothers and the Bluegrass Boys, Earl Scruggs, and Lester Flatt in this time period helped catapult this musical tradition into the foreground of American culture. Bluegrass music began originally as a Southern based style that was most popular in Kentucky (the bluegrass state) and Tennessee. However, the bluegrass community has undergone various transformations over the past 70 years, which make it a fascinating and unique genre that can no longer be contained by geographic borders. Its success as a genre is most impressive when one considers its all encompassing feel and ever-expanding fan base.

Although the origins of bluegrass stem from traditional folk and country western music, there are many clear distinctions that separate this genre. Original bluegrass bands typically had 4-7 members that played any combination of banjo, violin, bass, guitar, and mandolin. All of these instruments were played in the acoustic style and unlike other genres the banjo took a “major solo role” (L. Mayne Smith: Introduction to Bluegrass). Bluegrass bands also had multiple vocal parts, which were used to produce vocal harmonies to accompany the string sounds. Songs are often very fast paced and are distinguished from other genres by their driving string sound and melodic harmonies. Another key element of bluegrass music is that different instruments take turns playing the melody, instead of all sharing the melody at the same time.

The musical community formed by bluegrass appears to be ever-changing and continues to grow. For purpose of discussion the transformations in bluegrass music can seen by three differing trends. First is the emergence of bluegrass (1930’s-1950’s) and its popularity on radio and Country shows. The second important transformation (1960-1970’s) occurred due to the popularity of bluegrass festivals, bluegrass emergence in television and movies, and cross-over artists that shed light on this genre. Lastly, the most recent trend in bluegrass has come about due to the rise of progressive bluegrass a.k.a New Grass style (1980’s-Present). These dates and trends are not at all concrete, but they are necessary to understand how this small Southern musical tradition has exploded into a main component of popular American culture.

The story of bluegrass is truly about the evolution of a genre and the expansion of a musical identity. As a music community bluegrass is so intriguing because of its ability to capture new audiences through various mechanisms including new media, innovative artists, transforming styles, and combining with pre-existing genres. At the same time the bluegrass movement is also so fascinating because through all of the transformations that have occurred it still keeps true to its traditional roots in many important ways.

Song Selection
The songs chosen for this collection are meant to demonstrate the evolution of bluegrass music and its important place in American society. The song list begins in the 1930’s and 1940’s by highlighting the founders of bluegrass and their impact on the emergence of this genre on the American musical scene. The rest of the selections help show how bluegrass has grown and changed over the years, while taking on a new role in American popular culture. The tracks were all chosen for a specific reason whether to represent innovation, tradition, or alterity.

Playlist
1. Monroe Brothers, Sinner You Better Get Ready.
2. Bill Monroe and the Bluegrass Boys, Bluegrass Breakdown.
3. Bill Monroe, I’ve Found a Hiding Place.
4. Blue Grass Boys, Roanoke
5. Lester Flatt and Earl Scruggs and the Foggy Mountain Band, Blue Ridge Cabin Home.
6. Lester Flatts and Earl Scruggs and the Foggy Mountain Band. Foggy Mountain Top.
7. The Nashville Grass, You’re Gonna Miss Me When I’m Gone.
8. Earl Scruggs and Lester Flatt, Ballad of Jed Clampett.
9. David Grisman and Jerry Garcia, Shady Grove.
10. Jerry Garcia and David Grisman, Walking Boss.
11. Old and In the Way, Pig in a Pen.
12. Old and In The Way, Wild Horses.
13. The Country Gentlemen, Dark as a Dungeon.
14. The Dillards, There is a Time.
15. Nashville Bluegrass Band, Gospel Plow.
16. New Grass Revival, White Freightener.
17. Bela Fleck with New Grass Revival, Deviation.
18. The Country Gazette, Don’t Let Nobody Tie You Down.
19. String Cheese Incident, Texas.
20. String Cheese Incident, Half Moon Rising.
21. Greensky Bluegrass, Get No Better.
22. Yonder Mountain String Band, Angel.
23. Yonder Mountain String Band, Half Moon Rising.
24. Nickel Creek, Lighthouse’s Tale.
25. Railroad Earth, Long Way To Go.
26. Shady Grove Band, Streamlined Cannonball.
27. Crooked Still, Railroad Bill.

Bill Monroe Founds the Bluegrass Tradition

1. Monroe Brothers: Sinner You better get ready
http://www.youtube.com/watch?v=0HGO3EG8NMY

Any discussion of bluegrass music must begin with Bill Monroe, widely known as the father of this musical tradition. This track actually predates bluegrass music, as it was produced in 1937, and it can be seen as a perfect example of the elements of bluegrass. As a native of Kentucky Bill Monroe grew up listening to folk and country music that inspired his creation of a new style. In this selection Bill plays the mandolin and brother Charlie accompanies him on guitar. Although the song involves only two artists, it foreshadows bluegrass tradition because of its driving string melodies and simple harmonic duets. The evolution of bluegrass music began at this time in the late 1930’s, but it continued to change in definition based on Bill Monroe’s style and his accompaniments. At this time there were many different brother acts in the Southern music scene and the Monroe Brothers actually ended up parting ways instead of continuing to compete in the diverse market.



2. Bill Monroe and the Bluegrass Boys: Bluegrass Breakdown
http://www.youtube.com/watch?v=YVpD0JfetZU&feature=related

This selection demonstrates the fantastic driving string instrumentals that define bluegrass music. In this early piece we find that Monroe has discovered the formula for a bluegrass band, which consists of mandolin, bass, guitar, and violin. Another essential bluegrass element of this song is that different instruments control the melody at various points in the song. Monroe’s excellent mandolin picking in this selection explain why he became a legend of this genre. The upbeat and exciting feel of this song demonstrates why bluegrass began to claim popularity throughout the country.

3. Bill Monroe: I’ve Found A Hiding Place
http://www.youtube.com/watch?v=xAHBuO7xIVs

This track exemplifies that beginning of the bluegrass tradition. In this selection Bill Monroe on the mandolin is accompanied by a violin, banjo, and guitar. However, the most distinct aspect of this song is clearly the harmonizing of the quartet. Although Monroe cuts in with quick vocal solos, the selection is full of trios and quartets where all of the voices come together to harmonize. As one of Monroe’s first bluegrass songs, this selection demonstrates his experimentation with different instruments and vocal sounds to produce an original sound. As bluegrass began to evolve countless artists attempted to mimic the exceptional mandolin picking of Monroe and his melodious voice.

4. Blue Grass Boys: Roanoke
http://www.youtube.com/watch?v=YXkwthWiMFk

This selection is important in its representation of the music and the place of bluegrass in popular culture. In this song Bill Monroe is accompanied by his famous band The Blue Grass Boys. The group is performing on the Grand Ole Opry, a hallmark of country music culture. The Grand Ole Opry began in 1925 and was broadcasted weekly throughout America as a showcase of country music and culture. Giving the opportunity to perform on this program was a catalyst for a career. The ability of Bill Monroe and the Blue Grass Boys to become regulars on this program demonstrates how bluegrass music became incorporated into popular culture. Similar to bluegrass breakdown, this track is purely instrumental, which showcased the fast driving string composition of bluegrass music.

Earl Scruggs and Lester Flatt Shape Early Bluegrass

5. Lester Flatt and Earl Scruggs and the Foggy Mountain Band: Blue Ridge Cabin Home
http://www.youtube.com/watch?v=JG5zLRjwJ90m 1957

Along with Bill Monroe, Lester Flatt and Earl Scruggs were essential in the emergence and visibility of bluegrass music in American popular culture. Lester Flatt began his career playing with Bill Monroe and his best known for his guitar playing skill and unique singing voice. Earl Scruggs was best known for his innovative banjo picking style, which became known as “Scruggs style picking.” Scruggs would play the banjo using a three-finger style that revolutionized banjo playing. The chosen selection from 1957 demonstrates Scrugg’s unique picking style and Flatt’s unmatched vocal skills. Along with Scrugg and Flatt we hear the accompaniment of their Foggy Mountain Band.

6. Lester Flatt, Earl Scruggs, and Maybelle Carter: Foggy Mountain Top
http://www.youtube.com/watch?v=tZw6vFhHbEE&feature=related
The relevance of this selection comes from the emergence of bluegrass in popular culture. In this track Flatt and Scruggs are accompanied by music icon June Carter, who often played with Johnny Cash. This song was a clear indicator of how far the bluegrass movement had come in just 20 short years. In the mid-1930’s bluegrass was a vague concept that applied to few artists including Bill Monroe, and over a short time it had gained national recognition. One important element of this song is the lyrics that deal with the common bluegrass themes of nature and love. It is also significant to note that traditional bluegrass did not involve women, but this selection of course breaks with that tradition.



7. The Nashville Grass: Your Gonna Miss Me When I’m Gone
http://www.youtube.com/watch?v=gq94OEnAYv0
One unique aspect of the bluegrass music community is that the founding musicians were continually revered despite their frequent changing of groups. The importance of individual talent is clearly an essential part of bluegrass tradition, which is displayed through this selection. The Nashville Grass formed in 1969 around the talented Lester Flatt after he split with his longtime partner Earl Scruggs. Not only does this song from 1976 represent the reverence of individuals, but it is also an example of a new phenomenon of outdoor bluegrass festivals and performances that transformed the genre. As previously mentioned Lester Flatt’s unique voice is the highlight of this song. He sings the melody on his own and is accompanied for the chorus to create a trio. This band had similar composition to others as it used violin, guitar, banjo, mandolin, and dobra.

8. Scruggs and Flatt: Ballad of Jed Clampett
http://www.youtube.com/watch?v=2y9dkCJYB8M&feature=related

When first listening to this song it is clear that it represents bluegrass, but also that it is quite simple and void of any impressive instrumentals or vocals. However, this song was the theme song for the widely popular show “The Beverly Hillbillies” that premiered in 1962. The use of this bluegrass track as a theme song demonstrated how bluegrass music had grown from obscurity in the Southern section of America. Although the song is of course about hillbillies and Southern culture, the fact that it was heard and seen every night on television was essential for the progress of the bluegrass movement. From a musical standpoint, the song is quite unimpressive and is not an excellent representation of the talent of these two artists. However, the banjo and guitar in the background and the rhythm do represent the elements of bluegrass music.

Jerry Garcia and David Grisman: Bluegrass in the 1970's

9. David Grisman and Jerry Garcia: Shady Grove
http://www.youtube.com/watch?v=Ayk_qQw0XZg
Shady Grove was recorded by Grisman and Garcia along with an accompanying band and was also highlighted on Old and in the Way in 1975. This song was one of the most popular tracks off of this album and has been covered by countless bands since its original release. It differs from traditional bluegrass in the sense that Jerry Garcia is the solo vocalist for the entire song. However, the dialogue between the string instruments is still quite typical of the bluegrass tradition. The lyrics also reflect the common topic of nature, which is often dealt with in bluegrass music.


10. Jerry Garcia and David Grisman: Walking Boss
http://www.youtube.com/watch?v=FVoJ59bWKsM
This song is chosen because of the ability of two artists to create the type of impact that even full bluegrass groups could not match. Although the song is just a duet between Garcia and Grisman that only displays two instruments and one voice, it sounds just as powerful and memorable as all other bluegrass songs on this list. One unique component of this piece is the freestyle ability of the two artists, which they often did not display in their bluegrass work. It is a well known fact that the two artists were creative and innovative jam artists as they showed in multiple non-bluegrass songs. In this song we hear a longer selection that highlights the musical dialogue between both men and the unforgettable raspy voice of Jerry Garica. As a music of string instruments, this selection is an excellent example of great picking.


11. Old and In the Way: Pig in a Pen
http://www.youtube.com/watch?v=9kC4Sx-WuNE
Old and In the Way is an essential bluegrass band in its astounding popularity, talented core of musicians, and propensity for live music. In 1975 the group led by Jerry Garcia, Peter Rowan, and David Grisman released its debut album titled Old and In the Way. The album was the top selling blue grass disc for over a decade. One main reason for the disc’s popularity was the already popular role of Jerry Garcia in American music culture. As the lead guitarist and vocalist for the Grateful Dead, who began playing in 1965, Garcia was already a well-known name in many musical communities. Therefore, Garcia helped put a popular face on bluegrass music that further improved its visibility. Pig in a Pen is a traditional bluegrass song that exemplifies quartet vocal harmonization and alternating string instruments leading the melody.

12. Old and in the way: Wild Horses
http://www.youtube.com/watch?v=65pOP0Zu_jI
Wild Horses also comes from Old and in the way’s debut album. Once again we see the relevance of this track as a connector between popular society and the bluegrass movement. In this song, the band takes on of the most popular songs of the late 1960’s performed by the Rolling Stones, and infuses it with bluegrass instruments and sounds. This bold and innovative song idea helped attract fans who otherwise may have no interest in bluegrass music. One again we see the expansion of the bluegrass tradition and the incorporation of other musical communities. One cannot really appreciate the importance of this song without comparing it to the Rolling Stones version. Old and in the way’s interpretation is faster, acoustic, more musically challenging, and incorporates more musicians and sounds. For example, the Rolling Stones version relies solely on the vocals of Mick Jagger, while Old and in the way keeps with bluegrass tradition and incorporates the harmonizing of multiple voices.

Nashville Bluegrass Band, The Dillards, and the Country Gentlemen: Bluegrass Begins to transform

The Dillards



13. The Country Gentlemen: Dark as a Dungeon
http://www.youtube.com/watch?v=9s3_1OcFSHQ
The Country Gentlemen began playing together in 1957 and was an essential aspect of bluegrass popularity throughout the 1960’s and 1970’s. This selection is quite different from all of the previous examples, but it stills holds the elements of a bluegrass hit. The song is different based on its slow rhythm, somber feel, and lack of driving string instruments. Another key difference is that the songs lyrics are notably sadder than other happy songs that we have seen. Despite these differences, the song still holds true to bluegrass through its alternating melody holders and its harmonizing quartets. Therefore, the song is relevant in its ability to break from traditional bluegrass in some ways, while it still stays true to its roots.


14. The Dillards: There is a Time
http://www.youtube.com/watch?v=uewY9e3C1TQ
Much like Scruggs and Flatt’s song being selected for the introduction of the Beverly Hillbillies, this song and group represent how the bluegrass genre became relevant in popular American culture. The Dillards were a recurring act on the Andy Griffith, known as the Darling Boys. They are seen here in 1963 playing with the accompaniment of the main character Charlene. In this song we hear the driving string of blue grass with the unique touch of a female soloist, which is complemented by soft male voices during the harmonies. However, the selection is not chosen particularly for its music uniqueness. Instead, the song is a perfect example of how Americans outside of the Southern states were introduced to bluegrass music through popular television programs. Much like other genres of music, the advent of radio and television played a major role in the rise of the bluegrass music.



15. Nashville Bluegrass Band: Gospel Plow
http://www.youtube.com/watch?v=3u0gBEOG3js&feature=related
This song demonstrates how bluegrass often mixed with other genres of music to create an innovative sound. In this piece we hear the interweaving of gospel and bluegrass, which beautifully combines two rich music traditions. The mixture of these genres is another testament to the ability of bluegrass to transcend boundaries and widen its audience by including new communities. The instrumentals and vocals of the song all hold true to the bluegrass tradition. However, the lyrics are clearly of the gospel style as there are many bible references. Along with the lyrics the high-pitched harmonious quartets are in the gospel tradition.

Country Gazette, Bela Fleck and New Grass Revival: New Instruments, Amplification, and New Influences Spark the Advent of Progressive Bluegrass

16. New Grass Revival: White Freightener
http://www.youtube.com/watch?v=1AYl8VBfzH4&feature=related
New Grass Revival was the key component of the shift in bluegrass music that really took off in the 1980’s. At this time, there was a noticeable break from traditional bluegrass and the emergence of a progressive bluegrass. This progressive bluegrass was defined by its inclusion of other genres of music including jazz, folk, country, and rock. However, the key aspect of most New Grass music was that the instruments were amplified and there were new instruments introduced into the repertoire. For other music traditions this distinction may not have produced such an uproar and noticeable disdain. However, bluegrass is founded on the driving acoustic sound of string instruments, which made this amplification blasphemous. Throughout this struggle between traditional and progressive bluegrass, the newer form was begin to expand bluegrass audiences and gain increased notoriety. As referenced due to their revolutionary role in the formation of progressive bluegrass, the movement is often known as New Grass. The amplification of instruments in this song clearly distinguishes such selections from smoother less rock-based songs on this list.


17. Bela Fleck with New Grass Revival: Deviation http://www.youtube.com/watch?v=b3Tr2PliEXw&feature=related
This selection combines the groundbreaking progressive bluegrass of the New Grass Revival with the world-renowned banjo skills of Bela Fleck. To some traditionalists this song may not necessarily constitute a bluegrass selection. However, based on its mix of the traditional bluegrass string instruments and its sharing of the lead melody, it definitely qualifies. When listening to this song it is easy to hear that Bela Fleck’s banjo skills transcend all others previously heard on this list. Fleck grew up a huge fan of Earl Scruggs and he tried to capture his banjo picking skills. Today, Bela Fleck is known as the preeminent banjo player in the world. This song is also unique based on the fact that it is solely instrumental and changes rhythms at many different points. Also it encapsulates the New Grass transformation as Bela Fleck is often known as a predominantly jazz and rock focused banjo player.


18. Country Gazette: Don’t Let Nobody Tie You down
http://www.youtube.com/watch?v=sxvENEFGNPY
Country Gazette is known as one of the most popular bands of the 1970’s and an innovator in paving the way for the New Grass movement. They are known for mixing bluegrass with rock-country. However, they are part of this list due to their popularity in Europe and ability to expand the genre across the ocean. This specific selection takes the quick-fingered picking of the banjo, mandolin, and guitar and mixes it with short harmonic trios. Although it is seen as progressive, it connects to the traditional style due to its short time length, simple harmonies, and fairly simple string riffs.

Greensky Bluegrass, String Cheese Incident: Progressive Bluegrass Begins To Find Comfort In a New Feel

String Cheese Incident Poster

Greensky Bluegrass

19. String Cheese Incident: Texas
http://www.youtube.com/watch?v=aqzrBeBQqU8
String Cheese Incident has quite possibly the most success out of all of the progressive bluegrass groups that have been covered. However, the group is often seen more as a jam-band than a bluegrass group. This song stands out due to its lyrics, which frequently references drugs and alcohol. In fact the song is telling the story of a road trip in Texas where the band was caught with mushrooms after crashing into a liquor store. These type of lyrics are a stark contrast to the rather wholesome world of traditional bluegrass that deals mostly with love, nature, and emotions. It is quite fitting that such outspoken lyrics come from a band that has really reshaped the meaning of bluegrass in many circles. This selection comes from a concert played on December 30, 2007.

20. String Cheese Incident: Smile
http://www.youtube.com/watch?v=Vr93rs4_Xkg
This track uses keyboard, drums and long freestyle jams that distinguish the song as different from bluegrass music. However, the driving string instrumentals and that dominate throughout the song reflect ties to tradition. It is interesting to see how this hybrid bluegrass group has captured the culture of a jam-band. In this video from 2007 you can see many hippies and marijuana usage in the audience. This type of crowd is clearly day and night with a traditional bluegrass crowd. The music is still quite appealing due to its innovative freestyles, harmonious string accompaniments, and simple vocals.

21. Greensky Bluegrass: Get No Better
http://www.youtube.com/watch?v=I1VaZfcynWU
Once again we see Greensky Bluegrass as epitomizing the alterity of progressive bluegrass based primarily on its different instruments. This track, which comes from a festival in March, 2008, shows the group’s use of both a cello and drums. These two instruments help separate the group from traditional bluegrass and they give a fresh and creative sound. It is interesting that so many previous groups had experimented with different instruments, but almost no groups had decided on utilizing the cello, which is a king of string instruments. Another important element of this band is their use of 7 group members, which is seen as excessive in the traditional bluegrass community.

Nickel Creek and Yonder Mountain String Band: Mixing Bluegrass With Different Genres

Yonder Mountain String Band
                                                           Nickel Creek

22. Yonder Mountain String Band: Angel
http://www.youtube.com/watch?v=ERjlLEHlltQ
Yonder Mountain String Band began playing in 1998. Much like the New Grass Revival and other bands of the progressive movement, they have a very different sound than traditional bluegrass. In this selection we hear a slower rhythm and weaker harmonies. The voices of the artist are much less distinct and pronounced than traditional bluegrass groups. We also hear the banjo solo in this song that seems more like a-freestyle than a planned banjo rife. Despite these flaws the band still holds the key elements of a bluegrass group and is thus widely accredited in this community.

23. Yonder Mountain String Band: Half Moon Rising
http://www.youtube.com/watch?v=_3Yeum4AaDw&feature=related
This selection demonstrates how the Yonder Mountain String Band often does more closely reflect traditional bluegrass music than other progressive bands. In this selection we hear the familiar interplay of string instruments, different instruments leading, and a very smooth and simple quartets that follow soft solos. The selection is taking from a February 2006 show in an outdoor venue. The band’s tendency for playing outdoor venues is very much reflective of the new grass movement.

24. Nickel Creek: Lighthouse’s Tale
http://www.youtube.com/watch?v=jTAyMt3ldSU
Nickel Creek has arguably the most unique sound on this entire list. The group mixes folk, pop, and bluegrass. This song shows how the use of violin, mandolin, and guitar reflect bluegrass roots. However, the lyrics and the quiet and smooth sound of the selection makes one immediately tie the lyrics to pop. For the most part the selection is sung by the guitarist with short harmonizing sections. This song truly reflects a new approach to bluegrass that seems to have a strong ability to attract new pop and soft rock listeners.

Crooked Still, Shady Grove Band, and Railroad Earth: The Future of Bluegrass Music

                                              Railroad Earth

                                                 Shady Grove Band

                                             Crooked Still

25. Railroad Earth: Long Way to Go
http://www.youtube.com/watch?v=vp7MkRyRUIQ
Out of all the songs from the progressive bluegrass segment this song does the best job of incorporating traditional bluegrass with hints of new trends. This performance from 2004 is centered around jiving banjo picking and violin solos. However, one can also hear a solo voice that is accompanied only for the harmony by soft background vocals. It also reflects tradition in terms of its lyrics, which are about traveling and life experiences. Both of these themes are at the heart of traditional bluegrass music.


26. Shady Grove Band: Streamline Canonball
http://www.youtube.com/watch?v=N9dPnJ0i0lI
The Shady Grove Band is evidence that traditional bluegrass bands still exist in the age of progressive bluegrass. Through all of these selections it is clear that there have been many transformations in the genre. However, this group uses banjo, bass, mandolin, and guitar in a simple classic four-piece set. The group also utilizes the quartet for all of the harmonies.


27. Crooked Still: Railroad Bill
http://www.youtube.com/watch?v=fh5zmCcrRAA
This song by Crooked Still is taken from a performance in July 2007. The selection is notable for multiple reasons. First of all, the group takes the cello and it puts it at the forefront of the bluegrass formula. Although the banjo has many solos in this song, the cello dominates with fast-paced and creative solos that including stroking and plucking. Another unique element of this band is that the vocals are all left to the female singer. The vocals also take on a much bigger role in this song than they usually do in other bluegrass tracks.

Discography and Resources

Playlist
1. Monroe Brothers, Sinner You Better Get Ready. JSP. All The Classic Releases 1937-1949. (1937)
2. Bill Monroe and the Bluegrass Boys, Bluegrass Breakdown. Music of Bill Monroe 1936-1994. MCA. 11048. (1994).
3. Bill Monroe, I’ve Found a Hiding Place. I Saw the Light. Decca DL-78769 (1958)
4. Blue Grass Boys, Roanoke, Banjo Newsletter, BNL, Ser (1973-)(1975/04,-10b.
5. Lester Flatt and Earl Scruggs and the Foggy Mountain Band, Blue Ridge Cabin Home. Hills and Home; Thirty Years of Bluegrass, New World NW 225, LP (1976).
6. Lester Flatts and Earl Scruggs and the Foggy Mountain Band, Songs of the Famous Carter Family. Columbia CS 8464, LP (1961), trk# 2.
7. The Nashville Grass, You’re Gonna Miss Me When I’m Gone. Wabash Cannonball. Harmony H 30932, LP (198?)
8. Earl Scruggs and Lester Flatt: Ballad of Jed Clampett. Peer International, Bk (1968).
9. David Grisman and Jerry Garcia: Shady Grove. Acoustic Disc ACD 21, CD (1996).
10. Jerry Garcia and David Grisman: Walking Boss. Acoustic Disc ACD 2. GDCD-39032. (1991).
11. Old and In the Way: Pig in a Pen. Old and In The Way. Sugar Hill SH 3746, LP (1975).
12. Old and In The Way: Wild Horses. Old and In The Way. Sugar Hill SH 3746, LP (1975).
13. The Country Gentlemen: Dark as a Dungeon. Smithsonian Folkways Recordings. 40175. (1973).
14. The Dillards. There is a Time. There is a Time. Vanguard. 131/32. (1991)
15. Nashville Bluegrass Band. Gospel Plow. The Stained Glass Hour. Rounder Select. 11563. (1992).
16. New Grass Revival: White Freightener. When the storm is over/fly through the country. Flying Fish. 70032. (1977).
17. Bela Fleck with New Grass Revival, Deviation. Best of New Grass Revival. Rounder. 610196. (1984).
18. The Country Gazette, Don’t Let Nobody Tie You Down. I Like Good Bluegrass. EMI Gold. 218345. (2008).
19. String Cheese Incident, Texas. Born on the wrong planet. Sci Fidelity. 1001. (1997).
20. String Cheese Incident, Half Moon Rising. On The Road. Sci Fidelity. 1033. (2006).
21. Greensky Bluegrass, Get No Better. Live At Bells. Greensky Bluegrass. 122957. (2008).
22. Yonder Mountain String Band. Angel. Yonder Mountain String Band CD. Vanguard. 79801. (2006).
23. Yonder Mountain String Band, Half Moon Rising. Elevation CD. Frog Pad. 73506. (1999).
24. Nickel Creek, Lighthouse’s Tale. Nickel Creek CD. Sugar Hill. 3909. (2000).
25. Railroad Earth, Long Way To Go. Elko. Vivid Sound Japan. 3881. (2007).
26. Shady Grove Band, Streamlined Cannonball. Columbia Historic Edition. 39998. (1985).
27. Crooked Still, Railroad Bill. Shaken By a Low Sound. 2000. (2006).

Resources
http://www.jstor.org/pss/538358
http://books.google.com/books?id=ea6a_sgdRH0C&dq=%22Bluegrass-A+History%22&printsec=frontcover&source=bl&ots=BOydwznJfp&sig=e2kWB_5bS-WZIqd2sCLJkvzCXrQ&hl=en&ei=DwfZSf-BGIHuMpnTiIQP&sa=X&oi=book_result&ct=result&resnum=4#PPR9,M1
http://www.ibma.org/about.bluegrass/history/index.asp
http://www.billmonroe.com/
http://www.songfacts.com/detail.php?id=6741
http://www.charliewaller.net/2007_memorial_website/site_index.htm
http://www.flatt-and-scruggs.com/lesterbio.html
http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:100