Yassuh. Most everybody heard them Skillet Lickers.
Tatuh
On Jan 5, 9:37 am, "Sally and Nelson Peddycoart"
<sallyandnel...@knology.net> wrote:
> I was reading in two separate sources that Bill worked with (or around)
> Clayton McMichen while employed at two different locations. First, when he
> and Charlie were dancers at WLS (when he worked around the Prairie
> Ramblers), which is when Bill really developed that progressive mandolin
> role in a group, and again, in Atlanta.
>
> Since McMichen is almost always referred to as the progressive, modern or
> jazz-influenced fiddler of his day, I think we can number him among the
> influences that helped form Bill's style.
>
> Sound reasonable?
>
> -----Original Message-----
> From: taterbugmando@googlegroups.com [mailto:taterbugma...@googlegroups.com]
>
> On Behalf Of mistertaterbug
> Sent: Saturday, January 03, 2009 11:26 AM
> To: Taterbugmando
> Subject: Re: Bass in string bands
>
> Oh lord,
> Nelson, this strikes me sort of like a Jerry Lee Lewis piano
> solo...not quite as oblique but still I did the Lassie look when I
> read your post.
>
> It almost makes my head hurt thinking about unraveling the tangled web
> that must be included in pondering this point. I'm going to go out on
> a limb and leave myself wide open for an attack by the "more accurater
> than thou" on the list. I think that it was very difficult for string
> bands, unless they were doing well and had the means(eg: station wagon/
> stretch limo, mule train, devoted servants), to carry along a bass due
> to just hauling the thing around. Plus, if you look at a lot of old
> photos photos, there seems to be the presence of more "2-stringed"
> cellos than basses. I've noticed what looked to be homemade basses and
> cellos in just about as many numbers as factory made. Seems to me that
> instruments that size weren't easy to acquire for most folks back
> then. Not a lot of money floating around you know, sort of like now.
> Also, a lot of the early string band recordings have bowed bass.
>
> As for Riley Puckett ("the Hillbilly Caruso"), I'd say he influenced
> more guitar players and singers than he did bass players, though I do
> see your line of reasoning. Overall, I think it goes back to the
> comment Tim O'Brien made about it all when he said that he thought it
> was impossible to unravel the web and say that this is this and that
> is that and draw clear lines between who/what influenced who/what.
> We're all a product of a great many things and I just don't believe
> it's possible to seperate the strands and see it as clearly as that.
> Interesting to think about though.
>
> Potato
>
> On Jan 2, 10:30 pm, "Sally and Nelson Peddycoart"
> <sallyandnel...@knology.net> wrote:
> > While I am sitting here watching Alabama lose the Sugar Bowl, I thought
> I'd
> > send a message on a subject I've been thinking on lately.
>
> > I've been listening to the Skillet Lickers and Riley Puckett quite a bit,
> > and it's made me curious about Riley's role as an influence on bass
> players
> > and the inclusion of the bass in string bands. The book I have on
> Bluegrass
> > History states that Amos Garen was Bill Monroe's first upright bass player
> > when added in 1939. It also states that bass players were not common in
> > country string bands in the 1930's except for the bands of Roy Acuff and
> > Clayton McMichen (who played with Riley Puckett in the Skillet Lickers).
>
> > Since Bill Monroe was an influence on Bluegrass, Country and Rockabilly,
> > does this make Riley Puckett the Father of Bass Players in American music,
> > including rock and roll, but excluding jazz?
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