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Part: 2 : Ralph Stanley - Old Time Pickin': A Clawhammer Banjo Collection (2008)
Password: sharedmp3.net
Ralph Stanley - Old Time Pickin': A Clawhammer Banjo Collection
Artist.....: Ralph Stanley
Title......: Old Time Pickin': A Clawhammer Banjo Collection
Label......: Rebel Records
Store Date.: 000-00-0000
Genre......: Bluegrass
Encoder....: Lame 3.97 / -V2 --vbr-new
Size.......: 51.5 MB
Track Listing:
01 - Rocky Island 01:53
02 - Shout Little Lulie 02:00
03 - Battle Ax 03:16
04 - Pretty Girls, City Lights 02:14
05 - Cripple Creek 02:37
06 - I've Got A Mule To Ride 01:58
07 - Old Mcdonald/cindy 04:06
08 - Shady Grove 01:49
09 - John Henry 01:32
10 - Little Birdie 02:18
11 - Cuttin' The Cornbread 01:56
12 - Bound To Ride 01:48
13 - Married Life Blues 02:27
14 - Black-Eyed Susie 01:51
15 - Kentucky Shine 01:47
16 - True Blue Bill 01:58
17 - Dixieland (My Old Home Town) 02:13
18 - Old Time Pickin' 01:46
ÄÄÄÄÄ
39:29 min
Release Notes:
Now that Ralph Stanley has established himself as America s
foremost singer of traditional mountain music, it s easy to
overlook the fact that he is regarded by many as one of the finest
practitioners of old-time clawhammer banjo. Like his singing,
Stanley s clawhammer banjo playing is a product of a particular
place, the hills and hollows in an isolated corner of far
southwest Virginia where he was born and still lives today. Ralph
was eleven when he got his first banjo, and its bright ringing
sound cheered the lonely, withdrawn boy. From the first touch the
banjo felt perfect in his hands, like a tool he could make good
use of, just as the miners in the coalfields near his Dickenson
County home had their pick and shovel. It was his mother Lucy who
taught Ralph his first song, Shout Little Lulie, which he learned
on the first try. From the start, Ralph worked out his own
clawhammer technique, using two fingers and his thumb in slashing
up-and-down brush strokes. This approach gave him a much wider
range than his mother s standard drop-thumb style. Stanley s
remarkable growth as a singer once he emerged from Carter s shadow
underscores the fact that his clawhammer playing has remained
frozen in time, a feat of preservation that serves as a vital link
to his beginnings. On the 1974 rendition of Little Birdie, he s at
the height of his vocal powers, adding twists and elongations and
other ornamentation, worrying the lines for all their worth. These
crooks and turns, as he calls them, are skills he simply couldn t
muster as a 25-year-old when he sang on the 1952 record. And yet
the sound of his clawhammer has required no tinkering through the
years and remains essentially unchanged from the version that
dates back to the Truman Era. This collection gathers together for
the first time Ralph s clawhammer numbers, and it will be a
revelation to those who know him mostly as the mournful singer of
O Death. Unlike his a capella gospel singing, with its brooding,
drawn-out cadence, his clawhammer music is pure, unfiltered joy,
as exuberant as a stallion running wild on top of Smith Ridge. As
with the old-time singing, this old-time picking is something bred
into you, as Stanley puts it, and it can t be learned from an
instruction manual.
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