Bush and Skaggs: Coming Home, Coming Full Circle

Two recent releases by Sam Bush and Ricky Skaggs – two superstars of Americana, roots, and bluegrass music – show both artists coming home in ways that bring them full circle with their own artistic travels.

Bush’s Circles Around Me is a return to the bluegrass and early progressive newgrass of his youth in Bowling Green, Kentucky.  The album opens with the title track, a tune that celebrates “being thankful that you’re here” according to Bush.  His terrific road band – Byron House on bass, Chris Brown on drums, the amazing Scott Vestal on banjo and Stephen Mougin on guitar – plays on the majority of the 14 tracks, stretching out their musical chops on tunes such as the instrumental Blue Mountain and the old New Grass Revival song Souvenir Bottles. This latter tune, along with Whisper My Name written by original NGR bassist Ebo Walker and featured on their very first album, brings Bush back to the band where he made his name and helped shape a whole new genre of music – Newgrass.

But there’s also a strong traditional bluegrass strain on the album, especially on the tunes where Del McCoury joins in on vocals.  Roll on Buddy, Roll On is a fine piece of straight-ahead grass.  Songwriter extraordinaire Guy Clark, Bush and Verlon Thompson co-wrote the haunting Ballad of Stringbean and Estelle about the real-life tragedy of the murder of old-time country music star David “Stringbean” Akeman and his wife Estelle.  Midnight on the Stormy Deep and Out on the Ocean are solid bluegrass tunes where Bush keeps his newgrass tendencies in check.  In addition to McCoury, guests artists include Dobro wizard Jerry Douglas, McArthur genius and bassist Edgar Meyer and his family, and (posthumously) original NGR banjoist Courtney Johnson on the sweet fiddle/banjo duet Apple Blossom.

Sam Bush has put together a thoughtful yet entertaining album that should keep his fans happy while finding some converts among the traditionalists who are not as attracted to his recent solo work.

Ricky Skaggs, photo by Erick Anderson

Ricky Skaggs has been moving in a more traditional direction for a good many years since his dip into mainstream country stardom in the 1980s and 90s.  His band Kentucky Thunder is arguably the best band in bluegrass, with Skaggs showcasing some of the music’s best young talent much as his mentor, Bill Monroe, did through the years with the Bluegrass Boys.

But on his most recent album, Songs My Dad Loved, Skaggs goes solo.  That doesn’t mean you’ll just hear Ricky and a guitar or mandolin, because he plays and overdubs a dizzying array of instruments:  acoustic guitars, resonator guitar, round hole and f hole mandolins, mandocello, octave mandolin, steel string banjo, gut string fretless banjo, fiddle, piano, bass, Danelectro electric baritone guitar and percussion.

Songs My Dad Loved is an obvious labor of love for Skaggs.  There are old-time fiddle/banjo duets (Colonel Prentiss), Roy Acuff and Fred Rose-penned old country tunes (Foggy River), gospel (City That Lies Foursquare) and mountain bluegrass (Little Maggie) among the selections.  Songs My Dad Loved is dialed back from the breakneck bluegrass that Skaggs and Kentucky Thunder are known for.  But it is a little gem of an album, reminding me – as one other reviewer noted – of the classic Skaggs and Rice duet album.

Two great Americana musicians, circling back to their roots.  When you reach your 50s and have been playing professionally since you could hold an instrument, this isn’t a bad place to be.

And to give you a taste of the music, there’s a nice video of Sam and his band recording Circles Around Me with commentary by Sam interspersed.  Enjoy.

More to come…


Five Albums for a Desert Island – The Circle Album

Will the Circle Be UnbrokenI still remember coming home sometime in 1972 – I was a junior or senior in high school – and putting Will the Circle be Unbroken on my stereo.  I had started focusing on acoustic music (such as James Taylor) a year or two before, but I was soon exploring more of the roots of folk, which led me to the record bin on that fateful day when I found this record with the funny looking cover by the Nitty Gritty Dirt Band – a country-rock ensemble I had recently seen in concert.  There was a little patter to start the record, which was unusual in and of itself in that era of over-produced rock albums, with Jimmy Martin commenting on John McEuen’s banjo kick-off by saying, “Earl never did do that….”  But then Martin, the Dirt Band, and their musical guests were off with a rollicking version of The Grand Ole Opry Song.  Decades before O Brother Where Art Thou?, there was Will the Circle Be Unbroken when some long-haired hippies and rockers took country, bluegrass, and mountain music on its own terms and showed how wonderful it could be.

Mother Maybelle Carter was next after Martin, singing the classic Keep on the Sunny Side.  Then Earl Scruggs (who invented three-finger-style bluegrass banjo in the 1940s) and the Dirt Band’s McEuen played a terrific double-banjo version of Scruggs’ Nashville Blues.  With each song, and the informal talk captured between takes, I was drawn in further and further.  I know that it didn’t take all six sides of this 3-disc LP to hook me as a life-long lover of this music.

In fact, I suspect that the first two songs on side two clinched the deal.  I had heard a bit of the blind singer and guitarist Doc Watson over the previous year or two, but no one – before or since – quite captures the beauty of Doc’s guitar and the wonderfulness of his spirit the way producer William McEuen did on the Circle album.  Side Two opens with Doc doing a terrific version of Tennessee Stud that became a signature piece for him for many years.  Then he follows it with a version of Black Mountain Rag, where Doc flatpicks the old-time fiddle tune on guitar and shares the solo spotlight with master fiddler Vassar Clements.  By the end of that track my jaw had dropped and I was hooked.

Doc and Vassar were just two of the stellar musicians who were introduced to a much larger audience through the Circle album.  Norman Blake, Merle Travis, Bashful Brother Oswald and more were either stars (Travis) or guests sidemen (Blake and Oswald) who were part of the project.

I could go on and on about this album (since it does cover six album sides and was reissued as a double CD set), but just a few highlights in an album that the Allmusic review rightly notes, “Doesn’t have a strained or false note anywhere among its 37 songs”:

  • Lonesome Fiddle Blues by Vassar Clements has been covered a million times, but it has never sounded better than the original version here on the Circle album.
  • Merle Travis sings Dark as a Dungeon with all the depth and understanding of one who came out of the coal fields of Kentucky.  Many years later at a workshop, I heard songwriter extraordinaire Guy Clark play this tune in a session entitled, “Songs I Wish I’d Written.”  It is a classic that never grows old.
  • Doc, John McEuen, and Vassar tear up an instrumental called Down Yonder that begins with Doc saying, “How does it go, Vassar?” and then we all find out.
  • Allmusic says that the conversation between Doc and Merle Travis, where Travis tells Doc his guitar “rings like a bell” and Doc replies, “It’s a pretty good old box – a Mr. Gallagher down in Wartrace, Tennessee made it” is worth the price of the album alone.  I have a 1977 Gallagher guitar that I bought from J.W. Gallagher and his son Don as a new guitar.  I’ll see Don in a few weeks at Merlefest and we’ll pick right up on our conversation although it has been a couple of years.  “Nuff said.
  • Jimmy Martin – the King of Bluegrass – knocks ’em dead on both Sunny Side of the Mountain and My Walking Shoes Don’t Fit Me Anymore. 
  • Scruggs and McEuen, along with bass player Junior Huskey, fingerpick and clawhamer respectively a definitive version of Soldier’s Joy.

The album was all recorded on the first or second take, and there’s a freshness and presence that is impossible to recreate with multiple takes and overdubs.

This video from YouTube is actually just the audio of Nashville Blues, but you can hear the great production work by William McEuen and the musicianship of players that many would dismiss simply as “country.”  No less an authority than John Hiatt once listed Will the Circle Be Unbroken as one of five albums he’d take to a desert island.  It landed him a guest slot on Circle II and simply confirmed that the man knows great music.


(For Part I in this series, see yesterday’s post)

More to come…