Buck Owens turned Bakersfield, California into the epicenter of hip country music in the mid-'60s. All it took was a remarkable streak of number one singles that steam rolled right through Nashville with their electrified twang, forever changing the notion of what constituted country music and codifying the Bakersfield sound as hard-driving rhythms, trebly Telecasters, and lean arrangements suited for honky tonks, beer joints, and jukeboxes all across America. Half-a-century later, these remain sonic signifiers of Bakersfield, so the term no longer conveys a specific sound, place, and era, a situation the weighty Bear Family box The Bakersfield Sound: Country Music Capital of the West 1940-1974 intends to rectify.
In the world of music, there was never anyone quite like ARTHUR 'BIG BOY' CRUDUP. Rooted in the Mississippi Delta, his style was propulsive, melodic, original, and profoundly soulful. If he wasn’t 'The Father of Rock ‘n’ Roll', as one LP proclaimed, there’s no doubt that rock ‘n’ roll owes a debt to his songs, including That’s All Right Mama, My Baby Left Me, Rock Me Mamma, So Glad You’re Mine, and Mean Ol’ Frisco Blues, as much as to his tight, swinging brand of rural blues.
Here's the conclusion of our complete Flatt & Scruggs retrospective. It takes us through the period of their greatest success in the 1960s, leading to the break-up. They were taking bluegrass music into places it had never been, and cutting some brilliant and innovative music along the way. The core of this set is 12 albums including the 'Strictly Instrumental' set with Doc Watson, the live Vanderbilt Concert, and 'The Story Of Bonnie & Clyde.' This set is rounded out with a Gordon Terry square-dance album on which Flatt & Scruggs are the back-up musicians, and on which the calls have been omitted.