Give Me the Banjo Page #13

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WOULD GO ALL THE WAY AROUND THE

HOUSE.

WOULD GO ALL THE WAY AROUND THE

HOUSE.

THEY WOULD PLAY AND HOPE TO BE

HOUSE.

THEY WOULD PLAY AND HOPE TO BE

IN TIME WITH EACH OTHER

THEY WOULD PLAY AND HOPE TO BE

IN TIME WITH EACH OTHER

WHEN THEY GOT AROUND TO

IN TIME WITH EACH OTHER

WHEN THEY GOT AROUND TO

THE BACK SIDE OF THE HOUSE.

WHEN THEY GOT AROUND TO

THE BACK SIDE OF THE HOUSE.

WHEN THEY GOT AROUND HERE

THE BACK SIDE OF THE HOUSE.

WHEN THEY GOT AROUND HERE

TO THE BACK, IF THEY WERE IN

WHEN THEY GOT AROUND HERE

TO THE BACK, IF THEY WERE IN

PERFECT TIME, THAT WAS GREAT.

TO THE BACK, IF THEY WERE IN

PERFECT TIME, THAT WAS GREAT.

IF THEY WEREN'T, THEY'D PU PERFECT TIME, THAT WAS GREAT.

IF THEY WEREN'T, THEY'D PU THEIR BACKS TO EACH OTHER AGAIN

IF THEY WEREN'T, THEY'D PU THEIR BACKS TO EACH OTHER AGAIN

AND THEY'D GO AROUND, AND I'M

THEIR BACKS TO EACH OTHER AGAIN

AND THEY'D GO AROUND, AND I'M

SURE THAT THEY WORE OUT A PATH

AND THEY'D GO AROUND, AND I'M

SURE THAT THEY WORE OUT A PATH

ALL THE WAY AROUND THIS HOUSE

SURE THAT THEY WORE OUT A PATH

ALL THE WAY AROUND THIS HOUSE

GETTING THAT TIMING RIGHT.

DO YOU READ MUSIC?

NO, I DON'T.

WELL, HOW DO YOU DEVELOP

SOMETHING SO COMPLICATED?

WELL, I STARTED PLAYING

LIKE WHEN I WAS 5 YEARS OLD.

UH, AND, UH...

I'VE PRETTY WELL LIVED

AND BREATHED THE BANJO

ALL THE WAY.

SO, A LOT OF IT...

WELL, MOST OF IT IS SELF-TAUGHT,

YOU MIGHT SAY.

Martin:
THE STYLE THA ULTIMATELY REVIVED THE

FIVE-STRING BANJO EMERGED WHEN

ULTIMATELY REVIVED THE

FIVE-STRING BANJO EMERGED WHEN

10-YEAR-OLD EARL WAS COOLING HIS

FIVE-STRING BANJO EMERGED WHEN

10-YEAR-OLD EARL WAS COOLING HIS

TEMPER AFTER A BROTHERLY

10-YEAR-OLD EARL WAS COOLING HIS

TEMPER AFTER A BROTHERLY

ARGUMENT.

TEMPER AFTER A BROTHERLY

ARGUMENT.

I WAS SITTING IN THAT ROOM,

ARGUMENT.

I WAS SITTING IN THAT ROOM,

JUST BY MYSELF ONE DAY, PLAYING

I WAS SITTING IN THAT ROOM,

JUST BY MYSELF ONE DAY, PLAYING

"REUBEN."

AND ALL OF THE SUDDEN,

I REALIZED THAT I HAD

THE OTHER FINGER GOING,

PLAYING "REUBEN."

AND, BOY, THAT REALLY

SHOCKED ME.

I DIDN'T KNOW WHERE IT CAME FROM

OR ANYTHING.

I KNEW WHAT I WAS PLAYING WITH

THE THUMB AND ONE FINGER WAS...

I COULDN'T GET A ROLL THA SUITED ME JUST RIGHT.

AND THEN ALL OF THE SUDDEN,

I STARTED USING THA MIDDLE FINGER.

Martin:
EARL RECALLED SEVERAL

PICKERS IN THE COMMUNITY WHO

MADE LASTING IMPRESSIONS.

A DISTANT COUSIN NAMED

SMITH HAMMETT WHO VISITED OFTEN

WITH A LITTLE BANJO THAT EARL

WAS ABLE TO HOLD AND MAKE

CHORDS ON.

DEWITT "SNUFFY" JENKINS,

WHOSE POPULAR RADIO PERFORMANCES

WERE SPONSORED BY A PATEN MEDICINE COMPANY.

HE WAS THE FIRST THREE-FINGER

PICKER EARL HEARD

ON THE RADIO.

AND THERE WAS ANOTHER YOUNG

CAROLINA BANJO PHENOM BY THE

NAME OF DON RENO, WHO WAS

CAROLINA BANJO PHENOM BY THE

NAME OF DON RENO, WHO WAS

DEVELOPING HIS OWN SOPHISTICATED

NAME OF DON RENO, WHO WAS

DEVELOPING HIS OWN SOPHISTICATED

THREE-FINGER STYLE.

DEVELOPING HIS OWN SOPHISTICATED

THREE-FINGER STYLE.

RENO ALSO ACKNOWLEDGED

THREE-FINGER STYLE.

RENO ALSO ACKNOWLEDGED

THE INFLUENCE OF SNUFFY JENKINS

RENO ALSO ACKNOWLEDGED

THE INFLUENCE OF SNUFFY JENKINS

AND WENT ON TO BECOME

THE INFLUENCE OF SNUFFY JENKINS

AND WENT ON TO BECOME

A BLUEGRASS LEGEND IN HIS

AND WENT ON TO BECOME

A BLUEGRASS LEGEND IN HIS

OWN RIGHT.

A BLUEGRASS LEGEND IN HIS

OWN RIGHT.

WHY DON'T WE GIVE RENO

OWN RIGHT.

WHY DON'T WE GIVE RENO

THE CREDIT?

WHY DON'T WE GIVE RENO

THE CREDIT?

WHY DON'T WE GIVE

THE CREDIT?

WHY DON'T WE GIVE

SNUFFY JENKINS THE CREDIT?

WHY DON'T WE GIVE ANY OF

THESE OTHER MUSICIANS CREDIT FOR

PLAYING WITH THREE FINGERS?

WELL, THE ACTUAL REALITY IS,

THERE WERE LOTS OF PEOPLE

PLAYING WITH THREE FINGERS

THERE WERE LOTS OF PEOPLE

PLAYING WITH THREE FINGERS

BEFORE ANY OF THESE GUYS WERE.

PLAYING WITH THREE FINGERS

BEFORE ANY OF THESE GUYS WERE.

AND ALL IT TOOK WAS EARL

BEFORE ANY OF THESE GUYS WERE.

AND ALL IT TOOK WAS EARL

TWEAKING THIS STYLE, THIS KIND

AND ALL IT TOOK WAS EARL

TWEAKING THIS STYLE, THIS KIND

OF ROLLING ARPEGGIATED STYLE,

THAT WAS A SMOOTHED-OUT VERSION

OF CLASSIC STYLE, FILTERED

THROUGH CHARLIE POOLE AND PEOPLE

OF HIS GENERATION.

AND SO EARL HAD SOMETHING

SPECIAL THAT PEOPLE

REACTED TO IT.

HERE AND NOW, THERE'S

A BULL MARKET IN

A TRADITIONAL ART FORM --

COUNTRY MUSIC.

AT A 10-YEAR PEAK OF POPULARITY,

IT'S A RESILIENT, VIRILE STRAIN,

NOT EASILY IGNORED

OR FORGOTTEN.

AND THE FRESHEST SOUND OF ALL,

THE FIVE-STRING BANJO,

CONSIDERED AMERICA'S ONLY

NATIONAL INSTRUMENT.

IN 1945, A YOUNG CAROLINA

BANJOIST, EARL SCRUGGS, DAZZLED

AUDIENCES WITH A NEW

HARD-DRIVING, THREE-FINGERED

TECHNIQUE OF PLAYING.

IT WAS ARTISTRY WHICH GAVE LIFE

TO A BAND STYLE CALLED

BLUEGRASS.

POWERFUL AND EXCITING.

Martin:
IN 1945, THE SHY,

YOUNG PICKER FROM SHELBY WAS

PERSUADED BY A FRIEND TO ASK

YOUNG PICKER FROM SHELBY WAS

PERSUADED BY A FRIEND TO ASK

FOR AN AUDITION WITH ONE OF

PERSUADED BY A FRIEND TO ASK

FOR AN AUDITION WITH ONE OF

THE GRAND OLE OPRY'S

FOR AN AUDITION WITH ONE OF

THE GRAND OLE OPRY'S

BIGGEST STARS.

THE GRAND OLE OPRY'S

BIGGEST STARS.

ALTHOUGH HE ACTED UNIMPRESSED,

BIGGEST STARS.

ALTHOUGH HE ACTED UNIMPRESSED,

BILL MONROE INVITED EARL SCRUGGS

ALTHOUGH HE ACTED UNIMPRESSED,

BILL MONROE INVITED EARL SCRUGGS

TO THE OPRY TO PICK WITH

BILL MONROE INVITED EARL SCRUGGS

TO THE OPRY TO PICK WITH

HIS BAND, THE BLUEGRASS BOYS.

TO THE OPRY TO PICK WITH

HIS BAND, THE BLUEGRASS BOYS.

BILL MONROE HAD ALREADY SPEN HIS BAND, THE BLUEGRASS BOYS.

BILL MONROE HAD ALREADY SPEN THE BETTER PART OF A DECADE

BILL MONROE HAD ALREADY SPEN THE BETTER PART OF A DECADE

DEVELOPING A NEW STRING BAND

THE BETTER PART OF A DECADE

DEVELOPING A NEW STRING BAND

SOUND, THE STYLE THAT WOULD COME

DEVELOPING A NEW STRING BAND

SOUND, THE STYLE THAT WOULD COME

TO BE KNOWN AS BLUEGRASS.

SOUND, THE STYLE THAT WOULD COME

TO BE KNOWN AS BLUEGRASS.

BUT IT WAS EARL SCRUGGS' BANJO

TO BE KNOWN AS BLUEGRASS.

BUT IT WAS EARL SCRUGGS' BANJO

THAT PROVED TO BE

BUT IT WAS EARL SCRUGGS' BANJO

THAT PROVED TO BE

THE MISSING INGREDIENT.

WHEN BLUEGRASS MUSIC

TOOK OFF, THAT'S WHEN PEOPLE

SAID, "I'VE GOT TO LEARN

TOOK OFF, THAT'S WHEN PEOPLE

SAID, "I'VE GOT TO LEARN

THE BANJO."

SAID, "I'VE GOT TO LEARN

THE BANJO."

YOU CAN'T TALK ABOU THE BANJO."

YOU CAN'T TALK ABOU BLUEGRASS MUSIC WITHOUT TALKING

YOU CAN'T TALK ABOU BLUEGRASS MUSIC WITHOUT TALKING

ABOUT EARL SCRUGGS AND WITHOU BLUEGRASS MUSIC WITHOUT TALKING

ABOUT EARL SCRUGGS AND WITHOU TALKING ABOUT THE BANJO,

ABOUT EARL SCRUGGS AND WITHOU TALKING ABOUT THE BANJO,

BECAUSE, UNFORTUNATELY FOR

TALKING ABOUT THE BANJO,

BECAUSE, UNFORTUNATELY FOR

MONROE, THAT'S THE MAIN THING

BECAUSE, UNFORTUNATELY FOR

MONROE, THAT'S THE MAIN THING

THAT DIFFERENTIATES IT, AND

MONROE, THAT'S THE MAIN THING

THAT DIFFERENTIATES IT, AND

THAT'S THE MAIN THING THA THAT DIFFERENTIATES IT, AND

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