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Talking with Robert Plant


misty mountain

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o.k. that's very true.

and your point of view is bluegrass=kentucky=slavery?

just wondering...

Old time music the forerunner to Bluegrass began with Fiddlin' John Carson in 1923. It is music from the American South and was greatly influenced by the African American slave who invented the Banjo.

Since African American slaves were not allowed to use drums, they began fashioning a string percussion instrument out of a gourd, which they cut the top off and covered with pig, goat, or cat skin and added a handle and strings. The strings were made of horse tail hair, or gut or hemp fibers. The instrument was called a banzas, banjars,or banias.

www.helium.com

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PUT IN MASTER'S POCKET: INTERSTATE SLAVE TRADING

AND THE BLACK APPALACHIAN DIASPORA

In Appalachians and Race: The Mountain South from Slavery to Segregation, edited by John Inscoe

(University Press of Kentucky, 2000)

That was over 100 years ago and is irrelevant to Plant/Krauss. Dwell on something else, like Foo Zeppelin. Get a life. If you don't like Bluegrass and think it represents evil, do not listen. If you do not like the South do not visit.

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Robert's dabbling in country reminds me so much of the song "Gone Country" by living legend and the "real deal," country mega-superstar Alan Jackson (33 #1 songs, 25 of them written by Alan). I know Plant doesn't need to cash, but it is getting a little "old" seeing so many post-glory rockers invade the country turf to reclaim a little lost glory.

GONE COUNTRY

She's been playin' in a room on the Strip

For ten years in Vegas

Every night she looks in the mirror

And she only ages

She's been readin' about Nashville and all

The records that everybody's buyin'

Says 'I'm a simple girl myself

Grew up on Long Island'

So she packs her bags to try to her hand

Says this might be my last chance

She's gone country, look at them boots

She's gone country, back to her roots

She's gone country, a new kind of suit

She's gone country, here she comes

Well the folk scene is dead

But he's holdin' out in the village

He's been writin' songs speakin' out

Against wealth and privilege

He says 'I dont believe in money

But a man could make him a killin'

'Cause some of that stuff don't sound

Much different than Dylan

I hear down there it's changed you see

They're not as backward as they used to be

He's gone country, look at them boots

He's gone country, back to his roots

He's gone country, a new kind of suit

He's gone country, here he comes

Well, he commutes to LA

But he's got a house in the valley

But the bills are pilin' up

And the pop scene just ain't on the rally

And he says 'Honey I'm a serious composer

Schooled in voice and composition

But with the crime and the smog these days

This ain't no place for children

Lord it sounds so easy it shouldn't take long

Be back in the money in no time at all'

He's gone country, look at them boots

He's gone country, backt to his roots

He's gone country, a new kind of suit

He's gone country, here he comes

Yeah he's gone country, a new kind of walk

He's gone country, a new kind of talk

He's gone country, look at them boots

He's gone country, oh back to his roots

He's gone country

He's gone country

Everybody's gone country

Yeah we've gone country

The whole world's gone country

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That was over 100 years ago and is irrelevant to Plant/Krauss. Dwell on something else, like Foo Zeppelin. Get a life. If you don't like Bluegrass and think it represents evil, do not listen. If you do not like the South do not visit.

I was merely citing the source of the quoted information as I should. I would say slavery is relevant because it was a slave who invented the banjo, which is at the center of bluegrass music.

Without Leadbelly, where would Alison Krauss be today? When people cash in on the music invented by slaves, it's important to appreciate the origin, and to respect their memory at least as much as you would respect Robert Plant. They made a very great sacrifice, and without them there would be no bluegrass as we know it today. They paved the way for bluegrass.

I listen to all music with an open mind whether I like it or not. As an American citizen I have rights; this is still my country, all of it, and I am certain that Woody Guthrie would agree. (He was one of those roots music artists who traveled throughout the land.) http://www.youtube.com/watch?v=XaI5IRuS2aE, welcome to the United States of America.

Travelling around in his early teens, Leadbelly picked up music that dated back to slave days.

During the 1940s Leadbelly's home in New York was a centre for folk and blues activity. Among his friends were Sonny Terry, Brownie McGhee, and Woody Guthrie.

www.kirjasto.sci.fi/ledbelly

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Robert's dabbling in country reminds me so much of the song "Gone Country" by living legend and the "real deal," country mega-superstar Alan Jackson (33 #1 songs, 25 of them written by Alan). I know Plant doesn't need to cash, but it is getting a little "old" seeing so many post-glory rockers invade the country turf to reclaim a little lost glory.

Who would some other examples be, then? I can't think of any, but then I'm no expert on country. (Which is probably also why I don't really understand why singing country songs is a recipe for glory.)

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I was merely citing the source of the quoted information as I should. I would say slavery is relevant because it was a slave who invented the banjo, which is at the center of bluegrass music.

Without Leadbelly, where would Alison Krauss be today? When people cash in on the music invented by slaves, it's important to appreciate the origin, and to respect their memory at least as much as you would respect Robert Plant. They made a very great sacrifice, and without them there would be no bluegrass as we know it today. They paved the way for bluegrass.

I listen to all music with an open mind whether I like it or not. As an American citizen I have rights; this is still my country, all of it, and I am certain that Woody Guthrie would agree. (He was one of those roots music artists who traveled throughout the land.) http://www.youtube.com/watch?v=XaI5IRuS2aE, welcome to the United States of America.

Most Appalachian settlers were poor Scotch-Irish, and the origins of Bluegrass are usually considered Celtic. You can also google "Celtic origins of Bluegrass" and find some interesting historical information.

We are happy that Robert Plant seems to be enjoying his travels in rural Appalachia, based on his recent interviews.

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Robert's dabbling in country reminds me so much of the song "Gone Country" by living legend and the "real deal," country mega-superstar Alan Jackson (33 #1 songs, 25 of them written by Alan). I know Plant doesn't need to cash, but it is getting a little "old" seeing so many post-glory rockers invade the country turf to reclaim a little lost glory.

I respectfully disagree. Robert in no way resembles any of the characters in this song. I consider Nashville to be lucky that Robert has developed this interest, he has enriched the music scene here as far as I am concerned.

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Bluegrass music is a form of American roots music, and it is a sub-genre of country music. It has its own roots in Irish, Scottish and English traditional music. Bluegrass was inspired by the music of immigrants from the United Kingdom and Ireland (particularly the Scots-Irish immigrants in Appalachia), as well as jazz and blues.

en.wikipedia.org/wiki/Bluegrass_music

That's Why.

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Most Appalachian settlers were poor Scotch-Irish, and the origins of Bluegrass are usually considered Celtic. You can also google "Celtic origins of Bluegrass" and find some interesting historical information.

We are happy that Robert Plant seems to be enjoying his travels in rural Appalachia, based on his recent interviews.

I was JUST about to post the exact same thing before I read your comment. Excellent point. As an Irish descendant as well as a former resident of southwestern Virginia I can attest that bluegrass is indeed from Scotch-Irish origins. I absolutely fell in love with Bluegrass when I lived there.

Eternal_light that Jackie Wilson video does nothing to help your cause. Slavery and Bluegrass have absolutely nothing in common. Apples and oranges.

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Except that a slave invented the banjo.

The various types of music brought with the people who began migrating to America in the early 1600s are considered to be the roots of bluegrass music---including dance music and ballads from Ireland, Scotland and England, as well as African American gospel music and blues. (In fact, slaves from Africa brought the design idea for the banjo--an instrument now integral to the bluegrass sound.)

http://heavens-gates.com/intheblue/

"It was almost as if we were, you know, on laughing gas," he says, "because it all worked and it swung like crazy and the stage volume was very, very excellent for what we were trying to do. I mean, you can hear absolutely everything. You can even hear the skin of the banjo, you know. I mean, it's like—it's unearthly at times. Something happened that was much more intense and much more rewarding than any of us had expected. We found that we were going into a place that none of us had been before.

"Obviously," Robert Plant concludes, "this is just the beginning."

Robert Plant and Alison Krauss play the Madison Square Garden Theater June 10-11.

http://www.villagevoice.com/music/0823,no-...58797,22.html/2

But even with that said, you still got to Shake Your Money Maker, bluegrass or not. Once you hit New York City, you need to take a lesson from Beyonce, even if you are Alison Krauss. It's a local law.

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Those are some lyrics ,Whats cracking me up even more is the all of the sudden 100 on line reviews for raising sands performance in NYC and other parts of the East Coast all written by COUNTRY press primarily from NASHVILLE ! Funniest thing I read was How They really seem to think Alison demure & proper go with kick-ass!

Robert Plant was maybe injecting some wry humor when he made his remarks.

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No , Robert did not say it .A Nashville writer Jim Allen believed it rather literally ,he also was delusional enouph to say Alison hitting notes higher than Robert pleased the LED ZEPPELIN crowd. :hysterical: :hysterical: :hysterical: :hysterical: :hysterical :hysterical: :hysterical: :hysterical: :hysterical:

Did the article incorrectly quote Robert Plant?

Plant summed it up well when he drolly announced the ensemble's intention to "kick ass non-stop in a very demure and appropriate fashion."

http://www.cmt.com/news/country-music/1589...york-city.jhtml

And although I can appreciate the value of being demure and appropriate, the best advice once you hit New York City is to Shake Your Money Maker even if Robert Plant did forget to mention it.

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Did the article incorrectly quote Robert Plant?

And although I can appreciate the value of being demure and appropriate, the best advice once you hit New York City is to Shake Your Money Maker even if Robert Plant did forget to mention it.

is that shake your money maker by the black crowes?or david coverdale shake my tree.

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The Crowes released their first studio album, Shake Your Money Maker, in 1990. On the strength of singles "Hard to Handle," "She Talks to Angels," "Jealous Again," "Twice as Hard," "Sister Luck," and "Seeing Things," their debut album received multi-platinum certification and eventually sold over three million copies.

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The Crowes released their first studio album, Shake Your Money Maker, in 1990. On the strength of singles "Hard to Handle," "She Talks to Angels," "Jealous Again," "Twice as Hard," "Sister Luck," and "Seeing Things," their debut album received multi-platinum certification and eventually sold over three million copies.

Elmore James wrote Shake Your Money Maker. He was born January 27, 1918 in Richland, Holmes County, Mississippi.

I first heard the Paul Butterfield Blues Band perform the song live at a concert that I attended in 1967.

Bluesman Elmore James was inspired by the local performances of Robert Johnson to take up the guitar. It was, in fact, a number by Johnson ("Dust My Broom") that became James’ signature song and laid the foundation for his recording career. First cut by James in August 1951, “Dust My Broom” contains the strongest example of his stylistic signature: a swooping, full-octave opening figure on slide guitar. His influence went beyond that one riff, however, as he’s been virtually credited with inventing blues rock by virtue of energizing primal riffs with a raw, driving intensity.

Born on a farm in Richland, Mississippi, in 1918, James was a journeyman who traveled the South, often performing alongside Sonny Boy Williamson (Rice Miller) during the Thirties and Forties. One account has him playing with a band that included drums as early as 1939. If correct, it would place him several years ahead of Muddy Waters in blending Delta Blues with electrical amplification and percussion. In any event, James moved to Chicago in 1953, where he was able to participate in the birth and flowering of electric blues. He spent the next decade bouncing back and forth between Chicago and Mississippi, making a detour to New York City in 1959 to record for the Fire label - sessions that yielded some of his finest recorded work.

Beset with heart problems exacerbated by heavy drinking and chronic asthma, James died of a heart attack in Chicago in 1963. He was 45 years old. He left behind a raft of classic blues songs that include “Shake Your Money Maker,” “Talk to Me Baby,” “It Hurts Me Too” and “The Sky Is Crying.” James’ distinctive style has influenced a legion of Chicago slide players, and his songs have been cut by the admiring likes of the Allman Brothers, Canned Heat, Fleetwood Mac and the Butterfield Blues Band. “You can hear his signature riff at least once a night from every slide guitarist working,” music historian Tony Glover has written, “but no one has ever quite matched that vocal intensity, which transformed the lonesome moan of the Delta into a Chicago scream.”

http://www.rockhall.com/inductee/elmore-james

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I suppose he was shaking his money maker because of slavery too. :rolleyes:

And the I IV V blues progression and Dixieland jazz came from slavery too I suppose (not European marching music, right?). :rolleyes:

Books are not always accurate or historically correct, but keep on quoting if you like, Honey. I could write a book on the history of bluegrass and Dixieland jazz. I've read enough. But I'd rather take a lesson from my friend Duke Assunto, whose family brought Dixieland jazz to America over 100 years ago. The original Dukes of Dixie baby (NOT to be confused with the band currently using that name). :beer:

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I'd like to know more about his "Appalachian travels" So far all I've heard is him hanging in Nashville, and flying over Kentucky. Oh, and stopping by a lake. :huh:

To really feel the flavor of these rootsy grass stuff, you need to spend some time there, among the people that are truly up in those hills and crawl out occasionally to jam with neighbors. One holler to another.

I think Jonsey has one up on him in this arena.

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I know it ain't the Appalaichan, but I used to live in the Blue Ridge Mountains. Yeah. Bug spray for sure! :beer:

Used to pick with some players and drink shine on a mountain with guys who've never been off the mountain! There's an experience! :lol:

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