Pickin' On Zeppelin "A tribute" (2000)

Pickin' on Santana "A bluegrass tribute to Santana" (2000)

Breathe "The bluegrass tribute to the songs of Dave Mathews" (2001)

Gone Phisin' "A bluegrass tribute to Phish" (2000)

Tony Rice Unit "Backwaters" (1986)

Tony Rice Unit "Manzanita" (1979)

Tony Rice "Guitar" (1973)

Tony Rice

Tony Rice spans the range of acoustic music, from straight-ahead bluegrass to jazz-influenced new acoustic music, to songwriter-oriented folk. He is perhaps the greatest innovator in acoustic flatpicked guitar since Clarence White. Over the course of his career, he has played alongside J.D. Crowe and the New South, David Grisman (during the formation of “Dawg Music”), led his own groups, collaborated with fellow picker Norman Blake and recorded with his brothers. He has recorded with drums, piano, soprano sax, and with straight-ahead bluegrass instrumentation.

Rice was born in Danville, Virginia but grew up in California, where he was introduced to bluegrass by his father. He and his brothers learned a lot from hot L.A. pickers like the Kentucky Colonels, led by Roland and Clarence White. Crossing paths with fellow enthusiasts like Ry Cooder, Herb Pederson and Chris Hillman reinforced the strength of the music he had learned from his father.

In 1970, Rice had moved back to Kentucky where he played with the Bluegrass Alliance, and shortly thereafter, J.D. Crowe’s New South. The New South was known as one of the best and most progressive bluegrass groups - even adding drums and electric instruments. But when Ricky Skaggs joined up in 1974, the band recorded J.D. Crowe & the New South, an acoustic album that became Rounder’s top-seller up to that time. With Rice on guitar and vocals, Crowe on banjo and vocals, Jerry Douglas on Dobro, Skaggs on fiddle and mandolin and Bobby Slone on bass, the band’s energy, as well as their instrumental and vocal drive have rarely been matched. 

Around this time Rice met mandolinist David Grisman, who played with Red Allen during the ‘60’s and was now working on some original material that blended jazz, bluegrass and classical styles. Rice left the New South and moved to California to join Grisman’s all instrumental group. As part of the David Grisman Quintet, Rice expanded his horizons beyond three chord bluegrass, studying chord theory, learning to read charts and expanding the range of his playing.  

In 1979, he left the group to pursue his own music. He recorded Acoustics, a guitar-oriented record, and then Manzanita which collected some favorite folk and bluegrass vocals. In 1980, Rice, Crowe, Bobby Hicks, Doyle Lawson and Todd Phillips formed a highly successful coalition, attacking bluegrass standards under the name the Bluegrass Album Band. This group has recorded six volumes of music.

Tony’s solo career hit its stride with Cold on the Shoulder, a collection of bluegrass vocals. With this album, Native American and Me & My Guitar, Rice arrived at a formula that incorporated his disparate influences, combining bluegrass, the songwriting of folk artists like Ian Tyson, Joni Mitchell, Phil Ochs and especially Gordon Lightfoot, with nimble, jazz-inflected guitar work. Simultaneously, he pursued his jazz and experimental “spacegrass” with the Tony Rice Unit on Mar West, Still Inside and Backwaters. 

Two highly regarded albums with traditional guitar virtuoso Norman Blake gained a great deal of acclaim, as well as two Rice Brother albums that reunited him with his younger brother, Wyatt. Tony Rice remains one of bluegrass’ top instrumentalists and singers, bringing originality and vitality to everything he plays.

Source: Tony Rice.com.

Strenght In Numbers "Telluride sessions" (1989)

Strenght In Numbers

Strength In Numbers was a bluegrass supergroup formed in the late 1980s. The group featured Béla Fleck (banjo), Mark O'Connor (fiddle, guitar), Sam Bush (mandolin), Jerry Douglas (dobro) and Edgar Meyer (bass). They released their only album, Telluride Sessions, in 1989. The group, minus Fleck, played on "Nothing but a Child" from Steve Earle's 1988 album, Copperhead Road under the name "Telluride".
The catalyst for their progressive approach to bluegrass was Sam Bush's group, New Grass Revival, in 1971. In 1975 this group made their first appearance at the Telluride Bluegrass Festival at the ski resort town of the same name in the Colorodo Rockies. Strength in Numbers met at subsequent festivals at Telluride in the late 1970s and 1980s.
The music of Strength in Numbers is influenced by the bluegrass virtuoso music of earlier artists Bill Monroe and the Bluegrass boys, and Lester Flatt and Earl Scruggs. Often the music of Strength in Numbers is referred to as "Newgrass" or progressive bluegrass. This music uses core bluegrass instrumentation with rhythmic features and solo playing styles of jazz.

Source: Wikipedia.

Steam Powered Airplane

Steam Powered Airplane is a four-piece bluegrass band based in Jackson Hole, Wyoming. The band plays the traditional acoustic instruments: banjo, fiddle, mandolin, guitar, upright bass as well as occasional dobro and telecaster.

Three of the four players trade off on lead vocals (and sing in three-part harmony).

Tucker is a former Wyoming State Champion of Banjo, Guitar, and Mandolin.

Steam Powered Airplane has played diverse private and public functions like the Wake Forest University homecoming and the Grand Teton Music Festival's Music in the Hole. The band has opened for such notable musical acts as Bruce Hornsby & The Range and the Del McCoury band. They have also played gigs with John Densmore of the Doors and Mike Gordon from Phish.
Steam Powered Airplane was recently awarded third place at the internationally renowned Telluride Bluegrass Festival.

Source: Steam Powered Airplane.com.

Skillet Lickers

Proof that in-fighting and power plays among band members was not a practice invented by rock & roll groups, the Skillet Lickers were a prolifically talented 1920s string band that had "creative differences" through much of their career span. Originally formed as a backup band for fiddler and folksy-styled humorist Gid Tanner, the addition of fiddler Clayton McMichen took the band in another direction entirely. McMichen looked down upon Tanner's backwoods humor and musical style, preferring to take a more modern approach to the music by including jazz and pop influences, and he often downplayed the role of the banjo, as well as Tanner's high-pitched, comical vocals. Still, despite the creative differences, the Skillet Lickers operated on all cylinders throughout the '20s, recording for Columbia and gaining a reputation as one of the sharpest live bands of the time. After McMichen left in the early '30s to form other bands, Tanner kept the name and hired a revolving cast of supporting musicians to keep the ball rolling for another few years.

Sam Bush "Ice caps peaks of telluride" (2000)

Sam Bush "Howlin' at the Moon" (1998)

Sam Bush

Sam Bush extended the musical capabilities of the mandolin and the fiddle to incorporate a seamless blend of bluegrass, rock, jazz, and reggae. As the founder and leader of the New Grass Revival, Bush pioneered and guided the evolution of modern hill country music. Together with the bluegrass supergroup Strength in Numbers, he pushed the traditions even further. During a five-year stint with the Nash Ramblers, he provided a diverse range of textures for the songs of Emmylou Harris. On his own, Bush has continued to explore an eclectic musical spectrum. Bush was exposed to country music and bluegrass at an early age through his father's record collection and, later, by Flatt & Scruggs' television show. Buying his first mandolin at the age of 11, his musical interest was further piqued when he attended the Roanoke Bluegrass Festival in 1965. A child prodigy on the fiddle, he placed first at the national fiddle contest in Weister, ID, three times in a row. Together with childhood friends Wayne Stewart and Alan Munde, later of Country Gazette, he formed a band and recorded his first album, Poor Richard's Almanac, in 1969. The same year, he made his debut appearance on the Grand Ole Opry.
Attending the Fiddlers Convention at Union Grove, NC, in 1970, Bush overheard the pioneering progressive bluegrass band the New Deal String Band. Inspired by their rock-flavored approach to bluegrass, he formed the New Grass Revival in 1972. Over the next 17 years, Bush and the New Grass Revival revolutionized the music of the hill country, incorporating everything from gospel and reggae to rock and modern jazz into their tradition-rooted sound. The New Grass Revival went through numerous personnel changes, with Bush remaining as the sole original member. Bassist and vocalist John Cowan joined in 1973, with banjo ace Béla Fleck and acoustic guitarist Pat Flynn being enlisted in the early '80s. In 1980, the group toured with Leon Russell, opening the shows and backing Russell during his headlining set. A live performance at the Perkins Palace in Pasadena, CA, was released as Leon Russell & the New Grass Revival: The Live Album in 1981.
Beginning in 1980, Bush and Cowan periodically jammed with the Nashville-based Dockbusters Blues Band. Bush recorded his debut solo album, Late as Usual, four years later. In 1989, Bush and Fleck joined Mark O'Connor, Jerry Douglas, and Edgar Meyer in an all-star bluegrass band, Strength in Numbers, at the Telluride Bluegrass Festival in Colorado. When Fleck and Cowan elected to leave the New Grass Revival in 1989, Bush disbanded the group and joined Emmylou Harris' Nash Ramblers. He toured and recorded with Harris and the band for the next five years. In 1995, Bush worked as a sideman with Lyle Lovett and Bela Fleck's Flecktones. He formed his own band, featuring Cowan and ex-Nash Ramblers Jon Randall and Larry Atamanuick, shortly before recording his second solo album, Glamour & Grits, in 1996. He released his next album, Howlin' at the Moon, in 1998, with many of the same players and special guests, including Harris, Fleck, and J.D. Crowe. In the winter of 1997, Bush and the New Grass Revival reunited for an appearance on The Conan O'Brien Show as the backup band for Garth Brooks. On March 28, 1998, Bush's hometown of Bowling Green, KY, honored him with a special "Sam Bush Day" celebration.
Bush continued to be a much in-demand session player as the 21st century dawned, and continued to release solo projects. Ice Caps: Peaks of Telluride appeared in 2000 from Sugar Hill, followed by a collaboration with David Grisman, Hold on, We're Strummin', from Acoustic Disc in 2003. Two more solo efforts appeared from Sugar Hill, King of My World in 2004 and Laps in Seven in 2006. A year later his first live DVD, On the Road, was released and was followed in 2009 by the new studio album Circles Around Me.

Source: All Music.com.

Rollin In The Hay "Miracle ticket"

Rollin' In The Hay

If you want to get an understanding of Rollin’ in the Hay just think high-octane groove grass with a touch of down home foot stompin’ or just simply –Renegade Bluegrass. Long considered to be one of the forerunners of the “Newgrass” revolution in America, these savvy veterans have been thrilling fans coast to coast for years! Opening for everyone from Greg Allman, Moe, Charlie Daniels, The Doobie Brothers, Jerry Douglas, Alabama,(this list could get LONG) to Widespread Panic,the unique sound of the Hay keeps fans coming back for more. Rollin’ in the Hay has six self-released Cds but also has done 15 nationally released instrumental tributes called the”Pickin’ On” series. With the approval of the band, there are tons of live “bootleg” shows on the internet. Based out of Birmingham, Alabama the band uses www.rollininthehay.com as well as a very active facebook.com/rollininthehay to keep fans informed. Being listed in the Alabama Music Hall 0f Fame as “Music Achievers” is one of this bands proudest accomplishments!
Rick Carter- Vocals and guitar
Stan Foster- Vocals and electric bass
Johnny (Fontana) Kulinich-guitar and mandolin
Wildman Steve Bronson – Washboard

Source: Rollin In The Hay.com.

Ricky Scaggs "Bluegrass rules!" (1997)

Ricky Scaggs

By the time he was in his mid-thirties, Kentuckian Ricky Skaggs had already produced a career's worth of music. At age seven he appeared on TV with Flatt & Scruggs; at 15 he was a member of legendary Ralph Stanley's bluegrass band (with fellow teenager Keith Whitley). None of his '80s peers, male or female, had better musical credentials than Skaggs. The term "multi-talented" lacks the power to characterize this extraordinary singer and instrumentalist. Not only can he sing and pick with the best in progressive country, his broad and deep experience in traditional music separates him from the crowd. In the estimation of many, he is without peer as a combination vocalist and instrumentalist (guitar, mandolin, fiddle, banjo). After playing with Ralph Stanley for three years, Skaggs moved on to progressive bluegrass bands the Country Gentlemen and J.D. Crowe & the New South. With his own band, Boone Creek, he mixed the old and the new, even referencing the swinging Gypsy jazz of Django Reinhardt. Skaggs took Rodney Crowell's place in Emmylou Harris' Hot Band in 1977, and the band's excellent Roses in the Snow album showcased Skaggs' versatility. Two number one hits came out of his 1981 album Waitin' for the Sun to Shine, and the awards started arriving. Skaggs is largely responsible for a back-to-basics movement in country music. He showed many that a bluegrass tenor with impeccable taste and enormous talent could sell traditional country in the '80s, a time when pop music had invaded the land of rural rhythm.
Skaggs began playing music at a very early age, being given a mandolin from his father at the age of five. Before his father had the time to teach Ricky how to play, the child had learned the instrument himself, and by the end of 1959 he had performed on-stage during a Bill Monroe concert, playing "Ruby Are You Mad at Your Man" to great acclaim. Two years later, when Skaggs was seven, he appeared on Flatt & Scruggs' television show, again to a positive response. Shortly afterward, he learned how to play both fiddle and guitar and began playing with his parents in a group called the Skaggs Family. In addition to traditional bluegrass, Skaggs began absorbing the honky tonk of George Jones and Ray Price and the British Invasion rock & roll of the Beatles and the Rolling Stones. In his adolescence, he briefly played in rock & roll bands, but he never truly abandoned traditional and roots music.
During a talent concert in his midteens, he met Keith Whitley, a fellow fiddler. The two adolescents became friends and began playing together, with Whitley's brother Dwight on banjo, at various radio shows. By 1970, they earned a spot opening for Ralph Stanley. Following their performance, Stanley invited the duo to join his supporting band, the Clinch Mountain Boys, and they accepted. Over the next two years they played many concerts with the bluegrass legend and appeared on his record Cry from the Cross. Skaggs also appeared on Whitley's solo album Second Generation Bluegrass in 1972.
Though he had made his way into the bluegrass circuit and was actively recording, Skaggs had grown tired of the hard work and low pay in the Clinch Mountain Boys and left the group at the end of 1972. For a short while, he abandoned music and worked in a boiler room for the Virginia Electric Power Company in Washington, D.C., but he returned to performing when the Country Gentlemen invited him to join in 1973. Skaggs spent the next two years with the group, primarily playing fiddle, before joining the progressive bluegrass band J.D. Crowe & the New South in 1974. The following year, he recorded another duet album with Whitley, That's It, and then formed his own newgrass band, Boone Creek, in 1976. In addition to bluegrass, the outfit played honky tonk and Western swing. Boone Creek earned the attention of Emmylou Harris, who invited Skaggs to join her supporting band. After declining her several times, he finally became a member of her Hot Band once Rodney Crowell left in 1977.
Between 1977 and 1980, Skaggs helped push Harris toward traditional country and bluegrass, often to great acclaim. Skaggs also pursued a number of other musical avenues while he was with Harris, recording a final album with Boone Creek (1978's One Way Track), two duet albums with Tony Rice (1978's Take Me Home Tonight in a Song, 1980's Skaggs & Rice), and finally, his first solo album, Sweet Temptation, which was released on Sugar Hill. Sweet Temptation was a major bluegrass hit, earning the attention of the major label Epic Records. The label offered him a contract in 1981, releasing Waitin' for the Sun to Shine later that year. The album was a big hit, earning acclaim not only in country circles, but also in rock & roll publications. By the end of the year Skaggs had become a star and, in the process, brought rootsy traditional country back into the consciousness of the country audience.
During 1982 and early 1983 he had five straight number one singles -- "Crying My Heart Out Over You," "I Don't Care," "Heartbroke," "I Wouldn't Change You If I Could," "Highway 40 Blues" -- as well as earning numerous awards. Later in 1982 he was made the youngest member of the Grand Ole Opry. For the next four years, he was a major artistic and commercial force within country music, raking up a string of Top Ten hits and Grammy Award-winning albums. His success helped spark the entire new traditionalist movement, opening the doors for performers like George Strait and Randy Travis. Toward the end of the decade, Skaggs wasn't charting as frequently as he had in the past, but he had established himself as an icon. Each of his records sold well, and he collaborated with a number of musicians, including Rodney Crowell, the Bellamy Brothers, Johnny Cash, Jesse Winchester, and Dolly Parton.
During the early '90s, Skaggs and his traditional music were hit hard by the slick sounds of contemporary country, and consequently, his records ceased to sell as consistently as they had ten years earlier. Columbia Records dropped the musician in 1992 due to poor sales. However, Skaggs continued to perform concerts and festivals frequently, as well as host his own syndicated radio program, The Simple Life, which hit the airwaves in 1994. The following year, Skaggs returned to recording with Solid Ground, his first album for Atlantic Records. Life Is a Journey followed in 1997, and two years later he released Soldier of the Cross. Big Mon: The Songs of Bill Monroe followed in 2000 and was re-released in 2002 on the Lyric Street label as Ricky Skaggs and Friends Sing the Songs of Bill Monroe. In 2003 Skaggs released Live at the Charleston Music Hall on his own Skaggs Family label, followed by Brand New Strings in 2004, A Skaggs Family Christmas in 2005 and Instrumentals in 2006. He joined forces with the Whites for 2007's Salt of the Earth.
Released in 2008, Honoring the Fathers of Bluegrass paid homage to Bill Monroe's classic mid-'40s lineup of the Bluegrass Boys and featured the only surviving member of that band, Earl Scruggs, as a guest player. For 2009's Solo: Songs My Dad Loved, dedicated to his father, Hobert Skaggs, he played all the instruments and sang all the vocals himself, while 2010’s Mosaic, co-produced by Skaggs and Gordon Kennedy, found him singing gospel-inflected country songs with more of a pop and rock feel. Released in 2011, Country Hits: Bluegrass Style saw Skaggs returning to some of his country hits and reshaping them as bluegrass pieces. 2011 also saw the release of a second holiday album, A Skaggs Family Christmas, Vol. 2, a ten-song CD that featured both studio and live recordings and came packaged with a bonus DVD, A Skaggs Family Christmas Live, presenting the family’s holiday concert filmed at the Ryman Auditorium in Nashville.

Source: All Music.com.

Ralph Stanley & Jimmy Martin "First time together" (2004)