Complete Mercury Recordings

Flatt & Scruggs - Complete Mercury Recordings

Complete Mercury Recordings
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CD Details

Artist: Flatt & Scruggs
Edition: Music CD
Format: Original recording remastered
CD Release Date: 2003-04-22
Music Label: Mercury Nashville
Soundtracks:
  1. We'll Meet Again Sweetheart
  2. God Loves His Children
  3. My Cabin In Caroline
  4. I'm Going To Make Heaven My Home
  5. Baby Blue Eyes
  6. Down The Road
  7. Bouquet In Heaven
  8. Why Don't You Tell Me So
  9. I'll Never Shed Another Tear
  10. Foggy Mountain Breakdown
  11. No Mother Or Dad
  12. Is It Too Late Now?
  13. My Little Girl In Tennessee
  14. I'll Be Going To Heaven Sometime
  15. I'll Never Love Another
  16. So Happy I'll Be
  17. Doin' My Time
  18. Pike County Breakdown
  19. Preachin' Prayin' Singin'
  20. Cora Is Gone
  21. Pain In My Heart
  22. Roll In My Sweet Baby's Arms
  23. Back To The Cross
  24. Salty Dog Blues
  25. Will The Roses Bloom (Where She Lies Sleeping)
  26. Take Me In A Lifeboat
  27. Farewell Blues
  28. I'll Just Pretend

Music reviews of Complete Mercury Recordings

Music Review: Ur Music Everyone must have this
Rating: 5 Stars

I have had part or all of these recordings on combinations of Vinyl and tape since around 1963. Having it all together on CD is a blessing.

This is just as fundamental to bluegrass music, to general musical culture, as the original sides Lester and Earl cut with Bill Monroe. The new band, without Bill Monroe, cuts loose more musically, builds more openly on the devastingly powerful banjo of Earl Scruggs, the great bluesy, jazz, Western swing educated fiddling of Chubby Wise, and the elegant vocals of Lester Flatt.
Lester Flatt's guitar playing that came through on these records and the sides with Monroe, are the foundation of all modern bluegrass guitar and much that people now use for old timey music and contradance music.

Even though I have had some of these cuts for more than 40 years, I am still devasted every time I play this. The last time I played this, I just had to call a friend of mine who is a champion fiddler out in California just to talk to her about how brilliant Chubby Wise's work is here.

If you came to Lester and Earl from the great records they put out in the 1960s in response to the folk revival, you will find that these and other recordings of the 1940s and 1950s have more of a normal country repertoire with fewer traditional folk songs thrown in. There are more of Earl's original instrumentals, his various "Specials."

I also love the way Earl plays guitar on many of the spiritual tunes like Aren't Going to Go to Heaven Some time.
In the old days the banjo, the fiddle, and the mandolin were thought dangerous satanic and certainly Negroid, and not played on "sacred songs." Bill Monroe would put down his mandolin and pick up a guitar for a sacred song, as Earl here picks up his guitar and Chubby's fiddle is silent.

This is just plain good music that anyone likes. I think someone who seriously enjoys band music of any kind, and enjoys the good interplay between rhythm and lead, will lead much from listening to these records. Anyone who grooves on a great solist improvizing/composing will learn a lot from what Earl and Chubby Wise do here.

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Description of Complete Mercury Recordings

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Fresh off their pioneering stint with Bill Monroe, guitarist-vocalist Lester Flatt and banjo master Earl Scruggs waxed these 28 seminal cuts for the tiny Mercury label between 1948 and 1950. The duo and their Foggy Mountain Boys attack the music with an urgency that even Monroe's Blue Grass Boys were hard-pressed to equal. Scruggs's rolling three-fingered banjo technique is as important to bluegrass as any other innovation; without competition from Monroe's mandolin, his banjo became the music's primary driving force and the engine that propels most of these songs. "Foggy Mountain Breakdown" and "Farewell Blues" are banjo tour de forces that will never be matched. Original gospel numbers find Scruggs applying his fingerpicking technique to guitar, à la Merle Travis, and feature sharp group harmonies. Most of these original secular songs have become bluegrass standards, even though the pair refused to call their refined mountain music bluegrass. --Marc Greilsamer

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