By Josh Graves
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Extra resources for Bluegrass Bluesman: A Memoir
I had me an old guitar fixed to where I could retune that third string. First night I used that, the tailpiece broke. And it come up and hit me upside my head. I guess that put too much strain on the thing, and I took it by its neck and threw it plum across the dressing room . . broke the neck out of it. ” And he did. Just a little ol’ cheap thing. Then I realized I didn’t have to turn my keys because I had that bar. But I’d do anything that ol’ Scruggs did. Charlie and Danny Bailey was working Wheeling when I was up there.
Anyway, we talked and we got to Wheeling. I bought him another meal. ” So I went, and we did a few tunes. Stoney hired me right on the spot. Wilma Lee had gone somewhere to visit her mother. ” And it startled me. I’d already been making that kind of money. He said later that I could have said $75 or $100 and he would’ve paid me. Well, I didn’t want to leave Esco and those guys in a bind, so I went back and I told them I’d have to leave in two weeks or so. I worked my notice with those boys in Kentucky, and I had to work a dance my last night.
Paul would start patting the other. Earl just finally gave up. If you listen to the Carnegie Hall album, you’ll hear Paul’s left foot patting. Earl taught me the rhythm lick, and if you watch me, I’ll walk that stage just like he does. Time could be out a little bit, and he’d walk and bring it back together. Earl didn’t allow nobody to tune on the stage. If your instrument was out or you broke a string, you’d go behind the stage, fix it, and then come back. You’d tune to what you heard; you’d hear the beat that was going, join in, and then you walked back out.
Bluegrass Bluesman: A Memoir by Josh Graves