#Just as long as you love me by doyle lawson how to

This didn’t last long, but why not? And I’m recalling what Alan Munde experienced with Jimmy Martin teaching Alan how to play Jimmy’s music for two years. My question is about playing banjo with Jimmy Martin. And yes, you can say with certainty that Louise Scruggs managed Earl and Sons mighty good.ĭoyle, I’m glad you’re taking over the helm of what Sonny did so well over the years. As in pretty much everything, there’s pros and cons to it. I guess it all depends on the artist and whether or not they fill the need for a manager. It stayed that way until I came off the road. After that I brought it back in-house with my sister-in-law, Mary McClellan, doing the booking. Eventually I hired Josh Trivett as a mgr/agent, and he grew that into what is now Moonstruck Management. I then went to the Monterey Agency with Bobby Cudd doing my booking, and was with him for a few years. When I left them in ’79 I did the booking, etc, and continued to keep it in-house for 23 years. Being the new guy in the group I was not familiar enough with their mode of operation to comment much regarding his coming aboard, but I think they had been talking with him prior to my coming to work with them. The week following my joining the Gentlemen, Len Holsclaw came on board in the role of mgr/agent, and he was also a detective for the Arlington, VA Police department. It was, for the most part, the artist managing themselves. There were booking agents and agencies that some of the artist used. In reality, Dave, there weren’t too many managers in bluegrass in those days. Can you comment on if any other major bluegrass groups were “managed?” Louise Scruggs comes to mind. I seem to think you, yourself, “managed” your career. Through all the years of DLQ did you have managers, or did you manage yourselves? Did you do the booking, or did one or more book you? The term “manager” seems to give a Col. Hope to see down the road somewhere my friend.ĭoyle, you mentioned Len Holsclaw as a manager/agent for the Country Gentlemen. Charlie Waller saw me step out of the vehicle and doubled over laughing, then grabbed his camera and took a photo of a proud owner of a Gibson mandolin proudly displayed in a shopping bag. I don’t know how long Clayton Hamrick had it before I purchased it for a whopping $500.00, but shortly afterward we did a noon day concert at Lafayette Park in DC just across from the White House and the mandolin didn’t have a case with it, so I put it in a shopping bag with the headstock poking out of the bag. This was in September 1971 so it could very well be one that you worked on. When I stepped into the role as Mando/Tenor man with the Country Gentlemen I didn’t own a mandolin, and a fellow who was in a band called The Grass Menagerie had a 1950 A-50 Gibson with a neck conversion by CE Ward. My long time friend Jack Lawrence, it’s good to hear from you as it’s been awhile since we crossed paths on the music road. Wow to think that I’m old enough to have played The Shamrock…… We showed up at The Shamrock and you guys let us play a set to kind of promote what was left of our gigs. I also remember an ill-fated trip to DC I made with the Alliance complete with a broken down bus and cancelled gigs. Just curious if it’s possible that the one you had is one that I worked on years ago. While with Ward we converted several A-50s. Ward from 1969-1971 when I left to join the New Deal Stringband and then the Bluegrass Alliance. In your early days with the Gents I seem to remember you playing an A-50 converted to an A-5 with a long neck.

#Just as long as you love me by doyle lawson series

It appears that I didn’t wash out after the first series of answers, so he we go with this week’s recollections.