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Dry Branch Fire Squad was a modern bluegrass band dedicated to bluegrass, old-timey, and southern gospel music traditions. Mandolin player and comedian Ron Homason founded the Fire Squad in 1976. The earliest incarnation the group included guitarist John Baker, banjo player Robert Leach, and bass player John Carpenter. Two years later, Mary Jo... [+] Read More

Dry Branch Fire Squad was a modern bluegrass band dedicated to bluegrass, old-timey, and southern gospel music traditions. Mandolin player and comedian Ron Homason founded the Fire Squad in 1976. The earliest incarnation the group included guitarist John Baker, banjo player Robert Leach, and bass player John Carpenter. Two years later, Mary Jo Leet became the group's vocalist. The group released a series of independent releases before signing with Rounder in 1978; they would stay with the venerable roots label for the rest of their career.

The Fire Squad continued to release albums on Rounder throughout the 1980s; standouts included Good Neighbours & Friends (1985) and the gospel-flavored Golgotha from a year later. By 1996's Live! At Last, the group included Homason, guitarist Adam McIntosh, and banjoist Dan Russell; Mary Jo Leet was joined by her husband, Charlie, on harmonies and acoustic bass. The live album displayed the Fire Squad's penchant not only for traditional bluegrass and other Americana styles, but uproarious comedy as well. Memories That Bless & Burn appeared in 1999. The record mixed older material with new, and featured vocalist Suzanne Thomas. The band followed with 2001's Hand Hewn, and continued to be a favorite on the bluegrass and folk festival circuit. A second live album, the double disc Live at the Newburyport Firehouse, was released on Rounder in 2005. ~ Johnny Loftus, All Music Guide [-] Hide

From the close-harmony brother acts of the '30s evolved Charlie and Ira Louvin, ranking among the top duos in country music history. With Ira's incredibly high, pure tenor and Charlie's emotional and smooth melody tenor, they learned well from the Bolick brothers (the Blue Sky Boys), the Monroe Brothers, the Delmore Brothers, and other major... [+] Read More

From the close-harmony brother acts of the '30s evolved Charlie and Ira Louvin, ranking among the top duos in country music history. With Ira's incredibly high, pure tenor and Charlie's emotional and smooth melody tenor, they learned well from the Bolick brothers (the Blue Sky Boys), the Monroe Brothers, the Delmore Brothers, and other major family duos of the previous generation, preserving the old-time flavor while bringing this genre into the '50s, when country music moved to a newer sound. Whatever type of songs they recorded -- gospel, folk, hillbilly, or '50s pop -- those songs became the Louvins'. Add to the list the many Louvin compositions (for example, "If I Could Only Win Your Love," Emmylou Harris' first hit), and you have an act that is outstanding in country music history. Their career took awhile to get going, partly because of interruptions from WWII and the Korean War. In the early '50s, after making a reputation for unexcelled gospel singing, the Louvins broadened their repertoire, recording "The Get Acquainted Waltz" (with Chet Atkins adding another guitar to Charlie's and to Ira's mandolin), a fair hit that showed success was reachable with non-religious music. The electric guitar, with the duo's unique harmony and Ira's exceptional tenor, created a sound that fans asked for in increasing numbers. In 1955, after ten unsuccessful auditions, they finally joined the Opry, where they performed to great acclaim until 1963, when they broke up. They had a number of hits, including the much-covered "When I Stop Dreaming" and "Cash on the Barrel Head." Following the duo's breakup, Ira and Charlie both pursued solo careers.

Born and raised in the Appalachian mountains in Alabama, both Charlie (born Charlie Elzer Loudermilk, July 7, 1927) and Ira (born Lonnie Ira Loudermilk, April 21, 1924; died June 20, 1965) were attracted to the close-harmony country brother duets of the Blue Sky Boys, the Delmore Brothers, the Callahan Brothers, and the Monroe Brothers when they reached their adolescence. Previously, they had sung gospel songs in church, and their parents encouraged them to play music, despite the family's poverty. Ira began playing mandolin while Charlie picked up the guitar, and the two began harmonizing. After a while, they began performing at a small, local radio station in Chattanooga, where they frequently played on an early-morning show.

The Brothers' career was interrupted in the early '40s when Charlie joined the Army for a short while. While his brother was in the service, Ira played with Charlie Monroe. Once Charlie returned from the Army, the duo moved to Knoxville, TN, where they received a regular spot on a WROL radio show; they later moved to WNOX. Around this time, they decided to abandon their given name for Louvin, which appeared to be a better stage name. (Their cousin John D. Loudermilk retained the family name.) Following their stint in Knoxville, they moved to Memphis, where they broadcast on WMPS and cut one single for Apollo Records. After their brief stay in Memphis, they returned to Knoxville.

In 1949, the Louvin Brothers recorded a single for Decca Records which failed to make much of an impact. Two years later, they signed with MGM Records and over the next year recorded 12 songs. Shortly after their MGM sessions were finished, Charlie and Ira moved back to Memphis, where they worked as postal clerks while playing concerts and radio shows at night. Eventually, they earned the attention of Acuff-Rose, who signed the duo to a publishing contract. Fred Rose, the owner of the publishing house, helped the duo sign a contract with Capitol Records. The Louvins' debut single for the label, "The Family Who Prays," was a moderate success (it would later become a gospel standard), yet they were unable to capitalize on its success because Charlie was recalled by the Army to serve in the Korean War.

Upon Charlie's discharge from the Army, the Louvins relocated to Birmingham, where they planned to restart their career through appearances on the radio station WOVK. However, a duo called Rebe & Rabe had already carved out a close-harmony niche in the area, using several of the Louvins' own songs. When Charlie and Ira were reaching a point of desperation, Capitol's Ken Nelson was able to convince the Grand Ole Opry to hire the duo. Prior to joining the Opry, the duo had been marketed as a gospel artist, but they began singing secular material as soon as they landed a slot on the show, primarily because a tobacco company sponsoring its broadcast told the Opry and the Louvins "you can't sell tobacco with gospel music." While they didn't abandon gospel, the Brothers began writing and performing secular material again, starting with "When I Stop Dreaming." The single became a Top Ten hit upon its release in the fall of 1955 and would eventually become a country standard. It was followed shortly afterward by "I Don't Believe You've Met My Baby," which spent two weeks at number one early in 1956. No less than three of the duo's other singles -- "Hoping That You're Hoping," "You're Running Wild," "Cash on the Barrel Head" -- reached the Top Ten that year, and they also released the albums Tragic Songs of Life and Nearer My God to Thee. The Louvins' success in 1956 was particularly impressive when considering that rock & roll was breaking big that year, sapping the sales of many established country artists.

However, the Louvins weren't able to escape being hurt by rock & roll. They had two relatively big hits in 1957 ("Don't Laugh" and "Plenty of Everything but You"), "My Baby's Gone" reached the Top Ten in late 1958, and their classic version of the traditional ballad "Knoxville Girl" was a moderate hit in early 1959, but those four hit singles arrived in the space of three years; they charted four songs in 1956 alone. Soon, the Louvins were receiving pressure from Capitol to update their sound. They tried to cut a couple of rockabilly numbers, but they were quite unsuccessful. Eventually, Ken Nelson suggested that the duo abandon the mandolin in order to appeal to the same audience as the Everly Brothers. The Louvins didn't accept his advice, but the remark did considerable damage to Ira's ego and he began to sink into alcoholism.

The Louvin Brothers continued to record during the early '60s, turning out a number of theme albums -- including tributes to the Delmore Brothers and Roy Acuff, as well as gospel records like Satan Is Real -- as well as singles. "I Love You Best of All" and "How's the World Treating You" reached numbers 12 and 26 respectively in 1961, the first year they had two hit singles since 1957. However, the duo began fighting frequently, and Ira's alcoholism worsened. Following one last hit single, "Must You Throw Dirt in My Face," in the fall of 1962, the duo decided to disband in the summer of 1963.

Charlie and Ira both launched solo careers on Capitol Records shortly after the breakup. Charlie was the more successful of the two, with his debut single, "I Don't Love You Anymore," reaching number four upon its summer release in 1964. For the next decade, he racked up a total of 30 hit singles, though most of the records didn't make the Top 40. Ira's luck wasn't as good as his brother's. Shortly after the Louvins disbanded, he had a raging, alcohol-fueled argument with his third wife, Faye, that resulted in a shooting that nearly killed him. He continued to perform afterward, singing with his fourth wife, Anne Young. The duo were performing a week of concerts in Kansas City in June of 1965 when they were both killed in a car crash in Williamsburg, MO. After his death, his single "Yodel, Sweet Molly" became a moderate hit.

The Louvin Brothers' reputation continued to grow in the decades following their breakup, as their harmonies and hard-driving take on traditional country provided the blueprint for many generations of country and rock musicians. The Everly Brothers were clearly influenced by the duo, while country-rock pioneer Gram Parsons drew heavily from the Louvins' deep catalog of classic songs, recording "The Christian Life" with the Byrds and "Cash on the Barrelhead" as a solo artist. The Louvin Brothers and their music is truly legendary. ~ David Vinopal, All Music Guide [-] Hide

Born in Stratton, Virginia in 1927, Ralph Stanley and his older brother Carter formed the Stanley Brothers and the Clinch Mountain Boys. In 1946 Ralph and Carter were being broadcast from radio station WCYB in Bristol, Virginia. The music, which was inspired by their Virginia mountain home, was encouraged by their mother, who taught Ralph the... [+] Read More

Born in Stratton, Virginia in 1927, Ralph Stanley and his older brother Carter formed the Stanley Brothers and the Clinch Mountain Boys. In 1946 Ralph and Carter were being broadcast from radio station WCYB in Bristol, Virginia. The music, which was inspired by their Virginia mountain home, was encouraged by their mother, who taught Ralph the claw-hammer style of banjo picking that he and Carter became famous for. They recorded for such companies as the small Rich-R-Tone label and later Columbia, a relationship that lasted from 1949 until 1952. These classic sessions defined the Stanleys' own approach to bluegrass and made them as important as Bill Monroe. After leaving Columbia, the Stanleys were with Mercury, Starday and King. Leaning towards more gospel at times, Carter and Ralph made a place for themselves in the music industry. In December of 1966, Carter Stanley died in a Virginia hospital after a steady decline in health. He was just 41 years old. After much consideration and grief, Ralph carried on without Carter. Already their haunting mountain melodies made them stand apart from other bluegrass bands, but Ralph expanded upon this foundation and took his own "high lonesome" vocals to a new plane.

Popular at bluegrass festivals, Ralph and each edition of the Clinch Mountain Boys grew to be one of the most respected outfits in bluegrass. As far as west as California and even up in the hollars of Kentucky, people were drawn to the poignant, mournful sound of Ralph Stanley's style. Different from all the rest, Ralph's ability to hit the right notes and chords made him a singer of trailblazing proportions. Ralph continued to record for a wide variety of labels, including Jalyn, Rebel, King Bluegrass, Blue Jay, Jessup, Stanleytone, his own label, and Freeland. A devoted family man, his constant touring took its toll on his first marriage, a union that produced daughters Lisa Joy and Tonya and oldest son Timothy. His second wife Jimmie, also a singer, gave him another son late in life; Ralph II followed in both his father's and uncle's footsteps and played in the Clinch Mountain Boys with his dad. A Bluegrass Hall of Fame member along with Carter, Ralph Stanley was an inspiration to Dwight Yoakam, Emmylou Harris, the late Keith Whitley and even Monroe acolyte Ricky Skaggs. With his raw emotions and Mother Stanley's three-fingered banjo technique, he helped bring the mountain style of bluegrass music to mainstream audiences. ~ Jana Pendragon, All Music Guide [-] Hide

Bill Monroe is the father of bluegrass. He invented the style, invented the name, and for the great majority of the 20th century, embodied the art form. Beginning with his Blue Grass Boys in the '40s, Monroe defined a hard-edged style of country that emphasized instrumental virtuosity, close vocal harmonies, and a fast, driving tempo. The... [+] Read More

Bill Monroe is the father of bluegrass. He invented the style, invented the name, and for the great majority of the 20th century, embodied the art form. Beginning with his Blue Grass Boys in the '40s, Monroe defined a hard-edged style of country that emphasized instrumental virtuosity, close vocal harmonies, and a fast, driving tempo. The musical genre took its name from the Blue Grass Boys, and Monroe's music forever has defined the sound of classical bluegrass -- a five-piece acoustic string band, playing precisely and rapidly, switching solos and singing in a plaintive, high lonesome voice. Not only did he invent the very sound of the music, Monroe was the mentor for several generations of musicians. Over the years, Monroe's band hosted all of the major bluegrass artists of the '50s and '60s, including Flatt & Scruggs, Reno & Smiley, Vassar Clements, Carter Stanley, and Mac Wiseman. Though the lineup of the Blue Grass Boys changed over the years, Monroe always remained devoted to bluegrass in its purest form.

Monroe was born into a musical family. His father had been known around their hometown of Rosine, KY, as a step-dancer, while his mother played a variety of instruments and sang. His uncle, Pendelton Vanderver, was a locally renowned fiddler. Both of his older brothers, Harry and Birch, played fiddle, while his brother Charlie and sister Bertha played guitar. Bill himself became involved with music as a child, learning the mandolin at the age of ten. Following the death of his parents while he was a pre-adolescent, Monroe went to live with his Uncle Pen. Soon, he was playing in his uncle's band at local dances, playing guitar instead of mandolin. During this time, Monroe met a local blues guitarist called Arnold Shultz, who became a major influence on the budding musician.

When Monroe turned 18, he moved to East Chicago, IN, where his brothers Birch and Charlie were working at an oil refinery. Monroe also got a job at the Sinclair oil refinery and began playing with his brothers in a country string band at night. Within a few years, they performed on the Barn Dance on WLS Chicago, which led to the brothers' appearance in a square dance revue called the WLS Jamboree in 1932. The Monroes continued to perform at night, but Birch left the band in 1934. Ironically, it was just before the group landed a sponsorship of the Texas Crystals Company, which made laxatives. Charlie and Bill decided to continue performing as the Monroe Brothers.

The Monroe Brothers began playing in other states, including radio shows in Nebraska, Iowa, and both North and South Carolina. Such exposure led to record label interest, but the Monroe Brothers were initially reluctant to sign a recording contract. After some persuasion, they inked a deal with RCA-Victor's Bluebird division and recorded their first session in February of 1936. One of the songs from the sessions, "What Would You Give in Exchange," became a minor hit and the duo recorded another 60 tracks for Bluebird over the next two years.

In the beginning of 1938, Bill and Charlie parted ways, with Charlie forming the Kentucky Pardners. Bill assembled his own band with the intention of creating a new form of country that melded old-time string bands with blues and challenged the instrumental abilities of the musicians. Initially, he moved to Little Rock, where he formed the Kentuckians, but that band was short-lived. He then relocated to Atlanta, where he formed the Blue Grass Boys and began appearing on the Crossroad Rollies radio program. Monroe debuted on the Grand Ole Opry in October of 1939, singing "New Muleskinner Blues." It was a performance that made Monroe's career as well as established the new genre of bluegrass.

In the early '40s, Monroe & the Blue Grass Boys spent some time developing their style, often sounding similar to other contemporary string bands. The most notable element of the band's sound was Monroe's high, piercing tenor voice and his driving mandolin. The Blue Grass Boys toured with the Grand Ole Opry's road shows and appeared weekly on the radio. Between 1940 and 1941, he cut a number of songs for RCA-Victor, but a musicians' union strike prevented him from recording for several years. The classic lineup of the Blue Grass Boys fell into place in 1944, when guitarist/vocalist Lester Flatt and banjoist Earl Scruggs joined a lineup that already included Monroe, fiddler Chubby Wise, and bassist Howard Watts. This is the group that supported Monroe when he returned to the studio in 1945, recording a number of songs for Columbia. Early in 1946, he had his first charting hit with "Kentucky Waltz," which climbed to number three; it was followed by the number five hit "Footprints in the Snow."

Throughout 1946, the Blue Grass Boys were one of the most popular acts in country music, scoring hits and touring to large crowds across America. At each town they played, the band would perform underneath a large circus tent they set up themselves; the tent would also host a variety of other attractions, including Monroe's baseball team, which would play local teams before the concert began. During the late '40s, the Blue Grass Boys remained a popular act, landing five additional Top 20 singles. Numerous other acts began imitating Monroe's sound, most notably the Stanley Brothers.

Flatt & Scruggs left the Blue Grass Boys in 1948 to form their own band. Their departure ushered in an era of stagnation for Monroe. After Flatt & Scruggs parted ways from his band, he left Columbia Records in 1949 because they had signed the Stanley Brothers, who he felt were simply imitating his style. The following year, he signed with Decca Records, who tried to persuade Monroe to attempt some mainstream-oriented productions. He went as far as cutting a few songs with an electric guitar, but he soon returned to his pure bluegrass sound. At these sessions, he did meet Jimmy Martin, who became his supporting vocalist in the early '50s.

Throughout the '50s -- indeed, throughout the rest of his career -- Monroe toured relentlessly, performing hundreds of shows a year. In 1951, Monroe opened a country music park at Bean Blossom, IN; over the years, the venue featured performances from a number of bluegrass acts. Monroe suffered a serious car accident in January of 1953, which sidelined his career for several months. The following year, Elvis Presley performed Monroe's "Blue Moon of Kentucky" at his one and only Grand Ole Opry appearance, radically reworking the arrangement; Presley apologized for his adaptation, but Monroe would later perform the same arrangement at his concerts.

Monroe released his first album, Knee Deep in Bluegrass, in 1958, the same year he appeared on the country singles chart with "Scotland"; the number 27 single was his first hit in almost a decade. However, by the late '50s his stardom was eclipsed by Flatt & Scruggs. Monroe was not helped by his legendary stubbornness. Numerous musicians passed through his band because of his temperament and his quest for detail, he rarely granted press interviews and would rarely perform on television; he even canceled a concert at Carnegie Hall because he believed the promoter, Alan Lomax, was a communist. In the '60s, Monroe received a great career boost from the folk music revival, which made him popular with a new generation of listeners. Thanks to his new manager, ex-Greenbriar Boys member Ralph Rinzler, Monroe played bluegrass festivals across the U.S., frequently on college campuses. In 1967, he founded his own bluegrass festival, the Bill Monroe Bean Blossom Festival, at his country music park, which continued to run into the '90s.

In 1970, he was inducted into the Country Music Hall of Fame; the following year, the Nashville Songwriters Association International Hall of Fame. Throughout the '70s, he toured constantly. In 1981, Monroe was diagnosed with cancer and underwent treatment for the disease successfully. After his recovery, he resumed his busy touring schedule, which he kept into the '90s. In 1991, he had surgery for a double coronary bypass, but he quickly recovered and continued performing and hosting weekly at the Grand Ole Opry. In 1993, the Grammys gave Monroe a Lifetime Achievement Award. After suffering a stroke in early 1996, Monroe died on September 9, 1996, four days short of his 85th birthday. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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With Memories that Bless and Burn Dry Branch Fire Squad has made the kind of music that the alt-country folks are copying, but a few steps closer to the real thing. Sweet gospel harmonies exist side-by-side with episodes of banjo madness and the vocalists, especially Mary Jo Leet and Ron Thomason, sometimes sound like they are singing right on... [+] Read More

With Memories that Bless and Burn Dry Branch Fire Squad has made the kind of music that the alt-country folks are copying, but a few steps closer to the real thing. Sweet gospel harmonies exist side-by-side with episodes of banjo madness and the vocalists, especially Mary Jo Leet and Ron Thomason, sometimes sound like they are singing right on top of their last raw nerve. This is not to say that the members of Dry Branch Fire Squad lack talent -- rather their sound is stripped down to a kind of pure mirror of the music of their grandparents, something which helps make their faith-driven lyrics sound sincere and evokes the sound of the church itself, with its shouting preachers and passionate bursts of praise.

This album functions as sort of a greatest-hits album -- the first three songs are new material -- including the excellent title track, which features the sweet singing of Suzanne Thomas and helps set the mood for the rest of the album. Tracks 4-10 are from previous Rounder recordings and provide a profile of the band's earlier work. Tracks 4 and 5 are two versions of the same song, interesting because they show the evolution of both the band's technique and the quality of the equipment that they recorded on (the second version is amazingly clearer, as well as featuring a more powerful vocal). Tracks 11-13 are songs that had been featured on other albums but were re-recorded for this one, and 14-16 are songs that have long been a part of their gospel shows but are being recorded for the first time. "Touch the Hem of His Garment," provides a beautiful closing to this album, evoking the gentle despair and hope that echo all throughout this fine work. ~ Stacia Proefrock, All Music Guide [-] Hide

In 1992, Columbia/Legacy released The Essential Bill Monroe and His Blue Grass Boys (52478), a double-CD that contained 24 of Monroe's 40 released recordings made for Columbia Records between 1945 and 1949, along with alternate takes of the other 16. The 45-minute 16 Gems contains the originally released versions of those songs, so that it... [+] Read More

In 1992, Columbia/Legacy released The Essential Bill Monroe and His Blue Grass Boys (52478), a double-CD that contained 24 of Monroe's 40 released recordings made for Columbia Records between 1945 and 1949, along with alternate takes of the other 16. The 45-minute 16 Gems contains the originally released versions of those songs, so that it serves as a companion to the earlier compilation and completes the CD reissue of the complete Columbia Bill Monroe. With the exception of "Kentucky Waltz," Monroe's first and biggest hit, which leads off the album, and the genre-defining "Blue Grass Breakdown," these are not the best-known of the Columbia recordings. But even as an addenda, the set contains enough powerful performances, many of them featuring Earl Scruggs and Lester Flatt, to live up to its name. ~ William Ruhlmann, All Music Guide [-] Hide

Much of Satan Is Real's reputation stems from its cover, a bizarre photo depicting the Louvins -- awkwardly posed and in gleaming white suits -- standing amid the flames of hellfire, a 12-foot-tall plywood Lucifer looming behind them. The jacket is so notorious, in fact, that it merited inclusion in the second volume of the Incredibly Strange... [+] Read More

Much of Satan Is Real's reputation stems from its cover, a bizarre photo depicting the Louvins -- awkwardly posed and in gleaming white suits -- standing amid the flames of hellfire, a 12-foot-tall plywood Lucifer looming behind them. The jacket is so notorious, in fact, that it merited inclusion in the second volume of the Incredibly Strange Music book series. It's a shame the album has acquired such a high kitsch quotient, because in reality Satan Is Real is one of the Louvins' finest and most impassioned recordings. The duo's second all-gospel LP, its songs -- most of them originals -- explore the brothers' deeply held beliefs without pulling any punches. The title track, in which Ira preaches that any acknowledgment of a higher power demands a similar nod to the reality of darker forces, sets a haunting tone which carries throughout the course of the set; from "The Christian Life" (later covered by the Byrds on their country-rock landmark Sweetheart of the Rodeo) to the stinging "Are You Afraid to Die," these tales of death, sin, and despair resonate with raw power and stark beauty. ~ Jason Ankeny, All Music Guide [-] Hide