Alison Krauss helped bring bluegrass to a new audience in the '90s. Blending bluegrass with folk, Krauss was instantly acclaimed from the start of her career, but it wasn't until her platinum-selling 1995 compilation Now That I've Found You that she became a mainstream star. Between her 1987 debut Too Late to Cry and Now That I've Found You, she... [+] Read More

Alison Krauss helped bring bluegrass to a new audience in the '90s. Blending bluegrass with folk, Krauss was instantly acclaimed from the start of her career, but it wasn't until her platinum-selling 1995 compilation Now That I've Found You that she became a mainstream star. Between her 1987 debut Too Late to Cry and Now That I've Found You, she matured from a child prodigy to a versatile, ambitious, and diverse musician and, in the process, made some of the freshest bluegrass of the late '80s and early '90s.

When she was five years old, Krauss began playing the violin, taking classical lessons. She soon tired of the regiments of classical playing and began performing country and bluegrass licks. At the age of eight, she began entering talent contests in and around her native Champaign, IL. Two years later, she had her own band. In 1983, when she was 12 years old, she won the Illinois State Fiddle Championship and the Society for the Preservation of Bluegrass in America named her the Most Promising Fiddler in the Midwest. In 1985, Krauss made her recording debut on an album, playing on a record made by her brother Viktor, Jim Hoiles, and Bruce Weiss. The album was called Different Strokes and appeared on the independent Fiddle Tunes label. Later that year, she signed to Rounder Records. She was 14 years old at the time.

Too Late to Cry, Krauss' debut album, appeared in 1987 to very positive reviews. The album was recorded with Krauss' backup band, the Union Station, which featured guitarist Jeff White, banjoist Alison Brown, and bassist Viktor Krauss; the following year, the group won the Society for the Preservation of Bluegrass in America's National Band Championship contest. In 1989, Krauss and Union Station released Two Highways, which was nominated for the Grammy Award for Best Bluegrass Recording. Although the album didn't win the award, her next album, 1990's I've Got That Old Feeling, did. The success of I've Got That Old Feeling was unprecedented for bluegrass acts in the '80s and it laid the groundwork for Krauss' breakthrough in the '90s. By this time, the Union Station's lineup had more or less settled. It now featured mandolinist Adam Steffey, banjoist/guitarist Ron Block, bassist Barry Bales, and guitarist Tim Stafford; Stafford later left the group and was replaced by Dan Tyminski.

In 1992, Alison Krauss & Union Station released Every Time You Say Goodbye, which featured a typically eclectic array of material: everything from "Orange Blossom Special" to the Beatles' "I Will" and Shawn Colvin's "I Don't Know Why" were covered. The album appeared in the country charts and Krauss' videos were shown on Country Music Television. I Know Who Holds Tomorrow was released in 1994 and was even more successful. But it was the 1995 compilation Now That I've Found You: A Collection that made Krauss a star. The album reached number two on the country charts and -- even more remarkably -- went into the pop Top Ten and sold over a million copies. Its success confirmed her status as bluegrass' leading light in the '90s. Krauss & Union Station followed the unexpected success of Now That I've Found You with So Long, So Wrong in the spring 1997. Forget About It followed in mid-1999. A year later, Alison Krauss & Union Station joined the likes of John Hartford, Ralph Stanley, and others for the multi-million-selling soundtrack O Brother, Where Art Thou?. A North American tour showcasing some of the album's stellar musicians followed in summer 2002, allowing Krauss and her band's popularity to soar. New Favorite appeared in November and went gold within four months. A live album followed soon after, and in 2004, Krauss released Lonely Runs Both Ways. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

One of the leading lights of progressive bluegrass in the '60s, the Dillards played a major part in modernizing and popularizing the sound of bluegrass, and were also an underappreciated influence on country-rock. The group was founded by brothers Doug (banjo) and Rodney Dillard (guitar), who grew up in Salem, MO, playing music together. During... [+] Read More

One of the leading lights of progressive bluegrass in the '60s, the Dillards played a major part in modernizing and popularizing the sound of bluegrass, and were also an underappreciated influence on country-rock. The group was founded by brothers Doug (banjo) and Rodney Dillard (guitar), who grew up in Salem, MO, playing music together. During the late '50s, they appeared often on local radio and performed with several different area bands, including the Hawthorn Brothers, the Lewis Brothers, and the Dixie Ramblers; they also recorded a couple of singles for the St. Louis-based K-Ark label as the Dillard Brothers in 1958. In 1960, they decided to form their own group, recruiting DJ pal Mitch Jayne on bass, as well as mandolin player Dean Webb. Christening themselves the Dillards, the quartet decided to move to Los Angeles in 1962, and were quickly signed to Elektra after being discovered at a gig with the Greenbriar Boys. Not long after, the group landed a recurring role on The Andy Griffith Show, appearing in several episodes over the next few years as a musically inclined hillbilly family called the Darlings.

Meanwhile, the Dillards released their debut album, Back Porch Bluegrass, in 1963, and also teamed up with Glen Campbell and Tut Taylor for the side project the Folkswingers, who went on to release two albums. The Dillards' second album, 1964's concert set Live! Almost!, captured their controversial move into amplified electric instruments, which was considered heresy by many bluegrass purists; they also began to tour with rock groups, most notably the Byrds. In response to purist criticism, the group followed Live! Almost! in 1965 with the more traditional Pickin' & Fiddlin', which featured co-billing for fiddler Byron Berline. Dissatisfied with the way Elektra was marketing them, the Dillards switched labels to Capitol, but found a similar lack of kindred spirits in the producers they worked with there, and wound up returning to Elektra without releasing an album. Meanwhile, Doug and Rodney were increasingly at odds over the group's creative direction, with Rodney pursuing a more radical break with tradition than Doug. Doug moonlighted in the backing band for ex-Byrd Gene Clark's groundbreaking collaboration with the Gosdin Brothers, and after he and Rodney recorded some material for the Bonnie & Clyde film soundtrack in 1967, he decided to leave the Dillards and strike out on his own.

Doug soon teamed up with Gene Clark as Dillard & Clark and recorded some highly regarded material before starting a solo career that remained productive through the '70s. Rodney, meanwhile, replaced his brother with banjoist Herb Pedersen, and the Dillards recorded what many critics regard as their masterwork, Wheatstraw Suite. Released in 1968, the album displayed Rodney's progressive eclecticism in full cry, featuring fuller instrumentation and covers of the Beatles' "I've Just Seen a Face" and Tim Hardin's "Reason to Believe." Though it wasn't a hit, critics and musicians praised its unpredictable mix of bluegrass, country, folk, rock, and pop. 1970's Copperfields took a similarly adventurous approach, and drummer Paul York became an official member of the group. Unfortunately, Elektra was still somewhat mystified by their music, and they parted ways again. Pedersen departed in 1972 to join Byron Berline's band, Country Gazette, and was replaced by Billy Ray Latham; by this time, the Dillards had signed with the smaller Anthem label, where they landed their only charting pop hit, "It's About Time," in 1971. An opening slot on tour with Elton John in 1972 helped Roots & Branches become their biggest-selling album to date, but the group subsequently switched over to the Poppy label for their follow-up, 1973's country-rock effort Tribute to the American Duck.

Mitch Jayne left the group in 1974, partly due to hearing loss, and was replaced by new bassist Jeff Gilkinson. It took several years to reconvene for their next album, 1977's The Dillards vs. the Incredible L.A. Time Machine, which was released on Flying Fish. Latham subsequently departed and was replaced by Doug Bounsall, and Herb Pederson also returned for the group's next two albums, 1978's Mountain Rock (after which Paul York retired) and 1979's Decade Waltz. Also in 1979, the group reunited with Doug Dillard and other past members (and relatives) for the Salem, MO, concert celebration Homecoming and Family Reunion. Following that performance, most of the Dillards left the group. Rodney Dillard and Dean Webb briefly organized a new lineup that featured Joe Villegas, Eddie Ponder, and Peter Grant, but it proved short-lived; Rodney subsequently formed the Rodney Dillard Band and settled in Branson, MO.

In 1988, the original Dillards lineup reunited for a series of performances, and interest in the group was rekindled thanks to the publicity surrounding The Andy Griffith Show's 30th anniversary. With new member Steve Cooley later taking Doug Dillard's place, the group cut two new albums for Vanguard, 1990's Let It Fly and 1992's Take Me Along for the Ride. The group reunited several times throughout the '90s for concert performances, and both Doug and Rodney continued to pursue their own ventures. ~ Steve Huey, All Music Guide [-] Hide

The Country Gentlemen expanded the definition of "bluegrass" -- they were progressive bluegrass before the term existed. The Gentlemen came along with the first wave of the folk music revival in the late '50s and quickly made a name for themselves as a band that could not only play traditional material straight, but also brought Bob Dylan and... [+] Read More

The Country Gentlemen expanded the definition of "bluegrass" -- they were progressive bluegrass before the term existed. The Gentlemen came along with the first wave of the folk music revival in the late '50s and quickly made a name for themselves as a band that could not only play traditional material straight, but also brought Bob Dylan and contemporary country material into the genre. Because of their exceptional singing and virtuoso instrumentals, the Gentlemen attracted a broad audience, ranging from traditional country/bluegrass fans to folk and soft rock lovers.

Formed in Washington, D.C., on July 4, 1957, the original lineup of the Country Gentlemen featured guitarist/vocalist Charlie Waller -- who has led the band through all of its numerous incarnations -- mandolinist/vocalist John Duffey, banjoist Bill Emerson, and bassist Tom Morgan. Waller had spent time with a number of country string bands in the early '50s, most notably Buzz Busby's band, the Bayou Boys, which also featured Emerson. After the Bayou Boys suffered a car crash in early 1957, Waller and Emerson put together a group to fulfill the band's regular spot at a Virginia venue while various members were recovering. That replacement band evolved into the County Gentlemen.

For the first two years of their existence, the Country Gentlemen went through numerous lineup changes. In 1959, they finally landed on a permanent lineup, with banjoist Eddie Adcock and bassist Tom Gray joining a band that already included Waller and Duffey. This lineup secured a contract with Starday Records and released a handful of singles, as well as one album, Traveling Dobro Blues. Following their Starday recordings, the group moved to Folkways, where they released three albums, including their breakthrough, Country Songs Old & New. After their stint at Folkways, the group moved to Mercury in 1963, where they released Folk Session Inside. The following year, they began a long association with Rebel Records.

During the '60s, the Country Gentlemen built up a dedicated fan base in America through constant touring. Although their lineup shifted rapidly -- following Gray's 1964 departure, they went through several of bassists before settling on Ed McGlothlin -- their sound pretty much stayed the same. At the end of the '60s, the core lineup began to splinter as Duffey left in 1969; he was replaced by Jimmy Gaudreau. In the following year, both Adcock and McGlothlin left the lineup. In 1971, the second classic lineup of the Country Gentlemen -- featuring Waller, a re-joined Bill Emerson, mandolinist Doyle Lawson, and bassist Bill Yates -- fell into place and stayed together for two years. For the next 20 years, various lineups of the Country Gentlemen, which were all led by Waller, remained popular on the bluegrass festival circuit. ~ Stephen Thomas Erlewine & David Vinopal, All Music Guide [-] Hide

Jerry Douglas is widely renowned as perhaps the finest dobro player in contemporary acoustic music. His main foundation is bluegrass, but Douglas is an eclectic whose tastes run toward jazz, blues, folk, and straight-ahead country as well, and he's equally capable of appealing to bluegrass aficionados or new agers with a taste for instrumental... [+] Read More

Jerry Douglas is widely renowned as perhaps the finest dobro player in contemporary acoustic music. His main foundation is bluegrass, but Douglas is an eclectic whose tastes run toward jazz, blues, folk, and straight-ahead country as well, and he's equally capable of appealing to bluegrass aficionados or new agers with a taste for instrumental roots music. What's more, his progressive sensibility as a composer has earned him comparisons to like-minded virtuosos Béla Fleck and David Grisman. Douglas was born in Columbus, OH, in 1955, and began playing the dobro at age eight with encouragement from his father, who was also a bluegrass musician. By his teen years, Douglas was already a member of his father's band, and his playing was especially influenced by Josh Graves of Flatt & Scruggs' Foggy Mountain Boys. Douglas was discovered at a festival by the Country Gentlemen, who took him on tour with them for the rest of the summer and later brought him into the recording studio. From there, Douglas established himself as a hugely in-demand session musician; during the latter half of the '70s, he worked with the likes of J.D. Crowe & the New South, David Grisman, Ricky Skaggs, Doyle Lawson, and Tony Rice. Additionally, Douglas released his debut album, Fluxology, on Rounder in 1979; he followed it three years later with Fluxedo, which like its predecessor stuck relatively close to traditional (albeit sometimes jazzy) bluegrass.

During the early '80s, Douglas continued his session career with even greater success, adding Emmylou Harris, Béla Fleck, the Whites, and Peter Rowan to his list of credits. He returned to his solo career with 1986's Under the Wire on Sugar Hill, which reflected his interest in the progressive new-acoustic (or "newgrass") movement. He subsequently signed with MCA, where he issued Changing Channels (1987) and the smoother, strongly jazz-influenced Plant Early (1989). More session work for increasingly prominent artists brought him into the '90s, with names like Alison Krauss, Del McCoury, Garth Brooks, Trisha Yearwood, Randy Travis, Clint Black, Patty Loveless, Suzy Bogguss, Reba McEntire, Kathy Mattea, and Dolly Parton on his resumé. In 1992, he returned to Sugar Hill for the more traditional bluegrass outing Slide Rule, which many critics ranked among his finest recordings. The following year brought the all-instrumental Skip, Hop & Wobble, a trio recording with Russ Barenberg and Edgar Meyer. In 1994, Douglas contributed to the Grammy-winning compilation Great Dobro Sessions, and cut a duo album with Peter Rowan, Yonder, in 1996. 1998's Restless on the Farm, true to its title, was a return to Douglas' freewheeling eclecticism, which continued on 2002's Lookout for Hope. Best Kept Secret arrived in September of 2005. ~ Steve Huey, All Music Guide [-] Hide

New Grass Revival, formed in 1972 by four former members of the Bluegrass Alliance, flourished in a decade when numerous groups took traditional bluegrass and changed it to varying degrees. The group was successful enough to have the group's name become a generic label: "newgrass." The band's image, with long hair and occasionally electrified... [+] Read More

New Grass Revival, formed in 1972 by four former members of the Bluegrass Alliance, flourished in a decade when numerous groups took traditional bluegrass and changed it to varying degrees. The group was successful enough to have the group's name become a generic label: "newgrass." The band's image, with long hair and occasionally electrified instruments, as well as its musical material contrasted greatly with standard (traditional) bluegrass like that played by Bill Monroe, Ralph Stanley, the Lilly Brothers, and Lester Flatt's band. In terms of longevity, popularity, and exposure, the Revival, with its hip reputation, was perhaps the most successful in competition against II Generation, Seldom Scene, the Country Gentlemen, and others.

The origins of New Grass Revival lay in the Bluegrass Alliance, which Sam Bush (vocals, fiddle, guitar, mandolin) and Courtney Johnson (banjo, vocals) joined in 1970. At the time, the Alliance also featured bassist Ebo Walker and fiddler Lonnie Peerce. Within a year after Bush's and Johnson's arrival, Curtis Burch (dobro, guitar, vocals) joined the band. In 1972, Peerce left the band, and the remaining members decided to continue under a new name -- New Grass Revival. The band released their eponymous debut, Arrival of the New Grass Revival, later that year on Starday Records.

After the release of their debut, Walker parted ways with the band, and the group replaced him with Butch Robbins, who was only with the band for a short time. He was replaced by John Cowan, an Evansville, IN, native. This lineup was stable throughout the '70s, recording a number of albums for Flying Fish Records. As their name suggested, New Grass Revival never played traditional bluegrass -- all of the members brought elements of rock & roll, jazz, and blues to the group's sound. Consequently, certain portions of the bluegrass community scorned them, but they also gained a devoted following of listeners who believed they were moving the genre in a new, fresh direction.

In 1981, Johnson and Burch left the band, claiming they were tired of touring. Bush and Cowan continued the group, replacing them with banjoist Béla Fleck and mandolinist/guitarist Pat Flynn. New Grass Revival moved to Sugar Hill Records in 1984 and released their first album featuring the new lineup, On the Boulevard. Two years later, the band signed with EMI Records and released an eponymous album, which proved to be their breakthrough into the mainstream. Two of the singles from the album -- "What You Do to Me" and "Ain't That Peculiar" -- were minor hits on the country charts, and Fleck's showcase "Seven by Seven" was nominated for a Grammy for Best Country Instrumental. Hold to a Dream, released in 1987, was just as successful as its predecessor, featuring the hits "Unconditional Love" and "Can't Stop Now," which both nearly made the Top 40.

In 1989, New Grass Revival released their third major-label album, Friday Night in America, which was yet another commercial success. "Callin' Baton Rouge" became their first Top 40 single, followed by the number 58 hit "You Plant Your Fields." Even though the band was more popular than ever, Bush decided to pull the plug on the group after the release of Friday Night in America. Bush became a session musician, and Fleck went onto a very successful and respected solo career. ~ Stephen Thomas Erlewine & David Vinopal, All Music Guide [-] Hide

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This excellent 1993 Sugar Hill CD features three of the top artists playing newgrass today. Entirely instrumental, entirely enjoyable, the tracks on this CD run the gamut of musical expression from the humorous play of "Why Don't You Go Back to the Woods" to the slow, beautiful "Hymn to Ordinary Motion." The liner notes discuss the creative... [+] Read More

This excellent 1993 Sugar Hill CD features three of the top artists playing newgrass today. Entirely instrumental, entirely enjoyable, the tracks on this CD run the gamut of musical expression from the humorous play of "Why Don't You Go Back to the Woods" to the slow, beautiful "Hymn to Ordinary Motion." The liner notes discuss the creative process around each song, as well as the group's union and the challenges/rewards of playing as a trio. Sam Bush does a couple of very nice guest spots on mandolin. If you are tired of the musical simplicity and inane lyrics of much of today's music, this CD cleanses the palate. ~ Jeff Crooke, All Music Guide [-] Hide

Flashback is a first-rate retrospective of banjo player J.D. Crowe. Originally released on the Rounder label in 1994, Flashback traces Crowe's formative years with the Osborne Brothers, Jimmy Martin and as leader of the New South. The album was embraced by bluegrass fans and was nominated for a Grammy for Best Bluegrass Album upon release. Among... [+] Read More

Flashback is a first-rate retrospective of banjo player J.D. Crowe. Originally released on the Rounder label in 1994, Flashback traces Crowe's formative years with the Osborne Brothers, Jimmy Martin and as leader of the New South. The album was embraced by bluegrass fans and was nominated for a Grammy for Best Bluegrass Album upon release. Among the 12 tracks include "Nashville Skyline Rag," "Long Journey Home," "When the Angels Carry Me Home," and "Waiting for You." Flashback is an excellent way to get acquainted with all aspects of J.D. Crowe's music. ~ Al Campbell, All Music Guide [-] Hide

The Flecktones owe more to bebop than bluegrass, and here the group finally names their style "blu-bop." That's why Flight of the Cosmic Hippo topped the jazz, not the country, chart. The Flecktones continue to make it look easy, adding banjo power chords to "Turtle Rock" and reworking Lennon/McCartney's "Michelle." ~ Brian Mansfield, All Music...

The Flecktones owe more to bebop than bluegrass, and here the group finally names their style "blu-bop." That's why Flight of the Cosmic Hippo topped the jazz, not the country, chart. The Flecktones continue to make it look easy, adding banjo power chords to "Turtle Rock" and reworking Lennon/McCartney's "Michelle." ~ Brian Mansfield, All Music Guide [-] Hide

This 1998 release found J.D. Crowe and his band, the New South, at their creative best and definitely at the top of their game. Always skirting the fine line between what is traditional bluegrass and what is country, Crowe and his band stick close to tradition while alternately blazing new trails in the genre. That said, this album probably has... [+] Read More

This 1998 release found J.D. Crowe and his band, the New South, at their creative best and definitely at the top of their game. Always skirting the fine line between what is traditional bluegrass and what is country, Crowe and his band stick close to tradition while alternately blazing new trails in the genre. That said, this album probably has a higher quotient of straight country done up Crowe style than any previous outing. From its remake of Charley Pride's "(I'm So) Afraid of Losing You Again" to Merle Haggard's "Back to the Barrooms" to Townes Van Zandt's "White Freight Liner Blues," the band takes on this type of material with considerable élan, imparting a fresh slant to everything. The more traditional instrumentals, "J's Tune" and "Careless Love," individually call to mind the work of Bill Monroe and Earl Scruggs, respectively. Mandolinist and lead singer Dwight McCall's original "I Don't Know" is another highlight falling into that nether region between bluegrass and country. "Come Back Sweetheart" and "You Didn't Say Goodbye" are more traditional pieces and serve as musical anchors to Come on Down to My World, an album that shows the wide range of Crowe's music and his unbelievable facility on his instrument. ~ Cub Koda, All Music Guide [-] Hide