1981 Tater Tate Fiddler & His Lady Bluegrass Vinyl LP Record VG+

Description: Yes we combine shipping for multiple purchases.Add multiple items to your cart and the combined shipping total will automatically be calculated. 1981 Tater Tate Fiddler & His Lady Bluegrass Vinyl LP Record VG+ Record Grade per Goldmine Standard: VG+ Lee Highway Blues... . 3:02Cattle Call... .3:05Soldier’s Joy... .2:34Cheyenne .. . 2:56'!Crazy Creek... .2:29Back Up and Push... .2:24Side BCherokee Shuffle.... 2:22Hoe Down Polka..... .247Liza Lynn Waltz... .2:39BusyFingers... .2:44Whispering Hope . . . . 2:32Twinkle, Twinkle, Little Star.... 2:36Lester Hatt used to pay a compliment to his fiddler at almost every performance during the lastcouple of years of his life. He would recall another fiddler, Paul Warren, the great breakdownffildler ^Pwho shared the stage with Hatt and Scruggs during all those wonderfill years. “When Paul passed 4^1away a few years back,” Lester would drawl and point that big old Elton fingerpick toward the smilingVirginian on his right, “The only man we even talked about was... Tater Tate.”If you’ve been around bluegrass for a few years, your knowledge of Clarence “Tater” Tate didn’tbegin with his sudden emergence on the Grand Ole Opry and bluegrass festival stage as a member ofHatt’s Nashville Grass. He’s like family. An old friend, someone you’re always glad to see and spendsome time with. He’s also a fiddle stylist par excellence and one of the most easily recognizable in thebusiness.Tater’s credentials in the bluegrass field are about as complete and impressive as you can get.Those early years on the Knoxville scene, the Bailey Brothers and the Sauceman Brothers - Carl Story,. Bill Monroe’s Blue Grass Boys, Jimmy Martin’s Sunny Mountain Boys, not to forget that milestoneHylo Brown band that recorded for Capitol in the late fifties. This writer first saw Tater as a memberof the super-solid Red Smiley band, which stands today as my personal choice as the best bluegrassband of the late sixties, due in no small part to Tater’s contributions to that ensemble.Those coritri -buttons, by the way, are what made the Shenandoah Cut -ups (essentially Smiley’s old band) one of themost solid of the seventies.Tater is the kind of musician you’d like even if he weren’t a great fiddler - his stagemanship, thatbroad grin, are as much an ingrained part of the bluegrass conscious and subconscious as the way hesails those double -stops in and out of a song in a way that has become his firmly patented trademark.It doesn’t take a finely trained bluegrass ear more than a second or two to find Tater on a record. Thoserhythm catches and that aggressive bowing. That “cut” in his fiddle tone and that solid bluegrasstechnique unincumbered by saccharin vibrato. He’s a straight-ahead musician in the great bluegrasstradition. Hence, the great affection toward Tater from others in the field and the above mentionedquote from Mr. Hatt.The musicians providing the backup on this album are some of Nashville’s finest, being in factV membersoftheNashviUeGrass,ofwhomTaterwasamemberatthetimethisrecordingwasmade.Tater has become kind of a fixture on the Nashville scene these days having left the Nashville Grass tobecome a member of another Opry feature act with its feet firmly within the traditional camp,WilmaLee Cooper’s Clinch Mountain Clan. Listening to Tater on this album - without question his best andmost finely produced solo effort to date-I can’t help bringing back a lot ofgood memories of greatperformancesandbluegrassfestivalspast.TheoldfiddleworkshopsatBerryvillewithTaterpolitelyanswering all kinds of dumb questions, then with saintly patience cross-tuning his fiddle for "BlackMountain Rag” because some hungover jerk asked for it, and then absolutely burning the stumps outwith it. I remember those neat old Red Smiley Ips, twenty cuts apiece, with songs so short that therewas barely enough timefor averse and a chorus and a “shave and ahaircut”! remember learning, afterseveral years, that the fiddler on my cherished Hylo Brown Capitol was indeed fiddlin’ Tater Tate. Andit occurs to me that it’s about time Tater is being heard by as wide an audience as he deserves and it’sabout time he had a solo album worthy of his talents. If this album is your introduction to Tater Tate,congratulations and welcome to the dub. If you’ve admired him for as long as I have, this is one that’sgoing to help get you through the next couple of winters. St back, imagine yourself on a lawn chairin front of a flatbed stage down South somewhere with leaves rustling overhead. Conjure up that shuffleand cocked smile and you've got a little bit of what bluegrass is all about - Mr. Tater Tate. Tater Tate-fiddleMarty Stuart - second fiddleBlake Williams- guitar and banjoCharlie Nixon-dobroCurley Seckier - mandolinPete Corum - bassRecorded at Oak Valley Studio • Nashville,Tenn. • November 1978Sound Engineer • Gene LawsonProduction, disc mastering and coverphotography • Paul GerryJacket design • Ron SmithSpecial thanks to Paul & Ila Kasofskyand Steve Warington1981RevonahRecordsBox 217, Ferndale, New York 12734 lp2868

Price: 21.24 USD

Location: Kingsport, Tennessee

End Time: 2024-08-26T12:20:54.000Z

Shipping Cost: 5.95 USD