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Download In It for the Long Run: A Musical Odyssey by Jim Rooney PDF

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By Jim Rooney

Inspired by way of the Hank Williams and Leadbelly recordings he heard as growing to be up open air of Boston, Jim Rooney begun a musical trip that intersected with a number of the largest names in American track together with Bob Dylan, James Taylor, invoice Monroe, Muddy Waters, and Alison Krauss. In It for the long term: A Musical Odyssey is Rooney's kaleidoscopic first-hand account of greater than 5 a long time of luck as a performer, live performance promoter, songwriter, song writer, engineer, and checklist producer.

As witness to and player in over a part century of track background, Rooney presents a worldly window into American vernacular tune. Following his stint as a "Hayloft Jamboree" hillbilly singer within the mid-1950s, Rooney controlled Cambridge's membership forty seven, a catalyst of the ‘60’s folks track increase. He quickly moved to the Newport folks pageant as expertise coordinator and director the place he had a entrance row seat to Dylan "going electric."

In the Seventies Rooney's odyssey endured in Nashville the place he all started engineering and generating documents. His paintings helped replacement state song achieve a foothold in song urban and culminated in Grammy nominations for singer-songwriters John Prine, Iris Dement, and Nanci Griffith. Later in his occupation he was once a key hyperlink connecting Nashville to Ireland's people tune scene.

Writing songs or writing his memoir, Jim Rooney is the consummate storyteller. In It for the longer term: A Musical Odyssey is his singular chronicle from the guts of Americana.


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Extra info for In It for the Long Run: A Musical Odyssey

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Among the new cast members was a group called “Buzz, Jack & Scotty; The Bayou Boys” featuring a wild mandolinist and singer, Buzz Busby; a show-stopping fiddler, Scotty Stoneman; and Jack Clement, who sang and played guitar. It was my first time to lay eyes on Jack, but it definitely wasn’t going to be my last. Another of my classmates at school, Bob Holland, sold me a little plywood guitar with a canvas case for $12. It came with a fingerpick, which I thought you put on over your fingernail.

He was very welcoming. If Roger said we were good enough to be on the show that was good enough for him. He obviously liked Roger, who’d been coming for several years. He introduced Roger to the audience as “a great big friendly Jew from New York,” which, of course, he was. There was no malice intended and none taken. The show wasn’t a country music show. It was folk musicians from the area—ballad singers, old-time fiddlers, banjo players, and clog dancers. When we finally went on, we did “John Henry” at a pretty torrid pace.

Another of my classmates at school, Bob Holland, sold me a little plywood guitar with a canvas case for $12. It came with a fingerpick, which I thought you put on over your fingernail. I took it home and got out one of my Hank Williams songbooks. “Darlin’ Let’s Turn Back the Years” had only two chords so I gave that a try. It was excruciating. It felt like the wire was carving into my fingers. It was. Since I was playing left-handed, I thought it might be a good idea to change the strings around and play it properly, but the thin strings in the fat grooves just rattled and buzzed, so I switched the strings back.

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