Overall Comments

Old-Time Country Guitar Backup Basics
Joseph Weidlich, Author
2005 Centerstream Publishing - Hal Leonard Publications

Old-time country guitar can be evasive, due to the elaborate forms existing at the turn of the century. While surviving practitioners provide much insight as to "how it was done", we also have an extensive collection of early studio, radio, and field recordings from which to mine this invaluable American innovation. Often understated as "rhythm" guitar, old-time guitar is much more than just keeping time, and pounding out chords.

The instructional book, "Old-time Country Guitar Backup Basics" attempts to capture some of the key elements of the earliest styles of guitar, associated with backing up singers, fiddlers, and other lead instruments in the context of early rural American country music. The book is brief yet adequate in establishing a solid style of guitar for most any pre-WWII country music one might enjoy.

The author Joseph Weidlich is originally a serious student of classical guitar, giving him both a technical and acedemic background from which to appreciate the depth and complexity of his chosen subject. In fact, his first trek into traditional American music lead him to publish several acclaimed books on mid-1800's minstrel banjo, of which he is also an accomplished student. He has also collaborated with the noted old-time music scholar Dr. Alan Jabbour, and banjo luthier Mike Ramsey.

The book begins with a fair recap of the origins of what is vulnerably known as "old-time music". The typical chronological formula of fiddle-then-banjo-then-guitar is explained, with the latter debatably acknowledged as a 1920's entry to old-time string bands. The author might investigate pictures, stories, and artifiacts that suggest guitars being used with fiddles and banjos as early as pre-civil war (ref. Bob Carlin's Southern Exposure) to expand on his timeline. The author also acknowledges the mingling of blacks and whites in forming old-time music, arguably the pre-cursor of all American popular music following, but makes an assertion that the open guitar tunings of the early 1800's lead directly to the formation of blues, which may be a simplification of all the experimentation in the 100 years in between. At any rate, the attempt to define "old-time" music at the beginning of the book is both admirable, and telling of the author's recognition of this important subject.

Weidlich makes an important point, that virtually all the early string bands recorded had their own unique sound. The typical repertoire consisted not only of archaic fiddle tunes, but also minstrel era tunes, gospel pieces, ballads, tin-pan alley and other popular songs and tunes. He goes on to describe the effect of the depression, and the modernizing of guitar styles following in the late 1930's, even though several of his examples were actually recording as early as 1931.

The author finally describes the techniques in the book as taken from source recordings, of guitar players using thumbpicks and sometimes fingerpicks, and describes the use of a flat pick as a modern innovation. He targets the book at those who use a flatpick. The author might have identified several early guitarists who did use a flatpick, and were quite influencial.
The introduction adequately describes the author, his background and perspective, and the intended usage of his book. It is believed the author researched his subject well, chose his material carefully, and accurately, concisely, and effectively produced a very useful primer for early country guitar backup technique, typical of at least one style in wide usage before WWII, and broad enough to work in most any setting of old-time country music, or most any country music for that matter.

One improvement for this book, would have been the inclusion of a legend or key to the author's tab format for the techniques reviewed. There are many forms of tab in print, and it took a while to decode several symbols and values. As a strict observer of aural tradition and playing by ear, attempting to translate tab into music was very frustrating, but proved functional. Still, an accompanying CD would have halved the time invested in completing the book. Also, a basic explanation of a musical scale, and the numbering system for notes would have helped too, but in the authors defense, he states a basic understanding of these skills is required before working thru the book. With so many books including these foundations, it is a minor oversite for this publication, and most book consumers fully expect a tablature format.

He begins the tab and technique section with the bedrock "boom chick" lick. It would be preferred to use a more phonetic term, like "boom ching", as it is more correct to hold each chord, and let strings ring. "Boom chick" implies a staccato, choked, or shortened second beat, which was in use, but not the way most intend when using the term and not prevalent in the books subject area. Still, "Boom chick" seems to prevail. Again, a CD would clear this up very quickly.

Next, the author walks the reader easily thru the critical skill of alternating the "bass" note or the 1 and 3 beats, but also includes the use of the boom-ching-ching-ching lick often heard by the likes of Jimmy Rodgers. He describes the typical I and V or root and V pattern in good detail. Other techniques like the "6-7-8" run, and the "Golden Age Lick" are described, with the Golden Age Lick repeating twice at the end of a phrase, perhaps best performed by Roy Harvey of Charlie Poole's North Carolina Rambers.

The author then describes the usage of the third or III note. This is an important element, as it distinguishes a pre-war and post-war preference for guitarists. Guitar students will easily recognize this difference when strumming a three finger G chord, and comparing with the four finger chord. The four finger chord eliminates the "third", while the usual accompanying style avoids the 5th string for the same reason. Several variations of using the third are presented.

The 3-2-1 lick is described, although this lick can be overused, and can also unitentionally add a tin-pan-alley flavor, especially if extended into the 3,3-,2,1 lick. He choses several varations, as he does for most all the techniques, and all are very faithful in his purpose.

Leading tones are described, which are a wonderful addition to songs and more lyrical pieces, perhaps more at home with singing bands such as the Carters, and less at home with strict fiddle-banjo teams like Woltz's Southern Broadcasters. Alton Delmore used these often in his recordings before WWII with his brother, and although primarily known for his more than 1000 compositions, and his exemplary singing with his brother, he was an accomplished instrumentalist on fiddle, banjo, and guitar. He was not alone in using this and other techniques learned during his early1920's tutelage in the South, reinforcing its inclusion in this book.

Other techiques are described including chromatic tones. These really give a certain flavor to your backup, and it can't be helped but to harken the Mississippi Shieks, and the Baxters wonderful fiddle and guitar music, as well as many other teams across the South.

Finally, the remaining important technique described was at first confusing. After reflection, it is believed the "playing licks over chords" section is an attempt to emulate counterpoint on the arpeggios or notes of chords and changes as done in the early years, and more recently used in modern "walking" of the bass. This element is certainly present in some of the earliest recordings, Riley Puckett of the Skillet Lickers being only one example. However, it can be overdone, and confused with bass "walking". Its a subtle difference, and further study and careful usage would have to be observed in its usage to preserve the original purpose of old-time guitar. The author does a good job of introducing the concept as a teaser. Additional listening to references included in the book would provide excellent examples.

There are a wealth of other techniques, both documented, and living in aural form today that couldn't be included without sacrificing the delightful brevity of this work. However, should the author desire, a second book could certainly build on this one, with the extensive amount of material available and in use today. Old-time guitar hasn't recieved as much attention as fiddle and banjo elements, but its just as important, and can make any fiddler or banjo knocker sound their best when performing so many wonderful string band pieces. And for those guitarists who think they have grown tired of "rhythm" or feel under-appreciated, the old-time guitar material in this book and elsewhere can make you a hot commodity.

In closing, it was concluded that this publication is a real standout in the plethera of instructional material today, on a nearly obscure but important subject. It is hard to imagine a better product on the subject, in the space used, and selling for the reasonable price suggested. It was a pleasant surprise to find a book on this subject at all, and even more gratifying to find it so well written. - jbh

Jim Holland
Athens, Alabama

Overall Rating

10

Sound

These are early 1930's wonderful, ladderbraced, small 0 or 00 sized guitars. The sound is very open and midrange dominated. They have a resonating ringing quality too. Because of the different voice, they stand out amongst a group of other dreadnaughts. They also make excellent rhythm guitars too. The sound is very similar to a Selmer style guitar. No wonder: both are ladder braced. It is important to use the proper gage strings, as too heavy a set will "choke" the sound.

Sound Rating

8

Appearance

This one had a lot of age. However, its a wonderful unique shape, that Gibson only used with this model, so its very distinctive. I have some photos of notable musicians playing a KG-11. The body is black, with the early Gibson flattop burst around the soundhole. The finish is fully dried, thin and almost brittle. Mine has a three piece top, and a ONE PIECE mohagany back. They don't make wood like this anymore! The soundhole has a checker trim that is nice, and black open back strip tuners that still work ok, but could be replaced. Top has a single white binding, and the peghead is painted black, with a painted label, "Carson J. Robinson" by the Montgomery Ward company. These were sold with his song book. Carson was a very well known cowboy singer in the 20's and 30's, and is recognized as training the next generation of country entertainers, most notably Louis Marshall "Grandpa" Jones. With the unique shape, old style sunburst, and "mojo", its wonderful to look at.

Appearance Rating

9

Customer Service

not applicable on a vintage instrument

Customer Service

not rated

Overall Comments

I think for a flip, these offer a new sound and voice for flatpicking, but also a real retro sound that probably is more traditional for what flatpickers first played. There's something different about the sound of a ladder braced guitar that drives you to play differently, so it really opens a time window into what the first pickers were attempting. A very different feel, and sound than the typical dreadnaught.

Overall Rating

9

Sound

These are really really wonderful guitars, and are one of the best kept secrets in a flattop expecially for a small x-braced flattip. These were the successor to the popular L-00, They have a 00 size, but a little more body, less waist, and maybe a little deeper body. The sound is very commanding and is a nice voice for lead work. String bands and traditional or old-time fiddles sound great with these backing them up too. They have enough midrange and honk to be heard, but enough refinement to fit in with modern expectations. There are ladder braced variants too, notably the LG1 so you need to pay close attention to which you may encounter. You also have to be wary of the B-25 variant that came later. The care, bracing, and materials changed, and eventually they began using laminates. B-25s are good guitars too, but should probably be considered as different instruments.

Sound Rating

9

Appearance

I love the look of these. Elvis was photographed with one, and gave his wife Priscilla one for a gift. The tobacco burst is world famous, and the shape is distinctive. This one has a lot of honest play wear, but still looks handsome. The shape is unique to these, and has never been copied.

Appearance Rating

9

Customer Service

Customer Service

not rated

Overall Comments

This was Dad's only guitar for 45 years. He owned a J50, and a few others early on, but this one had the volume, playability, and comfort he wanted so the others went when this one came along. I think it was 3-4 years old when he acquired it. These are truly wonderful guitars with a unique voice from yesteryear, and he always got compliments and amazement from guitar owners.

Overall Rating

9

Sound

These are cherry laminate dreadnaughts, with a Mahogany neck. The sound is amazingly deep for such an economical model. These were the bread and butter of the Norman line, which are handmade in Canada. The top is solid spruce, and a very nice selection. I've heard a lot of twelves that just didn't sound good, had no low end, and were thin. This one is an exception. I've compared this to Martin, Larrivee, Guild, and other twelves, and it holds its own.

Sound Rating

10

Appearance

The top has aged nicely. These came with an ultra thin satin finish. This is not the thick satin finish you see today. This looks like unfinished wood. I treat it like its unfinished, because its so thin. The cherry is nice, the 3 piece neck is nice, and the unique maple peghead veneer is really nice. very handsome. The newer ones tend to have a whiter appearance on the top, and a non-traditional rosette. I prefer the look of the early ones.

Appearance Rating

9

Customer Service

not applicable, never needed.

Customer Service

not rated

Overall Comments

For a new instrument, $250 in 1997 with a case and strings was a good deal. Considering the wood selection, excellent sound and playability, good factory setup, and long term stability, it doesn't get much better.

Overall Rating

10

Sound

The sound is very traditional for a Mohagany dreadnaught. It has good response in both the upper and lower registers, above average volume, but pehaps a little less focus in the low end that one might expect from a rosewood dread. However, this guitar will take a really agressive attack with high action, without breaking up or getting flabby.

Sound Rating

9

Appearance

These came with a satin finish body, and gloss finished neck. I think the finish was experimental, and may not be nitrocellulose. After playing it for a few years, the finish started self-buffing at the arm and leg contact points. So, I completely hand rubbed the entire instrument including the neck successfully. Very handsome. There has been some flaking around the tuner posts over the rosewood peghead overlay. I suppose the oily rosewood posed an adherence problem for this finish. The back and neck color is wonderful, and very faithful to the earliest D18s. I give it a 7 for original finish, but a 10 if you buff it out.

Appearance Rating

7

Customer Service

Not under warranty, so I can't really say. I've never owned a new Martin.

Customer Service

not rated

Overall Comments

These, are one of the better kept secrets out there. They were experimental models, used at guitar shows to demonstrate and test the market for reintroduction of several prewar features. These were the closest thing to a pre-war D18 available at the time, and except for the slimline neck, are very similar to a D18V, but with a little better selection of woods. It was these guitars that turned Martin onto the desire for the older sound in a Mohagany dread. Note that there has never been an HD-18, well this was it, but with added pre-war features that even the HD28 did not have.

Overall Rating

9