Dieselpunks

Dieselpunk + Steampunk Culture

Dieselpunk Music: Old Grass? Newgrass? Punk-grass? Bluegrass?

 Ah, the glorious American music of the Diesel Age!  The blaring of the horns, the wailing of the clarinets, the tinkling of the pianos, the plonking of the banjos...wait, banjos?

Yes, and fiddles, mandolins, and jugs too!

While the Hot Jazz and Cool Swing of the cities may steal the Diesel spotlight in many people's minds today, the American countryside had its own musical traditions and innovations, many of which resonate today in modern music.  The traditional American string band sounds of the Steam Era countryside, with roots from Ireland to Dahomey, were themselves undergoing a transformation with new picking styles and melodies, influenced by world sounds, and laying the foundations for much of modern music. Blues (Delta, Piedmont, and others), Old Time string bands, and Jug bands developed new and more complex harmonic structures and arrangements, cross-polinated, and in turn defined the emerging American sounds just as much as Jazz and Ragtime. They formed the basis for such emergent "genres" as Blues, Old Time, Bluegrass, Folk, and Country. [image from crackletonmanor.tumbler.com]

And then fell out of popular favor in many circles.

While the String Band traditions survived and even thrived in many areas, particularly Appalachia, by the 1970s they were often relegated to popular media as the music of "hicks" and "rednecks", often disparaged as the sounds of an older, more ignorant group, and largely ignored.  These great musical traditions were targeted mainly to more niche audiences, typically older and rural.  Even Country music began to electrify and move in more "pop" directions, ditching the banjo for the most part. A few popular afficionadoes like Roy Clarke, Sam Bush, Garrison Keillor, and Steve Martin kept the sounds alive, and the Folk Music revival gave them a brief popular resurgence with the 60s counterculture, but these often had a passing "kitch" or nostalgic appeal, rather than seen as something contemporary and relevent.

Thankfully, that has changed.

Starting in the early 70's, "Newgrass", or Progressive Bluegrass, began to slowly shift public perceptions away from Deliverance stereotypes with bands like Sam Bush's New Grass Revival. Newgrass occcasionally broke the top 40, but it was a decade later starting in the late 1980s, that it began to grow in popularity thanks to bands like Bela Fleck & the Flecktones.  The 1990s and 2000s in particular saw a surge of growth as popular reaction against increasingly sythesized and "corporate" popular music renewed interest in performers who could actually sing and play musical instruments.  The release of the Coen Brother's Diesel-Era Odessey Oh Brother, Where Art Thou? further expanded the popular listenership for the Old Time sounds.

The movement expanded, crossing over with Folk and Filk, Progressive Country, and Blues into a catch-all "Americana" and similar attempts at describing the new old sounds.  Bands like Trampled By Turtles and Old Crow Medicine Show topped charts and made regular television apperances.  Bands like the Carolina Chocolate Drops completed soundtracks for major Hollywood pictures.

In short, the old time sounds were, and are, back!

Combining the instruments and stylings of Old Time string band music with modern, often revolutionary sentiments, the New Old Sound, whatever you wish to classify it, is Sankofa in its purest form and worthy of full inclusion in the big tent of Dieselpunk Music [image of the Carolina Chocolate Drops, from coverlaydown.com].

Don't buy it?  Hear for yourself:

Here is Newgrass band Trampled By Turtles (lord I love that name!), who combine traditional Bluegrass sounds with progressive sensibilities and have gained a large popular youth following, even appearing on David Letterman in 2012.  This piece, Wait So Long, is one of their more non-traditional songs, a protest song that could be considered "Punkgrass" or "Speedgrass" for its hard, fast approach:

 

 

Another favorite of mine is the Carolina Chocolate Drops, whom I've mentioned here before and who first broght my attention to the concept of Sankofa. For decades Bluegrass has been a white-dominated music genre, so one could be forgiven for being surprised by how central African music traditions are to it. Did you know the Banjo is an African instrument?  West African string traditions, as tempered through old time Jug Bands and Piedmont Blues, are one of the principle foundations of it (along with Celtic traditions and others). Yet decades of humiliating racist portrayals of African American string traditions in Blackface "Minstrel Shows" left a lasting stigma on the tradition such that the traditions were nearly lost before a handful of people including the CCD resurected them and gave them a modern spin.  Their debut album, "Genuine Negro Jig", shows they're not only unafraid to confront the racist past, but subvert it entirely.  Their work has topped charts and won Grammys, been featured on major Hollywood soundtracks, and most importantly helped reintegrate a musical form that was always the product of cultural/racial cross-polination. That alone makes them a transformative band in my eyes, but listen to Country Girl and hear for yourself why:

 

 

 And finally, a band who has the distinction of creating a song that became an American Musical Standard the year it was released, Old Crow Medicine Show. Perhaps at the forefront of popular appreciation for the New Old Time and with good reason, OCMS has brought youthful vigor to old music.  The song here, their chart-topping Wagon Wheel, adapted from an unfinished Bob Dylan song, has become a staple of American music despite being less than a decade old, most recently topping the Country charts covered by former Hootie and the Blowfish front man Darius Rucker.

 

 

How long will this New Old Time sound persist in popular culture?  Will it fade away as a millenial fad?  Possible, but I think not.  It is music that is core to America's identity, rooted in multicultural traditions, and, now destigmatized and quickly, it appears, reintegrating, it promises to remain a staple of American musical traditions much like Jazz, Blues, Rock & Roll, and Hip Hop that is sure to be adopted and transformed in new ways by the rest of the world.

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Comment by Bobby C. on June 26, 2013 at 2:44am

Thanks to Spotify (Praise the Lord, people!), I came up across another music piece I'd like to share with you. 

These folks call themselves The Devil Makes Three. A sample? Aye, aye!

http://youtu.be/aMIt3yvcMUE

Comment by Cap'n Tony on June 14, 2013 at 11:22am

Sounds like there are a few more bands for me to check out too!  Glad the article is appreciated. 

Comment by Larry on June 13, 2013 at 8:54am

From what I've seen and heard of the Dropkick Murphy's I would consider them Celtic Punk. While they at times incorporate the banjo, one needs to remember that many Southerner's are descendents of the Scot-Irish. In fact, my paternal grandmother's maiden name was Scot-Irish and my ancestors through her settled Tennessee. So Southern music and Celtic share some common elements. You can also see this in the Southern dance style of Clogging, which was a fusion of many cultures including Scottish and Irish.

Oh, and several of those bands mentioned here are fantastic. I didn't know of Carolina Chocolate Drops,  Old Man Markley or Those Poor Bastards and now I love both. Thanks for mentioning them Cap'n, Ed and Bobby.

Comment by Ed Lacy on June 12, 2013 at 11:47pm

I just saw the Dropkick Murphys in Cincinnati the other night. People tend to think of them as Celtic Punk, which they are, but they also incorporate the banjo (On their hit "Shipping Up to Boston" for instance), and they cover some Woody Guthrie and other diesel era folk singers' songs into their live set. Also on the bill was Old Man Markley, who possess the most highly sophisticated washtub bass I've heard or seen. I've also had the amazing pleasure of seeing both Newgrass Revival and the Flecktones perform live. The Flecktones are especially syncretic in their approach to style. The Carolina Chocolate Drops played our local folk festival to the delight of Dayton audiences. I have to say that I wholeheartedly endorse the exploration of folk and its modernistic spinoff, bluegrass music by anyone of a dieselpunk bent. Bluegrass particularly is truely dieselpunk in character, because its rhythmical energy was oftenoriginally inspired by the sounds of factory machines. Bluegrass was the FIRST really industrial music.

Comment by Bobby C. on June 10, 2013 at 10:21am

Splendid article, sport! 

I wonder how would you classify Those Poor Bastards - a band also depicted as "Gothic Country". Does it count in to New Old Time sound?

Comment by Larry on June 6, 2013 at 7:10pm

Excellent!

Comment by Cap'n Tony on June 5, 2013 at 11:54am

Thanks!  Glad to expand horizons!

I'll have to check out 16HP and WH.

Comment by Komissar Hass on June 5, 2013 at 4:39am

great article! lots of new music to widen horizons. I especillay noticed the Punkgrass part:) by the way, I believe we can consider the works of 16 Horsepower /Woven Hand related to this "New Old Time" movement, in fact I like this term much more than "Gothic Americana".

Comment by Timothy W. Nieberding on June 4, 2013 at 9:18pm

Great Job Cap'n!!   Got hooked on bluegrass at the National Folk Festival in the Cuyahoga National Recreation Area in the mid-80s.  Saw Allison Krauss, when she was 16 and still only known as a champion fiddle player with a beautiful voice.

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