- #Just as long as you love me by doyle lawson full#
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‘‘Bill doesn’t play as many notes, but there’s a difference in the way he projects. In his view, “the new people that are coming along now haven’t really taken time to listen to what Bill plays. It’s his and I’m not gonna fool with it!”ĭoyle has given a lot of thought to what makes good music, and good mandolin playing in particular. I tried-I’ve even tried in later years, but it’s beyond me. “The one I couldn’t get was ‘Roanoke.’ I never got that exactly like he did it. I listened to his records over and over, and I got to where I could play pretty close to his stuff-‘Close By,’ ‘Uncle Pen,’ ‘New Muleskinner Blues.’ “I wanted to play exactly like Bill Monroe-that was my wildest dream. I probably went a year without knowing a chord. “I didn’t know what key I was in or what I was doing, but I could play the melody. “I learned to play melodies on the mandolin,” he explains. (When he finally did see the Osbornes in person, Doyle found they looked just as he had imagined the Stanley Brothers must look.)ĭoyle was eleven by the time he started playing.
#Just as long as you love me by doyle lawson mac#
He also heard Mac Wiseman and Jimmy Martin with the Osborne Brothers. The Stanley Brothers played live on the WCYB (Bristol) Farm and Fun Time. The Cas Walker show from Knoxville featured Carl Story, the Webster Brothers and the Brewster Brothers. I loved the sound of it-the way they projected their feelings, their emotions.”ĭoyle listened to a lot of bluegrass on the radio, without ever seeing the performers. “The first record we had in the house was the Flatt and Scruggs 78 recording of “I’ll Never Shed Another Tear.” The flip side was “I’ll Be Going to Heaven Sometime.” I never will forget that. When people asked what I wanted to be when I grew up, I never told them ‘a policeman’ or ‘a fireman’ or ‘an airplane pilot.’ I just always wanted to play music. “At four years old I knew that I wanted to learn. It was so different that I fell in love with it. But Monroe commanded attention with his pickin’. At that time the fiddle and banjo is what people would listen for.
Now when you heard the Callahan Brothers or the Blue Sky Boys, they used the mandolin but it didn’t have the authority. “Monroe made the mandolin a lead instrument. I could tell Hank Williams, Roy Acuff, Ernest Tubb, and Hank Snow and all them, but when I heard Monroe…his voice and his mandolin were what struck me. “I was about four years old,” he recalls, “the first time I can actually remember hearing Bill Monroe and the Blue Grass Boys. An individual style steadily unfolded, but never leaped too far ahead of what the Country Gentlemen’s audience had come to expect.ĭoyle’s passion for the mandolin began early. His choice of notes expanded remarkably, but never at the expense of his emphasis on tone, timing, and control.
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Later, music became a full time occupation and Doyle was able to move over to his first love, the mandolin.Īfter another stint with Martin in 1969 and one more with Crowe in 1970, Doyle joined the Country Gentlemen in 1971. worked as a shipping clerk and Doyle became his assistant. Crowe.Īt first it was just part time work in Lexington, Kentucky’s beer joints. This time he was playing guitar for another ex-Martin banjo player, J.D. His boss was mercurial bluegrass great, Jimmy Martin.įollowing his initiation into show business and a subsequent period of disillusionment with music, Doyle surfaced again in 1966. Since 1979 it has been with Quicksilver.ĭoyle made his teenage debut, however, working out of his native east Tennessee.
During most of the 1970s the association was with the Washington-based Country Gentlemen.
For many years he has been identified with dynamic, precise and tasteful mandolin work and with excellent tenor singing. Doyle started pushing professionally in 1963 at the age of nineteen and has continued-with few interruptions-ever since.
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