A Quote by Earl Scruggs

I mean if it wasn't for Earl Scruggs, guys like me wouldn't be doing what we're doing. I mean, he's changed so many people's lives, honestly. I was thinking about all the thousands of people that live in Nashville, like myself, that there's no reason a guy from New York would end up down there if it wasn't for the sound of Earl Scruggs' banjo coming over the airwaves and just changing my life.
Being from New York, I wonder why am I inspired by bluegrass and Earl Scruggs? But when I look at the whole history of the banjo, I feel really good about it, including the Earl Scruggs part.
And then Earl Scruggs comes along and transforms the banjo into a virtuosic modern instrument. For the first time, the Southern banjo style becomes the identity of the banjo, and everything from before is wiped off of people's consciousness by the power of that explosion.
My most powerful memory was hearing Earl Scruggs on 'The Beverly Hillbillies' as a 5 or 6 year old. That sound just blew me away, shook my head up.
Earl Scruggs had this thing that it wasn't just the technique or even the instrument. It was him. There was this soulful quality that came through that made you - if you're somebody like me who was, I guess, supposed to play the banjo, it made you stop in your tracks, and you couldn't do anything until you got done hearing him play, and then immediately you'd have to go try and find a banjo.
The bottom line is, between Sonny Osborne and Earl Scruggs, I better know how to play banjo. I had the greatest teachers in the world.
But, I enjoy music from lots of people. And you also have to also remember that I grew up in a household where people like Fats Domino, Little Richard, Johnny Cash, Jerry Lee Lewis, Earl Scruggs, and so many others were at mama's house. So, I heard everything growing up.
Earl Scruggs is the guy who really made that leap with using three fingers in a rotating fashion to create this fast rippling sound that had never been heard before.
It's made a lot of people richer from hearing Earl Scruggs. And I just think we're all very lucky to have him in the world.
I know it affected me when I saw certain actors growing up. I had a drama teacher that would take us to see plays in New York, and it was seeing James Earl Jones and Raul Julia - I mean, this guy comes from the place my mother comes from. He's doing Shakespeare right now, and it doesn't seem to matter that he has an accent.
When we went into the New England states, people were talking about the new sound of Flatt & Scruggs, but we had been doing that sound for 20 years.
I would get records by Earl Scruggs... I would tune my banjo down and I'd pick out the songs note by note. Learned how to play that way. I persevered. There was a book written by Pete Seeger, who showed you some basic strumming and some basic picking... And I kind of worked out my own style of playing.
He [Earl Scruggs] was really cool because he was very quiet, and he wouldn't say much, but then he would come out with a quip that was like so perfect and so brilliant, very smart.
I think Earl Scruggs playing propelled bluegrass and Bill Monroe's music to the level that - where we're all still talking about it.
I've heard of people stopping their cars, having car wrecks, all kinds of things. But most of the banjo players I know had that moment when they heard Earl Scruggs. So, for me, it transcends the technique. It's the musician in him and his personality, his musical personality, such great taste, such great technique, very, very creative.
My finger picking is sort of a cross between Pete Seeger, Earl Scruggs, and total incompetence.
Nobody in my school knew who Bill Monroe was, or Lester Flatt and Earl Scruggs, and barely Johnny Cash. Nobody spoke that language. I proceeded to get myself kicked out.
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