Terry Baucom - AcuTab Transcriptions Vol. I
ACUTAB
Transcribed from the playing of
Terry Baucom
Terry has long been counted among the most important and emulated players of
the past two decades. Starting with his seminal recordings with Ricky Skaggs
in Boone Creek and continuing throughout his tenure as an original member of
Doyle Lawson & Quicksilver and IIIrd Tyme Out, Terry has laid down some of
the most solid, consistent banjo picking in recent memory. His mastery of timing,
tone, and good taste are evident in the pieces transcribed in this book.
Here are all the solos - plus selected backup - from the two hot Lou Reid, Terry
Baucom & Carolina albums. Learn the exact licks from one of the most respected
and influential banjo players in contemporary bluegrass. A valuable resource,
indeed!
Here are all the solos - plus selected backup - from the two hot Lou Reid, Terry
Baucom & Carolina albums. Learn the exact licks from one of the most respected
and influential banjo players in contemporary bluegrass. A valuable resource,
indeed!
Songs from Carolina Blue (Webco 0143)
Prisoner Of The Past
Lonesome Old Homesick Blues
Don't Pass Me By
Blue Night
Rovin' Gambler
I'm Gonna Hold To His Hand
Bad Case Of Lovin' You
Songs From Carolina Moon (Rebel 1712)
I Call Your Name
Carolina Moon
There Ain't Nothin' In It For Me
The Last To Know F
Last Train
My Heart Never Lies
Cold Sheets Of Rain
Knockin' On Your Door
Big Mon
Dixie, I Love You
My Little Girl In Tennessee
About Terry Baucum

Most longtime observers of the bluegrass scene will be as astonished as I was to learn
that Terry Baucom has never appeared before on the cover of this publication.
His powerful banjo playing, after all, has driven the sound of some of the most
prominent bands of the 1970s, '80s, and '90s. While not a ground breaking innovator
like Earl Scruggs, Bill Keith, or Béla Fleck, Terry Baucom is nevertheless
one of the most influential and imitated banjo stylists of the past generation. As
the 1970s rolled in, bluegrass fans were heatedly debating the merits of the "traditional" and "progressive" approaches.
But in the middle of the decade, southern baby boomers were pioneering a third
stream. This new sound featured a streamlined, almost aggressive rhythm (usually
with electric bass); extra-smooth vocal trios; and an eclectic repertoire that
mixed songs from classic bluegrass, Nashville country, and rock. None of these
elements were new to bluegrass; what was new was the total package -- bold, hip,
and sophisticated enough to appeal to younger listeners, but with a distinctly
country sensibility and grounding in bluegrass basics that tradition-minded fans
could appreciate, too.
That new southern sound has evolved into today’s bluegrass mainstream.
One of the earliest bands to put it all together was Boone Creek. In 1975 Terry
Baucom, then 22 years old. formed the group along with Ricky Skaggs, Wes Golding,
and Jerry Douglas. They stayed together for about two years, releasing two albums, "Boone
Creek" and "One Way Track." A few years later Terry was establishing
the banjo’s sound in Doyle Lawson’s then-new group, Quicksilver,
which for many remains the archetypal contemporary mainstream bluegrass band.
(Sugar Hill Records recently re-released the first two Quicksilver albums on
a single CD, entitled "The Original Band.")
If his career had ended there, Terry would still be an important figure in
bluegrass banjo history, but it didn't. In 1985 Terry, along with guitarist Jimmy
Haley and bassist Randy Graham, left Doyle Lawson and joined up with mandolinist
Alan Bibey to form the confusingly named New Quicksilver, which lasted through
1987. Toward the end of 1990 he teamed with fellow Quicksilver alumni Russell
Moore and Ray Deaton in IIIrd Tyme Out. In 1993 Terry and original Quicksilver
bassist Lou Reid started Caroline. And recently the old New Quicksilver hit the
road again under the name BlueRidge. (Jimmy Haley has since been replaced by
Wayne Winkle.) Sugar Hill Records released their debut CD, "Common Ground," earlier
this year.
On paper -- for example, in the AcuTab transcriptions book devoted to his music—Terry's
playing doesn’t look too different from, say, J.D. Crowe's (although he
often uses his index finger to pick strong notes where most players would use
their thumbs). His distinctiveness and influence lie in his sound. Terry's playing
is marked by Uzi-like timing, uncommonly dynamic 3-2 pull-offs, and the kind
of punchy, in-your-face attack that has led some Virginia legislators to propose
a mandatory waiting period for prospective Stelling purchasers. (Hey, just kidding,
Geoff.)