Casey Joe Abair & Hunter Robertson | If You Want to Go to Sleep, Go to Bed

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Hunter Robertson Solo Album "Sings Songs for the Masses" Official Website Myspace

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United States - Vermont

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Folk: Appalachian Folk Country: Old-Timey Moods: Type: Instrumental
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If You Want to Go to Sleep, Go to Bed

by Casey Joe Abair & Hunter Robertson

An album of clawhammer banjo & fiddle duets. Old-timey music for body & soul.
Genre: Folk: Appalachian Folk
Release Date: 

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  Song Share Time Download
1. The Devil's Dream
2:27 $0.99
2. The Coo Coo
3:03 $0.99
3. Fort Smith Breakdown
2:21 $0.99
4. June Apple
2:48 $0.99
5. I Truly Understand
3:28 $0.99
6. Bonaparte's Retreat
3:00 $0.99
7. Last Chance
3:22 $0.99
8. Hog Eyed Man
2:03 $0.99
9. Old Joe Clark
3:20 $0.99
10. Run Slave Run
3:07 $0.99
11. Sail Away Ladies
4:07 $0.99
12. Tater Patch
4:08 $0.99
13. Sandy River Belle
3:54 $0.99
14. Ducks on the Millpond
3:01 $0.99
15. Sugar Baby
2:56 $0.99
16. In the Pines
3:56 $0.99
17. Lonesome John
2:53 $0.99
Downloads are available as MP3-320 files.


Album Notes
About the performers:

Hunter Robertson was born in California with a banjo on his knee, and has been playing clawhammer & old-time fingerstyle banjo - and 12-string guitar - for not quite as long as he can remember. This is his second album. Sings Songs for the Masses, the first, an album of traditional and original material, was released in 2007 to good reviews ("… a highly talented traditional musician ... as strong a solo CD as I’ve heard in quite some time." - Sing Out! "... one of the best CDs I've heard recently." - Trad Magazine). As of May 2009 he’s based in France.

Casey Joe Abair hails from Vermont and has been playing fiddle since he was a teenager. He plays a mean blues guitar too. Mean. He's also an accomplished performer of Irish music on the melodeon and fiddle. This is his first recording.

Album liner notes:

This album was recorded, direct to stereo, over the course of a few months in our homes, not always under the most sanitary of sound conditions; the sirens on ‘Sugar Baby’ for example. Luckily, they fit the song. Otherwise what you hear is unadulterated fiddle & banjo, as we played it. There's nothing quite like working a tune out with someone, tight, and then playing it for all it's worth. There's a trade-off with the liberties you can take when you're on your own but it has advantages.

If you want to go to sleep, go to bed was apparently a favorite saying of Charlie Lowe, who liked his music fast.

-The Devil's Dream as Hobart Smith called it, appropriately enough. It's a doozy. ‘John Brown's Dream’, ‘Little Rabbit’, ‘Herve Brown's Dream’ and ‘Pretty Little Miss’ are other names it goes by. Fiddle: AEAE, Banjo: aEAC#E (we're both tuned low, all the tunings I give here are relative).
-The Coo Coo Fiddle: AEAE, Banjo: aEADE. A combination of the great versions of the tune by John Snipes, Dink Roberts and Rufus Kasey on the album Black Banjo Songsters. Similar to Hobart Smith's.
-Fort Smith Breakdown from Luke Highnight's Ozark Strutters. Fiddle: GDAE, Banjo: gDGDE (fretless Harmony Reso-Tone). An interesting tune with a peculiar low part.
-June Apple Fiddle: AEAE, Banjo: aEAC#E. Wade Ward's playing is astonishing, seemingly simple but nearly impossible to duplicate (and I haven't tried here). He had a golden touch. There's also a great version from Fred Cockerham that's pretty wild. My father used to play this one too.
-I Truly Understand Fiddle: AEAE, Banjo: aEAC#E. And of course Féréale's lovely singing. You could probably put together several albums of songs that use these vagrant verses (in fact, some of them crop up here in ‘The Coo Coo’), but a great song it is just the same. Shortbuckle Roark & Family is the fount from which this springs. I first heard it from The New Lost City Ramblers.
-Bonaparte's Retreat Fiddle: ADAD, Banjo: aDADE (fretless). There are lots of great recordings of this tune (Smith, Davenport, Jarrell, Gray, Strong etc.), but Bill Stepp's is sublime.
-Last Chance “Title of this tune's ‘The Last Chance’, something all of us will have before we die I guess, a last chance,” is how Hobart Smith introduced this at a 1963 concert in New York City. Fiddle: GDAE, Banjo: gEGDE. Casey had to eek a fiddle tune out of the banjo playing. A kissing cousin to ‘Rambling Hobo’ and Dock Boggs' ‘Davenport’.
-Hog Eyed Man Fiddle: AEAE, Banjo: aEADE. A wild tune. Also called, unsurprisingly, ‘Sally in the Garden’. Lyrics for this are hard to come by, most of them being too bawdy for polite collectors. Sex, fundament shaking flatulence and feats of urination that boggle the mind all show up. Luther Strong's playing of it is phenomenal; Hiram Stamper's is another great one. I like J.D. Cornett's singing of the song too.
-Old Joe Clark Not the chestnut it can sometimes seem. If you get beyond the hackneyed way it's often treated there's gold in this tune. This is something like Dacosta Woltz's Southern Broadcasters version, but check out Marcus Martin's and Luther Strong's playing of it too. Fiddle: AEAE, Banjo: aEAC#E
-Run Slave Run Fiddle: GDAE, Banjo: gDGDE (fretless). We got this from Elizabeth Cotton. There's also a great field-recording on fife (or quills?) around. Slave is of course a euphemism here for the original word, nigger. “Pateroller get ya.” One of the most common tunes reported in ex-slave narratives. Robert Winans has a great article summarizing musical data in the WPA interviews. Those interviews give good examples of why freedom and human rights have to be demanded not only for oneself, but for others.
-Sail Away Ladies A joyful song learnt from The Holy Modal Rounders and Uncle Dave Macon. Fiddle: AEAE, Banjo: aEAC#E. Some lyrics from the books Step it Down and Negro Folk Rhymes. Also called ‘Darneo’, ‘Dineo’, ‘Sally Anne’ etc. Don't sheetrock that patio!
-Tater Patch Fiddle: AEAE, Banjo: aEAC#E (fretless). Charlie Lowe is the source on this one of course and ultimately I believe, Ike Leonard. Another one that Casey had to adapt from the banjo playing.
-Sandy River Belle Casey learned this from George Stoneman’s banjo recording, changed the key and passed it on to me. Fiddle: GDAE, Banjo: aDADE (fretless).
-Ducks on the Millpond Fiddle: GDAE, Banjo: aDADE (fretless). A gorgeous tune, could play it for hours. I first heard it from my father. Kyle Creed, Emmett Lundy, Tommy Jarrell and John Burke all informed it.
-Sugar Baby Fiddle: AEAE, Banjo: aEADE. Dock Boggs of course. Damn.
-In the Pines from Leadbelly, Art Rosenbaum, Bill Monroe, Dock Walsh and others. Fiddle: ADAD, Banjo: f#DF#AD (played on an S.S. Stewart strung with Nylgut). A lonesome song.
-Lonesome John Fiddle: AEAE, Banjo: aEADE (fretless). The first real tune my father taught me. He called it ‘Clinch Mountain Backstep’, and got it from the Stanley Brothers for all I know, but he clawhammered it. This is more John Salyer's version.

For further information on the tunes Andrew Kuntz's The Fiddler's Companion is a great resource.

- Hunter Robertson, June 2009

Casey Joe Abair ~ Fiddle, Backing Vocals on ‘Sail Away Ladies’
Hunter Robertson ~ Clawhammer Banjo (fingerpicked on ‘In the Pines’ and ‘Sugar Baby’), Vocals
Fereale Robertson ~ Backing Vocals on ‘I Truly Understand’, ‘Sail Away Ladies’ & ‘In the Pines’
Josh Neilson ~ Stomping on ‘Ducks on the Millpond’

For help and support, thanks to: Josh & Trena, Chris, Féréale, Mary & Dan, Rose, Tony, Jeremy, JP & Meghan, John Herrmann, grandparents, Colin and numberless field collectors and musicians.
Front cover photograph by Féréale Robertson, CD and rear photographs by JP Candelier. CD cover design and layout by Hunter Robertson. All songs and tunes traditional arranged by Hunter Robertson and Casey Joe Abair, ©2009.

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to write a review

Tony Spadaro
“If You Want To Go To Sleep, Go To Bed”. Is the title of the new cd by banjoist Hunter Robertson and fiddler Casey Joe Abair. And it is obviously a work that involved a lot of late nights for a long time before any recording equipment was ever set up. When the players know each other well, and have put in many hours together, fiddle and banjo duets can catch fire, producing an event that is more than the sum of the two instruments. Abiar and Robertson obviously know each other well and know how to throw ideas back and forth in a way that brings the listener a new insight into the music. If that all sounds a bit “classical”, well perhaps it is. The banjo fiddle combination is does not have the full sound of a string band, it is more like a chamber group, where the communication between instruments and players is more important than a full group sound. Listeners can really hear the two instruments because they differ in range, timbre, attack, sustain, and so many other ways. It is almost as if the fiddle and banjo go so well together because they have so little in common.

Banjo and fiddle is also one of the most exacting and dangerous combinations to record. Unlike a full band, fiddle and banjo will not cover mistakes for each other. Each player is fully responsible for every note he produces. This is not music for players who need the safety net of guitar and bass.

The selection of tunes is heavily weighted toward the old tunes played with the fire and enthusiasm they really deserve but seldom get these days, but there are some less common tunes that work beautifully in the duet setting. their “The Devil’s Dream” is from Hobart Smith and very different than the one I play. It is actually considerably more “band” friendly and the tune is closer to John Brown’s Dream.

“Fort Smith Breakdown” doesn’t show up on many jam lists but is a super tune from a 1920s recording by Luke Highnight’s Ozark Strutters. Here Robertson is playing a fretless Harmony ResoTone in Old G (gDGDE) tuning. “Run Slave Run” uses the same tuning and probably the same banjo.

“Hog Eye Man” aka “Sally In The Garden” is frequently played crooked, but Abair and Thompson seem to have found a whole new crooked way to do it. I’m going to try it out, but I won’t attempt to show it to my jam groups.

Some of the selections are great “trance” tunes where the two instruments seem to float around the melody passing it back and forth until you feel it has been the background music to your entire life. I was very surprised to read that “Tater Patch” and “Sandy River Belle” were each only about four minutes, as was their rendition of “Sail Away Ladies”