Bluegrass began with Bill Monroe — the guy invented the sound, no argument there. However, what made bluegrass a genre, and not just one man's musical style, was when other artists began copying Monroe's rural, acoustic, high-lonesome sound (Monroe's band was called the Blue Grass Boys, a name soon used to describe the sound as a whole). The first major groups to begin recording in the Monroe style were the Stanley Brothers and Flatt & Scruggs.
Rhythm guitarist and lead vocalist Lester Flatt and banjo whiz Earl Scruggs — whose three-finger rolls are a defining characteristic of the music — were actually former bandmates of Monroe's who, after helping fashion the bluegrass sound in the mid '40s, ticked off their boss by quitting to form their own outfit. Over the next couple of decades they helped bluegrass become a worldwide phenomenon, their music showing up in folk festivals, in the movies and even on television ("The Ballad of Jed Clampett" was the theme to The Beverly Hillbillies).
Natives of the Clinch Mountains in Virginia, Carter and Ralph Stanley simply liked Monroe's sound enough to copy it, and in 1947 they became the first to do so. Their mournful mountain sound eventually took on a life of its own, thanks in great part to Carter's songwriting mastery and the brothers 'gorgeous harmonies — Carter's warm, melancholy leads and Ralph's piercing tenor, which weaves in and out of the melody like a spooky messenger from another world.
This four-CD set contains the earliest recordings from both groups, all recorded between 1947 and 1953. Along with Monroe's music, these songs are an essential part of the bluegrass story.
After leaving Monroe's band, Flatt & Scruggs figured they could make more money as headliners, and they were right. They signed with Mercury and cut 28 sides for that label between 1948 and 1950. All are included on this disc, and there's an unfiltered edge to songs like the Jimmie Skinner composition "Doin 'My Time" (now a bluegrass standard), "Foggy Mountain Breakdown" (the group's theme song, later appearing in Bonnie & Clyde) and gospel cuts like "Back to the Cross." Along with Monroe's Columbia and Decca recordings and the Stanleys 'Mercury sides, this is bluegrass so essential it begs you to bow down and worship.