Sam Bush, a name synonymous with innovative bluegrass and electrifying performances, readily acknowledges John Hartford’s foundational role in shaping newgrass music. Bush’s career is peppered with Hartford’s songs, from New Grass Revival’s spirited “Vamp in the Middle” to the iconic “Steam Powered Aereo Plane.” However, the bond between these two bluegrass titans, as revealed in a recent conversation with Bush, runs far deeper than mere musical admiration.
Bush’s latest album, Radio John: The Songs of John Hartford, released under Smithsonian Folkways, is more than just a collection of covers; it’s an intimate exploration of the profound connection and mutual respect between two groundbreaking figures in bluegrass. The album’s tracklist thoughtfully curates Hartford’s genius, showcasing not only his quirky songwriting and creative compositions but also his humor and banjo virtuosity—all underpinned by a remarkable sense of wonder. Adding a personal touch, Bush penned an original track, “Radio John,” a lyrical tapestry weaving together the multifaceted aspects of Hartford’s life and legacy. Notably, Bush’s dedication to this tribute extends to performing nearly every instrument on the album himself, creating a deeply personal and loving homage to his cherished friend, John Hartford.
The Early Influence of John Hartford on Sam Bush
Reflecting on their careers, Bush acknowledges the pervasive influence John Hartford had on his musical journey, particularly during his formative years. Growing up just outside Nashville, Kentucky, Bush was immersed in the rich tapestry of Nashville television. He recalls a pivotal moment watching The Wilburn Brothers Show, where he first encountered John Hartford. “This guy came on,” Bush recounts, “singing, playing Earl Scruggs-style rolls on the banjo while he was singing. I’d never seen anybody do that.” This initial intrigue led Bush to discover Hartford’s album Earthwords & Music at the Ernest Tubb Record Shop in Nashville.
What captivated Bush wasn’t just Hartford’s banjo prowess, but his distinctive songwriting and willingness to experiment with instrumentation. Hartford’s early recordings, incorporating drums, electric bass, and even orchestration, were groundbreaking. “If you listen to the way I make records to this day,” Bush notes, “I will sometimes use electric bass, a drummer, and I enjoy the rhythm section mix of the bluegrass instruments. In that way, John Hartford was one of the first performers I might have heard mixing up bluegrass instruments with drums and electric bass.” This progressive approach resonated deeply with the young Bush, an aspiring instrumentalist who was beginning to appreciate the power of lyrics and songwriting. He recognized that John Hartford’s songs were different, possessing a lyrical depth that commanded attention. Hartford’s RCA records, veering away from traditional bluegrass, were particularly influential, solidifying Bush’s admiration for his progressive musical vision.
Witnessing John Hartford’s Performances and Growing Admiration
Bush’s fascination with John Hartford extended beyond records. He eagerly watched Hartford’s television appearances on shows like The Smothers Brothers Show and Glen Campbell’s show. He fondly remembers taping John Hartford and Glen Campbell performing “Great Balls of Fire” bluegrass-style, an arrangement that New Grass Revival later adopted into their repertoire. These early exposures cemented Hartford as a significant musical figure in Bush’s mind.
The anticipation of seeing John Hartford perform live was palpable for a young Sam Bush. He recounts a memorable concert at Western Kentucky University’s basketball arena. Despite having to fulfill his marching band duties at a high school football game, Bush was determined not to miss Hartford’s performance. “I wanted to get there so badly,” he recalls, “I jumped in the car practically straight off the football field… I got there just when they were bringing the lights down for John Hartford and ran on in with my muddy band uniform.” This anecdote vividly illustrates Bush’s early and fervent dedication to experiencing John Hartford’s music.
The band John Hartford toured with at that time, which he later named the Iron Mountain Depot Band, further showcased his musical versatility. This ensemble, featuring keyboard, bass, drums, and twelve-string guitar, contrasted sharply with his later, more acoustic Aereo-Plain Band, demonstrating the breadth of John Hartford’s musical explorations.
Sam Bush’s Multi-Instrumental Tribute: Playing Like John Hartford
Bush’s Radio John album is notable not only for its song selection but also for the fact that Bush played almost all the instruments himself. While known for his mastery of the fiddle, mandolin, and guitar, Bush surprised even himself by taking on the banjo and bass for this project. He reveals that his banjo journey began in his early teens, inspired by instruction books from Pete Seeger, Sonny Osborne, and Earl Scruggs. He honed his banjo skills alongside Courtney Johnson of New Grass Revival, learning John Hartford licks and delving into the intricacies of Scruggs-style banjo.
Although Bush’s banjo playing took a backseat when Béla Fleck and Pat Flynn joined New Grass Revival, the Radio John project provided the perfect opportunity to revisit this instrument and pay homage to John Hartford’s distinctive banjo style. “I am trying to play the banjo like John Hartford on the record,” Bush states. He consciously emulated Hartford’s forward rolls and phrasing, particularly on the instrumental track “Down,” to capture the authentic John Hartford banjo sound. While acknowledging his own musical voice on other instruments, Bush’s guitar and banjo playing on the album are deliberate attempts to channel the spirit of John Hartford.
The Genesis of “Radio John” and the Album’s Creation
The Radio John project began as a personal endeavor, initially intended as demos to share with the Sam Bush Band. During a trip to Florida, Bush aimed to record some John Hartford songs, but technical difficulties with his recording equipment threatened to derail the project. Fortuitously, a friend, Donnie Sundal, intervened, providing professional recording equipment and expertise. This intervention transformed the project from casual recordings into a potential solo album.
The COVID-19 pandemic and subsequent lockdown provided the focused time needed to complete Radio John. Collaborating with his former soundman, Rick Wheeler, Bush dedicated himself to refining vocals and banjo parts. He even borrowed banjos from Béla Fleck, including one of John Hartford’s own low-tuned banjos, eventually settling on a Gold Tone banjo with wound strings that suited his playing style for the album.
The original song “Radio John” became a centerpiece of the album. Co-written with John Pennell, Alison Krauss’s former bassist, the song is a lyrical collage of John Hartford’s multifaceted talents and passions. They aimed to encapsulate his essence as a steamboat captain, singer, dancer, picker, and writer, although they acknowledge that even their comprehensive effort couldn’t capture the entirety of John Hartford’s remarkable persona. The track “Radio John” also features Bush’s band, including Wes Corbett on banjo, adding another layer of tribute and collaboration to the album.
A “Love Letter” to John Hartford’s Music
Lynn Bush, Sam’s wife, aptly described Radio John as “your love letter to John Hartford’s music.” Bush embraces this sentiment, acknowledging the album as a deeply personal and nostalgic tribute to a musical hero and friend. While enjoying the process of playing all the instruments himself, Bush emphasizes that the true joy of music lies in collaboration and performance with others. Radio John stands as a testament to John Hartford’s enduring influence and Sam Bush’s profound respect and affection for his music.
Ironically, in creating a tribute to John Hartford, Sam Bush has perhaps crafted his most acoustic album to date, with the exception of the subtle electric bass, a sound that Bush notes was also present in John Hartford’s own recordings. Tracks like “Down” and “John McLaughlin” subtly nod to this electric element, further connecting Bush’s tribute to the broader spectrum of John Hartford’s musical landscape. Bush hopes that Radio John will encourage listeners to delve into John Hartford’s extensive discography, particularly his early RCA recordings, and rediscover the genius of John Hartford for themselves. The album serves as both a personal homage and a broader invitation to appreciate the lasting legacy of John Hartford in American music.
Photo Credit: Jeff Fasano
