The Best of the Flatt & Scruggs TV Show series is drawn from programs that aired during the late 1950s and early 1960s. Never available before, these shows feature Flatt & Scruggs in their prime with their group the Foggy Mountain Boys, playing many of their most famous songs as well as many other bluegrass classics. The shows have a great down-home feel with their easygoing demeanor and warm humor, both of which complement the music to produce a thoroughly entertaining show.
Volume 5 features programs from March 1962, with guest Hylo Brown, and July 1961. Highlights include the instrumental “Earl’s Breakdown,” “Cabin on the Hill,” “Roll in My Sweet Baby’s Arms,” and “Stuck Up Blues.” It’s worth noting that Curly Seckler would depart the Foggy Mountain Boys within days of the 1962 show.
Even if you don’t like bluegrass (and if you don’t, what’s wrong with you?), you will enjoy this series just for the charming, period piece commercials filmed live on the set, and the homespun comedy sketches with “Cousin Jake” Tullock and “Uncle Josh” Graves.
Volume 5 Songs include:
1. Opening 2. Earl's Breakdown 3. Stone Wall 4. Commercial: Martha White Dessert Biscuits 5. Don't This Road Look Rough and Rocky 6. Durham's Bull 7. Hand in Hand With Jesus 8. Commercial: Martha White Cornbread 9.The Hills of Georgia 10.The Crawdad Song 11. Comedy with Jake and Josh 12. Cabin on the Hill 13. Commercial: Martha White cartoon with Hot Rize Boys 14.The Storms Are on the Ocean 15. Hollow Poplar
1. Opening 2. Roll in My Sweet Baby's Arms 3. Mama's and Daddy's Little Girl 4. Commercial: Martha White Biscuits 5.The Girl I Love Don't Pay Me No Mind 6. Shortnin' Bread 7. Mother Prays Loud in Her Sleep 8. Commercial: Martha White Cornbread 9. Please Help Me, I'm Falling 10. Stuck Up Blues 11. Comedy with Jake and Josh 12.Who Will Sing for Me 13. Commercial: Pet Milk 14. I'll Never Shed Another Tear 15. North Carolina Breakdown
Watching these thoroughly pro-fessional and entertaining shows, viewers can really appreciate Curly Seckler’s superb tenor singing, Scruggs’ amazingly solid & tasteful banjo picking, and Flatt’s smooth, consummate MC work (as well as his wonderful vocals). The group worked beautifully around two mikes—one for the instrumental breaks and the other for the vocals-- whether it be a solo, a duet, a trio or quartet, the band’s blend and choreography were impeccable. There’s plenty going on here. Country Sales Magazine