# xmcd 1.2 CD database file
# Copyright (C) 1994 Ti Kan
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# Disc length: 3338 seconds
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DISCID=f80d0811
DTITLE=Tone Poems, Tony Rice - guitars * David Grisman - mandolins 
TTITLE0=Turn of The Century
TTITLE1=The Prisoner's Waltz
TTITLE2=Sam_Bino
TTITLE3=Grandfather's Clock
TTITLE4=Good Old Mountain Dew
TTITLE5=I Am a Pilgrim
TTITLE6=Mill Valley Waltz
TTITLE7=Vintabe Gintage Blues
TTITLE8=I Don't Want Your Mandolins Mister
TTITLE9=Dawg After Dark
TTITLE10=Wildwood Flower
TTITLE11=Morning Sun
TTITLE12=Banks Of The Ohio
TTITLE13=Swing '42
TTITLE14=Watson Blues
TTITLE15=O Solo Mio
TTITLE16=Song For Two Pamelas
EXTD=The sounds of the great vintage guitars & mandolins.\n\nThere is f
EXTD=ar too much information in the booklet included\nwith this CD to 
EXTD=write in here.  I did include David\nGrisman's commentary so that
EXTD= the reader could get an\nidea of the music contained herein.... 
EXTD= If you love\nclassic acoustic music and vintage instruments, thi
EXTD=s is\na must have CD....  The booklet is a mini-reference with\nph
EXTD=otographs and historical backgrounds on each instrument.\n\n******
EXTD=**\n     Great singers are born with their instruments; acoustic 
EXTD=instrumentalists must choose them.  How\ndoes one "select a voice
EXTD="?  As a novice bluegrass mandolinist in the early '60s, I began
EXTD= to emulate my\nmusical heroes, Ralph Rinzler, Frank Wakefield, a
EXTD=nd of course, the great tonal practitioner, Bill\nMonroe.  As I s
EXTD=oon learned, they all played older Gibson F-5 models.  Soon I wa
EXTD=s on my own path of tonal\ndiscovery, acquiring in succession a '
EXTD=60s Kay plywood pawn-shop special, a '20s Gibson A-Junior, a 191
EXTD=9\nGibson F-4, a 1951 Gibson F-5, and finally, a 1924 Gibson Loar
EXTD= F-5.  Each instrument cost a little more\nthan its predecessor a
EXTD=nd took me a step closer to "my sound."  As I progressed on this
EXTD= journey, I became\nincreasingly enamored with the sounds of thes
EXTD=e instruments, each with its own subtle differences and\npotentia
EXTD=l.  At that time, terms like "vintage", "Lloyd Loar," and "herri
EXTD=ngbone," were not associated with\nthe instruments; they were sim
EXTD=ply "used" or "old."  I certainly did not view them as investmen
EXTD=ts, or stock\nshares that would soon be splitting.  But I loved t
EXTD=hem, their tone, feel, smell (probably more due to their\nmusty c
EXTD=ases), and vibe.  I still do, but now in 1994 vintage guitars an
EXTD=d mandolins are big business.\n\nAs the current market values for 
EXTD=these instruments have expanded way beyond the means of the\naver
EXTD=age contemporary acoustic musician, something sad (to me) has ta
EXTD=ken place: more of them are now\nowned by wealthy collecters, who
EXTD= have in effect taken them out of circulation.  Many of them sit
EXTD= in\nclosets and glass cases, unplayed and unheard.  The focus ha
EXTD=s shifted from the music!\n\nThe purpose of this recording is to r
EXTD=edirect some of the attention being paid to vintage guitars\nand 
EXTD=mandolins back to their musical values.\n\nWhat do they sound like
EXTD=?  Is one of these instruments worth 10 times more than another,
EXTD= when\nit comes down to the music?  To assist in this experiment,
EXTD= I invited my friend Tony Rice to lend his\nmasterly touch to 17 
EXTD=vintage guitars, while I played 17 vintage mandolins.  Dexter Jo
EXTD=hnson, a fine\nluthier and proprietor of the acoustic-only Carmel
EXTD= Music, helped us set up and select the instruments,\nand my expe
EXTD=rt engineer, David Dennison, recorded our duets, live to 2-track
EXTD= analog, without any tonal\nenhancement, using the same microphon
EXTD=es and set-up for each cut.  Here are the results, complete with
EXTD=\nsome wonderful photographs by Eric Harger: a mini-reference wor
EXTD=k on a subject that's been dear to my\nheart for over 30 years no
EXTD=w.\n\n-David Grisman, January 1994
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