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1997 Inductee – Burkett Howard “Josh” Graves

Born: September 27, 1927, Tellico Plains, Tennessee
Died: September 30, 2006, Nashville, Tennessee
Primary Instrument: Dobro

“I met Cliff Carlisle – he played the Dobro on some of Jimmie Rodgers’ records. I remember he and his brother Bill Carlisle came in to Knoxville, Tennessee, in ’38, ’39, somewhere in there. I was just a little feller, and they played my little home community.”
-Interview with Barry Willis, 1994.


Wrote or co-wrote more than 50 songs and instrumentals, including:

“Backin’ To Birmingham”
“Come Walk With Me” (BMI Award Winning Song)
“Flatt Lonesome”
“Foggy Mountain Rock”
“The Good Things Outweigh The Bad”
“If You’re Ever Going To Love Me”
“Just Joshing”
“Roust A Bout”
“Sure Wanna Keep My Wine” (“Great Big Woman”)

Early influences

  • John Thomas (uncle)
  • Buck Roper
  • Cliff Carlisle
  • Clell “Cousin Jody” Summey
  • Lightnin’ Hopkins
  • Earl Scruggs
  • Speedy Krise
  • Bob Wills

Came to fame with

Lester Flatt, Earl Scruggs and the Foggy Mountain Boys

“Carl Smith once told me that if they ever figured out all that junk, blues and jazz, that [I was playing] they would fire me in a minute. I had to figure out a way to get around that banjo.”
-Interview with Bobby Wolfe, “Josh Graves: Father of the Bluegrass Dobro,” Bluegrass Unlimited, October, 1990.

Performed with

  • Pierce Brothers, Gatlinburg, TN, 1942
  • Esco Hankins, Knoxville, TN, 1943-1947 and Lexington, KY, 1949-1951
  • Wilma Lee and Stoney Cooper and the Clinch Mountain Clan, 1951-1954
  • Toby Stroud and the Blue Mountain Boys, 1954
  • Mac Wiseman and the Country Boys, 1954-1955
  • Lester Flatt, Earl Scruggs and the Foggy Mountain Boys, 1955-1969
  • Lester Flatt and the Nashville Grass, 1969-1972
  • Earl Scruggs Revue, 1972-1974
  • Josh Graves (solo and studio work), 1974-1984
  • Josh Graves and Kenny Baker, 1984-2006
  • The Masters, 1989-1997

Led the way

  • Brought the Dobro guitar into bluegrass music with path-breaking techniques which influenced generations of Dobro players and induced hundreds to take up the instrument.
  • One of the most important links between the blues and bluegrass music.
  • A prominent instrumentalist and vocalist with Flatt and Scruggs, the most successful bluegrass-style act of the ’50s and ’60s.
  • Bluegrass Hall of Fame, 1997.

By the Way

  • Also a master at finger-picking the steel-string guitar, although that skill was seldom, if ever, recorded.
  • He borrowed the “Uncle Josh” comedy character from a North Carolina entertainer while with Esco Hankins, but was known as “Buck” in the Wilma Lee and Stoney Cooper band.
  • The primary cook for the Flatt and Scruggs band in the early days, while on the road.
  • Guested on recordings with artists like Charlie McCoy, J.J. Cale, Steve Young, and Kris Kristofferson.
  • Sons Billy Troy and Bryan also pursued musical careers.

In 1955 Burkett Howard “Buck” Graves changed the sound of bluegrass music when he added a new instrumental voice, that of the Dobro, to the five instruments — fiddle, guitar, mandolin, bass, and banjo — first heard together in Bill Monroe’s Blue Grass Boys of the mid-1940s.

Graves’ Dobro became part of bluegrass music when he joined Lester Flatt and Earl Scruggs’ band, the Foggy Mountain Boys. Subsequently he participated in all of their Columbia recording sessions except one — more than any other Foggy Mountain Boy.

Lester and Earl hired him to work as bassist, and as comedian in the role of “Uncle Josh.” At first he played Dobro only at their recording sessions and on a few pieces in shows. But Uncle Josh’s picking was so well received that Lester and Earl quickly moved him to Dobro full-time and hired a second comedian, E.P. “Cousin Jake” Tullock, to play bass. Thereafter, Josh and Jake’s wonderful comedy routines and singing were part of every Flatt & Scruggs show.

Josh’s Dobro became an integral part of the instrumental signature of bluegrass music’s most successful band — not just on their chart-topping records, but on radio and television and in personal appearances as well. Soon other bands began adding the Dobro to their sound.

Graves not only introduced a new voice to this music, he also developed a multifaceted musical vocabulary for it. He had studied the sounds and techniques introduced by the masters of early country music steel guitar — players like Brother Oswald of Roy Acuff’s Smoky Mountain Boys, and Cliff Carlisle, who recorded with Jimmie Rodgers. To this he added his own upbeat bluegrass-style picking developed from Earl Scruggs’s right-hand banjo technique, which Scruggs personally taught him when they were both working at WVLK near Lexington, Kentucky.

He’d also grown up listening to and playing the music of early blues stars like Blind Boy Fuller. To me his signal contribution came as he added the rhythms and licks of this music to the bluegrass sound. When I first started listening to new bluegrass 45s in 1957-58, each new Flatt & Scruggs single had Josh’s picking front and center. Pieces like “Big Black Train” with its bluesy Dobro opening drew me (a teenage R&B fan) into this new music. His blues feeling transformed the Foggy Mountain Boys sound. This can be heard clearly by comparing their 1952 recording of “If I Should Wander Back Tonight” (made before he joined the band) with their 1961 version. There are other examples of this kind of transformation with Josh in the band: compare Flatt and Scruggs’ 1950 recording of Flatt’s “I’m Head Over Heels in Love” with Lester’s 1971 version on Victor.

Graves worked with other top acts besides Flatt and Scruggs. Before joining them he’d played with Esco Hankins, Wilma Lee and Stoney Cooper, and Mac Wiseman. After Lester and Earl split up in 1969, Josh was a member in each of their bands. In 1974 he began performing and recording as a featured soloist. He collaborated with many other leading performers, like the Masters (Eddie Adcock, Kenny Baker and Jesse McReynolds), and Red Taylor to name but a few.

Josh inspired hundreds of musicians to pick up the steel and slide it over the strings of the Dobro. Befriending many of them, he encouraging Dobroists to develop their own music, and sometimes even graciously performed with them on their CDs and at their personal appearances.

Neil V. Rosenberg – St. John’s, Newfoundland, Canada

“[Bill Monroe] was quoted as saying the Dobro wasn’t a bluegrass instrument. He came to me and told me he was misquoted. That he’d said it wasn’t bluegrass unless Josh played it… Bill loved those blues licks.”
Interview with Bobby Wolfe, “Josh Graves: Father of the Bluegrass Dobro,” Bluegrass Unlimited, October, 1990.

“Josh put the Dobro in bluegrass music. He also took the Dobro far beyond bluegrass. He was extremely versatile and a real trouper. Josh was, and will continue to be, an inspiration to many.”
Earl Scruggs in Bluegrass Unlimited obituary, December, 2006.

“It makes me feel awful good that, when I’m gone, I’ll leave something that someone else can go on with.”
Interview with Stacy Phillips in Complete Dobro Player, Mel Bay Publications, 1996.

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