Here at bluegrassjournal.com we all are first and foremost bluegrass lovers, actually lovers of all kinds of music. I’ve known all these characters who are the writers, photographers and editors for this site for many years now. We’ve all started this site because when we all got together we all talked about the music we’ve cherished for decades now. At present it seemed to be the time to write about all those great musical offerings we treasured.

We are currently starting a new series of articles from time to time, where we showcase CDs, or albums if you prefer, that we consider classics. Every collection must have these discs and if you don’t presently own them, then run out and get them. These are pivotal bluegrass albums that have stood the test of time.

I will open this series with one of the greatest music talents of the last 50 years, performing what I feel is his crown-piece. This album came out when I was a senior in high school, way back in 1971. The album I am talking about is “Aereo-Plain”, by the late and incredibly great John Hartford.

My first recollections of John Hartford were from the Glen Campbell Goodtime Hour. The show hit the airwaves in January of 1969. From the first episode I was totally captivated by the theme song that Glen Campbell would open the show weekly with, “Gentle on my Mind”. It was a great song written by the 32 year-old banjo player who appeared weekly on the show. John Hartford was the first banjo player who truly fascinated me. Hartford was more than just a banjo picker he was an artist and the creator of a style quite unique.

The money Hartford made off of just that one song afforded him to be able to follow his muse for the rest of his life. Following that muse turned out to be something he did with massive regularity. He ultimately recorded just shy of 40 studio albums.

I bought the album “Aereo-Plain”, soon after it came out. The first thing that drew me to purchase it was the great cover shot of a bearded, long haired Hartford wearing some old style, aviator goggles. This was such a wonderful head shot that foretells the brilliant quirkiness of Hartford’s mind and talents.

It never dawned on me the oddness of John Hartford would still appear even today. After owning the album for almost 4 decades I just noticed the album cover, tonight for the first time, shows the word Aereo-PLAIN and the song written on the back of the disc reveals the word Aereo-PLANE. John Hartford never did quite what you would expect him to do and here lies his charm.

The album is filled with unbelievable musicians. Norman Blake on guitar, Tut Taylor playing dobro, a young Randy Scruggs on bass, and the late and phenomenal fiddler/violinist Vassar Clements. With John Hartford on banjo and he himself also writing these great songs, you immediately know the disc has to be legendary, and it certainly fulfilled that promise.

John Hartford was a true American original. Everyone that was a fan still misses his great contributions to traditional music. My buddy Danny Tackett has a great line that I think of often, “John Hartford was the last minstrel in America.”

The disc opens with a pretty traditional song written by Albert E. Brumley, “Turn Your Radio On”. It is a gospel tinged song that is very old-timey. Something Hartford excels at. This song is reprised in the end of the disc as well.

What lies between are nonconforming, eccentric and original songs, with the exception of one, that are all written by John Hartford. I think what I love so much, concerning this album is how unique it is. Hartford gives his nod to traditional music but created something alive, vital and maybe a little wacky. With this crew of talented musicians they were all along for the ride, whatever path Hartford steered them toward.

“Steamboat Whistle Blues” gives attention to another great love of Hartfords, his immense devotion for the river and riverboats. This theme continued to be revisited on subsequent albums of his to come.

I remember when my oldest daughter, who is approaching thirty and presently pregnant with her first child, was a baby. I would put on “Boogie” and dance around the living room, with her in my arms. We would dance, sing and laugh our way through, “Hey babe, you wanna boogie, boogie oogie oogie with me.” These were not the traditional type lyrics of say an old Carter Family song. These were the lyrics of a new generation of bluegrass lovers.

“Back in the Goodle Days” is one of my favorites on the disc. This track reveals more of the quirkiness from the mind of John Hartford, and I absolutely adore it.

One of the heaviest songs is, “Tear Down the Grand Old Opry”. It chokes me up everytime I hear it. Hartford as far back as the release of this album, predicted corporate America was destroying many of the things that were held in high esteem in this country. I like to think that maybe because of Hartford and people like him; they did not tear down the old Ryman for the sake of alleged progress. The beautiful building still stands with its memories and has since been refurbished to its original splendor, for many more generations to enjoy.

I could tell you how much I enjoy every track on here, but would much prefer you just go out and get it. John Hartford was a true American original. Everyone that was a fan still misses his great contributions to traditional music. My buddy Danny Tackett has a great line that I think of often, “John Hartford was the last minstrel in America.” Hartford didn’t do it for the money, he was a musician of the people and did it all for the sake of the art.

I remember not long after this album came out; I traveled to a club in Urbana, Illinois to see Hartford. The place was called Ruby Gulch and we got there early to get a prime spot. As Hartford was setting up, I was one of the lucky few to ever manage to get a handshake from him. Later in the years he abandoned this practice because of the fragility of his hands. He was afraid it would interfere with his being able to play.

The thing I remember was how charming his show was. He was by himself and was incredibly entertaining. I remember him with his derby positioned just right on his head. He had this tall, thin frame and rubbery face. The face, he used it as much of an instrument as his banjo or fiddle. Slapping his jaws or using his tongue was as important as the piece of plywood thrown on the floor that Hartford attached an electric pickup to so he could dance and provide percussion.

I tell this story because when John Hartford performed he gave of his whole being. On this disc you get the feeling very much that he gave musically from somewhere deep within. He was the chief performer. As stated before, he truly was the last minstrel in America.

After you purchase “Aereo-Plain” and play it until you wear it out, go out and buy the outtakes disc titled “Steam-Powered Aereo-Takes”. This disc came out in 2002, on Rounder and was long overdue. Allegedly there were many taped hours of jams and studio takes from these sessions. The great thing is, these are many of the better outtakes from the sessions and they just so happen to be better than many other artists’ attempts at creating something viable and real.

John Hartford didn’t have to attempt making real music, it naturally flowed from him. This music flowed as deep as those rivers he so cherished to sing about.