I mean it's good but its originally played with 2 banjos not a banjo and guitar 

chill

The Lost Ark Studio presents "Shady Grove" by Whiskey Shivers, the first single from the Lost Ark Studio Compilation - Vol. 07. Five guys came in, we set up the mics in the room - and they went at it, laid down a great track... When these guys bring it, they really bring it.

Hatched in the twilight months of ought nine, these five young men came from all corners of the US looking to do one thing: knock the dust off roots music.
A freewheelin', trashgrassin', folk tornado, the Whiskey Shivers take traditional instrumentation, soak it in gasoline and send it into outer space. Breakneck speeds, killer grooves and impeccable musicianship: it's enough to make Bill Monroe himself do a double-take as he spins in his grave.

With upright bass, fiddle, washboard, banjo, guitar, and reasonably priced merchandise, Whiskey Shivers adds a fine layer of grit on top of the hard-driving rhythms of traditional bluegrass.

They've been called everything from "trashgrass" to "hardcore roots" to "crazy-assed redneck music" — whatever the words, the meaning is the same: Whiskey Shivers brings the house down.

Bobby Fitzgerald - Fiddle, Vocals
Andrew VanVoorhees - Bass, Vocals
Jeff 'Horti' Hortillosa - Guitar, Vocals
James Bookert - Banjo, Vocals
Joe Deuce - Washboard

Recorded and Mixed by Mike Butler at The Lost Ark Studio
Mastered by Jamal Ruhe at West West Side Music

www.whiskeyshivers.com
www.lostarkstudio.com

Shady Grove - Whiskey Shivers

Shady Grove my little love
Shady Grove my darlin’
Shady Grove my little love
I'm a goin' back to Harlan

Shady Grove my little love
Shady Grove my darlin’
Shady Grove my little love
I'm a goin' back to Harlan

I wish I had a big ol’ hog
And corn to feed him on
I wish I had a pretty little gal
To feed him when I'm gone

Shady Grove my little love
Shady Grove my darlin’
Shady Grove my little love
I'm a goin' back to Harlan

Shady Grove my little love
Shady Grove my darlin’
Shady Grove my little love
I'm a goin' back to Harlan

Went to see my Shady Grove
She's a standin’ in the door
Her shoes and stockins in her hand
And her bare feet on the floor

Shady Grove my little love
Shady Grove my darlin’
Shady Grove my little love
I'm a goin' back to Harlan

Shady Grove my little love
Shady Grove my darlin’
Shady Grove my little love
I'm a goin' back to Harlan

Peaches in the summertime
Apples in the fall
If I can't have you my love
I don't want none at all

Shady Grove my little love
Shady Grove my darlin’
Shady Grove my little love
I'm a goin' back to Harlan

Shady Grove my little love
Shady Grove my darlin’
Shady Grove my little love
I'm a goin' back to Harlan

Shady Grove my little love
Shady Grove my darlin’
Shady Grove my little love
I'm a goin' back to Harlan

Shady Grove my little love
Shady Grove my darlin’
Shady Grove my little love
I'm a goin' back to Harlan

Whiskey Shivers - Shady Grove

Dueling Banjos (HD)

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An Analysis of "Domine Deus" in Bach's Mass in B Minor

Johann Sebastian Bach’s Mass in B Minor, BWV 232, stands as a monumental achievement, compiled over 25 years and weaving together musical complexity and profound theology. Within its Gloria, movement 9, "Domine Deus," emerges as a duet for soprano I and tenor, accompanied by an obbligato flute. This essay explores the musical structure, theological significance, and historical context of "Domine Deus," revealing its role as a highlight of Bach’s genius.

The musical structure of "Domine Deus" showcases Bach’s contrapuntal mastery. The duet features soprano I and tenor in canon and parallel motion, creating a unified dialogue reminiscent of the "Christe eleison." The obbligato flute introduces melodic ideas that the voices later echo, lending a refined, airy texture to the movement. Likely cast in da capo form, it modulates to related keys, balancing clarity with sophistication. Supported by continuo, the interplay between flute and voices forms a cohesive sound, amplifying the emotional weight of the text. This structure, as noted in studies of the Mass, reflects Bach’s ability to merge simplicity with intricate craftsmanship, making "Domine Deus" both accessible and profound.

Theologically, "Domine Deus" carries deep significance, aligning with the Lutheran "theologia crucis" or theology of the cross. The text begins with "Domine Deus, Rex coelestis" (Lord God, Heavenly King), invoking divine majesty, but shifts to "Domine Deus, Agnus Dei" (Lord God, Lamb of God), emphasizing Christ’s sacrifice. The music’s gentle character, marked by the duet’s intimacy and the flute’s delicate lines, suits the "Agnus Dei" rather than the grandeur of "Rex coelestis." This choice underscores the Lutheran view of divine power revealed through vulnerability, positioning "Domine Deus" as a pivotal moment in the Gloria. By highlighting redemption over sovereignty, Bach uses music to convey a core theological idea, making the movement a spiritual focal point.

Historically, "Domine Deus" likely draws from Bach’s 1729 cantata Ihr Häuser des Himmels, BWV 193a, a duet addressing Jesus. Scholars, including Christoph Wolff, suggest this parody reflects Bach’s common practice of repurposing compositions to fit new contexts. The Mass’s symmetrical design places "Domine Deus" centrally in the Gloria, enhancing its doctrinal weight amidst choral and solo sections. Stylistic parallels with the cantata, though not conclusively proven, reveal Bach’s creative ingenuity, adapting a love-duet into a sacred expression of faith. This historical layering adds depth, showing how Bach transformed existing material to serve the Mass’s grand vision.

Performance practices further illuminate the movement’s character. Ensembles like American Bach Soloists emphasize historically informed approaches, highlighting the flute’s nuanced obbligato and the duet’s emotive clarity. The canonic voices demand precise coordination, heightening the section’s expressive power. Such performances underscore the movement’s ability to convey both technical precision and spiritual resonance, inviting listeners into its theological narrative.

In conclusion, "Domine Deus" exemplifies Bach’s ability to blend musical artistry with profound meaning. Its canonic duet, obbligato flute, and potential cantata origins showcase his compositional skill, while its alignment with the "theologia crucis" anchors it in Lutheran theology. As a central movement in the Gloria, it invites listeners to reflect on redemption and sacrifice, making it a cornerstone of the Mass in B Minor. This analysis, rooted in recent scholarship, affirms "Domine Deus" as a testament to Bach’s enduring legacy, worthy of continued exploration.

JS Bach Mass B Minor BWV 232 (1749) 7[a]. Domine Deus (Baroque Flute, Soprano, Tenor)

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"Stairway to Heaven" is a song by the English rock band Led Zeppelin, released in late 1971. It was composed by guitarist Jimmy Page and vocalist Robert Plant for the band's untitled fourth studio album (often referred to as Led Zeppelin IV). It is often referred to as one of the greatest rock songs of all time.

The song, running eight minutes and two seconds, is composed of several sections which increase in tempo and volume as the song progresses. The song begins as a slow acoustic-based folk song accompanied by recorders before electric instrumentation is introduced. The final section is a high-tempo hard rock section highlighted by an intricate guitar solo by Page and Plant's wailing vocals, ending with Plant's unaccompanied delivery of final line: "And she's buying a Stairway to Heaven".




Led Zeppelin - Stairway to Heaven (live at Madison Square Garden in 1973)

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Dueling Banjos (HD)

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