Manassas was an American rock band formed by Stephen Stills in 1971. Predominantly a vehicle for Stills' music, the band released two albums: 1972's Manassas and 1973's Down the Road; the band dissolved in October 1973. Manassas was formed in the fall of 1971, following Stills' concert tour to support his album Stephen Stills 2. While Stephen Stills 2 was Stills' second solo album, it was his first completed following the acrimonious 1970 breakup of Crosby, Nash & Young, was not critically well received. After a chance meeting with Flying Burrito Brothers singer/multi-instrumentalist Chris Hillman in Cleveland, where Stills' tour schedule crossed paths with that of the Burritos – a band that, by late 1971, had undergone multiple personnel changes and was in financial trouble – Stills saw an opportunity to change his artistic direction, he subsequently contacted Hillman, asking him, along with Burritos' guitarist Al Perkins and fiddler Byron Berline, to join him in Miami at Criteria Studios to jam.
Stills invited several members of his touring band to play at the session. The musicians jelled in the studio, within several weeks had recorded enough material at Criteria to fill a double-LP album release; the band was capable of a wide musical range, with a repertoire including blues, country and rock songs. Rolling Stones bassist Bill Wyman, a friend of both Hillman and Stills who visited Criteria during the sessions, was an early fan of the band, at one point expressing an interest in joining. Wyman contributed to the sessions by helping Stills re-write an unrecorded song from 1968, "Bumblebee," as the blues/funk tune "The Love Gangster," with Wyman playing bass on the track; the band named itself Manassas after Stills, who had an interest in American Civil War history, orchestrated a photo shoot for them in Manassas, the site of the First and Second Battles of Bull Run. The band's first album, Manassas, a double-LP sporting a cover photo from the shoot in Virginia, was released in April 1972.
The album was well received peaking at #4 in the United States and achieving RIAA Gold Record status. For most of 1972, Manassas embarked on an international tour in support of the album, including television appearances on ABC-TV's In Concert in the United States and Beat-Club in West Germany. Upon returning to the U. S. from the European leg of Manassas' 1972 tour, Chris Hillman took several weeks away from the band to record a reunion album with his pre-Burritos band the Byrds, an effort that included Stills' ex-CSNY bandmate David Crosby. Manassas regrouped and completed their second album, Down the Road. Initial sessions for the album were convened at Criteria Studios, but the band moved the sessions in midstream to Caribou Ranch in Colorado and the Record Plant in Los Angeles after Criteria staff engineers Ron and Howard Albert expressed concern that the sessions were not producing quality results. Down the Road was completed in January 1973; the album was released in the spring of that year to middling reviews and sales peaking at #26 in the United States and falling short of RIAA Gold status.
After completing Down the Road, Manassas became dormant for several months. During the break, Stephen Stills married Véronique Sanson, whom he had met in Paris during Manassas' 1972 European tour; as Hillman and Crosby's Byrds reunion album was readied for release in March 1973, the band considered launching a Byrds tour in support. When this did not materialize, two events occurred instead that doomed Manassas. First, Hillman accepted his management's proposal to join a project involving ex-Buffalo Springfield and Poco singer/guitarist Richie Furay and Eagles songwriter/collaborator J. D. Souther, after satisfying Manassas' scheduled touring commitments. Shortly thereafter, Crosby and ex-CSNY mate Graham Nash joined Neil Young and The Stray Gators on tour in support of Young's Harvest; when this tour ended in mid-1973, Crosby and Young – encouraged by their management, hopeful to realize the financial benefits of a possible CSNY reunion – regrouped in Maui to discuss potential work on a new album.
The three contacted Stills, putting aside the differences that led to CSNY's initial demise, cut short his honeymoon break with Sanson to join the new project. CSNY worked for several weeks in both Maui and Los Angeles on the project, Human Highway, but these sessions were aborted due to various disagreements within the band. Stills was greeted by several sources of turmoil upon returning from the Human Highway sessions to regroup Manassas, as, in addition to Hillman's future commitment to work with Furay and Souther, Dallas Taylor had become addicted to heroin, Calvin Samuels had left the band for personal reasons. Stills dealt with these issues by securing the services of Jefferson Airplane drummer John Barbata as a backup for Taylor, bassist Kenny Passarelli of Joe Walsh's band Barnstorm to replace Samuels. Samuels would return to the band for the last leg of its 1973 tour. Following the tour's completion in October, Manassas's dissolution was publicly announced. One of Manassas' last shows, at San Francisco's Winterland Ballroom in early October 1973, was made notable by the band's being joined onstage by first David Crosby and Graham Nash, in the show, by Neil Young.
When asked about this occurrence, Chris Hillman would comment "I could
Folk music includes traditional folk music and the genre that evolved from it during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, or music performed by custom over a long period of time, it has been contrasted with classical styles. The term originated in the 19th century. Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music; this process and period is reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times, but the term folk music has not been applied to the new music created during those revivals; this type of folk music includes fusion genres such as folk rock, folk metal, others. While contemporary folk music is a genre distinct from traditional folk music, in U.
S. English it shares the same name, it shares the same performers and venues as traditional folk music; the terms folk music, folk song, folk dance are comparatively recent expressions. They are extensions of the term folklore, coined in 1846 by the English antiquarian William Thoms to describe "the traditions and superstitions of the uncultured classes"; the term further derives from the German expression volk, in the sense of "the people as a whole" as applied to popular and national music by Johann Gottfried Herder and the German Romantics over half a century earlier. Though it is understood that folk music is music of the people, observers find a more precise definition to be elusive; some do not agree that the term folk music should be used. Folk music may tend to have certain characteristics but it cannot be differentiated in purely musical terms. One meaning given is that of "old songs, with no known composers", another is that of music, submitted to an evolutionary "process of oral transmission....
The fashioning and re-fashioning of the music by the community that give it its folk character". Such definitions depend upon " processes rather than abstract musical types...", upon "continuity and oral transmission...seen as characterizing one side of a cultural dichotomy, the other side of, found not only in the lower layers of feudal and some oriental societies but in'primitive' societies and in parts of'popular cultures'". One used definition is "Folk music is what the people sing". For Scholes, as well as for Cecil Sharp and Béla Bartók, there was a sense of the music of the country as distinct from that of the town. Folk music was "...seen as the authentic expression of a way of life now past or about to disappear" in "a community uninfluenced by art music" and by commercial and printed song. Lloyd rejected this in favour of a simple distinction of economic class yet for him true folk music was, in Charles Seeger's words, "associated with a lower class" in culturally and stratified societies.
In these terms folk music may be seen as part of a "schema comprising four musical types:'primitive' or'tribal'. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre. For example, the Grammy Award used the terms "traditional music" and "traditional folk" for folk music, not contemporary folk music. Folk music may include most indigenous music. From a historical perspective, traditional folk music had these characteristics: It was transmitted through an oral tradition. Before the 20th century, ordinary people were illiterate; this was not mediated by books or recorded or transmitted media. Singers may extend their repertoire using broadsheets or song books, but these secondary enhancements are of the same character as the primary songs experienced in the flesh; the music was related to national culture. It was culturally particular. In the context of an immigrant group, folk music acquires an extra dimension for social cohesion.
It is conspicuous in immigrant societies, where Greek Australians, Somali Americans, Punjabi Canadians, others strive to emphasize their differences from the mainstream. They learn songs and dances that originate in the countries their grandparents came from, they commemorate personal events. On certain days of the year, such as Easter, May Day, Christmas, particular songs celebrate the yearly cycle. Weddings and funerals may be noted with songs and special costumes. Religious festivals have a folk music component. Choral music at these events brings children and non-professional singers to participate in a public arena, giving an emotional bonding, unrelated to the aesthetic qualities of the music; the songs have been performed, by custom, over a long period of time several generations. As a side-effect, the following characteristics are sometimes present: There is no copyright on the songs. Hundreds of folk songs from the 19th century have known authors but have continued in oral tradition to the point where they are considered traditional for purposes of music publishing.
This has become much less frequent since the 1940s. Today every folk song, recorded is credited with an arranger. Fusion of cultures: Because cultures interact and change over time
The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
Folk rock is a hybrid music genre combining elements of folk music and rock music, which arose in the United States and the United Kingdom in the mid-1960s. In the U. S. folk rock emerged from the folk music revival and the influence that the Beatles and other British Invasion bands had on members of that movement. Performers such as Bob Dylan and the Byrds—several of whose members had earlier played in folk ensembles—attempted to blend the sounds of rock with their preexisting folk repertoire, adopting the use of electric instrumentation and drums in a way discouraged in the U. S. folk community. The term "folk rock" was used in the U. S. music press in June 1965 to describe the Byrds' music. The commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man" and their debut album of the same name, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde —encouraged other folk acts, such as Simon & Garfunkel, to use electric backing on their records and new groups, such as Buffalo Springfield, to form.
Dylan's controversial appearance at the Newport Folk Festival on 25 July 1965, where he was backed by an electric band, was a pivotal moment in the development of the genre. During the late 1960s in Britain and Europe, a distinct, eclectic British folk rock style was created by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North American style of folk rock, British folk rock bands began to incorporate elements of traditional British folk music into their repertoire, leading to other variants, including the overtly English folk rock of the Albion Band and Celtic rock. In its earliest and narrowest sense, the term "folk rock" refers to the blending of elements of folk music and rock music, which arose in the U. S. and UK in the mid-1960s. The genre was pioneered by the Byrds, who began playing traditional folk music and songs by Bob Dylan with rock instrumentation, in a style influenced by the Beatles and other British Invasion bands; the term "folk rock" was coined by the U.
S. music press to describe the Byrds' music in June 1965, the month in which the band's debut album was issued. Dylan contributed to the creation of the genre, with his recordings utilizing rock instrumentation on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde. In a broader sense, folk rock encompasses inspired musical genres and movements in different regions of the world. Folk rock may lean more towards either folk or rock in instrumentation and vocal style, choice of material. While the original genre draws on music of Europe and North America, there is no clear delineation of which other culture's music might be included as influences; the term is not associated with blues-based rock music, African American music, Cajun-based rock music, nor music with non-European folk roots. There are some exceptions; the American folk-music revival began during the 1940s. In 1948, Seeger formed the Weavers, whose mainstream popularity set the stage for the folk revival of the 1950s and early 1960s and served to bridge the gap between folk, popular music, topical song.
The Weavers' sound and repertoire of traditional folk material and topical songs directly inspired the Kingston Trio, a three-piece folk group who came to prominence in 1958 with their hit recording of "Tom Dooley". The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962. At the same time as these "collegiate folk" vocal groups came to national prominence, a second group of urban folk revivalists, influenced by the music and guitar picking styles of folk and blues artist such as Woody Guthrie, Lead Belly, Brownie McGhee, Josh White came to the fore. Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, reissued by Folkways Records. While this urban folk revival flourished in many cities, New York City, with its burgeoning Greenwich Village coffeehouse scene and population of topical folk singers, was regarded as the centre of the movement. Out of this fertile environment came such folk-protest luminaries as Bob Dylan, Tom Paxton, Phil Ochs, Peter and Mary, many of whom would transition into folk rock performers as the 1960s progressed.
The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture and led many folk singers to begin composing their own "protest" material. The influence of this folk-protest movement would manifest itself in the sociopolitical lyrics and mildly anti-establishment sentiments of many folk rock songs, including hit singles such as "Eve of Destruction", "Like a Rolling Stone", "For What It's Worth", "Let's Live for Today". During the 1950s and early 1960s in the UK, a parallel folk revival referred to as the second British folk revival, was led by folk singers Ewan MacColl and Bert Lloyd. Both viewed British folk music as a vehicle for leftist political concepts and an antidote to the American-dominated popular music of the time. However, it wasn't until 1956 and the advent of the skiffle craze that the British folk revival crossed over into the mainstream and connected with British youth culture. Skiffle renewed popularity of folk music forms in Britain and led directly to the progressive folk movement and the attendant B
The Hillmen were a southern Californian bluegrass group. Formed in 1962, the original line-up of the Golden State Boys consisted of Vern Gosdin on guitar and lead vocals, his brother Rex Gosdin on double bass, Hal Poindexter on guitar, Don Parmley on banjo. Poindexter left the group in late 1962, was replaced by 17-year-old mandolin prodigy Chris Hillman. Hillman, a member of the high-profile San Diego bluegrass group the Scottsville Squirrel Barkers, was invited to join the Golden State Boys by Parmley, after the pair met at a bluegrass evening at The Ice House folk club in Pasadena. Upon his recruitment, the group changed their name to the Blue Diamond Boys before settling on The Hillmen, in honor of their mandolin playing wunderkind; the Hillmen played throughout southern California between 1962 and 1964 and made a number of television appearances, bringing them to the attention of record producer Jim Dickson. Over the course of three months in 1963 and 1964, Dickson recorded The Hillmen at World Pacific Studios in Los Angeles, in an attempt to secure a recording contract with Elektra Records.
Elektra turned the group down and the World Pacific recordings went unreleased until 1969, when they were issued on the Together Records imprint as The Hillmen album. By mid-1964, the group had broken up and Chris Hillman was subsequently recruited by Jim Dickson as The Byrds' bass player in October of that year. Following The Hillmen's demise, Parmley went on to form the Bluegrass Cardinals, while Vern Gosdin became a country and western singer and Rex Gosdin worked as a songwriter. Chris Hillman – mandolin, vocals Vern Gosdin – guitar, vocals Rex Gosdin – double bass, vocals Don Parmley – banjo, vocals Hal Poindexter - guitar
Presbyterianism is a part of the reformed tradition within Protestantism, which traces its origins to Britain Scotland. Presbyterian churches derive their name from the presbyterian form of church government, governed by representative assemblies of elders. A great number of Reformed churches are organized this way, but the word Presbyterian, when capitalized, is applied uniquely to churches that trace their roots to the Church of Scotland, as well as several English dissenter groups that formed during the English Civil War. Presbyterian theology emphasizes the sovereignty of God, the authority of the Scriptures, the necessity of grace through faith in Christ. Presbyterian church government was ensured in Scotland by the Acts of Union in 1707, which created the Kingdom of Great Britain. In fact, most Presbyterians found in England can trace a Scottish connection, the Presbyterian denomination was taken to North America by Scots and Scots-Irish immigrants; the Presbyterian denominations in Scotland hold to the Reformed theology of John Calvin and his immediate successors, although there is a range of theological views within contemporary Presbyterianism.
Local congregations of churches which use presbyterian polity are governed by sessions made up of representatives of the congregation. The roots of Presbyterianism lie in the Reformation of the 16th century, the example of John Calvin's Republic of Geneva being influential. Most Reformed churches that trace their history back to Scotland are either presbyterian or congregationalist in government. In the twentieth century, some Presbyterians played an important role in the ecumenical movement, including the World Council of Churches. Many Presbyterian denominations have found ways of working together with other Reformed denominations and Christians of other traditions in the World Communion of Reformed Churches; some Presbyterian churches have entered into unions with other churches, such as Congregationalists, Lutherans and Methodists. Presbyterians in the United States came from Scottish immigrants, Scotch-Irish immigrants, from New England Yankee communities, Congregational but changed because of an agreed-upon Plan of Union of 1801 for frontier areas.
Along with Episcopalians, Presbyterians tend to be wealthier and better educated than most other religious groups in United States, are disproportionately represented in the upper reaches of American business and politics. Presbyterian tradition that of the Church of Scotland, traces its early roots to the Church founded by Saint Columba, through the 6th century Hiberno-Scottish mission. Tracing their apostolic origin to Saint John, the Culdees practiced Christian monasticism, a key feature of Celtic Christianity in the region, with a presbyter exercising "authority within the institution, while the different monastic institutions were independent of one another." The Church in Scotland kept the Christian feast of Easter at a date different from the See of Rome and its monks used a unique style of tonsure. The Synod of Whitby in 664, ended these distinctives as it ruled "that Easter would be celebrated according to the Roman date, not the Celtic date." Although Roman influence came to dominate the Church in Scotland, certain Celtic influences remained in the Scottish Church, such as "the singing of metrical psalms, many of them set to old Celtic Christianity Scottish traditional and folk tunes", which became a "distinctive part of Scottish Presbyterian worship".
Presbyterian history is part of the history of Christianity, but the beginning of Presbyterianism as a distinct movement occurred during the 16th-century Protestant Reformation. As the Catholic Church resisted the reformers, several different theological movements splintered from the Church and bore different denominations. Presbyterianism was influenced by the French theologian John Calvin, credited with the development of Reformed theology, the work of John Knox, a Scotsman and a Roman Catholic Priest, who studied with Calvin in Geneva, Switzerland, he brought back Reformed teachings to Scotland. The Presbyterian church traces its ancestry back to England and Scotland. In August 1560 the Parliament of Scotland adopted the Scots Confession as the creed of the Scottish Kingdom. In December 1560, the First Book of Discipline was published, outlining important doctrinal issues but establishing regulations for church government, including the creation of ten ecclesiastical districts with appointed superintendents which became known as presbyteries.
In time, the Scots Confession would be supplanted by the Westminster Confession of Faith, the Larger and Shorter Catechisms, which were formulated by the Westminster Assembly between 1643 and 1649. Presbyterians distinguish themselves from other denominations by doctrine, institutional organization and worship; the origins of the Presbyterian churches are in Calvinism. Many branches of Presbyterianism are remnants of previous splits from larger groups; some of the splits have been due to doctrinal controversy, while some have been caused by disagreement concerning the degree to which those ordained to church office should be required to agree with the Westminster Confession of Faith, which serves as an important confessional document – second only to the Bible, yet directing particularities in the standardization and translation of the Bible – in Presbyterian churches. Presbyteria
Tony Rice is an American guitarist and bluegrass musician. He is the most influential living acoustic guitar player in bluegrass, progressive bluegrass and flattop acoustic jazz, he was inducted into the International Bluegrass Music Hall of Fame in 2013. Rice's music spans the range of acoustic from traditional bluegrass to jazz-influenced New Acoustic music to songwriter-oriented folk. Over the course of his career, he has played alongside J. D. Crowe and the New South, David Grisman and Jerry Garcia, led his own Tony Rice Unit, collaborated with Norman Blake, recorded with his brothers Wyatt and Larry, co-founded the Bluegrass Album Band, he has recorded with drums, soprano sax, as well as with traditional bluegrass instrumentation. Rice was born in Danville, Virginia but grew up in Los Angeles, where his father, Herb Rice, introduced him to bluegrass. Tony and his brothers learned the fundamentals of bluegrass and country music from L. A. musicians like the Kentucky Colonels, led by Clarence White.
Clarence White in particular became a huge influence on Rice. Crossing paths with fellow enthusiasts like Ry Cooder, Herb Pedersen and Chris Hillman reinforced the strength of the music he had learned from his father. In 1970, Rice had moved to Louisville, Kentucky where he played with the Bluegrass Alliance, shortly thereafter, J. D. Crowe's New South; the New South was known as one of the best and most progressive bluegrass groups—eventually adding drums and electric instruments. When Ricky Skaggs joined them in 1974, the band recorded J. D. Crowe & the New South, an acoustic album that became Rounder Records' top-seller up to that time. At this point, the group consisted of Rice on guitar and lead vocals, Crowe on banjo and vocals, Jerry Douglas on Dobro, Skaggs on fiddle and tenor vocals, Bobby Slone on bass and fiddle. Around this time, Rice met mandolinist David Grisman, who played with Red Allen during the 1960s and was now working on original material that blended jazz and classical styles.
Rice moved to California to join Grisman's all-instrumental group. As part of the David Grisman Quintet, in order to broaden his expertise and make himself more marketable, Rice began studying chord theory, learned to read charts, began to expand his playing beyond bluegrass. Renowned guitarist John Carlini came in to teach Rice music theory, Carlini helped him learn the intricacies of jazz playing and musical improvisation, in general; the David Grisman Quintet's 1977 debut recording is considered a landmark of acoustic string band music. In 1980, Crowe, Bobby Hicks, Doyle Lawson and Todd Phillips formed the Bluegrass Album Band and recorded from 1980 to 1996. With the Tony Rice Unit, he pursued experimental "spacegrass" music on Mar West, Still Inside, Backwaters. Members of the Unit included Jimmy Gaudreau, Wyatt Rice, Ronnie Simpkins, Rickie Simpkins. In the late 1980's Alison Krauss played with the group in concert for about a year but never appeared on the albums. Alison Brown guested with the group during that period.
In 1980, he recorded an album of bluegrass duets with Ricky Skaggs, called Rice. Two albums with traditional instrumentalist and songwriter Norman Blake garnered acclaim, as well as two Rice Brothers albums that featured him teamed with his late elder brother and younger brothers and Ronnie. Beginning in 1984, Rice has collaborated on four albums by Béla Fleck - Double Time, Tales from the Acoustic Planet, The Bluegrass Sessions: Tales from the Acoustic Planet, Vol. 2. He joined David Jerry Garcia in 1993, to record The Pizza Tapes. Year after and Grisman recorded Tone Poems, an original collection of material, where they used historical vintage mandolins and guitars, different for each track. In 1995, Rice recorded folk album featuring just two guitars with John Carlini, who worked for David Grisman Quintet. In 1997, his brother Larry, Chris Hillman and banjoist Herb Pedersen, founded the so-called "anti-supergroup" Rice, Hillman & Pedersen and produced three volumes of music between 1997 and 2001.
In 1979, Rice left Grisman's group to record Acoustics, a jazz-inspired album, Manzanita, a bluegrass and folk album. A similar combination was evident on Cold on the Shoulder, Native American, Me & My Guitar, albums which combined bluegrass, jazzy guitar work, the songwriting of Ian Tyson, Joni Mitchell, Phil Ochs, Tom Paxton, Bob Dylan, Gordon Lightfoot. Rice's singing voice was a distinctive baritone. In 1994 he was diagnosed with a disorder known as muscle tension dysphonia and as a result was forced to stop singing in live performance. A 2014 diagnosis of lateral epicondylitis made guitar playing painful and Rice's last performance playing guitar live was his induction into the International Bluegrass Music Hall of Fame in 2013. In 2015, Rice was quoted as saying "I am not going to go back out into the public eye until I can be the musician that I was, where I left off or better. I have been blessed with a devout audience all these years, I am not going to let anybody down. I am not going to risk going out there and performing in front of people again until I can entertain them in a way that takes away from them the rigors and the dust, the bumps in the road of everyday life."The authorized biography of Tony Rice, titled Still Inside: The Tony Rice Story, has been completed by Tim Stafford and Hawaii-based journalist Caroline Wright