One of my favorite songwriters, Pete Goble, co-wrote a remarkable song with Bobby Osborne that has become a staple in the Bluegrass community. Goble, known for his incredible songwriting skills, has penned numerous classics, including "Coleen Malone" (Hot Rize), "Tennessee in 1949," "Blue Virginia Blues" (Larry Sparks), "Moundsville Pen" (IIIrd Tyme Out), and "Joe's Last Train" (Country Gentlemen). His contributions to Bluegrass music are invaluable.

Goble's journey into the Bluegrass world began in the 1960s when he became friends with a young JD Crowe at the Detroit radio station WJR. JD Crowe had moved there briefly with Jimmy Martin and the Sunny Mountain Boys, which helped Pete connect with the vibrant Bluegrass community. The song we're discussing today is one of Goble's earlier works, showcasing his talent and influence.

The Osborne Brothers recorded this song on October 7, 1965, in Nashville, and it was released on their album Up This Hill and Down. However, it truly became a jam favorite when The Bluegrass Album Band included it in their third album, California Connection, in 1983. Both versions provide excellent lessons in guitar flourishes, particularly the interesting, syncopated G-runs that add depth to the sound.

One unique aspect of this song is its non-standard structure. The use of minor chords throughout and the chorus featuring only one chord sets it apart from typical Bluegrass compositions. A fun detail for fellow music nerds: in the second verse, the line "I'm the best hammer swinger in this big section gang..." features a minor switch in the Osborne Brothers version on the word "big," while The Bluegrass Album Band changes it on "gang." These subtle differences highlight the artistic choices that make each rendition special.

Another noteworthy element of the Osborne Brothers' version is the inclusion of drums, played by none other than Willie Ackerman. A renowned Nashville session player, Ackerman has played with legends like Louis Armstrong, Johnny Cash, Willie Nelson, and the Monkees. He was also the drummer for hits like "The Grand Tour," "Wings of a Dove," and "El Paso," as well as being the drummer for Hee Haw.

The chorus of this song is typically performed in three-part harmony, and it's crucial to pay attention to the rhythm throughout. Key moments are delivered on the "up-beat," such as the line "Can't you hear the rhythm of my pause BIG spike hammer," where "big" is timed on the off-beat. For a comparison, check out Doc Watson's version, which is much more straightforward in its delivery.

If you’re interested in exploring more of Pete Goble’s work, he recently released an album titled Back to Jubilee Road with Andy Ball, who formerly played mandolin with The Lonesome River Band. This album is another testament to Goble’s enduring influence in the Bluegrass genre.