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    • HOME
    • SPRING FED ARTISTS
      • Austin Derryberry & Trenton "Tater" Caruthers
      • Belen Escobedo
      • Bill Steber Archive
      • Billy Womack
      • Bruce Nemerov
      • Ed & Ella Haley
      • Eddie Jimenez and Ruben Jimenez
      • Fairfield Four
      • Felipe Pérez
      • Fiddling Tom Freeman
      • Gospel in Middle Tennessee - Various Artists
      • Hamper McBee
      • Howdy Forrester
      • Howdy Forrester & John Hartford
      • Jim Wood Rural Felicity: Fiddle Tunes from 18th and 19th Century North America
      • Joe Keene
      • John Work III
      • Lorenzo Martinez and Ramon “Rabbit” Sanchez
      • Mississippi John Hurt
      • Risey Scruggs
      • Roy Book Binder and Fats Kaplin
      • Roy Harper
      • Sam and Kirk McGee
      • Uncle Dave Macon
      • Uncle Shuffelo
      • Walter Greer
    • DAVIS UNLIMITED
      • Bill Lowery
      • England Brothers
      • Flattops and Fiddles
      • Frazier Moss
      • Gillian Brothers
      • Indian Creek Delta Boys
      • J.T. Perkins
      • Ken Smelser
      • The Morgans
      • North Folk Rounders
      • Omer Forster
      • Perry County Music Makers
      • Robert and Claudene Nobley
      • Sharon Winters-Bounds
      • Vernon Solomon
      • Wally Bryson
      • Wally Bryson & the Blaylock Brothers
      • W.L. Gregory & Clyde Davenport
    • ABOUT US

    The Gillian Brothers Fiddle & Flattop SFR DU 33043 BUY NOW
    Playing hoedowns for square dances for fifteen years has been a major influence in the development of the “Gillian” style. Certainly, this gave the brothers ample time and opportunity to develop new chord structures and variations. As a consequence, the Gillian Brothers, unlike many musicians, are not “locked into” a regional mold or style of playing. As you listen to this album you will be able to hear traces of Southeastern-, Texas-, and Swing-Style fiddling; and bluegrass and old-time guitar stylings. In short the Gillians do not feel compelled to play in a particular style whether it be for contests judges or concerts. They play to please and satisfy themselves, and in so doing they have opened up an entire new vista of listening pleasure for their audiences

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