His version rocks back and forth from G to F# (others use F natural) over and over until finally breaking loose and making the characteristic descent to the lower strings. His version of the motive takes the G-F aspect of the others and exaggerates. Instead of jumping into the rhythmic groove for the song, Roberts plays a short blues riff-based introduction before beginning the rhythmic part of the song as the others do with his unique variation on the “bird call” motive. In her book African Banjo Echoes in Appalachia, Conway writes that even though the other banjo players she worked with were “improvisational and exciting… And yet, I knew my work lay with Dink and the older sounds of the banjo.” Dink’s playing is fascinating in how he constructs melody and wonders off on tangents mid-song that seem both random and perfectly expected at the same time. Cece Conway has written extensively about Robert’s. Dink Robert’s version of the song is quite different from the others in wonderful ways.
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