A BOOKLET OF ESSAYS, APPRECIATIONS, AND ANNOTATIONS PERTAINING TO THE ANTHOLOGY OF AMERICAN FOLK MUSIC epiteD BY HARRY SMITH i) SMITHSONIAN FOLKWAYS RECORDINGS WASHINGTON, D.C 1997‘This reissue of the Anthology of American Folk Music is dedicated to the vision of Ralph Rinzler (1924-1994) and to his memory.ANTHONY SeHGER AND Amy HOROWITZ Introduction [Anthony Seeger, Curator and Director, and [Amy Horowitz, Deputy Director, ‘Smithsonian Folkways Recordings row THE DAY the Smithsonian Institution acquired Folkways Records in 1986 we knew we wanted to reissue the landmark Anthology of American Folk Music, widely known as the Harry Smith Anthology, on CD. Ralph Rinzler, who as Assistant Secretary | of the Smithsonian was largely responsible for the acquisition of Folkways, had himself been profoundly influenced by the Anthology when it was fret released, After hearing the Anthology in the 19508, he and fellow musicians Eugene Earle, John Cohen, Mike Seeger, and others began to search out the performers on ‘those early commercial recordings and uncovered rich and enduring traditions of regional music in the United States. Ralph Rinzler always thought that the effectiveness of the Anthology derived from Harry Smith’s genius for bringing togeth- cr absolutely outstanding performances in an entrancing sequence. ‘The LP medium was fairly now in 1952, when the Anthology was first released. The LP (93% RPM 12° dise) made it possible to assemble a long, unbroken sequence of songs together; before thi ‘a single song per side was the standard. Harry Smith used the new technology to great advantage. The compact dibe extended the advantage of the LP, and Ralph wanted very much to release the Anthology on the new medium. Further edvances in technology permit us to present the Anthology in an Enhanced CD format, providing a multimedia, hypertext essay of images, text, and addi- tional audio. ‘This reissue of the 1952 Anthology of American Polk Music maintains the breadth and focus of Harry Smith's vision, eupple: menting his original Anthology with printed essays, photographs, video elips, and audio samples that will help a new generation of listeners understand just how important his work has been. Wo are grateful for the collaboration of contemporary writers and musi commentary on the original Anthology’s inten- collected performances, and its impact. ‘This new release stands on Harry Smith's shoulders at the boundaries of acience and art, history and sesthetics, scholarship ‘and commeree. We hope your experience with this Anthology will bbe as profound as that of previous generations, and we encourage you to use this as the beginning of a voyage of musical discovery ~ personal, spiritual, intellectual, academic, or in whatever direction ‘your experience takes you. Like Ralph Rinsler's Smithsonian Folklife Festivals and Folkways Records itself, this Anthology is meant to be a small step toward changing the world—beginning by ‘changing those who experience it.VOLUME ONE: BALLADS VOLUME TWO: SOCIAL MUSIC || VOLUME THREE: soNGs a (Bac SoCo a Bs 7] eta oobia | lone ig 2 [attire tees aos | z9| eid gw” | Haw ates sta Ba ae >| het Cpr | Gor le | %9| tcp ned Pice ator tats | Wage es | Comore Scape” 1) bats Soca — "eae stoner “o TWoeup ow | ere 3 Jute ante oat [ Santee “Dena tcp || Mar ay oT neki) |itane mesiadiniecwee | il laasngtin | 2 | eWigmesad | ae Seo ier nen | Sgr Bay 4 gt ene yur [55 eatery [een Fe Wee ea (26 dan rsp |g Beppe aint Gene 2 | ead epee | Ue Fen os | cam Sp | Hy Tees | neti Gi | at ne Sm 1 iene Tied Binet | ae tee | in In espn "Be Renan Fniy and \wonard Rutherford ‘37 | Saat Crapaud ‘Columbes Fruge | ‘Merchant's Dasghter, 13 [Rag ameey |r “3 edn Sep | en “a reas | opi Bn sede Ye || ames |The res Sl earn Ge”) ae Feiy 2 “TeCanis rts | se) toot Bes | he Gcint eg Bad |-se lever Sndadet | Gama Beaw [came | ai | Mons Doce Fue Gawrand te |_| Sonne snap ce Malye | rt One ‘eto Cate Orchestra "Rai fot Bes | Bind Lemos ieesae “| wat Beas Risto | |e ies 1s | ene oes | Eéeeet Gale) Ow Whew s/n 8 tact 1 atten mara |_| Ranma 17 [tease [Te carfoniy | a at ind | Raced Snes cane Ses Dee as os Pests | Abana Sc a Sigs Ces wh ay |Thewiiansn Bites | ae | Sng sine | Te Wee Gera ommend | ane Com Sigg Cnet sane ooo a yen 2) ST Go 2 Me tee tls | Chae Pae nite | 6 | wt ens | wep Sec Sages” | | et Cne Net asia Rames pS aia | Tilers | 39 Ca Se |e al mBao Fame mum ysecentom —_| certs snot Snes |) | ses ate oeph Fe 2 Wher at Gea ip [tam nS | ne ttat | Focaastaan | Wye ~ Tice a oe :| bytes ———|tesamtanerusow —| | Oa roan 21 lfagaelat Te ray [sa it ete Bie “ye tternat ies WeDo om 4 [tases [Foy ~~ | lene | Wn Gat Famip ||| Roto ie 2 Dnt oa Bey os |i eat Pops ance — |e] in re Bes Wp 2s ws Tesi wee uns Se a KG van | esp end ewe es Bes ie ae Komen enh Rr a [eae ‘aoa as se mint Battns [R06 Reads | [Teta | ard Form tan ues [jst Save Comenabon |S Fines He Tha ~ORRIL MARCUS The whole bizarre package made the familiar strange, the never known into the forgotten, and the forgotten into a collective memory that teased any single listener’s conscious mind. The Old, Weird America Greil Marcus ‘Tue ANTHOLOGY OF AMERICAN POLK Music was a work produced by a twenty-nine-yoar-old man of no fixed address named Harry ‘Smith. Issued in 1952 on Folkways Records of New York City an elaborate, dubiously legal bootleg, a compendium of recordings originally released on and generally long-forgotten by each still- active labels az Columbi was the founding document of the American folk revival. “It gave Paramount, Brunswick, and Vietor—it tus contact with musicians and cultures we wouldn't have known existed,” John Cohen of the New Lost City Ramblers, an archivist guitar-fddle-and-banjo band that formed in 1959, recalled in 1995 at a gathering to mark the fourth anniversary of Smith's death. ‘The Anthology introduced Cohen and hundreds, then thousands of others to performers from the 1920s and '30s—artists, Cohen said, “who became like mystical gods to us.” The “Anthology was ‘our bible,” singer Dave Van Ronk wrote in 1991 of the Greenwich Village folk milieu in the mid-Afties. “We all knewevery word of ‘every song on it, ineluding the ones we hated. They say that in the 10th-century British Parliament, when « member would begin to ‘quote a classical author in Latin the entire House would body and finish the quote along with him. It was like that.” Jt was no accident that the Anthology was issued in 1952, at the height of the MeCarthyist witeh-hunt, It was not irony that led Smith, near the end of his life, as a shaman i Naropa Institute in Boulder, Colorado, to record every sound he | encountered in the course of a fourth of July, from speech to fire- works to eriekets, In 1952, with the United States at war with Korea ‘and resurgent at home, « world power and the envy of the world, seemingly complete and finished, Smith msde his own country. ‘That was Smith's Anthology. It was a collection of eighty-four performanees on six LPs in three hinged two:reeord sets—eontrap- tions (soon replaced by boxes) that suggest less a likely mechanism for the delivery of recorded musie than a eryptic homage to a Inpsed patent thet, dating to some time before the First World War, ‘understandably failed to eateh on. Bach set carried the same cover | art, in blue (air), red (fire), and green (water); from a Robert Fludd ‘compendium on mysticism, Smith used an etching by one residence at theANTHOLOGY OF AMMRICAN FOLK music SELECTIONS 3, 57. Clarence Ashley ‘Theodore de Bry of what Smith called “the Celestial Monochord.” Dating back to at least 400 B.C., said to have been invented by Pythagoras, the monochord was « protean instrament, a simple sounding box with a single string, not dissimilar from the diddley bow of the Black American South, a pices of wire strung against ‘4 wall from floor to ceiling. The monochord was used for tuning ‘and as « timer until the late nineteenth century; five hundred years arlier the word had entered the English language as a synonym for harmony, agreement—for the *acorde,” the poet John Lyngate wrote in 1420, between “Reason & Sensualyte.” On the covers of the Anthology volumes the monochord wes shown being tuned by the hand of God. It divided ereation into baianeed spheres of energy, into fundaments, printed over the fila: ‘ments of the etching and its erepuscular Latin explanations were record titles and the names of the blues singers, hillbilly musicians, ‘and gospel chanters Smith was bringing together for the first time, Tt was as if they had something to do with each other: ae if Pythagoras, Fludd, and the likes of Jilson Setters, Ramblin’ ‘Thomas, the Alabama Sacred Harp Singers, Charlie Poole and the North Carolina Ramblers, and Smith himself, were calling on the fame gods.* ist enonore on Pace twenTy EI ‘Smith's twenty-cight-page accompanying booklet was just as unlikely. Visually it was dominated by a queer schema: heavy, black, oversized numbers, marking each of the 84 selections as if their placement altogether superseded their content, as if some ‘rand system lurked within the elements Smith had brought to bear upon each other. The booklet was decorated with art from record sleeves advertising “Old Time Tunes” (music that as first recorded ‘in the 1920s was already old, even on the verge of disappearance, tand sold and experienced as such), with woodeuts from turn-of-the- ‘century eatalogues of musical instruments, and with faded, hard-to- ‘make-out photos of performers. In 1952 fddler Eek Dunford, biues guitarist Furry Lewis, the Eck Robertson and Family string band, bluesman Blind Lemon Jefferson, and Cannon's Jug Stompers were only twenty or twenty-five yours out of their time; eut off by the cataclyams of the Great Depression and the Seeond World War and by a national narrative that had never included their kind, they | ®ppeared now like visitors from another world, like passengers on ship that had drifted into the sea of the unwritten, “All those guys on that Harry Smith Anthology wore dead,” Cambridge folkies Eric von Sehmidt and Jim Rooney wrote in 1979, recalling how it ‘seemed in the early 1960s, when most of Smith's avatars were very “Had to be. ‘Smith's notes were solemn jokes. Information for each recording 1s to performer, composer, label, master number, date of release, ‘and so on was given precisely; comments on the sourcing or trank- mmission of a piece followed in sober manner; and each song and bal- much,GRRiL MaReUS Jad, hymn and sermon, was reduced to pidgin summary or nowspa- per headline, the latter running from sereaming newsbreak (“JOHN ARDY HELD WITHOUT BAIL AFTER GUNPLAY...WwLPH Af SCAPFOLD") to charming human-interest filler (*Z00L0GIC MISOGYNY ACHIEVED BN MOUSE-PHOO NUPTIALS, RELATIVES APPROVE” for a version of “Froggy Went A-Courtin’™). Again in 1995, John Cohen: Here's “The Butcher's Boy": “rArw4m FINDS OAUGNTER'S ROBY wi NOTE sriaenEo WHEN RAKLROAD BOY MITREATS HER” Hees another Song: “WIFE weseast ro ramets." Now, | think t's tecitle—it seems foreetul and crazy and comleal—but if you ever looked atthe serious folklorist, [at what] they've written, these are the Child ballads, these are the major tomes, these are handed down fom medieval times to ancient Briain, ‘theyte the great traditional bollads, and there's volumes and volumes of scholarship about them—and that Har could get them coun to onetiners ie-unnerving. ‘THR WHOLE BIZARRE PACKAGE made the familiar strange, the never known into the forgotten, and the forgotten into a collective memo: ry that teased any single listener's conscious mind, There was, remembers the artist Brace Conner, who encountered the Anthology in the early 1950s in the Wichita Public Library, “a confrontation with another eulture, or another view of the world, that might include areane, or unknown, or unfamiliar views of the world, hid- den within these words, melodies, and hermonics—it was like field recordings, from the Amazon, or Africa, but it’s here, in the United States! It's not conspicuous, but it's there. In Kansas, this was faa- inating. I was sure something was going on in the country besides Wichita mind control.” Ax a document earrying such faraway suggestions, the Anthology of American Folk Music was a seductive detour away from what, in the 19508, was known not as America but. as Americanism, That meant the consumer society, as advertised ‘on TY; it meant vigilance against all enemies of sueh a society, and 1 determination never to appear as one; it meant what Norman ‘Mailer, in words that in the 19508 could have been those of many other people, desoribed as the state of mind of the republic: the coexistence of the fear of “instant death by atomic war” and the fear of *a slow death by conformity with every ereative instinet SELECTION 9 The Bogtrottors Band Eck Dunford, top row, second from eight stifled." This was boilerplate, no matter how true; a dead language ‘the instant it was epoken. Thé Anthology was « mystery—an insistence that against every assurance to the contrary, America was iteelf a mystery. Asa mystery, though, the Anthology was disguised text | book; it was an oceult document disguised as an academic treatise on stylistic shifts within an archaic musicology. This was in Harry Smith's grain, A polymsth and an autodidaet, a dope fiend and an aleoholie, a legendary experimental flmmaker and a more legendary sponger, he was perhaps most notorious as & fabulist, Despite the many unbelievable stories Smith told about himself, there were facts in his life. He was born in 1923 in Portland, Oregon, and grew up in and around Seattle; he died in 1991 in New ‘York City, where he had become known as “the Paracelsus of the Chelsea Hotel.” Smith's parents were Theosophists; when he was & child, Madame Blavatsky, Annie Besant (*She had already been people like Christ and Leonardo,” Smith said), and Bishop Leadbeater, dead or alive, were almost like family friends, Smith's ‘great-grandfather John Corson Smith, who Smith claimed had been ‘aido-de-camp to Ulysses 8. Grant during the Civil War and Inter governor of Illinois, was one of many nineteenth-eentury mystics to refound the Knights Templar, the medieval order of crusader >Washington salmon fisheries—unless his father was, as Smith often said, the English satanist Aleister Crowley, whose motto *Do ‘As Thy Wilt Shall Bo The Whole Of The Law” was one more of Smith’s Anthology epigraphs. ‘Smith developed rickets, which left him stunted and humped, “~The universal hatred I've stirred up against myself, it comes from being sloppy among a bunch of tidy people,” he said near the ond of his life—despite his common appearance as a derelict, he was speak- {ng philosophically. By tidy people he meant certain circles of his parents’ friends, followers of “the Transcendental philosophy that Emerson developed...who] came to Concord to learn,” but family “prided itself on ita backwardness, You see, even when they hhad James Whiteomb Riley to listen to they still preferred Chaueer.” ‘An a schoolboy, swirling in the irregular orbita of his parents! religion, their fantasies, their poverty and delusions of grandeur, ‘Smith discovered the loeal Indian tribes. Living near Seattle in SELECTIONS 12, 27 | The Caroling Tor Heels. Left to right Tom” Ashley, Doc Welsh, Gwen Foster Clarence musie, and South Bellingham, he began to investigate the rituals languages of the Nootka, the Kwakiutl, the Lammi. ‘A 1941 photo in The American Magasine shows a teenage ‘Smith—with glasses, Pendleton shi tion on his face as he sits before the feathered and horned elders of ‘monka believed by some to have possessed the Holy Grail, the Ark of the Covenant, or the secret of being. ‘Smith’s upbringing was a garden of confusions. His mother's family, he recalled, had left Sioux City, Towa, in the 1860s “because they felt it was becoming too contaminated by the Industrial Revolution”; his mother’s mother founded a school in Alaska *that | annual potlateh, or winter festival... Closest to the aboriginal form ‘was mapported by the Czarina of Russia,” whick led to his mother's | of any Indian dance in the U.S." “He hopes to study anthropology sometime insistence that she was Anastasia, the last of the | ‘under University of Washington profs." the article titled “Injuneer” , and a look of calm concentra the Lummi tribe—“recording the drums and chants of the Lummis Romanovs. His father was once a cowboy and later worked in the | concluded, “and they are hoping to study anthropology under him.” JOHN FAHEY, April 1997 “Hed be never done enything with his lif but this Anthology, Horry Smith would sil have borne the mork of genios ecron his forehead. Fd match the Anthology up ogcinst any other single compendiom of important information aver assembled. Deed Sea Scralls? Noh. take the Anthology. Make 90 iste: there wos no ‘felk’ canon before Smith's work Tet he hed compiled seche define docoment only become apparent mech late, of couse. ‘We record-collecting types, sifting through many more records than he did, eventually reached the same conclusions: these were the true goods. But why is this the ‘folk’? Scholars who write such things have said that the ‘folk’ is the culture of o group of people who're ot least to some extent isolated whether by clas, sex, o50, race, language, space ime, religion—from the mainstream. Flk song developed os the common corrency in his climate of comporotive isolation, deriving from © way of life, and bloh blah blob. This is true, no doubt; but why did Smith pick this porticuler grouping 95 representative of ‘folk’ music and why was he so dead-bang right in domn neor every selection? There were certainly other traditions to be found within “Amecicon’ masc ofthe ‘anachooled”vority: why are thre no Jewish-Amricon motifs? Whot ebout the Conjnto? (These were, instead, ‘ethnic smovcs He dd not confine himself fo the English longvage—witness the many Coun racket he very purposeolly seed on o fairly crcomacribedarern MARCUS [A turning point in Smith's life eame about two years later, when he left his studies at the university and traveled to San Franciseo, There and in Berkeley he entered bohemian cireles. Al- ready at work on abstract, hand-painted films, he met artists, pocts, communists, folk singors, and folklorists, Writing in 1994 of that time and that milien in Utopia ond Dissent: Art, Poetry, and Polities in California, Richard Céndide Smith could be describing the auras of Smith’s Anthology: ‘The avant-garde on the West Coast had a preference fr cosmological ‘theosophical over psychologcal-socologcal understandings of art and the individuals relationship to larger forces. The sacred, which need not involve 8 personalized deity, was valued over the profane... istrcal “facts” served hierarchy, while tradition was liberating because it grew from a vlun- tary personal response tothe repertory ofthe past. I uwx niran runass, “the repertory of the past.” I like Céindide ‘Smith's description of response to it. Harry Smith might have ‘aswell. He drew on both bis heunt-ridden boyhood and his own vast collection of 76810 assemble his Anthology—s collection that began around 1940, when Saith bought a record by the Missisippi blues: ‘man Tommy McClennan, “(ft had somehow gotten into this town by inistake,” Smith said of South Bellingham, speaking to Jobn Cohen in New York in 1968, “It sounded strange so I looked for others.” Tn a Seattle Salvation Army shop he heard Uncle Dave Macon's “Fox and Hounds": “I couldn't imagine what it was.” Carl Sandbure’s American Songbag took him to Child ballads, to named for-—and SELECTIONS 12, 27 Doc Walsh ofthe Corolina Tar Heels, 1961 famously numbered by—the Harvard English professor whose 1882-1896 English and Scottish Popular Ballads eatalogued a legacy that by the 1920s persisted more readily im the southern Appalachians than in the British Isles, Other books and directories took him to Southern fiddle musie, Cajun chansons tristes, cowboy laments, The war was a boon: warehouses were cleared for military supply, putting thousands of forgotten dises from the 19208 and "30s on sale for next to nothing. Smith found seores of old records— gospel, blues, parlor tunes—by the Carter Family, the beloved trio {rom the Clinch Mountains of southwestern Virginia; not long > bbunch of stuf. And t's oll great, of course. So why this grouping? ‘believe the answer lies in the fact that Smith war acutely aware of a fairly simple truth which tock others a great many years ond much heod- scratching te arrive ot: certain musicultural traditions were sympathetic to each other while others were not. The White ond Black folks found hersin, the persistent protestations of meny White ortists [witness Bill Monroe, who most of his life would have us believe he invented bluegrass from whole cloth—nearly true, ofcourse, listened fo and drew from each other's musics in a landscope of musical interchange nonexistent during this seme ‘period between ony other troitons to be found under the rubric of ‘American’ music. Smith had an encyclopedic knowledge of 78s ond a preternatural feel forthe connections between them—across race and ethnic bovadaries—not only to cadify them for us but also to hove this collection persist as an absolutely definitive and essential historical docement.. ‘A few words about porticulor selections: CLARENCE ASHLEY. Probobly the best mountain § string banjo player ever. Also the scroungiest ond most forceful, “Coo Coo Bird’ is one of my favorites, AE KAZE. The theologion. Already a revivalist, even back then, but he made it his own. His version of "Wegoner's Lod’ may be the best ever, UNCLE ECK DUNFORD. What's “Old Shoes ond Leggins’ about exactly? Reminds me of the fime in the 1950s when | sew Stoneman’s band perform ia 0c, and Scotty Stoneman was shaking his hips like EWvis. A horrible sight. auunerr & rumwextorn. “Willie Moore’ is —eANTHOLOGY OF AMERICAN FOLK uUSIC SELECTION 13 6.8. Grayson with Henry Whiner after, in a Calaveras County trailer camp in the California Gold Rash country, he found autoharpist Sara Carter herself. Though devout in her retirement, barring alll musi from her door, Carter nevertheless regaled the young collector with tales of Jimmie Rodgers, the Blue Yodeler, who like the Carter Family first record- ed in 1927 at the prophetic Bristol Sessions on the Tennessee Virginia line: tales of how in “where Jimmie Rodgers went he threw marijuana seeds off the back of the train so that you could tell where he had beon.” *I was look- ing for exotic records,” Smith told John Cohen. “Exotie in relation is days as a railroad brakeman, “every- to what was considered to be the world culture of high class musie.” As Smith searched for the hillbilly elassies and primitive blues made in the commercial half-light of the Jazz Age, he found him- self in the first years of his owa ol hood, He might have heard ‘what people have always heard in strange musie: the call of another life, He might have imagined that, going back to his first years with his oldest records, he was reliving and rewriting his life from the start. It would have been only a fist step; the history of the republic, the story the country told itself, was just as vulnerable. ‘As Smith learned the contours of old styl sand phrases through the Chinese boxes of folk etymology, he found bimself in the eighteen hundreds, and then back farther still, decades tumbling into eenturies, ghost lovers and backwoods erimes replacing the great personages and events of national life It was a quest, and not merely personal. “I felt social changes ‘would result,” Smith said of hia Anthology in 1968; he meant to provoke an i in the seared and satisied reactionary freeze of the postwar period, the Anthology was meant to distinguish those who responded from those who didn't, to distinguish those who responded to themselves, ‘Smith's definition of “American folk music” would have , as he tracked melodies inctive response on a plane of social magi satisfied no one else, He ignored all field recordings, Library of Congress archives, anything validated only by scholarship or earrying the must of the museum. He wanted music to which people really. hhad responded; records put on sale that at least somebody thought ‘were worth paying for. Though Smith noted that folk songy had ‘one of my fovorites on here. Great, eerie; sounds like it came out of the earth. 6.8. OBAYSON. Used fo play along Lee Highway in Virginio. Also a semi- nol eorth-spirit.cantex rami. What else needs to be said? Except, why daes Sara sing in such @ mocking and satirical tone on ‘John Hardy’? Curious. CHARLIE POOLE. ‘White House Blves'—five star performer and record. Most White revivalists don't sing the full chorus: “the ground is covered up with snow’ He did. 10Wn Wut. “Frankie! is ene of the best vocal & guitar pieces ever, probably the best guitar recording ever. Remor [-e. Spottswood) hes it thot when this piece was played for Segovia, he couldn't believe there were not two guitars at work. WILIAM AND VERSLY suITH. A great piece. Guitar all but inaudible. Row sludge. Literally fontastc. They were probobly street singers who sang lots of songs about happenings in the news. Wish we could hear the news like this now. runsy Lewis. ‘Kassie Jones’—a masterpiece. Most surreal version ofthe Casey Jones theme, Keeps digressing into talk of ‘other things. Freudian dream imagery. CHARLEY PATTON. Most exciting take on the farmer and the boll weevil yet. Hardest driving guitar recording ever? _ns0N sertets. Didn't record the greatest fiddle song ever (belongs to Eck Robertson—'Sally Goodin, but it one of the greatest fiddlers America produced, Also hos the honor of always having his recordings screwed up by accompanying guiter. Setters - guitar = greatest Fiddle recordings ever, ‘maybe. DILMA LACHEY ANO ALND UNCLE GASPARD. “The Dancer.’ Diamond in the rough. One of the best, most beautiful recordings of guitar and fiddle ‘ercadian’ music ever. Fok ROMEATSON. Great, great Fiddler. Probably the best. | was driving through Amarillo once, stopped to get a milkshake et @GREIL waRcus = eenmineewwasen ees Be been commercially recorded as far back as the 1880s, and that mar- kets for blues and hillbilly records took shape in the early 1920s, he restricted himself to the eommonly held musie of tradi marginalized American cultures aa it was professionally recorded between about “1927, when electronic recording made possible aceu- rate musie reproduction, and 1982 when the Depression halted folk. rmusie sales.” These years comprised the high point of a time when Northern record companies suddenly realized that the spread of al and rail Hines and the emergenee of radio on a mass seale had opened up self-defining and accessible audiences throughout the South for church and dance music, regionally di nective blues, melodie alle- gories handed down over generations; as « commereial proposition, those years were a window opening onto a seemingly infinite past. ‘As a historical period, they were an economic opportunity to cap- ture ritual, and it was the scent of ritual Smith pursued. Dressed up as a good pedagogue, and arming his seleeted old dies with complex, cross-referenced discographies and bibliogrs- phies, neatly attaching story-songs to the historical events from which they derived (the mythical historical events, sometimes), not SELECTIONS ‘The Carter Family 17, 23, 53, 67 courtesy swrHsomian ro.Nwars ARCHIVES ing changes in approaches to voicing, instrumentation, tunings, and years,” Smith said happily in 1968, “before anybody discovered that Mississippi John Hurt wasn’t a hillbilly.” ‘the like, Smith divided his eighty-four choices into threo categories, his three sete of two LPs each: “Ballads,” “Social Music,” and “Songs.” Within his five-year span, he paid no attention to chronol- ‘ogy as he sequenced the numbers; for all of his painstaking annota- | orchestrated continuities. He moved tunes about homicide into tion, he never identified a performer by race, determinedly sowing | those about suicide. Or he placed a performance so that it would Very carefully, Smith constructed internal narratives and, 1 confusion that for some listeners persists to this day. “It took echo & line or a melody in a preceding number—so that the > condside diner, ond upon exiting spied Robertson coming out of his shack across the street. We telked ond did some playing. Then he gave away most ‘of his Social Security check to other poor people on their way fo the grocery. HENRY THOMAS. Grea! piace—'Old Covatry Stomp.’ Thomas apparently used 10 play @ lot of kids’ bicthday porties. So did Blind Willa McTll, FRANK CLOUTIER ANO THE VICTORIA CAFE ONCHESTEA. ‘Moonshiners Dance! is the best piece ‘on the Anthology. When they breck inte “Maggie, | get goosebumps, Feel like I'm being tugged into the past. Eerie. | once learned to tapdance to this ince, Rev. 10. GATES. Sold more records in the Black market up to 1942 than anybody. Grect singer with a halting preaching style. He recorded about ‘ten differant times something called ‘Will Death Be Your Sonta Claus.” MIDOLE GEORGIA SINGING CONVENTION NO. 1. They seem to be singing from a shape note book. Everything's slightly sharp or Hat with realy strange timbres. Great recording. ev. MOsts MASON. Phony preacher. Also recorded ‘Hot Temele Mon.’ G.D. Wardlow knows which Louisiana Lake this guy's from. ‘ohn the Baptists « great cut. Why does BASCOM LAMAR LuNsrouo always sound ike he's on the verge of cracking wp while singing? A fantastic entertainer/lawyer from Asheville, NC. Wish I Was @ Mole..” is @ nasty, sadistic song about © prostitute named Gimpy. Frightening. SND WILUE JOHNSON. This, 100, is where the soul of man never dies. But I'd rather have heard ‘Jesus’ Blood Can Make Me Whole,’ to be honest. A minor complait, 11x Hénsar. “I Woke Up One Morning ia May.’ Love it. Wonderfully out of tun ‘A mojot, major talent. Primitive and scary version of “Segor Baby. Charlie Monroe also did it later as ‘Red Rocking Chair.’ believe Spotswood =eANTHOLOGY OF AMERICAN FOLK MUSIC ANTHOLOGY OF AMERICAN FOLK MUSIC SELECTION 26 “The Mosked Morvel” (Charley Potton) and an ineradieable aspect of national memory, transmitted to all Americans as if it were a gene, but now, in a ehureh that changes shape and color with each new performance, the party is just start- ing. It’s as if, now, the whole community has to pay for the solitary crimes of the fret two LPs, and for the revelry of the thi if everyone knows that this ie fitting and proper, that this is right. But by the time “Social Music ends, itis not only the shape of the chureh but God's face that has changed. Against all odd, it ing. The Reverend F. W, MeGee celebrates “Fifty Miles of Elbow Room.” Reverend D. C, Riee and His Sanctified Congregation take their place in a great army. “I’m on the Battlefield for My Lord,” they sing, and they make you want to join them. The pleasures of ‘the dance, the wallow in drink, now seem very distant, and worth- less, In this place is a great spirit of freedom: the freedom of know: ing exactly who you are, and why you are here, ‘You lesve “Social Musie” in the arms of certain knowledge. d—and as smi. Instantly, on “Songs,” you're ripped from that embrace and east into a charnel house that bears a disturbing resemblance to every- day life: to wishes and fears, diffeulties and satisfactions that are, ‘you know, as plain as day, but also, in the voices of those who are now singing, the work of demons—demons like your neighbors, your family, your lovers, yourself. The frst side of “Songs” is a panor ima of the unesnny. It's not that here nothing is as it seems; as Buell ‘Kazee feels his way through the dimming haze of “Bast Virginia” and in “I Wish I Was a Mole in the Ground,” Bascom Lamar Lunsford pictures himself ax a lizard in the spring, as Rabbit Brown wanders the one-block labyrinth of “James Alley Blues” and Dock Boggs smiles “Sugar Baby"’s death’s-head smile, it’s as if nothing that seems even is, “Who'll rock the eradle, who'll sing the song?” Boggs asks, twisting the words until they’re seratching off each other's vowels, and Brown answers, hie guitar all fore-knowl- edge, his voice all suspicion, the gonging of his strings making a hall of echoes: Are you sure we really want to know? Now tricksters rule, sharps who ean guess your weight and tell your seerets. The carnival has arrived in Smithville. The streets have been rolled up, and the town now offers that quintessential American experience, the ultimate, permanent test of the anfin- ished American, Puritan or pioneer, loose in a land of pitfalls and surprises: Step right up, Indies and gentlemen! Enter the NewOREIL MARCUS “I s0id, Let's go to Harlem. Harry flogged a cob. Thot used up all my money right away. We had a pretty good evening heoring the mesic and secing the dancing and he soys,‘Le’s toke @ cab back.’ said, ‘I don’t hove any money left: | seid “let's take a subway back? There itis, about 1 o’clock in the ing, @ cold November night in Harlem and the three of us are walking down the sidewalk. It was a funny feeling and suddenly Harry runs aver to ‘one of the wastebaskets out on the street, ond puts his hend in and then jumps in headfirst and comes out with a pack of something and he starts going ‘on the sidewalk, sorting these out. They're photographs, and he’s laying them out all over the sidewalk, here, there, grouping them by size and shope, ‘and people are coming avt ofthese dark doorways to see whot’s going on. Apperently some photographer in « portrait studio had thrown out oll his ‘work and that’s what this war. And Horry walked around to the crowd and gave everybody « picture, and then they all ook their pictures and went hhome.... JOHN COHEN, transcribed from comments ot the Herry Smith memorial, February 9, 1992 Sensorium of Old-Time Music, and feel the ground pulled right out from under your feet! ‘The two LPs of “Songs” continue on from this first side, main- taining a startling level of power and charm, on through suites of tunes about ma age, Ibor, imipation, prison, and death Missaippi John Hurt quietly pussles over John Henry's elt | serie, asi burrowing out from under the rubble he left Beind Blind Lemon Jefferion makes hie guitar into a tolling bell for “See ‘That My Grave Ts Kept Clean.” He stops time, stops Death, and ‘then, as if he knows the pause is somehow leas cheating Death than ‘ a SE ‘cheat on life ots the wong move on. Une Dave Mason's fot- stomping exuberance, bis long reach for good time, burets through ven nambers beginning on a ebain gang or inthe midst of deadly Inbor strife, Born in 1870 in eaneaee, Macon died in 1952, the year Bath's Anthology appeared; before 1924, when he made his fret records, he worked as teamster. For “Way Down the Old Plank Rosa” he wands up in hi wagon, pushing his horse, erack- ing hin whip with » Babe Rath smile: “Rit, YOURSRL#” he shots cut of the hurry of the song. He sounds like he wants to watch and then go yon one better Ive one of the trnet, highest, most aber- oned momenta in American speech—aa can seem every note of The Lane Star Trail” With passion words and melody ean elicit but not account for, movie tar Ken Maynard, “the American Boy's Favorite Cowboy,” ambles out ofthe soundtrack of The Wagon Master to chant snd moan, yodel and , stare and tremble, more ‘lone, more stoie and more restless botweon heaven and nature, than ‘anyone has been before. The shape of the land, its vast expanse, its indifference to who you are oF what you want, looms up aa this noli- | SELECTION 28 “Uncle Bunt” Stephens tary figure says his piece: I am the first cowboy and the last. Here ‘COURTESY OF THE SOUTHERN FOLKLIFE COLLECTION ‘no one sees me, myself least of all, Tam happy, Tam free. > LUMIVERSITY OF NORTH CAROLINA AT CHAPEL HILLANTHOLOGY OF AMERICAN FOLE MUSIC SELECTION 30 Prince Albert Hunt ‘The whole long story is brought to a close when it of itself, with the freest song imagin “Fishing Blues,” played on panpipes, an instrament that blocks all possibility of tracing the historical origins of this song or that~ the high, lilting sound of the panpipes goes back to the end of tl ifted out le, Henry Thomas's Paleolithic. This sound is older than any surviving language, and t be the message of this song from a railroad bum who eriss- crossed the South from the end of the 19th eentury into the 19405, ‘4 message he repeats over and over, as if it holds the seeret of being: “Here's a little something I would like to relate/ Any fish bite if ‘you got good bait.” ‘There is an almost absolute liberation in “Fishing Blues’—a possible not to fool, and easy to understand, ‘Yet there is a liberation just as complete brooding on that first side of “Songs,” breathing through Dock Boggs's nihilism, Bascom Lamar Lunsford’s pantheism, the ghost dance of Rabbit Brown, Hiberation that i ‘This liberation—or this absolute—is not easy to comprehend, but for {just that reason it is here, in Smith's most explosive collage of seav- ‘enged old records, that the Anthology of American Folk Music finds its conter, or its axis; itis here that Smithville begins to shade into Hawthorneville, Melvilleburg, Poctown, Judgment Day is the weather here: in 1926 in “Oh! Death Where Is Thy Sting?” ‘Judgment Day was an event, but in Smithville it is also a way of life, present in the smallest details of landseape and language, aesture and the passage of time. Its presence makes all these things into symbols, and charges them with meaning that cannot be enclosed, “I have seen the task which God hath given to the sons of men to be exercised therewith,” one of Smith's preachers might be explaining, taking his text from Ecelesiastes. “He hath made ‘everything beautiful in its time; also he hath eet the world in the heart, yet so that man cannot find out the work of God from the beginning even to the end.” In an essay on the Anthology called “Smith's Memory Theater,” Robert Cantwell wrote about one of the songs in this sequence, Dut he might have been writing about almost any one of them, or all of them. “Listen to ‘I Wish I Was a Mole in the Ground’ again and again,” he says. “Learn to play the banjo and sing it yourself ‘over and over again, study every printed version, give up your career and maybe your family, and you will not fathom it.” What he is saying is not that different from what Bob Dylan was, saying about folk music in 1965 and 66, when to so many nothing hhe could have said about folk music could have been less than « lie. “All the authorities who write about what it is and what it should ve," Dylan said, “when they aay keep it simple, [that it] should be easily understood—folk musie is the only musie whore it isn’t sim- pile. It's never been simple. It’s weird....'ve never written anything hard to understand, not in my heed anyway, and nothing as far out, 1s some of the old songs.” | nave to think of al this as trasitional musi, Traitional music is based on Ihexagrams, It comes about from legends, Bibles, plagues, and it revolves ‘around vegetables and death, There's nobody that’s going to kil traditional ‘music. Al those songs about roses growing ut of people's brains and lovers who are really goese and swans thet turn lato angels—they’re not going to die. It's all those paranoid people who think that someone's going to come and take away their toilet peper—theyre going to die. Songs hike “WhichGnmiL warcus ‘Se Are You On?" and “I Love You Pory'—they'e not flksmusie songs; ‘theyre political songs. Theyre aleady dea. CObviouly, death isnot very universally acceptod. | pean, you'd think that the tradtional-mesic people could gather from ther songs that mystery (sa fat, a traditional fact..traditional music is too unreal to die. It oesn't need to be protected. Nobory’s going to hurt it In that music isthe only true, valid death you can feel today off 2 record player Bob Dylan could have been talking about the first side of Harry ‘Smith's “Songe”: ome quality that unites the singers here is that they sound as if they're already dead, though not beeause they have ‘accepted that the meaning of the songs they"re singing ean be fixed im advance, It's as if they're lining out an unspoken premise of the ‘ola Southern religion: only the dead ean be born agai No performance captures this sensation more completely than ‘the first number on this magical sido, Clarence Ashley's 1929 Columbia recording of “The Coo Coo Bird.” There is m0 more com- monplace song in Appalachia: the song has been sung for so long, by no many, in 80 many different communities, as to seem to come folkloriste virtually automatic, « musicologieal version of the instinetive act, ike breathing—and therefore meaningless. As Ashley sang and played the song he paid in fall every claim Dylan would make about traditional music. He pays as well all the elaims of the uniquely plainspoken argument the South African musicolo- sist Peter van der Merwe makes about the sort of Appalachia: ‘who appear all across Smith's Anthology: Ashley, Lunsford, Kazee, Boggs, Eek Robertson, the Carter Family, @. B. Grayson, Uncle Dave Macon, Frank Hutchisoi: When midale-clase America fist dacovered these mountain folk there was 1 tendency to preset their ways a6 even more primitive and archale than they actually ware, Nonsense was talked oftheir ‘Elizabethan speech,’ a6 ‘though they had been preserved unaltered since the sixteenth century. AS ‘a inevitable reaction, it is now fashionable to point to urban influences ‘on this isolated rural culture, Taking al ue reservations into account, stil believe thatthe biggest danger ies in underestimating the strangeness of these cultures Clarence Ashley was born in 1895 in Bristol, Tennessee; as a teonager he traveled with minstrel troupes and me‘ SELECTION 33, Eck Robertson (“1 was always erazy about the show business”), By the 1920s he ‘was « professional itinerant masician, playing in string bands, at fairs, on the streets, to miners as they picked up their money or their aerip. He died in 1967. In 1929 he was in his mid-thirties; he sounded seventeen, or one hundred and seventeen, as if he'd died seventeen or ome hundred and seventeen years before. Ashley's >ANTHOLOGY OF AMERICAN FOLK MUSIC “First hecring the Harry Smith Anthology of American Folk Music is like discovering the secret seript of so many familiar musical dramas. Many of these cctually turn ovt to be cousins two or three times removed, some of whom were probably created in ignorance of these Iso occurred to me that as wa ere listening at a greoter distance in time to © man of woman singing of their firly recent past of the 1880s, we inal riches. ‘ore fortunate that someone collected these performances of such wildness, stcightforward beavty, ond humanity." ELVIS COSTELLO. SELECTION 33, Eck Robertson, Amarillo, 1, 1963 performance made one thing clear: however old the singer was, he ‘wasn't a9 old as t song. Like many of the numbers on the third volume of the Anthology, “The Coo Coo Bird” was a “folk-lyrie® song. That meant it was mado up of verbal fragments that had no direet or logical relation- ‘ship to each other, but were drawn from a flosting pool of thou: sands of disconnected verses, couplets, one-liners, picees of eight. Harry Smith guessed the folk-lyrie form eame together some time Detween 1850 and 1875. Whenever it happened, it waan’t until enough fragments were abroad in the land to reach a kind of eriti- ‘cal mass—until there were enough fragments, passing back and forth between Blacks and Whites as common coin, to generate more ‘fragments, to wustain within the matrix of a single musical lan- ‘guage an almost infinite repertory of performances, to sustain the sense that out of the anonymity of the tradition a singer was pre- senting a distinet and separate account of a unique life. This qual ‘ty-the insistence that the singor is singing his or her own life, a8 ‘an event, taking place as you listen, its outeome uncertain—aepa- rates the song, from which the singer emerges, from the ballad, into which the singer disappears. ‘What appears to be a singer's random sssemblage of fragments to fit a certain melody line may be, for that singer, an assemblage of fragments that melody called forth. It may be a sermon deliv- ‘ered by the singer's subeonscious, his second mind. It may be heretie’s way of saying what could never be said out loud, » mask over a boiling faee. Ashley's singing—high, a voiee edgy with the energy of musing, of wanting, of not getting, of expecting to get it all tomorrow—rises and falls, dips and wavers, playing off the rhythm his banjo makes like a tide eddying up to a bank aj iraseibility in his voiee, a disdain for the consequences of any action the singer might take, or not take. ‘The banjo could be from another song, oF another world. ‘The music seems to have been found in the middle of some greater song; itis inexorable, The and again. There's a willfulGREiL MARCUS opening and closing flourishes on the banjo seem false, beeause the figures in the music make no progress, go from no one place to any ‘other; the sound was here before the singor started and it will be hore when he's gone. In this mood, in this weather, the most apparently commonplace fragment in Ashley’s "Coo Coo Bird”—the verse seemingly most unburdened by any shard of meaning—cannot be meaningless. Gonna build me Log cabin (0n 4 mountain So mien Solan See Wit Wien he goes On by It sounds like a children's ditty only until you begin to realize ‘the verse is made to refuse any of the questions it makes you ask. Who is Williet Why does the singer want to watch him? Why most he put aside his life and embark on a grand endeavor (in versions ‘of “The Cuckoo” closer to its protean British form, the log eabin is ‘a castle) just to accomplish this ordinary actt The verse can only communicate as a secret everybody already knows, or aa an allusion to a body of knowledge the singer knows ean never be recovered, and Ashley only makes things worse by singing as if whatever he's singing about is the most obvious thing in the world. The perfor- ‘mance doesn’t seem like a jumble of fragments, Rather there is ‘theme: displacement, restlesanese, homelessness, the comie worry of “a people,” as Constance Rourke wrote of Americans as they were ‘when the Civil War began, “unacquainted with themselves, strange to the land, unshaped as « nation.” “We Americans are all cuckoos,” Oliver Wendell Holmes aaid in 1872, “We make our home nests of other birds.” This is the starting point. in the As long as seven hundred years ago, the English were singing that the cuckoo heralded the coming of summer, and yet the bird ‘was hated. Ita ery was reviled through the centuries as oppressive, repetitious, manineally boring, a ery to drive you erasy, a ery that was already crazy, beGtting a bird that was insane, The euekoo— the true, “parasitie” cuckoo, which despite Holmé SELECTIONS 51, 63 | Bascom Lamar Lunsford national bird is not found in the United States—lays ite eggs in the nests of other birds, It is a kind of seavenger in reverse: violating the natural order of things, itis by ite own nature an outsider, « creature that eannot belong. Depositing its orphans, leaving its Progeny to be raised by others, to grow up as impostors in another's hhouso—az America filled iteelf up with slaves, indentured servants, ‘conviets, hustlers, adventurers, the ambitious and the greedy, tthe fleeing and the hated, who took or were given new, impostors’ namies-the euckoo becomes the other, and sees all other ereatures as choice of it for | other. If the host bird removes a euckoo's ogg from its nest, the ®>ANTHOLOGY OF AMERICAN FOLK MUSIC SELECTIONS 62, 73 Dock Boggs ‘cuckoo may take revenge, Killing all of the host's oges or chicks; in the same manner, as new Americans drove out or exterminated the Indians, when the cuckoo ogg hatches the newhora may drive out any other nestlings, or destroy any other eggs. As a ercature alien | | ated from its own nature, the cuckoo serves as the spector of the alienation of each from all. If this is the theme of the song, then rather than the ant fe many find in folk-lyric performances, what is present in Clarence Ashley's performance—the axis on which Smith's Anthology seems to turn, oF maybe the proud anthem of Smithvil sung every night at sundown—i of American willfulness and fatedness, a narrative implied bat alto- ether missing, replaced instead by hints and gestures, code words ‘and winks, a whole music of secret handshakes. Just as there is a ‘certain historical impersonation on “Ballads,” with Virginian Kelly Harrell singing as Charles Guiteau on the seaffold, recounting his ‘assassination of President Garfield, and on “Social Music” there are master narrative: « narrati no individuals, only townfolk indistinguishable from their fellows, ‘on “Songs,” where the premise is that one is singing as oneself, ‘the mask goes on, the most profound mask of al impenetrable. Who ‘transparent and singing? Who are these peoplet If you could put your hand through the mask you would feel nothing but ai. “The Coo Coo Bird” seoms to assume a shared history among its listeners, to take in the countless volumes of what does not need to be said, and yet a Ashley sings the song it is almost a dare. That's how it feele; but who or what is being dared, or why, is completely “Oh, the eo0 c0o/ She's a pretty bird/ And she warbles, as she flies,” Ashley begins. “And it never/ Hollers eoo coo) Till the fourth day/ Of July.” It is usual to dismiss this as not even a ‘unelea metaphor, merely a rhyme. But that is because a a metaphor thie ‘verse can be understood but never explained; because it ean place the listener, pull the listener's feet right out from under, but cannot itself be placed. Ashley's voiee ean be solemn, wry, erafty, and blank all at once: his song is not an argument, itis a riddle. Imagine that in 1929 this was a riddle Clarence Ashley took pleasure putting before the country. Part of the charge in the music on the Anthology of American Folk Music—its reach across ti carrying such individualistic flair, in 7. J. Clark's phrase such eol- lective vehemence—comes from the fact that, for the first time, peo- ple from isolated, scorned, forgotten, disdained communities and ‘cultures had the chance to speak to each other, and to the nation at large. A great uproar of voices that were at once old and new was heard, as happens only occasionally in democratic ealtures—butGunIL MARCUS always, when it happens, with a sense of explosion, of energies ed for generations bursting out all at once. The story the numbers, When the first record approximating a blues, Mamie ‘Smith's “Crazy Blues,” was roleased, in 1920, it sold a million copies in its fist year; it was the same in 1928, with the record that revealed what would soon become the hillbilly market. As Smith notes in the foreword to his Anthology booklet: Rolph Peer, of Okeh Records, wont to Allanta with portable equipment and record dealer there offered to buy 1000 copies if Peer would record the singing of circus barker ‘Filing’ John Carson. “The Little Old Log Cabin in the Lane’ and “The Old Hen Cackied and the Roosters Going to Crow wore cont Cut, and according to Pear, “It was So bad that we didn’t even puta seri ‘umber onthe records, thinking that when the local deater got his supply ‘that would be the ed of It. We sent him 1,000 records which he got on SELECTIONS 64, 65 | Left to right: Iver Edwards, George Stoneman, Thursday, That nignt he called New York onthe phone and ordered 5,000 Uncle Eck Dunford, Pop Stone mote sent by express and 10,000 by freight. When the national sale got to Hattie Stoneman, Bolen Frost '500,000 we were so ashamed we ha and do a rerecording ofthe numbers.” UNIVERSITY OF NORTA CAROLINA AT CHAPEL HL idling” Joh come up to New York ‘COURTESY OF THE SOUTHERN FOLKLIFE COLLECTION. ‘Many copies of these records were bought by people without River, North Carolina, or Bristol, Tennessee. Why was it inexpress- phonographs. They bought the dises as talismans of their own exis- | ibly more exciting to hear a song you could hear next door or at tence; they could hold these objects in their hands and feel their | dance next Saturday night coming out of a box? Previsely because ‘own lives dramatized, In such an act, people discovered the modern | you could have heard it next door, or even played it yourself—but. world: the thrill of mechanical reproduction. “Something that had | not with the distancing of representation, which made a magic ‘survived orally for a very long time suddenly turned into some- mirror and produced the shock of self-reeognition. What one saw in thing that Sears Roebuck sold,” Smith said in 1968, “and you could | the mirror was a bigger, more various, less finished, less fated self order it from Pakistan or wherever you might be"—auch as Deop _| than one had ever seen before. “We cannot escape our life in > PETER STAMPFEL, May 1997: “The first ime | heord the Horry Smith Anthology, | didn't really Boor i | only heard Volume Three {'Songy’) which was everyone's favorite lt was is late 1959 ot the Cafe East, a coffee house on East Ninth Steet in Now York City just north of MeSoray’s Old Ale House. Across the sret from the East was another coffee hovse called The Dollar Sign, which hod o card inthe window that said ‘peyote forsale.’ The peyote was processed into double “0” slots coprules, and the cops couldn't bust the owner, Baron, because peyote wasn't illegal then. The cops really heted tht. Many years late {found ‘hot Harry Smith hed done on extensive study on Native American peyote music and rivals inthe 1940s. Five years later, Stove Waber end I volun: tered to beck up the Fugs, who had formed ot Ed Sonders' Peace Eye Book Store ond Scrounge Lounge, on Eos Tenth Steet further east, bahween ‘Avenves B and C. Which brings us bock to Harry Smith, since he was the producer forthe Fugs ist album, only beck then the producers were celled [AAR mon, meoning artist and repertoire. The idea was tht those clueless musicians needed some wise company-hand to pick their songs for them. With choice material like “Coca-Cola Dovche’ and “Bull Tongue Clit’ the Fugs hed thet particular avenue wall covered. So Harry's contribution to the mePaglia wrote in Serval Personae; asa foe a moment one could, One could expe: physical body, and from one's social | go about in public among those who junchosen mask of nervousness and trad | wera too long, makes the face behind it some, « spinning record opened up the ‘anything, in any voiee, with any face, of mastery. became « fact—and, exposing & ‘event. The special energy of such an gf what Harry Smith heard in the com- 19906, when all but fitteen of the American Polk Music were record: event as 8 conversation, the folk Feomneet to other people, to take their ange their minds, even to change {nthe nation, places in the think that you can say that folk ‘and that in popular culture these used to think that was the goes up.” “Docsn’t it also go to appeal to « more divergent in heaven. 1 would play it ‘Aad Mississippi John Hort, who t (ever recorded, accompanyingBIL MARCUS much difference between one person and another.” ‘There is, though—and that is why the spirit of the democratic ‘event dramatized in Smith's Anthology has its own peculiar, for ‘some irresistible, east, In the tension between the one and the many, that democracy reveals itself on the Anthology—because to a great degree the music Smith wove together was not exactly made by folk, It was made by willful, ornery, displaced, unsatisfied, ambi: tious individuals (almost all of them men, because it was men and rot women who were permitted to exhibit such tr «in public) jduals who sere trying to use the resources of their ‘contingent indi communities to stand out from those communities, or to escape them, even if they never left home. ‘These were people who had summoned the nerve to attend audi- tions held by scouts from Northern record companies, or who had formed bands and tried to get their fellow men and women, people {just like them, to pay attention to them as if they were not quite {just like them, These were people who, if only for e moment, looked beyond the farms and mines to which they wore almost certainly chained. The stories they would later tell of journeying to New York to record are almost all the same. How, one singer after anoth- ‘er would reeall asking himself—as the singers spoke in the 1960s, when folklorists and fans and record collectors had tracked down ‘the Anthology's survivors Ashley, Boggs, John Hurt, Sleepy John Retes, Furry Lewis, Hek Robertson, Buell Kazee, so many more— how, they remembered asking themselves, as they arrived in New | SELECTIONS 78, 79 Uncle Dove Macon York City in the 1920e like tourists from some foreign land, how ‘URTESY coUNTRY MUSIC FOUNDATION ‘could they keep hold of their pride, speak their piece as if they a> Lupeaee ane MEDIA cenTE® . himself with ponpipes held in a harmonica holder! The mythological blues! His ‘Fishing Blues,” from Volume Three, has been covered by the Holy Modal Rounders, the Lovin’ Spoonful, and oj Mahal, and his sound is the basis for Canned Heot’s ‘Going Up the Country.’ Hearing all these people for very first time, it was os i. veil was lifted, and { was Finely aware of what seemed fo me to be the very heart of American music. Thot’s what | was born to do, | thought. Ploy and sing like those guys. Shortly after, | heard Volume One {‘Ballads'), and decided to try end copy the version of ‘Ommie Wise’ therein. I! was just one guy, ploying fiddle ‘ond singing, at once © musicel tradition centuries old and a commercial recording. Good old days indeed. ! had stopped playing violin after high school {1 hed been in the orchestra), but was hebitvelly carrying my violin around since leaving Milwaukee, almost subconsciously intending to become o fid- dler ot some vogue time in the future. | started ploying banjo in 1958, but when | arrived in New York I found everyone played better than | did, which wosn't herd, considering | had only been playing for sixteen months, and lacked the quick reflexes and natural grace of those who pick wp on on instru- ‘ment rapidly. As an aside, Wd like to mention that t'm a slow leerner, but | persevere and tend to do things for the long run. Many of the players I met ‘when | come to New York who could play circles eround me lost interest and stopped playing. Slow and steady wins the race. A stitch in time saves —eANTHOLOGY OF AMERICAN POLK MUSIC knew their neighbors would hear, but also as if they imagined the nation itself might actually acknowledge their existence: myself, Clarence Ashley, yes, but also everyone I know, and those I don’t know, my ancestors, and those I'll Ieave behindt It ia this spirit—the pride of knowledge to pass on, which is alao 4 fear for the disappearance of that knowledge and of its proper language, and a step past that fear a looming up of an imagined America one never dared imagine before, whole and complete in a single image—that makes a whole of the Anthology of American ‘Folk Music. 1t in this suspicion, that there is, somewhere, a perfect- ly, absolutely metaphorieal America: tions, freedoms and restraints, erime and punishment, love and death, humor and tragedy, speech and silenee—that makes kin of Harry Smith and all those he brought forth so long after they stepped forward to say their piece, arena of rights and obl ‘Waar 15 SurTHVILLRt It is a small town whose citizens are not distinguishable by race. There are no masters, and no slaves. The prison population is large, and most are part of it at one time or another. While some may escape justice, they do not remain among their fellow citizens; executions take place in public. There are, after all, a lot of murders here—erimes of passion, of eyniciam, of mere reflex—and also suicides. Here both murder and suicide are rituals, acts instantly transformod into legend, facts that in all SELECTION 83 Ken Maynard their specificity transform everyday life into myth, or reveal that (COURTESY OF THE SOUTHERN FOLKLIFE COLLECTION at its highest piteh life is a joke. Thus humor abounds, most of it UNIVERSITY OF NORTH CAROLINA A CHAPEL ILL cruel: as the citizens love to sing, “Roosevelt's in the White House, ‘ine. As ye sow, so shell ye reap. A penny saved is © penny earned. But I only met two fiddle players, Donny Z, and Alan Block, whe oddly wos also from Wisconsin. New York City was so desperate for fiddlers it even walcomed my agged-butright efforts. A racent review hos referred to my fiddle style os ‘go-to-hel” I reclly like thet. Se for the First time, 1 played olong with the HSA, « pastime which would come to have an almot! religiows significance, | discovered thot ‘Ommie was in GI Gl The people’s key!, os well as my personal faverite key, mainly because it was r0 eaty to play on the Fiddle ond banjo. ‘but for some reason, no one hed Volume Two (‘Sociol Music’. By October of 1960 I could fiddle pretty good ond had moved to Berkeley. | asked several people about Volume Two, and was told it was ‘no good’ or ‘the had one.’ But finally 1 got hold of the two LPs and played them. | was most strongly moved by the Cojun version of ‘Home Sweet Home.’ Alter the First few bars, | collapsed te the floor, rolling around with hystericel loughter, ‘which continued ill the end of the cut. had never hod o reaction to music ike that in my life. | really miss having things like that happen to me. I could ‘never understand why so many people back then didn’t like Volume Two, which is my personal favorite, Consider, for exemple, the remarkable instrumentals—all fiddle tunes except for ‘Moonshiner's Dance,’ a medley thot foreshadowed Spike Jones,he's doing his best! MeKinley’s in the reat.” There is a constant war betwoun ghosts and demons, dancers and ari knows, between God’s messengers and’ @ seen him, but then no one has ever is simultaneously a seamless web of of separations: who would ever shake sounds as if his bones are coming: ‘opens his moutht And yet who ean tion in his voiee, the refusal ever to be of thie world or the promises of the: ‘This is Smithville, Here is w kind of public seeret: « declaration, lie behind any publie aet, a d ognizable America within the 41 majoritarian power. Here the is both counterpoint and con calls upon the will and everyoue of manners—a democraey, finally of how they appear in publie. Tha not that of the distribution of of moral affair, but that of how, present their diseoveris, thelr pena here often enough, the four true proof that one does belong, bot these geys sound like the Johasons ‘thw The Revelator the Corter Fomily’s ‘Little Moses," Hove | told you that these ‘iver them new words, Whom eb Hal tm i doing i And he EA Nitty Gry, Ground Zero. Long mayANTHOLOGY OF AMERICAN POLE music For that generation of urban youth who began to seek their truer America in its vernacular musics, the Anthology became a central and most powerful document. The Brotherhood of the Anthology Jon Pankake For WHAT AUDIENCE was Hanny Surra's Anthology of American Polk Music intended? Moses Asch's notes state grandly that the col lection will make a “rich heritage of the American people” available to “the majority of Americans especially those who live in metro- | politan areas.” But the sales of the collection over the years hardly re up to Asch’s ambition: in our eurrent vast wasteland of ccaltaral artifacts, the Anthology is known to a minuscule number of Americans. In retrospect, one suspects that the audience who took the Anthology and ite “rich heritage” for their own, intended oF not, was the questing young of the 1950s and 1960s, those post- Eisenhower seekers after an America somehow more authentic than the plastie version they saw being offered to them in the mass media, For that generation of urban youth who began to seek their | truer America in its vernacular musies, the Anthology became a central and most powerful document, As with Ishmael, whose whale ship was his Harvard and Yale, that first generation of the Folk Song Revival made the Anthology their Indiana and UCLA: an education and initiation into the study and performance of tradi- tional musieal forms, In the ease of my own questing youth, my discovery of the | Anthology at the age of twenty-one quite literally changed the eourse of my life. I was introduced to the Anthology in 1959 by Paul Nelson, a friend and classmate at the University of Minnesota, Paul and I had become easually interested in what campus life regarded 1s “folk music.” We had attended a Pete Seeger concert, bought 4 few LPs by Seeger and others by Bd MeCurdy, Oscar Brand, the Weavers, and Josh White, and had aearehed unsuccessfully at the ‘campus record shop for recordings recommended by Seeger, those by Woody Guthrie and Lead Belly. Casting about for other exam ples of folk music, Paul had located a copy of the Anthology on the back shelves of the record distributor where he worked part-time, ‘and invited me to listen to the new album with him, Paul, his wife Doris, and I stayed up late that night listening ‘with astonishment to the strange musie of the Anthology, so utterly ‘unlike the “folk music” we had heard on available LPs. Ax I recall, Doris finally had the good senso to fall asleep, but Paul and IJON PANKAKE stayed up till dawn talking excitedly and listening over and over to the six dises of the Anthology. We were especially enthralled by “Willie Moore,” “Boll Weevil Blues," “The Coo Coo Bird,” “James Alley Blues,” “Single Girl,” “Spike Driver Blues,” “Train on the Island,” “Indian War Whoop,” “John the Revelator," and “Buddy ‘Won't You Roll Down the Line.” We found the musie emotionally shattering yet cultarally incomprehensible. Although we frequently failed to understand the words sung by the musicians, we found ourselves entranced nevertheless by the pure sound of their voices and instruments and by the intoxicating rhythms of their perfor ‘mances. These lost, archaic, savage sounds seemed to carry some peculiarly American meaning for us, albeit in a ayntax we couldn't yet decipher. Unable to put aside the excitement of discovery the Anthology had installed in us, we decided to etart a fanzine, The Little Sandy Review, devoted to discussing the difference between ‘the “folk music” on the Anthology and the “folk music” represented by the artiats and albums of the recording industry. ‘To inform our writing, we set out to learn who the artirts on the Anthology wore, and how their recorded performances came to be, and perhaps what these performances meant. We found the task a discouragingly difficult one. The primitive state of disco- logical scholarship in the 1950s was such that even Harry Smith hhad been unaware that the “Masked Marvel” was « Paramount peeu- donym for Mississippi blues master Charley Patton. For us, even the most obvious factual questions defied our research attempts In our fascination with *Willie Moore,” for example, we wanted to Know where Burnett and Rutherford eame from, which man sang and played which instrument, what other recordings they had made. To our disappointment, the library of the University of Minnosota contained not an iota of information about Burnett and Rutherford, the Carter Family, or any other Anthology arti. Consequently, our quest soon Jed us outside the limits of eonven- tional seademie resources. My own search eventually drew me into a netherworid of eallec- tor’s newsletters, record auction lists, jazz and blues scholarship, ‘mimeographed ephemera, and eranky antiquarian collectors know!- edgeable about the history of the recording industry but hostile to academia and indifferent to the study of folklore. Study of the Anthology demanded new ways of learning, ones which began to ‘whet my appetite for interdisciplinary researeh and writing both within and outside of academic disciplines, Some years later when I began my graduate studies, till under the influence of the Anthology, I was to change from my undergraduate focus on the formal study of European literature to th of vernacular American euture. In 1959, as I began to read in the librarios of formal folklore scholarship, I became frustrated with what I perecived to be the folklorists' obscasion with toxta and musical notation. I wanted to | study, not the texts but the phywioal sounds of the Anthology per- formances. What I really wanted to understend was how the gui could speak so differently in the hands of Maybelle Carter and Blind Lemon Jefferson, how the 5-string banjo could span an aural galaxy stretehing from the cosmic to the tragic, from Chubby Parker and Uncle Dave Macon to Buell Kazee and Dock Boggs, how the rippling cascade of notes in John Hurt’s aceompaniment to “Rrankie" could possibly imme from one pair of hands, About euch matters the folklore books of the 1950s were silent. Abandoning the library, I bought a fifteen-dollar Harmony guitar and set about learniag to play by ear from the recorded per- formances of the Anthology, not from a desire to perform but rather from n desire to retrace with my own fingers and hands the phys understand the sounds they produced through my body, as I could not with my intellect. One by one, I took up the banjo, then the Addie, the harmoniea, the mandolin, the autobarp, the Hawaiian erdiseiplinary study sal movements of the musicians who so fascinated me, to sitar, learning by ear fron old recordings the rudiments of each instrument. Thus, the Anthology led me into a lifetime of a kind of physical learning unknown to my bookish university education, and thirty-eight years after first hearing “Spike Driver Blues" my now-arthritie fingers ean still trace with intense pleasure the syncopated magic of John Iurt's guitar, Harry Smith’s discographical footnotes to the Anthology indi. ‘cated that the recordings of his collection were but a small part of 1 larger world of commercially recorded folk musie, the dimens ‘and contente of which were impossible to ascertain in 1959 but which I also set out to explore. As in the old folk tales, a helper ‘soon appeared to point out a pathway into this unknown world. Another friend, Barry Hacscn, while searching for old rhythm a>ANTHOLOGY OF AMERICAN POLK MUSIC “The single greatest influence iy lite. {1 wore out two sets of the Anthology. It colors everything I hear today.” LAWRENCE COHN. & biues records in a junk shop, discovered two old battered Carter Family Decea 78 RPM dises and a Branawick 78 RPM by a group called Al Hopkins and His Buckle Busters, I tape recorded Barry's dises and soon was able to trade dubs of these recordings to a Minneapolis colleetor of railroad memorabilia for dubs of his 78, [RPM dises of railroad songs by Mainer’s Mountaineers, Darby and ‘Tarlton, and Riley Puckett. I traded these dubs to 8 collector of Vintage 78s for dubs of Dock Boggs and Ernest Stoneman diag ne Jhad bought at mail-order record auctions. Within two years I had loested other seckers after Anthology-type musie in New Haven, Cambridge, and Berkeley, and was soon trading entire 7” reels of dubs of old-time country songs and blues. K continued to eolleet tape dubs of 78 RPM records for the noxt twenty years, eventually compiling a collection of some thousands, of titles. This collection eventually came to resemble a cosmic ve sion of the Anthology, its parameters defined quite precisely by the kinds of music and the artists Harry Smith had ineluded there, but its horizons intended to be infinite: I wanted to hear all the reeord- ings made by Unele Dave Macon, all the Blind Willie Johnsons, ‘all the Frank Hutehisons, all the recordings of 5-string hanjo and 80 on, including all the recordings of all.the artists cited by §: in his discographieal footnotes. ‘The Anthology ted me not only into intellectual pursuits but also into a fellowship of rich personal contacts. As the Folk Song’ Revivalists of the 1960s began to search for and to locate the sur- vviving artists of the Anthology, I came in time to meot eleven of the ‘musicians who appear on the Anthology. More importantly, throagh the Little Sandy Review, I began to meot other young people who hhad likewise come under the spell of the Anthology, and these mon and women—fellow *Anthologists” all—became my lifotime friends and associates, Thus, today I know an attorney who, unbeknownst to his colleagues at the Minnesota statehouse, will take out his 1633, National Duolian guitar and sing a passionate rendition of “Henry Lee." I know a physicist ata nationally important engineering frm whe loves nothing better than to fiddle and sing “Old Shoes and Loggins,” “Willie Moore,” ana *Ommie Wise." I know a retired postal worker who years ago showed me on his old Silvertone batjo how he had learned to “frail” like Clarence Ashley by listening to “The Coo Coo Bird.” I know a prominent professor of folklore who, when we were graduate assistants at the University of Minnesota, ‘taught me the guitar liek that Furry Lewis uses on “Kassic Jones.” ‘And best of all is the girl who first heard the Anthology on a bor- rowed copy in her college dormitory room and resolved to learn the ‘S.string banjo, and with whom I have shared thirty-five years of marriage, countless Carter Family duets at the kitehen sink, and endless discussions of the music of the Anthology. While the Anthology itself has remained something of an under- ground document, ite influences continue to haunt the popalar eul- ture, One of Bob Dylan's most recent albums, World Gone Wrong, contains a performance of “Stackaleo" derived from the Anthology version by Frank Hutchison, Recently while “information surfing” oon the Usenet newngroup ree.musie.folk, I noted a posting by a stu- ent who had just obtained “an old Folkways record” which eon- sd a “great performance of ‘Boll Weevil."" The student asked if anyone on the network knew the identity of the Masked Marvel and could provide diseographical or biographical information. Sitting ‘at my computer seroen, I seemed to be looking into a cyberspace mirror of my own past. “Boll Weevil Blues” still reaches out, I mar- veled, still draws an initiate into the mystery of the man behind that rasping and passionate voies, still sets a noviee questing for ‘answers to the quintessentially American questions the singer poses: ‘who am I, from whenee do I come, what does my musie meant typed out a reply directing the student to the Yazoo reisau of Patton's material, Godrich and Dixon's discography, and Calt ‘and Wardlow's biography of Patton, reflecting on the exse with which this diseoverer’s eager questions could now ride the informa- tion superhighway. Perhaps, I thought, powered by the Iaser and computer technology of the twenty-first century, the Anthology may yet ful6il Moses Asch’s dream of reaching that “majority of Americans” in pursuit of their truest and best heritage. I finished typing, hit the “send” key, and the brotherhood of the Anthology hhad gained yot another citizen toward that distant majority. ENDLuis Kemnitzer Pawonasic WAY, OPVICIALLY & pth and steps inthe lower California campus, and 5 green door in what Looked like she hadi really looked at. Standing in from Golden Gate Bridge, the Bay headlands and the Berkeley Flata at tae time, a8 19-year-old f basement with no addres and ita tthe window), 11946, when I was shipping out legend among record collectors and Sai fasts that T met. People had been im repated to have one of the fines, not that people knew. When he learned thatANTHOLOGY OF AMERICAN FouK musIC ‘smelled what the musie was expressing, We also shared a sense of awe and discovery of beauty and the edge of something ineffable ‘and profound around the musie’and its context. Harry communiest- ‘ed this to me, and of course the drugs helped a lot. Marijuana was ‘the drug of choice, and Benzedrine, earried on the blotters in ‘over-the-counter inhalers, helped us stay up longer to learn more from the records, Is hard, fifty years later, to remember the order of business of ‘those days. I was a dilatory student, more caught up in the musie ‘and record collecting and making sense out of what I was hearing ‘than in the business of college. Harry was awesome: he presented a picture of total chaos and disorganization, but produced shimmer Ling jewels of film. He was also a part of an artistic and intellectual ‘world that I had not even known existed and had no way of spprecisting. T think I spent more time with Harry than I did in school. “We wont to old stores looking for records, One gold mine was in ‘Richmond, an hour away by bus. Neither of us had much money, 40 ‘our weekly tripa there depended on the presence of cash, This little ‘old store had ahelves and shelves of records, all of them produced ‘before 1980 and representing every style and tradition imaginable, And Harry knew them ali—Yvette Guilbert, Torkel F, Scholander, Mexican Police bands, street organs playing operatic airs, Italian bagpipes, Asturian bagpipes—Harry introduced me to a whole new ‘world that I probably would have missed in a quest for blues and old time country musie. We would dream of getting enough money Aogether to buy and atore the whole store, but after two months of live to ten records a trip, the store and its inventory disappeared without a trace. There were still a few thousand reeorda to seare ‘and they were all gone. Since T was very shy and vory straight and very innocent, I'm ‘sure that Harry was disappointed in me for not living up to his ‘expectations. He once scolded me for reading while he was talking to Bertrand Bronson, who was consulting with Harry about the ‘music of versions of Child ballads performed by American “hillbilly” recording artists. But he recognized a willing ear, and the torrent of information, ideas, and gossip confused me and educated me. ‘When I first met him, Harry was working afternoon sbift at Arameo in San Francisco, but he left that job aoon after, He aaid ‘that he didn’t have to worry about money because he was set for ‘unemployment compensation—he had told them that his oecupation was duck decoy painter and that they had to find him an equivalent job, and they couldn't deny him the money. I think he really believed that, or at least he expected us to believe it I used to meet him after work, and we would get high and go to jazz clubs or visit other record collectors, returning to Berkeley on the last E Train. ‘Two people were most often on our list—Bob Waller, who lived in the Monkey Block, and had an celeetic collection that included blues, jazz, country musie, flameneo, Arabie, and Afriean music, and Peter Tamony, a linguist, who collected blues records as exam- ples of speech usage and contest. (Thirty years later, Peter Tamony’ was probably the last Irishman to live at 24th and York Street ‘tho heart of what is now a predominantly Latino district.) On more than a few Harry would wheedle a record out of Bob oF Peter. He “Just wanted to borrow it for a few days.” Harry was irre: sistible. The mark would hand over the record, knowing that he “think it was on my 29th birthday that I saw Horry Smith pul off one of his party ticks. I didn't know Harry, porticuloly, although I'd seen him on, the stairs, going up to Allen's in the tenoment on East 12th Street wher Harry's ‘spiritual wife.’ So Harry came to the party. He wes rude in that preemptive way thot 3 lived. | also shared 0 birthday with my friend and neighbor Rosebud, who was I men sometimes assume, ond he helped sell to 12 great deol of coke and bogarted all the reefers. then he proposed a challenge: if we'd sing a verse of “Barbara Allen,” he'd tell uz what county we ‘were born in. As it happened, the only person present who remembered the words wat my then-girlfriend. After she song, Harry instontly seid, fon County, Vermont.” And he was right. It was news to me—t'd always thought she was born in Massachusetts. The feat, as | came to realize, was ocht Harry: it was @ bit of genivs mosicology, but it seamed to go beyond that into the uncanny. So itis with the ‘Anthology. | bought the volumes, ane at a time, soving my pennies, Initelly becouse | was curious obout Harry. When I heard them, though, I felt 'd ‘been let in on some enormous secrot. And that's ane thing the Anthology constitetes: ent end now-hidden America. In 1952, when its contents were only twenty or twenty-five years old, they must have already seemed ancient, Now «© philosophers’ stone or o Rosetta Stone, @ treasure mop of aLois ‘would never sce it again. Sometimes he would trac record, one ‘that wasn't as valuable oF in-eresting or was in worse condition, He did that with me also. One of the selections in his documentary Anthology is raine—Middle Georgia Singing Convention No. 1, “This Song of Love.” His eopy had a small check on the margin, my ‘copy was in mint condition. He talked me into trading, by eonvine- ing me that his collec was a reseerch collection. Sinee he had already convineed me that his collee-ion was more important than Peter's or Bob's eollee- yn was more important than mine because tion, couldn't argue. I'm sure that anybody who had any eontact with has ¢ similar story. ‘At the same time that Harry was immensely protective of the record collection and greedy about getting more records, I had the impression that he considered himself more the custodian than ‘the owner of these records, He hinted few times that the Collection ‘was going to go to an institution to be curated. Certainly he was more protective of the records than of anything else in his room. He ‘would lend ont books that he thought you might want, gave away ai never left. He would bring records over to my room to play, but he sings and collages, but once a record came into his room it would never let me borrow them, even as he would borrow or try to borrow reecrds from othe> people. ‘Some time in the fall of 1948 Harry moved from Berkeley to ‘San Franciseo, to a room over Jackson’s Nook, a famous after-hours spot in the Fillmore District. He now wat making intrioste paint- ings, faintly reminiscent of Kandinsky, which were meant to be watched to musie, Harry would set the painting, approximately 3 fect by 4 feet, on an easel, and put a Dizzy Gillespie or Peres Prado | record on the phonograph. He would then stand to one side of the painting, long pointer in hand, slightly huddled over, and formelly: point to one small area after another in succession as the musie progressed. He announced that this was a now art form. Time and events were in a linear progression and happening all at once at ‘the same time. This was also the time thst Harry was commissioned to paint murals on the walls in a nearby club, Bop City. This was ‘on the corner of Geary and Fillmore. I don't know what happened to the murals after Bop City became a Mosque. The budding was razed during the ‘redevelopment’ of the area. ‘Thie may not have much meaning for what you're doing, but I want to get it off my chest, Harry’s aesthetic was very complex, ‘and I have to thank him for giving me some insight into it. The for- smal attributes only had meaning or attraction or beauty ax they ‘accompanied and were aecompanied by historical, eultural, psycho- logieal context. The possibility that contexts could be manufaetared ‘or manipulated only added spice to the aesthetic. Harry gave the impression that he was jumping from interest to interest, that he was intellectually fickle. But one of his friends, I think it was Jordan Belzon, eaid that Harry could grasp the fundamental points of a aystem very easily, and once that was done, the challenge tc learn about it was gone. He was also meticulous about detail and aware that the whole was immanent in its parts. Thus he incorp> rated a vernacular confessional magazine, Negro Achievements, into hia sensibilities about blues. Hobo News, gospel literature, reeord catalogues, also contributed to a matrix for appreciating and ‘understanding the music. exp the coltors they represent hat entirely dissapeared from the acknowledged face ofthe nation, although, lurk in its subconscious, the secret shorer of violence and yeorning. Marcus hes pointed out, it continues to The Anthology is certainly far from being jest « bunch of good songs. It led me to seek out more of the same, ond there is plenty; I'm sill lookiag 3F stroy numbers by Buell Kozee, and I don’t know whether Harry considered putting in Washington Phillips and decided agai ‘alsa? But ll of thot is off the point: the Anthology ‘Alabama Sacred Herp Singers ever cecord onythi it, ond did the «2 work of art, rounded and complete unto itself. Other onthologies ore geod or not, historical or aesthetic, instructive or inspiring, nicely sequanced or random, but even the best ones are merely collections. The Anthology i, like Horry’s films, bri tnd os © pioneer work of postmodernism. And it is on essenti lant montage. It can he considered both at « late milestone ia the foll-iyric stream of tradition ‘element of American culture, deserving of Huckleberry Finn ond Wolker Evans's American Pictures. Every twalve-yeor-old should have o copy. place on the narrow shelf between LUC SANTE, Moy 1997(thout the licutonant who was boat the housing, the prices, again in 1947, this man, the A aharacter, came to see me. He Barty Smith. in the American Indians of Interested in music as such, and Wes, beeause he was so small, feselages of airplanes, He got ‘up records, That was also of T6s—a very large one. ‘themselves decided what music and all of that they of sath or throe of exchMORES ASCH ‘Then we had the shellac shortage during the War— Asia was eut ‘off and they were using boats for other things than shellae. So in order to get shellac, the big companies offered eighteen or twenty cents for all the records that dealers had in stock. New York Band ‘and Instrument and all the other dealers that I used to pick up records from had tables full of this stuff—the greatest music in the ‘and New Yorkers knew nothing about it. Right! Harry Smith had the same thing on the West Coast. He bought ‘up thousands of records. He knew what he was doing because all ‘this time he kept track of when the records were recorded and who recorded them, In those days, they issued catalogs that gave the date, the matrix number and the place of the session. In the early Victor and Columbia days, the de Harry Smith collected vast information. In addition to that, he is an intellect, He understood the content of the records. He knew their relationship to folk music, their relationship to English litera world ler had all this information. ture, and t ‘He eame to me with this vast eollestion of records. He ne money desperately. All his life he needed money. He got it from the Guggenheims, or he got it from me or from others. Hi relationship to the world. ways needed money because he was always experimenting in the movies He is quite a well-known movie ereator. That's an expensive ‘thing to work with. Out of his collection, he eame to me and ssid: “Look, this is what I want to do, I want to lay out the book of notes. I want to do the whole thing. Al! I want to be sure of is that they are issued.” Of course, I was tremendously interested. Harry did the notes, typed up the notes, pasted up the notes, id the whole work. He and I discussed the layout, but he laid out the whole thing. You know, he is very nice to work wit He is very thorough. He knew the material, He knew when it was record- ed and he ean name the people on the record. ‘The sad part of it is that afterwards when I wanted to issue volumes IV and V we ran into the problem of everybody wanting to get into the act and nobody issuing a thing. The last effort was John Cohen and Sani Charters, but both of them dropped the pro- ject, It was not pressure from other companies. Those people have never influenced me one way or the other. The real reason is Teouldn't get the documentation. ‘The records were not available anymore, Harry had sold ‘them to the New York Public Library—half of them. ‘The other half I bought, and Sam Charters went through them, and we issued ‘some of the things from the eolleetion—Cajun and others on the RBF* label [No one knew the background of each record. Harry Smith disappeared. Then he started working on finger string games. Then he started working with the Seminole people. And now he is doing very well with moving pictures, so he dropped the whole project. Nobody pieked it up at all, This is the horror. tin all on tape. The problem is that Harry needed the records ‘hich wore sent to the New York Publie Library. The Library just ‘taped it with no documentation at all and nobody has been able to | reconstruct it, I have the tapes of Volumes IV and V, but I can't ‘get the documentation. There is no sense in just issuing it without the docamentation, ‘The most important thing is the influence of the Anthology on people, It hes been a take-off point for many of the younger must cians like Dave Bromberg, people like that. For the doeumenters, the Anthology has seta standard. It’s rather interesting that when | the White House wanted to get record collection, the Brat record they ordered was the Anthology. Pete Seeger just went to Asia. He took a plane and even with all ‘that woight he took the Anthology. Harold Leventhal went to India | and took the Anthology with him. When people are interested in | American folk music, itis ome of the best examples ‘Wherever I go, the fist thing they ask me i: “Is it still in printt Ia the Anthology of American Fotk Music still in print?” Veal! END From an interview with Ethel Raim and Bob Norman, March 22, 1972. Excerpted from Sing Out! Magazine 26(1) and 26(2). (©1977 The Sing Out Corporation. Used by permission, All rights reserved. “Records Books Films, a subsidiary label of Folkways founded in the early 1960s, that reissued historic recordings ofthe 1920s and 1930s.NRIL V. ROSENDEEG shaped bythe stay ofthe res ind 2s | (Pek Brockman, the “cal deatein Alon, ‘whol Cosma auto recrings tad ployed a Magne than Parnes teen alale sinc efere the ten fh can- | Pa’ ues ld acrd companies area {wy bu wt the 192 te pica efieted | gene sie fr marting sch recectings to (he tse ofthe ban mile cass te wtom | wurhng-lss Whit, Tos sos wre at theree ving were marhled Most cee in| ve varios names “létime use these ars categorie om vaole- | falar tunes,” bet everuay hy wee | ita, rata. Pa Aly, ass bans, | cate “ibiy” re oe of Pers ppsar eae ell peice ion Sci | wea | N t the wr belong But suc earengs euoly| tas by ew aes companies ie Oth, otes on eens |S a | H S ith’ ‘The der ra Sith speaks of epesentes 2 | sents calle Artists and Rpertice” or“ 8 arry Smith’s 2 aneeaania Cece [SES Anthology Sa. | | non maces, Beause pmnopaphs cast sont ely popular masons. Neil ¥, Rosenberg | ess tan ais and cit esr ety, ne of bese series a a hy les Memoria! University of Newfoundland thoy cate sd moreno wahnglass | et it. By 1820 Per had csc tht St. John's, Newfoundiang cnsarers Reet immirants teary wah: | ecrings of Acan-Amaion sings sold safaris cul Bor this er | wall tia Amerans, hs company, Ue blorapher ho aonttessleced san ses. Smilh must hve est deties | an hus eeapermader ntetaiomest ec | Oka, ate a separate ses, was cle ‘aks, iscograpbe ary Sahni ay ties in somenee' colton, tenet to | slog. Ba thy nel ony buy phonosaphs | “rae” an rep tam a th time (sed “oreo” ses te eorigs he has clad | them, and cen the far spent of. ——| that wer cards tear tem ht uty te Chicago Defend hat was ak {ata sca an istrcl cnt He ses | According to Pau Charo, wh cet pub- | appa te heres. Wat allowed sold | conieed demeanig and pefeed a “ea” ced mambee—creatd by ubisnr for—| had rns dacoprapty, ee tthe fear | by Sith hegh Ragh Pers nara of is | yma Abican Ames. Ut 1826, alot ‘racking event dale by Uceerapbes |e, 30121 tne on trou Sai’ ist- | 1923 aprnc wih Fi ba Caso, 9 Black peterson cr ware ppuak aan anal vcabuly, and eee by lag an canst be ound i ey tae clacton | tlan-roma 1538 Colles eagaie ate, | stage perfrmers. Ast he Bese Sith — ‘oleracea wel as idvdal per | Smih doesnt eatin tat Canis and Thar’ Gade Tes tis" une —_| female vote bus sng with a sed Semone ies aides te data amos, the pecormes on hs di, wre ameng. | without quate Smt eeuse be hs | aeeompanists—domnate hese srs uti anys sls and enes- | he fin AearAmeas waisted titles bg tae | sles and ume oie, et 126 igs ‘ts Sith oe xin what be means | —Situating ims atthe interaction ot | 1950s that would mab evident Pers eragge- | changed rater dramatic whe ayo "Wh sone ctl hw he Anos wich ties | Takmsi seoasip ad the cod business, | aoe arson’ ear sld wel bute that | Willams, a Acan-nesean A Rima are and wich arena “Yak” Ws 2 mgt, | hospeake withthe auth of aninermad | well 2 ew hilly rcrds—ay isla | Paramount Recor of chicas, cing o8 ap ‘onboard peremances am tbe sles wa belive knw authentic fk | Rags bd Yon Dear —sld 50.000 | fom a Texas cad sats, bot ste singe Beta, wich ot aw a“sh prance Hssndetadig icy | copesin Be 16) ans eninaltiatn | Blind enn eer ics to 3ANTHOLOGY OF AMERICAN FOLK MUSIC 1 dida’t know Harry very well ! made it point to avoid him unless I was, ruak, So I sort of forgot all my best stories. But | om here to acknowledge ‘2 debt of honor that |, ond my whole generation, owe to Harry becouse of that Aathology, which was the Bible for hundreds of us, or more. Without that, « whole lot of things never would have happened inthis country musically. | think of it as the Neo-ethnic revivel ofthe 1950s and 60. Instead of hhondling folk music os if they were art songs, people tried to do them with some of the flavor of the originals. And without the originals to listen to, that’s kind of hard to do..{The Asthelogy] all of « sudden gave them a wide circulation. | think it really changed music in this country.” DAVE YAN RONK, transcribed from comments atthe Harty Smith memorial, ebrvory 9, 1992 eed bi i est seling cad set ther copa at hunting for mare “owo-heme™ sends, ond rested the popula image flee rterers ssi singers, Aon the same time, com ae Atcar-Anaica l- ious semons aed me ok over i epuli- ty rm the atv moe formal quarts pe viesy art Surin the resus of hs mare ven mail eptsm ini foeward” Smith sugestshthsaty pode» bd of recrigs tet ‘eoa uae son tate erie bythe feces of meerity— the pneogh ai and tang pues” eared thet nade Scamested “se aspect msi “enaowable tvogh itn (cance coed “usies of ops ving in mata soci and alla ston” The fist ah ini table ecm cul cony indescribable feats at prtoanc se, pret anes wc coed be are imparsoaty ty istening peated. ut he eat saci and ural sain ie he istaralpst is eosin ation, “acl yes have alway ot ae wt ber etal motes This sor of changes constat aed mas hap pening in musica tens balers, as, and mois eve. past sowiege at large becaee Har Smit’ antloy simelate te reset Today, is cements a is racrdd mai seater etal ation ed gealatin, Some who cord fete rce, i= yan etal series wer flim rts 2s invade ai, Mest weet, theagh.Ty were enpeenced pb perm sf veraclar muse mse peviusai- ences mere cle ell. Mos elued in the peri same vena ld ones dunes tat fo a he mee apen-mindee sears fhe time rca a ede 1549 ln Loma, eh om ran beating fit caring work the Libra of Ganges wit is fate tna ter sets He Zara Reale arse, tenes {0.3.00 the ace ane iby recrssd ‘nthe tenis and thes ed puis an ancfte it of 380 tes Gelatin may of ‘he peers nd sletons in hs st as Ust of Amaia alk Songs 8 Commercial Racor.” Lomas anotations presented hs Operant), “(ey fom mas, Sci ore mes and pie i is sea shi tha oma, references pit fone ‘leties in is amnottions he Loma, hit gents abet what tina wer informed by sense ftadoalprtormance shes and conte. Bet emf the paermars in these sis te at 192s permed jst “a” staf. est so ine otis t pps tes, em aed, 2 wll 5 hel onn comps, Sematary sce, fi hei races not ll we thay wre ot ied ‘armor agi, Few were ropa forthe esands the card compsies fr em 4 las mate at ety ecring sss, 8 ‘he ea ites thse ares had procuced some Best-sellers. But he conection tht we ‘pet indy betwen fit cats, prenl appearaces, dia apes were inte- wet Fr example, bough the Cater amis crtings were natianel es-lrs, ‘1838 the Family toured on spray and eal inthe pp Seth, apeaing at schol, chetees, 2n€ mia haus, 1838 they bea wnesng ia Del i, Tes, and ‘cadet from enameypore radio slates jst oe the bdr a Metin, O the tis inl inthis ato te Caters hatte ead vey wer an eet i thei act broke op Mast he ther ba hve stappec carig lng bef that.s the ry hie 5 the Dopssion deepened, acd sales pp, sme of he compass rent under wee ests, AB Ren trae es, ad rearing ati dined at the compares ha erated tbeagh these recordings resin, tough 3mm segment of he asc extetalamet dusty, ein ich oa aed aia wing ass ‘usin cold ted the mats bed {he eatin son estrmanens. Fa ear bt erm 12711942 they etre| ‘hemi 180s on a5 eating began asi, the esis of his sezment steady grew more lesson, Byte 1940 crs were cating eee in ow ways—thogheece luke os and aici cts. Peters te, breadeast and made moves i supper of thi recarigs. By 1982, hn Sth Compiled he Atty, "Rae" ha cone “Ryn ae Bus” and ay “Coty se Western” Recrd companies were no Ioeer concatated ia New Yc; em “nepan- et companies specie in 2B ond C ‘WL Pecrmars who survived he dpressin ane tos whe lord thom nthe 1805 wee ore tnoing see besos rates than Ahr rceesins, Tey eared about mesic publishing on when ASCP, te ld Ne York ms pehigcernghoase,retsed totate thom sro thy create hi oom seccassul ial, BM, Mt the eat his vet ve pelshingrevesuts, thy Gv ped rapes that gave ham rjaties— far ney compose sang nd tnes, tr the es pat—ad music rade magne ogan racking 28 and W son wey hats 78s were stil being matted but 45s wre ray optic he, amd he no ong-playng 33 mirror rears rr lalog ov mide ass mses, ‘The mas instr had evelped apy ‘yeas and changing popular tastes hat the thirty earl ening Sith adelected now seamed ehscare need, many of the earings were ae estat with Often th companies fa est the master eorings ee he pressing pats fr sap daring the war yars Ath ‘sume of the meio on thes ects re til emember, oa ew ware tl 2ctay ‘etorming The companies that gia ecard them thy il exited saw aa att or epubishing hei eadings. Sethe many issn of 78 inthe estar years by independent zr compa ses, Sits Atl sa “pirate™—t recordings were st cezsed om tho iad smaufotres: the ptr wre tp “or hel ase, tia alma omer oe ach ‘eo his was unecessan, ebevng the compe ies ha ie pte hs by eto ‘th masters and nt npg he reeds ric. ima Fey i ene soe Ise Bade aan = 19, eS tia cml ‘examples of folk music by ery commorcah 2 3 ei ais neigh me seo i hematin a 4 che ith inc, tty a, choosing instead 2 classification sehame en oma cnt ot aH Ing ei ana lost xsd ba ‘rts as ot musi, ist we eoght and itn toby 2 peat bar, forthe mst pt, te eerdags wa trae, ny ran and mila, tay anes to egesonce athe fo me, otANTHOLOGY OF AMERICAN FOLK music Supplemental Notes on the Selections cout rs pursuing the istry of what bas bean eal he Golde ge of readng ‘Many ther ead eompaies ow athe ‘snes of ising the mus om this pe owt eae ie nes. Bens, artiles and PRD dissertations ave boon wie but the tts and th ses Th its fa fs abr are out the fete sexing and aig. 1852 when the Antal was est ‘sso by Feays omer Moses Ah and ary Sin, Us (lone pain ccd) wee a ‘raed ne, reletanry techy. towed ‘hetero rpriance 2 cumber loops tht ving to gt intrmitnty to ange the oa as allowed these ones a be cece apter nsx ses eth Smiths exesve descriptions i188, we bope that his een of he Atl a8 ls tale advantage of eletionary en tech also rng aces ina computer CD-ROM veo slay ie, pogo, apes a ational inhematon ote Athol. ‘ou an ich am he CD the wa ste opty, the a Athol il eve wth ee chanel for exchanging intermaton nd vat ave 2 mde fo resting inprtant au ecatngs te a intrested pub. Ail baraphy ofthe artisan ir mato tot the sng ae led whee no and et aeady coe ic Sits rots A skein Gscgraphy at ora reine a rss cess othe ony te atts ete ath tre and afta th reeenced rearing. Bbeviatins sed fr formats oe ‘a Ube, cocanpact ie: decasste {spe hove vided th veins by mica ‘Stove th reader some senso son's Jett Place Camping nist notes othe ats of the Artoogs ee a sceteg experi ‘Some aque wel known nd seca acamested we erste webct that ny active otk ett wp mic of anti fc hom Some ass ete Carter Fay rected onde of segs, ich ean their way ito mary Aneican homes. ‘ter ie ir Hee 4 JP Nestor ny had oe cording sesson nd ee never ecamested ast. ‘The aise who mate up the Atiolgr— the dees of Gr Mare’ Sribile—ae ea, tet tert ait ister. Same lied os ag, ut any led ean. Mes web ia the sth cates fhe 1th etry, and the ered pesorances free theely pean ‘ations we have the ses of hat. TWaharship and tag in many of thee sting ary Sih went boat ‘he att, reenig ts anonymity, ut in ‘hese nes, ou fad out s much abt them ewe bon ‘Tes song actions nat eplace ary ‘Sis aluale 1952 bot they ae intend ee supple i ie Sith’ tt, the fl loving aneatins are dense wih infomation hey sen perso porta, sca lané- seapes nd hist perspectives intended ta ea jou nyu tin mere abou the tis, the songs, andthe frees that produced thea nthe ers since the 1950s, eons ‘mcr callocts an icoraphes hav spent The song stations flew the pater below: Dick Justice veintieie ee Decne wiser | inten tng meee rlosiuessnmmumersnnn forsee ‘uli. The 1952 wt ol publisted bees ‘ane mers that ae roresn frm ean aon be eae by he litre, wr Hary Sith ‘Avtog web pga wil nak thse ates aiabe ina mae eaenive and eee chan jing vaso, capable of sng ccd and pple wit et pots, sound ond vies na diszouse feedback and shag, Adon, ssc of is ss an Emhace CO, cpa et ny ting peed 25a aude dis ia compat sc payer, at presi, esgniing of core, hat Poon ol eter opinions abut he we an saoess of hee eters. "escearage ou odo ith ts rearing and is tes and experince the Antler ep, as tars bf yon ae tis ur msi at a very tle timeANNOTATIONS BY JEFP PLACE (SELECTIONS 1-4) secection 1 “WENRY LEE Dick Justice Richrd “i Justin (1905-18505) was fom eg Couey, MV He was ifn bah by es wcords u bear uring te 1820 ssl 1739.23) and he Black msicians be was knw to ‘ay ith near is ome is ton earings fa Brunswick Record in 1828 wera mitre of ale American bales nd Aicas-Amrca ues 4a 45 ly ten up on ues nto a+ ono Josie’ styles similar to that of hs eighe Fank Mathis selection 8), with who ‘nm le scan He spent watts te wring a a nl mie. erent coma SONG INCLUDE fog rae us et ST ting an ee ane et ones yen ea 6 te Co oti 20 ec er SELECTION / “FATAL FLOWER GARDEN” 2 Nelstone's Hawaiians ‘itis howe ofthis ero, bres named by combining its members strames, Fo sathern ‘Naha, hy nr the fist in he reat se a tel uta ee leaps conversation 457) ‘ear the country si standard “ist Benes” Due he 19205 earings etting awoin guitar ecome quite poplar. ‘Silo he sun ot tenek uta thie te “ry of et to gatas is sll an important part fcountry and western muse. Hanae utr caught on donestiay sot ater ais eotrance ito the Anricas empire in the yas procding World Ma le 1985; p 26, Haman Fane Fre came tote Une lates 914 a art the Pasama Pci nition and claims to have indeed te instrument =the mained alone 185. p50. aa 8 0G INCLUDE rahe nt 3 “THE HOUSE CARPENTER? Clarence Ashley Clarence om” Ashe (1885-196), rom Shonen Est Tene, eae trate 25 Carne orem for iret ced compris, ay in Wis care, he traveled with mei shows, inte 1925 and 180s acted ant ma in many af the raps he ay with, maog bar wth mei Ashley playe withthe Caan Ta ons sections 12,27), Te Bee Ridge Mostain ntetaines, Bd Morand the Hot Shs, nA’ Meloy Man Aer Wis tit recor cared, he made s vig sommg, amin, ad what he caled “orn (ss- ng te hat tar ony Ride 1990, ‘By he mid190s Aly had stopped paying bane becaese shan ir Scola-mes ‘ian Raph Rice happeed ose Aly in 1960 athe Union Gove (AC) Fides Coeveton. opening As om Sis Athol, ease o ead hm, an the subsequent eang seston ae nredsced Rito the Blan gitar Ath Dc” Watson, This mosing he ‘ales second carer lpn alles, estas, and lhcb daring the fk eval FoR ADDITIONAL RECOROINGS BY ASHLEY. SB Scat nn 1 nd os Come ea 4, ‘aan Rah apy a ote a names 0 Pf Sn yg ee Mt NG aes tet Be ek STINE Bw a gt Cay an i 4 oe ies aH ‘ag en nae 0% Beit 2 2st ah Ie ony Ae fare en a oe Gi 1 Set oa mo aa Dey 11m et wy a 4 “DRUNKARD’S SPECIAL Coley Jones yn et eta etwen 1927 an 1829 Clones mae seven reciigs or Clenbiaa meer th alls Sing Ban, which ls ince pitt Som Has ad basit Marea Washington Before this, oes pafomed emis shows. Arma, be ed the Caley ees ‘String Sad ie wich the legnday Tas es guitarist Aon Tae” Walla gat is stat. sol att ate a8ANTHOLOOY OF AMERICAN FOLK MUSIC a es a 2-2 at extn 2 tc ta Le -e e a mh ee Ba 2 ne Soko esses THe | ‘i ya te 0 a ‘ease 3} of A ee ne a eR nt ates a Be Fre eat Fe hm yee aes 1h far yee A tn i te Fe ‘een tS io ME a Dy ayting nd ard ya a 0 ar en het ais {eth utes ae Ga 20 7 ae ae ‘by. ey Hea et 22 Rtn nd 0 ete ay Si gr 8h 121 “OLD LADY AND THE DEVIL" 5 Bill and Belle Reed JOHNSON CITY, TH: OCTOBER 17,1928 200 153360 Li tnt, ee ane ta Bae Rs, ta ration Wega o Rats the Reds apparel had on oe rccing sesso for Cumbia in has ly, which Ls ough a the att cameo the sey rion. The aes alo receded two sngs with th chies. ele Red shalt be conued with Oa Bele Ret, woo mace many ter recariogs ‘mode tet ete an ai wh Doo me ety ied De ee 6 oe Sa fi | ea mM hear ‘Seb etme My ent nh hasten Ee SELECTION “THE BUTCHER’S BOY" 6 Buell Kaxee ae aise ‘ue Kare cea an, Barn Batons Fat, WY, Bus Kame (1900-1876) ns a Baptist mint in eng an a scho- ‘pire ofhppalochon tot sang a he Hoth Carian Basen Lamar Ls an e ‘ep tt Cun an tow Reston Bray Kincaid. ane ha ral mui training 4 apeached is pee maces syle ets is reper inde sentinel sags. and he regent insite hey be nae in bis morigs aed progres (use 1976.17), Kaze racrdad 8 snes for rms aig 1977-1929 aod a UP fr Fatma 1958, Me had ape Agpalchian | tamanmer se of ban paig. eterna et A Ce OL HK id Ws eta 6 Berry ROL 0 ng ad oe eB 1: A Ac 2m Si Sa BOE WE eH bt 197. Ce Ro LA ae Bey ea oi erg et 10S Be ae COTWER RECORDED VERSIONS OF THE Sam YE 10 amp Br By ett KA Sy Dey een tte ‘rm tame mt set ae oe ae bb 2 4m Gn pc ee amare Rt rb S nae 7 seaie “THE WAGONER’S LAD? uel Kazee NEW YORK: JANUARY 16, 1928, Se sete 6 INCLUDE Matos Ameen Fe pe ot nan SH we nt a ea ‘rt 2005S og tego Nepal fe wee neti he ete ‘is 1 Pep PS See eg ye Sr mo 2: Rs tay ‘mek 2 amin ad i eb I, a eye Sma 27 a NE pa rh gy tap kre ‘ih i ogo Wt Chany ews re ae coin (pa mane "etchian Chaty Farr ws regular ote nent pram “Te National ar ane” on ‘an tte WS, whose a-tersrofere spear Seas Roebuck, te “worst sta ‘The pegs sate in 124 and Pree 2 erat, laying 8 Tsing banjo digg "Wht Macht How New Nw” was bis met ppt sn Biggar 171.10,PLACE (SELECTIONS 4-12) 8 I ea ea mse ee Fg Re ng ay ‘ing at cay eng ke ed eet a fr ne, 9 esp 0 nee ea 2 A a a ada at th gt St RS stEctiON “OLD SHOES AND LEGGINS” 9 Uncle Eek Dunford vie 490600 unleEex unt, ws an aE Stoneman, hm “Uncle” Ek Defra equa alebrtr Ems “Pep” Soceman sli 64, 68), came from aod Gola, VA, a asl ro fr is mary ie tine mains an its amas = ‘ers convention. Ameer the Gat sing band the Batts, Deford was wel know 62 owes sng ado. bat instrumental tuning ada 2 cal personsy wh ress ‘mnt anf oso ee ithe summer, dng pik eats ae a amented hat i clder , water. thug ithetexeasive fal ecto cul xm on te wings of ‘Sherpa and Robert Buns eins n.), sci, et Se ie | te pe et 1nd 207 5 peti Gn ara We Sera at mC ft ese a Fs ere Ned BO a7 a ap {SONG INELUOE fg nt ‘stg ban “WILLIE MooRE* 10 jr aanase Both rom Monti, YRcharé Bret (1883-1977) ad Lenard Rater (es 1900-19508) corded requ daring be 1905 “Des” Barnet became a prfessonalmusitn ae eng ‘Minds ya ober eshte 1907, ear Ruther ating ayn with Bare a5 2 teenager in 1914, Bnet 1913 Balad “arm Sng” Became the wel-knowe fk song "A Mon f Constant Soron” Malone 1985: 46S making chs atthe ao 90 Montilla (Mole 1972: pp.6-10, Borat remeber ht they mae the fst ecorings Decne ra stron wanted recor ofthe oa nd aad» Cumbia tals cc in ona ‘naa session fr tem, Burst romoere eg “Wile Moar” om 2 printed ballad, sn ea ti Eel sm 94 {¥en cme re Fen Re ar aan en 4 i a ng bn 205 ny rn it 75 Wangs en seLectiOn 11 “A LAZY FARMER BOY" ‘Buster Cater and Preston Young, Prestn Yon esa ta Fee Rare, ee Buster Cater, tom Medan, N, an Press Yung (1907) fram Marts, VA, the in the Peon ars, nw fr sing ands, Might Chae Pee aed de Posy cer plaed or others, ng Cre and Yung afte Pel’ ath Cat and Raw wee aso meses he Cain Beds. reson Yun pets rears wig in te she tal basins. A> ‘hough sted unde Cater and Young's name, “A Lan Farmer By is etary Young and Rr ‘AND YOUNG me tect etn Se dt Pog Rota ane no te, re eg a ey ‘Sie a ea Oe hg apa ‘ee i ten men 12 “PEG AND AWL" The Carolina Tar Heels mace Ton” Ae, volo itr; Doe Wa, an are fae caro, ta ‘The Carina Ta aels—Doc Wash (1901-1967), lareace Ale (185-196), and Gate Fster (1905-1966 Vr betes 1927 a 1520. Gn Fester asthe inl goon bet was replaced by Gry Fse (elation te Gn) a 198 unusual sing bad th had idl, the Tar Hels etre suleces with 2 wi af mele nd hema. ne ftir peveomace poster descies Dec Walsh os The Bani ing he Cross” and Gare Fser a5 “he Hamas ie thr tage show icaded Foster’ bird imitations. Clarence Asse ions 3,57 playe with te ees ding 1828-182, Te Cae Tar eels stopped cating 11982, after ich lsh waked in try an aut pats nd Fs crpentyRecntacad sou in 1961, te recorded fr Falk ezacy FL 24) in 1964 with Has 3m Drake,ANTHOLOGY OF AMERICAN FOLK MUSIC (LIMA TAR HEELS nt ne eg in bt Mt 8b tang el os yc er Hk cueing Bat ett Cee 8 ey a eS oon a et St rt DP tac nh 13 TOMMIE WISE” 6.8. Grayson (68. caps, tcl ne ae, (Gian Banson Grayson (188-1830 was a lr res Laurel Bene, 2 small East Tress {tn onthe Heth Carina br. Bide by an ee in 28 iat, many ethers wit tranticaps to cose camer 2 a main. This i sol pertaenacs, but mos of rye ig riian crn were made wih his ate, Men Whit (1892-1941, oof teat evar mein o ploy gitar and harmonica simataneosy by using arch awed hs eck. Tis pe- ties comet be ented with Wendy Geri ané Bob yan. (ayson ad Whiter recordings forthe Vitor Tang Machine Company wrists, ad some ofthe Songs came standards, sch a “The Bank of he Ohi” Tan 45," and “Handsme ‘tytn 1830, tay wre the fst grup to cord Tom Dele” the wel Anew Mt Caria ‘sds bale popular nthe 1950s bythe Kingten Tha, Shrf Gaya, win ated Tom nly, was G8. Gra’ rand wale 1830.8 Grayson was ing x the rung Bac a a whon i cased aeing him fatal inues Walle 193: gr So ef Mt Hn a at a a emer St SRC a a MCL FTA Deeeenm Pcs Fang Rn in te eae emt an 1 i Reto er Be 2 yaa san eg ‘sD is er tango as RE sre Bae Oe ge se 14 “MY NAME IS JOHN JOHANNA? Kelly Harrell and the Viegnia String Band ey tat Fs Re ts Ryn 0 Het ‘Sages Cue Nl Karel (1688-182), tom Fel nse Win, wc ets inthe area. On ofthe test sings os that repr, Hael seg whe Vga Ramer ute ‘ghia Sing and an made crs wit Wes Vegan Hey Whit Bath he Vesa aml: aed he ipa Sing Band nied der Posy Rr, bet own fr isan Chari Pek’: nt Harel an pay an instrument she ay we trea an A he nd tthe 1825 he Wet company ia prsuae hm te ar stamens ean ah, ba Harel zed and reves corded ain. Wo ida ag 2m an asthma tack wil whinge ils se beter aoe 5 The ttl hans” an dates ek the incl show ae Ral 871 10, 5 a a de ar ont aa 138 SES we ‘et pes ere ERIC VON SCHMIDT, April 1997: “The Hedgling folkies of Combridge and Boston, indeed, all over the country, fell in love with songs. Somewhere on our various ways to 1958 we caught the Boogie-Bug which would, through successive stages, lead us ultimately to Folk Thell tstorted with o litle R&B here, « litle CAW there; Lard, Lo lard, thot old Amazing Grease! Behind many a mild mannered middle-class focode The Boogie-Bug wes clive ond thrvin soon to appear: The lich to Twitch; the Urge te Hanker. Ww all began so innocently. A ukulele given by an aunt. That chromotic harmonica that made e funny bulge in the Christmas stocking. All those seem- ingly hormless kazoos. in the home setting the disease might remain dormant for long periods, but was apt to flare vp after exposure fo the Everly ‘others, Litle Richard, Dion and the Belmonts, Fots Domino, and of courte Elvis, King of the Twitching Honkerers, At this point the symptoms monifested thamsalves in long heartfelt concerts before imaginary microphones, often performed for the most loving audience of them all, the one right behind the bethroom mirror. Alter ortiving ot Boston University, Harvard, Brandeis, MIT, wherever, the second ond most debilitating effects are revealed. Scholastic attention The twin symptoms wereANNOTATIONS BY JEPF PLACE (SELECTIONS 12-17) pn ats egret, Me Ske Foe | SELECTION “CHARLES GITEAU* (inte ft ene ttt Re a eS Re re lly Harel! and the Virginia St Sect nt Sg One i eT 16 any tare and te Negett String onal ts Sai Mt el Sey Mn EI, YN Cn ad CAMDEN, Wu: MARCH 25,1927 ‘metre Sm eee nT sate en kon EER | wc 207878 (Kapaa, a Pony et ayo, Hedy, a tne dr A, es ot ce ae Siete ‘OTWER RECORDED VERSIONS OF THE mga Seana Tod he ‘See lection 14. The Gate assassination inspite» nob of baad. These rans lads ‘nd eiters ie tem wre based n recent vets ant Sl on pine sels. te 1820 thei stuecrion _/*BANDIT COLE YOUNGER” bjs eluded aitr Ohare Lnegh, te Scopes Wal, 0 vans tan an ship dst. q 1 5 Edward L. Crain : ew voRK: AUGUST 1, 1931, ‘omnes RECORDED WERSIONS OF SEE IN THIS OAR, me tay 601 187100 \ caus. cin The Yen Cnty elt it Toe one ce a Fan en ats ‘tne cn te et a tatcevnustcjerttnmneruumrntenaroren sm. | icon” (JO0N HARDY WAS A BESEATE TLE MAN ‘Crain recorded this sang twice in 1931, ence for Colunbia and once forthe American Rees ‘The Carter Family comm torneo nh 17 Tecrcortemrmnmssicmisnsnsirimraca was [rai (creamer F hoe ounce neg ego cfesincaneo newutenyayemnstntsanecu | hrm yg cm tt teenth (non is i 0 oom tony patton eth {OR ADDITIONAL RECORDINGS OF CRAIN eats Fm Rte | BC vr Tears. n ety August 127, Vier ln et Rp Peer advertised am autie etter atent chews cent |g st ena Tis oe sn ms mpfr“ ft ae von aorann: monet mtta Sette, die aces, “he Sg Snema— te we mt impatient ext “Wiinouremmosca | conn mse son. Yet CLD Dt tar a AP Cerca i sn te och een ment ane an aa en fs replaced by totol obsorption in the records of the Kingston Trio, Joth-White, The Weavers, Odetta, Soon all academic and social cancerns are forgot ten. A Martin flattop guitar has become the center of your universe. Is elegant neck. Its thin smooth body next to yours. Six glossy strings ever sensitive cand yielding to your touch. Its fingerboard: « rosewood highway, delicately banded in such @ way as to suggest 0 gently receeding perspective, Along 1t, mother-of-pearl orbs glow like planets; constellations, waiting to guide you en a journey to the stars. ‘Come. Come with vs,’ they say, ond you di Now you are flutkiag out. Hove mono. Bad breath, anyway. Things ore getting funky. The Kingston Trio, who sounded so good such o short time ‘eg0, now sound like « noisy frat party. They have become a pain in the ass. Even the eornest Everyman strummings of the Weavers heve token on the ‘uncomfortable sing-along aspects of Sommer Camp. What is happeniag?—You've given away your bongo drums! You are nearing Folk Thrall. [No longer are you listening to The Limeliters on Victor, The Brothers Four on Columbia, or the Chod Mitchell Trio on Mercury. You are now hocked on Folkways records. They cost a lt for records back then, but what outhority they had! No slick and shiny jackats like the rest, but ail pebble-grained ‘and thick motte paper. They even weighed more than the others. Three layers of heavy cardboard, 2 multipaged booklet of notes and lyrics, ond the dise itealf @ slob of vinyl the likes of which we are not likely to see again. One of those damn platters melted down would make three transistor radio cases, ‘two bowling balls, ond a frisbee in 0 peor tree. -ANTHOLOGY oF AMERICAN FOLK MUSIC inthe carta Fay spl was oc the fst masini cpp arrangements fain songs in his om name, ae prepa sng les fr ale tt shows. Sara sang most of Ue ead vocals, Maybe peed tar an usb, rig ter cae, the “Og Care Fam” ecréed aver tee Hered Sones, sme ‘hich arti freuen performed incu “Whdwod Fone” “nai Brow he Newsbey.” nd "aep nthe Suansde” A miro spre aad scala soes, many Cater wars have became nga stanford, and they have strong intense later muss, epi ot Gt, Te New Lost iy Ramblers, and fan Boer Unie mit artists on the Athol, the Carts recs sles aes song at they coma to mat recordings truphut he Depression ad atlomads |W 838 0 the feat exis tre he grup started beacatng ia Meri statins {ERA EG, and HEN, ich cicumvete US. nations en signal stregth nes call be ‘ard al ver the Sut, These shows ad 2 mtn show fost, aterating mai and comedy ‘wth sls lees fr poet medcnsané dubious metal precedes The rial Cat Fail ‘czaedpesoming 2s 2 eeu eth ay 1405. Mayol Cater learnt hres guitar stye—pickig ot the melody on he bass stiags—fra har Aca-Anercan oghbor Les Ril ltcig any fk guitarists ‘hat llmed sve stongy identi with he fol rea. Petrmng a Meter Mable” sh ane Sara made apenraces at fot estas daring the 196, ining Newprtaed the ‘Sithsnin Festa of rican Fite, ‘The Carter Fam’ et generation masa grup made ope Mayle along wih re, Hen, ‘ta, and eae, The yon git ad tre pecmig wih AP, Sara ané Maybelle ering {tir eer rado prio. he at arte Fania tp-seing eeariag papi th 19605 and 1970s, st gets back tot and tears om time tte, aves by ernie Croc ‘Te extended Cat omiyaclees use’ hashand Jehny Cash and dauphterReanes, bth l= ‘non eceding atts ia hon a Victor Artist &. FP. Carter and the Carter Family Will givea MUSICAL PROGRAM a1 Gfor lah Meade. - The Program is Morally Admission I5 and 25 Cents AP. CARTER, Mace Spring, V Hore was the real thing: Leod Belly, Woody Guthrie, Sonny and Brownie. And if you cared to go even further (and you did}, you entered the omaz- ing world of American Folk Mosic according to Harry Smith. Here you met Sleepy John Estes, Delma Lochney and Bliad Uncle Gaspard, Nelsione’s Hawaiians, The Carolina Yor Heels, Floyd Ming and His Pep-Steppers, Blind Lemon Jefferson, The Masked Morvel, Uncle Dave Macon and the Fruit Jar Drinkers, Mississippi John Hurt, Blind Willie Johnson, Ken Maynard (The American Boy's Favorite Cowboy), and many, many more. You are now in fll Fol Thrall For this music sounded like it come right ovt of the ground. Songs like the clods of rich dork eorth, fecund, timeless. Naively we thought these Old Time Singers oll dead. We assumed our Heros, whe hod recorded these songs mostly in the late twenties and early thirties, were old even then. Actully, ‘many were young when the records were made, as wa were to realize when they started shewing up—fiddies, guitars, banjos in hand—ot folk Festivals in the sixties. Before that we had thought only of reviving the songs, not the singers We were romantics. hod named « boot I hod built The John Hurt, after Mississippi Joha, Geoff Muldaur was planning te find the grave of Blind Lemon Jefferson and sweep it ‘acot and clean’ as Jefferson hod plaintvely requested on a Paramount 78. Most of the smitten folkies were in their late teens, and though ten years older, | was still mourning the fact that Leod Belly hod died before | could meatANNOTATIONS BY saPP PLace (Senecrions 17-19) ‘hn arty, ballad Aca American ign pops aren the un ofthe ctu, has ‘con eof he most frewetypeomed American flsngs it bt lack and White tad, ‘ny tf rina no ee ede ‘etn re ot ay era be (ea ao rao iy een caer nt et 8 {50K INCLUDE Hana Ame ot te ty te 8, RD a ‘son He Be het Fe, ‘Stn Pog Re ye EWE et a a ! Pt ie 27 i te Bt o j hc ie 54 Cth ed tle Se gm i ra a 7 tas ot 120% aa od ta em en 0 eS mS ee ht ees ee "ier een on Le say 8 Net sn 1 oh en PUNO Hoe a oy eth ta, 01 ot oe te me ‘epee cen i en nn Ph eg a ‘et nope ‘eit a a epee eta Tt ero eg 8 ge ‘eg 40 ‘sturcrion “GONNA DIE WITH MY HAMMER INC MY HAND* 18 Te Willan Baber an Cary oR 4st27 ‘rts Wt, wo: ie Wen, wel et, ry ea ood po Me Wikamsins ad Gury were from Lagan Cut, WY, mig gion fhe tt. They j, Abarat acompaned hei aight Frank Mths (lectin 8 this Sai cong * eso. The Wikamcone mee ters, but ui i wn abet Cary Al iiason ‘50 73 yas ld tthe tme othe session. They cru epi loa in Logan Canty fr many ‘ars thera hn Henn ts vara is arualy the ost omous America alton. ‘men Ft hr a TI ‘Sr ec rc tes hye 75h _ mes ng 4 ae Sh tk 3 i ‘Sem te Dan Se ‘hayes eS Fone ‘th ym ‘ea PC re sh foe a (thr nS eee 1 en a ae 42 eh he 1 Pe ttn tag 0 we ee i UT eon 5 a ey aa te i tg ma a Sp RA St sD 2 een Ne ha ae en 1 heen ne ‘hem Be an Wen: He ote MS Sm HE Sein ae aed oe ehh es me 061210 De de 9 eae tm | et 0 0a ta a au 9 am a Son ee ‘eye 027 6 ee eo DE ee etc Si ya he Ste te eB ‘a hn ny Des setae ete ey 53,1 ee Pe ey le nt 3 135 iP ere mt mi, So to sy spl te em Oe eee OF a ey Be, ct ne ee tae 22 Beat yaa oe er retin VQ pa ue 2 Caen cece cen Fan thio (187-1545, an Angl- America coal mes rm Logan, WY sloed bales and ‘urs eng he euitar on Ws ap an changing itch by sigs ile wad down the stings, ‘sbmressve fle was pati shape bythe musi» handicapped Black musician named Mes, nied mary, Senger 1973. wghor Henry Wht, owed harmnica rack ‘wha ila “The Pie of Wes Viana,” Htchisan al layed wih neighbor Dick Juste (ae sheton 1), Who is reearing carer ended ie 1929, be bet ran a grossa ‘he, WY, but at mach les aoe aout in eis bated to have de ie Ohi (See 1973 Ws sng “Te Tia That Carte My Gl rom Twa” baa tape in guitar Doe Watsons ‘epi an is "Caney le mas poplar by the New et Cy Rabe. Stagger Lotta ln bee permed as jaz and as rithm and ues. Singer Uy Price bad 2 it wth itn 1959. The ependryfgarisidy Some one bens i hl the del wor it im inl Lach 195: p.765. asd ona atl mare in St. ois in 1885, he sng adits slo arte dscesed ie Maras 196 ad Brow 196 ca Gt a eo a aD ta a ‘ty es Cf te abel ee tn sag bo cee Ft ee ett nrg 5 a eh a a "nee 22 Sp ar 8 gr ln P70 Cm ada Mee te 0 ge nme 586 fH ls ho Sc tt 2 ere ee a eat ee Fs i a. i be nd et a ane Ai at ‘Se uy a 8 yee tte Re Sri oe tet a hi ‘ay nts ee 25 ‘ee Chea eae ‘ih i mnANTHOLOGY OF AMERICAN FOLK MUSIC 20 0 150980 “WHITE HOUSE BLUES" CCharie Poole and the North Carolina Ramblers eal ac et ad aio Pay Rr se: Roy Hay, ‘Chari Pel (182-1801 an th Nth Crtina Ramer: ware oe fhe mes pops sting bands ofthe 1826, ae as fom the Noth Carola Pedment and wren ttle mits, Hs beni lap i sharp he gr sad he base bis singing en ht fA eso, whom he eat adsied Molec 1985p) Pe ida age 35, itis sai, tom a combination hare Ting and aco Fil ase Re lye with 2 numberof sing bans in the area (esl 1,14, 16, Gast Ray Harve (1892-1858 was a abroad engines rm Bec, WY ae a sngwiter, trout of rad bas, icing “The Weck ofthe C20" Wetiian Est Stooena and Grae ily Puch recorded wry test ers fhe 1s Peseta assassin Ballad rig the 1820, et hs wn of “While Hose Bes" has come a bungas stand, sone ht on ey a FD Ce i nt 8 aga st Ne at BP ae tat sg a ri ack a et i 2B a ee rT oY A ay a ta i et of Ss ts 8 ee noe bom te Ge es sy te a tee Oe aI ot i te Ee Mee 21 TPRANKIE? Mississippi John Hurt ewPnis, TH: FEBRUARY 14.1928, Mite tn Mu teal aa pte ‘etn Wart (184-1968, tom halon Sn the eat of the Da, corded tobe soe fe (tc roads in 188, ut for most fe ward tera farmer an layed al or ocala, 11862 music ntusst Tom Msn went ning fr ban he ass fis ang “Aan ‘Name lows" ws si ving hr, and Wissipg” Joka Hur ses fund Nims wth ‘sand cae makin recrings and laying nema eres inltig Fens of OM Time ‘esl conerts ed th wpa elk Festal. Hut was estar by ath ude nd parecer Falk siager Tam Paxton wae the sng "id You Her Jobe Hur” hesor i, an the hors bis seg “eto Bless vs spsafal"—became the name of a poplar 1860s eck rap Ws understated sv oir play influenced many whe ead hi ia ath bas and tk ese was Ie hae eg ee oss te a at eg J 2 HOE ms is aE tA an Dn Bo et he 110 get tte gE rm a tg 75 rep aes 2 a ty ot otmong Po One 2 We rauceaoye cx Came an FD ea Fe en A ten A iD ay ty a 24130 al Oe ga Con one 10 Banyan sn a = ss het ya i as ats 22 “WHEN THAT GREAT SHIP WENT DOWN? Wiliam and Versey Smith am Sith ea Sed gta Vest Smith, vor! nd entero ‘The Sith corded fur sogs in 1827 aig tert Cicge, hot wot muck aris anes tout bem, Husband ad wl, hey ware puted lo be set sige, prays om Tas. But mst the Carles, asd onthe pita afte Fan, Bown Callie 3 Duk Unity th simi wien by 0, Seth, wh rove are cabin stam (os 1812-1915 (Ohne 196: po 225-226). ‘The aie ater ese many baad. Aiean-Amurcan muses, patie end it stern a that company pois had al Blacks rom te doomed sib sinking was ts atte by some te dine ein, Roy Al aed Wey Gai cred anc ballads 25 id Eas Stecanan (sltion 6,5), Fak Huchisos(slctoe 1) 25 The at Sane of theANNOTATIONS BY JEPP PLACE (SELECTIONS 20-25) ‘hai an Be Wie ohsan sto 52) as “Oo Moves nthe Wate” SUITHS ene en hk Sgt or CUE te eH? 8 a pe ge Ct a cya nh on gan Sah on eh eee ati 2h fete Se ‘eet a | 21 Cant Bek he Gt Ty esl a Me ip 1 ee Pat io it ae at at te ee 4 L5G eet 23 TENGINE 143° ‘The Carter Family ‘Sie Coy, ea an stay Maye Carter, gta ‘See set 17, INCLLDE Pia ean Fa tue NO DEL sve Rv a hy a ED eee Combing ad gee ee pe A at ot S18 gre ere ih 7 a 24 “KASSIE JONES, PARTS 1 AND 2° Furry Lewis ry ans, and ta ‘Mepis boesnan Water “Fury” Leis (153-186) played impressive bteneck uit, whic ‘cout his wea asin in xpress st of sho oes. Hoving est 2 ein ect i 1817, chose msc 9s 2 weston f wich he sl ar vig, He aged ia wai shows edo the streets an oaded 23 songs athe 1920s. etn associates with hm echo (selection 36) a4 payed band wh cin, Wl ha sets 6,81) and Gas eonan sets 58,72) Ar the 182, Fer wate fr the ty of Memphis nti eee Late in isi, Fry Los na a niu tenderer, appearing ia the Bart Rees mevie (MO an the Die Dance Kings ad tring ting tbe 19705 te oping at for ck musician Loon Rate He trv wth a ok enon clled the Nobama State Troepar, ho pk 248 dierent ses of musi together wth ek. gan angie esi ces song "Fry ‘ ont ac Sings he Blas” was wits attr er visite Lewis reasing house Memphis ing the 1970. “ase ess" was nay last te ttn. Blo th ivestion of magnetic tape the ate 1940s, maser ecordgs wae made on aon, sel, e acer ics, each en of ic eld hei att arises of sour, so many ngs songs had tbe ros int te. any songs tte Casey ees legend. The betAzoen aangement wes wien yvade- ‘itlans Ele Newton aed Lawrence Sie in 1908. Las’ vsos bas 2 mel init tat of the Atican-Amercan acd seg “hay Syd andthe Bebo song “ay Gul Daughter (aime 1973. 5.60, Fo ADDITONAL RECORDINGS OF Lets Be apn Re ae Sane ‘wai eB Se ‘on ey a i ONC INCLUDE tame ot eae a Fag Re et ean 8 oe Sie a he og ne eve te VEE me, Bg Pt 1 ae ag bere ‘nema ee RA Re ay ey 13 ta oY one KE Op 8 ate eg 2 i, at Se 8 te Tm bey on cectwes ( evemouctn rtm | nn mh th ef i en | awa ete ge ey omni al Tet es aoa ns ag | nee: SONGS INCLUDE Fone eal te yin Se Re et PS Reg a ee a ed en Lee BL Ce at at ether Come Hae nem et rt SeBother, cphaned aan ext ae, ad rsee 88 eesrcton tin 53, be eid in eter 2 le Pawan a fan of esting hand mesic ané nat lef competion, reaching the fas (tet imprest nies wit “Cache Han™ 00 we eordd $1008, sno Lact aunasbie, 40 tad fhe incl Fv fot 0 epee gut tthe rnd Op, bile 25 ath ee 8 Cy ing tn nt Md ete 0 0 ene Bud 1 be Tn ee yi i te Bee (magn thar ad 6 (heh T7224 a ae Ys aninkiuig one Fal esl xan and Faoma, whe athe Anacostia ner Pts oth pubic ld rw had ied ie #0 pssessing archaeal fis Engh stage and wen kn sid that tough a mea operation Sets bad yecncing a rat tock scoring the aban wal |e city anton ad to reond te be preset tthe and his autenicy ws atest toby 2 user Day (186-1847, aed be was tom Cates is sarah ely scared ve 70 yeaANNOTATIONS BY SEPP PLACE (SELECTIONS 26-83) ate Oring the 1905 a eat 194s, ay prone ak esta 2 sn Setters a name ‘ate by coining th aes of fate and mat) Green 1986, 10a recede he brary of Congress as san Sets For adtoal cng f ayeters se thease, Ante Gout RN 107s; nt Mendel Md af Od Tne ‘Paes NET 14a. CLUDE aman ane ne 1 1 mgs ey i ae 45m mga 0 ned Pye ce tn er Ma seuccion “WAKE UP JACOB: 3 0 Prince Albert Hunt's Texas Ramblers on 45975 race ar te Haen Cer, ate non, sce, ‘che "ice Ab Hunt (1931) mas tom evel, TH jastsut of als sep the Teas Ramblers, ply sive of mus that treed ine Wester Sing, turing a teri ‘twat utr and fd Hust as lye wih his nebo Oscar and Doc Harpe Aeon ecumatary as made aoe Hust i the 1570 bj Houston Publ Tees alae 188. 150. met his eth ati» Daas ay, stb slo hosand INCLUDE Pte Re ye en Comyn ad ot nn Se 29 Bamps ie yoo MS Hae 31 “LA DANSEUSE* Delma Lachney and Blind Uncle Gaspard eis Lacan el Bat Ue Cg, tr ‘ain ciney (1896-1947), a et tanded fiero the area eae Markle, LA, ws fem 1 Large family wh esto ede, Ae Bint Ul” Gaspard (1880-137), tom Ayes Pari usally ple Aneta ceaiy mes ia a ing bandwith Wis roters, Wr ad Ande ‘Lachony and Gaspard ad oo played tgetber ten ee the Chiesa artig seston may at even have kone ach tar wel They als layed at arcadia sein fe Yes it ow viens in March of 1829. Une Sve, personal commanicatinThe sang tite ast ae The Dae? 1 GASPAR ea is a oe ea 32 “GEORGIA STOMP” Andrew and Jim Baxter ‘The Seer hwe i Caloen,GA,wa repeal ctr fr sting bad misc Ftter Anew and ber of musa tes nd ds with any ter eal mass. In ‘ages 1527, he Aicat-Amacan ests szompaned 9 Wie Gera sting band samad the ‘oti elon Hammers to Chart fara recring sesso, Athough they ha oo in spree cars, the pays tpt fr sme recungs, mst ty,“ Rag” The Bates loaded ty themselves athe session. aay stead sting Da fom Gaga mast hve ben an use al sieht nthe sti in th 192. Thre wre mae sess wth nd who te Garg Ylow ammers a 1528 and 1929, oth ers ind athe 195. nim al ply TERS ess, So 6S or es 5 nt cent Ft vewmn (jose ney ay tae Aebrtn. utr Oowen Reber, bn ‘Aland “EN Rabun (1807-1978) ms barf Day, AR, Hs 122 recording othe ile ane Sly Goatie™ is considerd test emma aertig adios Americas erty mas le 1828, lye the song on aia and became the ist county att a avetie ‘is aceringn teow odin alone 185: 35). Raburse towed wi raeing mdine ‘ows frm 193 1906 a also word 25 plans for seat mv heases espn mas his feng in Amari, patting in many fle cess om the 18805 othe 19605, ‘making hs ving peo tne. Aone contest i the ely 19608 Ne met and was inter viewed by members fhe Now ot CityRail, scorers wi new of Roberson (Scag the Ang. ok sabsequety appeared ata neers inate 1968 ‘GLA Fo Festal and he 1965 mewpert Festal. is gravestone eas be inseiptin "Wats Champion ater »ANTHOLOGY OF AMERICAN POLK muSsIC 50 et ar ine: opt cml W142 4 oe er oe Ba 22D RG INCLUDE Camryn Ban eDaeOe te e e Daapan n ‘itn gy Ht en, Soman, sexection 34 “INDIAN WAR WHOOP" Hoyt “Floyd” Ming and his Pep-Steppars ot Mingo esse Ming gu oy Ming, mann, "The Pep Steppers were family band who played at denes in he Tape, MS, aa. Tair name refers te the neg et stomping ot Reale Mig, hich was herd nthe veces Rel {ete stomping oti the way ofthe sun, bet pout Raph Per encourage ts ison (Fuss 1975.1). The bad aotind for Peat al da te ond eventual acre four segs thi, Fidler He Mg, 192), ere td a Fl onthe xg clase, red most ito a peat fame, oayig lal fits ete wth th family aod By 1957 be had ve ols, but pub ners nerate bythe Aly veal hn to efor he ban. The Migs evestuay lay the National ot etal in 873 aed were

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