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Tuesday, July 28, 2009

Virgil Anderson (1902 – 1997)


He was perhaps the most distinctive living master of old-time banjo at the age of 85.

His father Maynard was a banjo picker too, who was mostly in the lumber and barrel stave business and thus traveled around to where the jobs were.

At the age of ten Virgil was pressed into service as a water boy for the work crews that his father supervised. His father also ordered him to pick the banjo whenever the workers took a break or taking their dinner.

Virgil married Mabel Troxell in 1923. She came out of musical family and played the banjo too. In later years when musicologists trudged to their farm Mabel was a fine hostess and a great cook. Their farm was called “Wildcat Rock City” and was located in a remote part of Wayne County, on the little south fork of the Cumberland River. It was only reached by a swinging bridge.

Virgil teamed up with Clyde Troxell and John Sharp to form the Kentucky Wildcats (1931).

Three of the Anderson boys also picked the banjo. All three formed band In Kentucky, Ohio and Indiana. His daughter Annabelle played the harmonium.

He died in 1997. Mabel followed in 2006.

This is maybe the only lp with his music.




Hear the Master

John Fahey - The Dance of Death & Other Plantation Favorites (1964)


Ask yourself, what would it sound like if a civil war veteran rose up out of a battlefield grave so that he could relate to any listeners his ancient story? Imagine skeletal hands pressing against frets, conveying a feeling of long lost, spook, and mystery. Now ask youself once more, what would it sound like to convey a total revelation? A life changing experience that altered the way you comprehend all things. Fahey's album sounds old, but each original song is played in a new and masterful way.

An incredible combination that is worth your while.

I am transported by this music, maybe a dusty road in the country, or a dark wood, or a lazy afternoon by the river with a long reed in between my teeth, lightly splashing my feet in the river, watching a turtle or something.

Or its Mexico in the late 1800s..Or... Its really an amazing album with a slew of wonderful compositions.

This is my favorite Fahey album, though America and Blind Joe Death are close.

The best song is perhaps Wine and Roses. I would describe these records for the uninitiated as fine finger-picking steel string compositions, no singing (thank goodness), similar to some Kottke but less flashy and more contemplative.

Folksy and bluesy but more than that. Melodic, rhtyhmic, very accessible but not predictable, not sugary sweet, sophisticated construction. A rambling feel generally. All kinds of different images and colors being suggested.
Learn

Jean Ritchie - Field Trip (1954)





Originally released in 1954, this result of a song collecting trip, was one of the first collections to bring traditional Southern and British ballads to a wider audience. Jean Ritchie, from a musical family in Viper, Kentucky, was, moreover, not only a song collector, but a representative of the musical tradition she was studying. Traveling to the British Isles, Ritchie sought the sources of the kinds of songs that had been in her family for several generations. She gathered some of the results on Field Trip, pairing them, when possible, with her performances of American versions of the songs.

In the early '50s, when folk singer and scholar Jean Ritchie was in college, she longed to journey to the British Isles to investigate the same musical connections that Francis James Child had explored almost 100 years earlier. Like Child, Ritchie was interested in mapping the songs she knew as a child back to their original origins, and eventually earned a Fulbright grant to visit Europe and document her findings. While Child's five-volume book English and Scottish Popular Ballads was groundbreaking in its unprecedented ability to draw connections between ancient and far-reaching folksongs, Ritchie planned to record these similarly rooted ballads and present the songs in groups so that the listener could hear the similarities themselves.




In 1954, Richie and her husband George Pickow self-released the LP Field Trip, a series of songs matched together by their similar themes, some originating from Ireland, Scotland, and England, and some from her Kentucky mountain home. The LP was finally made available (again independently, this time through Richie's own Greenhays Recordings) in 2001 and the musical findings are just as relevant in the new millennium.

Featuring versions of several of the folk revival's greatest "hits" ("Pretty Polly," "Barbry Ellen," "The Cuckoo"), Richie's performances are played alongside those of Elizabeth Cronin, Seamus Ennis and several other earthy folk from the British Isles.

While different versions of the same songs may not appeal to casual folk fans, those who are fascinated by the growth and intertwining nature of this style of music will be overjoyed to have it available again.


Outstanding is the miraculously beautiful “Barbry Ellen”

http://lix.in/-4f64da



Listen and Learn

Sunday, July 26, 2009

Folksingers 'Round Harvard Square (1959)



Folksingers 'Round Harvard Square is the first album featuring Joan Baez. Joan Baez recorded this album in a basement together with Bill Wood and Ted Alevizos.

Only seven of the eighteen tracks on this album were solos by Baez. In 1963, an unauthorized reissue of the album was released on Squire Records as The Best of Joan Baez (with four tracks missing), but was withdrawn after it had made the Top 50, when Baez took legal action against it.

So here is something special

01 - Jimmy Brown - Joan Baez and her father
02 - The Banks Of Ohio – Joan Baez
03 - Oh What A Beautiful City – Joan Baez
04 - Sail Away Ladies – Joan Baez
05 - Black Is The Colour– Joan Baez
06 - Lowlands– Joan Baez
07 - Virgin Mary (What You Gonna Call Your Pretty Little Baby) – Joan Baez
08 – Kitty - Joan Baez & Bill Wood
09 - So Soon In The Morning - Joan Baez & Bill Wood
10 - Careless Love - Joan Baez & Bill Wood
11 - Le Cheval Dans La Beignoire - Bill Wood
12 - John Henry - Bill Wood
13 - Travellin' Shoes - Bill Wood
14 - The Bold Soldier - Bill Wood
15 - Walie Walie - Ted Alevisos
16 - Once I knew A Pretty Girl (Rejected Lover) - Ted Alevisos
17 – Astrapseni - Ted Alevisos
18 - Lass From The Low Country - Ted Alevisos
19 - Don't Weep After Me - Joan Baez, Bill Wood & Ted Alevisos
20 - Low Down Chariot - Joan Baez & Eric von Schmidt
21 - John Hardy (live) - Joan Baez & Bill Wood

http://lix.in/-523f9a

Enjoy


Tuesday, July 14, 2009

The House of the Rising Sun



The House of the Rising Sun is one of the best-known rock songs, a landmark across many genres: American blues and folk, the British Invasion, garage rock and even punk. Its origins are complicated and contested; people still argue whether it was Woody Guthrie, Bob Dylan, or The Animals who ushered the song into the popular mainstream.

It probably dates to 18th-century American folk tradition but entered ethnographic fact on September 15, 1937, when folklorist Alan Lomax taped a 16-year-old miner's daughter, Georgia Turner, performing the song in Middlesborough, Kentucky. She received 117 $ for the recording.

Since then, many have rendered their own versions, from Roy Acuff (1937), Woody Guthrie (1941), Lead Belly (1948), Glenn Yarbrough (1957), to Bob Dylan (1961). The song, however, did not become a classic until 1964, when the The Animals from Newcastle, Britain made it into a number one hit.

Like many classic folk ballads, the authorship of "The House of the Rising Sun" is uncertain. Alan Lomax, author of the 1941 songbook Our Singing Country, wrote that the melody was taken from a traditional English ballad and the lyrics written by a pair of Kentuckians named Georgia Turner and Bert Martin. Other scholars have proposed different explanations, although Lomax's is generally considered most plausible.

Though the phrase "House of the Rising Sun" is often understood as a euphemism for a brothel (but it is not known whether or not the house described in the lyrics was an actual or fictitious place), the original song is more likely to tell the story of a young woman, a daughter who killed her father, an alcoholic gambler who'd beaten his wife (her mother).

Therefore, the House of the rising sun is rather a jail house - from which you are the first person to see the sun rise, because of its Eastern location, in Louisiana.



The oldest known existing recording is by versatile entertainer Clarence "Tom" Ashley and Gwen Foster and was released in 1933. Ashley said he had learned it from his grandfather, Enoch Ashley. Texas Alexander's "The Risin' Sun", which was recorded in 1928, is sometimes mentioned as the first recording, but this is a completely different song.


Roy Acuff, who recorded the song commercially on November 3, 1938, may have learned this number from such neighboring Smoky Mountain artists as Clarence Ashley or the Callahan Brothers, an influential duet team of the '30s and '40s. In 1941, Woody Guthrie recorded a version. In late 1948 Lead Belly recorded a version called "In New Orleans" in the sessions that later became the album Lead Belly's Last Sessions (1994, Smithsonian Folkways.


In an interview by Martin Scorsese in his Dylan movie No Direction Home, folksinger Dave Van Ronk said that he had originally worked out the arrangement for his coffee house act. Dylan then "borrowed" the arrangement for his first album, 1962's Bob Dylan, without Van Ronk's permission, and recorded it before Van Ronk had got around to recording it himself. Van Ronk was also displeased because he thought that Dylan had butchered the song. Van Ronk was subsequently upset when people referred to his version as a cover of Dylan's song.



The inspiration for The Animals' arrangement is sometimes said to come from Dylan's recording, and other times said to be from Josh White or Nina Simone (who recorded it before Dylan on Nina at the Village Gate).




Various places in New Orleans, Louisiana have been proposed as the inspiration for the song, with varying plausibility. Only two candidates have historical documentation as using the name "Rising Sun", both having listings in old period city directories.



The first was a small short-lived hotel on Conti Street in the French Quarter in the 1820s. An excavation and document search in early 2005 found evidence supporting this claim, including an advertisement with language that may have euphemistically indicated prostitution.

The second was a late 19th century "Rising Sun Hall" on the riverfront of the uptown Carrollton neighborhood, which seems to have been a building owned and used for meetings of a Social Aid & Pleasure Club, commonly rented out for dances and functions. Definite links to gambling or prostitution, if any, are undocumented for either of these buildings, neither of which still exists.

Another claim is that The House of the Rising Sun actually existed between 1862 and about 1874 and was run by a Madam Marianne LeSoleil Levant whose name translates from French as "the rising sun". Offbeat New Orleans, a guide book on New Orleans, asserts that the real house was at 826-830 St. Louis Street between 1862 and 1874 and was purportedly named for its madam, Marianne LeSoleil Levant.

It is possible that the "House of the Rising Sun" is a metaphor for either the slave pens of the plantation, the plantation house, or the plantation itself, which were the subjects and themes of many traditional blues songs.
Dave van Ronk claimed in his autobiography that he had seen pictures of the old New Orleans Prison for Women, the entrance to which was decorated with a rising sun design. He considered this proof that the House of the Rising Sun had been a nickname for the prison. In this way the French version has it right. Pénitencier means prison.

Not everyone, however, believes that the house even existed at all. Quoted on the BBC's 'h2g2' database, Pamela D. Arceneaux, a research librarian working at the Williams Research Center in New Orleans is quoted as saying: "I have made a study of the history of prostitution in New Orleans and have often confronted the perennial question, 'Where is the House of the Rising Sun?' without finding a satisfactory answer. Although it is generally assumed that the singer is referring to a brothel, there is actually nothing in the lyrics that indicate that the 'house' is a brothel. Many knowledgeable persons have conjectured that a better case can be made for either a gambling hall or a prison; however, to paraphrase Freud: sometimes lyrics are just lyrics."


Here are the songs I gathered

01 Ashley and Foster - Rising Sun blues (1933)
02 Georgia Turner - The House Of The Rising Sun (Rising Sun Blues)
03 Roy Acuff - The Rising Sun
04 The Almanac Singers - House of the Rising Sun
05 Leadbelly with Marta - House of the Rising Sun
05 Woody Guthrie - House of the Rising Sun
05 Leadbelly - House of the Rising Sun
06 Josh White - House of the Rising Sun
07 The Weavers - House of the Rising Sun
08 Dave van Ronk - House of the Rising Sun
09 Nina Simone - the House of the Rising Sun
10 Bob Dylan - House of the Rising Sun
10 Joan Baez - House of the Rising Sun
11 Doc Watson - House of the Rising Sun
12 The Animals - The House of the Rising Sun
13 Johnny Hallyday - Le penitencier
14 Jimi Hendrix - House of the Rising Sun
15 Frijid Pink - House of the Rising Sun
16 Tracy Chapman - House of the Rising Sun
17 Be Good Tanyas - The House of the Rising Sun




Thanks to Wikipedia and Arnold Rypens

Listen and Learn


Saturday, July 4, 2009

The Origins of Dylan's "Only a Hobo"



Dylan recorded “Only a hobo” on August 12, 1963 for “the times they are a changing”. The recording was not released on the album and became an outtake and so was rejected along with Percy's Song, Paths of Victory, Moonshine Blues, Eternal Circle, and Lay Down Your Weary Tune, all of them pretty good songs.

The song however was given to “Broadside”



Where did Dylan get the inspiration for the song ?


It seems to have been based on a song called Only a Miner Killed, written by John Wallace Crawford in 1879. Aunt Molly Jackson recorded a variation on this in 1932, Poor Miner's Farewell, which was covered by John Greenway on a 1961 Folkways album called American Folk Songs of Protest, prefaced by an Aunt Molly Interview.


This is the version that Dylan was likely to have known.






Ted Chestnut who recorded "Only a Miner” in the 1920s, had actually worked in a mine for the Harding-Burlington Company, but he later told researcher Archie Green that he learned the song not at the mine but from his father, who was a preacher, and sang the song while accompanying himself on the home parlor organ as though it were a hymn.

At his mining job, Chestnut had to teach the song to another worker, who not only was unfamiliar with it but also preferred to make a parody of the lyrics.




But there is more :

Surely the 1939 “Tramp on the street” ( a song that already had left his marks on another early Dylan song “Man on the Street”, of which “Only a Hobo is just a better written version. Probably this came to Dylan by Ramblin’ Jack Elliott version of 1961.

Melodically the songs owes also debt to the Carter Family’s “Railroading on the Great Divide”, which Dylan sang at Gerde’s in 1961.

So here are the origins of “Only a hobo”

1 Ted Chestnut - He's only a miner killed in the ground
2 Aunt Molly Jackson and John Greenway - Poor Miner's Farewell
3 The Carter Family - Railroading On The Great Divide

4 Hank Williams – Tramp on the Street
5 Ramblin’ Jack Elliott – Tramp on the street
6 Bob Dylan (Blind Boy Grunt for Broadside) – Only a Hobo / Talkin’ Devil


http://lix.in/-546cff

Love

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