Click On Title To Link To YouTube's Film Clip Of Carolina Chocolate Drop Doing "Cornbread And Butterbeans"
CD Review
Dona Got A Ramblin’ Mind, Carolina Chocolate Drops (Dom Flemons, Rhiannon Giddens, Justin Robinson and the spirit of fiddler Joe Thompson), MusicMaker, 2006.
Recently I posed a question in this space about who would continue the blues tradition today, now that most, if not all, of the famous old blues singers are dead or retired. One answer that I came up with was the talented Keb’ Mo’. There are others I am sure. I have also posed that same question here in regard to the folk music movement that now is seeing more than its fair share of old time performers pass from the scene, most recently the likes of Odetta and Utah Phillips. One answer that I came up with was the talented Woody Guthrie devotee Alastair Moock. Again, there are others I am sure. Here I pose the same question in regard to another important form of American music, bluegrass (or more generally, mountain music). As previously, the role of succession begs an important question now that many of the best of this genre have also passed or retired. Who would, if anyone, continue that old tradition?
That is where the artists under review, Carolina Chocolate Drops, come into the picture. When I think about Carolina, in this case North Carolina, I think of the famous black women virtuoso blues guitarists, Elizabeth Cotton and Etta Baker, whom I have previously reviewed in this space. More generally though I think of Ralph Stanley, Doc and Merle Watson and other white musicians from the mountains. I admit my error. That is not nearly inclusive enough. I have noted previously that in the 19th century the closeness of black and white variations of rural music were quite common and, in some cases, mutually shared. I then gave, as an example, the classic song “John Henry” done by both races in many variations. Thus, for these talented young black musicians to take up the struggle for continuity is a natural. And this CD proves the point. Enough said.
So what is good here? Obviously the classic “Sally Ann” that like “John Henry” has had a million incarnations. Hats off also to “Little Sadie” and “Black Annie”. However, if you only have time to listen to one give a listen to the title track “Dona Got A Ramblin’ Mind” then you will know why the old bluegrass tradition like the blues and folk ones are still in capable hands. Kudos, Drops.
*********************
Sally Ann
SALLY ANN [1]. AKA and see “Beano,” “Darneo,” "Dineo." Old‑Time, Breakdown. USA; West Virginia, Virginia, North Carolina. D Major. Standard tuning. AABB. One version of the tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. See also related tunes "Big Sweet Taters in Sandy Land," "Great Big Tater(s) in Sandy Land/Lot," "Sandy Land," "Sail Away Ladies" (Kentucky/Tennessee), "Wish(ed) I Had My Time Again" (Ky.). One version of the tune goes by the name "Dineo" in the Franklin/Floyd County area of southwestern Virginia, and it was recorded as “Darneo” by the Blue Ridge Highballers (Yazoo CD 2046). Among the many early recordings of the tune was a version by the Ashe County, North Carolina, string band Frank Blevins and His Tar Hell Rattlers, a name made up on the spot at the 1927 Columbia recording session in Atlanta for 16 year old fiddler Frank Blevins, his older brother and guitarist Ed Blevins and banjo player Fred Miller. The band’s playing was inspired by a few shots of corn liquor from a convenient jug. The Hill Billies, a Galax, Va., area band, recorded an influential version in 1925 (re-released on Document DOCD-8039). Fiddler Joe Birchfield (1911-2001) of Roan Mountain, Tennessee, played a version of “Sally Ann” in the key of C.
***
Cecil Sharp noted the following set of words from Mrs. Dellie Hughes of Crane River, Burnsville, North Carolina, in 1918:
***
O where are you going Sally Anne (x3)
I’m going to the wedding, Sally Anne.
***
O shake that little foot, Sally Anne (x3)
You’re a pretty good dancer, Sally Anne.
***
These are from another traditional source (from Mudcat):
***
Ever see a muskrat, Sally Ann,
Draggin' his thick tail through the sand,
Pickin' a banjo, kickin' up sand?
I'm gonna marry you, Sally Ann.
***
Chorus:
I'm gonna marry you, Sal gal,
I'm gonna marry you, Sally Ann.
I'm gonna marry you, Sal gal,
I'm gonna marry you, Sally Ann.
***
Make my livin' in sandy land,
Make my livin' in sandy land,
Make my livin' in sandy land,
Raise them taters, Sally Ann.
***
So, y'ever see a muskrat, Sally Ann,
Draggin' his thick tail through the sand,
Pickin' a banjo, kickin' up sand?
I'm gonna marry you, Sally Ann.
***
Source for notated version: John Ashby (Virginia) [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 244. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 209. County 405, "The Hillbillies." County 727, John Ashby‑ "Old Virginia Fiddling." Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Compoete Recorded Works in Chronological Order, vol. 1” (reissue). Folkways FA2434, Norman Edmonds and the Old Timers ‑ "The 37th Old‑Time Fiddlers' Convention at Union Grove, North Carolina" (1961). Library of Congress (2741-B-1), 1939, J.W. 'Peg' Thatcher (Franklin County, Virginia). Musical Traditions MTCD321-2, Pug Allen (et al.) – “Far on the Mountain: vol’s. 1 & 2” (re-release, 2002). OKeh 40336 (78 RPM), The Hillbillies (1925). Old Hat Enterprises CD, “Music from the Lost Provinces” (1997). Revonah RS‑932, The West Orrtanna String Band ‑ "An Orrtanna Home Companion" (1978. Learned from Henry Reed via the Hollow Rock String Band). Rounder 0058, Clell Caudill‑ "Old Originals, vol. II" (1978). Rounder CD0262, Mike Seegar - "Fresh Old-Time String Band Music" (1988. Appears as "Pork Fat Makes My Chicken Tan," an unusual variation by the Horseflies and the Agents of Terra, Ithaca, N.Y., string bands in which the fiddle is tuned EDad). Yodel-Ay-Hee 020, Rafe Stefanini & Bob Herring - "Old Paint."
CD Review
Dona Got A Ramblin’ Mind, Carolina Chocolate Drops (Dom Flemons, Rhiannon Giddens, Justin Robinson and the spirit of fiddler Joe Thompson), MusicMaker, 2006.
Recently I posed a question in this space about who would continue the blues tradition today, now that most, if not all, of the famous old blues singers are dead or retired. One answer that I came up with was the talented Keb’ Mo’. There are others I am sure. I have also posed that same question here in regard to the folk music movement that now is seeing more than its fair share of old time performers pass from the scene, most recently the likes of Odetta and Utah Phillips. One answer that I came up with was the talented Woody Guthrie devotee Alastair Moock. Again, there are others I am sure. Here I pose the same question in regard to another important form of American music, bluegrass (or more generally, mountain music). As previously, the role of succession begs an important question now that many of the best of this genre have also passed or retired. Who would, if anyone, continue that old tradition?
That is where the artists under review, Carolina Chocolate Drops, come into the picture. When I think about Carolina, in this case North Carolina, I think of the famous black women virtuoso blues guitarists, Elizabeth Cotton and Etta Baker, whom I have previously reviewed in this space. More generally though I think of Ralph Stanley, Doc and Merle Watson and other white musicians from the mountains. I admit my error. That is not nearly inclusive enough. I have noted previously that in the 19th century the closeness of black and white variations of rural music were quite common and, in some cases, mutually shared. I then gave, as an example, the classic song “John Henry” done by both races in many variations. Thus, for these talented young black musicians to take up the struggle for continuity is a natural. And this CD proves the point. Enough said.
So what is good here? Obviously the classic “Sally Ann” that like “John Henry” has had a million incarnations. Hats off also to “Little Sadie” and “Black Annie”. However, if you only have time to listen to one give a listen to the title track “Dona Got A Ramblin’ Mind” then you will know why the old bluegrass tradition like the blues and folk ones are still in capable hands. Kudos, Drops.
*********************
Sally Ann
SALLY ANN [1]. AKA and see “Beano,” “Darneo,” "Dineo." Old‑Time, Breakdown. USA; West Virginia, Virginia, North Carolina. D Major. Standard tuning. AABB. One version of the tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. See also related tunes "Big Sweet Taters in Sandy Land," "Great Big Tater(s) in Sandy Land/Lot," "Sandy Land," "Sail Away Ladies" (Kentucky/Tennessee), "Wish(ed) I Had My Time Again" (Ky.). One version of the tune goes by the name "Dineo" in the Franklin/Floyd County area of southwestern Virginia, and it was recorded as “Darneo” by the Blue Ridge Highballers (Yazoo CD 2046). Among the many early recordings of the tune was a version by the Ashe County, North Carolina, string band Frank Blevins and His Tar Hell Rattlers, a name made up on the spot at the 1927 Columbia recording session in Atlanta for 16 year old fiddler Frank Blevins, his older brother and guitarist Ed Blevins and banjo player Fred Miller. The band’s playing was inspired by a few shots of corn liquor from a convenient jug. The Hill Billies, a Galax, Va., area band, recorded an influential version in 1925 (re-released on Document DOCD-8039). Fiddler Joe Birchfield (1911-2001) of Roan Mountain, Tennessee, played a version of “Sally Ann” in the key of C.
***
Cecil Sharp noted the following set of words from Mrs. Dellie Hughes of Crane River, Burnsville, North Carolina, in 1918:
***
O where are you going Sally Anne (x3)
I’m going to the wedding, Sally Anne.
***
O shake that little foot, Sally Anne (x3)
You’re a pretty good dancer, Sally Anne.
***
These are from another traditional source (from Mudcat):
***
Ever see a muskrat, Sally Ann,
Draggin' his thick tail through the sand,
Pickin' a banjo, kickin' up sand?
I'm gonna marry you, Sally Ann.
***
Chorus:
I'm gonna marry you, Sal gal,
I'm gonna marry you, Sally Ann.
I'm gonna marry you, Sal gal,
I'm gonna marry you, Sally Ann.
***
Make my livin' in sandy land,
Make my livin' in sandy land,
Make my livin' in sandy land,
Raise them taters, Sally Ann.
***
So, y'ever see a muskrat, Sally Ann,
Draggin' his thick tail through the sand,
Pickin' a banjo, kickin' up sand?
I'm gonna marry you, Sally Ann.
***
Source for notated version: John Ashby (Virginia) [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 244. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 209. County 405, "The Hillbillies." County 727, John Ashby‑ "Old Virginia Fiddling." Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Compoete Recorded Works in Chronological Order, vol. 1” (reissue). Folkways FA2434, Norman Edmonds and the Old Timers ‑ "The 37th Old‑Time Fiddlers' Convention at Union Grove, North Carolina" (1961). Library of Congress (2741-B-1), 1939, J.W. 'Peg' Thatcher (Franklin County, Virginia). Musical Traditions MTCD321-2, Pug Allen (et al.) – “Far on the Mountain: vol’s. 1 & 2” (re-release, 2002). OKeh 40336 (78 RPM), The Hillbillies (1925). Old Hat Enterprises CD, “Music from the Lost Provinces” (1997). Revonah RS‑932, The West Orrtanna String Band ‑ "An Orrtanna Home Companion" (1978. Learned from Henry Reed via the Hollow Rock String Band). Rounder 0058, Clell Caudill‑ "Old Originals, vol. II" (1978). Rounder CD0262, Mike Seegar - "Fresh Old-Time String Band Music" (1988. Appears as "Pork Fat Makes My Chicken Tan," an unusual variation by the Horseflies and the Agents of Terra, Ithaca, N.Y., string bands in which the fiddle is tuned EDad). Yodel-Ay-Hee 020, Rafe Stefanini & Bob Herring - "Old Paint."
