The Centennial Of Pete Seeger’s Birthday (1919-2014)- *In Pete Seeger's House- "Rainbow Quest"-The Stanley Brothers

Click on title to link to YouTube's film clip of Pete Seeger's now famous 1960s (black and white, that's the give-away)"Rainbow Quest" for the performer in this entry's headline.

Markin comment:

This series, featuring Pete Seeger and virtually most of the key performers in the 1960s folk scene is a worthy entry into the folk archival traditions for future revivalists to seek out. There were thirty plus episodes (some contained more than one performer of note, as well as Pete solo performances). I have placed the YouTube film clips here one spot over four days, November 10-13, 2009 for the reader's convenience.

Jacobs Vision
- Lyrics & Chords

G
Halle lujah to Jesus who died on the tree
D G
To raise up this ladder of mercy for me

Press onward, climb upward, the top is in view

D G
There's a crown of bright glory a waiting for you

As Jacob was traveling, was weary one day
While at night on a stone for a pillow did lay
A vision appeared of a ladder so high
It stood on the earth while the top reached the sky
Chorus


This ladder is tall and yet so well made
Stood thousands of years and never decayed
High winds from the heavens they reel and they rock
But the angels they guard it from bottom to top
Chorus

The Centennial Of Pete Seeger’s Birthday (1919-2014)- *In Honor The Late Ralph Stanley- Of Once Again, On The 1960s Folk Revival- The Roots Is The Toots

CD Review

Folk Classics: Roots of American Folk Music, various artists, CBS Records, 1989




Okay, so I have gone through Harry Smith's "Anthology of American Folk Music" in this space. I have also spent no little time touting Pete Seeger's 1960s television folk series, "Rainbow Quest" here as well. I have written about the troubadours, male and female, young and old, who hung around New York City's Washington Square in the early 1960s trying to develop a play list that would get them through a night of 'open mikes' at some subterranean venue. The only thing I haven't done is to provide a resume of what your average hungry folk artist sought to 'discover' during the high side of the folk revival. Well, I make amends here.


This little CD contains more staple material from the mountains, from the old time Child ballads, from the Lomax cowboy song book than you can shake a stick at. If one looks at the list on this CD you will find all the material that you need to start you off on a folk singing career. Of course, it will help if you can sing and play like Johnny Cash and the Carter Family or sing and play like the Beer family or work it out like you were really cowboy like Ramblin' Jack Elliot. But that is the subject of another commentary.


Although everything here is classic not everything may be to your liking. Here are my "likings": “Jesse James”, Pete Seeger and friends (although Pete, remember Jesse was on the wrong side in the Civil War and had the funny habit of continuing that war after it was formally over by robbing Northern banks; “The Streets Of Laredo”, Harry Jackson; “Pretty Polly”, The Stanley Brothers (ouch on the lyrics here-who said love was all roses and sweetness); “The Banks Of The Ohio”, The Carter Family With Johnny Cash (same as Pretty Polly comment); “Black Is The Color”, Orriel Smith; “Matty Groves”, The Beers Family (Francis Child knew how to collect ballads with a cautionary tale to tell); and, “Worried Man Blues”, Scruggs and Flatt with Maybelle Carter.


The Streets of Laredo
arranged & adapted by Arlo Guthrie

As I walked out in the streets of Laredo
As I walked out in Laredo one day
I spied a poor cowboy wrapped up in white linen
All wrapped in white linen as cold as the clay

"I see by your outfit that you are a cowboy"
These words he did say as I proudly stepped by
"Come sit down beside me and hear my sad story
I'm shot in the breast and I know I must die

"'Twas once in the saddle I used to go ridin'
Once in the saddle I used to go gay
First lead to drinkin', and then to card-playing
I'm shot in the breast and I'm dying today

"Let six jolly cowboys come carry my coffin
Let six pretty gals come to carry my pall
Throw bunches of roses all over my coffin
Throw roses to deaden the clods as they fall

"Oh, beat the drum slowly, and play the fife lowly
And play the dead march as you carry me along
Take me to the green valley and lay the earth o'er me
For I'm a poor cowboy and I know I've done wrong"

We beat the drum slowly and played the fife lowly
And bitterly wept as we carried him along
For we all loved our comrade, so brave, young and handsome
We all loved our comrade although he done wrong

©1991 Arloco Music Inc
All Rights Reserved.

Pretty Polly Lyrics

Polly, pretty Polly, would you think me unkind

Polly, pretty Polly, would you think me unkind

if I sat down beside you and told you my mind



My mind is to marry and never to part

My mind is to marry and never to part,

The first time I saw you it wounded my heart



Polly, pretty Polly, come and go along with me

Polly, pretty Polly, come and go along with me

Before we get married some pleasure to seek



He led her over mountains and valleys so deep

He led her over mountains and valleys so deep

Polly misjudged him and she began to weep



Sayin' "Willie, Oh Willie, I'm afraid of your ways"

Willie, Oh Willie, I'm afraid of your ways"

The way you've been ramblin' you'd lead me astray



He said "Polly, pretty Polly, your guess is about right.

Polly, pretty Polly, your guess is about right,

I dug on your grave the best part of last night



She followed him a little farther and what did she find

She followed him a little farther and what did she find

A new dug grave and a spade lyin' by



She knelt down before him and begged for her life

She knelt down before him and begged for her life

Sayin' "Let me be a single girl if I can't be your wife"



"Polly, pretty polly that never could be.

Polly, pretty polly that never could be,

Your fast reputation's been trouble to me



He stabbed her through the heart and her heart's blood did flow

He stabbed her through the heart and her heart's blood did flow

And into the grave Pretty Polly did go.


He went to the jailhouse and what did he say

He went to the jailhouse and what did he say

I've killed pretty Polly and I'm tryin' to get away

Jesse James

Jesse James, living in St. Joseph, Missouri under his pseudonym "Thomas Howard" was shot by Robert Ford on April 4, 1882. Robert Ford was a member of Jesse's gang whom Jesse regarded as a friend. Ford shot Jesse in the back while Jesse was hanging a picture. According to Randolph the song became popular throughout the Midwest almost immediately after Jesse's death. Ford himself was shot in 1892 by another member of Jesse's gang.


Jesse James was a lad who killed many a man
He robbed the Glendale train;
He stole from the rich and he gave to the poor
He'd a hand and a heart and a brain.
Poor Jesse had a wife to mourn for his life,
Three children, they were brave;
But that dirty little coward that shot Mr. Howard
Has laid poor Jesse in his grave.

It was Robert Ford, that dirty little coward;
I wonder how he does feel
For he ate of Jesse's bread and he slept in Jesse's bed
Then laid poor Jesse in his grave.
Poor Jesse had a wife to mourn for his life,
Three children, they were brave;
But that dirty little coward that shot Mr. Howard
Has laid poor Jesse in his grave.

Jesse was a man, a friend to the poor
He never would see a man suffer pain,
And with his brother Frank he robbed the Chicago bank,
And stopped the Glendale train.
Poor Jesse had a wife to mourn for his life,
Three children, they were brave;
But that dirty little coward that shot Mr. Howard
Has laid poor Jesse in his grave.

It was his brother Frank that robbed the Gallatin bank,
And carried the money from the town;
It was in this very place that they had a little race,
For they shot Captain Sheets to the ground.
Poor Jesse had a wife to mourn for his life,
Three children, they were brave;
But that dirty little coward that shot Mr. Howard
Has laid poor Jesse in his grave.

They went to the crossing not very far from there,
And there they did the same;
With the agent on his knees, he delivered up the keys
To the outlaws, Frank and Jesse James.
Poor Jesse had a wife to mourn for his life,
Three children, they were brave;
But that dirty little coward that shot Mr. Howard
Has laid poor Jesse in his grave.

It was on Saturday night, Jesse was at home
Talking with his family brave,
Robert Ford came along like a thief in the night
And laid poor Jesse in his grave.
Poor Jesse had a wife to mourn for his life,
Three children, they were brave;
But that dirty little coward that shot Mr. Howard
Has laid poor Jesse in his grave.

The people held their breath
When they heard of Jesse's death
And wondered how he ever came to die.
It was one of the gang called little Robert Ford
He shot poor Jesse on the sly.
Poor Jesse had a wife to mourn for his life,
Three children, they were brave;
But that dirty little coward that shot Mr. Howard
Has laid poor Jesse in his grave.

This song was made by Billy Gashade,
As soon as the news did arrive;
He said there was no man with the law in his hand
Who could take Jesse James when alive.
Poor Jesse had a wife to mourn for his life,
Three children, they were brave;
But that dirty little coward that shot Mr. Howard
Has laid poor Jesse in his grave.

*The Fire Next Time- Bluegrass Variety- Carolina Chocolate Drops

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."

*Clinch Mountain Sweethearts, Indeed!- Ralph Stanley And Friends

In Honor Of The Late Ralph Stanley- Clinch Mountain Sweethearts, Indeed!- Ralph Stanley And Friends

A YouTube's Film Clip Of Ralph Stanley Doing "Oh Death".



CD Review

Clinch Mountain Sweethearts, Ralph Stanley and Friends, Rebel Records, 2001



In a recent DVD review of the now mountain music movie classic, George Clooney's "Oh Brother, Where Art Thou?", I mentioned in passing the name of the artist under review here, Ralph Stanley. I also noted that this grand master of mountain music as it derived from The Carter Family strain was eminently worthy of a separate review on his own merits. I make amends here. I think that this settles all debts by all parties.



That said, the following excerpt from that above-mentioned review can be used here to set the tone for a look at Ralph Stanley's work here:



"Sometimes a revival of a musical form, like the "talking blues", that highlighted the urban folk revival of the early 1960's is driven by a social need. In that case it was to provide a format for the "glad tidings" that a new political and social movement was a-bornin'. In the case of the revival several years ago of what is called "mountain music" it was the films "The Song Catcher" and, more importantly, the very popular movie starring George Clooney " O Brother, Where Art Thou?" The CD under review is a compilation of music from that movie, a not unnatural tie-in in the modern entertainment business. The movie deserves a separate review, however, this CD can stand on its own as a very nice cross section of "mountain music", some familiar most not so.



Without straining credulity "mountain music" is the music of the simple folk of Appalachia, those who worked hard in the coal mines, on the hard scrabble farms and in the isolated mills of the region. This was their Saturday night entertainment and with the advent of radio was a unifying cultural experience. The songs "speak" of hard and lonely lives, the beauty of the then pristine countryside, the usual vagaries of love and lost and the mysterious ways of a very personal, if arbitrary, god. Throw in a few upbeat tunes reflecting the love of "corn" liquor, women and the sometimes funny side of coping with life's trials and tribulations and you have the mountain version of the folk experience. Sound familiar? Sure it does, except, it is done with simple guitar, a blazing fiddle and, hopefully, a full-bodied mandolin."



After that introduction it would seem hardly necessary to do more than list the outstanding tracks on this CD. Except one thing. Ralph has gathered around his "good old boy" self a virtual who's who of female country singers, female folk singers, female folk rock singers, female rock folk singers and ..., well you get the drift. Most of the names here have popped up in other reviews, or will do so in the future. Start with my "Internet Sweetheart", Iris Dement on "Ridin' The Midnight Train" and "Trust Each Other". Folk legend Joan Baez on "Weeping Willow". Maria Muldaur, early on from the Jim Kweskin Jug Band and now a "blues mama" extraordinaire in her own right, on "This Memory Of Yours". Melba Montgomery on the classic country song " You Win Again". Lucinda Williams on "Farther Along". And last but not least Gillian Welch on the Stanley national anthem "Oh Death". Did I kid you? This as an All-Star A-list (excepting only Emmylou Harris and Bonnie Raitt). How did the old coot do it? Enjoy.




Ralph Stanley — Daddy's Wildwood Flower lyrics


INSTRUMENTAL INTRO



Mama was his Wildwood Flower, my Daddy used to say,
And to prove to her he loved her, he'd play it every day.
Mom would look at him and smile, she'd say, "God bless my man,
I don't regret one single time that I gave him my hand."

REFRAIN
The Wildwood Flower
(The Wildwood Flower)
Was his favorite song,
And when he played for Mama,
Her house became a home.

INSTRUMENTAL BREAK

Mom took sick and passed away, this was his darkest hour.
He came home that very day and he played the Wildwood Flower.
Time went by and he grew old, he'd sit and play for hours,
Mem'ries of Mom on his old guitar, he'd play the Wildwood Flower.

REFRAIN

INSTRUMENTAL BREAK

One night, as I walked by his house, I though I heard his song.
I heard Mama talkin', but Mom had long been gone.
I looked through the window and saw God's mighty power,
There sat Mom with Daddy, he was playin' the Wildwood Flower.

REFRAIN

INSTRUMENTAL BREAK

As he grew old, he could play no more, and his mind began to fail.
We'd often find him in the field, he seemed so old and frail.
One day, we couldn't find him, and after many days,
Found him lyin' with the wildwood flowers, up on Mama's grave.

REFRAIN



INSTRUMENTAL OUTRO

*In Honor Of The Late Ralph Stanley-The Root Of The Matter-Putting Bluegrass and Gospel Together For Real- “We Are Family”

Click on title to link to YouTube's film clip of The Easter Family performing "Roses Will Bloom Again".

DVD Review

We Are Family, various artists from the Easter and Lewis families, Daywind Records, 2008



Sometimes when reviewing roots music CDs and DVDs you come across material that you are both somewhat unfamiliar with and that does not fit easily in the various known categories of roots music. That is the case here with the combination of bluegrass and white gospel presented by the Easter Brothers and their family, very extended family as its turns out. A regular reader of this space might be somewhat puzzled by this remark. Of course, particularly over the last few months, I have reviewed reams of bluegrass music from the old days with the likes of Roscoe Holcombe, Ralph Stanley and the like.



Certainly the bluegrass folk revivalists of the 1960s, like the New Lost City Ramblers and The Greenbriar Boys, have gotten plenty of space. Moreover, one cannot really review Harry Smith’s “Anthology Of American Folk Music”, as I have in this space without running into plenty of bluegrass and gospel music. What is rather startling in this presentation these days is that combination, present here, of true believers in the gospel who bring their message through their bluegrass concerts for the folks. Frankly, I am much more comfortable with a secular group like The Bluegrass Gospel Project, who belt out the old tunes with fervor but not fever. .



Nevertheless, despite my befuddlement and a natural inclination to write this stuff off, this group, or rather real life extended family (I never did really get all the relationships down), knows how to sing this white gospel bluegrass music. Not enough to make me jump up and run out and get their albums but enough to appreciate that this Georgia -based group had something to say. That certainly is the case with a couple of songs, “Roses Will Bloom Again” and “I Need You”.



Roses Will Boom Again

Written by Marsha Henry
performed by Jeff and Sheri Easter
From the album, “By Request”

Verse 1


I planted a little rose bush
I tended it with care
It’s buds began to blossom
Their fragrance filled the air
But when winter came it withered,
The petals drooped and fell to the ground
My heart sank as it faded
But I’d forgotten who had made it


Chorus
Roses will bloom again
Just wait and see
Don’t mourn what might have been
Only God knows how and when that
Roses will bloom again


Verse 2
Rose was his only sweetheart
A loving wife for forty years
Cherished every day they had
And held memories oh so dear
He never dreamed he’s bury love
And go to live alone
But he lay his Rose to rest
Looked up to heaven and tried his best
To believe that


Chorus
Roses will bloom again
Just wait and see
Don’t mourn what might have been
Only God knows how and when that
Roses will bloom again


Verse 3
The precious Rose of Sharon
Broken and bruised in cruel shame
Stained on the cross of Calvary
So that men might be saved
Oh, satan cheered as He died
While Mary and the others cried
Then God raised Him up from that sleep
And kept a promise only He could keep


Chorus
Roses will bloom again
Just wait and see
Don’t mourn what might have been

*The Storms Are Not All On The Ocean-A Ginny Hawker/Kay Justice Tribute To The Original Carter Family

Click on title to link to YouTube's film clip of Maybelle Carter accompanied by the New Lost City Ramblers on "The Storms Are On The Ocean" Sorry, I could find any Ginny Hawker material on YouTube.But you will agree this is not a too shabby substitute.



CD Review

Bristol-A tribute to the music of the original Carter Family , Ginny Hawker and Kay Justice, Copper Creek Records, 1999



Okay, you say, enough of the Carter Family, Enough of mountain music reviews from a guy who gets nervous when he gets even a couple of miles away from the bright lights of the big city. Well, fair enough. And under most circumstances I couldn’t agree with you more. But you see, I have just done a review of one of the singers here, Ginny Hawker, concerning her duos with old New Lost City Ramblers member Tracy Swartz. So, naturally, somebody then tells me about this CD and there you have it. So, in the end I am merely a victim of circumstances. Sounds about right, right?

But enough, let me just say that there is no shortage of those who have covered the original Carter Family material (including later combinations of Carters and Cashes), there is no shortage of wannabe Maybelle and Sara –type harmony combinations and there is no shortage of those who (now) know the importance of May belle‘s guitar work in creating the Carter Family sound. Nevertheless this pair on harmony, on the manner in which they arrange the songs selected to fit their skills and on the simple instrumentation that does not clutter up the harmonies stepped right out of the pages of Clinch Mountain. Outstanding in that regard are “Gently Lead Me”, “Waves of the Sea”, “I Never Loved But One” and the super-Carter classic “Amber Tresses”. Nicely done.




AMBER TRESSES TIED IN BLUE


The Carter Family

Far away in sunny mountains
Where the merry sunbeams play
There I wandered thru the clover
Singing to a village maid

She was dearer than the dearest
Ever loving kind and true
And she wore beneath her bonnet
Amber tresses tied in blue

Fact decreed that we be parted
Ere the leaves of autumn fell
Then two hearts were separated
That had loved each other well

She was all I had to cherish
Every loving king and true
Now I see in every vision
Amber tresses tied in blue

"The Storms Are On The Ocean"

I'm going away to leave you love
I'm going away for a while
But I'll return to see you sometime
If I go ten thousand miles

The storms are on the ocean
The heavens may cease to be
This world may lose it's motion love
If I prove false to thee

Oh who will dress your pretty little feet
And who will glove your hand
Oh who will kiss your rosy red cheeks
When I'm in a foreign land

Papa will dress my pretty little feet
And Mama will glove my hand
You may kiss my rosy red cheeks
When you return again

Have you seen those mournful doves
Flying from pine to pine
A-mournin' for their own true love
Just like I mourn for mine

I'll never go back on the ocean love
I'll never go back on the sea
I'll never go back on my blue-eyed girl
'Til she goes back on me