Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Lyrics
The lyrics below are Blind Willie Johnson's version of "John the Revelator" as found in the Anthology of American Folk Music. Subsequent versions feature a variety of substituted verses and different interpretations of Johnson's lyrics, all quoting passages from the Bible, in the tradition of African American spirituals.
[call] Well who's that writin'? [response] John the Revelator[6]
Who's that writin'? John the Revelator
Who's that writin'? John the Revelator
A book of the seven seals[7]
[call] Tell me what's John writin'? [response] Ask the Revelator
What's John writin'? Ask the Revelator
What's John writin'? Ask the Revelator
A book of the seven seals
Well ooh ooh why me, thousands cried holy[8]
Bound for some, Son of our God[9]
Daughter of Zion, Judah the Lion[10]
He redeemeth, and bought us with his blood[11]
[Repeat verses 1 & 2]
John the Revelator, great advocator[12]
Get's 'em on the battle of Zion
Lord, tellin' the story, risin' in glory
Cried, "Lord, don't you love some I"
[Repeat verses 1 & 2]
Well Moses to Moses, watchin' the flock[13]
Saw the bush where they had to stop[14]
God told Moses, "Pull off your shoes"[15]
Out of the flock, well you I choose[16]
[Repeat verses 1 & 2]
These are the lyrics for Son House's 1965 recording version, which explicitly reference three theologically important events: the Fall of Man, the Passion of Christ, and the Resurrection. Roughly similar lyrics, with an additional verse, are used in the movie Blues Brothers 2000.
[call] Who's that writin'? [response] John the Revelator[6]
Tell me who's that writin'? John the Revelator
Tell me who's that writin'? John the Revelator
Wrote the book of the seven seals[7]
[call] Who's that writin'? [response] John the Revelator
Tell me who's that writin'? John the Revelator
Well who's that writin'? John the Revelator
Wrote the book of the seven seals
You know God walked down in the cool of the day[17]
Called Adam by his name[18]
But he refused to answer
Because he's naked and ashamed[19]
[Repeat verses 1 & 2]
You know Christ had twelve apostles[20]
And three he led away[21]
He said, "Watch with me one hour,[22]
'till I go yonder and pray."
[Repeat verses 1 & 2]
Christ came on Easter morning
Mary and Martha went down to see[23]
He said, "Go tell my disciples[24]
To meet me in Galilee."[25]
[Repeat verses 1 & 2]
Saturday, December 12, 2009
*In Folklorist Harry Smith’s House-"Dry Bones" — Bascom Lamar Lunsford (1929)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"John The Baptist" — Moses Mason (1928)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
"John Saw That Number"
Old John the baptist, old John divine
Leather harness round his line
His meat was locust and honey
Wild honey lord, wild honey
John saw that number
Way in the middle of the air
Cryin' holy, holy to the Lord
Old John the baptist, old John divine
Frogs and snakes are gonna get John this time
God told the angel "go see about John"
So he flew from the pit with the moon round his waist
Gathered wind in his fists so the stars round his wrists
Cryin' holy, holy to the lord
Read the revelations, you'll find him there
Third chapter, fourth verse where he said unto me
"There's a beast that rose out of the sea"
Ten crowns, ten crowns
On his horns write "blasphemy"
John couldn't read it (John couldn't read it)
Get on repeat it
John couldn't read it
Holy, holy to the Lord
There was a man, a pharisee
Who came by night to meet him
Said "I know thy teacher came from God cause no man can do such miracles
Without the lord to entreat him"
God told the angel "go see about John"
So he flew from the pit with the moon round his waist
Gathered wind in his fists and the stars round his wrists
Cryin' holy, holy to the Lord
Holy, holy to the Lord
Holy, holy to the Lord...
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
"John Saw That Number"
Old John the baptist, old John divine
Leather harness round his line
His meat was locust and honey
Wild honey lord, wild honey
John saw that number
Way in the middle of the air
Cryin' holy, holy to the Lord
Old John the baptist, old John divine
Frogs and snakes are gonna get John this time
God told the angel "go see about John"
So he flew from the pit with the moon round his waist
Gathered wind in his fists so the stars round his wrists
Cryin' holy, holy to the lord
Read the revelations, you'll find him there
Third chapter, fourth verse where he said unto me
"There's a beast that rose out of the sea"
Ten crowns, ten crowns
On his horns write "blasphemy"
John couldn't read it (John couldn't read it)
Get on repeat it
John couldn't read it
Holy, holy to the Lord
There was a man, a pharisee
Who came by night to meet him
Said "I know thy teacher came from God cause no man can do such miracles
Without the lord to entreat him"
God told the angel "go see about John"
So he flew from the pit with the moon round his waist
Gathered wind in his fists and the stars round his wrists
Cryin' holy, holy to the Lord
Holy, holy to the Lord
Holy, holy to the Lord...
*In Folklorist Harry Smith’s House-"Since I Laid My Burden Down" — Elders McIntorsh and Edwards' Sanctified Singers (1929)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Since I Laid My Burden Down" — Elders McIntorsh and Edwards' Sanctified Singers (1929)
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Since I Laid My Burden Down" — Elders McIntorsh and Edwards' Sanctified Singers (1929)
*In Folklorist Harry Smith’s House-"He Got Better Things For You" — Memphis Sanctified Singers (1929)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Judgement" — Sister Mary Nelson (1927)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"This Song of Love" — Middle Georgia Singing Convention No. 1 (1932)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Sorry on this one.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Sorry on this one.
*In Folklorist Harry Smith’s House-"Present Joys" — Alabama Sacred Harp Singers (1928)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Rocky Road" — Alabama Sacred Harp Singers (1928)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Oh Death Where Is Thy Sting" — Rev. J. M. Gates (1927)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Song: Oh Death
A long time ago, Lazarus died
All hope seemed gone as his sisters cried
Jesus walked to where he laid
He called his name and he came out of the grave
Oh death, where is thy sting? Oh grave, where is thy victory?
you thought you had a hold on me but you were wrong, I’ve been set free
Oh, jesus hung on a rugged cross, he gave His life for a world once lost
He lay three days in a borrowed grave but when He came out I could hear Him say
Oh death, where thy sting? Oh grave, where is thy victory?
You thought you had a hold on me but you were wrong, I’ve been set free
One day I’ll lay this body down, they’ll dress me up and put me in the ground
But when Jesus comes in the sky, just listen close and you’ll hear me cry
Oh death, where is thy sting? Oh grave, where is thy victory?
You thought you had a hold on me but you were wrong, I’ve been set free
Oh death, where is thy sting? Oh grave, where is thy victory?
You thought you had a hold on me but you were wrong, I’ve been set free
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Song: Oh Death
A long time ago, Lazarus died
All hope seemed gone as his sisters cried
Jesus walked to where he laid
He called his name and he came out of the grave
Oh death, where is thy sting? Oh grave, where is thy victory?
you thought you had a hold on me but you were wrong, I’ve been set free
Oh, jesus hung on a rugged cross, he gave His life for a world once lost
He lay three days in a borrowed grave but when He came out I could hear Him say
Oh death, where thy sting? Oh grave, where is thy victory?
You thought you had a hold on me but you were wrong, I’ve been set free
One day I’ll lay this body down, they’ll dress me up and put me in the ground
But when Jesus comes in the sky, just listen close and you’ll hear me cry
Oh death, where is thy sting? Oh grave, where is thy victory?
You thought you had a hold on me but you were wrong, I’ve been set free
Oh death, where is thy sting? Oh grave, where is thy victory?
You thought you had a hold on me but you were wrong, I’ve been set free
*In Folklorist Harry Smith’s House-"Must Be Born Again" — Rev. J. M. Gates (1927)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
You Must Be Born Again Lyrics
Long ago, I didn't know nothing about Jesus and His love
I had heard about Him, but I had never felt
this manna which comes down from above
In this life of sin I could no longer stand
I asked my mother how do you get to know the man
She said you must be, don't you see you've got to be ....Born again
You must have that fire and Holy Ghost
that Burning churning keeps the prayer wheel turning
The kind of religion you cannot conceal
It makes you move, makes you shout,
Makes you cry when it's real
I've got my hand right in the windin' chain
My souls been anchored in my Jesus' name
I'm filled within, I've free from sin
You know I've been born again
I started to walk, I had a new walk
I started to talk, I had a new talk
I looked at my hands, my hands looked new
I looked at my feet and they did too
I've got my hand right in the windin' chain
My souls been anchored in my Jesus' name
I'm filled within, I've free from sin
You know I've been born again
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
You Must Be Born Again Lyrics
Long ago, I didn't know nothing about Jesus and His love
I had heard about Him, but I had never felt
this manna which comes down from above
In this life of sin I could no longer stand
I asked my mother how do you get to know the man
She said you must be, don't you see you've got to be ....Born again
You must have that fire and Holy Ghost
that Burning churning keeps the prayer wheel turning
The kind of religion you cannot conceal
It makes you move, makes you shout,
Makes you cry when it's real
I've got my hand right in the windin' chain
My souls been anchored in my Jesus' name
I'm filled within, I've free from sin
You know I've been born again
I started to walk, I had a new walk
I started to talk, I had a new talk
I looked at my hands, my hands looked new
I looked at my feet and they did too
I've got my hand right in the windin' chain
My souls been anchored in my Jesus' name
I'm filled within, I've free from sin
You know I've been born again
*In Folklorist Harry Smith’s House-"Moonshiner's Dance Part One" — Frank Cloutier and the Victoria Cafe Orchestra (1927)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Newport Blues" — Cincinnati Jug Band (1929)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Home Sweet Home" — The Breaux Freres (Clifford Breaux, Ophy Breaux, Amedee Breaux) (1933)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Acadian One Step" — Joseph Falcon (1929)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Saut Crapaud" — Columbus Fruge (1929)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Old Dog Blue" — Jim Jackson (1928)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
"Old Dog Blue"
Had an old doggie and I called him Blue
Listen, I'm gonna' tell you what Blue could do
Well I grabbed my gun and I blowed my horn
I am goin' to catch a possum in the new ground corn
Old Blue's got a possum up in a tree
Well I look up at him, and he looks at me
Well I grabbed my gun and I shot him down
And Old Blue picks up possum and he brings him around
Now Old Blue he's a fine old doggie
And I'm proud as a peacock he belonged to me
But when Old Blue died he died so old, so hard
I dug him a cold grave in my door yard
Well I dug Blue's grave with a silver spade
And I lowered Old Blue down on a link of chain
Now when I get to heaven first thing I'll do
Gonna' grab my old bugle and call up Blue
Come on Blue, Come on boy... I'm home
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
"Old Dog Blue"
Had an old doggie and I called him Blue
Listen, I'm gonna' tell you what Blue could do
Well I grabbed my gun and I blowed my horn
I am goin' to catch a possum in the new ground corn
Old Blue's got a possum up in a tree
Well I look up at him, and he looks at me
Well I grabbed my gun and I shot him down
And Old Blue picks up possum and he brings him around
Now Old Blue he's a fine old doggie
And I'm proud as a peacock he belonged to me
But when Old Blue died he died so old, so hard
I dug him a cold grave in my door yard
Well I dug Blue's grave with a silver spade
And I lowered Old Blue down on a link of chain
Now when I get to heaven first thing I'll do
Gonna' grab my old bugle and call up Blue
Come on Blue, Come on boy... I'm home
*In Folklorist Harry Smith’s House-"Old Country Stomp" — Henry Thomas (1928)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Indian War Whoop" — Floyd Ming and his Pep-Steppers (1928)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Friday, December 11, 2009
*In Folklorist Harry Smith’s House-"Brilliancy Medley" — Eck Robertson and Family (1930)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Eck Robertson Bio From Old Time Fiddlers Hall Of Fame
--------------------------------------------------------------------------------
Eck Robertson was one of the most noteworthy fiddlers I have run across, because there is so much incredible history surrounding a man whose fiddling almost transcended the Old-Time style. Eck was an accomplished talent, and played many parts of his tunes in second or third position, a convention much more common to Classical style playing than Old-Time. Eck is also credited with being the first recorded country artist (see below).
We are also fortunate that Eck was around and still in fine fiddling form during the folk revival in the 1960s and 70s. The following article came from the LP liner notes of County 202 - Eck Robertson, Famous Cowboy Fiddler:
--------------------------------------------------------------------------------
Eck Robertson's musical career spanned eight decades. He was an accomplished musician by the turn of the century and entered the ranks of the professional entertainer by 1910. He was easy with a joke, quick to tell a funny story and confident of his ability as a fiddler. He was never content to simply play the old tunes repetitiously; he always experimented and expanded the boundaries of his musical tradition, but he never strayed too far from the core.
Eck, as evidenced by his repertoire and fiddling style, was firmly established within the larger tradition of late 19th century southern fiddling. Although he helped establish what is today called the "Texas style" of fiddling, his musical heritage and influence extended well beyond the southwest.
[The sound sample included here exhibits a mere snippet of Eck's phenomenal mastery of the fiddle.]
Eck Robertson was, first and foremost, one of America's great folk fiddlers. And through his music and his history a great deal can be learned about the folk tradition of fiddle playing, and the historic and cultural matrix within which it flourished.
Eck Robertson is famous as the first person to record a commercial country music record. This he did, in company with fellow fiddler Henry C. Gilliland, on June 30 and July 1,1922, for the Victor Talking Machine Company in their New York studios. Eck and Gilliland, a Civil War veteran from Altus, Oklahoma, after entertaining veterans at the 1922 Old Confederate Soldiers' Reunion in Richmond, Virginia, decided to go to New York for the express purpose of making records. Gilliland, a former justice of the peace, knew an influential lawyer there named Martin W. Littleton. After their first night in New York, the two men stayed with Littleton who provided them with grand tours of the city, including a visit to the Steinway piano factory, a visit Eck remembered fondly forty years later. The image of Gilliland and Eck touring New York, attired respectively in full dress Confederate uniform and flashy western "regalia" (satin fuchsia shirt with pearl studs, wide-brimmed black hat, leather cuffs and pants tucked into high-topped boots) and undoubtedly carrying fiddle cases, would be striking even today.
Just how much influence Littleton exerted to get the two fiddlers an audition for Victor is not known, but Littleton did, on occasion, do legal work for the company. Eck recalled that Littleton's "lawyer" first introduced he and Gilliland to the Victor people and that when he first appeared for an audition, the Victor manager insisted he take out his violin right then and there:
[In Eck's words:] "You couldn't fool that man was running the shop in the Victor office...But then he come at me, he just come into the room in a hurry with a long piece of paper with names on it. He done that on purpose, you see, thought he'd get rid of me just like he had all the rest of them. He said `Young man, get your fiddle out and start off on a tune.' Said `I can tell that quick whether I can use you or not.' Well, I said back to him just as honest as I could `Mister, I come a long ways to get an audition with you. Maybe I better wait and come back another time. You seem like you're in an awful hurry.' `No,' he said, `Just start off a tune...' Well, I didn't get to play half of Sallie Gooden; he just throwed up his hands and stopped me. Said, `By Ned, that's fine!' And just smiled, you know. Said, `Come back in the morning at nine o'clock and we'll make a test record."
And he did.
Eck and Gilliland recorded "Arkansas Traveler"and "Turkey in the Straw''on June 30th,with Gilliland playing the melody and Eck a high harmony. The next day Eck returned alone, this time recording "Sallie Gooden" and "Ragtime Annie" solo, and two additional tunes accompanied by a studio piano player. Two tunes from these sessions, "Sallie Gooden" and "Arkansas Traveler," were released in April, 1923, thus becoming the first commercial record ever released by a country musician. Eck stayed in New York ten days, finally returning home to Vernon, Texas, full of memories and stories.
It was seven years before Eck recorded again, this time in Dallas with his family band. Most historical accounts about Eck Robertson stop after this as if he and his music ceased to exist beyond 1929. However, such was certainly not the case.
Eck promoted himself heavily as the "World's Famous Cowboy Fiddler, Victor Record and Radio Artist" during this time, and advertised the family band as "A Novelty Musical Program Playing Old Time Melodies, Trick and Stunt Fiddling, Singing and Dancing," and promised, "If You Don't Laugh, We Will Call the Doctor!."
Eck had two special tricks he did while fiddling. One was the "normal" trick fiddling; tossing the fiddle or the bow in the air, catching it and not missing a beat, playing behind the back, fiddling while "laying down on the stage and doing somersets" and so forth. He played the tune "Pop Goes the Weasel" for this performance. His other trick was to make his fiddle talk. On many show flyers he asked the question, "Have you ever heard a fiddle talk?" He remembered:
"I used to do it on the stage in theaters and take the house down. I offered a dollar to any child in the house who didn't understand what the violin said...And I made that dad-gummed fiddle talk just as plain as anybody could have said the words...I generally wind up on that by playing Sallie Gooden. I'd wind up on the last of it by making that fiddle talk, representing Sallie Gooden going to the cowpen to milk the cow. You'd hear her calling the calves, and then you'd hear the calf bawl. About that time her baby woke up and began to holler `mamma oh mamma. I want my mamma!' And just say it as plain as anybody could."
Eck explained this trick to an incredulous Mike Seeger:
"Got to put an attachment in my mouth there. To touch the bridge of the fiddle with a piece of steel...Well, you just put that piece of steel in your mouth. It's just like a cigar, about as long as a cigar...You can take a pocket knife even, put it in your mouth; right shaped pocket knife, and do it, too. Anything that will kill the tone of the violin. You touch the bridge at intervals, and know how to pull the bow across the strings to make it do that."
Eck apparently learned this trick from a classical violinist he met during his medicine show travels. The family band disbanded around the beginning of World War II and shortly before Dueron [Eck's son], was killed, Eck and Nettie (who was working at the Pantex ordinance plant in Amarillo) separated. Eck never remarried.
The next two decades, through the 1950s and until his rediscovery by old-time music enthusiasts and folklorists in the early-1960s, were fairly dry years musically for Eck and the family. Eck continued to tune pianos for the Tolzien Music Company in Amarillo, and to repair and rebuild fiddles and other stringed instruments in his home shop. He was occasionally featured as a special guest at the fiddle contests that were sprouting throughout Texas. The brochure advertising the "Hale Center 4th of July Homecoming Celebration with All-American Fiddlers Contest" (ca .1963) proclaims: "The best fiddlers come from the country where folks scratch themselves for entertainment and aren't ashamed of it!" and "There's nothing more American than Fiddle Music." The flyer also features a photo of Eck Robertson with the following caption:
"Eck Robertson of Amarillo, who started fiddling when he was five years old is one of the most colorful performers in the All-American Fiddlers Contest at Hale Center. He has won top honors in the old fiddlers division of the contest several times. Two generations ago Eck, a recording star, was one of the most popular country musicians in the country."
By the 1960s, Eck was relegated to the role of elder statesman, special guest and pioneer recording artist. The family was gone and popular venues for either old-time fiddling or vaudeville style entertainment were scarce. When Mike Seeger, John Cohen and Tracy Schwarz visited Eck in 1963, he was seventy-six years old. The next year he performed at the UCLA Folk Festival, and in 1965 he appeared at the Newport Folk Festival. Even then he was still plenty able to charm an audience with his music and talk.
Eck's last few years were hard on both him and his family. After his house and shop in Amarillo nearly burned to the ground, Eck moved into a rest home. While there, his favorite fiddle, a Steiner he rebuilt, was stolen. He apparently received comfort from just holding a fiddle, because he was never without one, even in his last days. But having his fiddle stolen caused him to take precautions. Doyle Davis remembers:
"He took the neck out of an old fiddle, switched everything around and put the neck in the big end, the back end. That's all he had left at that rest home. And he would walk around with that old thing under his arm all the time"
Beulah [Davis] continues:
"...I remember the last time [we saw Eck]...We took this County Sales record that had dad's tunes and we played them for those old people in the nursing home that day."
And Doyle concludes:
"...Eck wanted to know - we had one of his tunes, I don't know if it was Wagoner or what - he wanted to know `Who's that fellow playing the fiddle?' Beulah told him `Why, that's you.' `I never played a tune that fast in my life,' he said."
Eck Robertson died February 15,1975 at the age of eighty-eight. Inscribed on his tombstone in Fritch, Texas, is the epitaph "World's Champion Fiddler."
—Blanton Owen, Virginia City, Nevada
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Eck Robertson Bio From Old Time Fiddlers Hall Of Fame
--------------------------------------------------------------------------------
Eck Robertson was one of the most noteworthy fiddlers I have run across, because there is so much incredible history surrounding a man whose fiddling almost transcended the Old-Time style. Eck was an accomplished talent, and played many parts of his tunes in second or third position, a convention much more common to Classical style playing than Old-Time. Eck is also credited with being the first recorded country artist (see below).
We are also fortunate that Eck was around and still in fine fiddling form during the folk revival in the 1960s and 70s. The following article came from the LP liner notes of County 202 - Eck Robertson, Famous Cowboy Fiddler:
--------------------------------------------------------------------------------
Eck Robertson's musical career spanned eight decades. He was an accomplished musician by the turn of the century and entered the ranks of the professional entertainer by 1910. He was easy with a joke, quick to tell a funny story and confident of his ability as a fiddler. He was never content to simply play the old tunes repetitiously; he always experimented and expanded the boundaries of his musical tradition, but he never strayed too far from the core.
Eck, as evidenced by his repertoire and fiddling style, was firmly established within the larger tradition of late 19th century southern fiddling. Although he helped establish what is today called the "Texas style" of fiddling, his musical heritage and influence extended well beyond the southwest.
[The sound sample included here exhibits a mere snippet of Eck's phenomenal mastery of the fiddle.]
Eck Robertson was, first and foremost, one of America's great folk fiddlers. And through his music and his history a great deal can be learned about the folk tradition of fiddle playing, and the historic and cultural matrix within which it flourished.
Eck Robertson is famous as the first person to record a commercial country music record. This he did, in company with fellow fiddler Henry C. Gilliland, on June 30 and July 1,1922, for the Victor Talking Machine Company in their New York studios. Eck and Gilliland, a Civil War veteran from Altus, Oklahoma, after entertaining veterans at the 1922 Old Confederate Soldiers' Reunion in Richmond, Virginia, decided to go to New York for the express purpose of making records. Gilliland, a former justice of the peace, knew an influential lawyer there named Martin W. Littleton. After their first night in New York, the two men stayed with Littleton who provided them with grand tours of the city, including a visit to the Steinway piano factory, a visit Eck remembered fondly forty years later. The image of Gilliland and Eck touring New York, attired respectively in full dress Confederate uniform and flashy western "regalia" (satin fuchsia shirt with pearl studs, wide-brimmed black hat, leather cuffs and pants tucked into high-topped boots) and undoubtedly carrying fiddle cases, would be striking even today.
Just how much influence Littleton exerted to get the two fiddlers an audition for Victor is not known, but Littleton did, on occasion, do legal work for the company. Eck recalled that Littleton's "lawyer" first introduced he and Gilliland to the Victor people and that when he first appeared for an audition, the Victor manager insisted he take out his violin right then and there:
[In Eck's words:] "You couldn't fool that man was running the shop in the Victor office...But then he come at me, he just come into the room in a hurry with a long piece of paper with names on it. He done that on purpose, you see, thought he'd get rid of me just like he had all the rest of them. He said `Young man, get your fiddle out and start off on a tune.' Said `I can tell that quick whether I can use you or not.' Well, I said back to him just as honest as I could `Mister, I come a long ways to get an audition with you. Maybe I better wait and come back another time. You seem like you're in an awful hurry.' `No,' he said, `Just start off a tune...' Well, I didn't get to play half of Sallie Gooden; he just throwed up his hands and stopped me. Said, `By Ned, that's fine!' And just smiled, you know. Said, `Come back in the morning at nine o'clock and we'll make a test record."
And he did.
Eck and Gilliland recorded "Arkansas Traveler"and "Turkey in the Straw''on June 30th,with Gilliland playing the melody and Eck a high harmony. The next day Eck returned alone, this time recording "Sallie Gooden" and "Ragtime Annie" solo, and two additional tunes accompanied by a studio piano player. Two tunes from these sessions, "Sallie Gooden" and "Arkansas Traveler," were released in April, 1923, thus becoming the first commercial record ever released by a country musician. Eck stayed in New York ten days, finally returning home to Vernon, Texas, full of memories and stories.
It was seven years before Eck recorded again, this time in Dallas with his family band. Most historical accounts about Eck Robertson stop after this as if he and his music ceased to exist beyond 1929. However, such was certainly not the case.
Eck promoted himself heavily as the "World's Famous Cowboy Fiddler, Victor Record and Radio Artist" during this time, and advertised the family band as "A Novelty Musical Program Playing Old Time Melodies, Trick and Stunt Fiddling, Singing and Dancing," and promised, "If You Don't Laugh, We Will Call the Doctor!."
Eck had two special tricks he did while fiddling. One was the "normal" trick fiddling; tossing the fiddle or the bow in the air, catching it and not missing a beat, playing behind the back, fiddling while "laying down on the stage and doing somersets" and so forth. He played the tune "Pop Goes the Weasel" for this performance. His other trick was to make his fiddle talk. On many show flyers he asked the question, "Have you ever heard a fiddle talk?" He remembered:
"I used to do it on the stage in theaters and take the house down. I offered a dollar to any child in the house who didn't understand what the violin said...And I made that dad-gummed fiddle talk just as plain as anybody could have said the words...I generally wind up on that by playing Sallie Gooden. I'd wind up on the last of it by making that fiddle talk, representing Sallie Gooden going to the cowpen to milk the cow. You'd hear her calling the calves, and then you'd hear the calf bawl. About that time her baby woke up and began to holler `mamma oh mamma. I want my mamma!' And just say it as plain as anybody could."
Eck explained this trick to an incredulous Mike Seeger:
"Got to put an attachment in my mouth there. To touch the bridge of the fiddle with a piece of steel...Well, you just put that piece of steel in your mouth. It's just like a cigar, about as long as a cigar...You can take a pocket knife even, put it in your mouth; right shaped pocket knife, and do it, too. Anything that will kill the tone of the violin. You touch the bridge at intervals, and know how to pull the bow across the strings to make it do that."
Eck apparently learned this trick from a classical violinist he met during his medicine show travels. The family band disbanded around the beginning of World War II and shortly before Dueron [Eck's son], was killed, Eck and Nettie (who was working at the Pantex ordinance plant in Amarillo) separated. Eck never remarried.
The next two decades, through the 1950s and until his rediscovery by old-time music enthusiasts and folklorists in the early-1960s, were fairly dry years musically for Eck and the family. Eck continued to tune pianos for the Tolzien Music Company in Amarillo, and to repair and rebuild fiddles and other stringed instruments in his home shop. He was occasionally featured as a special guest at the fiddle contests that were sprouting throughout Texas. The brochure advertising the "Hale Center 4th of July Homecoming Celebration with All-American Fiddlers Contest" (ca .1963) proclaims: "The best fiddlers come from the country where folks scratch themselves for entertainment and aren't ashamed of it!" and "There's nothing more American than Fiddle Music." The flyer also features a photo of Eck Robertson with the following caption:
"Eck Robertson of Amarillo, who started fiddling when he was five years old is one of the most colorful performers in the All-American Fiddlers Contest at Hale Center. He has won top honors in the old fiddlers division of the contest several times. Two generations ago Eck, a recording star, was one of the most popular country musicians in the country."
By the 1960s, Eck was relegated to the role of elder statesman, special guest and pioneer recording artist. The family was gone and popular venues for either old-time fiddling or vaudeville style entertainment were scarce. When Mike Seeger, John Cohen and Tracy Schwarz visited Eck in 1963, he was seventy-six years old. The next year he performed at the UCLA Folk Festival, and in 1965 he appeared at the Newport Folk Festival. Even then he was still plenty able to charm an audience with his music and talk.
Eck's last few years were hard on both him and his family. After his house and shop in Amarillo nearly burned to the ground, Eck moved into a rest home. While there, his favorite fiddle, a Steiner he rebuilt, was stolen. He apparently received comfort from just holding a fiddle, because he was never without one, even in his last days. But having his fiddle stolen caused him to take precautions. Doyle Davis remembers:
"He took the neck out of an old fiddle, switched everything around and put the neck in the big end, the back end. That's all he had left at that rest home. And he would walk around with that old thing under his arm all the time"
Beulah [Davis] continues:
"...I remember the last time [we saw Eck]...We took this County Sales record that had dad's tunes and we played them for those old people in the nursing home that day."
And Doyle concludes:
"...Eck wanted to know - we had one of his tunes, I don't know if it was Wagoner or what - he wanted to know `Who's that fellow playing the fiddle?' Beulah told him `Why, that's you.' `I never played a tune that fast in my life,' he said."
Eck Robertson died February 15,1975 at the age of eighty-eight. Inscribed on his tombstone in Fritch, Texas, is the epitaph "World's Champion Fiddler."
—Blanton Owen, Virginia City, Nevada
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