25 posts tagged with Americana by flapjax at midnite.
25 posts tagged with Americana by flapjax at midnite.
Displaying 1 through 25 of 25.
It's time to say so long to legendary Mardi Gras Indian Big Chief Bo Dollis, who, for many years, led his Wild Magnolias through the streets of the Crescent City. Handa Wanda, Big Chief, Ho Na Nae and Jockomo Jockomo. Oops Upside Your Head [more inside]
You might have heard at one time or another a 60s band called Canned Heat, who made a wee bit of a splash way back when with a little number called Going Up the Country. The song featured a simple but very catchy little flute riff between verses. If you ever wondered where that riff came from (not to mention the melodic contour of the tune itself) you need look no further than a 1928 recording by Henry Thomas, who played the flute melody on his quills, or, panpipes. The song was called Bull Doze Blues. [more inside]
Goddammit it, I wish I'd written this deliciously nail-on-the-head, brilliantly insightful and sweeping overview of American musico-cultural history, seasoned with heavy dollops of personal remembrances and observations that I identify with so much that it's almost scary. But alas, I didn't. Still, I'm really, really grateful that William Hogeland did: Coons! Freaks! Hillwilliams! : 200 Years of Roots-Rock Revival (a Memoir).
Oh yeah. There he is, Mr. RL Burnside, in the year of nineteen and seventy eight, Independence, Mississippi, porch fulla kids, singin' about when his first wife left him, million-dollar smile on his face. And there he is again, with his guitar and amp, out by the barb wire fence, a poor boy a long way from home. These two little gems just added to the Alan Lomax Archive YouTube channel, where you'll also find some wonderful newly-uploaded clips (filmed in 1983) from fretless banjo plucker Tommy Jarrell, the toast of Toast, North Carolina.
African-American fiddler Joe Thompson, probably the last living link to the black string band tradition of the 19th century, has died at the grand old age of 93. Hear Joe and his cousin, banjoist Odell (who passed on back in 1994) offer some reminiscences on the origins of their music, and a spirited rendition of Cindy Gal. Here's the short but sweet and deliciously ragged Old Corn Liquor. Hear Joe and Odell in concert in 1988, part one and part two, and this little ditty from a living room in 1987. And there's... [more inside]
Within that small and very specific sub-genre of musical Americana identifiable as the train imitation, there is one amazing performance, from 1926, that set the standard: Pan-American Blues. The man who recorded it did a fine and fanciful job of evoking the sounds of a fox chase as well, and his rhythmically compelling solo rendition of John Henry stands as testament to the potential for musical greatness achievable by one man and a humble harmonica. He was an African-American who was a founding member of the Grand Ole Opry, a musical institution that we rarely (as in, never) today associate with black people, and his touching and tragic story, documented here, is one that will be of interest to those concerned with the racial, economic and socio-cultural history of American popular music. He stands at one of its more unexpected intersections: his name is DeFord Bailey. [more inside]
When you see a song from 1924 called "Keep My Skillet Good and Greasy", you just wanna hear it, right? Then, maybe, read some contemporary observations on it. [more inside]
Born in Big Sandy, Texas in 1874, Henry Thomas was one of the oldest black musician who ever recorded for the phonograph companies of the 1920′s and his music represents a rare opportunity to hear what American black folk music must have sounded like in the last decade of the 19th century. [more inside]
The Victor Talking Machine Co. of Camden, New Jersey is proud to present the following Orthophonic Recordings by bluesman Mr. Ishman Bracey: Leavin' Town Blues - Trouble Hearted Blues - Brown Mamma Blues and Saturday Blues. And remember, for best results, use Victor Needles. [more inside]
"Men working on the river would move in time to the beat of the music. It was everywhere: on the street, in the church. In the tonks and barrelhouses where people went to be together. Like the beating of a big heart. It gave everyone a good feeling." The Cradle is Rocking is a delightful 12-minute film that, though somewhat damaged (Folkstreams has found what may be the only surviving print), is highly recommended viewing for anyone interested in American roots music: in this case, New Orleans jazz. The film's thoughtful and affable narrator is trumpeter George "Kid Sheik" Cola, who can be heard along with Captain John Handy serving up some fine old-school Dixieland jazz here and here.
The foot bone connected to the ankle bone, the ankle bone connected to the leg bone, the leg bone connected to the knee bone, the knee bone connected to the thigh bone, the thigh bone connected to the hip bone, the hip bone connected to the back bone, the back bone connected to the shoulder bone, the shoulder bone connected to the neck bone, the neck bone connected to the head bone, now hear the word of the lord...and be sure to check the hover-overs for link details on all this bony business,
Hey kids, let's go way back, and spend a little quality time with Tampa Red, shall we? Cause, you know, you can't get that stuff no more, and if you missed him, you missed a good man.
Ramblin' Thomas: No Job Blues (1928), J.D. Short: Lonesome Swamp Rattlesnake (1930), Bo Carter: My Baby (1940). [more inside]
As a young man in the 1920s, Dock Boggs [previously] recorded some songs that were released as 78s, and they are wonderful treasures of southern Americana, but I was always even more fond of his recordings from the 1960s, when, as an old man, he was rediscovered during the folk boom. So I was delighted to find that three of his 60s-period performances have recently shown up on YouTube. Here's Pretty Polly, Country Blues and I Hope I Live, all from 1966. [more inside]
Eighty one years ago to the day, barber, banjoist and balladeer B.F. Shelton travelled from his home in Kentucky to take part in a recording session in Bristol Tennessee. Now referred to as the "Bristol Sessions", these recordings are widely viewed as some of the most important and influential in American music history. The four songs Shelton recorded that day, stark, simple and immensely powerful in their unadorned honesty, can all be heard here. After Bristol, Shelton never recorded again. [more inside]
In the little town of Enterprise, Alabama, there stands a bizarre statue that would make any card-carrying surrealist proud: an archetypical Greek goddess raises her arms toward heaven and holds high above her head... an enormous insect. Of course, it's the boll weevil. That cotton-eatin' critter inspired not only the world's only monument to an agricultural pest, but some great tunes as well, from a wide range of artists. [note: see hoverovers for link descriptions] [more inside]
Alexander "Eck" Robertson (1886 - 1975) was one hell of a fine fiddler, friend. He made, in 1922, what many country music historians consider the first commercial recording of country music. And now some kind soul has made ol' Eck a MySpace page where you can get a taste (five tastes, actually) of some of that bodacious bowing. Then head over to Ragtime Annie's place. What? She's Done Gone? She must've run off with the Arkansaw Traveler. Guess you'll have to make do with that Turkey In The Straw. [more inside]
For your weekend aural edification, courtesy of Internet Archive, a sampling of Old-Time and country blues gems: Buell Kazee's The Dying Soldier (1928), B.F. Shelton's Pretty Polly (1927), Geeshie Wiley's Last Kind Words (1930), Dock Boggs' Danville Girl, Kelly Harrel's Rovin' Gambler (1925), Clarence Ashley's My Sweet Farm Girl (1931), Charlie Poole's Don't Let Your Deal Go Down Blues (1925) and the Memphis Jug Band's A Black Woman is Like a Black Snake (1928).
The stark, modal banjo and achingly poignant, weathered voice of the great Dock Boggs [previous] are the perfect aural accompaniment to a slideshow of William Gedney's [previous] powerfully intimate photographs: Kentucky, 1964. [more inside]
Dreams and Songs of the Noble Old, a film by Alan Lomax, takes a loving look at the talents and wisdom of elderly musicians, singers, and story-tellers from southern American folk traditions. All the musicians featured in the film have soul and musical energy to spare: great, great performances and engaging reminiscences make this film a real treat. Please see the [more inside] for a collection of links to several of the outstanding performers featured in the film. [more inside]
Each of the following MySpace Music pages features bios and/or photos and/or videos and/or miscellaneous related materials and/or up to four songs by each of the following Old Time, Traditional, Appalachian folk (and related) artists: Lowe Stokes, Clarence Ashley, Charlie Poole, Gid Tanner and the Skillet Lickers, Roanoke Jug Band, Roscoe Holcomb, Hobart Smith, The Weems String Band, Burnet & Rutherford, Bascom Lamar Lunsford, John Masters, Dock Boggs, Tampa Joe & Macon Ed, William Stepp, Buddy Thomas, Buell Kazee, Isidore Soucy, John Salyer, Cousin Emmy, Luther Strong, Elizabeth Cotten, Fred Cockerham, G.B. Grayson, Melvin Wine, Lewis Brothers, Uncle Dave Macon, George Lee Hawkins and Wilmer Watts. And here's some general Old Time (etc.) pages, featuring various artists: Dust To Digital, Traditional Music of Beech Mountain and North Carolina Folklife Institute. [more inside]
The Kansas City Sheet Music Collection is an enormous catalog of zoomable, high-rez scans of old sheet music. See how the popular music of years past was marketed with Black and Native American imagery as well as exotica. There are lovely and fanciful calligraphic designs, songs of World War 1 and, uh, vegetables. There's even a little ditty by Mark Twain. Plus some undeniable truths and the age-old question.