AP (1891-1960), Sara (1898-1978), and Maybelle
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
名前 アーティスト アルバム ジャンル 分 年 Look at Us Vince Gill
名前 アーティスト アルバム ジャンル 分 年 Look At Us Vince Gill Welcome To MCM Country Alternative &4.0 Punk Look Both Ways Barry & Holly Tashian Trust in Me Country & Folk2.9 1989 Look Both Ways Barry And Holly Tashian Trust In Me (P) 1988 フォーク 2.9 1988 Look Her In The Eye And Lie Alan Jackson Thirty Miles West Country & Folk3.8 2012 Look Homeward Angel Lari White Stepping Stone カントリー 6.0 1998 Look Left Alison Brown Alison Brown: Best Of The Vanguard Years カントリー 5.0 2000 Look Me Up By the Ocean Door The Cox Family Everybody's Reaching Out for Someone カントリー 3.0 1993 Look Over Me Merle Haggard Untamed Hawk: The Early Recordings Of Merle Haggard [Disc 3] Country & Folk3.0 1995 Look What They've Done To My Song Billie Joe Spears Best Of Country Ladies カントリー 2.7 2002 Look Who's Back From Town George Strait Honkytonkville カントリー 4.1 2003 Lookin' At The World Through A Windshield Son Volt Rig Rock Deluxe カントリー 2.6 1996 Lookin' For A Good Time Lady Antebellum Lady Antebellum Country & Folk3.1 2008 Lookin´' For My Mind (Take 6) Merle Haggard Untamed Hawk: The Early Recordings Of Merle Haggard [Disc 4] Country & Folk2.2 Lookin´ For My Mind (Takes 1-2) Merle Haggard Untamed Hawk: The Early Recordings Of Merle Haggard [Disc 4] Country & Folk2.6 Lookin´ For My Mind (Takes 3-5) Merle Haggard Untamed Hawk: The Early Recordings Of Merle Haggard [Disc 4] Country & Folk1.6 Looking At The World Through A Windshield Del Reeves & Bobby Goldsboro The Golden Country Hits 17 Radio Land カントリー 2.4 Looking Back To See Justin Tubb & Goldie Hill The Golden Country Hits 07 Fraulein -
The Unbroken Circle the Musical Heritage of the Carter Family
The Unbroken Circle The Musical Heritage Of The Carter Family 1. Worried Man Blues - George Jones 2. No Depression In Heaven - Sheryl Crow 3. On The Sea Of Galilee - Emmylou Harris With The Peasall - Sisters 4. Engine One-Forty-Three - Johnny Cash 5. Never Let The Devil Get - The Upper Hand Of You - Marty Stuart And His Fabulous - Superlatives 6. Little Moses - Janette And Joe Carter 7. Black Jack David - Norman And Nancy Blake With - Tim O'brien 8. Bear Creek Blues - John Prine 9. You Are My Flower - Willie Nelson 10. Single Girl, Married Girl - Shawn Colvin With Earl And - Randy Scruggs 11. Will My Mother Know - Me There? The Whites - With Ricky Skaggs 12. The Winding Stream - Rosanne Cash 13. Rambling Boy - The Del Mccoury Band 14. Hold Fast To The Right - June Carter Cash 15. Gold Watch And Chain - The Nitty Gritty Dirt Band - With Kris Kristofferson Produced By John Carter Cash (except "No Depression" produced by Sheryl Crow) Engineered And Mixed By Chuck Turner (except "Engine One-Forty-Three" mixed by John Carter Cash) Executive Assistant To The Producer Andy Wren Mixing Assistant Mark "Hank" Petaccia Recorded at Cash Cabin Studio, Hendersonville, Tennessee unless otherwise listed. Mixed at Quad Studios, Nashville, Tennessee All songs by A.P. Carter Peer International Corp. (BMI) Lyrics reprinted by permission. The Production Team Would Like To Thank: Laura Cash, Anna Maybelle Cash, Joseph Cash, Skaggs Family Records, Joseph Lyle, Mark Rothbaum, LaVerne Tripp, Debbie Randal, The guys at Underground Sound, Rita Forrester, Flo Wolfe, Dale Jett, Pat and Sharen Weber, Hope Turner, Chet and Erin, Connie Smith, Lou and Karen Robin, Cathy and Bob Sullivan, Kirt Webster, Bear Family Records, Wayne Woodard, Mark Stielper, Carlene, Renate Damm, Lin Church, David Ferguson, Kelly Hancock, Karen Adams, Lisa Trice, Lisa Kristofferson and kids, Nancy Jones, DS Management, Rick Rubin, Ron Fierstein, Les Banks, John Leventhal, Sumner County Sheriff's Department, our buddies at TWRA, and most of all God. -
1 the Words December 2007 Over the Last 15 Years Or So I Have Been
Songbook version January 2008 The Words December 2007 Over the last 15 years or so I have been collecting lyrics to songs - mostly old-time country, bluegrass, cowboy, and old blues songs. I wanted to consolidate these lyrics into one big searchable file that I could use as a reference. I started with the Carter Family, Stanley Brothers, Flatt & Scruggs, Bill Monroe, and Uncle Dave Macon sections, which I had in separate documents, previously downloaded from the web over the last few years. I can’t remember where I got the Carter Family or Uncle Dave songs, but the rest were mostly from Bluegrasslyrics.com. I had the rest of the songs in a huge binder. Excluding those that were already in the existing sections, I searched the web for lyrics that were close to the version I had. Other useful websites: www.mudcat.org www.traditionalmusic.co.uk http://mywebpages.comcast.net/barb923/lyrics/i_C.htm www.cowboylyrics.com http://prewarblues.org/ (not so many lyrics, but a cool site) There is a rough Table of Contents at the start of the document, and a detailed Index at the end. I’d recommend using the Index if you are looking for something in particular, or use your search tool. (There is no reason why some of the song titles are in CAPS but they are mostly Carter Family songs). I haven’t been able to read every song, so there may be lyrics that are insensitive, especially in the Uncle Dave Macon section. I’m sorry if I missed them. -
HARD, HARD RELIGION: FAITH and CLASS in the NEW SOUTH By
HARD, HARD RELIGION: FAITH AND CLASS IN THE NEW SOUTH by JOHN HERBERT HAYES (Under the Direction of KATHLEEN CLARK) ABSTRACT “Hard, Hard Religion: Faith and Class in the New South” argues that a fervent people’s religious culture permeated the rural New South, and was a central element in the persona and music of an iconic figure from that world, Johnny Cash. A distinct religious sensibility—a regional “popular religion,” or what one white farm laborer called “hard, hard religion”—constituted a central medium through which the rural poor, white and black, articulated and engaged with the hard everyday forces in their lives in the New South: confinement, marginality, injustice, and ridicule. This sensibility was not a static “old time religion,” an “otherworldly” compensation, or a psychological coping mechanism. Indeed, through the mediated forms of “folk” music and early “hillbilly” and “race” records, this popular religion has recurrently attracted outsiders for its complex engagement with modernity and its discontents, even though the dominant categories of historical analysis, those that conceptualize southern power relations and religion solely through the lens of race, have obscured it. I focus in on the persona and music of Johnny Cash, demonstrating that a principal aspect of his durable popular appeal was his creative engagement with the “hard, hard religion” he absorbed in his youth, in a rural community in Arkansas in the 1930s and ‘40s. In wrestling with the meaning of his inherited faith, Cash sang basic themes from the older culture—an abiding sense of evil and of perpetual struggle against darkness, a via negativa as the path to God, a feeling of mystery and the stark limit in life, and a democratic spirit of favoritism for the lowly—into American popular culture from the 1960s until his death in 2003. -
Listening for a Life
Utah State University DigitalCommons@USU All USU Press Publications USU Press 2004 Listening for a Life Patricia Sawin Follow this and additional works at: https://digitalcommons.usu.edu/usupress_pubs Part of the Folklore Commons Recommended Citation Sawin, P. (2004). Listening for a life: A dialogic ethnography of Bessie Eldreth through her songs and stories. Logan: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Listening for a Life 5/27/04 2:23 PM Page i Listening for a Life A Dialogic Ethnography of Bessie Eldreth through Her Songs and Stories Listening for a Life 5/27/04 2:23 PM Page ii Listening for a Life 5/27/04 2:23 PM Page iii Listening for a Life A Dialogic Ethnography of Bessie Eldreth through Her Songs and Stories Patricia Sawin Utah State University Press Logan, Utah Listening for a Life 5/27/04 2:23 PM Page iv Copyright © 2004 Utah State University Press All rights reserved Utah State University Press Logan, Utah 84322-7800 Publication of this book was supported by a grant from the University Researcch Council at the University of North Carolina, Chapel Hill. Manufactured in the United States of America Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Sawin, Patricia. Listening for a life : a dialogic ethnography of Bessie Eldreth through her songs and stories / Patricia Sawin. -
The Carter Family and Hazel & Alice
THE CARTER FAMILY AND HAZEL & ALICE: A COMPARISON OF MUSICAL INFLUENCES AND CHANGING GENDER NORMS A Thesis by LAIKEN BOYD Submitted to the Graduate School at Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Center for Appalachian Studies THE CARTER FAMILY AND HAZEL & ALICE: A COMPARISON OF MUSICAL INFLUENCES AND CHANGING GENDER NORMS A Thesis by LAIKEN BOYD December 2016 APPROVED BY: Dave H. Wood Chairperson, Thesis Committee Thomas S. Hansell Member, Thesis Committee Eugenia C. Conway Member, Thesis Committee William R. Schumann Director, Center for Appalachian Studies Max C. Poole, Ph.D. Dean, Cratis D. Williams School of Graduate Studies Copyright by Laiken J. Boyd. 2016. All Rights Reserved Abstract THE CARTER FAMILY AND HAZEL & ALICE: A COMPARISON OF MUSICAL INFLUENCES AND CHANGING GENDER NORMS (DECEMBER 2016) Laiken Boyd B.A., Glenville State College M.A., Appalachian State University Chairperson: Dave H. Wood This thesis explores, in detail, the lives and musical careers of The Carter Family (A.P., Sara, and Maybelle) in comparison with those of Hazel Dickens and Alice Gerrard. These are two trailblazing musical groups of the country and bluegrass music industries. This thesis discusses the effect of these women’s accomplishments on the country music and bluegrass industries when taking into consideration the obstacles society presented them with in the form of gender norms. Using the social constructs of gender norms during the 1920s-1970s as a lens for discussing some of the obstacles these women faced in their careers (e.g., restrictions/hindrance). This work will attempt to address what the gender norms of the time period were, if the fact that they were women presented any significant obstacles for their careers, and why these women received the recognition that they did. -
American Folksongs of Protest
Welleslev College Library + ej lacuna + EDITH BUTLER FOOL This book-plate was designed in 1909 by Edith Butler Pool (Class of 1896) for her library. It seems appropriate that it should be used to mark the books purchased for the Department of English Literature through her memorial bequest i o 1 Digitized by the Internet Archive in 2011 with funding from Boston Library Consortium Member Libraries http://www.archive.org/details/americanfolksongOOgree merican oiKsonos of Protest John Greenway Philadelphia University of Pennsylvania Press 1953 Copyright 1953 University of Pennsylvania Press Manufactured in the United States of America Published in Great Britain India, and Pakistan by Geoffrey Cumberlege Oxford University Press London, Bombay, and Karachi 28413 Library of Congress Catalog Card Number 53—6929 TO RUTH Preface The songs of the working people have always been their sharpest statement, and the one statement that cannot be destroyed. You can burn books, buy newspapers, you can guard against handbills and pamphlets, but you cannot pre- vent singing. For some reason it has always been lightly thought that singing people are happy people. Nothing could be more untrue. The greatest and most enduring songs are wrung from unhappy people—the spirituals of the slaves which say in effect— "It is hopeless here, maybe in heaven it will be better." Songs are the statement of a people. You can learn more about people by listening to their songs than any other way, for into the songs go all the hopes and hurts, the angers, fears, the wants and aspirations. —John Steinbeck. From the earliest periods of American history the oppressed people forming the broad base of the social and eco- nomic pyramid have been singing of their discontent.