Gid Tanner and His Skillet-Lickers Bile Them Cabbage Down / It's a Long Way to Tipperary Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Gid Tanner And His Skillet-Lickers Bile Them Cabbage Down / It's A Long Way To Tipperary mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Bile Them Cabbage Down / It's A Long Way To Tipperary Country: US Released: 1928 Style: Hillbilly, Country MP3 version RAR size: 1217 mb FLAC version RAR size: 1500 mb WMA version RAR size: 1845 mb Rating: 4.7 Votes: 916 Other Formats: MP3 DXD MP4 AUD FLAC ADX DTS Tracklist A Bile Them Cabbage Down B It's A Long Way To Tipperary Companies, etc. Record Company – Columbia Phonograph Company, Inc. Credits Banjo [Uncredited] – Fate Norris Fiddle [Uncredited] – Clayton McMichen, Gid Tanner, Lowe Stokes Guitar [Uncredited], Lead Vocals [Uncredited] – Riley Puckett Harmony Vocals [Chorus, Uncredited], Solo Vocal [Verse, Uncredited] – Clayton McMichen (tracks: B) Harmony Vocals [Uncredited] – Riley Puckett (tracks: B) Speech [Uncredited] – Gid Tanner (tracks: A) Notes Both sides recorded 31 October 1927 in Atlanta, GA. Side A matrix no. 145048-3. Side B matrix no. 145050-3. The Talking Machine World, June 1928, page 177: The Latest Record Bulletins. Barcode and Other Identifiers Matrix / Runout (Side A label): 145048 Matrix / Runout (Side B label): 145050 Matrix / Runout (Side A runout): Ⓦ145048 3-B-6 Matrix / Runout (Side B runout): Ⓦ145050 3-A-5 Related Music albums to Bile Them Cabbage Down / It's A Long Way To Tipperary by Gid Tanner And His Skillet- Lickers Ben Selvin & His Orchestra - Miss You / Junior Riley Puckett - Red Wing / Come Be My Rainbow Gid Tanner And His Skillet-Lickers With Riley Puckett And Clayton McMichen - Uncle Bud / Johnson's Old Gray Mule Ted Hawkins - Riley Puckett - Down In The Valley / Zelma Burnett And Rutherford - Little Stream Of Whiskey / Short Life Of Trouble Gid Tanner And His Skillet-Lickers With Riley Puckett - Ya Gotta Quit Kickin' My Dog Aroun' / Turkey In The Straw Gid Tanner, Clayton McMichen, Riley Puckett, Lowe Stokes And Fate Norris - Possum Hunt On Stump House Mountain - Part 1 / Possum Hunt On Stump House Mountain - Part 2 Riley Puckett - There's A Hard Time Coming / Paw's Old Mule.

Copy Link

Recommended publications

Country Music Goes to War Edited by Charles K. Wolfe and James E
Country Music Goes to War This page intentionally left blank Country Music Goes to War Edited by Charles K. Wolfe and James E. Akenson TIfE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2005 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Library of Congress Cataloging-in-Publication Data Country music goes to war / edited by Charles K. Wolfe and James E. Akenson p. cm. Includes bibliographical references (p. ) ISBN-lO: 0-8131-2308-9 (hardcover: alk. paper) l. Country mUSic-History and criticism. 2. Country music-Social aspects. 3. Music and war. 4. Political ballads and songs-History and criticism. 1. Wolfe, Charles K. II. Akenson,James Edward, 1943- ML3524 C695 2005 78l.642'1599-dc22 ISBN-13: 978-0-8131-2308-0 (hardcover: alk. paper) ISBN-13: 978-0-8131-9204-8 (pbk. : alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. €9® Manufactured in the United States of America. ~"·"'I~ Member ofthe Association of ~~ _ American University Presses -----Contents ----- Introduction vii Charles K.
[Show full text]
Georgia Old-Time Fiddlers Conventions
Georgia Old-Time Fiddlers Conventions Centennial Celebration Veterans Memorial Hall and City Auditorium Welcome to Veterans Memorial Hall formerly known as Taft Hall (1909 - ), named in honor of President William Howard Taft who was the honored guest at the dedication of what was then known as the Atlanta Auditorium-Armory of which the hall named in his honor was a part. Taft Hall was the scene of square dances following the last night’s event of the annual Georgia Old-Time Fiddlers Conventions. Interior of the Auditorium, 1945 Atlanta Auditorium-Armory (later known as Atlanta City Auditorium) was built in downtown Atlanta, Georgia in 1909. It was renovated in 1938, and then partially destroyed during a fire in 1940. It reopened in 1943, and was later sold to Georgia State University in 1979. Exterior of the Auditorium, 1949 Demolition of the Auditorium, 1981 dates Source: Contemporary Issues of The Atlanta Constitution, The Atlanta Georgian, and The Atlanta Journal 1913 Tuesday – Thursday, 1924 Friday, Saturday, 1931 Friday, Saturday, April 1 – 3 November 7, 8 September 25, 26 1914 Wednesday – 1925 Friday, Saturday, 1932 Friday, Saturday, Saturday, February October 30, 31 March 18, 19 18 – 21 1926 Friday, Saturday, (Interstate Fiddlers’ 1915 Tuesday, Wednesday, September Convention) Friday, Saturday, 17, 18 (First All 1932 Friday, Saturday, February 2, 3, 5, 6 Southern Fiddling September 2, 3 1916 Wednesday – Championship) (Interstate Fiddlers’ Saturday, January 1927 Thursday – Saturday, Convention) 26 – 29 September 1 – 3 1933 No newspaper
[Show full text]
DOCUMENT RESUME ED 310 957 SO 020 170 TITLE Folk Recordings
DOCUMENT RESUME ED 310 957 SO 020 170 TITLE Folk Recordings Selected from the Archive of Folk Culture. INSTITUTION Library of Congress, Washington, DC. Motion Picture, Broadcasting, and Recorded Sound Div. PUB DATE 89 NOTE 59p. PUB TYPE Reference Materials Directories/Catalogs (132) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS American Indians; Audiodisks; Audiotape Cassettes; *Folk Culture; Foreign Countries; Music; *Songs IDENTIFIERS Bahamas; Black Folk Music; Brazil; *Folk Music; *Folktales; Mexico; Morocco; Puerto Rico; Venezuela ABSTRACT This catalog of sound recordings covers the broad range of folk music and folk tales in the United States, Central and South America, the Caribbean, and Morocco. Among the recordings in the catalog are recordings of Afro-Bahain religious songs from Brazil, songs and ballads of the anthracite miners (Pennsylvania), Anglo-American ballads, songs of the Sioux, songs of labor and livelihood, and animal tales told in the Gullah dialect (Georgia). A total of 83 items are offered for sale and information on current sound formats and availability is included. (PPB) Reproductions supplied by EMS are the best that can be made from the original document. SELECTED FROM THE ARCHIVE OF FOLK CULTURE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION LIBRARY OF CONGRESS WASHINGTON. D.C. 20540 U S DEPARTMENT OF EDUCATION Office of Educational Research and improvement EDUCATIONAL RESOURCES INFORMATION CENTER IERICI hisdocument has been reproduced as received from the person or organization originating it C Minor changes have been made to improve reproduction duality Pointsof view or opinions stated in thisdccu- ment do not necessarily represent officral OERI motion or policy AM.
[Show full text]
Jim Shumate and the Development of Bluegrass Fiddling
JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2018 Center for Appalachian Studies JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER May 2018 APPROVED BY: Sandra L. Ballard Chairperson, Thesis Committee Gary R. Boye Member, Thesis Committee David H. Wood 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 Natalya Weinstein Miller 2018 All Rights Reserved Abstract JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING Natalya Weinstein Miller, B.A., University of Massachusetts M.A., Appalachian State University Chairperson: Sandra L. Ballard Born and raised on Chestnut Mountain in Wilkes County, North Carolina, James “Jim” Shumate (1921-2013) was a pioneering bluegrass fiddler. His position at the inception of bluegrass places him as a significant yet understudied musician. Shumate was a stylistic co-creator of bluegrass fiddling, synthesizing a variety of existing styles into the developing genre during his time performing with some of the top names in bluegrass in the 1940s, including Bill Monroe in 1945 and Lester Flatt & Earl Scruggs in 1948. While the "big bang" of bluegrass is considered to be in 1946, many elements of the bluegrass fiddle style were present in Bill Monroe's Blue Grass Boys prior to 1945. Jim Shumate’s innovative playing demonstrated characteristics of this emerging style, such as sliding double-stops (fingering notes on two strings at once) and syncopated, bluesy runs.
[Show full text]
Gid Tanner and His Skillet-Lickers Ya Gotta Quit Kickin' My Dog Aroun' / Turkey in the Straw Mp3, Flac, Wma
Gid Tanner And His Skillet-Lickers Ya Gotta Quit Kickin' My Dog Aroun' / Turkey In The Straw mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Ya Gotta Quit Kickin' My Dog Aroun' / Turkey In The Straw Country: US Released: 1926 Style: Hillbilly, Country MP3 version RAR size: 1623 mb FLAC version RAR size: 1270 mb WMA version RAR size: 1311 mb Rating: 4.3 Votes: 611 Other Formats: AIFF MP3 DXD ASF WMA VOC AAC Tracklist A Ya Gotta Quit Kickin' My Dog Aroun' B Turkey In The Straw Companies, etc. Record Company – Columbia Phonograph Company, Inc. Copyright (c) – Columbia Phonograph Company, Inc. Credits Banjo [Uncredited] – Fate Norris Effects [Dog Effects] – Unknown Artist (tracks: A) Fiddle [Uncredited] – Bert Layne Fiddle [Uncredited], Harmony Vocals [Uncredited] – Gid Tanner Guitar [Uncredited], Lead Vocals [Uncredited] – Riley Puckett Harmonica – Unknown Artist (tracks: B) Harmony Vocals – Unknown Artist (tracks: A) Notes Labels without "Viva-tonal" designation. Both sides recorded 17 April 1926 in Atlanta, GA. Side A matrix no. 142040-1. Side B matrix no. 142041-3. Barcode and Other Identifiers Matrix / Runout (Side A label): 142040 Matrix / Runout (Side B label): 142041 Other versions Category Artist Title (Format) Label Category Country Year Gid Tanner And His Skillet- Gid Tanner And His Lickers* With Riley Puckett 15084-D Skillet-Lickers* - Ya Gotta Quit Kickin' My Columbia 15084-D US Unknown With Riley Puckett Dog Aroun' / Turkey In The Straw (Shellac, 10", RP) Related Music albums to Ya Gotta Quit Kickin'
[Show full text]
Dissertation Introduction
Copyright by Kyle Stewart Barnett 2006 The Dissertation Committee for Kyle Stewart Barnett certifies that this is the approved version of the following dissertation: Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 Committee: Thomas Schatz, Supervisor James Buhler John D.H. Downing James Hay Mary Celeste Kearney S. Craig Watkins ii Cultural Production and Genre Formation in the U.S. Recording Industry, 1920-1935 by Kyle Stewart Barnett, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2006 iii To Lisa Most of the recordings issued throughout the twentieth century were never simply marketed to or purchased by a huge undifferentiated ‘mass’ audience. Instead, the industry has, since its formation, sold music to the fans of particular styles, through a variety of changing labels…. In addition the recording industry has employed various legal and illegal, small-scale and team-based, marketing and promotional activities as a way of approaching consumers – practices which might well be labeled as ‘flexible.’ – Keith Negus, “Music Divisions: The Recording Industry and the Social Mediation of Cultural Production,” When the music business gets involved in promoting a style of music, it typically adopts colloquial terms that are verbs or adjectives and turns them into nouns – that is, into things, marketable objects that can be promoted, sold, and bought by a mass audience. – Larry Starr and Christopher Waterman, American Popular Music from Minstrelsy to MTV iv Acknowledgements I have relied on the help of many friends and colleagues in completing this project.
[Show full text]
Gid Tanner and His Skillet Lickers Rufus / Cumberland Gap on a Buckin' Mule Mp3, Flac, Wma
Gid Tanner And His Skillet Lickers Rufus / Cumberland Gap On A Buckin' Mule mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Rufus / Cumberland Gap On A Buckin' Mule Country: US Released: 1934 Style: Country MP3 version RAR size: 1377 mb FLAC version RAR size: 1980 mb WMA version RAR size: 1207 mb Rating: 4.9 Votes: 541 Other Formats: MP4 MMF AU AAC VOX DTS AHX Tracklist A Rufus B Cumberland Gap On A Buckin' Mule Companies, etc. Record Company – RCA Victor Company, Inc. Credits Fiddle [Uncredited] – Gid Tanner, Gordon Tanner Guitar [Uncredited] – Riley Puckett Mandolin [Uncredited] – Ted Hawkins Vocals [Uncredited], Speech [Uncredited] – Gid Tanner (tracks: B) Notes Both sides recorded 29 March 1934 in San Antonio, TX. Side A matrix no. 82675-1. Side B matrix no. 82676-1. Barcode and Other Identifiers Matrix / Runout (Side A runout): A B-5434A Matrix / Runout (Side B runout): A B-5434B Related Music albums to Rufus / Cumberland Gap On A Buckin' Mule by Gid Tanner And His Skillet Lickers 1. The Hill Billies - Mississippi Sawyer / Long-Eared Mule 2. Tom Watson / Gibbs & Watson - Georgia Railroad / John Henry 3. Gid Tanner And His Skillet-Lickers With Riley Puckett And Clayton McMichen - The Girl I Left Behind Me / The Old Gray Mare 4. Gid Tanner And His Skillet-Lickers With Riley Puckett - Dance All Night With A Bottle In Your Hand / Old Joe Clark 5. Gid Tanner And George Riley Puckett - Black Eyed Susie / Alabama Gal. Give The Fiddler A Dram 6. Lowe Stokes & His North Georgians - Sailin' Down The Chesapeake Bay / Everybody's Doing It 7.
[Show full text]
ARSC Journal XXVI Ii 1996
KIP LORNELL AND TED MEALOR A & R Men and the Geography of Piedmont Blues Recordings From 1924 - 1941 Blues is one of the most important forms ofAfrican American music to emerge in the 20th century. During the middle 1920s downhome blues began to attract the attention of commercial record companies interested in expanding their base of support among black American consumers. Because most of the record companies were based in the North, they utilized a rather haphazard network of musicians, furniture dealers, and a few of their own employees to scout this southern-based "race" talent. This article examines the relationship between the blues musicians who happen to reside in the Southeastern Piedmont of the United States and the record companies themselves. We found that there is a direct correlation between the recording of these blues musicians and the geographical location of the men who scouted talent for the companies. As Fig.1 illustrates, most of the blues musicians that recorded between 1924 and 1941 resided within or near the slowly developing urban corridor between Atlanta, Georgia, and Durham, North Carolina. merican folk and popular music has been studied by historians, sociolo A gists, folklorists, ethnomusicologists, and anthropologists, but with the notable exception of George 0. Camey, rarely by geographers. A cultural geographer by academic training, Camey has been especially interested in the spatial aspects of vernacular music in the United States. His research since the early 1970s has resulted in many engaging and groundbreaking publications, as well as the only course on "Geography of American Music" offered in the United States.1 Of all of the types of American music studied by geographers, African American folk music has been the most obvious form overlooked by cultural geographers.
[Show full text]
Making New, Old Music in the Mccarroll Family Joseph Edward
Unexpected Vibrations in Unexpected Places: Making New, Old Music in the McCarroll Family Joseph Edward Decosimo A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirement for the degree of Master of Arts in the Department of American Studies (Folklore). Chapel Hill 2012 Approved by: Patricia Sawin Robert Cantwell Glenn Hinson © 2012 Joseph Edward Decosimo All Rights Reserved ii Abstract JOSEPH EDWARD DECOSIMO: Unexpected Vibrations in Unexpected Places: Making New, Old Music in the McCarroll Family (Under the direction of Patricia Sawin) This thesis examines the ways that commercially recorded music from the late 1920s and the meanings attached to the recordings by listeners shape contemporary music making in the McCarroll family of East Tennessee. I argue that processes of circulation, resonance, and feedback help explicate some of the changes in the McCarroll family’s sound over the last dozen or so years, paying careful attention to the family’s shift towards consciously performing their music as heritage. I trace fiddler Jimmy McCarroll and the Roane County Ramblers’ 1928 and 1929 Columbia recordings as they have circulated globally among listeners through 78rpm records, anthologies, and reissues, attending to the ways in which releases have resonated with listeners. I conclude by examining the ways that Tom McCarroll and his daughter Tammie McCarroll- Burroughs’ music has transformed into heritage tailored for audiences and venues dedicated to traditional music. iii Table of Contents Chapter I. Introduction…………………………………………………………………...1 II. Biography: Tom McCarroll and Tammie McCarroll-Burroughs…………..... 8 Tom McCarroll……………………………………………………………….8 Tammie McCarroll-Burroughs……………………………………………...11 III.
[Show full text]
The Hillbilly Music Genre
The Rise and Fall of the Hillbilly Music Genre: A History, 1922-1939. ___________________ A thesis presented to the faculty of the Department of Liberal Studies East Tennessee State University In partial fulfillment of the requirements for the degree Masters of Arts in Liberal Studies ___________________ by Ryan Carlson Bernard December, 2006 ___________________ Dr. Richard Blaustein, Chair Dr. Ted Olson Dr. Kevin O’Donnell Keywords: Hillbilly, Music, Stereotype, Genre, Phonograph, Radio ABSTRACT The Rise and Fall of the Hillbilly Music Genre: A History, 1922-1939 by Ryan Carlson Bernard This research will examine the rise in popularity of the hillbilly music genre as it relates to the early part of the twentieth century as well as its decline with the arrival of the western hero, the cowboy. Chapter 1 examines the origins of traditional music and how instrumental the fiddle and banjo were in that development. Chapter 2 looks closely into the careers of recording artists who recorded what would later be called hillbilly music. Chapter 3 examines the string band and the naming of the hillbilly genre. Chapters 4 and 5 look at the aspect of radio programming and stereotypes. Chapter 6 discusses the homogenization of the hillbilly genre and the replacement of the hillbilly with the cowboy. This research will clarify the appeal of the hillbilly and highlight the negative stereotypes that started the genre and ultimately ended it leading into the Second World War. 2 Copyright 2006 by Ryan Carlson Bernard All Rights Reserved 3 ACKNOWLEDGEMENTS I would like to acknowledge Dr. Richard Blaustein for all his advice and help during the research phase of this project.
[Show full text]
The Georgia Old-Time Fiddlers Conventions Revisited
1 Georgia Old-Time Fiddlers Conventions: Centennial Celebration The Georgia Old-Time Fiddlers’ Conventions Revisited By Wayne W. Daniel, Georgia State University Barbara Panter-Connah, Musician One-hundred years ago, during the first week of April 1913, a group of fifty Georgia fiddlers were in Atlanta to attend a fiddlers’ contest. The first-place winner of the contest would return home bearing the title of Georgia’s 1913 Old-Time Fiddle Champion. The championship would be decided by three judges. It was also during this first week in April of 1913 that the fiddlers decided to create an organization to plan and manage future annual events that, each year, would name Georgia’s fiddle champion. And that’s how the Georgia Old-Time Fiddlers’ Association was born. For the next 23 years – until 1935 -- the annual event, called the Georgia Old-Time Fiddlers’ Convention, took place as planned. A noted country music historian has named the Georgia fiddlers’ conventions one the places where country music had its beginning. Like the convention held in 1913, all future Georgia Old-Time Fiddlers’ Conventions were held in the Atlanta City Auditorium. The building, with a seating capacity of more than 5,000, was completed in 1909. By 1979 the Atlanta City Auditorium had become surrounded by Atlanta’s urban institution of higher learning, Georgia State University. The building was soon acquired by the University, and shortly thereafter the auditorium part of the building was demolished to make room for a parking deck. The front part, containing offices, lobby, and a large assembly hall, remain intact and currently houses the offices of the University’s president.
[Show full text]
Craig Harris, Drawing from Interviews with More Than a Hundred Musicians, Brings to These Essential and Classic Musical Traditions a Dignity Too Long Denied Them
and Americana MUSIC Old-Time, Newgrass, Bluegrass, “This well-researched volume reaches deep into the roots of bluegrass and follows its long journey to the modern age.” —Pete “Dr. Banjo” Wernick, former president of the International Bluegrass Music Association and founding member of Hot Rize/Red Knuckles and the Trailblazers Bluegrass, “From old-time Appalachian mountain music, to the innovations of early bluegrass pioneers, to jazz-inflected ‘newgrass’ and beyond, Harris presents an intriguing web of stories often told by the key players themselves.” —Scott Billington, three-time Grammy winning roots music Newgrass, producer and a former vice president of Rounder Records “Harris colors his descriptions with stories and personal anecdotes, giving readers the sense they themselves are being addressed directly—a great introduction to one of America’s greatest cultural legacies.” Old-Time, —Mark Rubin, founder of the Bad Livers “It’s impossible to imagine a more comprehensive or varied cast of interviewees to catch the complex flavor of bluegrass music and its culture.” —Ron Thomason, Dry Branch Fire Squad, Grey Fox Bluegrass Festival and Americana “The history of bluegrass and old-time music is in many ways the history of America. Craig Harris, drawing from interviews with more than a hundred musicians, brings to these essential and classic musical traditions a dignity too long denied them. This is a rich and rewarding volume.” MUSIC —W. Royal Stokes, author of Swing Era New York and the trilogy of novels Backwards Over Craig Harris Harris Craig Harris is the author of several books on roots music. He performs with the Gaea Star Band, with whom he cohosts a weekly radio show.
[Show full text]