DOCSLIB.ORG

Turn Me Loose Song List

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Turn Me Loose Song List Turn Me Loose White Man Or: Appropriating Culture: How to Listen to American Music, 1900-1960 Vol. 1 1. Mr. Johnson Turn Me Loose Ben Harney 1891 2. Every Day’ll Be Sunday Bye and Bye Standard Quartette 1894 or 1895 3. Haul the Woodpile Down Charles Asbury 1894 4. Down Yonder in the Cornfield The Diamond Four 1897 5. Poor Mourner Cousins and Demoss 1897 6. Eli Green’s Cake Walk J. Cullen and W. Collins 5/98 7. Old Black Joe Thomas Craig 1898 8. Roll on de Ground Billy Golden 1899 9. Climb De Golden Fence Len Spencer late 1890s 10. Mr. Johnson Turn Me Loose Silas Leachman 1901 11. Whoa Dar Mule Silas Leachman 1901 12. My Little Zulu Babe Williams and Walker 1901 13. Creole Bells Metropolitan Orchestra ca. 1902 14. Mississippi River Song Tapioca Cantrell & Williams 10/2/02 15. Turkey in the Straw Billy Golden 1902 16. All Coons Look Alike to Me Arthur Collins 1902 17. You Been a Good Old Wagon Len Spencer 1902 18. Whistling Rufus Olly Oakley 3/12/03 19. Cakewalk Anonymous 1903 20. Nobody Bert Williams 1906 21. When You Ain’t Got No Money You Needn’t Come Around May Irwin 1907 22. Chicken Chowder Ossman/Dudley Trio 7/06 23. I Ain’t Had No Lovin’ In A Long Time Bob Roberts 1908 24. Arkansas Traveler Len Spencer 1908 25. Rise and Shine Polk Miller and His Old South Quartette 12/09 26. Old Dog Tray Carroll Clark 1910 27. Camp Meeting Jubilee Male Quartette 1910 28. De Devilin’ Tune Stella Mayhew 1911 29. Some of These Days Sophie Tucker 1911 30. Battle of San Juan Hill Mike Bernard 2/12/12 Volume 2 1. Florida Rag Van Eps Trio 1912 2. Trinidad Paseo Lovey’s Trinidad String Band 6/20/12 3. Grizzly Bear Jack Charman 1912 4. The Land of Cotton Hedges Brothers & Jacobson 1913 5. The Memphis Blues/Mr. Crump Prince’s Band 7/24/14 6. Carry Me Back to Old Virginny Alma Gluck 11/10/14 7. Swing Along Afro-American Folk Song Singers 1914 8. Good News Tuskegee Institute Singers 8/31/14 9. Castle House Rag James Reese Europe Society Orch. 2/10/14 10. Breakin’ the Piano Vee Lawnhurst 1915 11. Exhortation The Right Quintette 12/24/15 12. I Ain’t Got Nobody Marion Harris 1916 13. Down Home Rag Wilbur Sweatman 12/16 14. Down Home Rag The Versatile Four 1916 15. Fuzzy Wuzzy Rag W.C. Handy’s Memphis Blues Band 9/21/17 16. Cute Little Wigglin’ Dance Frisco Jass Band 8/2/17 17. Some Jazz Blues Memphis Pickaninny Band, 1917 18. Iris Lionel Belasco’s Orchestra 9/27/18 19. Dallas Blues Wilbur Sweatman 7/10/18 20. Sensation Rag Original Dixieland Jazz Band 6/25/18 21. St. Louis Blues Al Bernard 1919 1 22. Go Down Moses Harry Burleigh 1919 23. River of Jordan Fisk University Jubilee Singers 12/21/20 24. I’m Wild About Moonshine Southern Negro Quartette 7/21 25. Baltimore Buzz Eubie Blake and His Shuffle Along Orch. 7/15/21 Volume 3 1. Goodnight Angeline Harmony Kings 1921 2. Daddy Won’t You Please Come Home Gertrude Saunders Tim Brym 5/21 3. Harlem Strut James P Johnson 1921 4. Ragtime Annie Eck Robertson 7/1/22 5. Ross’ Juba Black Face Eddie Ross 6/22 6. Kitchen Mechanic Blues Excelsior Quartette 3/22/22 7. Toot Toot Tootsie Al Jolson 9/11/22 8. Stumbling Bill Murray 1922 9. The Christian Warfare The Original Sacred Harp Choir 7/22 10. Teasin’ the Frets Nick Lucas 1922 11. Stars in a Velvety Sky Herbert L. Clarke and Orch 11/22 12. Couldn't Hear Nobody Praying Jubilee Quartette 1923 13. Elephant’s Wobble Bennie Moten Band 9/23 14. When You and I Were Young Maggie Fiddlin’ John Carson 11/8/23 15. Mother’s Religion Kentucky Trio 11/2/23 16. Mr. Crump Rag Jessie Crump 1923 17. My Soul is a Witness Paramount Jubilee Singers 11/23 18. My Way is Clouded Manhattan Harmony Four 4/23 19. The Old hen Cackled and the Rooster’s Gonna Crow Fiddlin’ John Carson 6/14/23 20. Guitar Rag Sylvester Weaver 11/2/23 21. Sly Mongoose Montrose String Orchestra 7/12/23 (Belasco piano) 22. Asheville Osey Helton 1924 23. I Can’t Use You Butterbeans and Susie 9/15/24 24. If You do What You Do Eddie Cantor and the Georgians 1/4/24 25. It Looks Like Rain Wendell Hall 1924 26. Old Liza Jane Uncle Am Stuart 6/24 Volume 4 1. The Waffleman’s Call Johnny Bayersdorffer 3/17/24 2. All Night Long Roba Stanley 12/24 3. The Pickanninnies’ Paradise Emmett Miller 1924 4. Any Time Emmett Miller 10/25/24 5. Brother Noah Built an Ark Alf Taylor’s Old Limber Quartet 1924 6. Go ‘long Mule Ukulele Bob Williams 1924 7. Big Eyed Rabbit Samantha Baumgarner Eva Davis 4/24 8. Blues Just Blues, That’s All Old Southern Jug Band 11/24/24 9. Chicago Flip Whistler & His Jug Band 9/25/24 10. Climb Up Them Golden Stairs Ernest Thompson 4/24 11. Cool Kind of Daddy Blues Anna Lee Chisholm (Louis Lasky) 4/24 12. Cripple Creek & Sourwood Mountain Stovepipe #1 8/20/24 13. The Girl Slipped Down Dr. D.D. Hollis 6/24 14. He’s the Hottest Man in Town Cliff Edwards 10/24 15. Laughing Song The Seven Musical Magpies 1924 16. West Indies Blues Ukulele Bob Williams 1924 17. Hen Cackle Bill Chitwood and Bud Landress 11/20/24 18. Single Life Roba Stanley 7/5/25 19. Hand Me Down the Silver Trumpet Sunset Jubilee Quartet 4/25 20. Following the Cow Trail Carl T. Sprague 8/5/25 21. I Ain’t Got Nobody Bessie Smith 8/19/25 22. Last Train to Arkansas Al Bernard 1925 23. Piney Woods Girl Emmett Lundy & Ernest Stoneman 5/27/25 24. Shake That Thing Papa Charlie Jackson 5/25 25. Sweet Georgia Brown Ethel Waters 1925 2 26. On Jordan’s Stormy Banks We Stand Seventh Day Adventists’ Choir 1/3/26 Volume 5 1. Pilgrim’s Journey Homer Quincy Smith 12/26 2. Pratt City Blues Bertha Chippie Hill Louis Armstrong 11/23/26 3. Reign Massa Jesus Reign Wesley Female Quartet 6/26 4. Lovin’s Been Here and Gone To Mecca Flat Jimmy Blythe 5/26 5. The Sinless Summerland Ernest Stoneman 9/21/26 6. Pistol Pete’s Midnight Special Otto Gray’s Oklahoma Cowboys 5/26 7. Goin’ Back to Jericho Dock Walsh 8/17/26 8. Befo’ This Time Another Year Odette and Ethel 9/30/26 9. Candy Girl Uncle Bunt Stephens 5/29/26 10. The Cross-Eyed Butcher and the Cacklin’ Hen Uncle Dave Macon 9/9/26 11. Crucifixion Arizona Dranes 1926 12. Bristol Tennessee Al Hopkins and his Buckle Busters 10/22/26 13. Couldn’t Hear Nobody Pray Evelyn Dove 1926 14. Buckdancer’s Choice Sam McGee 4/14/26 15. Down Hearted Blues Virginia Childs 11/3/26 16. Franklin Street Blues Sam McGee 4/14/26 17. I’ve Got A Ride to the Tree of Life Sister Sallie Sanders 11/1/26 18. McKeon’s Reel Frank Quinn 1/26 19. Shine for Jesus Paramount Ladies Four 11/26 20. Sleepy Time Gal Josephine Baker 1926 21. South Street Stomp South Street Trio 11/22/26 22. Rabbit Foot Blues Blind Lemon Jefferson 1926 23. Oh Molly Dear Go Ask Your Mother Kelly Harrell 6/9/26 24. Big Bend Gal Shelor Family 8/3/27 25. The Freight Wreck of Altoona Vernon Dalhart 26. In the Pines Dock Walsh 4/17/26 Volume 6 1. John Brown’s Dream DaCosta Woltz 5/27 2. Home Sweet Home Frank Jenkins 1927 3. I’m Comin’ Virginia Ethel Waters 9/18/26 4. There’s A City Built of Mansions Nugrape Twins 11/2/26 5. I Seen My Pretty Papa Standing on a Hill Eva Parker 12/18/26 6. The Crowing Rooster Walter Rhodes 12/10/27 7. Dixie Cowboy Aulton Ray ca. 4/26/27 8. Can’t Put a Bridle on that Mule This Morning Julius Daniels 10/24/27 9. Come Let Us Eat Together Rev. ED Campbell and Congregation 2/26/27 10. Down Home Special Henry Johnson and His Boys 4/20/27 11. Baptist Shout Frank Jenkins 1926 12. Stack O’ Lee Blues Ma Rainey 1926 13. G Rag Georgia Yellow Hammers 8/9/27 14. Goodbye, I’ve Left the Word Behind Rev. T.T. Rose 8/27 15. Her Name was Hula Lou Carolina Tar Heels 2/19/27 16. Hesitation Blues Crying Sam Collins 9/17/27 17. Hide Away Oscar Ford 10/14/27 18. I Don’t Love Nobody Earl Johnson & His Dixies Entertainers 3/23/27 19. Your Enemy Cannot Harm You Rev. E.W. Clayborn 12/8/26 20. I Love My Mountain Home Carolina Tarheels 8/15/27 21. It’s a Good Thing Frank Stokes 1927 22. James Alley Blues Richard Rabbit Brown 3/11/27 23. Ash Can Stomp Perry and His Stomp Band 1927 24. Bad Luck Blues Blind Lemon Jefferson 1927 25. Beyond the River Carolina Gospel Singers 8/25/27 Volume 7 1. Boll Weevil Rabbit’s Foot Williams 1927 3 2. Chicago Stomp Down Duke Ellington 11/3/27 3.
Load more

Recommended publications
  • Mountains Book 5.Ppp
    Far in the Mountains Volume 5 - Echoes from the Mountains Since their publication, back in 2002, the 4-CD set Far in the Mountains have been MT's best-selling production and they are a wonderful source of splendid songs, tunes and stories. So it is with great pleasure that I announce the publication of Far in the Mountains, volume 5. Mike Yates writes: Once these [four CDs] were issued, I set the original recordings aside and got on with a number of other projects. Over the years my interests began to change and I found myself devoting more time to art ... But the Appalachians were still there, in the back of my mind. Recently I found time to re-listen to some of the recordings that had not made their way onto the four CDs, and I was rather surprised to discover just how much good material had been left off the albums, and so I set about putting together Far in the Mountains - Volume 5. I am sure that many of the 425 people who bought the original 4-CD Set will want to add Volume 5 to their record collections ... in the current economic climate, I really hope so! And maybe a few others will remember that they had always wanted to buy them - but never got round to it. William Marshall & Howard Hall: Charlie Woods: 1.Train on the Island 1:15 22. Cindy 1:29 2. Polly Put the Kettle On 1:11 23. Eighth of January / Green Mountain 2:14 3. Fortune 1:13 Polka 24.
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • Southeast Texas: Reviews Gregg Andrews Hothouse of Zydeco Gary Hartman Roger Wood
    et al.: Contents Letter from the Director As the Institute for riety of other great Texas musicians. Proceeds from the CD have the History of Texas been vital in helping fund our ongoing educational projects. Music celebrates its We are very grateful to the musicians and to everyone else who second anniversary, we has supported us during the past two years. can look back on a very The Institute continues to add important new collections to productive first two the Texas Music Archives at SWT, including the Mike Crowley years. Our graduate and Collection and the Roger Polson and Cash Edwards Collection. undergraduate courses We also are working closely with the Texas Heritage Music Foun- on the history of Texas dation, the Center for American History, the Texas Music Mu- music continue to grow seum, the New Braunfels Museum of Art and Music, the Mu- in popularity. The seum of American Music History-Texas, the Mexico-North con- Handbook of Texas sortium, and other organizations to help preserve the musical Music, the definitive history of the region and to educate the public about the impor- encyclopedia of Texas tant role music has played in the development of our society. music history, which we At the request of several prominent people in the Texas music are publishing jointly industry, we are considering the possibility of establishing a music with the Texas State Historical Association and the Texas Music industry degree at SWT. This program would allow students Office, will be available in summer 2002. The online interested in working in any aspect of the music industry to bibliography of books, articles, and other publications relating earn a college degree with specialized training in museum work, to the history of Texas music, which we developed in cooperation musical performance, sound recording technology, business, with the Texas Music Office, has proven to be a very useful tool marketing, promotions, journalism, or a variety of other sub- for researchers.
    [Show full text]
  • Selected Observations from the Harlem Jazz Scene By
    SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
    [Show full text]
  • Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937
    An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937 Peter Stanfield Cinema Journal, 41, Number 2, Winter 2002, pp. 84-108 (Article) Published by University of Texas Press DOI: 10.1353/cj.2002.0004 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v041/41.2stanfield.html Access Provided by Amherst College at 09/03/11 7:59PM GMT An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929–1937 by Peter Stanfield This essay considers how Hollywood presented the song St. Louis Blues in a num- ber of movies during the early to mid-1930s. It argues that the tune’s history and accumulated use in films enabled Hollywood to employ it in an increasingly com- plex manner to evoke essential questions about female sexuality, class, and race. Recent critical writing on American cinema has focused attention on the struc- tures of racial coding of gender and on the ways in which moral transgressions are routinely characterized as “black.” As Eric Lott points out in his analysis of race and film noir: “Raced metaphors in popular life are as indispensable and invisible as the colored bodies who give rise to and move in the shadows of those usages.” Lott aims to “enlarge the frame” of work conducted by Toni Morrison and Ken- neth Warren on how “racial tropes and the presence of African Americans have shaped the sense and structure of American cultural products that seem to have nothing to do with race.”1 Specifically, Lott builds on Manthia D iawara’s argument that “film is noir if it puts into play light and dark in order to exhibit a people who become ‘black’ because of their ‘shady’ moral behaviour.2 E.
    [Show full text]
  • Can You Sing Or Play Old-Time Music?': the Johnson City Sessions Ted Olson East Tennessee State University, [email protected]
    East Tennessee State University Digital Commons @ East Tennessee State University ETSU Faculty Works Faculty Works 2013 'Can You Sing Or Play Old-Time Music?': The Johnson City Sessions Ted Olson East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/etsu-works Part of the Appalachian Studies Commons, and the Music Commons Citation Information Olson, Ted. 2013. 'Can You Sing Or Play Old-Time Music?': The oJ hnson City Sessions. The Old-Time Herald. Vol.13(6). 10-17. http://www.oldtimeherald.org/archive/back_issues/volume-13/13-6/johnsoncity.html ISSN: 1040-3582 This Article is brought to you for free and open access by the Faculty Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in ETSU Faculty Works by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. 'Can You Sing Or Play Old-Time Music?': The ohnsonJ City Sessions Copyright Statement © Ted Olson This article is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/1218 «'CAN YOU SING OR PLAY OLD-TIME MUSIC?" THE JOHNSON CITY SESSIONS By Ted Olson n a recent interview, musician Wynton Marsalis said, "I can't tell The idea of transporting recording you how many times I've suggested to musicians to get The Bristol equipment to Appalachia was, to record Sessions—Anglo-American folk music. It's a lot of different types of companies, a shift from their previous music: Appalachian, country, hillbilly.
    [Show full text]
  • Dan Hicks’ Caucasian Hip-Hop for Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media
    Dan Hicks’ Caucasian Hip-Hop For Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media Author: Steve Roby Showdate : Feb. 18, 2015 Performance Venue : Yoshi’s Oakland Bay Area legend Dan Hicks performed to a sold-out crowd at Yoshi’s on Wednesday. The audience was made up of his loyal fans (Hicksters) who probably first heard his music on KSAN, Jive 95, back in 1969. At age 11, Hicks started out as a drummer, and was heavily influenced by jazz and Dixieland music, often playing dances at the VFW. During the folk revival of the ‘60s, he picked up a guitar, and would go to hootenannies while attending San Francisco State. Hicks began writing songs, an eclectic mix of Western swing, folk, jazz, and blues, and eventually formed Dan Hicks and his Hot Licks. His offbeat humor filtered its way into his stage act. Today, with tongue firmly planted in cheek, Hicks sums up his special genre as “Caucasian hip-hop.” Over four decades later, Hicks still delivers a unique performance, and Wednesday’s show was jammed with many great moments. One of the evenings highlights was the classic “I Scare Myself,” which Hicks is still unclear if it’s a love song when he wrote it back in 1969. “I was either in love, or I’d just eaten a big hashish brownie,” recalled Hicks. Adding to the song’s paranoia theme, back-up singers Daria and Roberta Donnay dawned dark shades while Benito Cortez played a chilling violin solo complete with creepy horror movie sound effects.
    [Show full text]
  • A Document Guide to the Banjo Players 1900 -2008 ______
    A DOCUMENT GUIDE TO THE BANJO PLAYERS 1900 -2008 _____________________________________________________ The banjo is a little like corn-licker; you either love it or loathe it – but you can’t ignore it. Since its gradual evolution across the centuries the sound of the banjo, in its various forms, has permeated into folk, jazz, blues, country and gospel music and made stars of many of those who chose to play the instrument. According to master banjo player Earl Scruggs, the banjo had its origins in Arabia thousands of years ago: it consisted of a skin ‘head’ stretched over a hollow body and strung with three strings. This instrument was carried to the East with the spread of Islam. Negro slaves brought it to the United States from Africa. Other instruments similar to the banjo have existed in India (the ravenastron) and Egypt ( where it was known as a banit) but other names associated with it include bangie, banza, banjer and banjar. In general terms the four and five-string banjo has found most favour with folk musicians and one Joel Walker Sweeney is usually credited with ‘inventing’ the true American banjo but this now seems doubtful. In 1830 Sweeney, a native of Appomattox, Virginia, supposedly made a revolutionary modification by adding a fifth string, or chanterelle, higher in pitch and next to the lowest pitched string and secured by a peg halfway up the neck. This ‘new’ instrument became extremely popular throughout the United States, where it held a place in the affections of ordinary people throughout the nineteenth century. Although Joel Sweeney’s name is legendary and he will be forever linked with the five-string banjo, watercolour paintings executed long before his time depict the fifth string on plantation banjos.
    [Show full text]
  • Sam Phillips: Producing the Sounds of a Changing South Overview
    SAM PHILLIPS: PRODUCING THE SOUNDS OF A CHANGING SOUTH OVERVIEW ESSENTIAL QUESTION How did the recordings Sam Phillips produced at Sun Records, including Elvis Presley’s early work, reflect trends of urbanization and integration in the 1950s American South? OVERVIEW As the U.S. recording industry grew in the first half of the 20th century, so too did the roles of those involved in producing recordings. A “producer” became one or more of many things: talent scout, studio owner, record label owner, repertoire selector, sound engineer, arranger, coach and more. Throughout the 1950s, producer Sam Phillips embodied several of these roles, choosing which artists to record at his Memphis studio and often helping select the material they would play. Phillips released some of the recordings on his Sun Records label, and sold other recordings to labels such as Chess in Chicago. Though Memphis was segregated in the 1950s, Phillips’ studio was not. He was enamored with black music and, as he states in Soundbreaking Episode One, wished to work specifically with black musicians. Phillips attributed his attitude, which was progressive for the time, to his parents’ strong feelings about the need for racial equality and the years he spent working alongside African Americans at a North Alabama farm. Phillips quickly established his studio as a hub of Southern African-American Blues, recording and producing albums for artists such as Howlin’ Wolf and B.B. King and releasing what many consider the first ever Rock and Roll single, “Rocket 88” by Jackie Breston and His Delta Cats. But Phillips was aware of the obstacles African-American artists of the 1950’s faced; regardless of his enthusiasm for their music, he knew those recordings would likely never “crossover” and be heard or bought by most white listeners.
    [Show full text]
  • 282 Newsletter
    NEWSLETTER #282 COUNTY SALES P.O. Box 191 November-December 2006 Floyd,VA 24091 www.countysales.com PHONE ORDERS: (540) 745-2001 FAX ORDERS: (540) 745-2008 WELCOME TO OUR COMBINED CHRISTMAS CATALOG & NEWSLETTER #282 Once again this holiday season we are combining our last Newsletter of the year with our Christmas catalog of gift sugges- tions. There are many wonderful items in the realm of BOOKs, VIDEOS and BOXED SETS that will make wonderful gifts for family members & friends who love this music. Gift suggestions start on page 10—there are some Christmas CDs and many recent DVDs that are new to our catalog this year. JOSH GRAVES We are saddened to report the death of the great dobro player, Burkett Graves (also known as “Buck” ROU-0575 RHONDA VINCENT “Beautiful Graves and even more as “Uncle Josh”) who passed away Star—A Christmas Collection” This is the year’s on Sept. 30. Though he played for other groups like Wilma only new Bluegrass Christmas album that we are Lee & Stoney Cooper and Mac Wiseman, Graves was best aware of—but it’s a beauty that should please most known for his work with Lester Flatt & Earl Scruggs, add- Bluegrass fans and all ing his dobro to their already exceptional sound at the height Rhonda Vincent fans. of their popularity. The first to really make the dobro a solo Rhonda has picked out a instrument, Graves had a profound influence on Mike typical program of mostly standards (JINGLE Auldridge and Jerry Douglas and the legions of others who BELLS, AWAY IN A have since made the instrument a staple of many Bluegrass MANGER, LET IT bands everywhere.
    [Show full text]
  • Son Sealsseals 1942-2004
    January/February 2005 Issue 272 Free 30th Anniversary Year www.jazz-blues.com SonSon SealsSeals 1942-2004 INSIDE... CD REVIEWS FROM THE VAULT January/February 2005 • Issue 272 Son Seals 1942-2004 The blues world lost another star Son’s 1973 debut recording, “The when W.C. Handy Award-winning and Published by Martin Wahl Son Seals Blues Band,” on the fledging Communications Grammy-nominated master Chicago Alligator Records label, established him bluesman Son Seals, 62, died Mon- as a blazing, original blues performer and Editor & Founder Bill Wahl day, December 20 in Chicago, IL of composer. Son’s audience base grew as comlications with diabetes. The criti- he toured extensively, playing colleges, Layout & Design Bill Wahl cally acclaimed, younger generation clubs and festivals throughout the coun- guitarist, vocalist and songwriter – try. The New York Times called him “the Operations Jim Martin credited with redefining Chicago blues most exciting young blues guitarist and Pilar Martin for a new audience in the 1970s – was singer in years.” His 1977 follow-up, Contributors known for his intense, razor-sharp gui- “Midnight Son,” received widespread ac- Michael Braxton, Mark Cole, tar work, gruff singing style and his claim from every major music publica- Chris Hovan, Nancy Ann Lee, charismatic stage presence. Accord- tion. Rolling Stone called it ~one of the David McPherson, Tim Murrett, ing to Guitar World, most significant blues Peanuts, Mark Smith, Duane “Seals carves guitar albums of the decade.” Verh and Ron Weinstock. licks like a chain On the strength of saw through solid “Midnight Son,” Seals Check out our new, updated web oak and sings like began touring Europe page.
    [Show full text]
  • On Born in the U.S.A. by Bruce Springsteen
    TR 11 On Born in the U.S.A. by Bruce Springsteen Alina Stefanescu "Born in the U.S.A." He has dark curly hair, a flirt in his laugh, a flag on his mantle, two conservative parents waiting for him back in Atlanta, a family of Limbaugh-lovers and born-again Christians. Bruce Springsteen Born in the U.S.A. Eating it from the inside with their wars and armchair crusades. He is Various the all-American boy I can't stop watching. Born in the U.S.A. "Cover Me" 06/1984 Bombs fall on Baghdad. We kiss like rockets, ready to burn. We are eager to stay free, Columbia running from the last time we lied, the last time we failed. He's not looking for a lover. I'm a single mother 24 years into finding my voice, learning to use it against the war. I'm a wild card, a Romanian-Alabamian. "I'm a shitty girlfriend," I tell him, u"but will y nevero meet a better cover." He shuts the door. "Darlington County" We sit on stools at Jay's and argue about the Iraq war. It's our favorite bar in Arlington, the only place where the owner wears a mullet, offers three-dollar pitchers after work, reminds us of being Southern. The mounted television offers drum-rolls, small-town parades, a diorama of mediated patriotism. He says he can't question the President. Not about war. Not about national security. He was raised a patriot. I relish impugning him, love watching his face fall when I compare him to a missile.
    [Show full text]