Roots and traditional music from the United States
POPULARITY
4 episodes with American folk music
5 episodes with American folk music
2 episodes with American folk music
2 episodes with American folk music
2 episodes with American folk music
3 episodes with American folk music
Jake Xerxes Fussell discusses When I'm Called and Arthur Russell's “Close My Eyes,” misperceptions about his relationship to folk music history, his late mentor Art Rosenbaum, why he couldn't rebel against rebellious parents, Harry Smith's Anthology of American Folk Music, the work of Vic Chesnutt, his own evolution as an interpreter of songs, perspectives on the merits of writing original lyrics to sing songs for a living, working on a soundtrack, tour, other future plans, and much more.EVERY OTHER COMPLETE KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO MONTHLY $6 USD PATREON SUPPORTERS. This one is fine, but please subscribe now on Patreon so you never miss full episodes. Thanks!Thanks to Blackbyrd Myoozik, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online. Support vish on Patreon!Related episodes/links:Ep. #970: William TylerEp. #944: Bonnie “Prince” BillyEp. #935: Elijah Wald on ‘A Complete Unknown'Ep. #828: ‘Bob Dylan: Mixing Up the Medicine' with Mark Davidson & Parker FishelEp. #686: Bob Dylan Center's Mark Davidson & Parker FishelEp. #630: Nathan SalsburgEp. #600: The Weather StationEp. #571: Jennifer CastleBonnie “Prince” Billy (2019) – TeaserSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.
Join host Lij Shaw as he dives into the sonic journey of audio engineering with Dave Glasser, founder of Airshow Mastering, revealing the secrets behind mastering timeless records like those of the Grateful Dead. In this episode of Recording Studio Rockstars, Dave shares his rich 35-year experience—from tape transfers using the Plangent Process to his days at NPR—while exploring the delicate balance of preserving the essence of live music and adapting to modern audio standards. Tune in for insights on the intricacies of mastering jazz records, the evolution of sound quality, and the magic of Phil Lesh's iconic bass. Whether you're a seasoned engineer or just starting out, Dave's passion and curiosity will inspire you to elevate your own audio projects. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is David Glasser, founder and chief engineer at Airshow Mastering. David has over 35 years of experience in audio engineering and has mastered thousands of records, including more than 80 GRAMMY nominees. He's a three-time nominee himself, earning two Grammys for mastering and restoration work on the Anthology of American Folk Music and Screamin' and Hollerin' the Blues: The Worlds of Charley Patton. David's career began with the Boston Symphony Orchestra, followed by eight years of recording and production for NPR. He founded Airshow in 1983 and transitioned to full-time mastering in 1990. In 1997, he expanded to Boulder, Colorado, and later built a new state-of-the-art facility in 2016, where he continues to lead a busy mastering practice. Special thanks to Matt Boudreau for the introduction! And this episode is dedicated to the memory of Phil Lesh. THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://usa.sae.edu/ https://www.izotope.com Use code ROCK10 to get 10% off! https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.adam-audio.com/ https://stealthchair.com/ Use code ROCK10 to get 10% off! https://www.makebelievestudio.com/mbsi Get your MBSI plugin here! https://RecordingStudioRockstars.com/Academy https://www.thetoyboxstudio.com/ Listen to the podcast theme song “Skadoosh!” https://solo.to/lijshawmusic Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/0YqgLkpCEH5Toiybhl73S4?si=6ab393990ad44695 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/500
Send us a textIntro song: Poor Boy Blues by Ramblin' Thomas (1929)Song 1: Country Blues by Dock Boggs (1928)Song 2: Ninety-Nine Years Blues by Julius Daniel (1927)Song 3: See That My Grave is Kept Clean by Blind Lemon Jefferson (1928)Song 4: Buddy Won't You Roll Down the Line by Uncle Dave Macon (1930)Song 5: Spike Driver Blues by Mississippi John Hurt (1928)Outro song: Fishing Blues by Henry Thomas (1928)
Send us a textIntro song: The Coo Coo Bird by Clarence "Tom" Ashley (1929)Song 1: East Virginia by Buell Kazee (1927)Song 2: Minglewood Blues by Cannon's Jug Stompers (1928)Song 3: James Alley Blues by Richard Rabbit Brown (1927)Song 4: I Wish I Was a Mole in the Ground by Bascom Lamar Lunsford (1928)Song 5: Rabbit Foot Blues by Blind Lemon Jefferson (1926)Outro song: Expressman Blues by Sleepy John Estes & Yank Rachell (1930)
Send us a textIntro song: Must Be Born Again by Rev. J.M. Gates (1927)Song 1: Rocky Road by Alabama Sacred Harp Singers (1928)Song 2: Since I Laid My Burden Down by The Elders McIntorsh & Edwards' Sanctified Singers (1929)Song 3: Dry Bones by Bascom Lamar Lunsford (1929)Song 4: John the Revelator by Blind Willie Johnson (1930)Song 5: Shine On Me by Ernest Phipps & His Holiness Singers (1931)Outro song: I'm in the Battlefield For My Lord by Rev. D.C. Rice & His Sanctified (1929)
Send us a textIntro song: Sail Away Lady by Uncle Bunt Stephens (1926)Song 1: La Danseuse by Delma Lachney & Blind Uncle Gaspard (1929)Song 2: Georgia Stomp by Andrew & Jim Baxter (1928)Song 3: Old Country Stomp by Henry Thomas (1928)Song 4: Old Dog Blue by Jim Jackson (1928)Song 5: Saut Crapaud by Columbus Fruge (1929)Outro song: Moonshiner's Dance Part One by Frank Cloutier & the Victoria Cafe Orchestra (1927)
Send us a textIntro song: Bandit Cole Younger by Edward L. Crain (The Texas Cowboy) (1931)Song 1: John Hardy Was a Desperate Little Man by The Carter Family (1928)Song 2: Stackalee by Frank Hutchison (1927)Song 3: White House Blues by Charlie Poole with the North Carolina Ramblers (1926)Song 4: Kassie Jones, Parts 1 & 2 by Furry Lewis (1928)Song 5: Mississippi Boweavil Blues by The Masked Marvel (1929)Outro song: Got the Farm Land Blues by Carolina Tar Heels (1930)
Send us a textIntro song: Henry Lee by Dick Justice (1929)Song 1: The House Carpenter by Clarence Ashley (1930)Song 2: Old Lady and the Devil by Bill & Belle Reed (1928)Song 3: King Kong Kitchie Kitchie Ki-Me-O by Chubby Parker (1928)Song 4: Willie Moore by Dick Burnett & Leonard Rutherford (1927)Song 5: A Lazy Farmer Boy by Buster Carter & Preston Young (1930)Outro song: My Name is John Johanna by Kelly Harrell & the Virginia String Band (1927)
A few weeks before his death in November 1966, Mississippi John Hurt's rendition of “Payday” was released as the opening track on his Today album for Vanguard Records.At the time, many fans believed the 74-year-old bluesman wrote the song, despite his introduction in which he characterized it as “an old tune… a ‘bandit tune.'” And we now know that a quarter of a century earlier, folklorist John Lomax recorded a version of “Payday” by lesser-known blues artists Willie Ford and Lucious Curtis in Natchez, Mississippi.Still, it is the John Hurt version that has become loved among syncopated fingerpicking guitarists; to this day his take on “Payday” is taught in classes and on YouTube videos.The John Hurt Odyssey: Part IThe Today album, hitting record stores in October 1966, marked the end of a remarkable three years for the venerable blues artist, who was born the son of freed slaves around 1892 in Teoc, Mississippi. John Smith Hurt grew up in the Mississippi Delta, living in Avalon, which sits midway between Greenwood and Holcomb just west of Highway 51.He left school at age 10 to be a farm hand and was taught guitar by a local songster and family friend. Hurt lived most of his life without electricity, did hard labor of all sorts and played music as a hobby at local dances. In the late 1920s, performing with local fiddler Willie Narmour, he won a competition and a chance to record with Okeh Records in two sessions, one in Memphis and another in New York City. John Hurt: Part IIThe resulting records were not a great commercial success — John went back to farming and raising a family that would grow to 14 children — but a quarter of a century later, his music entered the folk music canon. That's when two of those 1928 tracks were included in the holy grail of American music, Harry Smith's 1952 Anthology of American Folk Music, considered one of the main catalysts for the folk and blues revival of the 1960s and ‘70s. A decade later, in 1962, the presence of those old cuts — “Frankie” and “Spike Driver Blues” — on in the Smith anthology prompted musicologist Dick Spottswood and his friend, Tom Hoskins, to track Hurt down. Hoskins persuaded him to perform several songs for his tape recorder to make sure he was the genuine article. Quickly convinced — in fact, folkies found Hurt even more proficient than he had been in his younger Okeh recording days — Hoskins encouraged him to move to Washington, D.C., to perform for a broader audience.For the last three years of his life, Hurt performed extensively at colleges, concert halls and coffeehouses, appearing on television shows ranging from “The Tonight Show” with Johnny Carson to Pete Seeger's “Rainbow Quest” on public TV. Much of Hurt's repertoire also was recorded for the Library of Congress, and his final tunes, recorded in 1964 and released two years later, are on Today.He also developed a delightful friendship with a young folksinger named Patrick Sky who produced that final album for Vanguard, where “Payday” is the opening track.Deeper Roots of “Payday”By the way, in the brand new book, Jelly Roll Blues: Censored Songs & Hidden Histories, published last spring, author Elijah Wald finds a much longer tail on the tune, not to mention a possible connection to another Flood favorite.Wald notes that back in 1908, Missouri pianist Blind Boone published a pair of “Southern Rag” medleys that African Americans were singing in that region around the turn of the century.“Medley number one was subtitled ‘Strains from the Alleys',” Wald writes, and included the first publication of “Making Me a Pallet on the Floor.'” Wald says the medley also featured “a song that probably reaches back to slavery times and would be recorded in later years as ‘Pay Day,' ‘Reuben,' and various other names.”Our Take on the TunePurists say this doesn't sound much like Mississippi John Hurt's original, but that's pretty much by design. Once The Flood folks learn a song, they usually stop listening to the original so it is free to find its own form in the Floodisphere. That's their take on what Pete Seeger's folklorist father Charles called “the folk process.”And in this instance, “Payday” has been processing in Floodlandia for more than 20 years now, ever since its inclusion on the band's first studio album back in 2001.Here's the current state of its evolution, taken from a recent rehearsal. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com
When this week's guest, musician/music historian Matthew Sabatella discovered Harry Smith's 'The Anthology Of American Folk Music' in the late 90s, it literally changed the direction of his own musical journey. This amazing collection of recordings made and issued from 1926 to 1933 by a variety of performers got under his skin, and eventually moved him to found Ballad of America, Inc., a nonprofit organization with a mission to preserve and celebrate music from America's diverse cultural history. Songs discussed in this episode: Henry Lee - Dick Justice; Sir George - Matthew Sabatella; Old Lady & The Devil - Bill & Belle Reed; White House Blues - Charlie Poole & The North Carolina Ramblers; Tenting On The Old Camp Ground - Matthew Sabatella and the Rambling String Band; Memory Coast - Matthew Sabatella; House Carpenter - Bob Dylan; The House Carpenter - Clarence Ashley; Ommie Wise - G. B. Grayson; John Hardy Was a Desperate Little Man - The Carter Family; Casey Jones - Grateful Dead; Kassie Jones - Furry Lewis; Brilliancy Medley - Eck Robertson; Mountain Banjo - Rhiannon Giddons; Acadian One-Step - Joseph Falcon; Present Joys - Alabama Sacred Harp Singers; Judgement - Sister Mary Nelson; I Wish I Was a Mole in the Ground - Bascom Lamar Lunsford; Stuck Inside of Mobile With the Memphis Blues Again - Bob Dylan; Way Down the Old Plank Road - Uncle Dave Macon; Spike Driver Blues - Mississippi John Hurt; Going Up The Country - Canned Heat; Fishing Blues - Henry Thomas; This Old Hammer - Matthew Sabatella and the Rambling String Band
EPISODE 111: Larry Beckett's poetry has been published in Zyzzyva, Field, Salamander, the anthology Portland Lightsfrom Nine Lights Press, and his first book, Songs and Sonnets from Rainy Day Women Press, was favorably reviewed in the San Francisco Chronicle. Beat Poetry, a study of the San Francisco renaissance, was put out by Beatdom Books. Three book-length poems have been published, Paul Bunyan, by Smokestack Books, Wyatt Earp, by Alternating Current Press, and Amelia Earhart, by Finishing Line Press, with strong reviews in Zyzzyva. These texts were collected, with seven others, as an epic, American Cycle, published by Running Wild Press. The Book of Merlin, a translation, is out from Livingston Press, and Song to the Siren is forthcoming from Halbaffe Press. His work has been commended by Jonah Raskin, Jack Hirschman, David Meltzer, Tom Clark, Ann Charters, Paul Wilner, David Young, and U.S. Poet Laureates William Meredith, W. S. Merwin and Charles Wright. larrybeckett.comContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!
The trailer for the "American Songbag" Trailer is on for this episode, the first of season 2. Welcome back to Trailer Park: The Podcast Trailer Podcast. On each episode of the show, we select a trailer, hit play on it, and then bring you an analysis of that short audio teaser. "American Songbag" is hosted by Emily Cohen and Dan Gutstein.Here's a bit about the show:We're uncovering the stories of the most iconic American folk songs that have made their way into the popular canon. Songs that have crossed over from folk to pop, rock, hip hop, and everything in between. These songs have occurred at emblematic moments in American history – and music history – performed in unexpected places and by unexpected musicians.About TPP:Trailer Park: The Podcast Trailer Podcast is hosted by Tim Villegas and Arielle Nissenblatt. We share trailers for podcasts of shows that have been long-running, never made it out of pre-production, were made just for fun, or anything in between. Our goal is to help creators make better short-form audio and to help listeners find their next favorite listen.Episode transcriptSeason 2 of TPP is sponsored by:AushaFanlistLinks mentioned:Our websiteOur instagramEmail usConnect with Arielle Connect with Tim Leave us a rating/review on Apple Find us on Pod.Link Credits:Written and produced by Tim Villegas and Arielle NissenblattEdited by Arielle NissenblattMixed and mastered by Tim VillegasCover art by Caio Slikta
Bluegrass hero and former weird kid Alice Gerrard strongly believes that traditional music is connected to everyday life. She has said: “When you listen to traditional music you have such a sense of this connectedness of this person's life. It comes out of the earth.” She was first exposed to folk music while attending Antioch College. Jeremy Foster (her boyfriend at the time, who would become her first husband) introduced her to The Harry Smith Anthology of American Folk Music. Upon listening, she became hooked and more drawn to lonesome and rough folk songs versus the pristine vocalists. That mentality of keeping her performance untarnished and imperfect has followed her ever since.After she and Jeremy moved to Washington DC, she became acquainted with Hazel Dickens. She considered Hazel a mentor figure and studied her musicality. The two would record four albums together as the seminal duo Hazel Dickens and Alice Gerrard. The two did not speak for many years after they split in the late 70's. The breakup was messy and hard for both, particularly Hazel. Years later, they reconciled and would perform and were close until Hazel's death in 2011. Nowadays, Alice, who lives in Durham, NC, has begun digitizing her huge photo archive for a book as well as performing with the younger generation of traditional music. People like Tatiana Hargreaves, Reed Stutz and Phil Cook are regulars on her stage. They also contribute to her new album Sun to Sun. Alice digs in talking about her unorthodox parenting style (which is no secret), imperfectionism, appreciating memory and the fantastic new record. Follow Basic Folk on social media: https://basicfolk.bio.link/Sign up for Basic Folk's newsletter: https://bit.ly/basicfolknewsHelp produce Basic Folk by contributing: https://basicfolk.com/donate/Advertising Inquiries: https://redcircle.com/brands
Harry Everett Smith is an odd figure to come across in an art museum. That's because he's not known primarily as a visual artist at all. For most, Harry Smith is probably best known as the compiler of the legendary Anthology of American Folk Music, a landmark collection of early recordings published in 1952, which became a huge influence on the folk music revival and through that, on rock in the 1960s. Smith was born in 1923 and died in 1991, and his biography reads like a who's who of cultural icons. He was a big figure in the Beat Generation and a close friend of Allen Ginsberg, appeared in one of Andy Warhol's screen test films, and he was also a tireless collector of all kinds of cultural objects, from out-of-print records to Ukrainian Easter eggs. Smith was also an experimental filmmaker and artist, an early student of anthropology, and an acolyte of a variety of mystical belief systems. Now, the Whitney Museum of American Art in New York is hosting “Fragments of a Faith Forgotten: The Art of Harry Smith," an unusual, but thrilling new show, with an unusual curator, the artist Carol Bove, herself one of the most celebrated sculptors working today. Bove has had a solo show at the Museum of Modern Art and installed work on the façade of the Metropolitan Museum of Art, among many other accomplishments. Working with Elisabeth Sussman, a curator at the Whitney, Dan Byers, director of the Carpenter Center for Visual Art, and Rani Singh, director of the Harry Smith Archives, Bove has dedicated herself to helping organize this show, to tell the story of Harry Smith. In advance of “Fragments of a Faith Forgotten,” which opens October 4 at the Whitney, Carol Bove spoke to Artnet News's chief art critic Ben Davis about Harry Smith's life in art and what it is about this hard-to-categorize figure that fired her imagination and will do the same for visitors to this show. “Fragments of a Faith Forgotten: The Art of Harry Smith” is on view at the Whitney Museum of American Art from October 4, 2023–January 28, 2024.
Harry Everett Smith is an odd figure to come across in an art museum. That's because he's not known primarily as a visual artist at all. For most, Harry Smith is probably best known as the compiler of the legendary Anthology of American Folk Music, a landmark collection of early recordings published in 1952, which became a huge influence on the folk music revival and through that, on rock in the 1960s. Smith was born in 1923 and died in 1991, and his biography reads like a who's who of cultural icons. He was a big figure in the Beat Generation and a close friend of Allen Ginsberg, appeared in one of Andy Warhol's screen test films, and he was also a tireless collector of all kinds of cultural objects, from out-of-print records to Ukrainian Easter eggs. Smith was also an experimental filmmaker and artist, an early student of anthropology, and an acolyte of a variety of mystical belief systems. Now, the Whitney Museum of American Art in New York is hosting “Fragments of a Faith Forgotten: The Art of Harry Smith," an unusual, but thrilling new show, with an unusual curator, the artist Carol Bove, herself one of the most celebrated sculptors working today. Bove has had a solo show at the Museum of Modern Art and installed work on the façade of the Metropolitan Museum of Art, among many other accomplishments. Working with Elisabeth Sussman, a curator at the Whitney, Dan Byers, director of the Carpenter Center for Visual Art, and Rani Singh, director of the Harry Smith Archives, Bove has dedicated herself to helping organize this show, to tell the story of Harry Smith. In advance of “Fragments of a Faith Forgotten,” which opens October 4 at the Whitney, Carol Bove spoke to Artnet News's chief art critic Ben Davis about Harry Smith's life in art and what it is about this hard-to-categorize figure that fired her imagination and will do the same for visitors to this show. “Fragments of a Faith Forgotten: The Art of Harry Smith” is on view at the Whitney Museum of American Art from October 4, 2023–January 28, 2024.
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art
Who was Harry Smith? Was he an anthropologist, a filmmaker, a painter? Was he a charlatan? A genius? Was he a moocher, a schmuck, a bum? As John Szwed's Cosmic Scholar: The Life and Times of Harry Smith (FSG, 2023) reveals, Smith was all of these and more. Best known for editing The Anthology of American Folk Music, Smith was also a pioneer in experimental film who Jonas Mekas considered one of the leading lights of the New American Cinema. He created paintings that attempted to transcribe bebop recordings. He acted as mysticism consultant on the 1967 effort to levitate the Pentagon. But he also spent years living in poverty, in SROs, at the Chelsea Hotel, or at the apartments of famous friends like Allen Ginsberg. The story of Harry Smith is thus also a story of a vanished New York Bohemia that mixed high and low, the street and the gallery, the Bowery and MOMA, to create one of the most remarkable outpourings of cultural production this country has even seen. And Smith was at the center of it all. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA at Columbia University, Harvard University, and the Arizona School for the Arts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day
On this episode, Marc talks with John Szwed, author of “Cosmic Scholar: The Life and Times of Harry Smith,” published in August of 2023. It's a fascinating and superbly skillful portrait of a man who played so many roles: anthropologist, archivist, musicologist, filmmaker, painter. He's best known for his massively influential Anthology of American Folk Music, but he did so much more. Szwed takes a figure who is so hard to pin down and crafts a real story without losing all the mystery of his life and work.As John writes in his introduction,“How are we to understand the paradox of an artist whose life was almost completely outside the public's view, always on the edge of calamity–if not death–and yet so influential in so many ways?”We hope you enjoy Marc's conversation with John Szwed!
Legendary artist and collector Harry Smith would have been 100 years old on May 29. We explore his most important musical statement, the Anthology of American Folk Music. Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Twitter, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, covered by Frank Muffin. Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.
Theatre Guild On The Air "Sing Out, Sweet Land" October 21, 1945 ABC Starring Burl Ives in a celebration of American Folk Music
Comedian Dusty Slay mines the dark beauty of the 1997 compilation Anthology of American Folk Music for all its wisdom and sadness. Follow Dusty on Instagram: https://www.instagram.com/dustyslay/ Follow Dusty on Twitter: https://twitter.com/dustyslay Check out Dusty's website: https://www.dustyslay.com/ Follow Josh on Instagram: https://www.instagram.com/joshadammeyers/ Follow Josh on Twitter: https://twitter.com/JoshAdamMeyers Follow Josh on Facebook: https://www.facebook.com/joshameyers Follow The 500 on Instagram: https://www.instagram.com/the500podcast/ Follow The 500 on Twitter: https://twitter.com/the500podcast Follow The 500 on Facebook: https://www.facebook.com/The500PodcastWithJAM/ Email the show: 500podcast@gmail.com Check the show website: http://the500podcast.com Learn more about your ad choices. Visit megaphone.fm/adchoices
When folklorists went to the American South last century to record and preserve traditional string band music, they probably didn't imagine that someday a 27-year-old like Jake Blount would come along to not only update the tradition but to help ensure its future. Special correspondent Tom Casciato has the story for our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders
Episode 112- Please welcome to the podcast the very talented musician Kirk Kenney. Born in St Petersburg Florida USA, Kirk has a major in Education Technology. For over a decade, he has been the leading figure in American Folk Music in China, using his music to bridge the gap in the cultural divides and create positive energy when playing live. 2016 he was awarded a full grant from the US State Department of Cultural programming in China. Kirk has recorded on Fiddle, Guitar, Banjo and Dulcimer and has played with bands The Hutong Yellow, The Mountain High, China first old time square dance band, China's "Poet Rocket" and Rockabilly group "Rolling Bowling. He has also performed with the JZ band. He also is an avid music educator, coordinating international musicians visiting China and organises music camps and events. The 2 songs we heard on the podcast were "Candy Girl' and "Shady Little Grove" www.kirkkenney.com wechat- @Kirk_Kenney https://tellcraigyourstory.podbean.com https://www.linktr.ee/tellcraigyourstory @tellcraigyourstory Youtube Channel https://www.youtube.com/channel/UCcCr6P3Ja395SkapnECvOFw?view_as=subscriber #kirkkenney #tellcraigyourstory #multiinstrumentalist #fiddle #dulcimer #banjo #shanghaichina #stpetersburgflorida #americanfolkmusic #poetrocket #rollingbowling #educationtechnology #culturaldivides #thehutongyellow #themountainhigh #jzbar #candygirl #shadylittlegrove
Happy Halloween! The Horror of Party Beach emerges from the beach to interrupt Chris and Charlotte as they discuss beach parties, Broadway shows, ballads, body hair, and BOO! [Did we scare you?]SHOW NOTES.The Horror of Party Beach: IMDb. MST3K Wiki. Trailer. UnMSTed.Adam talks about The Mask on A Part Of Our Scare-itage. Check it out!The poster for The Horror of Party Beach.Our episodes on Catalina Caper and Village of the Giants. Trailer for I Drink Your Blood/I Eat Your Skin. [Kinda gross, be warned!]The Del-Aires: Zombie Stomp [or stream it].Lou Reed: Metal Machine Music.Zeitkratzer: Metal Machine Music.Waiting for Godot with Robin Williams and Steve Martin.The Anthology of American Folk Music [including Harry Smith's amazing liner notes].More about Harry Smith.Buell Kazee: The Wagoner's Lad.Joen Baez: The Wagoner's Lad.The Kossoy Sisters: The Wagoner's Lad.Some of the origins of the concept of “folk music”.Nair for short shorts.Support us on Patreon to hear bonus bits and hang out and be cool and all that!
Mp3: Down On Penny’s Farm – Click To Play Got this from the Harry Smith Anthology of American Folk Music. This song feels appropriate because farmers are having a real tough time making a living these days. Lyrics: [G] Come you ladies and you gentlemen and listen to my song I’ll sing it to you … Continue reading "Down On Penny’s Farm"
The roots of Skiffle music can be traced to the 1890s. It was first recorded in the 1920s and 1930s and was somehow resurrected in the late 1950s in England. If it weren't for SKIFFLE music there would be no Beatles. This episode explores SKIFFLE'S early roots and recording From wash tub bass, kazoos, tin can drums to cigar box fiddles - the specific brand of American Folk Music helped launch the 1960s British Invasion YOU WILL HEAR: The Five Harmainiacs - SADDIE GREEN ( The Vamp Of New Orleans - 1926) Mississippi Jook Band - BARBECUE BUST ( 1936) Mobile Strugglers - FATTENING FROGS FOR SNAKES ( 1950s) also, Bobby Leacan's Need More Band, Dallas String Band and much more! --- Support this podcast: https://anchor.fm/american-grooves-hour/support
We went on location to Anacortes, Washington to meet up with the local historian and musician Bret Lunsford in a cavernous repurposed train depot. Calvin Johnson interjects during the intro to say a few words about his pal and former Beat Happening band mate Bret, who recently wrote a book called sounding for Harry Smith: Early Pacific Northwest Influences. To give a little background on who Harry Smith was, The Holy Modal Rounders' co-founder, living legend and returning Low Profile guest, Peter Stampfel weighs in on Harry Smith and his Anthology of American Folk Music.In our conversation we'll talk about Bret's years with Beat Happening and D+, his record label/publishing company Knw-Yr-Own, and his recent book.This episode was co-hosted by Madison Nadine. Andrew Ebright from Thurston Community Media engineered and film this episode- if you'd like to watch the video version of today show, you can follow Low Profile on social media @lowpropodcast or check out this program's website, that's lowprofilepodcast.com .You can find out more about Bret's book at soundingforharrysmith.com .Much gratitude to Nathan Berko-Gibson @portabledisko for painting portraits for ALL FIFTEEN of this season's episodes! If you want more Low Profile in the meantime, I'm still hosting live episodes and concerts at Scherler Sundays for the next five weeks , more info about that is at Scherlerbeer.com . For those who can't make it, a lot of that will be released via this show on KAOS Community Radio, TCMedia on TV, and online starting in August.Season 6 of Low Profile is already wrapping up recording, and the first episode is tentatively scheduled to drop on September 30th, 2022. If you enjoy this show please tell a friend. word-of-mouth is the most effective means of growth for this type of thing. I'd love to hear from you too, drop me an email anytime, I'm at Low Profile markly@gmail.com.
POM 7/22 No.1: Spook Handy (from 7/21, the final POMotR broadcast) A year ago this month Podcast Open Mic on the Radio had its final broadcast. But my last guest was a goodie and needs to be reheard.: Spook Handy, the only guest I have found via Portland Hour Exchange... Spook Handy performed alongside Pete Seeger at festivals and concerts more than 50 times from 2003 – 2013 learning firsthand many of Pete's songs and the stories behind them. Even more, he learned who Pete Seeger was and what he stood for. Spook is now traveling throughout the U.S. and Canada with his “Remembering Pete Seeger” World Tour, keeping alive Pete's tradition by sharing a few songs by Woody Guthrie (Pete's most notable mentor), plenty of songs by Pete Seeger and a healthy handful of new songs Spook wrote under Pete's tutelage. Spook's sixth studio album, “Pete, Woody & Me, Volume II – Dedicated to the Proposition” reached the No. 3 position on the International Folk Radio Charts in May, 2019. His fifth studio album, “Pete, Woody & Me, Volume I – Keep the Flame Alive,” held the No. 3 position on the same charts in June and July , 2016 with his original song, “Vote!” reaching No. 2. Recorded with his backup band “The Seed Planters,” the CD is more than just a tribute to Pete. It is a work that, as John Weingart of WPRB Radio says, “certainly rests on the shoulders of the past but is unmistakably steeped in the present.” Spook was named Best Folk Artist by Upstage Magazine, Gannett New Jersey, The Courier News, The Home News and About.com. His song “Whatcha Gonna Do?” was used in the BBC documentary film “Doomsday Code,” and four of his sings, including “Bring Back Abiyoyo” were used in a theatrical adaptation of Pete's children's story, “Abiyoyo.” Spook is a well known speaker and workshop facilitator at festivals, conferences and colleges around the country. “The passion, purpose and spirit of American Folk Music are alive and well with Spook Handy and his Remembering Pete Seeger World Tour and concert.” … Gary Wien – Editor in Chief, New Jersey Stage
A year ago this month Podcast Open Mic on the Radio had its final broadcast. But my last guest was a goodie and needs to be reheard.: Spook Handy, the only guest I have found via Portland Hour Exchange... Spook Handy performed alongside Pete Seeger at festivals and concerts more than 50 times from 2003 – 2013 learning firsthand many of Pete's songs and the stories behind them. Even more, he learned who Pete Seeger was and what he stood for. Spook is now traveling throughout the U.S. and Canada with his “Remembering Pete Seeger” World Tour, keeping alive Pete's tradition by sharing a few songs by Woody Guthrie (Pete's most notable mentor), plenty of songs by Pete Seeger and a healthy handful of new songs Spook wrote under Pete's tutelage. Spook's sixth studio album, “Pete, Woody & Me, Volume II – Dedicated to the Proposition” reached the No. 3 position on the International Folk Radio Charts in May, 2019. His fifth studio album, “Pete, Woody & Me, Volume I – Keep the Flame Alive,” held the No. 3 position on the same charts in June and July , 2016 with his original song, “Vote!” reaching No. 2. Recorded with his backup band “The Seed Planters,” the CD is more than just a tribute to Pete. It is a work that, as John Weingart of WPRB Radio says, “certainly rests on the shoulders of the past but is unmistakably steeped in the present.” Spook was named Best Folk Artist by Upstage Magazine, Gannett New Jersey, The Courier News, The Home News and About.com. His song “Whatcha Gonna Do?” was used in the BBC documentary film “Doomsday Code,” and four of his sings, including “Bring Back Abiyoyo” were used in a theatrical adaptation of Pete's children's story, “Abiyoyo.” Spook is a well known speaker and workshop facilitator at festivals, conferences and colleges around the country. “The passion, purpose and spirit of American Folk Music are alive and well with Spook Handy and his Remembering Pete Seeger World Tour and concert.” … Gary Wien – Editor in Chief, New Jersey Stage
The Woody Guthrie Archive has recently acquired about 500 items once belonging to Oscar Brand, a key figure in American folk music.
This week I sit down with my good friend and fellow songwriter, Molly Parden. Molly Parden is a Nashville-based singer-songwriter who has amassed millions of streams on Spotify, has been featured on the Late Show with Stephen Colbert, and has toured across the US and the UK. In this episode, we chat about songwriting, touring, and our general creative process. Molly's "ABBA-inspired" song, Travellin' Souls. Molly Parden: Website, Facebook, Instagram, Spotify, Apple Music, YouTube Music, Pandora, Amazon MusicThis episode was sponsored by Agora Art & Ceramic Studio. Check out their handcrafted ceramics, jewelry, and paintings at agorastudio.art and use the code 'party15' to receive 15% off your purchase (valid until August 1, 2022). You can find Andrea's music on Spotify, Apple, Amazon, YouTube, and anywhere else that music can be streamed or downloaded!Follow Andrea on Instagram, Facebook, Twitter, and TikTok. Andrea's official website can be found at AndreavonKampen.com. Finally, if you would like to receive updates about new music, tour dates, podcast episodes, and more you can sign up for Andrea's mailing list HERE.
Joe plays recordings of some of the 1920s-30's hottest Hawaiian bands and singers - Benny Nawahi, Sol Hopi, Johnny Noble, Kalamas Quartet and the remarkable HOOT GIBSON TROUPE - Don Ho it ain't!!! It's JAZZ and American Folk Music!
IN THE 1950S' THE ONLY WAY TO HEAR THE FOLK, COUNTRY AND BLUES MUSIC OF THE 1920S AND 30S WAS TO FIND THE RECORDS IN A JUNK SHOP OR BE LUCKY ENOUGH TO HAVE A FRIEND WHO WOULD SHARE THEM WITH YOU....AFTER FINDING THEM IN A JUNK SHOW! 60 YEARS BEFORE APPLE MUSIC, SPOTIFY, YOUTUBE AND THE LIKE THERE WAS ONLY THE HARRY SMITH " ANTHOLOGY OF AMERICAN FOLK MUSIC" THIS 3 LP SET BROUGHT THE VOICES OF MISSISSIPPI JOHN HURT, SON HOUSE, CHARLIE PATTEN, FLOYD MING'S PEP STEPPERS AND SCORES MORE TO THE PHONOGRAPHS OF COLLEGE STUDENTS AND FOLK ENTHUSIASTS AROUND THE COUNTRY FOR THE FIRST TIME ..AND THE FIRST MUSICAL ANTHOLOGY TO TRULY EXPLORE.."THE OLD WEIRD AMERICA" - TUNE IN TO HEAR IMMACULATE COPIES OF SOME OF THE ORIGINAL 78S THAT MADE UP HARRY'S ICONIC COLLECTION
Vietnamese American musician Julian Saporiti grew up in Nashville, surrounded by music made by people who didn't look like him. Determined to dig deeper into the definition of American Folk music as part of his extensive doctoral studies, Saporiti began to explore his own family's history, pore over archival material, and conduct interviews; what he found were the untold musical stories of Asian American artists like himself. He transformed his research into concerts, albums, and films to create the immersive multimedia experience known as No-No Boy. In Town Hall's 113th episode of the In the Moment podcast, musician and former Town Hall Artist-in-Resident Tomo Nakayama talks with Saporiti about lyric writing, inspiration, and the art of making music not only as Asian Americans, but also as Americans. Julian Saporiti is the Vietnamese American songwriter, scholar, and creator of the multimedia musical experience, No-No Boy. His art and music reflect issues such as race, refugees, and immigration, allowing audience members to sit with complication as music and visuals open doorways to difficult histories. Saporiti has taught courses in songwriting, music, literature, history, Asian American Studies, and ethnic studies at the University of Wyoming, Colorado College, and Brown University and has served as artist/scholar in residence at many universities and high schools across the country. Saporiti holds degrees from Berklee College of Music, University of Wyoming, and Brown University, and has been commissioned by cultural institutions such as Lincoln Center, the LA Philharmonic, the National Parks, and Carnegie Hall. His latest album, 1975, was released by Smithsonian Folkways earlier this year. Tomo Nakayama is an artist whose melodic, complex, and emotionally compelling music has been praised by NPR, New York Times, and The Stranger. His albums include Fog on the Lens, Pieces of Sky (named “Best Folk Act” by Seattle Weekly), and Melonday, which was named one of the Top Albums of 2020 by Seattle Times, KEXP, and Seattle Met. No-No Boy: https://www.nonoboyproject.com/ No-No Boy performs live at Town Hall Seattle on November 12, 2021. Learn more and get tickets to this exciting multimedia concert, presented in partnership with the Wing Luke Museum and the International Examiner.
Vietnamese American musician Julian Saporiti grew up in Nashville, surrounded by music made by people who didn't look like him. Determined to dig deeper into the definition of American Folk music as part of his extensive doctoral studies, Saporiti began to explore his own family's history, pore over archival material, and conduct interviews; what he found were the untold musical stories of Asian American artists like himself. He transformed his research into concerts, albums, and films to create the immersive multimedia experience known as No-No Boy. In Town Hall's 113th episode of the In the Moment podcast, musician and former Town Hall Artist-in-Resident Tomo Nakayama talks with Saporiti about lyric writing, inspiration, and the art of making music not only as Asian Americans, but also as Americans. Julian Saporiti is the Vietnamese American songwriter, scholar, and creator of the multimedia musical experience, No-No Boy. His art and music reflect issues such as race, refugees, and immigration, allowing audience members to sit with complication as music and visuals open doorways to difficult histories. Saporiti has taught courses in songwriting, music, literature, history, Asian American Studies, and ethnic studies at the University of Wyoming, Colorado College, and Brown University and has served as artist/scholar in residence at many universities and high schools across the country. Saporiti holds degrees from Berklee College of Music, University of Wyoming, and Brown University, and has been commissioned by cultural institutions such as Lincoln Center, the LA Philharmonic, the National Parks, and Carnegie Hall. His latest album, 1975, was released by Smithsonian Folkways earlier this year. Tomo Nakayama is an artist whose melodic, complex, and emotionally compelling music has been praised by NPR, New York Times, and The Stranger. His albums include Fog on the Lens, Pieces of Sky (named “Best Folk Act” by Seattle Weekly), and Melonday, which was named one of the Top Albums of 2020 by Seattle Times, KEXP, and Seattle Met. No-No Boy: https://www.nonoboyproject.com/ No-No Boy performs live at Town Hall Seattle on November 12, 2021. Learn more and get tickets to this exciting multimedia concert, presented in partnership with the Wing Luke Museum and the International Examiner.
Today's episode is an examination and celebration of the musical roots of the Grateful Dead's Jerry Garcia. Garcia's musical roots begin in the early 1960s with traditional American folk music. With styles ranging from bluegrass, old time country music, folk, blues and jug band music, Garcia was a well known performer in SanFrancisco and Bay Area clubs. Around 1964-65 Jerry switched his energy from bluegrass banjo to the electric guitar after forming a rock band with fellow American down home music enthusiasts Bob Weir, Ron “Pigpen” Mckernan, Phil Lesh and Bill Kreutzman. The Warlocks, soon renamed the Grateful Dead became an extremely popular act in the SanFrancisco area and the rest, as they say, is history. The format for this episode is semi-chronological in regard to Jerry Garcia's music styles. A variety of styles are examined and is nowhere near a complete, in depth analysis of Jerry's styles and influences. That could be a full length book. Rather, the show is a simple examination that looks at some of the original recordings that influenced Jerry and then mixes in snippets of how those recordings were manifested in Garcia's style throughout the decades he was active as a performer up until his untimely death in August of 1995. Early recordings of Jerry in his many aggregations around the Bay Area folk scene have long been available as bootleg tapes as well as most, if not all, of the Grateful Dead shows from their 30 year career made possible through the Dead's allowing of and encouragement of taping their live performances. There's a lot out there to listen to and I recommend you seek out as many recordings as you can.For an in depth dive on the Grateful Dead I highly recommend the official podcast of the Grateful Dead, The Good ‘Ol Grateful Deadcast as David Grisman's record label, Acoustic Disc, which made many great recordings of Jerry playing traditional American music in the early 1990's. See links below. Thanks for listening and I hope you enjoy the show. Acoustic Disc: https://acousticdisc.com/Good ‘Ol Grateful Deadcast: https://www.dead.net/deadcastDonate to the podcast: https://paypal.me/christiangallo1?locale.x=en_USWebsite: https://www.olddingyjukebox.com/homeFacebook: https://www.facebook.com/olddingyjukeboxpodcastInstagram: @olddingyjukeboxpodcastE-mail: olddingyjukebox@gmail.comSupport the show (https://paypal.me/christiangallo1?locale.x=en_US)
Wu Fei and Abigail Washburn share music from their eponymous collaborative album, demonstrate the banjo and the guzheng, and talk with journalist Jeremy Goldkorn about the joys of weaving together two seemingly different musical traditions.Resources:More about Wu FeiMore about Abigail WashburnMore about their albumWu Fei and Abigail Washburn Spotify Playlist
On this episode of our mini-series Sepia Tones, Dr. William Turner and Dr. Ted Olson examine music within rural communities with guests Earl White, Larry Kirksey, and Kip Lornell. Each of our guests has been on their own quest, whether seeking the musical kinship of other black performers past and present, finding a life outside of Kentucky coal camps, or documenting the rich musical landscape of rural communities.Earl White is an accomplished fiddler and prominent figure of old-time music and dance. He was a founding member of The Green Grass Cloggers, and his energetic and rhythmic fiddle style is showcased through his vast repertoire of Appalachian music. He resides in Floyd County, VA, where he and his wife run a farm and bakery.Larry Kirksey grew up in Harlan County in the Appalachian region of Kentucky, sharing a lifelong friendship with our host Dr. William Turner. He went on to become a respected coach in the NFL, achieving victory at Super Bowl XXIX with the San Francisco 49ers. From his beginnings in eastern Kentucky, his work has taken him all over the United States and to other countries.Kip Lornell is a professor of American music and ethnomusicology at George Washington University. He has written a number of books, articles, and essays and was awarded a Grammy in 1997 for his contribution to Smithsonian Folkways' Anthology of American Folk Music. He studied African American music for many years and completed field work in various areas, including the Appalachian region.Dr. William Turner is a long-time African American studies scholar who first rose to prominence as co-editor of the groundbreaking Blacks in Appalachia. He was also a research assistant to Roots author Alex Haley. Turner retired as distinguished professor of Appalachian Studies and regional ambassador at Berea College. His memoir called The Harlan Renaissance is forthcoming from West Virginia University Press.Dr. Ted Olson is a professor of Appalachian Studies at East Tennessee State University and the author of many books, articles, reviews, encyclopedia entries, and oral histories. Olson has produced and compiled a number of documentary albums of traditional Appalachian music including GSMA's On Top of Old Smoky and Big Bend Killing. He's received a number of awards in his work, including seven Grammy nominations. The East Tennessee Historical Society recently honored Olson with its Ramsey Award for Lifetime Achievement.Music selections include: "John Henry" performed by Amythyst Kiah and Roy Andrade from GSMA's album Big Bend Killing"Shuckin' the Brush" performed by The Earl White Stringband, from the 2018 Mountains of Music Homecoming CD In the Key of Blue, used courtesy of The Crooked Road: Virginia's Heritage Music Trail"G-Rag" performed by the Georgia Yellow Hammers accompanied by Jim and Andrew Baxter, recorded in 1927"Driftin' and Driftin'" performed by the Foddrell Brothers, accompanied by Lynn Foddrell, at the Berea College Celebration of Traditional Music in 1982, used courtesy of Berea Sound ArchivesClogging audio clip from the short documentary film "The Green Grass Cloggers" produced in 1978 by David Balch, filmed at the 1978 North Carolina Folklife Festival, used courtesy of The Green Grass Cloggers with thanks to Leanne SmithDevil in the Strawstack" performed for our podcast by Earl White
In honour of the release of Dust-to-Digital's box set of the B-Sides of the tracks featured on Harry Smith's Anthology of American Folk Music, we are playing songs in the gospel set and the artist feature set. Plus, we have lots of birthdays to celebrate and some great new music. Stay Safe!
Episode 113 - Don McLean!!! Don is truly a living legend. His music continues to be all over pop culture even to this day. His iconic song “American Pie” was listed at number 5 for “Songs of the Century” by the Recording Industry Association of America. In this episode Don discusses his rise to the top as well as his ambivalence towards success. He also tells me the story of Buddy Holly’s brother and his reaction to American Pie, as well as who he was referring to in the song when he mentions “the king.” 00:00 - Intro01:30 - Opener & Manager 03:15 - Mindset & Swimming 04:20 - Finding Music & The Weavers 06:48 - Beginning of Music Career 09:17 - Breaking Through Fear & Mission 10:12 - Finance Degree 11:25 - Pete Seeger and an Political Correctness 14:00 - The World Changing 18:30 - Overcoming Adversity of Tapestry Album 22:12 - American Pie Album & Artwork 24:52 - American Pie & Travis Holly (Buddy's Brother) 27:05 - Ambivalence Towards Success 30:15 - New Projects & Staying Busy 31:25 - YouTube Channel 32:26 - Roger Daltrey's Teen Cancer & Chemicals35:03 - Wrap Up Don McLean Website:https://donmclean.comTeen Cancer America Website:https://teencanceramerica.org/donate/Chuck Shute Website:http://chuckshute.comSupport the show (https://venmo.com/Chuck-Shute)
Down Home Cajun Music- Delma Lachney and Blind Uncle Gaspard: Complete Recordings Part OneOne of the most fascinating duos to record in the early era of Cajun recordings was Delma Lachney and Blind Uncle Gaspard. Their recordings sound out of this world; archaic and raw. Their music is of a earlier tradition of dance and ballad songs that was older than the music we get from the other Cajun music recorded in 1928 and 1929. They were from the Marksville area, which consisted of early colonial French settlers. They recorded two sessions in 1929, before the depression hit. Their music gained interest after "La Danseuse" was included on the highly influential collection from Harry Smith called the Anthology of American Folk Music. This first set documents their first recordings in Chicago in 1929.January 26 1929 Chicago, ILAssi Dans La Fenetre De Ma Chambre (Vocalion 5280)Baoille (Vocalion 5280) Mercredi Soir Passe (Vocalion 5281)River Rouge (Vocalion 5281)Cher Ami Ma Vie Est Ruini (Vocalion 5302)La Louisianne (Vocalion 5302)La Danseuse (Vocalion 5303)Le Bebe Et Le Gambleur (Vocalion 5303)
VIPop #38 Why is Emily Jane White today the most important voice of "Dark Folk"? ... Quite simply because she's above all a true artist, open to the world, who cannot be reduced to a musical trend ... Because in her work, she knows how to marry pastoral and luxuriance in a marvellous way and the form is always at the service of high-flying songwriting ... Because the emotion conveyed by her voice with its multiple possibilities is based above all on accuracy rather than on overbidding ... And because her words, concerned with environmental or feminist causes, are lived in conscience and not as opportunism ... A rare person and a precious artist. Pourquoi Emily Jane White est aujourd'hui la voix la plus importante du « Dark Folk » ? … Tout simplement parce qu'elle est avant tout une véritable artiste, ouverte profondément sur le monde, qu'on ne peut réduire à un courant musical … Parce que dans son travail, elle qui sait marier à merveille le pastoral et la luxuriance, la forme reste toujours au service d'un songwriting de haute-volée … Parce que l'émotion véhiculée par sa voix aux multiples possibilités est basée avant tout sur la justesse plutôt que sur la surenchère … Et parce que sa parole concernée sur les causes environnementales ou féministe est vécue en conscience et non comme un opportunisme … Une personne rare et une artiste précieuse. Support us!
What do Rush, Korean boy band sensation BTS, and the Anthology of American Folk Music have in common? They all inspire obsessive devotion from their fans—including Taylor Savvy, Berlin-based Canadian musician and this week's guest. We get under the hood of the mentality of fandom and why certain people (such as ourselves) get so obsessive about music. Check out Savvy's Spotify playlist of related music and his personal faves.
Music producers Lance and April Ledbetter talk about curating their new anthology, which collects the flip sides of the 78s Harry Smith chose for his 1952 Anthology of American Folk Music. They spoke with producer Sam Briger. Also, we talk with 'Late Night with Seth Meyers' writer and performer Amber Ruffin. She's now got her own show on Peacock. "I've earned (hopefully) enough grace to do whatever I want," she tells contributor Ann Marie Baldonado.
Music producers Lance and April Ledbetter talk about curating their new anthology, which collects the flip sides of the 78s Harry Smith chose for his 1952 Anthology of American Folk Music. They spoke with producer Sam Briger. Also, we talk with 'Late Night with Seth Meyers' writer and performer Amber Ruffin. She's now got her own show on Peacock. "I've earned (hopefully) enough grace to do whatever I want," she tells contributor Ann Marie Baldonado.
Welcome to Episode 31, “The Oracle of the East Village,” featuring filmmaker, painter, musical ethnographer, and occult magician, Harry Smith (1923-1991). Smith is best known for his influential 6-LP Anthology of American Folk Music, as well as his experimental films and paintings, all of which he designed according to esoteric correspondence systems. Smith also helped document the musical rites of the indigenous Lummi and Kiowa communities, and the religious chants of New York Rabbi Naftali Zvi Margolies Abulafia, as well as the music of The Fugs and Allen Ginsberg. And connecting these luminous branches was a magically rooted trunk, as Smith was a lifelong practitioner of ceremonial magic. Welcome to the unknown body of Americana…
Peter Bebergal returns (previously on episode #180 with his book Strange Frequencies) to discuss magic, witchcraft, and the occult and how those things impacted the world of Rock & Roll music. Check the attachment to this episode for a bunch of music links relevant to the show and Peter's book Season of the Witch. Speaking of books - Karen has a new one and I made an easy to remember shortcut to it on Amazon: http://bit.ly/OnTheOffensive (The lettering case in that link does matter.) Discussed in the episode: Image of David Bowie in "Diamond Dogs" album (MOMA) Made for TV Movie: Devil Dog - The Hound of Hell The George Harrison "documentary" Karen mentions - Paul McCartney Really Is Dead: The Last Testament of George Harrison (There is a lot of mixed messaging out there on whether this is a serious but wacky documentary or a silly but confusing mockumentary. It was originally released as a documentary but the filmmaker has since reclassified it as "mockumentary" - was this for legal reasons?) FYI: The narration is not by George Harrison. The UFO Club in London was a short-lived hub of early lights & sounds and psychedelic imagery. It only operated over a two-year span but had a tremendous impact on music culture - and on posters for bands. Peter's original SOTW Spotify List (link) Song/Album Notes Fire (The Crazy World of Arthur Brown) Starts with the iconic (and parent-frightening) "I AM THE GOD OF HELLFIRE..." Sacred Songs (Daryl Hall) Daryl Hall (!?) album inspired by the work of Aleister Crowley Cross Road Blues (Robert Johnson) While the legend of the blues musician at the crossroads is often applied to Robert Johnson, it has earlier roots with... Cool Drink of Water Blues (Tommy Johnson) Tommy Johnson, not related to Robert, was the focus of an earlier version of the crossroads legend Anthology of American Folk Music (via archive.org) A partial selection of the 6-album (3, 2-record ea) set of American Folk Music curated by Harry Smith. The Piper at the Gates of Dawn (Pink Floyd) The Syd Barrett-led Pink Floyd would change a lot after Barrett's descent into mental illness, but there are psychedelic and occult themes in this eclectic early Floyd album. Interstellar Overdrive is a good long instrumental track to read Bebergal's book to. My Sweet Lord (George Harrison) Perhaps the most public of the musician seekers, Harrison's ode to the search for a connection to the numinous was very successful - and also (accidentally?) directly copied He's So Fine by The Chiffons. Shankar: Dhun (Ravi Shankar) Sitar would meet Guitar when the Beatles went to India and met gurus and traditional Indian musicians, most famously Ravi Shankar. Lucifer Rising soundtrack (Bobby BeauSoleil) The soundtrack to occult filmmaker Kenneth Anger's movie Lucifer Rising was supposed to be done by Led Zeppelin's Jimmy Page, but things happened. (This complicated story is covered in Bebergal's book.) War Pigs (Black Sabbath) The Ozzy Osborne led band would take its name from an Italian horror film, but like Alice Cooper, the "occult" aspects of Sabbath appear to be entirely performative. Consider Ozzy's paean to Aleister Crowley in which he fails to pronounce the old occultist's name right. (Crowley rhymes with holy.) Sympathy for the Devil (The Rolling Stones) The Stones' "wicked" song - was it inspired by Baudelaire or Kenneth Anger? And how many times do the band sing "who? who?" in this 6-minute treat? Misty Mountain Hop (Led Zeppelin) Combining elements of Tolkien fantasy and drug-fueled psychedelic experiences, LZ music combined many elements of fictional and authentic occult imagery. Jimmy Page's interest in Aleister Crowley is legendary with him even buying Crowley's Loch Ness adjacent home Boleskin. Mephisto Waltz (Misfits) The punk band Misfits took their imagery and themes from horror movies and the occult as well. Jack Parsons (The Claypool Lennon Delirium) This came out after Bebergal's book, but this is an amazing modern throwback to the psychedelic era that also tells a weirdly surprisingly accurate story of Jack Parsons, occultist, and rocketeer. Hotter than Hell (KISS) KISS aligned itself with wild stage antics and imagery, but in the 1970s even having the word "hell" in your song titles could lead to allegations that your band's name really stood for "Knights in Satan's Service." (Narrator: It didn't.) Life on Mars? (David Bowie) Bowie's role in occult rock history is really quite peculiar and not what I expected. Often in drug-fueled paranoia of the occult, his off-stage behavior stands in stark contrast from the on-stage cool presence. I wanted to include a song from him on this list and this peculiar antithesis to My Way is one I really like. After Cease to Exist (Throbbing Gristle) I'm not recommending this 20 min weird and disturbing soundscape - but if you're feeling a bit like Frank in Hellraiser and just wonder what the cenobites probably jam to? Anyway, in Bebergal's book, there are some interesting tidbits about how Throbbing Gristle's members became involved with William S. Burroughs and the occult aspects of his life. Bela Lugosi's Dead (Bauhaus) The song that kicked off the goth scene. It doesn't take 9 mins to tell people that Bela Lugosi (the actor who played Dracula in the 1931 Universal horror film) is dead… but it does the Bauhaus way. Hallowed Be Thy Name (Iron Maiden) Peter doesn't write about Iron Maiden in the book, but growing up in the 80s, Iron Maiden was one of the many reasons I refused to get a 96 Rock Card. I was so not into heavy metal and it was weird catching up on that stuff in my 40s instead of my teens. In Search Of Space (Hawkwind) Before Motorhead, Lemmy sang about UFOs. (Well, I think that's what he's singing about?) Door of the Cosmos (Sun Ra) Sun Ra's jazz music isn't really rock, but it's something. And I think magician Penn Jillette mentions Sun Ra about as often as he mentions James Randi. Witch Trial (Black Mass Lucifer) The pioneering electronic album Black Mass Lucifer - or is it Black Mass by Lucifer? - is an album by electronic music audio explorer Mort Garson. It's occult-themed but its weird MOOG tonal tapestries, without the context of title or lyrics, would be hard to classify as specifically "magic" themed. The Tales of Topographic Oceans (Yes) A friend once described to me how that in the 1970s it was common to put on long, trippy albums and just stare at album artwork and go on imaginary journeys. With a cover by Roger Dean and just four songs, each about 20 mins in length, I think this is exactly what he was talking about. I once had an angry Navy training instructor basically spit at Yes's "Owner of a Lonely Heart" and shout to the class "It ain't Yes unless it takes 15 minutes to listen to and has a 5-minute guitar solo!" Apes**t (Beyonce and Jay-Z) Jay-Z has played around with the imagery of the illuminati and occult. Here's an article about the imagery use in the video for this song. Secular Haze (Ghost B.C.) Combines ghoulish occult imagery with monk garb and skeletal makeup. Swedish in origin, but not flat-packed.
THIS WEEK ON JUST.A.MUSIC.PODCAST WE GOT: Bean music, yodelling, and the theater of the mind and remember you can get the transcript here
Behind the washtub basses and the fret less kind behind the Tuba's and any other instrument is the individual who engages with that apparatus. The sound that emanates from this instrument can depend upon the proficiency of the player, there use of scales and notes. Mathematics are part of it....but ultimately to be in a band you need to have a gig. And to have a gig you need to have soul. A collectivist mentality that as an accompanist you are doing your job making the leader sound as good as possible. My guest today came into his own when the musical spectrum was wide open. You had 1st generation blues players who were experimenting with electric mud, you had younger male and female artists who were looking to turn back the hands of time. Exploring jug band music and American Folk Music in a more modern setting. My guest musical career seems to have spanned several lifetimes. From Maria Muldaur to Bonnie Raitt, from Buddy Guy to Amos Garrett. From the cabins in Woodstock to the concrete jungle of Los Angeles my guest has continually reinvented himself. Adapting to the times and the changing dynamics of conveying authentic live music. He is a multi-instrumentalist, singer, songwriter and producer and its an honor to have him on the program --- Support this podcast: https://anchor.fm/jake-feinberg/support
Your favorite rabbit-holers return after a long hiatus and dissect Warhol, Harry Smith, folk music, monuments, and cognitive biases.Poppy - https://loudwire.com/poppy-t-a-t-u-cover-all-the-things-she-said/[We just learned about Poppy's pronouns, and we obviously have a hard time remembering!]Titanic Sinclair - https://www.youtube.com/watch?v=ScUUQNdTCnoWarhol - https://www.warhol.org/Brillo box - https://www.warhol.org/lessons/brillo-is-it-art/Screen prints - https://www.youtube.com/watch?v=CzrPmfaYcMMFilm process - https://news.artnet.com/exhibitions/andy-warhol-films-1387729#:~:text=Warhol%20both%20engaged%20with%20the,later%20squarely%20within%2C%20the%20frame.Brillo Box (3¢ off) - https://www.hbo.com/documentaries/brillo-box-3-cents-offI sold Andy Warhol (too soon) - https://www.amazon.com/Sold-Andy-Warhol-Too-Soon-ebook/dp/B002OTKEOCFactory - https://www.youtube.com/watch?v=hIPWBuW3WU8https://www.youtube.com/watch?v=MCMTGkcyFDcExploding plastic inevitable - https://www.youtube.com/watch?v=2BS0vAkMt8kInterview magazine - https://www.newyorker.com/culture/cultural-comment/the-legacy-of-interview-magazine-and-a-trip-to-1988Warhol Boxes - https://www.warhol.org/lessons/time-capsule-21-activity/Empire State Building https://www.youtube.com/watch?v=UM0QrH0c268Pulling down confederate statues - https://www.youtube.com/watch?v=MCMTGkcyFDcTreptow monument - https://www.youtube.com/watch?v=41BNMCcVlvQhttps://en.wikipedia.org/wiki/Soviet_War_Memorial_(Treptower_Park)Harry Smith - https://harrysmitharchives.com/Anthology of American Folk Music - https://thevinylfactory.com/features/harry-smith-anthology-of-american-folk-music-most-important-record-in-us-history/Boyd Rice Multiaxial recordings - https://www.youtube.com/watch?v=gBMBOjgYckAHarry Smith Record Collection - https://pitchfork.com/features/article/9384-do-not-sell-at-any-price-the-wild-obsessive-hunt-for-the-worlds-rarest-78rpm-records/?page=3American Magus -
Revisit the Christian Humanist Podcast's conversation about folk music upon the death of Pete Seeger.
Revisit the Christian Humanist Podcast's conversation about folk music upon the death of Pete Seeger.
You may not know her name, but Odetta was one of the most influential singers of the 20th century: called “the voice of the civil rights movement” by The New York Times and anointed “queen of American folk music” by Martin Luther King Jr., himself. Our guest this week is music journalist Ian Zack, author of the first in-depth biography of Odetta, whose incredible voice rang out at some of the most pivotal moments in the struggle for African-American equality, including 1960s marches in Washington and Selma.Go beyond the episode:Ian Zack’s Odetta: A Life in Music and ProtestZack recommends that new listeners begin with of Odetta’s first two albums: Odetta Sings Ballads and Blues and Odetta at the Gate of Horn (or her lone rock album, Odetta Sings)Or to get a feel for the effect she had on audiences, listen to a live album like Odetta at Town Hall—or watch her 1964 concert on YouTubeTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek and sponsored by the Phi Beta Kappa Society.Subscribe: iTunes • Feedburner • Stitcher • Google Play • AcastHave suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! See acast.com/privacy for privacy and opt-out information.
You may not know her name, but Odetta was one of the most influential singers of the 20th century: called “the voice of the civil rights movement” by The New York Times and anointed “queen of American folk music” by Martin Luther King Jr., himself. Our guest this week is music journalist Ian Zack, author of the first in-depth biography of Odetta, whose incredible voice rang out at some of the most pivotal moments in the struggle for African-American equality, including 1960s marches in Washington and Selma.Go beyond the episode:Ian Zack’s Odetta: A Life in Music and ProtestZack recommends that new listeners begin with of Odetta’s first two albums: Odetta Sings Ballads and Blues and Odetta at the Gate of Horn (or her lone rock album, Odetta Sings)Or to get a feel for the effect she had on audiences, listen to a live album like Odetta at Town Hall—or watch her 1964 concert on YouTubeTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek and sponsored by the Phi Beta Kappa Society.Subscribe: iTunes • Feedburner • Stitcher • Google Play • AcastHave suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! See acast.com/privacy for privacy and opt-out information.
The Dalriada has been a fundamental part of life in Portobello for many years. Music has played a large part of that with both organised and impromptu sessions regularly taking place in the bar. The Sunday Sessions were particularly popular with musicians and the public alike. They were the brainchild of Jed Milroy who was looking for a new venue – he had been hosting sessions at a pub near the university. The Dalriada not only welcomed him – but also played cupid because Jed met Jo and they became a duo in every sense of the word. The Dalriada as we knew it may never return when life returns to the new normal. But the Sunday Sessions have continued online since the lock down. So today, we’re telling the story of Jed and Jo, the story too of those Sunday Sessions and their importance to the community into the future.Jed and Jo are also running their own regular online sessions at 9 o’clock on a Friday using Facebook Live. The music in this episode comes from one of those. The couple are also entertaining the other residents in their tenement by singing from their front door and are also raising money for the charity North Edinburgh Arts.Jed and Jo’s Facebook page can be found here: https://tinyurl.com/wto4m96It’s where you can find information about their next live sessions.And the Sunday Sessions online can be found here: https://tinyurl.com/wzssjdkTheir charity’s link is here: https://northedinburgharts.co.uk/
This Sunday at 7 at the Hook and ladder in Minneapolis, Corpse Reviver plays songs from The Harry Smith Collection of American folk music. The collection has been a major reference for about 70 years. Corpse Reviver reminds listeners of the American folk heritage, as it points to new directions in traditional music. Phil Nusbaum talked to Corpse Reviver members Adam Kiesling and Jillian Rea.
WINTER 2020 CONCERTS Thanksgivings for Life and Love 16th Century Spanish Polyphony andContemporary Latin American Folk Music February 1 at 4 pm – Saint James Place, Great Barrington, MAFebruary 2 at 4 pm – U. Methodist Church, Lakeville, CT BUY TICKETS NOW... Read More ›
The always delightful Sam Amidon joins us on the Fretboard Journal Podcast to talk about music, the joys of touring by bus and much more. We also chat about growing up in a folk music-filled household, Amidon's take on the Harry Smith's The Anthology of American Folk Music and get the the story behind his cherished Martin OM-15. Check the Fretboard Journal site for our new video with Amidon performing "Juma Mountain."
On this episode of the Life in the Carolinas podcast, our guest is Dale Isom, an engineer by trade who has recently entered the hospitality industry and is doing a lot for the northwestern North Carolina community. Dale and his wife own several hotel properties in the area and across the state, and they have come to understand the importance of making their guests feel secure and welcome in the community. About 5 years ago, Dale and the Kruger Brothers came up with the idea to brand Wilkes county as “The Heart of American Folk Music”, which has created the tradition of year-round concerts in local establishments as well as the Carolina in the Fall annual event, highlighting the talented musicians of the area and the genre of American Folk. Additionally, Dale has revitalized the old post office and federal courthouse in downtown Wilkesboro and created The 1915 event space that is also the home of the Blue Ridge Artisan Center. These artisans and those who will be involved in the Artisan Café opening this fall showcase the culture of Wilkes and the surrounding counties, celebrating the community and what makes it unique. Dale’s efforts have jump-started the rejuvenation of downtown Wilkesboro, supported by local merchants, private investments, and local government funding. These investments will continue to impact the community and the celebration of its culture for many years to come. Connect with Dale: https://the1915.org/ https://carolinainthefall.org/ https://blueridgeartisancenter.org/ http://heartoffolk.com/ Life in the Carolinas Site: www.Lifeinthecarolinas.com Link to LITC broadcast segment on Carolina In the Fall https://youtu.be/AqM_RG262Ss
From Washington Square Park and the Gaslight Cafe to WNYC Radio and Folkways Records, New York City's cultural, artistic, and commercial assets helped to shape a distinctively urban breeding ground for the folk music revival of the 1950s and 60s. Folk City explores New York's central role in fueling the nationwide craze for folk music in postwar America. It involves the efforts of record company producers and executives, club owners, concert promoters, festival organizers, musicologists, agents and managers, editors and writers - and, of course, musicians and audiences. In Folk City, authors Stephen Petrus and Ron Cohen capture the exuberance of the times and introduce readers to a host of characters who brought a new style to the biggest audience in the history of popular music. Among the savvy New York entrepreneurs committed to promoting folk music were Izzy Young of the Folklore Center, Mike Porco of Gerde's Folk City, and John Hammond of Columbia Records. While these and other businessmen developed commercial networks for musicians, the performance venues provided the artists space to test their mettle. The authors portray Village coffee houses not simply as lively venues but as incubators of a burgeoning counterculture, where artists from diverse backgrounds honed their performance techniques and challenged social conventions. Accessible and engaging, fresh and provocative, rich in anecdotes and primary sources, Folk City is lavishly illustrated with images collected for the accompanying major exhibition at the Museum of the City of New York in 2015.
Working Class Audio #151 with David Glasser!!! Mastering engineer David Glasser has over 35 years of experience in audio engineering and has mastered thousands of records, including more than 80 GRAMMY nominees. A three-time nominee himself, he has earned two GRAMMY awards for mastering and restoration of the culturally significant Anthology of American Folk Music (1997) and Screamin’ and Hollerin’ the Blues: The Worlds of Charley Patton (2002). David began his audio career with the Boston Symphony, followed by eight years of recording and production for NPR. He founded Airshow in 1983 and shifted to full-time mastering in 1990 with a modest studio in Springfield, VA. Expanding the company to Boulder, Colorado in 1997, David grew Airshow into one of the largest mastering facilities in the country. In 2016, David built a new facility where he continues to enjoy the daily variety of a busy mastering practice. About this Interview: David talks with me about his early days at NPR, recording live shows, transitioning into mastering and being a volunteer fire fighter! Enjoy! - Matt
What is folk music? Spanning genres, geographical locations, and eras in time, it’s the music of the people. Although American folk music has been around for a long time, you could say it had its biggest explosion in the 1960s in Greenwich Village. In fact, New York has experienced a bit of a folk revival in recent years. On today's Please Explain, we're exploring folk music with Eli Smith, the co-founder of the Brooklyn Folk Festival, the banjo player for The Downhill Strugglers and the former co-host of The Down Home Radio Show. Jerron “Blind Boy” Paxton, a multi-instrumentalist performing at this year's Brooklyn Folk Festival, joins Eli in the conversation. They'll also perform live in our studio! Event: The Brooklyn Folk Festival will be held at St. Anne’s Church (157 Montague Street between Clinton and Henry) from April 8th-10th. It will feature 35 bands, workshops and events including an old time string band, freedom songs of the Civil Rights Movement, shape note, country blues and international folk music from Syria and Colombia.
Many people play roots music, but few modern musicians live those roots like Minnesota's Charlie Parr. Recording since the earliest days of the 21st century, Parr's heartfelt and plaintive original folk blues and traditional spirituals don't strive for authenticity: They are authentic. It's the music of a self-taught guitarist and banjo player who grew up without a TV but with his dad's recordings of America's musical founding fathers, including Charley Patton and Lightnin' Hopkins, Woody Guthrie and Leadbelly. With his long hair, fathertime beard, thrift-store workingman's flannel and jeans, and emphatic, throaty voice, Parr looks and sounds like he would have fit right into Harry Smith's "Anthology of American Folk Music."In July 2015, armed with his 12-string and resonator guitars, Parr stopped by the studios at Beehive Productions in Saranac Lake, New York, to record a few songs and talk to us about about his formative years living and playing music in the legendary West Bank of Minneapolis, Minnesota, making his way to Duluth where he now calls home, and about his Red House Records debut, 'Stumpjumper'.
Many people play roots music, but few modern musicians live those roots like Minnesota's Charlie Parr. Recording since the earliest days of the 21st century, Parr's heartfelt and plaintive original folk blues and traditional spirituals don't strive for authenticity: They are authentic. It's the music of a self-taught guitarist and banjo player who grew up without a TV but with his dad's recordings of America's musical founding fathers, including Charley Patton and Lightnin' Hopkins, Woody Guthrie and Leadbelly. With his long hair, fathertime beard, thrift-store workingman's flannel and jeans, and emphatic, throaty voice, Parr looks and sounds like he would have fit right into Harry Smith's "Anthology of American Folk Music."In July 2015, armed with his 12-string and resonator guitars, Parr stopped by the studios at Beehive Productions in Saranac Lake, New York, to record a few songs and talk to us about about his formative years living and playing music in the legendary West Bank of Minneapolis, Minnesota, making his way to Duluth where he now calls home, and about his Red House Records debut, 'Stumpjumper'.
Many people play roots music, but few modern musicians live those roots like Minnesota's Charlie Parr. Recording since the earliest days of the 21st century, Parr's heartfelt and plaintive original folk blues and traditional spirituals don't strive for authenticity: They are authentic. It's the music of a self-taught guitarist and banjo player who grew up without a TV but with his dad's recordings of America's musical founding fathers, including Charley Patton and Lightnin' Hopkins, Woody Guthrie and Leadbelly. With his long hair, fathertime beard, thrift-store workingman's flannel and jeans, and emphatic, throaty voice, Parr looks and sounds like he would have fit right into Harry Smith's "Anthology of American Folk Music."In July 2015, armed with his 12-string and resonator guitars, Parr stopped by the studios at Beehive Productions in Saranac Lake, New York, to record a few songs and talk to us about about his formative years living and playing music in the legendary West Bank of Minneapolis, Minnesota, making his way to Duluth where he now calls home, and about his Red House Records debut, 'Stumpjumper'.
Many people play roots music, but few modern musicians live those roots like Minnesota's Charlie Parr. Recording since the earliest days of the 21st century, Parr's heartfelt and plaintive original folk blues and traditional spirituals don't strive for authenticity: They are authentic. It's the music of a self-taught guitarist and banjo player who grew up without a TV but with his dad's recordings of America's musical founding fathers, including Charley Patton and Lightnin' Hopkins, Woody Guthrie and Leadbelly. With his long hair, fathertime beard, thrift-store workingman's flannel and jeans, and emphatic, throaty voice, Parr looks and sounds like he would have fit right into Harry Smith's "Anthology of American Folk Music."In July 2015, armed with his 12-string and resonator guitars, Parr stopped by the studios at Beehive Productions in Saranac Lake, New York, to record a few songs and talk to us about about his formative years living and playing music in the legendary West Bank of Minneapolis, Minnesota, making his way to Duluth where he now calls home, and about his Red House Records debut, 'Stumpjumper'.
Many people play roots music, but few modern musicians live those roots like Minnesota's Charlie Parr. Recording since the earliest days of the 21st century, Parr's heartfelt and plaintive original folk blues and traditional spirituals don't strive for authenticity: They are authentic. It's the music of a self-taught guitarist and banjo player who grew up without a TV but with his dad's recordings of America's musical founding fathers, including Charley Patton and Lightnin' Hopkins, Woody Guthrie and Leadbelly. With his long hair, fathertime beard, thrift-store workingman's flannel and jeans, and emphatic, throaty voice, Parr looks and sounds like he would have fit right into Harry Smith's "Anthology of American Folk Music."In July 2015, armed with his 12-string and resonator guitars, Parr stopped by the studios at Beehive Productions in Saranac Lake, New York, to record a few songs and talk to us about about his formative years living and playing music in the legendary West Bank of Minneapolis, Minnesota, making his way to Duluth where he now calls home, and about his Red House Records debut, 'Stumpjumper'.
Capital de la música country en casi todas sus variantes, en los bares y honky tonks de Lower Broadway se puede escuchar todo tipo de música casi las 24 horas del día.Recorre con Las Calles del Ritmo la historia musical de Nashville.PLAYLIST:1. Hank Williams - Cold Cold Heart (Grand Ole Opry, 1951)2. Uncle Dave Macon - Way Down the Old Plank Road (Anthology of American Folk Music, 1952)3. Deford Bailey - Davidson County Blues (Walk Right In, 2002)4. Bob Wills - New Spanish two step (Country 100, 2009)5. Levon Helm - No Depression in Heaven (Ramble at the Ryman, 2011)6. Kitty Wells - It Wasn't God Who Made Honky Tonk Angels (It Wasn't God Who Made..., 2009)7. Chet Atkins - Mr Sandman (The Essential Chet Atkins, 1996)8. Elvis Presley - Little Sister (The Essential Elvis Presley, 2007)9. Bob Dylan - Girl From the North Country (Nashville Skyline, 1969)10. Brenda Lee - I'm Sorry (Brenda Lee, 1960)11. Tammy Wynette - Stand By Your Man (Stand By Your Man, 1968)12. The White Stripes - Jolene (Hello Operator, 2000)13. Jack White - Lazaretto (Lazaretto, 2014)14. The Black Keys - Fever (Turn Blue, 2014)15. Blind James Campbell and his Nashville Street Musicians - Sittin' Here Drinking (Blind James Campbell..., 1963)16. The Allman Brothers Band - Black Hearted Woman (The Allman Brothers Band, 1969)17. Kings of Leon - Red Morning Light (Youth and Young Manhood, 2003)18. Be Your Own Pet - Zombie Graveyard Party (Get Awkward, 2008)19. Lambchop - Grumpus (Nixon, 2000)20. Hayden Panettiere - Telescope (The Music of Nashville, 2013)21. Sam Palladio y Clare Bowen - If I didn't know better (The Music of Nashville, 2013)22. The Byrds - West Nashville (Dr. Byrds and Mt Hyde, 1969)
In this episode, Nick looks at the weird, strange, spiritual world of…music from the 1920’s? The contagious mystery of The Anthology of American Folk Music has captured the imagination of Rock n’ Roll, country, and blues musicians for the last 60 years. Show links: Read the full article...
We seem to be running into a lot of long thinkers, lately - artists who don't shirk from taking their time to do the work they want. Jump in! Here's a rough guide to this week's episode. 01:35 - 00:00 Young Artists Debut05:25 - 07:12 Classical Up Close at Ethos07:15 - 13:26 St. Vincent14:39 - 26:33 Lindsay Hill's Sea of Hooks26:45 - 28:37 Phosphorescent @OPBMusic28:40 - 36:54 Complete Works Project38:07 - 43:10 Crow's Shadow's Frank Janzen43:20 - 46:20 Steve LaRiccia46:21 - 52:05 Harry Smith's Anthology of American Folk Music
Michial Farmer moderates a conversation with Danny Anderson and Nathan Gilmour about the American folk music scene in the twentieth century. Focusing on three giants of the genre and the political questions that they raise, the Humanists dig into the grand myth of populist music, the strange mix of radicalism and conservatism that follows folk music, and the recent death of Pete Seeger. Among the singers and other realities discussed are Woody Guthrie, Bob Dylan, folk-rock, Joseph Stalin, and the Clearwater movement.
Michial Farmer moderates a conversation with Danny Anderson and Nathan Gilmour about the American folk music scene in the twentieth century. Focusing on three giants of the genre and the political questions that they raise, the Humanists dig into the grand myth of populist music, the strange mix of radicalism and conservatism that follows folk music, and the recent death of Pete Seeger. Among the singers and other realities discussed are Woody Guthrie, Bob Dylan, folk-rock, Joseph Stalin, and the Clearwater movement.
After the huge success of Elvis Presley there was a moment when it looked as if rock ‘n’ roll might, indeed, be nothing more than a fad. Its successor in the world of popular music would be folk music, and its undisputed leader was the Kingston Trio. In Greenback Dollar: The Incredible Rise of the Kingston Trio (The Scarecrow Press, 2013) William J. Bush details the history of this landscape altering band. In it, Bush details the biographies of, first, the original three members of the band – Nick Reynolds, Bob Shane, and Dave Guard – and their meteoric rise to fame from 1958 through 1961. He then tells of the falling out and eventual replacement of Guard with John Stewart and the continued artistic and commercial success of the band through the sixties. Along the way, Bush (a friend of all the members of these two incarnations of the band) describes the important places and events that led to the massive popularity that followed the Trio. So rock music never did fade away, but the influence of folk, thanks in large part to the Kingston Trio, became an integral part of popular music for decades to come. William J. Bush is a music journalist whose articles have appeared in a number of music magazines including Acoustic Guitar, Frets, Pennsylvania Heritage, The Guitar Player Handbook, and Artists of American Folk Music. Additionally, he has written for EMI/Capital Records, Folk Era Records, Bear Family Records, and Shout! Factory. He also appears in the 2006 documentary “The Kington Trio: Wherever We May Go.” Learn more about your ad choices. Visit megaphone.fm/adchoices
After the huge success of Elvis Presley there was a moment when it looked as if rock ‘n’ roll might, indeed, be nothing more than a fad. Its successor in the world of popular music would be folk music, and its undisputed leader was the Kingston Trio. In Greenback Dollar: The Incredible Rise of the Kingston Trio (The Scarecrow Press, 2013) William J. Bush details the history of this landscape altering band. In it, Bush details the biographies of, first, the original three members of the band – Nick Reynolds, Bob Shane, and Dave Guard – and their meteoric rise to fame from 1958 through 1961. He then tells of the falling out and eventual replacement of Guard with John Stewart and the continued artistic and commercial success of the band through the sixties. Along the way, Bush (a friend of all the members of these two incarnations of the band) describes the important places and events that led to the massive popularity that followed the Trio. So rock music never did fade away, but the influence of folk, thanks in large part to the Kingston Trio, became an integral part of popular music for decades to come. William J. Bush is a music journalist whose articles have appeared in a number of music magazines including Acoustic Guitar, Frets, Pennsylvania Heritage, The Guitar Player Handbook, and Artists of American Folk Music. Additionally, he has written for EMI/Capital Records, Folk Era Records, Bear Family Records, and Shout! Factory. He also appears in the 2006 documentary “The Kington Trio: Wherever We May Go.” Learn more about your ad choices. Visit megaphone.fm/adchoices
After the huge success of Elvis Presley there was a moment when it looked as if rock ‘n’ roll might, indeed, be nothing more than a fad. Its successor in the world of popular music would be folk music, and its undisputed leader was the Kingston Trio. In Greenback Dollar: The Incredible Rise of the Kingston Trio (The Scarecrow Press, 2013) William J. Bush details the history of this landscape altering band. In it, Bush details the biographies of, first, the original three members of the band – Nick Reynolds, Bob Shane, and Dave Guard – and their meteoric rise to fame from 1958 through 1961. He then tells of the falling out and eventual replacement of Guard with John Stewart and the continued artistic and commercial success of the band through the sixties. Along the way, Bush (a friend of all the members of these two incarnations of the band) describes the important places and events that led to the massive popularity that followed the Trio. So rock music never did fade away, but the influence of folk, thanks in large part to the Kingston Trio, became an integral part of popular music for decades to come. William J. Bush is a music journalist whose articles have appeared in a number of music magazines including Acoustic Guitar, Frets, Pennsylvania Heritage, The Guitar Player Handbook, and Artists of American Folk Music. Additionally, he has written for EMI/Capital Records, Folk Era Records, Bear Family Records, and Shout! Factory. He also appears in the 2006 documentary “The Kington Trio: Wherever We May Go.” Learn more about your ad choices. Visit megaphone.fm/adchoices
Michael Reno Harrell speaks on how the history of Storytelling Revival is connected to the folk music revival.
Folk Music and the Edmonton Folk Music FestivalThis edition of the podcast is all about folk, delving into some of the different paths the music has taken throughout the years.Vue Wave 2: Edmonton Folk Music FestivalPLAYLIST:"Baby, Please Don't Go"Joe Williams' Washboard Blues SingersThe Anthology of American Folk Music Vol 4Revenant RecordsMusic bed - "See That My Grave is Kept Clean"Blind Lemon JeffersonThe Anthology of American Folk MusicSmithsonian Folkways"John Hardy Was a Desperate Little Man"The Carter FamilyThe Anthology of American Folk MusicSmithsonian FolkwaysMusic bed - "Ranger's Command"Woody GuthrieBuffalo Skinners: The Asch Collection Vol 4Smithsonian Folkways"This Land is Your Land"Pete SeegerA Link in the ChainColumbia/LegacyMusic bed - "See That My Grave is Kept Clean"Bob Dylan and the BandThe Basement Tapes sessions, 1967"Careless Love"Bob Dylan and Johnny CashStudio session, 1969"This is War"Justin RutledgeThe Devil on a Bench in Stanley ParkSix Shooter RecordsMusic bed - "Year of Jericho"Justin RutledgeNo Never AloneSix Shooter Records"Daybreak in Dixie"The Stanley BrothersAngel Band: The Classic Mercury RecordingsMercuryMusic bed - "Worry B Gone"Guy ClarkWorkbench SongsDualtone"Texas 1947"Guy ClarkLive recording, 1991Music bed - "Another Song, Another Drink"Ralph Stanley and the Clinch Mountain BoysMichigan BluegrassJessup Records"Folsom Prison Blues"Bob Dylan and the BandThe Basement Tapes sessions, 1967
Legendary singer, songwriter, actress and human rights activist Odetta will perform as part of CC's Black History Celebration. Dubbed by Martin Luther King, Jr. as the "Queen of American Folk Music", she has been cited as the main influence of artists such as Janis Joplin, Bob Dylan, Sweet Honey in the Rock, Tracy Chapman, Carly Simon and Jewel. Her most recent album, "Gonna Let it Shine," received a 2007 Grammy nod and Real Blues Magazine referred to it as "the most important album of this generation." Recorded February 21, 2008.
Tracklisting: All Stars — Bye Bye Blues (from Jazz w Polsce 1 - Poczatki 1950-1960) Alexandroid — Debil (False Starts) Vera Ward Hall — Poor Lazarus (Deep River of Song: Alabama: From Lullabies to Blues) An-shu — Sex and Death (Every Monkey Is a Star) Nettle — Grit remixed by DJ /rupture Featuring Jenny Jones (Soot) Slepcy with Charles Bukowski — On The Ride (Cock Rock Disco 2006 free compilation) Dr Who Dat — B-Boy Portrait in Spain (Lex Records) 3rd Party — The Hollow Moment Catalogue (Museum Records) The Lucky Dragons — New Homes (Dark Falcon) Miss Pickle — Hoff Boy Fredo Viola — The Sad Song (Because) Melodium — My Xylophone Loves Me (Autres Directions) TD Lind — Let's get lost (Come in from the Cold) Chubby Parker — King Kong Kitchie Kitchie Ki-Me-O (Anthology of American Folk Music (1-A) ed. by Harry Smith) Spank Rock — What It Look Like (A capella) (Big Dada) vs Bob Dylan — Nashville Skyline (Tom Bear's stretching it a bit mix) Wayne and Wax — A it dat (A capella) (Mashit) vs Dempsey Jacks — Pig Ankle Rag (Tom Bear's stretching it a bit mix) Normal Position — Pots of Spank (Deep Water Recordings) Mouse on Mars — Pinwheel Herman (Sonig) Shex — Document 631 (19-t compilation "Apa") Bass Clef — One Hundred Point Four (Unreleased) Pope Thermador — Selassie On The Wye (Unreleased) Chevron — Rick Stein's Babyliss Pancake (Planet Mu/Wrong Music) Doddodo — Waltz Core (Adaadat) + samples from all over the shop Would you like us to feature one of your tracks in a forthcoming Oddcast? Perhaps you're not happy with us using one of your tracks and you'd like to give us a bollocking. Perhaps, after hearing the first one, you think a gnat could put a more interesting selection together... Whatever, we'd really love to hear from you. ^ You can listen to Spannered's June 07 Oddcast here ^ You can listen to Spannered's Brazilian Oddcast here
© 2020-2025 Ivy Podcast Discovery LLC
