Podcasts about Dock Boggs

All kinds of stories are told at the weekly rehearsals. Some are shared for laughs. Others are merely melodies and improvisations. Some come with pictures. And some — like this one — are the tales that are many times older than all of us.As reported here earlier, traditional versions of “Pretty Polly” were on some of the first discs made by Appalachian musicians at the dawn of the recording industry. These included Eastern Kentuckian John Hammond's "Purty Polly" of 1925 and the "Pretty Polly" versions of B.F. Shelton and Dock Boggs, both in 1927.To read more about the song's fascinating origin story — it goes back nearly 300 years in Great Britain, had immigrated in the U.S. by the early 20th century to be collected by song hunter Cecil Sharp and obtained honored status in the folk song revival of the 1960s — check out the earlier Flood Watch article by clicking here.Floodifying It The Flood's version of this song lyrically follows the well-established narrative of Polly and Willie's fateful night, but melodically it takes a lot of liberties with the traditional tune. The rendition, in fact, is built on a musical idea that dates back a half century to pre-Flood days.When Charlie Bowen and David Peyton were just starting out as a duo in the early 1970s, they discovered that a repeated scale descending from an opening minor chord resonated nicely on the guitar-Autoharp accompaniment to their voices.Over the decades, each configuration of the band has found something new to contribute to this basic arrangement. And it is still happening. Just listen to what Dan Cox and Jack Nuckols brought to the song at a rehearsal earlier this month.More Folkiness?If you'd like more tunes from The Flood's dustier shelves, you can use Flood Watch's resources to find some. Visit the “Tunes on the Timeline” department; click here to reach it.Once there, scroll all the way to the bottom for links to timeless tunes and their stories, from “Barbara Allen” to “Wayfaring Stranger” listed in the Traditional category.Meanwhile, if you'd like to add even a little more Flood folkery to your wintry Friday, don't forget the free Radio Floodango music streaming service, where you can turn on the “Folk” channel for a randomize playlist of tunes.Click here to give it a spin.A Note about The GraphicsFinally, back to the video that tops this week's article, note that the graphics used to illustrate the performance were generated by artificial intelligence. As reported here earlier, nowadays we sometimes use free online AI software called ImageFX to create accommodating art for these pages. In this case, that software was asked to generate pictures that appeared to be in an old-fashioned quilt. Let us know what you think of the results. 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

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)

¡Vótame en los Premios iVoox 2024! En un rincón perdido de Appalachia, hay brujas y demonios, y acecha la muerte. Pero no se preocupen, porque llegaron Hellboy y el BRPD. O bueno, en una versión llega con una agente del BPRD, mientras que en otra llega Hellboy solo. Juntos en Buenos Aires, Eze y MaGnUs hacen RE: señas de Hellboy: The Crooked Man, tanto el comic (por Mike Mignola, Richard Corben, y otros), como de su adaptación a cine, bastante alejada de anteriores películas del personaje, pero mucho más cercana al material original. Con música de Mark O'Connor, Charlie Daniels, Johnny Cash, & otros, Dock Boggs, y The Handsome Family. Próximo programa: Sopapo Oriental - Legend Of The Northern Blade / Tsuyoshi.

Pink Floyd's Catalog Sale: A New EraIn this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states. TakeawaysThe Grateful Dead's acoustic sets were a significant part of their live performances.Audience tapes capture the energy of live shows better than soundboard recordings.Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling.Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry.The Betty Boards represent a pivotal moment in Grateful Dead tape trading history.The hemp industry faces legal challenges that could impact small businesses.A majority of chronic pain patients support the legalization of medical marijuana.Cannabis enhances the enjoyment of music, as confirmed by recent studies.Record sales in legal marijuana states are reaching new heights, indicating a thriving market.Personal strain recommendations can enhance the cannabis experience for users. Chapters00:00Introduction and Context of the Grateful Dead's Music04:50Exploring 'Iko Iko' and Audience Tapes10:42The Significance of 'Monkey and the Engineer'15:24Remembering Chris Christopherson and 'Me and Bobby McGee'22:31Pink Floyd's Catalog Sale to Sony Music28:15The Mystery of the Betty Boards54:16Current Issues in the Hemp Industry01:08:10Support for Medical Marijuana Legalization01:15:50The Impact of Marijuana on Music Enjoyment01:21:09Record Sales in Legal Marijuana States01:25:53Strain Recommendations and Personal Experiences Grateful DeadOctober 7, 1980 (44 years ago)Warfield TheaterSan Francisco, CAGrateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st)   Each show opened with an acoustic set followed by two full electric sets.  These were the last shows where the Dead played acoustic sets.  Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band's sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band's seventh live album and 18th overall).  Today's episode is broken up into three acoustic numbers from this show and then three electric numbers. INTRO:                     Iko Iko                                    Track #1                                    0:00 – 1:37 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts. The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song.  A permanent part of the Dead's  repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away.  The intro, one verse and back to NFA.  Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing.  Perfect song for Jerry with the call and response chorus that everyone joined in on.  The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey.  Once you hear it live, you are always looking for it at future shows. I love this song as do many Deadheads.  But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show.  Jerry played it right up until the end. Played:  185 timesFirst:  May 15, 1977 at St. Louis Arena, St. Louis, MO, USALast:  July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA SHOW No. 1:         Monkey And The Engineer                                    Track #4                                    0:48 – 2:25 Jesse Fuller tune Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues".  Starting in the 1950's after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles. In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[ Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish. A fun tune that is perfect for kids as well.  Good one to get them hooked into the Dead on! Played:  38 timesFirst:  December 19, 1969 at Fillmore West, San Francisco, CA, USALast: February 12, 1989 at Great Western Forum, Inglewood, CA, USA  MUSIC NEWS:                         Intro Music:           Me and Bobby McGee                                                            Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com)                                                            0:00 – 1:27 "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said.  A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971. Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time. In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame. The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They visit California and then part ways, with the song's narrator expressing sadness afterwards. Due to the singer's name never being mentioned and the name "Bobby" being gender-neutral (especially in America), the song has been recorded by both male and female singers with only minor differences in the lyrical content. Me And Bobby McGee was first performed by the Grateful Dead in November 1970. It was then played well over 100 times through to October 1974. The song returned to the repertoire for three performances in 1981 after which it was dropped for good.  Sung by Weir.    RIP Kris Kristofferson Kris Kristofferson, the iconic country music singer-songwriter and accomplished Hollywood actor, passed away peacefully at his home in Maui, Hawaii, at the age of 88. The family has not disclosed the cause of death. It was confirmed that Kristofferson was surrounded by loved ones during his final moments. In a statement, the family shared: "It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, Sept. 28 at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all." Tributes poured in from across the entertainment world and fans as the news of Kris Kristofferson's death spread. Barbra Streisand, his co-star in A Star Is Born, praised him as a "special” and “charming" in a post on X. Dolly Parton, who collaborated with Kristofferson, shared on X, "What a great loss. I will always love you, Dolly." Kristofferson's career was nothing short of extraordinary. He achieved stardom as both a country music artist and a successful actor. Throughout his prolific career, Kristofferson earned numerous accolades. These include three Grammy Awards and an induction into the Country Music Hall of Fame in 2004. Additionally, he was nominated for an Academy Award in 1985 for Best Original Song for Songwriter. In 1971, Janis Joplin, who had dated Kristofferson, had a number one hit with "Me and Bobby McGee" from her posthumous album Pearl. It stayed on the number-one spot on the charts for weeks.  In 2021, after releasing his final album, The Cedar Creek Sessions, in 2016, Kristofferson announced his retirement from music. His legacy as a musician, actor, and cultural icon leaves a profound impact on both industries. He is survived by his wife, Lisa, his children, and his grandchildren.  Pink Floyd sells song rights (Rolling Stone Magazine) After years of in-fighting and near-agreements, Pink Floyd have finally reached a deal to sell the rights to their recorded music catalog to Sony Music, according to the Financial Times.The deal is reported to be worth around $400 million and also includes the rights to the band's name and likenesses. That means, along with gaining full control over Pink Floyd's music, Sony will have the crucial rights for most things Pink Floyd-related, from merch to movies. A rep for Sony Music declined to comment. A source confirmed the veracity of the details to Rolling Stone. In an interview with Rolling Stone in August, Gilmour confirmed that the band was “in discussion” about a potential catalog sale, with the guitarist adding he was tired of the continued in-fighting and “veto system” that has resulted in animosity and delayed reissues over petty issues like liner notes.   “To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” Gilmour said of a catalog sale. “If things were different… and I am not interested in that from a financial standpoint. I'm only interested in it from getting out of the mud bath that it has been for quite a while.” With the Sony deal in place, the label — and not the band — will now bear the responsibility for the next Pink Floyd release, a 50th-anniversary edition of Wish You Were Here that is expected to arrive in 2025. The Sony deal comes 18 months after Pink Floyd made traction on a $500 million agreement to sell their music, only for more bickering between band mates to make the deal “basically dead,” as sources told Variety in March 2023. The Sony deal only includes Pink Floyd's recorded music catalog, which allows for the band to keep its largely Waters-penned publishing catalog and retain ownership of now-apropos lyrics like “Money/It's a crime/Share it fairly, but don't take a slice of my pie” and “We call it riding the gravy train.” What happened to the Betty Boards In May 1986, a storage auction took place in California's Marin County that would altogether change the nature of Grateful Dead tape trading, the group's distribution of its live recordings and, ultimately, the Dead's place in the Library of Congress' National Recording Registry. An advertisement in a local paper drew in a few dozen curious parties anticipating the range of memorabilia and household items that typically become available through the auction of lockers that had fallen into arrears due to lack of payments.  Among the items up for auction that day were hundreds of reel-to-reel soundboard tapes of the Grateful Dead originally recorded by Betty Cantor-Jackson during a golden age between 1971-80. The Betty Boards, as copies of these recordings became known, eventually found their way into the collections of longstanding Deadheads and newbies alike, ending some aspects of a tape-trading hierarchy by which certain individuals lorded over their collections, denying access to those who were unfamiliar with the secret handshake. The appearance and subsequent dissemination of these recordings became a source of fascination and speculation for Deadheads in 1986 and the questions have only compounded over the years: How did the tapes fall into the auction? Who won them? How and why were they initially distributed? Are there more recordings that have yet to make it into circulation? And jumping ahead to the present, where are those tapes today? Just what has become of the Bettys? What can be said with certainty is that a new cache of tapes has been unearthed and a plan is underway by Dark Star Orchestra guitarist Rob Eaton, who has painstakingly restored many of the boards, to complete the job and then facilitate their return to the band. Eaton hopes that a series of official releases might follow that will also yield a small royalty to the woman who recorded the reels and then lost them due to her own financial hardship, even if Deadheads owe her a debt of gratitude. Before the auction, before the boards, there was Betty. Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead's brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead's Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman's Dead). While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.) “My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed. Rex was killed in a car accident in ‘76. In ‘77 and ‘78, I was put on Grateful Dead road crew salary, taping and handling Bobby's stage setup.” She later began a romantic relationship with Dead keyboardist Brent Mydland but, after that ended, she sensed that she had been frozen out. “Brent and I split up after a few years, with the last year spent in the studio working on his solo project. This put me in the category of the dreaded ‘ex.' I didn't think that could apply to me, but he was a band member. Everyone was paranoid of me being around, so I no longer had access to my studio or the vault.” Trying times followed. In 1986, she found herself in a dire financial predicament and forced out of her home. “All my things were moved to storage facilities. Unable to foot the bill at the storage center, Cantor-Jackson forfeited the rights to her worldly possessions. She remembers contacting the Grateful Dead office to inform them of the situation, but the group took no action, resulting in a public auction of Cantor-Jackson's personal assets, which included more than 1,000 reel-to-reel tapes—mostly Grateful Dead recordings, along with performances by Legion of Mary, Kingfish, Jerry Garcia Band, Old and In The Way, the Keith and Donna Band, and New Riders of The Purple Sage. The majority of the 1,000-plus reels that have come to be known as the Betty Boards were acquired by three principals, none of whom were fervid Deadheads at the time. The first of these individuals set his tapes aside in a storage locker where they remain to this day. A second, who was more interested in the road cases that held the tapes, left them to rot in his barn for a decade. The final party was a couple with a particular interest in progressive rock, who nonetheless held an appreciation for the performances captured on tape. So while some tapes unquestionably were scattered to the wind, following the four- hour event and a second auction for a final lot of tapes held a few weeks later, the three prime bidders each held hundreds of reels. While two of the winning bidders had no plans for the tapes, within a few months the couple decided that they would place the music in circulation. This was our way of getting new material into circulation and also breaking the hierarchy of those collectors who held on to prime shows for themselves. Initially, we started transferring the tapes to VHS Hi-Fi on our own, but soon realized what a daunting task this was going to be. So we reached out to one of our trading buddies who we knew had connections in the Dead trading community. From there, he gathered together what was later to become known as the ‘Unindicted Co-conspirators,' who put in a massive archiving effort to back up the tapes and distribute them.” The individual they selected as their point person was Ken Genetti, a friend and longtime Deadhead. “I went into their house, and I opened up this closet and they had all the stuff arranged on a shelf in order,” Genetti reflects. “For me, it was like King Tut's tomb. I knew immediately what they had when I looked in there. The first thing I saw was Port Chester, N.Y., Feb. 18, 1971, an incredible show which was Mickey [Hart]'s last concert for many years and I said, ‘You've got to be kidding me!' Then I saw Kezar Stadium, San Francisco, Calif., ‘73, my favorite concert I ever went to. I pulled it out and I went, ‘Holy shit!'” They explain: “We had sought to keep the operation as low key as possible because of the potential for a backlash. It wasn't until someone contacted the Grateful Dead office and offered them a copy of the tapes that we knew it was only a matter of time before we would be hearing from their lawyers. When we did hear from them, there was a bit of back and forth between their lawyers and our lawyer, but the bottom line was we had purchased the tapes legally and owned them but didn't own the rights to the music contained on them. Therefore, we could not sell the music on them, which was never our intent anyway. That pretty much left us at a stalemate and, not wanting to stir up any more issues with the Grateful Dead office, is also why we avoided re-digitizing the tapes.” In late 1995, Eaton received a call from a high-school teacher who had purchased one of the lots predominantly for the road cases that held the tapes. The teacher now hoped to sell the reels and wanted Eaton to assess them. In a cluttered barn, Eaton discovered a grimy, mold-infested collection. This might have been the end of the story, but the Betty Boards have proven to be the gift that keeps on giving. The teacher never found a buyer for the tapes—his asking price was a million dollars—and two years ago, facing monetary struggles and fearing that that the bank might foreclose on his home, he contacted Eaton once again to see if he would be willing to take custody of the tapes. The teacher also explained that he had discovered another 50 reels while cleaning out the barn. Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” So through a chain of contacts, he eventually located the couple. While completing his work on the couple's reels, Eaton began researching the original auction, hoping to identify the third individual who had purchased the Bettys. He eventually found him, and in January 2014, the pair entered into discussions about this final batch of tapes, which Eaton hopes to restore. What then? Eaton has a plan that he already has set in motion. “What I'd love to see done—in a perfect world—is I think all the tapes need to go back to the vault,” he says. “I think the people that have purchased these tapes should be compensated. I don't think we're talking huge sums of money but enough to make them relinquish the tapes back to the Grateful Dead. They should be part of the collection. Another thing that's important is if these tapes do get back to the vault, Betty should get her production royalty on anything that gets released, which is completely reasonable. Those were her tapes; those weren't the Dead's tapes. I'd love to see Betty get her due.”  SHOW No. 2:         Heaven Help The Fool                                    Track #6                                    1:30 – 3:10Heaven Help the Fool is the second solo album by Grateful Deadrhythm guitaristBob Weir, released in 1978. It was recorded during time off from touring, in the summer of 1977, while Grateful Dead drummer Mickey Hart recovered from injuries sustained in a vehicular accident. Weir returned to the studio with Keith Olsen, having recorded Terrapin Station with the producer earlier in the year. Several well-known studio musicians were hired for the project, including widely used session player Waddy Wachtel and Toto members David Paich and Mike Porcaro. Only "Salt Lake City" and the title track were played live by the Grateful Dead, the former in its namesake location on February 21, 1995,[1] and the latter in an instrumental arrangement during their 1980 acoustic sets.[2] Despite this, Weir has continued to consistently play tracks from the album with other bands of his, including RatDog and Bobby Weir & Wolf Bros. "Bombs Away" was released as a single and peaked at number 70 on the Billboard Hot 100, becoming his only solo song to make the chart.[3] The album itself stalled at number 69, one spot behind his previous album, Ace. The title track was written by Bobby and John Barlow.  While a staple at Bob shows with the Midnights, Rob Wasserman, Rat Dog, Wolf Bros., etc., the Dead only played it during these Warfield/Radio City and only as an instrumental arrangement. Played:  17 timesFirst:  September 29, 1980 at The Warfield, San Francisco, CA, USALast:  October 31, 1980 at Radio City Music Hall, New York, NY, USA Now the electric tunes from today's show: SHOW No. 3:         Cold, Rain & Snow                                    Track #10                                    0:00 – 1:30 "Rain and Snow", also known as "Cold Rain and Snow" (Roud 3634),[1] is an American folksong and in some variants a murder ballad.[2] The song first appeared in print in Olive Dame Campbell and Cecil Sharp's 1917 compilation English Folk Songs from the Southern Appalachians, which relates that it was collected from Mrs. Tom Rice in Big Laurel, North Carolina in 1916. The melody is pentatonic. Campbell and Sharp's version collected only a single verse: Lord, I married me a wife,She gave me trouble all my life,Made me work in the cold rain and snow.Rain and snow, rain and snow,Made me work in the cold rain and snow.  In 1965, Dillard Chandler recorded a graphic murder ballad version of the song that ends with the wife being shot by the husband. According to the liner notes on Chandler's album, Chandler learned the song from Berzilla Wallin, who said that the song related to a murder that had occurred in Madison County, North Carolina: Well, I learned it from an old lady which says she was at the hanging of – which was supposed to be the hanging, but they didn't hang him. They give him 99 long years for the killing of his wife... I heard the song from her in 1911. She was in her 50s at that time. It did happen in her girlhood... when she was a young girl... She lived right here around in Madison County. It happened here between Marshall and Burnsville; that's where they did their hanging at that time – at Burnsville, North Carolina. That's all I know, except they didn't hang the man.'[2] Subsequent performances have elaborated a variety of additional verses and variants beyond the single verse presented by Campbell and Sharp. Several verses consistently appear. Some sources for lyrics that appear in some later versions may be from Dock Boggs's 1927 song "Sugar Baby" (Roud 5731),[1] another lament of a henpecked husband, which may have contributed a line about "red apple juice".[4] A British folksong, The Sporting Bachelors (Roud 5556),[1] contains similar themes, but was collected in the 1950s.[2][5] Earlier possible precursors include a series of broadside ballads on the general subject of "Woeful Marriage"; one frequently reprinted nineteenth-century example begins with the words "On Monday night I married a wife", (Roud 1692).[1][6] These British antecedents mostly share common themes and inspirations; the song originated in the local tradition of Big Laurel, Madison County, and relate to a nameless murderer who committed the crime at some time between the end of the Civil War and the end of the nineteenth century. A recent origin is also suggested by the relatively limited number of variations on the tune; most performances use the Campbell-Sharp melody as written.[2] Despite the apparent violence of the lyrics, women feature prominently in the oral tradition of the song. It was collected from "Mrs. Tom Rice", and sung by Berzilla Wallin, who learned it from "an old lady" who remembered the murder trial the song was about. The song is closely associated with the Grateful Dead; a studio version appeared on their first album The Grateful Dead (1967), and the song was a standard part of the Dead's repertoire throughout their career. They would often open with the song, or perform it early in the first set.[2] Unlike Chandler's recording, in the Dead's version of the lyrics the husband generally laments his mistreatment at his greedy wife's hands, but does not kill her. The lyrics from the Grateful Dead's version were adapted from an earlier recording by Obray Ramsey. Played:  249 timesFirst:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 19, 1995 at Giants Stadium, East Rutherford, NJ, USA  MJ NEWS:  Hemp Industry Advocates Ask Court To Halt California's Ban On Products With Any ‘Detectable Amount' Of THC Amid Legal Challenge2.      Most Pain Patients And Doctors Support Legalizing Medical Marijuana And Having Insurance Companies Cover The Cost, AMA Study Shows3.      Marijuana Enhances Enjoyment Of Music, New Study Finds, Confirming What Every Stoner Already Knows4.      Six U.S. States Report Setting New Monthly Marijuana Sales Records M.J. Strains:           Blackwater – an indica marijuana strain made by crossing Mendo Purps with San Fernando Valley OG Kush.  The strain offers effects that start out mellow but will eventually melt down through your entire body for a classic head to toe euphoric high.  A sweet grape aroma that blends well with subtle undertones of lemon and pine.  MMJ uses include for relieving symptoms associated with chronic pain, appetite loss and MS.  Recommended for late night consumption as it can cause mental cloudiness and detract from productivity.                      NYSD – this classic strain is sativa leaning, created by Soma Seeds in Amsterdam, a staple for stoners since its inception in 1997.  Its name is inspired by the tragic events in NYC on September 11, 2001.  It is a product of crossbreeding Mexican sativa and Afghani landrace strains.  Has a unique aroma and taste that sets it apart from the crowd.                       Pure Gas - a hybrid cross of E85 and OG Kush. The parent strains are carefully chosen for their complex terpene profiles and effects. The OG Kush is known for its lemon-pine-fuel taste and an aroma of fuel, skunk, and spice. Additionally, its high-THC content provides a potentially heavy-hitting experience that shines through in the Pure Gas strain. As far as THC level in Pure Gas, it is one of our higher testers and definitely a high-potency strain. Smoking Pure Gas might bring effects similar to that of the OG Kush. The strain may be a creeper, meaning its effects may sneak up on you, so we recommend trying a little at a time, especially if you're new to smoking. Users may experience a deep body relaxation and cerebral high. The strain is definitely one that might activate your munchies, so make sure you have your favorite snack on hand. The overall effects of the Pure Gas strain might make it perfect for a movie night with friends, pre-dinner smoke sessions, and just hanging out. For users who suffer from appetite loss, the strain may help stimulate your hunger.  SHOW No. 4:         Loser                                    Track #12                                    4:13 – 6:13 David Dodd:  The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes. Appearing, as it does, on Garcia, the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.” Those songs share certain motifs, and among them are the various accoutrements of a gambler's trade, whether dice or cards. Money plays a role—and, in the case of “Loser,” the particular money mentioned helps place the song chronologically. Gold dollar coins were minted from 1849 (the Gold Rush!) to 1889. They were tiny little coins. I have one, and it is amazingly small—between 13 and 15 mm in diameter. “All that I am asking for is ten gold dollars…” C'mon! They're tiny little things. In fact, originally, the line was “one gold dollar,” but that changed at some point to the “ten” The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.” (It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.) Almost always played as a first set Jerry ballad. This version might have been the high point of this show.  So nicely played and sung by Jerry. Played:  353First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 28, 1995 at the Palace of Auburn Hills, MI  OUTRO:                   Good Lovin'                                    Track #27                                    3:25 – 5:04 "Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a #1 hit single for the Young Rascals in 1966. The song was first recorded by Lemme B. Good (stage name of singer Limmie Snell) in March 1965 and written by Rudy Clark. The following month it was recorded with different lyrics by R&B artists The Olympics, produced by Jerry Ragovoy; this version reached #81 on the Billboard Pop Singles chart. The tale has been told that Rascal Felix Cavaliere heard The Olympics' recording on a New York City radio station and the group added it to their concert repertoire, using the same lyrics and virtually the same arrangement as The Olympics' version. Co-producer Tom Dowd captured this live feel on their 1966 recording, even though the group did not think the performance held together well. "Good Lovin'" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list.[4] Writer Dave Marsh placed it at #108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement." A popular version was by the Grateful Dead, who made it a workhorse of their concert rotation, appearing almost every year from 1969 on.[6] It was sung in their early years during the 1960s and early 1970s by Ron "Pigpen" McKernan and later by Bob Weir. The Weir rendition was recorded for the group's 1978 Shakedown Street album and came in for a good amount of criticism: Rolling Stone said it "feature[d] aimless ensemble work and vocals that Bob Weir should never have attempted."[7] On November 11, 1978, the Grateful Dead performed it on Saturday Night Live. Typically, at least by the time I started seeing them, usually played as a second set closer or late in the second set. As good buddy AWell always said, “if they play Good Lovin, everyone leaves with a smile on their face.”  Can't argue with that. Played:  442First:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA Easy fast on Yom Kippur .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Songs and ballads are a foundation for storytelling traced back to the earliest human experiences. We'll share some all-time great story songs with you on this program, including selections from Stephen Wade, Sheila Kay Adams with Jim Taylor, Ramblin' Jack Elliot, Dock Boggs and a classic from Jerry Jeff Walker, too. Once upon a time … this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways Stephen Wade / “Hobart Smith's Wabash Blues” / Dancing in the Parlor / CountyDom Flemons / “Tying Knots in the Devil's Tail” / Black Cowboys / Smithsonian FolkwaysRamblin' Jack Elliot / “Railroad Bill” / Hard Travelin' / FantasyNorman Blake / “The Fate of Oliver Curtis Perry” / Brushwood Songs and Stories / PlectrafoneDock Boggs / “Cole Younger” / Classic American Ballads / Smithsonian FolkwaysEllis Paul / “The Storyteller's Suitcase” / The Storyteller's Suitcase / RosellaJerry Jeff Walker / “Mr. Bojangles” / Five Years Gone / AtcoOld Man Luedecke / “Machu Picchu” / My Hands are on Fire and other Love Songs / Black HenStephen Wade / “Malvern Hill” / Dancing in the Parlor / CountyStephen Wade / “Chicago” / A Storyteller's Story / PatuxentLarry Hanks / “The Ballad of Tom Joad” / The Last Wagon / Zippety WhippetJohn Roberts & Debra Cowan / “The Cornstalk” / Ballads Long and Short / Golden HindSheila Kay Adams & Jim Taylor / “Sherburne” / Christmas on the Mountain / Granny DellPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways 

Reference recording for the tab posted--view my tabs here.

Reference recording for the tab posted--view my tabs here.

Americans know “Pretty Polly” as the short, tragic story of a young woman who is lured into the forest and murdered by her brutal lover, who then buries her in a shallow grave and runs away.Actually, though, the oldest versions of this song — which has its origins almost 300 years ago in Great Britain — needed up to 36 verses to tell its grim story.In the original English ballad — called “The Gosport Tragedy” or “The Cruel Ship's Carpenter” — the murderer is a sailor who promised to marry the girl he seduced, but then changes his mind when he learns she is pregnant.  After he dumps her savaged remains in a forest grave, the killer returns to sea where he is haunted by his dead lover. In some versions, the sailor is murdered by her angry spirit; in others, he is driven to madness and/or to suicide.And as is often the case with ballads, the story probably is based on fact.Back in 1979, Professor David Fowler of the University of Washington published research in The Southern Folklore Quarterly arguing that the events of the song actually took place in 1726 and involved a ship's carpenter by the name of John Billson, who died at sea. First printed around 1727, the ballad tells the tale of Billson's murder of his pregnant girlfriend and of his fleeing aboard a ship called the MMS Bedford.Coming to AmericaBy the time the ballad migrated to North America (where British folklorist Cecil Sharp collected versions in the early 20th century), the song had been whittled down to half dozen verses, all without losing any of its emotional impact.  In the United States in the mid-1920s, the song had gained new life as a banjo tune by the time of its earliest recordings, including Eastern Kentuckian John Hammond's "Purty Polly" of 1925 and the "Pretty Polly" versions of B.F. Shelton and Dock Boggs, both in 1927.Curiously, Shelton and Boggs' versions both begin in the first person ("I courted Pretty Polly..."), then switch to the third person for the murder ("he stabbed her to the heart….”)Later, when a couple of first ladies of the 1960s folk revival recorded the song — Jean Ritchie in 1963, Judy Collins in 1968 — their versions featured alternating verses, switching back and forth between Polly and Willie's perspectives. Our Take on the TuneOur version of the song follows the well-established narrative of Polly and Willie's fatal night, but we take a lot of liberties with the traditional melody. Our rendition, in fact, is built on a musical idea that dates back a half century to the pre-Flood days. When Charlie Bowen and David Peyton were just starting out as a duo in the early 1970s, they found that a repeated scale descending from an opening minor chord resonated nicely on the guitar-Autoharp accompaniment to their voices. Since those salad days, every configuration of Floodifaction has found something to contribute to that basic original arrangement. And it's still happening. Just listen to what Sam St. Clair and Danny Cox have brought to the song with their solos on this take from last week's Flood rehearsal.More Song StoriesBy the way, some fans of this newsletter tell us they really enjoy these deep dives into the history of the songs we sing. If you'd like more, click here to browse our growing archive. 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

Interview with Joe Cannon of Resurrectionists Resurrectionists were originally formed by lyricist, guitarist, and banjo picker Joe Cannon and bassist Jeff Brueggeman from the locally revered trio WORK with drummer Josh Barto and pedal steel player Gavin Hardy. On the group's 2019 debut album What Comes In -- a collection of everyman trouble tales delivered with dark wit and piquant Midwestern tang -- Gavin's mournful, swelling steel work helped steer songs into Gothic-country territory. On Now That We Are All Ghosts, Hardy has been replaced by multi-instrumentalist Gian Pogliano. Gian's penchant for more adventurous, wider-ranging sonic discourse inspires Resurrectionists to branch out into unexpected stylistic experimentation. The material here is informed equally by the meticulous melodic abstractions of pre-punk icons on Television as the Old Weird American sounds of Dock Boggs and Bascom Lamar Lunsford. Now That We Are All Ghosts – SW031: Seismic Wave Entertainment    Resurrectionists Info https://www.facebook.com/resurrectionistsmke https://www.instagram.com/resurrectionists_mke/ https://resurrectionistsmke.bandcamp.com/ https://open.spotify.com/artist/7iirX41ABvqvjz7YGGylJo?si=dyvZFLKaRxa4EKsM_MCevg https://www.youtube.com/@resurrectionistsmke4624  http://seismicwave.net/ https://www.instagram.com/seismicwaveent/ https://twitter.com/seismicwave https://www.discogs.com/label/905311-Seismic-Wave-Entertainment  

1920s recordings from the Appalacian folk tradition by Bascom Lamar Lunsford, The North Carolina Ramblers and Dock Boggs.  

A clawhammer rendition of Dock Boggs' "Schottische Time". I think that Schottische Time certainly has its origins in the parlor music repertoire rather than strictly oldtime or mountain music. C standard tuning (gCGBD)

A clawhammer rendition of Dock Boggs' "Schottische Time". I think that Schottische Time certainly has its origins in the parlor music repertoire rather than strictly oldtime or mountain music. C standard tuning (gCGBD)

Help produce Basic Folk by contributing at basicfolk.com/donateEditor's note: Basic Folk is pleased to introduce our listeners to one of our favorite podcasts by sharing an episode in our feed! American Songcatcher with Nicholas Edward Williams, is an independent audio documentary-style podcast hosted by the folk musician and music history enthusiast.Each episode has five stories: starting with one traditional song's journey to America, followed by the stories of four musicians in American roots starting with legends of the past going all the way to current artists of the day.You'll hear the stories behind songs of immigrants from the British Isles and Europe who brought their tunes into the Appalachian mountains…To songs of the South: Gospel, Bluegrass, Ragtime, Blues, Old-Time, Country, and the Folk music derived from it all.This podcast goes behind the curtain of legends, and shines a light on integral artists who have influenced generations: Bessie Smith, Ola Belle Reed, Blind Blake, Odetta and Dave Van Ronk. I am SHOCKED that Nicholas does not have a journalism background. His approach is warm, insightful and he has the true spirit of a detective uncovering the mysteries of these songs and musicians. It's a wonderful listen!In this Season 2, Episode 2 of American Songcatcher, Nicholas has the following lineup:Traditional – “Lil' Liza Jane” (:28)Dock Boggs (11:22)Snooks Eaglin (25:54)Nina Simone (43:36)Billy Strings (1:04:18) Advertising Inquiries: https://redcircle.com/brands

New traditional record, releasing November 2nd: FOLK SONGS FOR OLD TIMES' SAKE Featured in this Episode: Traditional - “Lil' Liza Jane” (:28) Dock Boggs (11:22) Snooks Eaglin (25:54) Nina Simone (43:36) Billy Strings (1:04:18) Teaser: Today, this song is a standard in New Orleans brass bands as well as old-time music, but its earliest iterations started as a sea shanty. His three finger-style banjo picking was directly inspired by early African American string bands, and his early recordings helped standardize nearly a dozen old-time songs from the Cumberland mountain range. Blind at age one, he's one of the most versatile and inspirational guitarists in blues music, and one of the least known, unless you're from New Orleans. A renowned civil rights activist, arranger, singer, songwriter and pianist who covered a broad range of genres including classical, jazz, blues, folk, R&B, gospel and pop. At just 29 years old, this multi-instrumentalist has taken the traditional and progressive bluegrass world in the palm of his hand, and he's only getting started. Performances: “Little Liza Jane” - Traditional (9:25) “Wild Bill Jones” - Traditional (23:04) “Saint James Infirmary” - Traditional (39:42) “Sinnerman” - Traditional (1:02:01) “Walk on Boy” - Doc Watson (1:13:07) --- "Shine A Light" | Music Maker Relief Foundation Follow American Songcatcher | Instagram Support Independent Programming | Join the Patreon or send a one-time donation through Venmo or PayPal Source Credits: Traditional: Cultural Equity | Jazz Fandom Dock Boggs: Dock Boggs - “Life in Music” | Encyclopedia.com Snooks Eaglin': Nola.com | Blues access | All About Blues Nina Simone: Official Site | History Collection | Black past Billy Strings: Rolling Stone | Acoustic Guitar | Official --- Support this podcast: https://anchor.fm/americansongcatcher/support

Reference recording for the tab posted--view my tabs here.

Reference recording for the tab posted--view my tabs here.

This bonus episode of No Cover features more conversation and music with North Carolina musician Matt Heckler. In this episode, he talks more about recently getting into biking, touring with Flogging Molly and Dock Boggs. Support this podcast

Something different this week. We'll be reflecting on the Spring Issue of a magazine that cuts through the heart of what we love doing here on both Blue Moon Americana as well as Deeper Roots. There are a handful of publications that make the cut but No Depression magazine is truly special and the Spring 2021 issue is something to revel in. The writing, the artists, and the arc of 'The Great American Songbook', from Stephen Foster to Louis Armstrong is given thoughtful and insightful treatment. Our show this week puts a soundtrack with a century of America's music explored: Dock Boggs' Pretty Polly, George Gershwin's Rhapsody in Blue, The Blue Sky Boys' cover of Knoxville Girl, and some incredible Latin vocals from one Omara Portuondo. The magazine is worth the read and the music is worth a listen. Tune in on a Saturday among the Sonoma County skies for the best of community radio.

In this episode, Matt approaches the theme of death through the folk song, 'O Death!' Well-known  from the film 'O Brother Where Art Thou?' and the Banjo player Dock Boggs' version in the mid 1960s, Matt traces the rich history of the song back into the...

Dock Boggs' Country Blues/Hustling Gambler in f#CGAD tuned a half step or so low...

Dock Boggs' Country Blues/Hustling Gambler in f#CGAD tuned a half step or so low...

Dock Boggs' Country Blues/Hustling Gambler in f#CGAD tuned a half step or so low...

Dock Boggs' Country Blues/Hustling Gambler in f#CGAD tuned a half step or so low...

Dock Boggs' Country Blues/Hustling Gambler in f#CGAD tuned a half step or so low...

Another work in progress. A well known tune made famous by Dock Boggs. Only a couple of verses memorized.

Another work in progress. A well known tune made famous by Dock Boggs. Only a couple of verses memorized.

Welcome to the thirteenth edition of the County Sales Radio Hour with our host Kinney Rorrer. On this show, we will be featuring classic old time recordings from the legends of old time mountain music. This episode is dedicated to the legends of old time music, including Ernest East, John Ashby, The Camp Creek Boys, Fred Cockerham, Kyle Creed, Eck Robertson, The Carter Family, Dock Boggs, Charlie Poole and many more. It also features some of the modern heroes of old time music such as Foghorn Stringband. Most of the recordings featured on this program are available for purchase through the County Sales website and the County Sales store located in downtown Floyd, VA. You can also hear the County Sales Radio Hour at Radio Bristol every Monday at 12:00 noon and again on Saturdays at 3:00 pm.

For episode 666, a collection of evil music., including: Sinful Blues, Hard Time Killing Floor, Oh I'm Evil, Witches' Sabbath, Pretty Polly, Me and the Devil and It Ain't Necessarily So. Performers include: Maxine Sullivan, Robert Johnson, Skip James, Ella Fitzgerald, Una Mae Carlise, Pierre Monteux, Dock Boggs, Bessie Smith and Count Basie.

Mr Beman sice nemůže mluvit, ale na kvalitě hudební produkce to Dupárně nijak neubírá. Už poněkolikáté se můžete nechat okouzlit jednoduchou krásou americké horalské muziky. Čeká Vás mimo jiné Dock Boggs, Jack White, Tim O´Brien a mnozí další.

Reference recording for the tab posted--view my tabs here.

Reference recording for the tab posted--view my tabs here.

Among the pioneers of what was then known as "hillbilly music" was a coal miner from Norton, Virginia, named Moran Lee Boggs.  Better known as Dock Boggs, he became known for his unique style of banjo playing and singing, which was a combination of old time Appalachian folk music and African American blues.  Today we tell his story. You can find the Stories podcast on RadioPublic, Apple Podcasts, Stitcher, Spotify, TuneIn and on most other podcast apps. Thanks for listening and sharing our stories with your friends...

Cheddar Boys - Country Blues By Dock Boggs (Basement Sessions) by BridgeSet Sound

Lloyd Chandler's "A Conversation With Death" played 2 finger thumb lead with some 3 finger Dock Boggs-ish thrown in

Lloyd Chandler's "A Conversation With Death" played 2 finger thumb lead with some 3 finger Dock Boggs-ish thrown in

My Halloween celebration has a soundtrack.    And, along with all the standards, I collect “non-traditional” horror songs; ones that induce dread, or shock, maybe even fear.    In this episode I share some of the songs that are mainstays in my October playlist.  Maybe some of these songs will inspire you, and become part of your own celebration of Halloween.  Happy Listening.   If you like the show, please consider writing a review on iTunes or Google Play.  It really helps.  Thanks a lot for listening.      You can now subscribe to the Hellbent for Horror podcast now available on iTunes, Google Play, PlayerFM, and Stitcher.   You can keep up with Hellbent for Horror on iTunes @iTunesPodcasts     iTunes link: https://itunes.apple.com/us/podcast/hellbent-for-horror/id1090978706 Google Play link:https://play.google.com/music/listen#/ps/Ibsk2i4bbprrplyvs37c6aqv2ny Stitcher link: http://www.stitcher.com/podcast/hellbent-for-horror?refid=stpr   For you, the listeners of Hellbent for Horror, Audible is offering a free audiobook download with a free 30-day trial to give you the opportunity to check out their service. To download your free audiobook today, go to: http://www.audibletrial.com/HellbentForHorror   Songs covered: “Pretty Polly” by Dock Boggs  “Country Death Song” by the Violent Femmes  “O’Malley’s Bar” by Nick Cave and the Bad Seeds  “Do You Love Me? (Part 1 and 2)” by Nick Cave   “The Devil’s Own” by David Sylvian  “We Die Young” by Alice in Chains “Them Bones” by Alice in Chains  “Twist of Cain” by Danzig  “Intruder” by Peter Gabriel  “I Want You” by Elvis Costello “Black Angels, Movement 1: Departure” by Kronos Quartet  “Viginti Tres” by Tool  “Drift” by Fear of God “Disturbing the Priest” by Black Sabbath  “Dead Skin Mask” by Slayer “Victim” by the Golden Palominos “Subway Song” by The Cure  “Delia’s Gone” by Johnny Cash  “Car Chase Terror” by M83  “Frankie Teardrop” by Suicide  “Sun Arise” by Alice Cooper

1- AND HOW ABOUT 'THE DOWN SOUTH BLUES?' CAN YOU REMEMBER WHERE YOU HEARD THAT? "Well, I learned that off of a phonograph record. My brother- in-law -- that was when we lived over here at Sutherland working for a while for Wise Coal and Coke Company -- he was a person that bought an awful lot of these phono- graph records at that time when was selling quite a lot of them in through here. Played them on these old- fashioned machines. I guess that he had probably 2 or 3 hundred of them. He had that there "Down South Blues." If I'm not mistaken, he had "Mistreated Mama Blues" on a record. I think it was sang and recorded by Mary Martin, or Sara Martin, or some woman; and it was accompanied by a piano. Anyway, I never did hear it played on a banjo or guitar or nothing else -- any kind of string music -- 'till just I commenced learning it myself, commenced playing it. In fact, I played for years that I never heard a man playa banjo that could play any kind
of blues on a banjo -- any kind. I got to playing with some boys, Scott Boatwright and anoLher one, I believe
it was Melvin Robenatt. And Scott says, 'I'm going to playa piece of blues, ' and said to me, 'Dock, you can wait till we play this here piece of blues.' I said, 'You think them blues ain't on this banjo neck the same as they're on that guitar? They're just as much on this banjo neck as they are on that guitar or piano or any- where else if you know where to go and get it, and if you learn it and know how to play it. 'Play the blues and see if I don't play them, see if I don't follow you.' And he played a piece of blues and sang them, and I went right along with him very good for the first time, hearing
them while he was playing them. I don't remember what that blues was, because I had some blues myself, 3 or 4 different blues that I played then all the time - - I mean all along. " HAD YOU PLAYED 'THE DOWN SOUTH BLUES' THEN? I don't remember whether I was playing "The Down South Blues" then or not. " WHEN DID YOU START WITH THE 'DOWN SOUTH?' "I commenced playing "The Down South Blues - - must have started, oh, must have been 40 years ago, maybe. About 40 years ago, I guess. " ABOUT 1923? "Yes, I have an idea that's about -- no, I must have started before that, because I know I took
my banjo and I went to Hemphill -- that's for the Elkhorn Coal Corporation -- and stayed over there a little while, had my banjo over there. I played "The Down South Blues" then, and "John Henry, " and " Poor Ellen Smith, " and "John Hardy, " and different pieces like that, and "Pretty Polly." Then people would gather up out there. We'd get out from a boarding house and sit under a big tree, and I'd have great big bunches of men gather up to hear me play. I was working in the mines loading coal, but I had my banjo over there with me and I played a lot of different pieces at that time. " 2- AND 'THE COAL CREEK MARCH' WAS ONE OF THE FIRST TUNES THAT YOU... ? "That was one of the first chording pieces that I learned. " DO YOU REMEMBER WHO PLAYED THAT? "No, I don't. I didn't learn it off of a phonograph record. I learned it -- I don't know who. I seen them chording, and I knowed the tuning that they had it in, and I just kept on fOOling with it. I seen two men with banjos that really could play "The Coal Creek March." And they had words for the song of "The Coal Creek March." I never learned them. If I had wanted, and insisted, I could have got the words -- they would have given them to me, if they would have cared to at all. Back along about - - just after I made those phonograph records, I guess it may have been in '27, last of '27, i 27 or i 28, that I seen these fellows. They was good on that there "Coal Creek March," the best that ever I heard -- anybody -- 'cause they had the words to it; that's what made it so good. " DO YOU REMEMBER HOW THE WORDS GO? "No, can't remember nary a thing about that... " 4- DOCK, I REMEMBER AFTER YOU PLAYED 'THE COAL CREEK MARCH' FOR ME DOWN IN ASHEVILLE, DID YOU - - IT WAS THEN THAT YOU LEARNED SOME MORE ABOUT IT? "Yes, I found -- my brother-in-law, he's from Tennessee. He was telling me where that song "Coal Creek March" originated from and how it come about. It was made -- they had some labor trouble down in Tennessee. The men had been out on a strike and the state or government or something brought in ... convicts to try to run the mines with convict labor, and the people there tore it all up and turned them all loose. They had the state militia or guards or home guards whatever you call it in there, and they played up and down the road then a song they called" The Coal Creek March, " and it originated from that there strike and labor trouble they had there, what I understand, and there was a song made up about it. I have·never got the words of it. " WHEN YOU SAY THE PEOPLE 'TORE IT UP, 9 YOU MEAN--? "When they brought in this here convict labor, why, they went and turned them loose where they was in stockades, and broke it up. They was going to use the convict labor for to mine the coal and so on. They had on a strike, and the people just wouldn't stand for it. " 5- "They was a doctor in town here, one doctor; M. L. Stallard, Moran Lee Stallard was his name, and that's my name: Moran Lee. We had one doctor in town and he had so many calls he couldn't fill near all of them, but they wasn't many people in Norton at that time and he was out of town. So, my father thought a lot of Doc Stallard, and mother did, too; and so whenever I was born -- whenever I came into the world -- a boy, why, they named me after Moran Lee Stallard. When I was just a little toddler toddling around, why, my dad com- menced calling me Dock, and all my brothers and sisters and everybody called me Dock. And even people, my acqua.intances -- and when I was going to school I didn't even want anybody to even mention the name Moran Lee-- M-o-r-a-n L-double-e. I thought that was awful ugly; I'd rather be called Dock two-to-one. So, after I got older, why, doing my official business and so on I Signed my right name Moran Lee, and when I made phonograph records, why, I decided I'd better have my name put on there the way that everybody knowed me. And nearly everybody knowed me Dock and they didn't know anything about my name being Moran Lee or M. L. Boggs." 6- "When I was -- I started to Atlanta, Georgia, one
time I come out from Ashland, Kentucky, and I was
alone -- just had my banjo -- and pass off the time I started playing the banjo up through there, and I must have been going through close to where some of this trouble had happened. There's a man reached over and said, 'Buddy, if I's you I wouldn't play that through here. ' He said, 'I love to hear you play, I like to hear you Sing, I love to hear the song, I love to hear you play the banjo, but I wouldn't play that through here, because you know Ws been years and years since that trouble hap- pened, but up here at Prestonburg in the courthouse yard about a month or two ago or something like it a colored fellow playing that "Rowan County Crew, " playing it on the guitar and Singing it sitting under a tree there in the courthouse yard. One of those hotheads, boys -- must have been a distant relative or something to some of these people -- walked up to him, must have been about drunk or.something or other, just pulled out a •45 and shot the whole top of his head off.' And he said, 'It's a fact and I wouldn't play it through here.' I said, 'Mister, I'll not play it through here!' So I just stopped playing
it through there. So, I'm down here too far now, I don't guess that there's anybody wants to shoot me for playing it; so I'll play it for you the best I know how. "

1- YOU'D PLAYED FOR A LOT OF DIFFERENT KINDS OF PEOPLE, LIKE SOMETIMES YOU'D PLA YED FOR JUST P ARTIES AND THEN SOMETIMES YOU PLA YED FOR HIGH-PRICED MONEY. "Well, played where we'd collect off each person come in, you know -- pay so much. " WHAT KIND OF... WAS THAT A SHOW YOU PUT ON? "Yeah, it was a show, a musical show, you know. I had other musicians with me then. I had a real good fiddler and two guitar players part of the time, and sometimes I had a girl that played a ukelele -- and she danced, too. They was four in my band one time, they danced. " WHAT WERE THEIR NAMES? "I played with Beulah Boatwright, Scott Boatwright - - both them was very good musicians. " FROM AROUND HERE? " Y es,from Scott County over here. Scott lives over there now.I think Beulah lives back over there. I played with Charlie Powers and (an) old man, his father, was a fiddler, old time fiddler. He made phonograph records, they did, for Victor back years ago, before ever I made any, and Charlie he
come stayed with me for about a year and he played the guitar with me. And Scott Boatwright come stayed with me a while, and also Melvin Robnett -- played the fiddle, he's a very good fiddler. We played country theaters, schools, high schools -- schools in the country we'd have plumb full. Lot of times we'd make three, four hundred dollars a week. "
ABOUT WHEN WAS THAT? "That was back in '2-- I believe it was '29. " ' AFTER YOUR RECORDS HAD COME OUT? "Yes." DO YOU THINK THAT HELPED YOUR RECORDS, OR THE RECORDS HELPED THAT? "The records helped get the crowds, I'm pretty sure, because a lot of them that had my records had never heard me play in person. They came out to hear us play. " 2- THIS TUNING, KEY, THAT YOU USE HERE IN THE KEY OF D, WHERE YOU PLAY'THE COUNTRY BLUES,' DO YOU REMEMBER WHERE IT WAS YOU EVER FIRST HEARD THAT, OR DID YOU JUST WORK THAT OUT YOURSELF? " No, Homer Crawford played "The Country Blues, " or "Hustling Gamblers, " in that key, and there's so many more pieces I play: "Oh Death, " "Drunkard's Lone Child, " and " Calvary, " and "Prodigal Son" -- play that all in that. DO YOU REMEMBER WHAT TOWN THAT HE WAS FROM? "I don't know what town he was from in Tennessee. He's a photograph man made pictures for people like they used to. Carried a'camera around on his shoulders. Come up through this country and went over through The Pound. Used to stay at my uncle'S over on The Pound through there. Stayed all night with me after I was married, and he could playa fiddle and a banjo both. " HE'D PLAY AS HE CAME ALONG? "Yes, if you had an instrument, why he'd stay all night with you and play some mUSic, you know. Never did pay nothing for his lodging or anything like that. People's glad to have him because he knowed a lot of old songs. Most people liked music and they wasn't so much of it back then. They wasn't but just a few colored fellows you see played
guitar then. NOW, anybody you see nearly can pick a guitar. In nearly all the Holiness churches now they have guitars. Women play them a lot. We've got two people in the church, Free Pentecostal Holiness Church of God where I belong, up on Guest's River, plays music. " I WONDER IF THIS HOMER CRAWFORD WOULD STILL BE LIVING? "I don't think he's living yet. He was a great big fleshy fellow and I heard he was dead. I've not seen him for years and I think he's dead. If he was living, he'd be getting awful old, 75 probably. I have an idea he'd be 75, maybe 80 years old now. I think he's dead. " I WONDER HOW I COULD FIND OUT WHAT TOWN HE LIVED IN? "I really haven't got no idea. " SOUNDS LIKE HE TRAVELED A LOT. "Yeah, he
did. You can find lots of people knowed him. He made pictures. He had an awful good disposition, turn, every- body liked him, you know. He could Sing good. People liked that, too you know. " 3- "Well, I practiced an awful lot, and I even took a watch and timed myself, 2 minutes and 40 seconds, and if my song wasn't hardly long enough for to go the 2 minutes and 40 seconds, why I'd alternate a verse. Just pick it open and not sing, and then -- or either I'd sing from the start go or maybe I'd alternate one, pick over a piece if I didn't have hardly enough to make a record, 'till I'd make it come out to a 2 minute and 40 second record.
We had different records then what we got now. And 2 minutes and 40 seconds is all we had to do it, and we had altogether different technique and way they made the record than the way they do now, I suppose. I made records in New York the first time, in Chicago the second time, but they record them now down in Memphis Tennessee and different places. " ' WHO DID YOU RECORD FOR IN CHICAGO? "For 'The Lonesome Ace -- Without A Yodel.' He's a fellow in- dividual, from up here at Richland, Virginia. W. 'E. Myers. M-y-e-r-s, Myers. W. E. Myers." DID YOU MAKE A COMPLETE LIVING PLAYING MUSIC FOR A WHILE? "Yeah, for a little while they was a few months that I didn't do anything when I was over in Kentucky. " IS THAT WHEN YOU WERE RECORDING, YOU MEAN? "That was just after I'd make those records
and I figured on making some more. I was playing in schools and theaters, and I'd play for private dances or anything and make some money off it. I played for old Senator Brock and his family when they was visiting up in Kentucky over there, swimming pool. They paid me pretty good for playing; me and my band played for them. This Combs, this governor of Kentucky, I played some for him over there, too. I think it was Bert Combs.
I'm pretty sure it was, can't hardly remember. It was before he was ever elected. " WHAT DID YOU CALL YOUR BAND? "The Cumber- land Mountaineers, Dock Boggs and His Cumberland Mountaineers, I believe. I've got a handbill here, where I had printed with it. Cumberl.and Mountain Entertainers, Dock Boggs and His Cumberland Mountain Entertainers. " DID YOU EVER RECORD FOR THE PARAMOUNT RECORD PEOPLE UP THERE IN, I GUESS IT WAS CHICAGO? "No, I never did make no records for them. " WAS THAT YOUR FIRST TRIP TO NEW YORK WHEN YOU WENT UP THERE? "Oh, I'd never out of these DID YOU MAKE A COMPLETE LIVING PLAYING MUSIC FOR A WHILE? "Yeah, for a little while they was a few months that I didn't do anything when I was over in Kentucky. " IS THAT WHEN YOU WERE RECORDING, YOU MEAN? "That was just after I'd make those records
and I figured on making some more. I was playing in schools and theaters, and I'd play for private dances or anything and make some money off it. I played for old Senator Brock and his family when they was visiting up in Kentucky over there, swimming pool. They paid me pretty good for playing; me and my band played for them. This Combs, this governor of Kentucky, I played some for him over there, too. I think it was Bert Combs.
I'm pretty sure it was, can't hardly remember. It was before he was ever elected. " WAS THAT YOUR FIRST TRIP TO NEW YORK WHEN YOU WENT UP THERE? "Oh, I'd never out of these hills, this mountain here. I studied - - I didn't know how I was going to do, or how -- I was self- conscious enough and always had thought enough about myself to care about what people thought about me, and wanted to act as near like a human being as I should, as I could. I was afraid I'd make a lot of mistakes, but I come to find out after I went with these other fellows up there, with John Dykes and Hub Mahaffey, and Miss Vermillion. Poor old man Dykes, he was a good friend of mine -- I don't want to say any harm or anything, but he pulled some awful boners. " DO YOU REMEMBER ANY OF THEM? "Yeah, he lost his pocketbook. Got it picked in New York's Central Station in New York going in there, and didn't lose too much money, but the president of the (record) company asked him -- Brophy, I believe his name was -- asked him, 'How much did you have in your pocketbook?' He says, 'Boggs,' he turned around to me, 'Boggs, I've lost my pocketbook.' And he turned around to him and said, 'How much did you have in there, Mr. Dykes?' He said, 'Had about 12 dollars.' Said, 'Well, I wouldn't worry about that if that's all you had, ' he said. 'The worst part about it, ' he said, 'it was your fellows'.' He said, 'Well, don't let that bother you at all.' It was theirs, he give it to him to pay the expenses, you know. And then he called the waiter around while we was in New York eating in a hotel cafe: I wasn't at the table with them at that time. Miss Vermillion was telling me about it; she said she felt like sinking through the floor. He took his finger and wiggled, motioned for a waitress to come over to the table and asked her how much she got a week! "

1- "I was born February the seventh, 18 and 98, down here at West Norton; born in this county, the same county I'm living in. I retired out of Kentucky. I worked in the coal mines, commenced coal mining when I was just a boy. Never got to go to school too much. " DID YOUR PARENTS WORK IN THE MINES? "My father was a carpenter and a blacksmith, but I had brothers that worked in the mines, much older. I was the youngest child out of a family of ten. There's 5 boys and 5 girls. My oldest brother had a boy just . lacked 5 days of being as old as me. I started working in the mines when I was 12 years old, but I went to school a little bit after that. I got a seventh grade edu- cation. I was working in the coal mines at Pardee, Virginia, for Blackwood Coal and Coke Company in 19 and 27 when two men from New York and one from Ash- land, Kentucky -- a Carter, and I forget the other two men's names from New York -- (came) to pick up mountain talent through Tennessee, West Virginia, and Kentucky and Virginia, and they came to Norton Virginia. I borrowed an old banjo -- I happened to be in town that day -- Pardee's about 6 or 8 miles from Norton. I borrowed a banjo from a fellow, McClure, run a music store, a little cheap banjo. I started to play two pieces for them, they was in a big hurry, they was over at the Norton hotel trying out this mountain talent. They tried out about 50 or 75 musicians. They· was standing around there up in the ballroom and I wondered why they hadn't signed them up for to make phonograph records, because I stood around and pitched them high as a dollar, dollar and a half at a time -- I mean nickels, dimes, and quarters -- to hear them play. They wasn't nothing but playing I was working on a coal machine. I took that old banjo up there and they asked me did I play it, and I told them I played one kind of like it a little bit. They told me to go and give them a piece. I played about a verse of "The Country Blues" -- I called it "Country Blues," it was really "Hustling Gamblers. " 2- WHERE DID YOU LEARN THAT SONG? "I learned that from a man from Tennessee, where I don't know. Named Crawford, Homer Crawford, and he played the old way -- banjo -- in the old way of playing. So I just played a little of that and I noticed they all marked
it "good" on their papers; and they asked me to play an- other one and I started out to play the "Down South Blues" a song that I'd learned. I heard some of it on a phonograph record back years bef.ore.this. It played on a piano, but I commenced playmg I.t o.n the banjO and sang it and put an extra verse or two m It that I made myself. So I just played about two verses and I notic.ed they marked "good" on that, and they came around WIth papers wanting to sign me up to go to make phonograph records, and three weeks from that time I was on my way to New York to make phonograph records. And none of these here good musicians standing around there -- didn't sign nary a banjo player but me on the rounds they come that time. They Signed about three guitar players, and there was two fiddlers. " 3- DO YOU REMEMBER ANY OF THE OTHERS? "They signed up John Dykes, Hub Mahaffey, and Miss Vermillion -- I can't think of her first name -- from Kingsport, Tennessee; and Hub Mahaffey he seconded on the guitar for me on some of the pieces that I played and put on phonograph records. So we went to New York and I made four records, and they offered for me to make two or three more while I was there, but I thought on the contract I was under I'd just make them four -- eight songs. So, I got two contracts for to make phonograph records for The Brunswick, Balke and Callender -Company of New York. And a lot of people thought I
quit on them just because I didn't have the opportunity
to make more phonograph records, but I had a contract-- two contracts -- one to make 12 songs with me and the guitar player -- anyone I'd want to get -- and then I could get a band of musicians if I wanted to and make 12 more -- 24 songs. And I had a little domestic trouble and I decided I'd quit and went back in the coal mines
and retired out of the coal mines, and I'm a retired
coal miner now. 65 years old, and I didnYt think I ever would play anymore. And my banjo, I let a fellow take
it to keep. I let him hold it for security for a little money I got off of him, and I went back and gave him back that money 25 years afterwards and picked up the banjo. He was a single man at the time I let him have
the banjo, and he had a family and one girl married at
the time that I went back to take my banjo. He was …..from -- a Kinser boy, at Hayman, Kentucky. His wife, she's a schoolteacher, she taught school over there. Adams girl he married, Reba Adams. So I went back to Kentucky and went to work in the coal mines and I was working for the Elk Horn Coal Corporation at Jackhorn, Kentucky, and I retired from there back when I was 60 years old. I'm 65 now and I'm drawing my welfare pension from the United Mine Workers and also my Social Security now. " 4- DID YOUR PARENTS PLAY MUSIC AT ALL? "I had my oldest brother, he fiddled a little bit and he had an old banjo, he'd play it some. That was the only one .to play any music to amount to anything. I got me a banjO after
I was married. I married when I was young, 20 years old. Commenced playing, and I played for parties, bean stringings, and first one thing and another where they'd have a little party in the country -- used to -- and I was just playing for the fun of it. I played a couple of these pieces for the people from New York and they gave me an opportunity to make some phonograph records, and I could have made some more but I decided to quit. I got dust on my lungs, and I've not got too good a breath. I don't pretend to play much. In fact, I belong to the . church now and I'm living a different life to what I lIved whenever I was younger. I'm living for the Lord as much so as I know how. " "In taking up learning to playa banjo, whenever I was learning how to play, why there wasn't very many people that played a banjO around through the country that I
ever heard. I heard one colored fellow, Negro, played in a band with a bunch of other colored fellows. They had about 4 instruments. " CAN YOU REMEMBER WHAT INSTRUMENTS? "They had a fiddle guitar and a mandolin and a banjo. " WAS THAT AROUND HERE? "In Dorchester, Virginia. I heard them playing for a colored dance one night and I was just a boy and I listened to that fellow pick the
banjo. They was playing "Turkey In The Straw" and I " watched him make the chords on "Turkey In The Straw, and I decided I'm going to get me a banjo I'm going
to learn how to play. So I just taken up playmg and
taken up my own method and my own way of playing. I donYt play the way the fellows nowadays do at all, and I never seen another one play just exactly like me, but I learned one boy how to play, a fellow Maggard, Odus Maggard, and he'S made several phon

Songs include: Sugar, My Sugar Is So Refined, Sugar Daddy, My Brown Skin Sugar Plum, Sugar Baby and Sugar Foot Rag.  Performers include: Harry James, Dock Boggs, Alberta Hunter, Thomas "Fats" Waller, Ella Fitzgerald, Johnny Mercer and the Mills Brothers.

New Podcast this week with Mauricio Smith, The Chips, Dock Boggs, The Byrds, The Pogues, Bee Gees, Kenny Rogers, Frankie Nieves, Aphex Twin, Eddie Palmieri, Nicola Conte, and Beenie Man As always you can find us a few places: Itunes: http://bit.ly/Hg2RdK Facebook: http://on.fb.me/IzhiJV Email us at MusicFirstPodcast@gmail.com

Blues piano from Memphis Slim, marimba music from Guatemala, labor union songs, World War II anthems, Tuvan throat singing, and classic old-time tunes from Dock Boggs and Roscoe Holcomb. Real music, real people, and the stories behind the sounds.

Aaron invites music historian Richard Carlin to drop in for the hour. Richard has written the book, “Worlds of Sound: The Story of Smithsonian Folkways,” and he shares some great recordings of legendary performers like folk hero Woody Guthrie, jazz trail-blazer Mary Lou Williams, and banjo balladeer Dock Boggs.

Hear banjo ballads from Virginia coal miner Dock Boggs, blues from the blind preacher Reverend Gary Davis, the tropical sounds of Hawaiian folk legend Ledward Kaapana, songs of love and loss from Chile to Canada and mind-bending sounds from the mountains of Kyrgyzstan.

In this musical pub-crawl, we explore the joys and perils of the drinking life; songs about beer, wine, whiskey and moonshine; sad drunks, mad drunks, mean drunks, and just plain stupid drunks; booze-soaked classics from Memphis Slim, Roscoe Holcomb, Lead Belly, Dock Boggs and more.

Shortly before he died in 1986, my father was interviewed I think by the Today Show on NBC. At that time, he justified his policy of never withdrawing a record title from the complete two thousand plus collection by saying: “would you take the letter J out of the dictionary merely because it is used less frequently than the letter S?” Well, I thought I would base this show on that idea. Here we have a show in celebration of the letter J. We will cover songs, music from countries, artists, instruments and sounds which all begin with the letter J.

While this is not the last time I will try recording this song and tune, it's what I did a few years ago. I like the idea of singing acappella at different times in the song though those times are not set in stone. O Death is adapted from Dock Boggs banjo version and Glory in the Meeting House is from Luther Strong. The fiddle is tuned EDAE (a tuning which I think works much better than standard for those who have adapted fiddle versions of Hobart Smith's banjo tune "Last Chance").