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THE NEW LOST CITY RAMBLERS

ABOUT THE MUSIC AND ITS TIMES

by Mike Seeger

The songs on this album were recorded by commercial companies and the Library of Congress in the south­eastern mountains between 1925 and 1935, and show the first attempts of the hill musicians to "make a hit" with old traditional songs that had been in the mountains since pioneer days.

Until this time, the performance of this music was limited to small dances, around home, and contests held by local Groups . The instruments used were mostly fiddle and banjo, and the singing of the old songs was often unaccompanied, since the guitar was a later addition. Away from the home the music tended to instrumental, for dances and contests. The musicians were ~rcly paid money for their effort although favors of food and drink and just a chance to "play out" were considered sufficient . Naturally the musicians wanted to please their audience be it one or 100 and they played what they thought would be well received. And each had a different idea of audience demand with an accompanying different idea in carrying it out. Their fame was limited to the immediate area in which they lived and worked, where people could see and hear them at local parties and corn- . shuckings. Away from music these n;en were a GOod cross section of the population with occupations ranging from miner and moonshiner to farmer and doctor.

With the advent of automobiles, radio, disc record­ing, conscription and even prohibition, the communication between city and country grew tre­mendously during the early 20th century. The euitar, mandolin, mouth-harp autoharp, and double bass became popular in the 20' s, and the mountain people developed styles of playinc; then that suited the old tunes and songs, as well as picking up new songs that came with the instruments. Disc recording companies discovered the commercial possibilities of country music and set up field studios in furniture stores and trailers at southern cities where musicians flocked to them to be recorded. Radio stations initiated the instantly successful barn dances with live performers, such as the Grand Ole Opry and the National Barn Dance, which had a tremendous and enthusiastic air public.

This was a period of great experimentation, when country pC'ilple ,Tcre learning new instrumental and vocal tcchniqucs, affected sometimes by urban or Neero muo i, c , end whcre there was sn:a.ll sirr.ilari ty between a~y two performers or groups. They were gradually hearing by way of radio and records more of wl~t e ther musicians in the country were playing, which inevitably affected their style, and their fru1e spl'ea:l. se that they could earn a livine by per­forrr~n8 for an cacer public in schools, theatres, and a....~lusement park::;.

Fror.; this unique tir.1e came some of the most diverse recordinGs of traditional American folk crusic.

About Us

by John Cohen

There is a side of us a~ which goes about trying to J1l&1~" the world over in our own image.

There is another side -- where one searches to en­counter his own imaGe in the world. In this process one examines all kinds of elements which come in his path .

The three of us \Tho sing on this record come from different backgrounds and know many separate worlds. Tom is a mathematician and has studied and taught in universities ell over the East coast. ¥~ke has worked in hospitals, the civil service, as a radio technician and l~s played in the blueerass bands around Baltimore. I'm a photographer and painter and have seen something of the world from Norocco to Peru.

Yet it seems inevitable that we should have met at the songs presented on this record -- for we can recognize something of our own images here.

Hike is from a folk-musical family; Tom has been playing for about 15 years; I've had entanglements with "Greensleeves" songs, blues and backwoods ballads -- and have enjoyed the historical songs and the wandering old ballads.

FOLKWAYS RECORDS Album No. FA2396 Copyright©1958 by Folkways Records & Service Corp., 165 W. 46 St., NYC, USA

i

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I've introduced these songs to others as these songs were introduced to me. To a beautiful long-haired girl I knew -- I f!1J.ve my beautiful long-haired songs -- and now she sings them nicer than I ever could, for she looks like these old songs and they suit her fine. Another friend got the blues and they have become his way.

A person sings the songs as they look like him.

In the old-time music we sing on the record, we have found a place where we can bring together our separate cxperiences in picking and singing. We have found that ~any of our individual styles, arrived at independently , fit together. This is probably because we have been hearing and singing similar songs and listening to similar records -- and the same image has been in the backs of our heads all the time.

It is still another question as to where this image came from. It has something to do with an idea that Moe Asch the Lomaxes and the Seegers have been presenti~ for a long time -- and farther back it is connected with the expression of the singing people in this country.

We call ourselves the New Lost City Ramblers. This is the kind of name used by the old bands from whom we learned our songs. There were The Fruit Jar Drinkers, The BUCkle-Busters, The Skillet Lickers, The North Carolina Ramblers, The Piedmont Log Rollers and Dr. Smith's Champion Horse-Hair Pullers. In these names, they had a hUIOOrouS, almost satirical, way of looking at themselves.

It is regrettable that these kinds of names have disappeared from popular use -- as is the disap­pearance of the spirit in which they were used. There is a straight-forward vitality in this old way, which has its sophistication in its directness.

There is a tendency among city folk singers to take these old tunes and ll'.ake them "more musical" with the addition of complicated chord transitions. This intrusion of Art (capital A) is done with the intent of making the music tlOre palatable, so that the folk songs can fit in with the decor of the living room or what have you. But this becomes the death of these songs and returns us to a point which we were trying to avoid in the first place.

But despite the watering-down and smoothing off, there is something te=ifically strong about folk music -- so strong, in fact, that it is able to shine through the veneer often applied upon it. The folk, somehow, can never become suffiCiently smoothed off to be considered commonplace. Through­out hiStory, the folk have been generally held in contempt by the middle class -- for reasons clearly understandable. Perhaps the vi tali ty of the folk comes in their reaction to this contempt as well as in their reaction to the problems of ever-Jday survival.

In the music of this record, the voice often serves as another instrument, with the function of carrying certain li tcral ideas with the tune. The instruments have an importance of their own, which they comr:nmicate in their own language. This music is at its best when the instruments and voices are working well together.

It is ourbope that our pleasure in singing will carry to you who listen. I don't believe there is any attempt to impart an emotional message or to interpret the songs. Rather, our effort is to present these ,"ongs as well as we are able.

2

ABOtrr OUR SINGING STYLE

by Tom Paley

Our principal reasons for playing together are a liking for the sound of old-timey string bands, perhaps best exemplified by The North Carolina Ramblers and Gid Tanner's Skillet Lickers, and a feeling that this sound has just about disap­peared from the current folk IIIIlsic scene. There are many fine individual perforJ:Jers about and quite a number of good groups; too, but the groups have virtually all followed either the Bluegrass trend of Scruggs and Flatt and Bill Monroe or the slick, modernized, carefully arranged approach of The Weavers and The Tarriers. We have no objections at all to either of these schools (Mike, for instance, is an active Blue­grass musician) but the older style seems deserving of resu=ection.

This style bears about the same relation to some of the later fashions that New Orleans jazz, with its ensemble illlprovisation, bears to later Dixieland, which emphasizes solo breaks. In many of our numbers each instrument and voice is carrying a melodic line of sorts, resultinL~ in a contrapuntal fecline, whereas the more modern approaches generally have the instrument (or voice) carrying a solo line with everything else filling in with rhythm and chords.

One result of this is that, though the words do not lose all their importance, the instruments do not subside completely when the voices commence. Instead, they become almost equal partners with the voice. Actually, in some numbers, usually dance tunes, the words do become secondary, being reduced to one or two verses which are injected at various times into an essentially instrumental performance. ''Davy'' is a case in point.

Of course, we do some numbers outside of the "string band" style. The influences of hymn_ Singing, jazz, Negro blues-picking and older traditional ballads can be discerned in our performances. The music on this record and the performance styles, too, give a sample of what was being done on the broad front along which folk music was coming into contact with commercial performances and the mass media. Of course, we don't touch all facets; for instance, we avoid the JOOst commercial aspects and try to stay fairly close to genuine "folk" material. In any case, we only utilize those parts of the available music which we enjoy, our purpose not being scholarly but musical and personal. In this, too, lies one of our differences with some of the original perfor­mers of this music. To wit: we are performing what we like best, rather than tailoring the music to the available market, while many of the earlier performers adapted the music to the expected tastes of their audiences; and, as the audiences were enlarged through radio and recordings, they became even JOOre commer­cial. Those who refused to adapt or who couldn't adapt successfully soon faded from the entertainment scene (with few exceptions).

Now that there is renewed interest in folk music, there may be a new audience for this music of the borderline.

Tom Paley

The Songs

Forked Deer is a dance tune about which we know very little except that it is bouncy and vas re­corded several times in the late twenties and early thirties.

Mike - fiddle Tom - guitar

John - banjo

Don't Let Your Deal Go Down shows the influence cf jazz and sophisticated "popular" songs, particular­ly in its chord progressions.

DON'T LEI' YOUR DEAL GO DOWN

Well I've been all around this whole round world I've done most everything I've played cards with the king and the queen The ace the deuce and the tray

Don't let your deal go down Don't let your deal go down Don't let your deal GO down For my last gold dollar is gone

Well I left my little girl a-crying Standing in the door She threw her arms around my neck Saying honey don't you go

Where did you get your high-top shoes And the dress that you wear SO fine I got my shoes from an engineer And my dress from a driver in the mines

John-banjo & lead voice Tom-guitar & tenor voice

Mike-fiddle

TRULY UNDERSTAND YOU LOVE ANOTHER MAN

I wish to the Lord I'd never been born Or died when I 'i/2.S young Before I'd seen your two brown eyes Or heard your flattering tongue my love Or heard your flattering tongue

CHORUS I truly understand you love another man And your heart shall no longer be mine I truly understand you love another man And your heart shall no longer be mine

Oh who's going to shoe your pretty 11 ttle foot And who's going to glove your hand And who's going to be .your own true love When I'm in the foreien land my love ioIhen I'm in the Forcien land

(CHORUS) 3

Oh poppa' s going to shoe my pretty 11 ttle foot , And mollllll!l'S going to glove my hand

And you'll still be my own true love When you're in the foreign land love When you're in the foreign land

(CHORUS)

I'll never listen to what no other woman says Let her hair be either black or brown But I'd rather be on the top of some hill With the rain a-pouring down down With the rain a-pouring down

(CHORUS)

John-Bass Tom-Banjo & lead voice

Mike-Tenor

DALLAS RAG

(instrumental )

John - guitar Tom - banjo

Hike - mandolin

Tom Cat Blues is bcst described as a 'vhite folk blues," a kind of mcctin6 ground of white folk singers with the Ne(>ro blues style. Whatever the attitude of the white singers towards Hegroes as people, they secr.! to have been impressed by their singing and euitar-playing, for these have been strong influences in the white singers' music. This number is typical of a large portion of the recorded repertoire of Jimmy Rodgers, The Callahan Brothers, The Allen Brothers, The Carlisle Brothers and other brothers.

I got an old Tom Cat, When he steps out

TOM CAT BLUES

All the pussy-cats in the neighborhood, They begin to shout, "Here comes Rin6-To.il Tom, he's boss around the

town, And if you got your heat turned up you better

turn your damper down."

Ring-Tail Tom on a fence, The old pussy cat on the ground, Ring-Tail Tom carne off that fence, And they went round and round. Lord, he's quick on the trigger, He's a natural-born crack shot, He got a new target every night, And he sure does practice a lot.

He makes them roust about, He makes ther.!, roll their eyes, They just can't resist my Ring-Tail Tom, No matter how hard they tries. You better watch old Ring-Tail Tom, He's running around the town, He won't have no pussy cats Come a-Tomcattin' around.

Ring-Tail Tom is the stuff, He's always running around. All the pussy cats in the neighborhood Can't Get old Ring-Tail down. He's always running around, Just can't be satisfied, He goes out every night With a new one by his side.

Tom - voice and Hawaiian guitar John - guitar

RAILROADING AND GAMBLING

What your mamma done told you Six months ago, Keep on your hat and coat, Be ready to go.

CHORUS: Railroading and ganbling, Picking up chits for a madman, Lord, Lord, Lord.

Been in the State House, Been in that yard, Been in the coalhouse, Worked least of all.

(CHORUS)

Said that preacher, Golly ain't it a sin, Johnny get your britches 'Cause here comes the wind.

Out on the railroad Down on the track. Lost all my money, Lord, No way to get back.

John - banjo and vocal

COLORED ARISTOCRACY

(instrumental)

Mike - fiddle John - guitar

Tom - banjo

Sailor on the Deep Blue Sea, sometimes appearing in rather different form as "Captain, Captain, Tell Me T.rue" and ''The Piney Boy" tells of the girl left behind when her darling goes to sea; she waits for his ship only to find that he has drowned.

SAILOR ON THE DEEP' BLUE SEA

It was on one summer's evening Just about the hour of three When my darling started to leave me For to sail upon the deep blue sea

Oh he promised to write me a letter He said he'd write to me But I've not heard from my darlinS Who is sailing on the deep blue sea

Oh my mother's dead and buried My pa' s forsaken I:1e

And I have no one for to love me But the sailor on the deep blue sea

4

Oh captain can you tell me Where can my sailor be Oh yes my little maiden He is drownded in the deep blue sea

Farewell to friends and relations It's the last you'll see of me For I'm goine to end my troubles By drowning in the deep blue sea

Mike-autoharp & lead voice John-banjo & bass voice

EAST VIRGINIA BLUES

I was born in East Virginia North Carolina I did go There I met the fairest maiden Whose name and age I do not know

Her hair was dark in color And her cheeks a rosy red On her breast she wore a white lily That's where I long to lay my head

Many a tilne we strolled together Down beside the deep blue sea Now in your heart you love another In my grave I'd rather be

Papa says we cannot marry Mama says it'll never do If you ever learn to love me I will run avay with you

At my heart you are my darling At my door you're welcome in At my gate I'll alvays meet you For you're tile r;ir.L I long to win

I'd rather be in some dark holler Where the sun would never shine Than to see you with another And to know that you'd never be mine

I don't want your greenback dollar I don't want your watch and chain All I want is your heart darling Say you'll take me back aBain

Mike-guitar, mandolin & voices

The Battleship of Maine: This version of the song leaves little doubt as to the time and locale of the events. The recording by Charlie Poole is not nearly as specific, including only tw stanzas of this version and omitting all reference to "The Battleship of Maine," substituting a refrain about gambling, rather like Furry Levis' Stackerlee.

BATTLESHIP OF MAINE

McKinley called for volunteers Then I got my gun First Spaniard I saw coming I dropped my gun and run It was all about that Battleship of Maine

CHORUS: At war with that great nation Spain When I get back to Spain I want to honor my name It was all about that Battleship of Maine

Wny are you running Are you afraid to die The reason that I'm running Is because I cannot fly It was all about that Battleship of Maine

The blood was a-running And I vas runnine too I give my feet good exercise I had nothing else to do I t vas all about that Battleship of Maine

(CHORUS)

John Cohen

When they were a-chasing me I fell down on my knees First thing I cast my eyes upon Was a great big pot of peas It was all about that Battleship of Maine

The peas they was ereasy The meat it was fat The boys was fighting Spaniards While I was fighting that It was all about that Battleship of Maine

(CHORUS)

What kind of shoes Do the rough riders wear Buttons on the side Cost five and a half a pair It was all about that Battleship of Maine

What kind of shoes Do the poor farmers wear All broke in Cost a dollar a pair It was all about that Battleship of Maine

(CHORUS)

John-guitar & voice Mike-fiddle

Tom-banjo & lead voice

DAVY

Davy, Davy, where is Davy Down in the ben house eating up the gravy Davy, Davy, where is Davy Down in the hen house eating up the gravy

Davy, Davy, poor old Davy Down in the chicken yard sick on the gravy Davy, Davy, poor old Davy Down in the chicken yard sick on the gravy

Mike-fiddle Tom-banjo & voice

The Roving Gambler seems to have been a pretty popular number at one time. Some of its verses show up in songs l.1ke ~. Many recordings have been made of it, but it does not have much currency at present. The Dying Gambler, which utilizes the same theme usually found in this song, tells of the death of a poor young man who wasted his l.1fe with gambl.1ng.

ROVING GAMBLER

I am a roving gambler, I've gambled all around Any place I find a deck of cards I lay my money

down 5

Lay my lOOney down, lay my lOOney down Any plJi.ce I find a deck of cards I lay my money

down

I hadn't been in 'Frisco many more weeks than three

Til I fell in love with a pretty little girl, she fell in love with me

She took me to her parlor she cooled me with her fan

She whispered low in her IOOther's ear, I love the gambling man

Love that gambling man, love the gambling man Whispered low in her IOOther's ear I love that

gambl.1ng man

Oh daughter oh dear daughter how can you treat me so

To leave your dear old mother and with the gambler go

Oh IOOther oh dear mother you know I love you well But the love I have for the gambling man no 'human

tongue can tell

Human tongue can tell, human tongue can tell The love I have for the gambling man no human

tongue can tell

I've gambled out in 'Frisco, I've gambled up in Maine

Heading back to Georgia to gamble my last game

Gamble my last enme, gamble my last game Heading back to Georgia, boys to handle my last

galne

Mike-banjo, lOOuth harp, and vocal

Take A Drink On lole is more fam1l.1ar as Take A Whiff On Me, which deals with cocaine iru;tead of liquor, and this in turn ties in with several cocaine-blues songs of Negro origin, usually including the verse:

Cocaine's for horses, not for women or men, The doctor said it'd kill you, but he didn't say

when.

TAKE A DRINK ON ME

Now what did you do with the gun in your hand You give it to a rounder and he shot a good man Oh, Lord, honey take a drink on me

CHORUS: Take a drink on me, take a drink on me All you rounders tc.ke a drink on me Oh, Lord, honey take a drink on me

If you keep on &ta.ll.1ng, you'll make me think Your daddy ,ro.s 11 monkey and your maJI'.n was an ape Oh, Lord, honey take a drink on me

(CHORUS)

You see that gal. with a hobble on She's good looking as sure as sure's your born Oh, Lord, honey ta.lte a drink on me

(CHORUS)

Repeat first verse

(CHORUS)

Mike-fiddle & tenor voice John-banjo & lead voice

Tom-guitar & bass voice

--------------------------------~------------~--------------------------~;

LIKES LIKKER IlE'l'l'ER THAN ME

Oh I'm in love with a brown-eyed boy And he's in love with me But he's in love with a whiskey jug Likes likker better than me

CHORUS: OiibrIng me back my brown-eyed boy Oh bring him back to me Oh bring me back my brown-eyed boy Likes likker better than me

Last night he came to see me Last night he Gmiled on me But tonight he smiles on a whiskey jug Likes likker better than me

(CHORUS)

Sometimes I think I'll marry him For I love him dearer than li~e But oh it's all so hard to bear As a whiskey drinker's wife

(CHORUS)

Mike-autoharp & lead voice John-bass voice

Tom-tenor voice

IT '5 A SHAME TO WHIP YOUR WIFE ON SUlIDAY

It's a shame to whip your wife on Sunday (2) When you've got Monday, Tuesday, Wednesday,

Thursday, Friday, Saturday It's a shame to whip your wile on Sunday

It's a shame to play cards on Sunday (2) When you've got Monday, Tuesday, Wednesday,

Thursday, Friday, Saturday It's a shame to play cards on Sunday

It's a shame to get drunk on Sunday (2) When you've got Nonday, Tuesday, Wednesday,

Thursday, Friday, Saturday

Repeat first verse

Mike-fiddle, mandolin & lead voice John-guitar & bass voice

Tom-banjo & tenor voice

Brown's Ferry Blues again shows the influence of Negro blues and jazz, but this time in a more professional minstrel-like form. This seems to be the result of the efforts to be humorous of professional entertainers with a strong folk background and also a considerable familiarity with Negro music.

BROWU' 5 FERRY BLUES

Hardluck poppa counting his toes You can smell his feet wherever he goes Lord, Lord, got those Brown's Ferry blues Hard luck poppa can't do his stuff The trouble with him he's been too rough Lord, Lord, got tho se Brown's Ferry blues

Two old maids a-sitting in the sand Each one wishing that the other was a IC8.ll

Lord, Lord, got those Brown's Ferry blues Two old maids done lost their style If you want to be luck¥ you got to smile Lord, Lord, got those Brown's Ferry blues

Early to bed and early to rise And your girl goes out with other guys Lord, Lord, got those Brown's Ferry blues If you don't believe me try it yourself Well I tried it and I got left Lord, Lord, got those Brown's Ferry blues

6

Hardluck poppa standing in the rain If the world was corn he couldn't buy grain Lord, Lord, got those Brown's Ferry blues Hard luck poppa standin' in the snow His knees knock together but he's raring to go Lord, Lord, got those Brown's Ferry blues

John-guitar & lead voice Torn-guitar & tenor voice

THE OLD FISH SONG

Now buddy get up and come here to your pap I'll tell you a story climb up in my lap Tis better than the story of Daniel or Ruth Although it is fishy it's every bit true

Now listen right good while I tell you this tale How Jonah the prophet got caught by a whale That whale caught poor Jonah and bless your dear

soul It not only caught him it swallered him whole

Now part of the story is awfully sad Tis about a great city that went to the bad The Lord saw them people with such wicked ways He says I can't stand them but forty more days

So He spoke to old Jonah then said go and try To the wicked old city and tell them that I Give them forty days more to get humbled down And if they don't do it I'll tear up the town

,,'hen he heard the Lord speaking old Jonah said no I'm a true hard-shell Baptist and so I won't go Thc Ninevah people are nothing to me And them I won't give for a nickel to see

So he went down to Joppa, twas there in great haste

That he boarded a ship for a different place The Lord looked down at him and said He Old Jonah's a-fixing to run off on me

So He set the wind a-blowing with its squeaks and its squeals

The sea then got rowdy and kicked up its heels Poor Jonah confessed it was caused by his sins So the crew threw him out and the whale took him in

Well the whale said to old Jonah old feller don't fret

I'm sent here to take you in out of the wet So he opened his lIVuth and poor Jonah went in You're going to get punished right much for your

sin

What a funny sight bud that ever was seen When Jonah rode off in his new submarine The Nineveh people did not repent For the message of warning to them was mis-sent

On a bed of green seaweed that whale tried to rest He said nov I'll sleep while my food'll digest But he grew mighty restless and sore afraid For he rumbled inside as the old prophet prayed

Now you see how God's letter to Nineveh lay In a dead letter office for three nights and days The old prophet shut in as tight as a lock But all things will be opened as sure as you knock

The third day the old fish arose from his bed Wi th his stomach tore up and a pain in his head He said I must get to the air mighty quick This filthy old sinner's a-making me sick

So he winked his big eyes and he wiggled his tail Set out for the shore to deliver his mail He came near the shore and he looked all around And vomited Jonah clear out on the ground

Old Jonah thanked God for His Mercy and grace Then turning to the whale and then he made a face He said after three days and nights you have found A good man old sucker you can't keep down

The old prophet stretched up with a yawn and a sigh set down in the sun f:or his clothing to dry He thought how much better his preaching would be Since f:rom a whale's seminary he'd had a degree

Having rested himself: and dried well in the sun Set out f:or Nineveh almost in a run He said I must hurry and try not to sin I'm sure I don't w.nt to be sw.llered again

He arrived at the city about a week late And he preached f:rom the time that he entered the gate And the whole population repented and prayed And the great hand of: justice at length it w.s stayed

When you disobey IIlB.IIlIIlY remember this tale When you run of:f: f:rom home just look out f:or a whale There's varmints to get you on sea and on land And a boy can be mmllered lots easier than a man.

Mike-f:iddle and voice

CROSSED OLD JOlID\N'S STREAM

Good old neighbor's gone along Gone along, gone along Good old neighbor's gone along Crossed old Jordan's stream

CHORUS: Thank God I got religion and I do believe And I do believe, and I do believe Thank God I got religion and I do believe Crossed old Jordan's stream

Good old oother' s gone along Gone along, gone along Good old oother's gone along Crossed old Jordan's stream

(CHORUS)

Good old Christian's gone along Gone along, gone along Good old Christian's gone along. Crossed old Jordan's stream

(CHORUS)

Mike-mandolin & tenor voice John-guitar & lead voice

Tom-Haw.iian guitar & another voice

DISCOORAPHY

Forked Deer: Dykes Magic City Serenaders (with calls); Charlie Bowman & his Brothers, Col. l5387; Hills Va. Mountaineers, Supertone 9l70; Kessinger Bros. (Charles & Lucas), Brunswick 247; Jilson Settlers (J .W. Day) Vi 21.407; Uncle "Am" Stuart Voc. 14846 (as "Forki Deer") H.L. Maxey, f:iddle, Ferrum, Va., recorded by Herbert Halpert in 1939 f:or the Library of: Congress, LC #2742a3 (as ''Forky Deer")

Don't Let Your Deal Go Down: Charlie Poole, Col. 15038; Bob Wills, Col. 137739; Lester Flatt & Earl Scruggs, tor Col. Crying Ellen ("Black Dog Blues") Ernest Stoneman, Folkways Fa2315

I Truly Understand You Love Another Man: ShDrtbuckle ( G.) Roark and Family, Vi. 40023 George Roark, Pineville, Ky., recorded f:or the Library of: Congress by Mary E. Barnic1e.

Dallas Rag: Dallas String Band, Col. 14290

Tomcat Blues: Bob Clitf:ord (Cliff: Carlisle) VocalioI).

Railroading and Gambling: Uncle Dave Macon, Bluebird 8325

7

Colored Aristocracy: Sanf:ord & Harry Rich on f:iddles, Hensel Rich on Guitar, Elmer Rich on mandolin. Recorded at Arthurdale Fiddler's Convention, Arthurdale, W: Va., 1936, by Charles Seeger f:or the Library of: Congress. LC #3306b2

Sailor on the Deep Blue Sea: Carter Family, Montgomery Ward 4320 (as "My Lover's On The Deep Blue Sea") Lilian Napier, Pine Mt. Ky., recorded f:or the Library of: Congress by Alan & Elizabeth Lomax.

East Virginia: Ashley & Foster, Voc. 02576; Buell Kazee, BrunSWick 154; Carter Family, Vi. 2749 Carter Family, Oriole Rec. (as ''East Va. Blues" No.2) Stanley Bros., Blue Ridge label. Recordings also by Harry & Jeannie West, Pete Seeger, The Tarriers and a number ot versions f:or the Library of: Congress.

Battleship of: Maine: Red Patterson I s Piedmont Log Rollers, VI 20936; Jimmy Yates' Boll Weevils} Vi 40065 (as ''Bloody War") Lulabelle and Scotty} Okeh 06103 (as "That Crazy War") Charlie Poole & North Carolina Ramblers (as "If: I Lose")

Davy, Davy: Weems String Band} Col. 115300

Roving Gambler: Welby Toomey, Gennett 6005; Harkreader & l-klore, Paramount 3025 (as ''rhe Gambler's Dying Words") Bennie and VallieCain; Ernest Stoneman} Victor.

Take A Drink On Me : Charlie Poole, Col. l5l93 Woody Guthrie & Cisco Houston, Stinson Leadbelly and Blind Jesse Harris on Library of: Congress recordings

Likes Likker Better Than Me: Woodie Bros., vi. 23579 (Also see "Beautif:ul Brown Eyes")

It's A Shame: Fiddling John Carson} Okeh 45122 Leadbelly, Asch Rec. (as "Ain't It A Shame")

Brown's Ferry Blues: McGee Bros.} Decca Delmore Bros., Bluebird B5403

Old Fish Song: Blind James Howard} Harlan} Ky'} recorded f:or Library of: Congress in 1.933 by John and Alan Lomax. LC #74a.

Crossed Old Jordan's Stream: Bird I S Kentucky Corn Crackers VI 23608

Photo Credits: Cover - Russell Lee, Farm

Security Administration Concert Pictures - Photo-Sound

Associates

____________________ ~------________________________________________ ~ __ ----__________________________________ -----J'

FOLKWAYS RECORDS NUMERICAL AdRICANA 10" ',,42901 Sq. o.lKet. 'bltor ""1& , ... 1002 ...... ea.o ... _mira" ::: ~:!t ..... c;.-.J;., .~e~ .. U, 1 fA200$ "'m. m ..... _Icrl

~~= ~:=:la':..-~~.C'd.J'CMI ::~~: f'O:::!'!'U:;." :::'1, act.n fA201l n.. ""'1, G\irtirk

~:::! ~~'L~:'_IIJ2 ;:~~ ~C:~~ .S?:~::''':: UtoH Cowmy .. u.., CI_ ~ F.u023 Solo"*, Val..,}'. }cm~

~::oo:: ~~~~II~':.':Ik~rr.II' rea,. 1'''2021 Gel On loud, FolkmiNen ''''20)0 Itownle I«Ghce, Iluct fA2fl32 ~\lI1M'1 Vlrw. 5,....

~:r'J: :llr.!.~. ~~'i~r '''"36 ~Iorlnon SOtIJ1. Ifillon

:~~~. ~'!:-~~hr.~~h.ttd FA203t 10e lIin Snil .• Giani

~::~~ t.";:l.~:I·SIl~\I:.:f,~d f ... 2042 liard T'l'Idm', 11ou1(0II fA,2043 wmpler, SUlcI

;;r:E ~~i1.1~f!\I~~zr i::;: ~~~~;~~~i:~~k-SONGS OF THE 51'A'I'ES 10'

~~~!~ ~~;':~I~;;:!I 1' ... 2128 To· ... , . Nyot FAlI32 "b_fOl.I; Iluuuln 'A213. j(f,Mh,O'.,,'", " A,2131 KertllKkr. ["Iilh

AMERICAN HISTORICAL' 10" nt!UI 'JIIr¥\lluuon I, 1I0II1e FH2U2 Jlnoillllon II, llou. ,Hill) W., UII:.! I, Hnu.c! fH2164 War 1112 2, HnIlM' fH211S fTonlier. xrse, I

~:~ ~i~:~~r~,r~ 2 fH21" Ch'iI War 2. ",,"c rH2111 l\c,ha&c USA I , t.klrfllon fli2190 1It,IIasr USA2, t.konllOft fH2111 Ilrrhar: !'pUCtlc:l I. KiI,lan fH21t2 Ilr",ase Sf!'C('rhri 2, .. .,.lan

MUSIC U,S.A. 10"

~~;Z~ ~:~\e ,:;:: ~~':tr;y Trrry fA2204 S,..." S ... , of N ... , Hllld fA2215 hnn rluteh S"I'

~g5 :'~~IC::~:~ AMERICANA 12"

~~;~: ·~:a:~A~I.iq:"i • • tlaJ'on

~~~~:! ~:!"t~,Il~yle rA231~ SC_man "'mlly IIt~jo FA2316 Ritchie FamU,. doc . F ... ~311 "". Mude of Krl'lluck, fA2JI' MI ....... Ie: . Illlr ..... f AUII Am • • Ilao., XtJCI fA2320 fn. Ame ••• SUlc, ."A2Y.11 fn. AlMr, 2. Scirler FA2322 Fn. Amer. 3. S«lrr fAm4 W.lk In Siln. IIobIIlKlfl tA2m Covnll"}' '1IIet •• oonz, fA2n1 t.1cGbu. Trn" .I..,el fA2330 W.h "'''UI_ FA2333 Women',LO'I'C Son!'. toUtWII

~~= ~:'I~o;c .. s;'~: ~1ry.1'II FAU48 Cbco IlOURCIII, ""1100"1' FA23411 A~w lIowa~ SlI mcncn, So ... fA23M N Y Lllmbr'jack, Sickr" • fA23~ Old HaIP Slnll .. ~A23$1';~ISot!s', "'ut FA23M1 Amer. AIo", fe .... ThoINI "~3I1 H' .... nd CArob, SIImmkh 'A23'4 Unq"ilEt Gr."" . SIImmen

~~;~: ~~ikl'sl.~'r; SCIcIo fAUlI Cal 11911 ..... 1.. ~ H,m .. F ... 23" "'k:IIt, Mille,. Folbonp FAU96 Hew L_ Cit, _mblell fAU91 N!:=w Loti Cit, Alr.mblcn. v. 2 fA2401 Folk,milN r ... U09 Country Gtllf. (1II1epa.,

:~:::: ~~,(!.:~.Clc."j.r.Ic~~ f ... 2421 T,.d. lllIe! '1 • • . Io4cGbu fA24U Ritchie, •• ncI Coner,t fA2421 l'tIc'tk Iftl" Clayton r ... 2431 Nont.,IIClI. Seret:l. HamihOft

,F:::: :t;~'~h =\c~'I:;1c:AcItvI f:~~ E:=.!~\!f.;t~)~'k F ... 2482 MIIdc Ntw Or!. 2, £wt.ka.nd fAU63 MI.IIk: Ntw Orl. 3, o.ncz Halb FAU64 Millie:: Ntw Otl . 4, lan Otis. FAUiU IokIIle: Ntw Ott. I. Rower"" F",'4'" $nOo1o Ea.lln. _lit, fAl .... ' SofII' Opt.n bd, ClK-o HOIIJIOft " · ""'1 IoIInohlflilory, Gutlvk

TOPICAL SERIES 12"

~::: ~;:"..!;';C:Tc ~:!i: ==~;a;:-.ti.~Ulltyno" MUSIC U. S. A, 12" fAICOI kNtb '-y .. ftd f .... Oll-.... n .. nil, .. e:ilne fA:IiIlO ... mu. 5kJ1l'k ..... fAIUO \.uk: &om ioIrtb I FoUI$l Mil. from _til 2 fA.12 ...... kfto .. SOUdi 3 fA.5.3 MIMk from SolIdI 4 fA26W ...... k from Soud 5 FA2'&.S ...... Ie from SolIdi , FA2tSol .... k:f,ombdl 1 fAUn Mudc from South' fA2UI ""-k: from Sou. I , ... 2'$' IMn HeN." <ioM(""1k: If Sout"IOI fA.11 • It 111 Sui,.. IMd

JA 7,Z SERIES 12" fmOI AIIllI . I. nc. $owdl na02 .Acb.2. 11_ fm03 All., 3. Hlw Or .... FlUN A ...... lau S ... fJ2IOI A .. h,'. 0.10101

~:~ ~:::~: ~I!: I'JHOI AMb.', ... .. Fnlot ,.... ... .... .

=:~ =: !~: :1:" It C

AMERICANA 2-12" 'AtMl1 .. 4 .. U, L..pc, I

;:m~ ~~':.I!:l:r I f,u.1 Am. FoUI.-'t t fAIIN A ... r.u..-Ic J

WORLD HISTORICAL and SPE<;U'I.TY 12"

"""JOOO GIl •• ill SforJ' .... ww. 2-1r

~=e~:::~ .... LIT ............. U., . "

ETHNIC MONOGRAPH LIBRARY

~= :~'~':en, ~~I FM4002 ~'from Alan fM4003 Oreat 1.1It, Indians f..,400$ folk~,o(Oftr..rio FM4006 Hoor. SccXIa folkmulk

~~:~ ~rr:'~I:'~., r=~~ \'i:::~'::~~iI~ fM4014 Soot'" '1", •• • Itlltly

12"

ETHNIC FOLKWAYS LIBRARY

"'". T,.'. "'~" )'P" 12" FU3l0 Mulkof ...... m

~~::: :=n:n::-;,' ::'" fE4402 EquatorylAf,1c:a H4403 ON". 01 Hait i

~~=: ~M~,~~"lhkJpia fEof-t06 Mude:oflftdonuia 1£4-401 Folk Io4utleol Haiti fE+I'18 follt Mulle of ,.Ie"lnr. H44r.::o folk MIIdeol I"dy FE441U Cliit MIIlkof C" bI.

r{!!g r:dt~::O~':.leO f[l"'I ~ folk MIllie: of F.'AU FE+4I !! ...... Ieof~rll FE+4111 Mulle: "'nlln Middle b. F[+411 I'IItVO MIllie: "'la., .c:u1N

~:::! :r .!"::'f"'~~~~II""" 1'[+420 ArnrTkan Incf llnt 5. "'. fE4421 MuIle:oI SouIh "'r.b" f E+4'12 T,.ditlonal "'Ulie: of Indy fE+423 Mutlc of Southea .. Ad. FE+4'14 folk Mlllic from !Corea fE .... 2S folk "'lIlicof , .kl:r.tan 1'£4426 Span." ...... k Ntw Mutco f[4421 folk Mulie: We.urn Conao

~~~ =r::of'tt~~~ ~~= ::.?~!.':.cl'k~~ll:~ 1'[+432 Sonss.ndOtncuoftlll,l fE4433 Mlorl $ontl Ntw b. ... nd 1'£4434 Folk Mlllic 01 Ylllosinia ft443$ IlIIck Cldbt. HotHI,. .. ffA431 "1I'If.M folk , Tlad. MII,1e Ft4431 Flamf.!le:o ..... ,le:o Fr.M38 C&jllft SonI' louillana ft4439 Tribll MII'\c. of AURraly

f£4440 IlelfilOuI Sona' """ mil r£4441 D-u".of YONbi t<fi.leria f£ ..... 'l MII.leollhotF ..... W. ft4443 MUlic oIttlc: UIu.IM F[44+4 £Sklmot. A" .. ...". HlidIon .. , fE444S F"tbudlnd~m MorItaIII' 1'[4446 """,Ie: flom MaiO Gn)IIO rt:4441 Mlilic::ftomSOUlh ...... ~£44411 rolk .... ie: "'lI'IIml h l'l_ F£4441 l .. ,.....e. ~dbiJI: Ru.a.-b F[44MI SocIiI c.~ .rrOft III .

~~~; ~:k~~J:= fE44M folk MIII)(- or GruCf: FE~ MIIde of hili, No. 2

:~= :'!f.m.::.: L~'ru~= fE4460 Trmiar D-oeam Snil toU .. ~. 1'[4411 "1N1c.-. C" .. lIIY'bms

~=i :~: :~~:r.I. G .....

f£ .... 4 IfI4y .. C.tlldian "'"1 .. f£MIo5 folk MII'k of Liberia f£446' HioutlOO ~,Ie: I'hlhpp1lll:' f£4461 folk DlIIOUof Grerc:c

~=: ~d~t::~t'from ,,,. fE .... 10 T.lftilolllak: f£4.4l1 Ntl"' Mttlk: All •• 3 fU412 Morr"",,."" .. 4 FU413 ~ MIllie: ALI .. $ 1'£4414 NeVO MII* "'111, . , fU41$ Nrpo,.iMIn 'ttOfk ~ ft+4" "Ollie I4lUc 1-, eoa • Ff44n TopoM hoople Conco

~~::: ~,~-:~ ~Cn.,:,n::iIE ~=; ~~:..:rl:ln:~c:':t~ fU50IA.I· loIulk MtcUtern .... I f£4$CIIC.DNlldc: .. dltc" ....... '1 ft450U.' Alrlc:a. D-lin. 1 fE4M'2C.D ,u,o-A_,k:an ONIIII . t fE6620"'-IFc:tlk~h.I, . I Fm2OC-D ~k '''"k 1,,1,. 2

ET/INIC FOLKWAYS UBRARY

,~= =--= ~ ::~::!:=;:: : fWIO ~orld·. Vocal Am f~20 Folk .... from lui, s:: ~~:J=ttf.::, f[~$ USSR rolk Nudclt·12",

AMERICAN HISTORICAL 2-10" ~$OOI "1111* lIIE't'OI"lktft 12151 & 2152, FH:wM12 .. ua. V .. of 1'12(2113 a 1114, FH:i0003 ,,",",le, .. u... •• (21'1$ a 21'" fH:wKIa .. u.. Ch'U ..,., (2111 " 2111) "'H~ CokMtyl Spuc:be.{211t" 2190) fH$006 He.II .. c SpccdIu(2111" tlt2)

AMERICAN HIST and DOCUMENTARY 12"

fHS211 .1". of Ohio. Crlmr!

:::~ ~~~"~U Gsrr:~.J,.c fH$2$1 ... mu. I ...... .. II ••• xrlCl'

~!~~ ~r.°of~4;~ ~bh~~iel FHS258 l"imburr, ' • . , Sc:hrrelll fH$214 Dcprt: .. _ s.'" t4.C ~rnblcn

~::~ ~fi: ~~~"s!::i~rKn"hl

E~ EI:=~5~~~~:~lIlhrR rH.i.501 Utlrypkal ' olhic"'n. SpcedlCt fHM24 HulNn Ril"u, Mn. Aoc.:",," fCL»$II New York II, SetIW,"II& F05$$9 ~ .. York, Sd'" ... ,I:t. FD5,560 MlUiOfll of MulkiM-n .. Schw.n, FD$$62 £XclllnIC, Sc:h .... rn. fD:iS80 A~'ll.lle. Schw'rll FD$s.81 M"tie In li'tc Sirertl, Sc:hwlfll

~~: ~:t~~~~"i:', Ho... fH~1I1 SflAl of CI.i1 WI,. 2·12-fH~123 Cowboy . "eloon 2·12-

SCIENCE SERIES 12" fX6001 kif-nee of SoIind (2"1'l"' F)(61oo Souno. o( mqurnc,. "'1"

oFX6101 Selener In ClIIr U.es. Callk, FX6I04 Sounchof Sc: U.H'pnotl,

~~~:~ ~::: = ~~·A:=:..":n~!" fX6I21 Soundtinlhcx. fXIH22 SoulHkof lhe ... mr:ric.ln So.rbwUl n(S123 VOl Human.. WlCaI n"' .. 6oft fX61:2 4 Sound! of Animllb. z.oo" f.rm fX&12$ Sou". of X. "'nlmah fX61'lii SounlkofClfnivll. ""'nle FX6121 SoIlO. O( Mrdk1nr: f"6130 Soundl'.uunt ~X6136 Shari .t:nion of fX6001 fX6140 SOUn. of Sport ' Cit llilcu fX6I$1 Soundl of Af.lcan Homt: FX61~2 Soun. Stdm locomoli\'t:'. I rX61~ Sou,. S,um Loc:onbtinl. 2 fX6H,4 Soun. Slum I.oeomol~'. 3 fX61M Soun. N Y C<'nll.1 Loc:omoliftl FX6160 Soun. of New "",Ie: fX6I66 SOllndr N. Amr:r. r'llI' FX6l10 Sound £1It:eu, No. I fX6\11J IntcetSollI'lil

fX6200 Sou" ol Sandhu FX62~ Sou ... ol Sdcnec f~.Ion

STEREO 12" fSS6301 HllhhJhu or Vanu

DANCES 12" FD6S01 Folk:.'='.~Of:':;::':r.~" I

fDU02 Polk o.ncCl World'. '~0fI1t:." 2 ~'OpE

fD6~3 Folk o.lICU World', ~plc." 3 ca"ibc.nandSOucb"'m~rlc:.all

fD6$04 Folk o.nc:cs 'ttorld', 'eopkl, 4 Middk Ea ..

FD6$IO '"' , Amer . Ind.\l" Da_,

INTERNATIONAL SERIES 10"

FOLKWAYS RECORDS

• . ~ .1" ~~~ 2-12"U.S.A, 165W. 46th St.

ffiS =~l~~':tI"':: New York. N, Y. 10036 F(~Alrk.l.~s.o.dloisaM" fE4504 ... 01 worW',,.,... I f[~' lIIIIIIE: 01 "OfU .. , ..... 2

FOLKT ALES FOR CHILDREN 10"

FC110t T.w, from II'IIIonetIA fC1103 T.k, hom 'fIIut Atrw

-~::: ~':':;~=.~I ~:~L~~~'h~ FC1101 IOondUrc, Betton 'FCn09 IUdt. wida lbe $un FC1t10 Alblml T.it.." Couclllndt:. FC1114 ""'IfOI'ocIrY. lilllhe:, 'FC'IIU Dary CrocKt. Hi,"

CHILDREN'S INTERNATIONAL SERIES 10"

FC1200 I'Itcbao IndLln (14.1$) Fe120l Af,lkN .. Sonp I FCnlll "each Sons" MU4 FC"r214 Gamu mnch Cana" FC12t' Lalln Amukan $0"1' FC72U kwllb Son,.. I\Ibln FC1226 ".IeU Sone" len-Ezr.

~;m ~~x~.~}. clalld.

~ ~,,:;::.n ~,~~.~~~" FC1210 Grllran So"l" wolff FC1211 GUINn S"I.II, Wolff

CHILDREN'S SPECIAL

"HISTORICAL 10" Fe13101 MIllie: Tlmt: ••• Ic., FC'J3OI CaU. 1lle1flOflM: , 'en kim

~~~~ ~c;J,:' ~t~o~:t~!aghc' FC"I341 Souncil of NYC • Schwam: FC1l$O Intcnlcw. Wm. Doulla. f C13:i1 Int.cnlf.w, Robe" M. lilllehim FC1)S2 wn, Margart:t Smhh

"fC13$3 Inlt:r ... icw, AI C.pp

~i~ ::::~:~: : i::t7~;.t·d Fe1402 'fllho .. lit Amef'a. "torI)'IIn FC1406 follcN lbe Sl,IlUCt, Salky FC1431' Min and His .... ork FC1432 Iokn .nd His RtUalon

CHILDREN'S SERIES 12"

PRlCB SCHEDULE

Unle •• OtherwIse Spe.Uled

12" Record $5. lI5 10·' Record $4, ~

LISTING

MUSIC INS!RUCTION SE1UB8 10"-12"

A8203 lanjo 111M, .. Set.,. 10-A.213 Achtoenlllft:.III"'J1b"'.,. ... A'320 ~o ON"" I_t. 'flft$-4 Gww Imu .• Seq" rll3H HI.tIdu Mlld.c: 1_.

INTERl'ATIONAL SERIES 12" """$01 SII.1III 511., lrt4IeCoU . ...... """S$2 Soun. of k",.alcm f'W'1101 .11 , • .,..Idt: .. 1111* f'W'111' A",,"llan. GIt:C""'.y fWl1'l.!l Alunl' 01 Norwa,

:::~ cil;~n T~.-:t: ~11~Y.du f'W'13.!1 Yt:menlle SonJI. GIU f'W""3" St:pN.ldleSonj:I.Lny fW'"40 RlIlb Rubin Concen f'W'tn .... S.' of ", .. llimu, Mil .. FWtn411 TrIod. ChllelA Sonl$ F'tt'1$2 bode Dalleu Ntn~ Ru.lan Cl!of.1 Nudc

~:i= ~~~b::IM~~~[~<;'~I,.;.~~I' f'W,i62 G.-cll~ Sons, ... . Harp f'\trIS764 Sa,blellew.n - MinjlOt. • fW8':"1l NewfOllnd""nd. Mllh

~:;!: ~~:!:~'r:~nltl~~~, Wolff fW1I191 Sonl' o f Phill lpilltl ...... ·11801 .5on&1.nd ~nc:uo(T,,'kt:, fWIIJl.O: So"lilond Dance. I)f P'u~no ~o F\o,l'~(i3 SonB, .. nd Dlnc:u of YIII01""nl FW680\ G"man ro lk NrlsI f'oIUOl ... Ip Moun!' In 5"1$1. Yodrb rw~'i<)!l !lrh ltll 'ttt:" Indw:. ~\o,' IISI0 ulIoIdl4n I""ck Witch rwHII c..llbltl,thmt.Sl.n",nd,c' NtcdU "'f.bIe:Lo.t~I" flInc:el

~::~~ [l~I~:nl,' .. ~f"~~II':n' _ ellli

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~:~~ ~:C!n ~~I~''ol':':dcn ""'"10 t."'rlichiDlncu, .. en f'W' .. 1I f "'ld Tlip - Ena .. ftd f'W'IISO 0I1nuc~, oper. ""'8111 W.ka . J&pallCIC .... lIk

RE LIGIOUS SERIES 12" fAB901 FRS"6 fMt21

""." 'RI"" ... .,. f1ll14'l ....., fMt.51 ...... fllU1S ......

UrbanltolillC. SC .... Ice'

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~~.V~;~~~!k • hllmk I." •• , Sonp Ea .. er Sef"'lcc.I In JeN.alotm Coplle: MI'k

I~:~: ~~:~c~ SCHOOL EXAM SERIES 12"

AI10l "'0II~'r'::':r.~~~,~,~_12" with IUlbook. 1S2.$O

LITERATURE SERIES I~" f\.'~ [ .... nseilnc.F1ccrwoocl.2·12" R.t.5H I.mel Joy« SockIY. 2-12-

~::~ ~O::I~C!t:..~~r:;,::?ri.t~2_;t-R.9103 POt:1I or '"' Y • Aa.on J(z'1nC1 FU111 Krnnelh hlehcf\ SeIt:C1c4 '-. "'t'UI iCcnnt:lh 'ltehcnwlda Ja. .. Roms LOflcry/Loorcl.Sh.. J&eklOfl R.t130 HLa .... IM, read by F1crrwood

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UTHO IN U.s.A. ~ IS.