An expansion of our Christmas and New Year episode of a few years back with extra tracks and more all around cheer. Links are to tracks' records in the Lomax Digital Archive. Those without them are either not Lomax recordings, or not yet included in the LDA. (If you'd like to assist in digitization/cataloging efforts to preserve and make available some of the early Lomax collections currently offline, please consider making a donation at culturalequity.org/donate, or drop us a line!) Happy Winter solstice and assorted holidays to everybody.1. Villagers of Lagartera, Castilla-La Mancha, Spain: Ronda de Nochebuena, Christmas Eve 1952.2. Merritt Boddie and the Marigolds Band: Christmas Machete / Noel, Gingerland, Nevis, July 1962. 3. Georgia Sea Island Singers: Yonder Come Day, Central Park, NYC, July 1965.4. Sophie Loman Wing and group: All Night Long, St. Simons Island, Georgia, June 1935.5. Norman Edmonds and the Old-Timers: Breaking Up Christmas, Hillsville, Virginia, August 1959.6. Kelly Pace and group: Holy Babe, Cumins State Farm, near Gould, Arkansas, May 1939.7. Vera Ward Hall: No Room At the Inn (song &amp; story) / Last Month of the Year (song), Livingston, Alabama, October 1959. 8. Phil Tanner: The Gower Wassail, Columbia 372-M, 1937.9. Jean Ritchie: Wassail song, NYC, March 1949. 10. 1959 United Sacred Harp Musical Association: Sherburne (#186), Fyffe, Alabama, September 195911. Alice Gibbs and friends: Today, Today Is Christmas Day, St. Eustatius, January 1967.12. “Special group” from the 1959 United Sacred Harp Musical Association: Christmas Anthem (#225)13. Shirley and Dolly Collins: The Moon Shines Bright, from “For As Many As Will,” Topic Records, 1978.14. Villagers of Hío, Aragon: Buenas Entradas de Reyes, Hío, Galicia, November 195215. Ottavio Dogali, Giuseppe Napoli, and Giuseppe Ascani: Alla Pastorale, Cinquefrondi, Reggio Calabria, August 1, 1954. 16. Iaconelli and Arcari: La Novena di Natale, Columbia 14490, NYC, September 1929. 17. Edward King: Le Jour De L'an (New Year's Day), Baraga, Michigan, October 1938.18: Georgia Sea Island Singers with Ed Young, Hobart Smith, and Nat Rahmings: Yonder Come Day, St. Simons Island, April 1960. 19 and beyond: “Sing Christmas and the Turn of the Year,” BBC Radio, 1957. For artists and titles see here.

An expansion of our Christmas and New Year episode of a few years back with extra tracks and more all around cheer. Links are to tracks' records in the Lomax Digital Archive. Those without them are either not Lomax recordings, or not yet included in the LDA. (If you'd like to assist in digitization/cataloging efforts to preserve and make available some of the early Lomax collections currently offline, please consider making a donation at <a href="http://culturalequity.org/donate" rel="nofollow" target="_blank">culturalequity.org/donate</a>, or drop us a line!) Happy Winter solstice and assorted holidays to everybody. 1. Villagers of Lagartera, Castilla-La Mancha, Spain: <a href="https://archive.culturalequity.org/field-work/spain-1952-1953/lagartera-1252/fandango-plowing" rel="nofollow" target="_blank">Ronda de Nochebuena</a>, Christmas Eve 1952.2. Merritt Boddie and the Marigolds Band: Christmas Machete / <a href="https://archive.culturalequity.org/field-work/caribbean-1962/gingerland-i-762/noel" rel="nofollow" target="_blank">Noel</a>, Gingerland, Nevis, July 1962. 3. Georgia Sea Island Singers: <a href="https://archive.culturalequity.org/field-work/central-park-concert-1965/new-york-city-865/o-day" rel="nofollow" target="_blank">Yonder Come Day</a>, Central Park, NYC, July 1965.4. Sophie Loman Wing and group: All Night Long, St. Simons Island, Georgia, June 1935.5. Norman Edmonds and the Old-Timers: <a href="https://archive.culturalequity.org/field-work/southern-us-1959-and-1960/hillsville-i-859/breaking-christmas" rel="nofollow" target="_blank">Breaking Up Christmas</a>, Hillsville, Virginia, August 1959.6. Kelly Pace and group: Holy Babe, Cumins State Farm, near Gould, Arkansas, May 1939.7. Vera Ward Hall: No Room At the Inn (song &amp; story) / Last Month of the Year (song), <a href="https://archive.culturalequity.org/solr-search/content/grid?search_api_fulltext=livingston&amp;f%5B0%5D=member_of%3A873" rel="nofollow" target="_blank">Livingston, Alabama, October 1959</a>. 8. Phil Tanner: <a href="https://archive.culturalequity.org/field-work/england-and-wales-1951-1958/bbc-disc-dubs-1951/gower-wassail-song" rel="nofollow" target="_blank">The Gower Wassail</a>, Columbia 372-M, 1937.9. Jean Ritchie: <a href="https://archive.culturalequity.org/field-work/jean-ritchie-1949-and-1950/jean-ritchie-349/wassail-song" rel="nofollow" target="_blank">Wassail song</a>, NYC, March 1949. 10. 1959 United Sacred Harp Musical Association: <a href="https://archive.culturalequity.org/field-work/southern-us-1959-and-1960/fyffe-959/sherburne-186-0" rel="nofollow" target="_blank">Sherburne (#186)</a>, Fyffe, Alabama, September 195911. Alice Gibbs and friends: <a href="https://archive.culturalequity.org/field-work/dominican-republic-and-sint-eustatius-1967/sint-eustatius-1967/today-today-christmas-0" rel="nofollow" target="_blank">Today, Today Is Christmas Day</a>, St. Eustatius, January 1967.12. “Special group” from the 1959 United Sacred Harp Musical Association: <a href="https://archive.culturalequity.org/field-work/southern-us-1959-and-1960/fyffe-959/christmas-anthem-225" rel="nofollow" target="_blank">Christmas Anthem (#225)</a>13. Shirley and Dolly Collins: The Moon Shines Bright, from “For As Many As Will,” Topic Records, 1978.14. Villagers of Hío, Aragon: <a href="https://archive.culturalequity.org/field-work/spain-1952-1953/hio-1152/buenas-entradas-de-reyes" rel="nofollow" target="_blank">Buenas Entradas de Reyes</a>, Hío, Galicia, November 195215. Ottavio Dogali, Giuseppe Napoli, and Giuseppe Ascani: Alla Pastorale, Cinquefrondi, Reggio Calabria, August 1, 1954. 16. Iaconelli and Arcari: La Novena di Natale, Columbia 14490, NYC, September 1929. 17. Edward King: Le Jour De L'an (New Year's Day), Baraga, Michigan, October 1938.18: Georgia Sea Island Singers with Ed Young, Hobart Smith, and Nat Rahmings: <a href="https://archive.culturalequity.org/field-work/southern-us-1959-and-1960/st-simons-island-iii-460/o-day" rel="nofollow" target="_blank">Yonder Come Day</a>, St. Simons Island, April 1960. 19 and beyond: “Sing Christmas and the Turn of the Year,” BBC Radio, 1957. For artists and titles see <a href="https://www.discogs.com/Various-Sing-Christmas-And-The-Turn-Of-The-Year/release/6156619" rel="nofollow" target="_blank">here</a>.

16 - Sing Christmas and the Turn of the Year

Our eschatological episode of the program. Songs on final things: the end of the world, the end of time, judgement day, "when the stars begin to fall," etc.Playlist (links to catalog records in the Lomax Digital Archive):[Bed music] Fred McDowell: Keep Your Lamps Trimmed and Burning1. E.C. Ball &amp; Lacey Richardson: Tribulations (Rugby, Virginia, August 1959) [Your host credited Orna Ball rather than her brother Lacey Richardson as E.C.'s accompanist.]2. James Moore and friends: World Is Goin' To Destruction (At the home of Dave Roland, Sadie Beck Plantation, Arkansas, July 1942)3. Holly Springs Sacred Harp singing: New Georgia (#534) (Holly Springs Primitive Baptist Church, H.S., Georgia, June 1982)4. Taylor-Griggs' Louisiana Melody Makers: When the Moon Drips Into the Blood (Victor Records, V-40083, Memphis, Tennessee, September 1928)[bonus: Sampson Caldwell and J.F. "Farmer" Collett: Jesus Getting Us Ready For That Great Day (At the home of John Sizemore, Gardner, Clay Co. - not Leslie Co. as announced - Kentucky, September 1937)]5. Hobart Smith, Preston Smith, and Texas Gladden: When the Stars Begin To Fall (Bluefield, Virginia, August 1959)6. Belleville A Cappella Choir: My Lord, What A Morning (Church of God and Saints in Christ, Belleville, Virginia, April 1960)7. Group of six men: An-nar (The Hellfire) (Fes, Morocco, September 1967)8. Mrs. Ross, Rev. Cyphers, and the congregation of True Light Baptist Church: That Awful Day Will Surely Come (Dallas, Texas, February 1948)9. (Sensational?) Friendly Brothers of Tallulah, Louisiana: Where Shall I Be When the First Trumpet Sounds (St. James Baptist Church, Canton, Mississippi, August 1978)10. Lillie &amp; Thelma Knox: Where Shall I Be When the First Trumpet Sounds (Murrells Inlet, South Carolina, July 1937)11. Rev. Dickson, Ebenezer Elliott, and congregation of Indian Walk London Baptist Church: Want To Go To the Happy Land (Indian Walk, Princes Town, Trinidad, May 1962)12. St. Vincent Spiritual Baptist congregation: On That Great Day (uploaded to YouTube by The Admiral Quow, November 2010)13. Georgia Sea Island Singers: One of These Days (St. Simons Island, Georgia, October 1959)

Our eschatological episode of the program. Songs on final things: the end of the world, the end of time, judgement day, "when the stars begin to fall," etc. Playlist (links to catalog records in the Lomax Digital Archive): [Bed music] Fred McDowell: <a href="https://archive.culturalequity.org/field-work/southern-us-1959-and-1960/como-iii-959/keep-your-lamps-trimmed-and-burning-ii" rel="nofollow" target="_blank">Keep Your Lamps Trimmed and Burning</a> 1. E.C. Ball &amp; Lacey Richardson: <a href="https://archive.culturalequity.org/field-work/southern-us-1959-and-1960/rugby-859/trials-troubles-tribulations-i" rel="nofollow" target="_blank">Tribulations</a> (Rugby, Virginia, August 1959) [Your host credited Orna Ball rather than her brother Lacey Richardson as E.C.'s accompanist.] 2. James Moore and friends: <a href="https://archive.culturalequity.org/field-work/mississippi-delta-survey-1941-1942/sadie-beck-plantation-742/world-goin-destruction" rel="nofollow" target="_blank">World Is Goin' To Destruction</a> (At the home of Dave Roland, Sadie Beck Plantation, Arkansas, July 1942) 3. Holly Springs Sacred Harp singing: <a href="https://youtu.be/Jrxdl9KeHYI" rel="nofollow" target="_blank">New Georgia (#534)</a> (Holly Springs Primitive Baptist Church, H.S., Georgia, June 1982) 4. Taylor-Griggs' Louisiana Melody Makers: <a href="https://www.youtube.com/watch?v=GKb5L83UtcY" rel="nofollow" target="_blank">When the Moon Drips Into the Blood </a>(Victor Records, V-40083, Memphis, Tennessee, September 1928) [bonus: Sampson Caldwell and J.F. "Farmer" Collett: <a href="https://archive.culturalequity.org/field-work/kentucky-1937/gardner-937/jesus-getting-us-ready-great-day" rel="nofollow" target="_blank">Jesus Getting Us Ready For That Great Day</a> (At the home of John Sizemore, Gardner, Clay Co. - not Leslie Co. as announced - Kentucky, September 1937)] 5. Hobart Smith, Preston Smith, and Texas Gladden: <a href="https://archive.culturalequity.org/field-work/southern-us-1959-and-1960/bluefield-i-859/when-stars-begin-fall" rel="nofollow" target="_blank">When the Stars Begin To Fall </a>(Bluefield, Virginia, August 1959) 6. Belleville A Cappella Choir:<a href="https://archive.culturalequity.org/field-work/southern-us-1959-and-1960/belleville-460/when-stars-begin-fall" rel="nofollow" target="_blank"> My Lord, What A Morning</a> (Church of God and Saints in Christ, Belleville, Virginia, April 1960) 7. Group of six men: <a href="https://archive.culturalequity.org/field-work/morocco-1967/fes-iii-967/nar-hellfire" rel="nofollow" target="_blank">An-nar (The Hellfire)</a> (Fes, Morocco, September 1967) 8. Mrs. Ross, Rev. Cyphers, and the congregation of True Light Baptist Church: <a href="https://archive.culturalequity.org/field-work/morocco-1967/fes-iii-967/nar-hellfire" rel="nofollow" target="_blank">That Awful Day Will Surely Come</a> (Dallas, Texas, February 1948) 9. (Sensational?) Friendly Brothers of Tallulah, Louisiana: <a href="https://www.youtube.com/watch?v=-sbmkj3hklc" rel="nofollow" target="_blank">Where Shall I Be When the First Trumpet Sounds</a> (St. James Baptist Church, Canton, Mississippi, August 1978) 10. Lillie &amp; Thelma Knox: <a href="https://archive.culturalequity.org/field-work/england-and-wales-1951-1958/murrells-inlet-737/when-first-trumpet-sounds" rel="nofollow" target="_blank">Where Shall I Be When the First Trumpet Sounds</a> (Murrells Inlet, South Carolina, July 1937) 11. Rev. Dickson, Ebenezer Elliott, and congregation of Indian Walk London Baptist Church: <a href="https://archive.culturalequity.org/solr-search/content/list?search_api_fulltext=happy%20land" rel="nofollow" target="_blank">Want To Go To the Happy Land</a> (Indian Walk, Princes Town, Trinidad, May 1962) 12. St. Vincent Spiritual Baptist congregation: <a href="On%20That%20Great%20Day" rel="nofollow" target="_blank">On That Great Day</a> (uploaded to YouTube by The Admiral Quow, November 2010) 13. Georgia Sea Island Singers: <a href="https://archive.culturalequity.org/field-work/southern-us-1959-and-1960/st-simons-island-i-1059/one-these-days" rel="nofollow" target="_blank">One of These Days</a> (St. Simons Island, Georgia, October 1959)

15 - "Trials, Troubles, Tribulations"

(Scroll down for playlist and links to resources mentioned.)This episode provides an introduction to the singers and sites visited by John A. Lomax in the Palmetto State between 1934 and 1940, on the occasion of...:The American Folklife Center at the Library of Congress, the Association for Cultural Equity, and the Charles Joyner Institute for Gullah and AfricanStudies at Coastal Carolina University are pleased to announce that theentirety of John A. Lomax's historic South Carolina recordings—made between 1934 and 1940 under the aegis of the Library of Congress' Archive of Folk Song—are now freely available online via the Lomax Digital Archive. [Access the collection here.] This collaboratively produced catalog provides free access to more than 12 hours of historic audio, accompanied by extensive descriptive metadata, documenting a diversity of Black and white folk and vernacular music in the Palmetto State: spirituals, hymns, blues, lullabies, ballads, children's game songs, work songs, as well as stories and personal narratives.  John A. Lomax made several trips to South Carolina as a guest of folkloristGenevieve W. Chandler in coastal Murrells Inlet, who introduced him to some of the renowned singers in the Gullah community there: among them Zackie Knox, Lillie Knox, and "Mom" Hagar Brown. Also representing Gullah traditions of the region in these recordings are Caesar Roper and the Wadmalaw Island singers who participated in Rosa Warren Wilson's "Plantation Echoes" program, which Lomax recorded in Columbia in 1937. White singers also contributed to the sessions at Chandler's home with children's songs, contemporary hillbilly numbers, and ballads. Lomax recorded incarcerated men and women—at the Reid Farm in rural Kershaw County; at the state penitentiary in Columbia; and in a "convict camp" in Anderson County—singing group work songs, sacred pieces, and the occasional blues. Two WPA ditch-digging crews appear in these recordings, one from the Murrells Inlet area and the other from Clemson; this latter group Lomax recorded at the home of South Carolina journalist and memoirist Ben Robertson. Only a fraction of these recordings have ever been published or otherwise made available publicly.(The Murrells Inlet and Wadmalaw Island material was processed with the support of a National Historic Publications and Records Commission grant with Coastal Carolina University.)Playlist (links to catalog records in the Lomax Digital Archive):*Zackie Knox: When I’m Gone, Gone, Gone*Lillie Knox: I Know My Time Ain't Long*Hagar Brown: Stay In the Field*Jonesie Mack, James Mack and Nick Robison: Corrine, Corrina*Capitol City Laundry Quartet: Ezekiel Saw the Wheel*Minnie Floyd: Time Enough Yet*Mike Maybank and group: See John the Writer*Cleve "Dynamite" Wright &amp; Slick Owens: Ain’t No Heaven On the County Road*D.W. White &amp; People’s Burial Aid Choir: I’ll Be Standing at the StationWorks cited:*Coming Through: Voices of a South Carolina Gullah Community from WPA Oral Histories. U. of South Carolina Press, 2008.*Alan Lomax's 1983 Johns Island recordings. (Perhaps strangely, Alan didn’t visit South Carolina on his 1959 and 1960 trips through the American South, although he does appear as an announcer on a Folkways LP documenting the 1964 folk festival on Johns Island that featured the singers of the Moving Star Hall - like Benjy Bligen, Bertha Pinckney, and Janie Hunter - who appear in the '83 footage. That festival was organized by Guy and Candie Carawan, who also compiled the gorgeous book “Ain't You Got A Right to the Tree of Life," consisting of narrative segments by Johns Islanders and photographs by Bob Yellin.) *The Oxford American piece about Rosa Warren Wilson and “Plantation Echoes” has gone missing from their online archives between the recording of this episode and compiling these notes. If anyone turns up a link, please let us know!

(Scroll down for playlist and links to resources mentioned.) This episode provides an introduction to the singers and sites visited by John A. Lomax in the Palmetto State between 1934 and 1940, on the occasion of...: The American Folklife Center at the Library of Congress, the Association for Cultural Equity, and the Charles Joyner Institute for Gullah and AfricanStudies at Coastal Carolina University are pleased to announce that theentirety of John A. Lomax's historic South Carolina recordings—made between 1934 and 1940 under the aegis of the Library of Congress' Archive of Folk Song—are now freely available online via the Lomax Digital Archive. [Access the collection <a href="https://archive.culturalequity.org/field-work/south-carolina-1934-1940/field-work/south-carolina-1934-1940" rel="nofollow" target="_blank">here</a>.] This collaboratively produced catalog provides free access to more than 12 hours of historic audio, accompanied by extensive descriptive metadata, documenting a diversity of Black and white folk and vernacular music in the Palmetto State: spirituals, hymns, blues, lullabies, ballads, children's game songs, work songs, as well as stories and personal narratives.  John A. Lomax made several trips to South Carolina as a guest of folkloristGenevieve W. Chandler in coastal Murrells Inlet, who introduced him to some of the renowned singers in the Gullah community there: among them Zackie Knox, Lillie Knox, and "Mom" Hagar Brown. Also representing Gullah traditions of the region in these recordings are Caesar Roper and the Wadmalaw Island singers who participated in Rosa Warren Wilson's "Plantation Echoes" program, which Lomax recorded in Columbia in 1937. White singers also contributed to the sessions at Chandler's home with children's songs, contemporary hillbilly numbers, and ballads. Lomax recorded incarcerated men and women—at the Reid Farm in rural Kershaw County; at the state penitentiary in Columbia; and in a "convict camp" in Anderson County—singing group work songs, sacred pieces, and the occasional blues. Two WPA ditch-digging crews appear in these recordings, one from the Murrells Inlet area and the other from Clemson; this latter group Lomax recorded at the home of South Carolina journalist and memoirist Ben Robertson. Only a fraction of these recordings have ever been published or otherwise made available publicly. (The Murrells Inlet and Wadmalaw Island material was processed with the support of a National Historic Publications and Records Commission grant with Coastal Carolina University.) Playlist (links to catalog records in the Lomax Digital Archive): *Zackie Knox: <a href="https://archive.culturalequity.org/field-work/south-carolina-1934-1940/murrells-inlet-737/when-im-gone-gone-gone" rel="nofollow" target="_blank">When I’m Gone, Gone, Gone</a> *Lillie Knox: <a href="https://archive.culturalequity.org/field-work/south-carolina-1934-1940/murrells-inlet-737/i-know-my-time-aint-long" rel="nofollow" target="_blank">I Know My Time Ain't Long</a> *Hagar Brown: <a href="https://archive.culturalequity.org/field-work/south-carolina-1934-1940/columbia-1140/ill-be-standing-station" rel="nofollow" target="_blank">Stay In the Field</a> *Jonesie Mack, James Mack and Nick Robison: <a href="https://archive.culturalequity.org/field-work/south-carolina-1934-1940/charleston-737/corrine-corrina" rel="nofollow" target="_blank">Corrine, Corrina</a> *Capitol City Laundry Quartet: <a href="https://archive.culturalequity.org/field-work/south-carolina-1934-1940/columbia-536/ezekiel-saw-wheel" rel="nofollow" target="_blank">Ezekiel Saw the Wheel</a> *Minnie Floyd: <a href="https://archive.culturalequity.org/field-work/south-carolina-1934-1940/murrells-inlet-737/time-enough-yet" rel="nofollow" target="_blank">Time Enough Yet</a> *Mike Maybank and group: <a href="https://archive.culturalequity.org/field-work/south-carolina-1934-1940/murrells-inlet-737/time-enough-yet" rel="nofollow" target="_blank">See John the Writer</a> *Cleve "Dynamite" Wright &amp; Slick Owens: <a href="https://archive.culturalequity.org/field-work/south-carolina-1934-1940/anderson-county-639/aint-no-heaven-county-road" rel="nofollow" target="_blank">Ain’t No Heaven On the County Road</a> *D.W. White &amp; People’s Burial Aid Choir: <a href="https://archive.culturalequity.org/field-work/south-carolina-1934-1940/columbia-1140/ill-be-standing-station" rel="nofollow" target="_blank">I’ll Be Standing at the Station</a> Works cited: *<a href="https://uscpress.com/Coming-Through" rel="nofollow" target="_blank">Coming Through</a>: Voices of a South Carolina Gullah Community from WPA Oral Histories. U. of South Carolina Press, 2008. *Alan Lomax's 1983 Johns Island recordings. (Perhaps strangely, Alan didn’t visit South Carolina on his 1959 and 1960 trips through the American South, although he does appear as an announcer on a <a href="https://folkways.si.edu/sea-island-folk-festival-moving-star-hall-singers-and-alan-lomax/african-american-music-folk-gospel/album/smithsonian" rel="nofollow" target="_blank">Folkways LP</a> documenting the 1964 folk festival on Johns Island that featured the singers of the Moving Star Hall - like Benjy Bligen, Bertha Pinckney, and Janie Hunter - who appear in the '83 footage. That festival was organized by Guy and Candie Carawan, who also compiled the gorgeous book “<a href="https://ugapress.org/book/9780820316437/aint-you-got-a-right-to-the-tree-of-life/" rel="nofollow" target="_blank">Ain't You Got A Right to the Tree of Life</a>," consisting of narrative segments by Johns Islanders and photographs by Bob Yellin.)  *The Oxford American piece about Rosa Warren Wilson and “Plantation Echoes” has gone missing from their online archives between the recording of this episode and compiling these notes. If anyone turns up a link, please let us know!

14 - "When I'm Gone, Gone": South Carolina, 1934–1940

[Bed music:]Sid Hemphill and band: The Death March (Quitman Co., Mississippi, August 1942).Mr. &amp; Mrs. Boyd Hoskins: Ah, Lovely Appearance of Death (Horse Creek, Clay Co., Kentucky, October 1942)Bessie Jones: Oh Death (St. Simons Island, Georgia, October 1959)Nimrod Workman: O Death (Mascot, Tennessee, July 1983)Bessie Jones tells a story of a woman enduring a night’s worth of ghostly trials (NYC, October 1961)Sheila Kay Adams: Little Margaret (Burton Cove, Sodom Laurel, Madison Co., North Carolina, September 1982)Unidentified woman: funeral lament (Santo Stefano di Sessanio, Abruzzo, Italy, December 1954)Liborio Garanfa (guitar) and Giuseppe Gavita (violin and vocal) (Scanno, Abruzzo, Italy, December 1954)Almeda Riddle: The House Carpenter (Heber Springs, Arkansas, October 1959)Jeannie Robertson: Bonny Annie and Andrew Lammie, followed by a story of her own encounter with a spirit (London, November 1953)Texas Gladden tells a story of her grandfather’s experience in haunted house during the Civil War (Decca Studios, NYC, 1946)We considered including these two relevant and wonderful pieces that aren’t directly Lomax-related – enjoy them here instead: Burl Hammons: Turkey In the Straw, learned from an apparition, as he explains. (Recorded by Carl Fleischauer and Dwight Diller at Pocahontas Co., West Virginia, April 1970. Scroll down here for audio.)Billie Maxwell: The Haunted Hunter (Victor Records session, El Paso, Texas, July 1929. Maxwell was a native of New Mexico, living at the time in Arizona.) 

[Bed music:]Sid Hemphill and band: The Death March (<a href="https://archive.culturalequity.org/node/1300" rel="noopener noreferrer nofollow" target="_blank">Quitman Co., Mississippi, August 1942</a>). Mr. &amp; Mrs. Boyd Hoskins: Ah, Lovely Appearance of Death (<a href="https://archive.culturalequity.org/node/1269" rel="noopener noreferrer nofollow" target="_blank">Horse Creek, Clay Co., Kentucky, October 1942</a>) Bessie Jones: Oh Death (<a href="https://archive.culturalequity.org/node/878" rel="noopener noreferrer nofollow" target="_blank">St. Simons Island, Georgia, October 1959</a>) Nimrod Workman: O Death (<a href="https://archive.culturalequity.org/taxonomy/term/7842" rel="noopener noreferrer nofollow" target="_blank">Mascot, Tennessee, July 1983</a>) Bessie Jones tells a story of a woman enduring a night’s worth of ghostly trials (<a href="https://archive.culturalequity.org/node/1050" rel="noopener noreferrer nofollow" target="_blank">NYC, October 1961</a>) Sheila Kay Adams: Little Margaret (<a href="https://archive.culturalequity.org/taxonomy/term/7706" rel="noopener noreferrer nofollow" target="_blank">Burton Cove, Sodom Laurel, Madison Co., North Carolina, September 1982</a>) Unidentified woman: funeral lament (Santo Stefano di Sessanio, Abruzzo, Italy, December 1954) Liborio Garanfa (guitar) and Giuseppe Gavita (violin and vocal) (Scanno, Abruzzo, Italy, December 1954) Almeda Riddle: The House Carpenter (<a href="https://archive.culturalequity.org/node/912" rel="noopener noreferrer nofollow" target="_blank">Heber Springs, Arkansas, October 1959</a>) Jeannie Robertson: Bonny Annie and Andrew Lammie, followed by a story of her own encounter with a spirit (<a href="https://archive.culturalequity.org/node/57797" rel="noopener noreferrer nofollow" target="_blank">London, November 1953</a>) Texas Gladden tells a story of her grandfather’s experience in haunted house during the Civil War (<a href="https://archive.culturalequity.org/node/803" rel="noopener noreferrer nofollow" target="_blank">Decca Studios, NYC, 1946</a>) We considered including these two relevant and wonderful pieces that aren’t directly Lomax-related – enjoy them here instead: Burl Hammons: Turkey In the Straw, learned from an apparition, as he explains. (Recorded by Carl Fleischauer and Dwight Diller at Pocahontas Co., West Virginia, April 1970. Scroll down <a href="https://blogs.loc.gov/folklife/2014/05/turkey-in-the-straw/" rel="noopener noreferrer nofollow" target="_blank">here</a> for audio.) Billie Maxwell: <a href="https://www.youtube.com/watch?v=pTCxT_B0J1A" rel="noopener noreferrer nofollow" target="_blank">The Haunted Hunter</a> (Victor Records session, El Paso, Texas, July 1929. Maxwell was a native of New Mexico, living at the time in Arizona.)

13 - Songs and stories for Halloween

August 30, 2021, is the 70-year anniversary of the 1951 Edinburgh People’s Festival Ceilidh, the seminal event that heralded and generated the Scottish Folk Revival of the 1960s. Alan Lomax was on hand to record it in the Oddfellows Hall, and thus able to preserve a document of a legendary concert that alerted the astonished urban audience to the continuing vitality of Scotland’s rich heritage of traditional song. People in the rich folk culture of the Gaelic-speaking West, or speaking the Doric accent of the North East, still held and sang their vibrant old ballads and songs of work, but the Central Belt city folk thought the songs entombed in old books. Until the Ceilidh. This podcast presents the (near) entirety* of Alan Lomax's recordings of the event. This audio is considerably inconsistent volume-wise, as quiet singers were typically received with thunderous applause (for which Lomax kept his finger on the fader of his recording machine). And it is presented here raw (unmastered), so headphone-users, be warned! The episode functions as an audio accompaniment to the Lomax Digital Archive's new exhibit, curated by folklorist Ewan McVicar, which annotates the Ceilidh program song-by-song, and pairs more recent interpretations of those songs by revival singers in Scotland and further afield. We're pleased to say that two new recordings have been provided exclusively for the exhibit, by the fine singers Christine Kidd and Alasdair Roberts (who is also a guitarist/composer extraordinaire).*We omit the lengthy vote of thanks given in Gaelic by the Rev. Duncan. Also, note that some performances/commentaries were truncated by tape running out, and that Lomax missed recording the introductory piping by James Burgess.

August 30, 2021, is the 70-year anniversary of the 1951 Edinburgh People’s Festival Ceilidh, the seminal event that heralded and generated the Scottish Folk Revival of the 1960s. Alan Lomax was on hand to record it in the Oddfellows Hall, and thus able to preserve a document of a legendary concert that alerted the astonished urban audience to the continuing vitality of Scotland’s rich heritage of traditional song. People in the rich folk culture of the Gaelic-speaking West, or speaking the Doric accent of the North East, still held and sang their vibrant old ballads and songs of work, but the Central Belt city folk thought the songs entombed in old books. Until the Ceilidh.  This podcast presents the (near) entirety* of Alan Lomax's recordings of the event. This audio is considerably inconsistent volume-wise, as quiet singers were typically received with thunderous applause (for which Lomax kept his finger on the fader of his recording machine). And it is presented here raw (unmastered), so headphone-users, be warned! The episode functions as an audio accompaniment to the <a href="https://archive.culturalequity.org/1951ceilidh" rel="noopener noreferrer nofollow" target="_blank">Lomax Digital Archive's new exhibit</a>, curated by folklorist Ewan McVicar, which annotates the Ceilidh program song-by-song, and pairs more recent interpretations of those songs by revival singers in Scotland and further afield. We're pleased to say that two new recordings have been provided exclusively for the exhibit, by the fine singers Christine Kidd and Alasdair Roberts (who is also a guitarist/composer extraordinaire).*We omit the lengthy vote of thanks given in Gaelic by the Rev. Duncan. Also, note that some performances/commentaries were truncated by tape running out, and that Lomax missed recording the introductory piping by James Burgess.

12 - The Edinburgh People's Festival Ceilidh, 70 years later

Brutality and inhumanity were central to the Southern state prison farms, in their theory and their practice, and of them all, the Mississippi State Penitentiary at Parchman Farm was the most brutal and inhuman. Both John A. and Alan Lomax made repeated visits to Parchman, recording — under the eye of the disinterested white captains, sergeants, and warden, and the guns of the "trusty" prisoner-guards — a body of American song unmatched in its depth, dignity, and power. Folklorist and prison documentarian Bruce Jackson once said that the group work songs sung by the black inmates of the Southern penitentiary farms were means of "making it in Hell." Alan Lomax, writing in 1947, said that: "In the pen itself, we saw that the songs, quite literally kept the men alive and normal.... These songs, coming out of the filthy darkness of the pen, touched with exquisite musicality, are a testimony to the love of truth and beauty which is a universal human trait." In this episode, spurred by the ongoing horrors being reported in the Mississippi Department of Corrections in general and at Parchman in particular, we listen back over the four decades of recordings made by the four white folklorists (the Lomaxes, Herbert Halpert, and William Ferris) who took the trouble to visit the place and document the singing of its prisoners: work songs for clearing ground, felling trees, picking cotton, or breaking rocks, as well as solo field hollers, spirituals, and blues.No one can mourn the passing of this song tradition and the system of black disenfranchisement and white supremacy that made it necessary to its singers. But, despite the 1971 class-auction lawsuit that forced federal reorganization of Parchman due to its epidemic use of "cruel and unusual punishment," it's only differently awful in 2020. In his harrowing "Worse Than Slavery: Parchman Farm and the Ordeal of Jim Crow Justice," Michael Oshinsky provides a 1975 quote from a convict named Horace Carter, who’d been at Parchman for fifty years. What was missing in the “new” Parchman, Mr. Carter said, was “the feeling that work counted for something… awful bad as it was in most camps, that kept us tired and kept us together and made me feel better. I’m not looking to go backwards. I know the troubles at old Parchman better than any man alive. I’m 73 years old. But I look around today and see a place that makes me sad.” This episode was completed before the announcement that William Barr's Justice Department will open a civil rights investigation into conditions at Parchman. It's hard to imagine an administration with less sympathy for incarcerated people of color, but who knows, maybe, at last, Parchman Farm will be shuttered for good. “These songs are a vivid reminder of a system of social control and forced labor that has endured in the South for centuries, and I do not believe that the pattern of Southern life can be fundamentally reshaped until what lies behind these roaring, ironic choruses is understood.” —Alan Lomax, 1958For streaming audio of all of Alan Lomax's 1947, 1948, and 1959 Parchman Farm recordings, visit archive.culturalequity.org.PLAYLIST:[Bed music:] Unidentified ensemble, including Lonnie Robertson, guitar, and possibly "Black Eagle," cornet. Camp 1, April 1936. *Frank Devine and unidentified man: In the Bye and Bye. Unidentified camp, August 1933. *Bowlegs (real name unknown): Drink My Morning Tea. Camp 12, August 1933. *Unidentified men: He Never Said A Mumblin' Word. Unidentified camp, August 1933. *M.B. Barnes, Louella Dade, Passion Buckner, Alberta Turner, Bertha Riley, Lily Mallard, Christine Shannon, and Josephine Douglas: Oh Freedom. Women's camp, April 1936.*Big Charlie Butler: Diamond Joe. Unidentified camp, March 1937.[Bed music:] John Dudley: Cool Drink of Water Blues. Dairy camp, October 1959. *Mattie May Thomas: Workhouse Blues. Women's camp, May 1939.*"22" (Benny Will Richardson) and group: It Makes A Long Time Man Feel Bad. Camp B, November or December 1947. *Ervin Webb and group: I'm Goin' Home. Dairy camp, October 1959. *Johnny Lee Moore, Henry Mason, Ed Lewis and James Carter: Tom Devil. Camp B, October 1959.[Bed music:] James Carter and group: Poor Lazarus. Camp B, October 1959. *Unidentified prisoners: Water Boy Drowned In the Mobile Bay. Unidentified camp, August 1968. *Heuston Earms: Ain't Been Able to Get Home No More / interview. Camp B, October 1959.

Brutality and inhumanity were central to the Southern state prison farms, in their theory and their practice, and of them all, the Mississippi State Penitentiary at Parchman Farm was the most brutal and inhuman. Both John A. and Alan Lomax made repeated visits to Parchman, recording — under the eye of the disinterested white captains, sergeants, and warden, and the guns of the "trusty" prisoner-guards — a body of American song unmatched in its depth, dignity, and power. Folklorist and prison documentarian Bruce Jackson once said that the group work songs sung by the black inmates of the Southern penitentiary farms were means of "making it in Hell." Alan Lomax, writing in 1947, said that: "In the pen itself, we saw that the songs, quite literally kept the men alive and normal.... These songs, coming out of the filthy darkness of the pen, touched with exquisite musicality, are a testimony to the love of truth and beauty which is a universal human trait." In this episode, spurred by the ongoing horrors being reported in the Mississippi Department of Corrections in general and at Parchman in particular, we listen back over the four decades of recordings made by the four white folklorists (the Lomaxes, Herbert Halpert, and William Ferris) who took the trouble to visit the place and document the singing of its prisoners: work songs for clearing ground, felling trees, picking cotton, or breaking rocks, as well as solo field hollers, spirituals, and blues. No one can mourn the passing of this song tradition and the system of black disenfranchisement and white supremacy that made it necessary to its singers. But, despite the 1971 class-auction lawsuit that forced federal reorganization of Parchman due to its epidemic use of "cruel and unusual punishment," it's only differently awful in 2020. In his harrowing "Worse Than Slavery: Parchman Farm and the Ordeal of Jim Crow Justice," Michael Oshinsky provides a 1975 quote from a convict named Horace Carter, who’d been at Parchman for fifty years. What was missing in the “new” Parchman, Mr. Carter said, was “the feeling that work counted for something… awful bad as it was in most camps, that kept us tired and kept us together and made me feel better. I’m not looking to go backwards. I know the troubles at old Parchman better than any man alive. I’m 73 years old. But I look around today and see a place that makes me sad.” This episode was completed before the announcement that William Barr's Justice Department will open a civil rights investigation into conditions at Parchman. It's hard to imagine an administration with less sympathy for incarcerated people of color, but who knows, maybe, at last, Parchman Farm will be shuttered for good. “These songs are a vivid reminder of a system of social control and forced labor that has endured in the South for centuries, and I do not believe that the pattern of Southern life can be fundamentally reshaped until what lies behind these roaring, ironic choruses is understood.” —Alan Lomax, 1958 For streaming audio of all of Alan Lomax's 1947, 1948, and 1959 Parchman Farm recordings, visit <a href="http://archive.culturalequity.org" rel="nofollow" target="_blank">archive.culturalequity.org</a>. PLAYLIST: [Bed music:] Unidentified ensemble, including Lonnie Robertson, guitar, and possibly "Black Eagle," cornet. Camp 1, April 1936. *Frank Devine and unidentified man: In the Bye and Bye. Unidentified camp, August 1933. *Bowlegs (real name unknown): Drink My Morning Tea. Camp 12, August 1933. *Unidentified men: He Never Said A Mumblin' Word. Unidentified camp, August 1933. *M.B. Barnes, Louella Dade, Passion Buckner, Alberta Turner, Bertha Riley, Lily Mallard, Christine Shannon, and Josephine Douglas: Oh Freedom. Women's camp, April 1936. *Big Charlie Butler: Diamond Joe. Unidentified camp, March 1937. [Bed music:] John Dudley: Cool Drink of Water Blues. Dairy camp, October 1959. *Mattie May Thomas: Workhouse Blues. Women's camp, May 1939. *"22" (Benny Will Richardson) and group: It Makes A Long Time Man Feel Bad. Camp B, November or December 1947. *Ervin Webb and group: I'm Goin' Home. Dairy camp, October 1959. *Johnny Lee Moore, Henry Mason, Ed Lewis and James Carter: Tom Devil. Camp B, October 1959. [Bed music:] James Carter and group: Poor Lazarus. Camp B, October 1959. *Unidentified prisoners: Water Boy Drowned In the Mobile Bay. Unidentified camp, August 1968. *Heuston Earms: Ain't Been Able to Get Home No More / interview. Camp B, October 1959.

11 - "Making It In Hell": Parchman Farm, 1933–1969

Sacred Harp -- the four-part shape-note singing tradition long confined to the American South, but recently enjoying remarkable international popularity and participation -- fascinated and challenged Lomax for most of his career. He recorded it multiple times, trying with increasing technological sophistication to capture its indelible magic. In this episode, we survey Alan's Sacred Harp recordings and the tradition's development, ethos, and survival. Intro: United Sacred Harp Musical Association Convention: The Bower of Prayer (#100) (Fyffe, Alabama, October 1959) 1. Allison's Sacred Harp Singers: Weeping Pilgrim (417) (Gennett 6583, Richmond, Indiana, 1928) 2. Alabama Sacred Harp Singers: Present Joys (318) (Columbia 15272, Atlanta, Georgia, 1928)Interstitial: Martha Woodard, Mission (204) (Gadsden, Alabama, June 1982) 3. Alabama Sacred Harp Singing Convention: Ballstown (217) (Jefferson County Courthouse, Birmingham, Alabama, August 1942) 4. United Sacred Harp Musical Association Convention: The Parting Hand (62) + Hallelujah (146) + Amazing Grace (45) (Fyffe, Alabama, October 1959) Interstitial: Martha Woodard, Murillo's Lesson (358) (Gadsden, Alabama, June 1982)5. Wiregrass Sacred Harp Singers: How Long (Smithsonian Folklife Festival, Washington, D.C., August 1983) 6. Holly Springs Sacred Harp Convention: Help Me to Sing (376) (Holly Springs Primitive Baptist Church, H.S., Georgia, June 1982*) 7. Alan Lomax extemporizes on musico-historical dimensions of Sacred Harp, with Phil Summerlin and Buell Cobb (Holly Springs Primitive Baptist Church, H.S., Georgia, June 1982) *An egregious error of chronology was made in this episode: Lomax's last shape-note recordings were in fact of the Wiregrass singers in 1983, as the Holly Springs recording took place in the summer of 1982 and not 1983 as repeatedly stated. Apologies!

Sacred Harp -- the four-part shape-note singing tradition long confined to the American South, but recently enjoying remarkable international popularity and participation -- fascinated and challenged Lomax for most of his career. He recorded it multiple times, trying with increasing technological sophistication to capture its indelible magic. In this episode, we survey Alan's Sacred Harp recordings and the tradition's development, ethos, and survival. Intro: United Sacred Harp Musical Association Convention: The Bower of Prayer (#100) (Fyffe, Alabama, October 1959)  1. Allison's Sacred Harp Singers: Weeping Pilgrim (417) (Gennett 6583, Richmond, Indiana, 1928)  2. Alabama Sacred Harp Singers: Present Joys (318) (Columbia 15272, Atlanta, Georgia, 1928) Interstitial: Martha Woodard, Mission (204) (Gadsden, Alabama, June 1982) 3. Alabama Sacred Harp Singing Convention: Ballstown (217) (Jefferson County Courthouse, Birmingham, Alabama, August 1942)  4. United Sacred Harp Musical Association Convention: The Parting Hand (62) + Hallelujah (146) + Amazing Grace (45) (Fyffe, Alabama, October 1959)  Interstitial: Martha Woodard, Murillo's Lesson (358) (Gadsden, Alabama, June 1982) 5. Wiregrass Sacred Harp Singers: How Long (Smithsonian Folklife Festival, Washington, D.C., August 1983) 6. Holly Springs Sacred Harp Convention: Help Me to Sing (376) (Holly Springs Primitive Baptist Church, H.S., Georgia, June 1982*) 7. Alan Lomax extemporizes on musico-historical dimensions of Sacred Harp, with Phil Summerlin and Buell Cobb (Holly Springs Primitive Baptist Church, H.S., Georgia, June 1982) *An egregious error of chronology was made in this episode: Lomax's last shape-note recordings were in fact of the Wiregrass singers in 1983, as the Holly Springs recording took place in the summer of 1982 and not 1983 as repeatedly stated. Apologies!

10 - Singing from the Sacred Harp, 1928-1983

1. Sid Hemphill and band: The Carrier Line (or the Carrier song). Sledge, Mississippi, August 1942. 2. Sid Hemphill and Lucius Smith: Going Away, Won't Be Long. Senatobia, Miss., September 1959. 3. Miles and Bob Pratcher: I'm Gonna Live Anyhow Until I Die. Como, Miss., 9/59.4. Fred McDowell with Fanny Davis and Miles Pratcher: Shake 'Em On Down. Como, 9/59. 5. Rosa Lee Hemphill Hill: Faro. Como, 9/59.6. Sidney Hemphill Carter: Pharoah. Senatobia, 9/59.7. Ed Young; Lonnie Young, Sr.; G.D. Young: Ida Reed aka Oree aka Little and Low. Como, 9/59.8. R.L. Burnside: Going Down South. Coldwater, Miss., August 1967. (Recorded by George Mitchell.)9. R.L. Burnside: Coal Black Mattie. Como, August 1978. 10. Napoleon Strickland: Shake 'Em On Down. Como, 8/78. 11. Lucius Smith: New Railroad. Sardis, Miss., 8/78.12. Othar Turner and band: My Babe. Gravel Springs, Miss., 8/78.

1. Sid Hemphill and band: The Carrier Line (or the Carrier song). Sledge, Mississippi, August 1942. 2. Sid Hemphill and Lucius Smith: Going Away, Won't Be Long. Senatobia, Miss., September 1959. 3. Miles and Bob Pratcher: I'm Gonna Live Anyhow Until I Die. Como, Miss., 9/59.4. Fred McDowell with Fanny Davis and Miles Pratcher: Shake 'Em On Down. Como, 9/59. 5. Rosa Lee Hemphill Hill: Faro. Como, 9/59.6. Sidney Hemphill Carter: Pharoah. Senatobia, 9/59.7. Ed Young; Lonnie Young, Sr.; G.D. Young: Ida Reed aka Oree aka Little and Low. Como, 9/59.8. R.L. Burnside: Going Down South. Coldwater, Miss., August 1967. (Recorded by George Mitchell.)9. R.L. Burnside: Coal Black Mattie. Como, August 1978. 10. Napoleon Strickland: Shake 'Em On Down. Como, 8/78. 11. Lucius Smith: New Railroad. Sardis, Miss., 8/78.12. Othar Turner and band: My Babe. Gravel Springs, Miss., 8/78.

09 - The Mississippi Hill Country, 1942-1978

The Fall 2019 season of the program will commemorate the 60th anniversary of the so-called "Southern Journey" field-recording trip and explore various regions, traditions, and performers Lomax and Collins visited and recorded. This first episode is a (highly cursory) survey.1. Hobart Smith: Railroad Bill. Bluefield, Virginia, August 25.2. Texas Gladden: Whole Heap of Little Horses. Salem, Virginia, August 26.3. Charlie Higgins, Wade Ward, and Bob Carpenter: Did You Ever Seen the Devil, Uncle Joe? Galax, Virginia, August 31.4. Fred McDowell with Fanny Davis and Miles Pratcher: Gravel Road Blues. Como, Mississippi, September 22.5. Ed Young, Lonnie Young, Sr., and Lonnie Young, Jr.: Church I Know We Got Another Building. Como, Mississippi, September 21.6. Ed Lewis and group (consisting of, at least, Wesley Lee Brown, Oscar Crosby, Robert Lewis, Willie Matthews, John Edmonds, Willie P. Roberts, and Henry Mason): I'll Be So Glad When the Sun Goes Down. Camp B, Parchman Farm (Mississippi State Penitentiary), September 19 or 20.7. Vera Ward Hall: Wild Ox Moan. Livingston, Alabama, October 10.8. Almeda Riddle: Rainbow Mid Life's Willows. Heber Springs, Arkansas, October 6 or 7.9. Big John Davis and the Spiritual Singers of Coastal Georgia (soon to be renamed the Georgia Sea Island Singers): Moses, Don't Get Lost. St. Simons Island, Georgia, October 12.

The Fall 2019 season of the program will commemorate the 60th anniversary of the so-called "Southern Journey" field-recording trip and explore various regions, traditions, and performers Lomax and Collins visited and recorded. This first episode is a (highly cursory) survey. 1. Hobart Smith: Railroad Bill. Bluefield, Virginia, August 25.2. Texas Gladden: Whole Heap of Little Horses. Salem, Virginia, August 26.3. Charlie Higgins, Wade Ward, and Bob Carpenter: Did You Ever Seen the Devil, Uncle Joe? Galax, Virginia, August 31.4. Fred McDowell with Fanny Davis and Miles Pratcher: Gravel Road Blues. Como, Mississippi, September 22.5. Ed Young, Lonnie Young, Sr., and Lonnie Young, Jr.: Church I Know We Got Another Building. Como, Mississippi, September 21.6. Ed Lewis and group (consisting of, at least, Wesley Lee Brown, Oscar Crosby, Robert Lewis, Willie Matthews, John Edmonds, Willie P. Roberts, and Henry Mason): I'll Be So Glad When the Sun Goes Down. Camp B, Parchman Farm (Mississippi State Penitentiary), September 19 or 20.7. Vera Ward Hall: Wild Ox Moan. Livingston, Alabama, October 10.8. Almeda Riddle: Rainbow Mid Life's Willows. Heber Springs, Arkansas, October 6 or 7.9. Big John Davis and the Spiritual Singers of Coastal Georgia (soon to be renamed the Georgia Sea Island Singers): Moses, Don't Get Lost. St. Simons Island, Georgia, October 12.

08 - The Southern Journey at 60

1. Villagers of Cáceres, La Mancha: Christmas processional, Christmas Eve 19522. Merritt Boddie and Marigolds band: Christmas Machete, Gingerland, Nevis, July 19623. Norman Edmonds and the Old-Timers: Breaking Up Christmas, Hillsville, Virginia, August 19594. Sophie Loman Wing and group: All Night Long, St. Simons Island, Georgia, June 19355. Kelley Pace and prisoners: Holy Babe, Cumins State Farm, near Gould, Arkansas, 19426. Vera Ward Hall: No Room At the Inn / Last Month of the Year, Livingston, Alabama, October 19597. Phil Tanner: The Gower Wassail, Columbia Studios, London, 19378. Shirley and Dolly Collins: The Moon Shines Bright, from “For As Many As Will” (Topic, 1978)9. 1959 United Sacred Harp Musical Association: Sherburne (#186), Fyffe, Alabama, September 195910. Villagers of Hío, Aragon: Buenas Entradas de Reyes, Hío, Galicia, November 195211. Bessie Jones and the Georgia Sea Island Singers with Hobart Smith, Nat Rahmings, and Ed Young: Yonder Come Day, St. Simons, Georgia, 1960. Preceded by 1962 discussion about the song between Jones and Antoinette Marchand. And the complete 1957 BBC broadcast of “Sing Christmas and the Turn of the Year,” produced and hosted by Alan Lomax. Songs and performers listed here (although we have edited out Lomax's performance of "No Room At the Inn" for reasons [primarily] of file size). https://www.discogs.com/Various-Sing-Christmas-And-The-Turn-Of-The-Year/release/6156619

1. Villagers of Cáceres, La Mancha: Christmas processional, Christmas Eve 19522. Merritt Boddie and Marigolds band: Christmas Machete, Gingerland, Nevis, July 19623. Norman Edmonds and the Old-Timers: Breaking Up Christmas, Hillsville, Virginia, August 19594. Sophie Loman Wing and group: All Night Long, St. Simons Island, Georgia, June 19355. Kelley Pace and prisoners: Holy Babe, Cumins State Farm, near Gould, Arkansas, 19426. Vera Ward Hall: No Room At the Inn / Last Month of the Year, Livingston, Alabama, October 19597. Phil Tanner: The Gower Wassail, Columbia Studios, London, 19378. Shirley and Dolly Collins: The Moon Shines Bright, from “For As Many As Will” (Topic, 1978)9. 1959 United Sacred Harp Musical Association: Sherburne (#186), Fyffe, Alabama, September 195910. Villagers of Hío, Aragon: Buenas Entradas de Reyes, Hío, Galicia, November 195211. Bessie Jones and the Georgia Sea Island Singers with Hobart Smith, Nat Rahmings, and Ed Young: Yonder Come Day, St. Simons, Georgia, 1960. Preceded by 1962 discussion about the song between Jones and Antoinette Marchand. And the complete 1957 BBC broadcast of “Sing Christmas and the Turn of the Year,” produced and hosted by Alan Lomax. Songs and performers listed here (although we have edited out Lomax's performance of "No Room At the Inn" for reasons [primarily] of file size). <a href="https://www.discogs.com/Various-Sing-Christmas-And-The-Turn-Of-The-Year/release/6156619" rel="nofollow" target="_blank">https://www.discogs.com/Various-Sing-Christmas-And-The-Turn-Of-The-Year/release/6156619</a>

07 - Sing Christmas

"Been All Around This World" explores the breadth and depth of folklorist Alan Lomax's seven decades of field recordings. From the earliest trips he made through the American South with his father, John A. Lomax, beginning in 1933, to his last documentary work in the early 1990s, the program will present seminal artists and performances alongside obscure, unidentified, and previously unheard singers and players, from around America and the world, drawn from the Lomax Collection at the American Folklife Center, Library of Congress. It is produced and hosted by Nathan Salsburg, curator of the Alan Lomax Archive at the Association for Cultural Equity, the non-profit research center and advocacy organization that Lomax founded in 1983. (Photo of Alan Lomax by Peter Figlestahler.)

Topical, protest, and resistance songs from Kentucky, Virginia, Arkansas, Trinidad by way of New York City, Oklahoma by way of California, and the Mississippi State Penitentiary, better known as Parchman Farm.1. Sarah Ogan Gunning: I Hate the Capitalist System. NYC, November 1937. 2. Hobart Smith: Peg and Awl. Bluefield, Virginia, August 1959. 3. Big Bill Broonzy: Black, Brown and White Blues. Decca Studios, NYC, March 1947. 4. Lord Invader: Yankee Dollar. Town Hall, NYC, December 1947. 5. Woody Guthrie: Dust Bowl Refugees. Library of Congress, Washington, D.C., March 1940. 6. Nimrod Workman: 42 Years. Mascot, Tennessee, July 1983. 7. Floyd Batts: Dangerous Blues. Parchman Farm Camp 11, Parchman, Mississippi, September 1959. 8. M.B. Barnes &amp; prisoners: Oh Freedom. Parchman Farm Women's Camp, April 1936.

Topical, protest, and resistance songs from Kentucky, Virginia, Arkansas, Trinidad by way of New York City, Oklahoma by way of California, and the Mississippi State Penitentiary, better known as Parchman Farm. 1. Sarah Ogan Gunning: I Hate the Capitalist System. NYC, November 1937. 2. Hobart Smith: Peg and Awl. Bluefield, Virginia, August 1959. 3. Big Bill Broonzy: Black, Brown and White Blues. Decca Studios, NYC, March 1947. 4. Lord Invader: Yankee Dollar. Town Hall, NYC, December 1947. 5. Woody Guthrie: Dust Bowl Refugees. Library of Congress, Washington, D.C., March 1940. 6. Nimrod Workman: 42 Years. Mascot, Tennessee, July 1983. 7. Floyd Batts: Dangerous Blues. Parchman Farm Camp 11, Parchman, Mississippi, September 1959. 8. M.B. Barnes &amp; prisoners: Oh Freedom. Parchman Farm Women's Camp, April 1936.

06 - Oh Freedom

Songs from and/or of the sea (and one Great Lake), from Italy, Scotland, Grenada, the Georgia Sea Islands, and Lake Michigan.1. Captain A.H. Rasmussen: interview on chanties/Amsterdam Maid (fragment). Recorded in London, 1955.2. Daniel Aitkens &amp; tombstone feast group: Blow the Man Down. Recorded in La Resource, Carriacou, Grenada, August 1962.3. Big John Davis, Henry Morrison, and Georgia Sea Island Singers: Hop Along, Let’s Get Her. Recorded in St. Simons Island, Georgia, October 1959.4. Elizabeth Austin and group: Sailing In the Boat When the Tide Runs Strong. Recorded in Old Bight, Cat Island, Bahamas, 1935.5. Dominick Gallagher: The Gallagher Boys. Recorded at Beaver Island, Michigan, 1938. 6. Penny Morrison and group: Cha déid mi do dh’fhear gun bhàta (I’ll Not Go To A Man Without A Boat). Recorded at Balivanich, Benbecula, Scotland, June 1951.7. Michele Ilari and fishermen: Cialomi (tuna fishing chants). Recorded off Agrigento, Sicily, Italy, June 1954.8. Jean Glaud: Hooray Irena. Recorded in Gouyave, Carriacou, Grenada, August 1962. 9. Lomax interview with Newton Joseph, interspersed with chanteys (“Hi-Lo Boys” and “Long Time Ago”), L’Esterre, Carriacou, 1962.

Songs from and/or of the sea (and one Great Lake), from Italy, Scotland, Grenada, the Georgia Sea Islands, and Lake Michigan.1. Captain A.H. Rasmussen: interview on chanties/Amsterdam Maid (fragment). Recorded in London, 1955.2. Daniel Aitkens &amp; tombstone feast group: Blow the Man Down. Recorded in La Resource, Carriacou, Grenada, August 1962.3. Big John Davis, Henry Morrison, and Georgia Sea Island Singers: Hop Along, Let’s Get Her. Recorded in St. Simons Island, Georgia, October 1959.4. Elizabeth Austin and group: Sailing In the Boat When the Tide Runs Strong. Recorded in Old Bight, Cat Island, Bahamas, 1935.5. Dominick Gallagher: The Gallagher Boys. Recorded at Beaver Island, Michigan, 1938. 6. Penny Morrison and group: Cha déid mi do dh’fhear gun bhàta (I’ll Not Go To A Man Without A Boat). Recorded at Balivanich, Benbecula, Scotland, June 1951.7. Michele Ilari and fishermen: Cialomi (tuna fishing chants). Recorded off Agrigento, Sicily, Italy, June 1954.8. Jean Glaud: Hooray Irena. Recorded in Gouyave, Carriacou, Grenada, August 1962. 9. Lomax interview with Newton Joseph, interspersed with chanteys (“Hi-Lo Boys” and “Long Time Ago”), L’Esterre, Carriacou, 1962.

05 - Singing of the Sea

The Lomaxes are well-known for the recordings they made of artists who went on to become famous and influential figures in traditional and popular music alike: Lead Belly, Bessie Jones, Woody Guthrie, Mississippi Fred McDowell, Muddy Waters. But there are countless wonderful singers and players in the Lomax collections about whom we know next to nothing or nothing whatsoever, and this episode focuses on some of them, with music from Memphis, Cajun Louisiana, Morocco, Sint Eustatius, Romania, and two songs from the Mississippi Delta (one by way of Detroit).1. Unidentified woman: All Power Is In His Hands. Recorded at the Coahoma County Agricultural High School, Coahoma, Mississippi, July 1942. 2. Cecil Augusta: Crawford's Jump. Memphis, Tennessee, October 1959. [Since this episode was produced, we have discovered "Cecil Augusta" was Lomax's garbling of the name of Augustus Crowford.)3. Sampson Pittman with Calvin Frazier: I Been Down the Circle Before. Detroit, Michigan, November 1938. 4. Unidentified: Strigaturi. Dragus, Romania, August 1964. 5. Alice Gibbs: Jerusalem Cuckoo (I Am A Donkey Driver). St. Eustatius (Statia), 1967.6. Unidentified: Cajun mazurka. Kaplan, Louisiana, 1934. 7. Unidentified Amazigh man: Al-Hamdulillah (Thanks Be to God). Aguelmouss, Ouarzazate, Souss-Massa-Drâa, Morocco. September 1967. 

The Lomaxes are well-known for the recordings they made of artists who went on to become famous and influential figures in traditional and popular music alike: Lead Belly, Bessie Jones, Woody Guthrie, Mississippi Fred McDowell, Muddy Waters. But there are countless wonderful singers and players in the Lomax collections about whom we know next to nothing or nothing whatsoever, and this episode focuses on some of them, with music from Memphis, Cajun Louisiana, Morocco, Sint Eustatius, Romania, and two songs from the Mississippi Delta (one by way of Detroit). 1. Unidentified woman: All Power Is In His Hands. Recorded at the Coahoma County Agricultural High School, Coahoma, Mississippi, July 1942. 2. Cecil Augusta: Crawford's Jump. Memphis, Tennessee, October 1959. [Since this episode was produced, we have discovered "Cecil Augusta" was Lomax's garbling of the name of Augustus Crowford.)3. Sampson Pittman with Calvin Frazier: I Been Down the Circle Before. Detroit, Michigan, November 1938. 4. Unidentified: Strigaturi. Dragus, Romania, August 1964. 5. Alice Gibbs: Jerusalem Cuckoo (I Am A Donkey Driver). St. Eustatius (Statia), 1967.6. Unidentified: Cajun mazurka. Kaplan, Louisiana, 1934. 7. Unidentified Amazigh man: Al-Hamdulillah (Thanks Be to God). Aguelmouss, Ouarzazate, Souss-Massa-Drâa, Morocco. September 1967.

04 - Let Us Not Praise Famous Men

Dance tunes from Arkansas, Abruzzo, the island of Dominica, Michigan's Upper Peninsula, a front porch in the North Carolina Piedmont, and an excerpt from the "Dancing Around the World" episode of Alan Lomax's 1948 "Your Ballad Man" radio show.﻿1. Said excerpt, early 1948, Mutual Broadcasting System.2. Edward King: Le Jour D L'an (New Years Day). Recorded in Baraga, Michigan, October 1938. 3. Neal Morris &amp; Uncle Charlie Higgins: Wave the Ocean, Wave the Sea. Timbo, Arkansas, September 1959.4. Sonia Carbon and group: Bo Mwen Che. Woodford Hill, Dominica, June 1962. 5. Unidentified singers with Liborio Garanfa (guitar) and Giuseppe Gavita (violin): Saltarella. Scanno, Abruzzo, Italy, December 1954.6. Algia Mae Hinton: front porch boogie. Johnston County, North Carolina, July 1983. 

Dance tunes from Arkansas, Abruzzo, the island of Dominica, Michigan's Upper Peninsula, a front porch in the North Carolina Piedmont, and an excerpt from the "Dancing Around the World" episode of Alan Lomax's 1948 "Your Ballad Man" radio show.﻿1. Said excerpt, early 1948, Mutual Broadcasting System.2. Edward King: Le Jour D L'an (New Years Day). Recorded in Baraga, Michigan, October 1938. 3. Neal Morris &amp; Uncle Charlie Higgins: Wave the Ocean, Wave the Sea. Timbo, Arkansas, September 1959.4. Sonia Carbon and group: Bo Mwen Che. Woodford Hill, Dominica, June 1962. 5. Unidentified singers with Liborio Garanfa (guitar) and Giuseppe Gavita (violin): Saltarella. Scanno, Abruzzo, Italy, December 1954.6. Algia Mae Hinton: front porch boogie. Johnston County, North Carolina, July 1983.

03 - Wave the Ocean, Wave the Sea

A selection of songs concerning love in its vagaries, timed for Valentine's Day. Performances from Atlanta, Georgia; Cajun Louisiana; Scotland; Southwest Virginia; Turkmenistan; Eastern Kentucky, and the Arkansas Ozarks. ﻿Playlist:1. Blind Willie McTell: King Edward Blues. Recorded by John A. Lomax in Atlanta, Georgia, November 5, 1940. 2. Isla Cameron: Died for Love. Recorded in London, England, February 11, 1951. 3a. Ella Hoffpauir: Papier d'épingles. Recorded by John A. and Alan Lomax in New Iberia, Louisiana, August 1934.3b. Mr. &amp; Mrs. John Mearns: Pennyworth O' Preens. Recorded in Aberdeen, Scotland, on July 15, 1951. 3c. E.C. and Orna Ball: Paper of Pins. Recorded in Rugby, Virginia, August 30, 1959.4. Gurbandurdy Jeng Ienov and ensemble: You Are Beautiful. Original recording date unknown; dubbed by Alan Lomax at Radio Moscow, August 1964. (Notes read: singer Mr. Gurbandury Ienov, accompanied himself on dutar, with gyjak and 2 dutars.) 5. Harvey Porter: Since You Have Disdained Me. Recorded in Salyersville, Kentucky, on October 23, 1937. 6. Almeda Riddle: The Lonesome Dove. Recorded in Greers Ferry, Arkansas, on October 6 or 7, 1959. 7. Primitiva Amado Díaz, Balbina Díaz-Jiménez, and Marcelina Díaz-Jiménez: The Wedding of Inisilla and Brilliante. Recorded in Arroyo de la Luz, Extremadura, Spain on October 4, 1952. 

A selection of songs concerning love in its vagaries, timed for Valentine's Day. Performances from Atlanta, Georgia; Cajun Louisiana; Scotland; Southwest Virginia; Turkmenistan; Eastern Kentucky, and the Arkansas Ozarks. ﻿Playlist:1. Blind Willie McTell: King Edward Blues. Recorded by John A. Lomax in Atlanta, Georgia, November 5, 1940. 2. Isla Cameron: Died for Love. Recorded in London, England, February 11, 1951. 3a. Ella Hoffpauir: Papier d'épingles. Recorded by John A. and Alan Lomax in New Iberia, Louisiana, August 1934.3b. Mr. &amp; Mrs. John Mearns: Pennyworth O' Preens. Recorded in Aberdeen, Scotland, on July 15, 1951. 3c. E.C. and Orna Ball: Paper of Pins. Recorded in Rugby, Virginia, August 30, 1959. 4. Gurbandurdy Jeng Ienov and ensemble: You Are Beautiful. Original recording date unknown; dubbed by Alan Lomax at Radio Moscow, August 1964. (Notes read: singer Mr. Gurbandury Ienov, accompanied himself on dutar, with gyjak and 2 dutars.) 5. Harvey Porter: Since You Have Disdained Me. Recorded in Salyersville, Kentucky, on October 23, 1937. 6. Almeda Riddle: The Lonesome Dove. Recorded in Greers Ferry, Arkansas, on October 6 or 7, 1959. 7. Primitiva Amado Díaz, Balbina Díaz-Jiménez, and Marcelina Díaz-Jiménez: The Wedding of Inisilla and Brilliante. Recorded in Arroyo de la Luz, Extremadura, Spain on October 4, 1952.

02 - Baby, It Must Be Love

In the inaugural episode of "Been All Around This World" we survey Alan Lomax's seven-decade field-recording career, with music from Haiti, Ireland, Mississippi, North Carolina, and the tiny Caribbean island of Carriacou, recorded between 1937 and 1991.Playlist:1. Rara St. Therese: Mwen tètè (I Am Stubborn). Members unidentified. Recorded on March 27, 1937, in Carrefour Dufort, Haiti.2. Tangle Eye (Walter Jackson) with Hard Hat (Willie Lacy), 22 (Benny Will Richardson), and Little Red: When I Went to Leland. Recorded at Parchman Farm (Mississippi State Penitentiary), Sunflower County, Mississippi, November or December 1947. 3. Margaret Barry: She Moved Through the Fair. Recorded in London, England, on November 1, 1953. 4. Georgia Sea Island Singers (Bessie Jones, John Davis, and Emma Ramsey) with Hobart Smith, Ed Young, and Nat Rahmings: That Suits Me. Recorded at St. Simons Island, Georgia, in April 1960. 5. Belton Sutherland: Blues #2. Recorded at the home of Clyde "Judas" Maxwell, Madison County, Mississippi, on September 3, 1978. 6. Sheila Kay Adams: Dinah. Recorded at the home of Dellie Chandler Norton, Sodom Laurel, Burton Cove, Madison County, North Carolina, September 6-7, 1982. 7. Winston Fleary: Marullus's speech from Julius Caesar (Act I, Scene I). Recorded during Shakespeare Mas, Carriacou, Grenada, 1991.  

In the inaugural episode of "Been All Around This World" we survey Alan Lomax's seven-decade field-recording career, with music from Haiti, Ireland, Mississippi, North Carolina, and the tiny Caribbean island of Carriacou, recorded between 1937 and 1991. Playlist:1. Rara St. Therese: Mwen tètè (I Am Stubborn). Members unidentified. Recorded on March 27, 1937, in Carrefour Dufort, Haiti. 2. Tangle Eye (Walter Jackson) with Hard Hat (Willie Lacy), 22 (Benny Will Richardson), and Little Red: When I Went to Leland. Recorded at Parchman Farm (Mississippi State Penitentiary), Sunflower County, Mississippi, November or December 1947. 3. Margaret Barry: She Moved Through the Fair. Recorded in London, England, on November 1, 1953. 4. Georgia Sea Island Singers (Bessie Jones, John Davis, and Emma Ramsey) with Hobart Smith, Ed Young, and Nat Rahmings: That Suits Me. Recorded at St. Simons Island, Georgia, in April 1960. 5. Belton Sutherland: Blues #2. Recorded at the home of Clyde "Judas" Maxwell, Madison County, Mississippi, on September 3, 1978. 6. Sheila Kay Adams: Dinah. Recorded at the home of Dellie Chandler Norton, Sodom Laurel, Burton Cove, Madison County, North Carolina, September 6-7, 1982. 7. Winston Fleary: Marullus's speech from Julius Caesar (Act I, Scene I). Recorded during Shakespeare Mas, Carriacou, Grenada, 1991.

01 - I've Been All Around This World

Seeing this fine podcast back in my feed for a second season was like a small gift as I began my commute this morning. Host Salsburg takes a lot of care in his preparation and delivery of some of the most unique content currently offered in the podosphere. While Season 1 seemed to take a ‘less talk more rock’ approach, this first episode of Season 2 goes a more in-depth on the history behind the musical selections and how they came to be heard by lucky folks like you and me. As someone who has spent a good deal of time with the Lomax recordings, I really appreciate this additional context and insight from someone who is directly linked to the all of the work that goes into preserving and presenting the archive. Well done.

One-of-a-kind

Keep up the great work, Nathan. Can’t wait to hear more!

Well done

Been All Around This World

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