Field notes, manuscripts, photographs, booking contracts, correspondence, personal papers, newspaper clippings, magazine articles, interviews, and other research materials primarily relating to the history of American blues music. Collection documents the lives of significant blues musicians Robert Johnson, Blind Lemon Jefferson, Lightnin' Hopkins, and Mance Lipscomb; insight into the life, writings, and research practices of Robert "Mack" McCormick; and the business side of recording and selling the blues.
Scope and Contents:
The collection documents the life, writings, research practices, and business activities of blues scholar Robert "Mack" Burton McCormick who came to serve as a leading authority on the genre. Personal papers include diaries, curriculum vitae, biographical sketches, school papers, employment documents, correspondence, financial records, and an interview transcript. McCormick's writings consist of published magazine and journal articles, plays, essays, television scripts, short stories, and album liner notes. There are complete unpublished manuscripts, drafts with notes and research materials, and ideas for future work. McCormick's research practices and subjects of interest are documented in correspondence, field notes, annotated maps, newspaper clippings, magazine articles, city directories, interviews, photographic prints, negatives, slides, and contact sheets. American blues, Texas blues, and the music of significant blues artists, who McCormick served as an agent and manager for, dominated his extensive research efforts. In addition, the collection documents the recording, distribution and sale, and identification of consumer markets for American music in correspondence, contracts, agreements, music journals, publicity and promotional materials, music manuscripts, and interviews.
Throughout the collection preservation measures were performed to ensure long term use of the materials. Newspaper clippings were photocopied, and the originals were discarded. Audio cassette tapes have been reformatted and the digital copies will soon be available for research use.
Arrangement:
Collection is arranged into fifteen series.
Series 1: Photographic Negatives, Photographs and Slides, 1959-1998, undated
Subseries 1.1: Photographic Negatives and Contact Sheets, 1967-1977, undated
Subseries 1.2: Photographs, 1959-1998, undated
Subseries 1.3: Photographs, Texas Blues (TB), 1961-1964, undated
Subseries 2.11: Business Records, 1941-2006, undated
Series 3: Project Files, 1960-2003, undated
Subseries 3.1: Library of Congress, 1960-1964
Subseries 3.2: Newport Folk Festival, 1965-1969
Subseries 3.3: Hemisfair, 1968
Subseries 3.4: Smithsonian Institution, Festival of American Folklife 1966-1980, undated
Subseries 3.5: Other Blues Project, 2001-2003, undated
Series 4: Manuscripts and Writings, 1952-2015, undated
Subseries 4.1: Almost A Savage Joy, 1959-1980
Subseries 4.2: Another Fine Mess, 1981-1987, undated
Subseries 4.3: Blues: A New Look, 1965-1984, undated
Subseries 4.4: Blues Odyssey, 1971, undated
Subseries 4.5: Death and Tragedy, 1975-1980, undated
Subseries 4.6: Down in Texas Blues, undated
Subseries 4.7: Folk Songs of Men, 1952-1977, undated
Subseries 4.8: Hang Down Your Head Tom Dooley, 1958-1976, undated
Subseries 4.9: Henry Thomas, 1975-2002, undated
Subseries 4.10: Ira, George, Edward, and Lee, 1994, undated
Subseries 4.11: The Magic Room, 1961-1962, undated
Subseries 4.12: Origin of Blues, 1991-2004, undated
Subseries 4.13: Snake in the Belly, 1956-1957, undated
Subseries 4.14: Wiley, 1957-1984, undated
Subseries 4.15: Articles, Ideas and Drafts, 1961-2004, undated
Series 5: Artist Files, 1880-2010, undated
Series 6: Texas Blues Research, 1858-2011, undated
Subseries 6.1: Texas Blues Research, 1910-2010, undated
Subseries 6.2: Lead Files, 1962-1980, undated
Subseries 6.3: Trip Notes, 1960-1989, undated
Subseries 6.4: Song Histories, 1920-1982, undated
Subseries 6.5: Music, 1928-2011, undated
Subseries 6.6: Record Catalogs, 1963-2006, undated
Subseries 6.7: Maps, 1958-1989, undated
Series 7: Robert Johnson, 1910-2015, undated
Subseries 7.1: Research Materials, 1910-2015, undated
Subseries 7.2: Who Killed Robert Johnson Manuscript, 1955-2015, undated
Series 8: Office Files, 1938-2000, undated
Series 9: Correspondence, 1959-2015, undated
Series 10: Organizations, Groups and Buffs, 1961-2003, undated
Series 11: Festivals and Living Museums, 1960-2003, undated
Series 12: Music Journals, 1971-2006, undated
Series 13: Subject Files, 1896-2015, undated
Series 14: People Files, 1928-2014, undated
Series 15: Audio Cassette Tapes and Digital Files, 1941-2007, undated
Biographical / Historical:
Robert Burton "Mack" McCormick (August 3, 1930-November 18, 2015) was a self-taught folklorist who spent a lifetime researching, collecting, and writing about vernacular music in the United States. Most of his work focused on the blues and other musical traditions of Black, brown, and white communities living throughout Texas, Arkansas, Louisiana, Mississippi, and Alabama. After experiencing a difficult, transient childhood and eventually dropping out of high school, McCormick settled in Houston, Texas and began to work a series of odd jobs while relentlessly pursuing his goal of becoming a successful writer. Although researching and writing about music came to occupy most of his time, he also pursued passions as a screenwriter and novelist. The volume of historical research and personal interviews he conducted from the 1950s through the early 1970s is remarkable, and his published writings during this period about music and the musicians he doggedly studied were lauded by his peers as among the best in the field. Along the way he worked for a time as a manager for the careers of the Texas songsters Sam "Lightnin'" Hopkins and Mance Lipscomb, and briefly ran his own record label. He made hundreds of hours of field recordings with musicians living throughout the South. He collaborated with colleagues such as Chris Strachwitz, founder of Arhoolie Records, and Paul Oliver, with whom McCormick spent over a decade researching and writing a manuscript on the history of Texas Blues. Beginning in the late 1960s, he was contracted by the Smithsonian Institution as a field worker for its annual Festival of American Folklife, and around the same time began researching the life of blues legend Robert Johnson for a manuscript that McCormick wrote and re-wrote but failed to publish in his lifetime.
McCormick's research, along with his personal archive, became the stuff of legend among fellow blues researchers and enthusiasts, particularly after his publishing output dwindled in the 1970s. He lived with a bipolar disorder that drew him into bouts of depression and paranoia. He came to distrust many of those colleagues working most closely with him, and sometimes shared untrue information to throw them off the trail of his research discoveries. He also "borrowed" heirloom photographs from the family members and descendants of blues artists and, in several cases documented in this collection, he refused to return them. Overcome with challenges that lay both within and without his control, he came to describe the massive archive in his Houston, Texas home as "the monster," and spent his final decades attempting with little success to publish his writings.
Related Materials:
National Museum of American History, Smithsonian Institution
W. C. Handy Collection, NMAH.AC.0132
Sam DeVincent Collection of Illustrated American Sheet Music, Series 3, African American Music, NMAH.AC.0300
Sam DeVincent Collection of Illustrated American Sheet Music, Series 16: Country, Western, and Folk Music, NMAH.AC.0300
Duke Ellington Collection, NMAH.AC.0301
Frank Driggs Collection of Duke Ellington Photographic Reference Prints, NMAH.AC.0389
Program in African American Culture Collection, NMAH.AC.0408
Ruth Ellington Collection of Duke Ellington Materials, NMAH.AC.0415
Alan Strauber Photoprints, 1990-1994, 1999, NMAH.AC.0517
Jonas Bernholm Rhythm and Blues Collection, NMAH.AC.0551
Ray McKinley Music and Ephemera, NMAH.AC.0635
Bluestime Power Hour Videotapes, NMAH.AC.0657
Edward and Gaye Collection of Duke Ellington Materials, NMAH.AC.0704
Bill Holman Collection, NMAH.AC.0733
Andrew Homzy Collection of Duke Ellington Stock Arrangements, NMAH.AC.0740
Harry Warren Papers, NMAH.AC.0750
Benny Carter Collection, NMAH.AC.0757
W. Royal Stokes Collection of Music Photoprints and Interviews, NMAH.AC.0766
Fletcher and Horace Henderson Collection, NMAH.AC.0797
Smithsonian Jazz Oral History Program Collection, NMAH.AC.0808
William Russo Music and Personal Papers, NMAH.AC.0845
Milt Gabler Papers, NMAH.AC.0849
Leonard and Mary Gaskin Papers, NMAH.AC.0900
Bobby Tucker Papers, NMAH.AC.1141
Floyd Levin Jazz Reference Collection, NMAH.AC1222
Duncan Schiedt Jazz Collection, NMAH.AC1323
Maceo Jefferson Papers, NMAH.AC1370
Jazz and Big Band Collection, 1927-1966, NMAH.AC.1388
Nick Reynolds Kingston Trio Papers, NMAH.AC.1472
McIntire Family Hawaiian Entertainers Collection, NMAH.AC.1511
Native Peoples Musicians and Music Collection, NMAH.AC.1512
Ralph Rinzler Folklife Archives and Collections, Smithsonian Center for Folklife and Cultural Heritage
Arhoolie Business Records and Audio Recordings, 1960-2016, CFCH.ARHO
Moses and Frances Asch Collection, 1926-1986, CFCH.ASCH
National Museum of American History's Division of Culture and the Arts
Artifacts acquired as part of the collection include:
Washburn style G guitar, serial number 46472, Accession number 2019.0234.01.
Set of quills (or panpipes) made and played by blues artist Joe Patterson. Accession number 2019.0234.02.
Smithsonian Center for Folklife and Cultural Heritage, Ralph Rinzler Folklife Archives and Collections
Audio recordings acquired as part of the collection are listed in The Guide to the Mack McCormick Audio Tapes Collection prepared by Jeff Place, 2020-2022.
Provenance:
Collection donated by Susannah Nix to the Archives Center in 2019.
Restrictions:
Collection is open for research. Access to original materials in boxes 76-80 is prohibited. Researchers must use digital copies.
Additional materials have been removed from public access pending investigation under the Smithsonian Institution's Ethical Returns and Shared Stewardship Policy.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
This collection, which dates from 1926-1986, documents the output of Moses Asch through the various record labels he founded and co-founded, and includes some of his personal papers. The Asch collection includes published recordings, master tapes, outtakes, business records, correspondence, photographs, and film.
Scope and Contents:
The Moses and Frances Asch Collection measures 841 cubic feet and dates from 1926-1987, with some contemporary, relevant correspondence, clippings, and ephemera added after 1987.
Most of the collection consists of audio recordings (commercial 78 rpm and long-playing records, open reel tapes, acetate discs, and test pressings), correspondence with recording artists and producers, artwork, photographs, ephemera, clippings, record production materials, writings, and business papers relating to Folkways Records. Materials relating to Folkways Records can be found primarily in the Correspondence, Folkways Production, Business Records, Photographs, Artwork, Sound Recordings, and Film series.
The collection also contains some biographical materials and personal correspondence, including materials related to Asch's first business, Radio Laboratories, located in the Biographical Materials series. Correspondence, ephemera, photographs, record production materials, business papers, and recordings relating to Asch's record labels before Folkways Records (Asch Recordings, Disc Company of America, Cub Records) are located in the Early Label Materials series as well as the Audio Recordings and Photographs series.
Arrangement note:
The collection is arranged in 10 series:
Series 1: Correspondence, 1942-1987
Series 2: Folkways Production, 1946-1987
Series 3: Business Records, 1940-1987
Series 4: Woody Guthrie papers, 1927-1985
Series 5: Early Label Materials, 1940-1949
Series 6: Biographical Materials, 1926-1987
Series 7: Photographs
Series 8: Artwork
Series 9: Audio Recordings
Series 10: Film
At this time, the collection is partially processed. Please contact rinzlerarchives@si.edu for more information.
Biographical/Historical note:
The son of Yiddish writer Sholem Asch, Moses Asch was born in Poland in 1905. His childhood was spent in Poland, France, Germany, and New York. While young, Asch developed an interest in radio electronics, which ultimately lead him to his life's work, recording the music and sounds of the world. He established several record labels in succession, sometimes partnering with other record companies. Two of his fist record companies, Asch Recordings and DISC Co. of America, went bankrupt. They were followed by his best-known label, Folkways Records, which was founded in 1948 with Marian Distler (1919-1964). He was still working on Folkways recordings when he died in 1986.
Folkways Records sought to document the entire world of sound. The 2,168 titles Asch released on Folkways include traditional and contemporary music from around the world, spoken word in many languages, and documentary recordings of individuals, communities, and current events. Asch's business practices revolved around the commitment to keep every recording issued by Folkways in print, despite low sales. Asch stayed afloat by cutting costs where he could (such as color printing) and offering a high-quality product, meticulously recorded and accompanied by extensive liner notes. In doing this, he could charge a slightly higher price than other commercial outfits. Despite a tenuous relationship with financial solvency, Folkways grew to be not only one of the most important independent record companies in the United States in the 20th century, but also one of the largest and most influential record companies in the world.
Asch's output of recordings on various labels, including published recordings, open reel master tapes, outtakes, and acetate disks, in addition to his business papers, correspondence, photographs, and other files were acquired by the Smithsonian Institution in 1987. The collection came to the Smithsonian with the understanding that all 2168 titles under the Folkways label would be kept available in perpetuity.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Provenance:
Ralph Rinzler arranged the Smithsonian's acquisition of the Moses and Frances Asch Collection in 1987, beginning with Asch before his death in 1986 and continuing with extensive discussions between Rinzler and the Asch family. Since its acquisition, archivist Jeff Place and others have added contemporary, relevant correspondence with Folkways artists and related individuals.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
101 There's a Man Going Round Taking Names / (1:50)
102 Easy Rider / Guitar. (2:54)
103 Red Bird / Guitar. (2:59)
104 Line 'Em / Guitar. (1:17)
105 T.B. Blues / Guitar. (3:49)
201 Jim Crow Blues / Guitar. (2:30)
202 Bourgeois Blues / Guitar. (2:23)
203 Army Life / Guitar. (1:52)
204 Mr. Hitler (Hitler Song) / Guitar. (3:16)
Local Numbers:
FW02034
Folkways.2034
Publication, Distribution, Etc. (Imprint):
New York Folkways 1953.
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
1. Red Bird 2. Sally Walker 3. Ha Ha This A-Way 4. Little Children's Blues 5. In the Evening When the Sun Goes Down (with Sonny Terry and Woody Guthrie) 6. Outskirts of Town (with Sonny Terry and Woody Guthrie) 7. Ha Ha This A-Way
Track Information:
101 Rock Island Line / Guitar.
102 Parting Song (When You're Smiling) / Guitar.
103 Cotton Fields / Guitar.
104 Chicken Crowing for Midnight / Guitar.
105 Red Bird / Guitar.
106 Sally Walker / Guitar.
107 Ha-Ha This A-Way / Guitar.
108 Little Children's Blues / Guitar.
109 In the Evening When the Sun Goes Down / Guitar.
110 Outskirts of Town / Guitar.
111 Ha-Ha This A-Way / Guitar.
Local Numbers:
FW-ASCH-10RR-0552
Date/Time and Place of an Event Note:
Recorded in: New York, United States, 1988.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
8. Moanin' 9. There's a Man Going Round Taking Names 10. Keep Your Hands Off Her 11. Mr. Jelly Roll Baker (Sonny Terry and Brownie McGhee) 12. 4,5, and 9 (with Pops Foster, Willie the Lion Smith) 13. My Baby's Leaving Me (Sonny Terry and Brownie McGhee) 14. Meeting at the Building/ Talking, Preaching/ We Shall Walk Through the Valley
Track Information:
101 Moaning / Lead Belly. Guitar.
102 There's a Man Going Round Taking Names / Lead Belly. Guitar.
103 Keep Your Hands Off Her / Lead Belly. Guitar.
104 Jelly Roll / Brownie McGhee, Sonny Terry. Guitar,Harmonica.
105 4, 5 and 9 / Lead Belly. Guitar.
107 Meeting at the Building / Lead Belly. Guitar.
Local Numbers:
FW-ASCH-10RR-0553
Date/Time and Place of an Event Note:
Recorded in: New York, United States, 1988.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Irene--Boll weevil--Swing low sweet chariot--John Henry--Fannin Street--Poor boy--Skip to my Lou--Let it shine on me--Amazing grace--Take this hammer--Swing low sweet chariot
Track Information:
101 Irene (Goodnight Irene) / Lead Belly. Guitar.
102 Boll Weevil / Lead Belly. Guitar.
103 Swing Low Sweet Chariot / Lead Belly. Guitar.
104 John Henry / Lead Belly. Guitar.
105 Fannin Street (Mr. Tom Hughes' Town)(Instrumental) / Lead Belly. Guitar.
105 Poor Boy / Lead Belly. Guitar.
106 Skip to My Lou / Lead Belly. Guitar.
107 Let it Shine on Me / Lead Belly. Guitar.
107 Amazing Grace / Lead Belly. Guitar.
108 Take This Hammer / Lead Belly. Guitar.
109 Swing Low Sweet Chariot / Standard Oil Company. Studio Orchestra.
Local Numbers:
FW-ASCH-7RR-1704
General:
Box 1- tape made in 1973 from aluminum copy of original transcription disk. Some distortion in beginning (per letter).
CDR copy- Disc 437
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Oh what a beautiful city--Easy rider--Careless love--Key to the highway
Track Information:
101 Oh, What a Beautiful City (Twelve Gates to the City) / Harmonica.
102 Easy Rider / Harmonica.
103 Careless Love / Harmonica.
104 Key to the Highway / Harmonica.
Local Numbers:
FW-ASCH-7RR-2259
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
CDR copy-- FW-ASCH-7RR-2363 contains the spoken introductions of Leadbelly, (Huddie Ledbetter) iconic Folkways recording artist, to a wide variety of his recorded songs, including blues, children's songs, work songs, etc. (I could not link these introductions to any specific Folkways album although most of the introductions relate to songs he recorded for Folkways and his spoken introductions are frequently found on his recordings.)
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
5. On a Monday 6. Shorty George 7. Duncan and Brady 8. Old Riley 9. Leavin' Blues (acapella) 10. Pigmeat 11. Cotton Fields 12. Ha Ha This A-Way 13. Sukey Jump 14. Black Girl (In the Pines) 15. Rock Island Line 16. Blind Lemon 17. Borrow Love and Go 18. Green Corn (with Woody Guthrie and Cisco Houston) 19. Yellow Gal 20. You Can't Lose Me, Cholly 21. Laura 22. Good Morning Blues 23. Leavin' Blues 24. Big Fat Woman 25. Gray Goose 26. Pick a Bale of Cotton (with the Oleander Quartet) 27. Take This Hammer 28. Sylvie 29. Moanin' 30. Meeting at the Building (with the Oleander Quartet) 31. We Shall Walk Through the Valley 32. Irene (Goodnight Irene)
Track Information:
101 On a Monday / Lead Belly. Guitar.
128 Irene (Goodnight Irene) / Lead Belly. Guitar.
127 We Shall Walk Through the Valley / Lead Belly. Guitar.
126 Meeting at the Building / Lead Belly, Oleander Quartet. Guitar.
125 Moaning / Lead Belly. Guitar.
124 Bring Me a Little Water, Silvy / Lead Belly. Guitar.
123 Take This Hammer / Lead Belly. Guitar.
122 Pick a Bale of Cotton / Lead Belly, Oleander Quartet. Guitar.
121 The Gray Goose / Lead Belly. Guitar.
120 Big Fat Woman / Lead Belly. Guitar.
119 Leaving Blues / Lead Belly. Guitar.
118 Good Morning Blues / Lead Belly. Guitar.
117 Laura / Lead Belly. Accordion.
116 You Can't Lose Me, Cholly / Lead Belly. Guitar.
115 Yellow Gal / Lead Belly. Guitar.
114 Green Corn / Lead Belly, Cisco Houston, Woody Guthrie. Guitar.
113 Borrow Love and Go / Lead Belly. Guitar.
112 Blind Lemon / Lead Belly. Guitar.
111 Rock Island Line / Lead Belly. Guitar.
110 Black Girl (In the Pines) / Lead Belly. Guitar.
109 Sukey Jump / Lead Belly. Guitar.
108 Ha Ha This A-Way / Lead Belly. Guitar.
107 Cotton Fields / Lead Belly. Guitar.
106 Pigmeat / Lead Belly. Guitar.
105 Leaving Blues / Lead Belly. Guitar.
104 Old Riley / Lead Belly. Guitar.
103 Duncan and Brady / Lead Belly. Guitar.
102 Shorty George / Lead Belly. Guitar.
Local Numbers:
FW-ASCH-7RR-2373
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
103 How Come You Do Me Like You Do (ACT-376) / Guitar.
104 Easy, Mr. Tom (ACT-376) / Guitar.
105 One Dime Blues (ACT-376) / Guitar.
106 Buy Me a Brand New Ford (ACT-376) / Guitar.
Local Numbers:
FP-1992-7RR-0006
Publication, Distribution, Etc. (Imprint):
United States Asch Collection
Date/Time and Place of an Event Note:
Recorded in: New York, United States, February 5, 1992.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
101 Irene (Goodnight Irene) (Intro) (ACT-377) / Lead Belly. Guitar.
102 Chicken Crowing for Midnight (ACT-377) / Lead Belly. Guitar.
103 Blues in My Kitchen, Blues in My Dining Room (ACT-377) / Lead Belly. Guitar.
104 Went on the Mountain, Looked Down at the Rising Sun (ACT-377) / Lead Belly, Oleander Quartet. Guitar.
105 Good Morning Blues (ACT-377) / Lead Belly. Guitar.
107 T.B. Blues (ACT-377) / Lead Belly. Guitar.
106 Don't You Love Your Daddy No More (ACT-377) / Lead Belly, Oleander Quartet. Guitar.
Local Numbers:
FP-1992-7RR-0007
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
105 Gene Hall's Blues (ACT-378) / Gene Hall. Piano.
Local Numbers:
FP-1992-7RR-0008
Date/Time and Place of an Event Note:
Recorded in: New York, United States, February 5, 1992.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
101 Roll the Union On (ACT-008) / People's Songs (Organization), Pete Seeger, Woody Guthrie.
102 Choo Choo (ACT-009) / Woody Guthrie. Guitar.
103 Choo Choo (ACT-009) / Woody Guthrie. Guitar.
104 900 Miles (ACT-015) / Woody Guthrie. Guitar,Fiddle.
106 Molly Don't You Grieve (ACT-016) / Lead Belly. Guitar.
107 Move On, Soldier Boy (ACT-016) / Lead Belly. Guitar.
108 Out on the Western Plains (ACT-016) / Lead Belly. Guitar.
105 Liza Jane (ACT-016) / Lead Belly. Guitar.
Local Numbers:
FP-1992-7RR-0009
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
106 Ship in the Sky (ACT-043) / Woody Guthrie. Guitar.
107 Million Miles, A (Reuben's Train) (ACT-043) / Woody Guthrie. Guitar.
Local Numbers:
FP-1992-7RR-0010
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
102 Pick a Bale of Cotton (ACT-379) / Oleander Quartet, Lead Belly. Guitar.
103 Meeting at the Building (ACT-379) / Oleander Quartet, Lead Belly. Guitar.
104 We Shall Walk Through the Valley (ACT-379) / Oleander Quartet, Lead Belly. Guitar.
105 Look Away to the Heavens (ACT-379) / Oleander Quartet, Lead Belly. Guitar.
106 See the Sign of the Judgement (ACT-379) / Oleander Quartet, Cecil Murray, George Boyd. Guitar.
107 Sermon (ACT-379) / Oleander Quartet, Lead Belly. Guitar.
107 Blood Done Signed Your Name (ACT-379) / Oleander Quartet, Lead Belly. Guitar.
Local Numbers:
FP-1992-7RR-0013
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
107 Chicken Crowing for Midnight (Xmas Version) (ACT-380) / Guitar.
Local Numbers:
FP-1992-7RR-0015
Date/Time and Place of an Event Note:
Recorded in: New York, United States, February 6, 1992.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
101 Irene (Goodnight Irene) (Intro) (ACT-381) / Lead Belly. Guitar.
102 Look Down That Lonesome Road (ACT-381) / Lead Belly, Anne Graham. Guitar.
103 What Kind of Soul Has Man (ACT-381) / Lead Belly, Anne Graham. Guitar.
104 Shorty George (ACT-381) / Lead Belly. Guitar.
105 Don't Sleep Too Long (ACT-381) / Lead Belly. Guitar.
106 Packing Trunk Blues (ACT-381) / Lead Belly. Guitar.
Local Numbers:
FP-1992-7RR-0016
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Recorded in: New York, United States, February 6, 1992.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.