Original song text, music, drawings, correspondence, and other writings by Woody Guthrie; news clippings, articles, correspondence, and business records related to Woody Guthrie. Date span: 1927-1985. Bulk dates: Guthrie song text, writings, and drawings, 1940-1948; correspondence by and to Woody Guthrie, 1944-1951; correspondence regarding Woody Guthrie, 1956-1977.
Arrangement note:
Arranged in boxes and map files by type of material. The major groupings are song texts, drawings, correspondence, and clippings.
Biographical/Historical note:
Woodrow (Woody) Wilson Guthrie (1912-1967) was one of the most important folk composers in American history. Born in Okemah, Oklahoma, Guthrie's name is associated with the common people and those displaced by the Great Dust Storms of the 1930's. He was a prolific songwriter, and his song "This Land is Your Land" is considered by many to be his best known. During the height of his short recording career Guthrie recorded with many of the best-known folk singers and players in the New York area. A one time member of the Almanac Singers with Pete Seeger, Lee Hays, Bess Hawes and others, Woody also frequently performed with Lead Belly, Burl Ives, Cisco Houston and Sonny Terry and Brownie McGhee. Guthrie's earliest recordings were done for RCA and came out as a set entitled Dust Bowl Ballads, later reissued by Folkways.
It was Guthrie's association with Moses Asch of Folkways Records which yielded the bulk of Guthrie's recorded legacy. Guthrie was given a stipend by Asch to come by the studio when he felt like recording. A one day session in March 1944, yielded 75 recorded songs alone. His songs were recorded on glass discs which now reside in the Ralph Rinzler Folklife Archives and Collections. Much of this material was released by Asch on various Asch, Disc and Folkways recordings, including his classic children's material.
Although known for his music, Guthrie was also an artist. Among the materials that came with the Folkways Records Collection are watercolors and pen and ink drawings. He also was a writer of note, his most famous work being the novel "Bound for Glory". Historians have begun to consider Guthrie an important literary figure of the 20th century. The Woody Guthrie Papers, including typed song lyrics, correspondence, drawings, newspaper clippings, and miscellaneous items, were left with Moses Asch, and came to the Ralph Rinzler Folklife Archives and Collections as part of the Moses and Frances Asch Collection. Guthrie died of Huntington's Chorea in 1967 after a long hospitalization.
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.
This collection is part of the Moses and Frances Asch Collection.
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.
The Lee Hays papers measures 7.85 cubic feet and dates from 1923 to 1981. The collection includes original writings, correspondence, and miscellaneous projects by Lee Hays; business records, interviews and features related to Lee Hays, including photographs; clippings saved by Lee Hays; and audiorecordings made by Lee Hays.
Scope and Contents:
The Lee Hays papers, which date from 1923-1981, contain personal and business correspondence; typescripts of Lee Hays' fiction, non-fiction, scripts and poetry; miscellaneous project and idea materials; business documents; and audiorecordings made by Lee Hays. The collection measures 7.85 cubic feet.
Arrangement:
The Lee Hays papers, are divided into seven series: 1) Correspondence, 2) Business, 3) Projects and Writings, 4) Collected Texts, 5) Interviews, 6) Features on Lee Hays and 7) Audio Recordings.
The Correspondence Series is divided into two subseries: 1) Personal, and 2) Business.
The Projects and Writings series is divided into six subseries: 1) Songs, 2) Non-Fiction, 3) Fiction, 4) Musical Productions, 5) Radio Scripts, and 6) Cisco Houston Project.
When possible, folders are arranged within series and subseries in alphabetical order by file title, and within folders in chronological order with undated items at the top.
Biographical / Historical:
Lee Hays (1914-1981) was an influential American singer, songwriter, author, and activist. His legacy, both literary and musical, emphasizes the dynamic relationship between traditional culture and contemporary events and issues. As is clear from his essay "The Folk Song Bridge", Hays conceived of "folk music" as a living, breathing "process". Born in Arkansas in 1914 to a Methodist preacher, Hays' first experiences with music revolved around the church. His political awakening came later, when he returned to Arkansas from Ohio in 1934. Under the wing of mentors such as Claude Williams and Zilphia Horton (maiden name: Zilphia Johnson), Hays began to fight for the cause of sharecroppers and union workers. His musical ability and passion for social justice came together as he used music to represent the voice of labor, replacing the religious motifs of traditional and gospel songs with pro-union themes.
Upon moving to the North in 1940, Hays met Pete Seeger, another musician of the Folk Revival. Hays and Seeger shared the common goal of spreading political topical songs, and their collaborations with Woody Guthrie and Millard Lampell led to the creation of the Almanac Singers the same year. Later, the four band members, along with other musicians such as Burl Ives and Sis Cunningham, established the People's Songs organization and publication to create and distribute labor songs. However, interpersonal conflicts with members, including Pete Seeger, led to Hays' pressured resignation from both of these endeavors. He moved in with his mentor, Walter Lowenfels, and began to focus more on his writing. Though Hays was a prolific writer whose work spanned articles, essays, short stories, poetry, and songs, he is rarely recognized for his literary achievement. His writing often centered on the social and political themes for which he is best known—labor rights, racism, poverty and inequality—and used vernacular culture and narrative to address those problems.
Seeger and Hays eventually made amends, and in 1948 they formed The Weavers with Fred Hellerman and Ronnie Gilbert, bringing music of the Folk Revival to a national audience. However, as the Red Scare impacted the American political climate into the 1950s, the Weavers were blacklisted and ultimately had to disband. Though he was under investigation by the House Un-American Activities Committee (HUAC) and had no steady income, Hays continued to write both fiction and non-fiction during the three year blacklisting. In 1955, the Weavers finally reunited for a highly successful revival under manager Harold C. Leventhal, but as years passed, the group split up again, and Hays began to focus on other projects. It was at this time that he produced the bulk of his memoirs, began a project on Cisco Houston, and recorded folk music for children with his group The Baby Sitters. In 1980, the Weavers reunited for a concert in Carnegie Hall and Hays' last performance with them was in 1981. Hays died in 1981 as a result of diabetic cardiovascular disease.
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:
The Ralph Rinzler Folklife Archives and Collections at the Center for Folklife and Cultural Heritage acquired the "Lee Hays Archives" in 1992 as a donation from Harold C. Leventhal and Doris Kaplan, who acquired the collection upon Lee Hays' death in 1981. The donation included materials produced by Lee Hays, as well as materials of interest to him that were found in his possession.
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.
Topic:
Political ballads and songs -- United States Search this
Record labels, cover reproductions, correspondence, production notes, label copy
Collection 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.
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.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Liner notes (final), financial material, misc. material
Record cover rehoused to OS04-14
Collection 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.
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.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
3.1 Songs contains various materials— lyrics, sheet music, notes—relating to songs written by Lee Hays and songs of interest to him. The subseries is broken up into two categories: 1) Songs--By Title and 2) Songs—Supporting Materials, which contains materials such as idea lists, collected sheet music, clippings on the Babysitters and the Weavers, and materials on the Weavers reunion. Songs include "If I Had a Hammer," "Kisses Sweeter Than Wine, and "Tomorrow is a Highway,as well as extensive materials on "Future isn't What it Used to Be."
3.2 Non-Fiction contains Lee Hays' non-fictional work, including articles and essays such as "The Folk Bridge" and "People's Songs", commercials, Hays' work on the Weavers and the Almanac Singers, excerpts from his memoirs, drafts for film project, reviews by Hays, and material for Hays' biography.
3.3 Fiction contains Hays' fictional work—primarily short stories and poetry, and the notes that accompany them—as well as his work as an editor and collaborator. This subseries contains both published stories and drafts, among them: "A Banquet and a Half" (in English, Spanish, and Italian as published), "On the Banks of the Ohio", the Little Sam and Opal stories, and a few fictional works from Hays' childhood. Poetry includes "How to Become a Folksinger" and "Deadbuggy."
3.4 Musical Productions contains scripts, lyrics and notes for various musical productions created and written or co-written by Hays, including "A Patchwork Ballad", "Corey" and "Space Cantata."
3.5 Radio Scripts contains handwritten and typed outlines and scripts from Lee Hays' radio program. Topics include the Weavers, the Baby Sitters, and folk music in general (Roland Hayes,
Martha Schlamme, Songs of Poland and Russia, Tony Schwartz, etc).
3.6 Cisco Houston Project contains transcripts of interviews with Cisco Houston, correspondence with and about Cisco Houston, a discography, and miscellaneous notes. This subseries has been divided and alphabetized by four categories: 1) Correspondence, 2) Interviews, 3) Supporting Materials, and 4) Writings.
Collection 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.
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.
Collection Citation:
Lee Hays papers, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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.
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.
Collection Citation:
Lee Hays papers, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The 2007 Ralph Rinzler Memorial Concert was a tribute to Bess Lomax Hawes (1921-2009). Bess enjoyed many professional lives, and much could be written about each of them. As a college professor, she was a model to many. As a performer, with Woody Guthrie, Pete Seeger, and the renowned Almanac Singers, she influenced legions. As a mentor, she contributed to hundreds of careers. Her careful work at the Smithsonian shapes our practice to this day. Her films are still sought by scholars. And, of course, her labors at the National Endowment for the Arts (NEA) for the recognition of traditional artists will affect generations to come.
In 1975, Bess came to the Festival to be the research coordinator for Regional America's California program. At that time, she was a professor of anthropology at San Fernando Valley State, now California State University-Northridge. She left her academic position in 1976 to become deputy director for presentation during the gargantuan 1976 Bicentennial Festival, which showcased the best of American and world traditional cultures for three solid months.
In 1977, NEA chairman Nancy Hanks hired Bess to oversee a fledgling folk arts-funding category, which was embedded in other agency funding programs. By February of 1978, Bess had established the stand-alone Folk Arts Program, which had a dedicated budget. Her work over the next few years helped build a network of folk arts specialists around the country; develop folk arts-master apprentice programs in a number of states; and fund individual projects, such as festivals, tours, exhibitions, media documentation, and fieldwork. The National Endowment for the Arts named one of its most prestigious awards for her, and in 1992 she received the National Medal of Arts, the highest award our nation bestows on artists and those who nurture them.
Barry Bergey and Madeleine Remez were Curatorial Advisors and Hannah Smith was Coordinator. Barry Bergey and Daniel Sheehy were Presenters.
Participants:
Ralph Rinzler Memorial Concert
Michael Doucet, 1951-, fiddle, Lafayette, Louisiana
Mitchell Reed, Lafayette, Louisiana
David Doucet, guitar, New Orleans, Louisiana
Liz Carroll, fiddle, Mundelein, Illinois
John Doyle, Asheville, North Carolina
Nancy Sweezy
Collection 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.
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.
Collection Citation:
Smithsonian Folklife Festival records: 2007 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Brother, can you spare a dime / Bing Crosby --The boulevard of broken dreams / Deane Janis; Hal Kemp -- Life is just a bowl of cherries / Rudy Vallee --In the still of the night / Glen Gray --Love walked in / Kenny Baker --On the good ship Lollypop / Shirley Temple --Unemployment stomp / Big Bill Broonzy --The gold diggers' song [ We're in the money] / Dick Powell --All in and down and out blues / Uncle Dave Macon --Fifteen miles from Birmingham / Delmore Brothers --The coal loading machine / Evening Breezes Sextet --NRA blues / Bill Cox --I ain't got no home in this world anymore / Woody Guthrie --The death of Mother Jones / Gene Autry --All I want / Pete Seeger & Almanac Singers --The white cliffs of Dover / Glenn Miller and his orchestra.
Track Information:
101 Brother Can You Spare a Dime? / Bing Crosby, Lennie Hayton.
102 Boulevard of Broken Dreams / Deane Janis.
103 Life is Just a Bowl of Cherries / Rudy Vallée.
104 In the Still of the Night / Glen Grey and the Casa Loma Orchestra.
105 Love Walked In / Kenny Baker.
106 On the Good Ship Lollypop / Shirley Temple.
107 Unemployment Stomp / Bill Broonzy. Guitar.
108 Gold Diggers Song, The (We're in the Money) / Dick Powell.
201 All in Down and Out Blues / Uncle Dave Macon. Banjo.
202 Fifteen Miles from Birmingham / Delmore Brothers.
203 The Coal Loading Machine / Evening Breezes Sextet.
204 NRA Blues / Bill Cox.
205 I Ain't Got No Home in This World Anymore / Woody Guthrie. Guitar.
206 The Death of Mother Jones / Gene Autry.
207 I Don't Want Your Millions, Mister (All I Want) / Almanac Singers, Pete Seeger. Guitar.
208 The White Cliffs of Dover / Glenn Miller.
Local Numbers:
FW-ASCH-LP-1468
New World.270
Publication, Distribution, Etc. (Imprint):
New York New World 1977
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
General:
"American songs during the Great Depression," by Charles Hamm; program notes, including discographical information; "Selected bibliography"; and "Selected discography" (6 p. : ill.) bound in container. Performer(s): Bing Crosby ; Deane Janis; Hal Kemp ; Rudy Vallee ; Glen Gray ; Kenny Baker ; Shirley Temple ; Big Bill Broonzy ; Dick Powell ; Uncle Dave Macon ; Delmore Brothers ; Evening Breezes Sextet ; Bill Cox ; Woody Guthrie ; Gene Autry ; Pete Seeger & Almanac Singers ; Glenn Miller and his orchestra.
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.
We shall not be moved.-Roll the union on.-Casey Jones.- Miner's lifeguard.-Solidarity forever.-You've got to go down and join the union.-Hold the fort.-Get thee behind me.-The union maid.-All I want.-Talking union.-The union train.-Which side are you on?
Local Numbers:
FW-ASCH-LP-2108
FLP.42365
FLP.42365 ;.Folkways.85
Publication, Distribution, Etc. (Imprint):
New York Folkways 1955
General:
Almanac Singers; Pete Seeger, vocal soloist. Program notes by Philip S. Foner and Peter Seeger and texts ([8] p.) inserted in slipcase.
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.
6. Pete Seeger- Times A-Gettin' Hard 7. Pete Seeger- Living in the Country 8. Pete Seeger- You Are My Sunshine 9. Pete Seeger- Winnsboro Cotton Mill Blues 10. Pete Seeger- Seven Cent Cotton and Forty Cent Meat 11. Pete Seeger- I Don't Want Your Millions, Mr. 12. Pete Seeger- Pittsburgh Town 13. Pete Seeger- Talking Union 14. Pete Seeger- Talk About Almanac Singers 15. Pete Seeger- Arctic Circle Blues 16. Pete Seeger- Keep Out of the Way of the Bloodstained Banders 17. Pete Seeger- Woody Guthrie Didn't Pay His Dues 18. Memphis Slim- John Henry 19. Memphis Slim- Unknown Boogie 20. Memphis Slim- You Don't Know My Mind
Track Information:
101 Time's A-Getting Hard / Pete Seeger.
102 Living in the Country / Pete Seeger.
103 You are My Sunshine / Pete Seeger.
104 Winnsboro Cotton Mill Blues / Pete Seeger.
105 Seven Cent Cotton and Forty Cent Meat / Pete Seeger.
106 I Don't Want Your Millions, Mister / Pete Seeger.
107 Pittsburgh Town / Pete Seeger.
108 Talking Union / Pete Seeger.
110 Arctic Circle Blues Pete Seeger.
114 John Henry / Memphis Slim, Willie Dixon.
115 You Don't Know My Mind / Memphis Slim, Willie Dixon.
Local Numbers:
FW-ASCH-7RR-1390
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
General:
CDR copy- disc 246
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 Pete's Recording History and Documentary / Pete Seeger. Banjo.
102 Program on American Folk Music / Pete Seeger. Banjo.
103 Dear Mr. President Album / Pete Seeger, Almanac Singers. Banjo.
201 Grizzly Bear / E.J. Adams, Grover Dixon.
202 Pick a Bale of Cotton / E.J. Adams, Grover Dixon.
203 Long John / E.J. Adams, Grover Dixon.
204 I've Been Gone So Long / E.J. Adams, Grover Dixon.
205 After Hours / E.J. Adams, Grover Dixon.
206 Gray Goose / E.J. Adams, Grover Dixon.
207 You Got to Hurry and Keep in Touch with the Son of God / E.J. Adams, Grover Dixon.
208 I Need More Power / E.J. Adams, Grover Dixon.
209 John Henry / E.J. Adams, Grover Dixon.
211 Stewball / E.J. Adams, Grover Dixon.
Local Numbers:
FW-ASCH-7RR-1933
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
General:
CDR copy- Disc 333/4/5
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.
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