The Paredon Records audiorecordings consist of all 50 of the recordings released by Paredon, along with the master audiotapes. Many of the recordings have a file containing business records relating to their production. These business records include artist contracts, recording reports, various notes on records produced, photographs of artists, news articles both about and by Barbara Dane, Irwin Silber, and Paredon Records, correspondence by Barbara Dane, Irwin Silber and Paredon Records, and other miscellany. Many contracts are signed by both Paredon Records and the artist. Correspondence is primarily between business associates. A complete inventory of the business records is available.
Scope and Contents:
There are two main components of the Paredon Records audiorecordings: the master recordings and corresponding commercial records themselves and the paper files relating to these recordings.
Series 1: Papers is primarily made up of "production files"--files containing materials related to specific albums. These production files can include artist contracts, recording reports, photographs of artists, clippings, royalty statements, licenses, album cover proofs, and correspondence between Paredon Records and the recording artists. news articles both about and by Barbara Dane, Irwin Silber, and Paredon Records. Many contracts are signed by both Paredon Records and the artist. Also included in this series are articles by Barbara Dane and Irwin Silber, a transcript of Daniel Sheehy's oral history interview with Barbara Dane, as well as miscellaneous ephemera.
Series 2: Master Audiorecordings includes all Paredon master tapes. Their corresponding commercial recordings are not described in this finding aid.
Arrangement:
Series 1: Papers (1970-2007, bulk 1970-1980)
Series 2: Master Audiorecordings (1969-1985, bulk 1970-1980)
Biographical / Historical:
Paredon Records was founded in 1969 in New York by Barbara Dane and Irwin Silber, and its first recordings were released in 1970. Paredon released four records at a time. Barbara Dane, a singer/songwriter herself, produced the albums and recruited the musicians, artists who worked on the covers, and volunteers who translated foreign language material and contributed stories for the record booklets. Irwin Silber, a writer and editor for The Guardian newspaper, assisted Dane in all aspects of production. Irwin worked on business aspects of the label, such as distribution, orders, and editing and printing the record supplemental materials. Dane and Silber traveled to almost all of the countries mentioned in these records, as part of their work as activists and personally knew the musicians and artists.
According to the interview with Barbara Dane, "Paredon" means "a big wall" in Spanish. Paredon represents "a wall of culture defending us [listeners] against this 'sleazy' culture that's out there on the other side of the wall." The mission of Paredon Records was to use music as a tool to spread culture: the stories and experiences of those involved in protest and revolution movements all over the world, in order to increase dialogue among similar movements and peoples. Dane and Silber hoped these records would promote social and political activism, and that the uplifting power of music would inspire people to be agents of social change. The records reflect the most important socialist or liberation movements in world politics as well as domestic issues in the United States of the late twentieth century.
The 50 Paredon record albums constitute a unique historical documentation of the political protest and revolutionary currents in the world over the course of three decades. 31 of the 50 albums come from national liberation movements in Asia, Africa and Latin America. These include music, song, poetry and speech from Angola, Argentina, Chile, China, Cuba, The Dominican Republic, Ecuador, El Salvador, Haiti, Mexico, Nicaragua, Palestine, Philippines, Puerto Rico, Thailand, Uruguay, and Vietnam. Another five albums come out of the European oppositional political movements from; Greece, Italy, North Ireland and the United Kingdom. In all cases, the materials are performed and/or presented by the participants in these movements. A number of world renowned artists are among the performers, including Mikis Theodorakis (Greece), Marcel Khalife (Lebanon), Quilapayún (Chile) and Silvio Rodriguez (Cuba). Several important world political figures — Fidel Castro, Ho Chi Minh, Don Albizu Campos and Che Guevara — also appear on these records delivering seminal speeches. Not all of the political figures deliver their speeches, such as the Ho Chi Minh album, but were read by someone else. The other 14 record albums document political and social protest movements in the U.S. during this same period. The songs reflect currents in the civil rights, women's, and labor movements. Two albums document GI opposition to the Vietnam War. These recordings include a broad array of singers and songs associated with the political protest of the times. Albums by the band "The Men of No Property" and others were obtained clandestinely, as the movements often became dangerous. Smithsonian Folkways Director Daniel Sheehy interviewed Barbara Dane in 2007, the transcript of which is contained in the Supporting Materials folder in Series 1: Papers.
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 acquired the Paredon Records audiorecordings in December, 1991, when Barbara Dane and Irwin Silber donated their record company papers to the Center for Folklife and Cultural Heritage. The Center for Folklife and Cultural Heritage agreed to keep the record titles available for purchase, and to accession and store the Paredon Records Collection in the archives.
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.
Hard working miner., Blue Monday., Two cent coal., Young lady who married a mule driver., Dying mine brakeman., Coal loading machine., Sprinkle coal dust on my grave., That little lump of coal., Mule skinnin' blues., Harlan County blues., Coal diggin' blues., Coal loadin' blues., Drill man blues., Hignite blues., Payday at the mine., This what the Union done., We done quit., Coal miner's goodbye.
Track Information:
101 The Hard Working Miner / G.C. Gartin.
102 Blue Monday / Michael F. Barry.
103 Two-Cent Coal / David Morrison.
104 The Young Lady Who Married a Mule Driver / James T. Downer.
105 The Dying Mine Brakeman / Orville J. Jenks.
106 The Coal Loading Machine / Evening Breezes Sextet.
107 Sprinkle Coal Dust on My Grave / Orville J. Jenks.
108 That Little Lump of Coal / Richard Lawson, William March.
109 Mule Skinnin' Blues / Joe Glancy.
201 Harlan County Blues / George Davis.
202 Coal Diggin' Blues / Jerrel Stanley.
203 Coal Loadin' Blues / Joe Glancy.
204 Drill Man Blues / George Curly Sizemore.
205 Hignite Blues / Wesley J. Turner.
206 Pay Day at the Mine / Charles Underwood.
207 That's What the Union Done / Uncle George Jones.
208 We Done Quit / Sam Johnson.
209 A Coal Miner's Goodbye / Archie Conway.
Local Numbers:
FP-RINZ-LP-2160
Library of Congress.L60
Publication, Distribution, Etc. (Imprint):
Washington, D.C. Library of Congress 1965
Date/Time and Place of an Event Note:
Recorded in: Man (W. Va.), Purlsglove (W. Va.), Trafford (Ala.), Alabama, Price Hill (W. Va.), Shamrock Mountain (Ky.), Lochgelly (W. Va.), Norton (Va.), Virginia, Glomawr (Ky.), Harlan (Ky.), Kentucky, Kenvir (W. Va.), Welch (W. Va.), Steubenville (Ohio), Ohio, Finlayville (Pa.), New Kensington (Pa.), Pennsylvania, Braeholm (W. Va.), United States, West Virginia.
General:
Ballads and fiddle-tunes, in part with guitar. "From the Archive of Folk Song." Editor's notes and texts of the ballads (27 p.) inserted.
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 Fannin Street (Mr. Tom Hughes' Town)(Cry to Me) / Lead Belly. Guitar.
106 Ain't Gonna Drink No More / Lead Belly. Guitar.
107 Birmingham Jail / Lead Belly. Guitar.
108 Old Riley / Lead Belly. Guitar.
109 Julie Ann Johnson / Lead Belly. Guitar.
110 It's Tight Like That / Lead Belly. Guitar.
201 4, 5 and 9 / Lead Belly. Guitar.
202 Good Morning Babe, How Do You Do? / Lead Belly. Guitar.
203 Jail House Blues / Lead Belly. Guitar.
204 Well, You Know I Had to Do It / Lead Belly. Guitar.
205 Irene (Goodnight Irene) / Lead Belly. Guitar.
206 Story of the 25 Cent Dude / Lead Belly. Guitar.
207 How Come You Do Me Like You Do? / Lead Belly. Guitar.
208 Hello Central, Give Me Long Distance Phone / Lead Belly. Guitar.
209 Hesitation Blues / Lead Belly. Guitar.
210 I'll Be Down on the Last Bread Wagon / Lead Belly. Guitar.
301 Springtime in the Rockies / Lead Belly. Guitar.
302 Chinatown / Lead Belly. Guitar.
303 Rock Island Line / Lead Belly. Guitar.
304 Backwater Blues / Lead Belly. Guitar.
305 Governor Pat Neff (Sweet Mary) / Lead Belly. Guitar.
306 Irene (Goodnight Irene) / Lead Belly. Guitar.
307 Easy, Mr. Tom / Lead Belly. Guitar.
308 In the Evening When the Sun Goes Down / Lead Belly. Guitar.
309 I'm Alone Because I Love You / Lead Belly. Guitar.
310 House of the Rising Sun (Rising Sun Blues) / Lead Belly, Martha Ledbetter. Guitar.
311 Oh, Mary Don't You Weep / Lead Belly, Martha Ledbetter. Guitar.
401 Talk About Fannin Street / Lead Belly. Guitar.
402 Fannin Street / Lead Belly. Guitar.
403 Sugar'd Beer / Lead Belly. Guitar.
404 Didn't Old John Cross the Water? / Lead Belly. Guitar.
405 Nobody Knows You When You're Down and Out / Lead Belly. Guitar.
406 Bully of the Town / Lead Belly. Guitar.
407 Sweet Jenny Lee / Lead Belly. Guitar.
408 Yellow Gal / Lead Belly. Guitar.
409 He Was the Man / Lead Belly. Guitar.
410 We're in the Same Boat, Brother / Lead Belly. Guitar.
411 Leaving Blues / Lead Belly. Guitar.
106 DeKalb Blues Written by H. Ledbetter, A. and J. A. Lomax / Lead Belly. Guitar.
Local Numbers:
FW-ASCH-LP-02942
FLP.70803
FLP.70803 ;.Folkways.2942
Publication, Distribution, Etc. (Imprint):
New York Folkways 1953
Date/Time and Place of an Event Note:
Recorded in: New York, New York (N.Y.), United States.
General:
Martha Ledbetter is also known as Martha Promise.
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.
Henry Lee -- Fatal flower garden -- House carpenter -- Drunkards special -- Old lady and the devil -- The butcher's boy -- The wagoner's lad -- King kong kitchie kitchie ki-me-o -- Old shoes and leggins -- Willie Moore -- Lazy farmer boy -- Peg and awl -- Ommie Wise -- My name is John Johanna -- Bandit Cole Younger -- Charles Giteau -- John Hardy was a desperate little man -- Gonna die with my hammer in my hand -- Stackalee -- White House blues -- Frankie -- When that great ship went down -- Engine 143 -- Kassie Jones -- Down on Penny's farm -- Mississippi boweavil blues -- Got the farm land blues.
Track Information:
101 Henry Lee (Child No. 68) / Dick Justice. Guitar.
406 Got the Farm Land Blues / Clarence Ashley, Carolina Tar Heels, Garley Foster. Guitar,Banjo,Harmonica.
Local Numbers:
Folkways.2951; Folkways.251
FW-ASCH-LP-02951
Publication, Distribution, Etc. (Imprint):
New York Folkways 1952
Date/Time and Place of an Event Note:
Recorded in: Dallas (Tex.), United States, Texas.
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. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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. Dale tu Mano al Indio. Give Your Hand to the Indian / Spanish. Uruguay. Daniel Viglietti. 00:01:55
102. A Desalambar. Tear Down the Fences! / Spanish. Uruguay. Daniel Viglietti. 00:02:20
103. Duerme, Negrito. Sleep, Little One / Ramiro Hernandez, Tumbadora (drums). Humberto Vasquez, Marimbula. Daniel Garcia, Claves y quijada. Spanish. Uruguay. Atahualpa Yupanqui. 00:02:15
104. Yo Naci en Jacinto Vera. I Was Born in Jacinto / Federico Britos, Violin. Spanish. Uruguay. Liber Falco, poem; Daniel Viglietti, music. 00:01:53
105. Cruz de Luz. Cross of Light / Spanish. Uruguay. Daniel Viglietti. 00:02:15
106. Milonga de Andar Lejos. Song of Going Far Away / Spanish. Uruguay. Daniel Viglietti. 00:01:35
107. Cancion del Hombre Nuevo. Song of the New Man / Spanish. Uruguay. Rafael Alberti and Daniel Viglietti. 00:01:35
108. Remontando los Rios. Going Upstream / Spanish. Uruguay. 00:01:20
109. Mi Pueblo. My People / Spanish. Uruguay. Rafael Alberti and Daniel Viglietti. 00:01:52
201. Me Matan Si No Trabajo. If I Don't Work They'll Kill Me / Spanish. Uruguay. Nicolas Guillen, words and Daniel Viglietti, music. 00:02:22
202. Soldado Aprende a Tirar. Soldier, Learn to Shoot / Spanish. Uruguay. Nicolas Guillen, words and Daniel Viglietti, music. 00:01:48
203. Ronda. Round / Spanish. Uruguay. Nicolas Guillen, words and Daniel Viglietti, music. 00:01:23
204. Remansos. Stagnant Pools / Spanish. Uruguay. Federico Garcia Lorca, words and Daniel Viglietti, music. 00:01:30
205. Remansillos. Little Stagnant Pools / Spanish. Uruguay. Federico Garcia Lorca, words and Daniel Viglietti, music. 00:01:00
206. Variacion. Variation / Spanish. Uruguay. Federico Garcia Lorca, words and Daniel Viglietti, music. 00:01:00
207. Cortaron Tres Arboles. They Cut Three Trees / Spanish. Uruguay. Federico Garcia Lorca, words and Daniel Viglietti, music. 00:01:00
208. Dos Baladas Amarillas. Two Yellow Ballads I / Spanish. Uruguay. Federico Garcia Lorca, words and Daniel Viglietti, music. 00:01:25
209. Dos Baladas Amarillas. Two Yellow Ballads II / Daniel Viglietti, Garcia Lorca. Spanish. Uruguay. Federico Garcia Lorca, words and Daniel Viglietti, music. 00:01:00
210. Masa. The Masses / Spanish. Uruguay. César Vallejo, words and Daniel Viglietti, music. 00:02:25
211. Pedro Rojas (part 1) / Spanish. Uruguay. César Vallejo, words and Daniel Viglietti, music. 00:02:15
212. Pedro Rojas (part 2) / Spanish. Uruguay. César Vallejo, words and Daniel Viglietti, music. 00:02:10
Local Numbers:
Paredon.1011
Publication, Distribution, Etc. (Imprint):
Brooklyn, N.Y. : Paredon Records, 1973
Participant or Performer Note:
Daniel Viglietti, voice and guitar, with additional musicians as noted.
General:
Recorded in Havana, Cuba, 1967.
Program notes by Barbara Dane, with Spanish texts of the songs and English translations (16 p.) inserted in container.
Album cover design by Collective Graphics Workshop. Cover art from 1972 Alamanaque, a Desalambrar.
Restrictions:
Access by appointment.
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.
Topic:
Political ballads and songs -- Uruguay Search this
The collection documents the customs and culture of black gospel song and its performance in 19th- and 20th-century America. Dr. Reagon collected photographs, sheet music, and other primary and secondary sources chronicling the development and legacy of this medium, from the Civil War to the Civil Rights movement, from blues to Gospel to classical to jazz.
Among the subjects included in this collection are trailblazers such as Charles Tindley, Thomas A. Dorsey, Rosetta Tharpe, Duke Ellington, and Nathaniel Dett. Noted performers are the Fisk Jubilee Singers, the Harmonizing Four, the Hampton University Choir, and the Chick Webb Orchestra.
Scope and Contents:
The Bernice Johnson Reagon Collection of the African American Sacred Music Tradition documents the music, and the society, history, and customs from which it emerged. The materials were collected by Dr. Reagon during her tenure as Director of the Program in Black American Culture, Curator, and Curator Emerita at the National Museum of American History, Smithsonian Institution (1977-1997). The records span the nineteenth century and greater part of the twentieth century. The collection is important because it allows an understanding of the interconnectivity of African American musical forms. Gospel, Jazz, and Protest Songs document the African experience in America through verse and melody. Dr. Reagon collected photographs, sheet music and other primary and secondary sources chronicling the development of African American sacred music tradition from its birth during the period of slavery through the creation of concert spiritual, gospel music, jazz and the performance of protest song in the century following Emancipation.
The records, which measure approximately six linear feet, contain photographs, sheet music, and what Dr. Reagon calls "cultural files" pertaining to figures in, types of, and history of African American music. The cultural file material formats include book, news and magazine articles, programs, bio-sketches, and music. Information about personalities such as Marian Anderson, La Verne Baker, Dorothy Love Coates, Nathaniel Dett, Thomas Dorsey, Frederick Douglass, Duke Ellington, and the Golden Gate Quartet are contained among the collection materials. Also, there are items on gospel trailblazers such as Charles Tindley, Thomas A. Dorsey, and Rosetta Tharpe. In addition, the collection features materials connected to historians and other scholars who participated in a number of teams Reagon organized to carry out specific research initiatives in sacred music traditions and the larger African American experience.
The collection, which was arranged by Dr. Reagon and staff, consists of four parts: a cultural file, a sheet music file, a photography file, and a negative file. The cultural file includes primary documents such as programs from historic performances, personal letters, press releases, and programs from scholarly conferences as well as secondary materials such as journal articles, excerpts from books, and biographical notes. The photography (and negative) files contain photographs of performers and scholars who have participated in the evolution of the African American sacred music tradition. The sheet music file encompasses songbooks and individual pieces of music.
Series 1: Cultural Files, ca. 1836 - 1994: The bulk of materials date from the 1920's to the 1960's. Four document boxes of materials which relate to prominent personalities, groups and events that contributed to the popularization of African American sacred music. Also included in this series is information on slave songs, the Civil War, the Black Church, the Civil Rights Movement, and popular music culture.
Series 2: Sheet Music, ca. 1901 - 1993: The bulk of materials date from the 1900's to the 1950's. Three document boxes of sacred music sheets and songbooks including concert, spiritual, and gospel arrangements. Also included are a few popular compositions, some written by classically trained musicians.
Series 3: Negative Files, ca. 1880's - 1993: The bulk of the materials ranges from 1940 to 1965. Two boxes document boxes of photographic negatives depicting gospel music performers and performances. Included .are contact sheets and individual negatives of varying sizes.
Series 4: Photographs and Illustrations, ca. 1822 - 1993: The bulk of materials range from the 1900's to the 1980's. Eight document boxes of photographs featuring gospel performers, performances, sacred rituals, sacred organizations, Civil Rights activity , and gospel music conferences (primarily black and white).
Biographical / Historical:
Bernice Johnson Reagon, noted vocalist, musician, curator, historian, writer and civil rights activist, provided the impetus for the Smithsonian Institution's research into African American sacred song and music traditions from 1977 until ca. 1997.
Dr. Reagon was born October 2, 1942 to a rural Georgia Baptist minister (Jesse Johnson) and his wife (Beatrice Wise) whose religious influence is evident in her research and performance style. She came of age during the 1960's Civil Rights era, and was a Student Non-violent Coordinating Committee (SNCC) Freedom Singer. The SNCC Freedom Singers were an African American group whose vocal singing style was an integral element in the civil rights struggles. The Singers traveled throughout the country performing protest songs such as "We Shall Not Be Moved" and "This Little Light of Mine". Their songs reflected the Black church theology of the era, emphasizing freedom, long denied, but fervently sought by civil rights activists and the people they represented.
At one march, Reagon was jailed along with hundreds of other demonstrators. This experience taught her the importance of music as a political act. Reagon reflected on this in the book We Who Believe in Freedom: Sweet Honey in the Rock... She founded Sweet Honey in the Rock, a highly regarded female a capella ensemble dedicated to performing traditional music of the African diaspora in 1973, started working full time at the Smithsonian Institution in 1974, and earned a Ph. D. from Howard University in 1975.
Reagon's life has combined political activism with music and cultural history. She began directing the Smithsonian's Program in Black American Culture in 1976. In 1988 she became a curator at the National Museum of American History and after retirement in 1993 continued her work in African American songs of protest and sacred traditions as a curator emeritus at the Smithsonian and a distinguished professor at American University.
Dr. Reagon has authored and edited numerous publications including, We'll Understand It Better By and By: African American Pioneering Gospel Composers, (Smithsonian Press, 1992) and We Who Believe in Freedom: Sweet Honey in the Rock...Still on the Journey (Anchor Books, 1993). She was principal scholar, producer and host of the National Public Radio series "Wade in the Water: African American Sacred Music Traditions (1994). Dr. Reagon has served as consultant composer and performer for several film and video projects including programs for PBS,"Eye on the Prize" (Blackside Productions) and "We Shall Overcome" (Ginger Productions), and has won a number of awards for her scholarship and pioneering work (MacArthur Fellowship, 1989; the Charles Frankel Prize,1995 and the Isadora Duncan award, 1996).
Provenance:
Collection donated by Bernice Johnson Reagon.
Restrictions:
Collection is open for research.
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.
101 Cape Verdean Immigration / Raymond A. Almeida, Yvonne Smart.
102 Social Dance Styles / Américo Rodrigues, Antero Simas, Augusto De Pina. Violin,Cavaquinho,Ukulele,Guitar.
103 Funana and Coladeira: Social Commentary / Antero Simas, Simão Ramos, Simão Lopes. Guitar,Gaita,Accordion,Ferriño,Iron bar.
Local Numbers:
FP-1995-CT-0338
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 30, 1995.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
Coal mining women / H. Dickens (3:56) --Drag lines / D. Silverstein (2:49) --Blue diamond mines / J. Ritchie (3:57) -- Coal miner's grave / H. Dickens (5:25) --Hello coal miner / S.O. Gunning (4:45) --Dream of a miner's child / Trad. (2:22) --Coal tattoo / B.E. Wheeler (2:57) --Battle of Jericol / M. L. Layne (2:27) --Lawrence Jones / S. Kahn (2:59) -- What she aims to be / S. Massek (2:25) --Which side are you on / F. Reece (1:43) --Never keep us down / H. Dickens (2:40)
Track Information:
101 Coal Mining Woman / Hazel Dickens.
102 Draglines / Reel World (Musical group).
103 Blue Diamond Mines / Phyllis Boyens.
104 Coal Miner's Grave / Hazel Dickens.
105 Hello Coal Miner / Sarah Ogan Gunning.
106 Dream of a Miner's Child / Phyllis Boyens.
201 Coal Tattoo / Hazel Dickens.
202 The Battle of Jericol / Reel World (Musical group).
203 Lawrence Jones / Phyllis Boyens.
204 What She Aims to Be / Reel World (Musical group).
205 Which Side are You On? / Florence Reece.
206 They'll Never Keep Us Down / Hazel Dickens.
Local Numbers:
FP-RINZ-LP-0355
Rounder.4012
Publication, Distribution, Etc. (Imprint):
Cambridge, MA Rounder 1984
General:
Program notes and lyrics in booklet ([8] p. : ill. ; 28 cm.) laid in container.
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.
Coo-coo bird ; Railroad Bill ; Jack of diamonds (Hobart Smith) --Mother is gone ; See God's ark (Moving Star Hall Singers) --Girl of constant sorrow (Sarah Gunning) --Les flammes d'enfer ; La valse du musicien (Cajun Band) -- Catfish blues (Willy Doss) --Katy Cline ; Ella's grave (Ken and Neriah Benfield) --Fox chase ; Shear them sheep even ; Casey Jones (Joe Patterson) --Calvary ; Rocky road (Sacred Harp Singers) --Temperance reel ; Golden slippers (Chet Parker and Elgia Hickok) --The job I left behind (Bill Thatcher) --Muskrat ; Cripple Creek (Doc Watson, with Gaither Carlton and Arnold Watson) --Fred's rambling blues ; Shake 'em down (Fred McDowell).
Track Information:
101 The Coo-Coo Bird / Hobart Smith. Guitar. English language.
102 Railroad Bill / Hobart Smith. Guitar. English language.
103 Jack of Diamonds / Hobart Smith. Guitar. English language.
104 Mother is Gone / Moving Star Hall Singers. English language.
105 See God's Ark A-Moving / Moving Star Hall Singers. English language.
107 Les Flammes D'Enfer / Dewey Balfa, Gladdy Thibodeaux, Louis LeJeune. Fiddle,Accordion. French language.
108 La Valse de Musicien / Dewey Balfa, Gladdy Thibodeaux, Louis LeJeune. Fiddle,Accordion. French language.
109 Catfish Blues / Willie Doss. Guitar. English language.
106 Girl of Constant Sorrow / Sarah Ogan Gunning. English language.
201 Fox Chase / Joe Patterson. Quills (Musical instrument). English language.
202 Shear Them Sheep Even / Joe Patterson. Quills (Musical instrument). English language.
203 Casey Jones / Joe Patterson. Quills (Musical instrument). English language.
204 Calvary / Sacred Harp Singers. English language.
205 Rocky Road / Sacred Harp Singers. English language.
206 Temperance Reel / Chet Parker, Elgia Hickok. Dulcimer. English language.
207 Golden Slippers / Chet Parker, Elgia Hickok. Dulcimer. English language.
208 The Job I Left Behind / Bill Thatcher. Guitar. English language.
209 Muskrat / Arnold Watson, Doc Watson, Gaither Carlton. Fiddle,Banjo. English language.
210 Cripple Creek / Arnold Watson, Doc Watson, Gaither Carlton. Guitar,Fiddle,Banjo. English language.
211 Fred's Rambling Blues / Fred McDowell. Guitar. English language.
212 Shake 'Em on Down / Fred McDowell, Sea Island Singers. Guitar. English language.
Local Numbers:
FP-RINZ-LP-1516
Vanguard.9182
Publication, Distribution, Etc. (Imprint):
New York Vanguard 1965
Date/Time and Place of an Event Note:
Recorded live at the Newport Folk Festival, July 23-26, 1964.
General:
Biographical and discographical sheet by Ralph Rinzler enclosed. Descriptive notes by Ralph Rinzler on container. Production notes:
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.
Vergie (Farah Strike)--What have women done--The time has come--We have fed you for a thousand years--Slow down--Drag the line--Out of gas
Local Numbers:
FW-ASCH-7RR-1856
General:
CDR copy
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'll understand it all by and by--O come, o come with me to that churchyard--I'm on my way to Cannan's land--On Jordan's stormy banks--Shall we gather at the river--Come and jine--You are able to destroy the Sabbath morn--He's been along here--Preacher and the bear--Aquirrel up a tree--Get around the mountains, boys--Davy Crockett--Hunting song/ When you go a-courting--Buddy, won't you roll down that line
Local Numbers:
FW-ASCH-10RR-3562
General:
CDR copy
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.
Intro--True love, true love/ Young man/ John Brown's coal mine--Little darlng come and kiss me/ Hobo's lullaby/ Baby's lullaby--Snagtooth Sal--Saving up coupons--My mother-in-law--Go down, old Hannah--Wide hipped woman--To buy my Lou--Nine pound hammer
Local Numbers:
FW-ASCH-10RR-3563
General:
CDR copy
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.
Crazy crazy--Mother-in-law--Loving Nancy--Oh, do not let me go home to the West--Bonny Dundee--Chicky chicky chi chicka lazy moosey---There will never be peace until Jamie comes home--Wild and reckless hobo--Wreck of the Number Nine--Go down old Hannah--You keep on a taking--Nine pound hammer--Ho, my little Lula--O Lordy Judge--Sugar in the gourd (frag)--Ballad of Harry Simms (frag)--I don't want your millions, mister--To welcome my family home--Hard times in Coleman's mines--Just to sell us the same colored hat--I can't feel at home in this world anymore--Sugar in the gourd
Local Numbers:
FW-ASCH-7RR-4469
General:
CDR copy
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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