The “5” Royales inducted into the Rock and Roll Hall of Fame

P20286_012_J_Taylor_Doggett_Colleciton_Southern Folklife Collection_UNC_Chapel HillExcellent and exciting news this week that the “5” Royales are to be inducted into the Rock and Roll Hall of Fame in the “early influences” category. Many have supported their nominations in the past, the “5” Royales were recipients of the North Carolina Folk Heritage Award in 1992, but we were glad to see the band from Winston-Salem, NC recognized internationally for their significant contributions to American music. As the repository for the J. Taylor Doggett Collection (20286), the Southern Folklife Collection holds a variety of materials documenting the “5” Royales career and music. P20286_002_J_Taylor_Doggett_Colleciton_Southern Folklife Collection_UNC_Chapel HillThe “5” Royales series documents Doggett’s extensive research and collecting efforts relating to the careers of constituent members Lowman Pauling, Clarence Paul, Curtis Pauling, Obadiah Carter, Johnny Tanner, Eugene Tanner, Otto Jeffries, and William Samuels. There is also music of the Royal Sons, EL Pauling and the Royalton, and the Charlie “Little Jazz” Ferguson Orchestra. The “5” Royales were significant in providing a link between early R&B and early soul in their combination of doo wop, jump blues, and gospel styles influencing a number of R&B musicians, including Ray Charles, James Brown, and Ike and Tina Turner. Guitarist and songwriter, Lowman Pauling, who unfortunately died in 1973, remains one of the greatest unsung innovators in rock and roll. Over the past few years, a number of box sets chronicling the group’s career, as well as tribute albums by well known musicians like Steve Cropper and young North Carolina groups like Chapel Hill’s The Flesh Wounds have been released, exposing new audiences to the band’s unique sound.

The J. Taylor Doggett Collection includes a number of important recordings, photographs, and ephemera of the group, but a few items that I am constantly drawn to are a series of cassettes compiled by Doggett, SFC call numbers FS9139 through FS9146, that document the bands lesser heard tunes and side projects. Obscure but essential_FS9139_FS9146_J_Taylor_Doggett_Colleciton_Southern Folklife Collection_UNC_Chapel HillBesides these remarkable tapes, we love the photographs of the “5” Royales at the Royal Peacock Club (see the sign pictured above and images below ). These images put the viewer almost onstage at what must have been a true rock and roll experience. Congratulations to the “5” Royales and many thanks to J. Taylor Doggett and so many others who dedicated themselves to preserving the legacy of one of North Carolina’s musical treasures. P20286_003_J_Taylor_Doggett_Colleciton_Southern Folklife Collection_UNC_Chapel HillP20286_004_J_Taylor_Doggett_Colleciton_Southern Folklife Collection_UNC_Chapel Hill P20286_005_J_Taylor_Doggett_Colleciton_Southern Folklife Collection_UNC_Chapel Hill P20286_007_J_Taylor_Doggett_Colleciton_Southern Folklife Collection_UNC_Chapel Hill P20286_009_J_Taylor_Doggett_Colleciton_Southern Folklife Collection_UNC_Chapel Hill P20286_010_J_Taylor_Doggett_Colleciton_Southern Folklife Collection_UNC_Chapel Hill

 

It don’t matter who’s in Austin, Bob Wills is Still the King (or is it Clifton Chenier)?

20002_Archie_Green_Broken Spoke_Southern Folklife CollectionA couple of posters from gigs I would have liked to attend. I was lucky to grow up not 1/2 mile from the Broken Spoke, and despite the best efforts of “New Austin,” I am very glad to report that it’s still there, still honky-tonkin, and the Lone Star is still cold. Both of these posters come from the Archie Green Papers (20002), collected by Archie while a professor at the University of Texas in the 1970s. I feel like artist Michael Priest’s comment written on the bottom of the poster reflects the general sense of wonder those cosmic cowboys and post-hippy hipsters must have felt to be able to attend shows like this on a regular basis, singular moments in music history that transcended the commercial drive of the social scene.

“We seen it right here didn’t we?”

I wish we had, Michael. Long live the kings. 20002_Archie_Green_Antones_Southern Folklife Collection

 

A song of personal thanksgiving

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With all of the mythology surrounding contemporary celebrations of Thanksgiving, I often turn to field recordings to guide me through the gauntlet of caricatures that can seem to overwhelm the holiday experience. I like A Charlie Brown Thanksgiving and the Macy’s Parade too, but this time of year always feels surreal until I pull down my collection of Native American music recordings from the record shelf and listen as I begin to prepare dinner for my family and friends.

FC890_cover_005Looking through the stacks this morning in the Southern Folklife Collection, I found a Library of Congress collection from the Archive of Folk Song, Songs from the Iroquois Longhouse, SFC call number FC890. Compiled by William Fenton from recordings made for the Bureau of American Ethnology at the Six Nations Reserve in Canada and the Allegany reservation in New York in 1941, the record is a powerful document of music from the Eastern Woodlands of North America.

FC890_notes_004The notes are extensive and detail the singers, songs, and performance of the music in a variety of contexts. Among the Seneca performers documented is Chancey Johnny John, called hau’no’on, “Cold-voice,” of the Turtle clan of the Cayuga. According to Fenton, Chancey came from a line of singers and knew more than 1000 verses of song. To be able to hear Chancey Johnny John sing is a remarkable gift and we hope you readers and listeners enjoy this short piece as you join together in body, mind, or spirit with your families and friends this weekend. Click on the bar below to listen to Chancey Johnny John recorded in 1941. 

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The song of personal thanksgiving is an individual chant sung during the Midwinter festival, on the third day of the Green Corn Festival. According to Fenton, “every man should return thanks to the Creator that he has lived to see the ceremonies again and that so many people have once again returned to renew the faith of their ancestors.” A transcription of the chant follows. FC890_notes_personal_006FC890_recording_003

A look inside Goldband

20245_pf0544_0012_Wild Bill Pitre_Goldband Recording Corporation Collection_Southern Folklife CollectionA peek into Eddie Shuler’s Goldband complex–including recording studio, record store, and TV store–in Lake Charles, LA, from the now digitized Goldband photo albums. For more see the Goldband Recording Corportaion Collection (20245) finding aid. Above is Wild Bill Pitre of Wild Bill and the Blue Washboard Boys. Below, Eddie Shuler at the desk in his control room. And finally, Count Rockin’ Sidney below.

These images were preserved as part of the Southern Folklife Collection digitization project, From the Piedmont to the Swamplands: Preserving Southern Traditional Music, funded by a grant from the National Endowment for the Humanities.

20245_pf0544_0011_Eddie Shuler__Goldband Recording Corporation Collection_Southern Folklife Collection 20245_pf0544_0009_Count Rockin' Sidney_Goldband Recording Corporation Collection_Southern Folklife Collection

Gravestones of North Carolina

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Excited to share some research from one of my favorite collections in The Wilson Special Collections Library on this All Hallows’ Eve, The M. Ruth Little Stokes Collection (20065). Architectural historian Margaret Ruth Little-Stokes received a Ph.D. in Art History and a minor in Folklore at UNC-Chapel Hill in 1984. She served as principal investigator for the North Carolina Cemetery as Cultural Artifact Project, 1981-1982, an initiative funded by National Endowment for the Humanities and directed by Terry Zug, professor in the Curriculum in Folklore at UNC-Chapel Hill.

The Project was intended to be “the first investigation in the state of historic cemeteries and graveyards as cultural benchmarks with aesthetic characteristics and iconographical content,” and focused on photographic documentation, recording, and cataloging of cemeteries in three counties: Cumberland County, N.C.; Davidson County, N.C.; and New Hanover County, N.C. The intensive survey covered Cumberland, New Hanover, and Davidson counties completely, and Lincoln County, N.C., and Catawba County, N.C., on a selective basis. Other counties were added for comparison. Intended to link demographic and cultural traits with regional practices, one of the Project’s primary focus points was to identify gravemarker artisans and carvers throughout the region and to trace their movements within, and influences over, the carving tradition.20065_M_Ruth_Stokes_004

Included are master cards with cemetery survey information and topographical maps used in the research and identification process. Each master card contains the cemetery name; location; inclusive dates; topography; landscaping; boundaries; marker descriptions and design motifs; an overall site plan; and a brief history, if known.

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Thumbs up for Mother Universe, UNC welcomes Lonnie Holley

UNC-Chapel Hill is fortunate to be welcoming performance-, recording-, and visual artist Lonnie Holley to campus from September 29 through October 3, 2014.

On Tuesday, September 30, the Southern Folklife Collection will provide materials for Mr. Holley to engage participants in an interactive, public art-making event at The Wilson Library from 9:30 AM to Noon and from 3:00 PM to 5:00 PM.

The SFC also pleased to announce that over 1500 slides documenting Lonnie Holley’s art work are now processed and will soon be available for viewing through the finding aid for the Souls Grown Deep Foundation Photographic Collection (20491). The finding aid currently provides access to the digitized images documenting artists Ronald Lockett and Asberry Davis.

lonnie_holleyOver the last four decades, Lonnie Holley has created countless sculptures, assemblages, and multimedia performances, working primarily with found objects, “scrap,” and recycled materials. Holley is one of several African-American vernacular artists to emerge from the Birmingham-Bessemer area of Alabama in the last quarter of the twentieth century, along with Thornton Dial, Joe Minter, and Ronald Lockett. Although he has recently been featured in the New York Times and the Washington Post, his work has largely lived outside art museums and, therefore, critical reviews.

During his week-long visit to campus, Holley will visit classes in the Departments of Art, Folklore, and American Studies, create new artworks with found and recycled materials, engage in public conversations, and give a musical-spoken word performance.

Public Programs

Monday, 29 September, 10:00 AM – 5:00 PM
Lonnie Holley: The Golden Belt Project
Stop by Room 100 in Building 3 of Golden Belt Studios in Durham and see artist Lonnie Holley making art in collaboration with Golden Belt artists.
The work created will be on view through Friday, 3 October.

Tuesday, 30 September, 9:30 AM – 12:00 PM:
Public art-making with Lonnie Holley in front of Wilson Library, UNC-Chapel Hill
and again from 3:00-5:00 PM, when Holley will complete the project and will be interviewed by Steve Weiss, Curator, Southern Folklife Collection, UNC-Chapel Hill.

Wednesday, 1 October, 5:00-7:30 PM:
Music on the Porch at the Center for the Study of the American South
Lonnie Holley will offer a public musical-spoken word workshop performance, “Thumbs Up For Mother Universe,” on the porch at CSAS. Learn more!

“Thumbs Up for Mother Universe” is made possible by:

NCAC_LogoColor-241x300UNC-Chapel Hill Southern Studies Fund

North Carolina Arts Council

Department of American Studies

Ackland Art Museum

The University of North Carolina at Chapel Hill

 

Calling all country music fans

meade_countryDick Spottswood is preparing to update the reference book COUNTRY MUSIC SOURCES, first published by the John Edwards Memorial Forum and the Southern Folklife Collection in 2002.  Anyone with corrections, additions or updates is invited to contact him online at dick@wamu.org. UPDATE: Joe Hickerson has generously signed on to expand and update bibliographic entries; contact him at jhick@starpower.net 

The book provides information on some 14,500 recordings of 3,500 old-time folk and country songs recorded between 1921 and 1942. Each performance receives a full citation, including the date and place of recording, original and variant artist, and title credits. Whenever possible, songs are traced back to their original lyricists and composers or to major published and unpublished folksong collections. Entries are grouped into broad subject categories: ballads, popular songs, religious songs, and instrumentals.

Based on 35 years of research in public and private collections of recordings, broadsides, pamphlets, and sheet music, this valuable resource allows a fresh understanding of pre-World War II country music and its intricate connections to the blues, old world folk music, and the broad spectrum of American popular song.

“One of the most impressive accomplishments in the history of country music scholarship. It is a big, juicy mother-lode that contains more new, hard data than anyone in this field has seen in years. . . . A definitive reference book that should be on every library shelf and in the hands of any serious student of American music.” –Journal of Country Music

2003 Award for Excellence in Historical Recorded Country Music, Association for Recorded Sound Collections

 

 

In memory of George Hamilton IV

20410_folder35_SFC_George Hamilton IV Collection, Southern Folklife Collection, UNC Chapel HillGeorge Hamilton IV with Mary Dabney Hamilton, Back cover of George Hamilton IV, souvenir book edited by Bob Powell, folder35, George Hamilton IV Collection (20410), Southern Folklife Collection, UNC Chapel Hill

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George Hamilton IV at Grandfather Mountain, 1973, P4985 in the George Hamilton IV Collection (20410)

We were saddened to hear that George Hamilton IV passed away on September 17, 2014. In memoriam of Mr. Hamilton, we pulled some items The George Hamilton IV Collection (20410) in the Southern Folklife Collection to highlight his remarkable career and contributions to the canon of Country music. A native son of North Carolina born and raised in Winston Salem, Hamilton started his singing career while a student at UNC Chapel Hill, recording for Orville Campbell’s Colonial Records. By the late 1950s, Hamilton had moved to Washington, D.C., and became a regular performer (with Patsy Cline, for a time) on Jimmy Dean’s “Town and Country Jamboree” show. He toured with Bobby Darin, Chuck Berry, Buddy Holly, and the Everly Brothers, along with many other well-known pop stars, and made numerous national television appearances.

20410_p4939_SFC005_George Hamilton IV Collection, Southern Folklife Collection, UNC Chapel HillGeorge Hamilton IV and Patsy Cline, P4939 in the George Hamilton IV Collection (20410), Southern Folklife Collection, UNC Chapel Hill

p4866 in the George Hamilton IV Collection (20410), Southern Folklife Collection, UNC Chapel HillHamilton became a teen pop sensation in 1956 with his recording of John D. Loudermilk’s tune “A Rose and a Baby Ruth,” but Hamilton’s heart was in country music and in 1959 he moved to Nashville, becoming a member of the Grand Ole Opry in 1960. Listen to Hamilton’s performance of “A Rose and A Baby Ruth” from one of his first appearances on the Grand Ole Opry, introduced by the one and only Ernest Tubb. From open reel tape, FT12086 in the George Hamilton IV Collection (201410):

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Later that year, he began recording for RCA Records, having been signed by Chet Atkins. In 1963, John D. Loudermilk’s “Abilene” became a number-one hit for Hamilton on the country charts and reached the top 20 in pop.

20410_p4953_SFC001_George Hamilton IV Collection, Southern Folklife Collection, UNC Chapel HillChet Atkins, John D. Loudermilk, Bobby Moore, George Hamilton IV, P4953 in the George Hamilton IV Collection (20410), Southern Folklife Collection, UNC Chapel Hill

He toured Canada and across Europe, developing a devoted fan base. He would eventually tour around the world, performing multiple times in Japan, South Africa, the former Soviet Union, and India. His performance at Moscow University in 1974 was the first for an American country music performer. Other “first” performances on this tour were in Hungary, Poland, and Czechoslovakia. Later that year, Billboard Magazine began to refer to Hamilton as the “International Ambassador of Country Music.”

George Hamilton IV in Bangalore, India, 1986. P5034 in the George Hamilton IV Collection (20410), Southern Folklife Collection, UNC Chapel HillGeorge Hamilton IV in Bangalore, India, 1986. P5034 in the George Hamilton IV Collection (20410), Southern Folklife Collection, UNC Chapel Hill

Hamilton’s recording career highlights a mutual admiration for Canadian and European songwriters. In 1965, Hamilton was the first American singer to record a hit penned by Canadian songwriter Gordon Lightfoot and in 1967, he also became the first to record “Urge for Going,” a song by another Canadian songwriter, Joni Mitchell. In 1969, his first record of all Canadian music was released and he hosted a variety show on the CBC for six years.

George Hamilton IV and others on the set of Up Country at the Elizabethan Barn, early 1970s, P4821 in the George Hamilton IV Collection (20410), Southern Folklife Collection, UNC Chapel HillGeorge Hamilton IV on the set of “Up Country at the Elizabethan Barn,” early 1970s, PHOTO BY DOMINIC MCKENZIE P4821 in the George Hamilton IV Collection (20410),                    Southern Folklife Collection, UNC Chapel Hill

His long-standing involvement with the annual International Festival of Country Music, held at Wembley (UK) led to an association with the BBC where Hamilton hosted many programs–variety and documentary–that showcased country music.

George Hamilton IV, Rolf Harris, an unidentified woman, Frank Ifield, Olivia Newton-John, Slim Whitman, Miki & Griff, an unidentified man, and Mervyn Conn, at Wembley, 1974, b&w print, roughly 8x10, photo by Dominic McKenzie, P4920 in the George Hamilton IV Collection (20410), Southern Folklife Collection, UNC Chapel HillGeorge Hamilton IV, Rolf Harris, an unidentified woman, Frank Ifield, Olivia Newton-John, Slim Whitman, Miki & Griff, an unidentified man, and Mervyn Conn, at Wembley, 1974, b&w print, roughly 8×10, photo by Dominic McKenzie, P4920 in the George Hamilton IV Collection (20410), Southern Folklife Collection, UNC Chapel Hill

In 1971, Hamilton left Nashville and the Grand Ole Opry for Charlotte, N.C., to join the broadcasts of Arthur Smith’s country music televison show. He continued to work overseas while also maintaining a busy touring schedule in the United States

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                                                                    In the 1990s, he became involved with several musical theater and concert productions that featured the work of Patsy Cline, with Irish singer Sandy Kelly playing the title role. Hamilton has continued to record country, folk, and gospel albums, including two with his son, George Hamilton V . In 2006, he celebrated his 50th year as a recording artist, which included a special reception hosted in London by the United States Ambassador to Britain. Hamilton died on Wednesday at the age of 77. I’ll leave you with one of my favorite recordings by Hamilton,Break My Mind,” arranged by his longtime collaborator and fellow North Carolinian John D. Loudermilk, from Hamilton’s 1967 LP, Folksy, call number FC 17005.

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0410_folder35_SFC_001_George Hamilton IV Collection, Southern Folklife Collection, UNC Chapel HillGeorge Hamilton IV by Bud Powell, Folder 35 in the George Hamilton IV Collection (20410), Southern Folklife Collection, UNC Chapel Hill

Thank you, from the Southern Folklife Collection

 

Rebirth Brass Band lead the second line down the steps of Wilson Library. Photo by Mark Perry Photography.

Rebirth Brass Band lead the second line down the steps of Wilson Library. Photo by Mark Perry Photography.

All of us at the Southern Folklife Collection extend our most sincere gratitude to all the people that worked to make our 25th anniversary celebrations a wild success. To all the musicians, writers, library staff, volunteers, and especially to our researchers, patrons, and all those that attended our concerts and programs, we thank you. These photos by Mark Perry Photography are just a glimpse into the weekend events and we’ll have more to share in the future. The SFC 25th Anniversary exhibit detailing the history of the John Edwards Memorial Foundation and the birth and growth of the SFC will be open to visitors to Wilson Library through December 2014 so please do stop by for a viewing. Also, if you haven’t had a chance, our exhibit “Lard Have Mercy!: 30 years of Southern Culture on the Skids” has extended for three more weeks. It’s going to be a great Fall so keep in touch. 

Los Texmaniacs at the Cat's Cradle for SFC25. Photo by Mark Perry Photography.

Los Texmaniacs at the Cat’s Cradle for SFC25. Photo by Mark Perry Photography.

Peter Guralnick at the Cat's Cradle for SFC25. Photo by Mark Perry Photography.

Peter Guralnick at the Cat’s Cradle for SFC25. Photo by Mark Perry Photography.

Dumpstaphunk at Memorial Hall for SFC25. Photo by Mark Perry Photography.

Dumpstaphunk at Memorial Hall for SFC25. Photo by Mark Perry Photography.

Tift Merritt at Memorial Hall for SFC25. Photo by Mark Perry Photography.

Tift Merritt at Memorial Hall for SFC25. Photo by Mark Perry Photography.

Merle Haggard at Memorial Hall for SFC25. Photo by Mark Perry Photography.

Merle Haggard at Memorial Hall for SFC25. Photo by Mark Perry Photography.