Collection Spotlight: Glenn Campbell on transcription disc

Capitol Records released Glenn Campbell’s hit song, “Galveston,” on March 17, 1969 so we pulled out a version  from the Lawrence Welk radio series, Guest Spot, show number LW70-36, distributed to radio stations as transcription discs.  Guest Spot was one of many syndicated radio shows sponsored by the

Liner notes (click to zoom)

United States Armed Forces, the U. S. Navy and Naval Reserves for this series.

The copy in the Southern Folklife Collection, call no. TR-12/504, is part of the extensive and always fascinating Eugene Earle Collection (#20376). Track list and liner notes are included to the left.  The modulation in the last verse and the sound of the telecaster in the guitar solo where the string sounds so loose that it might fall off just gets us every time.  The first clip below is the introduction to the show itself, the second is a sample of “Galveston.”

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New Addition: The Eugene Earle Collection

After almost a year in process, the latest addition to the Eugene Earle Collection finding aid is now available. The addition of July 2009 contains over 9,500 items from the collection of discographer, record collector, and founding president of the John Edwards Memorial Foundation, Eugene Earle (pictured, ca. 1960).

Included in the addition are hundreds of live recordings of performances by old-time and bluegrass musicians including  Doc Watson, Bill Monroe, the Stanley Brothers, the Osbourne Brothers, and the Country Gentlemen.

The collection also includes posters, films, printed music, photographs, serials, record label catalogs, promotional materials, and papers relating to Earle’s discographical and record collecting activities.

Processing of the Eugene Earle Collection has been made possible by a grant from the National Endowment for the Humanities, as part of the ongoing digitization project Fiddles, Banjos and Mountain Music: Preserving Audio Collections of Southern Traditional Music.

The Stanley Brothers Live At Ash Grove, 1962

StanleyBrosArmadillo World Headquarters, CBGB’s, The Bluebird Café, Tipitina’s, Whisky A Go-Go, the Village Gate, all names of landmark live music venues. These spaces are inseparable from the music scenes fermented inside their walls, and the proper names themselves have come to represent far more than the physical structures.  The words conjure structures of feeling of specific eras (whether the business is still open or not), reflecting cultural and musical histories that reach far beyond the individuals who actually experienced these spaces, becoming almost mythological in their stature. The lists of musicians who played on the stages, the performances and collaborations that seem out of fanboy dreams, and the glimpses into these worlds through scattered photographs, films, and audio recordings only add to the ethereal nature of their reputations.  The reality of struggling small businesses operating on the fringes of society and exhausted musicians toiling to keep their heads above water get lost in the narrative, but the influence of these venues depends more on the dream than the reality.

The Eugene Earle Collection is full of recorded artifacts that help fill out the narratives, exposing more of the reality but adding to the dream at the same time.  The country music parks like New River Ranch (featured here a week ago) offered one kind of performance opportunity for the traditional country and mountain music in the 1950s and 1960s, but the folk clubs, coffeehouses and college stages offered another.  The Ash Grove is one of the latter.

Founded in Hollywood by Ed Pearl in 1958, the Ash Grove was unprecedented in the variety of folk legends and young artists that shared the stage. The club offered many musicians from the South and East their first opportunities to find audiences on the West Coast.  Doc Watson, The Country Gentlemen, Mississippi John Hurt, Son House, Muddy Waters, Pete Seeger, June Carter, Johnny Cash, Phil Ochs, Joan Baez, Johnny Otis, Ramblin’ Jack Elliott, Ian and Sylvia, Sonny Terry, Brownie McGee, New Lost City Ramblers, The Weavers, The Greenbriar Boys, Lightnin’ Hopkins, Barbara Dane, Holly Near, Arlo Guthrie, Mance Lipscomb, Guy and Candie Carawan, John Jacob Niles, Bukka White, and Kris Kristofferson all played the Ash Grove.  As did Oscar Brown, Jr., Chuck Berry, James Booker, Ravi Shankar, Mongo Santamaria, Miriam Makeba , and the Virgin Islands Steel Band.  Ry Cooder had his first performance there when he was 16 and the Stanley Brothers, featured in the clips below, performed there numerous times throughout the 1960s. The Ash Grove closed in 1973, possibly as a result of arson attacks by those who disagreed with the venues left leaning social and political affiliations, but it’s legacy lives on in the collective cultural memory, thankfully bolstered by recordings like those in the Eugene Earl Collection here at the SFC.

Digitized for the project Fiddles, Banjos, and Mountain Music: Preserving Audio Collections of Southern Traditional Music, the following clips come from FT-12936 of the Eugene Earl Collection. The Stanley Brothers in this incarnation include Carter Stanley on guitar, Ralph Stanley on banjo, Vernon Derek on fiddle, Curly Lambert on mandolin, Roger Bush on bass.  Recorded August 30, 1962, the performance includes a variety of traditional mountain music, bluegrass standards, and Stanley Brothers originals.

More recordings from the Ash Grove to come, but for now enjoy the Ash Grove intro with the Stanley Brothers kicking off the show with “Late Last Night”:

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and Carter’s introduction of “Drifting too Far From the Shore” with a description of the “Monroe Sound” and a touching acknowledgement of Charlie Monroe’s contribution to country music:

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The ongoing digitization project Fiddles, Banjos and Mountain Music: Preserving Audio Collections of Southern Traditional Music, is made possible by a grant from the National Endowment for the Humanities.

The Monroe Brothers Live at New River Ranch, 1955

SFC_p970To follow up on the recent photo-post with Bill Monroe, we offer a live recording of the Monroe Brothers from New River Ranch, May 8, 1955.

With the rise of Rock and Roll and Nashville’s turn towards hyper-stylized Countrypolitan, country music parks and campgrounds of the 1950s and 1960s acted as catch-all venues for performers and fans in the still very active hillbilly and honky-tonk music scenes. Located just across the Pennsylvania border in Rising Sun, Maryland, New River Ranch welcomed everyone: old-time legends, honky-tonk heroes, and homegrown fiddle bands.

With an open-air stage and wooden planks for seats, picnic suppers and rudimentary PA, what New River Ranch lacked in amenities, it made up tenfold with the music. On the urging of Mike Seeger, Ralph Rinzler first visited New River Ranch in 1954 to see Bill Monroe and the Bluegrass Boys; an experience that profoundly affected the future of not only Rinzler and Monroe, but also the future of folk and country music in ways that continue to resonate today.

The Eugene Earle Collection holds a treasure trove of live recordings from New River Ranch and countless other parks and venues across the U. S. A. Digitized for the project Fiddles, Banjos, and Mountain Music: Preserving Audio Collections of Southern Traditional Music, these clips come from a reel-to-reel tape likely recorded by Gerald Mills on May 8, 1955, featuring a rare 1950s reunion by The Monroe Brothers, Charlie and Bill, whose bands both performed regularly at the park, just two years before Charlie’s retirement from music in 1957. The raw beauty of the setting and the enthusiasm of the audience and the performers shine through on these recordings. “Nine Pound Hammer” is the brothers’ classic rendition of the Merle Travis tune, including the ferocious first licks of Bill’s chiming mandolin solo. “This World is Not My Home” is their rendition of the gospel tune popularized by the Carter Family. The vocal harmonies are stunning. Please enjoy.

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Both clips from SFC field tape FT-12917 in the Eugene Earle Collection.

The ongoing digitization project Fiddles, Banjos and Mountain Music: Preserving Audio Collections of Southern Traditional Music, is made possible by a grant from the National Endowment for the Humanities.

US Military V-Discs in the Eugene Earle Collection

VDISCDuring World War II, the U.S. military and American record companies collaborated to produce a series of records for the “V-Disc” program, a morale-boosting  effort designed to provide troops overseas with access to exclusive new music. Many of the top performers of the day, including Frank Sinatra and Duke Ellington, contributed recordings to the project. The V-Discs were produced exclusively for use by military personnel and the artists who volunteered their recordings insisted they not become commercially available, so when the program came to an end in 1949 the Army destroyed most of the original pressing plates and many of the existing discs, making V-Discs a rather collectible commodity today.

The 261 V-Discs in the Eugene Earle Collection represent a wide variety of popular music, including big band jazz, country and blues. Many of the songs were recorded with the military audience in mind, as you can hear in the clip below of Carson Robison performing “Nursery Rhymes of 1944″, from Army V-Disc 145 (SFC # TR/12-19). He really lets Hitler have it, in the classic schoolyard manner.

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“Seeing Sound” Exhibit, Oct. 12, 2009 – Jan. 4, 2010

Before the widespread availability of recordings and record players, music publishers relied on visual representations to inform and entice consumers to buy sheet music of popular songs. The illustrator had to convey both the subject matter and the mood of a song, essentially capturing the sound of music in a single painting or drawing.

OP-20376-36-1

From October 12 to January 4, the Southern Folklife Collection will be hosting the exhibit Seeing Sound: Sheet Music Illustration From 1890 To 1940, featuring sheet music illustrations from the Eugene Earle Collection. The exhibit will be held on the 4th floor of the Wilson Library and is free and open to the public (9:00 AM – 5:00 PM Mon.-Fri., 9:00 AM – 1:00 PM on Sat.).

Edison Records Catalog

edison

It seems that the recording industry’s habit of exaggerating the sound quality of their wares is as old as the recording industry itself. The claims made in this lovely ca. 1928 Edison Records catalog, found in the Eugene Earle Collection, make one wonder how further advances in audio technology could possibly have been made:

To the person who requires music in the most perfect obtainable form, Edison Records have a unique appeal… A special process of recording, developed by Thomas A. Edison, father of the phonograph, is so successful in catching every shade and inflection of the voice or instrument that it preserves ALL the characteristics of the original performance; then, when the record is played, it Re-Creates the music note-for-note and word-for-word with such uncanny fidelity to the original as to baffle skilled musicians and critics; they are unable to distinguish the Artist’s own performance from the Edison Re-Creation of it… Distinguished artists have sung or played in direct comparison to their Edison recordings, and have shown by actual test that “there is no difference”.