From left: Joe Chambers, Kenny Whitson, and Lightnin’ Hopkins. From the Mary Katherine Aldin Artist Files Collection, #20485. Southern Folklife Collection, The Wilson Library, University of North Carolina at Chapel Hill.
We don’t know the photographer, but the picture was taken at the folk music club Ash Grove in Los Angeles in what was called “the classroom” — used for classes of the Ash Grove School of Traditional Folk Music during the day, and an extra hang out space for performers at night. From left are Joe Chambers (of the Chambers Brothers) with a harmonica, Dane’s long time musical collaborator Kenny Whitson on cornet, and Lightnin’ Hopkins on guitar.
The picture had been hanging on the wall of Aldin’s office at Ash Grove when the club burned down for the first time in 1969. With owner Ed Pearl’s permission, Aldin salvaged the picture from rubble and kept a framed version of it with Chambers cropped out. It wasn’t until the scan request that Aldin recalled the presence of Chambers in the foreground. Ed Pearl passed away in February of this year, and you can read more about his life and Ash Grove in his obituary in the Los Angeles Times: https://www.latimes.com/entertainment-arts/music/story/2021-02-09/ed-pearl-dead-ash-grove
Barbara Dane first encountered the Chambers Brothers performing as a gospel group at Ash Grove on the same bill as her and Hopkins, and took them on the road, recording an album with them (Barbara Dane and the Chambers Brothers, released by Folkways) and performing at the 1965 Newport Folk Festival. Dane also recorded a session with Hopkins in 1964 for Arhoolie Records that was released in 1996 as Sometimes I Believe She Loves Me.
I was reflecting on this crazy year recently, and feeling grateful for our Elizabeth Cotten event earlier in November, a heartwarming hour amid all the noise of the previous few months that was fun to share and experience with all who tuned in.
In case you missed it, the full event is available to stream below from the UNC Libraries YouTube channel.
Cotten’s great-grandson John Evans, Jr. and his family, along with Yasmin Williams, bookended the event with performances that recalled the origins of Cotten’s music, along with how it continues to inspire contemporary musicians.
Alice Gerrard’s segment offered an intimate recollection of life on the road with Cotten on tours organized by the Southern Folk Cultural Revival Project. The SFC is proud to hold both the Southern Folk Cultural Revival Project Collection (https://finding-aids.lib.unc.edu/20004/), as well as the collection of Anne Romaine (https://finding-aids.lib.unc.edu/20304/), one of the co-founders of the SFCRP with Bernice Johnson Reagon.
Reverend Pearly Brown, Anne Romaine in background (P-20004/2805). In the Southern Folk Cultural Revival Project Collection #20004, Southern Folklife Collection, The Wilson Library, University of North Carolina at Chapel Hill.
There was also a glimpse and mention of Dick Waterman in Gerrard’s slideshow, and the SFC holds the Dick Waterman Photography Collection (https://finding-aids.lib.unc.edu/20533/), a rich resource of photographs documenting the blues, country, and rock music scenes from the 1960s to the early 2000s.
Elizabeth Cotten (PF-20009/16). In the Mike Seeger Collection #20009, Southern Folklife Collection, The Wilson Library, University of North Carolina at Chapel Hill.
In addition to the Cotten-related collections mentioned in the previous post (and check out one of the earliest known photos of a young Elizabeth Cotten above from the Mike Seeger Collection) (When I’m Gone: Remembering Folk Icon Elizabeth Cotten), we invite you to explore those associated collections held by the SFC that were referenced in the event.
The Elizabeth Cotten appearance on Pete Seeger’s Rainbow Quest TV show that opened the event can be found here a little more smoothly than the video capture over Zoom. The SFC has the original 2″ quad video of that show in the Pete Kuykendall Collection (https://finding-aids.lib.unc.edu/20546/).
Elizabeth Cotten and children (PF-20009/17). Photo by Mike Seeger. Ca. 1957 in the Mike Seeger Collection #20009, Southern Folklife Collection, The Wilson Library, University of North Carolina at Chapel Hill.
This hour-long virtual program will feature guitarist Yasmin Williams, musician and scholar Alice Gerrard, and Cotten’s great-grandson John W. Evans Jr., who is pictured above as a young boy listening to Cotten.
The SFC is proud to hold a number of collections related to the work of Cotten, including Alice Gerrard’s own collection (https://finding-aids.lib.unc.edu/20006/).
Elizabeth Cotten, Live! | FC-17741 in the Southern Folklife Collection
Many live concert recordings are held in the McCabe’s Guitar Shop Collection (https://finding-aids.lib.unc.edu/20511/), which also includes a video interview, from around 1984, of Cotten and some of her family. The Grammy-award winning Elizabeth Cotten, Live! recording (pictured above), a sampler of live performances from Cotten in her 80s, includes selections from sets recorded at McCabe’s and preserved in the collection.
The Stefan Grossman Collection (https://finding-aids.lib.unc.edu/20578/), picked up in December 2019, also offers some classic Cotten material through his Vestapol label, a deep source of a variety of video recordings of jazz, blues, country, and folk artists.
Perhaps the richest source of Cotten material is held in the Mike Seeger Collection (https://finding-aids.lib.unc.edu/20009/). It was while in employment as a housekeeper for the Seeger family that Cotten picked up a guitar again after a period of musical inactivity, and Mike Seeger’s reel-to-reel recordings of her playing propelled her to becoming a popular figure on the folk circuit, and a touring and performing career that lasted into her 90s.
Elizabeth Cotten and Mike Seeger (PF-20009/22). In the Mike Seeger Collection #20009, Southern Folklife Collection, The Wilson Library, University of North Carolina at Chapel Hill.
And if you ever find yourself down our way in Elizabeth Cotten’s hometown, check out this recently installed mural by North Carolina artist Scott Nurkin, near the Chapel Hill/Carrboro border, as part of the Musician Murals Project.
Hazel Dickens and Alice Gerrard, 1975. From the Mike Seeger Collection (#20009)
On Monday, May 11th, Reel South, a cooperative documentary series among the South’s PBS-member stations, will make the Alice Gerrard documentary You Gave Me A Song available to stream.
Directed by Kenny Dalsheimer, You Gave Me A Song (http://www.alicegerrardfilm.com/) “offers an intimate portrait of old-time music pioneer Alice Gerrard and her remarkable, unpredictable journey creating and preserving traditional music.”
Check your local member stations for when it might air in your area, but North Carolina’s UNC-TV will air it in the coming days over its various stations:
Reel South – You Gave Me A Song
Thursday, May 14, 10:00 pm – UNC-TV
Friday, May 15, 04:00 am – North Carolina Channel
Sunday, May 17, 10:00 pm – North Carolina Channel
Explore a few of the SFC’s resources featured in the film and related to Alice Gerrard below:
Welcome back to Field Trip South. This period of isolation is a great time for recollections of a couple of our own recent field trips—my first collection pickups as Collection Assistant with the SFC. It might help during this time to remember ventures outside and connections with people, the history we all share, and the community that shared history creates.
Bobby Patterson (#20574) connected people for years from his hub in the Coal Creek Community near Galax, Virginia, as a musician, producer, and documenter of the old time mountain music of the region, operating Mountain Records with Kyle Creed before building his own studio and starting his Heritage Records label.
Bobby Patterson poses with banjo, mandolin, and electric bass
As another SFC connection Paul Brown (#20382) mentions in his excellent celebration of Patterson’s life and work here (Across the Blue Ridge – episode 95), many of the musicians recorded on both the Mountain and Heritage labels would not have been heard without Patterson’s dedication to recording and preserving this culture. Patterson could also pick a bit himself, accompanying on a variety of instruments with a number of collaborators like Kyle Creed and the Camp Creek Boys, the Highlanders, Tommy Jarrell, and Fred Cockerham. He later played regularly alongside his long-time musical partner Willard Gayheart, who offers his own recollections in the episode, which highlights not only Patterson’s playing, but a number of sessions recorded by him for the labels, and his documentation of performances at festivals and conventions throughout the region.
Heritage Records Release of the 1978 Brandywine Music Festival (Heritage Records #24); from the Norm Cohen Collection (#20480)
In 1987, Patterson was instrumental in launching the Old Time Herald(#20067) with founder and editor Alice Gerrard (#20006), a magazine that celebrates traditional music and dance, particularly in the southeastern United States, which still operates out of Durham.
SFC Curator Steve Weiss, AV Archivist Anne Wells, and I traveled to Galax in early Fall 2019 to pick up Patterson’s collection from the studio he built next to his home just outside Galax. Our local guides Kilby Spencer and Mark Sanderford, without whom we would have struggled to navigate through this pickup, provided context to the collection and pointed out recordings and musicians that could be of particular significance. Steve and Anne assessed the condition of the different formats and began the organization process. I helped them pack, tote, and haul, and learned a great deal.
It was a rewarding and satisfying experience to work with these colleagues and friends, reminding me why we do what we do, and reinforcing the importance of this work, preserving not only the physical materials but the spirit they capture. We would also like to thank Kelley Breiding, and—most of all—Janice Patterson, for their support of this project.
In addition to the intrepid works of Ella May Wiggins, conflicts at textile mills in North Carolina in the late 1920s inspired quite a bit of commercially released labor songs relating specifically to textile work. The working class’ struggles with their employers immediately surrounding the depression were so pervasive that labels became interested in releasing strike songs due to high demand for this material – even if the artists releasing the music had little stake or political affiliation with the striking community. Regardless, many of the songs had a sympathetic attitude and stood in solidarity with laborers.
One such example is Welling and McGhee’s “The North Carolina Textile Strike”/”Marion Massacre,” available in the SFC as 78-16684.
“The prolific duo of Frank Welling, a vaudeville entertainer, and John McGhee, a lay preacher, using the name the Martin Brothers, composed and recorded “The Marion Massacre”/“North Carolina Textile Strike” for Paramount in 1929. They had no political agenda but used the strike to create event songs to sell records, a common strategy at the time.”
My hope was to make a transfer of this recording to share as part of this blog post. However, I noticed a severe crack in the disc. Occasionally it’s possible to play back a disc with a minor crack, but attempting to play back this one would have potentially damaged the media, or lobbed off the tip of the playback stylus. There are various ways to play back broken and cracked discs – optical playback systems and scanners have become more accessible in recent years – but our audio preservation priorities are typically dedicated to materials not already commercially available. Arrow showing crack in SFC 78-16684, “Marion Massacre”/”The North Carolina Textile Strike”.
Fortunately, there was an easy solution: The Archie Green Collection (20002) already contained an audiotape transfer of this disc – alongside many other labor songs about textile work and accompanying papers. These are available as FT 188-90 and folder 397, respectively. While not of equivalent quality of a modern preservation transfer, this copy contains an acceptable level of intelligibility. Field notes containing track listing for tape transfer of textile labor song 78s.
“The Mill Mother’s Lament” words and music found in the Working Women’s Music: The Songs and Struggles of Women in the Cotton Mills, Textile Plants and Needle Trades by Evelyn Alloy from the Irwin Silber Papers. Today marks the 90th anniversary of the June 7th, 1929 violence at the Loray Mill Strike in Gastonia, North Carolina. The strike started in April of 1929 with the arrival of the National Textile Workers Union. The workers at the mill began striking for their demands. On June 7th sheriff’s deputies raided tents set up near the mill by striking workers. Violence ensued, and Police Chief Orville Aderholt was killed. Just a few months after the culmination of the Loray Mill Strike, in September of 1929, Ella May Wiggins, a 29-year-old working mother and strike organizer, was killed by a mob of men trying to run the strikers out of town. The union was preparing for a large rally at which Ella May Wiggins would sing her ballads. On the way to the meeting, Ella May and other union members were attacked by anti-strikers. Ella May was one of many mill women and girls who protested the working conditions, hours and little pay in the Gaston County Mills in 1929. Often overlooked, the women working in the mills had a huge impact on the future of labor organizing in the South. Cover of Working Women’s Music: The Songs and Struggles of Women in the Cotton Mills, Textile Plants and Needle Trades by Evelyn Alloy from the Irwin Silber Papers. Ella May’s legacy lives on in the protest songs and ballads she wrote and sang. Her most popular protest song is “Mill Mother’s Lament,” a ballad covered by Pete Seeger on the album American Industrial Ballads. Cover of American Industrial Ballads from the commercial albums selection in the Southern Folklife Collection. Track listing of American Industrial Ballads featuring Pete Seeger’s cover of “Mill Mother’s Lament” written by Ella May Wiggins. She also penned songs such as “The Big Fat Boss and the Worker” and “Up in Old Loray,” that were sung at union meetings and rallies. Some accounts say that Ella May did not write “Up in Old Loray,” but the lyrics in the Archie Green Collection have Ella May credited as the writer. Handwritten and typed copies of the lyrics to a few of her songs can be found in the Archie Green Papers. Lyrics to Ella May Wiggins’ “The Big Fat Boss and the Worker” from the Archie Green Papers. Lyrics to Up in Old Loray from the Archie Green Papers.
Many of the mill workers that fought for better working conditions during the strikes in 1929 will go unnamed. We are lucky to have Ella May’s songs as a reminder of her spirit and tenacity.
If you are looking to learn even more about Ella May Wiggins, check out The Southern Historical Collection’s oral histories of Ella May’s daughters, Millie Wiggins Wandell and Charlotte Wiggins. These tapes were digitized and are streaming online thanks to our generous grant from the Andrew W. Mellon Foundation.
Cox, Annette. “The Saga of Ella May Wiggins.” Southern Cultures, The University of North Carolina Press, 4 Oct. 2015, muse.jhu.edu/article/594509. Web. 7 June 2019. Huber, Patrick. “Mill Mother’s Lament: Ella May Wiggins and the Gastonia Textile Strike of 1929.”Southern Cultures, vol. 15, no. 3, 2009, pp. 81-110. Web. 7 June 2019. Jones, Loyal. “On the Death of Union Organizer and Balladeer Ella May Wiggins, A Tale of Two Families.” Review of Book. Appalachian Journal, vol. 43, no. 3-4, 2016, pp. 252–262. Web. 7 June 2019.
McShane, Chuck. “Tar Heel History: The Loray Mill Strike.” Our State Magazine, 17 May 2015, www.ourstate.com/loray-mill-strike/. Web 7 June 2019.
Double Grammy award winning box set released by Dust-To-Digital in 2018. Produced from materials in the William R. Ferris Collection (20367). photo by Marcie Cohen Ferris
We were thrilled to see our colleague, collaborator, and constant source of inspiration Dr. William R. Ferris honored with two Grammy awards at yesterday’s ceremony for the box set Voices of Mississippi: Artists and Musicians Documented by William Ferris. Ferris, along with compilation producers April Ledbetter and Lance Ledbetter of record label Dust-to-Digital and mastering engineer, Michael Graves, received Grammy recognition for “Best Historical Album” and Ferris, along with David Evans, also won for “Best Album Notes.” Materials for the box set come from the William R. Ferris Collection (20367) that is part of the Southern Folklife Collection at Wilson Special Collections Library here in the University Libraries at UNC Chapel Hill.
Over the past decade, archivists, audio engineers, photo technicians, students, researchers, and Bill Ferris himself have worked to arrange, describe, and digitize the more than 250,000 sound recordings, photographs, videos, films, papers, and ephemera that make up the William R. Ferris Collection. Thanks to the dedicated teams at Wilson Library and with support from the National Endowment for the Humanities and the Andrew W. Mellon Foundation, a few thousand of these sound recordings, videos, films, and photos are digitized and can be streamed or viewed in their entirety online. It’s exciting to think of listeners hearing a track on Voices of Mississippi and then be able to find that recording and many others in the William R. Ferris Collection (20367) finding aid. They may want to hear more of Lovey Williams, or to hear James “Son” Thomas playing in a juke joint, or Fannie Bell Chapman singing in her back yard
These examples are the smallest sample of the opportunities available to interested researchers and listeners and explorers of the rich cultural history and beautiful human artistry documented by Dr. Ferris. B. B. King recorded at home, extensive conversations with brilliant minds like Eudora Welty, Walker Evans, Alice Walker, tales told by Ray Lum and Victor Bob and many, many others are streaming online. There are also thousands of photographs digitized and searchable through the William R. Ferris Collection Digital Photographs. Bill Ferris, Bruce Payne (WOKJ radio announcer), and Robert Slattery (sound technician) in the WOKJ radio station during the production of the film “Give My Poor Heart Ease.
It is exciting to see recognition for the work that Dr. Ferris dedicated his life to. It is also exciting to see recognition for the people of Mississippi who, in Bill’s words, “so courageously shared their stories.”
That list is long, but to start, thanks to Scott Dunbar, Lovey Williams, Walter Lee Hood, Tom Dumas, Mississippi Fred McDowell, Wash Heron, Wallace “Pine-Top” Johnson, Sonny Boy Watson, Mary Alice McGowan, The Southland Hummingbirds, Liddle Hines, Mary and Amanda Gordon, Reverend Isaac Thomas, Bobby Rush, Barry Hannah, Joe Cooper, Joe Skillet, Shelby “Poppa Jazz” Brown, Pete Seeger, Charles Seeger, Imamu Amiri Baraka, Victor Bobb, Cleanth Brooks, Fannie Bell Chapman, Edith Clark, Leon “Peck” Clark, Bill Clinton, Eudora Welty at her home on Pinehurst Place in Jackson, Mississippi, 1976. William R. Ferris Collection (20367)
Hillary Rodham Clinton, Willie Dixon, John Dollard, Louis Dotson, Walker Evans, Marcie Cohen Ferris, Shelby Foote, Ernest J. Gaines, Allen Ginsberg, Theora Hamblett,Bessie Jones, B.B. King, Alan Lomax, Ray Lum, Arthur Miller, Ethel Wright Mohamed, Ola Belle Reed, Harry Smith, James “Son” Thomas, Othar Turner, Alice Walker, Pecolia Warner, Robert Penn Warren, Eudora Welty, and members of the Rose Hill Baptist Church in Vicksburg, Miss.
Our sincerest thanks and gratitude to all of these individuals and many more unnamed, for their willingness to share parts of their lives with Dr. Ferris and then with all of us. But once more, many congratulations to our friend Bill Ferris and his fellow award winners Lance, April, Michael, and David. We can’t wait to hear what stories you will turn up next. B. B. King in repose. Photo by William Ferris. William R. Ferris Collection (20367)
For your holiday listening pleasure, we pulled the Standard Program Library 16-inch transcription disc pictured above, call number TR1181 from the Southern Folklife Collection Transcription Discs (#30024), by the excellent Prairie Ramblers. The group coalesced in the 1930s appearing on numerous radio stations before settling down at WLS in Chicago. Featuring mandolinist Charles Chick Hurt, bassist “Happy” Jack Taylor, fiddler Tex Atchison, and Floyd “Salty” Holmes, a multi-instrumentalist and master of the harmonica, the group rose to fame after partnering up with a young Patsy Montana. Comfortable jumping from old-time stringband music, to country, to western swing, they went on to appear in numerous cowboy films with Gene Autry and other singing cowboys before splitting up for good in 1947 (well after Montana left to pursue her solo career). There is some excellent biographical information in the Prairie Ramblers Barn Dance Favorites, FL-506 in the Southern Folklife Collection Song Folios (30024). But back to the disc, here are a couple of holiday toe tappers to cut your cookies to:
Listen to “Christmas Chimes”:
Lyrics:
Merry merry Christmas chimes
Merry merry Christmas chimes
Ringing so sweet and so clear
Merry merry Christmas chimes
Merry merry Christmas chimes
Telling of joy and good cheer
When sleigh bells chime at Christmas time
For sparkling snow their music sings
They tell again that story old
Of peace on earth, good will to men
Merry merry Christmas chimes
Merry merry Christmas chimes
Ringing so sweet and so clear
Merry merry Christmas chimes
Merry merry Christmas chimes
Telling of joy and good cheer
The church bells ring their message plain
Upon the clear and frosty air
They voice the hope on Christmas day
That love may conquer everywhere
Merry merry Christmas chimes
Merry merry Christmas chimes
Ringing so sweet and so clear
Merry merry Christmas chimes
Merry merry Christmas chimes
Telling of joy and good cheer
Listen to “Cowboy Santa Claus”:
Lyrics:
We're going to have a sagebrush Santa
He's coming in from Santa Fe
He's a rootin' tootin' rounder
He rides a bronc and not a sleigh
He totes a .44 and a big white hat
And he shoots from where he draws
He's a singin', swingin'
Rawhide slingin', cowboy Santa Claus
Cowbells, cowbells, ringing on the range
Ringing out a melody over the golden plains
Cowbells, cowbells, ringing out because
Everyone is welcoming our cowboy Santa Claus
title card of the film, Sprout Wings and Fly (1983) Sprout Wings and Fly, a short documentary film about the life of old-time fiddler and banjo player, Tommy Jarrell, turns 35 this fall. To celebrate this coral milestone, we’ve gathered related materials found across the Alice Gerrard Collection (#20006) to share with you all.
In August 1977, Alice Gerrard approached Tommy Jarrell about her, Cece Conway, and Les Blank making a film about him. In a letter to Tommy, Alice wrote:
“We would like to make a short film about you and your music…we would like to make the movie with a man named Les Blank who has made 6 or 8 other films about musicians. He would do all the camera work and Cece and you and I would decide what goes in the movie.”
Tommy Jarrell’s response to Alice a month later:
“I have decided I will help you all make the movie if there is no commercial TV. You know how I feel about commercial TV. They will have to set the money bags down to me if they want a commercial TV…I am looking forward to seeing you all soon. Come on down as soon as you can and we will talk a lot, fiddle some, drink a little, have a hell of a good time.”
After securing funding from the National Endowment for the Arts, North Carolina Arts Council, and the English and Folklore Departments at the University of North Carolina at Chapel Hill, the Sprout Wings and Fly production team traveled to Tommy Jarrell’s home in the small unincorporated community of Toast, North Carolina, located just west of Mt. Airy in Surry County.
Like most documentary film projects, the film was a collaborative effort – directed and photographed by Les Blank, produced and co-directed by Alice Gerrard and Cece Conway, edited by Maureen Gosling, and sound by Mike Seeger. And let’s not forget about the contributions of those who appeared in the film: Tommy Jarrell (this one goes without saying); Tommy’s sisters, Julie Lyons, Togie McGee, Edith Hicks; Tommy’s brother, Earlie Jarrell; Tommy children, Wayne Jarrell, Ardena Moncus, and Benny Jarrell; Tommy’s friends and neighbors, including fiddlers, Robert Sykes and Art Wooten; and visiting admirers and musicians, including a brief appearance by Blanton Owen.
The film, which was originally shot and distributed on 16mm motion picture film, premiered in the fall of 1983 at the Chicago International Film Festival. Filmmakers Cece Conway and Les Blank and sound person, Mike Seeger, standing in front of Tommy Jarrell’s home in Toast, NC. Tommy Jarrell, Robert Sykes, Blanton Owen, and others are seen sitting on the porch. From folder PF-20006/80 in the Alice Gerrard Collection (#20006). Filmmaker Les Blank (left) and sound person, Mike Seeger (right), standing in front of Tommy Jarrell and others. From folder PF-20006/80 in the Alice Gerrard Collection (#20006). From left to right: Les Blank, Cece Conway, Mike Seeger, and three unidentified women. From folder PF-20006/80 in the Alice Gerrard Collection (#20006). Filmmaker Alice Gerrard (left) and sound person, Mike Seeger (right), posing with Tommy Jarrell (center). From folder PF-20006/81 in the Alice Gerrard Collection (#20006).
Tommy Jarrell became well known for his music late in life. Before Alice, Cece, Les, and company showed up in 1981 to begin filming (pictured above), musicians and admirers had already been taking advantage of Tommy’s open door policy to observe and learn from Tommy, who was known for his old-time clawhammer style and participating in the Round Peak music tradition of Surry County (more on Tommy and Round Peak music over on NCpedia).
One of the many admirers who reached out to Tommy for lessons included Alice Gerrard, who received this handwritten note from Tommy. Handwritten note from Tommy Jarrell to Alice Gerrard. From the Sprout Wings and Fly scrapbook (SV-20006/1) in the Alice Gerrard Collection (#20006).
As mentioned and exhibited above, the Alice Gerrard Collection (#20006) contains a wide range of materials relating to the pre-production, production, and screening of Sprout Wings and Fly, including photographs, scrapbook clippings and ephemera, and two audio recordings.
Much of the scrapbook materials and both of the audio recordings relate to the film’s November 1984 screening at the Andy Griffith Playhouse in Mt. Airy. As the poster and ticket stub below announce, this was not just your typical film screening. It was also a stage show! Ephemera related to the November 1984 screening of Sprout Wings and Fly in Mt. Airy, N.C. From the Sprout Wings and Fly scrapbook (SV-20006/1) in the Alice Gerrard Collection (#20006).
The two audio cassette recordings (FS-8685 and FS-8686, pictured below) document the stage show portion of the event, which included musical performances by Tommy himself, as well as The Pine Ridge Boys, Art Wooten, Robert Sykes, Bert Dickens (aka Bertie Dickens), Steve Haga (only 9 years old!), Mike Seeger, and Tommy’s sister, Julie Lyons, among others. Audio cassettes FS-8685 (left) and FS-8686 (right) found in the Alice Gerrard Collection (#20006).
Both recordings are streaming in full on the Alice Gerrard Collection #20006 finding aid, thanks to an ongoing grant from the Andrew W. Mellon Foundation. Below is a sampling of some of our favorites performances…enjoy! Julie Lyons, “Wildwood Flower” (FS-8685, side 1, 23:35-24:44)
Mike Seeger: A woman that a lot of you know and that we worked with
in the film, Tommy's sister, Julie Lyons, I believe is going to sing
a song for you. Julie. Excuse me folks she's going to play the harp
[harmonica] for you. Why don't you give her a nice, warm welcome.
[applause]
♪"Wildwood Flower" [instrumental]
Steve Haga, “Shuckin‘ the Corn” (FS-8685, side 2, 22:58-24:55)
Steve Haga: I'm going to play a little [?], "Shuckin' the Corn"
[applause]
♪"Shuckin' the Corn" [instrumental]
Steve Haga: Thank you!
Robert Sykes and the Surry County Boys, “Black-eyed Susie” (FS-8685, side 2, 25:25–28:53)
Alice Gerrard: I'd like to introduce the next band. Robert Sykes has
been a member of this community for a real long time. He used to be a
fiddle player. I have an old picture of Robert when he played with
his brother, playing fiddle and guitar. He quit for a long time and
nobody ever thought he played the fiddle, or at least we didn't know.
He was in the movie, just briefly at the dance, as a dancer. We
didn't know he ever played the fiddle, although Tommy said he used
to play the fiddle. Well a little bit later, he started picking it
up again, and I believe it a lot of the reason he took the fiddle
back up was due to Tommy's encouragement to go ahead and try to get
back into playing again. And he certainly has. He's been going like
a house of fire ever since. And I'd like you to make welcome to
Robert Sykes and the Surry County Boys.
[applause]
Robert Sykes: We're going to try one called "Black-eyed Susie"
♪"Blackeyed Susie" [instrumental]
Robert Sykes: Our next tune is a tune that I made up. I was mowing
the yard one day and a tune kept coming over my mind and I killed
the motor on the lawn mower and went into the house and played it.
I live about a quarter of a mile from Tommy Jarrell and I went up
there and "Tommy, I got a need a tune. I'll play it. If you don't
like it, tell me. And if you do, name it." And I played it for him
and he said, "I'll call that 'Robert Surly[?].'" He didn't say he
didn't like it.
Tommy Jarrell, “June Apple” (FS-8686, side 1, 00:00-04:40)
Tommy Jarrell: Does that sound right? I'm going to try and sing a
little a "June Apple", I don't guess I'll get the job done, but
I'll try it.
♪"June Apple"
Wish I was a june apple
Hanging on a tree
Every time my true love pass
Take a big bite of me.
Can't you hear that banjo sing
I wish that gal was mine
Don't you hear that banjo sing
I wish that gal was mine.
I'm going 'cross the mountain
I'm going in my swing
It's when I get on the other side
I'm going to get my woman sing.
Charlie he's a nice young man
Charlie he's a dandy
Charlie is a nice young man
Feeds the girls on candy.
Goin down to the river to feed my sheep
Going down to the river Charlie
Going down to the river to feed my sheep
Feed them on Barley.
I wish I had a [?]
'Cuz every time it rains and snows
It's sun down on my fire.
Tommy Jarrell: Thank you
[applause]
Tommy Jarrell,“Big Eyed Rabbit” (FS-8686, side 1, 09:50-12:57)
Andy Cahan: we got a request for "Big Eyed Rabbit"
Tommy Jarrell: "Big Eyed Rabbit". Alright, here we go...I don't
believe I can think of it.
♪ "Big Eyed Rabbit"
Yonder comes a rabbit,
Down skipping through the sand
Shoot that rabbit,
He don't mind
Fry him in my pan
Lord I fry him in my pan.
Yonder comes a rabbit,
Just as hard as he can run
It's yonder comes another one
Gonna shoot him with a double barrel gun,
Shoot him with a double barrel gun.
Rocking in a weary land,
I'm rocking in a weary land.
Yonder comes my darling,
It's how do you know?
I know her by her pretty blue eyes
Shining bright like gold,
Shining bright like gold.
[applause]
Tommy Jarrell: I'm sorry about that singing. I just couldn't get up
there. One more?
We invite you to continue exploring materials found in the Alice Gerrard Collection (#20006) related to the production. And if you’re interested in viewing Sprout Wings and Fly over the long holiday weekend (highly recommended, of course!), it is available on DVD via Criterion Collection and as of November 2018, the film is streaming on Kanopy, a streaming service that is available for free to all UNC staff and students.
For your holiday listening pleasure, we pulled the Standard Program Library 16-inch transcription disc pictured above, call number 
