Won’t You Come and Sing for Me? The Music of Hazel Dickens and Alice Gerrard

In preparation for the upcoming event “Won’t You Come and Sing for Me? The Music of Hazel Dickens & Alice Gerrard” here are some thoughts on a recording of a Hazel Dickens & Alice Gerrard  performance in 1973 by guest writer Tatiana Hargreaves. 

Tatiana Hargreaves is a first year graduate student at UNC’s School of Information and Library Science Master of Science in Library Science program. She is a lecturer of bluegrass fiddle in the music department at UNC and performs internationally with banjo player Allison de Groot. She received her BA in ethnomusicology and music performance from Hampshire College in 2017. 

Event Details:

Won’t You Come and Sing for Me? The Music of Hazel Dickens & Alice Gerrard

Thursday, October 14th at 7pm Eastern time. 

This virtual event will feature performances by International Bluegrass Music Association vocalist of the year award winner Dudley Connell, fiddler Tatiana Hargreaves and clawhammer banjo player Allison de Groot. Following their performances, the musicians will participate in a panel discussion moderated by Laurie Lewis and Gerrard with record producer Peter Siegel. This event is the first in the Southern Folklife Collection’s two-part Folk Legacy Series celebrating great legacies in American vernacular music: bluegrass pioneers Hazel Dickens and Alice Gerrard and legendary blues musician John Lee Hooker. The virtual events are free and open to the public. The series is sponsored through generous support from the Martin Guitar Charitable Foundation. The second event, Boom Boom! The Music of John Lee Hooker, will take place November 4, 2021.

Sign up for the event here: http://go.unc.edu/HazelandAlice

AG 453: Alice and Hazel, recorded on 24 September 1973, in concert at Washington Square Church in N.Y.C. 

Hazel Dickens and Alice Gerrard, often described as “pioneering women of bluegrass,” are two of the most iconic and visible women in the bluegrass music community. Their first album released in 1965 is considered the first women duet-led bluegrass recording and as a duo they recorded three more albums and toured extensively throughout the 1960s and 1970s. They performed at festivals such as the Newport Folk Festival, Smithsonian Folk Festival and Bill Monroe’s Bean Blossom Festival and regularly participated in the Southern Folk Cultural Revival Project where they toured with artists such as Elizabeth Cotten, Dock Boggs, Ola Belle Reed, Johnny Shines, and many others. In 2017 they were the first women to be inducted into the International Bluegrass Music Association Hall of Fame. But even with musicians as visible as Hazel and Alice, there are so many details that go unnoticed. 

Hazel Dickens, second from right, at the Brandywine Mountain Music Convention, Summer 1974. Photo by Alice Gerrard. Alice Gerrard Collection (#20006)

The standard Hazel and Alice narrative focuses on their powerful harmony singing and repertoire choice. What isn’t recognized as much is their instrumental performances, attention to detail in song arrangements and overall artistry. On their professional recordings, you hear a selected and curated outcome of both traditional and original material, mostly in the context of a full band. Their last album has some more stripped down duo arrangements, but listening to this live performance of Hazel and Alice from 1973 shows another side of the duo. This concert recording of just the two of them demonstrates the versatility of their musicianship. Throughout the performance, you can hear Gerrard playing lead guitar, lead banjo, and lead autoharp in addition to both Alice and Hazel being featured as solo vocalists. 

Hearing their stage banter and tuning on stage also gives a more intimate perspective on the duo. Sometimes you can hear Dickens say “too fast” at the beginning of a song as they adjust their speed during the performance. Other times you can hear the two of them moving around, deciding where to stand and how close to the mic to get. Other times, you can even hear them reminding each other how a tune starts or what the next verse of a song is. Dickens does most of the talking as she shares stories about her family, touring anecdotes and the backgrounds of the songs. Meanwhile, Gerrard tunes the various instruments that she plays and adds in commentary, only introducing a few of the songs such as her banjo feature “Fortune.”

Hazel Dickens and Alice Gerrard, 1975. From the Mike Seeger collection (#20009)

While Gerrard tunes the banjo in between the songs “Train on the Island” and “Steals of the White Man,” Dickens talks about changing their song choices when they started doing the Southern Folk Festival (https://finding-aids.lib.unc.edu/20004/). She adds, “I don’t want to say ‘repertoire’, that’s too uptown” and laughs. The tours couldn’t afford to pay for the full band, so they rearranged their material as a duo and added new repertoire (I know, too uptown). You can hear some of the practicing recordings of Hazel and Alice working on these arrangements on the 2018 release ‘Hazel Dickens & Alice Gerrard – Sing Me Back Home: The DC Tapes, 1965-1969’s. 

Some of the stage banter is humorous, such as Dickens’ story about her father who used to play banjo. She talks about how he would play square dances, barn raisings, apple butter makings, and many other events but stopped once he “got religion.” When Dickens and her brother encouraged their father to play the banjo again by getting him a new instrument, she says, “he got up in the middle of the night one night and destroyed it.” 

Dickens and Gerrard also include anecdotes about their song choices. For example, before singing “Steals of a White Man,” Dickens talks about the influence of the Southern Folk Festival tours (https://finding-aids.lib.unc.edu/20004/) on her conception of class. She jokes, “I never even knew that I belonged to the working class [before these tours]. I didn’t even know I had a class.” Although she’d been singing working class songs her whole life, she just didn’t know that they were called that. Later, when Dickens announces “Mining Camp Blues,” she talks about Trixie Smith being the only Black woman singer she knew of who wrote a song about mining. On the second tape, Gerrard introduces her song “Hey, Mr. Nixon” by saying “I wrote it after I saw the Indo-China peace campaign with Jane Fonda.” She also adds that she has only  performed it once before and needs a lyric sheet, which you then hear her try to pin up on the mic stand. 

One of my favorite moments from the performance is when Gerrard plays the tune “Fortune” on banjo. She announces the tune with, “This is my favorite fiddle tune”, to which Dickens replies, “that doesn’t look much like a fiddle to me, Alice.” Alice admits, “I wish I could play it on the fiddle, but I can’t play it on the fiddle so I decided to try and learn it on the banjo.” Gerrard is in fact a fiddle player, and you can hear some of her playing throughout her collection. (Check out this footage of Alice playing fiddle with Bertie Dickens playing banjo https://dc.lib.unc.edu/cdm/singleitem/collection/sfc/id/56594/rec/1

Alice Gerrard with banjo. 16th Southern Grassroots Music Tour, 1980-81. Southern Folk Cultural Revival Project Collection (#20004)

These spontaneous moments of Alice and Hazel in concert reveal a nuanced version of themselves that gets lost in the “pioneering women of bluegrass” narrative. Having never seen Hazel and Alice perform as a duo, I found that the talking, tuning and spaces in between each song offered a more complete perspective of the duo than I had heard before. I look forward to joining Alice Gerrard, Laurie Lewis, Dudley Connell,  Allison de Groot and Peter Siegel in conversation about the music of Hazel and Alice on October 14th at 7pm. You can sign up for the event here: https://lnkd.in/dzmhHcZf

 

 

 

 

ICYMI – When I’m Gone: Remembering Elizabeth Cotten

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/).

When I’m Gone: Remembering Folk Icon Elizabeth Cotten

 

The Southern Folklife Collection and the University Libraries at the University of North Carolina at Chapel Hill are happy to invite you to an evening of stories and music celebrating the life of legendary North Carolina musician Elizabeth “Libba” Cotten.  Please join us Thursday, November 12 at 7pm.  Register for this free, live event here: go.unc.edu/ElizabethCotten

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.

Many thanks to a generous grant from the Martin Guitar Charitable Foundation for making this event possible.

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.

You Gave Me A Song

Hazel Dickens and Alice Gerrard, 1975
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.

Reel South -You Gave Me A Song

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:

Alice Gerrard Collection:
Southern Folk Cultural Revival Project Collection:
Hazel Dickens Collection:

Old Time Herald Collection:
https://finding-aids.lib.unc.edu/20067/

 

1975 American Traditional Old-time Music Festival

cover of festival brochure, with illustration of a scarecrow holding a banjosecond page of festival brochure, describing the scope and intent of the festivalThe American Traditional Old-time Music Festival was a touring festival of old-time musicians directed by Mike Seeger in 1975-76. This brochure, Folder 2877 in the D.K. Wilgus Papers (20003), is from the April 17, 1975 stop at UCLA. Song and interview recordings from throughout the tour can be found in the Mike Seeger Collection (20009), most of which are digitized: FS-20009/9655-9662,9688-9696. Here is one to get you started: Dennis McGee and Sady Courville, April 20, 1975 (FS-20009/9693).
third and fourth pages of festival brochure, providing brief biographies for the artists to appearthe last two pages of the festival brochure, detailing other bicentennial events at UCLA; acknowledgments

Cousin Emmy: Looking for a Name

CD Cover, Carolina Chocolate Drops seated with instruments, sepia-toned to appear oldLast year, while writing a final research paper on the Carolina Chocolate Drops’ wonderful 2012 album, Leaving Eden, I encountered the music of the late hillbilly performer Cousin Emmy. The Carolina Chocolate Drops had covered her single “Ruby” for the album, notably adding a beat boxer for their arrangement. I loved the song, and the difficulty of finding anything beyond variations on the same basic biography of Emmy was intriguing. Besides wondering how her actual childhood and life compared to the brief anecdotes I found mentioned constantly, I came upon a more simple question: what was her real name?
In theory, the answer was as simple as the question: several credible sources mentioned Cynthia May Carver as Cousin Emmy’s real name. However, the 1946 Decca single that featured “Ruby” credited the songwriter as one “Joy May Creasy.” When the Osborne Brothers had their first hit on MGM Records in 1956 with their rendition of “Ruby Are You Mad,” the song was simply credited to Cousin Emmy, suggesting that Joy May Creasy and Cousin Emmy were one and the same. This seemed to be further confirmed by an oft-cited 1943 Time magazine profile that claims Cousin Emmy was christened Joy May Creasy outside Lamb, Kentucky. After searching pictures of gravestones, countless liner note mentions, copyright renewals, and census records, I had found many more instances of both names, including some minor variations (Mae instead of May, Jo rather than Joy, etc.). I felt that I could safely conclude that both these names held some truth, and the variation in reporting was probably due to a failed (and unmentioned) marriage, the use of pet names, and/or some other unknown factor.
Record label, Cousin Emmy's song "Ruby," Decca Records; LP Cover, Osborne Brothers sitting with instruments, stylized writing of Ruby
This summer, I was fortunate to begin working here in the Southern Folklife Collection, where I have been exposed to a wealth of information on early hillbilly performers like Cousin Emmy. As I pulled items for researcher questions and digitization, I began to revisit Cousin Emmy and to try to add some more context to her story. I settled on a simple goal: find a resource that mentioned both Joy May Creasy and Cynthia May Carver, or at least something that explained the difference.
In the SFC Song Folio Collection (30006), I found Chimney Corner Songs, FL-0137, which offered an interesting biography of Cousin Emmy and her fellow performers. Although it did not specifically mention her real name or a marriage, it led me to two different, illustrative sources in the Special Collections and Archives at Berea College. First, I searched a similar songbook collection and found a songbook that includes a biography for Johnny Creasy, the announcer on Cousin Emmy’s show, that also mentions his attraction to Cousin Emmy. Chimney Corner Songs was published and largely credited to John Lair, whose papers and correspondence are held at Berea. In that correspondence is a 1941 letter from Cousin Emmy, in which she champions herself and her husband, an announcer: “My husband is a very good announcer. We both work nice together.”
Song folio cover, drawing of fireplace and photos of Cousin Emmy and Frankie MooreBlack and white photograph of cousin emmy
So, Cousin Emmy was born Cynthia May Carver outside Lamb, Kentucky. At least at some point, she also went by Joy. She was married to a Johnny Creasy (whose first name might have been Alfred) for some time, despite many claims, including in the Time article, that she had never married.
Of course, I also found a scribbled note card in the SFC Artist Name File (30005) for Cousin Emmy, NF-538, that states “Cousin Emmy was married to Joe Fred White before she was in radio (He’s in Florida).” In the Entertainment Industry Magazine Archive, an online database, I found a small blurb in a 1949 issue of Variety magazine:
“St. L.’s ‘Cousin Emmy’ Divorced
St. Louis, June 14
Elmer Schaller, farmer living at Lenzburg, Ill., near here, last week won an uncontested divorce from his wife, who has been the “Cousin Emmy” of KMOX’s early a.m. hillbilly program. Couple was married April, 1945, and separated March, 1948. Mrs. Schaller has been a radio entertainer for seven years.”
handwritten notes on Cousin Emmy
Cousin Emmy’s on-stage persona and biographical information were constantly being tailored to her audience, from hillbilly music on the radio to the folk revival with Alan Lomax in the 1940s and the New Lost City Ramblers in the 1960s. Separating all the details of her life from the stories spinning all around her would surely be an impossible task, but I plan on putting on “Ruby” and digging around a little more.two posters, one featuring Cousin Emmy and other performers, the other is the Cousin Emmy Show

Doc Watson, Live At Club 47 Out February 9, 2018

Doc Watson, Live At Club 47 (YepRoc, Southern Folklife Collection, 2018)Doc Watson, Live At Club 47 Out February 9, 2018

Yep Roc Records and UNC Libraries’ Southern Folklife Collection Release Never-Before-Heard Live Album Recorded At Club 47 (Club Passim) February 10, 1963
Pre-order Doc Watson, Live At Club 47 HERE!
Yep Roc Records and the Southern Folklife Collection at the University of North Carolina at Chapel Hill Libraries announce the release of Doc Watson, Live at Club 47, set for a February 9 release on CD and digital, nearly 55 years to the date of the original recording. The LP release will follow April 27. The album is now available for pre-order.
Recorded live February 10, 1963 at Club 47 in Cambridge, MA, today known as Club Passim, this never-before-heard album features four previously unreleased songs from Doc’s early repertoire, in addition to performances of Doc’s favorite songs of the Carter Family, Frank Hutchison, Charlie Poole, and Merle Travis. Doc is accompanied by John Herald and Ralph Rinzler of The Greenbrier Boys on five of the album’s tracks. Here is the schedule from Club 47 as printed in The Broadside of Boston, volume 1, no. 24, Feb. 8, 1963 from the Southern Folklife Collection Serials (30017)Schedule for Club 47, Boston, from p.6, The Broadside, vol. 1, no. 24, February 8, 1963
In celebration of the release, Club Passim, the UNC Libraries’ Southern Folklife Collection and Yep Roc Records present an evening with songwriter, multi-instrumentalist, and IBMA guitarist of the year Molly Tuttle February 13. Tickets are on sale and available here.
“This recording documents a pivotal moment in virtuoso Doc Watson’s early solo career,” notes Steven Weiss, director of the Southern Folklife Collection. “This is Doc, paying his dues and playing his heart out, performing two sets of classic, old-time country songs he learned as a child from his family and from old 78 RPM records.”
Friends of Old Time Music flier, Doc Watson, 20001_pf1912_01_0001_Mike Seeger Collection (20009) Southern Folklife Collection, UNC Chapel Hill
Friends of Old Time Music flier, 20001_pf1912_01_0001 in the Mike Seeger Collection (20009) Southern Folklife Collection, UNC Chapel Hill

Following the success of the Club 47 show, Doc was booked at the 1963 Newport Folk Festival and released his debut solo album on Vanguard Records in 1964. He went on to become America’s premier folk guitarist earning seven Grammy Awards, a Lifetime Achievement Award from the National Academy of Recording Arts & Sciences, and in 1997 was presented with the National Medal of Arts at the White House by then-President Bill Clinton, who introduced him saying, “There may not be a serious, committed baby boomer alive who didn’t spend at least some of his or her youth trying to learn to pick guitar like Doc Watson.”
Doc Watson, Live at Club 47 Track listing:

  1. Wabash Cannonball – A.P. Carter
  2. The House Carpenter — Traditional
  3.  I Wish I Was Single Again** – Traditional
  4. Little Darling Pal of Mine – A.P. Carter
  5. Train That Carried My Girl from Town – Doc Watson
  6. The Worried Blues –Traditional
  7. Old Dan Tucker** – Traditional
  8. Sweet Heaven When I Die – Claude Grant
  9. The Talking Blues – Chris Bouchillon
  10. Little Margaret**  — Traditional
  11. Sitting on Top of the World – Lonnie Carter and Walter Jacobs
  12. Don’t Let Your Deal Go Down – Doc Watson
  13. Blue Smoke – Merle Travis
  14. Deep River Blues – Doc Watson
  15. Way Down Town (w/ Ralph Rinzler and John Herald) – Doc Watson
  16. Somebody Touched Me (w/ Ralph Rinzler and John Herald) – Doc Watson
  17. Billy in the Low Ground (w/ John Herald) – Traditional
  18. Boil Them Cabbage Down – Traditional
  19. Everyday Dirt – David McCarn
  20. I Am a Pilgrim – Merle Travis
  21. No Telephone in Heaven – A.P. Carter
  22. Hop High Ladies the Cake’s All Dough** –Traditional
  23. Little Sadie – Doc Watson
  24. Black Mountain Rag (w/ John Herald) – Doc Watson
  25. Blackberry Rag (w/ John Herald) – Doc Watson
  26. Days of My Childhood Plays – Alfred G. Karnes

John Herald (guitar and harmony vocals). Tracks 15, 16 (second guitar) 17, 24, 25.
Ralph Rinzler (mandolin and harmony vocals). Tracks 15, 16.
**previously unreleased tracks.
Pre-order Doc Watson, Live At Club 47 HERE!

SFC Hits 20,000 Streaming Recordings!

 

One of our first batches being prepped for shipment in February 2016

With the more recent addition of video content and the increase in production in our audio studios since starting our Andrew W. Mellon Foundation grant in August 2015, there’s a lot to explore online. Since it might be overwhelming to know where to start, I thought I’d share my top 5 countdown of memorable moments from watching and listening over the last couple of months.
5. The time Dr. William R. Ferris panned across the Mississippi and framed the New Orleans skyline, from the vantage point of what is now the Crescent City Park in the Bywater (one of my favorite places in N.O!), while documenting his trip on the Delta Queen in 1987 (VT-20367/24).
Starts around the 33 minute mark

Delta Queen, 17-24 April 1987: tape 1 of 4
Dr. William R. Ferris Collection, 20367
Video8

4. Finding this disc in the stacks during a conservation survey and spending many weeks curious about its contents before finally having it digitized. I’d be very curious if anyone knows the whereabouts of this band. (FD-20245/836)
Chicken Way’s “Classy Lady ”
Goldband Recording Corporation Collection, 20245
Instantaneous disc

3. When James “Son” Thomas performed with George Thorogood and Ron Smith, and the video switcher employed some creative video effects (VT-20466/3)

James “”Son Ford”” Thomas with George Thorogood and Ron Smith, 1978
Robert D. Bethke Collection, 20466
U-Matic
2. This SFC department favorite featuring Hazel Dickens, Alice Gerrard, Mike Seeger, Tracey Schwartz and a beautiful sunny backdrop (VT-20006/2). Bonus music videos by unidentified bands at the end!

Woman Alive: Hazel Dickens and Alice Gerrard with Mike Seeger and Tracey Schwartz, November 1975
Alice Gerrard Collection, 20006
VHS dub from unknown format
LAST, BUT NOT LEAST….
1. When a nightmarish Barney joined a Mt. Airy dance contest (VT-20009/272). The beloved dinosaur from our imagination appears around 5:20 minute mark

Mt Airy Fiddlers convention, dance contest Rufus Kasey, Molln part 2, 1997
Mike Seeger Collection, 20009
Video8
Happy Field Tripping!

From the desk of Dock Boggs


Looking into correspondence in folder 220 from the Mike Seeger Collection (20009) today provided some fascinating reading from the desk of Dock Boggs. The letters offer numerous details into Boggs’ late recording and performing career.
I also noticed what appears to be a draft of Dock Boggs’ bio written in pencil on the back of multiple fliers advertising performances at the legendary Melrose Ave. music club, the Ash Grove. Looks like May, 1963 was a pretty awesome time to be hanging out in LA.20009_Mike Seeger Collection_Folder220_Dock Boggs notes
 
 

Dr. Ralph Stanley, 1927-2016

pf-20009_121_Stanley Brothers_Mike Seeger Collection_Southern Folklife Collection_UNC
Today we are mourning the loss of another one of the greats, Dr. Ralph Stanley. There are a number of excellent obituaries and remembrances of Stanley across the news today and we would encourage you to read about Stanley’s remarkable life and career. Considering the mark he left on the world of traditional music and popular culture, It is no surprise that Stanley is such a prominent figure in the Southern Folklife Collection and we wanted to share a few of those items with you today in tribute. The photos above are from the Mike Seeger Collection (20009), featuring the Carters and the Clinch Mountain Boys at Valley View country music park in Hellam, PA in 1956. Another favorite from the Seeger Collection features the Carters with Roscoe Holcomb on tour in Bremen, Germany in 1966. pf-20009_122_02_r_Mike Seeger Collection_Southern Folklife Collection_UNC
I couldn’t help but pull out some of the Rich-R-Tone 78 rpm discs from the SFC sound recordings. Recorded in 1947, these Stanley Brothers recordings, their first commercial recordings as a group, remain some of my favorite bluegrass of all time. Listen to “The Jealous Lover,” from 78-16252, and the classic “Little Maggie,” from 78-16253, here:78_16252_Jealous Lover_Stanley Brothers with the Clinch Mountain Boys_Southern Folklife Collection_UNC78_16253_little maggie_Stanley Brothers with the Clinch Mountain Boys_Southern Folklife Collection_UNCStanley Brothers with the Clinch Mountain Boys_Southern Folklife Collection_UNC
18_16252_78_16253_Stanley Brothers_Rich_R_Tone_Southern Folklife Collection_UNCYou can listen to live performances throughout Stanley’s career, from country music parks, to radio performances, clubs like the Ash Grove, college tours, and more from recordings i in the Mike Seeger Collection (20009) and the Eugene Earle Collection (20376) in particular, but there are numerous recordings across the SFC collections. If you would like to hear more, please contact or visit us at the SFC. We were very lucky to welcome Ralph Stanley to The Wilson Library in 2006 for an extra special conversation and concert. Sitting 10 feet away from a legend in a special collections reading room as he sings acapella is something that we will never forget. Rest in peace, Ralph, I’m sure you and Carter’s harmonies sound even sweeter now.
20001_pf1548_pf1545_Ralph Stanley_Southern Folklife Collection_UNC

Ralph Stanley and His Clinch Mountain Boys, P1545 and P1548, in the John Edwards Memorial Foundation Records (20001), southern folklife Collection, UNC Chapel HIll