Holiday In the Stacks: The Prairie Ramblers 16 inch transcription disc edition

Standard Library Transcription disc label, red, blue and white, song titles.

Cover of Prairie Ramblers songbook. Image of group in red.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

Inside cover of Prairie Ramblers songbook. Image collage of group with text.

Centerfold of Prairie Ramblers songbook. Image collage of group with text.

Holiday in the Stacks: Country Music Collage

A selection of LP covers for holiday records produced by country music stars, Loretta Lynn, George Strait, Charley Pride, The Judds, Alabama, Kitty Wells, Willie Nelson, Kenny and Dolly, and the Oak Ridge Boys

Nashville really likes holiday records it seems. The collage above is just a few from the Southern Folklife Collection LPs.  We’ve got a few more treats to share over the next few days, but for now, a bit of “A Christmas To Remember” from FC-15906, Kenny Roger and Dolly Parton’s classic Once Upon a Christmas released on RCA in 1984. If you can determine what is happening in the top left image below, please let us know.

Snapshots of Kenny Rogers and Dolly Parton enjoying the holidays, from the liner notes to 1984 albumKenny Rogers and Dolly Parton dressed up sort of like Mr and Mrs. Santa Claus sitting in a room decorated for Christmas holidays

Student Television Collection

Over the past two months, we have been processing and arranging the University Archives Student Television at the University of North Carolina at Chapel Hill collection (#40326) as part of the next phase of our generous grant from the Andrew W. Mellon Foundation.

Photo collage of a U-matic case and tape for "Off the Cuff #19: A Holiday Extravaganza!" One has a drawing of a Christmas tree on the label; the other a drawing of Santa.

U-matic case for “Off the Cuff #19: A Holiday Extravaganza!” featuring drawings on the labels (VT-40326/466).

This collection of video recordings features original, student-produced shows, along with recordings of events and speeches around campus made by UNC Student Television between the years 1983-2010. There are more than 1,600 recordings in the collection on U-matic, VHS, and mini-DV analog formats. A few shows are still running today including General College and Late Night STV. UNC Student Television is a completely student-run television station for the University of North Carolina at Chapel Hill. Founded in 1983, it is now one of the largest media organizations on campus.

The finding aid for this collection will be available soon, but until then we thought we’d give you some highlights.

Off the Cuff is a long running sketch comedy show, and the STV collection features around 200 items with related Off the Cuff content. Pictured above and below is a sample of U-matic and VHS tapes found in the collection, all featuring Off the Cuff shows and segments.

Photo collage of U-matic case with sticker that reads "Off the Cuff" on the front, "sometimes comedy" on one edge, and "isn't pretty" on the other edge

U-matic case for “The 75th Off the Cuff Special: 7 years of STV comedy” (VT-40326/167)

Photo collage of VHS case for "Off the Cuff #150: Behind the Music Part 1" Label has a drawing of a monkey on it.

VHS case for “Off the Cuff #150: Behind the Music Part 1” (VT-40326/1478).

General College is another long running show featured in the collection. STV describes it as a “surreal melodrama with comedic elements,” and episodes are sequential by season. Below is a short clip of the General College intro from episode #14 produced in the fall of 1988 (VT-40326/104).

Greetings from the New Arrivals

Andrew Crook filing through tapes in the stacksHello there! My name is Andrew Crook and I’ve been an audiovisual archives assistant with the Southern Folklife Collection since mid-September. Prior to arriving at UNC, I worked as a photo archivist at the Savannah College of Art and Design in Savannah, GA and I am a 2015 graduate of the library science and information science program at the University of Illinois at Urbana-Champaign (where I got my first taste of audiovisual preservation as a graduate assistant in the university’s library system). I am one of the three new hires working under a generous grant from the Andrew W. Mellon Foundation to help expand the scope of the digitization work undertaken at Wilson Special Collections Library over the next several years. With that in mind, I’d like to use this post as an opportunity to introduce all of us and talk a bit about what we get to do on a day-to-day basis.Mel Meents reviewing videotapes from the Student Television CollectionMel Meents is also working under this grant as an audiovisual archives assistant. Mel is a 2017 graduate of the library and information science program at the University of Illinois and prior to starting at UNC, was employed at the Nashville Metro Archives Audiovisual Conservation Center in Nashville, TN working as a project archivist and digitization technician.

On the ground level, we are both responsible for managing the files produced during our regular digitization projects and preparing them for long-term digital storage. This ongoing process requires us to carry out a number of tasks: including inspecting and editing metadata to ensure that the digital files produced by our engineers are directly tied to their original items, packaging preservation masters with supporting documentation in preparation for long-term storage, producing high quality derivatives of master files for user access and connecting streaming files to the finding aid entries associated with the original items. We have been working on the grant for almost three months and, to date, we have already posted and packaged digital files for around 1300 items: including standout selections from the Archie Green Papers (20002), William R. Ferris Collection (20367) and Apollo Records Collection (20539) and fascinating tapes from the Bushyhead Family Collection (05773). We are also on call to help out with a number of activities to ensure that our rare and unique materials are ready for immediate playback by our audio engineers: including varying degrees of mold remediation and item cleaning.Film cans from the Florentine Films Collection in the stacks at Wilson LibraryAlongside our daily duties, we have undertaken a number of independent projects. For instance, Mel has singlehandedly processed and arranged a large number of items from the Student Television Collection: a collection spanning 25 years worth of student-generated media productions across over 1600 tapes (Mel will be writing in greater detail about this project in the near future, so stay tuned!). I have been barcoding and organizing hundreds of reels in our film collection—including over 700 raw film elements from the Florentine Films collection that were used in the production of Ken Burns’ Baseball documentary—to prepare them for eventual relocation to our off-site cold storage facility. These projects have served to ensure greater access and longevity to the unique materials that are housed in Wilson Library.Dan Hockstein preparing to transfer a tapeAudio engineer Dan Hockstein is another new member of the Mellon Project Team. Dan comes to us from Philadelphia, PA, where he spent time as a QC engineer with George Blood Audio after earning a degree in audio post production and sound design from Emerson College.

Dan is performing parallel transfers—digitizing up to 12 cassettes at a time—to prepare preservation masters derived from the thousands of cassette tapes in the collections. Over the past two months Dan has digitized a large number of items, with highlights from the Bruce Bastin Collection (20428), Jas Obrecht Collection (20512) and Greenhill Family/FLi Artists/Folklore Productions Collection (20542), constituting much of the nearly 600 items that he has transferred to date. Dan actively troubleshoots any potential issues associated with certain objects before playback: a task that sometimes requires him to re-house cassettes or bake the tapes themselves in order to guarantee smooth playback. Dan has also begun working with audio engineer Brian Paulson to develop an automated method to streamline the audio department’s pre-existing metadata workflow.

Our group has definitely hit the ground running and we’re looking forward to helping expand access to the materials held by Wilson library, not to mention those held by our new partners, in the new year!

First Impressions: CMH Records

First Impressions banner featuring Country Music Heritage logo

First Impressions” is an ongoing series on the “first records” of several independent record labels releasing folk, blues, bluegrass, country, and other vernacular musics. Drawing from records and other materials in the Southern Folklife Collection, the focus of this virtual exhibition is on the albums that started it all for these labels in the LP era.


THE ALBUM

LP album cover, features Don Reno holding banjo, Bill Harrell holding guitar, both wearing suits and sunglasses

Don Reno & Bill Harrell & The Tennessee Cut-Ups, Dear Old Dixie | FC-17121

center label from Country Music Heritage first record, wood grain background with silver textIn 1975, country music industry veterans Martin Haerle and Arthur Smith started CMH Records, and Don Reno, Bill Harrell, and the Tennessee Cut-Ups were a perfect fit for the label’s first release. Haerle had many connections from his experience at Starday Records and in the radio business, and Don Reno had performed with Arthur Smith on several occasions. Don Reno, Bill Harrell, and their band were, by 1975, long-established bluegrass musicians. Performing with Bill Monroe’s Blue Grass Boys and, most famously, Red Smiley, Don Reno was a member of the first generation of bluegrass musicians that established the sound of the genre in the 1940s and 50s. Bill Harrell, too, was one of bluegrass’ most popular musicians, most successfully recording and performing with his band the Virginians. CMH, short for Country Music Heritage, aimed to give a home to these prominent, if aging, artists, many of whom had been dropped from the rosters at major labels. Don Reno and Bill Harrell had been performing together for over 10 years by the time they recorded Dear Old Dixie at Arthur Smith Studios in Charlotte, North Carolina. The album features mostly original and arranged tunes by the pair, and Arthur Smith even steps in to join Don Reno on guitar on  “B.G. Chase,” an instrumental he co-wrote with Reno.

Listen to a segment of “B.G. Chase,” from Side 2 of Dear Old Dixie, here:

And here’s “Make Believe (You Didn’t Set Me Free),” also from Side 2:


The label

CMH Records advertisement, album covers and descriptions

An early CMH Records advertisement shows the prominent names in bluegrass already recording for the label. Folder 211 in the SFC Discographical Files (30014).

Country Music Heritage (CMH) Records was founded in 1975 by Martin Haerle, a former vice president of Starday Records, and Arthur “Guitar Boogie” Smith, famed performer, TV host, and composer of “Guitar Boogie” and “Fuedin’ Banjos.” Their vision of the label was to release contemporary country music recordings, with a particular focus on bluegrass music. From the beginning, CMH signed long-established musicians, from the Osborne Brothers, Mac Wiseman, and Lester Flatt to the Stonemans, Benny Martin, and Joe Maphis. Most of these early releases, like Dear Old Dixie, were produced and recorded at Arthur Smith Studios in Charlotte, North Carolina. Soon after the launch of the initial album series (starting with Dear Old Dixie, CMH-6201), CMH began releasing their popular “Bluegrass Classics” double LP series (starting with CMH-9001). These two primary series, featuring modern recordings of bluegrass and country greats, carried the label into the late 1980s. In 1990, after the death of Martin Haerle, his son David Haerle took over operations of CMH. The younger Haerle started the “Pickin’ On” series in the 1990s, which offered bluegrass cover albums of classic and popular songs, from Pickin’ on the Beatles (1999) to Pickin’ on Nirvana (2017). In this same spirit, CMH is now home to other labels offering interpretations of classic music: Vitamin Records, an outlet for the Vitamin String Quartet, releases instrumental interpretations of popular artists from Radiohead to Kanye West, and Rockabye Baby! releases lullaby versions of popular rock songs.


The Artists

Bill Harrell with guitar on stage, promotional photo

Promotional photo of Bill Harrell, Folder 236 in the Art Menius Papers (20406).

Born in South Carolina, Don Reno was raised in Haywood County, North Carolina, where he first picked up a banjo at the age of five. After a decade or two in the country music business, Don Reno achieved lasting fame through his partnership with Red Smiley as Reno & Smiley. Bill Harrell, another successful bluegrass musician, had been touring and recording with his band the Virginians. Reno and Harrell first started performing together in 1964, after Red Smiley retired from music performance. Backed by the Tennessee Cut-Ups, Don Reno could usually be heard playing the 5-string banjo while Bill Harrell joined him on the guitar and sang lead. When Red Smiley returned from retirement in 1969, he performed with Reno and Harrell until his death in 1972. After parting ways in 1977, Reno and Harrell continued to tour and record with their respective bands for the rest of their lives.

Here is a brief segment of an interview between Alice Gerrard and Bill Monroe, from the Alice Gerrard Collection (20006), in which Bill Monroe discusses Don Reno’s impromptu “tryout” for the Blue Grass Boys:

Alice Gerrard: How'd you happen to meet Don?
Bill Monroe: Don Reno?
AG: Yeah.
BM: Oh, uh, I guess he'd heard that, you know, that Earl [Scruggs] had 
quit, and he was going to be the next banjo player, you know, whether 
or not.
AG: Yeah. [Laughter]
BM: He got into Nashville and we'd done gone, we'd left on Saturday 
night, and he -
AG: Oh no...
BM: He followed us right on back into Taylorsville, North Carolina, 
and -
AG: Persistent, anyway...
BM: And Earl was working his two weeks down there, and he [Don Reno] 
came right down through the audience with his banjo, take the banjo out,
walked right out on the stage where we were.
AG: Oh, that's great, that's really great. And did he just -
BM: Nobody didn't ask him to come out or nothing.
AG: [Laughter] Did it tickle you at the time or were you kinda mad?
BM: No, it came as a surprise, and tickled us, too. But Earl would take 
a break while Don would get up and play.
AG: Oh no! That's a riot, Bill...
BM: I tell that on Don now, but you know, that kinda gets away from him, 
but that's really the truth.
AG: That's really funny... How old was he then? Do you have any idea?
BM: Uh, I don't know - he's a little older than Earl, or a little 
younger, I believe, isn't he?
AG: I guess he's probably a little bit younger. Was he pretty young, 
though, when he came? Well, he must have been, to have that much nerve! 
I tell you, only a young kid would have -
BM: He wanted that job, though, he knew what it would mean to him.

Listen to the full interview, on FS-20006/8640, here. Streaming access to this recording were made possible through the SFC’s ongoing audiovisual preservation grant from the Andrew W. Mellon Foundation.


The local connection

Arthur Smith was born in South Carolina, where he also began his musical career, but he achieved most of his success in Charlotte, North Carolina. After moving to Charlotte in 1943 to appear on WBT radio’s Carolina Calling, and was also featured on the later TV iteration of the show. Arthur Smith’s own The Arthur Smith Show was the first nationally syndicated country music television show, and ran for 32 years. When Smith’s 1955 recording “Fuedin’ Banjos,” which he had recorded with Don Reno, was reinterpreted without credit as “Dueling Banjos” in the 1972 film Deliverance, he successfully sued Warner Bros. for a substantial settlement and a songwriting credit. In 1957, Smith established Arthur Smith Studios in Charlotte, the location of many seminal recordings and prominent radio shows, as well as much of the CMH Records catalog of releases.

In a recording studio, seated in front of microphones, Arthur Smith, late middle aged, wearing headphones, in a red short sleeve shirt and purple boots holds a guitar, Don Reno, wearing headphones and classes, with blue longsleeve shirt, blue pants, and cowboy boots, playing a banjo

Don Reno and Arthur Smith (in the purple boots) in the studio recording “Feudin’ Again” on Nov. 17, 1978. From Roll Film Box P081/120C-2 in the Hugh Morton Photographs and Films (P0081) in the North Carolina Collection Photographic Archives. Search the Hugh Morton Collection here.


Show me more!

There is plenty of more information related to Don Reno, Bill Harrell, Arthur Smith, and CMH Records in the Southern Folklife Collection, as well as an extensive portion of the CMH catalog on LP, CD, and cassette. Check out a few other documents of interest below or search the collection yourself.

Song folio cover, features two red stars, with the faces of Don Reno and Red Smiley on each star

Don Reno & Red Smiley and the Tennessee Cut-Ups, Song and Picture Folio No. 4. Song Folio FL-184 in the Southern Folklife Collection Song Folios (30006).

Cover of a CMH Records newsletter called Midnight Flyer, featuring an illustration of a train

Midnight Flyer, no. 1 (1980). Several of these newsletters can be found in Folder 211, SFC Discographical Files (30014).

Cover of a song folio, featuring Don Reno and Red Smiley dressed as Union and Confederate soldiers leaning against a tree with their guns

Don Reno & Red Smiley: Song and Picture Folio No. 2. Song Folio FL-185 in the Southern Folklife Collection Song Folios (30006).

 

Preservation Update – new hires and online recordings

Our efforts to expand and improve on audiovisual preservation continue here in Wilson Library, with the recent hiring of our third Audio Engineer, Dan Hockstein, and two Audiovisual Archives Assistants, Mel Meents and Andrew Crook. These positions have been funded by the Andrew W. Mellon Foundation as part of our Extending the Reach of Southern Audiovisual Sources: Expansion grant. This phase of the project scales the digitization and preservation work we’ve done for the SFC to all of Wilson Special Collections AV.

Andrew, Mel and I have recently moved into a new space in Wilson Library’s Digital Production Center, and we now have an official AV Lab to call our own in addition to the Ben Jones and John M. Rivers Jr. audio studios. Mel and Andrew have stayed busy working across collections in the building, producing item-level descriptions for videotapes in the University Archives’ Student Television at the University of North Carolina at Chapel Hill collection (#40326), prepping films for cool storage from the Florentine Films Archives (#20193), and managing monthly pre and post-digitization tasks.

a vertical rack of audio equipment sits next to a table with computers, with a rack of video equipment in the background
Audio and video equipment in our new AV lab location

The audio engineers have been running tapes and discs, covering large sections of the Bruce Bastin Collection (#20428), Paul Brown Collection (#20382), William R. Ferris Collection (#20367), Apollo Records Collection (#20539-z), and North American Traditions Collection (#20503) among many others. Since August we have digitized, preserved, and provided online streaming to over 1,300 audio recordings.

a shelf of audiotape boxes including a Woodie Guthrie folk voice recording
A batch of 1/4" audiotapes waiting digitization

Our Technical Services department has also been working hard to decrease the number of collections in the SFC backlog, creating collection level finding aids for over 70 collections! Our AV Archivist Anne Wells and processing assistants, Rae Hoyle and Emma Evans, have completed or provided additions to a number of SFC finding aids, including the Berea College Collection of John Lair and Lester McFarland Recordings (#20281), Nancy Hamilton Collection on Molly Sequoia (#20125-z), and North Carolina Symphony Recordings (#20390-z).

a photo stand with two lights projected onto an audiotape box
Our photo stand for photographing items in the collection

In early 2019 we look forward to sending off our next batch of video priorities for digitization to our vendor. These items will be joined by recordings from a few of the regional institutions we have partnered with as part of an initiative in the grant to provide services to external collections, including Appalachian State University and North Carolina State Archives. More on that soon!

 

Sprout Wings and Fly turns 35

title card of the film, Sprout Wings and Fly, that depicts the film's title over an image of Tommy Jarrell playing fiddle.

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.

Photograph of filmmakers Les Blank and Cece Conway standing by camera that points towards Tommy Jarrell and others sitting on the porch of his home in Toast, NC.

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 and sound person, Mike Seeger, standing in front of Tommy Jarrell's home. Tommy Jarrell and others are seen sitting on the porch.

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).

Filmmakers Les Blank and Cece Conway and sound person, Mike Seeger, talking in front of three women who are leaning on a station wagon car.

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 and sound person, Mike Seeger, posing with Tommy Jarrell in front of a tree.

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.

Copy of note handwritten by Tommy Jarrell in 1978 that reads "This is to say I know Alice Gerrard Seeger and she is one of the nicest persons I ever met. And so is Mike her husband. They are good and honest to god people. I would trust them with my pocket book. I would be glad to give Alice fiddle lessons."

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!

Items from Sprout Wings and Fly scrapbook, a green photocopy flier advertiesing Sprout Wings and Fly Movie and Stage Show, at Andy Griffith Playhouse, Mt. Airy, with stringband music, Saturday Nov. 3, 1984 (left), a yellow ticket to the 3:00PM show (top right), clipping from Mt. Airy News about the show with picture of dancing and one of the speakers at the event, headline "Documentary, Special Day Salute The Master of Old-Time Music) (bottom left)

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.

two audio cassettes with their handmade Jcards with notes on the recording contents, Sprout Wings and Fly Show, Mt. Airy, NC Nov. 3, 1984, tapes numbered 502 and 503

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, 25:2528:53)

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.

 

 

 

 

First Impressions: Arhoolie Records

Image

title banner, Arhoolie Records, El Cerrito, California, 1960 to 2016

First Impressions is an ongoing series on the “first records” of several independent record labels releasing folk, blues, bluegrass, country, and other vernacular musics. Drawing from records and other materials in the Southern Folklife Collection, the focus of this virtual exhibition is on the albums that started it all for these labels in the LP era.

THE ALBUM

Album cover of Mance Lipscomb's Texas Sharecropper and Songster, features black and white photo of Mance playing guitar

Mance Lipscomb, Texas Sharecropper and Songster | FC-457

center LP label, Mance Lipscomb, featuring Arhoolie Reccords logo and track listing

In 1959, Chris Strachwitz, a high school teacher living in California, set out for Texas hoping to meet and record one of his heroes, Lightnin’ Hopkins. Unable to find him, he resolved to return the next year, this time with a longer list of musicians to find and record. He had been buying and selling old 78 rpm records for several years, providing him with a little extra cash to buy some basic recording equipment. In 1960, with Mack McCormick’s help and a few tips from people along the way, he managed to meet Mance Lipscomb at his Navasota home. Texas Sharecropper and Songster is the product of recordings made that day, with the 65-year-old singing 14 songs he had picked up over a lifetime of playing music for friends, family, and both white and African-American dances. This impromptu session was Lipscomb’s first recording, and Strachwitz was initially unimpressed: “To be honest, I didn’t like his music that much – I love tough, nasty, old blues, and Mance was so pretty” (Goodwin, 1981). Of course, as Mance’s music elevated Arhoolie Records to a full-time venture, it must have grown on him: Lipscomb recorded 5 more albums for the label before his passing in 1976.

Listen to “Shake, Shake, Mama” from Side 2 of Texas Sharecropper and Songster:

The label

covers of three Arhoolie Records catalogs, featuring album covers

Assorted Arhoolie Records catalogs from the SFC Discographical Files (30014), Folders 59-61.

Arhoolie Records takes its name from a word for a field holler, more often referred to as a “hoolie.” Chris Strachwitz founded the label in 1960, ultimately establishing its headquarters in El Cerrito, California. Arhoolie primarily released original recordings of living musicians, whereas two of Strachwitz’s later ventures, Blues Classics and Old Timey Records, were devoted to reissues of older recordings. Chris Strachwitz remained at the helm for the label’s lifetime, continuing to record and release all varieties of music, and leading the transition into the CD and digital realms. In May of 2016, Smithsonian Folkways acquired the Arhoolie catalog, and Texas Sharecropper and Songster was one of the first batch of albums re-released by the new label owners.

The Founder

The founding of Arhoolie Records marked Chris Strachwitz’s first big step into the world of traditional music, but the label will be far from his only legacy. After moving to the United States from Germany in 1947, Strachwitz could hardly seem to stay away from the music. His passion for collecting 78s evolved into the Arhoolie Foundation, a nonprofit devoted to preserving and sharing his extensive collection. He started the Old Timey and Blues Classics labels soon after founding Arhoolie to release out-of-print recordings of blues and old-time musicians. Through Arhoolie, he published the Arhoolie Occasional and The Lightning Express, periodicals devoted to spreading information about blues music and recordings. Through a long-time friendship with documentary filmmaker Les Blank, he supported the production of documentaries on Arhoolie musicians like Mance Lipscomb and Lightnin’ Hopkins. Below is a segment from a 1981 interview by Strachwitz with Moses Asch, founder of Folkways Recordings, from the Archie Green Collection (20002).

Chris Strachwitz (CS): I’d like to get some of this on tape about your feelings in regard to reissuing old material or, that is, recordings that are really historical that have not been used by the major labels. You were certainly one of the first people to take a stand on this, weren’t you?

Moses Asch (MA): That’s right.

CS: What’s your attitude on this?

MA: Well, there’s a section in the Constitution of the United States, in which it says, “People have a right to know.” It’s part of the copyright, first copyright law of the land. And in there it says that no one is permitted, if they want the people to benefit, to take something out of circulation. If you buy a car, the manufacturer must have a replacement part as long as the car is operational. Otherwise, they lose all rights to the car. And I apply that same attitude to recordings. Once I feel that the manufacturer or the producer or the one that had the recordings originally issued the record, and then the record is not available, and it’s left out of their catalog, they throw that record into public domain and anyone can use it.

Listen to the full interview here. Digitization and streaming access to this recording were made possible through the SFC’s ongoing audiovisual preservation grant from the Andrew W. Mellon Foundation:

SFC Audio Cassette FS-20002/11183 (digitized)

Tape 28: Chris Strachwitz interviews Moses Asch, 1981

Audiocassette

The local connection

Album cover, Elizabeth Cotten's Live!, features close-up color photo of Cotten's face

Elizabeth Cotten, Live! | FC-17741

Elizabeth Cotten was born in Chapel Hill in 1893, the youngest of five children. After moving around the Southeast for many years, she settled as an adult in the Washington, D.C. area. Eventually, she came to work for the Seeger family of musicians, who, after hearing her play, helped expose her unique performance and songwriting abilities to the world. Most famous for her composition “Freight Train,” Cotten released just four solo albums in her lifetime: a series of three LPs for Folkways and Live!, a 1983 collection of live performances on Arhoolie Records.

Show me more!

The Southern Folklife Collection holds plenty of additional Arhoolie Records-related documentation, as well as a significant portion of the Arhoolie Records catalog on LP and other formats. Check out a few other documents and collections of interest below or search the collection yourself.

same black and white photo of Mance Lipscomb from album cover, holding guitar

Promotional photo from the release of Texas Sharecropper and Songster, from the John Edwards Memorial Foundation Records (20001).

Cover of the Lightning Express, no. 3 (1976). 0versize Paper OP-20245/16 in the Goldband Recording Corporation Collection (20245), with photographs of Clifton Chenier with accordion, Charlie Musselwhite with harmonica, and Narciso Martinex with accordion and group. Also features illustrations of traditional music genres illustrated by R. Crumb including: Blues, Tex-Mex, Jazz, Cajun, Novelty, Gospel, Polka, Folk

Lightning Express, no. 3 (1976). 0versize Paper OP-20245/16 in the Goldband Recording Corporation Collection (20245)

Cover of Arhoolie Occasional with photos of Lightning Hopkins, Mance Lipscomp, Clifton Chenier, Narciso Martinez, and others

Arhoolie Occational, no. 1 (1971). 0versize Paper OP-20245/16 in the Goldband Recording Corporation Collection (20245)

Front page of Arhoolie Occasional with articles about making Arhoolie LPs, Dr. Harry Oster's Folklyric Label

Arhoolie Occational, front page, no. 1 (1971). 0versize Paper OP-20245/16 in the Goldband Recording Corporation Collection (20245)

First Impressions: a virtual exhibit of “first records” from independent record labels in the Southern Folklife Collection

We love all of our sound recordings at the Southern Folklife Collection, and of course we especially love our 12″ LPs. Library staff are always working to make more of our records discoverable in the UNC Libraries online catalog, but first we need to sort through new accessions and do some inspection and quality control to get them ready for our Wilson Special Collections Library Technical Services team.

Through this process, we began to notice several “first records.” These albums, the first full-length releases by independent record labels, were fascinating and downright good listens in their own right. Collectively, however, they offer a valuable point of entry into the overwhelming catalogs of the many labels in the archive. The SFC holds a growing collection of tens of thousands LPs, spread across far too many labels to list here. Some of these labels are familiar, from early giants like Columbia and Victor, to folk music mainstays like Folkways. Still others are virtually unknown, like the often short-lived local, one-artist, or one-album ventures that appeared from time to time. For the most part, the labels presented here exist in a middle ground between these two extremes, releasing what could be broadly defined as vernacular music from a variety of traditions (folk music, blues, cajun music, zydeco, bluegrass, country, conjunto, etc.).

From off-shoots of non-profits to international operations, these labels and their founders were united by a common goal: to share the music they felt passionately about with as many people as possible. In some cases, recording the specific musicians on these first albums was the primary motivation for a label’s founding. Many of these labels are still releasing music, while others folded after only a few releases. Still others formed sub-labels, or were bought by or merged with like-minded collaborators, forming a sort of tangled family tree. The aim of this series is to provide a starting point for research, adding context to these recordings, the artists, the music, and the labels that formed with their release. Most of all, we hope you enjoy the music.

The first installment of “First Impressions”: Arhoolie publishes tomorrow, Thursday, November 15. We’ll put up a new post in the series every couple of weeks. Follow along here.

 

A witches’ spell has been cast on SFC!

Happy Halloween from the Southern Folklife Collection at Wilson Special Collections Library!

A few items in the collection allude to witchcraft – we were delightfully frightened to find a selection of ghost stories told by Ollie and Roy Coleman in Iredell County, N.C., and caught on tape by folklore student Connie Jean Stone in March of 1975. This item can be found at call number FT-354 in the Connie Jean Stone Collection (20247).Packaging for tape media, reads: "North Carolina Archives of Folk Lore and Music - Connie Jean Stone Collection - Ghost and Witch Tales - Told by Ollie and Roy Coleman - Recorded in Iredell County, N.C. in March 1975. Dubbings from cassette originals. Submitted in Folk 186 and 187, with transcriptions in termpapers.

One creepy story tells the tale of a witch who seems to have cast a spell on a poor dairy cow, cursing and drying the bewildered bovine’s milk supply. Below you can find a clip of the recording, as well as transcription from the original field notes submitted by Ms. Stone. Notes are in folder 421 in the Southern Folklife Collection Field Notes (30025):

My Grandma, once upon a time was a-lettin' a witch have milk, you know. And uh the cow got low on hermilk and couldn't givetoo much, so she told the witch one evening when she came after milk that she couldn't have no more -- until the cow picked back up on her milk. And the witch said, "Alright." She went on home, and started down the path and that cow followed her up just as far as she'd go, to the end of the fence. That night the cow wouldn't giveno milk. So Grandpa told Grandma to milk her and to get a skillet and pour the milk in -- there o'er the fireplace, and boil it and peck it with a reap hook -- and when it got ready to boil, to turn it over into the fireplace. And she had all the young'uns out around the house to see that nobody didn't come while she was a-doin' it. And about the time she got ready to turn that milk over, the ole witch stepped in at the door. And she asked Grandma, said she wanted to borrow something. Grandma told her no, she couldn't borrow nothing today. But the ole witch picked up a cake of soap as she went out the door so the spell wouldn't get back on her.

78rpm record label displaying artist name.

Another fun find from the collection is this 78rpm disc credited to Bakersfield country artist Alvadean Coker, entitled “Witch’s Waltz,” on the Abbott label, at call number 78-186. Alvadean’s countrified bad dream involves a grandmotherly spell cast due to bad behavior. Find a clip below:

 

We here at the SFC hope you have an enjoyable and safe Halloween!