Entries tagged with “Chris Strachwitz”.


ARTISTSONGALBUM
Mance LipscombFreddieTexas Songster
Big Joe WilliamsMean Step Father Tough Times
Robert Curtis SmithDon't Drive Me AwayArhoolie Records 40th Anniversary Collection
Sam ChatmonI Have To Paint My Face I Have To Paint My Face
Lil Son JacksonI Walked From DallasBlues Come To Texas
Black Ace Golden Slipper I'm The Boss Card In Your Hand
Mercy Dee Lady LuckArhoolie Records 40th Anniversary Collection
Alex MooreBoogieing In StrasbourgArhoolie Records 40th Anniversary Collection
Lightnin' Sam Hopkins I Got a Brother in WaxahachieThe Hopkins Brothers
Lightnin' Sam Hopkins Meet You At The Chicken ShackTexas Blues
John JacksonBear Cat BluesDon't Let Your Deal Go Down
Bukka WhiteAlabama Blues Sky Songs
Fred McDowellWrite Me a Few LinesArhoolie Records 40th Anniversary Collection
Clifton ChenierI'm A Hog For You60 Minutes With The King Of Zydeco
Blind James CampbellBaby Please Don't GoAnd His Nashville Street Band
Juke Boy BonnerGoin' Back To The Country Arhoolie Records 40th Anniversary Collection
Johnny LittlejohnDreamSlidin' Home
Johnny Young Wild, Wild Woman Johnny Young And His Chicago Blues Band
Earl Hooker Earl's Blues The Moon Is Rising
L.C. RobinsonUps And DownsUps And Downs
Big Mama ThorntonLittle Red Rooster In Europe
Bee HoustonThings Gonna Get BetterThe Hustler
Henry GrayThe Blues Won't Let Me Take My RestLouisiana Blues
Johnnie LewisHobo BluesAlabama Slide Guitar
Piano Red You Ain't Got A ChanceArhoolie Records 40th Anniversary Collection
David AlexanderSuffering With The Lowdown BluesThe Dirt On The Ground
Big Joe DuskinCincinnati StompCincinnati Stomp
K.C. DouglasYou're Crying Won't Make Me StayMercury Blues
J.C. Burris One Of These Mornings (I'm Checkin' Out)Arhoolie Records 40th Anniversary Collection
Furry LewisJudge Boushay BluesMemphis Swamp Jam

Show Notes:

Mr. Strachwitz in Arhoolie's record vault.
Credit: Jim Wilson/The New York Times

Arhoolie Records is celebrating its 50th year and I thought it would be a good opportunity to do a spotlight on the label who's records have been heard often on my show. Today's feature will obviously focus on the label's blues recordings. While the label reissued many vintage recordings and issued recordings made by others, most notably folklorist Harry Oster, today's focus will be on the recordings made specifically for the Arhoolie label itself. There's of course no way to do justice to the label in a two-hour show and I'll likely do a second installment down the road. The bulk of the Arhoolie catalog has been reissued on CD, almost always with bonus or unreleased tracks with the CD's often having a different title than the original LP's, sometimes combing multiple LP's onto one CD. On a related note I recently picked up a copy of the new Arhoolie 4-CD box set, Hear Me Howling!, which contains dozens of unreleased recordings and I'll be featuring cuts from this collection on an upcoming show.

Arhoolie Records was founded in 1960 and has issued some 400 albums and recorded more than 6,500 songs,the vast majority of which were captured by founder Chris Strachwitz himself. His field recordings have helped popularize numerous branches of Americana roots music, from Tex-Mex and Cajun to blues and folk. Strachwitz did many of his most important recordings with down home artists such as Texas bluesman Lightnin’ Hopkins and zydeco king Clifton Chenier on field trips through the South beginning 50 years ago. It was during his summer vacation of 1959 that Strachwitz used this trip as a pretense for his pilgrimage to see personal hero, Lightnin' Hopkins, in Houston. Seeing the legendary Texas bluesman on his home turf at watering holes such as Pop's Place and the Sputnik Club inspired him to begin his own label in earnest, although, ironically, he would not be able to record Lightnin' himself for a couple of years because he was "unaffordable." Arriving in Houston in the summer of 1960 for his second visit, he was disappointed that Hopkins, was back in California at a folk festival. Fortunately during the trip, with the aid of Mack McCormick,  he stumbled upon songster Mance Lipscomb. Lipscomb was recorded virtually on the spot, in his house. Texas Songster and Sharecropper became Arhoolie's first release as #1001 (the first of five volumes devoted to Lipscomb). Over the years the label has recorded a wide range of bluesmen such as Big Joe Williams, Black Ace, Fred McDowell, Bukka White, Johnny Young, L.C. Robinson, Earl Hooker, Big Mama Thornton and many others. Strachwitz's interest in recording blues waned by the late 60's and early 70's as he reflected: "I just found it didn't kick me in the ass like the old stuff did. I just found it formulaic." There were some later blues records including late 70's records by Charlie Musselwhite and The Charles Ford Band, a 1985 record by Katie Webster and a 1991 recording by pianist Dave Alexander.

Mance Lipscomb
Mance Lipscomb
Credit: Chris Strachwitz
 

Lipscomb was born April 9, 1895 to an ex-slave father from Alabama and a half Native American mother. Lipscomb spent most of his life working as a tenant farmer in Texas and was "discovered" and recorded by Mack McCormick and Chris Strachwitz in 1960. Lipscomb's name quickly became well known among blues and folk music fans. He appeared at the Texas Heritage Festival in Houston in 1960 and 1961, then capitalized on his California connection and made appearances for three years running (1961-63) at the large Berkeley Folk Festival held at the University of California. In between festival appearances he appeared at folk coffeehouses in the San Francisco and Los Angeles areas, and he made several more recordings for Arhoolie. In the late 1960s, as interest in the blues mounted, Lipscomb experienced still greater success. He appeared at the Festival of American Folklife, held on the National Mall in Washington, D.C., in 1968 and 1970, and he performed at other large festivals, including the Ann Arbor Blues Festival in 1970 and the Monterey Jazz Festival in California in 1973. Among the many musicians who became Lipscomb fans was vocalist Frank Sinatra, who issued a Lipscomb recording, Trouble in Mind, on his Reprise label in 1970. Lipscomb passed in 1976.

Strachwitz finally managed to record Hopkins for his Arhoolie label in 1961 and recorded him sporadically through 1969. By the 60's Hopkins music was increasingly geared towards the new white audience that was embracing blues and this is reflected in the nearly dozen LP's he cut for the Bluesville label. His Arhoolie recordings from this period, however, hark back to the raw sound of his early records that first captured Strachwitz's attention. Hopkins cut several fine albums for Arhoolie including the self-titled Lightnin' Sam Hopkins, an album featuring one with Hopkins' brothers and the other with Barbara Dane, The Texas Bluesman, Lightning Hopkins in Berkeley and Po' Lightning.

In addition to Lipscomb and Hopkins, another major down home blues artist Strachwitz recorded was Fred McDowell.  In September, 1959, Alan Lomax encountered Fred McDowell, the greatest discovery of his famous "Southern journey." McDowell, for his part, was happy to have some sounds on records, but continued on with his farming and playing for tips outside of Stuckey’s candy store in Como for spare change. It wasn’t until Strachwitz came searching for McDowell to record him that the bluesman’s fortunes began to change dramatically. He recorded McDowell between 1964 and 1969 resulting in the albums Mississippi Delta Blues, Fred McDowell Vol. 2, Fred McDowell And His Blues Boys and  Keep Your Lamp Trimmed And Burning.

It was through Lightnin' Hopkins that Strachwitz met Clifton Chenier, who would become the label's most recorded artist. "Ay Yi Yi"/"Why Did You Go Last Night?" was the initial single and in 1965 Arhoolie issued Chenier's full-length debut, Louisiana Blues and Zydeco. Although they continued to work together until the early '70s, Chenier and Strachwitz differed artistically. While Chenier wanted to record commercial-minded R&B, Strachwitz encouraged him to focus on traditional zydeco. The label issued over a dozen albums by Chenier including 1976's Bogalusa Boogie, with his new group, the Red Hot Louisiana Band which eventually garnered the album an induction into the Grammy Hall of Fame. Chenier reached the peak of his popularity in the '80s. In 1983, he received a Grammy award for his album, I'm Here!, recorded in eight hours in Bogalusa, LA. The following year, he performed at the White House. Chenier passed in 1987.

Many of today's initial sides come from a fruitful meeting with blues historian Paul Oliver. As Strachwitz writes: "In the summer of 1960 I met up with British blues aficionado, author, and vernacular architecture scholar, Paul Oliver and his wife Valerie at the legendary Peabody Hotel in Memphis, TN. Paul was making this trip, his first to the USA, to produce a series of radio programs to be broadcast by the BBC and interviewing historic blues musicians at the source was a major goal of his trip. Paul had sent me in advance a list of names of blues singers who had recorded in Dallas and Fort Worth in the 1920s and ’30s, hoping I would perhaps do a little research on my way to Texas from the West Coast. Driving with Bob Pinson (now of the Country Music Foundation Library) into Texas, we both made many inquiries which led to meeting Lil’ Son Jackson and Black Ace, a singer who accompanied himself on a National steel guitar. With Mack McCormick I was fortunate to meet and record the remarkable Mance Lipscomb and later on the return trip to the West Coast with Paul, we also met Alex Moore in Dallas, an extraordinary character and pianist from the early era in blues history, as well as many other artists in Texas, Louisiana and Mississippi.

In addition to the above mentioned Alex Moore, Strachwitz recorded several fine pianists over the years like Mercy Dee Walton, Piano Red, Dave Alexander (who later changed his name to Omar Sharriff) and Big Joe Duskin. Walton was from Texas who had played piano around Waco from the age of 13 before hitting the coast in 1938. Once there, the pianist gigged up and down the length of the Golden State before debuting on record in 1949 with "Lonesome Cabin Blues" for the tiny Spire logo, which became a national R&B hit. He cut sessions for Imperial in 1950 and Specialty in 1952-53. After a lengthy layoff, Walton returned to the studio in 1961, recording prolifically for Arhoolie (some of this material ended up on the Bluesville album A Pity And A Shame). Walton passed in 1962.

Piano Red was Willie Perryman, the much younger, brother of Rufus Perryman aka Speckled Red. His career started with a bang when he sold an alleged million copies of "Red's Boogie/'Rockin' With Red" in 1951. He hit a second time with "Dr. Feelgood" and he took the name for his own. Strachwitz pried Red loose from his band and recorded him alone at the piano in 1972 resulting in the album Piano Red: "Dr. Feelgood" All Alone With His Piano.

Omar Shariff is a Texas-born pianist who moved to the San Francisco area in the '60s. He made two excellent albums in the 70's for Arhoolie in 1972 as Dave Alexander (The Rattler and The Dirt On The Ground), then  disappeared from the recording world for twenty years. Alexander (now as Omar Shariff) made a final recording for the label in 1991 titled The Raven which contains seven tracks form his earlier Arhoolie albums.

In his younger days Joe Duskin performed in clubs in Cincinnati and across the river in Newport, Kentucky. While serving in the US Army in World War II, he continued to play and, in entertaining the US forces, met his idols Johnson, Albert Ammons and Meade Lux Lewis. In the early 1970's Duskin began playing the piano at festivals in the US and across Europe. By the late 70's,  with the reputation for his concert playing now growing, his first recording, Cincinnati Stomp, was released on Arhoolie Records featuring recording sessions done in 1977 and 1978. He recorded several more albums before passing in 2007.

Strachwitz made some superb urban blues records in the late 60's and early 70's. As he  wrote: "As Back in 1968, I told Buddy Guy, who was playing in a Berkeley club, that I was interested in recording his favorite neglected giants of Chicago Blues. I had met Buddy in Europe while touring with the American Folk Blues Festival and found him to be a tasteful and exciting player (and one of the nicest people I ever met). Buddy's prompt response was: Earl Hooker and John Littlejohn! " Hooker was recorded in 1968 and 1069 resulting the excellent Two Bugs And A Roach featuring Freddie Roulette, Louis Myers, Pinetop Perkins, Carey Bell and Andrew Odom. The posthumous Hooker and Steve (recorded in 1969)  came out in 1975 featuring keyboardist Steve Miller. In 1998 Arhoolie issued the CD The Moon Is Rising which contained the entirety of Hooker and Steve plus some unreleased live recordings. Johnny Littlejohn's discography is frustratingly inconsistent but hands down his Arhoolie album, 1968's John Littlejohn's Chicago Blues Stars (issued on CD as Slidin' Home), is his best outing.

Strachwitz also recorded Chicago bluesman Johnny Young. He was recorded at two sessions in '65. Producer Pete Welding surrounded him with the best that Chicago had to offer, including two thirds of the then Muddy Waters Band of 1965: Otis Spann, SP Leary, Jimmy Cotton with Jimmy Lee Morris on bass, and for a '67 session, Walter Horton, Jimmy Dawkins, Lafayette Leake, Ernie Gatewood on bass and Lester Dorsie on drums. The sessions resulted in the albums Johnny Young And His Chicago Blues Band and Johnny Young And Big Walter: Chicago Blues. The CD Johnny Young – Chicago Blues contains the entirety of the former and most of the latter album.

Also recorded were a some tough West Coast artists: L.C. Robinson,  Bee Houston and Big Mama Thornton. Robinson was born and raised in east Texas, and later relocated to California. Robinson played guitar and fiddle, but he was really known for his incredible steel guitar style. On one of his Arhoolie sessions he is backed by the Muddy Waters band, on another by his own trio issued on the alum Ups And Downs (issued on CD as Mojo In My Hand which includes an unissued radio performance). His only other full length session was House Cleanin' Blues for the Bluesway label in the early 70's.

Texas born, Los Angeles blues guitarist Bee Houston became known as Big Mama Thornton's guitarist during the waning years of her career. He cut his lone album, The Hustler,  for Arhoolie in the 70's. The CD version contains not only the entire LP but also most of a second, earlier but unissued session.

Big Mama Thornton was recorded on October 20, 1965, at Wessex Studio in London, England resulting in the album In Europe (the CD version contains six extra sides) featuring Eddie Boyd, Buddy Guy, Big Walter Horton, Fred Below and Jimmy Lee Robinson. Big Mama Thornton Vol. 2: The Queen At Monterey (reissued on CD as Big Mama Thornton – With the Muddy Waters Blues Band, 1966 with seven extra cuts)was recorded in 1966 backed by the Muddy Waters band: James Cotton,  Otis Spann,  Muddy Waters, Sammy Lawhorn, Luther Johnson and Francis Clay.

Some of the other Arhoolie artists featured today include John Jackson, James Campbell, K.C. Douglas and J.C. Burris. For much of his life, John Jackson played for country house parties in Virginia, or around the house for his own amusement. Then in the ’60s he encountered the folk revival, becoming the Washington, D.C. area’s best-loved blues artist. He made his debut in 1965 for Arhoolie with Blues and Country Dance Tunes From Virginia followed by Country Blues & Ditties and John Jackson In Europe.

A bluesy group of street musicians from Nashville, Tennessee, James Campbell and his group played a hybrid of hillbilly, jazz, blues, old time popular, skiffle, and jug band elements. This assemblage of street musicians was originally recorded in 1963 and issued on the album as Blind James Campbell And His Nashville Street Band. The band worked road houses, on the streets of Nashville, at parties, a well as other social functions.

Born and raised on a family farm near Sharon, MS, K.C. Douglas was deeply influenced by the 1920's recordings of Delta bluesman Tommy Johnson. Relocating to Vallejo, CA, in 1945, Douglas found employment in the naval shipyards. Within a couple of years, he gravitated to the San Francisco/Oakland blues scene. His first recordings were issued on the Oakland-based Downtown label in 1948.He cut some of his best sides for Bluesville in the 60's as well as scattered sides for Arhoolie. In 1974 he the album The Country Boy for the label and issued on CD in 1998 as Mercury Blues with many unreleased tracks.

The nephew of Sonny Terry, Johnny "J.C." Burris was also a blues harmonica player, though he didn't record too much. Burris did some performing in New York in the 1950's and worked on recording sessions with Terry, Sticks McGhee, and other artists on Folkways Records. At the end of the decade, he relocated to California, finding some work in folk clubs in San Francisco before a stroke in 1966 robbed him of his use of his right side. Several years later, he regained his mobility on his right side, and in 1973, he began performing again, recording some solo unaccompanied material in 1975-1976 that appears on Arhoolie's Blues Professor album. He continued playing at schools, clubs, and festivals until his death in 1988.

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ARTISTSONGALBUM
Yank Rachel & Shirley GriffithPeach Orchard MamaArt of Field Recording Vol. I
J. T. AdamsRed RiverArt of Field Recording Vol. I
Sam ChatmonI Have To Paint My FaceI Have To Paint My Face
Robert Curtis SmithStella RuthI Have To Paint My Face
Butch Cage & Willie ThomasForty Four BluesI Have To Paint My Face
Little Brother MontgomeryTalking/Vicksburg BluesConversation With The Blues
Otis SpannTalking/People Call Me LuckyConversation With The Blues
Johnny Young & Arthur Spires21 BelowBlues Roots: The Mississippi Blues Vol. 1
Jim BrewerBig Road BluesBlues Roots: The Mississippi Blues Vol. 1
Boogie Bill WebbDooleyville BluesGoin' Up The Country
Arzo YoungbloodFour Women BluesGoin' Up The Country
Babe StovallWorried BluesThe Old Ace
Roosevelt HoltsBig Fat Mama BluesSouth Mississippi Blues
Esau WearyYou Don’t Have To GoSouth Mississippi Blues
Houston StackhouseBye Bye BluesBig Road Blues
Lum GuffinJack Of DiamondsWalking Victrola
Dewey CorleyLast NightOn The Road - Country Blues 1969-1974
Lattie MurrellSpoonfulOn The Road - Country Blues 1969-1974
Elster AndersonBlack And TanUnreleased
George HiggsSkinny Woman Blues 2Unreleased
Lewis "Rabbit" MuseJailhouse BluesWestern Piedmont Blues
Turner FoddrellSlow DragWestern Piedmont Blues
John TinsleyRed River BluesWestern Piedmont Blues
Joe SavageJoe's Prison Camp HollerLiving Country Blues
James Son ThomasStanding At The CrossroadsLiving Country Blues
Joe CallicottCountry BluesGeorge Mitchell Collection Vol. 1 - 45
Cliff ScottLong Wavy HairGeorge Mitchell Collection Vol. 1 - 45
Jimmy Lee WilliamsHave You Ever Seen PeachesGeorge Mitchell Collection Vol. 1 - 45
Johnny Johnson & GroupI'm In The BottomWake Up Dead Man

Show Notes:

I suppose it sounds rather romantic spending your time roaming around the south with a tape recorder recording blues but for all the rewards and exciting discoveries it’s a stressful enterprise, not to mention a precarious way to make a living. These days hardly anyone one does it anymore and the sad fact is that blues has largely disappeared as integral part of African-American rural communities; most of the old timers have passed on and few of the younger generation are interested in blues, particularly traditional blues. Much has been written about John and Alan Lomax who scoured the south and beyond making landmark recordings for the Library of Congress from the 1930’s through the 1960’s. Less well known are those that followed in the Lomax’s footsteps; there was folklorists and researchers such as David Evans, Sam Charters, Gayle Dean Wardlow, Frederic Ramsey, Art Rosenbaum, Pete Welding, Chris Strachwitz , Bruce Bastin, Bengt Olsson, Dick Spottswood, Kip Lornell, Glenn Hinson, Tim Duffy, Siegfried A. Christmann and Axel Küstner. Some were hunting for the famous names who made records in the 1920’s and 1930’s, others were seeking to fill in biographical blanks regarding some of the older musicians coveted by collectors and then there were those who were seeking to document the blues tradition as it still existed in rural communities, men like George Mitchell and I Have To Pain My FacePeter B. Lowry. This was a very different undertaking than 1960’s blues revival which sought out and put back on the circuit such legendary artists of the past as Son House, Skip James, Bukka White and Mississippi John Hurt. The field recordings made during this era were a sort of a parallel undercurrent to the more famous artists. What they recorded in the rural communities of Georgia, Tennessee, Alabama and Mississippi in the 1960’s was a still thriving, if largely undocumented, blues culture. The bulk of theses recordings were issued on small specialist labels and many have yet to be reissued on CD. Today's program is the first of a multi-part series on some of these remarkable recordings.

The earliest tracks come from 1960 and were made by Paul Oliver and Chris Strachwitz and come from the albums Conversations With The Blues, a companion to Oliver's landmark book, and I Have To Paint My Face which was issued on Strachwitz's Arhoolie label. The recordings on I Have To Paint My Face were made by Chris Strachwitz in the Summer of 1960, the same year he formed his now legendary Arhoolie record label. That summer Strachwitz and blues scholar Paul Oliver and his wife made a trip through Mississippi, Louisiana and Texas to interview and record older blues artists for a series of programs sponsored by the BBC. Among those recorded were Sam Chatmon, K.C. Douglas, Big Joe Williams, Butch Cage & Willie Thomas, Robert Curtis Smith and others. Conversations With The Blues is a series of interviews, in the artists own words, compiled from interviews with over sixty blues singers. The interviews stem from a trip Oliver made to the United States between June and Goin' Up The CountrySeptember 1960.

Today's program features a number of recordings made by David Evans. It was Evans' investigation into Tommy Johnson in the late 1960’s that we owe a good deal of what we know about Johnson and it was through Evans’ field recordings that Johnson’s influence comes into sharper focus. Evans recorded many men who learned directly from Johnson including Roosevelt Holts, Boogie Bill Webb, Arzo Youngblood, Isaac Youngblood, Bubba Brown, Babe Stovall, Houston Stackhouse and Tommy’s brother Mager Johnson. Long out of print are several important collections of Evans’ field recordings that gather artists influenced by Johnson. Most importantly is The Legacy of Tommy Johnson (1972), the companion LP to Evans’ Tommy Johnson biography featuring all songs that were in Johnson’s repertoire and all of which were learned by the artists from Johnson himself. Today's show spotlights selections from South Mississippi Blues and Goin’ Up The Country. David Evans began making field recordings in 1965 when he spent about five weeks taping blues artists in Mississippi and Louisiana. The collection Goin’ Up The Country released on Decca in 1968 collects some of the best performances he recorded. The album was reissued in 1976 on Rounder and Rounder also released South Mississippi Blues in 1973, another collection of field recordings from the same period. in addition we play a cut by Houston Stackhouse with his partner Carey Mason that stem from recordings Evans made in Crystal Springs, MS in 1967.

Bengt Olsson first came to the United States in 1964, first to Chicago and then to Memphis were he made some recordings. Olsson was back in 1971, where he made recordings in Memphis and Alabama. Olsson recorded several talented artists including Lum Guffin (his album Walking Victrola was issued on Flyright), Lattie Murrell and Perry Tillis among others. Some of Olsson's recordings appear on the CD On The Road – Country Blues 1969-1974.

slp1804Pete Welding was one of the premiere documentarians of the 1960’s blues revival. Welding began recording and interviewing artists in the late 50’s and he began writing a column in Downbeat Magazine in 1959 called “Blues And Folk.” He moved to Chicago in 1962 where he formed his Testament Records label as an outlet for his fieldwork . Other of his recordings appeared on Storyville, Prestige, Blue Note and Milestone. We spotlight some of Weldings' recordings from the album Blues Roots: The Mississippi Blues Vol. 1 recorded by circa 1964/1965.

Between 1969 and 1980 Pete Lowery amassed hundreds of photographs, thousands of selections of recordings, music and interviews in his travels through Georgia, South Carolina, North Carolina and Virginia. He formed the Trix label as an outlet to release his recordings. Lowry set up the Trix Records label in 1972 starting with a series of 45’s with LP’s being released by 1973. It lasted about a decade as an active label dealing mainly with Piedmont blues artists from the Southeastern states. In addition to the seventeen issued Trix albums there is sufficient material for another 40 to 50 CD’s. Many of the artists who had albums released were recorded extensively by Lowry and in most cases there is enough material in the can for follow-up records. In fact Lowry’s unreleased recordings far exceed the released recordings. Today’s program features some unreleased tracks that Lowry was kind of enough to send me.

Living Country Blues USAIn 1980 two young German blues enthusiasts, Axel Küstner and Siegfried Christmann, came to America with the idea to document the remaining country blues tradition. With their station wagon and portable recording equipment they hit the dusty road spending a couple of months documenting blues, gospel, field hollers and work songs throughout the South. As the notes proclaim: “Traveling 10,000 miles by car in 2 1/2 months, they used 180,000 feet of tape and took hundreds of photographs to document various aspects of Country Blues, as well as work songs, fife and drum band music, field hollers and rural Gospel music, performed by 35 artists, some of whom appear on record for the first time.” From October 1st through November 30th the duo rolled through Washington, DC, Maryland, Delaware, North Carolina, Tennessee, Arkansas, Virginia, New Orleans and of course Mississippi. These remarkable recordings were first issued across 12 LP’s titled Living Country Blues USA plus one double set on the German L+R label between 1980 and 1981. They have since been reissued on CD.

From the early 1960’s to the early 1980’s George Mitchell roamed all over the south recording blues in small rural communities where the music still thrived. Many of these recordings have appeared on specialist labels like Southland, Revival, Flyright, Arhoolie and Rounder but are long out of print now. Several years ago the Fat Possum label acquired the Mitchell archive and has been reissuing the recordings.

DTD-08-Cover-ArtArt Rosenbaum is a painter, muralist, and illustrator, as well as a collector and performer of traditional American folk music. His field recordings have been collected on two 4-CD box sets on the Dust-To-Digital label called the Art Of Field Recording. Rosenbaum was also involved in producing several albums for Bluesville in the early 60’s including records by Indianapolis artists Scrapper Blackwell, Pete Franklin, Shirley Griffith, J.T.Adams and Brooks Berry. I'll be spotlighting Rosenbaum's blues recordings as well as interviewing him at the end of January.

The Blue Ridge Institute for Appalachian Studies at Ferrum College in Ferrum, Virginia, released a series of eight LPs in the late 1970s and early 1980s under the group title Virginia Traditions. Each album featured an aspect of traditional Virginia folk music, setting old 78s and field recordings alongside more recent field material. From that series we spotlight three tracks for the album Western Peidmont Blues.

We close the show with Johnny Johnson & Group perfroming "I’m In The Bottom" from the album Wake Up Dead Man. "Making it in hell",  Bruce Jackson says, is the spirit behind the songs that comprise the album and book  Wake Up Dead Man is a collection of prison worksongs taped by Bruce Jackson in 1965 and 1966 in Texas prisons. Research was done at three primary institutions; the Ramsey unit (Camps 1 and 2), Ellis, and Wynne. Allowed complete freedom in these facilities, Bruce Jackson talked with, interviewed, and recorded inmates over time to collect information for this book.

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