Classic African American Ballads from Smithsonian Folkways

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Editorial Reviews

All Music Guide - Steve Leggett
The African American ballads collected on this intriguing set from Smithsonian Folkways don't differ in obvious ways from the British ballad tradition, with the songs in both streams dealing frequently with death, often from romance gone awry, and several of the selections here ("Mouse on the Hill," "Stewball," "St. James Infirmary," "Gallis Pole") are actually British or Irish in origin. A case could be made that the black ballad tradition in America has a bit more humor to it, more improvisation, and that the singer is more likely to drop suddenly into first person in the lyric, thus personalizing the story, but these would be selective observations rather than codified...
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Editorial Reviews

All Music Guide - Steve Leggett
The African American ballads collected on this intriguing set from Smithsonian Folkways don't differ in obvious ways from the British ballad tradition, with the songs in both streams dealing frequently with death, often from romance gone awry, and several of the selections here ("Mouse on the Hill," "Stewball," "St. James Infirmary," "Gallis Pole") are actually British or Irish in origin. A case could be made that the black ballad tradition in America has a bit more humor to it, more improvisation, and that the singer is more likely to drop suddenly into first person in the lyric, thus personalizing the story, but these would be selective observations rather than codified rules of form, and the fact remains that a ballad's main job, whatever its source, is to tell a story, and if that story should come to a tragic close, all the better for its remembrance. And the stories told here have certainly been remembered, for these songs have been recorded numerous times by black and white singers alike, and tunes like "John Henry" and "Casey Jones" will be familiar to even the most casual listener. In the end, whether sung by blacks or whites, these are American ballads, having absorbed all manner of cultural flotsam, and if some of them are European in origin, they have been thoroughly stretched, altered, and reassembled into essentially new compositions, even if they retain a grain of the original song's intent. "St. James Infirmary," done wonderfully here by Snooks Eaglin, is a case in point. The song derives from an old British broadside called "The Unfortunate Rake," which details the fatal consequences of contracting a sexually transmitted disease, and the American transfiguration of the song retains that consequence, but is a good deal more vague about the events that led up to it, focusing instead on the narrator's preparations for death. It is a beautifully sad and melodic dirge, and remains so in a further variant, "The Streets of Laredo," which is the song in its next stage as a completely Americanized ballad. "Delia's Gone," sung here by Josh White, Jr., has done even more traveling as a ballad. The song was based on a real incident that took place on Christmas Eve in 1900, when Moses Houston shot and killed Delia Green. Both were only 14-years-old. A version of the ballad was collected in Georgia in 1906, but the song wasn't widespread at the time. Somehow the song reached the Bahamas, where the mento banjo player Blind Blake Higgs recorded it in 1952, and with the mid-'50s pop calypso boom just starting to pick up, Blind Blake's version was covered by numerous American singers, including Josh White, Pete Seeger, and Harry Belafonte, thus re-transforming "Delia's Gone" into an American ballad again, albeit with an obvious Caribbean lilt. Leadbelly's version of "Gallis Pole," featured here in a live radio transcription, is also worth noting, since it is an explosive take on the British child ballad "The Maid Freed from the Gallows," only with a complete reversal of the plot at the end, changing the song from a statement supporting true love to a cautionary tale about its cruelty. Even at 22 songs, Classic African American Ballads only scratches the surface of the American ballad. Here's hoping for a volume two.
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Product Details

  • Release Date: 4/25/2006
  • Label: Smithsonian Folkways
  • UPC: 093074019122
  • Catalog Number: 40191
  • Sales rank: 95,707

Tracks

Disc 1
  1. 1 Mouse on the Hill (3:47)
  2. 2 Casey Jones - K.C. Douglas (1:27)
  3. 3 John Hardy (2:46)
  4. 4 Railroad Bill (3:37)
  5. 5 Strewball - Memphis Slim (3:36)
  6. 6 John Henry (4:06)
  7. 7 St. James Infirmary (2:23)
  8. 8 Staggerlee (Stackolee) (5:07)
  9. 9 Lost John - Convicts Of The Ramsey & Retrieve State Farms, TX (4:57)
  10. 10 Betty and Dupree - Josh White (3:48)
  11. 11 Old Riley (2:01)
  12. 12 The Race of the Jim Lee and Katy Adam (2:30)
  13. 13 The Titanic (2:52)
  14. 14 Frankie and Johnny (2:10)
  15. 15 White House Blues - Earl Taylor & The Stony Mountain Boys (2:01)
  16. 16 Louis Collins (3:22)
  17. 17 Bad Lee Brown (2:17)
  18. 18 Luke and Mullen (2:28)
  19. 19 Duncan and Brady (3:03)
  20. 20 Gallis Pole (2:48)
  21. 21 Boll Weevil (3:07)
  22. 22 Delia's Gone - Josh White Jr. (3:45)
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Album Credits

Performance Credits
Big Bill Broonzy Guitar, Vocals
Willie Dixon Bass
Snooks Eaglin Guitar, Vocals
John Jackson Guitar, Vocals
Lead Belly Guitar, Accordion, Vocals, 12-string Guitar
Memphis Slim Organ, Piano, Vocals
Woody Guthrie Guitar, Vocals
Josh White Guitar, Vocals
Arbee Stidham Guitar
Pink Anderson Guitar, Vocals
Dave Van Ronk Guitar, Vocals
Brownie McGhee Guitar, Vocals
John Cephas Guitar, Vocals
K.C. Douglas Vocals
Jazz Gillum Harmonica, Vocals
Sam Porky Hutchins Guitar, Vocals
Gene Moore Drums
Sonny Terry Harmonica, Vocals
Phil Wiggins Harmonica
Warner Williams Guitar, Vocals
Earl Taylor Mandolin, Vocals
Josh White Jr. Guitar, Vocals
Walter Hensley Banjo, Vocals
Horace Sprott Vocals
Mark Jonathan Davis Bass
Vernon "Boatwhistle" McIntyre Bass
Technical Credits
John Jackson Arranger
Woody Guthrie Arranger
Cisco Houston Arranger
Richard Burgess Marketing, Marketing Coordinator
Peter Chatman Arranger
Huddie Ledbetter Arranger
Russ Lee Cover Photo
Warner Williams Arranger
William Lee Conley Broonzy Arranger
Walter Brown McGhee Arranger
Pete Reiniger Mastering
Barry Lee Pearson Producer, Annotation
Lee Michael Demsey Contributor
John Passmore Contributor
Mark Gustafson Marketing, Promotions Director
Helen Lindsay Public Relations
Toby Dodds Management
Eddie Newton Composer
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