Hi,
We'll take a short break from the Carter Family and the Bluegrass Painting Series today. I'm still try to get more music students so if you live in the Louisville area and want to study guitar or a music instrument shoot me an email: richiematt@aol.com
Jason, the electric guitarist in my praise band at Highland UMC, wants to start another band so it looks like we will be forming an old-time, blues, jazz, rock type band and playing also as a duo. We played as a band at Stevie Ray's on Tuesday and having not played together before it wasn't bad. Here's a clip he put on utube:
The Thrill Is Gone:
http://www.youtube.com/watch?v=aUvcvTMGLcc
I'll be continuing the series on the Carter family and hopefully doing a new painting soon. I have a couple I want to do.
Take Care,
Richard
Friday, November 28, 2008
Monday, November 24, 2008
Carter Family Songs: Titled with E-F
Hi,
There are Carters songs titled with E-F: East Virginia Blues; East Virginia Blues No. 2; Engine 143; Evening Bells Are Ringing; Faded Coat of Blue; Faded Flowers; Farewell Nellie; Fate of Dewey Lee; Fifty Miles of Elbow Room; Foggy Mountain Top; Fond Affection; Forsaken Love; and Funny When You Feel That Way.
The Carters recorded East Virginia Blues in 1934 and East Virginia Blues No. 2 in 1935. I've included the lyrics below for comparison. This is an old, widely known and recorded song. It was collected by Sharp in 1917 and is listed as "In Old Virginny." There are four versions Version A and B are closely related. Version C is Man of Constant Sorrow. This song has been titled "Dark Hollar Blues" by Ashley. It's also called "East Viginia" and "Old Virginny." Some branches of the song can be traced back to England.
EAST VIRGINIA BLUES- Carter Family; 1934 version (Victor 27494)
(Guitar Inst.)
I was born in East Virginia
North Carolina I did go.
There I spied a fair young lady
And her age I did not know. (Inst.)
Her hair was dark in color,
Her cheeks were rosy red.
Upon her breast she wore white lilies,
Where I longed to lay my head. (Inst.)
Oh, at my heart you are my darlin'
At my door you're welcome in,
At my gate I'll always meet you
For you're the girl I tried to win.(Inst.)
I'd rather be in some dark holler
Where the sun refuse to shine
Than for you to be another man's darlin'
And to know you'll never be mine.
EAST VIRGINIA BLUES NO.2- Carter Family 1935
My sweetheart has gone and left me,
And my little sisters, too.
And I'm left alone in sadness,
Lord, I don't know what to do.
All this world has turned against me,
Nothing but trouble do I see
There will be no more pleasure,
In this whole wide world for me. [INSTRUMENTAL BREAK]
Oh, I am just from East Virginia,
With a heart so brave and true.
And I learned to love a maiden,
With eyes of heavenly blue.
That same day I packed my suitcase,
And I started to go away.
But she met me at the station,
Saying, darling, won't you stay. [INSTRUMENTAL BREAK]
Oh, I am dying, Captain, dying,
Won't you take these words for me.
Take them over to the jailhouse,
Let this whole wide world go free.
Engine 143 also called the "Wreck on the C & O" is the Carter Family version of the Oct 23, 1890 death of engineer George Alley when the FFV train on the Chesapeake and Ohio Railroad was wrecked by a landslide near Hinton, West Virginia.
Cox collected versions from 1915-1918. The Carters is based on existing lyrics. His engine number was Number 4 (not 143 as in the song). The express F.F.V., in the first stanza, refers to the name of the train, the Fast Flying Vestibule. The ballad is believed to have been composed by an African-American engine-wiper at the station in Hinton, West Virginia. Cohen says the official name of the FFV was Fast Flying Virginian, but it has several nicknames, including First Families of Virginia, Fuller's First Venture, and Fast Flying Vestibule.
ENGINE 143- Carter Family
Along came the FFV, the swiftest on the line,
Running o'er the C&O road just twenty minutes behind;
Running into Souville, headquarters on the line,
Receiving her strict orders from a station just behind.
Georgie's mother came to him with a bucket on her arm,
Saying, "My darling son, be careful how you run;
For many a man has lost his life in trying to make lost time,
And if you run your engine right, you'll get there just on time.
"Up the road she darted, against the rock she crushed,
Upside down the engine turned and Georgie's breast did smash;
His head was against the firebox door, the flames were rolling high,
"I'm glad I was born for an engineer to die on the C&O Road.
"The doctor said to Georgie, "My darling boy, be still,
Your life may yet be saved, if it is God's blessed will."
"Oh, no," said George, "that will not do, I want to die so free,
I want to die for the engine I love, One Hundred and Forty Three.
"The doctor said to Georgie, "Your life cannot be saved.
"Murdered upon a railroad, and laid in a lonesome grave,
His face was covered up with blood, his eyes you could not see,
And the very last words poor Georgie said was, "Nearer My God To Thee."
"Evening Bells Are Ringing" is a song arranged by A.P. Carter. Although the title is a phrase that has been used in poems and the lyrics seem based on a parlor song from the 1800s, I can't find an earlier source. Anyone?
THE EVENING BELLS ARE RINGING- AP Carter 1934
[INSTRUMENTAL BREAK]
Moonlight shining over Dixie
To my heart will ever bring
Dreams of snowy fields of cotton
Everywhere the darkies sing
In the evening by the moonlight
In dear old Tennessee
And the evening bells were ringing
Across the hills so tenderly [INSTRUMENTAL BREAK]
Moonlight makes me sigh for you, dear
Makes me long to hold your hand
I know I'm missing hugs and kisses
Far away from Dixieland
In the evening by the moonlight
In dear old Tennessee
And the evening bells were ringing
Across the hills so tenderly [INSTRUMENTAL BREAK]
My darling, come, for I am waiting
Come, let me hold you very near
We'll build a bower among the flowers
Down in Dixieland
In the evening by the moonlight
In dear old Tennessee
And the evening bells were ringing
Across the hills so tenderly
"Faded Coat of Blue" is a Civil War song by J.H. McNaughton written in 1865. The Carters recorded the song in 1934 after Buell Kazee's classic version was done in 1928. Another title of the song is "Nameless Grave." The original sheet music may be found in the Levy Collection.
FADED COAT OF BLUE- Carter Family
My brave boy sleeps in his faded coat of blue
In a lonely grave unknown lies the heart that beat so true.
He sank faint and hungry among the Spanish brave
And they laid him sad and lonely in a nameless grave.
CHORUS: No more the bugle calls the weary one.
Rest, noble spirit in their graves unknown
For we'll find you and know you among the good and true
Where a robe of white is given for a faded coat of blue.
[INSTRUMENTAL BREAK]
He cried "Give me water and just a little crumb
And my mother she will bless you through all the years to come
And tell my sweet sister, so gentle, good and true.
That I'll meet her up in heaven in my faded coat of blue".
[INSTRUMENTAL BREAK]
No dear one was nigh him to close his mild blue eyes
No gentle voice was by him to give him sweet replies
No stone marks the lonely sod of my lad so brave and true
In a lowly grave he's sleeping in his faded coat of blue.
Faded Flowers is based on a parlor song by James Powers and JH Brown published in 1851. It was recorded first in 1928 and is also known as "Lost Love."http://memory.loc.gov/cgi-bin/ampage?collId=mussm&fileName=sm/sm1883/24100/24159/mussm24159.db&recNum=0&itemLink=D?mussm:6:./tem
FADED FLOWERS- Carter family 1933
[INSTRUMENTAL BREAK]
The flowers I saw in the wildwood
Have since dropped their beautiful leaves
And the many dear friends of my childhood
Have slumbered for years in their graves
But the bloom of the flowers I remember
Though their smiles I may nevermore see
For the cold, chilly winds of December
Stole my flowers' companions from me
'Tis no wonder that I'm brokenhearted
And stricken with sorrows should be
For we have met, we have loved, we have parted
My flowers' companions and me [INSTRUMENTAL BREAK]
How dark looks this world and how dreary
When we part from the ones that we love
There is rest for the faint and the weary
And friends meet with loved ones above
For in heaven I can but remember
When from earth my soul shall be freed
That no cold, chilly winds of December
Shall steal my companions from me [INSTRUMENTAL BREAK]
'Tis no wonder that I'm brokenhearted
And stricken with sorrows should be
For we have met, we have loved, we have parted
My flowers' companions and me
"Farewell Nellie" is part of the large group of True Lover's Farewell songs. According to the Carter's biography this is a reworking of traditional material by Sara. The inital verse is very close to a soldier's Civil War song found throught the region.
From Belden, I don't have access to the whole song:
Fly across the ocean, birdie,
Fly across the deep blue sea,
There you'll find an untrue lover,
Untrue, yes, untrue to me.
The song is related to A Litle Bunch of Roses:http://lcweb2.loc.gov/diglib/ihas/loc.natlib.ihas.100005476/enlarge.html?page=2&from=pageturner In my opinion Farewell Nellie is a traditional song arranged by Sara that shows her own feelings towards her future husband Coy Bays.
FAREWELL NELLIE- Attributed to Sara Bays Carter 1937
Farewell, Nellie, farewell
Soon with strangers I must roam
Don't forget the one that loves you
Far away from friends and home
Fly across the ocean, birdie
Fly across the deep, blue sea
Take this message to my darling
She'll be glad to hear from me
You have told me that you love me
But you have unproved true
So I'll go and court some other
That will love more than you
When the whippoorwills are singing
Across the dark and lonely sea
When you're thinking of ten thousand
Will you sometimes think of me
How my heart is filled with sorrow
And my eyes are filled with tears
So I'll not forget you, darling
If I live ten thousand years
Fate of Dewey Lee, is an event song "written" by AP Carter about the 1931 murder of Dewey Lee. Again we see AP using other sources for inspiration. "Someone gave him a poem and he wrote it," said Janette. [from the Carter's biography]
The man who killed Dewey Lee was convicted and sent to prison in Richmond. AP later regretted writing the song. "He used to say," said Janettte, "They've still got people living, I shouldn't have done that." At the time (1935) AP and Sara had separated and AP had trouble coming up with songs.
THE FATE OF DEWEY LEE- AP Carter
'Twas on one Saturday evening
About the hour of ten
In a little mining town
Where trouble did begin
Everybody there were drinking
There were whiskey everywhere
Dewey Lee got to thinking
He had no business there
He was so tall and handsome
His heart so true and brave
Joe Jenkins pulled his pistol
And sent him to his grave
He took the life of Dewey
When life had just began
And Dewey went to Heaven
While Joe went to the pen
He took the life of Dewey
Because he would not tell
We know he murdered Dewey
For Dewey's pistol fell
His mother sits now weepin'
She weeps and mourns all day
She prays to meet her boy
In a better world some day
So hearken to my story
And what I have to say
Get right with your Maker
We'll meet Him again some day
The clerk said, "Stand up, boy
And listen to your crime!"
They sent him down to Richmond
To serve out his time
Young men all take warning
For this you must outlive
Don't take the life of anyone
For life you cannot give
You may possess great riches
Put many beneath the sod
But money won't hire a lawyer
When you stand before your God
Fifty Miles of Elbow Room was written by Herbert Buffum 1879-1939. After moving with his family to California and being converted to Christ at age 18, Buffum felt a call to the ministry. He held ministerial credentials with the Church of the Nazarene, and was a holiness/Pentecostal evangelist. He was also a prolific song writer, with many songs inspired by personal experience; he had 10,000 songs to his credit, 1,000 actually published. Ripley's "Believe It or Not" claimed he once wrote 12 songs in an hour.
Though a talented musician, Buffum received no musical training. He sold most of his songs for five dollars or less. When he died, the Los Angeles Times called him "The King of Gospel Song Writers."A classic version is the 1930 recording by Reverend F. W. McGee, Anthology of American Folk Music, Smithsonian/Folkways SFW 40090, CD( (1997), trk# 55 [1930/06/16]
FIFTY MILES OF ELBOW ROOM Carter Family
Twelve thousand miles its length and breadth
The foursquare city stands
Its gemset walls of jasper shine
Not made by human hands
100 miles its gates are wide
Abundant entrance there
With fifty miles of elbow room
On either side to spare
When the gates swing wide on the other side
Just beyond the sunset sea
There'll be room to spare as we enter there
Room for you and room for me
For the gates are wide on the other side
Where the flowers ever bloom
On the right hand, on the left hand
Fifty miles of elbow room
Sometimes I'm cramped and crowded here
And long for elbow room
I want to reach for altitude
Where the fairest flowers bloom
It won't be long before I pass
Into that city fair
With fifty miles of elbow room
On either side to spare
Foggy Mountain Top is one of the Carters well known songs. Earl Skruggs formed his own group, the Foggy Mountain Boys, which was named this song. The song Rocky Mountain Top is the basis for the Carters:http://www.traditionalmusic.co.uk/english-folk-songs/southern-appalachians%20-%200305.htm I have another version of Rocky Mountain Top in my edition.
Randolph collected a version as did Brown. It's hard to tell if the Carters song was the basis for songs collected after 1940. The JOAFL 1945 has the text. The song is related to the false Young Man songs: White Oak Mountain and Rocky Mountain Side. The Carters are a collection of floating lyrics.
FOGGY MOUNTAIN TOP- Carter Family 1929
If I was on some foggy mountain top
I'd sail away to the west
I'd sail around this whole wide world
To the girl I love the best
If I had listened what mama said
I would not have been here today
A-lying around this old jail house
A-weeping my sweet life away
Yeah, oh-lay-ee-oh, lee-oh-la-ee-ay
Lee-oh-lay-ee, lay-ee, oh-lay-ee [INSTRUMENTAL BREAK]
Oh, if you see that girl of mine
There's something you must tell her
She need not be foolin' no time away
To court some other feller
Oh, she's caused me to weep, she's caused me to mourn
She caused me to leave my home
For the lonesome pine and the good old times
I'm on my way back home
Yeah, oh-lay-ee-oh, lee-oh-la-ee-ay
Lee-oh-lay-ee, lay-ee, oh-lay-ee [INSTRUMENTAL BREAK]
Oh, when you go a-courtin'
I'll tell you how to do
Pull off that long-tailed roustabout
Put on your navy blue
Yeah, oh-lay-ee-oh, lee-oh-la-ee-ay
Lee-oh-lay-ee, lay-ee, oh-lay-ee [INSTRUMENTAL BREAK]
Fond Affection is another song with different names and related to many other songs. "Dear Companion," "The Broken Heart;" and "Go and Leave Me If You Wish To" are some of different names. The Carter Family's "Fond Affection" was recorded on Victor 23585, 1931 and Montgomery Ward M-4744, 1935.
The lyrics are often associated to "Columbus Stockade Blues" but the melody is different. It's been collected in 1909 by Belden. If someone has lyrics it would be welcome here. Randolph calls the song "The Broken Heart" with 7 texts. I have Sharp 111 "The Dear Companion" (1 text, 1 tune)and Ritchie-Southern, p. 10, "Dear Companion" (1 text, 1 tune)BrownII 153, has 13 texts listed as "Fond Affection." Here are some related recordings:
Dock Boggs, "I Hope I Live a Few More Days"
Crowder Brothers, "Leave Me Darling, I Don't Mind" (Melotone 7-04-70, 1937)
Clarence Green, "Fond Affection" (Columbia 15311-D, 1928)
Sid Harkreader, "Many Days With You I Wandered" (Vocalion 15100, 1925)
Kelly Harrell, "Bye and Bye You Will Forget Me" (Victor 20535, 1926; on KHarrell02
Mainer's Mountaineers "Let Her Go God Bless Her" (Bluebird [Canada] B-6104, 1935)
Lester McFarland & Robert Gardner, "Go and Leave Me If You Wish" (Brunswick 293, 1929; rec. 1928)
David Miller, "Many Times With You I've Wandered" (Champion 15429, 1928)
FOND AFFECTION- Carter Family
[INSTRUMENTAL BREAK]
Once I loved your fond affection
All my hopes on you was spent
Till a dark eyed girl persuaded
And you cared no more for me
CHORUS: Go on and leave me if you wish to
Never let me cross your mind
In your heart you love another
Never on earth will call you mine
Yodel-ay-ee-oh, lay-ee-ay, oh-lay-ee [INSTRUMENTAL BREAK]
When I'm dead and in my coffin
And my pale face toward the sun
Will you come and sit beside me
And think of what you have done CHORUS:
When I'm dead and in my coffin
And the shroud around me bound
Will you come and scatter roses
Upon your lover's mound CHORUS:
Forsaken Love is known as "I Will Love You/Thee Always," "Out in the (Pale)Moonlight" and "I Love You Nellie/Nelly." This might be based on an older parlor song. Anyone?
Compare to this standard country version:
I LOVE YOU NELLIE- Hank Snow
Standing in the moonlight by the old garden gate
Nellie, my darlin', I know you will wait
Wait for me, dearest, he said in tears
Then I'll be your sweetheart through all the long years.
CHORUS: I love you Nellie, yes I'll be true
All these long years have been just for you
And believe me, Nellie, when I'm far away
I'll not forget you, I'll be with you someday.
Standing in the moonlight by the old garden gate
Nellie, my darlin', I know you will wait
Wait for me, dearest, he said in tears
Then I'll be your sweetheart through all the long years.
CHORUS:
Early next morning at the break of day
He was to journey so far away
Drawing her nearer, his promised bride
By the pale moonlight these words he replied. CHORUS:
FORSAKEN LOVE- Carter family 1928
They stood in the moonlight nearby the gate
Goodbye, my darling, I know you'll wait
She ceased weeping and smiled through tears
Saying, I've been true, love, through these long years
For on tomorrow at the break of day
He was to journey far far away
He held her closer, his promised bride
And to her questions these words replied
I've loved you always, yes, I've been true
My heart shall never be, love, but for you
Oh, darling, believe me, far over the sea
Through life or death, still faithful I'll be
One year passed by, he's coming home
His pilgrimage over, no longer to roam
And smiling, he thinks of her shining eye
Shining with welcome, a glad surprise
A dainty letter he takes from his breast
To which his extended lips were pressed
And reading once more by the warming light
The words he had spoken to her that night
I've loved you always, yes, I've been true
My heart shall never be, love, but for you
Oh, darling, believe me, far over the sea
Through life or death, still faithful I'll be
Once more he seeks the old garden gate
But he arrives, alas, alas, it's too late
The wedding is over, the knot is tied
He finds his darling another's bride
And later they found him there on the grass
A pistol nearby, still holding fast
A crop of letters that explained the deed
And in the pale moonlight these words did read
I've loved you always, yes, I've been true
My heart shall never be, love, but for you
Oh, darling, believe me, far over the sea
Through life or death, still faithful I'll be
Funny When You Feel That Way is "It's Funny when you Feel that Way" by George Harris 1873. Here's a link:http://memory.loc.gov/cgi-bin/ampage?collId=mussm&fileName=sm/sm1873/14000/14066/mussm14066.db&recNum=1&itemLink=D?mussm:2:./tem
This was firrst recorded by one of Gene Autry's musical partners Frankie Marvin in 1929. The Carter's did their version in 1937.
FUNNY WHEN YOU FEEL THAT WAY- Carter Family
I can't forget how queer I felt
Since first I fell in love
I had a most sincere attack
From squeezing a lady's glove
Her lovely hand was in it
As we waltzed around so gay
I thought myself in paradise
It's funny when you feel that way
CHORUS: It's funny when you feel that way
It's funny when you feel that way
I thought myself in paradise
It's funny when you feel that way [INSTRUMENTAL BREAK]
Again we met one afternoon
As we were all alone
I plucked up nerve to ask
If she would someday be my own
She blushed and said, we'll ask papa
And ask him if I may
I danced a canter 'round the room
It's funny when you feel that way CHORUS:
The old boy said that we might wed
And so he crowned my bliss
And I shall be a double man
In about a month from this
It seemed to me somehow the time
Would never pass away
I long to hear those wedding bells
It's funny when you feel that way CHORUS:
Whew! That's a bunch for one post,
See ya later,
Richard
There are Carters songs titled with E-F: East Virginia Blues; East Virginia Blues No. 2; Engine 143; Evening Bells Are Ringing; Faded Coat of Blue; Faded Flowers; Farewell Nellie; Fate of Dewey Lee; Fifty Miles of Elbow Room; Foggy Mountain Top; Fond Affection; Forsaken Love; and Funny When You Feel That Way.
The Carters recorded East Virginia Blues in 1934 and East Virginia Blues No. 2 in 1935. I've included the lyrics below for comparison. This is an old, widely known and recorded song. It was collected by Sharp in 1917 and is listed as "In Old Virginny." There are four versions Version A and B are closely related. Version C is Man of Constant Sorrow. This song has been titled "Dark Hollar Blues" by Ashley. It's also called "East Viginia" and "Old Virginny." Some branches of the song can be traced back to England.
EAST VIRGINIA BLUES- Carter Family; 1934 version (Victor 27494)
(Guitar Inst.)
I was born in East Virginia
North Carolina I did go.
There I spied a fair young lady
And her age I did not know. (Inst.)
Her hair was dark in color,
Her cheeks were rosy red.
Upon her breast she wore white lilies,
Where I longed to lay my head. (Inst.)
Oh, at my heart you are my darlin'
At my door you're welcome in,
At my gate I'll always meet you
For you're the girl I tried to win.(Inst.)
I'd rather be in some dark holler
Where the sun refuse to shine
Than for you to be another man's darlin'
And to know you'll never be mine.
EAST VIRGINIA BLUES NO.2- Carter Family 1935
My sweetheart has gone and left me,
And my little sisters, too.
And I'm left alone in sadness,
Lord, I don't know what to do.
All this world has turned against me,
Nothing but trouble do I see
There will be no more pleasure,
In this whole wide world for me. [INSTRUMENTAL BREAK]
Oh, I am just from East Virginia,
With a heart so brave and true.
And I learned to love a maiden,
With eyes of heavenly blue.
That same day I packed my suitcase,
And I started to go away.
But she met me at the station,
Saying, darling, won't you stay. [INSTRUMENTAL BREAK]
Oh, I am dying, Captain, dying,
Won't you take these words for me.
Take them over to the jailhouse,
Let this whole wide world go free.
Engine 143 also called the "Wreck on the C & O" is the Carter Family version of the Oct 23, 1890 death of engineer George Alley when the FFV train on the Chesapeake and Ohio Railroad was wrecked by a landslide near Hinton, West Virginia.
Cox collected versions from 1915-1918. The Carters is based on existing lyrics. His engine number was Number 4 (not 143 as in the song). The express F.F.V., in the first stanza, refers to the name of the train, the Fast Flying Vestibule. The ballad is believed to have been composed by an African-American engine-wiper at the station in Hinton, West Virginia. Cohen says the official name of the FFV was Fast Flying Virginian, but it has several nicknames, including First Families of Virginia, Fuller's First Venture, and Fast Flying Vestibule.
ENGINE 143- Carter Family
Along came the FFV, the swiftest on the line,
Running o'er the C&O road just twenty minutes behind;
Running into Souville, headquarters on the line,
Receiving her strict orders from a station just behind.
Georgie's mother came to him with a bucket on her arm,
Saying, "My darling son, be careful how you run;
For many a man has lost his life in trying to make lost time,
And if you run your engine right, you'll get there just on time.
"Up the road she darted, against the rock she crushed,
Upside down the engine turned and Georgie's breast did smash;
His head was against the firebox door, the flames were rolling high,
"I'm glad I was born for an engineer to die on the C&O Road.
"The doctor said to Georgie, "My darling boy, be still,
Your life may yet be saved, if it is God's blessed will."
"Oh, no," said George, "that will not do, I want to die so free,
I want to die for the engine I love, One Hundred and Forty Three.
"The doctor said to Georgie, "Your life cannot be saved.
"Murdered upon a railroad, and laid in a lonesome grave,
His face was covered up with blood, his eyes you could not see,
And the very last words poor Georgie said was, "Nearer My God To Thee."
"Evening Bells Are Ringing" is a song arranged by A.P. Carter. Although the title is a phrase that has been used in poems and the lyrics seem based on a parlor song from the 1800s, I can't find an earlier source. Anyone?
THE EVENING BELLS ARE RINGING- AP Carter 1934
[INSTRUMENTAL BREAK]
Moonlight shining over Dixie
To my heart will ever bring
Dreams of snowy fields of cotton
Everywhere the darkies sing
In the evening by the moonlight
In dear old Tennessee
And the evening bells were ringing
Across the hills so tenderly [INSTRUMENTAL BREAK]
Moonlight makes me sigh for you, dear
Makes me long to hold your hand
I know I'm missing hugs and kisses
Far away from Dixieland
In the evening by the moonlight
In dear old Tennessee
And the evening bells were ringing
Across the hills so tenderly [INSTRUMENTAL BREAK]
My darling, come, for I am waiting
Come, let me hold you very near
We'll build a bower among the flowers
Down in Dixieland
In the evening by the moonlight
In dear old Tennessee
And the evening bells were ringing
Across the hills so tenderly
"Faded Coat of Blue" is a Civil War song by J.H. McNaughton written in 1865. The Carters recorded the song in 1934 after Buell Kazee's classic version was done in 1928. Another title of the song is "Nameless Grave." The original sheet music may be found in the Levy Collection.
FADED COAT OF BLUE- Carter Family
My brave boy sleeps in his faded coat of blue
In a lonely grave unknown lies the heart that beat so true.
He sank faint and hungry among the Spanish brave
And they laid him sad and lonely in a nameless grave.
CHORUS: No more the bugle calls the weary one.
Rest, noble spirit in their graves unknown
For we'll find you and know you among the good and true
Where a robe of white is given for a faded coat of blue.
[INSTRUMENTAL BREAK]
He cried "Give me water and just a little crumb
And my mother she will bless you through all the years to come
And tell my sweet sister, so gentle, good and true.
That I'll meet her up in heaven in my faded coat of blue".
[INSTRUMENTAL BREAK]
No dear one was nigh him to close his mild blue eyes
No gentle voice was by him to give him sweet replies
No stone marks the lonely sod of my lad so brave and true
In a lowly grave he's sleeping in his faded coat of blue.
Faded Flowers is based on a parlor song by James Powers and JH Brown published in 1851. It was recorded first in 1928 and is also known as "Lost Love."http://memory.loc.gov/cgi-bin/ampage?collId=mussm&fileName=sm/sm1883/24100/24159/mussm24159.db&recNum=0&itemLink=D?mussm:6:./tem
FADED FLOWERS- Carter family 1933
[INSTRUMENTAL BREAK]
The flowers I saw in the wildwood
Have since dropped their beautiful leaves
And the many dear friends of my childhood
Have slumbered for years in their graves
But the bloom of the flowers I remember
Though their smiles I may nevermore see
For the cold, chilly winds of December
Stole my flowers' companions from me
'Tis no wonder that I'm brokenhearted
And stricken with sorrows should be
For we have met, we have loved, we have parted
My flowers' companions and me [INSTRUMENTAL BREAK]
How dark looks this world and how dreary
When we part from the ones that we love
There is rest for the faint and the weary
And friends meet with loved ones above
For in heaven I can but remember
When from earth my soul shall be freed
That no cold, chilly winds of December
Shall steal my companions from me [INSTRUMENTAL BREAK]
'Tis no wonder that I'm brokenhearted
And stricken with sorrows should be
For we have met, we have loved, we have parted
My flowers' companions and me
"Farewell Nellie" is part of the large group of True Lover's Farewell songs. According to the Carter's biography this is a reworking of traditional material by Sara. The inital verse is very close to a soldier's Civil War song found throught the region.
From Belden, I don't have access to the whole song:
Fly across the ocean, birdie,
Fly across the deep blue sea,
There you'll find an untrue lover,
Untrue, yes, untrue to me.
The song is related to A Litle Bunch of Roses:http://lcweb2.loc.gov/diglib/ihas/loc.natlib.ihas.100005476/enlarge.html?page=2&from=pageturner In my opinion Farewell Nellie is a traditional song arranged by Sara that shows her own feelings towards her future husband Coy Bays.
FAREWELL NELLIE- Attributed to Sara Bays Carter 1937
Farewell, Nellie, farewell
Soon with strangers I must roam
Don't forget the one that loves you
Far away from friends and home
Fly across the ocean, birdie
Fly across the deep, blue sea
Take this message to my darling
She'll be glad to hear from me
You have told me that you love me
But you have unproved true
So I'll go and court some other
That will love more than you
When the whippoorwills are singing
Across the dark and lonely sea
When you're thinking of ten thousand
Will you sometimes think of me
How my heart is filled with sorrow
And my eyes are filled with tears
So I'll not forget you, darling
If I live ten thousand years
Fate of Dewey Lee, is an event song "written" by AP Carter about the 1931 murder of Dewey Lee. Again we see AP using other sources for inspiration. "Someone gave him a poem and he wrote it," said Janette. [from the Carter's biography]
The man who killed Dewey Lee was convicted and sent to prison in Richmond. AP later regretted writing the song. "He used to say," said Janettte, "They've still got people living, I shouldn't have done that." At the time (1935) AP and Sara had separated and AP had trouble coming up with songs.
THE FATE OF DEWEY LEE- AP Carter
'Twas on one Saturday evening
About the hour of ten
In a little mining town
Where trouble did begin
Everybody there were drinking
There were whiskey everywhere
Dewey Lee got to thinking
He had no business there
He was so tall and handsome
His heart so true and brave
Joe Jenkins pulled his pistol
And sent him to his grave
He took the life of Dewey
When life had just began
And Dewey went to Heaven
While Joe went to the pen
He took the life of Dewey
Because he would not tell
We know he murdered Dewey
For Dewey's pistol fell
His mother sits now weepin'
She weeps and mourns all day
She prays to meet her boy
In a better world some day
So hearken to my story
And what I have to say
Get right with your Maker
We'll meet Him again some day
The clerk said, "Stand up, boy
And listen to your crime!"
They sent him down to Richmond
To serve out his time
Young men all take warning
For this you must outlive
Don't take the life of anyone
For life you cannot give
You may possess great riches
Put many beneath the sod
But money won't hire a lawyer
When you stand before your God
Fifty Miles of Elbow Room was written by Herbert Buffum 1879-1939. After moving with his family to California and being converted to Christ at age 18, Buffum felt a call to the ministry. He held ministerial credentials with the Church of the Nazarene, and was a holiness/Pentecostal evangelist. He was also a prolific song writer, with many songs inspired by personal experience; he had 10,000 songs to his credit, 1,000 actually published. Ripley's "Believe It or Not" claimed he once wrote 12 songs in an hour.
Though a talented musician, Buffum received no musical training. He sold most of his songs for five dollars or less. When he died, the Los Angeles Times called him "The King of Gospel Song Writers."A classic version is the 1930 recording by Reverend F. W. McGee, Anthology of American Folk Music, Smithsonian/Folkways SFW 40090, CD( (1997), trk# 55 [1930/06/16]
FIFTY MILES OF ELBOW ROOM Carter Family
Twelve thousand miles its length and breadth
The foursquare city stands
Its gemset walls of jasper shine
Not made by human hands
100 miles its gates are wide
Abundant entrance there
With fifty miles of elbow room
On either side to spare
When the gates swing wide on the other side
Just beyond the sunset sea
There'll be room to spare as we enter there
Room for you and room for me
For the gates are wide on the other side
Where the flowers ever bloom
On the right hand, on the left hand
Fifty miles of elbow room
Sometimes I'm cramped and crowded here
And long for elbow room
I want to reach for altitude
Where the fairest flowers bloom
It won't be long before I pass
Into that city fair
With fifty miles of elbow room
On either side to spare
Foggy Mountain Top is one of the Carters well known songs. Earl Skruggs formed his own group, the Foggy Mountain Boys, which was named this song. The song Rocky Mountain Top is the basis for the Carters:http://www.traditionalmusic.co.uk/english-folk-songs/southern-appalachians%20-%200305.htm I have another version of Rocky Mountain Top in my edition.
Randolph collected a version as did Brown. It's hard to tell if the Carters song was the basis for songs collected after 1940. The JOAFL 1945 has the text. The song is related to the false Young Man songs: White Oak Mountain and Rocky Mountain Side. The Carters are a collection of floating lyrics.
FOGGY MOUNTAIN TOP- Carter Family 1929
If I was on some foggy mountain top
I'd sail away to the west
I'd sail around this whole wide world
To the girl I love the best
If I had listened what mama said
I would not have been here today
A-lying around this old jail house
A-weeping my sweet life away
Yeah, oh-lay-ee-oh, lee-oh-la-ee-ay
Lee-oh-lay-ee, lay-ee, oh-lay-ee [INSTRUMENTAL BREAK]
Oh, if you see that girl of mine
There's something you must tell her
She need not be foolin' no time away
To court some other feller
Oh, she's caused me to weep, she's caused me to mourn
She caused me to leave my home
For the lonesome pine and the good old times
I'm on my way back home
Yeah, oh-lay-ee-oh, lee-oh-la-ee-ay
Lee-oh-lay-ee, lay-ee, oh-lay-ee [INSTRUMENTAL BREAK]
Oh, when you go a-courtin'
I'll tell you how to do
Pull off that long-tailed roustabout
Put on your navy blue
Yeah, oh-lay-ee-oh, lee-oh-la-ee-ay
Lee-oh-lay-ee, lay-ee, oh-lay-ee [INSTRUMENTAL BREAK]
Fond Affection is another song with different names and related to many other songs. "Dear Companion," "The Broken Heart;" and "Go and Leave Me If You Wish To" are some of different names. The Carter Family's "Fond Affection" was recorded on Victor 23585, 1931 and Montgomery Ward M-4744, 1935.
The lyrics are often associated to "Columbus Stockade Blues" but the melody is different. It's been collected in 1909 by Belden. If someone has lyrics it would be welcome here. Randolph calls the song "The Broken Heart" with 7 texts. I have Sharp 111 "The Dear Companion" (1 text, 1 tune)and Ritchie-Southern, p. 10, "Dear Companion" (1 text, 1 tune)BrownII 153, has 13 texts listed as "Fond Affection." Here are some related recordings:
Dock Boggs, "I Hope I Live a Few More Days"
Crowder Brothers, "Leave Me Darling, I Don't Mind" (Melotone 7-04-70, 1937)
Clarence Green, "Fond Affection" (Columbia 15311-D, 1928)
Sid Harkreader, "Many Days With You I Wandered" (Vocalion 15100, 1925)
Kelly Harrell, "Bye and Bye You Will Forget Me" (Victor 20535, 1926; on KHarrell02
Mainer's Mountaineers "Let Her Go God Bless Her" (Bluebird [Canada] B-6104, 1935)
Lester McFarland & Robert Gardner, "Go and Leave Me If You Wish" (Brunswick 293, 1929; rec. 1928)
David Miller, "Many Times With You I've Wandered" (Champion 15429, 1928)
FOND AFFECTION- Carter Family
[INSTRUMENTAL BREAK]
Once I loved your fond affection
All my hopes on you was spent
Till a dark eyed girl persuaded
And you cared no more for me
CHORUS: Go on and leave me if you wish to
Never let me cross your mind
In your heart you love another
Never on earth will call you mine
Yodel-ay-ee-oh, lay-ee-ay, oh-lay-ee [INSTRUMENTAL BREAK]
When I'm dead and in my coffin
And my pale face toward the sun
Will you come and sit beside me
And think of what you have done CHORUS:
When I'm dead and in my coffin
And the shroud around me bound
Will you come and scatter roses
Upon your lover's mound CHORUS:
Forsaken Love is known as "I Will Love You/Thee Always," "Out in the (Pale)Moonlight" and "I Love You Nellie/Nelly." This might be based on an older parlor song. Anyone?
Compare to this standard country version:
I LOVE YOU NELLIE- Hank Snow
Standing in the moonlight by the old garden gate
Nellie, my darlin', I know you will wait
Wait for me, dearest, he said in tears
Then I'll be your sweetheart through all the long years.
CHORUS: I love you Nellie, yes I'll be true
All these long years have been just for you
And believe me, Nellie, when I'm far away
I'll not forget you, I'll be with you someday.
Standing in the moonlight by the old garden gate
Nellie, my darlin', I know you will wait
Wait for me, dearest, he said in tears
Then I'll be your sweetheart through all the long years.
CHORUS:
Early next morning at the break of day
He was to journey so far away
Drawing her nearer, his promised bride
By the pale moonlight these words he replied. CHORUS:
FORSAKEN LOVE- Carter family 1928
They stood in the moonlight nearby the gate
Goodbye, my darling, I know you'll wait
She ceased weeping and smiled through tears
Saying, I've been true, love, through these long years
For on tomorrow at the break of day
He was to journey far far away
He held her closer, his promised bride
And to her questions these words replied
I've loved you always, yes, I've been true
My heart shall never be, love, but for you
Oh, darling, believe me, far over the sea
Through life or death, still faithful I'll be
One year passed by, he's coming home
His pilgrimage over, no longer to roam
And smiling, he thinks of her shining eye
Shining with welcome, a glad surprise
A dainty letter he takes from his breast
To which his extended lips were pressed
And reading once more by the warming light
The words he had spoken to her that night
I've loved you always, yes, I've been true
My heart shall never be, love, but for you
Oh, darling, believe me, far over the sea
Through life or death, still faithful I'll be
Once more he seeks the old garden gate
But he arrives, alas, alas, it's too late
The wedding is over, the knot is tied
He finds his darling another's bride
And later they found him there on the grass
A pistol nearby, still holding fast
A crop of letters that explained the deed
And in the pale moonlight these words did read
I've loved you always, yes, I've been true
My heart shall never be, love, but for you
Oh, darling, believe me, far over the sea
Through life or death, still faithful I'll be
Funny When You Feel That Way is "It's Funny when you Feel that Way" by George Harris 1873. Here's a link:http://memory.loc.gov/cgi-bin/ampage?collId=mussm&fileName=sm/sm1873/14000/14066/mussm14066.db&recNum=1&itemLink=D?mussm:2:./tem
This was firrst recorded by one of Gene Autry's musical partners Frankie Marvin in 1929. The Carter's did their version in 1937.
FUNNY WHEN YOU FEEL THAT WAY- Carter Family
I can't forget how queer I felt
Since first I fell in love
I had a most sincere attack
From squeezing a lady's glove
Her lovely hand was in it
As we waltzed around so gay
I thought myself in paradise
It's funny when you feel that way
CHORUS: It's funny when you feel that way
It's funny when you feel that way
I thought myself in paradise
It's funny when you feel that way [INSTRUMENTAL BREAK]
Again we met one afternoon
As we were all alone
I plucked up nerve to ask
If she would someday be my own
She blushed and said, we'll ask papa
And ask him if I may
I danced a canter 'round the room
It's funny when you feel that way CHORUS:
The old boy said that we might wed
And so he crowned my bliss
And I shall be a double man
In about a month from this
It seemed to me somehow the time
Would never pass away
I long to hear those wedding bells
It's funny when you feel that way CHORUS:
Whew! That's a bunch for one post,
See ya later,
Richard
Carter Family: Recap of Songs A-F
Hi ,
We've now gone through the original Carter Family songs from A-F. See the details in the following posts. I'll put an asterisk by the songs that they wrote or have a unique arrangement. We can see the Carters songs are based on other existing songs or fragments of existing songs.
Amber Tresses: 1874 "Amber Tresses Tied in Blue," Words Samuel M. Mitchell, music H. P. Danks.
Anchored in Love; 1911 "Anchored in Love Divine" James Rowe & James Vaughan
*Answer to Weeping Willow: a rewrite of "Bury Me Beneath The Willow"
Are You Lonesome Tonight?: 1926 Lyrics Roy Turk, music Lou Hindman.
Are You Tired of Me, My Darling?: 1877 by Cook and Roland
*Away Out on Saint Sabbath: a rewrite of Bury Me on the Lone Prairie
*Bear Creek Blues; from Leslie Riddle, traditional blues verses from Blind Lemon others
Beautiful Home: 1898 by J. Howard Entwisle and Johnson Oatman
Beautiful Isle O'er the Sea: based on an earlier song, maybe Stoneman's.
Behind Those Stone Walls: based on an earlier song.
*Birds Were Singing of You: A.P. Carter as far as we know.
Black Jack David: traditional; taken from Cliff Carlisle; David Myrick
*Blackie's Gunman: rewrite of an unknown song
Bonnie Blue Eyes: arrangement of a traditional song
Bring Back My Blue Eyed Boy: arrangement of a traditional song
Bring Back My Boy: same song as above- arrangement of a traditional song
Broken Down Tramp: rewrite of an earlier song
Broken Hearted Lover; arrangement of a traditional song
*Buddies in the Saddle: 1940 attributed to Maybelle Carter
Bury Me Under the Weeping Willow: 1909 traditional folk song
*By the Touch of Her Hand: attributed to A.P. Carter
Can the Circle Be Unbroken (Bye and Bye): 1907 Ada Habershon, Music: Charles Gabriel.
Can't Feel at Home: 1919 as far as we know, traditional folk hymn and spiritual
Cannonball (Blues): from Leslie Riddle based on earlier song
Carter Family and Jimmie Rodgers in Texas; skit
*Carter's Blues; 1929 based on another song; title would need to be changed to avoid copyright issues.
Charlie and Nellie: traditional- based on earlier recordings
Chewing Gum: 1925 traditional song
Church in the Wildwood; 1857 James Rowe- words, William P. Pitts- music
Coal Miner's Blues: arranged collected by Leslie Riddle; traditional lyrics from coal camp.
Cowboy Jack: 1928 traditional based on an earlier song
Cowboy's Wild Song to His Herd: based on an earlier song
*Cuban Soldier: based on an unknown song
*Cyclone of Rye Cove: based on a poem sent to AP.
Dark and Stormy Weather: based on traditional lyrics
Dark Haired True Lover; 1918 text is in Robert Gordon Collection #1536
Darling Daisies: 1882 "Down by the Garden Wall" by Max Vernor.
Darling Little Joe: 1866 by V. E. Marsten.
*Darling Nellie Across the Sea: based on an unknown song
Diamonds in the Rough; 1897 CW Byron words and LL Pickett
Distant Land to Roam; LM Bandy's 1902 song "Leaving Home"
Don't Forget Me Little Darling; 1874. C.W. Vance- Words and RS Crandall
Don't Forget This Song: 1910 based on "Bad Companions" or "Young Companions"
Dying Mother: 1881 Nona Lawson- words and C. M. Tate
*Dying Soldier: based on an unknown song; the title may be used
East Virginia Blues: Traditional
East Virginia Blues No. 2; Traditional
Engine 143; 1915 traditional ballad
*Evening Bells Are Ringing: 1934 based on an unknown song by A.P Carter
Faded Coat of Blue; 1865 Civil War song by J.H. McNaughton
Faded Flowers: 1851 song by James Powers and JH Brown
*Fate of Dewey Lee: based on a poem by A.P. Carter
*Farewell Nellie: reworking of traditional material by Sara Carter
Fifty Miles of Elbow Room: written by Herbert Buffum 1879-1939
Foggy Mountain Top: traditional, based on earlier song
Fond Affection: traditional arranged by Carters
Forsaken Love: traditional arranged by Carters
Funny When You Feel That Way: 1873 "It's Funny when you Feel that Way" by George Harris
By looking at the list of 59 songs above we can see there are 15 songs that would be difficult to use freely without getting permission. Several of questionable songs you could use but would need to change the title: Bear Creek Blues (could be Cripple Creek Blues or whatever) since the Carters (Leslie Riddle) used traditional lyrics.
It looks like there are 6 songs that they wrote (four by AP). Even the ones they wrote were based on other material. Some of the other 15 questionable songs are based on songs but we don't know yet what the songs are. The Carter also received songs from their followers. I don't know the extent of songs they got except the "Fate of Dewey Lee."
The amount of time and effort AP took to find their songs should not be underestimated. You need to remember that many of their arrangements are copyrighted (except the ones they based on other earlier arrangements like "Black Jack David" and "Charlie and Nellie.")
Richard
We've now gone through the original Carter Family songs from A-F. See the details in the following posts. I'll put an asterisk by the songs that they wrote or have a unique arrangement. We can see the Carters songs are based on other existing songs or fragments of existing songs.
Amber Tresses: 1874 "Amber Tresses Tied in Blue," Words Samuel M. Mitchell, music H. P. Danks.
Anchored in Love; 1911 "Anchored in Love Divine" James Rowe & James Vaughan
*Answer to Weeping Willow: a rewrite of "Bury Me Beneath The Willow"
Are You Lonesome Tonight?: 1926 Lyrics Roy Turk, music Lou Hindman.
Are You Tired of Me, My Darling?: 1877 by Cook and Roland
*Away Out on Saint Sabbath: a rewrite of Bury Me on the Lone Prairie
*Bear Creek Blues; from Leslie Riddle, traditional blues verses from Blind Lemon others
Beautiful Home: 1898 by J. Howard Entwisle and Johnson Oatman
Beautiful Isle O'er the Sea: based on an earlier song, maybe Stoneman's.
Behind Those Stone Walls: based on an earlier song.
*Birds Were Singing of You: A.P. Carter as far as we know.
Black Jack David: traditional; taken from Cliff Carlisle; David Myrick
*Blackie's Gunman: rewrite of an unknown song
Bonnie Blue Eyes: arrangement of a traditional song
Bring Back My Blue Eyed Boy: arrangement of a traditional song
Bring Back My Boy: same song as above- arrangement of a traditional song
Broken Down Tramp: rewrite of an earlier song
Broken Hearted Lover; arrangement of a traditional song
*Buddies in the Saddle: 1940 attributed to Maybelle Carter
Bury Me Under the Weeping Willow: 1909 traditional folk song
*By the Touch of Her Hand: attributed to A.P. Carter
Can the Circle Be Unbroken (Bye and Bye): 1907 Ada Habershon, Music: Charles Gabriel.
Can't Feel at Home: 1919 as far as we know, traditional folk hymn and spiritual
Cannonball (Blues): from Leslie Riddle based on earlier song
Carter Family and Jimmie Rodgers in Texas; skit
*Carter's Blues; 1929 based on another song; title would need to be changed to avoid copyright issues.
Charlie and Nellie: traditional- based on earlier recordings
Chewing Gum: 1925 traditional song
Church in the Wildwood; 1857 James Rowe- words, William P. Pitts- music
Coal Miner's Blues: arranged collected by Leslie Riddle; traditional lyrics from coal camp.
Cowboy Jack: 1928 traditional based on an earlier song
Cowboy's Wild Song to His Herd: based on an earlier song
*Cuban Soldier: based on an unknown song
*Cyclone of Rye Cove: based on a poem sent to AP.
Dark and Stormy Weather: based on traditional lyrics
Dark Haired True Lover; 1918 text is in Robert Gordon Collection #1536
Darling Daisies: 1882 "Down by the Garden Wall" by Max Vernor.
Darling Little Joe: 1866 by V. E. Marsten.
*Darling Nellie Across the Sea: based on an unknown song
Diamonds in the Rough; 1897 CW Byron words and LL Pickett
Distant Land to Roam; LM Bandy's 1902 song "Leaving Home"
Don't Forget Me Little Darling; 1874. C.W. Vance- Words and RS Crandall
Don't Forget This Song: 1910 based on "Bad Companions" or "Young Companions"
Dying Mother: 1881 Nona Lawson- words and C. M. Tate
*Dying Soldier: based on an unknown song; the title may be used
East Virginia Blues: Traditional
East Virginia Blues No. 2; Traditional
Engine 143; 1915 traditional ballad
*Evening Bells Are Ringing: 1934 based on an unknown song by A.P Carter
Faded Coat of Blue; 1865 Civil War song by J.H. McNaughton
Faded Flowers: 1851 song by James Powers and JH Brown
*Fate of Dewey Lee: based on a poem by A.P. Carter
*Farewell Nellie: reworking of traditional material by Sara Carter
Fifty Miles of Elbow Room: written by Herbert Buffum 1879-1939
Foggy Mountain Top: traditional, based on earlier song
Fond Affection: traditional arranged by Carters
Forsaken Love: traditional arranged by Carters
Funny When You Feel That Way: 1873 "It's Funny when you Feel that Way" by George Harris
By looking at the list of 59 songs above we can see there are 15 songs that would be difficult to use freely without getting permission. Several of questionable songs you could use but would need to change the title: Bear Creek Blues (could be Cripple Creek Blues or whatever) since the Carters (Leslie Riddle) used traditional lyrics.
It looks like there are 6 songs that they wrote (four by AP). Even the ones they wrote were based on other material. Some of the other 15 questionable songs are based on songs but we don't know yet what the songs are. The Carter also received songs from their followers. I don't know the extent of songs they got except the "Fate of Dewey Lee."
The amount of time and effort AP took to find their songs should not be underestimated. You need to remember that many of their arrangements are copyrighted (except the ones they based on other earlier arrangements like "Black Jack David" and "Charlie and Nellie.")
Richard
Sally Goodin: Song History
Hi,
Here's my painting of Sally Goodin (click to enlarge).
Today we'll look at the history of the song which is one of the most popular fiddle tunes.
Here's a great version with lyrics:
SALLY GOODWIN- McMichen and Puckett http://www.juneberry78s.com/otmsampler/otmsampat272.html
(Fiddle)
(Fiddle)
Rasberry pie, huckleberry puddin',
Give it all away for to see Sally Goodin.
(Fiddle)
Looked to the hillside to see my Sally comin’
I thought to my soul I'll kill myself a-runnin'.
(Fiddle)
*Long ways to travel, the roads mighty muddy
I’m so drunk I can’t stand steady.
(Fiddle)
Rasberry pie, huckleberry puddin',
Give it all away for to see Sally Goodin.
(Fiddle)
Rasberry pie, huckleberry puddin',
Give it all away for to see Sally Goodin.
(Fiddle)
Well I love pie And I love puddin'
Crazy ‘bout the gal what they call Sally Goodin.
(Fiddle)
Long ways to travel, the road's mighty muddy
I’m so drunk I can’t stand steady.
(Fiddle)
Looked to the hillside to see my Sally comin’
I thought to my soul I'll kill myself a-runnin'.
(Fiddle)
Long ways to travel, the road's mighty muddy
I’m so drunk I can’t stand steady.
(Fiddle)
Looked to the hillside to see my Sally coming
I thought to my soul I'll kill myself a-runnin'.
(Fiddle)
*Forgets part of this verse, mumbled words
McMichen and Puckett's version is one that has lyrics. There are many solo fiddle versions and band versions.
DATE: Circa 1860’s by two sources; First recording 1922 Eck Robertson;
RECORDING INFO: Fiddlin' John Carson, "Sallie Goodman" (OKeh 40095-A, 1924); James Crase, "Sally Goodin" (on MMOKCD); Pickard Family, "Sally Goodin" (Regal 8810, 1929); Eck Robertson, "Sally Goodin" (Victor 18956, 1922); New Lost City Ramblers, "Sally Goodin" (on NLCR02) (NLCR16); Neil Morris & Charlie Everidge, "Sally Goodin" [instrumental w. dance calls] (on LomaxCD1707) Lee Ennis (Oklahoma County, Oklahoma) [Thede]; Kenner C Kartchner (Arizona) [Shumway]; Marion Yoders (fiddler and fifer from Greene County, Pa., 1961) [Bayard]; fiddler L.D. Snipes via Ray Knight (Lumpkin County, Georgia) [Rosenbaum]; Marcus Martin (western N.C.) [Phillips]; Major Franklin (Texas) [Phillips]; Clyde Davenport (Ky.) [Phillips]. Adam, 1928; No. 50. Bayard (Dance to the Fiddle), 1981; No. 273, pg. 229. Brody (Fiddler’s Fakebook), 1983; pgs. 246 & 247. Ford (Traditional Music in America), 1940; pg. 64 and 128 (discord version) [Ford also prints additional verses on page 419, and a dance of the same title on page 209]. Frets Magazine, "Byron Berline: The Fiddle," May 1980; pg. 60. Kaufman (Beginning Old Time Fiddle), 1977; pgs. 30 & 60. Lowinger (Bluegrass Fiddle), 1974; pgs. 13 & 33. Phillips, 1989{A}, pg. 37. Phillips (Traditional American Fiddle Tunes), 1994; pg. 210 (three versions). Rosenbaum (Folk Visions and Voices: Traditional Music and Song in North Georgia), 1989; pg. 210. Shumway (Frontier Fiddler), 1990; pg. 270 (mislabled as "Sally Johnson"). Sweet (Fifer’s Delight), 1965/1981; pg. 76. Thede (The Fiddle Book), 1967; pg. 32-33. Arhoolie C-220, Eck Robertson (et al) – “Southern String Bands, Vol. 1 & 2.” Briar 4201, Scotty Stoneman, "Live in L.A." Caney Mountain Records CEP 210 (privately issued extended play LP), Lonnie Robertson (Mo.), c. 1965-66. County 744, Kenny Baker, "Dry and Dusty." County 733, Clark Kessinger (W.Va.) , "The Legend of Clark Kessinger." County 703, Bartow Riley, "Texas Hoedown." County 705, Sonny Miller, "Virginia Breakdown." County CD5515, Eck Robertson – “ (1998). Document DOCD-8011, The Kessinger Brothers (reissue). Document DOCD-8042, Fiddlin’ Doc Roberts (reissue). Flying Fish 102, New Lost City Ramblers, "20 Years/Concert Performances" (1978). Folkways FA 2397, New Lost City Ramblers, "Vol. 2" (also on "Twenty Years Concert Performances"). Folkways FA 2337, “Clark Kessinger Live at Union Grove.” Gennett 6733 (78 RPM), 1928, G.B. Grayson (east Tenn.). Gennett 7221 (78 RPM), Doc Roberts (Ky.). Heritage 048, Lowe Stokes , "Georgia Fiddle Bands" (Brandywine 1972). Musical Traditions MTCD321-2, Ted Boyd (et al) – “Far on the Mountains, Vols. 1 & 2” (2002). Old-Timey Records OT-101, Eck Robertson , "Old Time Southern Dance Music: The String Bands, Vol. 2" (appears as "Sallie Gooden"). Omac 1, Thomasson, Shorty, Morris, O'Conner, "A Texas Jam Session." Omac 2, Berline, Bush and O'Conner, "In Concert." Rounder 0044, "J.D. Crowe and the New South." Rounder 0073, The White Brothers, "Live in Sweden." Rounder 1027, Johnnie Lee Wills, "Tulsa Swing." Rounder 0099, Dan Crary, "Lady's Fancy." Rounder 0101, John Hickman, "Don't Mean Maybe.” Rounder CD-0388, Gene Goforth – “Emminence Breakdown” (1997). Rounder CD 0359, Skip Gorman - "Lonesome Prairie Love" (1996). Rounder Cd0278, Mike Seegar – “Solo—Old Time Country Music” (1991). Rounder C11565, Ricky Skaggs , "Rounder Fiddle." Sonyatone 201, Eck Robertson (West Texas) , "Master Fiddler." Tradition TLP 1007, Mrs. Edd Presnell , "Instumental Music of the Southern Appalachians" (1956). Victor 18956 (78 RPM), Eck Robertson (West Texas) {1922}.
Recordings/print of Sally Goodin from Folk Index:
Ford, Ira W. / Traditional Music in America, Folklore Associates, Bk (1965/1940), p 64b
Ford, Ira W. / Traditional Music in America, Folklore Associates, Bk (1965/1940), p128b
Ford, Ira W. / Traditional Music in America, Folklore Associates, Bk (1965/1940), p419
Cazden, Norman (ed.) / Book of Nonsense Songs, Crown, Sof (1961), p 97
Emrich, Duncan / Folklore on the American Land, Little, Brown, sof (1972), p557 [1930s]
Isaac, Burton / Folk Fiddle by Burton Isaac, Mel Bay, fol (1964), p15
Lomax, Alan / Folksongs of North America, Doubleday Dolphin, Sof (1975/1960), p236/#121
Brody, David (ed.) / Guitar Pickers Fakebook, Oak, Sof (1984), p127
Baber, Carrie. Randolph, Vance / Ozark Folksongs. Volume III, Humorous & Play-Party ...,
University of Missouri, Bk (1980/1946), p350/#544A [1922/09/04]
Baker, Kenny. Dry and Dusty, County 744, LP (1973), trk# A.06
Barbour, Freeland. Fire in the Hearth, REL REL 462, LP (1977), trk# B.05a (Sally Was a
Good 'un)
Berline, Byron. Phillips, Stacy; & Kenny Kosak / Bluegrass Fiddle Styles, Oak, fol (1978), p 55 [1967]
Blevins, Frank. Devil's Box, Devil's Box, Ser, 32/2, p18b(1998) [1931]
Blue River Boys. 2nd Florida Bluegrass and Old Time Music Championships, Sunny
Mountain EB 1003, LP (1975?), trk# B.07
Boyd, Ted. Appalachia, The Old Traditions, Home Made Music LP-001, LP (1983), trk#
B.05 [1979/08/05]
Brody, David. Brody, David (ed.) / Fiddler's Fakebook, Oak, Sof (1983), p247
Brower, Cecil (Cousin Cecil). Old Fashion Country Hoedown, Cumberland MGC 29500,
LP (196?), trk# A.03
Brower, Cecil; and his Square Dance Fiddlers. America's Favorite Square Dances, Smash
MGS 27015, LP (196?), trk# A.05
Bush, Sam. Union Grove, The Hub of the Universe, Union Grove SS-4, LP (1970), trk# 2
[1970/04]
Carlin, Bob. Brody, David (ed.) / Banjo Picker's Fakebook, Oak, Fol (1985), p142b
Cedar Point String Band. Cedar Point String Band, Roane, Cas (1993), trk# 8
Clarke, Greg. Home Recordings - October 2001, Clarke, CD (2001), trk# 12b (Old Sally Goodin)
Claunch, W. E.. Anglo-American Shanties, Lyric Songs, Dance Tunes & Spirituals,
Library of Congress AFS L 2, LP (195?), trk# B.06 [1939]
Conroy, Mike. Montana Mountain Fiddle, Alpha 08361, LP (198?), trk# A.04
Crase, James. Mountain Music of Kentucky, Smithsonian/Folkways SF 40077, CD
(1996), trk# 2.52 [1959]
Cravens, Red; and the Bray Brothers. 419 W. Main, Rounder 0015, LP (1972), trk# 19
Crooked Road. Generations, Spencer, CD (2004), trk# 8a
Crowe, J.D.; and the New South. J. D. Crowe and the New South, Rounder 0044,
LP (1975), trk# 4
Cunningham, Bill. Cunningham, Bill / Hoedown Fiddle in America (How to Play It),
Cunningham, fol (1971), p19 (Sally/Salley Goodwin)
Cutler, Marty. Brody, David (ed.) / Banjo Picker's Fakebook, Oak, Fol (1985), p143a
Daugherty, Junior. Texas Music, Heritage (Galax) 066, LP (1986), trk# A.05
Daugherty, Junior. Cowboy Tour, NCTA --, Cas (1983), trk# B.04
Davenport, Clyde. Puncheon Camps, Appalachian Center Ser. AC 002, Cas (1992), trk# 9
Davenport, Clyde. Titon, Jeff Todd / Old Time Kentucky Fiddle Tunes, Kentucky,
Bk/ (2001), p170/#144B [1990/03/31]
Dillon, John W.. Folk Songs of America. The Robert Winslow Gordon Collection....,
Library of Congress AFS L68, LP (1978), trk# 5c [1925/10/22]
Elman, Tony. Swinging on a Gate, Acorn Tree 003, Cas (1986), trk# A.08
Ennis, Lee. Thede, Marion (ed.) / The Fiddle Book, Oak, Bk (1967), p 33 [1930s]
Everidge, Charlie. Southern Journey. Vol. 7: Ozark Frontier, Rounder 1707, CD
(1997), trk# 4 [1959/10]
Flatt & Scruggs & the Foggy Mountain Boys. Foggy Mountain Banjo, Columbia LE
10043, LP (196?), trk# 10
Forrester, Howdy. Fancy Fiddlin' Country Style, MGM E-4035, LP (197?), trk# B.02
Gentle, J. C.. Fiddle Jam Sessions, Voyager VLRP 301, LP (1966), trk# 11 [1966]
Goforth, Gene. Emminence Breakdown, Rounder 0388, CD (1997), trk# 22
Golden Harmony String Band. Room at the Top, JHU, LP (197?), trk# A.05a
Gorman, Skip. Lonesome Prairie Love, Rounder 0359, CD (1996), trk# 11
Gosset, Ted;'s String Band. Fiddle Band Music from Kentucky, Vol.2 Wish I Had
My Time Again, MorningStar 45004, LP (1980), trk# A.01 [1930/09/16] (Fire on the Mountain)
Grayson and Whitter. Going Down Lee Highway, Davis Unlimited DU 33033,
LP (1977), trk# 12 [1929/02/29]
Guthrie, Woody. Woody Guthrie Sings Folk Songs, Vol. 2, Folkways FA 2484,
LP (1964), trk# B.01 [1934/04/24]
Haley, Ed. Grey Eagle (Vol. 2), Rounder 1133/1134, CD (1997), trk# 2.14
Hanks, Larry. 1977 Northwest Folklife Festival, Voyager VTLP-101, LP (1977), trk# 3b
Hanks, Larry. 15th Aniversary Cassette. The Northwest Folklife Festival, NW
Folklife --, Cas (1986), trk# A.05b
Hanks, Larry; and Ron Tinkler. Berkeley Farms, Folkways FA 2436, LP (1972), trk# A.01
Harold and Abe. Sweet Sunny South, Heritage (Galax) 043, LP (1984), trk# 11
Hash, Albert; and the Whitetop Mountain Band. Albert Hash and the Whitetop
Mountain Band, Heritage (Galax) 025, LP (1979), trk# 3
Hawks, Charles. Old Time Fiddling at Union Grove. The 38th Annual Old-Time
Fi..., Prestige 14039, LP (1964), trk# A.06
Herren, Ruth Burton. Solomon, Jack & Olivia (eds.) / Sweet Bunch of Daisies,
Colonial Press, Bk (1991), p 98 [1975ca]
High Strung. High Strung, Loose Noose ASM-489, LP (1981), trk# A.04b
Holt, Bob. Got a Little Home to Go To, Rounder 0432, CD (1999), trk# 2
Hornbostel, Lois. Vive le Dulcimer!, Kicking Mule KM 215, LP (1983), trk# B.06a
Hot Club of Cowtown. Tall Tales, Hightone HCD 8104, CD (1999), trk# 15
Johnson, Herman. Herman Johnson - National Champion, Gillian, LP (1978), trk# A.01
Jones, Vester. Traditional Music From Grayson and Carroll Counties, Folkways
FS 3811, LP (1962), trk# 25 [1960ca]
Kaufman, Alan. Kaufman, Alan / Beginning Old-time Fiddle, Oak, sof (1977), p30
Kaufman, Alan. Kaufman, Alan / Beginning Old-time Fiddle, Oak, sof (1977), p60
Kennison, Warren. Weissman, Dick / Five String Banjo. Vol. 3, Advanced Techniques,
United Artists, Sof (1977), p 66
Kentucky Colonels. Kentucky Colonels, United Artists UAS 29514, LP (1973/1964), trk# B.03
Kessinger, Clark. Clark Kessinger, Fiddler, Folkways FA 2336, LP (1966), trk# 17
Kessinger, Clark. Live at Union Grove, Folkways FA 2337, Cas (1976), trk# 6
Knight, Ray. Rosenbaum, Art (ed.) / Folk Visions & Voices. Traditional Music & So....,
University of Georgia, Bk (1983), p210 [1982/02/21]
Lambert, L. W.; and the Blue River Boys. Union Grove 50. Old Time Fiddlers Convention,
Union Grove SS-9, LP (1974), trk# A.01
Lieberson, Richard. Lieberson, Richard / Old Time Fiddle Tunes for Guitar, Amsco, Sof
(1974), p 30
Long, Bill; and Bill Mitchell. More Fiddle Jam Sessions, Voyager VRLP 304, LP (1971),
trk# 26
Lowinger, Gene. Lowinger, Gene / Bluegrass Fiddle, Oak, fol (1974), p13
Mainer's Mountaineers (J. E. Mainer's Mountaineers). J. E. Mainer's Mountaineers, Arhoolie 5002, LP (1973), trk# 8
Mainer, Wade; and Mainers Mountaineers. Wade Mainer and the Mainers Mountaineers, Old
Homestead 90002, Cas (1971), trk# A.06
Maxson, Charles; and Karen Skidmore. From the Heartland of West Virginia. The Hammered & Plucked Dul, Peaceable 4, LP (1975), trk# 12
McKinney, Freeman. West Virginia Hills, Augusta Heritage AHR 011, Cas (1992), trk# 2.04 [1991/12/05]
McMahan, Pete. Now That's a Good Tune. Masters of Missouri Traditional Fiddling, Grey Eagle 101, LP (1989), trk# 38 [1988/12/26]
Miller, Sonny; & the Southern Mtn Boys. Virginia Breakdown, County 705, LP (1966), trk# B.03
Mitchum, Johnny. Johnny Mitchum, Sircy 7304, LP (1972), trk# A.03
Monday, Isham. Titon, Jeff Todd / Old Time Kentucky Fiddle Tunes, Kentucky, Bk/ (2001), p170/#144A [1959/11/27]
Moonlight Seranaders. 1941 Old Fiddlers Convention, Galax, Virginia, Voyage Beyond, CD (200?), trk# 27 [1941]
New Lost City Ramblers. New Lost City Ramblers, Vol. 2, Folkways FA 2397, LP (1960),
trk# B.03
Osborne, Uncle Charlie (Charlie N.). 100 Years Farther On, June Appal JA 0064C,
Cas (199?), trk# 1
Perkins, J. T.. Fiddle Favorites Perkins Style, Davis Unlimited DU-33017, LP (1975),
trk# B.01
Pollard, Randy. I'm Just a Country Boy, JRS LSP 2240, LP (1982), trk# B.03
Poor Richard's Almanac. Poor Richard's Almanac, Ridge Runner RRR 0002, LP (1976), trk# 18
Presnell, Mrs. Edd (Nellie). Instrumental Music of the Southern Appalachians, Tradition TR 1007, LP (196?), trk# 10 [1956/07ca]
Putnam String County Band. Home Grown, Rounder 3003, LP (1973), trk# 2
Reeltime Travelers. Livin' Reeltime, Thinkin' Old-Time, Yodel-Ay-Hee 042, CD (2002), trk# 9
Riley, Barstow. Texas Hoedown, County 703, LP (1965), trk# A.05
Robertson, Eck. Master Fiddler, Sonyatone STR 201, LP (1976), trk# 3 [1922/07/01]
Robertson, Eck. Southern Dance Music, Vol. 2, Old-Timey LP 101, LP (1965), trk# 1
[1922/07/01]
Robertson, Eck. Brody, David (ed.) / Fiddler's Fakebook, Oak, Sof (1983), p246
Roberts, Fiddlin' Doc. Fiddlin' Doc Roberts / Complete Recorded Works..., Vol 2. 1928-1, Document DOCD 8043, CD (1999), 19 [1930/01/13]
Robertson, Lonnie. Missouri Fiddling by Lonnie Robertson, Caney Mountain CEP 210, SP
(195?), trk# 1
Robertson, Lonnie. Fiddle Tunes - Ozark Style, Vol. 2, Caney Mountain CLP-233, LP (1980), trk# 4
Robins, Butch. Forty Years Late, Rounder 0086, LP (1977), trk# B.02
Rosenbaum, Art (Arthur). Five String Banjo, Kicking Mule KM 108, LP (1974), trk# 1
Rosenbaum, Art (Arthur). Rosenbaum, Art / Art of the Mountain Banjo, Centerstream, Fol (1981), p31
Rose, Buddy. Down Home Pickin', Dominion NR 3319, LP (197?), trk# A.05
Rutland, Georgia Slim (Robert Hughes). Raw Fiddle, Kanawha 325, LP (1976), trk# 9
Salyer, John Morgan. Home Recordings 1941-42. Vol. 2, Appalachian Center Ser. AC 003-v2, cas (1993), trk# B.07 (Sallie Goodin)
Scruggs, Earl. Scruggs, Earl / Earl Scruggs and the 5-String Banjo, Peer International, Bk (1968), p110 (Sally/Salley Goodwin)
Scruggs, Junie. American Banjo - Tunes and Songs in Scruggs Style, Folkways FA 2314, LP (1966), trk# A.11a
Seeger, Mike. Texas Music, Heritage (Galax) 066, LP (1986), trk# B.06
Sewell, Ace. Southwest Fiddlin', Voyager VRLP 319-S, LP (1977), trk# B.05
Sholle, Jon. Traum, Happy / BLuegrass Guitar, Oak, Sof (1974), p109
Short, Lillian. Randolph, Vance / Ozark Folksongs. Volume III, Humorous & Play-Party, University of Missouri, Bk (1980/1946), p350/#544B [1950/04/01]
Skillet Lickers. Skillet Lickers, Vol. 2, County 526, LP (1973), trk# 10a [1929/11/02]
Solomon, Vernon. Texas Breakdown, Davis Unlimited DU 33038, LP (1976), trk# 4
Southern Mountain Boys. 31st Annual Old Fiddlers Convention, Justice, LP (1966), trk# A.01
Stinnett, Cyril. Salty River Reel, MSOTFA 104, Cas (1992), trk# 24
Stinnett, Cyril. Plain Old Time Fiddling, Stinnett SLP 1013, LP (197?), trk# B.03
Stoneman's Dixie Mountaineers. Ernest V. Stoneman & his Dixie Mountaineers. 1927-28,
Historical HLP-8004, LP (197?), trk# 10 [1928/04/24]
Stoneman, Scotty; with the Kentucky Colonels. Live in LA, Sierra/Briar SBR 4206, LP
(1978), trk# B.01 [1965/01-03]
Sumner, Marion. Road To Home, June Appal JA 0030, LP (1979), trk# 19
Thackerson, Roy. Fingerless Fiddler. Vol. 2, Ovella 2, LP (197?), trk# B.01
Thomasson, Benny. National Oldtime Fiddlers Contest & Festival. 1974, Century, LP (1974), trk# B.14
Thomas, Tony. Old Style Texas and Oklahoma Fiddling, Takoma A-1013, LP (195?), trk# 15
Trammell, Dean. High on the Fiddle, Kanawha 320, LP (197?), trk# B.03
Trischka, Tony. Trischka, Tony / Melodic Banjo, Oak, Sof (1976), p113
Twyman, Goebel. Old Time Fiddler, Atwell Lps 1677, LP (197?), trk# B.03
Unknown Fiddler. Thede, Marion (ed.) / The Fiddle Book, Oak, Bk (1967), p 32 [1930s]
Walters, Bob. Drunken Wagoner, MSOTFA 106, Cas (1993), trk# B.07
Ward, Wade; and Jimmie Edmonds. More Goodies from the Hills, Union Grove SS-3, LP (1969), trk# 2
Ward, Wade. Uncle Wade. A Memorial to Wade Ward, Old Time Virginia Banjo ..., Folkways FA 2380, LP (1973), trk# 20
Warren, Paul. America's Greatest Breakdown Fiddle Player, CMH 6237, LP (1979), trk# 17
Watson, Doc. Out in the Country, Intermedia/Quicksilver QS 5031, LP (1982), trk# 4
Wheeler, Carol Ann. Joy of Fiddling, American Heritage 401-532, LP (198?), trk# 5
Wills, Bob; and the Texas Playboys. Tiffany Transcriptions, Vol. 6. Sally Goodin,
Kalidescope F-27, LP (1987), trk# 2
Wills, Bob; and the Texas Playboys. Tiffany Transcriptions, Vol. 6. Sally Goodin,
Kalidescope F-27, LP (1987), trk# 14
Williams, Hank; and the Drifting Cowboys. Country-Western Radio. Rare Radio Recordings
of Famous Count..., Radiola MR-1069, LP (1977), trk# A1.7
Winston, Winnie. Steel Wool, Philo 1058, LP (1978), trk# A.01
Wood, Jim. Devil's Box, Devil's Box, Ser, 31/2, p32(1997)
Yohey, Bill. 20 Country Strings, American Heritage ST 106, LP (196?), trk# 8
Yohey, Bill. National Oldtime Fiddlers' Contest & Folk Music Festival. 1966, Century, LP (1966), trk# 16
Youngblood, Dwayne (Duane). Hootenanny Hoedown, Dye, LP (1963), trk# B.02a
Ford, Ira W. / Traditional Music in America, Folklore Associates, Bk (1965/1940), p 64b
Ford, Ira W. / Traditional Music in America, Folklore Associates, Bk (1965/1940), p128b
Ford, Ira W. / Traditional Music in America, Folklore Associates, Bk (1965/1940), p419
Cazden, Norman (ed.) / Book of Nonsense Songs, Crown, Sof (1961), p 97
Emrich, Duncan / Folklore on the American Land, Little, Brown, sof (1972), p557 [1930s]
Isaac, Burton / Folk Fiddle by Burton Isaac, Mel Bay, fol (1964), p15
Lomax, Alan / Folksongs of North America, Doubleday Dolphin, Sof (1975/1960), p236/#121
Brody, David (ed.) / Guitar Pickers Fakebook, Oak, Sof (1984), p127
Baber, Carrie. Randolph, Vance / Ozark Folksongs. Volume III, Humorous & Play-Party ...,
University of Missouri, Bk (1980/1946), p350/#544A [1922/09/04]
Baker, Kenny. Dry and Dusty, County 744, LP (1973), trk# A.06
Barbour, Freeland. Fire in the Hearth, REL REL 462, LP (1977), trk# B.05a (Sally Was a
Good 'un)
Berline, Byron. Phillips, Stacy; & Kenny Kosak / Bluegrass Fiddle Styles, Oak, fol (1978), p 55 [1967]
Blevins, Frank. Devil's Box, Devil's Box, Ser, 32/2, p18b(1998) [1931]
Blue River Boys. 2nd Florida Bluegrass and Old Time Music Championships, Sunny
Mountain EB 1003, LP (1975?), trk# B.07
Boyd, Ted. Appalachia, The Old Traditions, Home Made Music LP-001, LP (1983), trk#
B.05 [1979/08/05]
Brody, David. Brody, David (ed.) / Fiddler's Fakebook, Oak, Sof (1983), p247
Brower, Cecil (Cousin Cecil). Old Fashion Country Hoedown, Cumberland MGC 29500,
LP (196?), trk# A.03
Brower, Cecil; and his Square Dance Fiddlers. America's Favorite Square Dances, Smash
MGS 27015, LP (196?), trk# A.05
Bush, Sam. Union Grove, The Hub of the Universe, Union Grove SS-4, LP (1970), trk# 2
[1970/04]
Carlin, Bob. Brody, David (ed.) / Banjo Picker's Fakebook, Oak, Fol (1985), p142b
Cedar Point String Band. Cedar Point String Band, Roane, Cas (1993), trk# 8
Clarke, Greg. Home Recordings - October 2001, Clarke, CD (2001), trk# 12b (Old Sally Goodin)
Claunch, W. E.. Anglo-American Shanties, Lyric Songs, Dance Tunes & Spirituals,
Library of Congress AFS L 2, LP (195?), trk# B.06 [1939]
Conroy, Mike. Montana Mountain Fiddle, Alpha 08361, LP (198?), trk# A.04
Crase, James. Mountain Music of Kentucky, Smithsonian/Folkways SF 40077, CD
(1996), trk# 2.52 [1959]
Cravens, Red; and the Bray Brothers. 419 W. Main, Rounder 0015, LP (1972), trk# 19
Crooked Road. Generations, Spencer, CD (2004), trk# 8a
Crowe, J.D.; and the New South. J. D. Crowe and the New South, Rounder 0044,
LP (1975), trk# 4
Cunningham, Bill. Cunningham, Bill / Hoedown Fiddle in America (How to Play It),
Cunningham, fol (1971), p19 (Sally/Salley Goodwin)
Cutler, Marty. Brody, David (ed.) / Banjo Picker's Fakebook, Oak, Fol (1985), p143a
Daugherty, Junior. Texas Music, Heritage (Galax) 066, LP (1986), trk# A.05
Daugherty, Junior. Cowboy Tour, NCTA --, Cas (1983), trk# B.04
Davenport, Clyde. Puncheon Camps, Appalachian Center Ser. AC 002, Cas (1992), trk# 9
Davenport, Clyde. Titon, Jeff Todd / Old Time Kentucky Fiddle Tunes, Kentucky,
Bk/ (2001), p170/#144B [1990/03/31]
Dillon, John W.. Folk Songs of America. The Robert Winslow Gordon Collection....,
Library of Congress AFS L68, LP (1978), trk# 5c [1925/10/22]
Elman, Tony. Swinging on a Gate, Acorn Tree 003, Cas (1986), trk# A.08
Ennis, Lee. Thede, Marion (ed.) / The Fiddle Book, Oak, Bk (1967), p 33 [1930s]
Everidge, Charlie. Southern Journey. Vol. 7: Ozark Frontier, Rounder 1707, CD
(1997), trk# 4 [1959/10]
Flatt & Scruggs & the Foggy Mountain Boys. Foggy Mountain Banjo, Columbia LE
10043, LP (196?), trk# 10
Forrester, Howdy. Fancy Fiddlin' Country Style, MGM E-4035, LP (197?), trk# B.02
Gentle, J. C.. Fiddle Jam Sessions, Voyager VLRP 301, LP (1966), trk# 11 [1966]
Goforth, Gene. Emminence Breakdown, Rounder 0388, CD (1997), trk# 22
Golden Harmony String Band. Room at the Top, JHU, LP (197?), trk# A.05a
Gorman, Skip. Lonesome Prairie Love, Rounder 0359, CD (1996), trk# 11
Gosset, Ted;'s String Band. Fiddle Band Music from Kentucky, Vol.2 Wish I Had
My Time Again, MorningStar 45004, LP (1980), trk# A.01 [1930/09/16] (Fire on the Mountain)
Grayson and Whitter. Going Down Lee Highway, Davis Unlimited DU 33033,
LP (1977), trk# 12 [1929/02/29]
Guthrie, Woody. Woody Guthrie Sings Folk Songs, Vol. 2, Folkways FA 2484,
LP (1964), trk# B.01 [1934/04/24]
Haley, Ed. Grey Eagle (Vol. 2), Rounder 1133/1134, CD (1997), trk# 2.14
Hanks, Larry. 1977 Northwest Folklife Festival, Voyager VTLP-101, LP (1977), trk# 3b
Hanks, Larry. 15th Aniversary Cassette. The Northwest Folklife Festival, NW
Folklife --, Cas (1986), trk# A.05b
Hanks, Larry; and Ron Tinkler. Berkeley Farms, Folkways FA 2436, LP (1972), trk# A.01
Harold and Abe. Sweet Sunny South, Heritage (Galax) 043, LP (1984), trk# 11
Hash, Albert; and the Whitetop Mountain Band. Albert Hash and the Whitetop
Mountain Band, Heritage (Galax) 025, LP (1979), trk# 3
Hawks, Charles. Old Time Fiddling at Union Grove. The 38th Annual Old-Time
Fi..., Prestige 14039, LP (1964), trk# A.06
Herren, Ruth Burton. Solomon, Jack & Olivia (eds.) / Sweet Bunch of Daisies,
Colonial Press, Bk (1991), p 98 [1975ca]
High Strung. High Strung, Loose Noose ASM-489, LP (1981), trk# A.04b
Holt, Bob. Got a Little Home to Go To, Rounder 0432, CD (1999), trk# 2
Hornbostel, Lois. Vive le Dulcimer!, Kicking Mule KM 215, LP (1983), trk# B.06a
Hot Club of Cowtown. Tall Tales, Hightone HCD 8104, CD (1999), trk# 15
Johnson, Herman. Herman Johnson - National Champion, Gillian, LP (1978), trk# A.01
Jones, Vester. Traditional Music From Grayson and Carroll Counties, Folkways
FS 3811, LP (1962), trk# 25 [1960ca]
Kaufman, Alan. Kaufman, Alan / Beginning Old-time Fiddle, Oak, sof (1977), p30
Kaufman, Alan. Kaufman, Alan / Beginning Old-time Fiddle, Oak, sof (1977), p60
Kennison, Warren. Weissman, Dick / Five String Banjo. Vol. 3, Advanced Techniques,
United Artists, Sof (1977), p 66
Kentucky Colonels. Kentucky Colonels, United Artists UAS 29514, LP (1973/1964), trk# B.03
Kessinger, Clark. Clark Kessinger, Fiddler, Folkways FA 2336, LP (1966), trk# 17
Kessinger, Clark. Live at Union Grove, Folkways FA 2337, Cas (1976), trk# 6
Knight, Ray. Rosenbaum, Art (ed.) / Folk Visions & Voices. Traditional Music & So....,
University of Georgia, Bk (1983), p210 [1982/02/21]
Lambert, L. W.; and the Blue River Boys. Union Grove 50. Old Time Fiddlers Convention,
Union Grove SS-9, LP (1974), trk# A.01
Lieberson, Richard. Lieberson, Richard / Old Time Fiddle Tunes for Guitar, Amsco, Sof
(1974), p 30
Long, Bill; and Bill Mitchell. More Fiddle Jam Sessions, Voyager VRLP 304, LP (1971),
trk# 26
Lowinger, Gene. Lowinger, Gene / Bluegrass Fiddle, Oak, fol (1974), p13
Mainer's Mountaineers (J. E. Mainer's Mountaineers). J. E. Mainer's Mountaineers, Arhoolie 5002, LP (1973), trk# 8
Mainer, Wade; and Mainers Mountaineers. Wade Mainer and the Mainers Mountaineers, Old
Homestead 90002, Cas (1971), trk# A.06
Maxson, Charles; and Karen Skidmore. From the Heartland of West Virginia. The Hammered & Plucked Dul, Peaceable 4, LP (1975), trk# 12
McKinney, Freeman. West Virginia Hills, Augusta Heritage AHR 011, Cas (1992), trk# 2.04 [1991/12/05]
McMahan, Pete. Now That's a Good Tune. Masters of Missouri Traditional Fiddling, Grey Eagle 101, LP (1989), trk# 38 [1988/12/26]
Miller, Sonny; & the Southern Mtn Boys. Virginia Breakdown, County 705, LP (1966), trk# B.03
Mitchum, Johnny. Johnny Mitchum, Sircy 7304, LP (1972), trk# A.03
Monday, Isham. Titon, Jeff Todd / Old Time Kentucky Fiddle Tunes, Kentucky, Bk/ (2001), p170/#144A [1959/11/27]
Moonlight Seranaders. 1941 Old Fiddlers Convention, Galax, Virginia, Voyage Beyond, CD (200?), trk# 27 [1941]
New Lost City Ramblers. New Lost City Ramblers, Vol. 2, Folkways FA 2397, LP (1960),
trk# B.03
Osborne, Uncle Charlie (Charlie N.). 100 Years Farther On, June Appal JA 0064C,
Cas (199?), trk# 1
Perkins, J. T.. Fiddle Favorites Perkins Style, Davis Unlimited DU-33017, LP (1975),
trk# B.01
Pollard, Randy. I'm Just a Country Boy, JRS LSP 2240, LP (1982), trk# B.03
Poor Richard's Almanac. Poor Richard's Almanac, Ridge Runner RRR 0002, LP (1976), trk# 18
Presnell, Mrs. Edd (Nellie). Instrumental Music of the Southern Appalachians, Tradition TR 1007, LP (196?), trk# 10 [1956/07ca]
Putnam String County Band. Home Grown, Rounder 3003, LP (1973), trk# 2
Reeltime Travelers. Livin' Reeltime, Thinkin' Old-Time, Yodel-Ay-Hee 042, CD (2002), trk# 9
Riley, Barstow. Texas Hoedown, County 703, LP (1965), trk# A.05
Robertson, Eck. Master Fiddler, Sonyatone STR 201, LP (1976), trk# 3 [1922/07/01]
Robertson, Eck. Southern Dance Music, Vol. 2, Old-Timey LP 101, LP (1965), trk# 1
[1922/07/01]
Robertson, Eck. Brody, David (ed.) / Fiddler's Fakebook, Oak, Sof (1983), p246
Roberts, Fiddlin' Doc. Fiddlin' Doc Roberts / Complete Recorded Works..., Vol 2. 1928-1, Document DOCD 8043, CD (1999), 19 [1930/01/13]
Robertson, Lonnie. Missouri Fiddling by Lonnie Robertson, Caney Mountain CEP 210, SP
(195?), trk# 1
Robertson, Lonnie. Fiddle Tunes - Ozark Style, Vol. 2, Caney Mountain CLP-233, LP (1980), trk# 4
Robins, Butch. Forty Years Late, Rounder 0086, LP (1977), trk# B.02
Rosenbaum, Art (Arthur). Five String Banjo, Kicking Mule KM 108, LP (1974), trk# 1
Rosenbaum, Art (Arthur). Rosenbaum, Art / Art of the Mountain Banjo, Centerstream, Fol (1981), p31
Rose, Buddy. Down Home Pickin', Dominion NR 3319, LP (197?), trk# A.05
Rutland, Georgia Slim (Robert Hughes). Raw Fiddle, Kanawha 325, LP (1976), trk# 9
Salyer, John Morgan. Home Recordings 1941-42. Vol. 2, Appalachian Center Ser. AC 003-v2, cas (1993), trk# B.07 (Sallie Goodin)
Scruggs, Earl. Scruggs, Earl / Earl Scruggs and the 5-String Banjo, Peer International, Bk (1968), p110 (Sally/Salley Goodwin)
Scruggs, Junie. American Banjo - Tunes and Songs in Scruggs Style, Folkways FA 2314, LP (1966), trk# A.11a
Seeger, Mike. Texas Music, Heritage (Galax) 066, LP (1986), trk# B.06
Sewell, Ace. Southwest Fiddlin', Voyager VRLP 319-S, LP (1977), trk# B.05
Sholle, Jon. Traum, Happy / BLuegrass Guitar, Oak, Sof (1974), p109
Short, Lillian. Randolph, Vance / Ozark Folksongs. Volume III, Humorous & Play-Party, University of Missouri, Bk (1980/1946), p350/#544B [1950/04/01]
Skillet Lickers. Skillet Lickers, Vol. 2, County 526, LP (1973), trk# 10a [1929/11/02]
Solomon, Vernon. Texas Breakdown, Davis Unlimited DU 33038, LP (1976), trk# 4
Southern Mountain Boys. 31st Annual Old Fiddlers Convention, Justice, LP (1966), trk# A.01
Stinnett, Cyril. Salty River Reel, MSOTFA 104, Cas (1992), trk# 24
Stinnett, Cyril. Plain Old Time Fiddling, Stinnett SLP 1013, LP (197?), trk# B.03
Stoneman's Dixie Mountaineers. Ernest V. Stoneman & his Dixie Mountaineers. 1927-28,
Historical HLP-8004, LP (197?), trk# 10 [1928/04/24]
Stoneman, Scotty; with the Kentucky Colonels. Live in LA, Sierra/Briar SBR 4206, LP
(1978), trk# B.01 [1965/01-03]
Sumner, Marion. Road To Home, June Appal JA 0030, LP (1979), trk# 19
Thackerson, Roy. Fingerless Fiddler. Vol. 2, Ovella 2, LP (197?), trk# B.01
Thomasson, Benny. National Oldtime Fiddlers Contest & Festival. 1974, Century, LP (1974), trk# B.14
Thomas, Tony. Old Style Texas and Oklahoma Fiddling, Takoma A-1013, LP (195?), trk# 15
Trammell, Dean. High on the Fiddle, Kanawha 320, LP (197?), trk# B.03
Trischka, Tony. Trischka, Tony / Melodic Banjo, Oak, Sof (1976), p113
Twyman, Goebel. Old Time Fiddler, Atwell Lps 1677, LP (197?), trk# B.03
Unknown Fiddler. Thede, Marion (ed.) / The Fiddle Book, Oak, Bk (1967), p 32 [1930s]
Walters, Bob. Drunken Wagoner, MSOTFA 106, Cas (1993), trk# B.07
Ward, Wade; and Jimmie Edmonds. More Goodies from the Hills, Union Grove SS-3, LP (1969), trk# 2
Ward, Wade. Uncle Wade. A Memorial to Wade Ward, Old Time Virginia Banjo ..., Folkways FA 2380, LP (1973), trk# 20
Warren, Paul. America's Greatest Breakdown Fiddle Player, CMH 6237, LP (1979), trk# 17
Watson, Doc. Out in the Country, Intermedia/Quicksilver QS 5031, LP (1982), trk# 4
Wheeler, Carol Ann. Joy of Fiddling, American Heritage 401-532, LP (198?), trk# 5
Wills, Bob; and the Texas Playboys. Tiffany Transcriptions, Vol. 6. Sally Goodin,
Kalidescope F-27, LP (1987), trk# 2
Wills, Bob; and the Texas Playboys. Tiffany Transcriptions, Vol. 6. Sally Goodin,
Kalidescope F-27, LP (1987), trk# 14
Williams, Hank; and the Drifting Cowboys. Country-Western Radio. Rare Radio Recordings
of Famous Count..., Radiola MR-1069, LP (1977), trk# A1.7
Winston, Winnie. Steel Wool, Philo 1058, LP (1978), trk# A.01
Wood, Jim. Devil's Box, Devil's Box, Ser, 31/2, p32(1997)
Yohey, Bill. 20 Country Strings, American Heritage ST 106, LP (196?), trk# 8
Yohey, Bill. National Oldtime Fiddlers' Contest & Folk Music Festival. 1966, Century, LP (1966), trk# 16
Youngblood, Dwayne (Duane). Hootenanny Hoedown, Dye, LP (1963), trk# B.02a
RELATED TO: Bear Creek Sally Goodin; Sweet Milk and Peaches; Call Your Dogs and Let's Go Hunting; Pretty Little Miss; Brilliancy Medley; Tennessee Breakdown; Thank God I'm a Country Boy; Black Sally Goodin; Big Joe; Bear Creek's Up; Kanawha County Rag
OTHER NAMES: Sally Goodwin, Sally Gooden; Old Sally Goodin;
PRINT AND ONLINE SOURCES: Online: Kuntz, A Fiddler’s Companion; Mudcat; Traditional Ballad Index, Folk Index; Lomax-FSNA 121, "Sally Goodin" (1 text, 1 tune); Randolph 544, "Sally Goodin" (1 text, 2 tunes); Darling-NAS, p. 255, "Sally Goodin" (1 text); Silber-FSWB, p. 33, "Sally Goodin" (1 text)
NOTES: Lyrics include: "Had a piece of pie an' I had a piece of puddin', An' I gave it all away just to see my Sally Goodin" and “Looked up the road, seen Sally comin', Thought to my soul I'd break my neck a-runnin'.”
Mike Yeats: Sally Gooden turns up all over the upland south of America, but I have included Ted Boyd's gentle version because of his unusual 'high' part of the tune. His banjo is tuned to a relative double-C tuning (gCGCD) and he gets this third part by fretting the first string on the 10th fret with his little finger, bringing an unexpectedly delightful effect to the tune.
According to North Carolina fiddler Bruce Green, the tune was originally called Boatin' Up Sandy (referring to the Big Sandy River in eastern Kentucky) and was renamed by Civil War Confederate soldiers in Morgan's Raiders while they were camped on the Big Sandy in Pike County, Kentucky. Sally Goodin ran a boarding house there and allowed the soldiers to camp and play music. To show their appreciation of her kindness, Morgan's men renamed the tune in her honor.
[Fiddler Hiram Stamper for the Morehead State University Vintage Fiddlers Oral History Project was interviewed and corroborates Green’s theory. The interview was conducted by Marynell Young at the Stamper residence, Knott County, KY 418822. Marynell Young plays guitar. Martha Stamper and Bob Butler were also present during the interview session. Stamper talks about how soldiers made tune called Sally Goodin from tune called Boatin' Up Sandy. Location was on the Big Sandy River.] From Morehead State University Vintage Fiddlers Oral History Project on-line.
It should, perhaps, be pointed out that there are several other tunes which are today also titled Boatin' Up Sandy. There is also another Kentucky tune, played with the fiddle tuned ADAD, called Red Top Boots, Pocket Full of Money which is similar to Sally Gooden.
There are a couple of good early recordings available on Document DOCD-8011 (The Kessinger Brothers) and Document DOCD-8043 (Fiddlin' Doc Roberts), although it was Eck Robertson's 1922 recording (reissued on County CO CD 5515) that really popularized the tune across America. For some reason Earl Johnson & His Clodhoppers recorded it in 1928 as Nigger in the Cotton Patch (Document DOCD-8006).
From Kuntz, A Fiddler’s Companion: “A widely known breakdown and play party tune in the upland South (but not universally known throughout the country—Paul Gifford reports that it was completely unknown to traditional fiddlers in Michigan, for example). Bayard (1981) suggests that the tunes "Sally Goodin," "Old Dan Tucker" and his Pennsylvania collected "Rye Whiskey [2]" (a breakdown, not the 3/4 time version) are related "in an affinity that goes back a long while;" and, in fact, some versions of these tunes do seem to blend with one another. Arizona fiddler Kenner C. Kartchner said: "Old Texas tune. Only a few play it well. All try it" (Shumway).
Charles Wolfe (1982) states it was popular with Kentucky fiddlers. It was asserted to be one of the standard tunes in a square dance fiddler's repertoire, according to A.B. Moore in his History of Alabama (1934). Rosenbaum (1989) remarks that it is an almost universally known fiddle tune in the South, but that the verses (an example is given below) are not sung as frequently today as they were in the past. Texas fiddler Eck Robertson was the first person to record the tune in 1922 when he was aged thirty-four (Robertson is remembered playing the tune at various times in both AEae and standard tuning, though on his early and famous recording he played in AEae).
“Sally Goodin” was in the repertoires of Fiddlin John Carson (North Ga.) {1922}, Fiddlin' Cowan Powers 1877-1952? (Russell County, S.W. Va.) {and who recorded the tune for Victor in August, 1924, though it was unissued}, Uncle Am Stuart (b. 1856, Morristown, Tenn.) {and who re-recorded it for Vocalion in 1924}, Uncle Jimmy Thompson 1848-1931 (Tenn.) {as "Sally Goodwin"}, and Alabama fiddler Monkey Brown (1897-1972). North Georgia fiddler Earl Johnson, with his band the Clodhoppers, recorded a version of the tune in 1928. Also in repertoire of legendary fiddler J. Dedrick Harris, born in Tennessee, and who played regularly with Bob Taylor while he was running for Governor of the state in the late 1800's. Harris moved to Western N.C. in the 1920's and influenced a generation of fiddlers there: Osey Helton, Manco Sneed, Bill Hensley, Marcus Martin.
The title was mentioned in reports of the De Kalb County Annual (Fiddlers') Convention, 1926-31 (Cauthen, 1990). At the turn of the century it was played by George Cole of Etowah County, Alabama, as recorded by Mattie Cole Stanfield in her book Sourwood Tonic and Sassafras Tea (1965). The tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's; he said it was popular at play-parties in the Ozarks in the 1890's (see his Ozark Folksongs, Vol. 3). Similarly, it was recorded in 1939 for the Library of Congress by Herbert Halpert from the playing of Itawamba/Tishomingo County, Mississippi, fiddler John Brown and, in the same year from Franklin County, Virginia, fiddler J.W. 'Peg' Hatcher (2741-B-2).
Texas fiddler Eck Robertson's 1923 release of "Sally Goodin'" (backed with "Ragtime Annie") was the number one country music bestseller for the year 1923. Georgia fiddler Bill Shores, a native Alabamian who spent most of his life in the Rome, Georgia, area (according to Wayne Daniels), recorded the tune (under the title “Sally Goodwin”) with guitarist Riley Puckett in Atlanta in 1926. Fellow Georgia fiddler A.A Gray played the tune on “A Fiddler’s Tryout in Georgia,” a sham fiddling-contest skit with supposed judges and two fiddlers vying for a prize (Joe Brown was his nemesis)—Gray plays “Bucking Mule” and “Sally Goodin’” on the 78 RPM record.
Well there you have it,
Richard
Sunday, November 23, 2008
Carter Family: First Records Released
Hi,
In today's blog we're back looking at the history of great Country Music pioneers: the Carter Family. On the left is an early PR photo done in the late 1920s.
The last installment looked at the 1927 Bristol sessions, the Carters first recordings.
First Records Released
That November 1927, Victor finally released the Carter Family’s first 78rpm record with "Poor Orphan Child" on one side and "Wandering Boy" on the other, followed a few months later by "The Storms Are on the Ocean" and "Single Girl, Married Girl." Despite Peer's uncertainty about the Carters' music the records sold so well that Peer wrote to the Carters asking them to come to Camden, New Jersey, for a second recording session in 1928.
Ralph Peer's enthusiasm, brisk record sales, and some cash in hand were like gas on the flames for A.P.'s burning desire to take his family and their music as far as they could go. Always a song collector, A.P. now became a man obsessed. According to Charles Hirshberg: "He began carrying pieces of yellow paper with him wherever he went and he went everywhere. All through the mountains he roamed, selling fruit trees, but always with another end in mind: songs. And he seemed to have an uncanny ability to find them.
Says (daughter) Gladys: "When I was a little girl, he'd take me with him sometimes. We'd walk along till he seen a house up on a hill or on some riverbank, and he'd say, 'Well, I'm going up to that house. They'll know some songs. 'There'd be some old song they knew the tune to, or the chorus. Daddy'd write down the words, take it home and work it up. Write some more verses, change it around. He usually had to have something to get him started."
Maybelle’s Guitar 1928
With royalty money from the Carter Family's successful first recordings, Eck bought young Maybelle Carter the finest guitar he could find in a music store in Kingsport, a 1928 Gibson L-5 arch top, for $275 (approx. $4,000 today). Until her death in 1978, "Mother Maybelle" used it on hundreds of recordings, radio and television programs, and live appearances. As the first f-hole, arch-top guitar, the L-5 was designed to be twice as loud as any flattop guitar of the period. Carter used it to revolutionize the role of the guitar, transforming the rhythm instrument into a distinctive lead voice.
Maybelle’s guitar was played by Elvis Presley one night when he broke a string. It was used in all the original Carter family recordings after the Bristol Session and played duets with Chet Atkins. It was the guitar that was featured in the Nitty Gritty Dirt Band’s homage to Maybelle, the "Circle Be Unbroken" album in the early 70s that became Maybelle’s first certified gold album in 1973.
It was the guitar that Maybelle one time loaned to Cowboy Slim Rinehart in the late 1930s when the Carters were playing on radio XERA in Texas. Slim got drunk and lost the guitar to a local army airman in a poker game. "Maybelle had to get the base commander to help find it," said her grandson, "but she got it back."
The story goes that a slightly inebriated Tom Pall Glazer, and Hank Thompson were in a battle of wits in Las Vegas over the greatest guitar player in the business. Tom Pall yelling Chet Atkins, and Hank Thompson the champion for Merle Travis. After much debate, a phone call was placed to Travis to settle the argument. When asked "Who's the greatest guitar player?" Travis replied, "Mother Maybelle Carter." There were no more questions.
In 2004 the Maybelle’s guitar was up for sale by Gruhn Guitars in Nashville with a $575,000 price tag. It was on loan to the Country Hall of Fame when the owner, who wished to remain anonymous, decided to sell it. Murfreesboro businessman Bob McLean provided the donation for the Hall of Fame to acquire the guitar, and he was among the celebrities on hand as the guitar was transferred from Gruhn Guitars to the Hall of Fame on August 22, 2004.
Second Recording Session 1928
The following spring, Ralph Peer gave the Carter Family expense money to travel to the company studios in Camden, New Jersey and cut twelve more songs on May 9 and 10, 1928 including their theme song, "Keep on the Sunny Side" and perhaps their most widely known song, "Wildwood Flower."
At $50 per song, the total take amounted to $600 for the twelve songs they recorded, as much as they could make in a whole year on the farm. They split the money three ways, and with their winnings A.P. bought 70 acres of land and moved Sara and their three children into a larger farmhouse.
The songs recorded included some of their best: "Meet me by the Moonlight Alone," "Keep on the Sunny Side," "Little Darling, Pal of Mine," "Forsaken Love," "Anchored in Love," "I Ain't Goin' to Work Tomorrow," "Will You Miss Me when I'm Gone," "Wildwood Flower," "River of Jordan," "Chewing Gum," and "John Hardy Was a Desperate Little Man."
That's all for now. Next post we'll look at some more Carter Family songs.
Richard
Friday, November 21, 2008
Close-Ups Sally Goodin
Hi,
Here are the four close-up of my new painting Sally Goodin. The original is 30" by 40" and is for sale. I'm also selling 12" by 16" reproductions. If interested please email me: richiematt@aol.com
Close-up #1: Cherry pie and raisin puddin' (click to enlarge)
Close-up #2: Legendary fiddler Eck Roberston playing Sally Goodin
Close -up #3: Sally Goodin, her dog and her cabin
Close-up #4: The Lyrics
(below in last post is the complete painting)
Here are the four close-up of my new painting Sally Goodin. The original is 30" by 40" and is for sale. I'm also selling 12" by 16" reproductions. If interested please email me: richiematt@aol.com
Close-up #1: Cherry pie and raisin puddin' (click to enlarge)
Close-up #2: Legendary fiddler Eck Roberston playing Sally Goodin
Close -up #3: Sally Goodin, her dog and her cabin
Close-up #4: The Lyrics
(below in last post is the complete painting)
Sally Goodin
Hi,
Just got my digital images of my painting of Sally Goodin on left (Click to Enlarge).
Sally Goodin may be the all time favorite bluegrass /country fiddle tune. Lily May Ledford played a great version of it on her CD: Gems.
The classic version was done by one of the great country fiddlers, Eck Roberston.
Sally Goodin is important because it is generally accepted as being "the" first Country Music recording which was done by Eck Roberston in 1922. It was the best selling country song in 1922 and Eck's version became the classic version of the tune.
Here's a story Eck Robertson would tell about the song: "There was a girl named Sallie who had two boyfriends. The two boys were both fiddle players, and one of the boys had the last name of 'Goodin.' Sallie couldn't decide which one to marry, so she thought a fiddle contest between the two would be a good way to make her selection. Of course, the fellow Goodin won the contest, and Sally became Sally Goodin. They were very happy and had a productive life with 14 children, so I'm going to play 'Sally Goodin' 14 different ways."
My painting (above) shows Eck as a young man towering over the mountain tops playing Sally Goodin. This was based of an early black and white photo.
The lyrics (on the bottom left corner) are typical silly fiddle lyrics that are sometimes interspersed between fiddle parts. Normally there is one verse about "had a little pie, had a little puddin' '' so naturally I painted a piece of pie (cherry) and puddin'.
Here are my lyrics:
Sally Goodin
I love pie, I love puddin',
Crazy 'bout the gal they call Sally Goodin.
I love pie, I love puddin',
Crazy 'bout the gal they call Sally Goodin.
I dropped the tater pie and I left the apple puddin',
I went across the mountain to see my Sally Goodin.
Well, I looked down the road and I see my Sally comin',
And I thought to my soul that I'd kill myself a-runnin'.
Sally is my doxy and Sally is my daisy,
When Sally says she hates me I think I'm goin’ crazy.
I'm goin’ up the mountain and marry little Sally,
Raise corn on the hillside and the devil in the valley.
Well... Sally sure is a doxy. Hope you like the painting. I'll be doing a detailed history of the song Sally Goodin in my next blog.
See you later,
Richard
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