(Blues / Folk / Gospel / Roots / Field Recordings) VA - Field Recordings Vol. 1-17 (feat. Alan Lomax, John Lomax, Son House, Willie Brown, etc.) [Document Records] - 1997-2012, FLAC (tracks+.cue), lossless

"The field recordings on this disc from Document Records are drawn predominately from two trips to Virginia by John Lomax and Harold Spivake in 1936 under the auspices of the Library of Congress. The two folklorists visited the Virginia State Farm at Lynn, on the James River, and the State Penitentiary in Richmond, collecting spirituals, work songs, blues songs, and other folk materials from the prison population. While these recordings will undoubtedly be of most interest to historians, collectors, and scholars, the uncommon intimacy on display here is affecting, and some of these tracks are wonderful little gems, including Lemuel Jones' unaccompanied Depression-era protest song, "Po' Farmer (Poor Farmers)," and two call-and-response work songs led by the singing of James Wilson called "Can't You Line 'Em" and "Laying Rail Chant, Pts. 1 & 2." The real discovery here, though, is the complete recorded work of the blind banjoist and singer Jimmie Strothers, who turns in (often with the accompaniment of fellow inmate Joe Lee) a set of banjo pieces, rhythmic folk songs, and unabashed spirituals (and at least one strikingly bawdy tune) that are truly unique in their range and passion. Casual listeners should take note that these are archival recordings, full of the incidental cracks, pops, and omnipresent hiss that was inherent to the recording medium of the day."-- AMG review by Steve Leggett

"This second volume in Document's archival series of field recordings brings together tracks collected from the late '20s through the early '40s in North and South Carolina, Georgia, Tennessee, and Arkansas. Most of the selections here are drawn from recordings made at an annual folk festival held throughout the 1940s at Fort Valley State College in central Georgia, including an impressive two-part epic from Buster "Buzz" Ezell called "Roosevelt and Hitler," which seems like a period piece now but was obviously current and topical when it was recorded. Other tracks here come from sessions done at prisons. Reese Crenshaw's sparkling guitar version of "John Henry" was tracked at the State Prison Farm in Milledgeville, GA, in 1934, while Jesse Wadley's jaunty cautionary tale, "Alabama Prison Blues," was collected at the Bellwood Prison Camp in Atlanta, GA, that same year by John Lomax. Also historically interesting are a pair of street vendor cries from the mid-'30s ("Blackberries/Flowers"), although the sound quality is pretty poor, a problem somewhat endemic to the technology of the day."-- AMG review by Steve Leggett

"This third volume in Document's field recordings series may well be the most varied and arcane, collecting a series of sounding calls, hollers, rope-skipping rhymes, and work songs drawn largely from Alan Lomax's trips to Coahoma, MS, for the Library of Congress in 1941 and 1942. The rhythmic bounce of the calls and hollers is fascinating, but the sound quality is rather poor on most of these cuts due to the limits of the era's recording technology, making most of this disc of interest only to scholars, collectors, and historians. The middle of the program includes several blues and rag pieces by pianist Thomas "Jaybird" Jones, who recorded at one time with a bluesman named Keghouse for Vocalion and Okeh in 1928. Jones is playing a horribly out of tune piano for Lomax, but it hardly matters since the sequence really works as a sort of demonstrative interview, with Jones interjecting commentary as he goes, raising the whole performance to the level of a intimate history lesson, albeit with a poorly tuned piano and enough crackles, pops, snaps, and surface hiss to make you think you're in a hailstorm. The disc concludes with seven wild and wonderful tracks recorded by blind fiddler Sid Hemphill and his loose-limbed, archaic-sounding string band (which was a cross between a standard string band and a fife and drum marching band) in Dundee, MS, on August 15, 1942."-- AMG review by Steve Leggett

"A collection of unaccompanied moans, hollers, calls, jump rope rhymes, and lullabies, along with a parlor concert from a man with an accordion, makes this fourth volume in Document's field recordings series feel like a glimpse into a world tantalizingly close yet forever out of reach. Drawn mainly from research trips John Lomax made to Mississippi and Alabama in the late '30s and early '40s, these brief recordings have an offhand intimacy, as if you've been allowed to hear what America was humming and singing under its breath during a particular summer so long ago. There are some beautiful treasures here, including Charlie Butler's elegant and hopeful lament, "Diamond Joe," Vera Hall's succinct vignettes ("Another Man Done Gone," "Boll Weevil Blues"), and the jump rope wisdom of sisters Katherine & Christeen Shipp as they skip through the kinetic raps of "Ol' Uncle Rabbit" and the mysterious and spooky "See-Lye Woman (Sea Lion)." Tossed into the center of the sequence are a dozen tracks by Blind Jesse Harris recorded in Livingston, AL. Harris is not much of a singer (nor much of an accordion player, for that matter), but he knows a lot of songs, and his wheezing button key version of "Stagolee" is a reminder that the essential ingredients for a successful folk song are simplicity and adaptability. The sound quality of these recordings is a bit rough, and at times, particularly during the Harris selections, it feels like the music is coming from the other end of a long tin tunnel in a rainstorm, but the historical and archival importance of these tracks far outweighs their aural limitations."-- AMG review by Steve Leggett

"This installment of Document's field recordings series covers Alan Lomax's Library of Congress-sponsored trips to Louisiana, Texas, and the Bahamas between 1933 and 1940. Lomax met Leadbelly at Angola Prison in Louisiana, and the tracks on this disc are the first Leadbelly recordings, and while they aren't as assured as his later recordings, they do have a sheen of authority, particularly "Mister Tom Hughes' Town," which has the tone and feel of a modern composition. Another great track from Angola is the junkyard percussion gem by Curtis Harton and unnamed others called "(Don't) The Moon Looks Pretty," which sounds like Tom Waits and Harry Partch in the captain's tower playing the blues with a Memphis jug band. In Shreveport Lomax ran into singer and guitarist Joe Harris and mandolin player Kid West, and the duo recorded an arresting and emotionally balanced version of "Railroad Rag" for Lomax. The brief Bahamas section that closes the disc features David Pryor and others singing Bahamian work songs like the succinct, haiku-like "Bowline." The sound quality on this collection is a little difficult to bear at times, but the historical nature of the material makes it definitely worth a listen."-- AMG review by Steve Leggett

"John and Alan Lomax collected and recorded dozens of tracks in Texas for the Library of Congress folk song archive, frequently visiting prisons with recording equipment, believing that the insularity of the inmates kept them free of the commercial tainting of radio and the often empty-hearted business side of music. Most of the tracks on this collection, the sixth in Document's field recordings series, were drawn from visits to the Darrington State Farm and the Huntsville State Penitentiary, and it pulls together an impressive assortment of blues pieces, work songs, and railroad chants, kicking off with an unaccompanied, mournful, and emotionally powerful version of "Ain't No More Cane on the Brazos," sung by Ernest Williams and James "Iron Head" Baker. Some of the singing here, perhaps due to the plight of being a prisoner, crosses over into the realm of wordless wails and moans, giving tracks like Mose "Clear Rock" Platt's "Barbara Allen" a tone of resolute desperation and longing. Platt manages to turn the lilting melody of this old folk song into a bluesy spiritual, making it stand for deliverance and freedom, sentiments hardly inherent in the lyrics. Henry Truvillion's two hunting songs ("Possum Was an Evil Thing," "Come On Boys and Let's Go to Huntin'") reveal a vocal style that, in mimicking the bray of a hunting hound on the trail of a possum or coon, actually functions like a solitary horn, and what these two pieces lack in melody they more than make up in forceful passion and tone, becoming, in essence, a kind of backwoods jazz. The real find on this disc, though, are the final two tracks, which capture the fascinating world of legendary San Antonio street singer George "Bongo Joe" Coleman. Coleman, although he was a gifted pianist (as the first of these two tracks, "After Hours Improvisation," shows), specialized in homemade percussion instruments he made out of garbage cans and oil drums, and he accompanied himself on these drum rigs in performances that are as unique and amazing as they are difficult to describe. Coleman scat raps, whistles, and hums as traffic passes and car horns blare, deftly catching the minute changes of rhythm in big-city street life. The final track here, Coleman's epic "This Old World Is in a Terrible Condition," is a masterpiece of field recording, an unintentionally postmodern rant on the state of the world that would have made Rahsaan Roland Kirk proud, and the kind of neighborhood that Tom Waits has been renting a place in for years."-- AMG review by Steve Leggett

"Folklorists Alan Lomax, Zora Neale Hurston, and Elizabeth Barnicle traveled through Florida and Georgia in 1935 collecting songs and other folk materials for the Archive of American Folk Song, and this disc from Document Records, the seventh in the label's field recordings series, gathers songs and instrumental pieces from the Florida portion of the journey. The first recordings made by Gabriel Brown are here, and they are the heart and soul of this compilation. Brown's acoustic slide playing is solid, even amazing, on tracks like "Po' Boy, Long Ways From Home," and although John and Rochelle French also play guitar on these tracks, it is Brown's guitar work, particularly with the slide, that carries the day. Brown, whose career as a musician lasted well into the 1950s, was no garden-variety folk music informant. He was a graduate of the Florida Agricultural and Mechanical College and later worked with Orson Welles and the Federal Arts Theatre. Several tracks by the duo of Booker T. Sapps and Roger Matthews are also collected here, a flurry of bluesy romps with harmonica, guitar, shouts, and interjections that sounds at times like a jug band marooned in a cypress grove. A single unaccompanied and haunting version of "Prisoner Blues" by Ozella Jones closes the disc on a reverent note."-- AMG review by Steve Leggett

"This volume in Document's field recordings series covers material collected by Alan Lomax in Louisiana, Alabama, and Mississippi for the Library of Congress Archive of American Folk Song, opening with nine Afro-French tracks from Louisiana that could have come from nowhere else on earth. Each shows the effects of multiculture collisions and infusions, producing fascinating musical hybrids like Jimmy Peters' galloping stomp called "Rockaway," which sets up on a giant percussion groove that defies genre. Following a hard left turn into Alabama for a single song, Vera Hall's sweet, gentle, and unaccompanied lullaby called "Come Up Horsey, Hey, Hey," the balance of the disc collects handclapping songs, work songs, and laments recorded in the women's wing of the State Penitentiary in Parchman, MS, including Beatrice Perry's "I Got a Man on the Wheeler (Levee Camp Blues)," a haunting, complex analysis of the men in her life that is both sad and powerfully intimate, particularly given her confinement in Parchman. The sound quality isn't the best, but given the archival and historical importance of these recordings, and given the unforgettable nature of performances like Perry's, it hardly matters. Listeners are just very lucky that recordings like this have survived."-- AMG review by Steve Leggett

"A collection of field recordings from Georgia, North Carolina, South Carolina, Virginia, and Kentucky made between 1924 and 1939, this disc has a sort of odds and ends feel, since nearly half the tracks are by unknown blues singers, and it's a shame that the archivists who made these recordings didn't preserve the names of the performers. There are styles other than blues here, though, including three stomping (but poorly recorded) gospel pieces by South Carolina's Hannah Bessillion, a group of Georgia field hands singing "Mary Don't You Weep" backed by a lone banjo, and a delightfully archaic claw hammer banjo version of "Little Old Cabin In the Lane" by Uncle John Scruggs of Virginia. Belton Reese of South Carolina also plays some nifty banjo on his two tracks, "Bile 'Em Cabbages Down" and "The McKenzie Case," which includes percussion by Thaddeus Goodson. As with all the entries in Document Records' field recordings series, the sound takes some getting used to, but the historical importance of the material makes it worth the effort."-- AMG review by Steve Leggett

"This double-disc (listed as Vols. 10-11) collection is part of Document Records' field recordings series, and while it features a half-dozen or so unaccompanied vocal tracks, the greater share of the program is taken up by a series of interviews with ex-slaves Laura Smalley and Harriet Smith, conducted by John Henry Faulk in 1941, which undoubtedly will hold some appeal for scholars and historians. The musical selections are intriguing, and include the mock folk epic "The Grey Goose," sung by "Lightning" Washington, and an intimate, haunting version of the lullaby "Go to Sleep, Little Baby," sung by Lester Powell. The set closes with five of the nine tracks (most of which are about unions or union organizing) that John Handcock, a sharecropper from Brinkley, AR, recorded in Washington, D.C. on March 9, 1937."-- AMG review by Steve Leggett

"More than half of these recordings were made by John A. Lomax on behalf of the Library of Congress's Archive of Folk Song.
Tracks 1-2 originally recorded in Culpeper, Va., May 31, 1936; tracks 3-24 made by John A. Lomax at the State Penitentiary, Richmond, Va., on May 30-31, 1936 and at the State Farm, Lynn, Va., June 14, 1936; tracks 24-35 recorded in various locations in Virginia and South Carolina between June 14, 1936 and November 8, 1940."

""The Negro in the South," John Lomax wrote in 1933, in a submission for financial support from the Carnegie Corporation, "is the target for such complex influences that it is hard to find genuine folk singing . . . his religious leaders, turning away from revival songs,
spirituals, and informal church services to hymns and formal church modes .. . prosperous members of the community, bolstered by the church and the schools, sneering at the naivete of the folk songs . ..
the radio with its flood of jazz, created in tearooms for the benefit of city-dwelling whites - all these things are killing the best and most genuine Negro folk songs."
"We propose to go where these influences are not yet dominant; where Negroes are almost entirely isolated from the whites, dependent upon the resources of their own group for amusement; where they are not only preserving a great body of traditional songs but are also creating new songs in the same idiom. These songs are, more often than not, epic summaries of the attitudes, mores, institutions, and
situations of the great proletarian population who have helped to make the South culturally and economically."
Thirteen years later, looking back on what he and his son Alan had achieved, Lomax noted in Adventures of a Ballad Hunter that they had contributed to the Library of Congress "more than ten thousand songs on records as we took them down in the field." The 46 songs
and fragments gathered here, drawn from the collection created by the Lomaxes and expanded by other folklorists , though a tiny percentage of that archive, may be heard as a kind of journey through African-American song. It is a journey at high speed, and highly selective, but
it takes in many sights, from the stark vista of the prison farm to the weather-bleached clapboard of the country church. We meet many of the men and women who played informant to those travelling historians and in doing so wrote themselves ineffaceably into that history. Men, for example, like MOSE (CLEAR ROCK) PLATT and JAMES(IRON HEAD) BAKER, encountered as prisoners in Sugarland, Texas. "I keep thinking of hard-faced Iron Head," John Lomax would write. "He had the dignity of a Roman Senator . .. And the garrulous,conceited, sycophantic, able and utterly unreliable Clear Rock stalked around as a beautiful foil and contrast." According to Lomax, Clear Rock was 71 when he met him and had been in jail, off and on, for 49 years. "Where he got the words and tune [for "Dat's All Right Honey"] he did not know. I have not found the song elsewhere."
Or HENRY TRUVILLION in Wiergate, Texas, whom Lomax would
call "one of our star finds ... he was the boss of [a] track-lining gang, and his calls and songs had made interesting and beautiful records." Or RICH AMERSON of Livingston, Alabama, for whom Lomax bought a harmonica so that he could play his "Dog Caught A Hog", and his friend ENOCH BROWN, who seldom spoke but could holler for miles,
or Amerson's neighbours, the superb singers VERA HALL and DOC REED. Or ALLEN PROTHRO from Chattanooga, Tennessee, whose "Pauline", his favourite song, Alan Lomax would describe as his monument. "It shows its kinship with a whole school of work songs, but has its own highly individualized arrangement and we think it is one of the tenderest, most delicate love songs that ever came out of a
human throat." Amidst these singers of worksongs and hollers, and occasionally blues, the Lomaxes and their fellow songhunters recorded a great deal of gospel quartet music. Sometimes they encountered singers who would become well known in this field, such as Heywood Medlock of the PARAMOUNT SINGERS, later a member of the Soul Stirrers.
("Seal Up Your Book" appears to be the item listed in Blues & Gospel Records 1890-1943 as 'john Was A Writer", while "There's A Great Camp Meeting" must be "Walk Together, Children".) The MAGNOLIA FIVE was an antecedent of the Pilgrim Travelers and the group led by L. M. ABRAHAM went on to become the Original Five Blind Boys of Mississippi. We might also expect to have heard more of the members of the ROANS CHAPEL SINGERS, whose "My Record Will Be There" is a most assured performance, or THE FOUR BROTHERS, a fine jubilee group from Georgia in the style of the early Golden Gate Quartet, or the JUNIOR FOUR QUARTET of Dover, Delaware. D. W. WHITE led the choir of Pearson's Funeral Home in Columbia, South Carolina, a group of 12 women and seven men. "Nowhere in my experience," wrote John Lomax, "have I found so powerful a voice as D.W. White's . .. I returned to the far corner of the room with mymicrophone, yet still the needle slammed crazily about ... It is noteworthy that this unique group comes entirely from working people, including several Negro washerwomen, and they use no books.""As I look back on our hasty work," Lomax wrote in 1946, "I realize that, while we may have got some of the good songs recorded, we have barely touched the stores of folk songs which yet flourish among the people." No doubt he was right: he ought to have known. Half a century later, however, we can only be grateful for what was done, and to John and Alan Lomax for doing it."-- Tony Russell (October 1998)

"One of the more fruitful byproducts of the gargantuan Document reissue project is the effect it has on
restructuring our notions about black vernacular music and the impact that different recording situations had
upon the music. We have gotten used to the idea that the commercial recording companies steered the music in
the direction of what was perceived as potentially "popular" (i.e. marketable) , and that folklorists working for
archives like the Library of Congress (and without commercial pressures) generally were looking to document
older musical forms before they vanished. There was so much recording (both commercial and archival) done
between the World Wars, and so little of it has been easily accessible until recently, that it has been impossible to
draw conclusions based on the recorded evidence. At the time I am writing this, it has been less than three years
that the complete commercial recordings of seminal vocal groups such as the Norfolk Jubilee Quartet, the
Biddleville Quintette, the Heavenly Gospel Singers, the Golden Gate Quartet, and the Birmingham Jubilee Singers
have been available, and as the published research on quartets by Doug Seroff, Lynn Abbott, Ray Funk, Kip
Lornell, and Ray Allen has made abundantly clear, commercial recordings were only one important influence on
the tradition. So, it would appear that as evidence accumulates, old notions are challenged but by no means
easily replaced with more comprehensive theories.
Still, the old preconceptions linger, and what is initially startling about the field recordings contained in this
collection is how contemporary most of the groups sound. From the mid-1930s, the proliferation of available
commercial recordings, live radio broadcasts, and the growing network of semi-professional venues involving
vocal quartets make it difficult, perhaps impossible, to determine the source of a particular song or style. In fact,
in the thriving, highly competitive vernacular quartet tradition, commercial recordings may well have had the
least impact of the above-mentioned influences.
Of the several groups presented here who went on to some measure of commercial recording success in the
post-war "golden age of gospel song", the unequivocal front-runners are the FAIRFIELD FOUR QUARTET.
Embedded in the more comprehensive documentation of a service of the Fairfield Baptist Church in Nashville,
Tennessee that included a long sermon by Rev. JR. Statton and a prayer by Rev. Cobyn, "Don't Let Nobody
Turn You 'Round" preceded by a fragment of "The Blood Done Signed My Name" demonstrate that by 1942,
the Fairfield Four were already in the vanguard of the new "hard gospel" style. Kylo Turner and I. H. Robinson of
the MAGNOLIA FIVE recorded with the famous Pilgrim Travelers in the post-war period, and their version of
"Go Where I Send Thee" (here titled "The Holy Baby") points to the influential Heavenly Gospel Singers as one
antecedent of their sound. Toward the end of the piece, one of the singers cups his hands and imitates a
trumpet in the "human orchestra" or "sing-band" style popular among barbershop quartets and the ubiquitous
recordings of the Mills Brothers beginning in 1931 . While the PARAMOUNT SINGERS went on to some
measure of fame in the later 1940s and 1950s, one of their lead singers in 1941, Heywood Medlock, joined the
legendary Soul Stirrers during the period when the group was dominated by the revolutionary singing of Rebert
Harris and ultimately followed Harris when he founded the Christland Singers in 1951.
There are a number of groups here who recorded at Fort Valley State College in Georgia, where for a decade and
a half beginning in 1940 there were folk festivals featuring black vernacular music. Of these, the MIDDLE
GEORGIA FOUR and the MIDDLE GEORGIA SINGERS appear to be the same group, and along with the others
recorded at Fort Valley, they demonstrate the presence of a healthy local quartet scene in central Georgia. The better documented Jefferson County, Alabama quartet tradition is ably represented by the BESSEMER BIG FOUR with their introduction song "Good Evening Everybody" (a device also present at the beginning of the Edwards Luling Dixie Singers' "It Keeps On Leakin' In This Building") and a fine rendition of "Golden Bells".
The earliest titles included here by BAT (whose name was probably Mae Jackson) AND HER QUARTET (which
included Monroe Bowdrey) are closer to the preconception of what field recordings sound like. These were made
at Smither's Plantation near Huntsville, Texas by John Lomax and include a re-recording on disc of "Will You
Guide Me?" (the original of which appears to have been the first cylinder recording done by Lomax for the
Library of Congress in the summer of 1933).
The bonus tracks by an UNKNOWN QUARTET from Kentucky and the STAR GAZERS are from acetates made after the end of the Second World War for radio broadcast. The style of the groups is thoroughly contemporary and if nothing else, these acetates underline the strong probability that radio broadcasts by quartets were one
step ahead of what the commercial recording companies perceived as marketable."

"Rock Me, Shake Me: Field Recordings Vol. 15 Mississippi 1941-1942 collects some fascinating field recordings made by the tireless Alan Lomax in Coahoma County, Mississippi.
This collection will be of great interest to blues scholars and researchers but fans of early blues and gospel will find much to enjoy. The bulk of the material is accapella gospel with a few blues and interviews.
Highlights include seven songs by Roxie Threadgill and group including the moving and forceful "I'm Goin Lean On The Lord" and the remarkable breathless solo by Manuel Casey on "Rock Me, Shake Me."
Other highlights include a fine unissued blues by David Edwards (Honeyboy Edwards), a pair of field hollers by Muddy Waters associate Charles Berry and exciting string band music by Sid Hemphill and his band on the vigorously ragged "The Roguish Man" and the moving "Soon I'll Be At Home."

"The folk song "Boll Weevil" is at least a century old, and there are countless versions in field recording archives, as well as commercial versions issued by the likes of Charley Patton, Joe Calicott, Kokomo Arnold, Ma Rainey, Leadbelly, and even Eddie Cochran and Brook Benton (who took it to number two on the pop charts in 1961). The boll weevil, an inconspicuous brown beetle that devastates cotton crops, first entered Texas in 1872 (after leaving Mexico's cotton fields in ruin), and reached Louisiana by the early 1900s, quickly spreading into Mississippi, Alabama, and Georgia, leaving physical and economic devastation in its wake. Southern blacks, many of whom made their hardscrabble living as cotton sharecroppers, developed a begrudging respect for the tenacious pest and its abilities to survive all attempts at its eradication, making the boll weevil somewhat of a metaphor for the social, political, and economic situation of the sharecroppers themselves. This collection of field recordings from Document Records includes seven versions of the boll weevil ballad (the most moving arguably being Vera Hall's stately a cappella rendering), but also includes other non-weevil tracks, several of which are also quite striking. All five of the selections here by Wilson Jones (guitar and vocals), Octave Amos (fiddle), and Charles Gobert (banjo) have a wonderfully ragged wildness, especially the epic murder ballad "Batson," which clocks in at over 11 minutes in length, split into two parts. A group recorded in 1934 and identified only as Seven Boys With Home-Made Instruments delivers two delightful junkyard masterpieces, "(Don't) The Moon Look Pretty" and a version of Leroy Carr's "How Long Blues," that prefigure Tom Waits' bang-the-fender approach to music arrangement by some 40 years. The variety on display here, from murder ballads to blues, Cajun two-steps, and jug bands to archival spoken word pieces, is impressive. Document has been putting out volumes of American field recordings for some time now (this is listed as volume number 16), and all of them are worth investigating, but this installment is a particular treasure."-- AMG review by Steve Leggett

Son House; vocal, guitar.
Includes: Willie Brown, guitar; Fiddlin’ Joe Martin, vocal, speech, mandolin; Leroy Williams, harmonica.
"When, in August and September, 1941, Alan Lomax, then ‘Assistant in Charge’ of the Archive of Folk Song at the Library of Congress in Washington, undertook a field trip to record in Coahoma County, Mississippi, he had already conducted a considerable number of such trips, initially in the company of his father, John Lomax, back in 1933/4. Travelling with him in their Ford car was his wife Elizabeth. Also taking part in the project were John Work, whose idea it was to study the black culture of a limited area in Mississippi or Tennessee in detail, and Lewis Jones, both from Fisk University.
Having made a series of religious recordings after their arrival in Mississippi on Sunday, 31st August, they visited the Stovall Plantation to record a young man named McKinley Morganfield, who had been recommended to them as a good bluesman. Apart from his musical contribution he was instrumental in guiding Lomax to where he could find former Paramount recording artist Eddie James ‘Son’ House. In an interview Muddy told Lomax and John Work that while he admired and was influenced by the recordings of Robert Johnson, his major inspiration was Son House.
House was now living on a plantation near Robinsonville, a small town in Tunica County on Highway 61, where he worked as a tractor driver. On weekends he fronted a country band that included his close friend, guitarist Willie Brown, who had also recorded for Paramount, Fiddlin’ Joe Martin, who played several instruments, including guitar and mandolin, and harmonica player Leroy Williams. On 3rd September this group was assembled at Clack’s grocery store at Clack, Mississippi. The store was chosen as a recording location because it was only one of a few buildings in the area that had an electricity supply. A railroad track ran close by and on two of the recordings a train can be heard - Son’s solo recording of Charlie Patton’s big hit on Paramount, Pony Blues and Walking Blues (with the band) which was based on one of Son’s Paramount recordings, which now exists only as a test pressing but may have been issued commercially.
The first three performances feature the full band supporting Son’s vocal. Levee Camp Blues (originally untitled) fades out during the sixth verse, presumably due to lack of disc space. The intention was to re-record it. However, Government Fleet Blues contains ten verses, only four of which appear (and then in different form) in Levee Camp so I prefer to think of them as related but distinctly individual songs using the same melody.
Fiddlin’ Joe Martin indulges is in his element, in exchanges with Son during the accapella Camp Hollers, capturing the sounds of the levee camps. Delta Blues, which only features Son and Leroy, was House’s personal favorite from the session and it certainly is an absolutely magnificent performance.
In 1942 the Coahoma County study was resumed. Alan Lomax rated Son House, as a blues singer, even above Leadbelly and so was understandably anxious to record him again. The long recording session in Robinsonville had, been extremely successful. It begins with a brief test of an un-named piece that sounds for all the world as if it was recorded for Paramount. Slide-guitar accompanied and with an insistent beat reminiscent of “My Black Mama” it is a great shame that only this fragment remains. The intensity of Son’s performance on Special Rider Blues and Low Down Dirty Dog Blues is almost overpowering. They are fully realized and virtually flawless examples of the finest Delta blues. Only a little lighter in tone, Depot Blues uses a melody similar to Willie Brown’s railroad piece “M & O Blues”. A few months before Son had composed a patriotic song about the War, American Defense with its gloomy message “This war will last you for years” but expressing confidence that it would eventually be won. Was I Right Or Wrong, a raggy non-blues, ends abruptly. Lomax noted that Son forgot the ending. Although the next piece was titled Walking Blues it was in fact a different song to that recorded in 1930 and 1941. Initially, he told Lomax that it was “The Girl I Love Is Dead” but then changed his mind. It is in fact the song that, after his rediscovery, Son called “Death Letter Blues”, which, over the years, had evolved from Part 2 of his Paramount recording “My Black Mama”.
When Son had recorded for Paramount he had been asked to record a song that employed the ‘beat’ and melody of Blind Lemon Jefferson’s “See That My Grave Is Kept Clean” and had composed a stark piece about serving time on the county farm. By 1942 considerable lyric revision had taken place, although the slide guitar accompaniment was retained. The 1930 original of Mississippi County Farm Blues has six verses whereas the Library of Congress version has only 4 (and none in common with the Paramount) but all are really hard-hitting.
Son’s 1942 treatment of Pony Blues, with its ‘clip-clop’ rhythm, seems closer to the Charlie Patton original. The two versions of Jinx Blues, one of Son’s most masterly pieces, are considerably different and certainly can’t be considered as ‘Parts 1 and 2’ as they have sometimes been presented.
It was extremely fortunate that Lomax revisited House when he did as the following year House relocated to Rochester in New York State, on Lake Ontario, and the opportunity to capture him performing at his magnificent best would have been lost."-- Document
"Ломакс впервые встретился с Сан Хаусом 3 сентября и тотчас договорился о записи. Вот как фольклорист описывает одну из своих самых необычных сессий:
«“Пойдем, – сказал Сан, – я хочу, чтобы вы познакомились с моими парнями, и мы попытаемся сыграть немного нашей музыки”. Я не знаю, куда Сан повел меня. Пыльными дорогами вдоль железнодорожных путей – в заднюю часть ветшающего деревенского бакалейного магазина, где пахло лакрицей, укропным рассолом и нюхательным табаком. Что-то тушилось с бульканьем, и было так жарко, что Сан Хаус и его парни еще до выступления разделись по пояс. Из всех моих встреч с блюзом эта была самой главной: лучшей, чем с Ледбелли, чем с Джош Уайтом, Сан Терри и всеми остальными. Один играл на гармонике: он выл и рыдал своим инструментом, словно собака на горячем следе. Там был мандолинист, который совсем не деликатничал со своей мандолиной, а изливал звенящие серебристо-голубые потоки аккордов, подобные теплому лунному свету летних южных ночей, и воодушевлял поиски гармониста. Второй гитарист на басовых струнах играл облигато в ритме, выстукиваемом большущими деревенскими ногами, – он превратил всё каркасное здание в гигантский африканский барабан. В центре всего этого был Сан Хаус, абсолютно преображенный, больше не тихий и любезный человек, которого я повстречал: им, ослепленным музыкой и поэзией, безраздельно владела песня…»
Повторим ещё раз написанное Ломаксом: «Из всех моих встреч с блюзом эта была самой главной…»
Конечно, Ломакс-младший кантри-блюза слышал не так много, как старший – сэр Джон Эвери Ломакс, – и гораздо меньше, чем Хенри Спир. Возможно, блюзы Дельты Алан вообще слышал впервые, а Ледбелли, Джоша Уайта и Сонни Терри упомянул, поскольку они были его приятелями. Но все-таки Алан писал свои воспоминания позже, уже после того как слышал многих и многое, так что признание, что в Лейк Корморане перед ним предстало нечто из ряда вон выходящее, – вполне осмысленное и зрелое. Добавлю: и я ничего подобного не слышал и уверен, вы тоже, так как ничего равного тому, что сотворили Сан Хаус, Вилли Браун, харпер Лирой Вильямс и мандолинист Фиддлин Джо Мартин, в истории блюза не существует!
Итак, 3 сентября 1941 года Алан Ломакс записал три вещи блюзового бэнда из Коахома-каунти: «Levee Camp Blues», «Government Fleet Blues» и «Walking Blues», причем последнюю музыканты сыграли по просьбе фольклориста, так как он хотел услышать её «вживую». «Walking Blues» и «Government Fleet Blues» длятся более шести с половиной минут каждая! За это время музыканты успели раскачаться, а сыгранности у них хватало: многие годы играли вместе.
Что же получилось?
Действительно, в центре каждого из блюзов находится Сан Хаус, голос которого, по образному выражению Ломакса, «гортанный и охрипший от пыла страсти, взрезал поверхность музыки, подобно глубокому плугу, приводимому в движение его трактором, отваливающему по весне влажную черную землю, – и пускал соки земной песни…».[xxv] Лучше и точнее не скажешь… И этот мощный вокал фокусирует игру всего бэнда. Но вот ритм – основу блюзов Дельты – формирует, развивает и поддерживает Вилли Браун. Да как! Акцентируя, предельно жестко, игру на басовых и средних струнах, Браун, по сути, играет то, что впоследствии назовут ритм-энд-блюзом, а потом и роком, и потому хорошо бы любителям и исследователям этих жанров прислушаться, как когда-то играли блюзмены Дельты, и обратить внимание на то, что делал на своей гитаре Вилли Браун в 1941 году, обходясь без электричества, без ритм-секции и прочего… Таким образом, жесткий, мощный, безудержный саунд двух гитар National, одна из которых безупречно выдавала ритм, плюс к ним мандолина Фиддлина Джо Мартина, которая добавляла высокие штрихи, извергая «звенящие серебристо-голубые потоки аккордов», да заливающаяся гармоника Лироя Вильямса, а в центре – надрывный и какой-то плачущий вокал Сан Хауса… Хорошо бы это услышать и наконец понять, что не скорострельное «пиликанье», не виртуозные переборы, не показное «ползанье» левой рукой по грифу или пикинг являются главным достоинством ритм-энд-блюза или рока, а безупречный и мощный ритм (драйв!), на который нанизывается игра всего бэнда, создавая фундамент такому же мощному вокалу. Это то, с чем отправились в Мемфис и Чикаго молодые ученики Чарли Пэттона, Сан Хауса и Вилли Брауна – МакКинли Моргенфилд, он же Мадди Уотерс, и Честер Барнетт (Chester Burnett), он же Хаулин Вулф. Это то, с чем прибыл в Лондон их более поздний последователь Джимми Хендрикс, хотя мог туда и не ехать… В этом захватывающем драйве – основа того, что потом развивали подопечные Сэма Филлипса в студии «Sun» и их более поздние коллеги из «Stax»; тут и Детройт, и мерсибит, и West Coast Sound, и всё то доброе, что дали миру шестидесятые… Вот что подарил нам, вслед за Чарли Пэттоном, его маленький ученик и напарник! Вот за что Вилли Брауна считали величайшим гитаристом всей Дельты, вот за что столь высоко его оценивал всех повидавший Хенри Спир, и вот почему Алан Ломакс написал, что «второй гитарист», а им был как раз Вилли, «превратил всё каркасное здание в гигантский африканский барабан»!..
А как тут еще и еще раз не признать роль Провидения, которое так благоволило бэнду из Коахома-каунти, что, по сути, присоединилось к нему проходящим мимо железнодорожным составом, подгадав сначала тревожным и пронзительным гудком, а затем и стуком колес о стыки во время записи «Walking Blues» (эх, знал бы машинист, в каком событии невольно участвует!), так что и товарняк остался запечатлен в блюзовой истории… И ведь этот бэнд, у которого даже не было названия, играл подобным образом по несколько раз на неделе. Да, было от чего прийти в восторг Алану Ломаксу. Такого он еще не слышал!..
Всему, однако, приходит конец, и в который раз мы убеждаемся, что от великого до смешного – один шаг. Правда, в данном случае смешного меньше, чем горького, потому что величайшую блюзовую сессию всех времен приостановил подоспевший белый господин, для которого великий Сан Хаус был всего лишь одним из трактористов на его плантации… Вот что пишет об этом Алан Ломакс:
«Музыка прекратилась. Сан Хаус приоткрыл глаза и закурил. Но глубокая нота всё ещё откуда-то тянулась и тянулась, никак не затихала. Мы переглянулись в изумлении. Я подумал, что виной этому мое оборудование, и выключил его. Однако звук продолжался. Сан вышел из транса. “Это кто-то сигналит на улице, – сказал он. – Схожу-ка, посмотрю, в чем дело”. Через минуту гудок прекратился, и Сан вернулся. Он казался меньших размеров, огонь вдохновения в нём потух, лицо приобрело пепельный оттенок. “Это мой босс. Вам лучше пойти потолковать с ним”.
Белый человек в рабочей одежде цвета хаки сидел за рулем грузовика, его лицо было бледным от страха и гнева. Он выглядел столь ничтожным и словно усохшим, в сравнении с тем, что я только что увидел и услышал, что я едва не рассмеялся. Он желал знать, что делает в местном баррел-хаусе этот пропотевший, неопрятного вида белый человек (то есть Ломакс – В.П.) с его лучшим трактористом. Как только мог, я объяснился, но, всё еще находясь под впечатлением от пережитого, боюсь, я оказался непоследовательным. Он не смотрел на меня, пока я говорил, и, полагаю, не слышал ни одного слова, мною произнесенного. Он лишь сосредоточенно вглядывался куда-то на проселочную дорогу.
“Что ж, – произнес он. – Когда получите свою ниггерскую музыку сполна, подходите к дому”»".
(Валерий Писигин "Пришествие блюза Том 1", глава вторая - Вилли Ли Браун)
"... Теперь остановимся на другой сессии, проведенной Ломаксом в июле 1942 года в Робинсонвилле во время второй экспедиции в Миссисипи. ...
…Уже на следующий день после записи блюзменов из Мемфиса, Ломакс был в Робинсонвилле и делал тридцатисекундную тестовую запись Сан Хауса – «Special Rider Blues»… Скорее всего, с Хаусом была предварительная договоренность и даже назначена дата – 17 июля, так как белый босс блюзмена, учитывая важность момента, предоставил своему лучшему трактористу выходной. В отличие от сессии 1941 года, теперь Ломакс записывал одного только Хауса, да и сам он работал в Коахома-каунти в одиночку… Согласно справочнику Blues & Gospel Records, в тот день были записаны: «Special Rider Blues», «Low Down Dirty Dog Blues», «Depot Blues», «American Defense», «Am I Right Or Wrong», «Walking Blues», «County Farm Blues», «The Pony Blues», «The Jinx Blues (No.1» и «The Jinx Blues (No.2)». Запись песен «разбавлялась» шестью беседами с Хаусом, из которых, как мне известно, издана только одна – «The Key Of Minor», – когда блюзмен меняет настройку и что-то объясняет Ломаксу.
Вряд ли мы узнаем, что говорил Ломакс Хаусу, какие требования предъявлял и о чем расспрашивал, но записанный репертуар оказался довольно пестрым, потому что включал не только блюзы, но и обычные песни, так что иногда традиционный, известный и привычный Сан Хаус куда-то «исчезал», а на его месте оказывался некий сонгстер, исполнявший простенькие «белые» песенки вроде «American Defense» или «Am I Right Or Wrong»… Не знаю, в каком настроении пребывал в этот день Сан Хаус, что мучило и что заботило его, но даже коронный «Walking Blues» звучит печально, а монотонный и равнодушный пикинг будто и вовсе не относится к этому блюзу…
А начал эту сессию Сан Хаус со «Special Rider Blues», который, впрочем, тоже исполнил без энтузиазма, с несвойственным ему спокойствием или, скорее, с безразличием, при этом его слайд едва шевелился… Нехемия «Скип» Джеймс, записавший этот блюз в 1931 году для Paramount, тоже поет с печалью в голосе, но только послушайте, сколь самозабвенно он это делает своим удивительным фальцетом, а как при этом играет! Что вытворяет со струнами!.. Творческая сила Сан Хауса в ином – прежде всего в жестком драйве и в запредельной мощи, исторгаемых из гитары железными пальцами и слайдом, и в столь же отчаянном рыдающем голосе… Но где всё это? Куда пропало?.. Перед Ломаксом сидит и напевает песенки сорокалетний блюзмен, душа и сердце которого явно не там, где происходит звукозапись, а где-то в другом месте. В каком именно?..
С помощью «Low Down Dirty Dog Blues» Эдди пытался себя завести, да где там… Не получилось, хотя мастерство, как говорится, не пропьешь: тут и слайд, и драйв, и тот самый Дельта-блюз, пусть и спетый без вдохновения… А потом идет «Depot Blues» – спокойный, без надрыва, при этом голос Хауса временами становится нежным, что было непредставимым, да и пальцы его не усердствуют, пикинг мягкий, а ведь в иные времена этой же вещью Сан Хаус мог бы взорвать Дельту!..
О водевильной песенке «American Defense» и об «Am I Right Or Wrong» (разновидности «Salty Dog») мы уже говорили, их бы Хаусу вообще не записывать, да, видимо, Ломакс настоял, желая убедиться в широком диапазоне своего героя, а тот, видимо, рад стараться: всё равно не заплатит… «Walking Blues», свою великую вещь, Сан Хаус исполняет в каком-то странном меланхоличном стиле, подкрепляя бледный вокал столь же унылым синкопированным стаккато, лишь слегка обозначая тему: сущий авангард, но намеренный ли?.. Столь же небычно исполнение Хаусом и «County Farm Blues». И только в пэттоновском «The Pony Blues» мы временами слышим прежнего Сан Хауса: эта вещь, похоже, удачно легла на настроение блюзмена и потому вошла с ним в гармонию. Но где же тот «король блюза», который всего за год до этого сразил Ломакса (и нас!) исполнением «Levee Camp Blues», «Government Fleet Blues» и всё тем же «Walking Blues»?!. Там, правда, был Вилли Браун, неизменный товарищ по музыкальному ремеслу и друг… Вот и в «The Jinx Blues No.1» Сан Хаус попытался раскачать себя техникой Вилли Брауна, нажимая на басовые, да только из этого ничего не получилось. Весь минор его настроения, вся отчужденность от текущего процесса звукозаписи передается сначала струнам, а затем и нам…
В чем же дело? Почему, всего год спустя, Хаус предстал перед Ломаксом совершенно равнодушным, потерянным и отстраненным?..
Истинных причин мы не узнаем. Может, оттого что на этот раз он был в одиночестве перед фольклористом: полевая сессия в Робинсонвилле – единственная, где блюзмен остается с глазу на глаз с белым господином из Вашингтона, к тому же в прошлый раз этот господин расплатился за блюзы лишь бутылкой кока-колы, заверив, будто эти записи очень важны для сохранения национальной культуры Америки и что когда-нибудь они станут историческими. Этим Алан Ломакс позабавил босса Сан Хауса, посмеявшегося над такой стоимостью «национальной культуры»… А ведь Эдди уже бывал в студии звукозаписи, двенадцать лет назад, и хорошо знал, сколько стоит подобная запись… Но может, его меланхолия происходит от чего-то другого. Возможно, Сан Хаус просто устал жить, как жил раньше: сорок лет – возраст переломный, во многом критический. Скорее всего, причина столь откровенного равнодушия к блюзам – в душевном неспокойствии Сан Хауса: будучи женатым, он в то время увлекся другой женщиной… Спутя год после этой сессии блюзмен навсегда оставит Дельту...
(Валерий Писигин "Пришествие блюза Том 1", глава третья - Эдди «Сан» Хаус - http://www.collectable-records.ru/pisigin/vol6/04.htm )
(Спасибо Валерию Писигину и сайту collectable-records.ru за предоставленную информацию).

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Unknown Artist / Field Recordings Volume 1 - Virginia 1936-1941
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Test CRC 41A8699A
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Track 4
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\04 - Willie Williams - Bitin' Spider.wav
Pre-gap length 0:00:04.00
Peak level 87.7 %
Extraction speed 4.1 X
Track quality 100.0 %
Test CRC CB98E409
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Track 5
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\05 - J. Wilson - Can't You Line 'Em.wav
Pre-gap length 0:00:04.00
Peak level 94.5 %
Extraction speed 4.0 X
Track quality 100.0 %
Test CRC 7C6CB105
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Track 6
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\06 - J. Wilson - Laying Rail Chant (1 & 2).wav
Pre-gap length 0:00:04.00
Peak level 96.8 %
Extraction speed 4.5 X
Track quality 100.0 %
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Track 7
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\07 - J. Wilson - Have Children of My Own.wav
Pre-gap length 0:00:04.00
Peak level 94.4 %
Extraction speed 3.7 X
Track quality 100.0 %
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Track 8
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\08 - J. Wilson - Po' Boy.wav
Pre-gap length 0:00:04.00
Peak level 74.8 %
Extraction speed 3.8 X
Track quality 100.0 %
Test CRC 1B7FC4B8
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Track 9
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\09 - Lemuel Jones - Shake It, Mama.wav
Pre-gap length 0:00:04.00
Peak level 93.8 %
Extraction speed 4.3 X
Track quality 100.0 %
Test CRC CF94B8B5
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Track 10
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\10 - Lemuel Jones - Po' Farmer (Po' Farmers).wav
Pre-gap length 0:00:04.00
Peak level 92.8 %
Extraction speed 3.9 X
Track quality 100.0 %
Test CRC 0700AE71
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Track 11
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\11 - Lemuel Jones - Shake It, Mama.wav
Pre-gap length 0:00:04.00
Peak level 100.0 %
Extraction speed 4.3 X
Track quality 100.0 %
Test CRC 24602CCC
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Track 12
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\12 - Jimmie Owens - John Henry.wav
Pre-gap length 0:00:04.00
Peak level 92.9 %
Extraction speed 5.2 X
Track quality 100.0 %
Test CRC EB5E59C6
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Track 13
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\13 - James Henry Diggs - Freight Train Blues.wav
Pre-gap length 0:00:04.00
Peak level 94.7 %
Extraction speed 5.1 X
Track quality 100.0 %
Test CRC 1F75EE0C
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Track 14
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\14 - Jimmie Strothers - Keep Away from the Bloodstained Banners.wav
Pre-gap length 0:00:04.00
Peak level 77.5 %
Extraction speed 2.8 X
Track quality 99.8 %
Test CRC F8BDD178
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Track 15
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\15 - Jimmie Strothers - Tennessee Dog.wav
Pre-gap length 0:00:04.00
Peak level 84.8 %
Extraction speed 5.0 X
Track quality 100.0 %
Test CRC 9D48816C
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Track 16
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\16 - Jimmie Strothers - Run Down, Eli.wav
Pre-gap length 0:00:04.00
Peak level 75.8 %
Extraction speed 3.5 X
Track quality 99.9 %
Test CRC 018E7756
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Track 17
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\17 - Jimmie Strothers - We Are Almost Down to the Shore.wav
Pre-gap length 0:00:04.00
Peak level 44.3 %
Extraction speed 5.5 X
Track quality 100.0 %
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Track 18
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\18 - Jimmie Strothers - Jaybird (take 1).wav
Pre-gap length 0:00:04.00
Peak level 66.0 %
Extraction speed 2.2 X
Track quality 99.7 %
Test CRC CF97C677
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Track 19
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\19 - Jimmie Strothers - Jaybird (take 2).wav
Pre-gap length 0:00:04.00
Peak level 72.9 %
Extraction speed 4.1 X
Track quality 100.0 %
Test CRC 50D33FD2
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Track 20
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\20 - Jimmie Strothers - Corn-Shucking Time.wav
Pre-gap length 0:00:04.00
Peak level 62.7 %
Extraction speed 4.4 X
Track quality 100.0 %
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Track 21
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\21 - Jimmie Strothers - Daddy, Where You Been So Long.wav
Pre-gap length 0:00:04.00
Peak level 59.7 %
Extraction speed 4.6 X
Track quality 100.0 %
Test CRC EB9E4BE8
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Track 22
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\22 - Jimmie Strothers - I Used to Work on the Tractor.wav
Pre-gap length 0:00:04.00
Peak level 77.3 %
Extraction speed 5.0 X
Track quality 100.0 %
Test CRC 401F7473
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Track 23
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\23 - Jimmie Strothers - Though I Heard My Banjo Say.wav
Pre-gap length 0:00:04.00
Peak level 64.9 %
Extraction speed 5.7 X
Track quality 100.0 %
Test CRC 9471E929
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Track 24
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\24 - Joe Lee - House Done Built Without Hands.wav
Pre-gap length 0:00:04.00
Peak level 59.1 %
Extraction speed 4.7 X
Track quality 100.0 %
Test CRC 5E69EFA3
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Track 25
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\25 - Jimmie Strothers - Dis Ol' Hammer.wav
Pre-gap length 0:00:04.00
Peak level 92.5 %
Extraction speed 4.3 X
Track quality 99.9 %
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Track 26
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\26 - Joe Lee - Shines Like a Star in the Morning.wav
Pre-gap length 0:00:04.00
Peak level 63.1 %
Extraction speed 5.9 X
Track quality 100.0 %
Test CRC 9CBE11B7
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Track 27
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\27 - Jimmie Strothers & Joe Lee - Do, Lord, Remember Me.wav
Pre-gap length 0:00:04.00
Peak level 93.1 %
Extraction speed 6.0 X
Track quality 100.0 %
Test CRC 043A9AF6
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Track 28
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\28 - Jimmie Strothers - Poontang Little, Poontang Small.wav
Pre-gap length 0:00:04.00
Peak level 59.8 %
Extraction speed 6.4 X
Track quality 100.0 %
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Track 29
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\29 - Joe Lee - Oh the Lamb of God Done Sanctified Me.wav
Pre-gap length 0:00:04.00
Peak level 46.8 %
Extraction speed 4.7 X
Track quality 100.0 %
Test CRC 92F15EA3
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Track 30
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\30 - Joe Lee - I'll Go On.wav
Pre-gap length 0:00:03.98
Peak level 53.0 %
Extraction speed 4.7 X
Track quality 100.0 %
Test CRC 64160B1B
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Track 31
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\31 - Joe Lee - Rise, Run Along, Mourner.wav
Pre-gap length 0:00:04.00
Peak level 70.7 %
Extraction speed 3.5 X
Track quality 99.8 %
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Track 32
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\32 - Group (Emmons Baptist Church) - Oh Jesus, Let Me Ride.wav
Pre-gap length 0:00:04.00
Peak level 69.0 %
Extraction speed 6.4 X
Track quality 100.0 %
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Track 33
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\33 - Group (Emmons Baptist Church) - I'm Strivin'.wav
Pre-gap length 0:00:04.00
Peak level 71.6 %
Extraction speed 5.9 X
Track quality 100.0 %
Test CRC 1FEC9C9E
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Track 34
Filename D:\Field Recordings Volume 1 - Virginia 1936-1941\34 - ''Big Boy'' - Blues.wav
Pre-gap length 0:00:04.00
Peak level 80.8 %
Extraction speed 7.5 X
Track quality 100.0 %
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None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
---- CUETools DB Plugin V2.1.3
[CTDB TOCID: EoKcg8t_PY6eYc553Wh_5Suvjfo-] found, Submit result: already submitted
[82ca3240] (1/1) Accurately ripped
==== Log checksum 75FC750FC57CD7D65B541398C69FCEAA1D8228F16F0431096F2BEC1ED30D864A ====

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 12. December 2012, 22:19
Various / Field recordings 02: N.&S. Carolina, Georgia, Tennessee, Arkansas
Used drive : ATAPI iHAS124 B Adapter: 3 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track
Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "PERFORMER=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%--tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "ALBUMARTIST=%albumartist%" -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" -T "COMMENT=%comment%" %source% -o %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 0:35.00 | 0 | 2624
2 | 0:35.00 | 1:50.57 | 2625 | 10931
3 | 2:25.57 | 2:19.30 | 10932 | 21386
4 | 4:45.12 | 1:18.20 | 21387 | 27256
5 | 6:03.32 | 1:25.25 | 27257 | 33656
6 | 7:28.57 | 2:15.60 | 33657 | 43841
7 | 9:44.42 | 2:01.13 | 43842 | 52929
8 | 11:45.55 | 0:44.20 | 52930 | 56249
9 | 12:30.00 | 1:38.17 | 56250 | 63616
10 | 14:08.17 | 2:22.18 | 63617 | 74284
11 | 16:30.35 | 1:46.30 | 74285 | 82264
12 | 18:16.65 | 1:22.55 | 82265 | 88469
13 | 19:39.45 | 2:34.27 | 88470 | 100046
14 | 22:13.72 | 0:55.45 | 100047 | 104216
15 | 23:09.42 | 2:23.55 | 104217 | 114996
16 | 25:33.22 | 4:21.23 | 114997 | 134594
17 | 29:54.45 | 1:55.40 | 134595 | 143259
18 | 31:50.10 | 2:01.72 | 143260 | 152406
19 | 33:52.07 | 2:52.50 | 152407 | 165356
20 | 36:44.57 | 3:38.55 | 165357 | 181761
21 | 40:23.37 | 1:51.53 | 181762 | 190139
22 | 42:15.15 | 1:41.02 | 190140 | 197716
23 | 43:56.17 | 0:40.38 | 197717 | 200754
24 | 44:36.55 | 4:21.67 | 200755 | 220396
25 | 48:58.47 | 2:52.18 | 220397 | 233314
26 | 51:50.65 | 2:51.05 | 233315 | 246144
27 | 54:41.70 | 1:19.62 | 246145 | 252131
28 | 56:01.57 | 1:03.08 | 252132 | 256864
29 | 57:04.65 | 2:40.27 | 256865 | 268891
30 | 59:45.17 | 1:47.28 | 268892 | 276944
31 | 61:32.45 | 3:27.30 | 276945 | 292499
32 | 65:00.00 | 7:03.27 | 292500 | 324251
33 | 72:03.27 | 1:07.68 | 324252 | 329344
34 | 73:11.20 | 2:59.12 | 329345 | 342781
Track 1
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\01 - Robert Higgins - Prison blues.wav
Pre-gap length 0:00:02.00
Peak level 51.2 %
Extraction speed 1.9 X
Track quality 100.0 %
Test CRC 02724585
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Track 2
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\02 - Rev. A. G. Holly - Let's go to bury.wav
Pre-gap length 0:00:01.93
Peak level 100.0 %
Extraction speed 3.3 X
Track quality 100.0 %
Test CRC D0D115E9
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Track 3
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\03 - Banks;Bentley;Blake;Vosburg - Do you call that religion.wav
Pre-gap length 0:00:02.93
Peak level 88.7 %
Extraction speed 3.7 X
Track quality 100.0 %
Test CRC 27C06350
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Track 4
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\04 - Banks;Bentley;Blake;Vosburg - Travelin' to that new buryin' ground.wav
Pre-gap length 0:00:02.93
Peak level 78.1 %
Extraction speed 3.3 X
Track quality 100.0 %
Test CRC A766F871
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Track 5
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\05 - Convict group - Look Down That lonesome road.wav
Pre-gap length 0:00:02.93
Peak level 68.0 %
Extraction speed 2.2 X
Track quality 99.8 %
Test CRC B2448AC4
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Track 6
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\06 - Street cries of Charleston - Blackberries; Flowers.wav
Pre-gap length 0:00:02.93
Peak level 35.6 %
Extraction speed 2.9 X
Track quality 99.9 %
Test CRC 167EB75B
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Track 7
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\07 - Rev. W.H.M. Givens - Deep down in my heart.wav
Pre-gap length 0:00:03.02
Peak level 75.5 %
Extraction speed 2.8 X
Track quality 99.9 %
Test CRC A32BD047
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Track 8
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\08 - Bessie Shaw - Jesus is my only friend.wav
Pre-gap length 0:00:02.93
Peak level 75.4 %
Extraction speed 3.0 X
Track quality 100.0 %
Test CRC 22673754
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Track 9
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\09 - Mary C. Mann - Finger Ring.wav
Pre-gap length 0:00:02.93
Peak level 93.1 %
Extraction speed 4.0 X
Track quality 100.0 %
Test CRC 1B081332
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Track 10
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\10 - Mary C. Mann - Old man Satan; Drive old Satan away.wav
Pre-gap length 0:00:02.93
Peak level 83.9 %
Extraction speed 4.6 X
Track quality 100.0 %
Test CRC C5FCBEF1
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Track 11
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\11 - J.D. Purdy - Glory to god my son come home.wav
Pre-gap length 0:00:03.04
Peak level 91.4 %
Extraction speed 4.4 X
Track quality 100.0 %
Test CRC 19C8B2DD
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Track 12
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\12 - J.A.S. Spencer - Blow boys blow.wav
Pre-gap length 0:00:02.93
Peak level 96.0 %
Extraction speed 4.1 X
Track quality 100.0 %
Test CRC 710E4C71
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Track 13
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\13 - Jesse Wadley - Alabama Prison blues.wav
Pre-gap length 0:00:02.93
Peak level 100.0 %
Extraction speed 3.6 X
Track quality 99.9 %
Test CRC 9C06C0B7
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Track not present in AccurateRip database
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Track 14
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\14 - Milledgeville Georgia Singers - (Ain't) Nobody's fault but mine.wav
Pre-gap length 0:00:02.93
Peak level 89.4 %
Extraction speed 3.7 X
Track quality 100.0 %
Test CRC A767F372
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Track 15
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\15 - Reese Crenshaw - John Henry.wav
Pre-gap length 0:00:02.93
Peak level 86.5 %
Extraction speed 3.7 X
Track quality 99.9 %
Test CRC 7399C5B5
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Track not present in AccurateRip database
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Track 16
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\16 - John Davis - John Henry.wav
Pre-gap length 0:00:03.00
Peak level 84.5 %
Extraction speed 5.8 X
Track quality 100.0 %
Test CRC FA2E799C
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Track 17
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\17 - Bill Tatnail - Fandango.wav
Pre-gap length 0:00:03.00
Peak level 67.4 %
Extraction speed 3.6 X
Track quality 99.9 %
Test CRC 82B94154
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Track 18
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\18 - Buster ''Buzz'' Ezell - Salt water blues.wav
Pre-gap length 0:00:02.93
Peak level 100.0 %
Extraction speed 5.3 X
Track quality 100.0 %
Test CRC E6A58727
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Track 19
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\19 - Buster ''Buzz'' Ezell - Boll weevil.wav
Pre-gap length 0:00:02.93
Peak level 98.4 %
Extraction speed 6.0 X
Track quality 100.0 %
Test CRC B2A68DBB
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Track 20
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\20 - Buster ''Buzz'' Ezell - Roosevelt and Hitler [part 1].wav
Pre-gap length 0:00:02.93
Peak level 100.0 %
Extraction speed 6.3 X
Track quality 100.0 %
Test CRC C159FEC1
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Track 21
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\21 - Buster ''Buzz'' Ezell - Roosevelt and Hitler [part 2].wav
Pre-gap length 0:00:02.93
Peak level 100.0 %
Extraction speed 5.7 X
Track quality 100.0 %
Test CRC 657768C3
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Track 22
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\22 - Allison Mathis; Jessie Stroller - Bottle it up and go.wav
Pre-gap length 0:00:02.93
Peak level 100.0 %
Extraction speed 5.6 X
Track quality 100.0 %
Test CRC 65885315
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Track 23
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\23 - Jessie Stroller - Blues-When saints come to town.wav
Pre-gap length 0:00:02.93
Peak level 100.0 %
Extraction speed 2.0 X
Track quality 99.7 %
Test CRC 79EC1383
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Track 24
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\24 - Charles Ellis - My big fat hipted mama.wav
Pre-gap length 0:00:02.93
Peak level 98.4 %
Extraction speed 6.9 X
Track quality 100.0 %
Test CRC F008205A
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Track 25
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\25 - The Smith Band - Smithy rag.wav
Pre-gap length 0:00:02.93
Peak level 88.1 %
Extraction speed 6.7 X
Track quality 100.0 %
Test CRC 03C7B2D1
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Track 26
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\26 - Allen Prothro - Jumpin' Judy.wav
Pre-gap length 0:00:02.97
Peak level 89.0 %
Extraction speed 6.8 X
Track quality 100.0 %
Test CRC 72980C07
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Track 27
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\27 - John (Black Sampson) Gibson - Track-lining song.wav
Pre-gap length 0:00:02.93
Peak level 100.0 %
Extraction speed 5.6 X
Track quality 100.0 %
Test CRC B07F6A1D
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Track 28
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\28 - Rochelle Harris - Steel laying holler.wav
Pre-gap length 0:00:02.93
Peak level 81.2 %
Extraction speed 5.1 X
Track quality 100.0 %
Test CRC 8C9D8711
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Track 29
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\29 - Kelly Pace - Jumpin' Judy.wav
Pre-gap length 0:00:02.92
Peak level 93.0 %
Extraction speed 5.0 X
Track quality 99.9 %
Test CRC EB118517
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Track 30
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\30 - Kelly Pace - Rock Island line.wav
Pre-gap length 0:00:02.93
Peak level 80.2 %
Extraction speed 6.3 X
Track quality 100.0 %
Test CRC CC4EB609
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Track 31
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\31 - Kelly Pace - It makes a long time man feel bad.wav
Pre-gap length 0:00:02.93
Peak level 89.2 %
Extraction speed 7.4 X
Track quality 100.0 %
Test CRC CAFB1A63
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Track 32
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\32 - Kelly Pace - Holy babe [parts 1 & 2].wav
Pre-gap length 0:00:02.93
Peak level 100.0 %
Extraction speed 8.4 X
Track quality 100.0 %
Test CRC 7484737E
Copy CRC 7484737E
Track not present in AccurateRip database
Copy OK
Track 33
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\33 - Irvin (Gar Mouth) Lowry - Joe de grinder.wav
Pre-gap length 0:00:02.93
Peak level 76.5 %
Extraction speed 5.8 X
Track quality 100.0 %
Test CRC EFB0B177
Copy CRC EFB0B177
Track not present in AccurateRip database
Copy OK
Track 34
Filename D:\Field recordings 02 N.&S. Carolina Georgia Tennessee Arkansas\34 - Arthur Bell - John Henry.wav
Pre-gap length 0:00:02.93
Peak level 100.0 %
Extraction speed 7.7 X
Track quality 100.0 %
Test CRC 73224AFF
Copy CRC 73224AFF
Track not present in AccurateRip database
Copy OK
None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
---- CUETools DB Plugin V2.1.3
[CTDB TOCID: 5UYUJmirgHqXTFp1GHCJYXVWwqM-] disk not present in database, Submit result: 5UYUJmirgHqXTFp1GHCJYXVWwqM- has been uploaded
==== Log checksum FEF9B0378FEBB07B25C7A0E3CB92C44194E760A9663ECE58C9EFF9C997A469A7 ====