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Cotton Eyed Joe (album)
''Cotton Eyed Joe'' is a live album by American musician Karen Dalton (entertainer), Karen Dalton recorded in October 1962, but not released until 2007, as a set of two CDs and a DVD. At the time Dalton, her husband, and daughter lived in a shack in the Colorado mountains, without electricity or running water, and she would occasionally play at the Attic, a folk club in Boulder, Colorado. The album is a recording of a performance there, made by the club's co-proprietor and a friend of Dalton's, Joe Loop. Track listing ;CD 1 # "It's All Right" (Ray Charles) – 5:45 # "Everytime I Think of Freedom" (Traditional) – 3:03 # "Cotton-Eyed Joe" (Traditional) – 4:31 # "Pastures of Plenty" (Woody Guthrie) – 3:52 # "One May Morning" (Traditional) – 4:17 # "Red Are the Flowers" (Fred Neil) – 5:31 # "Blues On the Ceiling" (Fred Neil) – 3:20 # "Run Tell That Major" (Traditional) – 3:22 # "Nobody Knows You When You're Down and Out, Down and Out" (Jimmy Cox) – 3:43 # "Fannin' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karen Dalton (entertainer)
Karen J. Dalton (born Jean Karen Cariker; July 19, 1937 – March 19, 1993) was an American country blues singer, guitarist, and banjo player. She was associated with the early 1960s Greenwich Village folk music scene, particularly with Fred Neil, the Holy Modal Rounders, and Bob Dylan. Although she did not enjoy much commercial success during her lifetime, her music has gained significant recognition since her death. Artists like Nick Cave, Devendra Banhart, and Joanna Newsom have noted her as an influence. Life and career Dalton was born Jean Karen Cariker in Bonham, Texas, but was raised in Enid, Oklahoma. She also lived in Stillwater, Oklahoma, and Lawrence, Kansas. With two divorces behind her at the age of 21, Dalton left Oklahoma and arrived in Greenwich Village, New York City in the early 1960s. She brought her twelve string guitar, long-neck banjo, and at least one of her two children with her. According to her daughter Abralyn Baird, at that point Dalton had lost ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Make Me A Pallet On The Floor
"Make Me a Pallet on the Floor" (also "Make Me a Pallet on your Floor", "Make Me a Pallet", or "Pallet on the Floor") is a blues/ jazz/ folk song. It is considered a standard. Jelly Roll Morton explained the title: "A pallet is something that – you get some quilts – in other words, it's a bed that's made on a floor without any four posters on 'em." Structure The melody is 16 bars long. One writer describes the structure as "a proto-blues ..thathas little in common musically with regular blues". When played in the key of C, the typical structure is: History The composition probably originates from the end of the nineteenth century. One jazz historian states that the song "could have been sung around New Orleans in the mid-1890s." A 1906 report in the ''Indianapolis Freeman'' referred to a performance of the song by "The Texas Teaser, Bennie Jones". It appeared in sheet music in 1908 as part of " Blind Boone's Southern Rag Medley No. One: Strains from the Alleys." "The lyrics ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Banjo
The banjo is a stringed instrument with a thin membrane stretched over a frame or cavity to form a resonator. The membrane is typically circular, and usually made of plastic, or occasionally animal skin. Early forms of the instrument were fashioned by African Americans in the United States. The banjo is frequently associated with folk, bluegrass and country music, and has also been used in some rock, pop and hip-hop. Several rock bands, such as the Eagles, Led Zeppelin, and the Grateful Dead, have used the five-string banjo in some of their songs. Historically, the banjo occupied a central place in Black American traditional music and the folk culture of rural whites before entering the mainstream via the minstrel shows of the 19th century. Along with the fiddle, the banjo is a mainstay of American styles of music, such as bluegrass and old-time music. It is also very frequently used in Dixieland jazz, as well as in Caribbean genres like biguine, calypso and mento. Histo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
12-string Guitar
A twelve-string guitar (or 12-string guitar) is a steel-string guitar with 12 strings in six courses, which produces a thicker, more ringing tone than a standard six-string guitar. Typically, the strings of the lower four courses are tuned in octaves, with those of the upper two courses tuned in unison. The gap between the strings within each dual-string course is narrow, and the strings of each course are fretted and plucked as a single unit. The neck is wider, to accommodate the extra strings, and is similar to the width of a classical guitar neck. The sound, particularly on acoustic instruments, is fuller and more harmonically resonant than six-string instruments. The 12-string guitar can be played like a 6-string guitar as players still use the same notes, chords and guitar techniques like a standard 6-string guitar, but advanced techniques might be tough as players need to play or pluck two strings simultaneously. Structurally, 12-string guitars, especially those built befo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arthur Herzog, Jr
Arthur is a common male given name of Brythonic origin. Its popularity derives from it being the name of the legendary hero King Arthur. The etymology is disputed. It may derive from the Celtic ''Artos'' meaning “Bear”. Another theory, more widely believed, is that the name is derived from the Roman clan '' Artorius'' who lived in Roman Britain for centuries. A common spelling variant used in many Slavic, Romance, and Germanic languages is Artur. In Spanish and Italian it is Arturo. Etymology The earliest datable attestation of the name Arthur is in the early 9th century Welsh-Latin text ''Historia Brittonum'', where it refers to a circa 5th to 6th-century Briton general who fought against the invading Saxons, and who later gave rise to the famous King Arthur of medieval legend and literature. A possible earlier mention of the same man is to be found in the epic Welsh poem ''Y Gododdin'' by Aneirin, which some scholars assign to the late 6th century, though this is still a ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Billie Holiday
Billie Holiday (born Eleanora Fagan; April 7, 1915 – July 17, 1959) was an American jazz and swing music singer. Nicknamed "Lady Day" by her friend and music partner, Lester Young, Holiday had an innovative influence on jazz music and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo. She was known for her vocal delivery and improvisational skills. After a turbulent childhood, Holiday began singing in nightclubs in Harlem, where she was heard by producer John Hammond, who liked her voice. She signed a recording contract with Brunswick in 1935. Collaborations with Teddy Wilson produced the hit "What a Little Moonlight Can Do", which became a jazz standard. Throughout the 1930s and 1940s, Holiday had mainstream success on labels such as Columbia and Decca. By the late 1940s, however, she was beset with legal troubles and drug abuse. After a short prison sentence, she performed at a sold-out conce ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
God Bless The Child (Billie Holiday Song)
"God Bless the Child" is a song written by Billie Holiday and Arthur Herzog Jr. in 1939. It was first recorded on May 9, 1941, by Billie Holiday and released by the Okeh Records in 1942. Holiday's version of the song was honored with the Grammy Hall of Fame Award in 1976. It was also included in the list of ''Songs of the Century'', by the Recording Industry Association of America and the National Endowment for the Arts. Billie Holiday recording sessions Billie Holiday recorded the song three times. First recording (Session #44, Columbia/Okeh): Columbia Studio A, 799 Seventh Avenue, New York City, May 9, 1941, Eddie Heywood and his Orchestra with Roy Eldridge (trumpet), Jimmy Powell and Lester Boone (alto saxophone), Ernie Powell (trumpet), Eddie Heywood (piano), Johan Robins (guitar), Paul Chapman (guitar), Grachan Moncur II (bass), Herbert Cowans (drums), Billie Holiday (vocal). Second recording (Session #65, her final Decca session): Los Angeles March 8, 1950, Gordon Jenk ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Katie Cruel
"''Katie Cruel''" is a traditional United States of America, American folksong, likely of Scotland, Scottish origin. As a traditional song, it has been recorded by many performers, but the best known recording of the song is by Karen Dalton (entertainer), Karen Dalton on the album ''In My Own Time (album), In My Own Time''. The American version of the song is said to date to the American Revolutionary War, Revolutionary War period. The song is Roud Folk Song Index, Roud no. 1645. Lyrics The American lyrics appear to contain an oblique story of regret. As given in Eloise Hubbard Linscott's ''The Folk Songs of Old New England'', the full lyrics are: Origins The opening verse of the song bears a strong resemblance to the Scottish song, ''Licht Bob's Lassie'', whose opening verses mirror the song in both notional content and form: ''Licht Bob's Lassie'' would appear to tell a story about a camp follower or sex worker: The imagery about dyeing petticoats is shared by the Iris ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mel London
Mel London (April 9, 1932 – May 16, 1975) was an American songwriter, record producer, and record label owner. He was active in the Chicago blues and R&B scenes in the 1950s and 1960s. London is best known for his compositions for Chicago blues artists Howlin' Wolf, Muddy Waters, Elmore James, and Junior Wells as well as being the record producer and owner of Chief Records (and its Profile Records and Age Records subsidiaries). In 1954, Mel London wrote the first of several hit songs for the blues and R&B markets. His "Poison Ivy" was recorded by Willie Mabon and reached number seven in the Billboard R&B chart in 1954. In 1955, three hits written by London followed: "Who Will Be Next" by Howlin' Wolf and two by Muddy Waters - "Sugar Sweet" and " Manish Boy.""Manish Boy" cowriters: Bo Diddley and Muddy Waters Not content with just songwriting, in 1957 he started his own record label, Chief Records. Chief's first single, the London-penned "Man from the Island," featured L ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
It Hurts Me Too
"It Hurts Me Too" is a blues standard that is "one of the most interpreted blues ongs. First recorded in 1940 by American blues musician Tampa Red, the song is a mid-tempo eight-bar blues that features slide guitar. It borrows from earlier blues songs and has been recorded by many blues and other artists. Origins "It Hurts Me Too" is based on "Things 'Bout Comin' My Way", recorded by Tampa Red in 1931. The melody lines are nearly identical and instrumentally they are similar, although the latter has an extra bar in the turnaround, giving it nine bars. "Sam Hill from Louisville", one of several pseudonyms of Walter Vinson (or Vincson), recorded "Things 'Bout Coming My Way" in 1931 shortly before Tampa Red. Vinson's version is based on his 1930 recording with the Mississippi Sheiks, "Sitting on Top of the World". Both songs share several elements with "You Got to Reap What You Sow", recorded by Tampa Red in 1929 and by Leroy Carr and Scrapper Blackwell in 1928. The melody lin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Darlin' Corey
"Darlin' Cory" (also "Darling Corey" or "Darling Cora") ( Roud 5723) is a well-known American folk song about love, loss, and moonshine. It is similar in theme to "Little Maggie" and "The Gambling Man" but is not considered the same as those songs. Early printed versions The earliest published version of "Darlin' Corey" occurs as verses within the song "The Gambling Man", collected from oral tradition by folklorist Cecil Sharp, as sung by Mrs. Clercy Deeton, at Mine Fork, Burnsville, N.C., on Sept. 19, 1918. The text (without tune) was also published as "Little Cora" in Harvey H. Fuson's ''Ballads of the Kentucky Highlands'' (London, 1931). A version from the singing of Aunt Molly Jackson appears in the book ''Our Singing Country'' (1941) by John A. Lomax and Alan Lomax. It is also included in ''Folk Song, U.S.A.'' by John A. and Alan Lomax, Charles Seeger and Ruth Crawford Seeger (Duell, Sloan and Pearce, 1947), pp. 310–311. Early recordings The first known commercial au ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
