Dust To Digital
£28.9976-page hardcover book with never-before-published research complete with newly remastered audio from pristine, original 78-rpm discs.Visit product page →
Our label’s inaugural release, 2003’s Goodbye, Babylon, included two recordings by a mysterious gospel musician from Texas named Washington Phillips, who died in 1954. After fielding inquires about the hauntingly beautiful songs from listeners around the world, in 2013, we checked in with Michael Corcoran, the leading researcher on Phillips, to see if any new information had been uncovered.
Indeed, Michael had some leads, but he would need a working budget to track them down. Three years later, after combing through various archives and talking with the last surviving people from the Simsboro-area who remembered Phillips, we now know the name of Phillips’ homemade instrument (the Manzarene); when, where and how he died; and many anecdotes about what his life was like.
We are excited to share this story in Washington Phillips and His Manzarene Dreams, a new book by Corcoran accompanied by recordings made by Phillips between 1927-29.
To ensure a superior listening experience, we tracked down the most pristine original copies of Phillips’ 78-rpm records, created high resolution transfers and had the audio expertly remastered for the best-sounding Phillips reissue to date. Hear the sublime, hypnotic and ethereal music of Washington Phillips in clarity like never before!
“The plucked string instrument sounds feather-light and blurry, the musical equivalent of dust motes floating in a sunny room; the mighty Washington Phillips wheezes at times like he's about to pass out from the spirit.” –Pitchfork
1. Mother’s Last Word To Her Son
2. Take Your Burden To The Lord And Leave It There
3. Paul and Silas In Jail
4. Lift Him Up That’s All
5. Denomination Blues—Part 1
6. Denomination Blues—Part 2
7. I Am Born To Preach The Gospel
8. Train Your Child
9. Jesus Is My Friend
10. What Are They Doing In Heaven Today
11. A Mother’s Last Word To Her Daughter
12. I’ve Got The Key To The Kingdom
13. You Can’t Stop A Tattler—Part 1
14. You Can’t Stop A Tattler—Part 2
15. I Had A Good Father And Mother
16. The Church Needs Good Deacons
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£49.99From July to December 1959, Paul Bowles crisscrossed Morocco making recordings of traditional music under the auspices of the Library of Congress. Although the trip occupied less than six months in a long and busy career, it was the culmination of Bowles’s longstanding interest in North African music.Visit product page →
The resulting collection remained a musical touchstone for the rest of his life and an important part of his mythology.
Packaged in a lavish silkscreened cigar box with foil stamping details throughout, 120-page leatherette book and 4 CDs containing 4 hours and 30 minutes of audio.
Highlands — The Berbers Part 1
1. Maallem Ahmed and ensemble – Ahmeilou (Tafraout)
2. Rais Ahmed ben Bakrim – El Baz Ouichen Song for Male Voice (Tiznit)
3. Moqaddem Mohammed ben Salem and ensemble – Third Sqel (Zagora)
4. Moqaddem Mohammed ben Salem and ensemble – Second Aqlal (Zagora)
5. Chikh Ayyad ou Haddou and ensemble – Ouakha dial Kheir Women’s Chorus (Tahala)
6. Chikh Ayyad ou Haddou and ensemble – Aili ya Mali Mixed Chorus (Tahala)
7. Maallem Ahmed and ensemble – Aouache Men’s Chorus (Tafraout)
Highlands — The Berbers Part 2
1. Rais Mahamad ben Mohammed and ensemble – Aouada Trio (Tamanar)
2. Rais Mahamad ben Mohammed and ensemble – Chorus and Dance (Tamanar)
3. Chikh Hamed bel Hadj Hamadi ben Allal and ensemble – Reh dial Beni Bouhiya Qsbah Solo (Segangan)
4. Various – Sounds of General Rejoicing (Ait Ourir)
5. Maallem Ahmed Gacha and ensemble – Albazaoua Women’s Chorus (Ait Ourir)
6. Chikha Fatoma bent Kaddour – Mouwal and Izlan (Ain Diab)
7. Cheikha Haddouj bent Fatma Rohou and ensemble – Qim Rhori (Khenifra)
8. Mohammed bel Hassan and ensemble – Qsida dial Malik (Ait Mohammed)
Lowlands — Influent Strains Part 1
1. El Ferqa dial Guedra (Bechara) – Ounalou Biha Rajao Male Solo with Women’s Chorus (Goulimine)
2. Maalem Abdeslam Sarsi el Mahet – Aiyowa d’Moulay Abdeslam Rhaita Solo (Arcila)
3. Sadiq ben Mohammed Laghzaoui Morsan and ensemble – Rhaitas and Tbola (Einzoren)
4. Embarek ben Mohammed – Mellaliya Song for Male Voice (Marrakech)
5. Maalem Mohammed Rhiata and ensemble, from the region of Taounate – Taqtoqa Jabaliya (Fez)
6. An unidentified ensemble – Gnaoua Chorus (Essaouira)
7. Si Mohammed Bel Hassan Soudani – Gnaoui Solo Song (Marrakech)
8. Si Mohammed Bel Hassan Soudani – Fulani Iresa (Marrakech)
9. Maallem Taieb ben Mbarek and chikhats – Hadouk Khail (Marrakech)
Lowlands — Influent Strains Part 2
1. Hazan Isaac Ouanounou and members of the Hevrat Gezekel – Ya Souki hakim Secular Sephardic Song (Meknes)
2. Hazan Semtob Knafo and Amram Castiel. Hevrat David Hamelekh – Chalom Lakha Chébii “Peace on the Seventh Day” (Essaouira)
3. Maalem el Hocein and ensemble – Qsida Midh (Meknes)
4. Abdelkrim Rais and ensemble – El hgaz el Mcharqi Andaluz Chorus (Fez)
5. Members of the Family of the Chorfa of Ouezzane – Andaluz Music of Ouezzane (Ouezzane)
6. Early Morning Calls to Prayer – El Fjer (Tangier)
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£28.99Born blind on June 15, 1880, in Floyd County, Virginia, Alfred Reed grew up on a West Virginia farm. In the 1920s, when radio became available in his area, Alfred listened to and enjoyed performances by several of the era’s popular singers.Visit product page →
Alfred would purchase songbooks and hymnbooks, and his wife Nettie would read the lyrics to him. Because the songs he learned from others did not always express aspects of what he was thinking, feeling, and experiencing, Alfred felt compelled to compose his own songs, and he was exceptionally talented in this endeavor—a craftsman with many things to say.
Relying upon his talent to generate money, he gave music lessons, performed at dances and various social and church gatherings, sold printed copies of his own lyrics, and, in 1927 and 1929, made the commercial recordings included on this set. 10.
Tracklisting for all formats:
1. Blind Alfred Reed - The Wreck of the Virginian
2. Blind Alfred Reed - I Mean to Live for Jesus
3. Blind Alfred Reed - You Must Unload
4. Blind Alfred Reed - Walking In The Way With Jesus
5. Blind Alfred Reed - Explosion In The Fairmount Mines
6. Blind Alfred Reed - Fate Of Chris Lively And Wife
7. Blind Alfred Reed - Why Do You Bob Your Hair, Girls
8. Blind Alfred Reed - Always Lift Him Up And Never Knock Him Down
9. Blind Alfred Reed - The Prayer Of The Drunkard's Little Girl
10. The West Virginia Night Owls - Sweet Bird
11. The West Virginia Night Owls - I’m Goin’ To Walk The Streets Of Glory
12. Orville Reed - The Telephone Girl
13. Blind Alfred Reed - Woman's Been After Man Ever Since
14. Blind Alfred Reed - Why Do You Bob Your Hair Girls-No. 2
15. Blind Alfred Reed and Orville Reed - There'll Be No Distinction There
16. Blind Alfred Reed and Orville Reed - We've Got To Have 'Em, That's All
17. Blind Alfred Reed and Orville Reed – Beware
18. Blind Alfred Reed and Orville Reed - The Old-Fashioned Cottage
19. Blind Alfred Reed - How Can A Poor Man Stand Such Times And Live?
20. Blind Alfred Reed - Black And Blue Blues
21. Blind Alfred Reed and Orville Reed - You'll Miss Me
22. Blind Alfred Reed - Money Cravin' Folks
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£38.99The first in-depth look at the life of Ola Belle Reed, a groundbreaking artist who is one of the all-time greatest performers of authentic, old-time music.Visit product page →
Ola Belle Reed’s 1960s recordings, some of the earliest she ever made and available here for the very first time, are counter-balanced by a disc of modern-day field recordings of her descendants and those within her Appalachian community that she inspired.
This deluxe edition highlights Ola Belle’s deep repertoire – folk ballads, minstrel songs, country standards, and originals – and traces the impact her music made and is still making today.
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£59.99Folksongs from the Upper Midwest: a compilation of field recordings made in Michigan, Minnesota, and Wisconsin between 1937-1946.Visit product page →
Armed with bulky microphones, blank disks, spare needles, and cumbersome disk-cutting machines, several folklorists had the foresight to document and preserve a significant but overlooked part of the nation’s musical heritage, made by immigrant, Native American, rural and working-class performers.
Almost all of these dance tunes, ballads, lyric songs, hymns, laments, versified taunts, political anthems, street cries, and recitations are being issued for the very first time.
This 5-CD set is filled with African-American, Austrian, Belgian, Cornish, Croatian, Czech, Danish, Dutch, Finnish, French Canadian, German, Ho-Chunk, Icelandic, Lithuanian, Irish, Italian, Luxemburger, Norwegian, Ojibwe, Oneida, Polish, Scots Gaelic, Serbian, Swedish, Swiss, and Welsh performers.
Bonus DVD includes the new documentary film The Most Fertile Source: Alan Lomax Goes North with never-before-seen footage shot in Michigan in 1938.
The accompanying book includes extensive liner notes, lyric transcriptions and translations by James P. Leary, co-founder of the Center for the Study of Upper Midwestern Cultures at the University of Wisconsin–Madison.
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£15.99Folklorist Bruce Jackson was among the last to record work songs. In 1964 he visited Ramsey State Farm in Rosharon, Texas, where he met Johnnie B. Smith, prisoner #130196. A native of Hearne, Texas, Smitty was 46 years old and on his fourth prison term. In his younger days, Smitty toted lead hoe in a flat-weeding gang and led the work songs.Visit product page →
It’s hard to overstate the importance of a good song leader in the penitentiary setting—one needed to be rhythmically, lyrically, and physically reliable, to maintain those songs over interminable hours of hard labor under an unforgiving south-central Texas sun. But J.B. also sang other songs, different songs—those he’d made up to occupy himself while chopping sugarcane or picking cotton. He referred to them as his “little ol’ songs.” The longest stretched to thirty-three verses, or more than twenty-two recorded minutes. Although Smitty knew and sang a variety of melodies, to an assortment of work songs and sacred pieces, he employed only one tune for his compositions.
What changed were the tempo and the ornamentation with which he individualized them. “The Major Special,” “No More Good Time In The World For Me,” “Ever Since I Been A Man Full Grown”—each song Smith charged with its own emotional ambience, as a seasoned preacher intuits the particular colors and atmospheres that should imbue each portion of his service. Smith was paroled in 1967, a year after his final session with Jackson and the release, on John Fahey’s Takoma Records, of an LP— Ever Since I Have Been A Man Full Grown —of three of Smitty’s songs.
That summer, Bruce arranged for him to sing at the Newport Folk Festival, at which he appeared on stage with Pete Seeger, and, in one of the only photos that survive of him, in the company of Robert Pete Williams and Muddy Waters. A couple of years passed before Bruce heard from him again. He had returned to Amarillo, where he preached for a while; a parole violation then sent him back to prison.
1. No More Good Time in the World for Me
2. Watching My Timber *
3. Drop ‘Em Down Together *
4. I Got Too Much Time for the Crime I Done
5. They Can’t Do That (Toast) *
6. I Heard the Reports of a Pistol *
7. Drinking That Wine *
8. Ever Since I Been a Man Full Grown
1. Sure Make a Man Feel Bad *
2. Tried By Fire *
3. Woman Trouble *
4. On Composition (Spoken) *
5. The Major Special *
6. No Payday Here *
7. At the Cross *
8. Poor Boy, Number Two *
9. On Getting Out (Spoken)*
10. Go Ahead *
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£45.99Joe Bonomo is an essayist and music writer. His books include Sweat: The Story of The Fleshtones, America's Garage Band, Jerry Lee Lewis: Lost and Found, This Must Be Where My Obsession With Infinity Began, and Conversations With Greil Marcus. More information at www.nosuchthingaswas.comVisit product page →
BOOK DESIGNER: Martin Venezky
Jim Linderman has arranged a storyboard of sorts that dramatizes the spirit, if not the chronology of rock and roll. Poetically, the photos evoke without naming, and have little to do with conventional iconography of the birth of rock and roll. Instead they document, and celebrate, the pure but indefinable essence of rock. Wherever there is an urge to make acoustic or electric music——whether helping at a rent party, busking in front of a crowd, or testifying in the name of Jesus——there’s an uncredited photographer there to snap an image. Thankfully Jim Linderman has shared these one-of-a-kind photos from his collection so we can explore one of the most transformative times for American music.
“Collector and Americana yay-sayer Jim Linderman is an archivist of the obscure. His collections tell vast stories in sotto voce, allowing curios and objects shadowed by mainstream culture and ideology to converse and be heard. What we hear is an enormous American sub-culture speaking in forbidden, marginalized languages: stuff discovered boxed in the attic out of embarrassment or zealotry, smutty ash trays crowing next to religious pamphlets, each claiming a part of the complex, sometimes contradictory, always conflicted American imagination, a chaos of memories that will one day vanish.
In The Birth of Rock and Roll, Linderman’s arranged a storyboard of sorts that dramatizes the spirit, if not the chronology of rock and roll. Poetically, the photos evoke without naming, and have little to do with conventional iconography of the birth of rock and roll——i.e., young white men in Memphis, poodle skirts, Alan Freed, Bill Haley’s Brylcream, etc. Instead they document, and celebrate, the pure but indefinable essence of rocking.
Ordinary, nameless men, women, and children, some white, some black, are holding guitars and strumming while looking relaxed or frantic, but nearly always blissful. Some of the action takes place in rural fields, some in dance halls, some at civic events, some in living rooms and basements. Wherever there is an urge to make acoustic or electric music——whether to help at a rent party, busk in front of a crowd, or testify in the name of Jesus——there’s an uncredited photographer there to snap an image.” -- Joe Bonomo. When Jim Linderman assembled these photographs from his vast collection, he avoided selecting anyone we might recognize. “I wanted them all to be anonymous, but several were identified, and the Carter Family was included because it is such a lovely snapshot [and it has never been published before now]. I like to think rock and roll emerged from a large collective of unknown folk ‘down there’ rather than from some stars ‘up there.’”
Format Details: 160 pages,12 inches x 9.75 inches, 134 images reproduced in full color
CONTRIBUTORS: Introduction by Jim Linderman An interview with Jim Linderman by Joe Bonomo
CONTRIBUTOR BIOS + AFFILIATIONS: Jim Linderman is a writer, art historian, collector and publisher. He maintains a network of websites on art, photography and culture. All share the common thread of authenticity.
More information at www.dulltooldimbulb.com
Dust To Digital
£38.99What happens when a 78 collector marries a collector of antique photographs? Lead Kindly Light. Recordings of Rural Southern Music: Old Time, String Band Music from Appalachia, extremely rare Country Blues and African American gospel singing from 1924-1939.Visit product page →
159 Photographs from the Collection of Sarah Bryan reproduced in full color. 46 Audio Recordings from the 78RPM Record Collection of Peter Honig. 176-page hardcover book with 2 CDs. 8.5 inches x 6.5 inches.
A portrait of the rural American South between the dawn of the twentieth century and World War II, Lead Kindly Light brings together two CDs of traditional music from early phonograph records and a fine hardcover book of never-before-published vernacular photography. North Carolina collectors Peter Honig and Sarah Bryan have spent years combing backroads, from deep in the Appalachian mountains to the cotton and tobacco lowlands, in search of the evocative music and images of the pre-War South.
The music of Lead Kindly Light presents outstanding lesser-known recordings by early stars of recorded country music, as well as rarely- and never-reissued treasures by obscure country, blues, and gospel artists. The photographs, mainly images of the rural and small-town South, are richly textured depictions of family life, work, and fun, and the often accidental beauty of the vernacular snapshot.
1. Buster Carter and Preston Young – “I’ll Roll in My Sweet Baby’s Arms”
2. Georgia Yellow Hammers – “Mary Don’t You Weep”
3. Narmour & Smith – “Jake Leg Rag”
4. Prince Moore – “Church Bells”
5. Roane County Ramblers – “Callahan Rag”
6. Banjo Joe – “Engineer Joe”
7. Ernest Phipps and His Holiness Quartet – “I Want To Go Where Jesus Is”
8. Amos Baker – “I Wish I Were a Mole In the Ground”
9. Lewis Brothers – “When Summer Comes Again”
10. Dykes’ Magic City Trio – “Frankie”
11. Leake County Revelers – “Johnson Gal”
12. Gid Tanner, Clayton McMichen, Riley Puckett, Lowe Stokes, Fate Norris – “Possum Hunt on Stump House Mountain, Part 1”
13. Gid Tanner, Clayton McMichen, Riley Puckett, Lowe Stokes, Fate Norris – “Possum Hunt on Stump House Mountain, Part 2”
14. Mississippi Bracey– “Stered Gal”
15. Jilson Setters – “Little Boy Working on the Road”
16. Loveless Twins Quartet – “Lead Kindly Light”
17. Al Hopkins and His Buckle Busters – “Roll On the Ground”
18. J. E. Mainer’s Mountaineers – “Concord Rag”
19. Uncle Eck Dunford and Ernest Stoneman – “Barney McCoy”
20. Blue Ridge Highballers – “Round Town Girls”
21. Carter Family – “Motherless Children”
22. Rev. W. M. Mosley and His Congregation – “Labor for the Lord”
23. Home Folk Fiddlers – “Arkansas Hoedown”
1. Allen Brothers – “Skipping and Flying”
2. Fiddlin’ Sam Long of the Ozarks – “Sandy Land”
3. Rev. J. C. Burnett – “True Friendship”
4. Narmour and Smith – “Tequila Hop Blues”
5. Orville Reed – “The Telephone Girl”
6. Burnett and Ruttledge – “Blackberry Blossoms”
7. Kid Williams and Bill Morgan – “When He Died He Got a Home in Hell”
8. Buster Carter and Preston Young – “It’s Hard to Love and Can’t Be Loved”
9. Carter Family – “Kitty Waltz”
10. Birmingham Entertainers – “Johnny Bring the Jug ‘Round the Hill”
11. Blue Ridge Corn Shuckers – “Old Time Corn Shuckin’, Part 1”
12. Blue Ridge Corn Shuckers – “Old Time Corn Shuckin’, Part 2”
13. Mainer’s Mountaineers – “Train Carry My Girl Back Home”
14. Miller’s Merrymakers – “Old Time Breakdown” 15. Riley Pucke
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£38.99In 1947, ’48 and ’59, renowned folklorist Alan Lomax went behind the barbed wire into the Mississippi State Penitentiary at Parchman. Armed with a reel-to-reel tape deck—and, in 1959, a camera—Lomax documented as best an outsider could the stark and savage conditions of the prison farm, where the black inmates labored “from can’t to can’t,” chopping timber, clearing ground, and picking cotton for the state. They sang as they worked, keeping time with axes or hoes, adapting to their condition the slavery-time hollers that sustained their forbears and creating a new body of American song. Theirs was music, as Lomax wrote, that “testified to the love of truth and beauty which is a universal human trait.”Visit product page →
124-page hardcover book with 2 CDs/6.25 inches x 9.5 inches (landscape)/Includes slipcase and foil stamping/44 audio recordings, 12 previously unreleased, all newly remastered;/77 photographs, many published here for the first time;Essays by Alan Lomax, Anna Lomax Wood, and Bruce Jackson.Produced by Lance Ledbetter, founder of Dust-to-Digital, and Nathan Salsburg, curator of the Alan Lomax Archive. “A few strands of wire were all that separated the prison from adjoining plantations. Only the sight of an occasional armed guard or a barred window in one of the frame dormitories made one realize that this was a prison. The land produced the same crop; there was the same work for blacks to do on both sides of the fence. And there was no Delta black who was not aware of how easy it was for him to find himself on the wrong side of those few strands of barbed wire…. These songs are a vivid reminder of a system of social control and forced labor that has endured in the South for centuries, and I do not believe that the pattern of Southern life can be fundamentally reshaped until what lies behind these roaring, ironic choruses is understood.” — Alan Lomax, 1958.“Black prisoners in all the Southern agricultural prisons in the years of these recordings participated in two distinct musical traditions: free world (the blues, hollers, spirituals and other songs they sang outside and, when the situation permitted, sang inside as well) and the work-songs, which were specific to the prison situation, and the recordings in this album represent that complete range of material, which is one of the reasons this set is so important: it doesn’t just show this or that tradition within Parchman, but the range of musical traditions performed by black prisoners. I know of no other album that does that.” — Bruce Jackson, 2013.
DISC 1: 1947-’48 Work Songs and Hollers
1. Jimpson and Group – “Murderer's Home”
2. 88 and Group – “Rosie” *
3. 22 and Group – “It Makes A Long Time Man Feel Bad”
4. 88 – “Whoa Buck”
5. Tangle Eye, Hard Hat, 22, and Little Red – “When I Went to Leland”
6. Buzzard and group – “I'm Going to Memphis”
7. 22 and Group – “The Prettiest Train I Ever Saw”
8. 22 and Group – “John Henry”
9. Dan Barnes and Group – “John Old Alabama”
10. Foots – “Hollers”
11. Dobie Red and Group – “Stewball”
12. Bama – “Levee Camp Hollers”
13. Tangle Eye, Hard Hat, 22 and Little Red – “Early In the Morning”
14. Dobie Red and Group — “I Got A Bulldog (Well I Wonder)”
15. 22 and Group – “Dollar Mamie”
16. Bama – “Stackalee”
17. Dan Barnes and group – “I Don't Want No Jet Black Woman” *
18. Bull, Foots and Dobie Red – “Did You Hear About Louella Wallace”
19. Tangle Eye – “Tangle Eye's Blues”
20. 22 and Group – “Rosie”
21. Bama – “I'm Going Home”
22. Jimpson and Group – “No More My Lord”
23. Unidentified Group – “The Weather Get Warm” *
Disc 2: 1947-’48 Blues / 1959 Work Songs and Hollers
1. Floyd Batts – “Lucky Song”
2. Clarence Alexander – “Disability Boogie Woogie”
3. John Edwards and Group – “Berta” *
4. Clyde Jones and Group – “Poor Lazarus” *
5. John Dudley – “Cool Drink of Water Blues”
6. Ed Lewis – “Levee Camp Holler / Interview”
7. Ed Lewis and Group – “Black Gal”
8. Bama – “I Don't Want You Baby” *
9. Grover Wells and Group – “Rosie” *
10. Bridges Lee Cole – “Hollers”
11. John Dudley – “You Got a Mean Disposition”
12. John Dudley – “Big Road Blues”
13. Ervin Webb and Group – “I'm Going Home”
14. George Golden and Group – “Berta” *
15. Grover Wells – “Up the River” *
16. Clarence Alexander – “Prison Blues”
17. Johnny Lee Moore, Ed Lewis, James Carter, and Henry Mason – “Tom Devil”
18. Willie Washington – “My Jack Don’t Drink No Water” *
19. Leroy Campbell and Yancey – “Sometimes I Wonder”
20. Henry Ratcliff – “Look for Me In Louisiana”
21. Heuston Earms – “Ain't Been Able to Get Home No More” *
Dust To Digital
£13.99For the traveling recording men of the late 1920s, Arkansas offered enticing pickings. The region was thronged with vigorous, idiosyncratic stringbands. This album carries the listener from the hillbilly music craze of the ’20s to the song-based country music of the late ’30s. Scarcely more than a decade, but a period, in music as in all American life, of galvanic change.Visit product page →
This CD serves as the soundtrack album to the newly-released photograph book, “Making Pictures: Three for a Dime” by Maxine Payne. All of the photos in this package are from the same cache of photographs taken by the Massengil family in their mobile photo-booth trailer throughout rural Arkansas in the 1930s-1940s. CD Digipak with 32 page booklet/Liner notes by country music scholar Tony Russell/Newly remastered 24-bit audio transfers from the Music Memory archive/Features original 78 RPM recordings made between 1928-1937 “It is indeed gratifying to know our program has made so many minds and hearts drift back to the earlier days when all was well, when the ‘hoss hair pullers’ of old were in due form and all parties concerned were in a receptive mood for tipping of the fantastic toe… My aggregation from this district claim that their music and songs are not suggestive of anything except good and wholesome exercise…
So everybody come to the Arkansas Ozarks, where you can eat the best fruit in the world; where home-cured meat is found in the smokehouse and corn and hay in the barn; where you can juice your own cow, feed your own chickens, fish in the wonderful White River, meet these men of the Missouri Pacific and natives, and you will then say, ‘Yes, indeed, you have the most wonderful country in the world.’” — Henry Harlin Smith, March 1926 on Hot Springs radio station KTHS.
1. Ashley’s Melody Men - “Searcy County Rag”
2. Pope’s Arkansas Mountaineers - “Get Along Home, Miss Cindy”
3. Fiddling Bob Larkin & His Music Makers - “The Higher up the Monkey Climbs”
4. George Edgin’s Corn Dodgers With Earl Wright & Brown Rich - “My Ozark Mountain Home"
5. Dr. Smith’s Champion Hoss Hair Pullers - “Just Give Me the Leavings"
6. Ashley’s Melody Men - “Bath House Blues”
7. Luke Highnight & His Ozark Strutters - “Fort Smith Breakdown"
8. Arkansas Barefoot Boys - “Eighth of January”
9. Bob Larkan & Family - “McLeods Reel"
10. A. E. Ward & His Plow Boys - “The Old Dinner Pail"
11. Wonder State Harmonists - “My Castle on the Nile”
12. Morrison Twin Brothers String Band - “Dry and Dusty”
13. Pope’s Arkansas Mountaineers - “Jaw Bone"
14. Lonnie Glosson - “Arkansas Hard Luck Blues"
15. Fiddling Bob Larkin & His Music Makers - “Paddy, Won’t You Drink Some Good Old Cider?”
16. George Edgin’s Corn Dodgers With Earl Wright & Brown Rich - “Corn Dodger No. 1 Special"
17. Bonnie Dodd & Murray Lucas - “Ozark Mountain Rose"
18. Morrison Twin Brothers String Band - “Ozark Waltz”
19. L. O. Birkhead & R. M. Lane - “Robinson County"
20. George Edgin’s Corn Dodgers With Earl Wright & Brown Rich - “The Arkansas Hotel"
21. A. E. Ward & His Plow Boys - “Going to Leave Old Arkansas"
22. Wonder State Harmonists - “Petit Jean Gallop”
23. Bob Larkan & Family - “Silver Nail"
24. Reaves White Country Ramblers - “Drunkard’s Hecups”
25. Wonder State Harmonists - “Turnip Greens”
26. Lonnie Glosson - “Lonnie’s Fox Chase"
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£52.99Visit product page →
4 Compact Discs in slipcase with 272-page hardcover book.
“Longing for the Past: The 78 rpm Era in Southeast Asia” is the first survey of the 78 rpm record era in Southeast Asia.
It is a kaleidoscopic collection featuring 4 CDs with 90 tracks of music spanning six decades (1905-1966), accompanied by a 272-page book with essays and annotations by leading ethnomusicologists that is richly illustrated with more than 250 vintage photographs, record labels, and sleeves.
David Murray is the curator of Haji Maji (www.HajiMaji.com), a blog dedicated to the exploration 78 rpm Asian music. He previously produced two LPs for Dust-to-Digital: Luk Thung: Classic & Obscure 78s from the Thai Countryside and Kassidat: Raw 45s from Morocco. In addition to collecting and researching old records, he is a musician and graphic designer in Oakland, California.
“Longing for the Past: The 78 rpm Era in Southeast Asia” continues the mission of Dust-to-Digital to explore the early days of recorded sound from around the world. Much like “Opika Pende: Africa at 78 RPM” broke new ground in research while reissuing dozens of tracks for the very first time, “Longing for the Past” examines an era of music from a geographical region that has remained hidden until now.
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£14.99Visit product page →
“Kitsch alert! Worshippers at the shrine of Elvis and followers of pop culture take note. Ten Thousand Points of Light is a wry, understated and terrifically funny look at the Townsends, a suburban Atlanta family who, every holiday season for eight years, transformed their Stone Mountain area brick ranch house into a meteoric blaze of Christmas lights.
Known as both “the Christmas House” and the “the Elvis House”, the Townsend’s home was visited yearly by vast numbers of people, many of whom viewed a trip to the land of a thousand tchotchkes as an annual pilgrimage. — Linda Dubler, Creative Loafing
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£12.99More than a half-century ago, a young country preacher from backwoods Alabama came to the big city and made his name leading one of Atlanta’s largest Baptist congregations. In a great Southern metropolis renowned for its preachers, Rev. Johnny L. Jones stood out for his unique delivery that combined solid theological grounding and moody, explosive flights into a high-turbulence zone between song and speech, earning him a reputation as the Fireball Preacher and more famously, The Hurricane. Jesus Christ from A to Z(PT-4001) was compiled from more than 50 years of reel-to-reel tapes of live church recordings.Visit product page →
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£12.99Produced by Calpin Hoffman-Williamson, I Have My Liberty! Gospel Sounds from Accra, Ghana features performances recorded live in 2008 in the churches of Ghana’s capital city.Visit product page →
This album could be seen as the missing link between American gospel records by artists like Rev. Johnny L. Jones and traditional African artists like those featured on Opika Pende: Africa at 78 RPM.
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£38.99Visit product page →
65 antique photographs from such noted collectors as Sarah Bryan and Jim Linderman.
40 recordings from 1927-1956 from such esteemed 78 collectors as Joe Bussard. The songs on the first disc describe mother’s activities on earth: kindness, discipline, teaching and love.
The second disc’s songs deal with the coping involved with a mother’s death and the emptiness it creates.
Foreword by Rosanne Cash (born May 24, 1955) is a Grammy-Award winning singer-songwriter and author. She is the eldest daughter of the late country music singer Johnny Cash and his first wife, Vivian Liberto Cash Distin.
Essay by Sarah Bryan. Sarah Bryan is the Editor-in-Chief on The Old-Time Herald magazine. The magazine casts a wide net, highlighting the Southeastern tradition while opening its pages to kindred and comparable traditions and new directions. Sarah is an antique-photograph collector and contributed several images to Never a Pal Like Mother.
1. God Bless Her, She’s My Mother by Louvin Brothers
2. The Pal That’s Always True by Doc Hopkins
3. Little Moses by Mr. & Mrs. Harmon E. Helmick
4. Mama Blues by William McCoy
5. Mama’s Little Sunny Boy by Earl McDonald's Original Louisville Jug Band
6. Mother's Love by Mighty Destroyer
7. Mama Don’t Allow It by Frankie "Half-Pint" Jaxon
8. Mama Says It’s Naughty by Maddox Brothers & Rose
9. You Mother Heart Breakers by Rev. J. M. Gates
10. Mother Came to Get Her Boy from Jail by Wade Mainer
11. Mother’s Last Word to Her Son by Washington Phillips
12. The Dixie Cowboy by Taylor's Kentucky Boys
13. That’s No Way to Get Along by Robert Wilkins
14. Only Mother Cares for Me by Dixieland Jug Blowers
15. Whisper Softly, Mother’s Dying by Kid Smith and Family
16. Hold Fast to the Right by Carter Family
17. Mother Called Her Child to Her Dying Bed by Lil McClintock
18. A Mother’s Last Word to Her Daughter by Washington Phillips
19. Mother is with the Angels by Wright Brothers Quartet
20. Sleep On, Mother by Diamond Four
1. Mother's Gone by J. P. Ryan
2. Stand in the Test in Judgment by Golden Gate Jubilee Quartet
3. Mama, Where You At? by Leo Soileau
4. Kujawiak Babki (Grandmother's Dance) by Jan Wysowski
5. Tie Me to Your Apron Strings Again by Bob Wills
6. My Mother's Hands by Shortbuckle Roark & Family
7. The Picture on the Wall by Georgia Yellow Hammers
8. Where Is My Momma? by Carolina Twins
9. I've Got the Blues for Mammy by Milton Brown & His Musical Brownies
10. Motherless Child Blues by Elvie Thomas
11. If I Could Hear My Mother Pray Again by Rev. Anderson Johnson
12. Tell Mother I'll Meet Her by The Virginia Possum Tamers
13. Shake Mother's Hand for Me by Golden Eagle Gospel Singers
14. Mother Went Her Holiness Way by Blue Sky Boys
15. Mother Bowed by The Pilgrim Travelers
16. Will My Mother Know Me There? by L. V. Jones & His VA Singing Class
17. The Bright Crystal Sea by Cecil Surratt & His W. VA Ramblers
18. Over the Hills and Far Away by McNulty Family
19. Masanga by Leon Bukasa
20. Sleep On Mother, Sleep On by Lonnie McIntorsh
Dust To Digital
£50.99360-page hardback biography with CD, includes 290 sepia photographs CD features rare and electrifying audio recordings of Pentecostal worship services in the mountains of Kentucky and Virginia accompanied by a fiery sermon preached by Brother Claude Ely.Visit product page →
Dust To Digital
£14.99One DVD, 30 minute feature film, 60 minute dance lesson with Thomas Maupin, 4 page folder with an “Introduction to Buckdancing” essay, Cardboard case.Visit product page →
Directed by Stewart Copeland, this 2010 documentary tells the story of 70-year-old buckdancing legend Thomas Maupin, who remains one of the greatest old-time dancers in America.
Framed between Thomas’ recovery from cancer and his acceptance of a nationally-recognized award, this piece presents a deeply personal look at a folk icon.
As well as being a portrait of an artist, Let Your Feet Do The Talkin’ asks the question, “What drives us to perform?” and examines art’s ability to form and to strengthen relationships and to lift us above our circumstances.
Dust To Digital
£67.99Contents and Packaging (Four Disc Box Set with a 96 Page Book).Visit product page →
Compiled by Lance Ledbetter and Art Rosenbaum,Art of Field Recording Volume II is a four disc set with a 96 page book that contains essays and annotations by Art and over 100 illustrations and photographs by Art and his wife Margo. Art took a similar approach to Harry Smith in assembling the music: the discs are divided into Accompanied Songs and Ballads, Unaccompanied Songs and Ballads, Sacred, and a Survey disc that has a little bit of everything.
Blog Critics: “Art Of Field Recording Volume ll is an amazing collection of music and people that can’t help but make you feel better about the world. There are fewer and fewer people today who play music because of what the song means to them in terms of their family’s history or the people who taught it to them. To have the opportunity to experience listening to that type of music is a rare treat and one that might not be available to us for that much longer..”
Pitchfork: “…Rosenbaum’s work will make you yearn for childhood lullabies, for— precious as it sounds— the songs that you keep in your heart.”
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