Browse Titles - 110 results
See details
12-String Guitar as Played by Lead Belly
(Folkways Records, 1962), 1 hour 20 mins
Pete Seeger teaches the 12-string guitar as played by the virtuoso Lead Belly through a detailed breakdown of both the instrument itself (how to tune it, steel vs. silk strings etc.) and step-by-step explanations of Lead Belly’s songs. Here, Pete Seeger pays homage to his friend and mentor Lead Belly by teachin...
Sample
(Folkways Records, 1962), 1 hour 20 mins
Description
Pete Seeger teaches the 12-string guitar as played by the virtuoso Lead Belly through a detailed breakdown of both the instrument itself (how to tune it, steel vs. silk strings etc.) and step-by-step explanations of Lead Belly’s songs. Here, Pete Seeger pays homage to his friend and mentor Lead Belly by teaching us his songs. Liner notes include detailed instructions and song notation.
Field of Study
World Music
Content Type
Music recording
Date Published / Released
1962
Publisher
Folkways Records
×
See details
Alexander O'Neal Live at the Hammersmith Apollo, London
produced by Jon Wells, fl. 1968; performed by Alexander O'Neal, 1953- (Paris, Ile-de-France: Qwest TV, 2006), 1 hour 24 mins
“My guitarist wants to know if I took my medication today,” quips the 54-year-old singer between songs. Dressed in purple, R&B legend Alexander O'Neal stands on stage at the Hammersmith Apollo looking better than ever. Neither his enveloping voice nor his roguish looks seem to have aged. "He finds me a littl...
Sample
produced by Jon Wells, fl. 1968; performed by Alexander O'Neal, 1953- (Paris, Ile-de-France: Qwest TV, 2006), 1 hour 24 mins
Description
“My guitarist wants to know if I took my medication today,” quips the 54-year-old singer between songs. Dressed in purple, R&B legend Alexander O'Neal stands on stage at the Hammersmith Apollo looking better than ever. Neither his enveloping voice nor his roguish looks seem to have aged. "He finds me a little crazy tonight," he says. Hard not to agree with his colleague: in front of the audience of the London theater, O'Neal is simply unhin...
“My guitarist wants to know if I took my medication today,” quips the 54-year-old singer between songs. Dressed in purple, R&B legend Alexander O'Neal stands on stage at the Hammersmith Apollo looking better than ever. Neither his enveloping voice nor his roguish looks seem to have aged. "He finds me a little crazy tonight," he says. Hard not to agree with his colleague: in front of the audience of the London theater, O'Neal is simply unhinged. With remarkable energy, he plays the titles that propelled him to the rank of darling of the 80s: he becomes a languid lover again with "If You Were Here Tonight," slips into the skin of the repentant Don Juan of "A Broken Heart Can Mend,” and dons his costume of a transitory lover with “What Is This Thing Called Love.” Tireless, the singer does not allow himself a break, not even between the titles, where he multiplies the strokes of humor and the glances at the public. This live show from 2007 recalls everything that makes the singer so charming. It's up to you to decide if you will fall for his velvety voice, his mischievous attitude, and his slightly roguish air. Léance Kalanzau
Show more
Show less
Date Written / Recorded
2006-03-11
Field of Study
American Music
Content Type
Performance
Performer / Ensemble
Alexander O'Neal, 1953-
Contributor
Jon Wells, fl. 1968
Author / Creator
Alexander O'Neal, 1953-
Date Published / Released
2006
Publisher
Qwest TV
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 2006 Auditorium
×
See details
American Favorite Ballads, Vol. 2
produced by Moses Asch, 1905-1986 (Folkways Records, 1958), 46 mins
See also: Smithsonian Folkways Recordings reissued series of American Favorite Ballads.to be completed in 2006.
Sample
produced by Moses Asch, 1905-1986 (Folkways Records, 1958), 46 mins
Description
See also: Smithsonian Folkways Recordings reissued series of American Favorite Ballads.to be completed in 2006.
Field of Study
American Music
Content Type
Music recording
Contributor
Moses Asch, 1905-1986
Date Published / Released
1958
Publisher
Folkways Records
Tracks
×
See details
America's Music Legacy, America's Music Legacy - Blues
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1982), 1 hour 54 mins
This excellent program of almost two hours is, for those who are not familiar with this musical genre, a perfect introduction to the mysteries of the blues, to its evolution from the acoustic rural blues of the Deep South to the electrified Chicago Blues which took off after the Second World War. It is also partic...
Sample
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1982), 1 hour 54 mins
Description
This excellent program of almost two hours is, for those who are not familiar with this musical genre, a perfect introduction to the mysteries of the blues, to its evolution from the acoustic rural blues of the Deep South to the electrified Chicago Blues which took off after the Second World War. It is also particularly interesting for its film archives of the big names who illustrated the different stages of history until their acceptance by the...
This excellent program of almost two hours is, for those who are not familiar with this musical genre, a perfect introduction to the mysteries of the blues, to its evolution from the acoustic rural blues of the Deep South to the electrified Chicago Blues which took off after the Second World War. It is also particularly interesting for its film archives of the big names who illustrated the different stages of history until their acceptance by the general public. For example, it opens with a fabulous goosebump-inducing appearance by Bessie Smith that lasts several minutes and also features footage of performances by Billie Holiday, Mamie Smith, and Jimmy Rushing seducing a young girl at her window with his singing. And to put everything in perspective, the master of ceremonies does not fail to mention the names of Louis Armstrong, WC Handy, Jelly Roll Morton, but also Sonny Terry & Brownie McGhee, Willie Dixon and Memphis Slim, Buddy Guy and Junior Wells in order to hammer home the notion that the blues "is the voice of Black America." And since it is impossible to say who is at the origin of the genre, he illustrates his point with Bukka White's formula: “the blues came from behind a mule's ass.” This black pride is portrayed by a theatrical staging of a club show. Among the artists, the successful performances of BB King, the harsh singing of Linda Hopkins, the classy Joe Williams and his feverish duet with Esther Phillips are the highlights. Gerald Wiggins’ musical direction and arrangements as well as the choruses of the excellent musicians of his orchestra are essential to the success of the project. Philippe Lesage
Show more
Show less
Date Written / Recorded
1985
Field of Study
American Music
Content Type
Performance
Contributor
Herb Silvers, Sandra Turbow, Skylark Savoy
Author / Creator
Kip Walton, Isaac Kennedy
Date Published / Released
1982
Publisher
Qwest TV
Series
America's Music Legacy
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 1982 Auditorium
×
See details
America's Music Legacy, America's Music Legacy - Soul
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1985), 1 hour 34 mins
It might be surprising, but not it would not be perverse to invite the reader to first watch the archive where Otis Redding sings "I Can't Get No Satisfaction" surrounded by about thirty children, which is found at the end of the program In the group, there is a kid who has such an innate sense of dance and showma...
Sample
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1985), 1 hour 34 mins
Description
It might be surprising, but not it would not be perverse to invite the reader to first watch the archive where Otis Redding sings "I Can't Get No Satisfaction" surrounded by about thirty children, which is found at the end of the program In the group, there is a kid who has such an innate sense of dance and showmanship that it makes Otis Redding smile. After this dazzling musical moment, it is possible to pick up the thread of a beautiful program...
It might be surprising, but not it would not be perverse to invite the reader to first watch the archive where Otis Redding sings "I Can't Get No Satisfaction" surrounded by about thirty children, which is found at the end of the program In the group, there is a kid who has such an innate sense of dance and showmanship that it makes Otis Redding smile. After this dazzling musical moment, it is possible to pick up the thread of a beautiful program dedicated to Soul Music. Hybridization of gospel and rhythm & blues, brought to the end of the 1950’s by Ray Charles, in phase with the spirit of the struggle for civil rights of Martin Luther King, soul music marks the desire for emancipation of the African-American youth, and the bringing to the foreground of black pride and its culture. This music, which both identifies and challenges, is not exempt from contradictions; it oscillates between incisive incantatory singing with James Brown, and sexualized syrupy ballads, as if it had to comply with the demands of entertainment. To produce its own effect with an insane but not kitsch look becomes a scenic imperative: Rufus Thomas' cape, canary yellow suit, and blood red boots are a perfect illustration of this. One forgives this narcissistic childishness as the expressiveness of the voices always reaches an exceptional level; you just have to listen to Carla Thomas, Gladys Knight or the versions of "Spanish Harlem" by Ben E. King or "For Your Precious Love" by Jerry Butler, who was Curtis Mayfield's sidekick in the group The Impressions to be convinced. Philippe Lesage
Show more
Show less
Field of Study
Jazz
Content Type
Performance
Contributor
Herb Silvers, Sandra Turbow, Skylark Savoy
Author / Creator
Kip Walton, Isaac Kennedy
Date Published / Released
1985
Publisher
Qwest TV
Series
America's Music Legacy
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 1985 Auditorium
×
See details
produced by Charles Edward Smith, 1904-1970 (Folkways Records, 1961), 36 mins
Field of Study
World Music
Content Type
Music recording
Contributor
Charles Edward Smith, 1904-1970
Date Published / Released
1961
Publisher
Folkways Records
×
See details
(Folkways Records, 1964), 44 mins
Field of Study
World Music
Content Type
Music recording
Date Published / Released
1964
Publisher
Folkways Records
×
See details
The Asch Recordings, 1939 to 1947 - Vol. 1: Blues, Gospel, and Jazz
produced by Samuel Barclay Charters, 1929-2015 (Folkways Records, 1966), 37 mins
From the Moses Asch archives comes a pair of early blues, gospel and jazz compilations. Lead Belly, celebrated albeit volatile American folk and blues singer / guitarist, graces this first volume with “Defense Blues” and “Keep Your Hands off Her,” but you’ll also find powerful performances in the Josh...
Sample
produced by Samuel Barclay Charters, 1929-2015 (Folkways Records, 1966), 37 mins
Description
From the Moses Asch archives comes a pair of early blues, gospel and jazz compilations. Lead Belly, celebrated albeit volatile American folk and blues singer / guitarist, graces this first volume with “Defense Blues” and “Keep Your Hands off Her,” but you’ll also find powerful performances in the Josh White’s bluesy “Careless Love,” the stacked harmony of The Thrasher Wonders and Sister Ernestine Washington’s plaintive query ..
From the Moses Asch archives comes a pair of early blues, gospel and jazz compilations. Lead Belly, celebrated albeit volatile American folk and blues singer / guitarist, graces this first volume with “Defense Blues” and “Keep Your Hands off Her,” but you’ll also find powerful performances in the Josh White’s bluesy “Careless Love,” the stacked harmony of The Thrasher Wonders and Sister Ernestine Washington’s plaintive query “Does Jesus Care?” over backing by Bunk Johnson’s Jazz Band. Volume One continues on FW00AA2.
Show more Show less
Field of Study
World Music
Content Type
Music recording
Contributor
Samuel Barclay Charters, 1929-2015
Date Published / Released
1966
Publisher
Folkways Records
×
See details
Ball n' Chain
produced by Chris Strachwitz, 1931-; performed by Big Mama Thornton, 1926-1984 (Arhoolie Records, 1989), 1 hour 2 mins, 16 page(s)
Sample
produced by Chris Strachwitz, 1931-; performed by Big Mama Thornton, 1926-1984 (Arhoolie Records, 1989), 1 hour 2 mins, 16 page(s)
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Big Mama Thornton, 1926-1984
Contributor
Chris Strachwitz, 1931-
Author / Creator
Big Mama Thornton, 1926-1984
Date Published / Released
1989
Publisher
Arhoolie Records
Copyright Message
Copyright © 1989 Smithsonian Folkways Recordings
×
See details
(Folkways Records, 1959), 44 mins
Field of Study
American Music
Content Type
Music recording
Date Published / Released
1959
Publisher
Folkways Records
×
