Topic: YouTube.com - Interesting Country Blues related video clips

[bnemerov]

Hi Unca Bud,
I expect you're right--just something in the speech pattern and the Chicago accent rather than the tone of voice that reminded me of Studs.
But wouldn't a collaboration between Ramsay and Terkel produce a close-to-the-bone documentary?
best,
bruce

[Prof Scratchy]

This is a good one, if you haven't come across it yet. Any ideas on the identity of the performer?

[Prof Scratchy]

And another:

[Prof Scratchy]

[Prof Scratchy]

[Bunker Hill]

This is a good one, if you haven't come across it yet. Any ideas on the identity of the performer?

Not a clue. This and the other Gellert YTs first appeared on Bruce Bastin's Heritage LP in 1984.

Note writer Bruce Harrah-Conforth has a couple of paragraphs about Boogie Lovin' thus:

The remaining pieces all hail from Atlanta, Georgia and date from 1928 through
1932. Boogie Lovin' is the first of 8 pieces apparently played by the same guitarist.
Gellert frequently travelled throughout the South with members of his
informant network and it is not impossible that this guitarist may have travelled
with him. Clearly there are different vocalists of varying quality on several of the
pieces and at one point (following the 4th instrumental verse of Boogie Lovin')
someone, probably the guitarist, can be heard to give the vocalist a cue to come
in with the next verse of the song as he asks him to "sing it for me".

Very much in the Lonnie Johnson vein, this guitarist seems to be trying to
translate jazz ensemble chording to the guitar. His ability to do so is limited, and
he plays the same basic accompaniment on all the songs, regardless of lyric
structure. He also seems to be quite fond of using a boogie-woogie bass pattern
for a break. We hear it for the first time in the 3rd instrumental verse of Boogie
Lovin', again in the traditional 30 Days in Jail, Prison Bound Blues and finally in
Shootin' Craps and Gamblin'.

See pages 673-4 in B&GR4 for a complete list of Gellert's Negro Songs of Protest recordings

Over to you......

[Pan]

Hi all

Here's some footage of Brownie McGhee and Sonny Terry doing a field recording for the Library of Congress, in 1945.



Here's a Woody Guthrie clip from the same film:



And here you can watch the entire 20 min. film:

https://archive.org/details/gov.archives.arc.47097

Cheers

Pan

[nobocaster]

 

Here's some footage of Brownie McGhee and Sonny Terry doing a field recording for the Library of Congress, in 1945.

Cool clip.  Does anyone know the story on Brownie's guitar in that clip?  It looks like a 30's J-35, but the bridge is rounded and maybe longer, and the fingerboard looks extended over the soundhole.  I came up with nothing on an internet search other than one person with the same observation I just made.

[Lastfirstface]

Nobocaster, I was just thinking about the same thing. Maybe its just an old J-35 with some strange work done to it, but the "peninsula" extension on the fingerboard is a particularly odd feature. Both the postion-markerless fingerboard and the bridge have a classical guitar look to them, and the neck meets the body at the 13th and a 1/2 fret (?). Weird.

[Johnm]

Hi all,
Here you go:



All best,
Johnm

[Parlor Picker]

Excellent track, John. Thanks.

[Johnm]

Hi all,
This is the same duo credited with a really nice version of "Stackerlee".  Man, they tear this one up, and what great back-up guitar playing, too.



All best,
Johnm

[Pan]

A 1 hour document with Robert Lockwood Jr.



Cheers

Pan

[Parlor Picker]

I find this performance of Libba Cotten's "Oh Babe, It Ain't No Lie" strangely charming. It starts about a minute into the video.

[Johnm]

Hi all,
How is this possible?  Incidentally, I saw the young English musician Abie Budgin do a tremendous job on this tune last summer at Euro BluesWeek, and she rocked out!



All best,
Johnm