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In 1968, Wells returned from a State Department-sponsored tour of Africa and told a Newsweek correspondent, "We got to one place and they had banners saying 'Welcome Home, Junior'. I told 'em, man I said, this ain't my home, I live one block north of the Loop. Then they asked me what I thought of black power. I said black power is me making it with Aretha Franklin." - from Larry Cohn's Nothing But The Blues

Author Topic: SOUNDS OF THE SOUTH Edited by Daniel W. Patterson  (Read 947 times)

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Offline Bunker Hill

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SOUNDS OF THE SOUTH Edited by Daniel W. Patterson
« on: March 25, 2010, 01:08:51 PM »
This book is on sale at Roots & Rhythm for the ridiculously cheap price of $9.95. Published as long ago as 1991 it's still well worth reading if only for the chapter by Paul Oliver. I'm ordering another copy, the pages have all come loose in mine due to excessive reference use

SOUNDS OF THE SOUTH Edited by Daniel W. Patterson
Usual Price = $21.95/ Sale Price = $9.95
Paper, 219 pages, counts as four CDs for shipping
Beyond the familiar forms of Mississippi Delta Blues and mainstream country music, the vernacular music of the South also ranges from the ceremonial music of Native Americans to "shout" singing in the South Carolina sea islands, Cajun fiddling, and Mexican-American conjunto music. Sounds of the South assesses past efforts to document these richly varied musical forms and the challenges facing future work. Based on a 1989 conference that gathered record collectors, folklorists, musicians, record producers, librarians, archivists, and traditional music lovers, Sounds of the South includes Bill Malone's account of his own career as a fan and scholar of country music, Paul Oliver on European blues scholarship, and Ray Funk on researching Black Gospel quartets. The contributors (Bess Lomax Hawes, Norm Cohen, and Archie Green among them) look at a number of topics related to the role of the archivist/folklorist in recording and documenting the music of the South-evaluations of past fieldwork and current needs in documentation, archival issues, prospects for the publication of recordings, and changes in music and technology. Written in an accessible style, this volume will be of interest to all those concerned with preserving the music of the American South.

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