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Series 5:
Publications
|
|
BOXES 15-18 |
Issues of magazines that
include writings by Welding, and information he used as reference
material. Many of these issues include reviews and other content
directly related to this collection. |
|
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Series 6: Materials from
sound recording containers, and original containers
|
|
BOX-FOLDERS 19/1-8 |
Inserts from tape
containers, handwritten interviews, discographies, receipts, logs, and
other documents. |
|
BOXES 26-27 |
A selection of original
tape boxes that housed sound recordings. |
|
Extent: The original containers not
retained were photographed, and the digital files for these images are
available on request from the American Folklife Center. |
|
|
Series 7: Oversized
materials
|
|
BOX-FOLDER 20/1 |
Albert Collins, circa 1969
|
|
Extent: 24 in. x 12 in. |
|
Small brown-and-white poster/flyer with a photo of Collins, and
biographical information directly on it. See folder 1/20 for related material. |
|
BOX-FOLDER 20/2 |
Art Pepper,
undated
|
|
Photocopied discography. See box-folder 5/16 for related material. |
|
BOX-FOLDER 20/3 |
Muddy Waters, April 1977
|
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Original clipping from Soul & Jazz magazine, issue #37 (undated). See folders 7/15-16 for related material. |
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BOX-FOLDER 20/4 |
Masters of Modern Blues, vol. 4" (T-2215), circa 1968
|
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Liner note proofs for Testament Records release. See box-folder 9/6 for related material. |
|
BOX-FOLDER 20/5 |
Liner notes for Stan
Kenton recordings (part of a Time-Life Music release), 1984
|
|
Final copy. Relocated from 11/1
|
|
BOX-FOLDER 20/6 |
Testament Records -
reviews, 1964
|
|
Original issue of The Literary Times, plus two newspaper clippings. |
|
BOX-FOLDER 20/7 |
Blues Unlimited, 1964-1965
|
|
British music magazine. Five issues: January 1964, April/May 1964, July
1964, September 1964, and January 1965. |
|
BOX-FOLDER 20/8 |
Pete Welding -
obituaries, 1995
|
|
One-page photocopy of Welding's obituary in Mad Rhino News, plus two other photocopied obituaries. |
|
BOX-FOLDER 20/9 |
Mad Rhino News, 1995
|
|
Year-end issue. See page 6 for the obituary that appears as a photocopy
in box-folder 20/8. |
|
BOX-FOLDER 20/10 |
Billboard, December 9,
1995
|
|
Complete issue. |
|
BOX-FOLDER 20/11 |
Johnny Shines,
undated
|
|
Extent: 11 3/4 in. x 11 in. or
smaller |
|
Oversized, black-and-white photo taken by Welding. See Box-Folder 22/17 for more images of Shines. |
|
|
Series 8: Sound
recordings
|
|
Documentation on the tape boxes was used to create the inventory for this
series. This information was partially transcribed and subsequently edited,
including abbreviations that were expanded and names that were normalized.
Logged recordings are included here, and the information from them used to
correct the inventory. Where possible, the title of the commercial
recordings has been documented. When recordings have been digitized, the
engineer's notes take precedence over those on the tape boxes; the archivist
has edited these notes for clarity. Further details about the recordings
appear on the tape boxes and accompanying manuscript materials. Dubbed
recordings have been noted as such. Unless otherwise indicated, interviews
were conducted by Pete Welding.
During the digitization process, SR215, SR740, and SR810 were found to be
blank. |
|
|
Subseries 1: Artists,
bands, and interviews
|
|
The sound recordings are organized in approximate alphabetical order,
given the available information. Works by individual artists are
organized by surname and when there are multiple artists by the first
surname. If the sound recording is a compilation it is alphabetized by
album or project name. Events are alphabetized by the event name. |
|
|
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Item-ID: AFC 2011/053: SR673 |
Ace of Spades, #1 -
Central Avenue Blues, undated
|
|
Rack number: RXH 5550 |
|
Extent: 1 sound tape reel :
analog ; 7 in. |
|
|
|
Item-ID: AFC 2011/053: SR674 |
Ace of Spades, #2,
undated
|
|
Rack number: RXH 5551 |
|
Extent: 1 sound tape reel :
analog ; 7 in. |
|
|
|
Item-ID: AFC 2011/053: SR675 |
Ace of Spades, #3,
undated
|
|
Rack number: RXH 5552 |
|
Extent: 1 sound tape reel :
analog ; 7 in. |
|
|
|
Item-ID: AFC 2011/053: SR242 |
Joe Albany Trio and
solo, #2, circa
1960s-1970s
|
|
Rack number: RXH 4124 |
|
Extent: 1 sound tape reel
(polyester, 00:46:10) : analog, 7 1/2 ips, half track, stereo ; 7
in. |
|
According to the tape box notes this is a master dub.
|
Time
|
Content
|
|
|
| Start |
"A Night in Tunisia" |
| 00:05:36 |
"You're Blasé" |
| 00:08:58 |
"Like Someone In Love" |
| 00:14:10 |
"What Are You Doing the Rest of Your
Life" |
| 00:18:45 |
"Barbados" |
| 00:22:49 |
"St. Thomas" |
| 00:27:07 |
"Ellington Medley" |
| 00:32:35 |
"Yellow Days" |
| 00:37:32 |
"Everything Happens to Me" |
| 00:40:36 |
"When Lights Are Low" |
| 00:46:10 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR590 |
Joe Albany,
undated
|
|
Rack number: RXH 5451 |
|
Extent: 1 sound tape reel :
analog ; 7 in. |
|
LP mock-up |
|
|
|
Item-ID: AFC 2011/053: SR028 |
Luther Allison Live
at the Montreux Jazz Festival, #1, July 3, 1976
|
|
Rack number: RXH 3167 |
|
Extent: on one side of 1 sound
tape reel (00:30:06) : analog, 7 1/2 ips, 1/4 track, stereo ; 7
in. |
|
|
Time
|
Content
|
|
|
| Start |
"Don't Know What Love Is" |
| 00:09:34 |
"Sweet Home Chicago" |
| 00:14:45 |
"The Bum is Mine" |
| 00:21:23 |
"The Same Thing" |
| 00:30:06 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR029 |
Luther Allison Live
at the Montreux Jazz Festival, #2, July 3, 1976
|
|
Rack number: RXH 3168 |
|
Extent: on one side of 1 sound
tape reel (00:22:23) : analog, 7 1/2 ips, 1/4 track, stereo ; 7
in. |
|
|
Time
|
Content
|
|
|
| Start |
"Easy Baby" |
| 00:07:10 |
"Red Rooster" |
| 00:19:30 |
"Chuck Berry Medley" |
| 00:22:23 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR069 |
Delia Anderson,
July 29,
1968
|
|
Rack number: RXH 3208 |
|
Extent: on one side of 1 sound
tape reel (00:29:41) : analog, 7 1/2 ips, half track, stereo ; 7
in. |
|
Collector's original ID number: 284.
Archivist's note: Anderson sings a cappella. Between songs Pete
Welding and Anderson talk about where she learned songs, and other
topics. The number "201" is appears on the tape box in parentheses,
without any context. See the note for SR735
|
|
|
Time
|
Content
|
|
|
| Start |
"Little Beggar Man" |
| 00:01:47 |
"The Green Volunteers" |
| 00:02:18 |
"The Lass of Killacrankie" |
| 00:03:17 |
"The Shoals of Herring" |
| 00:05:05 |
"Down By the Liffey Side" |
| 00:06:08 |
mouth music (breaks off) |
| 00:06:54 |
mouth music #2 |
| 00:08:10 |
unidentified (first line: "The cold winds are
blowing, wearily, wearily") |
| 00:08:59 |
"The Day We Went to Rossy-O" (breaks off) |
| 00:10:22 |
"The Day We Went to Rossy-O" (picks up from the
break) |
| 00:12:01 |
"Die an Old Maid in a Garret" |
| 00:13:24 |
"When the Blue Bonnets Came Over the
Border" |
| 00:15:11 |
"Jock of Hazeldene" |
| 00:16:51 |
"The Patriot Game" (breaks off) |
| 00:17:13 |
"The Patriot Game" (Anderson tries in new key;
breaks off) |
| 00:16:32 |
"The Patriot Game" (Anderson sings in a different
key; breaks off twice, but continues) |
| 00:19:05 |
children's games (bits of various songs) |
| 00:20:03 |
"Banks of the Clyde" |
| 00:20:34 |
"Rakes and Barley-O" |
| 00:21:32 |
"MacPhereson's Lament" |
| 00:22:49 |
mouth music #3 (false start) |
| 00:25:11 |
"The Lass of Killacrankie" |
| 00:26:30 |
"Wild Mountain Thyme" (fragment) |
| 00:26:46 |
"Wildwood Flower" |
| 00:27:40 |
"Donna, Donna" |
| 00:29:00 |
"Greenock Song" |
| 00:29:40 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR735 |
Delia Anderson,
July 29,
1968
|
|
Rack number: RXH 5612 |
|
Extent: 1 sound tape reel
(polyester, 00:30:00) : analog, 7 1/2 ips, half track, stereo ; 7
in. |
|
Archivist's note: The content matches SR069 , with slightly different time markers. |
|
|
|
Item-ID: AFC 2011/053: SR709 |
Billy Boy Arnold
interview, 1970
|
|
Rack number: RXH 5586 |
|
Extent: 1 sound tape reel
(polyester; Side 1: 00:53:00, Side 2: 00:53:00) : analog, 7 1/2 ips,
half track, mono ; 7 in. |
|
Logger's note: Pete Welding (PW) interviews Billy Boy Arnold (BBA), a
Chicago blues harmonica player. A child's voice can be heard in the
background. |
|
Side 1
|
Time
|
Content
|
|
|
| Start |
PW and BBA talk about BBA's background and his
interest in blues music. |
| 00:03:44 |
BBA talks about when he at started playing and
his musical influences. His first instrument was
harmonica. He talks about getting lessons from Sonny
Boy Williamson (SBW). [BBA says he was born
in1935.] |
| 00:10:20 |
BBA talks about musical influences prior to SBW.
BBA says that he learned mostly from phonograph
records. |
| 00:12:28 |
BBA says that he saw SBW only twice prior to
SBW's death at age 34. BBA talks about SBW's
harmonicas. |
| 00:17:22 |
BBA talks about playing After SBW's death. He
learned to play guitar from a man called McGee.
(BBA's primary instrument is harmonica). He talks
about some of the other musicians with whom he
played. He tells about making his first recording,
at age 17, for Cool Records. |
| 00:20:53 |
BBA says his second recordings were for Vee Jay
Records. He started performing in clubs. He played
frequently with Bo Diddley, and also with other
musicians. |
| 00:23:00 |
BBA and Bo Diddley made recordings for Chess
Records. BBA talks about the sessions and specific
songs recorded. |
| 00:26:50 |
BBA, Bo Diddley and Little Walter were making
records for VEE Jay, Universal and Chess. This
forced decisions, because of various recording
contracts, about songs, lead singers, and musical
arrangements. |
| 00:30:12 |
BBA and Bo Diddley went to New Orleans. When they
returned to Chicago, BBA put together his first band
to lay at a new club called The Bell House. He talks
about the band members. He says that the gig was a
success and they were booked for 3 months. |
| 00:35:06 |
BBA discusses the next steps of his career. He
was always paid union scale and paid union scale to
his band members. He talks about some of his gigs.
He says that he was successful playing in the clubs.
He says he worked steadily in the 1950s and into the
1960s. |
| 00:38:00 |
BBA says that Chicago's music scene changed from
B.B. King and Muddy Waters to more contemporary
(early 1960s) music. He says that in the 1960s
Chicago still had an active blues scene in its black
community. |
| 00:42:25 |
BBA talks about the blues musicians active now in
Chicago. He says it is primarily the old blues men,
but there are not too many opportunities to perform.
PW says that the Civil Rights Movement may have been
part of the reason for loss of interest in the
blues. BBA responds. |
| 00:46:43 |
BBA says "I think what happened to Chicago is
this." He talks about migration of people from the
south and changes of musical taste. PW adds to this
by talking about changing interest in jazz. |
| 00:53:00 |
End |
|
|
Side 2
|
Time
|
Content
|
|
|
| Start |
BBA talks about music being played on the radio.
PW adds his thoughts. BBA talks about different
generations of blues performers. PW talks about the
commercial aspect of music. BBA talks about Vee Jay
and Chess records and their commercial
considerations. |
| 00:04:28 |
BBA talks about interest in the blues being
cyclical and generational. He says that his family
is one of the last blues families in Chicago. There
are now only a few clubs in Chicago in which blues
are played. But if you go to other cities, there
will be no blues clubs. |
| 00:07:22 |
PW asks "Who are the young guys in Chicago
(today) who re making any kind of noise?" BBA
responds. PW says that most of the new blues
record's he's heard in the last ten years "are
pretty dull." BBA replies. They discuss this at
length. BBA says that there is no more money in
playing the blues. |
| 00:15:45 |
BBA says that black musicians are moving away
from the blues into other genres. He says that if,
today, you want a blues guitar player or drummer you
probably have to hire a white guy. PW expresses
concerns that the blues is going to die out. BBA
agrees. |
| 00:17:34 |
PW asks BBA where he performs. BBA says that he
does not work around Chicago. He goes over seas once
or twice a year. They talk about the amount of money
one is paid for playing. BBA talks about the
potential and future of the blues. |
| 00:22:15 |
PW SKS IF THE European scene is good enough to
support yourself. BBA says "no," but the Europeans
are really dedicated to the music. PW talks about
blues fans in the United States. The talk about
record promotion and distribution. |
| 00:31:56 |
BBA talks about the record shops in Chicago when
he was young. BBA says that there is no need for
blues today. He explains. |
| 00:38:32 |
BBA talks about segregation and the blues. He
says blues are a way of expressing your
frustrations. |
| 00:45:01 |
BBA says that after the rebellions of the 1960s
people turned away from the blues. They turned away
from the blues of twenty years ago and turned to the
blues of Stevie Wonder. BBA says that his
grandmother dealt with the blues by singing
(humming) gospel songs. BBA and PW talk about the
blues and emotions. |
| 00:50:15 |
PW talks about the commercial pressure on the
blues. BBA says that the blues is a universal form
of music. |
| 00:53:00 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR562 |
Backwoods Blues /
London AL-3535 (Brit)/4 Track/Blues Songs Sung By The Lonesome Blues
Singer Royale, undated
|
|
Rack number: RXH 5423 |
|
Extent: 1 sound tape reel :
analog ; 7 in. |
|
|
|
Item-ID: AFC 2011/053: SR789 |
Chet Baker Quartet -
Carlton Theater, L.A., 1953
|
|
Rack number: RAA 59327 |
|
Extent: 1 sound tape reel
(00:25:48) : analog, 15 ips, half track, stereo ; 10 in. |
|
Vendor's digitization note: The program includes test tones. There
is a small snippet of audio at the begiining of the recording (a
false start). The program also has distortion and hiss. |
|
|
|
Item-ID: AFC 2011/053: SR779 |
John Henry Barbee -
Carl Martin - Jake Gilmore - Frank Gilmore - Ted Bogan - CTI / CTC
6028 B, undated
|
|
Rack number: RAA 59317 |
|
Extent: 1 sound tape reel :
analog ; 10 in. |
|
"CTI 4 trak cassette sub master" on the tape box. This may be a
compilation of dubbed recordings. |
|
|
|
Item-ID: AFC 2011/053: SR677 |
Count Basie, July 7, 1978
|
|
Rack number: RXH 5554 |
|
Extent: 1 sound tape reel :
analog ; 7 in. |
|
|
|
Item-ID: AFC 2011/053: SR678 |
Count Basie
Orchestra Live, undated
|
|
Rack number: RXH 5555 |
|
Extent: 1 sound tape reel :
analog ; 7 in. |
|
|
|
Item-ID: AFC 2011/053: SR648 |
Andrew and Jim
Baxter, Richard "Rabbit" Brown, Luke Jordan, Leroy Johnson,
undated
|
|
Rack number: RXH 5525 |
|
Extent: 1 sound tape reel :
analog ; 7 in. |
|
|
|
Item-ID: AFC 2011/053: SR179 |
Harold Beatty, circa 1973
|
|
Rack number: RXH 4062 |
|
Extent: 1 sound tape reel
(polyester, 00:14:00) : analog, 7 1/2 ips, half track, stereo ; 7
in. |
|
Collector's original ID number: 102. |
|
|
Time
|
Content
|
|
|
| Start |
Harold Beatty (HB) performs his first piece with
backup singers and accompaniment, titled "Someone
Has Taken Your Place" |
| 00:02:56 |
The second song with HB titled "Backup
Man" |
| 00:06:59 |
The next selection by HB and accompaniment titled
"Two Steps from Your Doorstep" |
| 00:11:01 |
HB and backup singers perform their next
selection; the title is unknown |
| 00:13:55 |
End |
|
|
|
|
Item-ID: AFC 2011/053: SR657 |
Ed Bell / Mary
Johnson / Henry Townsend, undated
|
|
Rack number: RXH 5534 |
|
Extent: 1 sound tape reel :
analog ; 7 in. |
|
|
|
Item-ID: AFC 2011/053: SR338 |
Bill Berry
"interview," undated
|
|
Rack number: RXH 4223 |
|
Extent: 1 sound tape reel (Side
1: 00:7:08, Side 2: 00:00:23) : analog, 7 1/2 ips, mono ; 4 1/2
in. |
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