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Series 4: Articles, reviews, and other writings (continued)
Subseries 3: Various writings (continued)
BOX-FOLDER 13/12 Migration patterns, March 1960
An original article published in Fortune, regarding African American population migrations in the U.S.
BOX-FOLDER 13/13 Mississippi [state], February 27, 1966
An original article published in the Chicago Sun-Times.
BOX-FOLDER 13/14 Notes: Ray Charles, Shuggie Otis, John Lee Hooker, 1994; undated
Typed drafts of liner notes, plus an invoice for Sony Legacy Records regarding Welding's work on liner notes, and a brief proposal for a Sonny Terry CD release.
BOX-FOLDER 13/15 Notes for book: Muddy Waters - Charley Patton manuscripts - Rhythm & Blues, undated
Typed drafts of writings and related documentation.
BOX-FOLDER 14/1 Profiles, undated
Original and photocopied clippings from magazines, plus an original typed one-page document about the nature of jazz.
BOX-FOLDER 14/2 Race labels (Bob Koester), 1948; undated
A writing by Koester on race labels, plus a fold-out record dating chart (part 1).
BOX-FOLDER 14/3-4 Reviews: Testament Records; 1959-1969, undated
Original clippings and one faxed article from magazines, plus complete magazines:
Jazz Journal ( August 1964 )
Jazz Journal ( September 1964 )
Code ( March 1965 )
Jazz Monthly ( May 1965 )
BOX-FOLDER 14/5 Smithsonian blues set, undated
Handwritten and typed song lists.
BOX-FOLDER 14/6 Song record information, undated
Photocopied pages from a published, unidentified work.
BOX-FOLDER 14/7 Superstition, 1964-1966
Original newspaper and magazine clippings.
BOX-FOLDER 14/8 Various writings by Pete Welding, undated
Typed writings, both complete and incomplete, including an essay Welding wrote on the book Lolita, by Vladimir Nabokov.
BOX-FOLDER 14/9 Xanadu Records, undated
Photocopied announcement of the merger of Xanadu Records and Cream Records, and a photocopied, typed writing about Xanadu Records.
BOX-FOLDER 14/10 61-15000 List, undated
Partial copy of a typed discography. Folder title taken from the original folder received from the donor.
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.
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
Original clipping from Soul & Jazz magazine, issue #37 (undated). See folders 7/15-16 for related material.
BOX-FOLDER 20/4 Masters of Modern Blues, vol. 4" (T-2215), circa 1968
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.
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.
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