zondag 29 december 2013

Prisoner's Song (1924) / Meet Me By Moonlight Alone (1812) / Thrills That I Can't Forget (1925) / Blue Eyes (1927) / Great Speckle Bird (1936) / Wild Side of Life (1951) / Did God Make Honky Tonk Angels (1952) / It Wasn't God Who Made Honky Tonk Angels (1952)


"It Wasn't God Who Made Honky Tonk Angels"  is a 1952 #1 country hit song written by J. D. "Jay" Miller, recorded by Kitty Wells. Originally recorded by Al Montgomery as "Did God Make Honky Tonk Angels?"
It was an answer song to the Hank Thompson hit "The Wild Side of Life", which was originally recorded by Jimmie Heap.

"The Wild Side of Life" and "It Wasn't God Who Made Honky Tonk Angels" are set to an apparently traditional tune, that was already used in Rev. Guy Smith's "The Great Speckled Bird"—popularized in 1936 by Roy Acuff, and more familiarly in the Carter Family's "I'm Thinking Tonight of My Blue Eyes" recorded in February, 1929 (originally recorded by the North Carolinba Ramblers and Roy Harvey as "Blue Eyes").
The tune is also used in an even older song "Thrills That I Can't Forget" recorded by Welby Toomey and Edgar Boaz in 1925.
But then there is the striking resemblance with "The Prisoner's Song" recorded in 1924 by Vernon Dalhart.

"The Prisoner's Song", is a song copyrighted by Vernon Dalhart in 1924 in the name of Dalhart's cousin Guy Massey, who had sung it while staying at Dalhart's home and had in turn heard it from his brother Robert Massey, who may have heard it while serving time in prison.
The Prisoner's Song rates as a 1920s all-time best-seller with a staggering seven million-plus copies sold worldwide in the version by Vernon Dalhart. The Vernon Dalhart recording charted for 32 weeks, twelve at No. 1, during 1925 and 1926. The Vernon Dalhart version was recorded on Victor Records in October 1924 and marketed in the hillbilly music genre. It became one of the best-selling records of the early twentieth century, with at least two million copies sold (sales figures are uncertain; some place the sales at 7 million or more), as well as over a million copies of the sheet music to the tune.
Long-lasting controversy over the authorship of the song quickly arose. Dalhart copyrighted the song in Guy Massey's name, taking 95% of the author royalties for himself and giving Massey 5%.
Nat Shilkret, A&R man for Victor's newly established Country Records Department, protested, claiming that the song as Dalhart had brought it to him was unusable, and that he rewrote the music. The Shilkret family fought unsuccessfully through the 1950s for author credit.
Guy Massey had heard the song from his brother Rob Massey, who had actually spent some time in prison and probably first heard the song there. Palmer cites a letter dated October 20, 1924 from Guy Massey to his brother Rob Massey and two of his sisters telling them that he agreed to a 5% stake in royalties because he thought there would not be any royalties. Guy also said that, even though the royalty contract did not mention Rob explicitly, he (Guy) would split the 5% evenly with Rob. Although Dalhart changed his story frequently when he told it in public, he sometimes also claimed to have rewritten the original that he got from Guy. At times there were claims made that Guy had written it and there were claims that Rob had written it. Another story claims the lyrics were carved into the wall of a cell in the old Early County Jail in Blakely, Georgia by Robert F. Taylor, who was at one time held there. The Prisoner's Song - Wikipedia


Maybe Guy (or Rob) Massey got the inspiration from an English song, that became popular in America near the beginning of the 19th c, printed in sheet music and arranged in America for duet in 1812: "Meet Me By Moonlight Alone". They literally copied one verse from that song
This song for lovers meeting by moonlight, has persisted as a floater in other songs. The original poem, by J. Augustine Wade, London, can be found as broadside NLScotland, L.C.Fol.70(83b) "Meet Me by Moonlight Alone," Poet's Box (Dundee), n.d.


The original song, by J. Augustine Wade, London, undated in Levy, was arranged for duet in an 1812 copy printed in Philadelphia and composed by Mrs. Seguin and Mr. Shrival.


Listen here to a version from 1907.

(o) Herbert Witherspoon and Victor Orchestra (1907)
Recorded June 13, 1907 in Philadelphia, Pennsylvania
Released on Victor 74071



Lyrics
Meet me by moonlight alone
And then I will tell you a tale.
Must be told by the moonlight alone
In the grove at the end of the vale.
You must promise to come, for I said
I would show the night flowers their Queen
Nay turn not away that sweet head-
'Tis the loveliest ever was seen.
Oh! meet me by moonlight alone
Meet me by moonlight alone.

Daylight may do for the gay-
The thoughtless, the heartless, the free-
But there's something about the moon's ray
That is sweeter to you and to me-
Oh! remember, be sure to be there,
For tho' dearly a moonlight I prize,
I care not for all in the air,
If I want the sweet light of your eyes.
So meet me by moonlight alone,
Met me by moonlight alone.


As you can hear the tune is not the familiar one used in "The Prisoner's Song", but they copied the "Meet Me By Moonlight Alone" verse.

But according to Frank C. Brown, all the verses in "The Prisoner's Song" were taken from several earlier sources.



Here's "The Prisoner's Song" with a.o. the "Meet Me By Moonlight Alone" verse.

(o) Vernon Dalhart (1924)  (as "Prisoner's Song")
Vernon Dalhart, v; Acc. Lou Raderman, viola; Carson Robison, g;
Recorded in New York on August 13, 1924
Released on Victor 19427




          Lyrics (with the "Meet Me By Moonlight Alone" verse mentioned above)

Oh, I wish I had someone to love me,
Someone to call me their own.
Oh, I wish I had someone to live with
'Cause I'm tired of livin' alone.

Oh, please meet me tonight in the moonlight,
Please meet me tonight all alone,
For I have a sad story to tell you,
It's a story that's never been told.

I'll be carried to the new jail tomorrow,
Leaving my poor darling alone,
With the cold prison bars all around me
And my head on a pillow of stone.

Now I have a grand ship on the ocean,
All mounted with silver and gold,
And before my poor darlin' would suffer,
Oh, that ship would be anchored and sold.

Now if I had the wings of an angel
Over these prison walls I would fly,
And I'd fly to the arms of my poor darlin',
And there I'd be willing to die.

 


Or here:



(c) Vernon Dalhart (1924) ("Prisoner's Song")
Recorded October 1924
Released on Perfect 12164


Listen here:




(c) Vernon Dalhart (1925) ("Prisoner's Song")
Recorded March 1925
Released on Cameo 703


Listen here:




(c) Welby Toomey and Edgar Boaz (1925) (as "Thrills That I Can't Forget")
Welby Toomey, v; acc. Edgar Boaz, g.
Recorded November 13, 1925 in Richmond, IN
Released on Gennett 3228




Also released on Challenge 159 (with alias-name John Ferguson)



Or here:




More than a year before the Carter Family recorded "I'm Thinking Tonight of My Blue Eyes"
the North Carolina Ramblers & Roy Harvey recorded the very similar "Blue Eyes"
Moreover they also included the "Meet Me By Moonlight Alone" verse.

(c) North Carolina Ramblers & Roy Harvey (1927)  (as "Blue Eyes")
Posey Rorer, f; Bob Hoke, bj-md/v; Roy Harvey, g/v.
Recorded in Chicago, IL October 1927
Matrix 20089-2
Released on Paramount 3072 and Broadway 8158
Broadway 8158 as by Wilson Ramblers



Listen here:


Or here:





(c) Carter Family (1929)  (as "I'm Thinking Tonight of My Blue Eyes")
Carter Family (Sara Carter [vcl/autoharp], A.P. Carter [vcl], Maybelle Carter [vcl/gt])
Recorded February 14, 1929 in Camden, NJ
Released on Victor V-40089, Bluebird B-5122  and Montgomery Ward M-4230




Listen here:




But already one year before the Carter Family recorded "Meet Me by Moonlight Alone", which has not the familiar tune, but almost the same lyrics as "The Prisoner's Song"

(c) Carter Family (1928) ("Meet Me by Moonlight Alone")
Recorded May 9, 1928 in Camden, New Jersey
Released on Victor 23731


Lyrics:  
I'm going to the new jail tomorrow
To leave the one that I love
To leave my friends and relations
And, oh, how lonely, my love

Chorus:
Meet me by the moonlight, love, meet me
Meet me by the moonlight alone
For I have a sad story to tell you
To be told by the moonlight alone

My parents, how cruel they treat me
They drive me away from their door
If I live a hundred years longer
I'll never go back any more

Chorus

If I had a ship on the ocean
All laden and lined with pure gold
Before my darling should suffer
I'd have that ship anchored and sold

Chorus

If I had the wings of an angel
O'er land and sea I'd fly
I'd fly to the arms of my darling
And I'd be willing to die

Chorus

Listen here:




(c) Roy Acuff and his Crazy Tennesseeans (1936)  (as "Great Speckle Bird")
20 October 1936 Furniture Mart Building, 666 Lake Shore Drive, Chicago, IL - Roy Acuff & His Crazy Tennesseans (Jess Easterday [gt], Clell Sumne [dobro], Red Jones [bass], Sam Hatcher [harmonica]. Producer: William Callaway)
Released in January 1937 on Melotone (#7-01-59) and Conqueror (#8740)


Re-released on Vocalion / Okeh 04252 in August 1938


Re-released on Columbia 37005 in 1946

Listen here:




Roy Acuff first recorded "Great Speckle Bird" in 1936 and continued to perform it regularly on the Grand Ole Opry. It quickly became one of the most famous songs in country music. It was based on a verse from the King James Bible (Jeremiah 12:9 Ð "Mine heritage is unto me as a speckled bird, the birds round about are against her;"). Interpreted as a description of the persecution experienced by the church, the verse, set to a traditional tune, soon gave rise to a Pentecostal anthem.
Acuff first heard the song sung in 1936 in Knoxville, Tennessee sung by a gospel group called the Black Shirts. After paying fifty cents to the leader of the Black Shirts, Charlie Swain, for a copy of the song, he immediately began to perform his own version of it and his radio performance landed him his first record contract.

Others say "Great Speckle Bird" was written about 1934 by a radio entertainer of Springfield, MO., known as "Uncle George", whose real name was Guy Smith.
One text was printed anonymously in the Aurora (Mo.) Advertiser, March 16, 1936.
Another version was copyrighted in 1937 by the M.M. Cole Publ. Co. of Chicago, with the words credited to Rev Guy Smith and the music to Roy Acuff.



(c) Jimmie Heap & The Melody Masters (1951)  (as "Wild Side Of Life")
Jimmie Heap [ld gt], Perk Williams [vcl-1/fiddle],Horace Barnett [rh gt], Butterball Haris[steel], Bill Glendening [bass], Arlie Carter [piano]
Recorded ca February 1951 Peterson's Studio, Austin, TX -
Matrix IF-258
Released on Imperial 8105




Listen here:



Jimmy Heap and His Melody Masters first recorded "Wild Side" in 1951, but never had a hit with the song.
Hank Thompson did, and his version spent three and one-half months atop the Billboard country chart in the spring and early summer of 1952.



(c) Hank Thompson and His Brazos Valley Boys (1952)  (as "The Wild Side Of Life")
Hank Thompson (Hank Thompson [vcl/gt], Billy Gray [gt/leader], Curly Chalker [steel], Billy Briggs Stewart [bass], William Wayne Foster [drums], Joe Herman „Big Red“ Hayes [fiddle], Kenneth Allen „Little Red“Hayes [fiddle], Gilbert „Gil“ Baca [piano]. Producer: Dee Kilpatrick)
Recorded December 11, 1951, Capitol Recording Studio, 5515 Melrose Ave., Hollywood, CA
Released January 1952 on Capitol #1942


Listen here:





(c) Al Montgomery (1952)  (as "Did God Make Honky Tonk Angels")
Released on Feature Records 1036



Listen here:





(c) Kitty Wells (1952)  (as "It Wasn't God Who Made Honky Tonk Angels")
 (Kitty Wells [vcl], Joseph Zinkan [harm vcl], Eddie Hill [gt/harm vcl], Shot Jackson [steel], Johnny Wright [bass], Dorris Warren [fiddle]. Producer: Paul Cohen)
Recorded May 3, 1952 Castle Studio, The Tulane Hotel, 206 8th Ave. North, Nashville, TN –
Matrix 82830
Released June 1952 on Decca 28232



Listen here:




Burl Ives had a top 10 hit with "Wild Side Of Life" concurrent with Hank Thompson's No 1 hit.



Tommy Quickly & The Remo Four (1964) (as Wild Side Of Life) (No. 33 UK Chart),



Freddy Fender reached No. 13 on the Billboard Hot Country Singles chart in early 1976.



A version by the British rock band Status Quo reached the UK top 10 in 1976.



In the same year Rod Stewart recorded a version for his album "A Night On The Town".



(c) Marianne Faithfull (1978)  (as "Honky Tonk Angels")



(c) David Allan Coe (1977)  (incorporated in "If That Ain't Country")

David Allan Coe mentions all the titles at the end of his If That Ain't Country.
An' I'm thinkin' tonight of my blue eyes,
And flyin' with the great speckled bird.
I didn't know God made honky-tonk angels
And went back to the wild side of life.

Listen here:



In 1981, "Wild Side" and "It Wasn't God ..." were combined into a duet by Waylon Jennings and Jessi Colter on their album Leather and Lace; that version reached No. 10.



Kris Kristofferson also uses fragments of "Wild Side Of Life" in his "Blessing In Disguise" and "The Devil To Pay" (both '81)


More versions here:





La Montanara (1933) / Song Of The Mountains (1949)


Antonio (Toni) Ortelli (1904-2000) was an Italian Alpinist, conductor and composer.
In 1927, when Ortelli was staying on the plateau Pian della Mussa in the valley of Piedmont Val d'Ala, he was inspired to write "La Montanara" in memory of a friend who had died on the Monte Rosa

The song was written for the choir Coro della Societa Alpinisti Trentini climbers, founded in 1926 by the brothers Enrico, Mario, Silvio and Aldo Pedrotti, all members of the Societa Alpinisti Trentini (SAT) (=Trento Mountaineering Association).


"La Montanara" was sung for the first time publicly by the Coro della SOSAT in Rome before the microphones of radiostation EIAR on April 7, 1929.

Below the frontpage of the first edition of the sheetmusic of "La Montanara" (1930)
 



Originally Ortelli only composed the melody, without the full men's choir set.

In 1933 the Coro was also the first one to record the song for the Columbia-label.

(o) Coro della Societa Alpinisti Trentini (1933) (as "La Montanara")
Lead vocals by Silvio Pedrotti.
Recorded March 23, 1933 
Released on Columbia CQ 1291
 

SEE : CQ1291

Also released on a red label




In 1943 the same recording was re-released on Columbia DQ 3758
 
And the name on the label was changed to Coro della S.A.T. (Società Alpinisti Tridentini)
Lead vocals by Riccardo Urbani.
This time the melody was arranged by Luigi Pigarelli  to a full men's choir set.
With this Luigi Pigarelli arrangement the song became world famous.


(c) Coro della S.A.T. (1947) (as "La Montanara")
Recorded March 14, 1947
Released on Odeon TW 3354


In the movie "The Glass Mountain", released in March 1949.


Watch it here:







(c) Gracie Fields (1949) (as "Song Of The Mountains")
English lyrics by Stana-Field and Sonny Miller
Recorded end 1949
Released January 1950 on Decca F 9312



Listen here:




After the film-version from 1949, Tito Gobbi also recorded an 78 RPM of "La Montanara"

(c) Tito Gobbi (1950) (as "La Montanara")
Conducted by Philip Green
Recorded March 29, 1950
Matrix OEA 14563
Released May 1950 on HMV DA 1940



Listen here:



(c) Der Günter Kallmann Chor (1962) (as "La Montanara")
German lyrics Ralph Maria Siegel


Listen here:




(c) Nini Rosso (1966) (as "La Montanara")




Listen here:




(c) John Woodhouse And His Magic Accordion en Het Westlands Mannenkoor en Meisjeskoor (1971) 
(as "La Montanara")


Listen here:




(c) Heino (1973) (as "La Montanara (Das Lied der Berge)")
German lyrics Ralph Maria Siegel
No 3 hit in the German charts



Listen here:





And here's the Coro della SAT in 2001




 

woensdag 25 december 2013

Soldatenliebe (1824) / Treue Liebe (1830) / Steh' Ich In Finst'rer Mitternacht (1869) / Midnight On The Stormy Deep (1926)


"Midnight on the Stormy Deep" is a song recorded in July 1927 by Ernest V. Stoneman at the famous Bristol Sessions in Bristol, Tennessee. The Carter Family was also present at the Bristol sessions in 1927. They didn't record "Midnight on the Stormy Deep" in 1927, but 29 years later, in 1956 on the same location, they did.


What most people don't know is that "Midnight on the Stormy Deep" originated as a German poem by Wilhelm Hauff (1802-1827).

This German poem called "Soldatenliebe" (Soldier's Love) was anonymously published by Hauff in 1824, in the book "Kriegs- und Volkslieder".
In 1828, one year after the death of Wilhelm Hauff, this poem was published again in a collection of his poems: "Phantasien und Skizzen" (this time set to the music of an existing melody: "Ich hab ein kleines Hüttchen nur" (I only have a little cottage) (written in 1780)





Listen here to a midi of "Ich hab ein kleines Hüttchen nur"








In 1830 "Soldatenliebe" was published (as "Treue Liebe") (True Love) in the collection "Auswahl Deutscher Lieder" (Leipzig 1830)




Here's a MIDI of "Treue Liebe":







The song was also contained in "Wilhelm Hauff's saemmtliche Werke: Mit des Dichters Leben, Volume 1" by Gustav Schwab (published in Stuttgart in 1840).
Once again it was called "Soldatenliebe" (with an additional 6th verse)




With yet another title ("Steh Ich In Finstrer Mitternacht") the song is also mentioned on page 126 of the following book: "Unsere Volkstümlichen Lieder" by Hoffman von Fallersleben (1859)





As "Steh Ich In Finstrer Mitternacht" (I Stand In Gloomy Midnight) it was also contained in many German songbooks:




And here are the recordings of the song, beginning with the oldest German version:

(o) Erich Schrader 1907  (as "Steh' ich in finst'rer Mitternacht" )
German Tenor with Orchestra Accompaniment
Recorded in Berlin, Germany 
Matrix:XB 1850
Originally released on Jumbo A 43148 (on B-side of Jumbo A 43160)
Erich Schrader & Kapellmeister Dannenberg


Listen to a sample here:





(c) Silcher-Quartett (1909) (as "Treue Liebe")
Recorded in Karlsruhe, Germany in December 1909.
Master 12789
Treue Liebe — Volkslied (anonymous: German, ca. 1780 / Wilhelm Hauff)
(arr.: Friedrich Silcher) Steh' ich in finst'rer Mitternacht
Released on Beka-Grand 12789




(c) Nebe Quartett (1910).
Carl Nebe (bass). Deutsches Volkslieder-Quartett (male quartet: ten - ten - bar - CN).
Recorded in Berlin, Germany on March 1, 1910.
Treue Liebe — Volkslied (anonymous: German, ca. 1780 / Wilhelm Hauff)
(arr.: Friedrich Silcher) Steh' ich in finst'rer Mitternacht
Released on Veni Vidi Vici 813




(c) Carl Nebe-Quartett (1911).
Carl Nebe (bass). Nebe-Quartett (male quartet: ten - ten - bar - CN).
Recorded in Berlin, Germany around June 1911
Master xBo 4375
Treue Liebe — Volkslied (anonymous: German, ca. 1780 / Wilhelm Hauff)
Steh' ich in finst'rer Mitternacht (arr.: Peters)
Released on:
Jumbo/Odeon BL (Germany) A 47353
Odeon GN (Germany) 308626
Odeon BL (Germany) O-1220 (308626)




(c) Friedrich Kark (1911)
Friedrich Kark (MD). — (orchestra). (male quartet).
Recorded in Berlin around September 1911 at the Beka-Record Schallplattenfabrik, SO.36, Heidelberger Straße 75-76
Master 13811
Treue Liebe — Volkslied (anonymous: German, ca. 1780 / Wilhelm Hauff) (arr.: Friedrich Silcher)
Steh' ich in finst'rer Mitternacht
Released on Beka RD (Germany) B 3671-I




(c) Carl Schlegel (1916) ("Steh' ich in finst'rer mitternacht")
Composer: Friedrich Silcher / Lyricist: Wilhelm Hauff






The next version of "Treue Liebe" is a different song:

(c) Eduard Mittelstadt (1921)  ("Treue Liebe")
Recorded on July 11, 1921 in New York.
Released on Edison 73002





(c) Richard Tauber (1926)   ("Treue Liebe (Steh Ich In Finstrer Mitternacht)"
Recorded October 1, 1926 in Berlin
Released on Odeon O-4904 as part of the 78-album set "Das Deutche Volkslied"




Listen here:







William Howitt (1792-1879) was most likely responsible for the English translation of Hauff's "Soldatenliebe", which is very similar to the original German lyrics.

In turn, Howitt's English translation as "The Night Guard", was taken over almost literally in the most famous English version: "Midnight on the Stormy Deep" (see further on in this post)

Here below a comparison of the 3 versions:




















The version as "The Night Guard" was contained in "War-Songs for Freemen" (1863)





But already in 1841 William Howitt had translated the German song in the book "The Student-Life of Germany", where it was titled "True Love".








And in 1857 the most familiar version (as "Midnight on the Stormy Deep") was published by Miller & Beachham in Baltimore:

Here's the Sheetmusic:







The first recording of "Midnight on the Stormy Deep" is possibly this one by Lester McFarland and Robert A. Gardner

Lester McFarland & Robert A. Gardner, v duet;
acc. Lester McFarland, md; Robert A. Gardner, g;
Recorded in New York, NY Saturday, October 16, 1926
E-3950W Midnight On The Stormy Deep Vo 5125


Listen here




(c) Ernest Stoneman & Miss Irma Frost (1927) (as "Midnight On The Stormy Deep")
Recorded July 25, 1927 during the famous Bristol Sessions
Ernest Stoneman & Miss Irma Frost:
Ernest Stoneman, Irma Frost, v duet; acc. Ernest Stoneman, h/g;
Bristol, TN Monday, July 25, 1927
Matrix 39703-3  (Victor unissued)
Finally released in 1987 on the album "The Bristol Sessions" on CMF 011-L



Listen here:




(c) Ernest V. Stoneman & His Dixie Mountaineers (1928) (as "Midnight On The Stormy Deep")
Hattie Stoneman, f; Ernest Stoneman, h/g/v; Bolen Frost, g
Recorded on November 22, 1928 in New York, NY
Matrix N-582  (Edison unissued)
Finally released in 1996 on the album "Edison Recordings" on County CD3510


Listen here:




(c) Blue Sky Boys (1936) (as "Midnight On The Stormy Sea")
Bill Bolick, tv/md; Earl Bolick, lv/g.
Recorded June 16, 1936 in Charlotte, NC
Matrix 102644-1
Released on Bluebird B-6480 and Montgomery Ward M-5033



Listen to "Midnight on the Stormy Sea" by the Blue Sky Boys:


The Blue Sky Boys' "Midnight on the Stormy Deep" was released on the B-side of "Down on the Banks of the Ohio" (which is very similar in tune to "Midnight on the Stormy Deep")

Listen to "Down on the Banks of the Ohio" by the Blue Sky Boys:




(c) Carter Family (1956) (as"Midnight on the Stormy Deep")
Carter Family (A.P., Sara, Joe, Janette Carter)
Recorded April 20, 1956 in Bristol TN for the ACME-label (unissued at the time)
Released in 1970 on the album below





Listen here


Also released in 2008 on: The Acme Sessions 1952/56 ( JSP 4201)


A.P. and Sara re-formed the Carter Family with their grown children in 1952, performing a concert in Maces Spring. Following the successful concert, the Kentucky-based Acme signed A.P., Sara, and their daughter Janette to a contract, and over the next four years they recorded nearly 100 songs that didn't gain much attention at the time.




(c) The Lilly Bros. & Don Stover (1961) (as "Midnight On The Stormy Sea")


Listen here:




(c) Doc Watson & Bill Monroe (1963) (as "Midnight on the Stormy Deep")
Bill Monroe & Doc Watson viz Bill Monroe
Recorded May 1963 [live] The Ash Grove, Los Angeles, CA -
Released on F.B.N. Music Club FBN-210

Listen here:




(c) Bill Monroe (1966) (as"Midnight on the Stormy Deep")
Recorded December 16, 1966 in  Nashville, TN
Bill Monroe
Peter Rowan (leadvocals and guitar), Philip Grier (banjo), James Monroe (bass), Richard Greene (fiddle).
Producer: Harry Silverstein)


Listen here:




(c) Peter Rowan (2001) (as "Midnight on the Stormy Deep")
Peter Rowan and Don Edwards (Nancy Blake [gt], Tony Rice [gt], Billy Bright [mandolin], Bryn Bright [bass])
Recorded August/December 2001 Western Jubilee Warehouse, Colorado Springs, CO –
Released on Shanachie CD-6058 Dualtone 80302-01175-2



Listen here: