Downloaded Albums
After Dancing Cat Productions (in their guise of Eagle’s Whistle Records) relinquished all rights back to me in 2022 I took control of releasing albums in the new world of downloads. I had been recording a considerable number of songs – still with Dan De La Isla – and we were able to produce new releases every few months, instead of the several year interval heretofore. We still haven’t worked out all the details of the new format, including any remuneration, if any, but I am heartened by the reaction.
For listings of the five CDs previously released by Dancing Cat see the bar above: Ye Olde Compact Discs, or this link.
https://www.youtube.com/channel/UCRIEvW4HdH178ZZ8adqtTOg/featured?app=desktop
For a concise, convenient display of all the albums downloaded to YouTube click on this link:
https://www.youtube.com/channel/UCKoSHaG3NiEpmiu5VER7FbQ/playlists
In June, 2022, I released “Polly Dang Doodle,” my sixth recording, and launched into a new era: my first self-produced album.
My seventh release, album #2, in July, 2022, was “Punkin’ Pie.” [The first tune, “Ground Hog,” has the line “Here come Sal with a snigger and a grin…” which some bot evidently didn’t understand so it was designated an “Age-restricted video.” It’s Not – but you’ll have to access it from the complete YouTube list.] 😉
In July, 2022, I released a single, “On January 6th They Came,” a dramatic solo work, commemorating the infamous attempted overthrow of the United States by right-wing forces instigated by a failed presidential candidate.
My Eighth release (album #3), The Blue Goose,” dropped in September, 2022.
2. The Spirit of Love. An obscure maudlin, and obviously-literary Carter Family song for which I wrote a counter melody; with accompaniment on my 1941 Oscar Schmidt autoharp.
3. Little Sadie. From the singing of Clarence Ashley and Doc Watson. Played on my Wm. S. Mount fretless copy.
4. Cold Rain and Snow. A lonesome song from Obray Ramsey, popularized by many others. Played on a Jethro Amburgey dulcimer.
5. Poor Mike Pence. Written before the Vice President finally showed some backbone.
6. Sailor on the Deep Blue Sea. Carter Family classic, played on my 1894 Dolgeville, N.Y., 5-bar Zimmermann autoharp (with original strings).
7. My Little Old Sod Shanty (on my Claim). A rustic Midwestern parody from the 1880s played on a Bell & Son Boucher copy fretless.
8. Roll On, John. Another Rufus Crisp song learned from Stu Jamieson.
9. The Lady of Carlisle. Learned from Mike Seeger, played on a different Bell Boucher, with Nylgut Red strings.
10. Fod! Unique nonsense song collected from a California migrant worker in the year of my birth.
11. The Prodigal Son. A gospel version of the famous parable, learned from the singing of Dock Boggs.
12. Poor Ellen Smith. Late 19th-century semi-factual murder ballad, based on part of the same melody as the hymn, “How Firm a Foundation,” of which I utilize both closely-related strains. Played on my (probably American) 7-string cherry épinette.
13. “Sweetheart” Banjo Medley: Liza Jane/ Skip to My Lou/ Black-eyed Suzie/ Cindy. Played on an anonymous mountain banjer.
14. This World is Not My Home. Another Carter Family hymn, sung with my sister Lee Davis.
15. King Kong Kitchie. Another version of “Froggy Went A-Courtin'” recorded by Chubby Parker in 1928. Played on my first dulcimer build, 1963.
16. I Never Will Marry. Another Carter Family classic, popularized during the 1960s by Pete Seeger among others. Played on my 1894 5-bar Zimmermann, with my sister, Lee Davis.
I released this single, “The Leaving of Afghanistan,” based on the traditional English farewell song, “The Leaving of Liverpool,” in September, 2022. It was dedicated to all the NATO forces forced to abandon their allies as they were driven from the country by the Taliban.
December, 2022, saw my Ninth release: “Moonshiner.”
“Old Paint,” (my tenth recording), featuring two different songs about the titular horse, was released in January, 2023.
My 11th recording, “Juba,” was released in March, 2023.
My twelfth recording, “This Train,” was released two weeks before my birthday in May 2023.
In June, 2023, I released, as a single, a dramatic reading of my thoughts on the demise of the Los Angeles celebrity puma, P-22.
It is dedicated to all our wildlife, increasingly endangered by humanity, consciously or not.
Recording thirteen, “Broken Heart,” was released in early August, 2023. My sister, Lee Davis and I enjoy singing together now as much as we did eighty years ago.
My fourteenth recording was released for my sister Lee’s eighty-first birthday in October 2023. Many duets, mostly love songs, it commemorates our long singing association and love for old-time music.
I decided to release a small sample, a Garland, of Shaker songs and hymns as a single in October 2023. In addition to their abundant creativity in commerce, science, and the arts, the Shakers were perhaps the most musically prolific group in the history of the world. Never numbering more than a few thousand at a time, in twenty communities, over less than two centuries of their existence, they produced tens of thousands of songs in hundreds of hand-written hymnals. Though clearly part of the general Anglo-American musical tradition many of their songs were idiosyncratic, frequently inspired by visions or other ecstatic events, occasionally wordless even glossolalic. The poetry was often individualistic or naive but suffused with genuine religious passion; melodies, even the shortest, were capable of great beauty.
The songs are: Heavenly love; Who will bow and bend like a willow? Oh, we have found a lovely vine; Precept and line; The shepherd’s call; Life, life, living zeal; Square order shuffle; Drink ye of Mother’s wine; I want to be like the lily; I’m on my way to Zion; Come to Zion; I will not be like the stubborn oak; Heavenly love (reprise).
My fifteenth collection, “Old Jawbone,” was released after a marathon recording session in March 2024.
My sixteenth release dropped just a month before my 83rd birthday, cleverly titled, “Sweet Sixteen,” traditional songs of young love and loss.
SWEET SIXTEEN.
My seventeenth effort was released in July, 2024, devoted entirely to folk hymns from William Walker’s “Southern Harmony,” of 1835.
“He who retreated struck up, in a clear, loud voice, one of those peculiar melodies in which vigor and spirit are blended with a wild, inexpressible mournfulness. The voice was one of a singular and indescribable quality of tone; it was heavy as the subbass of an organ, and of a velvety softness, and yet it seemed to pierce the air with a keen dividing force which is generally characteristic of voices of much less volume. The words were the commencement of a wild camp-meeting hymn, much in vogue in those parts:
“Brethren, don’t you hear the sound?
The martial trumpet now is blowing;
Men in order listing round,
And soldiers to the standard flowing.”
There was a wild, exultant fulness of liberty that rolled in the note; and, to Harry’s excited ear, there seemed in it a fierce challenge of contempt to his imbecility, and his soul at that moment seemed to be rent asunder with a pang such as only those can know who have felt what it is to be a slave. There was an uprising within him, vague, tumultuous, overpowering; dim instincts, heroic aspirations; the will to do, the soul to dare; and then, in a moment, there followed the picture of all society leagued against him, the hopeless impossibility of any outlet to what was burning within him. The waters of a nature naturally noble, pent up, and without outlet, rolled back upon his heart with a suffocating force; and, in his hasty anguish, he cursed the day of his birth.”
[…And, again:]
“Father Bonnie accordingly stepped to the front of the stand, and with him another minister, of equal height and breadth of frame, and, standing with their hats on, they uplifted, in stentorian voices, the following hymn:
“Brethren, don’t you hear the sound?
The martial trumpet now is blowing;
Men in order ‘listing round,
And soldiers to the standard flowing.”
As the sound of the hymn rolled through the aisles and arches of the wood, the heads of different groups, who had been engaged in conversation, were observed turning toward the stand, and voices from every part of the camp-ground took up the air, as, suiting the action to the words, they began flowing to the place of preaching. The hymn went on, keeping up the same martial images:
“Bounty offered, life and peace;
To every soldier this is given,
When the toils of life shall cease,
A mansion bright, prepared in heaven.”
As the throng pressed up, and came crowding from the distant aisles of the wood, the singers seemed to exert themselves to throw a wilder vehemence into the song, stretching out their arms and beckoning eagerly. They went on singing:
“You need not fear; the cause is good,
Let who will to the crown aspire:
In this cause the martyrs bled,
And shouted victory in the fire.
“In this cause let ‘s follow on,
And soon we ‘ll tell the pleasing story,
How by faith we won the crown,
And fought our way to life and glory.
“O, ye rebels, come and ‘list!
The officers are now recruiting:
Why will you in sin persist,
Or waste your time in vain disputing?
“All excuses now are vain;
For, if you do not sue for favor,
Down you ‘ll sink to endless pain,
And bear the wrath of God forever.”
There is always something awful in the voice of the multitude. It would seem as if the breath that a crowd breathed out together, in moments of enthusiasm, carried with it a portion of the dread and mystery of their own immortal natures. The whole area before the pulpit, and in the distant aisles of the forest, became one vast, surging sea of sound, as negroes and whites, slaves and freemen, saints and sinners, slave-holders, slave-hunters, slave-traders, ministers, elders, and laymen, alike joined in the pulses of that mighty song. A flood of electrical excitement seemed to rise with it, as, with a voice of many waters, the rude chant went on:
“Hark! the victors singing loud!
Emanuel’s chariot-wheels are rumbling;
Mourners weeping through the crowd,
And Satan’s kingdom down is tumbling!”
Our friend, Ben Dakin, pressed to the stand, and, with tears streaming down his cheeks, exceeded all others in the energy of his vociferations.”