Harry Smith's Anthology of American Folk Music
America changed through music
Ross Hair, Thomas Ruys Smith, Ross Hair, Thomas Ruys Smith
- 268 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
Harry Smith's Anthology of American Folk Music
America changed through music
Ross Hair, Thomas Ruys Smith, Ross Hair, Thomas Ruys Smith
About This Book
Released in 1952, The Anthology of American Folk Music was the singular vision of the enigmatic artist, musicologist, and collector Harry Smith (1923–1991). A collection of eighty-four commercial recordings of American vernacular and folk music originally issued between 1927 and 1932, the Anthology featured an eclectic and idiosyncratic mixture of blues and hillbilly songs, ballads old and new, dance music, gospel, and numerous other performances less easy to classify.
Where previous collections of folk music, both printed and recorded, had privileged field recordings and oral transmission, Smith purposefully shaped his collection from previously released commercial records, pointedly blurring established racial boundaries in his selection and organisation of performances. Indeed, more than just a ground-breaking collection of old recordings, the Anthology was itself a kind of performance on the part of its creator.
Over the six decades of its existence, however, it has continued to exert considerable influence on generations of musicians, artists, and writers. It has been credited with inspiring the North American folk revival—"The Anthology was our bible", asserted Dave Van Ronk in 1991, "We all knew every word of every song on it"—and with profoundly influencing Bob Dylan. After its 1997 release on CD by Smithsonian Folkways, it came to be closely associated with the so-called Americana and Alt-Country movements of the late 1990s and early 2000s. Following its sixtieth birthday, and now available as a digital download and rereleased on vinyl, it is once again a prominent icon in numerous musical currents and popular culture more generally.
This is the first book devoted to such a vital piece of the large and complex story of American music and its enduring value in American life. Reflecting the intrinsic interdisciplinarity of Smith's original project, this collection contains a variety of new perspectives on all aspects of the Anthology.
Frequently asked questions
Information
Part I
Introductions
1 Introduction
“Really, is it yours? I had supposed it was something old.”1
The Anthology is one of the great masterpieces of modern communication. It is filled with centers of energy and musical styles that both stretch and deepen a person—a massive work which continues to be a challenge after almost twenty years. I guess each person who knows the Anthology … has a story about what he felt when he discovered that set of six records—the surprise, the fire, the hours pouring [sic] over Harry Smith’s notes…. The Anthology has power. It burns Woodstock, shunts electricity, landslides the Stones, makes the present obsolete—the past and future primary.3
Here is a mystical body of the republic, a kind of public secret: a declaration of what sort of wishes and fears lie behind any public act, a declaration of a weird but clearly recognizable America within the America of the exercise of institutional majoritarian power.7
By confounding the familiar racial, regional and sexual categories, or by cutting them so finely that they are reduced to a heterogeneous new substance, or by juxtaposing them with such violence, or such subtlety, that they tend either to paralyze or to mimic one another, the Anthology robs us of the handy frames in which we transport our folksong and presents it nakedly—or, rather, greets us after we have been stripped naked, intellectually speaking, so that we can’t really conceive it all. Instead, we must experience it directly, something utterly strange and yet, because it is made of things we know, hauntingly familiar.10
We needn’t believe [that] The Anthology of American Folk Music represents the “real” folk, much less the “real” America. It’s one compelling and engrossing version of those chimeras—profoundly influential rather than the Rosetta stone. It would appear, after all, that the strains of ’60s rock forged by Jimi Hendrix, Lou Reed, Smokey Robinson, Randy Newman, and the Nuggets collective have their proximate sources in traditions peripheral to these at best.13
The LPs were fine and fun—but no big deal … I liked some of it—some of it I already knew—and it all seemed to be to be just part what had been going on with the reissues of old jazz and blues recordings since the 1930s. Fred Ramsey was doing a twelve-volume LP reissue for Moe Asch of the history of jazz at the same time and his volume 1 had a lot of the same kinds of material.
I wish some of these people could somehow see that what happened in the 1950s was just a continuation of the gathering and collecting of vernacular music in the South that had been going on for nearly a century. Everything I learned was from what people like Fred Ramsey and Bill Russell had done in New Orleans and the South in the 1930s—their recordings of musicians like Leadbelly and Bunk Johnson and Jelly Roll Morton—the books and articles and eventually LPs and films. Why does Harry get the credit for something that was much larger than his set? I dunnow.14