Recorded in 1949, "Foggy Mountain Breakdown" changed the face of American music. Earl Scruggs's instrumental essentially transformed the folk culture that came before it while helping to energize bluegrass's entry into the mainstream in the 1960s. The song has become a gateway to bluegrass for musicians and fans alike as well as a happily inescapable track in film and television. Thomas Goldsmith explores the origins and influence of "Foggy Mountain Breakdown" against the backdrop of Scruggs's legendary career. Interviews with Scruggs, his wife Louise, disciple Bela Fleck, and sidemen like Curly Seckler, Mac Wiseman, and Jerry Douglas shed light on topics like Scruggs's musical evolution and his working relationship with Bill Monroe. As Goldsmith shows, the captivating sound of "Foggy Mountain Breakdown" helped bring back the banjo from obscurity and distinguished the low-key Scruggs as a principal figure in American acoustic music.Passionate and long overdue, Earl Scruggs and Foggy Mountain Breakdown takes readers on an ear-opening journey into two minutes and forty-three seconds of heaven.

"At Hame Wi' Freedom" marks the tenth anniversary of Hamish Henderson's death in 2002. It is the third book of a loose trilogy: "Borne on the Carrying Stream" (Grace Note Publications, 2010), followed by '"Tis Sixty Years Since" (Grace Note Publications, 2011) - all revolving around the life and legacy of Hamish Henderson and the Scottish Folk Revival he did so much to inspire and sustain.

At Hame wi' Freedom focuses on Hamish Henderson's involvement in the revival, his association with Perthshire and the North-East, the emergence of his poetic voice, and his political activism.

It also features Pino Mereu's poetic evocation of the Anzio (Beachhead) Pipe Band and the 2011 Hamish Henderson Memorial Lecture by Owen Dudley Edwards. Further contributions are from Eberhard Bort, Maurice Fleming, Fred Freeman, George Gunn, Tom Hubbard, Alison McMorland, Ewan McVicar, Hayden Murphy and Belle Stewart.

Praise for At Hame Wi' Freedom

HAMISH Henderson, poet, folklorist and genial patriarch of the Scottish folk revival, and Pink Floyd, iconoclasts of English psychedelia, might seem to offer little in common.

Yet in "At Hame Wi' Freedom," the third of a trilogy of essay collections celebrating Henderson's work, Pino Mereu's poem sequence Anzio Pipe Band is dedicated not only to Henderson's memory, but to that of Eric Waters, father of Pink Floyd founder member Roger Waters. Waters Snr, like Mereu's father, died during the Battle of Anzio in 1944.

At Anzio, Henderson formed a morale-boosting pipe band which entered Rome with the triumphant Allied forces. Mereu's poem in Italian, influenced by Henderson's Elegies For "The Dead In Cyrenaica" as well as by Pink Floyd's Final Cut, is accompanied by a Scots translation from Tom Hubbard.

Such unlikely connections come as no surprise in a book, edited by Eberhard Bort, containing some wonderfully circuitous discourses. None more so than Owen Dudley Edwards's lecture, ostensibly titled "Sectarian Songs," which before getting to grips with "The Ould Orange Flute," recounts how Henderson persuaded the future PM Gordon Brown of the importance of Antonio Gramsci, the Italian revolutionary writer.

Ten years on from Henderson's death, these essays reflect the sometimes bewildering variousness of the man, remembered with affection by poet Hayden Murphy, while accordionist Jim Bainbridge recalls a never-to-be forgotten visit to an early Blairgowrie festival. Alison McMorland's essay on the Fetterangus Stewarts taps into Henderson's championing of the Travellers as tradition-bearers, while George Gunn and Fred Freeman deal with his fluidity of language and the place of poets in general.

Maurice Fleming, born in the same road in Blairgowrie as Henderson, gives an insightful picture of the Perthshire which shaped the man and where, on the slopes of Ben Gulabin, overlooking his Glenshee birthplace, his ashes were scattered. Jim Gilchrist, "The Scotsman" >

Jamaica's rich culture is known the world over; and every aspect of this culture has been influenced by Jamaica's African heritage. From speech to dress, and spirituality to dance, from food to folklore and from music to art and religion, African retentions from the time of slavery have become more than preserved aspects of Jamaica's past; African traditions have become part and parcel of Jamaican culture. In this Reader, Coester and Bender have compiled some of the most important ethnographic work by noted researchers which, although previously published, have been exceptionally difficult to access by the growing community of scholars of African-Caribbean and Jamaican studies. Several seminal articles on aspects of African-Jamaican culture are included in this rich and valuable collection that describes and analyses the elements that make up a distinctive African-Jamaican ethos.

Being continually featured in popular movies and music, Irish music is as popular as ever. Compiled by Gregory Mahan, an Irish whistler since 1995, this collection offers a wide variety of reels, from well-known favorites such as Miss McLeod's, the Merry Blacksmith, and The Silver Spear to tunes which may not be as well known at your local pub, such as Rakish Paddy and the Humours of Scariff. The sheet music in this book is suitable for any lead line instrument typically used in Irish music, such as fiddle, flute, tinwhistle, and uilleann pipes. Also includes notes on playing in the Irish style as an added bonus, as well as an updated introduction from his Celtic Jig series.

Being continually featured in popular movies and music, Irish music is as popular as ever. Compiled by Gregory Mahan, an Irish whistler since 1995, this collection offers a wide variety of reels, from well-known favorites such as Gravel Walk, the Mason's Apron, and The Slamanca to tunes which may not be as well known at your local pub, such as The Reconciliation and the Knotted Cord. The sheet music in this book is suitable for any lead line instrument typically used in Irish music, such as fiddle, flute, tinwhistle, and uilleann pipes. Also includes notes on playing in the Irish style as an added bonus, as well as an updated introduction from his Celtic Jig series.

The ukulele managed to spread worldwide as well as Jewish music before. Moreover, Jewish music achieved to absorb different folk music, mostly European. For the reason you can meet here with beautiful melodies in minor, which are not scales preferred by ukulele playing. You can find in book here 20 Jewish songs. Each song is arranged in two keys. What you need is to know your favorite key, maybe take a capo and start playing. Adon Olam; Amcha Jisrael; Artsa Alinu; Avinu Malkeinu; Chiribim Chiribom; Dajenu; David Melech Yisrael; Hanukkah, Hanukkah; Hava Nagila; Hevenu Shalom Aleichem;Hine Ma Tov; Chag Purim; Kadesh Urchac; Ner Li; Nerot Shabat; Shalom Chaverim; Sevivon; Shema Israel;Tum Balalaika; Yoshke Fort Avek. The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf

The ukulele managed to spread worldwide as well as Jewish music before. Moreover, Jewish music achieved to absorb different folk music, mostly European. For the reason you can meet here with beautiful melodies in minor, which are not scales preferred by ukulele playing. You can find in book here 20 Jewish songs. Each song is arranged in two keys. What you need is to know your favorite key, maybe take a capo and start playing. Adon Olam; Amcha Jisrael; Artsa Alinu; Avinu Malkeinu; Chiribim Chiribom; Dajenu; David Melech Yisrael; Hanukkah, Hanukkah; Hava Nagila; Hevenu Shalom Aleichem;Hine Ma Tov; Chag Purim; Kadesh Urchac; Ner Li;Nerot Shabat; Shalom Chaverim; Sevivon; Shema Israel;Tum Balalaika; Yoshke Fort Avek. The are in the book songs without text. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf

This long-awaited sequel to Gale Huntington's classic collection, Songs the Whalemen Sang, assembles more than 200 songs from whalemen's journals, log books, and popular music of the whaling era: whaling songs, sea songs, traditional ballads, popular songs, gospel songs, and a couple of fiddle tunes, nearly all accompanied by musical notation. It represents the culmination of Huntington's career as a collector, historian, writer and musician.

Christy Moore is in every sense Ireland's folk hero. Mentor to a whole generation of Irish musicians, he holds a unique place in musical history. In l992 he broke all attendance records during 12 packed nights at the Point in Dublin. In the UK he fills concert halls around the country. In l997 he announced that he was taking an extended break from touring and recording. It was headline news in Ireland. So was his comeback which began in l999. Set to be an enormous best-seller, his autobiography marries both songs and memories. Around 250 of his favourite lyrics are accompanied by his memories around the song itself and his life. Each entry is fresh, direct, honest and spontaneous - like the most intimate diary. Through it he charts his life from drunk to sober, bar-room guitar player to international singer-songwriter.

First found in Georgia at the beginning of the nineteenth century, in the Bahamas in the 1920's and 1950's, and popularized during the folk revival of the 1960's, variations of the song "Delia's Gone" have been in circulation for over a century. The murder of an obscure woman has been celebrated by bluesmen, country singers and folk singers across North America. But less well known is the fact that Delia was a real person. Here, for the first time, John Garth presents the full story of the crime behind the song.

From the plaintive tunes of woe sung by exiled kings and queens of Africa to the spirited worksongs and "shouts" of freedmen, enslaved people created expansive forms of music from the United States to the West Indies and South America. Dena J. Epstein's classic work traces the course of early black folk music in all its guises. Anchored by groundbreaking scholarship, it redefined the study of black music in the slavery era by presenting the little-known development of black folk music in the United States. Her findings include the use of drums, the banjo, and other instruments originating in Africa; a wealth of eyewitness accounts and illustrations; in-depth look at a wide range of topics; and a collection of musical examples. This edition offers an author's preface that looks back on the twenty-five years of changes in scholarship that followed the book's original publication.

30 traditional nursery rhymes with sheet music and fingering diagrams for Irish tin whistle. Simple, easy-to-follow arrangements of classic songs that kids will love.
Without any prior musical knowledge, you can immediately start playing your first tunes.
Oh, Dear, What Can The Matter Be?
Old King Cole
Baa, Baa, Black Sheep
The Mulberry Bush
Row, Row, Row Your Boat
Twinkle, Twinkle, Little Star
Rock-a-bye Baby
Rain, Rain, Go Away
Ten Little Indians
Three Blind Mice
Hush Little Baby
The Grand Old Duke of York
Mary Had a Little Lamb
Head, Shoulders, Knees and Toes
Bingo
Oranges and Lemons
Bobby Shaftoe
This Old Man
Ten Green Bottles
Old MacDonald
Little Bo Peep
Polly Put the Kettle On
Hey, Diddle Diddle
The Wheels on the Bus
The Muffin Man
Eensy Weensy Spider
Sing a Song of Sixpence
One Man Went to Mow
Three Little Kittens
Hot Cross Buns
The tin whistle (sometimes called pennywhistleor simply whistle) is a small 6-holed flute, that in its present form dates from the 19 th century. Because of its affordable price and ease of use it is the most common folk instrument in Ireland, and is often the instrument of choice for beginners and children.
The tunes in this book, and in the other books of the collection, were chosen and arranged to allow even an absolute beginner to start playing straight away, without any technical knowledge of sheet music or musical theory. Fingering tablatures are provided with every tune; an accompanying audio CD of the tunes in the book is also available, and is even recommended to favour learning by ear.

There are thirty known and simple tunes in the book written only for a left hand. They are such melodious etudes for left hand independence. The book can be used for playing songs when you play one verse only by the left hand. But mostly take it as inspiration for your own playing what can be done with the left hand. All the Good Times Are Past Gone; Amcha Yisrael; Au clair de la Lune; Banks of the Ohio; Beautiful Brown Eyes; David Melech Yisrael; For He's a Jolly Good Fellow; Gimme Dat Ol'Time Religion; Go Tell Aunt Rhody; Hot Cross Buns I.; Hot Cross Buns II.; Iroquois Lullaby; Kum ba yah; London Bridge; Mary Had A Little Lamb; Michael, Row The boat Ashore; Oh, Freedom; Oh, When The Saints; Old MacDonald Had A Farm; Oranges and Lemons; Railroad Bill; Reuben's Train; Rock My Soul; Shema Yisrae; Steal Away; The Cruel War; This Old Man; Tom Dooley; Twinkle, Twinkle Little Star; Worried Man Blues Check out samples from books: http: //osos.sweb.cz/Preview-Anglo-concertina.pdf

Jerome Just one more Song! A Local, Social & Political History in the Repertoire of a Newfoundland-Irish Singer. This timeless Songs collection, recorded in Codroy Valley, Newfoundland, 1980 by folklorists Kenneth S. Goldstein and Margaret Bennett , is a tribute to singer Jerome Downey. This is not only a song book but is a Local, Social & Political History of Newfoundland's Codroy Valley. To appreciate the way of life in any part of Newfoundland, the reader should bear in mind that, until 1949, Canada was another country. Anyone born before that year, is, first and foremost, a Newfoundlander, belonging to a unique island with a long history - it has the distinction of being Britain's oldest colony. Given that Canada's newest province was less than twenty years old when Bennett first went there, it was very common to hear folk explain, 'I'm not a Canadian, I'm a Newfoundlander.' Thus, to understand the social, cultural and historical context of a song, it is essential to appreciate where it comes from, and especially to acknowledge the people who compose and sing the song. 'If there is no land or work, there are no people, no livelihood, no stories, no music, no songs...' (Gavin Sprott) In the Codroy Valley, the folk who have worked on the land or fished the rivers and coastal waters for nearly two centuries are a mix of Irish, English, Scottish Gaels, French and Mi'kmaq. For as long as anyone remembers, they have enjoyed getting together for 'a few tunes', songs, yarns and a cup of tea. The kettle is always on the stove and, more often than not, a few glasses appear from the cupboard and make their way to the kitchen table- they need no excuse for a ceilidh or a kitchen party, with accordions, bagpipes, fiddles, guitars, spoons and mandolins as well as songs that would lift the heaviest heart. To Jerome and his people, songs and music are way of life. Kenneth S. Goldstein; Margaret Bennett; Newfoundland Folklore Collection; songs of the Codroy Valley; Jerome Downey; Newfoundland-Irish Singer; Newfoundland Irish Folklore; Anthropology; the onset and progression of Alzheimer.

The transplantation of African musical cultures to the Americas was a multi-track and multi-time process. In the past many historical studies of African diaspora music, dance and other aspects of expressive culture concentrated on events in the Americas. What happened before the American trauma and simultaneously in Africa was often looked at unhistorically. In this book, world-renowned ethnomusicologist Gerhard Kubik considers African music and dance forms as the products of people living in various African cultures which have changed continuously in history, absorbing and processing elements from inside and outside the continent, creating new styles and fashions all the time. African diaspora music then appears as a consequent and creative extension overseas of African musical cultures that have existed in the period between the sixteenth and the twentieth century. From this perspective African diaspora music cannot be described adequately in terms of "retentions" and "survivals," as if African cultures in the Americas were doomed from the outset and perhaps only by some act of mercy permitted to "retain" certain elements. Using field research and documentary sources, Kubik tracks down some aspects of the Angolan dimension in the panorama of African music and dance cultures in Brazil, and also addresses methodology applicable in the wider context of African diaspora cultural studies.