Carol Seitz’s interview with Carl Leming (part one)

The John Burrison Georgia Folklore Archive recordings contains unedited versions of all interviews. Some material may contain descriptions of violence, offensive language, or negative stereotypes reflecting the culture or language of a particular period or place. There are instances of racist language and description, particularly in regards to African Americans. These items are presented as part of the historical record. This project is a repository for the stories, accounts, and memories of those who chose to share their experiences for educational purposes. The viewpoints expressed in this project do not necessarily represent the viewpoints of the Atlanta History Center or any of its officers, agents, employees, or volunteers. The Atlanta History Center makes no warranty as to the accuracy or completeness of any information contained in the interviews and expressly disclaims any liability therefore. If you believe you are the copyright holder of any of the content published in this collection and do not want it publicly available, please contact the Kenan Research Center at the Atlanta History Center at 404-814-4040 or reference@atlantahistorycenter.com.
This is the first of a two-part recording; in this part, Carl Leming performs folk songs and explains their origins, themes, and associated dances. He starts with a brief history of folk music in general; in addition, he recalls his childhood in Union, Kentucky, specifically learning to play the fiddle. At 13:54 Lemming discusses his relationship with music instructor Laurel Johnson, who he describes as one of the best versed old-time music players and a purist. He also recalls the talent of Johnsons father-in-law, Native American musician Manco Snead, of Cherokee, North Carolina. Next Lemming plays the fiddle while his wife, Mabelle (Buzzy) Leming, accompanies him on the piano. They perform the following songs: 19:26 Big Sandy River 21:58 St. Annes Reel 24:16 Romeos First Change 29:22 Fourteen Days in Georgia 32:08 Acorn Hill Breakdown.
Carol Leming (1923-2022) was born in Union, Kentucky. In 1944 he married Mabelle (Buzzy) Leming and they had two children, Mark Leming (1951) and Chandra Leming (1950-2006). Leming served in the Army Air Corps during World War II and later worked at Delta Airlines, eventually retiring as an Airline Captain. In 2018 the Georgia Country Music Hall of Fame inducted him into the Hall of Fame, followed by his wife and son.
AHC Oral History Cataloging Worksheet File Information Catalogue number k,{9{) I()()r:,~l "If'),' \':1' Source Field" IContentDM) Release form l~orNo Transcript Yes or No scanned: From Yesor~) Default text: Contributed by an OR: Donated by individual: individual through <your org. name> Georgia Folklore Collection through <your org. name> Object Information Enter information about the Title (interviewee name and date of interview) 'CrV\1' r\ ~~ nt,f'~ \)0P t .l ) I ~(t)-/l'v,h,_;,1 t l c)() Cr lt~Y\JA~i~ Description (bio on interviewee) (en' 1(' (\ )i~\ I~ C) (I', ii, "o)!, 'y'(J ''\.\\\" . {'\(yDI \' ~.) "ii.'I n ('tV) C) 'In (','J' (Ij [ v I ~U\\(' 1(' h'<' I,Nil 'I I '<' C,) , \\ ' I!"\ ).1"')_")'.."i"'I) .,\ 1 ,Creator (jOJ\:) \ 0(l J ' ~ . 1 "- (Enter either ' ) \ v,L- ..... ?l\"\.)C) .{\ ~i f\, ) an individual's Burrison Folklore Class name or an organization) Collection Name (within the Georgia Folklore Archives organization) Creation Date Exact Date (yyyy-mm-dd) Iq-bCJ \1It)f)\)~1'{\ \z)'{/1.'</~\,lf) (use only one) Year (if only the year is known) '>Jo'\I\')',y , ,hI Circa (4 digit year) Year Span From To Object Type Image_ Text - Text and image_ Video and sound - Sound only',/ Media Format Reel-reel (VHS, reel to reel, etc) Recording Hours: V extent Minutes: ).~ :r , t;~~ " Derivatives Access copy: Yes or No Access copy format: .- Recording clip It~prNo Clip extent: '" " 1 S ~W, Time code for Beginning:~S End:-~c(7.... ~' /,,,,,....fY~" 1li"7j clip (h:m:s) ',23 \0 r~~ Notes - HI Ie ry,( ,,\'1( (\\,).~ i', V\\,';\' , \ '\ illlh lAi.>,t\('C (interview , ,,-,,) summary) ~{\ ~. {' vv'\~\ "\ 'lAc" S' \: ", (~i~\'{) , I'll,; I." ;.\ , .'.='" ':'t 't,\\t' " \ l,') " ,.,.\.; ,':i l. H\ " t,{) ,;,\-\ \ "\:\ "\ ' \A tl 'S'I o...\OhC'~ un (J\'c ) , ! .( I,.' 1,:1 , IF ) ,." \ ;\ ,:,~,.s\\ \\\('\\X CUI IC) '\\ . \\ ' ) ,\, \ . , \, \ \-,\,p T\D ~(-~?, , \\ 'f);~ ~))C','I\,)\\ 'Y<\'lf \ " Sz,. AI'Inc \ - ~ I \~g(' \ ( 'l ,,) "II, . y' ~\ r. .' " 1\\10>'< ,,),1, \W\'~) f, olel ~u, clr, 't " " .l,--o- ur ,\,('t'{'-,_ l\):,~,\S \l\ -",t,\jl\\11 " " 'j6\.f'\()e( , , "fI(u, ," \\;\\ '\',\1" y,j"'\l'\ (,) '\)),-,'Y'\ 2 Recording issues (background noise, echo, static, etc.) Subject Information Enter 'Informat'Ion about the content 0 f theob)l'eCt here: Subject Date Exact Date (yyyy-mm-dd) (use only one) Year (if only the year is known) Circa (4 digit year) Year Span From To Subject Who Last Name First Name MI [t'.f\\ 11\ '\ CO\ \ l--f \'1\ I II C(, . til Subject Country State County Town Local Name Location \).)1'\ t' N;(I(I{,I'! ':d'\, SUbject What AHC Cataloger will complete this for you, (LOC sUbject headinas onlv) Keywords Burrison, John Personal names See SUbject who for additional names t.'c IV\ l v\ 0, C0\ \ .-'\ I '( 1\\ ("c\O\, I tlv,trC' , ,) f.' 3 Corporate names Geographic locations Topics C\\)\\(" r!\I')"" ,(C, h\"\J'\'\,\,\' ' ~'\ Ci(\ '\\ , )(.:I,\ /-lo,t; 4 J:i'OLKLorm 300 eo11oetod by Gurol 8eltz N'WOl'l"bOP 20. 1969 IWl'HODUC'l.'ION CONCLUSION ADDH'n;SSES IN'I'110DUG'rION I mot Hp. Ga1'l Loming I;h1'o1.1gh Hr'. \'T. E. MOJEJJWXHlOll \lhoHl1. l;oJ.kod 1;0 on I;ho tolGpllono. }!p. MeKl.huxlnon u80d to play tho violin in LUl OY'chc::::"LI'[l.. He is noV! :eotix'od LU1d spondrJ h:.i.n Lime L(nning'l3 nD.me und tolephone and told mo that he utilI J)l~x'y'od old [;imo fid.dI0 tUllon. MY'. MoElhnxmon nlrlo told mo that 111~(I. LOlning :l,n 011 alpplDllO pilot fo:e Dolta f\iplino8 11 In :eD.ct, ho has tho st~ltrts of a Captain. I o.l~3o lO(:trncd from r"11'1j Leming' g llomo I found. out that sho ::\180 p1[1.Y8 and aecomvunio8 hep h.usband on tl10 piano and electric bD.iJG gUitD.:!?o 'rho Leming's ~~;()t-4 1101p3 out on tho dr-tuun Ij Nusic is D. f'ulnil"y affair Hith the Lomings" r1pn. Lonling connncn-co<:l bhD.t L;ho Hholo fO)uiJ.:y' go tn together' GO tape thorrlDclv0s. '1'ho Loming8 livo in [\ fai:r>ly nOH noighbol'h.oo<J. in tho Don Hill scctJo11 0:[' i\.t;lDntD..G Dlroetionn for findi.ng tll.oir hallUC nro in lIhel!' lato thi:r'tios OP oL\:ely forties. 'l'nANSCRIP'l' QueDtion: I'fhel'e 1'Jere -you bOr'n and 1'lhor'o did -you gro1'T up? AnSHOP: I HQS pais8d in Gpunt COlJnty, K8ntucky ~JXld Iived i;hcr'omoDt of rn-y ',Toungol' yom's until I joinod. Lho r::orvic0 .. Cluostion: Do you Hnnt to say nnything 01130 about \'Ihopo you gr0l'T up. AnD\'Ior': Woll, I HnD--No not poally. ThatlD \'Ihopo I sLaptod plnying i;}-wugh, as n ohild.--in Kontuoky, I lournod. Lo pIny (;ho .riddlo from my fathor und Domo othor' peoplo thai; HO ImoH tho.L playod. And this is "('lhopo HO lour'lled a lot of tho musio that 1'/0 play nOHaduyB. Of course, in timo as 'y'ou go ulong, HhY'-,-and. 'you m.oet othex' poople or hear' of their' mU8ie '~TOU koep leaI'Yling as you go, But" most of my' bacl{grolmd camo from l\.onLucky', Quo stiOll: I think you t ve alpcady said that y'ou did.n I t ImOlv pOr'sonally oither tho Sldllot Liclwps or' Fiddling John Cal'DOn but.,. Anm/er': No, but, live hoard. quite a bit of both, But" live novol' mot lmy of the pooplo in pcpson that I can pecali. Noither John Carson nOI' o;lY of the mombor's of the old Skillot ,Lic!l:ops Band, live heal'd. a lot of peoordingD by tho Sldllc L Lickcr's, Gid 'l'annol' Has one of tho people in tha L gJ:'oup He I s a 100 al C'l (J. " \ Cc.., pOl'lWnago. And Clayton McHitton I,ms in tho gl'OUp, And I Lhink hc COJuc ol'igillD,lly' from Kentucky, At loast he has retipod at Louisville, Kontuck'Y'" Ho Iivos cb.er'o not-' e Que 1.3 ti.on: WhaL HeW YOUI' puppose foJ:' playing Lho so :JOngD? AnSHOP: vIall, as I said, thoy 80cm to bo JUDG a pLl.r-t, of t.ho Hay that HO Ho1'O l'al-:Jcd. Hox'o n purt 01.' ou:e life, :r. supPoDe, Somothing LhaL HO I vo g:['m-m up "(vith that haD bOCODI0 a par'L of us lilOPO 01' leDD, Hc w',a sociD.l~tzod Hi,tlh this music t'lhon HO 1'101'0 youngoPe Hox'e so Lhan peoplo do nm1adayD because \-10 havc so D.wny L1LingfJ to. do novI. J3t\L,yoar.'D ngo th.i.n usod to 1)0 D. Hfty 'L",J.1.[1'(I,; f. am:'L1"lOS ,UUIf,)5I ~U.n Ic. o 2;0'Gt'-;ogo tJ,..1.0P LUlL1 have thoil' :run; theip entertaimnent. 2 lind this Has, tllis typo music that "10 play ia mopo on 'bX1.O choerful sido of lifo, I think. Much of it ia dOllCD music. 'rho squaro dLl11cO typo of music and of course, this Is tho Hay that; poople in thODO clays had thoiI' fun and got togo thor DllCI aorta onjoyod life trh;Lfl"";+.r;a~y; th.is NaG theip rocl'oatlon; their rolaxa[;:i.on. lind HO'VO hol.d on to it aineo thon mel, I suppose, I stl11 pl:xy becau:3o of that; ju.st for' I;ho enjoymont of it. It's, it roprosenta a littlo of tho brightor' side of lifo, I think. Most oJ: th.c music is that \iLlY. It 1 S b:eil1iant. And OXPPOS80S sonlO .f.'O:('Ul oJ.' hapJ)iness OJ:' pleusu:re; 11011 being. " . . . \tolloHing o.ro conrmontn GO tho titIan of some tunosJ fiG-a in ' DOlm 'rIlE) Road. Foolin I Bud" l-ffi. LElHNG-: 'rhat l D U song rea1ly. Of COUr'::l0; D. lot of choso ) songs noVl thut you I ve montioned, alro ady have Horch: or thaL is, thoi)~ original form had "Io.l'ds. lind thoy aloVily turnod into an inatrUYllonto.l aor't of D..l'l'angomont \vhoro tho bLmjo, tho fiddlo, [;ho Guitm', pooplo on harmonica nnd. ao on \-Iould all take a papt in playing it. Much of it Has adaptod to the sqUfU'O (b.nco muaic in timo to como. flGoin' Down 'rilO Road Foolin i Badfl ia 1.1--1 can only pemomber' that aa heing D. aong, you knO\-), pooplo :Jang, Hith \-lords to it. 11 vocal D.PPtmgeYllen"L, mope th.an 0.11 ins tpu.nlonto.l It Cl ()...Ii.', H.TI. LE:~lING: 'l'h1 s- ~ that song () WHO mope nOH from '!yfe 1.11'0 a \-Thoro HC arc now. lJ~b.o sout~h. Some of Lho otheY'fj that~ you1vo menU.onod ape mOL'O Appalachinn. J "Vlildvrood ]"101'101''' Hn. LEHING: This is only l'oconl;ly novr-~ "Illil,hrood ]"10HC1'" Ha'; anothor' voca.l ar'rangomont. '.Chat is, it had I-Ior'ds that told a stor'Y mol'O or less. But, vLl.thin the last, Illd say 10 yoars, the llwt decade, many, many groups even ,game of tho moc1.or'll g:t:'oups havo ar'panged thIs into modern aI'l'ill1genJ. onts und theX have, oh, even bptU3Ues v.n<1 st::eing arranGofrlonts on it nOl-T. II l]onapfl..l't 1 8 Ho tpoat;" l\1T\@ I1TI:HING: lrh,is is, "]3onnpupt IS l1otpoal;II-this is mo:eo In tho area of' Hh.[l.t 1']'0 call D. Gajlm lnuDic noH VJith no dl{3]:,cspoct" 'l'hat our--the music that l'IO play, 80Pt of 8tmils from locations of tho cOLUltry. 14nch of vih.ut He play comes from the Appuluch:i.al1 :JoctJo:n"~Aa8 Kentuck~y, I.ro.nnosnco, Vl:eeiniD., 11!ont Vi:egin:i.n, North () (11'01ina LU1d Gool'gia. But alno, th<cn'o I fl D. 10 l, of out:' mUHic L~hD.t COrr1cr~: in rl10PG rpm'll the BJ"JfO"ll couxl'!;Py in I,ou:i.:JiLUlJ1D." /\lld HG playa lot of nnlnlc nOl'[ that comos :Crom Qnp Co.nadltUl noi[3h.bo'('1j that has }ill'onch'"',r, D:nacllnn inc-option I) "Whistling Hufun" 1m. LT~I1ING; 'ChiD by- tho I-nl."y" HarJ nIl old. broD.,h-ruy- tune. It hr.l.d 1)()com.e 801:'"1; of a countpy clu.8sie 'Y'ou mie;ht; na;;'Q IJu,t, "I'n"listling Hufun" HaD oI'iginally- D. b"t:'oach-lO.y tune. lIve I'eD.d on the tltnO, in fact, T rl.n.V0 the l..J.pitop"'s ,1:8;m"') l:l.~ji~cd Homo- 1-1)101.'0 he:l'e at homo awl I (Jon't ['eeall tho nnmo. But, it did "G aeklinc; lIen" MH. LEMING: 'PheC'c Hope many, maxry variat:i ons or this-,- lie aekl:tng lIon II 0 rrlJis ,(;ID.S sopt of a novelty tuno. And "[,:;ho idoLl. on tho tune l'las :Cor the riddloll or tho inHt;rurrlerd~B_l1::d.J to imitate the eaokling of the ohioken or a roosteI' epoHing. or eOU1~se, Hith this sopt or thing, that I s liko the song or the MoeldngJJird that so many fiddlers play too. It I S a novolty thing and thoy do imitations. vuriaLions on it. ,S0 you, .f.'H ld, ,],,0 ,v- S o~r, II \' 1"1:CFe" t,\ \ ' (tueE!l;ion: Do 'yotl. kno\'T lnOl'e than one varintion? !\nn\'T01': No, in fact, I J:w.ven I t played the t1U:lC rop yem'n and years. \'1e used to play it a lot, though, 1'Ihon He 1'1(-):('8 YOlulgeXI "Goul G:r~eek lVIarch" 11ffi. LElllNG: 'rhat sOlmdn liko that "lust hve como from Kentucky' or Virginia" Doosn 1 t; it. I don l t pocD.ll that; tunc. lISpanlsh FandanGO" I'll. LEMING: I pecnll that. 'l'hnt l snort or U--HolJ, I guess, rroxas OP \,rostorn. Lo~t of those o:t'liginal \"l(1stor1n lls\rling band:J II usod to do th:ln .. -J3ob \'i1lls. "SOUI'Hood Hountain" 1m. LEMING: 'rhat I s a old, very', vOFy old rolk type nong. I\lso, 1 t has boon dono var';;", vor;;" m.ueh :tn inst~evmorrl;al a:(lJlQ.nr;omont~ tho or'igino.l song had cOl'rmloto vlOr'dn tb.at mor'o 01' lOiJ:] toll , ., a s~ory us lG eoos. r' :J "J'olmson 1 s Old Gray t1ulo" llffi. LTI:1HNG: '.rl"w l~' S anothcr one that they' irnproviso on and do ilni'Co.'tionfJ on. MIl. LElUNG: An old, old fiddlor told mo Uw nDii10 of this tuno--Lo,xl.;hor Ih'itdws~isnIt Hhat it sounds liko thal~ il.; might bo at all. I've Imm-1l1 tho tUllC all lilY' life, I sUPposc. And I alHf;fY's visioned that it \,ru:J l1LUHOo. :C02, por-haps, 80me por'son VIhoge eostluno might hD.ve beon b:eltchcs mado out of loathop. But, I foun.d Lhat th18 isn't; trv.o. II1hut tho:'l havo a fOPnl of taking gI'een bonn8, nftel' they've beonC'o.ised on I.;ho vinc, you I01oH, and I;ho'y' clI'y them or I.;hoy put tholll up 1'01' Ilintol" s uso. T'his i8 \-Ihnt they call leathcr hI-itches in tho old dnys It nc tual1y' refer's to tho dl'iod hoans that the poop10 Hued to put up and fJl::;o:eo then :in long 8tplng~~ fo:r. H:tntop i s use 1-Ih1ch thoy call 100.tho1' lxC'itches. '.rhe tuno' s narn.od for' I;h.at. ClnoGtion: Hh.on I talkod to 'M1'. t-1cElhannon, ho rond lno Gomo l;hing off tho baek of ono of y01.U- album OOVOI'G tho.t you hnd YIlnde. And, ho Gaid Gomothing nbout that you ho.d Domo l'lolp fpom sam.a Blu.o Hldgo M(Yl.ul'l;~lin F1idd.loJ:'G lie AnD\-Ior: Mr. I,m.ll'01 ,JollllfJon, Hho uDod to HoPl( ho:eo in At1011ta fOI' tho Hu:eD.lo:('1 ~1 Pl'OGD. lIo ir~ :cotipod. nOH e Bu.t, he Has ono IIJ~~\\, or 1;11.0 m.ont, -{ ono of tb.o bost vOPscc1. :persons on ron1 old time nru.sie that live oVOP mot. .And one of tJ10 Juost "died in the \'fool" old tirno fiddlo:eD. lIo had nOVOI' oho.nc;od his stylo at all,. f)opt; of' D. person tllut \'-10.8 a pupist in t;hat form. :NOH WO I vo 100.],110d a 10 t of tho moeo mOdeI'll oonnt:t'y you. m:ic;ht ,Jay that 1'10 pI o.y. And HO I ve dOllO loU.nd Hopk Hhe1'o wo I va had to do thJ.8 SOJ~t of t;h:i.n[jo The s~pt or t.h1n8 that you b.ear on 1'o.dio and No.Dhvillo, tho Gp'llld 010 OpFy, tho.t BOPt of thing. Bnt, }1p, .Johnson navar' did do thiD ull', he was a IJurlst and ho plo.yod only tho old time t1.Jl1eD in [;hoi:r opiC;inal fonrJ. And he helpod me a lot on [lOlnfl of tho old tU118S. And hi[l f:J.th01'~:in"1D.H is a Chorokoo Indi~u1 \"11l0 1:tvc8 on tho ronopvo. tion in Chepokoe, NOI'th r, D.pol:Lrw. And the Indian I [I name i[l !1aneo 8neu.d. And ho i D anothep peal old time style fiddle)' DJld has s cased \'lith the old t'ype of fiddling he hasn I t, you ImoH. 'l'hey still play the tune s that theS' knew afJ a ohild and the'ylve naval', novel' val'iod from that at all. Tho pur-1stn H10pO or loss. rr,h.c',Y' ape t.HO or ono of t110 best vopsod aIel timo fiddloX's I think that I I vo OVal' Im01vn. Quoiltion: Does 11'. ,Johnson livo hopo in Atlanta, AnSHOP: NO e I hU.v()n't GO(3D r1p. IJohnson fop a yen).') a):' so. lrho 1aD-L; I he~l.I'd .C:eorrl j\1l'. tTolulson, ho lived neall Do.I1u.'J, Goo:egiu. But;, 1'1LU1CO 8noD.<1. stl11 lIveD on th.o resoflvntlon in Chopoltoe. e ['10 111 havo Dry-IJ1fo to pIa'y along on I:;ho piano \-lith us. 7 Usually, the old time fiddleX's ('IOuld ahrayB have, eh, LUlOthol' InstrluHent; or so thoDe HOPO tho most favorite:J: ~he banjo, guitar, ho.rmonica, \'10 used tho piano 8. lot Hhen If 0 vlOL'e younGor. Becauso it; has such good full COJ:'dL~ bo111nd tho music and sort of fills it ou~, Usually, f1l!1XJl[ pooplo lJOulcJ. play in gpoups of ~hr'eo oX' four' 01' mo.ybe evon tHO, lind get togethop for' an evening of it [;hat (my, you Im.oH. \ son that n18.y-rle the Vlri l;er' of the tune lGlOHI,~eo.l ITOll 0:(' maybe he ww so.me celobrated persen in the cOlillllUnity, Something of trwt SOI't. But, a lot of the ~uneS Hepe nDlued too foJ:', oh, some lan<J~mapk all somo soc tion oJ:' tho COlUYGP'Y' \'lhopo the tune Big 8D.ncJy Hiver'. l\nd it seorllS that a lot of ~unes stem from this. I supposo i;hat tho scttlo:C'fl in that floction of the count~r'Y sor't; o:r marveled at tho r~ivop OT' thought it 1,'/0.:3 a boaui;iful paL't of the landnw.pk, Something of that S01't. But, they nDlued lots of Dongs D.ftep it. And one of tho songs that came dOHn frorrl it tb.ey) silllply one of ou.I' d(lllCe tuneD that 1'10 play :is called the 11:i ['; ~- Hivor",., '.l'his ca111e frem the vIe st Vil'ginia-Kontuclty upea"., Notice the tompo and thc rn.eteI' of the tune is bpil.liant and, Vlell, so:('t of "up" He l\.!J~'-:C'; ,l I"' Tb.ls is Hhat tho',;:/ danco to. Nope sqlJ..a:co danco tYJ)O of 1HU810." pupposc of it, you knoH, as liJoll :J.S hnlng b:ellliant D.nd fJo:pt of up t:;Omp00 f.P.ho bric.;hto]~ Hido of mUGle and, of eOU_1:'~10; thoy dancod to it too. /' No\r, I'jl;d liko n130 to play "I":;ho -St. Anne I rJ Roell! Donlon :i.rwoptJon and. :i t .~ n ..... ' ..l a littlo bic sloliop in tompo but not too much so. rrho 1'0018 HOPO drUlcod to noL ~JO much, in Group:] as our J\me~eican squLlPn d:Jnciu[j is; bUG c(1),plea or gl'OUpS of' couplos Hould [';ot to[';othop and. d,mco to r,rhut tho'ol eall cho pcol tholl., It 'W.S sopt of a jig typo of dO.nco but a littlo bit S10H01' thtln vrllD.t tho up--tempo i\mopican squn:ec cltJllcJng is. !'I'CM thopo':3 anothop tvpo of dO.neo tho.t thoy did too ,~. oJ chat thoy eallod tho, 1'1011, it's a jig duneo mopo 01' loss. And this tUllO olso ha:3 an English. aI' Hlaybe a FponchGmladinn backg:J:'ounc1.. I supposo liO 10aI'nod il; fpom tho Garw.diDl1s. I can't tie in 1;110 nOJl10 at D.ll. vd.th o.nyt:ld.ng about tho dDllCO that tl'wy mi[';ht havo done to th.in. 'llb.o name of the tuno. ipj_ l"t) ( "nOlUeO'S lflil's'l; Chn.nge" {JJ Maybo it hIJ.cl Hords 01' SOlllothlnG"jin ....---'" ~ -=~." elme o:e in tinl0S pausod, cho'U.gh, I don I l; kUCYVT of \'To.eels "\::'0 it. It has boon, h.aY'd fo:c me to tIc in l'lllUt the :nmne rrllght be OJ' Hhat it might moun, 'Phis tempo H8.S mope the jig dO.nee that you Houlc1. seo them do maI'O in one spoc or ono eipclo. Sort of liJeo u ,""not oxuctly LUm oup tnp dmlcing but nw.ybo this 80Pt of ching bofo:l'O i;lC stuI'tod tD.p cJ.DTlcing Intop on lll l\.. lot:. of 01lX' nrusie canlO fpon1 the Scots and tho 1p1sh pooplo und tho Engll:lh peoplo Hhon I;hoy- eD)UO ovo:e nnd [)ottlecl [;hon in tho Appnlachian pnI'c of cb.o countI'y. DOl'1ll throve,b. -[:;b,18 scct:i.on D.11 tho Hay' :Lporn. t;he connt dO,'ln thrcH.lc;h tho 9 moun I;ains o.nd 1;0 \'lhoI'O \'10 livo nO\~ and, of couPSO, aD thoy' camo over' then they brought i;hoil' lllusic along \'lith them or' HOlHe fOPlll of it; Hho.t c'le lmOH nOH. And IrlUch of it "JaS played by bagpiperJ back in that timo. J\nd, in fn.ct, then a 101; of I;he fiddle murde that 1'10 play noH CD,me fpOlH peeple I;p;,/ing to imitate the bagpipe Hhich I;b0','l didn II; have in I;his eoulltpy' 01' ,. hadn II; bl'ou.ghl; inl;o I;his eouni;p;'l. Bul;, !;llOY '~d take I;he fiddlo and a poul good fiddle pla;yop I;hon Hould lndtoJ;o I;b.o sound of tho pipes OP at; least the mUriic; t;ho form of Hl.usi.c. And Heu1.d. do an imppoviHation thaI; Hay and. eappy the nlusie on th.on, bl..lt, trnllnposiUl3 it ovo:(' to fiddle nru.sic 111n"(;Or\<1 or bagpipe mUHio. And. a 101; of il; dOOH have tho.t b~lckc;pound Olld 0]~ic;inal1y \'/[J.D p1o.',Y'ed on the pipe s you mic;ht Dfry. I I ve hoa:cd nOnJ.o of tb.c people tllat play bag.p:tp()~3 8om.G of tho grOltps-~the HHl.pch:inc; c;roonprJ that pIny bngpi.pos and I I va And 1 GfJ.l'l dot;oct in it 1)Lu-t~8 at loast of' s(nne of th.o fiddle [;une s 1,10 )cnOH Hhen they p1D:y thonl cloHn 11.01'0. II I I ~;d 1. ike to pIny o.notl101:' Dong that He think, I 11.o.ven It boen o.b10 1;0 loeo.te tho pl'eciDe bo.ekgpound of tho l1o.mo nop I.PM lrhe llarrl.O of it is "Fc)'upt,oon DtfY'S In Goo:rlc;~_~I'. It t n up,~ 1''' M ~ __,--"._~ l~ompo a1soj pl'obnbl-y dunco t-ype of t"Ul10. But) tb.oI'O in D. littlo bit mop" nOll tn1c;le n.D..vox' 1;0 it tho.t you h.o".I' in tho lind my idca "I; le",d;, and, 1'1011, othoI' poople l;)wt have tD.lkeG. to me rd)ou"L t~110 so.ue;, thi,nk LhD.t thin p:eobabl.-y camo f'1101U SOlHO o:f' tho soldlo1'(': :i.n GcorgJa durinc tho Civil 10 I'lap, lind, as tho song Has lIPitten 01' doslgnod, t118.t maybo some of tho 'Gpanr3iont soldters hopo attaehcd thi8 nDJ110 to think in papts of that song you can ll.oUP a littlo , (I {~! (J ii (,~ t (/ bit mop~ of tho 10neDomo Dound, you 1moH, that pooplo might 1 110. liko to play ono mope that 1:3 DOt't of my favorito, In f:lct, HO lV'O ovon llDJrlOd 011r homo aftcl') it. Tb.is--this DOPt of nry favoJ'ito fiddlo tImo, MId, tho namo of it is tho "-lI-c-o-pn -Hill B:r()D.l,doHn." It I s stpie tly' a danco tuno you migllt Day. '1'hat I think that pooplo have probo.hly dD.ncod. to tho tune p.pob.~J.blY' C,[l)110 ,Cpom, tho rrennou:JGo-Ken(;uclcy L1.P08. e In f nel;, HO' ve rw.mecl 01.11' home, oUP nO\'l home hero, lIeopn Hill. I li1m tho tuno I'oa.l I'roll but, it hns an ovopgJ.1 me,)ning to .I (' /, . Ii , I, I I\nd jlj'qi"''''HO doeldod to ea.ll our' nOH homo I\eopn Hill \/hon "So1diopt s JO;I lI .... in ono th.at datos bank .Hln:y'bc D. litt~le \")' :it 1-Jn~3 D. hopn IJiPOa It t S boon ehangod D.bou.t itn S-V~llo SOH10'" vr1lat. t1:liOV.eh [;J1.0 ID.8t hVXldl'cd yorl.l'~" or 80. I i:~upponc to fit (;-\: mo]~o tlJO d~)Jlec style, nquD.:ec dunce sty~l.o'-('musie that HO play (lJ ,Od\) (\ (,<I no1'1. And I-;hn nanlO heJ.tiVonly to thD.t oxtent from, "Soldie:e 1 8 Hopnpipe ll to "So 1cJ.ior l rl tToylf e Cou:eDO i1C find. that quil;d a bit:; on t110 old tJ'D.ditJonal tunor:~ th.at tll.Oy mny bonl1 nOHl.oHhat of Q different namo o Th.:ts ~:lDme tune pla~'od 1n d:Lffopen,t; pupts 11 of tho cOlmtrY"!JomotimofJ will havo a cUffol'ont nwuo. Ono of t;b.o tunos ~ the;r call "Gpipplo (jl~()ekIfG 'J~hlB tuno 'I).Goel to havo l'ror-ds to it. lind th0 sane; HD,S [J,bout this [';ir1 ca110d Ida Hod und D,bout l~ho boy Goine; up C"ipp10 Groole to virJit hin So t. L"t:] "GlnlO I'lont on thon, Lho vLu'latlon La tho Gone be - cu:me "Ida ,11ed" D.ncl so '~loll hOD,!' :Lt. somotirrlOiJ nOHu.do.ys and they' call it "lela Hod" :tn~:d;oad of "CI'ipplc Gpook"" Or') ono of tho oldop vopsloYlg of it th,D.t I he:u?, Lh.oy cLl.11ed "8hootin1 CPOOk ll 0 And ~'JO find this a lot :LX'O)U diffo:C'C.)11t POoP ts of t;h.e eountl'y and diffoI'ont poop1o play tho tUllOS LInd hD,vo a lit [;10 b-lu;; bi t difforont l1wue than that tho'y' miGht havo at tachod to :BIt thon). NOH l>8.clc to "ScIdi,})? I:J J'O"ylt. NO\'I, thi:':1 18 a H.cV"olutJ,onw ~ - "-B--i"ll,y -I"n '-l'ho I.01'! G--p-o"u"n"d"--this tuno, I think, must bo certnin1y from the southorl1 roe;ion. I didn't lmoH tho tuno play tho fid,J1e. ThifJ is 0, tuno that I didn't 10al'U !;hon. It's ono that I havo 10m-nod lator on. lind loapnod it in pnrt:Lculup from fJooplc from tho South. Ho've boon natives of' tho South nOl" f'op noma ninotoon yoaps lind, ill bogrJn to heaxl this song a.ftop 1'10 CDlllO to Gaorgiao So, I reel, thD.t this mU:J'L; bo a Dong that is qlJ.iLe papticuln.:r or pocul:i.D.p to our aroa of tho cm,mtI'j'. Goo:t'G:La~lilD;y'bo Alabama, rrw;ybo jljoI'th CaI'ol:Ln[1,. IIVO hOo'1'd quito a fOH pooplo up in No:C'th CrJ,l>ol:Lna plaY' this song too. It :i.n just D.n :"Ln~~Cl"'"lUn0n~[D. I tunc, n.D fall as I know. 1 don't know of Ully Hopdn that H01'O OV01' lH-:Ltton 12 ltBonapupt I ~3 noLf'Otd;It~-th18 is an old, olel song. lIve I W:UJ GI';ying to think of I;ho typo of danoo that thoy pI'obably did. I boliovo thoy uflod to eall it a quadriLLe OUI' squaI'o clanoing OlUrlO fr-om tho quaclI'il1 and from ono of I;ho English danees that l'Tas Sl01'T. And the po.:etno:ros daneod. to[!;otho:tl in sopt of ,il'\ \'IJ liko a minuet hut, not oxaetly a' )'li"mo I; oithor-. But, oxrY'HD.y, J\moPiC0.11 squur'o dLJXlcing CLune .f:r.om t;h080 GHO fo:ems or:Lc;:inD_ll-y', 80 I undc:r',cJtDncl. From tb.o :f:i\onet.l quadI'll} tUld from one of tho Xlingl1nh dances Hhopo tb,o'y' dU.necd Hlth cotlplos and flgu.pos. 1\no., of C Oll.:[l [.1 0 , then, Lho nquo.:co dane ing 18 uhat QUI' O~J.:(ll;)r sottlo:cn loapnnd. D.Dd 1t; I 8 t~hoip rondltion of tho danoing. "Bonapar't 1:J no troat" goo s baok, the tompo of I;ho , ww_ \ 0 ,S[ orA) "( music goes back a I1ttlo bit mo:eo rrlLl.:y-bo, pOl'lhD_PS, [;ho qUD.d:llill stylo of cJ.,moing. It did havo HOr'clu in i 1;f3 or'iginnl for'ul. [PLAYS] NOH, "Olel Joe GIn1'k" l co ,) , I 8UppO se, it i 8 one 0:(' tb.o oldcst :Jquo,pe dcwoo LUlle:J ond ono of tho, pI'ohubly one of I;ho most J'avo:eitos that I knol'r oJ.' anyHhoro e I'vo knOHJl it all my' l:ifo e And it gOOD I,J<tY, HD:y' back. Ie ,scems to rn.o l:Uco -ell.at, ',yos, I kno1J I havo, I havo 80en Irlopd8 to chis. At: ono t:i.me it had Hllitton 1,'[01-<18. I've pOD.d some of tllC vorsos. It sooDled to 1110 like it IlD.d D.hout blOlvo 01' fifthl;oon diffoI'ont VOP,'30S e So, I 10.10\:1 tho.t at ono time tll.C'Y' UBod to s:Lng thin song til f\J:lc1., thon, t t boe rtmc an ins 1~:rumontD.l :Jprl Dllgomon'lJ more 13 op 10f'8. lInd, htW Buch H bpllJ.io:nt 1Jp~tom.po to it thnl; it bOCH1UO mont nlJ.J.tod l~o t;b.o .l\mol.')lecl.n squo.:eo clnneo iJtylon a uk;,,. Hhopo they' lWO whIJ.t they OQ:n It "clog ntop" o.long \'lith tb.011l dancing -La tho nqlluPo danco figUl"lC'1S" So, \\]'0 III do SOIne \\\ \ (, \ ':') ot'" Old J'oo Clo.I'!(" on this theD t;oo. Since it !E: one or tho old -~ '=' IIh.oPO I S ono otb,op tUrl.o on ho:eo -ell.D.t I r~eo that i~~ Ptl. thoIl not D. :eeo.l old tlU10 but, it 1 n quite t~ID.llit:i.()nr\l to OVl' pnrt; of 'l;ll1:f1]( l:C II VO evo)" soon ,ro:rcln tLlat Hope 1'lPi t ton to 1 t but, I erUl l t xocD.1.1. nOG But, an I undoI'stnnd. it, tllo pe:e::;on. th,nt usod to plny 1:11th tho Skll10t L:ieko:e:-1 BrUHl Hh:Lcb. ;1'01). ankocJ. rno nOH" I boliovo 0id ~!DnnOJ~ dlod. somo t1.10 o:r thJ'-'oc yeu:cs aGoG up noap LnHPoncoville or Ga:i..nc::-rV'ill0 if I I'OmOHlbcn'-' GOI'Pcctl:Y'$ Ano. thoy any t11[:.-(; Gld. 1'f:roto th.is tUl18@ 80, this :l.:J mo:rc ():~ isn r t 0. proD.l old tuna. It is ppobnbloy- no olelep thnn l1w.oy-be firty' Jf(_)~).:r'~j old bll.t, it has bocorno quito a fr\vopito mHong tho old timo fid.dlorn und tho Inst:;I'1.uncntnllst:J in that t~ypo luusic. So "i;Jo I 11 plo:';l a little bit o:e fJO of 'IDo\.Jll Yo,ndopll fop ;/OU G II & :#'10 CONCI,US10N Mr, Lom.:Lnc;'s hOU80 oo.n bo founel bY' c;oine; HODt on 120 follo\'r:l.ng tho J31rrn,lnghDJ11. nlgnn. ~.lh()n tUl'ning 10ft at tho po:('.- imo Lop into(',::ootion onto 1-285 foJ.lovTinc; Uw 1'10nt[';om.opY' sic;ns nouthe Rx.it boll tall Hoo.d at Don \U.J.J. and Cmnpholl ton Hoael. \ hi> ('e. fop nbout;<G+fO n1.1l()~J pant; Bon Hill FoJ.lovr CDJllPto Enon Hoad on tho loft. ':rul'n 110PO DJl.d thon [';0 dOHn to Dublin Hoad on tho loft, ~:l1Pll hol'o. Thoip 1)()1)[)() lO located Oll tho lo:et side of th.o rond jll:Jt afte:e the flr::lt !JtPGot tllnt epor~ues Dublin Hoad. ~{r" and Mrs" 1,01"o.in[:; Hope 'rOPy' ,frJond.ly n,nd nieo In hclplng 1'mntod and d.id thoip hest 1;0 C;ivo to m.o, 11.s III Loming told mo t~omo thinGs that I Hn.:~ not 0.b10 to c;ot on tapo. Sho 11l0ntiollod that Irholl rJllO Has younc;. hop family l'Jould lUOVO nll L110 furnitu:('o f'roln tho couLey' of' L;hc POOHl so t.hrd; the;}' COllId nIl duneo nrHl .pl:X;'l :in::d~PlunentrJ.. 111he IjO),ninc;n have dono thei~r- host; to keop {OJ.live D. lot of tho Ll'D.d.it:i.orl(~J songn D.nd tunos. Il1l1o:t:e Trlcro.opiofJ about t1.1.o 0],.<1 tinl.C:'T Hay oJ::' 11:fo [l(')cm to s'L:J.IJ be vor:f cloa~Pe In oonolurJi.oll. HPD. Loming statod. that ~1D.noo Srwad. tho Chop:lYolwo Indian mentionod. 08.p1101'. lwpt a onaka I s r'attlo 1:(1s1<:10 11.iG fiddle u.s pnpt; of un Indian IJupcr::J"l;ltion Hl"d.eh 311.0 doon not l{n(y\-'J If oD.pol Soitz 2808 Hendopson Hoad Tucker, Georgia 30084 1\11:' I) CaT'1. Lemlng S,.110 DllbHn DI':lvO Atlanta, Goopc;ia 30331 ADDRESSES ':, f.ELEASE ~, By letting us collect your traditions--stories, songs, music, sayings, riddles, or beliefs of earlier days"-you have made a valuable contribution to preserving and understanding Southern history, and especially the history and way of life of your community. Because you have given unselfishly of your time to do this, the Georgia Folklore Archives, whose representatives are dedicated to preserving these traditions, wants to protect your righta to this material by guaranteeing that ~t will not be used for unscr.upulous commercial profits. By signing this sheet, you are giving us permissJ.on to use this material for educational purposes so that people who are interested can understand how life was in the old-timey days. Your material will probably not be printed or issued on a record, but if it is, and you don't want your name to be used, say so-owe respect your right to privacy. Thank you for the time you have animportant part of A~erican life. that you want to send along to us GO given to help us record a heritage that w If you remember any more old-timey things that it will always be preserved, write to: Signed Georgia Folklore Archives c/o Prof. John Burrison Department of English 33 GUmer St., S.E. A:" Ji1ta, Georgia 30303 Address ,;;}/! CJ For Ga, Fl. Archivesl __
A PDF transcript exists for this recording. Please contact an archivist for access.
Professor John Burrison founded the Atlanta Folklore Archive Project in 1967 at Georgia State University. He trained undergraduates and graduate students enrolled in his folklore curriculum to conduct oral history interviews. Students interviewed men, women, and children of various demographics in Georgia and across the southeast on crafts, storytelling, music, religion, rural life, and traditions.
As archivists, we acknowledge our role as stewards of information, which places us inaposition to choose how individuals and organizations are represented and described in our archives. We are not neutral, andbias isreflected in our descriptions, whichmay not convey the racist or offensive aspects of collection materialsaccurately.Archivists make mistakes and might use poor judgment.We often re-use language used by the former owners and creators, which provides context but also includes bias and prejudices of the time it was created.Additionally,our work to use reparative languagewhereLibrary of Congress subject termsareinaccurate and obsolete isongoing. Kenan Research Center welcomes feedback and questions regarding our archival descriptions. If you encounter harmful, offensive, or insensitive terminology or description please let us know by emailingreference@atlantahistorycenter.com. Your comments are essential to our work to create inclusive and thoughtful description.