| Kingdom Coming
Henry Clay Work
|Say, darkeys hab you
seen de massa,
Wid de muffstash on his face,
Go long de road some time dis mornin'
Like he gwine to leab de place?
He seen a smoke, way up de ribber,
Whar de Linkum gumboats lay;
He took his hat, an' lef berry sudden,
An' I spec he's run away!
He six foot one way, two feet tudder,
De Massa run? ha! ha!
De darkey stay? ho! ho!
It mus' be now de kingdom comin',
An' de year ob Jubilo!
An' he weigh tree hundred pound,
His coat so big, he couldn't pay the tailor,
An' it won't go half way round.
He drill so much dey call him Cap'an,
An' he get so dreadful tann'd,
I spec he try to fool dem Yankees,
For to tink he's contraband.
De darkeys feel so lonesome libing,
In de loghouse on de lawn,
Dey move dar tings to massa's parlor,
For to keep it while he's gone.
Dar's wine an' cider in de kitchen,
An' de darkeys, dey'll hab some;
I spose dey'll all be cornfiscated,
When de Linkum sojers come.
De oberseer he make us trouble,
An' he dribe us round a spell,
We lock him up in de smokehouse cellar,
Wid de key trown down de well.
De whip is lost, de han' cuff broken,
But de massa'll hab his pay;
He's ole enough, big enough, ought to known better,
Dan to went and run away.
|Ed's Extra Liner
notes beyond those published with the CD:
to the West
Technical recording details
Look on the left for original lyrics to "Kingdom Coming,"
written in 1862 when "politically correct" had an entirely
by Ed Littlefield,
Jr. (EWL) and Glenn
Howard (GH), founder of the American Musical Heritage
Foundation, on the songs and tunes on Going
to the West.
“'Pure endorphins' is what I said when
I first heard Ed’s solo CD, and
I still get blissed out each time I hear it. Even after great sets by
Ralph Stanley, Dave Alvin, Dan Hicks & His Hot Licks and Michelle
Shocked, the high point of my entire Fall 2002 Strawberry Folk Festival
was listening to an advance copy of this CD. It’s that good. The only
way I could be more pleased with this recording would be if I could
have it on vinyl." -– Glenn Howard, curator of the American Musical
"Going to the West"
- Introduced to the folk world by Ginny Harker who learned it from Mike
Seeger, who learned it from his sister Peggy, who learned it from the
book Folk Songs Of Alabama by Byron Arnold.
- I sing and play two of the lead fiddle tracks, the guitar, mandolin,
piano, jews harp.
GH - Other recordings - On 78s: Al
Hopkins & His Buckle Busters with banjos by Charles Bowman
& Jack Reedy, (Brunswick 179); and Grant Brothers and Their
Music, (Columbia 15460). On LPs: New Lost City Ramblers Vol. 3,
(Folkways 2398); and David Lindley on 5-String Banjo Greats,
(Liberty LST 7357). Lindley used to win banjo contests in the 1960s
with his version of this tune.
"You'll Find Her
Name Written There"
- This is a classic Bill Monroe song about his mama. Jon Wilcox plays
mandolin. I sing and play rhythm guitar, lead guitar, dobro, bass, and
GH - Written by Harold Hensley,
American Music Inc. BMI Recorded by Bill Monroe in 1954 (Decca 30178)
"Been All Around
- I have heard many fine versions of this fine song, Jerry Garcia and
the Dead, Tim O'Brien and many others.
GH - Recorded by that old timey
band, The Grateful Dead, from the 1981 album Reckoning. Uncle
Dave Macon did not record this. I can hear Grandpa Jones doing it, but
I can't find it on the shelves. There is a related folk song called
- Also known as "Fennario". Years ago I asked Jerry Garcia about the
Dead's source, and he told me he did it because of the Joan Baez'
version. He said he'd heard other versions and was also familiar with
the variant "The Bonnie Lass O' Fyvie" by Ewan MacColl from Scots
Folk Songs (Riverside 12-609), and Popular Scottish Songs
with Peggy Seeger, (Folkways FW 8757), and Jean Redpath's take on her
rare first album, Skipping Barefoot Through The Heather
(Prestige International 13041). Joanie's source was, I believe, a
recording by Richard Dyer-Bennett, but it's not on the shelf.
"Miss Julia's Waltz"
- Tom Rozum on a mandolin track on his Gibson Lloyd Loar F-5. I play a
second mandolin track on my old Gibson F-4, as well as piano, pedal
steel, dobro, and guitar.
GH - The only known copy of the
rare wax cylinder of this turn-of-the-century classic fell off the
shelf during an earthquake and melted all over the floor next to the
wood stove. Fortunately, the composer/artist is still living and
playing so we're looking forward to a new "digital" cylinder to be
recorded soon. (You handle the cylinder by placing your first two
fingers spread through its center, which of course, makes it digital).
- I sing lead and harmony vocals, and play guitar, mandolin, jews harp,
Dobro, two fiddles. At the Morningtown Pizza's 10th year reunion,
singing this song was the last thing I remember after drinking way too
much whisky from a passing bottle and losing four hours of my memory, a
brush with ethanol poisoning that I'm not eager to repeat.
GH - I'm not sure where this comes
from originally. There are recordings on LP by John McCutcheon, Art
Rosenbaum's Five String Banjo (Kicking Mule KM108) and on 78 by
Fields Ward & the Bog Trotters.
- I first heard this from the Warner Bros cartoons that used musical
director Carl W. Stalling's brilliant work. The tune is featured as
background music in the second Mickey Mouse cartoon produced for Disney
by Ub Iwerks in 1928, "The Gallopin' Gaucho".
GH - Written by Henry Clay Work
(1862) and is in the public domain by virtue of age. There is a great
version with all the original politically incorrect lyrics by Frank
Crumit (1927, Victor 21108). Work's other huge hit was "Grandfather's
Clock" from 1872.
"Standing in the
Need of Prayer"
- This was on the classic 1961 bluegrass LP John Duffy, Charlie
Waller & the Country Gentlemen, Sing & Play Folk Songs &
Bluegrass (Folkways FA 2410), a record found in the collection of
many old folkies and Bay Aryans back in the day.
"Sail Away Ladies"
- I used a partial capo made by Rick Shubb on the 3rd, 4th and 5th
strings on the second fret of the guitar. This bears some resemblance
to dropped D tuning except that it is in E. I started by playing the
first guitar and singing the lead. Then I added the piano, second lead
guitar, dobro, mandolin, and finally the harmony vocal.
"Green Light on the
- The railroad plays an important part in American folk music
traditions; it's there in the soul of the blues. This is one of my
favorites by one of the great traditional artists performing today,
Norman Blake. I send this out to my old railroading buddy, Ben
Biaggini; he should be able to figure out why I started with rhythm
guitar and added vocal, piano, lead guitar, mandolin, dobro, bass, and
GH "Green Light On The Southern
Railroad Line" - Written by Norman Blake.
"Over the Waterfall"
EWL - As with "The Year of
I try to recreate the feel that my contra dance buddies might impart to
these tunes for a dance. "Over the Waterfall" was one of the tunes Alan
Jabbour collected. While a graduate student, Alan had the good fortune
to befriend and study with a gentleman from West Virginia, Henry Reed,
who was in his eighties. Henry was the last musician to know this
regional tune, which may have been lost forever if Alan hadn't learned
it. He began playing it with an old timey stringband, and the tune got
popular with the old timey musicians on the East Coast. Alan was
pleasantly surprised when he took a teaching position in San Diego a
couple of years later and found that the tune had preceded him there
and was raging like wildfire up and down the West Coast.
(Alan Jabbour was the USA's folklorist
for 25 years, head of the American Folklife Center at Library of
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instrument on the Going to the West CD is a copy of a 1918
Martin 1-28 guitar. The number 1 refers to its size and number 28
indicates how it's built and what materials are used. In Martin
terminology, a 28 means that it has Brazilian Rosewood back and sides
with a spruce top, plus a herringbone binding around the top. This is
the tale Ed tells about this guitar:
Around 1995, I wandered into People's
Music in Sebastopol, California, and looked up on the wall and found
something that looked like a little old Martin parlor guitar on
consignment. I played it a bunch and asked "How much do you want for
this little old Martin parlor guitar?" He said $1500.
I was curious to see how sharp this
guy was and offered him $900. He said, "No, I've advised her to hold
out for $1500."
"Would she sell for $1500?"
"I'll ask the old gal and find out,"
The next day I get a call and he says,
"It's yours for $1500, tax, license and out the door." I drove up and
got the guitar and I also got the rest of story."
The owner wasn't that old, only 55,
and she was a Marley's Ghost fan. She knew who I was and she was
delighted to sell it to me. It was a marvelous little guitar. It had
Brazilian Rosewood back and sides. I called Rob Girdis before I picked
it up and mentioned they wanted $1500. He laughed and said that the
back and sides of rough cut Brazilian Rosewood would be worth more than
Martin started putting steel strings
on guitars in 1921, so this 1918 parlor guitar was braced for gut
strings. When Ed used regular lightweight bronze strings, it was not
playable. It needed special strings to get the intonation right. John
Pierce medium gauge bronze silk and steel strings were the key to
getting this guitar to play with reasonable intonation.
I liked the guitar so much that I
wanted the Santa Cruz Guitar Company to make a copy of it. (A size 1
guitar is available by special order.) They built me this copy, but
instead of building it as a style 28, they built it as a 42 with
abalone inlay around the top and around the sound hole, an inlay stripe
on the back and simple perfling on the side. It has a Martin torch on
the peghead and snowflake inlays on the neck. With electronics, it
weighs a little less than 4 pounds. The original weighs 3 pounds. The
neck is 1 7/8 inches at the nut. It has a slotted peghead with Sloan
Waverly bronze tuners with ivory buttons.
"Although we don't use them in the
studio, it has a Pick-up the World transducer and a Joe Mills
microphone for performance on stage and we use the Pendulum preamp."
It's a challenge in the folk business
getting the instruments to sound like real acoustic instruments while
amplified. We had a mic and amp shoot out in the studio and those were
Ed Plays on
Going to the West
Rob Girdis - 2 custom dreadnought cutaways
Santa Cruz Guitar Company (SCGC) - #1 - 42, OM-28 , 00-28.
Tom Rozum plays a venerable
Gibson F-5 by Lloyd Loar.
RESONOPHONIC (DOBRO) GUITARS:
Bob Childs, George Orth, GligaVasile
Gibson F-4 (# 61750)
SIERRA PEDAL STEEL GUITARS:
"I have three pedal steel guitars made by Tom Baker at Sierra Musical
Instruments, Portland, Oregon. Two of them have custom woodwork and
inlay by Rob Girdis. I use an E9th/B6th Universal tuning on 14 strings,
eight floor pedals and seven knee levers."
Steinway D, Mr. Edward J. McMorrow, Piano Technician
"When set-up, voiced and regulated by a person of Ed McMorrow's genius
and sensitivity, the grand piano is truly one of the Wonders of the
World. While some southern purists may gnash their teeth about having a
piano backup on southern tunes, I submit that the southern good ole
boys would have used pianos more often had they been more available. "
PEDAL STEEL AMPS:
Summit and Mesa/Boogie tube amps.
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Laurie Lewis in the studio taping a
track for Going To the West
B & K 4003, 4004, ... Manley Tube Mics, Neumann
"The custom mixing console and much of
the custom studio gear was designed and built by our old friend and the
most amazing tube wizard, Fred Forsell."
"The recordings were done on Studer 80
Series Mk IV analog tape recorders with the exception of "Standing In
The Need of Prayer" which was originally done on a Sony/MCI 16 track
analog machine. We're traditionalists around here so we use lots of
vacuum tube gear in the recording. The format is usually 8 or 16 tracks
being printed to 2" tape at 30 ips. No noise reduction was used. We
love a minimalist signal path and usually go from microphone to the mic
pre-amp and then directly to the machine input of the tape recorder and
then return back through the mixing console."