The Art of Field Recording Volume 2

"Harry Smith's 1952 Anthology of American Folk Music has long been considered the Holy Grail of Americana and was an enormous influence on an entire generation of folkies (including John Fahey and Bob Dylan). Art Rosenbaum's Art of Field Recording series also plunges deep into Greil Marcus's "Old, Weird America" but with some inspired and welcome differences. While the impact of Smith's archival work is impossible to repeat, Rosenbaum's work is similarly essential.

The most immediately striking thing about Art Of Field Recording is the sound quality. Smith's Anthology was compiled entirely (and somewhat illegally) of transfers from scratchy 78s using 1950s technology. While this obviously could not be avoided, it resulted in a great deal of hiss that made Anthology sound more like A Very Important Historical Document than a collection of absolutely great and listenable songs. Rosenbaum's field recordings, on the other hand, are crystal clear, which imbues the tracks with presence and immediacy. Also, the occasional intrusion of outside sounds (such as crickets) inarguably enhances the backwoods magic herein.

The most important difference, however, is the focus. Harry Smith's intent was to preserve great recordings by roots music titans like Mississippi John Hurt, Blind Lemon Jefferson, and The Carter Family. Field Recording shifts the focus to the actual songs themselves: most of the artists represented here are unknown, semi-professional musicians (I believe Scapper Blackwell is the biggest name here). In fact, some of the performers were stumbled upon though what Rosenbaum calls "shotgun" collecting—showing up at a strange town and just asking around to see if there were any old-time musicians around. Furthermore, many of the performers were recorded near the end of their lives (many look downright cadaverous in the accompanying book's photographs). As such, missed notes, rusty and off-key singing, and confused monologues are not at all uncommon. Rather than detract from the songs, they add an endearing element of charm and intimacy to the proceedings. Many tracks evoke the sense of sitting on a porch listening to a drunk grandfather belting out songs he remembers from when he used to work in a train yard.

Rosenbaum's decision to include pre- and post-song banter borders on genius. Now-deceased catfisherman Jack Bean oozes gruff charisma and effortlessly steals the show with his salty proclamations, particularly when he laments that his voice sounds like a "busted bunghole" or expresses concern that women might be corrupted by his off-color lyrics. Other times, the performers provide amusing asides, useful contextualizations, or welcome insight into their character. I was particularly stuck by how some performers were somewhat incoherent and unintelligible when speaking, yet completely clear and focused when launching into a song they probably hadn't sung for thirty years.

The set is divided into four themed CDs : Survey, Religious, Accompanied Songs and Ballads, and Unaccompanied Songs and Ballads. All four are uniformly excellent and intelligently sequenced, but I most enjoyed the unaccompanied songs. The raw, naked acappella performances were often uniquely stirring and a welcome respite from homogenizing modern recording and artifice. The set comes with a 96-page book too, which is both comprehensive and intermittently fascinating (particularly the pictures).

Stylistically, Field Recording covers a lot of ground: country, acoustic blues, hillbilly folk, English ballads, cajun accordian dances, incendiary fiddle showcases, work songs, slave songs, gospel, and many others. The highlights are too numerous to recount- there are very, very few weak tracks in this collection (and even they usually have character). If pressed, however, I'd say my favorite track is Bobby McMillon's "The Devil Song", a rousing sing-along about a man whose wife gets taken to hell, only to be promptly returned (it contains the immortal couplet "I been the devil 'bout all my life, but I never been in hell til I met your wife").

Over the course of 107 songs, Field Recording evokes nearly every mood or emotion a song can elicit: some are spooky, some are joyous, some are sad and beautiful, and some are quite funny. Invariably, however, they all pointedly illustrate that a timeless and well-written song can sound good no matter who is singing it and highlight the sad fact that regional idiosyncracies and musical traditions have largely vanished from our culture. Thankfully, given that Rosenbaum has spent over fifty years tirelessly and lovingly preserving as much as possible, I am sure that we can look forward to future volumes. Dust-to-Digital has not let me down yet. "

- Anthony D'Amico, link

Disc 1
Disc 2
Disc 3
Disc 4

La Monte Young - Just Stompin'

Unstoppable, titanic, overwhelming force. THE BLUUUUUUUEEEEESSSSSSS.

Just Stompin'

Edit Oct 11: My copy is in 192kbps go here for a flac version.

Idea Of A Joke - We Are All Making History

Loud, unsubtle, bluesy-but-not-bluesy rock'n'roll.

We Are All Making History

Bee Mask

Glacial, energetically null, drone. Like the sound of a great void made corporeal.

No Mutant Enemy

Hyperborean Trenchtown

Hey everybody, as you can see here and here you can still buy Hyperborean Trenchtown on vinyl over a year after it's release. And since I got 98 downloads on that link I'm just gonna pull it and tell you to buy it. No Mutant Enemy however is sold out and just as wonderful so check that out.

High Atmosphere

"Ballads and banjo tunes from Virginia and North Carolina, collected by John Cohen in November of 1965"

High Atmosphere

Boss Hogg Outlawz - Back by Blockular Demand: Serve & Collect Part II

i got a pocket full of money, cell phone full of hoes, garage full of cars and a closet full of clothes, rock game bright, yeah i'm brighter than the sun, Slim Thugga motherfucker i'm as fresh as they come

kid's good, fam's good, ain't nobody hold me, bills paid mommas straight, says she's proud of me, I'm proud of me too, all this shit I been through.

Back by Blockular Demand: Serve & Collect Part II

Question: Why is Fela Kuti so cool?

Funk: part the second

Another pair of compilations of the ass-shakingest music around, this time from Africa in the 70's. The best party music you will ever hear.

African Scream Contest: Raw & Psychedelic Afro Sounds From Benin & Togo 70s

Nigeria Disco Funk Special

Funk: part the first

As a companion post to this Here are two wonderful compilations of old funky music from the southern continent.

The Roots of Chicha - Psychedelic Cumbias From Peru

The Golden Years Of Disco Fuentes - The Powerhouse of Colombian Music 1960-1976

If you aren't dancing right now then you do not have properly functioning legs.


Kettenkarusell are a duo from Germany. They make fluid, pumping techno of a high caliber. They've released one 12" which I would absolutely love to hear but which is proving surprisingly hard to find. This is a bootleg straight from the P.A. system a concert of theirs earlier this year. The sound quality is high, and musically this is one of the best things you are gonna hear all year.


Yat-Kha - Yenisei Punk

Bluesy, folksy, rootsy, rock music from Tuva by way of Jimi Hendrix.

Yenisei Punk

D!O!D!O!D! - Ghost Temple

Li-Jianhong and Huang Jin Take buzzsaws to their instruments and make the most awesome rock music ever. Insane and occasionally beautiful.

2pi Records
Ghost Temple

G-side - Starshipz and Rocketz

Made in the gutter, product of my environment
I'm in the box sellin', momma ain't been home
Niggers across the street shootin over half a zone
I'm pissed off, asking why I live like this
Sucked it up like a man, shook it like a piss

Starhipz and Rocketz