Liner Notes

HART & BLECH: BUILD ME A BOAT
VRCD 354

We - Allen Hart and Sheila and Kerry Blech - have been playing old-time string band music together since 1984. From even the first moments of playing, we knew that there was a meshing of the minds and musical aesthetics - this melding has only grown stronger over the years. We draw our inspiration from the old commercial recordings of the 1920s and 1930s, field recordings from the 'twenties to the present, and from our personal visits with the musicians themselves who grew up in the cultures and traditions that molded the music that so moves us. We'd like to thank all those generous folks who helped show us the way; the musicians and their families and those who recorded and preserved this wonderful American art form. We'd also like to thank our families and friends for all their support and for sharing music and fellowship. Over the years, the music has become a part of us. We'd like to share it with you, much as those who came before shared it with us. We hope you enjoy this nearly as much as we enjoyed making it.

The Po' Little Thing Cried Mammy [key of A: fiddles - AEae; banjo - aAEC#E] We pulled this from an Uncle Dave Macon and the Fruit Jar Drinkers 78, as it is the brief intro tune the band plays before they launch into "Tom and Jerry" on Vocalion 5165. It also can be found, lyrically, in Thomas Talley's Negro Folk Rhymes and "Poor Little Lamb." It seems to have been collected extensively, as Vance Randolph cites it in Volume II of his Ozark Folksongs (#269, as "Black Sheep Lullabye"). Randolph wrote: "This song was formerly common among both Whites and Negroes in many parts of the South." He goes on to mention that Dorothy Scarborough reported numerous variants from Negro singers and that Sandburg, the Lomaxes, and Brown all collected it.

Papa Build Me a Boat [key of C: banjo - gCGCD; guitar DGCFAD; vocal: Sheila] Allen learned this one years ago from the Dock Boggs (1898-1971, of Norton, VA) LP recording that has been reissued as part of Smithsonian/Folkways CD 40108. Dock said he learned it from Charlie Powers, son of Cowan Powers. Charlie had recorded as a member of the Fiddlin' Powers Family band in the 1920s and also was a member of Dock's string band in the late 1920s. It has been collected often, appearing in some of the classic folk song collections, such as Dorothy Scarborough's A Songcatcher in the Southern Mountains. We've repitched this from G, where Dock set it, to the key of C to match Sheila's vocal range. Hence, we had to totally relearn the piece, but we think it was worth that effort.

Old Corn Liquor [key of G: fiddle -GDgd; banjo - gDGBD] We learned this relentless dance tune from the great African-American fiddle-banjo duo, Joe (b. 1918) and Odell (1912-1994) Thompson when they first attended the Festival of American Fiddle Tunes in 1987. Not only did we learn about their music and culture, we became fast friends with the talented cousins from Mebane, NC. We had occasion to visit with the two of them only once after that, when they returned to Fiddle Tunes in 1992. Odell died in a tragic traffic accident in 1994, but we've been fortunate to have several gatherings with Joe since then. This tune is Joe's favorite for calling "frolic figures" ("Hands Up Eight/Great Big Eight" square dance calls) to. Its lyrics and structure bear a close resemblance to the song the Poplin Family of Sumter, SC, called "Ain't Gonna Drink-a No More," found on Melodeon LP 7331 Gwine Back to Sumter. Both Joe & Odell and Dink Roberts play this song-tune on Black Banjo Songsters of the North Carolina and Virginia Piedmont (Smithsonian Folkways CD 40079). Joe and his newer band (Bob Carlin, Pam and Clyde Davis) play it on Family Tradition (Rounder CD 3719). Volume 3 of the Brown book collection of North Carolina Folk Songs features a lyric fragment from Kate Russell, collected in 1923 Person County, NC, the area where Joe Thompson's father was raised. You also can hear Joe and Odell on: The North Carolina Banjo Collection (Rounder CD 0439-0440) and Rounder LP 2016, Ain't Gonna Rain No More, as well on some harder-to-find recordings.

Walkin' in the Parlor [key of D: banjo: aDADE] Kerry learned this one from the playing of Andy Cahan (b. 1958, residing in North Carolina), accompanied by Pandora Johnson and Brett Riggs, at a December 1, 1979 concert at Oberlin College. The top two strains of this tune are similar to those in several versions of this very popular tune - Lauchlin Shaw's is quite similar but does not include the lower strain heard here; John Hilt's version also resembles this one in some ways but is not an identical match.

Marching Through Georgia [key of G: banjo - gDGBD] Allen learned this as a banjo solo from Clyde Troxell (1911 - 1994 of Rocky Branch, KY). Clyde can be heard playing it on the tape Troxsong, Marimac 9025. Clyde learned it from the playing of his father. It was written by the prolific composer Henry Clay Work in 1865.

Lady of the Lake [key of A (modal): banjo - aEADE] We learned this tune from a tape recorded by Andy Cahan, at the home of Luther Davis, of Parley Parsons (1902-1984) of Galax, Virginia. It is a version, set "in minors" of what Norman Edmonds, of nearby Hillaville, Virginia, played under the same title. This tune also can be found in Knauff's Virginia Reels (Folio 3, published in 1839). Alan Jabbour notes the similarity of the Knauff setting (and subsequently ours, also) to the West Virginia/Virginia border tune "Ducks on the Pond," as played by Henry Reed, Oscar Wright, and others. Chris Goertzen and Alan Jabbour combined to write an essay about the Knauff Virginia Reels folios in the journal American Music (Vol.5, #2,1987).

Carolina Rattlesnake [key of G; fiddle - GDgd; banjo - gDGBD] We learned this one from a field recording Vance Randolph made of Lon Jordan (born about 1876) in Farmington, Ark. in October 1941, that now resides in the Library of Congress [LC] (AFS 5325 Al). Jordan was a gifted fiddler, playing in several styles. He truly excelled at the rhythmic playing of Ozark dance favorites. He had a huge repertoire and recorded over 100 sides for Randolph, on fiddle, banjo, parlor guitar, and vocals, A few tunes played by Jordan can be heard on Rounder CD 1518 American Fiddle Tunes.

Old Mother Logo [keys of D and G: banjo - gDGBD] Kerry learned and adapted this from the Ira Ford Traditional Music in America book, which is full of transcriptions of mainly Ozark regional tunes. This melody does not remind us of anything we've ever heard elsewhere. Though this title is appended to several tunes, none seem to bear any relationship to the present melody.

Coal Creek March [key of G: banjo - gDGBD] Allen learned this showpiece from the playing of Dock Boggs. Dock can be heard playing it on the aforementioned Smithsonian/ Folkways CD, Dock Boggs, His Folkways Years 1963-1968. It most likely refers to the Coal Creek Rebellion of 1891 in Coal Creek, Anderson County, TN (now Lake City, TN, north of Knoxville). The rebellion came about when convict-labor was brought in to work the mines, endangering the livelihood of the miners already working there. Jamie McKenzie's book Coal Creek Rebellion recounts that story. Uncle Dave Macon also sang about it in his song "Buddy Won't You Roll Down the Line" that starts:
"Way back yonder in Tennesee,
they leased the convicts out
They worked them in the coal mines,
against free labor stout;
Free labor rebelled against it,
to win it took some time.
But while the lease was in effect,
they made 'em rise and shine"
Besides, Dock, other legendary banjo players who've waxed their fine renditions would include Marion Underwood (Gennett 6240, reissued on County LP 515 Mountain Banjo Songs and Tunes) and Pete Steele (AFS 1703-A, issued on an EP from the LC -AAFS 10, etc., later issued on the LC LP L2 Anglo-American Shanties, Lyric Songs, Dance Tunes and Spirituals; on Folkways LP 3828 Pete Steele; Banjo Tunes and Songs; and reissued on Rounder CD 1800, A Treasury of Library of Congress Field Recordings), though their settings are significantly different than Dock's.

Blue Eyed Gal [key of F: fiddle - GDAE; banjo - gFFCG; guitar - DGCFAD] We learned this one from the playing of famed Clay County, WV fiddler Lee Triplett (1897-1981). Kerry remembers seeing Lee fiddle it many times at the West Virginia State Folk Festival, held every June in Glenville. From memory, Kerry wasn't certain what key Lee played it in, but it was very striking. It turns out that Lee played it in several keys, but seemingly most frequently in the key of F, as we do it here. This melody is widely distributed among southern old time regions going by several names, such as "Fly Around My Pretty Little Miss," "Western Country," "Suzanna Gal," etc.

Do, Little Bobbie, Do [key of C: fiddle - FCgd; banjo - gCGCD] We learned this from an LC recording of Farmer W. Howell (1880-1956) on fiddle and Rufus Crisp (1880-1956) on banjo, at Allen, Floyd County, KY in 1946, made by Margot Mayo and Stu Jamieson (AFS 8477-Al). This is a regional favorite, usually set in the key of D (we are playing in D fingering, but tuned a whole step below standard pitch). John Salyer, among others from eastern Kentucky, also fiddled it, but in a more elegant manner. It is interesting to note that when Crisp played it on solo banjo, there was more irregularity to his phrasing, indicating that Howell was imposing a more strict structure to his setting, due to his experience in playing this tune for dancing, no doubt. Kerry notes that there seems to be a great similarity stylistically, to his ear, between the Howell-Crisp recordings and those of Joe and Odell Thompson, from a later generation and another state. Perhaps this is indicative of similarity among many rural dance styles across the Upper South in the late 19th Century.

Cleveland Marching to the White House [key of G: banjo - gDGBD] Allen and Kerry first heard this as played by two-finger banjo player Bertie Mae Dickens (1902-1994) at her house in Ennice, NC on August 9, 1988 while Wayne Martin recorded her for the North Carolina Arts Council. Bertie Mae can be heard playing it on the previously-mentioned The North Carolina Banjo Callection. This tune seems to have been something of a regional favorite. Not only was it played within Bertie Mae's family (the Caudills) but Emmett Lundy recorded it for the LC in August 1941 (AFS 4946 A3). It was also played by others in that same general region, well known fiddlers such as Luther Davis, Roscoe Parish, Edgar Higgins, et al. It refers to the presidential campaigns of Grover Cleveland, who won the presidency twice, but not consecutively - 1885-1889 and 1893-1897.

John Cole [key of G: banjo - gDGBD] We learned this from the playing of John Salyer (1882-1952) of Magoffin County, KY, as captured on instantaneous home disc in the early 1940s by his son Grover. John was reluctant (nay, he was ornery) about recording commercially, but Grover talked him into preserving nearly 100 sides so that the family could enjoy the senior Salyer's lovely playing. Bruce Greene convinced the family to have the recordings preserved in an archive and to allow them to be made public. A fine cassette tape of John M. Salyer was issued by the Appalachian Center of Berea College (ACOO3) in 1993 and shortly thereafter most of the remaining tracks were issued on a 2-tape Volume 2, where this tune is found.

Old Billie Wilson (key of A: banjo - aEAC#E; fiddle - AEae] Kerry learned this in the early 1970s from Joel Shimberg, though it's changed lots over the years. Of late, Kerry has been listening to Uncle Jimmie Thompson's 78 rpm recording of it (Columbia 15118-D, reissued on County CD 3522, Nashville String Bands, Volume 2). Though he's not yet assimilated Uncle Jimmie's full setting, he uses some of Uncle Jimmie's bow licks and phrasings. Joel told us he had worked out his version of the tune by listening to two sources, one being Eck Robertson's influential early recording as a portion of his "Brilliancy Medley" (Victor V-40298, reissued on County CD 3515 Eck Robertson: Old-Time Texas Fiddler), which probably should have been called "The Billy Medley," consisting of parts of "Bill Cheatham," "Old Billy Wilson," and "Drunken Billy Goat." The rest of Joel's synthesis came from a tape made of fiddler Bill Owens, taped in 1968 at the Athens, AL fiddlers' contest by Joel's friend Fred Coon. Joel writes, "Eck and Owens each played two-part versions of OBW, with one common part. I took the other two parts and played them all together as a three-part tune. As far as I know, that's where everybody's three-part version comes from. The tune was also recorded by Uncle Jimmie Thompson, old man of the Grand Ole Opry (old enough to be Eck's grandfather, as I recall), but I don't recall ever having heard his version."

Dock's Own Blues [Dock Boggs] [key of G: banjo - gDGBD] Allen learned this one from Dock Boggs. Dock can be heard playing it as "Mixed Blues," on the CD, Dock Boggs, His Folkways Years 1963-1968. Mike Seeger, whose recordings of Boggs were used for that CD issue, reports that Dock said, "It's my composition." We decided to wax it as an instrumental, mostly because it sounded so "right" to us at the time, though Allen also sings it on occasion.

Sweet 'Bama [key of A: fiddle -AEae; banjo - aEAC#E] We learned this from a tape Joe LaRose made of Stanley Bailey (1914-1988?) in Enigma, GA in the early 1980s. To us, Bailey's most interesting music comprised his cross-tuned pieces, though he was known to have a fairly large repertory of conventionally tuned selections.

Defellum Blues [key of G; banjo - gDGBD) We learned this one from the brothers Troxell, Clyde on banjo and Ralph (1920-1999) on the fiddle, who lived on the Cumberland Plateau. It appears on their Marimac cassette Troxsong . This is a regional-style reworking of the classic old time song "Deep Ellum ['Elm,' in local dialect) Blues," generally thought to refer to a rough part of Dallas. It's also been recorded by, among others, The Prairie Ramblers, The Lone Star Cowboys, and an interesting variant by The Cofer Brothers/Georgia Crackers as "Georgia Black Bottom,"

Sheep and Cows Walking Through The Pasture [key of D: banjo - aDADE] We learned this from a 1983 recording made by Andy Cahan of Roscoe Parish (1897-1904) of Coal Creek, VA, near Galax. Its phrasing and chord changes might drive you mad, but we love tunes like this. The title might lead one to think that it is related to a similarly-titled tune found on Buddy Thomas' Kitty Puss CD, Rounder 0032, but it is not. The other thoughts that would immediately come to mind include the lyrics to "Old Jimmie Sutton" (which we also play in a much more conventional manner), and in fact those lyrics scan very well if you've got the brainwaves to easily follow the contours of crooked tunes. In fact, they scan so well we now believe that this is a slightly fractured variant of "Old Jimmie Sutton." Lyrics to OJS are fairly commonplace, but particularly nice ones can be found in Thomas Talley's Negro Folk Rhymes.

Wild Bill Jones [key of A minor: banjo - aCGCD; vocal: Allen) Allen learned this from Clyde Troxell, who can be heard singing and playing it on the aforementioned Troxsong tape. Clyde learned it from Retta Spradlin (1903-1978) of Bell Farm, KY. She can be heard performing it (using gDGBE tuning on her banjo) on Traditional Music from the Cumberland Plateau, Volume 1, County LP 786. This is a very widespread song, seemingly mostly done by banjo players. It has been catalogued by Laws as E 10 in Native American Ballads. This means it was a song that arose on this continent, not that the indigenous people came up with it. It's been gathered by nearly every collector of note, such as Vance Randolph (Ozark Folksongs), Ethel Richardson (American Mountain Songs), Sigmund Spaeth (Weep Some More, My Lady), Bascom Larnar Lunsford (30 and 1 Folk Songs), Cecil Sharp and Maud Karpeles (English Folk Songs from the Southern Appalachians), Arthur Palmer Hudson (Folksongs of Mississippi), and Louis Chappel (Folk-Songs of Roanoke and the Albemarle). Other recordings of interest of this would include Virgil Anderson On the Tennessee Line (County LP 777), Granville Bowlin Mountain Music of Kentucky (Smithsonian/Folkways 40077), Lily May Ledford Banjo Pickin' Girl (Greenhays LP 712), and Obray Ramsey Obray Ramsey Sings Folksongs Prestige International LP 13020), among many others.

Black Annie [key of G: fiddle - GDgd; banjo - gDGBD] We learned this from the playing of Joe and Odell Thompson. It seems to have been quite popular on the North Carolina Piedmont among African American stringband musicians. An interesting version of it by Dink Roberts can be heard on the Black Banjo CD, mentioned earlier, with extended, most-likely improvised, lyrics. The song recorded under the same title by The Georgia Yellow Hammers, from Georgia, is unrelated to this piece.

The Downfall of Richmond [key of A: fiddle - AEae; banjo - aEAC#E] We learned this from a tape of Ernie Carpenter (1907-1997), of Braxton Co., WV, that Scott Prouty gave us a few years ago, originally recorded by Gail Gillespie. Gail told us that she'd recorded Ernie several times playing this, all in fragmentary form. On the tape-copy from Scott, Ernie managed to get entirely through it one complete time. It seems that Ernie was confused a bit on just what tune he was playing. The high strain appears to be somewhat related to the well-known central WV tune "The Fall(s) of Richmond" that several members of the illustrious Hammons family played and recorded. And it seems obvious that the low strain is Ernie's setting of the even better-known regional standard, "Fine Times at Our House," The middle strain has some flavor, to Kerry's mind at least, of "Wild Hog in the Woods," also known as "Bangum and the Boar." Whatever Ernie's intent, we love what he actually did play and have learned it as such. Rumors are starting to circulate that Ernie's excellent LP Elk Creek Blues may be reissued soon on CD, so watch for it.

On Jordan's Stormy Banks I Stand [key of A minor] Samuel Stennert, a preacher in London, England, wrote this hymn in 1787. The melody most commonly used currently for this hymn is "The Promised Land," an anonymous tune from the American South. It first appeared in William Walker's Southern Harmony in a minor key setting. From that time onward the hymn has appeared in most shape-note hymnals. Rigdon McIntosh changed the tune from minor to major key and published it in Nashville, Tennessee in 1874. A very nice rendition of the hymn can be heard on the CD that accompanies the highly recommended Benj. Lloyd's Hymn Book, published by the Alabama Folklore Association, edited by Joyce Cauthen. The book has a brief discussion about the history of this hymn. This multiple fiddle setting was inspired by Kerry's hearing John Summers and Judge Dan White play the hymn "Waiting For the Lord To Come," using continuous double stops on two fiddles, on the Indiana anthology Fine Times at Our House (Folkways LP 3809). Kerry suggested the multi-fiddle concept to Lynn Frederick when both were members of the Ohio-based string band The Rhythm Gorillas. Lynn selected "The Promised Land" as a likely candidate and arranged it for three fiddles, guitar, bass, and his own vocal, which the Gorillas often performed in the early 1980s. Kerry got the urge to try it as an instrumental, but not remembering Lynn's setting, he went back to the shape-note hymnal and worked it out himself for three fiddles. Here is the result, sans voice.

Newport Breakdown [key of G: banjo - gDGBD] This is a composite version of this melody that was once common in Western North Carolina. Our interpretation is modeled on the version from Manco Sneed (1885-1975) of Cherokee, NC and that of Osey (1879-1942) and Ernest Helton of the Asheville, NC area. The Heltons recorded it for the LC in 1941 (AFS 4806 A3) as "Big Footed Nigger," though they mentioned that many people also called it "The Virginia Reel." The Helton recording was issued on New World Records LP 226, That's My Rabbit, My Dog Caught It. Manco can be seen fiddling, albeit briefly, in the Disney film "Davy Crockett, King of the Wild Frontier" - on the video it is around the 42-minute mark. But don't blink.

Indian Shot the Woodchuck [key of G modal: fiddle - FCgd; banjo - gDGCD) Kerry learned this from a home recording of Claude Parker (1899-1980) made by his daughter June Moore in 1963 that was provided by his granddaughter Linda Carolan to Steve Green, who gave Kerry a copy. Parker, a wonderful old-style fiddler, was born in Gonzales County, TX and died in Bexar County. To Kerry's ear, this melody sounds the closest to "Haning's Farewell," as transcribed by Marion Thede in The Fiddle Book, "in the tradition" (that is, from someone who played it other than learning it from Ms. Thede's book, or from people who learned it from the book, etc.). She collected it from J.S. Price who said he learned it from a John Crooks, of West Texas, "about 65 years ago," though that applies to either when Ms. Thede collected it or when the book was published, which probably pushes the time of tune transmission at the least to the early 1900s.

Wimbush Rag [key of D: banjo - aDADE] We learned this one from the 1929 recording put out by Theodore and Gus Clark, their only commercial recording (the flip side is "Barrow County Stomp"), Okeh 45339. The Clarks remained a mystery to many of us for decades. Joe LaRose's research pointed out that Wimbush is a town in Barrow County, GA, prompting him to make a trip there in the early 1980s, but he returned with no further information on these musicians - however, it did prompt Joe to compose a tune "in the style of the Clarks" that he calls "Winder Slide," named after another town in that vicinity. This remained a mystery for some time, until Hatton related a conversation he had with Chris Williarns (On the staff of the National Council for the Traditional Arts) at the 1998 National Folk Festival. Chris was browsing through CDs at John's vendor stand and found Document CD 8021 Georgia String Bands, Volume 1. He blurted out, "Hey, here's my uncle Theo," which caught John's attention. They talked and John relayed the information to Kerry. Speculation had been that the Clarks had been African American, which Tony Russell had reported in the Document CD notes, but we found out otherwise. Joe Wilson, director of NCTA, got Kerry in touch with Chris. Chris promises to work on, and publish, hopefully, a family history recounting Theo and Gus's musical contributions to old-time music. Here is what he told Kerry: "Theo Clark was my uncle (married to my mother's oldest sister). Shirley (Clark) Fouche, Theo's daughter, and her sisters remember parts of their father's repertoire, parts of which he learned from his mother who was a fiddler. Both Theo and Gus Clark are deceased. Theo's widow and three daughters live near Athens in Madison Co., GA (about 20 miles east of Barrow County.) Gus' children still live in and around Barrow Co. Theo lived in Barrow County, GA until at least the mid-1950s, moving on to Jackson and Madison Cos. He died in 1971 or '72. Shirley remembers that Gus lived in Barrow Co. for most of his life. He died around 1978. Both were farmers. The Clarks played on a radio station in Athens as the Ted Clark Trio or Ted Clark Band during the '30s. I have a great photo of Theo and Gus, taken in the late 20s or early 30s. They're playing their instruments (Theo on fiddle, by the way) seated on the running board of a Ford Model A. I grew up in Athens, GA and my family has deep ties to the area and to the Georgia string band tradition. My grandfather was a fiddler and he sharecropped on a farm near Gid Tanner's in Dacula. My grandmother was the niece of fiddler Rob Stanley's first wife and first cousin of Roba Stanley's older brothers (Roba was the child of Rob's second marriage.)"

The Wilds of Idaho [key of G: fiddle - GDgd; banjo - gDGBD] We learned this one from a 1960 recording of Arthur "Cush" Holston (1878-ca. 1964) made at the 1960 Florida Folklife Festival in White Springs, FL. Cush was accompanied on banjo by Marty Schuman who also did extensive recording and interviewing of Cush. Marty's recordings of Cush are found in the Florida Folklore Archive, Stephen Foster Center, in White Springs. Gail Gillespie and Lloyd Baldwin made these recordings available to us and provided information about Holston and Schuman. The melody is quite a compelling dance tune, but the title became somewhat problematic, as Cush sings some floating verses about "Troubles, troubles, troubles," seeming to bear no relationship to the title on the Archive ledger that Marty Schuman had provided. Consensus at one time was that there had been a titling error, but Gail Gillespie noted a song in Traditional American Folk Songs from the Anne and Frank Warner Collection, "Away, Idaho," whose lyrics scan well to Cush's melody even if the notated melody in the book is not the same. Molly Tenenbaum kindly provided us a copy of the Warner song and accompanying citations. The Warners collected their song from Deac Martin in 1952. He said he learned it from his mother who lived in Missouri, though her people came there by way of Kentucky from the Jamestown, VA area. That song was first published in 1864 with writer credit ascribed to Frank French; it is quite plausible that Cush's piece represented a survival of that original song. Vance Randolph also collected this piece, in Arkansas, with lyrics similar to the Deac Martin song; they also scan nicely to Cush's melody.

Train 45 [key of G: fiddle - GDgd; banjo - gDGBD) This warhorse came to us in this form from the Troxell Brothers and also can be heard on their tape Troxsong. They learned it from one of their local favorites, Dick Burnett, who played it (but never recorded it) with his long-ago partner Leonard Rutherford. It is a version of the older tune/song, "Reuben." Influential versions that were recorded in The Golden Age include those by Grayson and Whitter (Gennett 6320 and Victor 21189) and J.E. Mainer's Mountaineers (Bluebird 7298).

Louise Marie Waltz [key of G: banjo - gDGBD; vocal: Sheila; fiddle: Vivian Williams] (c. 1996, Sheila K. Blech) Since we ended our first CD with one of Sheila's waltzes, for Kerry and Sheila's older daughter Mirabelle, it felt appropriate that we end this disc with her waltz for their younger daughter Louise. Exercising good managerial judgement and optimum use of available resources, we asked Vivian Williams, one of the great waltz fiddlers, to pinch-hit for Kerry on this one (we recommend Vivian's brand new CD ~ Voyager 351).

WE WISH TO THANK the following: Debbie Spiegelman, Mirabelle & Louise Blech, Barbara Frandeen, Gail Gillespie, Steve Green, Phil and Vivian Williams, Neville Pearsall, David Lynch, Molly Tenenbaum, Andy Cahan, Marynell Young, Scott Prouty, Wayne Martin, Amy Wooley, Alice Gerrard, Bobby Fulcher, Stu Jamieson, Joel Shimberg, Paul Wells, Alan Jabbour, Joe LaRose, Mark Wilson, Lloyd Baldwin, Joyce Cauthen, the Swing Cats, Stefan Puchalski, Judith Bows.

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