1945 JOSH WHITE ASCH RECORDS 78 ALBUM SPIRITUALS SOUL BLUES AMERICANA FOLK TRAMP
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Description
1945 JOSH WHITE ASCH RECORDS 78 ALBUM SPIRITUALS SOUL BLUES AMERICANA FOLK TRAMP
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NOW FOR YOUR VIEWING PLEASURE…
Josh White ?– Songs By Josh White
Label: Asch Records ?– A 348
Format: 3 × Shellac, 10", 78 RPM, Album
Country: US
Released: 1945
Genre: Blues, Folk, World, & Country
Style: Country Blues, Folk
Tracklist
A1 I Got A Head Like A Rock
A2 Outskirts Of Town
B1 Fare Thee Well
B2 One Meat Ball
C1 When I Lay Down And Die Do Die
C2 The House I Live In
Credits
Artwork – David Stone Martin
Liner Notes – Langston Hughes
Notes: Padded 3x78 album.
PLAYED - SOUND TESTED
CUSTOMER APPROVED
RECORDS PLAY VG+ to EX
COVER IS VG to VG+
SOME FOXING AND AGE COLORATION OTHERWISE NO DESTRACTIONS
https://www.youtube.com/watch?v=C3AxhsbNEMk
https://www.youtube.com/watch?v=5bEbJj3PXvo
(THESE RECORDINGS ARE EXAMPLES, NOT ACTUAL)
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FYI
Joshua Daniel White (February 11, 1914 – September 5, 1969), known as Josh White, was an American singer, guitarist, songwriter, actor, and civil rights activist. He also recorded under the names "Pinewood Tom" and "Tippy Barton" in the 1930s.
White grew up in the South during the 1920s and 1930s, he became a prominent race records artist, with a prolific output of recordings in genres including Piedmont blues, country blues, gospel, and social protest songs. In 1931, White moved to New York, and within a decade his fame had spread widely; his repertoire expanded to include urban blues, jazz, traditional folk songs, and political protest songs. He soon was in demand as an actor on radio, Broadway, and film.
White also became the closest Black friend and confidant to president Franklin D. Roosevelt. However, White's anti-segregationist and international human rights political stance presented in many of his recordings and in his speeches at rallies subsequently resulted in the McCarthyites utilizing the pretext of labelling him Communist to slander and harass him. Accordingly, from 1947 through the mid-1960s, White became caught up in the anti-Communist Red Scare, and combined with the resulting attempt to clear his name, his career was damaged.
White's musical style influenced many future generations of musical artists, including, Brownie McGhee, Pete Seeger, Lena Horne, Dorothy Dandridge, Nat King Cole, Harry Belafonte, Lonnie Donegan, Eartha Kitt, Alexis Korner, Odetta, Elvis Presley, Tracy Chapman, Joan Armatrading, The Kingston Trio, the Clancy Brothers and Tommy Makem, Merle Travis, Dave Van Ronk, Peter, Paul and Mary, Bob Dylan, Eric Weissberg, Judy Collins, Mike Bloomfield, Danny Kalb, Roger McGuinn, David Crosby, Richie Havens, Don McLean, Roy Harper, Ry Cooder, John Fogerty, Eva Cassidy and Jack White.
White was in many senses a trailblazer; popular country bluesman in the early 1930s, responsible for introducing a mass white audience to folk-blues in the 1940s, first black singer-guitarist to star in Hollywood films and on Broadway. On one hand he was famous for his civil rights songs, which made him a favorite of the Roosevelts and on the other for his sexy stage persona (a first for a black male artist).
He was the first black singer to give a White House Command Performance (1941), to perform in previously segregated hotels (1942), to get a million-selling record, "One Meatball" (1944), and the first to make a solo concert tour of America (1945)., first folk and blues artist to perform in a nightclub, the first to tour internationally; and along with Lead Belly and Woody Guthrie, the first to be honored with a US postage stamp.
White and Libby Holman became the first mixed-race male and female artists to ever perform together, record together and tour together in previously segregated venues across the United States. They would continue performing off and on for the next six years, while making an album and a film together.
Early years
White was one of four children born to Reverend Dennis and Daisy Elizabeth White, on February 2, 1914, in the black section of Greenville, South Carolina, United States. His father told him that he was named after the Biblical character Joshua of the Old Testament. His mother introduced him to music at the age of five years, when he began singing in his local church's choir. White's father threw a white bill collector out of his home in 1921, causing him to be beaten so badly that he very nearly died, and then was locked up in an mental institution, where he died nine years later.
Two months after his father had been taken away from the family, White left home with a blind, black street singer named Blind Man Arnold, who he had agreed to lead across the South to collect coins after performances. Arnold would then send White's mother two dollars a week. Arnold soon realized that he could profit from this gifted boy who quickly learned to dance, sing, and play the tambourine. Over the next eight years, he rented the boy's services out to other blind street singers, including Blind Blake and Blind Joe Taggart, and in time White quickly mastered the varied guitar stylings of all his blind masters. In order to appear sympathetic to the onlookers tossing coins, the old men kept White shoeless and in ragged short pants until he was sixteen years old. At night he would have to sleep in the cotton fields or in the horse stables, often on an empty stomach, while his master slept in a black hotel.
While guiding Taggart in 1927, White arrived in Chicago, Illinois. Mayo Williams, a producer for Paramount Records, recognized White's talents and began using him as a session guitarist. He backed up many artists for recordings before recording his first popular Paramount recording as the lead vocalist and lead guitarist on "Scandalous and a Shame" and billed as "Blind Joe Taggart & Joshua White", while becoming the youngest artist of the "race records" era. Yet he was still shoeless, sleeping in the horse stable, and with all his recordings payments going to Taggart and Arnold. After Mayo Williams left Paramount to start his own label in Chicago, he threatened Taggart that if he didn't pay White for his recording services he would call the authorities and have him arrested for indentured servitude and keeping the boy out of school. For a few months after Taggart released him from his servitude, White shared a room with Blind Blake at Williams' home before finding his own room in a boarding house. Finally, he was being paid for his recordings, and for the first time in his life able to buy and wear proper clothes and shoes. For the next two years, White continued an active recording schedule in Chicago, until he had saved enough money to return to Greenville and take care of his mother and younger siblings.
Death
In 1961, White's health began a sharp decline as he experienced the first of the three heart attacks and the progressive heart disease that would plague him over his final eight years. As a lifelong smoker he also had progressive emphysema, in addition to ulcers, and severe psoriasis in his hands and calcium deficiency in his body that would cause the skin to peel off of his fingers and leave his fingernails broken and bleeding with every concert. During the last two years of his life, as his heart weakened dramatically, his wife Carol would put him in the hospital for four weeks after he completed each two-week concert tour. Finally, the doctors felt his only survival option was to attempt a new procedure to replace heart valves. The surgery failed.
He died on the operating table on September 5, 1969 at the North Shore Hospital in Manhasset, New York.
When Associated Press interviewed Harry Belafonte, upon learning of White's passing, he said, "I can't tell you how sad I am. I spent many, many hours with him in the years of my early development. He had a profound influence on my style. At the time I came along, he was the only popular black folk singer, and through his artistry exposed America to a wealth of material about the life and conditions of black people that had not been sung by any other artist."
Legacy
White was seen as an influence on hundreds of artists of diverse musical styles, including: Pete Seeger, Lee Hays, Oscar Brand, Ed McCurdy, Lonnie Donegan, Alexis Korner, Cy Coleman, Elvis Presley, Merle Travis, Joel Grey, Bob Gibson, Dave Van Ronk, Phish, Clancy Brothers and Tommy Makem, Shel Silverstein, John Fahey, Bob Dylan, Peter, Paul and Mary, Judy Collins, Roger McGuinn, David Crosby, Mike Bloomfield, Danny Kalb, Ry Cooder, John Fogerty, Don McLean, Robert Plant and Eva Cassidy; in addition to those African American artists, such as Blind Boy Fuller, Robert Johnson, Brownie McGhee, Lena Horne, Nat King Cole, Pearl Primus, Josephine Premice, Eartha Kitt, Harry Belafonte, Odetta, Ray Charles, Josh White, Jr., Jackie Washington, the Chambers Brothers, and Richie Havens, who in the footsteps of White were also able to break considerable barriers that had hampered African-American artists in the past.
(THIS PICTURE FOR DISPLAY ONLY)
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