Multi-instrumentalist and music historian Don Flemons, otherwise known as “The American Songster” and co-founder of the Carolina Chocolate Drops, has become one of the foremost experts and practitioners of African American folk music traditions. Flemons garnered a Grammy nomination and multiple awards for his last solo project, Black Cowboys(2018). Now Flemons is offering his first compilation, Prospect Hill: The American Songster Omnibus, which includes his Prospect Hill solo album from 2014, the EP What Got Overoriginally released on vinyl as a 2015 Record Store Day premium, and a new collection of twelve previously unissued instrumental tracks he’s pulled together under the title The Drum Major Instinct. If you didn’t score copies of these records when they first dropped, you should definitely pick up this nicely packaged two-disc set with extensive liner notes by Flemons and Vania Kinard and evocative tintype photographs by Timothy Duffy.
Those who watched Ken Burns Country Music documentary on PBS and want to dig a little deeper into the roots of the genre should find this new box set quite fascinating. Protobilly: The Minstrel & Tin Pan Alley DNA of Country Music 1892-2017, as the title suggests, “documents old country songs with origins in minstrelsy, vaudeville, Tin Pan Alley, ballads, ancient hymnals, deep-south blues, and other venerable popular music genres.” The anthology was meticulously produced by three highly regarded sound recording historians—the vernacular music specialists and radio producers Dick Spottswood and Henry Sapoznik, who also wrote the liner notes, and David Giovannoni, who contributed many rare cylinders and discs from his own collection. Additionally, Grammy Award winning musician Dom Flemons, aka “The American Songster” and former member of the Carolina Chocolate Drops, also contributed to the notes. Continue reading →
Black cowboys may not be the first thing that comes to mind when the Wild West is mentioned, but they were prevalent and left an undeniable impact on the development of the American West. Following the end of the Civil War in the late 1860s, thousands of newly-freed African Americans moved westward to start new lives. Some chose the grueling and often dangerous path of becoming a cowboy, an occupation in which work ethic mattered more than skin color. These pioneers worked long, hard days alongside Mexican vaqueros, Native Americans, and white cowboys and often turned to song for comfort on the trails.
The newly released Black Cowboys featuring co-founder of the Carolina Chocolate Drops, Dom Flemons (aka “The American Songster”), places these often forgotten pioneers of the Old West in the spotlight. Produced by Flemons and Dan Sheehy for Smithsonian Folkways as part of its African American Legacy series, the album pays tribute to the music, poetry, and complex history of these cowboys. The accompanying 40 page booklet includes essays by Flemons (on the cowboy’s music) and Jim Griffith (on the history of Black cowboys), as well as detailed notes on each track complemented by many archival photographs.
In addition to Flemons, who performs on all tracks (vocals, 6-string guitar, resonator guitar, 4-string banjo, cow “rhythm” bones), backing musicians include Alvin “Youngblood” Hart (12-string guitar), Jimbo Mathus (mandolin, kazoo, harmonica), Stu Cole (upright bass), Brian Farrow (fiddle, upright bass, vocals), Dante Pope (cow “rhythm” bones, vocals, snare drum), and Dan Sheehy (guitarrón). Together, these musicians create a rich instrumental background for the lyrics.
Many of the songs on Black Cowboys are traditional tunes arranged and performed by Flemons, such as “John Henry y los vaqueros,” which highlights instruments with roots in African American minstrel shows like the fiddle and cow “rhythm” bones. Another track arranged by Flemons, “Black Woman,” is a field holler collected in the 1930s that has themes of ranching and leaving behind loved ones. Although it isn’t a traditional cowboy song, the song honors the thousands of African American women who helped develop the West.
From Southwestern cowboy poems like Gail Gardner’s 1917 “Tyin’ Knots in the Devil’s Tail” to Jack Thorp’s traditional cowboy tune “Little Joe the Wrangler,” the album also includes songs written by actual cowboys in the early 20th century, offering a rare look into the post-Civil War cowboy’s life.
Other tracks were newly composed by Flemons to pay homage to notable historical figures. For example, “Steel Pony Blues” is about Deadwood Dick, sometimes called “the greatest Black cowboy in the Old West,” who later became a Pullman porter, while “One Dollar Bill” is a tribute to legendary rodeo rider Bill Pickett who invented the sport of bulldogging. “He’s a Lone Ranger” recalls the life of Bass Reeves, the first African American U.S. Marshall.
In the words of professor and author Mike Searles (quoted in the liner notes), “many people see the West as the birthplace of America . . . if they understand that African Americans were cowboys, even Native Americans were cowboys, Mexicans were cowboys, it really opens the door for us to think about America as a multiethnic, multiracial place.” Black Cowboys creates a sonic portrait of a more diverse American West, expanding our knowledge through its varied collection of songs and poems by and about African American cowboys.
