NRR Project: The Fairfield Four sing 'Don't Let Nobody Turn You Around' (1947)

 

“Don’t Let Nobody Turn You Around”

Traditional

Performed by the Fairfield Four

Recorded 1947

2:25

Wow. Another great group I would not have heard from save for this survey.

First, you must read Opal Louis Nations’ essay on this group at the National Recording Registry. It gives a specific and detailed history of the quartet from its beginnings in 1921 down to the present day.

The Fairfield Four represent a tradition of gospel music that is sung a capella. This unique genre can be said to have originated in 1871 with the Fisk Jubilee Singers, who first set Christian spiritual songs in multiple-part harmony, codifying a tradition that would move into Black churches everywhere across the country in the ensuing decades.

The music derived from popular hymns, termed spirituals. Gospel tunes were different: urgent, fast-paced, emotionally intense – possessed of a frantic, joyous spirit meant to infuse the listeners with a religious experience. It is song as worship. Vocal facility was encouraged; the expression was heard as an offering to God; the more beautiful, the better. Soon, expert ensembles would perform every Sunday – and then, gradually, in other contexts.

The Fairfield Four (who were five sometimes) was one of many groups who came up through exposure on the radio; this vital outlet spread their name across the country. This recording contains the amazing long-held notes of lead tenor Samuel McCrary. Here, the group chugs through the number, clearly elucidating their complex harmonies as they testify on behalf of their faith.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Louis Kaufman performs Vivaldi’s Four Seasons.

NRR Project: 'Four Saints in Three Acts' (1947)

 

“Four Saints in Three Acts”

Music by Virgil Thomson; lyrics by Gertrude Stein

Performed by Virgil Thomson et al

Premiered Feb. 7, 1934

Recorded June 1947

1 hour, 47 minutes

A whimsical piece of pure music – as its libretto makes no sense.

The author of the piece was the famous writer, American expatriate Gertrude Stein (1874-1946) She was known for her experimental, nonsensical, repetitive literary creations. She used language for its sound qualities only, meaning that her works have no plots and indeed no linearity. It consists of repeated phrases, as in the opera’s opening:

“To know to know to love her so. Four saints prepare for saints. It makes it well fish. Four saints it makes it well fish. Four saints prepare for saints it makes it well well fish it makes it well fish prepare for saints.”

And, later: “Saint Teresa seated and not standing half and half of it and not half and half of it seated and not standing surrounded and not seated and not seated and not standing and not surrounded not not surrounded and not not not seated not seated not seated not surrounded not seated and Saint Ignatius standing standing not seated Saint Teresa not standing not standing and Saint Ignatius not standing standing surrounded as if in once yesterday. In place of situations.”

She wrote the piece in 1927. In 1928, Virgil Thomson (1896-1989) set it to music. Thomson, originally from Kansas City, moved to Paris in 1925. There he studied and wrote music until 1940, when he returned to America.

Thomson set the piece for many voices, including various saints, two separate choruses, and a “Commere” and a “Compere.” The music is open and upbeat, in chords remindful of those found in hymns. Since the words make no sense, Thomson is free to create his own, quite beautiful chain of solos, duets, and choruses, liberated from the need to make sense.

The opera was first performed in 1934, utilizing a Black cast. Thirteen years later, many of the principals reunited with Thomson to record the work for posterity. It’s a pleasant if nonsensical exercise in tunefulness.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Don’t Let Nobody Turn You Around.

NRR Project: 'The Churkendoose' (1947)

 

NRR Project: “The Churkendoose”

Composed by Alec Wilder; lyrics by Ben Ross Berenberg

Performed by Ray Bolger

Recorded 1947

An amusing and sweet children’s record I’d never heard of. Read Holly Van Leuven’s essay on it at the National Recording Registry.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Four Saints in Three Acts.”

NRR Project: “Call It Stormy Monday (But Tuesday’s Just as Bad)” (Sept. 14, 1947)

 

NRR Project: “Call It Stormy Monday (But Tuesday’s Just as Bad)”

Composed by T-Bone Walker

Performed by T-Bone Walker, Lloyd C. Glenn, Bumps Myers, Teddy Buckner, Arthur Edwards, Oscar Lee Bradley

Recorded Sept. 14, 1947

2:25

T-Bone Walker was a phenomenon. Read Brian Bader’s essay on him at the National Recording Registry.

He was not the first to use the electric guitar. That honor goes to Chicagoan George Barnes, who played one his brother invented in 1931, when he was only 10 years old. Five years later, Walker was playing one in L.A. Oddly, he started off in the jazz scene there as a singer and dancer. By 1940, he was recording on electric guitar with his own small combos.

Composed and performed by himself, “Stormy Monday” is a blues standard. Walker’s cool, precise approach would influence immensely B.B. King and others.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: “The Churkendoose.”

NRR Project: Bill Monroe and 'Blue Moon of Kentucky'

 

NRR Project: “Blue Moon of Kentucky”

Composed by Bill Monroe

Performed by Bill Monroe and his Blue Grass Boys

Recorded 1947

2:06

First, read Richard D. Smith’s essay and Ricky Skaggs’ essayat the National Recording Registry. They are enthusiastic and comprehensive.

I can only approach this musical giant with awe. I mean, the guy invented bluegrass. Who else has birthed a genre?

Bill Monroe (1911-1996) got the mandolin because he was the youngest, and it was the least-valued instrument in the house. He quickly became a master of it, and began to create his own brand of music – based in old-time “hillbilly music” but fusing the best elements of blues and folk as well, melding into a new, soulful and expressive sound that proved incredibly popular.

By 1939, he was appearing on the Grand Ole Opry radio show regularly. He had a national platform for the performance of his unique craft. Bluegrass could be break-neck fast, or in this case heart-breakingly slow; it featured intertwining vocal harmonies, and bravura soloing. His enthusiastic, deeply felt intensity translated into the music and vitalized it, fascinating a generation on the radio. Soon aspiring groups in the same genre began to proliferate, creating bluegrass for further, ever-expanding mutations, fusing with jazz, avant-garde, and jam genres.

Monroe became a living legend. At least two dozen prominent bluegrass performers did time with Bill, in one way or another. His influence is still pervasive.

“Blue Moon of Kentucky” is charmingly simple, instantly memorable. In 3/4time it swings gently, meanwhile sending out a sad and forlorn “high lonesome” sound that is essential to the genre. It’s a lover’s lament, and states its case plainly. Love is gone, and the singer appeals to the heavens. The End. Its heartfelt sincerity sells it. This elemental song became a hit for Elvis Presley. Monroe re-recorded it afterwards in order to break into a similar 4/4 time passage a la Elvis. It remains his greatest achievement.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: “Call It Stormy Monday.”

NRR Project: Robert Shaw directs Bach's Mass in B minor (1947)

 

NRR Project: Mass in B-minor

Composed by Johann Sebastian Bach

Performed by Robert Shaw and the Robert Shaw Chorale

Recorded 1947

2 hours, 12 min.

This enormous work is a landmark in Western music, and Robert Shaw’s direction of this recording is rightly regarded as a landmark as well. Shaw’s comprehension of the text and his ability to evoke a vital and energized performance from any given ensemble is unparalleled.

First, read Nick Jones’ excellent essay on this piece at the National Recording Registry here. My comments can only reiterate his observations.

This was the ultimate expression of Bach’s prowess in vocal music, the summation of everything he had learned during his career. Compiled partly from previous compositions, this immense 27-movement piece runs for over two hours (its first use in an actual mass, in 2025, ran over three hours). Oddly for Bach, a staunch Lutheran, this work is in the form of a Catholic Mass.

The composer completed it near the end of his life, in the period 1748-1749, and never heard the piece performed in its entirety. In fact, the first complete performance did not take place until 1859. There were recordings of the Mass before Shaw’s, but his is considered definitive. Shaw studied the score, imposed its original instrumentation (previous incarnations were over-orchestrated) and stuck strictly to an orthodox interpretation of it. The result was issued as a 17-disc 78 r.p.m. record set.

Bach alternates large choral set-pieces with smaller solos, ensembles, and orchestral passages. To those with the time to listen to it in its entirety, it’s an out-of-body experience. Bach distills his religious experience into musical terms, and the soaring vocal lines transport the listener to a heavenly space. It feels like Bach is expressing through his music his view on God, life, reality, and everything.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Bill Monroe performs “Blue Moon of Kentucky.”

NRR Project: Churchill's "Iron Curtain" speech (March 6, 1946)

 

NRR Project: “Sinews of Peace” (aka “Iron Curtain”) speech

Written and delivered by Winston Churchill

Recorded March 6, 1946

46 min.

This speech marks the beginning of the Cold War between the Soviet Union and America and its allies.

World War II was not yet over a year when this speech was made. The United States, Britain, France, and the Soviet Union had formed a “Grand Alliance” to defeat Hitler’s Germany. Yet almost as soon as peace was declared, the USSR began to expand its sphere of influence, imposing political control on those territories it took over in the final months of fighting. Poland, Germany, Hungary, Yugoslavia, Romania, Bulgaria, Albania, and Czechoslovakia were all targeted. Russia had fought the Nazis the longest, and had suffered the most grievous losses, in the war. Now they were looking for security and influence.

Among the Allies, former British prime minister Winston Churchill was the first to observe and comment on this perceived danger. He identified the Soviet Union as the primary threat to peace and security. Therefore, he proposed an American/European alliance that would oppose the Russians. As America was presently the only country with an atomic bomb, he felt that the U.S. was the most powerful nation in the world, and the primary caretaker of freedom. He felt it necessary to urge the U.S. to impose a policy of “containment” of the Soviet threat.

Churchill, a strong anti-Communist, was invited to speak at Westminster College in Fulton, Missouri, which he did on March 5, 1946. A condition of his making the speech was the presence of U.S. President Harry S. Truman, who attended. In front of a crowd of 1,500, Chruchill made a 45-minute speech that outlined the issue and warned of coming trouble with Russia.

Churchill was blunt, avowing that he would “try to make sure with what strength I have that what has gained with so much sacrifice and suffering shall be preserved for the future glory and safety of mankind.” He identified what he saw as the two major dangers remaining to the world: “war and tyranny.”

He proposed the creation of a United Nations fighting force to keep the peace. He also proposed the close cooperation of America and England in military matters. He then addressed tyranny, stating, “We cannot be blind to the fact that the liberties enjoyed by individual citizens throughout the United States and throughout the British Empire are not valid in a considerable number of countries, some of which are very powerful. In these States control is enforced upon the common people by various kinds of all-embracing police governments to a degree which is overwhelming and contrary to every principle of democracy. The power of the State is exercised without restraint, either by dictators or by compact oligarchies operating through a privileged party and a political police force.” He was referring obliquely to the Soviets and their minions.

While professing to admire and respect the Soviets, Churchill nonetheless made this statement:

“From Stettin in the Baltic to Trieste in the Adriatic an iron curtain has descended across the Continent. Behind that line lie all the capitals of the ancient states of Central and Eastern Europe. Warsaw, Berlin, Prague, Vienna, Budapest, Belgrade, Bucharest and Sofia, all these famous cities and the populations around them lie in what I must call the Soviet sphere, and all are subject in one form or another, not only to Soviet influence but to a very high and, in some cases, increasing measure of control from Moscow.”

Despite his politic expressions, Churchill clearly named the USSR as the new opponent of the friends of freedom. “Except in the British Commonwealth and in the United States where Communism is in its infancy, the Communist parties or fifth columns constitute a growing challenge and peril to Christian civilization.”

Churchill’s proposal was to face the Soviets with military preparedness, admonishing the crowd that the only thing Stalin respected was strength. And so the terms of the future conflict, which lasted 42 years, until the dissolution of the Soviet Union, were set.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Robert Shaw leads a performance of Bach’s B-minor Mass.