Barnes & Noble
Few records hit with the impact of the recordings of Harry Smith's Anthology. Released at a time when folk music was largely dominated by academics, and when copyright law was considerably less sophisticated, Smith's six-volume set was an authoritative, exceedingly quirky departure. His take on folk music didn't focus on exotic field recordings from faraway places buried in the Library of Congress archives. Instead, he culled Anthology from his own treasure trove of commercially released recordings, revealing folk music as a popular, not exotic, phenomenon. The three two-record sets gathered here as four CDs are loosely subdivided into the categories "Ballads," "Social Music," and "Songs." Some of the pieces are widely known today in one version or another -- "John Hardy," "John Henry," "Stackalee," "Frankie," and others -- as are some of the performers, including the Carter Family, Mississippi John Hurt, Dock Boggs, Blind Lemon Jefferson, Sleepy John Estes. The greater part of the artists and their songs, however, emerged from the shadows on Anthology. And there, hopefully, they shall remain, thanks to this brilliant and extensively annotated reissue of the set. Anthology also remains one of the most influential releases. The cornerstone of the folk revival of the '50s and '60s, it inspired performers like Bob Dylan and Dave Von Ronk, who knew its songs chapter and verse. Over and above that, it presented a vision of American music that had gone largely unheralded. Smith, an eccentric record collector, revealed the country's half-forgotten musical history to itself. Daniel Durchholz
All Music Guide
Originally released in 1952 as a quasi-legal set of three double LPs and reissued several times since (with varying cover art), Anthology of American Folk Music could well be the most influential document of the '50s folk revival. Many of the recordings that appeared on it had languished in obscurity for 20 years, and it proved a revelation to a new group of folkies, from Pete Seeger to John Fahey to Bob Dylan. The man that made the Anthology possible was Harry Smith, a notoriously eccentric musicologist who compiled 84 of his favorite hillbilly, gospel, blues, and Cajun performances from the late '20s and early '30s, dividing each into one of three categories: Ballads, Social Music, and Songs. Smith sequenced the three volumes with a great amount of care, placing songs on the Ballads volume in historical order (not to be confused with chronological order) so as to create an LP that traces the folk tradition, beginning with some of the earliest Childe ballads of the British Isles and ending with several story songs of the early 20th century. The cast of artists includes pioneers in several fields, from the Carter Family and Uncle Dave Macon to Blind Lemon Jefferson, Mississippi John Hurt, and the Alabama Sacred Harp Singers. Many of the most interesting selections on the Anthology, however, are taken from artists even more obscure, such as Clarence Ashley, Bascom Lamar Lunsford, and Buell Kazee. After the Anthology had been out of print for more than a decade, Smithsonian/Folkways reissued the set in a six-disc boxed set, with the original notes of Harry Smith, as well as a separate book of new reminiscences by artists influenced by the original and a wealth of material for use in CD-ROM drives. John Bush