This video was the first time I ever heard Frank Fairfield. Of course I immediately went and watched every other video and every recording I could find. I'm bummed he's not recording or performing much anymore but I hope he is living his best life and doing what works for him. He seems like such a gentle, lovely soul
I saw him live and got to be friends with another great musician Blind Boy Paxton (please check him out) who's a good friend of Franks, when I saw him, he obviously loved the music but not being in front of people, apparently he still plays, he's doing good, he just doesn't perform and that's good for him. I think he occasionally does stuff with Meredith Axelrod.
@@ryanjohnson7354 yeah it sounds like he's still active just doesn't record or perform live very much. I hear he gives lessons in the LA area and over zoom
I almost cried when i first heard this. Love it! Sounds so warm and authentic ! Way better than all the digitally arranged bullshit they produce today !
I really dig this performance, might be my favorite part of the American Epic "Sessions" episode, it's neck and neck with "Matrimonial Inclinations". By the way, the lyrics posted above are different from what he sings.
The tuning for this tune is Open Ab/G#, just tune your guitar a half-step lower than standard Open A ( Eb Ab Eb Ab C Eb), might want to match the cents to the recording as it's a wee bit flat
If the river was whiskey and I was a duck I'd dive to the bottom and I'd never come up Tell me how long have I got to wait? Can I get you now? Must I hesitate? If the river was whiskey and the banks was wine You would see me in bathing just any old time Tell me how long have I got to wait? Can I get you now? Must I hesitate? Look here, woman, what you went and you done? Caused me to love you and your manners gone Tell me how long have I got to wait? Can I get you now? Must I hesitate? Hesitatin' stockings and hesitatin' shoes Believe me, boys, I got those hesitation blues Tell me how long have I got to wait? Can I get you now? Must I hesitate? Oh wait for it, boys
1906? Charlie Poole? Where did this date come from? I thought this was the "Hesitation/Hesitating Blues" by (Scott) Middleton and (Billy) Smythe, from 1915. (Also claimed by W. C. Handy). I don't doubt Charlie Poole recorded this, but where is the 1906 date from?
Thanks! As to Hesitation Blues itself, that was kind of a hit in the early blues era. It was even a minor pop hit. So it was made on a number of early commercial records and piano rolls as well as published as sheet music. The issue with attributing composer credits to tunes this early is that the majority of the rural “folk” performers didn’t get to record until about the mid-20s, due to a combination of racism and class-ism on the part of record company executives etc. Until maybe 1915, three major record companies dominated the market due to holding down major patents and being happy to sue smaller entrants into the field: Edison, Victor and Columbia. In Europe, Pathe were also popular although much less so in the USA (although Pathe records and phonographs were made and sold over here). So nearly every artist had to go through the channels of the big 4 companies. Starting around 1915, Emerson, OKeh and other small firms sprung up which offered more opportunities. Mamie Smith’s first records in 1920 opened up the scene for Black city blues performers, although rural musicians and Black classical/salon artists were still largely rejected, excepting small Black-owned labels for the latter like Black Swan and Sea Bee records. White rural musicians similarly faced discrimination by the big city record companies until the 1920s when they suddenly saw a market and started soliciting for so-called ‘hillbilly’ groups. So it is very hard to document the actual sounds of this music before the 1920s. It is not impossible, since a handful of early (mostly homemade, and by regional companies) cylinders exist. But not easy.
It is easy for historians to fall into the trap of trying to compensate for this real historical discrimination, and ascribe the authorship of nearly every “old folk tune” to uncredited, unrecognized rural musicians. For some tunes this is true, and some people were indeed ripped off. Other tunes really did start as pop music back in the ragtime era or earlier, and were picked up and transformed by folk musicians (learning by ear, or otherwise), and then both the original published sheet music, and any commercial earlier recordings/music rolls, as well as many transformed rural performances, have both come down to us, to confound some of the scholars.
*It’s not just the executives. Of course as one will learn in this documentary and elsewhere, there were many racist groups who had a lot of power back in those days and threatened violence if certain people were given recording opportunities. So for some people it was an uphill battle just to get their music out there. This was also true for music publishing, but at least in that case it was easier to disguise or obscure the origin of the composer(s)/lyricist(s). There were some ignorant people back in the day who firmly believed that Scott Joplin was white, for example; which may be why publisher John Stark included a photo of Mr Joplin on the cover of some editions of some of his music (although composer and performer photos were customary and fairly common on sheet music in those days).
He was helping run 'Down at the Yard' (downattheyard on instagram) at his home theater, the Yard Theater, until pandemic shut everything down. Now he's offering lessons in banjo, fiddle and more to help keep their doors open: www.theyardtheater.com/music-classes
I'm sorry, this is a ham-fisted impersonation of effing Depression era senior musicians . . . exactly how is a hiptser doing an impression of a recording considered "authentic?" I mean, this is nigh RIDICULOUS, that voice is a joke!
Well Frank tends to talk like that as well as song like that so I really doubt it’s a put-on. I’ve known Frank since like 2007 and he is serious and passionate about this music. He isn’t just screwing around with it for kicks, it means something to him.
This video was the first time I ever heard Frank Fairfield. Of course I immediately went and watched every other video and every recording I could find. I'm bummed he's not recording or performing much anymore but I hope he is living his best life and doing what works for him. He seems like such a gentle, lovely soul
I saw him live and got to be friends with another great musician Blind Boy Paxton (please check him out) who's a good friend of Franks, when I saw him, he obviously loved the music but not being in front of people, apparently he still plays, he's doing good, he just doesn't perform and that's good for him. I think he occasionally does stuff with Meredith Axelrod.
@@ryanjohnson7354 yeah it sounds like he's still active just doesn't record or perform live very much. I hear he gives lessons in the LA area and over zoom
This is one of my top 3 from that album. I absolutely LOVE his voice.
Glad i got to see him before he stopped touring
This does my heart so much good I can’t take it.
This song resonates from inside my bones and forces me to buck dance
This is the aesthetic I have always longed for to make an album
He plays the toymaker in OTGW!!
He also plays the Toy Maker in SpyKids 3D.
Little known amazing movie fact
@@kgpspyguy wtf are u talking about lol
Over the Garden wall
This is what it's about !
SOOOO Beautiful!!!! I want to go down to river and play my slide.
This gave me the happy tears!
this is real music.
I almost cried when i first heard this. Love it! Sounds so warm and authentic ! Way better than all the digitally arranged bullshit they produce today !
Do you know if his guitar is tuned standard??? LOVE THIS SONG!!!!!
@@freddiearmstrong121 I think open G (DGDGBD) capo'd up at 5 to sound as C
Thanks for posting - I love this performance.
I really dig this performance, might be my favorite part of the American Epic "Sessions" episode, it's neck and neck with "Matrimonial Inclinations". By the way, the lyrics posted above are different from what he sings.
I'll have a whiskey with that :D
The tuning for this tune is Open Ab/G#, just tune your guitar a half-step lower than standard Open A ( Eb Ab Eb Ab C Eb), might want to match the cents to the recording as it's a wee bit flat
Hole-y fuk. He sounds just like Charlie! Gud Lawd!
is this a recording for a new album of frank?
when and where can i buy it? love this so much!
greez from Germany
If the river was whiskey and I was a duck
I'd dive to the bottom and I'd never come up
Tell me how long have I got to wait?
Can I get you now? Must I hesitate?
If the river was whiskey and the banks was wine
You would see me in bathing just any old time
Tell me how long have I got to wait?
Can I get you now? Must I hesitate?
Look here, woman, what you went and you done?
Caused me to love you and your manners gone
Tell me how long have I got to wait?
Can I get you now? Must I hesitate?
Hesitatin' stockings and hesitatin' shoes
Believe me, boys, I got those hesitation blues
Tell me how long have I got to wait?
Can I get you now? Must I hesitate?
Oh wait for it, boys
Anyone know what tuning the guitar is in? Open g?
Is his guitar tuned standard???? LOVE THIS VERSION!!!!!!!!!!!!
I think it's open D which is DADF#AD or possibly open G
DGDGBD
@@josephgrady2129
I think open G (DGDGBD) capo'd up at 5 to sound as C
I Am Frank Fairfield’s Cousin!
Really???????
Yes My Name Is Xavier
Please tell him that I admire his musician career! Im his number 1 Fan here in Chile!
Yes...Tell him he has a much larger fan base than he may think!!!!
AVL Overload
He owes me a lot of money;)
1906? Charlie Poole? Where did this date come from? I thought this was the "Hesitation/Hesitating Blues" by (Scott) Middleton and (Billy) Smythe, from 1915. (Also claimed by W. C. Handy). I don't doubt Charlie Poole recorded this, but where is the 1906 date from?
Nevin Well, yes you're right, but in this case the tune was copyrighted and published in 1915 by the aforementioned (now public domain).
@@andrewbarrett1537 Charlie Poole did record this Jan 23, 1930 for Columbia Records
Thanks! As to Hesitation Blues itself, that was kind of a hit in the early blues era. It was even a minor pop hit. So it was made on a number of early commercial records and piano rolls as well as published as sheet music. The issue with attributing composer credits to tunes this early is that the majority of the rural “folk” performers didn’t get to record until about the mid-20s, due to a combination of racism and class-ism on the part of record company executives etc. Until maybe 1915, three major record companies dominated the market due to holding down major patents and being happy to sue smaller entrants into the field: Edison, Victor and Columbia. In Europe, Pathe were also popular although much less so in the USA (although Pathe records and phonographs were made and sold over here). So nearly every artist had to go through the channels of the big 4 companies. Starting around 1915, Emerson, OKeh and other small firms sprung up which offered more opportunities. Mamie Smith’s first records in 1920 opened up the scene for Black city blues performers, although rural musicians and Black classical/salon artists were still largely rejected, excepting small Black-owned labels for the latter like Black Swan and Sea Bee records. White rural musicians similarly faced discrimination by the big city record companies until the 1920s when they suddenly saw a market and started soliciting for so-called ‘hillbilly’ groups. So it is very hard to document the actual sounds of this music before the 1920s. It is not impossible, since a handful of early (mostly homemade, and by regional companies) cylinders exist. But not easy.
It is easy for historians to fall into the trap of trying to compensate for this real historical discrimination, and ascribe the authorship of nearly every “old folk tune” to uncredited, unrecognized rural musicians. For some tunes this is true, and some people were indeed ripped off. Other tunes really did start as pop music back in the ragtime era or earlier, and were picked up and transformed by folk musicians (learning by ear, or otherwise), and then both the original published sheet music, and any commercial earlier recordings/music rolls, as well as many transformed rural performances, have both come down to us, to confound some of the scholars.
*It’s not just the executives. Of course as one will learn in this documentary and elsewhere, there were many racist groups who had a lot of power back in those days and threatened violence if certain people were given recording opportunities. So for some people it was an uphill battle just to get their music out there. This was also true for music publishing, but at least in that case it was easier to disguise or obscure the origin of the composer(s)/lyricist(s). There were some ignorant people back in the day who firmly believed that Scott Joplin was white, for example; which may be why publisher John Stark included a photo of Mr Joplin on the cover of some editions of some of his music (although composer and performer photos were customary and fairly common on sheet music in those days).
Is frank back to playing?! I'd heard he'd been on hiatus for one reason or another.
He was helping run 'Down at the Yard' (downattheyard on instagram) at his home theater, the Yard Theater, until pandemic shut everything down. Now he's offering lessons in banjo, fiddle and more to help keep their doors open: www.theyardtheater.com/music-classes
Anybody knows in what tuning does he play?
Whats tuning is he using? I wanna try this out on my ukelin.
Open G?
@@nev8109 You are right!!! Love this guy...
I think it’s vestapol. I’m not certain.
I've done it with G, it's gotta be capoed at the 6th fret
when was this recorded?
1928
I'm sorry, this is a ham-fisted impersonation of effing Depression era senior musicians . . . exactly how is a hiptser doing an impression of a recording considered "authentic?"
I mean, this is nigh RIDICULOUS, that voice is a joke!
Seriously.
and yet it's better than anything you've ever done
Authentic by the methods of recording, using those older machines most definitely give a warmer feeling
I don’t take anyone serious who listens to motley crue
Well Frank tends to talk like that as well as song like that so I really doubt it’s a put-on. I’ve known Frank since like 2007 and he is serious and passionate about this music. He isn’t just screwing around with it for kicks, it means something to him.