Pick A Bale O' Cotton (Hoe Down) - Sonny Terry, Brownie McGee
Li'l Gal, Li'l Gal (Game Song) - Bessie Jones
Go To Sleepy (Lullaby) - Harry Belafonte
I Got 'Em (Street Cry) - Valentine Pringle
Hambone, Hambone (Children's Pattin') - Tyrone Cooper
Watermelon Man (Blues) - Ned Wright
Fare Thee Well, Oh Honey (Blues) - Gloria Lynne
Blackberry Woman (Street Cry) - Lillian Hayman
Easy Rider Blues (Blues) - Joe Williams
Oh, Johnny Brown (Ring Game) - Sharon G. Williams
I Got 'Em (Street Cry) - Valentine Pringle
Black Woman (Blues) - Brownie McGee
Watermelon Man (Street Cry) - Ned Wright
Track Listings (12) - Disc #4
Let The Deal Go Down - Godfrey Cambridge, Joe Crofford, Brownie McGee
Betty and Dupree - Joe Williams
Eas' Man - Leon Bibb
John Henry - Valentine Pringle
Boll Weevil - Harry Belafonte, Al Shackman
Stagolee - Cortez Franklin, Lennie Pogan
Joe Turner Blues - Gloria Lynne, Herman Foster
Honey Take A Whiff On Me - Ben Carter, Lennie Pogan
Go 'Long Muley
My Baby In A Guinea Blue Gown
Dat Liar - Milton Grayson
Finale
Track Listings (11) - Disc #5
Ho Boys Cancha Line 'Em? - Valentine Pringle
Good Ir'n - Harry Belafonte
Go On Ol' Gator
Doncha Hear Yo' Po' Mother Callin'?
River Sounding Chant - Charles Colman, William Eaton
Nobody's Business Lord But Mine - Harry Belafonte
My God Is A Rock - Harry Belafonte
We Are Climbin' Jacob's Ladder
I Am So Glad - Harry Belafonte
I'll Never Turn Back, No Mo' (and excerpt from Dr. King speech) - Irving Barnes, Dr. Martin Luther King, Jr.
Lord, I Don't Feel Noways Tired - Howard Roberts
Decades after its conception, Harry Belafonte's enormously ambitious project has come to a rewarding fruition with the release of this lovingly produced and beautifully packaged collection. Between 1961 and 1971, Belafonte... more » sought to create a comprehensive document of what he calls "African-matrixed music": "African rooted, Africa as origin, evolved from an original African form." The rough timeframe Belafonte follows begins with the arrival of blacks in America in the early 17th century and ends at the dawn of the recording age. Yet this five-disc set (with a bonus "making of" DVD) amounts to so much more than a musical history; it is, instead, a detailed sociopolitical history of the people who created this music and a journey following the evolution of black culture from the time that the diaspora left Africa for the New World. Disc 1 offers tribal chants, shouts, and spirituals while the second disc explores the slavery era through the Civil War. Disc 3 looks at postwar sounds both urban and rural while the fourth disc crosses into the next century as the street cries and mountain hollers morph into folk ballads, gritty blues, and minstrel shows--the roots of popular music as we know it today. The final disc includes songs of work and songs of worship, the practical tools of survival for African Americans in troubled times. The sounds found across these discs are faithful re-creations featuring a large cast that includes the likes of Belafonte, Bessie Jones, Sonny Terry and Brownie McGhee, and Joe Williams. The lovely 140-page hardbound book includes extensive notes and provocative essays, as well as stunning photos plus artwork by Charles White. To be sure, this is not easy listening and those looking for your basic "roots music" collection will be disappointed. Rather, this is really a fascinating exploration of the roots of roots music. --Marc Greilsamer« less
Decades after its conception, Harry Belafonte's enormously ambitious project has come to a rewarding fruition with the release of this lovingly produced and beautifully packaged collection. Between 1961 and 1971, Belafonte sought to create a comprehensive document of what he calls "African-matrixed music": "African rooted, Africa as origin, evolved from an original African form." The rough timeframe Belafonte follows begins with the arrival of blacks in America in the early 17th century and ends at the dawn of the recording age. Yet this five-disc set (with a bonus "making of" DVD) amounts to so much more than a musical history; it is, instead, a detailed sociopolitical history of the people who created this music and a journey following the evolution of black culture from the time that the diaspora left Africa for the New World. Disc 1 offers tribal chants, shouts, and spirituals while the second disc explores the slavery era through the Civil War. Disc 3 looks at postwar sounds both urban and rural while the fourth disc crosses into the next century as the street cries and mountain hollers morph into folk ballads, gritty blues, and minstrel shows--the roots of popular music as we know it today. The final disc includes songs of work and songs of worship, the practical tools of survival for African Americans in troubled times. The sounds found across these discs are faithful re-creations featuring a large cast that includes the likes of Belafonte, Bessie Jones, Sonny Terry and Brownie McGhee, and Joe Williams. The lovely 140-page hardbound book includes extensive notes and provocative essays, as well as stunning photos plus artwork by Charles White. To be sure, this is not easy listening and those looking for your basic "roots music" collection will be disappointed. Rather, this is really a fascinating exploration of the roots of roots music. --Marc Greilsamer
merlthepearl | thousand oaks, CA United States | 09/25/2001
(3 out of 5 stars)
"The packaging of this set is absolutely top notch. The highest quality materials were used in its construction and the book is superb.However, from a musical standpoint, I found it very hard to listen to (and I am quite open minded, musically; a big fan of "the Anthology of American Folk Music").I had expected much more rootsy music...field recordings and the like ala Lomax. However, all of the music on these dics was recorded by Belafonte in a studio in New York and involves many religeous chants, work hollers and childrens songs. A good deal of this set is simply sung a cappella. The selections that I enjoyed most are the ones that have some instrumentaion (mostly drums and hand clapping). There are a few numbers that have additional instrumentation as well.Overall, while I feel it is worth owning as a historical multimedia document of the black experience in America, I know I will listen to it seldom, if at all, because you REALLY have to be in the mood for it. If you are looking for a more accessable documentation of black music, I would recommend that you look at a collection called "Sounds of the South" which has a lot of great field recordings made by Alan Lomax.The overall effect of "The Long Road to Freedom" is like walking through a slavery exhibit at a museum...educational and interesting, but ultimately, in my opinion, not overly satisfying from a musical standpoint."
Wonderful job of recovering history while being historical
Fred McGhee | Austin, TX | 03/05/2002
(5 out of 5 stars)
"Job well done. The scope of this music is as comprehensive as anything out there. One of the great things about this collection is that it is broad in scope yet surprisingly accessible. These CD's are great teaching tools, and are also surprisingly ENTERTAINING at the same time. In that regard alone they are a wonderful testament of and to the Black experience. But they are far more than just this. The engineers working on this record also did a terrific job; the sound quality is exceptional... You will be challenged, educated, excited, entertained, enriched, and uplifted by these amazing and stirring songs.No, these are not the Lomax field recordings. If you read the book accompanying the five CD's you'll find out why these recordings weren't done in the field. I'm glad they made the decision that they did; for the most part they brought the field into the (now historic) studio.These songs will make Black people immensely proud of their heritage, and will give others a fine appreciation of the Black experience in America and elsewhere..."
A gift to us all
AfroAmericanHeritage | Wisconsin | 01/07/2002
(5 out of 5 stars)
"What a gift this is to all of us! Researched and recorded between 1961 and 1971, this collection traces the
history of black music from the late 1600's to the 20th Century. It covers the roots of African music,
chants, shouts and early spirituals, Louisiana Creole music and a re-creation of a slave Christmas, songs
from the Underground Railroad and Civil War era, rural and urban roots music, game and children's
songs, work songs, minstrel songs...you name it, it's here.As one who has spent innumerable hours straining to decipher old recordings, I must say that
Belafonte and crew have done a fantastic job of bringing the music to life, creating a sound that is both
satisfying to the modern ear, yet authentic and respectful to the original material. (The music has NOT, for
example, been modernized stylistically. Hurrah for that!) Belafonte simply captured in a modern era what
might have been captured in, say, 1866 had modern recording equipment been available."
American history, not just black history
Mochagoth | New York, NY | 12/27/2005
(5 out of 5 stars)
"My boyfriend gave me this collection last year. He's a musicanwith a deep love of all roots music. I'm black; he's white. We listened to this together and we both found it to be a revelation.
If you are looking for field recordings, this is not the collection for you. The sound is not quaint and tinny (although I love those recordings too). Instead, this is a collection that shows how 'black' music (that is, music from the African Diaspora to America) changed and grew over time, and produced sounds that we still hear today. The selection ranges from Louisiana Creole (the ancestor to today's Zydeco) to Civil War tunes (contrary to the information you'll find on the web and other places, not all black Civil War music was in dialect, and the marching songs are rousing in their patriotism and pride), to good-time music (the ancestor to hip-hop, R&B, and modern pop). The most disturbing piece is the slave sermon, which should probably be played in every classroom in America during discussions of the Revolutionary War, which is followed by a worship service similar to the types held by slaves in private, and acts as a good counterbalance to the prior piece.
My boyfriend and I found ourselves bonding over the Civil War music, as he is an avid bagpiper and very much into Celtic culture. We talked about the roles of Irish and black soldiers in the Civil War and what they had in common in terms of not being viewed as human by most of society. We also enjoyed hearing people like Brownie Magee, not on a fuzzy old recording, but in a living, vibrant fashion.
People who think that 'black music' is only for black people must also think only Italians should listen to opera and that Jimi Hendrix wasn't really a rock musician. This is _American_ music, and as such, should be in the collections of anyone interested in American history, 20th century music, or African-American culture. American music has had a variety of influences, and these recordings could help younger people and even a lot of adults become interested in music history, just as did 'Down From the Mountain'. In many ways, this music is more 'roots' music than anything in ' O Brother, Where Art Thou?', because it truly tries to go back to the source. As an anthropologist I might quibble over the inclusion of the African section without qualifying it as possibly being ahistorical (we don't actually know if those exact songs were sung in the time before slavery, but it's likely that are similar ones contemporary to the time), but other than that, I'm very happy. For once we have a music collection that does not focus solely on slavery and misery. There's a lot of joy and hope here, and a strong sense of reliance, which is perhaps the best trait that Americans have as a whole."
Bigger than just a "black thing"
t-boogie | Brooklyn, NY United States | 02/26/2004
(5 out of 5 stars)
"There are lots of reviews or word of mouth on this CD box set that, quite frankly, focuses on all the wrong things. To pigeonhole this box set a "must for black families" vastly understates the raw power and broad appeal of this collection. This box set is bigger than that; it's much more than just a quaint time capsule for blacks to listen to. It's fun, entertaining, and can go toe-to-toe with any of the best new music releases out there right now.This music is basically the foundation of ALL popular music celebrated in the Western world today. Rock, Top 40 Pop, Salsa, Gospel, Blues, R&B, Hip-hop, Country, Bluegrass, they ALL owe an immeasurable debt to the music and culture brought over to the Western hemisphere by African slaves. The collection starts with African chants and tribal music, and some of the instrumental and vocal arrangements could easily be from modern pop music. As it moves from the African black music experience over to the early Black American music experience, it's easy to hear how African music evolved in America to become the modern American pop, rock, hip-hop and R&B music we know today. People always mention how African music is the roots of pop, rock, soul and Afro-latin music, but this collection really drives the point home when you listen to old tribal music and hear beats and vocals that sound uncannily like those heard in today's modern music genres. There is no modern popular genre that doesn't owe a great debt to African-based musical sensibilities, and although we hear it said all the time, this box set actually illustrates the point better than a million articles and academic speeches ever could.This collection is more than a history lesson or a source of pride for blacks. That almost makes it sound cold and academic. This collection has WARMTH and personality; it's great entertainment and just plain incredible music. Listen to it regardless of your race, political orientation, or ideology. Buy it and enjoy it because you love good music and want to hear the roots of it straight from the source, not just as a source of racial pride or as an acedmic study in music history."