Chuck Stewart’s photography provided by Fireball Entertainment Group, courtesy of Chuck Stewart Photographs of John Coltrane, Archives Center, National Museum of American History, Smithsonian Institution
Sarah Bryan is a folklorist originally from Myrtle Beach, South Carolina. She is the coauthor of African American Music Trails of Eastern North Carolina and the book/CD set Lead Kindly Light. She directs the North Carolina Folklife Institute and edits the Old-Time Herald, a magazine about traditional string band music.
A Points South essay from the North Carolina Music Issue.
Around the close of the 1950s, if you wanted to hear the beginnings of the funk music that James Brown would soon introduce to the world, you wouldn’t find much of it on his records. Brown’s late- ’50s recordings with the Famous Flames, like his plaintive “Try Me” and the shatteringly sweet “I Want You So Bad,” are indisputably cool, and they spill over with the vocal histrionics that would characterize his performance style for decades to come. But the overall aesthetic of his music from that era is still redolent of doo-wop and ducktails. He’d only just begun to take some sandpaper to the smooth sheen of ’50s pop music.
No, if you wanted to hear funk music before 1960, your best bet might be the Maola Ice Cream talent show in Kinston, North Carolina.
A Points South essay from our 18th Southern Music Issue: Visions of the Blues.
The spirit of Southern outsider music has taken partial possession of many artists through the years—Charlie Feathers comes to mind, as do Link Wray, Hasil Adkins, and the train-obsessed 1920s banjo player Willard Hodgins. But as a fully realized manifestation—eccentricity expressed as bizarre and beautiful words and sounds—that spirit was at least thrice incarnate in the twentieth century: in the persons of Tennessee ballad singer Hamper McBee, Georgia banjo player Abner Jay, and Guitar Shorty of Elm City, North Carolina.