Transcriber’s Notes:Words or phrases in found brackets represent unclear or
unintelligible portions of the recording. Brackets are also used to provide the reader with helpful background information about the recording. Underlined text within the transcription represents more than one person speaking at the same time.[Begins mid-song, ends at 1:21]
Fraley:[Begins speaking right after song ends, but not near the microphone,
first part of sentence unintelligible.] So they went north, and they got up in there somewhere, and there’s a rumor that the fellow went to Wisconsin and another rumor that he went into the Upper Peninsula, the country in Michigan. So Uncle Bob decided he’d go into Michigan and Billy went in to Wisconsin. Well, Billy got rich in the dairy business, and they didn’t find the fellow. They would have killed him. And Uncle Bob he got rich a raising potatoes. It was quite a story how they came out of Elliot County out of the [ruin], and possibly walked or rode horses or something all the way, I mean, up into that country right over that. [ADFraley talking in the background] I was a showing him [someone coughs, interviewer 2 talks in the background]Interviewer 2:Was he just murdered for money or?
Fraley:Yeah, yeah I think, I think that what he was meddling I think where he
had no business. The woman, he was stuck on her at the dance, what I learned not too many years back that he was courting this fellow’s wife and he way-laid him at the river and the river was up, and he was swimming a mule across the river and he shot him while he was in the water. And at first they thought he had drowned, you know, but they discovered he’d been murdered. But I was showing him the stones that Cecil had chiseled out when he was probably sixteen years old.Interviewer 2: Now that one should have been on tape.
Interviewer:I think I got it. Which stones? His head stones?
Fraley:No, no they was [crib or curb] stones at the house. I’ve got two of them
here with his initials cut in them. He’d just a of a, I guess, an artesian, you know. You had to be gifted to chisel out the stones, and then he put his name [laughs] in them, you know. And [C. Alfreda] was written on several stones, and I got one that’s got CLFR and part of the A.Interviewer:I saw that around there.
Fraley:But, well was the uncle I never seen but that fiddle was supposed to be
the fiddle, so I don’t know. So it’s just all kinds of things.Interviewer 2: So your dad reassembled it? Restored it?
Fraley:I don’t know who did it. Well, I remember the fiddle because it come
apart again when, when, before I played, Daddy took to Ashland. A fireman by the name of [Clade Pennington] put that fiddle back together. I remember that. Well, maybe it was about the time I was learning to play fiddle.Interviewer:When you were wearing the hole in the---
Fraley:In the front porch.
Interviewer:Front porch [laughs]. Sympathize with that problem.
Fraley:Well, I think I told you, that’s part of fishing. Fishing and fiddling is
just alike when it comes, you have to learn to lie or you don’t fiddle well [all laugh softly]. Same with fishing.ADFraley:Yeah, he used to fish all the time. Everybody want to know how big the
fish were he caught, and I said usually he didn’t bring them home he just tell me about it, you know that they were, so I got a board, so I told him I was going to get a board. I got me these two white work gloves and stuffed them with cotton, and I nailed them on each end of the board like this [all laugh], they one that got away.[Several people speaking at the same time.]
Fraley:They can go far away and fish, you know, Cherokee Lake, [Reel Foot], all
of these places where they can catch these big fish. Up here at Big Sandy a miner asked me if I fished. I said, “Yeah,” but I said, “It’s getting dangerous for me. I’m getting old.” He said, “Oh you are afraid you fall in?” I said, “No, I’m afraid I get drowned.” I said, “The fish are pretty big, you know, I can’t handle it no more.” He said, “How big are they?” I said, “Some of them are eight inches.” [laughs]. He said, “eight inches?” He said, “That’s not very big.” I said, “It is if you are measuring between the eyes.” [All laugh].ADFraley:I used that on the radio program here once. J.P. was fishing and they
had a jamboree down at [Buck TCR], so I went on down. They were already on the air when I went in, and [unintelligible name] looked around and said, “Here’s Annie. Where’s J.P?” You know, I said, “Well, he’s cleaning the fish that he caught. He’ll be down a little later.” And they said, “Going to take him that long to clean it?” They said, “How many did he catch?” I said, “Just one.” They said, “Going to take him that long to clean it?” This was all on the air, you know. And I said, “Yeah, it probably will.” They said, “Well, how big was it?” I said, “Oh I think about eight inches.” And they said “Eight inches! Is that all? That’s not very big.” I said, “Between the eyes?” Course that went over pretty good on the radio cause it was all impromptu [laughs].Fraley:I’ll tell y’all this; I got to tell you this. [Unintelligible name,
possibly Moralee] was raised over at Hayward, Kentucky. He was a self-taught machinist and very good. And he made dies and stuff for us at the brickyard. And anyway he was a telling me about a little pond out near Hayward that had some big fish in it. I said, “[Moralee] you are lying. There’s no big fish in that little ole pond. And I said, “Just to prove it, if they’re in there I can get them.” And so Paul Stock, a friend of mine, had come form Florida, and he gave me some scales he’d brought back, I think it was off of a [unintelligible] fish. I was as big as the scale. And he also brought me a sharp hook that I used on, I had an Old Town Canoe, and I used it with a an anchor line, you know, to tie my canoe onto a or something so I was still fishing on the river and just hook that loop around and paddle up and take it loose you know. But, oh, the hook it was like ten inches long, great big thing with a barb on it like nobody’s business. So I thought well I’ll stir Moralee up. So I took, I had these four scales, put them in the shirt pocket here you see. I mean, I just had to stuff them down there. And I was working in maintenance die setter, so when I got to the shop I took this sharp hook out and put it up in the bias and had a big, bastard file, file that barb on that hook. And Morelee, he come over, and he had these machinist glasses, kind of pulled them down, and looked at me with the glasses down at the, and he said, “What are you doing Jeep?” I said, “I’m sharpening this fish hook.” “Fish hook?, Well,” he said, “that looks like a racking bar.” I said, “No,” I said, “It’s a fish hook.” “Look,” he said, “It is, isn’t it?” He said, “What do you use for line?” I said, “ply line.” He said, “Where are you going to fish with?” I said, “Morelee, I thought you lying about them big fish over in the [truck in the background drowns out Fraley talking] I almost got one. He said, “You mean over there at Hayward?” I said, “Yeah.” He said, “Is the fish in there big enough to bite that hook?” I said, “Morelee,” I said, “Listen,” I said, “I had him hooked, but my hook was dull and I couldn’t set it.” He said, “How big was he?” I said, “It’s unknown how big he was.” I said, “I’ve got some scales off of him big enough to write a postcard on.” He said, “I don’t believe it.” So I pulled these out. They looked like a deck of cards, and he had [Parkinson’s a little bit, you know], and he took them to show them to our boss. He said, “lookie here.” He said, “Now buddy I told you there were big fish in that pond.” [All laugh]. I guess he died honestly thinking that I’d knocked the scales off of that fish with that sharp hook.[Pause, sound of microphone being moved, voices talking in background].
Interviewer:Here you are. There you go.
Fraley:All right now the tune that Annadeene and I just played was a version of
“New Money” that I learned when I was quite young. I am now, well, close to sixty-two. But when I was growing up my father run an amusement park at Hitchins, Kentucky four miles from Grayson. Hitchins was, and Leon Kentucky was a railhead for Grayson. Grayson never had a railroad. So the circuses and carnivals would come into Hitchins and they would play there with their wagons. They would have very good musicians and this was also the period of time that what we call the Negro Minstrels were going on. We get to see those. We get to see the vaudeville shows, and they would have excellent musicians. And Frank Clay played “New Money,” but somehow it didn’t impress me until I heard a fiddler. A carnival that belonged to a person by the name of [Cat Latlit] in Cincinnati, Ohio had brought this carnival in there [and the orchestra]. And this guy fascinated me, his version of “New Money.” And I can I never, the reason I didn’t like the earlier version, or the version that I’d heard before, seemingly it had a strange rhythm. You couldn’t dance to it. And the fiddler, I remember him telling my father that the reason that “New Money” was like music. He told me, he said on the chorus, he said it was almost, could cause a Negro to shuffle, shuffle back to the [unintelligible]. You could almost see it, you know. But that stuck in my mind. I’d almost forgotten it until I heard some young people playing their version of “New Money” which is different. And the high part, or what we call the fine part, it was similar to what I play. So I just started back a playing that version. [laughs].Interviewer:You were worrying with that tune when we were up here in 1977.
Fraley:Yeah, yeah.
Interviewer:That must have been the time when you were worrying with it.
Fraley:Well, you take from then back until when I was just a youngster. It’s
like it to get away. Well, for instance what happened, while I am thinking about it if I can get it going, I’ll play you a bit of the “Blackberry Blossom” the way I learned it. Then I finally learned later why it was called the “Garfield Blackberry Blossom.”Interviewer:President Garfield?
Fraley:Yeah, well he was General Garfield at the time. He played the fiddle and
that version they called “The Garfield Blackberry Blossom.” And it is different than the “Blackberry Blossom” that we normally play. The origin of what I call the new “Blackberry Blossom,” I don’t really know where it come from. Maybe it came from out west. Maybe not. I don’t know. But, well, I prefer even the sounds of the, of the “Garfield Blackberry Blossom” because it was so indicative of the type of fiddle that they used to play in Appalachia. What they call “dwelling notes’ in the tune. The relativity of “Garfield Blackberry Blossom” to “Wild Rose of the Mountain” is also quite obvious. But “Wild Rose” is played in another, in a different chord, in A and the “Garfield Blackberry Blossom” is played in G.ADFraley:Well, how about playing it.
Fraley:All right.
Fraley and ADFraley:[
1:00 --- 2:00begins playing “Garfield’s Blackberry Blossom,” starts over at 3:00Plays through end of song]ADFraley:I’m never sure on that second part whether to go to D or not, so I just
open G.Fraley: That’s quite a contrast to the “Blackberry Blossom” that most people now
days is familiar with. I just don’t know, maybe it’s because, course bluegrass had a lot to do with the “Blackberry Blossom” that we listen to today. Played driving, faster. I mean there’s no---Interviewer:It’s nerve wracking to me. It’s frenzied.
ADFraley:I admire the flat-picking. I really like that in bluegrass, but twenty
minutes of it, I mean all of it, I’m ready to go someplace else.Fraley:Well, it’s according to whose doing it [both talking], the Country
Gentleman did great with it. Don Reno and Red Smiley, Tennessee Cut-Ups. It was a different, different. I guess maybe it still borders a little bit on country. But now, now I mean really get great in bluegrass it’s appearance, the attack on the tune, and my theory is you got to learn to sing through your nostrils, preferably the left nostril [all laugh]. If you can do that---ADFraley:Well, I think the reason I like the Country Gentlemen, they went to
Library of Congress and got old songs and did this harmony on them and so forth, which made it a little bit different from what the majority of the bluegrassers were doing, so I kind of enjoyed that.Interviewer: They were presenting something that had been preserved through experience---
ADFraley:Yeah.
Interviewer:Drawing on that. That’s back to the fiddler that played
[unintelligible] of J.P’s album.Fraley:[unintelligible] He was a gifted person too. I mean with taking the old
folk tunes, we might call, out of the archives of the Smithsonian and-----ADFraley:They did things like “I Never Will Marry,” Fair and Tender Ladies,”
which I do.Interviewer:I [unintelligible] some of that with a younger fiddler more
inexperienced, not necessarily the age of the fiddler, but the time that the person’s been playing with it. Just lack of maturity. It’s just, and maybe it never will happen with some people that develop that individual feeling for. I see it as a lack of experience, immaturity in listening or something has to happen over time. You can’t just go in and turn on a light and say, “This is the way I’m going to play my fiddle.” You just don’t, that doesn’t happen.ADFraley:But don’t you feel that the individuals have come from people that have
played since they were children or something and didn’t just all at once decide to learn to play? And so the only way they had of learning was to learn of other people through records or something of that order and that was why they developed styles of the people rather than their own. But if people kind of grew up playing or had that natural talent, well they’re the ones that seem to have their individual style.Interviewer:Some people have it; some people can get it. Other people will never
have it.ADFraley:That’s true.
Interviewer:It’s kind of an observation. If you can take one person and give
them a fiddle and take another person and give them a fiddle and you’re a going to have something very different in another thirty years. I wish we had some real early tapes of your music.ADFraley:How early?
Interviewer:Oh, I’d say about those early radio [all softly talking at once].
ADFraley:We have some early American Folk Song Festival tapes or a WLW
documentary that was done, got the soundtrack from it. And that was like in sixty two or sixty three, something like that.Interviewer:Sixty two, let’s see, that’s twenty years ago. Then we would be
hearing a forty year old musician, you know. Different from twenty year old like that fellow----Fraley:Well, it’s according to what happens to you. I mean there’s a lot playing
that we should’ve done that we didn’t do, especially when we were married, first married raising babies. There’s fourteen years we didn’t touch a string.ADFraley:Well, now, we did occasionally. I know we say that, but we didn’t feel
like we did.Fraley:Wouldn’t it two or three times maybe?
ADFraley:When Willard and Shanna would come around and Willard would ask you to
play “Birdie.”Fraley:Well, yeah and it was so hard for me to play.
ADFraley:So it’d be like maybe once a year or something like that we’d borrow
and instrument. Well, he still had his fiddle I didn’t.Fraley:But it wasn’t really playing---
ADFraley:Just in the living room, you know.
Fraley:[mumbles] of course any musician would love playing for Willie. I guess
drank a little too much wine. He’d come around to the house. He’s never loud or anything, but he’d come in and say, “J.P, would you get the fiddle and play “Birdie” for me?”Interviewer:He loved “Birdie.”
Fraley:Oh he did, but I was tee-totally out of practice, couldn’t hardly play at
all. But he would sit and pat his foot and cry. I think, well you never get an audience like that, so.ADFraley:We’d play a couple more tunes and then he’d say, “You played two more
tunes, now play “Birdie” again for me.”Fraley:And he would leave.
Interviewer:So you had that time that your music was incubating somewhere. You
could say that it was there and you could come back to it. Had a different approach to it.Fraley:Well, I knew when I started playing again I would pick up on tunes that I
played, you know, years and years before. And boy, how come I remember that or something. Now what’s something else you might want to hear?Interviewer:It’s your choice.
Fraley: Fiddler’s choice.
Interviewer:A fiddler’s choice.
Fraley:What about “Whiskey Before Breakfast?”
Interviewer:All rightly, what about that tune. I had more trouble working out
the first phrase on the fine part of that, and I am still not satisfied with what I’ve got, but it fits with the time, so I just leave it alone. Every time I go past that I think I’m going to do something else with that. Nothing else has happened, but I’m planning to do something else with it.Fraley:That’s what I call fiddling, I mean when you do your own thing with the
tune. Well, you noticed, probably notice when I play “Whiskey Before Breakfast” or it’s a smooth way of playing the tune, “Saint Ann’s Reel.” They’re my own just what I feel the way that they should be, and a lot of it reflects back to the fiddlers that I heard when I was growing up. I heard the good and the bad. A lot of people, somehow or another the old time fiddler got satirized as a fiddler that couldn’t play very well or he couldn’t tone quality, he didn’t have good rhythm. Well, that’s far from being the facts because the good fiddlers they played in the church; they played everywhere, but they were fiddlers normally they didn’t read music. Some of them did. But it was easy on the ear, not foot stomping fiddle, but foot patting you might say. When you get through listening at them for three or four hours you go home a whistling, trying to whistle a fiddle tune. This is, I’ll try to give you an idea of my version of “Whiskey Before Breakfast.”[
4:00 ---- 5:00Plays “Whiskey Before Breakfast.”][Phone rings as song ends].
ADFraley:Right on cue.
Interviewer:Going to tell a good story, I know.
Fraley:Well, somebody was telling me about Joe Green and Kenny Baker at a
festival. Anyway, Joe had been down there playing some fiddle tunes for some young bluegrass pickers, you know. And he came back up where Kenny was, talking to him, Joe Green and Kenny Baker. Well, Kenny Baker he’s the finest bluegrass fiddler I’ve heard. And Joe Green is a fine fiddler. Fact of the matter, they recorded together both of them on fiddle. But when he come back Kenny said, “Where you been?” He said, “Down there playing for them kids.” And put it in a vernacular way, said he said, oh he said, “Have you played for them?” “Damn,” he said, I’m not going down there and play for them kids.” He said, “They pick it up too quick.” He said, “You play them a tune,” he said, “five minutes they’ll play it back to you.” [laughs]. That’s about the truth. They’ll steal your stuff.ADFraley:There was somebody that loved Bob Dylan songs wanting to be booked in
on the festival.Interviewer:For the Revival you’re organizing?
ADFraley:He understood when I explained it to him.
Fraley:The Folk Song Festival?
[Background voices speaking.]
Fraley:It’s funny how your mind will go blank.
ADFraley:Play “Katie Hill.”
Fraley:No.
ADFraley:I knew he wouldn’t. I just thought I’d throw that in [laughs].
Fraley:I think everybody that’s got a fiddle playing “Katie Hill.”
ADFraley:Well, about what I’ve learned to do is always aks the things he wants,
he won’t play, so that he’ll play something that I like for him to play.Interviewer:It’s the salesman technique when they ask you, “Do you want the red
one or the blue one?” And you may not want either one, but when they get you in that position then you start to wonder do I want the red one of the blue one [laughs]. So you want to play “Sally Johnson” or “Katie Hill?” [laughs]. It took me forever to catch on to that.Fraley:Hums tune. [tape is turned off and then turns back on mid conversation]
is another black tune, um southern tune, and it’s sort of like ragtime rhythm. If you, now days when you hear it you are going to hear back to the Texas version of the “Cotton Patch Rag.” But what happened, course the Texans, they play it as a rag tune, but a lot of fiddlers, I don’t think they differentiating, I know they differentiate between a hoedown and a hornpipe, a jig, a reel. They all play them, they all sound like to me a like a hoedown. There’s no difference. If I can get this dad gum “Cotton Patch” in my mind now. It’s awful easy to confuse when you’re playing like “I Don’t Love Nobody” or “New Money” because all of that is black music, and if you are not real careful you’ll get started on the wrong tune, which I will probably do.[
6:00 --- 7:00Plays “Cotton Patch.”]ADFraley:We kind of lost it there. [All laugh].
Fraley:Well, what I was trying to do was get idea of the black rag rhythm.
That’s what it is.[voices, talking about rain]
Now wait, what I wanted to do was the “Lost Indian.”
Interviewer:Oh good.
Fraley:This is Poppie’s version of “The Lost Indian,” but there’s a lot of stuff
in it I don’t do. I mean, I never did set to learn it, didn’t really, didn’t really like it, that is where you make the squalls and stuff on the fiddle [laughs]. Sound kindly [weird] to me. But now days when I hear “The Lost Indian” they’re playing, what’s that little song that Hubert used to sing [unintelligible]? And they play it that well. I mean about the mouse coming out of his hiding place and drinking the gin. And that a sort of a traditional or a folk song. “The Lost Indian,” the pattern is pretty close to that. Anyway, this, the version of “The Lost Indian” that I grew up with.[
8:00 --- 9:00Plays “The Lost Indian”]ADFraley:I didn’t know where you were on that [laughs].
Fraley:Now, let’s see. ‘The Lost Indian.”
ADFraley:“Forked Deer?” or “St. Ann’s Reel?”
Fraley:Let’s do the “St. Ann’s Reel.”
ADFraley:I’ll learn eventually.
Fraley:Years ago I worked up in Canada and I’d hear this “St. Ann’s Reel,” and
they played it around home too. Now days when you hear it, it’s a little, I guess it’s a style that they must have picked up from the records or something, up around [unintelligible] New Brunswick you would hear “St. Ann’s Reel.”[
10:00---37: 42 Plays “St. Ann’s Reel.”]Fraley:That’s quite different; I mean it’s the same tune, same melody. The same
thing also happened to a tune that you hear pretty well now in the traditional music is the “Over the Waterfall.” I know a lot of times when I play it people will stop and they’ll listen because it’s a kindly a lilting tune. The way I learned it, it’s not as harsh as you might hear.[
11:00 --- 12:00Plays “Over the Waterfall.”]Interviewer:Now we get on that one and drive it real fast and hard.
ADFraley:And did you ever hear it all night long with a whole bunch of fiddlers
when you’re trying to sleep? [All speaking at the same time.] I have gone to sleep, woke up in the middle of the night and it’s still going. Go back to sleep [Fraley plays fiddle as ADFraley speaks, voice becomes unintelligible] it’s still going. That’s why I frown when I hear “Over the Waterfall.” [Laughs].[Fraley plays as Interviewer tells story to ADFraley about dancing]
ADFraley:Well, I’ve crawled out of bed at two in the morning, get my guitar and
join a group some place.Fraley:What about “Little Beggar Man?”
Interviewer:Oh, I’d love to hear that.
Fraley:Well, it’s a red-haired bull you know. Let’s try it. I’m telling you I am
having the awful-est time that ever was [laughs].[
13:00 --- 14:00Plays “Little Beggar Boy”]Fraley:Go ahead, no I’ll listen to you.
Interviewer:I was just going to make an observation that might be real
interesting to be at a festival like Townsend where there would be fiddlers that come out of a vastly different style. And if they would they might play something that like “Little Beggar Man” or “Red-Haired Boy,” play that tune but out of their style of playing. I bet that was fun.Fraley:It happened. Well, you might as well say there was twenty-five different
styles right there that was playing. I mean, course Franklin George, he was there. I mean with his style of playing which has got a lot of I guess Scottish influence.ADFraley:There’s the one that was there that they didn’t really take to that was
fellow, the fiddle was electrified. But it was a style of fiddle.Fraley:He carried a wallop as a player. What was his name?
ADFraley:I don’t remember.
Fraley:He’s pretty popular. I read about him yet occasionally. He’s a black man.
Played blues fiddle [ADFraley speaks in background]. He’s like a snake. You go down here and start a blue note, and he’d start wiggling that fiddle seemed like it’d be up in the air that high by the time he get through. It was interesting to watch him. Well, let’s see. Now we played Irish and black and I don’t know.ADFraley:You know any white tunes?
Fraley:Yeah, I know some white tunes. What about a waltz? We’ll put “Shannon
Waltz” on there.[
15:00 --- 16:00Plays “Shannon Waltz.”]ADFraley:I like that one.
Fraley:I like that. I mean, it’s pretty good. Sometimes I don’t think she likes
the high notes.ADFraley:Well, not that part I don’t.
Fraley:But when you’re playing fiddle you don’t know really what you’re doing.
It’s unorthodox. You play, your finger positions probably be in all together different playing violin, you know. You just, always like they said, play by note or play by let-er. I just let er go [laughs]. Wherever you wind up that’s where you are and everybody got to be somewhere.ADFraley:And I play by ear, and my ear’s not always working right [all laughs].
Interviewer:Do you think it has anything to do with hours of “Over the
Waterfall” while you’re sleeping? [laughs][ADFraley talks as Fraley plays through practice notes]
Fraley:We’ll do a little bit of the “Forked Deer.” I don’t know whether I can
even touch it or not.[
17:00---49: 50 Plays “Forked Deer” stops mid song, starts again.]Fraley:Might tell you a little bit about that tune.
Interviewer:All righty.
Fraley:That tune is not one of our tunes. That come from straight from England.
That is about one of the most authentic, or original English fiddle tunes that we’ve got in America today is the “Forked Deer.” Another tune that’s pretty popular with fiddlers, they all learn it, is the “Soldier’s Joy.” The reason it was a quadrille, it come from France. And called “French Four.” Went to England. The English fiddlers called it “King’s Head.” It was called “King’s Head” until it got to America, and even here. And then it become a marching tune for the soldiers. And that’s when they got the moniker, the name, “Soldier’s Joy.” And my version, listening to some of the tunes, is kindly relative to the French fiddle, to the dance called the quadrille. Let’s try a little bit of it.[
18:00---Plays “Soldier’s Joy, stops mid song]I lose it quick. I’m having trouble. I guess it’s fiddler’s choice. I can do
what I want to can’t I? [Interviewer affirms in the background.][
19:00 ---- 20:00Plays “Soldier’s Joy.]Interviewer:“King’s Head” cause they got it?
Fraley:“King’s Head” or “French Four” or “Soldier’s Joy.”
ADFraley:Or a good jamming tune.
Interviewer:It’s a nice tune to play when there are a lot of people around
because it’s [all speak, “it’s a happy tune.] It’s hard not to join in on that tune. It’s hard not to go, oh. Although one time I think I played it twenty times in one day [laughs].Fraley:What about “Ann Marie G?”
Interviewer:Well, let’s here “Anna Marie, G.”
Fraley;I don’t know; I try to think.
[
21:00 ---- 22:00Plays “Ann Marie G.” Begins laughing, talks about laughing, starts over].Fraley:Now quit doing that!
ADFraley:What did I do? I’m just sitting here minding my own business.
[
23:00 --- 24:00Plays “Ann Marie G”]Fraley:That was that elbow fiddler I first [laughs].
ADFraley:There’s no end to the song, never any place, you can just go on and on.
Interviewer: Not with a jig.
[ADFraley beings speaking, Fraley plays practice notes].
ADFraley:A photographer fell out of a window [laughs], so he surely could have
done that.Fraley:Okay, let’s try a little bit of that [sound of perhaps a plane overheard,
people begin speaking as Fraley plays practice notes. ADFraley tells story of photographer, but much of it is unintelligible].Fraley:Seems like I keep climbing on the tune. Hit A.
ADFraley:[Plays A chord].
Fraley:Sings out notes. All right, let’s do a little bit of “Sally Goodin.” I
don’t----this is a tune I like real well.[
25:00 --- 26:00Plays “Sally Goodin.”][Everyone laughing and talking.]
Fraley:Got kind of a lonesome sound. I mean that, my version of it is not choppy.
What I am trying to get out is the notes, I mean that’s in “Cripple Creek” and
“Sally Goodin.” To me it’s simple. It’s complicated [unintelligible].[ADFraley tunes guitar]
[
27:00---- 1: 28:00Plays unnamed song, tape ends as song is being played].[1:
29:00End of recording]. 30:00