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"Man of Constant Sorrow" (also known as "I Am a Man of Constant Sorrow") is a traditional American folk song first published by Dick Burnett, a partially blind fiddler from Kentucky. It was titled "Farewell Song" in a songbook by Burnett dated to around 1913. A version recorded by Emry Arthur in 1928 gave the song its current titles.
His play on "Man of Constant Sorrow" suggests he traveled extensively, possibly through Appalachia. He is known for recording songs about being an outlaw, despite being legally blind. [ 5 ] Delta Blind Billy is not to be confused with the earlier musician, Blind Billy, who was a former slave.
"Trouble" is this earthly life; the singer looks forward to a better, heavenly, one: "Trouble will soon be over, sorrow will have an end". The singer reflects that God was a friend to the Biblical King David , and hopes for like treatment: "I'll gauge that the same God that David served will give me rest some day".
One of Emry's solos was the first recording of "I Am A Man Of Constant Sorrow," which was released on 78-rpm record in 1928. Vocalion was impressed by good sales, particularly of the religious sides, and by the fact that Emry was Southern singer living conveniently in the North, so he was invited back to record frequently through 1928 and 1929.
The title song is a variant of "Man of Constant Sorrow". The selections range from the Scottish anthem "Wild Mountain Thyme" to the Irish standards "Bold Fenian Men" and "The Prickilie Bush". The album also includes more obscure numbers, such as "Tim Evans", "Wars of Germany" and "John Riley".
All songs traditional, arranged by Judy Collins, unless otherwise noted. Side one "Golden Apples of the Sun" (lyrics by William Butler Yeats, from the poem "The Song of Wandering Aengus"; music by Judy Collins) – 3:55 "Bonnie Ship the Diamond" – 2:19 "Little Brown Dog" – 3:12 "Twelve Gates to the City" – 3:17 "Christ Child Lullaby" – 2:55
Sorrow songs expressed the suffering and unjust treatment of enslaved African Americans during the period of slavery in the United States (1619–1865). The melodies and the lyrics conveyed sadness, and the words were "stunningly direct" about what it is to be enslaved. W. E. B. Du Bois coined the name. [1]
Baez's growth was not so radical as to alienate any of her folk followers, and the album still featured several traditional folk songs of the sort that had launched her career... The introduction of less-hidebound excursions, though, did much to lighten her approach and keep her from falling into too much of a maiden-of-constant-sorrow rut." [4]