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Moran Lee "Dock" Boggs (February 7, 1898 – February 7, 1971) was an American old-time singer, songwriter, and banjo player. His style of banjo playing, as well as his singing, is considered a unique combination of Appalachian folk music and African-American blues .
Country blues 1920s banjo player Moran Lee "Dock" Boggs recorded the song in 1963 after his 'rediscovery' during the Folk Music Revival. [8] A recording from the 1938 National Folk Festival in Washington, D.C. by an unknown singer is held by the Library of Congress. [9]
He sang it while playing his guitar and accompanied by banjoist Dock Boggs. [19] The record was released by Vocalion Records (Vo 5208) and sold well, [ 20 ] and he recorded it again in 1931. [ 21 ] As the first released recording of the song, its melody and lyrics formed the basis for subsequent versions and variations. [ 5 ]
The song has been performed by numerous artists from the 1920s through the present, including (in alphabetical order) Tom Adams, [1] Clarence "Tom" Ashley, Long John Baldry, Bobby Bare, Leon Bibb, Norman Blake, Billy Strings, Dock Boggs, Jimmy Bowen, The Carter Family, Billy Childish, Roy Clark, Michael Cleveland, The Coachmen, Fred Cockerham, Country Gazette, The Country Gentlemen, The ...
"Cumberland Gap" is most commonly played on fiddle, guitar or banjo. The banjo tuning, f#BEAD, used by Dock Boggs, Hobart Smith, and Kyle Creed, is sometimes called the "Cumberland Gap tuning". It allows banjo players to play the tune in D, the same as a fiddler would, by extending the bass range of the instrument.
Trouble in Mind: The Doc Watson Country Blues Collection (or simply Trouble in Mind) is the title of a recording by American folk music and country blues artist Doc Watson, released in 2003. It contains recordings by Watson in the country blues style.
Early African-American vocal music, probably the ancestor of blues music, [24] brought harmonic (third and seventh blue notes, and sliding tones) and verbal dexterity to Appalachian music, and many early Appalachian musicians, such as Dock Boggs and Hobart Smith, recalled being greatly influenced by watching black musicians perform at the ...
Country blues ran parallel to urban blues, which was popular in cities. [2] Historian Elijah Wald notes many similarities between blues, bluegrass, and country & western styles with roots in the American south. [3] Record labels in the 1920s and 1930s carefully segregated musicians and defined styles for racially targeted audiences. [4]