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Time Was | Echoes of Dixie

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Echoes of Dixie

by Time Was

Echoes of soldiers on the battlefield, of their wives and sweethearts waiting in the parlors, and of the parties and dances that happened in spite of, and sometimes because of the war.
Genre: Folk: Traditional Folk
Release Date: 

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  Song Share Time Download
1. (I Wish I Was In) Dixie's Land
3:36 $0.99
2. Waiting for the Federals (Seneca Square Dance)
2:11 $0.99
3. Red White & Red
3:59 $0.99
4. Bragg's Retreat (Forked Deer)/Mississippi Sawyer/I Do Like Likkr
5:06 $0.99
5. Upi-dei-di
2:23 $0.99
6. God Save the South
2:39 $0.99
7. Listen to the Mockingbird
3:14 $0.99
8. Rose of Alabama
3:15 $0.99
9. Gie Gordon's
1:47 $0.99
10. Sweet Evalina Waltz
3:26 $0.99
11. When I Saw Sweet Nellie Home
2:31 $0.99
12. Black Jack Grove
2:33 $0.99
13. Bonnie Blue Flag/Battle Cry of Freedom (Southern Version)
6:02 $0.99
14. Rose Tree/Sara Armstrong/Come Dance and Sing/Sara Armstrong
4:26 $0.99
15. Dixie
2:17 $0.99
Downloads are available as MP3-320 files.


Album Notes
Echoes of Dixie:

Echoes of Dixie: echoes of soldiers on the battlefield, of their wives and sweethearts waiting in the parlors, and of the parties and dances that happened in spite of, and sometimes because of the war.

Track information:

Dixie’s Land – Officially the words & music are attributed to Daniel Emmett, however several sources actually attribute the song to the African-American community in Emmett’s home town. It debuted April 4, 1859 at a New York City performance of Bryant’s Minstrels. In a program printed in 1861, Emmett ended the speculation as to the location of “Dixie” by saying that “to Southern Negroes ‘Dixie Land’ is but another name for ‘home.’” Dixie became so popular in the South that it was played for the inauguration of Jefferson Davis as President of the Confederate States of America, Feb. 18, 1861, in Montgomery,

Waiting for the Federals – A regional fiddle tune from Arkansas and Missouri, this tune is almost always shown with the dual titles of Waiting for the Federals and Seneca Square Dance, (aka: “Running from the Federals,” “Run Boy, Run” & “Georgia Boys”).

Red, White and Red – Originally published in Baltimore (circa 1862) as a Confederate Broadside, it was quickly considered “seditious material” by the US Government. One printing of the broadside acknowledges Y. P. Prevette, Co. E, 6th GA Reg. CSA, as the composer, while another attributes it to Mary Stevenson Hughes. The title may have been either a reference to the first national flag of the Confederacy or to the colors of “secession badges” worn by Southern sympathizers. This song lists may of the Southern victories; the “Mason & Slidell Affair” (aka “The Trent Affair”) refers to the seizure of James Mason and John Slidell from the British mail boat Trent on Nov. 8, 1861, an event which caused Britain to threaten to declare war on the US. The song also mentions the Battle of Big Bethel (June 10, 1861), the first Battle of Manassas, VA (July 21, 1861) and many of the Confederate commanders.

Bragg’s Retreat / Mississippi Sawyer / I Do Like Likker – Although more commonly known now as “Forked Deer” this song was also called Bragg’s Retreat during the war. This tune was a favorite among slave fiddlers and was published as dancing music in VA as early as 1839. It was also mentioned
in the humorous tale “The Knob Dance” in 1845. Some versions have as many as six parts; we play the more common two-part version. “Mississippi Sawyer” is a French tune originally called “Ca Ira” (which roughly translates as “Let’s Go Lynch the Aristocrats”). Written by M. Beaucourt and first sung in 1780, it later became a popular dance tune called “The Downfall of Paris.” General Layfette and Benjamin Franklin are credited with bringing the tune to America where it was commonly called “Mississippi
Sawyer,” after the boatman’s term for partially anchored “bobbing” trees. “I Do Like Likker” is a lesser
known regional fiddle tune that probably expressed the sentiments of many soldiers. Our thanks to Cathy Barton for teaching us the perfect tune to complete this dance set.

Upi-Dei-Di – This song is probably an adaptation of a British Army song. The words are attributed to A. G. Knight of the Wash. Artillary, New Orleans, 1862. It is a light hearted but true look at the annoyances and discomforts faced by the typical cavalryman. It is our tribute to Dave’s ancestor Leonidas Latham who served in Co. D, Wash. Mounted Rifles, 1st VA Cavalry.

God Save the South – Words by George H. Miles (pseudo. Earnest Halphin), music by Charles Ellerbrock (1860). This was reputed to be the first song published in the Confederacy, with nine subsequent editions. Although never officially adopted, most editions of the music proudly proclaimed it as the “National Hymn of the Confederacy.” We arranged our version from a copy of the original sheet music published by John C. Schreiners & Sons, Savannah GA, 1860.

Listen to the Mockingbird – Words by Septimus Winner (pseud. Alice Hawthorne), music by Richard Milburn (a free black barber in Philadelphia). This song (originally published 1855), quickly became popular everywhere in the US, but particularly in the South where mockingbirds were common. It was mentioned in numerous soldiers’ letters and diaries and even compared by Pres. Lincoln to “the laughter of a little girl at play.” Septimus Winner has the distinction of being the only songwriter ever to have been tried (but acquitted) for treason. (1862 for writing “Give Us Back Our Old Commander”)

Rose of Alabama – Words by S. S. Steele, music anon. First published in 1846 as a minstrel tune, it quickly became popular among soldiers’ missing wives and sweethearts.

Gie Gordon’s – Originally a traditional Scottish country dance and tune, both the tune and the associated couples dance became popular in the US. The title “Gie Gordon” probably refers to Lord Strathven who was a favorite visitor to the Court of Louis XVI.

Sweet Evelina Waltz – The song “Sweet Evelina” was originally published in New York in 1863, “as sung by all the minstrel bands,” so it is probable that this tune was written earlier. The composers were published as music by T. and the words by M. It was a very popular song among the Confederate troops and said to be a particular favorite of J. E. B. Stuart. A popular parody, “The Retreat of the Grand Army from Bull Run,” was written by Ernest Clifton. Our version was adapted from much longer piece that was published in 1865 called “Sweet Evelina Waltz” by Andrew Schad, which incorporated the minstrel tune into a drawing room piano piece.

When I Saw Sweet Nellie Home – Words by John Fletcher; music Francis Kyle. This tune first appeared in 1856 as an unauthorized transcription of a minstrel performance. In that version, the gentleman saw sweet Nellie home “from Aunt Dinah’s quilting party.” In 1859, the lyricist John Fletcher published the “official edition” in which the gentleman saw Nellie home “from an August evening party.”
It is listed as one of the 10 most popular songs of 1860 based on reported sales of sheet music.

Black Jack Grove – Traditional breakdown, regional to Kentucky. It is also our tribute to the Texas Rangers whose first established camp was named Black Jack Grove.

Bonnie Blue Flag / Southern Battle Cry of Freedom – January 9, 1861, Mississippi seceded from the Union and a blue flag with a single star (considered to be a symbol of “liberty at any cost” to Southerners since the Kemper Rebellion in 1803), was raised over the capitol. Harry McCarthy, a witness to the event, wrote the words to “Bonnie Blue Flag” and set them to a traditional Irish tune. It became one of the most popular songs of the Confederacy. The “Battle Cry of Freedom” (words and music by George Root), was first heard at a Northern recruiting rally in April, 1862, and quickly became popular on both sides of the war. The lesser known words by an anon. composer were used to turn the tune into a rarely recorded Southern favorite.

Rose Tree / Sara Armstrong / Come Dance and Sing – “Rose Tree” is a traditional Scottish dance tune originally called “Rose Tree in Full Bearing,” which first appeared in William Sheild’s opera “The Poor Soldier” (1782). It was commonly used as a reel in Scotland as early as 1788. Sara Armstrong is another regional fiddle tune. Our thanks to David Lindsey for teaching us this one. Come Dance and Sing is another Scottish reel originally called “La Belle Catharine.” Originally a favorite of fifers, it dates back to 1780 and appeared in the “Entire New and Complete Tutor for Violin” by Geminiani (circa 1837-1846).

Time Was…

David and Cheryl Turner have been performing traditional music on hammered dulcimer, mountain dulcimer, banjo, and other traditional instruments in the North Texas area since 1994, and adopted the name TIME WAS in 1998. In 2000 Mike and Brenda Jeter joined the group. Now, TIME WAS performs a mix of old time fiddle tunes, Celtic music, humorous folk and historic songs, hymns, and gospel music. Through their use of toe-tapping music, unusual instruments and amusing stories, they entertain audiences of all ages. They also like to explain the origin of both their instruments and the songs they perform. Audience participation is frequently encouraged and questions are always welcome.

They perform as a dance band at many venues across the length and breadth of Texas. They have performed at Six Flags Over Texas for over 10 years at the Texas Heritage/Best of Texas Festival, and at many other festivals and events across the region, including Oklahoma, Arkansas, and Louisiana.

Cheryl Turner is the band’s lead instrumentalist, who plays mountain dulcimer, hammered dulcimer, mandolin, and several others. She is an occasional vocalist, singing lead or harmony as the occasion dictates. Like David, Cheryl is a classically trained musician, who has performed in several symphonic band and orchestral groups.

David Turner is the lead vocalist, performing many old time favorites in a rich, deep bass voice. He also plays the banjo, mountain dulcimer and harmonica, along with other instruments. He occasionally calls a dance or two as well, so he keeps pretty busy during a show. He is a classically trained musician, who has performed in several symphonic band, orchestral, and jazz groups.

Mike Jeter accents the music with a variety of traditional percussion instruments (better known as “Mike’s Toys”), ranging from the bodhran to bones. He received his training at the true school of folk music, the “Learn-by-Doing Academy.” He is also the band’s main caller, and teaches dances common to the 1800’s time period.

Brenda Jeter is the “band’s metronome” on her string bass. She is also an occasional vocalist providing harmony when needed. In addition to the string bass, Brenda can also be found playing either a mountain or hammered dulcimer.

Jenny Turner is the most recent addition to TIME WAS. She splits her time between percussion and hammered dulcimer; and now college.



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