![]() Snowtape partners with Last.fm to provide you album artwork and additional album metadata. With the track editor you can cut out any piece of audio that you don’t like with the added convenience that potential commercials or interludes can be identified. This is to remove the unwanted part of the recordings. Just click the record button while listening to your favorite station and the recording starts instantly.Ī great addition is that you can cut the recordings from the ends as much as you like. There is also a favorite list available to keep the list of your favorite stations in track. You can select from thousands of radio stations to listen to and add the desired songs to your iTunes playlist. Listen to your favorites songs that are on Radio You can try Snowtape for free to fill up your iPhone or iPod. Snowtape requires Mac OS X 10.5.2 (or above), Intel- or PowerPC- based Mac with Broadband internet connection. It is an excellent product that has taken internet radio to a whole new level. " John Henry Was a Little Boy" - J.E.Snowtape is the most simple and convenient way to download internet radio for Mac OS X users."Adieu False Heart" - Arthur Smith Trio - 2:51." Down on the Banks of the Ohio" - Blue Sky Boys - 3:20." Black Jack David" - Carter Family - 2:41."Dog and Gun " - Bradley Kincaid - 3:25."Memphis Shakedown" - Memphis Jug Band - 3:04.It's another essential, timeless piece of the Americana puzzle, fitting nicely into the incomparable picture Smith painted." Track listing Disc one Fans can only hope that such key points of musical evolution will be displayed in future volumes, but as it stands, the 28 mostly Depression-era songs on Volume Four run the gamut from labor anthems to fiddle bands to ballads to blues to black gospel. As Spottswood notes, the two-disc set ignores several country developments, as well as the conspicuous invention of the electric guitar in the '30s. Club review, Joshua Klein wrote "Volume Four (Smith had originally promised six) is stylistically akin to the first three, with some of the artists from the earlier volumes making encore performances. At 28 songs spread over two CDs, it's a little shorter than might be expected for a box set, though as compensation, it's enclosed in a pretty incredible 96-page liner-note-sized hardcover book with writing by Dick Spottswood and John Fahey." A few of these songs are archetypes that have burned their way into the American collective musical consciousness: John Estes' "Milk Cow Blues," the Carter Family's "No Depression in Heaven," Joe Williams' "Baby Please Don't Go," and the Monroe Brothers' "Nine Pound Hammer Is Too Heavy." Other less famous performances are quite intriguing. ![]() Lead Belly, Robert Johnson, Joe Williams, Bukka White, Memphis Minnie, and John Estes are all major blues artists the Monroe Brothers, the Carter Family, Uncle Dave Macon, and the Blue Sky Boys all giant country/bluegrass pioneers and the Hackberry Ramblers are one of the pre-eminent Cajun groups. Writing for Allmusic, critic Richie Unterberger wrote of the album "It does differ from the first three volumes in its focus on a slightly later period, with all the tracks culled from the years 1928–1940. Reception Professional ratings Review scores Smith included material released as late as 1940, with a selection of union songs making their first appearances for an Anthology set. Unlike the first set, Smith did not choose the selections for this set strictly from between "1927, when electronic recording made possible accurate music reproduction, and 1932, when the Depression halted folk music sales." As a companion to his three two-album volumes from the original Anthology of American Folk Music categorized by Ballads, Social Music, and Songs, Smith chose "Labor Songs" as this volume's organizing principle. The extensive liner notes presented in a hardcover book were written by Dick Spottswood and John Fahey. Revenant Records worked with the Harry Smith Archive to recreate and release the fourth volume, associated by Smith with the classical element of earth. In 1972, Moses Asch, interviewed by Sing Out! magazine, claimed that tapes for two additional volumes of the project had survived, although the documentation necessary to make a meaningful release of the volumes had been lost. The original anthology jump-started the folk music revival of the 1950s.
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