Lead Belly

All Music Guide:

Huddie Ledbetter, known as Leadbelly, was a unique figure in the American popular music of the 20th century. Ultimately, he was best remembered for a body of songs that he discovered, adapted, or wrote, including "Goodnight, Irene," "Rock Island Line," "The Midnight Special," and "Cotton Fields." But he was also an early example of a folksinger whose background had brought him into direct contact with the oral tradition by which folk music was handed down, a tradition that, by the early years of the century, already included elements of commercial popular music. Because he was an African-American, he is sometimes viewed as a blues singer, but blues (a musical form he actually predated) was only one of the styles that informed his music. He was a profound influence on folk performers of the 1940s such as Woody Guthrie and Pete Seeger, who in turn influenced the folk revival and the development of rock music from the 1960s onward, which makes his induction into the Rock & Roll Hall of Fame in 1988, early in the hall's existence, wholly appropriate.

Huddie Ledbetter was born on the Jeter Plantation near the community of Shiloh, which is in turn near the town of Mooringsport, LA. He was the only son of a sharecropper who moved his family to nearby Harrison County, TX, when the child was about five. Ledbetter attended school from the age of eight to about 12 or 13, after which he worked full-time on the farm his father had managed to buy. He had shown an early interest in music, learning the button accordion as a child and playing in the school band. He later added other instruments, eventually turning primarily to the guitar, having obtained his first one in 1903. By his teens, he was playing and singing for money at local dances. At about the age of 16, he moved to Shreveport, LA, where he lived for two years supporting himself as a performer. From the ages of about 18 to 20, he traveled around Texas and Louisiana, performing and supplementing his income as a farm worker. Falling ill, he returned home, where he recovered, married, and settled down to work as a farmer. In 1910, he and his wife moved to Dallas, TX. There, possibly around 1912, he met the young street musician Blind Lemon Jefferson, five years his junior, and the two teamed up to play around the Dallas area for the next several years. During this period, he switched from the six-string to the 12-string guitar, the instrument that became his trademark.

Ledbetter moved back to Harrison County around 1915. In June, he was arrested due to an incident the specifics of which are lost to history. Eventually, he was convicted of carrying a pistol illegally and sentenced to 30 days on a chain gang. He escaped and moved to Bowie County, TX, where he lived under the name Walter Boyd and returned to performing while also working as a sharecropper. In December 1917, he was arrested and charged with the murder of Will Stafford, the husband of one of his cousins, and with "assault to murder" another man. He was convicted of both charges, the first carrying a sentence of five to 20 years, the second two to ten years, to be served consecutively. In prison, he gained his nickname, Leadbelly, and learned many songs from inmates. In January 1924, he sang for Texas Governor Pat Neff, including a specially written song in which he asked for a pardon. As Neff reached the end of his term as governor in January 1925, he actually did pardon Leadbelly, such that, instead of serving the minimum of seven years required by his sentences, he served six years, seven months, and eight days.

Leadbelly moved to Houston initially, then returned home before settling in Mooringsport. In January 1930, he was involved in a stabbing incident that led to his being charged with "assault with intent to murder." He was convicted, given a sentence of six to ten years, and sent to Angola Prison. There he was a model prisoner, and due to budgetary restrictions brought on by the Depression, he was able to participate in an early release program. He applied for such release in June 1933 and was told that he would be released the following year if Governor O.K. Allen approved the petition.

Song collector John Lomax, in the employ of the Library of Congress, visited Angola in July 1933 with his son Alan Lomax, looking for folk songs to record. They were introduced to Leadbelly, whom they recorded. This initial session, which has not been released commercially, included a song Leadbelly called "Irene" that he had learned from an uncle. Subsequent research has demonstrated that the song was not a traditional folk song, but rather in its original form was written and published in 1886 by African-American songwriter Gussie Lord Davis under the title "Irene, Good Night." But the version taught to Leadbelly by his uncle was much altered from Davis' original.

A year passed without any action being taken on Leadbelly's petition for early release. John and Alan Lomax returned to Angola in the summer of 1934, and they recorded another session with Leadbelly. A few of these recordings were released commercially by Elektra Records in 1966 in a box set called The Library of Congress Recordings and were reissued in 1991 by Rounder Records on a CD called Midnight Special. As that title indicates, among the songs was "Midnight Special," a song Leadbelly first heard during his incarceration in Texas in the early 1920s and which he adapted. The session also included "Governor O.K. Allen," a song Leadbelly had written to encourage the governor to sign his petition of release. The Lomaxes took a record of the song to the governor's office, though there is no evidence that he actually listened to it. But on July 25, 1934, he signed Leadbelly's petition, commuting his sentence to three to ten years, and since Leadbelly had already served four and a half years, he was released on August 1, 1934. In later years, the state of Louisiana repeatedly denied the legend that Leadbelly had sung his way out of prison for a second time.

Upon his release, Leadbelly initially moved to Shreveport, but in the fall of 1934 he sought out John Lomax, who was living in Texas, and went to work for him, acting as his chauffeur and assistant on further trips to prisons in search of songs. At the Cummins Prison Farm in Arkansas, Leadbelly first heard a prisoner perform "Rock Island Line," a song he added to his repertoire and altered extensively. In the winter of 1934-1935, he accompanied Lomax north, where they made a series of appearances at academic and scholarly gatherings such as the annual meeting of the Modern Language Association (MLA) in Philadelphia and lecture-performances at Yale and Harvard. They attracted considerable media attention, including articles in major newspapers and appearances on radio and newsreel versions of Time Marches On. Leadbelly signed a management agreement with Lomax and was in turn signed for a series of recordings by the American Record Corporation (ARC), which issued records on a variety of low-priced labels and also owned the venerable Columbia Records label. The ARC recordings, 40 sides, were made in January, February, and March 1935, though ARC only released two singles at the time, with a third issued the following year. Viewing Leadbelly as a blues artist, ARC emphasized that aspect of his large repertoire, but the records did not sell well in the blues market and most of the recordings remained unissued for decades. The first extensive release of them came with the Columbia Records LP Includes Legendary Performances Never Before Released in 1970, and more of them appeared on Columbia/Legacy's King of the 12-String Guitar in 1991. During this period, Leadbelly also made more recordings for the Library of Congress, some of which appeared on the 1966 Elektra LP and on the 1991 Rounder albums Midnight Special and Gwine Dig a Hole to Put the Devil In.

In March 1935, John Lomax, who had found Leadbelly unreliable during a northeast tour, severed his relationship with the singer, and Leadbelly returned to Louisiana. There he obtained legal representation and sought more money from Lomax, and over a period of months the two worked out a settlement that allowed Lomax to use Leadbelly's songs in his book Negro Folk Songs as Sung by Lead Belly, published in 1936. In February 1936, Leadbelly moved back north, settling in New York City and attempting to build a career as a performer. From 1937 to 1939, he made more recordings for the Library of Congress at the behest of Alan Lomax, some of which have appeared on the Elektra and Rounder albums already mentioned. He was taken up by left-wing activists who increasingly used folk music as a forum for the expression of their political beliefs, and though he himself appears to have had only a limited interest in politics in general, his fervor for civil rights, expressed in such songs as "The Bourgeois Blues," concurred with theirs. He became part of a community of urban folk musicians, including Aunt Molly Jackson, Woody Guthrie, Pete Seeger, and the team of Sonny Terry & Brownie McGee, among others.

In March 1939, Leadbelly was arrested for stabbing a man in New York. While on parole before trial, he made his second set of commercial recordings for Musicraft Records, a session arranged by Alan Lomax to help pay his legal bills. The recordings were issued initially on a Musicraft album called Negro Sinful Tunes and have since been reissued by such labels as Stinson, Everest, and Collectables. Leadbelly was convicted of third-degree assault and served an eight-month sentence.

The singer was busy in 1940, appearing on the network radio series Folk Music of America and Back Where I Come From and launching his own weekly 15-minute program on local WNYC, a show that ran for a year. He also undertook his third set of commercial recordings in June, this time for RCA Victor and accompanied on some tracks by the Golden Gate Quartet. These sessions resulted in an album called The Midnight Special and Other Southern Prison Songs, released on RCA's Bluebird imprint. A 1964 compilation of the material on RCA was called Midnight Special, there was a 1989 collection called Alabama Bound, and in 2003, as part of its Secret History of Rock & Roll series, Bluebird issued When the Sun Goes Down, Vol. 5: Take This Hammer, a compilation containing all 26 tracks that were recorded. In August 1940, Leadbelly also returned to recording for the Library of Congress, and some of these tracks have turned up on the previously mentioned Elektra set as well as on the Rounder albums Gwine Dig a Hole to Put the Devil In and Let It Shine on Me (1991).

In May 1941, Leadbelly recorded his first session for Asch Records, a tiny independent label run by Moses Asch. Leadbelly went on to record extensively for Asch and its successors, Disc and Folkways, this material later reissued both by Smithsonian/Folkways (from the 1990s on) and by various small labels that acquired rights to it. In 1944, he moved to the West Coast, where he remained for the better part of two years. While there, he signed to Capitol Records and did three sessions for the label in October 1944 that resulted in a series of singles. Later, Capitol issued such compilation albums as Classics in Jazz (1953) and Leadbelly: Huddie Ledbetter's Best (1962), drawn from these sessions. Back in New York from 1946 on, Leadbelly continued to record for Folkways, his 1948 recordings later turning up on a series of LPs called Leadbelly's Last Sessions and gathered together into a four-CD box set by Smithsonian/Folkways in 1994.

By 1948, he was beginning to suffer unexplained spells of numbness in his legs, and was often forced to walk with a cane and perform sitting down. In May 1949, he toured in France, but his increasing physical difficulties led to a visit to a doctor who diagnosed him as having contracted amyotrophic lateral sclerosis (ALS), better known as Lou Gehrig's Disease, an incurable condition leading to paralysis and death. Returning to the U.S., he was able to manage a few more performances, including ones in Texas and Oklahoma in June. (The Texas show was recorded and later released by Playboy Records under the title Leadbelly, erroneously marketed as the singer's last concert.) But he was soon bedridden, and he died at 61 in December.

Leadbelly's fame began to increase almost immediately after his death. In 1950, his song "Irene," now called "Goodnight, Irene," was recorded by the Weavers, a folk group including Pete Seeger and other musicians acquainted with Leadbelly, and became a number one pop hit, with hit covers by such pop singers as Frank Sinatra and a number one country recording by Ernest Tubb and Red Foley. The Weavers then adapted a Leadbelly song called "If It Wasn't for Dickey" (itself based on the Irish folk song "Drimmer's Cow") into "Kisses Sweeter Than Wine," which they took into the Top 40 in 1951 and which Jimmie Rodgers covered for a Top Ten hit in 1957. In 1956, the Lonnie Donegan Skiffle Group reached the Top Ten in the U.K. and the U.S. with their recording of "Rock Island Line," taken directly from Leadbelly's version, setting off the British skiffle fad that inspired many later British rock stars, including the Beatles. (Johnny Cash scored a Top 40 country hit with his version in 1970.) "The Midnight Special" in Leadbelly's version had first reached the charts for the Tiny Grimes Quintet in 1948. Paul Evans had a Top 40 hit with it in 1960, and Johnny Rivers also took it into the Top 40 in 1965. Leadbelly's "Cotton Fields" (aka "Old Cotton Fields at Home") was a Top 40 hit for the Highwaymen in 1961. All of these songs have become standards. When the folk revival hit in the late '50s, its practitioners frequently covered other songs associated with Leadbelly in arrangements that recalled his.

Leadbelly's own recordings, in addition to the more legitimate reissues on Rounder, Columbia/Legacy, RCA Victor, Capitol, and Smithsonian/Folkways, have turned up on a dizzying number of labels in the CD era, especially as they have come into the public domain in Europe (where copyrights extend only 50 years). Confusing as this discography may be, it is a testament to the continuing influence of Leadbelly on contemporary music.

Wikipedia:

Huddie William Ledbetter (January 20, 1888 – December 6, 1949) was an iconic American folk and blues musician, and multi-instrumentalist, notable for his strong vocals, his virtuosity on the twelve-string guitar, and the songbook of folk standards he introduced.

He is best known as Lead Belly. Though many releases list him as "Leadbelly", he himself spelled it "Lead Belly". This is also the usage on his tombstone, as well as of the Lead Belly Foundation. In 1994 the Lead Belly Foundation contacted an authority on the history of popular music, Colin Larkin, editor of the Encyclopedia of Popular Music, to ask if the name "Leadbelly" could be altered to "Lead Belly" in the hope that other authors would follow suit and use the artist's correct appellation.

Although Lead Belly most commonly played the twelve-string, he could also play the piano, mandolin, harmonica, violin, and accordion. In some of his recordings, such as in one of his versions of the folk ballad "John Hardy", he performs on the accordion instead of the guitar. In other recordings he just sings while clapping his hands or stomping his foot.

The topics of Lead Belly's music covered a wide range of subjects, including gospel songs; blues songs about women, liquor and racism; and folk songs about cowboys, prison, work, sailors, cattle herding, and dancing. He also wrote songs concerning the newsmakers of the day, such as Franklin D. Roosevelt, Adolf Hitler, Jean Harlow, the Scottsboro Boys, and Howard Hughes.

In 2008, Lead Belly was inducted into the Louisiana Music Hall of Fame.

Biography

Early life

Born Huddie William Ledbetter on the Jeter Plantation near Mooringsport, Louisiana, the younger of two children to Sallie Brown and Wesley Ledbetter. He had an older sister named Australia. "Huddie" is pronounced "HYEW-dee" or "HUGH-dee".

Ledbetter was probably born in January 1888, though his grave marker lists his birth date as January 23, 1889. The 1900 United States Census lists "Hudy William Ledbetter" as 12 years old, and his birth date as January 20, 1888. The 1910 United States Census and the 1930 United States Census also list his birth date as January 20, 1888. In April 1942, Ledbetter filled out his World War II draft registration, listing his birth date as January 23, 1889.

His parents married on February 26, 1888, but had cohabited for several years.

When Ledbetter was five years old, the family settled in Bowie County, Texas.

By 1903, Lead Belly was already a "musicianer", a singer and guitarist of some note. He performed for nearby Shreveport audiences in St. Paul's Bottoms, a notorious red-light district there. Lead Belly began to develop his own style of music after exposure to a variety of musical influences on Shreveport's Fannin Street, a row of saloons, brothels, and dance halls in the Bottoms.

At the time of the 1910 census, Lead Belly, still officially listed as "Hudy", was living next door to his parents with his first wife, Aletha "Lethe" Henderson, who at the time of the census was 17 years old, and was, therefore, 15 at the time of their marriage in 1908. It was also there that he received his first instrument, an accordion, from his uncle, and by his early 20s, after fathering at least two children, he left home to find his living as a guitarist (and occasionally as a laborer).

Influenced by the sinking of the RMS Titanic in April 1912, he wrote the song "The Titanic", which noted the racial differences of the time. "The Titanic" was the first song he ever learned to play on a 12-string guitar, which was later to become his signature instrument. He first played it in 1912 when performing with Blind Lemon Jefferson (1897–1929) in and around Dallas, Texas. The song is about champion African-American boxer Jack Johnson's being denied passage on the Titanic due to his race — in point of fact, although Johnson was denied passage on a ship for being black, he was not denied entrance to the Titanic — with the iconic line, "Jack Johnson tried to get on board. The Captain, he says, 'I ain't haulin' no coal!' Fare thee, Titanic! Fare thee well!" Lead Belly noted that he had to leave out this verse when playing in front of white audiences.

Prison years

Ledbetter's volatile temper sometimes led him into trouble with the law. In 1915 he was convicted "of carrying a pistol" and sentenced to do time on the Harrison County chain gang, from which he escaped, finding work in nearby Bowie County under the assumed name of Walter Boyd. In January 1918 he was imprisoned a second time, this time after killing one of his relatives, Will Stafford, in a fight over a woman. In 1918 he was incarcerated in Sugar Land west of Houston, Texas, where he probably learned the song "Midnight Special". He served time in the Imperial Farm (now Central Unit) in Sugar Land. In 1925 he was pardoned and released, having served seven years, or virtually all of the minimum of his seven-to-35-year sentence, after writing a song appealing to Governor Pat Morris Neff for his freedom. Ledbetter had swayed Neff by appealing to his strong religious beliefs. That, in combination with good behavior (including entertaining by playing for the guards and fellow prisoners), was Ledbetter's ticket out of prison. It was quite a testament to his persuasive powers, as Neff had run for governor on a pledge not to issue pardons (pardon by the governor was at that time the only recourse for prisoners, since in most Southern prisons there was no provision for parole). According to Charles K. Wolfe and Kip Lornell's book, The Life and Legend of Leadbelly (1999), Neff had regularly brought guests to the prison on Sunday picnics to hear Ledbetter perform.

In 1930, Ledbetter was back in prison, after a summary trial, this time in Louisiana, for attempted homicide — he had knifed a white man in a fight. It was there, three years later (1933), that he was "discovered" by folklorists John Lomax and his then 18-year-old son Alan Lomax during a visit to the Angola Prison Farm. Deeply impressed by his vibrant tenor voice and huge repertoire, they recorded him on portable aluminum disc recording equipment for the Library of Congress. They returned to record with new and better equipment in July of the following year (1934), all in all recording hundreds of his songs. On August 1, Lead Belly was released (again having served almost all of his minimum sentence), this time after the Lomaxes had taken a petition to Louisiana Governor Oscar K. Allen at Ledbetter's urgent request. The petition was on the other side of a recording of his signature song, "Goodnight Irene". A prison official later wrote to John Lomax denying that Ledbetter's singing had anything to do with his release from Angola, and state prison records confirm that he was eligible for early release due to good behavior. For a time, however, both Ledbetter and the Lomaxes believed that the record they had taken to the governor had hastened his release from Angola.

Bob Dylan once remarked, on his XM radio show, that Ledbetter was "one of the few ex-cons who recorded a popular children’s album".

Moniker

There are several somewhat conflicting stories about how Ledbetter acquired his famous nickname, though the consensus is that it was probably while in prison. Some say his fellow inmates dubbed him "Lead Belly" as a play on his last name and reference to his physical toughness; others say he earned the name after being shot in the stomach with shotgun buckshot. Another theory has it that the name refers to his ability to drink moonshine, home-made liquor which Southern farmers, black and white, used to make to supplement their incomes. Blues singer Big Bill Broonzy thought it came from a supposed tendency to lay about as if "with a stomach weighted down by lead" in the shade when the chain gang was supposed to be working. (This seems unlikely, unless it was ironic, given his well-known capacity for hard work.) It is likely that it is simply a corruption of his surname pronounced with a southern accent. Whatever its origin, he adopted the nickname as a pseudonym while performing, and it stuck. Regarding his toughness, it is also recounted that during his second prison term, another inmate stabbed him in the neck (leaving him with a fearsome scar that he subsequently covered with a bandana), and he took the knife away and in turn almost killed his attacker with it.

Life after prison

By the time Lead Belly was released from prison, the United States was deep in the Great Depression and jobs were very scarce. In September 1934, in need of regular work in order to avoid having his release canceled, Lead Belly met with John A. Lomax and asked him to take him on as a driver. For three months he assisted the 67-year-old John Lomax in his folk song collecting in the South. (Alan Lomax was ill and did not accompany them on this trip.)

In December, Lead Belly participated in a "smoker" (group sing) at an MLA meeting in Bryn Mawr College in Pennsylvania, where John A. Lomax had a prior lecturing engagement. He was written up in the press as a convict who had sung his way out of prison. On New Year's Day, 1935, the pair arrived in New York City, where John Lomax was scheduled to meet with his publisher, Macmillan, about a new collection of folk songs. The newspapers were eager to write about the "singing convict" and Time magazine made one of its first filmed March of Time newsreels about him. Lead Belly attained fame (though not fortune).

The following week, he began recording with ARC, the race records division of Columbia Records, but these recordings achieved little commercial success. Part of the reason for the poor sales may have been because ARC insisted on releasing only his blues songs rather than the folk songs for which he would later become better known. In any case, Lead Belly continued to struggle financially. Like many performers, what income he made during his lifetime would come from touring, not from record sales.

In February 1935, he married his girlfriend, Martha Promise, who came north from Louisiana to join him.

The month of February was spent recording his and other African-American repertoire and interviews about his life with Alan Lomax for their forthcoming book, Negro Folk Songs as Sung by Lead Belly (1936). Concert appearances were slow to materialize, however, and in March 1935, Lead Belly accompanied John A. Lomax on a two-week lecture tour of colleges and universities in the Northeast, culminating at Harvard. These lectures had been scheduled before John Lomax had teamed up with Lead Belly.

At the end of the month, John Lomax decided he could no longer work with Lead Belly and gave him and Martha money to go back to Louisiana by bus. He gave Martha the money that Lead Belly had earned from three months of performing, but in installments, on the pretext that Lead Belly would drink it all if given a lump sum. From Louisiana, Lead Belly then successfully sued Lomax for the full amount and for release from his management contract with Lomax. The quarrel was very bitter and there were hard feelings on both sides. Curiously, however, in the midst of the legal wrangling Lead Belly wrote to John A. Lomax proposing that they team up together once again. It was not to be, however. The book about Lead Belly that the Lomaxes published in the fall of the following year, meanwhile, was a commercial failure.

In January 1936, Lead Belly returned to New York on his own without John Lomax for an attempted comeback. He performed twice a day at Harlem's Apollo Theater during the Easter season in a live dramatic recreation of the Time Life newsreel (itself a recreation) about his prison encounter with John A. Lomax, in which he had worn stripes, even though by this time he was no longer associated with Lomax.

Life magazine ran a three-page article titled, "Lead Belly - Bad Nigger Makes Good Minstrel", in the April 19, 1937 issue. It included a full-page, color (rare in those days) picture of him sitting on grain sacks playing his guitar and singing. Also included was a striking picture of Martha Promise (identified in the article as his manager); photos showing Lead Belly's hands playing the guitar (with the caption "these hands once killed a man"); Texas Governor Pat M. Neff; and the "ramshackle" Texas State Penitentiary. The article attributes both of his pardons to his singing of his petitions to the governors, who were so moved that they pardoned him. The article's text ends with "he... may well be on the brink of a new and prosperous period".

Lead Belly failed to stir the enthusiasm of Harlem audiences. Instead, he attained success playing at concerts and benefits for an audience of leftist folk music aficionados. He developed his own style of singing and explaining his repertoire in the context of Southern black culture, taking the hint from his previous participation in John A. Lomax's college lectures. He was especially successful with his repertoire of children's game songs (as a younger man in Louisiana he had sung regularly at children's birthday parties in the black community). He was written up as a heroic figure by the black novelist, Richard Wright, then a member of the Communist Party, in the columns of the Daily Worker, of which Wright was the Harlem editor. The two men became personal friends, though Lead Belly himself was apolitical — if anything, a supporter of Wendell Willkie, the centrist Republican candidate, for whom he wrote a campaign song.

In 1939, Lead Belly was back in jail for assault, after stabbing a man in a fight in Manhattan. Alan Lomax, then 24, took him under his wing and helped raise money for his legal expenses, dropping out of graduate school to do so. After his release (in 1940-41), Lead Belly appeared as a regular on Alan Lomax and Nicholas Ray's groundbreaking CBS radio show, Back Where I Come From, broadcast nationwide. He also appeared in night clubs with Josh White, becoming a fixture in New York City's surging folk music scene and befriending the likes of Sonny Terry, Brownie McGhee, Woody Guthrie, and a young Pete Seeger, all fellow performers on Back Where I Come From. During the first half of the decade he recorded for RCA, the Library of Congress, and for Moe Asch (future founder of Folkways Records), and in 1944 headed to California, where he recorded strong sessions for Capitol Records. Lead Belly was the first American country blues musician to see success in Europe.

In 1949 Lead Belly had a regular radio broadcast on station WNYC in New York on Sunday nights on Henrietta Yurchenko's show. Later in the year he began his first European tour with a trip to France, but fell ill before its completion, and was diagnosed with amyotrophic lateral sclerosis, or Lou Gehrig's disease. His final concert was at the University of Texas in a tribute to his former mentor, John A. Lomax, who had died the previous year. Martha also performed at that concert, singing spirituals with her husband.

Lead Belly died later that year in New York City, and was buried in the Shiloh Baptist Church cemetery in Mooringsport, 8 miles (13 km) west of Blanchard, in Caddo Parish. He is honored with a life-size statue across from the Caddo Parish Courthouse in Shreveport.

Technique

Lead Belly styled himself "King of the 12-string guitar", and despite his use of other instruments like the accordion, the most enduring image of Lead Belly as a performer is wielding his unusually large Stella twelve-string. This guitar had a slightly longer scale length than a standard guitar, slotted tuners, ladder bracing, and a trapeze-style tailpiece to resist bridge lifting.

Lead Belly played with finger picks much of the time, using a thumb pick to provide a walking bass line and occasionally to strum. This technique, combined with low tunings and heavy strings, gives many of his recordings a piano-like sound. Lead Belly's tuning is debated, but appears to be a downtuned variant of standard tuning; more than likely he tuned his guitar strings relative to one another, so that the actual notes shifted as the strings wore. Lead Belly's playing style was popularized by Pete Seeger, who adopted the twelve-string guitar in the 1950s and released an instructional LP and book using Lead Belly as an exemplar of technique.

In some of the recordings where Lead Belly accompanied himself, he would make an unusual type of grunt between his verses, best described as "Haah!" Many of his songs, such as, "Looky Looky Yonder", "Take this Hammer", "Linin' Track" and "Julie Ann Johnson" feature this unusual vocalization. Lead Belly explained that, "Every time the men say 'haah', the hammer falls. The hammer rings, and we swing, and we sing", an apparent reference to prisoners' work songs. The "haah" sound can be heard in the work chants sung by Southern railroad section workers, "gandy dancers", where it was used to coordinate the crews as they laid and maintained the tracks before modern machinery was available. (See the Wikipedia article Gandy dancers for examples of the chants.)

Legacy

Lead Belly has been covered by Delaney Davidson, Tom Russell, Lonnie Donegan, The Beach Boys, Creedence Clearwater Revival, Elvis Presley, Abba, Pete Seeger, The Weavers, Harry Belafonte, Frank Sinatra, Ram Jam, Johnny Cash, Tom Petty, Dr John, Ry Cooder, Grateful Dead, Gene Autry, Odetta, Billy Childish (who named his son Huddie), Mungo Jerry, Paul King, Led Zeppelin, Van Morrison, Michelle Shocked, Tom Waits, Scott H. Biram, Ron Sexsmith, British Sea Power, Rod Stewart, Ernest Tubb, Nick Cave and the Bad Seeds, The White Stripes, The Fall, The Doors, Smog, Old Crow Medicine Show, Spiderbait, Meat Loaf, Ministry, Raffi, Rasputina, Rory Gallagher, the Sensational Alex Harvey Band, Deer Tick, Hugh Laurie, , Bill Frisell, Koerner, Ray & Glover, Nirvana, Mark Lanegan, and WZRD, among many others.

References and notes

Sources