11 items found
Collection ID is exactly "1" AND Collector or Fieldworker is exactly "Stapleton, Mike, 1959-"
Sorted by Title
Aubrey Ghent and his father Henry Nelson performing sacred steel music at various events

Aubrey Ghent and his father Henry Nelson performing sacred steel music at various events

Date
1993-11-26
Description
One audio cassette recording. (Duplicate can be found on tape 5.) The first half of the tape was recorded at a House of God "Family and Friends Day Celebration" in Daytona Beach on 5 September 1993. The second half was recorded at the Ocala House of God Church #2 on 26 November 1993, and the then at the 1994 Florida Folk Festival on May 24 1994 (for entire festival performance, see D94-20 in S 1576.) On the second half, the vocals are weak. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
Collection
Aubrey Ghent performing Father in Jesus Name

Aubrey Ghent performing Father in Jesus Name

Date
1993-09-05
Description
One audio cassette recording. For more of these two, see tape 3. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
Collection
Glenn Lee performing Pass Me Not Oh Gentle Savior

Glenn Lee performing Pass Me Not Oh Gentle Savior

Date
1994-03-07
Description
One audio cassette recording. For more of Lee, see tapes 2 and 4. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
Collection
Glenn Lee performing sacred steel music with a band at a House of God church

Glenn Lee performing sacred steel music with a band at a House of God church

Date
1994-03-07
Description
One audio cassette recording. (Duplicate can be found on tape 5.) Recorded at a Church of God church (not during church services)in Perrine, Florida. The band consisted of Glenn Lee (steel guitar), Alvin Lee (bass), Benjamin Beckford (drums), and John Hampton (guitar). Excerpted from a longer recording (see tapes 18-20 in S 2044). The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
Collection
Henry Nelson performing Amazing Grace

Henry Nelson performing Amazing Grace

Date
1993-09-05
Description
One audio cassette recording. For more of Nelson, see tape 3. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
Collection
Papa Joe Arbie interview and performance for the Folk Arts Apprenticeship Program

Papa Joe Arbie interview and performance for the Folk Arts Apprenticeship Program

Date
1991-02
Description
One audio cassette. Recorded by his apprentice, Stapleton.
Collection
Recording of 45 rpm by Joe May

Recording of 45 rpm by Joe May

Date
1995-04-28
Description
One audio cassette recording. Recording of a copyrighted 45 rpm, produced by Shannon Williams for Nashboro (6813/6812). Copied by Stone in April 1995. No duplicates of this recording will be made due to copyrights issues. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
Collection
Sonny Treadway performing Hold to Gods Unchanging Hand

Sonny Treadway performing Hold to Gods Unchanging Hand

Date
1994
Description
One audio cassette recording. Rough mix recording of the song. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
Collection
Sonny Treadway performing sacred steel music with a band at a House of God church

Sonny Treadway performing sacred steel music with a band at a House of God church

Date
1994-02-20
Description
One audio cassette recording. Made during the last day of the annual State Assembly of the Jewell Dominion churches of Florida. These are excerpts from a longer recording. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
Collection
Sonny Treadway performing two takes of This is a Holy Church

Sonny Treadway performing two takes of This is a Holy Church

Date
1994-10-12
Description
One audio cassette recording. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
Collection
Identifier Title Type Subject Thumbnail
a_s2044_02_tape03Aubrey Ghent and his father Henry Nelson performing sacred steel music at various eventsSoundGuitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Festivals
Folk festivals
Special events
Church attendance
Church services
Protestants
Christianity
Churches
Religion
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s2044_02_tape09Aubrey Ghent performing Father in Jesus NameSoundFieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Churches
Religion
Christianity
Protestants
Guitarist
Singers
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s2044_02_tape10Glenn Lee performing Pass Me Not Oh Gentle SaviorSoundFieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Churches
Religion
Christianity
Protestants
Guitarist
Singers
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s2044_02_tape02Glenn Lee performing sacred steel music with a band at a House of God churchSoundGuitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Musical groups
Churches
Religion
Christianity
Protestants
Bands (Music)
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s2044_02_tape11Henry Nelson performing Amazing GraceSoundGuitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Churches
Religion
Christianity
Protestants
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s1640_22_tape33Papa Joe Arbie interview and performance for the Folk Arts Apprenticeship ProgramSoundAccordions
Cajun music
Interviews
Music--Performance
Apprentices
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s2044_02_tape17Recording of 45 rpm by Joe MaySoundGuitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Sound recordings
Religion
Christianity
Protestants
Musicians
/fpc/memory/omeka_images/thumbnails/catalog_audio.jpg
a_s2044_02_tape08Sonny Treadway performing Hold to Gods Unchanging HandSoundGuitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Churches
Religion
Christianity
Protestants
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s2044_02_tape04Sonny Treadway performing sacred steel music with a band at a House of God churchSoundGuitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Musical groups
Churches
Religion
Christianity
Protestants
Bands (Music)
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
a_s2044_02_tape07Sonny Treadway performing two takes of This is a Holy ChurchSoundGuitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Churches
Religion
Christianity
Protestants
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg