Derek Piotr's final part of the "Bare family trilogy" again presents a selection of roughly recorded folk songs that highlight the resilience of American folk traditions.
Piotr's collections have been often difficult to absorb, but crucial documents of music that's as unpolished as it is historically essential. This one combines recordings from 1939 in Tennessee and North Carolina with more recent recordings - made by Piotr himself - from earlier this year in North Carolina. Like the previous installments in the trilogy, "Come, Let Us Sing" offers a different story of US folk music, focusing completely on near-acapella recordings of the Bare family, whose cracking sentimental renditions are strangely transfixing.
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Derek Piotr's final part of the "Bare family trilogy" again presents a selection of roughly recorded folk songs that highlight the resilience of American folk traditions.
Piotr's collections have been often difficult to absorb, but crucial documents of music that's as unpolished as it is historically essential. This one combines recordings from 1939 in Tennessee and North Carolina with more recent recordings - made by Piotr himself - from earlier this year in North Carolina. Like the previous installments in the trilogy, "Come, Let Us Sing" offers a different story of US folk music, focusing completely on near-acapella recordings of the Bare family, whose cracking sentimental renditions are strangely transfixing.
Derek Piotr's final part of the "Bare family trilogy" again presents a selection of roughly recorded folk songs that highlight the resilience of American folk traditions.
Piotr's collections have been often difficult to absorb, but crucial documents of music that's as unpolished as it is historically essential. This one combines recordings from 1939 in Tennessee and North Carolina with more recent recordings - made by Piotr himself - from earlier this year in North Carolina. Like the previous installments in the trilogy, "Come, Let Us Sing" offers a different story of US folk music, focusing completely on near-acapella recordings of the Bare family, whose cracking sentimental renditions are strangely transfixing.
Derek Piotr's final part of the "Bare family trilogy" again presents a selection of roughly recorded folk songs that highlight the resilience of American folk traditions.
Piotr's collections have been often difficult to absorb, but crucial documents of music that's as unpolished as it is historically essential. This one combines recordings from 1939 in Tennessee and North Carolina with more recent recordings - made by Piotr himself - from earlier this year in North Carolina. Like the previous installments in the trilogy, "Come, Let Us Sing" offers a different story of US folk music, focusing completely on near-acapella recordings of the Bare family, whose cracking sentimental renditions are strangely transfixing.
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Derek Piotr's final part of the "Bare family trilogy" again presents a selection of roughly recorded folk songs that highlight the resilience of American folk traditions.
Piotr's collections have been often difficult to absorb, but crucial documents of music that's as unpolished as it is historically essential. This one combines recordings from 1939 in Tennessee and North Carolina with more recent recordings - made by Piotr himself - from earlier this year in North Carolina. Like the previous installments in the trilogy, "Come, Let Us Sing" offers a different story of US folk music, focusing completely on near-acapella recordings of the Bare family, whose cracking sentimental renditions are strangely transfixing.