Field Hollers

Field hollers are considered to be one of the oldest African American musical forms, originating during slavery times. It was the first music form that Black people created in America, shaping the future of many other music genres. Field hollers were born in the slave fields of the southern United States. Enslaved Africans who were forced to work on the cotton, tobacco, and rice plantations used field hollers to communicate with one another, ease their pain, and lament their condition of bondage. It was one of the only methods they had to express their feelings of sadness, frustration, hope, and joy. Field hollers were not just a form of communication or a source of comfort for the enslaved peoples. It also served as a solace for those who longed for freedom. A "holler" was a cry of pain or anguish, but it also expressed a longing for something more - for a life beyond forced servitude, for a place to call their own, for a sense of identity and belonging. The musical style of field hollers was characterized by their melody-less and rhythmless structure. The lyrics were usually improvised by the singer, and it was sung in a call-and-response format. The rhythm of the song was created by the singer's beating of his or her hands or feet on the ground to enhance the rhythm of the song. As time passed, the field hollers became more varied and complex. The Black people who had learned to play various instruments from their slave owners utilized these skills to create more sophisticated hollers. Guitars, banjos, fiddles, and other instruments were used to supplement the humanness, depth, and complexity of the messages being conveyed. Field hollers formed the foundation of many other musical genres. Blues, jazz, gospel, rock, R&B, and hip-hop were all influenced by this style. They all borrowed from the call-and-response form, and improvised lyrics and rhythms in their music creation. It wasn't until the 1930s, with the support of the Library of Congress, that this genre was recorded and preserved. Musicologists like John and Alan Lomax began to travel through the southern states, listening to Black singers perform field hollers. They recorded and cataloged them in order to preserve them for future study and appreciation. Field hollers were not just a source of entertainment or a musical form, they were also a political statement. They reflected the struggles of Black people throughout history, and their long fight for freedom and equality. They were a symbol of hope and a reminder that despite the struggles they faced, they were still people with the ability to create beauty and meaning.

Willie Dixon: A pioneering blues artist, Willie Dixon was known for his distinctive bass-heavy style of playing. His field hollers were an important influence on early rock and roll music. Lead Belly: Huddie William Ledbetter, better known as Lead Belly, was an accomplished singer, songwriter, and multi-instrumentalist. His performances of traditional field hollers were particularly notable for their emotional power and raw intensity. Mississippi John Hurt: A master of the Piedmont blues style, Mississippi John Hurt was widely respected for his ability to blend elements of folk, blues, and popular music into his field hollers. Blind Lemon Jefferson: Often credited as one of the founding fathers of the country blues style, Blind Lemon Jefferson was a flamboyant and technically skilled performer who left an indelible mark on the field holler tradition. Son House: A contemporary of legendary bluesmen like Robert Johnson and Charley Patton, Son House was known for his soulful, deeply personal field hollers that spoke to the hardships and struggles of everyday life. Elizabeth Cotten: One of the very few female artists ever recorded playing field hollers, Elizabeth Cotten's unique brand of fingerstyle guitar playing has been an inspiration to generations of musicians. Reverend Gary Davis: A towering figure in the world of fingerstyle guitar playing, Reverend Gary Davis was also an accomplished field holler performer, renowned for his ability to combine intricate picking with soulful vocalizations. Muddy Waters: Arguably the most important figure in the history of modern blues music, Muddy Waters' early field hollers fused traditional country blues with electrified instrumentation, creating a sound that still echoes through contemporary rock and roll. Lightnin' Hopkins: A prolific songwriter and performer with a raw, elemental style, Lightnin' Hopkins' atmospheric field hollers were a key influence on the development of electric blues and rock music. Robert Johnson: Though he only recorded a handful of songs before his untimely death at the age of 27, Robert Johnson's fiercely original field hollers have inspired countless musicians in the decades since his passing and continue to influence contemporary music to this day.

1. "I Shall Not Be Moved" by Mississippi John Hurt 2. "John Henry" by Paul Robeson 3. "St. James Infirmary Blues" by Louis Armstrong 4. "Bring Me My Shotgun" by Lightnin' Hopkins 5. "Gallows Pole" by Lead Belly 6. "Midnight Special" by Creedence Clearwater Revival 7. "When the Levee Breaks" by Kansas Joe McCoy and Memphis Minnie 8. "Hoochie Coochie Man" by Muddy Waters 9. "Hey, Hey" by Big Bill Broonzy 10. "Cross Road Blues" by Robert Johnson 11. "Death Letter Blues" by Son House 12. "Scrapper Blackwell" by Kokomo Arnold 13. "Moanin' at Midnight" by Howlin' Wolf 14. "Spoonful" by Willie Dixon 15. "Juke" by Little Walter 16. "I Ain't Superstitious" by Howlin' Wolf 17. "Smokestack Lightnin'" by Howlin' Wolf 18. "Maybellene" by Chuck Berry 19. "Reconsider Baby" by Lowell Fulson 20. "Statesboro Blues" by Blind Willie McTell 21. "Cotton Fields" by Lead Belly 22. "Caldonia" by Louis Jordan 23. "Driving Wheel" by Junior Parker 24. "Hide Away" by Freddie King 25. "Boogie Chillen'" by John Lee Hooker

Alan Lomax, a renowned musicologist, wrote extensively about the music of the American South, including field hollers. In “The Land Where the Blues Began,” Lomax describes the origins of field hollers as a “slave expression of anguish, anger, and desolation,” and notes that they were used as a way for slaves to communicate and express their emotions while working in the fields. He also describes the importance of field hollers in the development of blues music, writing that “the hollow, eerie sound of the field holler was the very essence of the blues.” Amiri Baraka’s “Blues People: Negro Music in White America” also delves into the history and significance of field hollers. He describes field hollers as “the rawest, most non-commercial, and probably the oldest form of black music,” and notes that their use by slaves was “central to their psychic and social survival in slavery.” Baraka emphasizes the importance of field hollers in the development of jazz and other modern styles of African American music, writing that they “provide the foundation and source of a major part of contemporary black music.” Notable quotes about field hollers can also be found from musicians and performers who have incorporated the style into their own work. Muddy Waters, a pioneer of Chicago blues, once said, “I used to hear field hollers back in Mississippi, and I tried to get that same sound on my guitar.” B.B. King, another influential blues musician, has also spoken about the influence of field hollers on his music, saying, “I think all blues players were influenced by the field holler. That’s where it all started.” In addition to their influence on blues and jazz, field hollers have also been recognized in the academic world as an important cultural and historical artifact. John Lomax, another musicologist and father of Alan Lomax, collected field hollers and other folk music on a series of Library of Congress recordings in the 1930s. These recordings have been used by researchers and historians to gain insights into the lives and experiences of African American slaves.

Field hollers were a way for enslaved people to communicate with one another and express their emotions, as well as to coordinate tasks and work rhythms. Enslaved people were forced to work long and grueling hours in the fields, and the rhythmic chanting and call-and-response structure of the songs provided a sense of community and encouragement during these difficult times. The cultural context of field hollers was deeply rooted in African traditions, which were preserved and passed down through generations. These songs were often sung in African dialects, and their rhythms and melodies were influenced by traditional African music. Many field hollers were improvised, with lyrics that reflected the everyday struggles and challenges of enslaved life. Some hollers were also used as coded messages, enabling people to communicate secretly about their plans for escape or other forms of rebellion. Several record labels were instrumental in preserving and promoting field hollers and other African American musical genres during the early 20th century. One of the most prominent was Folkways Records, founded by Moses Asch in 1948. Asch dedicated his life to documenting and preserving folk music from all over the world, and his label released numerous recordings of traditional field hollers and other African American musical forms. Notable figures in the field of ethnomusicology, such as John and Alan Lomax, also played a significant role in documenting and promoting field hollers. The Lomax family traveled throughout the American South during the 1930s and 1940s, recording hundreds of hours of traditional music, including field hollers, and publishing books and articles about their findings. In more recent years, hip hop artists have sampled and incorporated field hollers into their music, highlighting the continued importance of these traditional musical forms. For example, the Wu-Tang Clan sampled a field holler on their hit song "C.R.E.A.M." and Kanye West used a field holler sample on his 2013 album, Yeezus. The technological context of field hollers has also changed significantly over the years. Originally, these songs were sung without the aid of any instruments or recording technologies. But with the advent of audio recording technology in the early 20th century, field hollers could be captured and preserved for future generations. Today, with the proliferation of digital technologies and the internet, field hollers can be easily shared and disseminated to audiences all over the world, ensuring their continued relevance and longevity.