Discovered by a ballad collector in the 1950s, Almeda James Riddle of Greers Ferry (Cleburne County) became a prominent figure in America’s folk music revival. Her memory of ballads, hymns, and children’s songs was one of the largest single repertories documented by folksong scholars. After two decades of concerts and recordings, she received the National Heritage Award from the National Endowment for the Arts for her contributions to the preservation of Ozark folksong traditions.
Almeda James was born on November 21, 1898, in the community of West Pangburn (Cleburne County).
Riddle was a widow caring for her mother and living near her grown children in Greers Ferry when John Quincy Wolf, the first “ballad hunter” in the area, found her in 1952. Wolf, a Batesville (Independence County) native teaching English at what is now Rhodes College in Memphis, Tennessee, realized that many of Riddle’s songs dated back to seventeenth-century Scotland, England, and Ireland. In his chance meeting with Riddle, Wolf had found a prolific tradition bearer. Thirty years later, the National Endowment for the Arts would pay tribute to Riddle as “the great lady of Ozark balladry,” noting that “she once listed a hundred songs she could call to mind right then, and later added she could name another hundred if she had the time.”
Recordings in 1959 by another folklorist, Alan Lomax, brought Riddle the first of many invitations to sing on college campuses around the country. At the age of sixty-two, after her mother’s death, Almeda found herself starting on her new career “of getting out the old songs,” as she put it, in person, in print, and on tape.
By the early 1960s, America’s folk music revival was picking up momentum. Riddle and other traditional singers and musicians were appearing at festivals literally coast to coast. She traveled by bus to Washington DC, Philadelphia, New York, and the Newport Jazz and Folk Festival, on to Yale University and Harvard University, to Montreal and Quebec in Canada, to Chicago and Minneapolis, and to the West Coast at UCLA and Berkeley. She frequently shared the stage with Doc Watson and Pete and Mike Seeger, as well as Joan Baez, Bob Dylan, and other dynamic new performers.
Young audiences heralded both the traditional songs and plain singing style of Riddle, an authentic contrast to formula lyrics, packaged sounds, and exaggerated performances from the contemporary music industry and entertainers. Asked when she herself first noticed the sea change in American music since her childhood, Riddle pointed to the popularity—and popularizing—of Elvis Presley. “Elvis was a good boy, and I liked him alright,” she admitted, “but he and others got to performing. They got out in front of the music. And performance took over music.”
With the help of folklore scholar Roger Abrahams, Riddle recorded more than 200 of her childhood favorites, fifty of which were transcribed in the book A Singer and Her Songs: Almeda Riddle’s Book of Ballads. Abraham’s book challenged the stereotype of traditional singers as uneducated hill people. To the contrary, their “high, lonesome” style was learned, and many could read music. Riddle’s own father taught at singing schools held in summers between planting and harvest. “He made us learn the round note, but the shape notes are quicker read,” Riddle said of her father. “We learned both the four and the eight note system. And anything I know the tune to,” she told Abrahams matter-of-factly, “I can put the notes to.” Read the rest of this entry »