Sarah Ogan Gunning (June 28, 1910 – November 14, 1983) was an American singer and songwriter from the coal mining country of eastern Kentucky, as were her older half-sister Aunt Molly Jackson and her brother Jim Garland.
She was born Sarah Elizabeth Garland on June 28, 1910, in Bell County, Kentucky. Her father was coal miner Oliver Perry Garland and her mother Sarah Elizabeth Lucas Garland, his second wife. He had earlier married Deborah Robinson Garland who bore four children, including Mary Magdalene Garland, later better known as Aunt Molly Jackson. After Deborah's death, Oliver married Sarah Lucas, and had eleven more children, including Jim Garland and Sarah Ogan Gunning. The children grew up with little formal education but with strong family ties and a rich tradition of songs and stories.
In 1925 the fifteen-year-old Sarah fell in love with Andrew Ogan, a twenty-year-old from Claiborne County, Tennessee, who had come to work in the Fox Ridge coal mine in Bell County, Kentucky. They eloped to Cumberland Gap to marry. They had four children, two of whom died of starvation during the Depression. Living conditions were bad in eastern Kentucky by 1931, and many miners responded to the retreat of the United Mine Workers by joining the communist-led National Miners Union (NMU). The ensuing violence and controversy pushed many NMU leaders and persons involved in union activity, including Ogan and her half-sister Aunt Molly Jackson, to leave the state.
By 1935 the Garlands and the Ogans had moved to New York City, with assistance from New York University folklorist Mary Elizabeth Barnicle. In New York, they met many leaders of the folksong revival, including Woody Guthrie, Pete Seeger, Burl Ives, Huddie Ledbetter, and Earl Robinson. But Andrew Ogan had TB, and when the illness worsened he moved back to Brush Creek in Knox County, Kentucky, where he died in August 1938. Sarah herself was frequently ill during this period but managed to survive New York's privation. She married Joseph Gunning, a skilled metal polisher, in August 1941. After the start of World War II they moved to work in the shipyard in Vancouver, Washington, where her brother Jim Garland had also found work. After the war they moved to Detroit, Michigan.
Through contacts she made while living in New York, Sarah Ogan had a dozen of her songs recorded by Alan Lomax in 1937, and Professor Barnicle recorded Sarah singing duets with her brother Jim Garland in 1938 for the Library of Congress. Woody Guthrie wrote a profile of Sarah for the New York Daily Worker in 1940, and expanded his sketch for his American Folksong. She was also mentioned in the popular A Treasury of American Song. One of the well-known songs she wrote around 1936, "I am a Girl of Constant Sorrow," appeared in a 1953 collection, and was recorded in the 1960s by Peggy Seeger and Barbara Dane among others. The song is a rewrite of "Man of Constant Sorrow" that she remembered from a hillbilly record (likely recorded by Emry Arthur in 1928) she had heard some years before in the mountains, but the lyrics she wrote was considerably different from the original after the first verse.
Living in Detroit, Sarah was overlooked in the early stages of the American folk revival in the 1950s. In August 1963 folklorist Archie Green visited Sarah to follow up interviews he had done with her half-sister Aunt Molly Jackson. Green joined forces with Wayne State University faculty Ellen Stekert and Oscar Paskal to record Sarah in January and March 1964 in the studios of WDET and the United Auto Workers Solidarity House. The Detroit sessions provided the selections for her album "Girl of Constant Sorrow," Folk-Legacy FSA-26, issued in 1965. She was encouraged to sing publicly in Professor Stekert's classes and at a conference featuring Walter Reuther and Michael Harrington in Detroit in 1964. She sang at the Newport Folk Festival in the summer of 1964, and had her most extended performance at the University of Chicago Folk Festival in January 1965. After the death of her second husband in 1976, her health deteriorated and she rarely performed outside of church.
Sarah Gunning died during a family gathering in Knoxville, Tennessee on November 14, 1983 at the age of 73 years, and was buried in Hart, Michigan, where she had lived since the mid-1960s.
(Edited from Wikipedia & AllMusic)
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For “Sarah Ogan Gunning – Girl Of Constant Sorrow (1965 Folk Legacy)” go here:
https://pixeldrain.com/u/43hB6F81
1. I Am A Girl Of Constant Sorrow
2. Loving Nancy
3. Old Jack Frost
4. May I Go With You, Johnny?
5. The Hand Of God On The Wall
6. Down On The Picket Line
7. I Hate The Company Bosses
8. I'm Going To Organize
9. Christ Was A Wayworn Traveler
10. Why Do You Stand There In The Rain ?
11. Dreadful Memories
12. Old Southern Town
13. I Have Letters From My Father
14. Captain Devin
15. Gee Whiz What They Done To Me
16. Davy Crockett
17. Battle Of Mill Spring
18. Just The Same Today
19. Sally
20. Oh Death
For “Sarah Ogan Gunning – The Silver Dagger (1976 Rounder)” (+ bonus tracks) go here:
https://pixeldrain.com/u/8BNumMZg
1. I Am A Traveling Creature
2. Mister Bartender
3. I Love Little Willie
4. The Silver Dagger
5. I Hear The Low Winds Sweeping
6. Davy Crockett
7. The Lonesome Dove
8. I Hate The Capitalist System
9. Down In The Valley To Pray
10. The Miller's Will
11. Papa's Billy Goat
12. The Drunkard's Dream
13. The House Carpenter
14. "Indian" Songs
15. Ring Dang Rantigan
16. The Downward Road
17. God Moves In A Windstorm
BONUS TRACKS
01) Cambric Shirt.mp3"
02) I Wont Marry At All.mp3"
03) Hangman.mp3"
04) The Preacher and His Specs.mp3"
05) Wandering Boy.mp3"
06) In a Foreign Heathen Country.mp3"
07) Robinson Crusoe.mp3"
08) Little David Play on Your Harp.mp3"
09) The Old Churchyard.mp3"
10) I Believe Ill Sell This Farm Jane Ann.mp3"
11) The Hard Working Miner.mp3"
A big thank you goes to Glenn Eric @ glennscountrymusiccabinet.blogspot.com for the loan of the above albums and bonus tracks. Please pay him a visit and say thanks.
Our choices while hearing Sarah Ogan Gunning are many: we can hear her as an excellent exponent of mountain style, we can seek out her rare song variants for comparative purposes, we can be moved by the beauty of her ballads, we can turn her message into bellows to fan the flames of social action. To the extent that we are able to perceive all these facets, we gain some of her wholeness and integrity for ourselves. (Folkstreams)
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