Remembering Elizabeth Cotten on the 132nd anniversary of her birth.
At age 65, she released her first album and changed American folk music forever.
The subtitle of our most recent box set anthology, Excavated Shellac is "An Alternate History of the World's Music." This phrase is a fitting encapsulation of what Dust-to-Digital strives for—a deeper, broader exploration of the overlooked, the obscure, and the marginalized in the world of music. By presenting these "alternate histories," we are allowing the past to coexist with the present, offering new perspectives on what music can be and how it has shaped and has been shaped by culture.
Our approach challenges the conventional narrative that often centers on mainstream artists and highlights those voices that didn’t necessarily make it into the pop culture lexicon, but whose contributions were just as significant. Whether it’s forgotten artists from early recording eras or contemporary voices sharing their art via social media, the idea is to expand the scope of what is understood as music history.
In a way, this philosophy brings together the old and new, emphasizing that music is a continuous, ever-evolving art form. The depth and diversity we are aiming for—bringing attention to music from a broader, more inclusive historical lens—must resonate with listeners who are open to reconsidering the boundaries of what "the world of music" is. And we are grateful for the Dust-to-Digital community and its receptiveness to artists like Elizabeth Cotten, who was born 132 years ago today in what is now known as Carrboro, North Carolina.
Elizabeth Cotten's story is a striking reminder of how unexpected encounters can shape a musical legacy. Had she not taken a housecleaning job with the music-focused Seeger family in Washington, DC, her music may have never reached a wider audience. In 1952, at the age of 16 and recently taking up the guitar, Peggy Seeger overheard Elizabeth playing her guitar, unaware that anyone was listening. Until that moment, Elizabeth had kept her musical talents private. When Peggy’s older brother Mike heard Elizabeth play, he enthusiastically began setting up recording sessions with her. Through the family’s connections, Mike’s recordings led to Elizabeth’s album being released by Folkways Records which led to live shows and touring. Eventually, her songs would be recorded by Joan Baez, Bob Dylan, the Grateful Dead, Taj Mahal, and Peter, Paul and Mary, among many others. In 2022, Elizabeth Cotten was inducted into the Rock and Roll Hall of Fame in its “Early Influences” category.
The fact that her talent had remained unknown for so long, only to be discovered by chance, is a poignant testament to how history can overlook even the most extraordinary voices. Had she not crossed paths with the Seeger family, her music might have stayed in obscurity, leaving us with a significant gap in folk and American music history.
Each of the clips included above is from Yasha Aginsky’s film “Homemade American Music,” which is available to stream on his YouTube channel.
The question raised by this post—how many similarly brilliant artists remain unknown—is one that we often think about. So many talented voices, especially those from marginalized or overlooked communities, never get the chance to be heard. Elizabeth Cotten's recognition in the 1950s underscores the power of circumstances and how a chance encounter can change the trajectory of an artist’s life. In her case, it led not only to her own acknowledgment but to a larger cultural appreciation of traditional folk music.
Elizabeth’s “left-handed, upside-down” guitar style, which is unique and was self-taught, combined with the beauty of the songs she wrote, stands out as something remarkable. Cotten’s music transcends time and genre, and the enduring nature of her influence speaks to the emotional depth that defines her artistry.
It is wonderful to see her being celebrated and remembered by so many today, and hopefully this Substack post and the posts we have made on social media can add to her legacy of grace and musicality.
How do you feel about Elizabeth Cotten’s legacy and the impact of chance encounters like hers on the history of music?
I was lucky enough to se her circa 1975; she was a wonderful lady and a great player. One thing I will say, which is important, and which people never comment on - what makes her unique is her gentle and insinuating swing; I have heard no other guitarist who sounded like here and, truly, no white guitarist of that generation - or really even afterward - had her amazing time, the way the rhythm ebbed and flowed. I am happy to write the liners.....
Artist credit for the mural is Scott Nurkin