a retail record store in the 1950s near Union Square Park where he sold all 6 of the Anthology records for $1 each, as well as others from his catalogue. The $1 records were sold without their original jackets, and with a hole punched through the label area to indicate that the record was remaindered and not to be sold for the full retail price. A fourth album, comprising topical songs from the Depression era, was originally planned by Asch and his long-time assistant, Marian Distler, and never completed by Smith. It was issued in 2000, nine years after his death in CD format by Revenant Records with a 95-page booklet of tribute essays to Smith. The music on Smith's anthology, performed by such artists as Clarence Ashley, Dock Boggs, The Carter Family, Sleepy John Estes, Mississippi John Hurt, Dick Justice, Blind Lemon Jefferson, Buell Kazee, and Bascom Lamar Lunsford, greatly influenced the folk & blues revivals of the 1950s and 60s and were covered by The New Lost City Ramblers, Bob Dylan, and Joan Baez, to name a few. Rock critic Greil Marcus in his liner-note essay for the 1997 Smithsonian reissue, quoted musician Dave van Ronk's avowal that "We all knew every word of every song on it, including the ones we hated." Smith's presentation was a marked departure from the more social or politically oriented folk song collections of the 1930s and 40s. His annotations avoided localized historical and social commentary, consisting instead of terse, evocative synopses – riffs – written in the manner of telegraph messages or newspaper headlines as though from an otherworldly realm, seemingly both timeless and avant-garde. For example, for Chubby Parker's rendition of "King Kong Kitchie Kitchie Ki-Me-O" ("Frog Went A-Courting"), a ballad that has been traced to 1548, Smith wrote: "Zoologic Miscegeny Achieved Mouse Frog Nuptuals , Relatives Approve." Smith was also unique in associating folk music with the occult: the design he chose to be printed on the box covers, for example, was taken from an engraving by Theodore de Bry of a great hand tuning the Celestial Monochord (the one-stringed instrument symbolizing the music of the spheres), that had illustrated a sixteenth-century treatise on music by the Elizabethan magus Robert Fludd. Smith told interviewer John Cohen that he had first heard this kind of record at the home of Bertrand Harris Bronson, the eminent English professor and ballad scholar,