March 26, 2013
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Most people trace the dawn of recorded country music back to the famous Bristol sessions of 1927, from which Jimmie Rodgers and the Carter Family rose to prominence. While I am not sure that even Ernest V. Stoneman (May 25, 1893 – June 14, 1968) represents the dawn of recorded country music, he has a far better claim to it than do Jimmie Rodgers and the Carters.
Born in 1893 in Carroll Country, Virginia, near the mining community of Iron Ridge, Ernest Van Stoneman was raised by his father and three cousins who taught him traditional Blue Ridge Mountain songs. Ernest married Hattie Frost in 1919. He and his wife set about having a family, eventually having 23 kids, of which 13 lived to be adults. Stoneman worked at various jobs and played music for his own entertainment. He was a talented musician who could play (and make) a variety of instruments, including banjo, guitar, fiddle and autoharp, although the autoharp would become his trademark during his recording career.
Legend has it that Stoneman heard a recording by Henry Whittier, a popular artist of the time and a friend of her father’s (according to daughter Roni), and swore he could sing better. In 1924 he traveled to New York and received a recording contract. The first single, “The Sinking of the Titanic”, was issued on the Okeh label and became the biggest hit he ever had. Sales figures for the 1920s are not terribly reliable, but several sources have sales pegged at four million copies sold – a remarkable total for the time and certainly one of the biggest hits of the 1920s. Read more of this post
December 28, 2011
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All readers of this website are fans of recorded music. I would assume that most also enjoy seeing and hearing music performed live. After all, there is electricity which permeates a live performance, the interaction of performer and audience coupled with the ambiance of the venue. Tempos are usually faster, there is banter between the performer and the band and/or audience, and often songs are performed that never are recorded by the artist.
That said, it can be very difficult to capture that electricity and the landscape is littered with poor live recordings, victims of either poor recording technology, poor venue acoustics or sub-par backing bands (I had a cassette copy – probably a bootleg – of a live Chuck Berry performance in France where he was backed by what was essentially a polka band, complete with tuba and accordion). Below is my listing of the greatest live country albums. My list is solid country, without too many fellow travelers such as Americana or alt-country artists. I may admire John Prine and Townes Van Zandt as songwriters but I cannot stand to listen to either of them sing. The less said about the Eagles and Gram Parsons, the better. In putting my list together, I’ve limited any given artist to one album, although I may comment on other live albums issued by the artist.
Yes, I know that bluegrass and western swing are underrepresented in my list as are modern era artists, although if I expanded to a top forty list, I’d have albums by Alabama, Tracy Lawrence, Tom T. Hall, Brad Paisley, The Osborne Brothers, Glen Campbell, Bob Wills, Hank Thompson, Rhonda Vincent and Hank Williams to include. Moreover, over time there have been improvements in recording technology and the sound of live recordings has improved, so sonically, some of the albums I’ve left off will sound better than some I’ve included.
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