I have The Freight Wreck at Altoona on Victor. I like it!
Now, I'm someone who already likes hillbilly/roots type music. If I consider my small collection of a few other individual's small collections as a microcosm of period popular music there really aren't many examples at all of this genre of music. I enjoy listening to this disc in the context of listening to acoustic recordings. Sure, if there was a Carter Family type contemporary of Vernon Dalhart in my bunch I'd probably like that more. It seems that his popularity at the time may have been due to this same conundrum. Folks who liked this type of music may not have had the option of buying much else.
phono-smitten wrote:I have The Freight Wreck at Altoona on Victor. I like it!
Now, I'm someone who already likes hillbilly/roots type music. If I consider my small collection of a few other individual's small collections as a microcosm of period popular music there really aren't many examples at all of this genre of music. I enjoy listening to this disc in the context of listening to acoustic recordings. Sure, if there was a Carter Family type contemporary of Vernon Dalhart in my bunch I'd probably like that more. It seems that his popularity at the time may have been due to this same conundrum. Folks who liked this type of music may not have had the option of buying much else.
Perhaps Dogfart carried a psychic breeze on the back of his wagging tail.
"if there was a Carter Family type contemporary of Vernon Dalhart in my bunch I'd probably like that more. It seems that his popularity at the time may have been due to this same conundrum. Folks who liked this type of music may not have had the option of buying much else."
I think you're right at least to some extent. Dalhart had extensive connections in the New York-based recording companies by the time he had his huge hit in 1924 with The Prisoner's Song b/w The Wreck of the Old 97. Few musicians playing old time music and based in the rural South had traveled to New York to record by then ("Eck" Robertson in 1922, Uncle Dave Macon in 1924), and few record companies had made field trips to the rural South to record such singers (OKeh's 1923 recording of Georgia's Fiddlin' John Carson was one). Thus, Dalhart had an untapped market almost to himself for a while.
He was also blessed to have the excellent accompaniment of Carson Robison, an excellent guitarist, whistler, and composer. Finally, Dalhart's classically trained voice allowed him to "put over" country-styled lyrics in a way that could be clearly understood, given the limitations of acoustic recording and the even more severe limitations of the inexpensive phonographs his target audience was likely able to afford. You don't have to strain to understand what Dalhart is singing. Compare him to the exciting, "authentic," but difficult to understand Carter Brothers and Son, who had the benefit of being recorded electrically! (Admittedly, the latter also used rhythmic nonsense syllables in their songs).
For the record, I am a big fan, enjoy his singing in all his various guises (country, pop Singer, hot dance vocalist), and purchase is recordings whenever I see them. He is also the best friend that 1920s-era US label collectors probably ever had, having recorded for virtually all of them!
Vernon fits into the popular music of the time, but really doesn't represent the roots of country / hillbilly music. As mentioned before, he was classically trained, but he was actually a funeral singer which I think accounts for his depressing vocals and his attraction to singing about every tragedy that occurred. I actually get depressed listening to him...
One of the most knowledgeable people regarding the roots of early southern mountain music is Kinney Rorrer, one of our club members. Here is a short presentation that Kinney made at one of our meetings regarding the changes in music popularity of that era:
Curt A wrote:Vernon fits into the popular music of the time, but really doesn't represent the roots of country / hillbilly music. As mentioned before, he was classically trained, but he was actually a funeral singer which I think accounts for his depressing vocals and his attraction to singing about every tragedy that occurred. I actually get depressed listening to him...
One of the most knowledgeable people regarding the roots of early southern mountain music is Kinney Rorrer, one of our club members. Here is a short presentation that Kinney made at one of our meetings regarding the changes in music popularity of that era:
Not so sure I'd agree that it's a "short" presentation but he surely knows his stuff and is entertaining. I listened to about half of it. Will catch the rest tomorrow. Thanks for posting!
One of the most knowledgeable people regarding the roots of early southern mountain music is Kinney Rorrer
I just finished watching the documentary "Give Me the Banjo" and was very impressed with Kinney Rorrer's knowledge... though I understand he is a nephew(?) of Charlie Poole, so I guess that would explain some of his passion for southern mountain music.
I was quite distracted, however, trying to get a better look at what I assume is his phonograph collection in the background while still trying to pay attention to what he was saying.
Mine is a DeLuxe. There's no such thing as a Custom business coupe post war. I'm about half Way through the restoration. Where are you located? I love the 41's and I once had the chance to buy a 42 DeSoto business coupe, but somebody else got it first, darn it. That was back in the 80s in San Diego. Marc.
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