The scope of "early folk" is difficult to define, but this page is sort of a catch-all for early American music that cannot be easily categorized under the already existing pages Early Blues and Early Country. This page collects old-time music, jug bands, and Cajun music--all musical traditions that are collected on Harry Smith's 1952 compilation Anthology of American Folk Music. Old-time music, as is categorized on this blog, includes all the hillbilly/country music traditions recorded prior to the Carter Family's studio debut in August 1927. Therefore, you will see me refer to music on this page as "country" or “old-time” somewhat interchangeably. Besides Uncle Dave Macon, whom I reviewed in 2022, I listened to all the music below in 2024 and 2025 in the wake of my listening to the Anthology in January 2024. Note that I sometimes did not listen to all of the volumes in an artist's Complete Recorded Works series because they were not all available for streaming. The picture below is of Charlie Poole's North Carolina Ramblers.
American Epic: The Collection (2017): A+
Anthology of American Folk Music (1952): A+
Anthology of American Folk Music, Vol. 4 (2000): A
Cajun Dance Party: Fais Do-Do (1994): B+
Classic Mountain Songs (2002): B
Mountain Music of Kentucky (1996): A-
Allen Brothers: Complete Recorded Works, Vol. 1 (1927-1930) (2000): B+
Bascom Lamar Lunsford: Ballads, Banjo Tunes, and Sacred Songs of Western North Carolina (1996): B+
Burnett & Rutherford: Complete Recorded Works (1926-1930) (1998): A-
Gus Cannon: Complete Recorded Works, Vol.1 (1927-1928) (1990): B-
Cannon's Jug Stompers: The Best of Cannon's Jug Stompers (2001): A-
Charlie Poole: Husband and Wife Were Angry One Night (2009): A
Clarence Ashley: Greenback Dollar: 1929-1933 (2001): A
Darby & Tarlton: On the Banks of a Lonely River (1994): B+
Deford Bailey: Harmonica Showcase: Deford Bailey and D.H. "Bert" Bilbro 1927-1931 (1994): B+
Dock Boggs: His Twelve Original Recordings (1983): A
Dock Boggs: Dock Boggs (1964): B
Earl Johnson: Complete Recorded Works, Vol. 1 (1927) (1997): A-
Eck Robertson: Old-Time Texas Fiddler 1922-1929 (1999): B+
Ernest Stoneman: Edison Recordings 1928 (1996): A-
Fiddlin' John Carson: Complete Recorded Works, Vol. 1 (1923-1924) (1998): C+
Grayson & Whitter: The Recordings of Grayson & Whitter (1999): A
Hackberry Ramblers: Early Recordings: 1935-1950 (2003): B+
John Dilleshaw: Complete Recorded Works (1929-1930) (1997): B
Kelly Harrell: Complete Recorded Works, Vol. 1 (1925-1926) (1998): B+
Kelly Harrell: Complete Recorded Works, Vol. 2 (1926-1929) (1998): B
Lowe Stokes: Complete Recorded Works, Vol. 1 (1927-1930) (2000): A-
Memphis Jug Band: Memphis Jug Band (1991): A-
Sam McGee: Complete Recorded Works (1926-1934) (1999): B+
The Skillet Lickers: Complete Recorded Works, Vol. 1 (1926-1927) (2000): B
The Stripling Brothers: Complete Recorded Works, Vol. 1 (1928-1934) (1997): B+
The Stripling Brothers: Complete Recorded Works, Vol. 2 (1934-1936) (1997): B
Uncle Dave Macon: The Country Music Hall of Fame Series (1992): B
American Epic: The Collection (2017):
Although unofficially so, American Epic: The Collection, an engrossing compilation of one hundred hand-picked songs from one of the most important eras of American music, is a modern day take on and spiritual successor to the Harry Smith Anthology (HSA). Because it similarly favors unique and isolated folk traditions, American Epic can at first seem to too closely follow in the HSA's footsteps (like when it also chooses Jim Jackson's "Old Dog Blue" instead of the more obvious Jackson selection "Kansas City Blues") but it only duplicates eleven songs from the HSA and the newer compilation ultimately sets itself apart in several important ways. Key updates in criteria for compilation assembling include a broader span of time (1916 to 1936--conveniently up to the year of Robert Johnson's "Cross Road Blues"), a greater breath of genres (now including Mexican, Puerto Rican, and Hawaiian traditions), and only allowing each artist one selection (that means one hundred unique artists!). These alone help the compilation show even more so than Smith's Anthology just how much this era to offer. With more time removed from the era, the compilation also more carefully documents folk music--in particular country blues, which gets significant play time--that proved influential, historically significant, and stylistically idiomatic. These updates may even make American Epic a better introduction to early American folk music than the HSA. Not to mention that American Epic is easily available online through streaming platforms while the HSA isn't. Anthology of American Folk Music however still takes the cake in a head-to-head matchup for the awe it inspires and its incredible assemblage by one man who single-handedly shaped our pallet for early 20th century American music. A+
Anthology of American Folk Music (1952):
See here. A+
Anthology of American Folk Music, Vol. 4 (2000):
In 1972, Moe Asch brought to light for the first time that Harry Smith had planned to release a sequel volume (maybe even two) for Anthology of American Folk Music but that it was ultimately left aborted. Smith cited disagreements with the Folkways label as reason for the unfinished product that Asch kept in his collections but it's equally possible that Smith had simply lost interest in completing the project, which would explain why there are no liner notes by Smith to accompany this release and why Asch testified to having a copy of the planned album, but not the track listing. But if you presume John Fahey's Revenant Records and the Harry Smith Archives--the releasers of this project--finally determined the track listing for the planned sequel nearly fifty years later, it's not that clear. The Folkways label, who noted they don't have a tape that is at all similar to Vol. 4, are skeptical that this Revenant release of "Labor Songs" was created with any sort of concrete blueprint from Smith himself. "It's unclear how [Revenant] chose songs, supposedly compiled contemporaneously with the first three volumes," they remark. It's certainly a complicated fiasco, which I don't plan on weighing in on. What I will say is that Vol. 4 replicates the eccentric choices and perfect sequencing of Smith's first three volumes to a T and there's little reason not to enjoy this two CD set, no matter who compiled it. The time period Vol. 4 covers (1927-1940) notably goes seven years farther into the future than the original three volumes but these are extra years well spent, especially in the name of collecting essential labor songs. "Last Fair Deal Gone Down" by Robert Johnson and "John Henry Was a Little Boy" by J.E. Mainer's Mountaineers (both from 1936) can be fit in but more importantly space is made for Bukka White's 1940 recording "Parchman Farm," perhaps the greatest original folk song written up to that point. Of course, the excellent recordings don't end there. Covering Smith favorites like Uncle Dave Macon and the Carter Family, adding Smith virgins like Lead Belly and the Monroe Brothers, and running through several names forgotten to time like Blind Alfred Reed and Roosevelt Graves, it's fantastic and lovable through and through. [Unbeknownst to me when I bought the HSA in January 2024, the original three volumes as well as this fourth volume are available online for free streaming and download here.] A
Cajun Dance Party: Fais Do-Do (1994):
With the recordings of the Breaux Freres, their sister Cleoma and her husband Joe Falcon, Dewey Segura, and Amede Ardoin, this compilation collects many of Cajun music's first stars and influential forebearers. Cleoma and Falcon were the first Cajun musicians to record in 1928 and the commercial success of their "Allons a Lafayette" paved the way for other Cajun musicians to perform. Segura and his brother were two of the first Cajun musicians to benefit from this and entered the studio later in the same year. The trio of Breaux brothers are the first musicians to record "Jole Blon," under the title "Ma Blonde Est Partie," in 1929. Ardoin was a famed and legendary accordion player who also began recording in 1929. Although all of the artists have enjoyable and unique takes on the genre they play, they do vary in quality. Ardoin might be well regarded for his expertise on accordion and mythologized for his mysterious early death but he's not nearly as strong of a vocalist as the others presented. Segura's recordings highlight both a gritty singer and an excellent backing from an accordion, fiddle, and guitar but he would likely be unable to carry a compilation all by himself. The best all around performers are undoubtedly the Breaux brothers and Cleoma and Falcon, who fortunately are given the biggest portion of this twenty-three song compilation. From the Breaux Freres' amazing recording of "Ma Blonde Est Partie" to Cleoma's memorable "Le Vieux Soulard Et Sa Femme," they frequently impress with passionate vocals and invigorating instrumentation, highlighting the best qualities of America's strangest and most unique musical tradition. B+
Classic Mountain Songs (2002):
Covering material that classic old-time artists such as Clarence Ashley, Dock Boggs, and Bascom Lamar Lunsford did for Folkways in the 1960s and 1970s, this compilation celebrates the rediscovery of these legendary artists during the American folk revival. While none of these artists emerged as delightfully talented as they once were, they do retain much of their charisma. This album can't necessarily be labeled as essential, however, for it recycles some of the artists' most celebrated recordings (in particular the three artists already mentioned sing songs that can be found on the HSA), but it does collect a few lesser known artists as well as several a cappella numbers that become more compelling with each subsequent listen. B
Mountain Music of Kentucky (1996):
In 1959, John Cohen--a founding member of the New Lost City Ramblers--traveled south to Kentucky where he stumbled upon a mammoth of untapped talent dwelling in the impoverished countryside. With a portable recorder, he captured the musicians as he found them and released an LP worth of material on Folkways Records in 1960. Becoming an influential touchstone in the folk revival across America--although of course making a substantial impact in New York City with the likes of Peter Stampfel and Maria Muldaur, San Francisco Chronicle arguably gave the record its biggest nod of approval in 1960, calling it "the greatest Kentucky record ever issued"--it was later reissued in 1996 as a double CD to further showcase the magnificent music captured by Cohen. Although highlighting remarkable singers like Bill Cornett, Lee Saxon, Roscoe Holcomb, and Mrs. Sams, the album also gives significant time to fabulous instrumentalists like Marion Sumner, Willie Chapman, Granville Bowling, and James Crase. A-
Allen Brothers: Complete Recorded Works, Vol. 1 (1927-1930) (2000):
Although the blues was very much in fashion by the mid-1920s, many of the country musicians and record companies that sought to capitalize on it had only a faint idea of it what is was. Songs with even a slight blues slant almost surely had "Blues" tacked on to the end of their titles. But Jimmie Rodgers' fluency in the genre and his immense popularity ushered in a new era and the Allen Brothers were one of his few contemporaries in country music with an equally impressive knowledge of the blues. With Austin picking his banjo and singing and Lee playing guitar and blowing his kazoo, the duo's authentic feel for the blues gave them a jug band sound not far from the Memphis Jug Band, who debuted only two months before the Allen Brothers and were about five hours west from the duo's home in Chattanooga. Nevertheless, the duo can occasionally be heard to use the racial epitaph that disparaged so many other early country artists and the duo ultimately left Columbia, where they had debuted in April 1927 and had become quite successful, because of the controversy caused when the label mistakenly placed one of their new singles in the "race records" section of stores. Despite their obvious debt to black music, they weren't exactly role models for race relations at the time. They moved to Victor in October 1928 and built upon their success, notably rehashing their debut single "Salty Dog Blues" as the smash hit "A New Salty Dog" in late 1930. This first volume in Document's Complete Recorded Works series on the Allen Brothers unfortunately misses that cut just by a hair, but it offers an excellent and charming look at a duo that canvassed ground seldom covered in the entire history of country music. B+
Bascom Lamar Lunsford: Ballads, Banjo Tunes, and Sacred Songs of Western North Carolina (1996):
Many artists on Harry Smith's Anthology only recorded a handful of sides before being swallowed into obscurity and forgotten to time but Bascom Lamar Lunsford was not one of them. Twenty-two of Lunsford's songs were commercially released from 1924 to 1935 and hundreds more were recorded for non-commercial, archival purposes. Lunsford, a lawyer by training, took a great interest in American folk music and initially collected folk songs for sport before he realized the importance of his work and began to take his hobby more seriously. Although there are certainly enough recordings to make a compilation of only his early work, this single disc Folkways release collects some of his early work and some of his 350 recordings for the Library of Congress in 1949. In performance, Lunsford's North Carolina accent and his excellent fiddle or banjo playing are a delightful combination of downhome folk. Unfortunately, his archival pursuits (and maybe a religious upbringing) led him to censor and exclude verses that he felt were "unfittable and unsingable," which certainly brings into question what other aspects of the music he might have polished up too. B+
Burnett & Rutherford: Complete Recorded Works (1926-1930) (1998):
Although this string duo can get lost amongst other early innovators, it doesn't take much research to realize how important Dick Burnett and Leonard Rutherford were for the beginnings of folk and country music. Perhaps the biggest knock to their legacy is their unfortunate mistake not to record Burnett's "Farewell Song," which instead was first recorded by Burnett's friend Emry Arthur in 1928 when he changed the title to "Man of Constant Sorrow." What a misfortunate that there is no early version of Burnett singing such an important country music standard! Alas, the duo's downfall may be that they mostly recorded traditional music when they entered the studio but even while running through well-known folk pieces, the duo's strengths as hilarious personalities (catch the intro to "Grandma's Rag"), charming singers, and creative song re-arrangers are obvious. Collecting all of the twenty-four sides the twosome recorded before the folk revival, Document's Complete Recorded Works flies by as one essential cut follows another. "Willie Moore" is often their most celebrated recording--partially informed by the fact it was included on Smith's Anthology--but equally moving is the instrumental "Ladies on the Steamboat"--collected on American Epic: The Collection--which is undoubtedly one of the most persuasive and lively dance tunes ever recorded. Also noteworthy is their "Weeping Willow Tree," "Curley Headed Woman" (their take on "Hesitation Blues"), "Short Life of Trouble," and "All Night Long." Next to early string bands like Charlie Poole's North Carolina Ramblers and Clarence Ashley's Carolina Tar Heels, this delightful Kentucky duo holds their own. A-
Gus Cannon: Complete Recorded Works, Vol.1 (1927-1928) (1990):
Although there are many other superior choices for compilations of Cannon's Jug Stompers, this Document release is useful for also collecting Gus Cannon's recordings prior to the formation of his jug ensemble. Before the jug band craze, Cannon was singing and playing his banjo as a solo act. When he entered the studio for the first time in 1927, he had the great fortune to be backed on acoustic guitar by the legendary Blind Blake. The five recordings that resulted were released under the name Banjo Joe and are worth checking out, particularly "Poor Boy, Long Ways from Home" which features Cannon playing slide on his banjo. It is a delightful treat and a technique that is very rarely used. Although it is an option to listen to this entire compilation and the second volume that follows to knock out all of Cannon's solo recordings as well as the entire discography of Cannon's Jug Stompers, I recommend just sticking to the solo cuts offered here. Document's chronological releases usually do little to reduce the static and cracking background noise of vintage recordings such as these, so The Best of Cannon's Jug Stompers is recommended for the work of Cannon's later band. B-
Cannon's Jug Stompers: The Best of Cannon's Jug Stompers (2001):
Will Shade's Memphis Jug Band was well-versed in country blues but Gus Cannon arguably had much closer ties to the genre. Cannon grew up in the famous Clarksdale, Mississippi and was a teenager there at the turn of the century, giving him a connection to early Delta blues that is comparable to Charley Patton's. Cannon, however, was not destined to be a salacious slide guitarist. Instead, he utilized his slide on a banjo, learned the jug, and moved to Memphis in his twenties in 1907 or 1908. Seeing the success of the Memphis Jug Band's first recordings in the 1927, he formed his own group Cannon's Jug Stompers, who recorded from 1928 to 1930. Although likely not reaching the same popularity as the Memphis Jug Band (the Jug Stompers only recorded twenty-four songs for Victor Records compared to the Memphis Jug Band's some sixty sides for the label), they are often considered just as essential today. With two of their songs collected on Anthology of American Folk Music for good reason, Cannon's Jug Stompers have just as much charm and laid-back class as the Memphis Jug Band but have a smaller rotation of players and singers, which is nice considering Cannon's strength as a vocalist. This compilation collects all but one of the band's cuts--it is unclear why it skips out on the perfectly good "Bugle Call Rag"--and documents a group who always recorded memorable songs. Amongst these cuts, listeners will find many classics, including "Feather Bed," "Walk Right In," "Bring It With You When You Come"--which utilizes part of the chorus of "Wild About My Lovin'," a song Cannon may have learned from Jim Jackson--and several songs later covered by the Grateful Dead. A-
Charlie Poole: Husband and Wife Were Angry One Night (2009):
Although fans of old-time music have to constantly be careful not to pick up revival-era recordings of important artists before they check out the musicians' earliest recordings, such a problem unfortunately does not exist for Charlie Poole (born in 1892 in central North Carolina), the founder, banjoist, vocalist, and only consistent member of the North Carolina Ramblers. Poole proved to be something of an early country music star but he would died tragically young and never lived to have a career revival like many others of his generation. Angsty to secure his first recording session, Poole took his banjo, fiddle, and guitar trio straight up to New York to audition for Columbia Records in 1925. While they impressed enough to be signed, it's unlikely Columbia realized just how commercially successful Poole's records would be. Quickly becoming regulars at Columbia's studios, Poole amassed a discography of nearly sixty songs by 1930 and was easily one of the label's most successful country artists. However, his last recordings with the label sold poorly during the Great Depression, which not only halted Poole's recording opportunities but many opportunities for live performances. Left in despair, Charlie Poole died of alcohol poisoning the next year in 1931, prematurely putting an end to one of the great pioneers of country music. Although Poole was not exactly a songwriter, the traditional material he sings frequently features original updates, like his small lyrical changes to W.C. Handy's "Beale Street Blues" (titled "Ramblin' Blues), his remake of "Frankie and Johnnie" (titled "Leaving Home"), and the hilarious detail that Ida Red weighed four-hundred-and-forty pounds on "Shootin' Creek." Husband and Wife Were Angry One Night collects only sixteen songs from his impressive discography but no doubt it could have included more and been even better. With his embracement of the blues, his solid banjo playing, and his outstanding vocal delivery, Poole turned every song he sang into an intimate look at good old fashioned country music. Preceding Jimmie Rodgers's and the Carter Family's recording debuts by two years, Charlie Poole can easily be said to be the most impressive and singular talent that country music had seen up to that point. A
Clarence Ashley: Greenback Dollar: 1929-1933 (2001):
Folk singer Clarence Ashley was a guitarist and banjoist from Tennessee who began recording in his thirties for a number of record labels as a solo artist and as a part of a number of string bands, most notably the Carolina Tar Heels. When country music moved on from his old-time stylings in the 1930s, he withdrew from music until the 1960s when he was rediscovered through his inclusion on Anthology of American Folk Music. On recordings with his many string bands, Ashley's mesmerizing, hitch-pitched singing stands out even amongst other singers and gives the performances extra sparkle. On solo recordings, his clawhammer banjo fills out the sound as a speedy machine that is equally melodic and percussive. From "Coo Coo Bird" to "House Carpenter" to "Corrina, Corrina" to "Dark Holler" to "Greenback Dollar," Clarence Ashley recorded remarkable renditions of folk canon and his recording of music that is less pertinent today proves to be no less revelatory. A
Darby & Tarlton: On the Banks of a Lonely River (1994):
Hawaiian music traditions were introduced to the US mainland through traveling vaudeville troupes in the early 1900s and those sounds soon permeated country music through steel guitar. Hawaiian musician Frank Ferera began recording his instrumental steel guitar pieces for record labels as early as 1915 and passed along some of his musical knowledge to young country musician Jimmie Tarlton during a chance meeting. Tarlton became one of the old-time music's most successful steel guitarists when he teamed up with guitarist Tom Darby and began recording for Columbia in 1927. While one might suspect that using steel guitar in country music might still be too novel at this point to break into the mainstream, Darby and Tarlton's records were extremely popular. By some estimates, their sales occasionally matched up with Jimmie Rodgers and the Carter Family. While they certainly don't deserve to be as well remembered as these two mammoth acts, Darby proves to be a solid lead vocalist, the duo's singing combines for a beautifully lonesome moan, and Tarlton's steel guitar playing on old country songs still stands up. They were impressive entertainers and were able to record convincing blues numbers as well. Unlike many of their generation, Darby & Tartlon's sales were good enough that they continued to record well into the Great Depression years, but their music stylings eventually fell out of favor and the duo finally fell on hard times. They would cut their last record in 1933 and disappear from the music scene for about thirty years. This retrospective compilation from County Records covers many strong recordings from 1927-1930 but unfortunately skips out on their blues numbers (for that, look for Acrobat's 2003 Ooze It Up to Me). B+
Deford Bailey: Harmonica Showcase: Deford Bailey and D.H. "Bert" Bilbro 1927-1931 (1994):
While solo harmonica has even less of an audience than the audiences of other old folk traditions, Deford Bailey has remained a known entity for being the first black musician to grace the stage of the Grand Ole Opry, which he first did in the late 1920s. Sometimes performing as a soloist and sometimes backing up other groups, include Uncle Dave Macon's, Bailey was a popular act in his time but not one exclusively in demand from the country community. With modern ears, his twelve solo harmonica sides from 1927 to 1932 seem to mostly appropriately fit into the blues genre but these recordings were sold both as "race records" and "hillbilly records," an impressive feat at a time when the two genres and their audiences were literally segregated by design. But as surprising as this may be, it was exactly Bailey's virtuosic talent and groundbreaking crossover appeal that led him to be accepted into the country music establishment. Because of Bailey's continued memory, his twelve solo harmonica sides are easily available for streaming but the rare compilations that collect them are not. Document's compilation Harp Blowers on early harmonica pioneers Bailey, D.H. Bilbro, John Henry Howard, and George Clarke is difficult to track down and evades streaming platforms. Ditto for this Matchbox release Harmonica Showcase, which collects the recordings of only Bailey and Bilbro. Bilbro's recordings can be found on YouTube and are entertaining but not nearly as memorable as Bailey's, which certainly make up the more important half of this compilation. With his virtuosic technique, Deford Bailey had an arsenal of interesting sounds under his belt--most notably present on "Old Hen Cackle"--that he liberally uses to make his solo harmonica as captivating as an entire band. B+
Dock Boggs: His Twelve Original Recordings (1983):
Although carrying an infatuation with music since his early childhood, Dock Boggs made ends meet for most of his life as a coal miner in the western tip of Virginia. Unlike the majority of banjo players who favored clawhammer picking at the time, Boggs developed a unique take on the "up-picking" technique and became a highly skilled instrumentalist using it. This was surely one thing that set the banjoist apart at an audition for Brunswick Records, who gifted him his first recording date in 1927. The eight songs he cut with them sold moderately well and, for a short time, he was able to sustain himself solely through musical performances. Boggs was lucky enough to secure a second recording date in 1929 (just before the stock market crash would have put an end such an opportunity), this time with Lonesome Ace Records which resulted in four additional songs, but Boggs was soon enough out of any musical opportunities as the Great Depression took hold and he eventually pawned off his banjo sometime in the late 1930s. While Dock Boggs left behind a limited discography as a young man, the few recordings that were left behind highlight the unique and powerful music Boggs was able to produce with only his banjo playing and his thin Virginia singing. His Twelve Original Recordings from Folkways is not the only place where you can find his early sides--John Fahey's Revenant Records accompanies them with a 64-page booklet of liner notes that is surely a crazy and exciting read--but, even while evading streaming platforms, this one seems to be the easiest to find. Plus, a Folkways compilation of Dock Boggs's entire discography--including the three folk revival albums he recorded for the label--has its own extensive liner notes which are available for free via their website. A
Dock Boggs: Dock Boggs (1964):
Although Dock Boggs had given up music for some twenty-five years during the middle of his life, by sheer luck, he had returned to the banjo just months before he was rediscovered in 1963 by Mike Seeger. Perhaps inspired by his bandmate John Cohen's field recordings in Kentucky in 1959 as well as by concurrent efforts to locate old country blues guitarists such as Son House, Seeger went on his own expedition to discover one of his favorite old-time musicians, whose name was becoming well-known throughout the folk revival scene in New York City thanks to Harry Smith's inclusion of two Dock Boggs's songs on 1952's Anthology of American Folk Music. Seeger convinced Boggs to resume his music career, leading him to record this album which was released by Folkways Records in 1964. Although Boggs's voice has lost much brawn, this album adds several new songs to the Dock Boggs discography and his weakened voice gives new dimensions to otherwise similar arrangements to songs he had already recorded in the 1920s. That is not suggest that these re-recordings necessarily match up to his early recordings. If you at all have the ability to get a hold of his early recordings, they are much more highly recommended and showcase one of the more essential practitioners of old-time music. B
Earl Johnson: Complete Recorded Works, Vol. 1 (1927) (1997):
Earl Johnson was well-tied to the country music talent in his home state of Georgia when the genre first began being recorded, accompanying none other than Fiddlin' John Carson as a second fiddler and occasional vocalist on early recordings. When the Skillet Lickers found significant footing as a rowdy and irreverent string band in the state, Earl Johnson was entranced and quickly formed his own band to rival Gid Tanner's. Although this significant musical debt has often led scholars and critics to downplay Johnson's music compared to the Skillet Lickers, liken Earl Johnson to Gus Cannon who similarly jumped upon a popular music trend but recorded singles just as good if not better than the standard before him. Not only does Johnson's crazed fiddle match up to Tanner himself, but the comedic, high-pitched backing vocal (delivered by banjoist Emmett Bankston) pans out way better in this band, giving their recordings the zany irreverence and wild energy that the Skillet Lickers attempted but often missed. From "Ain't Nobody's Business" to "Dixie" to "I'm Satisfied" to "I Don't Love Nobody" to "I Get My Whiskey from Rockingham" to "Red Hot Breakdown" to "All Night Long," Earl Johnson and his group recorded memorable and fast renditions of old country standards and brought rejuvenating life to them nearly every time. And although Johnson did occasionally use the racial epitaph that so often sullied the music of his primary influence, Document's first volume just so happens to rarely include it (unlike, it seems, the second volume on Johnson), making it all quite a bit easier to digest. A-
Eck Robertson: Old-Time Texas Fiddler 1922-1929 (1999):
Although Fiddlin' John Carson's "The Little Old Log Cabin in the Lane" is widely believed to be the first country recording with vocals, the first country recording (without vocals) is a little more up in the air. Don Richardson's 1916 fiddle recording of "Arkansas Traveler" is certainly a good bet, but Eck Robertson's 1922 recordings are more frequently cited. Born in Arkansas in 1887 and growing up in Texas, Robertson found a calling in music at an early age and left his home for the rambling life: working in medicine shows, competing in fiddle competitions, and becoming a regular at Confederate reunions in the South. At one, he met 74-year-old fiddler Henry Gilliliand, whom he began performing with. It is this connection with the deep roots of country music that causes many music historians to revel at the 35-year-old Eck Robertson's fiddle duets with Gilliland. Robertson and Gilliland traveled to New York City in 1922 where they signed with Victor Talking Machine Company and laid down four fiddle instrumentals: "Arkansas Traveler" and "Turkey in the Straw" as well as the unreleased "Forked Deer" and "Apple Blossom." Without Gilliland but with famed pianist Nathaniel Shilkret, Robertson returned to the studio the next day and recorded an additional six songs for Victor, of which only four saw the light of day. In 1929, after an extended stay away from recording, he twice returned to the studio for Victor, outputting ten sides (now with vocals) with his wife and daughter on guitars and his son on banjo. For the next thirty years, Robertson disappeared from the music scene until 1963 when he was rediscovered at his Texas home by (who else?) the New Lost City Ramblers. Robertson subsequently made a few appearances in the folk revival circuit before dying in 1975. In 1998, his sixteen original recordings were released together for the first time on this compilation Old-Time Texas Fiddler 1922-1929. Although the songs are not chronologically ordered like they should be, this compilation offers an excellent dose of one of the first country musicians to be recorded and is an enjoyable and well-paced affair even if you're ignorant of its historical importance. B+
Ernest Stoneman: Edison Recordings 1928 (1996):
Jimmie Rodgers is widely considered the Father of Country Music, but if there was a musician before him that could lay claim to the title, it was undoubtedly Ernest Stoneman. Stoneman was just a local performer in North Carolina in the early 1920s when he heard what passed for a country record at the time (interestingly enough, Henry Whitter's December 1923 recording of "Wreck on the Southern Old '97," the same recording that convinced Vernon Dalhart to record the song; Dalhart's take is said to be the first country record to sell a million copies) and decided he could do better. Rather than wait to be discovered by a talent scout, he traveled to New York to sign with a label and record for himself. Laying down his first sides in 1924 with an autoharp for OKeh Records, he became one of the first country artists to record and immediately proved to be a commercial success. Well aware of his responsibility to introduce the full range of rural music to the public in an authentic fashion, Stoneman cut over 150 songs in his first decade of recording. Although this compilation is neither an overview of Stoneman's important archival work during his first decade of recording nor does it cover his earliest sides, it is an easily available album that collects all the recordings he did in 1928 for Edison Records, where he was backed by a string band. The diverse repertoire and charming personality of Stoneman is on full display during these twenty-two sides, collecting early country standards like "To Washington" and "There'll Come a Time," religious tunes like "He Was Nailed to the Cross for Me" and "I Remember Calvery," and ballads like "The Old Maid and the Burglar" and "Down on the Banks of the Ohio." A-
Fiddlin' John Carson: Complete Recorded Works, Vol. 1 (1923-1924) (1998):
Although his legacy is tarnished by the racism in some of his songwriting, Fiddlin' John Carson is for better or for worse thought to be the first person to record country music with vocals. Record producer Ralph Peer was unconvinced of the Georgian's abilities during his first session in 1923 but the speedy sale of the first five hundred copies of Carson's "The Little Old Log Cabin in the Lane" quickly showed Peer that the public heartedly disagreed. Later recordings such as "You Will Never Miss Your Mother Until She Is Gone" and "Old Joe Clark" that year would further prove the immense public appetite for Carson's music. Although Carson isn't exactly a tremendous talent, his musical abilities and voice are satisfactory and most, but not all, of these sides have remained in fairly good condition. However unlikely it is to make new fans of Carson, this compilation of his earliest recordings is a perhaps the best choice for anyone interested in the subject, at least until a readily available best-of is released. With the right expectations, this first volume of Document’s Complete Recorded Works shouldn't be a difficult listen either. C+
Grayson & Whitter: The Recordings of Grayson & Whitter (1999):
For one of the earliest country artists to record, Henry Whitter's legacy is less than stellar. Although recording many country tunes from December 1923 (only a few months after Fiddlin' John Carson's studio debut) to 1926, Whitter's unconvincing vocals and his amateurish guitar playing assured both Kelly Harrell and Ernest Stoneman that they had a good shot of getting into a studio too. Even taking into account that Whitter was the first to record such longstanding standards as "Wreck of the Old 97" (in fact it was Whitter's single that convinced Vernon Dalhart to record the song, which went on to be the first country song to sell a million copies) and "Going Down the Road Feeling Bad," collectors hardly give him any attention and his memory is so faded and tattered that there has never been a retrospective compilation of his early sides in the LP and CD eras. Indeed, his commercial success and frequent trips to the studio has been chalked up to the fact that he simply beat his competition to recording popular songs of the day. By 1926, his recording fortunes likely dried up because more talented country artists entered the picture and offered their superior versions of the songs. But while his solo recordings and musical abilities were indeed underwhelming, Whitter seemed to have been an unassuming man who genuinely loved playing music and his luck would reignite in 1927 when he met fiddler and singer G.B. Grayson, who was quite the exceptional talent. The duo were a perfect match: Whitter utilized his industry connections to securing recording dates and anchored the music with simple rhythm guitar (which was certainly in his wheelhouse) while Grayson provided stellar vocals and played gorgeous fiddle. Unlike many fiddlers of his time, Grayson did not primarily record dance songs. Instead, he preferred to play at a slow pace and seemed to have a perverse fascination with violence, recording such infamous murder ballads as "Ommie Wise," "Rose Conley," "Banks of the Ohio" (recorded as "I'll Never Be Yours"), and "Tom Dooley." The result was of heart wrenching effect, his fiddle shivering with emotional investment and his vocals perfectly balancing a sorrowful remorse and a chilly indifference to narratives often sung from the murder's point of view. In a strange and cruel twist of fate, Grayson met his own violent demise in a car crash in 1930. Much like the victims in his songs, he was unfairly taken from this world much too soon. For his part, Whitter retired from the music scene not long after and died in 1941. This compilation covers fifteen songs from Grayson and Whitter's recording career, collecting only about half of the songs they did from 1927 to 1929 (despite the album cover advertising the duo's recording career as 1928-1930). While Document's two volumes on Grayson and Whitter cover their discography completely, these may in fact be too complete, also collecting several solo Whitter recordings from this time and several songs by another guitar and fiddle duo Robinette and Moore. For most fans of this superb duo, County's The Recordings of Grayson & Whitter will perfect satisfy. A
Hackberry Ramblers: Early Recordings: 1935-1950 (2003):
Formed in 1933 in Hackberry, Louisiana, the Hackberry Ramblers were a Cajun ensemble centered around fiddler Luderin Darbone, who became the only consistent member in their long history. Breaking with the Cajun sound at the time by not having an accordion in their band, the group instead developed a sound that was equally influenced by Western Swing. In fact, for those who are only acquainted with early Cajun musicians like the Breaux Freres and Amede Ardoin, the Hackberry Ramblers wouldn't sound Cajun if not for the occasional French lyric. These significant changes to traditional Cajun music gave the band more mainstream potential and their willingness to record in English made them quickly accepted into the country music establishment. Although their immense commercial success and their modernizing of the famed Louisiana genre moved the entire Cajun scene away from the traditional sound that had just started being recorded a decade earlier, the Hackberry Ramblers prove to be a lovable outfit that bring some welcome and tasteful updates to the genre. Like Bob Wills, the band was always changing with the times and by the late 1940s, they had added an electric guitarist, trumpet, and saxophone to their lineup. However, this compilation mostly celebrates the early recording sessions the Ramblers did from 1935-1937 when they were still a relatively small ensemble. Only the two final songs--recorded in 1950 and boasting a significantly more modern country sound--are not handpicked from their early years. These are likely included to entice listeners to further explore the group's later work and while the two final songs certainly highlight the band's continued vitality, it's the more intimate recordings of their early period that most inspire. B+
John Dilleshaw: Complete Recorded Works (1929-1930) (1997):
John Dilleshaw, also known as Seven Foot Dilly, was an abnormally tall old-time guitarist from Georgia who arose in the wake of the Skillet Lickers' enormous commercial popularity. Although Dilleshaw and his ensemble clearly attempted the crazy string band gimmick from time to time and even wrote a few of their own comedy skits, guitarist John Dilleshaw and his string band have unique talents to separate themselves from the Skillet Lickers and other derivative groups. Not to mention that Dilleshaw's deep and plainly-stated vocal sounds nothing like the vocalists in the Skillet Lickers. Dilleshaw's first studio session in March 1929 showcased his band's impressive breadth: two slow ballads, a rag, and a memorable guitar duet instrumental. In March 1930, he recorded eighteen more sides--including three two-part comedy sketches--making up the majority of his discography. He returned to the studio for two final recordings in November 1930 and died in 1941. The comedy sketches, coming pretty early in the chronological track list of this Document release, drag considerably, but it's worth plowing ahead for more guitar duets, some delightful fiddle songs, and two solo pieces on the other side. By blending Dilleshaw's comedic impulses with constant music, the songs that finish off this track list represent some of Dilleshaw's most vital works. For listening to an old-time musician who seemed an effortlessly captivating front-man and well-rounded entertainer, Dilleshaw's Complete Recorded Works is a worthwhile stop, even if the comedy sketches are usually skips. B
Kelly Harrell: Complete Recorded Works, Vol. 1 (1925-1926) (1998):
Much like Ernest Stoneman, Virginia's Kelly Harrell heard Henry Whitter's 1923 and 1924 country recordings and figured he was just as qualified (if not more) to record. Although he didn't play an instrument, Victor and Okeh Records both looked past this deficiency--instead seeing potential in his convincing singing--and recorded him in 1925. Harrell's version of "The Wreck of the Old 97" for Okeh likely sold well, but it was only Victor who invited Harrell back to the studio, several times in fact: once in 1926, twice in 1927, and once in 1929. This first volume of Harrell's Complete Recorded Works from Document Records covers nearly all his recordings from 1925 and 1926, with only the first three songs from Vol. 2 coming from 1926. Because the 1925 recordings were done with an acoustic recording system and the 1926 songs with an electric one, the sound quality gets noticeably better after the first sixteen songs of this track list but even production nuts will find this easy to look past. From his first recording session, Harrell brought his A-game to the studio and many of the highlights of his discography come from his 1925 sessions, including "New River Train," "Rovin' Gambler," "I Wish I Was a Single Girl Again," "I Was Born About 10,000 Years Ago," "Peg and Awl," and "The Wreck on the Old 97." As a singer already past the age of 35, Kelly Harrell's straight vocal possesses unmistakable wisdom. Despite his lack of musical background, he's quite skilled at leading his accompaniment (a simple string band made up of a fiddle, harmonica, and guitar) through versions of well-known ballads of the time. He even turned out to be a strong occasional songwriter, penning "Away Out on the Mountain" (most notably covered by Jimmie Rodgers) and "The Story of the Might Mississippi" (most notably covered by Ernest Stoneman), neither of which Harrell recorded unfortunately. B+
Kelly Harrell: Complete Recorded Works, Vol. 2 (1926-1929) (1998):
While the first half of Kelly Harrell's recording career produced some strong sides, fans of Harry Smith's Anthology of American Folk Music, which includes two 1927 Harrell songs, will likely presume that the second half raised the bar. As good as "My Name is John Johanna" and "Charles Giteau" are though, they arguably aren't as good as what's come before and many other songs on this volume are flat out unexceptional, including "Oh My Pretty Monkey" with its novelty lyrics and "The Cuckoo" with its novelty cuckoo accompaniment. Harrell thrived in quieter, more melodic, and more intimate ballads without a second singer, a style which isn't as well-represented on this second volume. Harrell did cut some strong sides towards the very end of his recording career, however, with tracks 15-21 giving this album a strong finish. B
Lowe Stokes: Complete Recorded Works, Vol. 1 (1927-1930) (2000):
Although the Skillet Lickers seemed hell bent on keeping old-time as traditional and crazy as they could, two of their three fiddlers believed there was more to country music--and music in general--than playing widely known hoedowns. These two--Lowe Stokes and Clayton McMichen, inarguably head and shoulders above Gid Tanner for fiddle prowess--played what they were expected to in the Skillet Lickers, cashing in one of the most commercially successful country groups of their time, but marched to the beat of their own drum for solo recordings. McMichen is even documented as being dismissive of what he believed to be the Skillet Lickers' limited and by-the-book repertoire. Either McMichen's or Stokes's solo recordings are worth checking out just to get an idea of some of the first individuals to have a forward thinking attitude about what country music could be, but I chose to review Stokes's Complete Recorded Works, Vol. 1 (interestingly, there doesn't appear to be a volume 2) because it happened to be available for streaming while compilations on McMichen happened to be harder to track down. While Stokes got plenty of recording time with the Skillet Lickers and through session work, his solo recording sessions never resulting in more than four songs, suggesting that Stokes's own bands had little commercial impact and that Columbia was largely uninterested in what Stokes had to offer. But a brief skim of these recordings immediately make an impression and his group's silky polish and smooth vocals becomes even more delightful as they successfully tackle genres quite far away from old-time: urban blues ("Unexplained Blues," "Bone Dry Blues"), rags ("Home Brew Rag," "Swamp Cat Rag"), and pop songs of the day ("Sailing on the Robert E. Lee"). In fact, when this compilation gets to "Sally Johnson" and "Billy in the Low Ground," one almost begins to wonder why Stokes had all of a sudden lost his edge and retreated to old-time standards worthy of the Skillet Lickers. But a quick peek at the credits reveals these were simply duets that Stokes recorded with Skillet Lickers guitarist Riley Puckett, putting the confusion to rest. More country standards found later in this track-list also predictably see Stokes joined by his Skillet Lickers band members. Stokes was always a musical troubadour and, while his solo recordings will never be as widely known as his work with the Skillet Lickers, they remain impactful and have aged much better. A-
Memphis Jug Band: Memphis Jug Band (1991):
While earlier jug bands had more of a jazz influence, groups such as Will Shade's Memphis Jug Band emerged in the mid-1920s with a fluency in both country blues and urban blues. The group began recording in 1927 with Victor Records and cut about 60 recordings--of which this CD-reissue by Yazoo Records collects 23--with the label in the next seven years. With a large rotating ensemble of singers and performers, Shade's group moves through many styles with impressive versatility. Although not all of their work is quite timeless, their enjoyably laid-back playing gives their music continued sparkle. The Memphis Jug Band's best work, which grounds urban blues with essential rural eccentricities, is stuff for the ages: "Lindbergh Hop," "On the Road Again," "Cocaine Habit Blues," "Everybody's Talking About Sadie Green," "What's the Matter?," "Oh Ambulance Man," and "Fourth Street Mess Around." Beyond these well-known classics, perhaps the most enjoyable recordings are the fast-paced scuffles that Charlie Burse sang with the group, particularly "Insane Crazy Blues" and "Little Green Slippers," which both get excellent treatment from a violinist who doesn't show up enough. A-
Sam McGee: Complete Recorded Works (1926-1934) (1999):
For all of his talent as a guitarist and vocalist, Sam McGee likely only ever entered the limelight thanks to his close connection to Uncle Dave Macon, whom McGee met in the early 1920s. Macon would often record banjo and guitar duets with McGee and when Macon formed the Fruit Jar Drinkers in 1927, he placed McGee right at the center of the successful backing band that graced the stage of the Grand Ole Opry for years and years. It's not hard to see why, especially on Document's Complete Recorded Works, a chronological overview of Sam McGee's pre-WWII recordings, which runs only twenty-three songs. On the first day of his recording career, McGee's exceptional skill on guitar resulted in the head-spinning "Buck Dancer's Choice" and dexterous "The Franklin Blues," which have been acknowledged as the first guitar instrumentals in the country music genre. Both are still remarkable nearly one hundred years later. McGee returned to the studio three days later to lay down three more tracks, two with vocals, that aren't nearly as dazzling but remain worthwhile. His sophomore studio session in 1927 resulted in twelve new songs all recorded in one day, most with his brother Kirk (invariably a mandolinist, banjoist, and fiddler who could also take care of vocals just fine--my oh my what a talent!) released as the McGee brothers and three with fiddler Mazy Todd joining them. In 1928, Sam returned to the studio for four songs, all recorded alone with a six-stringed banjo which was tuned like a guitar. As enjoyable as the string band tracks were, these banjo songs come at the perfect place in the track-list to remind the listener how skilled and engrossing McGee could be alone. His final studio session before the folk revival took place in 1934 and only resulted in two songs, one with Kirk ("Brown's Ferry Blues," a cover of the Delmore Brothers' hit song) and one alone ("Railroad Blues," apparently Sam's signature song). B+
The Skillet Lickers: Complete Recorded Works, Vol. 1 (1926-1927) (2000):
When renowned fiddler Gin Tanner and blind guitarist Riley Puckett teamed up for Columbia's first country recordings in 1924, it created a fruitful partnership that set the groundwork for the commercially successful string band the Skillet Lickers, who featured additional fiddlers Clayton McMichen and Lowe Stokes as well as banjoist Fate Norris. With their singles making impressive waves in the south, the band found themselves regularly recordings with Columbia until 1931 when they broke up for the first time (they would reform to record for a one-off in 1934). Although Tanner's high-pitched backing vocals hurt the final product, the other members of this Georgian supergroup prove to be great old-time vocalists and the instrumental section is impressively adept at energizing well-known country standards. The group's initial batch of recorded songs isn't necessarily their most critically lauded but the first volume of six on Document's Complete Recorded Works series on the Skillet Lickers is one of the better choices because it evades the comedic (non-musical) skits they sometimes recorded and it's ultimately a good place to find out whether you want to explore them further. What might stop that further exploration is that, more than Uncle Dave Macon and possibly even Fiddlin' John Carson, the Skillet Lickers's lively recordings of country standards are frequently diminished by uses of the n-word. Although it's tempting to hope for a single disc overview of the Skillet Lickers that only collects songs without this racial epitaph, Vol. 1 proves that this language is so thoroughly baked into their repertoire and daily lives that making such a compilation would be erasing an objectional but ultimately essential part of this band's musical identity. B
The Stripling Brothers: Complete Recorded Works, Vol. 1 (1928-1934) (1997):
Unlike many early brother duos in country music, the Stripling Brothers are not remembered for their close harmony singing. In fact, they usually didn't sing at all and the few vocal tunes they did record suggest they were wise not to partake very often. Instead, these Alabamians are largely remembered because Charlie Stripling is one of the greatest fiddle players the South ever saw. The first fiddle competition he ever entered he earned first place and he only got better from there. Ira Stripling quickly recognized his brother's talent and began backing him on guitar, offering the rhythm that grounds Charlie's impressive virtuosity. While the lack of vocals on a one hour compilation such as this could conceivably make for a dull affair, Charlie's playing is enjoyable to follow and the track listing highlights the many great dance songs they performed. Most notable of the bunch is "The Lost Child," the duo's most famous recording and the basis of the country standard "Black Mountain Rag." B+
The Stripling Brothers: Complete Recorded Works, Vol. 2 (1934-1936) (1997):
Although country music quite rapidly evolved beyond the string band tradition that the Stripling Brothers were a part of by the mid-1930s, they returned to the studio on the other side of the Great Depression and continued to perform music in the same vein as they had done before. The two volumes of Document's overview of the Stripling Brothers' recordings doesn't nicely split between these two periods--the final three songs on Vol. 1 are 1934 songs while the rest comes from 1928 and 1929--but this second volume's twenty-one sides showcase the group's continued vitality. However, there are reasons to prefer the earlier material, starting with the fact that this collection doesn't have nearly as many standouts--likely because the brothers had already burned much of their top shelf material. B
Uncle Dave Macon: The Country Music Hall of Fame Series (1992):
The old-timer of the Grand Ole Pry, Macon made a name for himself as a regular on the historic stage in its earliest days. Representing a style that boasted a strong influence of the 19th century folk tradition, he became of the first country musicians to record when he entered the studio for the first time in 1924. Although Macon has several important and highly enjoyable recordings (notably sides which are not collected here but are included on American Epic: The Collection, Harry Smith's Anthology, and its sequel Anthology Vol. 4), this collects some of the more lackluster recordings he laid down from 1926 to 1934. B
