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(country / country blues) Roy Harvey - Complete Recorded Works Vol.3 (1929-1930) [Document Records] - 1999, FLAC (tracks), lossless

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Roy Harvey - Complete Recorded Works Vol.3 (1929-1930) [Document Records]
Жанр: country / country blues
Страна-производитель диска: Austria
Год издания диска: 1999
Издатель (лейбл): Document Records
Номер по каталогу: DOCD-8052
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 74:32
Источник (релизер): manhatan
Наличие сканов в содержимом раздачи: да
Треклист:

Код:

Fred Newman, San Antonio
What Is A Home Without Babies
Earl Shirkey & Roy Harper, The Virginian Strike Of '23
The Policeman's Little Child
My Yodeling Sweetheart
I'm Longing To Belong To Someone
We Have Moonshine In The West Virginia Hills
A Hobo's Pal
Weaver Brothers, You Come Back To Me
Prison Sorrows
Roy Harvey & Leonard Copeland- Greasy Wagon
Mother's Waltz
Back To The Blue Ridge
Roy Harvey, Just Good-Bye I Am Going Home
The Lilly Reunion
Hobo's Pal
No Room For A Tramp
Little Seaside Village
Milwaukee Blues
When The Bees Are In The Hive
The Dying Brakeman
Railroad Blues
Jefferson Street Rag
Guitar Rag

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Railroad engineer, fingerstyle guitarist, singer, and session organizer Roy Harvey occupies a special place in the history of Appalachian string band music, for his close involvement with Charlie Poole & the North Carolina Ramblers places him among the forerunners of Bill Monroe, Hank Williams, and Doc Watson. His five years of recording activity more or less parallel Poole's meteoric career, and their combined legacies form part of the bedrock of the old-time rural tradition. Roy Harvey was born in Monroe County in southeastern WV on March 24, 1892, two days after Poole. Although he played guitar as a boy, Harvey spent most of his youth working for the Virginian Railway until 1923 when he was laid off during the aftermath of a strike. Not surprisingly, railroad songs appear with some regularity throughout his discography. In 1925 while operating a streetcar that ran from Princeton to Bluefield, WV, he befriended three members of the North Carolina Ramblers who were in transit -- guitarist Norman Woodlieff, fiddler Posey Rorer, and banjoist Charlie Poole. A collaborative friendship ensued, and the locomotive engineer's Gibson guitar was a welcome addition to the group's sound. Harvey was living in Beckley, WV and working part-time at a music shop where he added to his already considerable knowledge of songs published as far back as 1890 and noted which records and sheet music were most sought after by the public. By September, 1926 Poole, Rorer, and Harvey were rehearsing at Harvey's house before heading to New York to make records. For several very busy years, he operated as a cardinal member of the North Carolina Ramblers.
Harvey was a fairly shrewd businessman and quickly assumed a leadership position in the group. When Poole balked at violating his contract with Columbia, Harvey took advantage of the growing demand for hillbilly string band music by cutting a passel of platters in New York, Chicago, and Ashland, KY for Gennett, Paramount, and Brunswick in 1927 and 1928, using a reconstituted North Carolina Ramblers with banjoist Bob Hoke replacing Poole. During 1929 and 1930, Harvey made what are perhaps his most memorable recordings. A series of duets with yodeler Earl Shirkey preserved Harvey's nonchalant approach to humor. As Shirkey had been schooled in the art of authentic European yodeling, the Appalachian/Alpine combination yielded memorable results. Two batches of guitar duets with Leonard Copeland stand as Harvey's greatest instrumental accomplishments, for the interplay between the two had all the integrity of the blues/jazz guitar duets of Lonnie Johnson and Eddie Lang. Fiddlers who recorded with Harvey during this period were Lonnie Austin and Odell Smith. He also cut a pair of sides with banjoist Vance Weaver and his guitar-slinging brother Wiley. True to form, it was Harvey who saw to it that the Weaver Brothers signed on with Columbia.
Although Roy Harvey's business connections helped him stave off economic dissolution for awhile, 1931 would be his final year of recording activity. Sixteen sides cut for Gennett in early June found him working with a group billed as the West Virginia Ramblers. This little unit included fiddlers Jess Johnston and Bernice "Bernie" Coleman as well as banjoist Ernest Branch. Harvey's last records were waxed in Atlanta, GA near the end of October 1931 with Coleman and Branch. These sides were commissioned by Columbia but released on Okeh, and until their reappearance many years later, were among his rarest recordings. Having participated in the creation of some 200 recordings, Harvey ceased performing as the Great Depression temporarily squeezed most of the life out of the rural music industry. The rest of his story is filled with silence, as he gave up music altogether, served as a police officer, and relocated to Florida where he fell back upon his original vocational expertise by operating locomotives. When he passed away in 1958, Charlie Poole's erstwhile right-hand man was essentially forgotten by the public and no longer possessed a guitar. Ninety-four sides dating from 1926-1931 have been reissued in four volumes by Document. Most of the set explores Harvey's pursuits apart from his better-known work with Poole.

The third installment in Document's four-fold Roy Harvey retrospective surveys his lesser-known recordings dating from May 1929 through December 1930. More diverse than any of the other volumes, it opens with a pair of sides recorded in New York at the same session as half-a-dozen titles which were issued under the name of the Highlanders. This group combined banjoist Charlie Poole and guitarist Roy Harvey with fiddlers Lonnie Austin and Odell Smith. Unusually for these artists and their music, the lineup also included a pianist named Lucy Terry. Vocals by Poole and the instrumentals from that date are not included here; what you get are two vocals by Harvey which were released under the pseudonym of Fred Newman because by this time, his label-hopping impelled him to record under different names from time to time. "San Antonio" is an Eastern rural interpretation of a humorous Tin Pan Alley cowboy song published in 1907, and "What Is a Home Without Babies" is a remake of "What is Home Without Love," which he had recorded 15 months earlier for Brunswick. For the next eight tracks, the chronology reverts back to the Columbia field recording session of October 22, 1929 which took place in Johnson City, TN, and yielded the excellent guitar duets with Leonard Copeland that closed out the previous volume. Apparently, Harvey was well prepared on that day as he cut six more sides with master yodeler Earl Shirkey and two with Vance and Wiley Weaver, a fine banjo and guitar act who were introduced to Columbia in one of Harvey's characteristic moves as talent scout and session organizer. Lonnie Austin, who played fiddle on the Shirkey/Harvey recordings, also sat in with the Weaver Brothers. It was Harvey who took the vocal on "Prison Sorrows." In April, 1930 Harvey managed to record three more duets with guitarist Leonard Copeland: "Greasy Wagon" (reminiscent of "Spanish Fandango"), "Mother's Waltz," and the initially unissued "Back to the Blue Ridge," which has ragtime underpinnings and elements borrowed from "Bully of the Town." The North Carolina Ramblers session which took place in New York on September 9, 1930 turned out to be Charlie Poole's last recording date. It was finished off with a pair of fiddle and guitar duets by Odell Smith and Harvey, including the grimly appropriate "Just Good-Bye I Am Going Home." This collection closes with nine duets Harvey cut in December, 1930 at the Gennett studios in Richmond, IN with his homeboy, fiddler Jess Johnston, a native of Wolf Pen, WV. Note that "Milwaukee Blues" is a cover of Poole's final recording, and that the last two performances on this collection are firmly based in the rural ragtime tradition.

Сначала о технике: материал в m4a lossless, конвертировал во flac, проверил auCDtect (все треки - MPEG) и добавил playlist.
Белый парень, играющий фолк, блюз и раннее кантри...
На сегодня это последний новый релиз от Документа в лосслесс, к сожалению... Ещё десяток дисков выложу в mp3 и пока всё...
Ещё раз дружно говорим - Merci beaucoup, manhatan! и
приятного прослушивания!
МОИ РАЗДАЧИ

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Каталог "Document Records" (ссылки на альбомы)

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