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The Bristol Sessions were a series of recording sessions held in 1927 in Bristol, Tennessee, considered by some as the "Big Bang" of modern country music. [1] The recordings were made by Victor Talking Machine Company producer Ralph Peer. Bristol was one of the stops on a two-month, $60,000 trip that took Peer through several major southern cities and yielded important recordings of blues, ragtime, gospel, ballads, topical songs, and string bands. [2] The Bristol Sessions marked the commercial debuts of Jimmie Rodgers and the Carter Family. As a result of the influence of these recording sessions, Bristol has been called the "birthplace of country music". [3] [4] Since 2014, the town has been home to the Birthplace of Country Music Museum. [5]
Commercial recordings of country music had begun in 1922. Among these very early artists were Vernon Dalhart, who recorded the million-selling "Wreck of the Old 97"; Ernest Stoneman from Galax, Virginia; Henry Whitter; A.C. (Eck) Robertson, who recorded the first documented country record along with Henry C. Gilliland ("Sallie Gooden" b/w "Arkansaw Traveler"); [6] and Uncle Dave Macon. However, any "hillbilly" artists who recorded had to travel to the New York City studios of the major labels, and many artists, including Dalhart, were not true "hillbilly" artists but instead crossed over from other genres.
Okeh Records and later Columbia Records had sent producers around the South in an attempt to discover new talent. Peer, who worked for Okeh at the time, recorded Fiddlin' John Carson using the old acoustic method (known for its large intrusive sound-gathering horn) in 1923, at the behest of the Okeh dealer in Atlanta, Georgia, Polk Brockman. Despite Peer's belief that the record was of poor quality, the 500 copies made of "The Little Old Log Cabin in the Lane" and "The Old Hen Cackled and the Rooster's Going to Crow" sold out in weeks. [7] This experience convinced Peer of the potential for "hillbilly" music.
Peer left Okeh for the Victor Talking Machine Company, taking a salary of $1 per year. However, Peer owned the publishing rights to all the recordings he made. Peer's arrangement of paying royalties to artists based on sales is the basis for record contracts today, and the company he founded, Peermusic, [8] remains in existence today.
The birth of electrical recording in 1925 allowed records to have a sound better than radio, which had threatened to reduce the recording industry to irrelevance in the early 1920s. This new method allowed softer instruments such as dulcimers, guitars and jaw harps to be heard, and it also meant recording equipment was somewhat more portable – and as such, recordings could be made nearly anywhere (the cumbersome acoustic equipment was not really portable.)
Peer asked Ernest Stoneman, who had recorded for Okeh, how to find more rural talent. Stoneman convinced Peer to travel through southern Appalachia and record artists who would have been unable to travel to New York. Peer recognized the potential with the mountain music, as even residents of Appalachia who didn't have electricity often owned hand-cranked Victrolas, or other phonographs. He decided to make a trip, hoping to record blues, gospel and "hillbilly" music. Artists were paid $50 cash on the spot for each side cut, and 2½ cents for each single sold.
In February and March, he made a trip recording blues and gospel music, and decided to make another trip. He decided to make a stop in Savannah, Georgia and Charlotte, North Carolina. He settled on Bristol (at the urging of Stoneman) as a third stop, because with Johnson City and Kingsport, Tennessee, it formed the Tri-Cities, the largest urban area in the Appalachians at the time. In addition, three other record companies had held or were scheduling auditions for Bristol. So Peer set out with his wife and two engineers for Bristol.
Between 25 July and 5 August 1927, Peer held recording sessions on the third floor of the Taylor-Christian Hat and Glove Company on State Street, which is the state line in Bristol. [9] He placed advertisements in the local newspapers, which did not receive much response aside from artists who had already traveled to New York (such as the Powers Family) or were already known by Stoneman.
Stoneman was the first to record with Peer, on 25 July 1927. He recorded with his wife Hattie, Eck Dunford and Mooney Brewer. Other acts, including the Johnson Brothers vaudeville duo (best known for their Crime of The D'Autremont Brothers) and a church choir, filled out the rest of July. However, these artists were only enough to fill the first week of recordings and Peer needed to fill out his second week.
A newspaper article about one of Stoneman's recordings (Skip To Ma Lou, My Darling), which stressed the $3,600 in royalties that Stoneman had received in 1926 and the $100/day that he was receiving for recording in Bristol, generated much more interest. Dozens of artists went to Bristol, many of whom had never been to Bristol. He scheduled night sessions to accommodate the extra talent, which included Jimmie Rodgers. Rodgers had a disagreement with the band in which he was a member over what name to record under, and so Rodgers recorded solo and the band recorded as the Tenneva Ramblers. [10] Rodgers and the band found out about the sessions only when they stayed at the boarding house run by the mother of one band member.
The arrival of the Carter Family was more expected. Ralph Peer had corresponded with the family earlier in the summer, but later wrote that "he was still surprised to see them," primarily due to their appearance. "They wander in," Peer told Lillian Borgeson during a series of interviews in 1959. "He's dressed in overalls and the women are country women from way back there. They looked like hillbillies. But as soon as I heard Sara's voice, that was it. I knew it was going to be wonderful." [1] The Carters recorded four songs on the second Monday of the sessions and two the next day. On 1 August, Sara sang lead while playing autoharp, A.P. sang bass, and 18-year-old Maybelle played guitar with an unusual and subsequently influential style that allowed her to provide both melody and rhythm. The Victor Company released the first Carter Family record, "Poor Orphan Child" and "The Wandering Boy," on 4 November 1927. [1]
The 1927 sessions recorded 76 songs, recorded by 19 performers or performing groups.
A second group of sessions was made by Peer in 1928, but the artistic success was not duplicated. In those twelve days in 1927 in Bristol, Tennessee, Peer had managed to fully introduce America to the authentic music of southern Appalachia. The results were two new superstars, The Carter Family and Jimmie Rodgers.
In 1987, the Country Music Foundation issued a Grammy Award-nominated two-LP set, The Bristol Sessions, with 35 tracks. This was reissued on CD in 1991. In 2011, Bear Family Records issued a Grammy Award-nominated five-CD box set The Bristol Sessions: The Big Bang of Country Music 1927-1928 containing 124 tracks and a 120-page hardcover book.
In 2015, Sony Legacy Recordings released Orthophonic Joy: The 1927 Bristol Sessions Revisited as a benefit for the Birthplace of Country Music Museum. [11] The two-CD set pays homage to the original 1927 sessions with 18 songs updated by some of country music's biggest stars, such as Dolly Parton and Brad Paisley. WSM disc jockey and country music historian Eddie Stubbs narrates 19 tracks that tell the story of the 1927 recording sessions.
Click on a label to change the sorting. [12] [13] [14]
Matrix | Recording date | Artist(s) | Title | Victor No. | Release date | Key Name | Notes |
---|---|---|---|---|---|---|---|
39700 | 25 July 1927 | Ernest Stoneman/M. Mooney Brewer | Dying Girl's Farewell | 21129 | 17 February 1928 | Stoneman | |
39701 | 25 July 1927 | Ernest Stoneman/M. Mooney Brewer | Tell Mother I Will Meet Her | 21129 | 17 February 1928 | Stoneman | |
39702 | 25 July 1927 | Ernest Stoneman/Eck Dunford/Miss Irma Frost | Mountaineer's Courtship | 20880 | 4 November 1927 | Stoneman | another take issued on LP & CD |
39703 | 25 July 1927 | Ernest Stoneman/Eck Dunford/Miss Irma Frost | Midnight On The Stormy Deep | Stoneman | issued on LP & CD | ||
39704 | 25 July 1927 | Stoneman's Dixie Mountaineers | Sweeping Through The Gates | 20844 | 16 September 1927 | Stoneman | |
39705 | 25 July 1927 | Stoneman's Dixie Mountaineers | I Know My Name Is There | 21186 | 16 March 1928 | Stoneman | |
39706 | 25 July 1927 | Stoneman's Dixie Mountaineers | Are You Washed In The Blood? | 20844 | 16 September 1927 | Stoneman | |
39707 | 25 July 1927 | Stoneman's Dixie Mountaineers | No More Goodbyes | 21186 | 16 March 1928 | Stoneman | |
39708 | 25 July 1927 | Stoneman's Dixie Mountaineers | The Resurrection | 21071 | 20 January 1928 | Stoneman | another take issued on LP & CD |
39709 | 25 July 1927 | Stoneman's Dixie Mountaineers | I Am Resolved | 21071 | 20 January 1928 | Stoneman | |
39710 | 26 July 1927 | Ernest Phipps and His Holiness Quartet | I Want to Go Where Jesus Is | 20834 | 16 September 1927 | Phipps | |
39711 | 26 July 1927 | Ernest Phipps and His Holiness Quartet | Do Lord Remember Me | 20927 | 18 November 1927 | Phipps | |
39712 | 26 July 1927 | Ernest Phipps and His Holiness Quartet | Old Ship of Zion | 20927 | 18 November 1927 | Phipps | |
39713 | 26 July 1927 | Ernest Phipps and His Holiness Quartet | Jesus Is Getting Us Ready for That Great Day | 21192 | 2 March 1928 | Phipps | |
39714 | 26 July 1927 | Ernest Phipps and His Holiness Quartet | Happy In Prison | 21192 | 2 March 1928 | Phipps | |
39715 | 26 July 1927 | Ernest Phipps and His Holiness Quartet | Don't You Grieve After Me | 20834 | 16 September 1927 | Phipps | |
39716 | 27 July 1927 | Uncle Eck Dunford/Ernest Stoneman/Hattie Stoneman/T. Edwards | The Whip-Poor-Will's Song | 20880 | 4 November 1927 | Dunford | |
39717 | 27 July 1927 | Uncle Eck Dunford/Ernest Stoneman/Hattie Stoneman/T. Edwards | What Will I Do, For My Money's All Gone | 21578 | 5 October 1928 | Dunford | |
39718 | 27 July 1927 | Uncle Eck Dunford/Ernest Stoneman/Hattie Stoneman/T. Edwards | Skip To Ma Lou Ma Darling | 20938 | 16 December 1927 | Dunford | |
39719 | 27 July 1927 | Uncle Eck Dunford/Ernest Stoneman/Hattie Stoneman/T. Edwards | Barney McCoy | 20938 | 16 December 1927 | Dunford | |
39720 | 27 July 1927 | Blue Ridge Corn Shuckers | Old Time Corn Shucking Part 1 | 20835 | 16 September 1927 | Stoneman | similar personnel to Dixie Mountaineers |
39721 | 27 July 1927 | Blue Ridge Corn Shuckers | Old Time Corn Shucking Part 2 | 20835 | 16 September 1927 | Stoneman | similar personnel to Dixie Mountaineers |
39722 | 28 July 1927 | Johnson Brothers With Tennessee Wildcats | Two Brothers Are We | 21243 | 6 April 1928 | Johnson | |
39723 | 28 July 1927 | Johnson Brothers | The Jealous Sweetheart | 21243 | 6 April 1928 | Johnson | another take issued on LP & CD |
39724 | 28 July 1927 | Johnson Brothers | A Passing Policeman | Johnson | issued on LP & CD | ||
39725 | 28 July 1927 | Blind Alfred Reed | The Wreck of the Virginian | 20836 | 16 September 1927 | Reed | another take issued on LP & CD |
39726 | 28 July 1927 | Blind Alfred Reed | I Mean To Live for Jesus | 20939 | 16 December 1927 | Reed | |
39727 | 28 July 1927 | Blind Alfred Reed | You Must Unload | 20939 | 16 December 1927 | Reed | |
39728 | 28 July 1927 | Blind Alfred Reed | Walking In The Way With Jesus | 20836 | 16 September 1927 | Reed | another take issued on LP & CD |
39729 | 28 July 1927 | Johnson Brothers With Tennessee Wildcats | The Soldier's Poor Little Boy | 20891 | 4 November 1927 | Johnson | |
39730 | 28 July 1927 | Johnson Brothers | Just A Message From Carolina | 20891 | 4 November 1927 | Johnson | |
39731 | 28 July 1927 | Johnson Brothers | I Want To See My Mother (Ten Thousand Miles Away) | 20940 | 16 December 1927 | Johnson | release date uncertain |
39732 | 28 July 1927 | El Watson | Pot Licker Blues | 20951 | 18 November 1927 | Watson | Only African American artist to record at Bristol Sessions |
39733 | 28 July 1927 | El Watson | Narrow Gauge Blues | 20951 | 18 November 1927 | Watson | Only African American artist to record at Bristol Sessions |
39734 | 29 July 1927 | B. F. Shelton | Cold Penitentiary Blues | V-40107 | 6 September 1929 | Shelton | |
39735 | 29 July 1927 | B. F. Shelton | Oh Molly Dear | V-40107 | 6 September 1929 | Shelton | |
39736 | 29 July 1927 | B. F. Shelton | Pretty Polly | 35838 | 16 September 1927 | Shelton | 12 inch disc |
39737 | 29 July 1927 | B. F. Shelton | Darling Cora | 35838 | 16 September 1927 | Shelton | 12 inch disc |
39738 | 29 July 1927 | Alfred Karnes | Called To The Foreign Field | V-40327 | 5 December 1930 | Karnes | |
39739 | 29 July 1927 | Alfred Karnes | I Am Bound For The Promised Land | 20840 | 16 September 1927 | Karnes | |
39740 | 29 July 1927 | Alfred Karnes | Where We'll Never Grow Old | 20840 | 16 September 1927 | Karnes | |
39741 | 29 July 1927 | Alfred Karnes | When I See The Blood | Karnes | never issued | ||
39742 | 29 July 1927 | Alfred Karnes | When They Ring the Golden Bells | 20933 | 2 December 1927 | Karnes | |
39743 | 29 July 1927 | Alfred Karnes | To The Work | 20933 | 2 December 1927 | Karnes | |
39744 | 1 August 1927 | J.P. Nester | Train On The Island | 21070 | 20 January 1928 | Nester | |
39745 | 1 August 1927 | J.P. Nester | Georgia | Nester | never issued | ||
39746 | 1 August 1927 | J.P. Nester | John My Lover | Nester | never issued | ||
39747 | 1 August 1927 | J.P. Nester | Black Eyed Susie | 21070 | 20 January 1928 | Nester | |
39748 | 1 August 1927 | Bull Mountain Moonshiners | Sweet Marie | Bull Mountain | never issued | ||
39749 | 1 August 1927 | Bull Mountain Moonshiners | Johnny Goodwin | 21141 | 28 February 1928 | Bull Mountain | release date approximate |
39750 | 1 August 1927 | Carter Family | Bury Me Under The Weeping Willow | 21074 | 20 January 1928 | Carter | |
39751 | 1 August 1927 | Carter Family | Little Log Cabin By The Sea | 21074 | 20 January 1928 | Carter | |
39752 | 1 August 1927 | Carter Family | The Poor Orphan Child | 20877 | 4 November 1927 | Carter | |
39753 | 1 August 1927 | Carter Family | The Storms Are On The Ocean | 20937 | 2 December 1928 | Carter | |
39754 | 2 August 1927 | Carter Family | Single Girl, Married Girl | 20937 | 2 December 1928 | Carter | |
39755 | 2 August 1927 | Carter Family | The Wandering Boy | 20877 | 4 November 1927 | Carter | |
39756 | 2 August 1927 | Alcoa Quartet | Remember Me O Mighty One | 20879 | 4 November 1927 | Alcoa | |
39757 | 2 August 1927 | Alcoa Quartet | I'm Redeemed | 20879 | 4 November 1927 | Alcoa | |
39758 | 2 August 1927 | Henry Whitter | Henry Whitter's Fox Chase | 20878 | 4 November 1927 | Whitter | |
39759 | 2 August 1927 | Henry Whitter | Rain Crow Bill | 20878 | 4 November 1927 | Whitter | |
39760 | 3 August 1927 | Fred H. Greever, John B. Kelly, J. V. Snavely | When They Ring The Golden Bells For You And Me | Private | private recording, not made for release | ||
39761 | 3 August 1927 | Shelor Family | Big Bend Gal | 20865 | 7 October 1927 | Shelor | |
39762 | 3 August 1927 | Dad Blackard's Mountaineers | Suzanna Gal | 21130 | 17 February 1928 | Shelor | = Shelor Family |
39763 | 3 August 1927 | Dad Blackard's Mountaineers | Sandy River Belle | 21130 | 17 February 1928 | Shelor | = Shelor Family, another take issued on LP & CD |
39764 | 3 August 1927 | Shelor Family | Billy Grimes The Rover | 20865 | 7 October 1927 | Shelor | |
39765 | 3 August 1927 | Mr. and Mrs. J. W. Baker | The Newmarket Wreck | 20863 | 7 October 1927 | Baker | |
39766 | 3 August 1927 | Mr. and Mrs. J. W. Baker | On The Banks Of The Sunny Tennessee | 20863 | 7 October 1927 | Baker | |
39767 | 4 August 1927 | Jimmie Rodgers | The Soldier's Sweetheart | 20864 | 7 October 1927 | Rodgers | |
39768 | 4 August 1927 | Jimmie Rodgers | Sleep, Baby, Sleep | 20864 | 7 October 1927 | Rodgers | |
39769 | 4 August 1927 | Red Snodgrass' Alabamians | Weary Blues | Snodgrass | Jazz/dance band | ||
39770 | 4 August 1927 | Tenneva Ramblers | The Longest Train I Ever Saw | 20861 | 7 October 1927 | Tenneva | later recorded as Grant Brothers |
39771 | 4 August 1927 | Tenneva Ramblers | Sweet Heaven When I Die | 20861 | 7 October 1927 | Tenneva | later recorded as Grant Brothers |
39772 | 4 August 1927 | Tenneva Ramblers | Miss Liza, Poor Gal | 21141 | 28 February 1928 | Tenneva | later recorded as Grant Brothers, release date approximate |
39773 | 5 August 1927 | West Virginia Coon Hunters | Greasy String | 20862 | 7 October 1927 | West Virginia | |
39774 | 5 August 1927 | West Virginia Coon Hunters | Your Blue Eyes Run Me Crazy | 20862 | 7 October 1927 | West Virginia | |
39775 | 5 August 1927 | Tennessee Mountaineers | Standing On The Promises | 20860 | 7 October 1927 | Tennessee | mixed 20-voice choir |
39776 | 5 August 1927 | Tennessee Mountaineers | At The River | 20860 | 7 October 1927 | Tennessee | mixed 20-voice choir |
Bristol is a city in Sullivan County, Tennessee, United States. The population was 27,147 at the 2020 census. It is the twin city of Bristol, Virginia, which lies directly across the state line between Tennessee and Virginia. The boundary between the two cities is also the state line, which runs along State Street in their common downtown district. It is a principal city in the Kingsport–Bristol metropolitan area, which had a population of 307,614 in 2020. The metro area is a component of the larger Tri-Cities region of Tennessee and Virginia, with a population of 508,260 in 2020.
The Carter Family was a traditional American folk music group that recorded between 1927 and 1956. Their music had a profound impact on bluegrass, country, Southern Gospel, pop and rock music as well as on the U.S. folk revival of the 1960s.
Ralph Sylvester Peer was an American talent scout, recording engineer, record producer and music publisher in the 1920s and 1930s. Peer pioneered field recording of music when in June 1923 he took remote recording equipment south to Atlanta, Georgia, to record regional music outside the recording studio in such places as hotel rooms, ballrooms, or empty warehouses.
James Charles Rodgers was an American singer-songwriter and musician who rose to popularity in the late 1920s. Widely regarded as the "Father of Country Music", he is best known for his distinctive yodeling. Rodgers was known as "The Singing Brakeman" and "America's Blue Yodeler". He has been cited as an inspiration by many artists, and he has been inducted into multiple halls of fame.
Music in the United States underwent many shifts and developments from 1900 to 1940. The country survived both World War I and the Great Depression before entering World War II in December 1941. Americans endured great loss and hardship but found hope and encouragement in music. The genres and styles present during this period were Native American music, blues and gospel, jazz, swing, Cajun and Creole music, and country. The United States also took inspiration from other cultures and parts of the world for her own music. The music of each region differed as much as the people did. The time also produced many notable singers and musicians, including jazz figure Louis Armstrong, blues and jazz singer Mamie Smith, and country singer Jimmie Rodgers.
Ernest Van "Pop" Stoneman was an American musician, ranked among the prominent recording artists of country music's first commercial decade.
Appalachian music is the music of the region of Appalachia in the Eastern United States. Traditional Appalachian music is derived from various influences, including the ballads, hymns and fiddle music of the British Isles, the African music and blues of early African Americans, and to a lesser extent the music of Continental Europe.
The Johnson City Sessions were a series of influential recording auditions conducted in Johnson City, Tennessee, in 1928 and 1929 by Frank Buckley Walker, head of the Columbia Records "hillbilly" recordings division. Certain releases from the Johnson City Sessions—especially Clarence Ashley's "The Coo-coo Bird" and The Bentley Boys' "Down On Penny's Farm"—are considered by music scholars as important recordings of early country music that influenced a whole generation of revivalist folk musicians of the 1950s and 1960s, including Bob Dylan, Joan Baez, and Doc Watson.
This is a list of notable events in country music that took place in the year 1927.
The blue yodel songs are a series of thirteen songs written and recorded by Jimmie Rodgers during the period from 1927 to his death in May 1933. The songs were based on the 12-bar blues format and featured Rodgers’ trademark yodel refrains. The lyrics often had a risqué quality with "a macho, slightly dangerous undertone." The original 78 issue of "Blue Yodel No. 1 " sold more than a half million copies, a phenomenal number at the time. The term "blue yodel" is also sometimes used to differentiate the earlier Austrian yodeling from the American form of yodeling introduced by Rodgers.
Carl Eugene Jackson is an American country and bluegrass musician. Jackson's first Grammy was awarded in 1992 for his duet album with John Starling titled "Spring Training." In 2003 Jackson produced the Grammy Award-winning CD titled Livin', Lovin', Losin': Songs of the Louvin Brothers – a tribute to Ira and Charlie Louvin. He also recorded one of the songs on the CD, a collection of duets featuring such artists as James Taylor, Alison Krauss, Dolly Parton, Johnny Cash, Emmylou Harris, and others.
"Blue Yodel No. 1 " is a song by American singer-songwriter Jimmie Rodgers. The recording was produced by Ralph Peer, who had originally recorded with Rodgers during the Bristol Sessions. It was released by the Victor Talking Machine Company on February 3, 1928. Rodgers recorded it during his second session with Victor, on November 30, 1927.
William Henry Whitter was an early old-time recording artist in the United States. He first performed as a solo singer, guitarist and harmonica player, and later in partnership with the fiddler G. B. Grayson. He recorded the first version of "Going Down the Road Feeling Bad".
Clarence Horton Greene was an American musician and recording artist, noted for his fiddle and guitar work, and a pioneer in country music of the 1920s.
Peermusic is a United States-based independent music publisher.
Fiddlin' Powers and Family was a Virginia string band from the 1920s, considered pioneers in early country music. They were the first family string band to make a commercial record (1924). The band consisted of Cowan Powers and his children, Charles, Orpha, Carrie and Ada. Cowan also played with his wife, Matilda, until her death in 1916.
Orthophonic Joy: The 1927 Bristol Sessions Revisited is a double-CD produced by Grammy Award-winner Carl Jackson, a Bluegrass and country music artist, as a benefit for the Birthplace of Country Music Museum in Bristol, Tennessee. The project was conceived by executive producer Rusty Morrell, a Bristol native who was well acquainted with the story of the historic 1927 Bristol Sessions and imagined a modern tribute to the sessions that have been dubbed the "big bang" of country music. The project includes 37 tracks - 18 songs and 19 spoken word tracks that provide context. WSM disc jockey and country music historian Eddie Stubbs narrates the project, and a who's who of country artists recorded the new versions of the old classics. Jackson recorded the album between 2013 and 2015. It was released by Sony Legacy Recordings on May 12, 2015.
The Music of East Tennessee has a rich history, and played a major role in the development of modern country and bluegrass music. Bristol, known as "the birthplace of country music",, and Johnson City, notable for the Johnson City recording sessions, are both towns in the Tri-Cities region of East Tennessee. The music of East Tennessee is defined by country, gospel, and bluegrass artists, and has roots in Appalachian folk music.
Birthplace of Country Music Museum is a museum celebrating the historic 1927 Bristol Sessions, which recorded some of the earliest country music in America when the Carter Family and Jimmie Rodgers and several other musicians recorded for the first time before gaining prominence. The museum is located at 520 Birthplace of Country Music Way in Bristol, Virginia. A live radio station WBCM-LP broadcasts from within the museum. The original site of the Bristol recordings is marked by a plaque several blocks from the museum.
The Tenneva Ramblers were an old-time string band which consisted of singer and guitar player Claude Grant, his mandolin-playing brother Jack Grant, and Jack Pierce.