Roy Harvey The Complete Recorded Works, Volume 3: 1929-1930

The Complete Recorded Works, Volume 3: 1929-1930
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Item:  DCU 8052
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CD Details

  • Released: October 25, 1999
  • Label: Document

Tracks:

  • 1.San Antonio
  • 2.What Is a Home Without Babies
  • 3.The Virginian Strike of '23
  • 4.The Policeman's Little Child
  • 5.My Yodeling Sweetheart
  • 6.I'm Longing to Belong to Someone
  • 7.We Have Moonshine in the West Virginia Hills
  • 8.A Hobo's Pal
  • 9.You Came Back to Me
  • 10.Prison Sorrows
  • 11.Greasy Wagon
  • 12.Mother's Waltz
  • 13.Back to the Blue Ridge
  • 14.Just Good-Bye I Am Going Home
  • 15.The Lilly Reunion
  • 16.Hobo's Pal
  • 17.No Room for a Tramp
  • 18.Little Seaside Village
  • 19.Milwaukee Blues
  • 20.When the Bees Are in the Hive
  • 21.The Dying Brakeman
  • 22.Railroad Blues
  • 23.Jefferson Street Rag
  • 24.Guitar Rag

Product Description:

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. ~ arwulf arwulf

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Product Info:

  • UPC: 714298805222
  • Shipping Weight: 0.25/lbs (approx)
  • International Shipping: 1 item

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