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The Bristol Sessions, 1927–1928: The Big Bang of Country Music. Bear Family Records BCD 16094 EK, 2011, 5 CDs.

Published online by Cambridge University Press:  23 May 2013

Travis D. Stimeling
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Type
Recording Reviews
Information
Journal of the Society for American Music , Volume 7 , Issue 2 , May 2013 , pp. 219 - 222
Copyright
Copyright © The Society for American Music 2013 

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References

1 Porterfield, Nolan, “Hey, Hey, Tell ’Em ’Bout Us: Jimmie Rodgers Visits the Carter Family,” in Country: The Music and the Musicians, 2nd ed. (New York: Abbeville Press, 1994), 17Google Scholar.

2 Green, Archie, “Hillbilly Music: Source and Symbol,” Journal of American Folklore 78/309, Hillbilly Issue (July–September 1965): 216–17CrossRefGoogle Scholar; Wolfe, Charles K., “The Bristol Syndrome: Field Recordings of Early Country Music,” in Country Music Annual 2002, eds. Wolfe, Charles K. and Akenson, James E. (Lexington: University Press of Kentucky, 2002), 203–7Google Scholar; Russell, Tony, “Country Music on Location: ‘Field Recording’ Before Bristol,” Popular Music 26/1 (2007): 23–31CrossRefGoogle Scholar; Malone, Bill C. and Neal, Jocelyn R., Country Music, U.S.A., 3rd rev. ed. (Austin: University of Texas Press, 2010), 39Google Scholar.

3 Wolfe, Charles K., “Ralph Peer at Work: The Victor 1927 Bristol Session,” Old Time Music 5 (Summer 1972): 10–15Google Scholar; Wolfe, “The Legend That Peer Built: Reappraising the Bristol Sessions,” Journal of Country Music 13/2 (1989), reprinted in The Bristol Sessions: Writings about the Big Bang of Country Music, eds. Charles K. Wolfe and Ted Olsen, Contributions to Southern Appalachian Studies 12 (Jefferson, NC: McFarland & Co., 2005), 17–39.

4 The Bristol Sessions, Country Music Foundation 67, 1991, 2CDs; RCA Country Legends: The Bristol Sessions, Vol. 1, RCA/BMG Heritage 65131, 2002; The Bristol Sessions, 1927/1928—Country Music's “Big Bang,” JSP Records JSPCD77156, 2012, 4 CDs. It should be noted that the Country Music Foundation's compact disc release was preceded by a cassette release in 1987.

5 Jocelyn Neal, “Ernest Stoneman's 1927 Session: Hillbilly Recordings of Gospel Hymns,” in The Bristol Sessions: Writings about the Big Bang of Country Music, 196.

6 For a detailed discussion of the Stoneman arrangements of these shape-note hymns, consult Neal, “Ernest Stoneman's 1927 Session,” 198–208.

7 Russell, Tony, Country Music Originals: The Legends and the Lost (New York: Oxford University Press, 2007), 7–8Google Scholar.

8 For more on Stoneman's role in the Bristol Sessions, consult Tribe, Ivan M., The Stonemans: An Appalachian Family and the Music That Shaped Their Lives (Urbana: University of Illinois Press, 1993), 55–62Google Scholar.

9 Charles K. Wolfe, “The Bristol Sessions: The Cast of Characters,” in The Bristol Sessions: Writings about the Big Bang of Country Music, 40–53.

10 The quality of the master recordings was, in part, due to the use of Western Electric's recently developed electric microphones (Wolfe, “The Legend that Peer Built,” 20; Eric Morritt, “Early Sound Recording Technology and the Bristol Sessions,” in Charles K. Wolfe and Ted Olsen, eds., The Bristol Sessions: Writings about the Big Bang of Country Music, 11–13).

11 Ernest V. Stoneman: The Unsung Father of Country Music, 5-String 5SPH 001, 2008, 2 CDs.