The North Carolina Ramblers
Charlie Poole and his brother-in-law, fiddler Posey Rorer - whom he had met in West Virginia in 1917 and whose sister he married - formed a trio with guitarist Norman Woodlieff called the North Carolina Ramblers. The group auditioned in New York for Columbia Records. After landing a contract, they recorded the highly successful "Don't Let Your Deal Go Down Blues" on July 27, 1925. This song sold over 102,000 copies at a time when there were estimated to be only 600,000 phonographs in the Southern United States, according to Poole’s biographer and great nephew, Kinney Rorrer. The band was paid $75 for the session, which would be approximately $950.20 in 2011 dollars (Consumer Price Index).
Poole played the banjo. The guitar was played by Norman Woodlief, and later by former railroad engineer Roy Harvey from West Virginia. Fiddlers in various recording sessions were Posey Rorer, Lonnie Austin and Odell Smith.
The North Carolina Ramblers, a banjo-guitar-fiddle trio with Poole's plain-spoken tenor voice in the lead, in great part created the musical templates for two giants: the bluegrass of Bill Monroe and, by extension, the lyrical aspects of the modern country music of Hank Williams. Bill C. Malone, in his important history of country music, "Country Music, U.S.A." says, "The Rambler sound was predictable: a bluesy fiddle lead, backed up by long, flowing, melodic guitar runs and the finger-style banjo picking of Poole. Predictable as it may be, it was nonetheless outstanding. No string band in early country music equalled the Ramblers' controlled, clean, well-patterned sound."
For the next five years, Poole and the Ramblers were a very popular band. The band's distinctive sound remained consistent though several members came and left, including Posey Rorer and Norm Woodlieff. In all, the band recorded over 60 songs for Columbia Records during the 1920s. These hits included: "Sweet Sunny South", "White House Blues", “He Rambled”, and “Take a Drink on Me”.
Poole was essentially a cover artist, who composed few, if any, of his recordings. Nevertheless, his dynamic renditions were popular with a broad audience in the Southeast. He is considered a primary source for Old Timey revivalists and aficionados. Songs like "Bill Morgan And His Gal", "Milwaukee Blues", and "Leavin' Home", have been resurrected by banjo players. Poole developed a unique fingerpicking style, a blend of melody, arpeggio, and rhythm (as distinct from clawhammer/frailing and Scruggs' variations).
Read more about this topic: Charlie Poole
Other articles related to "carolina, north":
... Forest Acres is an upscale city in Richland County, South Carolina, United States ... It is part of the Columbia, South Carolina Metropolitan Statistical Area ...
... paper published in the Pee Dee, with a readership base extending from Cheraw, South Carolina, Marion South Carolina, Darlington, South Carolina to Williamsburg, South Carolina ...
... and the county seat of Florence County, South Carolina, United States ... to form the core of "Pee Dee" region of South Carolina, an area that includes the eight counties of northeastern South Carolina along with sections in southeastern North Carolina ...
... Qasim Mitchell (born December 3, 1979 in Jacksonville, North Carolina) is an American football offensive lineman who is currently a free agent ... He played college football at North Carolina A T ... Mitchell has also been a member of the Chicago Bears, Carolina Panthers, Arizona Cardinals, and San Francisco 49ers ...
... Henderson County, North Carolina - east Greenville County, South Carolina - southeast Pickens County, South Carolina - south Oconee County, South Carolina - southwest Jackson County, North ...
Famous quotes containing the words north and/or carolina:
“When the Somalians were merely another hungry third world people, we sent them guns. Now that they are falling down dead from starvation, we send them troops. Some may see in this a tidy metaphor for the entire relationship between north and south. But it would make a whole lot more sense nutritionallyas well as providing infinitely more vivid viewingif the Somalians could be persuaded to eat the troops.”
—Barbara Ehrenreich (b. 1941)
“Poetry presents indivisible wholes of human consciousness, modified and ordered by the stringent requirements of form. Prose, aiming at a definite and concrete goal, generally suppresses everything inessential to its purpose; poetry, existing only to exhibit itself as an aesthetic object, aims only at completeness and perfection of form.”
—Richard Harter Fogle, U.S. critic, educator. The Imagery of Keats and Shelley, ch. 1, University of North Carolina Press (1949)