The first of three
Fiddlin' Doc Roberts collections released by Document in 1999 opens with the scratchiest artifacts in his entire discography. This comes as no surprise, as not only are rural 78-rpm records notorious for having been worn down by blunted needles (or improvised styli in the form of modified safety pins), but tracks one through seven were recorded using the old acoustic horn process. Generally speaking, records of this vintage usually require a certain amount of remastering. As is typical of the first wave of Document compilations, little or no processing was applied during the transfers, so these early Gennett platters sound like they have just been dragged out of someone's garage, wiped down with an old shirt, and tossed onto the felt-covered turntable of an ancient phonograph. Not an altogether unpleasant playback experience for those who enjoy this kind of historic verity, but to some 21st century ears, portions of the first part of
Doc Roberts' collected works may seem to be veiled with surface noise to an unusual degree. The fiddle, of course, cuts through everything, and the adroit picking of guitarist Edgar Boaz comes across well enough, even if this particular copy of "Billy in the Low Grounds" conveys the presence of fingerprints imbued with the residual essence of coal dust, beer, chicken grease, and lard. Every track is precious, though, so until a cleaner set appears it's best to ignore the chaff and focus in on the excellent music contained within the grooves.
Roberts learned "All I've Got Is Done Gone" from his first major inspiration, African-American fiddler and bandleader Owen Walker. He cut an even better version of it in 1930, which can be found at the end of the second volume in this series.
The sentimental waltz "In the Shadow of the Pine" is a rare example of
Doc Roberts laying his fiddle aside and singing. The only instrument used is Boaz's guitar, and this stands as the best sampling of his artistry ever preserved on record. It is also a much cleaner-sounding copy, presumably because this slow-paced vocal record wasn't played to death at parties as was probably the case with the more upbeat numbers. With the lively "Arkansas Traveler" listeners come to
Roberts' very first performances to be documented for posterity using an electrically powered microphone. Tracks eight through 15 find him working with guitarist John Booker, who is replaced by his brother Joe on electric remakes of "And the Cat Came Back" and "Billy in the Low Ground." Tony Russell's well-researched liner notes reveal that "And the Cat Came Back the Very Next Day" originated in the chorus of a song by Harry S. Miller published in 1893. It is one of many tunes on this collection that
Roberts learned from Owen Walker. These include "Waynesburgh," "Old Buzzard," and "Brick Yard Joe," which is very similar to "Martha Campbell." In May 1928
Roberts began recording with guitarist Asa Martin. Their second session resulted in three definitive pieces of old-time Americana: "Old Zip Coon and Medley Reels," "Dance with a Gal with a Hole in Her Stocking," and a toe-tapping medley of "Leather Breeches," "Big Eared Mule," and "Irish Washerwoman."
Roberts learned to play "New Money" from one of his early influences, Elzie Stone. As for "Shippin' Sport," this locally popular piece was named after a historic site on the Ohio River, once called Shippingport but known since 1780 as Louisville. ~ arwulf arwulf