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1-1-2016 Blind Alfred Reed: Appalachian Visionary Ted Olson East Tennessee State University, [email protected]
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Citation Information Olson, Ted. 2016. Blind Alfred Reed: Appalachian Visionary. The Old-Time Herald. Vol.14(5). 10-22. http://www.oldtimeherald.org/ archive/back_issues/volume-14/14-5/reed.html ISSN: 1040-3582
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This article is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/1201 BLIND ALFRED REED: APPALACHIAN VISIONARY By Ted Olson
The West Virginia Night (Nite) Owls, late 1920s. l - r, Fred Pendleton (fiddle), Alfred Reed (fiddle), Arville Reed (guitar)
10 THE OLD-TIME HERALD WWW.OLDTrMEKERALD.ORG VOLUME 14, NUMBER 5 oday, many i£ not most fans of American roots music have heard Tof the Bristol sessions, the now legendary recording sessions conducted in Bristol, Tennessee / Virginia, dming the summer of 1927 by producer Ralph Peer for the Victor Talking Machine Company. Those sessions-held the last week of July and first week of August 1927-were not widely recognized until the 1980s. In 1987 a compilation of cherry-picked 1927 Bristol sessions recordings released by the Country Music Foundation was nominated for two Grammy Awards, and that feat was repeated in 2012 when a complete Bristol sessions boxed set from Bear Family Records-this time includ ing all the 1927 Bristol sessions record ings and all of Peer's recordings made in Bristol dming follow-up October 1928 sessions- likewise received two Gram my nominations. In 2002, the Library of Congress selected the 1927 Bristol ses sions as collectively constituting one of 25 significant recordings or recording events entered into the National Record ing Registry in that program's very first year of existence. Historian Nolan Porterfield, in an essay included in the 1988 book Country: The Music and the Musicians, wrote "Music historians and others fond of dates and places have a special weakness for 'Bristol, August 1927.' As a sort of shorthand no tation, it has come to signal the Big Bang of country music evolution." And many other scholars-whether or not they share Porterfield's hyperbolic assessment-have agreed that those recording sessions were undeniably important. The reasons for such glowing appraisal are various and complex. While not yielding the first re cordings of "hillbilly music" (one of sev eral terms used to describe cow1try music dming the 1920s) and while not constitut ing the earliest effort to record and com mercially market Appalachian music (re gional musicians had made recordings outside the region as early as 1923)-and while not even the first recording ses sions to be held in Appalachia (the OKeh label had conducted sessions in Asheville, North Carolina, in 1925)- the 1927 Bristol sessions indisputably shaped the music in dustry by introducing a soon-to-be-wide-
THE OLD-TIME H ERALD WWW.OLDTLMEHERALD.ORG VOLLJME 14, NUMBER 5 11 spread music-marketing model. Reflect ing Peer's business savvy, this model in volved a one-time payment to the artist for recording his / her music and the promise of a share of profits generated from sales of copyrighted material on records and in songbooks; others (the producer, the mu sic publisher, the record company) would likewise retain a share of profits from sales (which would be particularly sizeable with material owned via copyright). Peer's new business approach also involved the issuing of contracts ensuring the sharing of revenues generated through live perfor mances of that material. The 1927 Bristol sessions were impor tant in other ways. The recordings that Peer made in Bristol for Victor in 1927 were noteworthy for their dynamically bold sound, rendered possible through the use of the electronic microphone, a recently introduced system of sound dis semination that was markedly superior
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12 THE OLD-TIME HERALD WWW.OLDTfMEHERALD.ORG VOLUME 14, N UMBER 5 Invariably another aspect of the Bristol memorably recorded again that same sessions story gets most of the atten year for Columbia Records as the Grant tion: the media tends to focus on the fact Brothers and Their Music, in nearby Don Leister Violins that while in Bristol Peer "discovered" Jolmson City, Te1messee.) Of all the mu Richmond, Virginia the Carter Family and Jimmie Rodgers, sicians that Peer recorded at its 1927 ses sions in Bristol, only three acts contin ~(:/ ------" both of whom made their first record Expert Violin ings there. Porterfield encouraged this ued to record for Victor after 1928 and & Bass Repair tendency when he suggested in the away from Bristol: the Carter Family, aforementioned quote that the tag "the Jimmie Rodgers, and Blind Alfred Reed. Bow Rehairing Big Bang of country music" was appli Alfred Reed's contributions to the cable specifically to the sessions held 1927 Bristol sessions may have been in Bristol the first week of August 1927, overshadowed by those from the two when the Carters and Rodgers record better-known acts, but this unique mu www.donleister.com ed. 0£ course, Peer and the Victor label sician's recordings- his four numbers capitalized on the talents of the two acts from Bristol and his subsequent releases into and (despite Rodgers' 1933 death) for Victor-remain relevant in that they through the Great Depression, gradu advance a sometimes humorous, often ally cementing their status as legends. searing vision of a world gone wrong. Without a doubt, the presence of "the The fact that "Blind Alfred Reed" (so First Family of Country Music" and "the named by Peer) articulated a remark Father of Country Music" at the 1927 ably complex worldview in a compara Bristol sessions will ensure that those tively small canon of recordings has sessions are remembered as a watershed only deepened the mystery of this Ap BanjoFactory.com event in the history of American music. palachian visionary. Although his total I 9th cntury tylc output was slight when compared to Tack-head & Frctk s Gourd and Unfortunately, focusing on the Carters Wooden hell Banjo and Rodgers (as Peer/ Victor did and that of the Carter Family or Jimmie Rod as many people today continue to do) gers, Reed's best recordings are as es Like root mu ic'? has inadvertantly marginalized other sential as any of his contemporaries' re Then why not play a real roots banjo"? recordings that Peer made in Bristol, in cordings in depicting and illuminating cluding those from the last week of July the changing realities of rural America 1927. Indeed, some of the recordings on the cusp of the Great Depression. made that week in Bristol are equally worthy of attention today, especially the four recordings by Blind Alfred Reed from July 28, 1927. Numerous musicians beyond those previously mentioned were invited to or heard about (by word of mouth or via a feature newspaper story) and attend ed-Peer's location recording sessions in Bristol that summer, and any attempt to tell the Bristol sessions story should mention them and their contributions. While a couple of those musicians were, by 1927, already well known recording acts (specifically, Ernest V. Stoneman and Henry Whitter), most of the musi cians made their first recordings in Bris tol (like the Carter Family and Jimmie Rodgers). But most of those musicians were subsequently ignored by mu sic £ans of that era. (Alfred G. Karnes and Ernest Phipps recorded again for Peer and Victor at the 1928 Bristol ses sions, but several other 1927 Bristol acts never recorded again.) The Victor label was not the only recording company, of course, and certain Bristol sessions mu sicians found receptive ears elsewhere. (Stoneman, for instance, made some of his finest recordings in 1928 for the Edison label, and the Tenneva Ramblers
THE OLD-TIME HERALD WWW.OLDTIMEHERALD.ORG VOLUME 14, NUMBER 5 13 Alfred Reed
Alfred Reed's story is that of a man looking within to find a light by whicl1 to navigate the darkness within and without. Alfred Lee Reed was born blind in Floyd County, Virginia. (The date of his birth has long been listed as Jm1e 15, 1880, though researmer Warren Mo01n1ar1 has recently unear·thed ar1 early docmnent suggesting that the ac tual date was likely Jar1Uary 20, 1879.) The 1900 Census lists Alfred as still living with his parents in Floyd Cow1ty, though he moved away shortly afterward to mar·ry and start a family. Alfred's parents were farn1ers. Riley Reed ar1d d1arlotte Akers Reed had six mildren, two of whom were blind-the other was Alfred's older sister Rosetta, whose nickname was Rose; both mildren leamed to read and write by utiliz ing the New York Point System, ar1d both lived long and full lives. In the words of Al fred's grar1dson Denny Reed, who grew up very close (both literally and figuratively) to both Alfred and Rose, "Blind people have more senses thar1 people with eyesight." While his parents were not musically in clined, Alfred displayed a prodigious gift for music when quite yow1g, mastering the fiddle, and also playing the bar1jo, the guitar, the mandolin, and the orgar1. He also loved to sing a wide range of songs-religious as well as secular, traditional as well as popu lar. Alfred developed a singular· vocal ap proacl1 mar·ked by precision of enw1ciation and tonal clarity; his singing, W1like in the vocal styles of mar1y Appaladuar1 singers of his generation, exhibited little overt na sality. By the early 1920s, when radio be came available in his area, Alfred listened to ar1d enjoyed perfonnances by several of the era's popular singers, including Vernon Dalhart and Carson Robison. Alfred would purmase songbooks and hynmbooks, and his wife ettie would read the lyrics to him. Because the songs he lea.med from others did not always express aspects of what he was thinking, feeling, and experiencing, Alfred felt compelled to compose his own songs, and he was exceptionally talented in this endeavor-a craftsman with many things to say. Alfred married Nettie Sheard (1882-1948) on July 25, 1903, in Giles County, Virginia, and tl1e couple soon moved to southern West Virginia and rented the first of sever al small farms in that state. The next year brought tl1e birtl1 of their daughter Savan nah, and the couple subsequently had several other children, including their first son, Arville (November 10, 1905-Decem ber 15, 1994), who would play ar1 impor-
14 THE OLD-TIME HERALD WWW.OLDTIMEHERALD.ORG VOLUME 14, NUMBER 5 THE OLD-TLME HERALD WWW.OLDTIMEHERALD.ORG VOLUME 14, NUMBER 5 15 tant role in Alfred's music career. Among the other Reed children were tlu-ee more sons-Tessie, Basil, and Collins-and a daughter Violet. Living on a succession THK BhlND MAN'8 80NG. of small farms in soutl1.ern West Virginia (For opening entertainment . ) (the 1910 Census documents tl1e Reeds as living in the Mercer Cotmty conunml.i.ty Composed by the Blind Mu i i&n, A. L. REED. of Spanishburg, while the 1920 Census places their residence in the nearby com munity of Rock; shortly thereafter, the family relocated to a farm near Princetrn:1, Kind friends I have met you her West Virginia; subsequently, tl1e Reeds probably lived briefly in Bluefield before to-nig11tr moving just outside Hinton in Summers My promise to fulfill County, West Virginia), fue Reed fam God has not ble ed roe with m. ily was mostly self-sufficient, growing sight, or raising much of fueir food. At times during those years, Savannah and Violet 'Twas not his ho , will. would make extra money for fueir family by doing chores for other fanl.i.lies. Grant ed fuat his blindness limited his employ ment options, Alfred persevered and was onely, ultimately successful in supporting his I'm b . and cannot ee, family tlu-ough tl1e difficult years of tl1.e ends to-night let me ask Great Depression. (As an indication of his work etluc, fue 1910 Census lists fue num OU ber of weeks he was unemployed in fue o do all you can for me. previous year as zero.) Relying upon his talent to generate money, he gave music I charge you no admission fee, lessons, performed at dances and various social and church gatherings, sold printed No money I require, copies of lus own lyrics, and, in 1927 and 'Till after I have played for you, 1929, made commercial recordings. Then give me what you desire. Alfred was a locally esteemed musi cian long before his first recordings. The Reed house often hosted music-making 'Tis hard for me to pla and sin gatherings involving Alfred and several Two hour and ometimes of his and Nettie's children (specifically, three, Arville, Collins, Sava.mi.ah, and Violet) and sometimes including such West But I will make thi violin ring, Virginia musicians as fiddler Fred Pend 'Tiil satisfied you 11 leton and singer/ guitarist Richard Har old. Alfred also frequently performed ow friends help m on the streets of nearby towns, particu pleas all larly in Hinton. In 1971 his son Collins yon can, recalled that Alfred would often walk You know w at you can give the three miles to Hinton in order to per Sonj~ day the Lord will a form music in a park or on streetcorners. "Many times he would walk all the way come in, back home without having earned a You've helped the blind to live. nickel," Collins remembered; "on more successful occasions he would pick up some groceries on the way back. Six or seven cents was enough to buy a pound of bacon." In 1976 Arville recalled Al fred's forays to play music in town: "He got around pretty good in familiar plac es, but you had to lead him whenever he went someplace new. He would play his fiddle in Hinton with a cup along side. We never knew how much money An example of the song sheets that Alfred Reed sold. He never recorded this song. he would bring home."
16 THE OLD-TIME HERALD WWW.OLDTIMEHERA LD.ORG VOLUME 14, NUMBE R 5 All the while, Alfred wrote songs, and his spare yet haLmting fiddling comple thus detaining him at home, saves him eventually his songcraft garnered atten menting but not overpowering his open from certain death when an actual acci tion outside his home community. Local throated, warm baritone voice. Peer, dent happens at his mine. Alfred then officials occasionally commissioned him evidently moved by what he heard but recorded his poignant song "The Fate of to create songs for political purposes, seeking perfection, requested a second Chris Lively and Wife," which depicted such as the time Alfred was asked to com take of "The Wreck of the Virginian" (this a married couple naively traveling in a pose a protest song against a propos!'ll to was ultimately the performance released horse-drawn wagon across some railroad relocate the Mercer County courthouse as a record); then Peer asked Alfred to tracks, unaware of the fast-moving train from Princeton to Bluefield. He became perform other songs. Alfred, a lay Meth that will imminently kill them. (This song quite skilled as a writer of topical songs odist preacher with a fundamentalist yet was based on a true incident, as husband based on events he heard about while idiosyncratic moral compass, sang three and wife Christopher Columbus Lively in town or while listening to the radio, sacred songs he had composed-all ac and Mary Lively were struck by a train or based on newspaper articles his wife companied by his fiddle and by Wyrick' s on September 2, 1927, in Fayette County, read to him. Alfred's best known topi rhythm guitar. These tlu·ee songs, "I West Virginia.) Next, Alfred made what cal song, "The Wreck of the Virginian," Mean to Live for Jesus," "You Must Un one commentator called an "anti-flap chronicled the May 24, 1927, Ingleside load," and "Walking in the Way with Je per" record, "Why Do You Bob Your Hair, (in Mercer County, West Virginia) rail sus," were different in terms of tone and Girls." Arguing against women in the road disaster, when a freight train and a tempo, but they were all pleas to fellow 1920s exercising their right to wear their passenger train collided. His compelling Christians to remain faithful to old-fash hair as they pleased, the song expressed retelling of the Virginian No. 3's crash fo ioned, time-proven Christian values and sincere (if, from a 21st-century perspec cused on the tragic deaths of the freight to avoid the pitfalls and vanities of mod tive, paternalistic) concern for women's train' s engineer and fireman. ern life. Despite some admonishments moral integrity. Alfred's sympathies This song, metaphorically speaking, trans against sin, the three songs were tender, also extended, predictably, to men, and ported Alfred to Bristol. Allegedly, Ernest even compassionate. Alfred may have a subsequent recording, "Always Lift Stoneman had heard Reed sing "The Wreck been preaching, yet he wasn't screech Him Up and Never Knock Him Down" of the Virginian" somewhere--perhaps in ing-he stressed redemption. While his acknowledged male struggles in coping Bluefield, as Reed was listed as living there message was emphathetic and his emo with the difficulties of modern life. The in the 1927 Bluefield city directory-and tional delivery intense, his lyrics were sixth and final recording by Alfred from had recommended the blind musician to understated, witty, and brimming with that Camden session was "The Prayer of Peer a few weeks before the start of the 1927 metaphor. Unfortunately yet under the Drunkard's Little Girl," in which a Bristol sessions. Recently hired as an A & standably, Alfred's sacred songs never child yearns for her father to overcome R (Artists and Repertoire) producer by the became staples in the gospel repertoire. alcoholism and return to the family that Victor Talking Machine Company (after be Certainly, it would be difficult to sing loves him. ing affiliated with the OKeh label), Peer was these songs with the authority Alfred That same day in Camden, Arville, who seeking to identify talented musicians who brings to them. played rhythm guitar on all his father's were rooted in a traditional sound and sen Blind Alfred Reed's Bristol records recordings after the Bristol sessions, was sibility yet who could record for the Victor were impressive, indeed, and also mod invited by Peer to make a solo recording; label self-composed, copyrightable songs. estly successful commercially (especially this was "The Telephone Girl," a charm Alfred, who offered that rare combination in Alfred's home area, where his Bristol ing time-piece (probably adapted by of skills, was invited to make some record releases and some of his later records Alfred from an 1880s poem by George ings in Bristol-and no doubt he, like the sold well). Accordingly, Peer kept Alfred Devyr) that showcased Arville's consid other musicians who recorded there that under contract. That December (1927), erable if under-documented music tal summer, hoped that some of the resulting Alfred and Arville traveled by train to ents-his melodious, vibrato-rich tenor recordings would end up on commercially Camden, New Jersey-Victor paid travel voice and his intricate guitar picking. released records. and lodging expenses-to make record Victor would release the performance To accept Peer's invitation, Alfred need ings in the Victor studio there (in the and the record label would misspell Ar ed to travel to Bristol. The logical person converted Trinity Baptist Church at 114 ville' s first name as Orville. The younger to take him there from West Virginia was North 5th Street). The four songs Alfred Reed recorded four additional numbers Arville, but the latter was unavailable the had recorded in Bristol were powerful that same day with fiddler Fred Pend last week of July 1927 (the time of Peer's yet were limited thematically, and thus leton (February 24, 1904-December 29, planned session for Alfred). The task his released Bristol sides only hinted at 1972), who had travelled with the Reeds fell to Alfred's friend and neighbor Ar his talents. These new recordings, made to New Jersey; the duo featuring Arville thur Wyrick (November 4, 1895-Janu on December 19, were more diverse, Reed and Pendleton was credited as the ary 1, 1964), a musician who would play revealing the range of his songwriting West Virginia Night Owls (the musi solid rhythm guitar on three of Alfred's interests. "Explosion in the Fairmont cians had often performed together back recordings in Bristol. On July 28, Alfred Mines," based on the earlier coal mining home-sometimes with Alfred). Of the entered Peer's makeshift studio, located song "The Dream of the Miner's Child," four recordings made by the West Virgin in the Taylor-Clu·istian Hat Factory on commemorated the December 1907 min ia Night Owls in Camden, two-the tra Bristol's State Street (on the Tennessee ing disaster at Monongah, near Fairmont, ditional numbers "Sweet Bird" and 'Tm side; Virginia was across the street), and West Virginia; in Alfred's song, a young Goin' to Walk on the Streets of Glory" - sang "The Wreck of the Virginian"; Al girl, by telling her father of her porten were released by Victor; the other two, fred provided his own accompaniment, tious dream of a mining disaster and "Fate of Rose Sarlo" and the intriguingly
THE OLD-TIME HERALD WWW.OLDTIMEHERA LD.ORG VOLUME 14, NUMBER 5 17 Fred Pendleton (l) and Alfred Reed (r) .
18 THE OLD-TIME HERALD WWW.OLDTfMEHERALD.ORG VOLUME 14, NUMBER 5 titled "Give the Flapper a Chew" (both relationships between males and fe its tolerance of injustice. It is perhaps allegedly Alfred Reed compositions), males. "Beware" ex pressed empathy for not coincidental that Alfred recorded went unissued and are lost. women by acknowledging their vulner these two songs in New York City, the Alfred Reed was paid $50 for each song ability in relationships with duplicitous bell y of the economic beast; he was he recorded in Camden . Beyond that, men. "Woman's Been After Man Ever possibly intentionally making a state his Victor releases from both of his 1927 Since," on the other hand, communi ment about the world around him (and recording sessions (Bristol and . Cam cated a counterview on male-female in Victor, no doubt unintentionally, un den) collectively generated some royal terpersonal relationships through a com derscored that statement by releasing ties. Throughout 1928 and for much of bination of irony and clever wordplay. these two hard-hitting songs on the 1929 Alfred remained in West Virginia Alfred also recorded "Why Do You Bob same 78 RPM release). "Money Cravin' writing songs and performing locally; Your Hait~ Girls-No. 2," a hwnourous Folks" pulled no punches in blaming he made money playing music on the reprise of the similarly titled song he had the international financial system for streets (by 1930 he and his family were recorded in 1927 at Camden. (Victor mis the economic woes that he and his con registered by census workers as living titled the new song on the record label as temporaries were experiencing. in Summers Cow1ty, West Virginia), and "Why Don't You Bob Your Hair, Girls But the song that delved deepest to ex Alfred also sold (for 10 cents each) print No. 2.") Another recording from Decem pose the roots of that era's problems was ed sheets ("broadsides") bearing the lyr ber 3, of Reed's song "There'll Be No Dis "How Can a Poor Man Stand Such Times ics to some of his songs. It was certainly tinction There," offered utopian hope for and Live." Like many of his fellow West a source of pride to Alfred that through an integrated, religiously unified, sinless Virginians (frankly, like many of his fel- his music-making he could gener low Americans), Alfred had known ate an income with which to sup hard times before the Wall Street crash, port his family. and "How Can A Poor Man Stand With the collapse of the US stock Such Times And Live" should not be market in late October 1929 came a interpreted strictly as a Depression subsequent decline in the recording era song; indeed, the song's continued industry. But the latter situation popularity into the 21st century is ates took a few months to manifest itself tament to its universality. "How Can a fully, and in December 1929 Alfred Poor Man Stand Such Times and Live" and Arville were summoned by was among the more socially conscious Peer back to the studio for another Radio 9nJacle8II records released during the Great De recording session-this time in one pression. That the song was not imme of Victor's New York City studios. THERE'LL BE Ni~!!:~ION THERE · diately embraced as an anthem during Again, Victor paid the trainfare Blind.Alfred & Orville Reed that era says less about the record's and lodging, and the Reeds were llfllllll with 1ult1r andWIIIII merits and more about the distractions booked into the Knickerbocker Ho B-5882-B and desperations that people were tel. During a two-day session that ,.:: confronting at the time of its release. began on December 3, Alfred made gi The song's expose of social inequality 10 recordings that were eventually ~ reinforced by a rigged economic sys- released (accompanied by Arville society. Reed's lyrics and performance tem was likely simply too true for many on guitar, with Arville sometimes add on this recording attained considerable people to hear and bear. ing harmony vocals); all of those re moral gravity, memorably speaking to The other recordings that Alfred made cordings interpreted memorable Alfred the spritual and ethical hypocrasies and on December 4 were "Black and Blue Reed compositions, and one-"How aspirations of his era. An alternate re Blues," a gritty song about a relation Can a Poor Man Stand Such Times and corded take of this song allegedly exists ship gone wrong; "The Old Fashioned Live"-was destined to become a classic in the vault-one of only three alternate Cottage," a sentimental rural idyll (Ar of the American song repertoire. Two takes by Blind Alfred Reed still in exis ville' s nimble guitar work and graceful additional songs recorded by the Reeds tence. (The other two extant Reed alter harmony singing are perhaps most mov during this particular session-"The nate takes, of "The Wreck of the Virgin ingly captured here); and "You'll Miss Railroader," composed by Alfred, and ian" and "Walking in the Way with Je Me" (not to be confused-as some com "Bonnie Little Girl," apparently writ sus," were from the 1927 Bristol sessions mentators have done-with the Carter ten by Arville-went unreleased; that and were included in 2011 on Bear Fam Family's "Will You Miss Me When I'm recording of "Bonnie Little Girl" no lon ily Records' complete Bristol sessions Gone?"). Given its position as the pen ger extists, while the recording of "The boxed set.) ultimate recording of Alfred's career in Railroader" probably survives in some The next day-December 4, 1929-Al music (his swan song was the finger form on metal parts stored in the Sony fred recorded two songs that h e had pointing "Money Cravin' Folks"), "You'll Music vault. composed and that had grown, like Miss Me" seems prophetic today, as Al In New York City, Alfred sang songs "There'll Be No Distinction There," fred was effectively silenced by the De exploring gender roles from several from his complex social vision. These pression; upon their release the records perspectives. "We've Got to Have 'Em, songs, "How Can a Poor Man Stand featuring his New York City recordings That's All" was engagingly matter-of Such Times and Live" and "Money from December 1929 did not sell well (by fact in asserting the inevitability, despite Cravin' Folks," were critical of capital 1930 the entire music industry was feel differences and misunderstandings, of ism, castigating American society for ing the sting of the economic collapse),
THE OLD-TIME HERALD WWW.OLDTIMEHERALD.ORG VOLUME 14, NUMBER 5 19 and Alfre d's Vic tor conh·act was not re within the hillbilly music cene pos newed. As with many of his peers, Al ses ing a similarly intense and fe arless fred struggled economi cally during th e social vision- and that younger vision Great Depression; the 1930 Census listed ary, Woody Guthrie from Oklahoma, him as un employed, whereas in ear li k wise did not really fi t in the main li er officia l docu ments he had generally stream commercial music world. But been listed as a music teacher. Thereaf tha t is another story for another day. te1~ Alfred's music could onl y be heard Alfred Reed died at the age of 75 on on hard-to-find 78 RPM records-or, January 17, 1956, in his home at Cool for those for tunate few who happened llidge in Raleigh County, West Virginia. upon l,jm during the Great Depression's He was buried beside his wife Nettie early and middle yeal"S, performing live (who had ru ed in 1948) at Elgood in Mer in public spaces. In 1937, even his live cer Cow1ty. During the late-1950s and appearances were curtailed when a local early-1960s urban fo lk music revival, a ordinance banned "street performances" rumor circulated among some yow,g r by blind musicians. (A few citizens in musician s that suggested th at Alfred southern West Virginia today can still re had died from privation and hunge1~ a call hearing this talented blind performer literal starving artist. The Reed fa mily, on the streets.) however, has long insisted that in his Mu s ician -son gwriters infused by last years Alfred was comfor table and authentic and wise soci al visions have contented, a revered patriarch taken care always been rare, and the cl ose of Al of by a close-knit famil y. Alfred's grand fred's recording career certainly left son De1rny Reed acknowledged in 201 4 a void. Simply put, few if any of the that "my grandfathe1~ given his situa acts who continued to make commer tion, was always a happy person." And cial hillbilly records during the 1930s clearly the death certifica te for Alfred h ad the ability, interest, and audacity Reed confirms that he died of natmal to confront the kinds of themes that causes. Family members, such as Dern1y Alfred had explored in the late 1920s. Reed and Alfred's great-granddaughter A decade would pass before another Debi Hunter Fraley, have related with musician-songwriter would emerge pride that Alfred-relying upon his mu sic talent, hjs unwavering fa ith, and ms willingness to work hard-was able to help his family through some exception all y di ffi cult times. "My grandfa ther had Affordable, profess ional, a brain," said De1rny, "and he used it to take care of his famil y. " handcrafted banjos In 1971, the founders of Rounder Re cords (Ken Irwin, Marian Leighton Levy, and Bill Nowlin) interviewed Arville Reed-they were gathering information for the notes to be included in Ho w Can a Poor Man Stand Such Times and Live ?: The Son gs of Blind Alfred Reed, the 1972 LP compiling 14 long-wiavail abl e 78 RPM records by Alfred. Arville at this time as serted that, shortly after Alfred's death, Ral ph Peer's publisrung company (Peer International Corporation) sought to re Made using negoti ate the family's rights to Alfred's songs; the Reed family obliged, said 100% Native Arville,but Peer International never paid the fanuly the dollar promised in the Appalachian new contract as renegotiati on payment. (De1rny Reed has a copy of tlus 1958 doc ument.) Clearly Arville was reflecting Hardwoods. hjs fanuly's lingering sense of fr ustrati on at a p ublisrung company and a recording industry that had given up on Alfred and Arville after 1929 and th at had not kept W W W .PISGAH BANJOS.C OM Alfred's songs or his recordings in circu lation after that time.
20 TH E OLD-TIME HERA LD WWW.OLDTIMEHERA LD.ORG VO LUME 14, UMBER 5 8 C
Arville Reed and his wife Etta.
Arville Reed
Arville Reed grew up playing music in his music-making. He told a Sunday Alfred's recordings had been redis a musical household, and he thrived in Gazette-Mail reporter in April 1976, "I covered by a n ew generation. In 1972, that environment, becoming a skilled probably couldn't even tw1e a guitar Rounder Records, as one of that inde guitar player and an expressive singer now. My hands aren't right." Arville pendent label's earliest offerings, had with a gift for harmony vocals. He per added, "I can't think of any occasion released the previou sly mentioned LP formed semi-professionally from the that I would try to play for," and then compilation of Blind Alfred Reed 's re mid-1920s into the Great Depression as confessed, "I don't really miss playing. cordings. Perhaps Arville's seeming a solo musician and as part of the West We moved around a lot in those days indifference late in life to his 1920s Virginia Night Owls (his duo with Fred and never stayed put much. Things are and 1930s music career refl ected pain Pendleton), and, perhaps most crucially, quieter now." ful mem ories of those years-includ he provided guitar and vocal accom During that same 1976 interview, Ar ing the indignity of having had his paniment for his father on many of the ville casually admitted that he did n ot first name consistently misspelled as latter's landmark recordings of the late own any of his father's-or his own Orville on Victor's record labels and 1920s. Yet by the late 1930s Arville was records: "They got so scratched and in newspaper ads promoting his and playing music solely for himself and his broken we couldn't play them so we his father's releases. Be that as it may, family. Arville fought in World War II, got rid of them. I don' t even have a Arville was a talented musician who then returned to Princeton, West Vir record player anymore." Arville's possessed considerable ch arm as a ginia, and worked in a brick plant. Two distancing himself from his music p erform er. He died in 1994 at the age decades later, retired, he moved to Pipe m aking past is particularly surpris of 89, and is buried in Mercer County, stem, West Virginia, but never resumed ing when one considers that by then West Virginia.
THE OLD-TlME HERALD WWW.OLDTIMEHERALD.ORG VOLUME 14, NUMBER 5 21 Alfred Reed's Legacy performance style includes elements of the fort to identify and characterize timeless late 19th-century parlor tradition alongside and empowering images of truth, how Granted that he was powerful, inimitable the emerging counh'y or hillbilly musical ever hard that truth may be to see. performer, Allred Reed's songwriting is stylings of the day. His plaintive, melodic arguably his signature contribution to violin playing reflects his highly religious, Alfred Reed's Fiddle American music. Certainly, his songs are church-based background, in which the the primary reason he is remembered to songs are intended to deliver a higher mes Allred Reed's fiddle bears inside it a label day. Arville recalled the process by which sage and not perfonned for show. His vocal stating the instrument was made in 1695 his blind father wrote songs: "He would delivery, howeve1; is at times reminiscent of by violin-maker Giovan Paolo Maggini of hear about events over the radio and com Jimmie Rodgers, Frank Hutchinson, Ernest Breschia, Italy; the stated year of its con pose the songs [in braille] in the house in Stoneman, or other topical singers from that struction does not correspond to Maggini' s front of his family. We would stay down time period, who projected an emotional if lifetime (c. 1580--c. 1630), and most likely there [in Camden, New Jersey, or in New restrained narrative delivery in their songs. Reed's fiddle was made in a German facto- York City] one day and record all the songs We understand from family members that 1y during the latter part of the 19th century. my father had." Arville underrepresented Alfred possessed a broad repertoire of tra Nonetheless, that fiddle was an expressive his father's output, as Allred composed ditional and popular music. His recorded instrument that endured some tough times, but never recorded other songs, and one output, however, paints a picture similar like its former owner. Once while Alfred of those unrecorded compositions-"The to that of the performing songwriters of a was playing at a dance, that fiddle was Blind Man's Song"-survives in the form more modern age. His stance in favor of the knocked out of his hands by a rambunc of lyrics printed on a broadside. Preserved common man and his protests against greed tious dancer, and the head came off the on a manuscript are the lyrics, typed in and corruption align him with such popular instrument; Allred glued it back together. 1920, for another song, "The Lightning Ex and populist figures as Woody Guthrie, Pete Another time the fiddle fell out of a boat; it press" (probably adapted by Reed from a Seege1; and Bob Dylan, among others. His was quickly fished out of the water, and, as song by J. Fred. Helf and E. P. Moran enti sense of humor, particularly with regard to Arville recalled years many later, "the only tled "Please, Mr. Conductor, Don't Put Me the "battle of the sexes," reflects an openness change was a better tone." Off the Train," originally recorded in 1899 about domestic life and personal relation Alfred's fiddle is currently in the posses by Byron G. Harlan). ships rare in his day. sion of his grandson Denny Reed, who has Many of the songs that Alfred did record During that 2014 interview, Lilly also ob safeguarded the cherished instrument since continue to be sung today. Diverse musi served that Alfred's songs have outlasted the early 1950s. Allred "would get out his cians over the years-rock legends like the times in which they were created: fiddle and play and sing for us kids," Den Ry Cooder, Bruce Springsteen, and David Reed's original songs ring with the excite ny related in 2014, "with Aunt Rose rocking Lindley, respected popular music acts like ment and tension of the late 1920s, and his in her chair to the music." Denny was so Murray Head, the Del-Lords, and UB40, recordings reflect the turbulent times during moved by the formative experience of hear and roots music icons like the New Lost which he lived. In many respects he stands ing his grandfather's music that he became City Ramblers, the Red Clay Ramblers, at the crossroads of old and new, tradition a musician in his own right. and Old Crow Medicine Show-have re and innovation, rural and urban. We will No doubt some people who lived near interpreted Alfred's songs for new genera never knmu what went through his mind as the Reed family in the old days thought of tions. And in 2008 a host of musicians with he wrote songs, made recordings, and sold the fiddle as an instrument that accompa West Virginia connections-from Little his music on the streets of southern West nied (and encouraged) sin, and no doubt Jimmie Dickens and Connie Smith to Tim Virginia, but it is doubtful that he could have some of them referred to the fiddle as "the O'Brien and Kathy Mattea-teamed up envisioned the impact his songs and record Devil's instrument." But that fiddle was to honor Alfred's songcraft for the album ings would have. We are fortunate to have assuredly a force for the good, guiding Al Always Lift Him Up, issued by the West Vir his recordings and to be able to see the world fred Reed, one of the greatest musicians to ginia Music Hall of Fame and released to through his surprisingly keen eyes. hail from Appalachia, from the darkness coincide with the induction of Blind Alfred Reed's influence on traditional musicians into the light. Today, we-by listening to Reed into that Hall of Fame. such as The New Lost City Ramblers and these powerful recordings that feature Al One of the musicians on Always Lift Him Up The Red Clay Ramblers is obvious as they fred's voice and his fiddling-can follow was John Lilly, who in recent years has been recorded and performed his songs in a tra this Appalachian visionary into the light . one of leading preservers and promoters of ditional style. Reed's influence on rock art and, like him, stand such times and live. ef Allred Reed's legacy. Beyond performing ists such as Ry Cooder, Bruce Springsteen songs from the Allred Reed repertoire, Lilly and others might be less direct but perhaps This article is adapted from the 2016 Dust-to has befriended the musician's descendants more profound. By addressing social is Digital book/CD set Blind Alfred Reed: Ap and has written movingly about the lasting sues in a simple country-music style, Reed palachian Visionary. The author wishes to impact of Alfred's music for Goldenseal, a set the wheels in motion for a later gen acknowledge the following people for their help magazine Lilly formerly edited for the West eration of banjo players, harmonica blow in bringing Alfred and Arville Reed's music to Virginia Division of Culture and History. ers and guitar strummers who helped to a new generation: Lance Ledbetter, April Led When asked in 2014 about Reed's impact, change the world with their songs. better, Michael Graves, Jane Kelley, John Lilly, Lilly said that Allred was both a man of his Alfred's songs should live on in the rep Bill Nowlin, Tony Russell, Richard Weize, the time and a man ahead of his time: ertoires of musicians who value songs late Charles K. Wolfe, and Warren Moor Reed was a man apart. He lived a reward with a conscience-songs that seek to man, as well as several Reed family members, ing and successful life on his own terms venture beyond the shadowy world of including Denny Reed, Debi Fraley, Darya/ with the hand he had been dealt. Reed's injustices, hypocrasies, and lies in an ef- Booth, Tina Hunter and Delores Crawford.
22 THE OLD-TIME HERALD WWW.OLDTIMEHERALD.ORG VOLUME 14, NUMBE R 5 I
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In early 2016 Alfred Reed's great-granddaughter Debi Hunter Fraley found this set of handwritten lyrics tucked inside the family's copy of "The Holston Annual," a publication, dated 1917, containing the minutes of an annual meeting of the Methodist Episcopal Church, South. These lyrics, from Alfred's unrecorded song "A Change in Business," were dictated to someone in the Reed family, and Alfred clearly continued to revise the lyrics after they had been transcribed.
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