1:14
Old Dan Tucker
"Old Dan Tucker," is thought to be written by Dan Emmet and first published in 1843. Perfo...
published: 03 Mar 2013
author: Bald Punk
Old Dan Tucker
Old Dan Tucker
"Old Dan Tucker," is thought to be written by Dan Emmet and first published in 1843. Performed by Jack Nuckols, Mark Meadows and Stephanie Meadows (©Japher's...- published: 03 Mar 2013
- views: 72
- author: Bald Punk
1:48
Old Dan Tucker
"Old Dan Tucker" is a popular American song with folk music origins and made popular by th...
published: 18 Jul 2012
author: SingAnAmericanStory
Old Dan Tucker
Old Dan Tucker
"Old Dan Tucker" is a popular American song with folk music origins and made popular by the Virginia Minstrels in 1843. Enjoy! http://en.wikipedia.org/wiki/O...- published: 18 Jul 2012
- views: 1854
- author: SingAnAmericanStory
2:21
Debussy - Prélude XII: Minstrels
Se si prende un dizionario e lo si apre alla voce «menestrelli» si trova una lunga e compl...
published: 21 Oct 2011
author: Danilo Castellano
Debussy - Prélude XII: Minstrels
Debussy - Prélude XII: Minstrels
Se si prende un dizionario e lo si apre alla voce «menestrelli» si trova una lunga e complicata storia che parte dal medioevo, dal 1100 circa, e arriva fino ...- published: 21 Oct 2011
- views: 239
- author: Danilo Castellano
2:37
Minstrels' Revenge at Virginia Renaissance Faire, 6-12-2010
The Staffordshire Minstrels and the Townsfolk of Staffordshire perform the Minstrels' Reve...
published: 05 Jun 2011
author: RobertHoode
Minstrels' Revenge at Virginia Renaissance Faire, 6-12-2010
Minstrels' Revenge at Virginia Renaissance Faire, 6-12-2010
The Staffordshire Minstrels and the Townsfolk of Staffordshire perform the Minstrels' Revenge at the Virginia Renaissance Faire on June 12, 2010.- published: 05 Jun 2011
- views: 160
- author: RobertHoode
3:10
Karl Radlach Orch. Bernie Cummins Hand Me Down My Walking Cane Roaring 20's.MP4
Here's another 19th century minstrel song adapted to the dance orchestra format by the Kar...
published: 10 Jan 2010
author: VictrolaJazz
Karl Radlach Orch. Bernie Cummins Hand Me Down My Walking Cane Roaring 20's.MP4
Karl Radlach Orch. Bernie Cummins Hand Me Down My Walking Cane Roaring 20's.MP4
Here's another 19th century minstrel song adapted to the dance orchestra format by the Karl Radlach Orchestra, in fact their last recording in May, 1930 on C...- published: 10 Jan 2010
- views: 1862
- author: VictrolaJazz
3:12
Peerless Quartet "When It's Moonlight on the Alamo" Victor 17591 (1914) Henry Burr Arthur Collins
The Peerless Quartet sings "When It's Moonlight on the Alamo" on Victor 17591, recorded on...
published: 05 Feb 2014
Peerless Quartet "When It's Moonlight on the Alamo" Victor 17591 (1914) Henry Burr Arthur Collins
Peerless Quartet "When It's Moonlight on the Alamo" Victor 17591 (1914) Henry Burr Arthur Collins
The Peerless Quartet sings "When It's Moonlight on the Alamo" on Victor 17591, recorded on May 11, 1914 Lyrics are by Alfred Bryan. Music is by Fred Fischer. These two songwriters also produced "Peg O' My Heart" and "I'm on My Way to Mandalay." The singers are 1) Henry Burr (second tenor) 2) Albert Campbell (first tenor--highest voice) 3) Arthur Collins (baritone) 4) John H. Meyer (bass) The Peerless Quartet was the most successful vocal group of the acoustic era, recording more titles and selling more records than other vocal groups. It was managed by bass singer Frank C. Stanley until his death from pneumonia at age 41 in December 1910. Afterwards it was led by tenor Henry Burr. The Peerless basically evolved from the older Columbia Quartet, of which Stanley had been a member, though one could argue it evolved from the Invincible Quartet, which was one of several vocal groups that Stanley organized and managed. The Columbia Quartet, usually credited only as "quartet" on the rim of cylinders and labels of discs, was formed in the late 1890s and underwent many personnel changes though Albert Campbell remained as first tenor. By 1903 the Columbia Quartet consisted of Campbell, second tenor Henry Burr, a baritone (probably Arthur Collins on most records though Bob Roberts may be on some--Steve Porter was abroad at this time but may have been a Peerless member from around 1906 to 1908), and basso "Big Tom" Daniels. Albert Campbell told Jim Walsh that Daniels sang in the quartet, and the likely years were 1902 and 1903. When Daniels was succeeded in late 1903 or early 1904 by Stanley, at least three of the original Peerless members were together. The name Columbia Quartet is announced on very early Columbia discs but was not written on labels until around 1905. By 1907 the members adopted the name Peerless in order to work for other companies, naturally retaining the name Columbia Quartet for Columbia records. Stanley did much of the lead singing upon joining. It was unusual for a bass-baritone to lead in quartet singing, which is normally led by the "second tenor" ("first" and "second" indicate the relative pitch of tenors, not their importance to a quartet--"first tenor" sings the highest). In male quartet singing, the bass usually sings the foundation or root of a chord, the second tenor sings the melody, the first tenor sings harmony above the melody, and the baritone completes the chord by filling in the missing link somewhere between the bass and the first tenor. An early appearance of the Peerless Quartet name is in a February 1907 Zon-o-phone supplement announcing "Where Is My Boy Tonight?" (673). Company literature identifies members as Burr, Porter, Stanley, and "Frank Howard," which is the name often used for Campbell on Zon-o-phone releases. Arthur Collins was an important Peerless member, singing lead on some numbers. With a voice well-suited for ragtime and other upbeat numbers, he contributed to the quartet's versatility. He was especially prominent when the Peerless worked as a minstrel troupe on records, going by such names as the Virginia Minstrels on Victor 35095 and North Carolina Minstrels on Victor 35307. Stanley served as interlocutor and is addressed as "Mr. Stanley," but otherwise the men call each other by their first names--"Arthur," "Albert," and "Harry" (for Burr, who was a stuttering minstrel). John Meyer, addressed simply as "John," later served as interlocutor. The quartet was called the Columbia Quartet on Columbia records for years after other companies adopted the name Peerless. The Peerless name did not appear in a Columbia list until the release of "That Raggedy Rag" (A1177) in August 1912 (the Peerless also recorded it for Victor 17341). From that point onwards the quartet was usually called the Peerless on Columbia labels though the foursome was occasionally called the Columbia Quartet into the World War I period. After Stanley's death in December 1910, Burr became manager and hired John Meyer, with whom Burr had been associated in church work, to sing bass parts. This new combination was very popular. Campbell later recalled that there was so much studio work to be done, especially after Burr formed the Sterling Trio (which was the Peerless minus Collins), that the group had to go three shifts a day to meet all recording commitments. The Peerless made so many records for Pathé that the company, eager to give the appearance that the company had a large roster of artists, sometimes issued the Peerless under its old name of the Invincible Four. Group members toured as part of the Record Maker Troupe. Around 1919 Collins departed the Peerless though as late as 1921 Columbia catalogs listed Collins as the quartet's baritone, or "first bass." Collins' departure created an opening for Croxton, who took over bass parts; Meyer, who had been singing bass, took baritone parts. This lineup remained until 1925.- published: 05 Feb 2014
- views: 10
3:43
Peerless Quartet "At The Ragtime Ball" Victor 17191 (1912) GREAT SONG--upbeat ragtime
The Peerless Quartet was the most successful vocal group of the acoustic era, recording mo...
published: 28 Jan 2014
Peerless Quartet "At The Ragtime Ball" Victor 17191 (1912) GREAT SONG--upbeat ragtime
Peerless Quartet "At The Ragtime Ball" Victor 17191 (1912) GREAT SONG--upbeat ragtime
The Peerless Quartet was the most successful vocal group of the acoustic era, recording more titles and selling more records than other vocal groups. It was managed by bass singer Frank C. Stanley until his death from pneumonia at age 41 in December 1910. Afterwards it was led by tenor Henry Burr. The Peerless basically evolved from the older Columbia Quartet, of which Stanley had been a member, though one could argue it evolved from the Invincible Quartet, which was one of several vocal groups that Stanley organized and managed. The Columbia Quartet, usually credited only as "quartet" on the rim of cylinders and labels of discs, was formed in the late 1890s and underwent many personnel changes though Albert Campbell remained as first tenor. By 1903 the Columbia Quartet consisted of Campbell, second tenor Henry Burr, a baritone (probably Arthur Collins on most records though Bob Roberts may be on some--Steve Porter was abroad at this time but may have been a Peerless member from around 1906 to 1908), and basso "Big Tom" Daniels. Albert Campbell told Jim Walsh that Daniels sang in the quartet, and the likely years were 1902 and 1903. When Daniels was succeeded in late 1903 or early 1904 by Stanley, at least three of the original Peerless members were together. The name Columbia Quartet is announced on very early Columbia discs but was not written on labels until around 1905. By 1907 the members adopted the name Peerless in order to work for other companies, naturally retaining the name Columbia Quartet for Columbia records. Stanley did much of the lead singing upon joining. It was unusual for a bass-baritone to lead in quartet singing, which is normally led by the "second tenor" ("first" and "second" indicate the relative pitch of tenors, not their importance to a quartet--"first tenor" sings the highest). In male quartet singing, the bass usually sings the foundation or root of a chord, the second tenor sings the melody, the first tenor sings harmony above the melody, and the baritone completes the chord by filling in the missing link somewhere between the bass and the first tenor. An early appearance of the Peerless Quartet name is in a February 1907 Zon-o-phone supplement announcing "Where Is My Boy Tonight?" (673). Company literature identifies members as Burr, Porter, Stanley, and "Frank Howard," which is the name often used for Campbell on Zon-o-phone releases. Arthur Collins was an important Peerless member, singing lead on some numbers. With a voice well-suited for ragtime and other upbeat numbers, he contributed to the quartet's versatility. He was especially prominent when the Peerless worked as a minstrel troupe on records, going by such names as the Virginia Minstrels on Victor 35095 and North Carolina Minstrels on Victor 35307. Stanley served as interlocutor and is addressed as "Mr. Stanley," but otherwise the men call each other by their first names--"Arthur," "Albert," and "Harry" (for Burr, who was a stuttering minstrel). John Meyer, addressed simply as "John," later served as interlocutor. The quartet was called the Columbia Quartet on Columbia records for years after other companies adopted the name Peerless. The Peerless name did not appear in a Columbia list until the release of "That Raggedy Rag" (A1177) in August 1912 (the Peerless also recorded it for Victor 17341). From that point onwards the quartet was usually called the Peerless on Columbia labels though the foursome was occasionally called the Columbia Quartet into the World War I period. After Stanley's death in December 1910, Burr became manager and hired John Meyer, with whom Burr had been associated in church work, to sing bass parts. This new combination was very popular. Campbell later recalled that there was so much studio work to be done, especially after Burr formed the Sterling Trio (which was the Peerless minus Collins), that the group had to go three shifts a day to meet all recording commitments. The Peerless made so many records for Pathé that the company, eager to give the appearance that the company had a large roster of artists, sometimes issued the Peerless under its old name of the Invincible Four. Group members toured as part of the Record Maker Troupe. Around 1919 Collins departed the Peerless though as late as 1921 Columbia catalogs listed Collins as the quartet's baritone, or "first bass." Collins' departure created an opening for Croxton, who took over bass parts; Meyer, who had been singing bass, took baritone parts. This lineup remained until 1925.- published: 28 Jan 2014
- views: 20
2:57
OLD DAN TUCKER (Cover by Donae Little Fawn)
Today was a very dreary kind of a day in my area as far as the weather is concerned. It wa...
published: 23 Dec 2013
OLD DAN TUCKER (Cover by Donae Little Fawn)
OLD DAN TUCKER (Cover by Donae Little Fawn)
Today was a very dreary kind of a day in my area as far as the weather is concerned. It was unusually warm ( I'm wearing shorts and a t-shirt today) , but damp with drizzling rain and fog! It's the kind of a day that could easily get me down a little bit.! So on days like today... I turn to MUSIC THERAPY! FOR ME, MAKING MUSIC BRIGHTENS UP ANY DAY BUT IT'S ESPECIALLY EFFECTIVE ON GLOOMY WEATHER DAYS!! I'm not sure why this song was in my head today but why questions it! I just went with it. I hope it brightens up some part of your life today too! Have a great week! INFO ABOUT "OLD DAN TUCKER" From Wikipedia, the free encyclopedia "Old Dan Tucker", also known as "Ole Dan Tucker", "Dan Tucker", and other variants, is a popular American song. Its origins remain obscure; the tune may have come from oral tradition, and the words may have been written by songwriter and performer Dan Emmett. The blackface troupe the Virginia Minstrels popularized "Old Dan Tucker" in 1843, and it quickly became a minstrel hit, behind only "Miss Lucy Long" and "Mary Blane" in popularity during the antebellum period. "Old Dan Tucker" entered the folk vernacular around the same time. Today it is a bluegrass and country music standard. The first sheet music edition of "Old Dan Tucker", published in 1843, is a song of boasts and nonsense in the vein of previous minstrel hits such as "Jump Jim Crow" and "Gumbo Chaff". In exaggerated Black Vernacular English, the lyrics tell of Dan Tucker's exploits in a strange town, where he fights, gets drunk, overeats, and breaks other social taboos. Minstrel troupes freely added and removed verses, and folk singers have since added hundreds more. Parodies and political versions are also known. The song falls into the idiom of previous minstrel music, relying on rhythm and text declamation as its primary motivation. Its melody is simple and the harmony little developed. Nevertheless, contemporary critics found the song more pleasant than previous minstrel fare. Musicologist Dale Cockrell argues that the song represents a transition between early minstrel music and the more European-style songs of minstrelsy's later years.- published: 23 Dec 2013
- views: 59
3:26
Peerless Quartet "While They Were Dancing Around" Victor 17571 (1914) UPBEAT
The Peerless Quartet sings "While They Were Dancing Around" on Victor 17571, recorded on M...
published: 28 Jan 2014
Peerless Quartet "While They Were Dancing Around" Victor 17571 (1914) UPBEAT
Peerless Quartet "While They Were Dancing Around" Victor 17571 (1914) UPBEAT
The Peerless Quartet sings "While They Were Dancing Around" on Victor 17571, recorded on March 10, 1914, Lyrics are by Joseph McCarthy. Music is by James V Monaco. The song is featured in the Fred Astaire and Ginger Rogers film titled The Story of Irene and Vernon Castle, released in 1939. The Peerless Quartet was the most successful vocal group of the acoustic era, recording more titles and selling more records than other vocal groups. It was managed by bass singer Frank C. Stanley until his death from pneumonia at age 41 in December 1910. Afterwards it was led by tenor Henry Burr. The Peerless basically evolved from the older Columbia Quartet, of which Stanley had been a member, though one could argue it evolved from the Invincible Quartet, which was one of several vocal groups that Stanley organized and managed. The Columbia Quartet, usually credited only as "quartet" on the rim of cylinders and labels of discs, was formed in the late 1890s and underwent many personnel changes though Albert Campbell remained as first tenor. By 1903 the Columbia Quartet consisted of Campbell, second tenor Henry Burr, a baritone (probably Arthur Collins on most records though Bob Roberts may be on some--Steve Porter was abroad at this time but may have been a Peerless member from around 1906 to 1908), and basso "Big Tom" Daniels. Albert Campbell told Jim Walsh that Daniels sang in the quartet, and the likely years were 1902 and 1903. When Daniels was succeeded in late 1903 or early 1904 by Stanley, at least three of the original Peerless members were together. The name Columbia Quartet is announced on very early Columbia discs but was not written on labels until around 1905. By 1907 the members adopted the name Peerless in order to work for other companies, naturally retaining the name Columbia Quartet for Columbia records. Stanley did much of the lead singing upon joining. It was unusual for a bass-baritone to lead in quartet singing, which is normally led by the "second tenor" ("first" and "second" indicate the relative pitch of tenors, not their importance to a quartet--"first tenor" sings the highest). In male quartet singing, the bass usually sings the foundation or root of a chord, the second tenor sings the melody, the first tenor sings harmony above the melody, and the baritone completes the chord by filling in the missing link somewhere between the bass and the first tenor. An early appearance of the Peerless Quartet name is in a February 1907 Zon-o-phone supplement announcing "Where Is My Boy Tonight?" (673). Company literature identifies members as Burr, Porter, Stanley, and "Frank Howard," which is the name often used for Campbell on Zon-o-phone releases. Jim Walsh states in the December 1969 issue of Hobbies, "...I suspect that the Universal Male Quartet, which began making Zon-o-phone records in 1906, was really the Peerless, and that, since Zon-o-phone records were the product of the Universal Talking Machine Company, the Quartet was at first called the Universal Quartet, just as it was the Columbia Quartet on Columbia discs and cylinders." Arthur Collins was an important Peerless member, singing lead on some numbers. With a voice well-suited for ragtime and other upbeat numbers, he contributed to the quartet's versatility. He was especially prominent when the Peerless worked as a minstrel troupe on records, going by such names as the Virginia Minstrels on Victor 35095 and North Carolina Minstrels on Victor 35307. Stanley served as interlocutor and is addressed as "Mr. Stanley," but otherwise the men call each other by their first names--"Arthur," "Albert," and "Harry" (for Burr, who was a stuttering minstrel). John Meyer, addressed simply as "John," later served as interlocutor. The quartet was called the Columbia Quartet on Columbia records for years after other companies adopted the name Peerless. The Peerless name did not appear in a Columbia list until the release of "That Raggedy Rag" (A1177) in August 1912 (the Peerless also recorded it for Victor 17341). From that point onward the quartet was usually called the Peerless on Columbia labels though the foursome was occasionally called the Columbia Quartet into the World War I period. After Stanley's death in December 1910, Burr became manager and hired John Meyer, with whom Burr had been associated in church work, to sing bass parts. This new combination was very popular. Campbell later recalled that there was so much studio work to be done, especially after Burr formed the Sterling Trio (which was the Peerless minus Collins), that the group had to go three shifts a day to meet all recording commitments. The Peerless made so many records for Pathé that the company, eager to give the appearance that the company had a large roster of artists, sometimes issued the Peerless under its old name of the Invincible Four. Group members toured as part of the Record Maker Troupe.- published: 28 Jan 2014
- views: 14
4:33
Peerless Quartet "Love Me While The Lovin' Is Good" Columbia A1378 (1913) Henry Burr Arthur Collins
The Peerless Quartet sings "Love Me While The Lovin' Is Good" on Columbia A1378, issued in...
published: 14 Feb 2014
Peerless Quartet "Love Me While The Lovin' Is Good" Columbia A1378 (1913) Henry Burr Arthur Collins
Peerless Quartet "Love Me While The Lovin' Is Good" Columbia A1378 (1913) Henry Burr Arthur Collins
The Peerless Quartet sings "Love Me While The Lovin' Is Good" on Columbia A1378, issued in 1913. The music is by Harry Von Tilzer. Lyrics are by Stanley Murphy. The singers are 1) Henry Burr (second tenor) 2) Albert Campbell (first tenor--highest voice) 3) Arthur Collins (baritone) 4) John H. Meyer (bass) The Peerless Quartet was the most successful vocal group of the acoustic era, recording more titles and selling more records than other vocal groups. It was managed by bass singer Frank C. Stanley until his death from pneumonia at age 41 in December 1910. Afterwards it was led by tenor Henry Burr. The Peerless basically evolved from the older Columbia Quartet, of which Stanley had been a member, though one could argue it evolved from the Invincible Quartet, which was one of several vocal groups that Stanley organized and managed. The Columbia Quartet, usually credited only as "quartet" on the rim of cylinders and labels of discs, was formed in the late 1890s and underwent many personnel changes though Albert Campbell remained as first tenor. By 1903 the Columbia Quartet consisted of Campbell, second tenor Henry Burr, a baritone (probably Arthur Collins on most records though Bob Roberts may be on some--Steve Porter was abroad at this time but may have been a Peerless member from around 1906 to 1908), and basso "Big Tom" Daniels. Albert Campbell told Jim Walsh that Daniels sang in the quartet, and the likely years were 1902 and 1903. When Daniels was succeeded in late 1903 or early 1904 by Stanley, at least three of the original Peerless members were together. The name Columbia Quartet is announced on very early Columbia discs but was not written on labels until around 1905. By 1907 the members adopted the name Peerless in order to work for other companies, naturally retaining the name Columbia Quartet for Columbia records. Stanley did much of the lead singing upon joining. It was unusual for a bass-baritone to lead in quartet singing, which is normally led by the "second tenor" ("first" and "second" indicate the relative pitch of tenors, not their importance to a quartet--"first tenor" sings the highest). In male quartet singing, the bass usually sings the foundation or root of a chord, the second tenor sings the melody, the first tenor sings harmony above the melody, and the baritone completes the chord by filling in the missing link somewhere between the bass and the first tenor. An early appearance of the Peerless Quartet name is in a February 1907 Zon-o-phone supplement announcing "Where Is My Boy Tonight?" (673). Company literature identifies members as Burr, Porter, Stanley, and "Frank Howard," which is the name often used for Campbell on Zon-o-phone releases. Arthur Collins was an important Peerless member, singing lead on some numbers. With a voice well-suited for ragtime and other upbeat numbers, he contributed to the quartet's versatility. He was especially prominent when the Peerless worked as a minstrel troupe on records, going by such names as the Virginia Minstrels on Victor 35095 and North Carolina Minstrels on Victor 35307. Stanley served as interlocutor and is addressed as "Mr. Stanley," but otherwise the men call each other by their first names--"Arthur," "Albert," and "Harry" (for Burr, who was a stuttering minstrel). John Meyer, addressed simply as "John," later served as interlocutor. The quartet was called the Columbia Quartet on Columbia records for years after other companies adopted the name Peerless. The Peerless name did not appear in a Columbia list until the release of "That Raggedy Rag" (A1177) in August 1912 (the Peerless also recorded it for Victor 17341). From that point onwards the quartet was usually called the Peerless on Columbia labels though the foursome was occasionally called the Columbia Quartet into the World War I period. After Stanley's death in December 1910, Burr became manager and hired John Meyer, with whom Burr had been associated in church work, to sing bass parts. This new combination was very popular. Campbell later recalled that there was so much studio work to be done, especially after Burr formed the Sterling Trio (which was the Peerless minus Collins), that the group had to go three shifts a day to meet all recording commitments. The Peerless made so many records for Pathé that the company, eager to give the appearance that the company had a large roster of artists, sometimes issued the Peerless under its old name of the Invincible Four. Group members toured as part of the Record Maker Troupe. Around 1919 Collins departed the Peerless though as late as 1921 Columbia catalogs listed Collins as the quartet's baritone, or "first bass." Collins' departure created an opening for Croxton, who took over bass parts; Meyer, who had been singing bass, took baritone parts. This lineup remained until 1925.- published: 14 Feb 2014
- views: 16
4:20
Henry Burr & Peerless Quartet "Somebody Knows" Victor 17779 (1915) Harry Von Tilzer
The Peerless Quartet was the most successful vocal group of the acoustic era, recording mo...
published: 28 Jan 2014
Henry Burr & Peerless Quartet "Somebody Knows" Victor 17779 (1915) Harry Von Tilzer
Henry Burr & Peerless Quartet "Somebody Knows" Victor 17779 (1915) Harry Von Tilzer
The Peerless Quartet was the most successful vocal group of the acoustic era, recording more titles and selling more records than other vocal groups. It was managed by bass singer Frank C. Stanley until his death from pneumonia at age 41 in December 1910. Afterwards it was led by tenor Henry Burr. The Peerless basically evolved from the older Columbia Quartet, of which Stanley had been a member, though one could argue it evolved from the Invincible Quartet, which was one of several vocal groups that Stanley organized and managed. The Columbia Quartet, usually credited only as "quartet" on the rim of cylinders and labels of discs, was formed in the late 1890s and underwent many personnel changes though Albert Campbell remained as first tenor. By 1903 the Columbia Quartet consisted of Campbell, second tenor Henry Burr, a baritone (probably Arthur Collins on most records though Bob Roberts may be on some--Steve Porter was abroad at this time but may have been a Peerless member from around 1906 to 1908), and basso "Big Tom" Daniels. Albert Campbell told Jim Walsh that Daniels sang in the quartet, and the likely years were 1902 and 1903. When Daniels was succeeded in late 1903 or early 1904 by Stanley, at least three of the original Peerless members were together. The name Columbia Quartet is announced on very early Columbia discs but was not written on labels until around 1905. By 1907 the members adopted the name Peerless in order to work for other companies, naturally retaining the name Columbia Quartet for Columbia records. Stanley did much of the lead singing upon joining. It was unusual for a bass-baritone to lead in quartet singing, which is normally led by the "second tenor" ("first" and "second" indicate the relative pitch of tenors, not their importance to a quartet--"first tenor" sings the highest). In male quartet singing, the bass usually sings the foundation or root of a chord, the second tenor sings the melody, the first tenor sings harmony above the melody, and the baritone completes the chord by filling in the missing link somewhere between the bass and the first tenor. An early appearance of the Peerless Quartet name is in a February 1907 Zon-o-phone supplement announcing "Where Is My Boy Tonight?" (673). Company literature identifies members as Burr, Porter, Stanley, and "Frank Howard," which is the name often used for Campbell on Zon-o-phone releases. Arthur Collins was an important Peerless member, singing lead on some numbers. With a voice well-suited for ragtime and other upbeat numbers, he contributed to the quartet's versatility. He was especially prominent when the Peerless worked as a minstrel troupe on records, going by such names as the Virginia Minstrels on Victor 35095 and North Carolina Minstrels on Victor 35307. Stanley served as interlocutor and is addressed as "Mr. Stanley," but otherwise the men call each other by their first names--"Arthur," "Albert," and "Harry" (for Burr, who was a stuttering minstrel). John Meyer, addressed simply as "John," later served as interlocutor. The quartet was called the Columbia Quartet on Columbia records for years after other companies adopted the name Peerless. The Peerless name did not appear in a Columbia list until the release of "That Raggedy Rag" (A1177) in August 1912 (the Peerless also recorded it for Victor 17341). From that point onwards the quartet was usually called the Peerless on Columbia labels though the foursome was occasionally called the Columbia Quartet into the World War I period. After Stanley's death in December 1910, Burr became manager and hired John Meyer, with whom Burr had been associated in church work, to sing bass parts. This new combination was very popular. Campbell later recalled that there was so much studio work to be done, especially after Burr formed the Sterling Trio (which was the Peerless minus Collins), that the group had to go three shifts a day to meet all recording commitments. The Peerless made so many records for Pathé that the company, eager to give the appearance that the company had a large roster of artists, sometimes issued the Peerless under its old name of the Invincible Four. Group members toured as part of the Record Maker Troupe. Around 1919 Collins departed the Peerless though as late as 1921 Columbia catalogs listed Collins as the quartet's baritone, or "first bass." Collins' departure created an opening for Croxton, who took over bass parts; Meyer, who had been singing bass, took baritone parts. This lineup remained until 1925.- published: 28 Jan 2014
- views: 14
4:28
Peerless Quartette "Bobbin' Up And Down" Columbia A1298 (February 3, 1913) LYRICS HERE
The Peerless Quartette sings "Bobbin' Up And Down" on Columbia A1298, recorded on February...
published: 02 Feb 2014
Peerless Quartette "Bobbin' Up And Down" Columbia A1298 (February 3, 1913) LYRICS HERE
Peerless Quartette "Bobbin' Up And Down" Columbia A1298 (February 3, 1913) LYRICS HERE
The Peerless Quartette sings "Bobbin' Up And Down" on Columbia A1298, recorded on February 3, 1913. Music is by Theodore F. Morse. Lyrics are by D. A. Esrom (Dolly Morse). The Peerless Quartet was the most successful vocal group of the acoustic era, recording more titles and selling more records than other vocal groups. It was managed by bass singer Frank C. Stanley until his death from pneumonia at age 41 in December 1910. Afterwards it was led by tenor Henry Burr. The Peerless basically evolved from the older Columbia Quartet, of which Stanley had been a member, though one could argue it evolved from the Invincible Quartet, which was one of several vocal groups that Stanley organized and managed. The Columbia Quartet, usually credited only as "quartet" on the rim of cylinders and labels of discs, was formed in the late 1890s and underwent many personnel changes though Albert Campbell remained as first tenor. By 1903 the Columbia Quartet consisted of Campbell, second tenor Henry Burr, a baritone (probably Arthur Collins on most records though Bob Roberts may be on some--Steve Porter was abroad at this time but may have been a Peerless member from around 1906 to 1908), and basso "Big Tom" Daniels. Albert Campbell told Jim Walsh that Daniels sang in the quartet, and the likely years were 1902 and 1903. When Daniels was succeeded in late 1903 or early 1904 by Stanley, at least three of the original Peerless members were together. The name Columbia Quartet is announced on very early Columbia discs but was not written on labels until around 1905. By 1907 the members adopted the name Peerless in order to work for other companies, naturally retaining the name Columbia Quartet for Columbia records. Stanley did much of the lead singing upon joining. It was unusual for a bass-baritone to lead in quartet singing, which is normally led by the "second tenor" ("first" and "second" indicate the relative pitch of tenors, not their importance to a quartet--"first tenor" sings the highest). In male quartet singing, the bass usually sings the foundation or root of a chord, the second tenor sings the melody, the first tenor sings harmony above the melody, and the baritone completes the chord by filling in the missing link somewhere between the bass and the first tenor. An early appearance of the Peerless Quartet name is in a February 1907 Zon-o-phone supplement announcing "Where Is My Boy Tonight?" (673). Company literature identifies members as Burr, Porter, Stanley, and "Frank Howard," which is the name often used for Campbell on Zon-o-phone releases. Arthur Collins was an important Peerless member, singing lead on some numbers. With a voice well-suited for ragtime and other upbeat numbers, he contributed to the quartet's versatility. He was especially prominent when the Peerless worked as a minstrel troupe on records, going by such names as the Virginia Minstrels on Victor 35095 and North Carolina Minstrels on Victor 35307. Stanley served as interlocutor and is addressed as "Mr. Stanley," but otherwise the men call each other by their first names--"Arthur," "Albert," and "Harry" (for Burr, who was a stuttering minstrel). John Meyer, addressed simply as "John," later served as interlocutor. The quartet was called the Columbia Quartet on Columbia records for years after other companies adopted the name Peerless. The Peerless name did not appear in a Columbia list until the release of "That Raggedy Rag" (A1177) in August 1912 (the Peerless also recorded it for Victor 17341). From that point onwards the quartet was usually called the Peerless on Columbia labels though the foursome was occasionally called the Columbia Quartet into the World War I period. After Stanley's death in December 1910, Burr became manager and hired John Meyer, with whom Burr had been associated in church work, to sing bass parts. This new combination was very popular. Campbell later recalled that there was so much studio work to be done, especially after Burr formed the Sterling Trio (which was the Peerless minus Collins), that the group had to go three shifts a day to meet all recording commitments. The Peerless made so many records for Pathé that the company, eager to give the appearance that the company had a large roster of artists, sometimes issued the Peerless under its old name of the Invincible Four. Group members toured as part of the Record Maker Troupe. Around 1919 Collins departed the Peerless though as late as 1921 Columbia catalogs listed Collins as the quartet's baritone, or "first bass." Collins' departure created an opening for Croxton, who took over bass parts; Meyer, who had been singing bass, took baritone parts. This lineup remained until 1925.- published: 02 Feb 2014
- views: 12
3:20
Peerless Quartet "Since Mother Goes To Movie Shows" Columbia A1955 (1916) Henry Burr Arthur Collins
The Peerless Quartette sings "Since Mother Goes To Movie Shows" on Columbia Record A1955, ...
published: 06 Feb 2014
Peerless Quartet "Since Mother Goes To Movie Shows" Columbia A1955 (1916) Henry Burr Arthur Collins
Peerless Quartet "Since Mother Goes To Movie Shows" Columbia A1955 (1916) Henry Burr Arthur Collins
The Peerless Quartette sings "Since Mother Goes To Movie Shows" on Columbia Record A1955, recorded on January 17, 1916. The song is by Albert Von Tilzer (1878-1956) and Charles R. McCarron (1891-1919). The singers are 1) Henry Burr (second tenor) 2) Albert Campbell (first tenor--highest voice) 3) Arthur Collins (baritone) 4) John H. Meyer (bass) The Peerless Quartet was the most successful vocal group of the acoustic era, recording more titles and selling more records than other vocal groups. It was managed by bass singer Frank C. Stanley until his death from pneumonia at age 41 in December 1910. Afterwards it was led by tenor Henry Burr. The Peerless basically evolved from the older Columbia Quartet, of which Stanley had been a member, though one could argue it evolved from the Invincible Quartet, which was one of several vocal groups that Stanley organized and managed. The Columbia Quartet, usually credited only as "quartet" on the rim of cylinders and labels of discs, was formed in the late 1890s and underwent many personnel changes though Albert Campbell remained as first tenor. By 1903 the Columbia Quartet consisted of Campbell, second tenor Henry Burr, a baritone (probably Arthur Collins on most records though Bob Roberts may be on some--Steve Porter was abroad at this time but may have been a Peerless member from around 1906 to 1908), and basso "Big Tom" Daniels. Albert Campbell told Jim Walsh that Daniels sang in the quartet, and the likely years were 1902 and 1903. When Daniels was succeeded in late 1903 or early 1904 by Stanley, at least three of the original Peerless members were together. The name Columbia Quartet is announced on very early Columbia discs but was not written on labels until around 1905. By 1907 the members adopted the name Peerless in order to work for other companies, naturally retaining the name Columbia Quartet for Columbia records. Stanley did much of the lead singing upon joining. It was unusual for a bass-baritone to lead in quartet singing, which is normally led by the "second tenor" ("first" and "second" indicate the relative pitch of tenors, not their importance to a quartet--"first tenor" sings the highest). In male quartet singing, the bass usually sings the foundation or root of a chord, the second tenor sings the melody, the first tenor sings harmony above the melody, and the baritone completes the chord by filling in the missing link somewhere between the bass and the first tenor. An early appearance of the Peerless Quartet name is in a February 1907 Zon-o-phone supplement announcing "Where Is My Boy Tonight?" (673). Company literature identifies members as Burr, Porter, Stanley, and "Frank Howard," which is the name often used for Campbell on Zon-o-phone releases. Arthur Collins was an important Peerless member, singing lead on some numbers. With a voice well-suited for ragtime and other upbeat numbers, he contributed to the quartet's versatility. He was especially prominent when the Peerless worked as a minstrel troupe on records, going by such names as the Virginia Minstrels on Victor 35095 and North Carolina Minstrels on Victor 35307. Stanley served as interlocutor and is addressed as "Mr. Stanley," but otherwise the men call each other by their first names--"Arthur," "Albert," and "Harry" (for Burr, who was a stuttering minstrel). John Meyer, addressed simply as "John," later served as interlocutor. The quartet was called the Columbia Quartet on Columbia records for years after other companies adopted the name Peerless. The Peerless name did not appear in a Columbia list until the release of "That Raggedy Rag" (A1177) in August 1912 (the Peerless also recorded it for Victor 17341). From that point onwards the quartet was usually called the Peerless on Columbia labels though the foursome was occasionally called the Columbia Quartet into the World War I period. After Stanley's death in December 1910, Burr became manager and hired John Meyer, with whom Burr had been associated in church work, to sing bass parts. This new combination was very popular. Campbell later recalled that there was so much studio work to be done, especially after Burr formed the Sterling Trio (which was the Peerless minus Collins), that the group had to go three shifts a day to meet all recording commitments. The Peerless made so many records for Pathé that the company, eager to give the appearance that the company had a large roster of artists, sometimes issued the Peerless under its old name of the Invincible Four. Group members toured as part of the Record Maker Troupe. Around 1919 Collins departed the Peerless though as late as 1921 Columbia catalogs listed Collins as the quartet's baritone, or "first bass." Collins' departure created an opening for Croxton, who took over bass parts; Meyer, who had been singing bass, took baritone parts. This lineup remained until 1925.- published: 06 Feb 2014
- views: 9
3:36
Peerless Quartette "Bounce Me, John, I've Rubber Heels On" Columbia Record A1847 (1915)
Peerless Quartette sings "Bounce Me, John, I've Rubber Heels On" on Columbia Record A1847,...
published: 01 Feb 2014
Peerless Quartette "Bounce Me, John, I've Rubber Heels On" Columbia Record A1847 (1915)
Peerless Quartette "Bounce Me, John, I've Rubber Heels On" Columbia Record A1847 (1915)
Peerless Quartette sings "Bounce Me, John, I've Rubber Heels On" on Columbia Record A1847, recorded on August 12, 1915. Lyrics are by Joseph McCarthy. Music is by Fred Fischer. The singers in the Peerless at this time are 1) Henry Burr (second tenor--his real name is Harry McClaskey) 2) Albert Campbell (first tenor--highest voice) 3) Arthur Collins (baritone) 4) John H. Meyer (bass) The Peerless Quartet was the most successful vocal group of the acoustic era, recording more titles and selling more records than other vocal groups. It was managed by bass singer Frank C. Stanley until his death from pneumonia at age 41 in December 1910. Afterwards it was led by tenor Henry Burr. The Peerless basically evolved from the older Columbia Quartet, of which Stanley had been a member, though one could argue it evolved from the Invincible Quartet, which was one of several vocal groups that Stanley organized and managed. The Columbia Quartet, usually credited only as "quartet" on the rim of cylinders and labels of discs, was formed in the late 1890s and underwent many personnel changes though Albert Campbell remained as first tenor. By 1903 the Columbia Quartet consisted of Campbell, second tenor Henry Burr, a baritone (probably Arthur Collins on most records though Bob Roberts may be on some--Steve Porter was abroad at this time but may have been a Peerless member from around 1906 to 1908), and basso "Big Tom" Daniels. Albert Campbell told Jim Walsh that Daniels sang in the quartet, and the likely years were 1902 and 1903. When Daniels was succeeded in late 1903 or early 1904 by Stanley, at least three of the original Peerless members were together. The name Columbia Quartet is announced on very early Columbia discs but was not written on labels until around 1905. By 1907 the members adopted the name Peerless in order to work for other companies, naturally retaining the name Columbia Quartet for Columbia records. Stanley did much of the lead singing upon joining. It was unusual for a bass-baritone to lead in quartet singing, which is normally led by the "second tenor" ("first" and "second" indicate the relative pitch of tenors, not their importance to a quartet--"first tenor" sings the highest). In male quartet singing, the bass usually sings the foundation or root of a chord, the second tenor sings the melody, the first tenor sings harmony above the melody, and the baritone completes the chord by filling in the missing link somewhere between the bass and the first tenor. An early appearance of the Peerless Quartet name is in a February 1907 Zon-o-phone supplement announcing "Where Is My Boy Tonight?" (673). Company literature identifies members as Burr, Porter, Stanley, and "Frank Howard," which is the name often used for Campbell on Zon-o-phone releases. Arthur Collins was an important Peerless member, singing lead on some numbers. With a voice well-suited for ragtime and other upbeat numbers, he contributed to the quartet's versatility. He was especially prominent when the Peerless worked as a minstrel troupe on records, going by such names as the Virginia Minstrels on Victor 35095 and North Carolina Minstrels on Victor 35307. Stanley served as interlocutor and is addressed as "Mr. Stanley," but otherwise the men call each other by their first names--"Arthur," "Albert," and "Harry" (for Burr, who was a stuttering minstrel). John Meyer, addressed simply as "John," later served as interlocutor. The quartet was called the Columbia Quartet on Columbia records for years after other companies adopted the name Peerless. The Peerless name did not appear in a Columbia list until the release of "That Raggedy Rag" (A1177) in August 1912 (the Peerless also recorded it for Victor 17341). From that point onwards the quartet was usually called the Peerless on Columbia labels though the foursome was occasionally called the Columbia Quartet into the World War I period. After Stanley's death in December 1910, Burr became manager and hired John Meyer, with whom Burr had been associated in church work, to sing bass parts. This new combination was very popular. Campbell later recalled that there was so much studio work to be done, especially after Burr formed the Sterling Trio (which was the Peerless minus Collins), that the group had to go three shifts a day to meet all recording commitments. The Peerless made so many records for Pathé that the company, eager to give the appearance that the company had a large roster of artists, sometimes issued the Peerless under its old name of the Invincible Four. Group members toured as part of the Record Maker Troupe. Around 1919 Collins departed the Peerless though as late as 1921 Columbia catalogs listed Collins as the quartet's baritone, or "first bass." Collins' departure created an opening for Croxton, who took over bass parts; Meyer, who had been singing bass, took baritone parts. This lineup remained until 1925.- published: 01 Feb 2014
- views: 19
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2:04
oh susanna and blues mixed together
"Oh! Susanna" is a song written by Stephen Foster. It was first published on February 25, ...
published: 04 Oct 2008
author: gkartsonakis
oh susanna and blues mixed together
oh susanna and blues mixed together
"Oh! Susanna" is a song written by Stephen Foster. It was first published on February 25, 1848. Popularly associated with the California Gold Rush, the song ...- published: 04 Oct 2008
- views: 2315
- author: gkartsonakis
2:27
Old Dan Tucker
Old Dan Tucker - gespielt vom Trio Pannendreieck Beda Bötschi: Lead vocal, Ukulele, Drums ...
published: 03 Jul 2013
author: Trio Pannendreieck
Old Dan Tucker
Old Dan Tucker
Old Dan Tucker - gespielt vom Trio Pannendreieck Beda Bötschi: Lead vocal, Ukulele, Drums Iris Bötschi: Back vocal, Kontrabass, Cowbell Katrin Weyermann Böts...- published: 03 Jul 2013
- views: 15
- author: Trio Pannendreieck
5:01
COMBAT (VIOLÃO VS BANJO) FIGHT IN 4 VERSIONS Battle guitar MUSIC SONG VIDEO
The banjo is a four-, five- or six-stringed instrument with a piece of animal skin or plas...
published: 13 Nov 2012
author: aurevlis
COMBAT (VIOLÃO VS BANJO) FIGHT IN 4 VERSIONS Battle guitar MUSIC SONG VIDEO
COMBAT (VIOLÃO VS BANJO) FIGHT IN 4 VERSIONS Battle guitar MUSIC SONG VIDEO
The banjo is a four-, five- or six-stringed instrument with a piece of animal skin or plastic stretched over a circular frame. Simpler forms of the instrumen...- published: 13 Nov 2012
- views: 4266
- author: aurevlis
2:21
5-string Banjo: Oh Susanna (Including lyrics and chords)
Yet another of Stephen Foster's songs is Oh Susanna. Information taken from Wikipedia is a...
published: 10 May 2010
author: threelegsoman
5-string Banjo: Oh Susanna (Including lyrics and chords)
5-string Banjo: Oh Susanna (Including lyrics and chords)
Yet another of Stephen Foster's songs is Oh Susanna. Information taken from Wikipedia is as follows: The nonsense verse that opens the song hints that the so...- published: 10 May 2010
- views: 16909
- author: threelegsoman