Byron G. Harlan "In The Evening By The Moonlight, Dear Louise" Edison cylinder 9428 (1906) LYRICS
- Duration: 2:14
- Updated: 22 Oct 2014
Byron G. Harlan sings "In The Evening By The Moonlight, Dear Louise" on Edison Gold Moulded Record 9428, issued in 1906.
Music is by Harry Von Tilzer. Lyrics are by Andrew B. Sterling.
When the summer day is dying, dear Louise,
and the moon is shining far above,
then my heart for you is sighing, dear Louise,
for I long to see the face I love!
In the valley where the sweet magnolia grows, where
the dear old Swanee River softly flows,
meet me when the nightingale sings in the trees,
in the evening by the moonlight, dear Louise!
Dear Louise, I'm waiting in the moonlight, dear Louise,
beneath the same old trees.
Come to me--my heart is pining!
Meet me when the stars are shining
in the evening by the moonlight, dear Louise!
Harlan was born on August 29, 1861. The tenor became known as half of a popular duo, but Harlan made many records without Arthur Collins. Harlan specialized in sentimental ballads and rube numbers.
He was born in Kansas as George Byron Harlan. An Edison catalog states that his birthplace was Lynn, Kansas, but Harlan's widow reported that the singer was born in Paris, Kansas. His father, George Winchester Harlan, moved the family to Sioux City, Iowa, to begin a brick business, then moved the family to Canton, South Dakota, where he operated an overland stage.
The young Byron G. Harlan joined touring companies. Walsh writes in the March 1965 issue of Hobbies, "He got his first chance in...show business when Gus Brigham, a traveler for 'the Yanes Piano House,' heard him singing while he was working as a hotel clerk in South Dakota, and told the manager of the Hess Opera Company about him. Harlan became a member of the Newton Beers' 'Lost In London' company, then was with Hoyt's 'A Texas Steer' for three and one-half years..."
At age 24 "he went to Chicago and studied music...."
Harlan settled in Orange and was a personal friend of Thomas A. Edison. Walsh writes in "The Funny Side of the Phonograph World" published in the May 1952 issue of American Record Guide, "When Byron was married, the inventor gave him the then latest model Edison cylinder phonograph as a wedding present, and when Mr. and Mrs. Harlan's daughter was graduated from high school, he presented her with an Official Model Diamond Disc instrument."
Harlan made no Berliners. He made early Columbia discs though discs with low catalog numbers usually featured other singers on initial pressings, Harlan being issued on later pressings. Victor discs followed a session on October 31, 1902. On this date he worked as a solo artist but also was teamed with Arthur Collins, perhaps for the first time (in the previous year, Collins cut duets with tenor Joe Natus). Collins and Harlan recorded five titles during that Victor session.
Around 1902, Harlan recorded ten Edison selections with whistler Joe Belmont. From 1901 to 1909 he made 50 Edison recordings with fellow Orange resident Frank C. Stanley.
The two recorded for other companies,
He was paired often with Steve Porter in rube sketches. His earliest regular partner was bass A.D. Madeira. An Edison ensemble called the Big Four Quartet combined the duo Harlan and Madeira with the duo Collins and Natus, and from this sprang eventually the team of Collins and Harlan.
He probably cut more material for Leeds & Catlin in 1905 than any other artist.
He was especially successful with "child" ballads, or songs with lyrics featuring a child's point of view. The February 1907 issue of Edison Phonograph Monthly states, "Mr. Harlan occupies an almost unique position in the talking machine world as a singer of these songs."
A popular rube song is "They Gotta Quit Kickin' My Dawg Aroun'."
It was among the first records he made after recovering from a serious illness in 1911 (Collins worked with Albert Campbell until Harlan was well again). The January 1912 issue of Edison Phonograph Monthly, announcing the March release of "I Want To Be Down Home In Dixie" performed by Collins and Harlan on Amberol 948, states, "Mr. Harlan is just getting around again after his long illness, and his voice sounds fresher and more pleasing than ever."
In the 1910s Harlan as solo artist recorded fewer sentimental numbers. Songs with child or "kid" themes remained fashionable for female singers such as Irene Franklin and Frances White but not for male singers. Companies increasingly relied upon Will Oakland and Manuel Romain for sentimental material. Harlan as a solo artist performed mostly as a rube singer, sometimes using the name Cyrus Pippins.
Other pseudonyms include Deacon Treadway (for Pathé), Bert Terry, Byron Holland, Chester Lincoln, and Cy Stebbins.
He died on September 11, 1936.
http://wn.com/Byron_G._Harlan_"In_The_Evening_By_The_Moonlight,_Dear_Louise"_Edison_cylinder_9428_(1906)_LYRICS
Byron G. Harlan sings "In The Evening By The Moonlight, Dear Louise" on Edison Gold Moulded Record 9428, issued in 1906.
Music is by Harry Von Tilzer. Lyrics are by Andrew B. Sterling.
When the summer day is dying, dear Louise,
and the moon is shining far above,
then my heart for you is sighing, dear Louise,
for I long to see the face I love!
In the valley where the sweet magnolia grows, where
the dear old Swanee River softly flows,
meet me when the nightingale sings in the trees,
in the evening by the moonlight, dear Louise!
Dear Louise, I'm waiting in the moonlight, dear Louise,
beneath the same old trees.
Come to me--my heart is pining!
Meet me when the stars are shining
in the evening by the moonlight, dear Louise!
Harlan was born on August 29, 1861. The tenor became known as half of a popular duo, but Harlan made many records without Arthur Collins. Harlan specialized in sentimental ballads and rube numbers.
He was born in Kansas as George Byron Harlan. An Edison catalog states that his birthplace was Lynn, Kansas, but Harlan's widow reported that the singer was born in Paris, Kansas. His father, George Winchester Harlan, moved the family to Sioux City, Iowa, to begin a brick business, then moved the family to Canton, South Dakota, where he operated an overland stage.
The young Byron G. Harlan joined touring companies. Walsh writes in the March 1965 issue of Hobbies, "He got his first chance in...show business when Gus Brigham, a traveler for 'the Yanes Piano House,' heard him singing while he was working as a hotel clerk in South Dakota, and told the manager of the Hess Opera Company about him. Harlan became a member of the Newton Beers' 'Lost In London' company, then was with Hoyt's 'A Texas Steer' for three and one-half years..."
At age 24 "he went to Chicago and studied music...."
Harlan settled in Orange and was a personal friend of Thomas A. Edison. Walsh writes in "The Funny Side of the Phonograph World" published in the May 1952 issue of American Record Guide, "When Byron was married, the inventor gave him the then latest model Edison cylinder phonograph as a wedding present, and when Mr. and Mrs. Harlan's daughter was graduated from high school, he presented her with an Official Model Diamond Disc instrument."
Harlan made no Berliners. He made early Columbia discs though discs with low catalog numbers usually featured other singers on initial pressings, Harlan being issued on later pressings. Victor discs followed a session on October 31, 1902. On this date he worked as a solo artist but also was teamed with Arthur Collins, perhaps for the first time (in the previous year, Collins cut duets with tenor Joe Natus). Collins and Harlan recorded five titles during that Victor session.
Around 1902, Harlan recorded ten Edison selections with whistler Joe Belmont. From 1901 to 1909 he made 50 Edison recordings with fellow Orange resident Frank C. Stanley.
The two recorded for other companies,
He was paired often with Steve Porter in rube sketches. His earliest regular partner was bass A.D. Madeira. An Edison ensemble called the Big Four Quartet combined the duo Harlan and Madeira with the duo Collins and Natus, and from this sprang eventually the team of Collins and Harlan.
He probably cut more material for Leeds & Catlin in 1905 than any other artist.
He was especially successful with "child" ballads, or songs with lyrics featuring a child's point of view. The February 1907 issue of Edison Phonograph Monthly states, "Mr. Harlan occupies an almost unique position in the talking machine world as a singer of these songs."
A popular rube song is "They Gotta Quit Kickin' My Dawg Aroun'."
It was among the first records he made after recovering from a serious illness in 1911 (Collins worked with Albert Campbell until Harlan was well again). The January 1912 issue of Edison Phonograph Monthly, announcing the March release of "I Want To Be Down Home In Dixie" performed by Collins and Harlan on Amberol 948, states, "Mr. Harlan is just getting around again after his long illness, and his voice sounds fresher and more pleasing than ever."
In the 1910s Harlan as solo artist recorded fewer sentimental numbers. Songs with child or "kid" themes remained fashionable for female singers such as Irene Franklin and Frances White but not for male singers. Companies increasingly relied upon Will Oakland and Manuel Romain for sentimental material. Harlan as a solo artist performed mostly as a rube singer, sometimes using the name Cyrus Pippins.
Other pseudonyms include Deacon Treadway (for Pathé), Bert Terry, Byron Holland, Chester Lincoln, and Cy Stebbins.
He died on September 11, 1936.
- published: 22 Oct 2014
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