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Epilogue: “Forked Deer,” Multivalent Nostalgia, Sustainability, and the Edge Effect

Chris Goertzen

in George P. Knauff's Virginia Reels and the History of American Fiddling

This epilogue focuses on “Forked Deer.” It is one of very few fiddle tunes that now flourish in southern fiddle styles ranging from straightforward to quite fancy, and throughout the United States—in ... More

This epilogue focuses on “Forked Deer.” It is one of very few fiddle tunes that now flourish in southern fiddle styles ranging from straightforward to quite fancy, and throughout the United States—in old-time fiddling in the Upper South, in exuberant West Virginia styles, and in the melodic improvisations of the modern contest fiddling originating in Texas. Both the title and the melody of “Forked Deer” enter the historical record in George P. Knauff's Virginia Reels. Like most southern fiddle tunes, however, “Forked Deer” did not make it into the nineteenth-century mainstream of instrumental anthologies. In fact, this tune found its way into just one publication later in that century. The chapter then considers the title “Forked Deer.” The multivalence of the title “Forked Deer” plus the particular retitling of the tune touch most of the normal categories for fiddle tune titles in the American South.Less

“Flat Wheel Train Blues”—Nos. 1 and 2: Red Gay and Jack Wellman Brunswick 523

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses Red Gay, Jack Wellman, “Flat Wheel Train Blues”—No. 1 & 2, train songs, rural humor, old-time fiddling, Brunswick Records, location recording, and radio

“Seneca Square Dance”/“Echoes of the Ozarks”: Fiddlin’ Sam Long of the Ozarks Gennett 3284

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses Fiddlin’ Sam Long, “Seneca Square Dance,” “Echoes of the Ozarks,” old-time fiddling, Gennett Records, and fiddlers’ contests

“Bankhead Blues”: Nations Brothers (Shelton and Marshall) Vocalion 03118, Banner/Melotone/Perfect 6-11-54

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses Nations Brothers, “Bankhead Blues”, old-time fiddling, family bands, location recording, ARC-Brunswick Records, H.C Speir

“Wimbush Rag”/“Barrow County Stomp”: Theo. and Gus Clark Okeh 45339

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses Theo. & Gus Clark, “Wimbush Rag”, “Barrow County Stomp”, old-time fiddling

“Streak o’ Lean—Streak o’ Fat”: A. A. Gray and Seven Foot Dilly Vocalion 5430

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses A.A Gray, John Dileshaw (“Seven Foot Dilly”), old-time fiddling, rural humor, and Vocational records

“The Lost Child”: Stripling Brothers Vocalion 5321

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses Stripling Brothers, “The Lost Child”, old-time fiddling, location recording, Vocalion Records, and Jack Kapp

“Let Me Call You Sweetheart”/“Sweet Bunch of Daisies”: McMichen’s Melody Men Columbia 15111-D

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses “Let Me Call You Sweetheart,” “Sweet Bunch of Daisies,” old-time fiddling, waltzes, and stringband

“Tennessee Coon Hunt”/“Hen Cacklin’ Piece”: Whit Gaydon Victor V-40315

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses Whit Gaydon, “Tennessee Coon Hunt”, “Hen Cacklin’ Piece”, instrumental impressions, and old-time fiddling

“Gray Eagle”/“Forked Deer”: Hill’s Virginia Mountaineers [Taylor’s Kentucky Boys] Silvertone 8183

Tony Russell

in Rural Rhythm: The Story of Old-Time Country Music in 78 Records

This chapter discusses Taylor’s Kentucky Boys, “Grey Eagle” “Forked Deer”, stringband, old-time fiddling, racially mixed bands, Ku Klux Klan, and Gennett Records