Roy Crawford: Alabama Fiddling
- Blackberry Blossom
- Beautiful Dreamer Waltz
- Jack of Diamonds
- Holt's Hornpipe
- When You Hear the First Whipporwill Call
- Coon On the Rail
- Maiden's Prayer
- Lee Highway Blues
- Cincinnati Blues
- Crawford Waltz
- Silver Bells
- Rutland's Reel
The State of Alabama has a well-established place in the history of old-time country music as many renowned old-time performers have come from there. For example, the names of Mike Shaw and His Alabama Entertainers (who recorded for the Okeh Record Company in 1930), The McClendon Brothers and Georgia Dell (who recorded for the Bluebird label in the late 1930’s), husband and wife team Dewey and Gassie Bassett (who also recorded for Bluebird during the late 1930’s), Charles and Ira Stripling (whose recording career spanned the years 1928-1936 and involved commercial companies such as Brunswick and Decca), and the legendary Delmore Brothers (whose Bluebird and King recordings are collectors classics) are enough to insure the permanence of this State in the history of old-time string music. Additionally, there are numerous other old-timers who never achieved national prominence or made commercial phonograph recordings who have, nonetheless, been highly influential traditional musicians. People like Monk Daniel (who with his band, the Sand Mountain Wildcats, were quite popular in North Alabama prior to his death on September 21, 1971) and Mr. Sam McCracken (the guiding spirit behind the founding of the influential Tennessee Vallev Old Time Fiddlers’ Association) would fall into this category.
Of course, all of the musicians mentioned above are musicians from a previous era. What of the present state of fiddling in Alabama? New names are rapidly becoming established as nationally known musicians. Names like J.T. Perkins (of Arab, Alabama), Claudie Holt (of Birmingham, Alabama), Robert and Claudene Nobley (of Roanoke, Alabama), and young Johnny Ray Watts (of Lineville, Alabama) are becoming known outside of regional boundaries. To this list the name of Roy Crawford (of Bessemer, Alabama) certainly must be added. Although Roy has been competing in fiddlers’ conventions for only a few short years now, he has accumulated numerous first-place trophies. A few of his wins have been at; Stone Mountain, Georgia (1974); Tuscaloosa, Alabama (1975); Varnell, Georgia (1975); Huntsville, Alabama (1975); Athens, Alabama (1975–this win carried with it the coveted title of Tennessee Valley Fiddle King); Palmetto, Alabama (1976); and Florence, Alabama (1976). Yes, the fiddling community has taken notice of this tall, quiet gentleman from Bessemer, Alabama. And this notice isn’t just on a regional basis! Last June (1975) Roy competed in the invitational Grand Masters Fiddlers Contest held in Nashville, Tennessee. This contest draws only the top fiddlers from the United States and Canada, and it is an honor just to be invited. Roy was not only invited, but was selected to be among the top 10 fiddlers entered in the event!
Even though Roy’s accomplishments at the various fiddlers’ contests have been made in the past few years, his musical background is as old as Roy himself. He was born into a musical family – his four brothers and three sisters were all musicians. (It is interesting to note that Roy first gained his love for old-time music, and fiddling in particular, by attending square dances in the Lineville, Alabama area where his brothers and sisters were the featured musicians.) By the age of 6 Roy was already playing the guitar, and before he turned 10, he had mastered the mandolin also. When he was about 16 Roy decided to give the fiddle a try, and it has been his chief instrument ever since. For three or so years after high school graduation Roy played with various country bands in the Alabama area. For example, he was featured with Tommy Farr and The Southern Flames, Pick Rowell and The Covered Wagon Boys, and Rebe Gosdin and The Sunny Valley Boys (this group was formerly known as Rebe and Rabe, and under that name they achieved a considerable amount of popularity as gospel singers.) However, Roy’s career as a professional musician didn’t last very long, and was traded for a career in data processing, his present occupation. He is truly the amateur musician, as his fiddling is now only a hobby with him. (Unlike many fiddlers, Roy hasn’t sacrificed time with his family for practice time on the fiddle–I once passed through Bessemer and thought I’d give Roy a call and chat for a few minutes. Nancy, Roy’s wife, told me, “Roy’s not in right now. He’s down the road fishing with the boys.”)
What makes Roy Crawford’s fiddling outstanding enough to win the contests he has won, and to be chosen among the top 10 fiddlers in the prestigious Grand Masters? To the ears of this listener, there are several reasons. Not the least of these is the fact that Roy was brought up in the old time tradition, and as a result has been exposed to the music all his life. Second, one must look at Roy’s fiddling – clarity. Very few fiddlers are able to achieve the clarity that Roy does. Then add to this some very unusual and creative “licks” as only Roy Crawford can do them and you’ve got something fine going. But it doesn’t end there! Combine all of this with some exceptionally well executed double stops, and you’ll be sitting, listening (to this album) and not believing. The tunes featured on this album run the gamut from some old favorites like BLACKBERRY BLOSSOM and JACK OF DIAMONDS to exceptionally smooth waltzes like BEAUTIFUL DREAMER WALTZ and CRAWFORD WALTZ (an original composed by Roy and his brother, Marion. It is presented here for the first time.) There are other original tunes here, also. Give a listen to HOLT’S HORNPIPE, which was written by guitar champion, Claudie Holt of Birmingham, Alabama! Claudie also has the guitar lead on this piece. WHEN YOU HEAR THE FIRST WHIPPOORWILL CALL is another favorite of Claudie Holt’s, and he is featured on lead guitar with Roy doing some fine fiddling, and some pretty darn good whippoorwill calls! An all-time favorite, LEE HIWAY BLUES, features a guitar break by master guitarist, Algie Surratt (also of Birmingham); and Algie’s brother, Gerald (on the 5-string banjo). All-in-all, we feel that this is a top-notch fiddle album from start to finish–hope you agree.
Steve Davis
DAVIS UNLIMITED RECORDS
June 1976
