fieldrecorder.com
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⬅️ Response Code: 200
Uptime testing reached 2 checks over the 2 552 days from February 5, 2019, for fieldrecorder.com as per the data. In 2 instances of operability from all checks conducted, fieldrecorder.com's last recorded uptime on June 26, 2021, returned a code 200. Fieldrecorder.com had zero downtime according to all assessments made as of January 31, 2026. As of January 31, 2026, no instances of an error status code were noted, according to the responses that were received. Fieldrecorder.com replied in 0.712 seconds on June 26, 2021, while averaging a response time of 0.743 seconds.
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Search Results
| Site | Total Checks | Last Modified |
|---|---|---|
| 1 | January 31, 2026 | |
| 1 | January 31, 2026 | |
| 2 | February 5, 2019 | |
| 8 | September 12, 2022 | |
| 1 | January 31, 2026 |
Depechedekabylie.com | Fieldrecorder.com | ||||
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| Page Title | For optimal website page title performance, prioritize clarity and keyword inclusion; ensure the title accurately describes the page's content, incorporates the core keyword early on within the first 60 characters, and avoids stuffing or irrelevant terms to maintain user trust and search favor. |
|---|---|
| - Field Recorders Collective Length: 28 characters | |
| Meta Description | Although meta tags are primarily used in search engine results, a compelling meta description can also be leveraged by social media platforms like Facebook or Twitter if they automatically pull a 'summary card' from your webpage |
| New Albums for 2025! The Stillhouse Reelers: Had a Big Time Today – FRC740 One of the best-kept secrets in the world of old-time music! Active during the 1980s,The Stillhouse Reelers mostly stuck close to home in Middle Tennessee, performing powerhouse versions of songs and tunes from the 1920s & ‘30s. Check out these testimonials […] Length: 359 characters | |
| Meta Keywords | Understanding and adapting to algorithm updates focused on user experience and content quality ensures better long-term search performance than clinging to deprecated signals like meta keywords. |
| no meta keywords data for fieldrecorder.com 2026-01-31T20:49:50+00:00 | |
| Page Content | Develop multimedia-rich page content, incorporating high-quality images, infographics, videos, or interactive elements to cater to diverse user preferences, increase page dwell time, boost engagement metrics, and potentially improve SEO performance. |
| Web Page Content Length: 64357 characters | |
| H1 Heading | For optimal on-page SEO, ensure your H1 text is concise yet highly descriptive, accurately reflecting the main content cluster of the page while incorporating primary keywords naturally to enhance search visibility for relevant queries. |
| Field Recorders Collective New Albums for 2025! Count: 2 heading tag | |
| H2 Headings | Clients or stakeholders can be educated on the importance of H2 headers for SEO during content creation phases, ensuring buy-in and proper implementation by the editorial team. |
| The Stillhouse Reelers: Had a Big Time Today – FRC740 Double Decker String Band, Double Take – FRC746 Volumes 11-15 of the NAT Survey of Traditional Music — Boxed Set! Bill Livers, Owen County, KY – FRC754 Kerry Blech, Appalachian Master – FRC751 Lee Hammons: Central West Virginia Fiddling – FRC736 Muncy Gaultney – Traditional Music from Ashe County, NC – FRC753 Dent Wimmer & Sam Conner – Floyd County String Band Music – FRC743 Eunice McAlexander, Ballad Singer – FRC739 Strawberry McCloud – Bloomington Breakdown – FRC749 Three CDs Recorded by Tom Carter & Blanton Owen in 1973-4 Count: 11 heading tag | |
| H3 Headings | Integrate variations of your primary keyword naturally into multiple H3 headers throughout relevant content sections, leveraging latent semantic indexing principles and signaling deeper topic expertise or authority on your chosen subject matter to search engines. |
| 2-disc set featuring live and unreleased recordings PLEASE NOTE: Physical CDs are now available. Luther Davis – FRC745 Hus Caudill – FRC747 Luther Davis & Hus Caudill – FRC750 Product Categories Notes & Articles Count: 7 heading tag | |
| H4 Headings | Integrate H4 tags effectively within comparison tables or lists to visually distinguish different items or criteria being discussed, making it easier for readers to process and compare information presented side-by-side. |
| TO OUR FRIENDS IN THE UK & EUROPEAN UNION COUNTRIES: Count: 1 heading tag | |
| H5-H6 Headings | Accessibility standards require proper use of heading elements like H5 and H6 to create a navigable content outline for visually impaired website visitors. |
| Bill Livers (1911–1988) was an Owen County, Kentucky legend. He spent his life as a tenant farmer, raising tobacco and tending cattle on other people’s farms. He was the last of a family of black musicians around New Liberty, a small village settled by former slaves after the Civil War. His grandfather and uncles all played string instruments and traveled through northern and central Kentucky playing for dances, fairs, and court days. When my friends and I first met Bill, he was a spry 63 years old. The black musicians he had played with were all gone, and he was playing white country music with white musicians. Always the entertainer, he welcomed the opportunity to play with a group of younger musicians. We were young and green, but Bill’s energy and charisma brought us along, and we became his regular band. As we became more comfortable with each other, Bill began to return to the black music he had known for most of his life. His playing was unschooled, but he brought new life Kerry Blech loved to play fiddle tunes, but just as much, he loved to “study them and find out where they came from, and talk about them.” Throughout the years, Kerry generously shared his vast knowledge of old time fiddle tunes and their sources. This album provides an example of the kind of deep look into old time music that Kerry particularly liked to share. It captures a presentation recorded at the Appalachian String Band Music Festival (Clifftop) in 2004, where Kerry received recognition as an Appalachian Master. For his presentation, he selected and fiddled 26 obscure pieces from a variety of sources that included field recordings (both old and more recent) and commercial 78s from the ‘20s and ‘30s. The music ranges from Ohio and Pennsylvania to Arkansas, Mississippi, Louisiana, and Oklahoma. Kerry is backed by John Schwab on guitar, Kevin Enoch on bass, and Bill Schmidt on banjo. He gives each tune a brief but pertinent introduction, sharing information about the source Lee Hammons plays 41 wistful, airy fiddle tunes from Central West Virginia. Like many fiddlers of his generation, Hammons quit playing music in the mid-1920s, and didn’t pick it back up until 1969. His fiddling has an heirloom quality to it—a window into those long-ago years, when he was a young man, and the music he played then. Wishful, airy, and captivating, the agedness of the tunes gives them an almost hypnotic feel. Primarily solo with occasional banjo accompaniment. 14 smooth, droning fiddle tunes played by Muncy Gaultney of Ashe County, North Carolina. In addition to being an accomplished fiddler and banjo player, Gautlney was an expert chronicler of local memories and days gone by—as owner of a small antique shop, and in a column he wrote for regional magazine The Plow. Gaultney’s wistful, reverent attitude towards the past is exemplified in the music included on this release, such as “The Walls of Jericho”—a slow, plaintive tune, which, according to Gautlney, is “supposed to be the oldest violin piece in existence.” Also included are two 1940s acetate recordings of Gautlney’s driving banjo playing, and a thoroughly entertaining 35-minute interview that showcases his good humor, penchant for jokes, and knack for storytelling while covering topics ranging from his father’s sudden death only a few weeks after his parents’ marriage—“He just laid down, and all of his breath leaked out”—to Gaultney’s single ill-fated att This release showcases longtime friends and musical collaborators Dent Wimmer and Sam Conner, from Floyd County Virginia, at their collaborative best. Though Wimmer’s self-described “thrashdown” style of banjo playing and Conner’s relaxed, sliding fiddling are both more-than danceable on their own, as evident on the numerous solo tracks, it’s the duets that are particularly powerful, with trance-like melodies and a deep, pulsing rhythm perfect for flatfooting. The men’s long history of playing together is clear—their playing meshes together effortlessly, and each instrument feels more at home alongside the other. Also included is ample between-tune talk on a range of topics, including the introduction of guitars to the local musical tradition (their “little strumming along wasn’t worth anything!”) and the late-night moonshine-fueled gatherings of old. This substantial collection of fine recordings, spanning from the early 1930s to 1985, presents Eunice Yeatts McAlexander’s wide repertoire of traditional unaccompanied ballads, all performed in her clear, confident, yet still intimate, singing voice. Many of the ballads are centuries old and English in provenance, while others are more decidedly Appalachian, such as the not-so-respectable “Wild Hog in the Woods,” which McAlexander says “every old drunk in the country used to come home singing!” Dark and morally complex, the ballads are never didactic, but still have many lessons to impart. Eunice’s renditions preserve the vital heart of these old songs, allowing them to continue their journey down through the ages. These recordings, made throughout the second half of 1970s, and primarily in Bloomington, Indiana, capture Robert Lee “Strawberry” McCloud’s grand late-life return to fiddling following a 40-year hiatus. McCloud said “bow action and good timing” were the keys to good musicianship, and his rhythmic, singular fiddling has both in spades. His repertoire draws from a wide variety of sources, ranging from the traditional tunes of his native central-eastern Kentucky, to pieces from the years he spent traveling and playing with the Georgia Wildcats in the early 30s, and also a substantial number of rags, blues, and popular songs. And yet McCloud gives a distinctive twist to everything he plays, whether it be through extra beats or unconventional turns of the melody. Accompanied by various younger musicians, this release exemplifies the winding musical paths fiddlers of McClouds generation often took, in addition to simply being a driving, rollicking good time. Read this excellent article by Jeremy Ray Jewell on the Arts Fuse Site about Tom Carter, the Field Recorders’ Collective, and these three FRC CDs: Hearing The Real Thing — Field Recorders’ Collective’s Commitment to Traditional American Music A hearty collection of old, grooving Grayson County, Virginia fiddle tunes from the 87-year-old Luther Davis. Primarily unaccompanied, though with occasional clawhammer backup from collector Tom Carter, Davis more than holds his own, though he had only recently begun fiddling again at the time these recordings were made. And despite the shake age had added to his bowing, he still fiddles admirably, shuffling, swooping and droning away with an infectiously solid sense of timing. There is also assorted between-tune talk, including Davis’s stories of how tunes got their names, and his memories of Emmett Lundy, and meandering into other, less musical topics, too—such as the tears shed at the end of years of school, and long-ago trips to Illinois, highlighting, above all else, Davis’s kindhearted nature. Hus Caudill, of Grayson County, Virginia, was born in the 1880s. Though he was old in his own right, many of his tunes came from an even older generation of fiddlers—that of his father, Sid Caudill, and Emmett Lundy, who Caudill knew as a young man. In this way, Caudill is a bridge to even longer-ago era which these recordings briefly resurrect. In addition to a handful of Caudill’s shimmering, jaunting solo banjo tunes, this record puts Caudill’s fiddling artistry front and center, with tasteful and beautiful clawhammer banjo accompaniment from collectors Tom Carter and Blanton Owen. Atop the banjo, Caudill’s steady, propelling fiddling shines—although his unaccompanied fiddle tunes, with their confident, sweeping double stops, are lovely in their own right, too. This remarkable album documents two very old friends playing fiddle together for the first time in more than 60 years—and in the all-too under-recorded twin fiddle style, no less. Luther Davis and Hus Caudill, of neighboring Grayson and Alleghany counties in Virginia and North Carolina respectively, were both born in the 1880s, and often played music together as young men. These recordings were made in the mid-1970s, after a period of many decades during which neither of the men had played much, or even at all. But despite the passage of so many years, the two fiddlers quickly settle into to a comfortable, rhythmically-pulsing groove, their two fiddle blending and singing away, transporting listener and musicians alike to those long-ago days they recall. Count: 11 heading tag | |
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| page size: 63 kb | |
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| response time: 0.743 sec | |
| Minify CSS | Automate the minification process to remove unused CSS code identified through analysis, significantly reducing the total JavaScript bundle size, which directly leads to faster mobile page speeds, improved Core Web Vitals scores, and enhanced user engagement and retention metrics. |
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