Number of Discs1
Additional informationThis is a 25-track anthology of gospel and blues tunes from the 1920s and '30s. Personnel: Frank Hutchison (vocals, guitar, harmonica); Charlie Monroe (vocals, guitar); Bill Monroe (vocals, mandolin); Male Chorus (vocals); Bill Carlisle (tenor, guitar); Dorsey M. Dixon (baritone, guitar); Cliff Carlisle, Howard Dixon (baritone, steel guitar); A.P. Carter, Byron Parker (bass voice); Mother Maybelle Carter, Sara Carter, George Morris (guitar); Snuffy Jenkins (banjo); Leonard Stokes (mandolin). Recording information: 1927-1940. This compilation of hillbilly gospel music and twisted Southern white blues could have been taken from one of the discs in Harry Smith's Anthology of American Folk Music -- there's even an essay included by Greil Marcus, a reprinted chapter from his Invisible Republic book. Normally, this would reek of copycat-ism and a cheap way to make a buck. Given that this is the Trikont label from Germany, you can be assured this isn't the case. Their notes and packages are superb, they make their records primarily for a European audience, where the Smith Anthology may not be available, and there is a different focus, one that is perversely curious in its approach to this very foreign -- to them -- music. Besides, they put some gems on here Smith didn't include because his anthology was based on only six years of recorded material. As for the music, it's stellar. This is solid, primitive, hillbilly gospel music and blues. The remastering is excellent and the material choice is wonderful. From the Carolina Ramblers Stringband's "That Lonesome Valley" to the Dixon Brothers' "Didn't Hear Nobody Pray" (covered recently by the Fairfield Four) and "When Gabriel Blows His Trumpet for Me" to Byron Parker and his mountaineer group, the Carter Family, and Bill Carlisle, we hear the sound of the hopeful pilgrims, assured of their place in the heavens with God. Some of these songs also plead for the one who is lost to turn from sin (the Carter Family's "Better Farther On"). The praise is definite but reserved, plaintively sung with the fear of God in their approach. There is a loneliness in these songs that speaks of everything from poverty to a sense of continual loss -- it's whistling in the graveyard music. However, the coin flips on this disc several time when we hear Frank Hutchison's "Hell Bound Train" and "Stackalee," or the mad-dog glass-chewing howl of Dock Boggs' wailing through "Country Blues," "New Prisoner's Song," "Sugar Baby," and "Pretty Polly." Boggs and Hutchison even the score -- they show the dark as death side of culturally enforced Christianity and refuse to be tamed or comforted. Joining them are Ledford and Daniel Nicholson's fiddle and banjo blues ballad "Ninety Nine Years" from 1932. It's a tale of love, betrayal. Gambling, love, and murder. All of these songs appear in the mirror of redemption, past it, out of its dimension and scope. But even here, rebellious as they are, Jesus wins. Just after Boggs' "Pretty Polly" send