Music News

Brother, Dear Brother

First and always, it was that voice, a sound that seemed to have traveled 500 years to get here. A clean, high tenor that indulged in no tricks or frills to make its point, but could hint at a cry or a prayer with just a subtle shift. A voice that sounded like it had emerged straight from the hills, the rivers and valleys of rural Virginia, which was where the Stanley Brothers, Ralph and Carter, laid down the template for American bluegrass nearly 60 years ago.

Carter Stanley, born in 1925, preceded Ralph into the world by two years. From their earliest days, the Stanley boys were surrounded by music; their father was a singing man who taught the old tunes to his sons, and their mother was adept at the clawhammer, or "frailing," banjo method, a fingerpick-and-strum technique closely related to the African-American folk patterns. Ralph learned to play banjo from his mother. He and Carter, who turned out to be a gifted arranger and composer as well as a stringed-instrument whiz, were performing out of a radio station in Bristol, Virginia, in the mid-1940s. Soon they began recording for a variety of labels including Rich-R-Tone and Columbia, for whom they delivered a seminal series of bluegrass recordings between 1949 and 1952.

These were the earliest days of mass-marketed country music. As the Stanley Brothers, Carter and Ralph marked out a corner of the country-bluegrass circuit that was theirs alone. At the time, only Bill Monroe was as popular and influential; but Monroe's roots were more firmly traceable to the "blue yodel" tradition that Jimmie Rodgers had developed a couple of decades earlier. The Stanley Brothers sang songs of death and redemption, of sinners lost and the good shepherd searching the hillside, lest any soul should go astray. Like that of their spiritual forebears the Carter Family, the Stanley Brothers' music was steeped in the symbols of apocalyptic Christianity, providing an audible link between the Appalachian shoutin' gospel and the more narrative, secular folk influences in bluegrass music.

But it was the voice, Ralph Stanley's unmistakable and unforgettable instrument, that became the cornerstone of the Stanley Brothers' sound. Like Muddy Waters' was to the blues, Ralph Stanley's voice was not simply one example of mountain music; to many listeners it became so intimately associated with the genre that it simply was mountain music itself.

Once heard, Stanley's high lonesome tenor is impossible to forget. It's a voice that seems to come from no single throat at all; rather, it just infuses the air, materializing for a moment and then drifting away, the sound of hundreds of years of trouble appearing briefly, bearing witness, then receding back into the mountain from which it came.

Think this is hyperbole? When T-Bone Burnett was constructing the soundtrack for O Brother, Where Art Thou?, Joel and Ethan Coen's Odyssey-gone-to-Mississippi travelogue, he set out to collect new recordings of traditional American songs, "Angel Band," "Down to the River to Pray," "Keep on the Sunny Side" and so forth -- straight upbeat gospel, for the most part. But for the film's single truly malevolent moment, a midnight Klan rally assembled on the occasion of the lynching of a young black man, the producers called on Ralph Stanley to deliver an a cappella performance of "O Death," an ancient song presenting a dialogue between the Hooded One and a man he's come to collect: "My name is Death, none can excel/I hold the key to Heaven or Hell/I'll tie your tongue so you can't talk/I'll stiffen your limbs 'til you can't walk/This very hour, come and go with me"; "O Death, O Death/Won't you spare me over 'til another year?"

It's utterly hellish, that scene, that sound. And all of a sudden, people who never thought they enjoyed bluegrass music in their lives are taking notice of Ralph Stanley.

Dr. Stanley himself -- in addition to his membership in the Bluegrass Hall of Fame, Stanley holds an honorary doctorate in music from Lincoln Memorial University and was the first recipient of the National Endowment for the Humanities Traditional American Music Award in 1985 -- is happy to oblige. Man of Constant Sorrow, a new Rebel Records compilation drawn from his years of work with the Clinch Mountain Boys, is something like the 150th album entry in Stanley's catalogue. 1998's critically acclaimed double-CD Clinch Mountain Country saw Stanley joined by a who's who of musical luminaries, including Dwight Yoakam and Bob Dylan, a longtime self-proclaimed Ralph Stanley fan. Released ahead of schedule to answer a reinvigorated demand for Stanley's work, sparked by its prominent use in the Coens' film, Man of Constant Sorrow is a helpful (if, at 34 minutes, criminally brief) introduction to Stanley's art, including several renditions of songs featured in O Brother.