Rating:
Genre:
Folk
Release Date: 10/19/2004
Charles Frazier's novel
Cold Mountain, is a powerful, widely celebrated novel that takes places during the Civil War. But
Frazier's book is not about the war itself so much as the life lived n the rural American South during its long dark night.
Back Roads to Cold Mountain is a collection of music assembled by ethnomusicologist and roots musician
John Cohen of songs, hollers, and
hymns that served as inspirations for
Frazier during the writing of his book. We know this is true because
Frazier says so in his own detailed comments that introduce the volume There are no modern,
O Brother, Where Art Thou?-styled revisionings of the music from the Civil War eras. Instead,
Cohen went through the Smithsonian's and the Library of Congress's vast collections of field and commercial recordings of
a cappella narratives, string band songs, fiddle tunes and sacred harps singing and assembled this volume from sources who were close to the originals. In other words, many of the performers here had learned these songs as hand-me-downs from their ancestors. They were familiar not only with tune, but style, arrangement and grain. The end result is a 27-track collection of stunning music that is haunted, ghostly, raw, sparse and ultimately dignified in its presentation. What is stunning is the brilliant sound of these recordings in this presentation. Recorded between 1944 and 2002, these selections, assembled from previously released compilations and all but unheard
field recording volumes, have something strange and unwieldy at their core. There are well known personages here like
Roscoe Holcomb,
Dock Boggs or
Bill Monroe and
the Stanley Brothers, whose tunes from here have been heard before in other settings. But there are many more obscure entries, as well, from the wild wooly
balladry and
spoken word narration of
Oscar Parks, the shambolic banjo
blues of
Dink Roberts, and the hunted, forlorn soul-searing darkness of
Dorothy Melton, and the roof-raising joy of
the Sacred Harp Singers. In either case, the effect is the same: one of true Otherness, where dislocation, quark strangeness, and untamed spirits gather in order to whisper, cry, moan, shout and laugh in a language that has not so much died as disappeared.
Cohen's notes and annotations are fantastic as always; they are not merely informative and authoritative, they offer because of his welcoming prose, a glimpse of the ciphers themselves; they speak from the hollowed out place in his own heart that has been touched by these songs and the people who sang them. This is essential listening for anyone interested in authentic American roots musics.
~Thom Jurek, All Music Guide
;)
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