Back Roads To Cold Mountain CD

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

Liner Note Authors: John Cohen; Charles Frazier.

Recording information: Alabama (1927-2002); Alton, IN (1927-2002); Atlanta, GA (1927-2002); Carrboro, NC (1927-2002); Defeated Creek Church, Linefork, KY (1927-2002); Drew, MS (1927-2002); Norton, VA (1927-2002); Plantersville, AL (1927-2002); Salem, VA (1927-2002); Washington DC (1927-2002).

Photographer: Roger Haile.

Arranger: Texas Gladden.

Personnel: Peter Rowan (vocals, guitar); Dock Boggs, "Banjo" Bill Cornett (vocals, banjo); Bill Monroe (vocals, mandolin); Gaither Carlton, James Crase, Tommy Jarrell (vocals, fiddle); Dillard Chandler, Dink Roberts, Doc Watson, Ora Dell Graham, Ralph Stanley, Roscoe Holcomb, Texas Gladden, Dorothy Melton, T. J. Chesser, Oscar Parks, Dellie Norton, Carter Stanley (vocals); Joe & Odell Thompson, Odell Thompson (banjo, fiddle); Dacosta Woltz (banjo); Fred Cockerham (fretless banjo); French Carpenter, Richard Greene & Beryl Marriott, Benny Jarrell (fiddle); Ed Young (fife); Lonnie Young (bass drum); G.D. Young (snare drum).

Audio Mixer: Thom Canova.