|
|
- When Ralph Stanley won the Grammy award for best vocalist in 2001,
no one was more surprised than I, except possibly
|
Stanley in Nashville 1998 (American Roots
Music 33)
|
some of my students. Along with Bill Monroe and Earl Scruggs, the
Stanley Brothers are touchstones in the old-time, bluegrass, and country
music course Ive offered at Brown for the past fifteen years.
About ten years ago it occurred to me that in addition to teaching
the history of bluegrass it would be fun to try to get the students
to sing it. They might as well learn from the best, I thought; and
so generations of Brown students have gone around singing Ralphs
tenor parts and Carters melodies. Few had heard of Ralph Stanley
before trying to sing like him, but afterward I doubt many forgot
him, or his haunting voicea voice well known for more than fifty
years, if only to bluegrass aficionados, before he hit the big time
in O Brother, Where Art Thou?, with O
Death.
- The magnificent tone quality of Ralph Stanleys voice was born,
not made; but he learned his curves, glides, and falsetto catches
as a child from hearing the music of his familys Primitive Baptist
Universalist denomination in church and at home. Popularly called
the No-Hellers, because they dont believe there is a hell, this
obscure religious group from central Appalachia sings very much like
the Old Regular Baptists (see Dorgan, and Cornett, Titon, and Wallhausser);
and of course the singing style and tune stock is the same mixture
of English and Scots-Irish that came into the southern Appalachian
Mountains with ballads and fiddle tunes, though its likely that
some of the styles characteristic melismata, free rhythm, and
slow tempo were fashioned in a black/white musical interchange.
- Why Ralph Stanley, and why today? He has, after all, long been recognized
as a major artist in bluegrass. The Stanleys, who began recording
in the late 1940s, were among the most popular early bluegrass bands,
performing on fifteen-minute segments on local radio stations and
playing in small venues throughout the South. Bluegrass never made
much impact on the national country music charts, however, and by
the late 1950s it was in decline, victimized by rockabilly and easy-listening
country music. Just then it entered a revival phase and found a new
audience among (sub)urban, middle-class, college-educated young men.
Part of the 1960s folk revival, this bluegrass revival began the series
of festivals that brought under one tent many star bluegrass groups
and featured the parking lot picking that made, and still
makes, bluegrass a music for serious amateurs as well as professionals.
- Carter Stanley died in 1966; after Ralph emerged from mourning,
he continued his music as Ralph Stanley and the Clinch Mountain Boys.
Over his fifty-year career he has recorded more albums than any other
bluegrass musician185 is a ballpark figure. His popularity spans
at least three audiences: the original bluegrass audience in the upland
South in the 1940s and 1950s when it was a regional niche music; the
added bluegrass revival audience from the late 1950s to the present;
and the audience that was introduced to him through O Brother
and the recent albums where he is paired with other roots
musicians. It is useful in this context to distinguish him as a source
musician, an old-timer who has profoundly influenced younger musicians
down through the years. What do these three audiences hear in his
voice? Each projects its own images of authenticity onto him.
- In the 1940s and 1950s the bluegrass audience understood Stanley
as one of their own. He sang and played their music, but he did so
in a virtuosic way. Radio and concert recordings from the period reveal
that The Stanley Brothers also participated with gusto in the stereotypical
stage humor that had entertained people in the rural South and Midwest
for decadesa humor based on stubborn animals, dumb farmers,
and ignorant city folks. The Stanley Brothers often entertained at
rural fairs, stock car races, and other regionally appropriate venues.
As a part of their shows, one of their band members performed sound
effects of daredevil auto rides. What their audience saw in them,
then, were good old boys as they wanted to be, in control and command
of a tradition they identified with. The Stanleys projected not only
good-old-boy virtuosity, but also good-old-boy sentiment. Their concert
repertory regularly included waltzes, gospel songs, and secular songs
whose lyrics reveal that peculiar combination of wanderlust, guilt,
and memory of mother and home that construct the textual archetype
of bluegrass and country music.
-
|
Ralph Stanley in a Bristol, Tennessee theater where the
Stanley Brothers frequently performed. (American Roots
Music 33)
|
The (sub)urban folk revivals interest in bluegrass, particularly
in the 1960s, shared a number of things with prior folk revivals:
a distaste for bourgeois values, an antipathy toward the industrial
(or post-industrial) state and mass society, and a romantic view of
rural life as more natural and therefore more authentic. Bluegrass,
of course, is viewed as a product of that more authentic life. In
other significant ways, though, the bluegrass revival was, and is,
different from previous folk music revivals. For one thing, the bluegrass
revival utterly lacked the nationalism characteristic of European
revivals and the racism of the earlier American Appalachian music
revival so thoroughly dissected by David Whisnant, though it did not
shrink from sexism of the predominantly male bluegrass musical culture.
For another, as the revival continued, some of the revivalists who
became performers were adopted into the bluegrass culture, a process
that continues today. Participation in performance and learning from
tradition-bearers like Ralph Stanley is not limited to the bluegrass
revival, of course; it is characteristic of Euro-American folk revivals
of the later twentieth century.
- Many of the people who participate in the bluegrass revival come
from backgrounds far removed from the Stanleys rural upbringing
in central Appalachia, and sometimes the cultures clash in ways that
make it difficult for people to inhabit the same community, other
than as a community of music-makers. Yet the romantic impulse in a
folk revival is always directed broadly at a way of life represented
by music, and not just narrowly at folk performance. A second paradox
of this particular revival is that while rejecting the bourgeois values
of the corporate worldincluding the values of getting and spendingmany
revivalists engage in an excess of bluegrass consumerism, connoisseurship,
and a passion for collecting recordings and musical instruments. Finally,
as bluegrass is a virtuosic music, difficult to sing and play well,
and requiring years of practice even to reach competence, the bluegrass
revival embodies both a competitiveness characteristic of music in
America and at the same time, at its best, an ideology that denies
competitivenessafter all, in a community of musical virtuosos,
the good old boy does not try to show anyone up.
- It is difficult to imagine that the bluegrass revivals romantic
pastoral could survive any reasonably intelligent viewing of the O
Brother movie. It was discussed endlessly on the various American
roots music listservs when it appeared, and if the fiddle-l list is
a fair representation, the fiddle players (some old-time, some bluegrass,
mostly revivalists) who contributed could be divided into those who
felt the movie perpetuated the hillbilly stereotype and those who
felt it parodied it. Tellingly, no one used the word authentic
in connection with the film, except perhaps to deny authenticitythe
music, for instance, wasnt quite right for the time and place,
though on another level this music appears timeless. Long-time Ralph
Stanley appreciators were appalled to hear his voice coming out of
the Klans leader. How could anyone take this movies story
literally? Indeed, this is why the Coen Brothers made so much of the
parallels with the Odysseyrather zany, I thought.
- Its hard to know how many people who made the O Brother
album a best-seller despite a lack of radio and television airplay
actually saw the movie, but I suspect a great many of them did. Some
claimed it significant that sales were achieved despite Nashvilles
indifference. No doubt, but in the O Brother film there also
are parallels to the reception of another film, The Blues Brothers.
In both, a public that knew little about roots music was introduced
to these things by means of enormously popular cultural iconsJohn
Belushi and Dan Ackroyd in one instance, George Clooney in the other.
Many who bought the O Brother album do not habitually listen
to country music; to them it made no difference that the songs were
seldom played on country music radio or TNN. Yet, whereas The Blues
Brothers showed James Brown, Aretha Franklin, John Lee Hooker,
Cab Calloway, and members of the Muscle Shoals Stax/Volt rhythm section
performing and acting in the film, Ralph Stanley and most other O
Brother performers were but disembodied voices on a soundtrack,
making it easier for the viewer to disengage the film from these musicians
and give the soundtrack album a life of its own.
- T-Bone Burnett, producer of the music for O Brother, is responsible
for the eponymous Ralph Stanley, a year 2002 release meant
to take advantage of the singers new popularity. Listeners familiar
with his earlier work will be badly disappointed. Ralph Stanley nowhere
plays banjo, his singing sounds weak, and there isnt a single
bluegrass arrangement. Simplistic rather than simple, groove-less
despite the presence of all-star musicians, Burnetts production
evokes none of bluegrasss drive and tension, and provides only
a faint echo of Ralph Stanleys chilling virtuosity, as in Lift
Him Up, That's All. Anyone interested in seeking out the
best of Ralph Stanleyand his best is superbshould listen
to the Stanley Brothers Columbia
recordings from the years 194951, and to the Rebel recordings
Ralph Stanley and the Clinch Mountain Boys made in the 1970s.
- Students at Brown usually
|
A Stanley Brothers handbill from the early
1960s. (American Roots Music 32.)
|
have heard me introduce Ralph Stanley as an archaic figure: Here
is someone who at the age of 30 sounded as if he were 70, and now
that he is 70 he sounds like he is 170. (He is 75 today.) I
have pointed out that in interviews Stanley takes pains to locate
himself within the older traditions, seeing himself not as an innovator
but as a perpetuator of old-time music in its more modern representation
(bluegrass). It now seems he was ahead of his time, or that the time
cycle has for the moment caught up with him. In one view, the Ralph
Stanleys and Robert Johnsons of the world labor in their vineyards,
waiting to be discovered, to be honored and celebrated, to wear the
mantle of authenticity. In a different view, authenticity is an easy
target for deconstruction. After all, for fifty years Ralph Stanley
was aiming for commercial success, and the opportunity to succeed
big time finally came his way. More power to him. It is not as if
the alternative media industry created cultural icons
out of the Primitive Baptist Universalists from whom he learned to
sing; and I wont hold my breath until they do. And no one will
be more surprised than I when they, or the Old Regular Baptists (whose
music the Brown students also learn), are singled out for a Grammy
award.
Works Cited
Cornett, Elwood, Jeff Todd Titon, and John Wallhauser. Liner Notes.
Songs of the Old Regular Baptists: Lined-Out Hymnody from Southeastern
Kentucky. Smithsonian Folkways, 1997.
Dorgan, Howard. In the Hands of a Happy God: The No-Hellers of
Central Appalachia. Knoxville: University of Tennessee Press,
1997.
Whisnant, David. Modernizing the Mountaineer. Boone, NC: Appalachian
Consortium Press, 1980.
---. All That Is Native and Fine: The Politics of Culture in an
American Region. Chapel Hill: University of North Carolina Press,
1983.
Discography
Stanley, Ralph. Ralph Stanley. Columbia, 2002.
|
|
|
|
Articles
|
|
Roundtable
|
|
Reviews
|
|
|
|
|
|