From The Pen Of Joshua Lawrence Breslin- Out In The Hills And Hollows Of Appalachia- Man Of Constant Sorrow- A CD Review

Click on the headline to link to a Wikipedia entry of the Soggy Mountain Boys performing the Appalachian classic Man Of Constant Sorrow.

CD Review

Man of Constant Sorrow (And other Timeless Mountain Ballads), various artists, Yazoo Records, 2002

Recently I did a CD review in this space of now old- time urban blues folk revival 1960s minute songs, The New City Blues, that featured songs from earlier times down in places like the country blues-rich Mississippi Delta as covered by the aspiring folk artists of that latter period. As part of that review I mentioned that my old-time yellow brick road merry prankster summer of love, 1967 version, San Francisco Great American West night friend , Peter Paul Markin, a few years older than I am, had been instrumental in “tuning” me into those classic songs and folk music in general. Having grown up in backwoods (okay, back ocean) Olde Saco up in Maine and not near any folk centers like Cambridge I was clueless back then about anything except the burgeoning psychedelic rock scene and childhood Bobby Darin/Connie Francis vanilla rock music.

That said, Peter Paul tried, tried like hell, to interest me in even earlier roots music, the music of Appalachia, the hills and hollows country, hard coal- mining and hard-scrabble farming country living off the leavings of the great trek west many years before. No sale, No sale for a long time. Then watching the George Clooney film Brother, Where Art Thou? and listening to the soundtrack from the film about a decade ago I got a little hooked. The finishing touches came when I heard some woman (later identified to me as Emmy Lou Harris) singing Come All Ye Fair And Tender Ladies on some off-hand CD someone was playing. Strangely this was a song I knew from the yellow brick road days because Peter Paul played it to me several times as sung by the late gravelly-voiced folk singer/historian Dave Von Ronk. Like I said no sale, no way, turn the damn thing off, please.

So tastes change, or develop, but that is not the important story here. The real story here is why Peter Paul was so insistent on my understanding this mountain music, of seeing why he had come to see it as important. He had resisted the draw of the hills and hollows too. He had started out musically tuned into the great rock and roll jail break-out of the mid-1950s with Elvis, Jerry Lee, Chuck Berry, Bo Diddley and all the other classic (now classic) rock artists, male and female. He had no kid time for old foggy parent music like this. But that word parent is the key to why he tried to drag me in his wake. His father was from down there, down in the hills and hollows, down in coal-mining country. Down in Hazard, Kentucky a place known far and wide in song and hard fighting labor history and a place highlighted in Michael Harrington’s famous book on serious poverty places, The Other America.

This is the music that Peter Paul’s father grew up on in those lonely 1930s Saturday night whiskey-drinking (moonshine whiskey of course) back road barn dances. Or just hanging around some porch guitar, fiddle, mandolin, whatever, whiling away the hours until Sunday church and Monday back-breaking work again. So it was in his DNA, hard-wired into his DNA. That is why, I think anyway, he tried to force feed that old Dave Von Ronk cover
to me back in the day. And maybe by osmosis, or something, it finally rubbed off on me.

You should know this CD, this Man Of Constant Sorrow CD, if you are clueless about mountain music like I was, has a veritable American songbook-mountain music segment(and Harry Smith Anthology of American Folk Music songbook too) “greatest hits” contained in it. As with many oral traditions, mountain music, as it passed from generation to generation, locale to locale, got twisted around, got words added, ideas added and so on so that some of the versions here are, according to Peter Paul, different from those that he first heard. What is the same though is that the subjects, murder, mayhem, adultery, false love, lost love, very false love, abandonment, very, very false love, too much whiskey Saturday night and too little repentance Sunday morning, and, sometimes, true love get plenty of mention. Just the kind of subjects that the folk in hills and hollows (Markin said I should put in at least one hollas to show respect but what can I do) of Appalachia wanted to hear sung about. And maybe still do.