Showing posts with label Emmylou Harris. Show all posts
Showing posts with label Emmylou Harris. Show all posts

Monday, July 3, 2023

Emmylou Harris, Alison Krauss & Gillian Welch - Go to Sleep Little Baby


 #Emmylou Harris #Alison Krauss #Gillian Welch #Americana #folk #traditional #movie soundtrack #O Brother Where Art Thou

Most famously heard in the movie "O Brother, Where Art Thou", the traditional lullaby "Didn't Leave Nobody but the Baby" is performed by artists Emmylou Harris, Alison Krauss, and Gillian Welch. This song appears to be a southern folk song, and was also previously recorded by Sidney Hemphill Carter in 1959 and ethnomusicologist Alan Lomax in 1942. What is the history, origins and meaning of the lyrics in this song? It appears to be a song born out of the anguish of slavery (as noted by former slave Annie Little in the Federal Writers' Project: Slave Narrative Project, Vol. 16). I have however, heard that this may depict a father trying to keep his baby quiet by giving it morphine in order to hide him from a slaveowner (perhaps on the underground railroad, or possibly in order to commit infanticide). Is there any reputable, authoritative evidence that this is the case?

My grandmother, who recently passed at 98 years old, used to sing this to me and she said her grandmother who was a slave sang it to her. She said all the mammies used to sing this to their children.

This is a Black American folk song, originating in the slavery era. At that time, it was dangerous for enslaved people to speak openly about their concerns, so many songs of the era have hidden or concealed meanings. As a folk song, however, neither the lyrics nor the interpretations are fixed, so it can be difficult or impossible to make a definitive determination. Like many of the most popular lullabies and nursery rhymes of many traditions (compare Rock a Bye Baby or Ring Around the Mulberry Bush) there's some dark and ominous imagery here. It's perhaps most instructive to compare it to All the Pretty Horses, another lullaby with similar origins, and a more established meaning. As in that song, we can surmise that this song is being sung by an enslaved caretaker of a baby belonging to the slavemasters, leading to a mix of tenderness and anger in the lyrics.

    Your momma gone away and your daddy's gone to stay
    Didn't leave nobody but the baby

The "momma" having gone away indicates that the woman singing is not the baby's actual mother. Likewise, the baby's father is also out of the home.

    Everybody’s gone in the cotton and the corn
    Didn't leave nobody but the baby

With all the masters gone, the baby is at the mercy of its caretaker.

    She's long gone with her red shoes on
    Gonna need another loving baby

The mother is out having fun, and doesn't care what happens to her child. She might need a new one, because her current child may not have long to live.

    You and me and the devil makes three
    Don't need no other loving baby

This moves more into pure speculation, but "don't need no other loving baby" may be a veiled reference to her being unable to take care of her own children (as in All the Pretty Horses) because of being forced to caretake her master's child. The devil is present, because she is having fantasies about killing the baby in revenge.

    Come lay your bones on the alabaster stones
    And be my ever loving baby

This seems like the most clear threat in the song - the alabaster stones, are, of course, the headstones in the graveyard. Compare also "Summertime," as discussed here: What's the origin of the phrase "Rise Up Singing"? Although not an authentic slave-era lullaby, "Summertime" draws upon many of the same themes, including the caretaking of someone else's child, and the veiled threat.

This is a song that seems to have originated among slaves in the southern US and has been passed on orally from generation to generation by people who might not even have been able to write, so there is no 'authoritative' version of the lyrics. So, of course, no interpretation of those lyrics is going to be 'authoritative'. There are probably almost as many different interpretations as there have been attempts at interpretation. A recurring theme in these is that the baby has been abandoned by both parents and the singer is preparing to poison it, but there are plenty of other variations.

Funny. I’ve been singing this to my kids for the last 12 months. They love it. Knocks them out every time. But I always forget the words because I can’t think of the story. Really interesting. I mentally started to wonder if it was a seductive song, but mostly because of the imagery from “Oh Brother Where Art Thou”. If you think of it from the perspective of someone trying to seduce a man while his “momma’s gone away” you can almost force some meanings as well. Don’t need another lovin’ babe - you and me and the devil make three. And then a bit of a Romeo and Juliet moment. Or maybe now that I’m reading that it was maybe a slave song. Then there’s the inevitable death that will occur if the mistress is a black caretaker and she’s singing the song for the husband of a partying wife.

From: https://musicfans.stackexchange.com/questions/10086/origin-and-meaning-of-didnt-leave-nobody-but-the-baby

Sunday, January 22, 2023

Emmylou Harris - Wayfaring Stranger


 #Emmylou Harris #folk #country #folk rock #country rock #Americana #progressive country #traditional #singer-songwriter #bluegrass

There have been many iconic pairings in country music and about half of them involve Emmylou Harris. Gram and Emmylou. Willie and Emmylou. Skaggs and Emmylou. Linda Ronstadt and Emmylou. The list could go on through a litany of country greats and each one would probably remember their collaboration with Harris as among the highlights of their career. One of the most powerful harmonizers in the genre, her delicate singing style had a thread of iron running through it, a strength that gave her mournful twang a heartrending power that made her contributions to ballads and breakup songs essential to the evolution of country as a whole. It’s a shame then, that her solo career should be, while overall consistent, somewhat of a letdown, with a string of minor classics early in her career followed by a slew of releases that never really lived up to everything she offered as a singer. There are, to my mind, two albums that fully live up to the enormous artistic talent Emmylou’s displayed over the years: the titanic comeback that was 1995’s Wrecking Ball, and Roses In the Snow, perhaps the most complete expression of Emmylou’s potential and the perfect closer for the early period of her career.
Roses In The Snow, for the most part, stays true to bluegrass convention, although the music occasionally tends toward gospel and her country roots, two styles which have always had significant overlap with bluegrass. Ranging from wellworn classics to new compositions, she effortlessly makes each piece her own, indelibly marking her takes on the old classics and claiming the new cuts as incontrovertibly her own. Her take on Wayfaring Stranger, one of the archetypal examples of traditional American song, instantly becomes the standard against which all other iterations of the song are measured, the doleful hymn to the hope of a better world beyond this one a clear highlight in Emmylou’s career. No less astonishing is her take on Simon and Garfunkel’s The Boxer, which, by staying largely faithful to the original within her bluegrass framework, she more than lives up to, although she can’t quite lay claim to the song like she can with Wayfaring Stranger.  From: https://www.sputnikmusic.com/review/78184/Emmylou-Harris-Roses-in-the-Snow/