This is post 2 of 4 in the series How to Go from Rock to American Heritage Music.
The first time I heard the Louvin Brothers, one of the artists covered by the Byrds on their Sweetheart of the Rodeo album, I was struck by how much their sound and vocal harmonies reminded me of the Everly Brothers. I loved the Everlys and many of the artists who were inspired by their vocals, including the Beatles, the Byrds, Simon and Garfunkel, and the Beach Boys. Could the Louvin Brothers be the source of all this musical magic?
Not exactly. The Louvin Brothers, who first recorded in 1947, listened to older harmony duos, including the Monroe Brothers (first recorded in 1936), the Blue Sky Boys (first recorded in 1936), the Delmore Brothers (first recorded in 1931), and Mac and Bob (first recorded in 1926). No doubt the harmonies and some of the repertoire of folk, country, and sacred songs performed and recorded by these duos predates the era of recorded sound in the music of the Appalachian Mountains, where the duos originated.
After scoring top ten hits with “Bye Bye Love” and “Wake Up Little Susie” from their self-titled debut album in 1958, the Everly Brothers released an album called Songs Our Daddy Taught Us. The album featured traditional folk and country songs the brothers learned from their father, Ike Everly. Ike was a guitar player who had worked in the coal mines in Muhlenberg County, Kentucky, and the songs he taught his sons were cut from the same cloth as those recorded by the Louvin Brothers, Monroe Brothers, et al.
The Louvin Brothers first came to my attention in 1997 shortly after Capitol Records released three of their classic albums on compact disc. An article by David Cantwell that appeared in Miami New Times piqued my interest, and I purchased Tragic Songs of Life (originally released in 1956) and Satan is Real (originally released in 1959). The Louvin Brothers were a musical duo consisting of brothers Ira (guitar and vocals) and Charlie (mandolin and vocals). They began their career in the 1940s singing gospel music. Until they split up in 1963, largely because of problems caused by Ira’s excessive alcohol consumption, they performed and recorded a mix of gospel and secular folk and country music that often focused on themes of God, family, love, and loss. As Cantwell wrote, “If you said these harmonies were the closest anyone has ever come to actually simulating the pain of human loss and desire right there in the recording studio, you would probably be right. But you still wouldn’t be doing them justice.” The Cantwell article is a good place to start if you want to know more about the Louvins and their music.
I don’t quite recall how I made the connection between the Louvin Brothers and the Byrds’ Sweetheart of the Rodeo (see part 1 of this series). I don’t know if I bought the Louvin Brothers albums because I recognized that one of their songs, “The Christian Life,” was covered by the Byrds on Sweetheart, or if I only discovered that when I heard their original version on Satan is Real. But no matter. The Byrds had eased me into the sounds of country music, and I learned that it wasn’t so bad. In fact, it could be downright beautiful. And I was learning that country music was elemental to rock & roll.
Continued in part 3 of 4. Sign up to receive future posts by email using the box on the right.