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The Bristol Sessions Grot,Ing [/P in Th ]L(Ountains on Thc L"Irginio North Cnrolina Linc Zctta Rarkcrhamby

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The Bristol Sessions Grot,Ing [/P in Th ]L(Ountains on Thc L CoN TRIuut totts -to Sou l Hf.RNAPnALACI{IAN 51 ul)lt.s 7. Mernoirsof Grassl C)ruk: The Bristol Sessions Grot,ing [/p in th ]l(ountains on thc l"irginio North Cnrolina Linc Zctta RarkcrHamby. 1997 2. Tlte Pod Mountait Chroniclc: Sel.flPortraitof a SouthernAppalnchian CoununitT- WritingsAbout Leland R. Coopet and Mery Lce (ioopet 1997 3. Tiaditional Musiciansoftbc Central BIuc Ridgz: the Big Bang Old Tine, Farly Countl, folk and BluegrassLaful RercrdingArtists, tuith Discographies. Marty Mc(iee. 2000 of CountrytMusic 4. lYlR. Trivttt, Appalathian Pichtrtman: PhotograPhsofa Blgone Time. RalphE. Lentz.200l Edited by 5. Thc tuoPh of the Neu Riuer: CHnRr_esK. \X/or_pp, Oral Ilistories from tht Ashc, Allcghanl and and Vatauga Countiesof North Carolina. TEo Or.soN Leland R. Coopcr and Mary l-eeCooper. 2001 6. /ohn Fox,Jr., AppalachianAuthor. Bill York. 2003 'f() CONtntntrt'toNs SOLrI'ur.nXArper,tr:rrr.rN S r.r'D11.s.l] 7. T'hc I'histlc nnd thc Erier: I{iscoricalLinks anr! Cultural ParallelsBent'een Scotlttd atd Appalachia. RichardBlarrstein. 2003 8. Tltlesfom Saned Vhnd; Coming of Age in Appnlachia. l-hc Cratis lVilliams Chronicles CrarisD. Villiams. 200J 9. \Villard Gayhcart,Appalachian Artist. Willard Gayheartand Donia S' Eley.2003 lo. The Forest Citl Lynching of 1900: Populism,Radsm, and l{hirc Stpremuy in Rutbtford County, Noth Carolina J. Timothy Cole. 2003 ll. The BreuardRoscnwal/ Srhoot: Black F'dcuntionand Communiry Building in a SouthernAppalachian Tban, 1920-1966 BettYJamerson Reed. 2004 12. Thc Bristol Sessions: WritingsAbout the Big Bag of Country Music Ediredby CharlcsK. Volfe and led Olson'2005 arr ffi McFarlanclc\ Cornpany,h.rc., publishe rs [efferson,North Carolina,ind Lon,lon 5. The Carter Family (Doman) 67 them to buy records from the victor company. A. p. carrer's ability to reworksongs gave the carrers a vasr rep!rroireof fresh marerial to sing, but this modified material also appealedto Peerbecause it createdopportunities for copyrighting and publishing. An examination of the carter Family s Bris- tol sessionsrecordings, which managedto be simultaneouslyold-fashioned and innovative, revealshow the Carters served as a bridge berween folk music and a newly developingcommercial "hillbilly music" business.These record- SomethingOld, Something ings demonstrarethe group's ability to retain the best of rhe old tradition, 5. while reshapingit into such a freshand appealingform that the carter Fam- New: The Carter Family's ily'smaterial sdll proves relevanrand even irresistibleto present-dayarrisrs. An investigationinto the background of eachof the memberswill help Bristol SessionsRecordings illuminate the origins of the carter Family'smusic, due ro the fact rhar their socialand cultural background heavily influenced both their repertoire and. their imagesas performers. As Michael orgill observesin his 1975 biogra- phy of the Carters,Anchored in Loae: The Carter Familt Story,,,The Carter Katie Doman Familyparticipared i. [th. rwentieth] century'sinitial expansionof the enter- tainment media, but ... their arr was the product of an essentiallyself-con- tained and self-nurturing tradition. For them, the cradle of this tradition wasrheir clinch Mountain home."1All three of rhe carters grew up in The Carter Family has becomesuch an icon of country music that tt ts scott county, virginia, where the Appalachian musical tradition hard for twenty-first century fans to imagine a time before A. P., Sara, and thrived. unde- niably the infrastructure of the carter Family's Maybelle Carter were famous. However, when they arrived in Bristol in1927 music, the folk and gospel traditionsof the mounrains infuenced and appearedfor their audition with Ralph Peer,the three musiciansbegan each of the three musiciansand infusedtheir repertoire of songs,which on an equal footing with the other acts signed up for a chanceat fame and according ro Janettecarter, daugh- ter of A. P. and Sara,eventually numbered around 300.2 fortune. Like virtually everyone elseat the recordingsessions in Bristol (other The oldest of the three original carter Family members, Alvin pleas- than ErnestStoneman and the JohnsonBrothers), the Carterswere unknown. anr carter, was born in 1891inro a musical family. His farher Bob carter But two of the acts- The Carter Family and Jimmie Rodgers- emergedas wasa 6ddler, and Mollie BaysCarter, A. P.'smorher, loved ro country music stars. During his career,Rodgers sang about traveling, and sing borh rra- ditional and religioussongs. Mollie was an especiallysrrong infue-.ce travel he did, building a reputation for living the wild life. The Carters, on on her son. In their 2002 biography of the carter Family, \vill you Miss Me tilhen the other hand, aiwayskept their focus on subjectssuitable for family and Irn Gone: The carter Family and rheir Legacy in American Music, Mark home, singing songs that were morally and spiritually instructive or w!re Zwonitzerand charles Hirschbergwrite that 'while shewent about her daily derived from the old ballad tradition. chores,Mollie would sing the hy-nr she loved best" and thar "she also sang In the Carter Family's Bristol sessionsrecordings, one can easily iden- traditional ballads,known fro her] as 'English' songsbecause the form - if tify the reasonsfor their success.They took old-fashioned, familiar songs not the songsthemselves - had crossedthe Atlantic with the English and and themes and turned them into new material - and though their har- Scotch-Irishwho settled the southern mounrains."3 These traditional and moniesand instrumentationwere groundedfirmly in Appalachianfolk music, religioussongs, learned by A. P early in his life and reworked larer to suit they took that tradition in new directions. It was their distinctive Carter the trio's voices and insrruments, formed the basis of the carter Family's sound-based firmly on Sara and Maybelle's lead vocals,A. P's basshar- repertoireof hits. mony, and Maybelle'sguitar work - that appealedto audiencesand induced Both A. P and his brotherJames could play the fiddle, thoughA. p. wasthe be trer musicien. zwonitzerand Hirschberg notethat A. p had a "sup- 66 feeling"for playingand that "if he hearda newsong, he couldg.n.r"liy 68 PenrII: Tur BnrsrolSrssroNs 5. The Carter FamiQ (Doman) 69 chord it out on the fiddle by the end of the day."aBut A. P.seldom choseto therewhile I sang... and then he saidsomething like, "Ma am, that was play in public, perhaps because"from the day he was born to the day he mighty pretty playingand singing,and I surewould like you to play that againfor me," and so I did.e died, [A. P] was possessedof a slight tremor, most noticeablein his hands," which meant that he could "barely keep his bow steady."5Interestingly, at the same time that his tremor detracted from his playing, it added some- A. P. was spellbound, and for about a year he courted her relentlessly.She thing to his singing. It "gavehim what the locals called a'tear"' in his voice, wasreluctant to marry, but he persisted,and on June 18,1915, Sara Dougherty and it "embroidered his singing with an almost otherworldly tenderness."6 becameSara Carter. "For the next ten years,"\7olfe reports, 'A. P. and Sara This "tear" is definitely audible in the Carters' Bristol sessionsrecordings of honed their skills at singing together."10 August lsr, 1927,especially on the songs on which A. P. sings harmony to Although they becamefamous only after teaming up with Sara'scousin SaraCarter's lead. Maybelle (who was alsoA. P's sister-in-law through Maybelle'smarriage to Fiddle tunes and the ballad tradition were not the only early influences his brother, Ezra Carter), A. P and Saramade a stab at recording commer- on A. P.Carter. Mollie and her largebrood were steadfastmembers of Mount cially beforethey enjoyedsuccess at the Bristol sessions.According to Wolfe, Vernon Methodist Church. The church offered its members the opportu- the couple sangfor the Brunswick Record Company as a duo in 1926.They nity to pray together, attend serviceseach Sunday, and worship together performed 'Anchored in Love," accompaniedby Saraon the autoharp. The through music. As musical director of the church, A. P.'sUncle Flanderswas representativefrom Brunswick, JamesO'Keefe, decided that the recording in charge of putting together the church quartet. A. P. sang bassfor the equipmentdid not pick up the sound of the autoharpwell enough.After hav- group. Flandersalso taught shapenote singing acrossthe region, using mate- ing them sing with a pianist instead,O'Keefe-who knew that A. P could rial developedby JamesD. Vaughan, "a publisher whose close-harmonizing play the fiddle - decided againstrecording a vocal duet. He wanted instead gospel quartets were the new musical sensationof southern choirs."7 The "a good southern fiddler, somebodywho could compete with Doc Roberts gospelmusic that A. P.learned as part of the church choir and in shapenote on the Gennett label."ttAlthough A. P had his first record deal at hand, he 'Sfolfe singing schoolswould later play a vital role in shaping the sound and reper- decided against trying to fiddle his way to fame. notes that he may toire of the Carter Family's music. have decided against it becauseso many of his friends and family still con- Marriage transformed A. P.Carter's music. He was traveling acrossthe sideredthe fiddle "the Devil's box," and A. P wasdisinclined to make waves.r2 county sellingfruit treesfor a living when he stoppedat the home of Melinda (Certainly, this fits with the Carters' personalities;even after achievingsuc- and Milburn Nickels on Copper Creek. The Nickels were raisingtheir niece, cess,they kept their showsand their image clean, advertisingtheir concerts SaraDougherty, whose mother had died when Sarawas a tiny child. Charles with postersthat made a clearannouncement to fans: "This show is morally Volfe, who has written extensivelyon the lives and music of the Carters, good.") Zwonitzer and Hirschbergoffer two additional possibilitiesfor A. P's notes that Copper Creek offered no dearth of musical opportunities for the hesitationto sign a record deal with Brunswick.
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