Don’t Forget Me Little Darling
5 stars (out of 5)
By Larry Stephens
You simply cant count the country and bluegrass musicians who list the Carter Family as an influence in their music. Just as Bill Monroe became known as the father of bluegrass, despite a number of notable stars who contributed to that birth, the Carter Family have a place in history as the parents of country music. They were not the only people making music like that back then but they have stood the test of time as one of the foremost groups at the birth of this music we love.
A.P. Carter, his wife Sara, and her cousin and his sister–in–law, Maybelle, captured the imagination of the common folk at a time when life was hard for them. The Carter Family first recorded in Bristol, Tennessee in what we now view as primitive conditions. They were interested in making a few dollars, never dreaming what they would start that day. “Bury Me Beneath The Weeping Willow” is the left bookend of the Carter Family’s recording history and this CD. This song has been recorded countless times in bluegrass, country and western (cowboy) settings. The Carter Family versions of all these numbers have a different feel than this recording, in part because of the instrumentation—usually only a guitar, partly because of advances in recording technology and partly because of technique. The Carters’ singing was straightforward, unadorned, even a bit strident. Some, perhaps many of the fans of bluegrass and classic country today wouldn’t listen long to a Carter Family recording.
The CD cover credits A.P. Carter as the composer of all but one of these songs. Take that with a grain of salt. While his name may appear on official credits, many of the Carter Family songs are adaptations of songs that pre–date them by decades if not centuries. “Bury Me Beneath The Weeping Willow” was the subject of a 1970 conversation with Maybelle Carter as reported on grassclippings. “That was a song we had sang all our lives. [Read the center section on the website.] The original version of the song was written by Bradley Kincaid.” Another conversation relates, “Other sources suggest the song’s older, a late–19th–century ‘heart song’ that Kincaid adopted; apparently a sheet music version dates to a year when he was 14 years old, making his authorship unlikely.” None of this affects the contribution of the Carter Family nor the beauty of this new CD, but it’s always good to have a hint of the actual history of the songs.
My wife, a fringe fan of bluegrass (as I’ve reported before) was listening to this CD as we drove and she described it as “soothing.” I know she would never say the same about the original version. Have no doubt, though, Antique Persuasion honors the Carter Family music, just giving it a 2015 interpretation. The last song recorded by the Carters, and the only one here not “written” by A. P. Carter (it was composed—or adapted—by Maybelle Carter), was “ You’re Gonna Be Sorry Cause You Let Me Down.” (CF version) Brandon Rickman sings lead and plays guitar and mandolin. He’s a good one to be singing these traditional songs because he has a voice that speaks bluegrass to me. Not that there isn’t room for other types of singers, such as the high, lonesome sound of Monroe or the balladeer’s voice of David Parmley. But I especially enjoy singers like Rickman. It’s in the tone and inflection, his phrasing. Like bluegrass, you know it when you hear it. You can hear Rickman’s voice often because he’s the lead singer for the Lonesome River Band.
He’s joined by Jenee Fleenor. She’s made other appearances in bluegrass but her primary job is backing Blake Shelton (vocals, fiddle, mandolin, guitar). Brennan Leigh, a great singer from Austin, Texas, rounds out the group, offering vocals and guitar. Mark Fain makes a guest appearance on upright bass. Warning! There’s no banjo present but, to be fair, the Carter Family didn’t use one, either.
Rickman also sings lead on “Lover’s Lane” (familiar from Red Smiley & the Bluegrass Cutups) and “Lover’s Return” ( familiar from Emmylou Harris, Linda Ronstatdt & Dolly Parton).
“Dark and Stormy Weather” is a departure from the straightforward nature of most of the songs. Sung in minors, it’s dark and moody. Sung by Fleenor, there are no background vocals and only Fleenor’s fiddle and guitar and Fain’s arco bass. It’s moodier than Helen Carter’s version which is also a takeoff of the original. She also sings lead on “When Silver Threads Are Gold,” a lighter–hearted song about love. “Lonesome For You” is done as western swing and is a familiar number to any fan. The original version had this same feel but in a more primitive fashion. Fleenor trades leads with Rickman and you’ll hear great harmony singing, on this and all other songs except “Dark and Stormy Weather” and Fleenor’s other lead number, “I’m Thinking Of My Blue Eyes.” Again it’s just Fleenor and Fain with an arrangement that gets away from the Carter Family (and usual) styling, but is beautifully done, giving a fresh take on this familiar song.
Leigh sings lead on “Broken Hearted Lover” (not to be confused with the Delmore Brothers/IIIrd Tyme Out song of the same name). You’ll note Fleenor’s fiddle providing support on this song, smooth, melodic, and relaxing (to use my wife’s description). She also sings lead on “Don’t Forget Me Little Darling,” “Hello Stranger” (recorded by Emmylou Harris and Hazel Dickens/Alice Gerrard) and the only gospel number, “On the Sea of Galilee.”
This is an excellent window into the Carter Family’ great body of work. Great singing by the three members of Antique Persuasion, excellent instrumental work, great arrangements. If you like bluegrass, don’t miss this one.