The Dead South, In Hell I’ll Be In Good Company

Clever video. But simple.

Simple song. But maybe clever. The lyrics seem to show a dark murder ballad, though I didn’t get that on first listen.

Whatever. Somehow this cute video and folkish trad song has scored 44 million plays on YouTube. That’s huge, it is real money, and it comes from Canadians into bluegrass, even if the music isn’t bound by genre exactly.

More power to them. This isn’t rock, but if these folks can earn green on this fine but totally uncommercial song, I’d say they’re successful remnants.

Also, good title and band name. Especially for northerners. Maybe not as good as The Band.

BF Shelton

I was listening to the Bristol Sessions tonight. There was an open mike recording session in Bristol Tennessee on July 29, 1927, hosted by the Victor Talking Machine Company. They made record players, and wanted to make records.

Singers, songwriters, musicians from all over the south travelled for an opportunity to record their work and sell it. These were the beginning days of the record industry. The Carter Family and the Jimmie Rodgers recorded their first sides that day. That stuff is gold.

But the tune that caught my ear was a standard and classic murder ballad, Darling Cora, recorded by a guy named BF Shelton. This song is something of a banjo requirement, and it is irresistible because of its structure and chorus, but this early version does something wonderful and hypnotic with the sound. Singer and banjo, alone, play and sing with a hypnotic rhythm, and the banjo sounds like a trance instrument and chime, rather than a, well, banjo. That’s good. Check it out.

Although Shelton went on to record some other sides, the only surviving cuts of his are from the Bristol Sessions. So there is the chance that his lovely spectral banjo sound is an artifact of the recording process, but when you listen to another of his recordings that day, a less captivating song by spades, his picking is still pretty awesome. Here’s Oh, Molly Dear:

These old cuts bring so much extraneous noise they alienate us from the start, but when you dig in it is revelatory to find pickers and players who are rocking new sounds out of the traditional. Shelton is doing that for me. Which is why it excites me to listen to old stuff.



Have we done anything on murder songs? We should. This one isn’t exactly murder but the threat is refreshingly explicit.

I wonder how many real murders have been directly – inspired isn’t quite the word here – influenced shall we say – by songs? It must have happened a few times. Music has been a major player in various murder cults of course, and war of course, but individuals who committed murder under the influence of a song – how rare is that? Inquiring minds want to know.

Anyway, Sonny Boy II has his very own blues style, and I happen to think that he’s one of the greatest singers ever, not to mention maybe the best harp player, both instantly recognizable at any rate, and his band swings the blues good.