Tribute to Tribute Albums (Part 1)

In a four-part series, Music Spectrum takes a look at some recent tribute collections, along with some from a few years back.

A great tribute album should do one of two things: 1) inspire interest in the original work of the celebrated artist or 2) spark interest in the artists doing the cover versions. Truly great tribute album, like Beautiful Dreamer and The Unbroken Circle, do both.

Today’s featured titles are both from 2004, but go back many years to celebrate Americana—that broad descriptor for the folk-laden, country-tinged, blues-hinting music culled from the “mountains to the prairies, from the oceans, white with foam.”


American Folk: Beautiful Dreamer: The Songs of Stephen Foster
Born in 1826, Stephen Foster is the celebrated artist of this tribute album, the earliest historically speaking of artists covered in these reviews. This also means that these recordings are probably some of the least recognizable to the original artist. American Roots Publishing has gathered 18 tracks on Beautiful Dreamer, bringing Foster’s well-known tunes out of elementary classrooms and beginner piano books, and into contemporary American folk rock.

True, “Slumber My Darling” by Yo-yo Ma, Edgar Meyer, Mark O’Connor, and Alison Krauss sounds very close to the 19th century style of Foster. “Willie We Have Missed You” find Grey De Lisle continuing the sepia tones that color her debut album, going to great lengths to record with antique equipment onto vinyl, duplicating a scratchy, Edison phonograph sound.

Yet, for those more traditional styled contributions, there’s plenty of places where contemporary artists present contemporary interpretations of Foster’s tunes. The Dukhs add a syncopated percussion beat to “Camptown Races.” Alvin Youngblood Hart’s “Nelly Was a Lady” sounds very traditional instrumentally, but Hart’s vocal is all 20th century blues. Then there’s the Gospel blues tinged “Hard Times Come Again No More” of Mavis Staples.

Just as Foster might not recognize his tunes performed here, I’m not sure Kentucky Derby fans will immediately recognize “My Old Kentucky Home.” Whereas the annual playing “My Old Kentucky Home” before the Derby is led by the University of Louisville Marching Band in a chorale, mint-juleped style, here John Prine gives it a much grittier, folky, 18th century feel.

“Oh! Susanna” sees Michelle Shocked return to the traditional folk sounds she explored on her Arkansas Traveler. BR5-49’s “Don’t Bet Money on the Shanghai” highlights the multiculturalism of the 18th century, and also brought Hoagy Carmichael’s sound to mind, especially “Hong King Blues.” However, whereas Foster tried to de-minstrelize his music and lyrics, Carmichael (now controversially) often brought the minstrel lyrics back, infusing his music with the racist point of view of the 30s and 40s.

The proceeds from Beautiful Dreamer go to support American Roots Publishing, a non-profit organization dedicated to preserving regional culture, arts education, and American artists who honor regional traditions. Thank you to the ARP for the review copy.


Gospel: The Unbroken Circle: The Musical Heritage of the Carter Family
Where the Stephen Foster collection brought traditional tunes into new styles, The Unbroken Circle in many ways preserves the Gospel folk sound of the Carter Family. This would be a detriment, seeming to say nothing new, if it wasn’t a needful introduction to the rich heritage found in the Carter library. By having today’s artists cover these songs, listeners are invited through a gateway to the songs which would remain on dusty shelves if only in the original recording.

George Jones opens the album with a rendition of “Worried Man Blues,” helping awake an honest, down-and-out blues song which goes to the question, “Do you have to live the blues to sing the blues?” A.P. Carter wrote, “It takes a worried man to sing a worried song.” Jones sounds worried; he can sing this song.

Norman and Nancy Blake, along with Tim O’Brien, revive “Black Jack David.” Their farmhouse sing along reminded me that I want to return to Bob Dylan’s much-maligned album, Good As I Been To You, which explored traditional tunes, including “Blackjack Davey.” Both versions ring with the romance of that scoundrel Black Jack David.

We’ll call John Prine’s name again, here pulling a wonderfully rambling “Bear Creek Blues,” driven by Jason Wilbur’s electric guitar, Pat McLaughlin’s mandolin, and Dave Jacques’ electric bass.

Finally, the collection is also worth it just for the fact that most tracks were recorded at the Cash Cabin Studio or the Carter Family home, was produced by John Carter Cash, and includes contributions from many family members—June Carter Cash, Johnny Cash, Janette and Joe Cash, Laura Cash, Rosann Cash, John Carter Cash, Lorrie Carter Bennett, and Jason Carter.

The Unbroken Circle is released by Dualtone. Thank you to them for the review copy.