The SteelDrivers: A Hot Ticket13 June 2012
Bluegrass and gospel share something like a sibling relationship: they are genres bound together in spirit. Last week, I offered an example of a gospel tune, “River of Jordan,” given a pretty straight-ahead bluegrass treatment by The Bluegrass Gospel Project. Compare that with this number by The SteelDrivers from last summer’s Grey Fox Bluegrass Festival:
Friends, I’m seeking some spiritual guidance here: Am I going to hell for thinking that Tammy Rogers’ performance is, um…sexy? I see her do that little shimmy and— heaven? Brother, I’m already there. Sacrilege or healthy response? Discuss.
Actually, harnessing the engine of desire (so to speak) in service of the holy is an old trick. Consider these classic lines:
That is, of course, the old standard “Holy Sonnet XIV” by John Donne (1572-1631), who certainly knew both sides of the secular/sacred fence. As you can see, Donne has a field day mixing lusty metaphors with pious metaphysics in the poem, ultimately swooning to a climax by asking the Almighty to “ravish” him. Yowzah. So if you think I’m a lewd dude for focusing so much on the seductive qualities of Rogers’ song, well, at least I’m putting her in august company.
By the way, when I say “Rogers’ song,” I mean it: Rogers co-wrote “You Can’t Buy a Ticket to Heaven” with well-known alt-rocker Victoria Williams. Even if you leave the shimmy out of it, the song is catchy as heck. I hope it gets heard more widely.
Guess it’s apparent by now that I’m a member of the Tammy Rogers Fan Club. The SteelDrivers have weathered some significant line-up changes over the past couple of years, but if Rogers ever moves on, the end times shall be upon that band. She brings a ferocious, yowling bluesiness to her fiddling that puts her in a class all her own.
In Black and White
Part of what accounts for the range of styles encompassed by the gospel you hear in bluegrass these days is the fact we’re actually hearing the confluence of two fairly distinct musical traditions. On the one hand there is black gospel, which draws from the rich legacy of spirituals and the music of the African-American church. On the other hand there is white gospel, an amalgam of camp meeting tunes, Southern Protestant hymns and shape note singing. Not surprisingly, the pioneers of bluegrass drew heavily— though certainly not exclusively— from the white gospel tradition in which they were steeped, and you can still hear that tradition in much of the bluegrass gospel music that’s performed today, including “River of Jordan.” However, to my ears at least, a song like “You Can’t Buy a Ticket to Heaven” owes a lot to the black gospel tradition. I hear it both in the bouncing rhythm and the dips the melody takes here and there. Listen to Sandy Cherryholmes’ song “Changed in a Moment” for another example of a contemporary bluegrass song that owes a lot to the African-American gospel tradition. Slowly but surely, cultural barriers defined by race are falling. Why wouldn’t this also be happening in bluegrass?
Yer Pal— Curly