Mastering engineer, Christopher King, who won a Grammy for his work on Charley Patton’s 2003 collection, Screamin’ and Hollerin’ the Blues, is the man responsible for digitally restoring this anthology of historic tracks as created by early American Appalachian music leaders, The Red Fox Chasers. The recordings date between 1928-1931, and within that short period, this quartet from North Carolina recorded a total of 42 songs all directly to the medium popular at the time: 78 RPM vinyl. With that in mind, it’s worth noting that with each side’s capacity limited to around three minutes, and each acoustic performance captured live in one take – this set of recordings offers a tangible chronicle of the past. Add to that the band’s ability to sell thousands of records across America, and I’m Going Down To North Carolina becomes more than a historical document: it’s a well-defined moment in the evolution of country and bluegrass music.
Named after violinist Guy Brooks’ favoured activity, Brooks managed to convince neighbours Bob Cranford (harmonica), Paul Miles (banjo) and A. P. ‘Fonzie’ Thompson (guitar) partake, whereupon the group would gather (somewhat romantically for a bloodsport) to tell tales by campfire, smoke, drink and play songs. With both Cranford and Thompson sharing an interest in gospel singing, the content presented here is a mixture of original, traditional and religious epithet. The lyrics of ‘Virginia Bootleggers’ as set to the tune of gospel favourite ‘The River Of Jordan’ managed to get Brooks, a Baptist preacher, kicked out of church. That air of rebellion and mockery combined with a discernible passion for environmental influence (as well as fellow three-finger style banjo player, Charlie Poole who was the likely source for ‘Budded Roses’) courses throughout the two discs, effectively evoking a lost time and lifestyle.
Whilst across the border in Tennessee, African-Americans were inventing their smooth form of skiffle (the Memphis Blues Style), this mountain music is altogether less languid, yet equally provincial as the guitar, fiddle, banjo and harmonica all sizzle with a hotfooted impatience; even when at rest, the instruments, voices and crackle never cease to engage. Perhaps the most obvious connection between this old timey music and the modern age is to be found in the Coen brothers’ movie ‘O Brother, Where Art Thou?’ which, though containing a mix of blues, country and bluegrass, still proved there was enough mainstream interest in the genres.
Perhaps not for every casual listener, The Red Fox Chasers’ anthology provides a fascinating insight into a past popular culture that proves more charming than a thousand Russell Brands vying for the BBC’s attention.
