Mother Maybelle Carter: Celebrating Her Centennial

Today marks the 100th anniversary of the birth of Maybelle Addington Carter. We wanted to mark this historic occasion on our blog. Maybelle is the anchor of the Carter Family's music. Without the vigor, inventiveness and passion of her guitar playing, and her vocal harmonies, the music of the Carters, while still outstanding, wouldn't have seemed quite complete.

Of the Carter Family's three members, Maybelle seems to me the most relaxed and assured. I'm impressed by how dedicated she was to her family and to her music. As well, it's remarkable how focused she remained throughout her entire musical career--but especially during the dramatic era of the original Carter Family.

Maybelle's marriage to A.P.'s brother Ezra (Eck) was much more stable than the heart-breaking relationship between A.P. and Sara Carter. While A.P. and Sara struggled, both emotionally and financially, Maybelle and Eck seemed to be blessed with a far happier and more peaceful existence. This contrast in the married lives of the Carters is among the most dramatic aspects of their story.

As Sara's friend and relative, Maybelle certainly was privy to the ups and downs of her colleagues' marriage and musical partnership. I'm glad that Sara had such a true friend and soul-mate in her life. Maybelle was a constant and stable influnece for Sara.

Sara and Maybelle meshed remarkably as musicians, throughout their lives. The interplay of their voices and their instruments can be hypnotic. In the superb remasterings of their Victor material by Richard Nevins, on the big, handsome Bear Family box set (and, in pirated form, on the JSP collections), their contributions to the Carter sound are stunningly revealed.

A recent discussion with Mike Seeger reminded me of the extraordinary style of their vocal harmonies. [Sorry for the "music talk" here, if it's all Greek to you.] They sometimes sing in sunny thirds--the most common and simple harmonies found in country music. But they often take surprising turns. At their most adventurous, they utilize seconds, fourths, fifths, sevenths and unison singing--often shifting from mode to mode within a verse or chorus of a song.

In layman's terms, Sara and Maybelle weren't afraid to go to unusual places with their singing. As we know the Carter Family was a well-rehearsed unit, these complex and advanced harmonic touches weren't just improvised in the studio. They might have realized that this was a way to keep their music fresh and exciting, even as their recorded sound settled into a reliable formula.

You may have read my earlier post on my "top ten" favorite Maybelle guitar riffs. If not, please search for that post. It would fit into this piece fairly well.

Maybelle expressed herself divinely through her guitar and voice. I feel that she must have been able to channel all the emotions around her and transform it into the music she played. Emotions seem to flow through her fingertips in her eloquent performances.

Speaking of those hands, here is a photograph from Eric Schaal's 1941 LIFE magazine session. We see Maybelle has a capo on her guitar. This device, colloquially referred to as a "cheater" by country musicians, enabled her to play in a wider range of musical keys--those optimal for Sara's vocal range--while staying in familiar, easier-to-navigate chord shapes.



If only these photographs had appeared in the December 8, 1941 issue of LIFE, as originally planned! Schaal's images are the best photographs ever taken of the original Carter Family. Here is another Schaal shot I really like. Maybelle's facial expression makes it seem that she really enjoyed her role in the Carters:



It's also Mother's Day--how appropriate! And I've saved the best for last. Here's a sketch of Maybelle by David. Enjoy!



Please, take some time today to listen to her music. Be it the classic Carter Family material, her 1960s LPs with Sara Carter, or the more pop-orientated Carter Sisters & Mother Maybelle sides (hard to find these days!), Maybelle's music will brighten your day and make the world around you a better place to be.

Happy Mother Maybelle's Day to you all!

Maybelle's Guitar: 10 Favorite Riffs

Sorry not to have posted on here in awhile...

We've been hard at work on the book. Thumbnails are completed, and David has begun to render publication-size comprehensive roughs. I'm taking those and writing for-real dialogue.

It's nice to stop for a moment and consider the music that inspired us both to take on this creative project.

As much as the trio's haunting vocal blend, it's the lively, innovative guitar-work of Maybelle that gets me everytime I listen to some Carter Family favorites.

I've tried to decode some of Maybelle's oft-complex "Carter scratch" guitar lines. Some of them remain off-bounds to me. I can do a pretty mean "Cannonball," "Wildwood Flower" and "Jimmy Brown, the Newsboy," plus a couple others.

There are others that I expect I'll be trying for the rest of my days. How did Maybelle do it? Her harmonies and fretwork remain as fresh and challenging today as they must have sounded 70-ish years ago.

As a fan of Top Ten lists, I thought I'd compile my Maybelle Top Ten:

In no particular order...

John Hardy Was A Desperate Little Man: A dynamic, vibrant guitar figure, with a great "high lonesome," highly modal harmonic structure, gives this Carter Family classic an immense urgency. This was the recording that really hooked me, all those years ago...

Wildwood Flower: A no-brainer. Amongst the most recognizable guitar figures of the 20th century, this elegant musical expression will continue to thrive well after you and I are long gone. I'm also fond of Chet Atkins' harmonic reimagining of the tune, which he recorded on Christmas Eve, 1953.

You Are My Flower: Maybelle at her most exotic and far-reaching. This 1938 recording must have been a real mind-blower for country musicians of the day. It still seems to reach out into the twilight zone in its manic mixture of string-band music and Latin sounds.

Hello Stranger: Maybelle most likely learned this piece from the Carters' friend and inspiration, Lesley Riddle. Riddle either wrote the song or, like A.P. so often did, cobbled it together from foraged bits and pieces. Maybelle shows a real feeling for the blues in her emotive, relaxed picking. There are times when this is my favorite CF side of them all.

If One Won't, Another Will: I will go to my grave trying to figure this #$%)@)#>": guitar line out! I think that Sara contributes something, harmonically, to this guitar figure. If not, then Maybelle apparently grew a third arm for this 1932 session. This is the most modal and adventurous of Maybelle's CF outings. The song is also quite haunting, and an under-rated piece in the CF canon.

The Cannon-ball: One of the loveliest and most enduring of the Carters' classic recordings, this cherished tune blends Maybelle's passionate, delicate and evocative guitarwork with a beautiful solo vocal by A.P. Carter. I am also fond of the 1930s re-recordings in which Sara and Maybelle share harmony vocals.

Forsaken Love: Another oft-overlooked gem in the CF catalog. Maybelle's strong guitar line bolsters this tragic lost-love plaint. I like how her picking coalesces with Sara's vocals.

Foggy Mountain Top/Sweet Fern: Twin contenders in the Maybelle slide-guitar canon. Her quirky take on Hawaiian and blues slide guitar styles really brought something new to the Carters' recordings.

I like both performances equally. In a pinch, I'd admit a preference for "Sweet Fern," as the eccentricity of Maybelle's guitaristry abets the weirdness of the song itself.

Her slide technique contributes greatly to the atmosphere of "Foggy Mountain Top."

Lonesome Homesick Blues: Maybelle also wrote this 1941 song, from the Carters' final studio recording session. She tears it up on the fretboard here. That last session is a real stunner--especially when heard via Rich Nevins' amazingly good remastering on the Bear Family box set In The Shadow of Clinch Mountain. For a low-cost option, there's also JSP Records' bootleg of the Bear Family set, in two five-CD volumes.

However you hear it, that final RCA session is one of the Carters' best. From a biographer's POV, I'm delighted that they quite literally went out on their highest note. The entire session harkens back, in both performance and material, to their Bristol sessions, and to the pivotal 1928 session that produced "Wildwood Flower."

I've left out many other great Maybelle moments... they're waiting on the Carters' recordings for you and I to enjoy.

How I Discovered The Carter Family

Many people who know the work of my collaborator, David Lasky, may not recognize my name. It doesn't help that I have a rather common monicker. There are a lot of Frank Youngs in this world.

This particular Frank Young is proud to be the co-creator of this graphic novel. I have been an admirer of the Carter Family's music since the year 1984.

Along the way, I've been the editor of The Comics Journal, had hundreds of articles published in newspapers, magazines and literary journals; I've edited for newspapers and magazines as well.

More recently, I wrote several installments of Justin Green's late, lamented "Musical Legends" strip, from the equally moribund Pulse! magazine. (They're collected in the Last Gasp trade paperback that gathers Green's first-rate work on the strip.)

I have also been a writer and editor for Dana Countryman's Cool 'n' Strange Music! magazine (where I interviewed guitar wiz Les Paul), and I've sold gags to Topps Chewing Gum's iconic "Wacky Packages" trading cards.

As well, I've written several kids' non-fiction books, been in an instrumental band called the New Albanian Riots (check out our MySpace page!), and written a couple of yet-unpublished novels and some yet-unproduced screenplays.

Like David, I live in Seattle, Washington. I moved here to work for Fantagraphics in July, 1991. I must like it here; I haven't moved since.

Back in '84, I lived in Tallahassee, Florida. I wrote full-time for a long-gone "alternative" weekday paper called The Florida Flambeau. That paper was my training ground as a writer. I probably got most of the bad writing out of my system in the 11 years I worked for the "Flam." I was 17 when I first wrote for the paper, in 1980.

In 1984, my friend Michael Ogden first brought the Carter Family's music to my attention. I was on the verge of a discovery of country music, from the 1920s to the mid-1960s. Prior listening obsessions--Bob Dylan and Woody Guthrie, in my high-school years--had prepared my ears to travel a bit further back in time.

Mike Ogden had a cassette of a German RCA International collection of Carter Family music. Imaginatively titled 20 of the Best (Catalog #:NL 89369), this album, in cassette form, made a huge impression on me.

The "Bristol Sessions" recordings were avoided. Otherwise, this LP hit the high spots of the Carters' 1928-1934 Victor recordings. Injudicious "room tone" fake reverb had been added to the original recordings. Otherwise, they had no overdubs; nor were they abhorrently remixed in fake "stereo" (the fluorescent light of recorded sound).

This music, at first, struck me as even rougher than Bob Dylan's first recordings. (Dylan's 1961 debut disc was my prior standard-bearer of rustic-type music.) It was something of a shock at first. I couldn't believe that a recording as raw and rural as "Little Darling Pal Of Mine" could have ever existed. (I had, obviously, not yet heard the music of Charlie Patton.)

The songs hooked me first. "John Hardy Was A Desperate Little Man" reminded me of Woody Guthrie's "Tom Joad" (for obvious reasons; Guthrie helped himself to "Hardy"'s melody for his Steinbeck-influenced epic). "Lonesome Pine Special," "I Never Will Marry," "Lonesome Valley," "The Church in the Wildwood," "Lulu Walls," "Kitty Waltz," "Jimmy Brown the Newsboy" and "Wildwood Flower" also grabbed me.

In time, the performances began to break through, as I acclimated to them. Sara Carter's voice, with its harsh regional pronounciations, revealed itself to be a vessel of passion and intensity. The quavering tones of A.P. Carter fascinated me. It reminded me of the quirks of character actors from the early talkie movies.

Maybelle's guitar playing sealed the deal. I had just begun play the guitar at that time. I was capable of no more than rudimentary chordal strums. Maybelle's conflation of lead and rhythm guitar parts fascinated me, as it has many other young musicians.

After several years of bedroom woodshedding, I was finally able to decode and learn a few Maybelle guitar lines. To this day, I still can play a mean "Wildwood Flower," "Cannonball," "John Hardy" and "Jimmy Brown."

In 1986, I finally found a vinyl copy of the 20 of the Best LP. Vinyl Fever, the local record store of choice, had a copy that a Flambeau music critic had special-ordered but neglected. I spotted it behind the counter and asked if it were for sale. The clerk was disgusted enough with the writer, and his massive "hold pile," that he gladly sold it to me.

Soon, I dug up some of the handful of other Carter Family LPs that were available. There wasn't much on the market then. Some of it was cassette-only. Some of that, in turn, had been murdalized by fake-stereo conversion.

I wanted it all. A pair of LPs from the ACM (Anthology of Country Music) label introduced me to some of the Carters' superb Depression-era discs. As of yet, I knew almost nothing about the Carters. Songs such as "Lonesome For You," "March Winds Gonna Blow My Blues Away" and "One Little Word" only added to my fascination with their music.

"One Little Word" struck a frisson of childhood memory. My grandmother often sang that song to me in my very early years.

She was born in Louisiana in 1901, and worked as a schoolteacher in the Appalachian region in the late 1920s. Of course, she would have heard this music. I also recall her singing "Keep On The Sunny Side."

Through "One Little Word," I felt an immediate connection to the Carters and their region. It really struck me that this song had lingered in my grandmother's memory, and that she had sung it to me as a kind of lullaby. A curious choice for a soothing song--yet it worked.

That I lived in the Deep South--in an area that still retained strong traces of the 1920s and '30s--helped me acclimate to the Carter Family's music. It seemed to come out of the architecture, out of the woods and the sky and the old roads.

As I got to know it better, the Carters' music became a kind of map to the old South, to the last traces of it that remained. Those final lingering strands are all gone now. I'm glad I became aware of them while they could still be glimpsed.

As David and I begin our hard work on Don't Forget This Song, the richness and vibrance of the Carter Family's music continues to inspire me. I hope we can do their story justice. The narrative of their lives and career is as fascinating as their best music. I am honored to be a part of bringing this story to the medium of the graphic novel.