Album Info
| Artist: | Various |
| Album: | O Brother, Where Art Thou? |
| Released: | Europe, 2003 |
Tracklist:
| A1 | James Carter & The Prisoners - Po Lazarus | 4:30 |
| A2 | Harry McClintock - Big Rock Candy Mountain | 2:17 |
| A3 | Norman Blake - You Are My Sunshine | 4:26 |
| A4 | Alison Krauss - Down To The River To Pray | 2:53 |
| A5 | The Soggy Bottom Boys - I Am A Man Of Constant Sorrow | 3:13 |
| B1 | Chris Thomas King - Hard Time Killing Floor Blues | 2:01 |
| B2 | Norman Blake - I Am A Man Of Constant Sorrow | 4:30 |
| B3 | The Whites - Keep On The Sunny Side | 3:35 |
| B4 | Alison Krauss And Gillian Welch - I'll Fly Away | 3:57 |
| B5 | Emmylou Harris, Alison Krauss And Gillian Welch - Didn't Leave Nobody But The Baby | 1:58 |
| C1 | Sarah, Hannah & Leah Peasall - In The Highways | 1:36 |
| C2 | The Cox Family - I Am Weary (Let Me Rest) | 3:16 |
| C3 | John Hartford - I Am A Man Of Constant Sorrow | 2:34 |
| C4 | Ralph Stanley - O Death | 3:21 |
| C5 | The Soggy Bottom Boys - In The Jailhouse Now | 3:36 |
| D1 | The Soggy Bottom Boys - I Am A Man Of Constant Sorrow | 4:18 |
| D2 | John Hartford - Indian War Whoop | 1:30 |
| D3 | Fairfield Four - Lonesome Valley | 4:08 |
| D4 | The Stanley Brothers - Angel Band | 2:18 |
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Description
The soundtrack for the film "O Brother, Where Art Thou?" released in 2000, is a remarkable collection that played a pivotal role in revitalizing interest in American folk, bluegrass, and country music. Produced by T Bone Burnett, the album features a meticulously curated selection of songs that not only complement the film's Depression-era setting but also stand on their own as a celebration of traditional American music genres.
The track "I Am a Man of Constant Sorrow," performed by the Soggy Bottom Boys (a fictional band in the film, with vocals primarily provided by Dan Tyminski of Alison Krauss's band Union Station), is a standout piece that captures the heart and soul of the soundtrack. Its raw, authentic sound and poignant lyrics resonated with audiences, becoming a symbol of the film's exploration of American roots music.
"Down to the River to Pray," performed by Alison Krauss, is a beautifully rendered a cappella spiritual that showcases the purity of Krauss's voice and the deep spiritual undercurrents of traditional American music. The song's inclusion in the soundtrack highlights the album's commitment to presenting a wide range of American musical traditions.
The soundtrack's production is notable for its authenticity and respect for the source material. Burnett and the filmmakers made a conscious effort to record the songs in a manner that would be true to the period, using vintage microphones and minimal overdubbing. This approach helped to create a sound that is both timeless and evocative of the era depicted in the film.
"Didn't Leave Nobody But the Baby," a haunting lullaby sung by Emmylou Harris, Alison Krauss, and Gillian Welch, is another highlight. The collaboration between these three powerhouse voices creates a mesmerizing harmony that is both soothing and eerie, reflecting the film's exploration of Southern Gothic themes.
The soundtrack also includes contributions from legendary artists such as Ralph Stanley, whose a cappella rendition of "O Death" is a chilling plea for mercy from the Grim Reaper. Stanley's weathered voice and the song's stark presentation serve as a powerful reminder of the genre's ability to convey profound emotional and existential themes.
In addition to traditional songs, the album features original compositions that blend seamlessly with the older material. Tracks like "In the Highways" by The Peasall Sisters and "Keep On the Sunny Side" by The Whites contribute to the soundtrack's celebration of American folk and gospel music.
The "O Brother, Where Art Thou?" soundtrack achieved significant commercial success, bringing widespread attention to genres of music that had been relegated to niche audiences. Its impact extended beyond the film, sparking a resurgence of interest in traditional American music and influencing a new generation of musicians and listeners.
In conclusion, the "O Brother, Where Art Thou?" soundtrack is a masterful compilation that transcends its role as a film soundtrack to become an essential document of American musical heritage. Its success lies in its ability to capture the spirit and diversity of American roots music, presented with authenticity, reverence, and a deep understanding of its cultural significance. The album not only enriched the film's narrative but also played a crucial role in rekindling interest in a vital strand of America's musical tapestry.