I began listening to the Louvin Brothers in June 2024. While I originally listened to the studio albums Tragic Songs of Life through Satan Is Real, I revisited the brothers not long after in October when I checked out Songs That Tell a Story, which is where I should have started my coverage of them in retrospect. It collects their superb version of "I Have Found the Way," which was my introduction to the Louvin Brothers by way of a video on YouTube of famed record collector Joe Bussard playing it for visitors.
Songs That Tell a Story (1981): A-
Tragic Songs of Life (1956): A-
Nearer My God to Thee (1957): B+
Country Love Ballads (1958): B+
Satan Is Real (1959): B-
Songs That Tell a Story (1981):
While the Louvin Brothers' first single came out in 1949 with Decca and more recordings would come in 1951 and 1952 with MGM, the compilations that collect these early recordings are not easily available through streaming. Instead, the easiest way to get an idea of the duo's early sound is through these two 1952 radio performances which were released by Rounder Records in 1981. The duo would incorporate others instruments into their mandolin and guitar music when they signed with Capitol Records in the mid-1950, but on these radio songs the duo is restricted to just their own instruments and voices, allowing listeners to see the full power of their simple formula to music. Collected are early Louvin Brothers staples that show off their immediate grasp of gospel songwriting and covering: "I Have Found the Way," "The Weapon of Prayer," "I'll Never Go Back," "The Gospel Way," "The Family Prays," "Let Us Travel On," and "Sinner You'd Better Get Ready." A-
Tragic Songs of Life (1956):
Mandolinist Ira and guitarist Charlie Louvin took inspiration from traditional duos in country music like the Monroe brothers, the Delmore brothers, and most of all the Bolick brothers (the Blue Sky Boys) but weren't afraid to embrace the changing times. In addition to their own instruments, the brothers hire a bassist, drummer, and electric guitarist to fill out the sound. With this fresh and subtle modernization, the brothers' close harmonies are free to bring new life to the weathered traditionals they sing. Although an album centered around heartbreak and murder may seem a particularly bold choice for a debut studio effort, the Louvin Brothers pull it off so comfortably it almost comes off as braggadocious. A-
Nearer My God to Thee (1957):
After exploring tragedy on their debut album, the Louvin Brothers use their commercial breakthrough as a reason to sing praises to their Lord and return to their gospel roots. Nearer My God to Thee has a similar instrumental approach to their debut--with a rhythm section and electric guitarist joining their mandolin and acoustic guitar--and offers a number of spritely and convincing country recordings. Following in the footsteps of the Blue Sky Boys, the Louvin Brothers pen original songs that hold up alongside their arrangements of classic gospel hymns. B+
Country Love Ballads (1958):
As their albums often did, the Louvin Brothers' Country Love Ballads focuses in on another different type of country song. While the instrumentation is fairly in line with their work up to this point, this album does have a slightly more filled out sound as they add a piano (and sometimes a second electric guitar) to their backing band. Memorably packing this track list with half originals, the Louvin Brothers continue to be excellent recording artists and songwriters in any corner of country music that sparks their muse. B+
Satan Is Real (1959):
While the brothers' past gospel songwriting has been strong and enjoyable, this excursion, likely pushed by Ira Louvin, to preachy songwriting and converting sinners verges on dislikable. Ignoring Ira's notorious womanizing and drinking, which makes all these sentiments feel hypocritical, songwriting meant to evangelize and condemn is much harder to pull off than songwriting about individual spirituality and divine praise and this time the brothers' originals simply don't pass the test. Even the brothers' singing lacks its usual conviction in moments. B-
