Leslie Ryan McKellar photo
Murder ballads have long been a part of American folklore, many of which have been handed down from one generation to the next while others have existed for centuries in other cultures across the ocean. Although this sub-genre of ballads originated around the 17th century in Europe, the Appalachian style of murder ballads blends the stark fiddle and banjo arrangements that preceded the full string band songs in recent history. Songs like “Tom Dooley” and “Frankie and Johnny” are excellent examples of ballads that have evolved from the European style and persevered over time.
Unfortunately, many such songs have been lost over time, as many were only known to the local communities that celebrated them. With darkness prevailing, murder ballads constitute an effort by the singer to narrate the particulars of a crime that may or may not have taken place, while sometimes endearing himself to the listener for a plea of mercy as the song nears the end. While the singer typically explains the reasoning behind the dastardly deed and the repercussions of the event, frequently ending with the singer’s main character meeting their own maker, it’s not uncommon for murder ballads to be played slowly and in minor chord fashion. Regardless of the musical arrangement or tone, a good one will send shivers down listeners’ spines when done right.
Way down in the Lowcountry of South Carolina, a wife and husband duo from Charleston have been making such a ruckus lately, playing their unique style of rock n’ roll with hints of country and folk and a whole lot of energy and excitement, not to mention a knack for writing exceptional murder ballads. Their stripped-down simplistic approach to making music, along with their dedication to earning fans one show at a time, is paying off big time and slowly making Shovels and Rope a household name.
Cary Ann Hearst and Michael Trent, both hailing from other parts of the country (Mississippi and Texas, respectively), found themselves in love with one another and each other’s music and were married in 2009. Even as the two musicians continued to follow their own solo careers, Hearst and Trent decided to record an album together. “O’ Be Joyful” was released in 2012 under the moniker Shovels and Rope. The album, full of enchanting harmonies and captivating songwriting, gained national attention and landed them a spot on the David Letterman Show in 2013 and earned the group two awards later that same year at the Americana Music Honors & Awards, including “Emerging Artists of the Year” and “Song of the Year” for the opening track, “Birmingham.” Prestigious festival appearances followed and a time-honored, highly coveted spot on the television series Austin City Limits continued to propel the duo to the next level in their musical careers.
While most of “O’ Be Joyful” was recorded on the road, their latest album, “Swimmin’ Time,” was recorded in their newly constructed home studio. The songwriting is sharper on their sophomore effort, there’s a few additional instruments involved, a piano and organ, but the swagger and wit that both songwriters are known for are still there.
When performing live the married couple keeps it interesting as they switch between instruments, utilizing a minimalist setup—rarely more than two guitars, a beat up drum kit, and an infrequent harmonica. Their new album opens with the captivating track, “The Devil Is All Around,” which begins like the opening of a Southern church service and then rolls along with a confession and plea for forgiveness and salvation as the folk duo sing in earnest: “Nobody knows it like you do babe/At least we will go too.” Cary Ann’s voice is reminiscent of a vivacious Loretta Lynn as Trent’s baritone completes the harmony quite effectively. The aquatic theme, including the title track, prevails throughout the entire album, whether it’s a bluesy trip up one of Charleston’s prominent fishing channels on “Stono River Blues” or the fun romp of “Fish Assassin,” it’s hard to escape the pull of the ocean and the rivers that surround this historic city and Shovels and Rope have found it natural to write about their surroundings.
Michael Trent’s proclivity for writing murder ballads stretches back way before Shovels and Rope were together. Whether it’s the story telling or the hauntingly good music that comes from these dark tales, the narrative is the meat of each song, and it’s always fun to hear a good tale told right. There’s still some darkness on this record, much like what might be deep beneath the surface of the water.
“Swimmin’ Time’s” standout murder ballad is the New Orleans dirge “Ohio” is an entrancing and hauntingly fuzzed-out waltz in which the duo dreadfully lament: “Oh me Oh my Oh/Robbed at gun point in Ohio/Now I’ve gone to Louisiana/With a bullet proof bandana.” As the album bounces along like a fishing lure being reeled back in to shore, another dark romp filled with abysmal imagery, “Evil,” returns the darkness as the electric stomp tells a tale of someone facing hard times and self-conscious of the desperate measures that she’s had to take: “But every now and then I get evil/I’m ashamed in the shadow of a steeple.” It’s tales like this that may resonate with many.
The rest of the album rarely deviates from the tried and true Shovels and Rope formula: less is more in the arrangements but not in the energy. The pair are so entwined with not only their marriage but their music as well. Thankfully, it’s paying off.