After Mike the Knife’s fine 3/28/08 post about story songs (http://mog.com/Mike_the_Knife/blog_post/152749#comments) had its parade come and go, two other story songs eventually came to mind that you might enjoy. The first song, “I Don’t Believe You’ve Met My Baby,” had originally jumped out at me from the speakers as I was listening to dobro player Jerry Douglas’s then-new 1992 mostly-instrumental album Slide Rule, and it introduced me to guest singer Alison Krauss’s unforgettable voice.
Her voice can get soft, so reading the lyrics might help you enjoy them.
I Don’t Believe You’ve Met My Baby
Last night, my dear, the rain was falling. I went to bed, so sad and blue. Then I had a dream of you.
I dreamed I was strolling in the evening Underneath the harvest moon. I was thinking about you.
Then we met out in the moonlight. The stars were shining in your eyes, But another was there too.
“I don’t believe you’ve met my baby.” You looked at her, you looked at me. I wondered who you were talking to.
I shook the hand of your stranger, But I was shaking more inside. I was still wondering who.
Your arm was resting on her shoulder. You smiled at her, she smiled at you. Her eyes were filled with victory.
She said, "My brother wants to marry," And then my heart was filled with ease, I knew that you would marry me.
The dream slowly becomes more and more ominous, in order for the last verse of this performance to be able to flood me with bliss every time. Autrey Inman wrote the song, and I think the Louvin Brothers first recorded it, followed later by the duo Porter Wagoner & Dolly Parton. It’s a rare non-blues traditional-type song that has six-bar verses and not 4-, 8-, 16- or 32-bar lengths. Later Krauss included this track on her best-selling 1995 CD Now That I’ve Found You: A Collection.
An earlier song with certain narrative similarities is "A Tragic Romance," written and recorded in the late forties or early fifties on the King label by one of my favorite country singers of that era, Grandpa Jones.






My Trusted MOGs
Spike you never fail to delight. I had heard that first track before and of course its special. But that second track is pure gold.
My Trusted MOGs
That Krauss/Douglas number is beautiful stuff, Spike. My heart is full. That whole album is an easy ride. Not too familiar with proto-Grandpa material, having been exposed to and shrugged at his caricature period, but "Tragic Romance" (not too obvious a title, huh?) was a treat.
My Trusted MOGs
'Tis indeed. My pleasure.
My Trusted MOGs
I own all of Alison's output with her band, but not this, which is appreciated, and beautiful. I heard this song on one of Dolly Parton's bluegrass CDs, but this has it beat by....well, you know. Grandpa Jones? Didn't care for him on Hee Haw, nor the early bluegrass tunes of his I got on a Proper Bluegrass box set. But this is much more palatable. BUT: how hard did you have to look to find such a terrible picture of Alison? She got better looking as her career took off. And Grandpa never sounded better, nor looked worse. He looks like Bela Lugosi's retarded cousin in that shot.
My Trusted MOGs
Wonderful post. Much nicer the relief at the end of the Krauss after being in the dark with the singer, than being in the know all through the second song and waiting for the shoe to drop. Hate those missed connections love songs.
My Trusted MOGs
Fantastic. Alison's phrasing was always there. It's nice, tho, to hear it earlier in her career (of which I honestly haven't heard much, so thank you) I love Hee Haw. If you can't poke fun at yourself, you can't poke fun at others. I knew Granpa Jones had an earlier part, too, to his career, but neither had I heard bits from it. Great voice. I wonder who's at home playing alongside him? Google here I come...
My Trusted MOGs
dermahrk, before I had heard this song, I had heard on the radio once a song (whose title I forget) that I thought was sung by Dolly Parton, but it turned out to be on one of Alison Krauss's records. Their voices have at times had similarities. The photo of her shows how she looked in '92, and I think she looks sweet. Your description of Grandpa Jones's mug is poetic. Here's what I left out:
He may have chosen the hayseed getup and act as the only alternative to an unattainable romantic lead look. Sound over sight, I say. King and Starday always had numerous incompatible fonts and colors on their covers, and their reissues used to be cheapskate.
runobodyii, I agree with you about the narratives, though I haven't heard enough missed connections love songs to feel hate. I imagine it to be a fun emotion to feel.
My Trusted MOGs
wassonii, thanks. Let me know what you find out about Jones. For the last year or two I've been thinking about doing a post on his earliest recordings, reissued by Ace.
My Trusted MOGs
everything krauss does is beautiful. thanks for digging this one up.
My Trusted MOGs
mollifire, thank you.
My Trusted MOGs
Both songs are quite ravishing. I love country songs like this (or, say, "Long Black Veil") that tell timeless stories that are, in the Greek sense, tragic. I would like to think this has something to do with the influence of Irish settlement in Appalachia.
My Trusted MOGs
Or the fact that they didn't have TV and had to make up their own stories.
My Trusted MOGs
Yes. There is something, though, about the recurring theme of misguided choices and the ruin they engender that seems peculiarly Irish.....
My Trusted MOGs