In the vast sonic landscape of American music, there are a few select songs that have stood the test of time and in some cases taken on a life of their own. This is the case “In the Pines”. The song has its roots in late 19th century Appalachian folk music. Fast forward to the present day, the song has been covered in hundreds of versions by many well-known artists, with each providing their own personal touches that have brought the song to the attention of a wider audience as well as bolster its iconic legacy. While there plenty of versions one can give a listen to. We will specifically look into four notable versions of this song by the likes of Lead Belly, Bill Monroe, Joan Baez, and Kurt Cobain.
Lead Belly’s version of this song is known as “Black Girl” or “In the Pines”. Within his version of this song, Lead Belly croons, “Black girl, Black girl, don’t lie to me.” In Lead Belly’s hands, “In the Pines” tells the story of a young, black woman whose husband was decapitated on the railroad tracks. As she mourns her loss, Lead Belly asks her, “Black girl, Black girl, where will you go?” He employs his twelve string guitar and a wailing, but subdued voice throughout, giving the song a somber tone and structure reflective of the blues tradition that Lead Belly inhabits. The song’s call and response format and spiritual like sound also harken back to Lead Belly’s African American background and give the song its distinct form and original spirit, one in which Kurt Cobain would come to be inspired by decades later.
While Lead Belly gave “In the Pines” a certain grief-stricken mood. Bill Monroe seems to take a different approach from that of Lead Belly in tone. While Lead Belly’s was mournful in his approach, Bill Monroe’s version is somewhat more upbeat and up-tempo in terms of sound and cadence. Known as the “Father of Bluegrass” it is no surprise to hear Monroe yodel in his Southern twang and play along on what seems to be his mandolin throughout the song. His version also makes reference to a train but to not to any black girl. Instead he talks of having to take a train to visit his dead father, an engineer whose head was found near the “driving gear”. The performance is also an ensemble one as the performers are technically Bill Monroe and The Bluegrass Boys. The ensemble cast contributes to this up-tempo sound as we can hear various instruments such as a harmonica, violin, etc. The instrumentation is a distinct departure from the more personal sound of Lead Belly. The effect is such the Bill Monroe and The Bluegrass Boys version of “In the Pines” sounds like a celebratory ode to a fallen legend or mythical figure rather than mournful ballad.
Joan Baez is American folk singer that was born in New York in 1941. She was notably involved in various social justice causes during her life (civil rights, non-violence, etc.). These influences would show up in her music and her style was similar to that of contemporary sixties and seventies up in In terms of subject matter, Baez’s lyrics are similar to that of Lead Belly’s and Monroe’s with regards to the presence of a train and young girl. However, what sets her apart his distinct vocals. Joan Baez voice quavers and echoes on what seems to be an empty and barren soundscape throughout her version of “In the Pines”. Only the accompaniment of an equally soft, and quavering guitar can be heard. Baez began her singing career performance in coffeehouses and her performance on this particular song sounds like it could have easily transpired there. Her interpretation takes an almost minimalist form with her voice only rising at distinct points of the song. Her voice is a departure from the traditional folk sensibilities of Lead Belly and Bill Monroe, but is hardly a surprise considering Baez’s characteristic vocals, which employ a prominent vibrato. Baez Personally, Baez’s version is my favorite as she delivered what I found to be the most soulful and emotionally poignant version of “In the Pines.”
For many Generation X’ers, Kurt Cobain’s version of “In the Pines” may be the only one they may readily recognize. The iconic rock star’s live performance of his version of the song, known as “Where did you Sleep Last Night”, on MTV Unplugged. Armed with an acoustic guitar, Cobain would deliver a performance that would exhibit the emotional roots of this traditional folk song. A particular fan of Lead Belly, Cobain’s version of the song would take a form of its own. The performance eventually builds up towards a climatic, emotional bloodletting where we hear Cobain screams, “Don’t lie to me!” Viewers hear and feel the distress and pain of Cobain, a man whose life was no stranger to tumultuous times. Born, into musical, but troubled household, Cobain would have to struggle with relationships issues throughout his life. The divorce of his parents would have a profound effect upon him as he noted in an interview. In this case, we hear Cobain frame a strained personal relationship for all to hear and experience. Cobain had a variety of musical influences, which included Lead Belly, the Beatles, classic rock bands, etc. Cobain also noted that he believed music came first before the lyrics. It is interesting notion and one that seems to be apparent in his version of “In The Pines”. It is a version that seems to be beholden to his particular brand artistry. His version sounds abrasive and painful as he screams at high the high notes and seems to mull at the low notes, Through it all he seems to keep alive the original spirit of the song. The performance makes for a compelling listen from an equally compelling individual.
Lead Belly’s version of this song is known as “Black Girl” or “In the Pines”. Within his version of this song, Lead Belly croons, “Black girl, Black girl, don’t lie to me.” In Lead Belly’s hands, “In the Pines” tells the story of a young, black woman whose husband was decapitated on the railroad tracks. As she mourns her loss, Lead Belly asks her, “Black girl, Black girl, where will you go?” He employs his twelve string guitar and a wailing, but subdued voice throughout, giving the song a somber tone and structure reflective of the blues tradition that Lead Belly inhabits. The song’s call and response format and spiritual like sound also harken back to Lead Belly’s African American background and give the song its distinct form and original spirit, one in which Kurt Cobain would come to be inspired by decades later.
While Lead Belly gave “In the Pines” a certain grief-stricken mood. Bill Monroe seems to take a different approach from that of Lead Belly in tone. While Lead Belly’s was mournful in his approach, Bill Monroe’s version is somewhat more upbeat and up-tempo in terms of sound and cadence. Known as the “Father of Bluegrass” it is no surprise to hear Monroe yodel in his Southern twang and play along on what seems to be his mandolin throughout the song. His version also makes reference to a train but to not to any black girl. Instead he talks of having to take a train to visit his dead father, an engineer whose head was found near the “driving gear”. The performance is also an ensemble one as the performers are technically Bill Monroe and The Bluegrass Boys. The ensemble cast contributes to this up-tempo sound as we can hear various instruments such as a harmonica, violin, etc. The instrumentation is a distinct departure from the more personal sound of Lead Belly. The effect is such the Bill Monroe and The Bluegrass Boys version of “In the Pines” sounds like a celebratory ode to a fallen legend or mythical figure rather than mournful ballad.
Joan Baez is American folk singer that was born in New York in 1941. She was notably involved in various social justice causes during her life (civil rights, non-violence, etc.). These influences would show up in her music and her style was similar to that of contemporary sixties and seventies up in In terms of subject matter, Baez’s lyrics are similar to that of Lead Belly’s and Monroe’s with regards to the presence of a train and young girl. However, what sets her apart his distinct vocals. Joan Baez voice quavers and echoes on what seems to be an empty and barren soundscape throughout her version of “In the Pines”. Only the accompaniment of an equally soft, and quavering guitar can be heard. Baez began her singing career performance in coffeehouses and her performance on this particular song sounds like it could have easily transpired there. Her interpretation takes an almost minimalist form with her voice only rising at distinct points of the song. Her voice is a departure from the traditional folk sensibilities of Lead Belly and Bill Monroe, but is hardly a surprise considering Baez’s characteristic vocals, which employ a prominent vibrato. Baez Personally, Baez’s version is my favorite as she delivered what I found to be the most soulful and emotionally poignant version of “In the Pines.”
For many Generation X’ers, Kurt Cobain’s version of “In the Pines” may be the only one they may readily recognize. The iconic rock star’s live performance of his version of the song, known as “Where did you Sleep Last Night”, on MTV Unplugged. Armed with an acoustic guitar, Cobain would deliver a performance that would exhibit the emotional roots of this traditional folk song. A particular fan of Lead Belly, Cobain’s version of the song would take a form of its own. The performance eventually builds up towards a climatic, emotional bloodletting where we hear Cobain screams, “Don’t lie to me!” Viewers hear and feel the distress and pain of Cobain, a man whose life was no stranger to tumultuous times. Born, into musical, but troubled household, Cobain would have to struggle with relationships issues throughout his life. The divorce of his parents would have a profound effect upon him as he noted in an interview. In this case, we hear Cobain frame a strained personal relationship for all to hear and experience. Cobain had a variety of musical influences, which included Lead Belly, the Beatles, classic rock bands, etc. Cobain also noted that he believed music came first before the lyrics. It is interesting notion and one that seems to be apparent in his version of “In The Pines”. It is a version that seems to be beholden to his particular brand artistry. His version sounds abrasive and painful as he screams at high the high notes and seems to mull at the low notes, Through it all he seems to keep alive the original spirit of the song. The performance makes for a compelling listen from an equally compelling individual.
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