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It was almost impossible to travel through the South in the 1950s without hearing The Louvin Brothers. Ira and Charlie (Loudermilk) Louvin arguably brought traditional country and bluegrass music into the mid-20^th Century; themselves influenced by the close harmonies of such performers as the Monroe Brothers, the Louvins in turn exercised an influence upon the newly minted rock ‘n’ roll, first with The Everly Brothers in the 1950s (who in turn provided inspiration for The Beatles) and with The Byrds and Graham Parsons in the 1960s. It is ironic for the Louvins that the rise of rock music would provide the impetus for the downfall of their own careers.

TRAGIC SONGS OF LIFE / SATAN IS REAL combines two standout releases from the Louvins’ discography. TRAGIC SONGS OF LIFE is the more secular of the two releases, dealing with love and loss. The arrangements are fairly uniform, guitar, mandolin, and brushes; one can practically hear The Everlys on such tracks as “What Is A Home Without Love.” While songs such as “A Tiny Broken Heart” and “My Brother’s Will” sound incredibly maudlin to modern ears, the music itself strikes a primitive chord of familiarity, if only because of the myriad influences that The Louvins launched into popular music, some of which continue to this day.

SATAN IS REAL was released in 1960 in the twilight of the Louvins’ popularity. It is an unapologetic, unadorned white southern gospel release, controversial at the time of its release due to its cover, which featured Ira and Charlie apparently trying to sing their way out of hell as a pitchfork bearing Satan looks on from behind them, amid flames. A story, possibly apocryphal, holds that the brothers almost set themselves on fire during the photo session. The title track, partially spoken word, remains chilling, and sets the tone for what is to follow, which is weighted more toward a quiet fire and brimstone (“Are You Afraid To Die,” “Dying From Home, And Lost,” “Satan’s Jeweled Crown”) than to redemption (“The Christian Life,” “The River of Jordan”). The arrangements on SATAN IS REAL reveal a slight turn and nod toward a more contemporary sound (for the times), turning away from the mandolin with more utilization of guitars and even the occasional piano. It never loses sight, however, of its traditional country and bluegrass roots. SATAN IS REAL remains an influential work, referenced by such contemporary artists as Uncle Tupelo, Buddy Miller and Hank Williams III. The mood and topics of SATAN IS REAL also turned out to be uncomfortably prophetic; Ira, already sinking into depression and alcoholism, was killed in a car crash in 1965 (Charlie is still with us and continues to perform on occasion).

TRAGIC SONGS OF LIFE / SATAN IS REAL includes four bonus tracks from their 1959 release, COUNTRY LOVE BALLADS, their first long-play collection of recordings without Ira’s mandolin --- a move occasioned to make the duo sound more like the enormously popular Everly Brothers, who in turn had been influenced by the Louvins. The focus on the these songs is once again upon the secular, and in fact is a much closer to a rockabilly sound than the other tracks on this release. Most striking, perhaps, is the prominent use of the piano on “Red Hen Hop,” which sounds like a Sun Records session.

TRAGIC SONGS OF LIFE / SATAN IS REAL is not going to convert anyone into a fan of traditional country; it is nonetheless an important reissue, particularly for anyone who wonders why the current state of country music is bemoaned by so many. TRAGIC SONGS OF LIFE / SATAN IS REAL is a testimony as to how the job of country music is properly done.