CD review: ‘Ghost Brothers of Darkland County’

June 29, 2013 

Ghost Brothers of Darkland County.

  • Musical theater Ghost Brothers of Darkland County John Mellencamp, Stephen King and T Bone Burnett

Bros’ dark tale thrills

“Ghost Brothers of Darkland County,” which had a theatrical production last year in Atlanta, is a grim Southern Gothic tale of tragedy recurring through generations. It has brothers who hate each other, a girl they both want, booze, guns and old secrets, with its violence spurred by the devil and observed by ghosts.

In the 1990s, rocker John Mellencamp enlisted author Stephen King to collaborate on a stage piece about a cabin haunted by murder. Eventually they brought in T Bone Burnett, who has produced Mellencamp’s albums since 2008. They recorded the “Ghost Brothers” album with a studio cast of Americana-loving rockers: Sheryl Crow, Rosanne Cash, Kris Kristofferson, Taj Mahal, Neko Case, Dave and Phil Alvin from the Blasters and, as the smirking devil, Elvis Costello. Mellencamp, sounding even gruffer than Kristofferson, arrives for the finale.

Actors, including Matthew McConaughey and Meg Ryan, deliver snippets of dialogue, though it takes a reading of King’s full libretto to understand the ending.

The songs look to a down-home past: blues, country, rockabilly, the Rolling Stones and Bob Dylan. Burnett’s production gives them a penumbra of disquiet. He keeps ballads eerily slow, makes the percussion thud or bristle and creates shadowy dark corners of reverb.

Only a few songs advance the plot. Instead, Mellencamp illuminates characters and has them ponder responsibility and truth, heaven and hell: “For those too weak to tell the truth/Into darkness you will be cast,” Kristofferson sings in “What Kind of Man Am I.”

Mellencamp came up with superb songs for women, who respond with quietly glowing performances. Case and Crow play frisky good-time girls in “That’s Who I Am” and “Jukin’ ” and, even better, Crow wishes for a heaven in “Away From This World” and Cash becomes a troubled but devoted wife in “You Don’t Know Me.” Those songs rise above the story line but probably wouldn’t have existed without characters to sing them – reason enough for a rock songwriter to venture into a musical.

Associated Press

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