They were the most acclaimed, and influential, duo in country music but, away from the limelight, the Louvin Brothers' closeness turned into sheer loathing over the years. So tells Charlie Louvin in an autobiography which leaves no family truth hidden.
"Satan Is Real" (named after their 1959 album and, on the book cover, merged into a garish pulp image) reveals a harsh childhood that saw them working longs hours in the cotton fields and an abusive father who would frequently beat them. Music became their only realistic escape route. Starting off as gospel artists, the move over to secular music put them firmly in the public eye with hits like "When I Stop Dreaming", "I Don't Believe you've Met My Baby" and "Cash On The Barrelhead". But as success continued, the brothers began treading different pathways with Charlie looking after business while Ira, an exceptional musician possessing a short and violent temper (often smashing up out-of-tune mandolins on stage), became more and more immersed in a lifestyle of boozing and womanising leading, eventually, to the disintegration of the brothers' relationship, both personally and professionally. While Charlie enjoyed a secure marriage, Ira wed four times, with third wife Faye shooting him six times after a severe argument, then dying in a head-on car crash alongside fourth wife Alice. Charlie Louvin subsequently went to score two dozen solo chart hits, as well as a handful of duets with Melba Montgomery. Then, in his later years, he gained a following with younger rock fans and died in 2011, a few months before the publication of this book.
Written in a personal, off-the-cuff manner, the story is told in short chapters and often enthused with an expletive or two. The book reveals the hardships of their early childhood and the struggles to gain a footing in the music industry. There's many fine anecdotes on such music folks as flamboyant entrepreneur Smilin' Eddie Hill, music publisher Fred Rose, record producer Ken Nelson, songwriter Kris Kristofferson and bluegrass Hall of Famer Bill Monroe, who once offered to loan Ira his mandolin, a gesture never shown to anyone else. There's also the interesting story about how, as kids, the brothers Louvins sneaked in to a Roy Acuff show then, years later, a young Johnny Cash turned up at one of theirs. Towards the end Charlie Louvin reflects the changes in country music - "it ain't country music anymore", he remarks - and the Grand Ole Opry, "the longer you've been at the Opry, the worse they treat you."
The Louvin Brothers legacy is already well preserved but, with "Satan Is Real", it gains a new prospective. A truly fascinating read.