O Brother, Where Art Thou?

1	Po' Lazarus / James Carter And The Prisoners 4:31
2	Big Rock Candy Mountain / Harry McClintock 2:16
3	You Are My Sunshine / Norman Blake 4:26
4	Down to the River to Pray / Alison Krauss 2:55
5	Man of Constant Sorrow / Dan Tyminksi 4:16
6	Hard Time Killing Floor Blues / Chris Thomas King 2:42
7	Man of Constant Sorrow / Norman Blake Instrumental 4:28
8	Keep on the Sunny Side / The Whites 3:33
9	I'll Fly Away / Alison Krauss 3:57
10	Didn't Leave Nobody but the Baby / Alison Krauss 1:57
11	In the Highways / The Peasall Sisters 1:35
12	I Am Weary, Let Me Rest / The Cox Family 3:13
13	Man of Constant Sorrow / John Hartford Instrumental 2:34
14	O Death / Ralph Stanley 3:19
15	In the Jailhouse Now / Soggy Bottom Boys 3:34
16	Man of Constant Sorrow / Dan Tyminksi Band Version / Take 4:16
17	Indian War Whoop / John Hartford Instrumental 1:30
18	Lonesome Valley / The Fairfield Four 4:07
19	Angel Band / The Stanley Brothers 2:15

Barnes & Noble

Set in Mississippi in the 1930s and inspired by Homer's The Odyssey, Joel and Ethan Coen's new film, O Brother, Where Art Thou? features a first-rate soundtrack of period music performed largely by contemporary artists. In this context, the Alan Lomax-recorded field holler by James Carter & the Prisoners, "Po Lazarus," and Harry McClintock's original 1928 recording of his poignant hobo classic "Big Rock Candy Mountain" are of a piece with Delta blues great Skip James's "Hard Time Killing Floor Blues," interpreted authoritatively by Chris Thomas King. The pristine beauty of revered standards such as "I'll Fly Away" (with Alison Krauss and Gillian Welch harmonizing over a spare acoustic arrangement) and "Didn't Leave Nobody but the Baby," featuring Krauss, Welch, and Emmylou Harris in close, heart-tugging harmony, will bring tears to all but the hard-core heathens among us. And check out the sub-teen Peasall Sisters, who are simply fabulous on a feisty interpretation of Maybelle Carter's "In the Highways." David McGee

All Music Guide

The critical consensus at the end of 2000 was that it had been one of the weakest film years in recent memory. Which may have been true, despite O Brother, Where Art Thou?, the Coen brothers' delightfully warm and weird Depression-era re-telling of Homer's Odyssey. But for music lovers, 2000 was an amazing year at the movies, and it produced several excellent soundtrack compilations including Almost Famous, Dancer in the Dark, Wonder Boys, and High Fidelity. Even with such steep competition, the soundtrack album for O Brother, Where Art Thou? may be the best of the year. In order to capture the sound of Mississippi circa 1932, the Coens commissioned T-Bone Burnett, a masterful producer whose work with artists like Elvis Costello, Sam Phillips, Joseph Arthur, and Counting Crows has earned him a special place in the folk-rock hall of fame, to research and re-create the country, bluegrass, folk, gospel, and blues of the era. The Coens were so taken with Burnett's discoveries that the film became a unique sort of musical revue. There are no original compositions here (though Burnett is given a "music by" credit usually reserved for composers), and the characters do not generally break into stylized song and dance numbers (as they do in, say, Everyone Says I Love You). But nearly every scene in O Brother is set to a period song, and the music frequently drives and defines the action. With two exceptions -- a stunning 1955 Alan Lomax recording of a black prison chain gang singing "Po Lazarus," and Harry McClintock's "Big Rock Candy Mountain" -- every song was recorded for the film by an impressive assembly of old-time country veterans (Fairfield Four, Ralph Stanley, the Whites) and talented newcomers (Gillian Welch, Alison Krauss, Emmylou Harris). These recordings, which were made without the meddling clarity of digital technology, give the film much of its power and authenticity. A significant segment of the plot hinges on the (utterly plausible) notion that Dan Tyminksi's ebullient rendition of "I Am a Man of Constant Sorrow" could be a runaway hit. A memorable sequence involving three riverside sirens centers around an eerie version of "Didn't Leave Nobody But the Baby." And Stanley's a cappella performance of "O Death" sets a chilling tone for a climactic struggle at a Ku Klux Klan rally. Throughout, Burnett's steady guiding hand is evident. This soundtrack is a powerful tribute not only to the time-honored but commercially ignored genres of bluegrass and mountain music but also to Burnett's remarkable skills as a producer. Evan Cater

Rolling Stone

...the Coen brothers, together with producer T Bone Burnett, have assembled a collection of folk, bluegrass, gospel and hobo country so true to the music's down-home, egalitarian roots that it's hard to distinguish the old tracks from the new and the folk heroes from screen actors. Barry Walters