Cold Rain and Snow – Introduction
We saw one example already in an earlier post of mine, which opened one of the best shows I saw after Brent Mydland died in 1990, and that most certainly illustrates my observation. Â (Iâll include the other examples from my original post as well below it.)
âCold Rain and Snowâ  (1) Studio version -1967  (2) Live â 9/28/76  Lyrics as sung by the Dead
Now, I didnât embark on this weekâs treatment of the ballad with the Grateful Dead in mind, other than to cite them as the origin of my quest. Â All those years ago, when I discovered that the Dead didnât write the song, I began to wonder who did. Â To make a long story short, I think we can know more or less, and the answer puts us here in our comfortably uncomfortable American murder ballad place. Â If you canât wait, or came here for a quick Google answer to the question, skip down to Berzilla Wallinâs quote just above the Coda.
But I like long stories long. So if you do as well, I promise Iâll try to keep you entertained. Â I canât deliver brevity, as the roots of this chillingly violent little ballad are deep in earth that took awhile to dig. Â I did uncover some (if not *the*) truth though, if there is such a thing in folk music. Â So, if you want, grab a shovel and come along. Â If you donât have one, the awful man at the heart of this ballad said you can take his â though itâs slightly used.
âI married me a wife, she give me trouble all my lifeâŚâ
In all versions Iâve found, the song starts with these lyrics or something very similar, and it all goes downhill from there. Â Donât get me wrong â the story is engaging and the lyrics are as keen as the little pen knife the brown girl used to do in Fair Ellender â by âdownhillâ I mean how this sad tale ends.
After the opening lyric, every version of the song I know includes some close approximation of the line that gives it its title â âShe ran me out in the cold rain and snow.â Â Â The rest of the song usually goes on to list the unnamed manâs additional grievances; and though the list is relatively short, the resolution is extreme. Â Most versions, but notably not the Grateful Deadâs, make explicit that the man kills his wife. Â Some versions make it more gruesome than others.
He just canât take it any more, and so this weak man finds the strength to solve his problem with murder.  So far in this blog weâve seen men killing women for all sorts of awful reasons, but here we have a murder simply because the man feels ill-treated.  (Wait, maybe his name was Frank.)
I addressed in the post linked above why the Grateful Dead may have left the murder out of this murder ballad.  While it may seem counter-intuitive to those of us who deeply feel the resonance of murder ballads, the Deadâs non-lethal interpretation worked for them for thirty years â it was the only song in their repertoire that they performed consistently during their entire career.  But without the murder (and leaving aside the power of the Deadâs musical treatment as it evolved) it becomes a baby booming boyâs lament â the sad tale of a man trapped in a loveless marriage, or of one who loves a domineering woman.  Now, hippies taking the violence out of a murder ballad, and otherwise implicitly challenging the institution of marriage, is nothing earth-shattering â even if they do it quite well.
But tracing the ballad back from the Grateful Dead, and looking at its incarnations today, might give us a little bit of a rattle â particularly when we find that many female artists play the *hell* out of this seemingly misogynistic ballad today.  But Iâll take that point up in a later post this week, where weâll see quite a few contemporary covers of this little dagger of a song.  For now, shovels at the readyâŚ
A folk song from âThe Three Laurelsâ
In the liner notes for The Music Never Stopped: The Roots of the Grateful Dead, Blair Jackson speculates that the inspiration for the Deadâs version of the ballad was Obray Ramseyâs cover on his 1963 album Obray Ramsey Sings Folksongs From the Three Laurels.  This certainly makes sense, as Ramseyâs recording of the song was, as far as I can tell, the first commercially available.  However, in a comment made on this post after publication, Ken Frankel claims that he taught the ballad to Jerry Garcia in California after a musical road trip through the South, during which Frankel learned the ballad directly from Ramsey!  The Grateful Dead debuted in 1965 with this as one of their primal songs, and the musicians were deeply connected to folk music and certainly would have heard Ramseyâs album, popular as it was in such circles.  However, to know Kenâs bit of the story means that the ballad first made it to the West Coast directly through a musician passing it along in what was essentially the oral tradition.
For us, though, we need the recording. Â Letâs hear from Obray Ramsey then.
âRain and Snowâ â Obray Ramsey (Spotify) Â Â Â Lyrics for Obray Ramseyâs version
Jackson also posits in those liner notes that the ballad is âapparently one of those ageless songs that came down through many generations from some undetermined English folk lineage.â Â I believe in this he is all but certainly not correct.
The only evidence he articulates for this claim is the existence of the British folk band Pentangleâs version.  As well, Ramseyâs folk pedigree as one of the old-time singers of Madison County, North Carolina  (perhaps the place where the British ballads in their authentic context survived the best in America, where the waters of the Big Laurel, Little Laurel and Shelton Laurel rivers run) presumably plays implicitly into Jacksonâs claim of an old English origin for the song.
But thatâs all putting the cart before the horse. Â Check out Pentangleâs version before I argue, and note that weâll come back to it later this week.
âRain and Snowâ â Pentangle (Spotify)
Lyrics for Pentangleâs version
This performance, while truly outstanding, proves nothing of the balladâs origins. Â Pentangle cut their cover in 1971, well after Ramsey and the Dead both brought the song to modern audiences. Â More convincingly, while Pentangleâs lyrics arenât *precisely* those of either, where they donât follow those versions they add lyrics that are quite clearly American.
âI ainât got no use for your red apple juiceâ is a line I have yet to see in a traditional British ballad. Â It is, however, not unknown in American âwhite bluesâ and likely has its origin in the African-American tradition. Â As well, the lyric where he sees his wife âin the shade counting every dime Iâve madeâ suggests America as well, at least as far as a reference to currency can take us.
And, lo and behold, both lines are present in Dock Boggsâ âwhite bluesâ recording âSugar Babyâ! Â (Dock was influenced powerfully as a boy by African-American music in the Appalachian coal country a full century ago.)
Given all this, and the fact that Pentangle are also playing the *sitar* as one of the key instruments in the performance and the song is obviously not from India, I think it much more likely that the experimental musicians that made up that band in 1971 were fusing multiple cross-cultural elements, rather than being perseverators with regards to some ancient British ballad.
If itâs not British, itâsâŚ?
Still, just because Pentangleâs version doesnât reveal British origins does not mean they arenât there. Â Indeed though, there is evidence that strongly suggests this song is essentially American â and has its origin in western North Carolina after the Civil War.
Consider for one that the ballad is widely covered today, but that these covers admit of little lyric or melodic variation. Â This suggests a âbottleneckâ of source material, perhaps even only one direct ancestor, rather than the usual (and sometimes overwhelming) variety we see with true British ballads. Â Thatâs not enough evidence on its own, but it is telling.
Now, several links have been suggested to songs like âThe Sporting Bachelorsâ (hereâs Grayson and Whittierâs track, and lyrics) and the âRed Apple Juiceâ/âSugar Babyâ group of songs cited above. Â Some even look to songs like âPaydayâ (hereâs Mississippi John Hurtâs version, and lyrics) because of the common theme and similarity of certain lyrics.
I think thereâs something useful in these comparisons, to which Iâll return below â first though, consider that being mad at your spouse is not a rare theme in anglophone folk music.  As well, rhyming âwifeâ with âlifeâ isnât a literary stretch, and one would expect to see it often in totally unrelated songs. For example, Josiah Combs collected âThe Married Manâ in Knott County, Kentucky and published it in Folk-Songs du Midi des Etats-Unis in 1925.  The first line is indeed âI married me a wife, sheâs the plague of my life.â  But the next line âI wish I was single againâ puts it squarely in the male song group of âI Wish I Were Single Againâ.  (Hereâs the female group info as well, and a clip to hear â there is murder in neither group of this song.)
âSporting Bachelorsâ seems to come the closest lyrically to âRain and Snowâ â there are undeniable similarities. (Youâll see below a traditional performance that uses lyrics from both.) Â At least he wants her dead at the end, though he doesnât kill her. Â But I find no evidence of that song in Britain, or even outside of the Appalachians â and it is probably not as old even as âRain and Snow.â Â At best they may have been contemporary, perhaps even relying on some of the same artistic inspiration. Â Such may very well be true for all of these âconnectedâ songs.
What that inspiration might have been is beyond my ability to research at the moment, but I do have a gut feeling about it. Â I doubt it was one song, but rather a mixing of traditions.
As I hinted at in relation to Dock Boggs, the coal country of Appalachia at the turn of the 20th century received an influx of African-American (among other) immigrants to work the mines and in related industries. Â Indeed, the Civil War had already opened up these isolated areas to outside influences, and by 1900 the keepers of the British ballads in places like Madison County were regularly exposed to new musical styles and traditions. Â And itâs impossible to believe that Dock Boggs would have been the only white kid in Appalachia interested in black music. Â There as always in America, despite the racist social and political system, African-American and Anglo-American music joined together in many interesting ways. Â Remember âSwannanoa Tunnelâ?
That means that connections to songs like âPaydayâ and âSugar Babyâ really do matter, though perhaps not in that âdirect ancestorâ sort of way that we often talk about with British ballads. Â It may have been more dynamic than that, more about integration than perseveration. Â For example, check out Shorty Bob Parkerâs blues, âRain and Snowâ, from the late 1930âs. Â Though this isnât Ramseyâs source, heâs undeniably singing âyou drove me out in the rain and snow.â Â Thatâs more than just coincidence, or so I believe. Â If we let go of the need to find a direct ancestor of one for the other, such songs as these in relation to our target âRain and Snowâ open up some interesting possibilities. Â If someone wrote a murder ballad in western North Carolina after the Civil War, there were melodic and lyric building blocks to use all over the place. Â Those building blocks would likely show up in all sorts of songs composed in the same decades. Â In another lifetimeâs career, Iâd spend a year charting it all out!
âŚan American original!

Concert Poster, The Folklore Center, ca. 1962
Ok. The song is not British, and the blues influence / interaction is a murky one to consider â so, can we pin anything else down about this song in America?
Yes.
As mentioned above, Obray Ramsey was from Madison County, North Carolina. Â The musical tradition of that part of the country was and is one of our national treasures. Â Sheila Kay Adams, a master balladeer and storyteller, still makes her home there on her beloved Eskeyâs Ridge and keeps the tradition alive. Â Her uncle, Byard Ray, was a cousin of Ramseyâs and performed with him some during the âfolk revivalâ of the early-1960s. Â Hereâs a fascinating interview with Sheila where she talks about Madison Countyâs musical tradition and mentions Byard.
The earliest citation I can find of âRain and Snowâ is from Cecil Sharpâs 1917 English Folk Songs from the Southern Appalachians.  Now youâre tempted to say âAha!  See, it really is British! Even Cecil Sharp said so!  Who are you, Mr. Amateur Murder Ballad Blogger, to argue with a legend in the field?â  (Sorry, Iâm having a Mudcat moment.)
Eh, not so fast. Â While Sharpâs book is certainly full of ballads we can easily trace back to Britain, he includes âRain and Snowâ with no evidence of its origin, and only a sliver of a verse.
And, it turns out, the little bit of information he does include really gets us back to square one â and in this case as youâll see below, square one is certainly the home of The Three Laurels â Madison County. Â Check out Sharpâs entry for the ballad.
Do you see it? Â âSung by Mrs. Tom Rice at Big Laurel, N.C. Aug. 18, 1916.â Â Folks, Big Laurel, North Carolina is in Madison County! Â So, weâve seen no evidence that this song in the form we know it was ever collected outside of that one place. Â If someone can show me otherwise, Iâll be grateful. Â Iâm no professional researcher, but I havenât found it yet. Â Honestly, I donât think you will either.
Why not?  Thereâs a bit more.  Of all the recordings I can find, 40 some so far in my Spotify playlist, there is actually one that is a bona fide folk performance by a traditional Appalachian ballad singer.  And this version is *brutal* folks.  Check out Dillard Chandlerâs âCold Rain and Snowâ, recorded in the field in 1965, the same year the Grateful Dead began playing in San Francisco, and released later in a compilation of music from him and his neighbors.
âCold Rain and Snowâ â Dillard Chandler (Spotify) Â Â Â Lyrics for Chandlerâs version
Of all weâll hear this week, none is as chilling as Chandlerâs version. Â Here weâve got motive, opportunity, and a horrible method. Â We even get to see the killerâs reaction after he does the deed. Â âI trembled to my knees with cold fear.â
âBut,â you might say, âthose lyrics are similar in certain places to âSporting Bachelor.â Â Doesnât that suggest that they both have a common ancestor?â Â Perhaps, but I donât think so in this case. Â If anything, I would hazard a guess that Chandler, a traditional singer, by the early 1960âs may have fixed other compatible lyrics on to this older ballad â perhaps more likely, that he learned it from someone who had done so, or maybe even that such lines were originally part of both songs, being cooked up in the same post Civil War Appalachian ballad stew.
Anyway, you people who are truly folked up already know whatâs coming.  Itâs old news to you, but Iâm not sure how well our younger folks know this yet.  Dillard Chandler was born, lived, and died in⌠wait for it⌠ Madison County, North Carolina.  When Cecil Sharp came through during World War I to find British ballads in Appalachia, many of the folks singing for him were Chandlerâs immediate family.  He learned âRain and Snowâ in the mountains where it was born.
If you check out the liner notes written by John Cohen to the compilation album that includes this track, youâll find the answer thatâs the end of our line. Â âRain and Snowâ was a ballad written about a murder that actually happened in Madison County, probably in the 1870âs. Â Cohen quotes Berzilla Wallin (who lovingly taught Sheila Kay Adams many of the old ballads) on its source.
âWell, I learned it from an old lady which says she was at the hanging of â which was supposed to be the hanging, but they didnât hang him.  They give him 99 long years for the killing of his wife⌠ I heard the song from her in 1911.  She was in her 50âs at that time.  It did happen in her girlhood⌠when she was a young girl⌠ She lived right here around in Madison County.  It happened here between Marshall and Burnsville; thatâs where they did their hanging at that time â at Burnsville, North Carolina.  Thatâs all I know, except they didnât hang the man.â
A true story then. Â But, like me, you probably figured that all along. Â Itâs just too real and awful to be otherwise.
Coda
So, we can ask as we always do why someone might turn the story of a true, gruesome murder into a ballad like this. Â If youâre a regular reader of this blog, you know that such a question leads to several different places.
In my second post later this week, I will spend most of my time looking at contemporary recordings of this ballad, and in doing so will contrast those that are in menâs and womenâs voices. Â I donât know that Iâll have a solid answer for you as to why women love to sing this ballad and do it so well, but I think Iâve got an idea. Â I think it has something to do with why this song was written in the first place.
Thanks for sticking with me this long, and I hope you join me later this week if youâre up for it.