This series of biographical profiles shines a spotlight on that special place “Where the West meets the Guitar.” From Gene Autry and Roy Rogers to contemporary artists like Michael Murphy, Red Steagall, Don Edwards and Riders in the Sky, many entertainers have performed music of the West, a genre separate from mainstream country music and yet an important part of the country music heritage. Once called “Country and Western,” it is now described as “Country or Western.” Though much has been written about “Country,” very little has been written about “Western”—until now. Featured are a number of photos of the top stars in Western music, past and present. Also included is an extensive bibliography of works related to the Western music field.
Where I come from, it?s cornbread and chicken... This line from Alan Jackson?s country hit defines the genre as the music of the American South. All its ambiguity set aside, the South stands proudly for its hospitality, politeness, sense of place and community. Family and religion are traditionally more important down there than in the rest of the country. As Southern culture becomes more and more americanized and the music of the small town Southern man (another Jackson song) is adapted for a mainstream audience, the original rustic identity that defines the true American genre loses its charm. Modern country music has become slick and professionalized and sounds more and more like common pop music to make it more profitable. This study focuses on the authentic country music identity and how it is threatened by increasing commercialization. It defines said identity and the working class culture from which it springs. It traces the history of country music and its different genres from the 19th and early 20th century cowboy music over Western Swing and Honky-Tonk of the 1930s and 1940s, the progressive movements of the 1960s and 1970s up to today?s mainstream Country Pop, and shows how its target audience has changed over time and how the opposition tries to preserve traditional sounds. Authentic Texas Country is set in contrast to the commercial Nashville recording industry and both are compared in their respective developments over the years. In the face of terrorism, which poses a threat to the American National identity, country music with its representative American values has become increasingly popular and enforces a strong collective identity on a national level. However, in doing so, it also dilutes the original identity that was once restricted to life in a small town community rather than the country as a whole. What sets country music as a genre apart is its narrative structure. Every song has a story to tell: Be it about ?The Cold Hard Facts of Life?, a prayer finally answered, or the first kiss on a Saturday night.
Samantha Harris has the perfect life. As country music's biggest and fastest rising star, she's got it made from the fancy bus to lots of money, but she doesn't have time for love. With a stalker hot on her trail, things can get ugly fast. Enter one hot, local cowboy named Jackson Young. Jackson Young has had a wee bit of a crush on hot country star Samantha Harris for a while. Not one to miss an opportunity to get closer, he takes his soon to be sister in law's job offer to be Samantha's personal body guard for a benefit concert. When Samantha approaches him about a job on the side, he's all for it until he finds out she wants him to be her fake boyfriend so they can find out who is stalking her. Will the ruse become a reality and what happens when the stalker is revealed? Will all of Samantha's demons tear her and Jackson apart before love can bloom?
Country music is the quintessential American music, with roots in the musical traditions of the earliest settlers and having grown up as an integral part of the uniquely American experience and culture. This book examines the development of country music from its beginnings in the southern Appalachian Mountains in the early 20th century to the slick sounds of modern country music superstars of the early 21st century.
While on a Nieman Fellowship at Harvard, journalist and novelist Paul Hemphill wrote of that pivotal moment in the late sixties when traditional defenders of the hillbilly roots of country music were confronted by the new influences and business realities of pop music. The demimonde of the traditional Nashville venues (Tootsie's Orchid Lounge, Robert's Western World, and the Ryman Auditorium) and first-wave artists (Roy Acuff, Ernest Tubb, and Lefty Frizzell) are shown coming into first contact, if not conflict, with a new wave of pop-influenced and business savvy country performers (Jeannie C. “Harper Valley PTA” Riley, Johnny Ryles, and Glen Campbell) and rock performers (Bob Dylan, Gram Parsons, the Byrds, and the Grateful Dead) as they took the form well beyond Music City. Originally published in 1970, The Nashville Sound shows the resulting identity crisis as a fascinating, even poignant, moment in country music and entertainment history.
Southern folklife is the heart of southern culture. Looking at traditional practices still carried on today as well as at aspects of folklife that are dynamic and emergent, contributors to this volume of The New Encyclopedia of Southern Culture examine a broad range of folk traditions. Moving beyond the traditional view of folklore that situates it in historical practice and narrowly defined genres, entries in this volume demonstrate how folklife remains a vital part of communities' self-definitions. Fifty thematic entries address subjects such as car culture, funerals, hip-hop, and powwows. In 56 topical entries, contributors focus on more specific elements of folklife, such as roadside memorials, collegiate stepping, quinceanera celebrations, New Orleans marching bands, and hunting dogs. Together, the entries demonstrate that southern folklife is dynamically alive and everywhere around us, giving meaning to the everyday unfolding of community life.
Now in its sixth decade, country music studies is a thriving field of inquiry involving scholars working in the fields of American history, folklore, sociology, anthropology, musicology, ethnomusicology, cultural studies, and geography, among many others. Covering issues of historiography and practice as well as the ways in which the genre interacts with media and social concerns such as class, gender, and sexuality, The Oxford Handbook of Country Music interrogates prevailing narratives, explores significant lacunae in the current literature, and provides guidance for future research. More than simply treating issues that have emerged within this subfield, The Oxford Handbook of Country Music works to connect to broader discourses within the various fields that inform country music studies in an effort to strengthen the area's interdisciplinarity. Drawing upon the expertise of leading and emerging scholars, this Handbook presents an introduction into the historiographical narratives and methodological issues that have emerged in country music studies' first half-century.
This illustrated A-Z guide covers more than 700 country music artists, groups, and bands. Articles also cover specific genres within country music as well as instruments used. Written in a lively, engaging style, the entries not only outline the careers of country music's greatest artists, they provide an understanding of the artist's importance or failings, and a feeling for his or her style. Select discographies are provided at the end of each entry, while a bibliography and indexes by instrument, musical style, genre, and song title round out the work. For a full list of entries, a generous selection of sample entries, and more, visit the Country Music: A Biographical Dictionary website.
In this slim, lively book our foremost historian of country music recalls the lost worlds of pioneering fiddlers and pickers, balladeers and yodelers. As he looks at "hillbilly" music's pre-commercial era and its early popular growth through radio and recordings, Bill C. Malone shows us that it was a product not only of the British Isles but of diverse African, German, Spanish, French, and Mexican influences.
Belmont University Prize for Best Book on Country Music 1995 From the regional bands of the 1930s and 1940s to the impact of Elvis Presley on the musicians and singers of the 1950s, Prairie Nights to Neon Lights takes us inside the heart of West Texas music. Buddy Holly and Roy Orbison, Edd Mayfield and Tex Logan, the Carter Family and Bob Wills, Tommy Hancock and Jimmy Dale Gilmore, Joe Ely, and Butch Hancock—these are just a few of the legends profiled in this exciting volume.
This collection of essays examines modern country music in America, from its roots to today’s music. Contributors look at aspects of the music as diverse as the creation of country culture in the honky tonk; the development of the Nashville music industry; and why country music singers are similar to the English romantic poets. Historians, sociologists, musicologists, folklorists, anthropologists, ethnographers, communication specialists, and journalists are all represented.
(Piano/Vocal/Guitar Songbook). Includes over 60 classic and contemporary country hits: Achy Breaky Heart * Ain't Going Down ('Til the Sun Comes Up) * Beer for My Horses * Blue * Elvira * The Greatest Man I Never Knew * I Can Love You Like That * I've Come to Expect It From You * The Keeper of the Stars * Man! I Feel Like a Woman! * No One Else on Earth * On the Other Hand * Redneck Woman * She's Not the Cheatin' Kind * When the Sun Goes Down * Wild Angels * more.
This book focuses on 50 of the most important entertainers in the history of country music, from its beginnings in the folk music of early America through the 1970s. Divided into five distinct categories, it discusses the pioneers who brought mountain music to mass audiences; cowboys and radio stars who spread country music countrywide; honky-tonk and bluegrass musicians who differentiated country music during the 1940s; the major contributions that female artists made to the genre; and the modern country sound which dominated the genre from the late 1950s to the mid–1980s. Each entry includes a brief biography of the chosen artist with special emphasis on experiences which influenced their musical careers. Covered musicians include Fiddlin’ John Carson, Riley Puckett, Gene Autry, Roy Rogers, Bob Wills, Bill Monroe, Hank Williams, Sr., Dale Evans, June Carter Cash, Loretta Lynn, Buck Owens, Roy Clark, Willie Nelson and Merle Haggard.
A history of country music traces its development and the careers of important performers, details the important events surrounding the Grand Ole Opry, and provides insightful anecdotes. Original. 20,000 first printing.
The Oklahoma Cowboy Band was the first western string band in the nation to broadcast over the radio and appear on vaudeville, drawing large audiences throughout the Midwest and Northeast. The band began in Ripley as Billy McGinty’s Cowboy Band and first played over radio station KFRU in Bristow in May 1925. Billy McGinty was a Rough Rider with Theodore Roosevelt and performed in Buffalo Bill’s Wild West Show. The public responded to the broadcast of his band with a steady stream of telegrams, telephone calls, and letters asking for more of that old-time cowboy music. Soon Otto Gray and his wife, Mommie, of Stillwater joined the band, with both performing rope tricks, Mommie singing sad songs, and their son, Owen, performing comedy routines as “the Uke Buster.” Renamed Otto Gray and His Oklahoma Cowboys, the band traveled for a decade to such cities as St. Louis, Chicago, Cincinnati, Indianapolis, Pittsburgh, and Syracuse. Its custom-built Cadillacs drew crowds wherever the band went. By the early 1930s, other acts were copying the band’s cowboy themes and songs, and Otto Gray’s lawyers threatened legal action. The lawyers met with only limited success, though, and today the cowboy image is firmly established in country music, thanks in large part to the early success of Billy McGinty, Otto Gray, and the Oklahoma Cowboy Band.
Something happened when Ranger Doug, Too Slim, Woody Paul, and later Joey "The Cowpolka King" took the stage in the white cowboy hats and dazzling western regalia. Riders In The Sky revived the old Western songs that had been so popular in their childhood by following in the bootsteps of songwriting legends such as Gene Autry and Bob Nolan of The Sons of the Pioneers. At a time when the "outlaw" movement saw artists such as Waylon Jennings and Willie Nelson topping country charts with gritty songs about drinking and depression, Riders In The Sky hit just the right chord with maturing baby boomers. It's the Cowboy Way! is the story of the Riders' journey from obscurity to - well - less obscurity. It's a behind-the-scenes glimpse at a group of serious musicians with not-so-serious outlooks on life, four men who set out not just to revive a lost musical tradition but to nurture America's love of good-hearted, heroic cowboys.
In this study, historian Michael Allen examines the image of the rodeo cowboy and the role this image has played in popular culture over in the 20th century. He sees rodeo as a significant American folk festival and the rodeo cowboy as the surviving avatar of a nearly vanished authentic figure - the real cowboy, who embodies the skills and values of traditional western rural culture.