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But for a few twists of fate, Atlanta could have grown to be the recording center that Nashville is today. Pickin' on Peachtree traces Atlanta's emergence in the 1920s as a major force in country recording and radio broadcasting and its forty years as a hub of country music. From the Old Time Fiddlers' Conventions and barn dances through the rise of station WSB and other key radio outlets, Wayne W. Daniel thoroughly documents the consolidation of country music as big business in Atlanta. He also profiles a vast array of performers, radio personalities, and recording moguls who transformed the Peachtree city into the nerve center of early country music.
From the end of Reconstruction to the eve of the Great Depression, Atlanta was the New South's "Gate City." Steve Goodson's social and cultural history looks at the variety of public amusements available to Atlantans of the day, including theater, vaudeville, dime museums, movies, radio, and classical, blues, and country music. Revealed in the ways its people embraced or condemned everything from burlesque to opera is an Atlanta unsure of its identity and acutely sensitive of its image in the eyes of the nation. While the general populace hungered for novelty and diversion, middle-class Atlantans, white and black, saw entertainment as a source of--or threat to--status and respectability. Goodson traces the roots of this tension to the city's rapid and problematic growth, its uncomfortably diverse population, and its multiplying ties to national markets. At the same time he portrays some lively individuals who shaped Atlanta's entertainment scene. Among them are impresario Laurent DeGive, tightrope walker Professor Leon, patent-medicine salesman Yellowstone Kit, country music great Fiddlin' John Carson, and blues legends Bessie Smith and Blind Willie McTell. Goodson also brings alive the atmosphere of such venues as DeGive's resplendent Grand Opera House, George Johnson's tacky Museum of Living Wonders, the pioneering Trocadero vaudeville house, and the notorious 81 Theater on Decatur Street, an avenue whose decadent promise rivaled that of Beale in Memphis and Bourbon in New Orleans. Milestone trends and events are also showcased: performances of the play Uncle Tom's Cabin and showings of the film Birth of a Nation, visits by the Metropolitan Opera Company, the debate over Sunday entertainment, the beginning of broadcasts by "The Voice of the South"--radio station WSB--and the rise of Atlanta as the earliest capital of country and blues recording. Accepted historical views of public entertainment in America suggest that ethnicity and class would be the most pronounced forces shaping this aspect of Atlanta's popular culture. Goodson finds, however, that race and evangelical Christianity also heavily influenced the circumstances in which Atlantans went about their fun. With implications for the entire urban South, this is an engaging look at how and why its major city once grasped at sophistication and progress with one hand while pushing it away with the other.
An exploration of the origins and development of American country music in the Piedmont's mill villages celebrates the colorful cast of musicians and considers the impact that urban living, industrial music, and mass culture had on their lives and music.
How a mountain community and music harmonize in an old-time fiddle player from West Virginia
With entries on topics ranging from non-Western instruments to distinctive rhythms of music from various countries, this one-stop resource on global music also promotes appreciation of other countries and cultural groups. A perfect resource for students and music enthusiasts alike, this expansive three-volume set provides readers with multidisciplinary perspectives on the music of countries and ethnic groups from around the globe. Students will find Music around the World: A Global Encyclopedia accessible and useful in their research, not only for music history and music appreciation classes but also for geography, social studies, language studies, and anthropology. Additionally, general readers will find the books appealing and an invaluable general reference on world music. The volumes cover all world regions, including the Americas, Europe, Africa and the Middle East, and Asia and the Pacific, promoting a geographic understanding and appreciation of global music. Entries are arranged alphabetically. A preface explains the scope of the set as well as how to use the encyclopedia, followed by a brief history of traditional music and important current influences of music in each particular world region.
The Chicago Tribune's Bill Dahl praised Robert Pruter's Doowop for "vividly describ ing] an enchanting time on the local music scene, when a handful of teenagers could taste rock 'n' roll stardom with harmonies they cooked up on a street corner." Pruter foraged sources from fanzines to the Chicago Defender and conducted extensive interviews in cooking up Doowop, which chronicles the careers of such legendary 1950s groups as the Flamingos, the Moonglows, the Spaniels, and the El Dorados, along with virtually every other Chicago doowop group that contributed to that era.
During the 1940s, country music was rapidly evolving from traditional songs and string band styles to honky-tonk, western swing, and bluegrass, via radio, records, and film. The Blue Sky Boys, brothers Bill (1917-2008) and Earl (1919-1998) Bolick, resisted the trend, preferring to perform folk and parlor songs, southern hymns, and new compositions that enhanced their trademark intimacy and warmth. They were still in their teens when they became professional musicians to avoid laboring in Depression-era North Carolina cotton mills. Their instantly recognizable style was fully formed by 1936, when even their first records captured soulful harmonies accented with spare guitar and mandolin accompaniments. They inspired imitators, but none could duplicate the Blue Sky Boys' emotional appeal or their distinctive Catawba County accents. Even their last records in the 1970s retained their unique magical sound decades after other country brother duets had come and gone. In this absorbing account, Dick Spottswood combines excerpts from Bill Bolick's numerous spoken interviews and written accounts of his music, life, and career into a single narrative that presents much of the story in Bill's own voice. Spottswood reveals fascinating nuggets about broadcasting, recording, and surviving in the 1930s world of country music. He describes how the growing industry both aided and thwarted the Bolick brothers' career, and how World War II nearly finished it. The book features a complete, extensively annotated list of Blue Sky Boys songs, an updated discography that includes surviving unpublished records, and dozens of vintage photos and sheet music covers.
Gone to the Country chronicles the life and music of the New Lost City Ramblers, a trio of city-bred musicians who helped pioneer the resurgence of southern roots music during the folk revival of the late 1950s and 1960s. Formed in 1958 by Mike Seeger, John Cohen, and Tom Paley, the Ramblers introduced the regional styles of southern ballads, blues, string bands, and bluegrass to northerners yearning for a sound and an experience not found in mainstream music. Ray Allen interweaves biography, history, and music criticism to follow the band from its New York roots to their involvement with the commercial folk music boom. Allen details their struggle to establish themselves amid critical debates about traditionalism brought on by their brand of folk revivalism. He explores how the Ramblers ascribed notions of cultural authenticity to certain musical practices and performers and how the trio served as a link between southern folk music and northern urban audiences who had little previous exposure to rural roots styles. Highlighting the role of tradition in the social upheaval of mid-century America, Gone to the Country draws on extensive interviews and personal correspondence with band members and digs deep into the Ramblers' rich trove of recordings.
From cradle to great, the comprehensive real story of Bill Monroe The Father of Bluegrass Music, Bill Monroe was a major star of the Grand Ole Opry for over fifty years; a member of the Country Music, Songwriters, and Rock and Roll Halls of Fame; and a legendary figure in American music. This authoritative biography sets out to examine his life in careful detail--to move beyond hearsay and sensationalism to explain how and why he accomplished so much. Former Blue Grass Boy and longtime music journalist Tom Ewing draws on hundreds of interviews, his personal relationship with Monroe, and an immense personal archive of materials to separate the truth from longstanding myth. Ewing tells the story of the Monroe family's musical household and Bill's early career in the Monroe Brothers duo. He brings to life Monroe's 1940s heyday with the Classic Bluegrass Band, the renewed fervor for his music sparked by the folk revival of the 1960s, and his declining fortunes in the years that followed. Throughout, Ewing deftly captures Monroe's relationships and the personalities of an ever-shifting roster of band members while shedding light on his business dealings and his pioneering work with Bean Blossom and other music festivals. Filled with a wealth of previously unknown details, Bill Monroe offers even the most devoted fan a deeper understanding of Monroe's towering achievements and timeless music.
Women have been pivotal in the country music scene since its inception, as Charles K. Wolfe and James E. Akenson make clear in The Women of Country Music. Their groundbreaking volume presents the best current scholarship and writing on female country musicians. Beginning with the 1920s career of teenage guitar picker Roba Stanley, the contributors go on to discuss Polly Jenkins and Her Musical Plowboys, 50s honky-tonker Rose Lee Maphis, superstar Faith Hill, the relationship between Emmylou Harris and poet Bronwen Wallace, the Louisiana Hayride's Margaret Lewis Warwick, and more.