14 – COUNTRY AND WESTERN

"If country music inspires loyalty, it does so for a very good reason. It speaks to the heart. It cuts to the bone. It stands for solidity, accessibility, believability."

Judith Fitzgerald
(The Toronto Star)

Country/WesternWhen the earliest settlers on America's east coast travelled inland, finding remote valleys in the Ozarks and Appalachian Hills, they remained sealed off from the outside world. The mere fact that there were no roads and only wagon trails and rivers for transportation purposes was a major cause of cultural isolation. Rural Scottish/Irish traditions and attitudes prevailed.

Essentially, their music was based on the traditional songs handed down from generation to generation which they had brought from the British Isles. As time passed, much of the original lyric content was altered to suit the new locales and occasions. Contemporary names of persons and places were substituted for the original designations and as speech patterns and dialects changed, the essence of the material was altered and often original versions forgotten. The most common type of song brought by Europeans was the narrative ballad made up of 4 to 8 bar stanzas (e.g. "Barbara Allen"). Musical instruments were either treasured family heirlooms or primitive homemade items.

These tiny isolated pockets of ethnic communities led to lifestyles steeped in tradition. Poverty and ignorance ran rampant yet there remained a strong belief in religious fundamentalism.

From the mid 1800's until World War One, most small rural communities experienced little or no exposure to the outside world except for the odd travelling medicine show. Many such shows were operated by medical quacks claiming the ability to cure anything from bunions to impotence with the use of the miraculous elixirs they sold. With the discovery that music and entertainment drew a crowd, musicians and singers were hired to play well known tunes. The shows became an ideal attention getting device and local entertainers were in demand. Later, politicians jumped on the bandwagon, hiring musicians and other acts to perform on the campaign trail. Through these and other modes, regional music styles spread and evolved, influencing each other.

Music had always been an important social link in rural areas. Regular gatherings known as hoedowns, featuring music and dancing gave locals the opportunity to socialize.

Around 1900, a new term - "hillbilly" was born. Originally the designation for the music styles indigenous to the Ozarks and Appalachia, it was later applied to the stereotypical image of backward country folk. An early New York tabloid article defined hillbilly as "an illiterate who has no means of support to speak of, dresses as he can, talks when he pleases, drinks whiskey when he gets it and fires off his gun as the fancy takes him." As country music began to be recorded and developed an audience, the label stuck to the music. Ralph Sylvester Peer of Okeh Records claimed to have coined the term.

With the advent of radio in the mid 1920's, rural isolation began to break down. And when radio moved into the South, many smart advertisers presented local talent to fill the spaces between commercials. Entertainers were paid little but the exposure brought about immediate notoriety. Major record companies, almost all of which were based in urban centres, absolutely refused to believe that anybody would buy such unsophisticated music. It was thought that anyone able to afford a gramophone would be much too literate to purchase a country recording. They were proved wrong. In 1922, fiddler Alexander "Eck" Robertson recorded "Sally Goodin," the first commercial recording of traditional American country music and in 1925, Vernon Dalhart's recording of "The Prisoner's Song" went to #1 for 5 weeks. It eventually sold over 7 million copies.

EARLY COUNTRY MUSIC PIONEERS

FIDDLIN' JOHN CARSON

VERNON DALHART

THE CARTER FAMILY

ROY ACUFF

ELTON BRITT

A SELECTED LISTING OF MORE PIONEER COUNTRY RECORDINGS

YODELING

The yodel (or jodel) is simply the alternating of chest voice and head voice or falsetto in rapid fire. Musicologists believe that the technique was used by Alpine shepherds to call in their flocks. In the 1870's, yodeling became very popular in America after several groups of Swiss entertainers introduced it while touring the Midwest. It was immediately adapted to American country and western music. Yodeling was definitely not new by the time the great Jimmie Rodgers recorded it in the 1920's, but his records certainly furthered its popularity. Aside from his many other accomplishments, Rodgers will forever be remembered as the first country yodeler on record.

JIMMIE RODGERS

THE GRAND OLE OPRY

The concept of The Grand Ole Opry was originated by George Dewey Hay (Nov. 9, 1895 - May 9, 1968), who had been one of America's foremost radio announcers and an avid fan of hillbilly music. While in Chicago, he began broadcasting his "Chicago Barn Dance" program on WLS radio in 1924. Later, when Hay became the director of WSM radio in Nashville, he debuted his new show, simply called "Barn Dance" on Nov. 28, 1925. He mc'd and was in control of the entire program. Starting on Dec. 10, 1927, its name was officially changed to "The Grand Ole Opry." Originally broadcast from the WSM studios, it was later held at The War Memorial Auditorium. In 1941, it moved to The Ryman Auditorium, finally making its permanent home at a new $15 million opera house in Opry Land U.S.A. on March 15, 1974.

During the Opry's early period, instrumental music dominated, but in the early 1930's, vocals gained in popularity. In the realm of country and western music, the Opry was all powerful. Unless the Opry officially accepted a new act, it could not technically claim to be successful in country music. When the young Elvis Presley first appeared on the scene in the mid 1950's, the Opry refused to recognize him as a legitimate country artist. Presley immediately went to its major competitor, "The Louisiana Hayride" (based in Shreveport, Louisiana since April, 1948 and broadcast on KWKH radio).

In addition to "The Louisiana Hayride," several other major programs enjoyed popularity including "The Big D. Jamboree" from Dallas, Texas and "Town Hall Party" in Los Angeles, California. Later, competition would come from Bakersfield, California and in the 1990's, Branson, Missouri. Yet, nothing can ever compete with the power and longevity of "The Grand Ole Opry."

BLUEGRASS

Bluegrass music originated in the hills of Kentucky. Essentially, it is related very closely to the old time fiddle and banjo music of traditional country and folk - often called string band music. Its roots lie in the combination of three fingered banjo playing, mandolin, Dobro resonator guitar and the harmony-singing traditions of Kentucky. The songs themselves are based on traditional mountain folk tunes and reels. Vocally, it is executed in an extremely high pitched nasal singing style, incredibly emotional in effect and often featuring strong harmonies.

Bluegrass came into prominence after World War Two. Some of the major exponents of the genre included The Stanley Brothers, Flatt And Scruggs and their Foggy Mountain Boys and much later, The Osborne Brothers. However, the greatest and most popular of them all was "The Father Of Bluegrass" - Bill Monroe. Then during the 1960's, a new progressive wave of artists electrified the genre, calling it "New Grass." And in the 1990's, bluegrass enjoyed great commercial success with the emergence of artists like Alison Krauss.

With the success of the film, "O Brother Where Art Thou" and its best selling soundtrack, bluegrass gained considerable popularity.

BILL MONROE

FLATT & SCRUGGS

THE OSBORNE BROTHERS

RICKY SKAGGS

ALISON KRAUSS

A SELECTED LISTING OF OTHER BLUEGRASS RECORDINGS

THE SINGING COWBOYS

When sound films emerged, some of the biggest American heroes were the singing cowboys. The influence of the handsome white-hatted good guy on a horse combined with the new popularity of the western regalia promoted by singers A. C. "Eck" Robertson and Jimmie Rodgers caused the cowboy image to become an integral part of the country music scene and helped popularize the use of the term, "country and western music." The very first of the singing cowboys was Carl T. Sprague, but the commercial success of the genre began with the release of "The Wagon Master"(1930) when Ken Maynard became the first singing cowboy in films. Dozens of others followed suit. Gene Autry, Eddie Dean, Tex Ritter, Rex Allen and Roy Rogers all became huge stars by appearing in numerous B movies where they introduced mainstream America to classic western folk songs as well as new material especially written for the genre. Many of the songs hit both the C&W and the pop charts.

GENE AUTRY

ROY ROGERS & THE SONS OF THE PIONEERS

TEX RITTER

WESTERN SWING

Simply put, western swing was the unique combination of country and big band swing music. It was characterized by an insistent heavy beat featuring jazz oriented improvisations of the steel guitar and the heavily bowed fiddle. It was rhythmic infectious dance music, often spiced with mariachi flavourings. Western swing was a way of adapting country music to a more current format. In the American Southwest, several country swing bands became popular during the 1930's. Some of the pioneer outfits included Cliff Bruner, Milton Brown and Spade Cooley. The most successful of the genre was definitely Bob Wills And His Texas Playboys.

Later, after the decline of the big western swing bands, the Bob Wills beat and fiddle style continued to influence modern country artists. Also, through Wills and his contemporaries, the steel guitar found a permanent position in modern country and western music.

BOB WILLS

MILTON BROWN

THE GROWTH OF COUNTRY MUSIC

When B.M.I. was formed in 1941, it allowed an influx of country and western artists into the mainstream and by 1945, country music had become so popular that a poll of American armed forces listed Roy Acuff as the most popular male vocalist, beating Frank Sinatra by 3700 votes. As country gained commercial acceptance, the term "hillbilly" was rejected as uncouth, eventually replaced by the country and western designation.

By the late 1940's, country superstar Hank Williams was making inroads into mainstream pop and by the 1950's, country crossover acts like Tennessee Ernie Ford and Eddy Arnold were experiencing across the board acceptance. In the mid 1950's, country became electrified with the emergence of rockabilly artists. By 1960, over seven and a half million people had attended live broadcasts of The Grand Ole Opry.

During the 1960's, country became more citified than ever before. R&B legend Ray Charles began recording several country oriented albums featuring strings and lush choral arrangements and the great Patsy Cline urbanized country by giving it a sultry torchy feel. Some critics labelled this commercialized country as "countrypolitan." Purists objected but it was only a different approach to the music. Later, there seemed to be no end to the variations on the genre.

COUNTRY MALE ARTISTS

ERNEST TUBB

HANK WILLIAMS

RED FOLEY

EDDY ARNOLD

HANK SNOW

TENNESSEE ERNIE FORD

FERLIN HUSKY

DON GIBSON

SONNY JAMES

LEFTY FRIZZELL

FARON YOUNG

JIMMY DEAN

BILL ANDERSON

RAY PRICE

GEORGE JONES

JOHNNY CASH

KENNY ROGERS

COUNTRY FEMALE ARTISTS

PATSY MONTANA

KITTY WELLS

PATSY CLINE

BRENDA LEE

SKEETER DAVIS

LORETTA LYNN

TAMMY WYNETTE

DOLLY PARTON

DOTTIE WEST

EMMYLOU HARRIS

BARBARA MANDRELL

TANYA TUCKER

COUNTRY GROUPS & DUOS

THE DELMORE BROTHERS

THE STATLER BROTHERS

THE OAK RIDGE BOYS

THE NITTY GRITTY DIRT BAND

THE VIRTUOSOS

The following is a selected listing of some of the finest musicians in the field of country music. Although Chet Atkins and Floyd Cramer are strictly instrumentalists, the other artists are as equally well known for their talents as composers and vocalists.

CHET ATKINS

PETE DRAKE

FLOYD CRAMER

MERLE TRAVIS

JERRY REED

ROY CLARK

RICKY SKAGGS

COUNTRY PERSONALITIES

Country humour, constantly under attack from sophisticated factions, has often been an important link between the audience and the music, sometimes with the humour as an element in the music. Back in the 1940's, Sarah Ophelia Colley (Oct. 25, 1912 - March 4, 1996) made her debut at The Grand Ole Opry in the guise of Minnie Pearl, an adorable cornball comedienne. She remained a well respected staple of the country music scene until her death. Around the same time, the dynamic Judy Canova (Nov. 20, 1916 – ) created a rather slicked up version of the same character. She immediately became known as "The Queen Of The Ozarks," performing her cornpone comedy and hillbilly vocals in a string of delightful B movies. Both Canova and the lovable Cousin Minnie Pearl (with her ever present price tag dangling from her hat) helped promote a positive country image to the masses. That same lighthearted approach was also utilized by artists like Grandpa Jones (Louis Marshall Jones) (1914 - Feb. 20, 1998) , Archie Campbell and Gordie Tapp. Later, with the popularity of TV's "Hee-Haw," country humour served as the basis for showcasing the top country music acts.

Probably the most popular country humourist is the wacky Ray Stevens who satirizes everything from the streaking fad to "The People's Court."

RAY STEVENS

COUNTRY CROSSOVER ARTISTS

Several country artists such as Tennessee Ernie Ford, Patsy Cline and Kenny Rogers were able to vacillate between the pop and country charts with great ease due to their overwhelming accessibility. Although they have often been attacked by purists, the mere fact that they do cross over onto the pop charts proves that country need not be confined to one specific categorization, style or attitude. The crossover artist is often the introductory element in widening the target market for the country music industry.

SLIM WHITMAN

MARTY ROBBINS

JOHNNY HORTON

STONEWALL JACKSON

THE EVERLY BROTHERS

JIM REEVES

WANDA JACKSON

ROGER MILLER

BOBBY GOLDSBORO

CONWAY TWITTY

BOBBY BARE

GEORGE HAMILTON IV

CHARLIE RICH

GLEN CAMPBELL

ANNE MURRAY

MAC DAVIS

FREDDY FENDER

CRYSTAL GAYLE

EDDIE RABBITT

JOHN DENVER

BEYOND NASHVILLE

In the 1960's, Nashville's newest competition came from California. The West Coast country scene based in Bakersfield, 115 miles north of Los Angeles was the home of artists like Buck Owens, Merle Haggard, Tommy Collins and Wynn Stewart. By the mid 1960's, Bakersfield had nurtured a whole new roster of country entertainers whose general approach was in a more traditional western vein. In 1964, the West Coast performers created their own trade organization called The Academy Of Country And Western Music.

Aside from the West Coast movement, many of the newer country acts, self proclaimed outlaws like Waylon Jennings and Willie Nelson were considered too radical by Nashville standards because of their rebel image and more aggressive contemporary music. Later, their extreme popularity could no longer be ignored and acceptance by the old guard was inevitable.

BUCK OWENS

MERLE HAGGARD

WAYLON JENNINGS

WILLIE NELSON

THE NEW COUNTRY

Country music enjoyed its greatest across the board success in the 1980's and 1990's. As the baby boomers became disenchanted with the newer more abrasive music forms, modern country appeared to be a logical alternative. The new country had widened its appeal by reducing the twang, incorporating soft rock elements and adapting a more contemporary accessible image. In fact, with the emergence of artists like Garth Brooks, country music performances became full fledged events featuring all the flash and technology of rock concerts. No longer were record buyers hesitant to admit that they were country music fans. Country had finally become cool - a sentiment perfectly encapsulated in Barbara Mandrell's 1981 hit, "I Was Country When Country Wasn't Cool."

Over the years, television programs such as "Hee-Haw" had helped sustain a strong interest in country music, paving the way for more sophisticated shows like "Hot Country Nights" and the all powerful TNN (The Nashville Network).

In the 1990's, the New York survey firm, The Cold Spring Harbor Group conducted a poll which revealed that 25% of American households earning $50,000 annually listened to country music and that 67% of country listeners were married. A 1991 poll also showed that a whopping 51% of Americans were country music fans.

On May 24, 1991, Billboard Magazine began a new sales tabulating system automatically recorded at the cash register. Rather than using polls, this new more accurate way of tabulation revealed a drastic leap in the sale of country oriented music. The pop charts changed considerably, with country acts competing with major pop stars for the top positions on the charts. And when country superstar Garth Brooks was voted the most popular male vocalist in North America, there was no doubting that country music was and always had been a dominant force in pop music. By 1992, the sales of country music albums had topped the $700 million mark.

A whole new crop of country artists began to dominate the music scene. In the male vocalist department, the country hunk had come of age. With the emergence of Alan Jackson, Clint Black and of course Garth Brooks, the image of the country male had become much more attractive. And in the spring of 1992, country music saw the rise of a new sex symbol with the appearance of Billy Ray Cyrus and his mammoth hit recording, "Achy Breaky Heart." The song triggered a craze for country line dancing. Finally, country females were no longer taking a back seat. Top notch performers like Mary-Chapin Carpenter, Pam Tillis, Lorrie Morgan, Faith Hill, Michelle Wright and Shania Twain were giving the males a run for their money.

By 1992, the newest country mecca was the resort town of Branson, Missouri. Its Las Vegas-like atmosphere with a country flavour had begun to draw millions of tourists annually (see The Nineties). In 1996, Atlanta's Country Fest attracted more than a quarter of a million fans, proving once and for all the power of country music.

Finally, the world had discovered what hard core country and western fans had known all along - country sells.

NEW COUNTRY MALES

HANK WILLIAMS JR.

GEORGE STRAIT

RANDY TRAVIS

DWIGHT YOAKAM

LYLE LOVETT

CLINT BLACK

ALAN JACKSON

TRAVIS TRITT

GARTH BROOKS

VINCE GILL

MARTY STUART

BILLY RAY CYRUS

TIM McGRAW

NEW COUNTRY FEMALES

LACY J. DALTON

REBA McENTIRE

KATHY MATTEA

K. D. LANG

K. T. OSLIN

LORRIE MORGAN

PATTY LOVELESS

MARY-CHAPIN CARPENTER

MICHELLE WRIGHT

ALISON KRAUSS

SHANIA TWAIN

NEW COUNTRY GROUPS

LARRY GATLIN & THE GATLIN BROTHERS

ALABAMA

THE JUDDS/WYNONNA

THE KENTUCKY HEADHUNTERS

A SELECTED LISTING OF OTHER MAJOR COUNTRY RECORDINGS

ALSO SEE

BIBLIOGRAPHY