Willie Nelson has spent the last 30 years on that higher plane of celebrity where he signifies many things to many people--American folk hero, national treasure, Outlaw, tax dodger, country traditionalist, actor and friend of the farmer amongst many others. Acclaimed biographer and journalist Joe Nick Patoski offers a frank and thorough portrait, adding some surprising insight on this beloved performer. From his humble beginnings in Waco, TX, cared for by his grandparents, to learning to play guitar at 6 and wrote his first song at 7 to his remarkable rise to legendary status as a genre-bending music maker and a bona fide Hollywood darling, Patoski draws from his own association with Nelson, a relationship that began in the 1970s when Patoski began writing about the man and his music. Why does Nelson keep going down the road, steady as a mountain stream, creating an illusion for the millions that sit in awe of him as he sings the same repertoire night after night? With relish, Willie delves into these questions and more as Patoski reveals the true motivations for the Texanmost Texan.

Recorded in 1949, "Foggy Mountain Breakdown" changed the face of American music. Earl Scruggs's instrumental essentially transformed the folk culture that came before it while helping to energize bluegrass's entry into the mainstream in the 1960s. The song has become a gateway to bluegrass for musicians and fans alike as well as a happily inescapable track in film and television. Thomas Goldsmith explores the origins and influence of "Foggy Mountain Breakdown" against the backdrop of Scruggs's legendary career. Interviews with Scruggs, his wife Louise, disciple Bela Fleck, and sidemen like Curly Seckler, Mac Wiseman, and Jerry Douglas shed light on topics like Scruggs's musical evolution and his working relationship with Bill Monroe. As Goldsmith shows, the captivating sound of "Foggy Mountain Breakdown" helped bring back the banjo from obscurity and distinguished the low-key Scruggs as a principal figure in American acoustic music.Passionate and long overdue, Earl Scruggs and Foggy Mountain Breakdown takes readers on an ear-opening journey into two minutes and forty-three seconds of heaven.

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.

Contrary to popular belief, the roots of American country music do not lie solely on southern farms or in mountain hollows. Rather, much of this music recorded before World War II emerged from the bustling cities and towns of the Piedmont South. No group contributed more to the commercialization of early country music than southern factory workers. In Linthead Stomp, Patrick Huber explores the origins and development of this music in the Piedmont's mill villages. Huber offers vivid portraits of a colorful cast of Piedmont millhand musicians, including Fiddlin' John Carson, Charlie Poole, Dave McCarn, and the Dixon Brothers, and considers the impact that urban living, industrial work, and mass culture had on their lives and music. Drawing on a broad range of sources, including rare 78-rpm recordings and unpublished interviews, Huber reveals how the country music recorded between 1922 and 1942 was just as modern as the jazz music of the same era. Linthead Stomp celebrates the Piedmont millhand fiddlers, guitarists, and banjo pickers who combined the collective memories of the rural countryside with the upheavals of urban-industrial life to create a distinctive American music that spoke to the changing realities of the twentieth-century South.

There is a stream that courses through American roots music. Its source is in the Appalachian foothills in a place called Maces Springs, Virginia. It was there that A.P. Carter, his wife Sara, and his sister-in-law Maybelle began their careers as three of the earliest stars of country music. These three didn't just play the music emerging from their hill country upbringing. They helped invent it. The stream these three created turned into a rushing river and moved through several generations of musicians, most notably touching the life of one Johnny Cash who first heard the Carters - including a young June Carter - over the airwaves. It was a wonderful twist of fate when Cash, as a Sun Records artist, first met Mother Maybelle and her girls. the Carter Sisters. and vowed to June that "I'm gonna marry you someday." The Winding Stream is an oral history that tells the tale of this important music dynasty. In their own words, family and friends, musicians and historians offer first-hand recollections and insightful observations that illuminate the Carter and Cash contributions to American popular culture.

A musician, documentarian, scholar, and one of the founding members of the influential folk revival group the New Lost City Ramblers, Mike Seeger (1933-2009) spent more than fifty years collecting, performing, and commemorating the culture and folk music of white and black southerners, which he called ""music from the true vine."" In this fascinating biography, Bill Malone explores the life and musical contributions of folk artist Seeger, son of musicologists Charles and Ruth Crawford Seeger and brother of folksingers Pete and Peggy Seeger. Malone argues that Seeger, while not as well known as his brother, may be more important to the history of American music through his work in identifying and giving voice to the people from whom the folk revival borrowed its songs. Seeger recorded and produced over forty albums, including the work of artists such as Libba Cotten, Tommy Jarrell, Dock Boggs, and Maybelle Carter. In 1958, with an ambition to recreate the southern string bands of the twenties, he formed the New Lost City Ramblers, helping to inspire the urban folk revival of the sixties. Music from the True Vine presents Seeger as a gatekeeper of American roots music and culture, showing why generations of musicians and fans of traditional music regard him as a mentor and an inspiration.

A collection of common Texas style fiddle tunes, arranged for the mandolin.

Winner, Coral Horton Tullis Memorial Prize, Texas State Historical Association, 2014 During the early 1970s, the nation's turbulence was keenly reflected in Austin's kaleidoscopic cultural movements, particularly in the city's progressive country music scene. Capturing a pivotal chapter in American social history, Progressive Country maps the conflicted iconography of "the Texan" during the '70s and its impact on the cultural politics of subsequent decades. This richly textured tour spans the notion of the "cosmic cowboy," the intellectual history of University of Texas folklore and historiography programs, and the complicated political history of late-twentieth-century Texas. Jason Mellard analyzes the complex relationship between Anglo-Texan masculinity and regional and national identities, drawing on cultural studies, American studies, and political science to trace the implications and representations of the multi-faceted personas that shaped the face of powerful social justice movements. From the death of Lyndon Johnson to Willie Nelson's picnics, from the United Farm Workers' marches on Austin to the spectacle of Texas Chic on the streets of New York City, Texas mattered in these years not simply as a place, but as a repository of longstanding American myths and symbols at a historic moment in which that mythology was being deeply contested. Delivering a fresh take on the meaning and power of "the Texan" and its repercussions for American history, this detail-rich exploration reframes the implications of a populist moment that continues to inspire progressive change.

Country music's debt to African American music has long been recognized. Black musicians have helped to shape the styles of many of the most important performers in the country canon. The partnership between Lesley Riddle and A. P. Carter produced much of the Carter Family's repertoire; the street musician Tee Tot Payne taught a young Hank Williams Sr.; the guitar playing of Arnold Schultz influenced western Kentuckians, including Bill Monroe and Ike Everly. Yet attention to how these and other African Americans enriched the music played by whites has obscured the achievements of black country-music performers and the enjoyment of black listeners.

The contributors to "Hidden in the Mix" examine how country music became "white," how that fictive racialization has been maintained, and how African American artists and fans have used country music to elaborate their own identities. They investigate topics as diverse as the role of race in shaping old-time record catalogues, the transracial West of the hick-hopper Cowboy Troy, and the place of U.S. country music in postcolonial debates about race and resistance. Revealing how music mediates both the ideology and the lived experience of race, "Hidden in the Mix "challenges the status of country music as "the white man's blues."

"Contributors." Michael Awkward, Erika Brady, Barbara Ching, Adam Gussow, Patrick Huber, Charles Hughes, Jeffrey A. Keith, Kip Lornell, Diane Pecknold, David Sanjek, Tony Thomas, Jerry Wever

Bundled with a CD that contains examples and exercises, this country music tutorial book offers an introduction for beginners and much more demanding material for the professional needing to learn more about this style of guitar playing.

Rejected by Nashville is the Whiskey Rebel's opinionated guide to real country music albums. He has been writing music reviews, album liner notes, as well as columns in music and art magazines for over two decades. This is his fourth book. He is veteran amateur musician himself, and holds a History degree from Texas State University. Rejected by Nashville; is finally coming to light after being in the works for eight years. In 261 pages, 265 vinyl and CD albums are reviewed. Also included is an extensive bibliography. Irwin brings the albums he describes to life. The reader feels as though he has been invited over for a record listening party, with The Whiskey Rebel spinning the disc. He shares his vast knowledge of country music history, without sounding like an encyclopedia. He educates the reader in a fun and casual manner, about the music he feels Nashville has swept under the rug, in favor of country-synth-pop. Phil started out buying country LPs at thrift stores about 30 years ago. He owns every album reviewed in these pages and rarely paid more than $1 for them. This is very much a fan book written for folks on a budget. He points out to the reader that they too can still find tons of real country albums at flea markets and record shows and yard sales for that same $1 or under. Real country music is the old fashioned stuff; that often features steel and twangy guitars, real drums, and sung frequently by ugly or average looking performers. They were the standard for several decades--before Nashville began hiring stables of handsome hunks who look good in cowboy hats, and belly button waggling gals who look like models. Real country music is alive, and well appreciated around the world (especially in England and Germany) and is still performed in all pockets of the USA. The performers rely heavily on the standards set by the pioneers and icons of the genre, ranging from the godfather of country Jimmie Rogers, to artist still performing: George Jones and Merle Haggard. Included in this guide are many reviews by Jimmie Rodgers on down the line to the Carter Family, Ernest Tubb, Hank Williams Sr., Webb Pierce, Kitty Wells, Johnny Cash, Waylon Jennings, Loretta Lynn, Dave Dudley, Red Sovine, Porter Wagoner, Johnny Paycheck, Tammy Wynette, Moe Bandy, Buck Owens, Bill Monroe, Tanya Tucker and Merle Haggard. He also covers current artists keeping the tradition alive such as: Wayne Hancock, Dale Watson, and Hank III. He's also included lots of reviews of lesser-known artist's albums from over the years, some of which are extremely obscure, but deserving of attention in his view. The Whiskey Rebel admits to being a sucker for drinking and cheating songs. There are 16 categories: Bluegrass, Cash, Duets, The Gals, Hanks, Honky Tonk, Nashville-The Good Years, Obscure, Other Country's Country, All The Outlaws, Pioneers, Rockabillies and Hep Cats, Truckers, Tune Warblers, West Coast, and Keepers of the Flame. In the 1980's, Nashville systematically cleaned house. Terminating the contracts of veteran musicians and artist, who had been with them for as long as 40 years. The strategy was to eliminate the rural/hick aspect and go after the lucrative pop music market. The first wave of crossover artists was frequently '60's and '70's pop and rock stars, given a makeover. Their music was heavily produced to homogenize the sound (a.k.a. Country Lite) and accessible to a wider audience. Real country music has gained a resurgence by a broad based audience: Universities are teaching courses, young people who are bored with the offerings of radio, and of course, the folks that grew up listening to the old favorites, are seeking out music that they feel has heart and soul, and sung by real people with real stories. Thankfully there are labels reissuing hard to find songs that previously were only available on rare and expensive '78s, onto CDs, which he also covers.

Offering a unique glimpse into the Gram Parsons legend that has never been offered before this book is the inside story by his bandmate and travelling partner from the The International Submarine Band. Set between September 1965 and June 1968 it follows Gram Parsons as he begins to create country rock and he and the band embark upon an exasperating upstream journey, swimming against a tide of opposition, rejection and astonishment from the establishment. With a cast of characters including Gram Parsons, David Crosby, Peter Fonda, Denis Hopper, Arthur Lee, and Hugh Masekela this is more than a music book, it's a vivid swirling trip across a vanished America.

A giant of American music opens the book on his wrenching professional and personal journeys, paying tribute to the vanishing Appalachian culture that gave him his voice.

"Fans of Arnold's mellow music will appreciate the intensely detailed record of his private life and public career. Others may find the vivid picture of country music's early decades (the many small-town radio stations and deejays that supported the music, the backroads tours, the struggling record labels) quite intriguing." --"Kirkus Reviews"

Illustrated with fifty-four photographs and featuring a comprehensive discography and sessionography, this book traces Eddy Arnold's origins from a cotton farm in western Tennessee to his legendary status in the world of country music. Michael Streissguth covers Arnold's success as a top-selling artist in the 1940s and 1950s and his temporary wane as listeners gravitated toward the rock & roll sound, embodied by newcomer Elvis Presley. Arnold (1918-2008) kept recording, however, and working on his craft. By the mid-60s, he reemerged as a pop crooner with his hit song "Make the World Go Away." His blend of country sentiments and pop stylings created the template for Nashville's modern country music sound. Throughout his career he was a major concert attraction and a radio and television star. Few other figures can claim to have had as great an influence on contemporary country and popular arranging.