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.

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.

In her provocative new book Rednecks, Queers, and Country Music, Nadine Hubbs looks at how class and gender identity play out in one of America's most culturally and politically charged forms of popular music. Skillfully weaving historical inquiry with an examination of classed cultural repertoires and close listening to country songs, Hubbs confronts the shifting and deeply entangled workings of taste, sexuality, and class politics. In Hubbs's view, the popular phrase "I'll listen to anything but country" allows middle-class Americans to declare inclusive "omnivore" musical tastes with one crucial exclusion: country, a music linked to low-status whites. Throughout Rednecks, Queers, and Country Music, Hubbs dissects this gesture, examining how U.S. provincial white working people have emerged since the 1970s as the face of American bigotry, particularly homophobia, with country music their audible emblem. Bringing together the redneck and the queer, Hubbs challenges the conventional wisdom and historical amnesia that frame white working folk as a perpetual bigot class. With a powerful combination of music criticism, cultural critique, and sociological analysis of contemporary class formation, Nadine Hubbs zeroes in on flawed assumptions about how country music models and mirrors white working-class identities. She particularly shows how dismissive, politically loaded middle-class discourses devalue country's manifestations of working-class culture, politics, and values, and render working-class acceptance of queerness invisible. Lucid, important, and thought-provoking, this book is essential reading for students and scholars of American music, gender and sexuality, class, and pop culture.

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.

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

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

Immediately upon publication in 1998, the Encyclopedia of Country Music became a much-loved reference source, prized for the wealth of information it contained on that most American of musical genres. Countless fans have used it as the source for answers to questions about everything from country's first commercially successful recording, to the genre's pioneering music videos, to what conjunto music is.
This thoroughly revised new edition includes more than 1,200 A-Z entries covering nine decades of history and artistry, from the Carter Family recordings of the 1920s to the reign of Taylor Swift in the first decade of the twenty-first century. Compiled by a team of experts at the Country Music Hall of Fame and Museum, the encyclopedia has been brought completely up-to-date, with new entries on the artists who have profoundly influenced country music in recent years, such as the Dixie Chicks and Keith Urban. The new edition also explores the latest and most critical trends within the industry, shedding light on such topics as the digital revolution, the shifting politics of country music, and the impact of American Idol (reflected in the stardom of Carrie Underwood). Other essays cover the literature of country music, the importance of Nashville as a music center, and the colorful outfits that have long been a staple of the genre.
The volume features hundreds of images, including a photo essay of album covers; a foreword by country music superstar Vince Gill (the winner of twenty Grammy Awards); and twelve fascinating appendices, ranging from lists of awards to the best-selling country albums of all time.
Winner of the Best Reference Award from the Popular Culture Association
"Any serious country music fan will treasure this authoritative book."
--The Seattle Times
"A long-awaited, major accomplishment, which educators, historians and students, broadcasters and music writers, artists and fans alike, will welcome and enjoy."
--The Nashville Musician
"Should prove a valuable resource to those who work in the country music business. But it's also an entertaining read for the music's true fans."
--Houston Chronicle
"This big, handsome volume spans the history of country music, listing not only artists and groups but also important individuals and institutions."
--San Francisco Examiner
"Promises to be the definitive historical and biographical work on the past eight decades of country music. Well written and heavily illustratedan unparalleled work, worth its price and highly recommended."
--Library Journal

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.

"Southern Fiddlers and Fiddle Contests" explores the phenomenon of American fiddle contests, which now have replaced dances as the main public event where American fiddlers get together. Chris Goertzen studies this change and what it means for audiences, musicians, traditions, and the future of southern fiddle music.

Goertzen traces fiddling and fiddle contests from mid-eighteenth-century Scotland to the modern United States. He takes the reader on journeys to the important large contests, such as those in Hallettville, Texas; Galax, Virginia; Weiser, Idaho; and also to smaller ones, including his favorite in Athens, Alabama. He reveals what happens on stage and during such off-stage activities as camping, jamming, and socializing, which many fiddlers consider much more important than the competition.

Through multiple interviews, Goertzen also reveals the fiddlers' lives as told in their own words. The reader learns how and in what environments these fiddlers started playing, where they perform today, how they teach, what they think of contests, and what values they believe fiddling supports. "Southern Fiddlers and Fiddle Contests" shows how such contests have become living embodiments of American nostalgia.

When George Jones recorded "He Stopped Loving Her Today" more than thirty years ago, he was a walking disaster. Twin addictions to drugs and alcohol had him drinking Jim Beam by the case and snorting cocaine as long as he was awake. Before it was over, Jones would be bankrupt, homeless, and an unwilling patient at an Alabama mental institution. In the midst of all this chaos, legendary producer Billy Sherrill-the man who discovered Tammy Wynette and cowrote "Stand by Your Man"-would somehow coax the performance of a lifetime out of the mercurial Jones. The result was a country masterpiece.

"He Stopped Loving Her Today," the story behind the making of the song often voted the best country song ever by both critics and fans, offers an overview of country music's origins and a search for the music's elusive Holy Grail: authenticity. The schizoid bottom line-even though country music is undeniably a branch of the make believe world of show biz, to fans and scholars alike, authenticity remains the ultimate measure of the music's power.

This title offers a superb investigation of what is arguably Johnny Cash's greatest album, focusing on his enduring mythology. When Johnny Cash signed to Rick Rubin's record label in 1993, he was a country music legend who, like his fellow Highwaymen Willie, Waylon and Kris, remained a fondly regarded yet completely marginalized Nashville figure, unheard on the radio and unseen on the charts. Cash's odyssey from oldies act to folk hero pivots on his first American Recordings album, a document of almost unbearable solitude and directness. It is a singular record, an instance in which a musical giant has been granted a kind of midnight reprieve, a chance to regain and renew his legend. Tony Tost illuminates the ways in which American Recordings is the crossroads where cultural, spiritual and mythic archetypes come together in the figure of The Man in Black. Ultimately, this is a guidebook to myth and mystery, a means of apprehending the stark beauty of Cash's greatest record, the sound of a man alone and fighting for his soul, one song at a time. "33 1/3" is a series of short books about a wide variety of albums, by artists ranging from James Brown to the Beastie Boys. Launched in September 2003, the series now contains over 60 titles and is acclaimed and loved by fans, musicians and scholars alike. For more information on the series and on individual titles in the series, check out our blog at our associated website.

Dolly Parton's success as a performer and pop culture phenomenon has overshadowed her achievements as a songwriter. But she sees herself as a songwriter first, and with good reason. Parton's compositions like "I Will Always Love You" and "Jolene" have become American standards with an impact far beyond country music. Lydia R. Hamessley's expert analysis and Parton's characteristically straightforward input inform this comprehensive look at the process, influences, and themes that have shaped the superstar's songwriting artistry. Hamessley reveals how Parton's loving, hardscrabble childhood in the Smoky Mountains provided the musical language, rhythms, and memories of old-time music that resonate in so many of her songs. Hamessley further provides an understanding of how Parton combines her cultural and musical heritage with an artisan's sense of craft and design to compose eloquent, painfully honest, and gripping songs about women's lives, poverty, heartbreak, inspiration, and love. Filled with insights on hit songs and less familiar gems, Unlikely Angel covers the full arc of Dolly Parton's career and offers an unprecedented look at the creative force behind the image.

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.

Jimmie Rodgers (1897-1933), the first performer elected to the Country Music Hall of Fame, was a folk hero in his own lifetime and has been idolized by fans and emulated by performers ever since. His life story has been particularly susceptible to romanticizing, marked as it was by humble origins, sudden success and fame, and an early death from tuberculosis.

Nolan Porterfield's biography banishes the rumors and myths that have long shrouded the Blue Yodeler's life story. Unlike previous writings about Rodgers, Porterfield's book derives from extensive and detailed research into original sources: private letters, personal interviews, court records, and newspaper accounts. "Jimmie Rodgers" significantly expands and alters our knowledge of the entertainer's life and career, explaining the nature of his role in American culture of the Depression era and providing insightful background on the milieu in which he worked. Porterfield writes a preface for this edition.

Nolan Porterfield's other books include "Last Cavalier: The Life and Times of John A. Lomax" and an award-winning novel, "A Way of Knowing." A native of Texas, he now lives near Bowling Green, Kentucky.

Each year over 7,000,000 visitors come to Branson, Missouri. The town is home to over 100 shows and attractions ranging from country to pop, big band to magic. This book takes a look at a cross section of people who make Branson's entertainment community unique, from its pioneer entertainers to the superstars who've made the town their home to the performers who delight visitors day and night in theaters, restaurants and theme parks. It tells the story of a fruit truck driver who turned a vacant piece of land into a multi-million dollar entertainment mecca, a truck stop waitress from South Dakota who found the perfect place to wait tables while pursuing a singing and recording career, a country music superstar who tried to avoid Branson but eventually opened his own theater on the city's 76 Country Boulevard and others who have helped make the music show capital unique in all the world. Their stories are seen through the eyes of a veteran broadcaster who has spent thousands of hours over three decades interviewing hundreds of artists, business leaders and fans. His unique insights give an intimate account of the lives of these fascinating personalities.

"River of Tears" is the first ethnography of Brazilian country music, one of the most popular genres in Brazil yet least-known outside it. Beginning in the mid-1980s, commercial musical duos practicing "musica sertaneja" reached beyond their home in Brazil's central-southern region to become national bestsellers. Rodeo events revolving around country music came to rival soccer matches in attendance. A revival of folkloric rural music called "musica caipira," heralded as musica sertaneja's ancestor, also took shape. And all the while, large numbers of Brazilians in the central-south were moving to cities, using music to support the claim that their Brazil was first and foremost a rural nation.

Since 1998, Alexander Sebastian Dent has analyzed rural music in the state of Sao Paulo, interviewing and spending time with listeners, musicians, songwriters, journalists, record-company owners, and radio hosts. Dent not only describes the production and reception of this music, he also explains why the genre experienced such tremendous growth as Brazil transitioned from an era of dictatorship to a period of intense neoliberal reform. Dent argues that rural genres reflect a widespread anxiety that change has been too radical and has come too fast. In defining their music as rural, Brazil's country musicians--whose work circulates largely in cities--are criticizing an increasingly inescapable urban life characterized by suppressed emotions and an inattentiveness to the past. Their performances evoke a river of tears flowing through a landscape of loss--of love, of life in the countryside, and of man's connections to the natural world.

The American singer and guitarist Ramblin' Jack Elliott (1931- ) is a seminal figure in the folk music revivals of the United States and Great Britain. Declared an American treasure by former President Bill Clinton, Elliott has traveled and performed for more than 50 years, and his life and career neatly parallel the ascension of folk music's "renaissance" from the 1940s through the present day. Ramblin' Jack Elliott: The Never-Ending Highway is the first complete biography of this important figure in the history of folk music. Elliott's music and Beat-era sensibility influenced countless artists in the fields of folk, rock, and country and western music, and Hank Reineke provides the full story of Elliott's relationships and influences. Most notably, his associations with Woody Guthrie and Bob Dylan are well-documented: Elliott is considered Guthrie's most famous protege and Elliott mentored Dylan in his early career. Reineke also recounts how Elliott's life intersected with Derroll Adams, Jack Kerouac and the Beats, Princess Margaret, James Dean, and scores of others. The book examines the full breadth of Elliott's career, discussing how the rough-edged cowboy singer survived in the music industry and eventually won a Grammy Award for Best Traditional Folk Recording and the prestigious National Medal of the Arts. In addition to the biography, Reineke has amassed the first exhaustive and comprehensive discography of albums from the singer's notable back-catalog (1955-2009), including nearly 60 LP and CD issues, many rare and sought-after 78rpm discs, EPs, and 45rpm recordings, as well as a number of contributions to compilations, soundtracks, festival recordings, and guest appearances. This impressive volume is rounded out with a bibliography, an index, and more than 30 photographs, making this a must-have for scholars and fans of American folk music."

"Listening to the Beat of the Bomb" UPK author Charles Wolfe discusses his work and his new book Country Music Goes to War in the NEW YORK TIMES. While Toby Keith suggests that Americans should unite in support of the president, the Dixie Chicks assert their right to criticize the current administration and its military pursuits. Country songs about war are nearly as old as the genre itself, and the first gold record in country music went to the 1942 war song "There's a Star Spangled Banner Waving Somewhere" by Elton Britt. The essays in Country Music Goes to War demonstrate that country musicians' engagement with significant political and military issues is not strictly a twenty-first-century phenomenon. The contributors examine the output of country musicians responding to America's large-scale confrontation in recent history: World War II, the Korean War, Vietnam, the cold war, September 11, and both conflicts in the Persian Gulf. They address the ways in which country songs and artists have energized public discourse, captured hearts, and inspired millions of minds. Charles K. Wolfe, professor of English and folklore at Middle Tennessee State University, is the author of numerous books and articles on music. James E. Akenson, professor of curriculum and instruction at Tennessee Technological University, is the founder of the International Country Music Conference. Together they have edited the collections The Women of Country Music, Country Music Annual 2000, Country Music Annual 2001, and Country Music Annual 2002.

"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.