The South -- an inspiration for songwriters, a source of styles, and the birthplace of many of the nation's greatest musicians -- plays a defining role in American musical history. It is impossible to think of American music of the past century without such southern-derived forms as ragtime, jazz, blues, country, bluegrass, gospel, rhythm and blues, Cajun, zydeco, Tejano, rock'n'roll, and even rap. Musicians and listeners around the world have made these vibrant styles their own. Southern Music/American Music is the first book to investigate the facets of American music from the South and the many popular forms that emerged from it. In this substantially revised and updated edition, Bill C. Malone and David Stricklin bring this classic work into the twenty-first century, including new material on recent phenomena such as the huge success of the soundtrack to O Brother, Where Art Thou? and the renewed popularity of Southern music, as well as important new artists Lucinda Williams, Alejandro Escovedo, and the Dixie Chicks, among others. Extensive bibliographic notes and a new suggested listening guide complete this essential study.

"Fifty years after its first publication, Country Music USA still stands as the most authoritative history of this uniquely American art form. Here are the stories of the people who made country music into such an integral part of our nation's culture. We feel lucky to have had Bill Malone as an indispensable guide in making our PBS documentary; you should, too." -Ken Burns and Dayton Duncan, Country Music: An American Family Story From reviews of previous editions: "Considered the definitive history of American country music." -Los Angeles Times "If anyone knows more about the subject than [Malone] does, God help them." -Larry McMurtry, from In a Narrow Grave "With Country Music USA, Bill Malone wrote the Bible for country music history and scholarship. This groundbreaking work, now updated, is the definitive chronicle of the sweeping drama of the country music experience." -Chet Flippo, former editorial director, CMT: Country Music Television and CMT.com "Country Music USA is the definitive history of country music and of the artists who shaped its fascinating worlds." -William Ferris, University of North Carolina at Chapel Hill, former chairman of the National Endowment for the Humanities and coeditor of the Encyclopedia of Southern Culture Since its first publication in 1968, Bill C. Malone's Country Music USA has won universal acclaim as the definitive history of American country music. Starting with the music's folk roots in the rural South, it traces country music from the early days of radio into the twenty-first century. In this fiftieth-anniversary edition, Malone, the featured historian in Ken Burns's 2019 documentary on country music, has revised every chapter to offer new information and fresh insights. Coauthor Tracey Laird tracks developments in country music in the new millennium, exploring the relationship between the current music scene and the traditions from which it emerged.

For five decades, as a singer, musician, songwriter, and producer, Tim O'Brien has ceaselessly explored the vast American musical landscape. While Appalachia and Ireland eventually became facets of the defining myth surrounding him and his music, he has digested a broad array of roots styles, reshaping them to his own purposes. Award-winning biographer Bobbie Malone and premier country music historian Bill C. Malone have teamed again, this time to chronicle O'Brien's career and trace the ascent of Hot Rize and its broadening and enrichment of musical traditions. At the beginning of that career, O'Brien moved from his native West Virginia to the Rocky Mountain West. In just a few years, he became the lead singer, mandolin and fiddle player, and principal songwriter of beloved 1980s bluegrass band Hot Rize. Seeking to move beyond bluegrass, he next went to Nashville. O'Brien's success in navigating the shoals of America's vast reservoir of folk musical expressions took him into the realm of what is now called Americana. The core of Tim O'Brien's virtuosity is his abiding and energetic pursuit of the next musical adventure. As a traveler, he has ranged widely in choosing the next instrument, song, style, fellow musicians, or venue. Written with O'Brien's full cooperation and the input of family, friends, colleagues, and critics, Traveler provides the first complete, behind-the-scenes picture of a thoroughly American self-made musical genius-the boy who grew up listening to country artists at the WWVA Wheeling Jamboree and ended up charting a new course through American music.

For over fifty years, Bill C. Malone has researched and written about the history of country music. Today he is celebrated as the foremost authority on this distinctly American genre. This new collection brings together his significant article-length work from a variety of sources, including essays, book chapters, and record liner notes. Sing Me Back Home distills a lifetime of thinking about country and southern roots music. Malone offers the heartfelt story of his own working-class upbringing in rural East Texas, recounting how in 1939 his family's first radio, a battery-powered Philco, introduced him to hillbilly music and how, years later, he went on to become a scholar in the field before the field formally existed. Drawing on a hundred years of southern roots music history, Malone assesses the contributions of artists such as William S. Hays, Albert Brumley, Joe Thompson, Jimmie Rodgers, Johnny Gimble, and Elvis Presley. He also explores the intricate relationships between black and white music styles, gospel and secular traditions, and pop, folk, and country music. Author of many books, Malone is best known for his pioneering volume County Music, U.S.A., published in 1968. It ranks as the first comprehensive history of American country music and remains a standard reference. This compilation of Malone's shorter - and more personal - essays is the perfect complement to his earlier writing and a compelling introduction to the life's work of America's most respected country music historian.

This volume gathers personal recollections by fifteen eminent historians of the American South. Coming from distinctive backgrounds, traveling diverse career paths, and practicing different kinds of history, the contributors exemplify the field's richness on many levels. As they reflect on why they joined the profession and chose their particular research specialties, these historians write eloquently of family and upbringing, teachers and mentors, defining events and serendipitous opportunities. The struggle for civil rights was the defining experience for several contributors. Peter H. Wood remembers how black fans of the St. Louis Cardinals erupted in applause for the Dodgers' Jackie Robinson. ""I realized for the first time,"" writes Wood, ""that there must be something even bigger than hometown loyalties dividing Americans."" Gender equality is another frequent concern in the essays. Anne Firor Scott tells of her advisor's ridicule when childbirth twice delayed Scott's dissertation: ""With great effort I managed to write two chapters, but Professor Handlin was moved to inquire whether I planned to have a baby every chapter."" Yet another prominent theme is the reconciliation of the professional and the personal, as when Bill C. Malone traces his scholarly interests back to ""the memories of growing up poor on an East Texas cotton farm and finding escape and diversion in the sounds of hillbilly music."" Always candid and often witty, each essay is a road map through the intellectual terrain of southern history as practiced during the last half of the twentieth century.

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.

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.

The most atypical of bluegrass artists, Bill Clifton has enjoyed a long career as a recording artist, performer, and champion of old-time music. Bill C. Malone pens the story of Clifton's eclectic life and influential career. Born into a prominent Maryland family, Clifton connected with old-time music as a boy. Clifton made records around earning a Master's degree, fifteen years in the British folk scene, and stints in the Peace Corps and Marines. Yet that was just the beginning. Closely allied with the Carter Family, Woody Guthrie, Mike Seeger, and others, Clifton altered our very perceptions of the music--organizing one of the first outdoor bluegrass festivals, publishing a book of folk and gospel standards that became a cornerstone of the folk revival, and introducing both traditional and progressive bluegrass around the world. As Malone shows, Clifton clothed the music of working-class people in the vestments of romance, celebrating the log cabin as a refuge from modernism that rang with the timeless music of Appalachia. An entertaining account by an eminent music historian, Bill Clifton clarifies the myths and illuminates the paradoxes of an amazing musical life.

You might not know the names of Boudleaux and Felice Bryant, but you know their music. Arriving in Nashville in 1950, the songwriting duo became the first full-time independent songwriters in that musical city. In the course of their long careers, they created classic hits that pushed the boundaries of country music into the realms of pop and rock. Songs like ""Bye Bye Love,"" ""All I Have to Do Is Dream,"" ""Love Hurts,"" and ""Rocky Top"" inspired young musicians everywhere. Here, for the first time, is a complete biography of Nashville's power songwriting couple. In Nashville's Songwriting Sweethearts, authors Bobbie Malone and Bill C. Malone recount how Boudleaux and Felice, married in 1945, began their partnership as itinerant musicians living in a trailer home and writing their first songs together. In Nashville the couple had to deal with racism, classism, and in Felice's case, sexism. Yet through hard work and business acumen - and a dose of good luck - they overcame these obstacles and rose to national prominence. By the late 1990s, the Bryants had written as many as 6,000 songs and had sold more than 350 million copies worldwide. They were inducted into the Nashville Songwriters Hall of Fame in 1972, and in 1991 they became members of the Country Music Hall of Fame - a rare occurrence for songwriters who were not also performers. In 1982 their composition ""Rocky Top"" was adopted as one of the official state songs of Tennessee. The Bryants were lucky enough to arrive in the right place at the right time. Their emergence in the early fifties coincided with the rise of Nashville as Music City, USA. And their prolific collaboration with the Everly Brothers, beginning in 1957, sparked a fusion between country and pop music that endures to this day.

Combining the history of country music's roots with portraits of its primary performers, this text examines the relationship between 'America's truest music' and the working-class culture that has constituted its principal source, nurtured its development, and provided its most dedicated supporters.

One of the most influential and acclaimed female vocalists of the twentieth century, Patsy Cline (1932-63) was best known for her rich tone and emotionally expressive voice. Born Virginia Patterson Hensley, she launched her musical career during the early 1950s as a young woman in Winchester, Virginia, and her heartfelt songs reflect her life and times in this community. A country music singer who enjoyed pop music crossover success, Cline embodied the power and appeal of women in country music, helping open the lucrative industry to future female solo artists. Bringing together noted authorities on Patsy Cline and country music, Sweet Dreams: The World of Patsy Cline examines the regional and national history that shaped Cline's career and the popular culture that she so profoundly influenced with her music. In detailed, deeply researched essays, contributors provide an account of Cline's early performance days in Virginia's Shenandoah Valley, analyze the politics of the split between pop and country music, and discuss her strategies for negotiating gender in relation to her public and private persona. Interpreting rich visual images, fan correspondence, publicity tactics, and community mores, this volume explores the rich and complex history of a woman whose music and image changed the shape of country music and American popular culture. Contributors are Beth Bailey, Mike Foreman, Douglas Gomery, George Hamilton IV, Warren R. Hofstra, Joli Jensen, Bill C. Malone, Kristine M. McCusker, and Jocelyn R. Neal.