Country Music Annual 2001

Country Music Annual 2001

Charles K. Wolfe
James E. Akenson
Copyright Date: 2001
Pages: 216
https://www.jstor.org/stable/j.ctt130j2nc
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  • Book Info
    Country Music Annual 2001
    Book Description:

    The swelling interest in popular music studies has far outpaced the outlets for publication. With theCountry Music Annual, scholars, students, and interested readers have a place for sharing their research and ideas.

    The subjects of this second volume range from one of the very first musicians to make country records, Henry Gilliland, to the current avant-garde work of the alternative country band Uncle Tupolo. Ernest Tubb's musical roots, the origins of one of Roy Acuff's classic gospel songs, and the Carter Family's rhythms are discussed in these pages. Even NASCAR makes an appearance.

    Advisory Board: Bill C. Malone, Nolan Porterfield, Jimmie Rogers, Curtis Ellison, William K. McNeil, Wayne W. Daniel, Joli Jensen.

    eISBN: 978-0-8131-5718-4
    Subjects: Music

Table of Contents

  1. Front Matter
    (pp. [i]-[iv])
  2. Table of Contents
    (pp. [v]-[vi])
  3. Introduction
    (pp. 1-3)
    Charles K. Wolfe and James E. Akenson

    This second volume of theCountry Music Annualcontinues our efforts to provide a national venue for new writing about country music. The first volume has met with a gratifying response, both from readers and from researchers, and has confirmed our belief in the need for this series. InCountry Music Annual 2000we sought to provide for scholars as well as for serious fans a collection of thoughtful and provocative discussions about a music that has taken its place in the new millennium as one of the major genres of American popular culture, a genre with deep roots in...

  4. Having the Franchise: Country Music TV from the Third Coast
    (pp. 4-25)
    David Black

    “The Nashville Network is dead.” The September 2000Tennesseanarticle reporting The Nashville Network’s (TNN) demise clearly read like an obituary in describing the network’s final transition to New York-based control and severing of its symbolic connection to the city of Nashville (Shiffman and Lawson 2000). That final development ended a process beginning four years earlier, a process that continually moved the network away from country music programming and Nashville-based management. In February 1997 Gaylord Entertainment sold TNN and Country Music Television video network (CMT) to Westinghouse-owned CBS in a strategy to redirect Gaylord away from cable television programming and...

  5. The Country Music–NASCAR Connection
    (pp. 26-50)
    Lawrence E. Ziewacz

    Over the last decade, NASCAR racing has vaulted into the forefront of spectator sports, both live and on television. In 1998 NASCAR celebrated its fiftieth season, and part of the celebration, no doubt, was over cable and network television ratings—soaring dramatically upward with attendance at NASCAR events increasing by 50 percent over the last five years—and over the sale of NASCAR merchandise, up by an astounding 1,000 percent during the last decade. Obviously attracted by these numbers, corporate sponsors, many of them Fortune Five Hundred companies, have poured millions of their estimated $6 billion budget allotted for sponsorship...

  6. Performance, Faith, and Bluegrass Gospel: An Anthropological Journey with Jerry and Tammy Sullivan
    (pp. 51-69)
    Jack Bernhardt

    From Brewton northwest to Goodway, Alabama, State Road 41 seems an ordinary stretch of southern roadway, its two-lane black top snaking lazily past swaying stands of loblolly pine and baking fields of plowed red clay. Aging mobile homes and small frame houses signal an economy of modestscale truck farming and lumbering today, lumber camps and subsistence farming in the recent past.

    The setting is a warm April Sunday in the season of Pentecost. Jerry and Tammy Sullivan and their bluegrass gospel band are on the road again, leaving one church and bound for the next on the first leg of...

  7. “Oh, What a Life a Mess Can Be”: Uncle Tupelo, Bahktin, and the Dialogue of Alternative Country Music
    (pp. 70-91)
    S. Renee Dechert

    The story of Uncle Tupelo is well known. In the mid-1980s, brothers Jay and Wade Farrar (guitars) and Mike Heidorn (drums), all high school friends, began playing in the Primitives, a punk band in Belleville, Illinois.¹ That all changed when Wade left the band to join the army in 1987 and former roadie Jeff Tweedy stepped in, leading to the formation of Uncle Tupelo. Jay Farrar and Tweedy shared songwriting and singing duties—Farrar’s material abstract and imagistic, Tweedy’s more straightforward but no less angry in describing the sense of small-town ennui that permeates Uncle Tupelo.² This group released three...

  8. Come Prepared to Stay. Bring Fiddle: The Story of Sally Ann Forrester, the Original Bluegrass Girl
    (pp. 92-120)
    Murphy H. Henry

    Sally Ann Forrester occupies a special place in the annals of country and bluegrass music. Because she played with Bill Monroe and the Blue Grass Boys from 1943 until 1946, she is, by definition, the first woman in bluegrass, the original bluegrass girl. In addition to her long tenure with Monroe, she also played on his first Columbia recordings. Those eight sides, recorded in 1945, include “Kentucky Waltz,” Monroe’s first big hit “in terms of publicly documented sales”¹ on which the accordion, the instrument Sally Ann played, was prominently featured.

    Yet, until now, there has been little interest in the...

  9. There’s a Little Bit of Everything in Texas: The Texas Musical Roots of Ernest Tuba
    (pp. 121-133)
    Ronnie Pugh

    Country music star Ernest Tubb grew up a Texan through and through, knowing most of the state firsthand. Born February 9, 1914, at tiny Crisp in Ellis County near Dallas, he also lived during his first thirty years in West Texas (Knox County, later in San Angelo) and in some of the big cities (San Antonio, Corpus Christi, and Fort Worth). I have found no indication that Tubb ever left Texas before becoming a professional country singer and journeying to Hollywood for an October 1940 recording session. We should not, therefore, be surprised to discover the variety of ways in...

  10. How a Salvation Army Hymn Became a Gospel Standard: The Story of “The Great Judgment Morning”
    (pp. 134-146)
    Wayne W. Daniel

    In April 1941 Roy Acuff recorded a gospel song titled “The Great Judgment Morning,” thereby introducing it to a wide audience of country music aficionados.¹ That was not the first time the song had been recorded, but it was the first by a country artist. Earlier, the song had been recorded by several gospel acts—most notably by the evangelistic singer and gospel music entrepreneur Homer Rodeheaver, first for the Victor label and later, in the 1920s, on his Rainbow label.²

    “The Great Judgment Morning” has appeared in more than sixty different hymnals, most of which employ the seven-shape musical...

  11. Radio and the Blue Ridge
    (pp. 147-160)
    Joe Wilson

    It seemed like magic, this box that could grab voices from the wind and reproduce them on headphones or speakers. Here were the words, songs, and tunes of people who stood hundreds of miles away, words heard instantly as they were spoken—the modulations of voice perfectly audible, the intake of breath heard as if inches away. It was magic, a form of transporting, ancient witchcraft made science, the future had arrived. Nowadays, it is common to equate early radio with early television in assessing impact. This is an error. Nothing like radio had happened before. Radio came before sound...

  12. The Carter Family’s Rhythmic Asymmetry
    (pp. 161-188)
    Thomas Carl Townsend

    The Carter Family began an illustrious recording career in 1927, when A. P. Carter, his wife Sara, and her cousin Maybelle traveled a rough road to Bristol, Tennessee, to record a few songs for Ralph Peer. By the time they recorded those first record sides, the Carters had already worked out a repertory of songs gathered from the countryside near where they lived, in Maces Spring, Virginia. The recordings were released to the public, and the music that would come to be so popular and widely influential was born.

    The songs the Carter family recorded that day and in later...

  13. Country Music’s Confederate Grandfather: Henry C. Gilliland
    (pp. 189-204)
    Kevin S. Fontenot

    The story of the birth of the country music industry has attained legendary status. In June 1922, two men, the younger dressed as a cowboy, the other as a Confederate veteran, pushed their way into the New York offices of the Victor Recording Company. The cowboy announced that they had arrived to make a few recordings of old-time fiddle music and that if the Victor agents listened he was sure the recordings would please them. After some argument, the Victor representatives agreed to let the men cut what were to be the first recordings of old-time rural music.¹ While the...

  14. Appendix 1 Fiddle Tunes Mentioned in Gilliland Scrapbook Clippings
    (pp. 205-205)
  15. Appendix 2 Fiddlers Mentioned in Gilliland Scrapbook Clippings
    (pp. 206-206)
  16. Appendix 3 Moses J. Bonner: A Brief Sketch
    (pp. 207-208)
  17. Contributors
    (pp. 209-212)