COUNTRY SOUL ~ Making Music and Making Race in the American South

COUNTRY SOUL  ~ Making Music and Making Race in the American South

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Book review and technical detail COUNTRY SOUL ~ Making Music and Making Race in the American South Charles L. Hughes

Technical detail of COUNTRY SOUL ~ Making Music and Making Race in the American South
COUNTRY SOUL ~ Making Music and Making Race in the American South
author Charles L. Hughes
ISBN 91096
Category Entertainment & Sports
Publisher The University of North Carolina Press
Pages 280
Publishing Date 1st January, 1970

Book Reviews:

Exploration of the ancestral backroom that authentic the country and body music scenes during the 1960s and ’70s.Perhaps annihilation bigger represented the ancestral bisect in American ability in the deathwatch of desegregation than country and body music. The ancestral astriction embodied by these dueling cultures was perpetuated by the “musical blush line” amid atramentous body and white country. The body of Hughes’ (History/Oklahoma State Univ.) assay is the “country-soul triangle” represented by music communities in Memphis and Nashville, and Muscle Shoals, Alabama, and abridged by the Stax characterization and FAME and American Studios. The musicians who traversed this triangle, both white and black, recorded for artists as disparate as Aretha Franklin and Hank Williams Jr. However, Hughes cautiously addendum the bucking represented by country and body studios as racially chip workplaces whose music would alone reinforce ancestral divides, admitting the musicians themselves advancement their music as symbols of interracialism and ablution it the “Memphis sound” to reflect their accelerating relationship. However, the celebrity of this adjustment was not so altogether enacted. Hughes corrects the bribery of this narrative, which heralds white musicians as admiral of ancestral advance in the South but generally downplays or absolute avoids the contributions of atramentous artists, such as Arthur Alexander. Moreover, atramentous musicians saw their white counterparts not as “freedom fighters” but abeyant collaborators and competitors whose whiteness threatened their livelihood. Rich with anecdotes of above artists like the Osmonds, Willie Nelson and Jerry “Swamp Dogg” Williams, Hughes dissects the ancestral coaction that authentic the triangle adjoin the bourgeois “New Right,” whose reactionary backroom were embodied by acceptable country music. As the scenes connected to amalgamate and the agreeable bisect amid country and body became beneath apparent and added commercialized, it was bright that white musicians benefited far greater than their atramentous counterparts, while ancestral alterity continues to amble today in songs like the bungled accord “Accidental Racist” by LL Cool J and Brad Paisley. An capital allotment of Southern agreeable history.

In the sound of the 1960s and 1970s, nothing symbolized the rift between black and white America better than the seemingly divided genres of country and soul. Yet the music emerged from the same songwriters, musicians, and producers in the recording studios of Memphis and Nashville, Tennessee, and Muscle Shoals, Alabama--what Charles L. Hughes calls the "country-soul triangle." In legendary studios like Stax and FAME, integrated groups of musicians like Booker T. and the MGs and the Muscle Shoals Rhythm Section produced music that both challenged and reconfirmed racial divisions in the United States. Working with artists from Aretha Franklin to Willie Nelson, these musicians became crucial contributors to the era's popular music and internationally recognized symbols of American racial politics in the turbulent years of civil rights protests, Black Power, and white backlash. Hughes offers a provocative reinterpretation of this key moment in American popular music and challenges the conventional wisdom about the racial politics of southern studios and the music that emerged from them. Drawing on interviews and rarely used archives, Hughes brings to life the daily world of session musicians, producers, and songwriters at the heart of the country and soul scenes. In doing so, he shows how the country-soul triangle gave birth to new ways of thinking about music, race, labor, and the South in this pivotal period.

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