Outside its handful of stars, country rock's greatest significance was on artists in other genres, including the Band, Grateful Dead, Creedence Clearwater Revival, the Rolling Stones and George Harrison's solo work. It also played a part in the development of Southern rock, which, although largely derived from blues rock, had a distinct southern lilt, and it paved the way for parts of the alternative country movement. The genre declined in popularity in the late 1970s, but some established artists, including Neil Young, have continued to record country-tinged rock into the twenty-first century. Country rock has survived as a cult force in Texas, where acts including the Flatlanders, Joe Ely, Butch Hancock, Jimmie Dale Gilmore and California-based Richard Brooker, have collaborated and recorded. Other performers have produced occasional recordings in the genre, including Elvis Costello's Almost Blue (1981) and the Robert Plant and Alison Krauss collaboration Raising Sand, which was one of the most commercially successful albums of 2007.
If Johnny Cash covered one of your songs on his final albums, it automatically meant it embodied some sort of country spirit however musically disguised. Cash, of course, interpreted the title track from this 1999 record the following year on American III: Solitary Man. I See a Darkness is dark, yes. It is gothic without being goth. Yet, its confessional cries and distant, discordant layering (especially on tracks like “Nomadic Revery (All Around)”) are also subversive in a way that honors the subgenre.—Hilary Saunders
The music of the 1960s and 1970s targeted the American working class, and truckers in particular. As country radio became more popular, trucking songs like the 1963 hit song Six Days on the Road by Dave Dudley began to make up their own subgenre of country. These revamped songs sought to portray American truckers as a "new folk hero", marking a significant shift in sound from earlier country music. The song was written by actual truckers and contained numerous references to the trucker culture of the time like "ICC" for Interstate Commerce Commission and "little white pills" as a reference to amphetamines. Starday Records in Nashville followed up on Dudley's initial success with the release of Give me 40 Acres by the Willis Brothers.
Popular contemporary performers of Australian country music include John Williamson (who wrote the iconic "True Blue"), Lee Kernaghan (whose hits include "Boys from the Bush" and "The Outback Club"), Gina Jeffreys, Forever Road and Sara Storer. In the United States, Olivia Newton-John, Sherrié Austin and Keith Urban have attained great success. During her time as a country singer in the 1970s, Newton-John became the first (and to date only) non-American winner of the Country Music Association Award for Female Vocalist of the Year which many considered a controversial decision by the CMA; after starring in the rock-and-roll musical film Grease in 1978, Newton-John (mirroring the character she played in the film) shifted to pop music in the 1980s. Urban is arguably considered the most successful international Australian country star, winning nine CMA Awards, including three Male Vocalist of the Year wins and two wins of the CMA's top honour Entertainer of the Year.
Just on radio, the CBC has provided numerous outlets for both major label and independent artists. Any PR rep can attest that getting an artist interviewed on Radio 1’s q can be a major boost to their profile. On Radio 2, there are countless programs airing Canadian music that is unlikely to get much airtime elsewhere. Shows such as Radio 2 Morning and Drive, Vinyl Tap, Tonic, Tempo, and The Signal play established and lesser-known Canadian artists alongside major international acts for a national listenership.
In the early 1970s, Jennings fought Nashville for creative control to make his music the way he saw fit. Though he had been a consistent hitmaker for close to a decade by this point, you could hear a difference on such songs as “This Time” and “Are You Sure Hank Done It This Way.” He was called an outlaw, though he tended to rebel against that word as well over the years. Looking back, Jennings simply wanted to be himself –- ranging from covers of such current hits as “Can’t You See” to stunning ballads like “Dreaming My Dreams With You.”
I agree with you about Blundell but still think his firing marked the beginning of the end for the station in many ways. They couldn't maintain an identity after that. The song selection had been bad for years but seemed to get even worse. Indie 88 came about around that time I think....can't remember the timing, but I think a lot of people just stopped listening.
Pioneers of a more Americanised popular country music in Australia included Tex Morton (known as "The Father of Australian Country Music") in the 1930s. Author Andrew Smith delivers a through research and engaged view of Tex Morton's life and his impact on the country music scene in Australia in the 1930s and 1940s. Other early stars included Buddy Williams, Shirley Thoms and Smoky Dawson. Buddy Williams (1918–1986) was the first Australian-born to record country music in Australia in the late 1930s and was the pioneer of a distinctly Australian style of country music called the bush ballad that others such as Slim Dusty would make popular in later years. During the Second World War, many of Buddy Williams recording sessions were done whilst on leave from the Army. At the end of the war, Williams would go on to operate some of the largest travelling tent rodeo shows Australia has ever seen.
While some might argue that Twitty didn’t change the rules of the format like a Haggard or Jones, his influence on the format can’t be understated. From 1968 until his passing in 1993, Twitty charted hit after hit. His 40 No. 1 hits on the Billboard charts was a record that held firm for years until George Strait broke it. From “Hello Darlin” to “Don’t Take It Away,” and all the way through to “She’s Got A Single Thing In Mind,” Twitty was the perfect example of the word evolution.
For a relatively small country (roughly 36 million), Canada continues to punch above its weight when it comes to musical contribution. The sheer volume of notable acts that were left off the list is impressive enough. From bonafide legends (Neil Young and Joni Mitchell) to 80s hit machines (Bryan Adams and Corey Hart) to 00’s chart toppers (The Weeknd and Grimes) Canada boasts some serious homegrown talent that they’re nice enough to share with the rest of the world. To celebrate Canada Day, we’ve assembled a list of the country’s greatest musicians that cross all genres, eras and provinces (excluding the many talented French-Canadian artists and Glenn Gould, Lenny Breau, and Oscar Petersen (they’re above lists).
Country rock is a subgenre of popular music, formed from the fusion of rock and country. It was developed by rock musicians who began to record country-flavored records in the late-1960s and early-1970s. These musicians recorded rock records using country themes, vocal styles, and additional instrumentation, most characteristically pedal steel guitars. Country rock began with artists like Bob Dylan, the Byrds, Nitty Gritty Dirt Band, the Flying Burrito Brothers, Gram Parsons and others, reaching its greatest popularity in the 1970s with artists such as Emmylou Harris, the Eagles, Linda Ronstadt, Michael Nesmith, Poco and Pure Prairie League. Country rock also influenced artists in other genres, including the Band, Grateful Dead, Creedence Clearwater Revival, the Rolling Stones, and George Harrison's solo work. It also played a part in the development of Southern rock.
The Kentucky band’s sprawling major-label debut did nothing to alter the independent spirit of singer-songwriter Jim James and his cohorts. The country-rock base retained elements of Memphis soul, classic ’70s rock and neo-psychedelic sounds, all drenched in salubrious washes of reverb. Besides, nothing says complete artistic freedom like 12 songs that average six minutes in length, many of which were recorded in a grain silo to give the reverb more reverb. Styles mix wantonly, songs meander but never go quite where you expect them to. What begins as an acoustic-driven folk song (“Magheeta”) morphs into a hard-rocking power ballad; a funkified homage to R&B clubs (“Dance Floors”) becomes an Exile on Main Street-era block party, powered by a propulsive horn section straight out of “Tumbling Dice”; and the minor-key melancholia of Neil Young’s Crazy Horse epics (think “Cortez the Killer”) forms the backbone of “Run Through” until it mutates at the chorus into the early ’80s Manchester sound reminiscent of New Order. Is it alt-country? That’s as good a descriptor as anything else.—John Schact
Don Messer's Jubilee was a Halifax, Nova Scotia-based country/folk variety television show that was broadcast nationally from 1957 to 1969. In Canada it out-performed The Ed Sullivan Show broadcast from the United States and became the top-rated television show throughout much of the 1960s. Don Messer's Jubilee followed a consistent format throughout its years, beginning with a tune named "Goin' to the Barndance Tonight", followed by fiddle tunes by Messer, songs from some of his "Islanders" including singers Marg Osburne and Charlie Chamberlain, the featured guest performance, and a closing hymn. It ended with "Till We Meet Again".
…launch an entirely new genre, country rock. It charted at number three, but, owing to the comparative simplicity of its lyrics, people questioned whether Dylan remained a cutting-edge artist. Meanwhile, rock’s first bootleg album, The Great White Wonder—containing unreleased, “liberated” Dylan recordings—appeared in independent record stores. Its distribution methods were… https://www.youtube.com/watch?v=t7V6A-cZmmo