Robbie Fulks is an unlikely candidate for country insurgentista. Born in Pennsylvania and cutting his teeth at Gerde’s Folk City, he landed in Chicago where he taught at the Old Town School of Folk Music. Along the way, the songwriting multi-instrumentalist fell under the sway of ‘50s country—and sought to distill the sounds coming from WSM-AM during the day—right down to the talk/jingle-evoking “The Scrapple Song.” Working with the unlikely team of engineer Steve Albini, Buck Owens’ Buckaroo Tom Bromley on steel guitar and Lou Whitney and the Skeletons, Country Love Songs moved from punk fatal (“She Took A Lot of Pills and Died”) to the fiddle-reelin’ (“Every Kind of Music (But Country)”), grief-immersed, steel-drenched and classic country-invoked salve (“The Buck Starts Here”) to unrepentant sin-embracing (“We’ll Burn Together”). Stately, clear and willing to cornpone without schticking it up, Fulks’ rubber cement voices stretches like half truth three hours after curfew.—Holly Gleason
The Standing Committee on Canadian Heritage has released its report on the Copyright Act, making important and timely recommendations to address the growing Value Gap in Canada’s creative industries. The report, titled Shifting Paradigms, is now available on Parliament’s website. The report, based on testimony from dozens of creators and representatives from Canada’s creative industries […]
Significantly, however, the style occurred not in a city alive with the values of contemporary art but in Los Angeles, which during the previous decades had attracted many rural Southerners. Moreover, country rock’s rise to prominence paralleled the rise of the big-budget Hollywood recording studio ethic, the desire to compete with London in the effort to make pop recordings of the most highly advanced sonic clarity and detail then imaginable. Country rock had begun by insisting that the sources—and not the means—of popular music were of signal importance. Yet in the end the movement succeeded by adopting the same exacting production techniques pioneered by the Beatles and their producer George Martin.
In the 2010s, the alt-country genre saw an increase in its critical and commercial popularity, owing to the success of artists such as The Civil Wars, Chris Stapleton, Sturgill Simpson, Jason Isbell, Lydia Loveless and Margo Price. In 2019, Kacey Musgraves - a country artist who had gained a following with indie rock fans and music critics despite minimal airplay on country radio - won the Grammy Award for Album of the Year for her album Golden Hour.
Outside of the United States, Canada has the largest country music fan and artist base, something that is to be expected given the two countries' proximity and cultural parallels. Mainstream country music is culturally ingrained in the prairie provinces, the British Columbia Interior, Ontario, and in Atlantic Canada. Celtic traditional music developed in Atlantic Canada in the form of Scottish, Acadian and Irish folk music popular amongst Irish, French and Scottish immigrants to Canada's Atlantic Provinces (Newfoundland, Nova Scotia, New Brunswick, and Prince Edward Island). Like the southern United States and Appalachia, all four regions are of heavy British Isles stock and rural; as such, the development of traditional music in the Maritimes somewhat mirrored the development of country music in the US South and Appalachia. Country and Western music never really developed separately in Canada; however, after its introduction to Canada, following the spread of radio, it developed quite quickly out of the Atlantic Canadian traditional scene. While true Atlantic Canadian traditional music is very Celtic or "sea shanty" in nature, even today, the lines have often been blurred. Certain areas often are viewed as embracing one strain or the other more openly. For example, in Newfoundland the traditional music remains unique and Irish in nature, whereas traditional musicians in other parts of the region may play both genres interchangeably.
Artists from outside California who were associated with early alternative country included singer-songwriters such as Lucinda Williams, Lyle Lovett and Steve Earle, the Nashville country rock band Jason and the Scorchers and the British post-punk band The Mekons. Earle, in particular, was noted for his popularity with both country and college rock audiences: He promoted his 1986 debut album Guitar Town with a tour that saw him open for both country singer Dwight Yoakam and alternative rock band The Replacements.
Alternative Country refers to country bands that play traditional country but bend the rules slightly. They don't conform to Nashville's hitmaking traditions, nor do they follow the accepted "outlaw" route to notoriety. Instead, alternative country bands work outside of the country industry's spotlight, frequently subverting musical traditions with singer/songwriter and rock & roll lyrical (and musical) aesthetics.
Jimmie Rodgers and the Carter Family are widely considered to be important early country musicians. Their songs were first captured at a historic recording session in Bristol, Tennessee, on August 1, 1927, where Ralph Peer was the talent scout and sound recordist. A scene in the movie O Brother, Where Art Thou? depicts a similar occurrence in the same timeframe. Rodgers fused hillbilly country, gospel, jazz, blues, pop, cowboy, and folk, and many of his best songs were his compositions, including "Blue Yodel", which sold over a million records and established Rodgers as the premier singer of early country music. Beginning in 1927, and for the next 17 years, the Carters recorded some 300 old-time ballads, traditional tunes, country songs and gospel hymns, all representative of America's southeastern folklore and heritage.
Country music has been growing as an art from since Eck Robertson’s recording of “Arkansas Traveler” in 1922. From the days of 78 RPM vinyl to digital downloads, fans continue to flock to the format. So who are the 25 greatest country artists of all time? That list might very well be subject to conjecture as the definition of country, but here are the acts that have made an immeasurable mark on the genre. In compiling this list, we took into consideration sales, airplay, and influence upon the genre -- and outside of it. Let the debates commence!
1,2,3,4… name a better-known Canadian female singer who’s had one of the most unlikely success stories in popular music today? Before she was dominating the pop charts and performing on Sesame Street, the Canadian singer-songwriter and guitarist, Leslie Feist, was performing with her then roommate and electro-pop provocateur, Peaches. Shortly after, she joined Broken Social Scene and released her breakout record, The Reminder – becoming the critical darling of the NPR-loving crowd. Born in Calgary, Feist became a key player in Toronto’s music scene and continues to enchant fans and critics alike with her pretty (never precious) vocals couched in gritty rock.
RCA released his first single in 1965 without the obligatory publicity photo -– unheard of for a new artist. But, Pride was unheard of -- an African-American man singing country music. However, it wasn’t before long that Pride quickly became one of the biggest stars in the format. He won the 1971 Entertainer of the Year award from the CMA, and his sales eclipsed everyone else on the RCA label for a time in the 1970s -– even Elvis Presley.
Breaking through in the traditional era of the 1960s, Lynn was anything but conventional. She wrote and performed songs that were very much different from the other women of the time. Hits like “Don’t Come Home A’Drinkin” and “The Pill” spoke to a generation that was going through the same exact thing. Her success with a more feisty approach led to her becoming the first female winner of the CMA’s Entertainer of the Year award -– as well as the cover of Newsweek -- and her influence can still be heard today from such artists as Miranda Lambert and Kacey Musgraves.
Formed in 2001, when Win Butler, Josh Deu and Régine Chassagne met while at university in Montreal, Arcade Fire went from being local favourites to the toast of the music press in the space of only three albums. Blending baroque pop with harder indie rock sounds, the Canadian outfit gained international fandom with new-classic hits, ‘No Cars Go’ and ‘Wake Up’ and now headline festivals around the world.
Historically, music was composed in Canada's colonies and settlements during the 18th century, although very few popular named works have survived or were even published. The French and Indian Wars began and left the population economically drained and ill-equipped to develop cultural pursuits properly. The part-time composers of this period were nonetheless often quite skilled. Traditional songs and dances, such as those of the Habitants and Métis, were transmitted orally, from generation to generation and from village to village, thus people felt no need to transcribe or publish them. Printed music was required, for music teachers and their pupils, who were from the privileged minority where domestic music making was considered a proof of gentility. Music publishing and printing in Europe by this time was a thriving industry, but it did not begin in Canada until the 19th century. Canadian composers were not able to focus entirely on creating new music in these years, as most made their living in other musical activities such as leading choirs, church organists and teaching. Regimental bands were musically a part of civil life and typically featured a dozen woodwind and brass instruments, performing at parades, festive ceremonies, minuets, country dances and balls.
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Folk songs sung in Australia between the 1780s and 1920s, based around such themes as the struggle against government tyranny, or the lives of bushrangers, swagmen, drovers, stockmen and shearers, continue to influence the genre. This strain of Australian country, with lyrics focusing on Australian subjects, is generally known as "bush music" or "bush band music". "Waltzing Matilda", often regarded as Australia's unofficial national anthem, is a quintessential Australian country song, influenced more by British and Irish folk ballads than by American country and western music. The lyrics were composed by the poet Banjo Paterson in 1895. Other popular songs from this tradition include "The Wild Colonial Boy", "Click Go the Shears", "The Queensland Drover" and "The Dying Stockman". Later themes which endure to the present include the experiences of war, of droughts and flooding rains, of Aboriginality and of the railways and trucking routes which link Australia's vast distances. https://www.youtube.com/watch?v=Uj5JQNLFSgA