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 thousands of years, Canada has been inhabited by Indigenous Peoples [Aboriginal peoples in Canada] from a variety of different cultures and of several major linguistic groupings. Each of the Indigenous communities had (and have) their own unique musical traditions. Chanting - singing is widely popular, with many of its performers also using a variety of musical instruments. They used the materials at hand to make their instruments for thousands of years before Europeans immigrated to the new world. They made gourds and animal horns into rattles which were elaborately carved and beautifully painted. In woodland areas, they made horns of birchbark along with drumsticks of carved antlers and wood. Drums were generally made of carved wood and animal hides. These musical instruments provide the background for songs and dances. https://www.youtube.com/watch?v=W9fe7rVSAuY
Though she hit first with “Walkin’ After Midnight” in 1957, Cline’s true influence as an artist stems from only a three-year recording career (1960-1963). However, what she did with that time period continues to inspire countless artists around the world. Take a walk to Nashville’s lower Broadway on any given night, and you will likely hear a rising female singer doing “Crazy” -– something that will likely be the case for another 50 years or so.
The first American country music video cable channel was The Nashville Network, launched in the early 1980s as a channel devoted to southern culture. In 2000, after it and CMT fell under the same corporate ownership, the channel was stripped of its country format and rebranded as The National Network, then Spike, and finally Paramount Network. TNN was later revived from 2012 to 2013 after Jim Owens Entertainment (the company responsible for prominent TNN hosts Crook & Chase) acquired the trademark and licensed it to Luken Communications; that channel renamed itself Heartland after Luken was embroiled in an unrelated dispute that left the company bankrupt.
The Prairie provinces, due to their western cowboy and agrarian nature, are the true heartland of Canadian country music. While the Prairies never developed a traditional music culture anything like the Maritimes, the folk music of the Prairies often reflected the cultural origins of the settlers, who were a mix of Scottish, Ukrainian, German and others. For these reasons polkas and Western music were always popular in the region, and with the introduction of the radio, mainstream country music flourished. As the culture of the region is western and frontier in nature, the specific genre of country and western is more popular today in the Prairies than in any other part of the country. No other area of the country embraces all aspects of the culture, from two-step dancing, to the cowboy dress, to rodeos, to the music itself, like the Prairies do. The Atlantic Provinces, on the other hand, produce far more traditional musicians, but they are not usually specifically country in nature, usually bordering more on the folk or Celtic genres.
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Alternative country drew on traditional American country music, the music of working people, preserved and celebrated by practitioners such as Woody Guthrie, Hank Williams, and The Carter Family, often cited as major influences. Another major influence was country rock, the result of fusing country music with a rock & roll sound. The artist most commonly thought to have originated country rock is Gram Parsons (who referred to his sound as "Cosmic American Music"), although Michael Nesmith, Steve Earle and Gene Clark are frequently identified as important innovators. The third factor was punk rock, which supplied an energy and DIY attitude.
If there has ever been a manual on how to build a career, Kenny Chesney would be its case study. He started slow -- earning his first top 10 hit in 1995 -- but by the early part of the next decade, Chesney was in the fast lane. He hasn't pulled over since. His records run the gamut from tropical-based hits as "No Shoes, No Shirt, No Problems" to thought-provoking slices of life as "When I Close My Eyes" or "Don't Blink." Whether it's on record or his stage show, nobody works harder than Kenny Chesney.
There’s a long tradition of African-Americans playing old-time music, from blues legends Blind Blake, the Reverend Gary Davis and Josh White to artists such as the Mississippi Mud Steppers and Howard “Louie Bluie” Armstrong, whose early ragtime outfit, the Tennessee Chocolate Drops, has provided a lasting influence—and this modern-day act with its name. The Carolina Chocolate Dropsformed in 2005 at the Black Banjo Gathering in Boone, N.C., and since then the young trio has been determined to prove that “black folk were a huge part of the stringband tradition.” What they’ve also done is dust off a musical form seen today as either a novelty or the exclusive provenance of ethnomusicologists. To paraphrase Rakim’s immortal words, these Drops ain’t no joke: Their enthusiasm for the tradition is obvious even as the trio spans from traditional arrangements (the rollicking fiddle rave-ups “Trouble in Your Mind” and “Cindy Gal”) to self-penned works (the particularly terrific “Kissin’ and Cussin’”) and stringband makeovers of modern-day works (a hip-hop influenced cover of Blu Cantrell’s “Hit ’em Up Style (Oops!)” and Tom Waits’ “Trampled Rose”). Several generations removed from the origins of their chosen idiom, the Carolina Chocolate Drops are nonetheless the genuine article.—Corey DuBrowa
After years as the crown prince of hip Nashville—Emmylou Harris’ wingman, Rosanne Cash’s producer, proud owner of five No. 1s off the gold Diamonds & Dirt—Crowell eschewed the mainstream for a song cycle devoted to his hardscrabble youth on the wrong side of Houston. With mirth and wonder, he captured the thrills of being young (“Telephone Road”), hearing Johnny Cash for the first time (“I Walk The Line ReVisited”) and romantic misdirection (“U Don’t Know How Much I Hate U”). But there was also brutality, the acoustic-framed “The Rock of My Soul” captured domestic violence as a cycle of generational abuse and the lurching “Topsy Turvy” mirrors the chaos, while the spoken “Highway 17” is an O. Henry-esque small crime confection—and “I Wish It Would Rain” and “Wandering Boy” are reckoning bookend songs for twins as the one who left turns tricks and contracts AIDS in West Hollywood then has to come home to die. In the end, “I Know Love Is All I Need” offers a universal blessing and benediction, accepting the inevitable flaws of his dead parents with tenderness and recognition of their best intentions.—Holly Gleason
Lucien Poirier, ed. (1983). Répertoire bibliographique de textes de presentation generale et d'analyse d'oeuvres musicales canadienne, 1900–1980 = Canadian Musical Works, 1900–1980: a Bibliography of General and Analytical Sources. Under the direction of Lucien Poirier; compiled by Chantal Bergeron [et al.]. Canadian Association of Music Libraries. ISBN 0-9690583-2-2