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 […]
By the 1990s, country music had attained crossover success in the pop charts, with artists like James Blundell and James Reyne singing "Way Out West", and country star Kasey Chambers winning the ARIA Award for Best Female Artist in 2000, 2002 and 2004, tying with pop stars Wendy Matthews and Sia for the most wins in that category. Furthermore, Chambers has gone on to win nine ARIA Awards for Best Country Album and, in 2018, became the youngest artist to ever be inducted into the ARIA Hall of Fame. The crossover influence of Australian country is also evident in the music of successful contemporary bands the Waifs and the John Butler Trio. Nick Cave has been heavily influenced by the country artist Johnny Cash. In 2000, Cash, covered Cave's "The Mercy Seat" on the album American III: Solitary Man, seemingly repaying Cave for the compliment he paid by covering Cash's "The Singer" (originally "The Folk Singer") on his Kicking Against the Pricks album. Subsequently, Cave cut a duet with Cash on a version of Hank Williams' "I'm So Lonesome I Could Cry" for Cash's American IV: The Man Comes Around album (2002).
In a recording career that spanned over six decades, "The Cherokee Cowboy" possessed a voice that never seemed to age. If anything, his warm crooning tone only got better with time. Price's early hits were textbook performances in the honky-tonk vein, while 1967's "Danny Boy" ushered in a more uptown vibe that he expanded on in hits such as Kris Kristofferson's "For The Good Times." Price also had a keen ear for other talent, giving early jobs to Willie Nelson and Roger Miller, among others.
Funding for Country Music was provided by Bank of America, the Annenberg Foundation, the Arthur Vining Davis Foundations, Belmont University, Tennessee Department of Tourist Development, the Metropolitan Government of Nashville and Davidson County, Rosalind P. Walter and by members of ‘The Better Angels Society,’ including: The Blavatnik Family Foundation, the Schwartz/Reisman Foundation, the Pfeil Foundation, Diane and Hal Brierley, John and Catherine Debs, the Fullerton Family Charitable Fund, the Perry and Donna Golkin Family Foundation, Jay Alix and Una Jackman, Mercedes T. Bass, Fred and Donna Seigel, Gilchrist and Amy Berg, James R. Berdell Foundation, David Bonderman, Deborah P. and Jonathan T. Dawson, Senator Bill and Tracy Frist, Susan and David Kreisman, Rocco and Debby Landesman, Lillian Lovelace, John and Leslie McQuown, Mindy's Hope Foundation, the Segal Family Foundation, Michelle Smith. Major funding was provided by the Corporation for Public Broadcasting and PBS.
Country rock, the incorporation of musical elements and songwriting idioms from traditional country music into late 1960s and ’70s rock, usually pursued in Los Angeles. The style achieved its commercial zenith with the hits of the Eagles, Linda Ronstadt, and many other less consistent performers. Country rock arose from the conviction that the wellspring of rock and roll was the work of 1950s and ’60s regionalists such as Hank Williams, Johnny Cash, and George Jones, as well as, to some extent, that of the Carter Family and Flatt and Scruggs and other artists who had blossomed in local folk and bluegrass scenes before the establishment of the Nashville recording industry.
The 1870s saw several conservatories open their doors, providing their string, woodwind and brass faculty, leading to the opportunity for any class level of society to learn music. 'One Sweetly Solemn Thought in 1876 by Hamilton-based Robert S. Ambrose, became one of the most popular songs to ever be published in the 19th century. It fulfilled the purpose of being an appropriate song to sing in the parlors of homes that would not permit any non-sacred music to be performed on Sundays. At the same time it could be sung in dance halls or on the stage along with selections from operas and operettas.
But that effectiveness won’t last. Because of funding cuts, the CBC has announced that in addition to the 657 jobs already cut, it will axe another 1,500 jobs by 2020. That is nearly a quarter of its employees. According to a CRTC report released in June 2015, parliamentary funding for CBC Radio, which accounts for virtually its entire budget, has shrunk nearly 20 per cent since 2010. We’ve already seen some of the fallout from this and its impact on the CBC’s music coverage. Following the first round of jobs cuts, Chris Boyce, executive director of Radio and Audio CBC English Services, said there will be cuts to recorded concerts and 12 regional music producers, hosts, and engineers lost their jobs. In addition, the In Tune classical music program was cancelled.
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.
Sadly, this could change if this government does not fulfill its promises. Despite the previous federal government's claims to the contrary, the CBC has been very economical. According to a 2011 report, Canada had the third lowest level of per capita funding for a public broadcaster among 18 major western countries. At that time, the CBC's funding was $33 per capita. In the last fiscal year, that dropped to $29 per capita. Considering this, it is very impressive what the CBC has been able to do for Canadian music.
One of the most commercially successful country artists of the late 2000s and early 2010s has been singer-songwriter Taylor Swift. Swift first became widely known in 2006 when her debut single, "Tim McGraw," was released when Swift was only 16. In 2006, Taylor released her first studio album, Taylor Swift, which spent 275 weeks on Billboard 200, one of the longest runs of any album on that chart. In 2008, Taylor Swift released her second studio album, Fearless, which made her the second-longest Number One charted on Billboard 200 and the second best-selling album (just behind Adele's 21) within the past 5 years. At the 2010 Grammys, Taylor Swift was 20 and won Album of the Year for Fearless, which made her the youngest artist to win this award. Swift has received ten Grammys already. Buoyed by her teen idol status among girls and a change in the methodology of compiling the Billboard charts to favor pop-crossover songs, Swift's 2012 single "We Are Never Ever Getting Back Together" spent the most weeks at the top of Billboard's Hot Country Songs chart of any song in nearly five decades. The song's long run at the top of the chart was somewhat controversial, as the song is largely a pop song without much country influence and its success on the charts driven by a change to the chart's criteria to include airplay on non-country radio stations, prompting disputes over what constitutes a country song; many of Swift's later releases, such as "Shake It Off," were released solely to pop audiences.
By the late 1960s, Western music, in particular the cowboy ballad, was in decline. Relegated to the "country and Western" genre by marketing agencies, popular Western recording stars released albums to only moderate success. Rock-and-roll artists got hit songs, but Western artists also got country hits. The latter was largely limited to Buck Owens, Merle Haggard, and a few other bands. In the process, country and western music as a genre lost most of its southwestern, ranchera, and Tejano musical influences. However the cowboy ballad and honky-tonk music would be resurrected and reinterpreted in the 1970s with the growth in popularity of "outlaw country" music from Texas and Oklahoma.
1958 saw its first Canadian rock and roll teen idol Paul Anka, who went to New York City where he auditioned for ABC with the song "Diana". This song brought Anka instant stardom as it reached number one on the US Billboard charts. "Diana" has gone on to be one of the best selling 45s in music history. US-born rockabilly pioneer Ronnie Hawkins moved to Canada in 1958, where he became a key player in the Canadian blues and rock scene. The 4th of October was declared "Ronnie Hawkins Day" by the city of Toronto when Hawkins was inducted into Canada's Walk of Fame. He was also inducted into the Canadian Music Industry Hall of Fame and his pioneering contribution to rockabilly has been recognized with induction into the Rockabilly Hall of Fame.
Lists are incredibly subjective but it’s impossible to deny the enormous impact Neil Young has made in the musical world for the past 50 years. From his time with Buffalo Springfield to Crosby, Stills, Nash & Young to his solo work with Crazy Horse, this singer-songwriter from Northern Ontario left his homeland long ago and yet never became an American citizen. With one of rock’s most productive and enduring solo careers, Young has created his own songbook of standards and continues to be a political force for action, even releasing a new protest song called, ‘Children of Destiny’.
Take a crew of Yes-obsessed Canadians, apply an English prog sensibility and you have one of the most successful rock acts to break out of Canada – selling over million records sold worldwide. Geddy Lee and Alex Lifeson grew up near Toronto and came up in the local club circuit before going on to form the illustrious prog-rock trio known as Rush. While the band’s sound would evolve over the years since their 1974 debut, their expert musicianship, complexity of their compositions and vivid lyricism would remain unparalleled. While Rush were the ones to hit it big, let’s not forgot other Canadian prog-rockers Saga, Klaatu and Triumph.
The greatest commercial success for country rock came in the 1970s, with the Doobie Brothers mixing in elements of R&B, Emmylou Harris (a former backing singer for Parsons) becoming the "Queen of country-rock" and Linda Ronstadt creating a highly successful pop-oriented brand of the genre. Pure Prairie League, formed in Ohio in 1969 by Craig Fuller, had both critical and commercial success with 5 straight Top 40 LP releases, including Bustin' Out (1972), acclaimed by Allmusic critic Richard Foss as "an album that is unequaled in country-rock" and Two Lane Highway, described by Rolling Stone as "a worthy companion to the likes of the Byrds' Sweetheart of the Rodeo and other gems of the genre". Former members of Ronstadt's backing band went on to form the Eagles (two members of band were from the Flying Burrito Brothers and Poco), who emerged as one of the most successful rock acts of all time, producing albums that included Desperado (1973) and Hotel California (1976). However, the principal country rock influence in the Eagles came from Bernie Leadon, formerly of the Flying Burrito Brothers, and the Eagles are perceived as shifting towards hard rock after he left the band in late 1975. The Ozark Mountain Daredevils had hit singles “If You Wanna Get To Heaven” (1974) and "Jackie Blue" (1975), the latter of which peaked at #3 on the Billboard Hot 100 in 1975. The Belammy Brothers had the hit "Let Your Love Flow"(1976). In 1979, the Southern rock Charlie Daniels Band moved to a more country direction, released a song with strong bluegrass influence, "The Devil Went Down to Georgia", and the song crossed over and became a hit on the pop chart.
The influence and innovations of Canadian hip hop came to the foreground in Canada when Music videos became an important marketing tool for Canadian musicians, with the debut of MuchMusic in 1984 and MusiquePlus in 1986. Now both English and French Canadian musicians had outlets to promote all forms of music through video in Canada. The networks were not just an opportunity for artists to get their videos played—the networks created VideoFACT, a fund to help emerging artists produce their videos.
In what was then known as New France, the first formal ball was given by Louis-Théandre Chartier de Lotbinière (1612–1688) on 4 Feb. 1667. Louis Jolliet (1645–1700) is on record as one of the first classically trained practicing musicians in New France, although history has recognized him more as an explorer, hydrographer and voyageur. Jolliet is said to have played the organ, harpsichord, flute, and trumpet. In 1700, under British rule at this time, an organ was installed in Notre-Dame Basilica in Montreal and military bands gave concerts on the Champ de Mars. A French-born priest, René Ménard, composed motets around 1640, and a second Canadian-born priest, Charles-Amador Martin, is credited with the plainchant music for the Sacrae familiae felix spectaculum, in celebration of the Holy Family feast day in 1700.
The Canadian Broadcasting Corporation (CBC) continues to suffer from a series of funding cuts implemented by the previous Conservative federal government. The 2012 federal budget cut $115 million from the CBC’s budget over three years. While this has negative consequences for all Canadians as this national institution is forced to cut jobs and scale back its reach and scope, the country’s music and arts communities, in particular, stand to lose. In many cases, it’s already happening, but it can be reversed if Prime Minister Justin Trudeau’s Liberal majority government fulfills the promises it made during the 2015 federal election campaign. There is something you can do to make that happen.
With a voice like good claret or damp moss, Rosanne Cash’s singing is something to sink into. Surrender to the tones, mostly dark, but marked by the occasional glimmer of light, and let the emotions they contain seep inside. For Cash, the emotions on The River & The Thread are complex and tangled, especially the Grammy-winner’s own difficult relationship with the South, her roots and her own musical journey. What emerges, beyond a woman grappling with a legacy as much in the rich bottom land as her father Johnny’s iconic presence as the voice of America, is a knowing embrace of the conflicts in the things we love. The 11-song cycle is mostly a meditation on the textures and musical forms that emerged South of the Mason Dixon. Finding not just resolve, but acceptance is a gift. Cash, who’s sidestepped her heritage, and eschewed a career as a country star with 11 No. 1s, a marriage to a country writer/producer/artist Rodney Crowell and the city/industry where she found prominence, savored her wandering and the Manhattan life she built. With The River & The Thread, she comes home with the warmth reserved for knowing where we’re from. As powerful a witness for the region—Memphis, Mississippi, Alabama, Arkansas—as it is a lovely quilt of musicality, braiding blues, folk, Appalachia, rock and old-timey country, this is balm for lost souls, alienated creatures seeking their core truths and intellectuals who love the cool mist of vespers in the hearts of people they may never encounter.—Holly Gleason
A diminished CBC comes at a great loss to the Canadian music community. For musicians, regardless of genre, there is no media outlet that will provide them the same coverage and audience reach as the CBC. For music fans, it could mean hearing far less homegrown talent at a time when Canada is creating more noteworthy music than ever. Canada has long had a reputation for punching above its weight with regards to exporting music, and the CBC has been a very big part of that success over the decades.
Following his Rodney Crowell/John Leventhal-produced Planet of Love – which yielded cuts for George Strait, Lee Ann Womack, Patty Loveless, Mandy Barnett and George Jones, the North Carolina-born Lauderdale seemed more in control of his progressive California-forged traditional country. With songs that were existential (“When The Devil Starts Crying,” “Three Way Conversation” “Run Like You”), Lauderdale—like Gram Parsons before him—created a Cosmic American hybrid that blurred bluegrass, Haggard, Jones, Lefty Frizzell and Ray Price with ethereal metaphors for a new kind of classicism. Producer Dusty Wakeman drew on Lauderdale’s scrappy Palomino Club band—Buddy Miller on guitars and vocals, Dr John Ciambotti on bass, Donald Lindley on drums, Greg Leisz on dobro, electric and steel guitar, Gurf Morlix on 6-string bass, mandolin, electric/acoustic/12-string/steel guitars, Skip Edwards on organ and Tammy Rodgers on mandolin and vocals—to return Truth to the lean sound Lauderdale’d developed playing South California’s post-cowpunk outposts. That the band members would become Americana forces in their own right speaks to the scene around the man who coined the phrase, “Now that’s Americana!”—Holly Gleason
Chad Morgan, who began recording in the 1950s, has represented a vaudeville style of comic Australian country; Frank Ifield achieved considerable success in the early 1960s, especially in the UK Singles Charts and Reg Lindsay was one of the first Australians to perform at Nashville's Grand Ole Opry in 1974. Eric Bogle's 1972 folk lament to the Gallipoli Campaign "And the Band Played Waltzing Matilda" recalled the British and Irish origins of Australian folk-country. Singer-songwriter Paul Kelly, whose music style straddles folk, rock and country, is often described as the poet laureate of Australian music.
Other artists had been successful crossing over before Kenny Rogers, but he made it an art form. As a member of the First Edition, several of the band’s pop records crossed over to country, and as a solo artist, he notched some of the biggest hits in both markets from 1977-1987. As a touring artist, he was the first country performer to consistently sell out arenas night after night, with only his recent announcement of retirement bringing that segment of his career to a close.
The Tamworth Country Music Festival began in 1973 and now attracts up to 100,000 visitors annually. Held in Tamworth, New South Wales (country music capital of Australia), it celebrates the culture and heritage of Australian country music. During the festival the CMAA holds the Country Music Awards of Australia ceremony awarding the Golden Guitar trophies. Other significant country music festivals include the Whittlesea Country Music Festival (near Melbourne) and the Mildura Country Music Festival for "independent" performers during October, and the Canberra Country Music Festival held in the national capital during November. https://www.youtube.com/watch?v=eYnfhM4KCyw