Wednesday, 16 November 2011
Tuesday, 15 November 2011
Billy Eckstine
BIOGRAPHY
Eckstine's grandparents were William F. Eckstein and Nannie Eckstein, a mixed race, lawfully married couple who lived in Washington D.C.; both were born in the year 1863. William F. was born in Prussia and Nannie in Virginia. His parents were William Eckstein, a chauffeur and Charlotte Eckstein. He was born in Pittsburgh Pennsylvania a State Historical Marker is placed at 5913 Bryant St, Highland Park, Pittsburgh Pennsylvania to mark the house where he grew up. Later moving to Washington, D.C., Eckstine began singing at the age of seven and entered many amateur talent shows.He attended Armstrong High School, St. Paul Normal and Industrial School, and Howard University. He left Howard in 1933, after winning first place in an amateur talent contest. He married his first wife, June, in 1942; she too was a vocalist. After their divorce he married actress and model Carolle Drake in 1953, and remained married until his death. He was the father of five children and two step children, including Ed Eckstine, who was a president of Mercury Records, Guy Eckstine, who was a Columbia and Verve Records A&R executive and record producer, and singer Gina Eckstine.
An influence looming large in the cultural development of soul and R&B singers from Sam Cooke to Prince, Eckstine was able to play it straight on his pop hits "Prisoner of Love", "My Foolish Heart" and "I Apologize". He had originally planned on a football career, but after breaking his collar bone, he made music his focus. After working his way west to Chicago, Eckstine joined Earl Hines' Grand Terrace Orchestra in 1939, staying with the band as vocalist and, occasionally, trumpeter, until 1943. By that time, he had begun to make a name for himself through the Hines band's radio shows with such juke box hits as "Stormy Monday Blues" and his own "Jelly Jelly."
In 1944, Eckstine formed his own big band and made it a fountainhead for young musicians who would reshape jazz by the end of the decade, including Dizzy Gillespie, Dexter Gordon, Miles Davis, Art Blakey, Charlie Parker, and Fats Navarro. Tadd Dameron and Gil Fuller were among the band's arrangers, and Sarah Vaughan gave the vocals a contemporary air. The Billy Eckstine Orchestra was the first bop big-band, and its leader reflected bop innovations by stretching his vocal harmonics into his normal ballads. Despite the group's modernist slant, Eckstine hit the charts often during the mid 1940s, with Top Ten entries including "A Cottage for Sale" and "Prisoner of Love". On the group's frequent European and American tours, Eckstine, popularly known as Mr. B, also played trumpet, valve trombone and guitar.
Dizzy Gillespie, in reflecting on the band in his 1979 autobiography To Be or Not to Bop places it in perspective: "There was no band that sounded like Billy Eckstine's. Our attack was strong, and we were playing bebop, the modern style. No other band like this one existed in the world."
After a few years of touring with road-hardened be-boppers, Eckstine became a solo performer in 1947, and seamlessly made the transition to string-filled balladry. He recorded more than a dozen hits during the late 1940s, including "My Foolish Heart" and "I Apologize." He was one of the first artists to sign with the newly-established MGM Records, and had immediate hits with revivals of "Everything I Have Is Yours" (1947), Richard Rodgers’ and Lorenz Hart’s "Blue Moon" (1948), and Juan Tizol’s "Caravan" (1949).
Eckstine had further success in 1950 with Victor Young’s theme song to "My Foolish Heart" and a revival of the 1931 Bing Crosby hit, "I Apologize". However, unlike Nat "King" Cole (who followed him into the pop charts), Eckstine’s singing, especially his exaggerated vibrato, sounded increasingly mannered and he was unable to sustain his recording success throughout the decade.
While enjoying success in the middle-of-the-road and pop fields, Eckstine occasionally returned to his jazz roots, recording with Vaughan, Count Basie and Quincy Jones for separate LPs, and he regularly topped the Metronome and Downbeat polls in the Top Male Vocalist category: He won Esquire magazine's New Star Award in 1946; the Down Beat magazine Readers Polls from 1948 to 1952; and the Metronome magazine award as "Top Male Vocalist" from 1949 to 1954.
His 1950 appearance at the Paramount Theatre in New York City drew a larger audience than Frank Sinatra at his Paramount performance.
Among Eckstine's recordings of the 1950s was a 1957 duet with Sarah Vaughan, "Passing Strangers", a minor hit in 1957, but an initial No.22 success in the UK Singles Chart. Even before folding his band, Eckstine had recorded solo to support it, scoring two million-sellers in 1945 with "Cottage for Sale" and a revival of "Prisoner of Love". Far more successful than his band recordings, these prefigured Eckstine’s future career.
The 1960 Las Vegas live album, No Cover, No Minimum, featured Eckstine taking a few trumpet solos as well. He recorded several albums for Mercury and Roulette during the early 1960s, and he appeared on Motown for a few standards albums during the mid to late 1960s. After recording sparingly during the 1970s for Al Bell's, Stax/Enterprise imprint, Eckstine (although still performing to adoring audiences throughout the world), made his last recording, the Grammy-nominated Billy Eckstine Sings with Benny Carter in 1986.
Eckstine made numerous appearances on television variety shows, including "The Ed Sullivan Show", "The Nat King Cole Show", "The Tonight Show" with Steve Allen, Jack Paar, and Johnny Carson, "The Merv Griffin Show", "The Art Linkletter Show," "The Joey Bishop Show," "The Dean Martin Show", "The Flip Wilson Show", and "Playboy After Dark". He also performed as an actor in the TV sitcom "Sanford and Son", and in such films as Skirts Ahoy, Let's Do It Again, and Jo Jo Dancer.
Eckstine was a style leader and noted sharp dresser. He designed and patented a high roll collar that formed a "B" over a Windsor-knotted tie, which became known as a "Mr. B. Collar." In addition to looking cool, the collar could expand and contract without popping open, which allowed his neck to swell while playing his horns.." The collars were worn by many a hipster in the late 1940s and early 1950s. Legend has it that his refined appearance even had an effect on trumpeter Miles Davis. Once, when Eckstine came across a disheveled Davis in the depths of his heroin excess, his remark "Looking sharp, Miles" served as a wake-up call for Davis, who promptly returned to his father's farm in the winter of 1953 and finally kicked the habit.
In 1986, Billy recorded his final album Billy Eckstine Sings with Benny Carter. Eckstine died on March 8, 1993, aged 78.
TRIBUTES
His friend Duke Ellington recalled Eckstine's artistry in his 1973 autobiography Music is My Mistress: "Eckstine-style love songs opened new lines of communication for the man in the man-woman merry-go-round, and blues a la B were the essence of cool. When he made a recording of Caravan, I was happy and honored to watch one of our tunes help take him into the stratosphere of universal acclaim. And, of course, he hasn't looked back since. A remarkable artist, the sonorous B." ... "His style and technique have seen extensively copied by some of the neocommercial singers, but despite their efforts he remains out front to show how and what should have been done."
Quincy Jones was quoted in Billboard: "I looked up to Mr. B as an idol. I wanted to dress like him, talk like him, pattern my whole life as a musician and as a complete person in the image of dignity that he projected. ... As a black man, Eckstine was not immune to the prejudice that characterized the 1950s." Jones is quoted in The Pleasures of Jazz: "If he’d been white, the sky would have been the limit. As it was, he didn’t have his own radio or TV show, much less a movie career. He had to fight the system, so things never quite fell into place."
Lionel Hampton: "He was one of the greatest singers of all time. ... We were proud of him because he was the first Black popular singer singing popular songs in our race. We, the whole music profession, were so happy to see him achieve what he was doing. He was one of the greatest singers of that era ... He was our singer."
Source: Wikipedia.
Billy Cobham
Panamanian by birth, a New Yorker by upbringing, and a resident of Switzerland for more than 25 years, Cobham has pursued an ever-broadening, ever-deepening engagement with the world not only as a master drummer and percussionist but as a composer, producer, educator, and clinician who gives service through music even as he constantly expands his personal creative expression.
Cobham's newest recording, Fruit from the Loom-released in April 2008 through his own imprint, Creative MultiMedia Concepts, Inc. (CMMC)-is a suitably wide-ranging representation of his roots and his journeys. He reprises two of his best-known compositions from the '70s, "Spectrum" and "Crosswinds," by incorporating violin on the former and steel pan on the latter. "I've always found it difficult to focus upon one direction in music," Cobham notes, "so I've resigned myself to projecting ideas and thoughts through a musical kaleidoscope, from Latin to rock and jazz. This version of 'Spectrum' is a testament to that idea."
On the new CD, he also utilizes a string quartet (on "Faia") and percussion ensembles-with Cobham himself playing all the parts on "Samba du Militairestrasse" and Nigerian friends joining him on "Thoughts from Okuta." Experiences from travels in Brazil are captured in "Eggshells Still on My Head" and "Florianapolis," while the Bocas del Toro islands off the eastern coast of Panama-which Cobham describes as a place where "it is easy for me to relax and generally mellow out"-inspire the buoyant "Sweet Bocas."
Fruit from the Loom, dedicated to the memory of Cobham's parents William and Ivy, features support from longtime colleagues including organist Brian Auger, bassists Victor Bailey and Stefan Rademacher, saxophonist Ernie Watts, guitarists Dean Brown and Jean-Marie Ecay, and, on steel pan, Junior Gill.
Cobham is also the centerpiece of a new 90-minute documentary by director Mika Kaurismäki entitled Sonic Mirror. The genesis of the film dates back to 2001, when Kaurismäki approached the drummer about producing a portrait of his life and times. "But then we started to think of other ways of doing it," the director reveals. "We finally decided to do a film about Billy and some of his projects, focusing on rhythm and music as communication and universal language."
To Cobham, the term "sonic mirror" means "a sound reflection of everything that I experience, or that one experiences, in music. It's almost like a radio parabolic dish, where all of the radio signals come in, are processed, and reflected back to the presenter."
The film, which takes place in Switzerland, New York, Salvador da Bahia (Brazil), and Helsinki (Finland) and which was released in April 2007, has screened at film festivals in Munich and Cologne, Germany; Rio de Janeiro and São Paulo, Brazil; Pusan, South Korea; Gijón, Spain; Adelaide, Australia; Guadalajara, Mexico; and Buenos Aires, Argentina. It's also had a commercial release in France. A multiple-disc DVD release is currently in the works, focusing on the concert in Finland with Randy Brecker; Malê Debalê, a Bahian bloco afro; the Glarus concert (with Swiss musicians and yodeling choir); Okuta Percussion and Autistics; and the Okuta Percussion concert.
The Hollywood Reporter described Sonic Mirror as "a feel-good world music documentary with the potential to be the next Buena Vista Social Club." But for Cobham, more fundamentally, "it verifies the value of music as an important factor in this world. If used for the greater good, it can be a powerful ally."
Billy Cobham was born in Colón, Panama on May 16, 1944. The family relocated to the U.S. in the winter of '47, living first in Harlem and then in the Bedford-Stuyvesant section of Brooklyn. "Music was all around me," he recalls. "Primarily either Latin music-folclórico or tÃpico, as they called it in Panama-or jazz."
Cobham, whose first paying gig came at age eight, courtesy of his pianist father, cut his teeth on drumming as a member of St. Catherine's Queensmen, a drum and bugle corps in St. Albans, Queens. He went on to attend New York's famed High School of Music and Art, where he studied music theory and drum technique alongside some of today's great musical legends, including trumpeter Jimmy Owens, bassist Eddie Gomez, and pianist Larry Willis. At the time, "jazz was a bit off-limits to students while classical music was preferred by the education establishment. So of course students craved to connect with jazz artists in any way that they could, be it chance encounters at school lectures or via LP recordings that they could study and eventually emulate."
After military service, during which he played in the U.S. Army Band as percussionist (1965-68), Cobham began working in Horace Silver's band. (While on a European tour with Silver in 1968 he became one of the first percussionists, along with Max Roach and Tony Williams, to use the Electronic Drum Controller made by the Meazzi Drum Company in Milan.) He also performed with Stanley Turrentine and Shirley Scott, and recorded with George Benson.
In 1969 Cobham co-founded the fusion group Dreams, which also featured Randy Brecker, Michael Brecker, John Abercrombie, Don Grolnick, Barry Rodgers, and Will Lee. The following year he was invited to join Miles Davis's group and contributed to four pivotal recordings by the trumpeter, including Bitches Brew (where he collaborated with guitarist John McLaughlin) and Tribute to Jack Johnson.
Mahavishnu Orchestra was formed by McLaughlin in 1971 with Cobham, Jan Hammer, Jerry Goodman, and Rick Laird. They released three acclaimed albums (beginning with Inner Mounting Flame) before the band was dissolved and Cobham chose to launch his solo career with Spectrum, one of the definitive albums of the jazz-rock era.
During the 1970s and '80s, he recorded steadily as a leader for Atlantic, CBS, Elektra, and GRP, collaborating with artists ranging from George Duke, John Scofield, and Tony Williams to Jack Bruce and the Grateful Dead, both on stage and in the studio.
Cobham was engaged by UNICEF in 1992 to work with autistic outpatients and street children in Santos (near São Paulo), Brazil, in a musical project of several years' duration. "The street children fell into my realm of operations almost by chance, as it was not part of my original mandate," he says. "But due to the unavoidable specter and shadow cast by so many little personalities with big hearts and so much time to ponder life without parental direction, it was inevitable that I would find myself working with them-some of the brightest minds harboring raw talent that I have ever witnessed to date. The shame of it all was that many would never have the opportunity to use their gift."
In '93 Cobham performed, recorded, and produced at the WOMAD Festival (World of Music, Arts and Dance) with Peter Gabriel, Nigeria's Okuta Percussion, and Farafina from Burkina Faso. (His association with WOMAD continues to this day: over the last several years he's conducted sessions in performance techniques at the University of Bath Spa in England, and he is now an Official Patron of WOMAD in Bath.)
Other highlights of the 1990s included touring and recording with Jazz Is Dead, Paradox, Nordic, and the London Jazz Orchestra; and development of the Conundrum book series, whose titles have music-minus-one capability that allow participants to play along on their specific instruments. (Drum set, piano, brass, woodwinds, bass, and guitar books are available through Alfred Music Publications in association with Rhythmatix Music, Ltd.)
By the start of the '00s Cobham had introduced "The Art of Jazz" series, recording and touring extensively first with the Art of 3 (Kenny Barron, Ron Carter), then the Art of 4 (Carter, Donald Harrison, James Williams) and the Art of 5 (Harrison, Guy Barker, Eric Reed or Julian Joseph, Orlando Le Fleming). He also worked with Culture Mix (featuring steel pan player Junior Gill), recording two albums with them for CMMC (with distribution through In and Out Records), and in 2003 reactivated Spectrum as a band that revisits the music of that genre-reinventing album.
Cobham plans to record a second volume of Fruit from the Loom this summer, with Dean Brown, JM Ecay, Tom Coster, Cristophe Cravero, Victor Bailey, Ernie Watts, Mike Mainieri, Junior Gill, Michael Rodriguez, Mike Mondesir, Marco Lobo, Marshall Gilkes, and Philippe Chayeb among those who'll be on board.
His current collaboration with the Cuban group Asere has been ongoing since their first performance together at the WOMAD Festival in Reading in 2002. A new CD, De Cuba y de Panamá, is due for summer 2008 release, and a DVD, A Latin Soul, directed by John Hollis, is already out. That package contains live concert footage, two documentaries, and a bonus CD with live and studio tracks. Cobham and Asere will be touring the U.K. this fall.
"It's very, very interesting for me to hear this music and to play music like Mahavishnu Orchestra or even with Jack Bruce, but my approach is fundamentally the same," the drummer observes. "It's got a Latin root, and it kind of sets me off from everybody else.
"Music will tell the world who you are, based on what you present and how you present it. You can't lie through this medium.
"Therefore I find myself trying again to connect the dots, to learn. Through this relationship with Asere and the music we make together, it's helping me to connect. I'm reconnecting with my roots in Panama in order to see my future better through this clearer view of my past."
And as with any artistic endeavor, the personal becomes the universal, and Billy Cobham's most recent musical journey-back to his beginnings-will be shared and savored by his listeners around the world.
Source: Billy Cobham.com
Billie Holiday
Billie Holiday remains (four decades
after her death) the most famous of all jazz singers. "Lady Day" (as she
was named by Lester Young) had a small voice and did not scat but her
innovative behind-the-beat phrasing made her quite influential. The
emotional intensity that she put into the words she sang (particularly
in later years) was very memorable and sometimes almost scary; she often
really did live the words she sang.
Her original
name and birthplace have been wrong for years but are listed correctly
above thanks to Donald Clarke's definitive Billie Holiday biography
Wishing on the Moon. Holiday's early years are shrouded in legend and
rumours due to her fanciful ghost written autobiography Lady Sings the
Blues but it is fair to say that she did not have a stable life. Her
father Clarence Holiday (who never did marry her mother) played guitar
with Fletcher Henderson and abandoned his family early on while her
mother was not a very good role model. Billie essentially grew up alone,
feeling unloved and gaining a lifelong inferiority complex that led to
her taking great risks with her personal life and becoming
self-destructive.
Holiday's life becomes clearer
after she was discovered by John Hammond singing in Harlem clubs. He
arranged for her to record a couple of titles with Benny Goodman in 1933
and although those were not all that successful, it was the start of
her career. Two years later she was teamed with a pickup band led by
Teddy Wilson and the combination clicked. During 1935-42 she would make
some of the finest recordings of her career, jazz-oriented performances
in which she was joined by the who's who of swing. Holiday sought to
combine together Louis Armstrong's swing and Bessie Smith's sound; the
result was her own fresh approach. In 1937 Lester Young and Buck Clayton
began recording with Holiday and the interplay between the three of
them was timeless.
Lady Day was with Count Basie's
Orchestra during much of 1937 but, because they were signed to
different labels, all that exists of the collaboration are three songs
from a radio broadcast. She worked with Artie Shaw's Orchestra for a
time in 1938 but the same problem existed (only one song was recorded)
and she had to deal with racism, not only during a Southern tour but in
New York too. She had better luck as a star attraction at Cafe Society
in 1939. Holiday made history that year by recording the horribly
picturesque "Strange Fruit," a strong anti-racism statement that became a
permanent part of her repertoire. Her records of 1940-42 found her
sidemen playing a much more supportive role than in the past, rarely
sharing solo space with her.
Although the settings
were less jazz-oriented than before (with occasional strings and even a
background vocal group on a few numbers) Billie Holiday's voice was
actually at its strongest during her period with Decca (1944-49). She
had already introduced "Fine and Mellow" (1939) and "God Bless the
Child" (1941) but it was while with Decca that she first recorded "Lover
Man" (her biggest hit), "Don't Explain," "Good Morning Heartache" and
her renditions of "Ain't Nobody's Business If I Do," "Them There Eyes"
and "Crazy He Calls Me." Unfortunately it was just before this period
that she became a heroin addict and she spent much of 1947 in jail. Due
to the publicity she became a notorious celebrity and her audience
greatly increased. Lady Day did get a chance to make one Hollywood movie
(New Orleans) in 1946 and, although she was disgusted at the fact that
she was stuck playing a maid, she did get to perform with her early idol
Louis Armstrong.
Billie Holiday's story from 1950
on is a gradual downhill slide. Although her recordings for Norman
Granz (which started in 1952) placed her once again with all-star jazz
veterans (including Charlie Shavers, Buddy DeFranco, Harry "Sweets"
Edison and Ben Webster), her voice was slipping fast. Her unhappy
relationships distracted her, the heroin use and excessive drinking
continued and by 1956 she was way past her prime. Holiday had one final
burst of glory in late 1957 when she sang "Fine and Mellow" on The Sound
of Jazz telecast while joined by Lester Young (who stole the show with
an emotional chorus), Ben Webster, Coleman Hawkins, Gerry Mulligan and
Roy Eldridge, but the end was near. Holiday's 1958 album Lady in Satin
found the 43-year old singer sounding 73 (barely croaking out the words)
and the following year she collapsed; in the sad final chapter of her
life she was placed under arrest for heroin possession while on her
deathbed!
Fortunately Billie Holiday's recordings
have been better treated than she was during her life and virtually all
of her studio sides are currently available on CD.
Source: The Unofficial Billie Holiday.
A Cor do Som
A Cor do Som were created in 1977 to accompany Os Novos Baianos. Named after a song by Morais Moreira and Galvão, A Cor do Som was formed by the experienced and talented musicians Armandinho (electric guitar, electric cavaquinho, and electric mandolin), Dadi (bass), Mú (keyboards), and Gustavo (drums). When Moreira left Os Novos Baianos and departed for his solo career, he took the band away with him, as well as inviting the percussionist Ary Dias, who formerly played in the Orquestra Sinfônica da Universidade Federal da Bahia. In 1975, Morais Moreira recorded his first solo album, accompanied by a Cor do Som. After a little more than one year as a supporting band for Moreira, the group decided to put out a solo work. Sergio Carvalho, Dadi and Mú's brother, who was a producer for Phonogram, invited them to record a demo, which didn't bring any results. It was then that WEA's producer, Guti Carvalho (Mú's and Dadi's cousin), arranged for them to be hired. They signed the contracts without having any material; they had to rehearse for one month to have stuff for one album. The guys became appalled when they discovered that they had been inscribed by the recording company in the First National Choro Festival, organized by TV Bandeirantes, with the choro "Espírito Infantil" (Mú), as choro was always regarded by Brazilians as an object of cult popularity. On top of that, the jury of the festival was dominated by nationalists/traditionalists (with the exception of Roberto Menescal) led by the feared and combative José Ramos Tinhorão and by the choro monster Waldir Azevedo. The big surprise was that, while they feared not leaving the premises alive, they were placed fifth in the festival under applause of the public and praised by the two illustrious figures as Brazilian players who used electric and electronic instruments to create a very Brazilian sound. Their first album came out in 1977 amid enthusiastic reviews but sold only 6,000 copies, though that's not a bad cipher for instrumental albums in Brazil, especially at that time. Soon they opened for the Liverpool Express, also WEA artists at the time, in a WEA convention at the Hotel Nacional in Rio. The convention was being attended by Nesuhi Ertegun and Claude Nobs. Impressed by what he heard, Nobs invited the group for the Viva Brasil! Night at the 12th edition of the Montreux Festival (1978), where their energetic and historic live album Ao Vivo em Montreux was recorded. John Mclaughin, Billy Cobham, Sammy Figueroa, and Alvim Batiste participated in the animated jam session that followed, and the enthusiastic and tumultuous concert of the "Brazilian night" made headlines around Switzerland. Selling out the 4,000 tickets, Nobs was obliged to program another show with the group (which also had, as special guests, Aroldo and André at the percussion).
In Brazil, "Arpoador" received good airplay. In that year, the band performed around 150 shows throughout Brazil, including 21 in the Pixinguinha project. They also participated in the soundtracks of the films A Dama do Lotação and Os Sete Gatinhos and in the recording of "Hino de Duran" with Chico Buarque in his Ópera do Malandro. The next album, Frutificar, was the first to bring vocal tracks, the only ones that played on the radio. "Beleza Pura" was the first big hit, written by Caetano Veloso, who was a longtime friend and consultant, having been together with Jorge Ben, the best man in Dadi's marriage -- in fact, he was his godfather in the Brazilian usage, which means a lifelong commitment. This period coincides with the beginning of their commercial success that would also bring, some years later, the band's dissolution due to a very strict and extenuating schedule and rigorous contracts with a clothing sponsor.
The record was appointed by the readers of Playboy magazine as the best instrumental album of the year, winning the third Playboy Best of Brazilian Popular Music prize. Having reached the masses among the youth market in Brazil -- preceding in seven years the explosion of axé music, which used basically the same elements of an electrified and energetic fusion of Northeastern rhythms with rock, and now lyrics dealing with love, sensuality, summer colors, Brazilianess, the whole works -- in April 1980 a Cor do Som was invited by São Paulo's mayoralty to play at the Ibirapuera Stadium in a show that intended to be a call-back to the classes after the summer vacations (in Brazil, December to February). Instead of the expected 3,000 people, though, 60,000 attended and danger of a terrible catastrophe surrounded the band's aura when the throng got restless due to technical problems with the sound -- the crowd had invaded the space reserved for the monster cables and damaged some of them. Fortunately the group was good enough when the situation got tense, and the spectators, instantly pacified, sang along with them, going home later in beatitude.
In July 1981, A Cor do Som played in much calmer conditions, for an audience of 1,000 Wall Street suits at the Battery Park in New York,. When they reached the peak (in 1982 they played 50 shows in two months) Armandinho, tired of the excessive work and discipline and of the small pay, decided to overlap his actuation in the group with his father Dodô's Trio Elétrico de Dodô e Osmar. Facing resistance by the sponsor, he left the band. It was a terrible shock for the remaining bandmembers, but the work wasn't abandoned. Armandinho was replaced by Victor Biglione and the next album, Intuição (1984), also with Egberto Gismonti, Tulio Mourao, and Peri Santana as special guests, was a return to their instrumental path. A Cor do Som recorded two other albums but they didn't find their way to success again. In 1987 WEA didn't renew their contracts. The band was dissolved to everybody's regret, but it was inevitable.
In 1994, though, Armandinho was invited to play at the Jazzmania (Rio de Janeiro) and invited Mú, Dadi, Gustavo, and Ary. Playing for a packed house with standing ovations, they decided to team up again. Their next album was recorded live in the same year under the good vibes of the Circo Voador in Rio, where the Brazilian rock of the '80s was born, being forever connected with freedom in the imaginations of the people who attended its shows. The album, Ao Vivo No Circo, was released only in 1996, but that hadn't prevented the band from being awarded the Sharp prize of 1997 as the Best Popular Group of 1996. It was the start of a new beginning that the fans of a Cor do Som hope never ends.
Source: All Music.
Monday, 14 November 2011
Funk
Funk is a music genre that originated in the mid-late 1960s when African American musicians blended soul music, jazz and R&B into a rhythmic, danceable new form of music. Funk de-emphasizes melody and harmony and brings a strong rhythmic groove of electric bass and drums to the foreground. Funk songs are often based on an extended vamp on a single chord, distinguishing it from R&B and soul songs, which are centered on chord progressions.
Like much African-inspired music, funk typically consists of a complex groove with rhythm instruments such as electric guitar, electric bass, Hammond organ, and drums playing interlocking rhythms. Funk bands sometimes have a horn section of several saxophones, trumpets, and in some cases, a trombone, which plays rhythmic "hits".
Many of the most famous bands in the genre also played disco and soul extensively. Funk music was a major influence on the development of disco music and afrobeat, and funk samples have been used extensively in genres including hip hop, house music and drum and bass. It is also the main influence of go-go, a subgenre associated with funk.
The word funk basically refers to a strong, generally offensive odor. The anthropologist/art historian Robert Farris Thompson, in his work Flash Of The Spirit: African & Afro-American Art & Philosophy, postulates that funky has its semantic roots in the Kikongo word "lu-fuki", which means "bad body odor". He says: "Both jazzmen and Bakongo use funky and lu-fuki to praise persons for the integrity of their art, for having 'worked out' to achieve their aims ... This Kongo sign of exertion is identified with the irradiation of positive energy of a person. Hence 'funk' in American jazz parlance can mean earthiness, a return to fundamentals." African-American jazz musicians originally applied the term to music with a slow, mellow groove, then later with a hard-driving, insistent rhythm, as it implies a bodily or carnal quality. This early form of the music set the pattern for later musicians.
The music was slow, sexy, loose, riff-oriented and danceable. Funky typically described these qualities rather than a distinct genre. In early jam sessions, musicians would encourage one another to "get down" by telling one another, "Now, put some stank on it!". It is possible that the word funk was derived from a blend of the Kikongo term lu-Fuki (preserved by the African American community) and the English term stank and stinky. At least as early as 1907, jazz songs carried titles such as "Funky Butt", a piece by Buddy Bolden. As late as the 1950s and early 1960s, when "funk" and "funky" were used increasingly in the context of Soul music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer "was the first to use the word 'funky' to explain to other musicians that their music should be made more syncopated and danceable."
CHARACTERISTICS
Funk creates an intense groove by using strong bass guitar riffs and bass lines. Like Motown recordings, funk songs used bass lines as the centerpiece of songs. Slap bass' mixture of thumb-slapped low notes and finger "popped" (or plucked) high notes allowed the bass to have a drum-like rhythmic role, which became a distinctive element of funk.
Funk utilized the same extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. However, unlike bebop jazz, with its complex, rapid-fire chord changes, funk virtually abandoned chord changes, creating static single chord vamps with little harmonic movement, but with a complex and driving rhythmic feel. Some of the best known and most skilful soloists in funk have jazz backgrounds. Trombonist Fred Wesley and saxophonist Maceo Parker are among the most notable musicians in the funk music genre, with both of them working with James Brown, George Clinton and Prince.
The chords used in funk songs typically imply a dorian or mixolydian mode, as opposed to the major or natural minor tonalities of most popular music. Melodic content was derived by mixing these modes with the blues scale. In the 1970s, jazz music drew upon funk to create a new subgenre of jazz-funk, which can be heard in recordings by Miles Davis (Live-Evil) and Herbie Hancock (Head Hunters).
In funk bands, guitarists typically play in a percussive style, often using the wah-wah sound effect and muting the notes in their riffs to create a percussive sound. Guitarist Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic were notably influenced by Jimi Hendrix's improvised solos. Eddie Hazel, who worked with George Clinton, is one of the most notable guitar soloists in funk. Ernie Isley was tutored at an early age by Jimi Hendrix himself, when he was a part of The Isley Brothers backing band and lived in the attic temporarily at the Isleys' household. Jimmy Nolen and Phelps Collins are famous funk rhythm guitarists who both worked with James Brown.
HISTORY
The distinctive characteristics of African-American musical expression are rooted in West African musical traditions, and find their earliest expression in spirituals, work chants/songs, praise shouts, gospel and blues. In more contemporary music, gospel, blues and blues extensions and jazz often flow together seamlessly. Funky music is an amalgam of soul music, soul jazz and R&B.
Little Richard's saxophone-studded, mid-1950s R&B road band was credited by James Brown and others as being the first to put the funk in the rock'n'roll beat. Following his temporary exit from secular music to become an evangelist in 1957, some of Little Richard's band members joined Brown and the Famous Flames, beginning a long string of hits for them in 1958.
BACKGROUND
1960s: JAMES BROWN AND THE DEVELOPMENT OF FUNK
By the mid-1960s, James Brown had developed his signature groove that emphasized the downbeat – with heavy emphasis on the first beat of every measure to etch his distinctive sound, rather than the backbeat that typified African American music. Brown often cued his band with the command "On the one!," changing the percussion emphasis/accent from the one-two-three-four backbeat of traditional soul music to the one-two-three-four downbeat – but with an even-note syncopated guitar rhythm (on quarter notes two and four) featuring a hard-driving, repetitive brassy swing. This one-three beat launched the shift in Brown's signature music style, starting with his 1964 hit single, "Out of Sight" and his 1965 hit, "Papa's Got a Brand New Bag".
Brown's innovations led to he and his band becoming the seminal funk act; they also pushed the funk music style further to the forefront with releases such as "Cold Sweat" (1967), "Mother Popcorn" (1969) and "Get Up (I Feel Like Being A) Sex Machine" (1970), discarding even the twelve-bar blues featured in his earlier music. Instead, Brown's music was overlaid with "catchy, anthemic vocals" based on "extensive vamps" in which he also used his voice as "a percussive instrument with frequent rhythmic grunts and with rhythm-section patterns ... [resembling] West African polyrhythms" – a tradition evident in African American work songs and chants. Throughout his career, Brown's frenzied vocals, frequently punctuated with screams and grunts, channeled the "ecstatic ambiance of the black church" in a secular context.
In a 1990 interview, Brown offered his reason for switching the rhythm of his music: "I changed from the upbeat to the downbeat.... Simple as that, really." According to Maceo Parker, Brown's former saxophonist, playing on the downbeat was at first hard for him and took some getting used to. Reflecting back to his early days with Brown's band, Parker reported that he had difficulty playing "on the one" during solo performances, since he was used to hearing and playing with the accent on the second beat.
LATE 1960s - EARLY 1970s
Other musical groups picked up on the rhythms, and vocal style developed by James Brown and his band, and the funk style began to grow. Dyke & the Blazers based in Phoenix, Arizona, released "Funky Broadway" in 1967, perhaps the first record of the soul era to have "funky" in the title. Meanwhile, on the West Coast, Charles Wright & the Watts 103rd Street Rhythm Band was releasing funk tracks beginning with its first album in 1967, culminating in the classic single "Express Yourself" in 1971.
Also from the West Coast area, more specifically Oakland, San Francisco, came the band Tower of Power, which formed in 1968. Their debut album East Bay Grease, released 1970, is considered by many enthusiasts as an important milestone in funk. Throughout the 70's, TOP had many hits, and the band helped to make funk music a successful genre, with a broader audience.
In 1970, Sly & the Family Stone's ‘Thank You (Falettinme Be Mice Elf Agin)’ reached #1 on the charts, as did ‘Family Affair’ in 1971. Notably, these afforded the group and the genre crossover success and greater recognition, yet such success escaped comparatively talented and moderately popular funk band peers. The Meters defined funk in New Orleans, starting with their top ten R&B hits "Sophisticated Cissy" and "Cissy Strut" in 1969. Another group who defined funk around this time were The Isley Brothers, whose funky 1969 #1 R&B hit, "It's Your Thing", signaled a breakthrough in African-American music, bridging the gaps of the jazzy sounds of Brown, the psychedelic rock of Jimi Hendrix, and the upbeat soul of Sly & the Family Stone and Mother's Finest.
P-FUNK / FUNKADELIC
A new group of musicians began to further developed the "funk rock" approach. Innovations were prominently made by George Clinton, with his bands Parliament and, later, Funkadelic. Together, they produced a new kind of funk sound heavily influenced by jazz and psychedelic rock. The two groups had members in common and often are referred to collectively as "Parliament-Funkadelic."
The breakout popularity of Parliament-Funkadelic gave rise to the term "P-Funk", which referred to the music by George Clinton's bands, and defined a new subgenre. Clinton played a principal role in several other bands, including Parlet, the Horny Horns, and the Brides of Funkenstein, all part of the P-Funk conglomerate. "P-funk" also came to mean something in its quintessence, of superior quality, or sui generis.
1970s
The 1970s were the era of highest mainstream visibility for funk music. In addition to Parliament Funkadelic, artists like Sly and the Family Stone, Rufus & Chaka Khan, the Isley Brothers, Ohio Players, Confunkshun, Kool & The Gang, The Bar-Kays, Commodores, Roy Ayers, among others, were successful in getting radio play. However, according to Billboard Magazine, only Sly & the Family Stone had singles which made it to #1 on its U.S. singles chart.
Musicians from other styles began to experiment with funk, such as jazz pianist Herbie Hancock, who starting with his 1973 "Head Hunters" album, began incorporating funk throughout the remainder of his career. In fact, all of his 1970s albums after "Head Hunters" were heavily influenced by funk. It was the main driving force of Hancock's 1970s music, most of it being strictly instrumental. Hancock was one of the first big jazz artists to switch his sound to funk. Funk music was also exported to Africa, and it melded with African singing and rhythms to form Afrobeat. Nigerian musician Fela Kuti is credited with creating the music and terming it "Afrobeat".
Disco music owed a great deal to funk. Many early disco songs and performers came directly from funk-oriented backgrounds. Some disco music hits, such as all of Barry White's hits, "Kung Fu Fighting" by Biddu and Carl Douglas, Donna Summer's "Love To Love You Baby", Diana Ross's "Love Hangover", KC & The Sunshine Band's "I'm Your Boogie Man", "I'm Every Woman" by Chaka Khan (also known as The Queen of Funk Soul), and Chic's "Le Freak" conspicuously include riffs and rhythms derived from funk. In 1976, Rose Royce scored a #1 hit with a purely dance-funk record, "Car Wash". Even with the arrival of Disco, funk became increasingly popular well into the early 80s.
1980s AND STRIPPED-DOWN FUNK
n the 1980s, largely as a reaction against what was seen as the over-indulgence of disco, many of the core elements that formed the foundation of the P-Funk formula began to be usurped by electronic machines and synthesizers. Horn sections of saxophones and trumpets were replaced by synth keyboards, and the horns that remained were given simplified lines, and few horn solos. The classic keyboards of funk, like the Hammond B3 organ, the Hohner Clavinet and/or the Fender Rhodes piano began to be replaced by the new digital synthesizers such as the Yamaha DX7. Electronic drum machines such as the Roland TR-808 began to replace the "funky drummers" of the past, and the slap and pop style of bass playing were often replaced by synth keyboard bass lines. As well, the lyrics of funk songs began to change from suggestive double entendres to more graphic and sexually explicit content.
In the late 1970s, the electronic music band Yellow Magic Orchestra (YMO) began experimenting with electronic funk music, introducing "videogame-funk" sounds with hits such as "Computer Game" (1978), which had a strong influence on the later electro-funk genre. In 1980, YMO was the first band to use the TR-808 programmable drum machine, while YMO member Ryuichi Sakamoto's "Riot in Lagos" developed the beats and sounds of electro-funk that same year, influencing later electro-funk artists such as Afrika Bambaataa and Mantronix.
Rick James was the first funk musician of the 1980s to assume the funk mantle dominated by P-Funk in the 1970s. His 1981 album Street Songs with the singles "Give It To Me Baby" and "Super Freak" resulted in James becoming a star, and paved the way for the future direction of explicitness in funk.
Beginning in the late 1970s, Prince used a stripped-down, yet dynamic, instrumentation similar to James. However, Prince went on to have as much of an impact on the sound of funk as any one artist since Brown; he combined eroticism, technology, an increasing musical complexity, and an outrageous image and stage show to ultimately create music as ambitious and imaginative as P-Funk. Prince formed The Time, originally conceived as an opening act for him and based on his "Minneapolis sound", hybrid mixture of funk, R&B, rock, pop & New Wave. Eventually, the band went on to define their own style of stripped-down funk based on tight musicianship and sexual themes.
Similar to Prince, other bands emerged during the P-Funk era and began to incorporate uninhibited sexuality, dance-oriented themes, synthesizers and other electronic technologies to continue to craft funk hits. These included Cameo, Zapp, The Gap Band, The Bar-Kays, and The Dazz Band all found their biggest hits in the early 1980s. However, by the latter half of the 80s, funk had lost its commercial impact.
Influenced by Yellow Magic Orchestra and Kraftwerk, the American musician Afrika Bambaataa developed electro-funk, a minimalist machine-driven style of funk with his single "Planet Rock" in 1982. Also known simply as electro, this style of funk was driven by synthesizers and the electronic rhythm of the TR-808 drum machine. The single "Renegades of Funk" followed in 1983.
Funk became an international style of music, and is played by bands from such countries as Canada, the United Kingdom, France, Italy, Spain, Japan, Algeria, India, South Africa, Brazil, and Nigeria.
LATE 1980s TO PRESENT
While funk was all but driven from the radio by slick commercial hip hop, Contemporary R&B and New Jack Swing, its influence continued to spread. Rock bands began adding elements of funk to their sound, creating new combinations of "funk rock" and "funk metal". Extreme, Red Hot Chili Peppers, Living Colour, Jane's Addiction, Prince, Primus, Fishbone, Faith No More, Infectious Grooves, Incubus and Rage Against the Machine spread the approach and styles garnered from funk pioneers to new audiences in the mid-to-late 1980s and the 1990s. These bands later inspired the underground mid-1990s funkcore movement and current funk-inspired artists like Outkast, Malina Moye, Van Hunt, and Gnarls Barkley.
In the 1990s, artists like Me'shell Ndegeocello and the (predominantly UK-based) acid jazz movement including artists and bands such Jamiroquai, Incognito, Galliano, Omar and The Brand New Heavies carried on with strong elements of funk. However, they never came close to reaching the commercial success of funk in its heyday, with the exception of Jamiroquai whose album Travelling without Moving sold about 11.5 million units worldwide. Meanwhile in Australia and New Zealand, bands playing the pub circuit, such as Supergroove, Skunkhour and The Truth, preserved a more instrumental form of funk.
Since the late 1980s hip hop artists have regularly sampled old funk tunes. James Brown is said to be the most sampled artist in the history of hip hop, while P-Funk is the second most sampled artist; samples of old Parliament and Funkadelic songs formed the basis of West Coast G Funk.
Original beats that feature funk-styled bass or rhythm guitar riffs are also not uncommon. Dr. Dre (considered the progenitor of the G-Funk genre) has freely acknowledged to being heavily influenced by George Clinton's psychedelic funk: "Back in the 70s that's all people were doing: getting high, wearing Afros, bell-bottoms and listening to Parliament-Funkadelic. That's why I called my album The Chronic and based my music and the concepts like I did: because his shit was a big influence on my music. Very big". Digital Underground was a large contributor to the rebirth of funk in the 1990s by educating their listeners with knowledge about the history of funk and its artists. George Clinton branded Digital Underground as "Sons of the P", as their second full length release is also titled. DU's first release, Sex Packets, was full of funk samples, with the most widely known "The Humpty Dance" sampling Parliament's "Let's Play House". A very strong funk album of DU's was their 1996 release Future Rhythm. Much of contemporary club dance music, drum and bass in particular has heavily sampled funk drum breaks.
Funk is a major element of certain artists identified with the Jam band scene of the late 1990s and 2000s. Phish began playing funkier jams in their sets around 1996, and 1998's The Story of the Ghost was heavily influenced by funk. Medeski Martin & Wood, Robert Randolph & The Family Band, Galactic, Widespread Panic, Jam Underground, Diazpora, Soulive, and Karl Denson's Tiny Universe all drawing heavily from the funk tradition. Lettuce, a band of Berklee College Of Music graduates, was formed in the late 1990s as a pure-funk emergence was being felt through the Jam band scene. Many members of the band including keyboardist Neal Evans went on to other projects such as Soulive or the Sam Kininger Band. In April 2008, they released a new album entitled Rage! The young band Captain Coconut played the New York club scene and followed in their footsteps.
Since the mid 1990s the nu-funk scene, centered around the Deep Funk collectors scene, is producing new material influenced by the sounds of rare funk 45s. Labels include Desco, Soul Fire, Daptone, Timmion, Neapolitan, Kay-Dee, and Tramp. These labels often release on 45 rpm records. Although specializing in music for rare funk DJs, there has been some crossover into the mainstream music industry, such as Sharon Jones' 2005 appearance on Late Night with Conan O'Brien.
In the early 2000s, some punk funk bands such as Out Hud and Mongolian MonkFish perform in the indie rock scene. Indie band Rilo Kiley, in keeping with their tendency to explore a variety of rockish styles, incorporated funk in to their song "The Moneymaker" on the album Under the Blacklight. Prince, with his recent albums has given a rebirth to the funk sound with songs like "The Everlasting Now", "Musicology", "Ol' Skool Company", and "Black Sweat".
Funk has also been incorporated into modern Urban Pop & R&B music by many female singers such as Beyoncé Knowles with her 2003 hit "Crazy In Love" (which samples The Chi-Lites' "Are You My Woman"), Jennifer Lopez in 2005 with Get Right (which samples Maceo Parker's "Soul Power '74" horn sound), and also Amerie with her song 1 Thing (The Meters' "Oh, Calcutta!").
SUBGENRES
From the early 1970s onwards, funk has developed various subgenres. While George Clinton and the Parliament were making a harder variation of funk, bands such as Kool and The Gang, Ohio Players and Earth, Wind and Fire were making disco-influenced funk music.
FUNK ROCK
Funk rock (also written as funk-rock or funk/rock) fuses funk and rock elements. Its earliest incarnation was heard in the late '60s through the mid-'70s by musicians such as Jimi Hendrix, Frank Zappa, Herbie Hancock,Return to Forever Gary Wright, David Bowie, Mother's Finest, and Funkadelic on their earlier albums. The Red Hot Chili Peppers, who utilized funk rock from the early '80s to the mid 2000s, is an example of a modern funk rock band.
Many instruments may be incorporated into funk-rock, but the overall sound is defined by a definitive bass or drum beat and electric guitars. The bass and drum rhythms are influenced by funk music but with more intensity, while the guitar can be funk-or-rock-influenced, usually with distortion. Prince, Jesse Johnson, and Fishbone are major artists in funk rock.
ELECTRO MUSIC
Electro music is a hybrid of electronic music and funk. It essentially follows the same form as funk, and retains funk's characteristics, but is made entirely (or partially) with a use of electronic instruments such as the TR-808. Vocoders to transform the vocals, were often used. Early artists include Herbie Hancock, Afrika Bambaataa, Vaughan Mason & Crew, Midnight Star, and Cybotron.
GO-GO
Go-go originated in the Washington, D.C. area with which it remains associated, along with other spots in the Mid-Atlantic. Inspired by singers such as Chuck Brown, the "Godfather of Go-go", it is a blend of funk, rhythm and blues, and early hip-hop, with a focus on lo-fi percussion instruments and in-person jamming in place of dance tracks. As such, it is primarily a dance music with an emphasis on live audience call and response. Go-go rhythms are also incorporated into street percussion.
FUNK METAL
Funk metal (sometimes typeset differently such as funk-metal) is a fusion genre of music which emerged in the 1980s. It typically incorporates elements of funk and heavy metal. It features hard-driving heavy metal guitar riffs, the pounding bass rhythms characteristic of funk, and sometimes hip hop-style rhymes into an alternative rock approach to songwriting. A primary example is the all-African-American hard rock band Living Colour, who have been said to be "funk-metal pioneers" by Rolling Stone.
G-FUNK
G-Funk is a fusion genre of music which combines gangsta rap and funk. It is generally considered to have been invented by west coast rappers but not Dr. Dre.
FUNK JAM
Funk jam is a fusion genre of music which emerged in the 2000s. It typically incorporates elements of funk and often exploratory guitar, along with extended cross genre improvisations; often including elements of jazz, ambient, electronic, Americana, and hip hop including improvised lyrics.
Source: Wikipedia.
Like much African-inspired music, funk typically consists of a complex groove with rhythm instruments such as electric guitar, electric bass, Hammond organ, and drums playing interlocking rhythms. Funk bands sometimes have a horn section of several saxophones, trumpets, and in some cases, a trombone, which plays rhythmic "hits".
Many of the most famous bands in the genre also played disco and soul extensively. Funk music was a major influence on the development of disco music and afrobeat, and funk samples have been used extensively in genres including hip hop, house music and drum and bass. It is also the main influence of go-go, a subgenre associated with funk.
The word funk basically refers to a strong, generally offensive odor. The anthropologist/art historian Robert Farris Thompson, in his work Flash Of The Spirit: African & Afro-American Art & Philosophy, postulates that funky has its semantic roots in the Kikongo word "lu-fuki", which means "bad body odor". He says: "Both jazzmen and Bakongo use funky and lu-fuki to praise persons for the integrity of their art, for having 'worked out' to achieve their aims ... This Kongo sign of exertion is identified with the irradiation of positive energy of a person. Hence 'funk' in American jazz parlance can mean earthiness, a return to fundamentals." African-American jazz musicians originally applied the term to music with a slow, mellow groove, then later with a hard-driving, insistent rhythm, as it implies a bodily or carnal quality. This early form of the music set the pattern for later musicians.
The music was slow, sexy, loose, riff-oriented and danceable. Funky typically described these qualities rather than a distinct genre. In early jam sessions, musicians would encourage one another to "get down" by telling one another, "Now, put some stank on it!". It is possible that the word funk was derived from a blend of the Kikongo term lu-Fuki (preserved by the African American community) and the English term stank and stinky. At least as early as 1907, jazz songs carried titles such as "Funky Butt", a piece by Buddy Bolden. As late as the 1950s and early 1960s, when "funk" and "funky" were used increasingly in the context of Soul music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer "was the first to use the word 'funky' to explain to other musicians that their music should be made more syncopated and danceable."
CHARACTERISTICS
Funk creates an intense groove by using strong bass guitar riffs and bass lines. Like Motown recordings, funk songs used bass lines as the centerpiece of songs. Slap bass' mixture of thumb-slapped low notes and finger "popped" (or plucked) high notes allowed the bass to have a drum-like rhythmic role, which became a distinctive element of funk.
Funk utilized the same extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. However, unlike bebop jazz, with its complex, rapid-fire chord changes, funk virtually abandoned chord changes, creating static single chord vamps with little harmonic movement, but with a complex and driving rhythmic feel. Some of the best known and most skilful soloists in funk have jazz backgrounds. Trombonist Fred Wesley and saxophonist Maceo Parker are among the most notable musicians in the funk music genre, with both of them working with James Brown, George Clinton and Prince.
The chords used in funk songs typically imply a dorian or mixolydian mode, as opposed to the major or natural minor tonalities of most popular music. Melodic content was derived by mixing these modes with the blues scale. In the 1970s, jazz music drew upon funk to create a new subgenre of jazz-funk, which can be heard in recordings by Miles Davis (Live-Evil) and Herbie Hancock (Head Hunters).
In funk bands, guitarists typically play in a percussive style, often using the wah-wah sound effect and muting the notes in their riffs to create a percussive sound. Guitarist Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic were notably influenced by Jimi Hendrix's improvised solos. Eddie Hazel, who worked with George Clinton, is one of the most notable guitar soloists in funk. Ernie Isley was tutored at an early age by Jimi Hendrix himself, when he was a part of The Isley Brothers backing band and lived in the attic temporarily at the Isleys' household. Jimmy Nolen and Phelps Collins are famous funk rhythm guitarists who both worked with James Brown.
HISTORY
The distinctive characteristics of African-American musical expression are rooted in West African musical traditions, and find their earliest expression in spirituals, work chants/songs, praise shouts, gospel and blues. In more contemporary music, gospel, blues and blues extensions and jazz often flow together seamlessly. Funky music is an amalgam of soul music, soul jazz and R&B.
Little Richard's saxophone-studded, mid-1950s R&B road band was credited by James Brown and others as being the first to put the funk in the rock'n'roll beat. Following his temporary exit from secular music to become an evangelist in 1957, some of Little Richard's band members joined Brown and the Famous Flames, beginning a long string of hits for them in 1958.
BACKGROUND
1960s: JAMES BROWN AND THE DEVELOPMENT OF FUNK
By the mid-1960s, James Brown had developed his signature groove that emphasized the downbeat – with heavy emphasis on the first beat of every measure to etch his distinctive sound, rather than the backbeat that typified African American music. Brown often cued his band with the command "On the one!," changing the percussion emphasis/accent from the one-two-three-four backbeat of traditional soul music to the one-two-three-four downbeat – but with an even-note syncopated guitar rhythm (on quarter notes two and four) featuring a hard-driving, repetitive brassy swing. This one-three beat launched the shift in Brown's signature music style, starting with his 1964 hit single, "Out of Sight" and his 1965 hit, "Papa's Got a Brand New Bag".
Brown's innovations led to he and his band becoming the seminal funk act; they also pushed the funk music style further to the forefront with releases such as "Cold Sweat" (1967), "Mother Popcorn" (1969) and "Get Up (I Feel Like Being A) Sex Machine" (1970), discarding even the twelve-bar blues featured in his earlier music. Instead, Brown's music was overlaid with "catchy, anthemic vocals" based on "extensive vamps" in which he also used his voice as "a percussive instrument with frequent rhythmic grunts and with rhythm-section patterns ... [resembling] West African polyrhythms" – a tradition evident in African American work songs and chants. Throughout his career, Brown's frenzied vocals, frequently punctuated with screams and grunts, channeled the "ecstatic ambiance of the black church" in a secular context.
In a 1990 interview, Brown offered his reason for switching the rhythm of his music: "I changed from the upbeat to the downbeat.... Simple as that, really." According to Maceo Parker, Brown's former saxophonist, playing on the downbeat was at first hard for him and took some getting used to. Reflecting back to his early days with Brown's band, Parker reported that he had difficulty playing "on the one" during solo performances, since he was used to hearing and playing with the accent on the second beat.
LATE 1960s - EARLY 1970s
Other musical groups picked up on the rhythms, and vocal style developed by James Brown and his band, and the funk style began to grow. Dyke & the Blazers based in Phoenix, Arizona, released "Funky Broadway" in 1967, perhaps the first record of the soul era to have "funky" in the title. Meanwhile, on the West Coast, Charles Wright & the Watts 103rd Street Rhythm Band was releasing funk tracks beginning with its first album in 1967, culminating in the classic single "Express Yourself" in 1971.
Also from the West Coast area, more specifically Oakland, San Francisco, came the band Tower of Power, which formed in 1968. Their debut album East Bay Grease, released 1970, is considered by many enthusiasts as an important milestone in funk. Throughout the 70's, TOP had many hits, and the band helped to make funk music a successful genre, with a broader audience.
In 1970, Sly & the Family Stone's ‘Thank You (Falettinme Be Mice Elf Agin)’ reached #1 on the charts, as did ‘Family Affair’ in 1971. Notably, these afforded the group and the genre crossover success and greater recognition, yet such success escaped comparatively talented and moderately popular funk band peers. The Meters defined funk in New Orleans, starting with their top ten R&B hits "Sophisticated Cissy" and "Cissy Strut" in 1969. Another group who defined funk around this time were The Isley Brothers, whose funky 1969 #1 R&B hit, "It's Your Thing", signaled a breakthrough in African-American music, bridging the gaps of the jazzy sounds of Brown, the psychedelic rock of Jimi Hendrix, and the upbeat soul of Sly & the Family Stone and Mother's Finest.
P-FUNK / FUNKADELIC
A new group of musicians began to further developed the "funk rock" approach. Innovations were prominently made by George Clinton, with his bands Parliament and, later, Funkadelic. Together, they produced a new kind of funk sound heavily influenced by jazz and psychedelic rock. The two groups had members in common and often are referred to collectively as "Parliament-Funkadelic."
The breakout popularity of Parliament-Funkadelic gave rise to the term "P-Funk", which referred to the music by George Clinton's bands, and defined a new subgenre. Clinton played a principal role in several other bands, including Parlet, the Horny Horns, and the Brides of Funkenstein, all part of the P-Funk conglomerate. "P-funk" also came to mean something in its quintessence, of superior quality, or sui generis.
1970s
The 1970s were the era of highest mainstream visibility for funk music. In addition to Parliament Funkadelic, artists like Sly and the Family Stone, Rufus & Chaka Khan, the Isley Brothers, Ohio Players, Confunkshun, Kool & The Gang, The Bar-Kays, Commodores, Roy Ayers, among others, were successful in getting radio play. However, according to Billboard Magazine, only Sly & the Family Stone had singles which made it to #1 on its U.S. singles chart.
Musicians from other styles began to experiment with funk, such as jazz pianist Herbie Hancock, who starting with his 1973 "Head Hunters" album, began incorporating funk throughout the remainder of his career. In fact, all of his 1970s albums after "Head Hunters" were heavily influenced by funk. It was the main driving force of Hancock's 1970s music, most of it being strictly instrumental. Hancock was one of the first big jazz artists to switch his sound to funk. Funk music was also exported to Africa, and it melded with African singing and rhythms to form Afrobeat. Nigerian musician Fela Kuti is credited with creating the music and terming it "Afrobeat".
Disco music owed a great deal to funk. Many early disco songs and performers came directly from funk-oriented backgrounds. Some disco music hits, such as all of Barry White's hits, "Kung Fu Fighting" by Biddu and Carl Douglas, Donna Summer's "Love To Love You Baby", Diana Ross's "Love Hangover", KC & The Sunshine Band's "I'm Your Boogie Man", "I'm Every Woman" by Chaka Khan (also known as The Queen of Funk Soul), and Chic's "Le Freak" conspicuously include riffs and rhythms derived from funk. In 1976, Rose Royce scored a #1 hit with a purely dance-funk record, "Car Wash". Even with the arrival of Disco, funk became increasingly popular well into the early 80s.
1980s AND STRIPPED-DOWN FUNK
n the 1980s, largely as a reaction against what was seen as the over-indulgence of disco, many of the core elements that formed the foundation of the P-Funk formula began to be usurped by electronic machines and synthesizers. Horn sections of saxophones and trumpets were replaced by synth keyboards, and the horns that remained were given simplified lines, and few horn solos. The classic keyboards of funk, like the Hammond B3 organ, the Hohner Clavinet and/or the Fender Rhodes piano began to be replaced by the new digital synthesizers such as the Yamaha DX7. Electronic drum machines such as the Roland TR-808 began to replace the "funky drummers" of the past, and the slap and pop style of bass playing were often replaced by synth keyboard bass lines. As well, the lyrics of funk songs began to change from suggestive double entendres to more graphic and sexually explicit content.
In the late 1970s, the electronic music band Yellow Magic Orchestra (YMO) began experimenting with electronic funk music, introducing "videogame-funk" sounds with hits such as "Computer Game" (1978), which had a strong influence on the later electro-funk genre. In 1980, YMO was the first band to use the TR-808 programmable drum machine, while YMO member Ryuichi Sakamoto's "Riot in Lagos" developed the beats and sounds of electro-funk that same year, influencing later electro-funk artists such as Afrika Bambaataa and Mantronix.
Rick James was the first funk musician of the 1980s to assume the funk mantle dominated by P-Funk in the 1970s. His 1981 album Street Songs with the singles "Give It To Me Baby" and "Super Freak" resulted in James becoming a star, and paved the way for the future direction of explicitness in funk.
Beginning in the late 1970s, Prince used a stripped-down, yet dynamic, instrumentation similar to James. However, Prince went on to have as much of an impact on the sound of funk as any one artist since Brown; he combined eroticism, technology, an increasing musical complexity, and an outrageous image and stage show to ultimately create music as ambitious and imaginative as P-Funk. Prince formed The Time, originally conceived as an opening act for him and based on his "Minneapolis sound", hybrid mixture of funk, R&B, rock, pop & New Wave. Eventually, the band went on to define their own style of stripped-down funk based on tight musicianship and sexual themes.
Similar to Prince, other bands emerged during the P-Funk era and began to incorporate uninhibited sexuality, dance-oriented themes, synthesizers and other electronic technologies to continue to craft funk hits. These included Cameo, Zapp, The Gap Band, The Bar-Kays, and The Dazz Band all found their biggest hits in the early 1980s. However, by the latter half of the 80s, funk had lost its commercial impact.
Influenced by Yellow Magic Orchestra and Kraftwerk, the American musician Afrika Bambaataa developed electro-funk, a minimalist machine-driven style of funk with his single "Planet Rock" in 1982. Also known simply as electro, this style of funk was driven by synthesizers and the electronic rhythm of the TR-808 drum machine. The single "Renegades of Funk" followed in 1983.
Funk became an international style of music, and is played by bands from such countries as Canada, the United Kingdom, France, Italy, Spain, Japan, Algeria, India, South Africa, Brazil, and Nigeria.
LATE 1980s TO PRESENT
While funk was all but driven from the radio by slick commercial hip hop, Contemporary R&B and New Jack Swing, its influence continued to spread. Rock bands began adding elements of funk to their sound, creating new combinations of "funk rock" and "funk metal". Extreme, Red Hot Chili Peppers, Living Colour, Jane's Addiction, Prince, Primus, Fishbone, Faith No More, Infectious Grooves, Incubus and Rage Against the Machine spread the approach and styles garnered from funk pioneers to new audiences in the mid-to-late 1980s and the 1990s. These bands later inspired the underground mid-1990s funkcore movement and current funk-inspired artists like Outkast, Malina Moye, Van Hunt, and Gnarls Barkley.
In the 1990s, artists like Me'shell Ndegeocello and the (predominantly UK-based) acid jazz movement including artists and bands such Jamiroquai, Incognito, Galliano, Omar and The Brand New Heavies carried on with strong elements of funk. However, they never came close to reaching the commercial success of funk in its heyday, with the exception of Jamiroquai whose album Travelling without Moving sold about 11.5 million units worldwide. Meanwhile in Australia and New Zealand, bands playing the pub circuit, such as Supergroove, Skunkhour and The Truth, preserved a more instrumental form of funk.
Since the late 1980s hip hop artists have regularly sampled old funk tunes. James Brown is said to be the most sampled artist in the history of hip hop, while P-Funk is the second most sampled artist; samples of old Parliament and Funkadelic songs formed the basis of West Coast G Funk.
Original beats that feature funk-styled bass or rhythm guitar riffs are also not uncommon. Dr. Dre (considered the progenitor of the G-Funk genre) has freely acknowledged to being heavily influenced by George Clinton's psychedelic funk: "Back in the 70s that's all people were doing: getting high, wearing Afros, bell-bottoms and listening to Parliament-Funkadelic. That's why I called my album The Chronic and based my music and the concepts like I did: because his shit was a big influence on my music. Very big". Digital Underground was a large contributor to the rebirth of funk in the 1990s by educating their listeners with knowledge about the history of funk and its artists. George Clinton branded Digital Underground as "Sons of the P", as their second full length release is also titled. DU's first release, Sex Packets, was full of funk samples, with the most widely known "The Humpty Dance" sampling Parliament's "Let's Play House". A very strong funk album of DU's was their 1996 release Future Rhythm. Much of contemporary club dance music, drum and bass in particular has heavily sampled funk drum breaks.
Funk is a major element of certain artists identified with the Jam band scene of the late 1990s and 2000s. Phish began playing funkier jams in their sets around 1996, and 1998's The Story of the Ghost was heavily influenced by funk. Medeski Martin & Wood, Robert Randolph & The Family Band, Galactic, Widespread Panic, Jam Underground, Diazpora, Soulive, and Karl Denson's Tiny Universe all drawing heavily from the funk tradition. Lettuce, a band of Berklee College Of Music graduates, was formed in the late 1990s as a pure-funk emergence was being felt through the Jam band scene. Many members of the band including keyboardist Neal Evans went on to other projects such as Soulive or the Sam Kininger Band. In April 2008, they released a new album entitled Rage! The young band Captain Coconut played the New York club scene and followed in their footsteps.
Since the mid 1990s the nu-funk scene, centered around the Deep Funk collectors scene, is producing new material influenced by the sounds of rare funk 45s. Labels include Desco, Soul Fire, Daptone, Timmion, Neapolitan, Kay-Dee, and Tramp. These labels often release on 45 rpm records. Although specializing in music for rare funk DJs, there has been some crossover into the mainstream music industry, such as Sharon Jones' 2005 appearance on Late Night with Conan O'Brien.
In the early 2000s, some punk funk bands such as Out Hud and Mongolian MonkFish perform in the indie rock scene. Indie band Rilo Kiley, in keeping with their tendency to explore a variety of rockish styles, incorporated funk in to their song "The Moneymaker" on the album Under the Blacklight. Prince, with his recent albums has given a rebirth to the funk sound with songs like "The Everlasting Now", "Musicology", "Ol' Skool Company", and "Black Sweat".
Funk has also been incorporated into modern Urban Pop & R&B music by many female singers such as Beyoncé Knowles with her 2003 hit "Crazy In Love" (which samples The Chi-Lites' "Are You My Woman"), Jennifer Lopez in 2005 with Get Right (which samples Maceo Parker's "Soul Power '74" horn sound), and also Amerie with her song 1 Thing (The Meters' "Oh, Calcutta!").
SUBGENRES
From the early 1970s onwards, funk has developed various subgenres. While George Clinton and the Parliament were making a harder variation of funk, bands such as Kool and The Gang, Ohio Players and Earth, Wind and Fire were making disco-influenced funk music.
FUNK ROCK
Funk rock (also written as funk-rock or funk/rock) fuses funk and rock elements. Its earliest incarnation was heard in the late '60s through the mid-'70s by musicians such as Jimi Hendrix, Frank Zappa, Herbie Hancock,Return to Forever Gary Wright, David Bowie, Mother's Finest, and Funkadelic on their earlier albums. The Red Hot Chili Peppers, who utilized funk rock from the early '80s to the mid 2000s, is an example of a modern funk rock band.
Many instruments may be incorporated into funk-rock, but the overall sound is defined by a definitive bass or drum beat and electric guitars. The bass and drum rhythms are influenced by funk music but with more intensity, while the guitar can be funk-or-rock-influenced, usually with distortion. Prince, Jesse Johnson, and Fishbone are major artists in funk rock.
ELECTRO MUSIC
Electro music is a hybrid of electronic music and funk. It essentially follows the same form as funk, and retains funk's characteristics, but is made entirely (or partially) with a use of electronic instruments such as the TR-808. Vocoders to transform the vocals, were often used. Early artists include Herbie Hancock, Afrika Bambaataa, Vaughan Mason & Crew, Midnight Star, and Cybotron.
GO-GO
Go-go originated in the Washington, D.C. area with which it remains associated, along with other spots in the Mid-Atlantic. Inspired by singers such as Chuck Brown, the "Godfather of Go-go", it is a blend of funk, rhythm and blues, and early hip-hop, with a focus on lo-fi percussion instruments and in-person jamming in place of dance tracks. As such, it is primarily a dance music with an emphasis on live audience call and response. Go-go rhythms are also incorporated into street percussion.
FUNK METAL
Funk metal (sometimes typeset differently such as funk-metal) is a fusion genre of music which emerged in the 1980s. It typically incorporates elements of funk and heavy metal. It features hard-driving heavy metal guitar riffs, the pounding bass rhythms characteristic of funk, and sometimes hip hop-style rhymes into an alternative rock approach to songwriting. A primary example is the all-African-American hard rock band Living Colour, who have been said to be "funk-metal pioneers" by Rolling Stone.
G-FUNK
G-Funk is a fusion genre of music which combines gangsta rap and funk. It is generally considered to have been invented by west coast rappers but not Dr. Dre.
FUNK JAM
Funk jam is a fusion genre of music which emerged in the 2000s. It typically incorporates elements of funk and often exploratory guitar, along with extended cross genre improvisations; often including elements of jazz, ambient, electronic, Americana, and hip hop including improvised lyrics.
Source: Wikipedia.
Country music
Country music is a popular American musical style that began in the rural Southern United States in the 1920s. It takes its roots from Western cowboy and folk music. Country music often consists of ballads and dance tunes with generally simple forms and harmonies accompanied by mostly string instruments such as banjoes, electric and acoustic guitars, fiddles such as violins, and harmonicas.
The term country music gained popularity in the 1940s in preference to the earlier term hillbilly music. The term country music is used today to describe many styles and subgenres.
Harlan Howard stated "Country music is three chords and the truth."
EARLY HISTORY
Immigrants to the Maritime Provinces and Southern Appalachian Mountains of North America brought the music and instruments of the Old World along with them for nearly 300 years. They brought some of their most important valuables with them, and to most of them this was an instrument: “Early Scottish settlers enjoyed the fiddle because it could be played to sound sad and mournful or bright and bouncy”. The Irish fiddle, the German derived dulcimer, the Italian mandolin, the Spanish guitar, and the West African banjo were the most common musical instruments. The interactions among musicians from different ethnic groups produced music unique to this region of North America. Appalachian string bands of the early 20th century primarily consisted of the fiddle, guitar, and banjo. This early country music along with early recorded country music is often referred to as old-time music.
According to Bill Malone in Country Music U.S.A, country music was “introduced to the world as a southern phenomenon." In the South, folk music was a combination of cultural strains, combining musical traditions of a variety of ethnic groups in the region. For example, some instrumental pieces from Anglo-British and Irish immigrants were the basis of folk songs and ballads that form what is now known as old time music, from which country music descended. It is commonly thought that British and Irish folk music influenced the development of old time music. British and Irish arrivals to the Southern U.S. included immigrants from Scotland, Wales, Ireland, and England.
Often, when many people think or hear country music, they think of it as a creation of European-Americans. However, a great deal of style—and of course, the banjo, a major instrument in most early American folk songs—came from African Americans. One of the reasons country music was created by African-Americans, as well as European-Americans, is because blacks and whites in rural communities in the south often worked and played together, just as recollected by DeFord Bailey in the PBS documentary, DeFord Bailey: A Legend Lost. Influential black guitarist Arnold Schultz, known as the primary source for thumb style, or Travis picking, played with white musicians in West-central Kentucky.
Throughout the 19th century, several immigrant groups from Europe, most notably from Ireland, Germany, Spain, and Italy moved to Texas. These groups interacted with Mexican and Native American, and U.S. communities that were already established in Texas. As a result of this cohabitation and extended contact, Texas has developed unique cultural traits that are rooted in the culture of all of its founding communities.
1920s
Local performers from Atlanta and Fort Worth were being played on radio stations by 1922. Along with local performers, barn-dance programs became popular among radio stations as well. Some record companies in Georgia turned away early artists such as Fiddlin' John Carson; while others realized that his music would fit perfectly with the lifestyle of the country's agricultural workers. The first commercial recordings of what was considered country music were "Arkansas Traveler" and "Turkey in the Straw" by fiddlers Henry Gilliland & A.C. (Eck) Robertson on June 30, 1922 for Victor Records. Columbia Records began issuing records with "hillbilly" music (series 15000D "Old Familiar Tunes") as early as 1924.
A year earlier, on June 14, 1923, Fiddlin' John Carson recorded "Little Log Cabin in the Lane" for Okeh Records. Vernon Dalhart was the first country singer to have a nationwide hit in May 1924 with "Wreck of the Old '97". The flip side of the record was "Lonesome Road Blues," which also became very popular. In April 1924, "Aunt" Samantha Bumgarner and Eva Davis became the first female musicians to record and release country songs.
Many "hillbilly" musicians, such as Cliff Carlisle, recorded blues songs throughout the decade and into the 30s. Other important early recording artists were Riley Puckett, Don Richardson, Fiddlin' John Carson, Uncle Dave Macon, Al Hopkins, Ernest V. Stoneman, Charlie Poole and the North Carolina Ramblers and The Skillet Lickers. The steel guitar entered country music as early as 1922, when Jimmie Tarlton met famed Hawaiian guitarist Frank Ferera on the West Coast.
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 on August 1, 1927, where Ralph Peer was the talent scout and sound recordist. A scene in the movie O Brother, Where Art Thou? (film) 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.
1930s - 1940s
One effect of the Great Depression was to reduce the number of records that could be sold. Radio, and broadcasting, became a popular source of entertainment, and "barn dance" shows featuring country music were started all over the South, as far north as Chicago, and as far west as California.
The most important was the Grand Ole Opry, aired starting in 1925 by WSM-AM in Nashville to the present day. Some of the early stars on the Opry were Uncle Dave Macon, Roy Acuff and African American harmonica player DeFord Bailey. WSM's 50,000 watt signal (1934) could often be heard across the country.
Many musicians performed and recorded songs in any number of styles. Moon Mullican, for example, played Western swing, but also recorded songs that can be called rockabilly. Between 1947 and 1949, country crooner Eddy Arnold placed eight songs in the top 10.
SINGING COWBOYS AND WESTERN SWING
During the 1930s and 1940s, cowboy songs, or Western music, which had been recorded since the 1920s, were popularized by films made in Hollywood. Some of the popular singing cowboys from the era were Gene Autry, the Sons of the Pioneers and Roy Rogers.
And it wasn't only cowboys; cowgirls contributed to the sound in various family groups. Patsy Montana opened the door for female artists with her history making song "I Want To Be a Cowboy's Sweetheart". This would begin a movement toward opportunities for women to have successful solo careers.
Bob Wills was another country musician from the Lower Great Plains who had become very popular as the leader of a “hot string band,” and who also appeared in Hollywood Westerns. His mix of country and jazz, which started out as dance hall music, would become known as Western swing. Spade Cooley and Tex Williams also had very popular bands and appeared in films. At its height, Western swing rivaled the popularity of other big band jazz.
CHANGING INSTRUMENTATION
Drums were scorned by early country musicians as being "too loud" and "not pure," but by 1935 Western swing big band leader Bob Wills had added drums to the Texas Playboys. In the mid 1940s, the Grand Ole Opry did not want the Playboys’ drummer to appear on stage. Although drums were commonly used by rockabilly groups by 1955, the less-conservative-than-the-Grand Ole Opry Louisiana Hayride kept its infrequently used drummer back stage as late as 1956. By the early 1960s, however, it was rare that a country band didn't have a drummer.
Bob Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. A decade later (1948) Arthur Smith achieved top 10 US country chart success with his MGM Records recording of "Guitar Boogie", which crossed over to the US pop chart, introducing many people to the potential of the electric guitar. For several decades Nashville session players preferred the warm tones of the Gibson and Gretsch archtop electrics, but a “hot” Fender style, utilizing guitars which became available beginning in the early 1950s, eventually prevailed as the signature guitar sound of country.
HILLBILLY BOOGIE
Country musicians began recording boogie in 1939, shortly after it had been played at Carnegie Hall, when Johnny Barfield recorded "Boogie Woogie." The trickle of what was initially called hillbilly boogie, or okie boogie (later to be renamed country boogie), became a flood beginning in late 1945. One notable release from this period was the Delmore Brothers' "Freight Train Boogie," considered to be part of the combined evolution of country music and blues towards rockabilly. In 1948, Arthur "Guitar Boogie" Smith achieved top ten US country chart success with his MGM Records recordings of "Guitar Boogie" and "Banjo Boogie," with the former crossing over to the US pop charts. Other country boogie artists included Merrill Moore and Tennessee Ernie Ford. The hillbilly boogie period lasted into the 1950s and remains one of many subgenres of country into the 21st century.
BLUEGRASS, FOLK AND GOSPEL
By the end of World War II, "mountaineer" string band music known as bluegrass had emerged when Bill Monroe joined with Lester Flatt and Earl Scruggs, introduced by Roy Acuff at the Grand Ole Opry. Gospel music, too, remained a popular component of country music. Red Foley, the biggest country star following World War II, had one of the first million-selling gospel hits ("Peace In The Valley") and also sang boogie, blues and rockabilly.
In the post-war period, country music was called "folk" in the trades, and "hillbilly" within the industry. In 1944, The Billboard replaced the term "hillbilly" with "folk songs and blues," and switched to "country" or "country and Western" in 1949.
HONKY TONK
Another type of stripped down and raw music with a variety of moods and a basic ensemble of guitar, bass, dobro or steel guitar (and later) drums became popular, especially among poor white southerners. It became known as honky tonk and had its roots in Texas. Bob Wills and His Texas Playboys personified this music which has been described as "a little bit of this, and a little bit of that, a little bit of black and a little bit of white...just loud enough to keep you from thinking too much and to go right on ordering the whiskey." East Texan Al Dexter had a hit with "Honky Tonk Blues," and seven years later "Pistiol Packin' Mama". These "honky tonk" songs associated barrooms, were performed by the likes of Ernest Tubb, Kitty Wells (the first major female country solo singer), Ted Daffan, Floyd Tillman, and the Maddox Brothers and Rose, Lefty Frizzell and Hank Williams, would later be called "traditional" country. Williams' influence in particular would prove to be enormous, inspiring many of the pioneers of rock and roll, such as Elvis Presley and Jerry Lee Lewis, as well as Chuck Berry and Ike Turner, while providing a framework for emerging honky tonk talents like George Jones. Webb Pierce was the top-charting country artist of the 1950s, with 13 of his singles spending 113 weeks at number one. He charted 48 singles during the decade; 31 reached the top ten and 26 reached the top four.
1950s - 1960s
By the early 1950s a blend of Western swing, country boogie, and honky tonk was played by most country bands, but a new style was about to become popular.
ROCKABILLY
Rockabilly was most popular with country fans in the 1950s, and 1956 could be called the year of rockabilly in country music. Rockabilly was a mixture of rock-and-roll and hillbilly music. During this period Elvis Presley converted over to country music. He played a huge role in the music industry during this time. The number two, three and four songs on Billboard's charts for that year were Elvis Presley, "Heartbreak Hotel"; Johnny Cash, "I Walk the Line"; and Carl Perkins, "Blue Suede Shoes".
Cash and Presley placed songs in the top 5 in 1958 with No. 3 "Guess Things Happen That Way/Come In, Stranger" by Cash, and No. 5 by Presley "Don't/I Beg Of You." Presley acknowledged the influence of rhythm and blues artists and his style, saying "The colored folk been singin' and playin' it just the way I'm doin' it now, man for more years than I know." But he also said, "My stuff is just hopped-up country." Within a few years, many rockabilly musicians returned to a more mainstream style or had defined their own unique style.
Country music gained national television exposure through Ozark Jubilee on ABC-TV and radio from 1955–1960 from Springfield, Missouri. The program showcased top stars including several rockabilly artists, some from the Ozarks. As Webb Pierce put it in 1956, "Once upon a time, it was almost impossible to sell country music in a place like New York City. Nowadays, television takes us everywhere, and country music records and sheet music sell as well in large cities as anywhere else."
The late 1950s saw the emergence of the Lubbock sound, but by the end of the decade, backlash as well as traditional artists such as Ray Price, Marty Robbins, and Johnny Horton began to shift the industry away from the rock n' roll influences of the mid-50s.
THE NASHVILLE AND COUNTRYPOLITAN SOUNDS
Beginning in the mid 1950s, and reaching its peak during the early 1960s, the Nashville sound turned country music into a multimillion-dollar industry centered in Nashville, Tennessee. Under the direction of producers such as Chet Atkins, Owen Bradley, and later Billy Sherrill, the sound brought country music to a diverse audience and helped revive country as it emerged from a commercially fallow period.
This subgenre was notable for borrowing from 1950s pop stylings: a prominent and "smooth" vocal, backed by a string section and vocal chorus. Instrumental soloing was de-emphasized in favor of trademark "licks". Leading artists in this genre included Patsy Cline, Jim Reeves, Skeeter Davis, The Browns, and Eddy Arnold. The "slip note" piano style of session musician Floyd Cramer was an important component of this style.
Nashville's pop song structure became more pronounced and it morphed into what was called countrypolitan. Countrypolitan was aimed straight at mainstream markets and it sold well throughout the later 1960s into the early 1970s. Top artists included Tammy Wynette, Lynn Anderson, and Charlie Rich, as well as such former "hard country" artists as Ray Price and Marty Robbins.
Despite the appeal of "The Nashville Sound", many traditional "hard country" artists emerged during this period and dominated the genre: Loretta Lynn, Merle Haggard, Buck Owens, Porter Wagoner, and Sonny James among them.
COUNTRY SOUL - CROSSOVER
In 1962, Ray Charles surprised the pop world by turning his attention to country and western music, topping the charts and rating number three for the year on Billboard's pop chart with the "I Can't Stop Loving You" single, and recording the landmark album Modern Sounds in Country and Western Music.
THE BAKERSFIELD SOUND
Another genre of country music grew out of hardcore honky tonk with elements of Western swing and originated 112 miles (180 km) north-northwest of Los Angeles in Bakersfield, California. Influenced by one-time West Coast residents Bob Wills and Lefty Frizzell, by 1966 it was known as the Bakersfield sound. It relied on electric instruments and amplification, in particular the Telecaster electric guitar, more than other subgenres of country of the era, and can be described as having a sharp, hard, driving, no-frills, edgy flavor. Leading practitioners of this style were Owens, Haggard, Tommy Collins, Dwight Yoakam, Gary Allan, and Wynn Stewart, each of whom had his own style.
COUNTRY ROCK
The late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres. In the aftermath of the British Invasion, many desired a return to the "old values" of rock n' roll. At the same time there was a lack of enthusiasm in the country sector for Nashville-produced music. What resulted was a crossbred genre known as country rock.
Early innovators in this new style of music in the 60s and 70s included Bob Dylan who was the first to revert to country music with his 1967 album John Wesley Harding followed by rock n' roll icon band The Byrds (Gram Parsons on "Sweethearts of the Rodeo") and its spin-off The Flying Burrito Brothers (also featuring Gram Parsons), guitarist Clarence White, Michael Nesmith (Monkees and First National Band), the Grateful Dead, Neil Young, Commander Cody, The Allman Brothers, The Marshall Tucker Band, Poco, Buffalo Springfield, and The Eagles among many. The Rolling Stones also got into the act with songs like "Honky Tonk Women" and "Dead Flowers".
Described by Allmusic as the "father of country-rock", Gram Parsons' work in the early '70s was acclaimed for its purity and for his appreciation for aspects of traditional country music. Though his career was cut tragically short by his 1973 death, his legacy was carried on by his mentee and duet partner Emmylou Harris; Harris would release her debut solo in 1975, an amalgamation of country, rock and roll, folk, blues and pop.
Subsequent to the initial blending of the two polar opposite genres, other offspring soon resulted, including Southern rock, heartland rock and in more recent years, alternative country.
In the decades that followed, artists such as Juice Newton; Alabama; Hank Williams, Jr.; Gary Allan; Shania Twain; Brooks & Dunn; Faith Hill; Garth Brooks; Dwight Yoakam; Steve Earle; Dolly Parton; Rosanne Cash and Linda Ronstadt moved country further towards rock influence.
1970s - 1980s
OUTLAW COUNTRY
Derived from the traditional and honky tonk sounds of the late 1950s and 1960s, including Ray Price (whose band, the "Cherokee Cowboys", included Willie Nelson and Roger Miller) and mixed with the anger of an alienated subculture of the nation during the period, outlaw country revolutionized the genre of country music.
"After I left Nashville (the early 70s), I wanted to relax and play the music that I wanted to play, and just stay around Texas, maybe Oklahoma. Waylon and I had that outlaw image going, and when it caught on at colleges and we started selling records, we were O.K. The whole outlaw thing, it had nothing to do with the music, it was something that got written in an article, and the young people said, 'Well, that's pretty cool.' And started listening." (Willie Nelson).
The term outlaw country is traditionally associated with Hank Williams, Jr, Willie Nelson, Waylon Jennings, David Allan Coe, Whitey Morgan & The 78's, John Prine, Billy Joe Shaver, Gary Stewart, Townes Van Zandt and with a few female vocalists such as Jessi Colter and Sammi Smith. It was encapsulated in the 1976 album Wanted! The Outlaws. A related subgenre is Red Dirt.
COUNTRY POP
Country pop or soft pop, with roots in both the countrypolitan sound and in soft rock, is a subgenre that first emerged in the 1970s. Although the term first referred to country music songs and artists that crossed over to top 40 radio, country pop acts are now more likely to cross over to adult contemporary music. It started with pop music singers like Glen Campbell, Bobbie Gentry, John Denver, Olivia Newton-John, Anne Murray, Marie Osmond, B. J. Thomas, The Bellamy Brothers, and Linda Ronstadt having hits on the country charts.
In 1974, Newton-John, an Australian pop singer, won the "Best Female Country Vocal Performance" as well as the Country Music Association's most coveted award for females, "Female Vocalist of the Year". In the same year, a group of artists, troubled by this trend, formed the short-lived Association of Country Entertainers. The debate raged into 1975, and reached its apex at that year's Country Music Association Awards when reigning Entertainer of the Year Charlie Rich (who himself had a series of crossover hits) presented the award to his successor, John Denver. As he read Denver's name, Rich set fire to the envelope with a cigarette lighter. The action was taken as a protest against the increasing pop style in country music.
During the mid-1970s, Dolly Parton, a highly successful mainstream country artist since the late '60s, mounted a high profile campaign to crossover to pop music, culminating in her 1977 hit "Here You Come Again", which topped the U.S. country singles chart, and also reached No. 3 on the pop singles charts. Parton's male counterpart, Kenny Rogers came from the opposite direction, aiming his music at the country charts, after a successful career in pop, rock and folk music, achieving success the same year with "Lucille", which topped the country charts and reached No. 5 on the U.S. pop singles charts. Parton and Rogers would both continue to have success on both country and pop charts simultaneously, well into the 1980s. Artists like Crystal Gayle, Ronnie Milsap and Barbara Mandrell would also find success on the pop charts with their records as well.
In 1975, author Paul Hemphill stated in the Saturday Evening Post, “Country music isn’t really country anymore; it is a hybrid of nearly every form of popular music in America.”
During the early 1980s, country artists continued to see their records perform well on the pop charts. Willie Nelson and Juice Newton each had two songs in the top 5 of the Billboard Hot 100 in the early eighties: Nelson charted "Always On My Mind" (No. 5, 1982) and "To All The Girls I've Loved Before" (No. 5, 1984), and Newton achieved success with "Queen of Hearts" (No. 2, 1981) and "Angel of the Morning" (No. 4, 1981). Four country songs topped the Billboard Hot 100 in the 1980s: "Lady" by Kenny Rogers, from the late fall of 1980; "9 to 5" by Dolly Parton, "I Love a Rainy Night" by Eddie Rabbitt (these two back-to-back at the top in early 1981); and "Islands in the Stream", a duet by Dolly Parton and Kenny Rogers in 1983, a pop-country crossover hit written by Barry, Robin, and Maurice Gibb of the Bee Gees. Newton's "Queen of Hearts" almost reached No. 1, but was kept out of the spot by the pop ballad juggernaut "Endless Love" by Diana Ross and Lionel Richie. Although there were few crossover hits in the latter half of the 1980s, one song — Roy Orbison's "You Got It", from 1989 — made the top 10 of both the Billboard Hot Country Singles" and Hot 100 charts.
The record-setting, multi-platinum group, Alabama, was named Artist of the Decade for the 1980s by the Academy of Country Music.
NEOCOUNTRY
In 1980, a style of "neocountry disco music" was popularized by the film Urban Cowboy, which also included more traditional songs such as "The Devil Went Down to Georgia" by the Charlie Daniels Band. A related subgenre is Texas country music.
Sales in record stores rocketed to $250 million in 1981; by 1984, 900 radio stations began programming country or neocountry pop full time. As with most sudden trends, however, by 1984 sales had dropped below 1979 figures.
TRUCK DRIVING COUNTRY
Truck driving country music is a genre of country music and is a fusion of honky tonk, country-rock and Bakersfield Sound. It has the tempo of country-rock and the emotion of honky-tonk, and its lyrics focus on a truck driver's lifestyle. Truck driving country songs often deal with trucks and love. Well-known artists who sing truck driving country include Dave Dudley, Red Sovine, Dick Curless, Red Simpson, Colonel Robert Morris, and Waylon Speed. Dudley is known as the father of truck driving country.
NEOTRADITIONALIST MOVEMENT
During the mid-1980s, a group of new artists began to emerge who rejected the more polished country-pop sound that had been prominent on radio and the charts, in favor of more, traditional, "back-to-basics" production. Led by Randy Travis, whose 1986 debut album Storms of Life, sold four million copies and was Billboard's year-end top country album of 1987, many of the artists during the latter half of the '80s drew on traditional honky tonk, bluegrass, folk and western swing. Artists who typified this sound included Travis Tritt, Ricky Skaggs, Kathy Mattea, George Strait and The Judds.
1960s
Country music was aided by the FCC's Docket 80-90, which led to a significant expansion of FM radio in the 1980s by adding numerous higher-fidelity FM signals to rural and suburban areas. At this point, country music was mainly heard on rural AM radio stations; the expansion of FM was particularly helpful to country music, which migrated to FM from the AM band as AM became overcome by talk radio. This wider availability of country music led to producers seeking to polish their product for a wider audience.
With his debut on the national country music scene in 1989, singer and songwriter Clint Black would usher in a new sound that would define much of country music for the 1990s and beyond.
In the 1990s, country music became a worldwide phenomenon thanks to Billy Ray Cyrus and Garth Brooks. The latter enjoyed one of the most successful careers in popular music history, breaking records for both sales and concert attendance throughout the decade. The RIAA has certified his recordings at a combined (128× platinum), denoting roughly 113 million U.S. shipments.
Mindy McCready, Jo Dee Messina, Shania Twain, Faith Hill all released platinum selling albums in the 90s.
Shania Twain, is a Canadian country pop singer-songwriter. Her album The Woman in Me (1995) 12x platinum, brought her fame and her 1997 album Come On Over, became the best-selling album of all time by a female musician in any genre, and the best-selling country album of all time. It has sold over 40 million copies worldwide and is the 9th best-selling album in the U.S. Her 4th album, titled Up! was released late 2002. To date it has sold 20 million copies worldwide. Twain has won five Grammy Awards and 27 BMI Songwriter awards. She has had three albums certified Diamond by the Recording Industry Association of America and is the second best-selling artist in Canada, behind fellow Canadian Céline Dion, with three of her studio albums certified double diamond by the Canadian Recording Industry Association. Sometimes referred to as "The First Lady of Country Music", Twain has sold over 75 million albums worldwide and is ranked 10th best-selling artist of the Nielsen SoundScan era. She was also ranked 72nd on Billboard's "Artists of the decade" (2000–10). Most recently, Twain has her own TV series, Why Not? with Shania Twain, that premiered on the OWN on May 8, 2011. She received a star on the Hollywood Walk of Fame on June 2, 2011.
The Dixie Chicks became one of the most popular country bands in the 90s and early 00s. Their 1998 debut album Wide Open Spaces went on to become certified 12x platinum while their 1999 album Fly went on to become 10x platinum.
In the early-mid 1990s, country western music was influenced by the popularity of line dancing. This influence was so great that Chet Atkins was quoted as saying "The music has gotten pretty bad, I think. It's all that damn line dancing." By the end of the decade, however, at least one line dance choreographer complained that good country line dance music was no longer being released.
2000s
Several rock and pop stars have ventured into country music. In 2000, Richard Marx made a brief cross-over with his Days In Avalon album, which features five country songs and several singers and musicians. Alison Krauss sang background vocals to Marx's single "Straight From My Heart." Also, Bon Jovi had a hit single, "Who Says You Can't Go Home", with Jennifer Nettles of Sugarland. Singer song writer Unknown Hinson became famous for his appearance in the Charlotte television show Wild,Wild, South. After which Unknown Hinson started his own band and toured in southern states. Other rock stars who featured a country song on their albums were Don Henley and Poison.
One infrequent, but consistent theme in modern country music is that of proud, stubborn individualism. "Country Boy Can Survive" and "Copperhead Road" are two of the more serious songs along those lines; while "Some Girls Do" and "Redneck Woman" are more light-hearted variations on the theme.
In 2005, country singer Carrie Underwood rose to fame as the winner of the fourth season of American Idol and became a multi-platinum selling recording artist and multiple Grammy Award winner. With her first single, "Inside Your Heaven", Underwood became the only country artist to have a #1 Hit on Billboard Hot 100 Songs chart in the 2000-2009 decade. In 2007, Underwood won the Grammy Award for Best New Artist and became the first country artist in 10 years to win such award and the second of only three to ever win it. Underwood also made history by becoming the seventh woman to win Entertainer Of The Year for the Academy of Country Music Awards, and the first woman in history to win Entertainer of the Year for the Academy of Country Music Awards twice, as well as twice consecutively. Underwood's debut album, "Some Hearts", was not only the fastest-selling debut album by any country artist in history, but was ranked by Billboard.com as the #1 Country Album of the 2000-2009 decade.
In 2008, Taylor Swift rose as a major country-pop artist, with her single "Love Story" becoming the first country song to reach No. 1 one on the Nielsen BDS CHR/Top 40 chart. Another of her singles, "You Belong with Me", also reached No. 1, making Swift the only country artist to have two No. 1 singles atop the chart. Both "Love Story" and "You Belong with Me" became the best-selling country song of all time, with "Love Story" in the first position with a domestic total of 4.4 million digital copies sold, and "You Belong with Me" in the second with 3.4 million sales, respectively. In 2010, Swift's second album "Fearless" was awarded the Grammy Award for Album of the Year, becoming the first album in history to win the American Music Award (AMA), Academy of Country Music Award (ACM), Country Music Association Award (CMA), and the Grammy Award for Album of the Year in the same year.
In the same year, Hootie & the Blowfish vocalist Darius Rucker released his second solo album and country music debut, Learn to Live. The first three singles from that album all debuted at No. 1, making Rucker the first solo artist to debut with three No. 1 hits in over a decade. He is also the first African American with a No. 1 country hit since Charley Pride in 1983.
In 2009, George Strait was named Artist of the Decade by the Academy of Country Music.
Source: Wikipedia.
The term country music gained popularity in the 1940s in preference to the earlier term hillbilly music. The term country music is used today to describe many styles and subgenres.
Harlan Howard stated "Country music is three chords and the truth."
EARLY HISTORY
Immigrants to the Maritime Provinces and Southern Appalachian Mountains of North America brought the music and instruments of the Old World along with them for nearly 300 years. They brought some of their most important valuables with them, and to most of them this was an instrument: “Early Scottish settlers enjoyed the fiddle because it could be played to sound sad and mournful or bright and bouncy”. The Irish fiddle, the German derived dulcimer, the Italian mandolin, the Spanish guitar, and the West African banjo were the most common musical instruments. The interactions among musicians from different ethnic groups produced music unique to this region of North America. Appalachian string bands of the early 20th century primarily consisted of the fiddle, guitar, and banjo. This early country music along with early recorded country music is often referred to as old-time music.
According to Bill Malone in Country Music U.S.A, country music was “introduced to the world as a southern phenomenon." In the South, folk music was a combination of cultural strains, combining musical traditions of a variety of ethnic groups in the region. For example, some instrumental pieces from Anglo-British and Irish immigrants were the basis of folk songs and ballads that form what is now known as old time music, from which country music descended. It is commonly thought that British and Irish folk music influenced the development of old time music. British and Irish arrivals to the Southern U.S. included immigrants from Scotland, Wales, Ireland, and England.
Often, when many people think or hear country music, they think of it as a creation of European-Americans. However, a great deal of style—and of course, the banjo, a major instrument in most early American folk songs—came from African Americans. One of the reasons country music was created by African-Americans, as well as European-Americans, is because blacks and whites in rural communities in the south often worked and played together, just as recollected by DeFord Bailey in the PBS documentary, DeFord Bailey: A Legend Lost. Influential black guitarist Arnold Schultz, known as the primary source for thumb style, or Travis picking, played with white musicians in West-central Kentucky.
Throughout the 19th century, several immigrant groups from Europe, most notably from Ireland, Germany, Spain, and Italy moved to Texas. These groups interacted with Mexican and Native American, and U.S. communities that were already established in Texas. As a result of this cohabitation and extended contact, Texas has developed unique cultural traits that are rooted in the culture of all of its founding communities.
1920s
Local performers from Atlanta and Fort Worth were being played on radio stations by 1922. Along with local performers, barn-dance programs became popular among radio stations as well. Some record companies in Georgia turned away early artists such as Fiddlin' John Carson; while others realized that his music would fit perfectly with the lifestyle of the country's agricultural workers. The first commercial recordings of what was considered country music were "Arkansas Traveler" and "Turkey in the Straw" by fiddlers Henry Gilliland & A.C. (Eck) Robertson on June 30, 1922 for Victor Records. Columbia Records began issuing records with "hillbilly" music (series 15000D "Old Familiar Tunes") as early as 1924.
A year earlier, on June 14, 1923, Fiddlin' John Carson recorded "Little Log Cabin in the Lane" for Okeh Records. Vernon Dalhart was the first country singer to have a nationwide hit in May 1924 with "Wreck of the Old '97". The flip side of the record was "Lonesome Road Blues," which also became very popular. In April 1924, "Aunt" Samantha Bumgarner and Eva Davis became the first female musicians to record and release country songs.
Many "hillbilly" musicians, such as Cliff Carlisle, recorded blues songs throughout the decade and into the 30s. Other important early recording artists were Riley Puckett, Don Richardson, Fiddlin' John Carson, Uncle Dave Macon, Al Hopkins, Ernest V. Stoneman, Charlie Poole and the North Carolina Ramblers and The Skillet Lickers. The steel guitar entered country music as early as 1922, when Jimmie Tarlton met famed Hawaiian guitarist Frank Ferera on the West Coast.
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 on August 1, 1927, where Ralph Peer was the talent scout and sound recordist. A scene in the movie O Brother, Where Art Thou? (film) 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.
1930s - 1940s
One effect of the Great Depression was to reduce the number of records that could be sold. Radio, and broadcasting, became a popular source of entertainment, and "barn dance" shows featuring country music were started all over the South, as far north as Chicago, and as far west as California.
The most important was the Grand Ole Opry, aired starting in 1925 by WSM-AM in Nashville to the present day. Some of the early stars on the Opry were Uncle Dave Macon, Roy Acuff and African American harmonica player DeFord Bailey. WSM's 50,000 watt signal (1934) could often be heard across the country.
Many musicians performed and recorded songs in any number of styles. Moon Mullican, for example, played Western swing, but also recorded songs that can be called rockabilly. Between 1947 and 1949, country crooner Eddy Arnold placed eight songs in the top 10.
SINGING COWBOYS AND WESTERN SWING
During the 1930s and 1940s, cowboy songs, or Western music, which had been recorded since the 1920s, were popularized by films made in Hollywood. Some of the popular singing cowboys from the era were Gene Autry, the Sons of the Pioneers and Roy Rogers.
And it wasn't only cowboys; cowgirls contributed to the sound in various family groups. Patsy Montana opened the door for female artists with her history making song "I Want To Be a Cowboy's Sweetheart". This would begin a movement toward opportunities for women to have successful solo careers.
Bob Wills was another country musician from the Lower Great Plains who had become very popular as the leader of a “hot string band,” and who also appeared in Hollywood Westerns. His mix of country and jazz, which started out as dance hall music, would become known as Western swing. Spade Cooley and Tex Williams also had very popular bands and appeared in films. At its height, Western swing rivaled the popularity of other big band jazz.
CHANGING INSTRUMENTATION
Drums were scorned by early country musicians as being "too loud" and "not pure," but by 1935 Western swing big band leader Bob Wills had added drums to the Texas Playboys. In the mid 1940s, the Grand Ole Opry did not want the Playboys’ drummer to appear on stage. Although drums were commonly used by rockabilly groups by 1955, the less-conservative-than-the-Grand Ole Opry Louisiana Hayride kept its infrequently used drummer back stage as late as 1956. By the early 1960s, however, it was rare that a country band didn't have a drummer.
Bob Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. A decade later (1948) Arthur Smith achieved top 10 US country chart success with his MGM Records recording of "Guitar Boogie", which crossed over to the US pop chart, introducing many people to the potential of the electric guitar. For several decades Nashville session players preferred the warm tones of the Gibson and Gretsch archtop electrics, but a “hot” Fender style, utilizing guitars which became available beginning in the early 1950s, eventually prevailed as the signature guitar sound of country.
HILLBILLY BOOGIE
Country musicians began recording boogie in 1939, shortly after it had been played at Carnegie Hall, when Johnny Barfield recorded "Boogie Woogie." The trickle of what was initially called hillbilly boogie, or okie boogie (later to be renamed country boogie), became a flood beginning in late 1945. One notable release from this period was the Delmore Brothers' "Freight Train Boogie," considered to be part of the combined evolution of country music and blues towards rockabilly. In 1948, Arthur "Guitar Boogie" Smith achieved top ten US country chart success with his MGM Records recordings of "Guitar Boogie" and "Banjo Boogie," with the former crossing over to the US pop charts. Other country boogie artists included Merrill Moore and Tennessee Ernie Ford. The hillbilly boogie period lasted into the 1950s and remains one of many subgenres of country into the 21st century.
BLUEGRASS, FOLK AND GOSPEL
By the end of World War II, "mountaineer" string band music known as bluegrass had emerged when Bill Monroe joined with Lester Flatt and Earl Scruggs, introduced by Roy Acuff at the Grand Ole Opry. Gospel music, too, remained a popular component of country music. Red Foley, the biggest country star following World War II, had one of the first million-selling gospel hits ("Peace In The Valley") and also sang boogie, blues and rockabilly.
In the post-war period, country music was called "folk" in the trades, and "hillbilly" within the industry. In 1944, The Billboard replaced the term "hillbilly" with "folk songs and blues," and switched to "country" or "country and Western" in 1949.
HONKY TONK
Another type of stripped down and raw music with a variety of moods and a basic ensemble of guitar, bass, dobro or steel guitar (and later) drums became popular, especially among poor white southerners. It became known as honky tonk and had its roots in Texas. Bob Wills and His Texas Playboys personified this music which has been described as "a little bit of this, and a little bit of that, a little bit of black and a little bit of white...just loud enough to keep you from thinking too much and to go right on ordering the whiskey." East Texan Al Dexter had a hit with "Honky Tonk Blues," and seven years later "Pistiol Packin' Mama". These "honky tonk" songs associated barrooms, were performed by the likes of Ernest Tubb, Kitty Wells (the first major female country solo singer), Ted Daffan, Floyd Tillman, and the Maddox Brothers and Rose, Lefty Frizzell and Hank Williams, would later be called "traditional" country. Williams' influence in particular would prove to be enormous, inspiring many of the pioneers of rock and roll, such as Elvis Presley and Jerry Lee Lewis, as well as Chuck Berry and Ike Turner, while providing a framework for emerging honky tonk talents like George Jones. Webb Pierce was the top-charting country artist of the 1950s, with 13 of his singles spending 113 weeks at number one. He charted 48 singles during the decade; 31 reached the top ten and 26 reached the top four.
1950s - 1960s
By the early 1950s a blend of Western swing, country boogie, and honky tonk was played by most country bands, but a new style was about to become popular.
ROCKABILLY
Rockabilly was most popular with country fans in the 1950s, and 1956 could be called the year of rockabilly in country music. Rockabilly was a mixture of rock-and-roll and hillbilly music. During this period Elvis Presley converted over to country music. He played a huge role in the music industry during this time. The number two, three and four songs on Billboard's charts for that year were Elvis Presley, "Heartbreak Hotel"; Johnny Cash, "I Walk the Line"; and Carl Perkins, "Blue Suede Shoes".
Cash and Presley placed songs in the top 5 in 1958 with No. 3 "Guess Things Happen That Way/Come In, Stranger" by Cash, and No. 5 by Presley "Don't/I Beg Of You." Presley acknowledged the influence of rhythm and blues artists and his style, saying "The colored folk been singin' and playin' it just the way I'm doin' it now, man for more years than I know." But he also said, "My stuff is just hopped-up country." Within a few years, many rockabilly musicians returned to a more mainstream style or had defined their own unique style.
Country music gained national television exposure through Ozark Jubilee on ABC-TV and radio from 1955–1960 from Springfield, Missouri. The program showcased top stars including several rockabilly artists, some from the Ozarks. As Webb Pierce put it in 1956, "Once upon a time, it was almost impossible to sell country music in a place like New York City. Nowadays, television takes us everywhere, and country music records and sheet music sell as well in large cities as anywhere else."
The late 1950s saw the emergence of the Lubbock sound, but by the end of the decade, backlash as well as traditional artists such as Ray Price, Marty Robbins, and Johnny Horton began to shift the industry away from the rock n' roll influences of the mid-50s.
THE NASHVILLE AND COUNTRYPOLITAN SOUNDS
Beginning in the mid 1950s, and reaching its peak during the early 1960s, the Nashville sound turned country music into a multimillion-dollar industry centered in Nashville, Tennessee. Under the direction of producers such as Chet Atkins, Owen Bradley, and later Billy Sherrill, the sound brought country music to a diverse audience and helped revive country as it emerged from a commercially fallow period.
This subgenre was notable for borrowing from 1950s pop stylings: a prominent and "smooth" vocal, backed by a string section and vocal chorus. Instrumental soloing was de-emphasized in favor of trademark "licks". Leading artists in this genre included Patsy Cline, Jim Reeves, Skeeter Davis, The Browns, and Eddy Arnold. The "slip note" piano style of session musician Floyd Cramer was an important component of this style.
Nashville's pop song structure became more pronounced and it morphed into what was called countrypolitan. Countrypolitan was aimed straight at mainstream markets and it sold well throughout the later 1960s into the early 1970s. Top artists included Tammy Wynette, Lynn Anderson, and Charlie Rich, as well as such former "hard country" artists as Ray Price and Marty Robbins.
Despite the appeal of "The Nashville Sound", many traditional "hard country" artists emerged during this period and dominated the genre: Loretta Lynn, Merle Haggard, Buck Owens, Porter Wagoner, and Sonny James among them.
COUNTRY SOUL - CROSSOVER
In 1962, Ray Charles surprised the pop world by turning his attention to country and western music, topping the charts and rating number three for the year on Billboard's pop chart with the "I Can't Stop Loving You" single, and recording the landmark album Modern Sounds in Country and Western Music.
THE BAKERSFIELD SOUND
Another genre of country music grew out of hardcore honky tonk with elements of Western swing and originated 112 miles (180 km) north-northwest of Los Angeles in Bakersfield, California. Influenced by one-time West Coast residents Bob Wills and Lefty Frizzell, by 1966 it was known as the Bakersfield sound. It relied on electric instruments and amplification, in particular the Telecaster electric guitar, more than other subgenres of country of the era, and can be described as having a sharp, hard, driving, no-frills, edgy flavor. Leading practitioners of this style were Owens, Haggard, Tommy Collins, Dwight Yoakam, Gary Allan, and Wynn Stewart, each of whom had his own style.
COUNTRY ROCK
The late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres. In the aftermath of the British Invasion, many desired a return to the "old values" of rock n' roll. At the same time there was a lack of enthusiasm in the country sector for Nashville-produced music. What resulted was a crossbred genre known as country rock.
Early innovators in this new style of music in the 60s and 70s included Bob Dylan who was the first to revert to country music with his 1967 album John Wesley Harding followed by rock n' roll icon band The Byrds (Gram Parsons on "Sweethearts of the Rodeo") and its spin-off The Flying Burrito Brothers (also featuring Gram Parsons), guitarist Clarence White, Michael Nesmith (Monkees and First National Band), the Grateful Dead, Neil Young, Commander Cody, The Allman Brothers, The Marshall Tucker Band, Poco, Buffalo Springfield, and The Eagles among many. The Rolling Stones also got into the act with songs like "Honky Tonk Women" and "Dead Flowers".
Described by Allmusic as the "father of country-rock", Gram Parsons' work in the early '70s was acclaimed for its purity and for his appreciation for aspects of traditional country music. Though his career was cut tragically short by his 1973 death, his legacy was carried on by his mentee and duet partner Emmylou Harris; Harris would release her debut solo in 1975, an amalgamation of country, rock and roll, folk, blues and pop.
Subsequent to the initial blending of the two polar opposite genres, other offspring soon resulted, including Southern rock, heartland rock and in more recent years, alternative country.
In the decades that followed, artists such as Juice Newton; Alabama; Hank Williams, Jr.; Gary Allan; Shania Twain; Brooks & Dunn; Faith Hill; Garth Brooks; Dwight Yoakam; Steve Earle; Dolly Parton; Rosanne Cash and Linda Ronstadt moved country further towards rock influence.
1970s - 1980s
OUTLAW COUNTRY
Derived from the traditional and honky tonk sounds of the late 1950s and 1960s, including Ray Price (whose band, the "Cherokee Cowboys", included Willie Nelson and Roger Miller) and mixed with the anger of an alienated subculture of the nation during the period, outlaw country revolutionized the genre of country music.
"After I left Nashville (the early 70s), I wanted to relax and play the music that I wanted to play, and just stay around Texas, maybe Oklahoma. Waylon and I had that outlaw image going, and when it caught on at colleges and we started selling records, we were O.K. The whole outlaw thing, it had nothing to do with the music, it was something that got written in an article, and the young people said, 'Well, that's pretty cool.' And started listening." (Willie Nelson).
The term outlaw country is traditionally associated with Hank Williams, Jr, Willie Nelson, Waylon Jennings, David Allan Coe, Whitey Morgan & The 78's, John Prine, Billy Joe Shaver, Gary Stewart, Townes Van Zandt and with a few female vocalists such as Jessi Colter and Sammi Smith. It was encapsulated in the 1976 album Wanted! The Outlaws. A related subgenre is Red Dirt.
COUNTRY POP
Country pop or soft pop, with roots in both the countrypolitan sound and in soft rock, is a subgenre that first emerged in the 1970s. Although the term first referred to country music songs and artists that crossed over to top 40 radio, country pop acts are now more likely to cross over to adult contemporary music. It started with pop music singers like Glen Campbell, Bobbie Gentry, John Denver, Olivia Newton-John, Anne Murray, Marie Osmond, B. J. Thomas, The Bellamy Brothers, and Linda Ronstadt having hits on the country charts.
In 1974, Newton-John, an Australian pop singer, won the "Best Female Country Vocal Performance" as well as the Country Music Association's most coveted award for females, "Female Vocalist of the Year". In the same year, a group of artists, troubled by this trend, formed the short-lived Association of Country Entertainers. The debate raged into 1975, and reached its apex at that year's Country Music Association Awards when reigning Entertainer of the Year Charlie Rich (who himself had a series of crossover hits) presented the award to his successor, John Denver. As he read Denver's name, Rich set fire to the envelope with a cigarette lighter. The action was taken as a protest against the increasing pop style in country music.
During the mid-1970s, Dolly Parton, a highly successful mainstream country artist since the late '60s, mounted a high profile campaign to crossover to pop music, culminating in her 1977 hit "Here You Come Again", which topped the U.S. country singles chart, and also reached No. 3 on the pop singles charts. Parton's male counterpart, Kenny Rogers came from the opposite direction, aiming his music at the country charts, after a successful career in pop, rock and folk music, achieving success the same year with "Lucille", which topped the country charts and reached No. 5 on the U.S. pop singles charts. Parton and Rogers would both continue to have success on both country and pop charts simultaneously, well into the 1980s. Artists like Crystal Gayle, Ronnie Milsap and Barbara Mandrell would also find success on the pop charts with their records as well.
In 1975, author Paul Hemphill stated in the Saturday Evening Post, “Country music isn’t really country anymore; it is a hybrid of nearly every form of popular music in America.”
During the early 1980s, country artists continued to see their records perform well on the pop charts. Willie Nelson and Juice Newton each had two songs in the top 5 of the Billboard Hot 100 in the early eighties: Nelson charted "Always On My Mind" (No. 5, 1982) and "To All The Girls I've Loved Before" (No. 5, 1984), and Newton achieved success with "Queen of Hearts" (No. 2, 1981) and "Angel of the Morning" (No. 4, 1981). Four country songs topped the Billboard Hot 100 in the 1980s: "Lady" by Kenny Rogers, from the late fall of 1980; "9 to 5" by Dolly Parton, "I Love a Rainy Night" by Eddie Rabbitt (these two back-to-back at the top in early 1981); and "Islands in the Stream", a duet by Dolly Parton and Kenny Rogers in 1983, a pop-country crossover hit written by Barry, Robin, and Maurice Gibb of the Bee Gees. Newton's "Queen of Hearts" almost reached No. 1, but was kept out of the spot by the pop ballad juggernaut "Endless Love" by Diana Ross and Lionel Richie. Although there were few crossover hits in the latter half of the 1980s, one song — Roy Orbison's "You Got It", from 1989 — made the top 10 of both the Billboard Hot Country Singles" and Hot 100 charts.
The record-setting, multi-platinum group, Alabama, was named Artist of the Decade for the 1980s by the Academy of Country Music.
NEOCOUNTRY
In 1980, a style of "neocountry disco music" was popularized by the film Urban Cowboy, which also included more traditional songs such as "The Devil Went Down to Georgia" by the Charlie Daniels Band. A related subgenre is Texas country music.
Sales in record stores rocketed to $250 million in 1981; by 1984, 900 radio stations began programming country or neocountry pop full time. As with most sudden trends, however, by 1984 sales had dropped below 1979 figures.
TRUCK DRIVING COUNTRY
Truck driving country music is a genre of country music and is a fusion of honky tonk, country-rock and Bakersfield Sound. It has the tempo of country-rock and the emotion of honky-tonk, and its lyrics focus on a truck driver's lifestyle. Truck driving country songs often deal with trucks and love. Well-known artists who sing truck driving country include Dave Dudley, Red Sovine, Dick Curless, Red Simpson, Colonel Robert Morris, and Waylon Speed. Dudley is known as the father of truck driving country.
NEOTRADITIONALIST MOVEMENT
During the mid-1980s, a group of new artists began to emerge who rejected the more polished country-pop sound that had been prominent on radio and the charts, in favor of more, traditional, "back-to-basics" production. Led by Randy Travis, whose 1986 debut album Storms of Life, sold four million copies and was Billboard's year-end top country album of 1987, many of the artists during the latter half of the '80s drew on traditional honky tonk, bluegrass, folk and western swing. Artists who typified this sound included Travis Tritt, Ricky Skaggs, Kathy Mattea, George Strait and The Judds.
1960s
Country music was aided by the FCC's Docket 80-90, which led to a significant expansion of FM radio in the 1980s by adding numerous higher-fidelity FM signals to rural and suburban areas. At this point, country music was mainly heard on rural AM radio stations; the expansion of FM was particularly helpful to country music, which migrated to FM from the AM band as AM became overcome by talk radio. This wider availability of country music led to producers seeking to polish their product for a wider audience.
With his debut on the national country music scene in 1989, singer and songwriter Clint Black would usher in a new sound that would define much of country music for the 1990s and beyond.
In the 1990s, country music became a worldwide phenomenon thanks to Billy Ray Cyrus and Garth Brooks. The latter enjoyed one of the most successful careers in popular music history, breaking records for both sales and concert attendance throughout the decade. The RIAA has certified his recordings at a combined (128× platinum), denoting roughly 113 million U.S. shipments.
Mindy McCready, Jo Dee Messina, Shania Twain, Faith Hill all released platinum selling albums in the 90s.
Shania Twain, is a Canadian country pop singer-songwriter. Her album The Woman in Me (1995) 12x platinum, brought her fame and her 1997 album Come On Over, became the best-selling album of all time by a female musician in any genre, and the best-selling country album of all time. It has sold over 40 million copies worldwide and is the 9th best-selling album in the U.S. Her 4th album, titled Up! was released late 2002. To date it has sold 20 million copies worldwide. Twain has won five Grammy Awards and 27 BMI Songwriter awards. She has had three albums certified Diamond by the Recording Industry Association of America and is the second best-selling artist in Canada, behind fellow Canadian Céline Dion, with three of her studio albums certified double diamond by the Canadian Recording Industry Association. Sometimes referred to as "The First Lady of Country Music", Twain has sold over 75 million albums worldwide and is ranked 10th best-selling artist of the Nielsen SoundScan era. She was also ranked 72nd on Billboard's "Artists of the decade" (2000–10). Most recently, Twain has her own TV series, Why Not? with Shania Twain, that premiered on the OWN on May 8, 2011. She received a star on the Hollywood Walk of Fame on June 2, 2011.
The Dixie Chicks became one of the most popular country bands in the 90s and early 00s. Their 1998 debut album Wide Open Spaces went on to become certified 12x platinum while their 1999 album Fly went on to become 10x platinum.
In the early-mid 1990s, country western music was influenced by the popularity of line dancing. This influence was so great that Chet Atkins was quoted as saying "The music has gotten pretty bad, I think. It's all that damn line dancing." By the end of the decade, however, at least one line dance choreographer complained that good country line dance music was no longer being released.
2000s
Several rock and pop stars have ventured into country music. In 2000, Richard Marx made a brief cross-over with his Days In Avalon album, which features five country songs and several singers and musicians. Alison Krauss sang background vocals to Marx's single "Straight From My Heart." Also, Bon Jovi had a hit single, "Who Says You Can't Go Home", with Jennifer Nettles of Sugarland. Singer song writer Unknown Hinson became famous for his appearance in the Charlotte television show Wild,Wild, South. After which Unknown Hinson started his own band and toured in southern states. Other rock stars who featured a country song on their albums were Don Henley and Poison.
One infrequent, but consistent theme in modern country music is that of proud, stubborn individualism. "Country Boy Can Survive" and "Copperhead Road" are two of the more serious songs along those lines; while "Some Girls Do" and "Redneck Woman" are more light-hearted variations on the theme.
In 2005, country singer Carrie Underwood rose to fame as the winner of the fourth season of American Idol and became a multi-platinum selling recording artist and multiple Grammy Award winner. With her first single, "Inside Your Heaven", Underwood became the only country artist to have a #1 Hit on Billboard Hot 100 Songs chart in the 2000-2009 decade. In 2007, Underwood won the Grammy Award for Best New Artist and became the first country artist in 10 years to win such award and the second of only three to ever win it. Underwood also made history by becoming the seventh woman to win Entertainer Of The Year for the Academy of Country Music Awards, and the first woman in history to win Entertainer of the Year for the Academy of Country Music Awards twice, as well as twice consecutively. Underwood's debut album, "Some Hearts", was not only the fastest-selling debut album by any country artist in history, but was ranked by Billboard.com as the #1 Country Album of the 2000-2009 decade.
In 2008, Taylor Swift rose as a major country-pop artist, with her single "Love Story" becoming the first country song to reach No. 1 one on the Nielsen BDS CHR/Top 40 chart. Another of her singles, "You Belong with Me", also reached No. 1, making Swift the only country artist to have two No. 1 singles atop the chart. Both "Love Story" and "You Belong with Me" became the best-selling country song of all time, with "Love Story" in the first position with a domestic total of 4.4 million digital copies sold, and "You Belong with Me" in the second with 3.4 million sales, respectively. In 2010, Swift's second album "Fearless" was awarded the Grammy Award for Album of the Year, becoming the first album in history to win the American Music Award (AMA), Academy of Country Music Award (ACM), Country Music Association Award (CMA), and the Grammy Award for Album of the Year in the same year.
In the same year, Hootie & the Blowfish vocalist Darius Rucker released his second solo album and country music debut, Learn to Live. The first three singles from that album all debuted at No. 1, making Rucker the first solo artist to debut with three No. 1 hits in over a decade. He is also the first African American with a No. 1 country hit since Charley Pride in 1983.
In 2009, George Strait was named Artist of the Decade by the Academy of Country Music.
Source: Wikipedia.
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