Joli Jensen - The Nashville sound: authenticity, commercialization, and country music

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title	:	The Nashville Sound : Authenticity, Commercialization, and Country Music
author	:	Jensen, Joli.
publisher	:	Vanderbilt University Press
isbn10 | asin	:	082651314X
print isbn13	:	9780826513144
ebook isbn13	:	9780585146836
language	:	English
subject	Country music--History and criticism.
publication date	:	1998
lcc	:	ML3524.J46 1998eb
ddc	:	781.642
subject	:	Country music--History and criticism.

Page iii The Nashville Sound Authenticity, Commercialization, and Country Music Joli Jensen The Country Music Foundation Press & Vanderbilt University Press NASHVILLE & LONDON

Page iv Copyright 1998 by Joli Jensen Nashville, Tennessee 37235 All rights reserved First edition 1998 98 99 00 01 02 5 4 3 2 1 This publication is made from recycled paper meeting the minimum requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials Library of Congress Cataloging-in-Publication Data Jensen, Joli. Creating the Nashville sound : authenticity, commercialization, and country music / Joli Jensen. p. cm. Includes bibliographical references (p. ) and index. ISBN 0-8265-1314-X (cloth) 1. Country music--History and criticism. I. Title. ML3524.J46 1998 781.642--dc21 97-45428 CIP MN Manufactured in the United States of America

Page v to Craig, with love and gratitude

Page vii Contents List of Illustrations viii Acknowledgments ix 1. What Makes Country Music Authentic? 3 2. Downhome Meets Uptown 21 3. The Rise of Rock 'n' Roll 38 4. From the Opry to Music Row 62 5. Patsy Cline 89 6. Authenticating the Nashville Sound 118 7. Considering Commercialization 136 8. Authenticities Lost and Found 160 Notes 177 References 200 Index 210

Page viii Illustrations following page 102 1. Hank Williams (ca. 1950) 2. Ray Price and Ernest Tubb with Tony Bennett (mid 1950s) 3. At the Grand Ole Opry: Hank Snow (early 1950s) 4. Downhome at the Opry: June Carter, Chet Atkins, Mother Maybelle Carter, Anita Carter, and Helen Carter (early 1950s) 5. Patsy Cline, Jim Reeves, and Grandpa Jones (1961) 6. Don and Phil Everly (ca. 1957) 7. RCA Victor studio (Studio B) (early 1960s) 8. Hubert Long, Elvis Presley, Col. Tom Parker, and Faron Young (1957) 9. Elvis Presley and the Jordanaires (ca. 1956) 10. Owen Bradley, Patsy Cline, and Paul Cohen (late 1950s) 11. Patsy Cline in cowgirl outfit (late 1950s) 12. At the Grand Ole Opry: Patsy Cline, Randy Hughes, and Floyd "Lightnin'" Chance (early 1960s) 13. Cover of Patsy Cline's third record album (August 1962) 14. Chet Atkins with Bill Porter (early 1960s) 15. Don Law 16. Chet Atkins with Boots Randolph and Floyd Cramer (ca. 1960) 17. Owen Bradley and musicians (early 1960s) 18. Board of Trustees, Country Music Association (1960) 19. Dottie Dillard, Jim Reeves, Marvin Hughes, and Chet Atkins (1960s) 20. Anita Kerr, with Chet Atkins, ca. 1960 21. Grandpa Jones, Minnie Pearl, Faron Young, Bill Monroe, and Patsy Cline in New York (1961)

Page ix Acknowledgments Many people have helped me develop this project on authenticity, commercialization, and country music. Special thanks go to colleague and friend Steve Jones. With his encouragement, editorial insight, and bibliographic expertise, I was able to go back to a body of work that began as a biography, became a dissertation, served as the basis for several articles, but had been left behind as I went on to consider other aspects of media and society It has been a joy to "come home" to the questions that first captivated me and to discover that I now have better answers. Thank you, Steve, for making things happen. I also had the benefit of the knowledgeable and dedicated staff of the Country Music Foundation Library and Media Center when I began my research in the summers of 1979 and 1980, especially Robert Oermann, Ronnie Pugh, John Lomax III, and Don Roy. Don's record collection and knowledge of the music of the 1950s and early 1960s, as well as his advice and support during a research trip to Winchester, Virginia, and to the DC area, were essential to my work. I am also grateful for the interviews given me by figures involved in the period, including Owen Bradley, Ralph Emery, X. Cosse, Mae Boren Axton, Harlan Howard, Connie B. Gay, Faron Young, Brenda Lee, Kathy Copas Hughes, Ray Walker, Gordon Stoker, Redd O'Donnell, and Joe Johnson.

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