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The Nashville Sound: Bright Lights and Country Music (1970)

de Paul Hemphill

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While on a Nieman Fellowship at Harvard, journalist and novelist Paul Hemphill wrote of that pivotal moment in the late sixties when traditional defenders of the hillbilly roots of country music were confronted by the new influences and business realities of pop music. The demimonde of the traditional Nashville venues (Tootsie's Orchid Lounge, Robert's Western World, and the Ryman Auditorium) and first-wave artists (Roy Acuff, Ernest Tubb, and Lefty Frizzell) are shown coming into first contact, if not conflict, with a new wave of pop-influenced and business savvy country performers (Jeannie C. "Harper Valley PTA" Riley, Johnny Ryles, and Glen Campbell) and rock performers (Bob Dylan, Gram Parsons, the Byrds, and the Grateful Dead) as they took the form well beyond Music City. Originally published in 1970, The Nashville Sound shows the resulting identity crisis as a fascinating, even poignant, moment in country music and entertainment history.… (més)
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This was published long before I started paying attention to country music. It was kinda fun reading about people like Johnny Cash and Dolly Parton I(only mentioned as Porter Wagner's sweet little singing partner) before they were fully established as country royalty.

Glen Campbell was considered an upstart popstar crossover act. Ha! Most of the folks Hemphill talks to in this book are probably rolling in their graves at the sound of today's "country" music!

As with the collection of Hemphill's sports columns that first captured my attention, these tales are eminently readable and convey a lot of personality as well as information. I am glad to have read it, particularly given the way it rounds out my interests in southern and family history. ( )
  Kim_Sasso | Mar 14, 2018 |
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While on a Nieman Fellowship at Harvard, journalist and novelist Paul Hemphill wrote of that pivotal moment in the late sixties when traditional defenders of the hillbilly roots of country music were confronted by the new influences and business realities of pop music. The demimonde of the traditional Nashville venues (Tootsie's Orchid Lounge, Robert's Western World, and the Ryman Auditorium) and first-wave artists (Roy Acuff, Ernest Tubb, and Lefty Frizzell) are shown coming into first contact, if not conflict, with a new wave of pop-influenced and business savvy country performers (Jeannie C. "Harper Valley PTA" Riley, Johnny Ryles, and Glen Campbell) and rock performers (Bob Dylan, Gram Parsons, the Byrds, and the Grateful Dead) as they took the form well beyond Music City. Originally published in 1970, The Nashville Sound shows the resulting identity crisis as a fascinating, even poignant, moment in country music and entertainment history.

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