Stage to Studio: Musicians and the Sound Revolution, 1890-1950

Notes ◽  
1999 ◽  
Vol 55 (3) ◽  
pp. 684
Author(s):  
Gary A. Galo ◽  
James P. Kraft
Keyword(s):  
Studio Musicians

Buck Owens, country music, and the struggle for discursive control

Popular Music ◽  
1990 ◽  
Vol 9 (3) ◽  
pp. 275-290 ◽  
Author(s):  
Mark Fenster
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
Country Music ◽  
Pop Music ◽  
Musical Style ◽  
Studio Musicians ◽  
Music Publishers ◽  
Music Genre ◽  
Recording Studios

In the early- and mid-1960s, as mainstream popular music began to reach and exploit the growing youth market, the country music genre was going through a number of important transformations (see Malone 1985; Hemphill 1970). During this period the country music industry, including record companies, recording studios, managing and booking agents, music publishers and musicians, was becoming more fully consolidated in Nashville. In addition, a different kind of dominant sound was beginning to coalesce, based on a more ‘uptown’ feel and intended for a more cosmopolitan audience accustomed to mainstream, adult pop music. The beat and whine of the honky-tonk song, as epitomised by the rural twang in the music of Hank Williams, Lefty Frizzell and Webb Pierce, was being replaced as the dominant country music sound by the smooth and urbane ballad styles of Eddy Arnold, Jim Reeves and Patsy Cline. This shift was both caused by and helped to foster the development of a steady set of studio musicians who would appear on thousands of country recordings per year. The musical style that coalesced in Nashville studios through the regular collaboration of these musicians and the record label producers who loosely arranged them became known as the ‘Nashville Sound’, a marketable and identifiable name for a particular set of musical conventions. This sound, nearly as similar to Rosemary Clooney as it was to Hank Williams, called into question the generic boundaries between ‘country’ music and mainstream ‘pop’ music.

Gone with the Wind, Part I

2017 ◽  
Author(s):  
Nathan Platte
Keyword(s):  
Critical Review ◽  
Gone With The Wind ◽  
Level Of Involvement ◽  
Studio Musicians

This chapter reconstructs the scoring of Selznick’s most famous film. The story interweaves several familiar anecdotes, such as Steiner’s furious discovery that another composer had been primed to replace him, into a more comprehensive, critical review of the full collaboration. Included are Steiner’s adaptation of musical ideas from Margaret Mitchell’s source novel, his divvying of the film’s music among multiple composers (Hugo Freidhofer, Adolph Deutsch, and Heinz Roemheld), Lou Forbes’s delicate negotiations with Selznick, the rejection and rewriting of critical passages of the score, the efforts of orchestrators, and the recording of the music with studio musicians. With archival materials ranging from Steiner’s doodled marginalia to Forbes’s legal files, a new impression of the score’s construction emerges: one in which a new level of involvement from Selznick prompts an unprecedented and vigorous style of musical collaboration—dubbed “Max Steiner and Co.”—that affected both process and product.

scholarly journals Stage to Studio: Musicians and the Sound Revolution, 1890-1950

1998 ◽  
Vol 103 (2) ◽  
pp. 617
Author(s):  
Andre Millard ◽  
James P. Kraft
Keyword(s):  
Studio Musicians

Sam Cooke as Pop Album Artist—A Reinvention in Three Songs

2012 ◽  
Vol 65 (1) ◽  
pp. 113-178 ◽  
Author(s):  
Mark Burford
Keyword(s):  
African American ◽  
Ethnic Identity ◽  
Los Angeles ◽  
Sexual Politics ◽  
Black Music ◽  
Employment Equity ◽  
The Road ◽  
Methodological Challenges ◽  
Studio Musicians ◽  
The Prestige

Abstract Though African American singer, songwriter, and entrepreneur Sam Cooke (1931–1964) is commonly celebrated as a pioneering soul singer, the preponderance of Cooke recordings suggesting to many critics a “white” middle-of-the-road pop sound has troubled this reception. From June 1957 until the end of 1959, Cooke recorded for the independent label Keen Records, where he charted a course for realizing his professional and socioeconomic aspirations, including his determination to harness the prestige attached to the long-playing album and the “album artist.” This article explores relationships between the repertory, performances, and production on three Keen album tracks: “Danny Boy,” “My Foolish Heart,” and “I've Got a Right to Sing the Blues.” These recordings reveal Cooke's seldom-noted proximity to contemporaneous figures and concerns: “Irish tenor” Morton Downey, who built a career on the fluidity between ethnic identity and pop's transparent “whiteness”; Billy Eckstine, who struggled to navigate the racial and sexual politics of the pop balladeer; and the black studio musicians whose campaign for employment equity in 1950s Los Angeles found resonance with Cooke's vision. Taking Cooke's endeavor seriously positions us to assess freshly Cooke's skills as a vocalist, the processes through which “pop” becomes racialized as white, and intractable methodological challenges in black music studies.

Hollywood Studio Musicians: Their Work and Careers in the Recording Industry.

1972 ◽  
Vol 1 (5) ◽  
pp. 455
Author(s):  
Lawrence H. Streicher ◽  
Robert R. Faulkner
Keyword(s):  
Recording Industry ◽  
Studio Musicians
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