With remarkable candor, Country Music Hall of Famer Hank Snow traces his life from humble beginning in Canada to worldwide acclaim as one of country's greatest and most legendary stars. Chock-full of fascinating revelations, The Hank Snow Story reveals the inner workings of the music industry, how Snow helped launch the career of Elvis Presley, and more.
Providing the first comprehensive history of Canada’s songwriting legacy, this guide traces a distinctly Canadian musical identity from the 1930s to the end of the 1970s. The discussion shows how Canadian musicians have always struggled to create work that reflects their own environment while simultaneously connecting with mass audiences in other countries, particularly the United States. While nearly all songwriters who successfully crossed this divide did so by immersing themselves in the American and British forms of blues, folk, country, and rock 'n' roll, this guide reveals that Canadian sensibilities were never far beneath the surface. Canadian innovators featured include The Band, Ian & Sylvia, Hank Snow, Gordon Lightfoot, Leonard Cohen, and superstars Neil Young and Joni Mitchell. Lively anecdotes and interviews round out the history, but the emphasis is always on the essential music—how and where it originated and its impact on the artists' subsequent work and the wider musical world.
A biography on the Canadian country musician, from his poor childhood in Nova Scotia to international celebrity on the stage of the Grand Ole Opry. Born in tiny Brooklyn, Nova Scotia, Hank Snow enjoyed a musical career that spanned five decades and sales of more than 80 million albums. In I’m Movin’ On, journalist Vernon Oickle chronicles Snow’s hardscrabble life, from his destitute childhood in Queens County to international fame. Leaving no stone unturned in his richly detailed profile of the Singing Ranger, Oickle exposes the highs and lows of Snow’s career, and his journey (“Everywhere, man,”) from small East Coast radio stations to the Grand Ole Opry in Nashville. Includes a foreword from Hank’s son, Jimmie Rodgers Snow, a timeline, discography, and 75 photographs.
I Love You a Thousand Ways is the story of one of the most loved, respected, and imitated singer/songwriters in the history of country music, a man whose songs touched the lives of millions of people. Lefty Frizzell’s relaxed style of singing proved to be a huge influence on a wide variety of country and pop music stars such as Merle Haggard, Willie Nelson, Roy Orbison, George Jones, John Fogerty, George Strait, and Tim McGraw. In addition to his incredible vocal talents, Lefty was widely recognized for his songwriting skills. He had four songs in the country top ten at the same time in 1951—a feat that would only be repeated one more time on any chart, when The Beatles had five songs on the pop chart in 1964. Among Lefty’s many hits are: “If You’ve Got the Money, I’ve Got the Time,” “Mom and Dad’s Waltz,” “The Long Black Veil,” and “Saginaw, Michigan.” Willie Nelson’s 1977 album, To Lefty From Willie, was a tribute to Frizzell and consisted entirely of cover versions of Frizzell songs. Fellow Texan Roy Orbison was also a devout fan of Frizzell’s sound. In 1988, as a part of the Traveling Wilburys, Orbison chose the name “Lefty Wilbury” in honor of his musical hero. Lefty was inducted into the Songwriters Hall of Fame in 1972 and the Country Music Hall of Fame in 1982. He has a star on the Hollywood Walk of Fame and is a member of the Rockabilly Hall of Fame. I Love You a Thousand Ways is a long overdue, beautiful tribute to one of the most underrated musicians of all time, a man whose music continues to influence new generations of musicians and music fans.
Perfect for reading aloud, this spare, charming picture book about a day in the life of a pill bug in suburbia is also about an unusual friendship. Hank is a pill bug with a busy life—for a pill bug, that is. His daily routine involves nibbling a dead leaf, climbing up a long stick, avoiding a skateboarder, and playing pretend with his best friend, a human girl named Amelia, in her backyard. And when day is done, Hank likes nothing better than returning home to his cozy rock.
A radically new reading of the origins of recorded music Noise Uprising brings to life the moment and sounds of a cultural revolution. Between the development of electrical recording in 1925 and the outset of the Great Depression in the early 1930s, the soundscape of modern times unfolded in a series of obscure recording sessions, as hundreds of unknown musicians entered makeshift studios to record the melodies and rhythms of urban streets and dancehalls. The musical styles and idioms etched onto shellac disks reverberated around the globe: among them Havana’s son, Rio’s samba, New Orleans’ jazz, Buenos Aires’ tango, Seville’s flamenco, Cairo’s tarab, Johannesburg’s marabi, Jakarta’s kroncong, and Honolulu’s hula. They triggered the first great battle over popular music and became the soundtrack to decolonization.
Murray the mouse goes into town for the carrot he needs to make Perfect Soup, and soon finds himself with a chain of favors that will work only if a friendly snowman can help him gets things started.
Today, country music enjoys a national fan base that transcends both economic and social boundaries. Sixty years ago, however, it was primarily the music of rural, working-class whites living in the South and was perceived by many Americans as “hillbilly music.” In Smile When You Call Me a Hillbilly, Jeffrey J. Lange examines the 1940s and early 1950s as the most crucial period in country music’s transformation from a rural, southern folk art form to a national phenomenon. In his meticulous analysis of changing performance styles and alterations in the lifestyles of listeners, Lange illuminates the acculturation of country music and its audience into the American mainstream. Dividing country music into six subgenres (progressive country, western swing, postwar traditional, honky-tonk, country pop, and country blues), Lange discusses the music’s expanding appeal. As he analyzes the recordings and comments of each of the subgenre’s most significant artists, including Roy Acuff, Bob Wills, Bill Monroe, Hank Williams, and Red Foley, he traces the many paths the musical form took on its road to respectability. Lange shows how along the way the music and its audience became more sophisticated, how the subgenres blended with one another and with American popular music, and how Nashville emerged as the country music hub. By 1954, the transformation from “hillbilly” music to country music was complete, precipitated by the modernizing forces of World War II and realized by the efforts of promoters, producers, and performers.