All Things Country with Rowena Playlist for June 20, 2020

Total Page:16

File Type:pdf, Size:1020Kb

All Things Country with Rowena Playlist for June 20, 2020 All Things Country Playlist June 20, 2020 Darrell McCall, feat. Willie Nelson Please Don't Leave Me The Real McCall Bear Family Moe Bandy & Judy Bailey It's You And Me Again Following The Feeling Columbia LP Charley Pride Able Bodied Man Charley Pride's 10th Album RCA Victor LP Ken Mellons He'll Never Be A Lawyer Where Forever Begins Epic Derailers Bar Exam Here Come The Derailers Sony Music Jenny Lou Carson & Her Tumbling I L-O-V-E You Historical Jewels By Various Female Artists Bronco Buster Tumbleweed Troubadors Ernest Tubb Do It Now Ernest Tubb & His Texas Troubadors: Righteous Record Shop Connie Francis Oh, Lonesome Me Connie's Country Spectrum Lonnie Spiker Things Only A Fool Would Know In Another Life Megalith Roy Drusky Take Me Back Country Song Express Mercury LP The Hoppers Yes I Am Power Spring Hill Music Bob Wills & The Texas Playboys I Never Knew Tiffany Transcriptions Collectors Choice Patty Loveless Big Chance Dreaming My Dreams Sony Zane Williams Jayton & Jill Texas Like That Be Music Dale Watson Heart Of Stone Carryin' On E1 Leona Williams You Sure Make Cheatin' Seem Easy Old Loves Never Die Bear Family Jack Greene Statue Of A Fool Jolly Green Giant Edsel Kenny Vernon I Bought The Shoes The Best Of Kenny Vernon Capitol Int'l. Platinum Series Zeb Turner I'm In Love With Someone (Who Can't Belong To Me) Tennessee Boogie & Jersey Rock Westside Ocie Stockard Why Shouldn't I Western Swing & Cowboy Jazz JSP Adolph Hofner Cotton Eyed Joe South Texas Swing Arhoolie Al Dexter Move Over Rover Henpecked Daddies Fussin' & Fightin' JSP Curly Fox & Texas Ruby Blue Silver Tears Fantastic Fiddlin' & Fun Songs Starday LP Milton Brown & His Musical Brownies One Of Us Was Wrong The Complete Recordings Of The Texas Rose Father Of Western Swing 1932-1937 Hank Thompson The Wild Side Of Life Hank Thompson & The Brazos Valley Boys Bear Family 1946-1964 Kitty Wells It Wasn't God Who Made Honky Tonk Angels And The Answer Is: Great Country Bear Family Answer Discs From The 50's & 60'S Johnny Horton Child's Side Of Life The Early Years Bear Family Anthony Wilson I Can't Get There From Here My Friend The Jukebox AH-HA Music Group Becky Hobbs Kiss My Ashes Songs From The Road Of Life Beckaroo Lefty Frizzell From An Angel To A Devil Life's Like Poetry Bear Family Page 1 George Strait Cow Town #7 MCA Jeremy Crady Cowtown Smoke Wagon Serenade Vector Sissy Spacek There He Goes Coal Miner's Daughter soundtrack Geffen Jim Raby Too Many Twos Until Now TTD Tony Booth Lonesome 7-7203 Is This All There Is To A Honky Tonk Heart Of Texas Mike Siler Sign Of A Fool Dreams Of A Dreamer self DeLores Bryant On The Inside Of A Bottle Looking Out Selected Female Country Singers, Vol. 15 Vuelta Barbara Mandrell Just In Case This Is Barbara Mandrell Dot LP Lattie Moore I'm Not Broke But I'm Badly Bent I'm Not Broke But I'm Badly Bent: The Best Westside Of The King/Starday Recordings 1953-63 Sammy Kershaw I Buy Her Roses Don't Go Near The Water Mercury Pat Pincott We Boiled The Billy Australian Bush Balladeers Assn., Vol. 6 Indie Page 2.
Recommended publications
  • Texas Ruby Owens
    Texas Ruby Owens Ruby Agnes “Texas Ruby” Owens. Country singer born in Wise County, Texas, on June 6, 1910, and died on March 3, 1963. She is buried at Franklin Cemetery in Franklin, Texas. Owens was raised in a musical family with nine sisters and two brothers. One of her brothers, Doie Hensley, went on to country music fame as “Tex” Owens, the radio cowboy. As a young girl, Ruby accompanied her father and brothers on a cattle drive to Fort Worth, Texas. One morning, as they sat waiting at one of the cattle buying centers, she and her brothers began singing some old cowboy songs to pass the time. During this impromptu sing-a-long, a crowd of cowboys and cattle buyers gathered around to listen. Soon, a radio station stock holder from Kansas City, who happened to be in the crowd, offered Owens her first spot on national radio. Texas Ruby, as she came to be called, would be a pioneering figure among female performers within a mostly male-dominated country music industry. Labeled the “Sophie Tucker of the Feminine Folk Singers,” she sang mostly honky-tonk material in a strong, distinct voice and wrote many of her own songs. In 1937, at the Texas Centennial Celebration in Wise County, Texas, Owens met famous “trick fiddler,” Curly Fox (born Arnim LeRoy Fox.) The couple married that same year and formed a popular husband-and-wife team that performed on stage and radio throughout the country and eventually signed with Columbia Records. From 1944 to 1948, the couple appeared frequently at the Grand Ole Opry and were regular stars of the nationally popular Saturday Night Grand Ole Opry.
    [Show full text]
  • (Pdf) Download
    Artist Song 2 Unlimited Maximum Overdrive 2 Unlimited Twilight Zone 2Pac All Eyez On Me 3 Doors Down When I'm Gone 3 Doors Down Away From The Sun 3 Doors Down Let Me Go 3 Doors Down Behind Those Eyes 3 Doors Down Here By Me 3 Doors Down Live For Today 3 Doors Down Citizen Soldier 3 Doors Down Train 3 Doors Down Let Me Be Myself 3 Doors Down Here Without You 3 Doors Down Be Like That 3 Doors Down The Road I'm On 3 Doors Down It's Not My Time (I Won't Go) 3 Doors Down Featuring Bob Seger Landing In London 38 Special If I'd Been The One 4him The Basics Of Life 98 Degrees Because Of You 98 Degrees This Gift 98 Degrees I Do (Cherish You) 98 Degrees Feat. Stevie Wonder True To Your Heart A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls Wishing (If I Had A Photograph Of You) A Flock Of Seagulls I Ran (So Far Away) A Great Big World Say Something A Great Big World ft Chritina Aguilara Say Something A Great Big World ftg. Christina Aguilera Say Something A Taste Of Honey Boogie Oogie Oogie A.R. Rahman And The Pussycat Dolls Jai Ho Aaliyah Age Ain't Nothing But A Number Aaliyah I Can Be Aaliyah I Refuse Aaliyah Never No More Aaliyah Read Between The Lines Aaliyah What If Aaron Carter Oh Aaron Aaron Carter Aaron's Party (Come And Get It) Aaron Carter How I Beat Shaq Aaron Lines Love Changes Everything Aaron Neville Don't Take Away My Heaven Aaron Neville Everybody Plays The Fool Aaron Tippin Her Aaron Watson Outta Style ABC All Of My Heart ABC Poison Arrow Ad Libs The Boy From New York City Afroman Because I Got High Air
    [Show full text]
  • Jim Shumate and the Development of Bluegrass Fiddling
    JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2018 Center for Appalachian Studies JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING A Thesis by NATALYA WEINSTEIN MILLER May 2018 APPROVED BY: Sandra L. Ballard Chairperson, Thesis Committee Gary R. Boye Member, Thesis Committee David H. Wood Member, Thesis Committee William R. Schumann Director, Center for Appalachian Studies Max C. Poole, Ph.D. Dean, Cratis D. Williams School of Graduate Studies Copyright by Natalya Weinstein Miller 2018 All Rights Reserved Abstract JIM SHUMATE AND THE DEVELOPMENT OF BLUEGRASS FIDDLING Natalya Weinstein Miller, B.A., University of Massachusetts M.A., Appalachian State University Chairperson: Sandra L. Ballard Born and raised on Chestnut Mountain in Wilkes County, North Carolina, James “Jim” Shumate (1921-2013) was a pioneering bluegrass fiddler. His position at the inception of bluegrass places him as a significant yet understudied musician. Shumate was a stylistic co-creator of bluegrass fiddling, synthesizing a variety of existing styles into the developing genre during his time performing with some of the top names in bluegrass in the 1940s, including Bill Monroe in 1945 and Lester Flatt & Earl Scruggs in 1948. While the "big bang" of bluegrass is considered to be in 1946, many elements of the bluegrass fiddle style were present in Bill Monroe's Blue Grass Boys prior to 1945. Jim Shumate’s innovative playing demonstrated characteristics of this emerging style, such as sliding double-stops (fingering notes on two strings at once) and syncopated, bluesy runs.
    [Show full text]
  • “It Wasn't God Who Made Honky Tonk Angels”-- Kitty Wells (1952)
    “It Wasn’t God Who Made Honky Tonk Angels”-- Kitty Wells (1952) Added to the National Registry: 2007 Essay by John Rumble (guest post)* Kitty Wells When Kitty Wells first recorded for Decca Records in 1952, she had toured for years with her husband, Johnnie (later Johnny) Wright, and his partner, Jack Anglin. But the mother of three was tired of the road, and earlier sessions for RCA had yielded no hits. This time, her main concern was the session fee she would earn. Wells had moved back to Nashville, her hometown, with Johnnie & Jack on the strength of that duo’s 1951 hit “Poison Love,” their entrée to the Grand Ole Opry cast. Now, with Johnnie’s prospects looking up, she pondered leaving full-time entertaining altogether. As it turned out, Wells’s “It Wasn’t God Who Made Honky Tonk Angels,” her first Decca release, quickly scaled “Billboard” magazine’s country charts. The hit made Wells a major star, and an Opry member in her own right. To be sure, country music had boasted successful female artists since the 1920s. The Carter Family’s Sara and Maybelle Carter, cowgirl singer Patsy Montana, and Opry comedienne Minnie Pearl had already won national fame. But Wells was the first to reach #1 in the decade after World War II, when country entered its takeoff phase. In these years, American women faced enormous pressures to leave their wartime jobs, renounce political concerns, and return to keeping house and raising children. Popular magazines, psychologists, and men (whose jobs women had filled) all told them so.
    [Show full text]
  • Artist with Title Writer Label Cat Year Genre
    Artist With Title Writer Label Cat Year Genre Notes Album Synopsis_c Anonymous Uncle Tom’s Cabin No Label 0 Comedy Anonymous - Uncle Tom’s Cabin, No Label , 78, ???? Anonymous The Secretary No Label 0 Comedy Anonymous - The Secretary, No Label , 78, ???? Anonymous Mr. Speaker No Label 0 Comedy Anonymous - Mr. Speaker, No Label , 78, ???? Anonymous The Deacon No Label 0 Comedy Anonymous - The Deacon, No Label , 78, ???? Anonymous First Swimming Lesson Good-Humor 10 0 Comedy Anonymous - First Swimming Lesson, Good-Humor 10, 78, ???? Anonymous Auto Ride Good-Humor 4 0 Comedy Anonymous - Auto Ride, Good-Humor 4, 78, ???? Anonymous Pioneer XXX, Part 1 No Label 0 Comedy Anonymous - Pioneer XXX, Part 1, No Label , 78, ???? Anonymous Pioneer XXX, Part 2 No Label 0 Comedy Anonymous - Pioneer XXX, Part 2, No Label , 78, ???? Anonymous Instrumental w/ lots of reverb No Label 0 R&B Anonymous - Instrumental w/ lots of reverb, No Label , 78, ???? Coy and Helen Tolbert There’s A Light Guiding Me Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - There’s A Light Guiding Me, Chapel Tone 775, 78, ???? Coy and Helen Tolbert Old Camp Meeting Days R. E. Winsett Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - Old Camp Meeting Days (R. E. Winsett), Chapel Tone 775, 78, ???? Donna Lane and Jack Milton Henry Brandon And His Orchestra Love On A Greyhound Bus Blane - Thompson - Stoll Imperial 1001 0 Vocal Donna Lane and Jack Milton - Love On A Greyhound Bus (Blane - Thompson - Stoll), Imperial 1001, 78, ???? G. M. Farley The Works Of The Lord Rural Rhythm 45-EP-551 0 Country G.
    [Show full text]
  • The Mothers and Daughters of Hillbilly Feminism
    Journal of Feminist Scholarship Volume 18 Issue 18 Spring 2021 Article 3 Spring 2021 “Ain’t My Mama’s Broken Heart”: The Mothers and Daughters of Hillbilly Feminism Alyssa Dewees University of Florida, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/jfs Part of the American Popular Culture Commons, Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Women's Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Dewees, Alyssa. "“Ain’t My Mama’s Broken Heart”: The Mothers and Daughters of Hillbilly Feminism." Journal of Feminist Scholarship 18 (Spring): 43-60. 10.23860/jfs.2021.18.03. This Article is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Journal of Feminist Scholarship by an authorized editor of DigitalCommons@URI. For more information, please contact [email protected]. Dewees: “Ain’t My Mama’s Broken Heart”: The Mothers and Daughters of Hill “Ain’t My Mama’s Broken Heart”: The Mothers and Daughters of Hillbilly Feminism Alyssa Dewees, University of Florida Abstract: The women of country music have long defied the genre's patriarchal associations and used their music as a platform for subversive social messages about gender inequality, and in the past several decades, the country music establishment has grown more willing to alter its image and accommodate these feminist themes. Because country music is marketed and understood by many of its fans as a representation of a lifestyle, this shift in expectations for women’s social roles and possibilities in the genre has an impact on the women who identify themselves with the particular rural, down-home image country music aims to define.
    [Show full text]
  • Clarence Belcher Collection
    Clarence Belcher Collection The Bassett Historical Center is a non-circulating facility. Feel free to come in and listen to any selection from this music collection here at the Center. LOCAL 45s (recorded on one CD) 01 Dink Nickelston and the Virginia Buddies – (1) Henry County Blues; (2) Trying at Love Again 01 The Dixie Pals – (1) Dixie Rag; (2) Wedding Bells 01 The Dixie Pals – (1) The Model Church; (2) Pass Me Not 01 The Dixie Pals – (1) Who’ll Take Care of the Graves?; (2) Don’t Say Good-Bye If You Love Me 02 Ted Prillaman and the Virginia Ramblers – (1) There’ll Come a Time; (2) North to 81 Albums (* recorded on CD) 01 Abe Horton: Old-Time Music from Fancy Gap (vault) 01A Back Home in the Blue Ridge, County Record 723 (vault) 02* Bluegrass on Campus, Vol. 1, recorded live at Ferrum College Fiddlers Convention 02A Blue Grass Hits (Jim Eanes, The Stonemans) 03* Blue Ridge Highballers 1926 Recordings featuring Charley La Prade (vault) 04* Blue Ridge Barn Dance – Old Time Music, County Record 746 (vault) (2 copies) 04A Camp Creek Boys – Old-Time String Band (vault) 04B Charlie Poole – The Legend of, County Record 516 (vault) 04C Charlie Poole and the NC Ramblers, County Record 505 (vault) 04D Charlie Poole and the NC Ramblers, County Record 509 (vault) 05* Charlie Poole & the NC Ramblers – Old Time Songs recorded from 1925-1930 (vault) (2 copies) 05A* Charlie Poole and the NC Ramblers – Old Time Songs recorded from 1925-1930, Vol. 2 (vault) 06 Clark Kessinger, Vol.
    [Show full text]
  • Development of the Country Music Radio Format
    Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/developmentofcouOOstoc THE DEVELOPMENT OF THE COUNTRY MUSIC RADIO FORMAT by RICHARD PRICE STOCKDELL B.S., Northwest Missouri State University, 1973 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF ARTS Radio and Television Department of Journalism and Mass Communication KANSAS STATE UNIVERSITY Manhattan,;tan, Kansas 1979 Approved by: Major Professor 31 TABLE OF CONTENTS Chapter One . INTRODUCTION 1 A Search of the Literature and the Contribution of this Thesis 2 Methodology » 5 Two . EARLY COUNTRY MUSIC ON RADIO 10 Barn Dances 12 National Barn Dance 13 The Grand Ole Opry 16 The WWVA Jamboree 19 Renf ro Valley Barn Dance 21 Other Barn Dances 22 Refinement of the Music and the Medium 25 Country Music on Records 25 Music Licensing 27 Country Music on Radio 28 Population Migration 29 Country Radio and the War 29 The Disc Jockey 31 Radio Formats Rather Than Programs 32 Three. THE BIRTH OF A FORMAT 34 Why Country Music? 35 Country Disc Jockeys Unite 37 The All-Country Radio Station Ifl David Pinkston and KDAV 47 The Day Country Music Nearly Died 50 Programming the Early Country Stations 55 The Country Music Association 59 ii iii Four. THE ACCEPTANCE AND SUCCESS OF THE FORMAT 63 Refinement of the Format 63 The Marriage of Country and Top /*0 66 Adoption of the Modern Country Format 71 Explosion of the Format „ 76 Advertiser Resistance 78 Bucking the Resistance 81 Audience Loyalty 86 The Final Step 87 Five.
    [Show full text]
  • The Center for Popular Music Middle Tennessee State University, Murfreesboro, Tn
    THE CENTER FOR POPULAR MUSIC MIDDLE TENNESSEE STATE UNIVERSITY, MURFREESBORO, TN JESSE AUSTIN MORRIS COLLECTION 13-070 Creator: Morris, Jesse Austin (April 26, 1932-August 30, 2014) Type of Material: Manuscript materials, books, serials, performance documents, iconographic items, artifacts, sound recordings, correspondence, and reproductions of various materials Physical Description: 22 linear feet of manuscript material, including 8 linear feet of Wills Brothers manuscript materials 6 linear feet of photographs, including 1 linear foot of Wills Brothers photographs 3 boxes of smaller 4x6 photographs 21 linear feet of manuscript audio/visual materials Dates: 1930-2012, bulk 1940-1990 RESTRICTIONS: All materials in this collection are subject to standard national and international copyright laws. Center staff are able to assist with copyright questions for this material. Provenance and Acquisition Information: This collection was donated to the Center by Jesse Austin Morris of Colorado Springs, Colorado on May 23, 2014. Former Center for Popular Music Director Dale Cockrell and Archivist Lucinda Cockrell picked up the collection from the home of Mr. Morris and transported it to the Center. Arrangement: The original arrangement scheme for the collection was maintained during processing. The exception to this arrangement was the audio/visual materials, which in the absence of any original order, are organized by format. Collection is arranged in six series: 1. General files; 2. Wills Brothers; 3. General photographs; 4. Wills Brothers photographs; 5. Small print photographs; 6. Manuscript Audio/Visual Materials. “JESSE AUSTIN MORRIS COLLECTION” 13-070 Subject/Index Terms: Western Swing Wills, Bob Wills, Johnnie Lee Cain’s Ballroom Country Music Texas Music Oklahoma Music Jazz music Giffis, Ken Agency History/Biographical Sketch: Jesse Austin Morris was editor of The Western Swing Journal and its smaller predecessors for twenty years and a well-known knowledge base in western swing research.
    [Show full text]
  • Collection 674 Robert & Laurie Gentry Collection Inventory Box Folder
    Collection 674 Robert & Laurie Gentry Collection Inventory Box Folder Description ----------------------------------------------------------------------------------------------------------------------- Box 1 1 General information about Robert Gentry 2 Interview of Horace Logan at home in Seadrift, TX (4 tapes & transcription) 3 Johnny Horton song book (copy) 4 Claude King information 5 German Battleship Bismark information 6 Skyline Club 7 Johnny Horton album covers 8 Charlie “Cat” Canfield 9 Interview with Billy Walker 10 Researched list of Hank Williams show dates 11 Country Song Roundup magazine – March 1976 12 Johnnie & Jack booklet from CD album 13 Screen shots from Johnny Horton Johnny Reb promotion video 14 Photos of Hank Williams posters and list of Hank Williams publications 15 Photos of Hank Williams items on display at the Tennessee Performing Arts Center 16 Photo of Robert Gentry, Glen Sutton and Merle Kilgore at Tillman Franks book signing 17 Photos (copies) of Johnny Horton fishing trip in Florida 18 Photo of Jay Chevallier speaking at Long seminar 19 Photos of a group that toured Municipal Auditorium 1 Collection 674 Robert & Laurie Gentry Collection Inventory Box Folder Description ----------------------------------------------------------------------------------------------------------------------- 20 Photos of Tillman Franks book signing 21 Photos of Johnny Horton Ed Sullivan ad, album covers, Austin Skyline Club memento, Cormac record, red vinyl record (CD) 22 Photocopy of How to Write & Sell Songs by Hank Williams
    [Show full text]
  • Good Old Fashioned Fesitval, July 7-9 Varner Out!
    J u n e 2 0 0 6 VOLUME 25 - NUMBER 6 w w w . n c b s . u s M a y b e l l e W i l d f l o w e r I r i s h - M a y 3 , 2 0 0 6 N O R T H E R N C A L I F O R N I A B L U E G R A S S S O C I E T Y i i f o r a r u n d o w n o f f e s t i v a l s s e e F i n g e r o n F e s t e r s - p a g e 6 NCBS Election Set For Good Old Fashioned Fesitval, July 7-9 July 8 at GOF Festival by Michael Hall by Michael Hall The 13th Annual Good Old Fashioned Wi-Fi hotspot for all attendees with wire- The 2006 Northern California Bluegrass Bluegrass Festival will be held July 7-9, less computer access, sound on both Society annual meeting and election will 2006 at Bolado Park, the San Benito stages by Paul Knight, 100% flushy rest- take place at the Good Old Fashioned County Fairgrounds, in Hollister, CA. The rooms, hot showers, food and craft ven- Bluegrass Festival on Saturday, July 8, three day weekend event features 100% dors, childrens activities, Kids On Stage, between 10:00am and 5:00pm. NCBS top California bluegrass talent and is a shade trees and grass for tent camping, members will vote for candidates for the benefit for the Northern California limited reservable electric and water 9-member NCBS Board of Directors, Bluegrass Society.
    [Show full text]
  • 8 Can a Fujiyama Mama Be the Female Elvis?
    8 CAN A FUJIYAMA MAMA BE THE FEMALE ELVIS? The wild, wild women of rockabilly David Sanjek I don't want a headstone for my grave. I want a fucking monument! (Jerry Lee Lewis) 1 You see, I was always a well-endowed girl, and the guys used to tell me that they didn't know how to fit a 42 into a 331!3. (Sun Records artist Barbara Pittman ) 2 Female artists just don't really sell. (Capital Records producer Ken Nelson) 3 In the opening scene of the 199 3 film True Romance (directed by Tony Scott from a script by Quentin Tarantino), Clarence Worly (Christian Slater) perches on a stool in an anonymous, rundown bar. Addressing his com­ ments to no one in particular, he soliloquises about 'the King'. Simply put, he asserts, in Jailhouse Rock (19 5 7), Elvis embodied everything that rocka­ billy is about. 'I mean', he states, 'he is rockabilly. Mean, surly, nasty, rude. In that movie he couldn't give a fuck about nothin' except rockin' and rollin' and livin' fast and dyin' young and leavin' a good lookin' corpse, you know.' As he continues, Clarence's admiration for Elvis transcends mere identification with the performer's public image. He adds, 'Man, Elvis looked good. Yeah, I ain't no fag, but Elvis, he was prettier than most women, most women.' He now acknowledges the presence on the barstool next to him of a blank-faced, blonde young woman. Unconcerned that his overheard thoughts might have disturbed her, he continues, 'I always said if I had to fuck a guy - had to if my life depended on it - I'd 137 DAVID SANJEK THE WILD,~ WOMEN OF ROCK~BILLY fuck Elvis.' The woman concurs with his desire to copulate with 'the and Roll; rockabilly, he writes, 'suggested a young white man celebrating King', but adds, 'Well, when he was alive, not now.' freedom, ready to do anything, go anywhere, pausing long enough for In the heyday of rockabilly, one imagines more than a few young men apologies and recriminations, but then hustling on towards the new'.
    [Show full text]