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20Th Annual International Country Music Conference Nashville Tn
20TH ANNUAL INTERNATIONAL COUNTRY MUSIC CONFERENCE NASHVILLE TN K A S E Y C H A M B E R S: V O C A L S T Y L E A N D C U L T U R A L I D E N T I T Y L E I G H C A R R I A G E ‘You know things are going to hell when the freshest young voice in American roots music is an Australian.’ Rolling Stone (Sheffield, 2001: 73) Kasey Chambers is redefining the image and sound of alternative country music. Her style is challenging notions of cultural musical identity and the vocal characteristics that are associated with a particular environment. The ways in which Chambers approaches Country Music and the connection to the development of cultural identity is reflected in her music . The connection of what? In this paper I will touch on the phenomenon of her broad Australian-speaking accent and her American accented singing voice. The success of Chambers’ sound raises vital issues about the national character in Australian popular music. It is an interesting representation of the globalisation of international music culture that an Australian singer is being so highly regarded in the North American press as representing the latest (re-) incarnation of American roots/country music. In order to understand and comment comprehensively on the implications of foreign sources, cultural influences and their combined impact on new practices, in particular with Chambers, a thorough analysis must include music and industry marketing, musical fashion and tastes, lyrics and musical style, instrumentation, arranging and orchestration. -
Hit the Highway for a Weekend Rugby League Road Trip from Newcastle to Tamworth
Media Release 26 April, 2016 Hit the highway for a weekend Rugby League road trip from Newcastle to Tamworth NRL fans are in for a treat when two of the most exciting matches on the 2016 Rugby League representative calendar are hosted in regional NSW across one glorious weekend from 6-8 May, offering the perfect opportunity to grab a group of friends for a weekend footy road trip. Kicking off a mere 48 hours apart, NRL fans can watch Australia v New Zealand on Friday in Newcastle, before hitting the highway for some great regional NSW experiences and arriving in Tamworth ahead of Sunday afternoon’s City v Country clash. Destination NSW Chief Executive Officer, Sandra Chipchase, encourages fans planning on travelling to attend either of the NRL representative matches in regional NSW to consider taking in both games and making a great weekend of it. “NSW is the home of rugby league and this rugby league feast is a great opportunity for fans to get their footy fix with two stand-out representative matches scheduled on the same weekend, both in Regional NSW locations, only a short drive away from one another. “NRL fans and their friends or family can make the most of this bumper weekend of first class football by planning a weekend road trip from Newcastle to Tamworth, making stops to enjoy Regional NSW,” Ms Chipchase said. Hotels, restaurants, retailers and attractions in Newcastle and Tamworth are already preparing for the increase in visitors ahead of these key rugby league representative matches. Fans are encouraged to get their tickets and book accommodation early. -
Beyond the Bush Ballad: Authenticity in Australian Country Music
Beyond The Bush Ballad: Authenticity in Australian Country Music Amy Bauder Bachelor of Arts (Hons), Sydney University Macquarie University Faculty of Arts Department of Music, Media, Communication and Cultural Studies A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy August 2016 Table of Contents Table of Contents 1 List of Figures 3 Abstract 4 Statement of Authenticity 5 Acknowledgements 6 Part One: Contexts 9 Chapter One: Introduction 9 “Just Make Sure It Is Australian” 9 Defining Country Music: It Is About More Than the Sound 12 The Great Country Songbook: Ethnographic Fieldwork 13 “Distinctions” in the “Field”: Theoretical Framework 15 Contested Traditions and Mateship 20 “True Blue Bust-Up” 25 Thesis Structure 30 Chapter Two: Literature Review, Theoretical Framework and Methodology 33 Literature Review 33 Theoretical or Analytic Framework 59 Methodology 69 Fieldwork 78 Chapter Three: Roots and Heritage 89 “Honouring an Australian ‘Legend’”: Fieldwork Account 89 Slim Dusty as Touchstone for Australian Country Music 91 The Country Music Canon 92 Slim’s Life Story 95 Sources of the Legend 96 Part Two: People and RelationshipsWhat Are the elements? 10197 Introduction 101 Family 103 Coming Home: Fieldwork Account 103 Public Private Lives 107 Travelling Family Band: The Slim Dusty Family as Pioneers 108 The Family Business 112 Professionals and Stars 118 The Family Business Redux 119 Mateship 127 Troy Cassar-Daley & Friends: Fieldwork Account 127 “It’s Good to See You Mate”: Friendship in the -
INDEPENDENT AUSTRALIAN LABELS 1955 to 1990
AUSTRALIAN RECORD LABELS INDEPENDENT AUSTRALIAN LABELS 1955 to 1990 COMPILED BY MICHAEL DE LOOPER OCTOBER 2019 AUSTRALIAN INDIE LABELS, 1955–1990 ACKNOWLEDGEMENTS GRATEFUL THANKS TO: HANK B. FACER, FOR HIS ‘LOGO’ MUSEUM OF INDIGENOUS RECORDING LABELS, CHRIS SPENCER, FOR HIS AUSTRALIAN MUSIC MUSEUM, THE CONTRIBUTORS TO 45CAT.COM, DISCOGS.COM, RATEYOURMUSIC.COM AND MILESAGO, MARK GREGORY’S AUSTRALIAN FOLK SONGS WEBSITE AT FOLKSTREAM.COM THE NATIONAL FILM AND SOUND ARCHIVE, AND MUSIC AUSTRALIA, FOR THEIR ON-LINE CATALOGUES, ANDREW AINSWORTH, ALISTAIR BANFIELD, HARRY BUTLER, BILL CASEY, HEDLEY CHARLES, MICHAEL DEN HARTOG, DAVID HUGHES, DAVID KENT, ROSS LAIRD, JACK MITCHELL, IAN D. ROSS, GJERMUND SKOGSTAD, BRIAN WAFER, AND CLINTON WALKER LATE, GREAT COLLEAGUES GEORGE CROTTY, DEAN MITTELHAUSER, RON SMITH AND MIKE SUTCLIFFE FOR THEIR LOVE OF AUSTRALIAN MUSIC AND FOR THEIR PIONEERING RESEARCH. SOME PRESSING INFORMATION NUMBERS OR LETTERS PRINTED ON THE RECORD LABEL OR INSCRIBED IN THE RUN-OFF WAX OFTEN GIVES CLUES ABOUT WHICH RECORD COMPANY PRESSED THE RECORD, AND WHEN IT WAS PRESSED. TYPICAL PREFIXES INCLUDE: 7XS EMI CUSTOM RECORDING AW RADIOLA/AWA CUSTOM RECORDING CWG W&G CUSTOM RECORDING DB RCA DOTTED TRIANGLE SHEARD & CO. FH ASTOR MA ASTOR CUSTOM PRESSING MX FESTIVAL, OR AUSTRALIAN RECORD COMPANY / CBS PRS, YPRX EMI CUSTOM RECORDING RRC, RRCS RANGER CUSTOM RECORDING SMX FESTIVAL 2 AUSTRALIAN INDIE LABELS, 1955–1990 CAT. NO. TITLE(S) FORMAT / MX NO. / NOTES ARTIST(S) DATE 3333 RECORDS DISTRIBUTED BY MUSICLAND. MUSLP 3333 LIVE AT SING SING LP THE BACHELORS FROM PRAGUE 1986 3333/1 THE ENERGETIC COOL CD THE BACHELORS FROM PRAGUE 5.88 MUS SP 3333/2 GO / EVEN DISHWASHERS GET THE BLUES BACHELORS FROM PRAGUE 9.88 3333/3 THE ENERGETIC COOL LP THE BACHELORS FROM PRAGUE 1988 SP 3333/3 TIGHTROPE / THE OUTSIDER 7” BACHELORS FROM PRAGUE 3.89 TO MERCURY RECORDS, THROUGH PHONOGRAM AARON RECORDS PB 0001 MAMA / THAT LUCKY OLD SUN DAVID J. -
Overlanders Trail Booklet
279 0923 Tex Morton Reg Lindsay June Holms Johnny Ashcroft Buddy Williams Bob Dyer Art Leonard and many more Down The Overlander’s Trail THE EARLY DAYS OF COUNTRY MUSIC IN AUSTRALIA There was a time when country music ruled the Australian capital city radio airwaves. This was the transportation by sea freight meant unbelievably long delays in getting the songs into the local market. 1940s and early 1950s when we didn’t feel as ‘musically pigeon-holed’ as today. There was also a lot of These local recordings were known as ‘cover’ versions and our earliest country pioneers were actually ‘light classical’ music available but it was ‘country and western’, for that’s what it was called, that you artists who recorded popular covers for the local radio and gramophone industries. heard when you tuned into the more popular stations. In some ways it was a strange music and, more often than not, performed live in the studio – and sounded like it! A typical radio station ‘band’ would Radio talent shows, forerunners to today’s shows like Australia’s Got Talent attracted country artists be comprised of piano accordion, harmonica, acoustic guitar and drums. There was also a sound effects including some who actually wrote their own material. Many of these artists, including the great Tex person ready to provide turning wagon wheels, clip clop hooves and even the occasional cracking Morton, were part country artist and part vaudeville. Some, like Bob Dyer, were complete showmen stockwhip. The songs were introduced in a congenial style reminiscent of homespun yarners fresh from from the vaudeville circuit. -
Media Release
Wednesday, 27 June 2018 MEDIA RELEASE Funds sought to commemorate legendary Frank Ifield with Bronze Bust Frank Ifield is the next country music legend selected to be commemorated with a Bronze Bust in Tamworth, the Country Music Capital of Australia. Frank’s amazing career both in Australia and overseas has seen him become known as a pioneer of the country music industry. He has been inducted into the Country Music Roll of Renown, the ARIA Hall of Fame, and has received the Tamworth Independent Artist Recognition Award for his commitment to the nurturing of talent through the Frank Ifield International Spur Award. His hit songs include I Remember You, Lovesick Blues and Waywind Blues and the Tamworth Bronze Bust Committee is now seeking funds to help further honour Frank with a Bronze Bust in Bicentennial Park, right in the heart of Tamworth, NSW. Ms Lorraine Pfitzner, Bronze Bust Coordinator said: “Commemorating country music industry legends with a bronze bust started back in 1991 and since then has seen the likes of Tex Morton, Buddy Williams, Barry Thornton, Stan Coster, Reg Lindsay, Jimmy Little and Shirley Thoms cast in bronze and mounted in Bicentennial Park. “The Busts cost around $20,000 and so-far the committee has raised $7,200, so we are now seeking the support of organisations and individuals to help us reach our target and ensure Frank receives this deserving honour.” The Legends of Country Music row has become one of the “must see” country music experiences in Tamworth and a fundraising concert is being held during Tamworth’s annual Toyota Hats Off to Country Festival this coming July. -
YODELLING BOUNDARY RIDERS.Pdf
RARE BOOKS LIB. Jl,l The University of Sydney Copyright and use of this thesis This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright. may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author's mora/ rights if you: • fail to acknowledge the author of this thesis if you quote sections from the work • attribute this thesis to another author • subject this thesis to derogatory treatment which may prejudice the author's reputation For further information contact the University's Director of Copyright Services Telephone: 02 9351 2991 e-mail: [email protected] Yodelling Boundary Riders: Country Music In Australia, 1936-2010 Toby Martin PhD Thesis Department of History University of Sydney 2011 SID: 199608146 Supervisor: Richard White Table of Contents ' ',, Abstract i Introduction 1 Chapter One 24 Tex Morton: The Sentimental Cowboy Chapter Two 68 Sleepy Valleys and Lonesome Plains: The Boundary Rider in the Landscape Chapter Three 108 'Give It A Name': Making Hillbillies Respectable Chapter Four 157 From New South Wales to Nashville: Australian Performers and Fans in America Chapter Five 206 Country Music Capital: The Past In Tamworth Conclusion 252 Bibliography 260 Abstract Yodelling Boundary Riders: Country Music In Australia, 1936-2010 Country music has been recorded, performed and listened to in Australia since the early 1930s. -
The Economic and Cultural Value of Country Music in Australia 2018
The Economic and Cultural Value of Country Music in Australia 2018 Full Report Prepared for the Country Music Association of Australia Inc by Dobe Newton July, 2019 Contents Introduction 1 Acknowledgments 3 Key Findings 4 Executive Summary 5 1 Live Performance 41 2 Recorded Music 63 3 Songs & Songwriting 81 4 Airwaves & Airplay 95 5 Cultural & Social Value 115 Appendix 6 Country’s Backstory 121 7 The Academy 129 8 Artist Survey 134 9 Fan Survey 156 Conduct, Methodolgy & Sources 175 Introduction 2018 was a stellar year for Australian country music. And, as many of us drove to work or set off on holidays, we still cranked up our favourite Kasey Chambers was memorably inducted as the country somngs on the trusty cassette player, or youngest female ever into the ARIA Hall of Fame. listened to our favourite artists on a Walkman, Keith Urban was acknowledged by the US Country Discman or Mini Disc player. Music Association as its Entertainer of The Year. Morgan Evans achieved a notable #1 on US, ARIA Yes, things have changed. Especially the way we and The Music Network charts with his debut consume recorded music. single. Project Summary Country music festivals reported record attend- The Country Music Census was conducted over a listened to more country on radio than ever before 9-month timeframe from September 2018 to May andances music and boxstreaming office results, – the juggernaut more Australians driving the 2019. global and Australian industry revival, is being The broad range of information and data collected enthusiastically embraced by country fans listening during that time provided the basis for this report on their phones, in their cars and on laptops, tablets which follows on from the only other such study - and smart speakers. -
Country Music- Music of the Soul
Colegiul Național ,, Mihail Kogălniceanu’’ Country music- music of the soul Vintilă Iulia, clasa a 12-a A 1 Colegiul Național ,, Mihail Kogălniceanu’’ Table of Contents General description – What is country music?...............................................................4 Stages of development – Country music’s paved road.................................................5 Stage one - First generation (1920s)..........................................................................6 Stage two - Second generation (1930s–1940s)..........................................................7 Singing cowboys and Western swing......................................................................7 Changing instrumentation.......................................................................................8 Hillbilly boogie.........................................................................................................8 Bluegrass, folk and gospel......................................................................................9 Honky Tonk..............................................................................................................9 Stage three - Third generation (1950s–1960s)...........................................................9 Rockabilly..............................................................................................................10 The Nashville and countrypolitan sounds..............................................................10 Country soul - crossover........................................................................................11