Examining the color of country music

NASHVILLE, Tenn. -- In the 1992 film "White Men Can't Jump," dimwitted Billy (Woody Harrelson) and his sassy girlfriend Gloria (Rosie Perez) are riding in a convertible and listening to a cassette of Ray Charles' classic country album, "Modern Sounds in Country and Western Music." As Charles croons "Careless Love," Billy asks, "Would somebody please explain to me why this Negro is singing cowboy music?"

"You know, this is my favorite song," Gloria says. "It makes me think about making love to you. It makes me want to just take you, and lock you up in a room, and make love to you over and over and over and over and over."

The scene is played for laughs, of course, but many listeners, both white and black, have been -- and remain -- resistant to the notion of African-American artists singing country music. But a new exhibit at the Country Music Hall of Fame and Museum titled "I Can't Stop Loving You: Ray Charles & Country Music" explores the beloved musician's immense contributions to the genre.

Over the course of his career, Charles recorded more than 100 country songs -- a trailblazer for other African Americans, from Charley Pride to today's Cowboy Troy, who would later take on this predominately white genre.

At the center of the Charles exhibit is his album "Modern Sounds in Country and Western Music," which was released in 1962 and quickly sold more than 1 million copies. The LP included country standards like "You Win Again" and "I Can't Stop Loving You." Charles quickly followed up the album with a second volume, which included his timeless rendition of "Take These Chains From My Heart."

"In an interview clip in the exhibit, Charles talks about how the record company thought he was crazy to make an album of all-country songs in 1962," explained museum staffer and exhibit co-curator Michael Gray. "We have to remember the social context. This was before the March on Washington, when Martin Luther King delivers his 'I Have a Dream' speech. This is two years before the Civil Rights Act [of 1964] that banned segregation in public places. It was a brave move for Ray Charles to validate the music of the white, Southern working class during a time of racial turmoil in America."

The exhibit, which runs until the end of 2007, includes numerous video clips, including Charles' appearances on Glen Campbell's and Johnny Cash's TV variety shows, a duet with Buck Owens on the series "Hee Haw" and the 1983 music video for "3/4 Time," which was shot at the Dusty Road Tavern in east Nashville. This was one of country music's first promotional videos.

"African Americans have always played a key role in country music, dating back to the early string bands and all the way up to the present day," Gray said. "There's always been a lot of fluidity between R&B and country music. Record labels separated the music early on, by color. They had the 'hillbilly' line [of records] and the 'race' music line. But in reality, black and white musicians were learning from one another, and sharing instrumentation and lyrical themes. There was a lot of fluidity, but if you have to point to a particular artist and album that helped break down those race barriers, it certainly would be Ray Charles and 'Modern Sounds in Country and Western Music.' "

In the decades following Charles' landmark "Modern Sounds" recordings, only one black country performer became a true superstar. Charley Pride had a whopping 28 singles reach No. 1 between 1966 and 1989.

When Chet Atkins signed Pride to RCA in 1965, the company decided that until the singer scored a significant hit, the label would not mail out any promotional photos of him. The theory was that some country disc jockeys might not play a song if they knew it was by a black singer.

Pride's third single, "Just Between You and Me," was written by Cowboy Jack Clement and became a Top 10 hit in late 1966. Clement, who is white, produced Pride's first 20 albums. Clement thinks that RCA's approach in marketing Pride was wise.

"I still marvel at the fact that a major label could be that smart," Clement said with a grin. "They decided they weren't going to mention the race thing. They were just going put it out and say, 'Here's a brand-new artist, and we're behind him.' "

At the beginning of his career, Pride put his predominantly white concert audiences at ease by gently joking about his "permanent tan." Pride's magnificent voice and fan-friendly attitude have made him one of the biggest country stars of all time. During the acceptance speech for his induction into the Country Music Hall of Fame in 2000, Pride thanked those early supporters who had backed him despite what he called "the pigmentation situation."

At age 68, Pride remains an active performer. He's currently working on a gospel album, and he'll appear at the Hodag Country Festival in Rhinelander, Wis., on July 13, and at the Little Nashville Opry in Nashville, Ind., on Sept. 23.

Despite some chart successes, no African-American artist has come even remotely close to matching Pride's achievements. In the '70s, '80s and '90s, several black artists -- including Stoney Edwards and Cleve Francis -- tried to follow the trail Pride had blazed. But on the Country National Airplay chart compiled by Radio and Records for the week ending June 23, not one of the top 50 singles was by a black singer or a by band with a black member.

But there is a new generation of African-American country artists adding diversity to this lily-white genre.

Most prominent among them is Cowboy Troy, a rapper -- yes, a rapper -- closely associated with Big & Rich. In a savvy career move, Cowboy Troy raised his national profile by co-hosting this year's season of the TV show "Nashville Star" alongside Wynonna. His debut album, 2005's "Loco Motive," featured a blend of country and hip-hop. Despite receiving little radio airplay, the album has sold well.

"I think that Cowboy Troy's success points out that the audience is more interested in experimentation than the industry is," said Diane Pecknold, who teaches courses in popular music at the University of Louisville. "Many in the industry didn't think [Pride] had a chance, but the audience did not have a problem with him."

According to the 2005 edition of the Arbitron publication Radio Today, approximately 2.4 percent of country radio listeners are black. On the surface, that number seems small, but when one considers that country is an enormously popular format, this translates to millions of African-American fans.

Anecdotal evidence among industry observers suggests that some of these fans occasionally hide their love of country music in social situations to avoid criticism from black friends who believe that white country music acts and fans generally are racist.

Vocalist Rhonda Towns, whose new release is "I Wanna Be Loved by You" on the independent label Dawn Records, believes her contemporary country sound can win over fans of all races.

"Country music fans can see through somebody [who's] trying to do something because it would be a niche," Towns explained. "I don't want to be a novelty. There are other African Americans who have been trying to make it, too. I do feel like I'm a leader and a pioneer. Sometimes you're given a cross to bear to open up a door that hasn't been opened before."

Towns will perform at Country Thunder in Twin Lakes, Wis., on July 20 as part of a festival lineup that also includes Keith Anderson, Big & Rich, Cowboy Troy and Gretchen Wilson.

Another young singer generating a buzz in Nashville is Ericka Dunlap (at right), who was crowned Miss America 2004. The first African American to become Miss Florida, Dunlap spent her childhood in Orlando listening to country music and clogging. She did not, however, sing a country tune in the big pageant.

"For a long time, there was an unwritten rule that if a contestant in the Miss America competition was singing a country song, or clogging, or playing the fiddle, or doing anything that was representative of country music, more than likely she wasn't going to get any farther than the top 10," Dunlap said. "I was leery of presenting my country side, so I decided to play it safe ... I did a song entitled 'If I Could.' It was a contemporary-jazz piece. It worked!"

Numerous factors make it difficult for a black artist to break into mainstream country music nowadays. Racial discrimination may be a factor in some cases, but an equally powerful roadblock is major labels' dominance of the industry.

Pecknold -- whose forthcoming book from Duke University Press is The Selling Sound: Country Music, Commercialism, and the Politics of Popular Culture -- feels the consolidation of the country music industry has limited the opportunities for aspiring black artists (or any act differing from the status quo) to get signed to a major label.

"Major labels have to invest so much in every artist they sign that there are just fewer artists [on the rosters]," Pecknold said. "Because of the economics of the industry now, those labels are not willing to take a chance on anything. The middle market that existed in the 1970s is gone. To some extent, alt-country and Americana have been cultivated to fill that middle market for albums that sell at the 500,000 level."

Black country artists Scores of African-American artists have focused on country music over the years. Here's a brief look at some of them from the past and present:

DeFord Bailey -- The harmonica virtuoso was one of the Grand Ole Opry's biggest stars in the Depression era. He was inducted posthumously into the Country Music Hall of Fame in 2005.

Big Al Downing -- The multitalented Downing recorded R&B, country, rockabilly and even disco songs. His country peak came in 1978-80, when he charted with "Mr. Jones,'' "Touch Me'' and "Bring it on Home.'' Downing died on July 4, 2005.

Stoney Edwards -- The late singer-songwriter recorded five albums for Capitol and had hits with "She's My Rock'' and "Hank and Lefty Raised My Country Soul.''

Ruby Falls -- A native Tennessean and onetime resident of Milwaukee, the late Falls had nine charting hits between 1974 and 1979, including "You've Got to Mend this Heartache.''

Cleve Francis -- Cardiologist Francis left his medical practice to pursue a career in country music. He released three albums for Liberty in the '90s. He continues to perform today.

Dobie Gray -- Best known for the pop smash "Drift Away,'' Gray released charting country singles in the mid-'80s, including "From Where I Stand.'' That song provided the title for the three-disc box set "From Where I Stand: The Black Experience in Country Music,'' released in 1998 by Warner Bros. Gray sings on blues belter Shemekia Copeland's 2005 album "The Soul Truth.''

Linda Martell -- The first African-American woman to sing at the Grand Ole Opry, Martell had a Top 25 hit with "Color Him Father'' in 1969.

O.B. McClinton -- The late singer released albums on Enterprise (a division of Stax) and Epic. He had a big hit in 1973 with "Don't Let the Green Grass Fool You.''

Alice Randall -- This songwriter's compositions include the Judy Rodman hit "Girls Ride Horses, Too'' and Trisha Yearwood's No. 1 smash "XXX's and OOO's (An American Girl).''

Carl Ray -- A native Texan, Ray has performed at Nashville's famous Bluebird Cafe and in Switzerland. He has recorded a track with David Ball, which should appear on Ray's forthcoming album.

James Sharp -- Based in Atlanta, Sharp has performed in Nashville and Branson, Mo. He appeared in a recent TV ad for Cargill promoting barbeque pork.

Trini Triggs -- Signed to Curb in the '90s, Triggs had a hit single with "Straight Tequila.'' He is a guest vocalist on the Bellamy Brothers' 2005 album "Angels & Outlaws, Vol. 1.''

Oddities and missteps The list of black artists who have recorded country music includes some surprising trivia.

In 1965, the same year the Supremes topped the pop charts with "Stop! In the Name of Love," Motown released the LP "The Supremes Sing Country Western & Pop."

The Pointer Sisters' "Fairy-tale" won them a 1974 Grammy award for best country vocal performance by a duo or group.

Sammy Davis Jr. cut a 1982 album called "Closest of Friends," which has been reissued on CD under various titles, including "Sammy in Nashville: Great Country Standards."

Michael and Janet's marginally talented sister, LaToya Jackson, flopped with her 1994 album "From Nashville to You."

Most bizarre of all is the 1970 album "Louis 'Country and Western' Armstrong," which was produced by Cowboy Jack Clement. The disc is considered a forgettable novelty among many jazz aficionados.

Clement has always regretted the poor quality of the album. He has spent years recording new instrumental backing and merging it with Louis Armstrong's original vocals. Clement expects to complete the project soon and then reissue the album.

The black and white music argument gets pretty ridiculous and it basically comes down to the liberal propaganda that Europeans (and by extension, white Americans) stole virtually everything including math, science, music, sports, etc. from other peoples for their own betterment. It reminds me of the old Wayan Brothers episode wher the father tells his sons, "Larry Bird ain't white. That's just what THEY want you to believe!"

All Rock and Country Music has its roots in the Blues, which has always been a predominates African-American art form.

Visit http://www.musicmaker.org/ A fellow is tracking down all the artists to whom the music world owes so much. He's recording them before they die, and providing them a pension, medical care, and in some cases of poverty, food.

Eric Clapton and other superstars have donated, and you can buy CDs and books. I have, and will buy more of this wonderful stuff. Randy Bachman has been pushing this effort on Vinyl Tap (cbc.ca, Sirius 137) Sat nights 6pm central.

Rain drippin' off the brim of my hat
Sure is cold today
Here I am walking down 66
Wish she hadn't done me that way
Sleeping under a table in a roadside park,
a man could wake up dead
But it sure seems warmer than it did,
sleeping in my king size bed

Is anybody going to San Antone
or Phoenix Arizona?
Anyplace is all right as long as I
can forget I've ever known her

Wind whippin' down the neck of my shirt
like I ain't got nothing on
But I'd rather fight the wind and rain
than what I've been fightin' at home
Yonder comes a truck with the US Mail
people writin' letters back home
Tomorrow she'll probably want me back
but I'll still be just as gone

Is anybody going to San Antone
or Phoenix Arizona?
Anyplace is all right as long as I
can forget I've ever known her

Sorry but I have to disagree with you strongly on that...

You nailed that one.

Listen to Irish folk music and tell me that there's no connection between that and country music.

But still, there's a lot of black Southron influence there, too.

Play me a song Curtis Lowe, Curtis Lowe
Well I got your drinkin' money, tune up your dobro
People said he was useless, them people all were fools
Cuz Curtis Lowe was the finest picker to ever play the blues

I don't know if you've noticed it, but there are actually quite a few Zappa aficionados here on FR.

Here's a post from a few years back: Zappa Fest Descends on German Town

Here's my favorite Zappa knowledge base.

I just got an mp3 player, so I've been jamming on him at work for about a week. It really makes the day go by faster!

"Listen to Irish folk music and tell me that there's no connection between that and country music."

And bluegrass music is directly rooted to Irish jigs and reels.

"Country music" as we know it is a descendant of ancient 'folk songs'.

Ironically, "House of the Rising Sun" is playing on VH1 Classics and though most people associate that song with the 60s and The Animals [or Frijid Pink] the song is actually a very old folk song.

Interesting take on it here;

http://www.straightdope.com/mailbag/mrisingson.html

House of the Rising Sun is one of the most cherished, misunderstood, and covered songs in American History. When Rising Conviction decided to join the hundreds of musical groups—from Bob Dylan to The Animals, who popularized the song in the 1960's—we discovered a rich and largely unknown history. This page is dedicated to the song and its many incarnations, and will grow over time.

History of House of the Rising Sun
Who wrote House of the Rising Sun?
Many people familiar with the song falsely believe that House of the Rising Sun was written by The Animals. Small text inside their album "The Best of the Animals", released in 1966, reveals that it was only arranged by them. The truth is Alan Lomax, in his 1941 book Our Singing Country, identifies the authors as Georgia Turner and Bert Martin of Kentucky, though the true history of the song dates back much further.

The term "Rising Sun" was a popular name given to brothels in America in the 1800's into the 1920's, and it is believed that House of the Rising Sun is the story of a girl trapped in the corrupt life of ruin. Though no actual house has been identified, it is believed to have been in the old French Quarter of New Orleans, Louisiana.

The Melody
The original melody of House of the Rising Sun finds its roots in 17th century England, where it was a popular folk melody of many lyrical settings. Included in these were a traditional tune by the name of "Lord Barnard and Little Musgrove", and—acknowledgingly—a song popular in the halls of British brothels, "Rising Sun". The melody found it's way into the Southern U.S., and was a common backdrop for many early Southern musicians of both black and white descent.

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