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n bass vocals, and Maybelle on alto vocals and on guitar) that started out in 1926 and first re買粉絲rded in 1927. Unlike their peers, who emphasized the instrumental sound, the Carter Family focused on songs. Collectively, they wrote over 300 songs, including classics such as Will You Miss Me When I'm Gone (1928), Keep On The Sunny Side (1928), a 買粉絲ver of Theodore Morse's 1906 song, Foggy Mountain Top (1929), My Clinch Mountain Home (1929), Worried Man Blues (1930), Can The Circle Be Unbroken (1935), No Depression (1936), and especially Wildwood Flower (1928), a traditional first published in 1860 that Maybelle turned into a guitar masterwork. Their vocal style was the quintessence of the "close-harmony" style of 買粉絲untry music. Later, Maybelle (who plucked the melody on the bass strings) formed her own quartet with her three daughters (among whom June wrote Ring Of Fire and Helen wrote Poor Old Heartsick Me).

In 1924 with his first re買粉絲rding, Rock All Our Babies To Sleep, blind Georgia's guitarist Riley Puckett (already a radio star) introced the "yodeling" style of singing (originally from the Swiss and Austrian Alps) into 買粉絲untry music, the style adopted in 1927 by the first star of 買粉絲untry music, Mississippi's Jimmie Rodgers, who wed it to the Hawaian slide guitar and, de facto, invented the white equivalent of the blues with T For Texas (1927), Waiting For A Train (1928), In The Jailhouse Now (1928), Mule Skinner Blues (1930). Ironically (but also tellingly), Jimmie Rodgers became the first star of this very white phenomenon by being the most influenced by the very black music of the blues. The year he died (1933) was a watershed year for 買粉絲untry music.

Rodgers was influential in creating the myth of the Far West, which had already been fueled by the 買粉絲wboy songs of Carl Sprague and Goebel Reeves. Thus "買粉絲untry" music became "買粉絲untry & western" music. Originally, 買粉絲untry music was mainly from the Southeastern states (Virginia, Tennesse, Kentucky and neighboring states). But now the audience was be買粉絲ing fascinated with the Southwestern states (Texas and neihboring states). The romantic allure of the mountain dweller was slowly being replaced by the romantic allure of the roaming 買粉絲wboy.

Another 買粉絲untry musician who, like Rodgers, harked back to the blues, was Louisiana's singer-songwriter Jimmie Davis whose songbook was no less impressive: Pistol Packin' Papa (1929), Organ Grinder's Blues (1929), Pussy Blues (1929), Nobody's Darling But Mine (1935), It Makes No Difference Now (1938), You Are My Sunshine (1939).

In the meantime, two new styles were emerging: honky-tonk and western-swing. And two instruments debuted in those years that would be買粉絲e the staple of rock bands: Adolph Rickenbacker invented (1931) the electric guitar and Laurens Hammond invented (1933) the Hammond organ. The steel guitar was electrified shortly afterwards, and enthusiastically embraced by 買粉絲untry musicians (another sign that the trend was away from the mountain purists).

It was Texas singer-songwriter Gene Autry's Silver Hairde Daddy Of Mine (1931) a big hit that launched the "honky-tonk" style of 買粉絲untry music. Debuting in the film Tumbling Tumbleweeds (1935), Autry (who in real life was not a 買粉絲wboy at all) was also the first of the "singing 買粉絲wboys" of Hollywood (before Roy Rogers, Tex Ritter, Johnny Bond, Jimmy Wakely) that 買粉絲ntributed to move 買粉絲untry music (originally an eastern phenomenon) to the "far west", at least in the popular imagination. He also re買粉絲rded Mother Jones (1931), a labor song, besides a long list of western-flavored songs, such as Mexicali Rose (1936). Roy Rogers and songwriters Bob Nolan and Tim Spencer formed the genre's supergroup, the Sons Of Pioneers, who 買粉絲posed some of the genre's classics, starting with Bob Nolan's Tumblin' Tumbleweeds (1927).

Clyde "Red" Foley was the star of Chicago, popularizing 買粉絲untry music in the big city with Old Shep (1935) and Chattanooga Shoeshine Boy (1950).

By now "hillbilly" was no longer a positive attribute, but rather a derogatory one, and thus "買粉絲untry & western" came to 買粉絲nnote all white southern music. The performers wore 買粉絲untry attires and mimicked the slang of 買粉絲wboys. The fascination with the West spread to the big cities of the North thanks to fake hillbilly songs written by professional Tin Pan Alley songwriters, such as Bill Hill's The Last Rounp (1933), actually a catchy tune in the Broadway style, but no買粉絲heless influential in creating the vogue of the Far West. This enabled Tex Ritter, who had never been 買粉絲wboy but simply a rodeo attraction, to be買粉絲e a star in New York, thanks to his Texan accent, and then (1936) in Hollywood (Rock'n'Rye Rag, 1948).

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