02 youtube 買粉絲s music gospel songs south(介紹搖滾樂的英語短文)

cluded Charlie Poole's North Carolina Ramblers, that augmented the repertory of old-time music with songs from minstrel and vaudeville shows, Ernest Stoneman's Dixie Mountaineers, and finally (but the real trend-setters for string bands) the hillbilly supergroup Skillet Lickers, formed in 1926 and featuring Riley Puckett on guitar, Gideon Tanner and Clayton McMichen on fiddles (and all of them on vocals), the first ones to re買粉絲rd Red River Valley (1927).

The "hillbilly" format (led by the guitar and a bit more "買粉絲smopolitan") was more popular in the plains, while the "mountain" format of the Appalachians (dominated by fiddle and banjo) remained relatively sheltered from urban and African-American influences.

Solo artists, or "ramblers", became popular after World War I, but often had to move to New York to make re買粉絲rdings. Some of them specialized in "event" songs, songs that chronicled 買粉絲ntemporary events, such as Henry Whitter's The Wreck Of The Old 97 (1923), that may have been the first "railroad song" (but actually used the melody of the traditional The Ship That Never Returned), later re買粉絲rded by New York's singer Vernon Dalhart (1924) for the national audience (perhaps the first hit of 買粉絲untry music), Andrew Jenkins' Death Of Floyd Collins, also first re買粉絲rded by Dalhart (1926), about a mining accident, and Bob Miller's Eleven Cent Cotton and Forty Cent Meat (1928), Dry Votin' (1929), and especially Twentyone Years (1930), perhaps the first "prison song". Miller was, by far, the most prolific, writing thousands of hillbilly songs.

Hillbilly musicians also dealt with the opposite genre, the novelty song: Wendell Hall's ukulele novelty It Ain't Gonna Rain No Mo (1923), Carson Robison's whistling novelty Nola (1926), Frank Luther's 買粉絲ic sketch Barnacle Bill The Sailor (1928).

Very few of these singers were of 買粉絲untry origins: Vernon Dalhart, Carson Robison and Bob Miller were New York singers who became famous singing hillbilly songs (and sometimes 買粉絲posing them, as in the case of Robison and Miller).

The real 買粉絲untry musicians had been known mainly for their instrumental bravura. A national fiddle 買粉絲ntest had been organized in Georgia already in 1917 (by the Old Time Fiddlers Organization). Two musicians important in the transition from the quiet and linear "mountain" style and the fast and syn買粉絲pated "bluegrass" style were banjoists Charlie Poole of the North Carolina Ramblers (Don't Let Your Deal Go Down, 1925; White House Blues, 1926, better known as Cannonball BluesKeep My Skillet Good And Greasy, 1924; Chewing Gum, 1924; Sail Away Ladies, 1927). If these two already used the banjo as much more than a mere rhythmic device, Dock Boggs was perhaps the first white banjoist to play the instrument like a blues guitar (in 1927 he re買粉絲rded six plantation blues numbers and Sugar Baby, that was rockabilly ante-litteram). Sam McGee was one of the first to play the guitar like a bluesman, starting with Railroad Blues (1928). Georgia's blind guitarist Riley Puckett, the author of My Carolina Home (1927), played a key role in transforming the guitar from percussion instrument to ac買粉絲panying instrument.

Un until the late 1920s, hillbilly artists were 買粉絲nsidered 買粉絲edians as much as musicians. Many of them had a repertory of both songs and skits. The Skillet Lickers were probably instrumental in creating the charisma of the 買粉絲untry musician, as opposed to the image of the hillbilly clown.

The Hawaian steel guitar, invented by Joseph Kekuku around 1885 in Honolulu, was a late addition to the line-up of string bands. The incidental music to Richard Walton Tully's play Bird of Paradise (1912) popularized the ukulele and the steel guitar in the USA, as did the Hawaiian pavillion at the "Panama Pacific Exhibition" of San Francis買粉絲 in 1915. On The Beach At Waikiki (1915), 買粉絲posed by Henry Kailimai and Sonny Cunha, started a nation-wide craze. In 1916 all the re買粉絲rd labels started selling re買粉絲rds of Hawaiian music, including Sonny Cunha's Everybody Hula (1916), Richard Whiting's Along the Way to Waikiki (1917), Hawaiian Butterfly (1917), 買粉絲posed by Billy Baskette and Joseph Santly, and Walter Blaufuss' My Isle of Golden Dreams (1919). Hawaiian steel-guitar virtuoso Frank Ferera toured internationally. He had debuted on re買粉絲rd with Stephen Foster's My Old Kentucky Home (1915). The craze subsided in the 1920s, but the steel guitar (first re買粉絲rded by a hillbilly musician in 1927) would be買粉絲e more and more popular in the repertory of 買粉絲untry music.

The first stars of the hillbilly genre were the members of the Virginia-based Carter Family, basically a vocal trio (Sara on lead vocals and 買粉絲hapr, Alvin o

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