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Americana music
Americana (also known as American roots music) is a mixture of American music formed by the confluence of the shared and varied traditions that make up the musical ethos of the United States of America, with particular emphasis on music historically developed in the American South.
The term "Americana music" was defined by the Americana Music Association (AMA) in 2020 as "…the rich threads of country, folk, blues, soul, bluegrass, gospel, and rock in our tapestry." A previous 2016 AMA definition of the genre included rhythm and blues, with additional comments that Americana music results "in a distinctive roots-oriented sound that lives in a world apart from the pure forms of the genres upon which it may draw. While acoustic instruments are often present and vital, Americana also often uses a full electric band."
The origins of Americana music can be traced back to the early 20th century, when rural American musicians began incorporating elements of folk, blues, and country music into their songs. Americana musicians often played acoustic instruments such as the guitar, banjo, fiddle, and upright bass, and their songs typically told stories about the struggles and hardships of everyday life.
The American folk music revival began during the 1940s and peaked in popularity in the mid-1960s. The folk revival in New York City was rooted in the resurgent interest in square dancing and folk dancing there in the 1940s as espoused by instructors such as Margot Mayo, which gave musicians such as Pete Seeger popular exposure. The folk revival more generally as a popular and commercial phenomenon begins with the career of The Weavers, formed in November 1948 by Pete Seeger, Lee Hays, Fred Hellerman, and Ronnie Gilbert of People's Songs, of which Seeger had been president and Hays executive secretary.
The Kingston Trio, a group originating on the West Coast, were directly inspired by the Weavers in their style and presentation and covered some of the Weavers' material, which was predominantly traditional. The Kingston Trio's popularity would be followed by that of Joan Baez, whose debut album Joan Baez reached the top ten in late 1960 and remained on the Billboard charts for over two years. It was not long before the folk-music category came to include less traditional material and more personal and poetic creations by individual performers, who called themselves "singer-songwriters". As a result of the financial success of high-profile commercial folk artists, record companies began to produce and distribute records by a new generation of folk revival and singer-songwriters Phil Ochs, Tom Paxton, Eric von Schmidt, Buffy Sainte-Marie, Dave Van Ronk, Judy Collins, Tom Rush, Fred Neil, Gordon Lightfoot, Billy Ed Wheeler, John Denver, John Stewart, Arlo Guthrie, Harry Chapin, and John Hartford, among others.
Some of this wave had emerged from family singing and playing traditions, and some had not. These singers frequently prided themselves on performing traditional material in imitations of the style of the source singers whom they had discovered, frequently by listening to Harry Smith's celebrated LP compilation of forgotten or obscure commercial 78rpm "race" and "hillbilly" recordings of the 1920s and 30s, the Folkways Anthology of American Folk Music (1951). A number of the artists who had made these old recordings were still very much alive and had been "rediscovered" and brought to the 1963 and 64 Newport Folk Festivals. For example, traditionalist Clarence Ashley introduced folk revivalists to the music of friends of his who still actively played the older music, such as Doc Watson and The Stanley Brothers.
In the 1950s and 1960s, folk revival music began to evolve and incorporate elements of rock and roll and other popular music styles. Artists such as Bob Dylan and the Byrds began blending traditional folk and country music with electric guitars and drums, creating a new sound that came to be known as folk rock.
On January 20, 1965, the Byrds entered Columbia Studios in Hollywood to record Bob Dylan's acoustic tune "Mr. Tambourine Man" for release as their debut single on Columbia. The full, electric rock band treatment that the Byrds and producer Terry Melcher had given the song effectively created the template for the musical subgenre of folk rock. McGuinn's melodic, jangling 12-string Rickenbacker guitar playing—which was heavily compressed to produce an extremely bright and sustained tone—was immediately influential and has remained so to the present day. The single also featured another major characteristic of the band's sound: their clear harmony singing, which usually featured McGuinn and Clark in unison, with Crosby providing the high harmony. Additionally, Richie Unterberger has stated that the song's abstract lyrics took rock and pop songwriting to new heights; never before had such intellectual and literary wordplay been combined with rock instrumentation by a popular music group.
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Americana music
Americana (also known as American roots music) is a mixture of American music formed by the confluence of the shared and varied traditions that make up the musical ethos of the United States of America, with particular emphasis on music historically developed in the American South.
The term "Americana music" was defined by the Americana Music Association (AMA) in 2020 as "…the rich threads of country, folk, blues, soul, bluegrass, gospel, and rock in our tapestry." A previous 2016 AMA definition of the genre included rhythm and blues, with additional comments that Americana music results "in a distinctive roots-oriented sound that lives in a world apart from the pure forms of the genres upon which it may draw. While acoustic instruments are often present and vital, Americana also often uses a full electric band."
The origins of Americana music can be traced back to the early 20th century, when rural American musicians began incorporating elements of folk, blues, and country music into their songs. Americana musicians often played acoustic instruments such as the guitar, banjo, fiddle, and upright bass, and their songs typically told stories about the struggles and hardships of everyday life.
The American folk music revival began during the 1940s and peaked in popularity in the mid-1960s. The folk revival in New York City was rooted in the resurgent interest in square dancing and folk dancing there in the 1940s as espoused by instructors such as Margot Mayo, which gave musicians such as Pete Seeger popular exposure. The folk revival more generally as a popular and commercial phenomenon begins with the career of The Weavers, formed in November 1948 by Pete Seeger, Lee Hays, Fred Hellerman, and Ronnie Gilbert of People's Songs, of which Seeger had been president and Hays executive secretary.
The Kingston Trio, a group originating on the West Coast, were directly inspired by the Weavers in their style and presentation and covered some of the Weavers' material, which was predominantly traditional. The Kingston Trio's popularity would be followed by that of Joan Baez, whose debut album Joan Baez reached the top ten in late 1960 and remained on the Billboard charts for over two years. It was not long before the folk-music category came to include less traditional material and more personal and poetic creations by individual performers, who called themselves "singer-songwriters". As a result of the financial success of high-profile commercial folk artists, record companies began to produce and distribute records by a new generation of folk revival and singer-songwriters Phil Ochs, Tom Paxton, Eric von Schmidt, Buffy Sainte-Marie, Dave Van Ronk, Judy Collins, Tom Rush, Fred Neil, Gordon Lightfoot, Billy Ed Wheeler, John Denver, John Stewart, Arlo Guthrie, Harry Chapin, and John Hartford, among others.
Some of this wave had emerged from family singing and playing traditions, and some had not. These singers frequently prided themselves on performing traditional material in imitations of the style of the source singers whom they had discovered, frequently by listening to Harry Smith's celebrated LP compilation of forgotten or obscure commercial 78rpm "race" and "hillbilly" recordings of the 1920s and 30s, the Folkways Anthology of American Folk Music (1951). A number of the artists who had made these old recordings were still very much alive and had been "rediscovered" and brought to the 1963 and 64 Newport Folk Festivals. For example, traditionalist Clarence Ashley introduced folk revivalists to the music of friends of his who still actively played the older music, such as Doc Watson and The Stanley Brothers.
In the 1950s and 1960s, folk revival music began to evolve and incorporate elements of rock and roll and other popular music styles. Artists such as Bob Dylan and the Byrds began blending traditional folk and country music with electric guitars and drums, creating a new sound that came to be known as folk rock.
On January 20, 1965, the Byrds entered Columbia Studios in Hollywood to record Bob Dylan's acoustic tune "Mr. Tambourine Man" for release as their debut single on Columbia. The full, electric rock band treatment that the Byrds and producer Terry Melcher had given the song effectively created the template for the musical subgenre of folk rock. McGuinn's melodic, jangling 12-string Rickenbacker guitar playing—which was heavily compressed to produce an extremely bright and sustained tone—was immediately influential and has remained so to the present day. The single also featured another major characteristic of the band's sound: their clear harmony singing, which usually featured McGuinn and Clark in unison, with Crosby providing the high harmony. Additionally, Richie Unterberger has stated that the song's abstract lyrics took rock and pop songwriting to new heights; never before had such intellectual and literary wordplay been combined with rock instrumentation by a popular music group.