Bill C. Malone,
Country Music, U.S.A.

Publisher: UT Press
Year: 2002

(4½ out of 5)

For nearly three decades Bill C. Malone's Country Music, U.S.A. has served as the standard reference for all things country.

Originally published in 1968, Malone revised his work in 1984 to keep pace with changes in Nashville and the emergence of Austin and other locales as viable alternatives to Music City. A second revision in 2002 reflects the changes to the way music is made and marketed thanks to the proliferation of superstars like Garth Brooks and flash-in-the-pan hitmakers like Billy Ray Cyrus.

Malone truly is an expert on the roots of country music. In a book that began as his doctoral dissertation, Malone parlays his exhaustive knowledge in near-encyclopedic form. While the updates keep the text relatively current, the strength of Country Music, U.S.A. lies in the core chapters that trace the development of country music from its folk and hillbilly roots through the golden age of radio, the rise of the silver screen cowboy, the schism-ridden bluegrass community, and beyond.

As this originated as an academic effort, Malone pays particular attention to race, class, and gender (the historian's "holy trinity"). Comparatively little space is devoted to effects of capitalism such as the impact of improved instrument quality due to engineering advances, the evolution of recording and playback equipment and its impact on public consumption, or the consolidation of record labels and publishing houses.

Most singing and recording stars receive only summary treatment, but Malone excels at teasing out roots and influences. Instead of bios or compressed discographies, artists are presented in a style reminiscent of public radio's wonderful "American Routes" program. So rather than learning about the personalities behind the music, the interested reader can trace the degrees of separation between, say, Jimmie Rodgers and George Jones.

The chapters tacked on at each revision feel, well, tacked on. "Country Music, 1972-1984" briefly sketches the rise of outlaw country, the growth of outdoor festivals, the increasing prominence of session musicians, and other topical issues, but provides little of real substance. Similarly, "Tradition and Change: Country Music, 1985-2002" is a history written too close to its actual occurrence. While the reader may gain some interesting facts on shifts in buying habits of American consumers, most of the chapter consists of mini-bio sketches (Ricky Van Shelton, Brooks & Dunn, Terri Clark, Nickel Creek, etc.) instead of fully realized analysis.

By no means is Country Music, U.S.A. simple reading. At a hefty 600-plus pages, this UT Press publication requires significant investment of time and attention. But for the reader interested in learning more about the roots of modern country, bluegrass, and related musical styles, the investment is well worth the effort.

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January 3, 2005