The Nashville Sound

by Paul Hemphill

An intimate portrait of the country and western music scene.

SBN: 345-24521-0-150

"This edition published by arrangement with Simon & Schuster, Inc."

Genres: Music, Nonfiction, History, Art

210 pages, Mass Market Paperback

First published January 1, 1970

About the author

Paul James Hemphill was an American journalist and author who wrote extensively about often-overlooked topics in the Southern United States such as country music, evangelism, football, stock car racing and the blue collar people he met on his journeys around the South.

Reviews

[Garrett Cash · Rating 5 out of 5]

What an astonishing work this is in the pantheon of country music literature! On my initial read-through country music-related works I avoided this book since I found Hemphill's book on Hank Williams to be full of basic errors and generally a little too much about Hemphill than Williams than I wanted. I'm glad I finally came around to reading this classic in the genre from 1970, largely based on the recommendation of Tyler Mahan Coe from "Cocaine and Rhinestones" plus the recommendations made for it from multiple publications after Ken Burns's Country Music aired.

Contemporary accounts of historical moments like this are my favorite because they give you the real boots on the ground (no country pun intended), of-the-moment commentary that can only be entirely authentic to that time and will inevitably be distorted by changing perceptions later. For fans and scholars of country music this is a treasure trove of viewpoints that were popular circa 1968-70 and an in-depth exploration of where the country community was as it was undergoing major transitions along with the rest of the nation.

One of my favorite aspects of this book was its focus on both "superstars" (Johnny Cash, Glen Campbell, Merle Haggard, and Chet Atkins are all featured), but it also explores artists that are not as big names or perhaps are now not as well remembered like Bill Anderson, John Wesley Ryles I, Bob Luman, Billy Dilworth, etc.

Suffice to say, if you're a fan of country music this book belongs on your shelf. From what I've heard original copies tend to show up at shops fairly frequently, but I haven't seen any yet. I read a first printing of this so I'm not sure if anything was added as the book has stayed in print.

[John Steinbeck · Rating 4 out of 5]

My book is a first printing which is much prettier than the one here. Liked this writer a lot, but he wrote this 40 years ago.

[Tom Schulte · Rating 4 out of 5]

This bit of investigative journalism on Nashville reeling from the rise of rock with Music Row largely vacants and in decline touts itself on the cover name-dropping luminaries covered here including George Jones, Patsy Cline, Merle Haggard, Johnny Cash, etc. However, much more ink is spent on and insight gathered from such key figures slugging away in the trenches of transformation such as Whisperin’ Bill Anderson, Billy Dilworth, and John Wesley Ryles. This is a must read for the serious fan of post-hillbilly popular country music.

[Paul Lunger · Rating 5 out of 5]

First published in 1970, Paul Hemphill's "The Nashville Sound: Bright Lights and Country Music" is a book for the true fans of country music. The book goes through the early history of this type of music and the challenges it had in becoming the phenomenon that it was then & still is some 50+ years later. It helps that we the reader are immersed in the local scene of things in Nashville from the famous bars as well as to the early day of the Grand Ole Opery. Each story along the way is as unique as the next as we the reader see the progression of things especially in the latter part of the 1960s something that makes this book definitely one the fans of both country music but Nashville in general.

[Rebecca Frett · Rating 3 out of 5]

A great historical read. The journalistic style made this read feel thorough and well-researched. It was immersive and investigative. I realize this was written in the 70s so much of Nashville has changed, but as someone who lives in Nashville, much still remains the same. I was a bit taken aback by some of the derogatory language though. Might have been a sign of the times...but still.

[Michael Smith · Rating 5 out of 5]

A brilliantly written look into what was making Nashville tick at the time of publication (1970) during a time when pop music was beginning to merge with country and Glen Campbell was the new king of country. A truly fun and informative read.

[Tim Armstrong · Rating 3 out of 5]

This was okay. A look at the country music industry in 1969. Fairly racist at points by today's standards. There were interesting anecdotes but overall it's was only okay.

[Jerry Grillo · Rating 5 out of 5]

The best book ever written about country music.

[Dkolacinski · Rating 4 out of 5]

An outstanding overview of Country Music from its roots to the transitional period beginning in 1970.

[Lauren Stoolfire · Rating 4 out of 5]

The Nashville Sound: Bright Lights and Country Music by Paul Hemphill is quite a time capsule, but it's a very interesting and informative piece of journalism. I honestly wasn't expecting it to come across that way. I was pleasantly surprised to see Jeannie C. Riley gets as much page time since she's part of the newer more pop sounding country compared to the traditional stuff. I have a 45 of her song Harper Valley PTA that I like to listen to from time to time. Also, it sounds especially cool when it's slowed down to 33!

[Julie · Rating 4 out of 5]

What a fascinating time capsule! This book is a portrait of country music in its golden age--before cable tv, before the Vietnam War protests got ugly, before Opryland.

The author, an actual Southerner, rides shotgun on lonely highways with performers, has a malt liquor at Tootsie's Orchid Lounge, and sits in the studio with beloved local DJs as they shoot the breeze with a caller from the hardware store down the street.

He traces the roots of country music through Appalachia back to Britain: "The music was made for singing, in the distinctive, high-pitched, wailing, untrained Appalachian style, and...it was a highly personal music intended to be played and sung at home or on the village square or at such functions as barn-raisings and picnics and church meetings. This type of music can still be heard on the Grand Ole Opry...with the high nasal harmony that was taught a century ago by singing-school masters who...taught shape-note singing through the church....Songs meant more to the illiterate Southerners than sermons did, camp meetings offered a stage for the music, and the emotionalism of the Southern religion spilled over to the music."

Hemphill traces these roots and discusses the artistic feuding between the traditionalists, who didn't want drums or electric guitars on stage at the Opry, and the more modern pop-country stars like Glen Campbell and Jeanie C. Riley. He visits studios and record labels and quotes dollar figures which, even adjusted for inflation, are impressive in chronicling an industry just going supernova. There is a side trip out to Bakersfield, California, to speak with Buck Owens and investigate that city's claim to be Nashville West.

Also there is a look into music's future. Hemphill chooses as a case in point Bob Dylan's Nashville Skyline album, which had just been released, and interviews Dylan and Johnny Cash on their collaboration. Also, at this pivotal moment, Glen Campbell has just been offered his own network tv show, and Buck Owens has been approached about something called Hee Haw. Ryman Auditorium is described as "ugly," and Opryland USA is on the drawing board.

Cash has a lot of good lines in this book--it's a great tribute to him. He tells of a conversation between Cash and Merle Haggard:

Haggard: The first time I ever saw you perform, it was at San Quentin.
Cash: I don't remember you being on that show, Merle.
Haggard: I was in the audience, Johnny.

Later, Hemphill shares a backstage moment with Johnny and June:

"In a playful mood, he began to sing softly to "I Walk the Line," words he had made up that afternoon before a break in taping at the Opry House [Ryman]. 'I keep my pants up with a piece of twine...'
'John!' his wife gasped. 'Yes, love,' Cash said, getting up and strolling out of the coffee shop, a little-boy grin on his face. 'Just say you're mine, and pull the twine.'"

It must be remembered that this book was written 45 years ago, against a background of tremendous social upheaval--the Vietnam War, the hippie culture, and forced integration--and the author does exhibit a measure of racism. He uses the n-word when quoting his interviewees. He acknowledges that Charley Pride is pretty much the only African American in country music. This is a little startling, but it is an accurate portrayal of people's attitudes at that time.

I do take issue with the author's assertion that country music is the only true American music--I think blues and jazz have a much stronger claim. In fact, according to Hemphill, some of the first country music ("hillbilly") recordings were done on the Okeh label, which specialized in "race" music. But people are free to draw their own conclusions.

"The Nashville Sound" is worth checking out, as a time capsule, as a good piece of journalism. The best way to experience it is by supplementing your reading with YouTube videos of everything from the Carter Family singing "Wildwood Flower" to Cash and Dylan's duet on "Girl from the North Country."

It would also be interesting to read a companion volume that examines the cutthroat country and Christian music business industry that Nashville has become since 1970.

Thanks to Netgalley for furnishing me with a review copy of this book.

[Paul Bauer · Rating 4 out of 5]

What exactly is the Nashville sound? In the 1960s that was not an easy question to answer. It included traditional country but also countrypolitan (the crooning of Eddy Arnold, Patsy Cline, strings), the pop country of Roger Miller and Glen Campbell and, increasingly, the music coming out of Bakersfield from Buck Owens and Merle Haggard. And into this mix comes the historic recording of a folk artist and one of country music's greatest talents, Bob Dylan's Nashville Skyline w/ his famous (some would say infamous) duet with Johnny Cash. Hemphill also briefly discusses the importance of TV as both Hee-Haw and The Glen Campbell Goodtime Hour took country music to the masses. And Hemphill does not shy away from the subject of race in country music. One can only imagine what Charlie Pride endured. It is also interesting to note that Waylon Jennings is mentioned only in passing and Willie Nelson not at all. If traditionalists thought the 1960s were rough, they were not about to find relief in the 70s. The Nashville Sound is a fine snapshot of this era and I'd rank it up there w/ Nicholas Dawidoff's excellent In the Country of Country.

[Morris · Rating 5 out of 5]

This was an informative book about Nashville and Country Music. Don't let informative scare you off, however, if you're a country music fan, it's a lively read with great anecdotes and stories about the stars and the people who created helped create a truly American genre of music. You may not agree with the politics of many of the founders and current movers and shakers who populate country, but by golly they are some of the most creative and top flight musicians and singers in the world... and Country Music is a world wide phenomena... as John Sebastian sang...

Nashville Cats, play clean as country water
Nashville Cats, play wild as mountain dew
Nashville Cats, been playin' since they's babies...

And any one that unpacks his guitar could play
Twice as better than I will... (the lovin spoonful)

[Jerry Oliver · Rating 5 out of 5]

This was a phenomenal read especially considering the correlation between Nashville then (1970) and Nashville now 45 years later. Todays ultra hip/happening music city of the south Nashville is experiencing a new set of growing pains via urban renewal and the tearing down of landmarks and historical sites to make tiny condos for the droves of young upstarts moving to town.
The history of the country music scene of the time and it's rising new stars like Glen Campbell, Merle Haggard and John Anderson is an amazing time capsule to a kid like me who was born in 1959 and whose mom had her radio tuned into all this music. It's shocking to remember how racist and demeaning to women everyday conversation and writing could be back then, but not surprising, considering the subject.
Very enlightening when read with perspective.

[Donna Davis]

Sad sad sad. The galley for this promising book came out in something like 6 point font. Even when I zoomed the page (ONE page at a time) I had to hold it up under the light and squint at it. I gave up after about 15 pp and contacted Net Galley. I guess they weren't able to fix it, because the title is no longer available. I'll keep my eyes open because I didn't abandon this because it wasn't a good book, but rather because it was simply inaccessible. Paul Hemphill wrote a really good bio of Hank Williams, and if you should run across this book in print format and are interested in country music, grab it. It will probably be terrific.

[Joab Jackson · Rating 5 out of 5]

I've been reading a lot about the history of country music lately and this book just hits the spot. Published in 1970, "Nashville Sound" captures the moment when old country music, with the twangy Southern vocals and crisp steel guitar (Ernest Tubb), was starting to give way to a new generation of more pop minded stars (Glen Campbell). A newspaper journalist by trade, Hemphill does an exquisite job of mixing history and context of the music with closely-observed moments with the stars, the songwriters, promoters, and the fans. Those old country singers were hard workers and success meant for them not only more Cadillacs but also more work. Friggin seminal.

[Jan Hebbard · Rating 5 out of 5]

A great look at a moment in time in the Nashville music scene - a tipping point in the late 1960s when the balance of authentic music and commercial appeal seemed to be moving. Great interviews and sketched that paint a picture of the music city at this moment in time, with interesting predictions on what the future held for this native music.

[Kati · Rating 3 out of 5]

Fairly interesting, readable non-fiction book about the country music scene in Nashville written in 1970. Be warned, it is written from a racist perspective.