Americana (music)
Americana (also known as American roots music)[1] is an amalgam 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.
Americana
Definition[edit]
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.”[2] 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.”[3]
History[edit]
Prehistory: Roots music[edit]
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.[4] 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.[5]
1948: Folk music revival[edit]
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.[6][7][8] 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.
1965: Emergence of folk rock[edit]
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.[4]
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.[9][10] 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.[11] 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.[12]
Within three months "Mr. Tambourine Man" had become the first folk rock smash hit,[13] reaching number one on both the U.S. Billboard Hot 100 chart and the UK Singles Chart.[14][15] The single's success initiated the folk rock boom of 1965 and 1966, during which a number of Byrds-influenced acts had hits on the American and British charts.[12] The term "folk rock" was itself coined by the American music press to describe the band's sound in June 1965, at roughly the same time as "Mr. Tambourine Man" peaked at number 1 in the U.S.[16][17]
The commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man" and their debut album of the same name, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home (1965), Highway 61 Revisited (1965), and Blonde on Blonde (1966)—encouraged other folk acts, such as Simon & Garfunkel, to use electric backing on their records and new groups, such as Buffalo Springfield, to form. Dylan's controversial appearance at the Newport Folk Festival on 25 July 1965, where he was backed by an electric band, was also a pivotal moment in the development of the genre.
1982: Emergence of alternative country[edit]
In the 1990s the term alternative country, paralleling alternative rock, began to be used to describe a diverse group of musicians and singers operating outside the traditions and industry of mainstream country music. Many eschewed the increasingly polished production values and pop sensibilities of the Nashville-dominated industry for a more lo-fi sound, frequently infused with a strong punk and rock and roll aesthetic. Alternative country drew on traditional American country music, the music of working people, preserved and celebrated by practitioners such as Woody Guthrie, Hank Williams, and The Carter Family, often cited as major influences.[18] Another major influence was country rock, the result of fusing country music with a rock & roll sound. The artist most commonly thought to have originated country rock is Gram Parsons (who referred to his sound as "Cosmic American Music"), although Michael Nesmith, Steve Earle[19] and Gene Clark are frequently identified as important innovators.[20] The third factor was punk rock, which supplied an energy and DIY attitude.[19]
Attempts to combine punk and country had been pioneered by Nashville's Jason and the Scorchers, and in the 1980s Southern Californian cowpunk scene with bands like the Long Ryders[21] and X,[22] and the Minneapolis-based band the Jayhawks. X signed with major label Elektra in 1982 and released Under the Big Black Sun, which marked a departure from their trademark sound. While still fast and loud, with raw punk guitars, the album displayed evolving country leanings. The Scorchers released their debut, D.I.Y. EP, Reckless Country Soul, in 1982 on the independent Praxis label. But these styles merged fully in Uncle Tupelo's 1990 LP No Depression, which is widely credited as being the first "alt-country" album, and gave its name to the online notice board and eventually magazine that underpinned the movement.
1999: Formation of Americana Music Association[edit]
In the 1990s and 2000s, Americana music underwent a resurgence in popularity, as a new generation of artists began incorporating elements of traditional American music into their songs. Artists such as Wilco, Lucinda Williams, and Gillian Welch helped to popularise a new style of Americana music that blended elements of rock, folk, country, and blues.[23][24]
Rolling Stone notes that
Radio format[edit]
The radio station laying the best claim to the Americana radio format origins is KFAT in Gilroy, California, active from mid-1975 to January 1983, as described in the book Fat Chance,[29] authored by Gilbert Klein in 2016 and published by MainFramePress.com. KFAT was succeeded by KHIP in Hollister CA, KPIG in Freedom CA, and Fat 99 KPHT-LP in Laytonville CA. Though some say Americana as a radio format had its origins in 1984 on KCSN in Northridge, California, but that did not happen until after KFAT, Gilroy went off the air when it was sold and the format changed.
Mark Humphrey, a contributor to country/folk Frets magazine, hosted a weekly radio show called "Honky Tonk Amnesia" which played "country, folk, honky tonk, cajun, dawg, blues, and old-time music", a combination that the country music station KCSN advertised as "Americana".[30] The format came into its own in the mid-1990s as a descriptive phrase used by radio promoters and music industry figures for traditionally-oriented songwriters and performers.
Americana type radio shows can be heard on a variety of non commercial radio stations.
The acoustic guitar is perhaps the most essential instrument in Americana music. It is often used to provide the rhythmic foundation of a song, as well as to accompany vocals and other instruments.[31] In Americana music, the acoustic guitar is often played fingerstyle, which produces a warm and organic sound that is perfect for the genre's earthy, rootsy feel.[32]
The banjo is a distinctive and essential instrument in Americana music.[33] Its bright, twangy sound is instantly recognizable and often associated with Appalachian and bluegrass music also. Banjos are often played using a technique called clawhammer, which involves striking the strings with the back of the fingernail.[34] The banjo adds a unique texture to Americana music, and its intricate, fast-paced playing can create a driving rhythm that propels a song forward.
The mandolin is a small, stringed instrument that is commonly used in folk and bluegrass music. Its bright, high-pitched sound adds a distinctive flavor to Americana music, and its fast, intricate playing can create a lively and upbeat feel. Mandolins are often played using a technique called tremolo, which involves rapidly picking the strings to create a sustained, shimmering sound.[35]
The fiddle is a traditional stringed instrument that is often used in Americana music.[36] Its versatile sound can create both slow, mournful melodies and fast, lively rhythms. Fiddles are often played using a technique called "sawing," which involves rapidly moving the bow back and forth across the strings to create a driving rhythm.[37] Fiddles can add a haunting quality to Americana music and can create a sense of nostalgia and longing.
Use in Canada[edit]
Despite the genre's most common name, it is not practiced solely by artists from the United States, as numerous artists from Canada are also prominent in the genre.[38] Canadian bands in the genre will sometimes be referred to as Canadiana rather than Americana in Canadian media,[39] although this is not a widely recognized synonym elsewhere. A Norwegian scene is often referred to as Nordicana.[40]