Ralph Peer and the Making of Popular Roots Music
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Save for Later. Consider this passage from the book:. Most famously and strikingly, performers he was recording for race records would show up, credited or uncredited, on recordings by hillbilly artists recording in the same sessions.
But as the book goes on, the cumulative effect of all those interconnected histories becomes its own reward. Peer made a career out of getting artists to write the definitive, copyrightable version of a song that had floated around campfires and living rooms for countless years, and Mazor does an excellent job of parsing that process, along with seemingly ho-hum music-business basics like mechanical royalties.alexacmobil.com/components/jiwazep/rewu-localizzare-dove-si.php
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One thread running through Ralph Peer and the Making of Popular Roots Music is the idea that Peer was constantly adapting to the changing technology of his time—first phonograph records, then radio, then juke boxes—in ways that echo the churn and disruption of the contemporary music business. The challenge was, in Nashville, if people know him, they most likely know him as an inducted member of the Country Music Hall of Fame who did the Bristol sessions and found Jimmie Rodgers and the Carter Family.
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He was absolutely involved in getting started blues and establishing it and early jazz and certainly Latin music and gospel music — black and white — and those are all different threads. That was the job of doing this story. Share one of the more interesting stories people familiar with Ralph might not otherwise know. The temperament of the guy — the man — affected all these genres of music.