I'd love to here these additional recordings. Maybe you could post one or two (assuming he ever gets it together)?
On Mar 13, 10:46 am, Steve Cantrell <[email protected]> wrote: > I got an email from a neighbor of Phebel who mentioned that he had some > additional recordings of Wright on cassette. He told me if I sent him an > address he would send a copy, but so far no dice. Still hoping, though. > > ________________________________ > From: Rich DelGrosso <[email protected]> > To: [email protected] > Sent: Friday, March 13, 2009 10:38:31 AM > Subject: RE: Linthead Stomp - the book > > It does sound good. I assume you all know the song "Linthead Stomp" by > Phebel Wright, the Kentucky bluegrass player from the fifties. I would like > to know more about Wright and I hope this book sheds some light. > > -----Original Message----- > From: [email protected] [mailto:[email protected]] > > On Behalf Of 14strings > Sent: Friday, March 13, 2009 8:02 AM > To: Taterbugmando > Subject: Linthead Stomp - the book > > Here's a review I just read in the magazine "The Atlantic"; looks > interesting. Has anybody read this book? > > Linthead Stomp: The Creation of Country Music in the Piedmont South > Patrick Huber > North Carolina > > A new, canny take on Old, Weird America, this colorful, contrarian > book does much to dispel a spate of antediluvian tropes, musical and > otherwise. The myth holds that prewar country music was a grassroots > phenomenon, made and popularized by pickin'-and-grinnin' farmhands. > But Huber, a history professor and co-author of The 1920s: American > Popular Culture Through History, argues that it was Piedmont cities > and mill towns and their industrial workforce that disseminated the > region's rich sounds. Drawing on a wealth of archival sources and > recordings, he asserts that country music circa 1922 to 1942 was, "in > fact, as thoroughly modern in its origins and evolution as its > quintessentially modern counterpart, jazz." Turning a welcome > spotlight on talented oddballs such as Charlie Poole, Fiddlin' John > Carson, and the Dixon Brothers, he elucidates the experiences, equally > civilizing and compromising, of millhands in a rapidly industrializing > South. And he contextualizes the give-and-take of the music and its > makers-how, exactly, new social identities emerged, regional > allegiances congealed, and a proto-countrypolitan sensibility took > root and flourished in times both culturally and economically > turbulent. --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "Taterbugmando" group. To post to this group, send email to [email protected] To unsubscribe from this group, send email to [email protected] For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en -~----------~----~----~----~------~----~------~--~---
