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Producing Country
The Inside Story of the Great Recordings
Michael Jarrett



Music/Interview

Wesleyan University Press
2014 • 320 pp. 29 illus., 185 thumbnail illus. 6 x 9"
Country & Bluegrass

$27.95 Paperback, 978-0-8195-7464-0
$85.00 Hardcover, 978-0-8195-7463-3

$21.99 Ebook, 978-0-8195-7465-7

Check your ebook retailer or local library for ebook availability.

(Cloth edition is un-jacketed.
Cover illustration is for paperback edition only)



Producing Country doesn't seek to answer so much as to enlighten, with plenty of behind-the-scenes stories from the recording sessions that gave us a big chunk of our Nashville soundtrack. … (L)ots of folks (interviewed in the book) offer wisdom on ways to enhance artistry, solve problems, encourage ingenuity, manage technology and motivate a roomful of disparate creative spirits. It's hard to say exactly what a producer is, but those are all things that a producer does.”
Peter Cooper, The Tennessean

Legendary producers describe the making of country music’s great recordings

Musicians make music. Producers make records. In the early days of recorded music, the producer was the “artists-and-repertoire man,” or A&R man, for short. A powerful figure, the A&R man chose both who would record and what they would record. His decisions profoundly shaped our musical tastes. Don Law found country bluesman Robert Johnson and honky-tonk crooner Lefty Frizzell. Cowboy Jack Clement took the initiative to record Jerry Lee Lewis (while his boss, Sam Phillips, was away on business). When Ray Charles said he wanted to record a country-and-western album, Sid Feller gathered songs for his consideration. The author’s extensive interviews with music makers offer the fullest account ever of the producer’s role in creating country music. In its focus on recordings and record production, Producing Country tells the story of country music from its early years to the present day through hit records by Hank Williams, George Jones, Patsy Cline, Buck Owens, Dolly Parton, Johnny Cash, Loretta Lynn, Waylon Jennings, and Merle Haggard, among many others.

Includes original interviews with producers Chet Atkins, Pete Anderson, Jimmy Bowen, Bobby Braddock, Harold Bradley, Tony Brown, Blake Chancey, Jack Clement, Scott Hendricks, Bob Johnston, Jerry Kennedy, Blake Mevis, Ken Nelson, Jim Ed Norman, Allen Reynolds, Jim Rooney, James Stroud, Paul Worley, and Reggie Young, among others.

Click here for TABLE OF CONTENTS

Reviews:

“…Really tells the story of the history of country music from the other side of the glass.”
Eric Banister, Music Tomes

“You would look long and hard to find a more readable contribution to the cultural studies, or country music, canon.”
Tim Holmes, Record Collector Magazine

Endorsements:

“This is a very readable and informative oral history of the evolution of country music recording. Few books have delved into the role that record producers have played in country music, and fewer still have allowed the record producers themselves to talk about the nuances of their recording processes in such revealing and fascinating detail.”—Paul Kingsbury, editor of The Encyclopedia of Country Music and Will the Circle Be Unbroken

“Michael Jarrett’s large body of interviews with producers from the country music field is an extremely valuable addition to music history. The large scope of the book—including producers of archival country anthologies (i.e., the Carter Family, Jimmie Rodgers), to classic country and western of the ’40 and‘60s, to mainstream country from the ‘70s to today, to Americana/alternative country (including 1950s rockabilly and the 1960s-70s hybrid of country soul)—makes it an important tool for understanding the creation of some of C&W’s classic records by its most outstanding artists. In addition, Producing Country provides evidence of the wide scope of country music, its changes in sounds and musical impact over nearly 90 years. Quite an achievement!”—Holly George-Warren, author of Public Cowboy No. 1: The Life and Times of Gene Autry



MICHAEL JARRETT is a professor of English at Penn State University, York. He is the author of Drifting on a Read: Jazz as a Model for Writing and Sound Tracks: A Musical ABC, and has spent an inordinate portion of his life in record stores.



Publication of this book is funded by the Beatrice Fox Auerbach Foundation Fund at the Hartford Foundation for Public Giving.





Thu, 23 Oct 2014 13:00:15 -0500