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The Country Music Hall of Fame and Museum (CMHFM) is revisiting a groundbreaking project with the upcoming release of an expanded “From Where I Stand: The Black Experience in Country Music” box set.
This extensive compilation, to be released with Warner Music Nashville on May 31st, highlights the sometimes disregarded but indisputable contributions that Black musicians have made to country music’s rich history.
The original “From Where I Stand,” released in 1998, challenged the notion of country music as a solely white genre.
This new edition builds upon that legacy, offering a broader perspective through an expanded tracklist and additional resources.
By acknowledging the historical tension between race and genre, the CMHFM hopes to celebrate the enduring influence of Black artists who have helped shape the sound and soul of country music.
Let’s explore what this box set is about, its tracklisting, and how it really highlights Black Country Artists’ experiences in country music!
Country music, often seen as tales of rural life, has deep ties to African American music. Despite segregation in playlists and awards, its roots are intertwined with Black music traditions.
Both country and blues originate from enslaved Africans’ music, evident in shared instruments like the banjo, which evolved from West African lutes and styles like call-and-response vocals, storytelling lyrics, and syncopated rhythms.
This shared DNA is evident in the works of early country artists like the Skillet Lickers String Band, whose driving rhythms and banjo picking owe a clear debt to the blues.
DeFord Bailey, a harmonica player who rose to fame performing alongside Grand Ole Opry star Roy Acuff, is a prime example. His virtuosity and stage presence helped bridge the gap between the blues and country audiences.
Meanwhile, Charley Patton, a powerful Delta blues singer and guitarist, blurred the lines between genres with his unique blend of country storytelling and bluesy improvisation.
Groups like the Mississippi Sheiks, featuring both Black and white musicians, further exemplified the “cross-pollination” of styles in the early 20th century.
Their music, a mix of ragtime, blues, and country influences, found a wide audience and helped define the emerging genre.
In the early 1900s, Black and white musicians in country music had a vibrant connection that sadly didn’t last long due to segregation.
This era shut doors for many Black artists, reducing recording opportunities and segregating radio stations. The Grand Ole Opry, once inclusive, turned into a symbol of white country music, leaving Black artists sidelined.
But resilience prevailed with Charley Pride, a trailblazer in Black artists’ struggles in country music. Despite facing racism, limited airplay, and industry skepticism, Pride signed with RCA Records in 1965. His soulful voice and relatable songs made him a country superstar in the 1960s and 70s.
While Charley Pride stood out, others like Darius McCrary and Brenda Lee also made their mark. Ray Charles added a soulful touch to country classics, showing the genre’s emotional depth.
Despite challenges, Black artists contributed significantly, shaping a more inclusive future for country music.
In recent decades, mainstream country music has seen fewer Black artists in the spotlight. This happened for various reasons, including ongoing racial barriers and a trend toward a specific sound in the genre.
However, this isn’t the whole story. Black artists haven’t left country music; they’ve just found new ways to express themselves.
Independent Black country artists and labels have become more prominent. These indie spaces let Black artists explore country music on their own terms, without the limits of mainstream expectations. This independence has created a lively scene with diverse styles that don’t fit into neat categories.
Artists like Rhiannon Giddens are leading this movement, and they are known for blending country, blues, and African American folk into powerful music.
Darius Rucker, from Hootie & the Blowfish, has found success in the country with his soulful ballads. Kane Brown mixes modern country with soulful vocals and hip-hop influences, pushing the genre’s boundaries.
These artists face challenges getting airplay and recognition, but they make a big impact. They’re reshaping what it means to be a Black country artist, bringing new perspectives and talent to the genre.
In partnership with Warner Music Nashville, the Country Music Hall of Fame is revisiting a groundbreaking project with the upcoming release of an expanded “From Where I Stand: The Black Experience in Country Music” box set.
This isn’t just a celebration of history; it’s a powerful statement about the ongoing evolution of country music.
The “Reclaiming the Heritage” disc in the expanded edition focuses on Black artists shaping the genre’s future, like Rhiannon Giddens, Darius Rucker, and Kane Brown. They’re part of a new wave of talent that’s breaking boundaries and making country music more diverse.
From Rhiannon Giddens’ exploration of folk traditions to Kane Brown’s mix of country and hip-hop, they show how country music can include many voices and experiences.
The box set release includes a concert uniting Black artists across country music, signaling progress and honoring their legacy.
It symbolizes hope for a future with Black artist’s recognition in country music. “From Where I Stand” serves as a reminder to value and celebrate Black artists, fostering a more inclusive genre.
Below is the complete track listing for the box set “From Where I Stand: The Black Experience in Country Music.” It’s broken down into four discs, each with a theme!
Disc 1 – The Stringband Era | Disc 2 – Soul Country | Disc 3 – Forward with Pride | Disc 4 – Reclaiming the Heritage |
---|---|---|---|
DeFord Bailey – 1. “Pan American Blues” 2. “Muscle Shoals Blues” 3. “Fox Chase” | Wynonie Harris – “Bloodshot Eyes” | Charley Pride – 1. “The Snakes Crawl at Night” 2. “Is Anybody Goin’ to San Antone” 3. “Kiss an Angel Good Mornin’” | Carolina Chocolate Drops – “Ruby, Are You Mad at Your Man?” |
Taylor’s Kentucky Boys – “Gray Eagle” | The Orioles – “Crying in the Chapel” | Linda Martell – “Color Him Father” | Rhiannon Giddens – “At the Purchaser’s Option” |
Georgia Yellow Hammers – “G Rag” | Big Al Downing – “Down on the Farm” | Otis Williams & the Midnight Cowboys – “How I Got to Memphis” | Darius Rucker – 1. “Wagon Wheel” 2. “Don’t Think I Don’t Think About It” |
Andrew & Jim Baxter – “K. C. Railroad Blues” | Ivory Joe Hunter – 1. “City Lights” 2. “He’ll Never Love You” | La Melle Prince – “The Man That Made a Woman Out of Me” | Valerie June – “Workin’ Woman Blues” |
The Dallas String Band – “Dallas Rag” | Ray Charles – 1. “I’m Movin’ On” 2. “I Can’t Stop Loving You” | Stoney Edwards – 1. “She’s My Rock” 2. “Hank and Lefty Raised My Country Soul” 3. “Pickin’ Wildflowers” | Our Native Daughters – “Black Myself” |
James Cole String Band – “Bill Cheatem” | Bobby Hebb – 1. “Night Train to Memphis” 2. “A Satisfied Mind” | O. B. McClinton – “Don’t Let the Green Grass Fool You” | Mavis Staples – “Touch My Heart” |
Peg Leg Howell & Eddie Anthony – “Turkey Buzzard Blues” | Solomon Burke – “Just Out of Reach” | Jo Ann Sweeney – “I’ll Take It” | Tony Jackson – “I Didn’t Wake Up This Morning” |
Charlie McCoy & Bo Chatmon – “Corrine Corrina” | Fats Domino – “You Win Again” | The Pointer Sisters – “Fairytale” | Rissi Palmer – “Country Girl” |
Mississippi Sheiks – 1. “Sitting on Top of the World” 2. “Yodeling Fiddling Blues” | Esther Phillips – “Release Me” | Ruby Falls – “Show Me Where” | Miko Marks – “It Feels Good” |
Memphis Sheiks – “He’s in the Jailhouse Now” | Joe Hinton – “Funny How Time Slips Away” | Lenora Ross – “Lonely Together” | Kane Brown – 1. “Heaven” 2. “Worldwide Beautiful” |
Mississippi Mud Steppers – “Morning Glory Waltz” | Arthur Alexander – “Detroit City” | Big Al Downing – “Touch Me (I’ll Be Your Fool Once More)” | Yola – “Ride Out in the Country” |
Lead Belly 1. “The Midnight Special” 2. “Rock Island Line” | The Supremes – “It Makes No Difference Now” | Professor Longhair – “Jambalaya (On the Bayou)” | Allison Russell – “Nightflyer” |
Nathan Frazier & Frank Patterson – “Eighth of January” | The Staple Singers – “Will the Circle Be Unbroken” | Dobie Gray – “From Where I Stand” | Wendy Moten – “’Til I Get It Right” |
Murph Gribble, John Lusk & Albert York – “Apple Blossom” | Joe Tex – “Half a Mind” | Cleve Francis – “Love Light” | Cowboy Troy – “I Play Chicken with the Train” |
Etta James – “Almost Persuaded” | Aaron Neville – “The Grand Tour” | Blanco Brown – “The Git Up” | |
Joe Simon – “The Chokin’ Kind” | Barrence Whitfield – “Irma Jackson” | BRELAND – “Cross Country” | |
Dorothy Moore – “Misty Blue” | Ted Hawkins – “There Stands the Glass” | Brittney Spencer – “Bigger Than the Song” | |
Herb Jeffries – “I’m a Happy Cowboy” | Mickey Guyton – “Black Like Me” | ||
Keb’ Mo’ – “Loving Arms” | |||
The War and Treaty – “A Lesson in Leavin’” |
Don’t forget to listen to “Misty Blue” from Disc 2 of “From Where I Stand: The Black Experience”!
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