Music and Medium: Two Versions of Manilow's “Could it be Magic”

Finson, Jon W.

doi:10.1093/mq/lxv.2.265

Cited by 2 publications

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“…All of the major country labels -RCA Victor, Columbia, Decca and Capitolused the long-playing record (LP) to collect and distribute songs by a single artist by 1950 but, as Joli Jensen and Diane Pecknold have observed in their respective work on the development of the Nashville Sound, albums were of secondary interest to Music Row because AM format radio, the primary means of audience exposure to new music, demanded singles that clocked in at three minutes or less (Finson 1979;Jensen 1998, pp. All of the major country labels -RCA Victor, Columbia, Decca and Capitolused the long-playing record (LP) to collect and distribute songs by a single artist by 1950 but, as Joli Jensen and Diane Pecknold have observed in their respective work on the development of the Nashville Sound, albums were of secondary interest to Music Row because AM format radio, the primary means of audience exposure to new music, demanded singles that clocked in at three minutes or less (Finson 1979;Jensen 1998, pp.…”

Section: Introductionmentioning

confidence: 99%

“…While many rock artists embraced the creative potential of the concept album, contemporaneous country musicians were slower to respond to the new format. All of the major country labels – RCA Victor, Columbia, Decca and Capitol – used the long-playing record (LP) to collect and distribute songs by a single artist by 1950 but, as Joli Jensen and Diane Pecknold have observed in their respective work on the development of the Nashville Sound, albums were of secondary interest to Music Row because AM format radio, the primary means of audience exposure to new music, demanded singles that clocked in at three minutes or less (Finson 1979; Jensen 1998, pp. 45–6; Pecknold 2007, pp.…”

Section: Introductionmentioning

confidence: 99%

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‘Phases and stages, circles and cycles’: Willie Nelson and the concept album

Stimeling¹

2011

Pop. Mus.

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While many rock artists explored the compositional possibilities of the concept album in the 1960s and 1970s, Nashville's country music community largely ignored the format. But a few artists working on the fringes of country music – and who, notably, aligned themselves with the countercultural images and attitudes of the time – did begin to experiment with the format in the first years of the 1970s. Chief among them was country songwriter and recording artist Willie Nelson who, by the dawn of the 1970s, was on the verge of breaking away from Music Row to seek more lucrative opportunities in Texas. This article explores the role that Nelson's experimentation with the concept album played in his efforts to adopt a countercultural image, develop a younger audience and challenge the hegemony of the country music industry. Moreover, close examination of Nelson's compositional approach to three albums – Yesterday's Wine (1971), Phases and Stages (1974) and Red Headed Stranger (1975) – reveals that Nelson consciously blended the singles-based approach to songwriting that predominated in 1960s and 1970s Nashville and the extended narrative and musical forms of contemporaneous rock music to create musical products that suited the needs of country radio and rock fans alike.

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Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%