Generally speaking, he argues that country music is diametrically opposed to world music because it is contrived rather than authentic, commercial rather than political, local rather than global.
It offers outsiders to country music a clear description of six subcategories of country music, as well as documentation of the traits and fortunes of each of these categories.
But that handful of location recordings relocated country music.
After them, nothing in country music could be the same.
This assumes that mass-mediated genres like country music represent what people actually like and want, filtered through various production processes.
By then, another era of country music was dawning.
In blues and country music, echo and reverb effects were increasingly from this time onwards used to suggest shadowy, subterranean, marginal presences.
When country music struggles with generic change for commercial purposes, it foregrounds, for fans, listeners and scholars, why those struggles matter.
