12. What’s Syd Got to Do with It? King Records, Henry Glover, and the Complex Achievement of Crossover

Chapters in this book

1. Frontmatter i
2. Introduction Country Music and Racial Formation 1
3. PART ONE Playing in the Dark
4. 1. Black Hillbillies African American Musicians on Old-Time Records, 1924–1932 19
5. 2. Making Country Modern The Legacy of Modern Sounds in Country and Western Music 82
6. 3. Contested Origins Arnold Shultz and the Music of Western Kentucky 100
7. 4. Fiddling with Race Relations in Rural Kentucky The Life, Times, and Contested Identity of Fiddlin’ Bill Livers 119
8. PART TWO New Antiphonies
9. 5. Why African Americans Put the Banjo Down 143
10. 6. Old-Time Country Music in North Carolina and Virginia The 1970s and 1980s 171
11. 7. “The South’s Gonna Do It Again” Changing Conceptions of the Use of “Country” Music in the Albums of Al Green 191
12. 8. Dancing the Habanera Beats (in Country Music) The Creole-Country Two-Step in St. Lucia and Its Diaspora 204
13. 9. Playing Chicken with the Train Cowboy Troy’s Hick-H op and the Transracial Country West 234
14. 10. If Only They Could Read between the Lines Alice Randall and the Integration of Country Music 263
15. 11. You’re My Soul Song How Southern Soul Changed Country Music 283
16. 12. What’s Syd Got to Do with It? King Records, Henry Glover, and the Complex Achievement of Crossover 306
17. Bibliography 339
18. Contributors 361
19. Index 365