This collection of 51 readings with commentary does for country music what Weiss and Taruskin's Music in the Western World did for Western classical music: provide a chronological overview of developments in country music, letting the musicians involved speak for themselves. The result is an evolutionary look at country music, highlighting many of the important characters in the genre's past and present through interviews, reviews, articles, memoirs, trade publications and fan mail.
Stimeling's stated goal was to present a diverse perspective on country music, and its significance in relation to the overarching landscape of American popular music. He largely succeeds. Starting with the origins in hillbilly music, the readings trace the history of country music to about 2011, looking at important figures such as Cecil Sharp, Gene Autry, Mother Maybelle, Earl Scruggs, Buck Owens and Martina McBride, repertoire and sub-genres, the implications of recording on performance practice, and cultural issues highlighted by some (female) musicians, such as birth control and domestic violence. A sense emerges that the traditional origins of country music are not so much getting lost as they are evolving in response to the influences of recording and rock. The readings provide not just a history of country music, but also a cultural history of the United States.
Stimeling's introductions to the readings link the themes within the book, and provide requisite background and context. Each excerpt is accompanied by lengthy footnotes and suggestions for further reading. An index of songs mentioned is included, and although some recording information is provided in the footnotes, a list of recordings used/referenced/suggested would have been helpful.
The text suffers from poor copy-editing, and I was surprised by some of the omissions. He selected no readings dedicated to the significant and popular figures Patsy Cline, Loretta Lynn, Conway Twitty, George Jones or Grandpa Jones, musicians who are important in taking country music from its roots to the sounds we have today. Granted, this is not the definitive treatise on country music, so perhaps their exclusion can be forgiven, but it is surprising nevertheless.
That said, The Country Music Reader provides a strong overview of the development of country music for the student, professional and fan. There is perhaps room for a second volume, highlighting new developments and focusing more on the some of the themes touched upon. Stimeling certainly succeeded in making me want more.
