The Nashville Sound
For more details on this topic, see Nashville sound.Country music had long been looked on as unsophisticated and folksy, and was largely confined to listeners in the less affluent small towns of the American South and Appalachia. In the late 1950s, Bradley's home base of Nashville was positioning itself to be a center of the recording industry, and not just the traditional home of the Grand Ole Opry. In fact, the Nashville sound began in a Quonset hut attached to a house Bradley owned with his brother Harold at 804 16th Avenue South in Nashville.
The Quonset Hut is commonly recognized as the birthplace of a more commercial country music that often crossed over into pop. This distinct genre of American music was developed primarily by Owen Bradley's crew of hand picked musicians, Grady Martin, Bob Moore, Hank Garland and Buddy Harman—Nashville's "A-Team." The success of Bradley's Quonset Hut studio spurred RCA Victor to build its famous RCA Studio B. A handful of other labels soon followed setting up shop on what would eventually become known as Music Row. Bradley and his contemporaries infused hokey melodies with more refined lyrics and blended them with a refined pop music sensibility to create the Nashville sound, known later as Countrypolitan. Light, easy listening piano (as popularized by Floyd Cramer) replaced the clinky honky-tonk piano (ironically, one of the artists Bradley would record in the 1950s was honky tonk blues singer pianist Moon Mullican - the Mullican sessions produced by Bradley were experimental in that they merged Moon's original blues style with the emerging Nashville sound stylings). Lush string sections took the place of the mountain fiddle sound; steel guitars and smooth backing vocals rounded out the mix.
Regarding the Nashville sound, Bradley stated, "Now we've cut out the fiddle and steel guitar and added choruses to country music. But it can't stop there. It always has to keep developing to keep fresh."
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Famous quotes containing the word sound:
“This is of the loon—I do not mean its laugh, but its looning,—is a long-drawn call, as it were, sometimes singularly human to my ear,—hoo-hoo-ooooo, like the hallooing of a man on a very high key, having thrown his voice into his head. I have heard a sound exactly like it when breathing heavily through my own nostrils, half awake at ten at night, suggesting my affinity to the loon; as if its language were but a dialect of my own, after all.”
—Henry David Thoreau (1817–1862)