The OA is thrilled to pair our South Carolina Music Issue announcement with an exclusive premiere of a new song from Ranky Tanky, the acclaimed Charleston band reviving the Gullah musical tradition of South Carolina’s Lowcountry. “Beat Em Down” is the title track from the band’s new EP, due out on Friday, and will be included on their upcoming album, Good Time (out July 12, 2019), the band’s first to include original compositions written in the Gullah tradition.
Check out the exclusive premiere of “Beat Em Down” from Charleston’s Ranky Tanky:
The Oxford American’s South Carolina Music Issue will celebrate the unforgettable stories, songs, and artists that convey the deep history and continuing vitality of South Carolina’s music—including icons like Dizzy Gillespie, Eartha Kitt, and the Marshall Tucker Band, as well as contemporary voices, such as Iron & Wine, Toro y Moi, Shovels and Rope, and, of course, Ranky Tanky.
As always, the music issue will come with a sampler compilation of songs spanning the 78-rpm era to the present (in CD and digital download formats), with accompanying liner notes included within the magazine.
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An essay from the Seventh Southern Music Issue, 2005.
I walked back from the mall through a hammering twilight cloudburst clutching a wet paper bag. As laughing rednecks veered through puddles and blasted arcs of oily water over me, I thought grimly, “This better be worth it.” At home, I peeled the sodden paper off the plastic wrapper of Johnny Winter And: Live, peeled off my wet clothes, and collapsed naked on the bed to listen to the album.
This song is a new model—built on a standard frame, maybe, but showing an understanding of how the blues legacy both enables the expression of chaotic emotions and streamlines them, tuning them up for maximum performance within a structure that demands precision as much as openness.
“Segu Blue,” the title track from Ngoni Ba’s debut album, is Kouyaté’s interpretation of an ancient and distinctly bluesy Bamana song, “Poyi,” and it offers a clear example of how easily he is able to interweave his inherited tradition with borrowings from American blues.
Notes on the songs from our 18th Southern Music Issue CD: Visions of the Blues.
As we conceived of this issue, we sought a model for our task. (Metaphor, after all, is a hallmark of great blues.) The natural impulse behind this work, music writing—blues music writing, no less—points to the image of the lantern: illuminator, bringing light to darkened places. But a more appropriate one here is the prism: refractor, dispersing pure light to reveal the color spectrum.
Every state in the South has contributed to the grand narrative of American music, but few can match Tennessee’s deep roots in the blues and jazz, gospel, soul and r&b, rockabilly, rock & roll, and country—or its tremendous concentration of historic record labels and music industry visionaries.