This year we’re compiling our “greatest hits,” including selections of the most beloved music writing from our archive—guest edited by Brittany Howard, the Grammy Award-winning singer, songwriter, and frontwoman of the Alabama Shakes. This jam-packed issue also includes new essays on iconic Southern artists who have changed the trajectory of American music.
The issue will include a selection of playlists presented by guest contributors that limn the bounty of Southern music across genres.
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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.
When I was growing up here in the 1980s, the larger world told us we had nothing to be proud of. As Eastern Kentuckians, we knew better. We had our people, our work ethic, and our land. And we had our internationally known musicians: Loretta Lynn, Tom T. Hall, Jean Ritchie, Patty Loveless, Dwight Yoakam, many others. In our little corner of Southeastern Kentucky, we had the Phipps Family—lesser known but still a great source of pride for us.
Maybe the least expected of the factors that went into making ska in those years, and the one many would argue that most nearly approached it in sound, leading most directly to its birth, came not from Jamaica at all, or even from the Caribbean, but from West Tennessee, and more specifically from South Memphis, and more specifically than that, from the band called the Beale Streeters, and most specifically of all from the right hand of their pianist and sometime singer-songwriter, a Memphis native named Rosco Gordon.
A Points South essay from the South Carolina Music Issue.
Lillie’s sound is not readily identifiable as black or white but seems a merger of the two as she effortlessly blends country and blues in a haunting song about family loss. Noticeably absent is the Gullah Geechee accent, and she finds little use for vibrato. Instead, a pure, unadorned, angelic quality characterizes her soprano. Such simplicity proves effective in conveying Lillie’s innermost thoughts—her pain.
Gospel belongs to God and the blues is the Devil’s business, and here the blues takes the form of Son Thomas, whose spare bottleneck slide strips the tradition down to its roots. Son’s been sculpting figures and heads and skulls from clay gathered in the nearby hills for just about as long as he’s been playing the blues, which is to say: all his life.
Many people have the vague idea that Roy Orbison’s life was marked by tragedy, and that was why he hid his eyes behind dark glasses and sang so many songs about crying, feeling afraid, and dreaming of happier times. This actually gets the cause-and-effect sequence of Orbison’s life all wrong. It turns out that he wrote those terribly sad songs first, then he started dressing in black, and only later did his life fall apart.
I was halfway through college in South Florida when somebody burned me a copy of Luck of the Draw, Bonnie Raitt's album released in 1991, by then a decade old. Trying not to disturb my roommates, I lay in bed listening through headphones, taken with how appealing this artist made adulthood sound like she was sure on her feet, felt comfortable in her skin, and actually found it freeing, even fun, to act her age.
That’s why pop music is the art for our time: It’s an art of crap. And not in a self-conscious sense, not like a sculpture made of garbage and shown at the Whitney, which is only a way of saying that "low" materials can be made to serve the demands of "high" art. No, pop music really is crap. It’s about transcending through crap. It’s about standing there with your stupid guitar, and your stupid words, and your stupid band, and not being stupid.