Hundreds Of Hits: Noteworthy Recordings From A Variety Of Musical Genres

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Every study of musical genres suffers from mistakes related to either the inclusion or the exclusion of specific artists or particular songs. We claim no exception to that rule. Which performers and tunes are essential? Which are generally acceptable? Which are peripheral. though enjoyable? Understandably, there are no final or perfect genre-related record lists. Beyond that issue, though, there are several other common critical concerns and issues that arise concerning large-scale genre analysis. First, there are those who believe that the purity and spontaneity of live folk singing is compromised by recording -- and ultimately corrupted via commercial record distribution. Qualifying terms such as folk-rock, pop-folk, and commercial folk have been applied to successful recording artists like Joan Baez, Bob Dylan, The Kingston Trio, and Peter, Paul & Mary. This book celebrates rather than censors charted folk tunes by prolific and popular folk singers. Second, some music genres like doo-wop and rockabilly emerged, peaked, and then declined during a relatively brief period of time. Yet both of these genres still retain a limited. though enthusiastic, listening following today. To acknowledge this dual status of past power and present echoes, the record listings in HUNDREDS OF HITS are divided into original artists/early songs and heritage performers/later releases. Third, the issue of unwritten racial barriers continues to haunt genre-based analyses of recordings within country, R&B, and soul music. This circumstance is shameful and short-sighted. Just ask Ray Charles, Chuck Berry, Willie Nelson, Wanda Jackson, Bobby Bland, Joe Cocker, Bonnie Raitt, Eric Clapton, and so many others who have joyfully jumped stylistic barriers throughout their recording careers. Initially, it is vital to understand that most white and black performers who enjoyed country, R&B, and soul chart successes longed to achieve similar recognition as BILLBOARD "Pop" stars. Crossover chart success was colorblind -- and it was the road to fame and fortune for many performers within 20th century commercial music. Cover recording was also a common practice during the 1950s. This pursuit, variously labeled cultural thievery and sonic assimilation, integrated the music charts as the same song was performed by artists from different genres and of different racial backgrounds. Even today there is a lingering debate concerning the ability of black singers to successfully perform country tunes or of white artists to produce high quality R&B or soul sounds. These contentions are ideologically-driven racist nonsense. HUNDREDS OF HITS provides extensive examples of whites singing black hits and blacks singing white hits. Genre-busting integration has proven to be a healthy, wealthy, and wise practice. Finally, it goes without saying that female recording artists, whether Native American, African- American, European, Canadian, Mexican, Caribbean-born or U. S.-born, are adequately represented across all genres, from blues and country to rock 'n' roll and soul.