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Looking at the songs they picked as examples, over and over I caught myself dreaming, “If only their book came with a CD containing all the music they reference!” No expert in either gospel or country music, I kept on wishing I could the songs they cited.Bristol straddles the Tennessee- line, a long ways from Kentucky. Veith and Wilmeth begin with the Bristol Sessions in July & August, 1927 as their starting point for country music.I understand that some point must serve as a beginning, arbitrary as the choice may be may be.Historically, country music grew out of both little country churches and honky-tonks, family sing-alongs and drunken Saturday nights.Expressions of both sides of life—and the conflict between them—can still be found in country music.” Frankly, it is this no-holds-barred honesty that most strongly attracts me to country music, the soul torn between sin and grace, the drunken Hank Williams with his other persona, Luke the Drifter who sings only religious songs.This cultural mood was doubtless one of the reasons country music—with what Bill Monroe called its `ancient tones’—came back into fashion…“But there were other ways to be postmodern, which in many ways overwhelmed the neoconservatism.

This is true not only in country’s most traditional forms, such as bluegrass … What about all those songs about drugs, dives, and drinking—not to mention adultery?

At stake is the survival of authentic culture and authentic Christianity.

“n the late 20th century, pop culture has been pushing out and taking the place of [].

Surveying three-quarters of a century of music, there’s always a danger that the authors will lose the reader in a forest of lists.

Veith and Wilmeth avoid this trap by unfolding various separate threads of the Christian tradition in country music one by one.

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