Introduction. Country Music and Racial Formation / Diane Pecknold  1

Part One. Playing in the Dark  

1. Black Hillbillies: African American Musicians on Old-Time Records, 1924–1932 / Patrick Huber  19

2. Making Country Modern: The Legacy of Modern Sounds in Country and Western Music / Diane Pecknold  82

3. Contested Origins: Arnold Schultz and the Music of Western Kentucky / Erika Brady  100

4. Fiddling with Race Relations in Rural Kentucky: The Life, Times, and Contested Identity of Fiddlin' Bill Livers / Jeffrey A. Keith  119

Part Two. New Antiphonies  

5. Why African Americans Put the Banjo Down / Tony Thomas  143

6. Old-Time Country Music in North Carolina and Virginia: The 1970s and 1980s / Kip Lornell  171

7. "The South's Gonna Do It Again": Changing Conceptions of the Use of "Country" Music in the Albums of Al Green / Michael Awkward  191

8. Dancing the Habanera Beats (in Country Music): The Creole-Country Two-Step in St. Lucia and Its Diaspora / Jerry Wever  204

9. Playing Chicken with the Train: Cowboy Troy's Hick-Hop and the Transracial Country West / Adam Gussow  234

10. If Only They Could Read between the Lines: Alice Randall and the Integration of Country Music / Barbara Ching  263

11. You're My Soul Song: How Southern Soul Changed Country Music / Charles L. Hughes  283

12. What's Syd Got to Do with It? King Records, Henry Glover, and the Complex Achievement of Crossover / David Sanjek  306

Bibliography  339

Contributors  361

Index  365

Diane Pecknold

Patrick Huber

Erika Brady

Jeffrey A. Keith

Tony Thomas

Kip Lornell

Michael Awkward

Jerry Wever

Adam Gussow

Barbara Ching

Charles L. Hughes

David Sanjek

“Country music is white music. Its performers are white; its repertoire is white; its audience is white. That's the genre's image, anyway. But it's largely a myth, debunked decisively in Hidden in the Mix.”—Noah Berlatsky, Chicago Reader

“Hidden in the Mix . .. steps in to set the record straight, within a dozen essays that tackle varied topics while persistently analyzing the racial history of country music and how it manifests itself, or is ignored, in the present – including in the works of country-music historians.”—Dave Heaton, PopMatters

“A fascinating and long-overdue compendium of essays that shed new light on country music’s complex and diverse history.”—Bill Baars, Library Journal

“Diane Pecknold rounds up some of the better music writers in academia in order to put a light on country's many black roots and the country's unease with said roots. It's not perfect, but what's good here makes the collection indispensable.”—RJ Smith, NPR’s The Record

“Country music is white music. Its performers are white; its repertoire is white; its audience is white. That's the genre's image, anyway. But it's largely a myth, debunked decisively in Hidden in the Mix.”—Noah Berlatsky, Chicago Reader

“Hidden in the Mix . .. steps in to set the record straight, within a dozen essays that tackle varied topics while persistently analyzing the racial history of country music and how it manifests itself, or is ignored, in the present – including in the works of country-music historians.”—Dave Heaton, PopMatters

“A fascinating and long-overdue compendium of essays that shed new light on country music’s complex and diverse history.”—Bill Baars, Library Journal

“Diane Pecknold rounds up some of the better music writers in academia in order to put a light on country's many black roots and the country's unease with said roots. It's not perfect, but what's good here makes the collection indispensable.”—RJ Smith, NPR’s The Record

"Diane Pecknold's collection is profoundly important in implication and a long-awaited intervention in the country-music literature."—Aaron A. Fox, author of Real Country: Music and Language in Working-Class Culture

"Hidden in the Mix is a comprehensive and worthy addition to the canon of popular music history. It breaks new ground and digs deep. By looking at both historical traditions (the banjo, early blues-hillbilly music) and contemporary cultural phenomena (hick-hop and country pop), as well as African American artists past and present (Bill Livers, Ray Charles, Cowboy Troy), the book greatly expands our knowledge of this intriguing subject."—Holly George-Warren, author of Public Cowboy No. 1: The Life and Times of Gene Autry

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