In this Book

summary
Americana music isn’t just a musical form--it’s a state of mind. In this book, Monte Dutton charts the coordinates of this state of mind with a series of interviews and intimate portraits from the heart of alternative country, often known to its adherents simply as OKOM: Our Kind of Music. In places such as Austin and Nashville, Las Vegas and Key West, Dutton finds the voices of the genre that the Americana Music Association defines as “American roots music based on the traditions of country.”

True to the Roots profiles Grammy-nominated performers (such as Brad Paisley and Pat Green) as well as those who sing for tips in local bars, and bands such as Those Guys, Reckless Kelly, and Cross Canadian Ragweed. In these pages the reader encounters Vince Pawless, a guitar maker in Gainesville, Texas, and James White, owner of the Broken Spoke, a historic honky-tonk in Austin; and musicians such as Robert Earl Keen and James McMurtry. Each of these portraits provides a unique story about this music and explains why it not only survives but thrives outside a mainstream increasingly controlled by corporate culture and commercial constraints.

Table of Contents

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  1. Cover
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  1. Title Page, Copyright
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  1. Contents
  2. pp. vii-viii
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  1. Introduction
  2. pp. ix-xi
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  1. Waiting for Jack Ingram
  2. pp. 1-10
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  1. Music City
  2. pp. 11-16
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  1. Praise the Lord and Pass the Weed
  2. pp. 17-21
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  1. Home on the Range
  2. pp. 23-27
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  1. Charlie Dunn, He’s the Man to See
  2. pp. 29-33
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  1. To Thine Own Self Be True
  2. pp. 35-41
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  1. Not the Way They Do Things “Up North”
  2. pp. 43-48
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  1. Forever Young
  2. pp. 49-55
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  1. Getting Religious . . . about Country
  2. pp. 57-62
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  1. If It’s Broken, Don’t Fix It
  2. pp. 63-71
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  1. A Man of the People
  2. pp. 73-79
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  1. Who Are “Those Guys”?
  2. pp. 81-91
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  1. A Unique Take on Cowboys and Indians
  2. pp. 93-99
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  1. One-Chord Song
  2. pp. 101-107
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  1. The Soul of Marty Robbins
  2. pp. 109-114
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  1. Son of a Gypsy Songman
  2. pp. 115-121
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  1. Six Days on the Road
  2. pp. 123-126
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  1. Contrary to, Uh, Anything
  2. pp. 127-134
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  1. The Last Angry Cowboy
  2. pp. 135-143
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  1. Ain’t No Place for No Poor Boy like Me
  2. pp. 145-162
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  1. Hondo’s Legacy
  2. pp. 163-168
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  1. Demented Genius
  2. pp. 169-178
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  1. The Last True Texas Troubadour
  2. pp. 179-182
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  1. The Novelist Begat the Songwriter
  2. pp. 183-190
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  1. Two-Night Stand
  2. pp. 191-197
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  1. The Ones That Got Away
  2. pp. 199-211
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