Los Lobos is an American rock band from East Los Angeles, United States. Their music is influenced by rock and roll, Tex-Mex, zydeco, folk, R&B, brown-eyed soul, traditional music such as cumbia and norteños; the band gained international stardom in 1987, when their cover version of Ritchie Valens' "La Bamba" topped the charts in the U. S. the UK and several other countries. In 2015, they were nominated for induction into the Roll Hall of Fame. Vocalist and guitarist David Hidalgo and drummer Louie Pérez met at Garfield High School in East Los Angeles and bonded over their mutual affinity for obscure musical acts such as Fairport Convention, Randy Newman and Ry Cooder. Pérez recalls, "We’re looking at each other,'You like this stuff? I thought I was the only weird one.' So I went over to his house one day for about a year, which we spent listening to records, playing guitars, starting to write songs." The two borrowed reel-to-reel recorders from a friend and created multitrack recordings of music spanning from parody songs to free-form jazz.
They enlisted fellow students Frank Gonzalez, Cesar Rosas and Conrad Lozano to complete the group's lineup, in 1973. Their first album, Los Lobos del Este de Los Angeles, was recorded at two studios in Hollywood in 1977 over a period of about four months. At that time, they all had regular jobs, it was hard to get together for the sessions. To accommodate that situation, their producer Louis Torres would call the engineer, Mark Fleisher, who owned and operated a high-speed tape duplicating studio in Hollywood, to find a studio when he knew all the band members could get off work that night. Most of the songs were recorded at a studio on Melrose Avenue, located next to the Paramount studios at the time, a low-priced studio on Sunset Boulevard; the band members were unsatisfied with playing only American Top 40 songs and began experimenting with the traditional Mexican music they listened to as children. This style of music received a positive reaction from audiences, leading the band to switch genres, performing at hundreds of weddings and dances between 1974 and 1980.
However, Los Lobos took notice of the popular groups on the Hollywood music scene and added influences of rock to its sound. They called themselves Los Lobos del Este ]"), a play on the name of the norteño band Los Tigres del Norte. A; the name was shortened to Los Lobos. The band's first noteworthy public appearance occurred in 1980 at the Olympic Auditorium in Los Angeles, when they were hired by David Ferguson and CD Presents to open for Public Image Ltd. In 1983, the band released an extended play entitled... And a Time to Dance, well received by critics but sold only about 50,000 copies. However, the sales of the EP earned the group enough money to purchase a Dodge van, enabling the band to tour throughout the United States for the first time. Los Lobos returned to the studio in the summer of 1984 to record its first major-label album, How Will the Wolf Survive?, in 1984. The album's title and the title song were inspired by a National Geographic article entitled "Where Can the Wolf Survive", which the band members related to their own struggle to gain success in the United States while maintaining their Mexican roots.
The film Colors includes "One Time, One Night" in the opening credits, although the song was not included on the soundtrack album. In 1986, members of Los Lobos appeared alongside Tomata du Plenty in the punk rock musical Population: 1. In 1987, they released a second album, By the Light of the Moon. In the same year, they recorded some Ritchie Valens covers for the soundtrack of the film La Bamba, including the title track, which became a number one single for the band. In 1988 they followed with another album, La pistola y el corazón, featuring original and traditional Mexican songs. In the late 1980s and early 1990s the band toured extensively throughout the world, opening for such acts as Bob Dylan, U2 and the Grateful Dead. Los Lobos returned with The Neighborhood in 1990, the more experimental Kiko in 1992. In 1991, the band contributed a lively cover of "Bertha", a song which they performed live, to the Grateful Dead tribute–rain forest benefit album Deadicated. In 1994 they contributed a track, "Down Where the Drunkards Roll", to the Richard Thompson tribute album Beat the Retreat.
On the band's twentieth anniversary they released a two-CD collection of singles, live recordings and hits, entitled Just Another Band from East L. A. In 1995, Los Lobos released the prestigious and bestselling record Papa's Dream on Music for Little People Records along with veteran guitarist and singer Lalo Guerrero; the band scored the film Desperado. The album track "Mariachi Suite" won a Grammy Award for Best Pop Instrumental Performance and stands as their last Grammy Award to date. In 1996, they released Colossal Head. In spite of the fact that the album was critically acclaimed, Warner Brothers decided to drop the band from their roster. Los Lobos spent the next few years on side projects; the band contributed along with Money Mark to the AIDS benefit album Silencio=Muerte: Red Hot + Latin, produced by the Red Hot Organization, on which they performed "Pepe and Irene." Los Lobos signed to Mammoth Records and released This Time in 1999. Mammoth reissued 197
Wall of Voodoo
Wall of Voodoo was an American new wave group from Los Angeles best known for the 1983 hit "Mexican Radio". The band had a sound, a fusion of synthesizer-based new wave music with the spaghetti Western soundtrack style of Ennio Morricone. Wall of Voodoo had its roots in Acme Soundtracks, a film score business started by Stan Ridgway the vocalist and harmonica player for Wall of Voodoo. Acme Soundtracks' office was across the street from the Hollywood punk club The Masque and Ridgway was soon drawn into the emerging punk/new wave scene. Marc Moreland, guitarist for The Skulls, began jamming with Ridgway at the Acme Soundtracks office and the soundtrack company morphed into a new wave band. In 1977, with the addition of Skulls members Bruce Moreland as bassist and Chas T. Gray as keyboardist, along with Joe Nanini, the drummer for The Bags, The Eyes, Black Randy and the Metrosquad, the first lineup of Wall of Voodoo was born; the band was named Wall of Voodoo before their first gig in reference to a comment made by Joe Berardi, a friend of Ridgway's and member of The Fibonaccis.
Berardi was listening to some of the Acme Soundtracks music Ridgway and Moreland had created in their studio. When Ridgway jokingly compared the multiple-drum-machine- and Farfisa-organ-laden recordings to Phil Spector's Wall of Sound, Berardi commented it sounded more like a "wall of voodoo" and the name stuck. Wall of Voodoo released a self-titled EP in 1980 which featured a synthesizer-driven cover of "Ring of Fire." The second half of "Ring of Fire" features a dissonant guitar solo covering the theme to the 1966 film Our Man Flint. The band's first full-length album, Dark Continent, followed in 1981. Much of the material from this record would feature in live shows over the next few years, such as "Red Light", "Animal Day" and fan favorite, "Back In Flesh". Bruce Moreland left the band for the first time soon after this, Chas Gray performed both bass and synthesizers during this time; the band recorded their biggest-selling album, Call of the West in 1982. The excerpted single, "Mexican Radio," about border blaster radio stations, became their only Top 100 hit in the United States, the video received considerable exposure on the newly formed MTV.
Bill Noland was added as a keyboardist soon after the release of this album. That same year, Wall of Voodoo opened for The Residents on the cult band's inaugural tour, "the Mole Show," at Perkins Palace in Pasadena, Halloween 1982, for Devo's ill-fated televised 3-DEVO Concert in October. Wall of Voodoo opened for Oingo Boingo on their Nothing to Fear tour at the Arlington Theater in Santa Barbara in March 1983. Stan Ridgway claims that the situation around the band was chaotic during this era, with a great deal of drug use and out-of-control behavior on the part of the band members, as well as shady behavior by the band's management and record label. Wall of Voodoo appeared at the second US Festival on May 28, 1983 after which Ridgway and Noland all left the band. Stan Ridgway soon went on to a successful solo career, he appeared as a guest vocalist on a track on the Rumble Fish score and released his critically acclaimed debut solo album The Big Heat - which included the single "Camouflage", a top ten hit across Europe - in 1986.
Joe Nanini soon resurfaced in the country rock band Lonesome Strangers. The remainder of the band, Marc Moreland, Chas T. Gray and a returning Bruce Moreland, carried on under the name Wall of Voodoo. Soon after, Andy Prieboy of the San Francisco new wave band Eye Protection, joined as singer and Ned Leukhardt was added as drummer, they issued a UK-only single "Big City" in 1984, contributed a track to the film Weird Science in 1985. That year, they released Seven Days in Sammystown; the first single, "Far Side of Crazy", did well in Australia. The song is still heard today on the Austereo Triple M network. In 1987, the band released their fourth studio album, Happy Planet; the album, their second with Andy Prieboy as frontman, saw Call of The West's Richard Mazda returning as producer. Happy Planet spawned another hit in Australia: a cover of The Beach Boys' "Do It Again," which charted at #40 there; the video for the song featured The Beach Boys' own Brian Wilson. Bruce Moreland left the band prior to the subsequent tour.
In 1988, Wall of Voodoo split up and Andy Prieboy and Marc Moreland went on to solo careers. In 1989, a post-breakup live album entitled The Ugly Americans in Australia was issued, which documented their 1987 tour of Melbourne, Australia. Stan Ridgway, Andy Prieboy and Marc Moreland all embarked on solo careers throughout the 1990s and 2000s. Joe Nanini released an EP under the name Sienna Nanini-Bohica in 1996. Two former members died in the early 2000s. On July 18, 2006 a Stan Ridgway-fronted Wall of Voodoo performed at the Pacific Amphitheatre in Orange County as an opening band for Cyndi Lauper. However, other than Ridgway, none of the surviving Wall of Voodoo members were included in this lineup though Joe Beradi and Voodoo producer Richard Mazda were in this lineup. Ridgway's album Snakebite: Blacktop Ballads and Fugitive Songs, features the narrative song, "Talkin' Wall Of Voodoo Blues Pt. 1," a history of the band in song. A remastered coupling of Dark Continent and Call of the West was released by Raven Records on November 10, 2009.
On October 2, 2012, Raven issued a companion two-disc set containing all three albums from the Andy Prieboy era (Seven Days in Sammystown, Happy Planet and Ugl
The Sonics are an American garage rock band from Tacoma, Washington that formed in 1960. Their aggressive, hard-edged sound has been a major influence on punk and hard rock music worldwide, they have been named as inspirations to Nirvana, Bruce Springsteen, the Fall, other major artists; the band performed several early rock standards such as "Louie, Louie", "Skinny Minnie" as well as original compositions like "Strychnine", "Psycho", "The Witch". Their catalogue is based around simple chord progressions performed with a speed and tonal aggression, novel for the time, making the band a notable influence on punk rock bands; the Sonics were formed in 1960 in Tacoma, Washington by teen-aged guitarist Larry Parypa, with the encouragement of his music-loving parents. The earliest lineup included Parypa, drummer Mitch Jaber, guitarist Stuart Turner. In 1961, Parypa's older brother Andy became the bass player, Tony Mabin took over as their new saxophone player; when Turner left for the army, Rich Koch joined as lead guitarist, Marilyn Lodge became their first singer, the band having been an instrumental combo up to that point.
A new drummer, Bill Dean, replaced Jaber. Koch and Lodge left the band in 1963. Local star Ray Michelsen became the band's singer after having sung with several other popular bands on the local scene. Larry began looking for a drummer to replace Dean, who he felt was uncommitted to the band, found Bob Bennett playing in a band called the Searchers, with keyboardist Gerry Roslie and sax player Rob Lind. Ray Michelsen was looking to leave the band, so the Parypas hired Bennett and Lind, let their previous saxophonist Mabin go; the well-known lineup was in place, but the Sonics' career did not begin in earnest until 1964, when Gerry Roslie started singing lead vocals. With Roslie as lead singer, the band started playing gigs at local venues such as the Red Carpet, Olympia's Skateland, the Evergreen Ballroom, Perl's, the Spanish Castle Ballroom, St. Mary's Parish Hall, they soon were scouted by Buck Ormsby, bassist for popular Northwest band the Wailers, signed to Etiquette Records, the Wailers' own record label.
Their first single was "The Witch" in November 1964. The record was immensely popular with local kids, went on to become the biggest selling local single in the history of the Northwest despite its radio airplay being restricted because of its bizarre subject matter. Early in 1965 Etiquette released the Sonics' debut LP, Here Are The Sonics, produced at Audio Recording in Seattle, Washington with famed Pacific Northwest recording engineer Kearney Barton, it was recorded on a two-track tape recorder, with only one microphone to pick up the entire drum kit. It was here. A second album, followed in February 1966. During the recording, the Sonics ripped the soundproofing off the walls at the country and western-oriented Wiley/Griffith studio in Tacoma to "get a live-er sound." The covers of both albums feature the moody photography of Jini Dellaccio. Their heyday began to come to a close when the band transferred to Jerden Records in late 1966, headed to Hollywood to record the poorly selling album Introducing the Sonics with Larry Levine at Gold Star Studios.
Although it has been rumoured that Jerden executives pushed the Sonics into a more polished sound, the band itself had decided to follow new influences in modern music, resulting in songs that were quite different from their raucously early recordings. The band, was not satisfied with the material on Introducing the Sonics, calling the cleaner, slicker recordings "the worst garbage." The original band fell apart between 1966 and 1968, with members leaving to attend university or join other bands. All of the original members left, with new members continuing on with the name Sonics until 1980, although it was a different band, at times incorporating string and horn sections; the original Sonics reunited in 1972 for a live show at Seattle's Paramount Theater, with the recording of this show released as Live Fanz Only by Etiquette. In 1980, a new Sonics fronted by Gerry Roslie recorded the album Sinderella, which featured versions of the original band's material; the emergence of punk rock in the late'70s and grunge in the'90s led to new interest in the Sonics, much of their material was re-released by labels in the US and Europe.
Larry and Andy Parypa continued performing with various bands in the Northwest, while Roslie and Bennett pursued careers outside of music. A further surge of interest in the Sonics was sparked by the use of their hard-rocking version of Richard Berry's "Have Love, Will Travel" in a 2004 Land Rover TV ad, their music was further impressed upon younger generations through a movement known as The Beat Army, an online music forum based on Facebook, operated by author and music producer Paul Collins. In 2007, the Sonics reunited again; the line up featured original members Gerry Roslie on vocals and keyboards, Larry Parypa on guitar, Rob Lind on tenor sax, with Ricky Lynn Johnson on drums and Don Wilhelm on bass and vocals. In 2008, the Sonics recorded a live session for Mark Lamarr's BBC Radio 2 show God's Jukebox on March 22, they played their first shows in London on Friday March 21 and Su
Yep Roc Records
Yep Roc Records is an American independent record label based in Hillsborough, North Carolina, owned by Redeye Distribution. Since 1997, the label has released albums from North Carolina and international artists, including Aoife O'Donovan, Chatham County Line, Dave Alvin, Chuck Prophet, Gang of Four, Los Straitjackets, Nick Lowe, Paul Weller, Robyn Hitchcock, Ryan Adams, The Apples in Stereo, The Reverend Horton Heat, Mandolin Orange, Tift Merritt. Tor Hansen started the label in 1997, two years after moving to North Carolina to help manage a chain of record stores in the South. In and around the musical hotbed of Chapel Hill, he encountered bands making good music but not knowing how to get it out. Back in Boston, he’d worked at Rounder Records with his childhood friend and former bandmate Glenn Dicker. Tor had worked in sales, Glenn had worked in promotions, they made the decision to try and do both together with their own label and their own distribution wing, Redeye. It started with a few local compilations featuring some recognizable names and some names they hoped people would soon spot.
There were no strictures or typecasts, no attempts to use the best bands in the vicinity to define a North Carolina sound or a Yep Roc brand. It was all stuff that Hansen and Dicker liked.“It has been a sort of organic growth,” says Hansen, “It wasn't like we just started a record label with all this money. There were roots to this thing, they start way back. Slow growth has been a good thing for us."After about its first 100 releases, Yep Roc entered one of its most indicatively taste-driven spurts, releasing, in succession, records by Hüsker Dü’s Bob Mould, Springsteen proselytes Marah, drifting folk act Dolorean and rock ’n’ roll madmen The Legendary Shack*Shakers. Jump down a few more catalogue numbers, Yep Roc followed the debut of terse, tense post-punk act Cities with discs by alt-country progenitor Dave Alvin and Los Straitjackets, the masked surf rock stars whose sales a year earlier helped convince Hansen and Dicker that their personal and open approach to curating releases was a sustainable move.
The success of Los Straitjackets and the experience of working with Dicker on the Rounder-distributed Upstart helped provide the convincer to Nick Lowe to join Yep Roc. And after recording an album with a band named Wilco, Young Fresh Fellow Scott McCaughey knew he wanted to be on the same label as Lowe, so he sent it over to Yep Roc.“I’m a huge Nick fan, I figured any label, into Nick had to be cool,” McCaughey says. The label’s partnership with McCaughey has lasted nearly a decade, something he attributes to the openness of Dicker and Hansen to put their brand and money behind something they enjoy. “I’m surprised by the way they embraced my other bands The Baseball Project. I’m grateful that they support the Young Fresh Fellows occasional releases, with no hope of monetary gain.”In 2016, Dicker was elected to the A2IM Board of Directors. Yep Roc calls itself "the artist-driven label that refuses to be labeled."“If I’ve got on my Yep Roc T-shirt,” explains label co-founder Tor Hansen, “I’m not a part of one music scene.
I accept that, I think it’s pretty great. I like the idea that Yep Roc has the idea of an all-inclusive approach.”Both Dicker and Hansen like to joke that such a release-what-you-love approach might not always make the most financial sense. They’ve rarely pursued indie rock’s latest buzzing commodity or chased a trend washing through the industry; the label has never been about the micro-celebrity of its owners. That might mean that they’re not able to return to the same customer core for every album.“It’s a little challenging when we do a singer-songwriter, some blues guy, some garage-rock guy, some indie thing. It’s a little bit all over the place, it presents fun challenges, but the marketing of this brand is difficult,” explains Dicker. “It’s about the artist first- in fact, we’re driven by the artists. We're going to connect the dots for this artist. That’s always the way we’ve looked at it, never the other way around.” In January 2017, Yep Roc Records announced a partnership with the Southern Folklife Collection at the University of North Carolina at Chapel Hill.
SFC is a large archival resource consisting of a collection of rare recordings of American southern music. As part of the partnership, Yep Roc Records will aid in producing and distributing rare archival recordings of which SFC will have created digital masters; the first three rare recordings to be released were announced alongside news about the partnership. The first release will be a remastered recording of legendary country music star Dolly Parton's first single "Puppy Love" and the original "B" side, "Girl Left Alone." The tracks were recorded in 1959 when the singer was just thirteen years old and released on Goldband Records, a prominent southern music label in the 1950s and 1960s. The reissue will be in the form of an exclusive 45" vinyl available only on Record Store Day of 2017; the second release is a compilation of classic Cajun music titled Swampland Jewels originally released on Goldband Records. The tracklisting includes songs from important Cajun music artists such as Jo-El Sonnier, Boozoo Chavis, Iry LeJune Jr. and Cleveland Crochet.
It is scheduled to be released on September 22, 2017. The last of the initial three releases will be a live recording of Doc Watson, a prolific guitar player and Grammy Lifetime Achievement Award recipient known for his "flatpi
The Knitters are a Los Angeles-based band who play country and folk music. The Knitters' name is a play on the name of the folk group The Weavers; the Knitters formed in 1982 as a side project to the band members' primary commitments. Vocalist Exene Cervenka, singer/bassist John Doe and drummer DJ Bonebrake were three of the four members of the punk band X; the Knitters' debut album Poor Little Critter on the Road was released in 1985. It included traditional and cover songs, together with some X songs performed in an acoustic style; the album drew on blues, folk and rockabilly influences. In 1999, the label Bloodshot Records released a track-by-track tribute to the album entitled Poor Little Knitter on the Road. After the debut album's release, all the group members continued to work with their primary bands. Dave Alvin later pursued a solo career. Twenty years in 2005, the group released their second and ironically-titled album, The Modern Sounds of the Knitters. John Doe has been quoted as saying ``.
Since our last record's been out for a while and it did pretty good, we figured it was just about time to put out another." The Modern Sounds of the Knitters has been well received by critics. Poor Little Critter on the Road - US No. 204 The Modern Sounds of the Knitters Philadelphia Inquirer, 8/12/2005, "These critters are punk, country, "anything goes," Steve Klinge Warped Reality Magazine - feature article Beyond and Back with the Knitters Harp Magazine - review of The Modern Sounds Of The Knitters Blogcritics - review of The Modern Sounds Of The Knitters Rhino Recommends - review of The Modern Sounds Of The Knitters The Knitters Allmusic Rockabilly.net - article Reunited Knitters play benefit in San Francisco
A B movie or B film is a low-budget commercial motion picture, not an arthouse film. In its original usage, during the Golden Age of Hollywood, the term more identified films intended for distribution as the less-publicized bottom half of a double feature. Although the U. S. production of movies intended as second features ceased by the end of the 1950s, the term B movie continues to be used in its broader sense to this day. In its post-Golden Age usage, there is ambiguity on both sides of the definition: on the one hand, the primary interest of many inexpensive exploitation films is prurient. In either usage, most B movies represent a particular genre—the Western was a Golden Age B movie staple, while low-budget science-fiction and horror films became more popular in the 1950s. Early B movies were part of series in which the star played the same character. Always shorter than the top-billed films they were paired with, many had running times of 70 minutes or less; the term connoted a general perception that B movies were inferior to the more lavishly budgeted headliners.
Latter-day B movies still sometimes inspire multiple sequels. As the average running time of top-of-the-line films increased, so did that of B pictures. In its current usage, the term has somewhat contradictory connotations: it may signal an opinion that a certain movie is a genre film with minimal artistic ambitions or a lively, energetic film uninhibited by the constraints imposed on more expensive projects and unburdened by the conventions of putatively "serious" independent film; the term is now used loosely to refer to some higher-budgeted, mainstream films with exploitation-style content in genres traditionally associated with the B movie. From their beginnings to the present day, B movies have provided opportunities both for those coming up in the profession and others whose careers are waning. Celebrated filmmakers such as Anthony Mann and Jonathan Demme learned their craft in B movies, they are where actors such as John Wayne and Jack Nicholson first became established, they have provided work for former A movie actors, such as Vincent Price and Karen Black.
Some actors, such as Bela Lugosi, Eddie Constantine, Bruce Campbell and Pam Grier, worked in B movies for most of their careers. The term B actor is sometimes used to refer to a performer who finds work or in B pictures. In 1927–28, at the end of the silent era, the production cost of an average feature from a major Hollywood studio ranged from $190,000 at Fox to $275,000 at Metro-Goldwyn-Mayer; that average reflected both "specials" that might cost as much as $1 million and films made for around $50,000. These cheaper films allowed the studios to derive maximum value from facilities and contracted staff in between a studio's more important productions, while breaking in new personnel. Studios in the minor leagues of the industry, such as Columbia Pictures and Film Booking Offices of America, focused on those sorts of cheap productions, their movies, with short running times, targeted theaters that had to economize on rental and operating costs small-town and urban neighborhood venues, or "nabes".
Smaller production houses, known as Poverty Row studios, made films whose costs might run as low as $3,000, seeking a profit through whatever bookings they could pick up in the gaps left by the larger concerns. With the widespread arrival of sound film in American theaters in 1929, many independent exhibitors began dropping the then-dominant presentation model, which involved live acts and a broad variety of shorts before a single featured film. A new programming scheme developed that would soon become standard practice: a newsreel, a short and/or serial, a cartoon, followed by a double feature; the second feature, which screened before the main event, cost the exhibitor less per minute than the equivalent running time in shorts. The majors' "clearance" rules favoring their affiliated theaters prevented the independents' timely access to top-quality films; the additional movie gave the program "balance"—the practice of pairing different sorts of features suggested to potential customers that they could count on something of interest no matter what was on the bill.
The low-budget picture of the 1920s thus evolved into the second feature, the B movie, of Hollywood's Golden Age. The major studios, at first resistant to the double feature, soon adapted. All established B units to provide films for the expanding second-feature market. Block booking became standard practice: to get access to a studio's attractive A pictures, many theaters were obliged to rent the company's entire output for a season. With the B films rented at a flat fee, rates could be set guaranteeing the profitability of every B movie; the parallel practice of blind bidding freed the majors from worrying about their Bs' quality—even when booking in less than seasonal blocks, exhibitors had to buy most pictures sight unseen. The five largest studios—Metro-Goldwyn-Mayer, Paramount Pictures, Fox Film Corporation, Warner Bros. and RKO Radio Pictures —also belonged to companies with sizable theater chains, further securing the bottom line. Poverty Row studios, from modest outfits like Mascot Pictures, Tiffany Pictures, Sono Art-World Wide Pictures down to shoestring operations, made B movies, ot
Roots rock is rock music that looks back to rock's origins in folk and country music. It is associated with the creation of hybrid subgenres from the 1960s including country rock and Southern rock, which have been seen as responses to the perceived excesses of dominant psychedelic and developing progressive rock; because roots music is used to mean folk and world musical forms, roots rock is sometimes used in a broad sense to describe any rock music that incorporates elements of this music. In the 1980s, roots rock enjoyed a revival in response to trends in punk rock, new wave and heavy metal music. In 1966, as many rock artists moved towards expansive and experimental psychedelia, Bob Dylan spearheaded the back-to-basics roots revival when he went to Nashville to record the album Blonde on Blonde, using notable local musicians like Charlie McCoy. This, the subsequent more country-influenced albums, John Wesley Harding and Nashville Skyline, have been seen as creating the genre of country folk, a route pursued by a number of acoustic, folk musicians.
Other acts that followed the back to basics trend in different ways were the Canadian/American group the Band and the California-based Creedence Clearwater Revival, both of which mixed basic rock and roll with folk and blues, to be among the most successful and influential bands of the late 1960s. The same movement saw the beginning of the recording careers of Californian solo artists like Ry Cooder, Bonnie Raitt and Lowell George; the back to basics tendency would be evident in the Rolling Stones' Beggars Banquet and Exile on Main St. the Beatles' The White Album and Let It Be, the Doors' Morrison Hotel and L. A. Woman, as well as the Grateful Dead's Workingman's Dead and American Beauty albums. Dylan's lead was followed by the Byrds, who were joined by Gram Parsons in 1968. Earlier in the year Parsons had recorded Safe at Home with the International Submarine Band, which made extensive use of pedal steel guitar and is seen by some as the first true country-rock album; the result of Parsons tenure in the Byrds was Sweetheart of the Rodeo considered one of the finest and most influential recordings in the genre.
The Byrds continued for a brief period in the same vein, but Parsons left soon after the album was released to be joined by another ex-Byrds member Chris Hillman in forming the Flying Burrito Brothers. Over the next two years they recorded the albums The Gilded Palace of Sin and Burrito Deluxe, which helped establish the respectability and parameters of the genre, before Parsons departed to pursue a solo career. Country rock was a popular style in the California music scene of the late 1960s, was adopted by bands including Hearts and Flowers and New Riders of the Purple Sage; some folk-rockers followed the Byrds into the genre, among them the Beau Brummels and the Nitty Gritty Dirt Band. A number of performers enjoyed a renaissance by adopting country sounds, including: the Everly Brothers, whose Roots album is considered some of their finest work. One of the few acts to move from the country side towards rock were the bluegrass band The Dillards; the greatest commercial success for country rock came in the 1970s, with the Doobie Brothers mixing in elements of R&B, Emmylou Harris becoming the "Queen of country-rock" and Linda Ronstadt creating a successful pop-orientated brand of the genre.
Members of Ronstadt's former backing band went on to form the Eagles, emerged as one of the most successful rock acts of all time, producing albums that included Desperado and Hotel California. Country rock began to fade in the late 1970s in the face of punk and new wave trends. Although the Southern states had been, as much as anywhere, the birthplace of rock and roll, after the decline of rockabilly in the late 1950s, it was not until the early 1970s that a distinctive regional style of rock music emerged.. The founders of Southern rock are thought to be the Allman Brothers Band, who developed a distinctive sound derived from blues rock, but incorporating elements of boogie and country. Of the acts that followed the Allmans into the emerging genre, the most successful was Lynyrd Skynyrd, who with songs like "Free Bird" and "Sweet Home Alabama" helped establish the "Good ol' boy" image of the subgenre and the general shape of 1970s guitar rock, they were followed by many other bands, including The Atlanta Rhythm Section, ZZ Top, Black Oak Arkansas, the more country-influenced The Marshall Tucker Band, Wet Willie, The Ozark Mountain Daredevils, Johnny Winter, Edgar Winter Group, the Dixie Dregs.
After the loss of original members of the Allmans and Lynyrd Skynyrd, the genre began to fade in popularity in the late 1970s, but was sustained the 1980s with acts like The Outlaws, The Fabulous Thunderbirds, Stevie Ray Vaughan & Double Trouble, Pointblank.38 Special, Molly Hatchet. The term heartland rock was first used in the early 1970s to describe Midwestern arena rock groups like Kansas, REO Speedwago