And a big part in the appeal of this new sound lay in the Studio B team's ability to present artists like Elvis Presley, the Everly Brothers, and Roy Orbison as pop balladeers. They dialed back the twang, added lush arrangements, and-along with like-minded studio's like Owen Bradley's Quonset Hut-gave rise to the Nashville Sound.įrom the late '50s on, Nashville churned out hundreds of country pop (or pop country) hits for the likes of Jim Reeves, Patsy Cline, and many, many more. There, producer Chet Atkins, audio engineer Bill Porter, and arranger/producer Anita Kerr-with her Anita Kerr Singers in tow-and the "A Team" of studio musicians like Hank Garland, Velma Williams Smith, Floyd Cramer, and Hargus "Pigs" Robbins polished their new approach. Ground zero for this paradigm shift was RCA Records' Studio B (as it became known, after the larger Studio A was built).
Recognizing that country music desperately needed to stay relevant, the industrious Nashville labels sought a more radio-friendly sound to appeal to the masses. Listeners were split-youngsters preferred the newfound edge of rock to the dated sounds of honky tonk, while many older audiences were having none of it and preferred the tamer sounds of their big-band crooners.
When rock 'n' roll exploded in 1950s America, country music took a hit in popularity and radio play.
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