Top Country Hits 2010 2011

(Piano/Vocal/Guitar Songbook). Nearly 20 chart-toppers from artists such as Taylor Swift, Lady Antebellum, Kenny Chesney, Sugarland and others arranged for piano and voice with guitar chord frames. Includes: All About Tonight * Back to December * The Boys of Fall * Don't You Wanna Stay * Gimme That Girl * The House That Built Me * In Color * Mama's Song * Rain Is a Good Thing * Stuck like Glue * Temporary Home * Water * Why Don't We Just Dance * Why Wait * and more.

(Piano/Vocal/Guitar Songbook). Nearly 20 chart-toppers from artists such as Taylor Swift, Lady Antebellum, Kenny Chesney, Sugarland and others! Includes: All About Tonight * Back to December * The Boys of Fall * Don't You Wanna Stay * Gimme That Girl * The House That Built Me * In Color * Mama's Song * Rain Is a Good Thing * Stuck like Glue * Temporary Home * Water * Why Don't We Just Dance * Why Wait * and more.

(Piano/Vocal/Guitar Songbook). Features piano/vocal/guitar arrangements of 15 fantastic country hits: Beer Money * Begin Again * Better Dig Two * Come Wake Me Up * Every Storm (Runs Out of Rain) * Fastest Girl in Town * Hard to Love * Kiss Tomorrow Goodbye * The One That Got Away * Over You * Red * Take a Little Ride * Til My Last Day * Wanted * We Are Never Ever Getting Back Together.

Country music is the quintessential American music, with roots in the musical traditions of the earliest settlers and having grown up as an integral part of the uniquely American experience and culture. This book examines the development of country music from its beginnings in the southern Appalachian Mountains in the early 20th century to the slick sounds of modern country music superstars of the early 21st century.

Taylor Alison Swift (born December 13, 1989) is an American singer-songwriter. Recognized for her songwriting, musical versatility, artistic reinventions, and influence on the music industry, she is a prominent cultural figure of the 21st century. Swift began professional songwriting at age 14 and signed with Big Machine Records in 2005 to become a country singer. Under Big Machine, she released six studio albums, four of them to country radio, starting with her self-titled album in 2006. Her next, Fearless (2008), explored country pop, and its singles "Love Story" and "You Belong with Me" catapulted her to prominence. Speak Now (2010) incorporated rock influences, while Red (2012) experimented with electronic elements and featured Swift's first Billboard Hot 100 number-one song, "We Are Never Ever Getting Back Together". She forwent her country image with 1989 (2014), a synth-pop album supported by the chart-topping songs "Shake It Off", "Blank Space", and "Bad Blood". Media scrutiny inspired the hip-hop-flavored Reputation (2017) and its number-one single "Look What You Made Me Do". After signing a new contract with Republic Records in 2018, Swift released the pop album Lover (2019) and autobiographical documentary Miss Americana (2020). She embraced indie folk and alternative rock on her 2020 albums Folklore and Evermore, explored chill-out styles on Midnights (2022), and re-recorded four of her first six albums as "Taylor's Versions" following a dispute with Big Machine. The albums and their number-one songs "Cardigan", "Willow", "All Too Well (10 Minute Version)", and "Anti-Hero" broke various records. In 2023, Swift embarked on the Eras Tour, her most expansive concert tour. She has also directed music videos and films such as All Too Well: The Short Film (2021). Having sold over 200 million records globally, Swift is one of the best-selling musicians, the most-streamed female artist on Spotify, and the only act to have five albums with first-week sales of over one million copies in the US. She has been featured in listicles such as Rolling Stone's 100 Greatest Songwriters of All Time, Billboard's "Greatest of All Time Artists", the Time 100, and Forbes Celebrity 100. Among her accolades are 12 Grammy Awards, including three Album of the Year wins, a Primetime Emmy Award, 40 American Music Awards; 29 Billboard Music Awards; 12 Country Music Association Awards, three IFPI Global Recording Artist of the Year awards, and 101 Guinness World Records. Honored with titles such as Artist of the Decade and Woman of the Decade, Swift is an advocate for artists' rights and women's empowerment.

(Piano/Vocal/Guitar Songbook). Nearly 20 chart-toppers from artists such as Taylor Swift, Lady Antebellum, Kenny Chesney, Sugarland and others! Includes: All About Tonight * Back to December * The Boys of Fall * Don't You Wanna Stay * Gimme That Girl * The House That Built Me * In Color * Mama's Song * Rain Is a Good Thing * Stuck like Glue * Temporary Home * Water * Why Don't We Just Dance * Why Wait * and more.

In her provocative new book Rednecks, Queers, and Country Music, Nadine Hubbs looks at how class and gender identity play out in one of America’s most culturally and politically charged forms of popular music. Skillfully weaving historical inquiry with an examination of classed cultural repertoires and close listening to country songs, Hubbs confronts the shifting and deeply entangled workings of taste, sexuality, and class politics. In Hubbs’s view, the popular phrase “I’ll listen to anything but country” allows middle-class Americans to declare inclusive “omnivore” musical tastes with one crucial exclusion: country, a music linked to low-status whites. Throughout Rednecks, Queers, and Country Music, Hubbs dissects this gesture, examining how provincial white working people have emerged since the 1970s as the face of American bigotry, particularly homophobia, with country music their audible emblem. Bringing together the redneck and the queer, Hubbs challenges the conventional wisdom and historical amnesia that frame white working folk as a perpetual bigot class. With a powerful combination of music criticism, cultural critique, and sociological analysis of contemporary class formation, Nadine Hubbs zeroes in on flawed assumptions about how country music models and mirrors white working-class identities. She particularly shows how dismissive, politically loaded middle-class discourses devalue country’s manifestations of working-class culture, politics, and values, and render working-class acceptance of queerness invisible. Lucid, important, and thought-provoking, this book is essential reading for students and scholars of American music, gender and sexuality, class, and pop culture.