Chapter 9: Country Western Music
More than any other individual, Ralph Peer (1892–1960) was responsible for transforming country music, originally a regional and rural tradition, into a nationally recognized and commercially viable genre. As a recording director, talent scout, and music publisher, Peer helped launch the careers of some of country music’s most influential early figures and played a pivotal role in shaping the sound and business of American popular music in the 20th century.
Peer began his recording career in New York City, working with Okeh Records, where he supervised the landmark 1920 recording of Mamie Smith’s “Crazy Blues,” the first major hit by a Black female artist. Its success revealed an untapped market for what would become known as race records, which were targeted at African American audiences. This commercial breakthrough led Peer to explore other underrepresented regional musical traditions, including those of white rural Americans.
In 1923, Ralph Peer traveled to Atlanta, Georgia, where he recorded Fiddlin’ John Carson, a local performer known for his homespun style and strong regional following. At first, Peer was skeptical; he reportedly found Carson’s singing unrefined and was primarily interested in capturing his fiddle playing. However, Polk Brockman, the manager of a local phonograph department, convinced Peer to record both Carson’s vocals and instrumentals, even offering to purchase 500 copies in advance. He recorded "The Little Old Log Cabin in the Lane" and "The Old Hen Cackled and the Rooster's Going to Crow," both of which sold out quickly, prompting a second order of 500 more. The unexpected success of the recording changed Peer’s perception of what he had once considered unsophisticated and unmarketable music, and led him to recognize its commercial potential.
At the time, most early hillbilly recordings emphasized instrumental performances, and few artists were recognized primarily as vocalists. One notable exception was Riley Puckett, a blind guitarist and singer, who recorded “Rock All Our Babies to Sleep” in 1924. This track is widely regarded as the first recorded example of yodeling in country music—a vocal technique that involves quick and repeated changes between the normal chest voice and a higher-pitched falsetto, creating a distinctive and expressive break in the voice often used for melodic embellishment. The emphasis open instrumental pieces began to change with the success of Fiddlin’ John Carson, whose 1923 recordings demonstrated the commercial appeal of vocal tracks and helped establish singing as a central component of country music.
By 1927, Peer had left Okeh and joined Victor Records, where he began assembling a roster of talent for new recordings. He founded his own publishing firm, the Southern Music Publishing Company Inc., in 1928 to promote and control the rights to the music he discovered. Peer retained copyright ownership of all the songs he recorded and was often listed as a co-author, allowing him to collect royalties from both sales and licensing.
In August 1927, Peer organized a field recording session in Bristol, Tennessee, that would become known as the Big Bang of Country Music. Advertising in local newspapers and setting up a temporary studio, he invited regional performers to audition. Among the dozens of acts he recorded, two would become foundational figures in country music history: the Carter Family and Jimmie Rodgers.
Peer’s influence extended far beyond country music. In the late 1930s, he traveled to Central America, where he recorded regional songs and released them into the international market, anticipating what would later be known as world music. Over the course of his career, Peer published hits for a wide range of artists, including Glenn Miller, Bing Crosby, Buddy Holly, and Little Richard. His company, now called Peermusic, remains a major force in global music publishing under the leadership of his son, Ralph Peer II.