The melding of the rhythm section in addition to the cultural environment of the recording location results in a certifiably country sound, but as Nelson writes, it is a country that is “a natural progression, both historically and emotionally, from the folk-music landscapes of John Wesley Harding into the more modern country-and-western worlds of Hank Williams, Elvis Presley, Johnny Cash, Buddy Holly, the Everly Brothers, and Jerry Lee Lewis. (Nelson, 1969)” Charlie McCoy referred to the sound saying, “By Nashville standards, I wouldn’t call that a country record…But it wasn’t pop or R&B or anything like that. It had a folk feel to it. (Sounes, 239)” Simply put, the sound of Nashville Skyline is a warm style of country music that honors Dylan’s folk roots, while still allowing Dylan to branch out into a more distinct country-style
The melding of the rhythm section in addition to the cultural environment of the recording location results in a certifiably country sound, but as Nelson writes, it is a country that is “a natural progression, both historically and emotionally, from the folk-music landscapes of John Wesley Harding into the more modern country-and-western worlds of Hank Williams, Elvis Presley, Johnny Cash, Buddy Holly, the Everly Brothers, and Jerry Lee Lewis. (Nelson, 1969)” Charlie McCoy referred to the sound saying, “By Nashville standards, I wouldn’t call that a country record…But it wasn’t pop or R&B or anything like that. It had a folk feel to it. (Sounes, 239)” Simply put, the sound of Nashville Skyline is a warm style of country music that honors Dylan’s folk roots, while still allowing Dylan to branch out into a more distinct country-style