Country-western voice, as heard on disc in the 1940s and 1950s, makes abundant use of paralinguistic effects, the most idiomatic being undoubtedly the nasalization. This one presents significant variations from one musician to another, in various recordings of the same performer but also on the microanalytical level. Used in a structured and coordinated way with other musical and vocal parameters, nasalization contributes strongly to the country-western vocal expressiveness and participates in the construction of easily identifiable ethos, prolonging in the singing the functions already codified in the spoken voice. The use of nasalization, but above all its significant variation at several phonostylistic and analytical levels, contributes to the diversification of the popular voice during the first half of the 20th century and seems to reflect the important aesthetic contribution of the spoken voice in popular singing.