Okay, so if you’re anything like me, when you hear the words country music, your stomach tightens up and you reflexively control a gag. Not because you hate country music, far from it, you’re just pretty damn sure what they play on so-called country radio and what seems to be coming out of Nashville these days is about as far from country music as, say, Hank Williams, Sr. is to heavy metal.
Yes, I invoked the hillbilly troubadour. He, along with the likes of Loretta Lynn, Jimmie Rodgers, Johnny Cash, Merle Haggard, The Carter Family and all the outlaws, hillbillies and what-not are real country music. If all you did was listen to the radio, you’d have no idea that there are bands out there today who carry on the legacy – I’m going to give you a primer on where you should start to build your anti-Nashville collection.
Leave it to a progeny of the Williams line to once again carry the torch leading country music to a different way. Williams, Sr. infused deep-southern blues into his playing, radical at the time, bringing the music of the southern delta to a whole new audience. In that same line stands Shelton “Hank” Williams, III.
III is the undisputed king of the movement away from Nashville with his now near legendary fight with monolithic Nashville label – Curb Records. I won’t go into the details of all that, as it’s as much fiction as it is fact in its retelling these days. Suffice to say the label and the artist didn’t see things eye to eye.
See, III also thought the country music out there was a “buncha fuckin shit to me!” III wanted to do things his way, the way it was done in the past, honest music for honest people. So far, it’s worked with three successful releases under his belt. Start out with III’s second release, Lovesick, Broke and Driftin. It’s closer to what III has said he wanted to do but still has the touch of “Nashville” on it. This will get you good and prepared for what is III’s strongest release to-date – Straight to Hell.
Straight to Hell is the album III wanted to release, it was done his way, with his players, at his studio. Hell, Curb records even made a new “label” (Bruc) to release Straight to Hell. Then pick up Risin Outlaw, the first official release. Risin Outlaw is definitely a good album but it’s easy to see that III was still abit innocent to the dark forces of Nashvilles and didn’t have anywhere near the clout in the industry he does today. If for no other reason, Risin Outlaw is worth the cost for the last track on the album, “Blue Devil.” If you like Hank Williams, Sr. “Blue Devil” will give you chills.
Next up is Wayne Hancock, the man Hank Williams, III has said sounds more like his granddaddy then anyone he’s ever heard.
When Hancock released Thunderstoms and Neon Signs back in 1995, I think just about everyone who heard it thought to themselves “Who the hell is this?” Seriously, both stylistically and vocally, Hancock sounded like someone who shared the stage with Williams, Sr. “There’s some big black clouds rollin in from the west/I’ve been driving all day, lord I sure could use a rest./There’s a motel up-a-head where I can unwind/Cause I sure love them Thunderstorms and neon signs.” Long gone, by this time, was the standard 1-4-5 chord progressions in modern country music but here it was in Hancock’s music – all over the place. If you had grown up listening to old country music, you immediately recognized what Hancock was doing and it felt as right as a summer rain. “Thunderstorm and Neon Signs,” the song, follows the very easy E-A-B7 chord structure and progression, so typical in country music.