FacebookTwitterGoogle+RedditEmail

When Country Got Real

by LORENZO WOLFF

In the part of the world that I’m from, a fondness for country music is looked at with uninhibited distain. Especially amongst musicians, it’s a character flaw to own anything other than maybe a little Gram Parsons. If one record could shatter these preconceived notions it’s Honky Tonk Heroes by Waylon Jennings.

By 1973 Jennings’s had been fighting for creative control with labels for over a decade. RCA had forced him to use the studio musicians and producers that were the standard in the Nashville scene at that time, much to Waylon’s displeasure. So after a string of Top 40 hits, he renegotiated his contract with the stipulation that he had complete creative control over who and what appeared on his albums. Honky Tonk Heroes is the second record released after this renegotiation and his biggest critical, if not commercial, success.

What separates Honky Tonk Heroes from Waylon’s previous efforts is not only his work on the production end, but his decision to use his road band to record a studio album. The musicians have the unmistakable feeling of a group who know each other’s tricks from years of touring together. This is something that no assortment of session cats can duplicate, talented though they may be. The rhythm section pushes ahead of the beat in a way that is unusual and exciting in a country record, propelling songs forward and creating the momentum that keeps the album feeling fresh, from the first song to the last. Meanwhile the lead instruments sound as though they’re in no rush, moving slowly and casually from one phrase to the next. On top of all this Waylon sounds almost content. Like he’s come a long way and waded through a lot of bullshit, but he’s finally got the band and the sound he wanted from the beginning.

Most of the songs on Honky Tonk Heroes are written by Billy Joe Shaver, at the time an all but unknown songwriter. It’s his lyrics, and Waylon’s interpretation of them that makes this an iconic album. Up until this point no one had released a country album this directly philosophical. While many country artists had confronted very real themes, poverty, heartbreak, struggle in all of its forms, only a handful of songs deal with such sophisticated subject matter as Shaver’s. In “Old Five and Dimers Like Me” he writes:

I’ve spent a lifetime making up my mind to be,
More than the measure of what I thought others could see…
It’s taken me so long but now that I know I believe,
All that I do and say is all that I ever will be.

This is a major departure from the typical Country music perspective. Up until then, Country songs were about stoic and stalwart characters, they were allowed to be vulnerable, but only if they were lonesome, or if a loved one died. So Shaver saying he’ll be as honest and upfront as possible, keeps Waylon’s character believable and, more to the point, human.

LORENZO WOLFF is a musician living in New York. He can be reached at: lorenzowolff@gmail.com

 

 

 

 

LORENZO WOLFF is a musician living in New York. He can be reached at: lorenzowolff@gmail.com

More articles by:
Weekend Edition
July 29, 2016
Friday - Sunday
Michael Hudson
Obama Said Hillary will Continue His Legacy and Indeed She Will!
Jeffrey St. Clair
She Stoops to Conquer: Notes From the Democratic Convention
Rob Urie
Long Live the Queen of Chaos
Ismael Hossein-Zadeh
Evolution of Capitalism, Escalation of Imperialism
Margot Kidder
My Fellow Americans: We Are Fools
Phillip Kim et al.
Open Letter to Bernie Sanders from Former Campaign Staffers
Ralph Nader
Hillary’s Convention Con
Lewis Evans
Executing Children Won’t Save the Tiger or the Rhino
Vijay Prashad
The Iraq War: a Story of Deceit
Chris Odinet
It Wasn’t Just the Baton Rouge Police Who Killed Alton Sterling
Brian Cloughley
Could Trump be Good for Peace?
Patrick Timmons
Racism, Freedom of Expression and the Prohibition of Guns at Universities in Texas
Gary Leupp
The Coming Crisis in U.S.-Turkey Relations
Pepe Escobar
Is War Inevitable in the South China Sea?
Norman Pollack
Clinton Incorruptible: An Ideological Contrivance
Robert Fantina
The Time for Third Parties is Now!
Andre Vltchek
Like Trump, Hitler Also Liked His “Small People”
Serge Halimi
Provoking Russia
David Rovics
The Republicans and Democrats Have Now Switched Places
Andrew Stewart
Countering The Nader Baiter Mythology
Rev. William Alberts
“Law and Order:” Code words for White Lives Matter Most
Ron Jacobs
Something Besides Politics for Summer’s End
David Swanson
It’s Not the Economy, Stupid
Erwan Castel
A Faith that Lifts Barricades: The Ukraine Government Bows and the Ultra-Nationalists are Furious
Steve Horn
Did Industry Ties Lead Democratic Party Platform Committee to Nix Fracking Ban?
Robert Fisk
How to Understand the Beheading of a French Priest
Colin Todhunter
Sugar-Coated Lies: How The Food Lobby Destroys Health In The EU
Franklin Lamb
“Don’t Cry For Us Syria … The Truth is We Shall Never Leave You!”
Caoimhghin Ó Croidheáin
The Artistic Representation of War and Peace, Politics and the Global Crisis
Frederick B. Hudson
Well Fed, Bill?
Harvey Wasserman
NY Times Pushes Nukes While Claiming Renewables Fail to Fight Climate Change
Elliot Sperber
Pseudo-Democracy, Reparations, and Actual Democracy
Uri Avnery
The Orange Man: Trump and the Middle East
Marjorie Cohn
The Content of Trump’s Character
Missy Comley Beattie
Pick Your Poison
Kathleen Wallace
Feel the About Turn
Joseph Grosso
Serving The Grid: Urban Planning in New York
John Repp
Real Cooperation with Nations Is the Best Survival Tactic
Binoy Kampmark
The Scourge of Youth Detention: The Northern Territory, Torture, and Australia’s Detention Disease
Kim Nicolini
Rain the Color Blue with a Little Red In It
Cesar Chelala
Gang Violence Rages Across Central America
Tom H. Hastings
Africa/America
Robert Koehler
Slavery, War and Presidential Politics
Charles R. Larson
Review: B. George’s “The Death of Rex Ndongo”
July 28, 2016
Paul Street
Politician Speak at the DNC
FacebookTwitterGoogle+RedditEmail