Twelve songs that reshaped country music in 1973

As a child of the South myself, I can attest to the rich tapestry of music that was woven in 1973. From the Lone Star State to the Sunshine State, and even from the City of Angels, the sounds of country, funk, rock, and everything in between filled our hearts with joy and our dance floors with movement.

Legendary country-rock artist and versatile musical maverick Steve Earle hosts an intriguing podcast where he proposes that Western pop music underwent a significant period of transformation in 1965, when Bob Dylan expressed his desire to emulate the Beatles and John Lennon aspired to be like Bob Dylan.

The albums “Bringing It All Back Home” and “Rubber Soul” significantly altered the landscape of western music by blending R&B-rooted rock ‘n’ roll with country-influenced folk music thoroughly, thus dissolving previous genre boundaries. Since then, mixed genres have become commonplace.

Following the earthquake, every genre was responsible for managing its own aftermath. Interestingly, country music faced more challenges adapting to the ‘new normal’ than any other genre, and in many ways, it continues to grapple with integrating non-conventional voices even today.

12 songs that changed country music in 1973

Country music embodied not just a specific musical genre but also a particular mental state and geographical region. It was deeply rooted in tradition, drawing from the folk songs passed down through generations in the mountains. These songs often depicted tales of hardship and spirituality. While traditional instruments like the resonator guitar, fiddle, banjo, or mandolin might be present, electric guitars were acceptable as long as they maintained a clean sound, avoiding the bluesy tones associated with rock & roll.

Regardless of whether they were joyful or melancholic, they tended to remain close to the core values of faith, nation, and family.

In the 1960s, country music faced a significant crossroads as rock & roll emerged and threatened traditional values. The city of Nashville, known as the world capital of country music, found itself at the helm of this decision-making process. Instead of embracing these innovative influences, they opted for a more conservative approach, distancing themselves as far as possible from the new music trend.

Instead of relying on solo singers with rough or disorganized vocals, country music producers started incorporating choirs to boost pure baritone or sweet soprano voices. Instead of overpowering rock & roll tracks with chaotic electric guitars, these same producers opted for string-based arrangements. They assembled a group of songwriters whose task was to consistently generate catchy melodies that could be categorized as either upbeat love songs, melancholic breakup songs, heartwarming family songs, or occasionally odes to the virtues of a faithful pet. They would then test many of these compositions, hoping a few would become popular hits.

Then – lather, rinse, repeat.

However, the music didn’t conform to industry expectations. Instead, it yearned for innovation in the realm of country tunes. If you believe that the debate surrounding Beyonce’s Cowboy Carter about its country authenticity is a recent phenomenon, delve into the past, specifically 1962, and consider Ray Charles’ album, Modern Sounds in Country and Western Music. This groundbreaking record combined traditional country with soul, rock, and big band elements – no genre was safe. It was extraordinary, featuring some of the finest music from the ’60s.

But was it country? Not according to Nashville.

Country music eventually opened its doors to African Americans, with former baseball player Charley Pride becoming a regular chart-topper in the late ’60s after releasing his first country album, a few years following Ray Charles’ release of Modern Sounds….

“See,” Nashville said, “we don’t have a race problem. Look at Charley Pride.”

Sixty years later and they’re saying the same thing about Charley Crockett.

Ultimately, Nashville encountered a significant threat to its preeminence, primarily through a musical trend known as “outlaw country.” This movement was spearheaded by songwriters such as Kris Kristofferson and Willie Nelson, who sought a more candid style of country music. They aimed to replace traditional themes like sorrow with those of drinking, and romantic love with adult themes (while avoiding explicit language).

Furthermore, there were bands hailing from the south that embraced rock & roll wholeheartedly. At times they were referred to as ‘country rock’ and other times as ‘southern rock,’ but essentially they shared the same essence. Characterized by electric guitars, distortion, strong bass and drum beats, high volume, and rapid tempo, these bands eschewed choruses and violins altogether.

Rebels found the Nashville mainstream, often referred to as countrypolitan due to its softer approach aimed at making traditional country music more acceptable in suburban settings, to be irksome. Instead, they tended to flock towards Austin.

Musicians hailed from various places, including Florida, Alabama, Texas, and surprisingly, California, particularly Bakersfield, known as the “country” side of California.

It’s reasonable to describe the outlaws as musicians who combined elements of country music with rock & roll, while traditional country/southern rock artists had strong roots in rock & roll but also had country influences. Whether you agree with this classification or not, it’s clear that a significant change occurred in 1973 when country music started adopting rock & roll as both a musical genre and an artistic philosophy. If 1965 marked the unification of rock and folk, then 1973 was the year country music broke free from Nashville and embraced rock & roll.

In this collection, you’ll find a dozen tunes – each from the remarkable year of 1973 – that forever altered the landscape of country music.

THE OUTLAWS

By the early 1970s, Willie Nelson and Waylon Jennings were already prominent figures in Nashville’s country scene. Waylon had collaborated with Buddy Holly, while Willie was known for penning “Crazy,” Patsy Cline’s iconic country track. However, both artists found themselves at odds with the countrypolitan trend that emerged in the ’60s. In response, they decided to depart from Nashville and head to Austin instead. Alongside other musicians who shared their sentiments, they formed a new musical direction for country music, attracting both seasoned veterans and fresh talent alike.

“Shotgun Willie” by Willie Nelson

1973 summer saw Willie Nelson unveiling his album “Shotgun Willie”. By then, he had an impressive discography of 15 studio albums under his belt. However, this time around, things were distinctly different. The clean-shaven, boyish-looking redhead from countless Nashville album covers was gone. Now, Nelson sported a scruffy look and flashed a mischievous smirk instead of his former smile. To the shock of the blue bloods, the opening track, titled “Shotgun Willie”, caused quite a stir.

Shotgun Willie lounges in his undershirt, nervously gnawing on a bullet and plucking out every last strand of hair – Shotgun Willie’s entire family is present with him.” The tune had a distinct twang to it, while the rhythmic bass line echoed the blues. Traditional country music often steered clear of explicit references, but outlaw country embraced them.

In the second track of his album, Willie refines his manifesto: “You can’t create a song if you have nothing to express – You can’t create a song if you have nothing to express – You can’t play music if you don’t know what to perform.” The second song, “Whiskey River,” gained popularity, but I’ve always felt that the opening track most effectively encapsulated the new musical philosophy.

“Honky Tonk Heroes” by Waylon Jennings

A few months following the debut of “Shotgun Willie,” Nelson’s close friend and rival, Waylon Jennings, fulfilled a pledge to a drifter with a unique guitar-playing style – despite missing fingers on his right hand. This man was Billy Joe Shaver, and Jennings was deeply impressed by the songs he composed. Intrigued, Jennings vowed to record some of them. However, when no action was taken for a while, Shaver became restless. Yet, Jennings kept his word.

As a passionate admirer, I can’t help but express my appreciation for the significant role “Honky Tonk Heroes” played in popularizing outlaw country even more. Written by Shaver himself, nine out of ten tracks on this album were his creations, with the title track kicking off the entire collection. The album commences with a soft rock rhythm, beautifully complemented by Jennings’ rich baritone voice. He sings about “these lovable losers, no-account boozers, and honky tonk heroes just like me,” characters that resonate deeply within the genre.

Afterward, he plays the same song twice more, becoming increasingly energetic and amplifying the rockabilly vibe. The bassist who played alongside Buddy Holly on the day he tragically passed away in 1959 was now seamlessly blending harmonica solos, electric guitar solos, and violin solos into a powerful fusion of country and rock – a composition penned by an up-and-coming artist with a clear outlaw spirit.

“Old Five and Dimers Like Me” by Billy Joe Shaver

Instead of merely anticipating Jennings to sing his compositions, Shaver took action by releasing his first album in ’73 titled “Old Five and Dimers Like Me.” The same song appeared on Waylon’s “Honky Tonk Heroes,” but it was Waylon who had the superior vocal abilities. However, Shaver possessed an undeniable authenticity that couldn’t be ignored. It’s a timeless country theme about how a good woman’s love can uplift an old-timer like Shaver – and maturity comes from accepting that’s acceptable for most of us.

As a gamer, I can’t help but be captivated by Shaver’s songs and their intriguing narratives. But what sets “Old Five and Dimers” apart is its unique Hawaiian flavor, courtesy of the talented young keyboardist Mike Utley. Fresh off the boat in Nashville, he was already making waves in the music scene. In fact, that same year, he’d also lend his skills to an album by a rising star named Jimmy Buffett.

The bond would endure for another half-century, as Utley eventually took over as musical director for Buffett’s Coral Reefer Band. Meanwhile, Shaver’s album was crafted by fellow outlaw pioneer Kris Kristofferson, who himself put out an album in 1973.

“From the Bottle to the Bottom” by Kris Kristofferson & Rita Coolidge

Kristofferson’s songwriting skills outshone his singing abilities, and many of the iconic outlaw songs he penned and sang on his 1970 debut album became bigger hits when covered by other artists. By 1973, he was gearing up to depart Nashville for Los Angeles, seeking a burgeoning acting career. This move coincided with his second marriage, to Rita Coolidge, with whom he had been duetting for some time prior.

In 1973, they launched the album “Full Moon“, which was a complete duet album. Kristofferson penned several of the tracks, while they collaborated on others. Approximately half of the album consisted of songs written by different artists. The recording took place in LA under David Anderle, Coolidge’s producer, and this contributed to some in the country music fraternity believing that Kristofferson was no longer a country artist. Instead, he was seen as a pop singer.

Instead of “The Bottle to the Bottom,” it was an old-fashioned, lively country duet that subtly expressed sorrow in a way Kristofferson popularized with his earlier tunes. Coolidge takes the lead and sings well, but the witty, vivid imagery is distinctly Kristofferson. Lines like “Have you ever seen a homeless man – Stirring awake, cold and blue – Without a blanket to shield him from the morning dew” echo his style perfectly.

“Up Against the Wall Redneck Mothers” by Jerry Jeff Walker

In much the same way as Waylon Jennings paved the path for Billy Joe Shaver, another seasoned artist, Jerry Jeff Walker, provided a stepping stone for a different emerging songwriter to make a mark on the outlaw scene. Ray Wylie Hubbard, who was just a few years younger than Walker, had already garnered significant attention with his own “Mr. Bojangles” in the late ’60s.

Initially, Walker launched into Hubbard’s boisterous ballad, dedicated to the momma’s boys aged thirty-four and spending their time drinking in a barroom, causing trouble by fighting hippies and creating chaos. His diverse crowd, including the redneck segment, relished it thoroughly. When he included a live rendition on his groundbreaking album, Viva Terlingua, recorded at the core of outlaw country, the Luckenbach Dancehall in Luchenbach, Texas, it significantly contributed to Ray Wylie securing his own record deal.

Beginning in 1975, Ray Wylie started releasing his albums, where he would playfully challenge country music stereotypes. Coincidentally, another artist, Guy Clark, who had a song covered by Jerry Jeff on the album “Viva Terlingua“, also released his first record that same year. This marked the ignition of a spark, and the rebellious outlaws were now ready to make their mark in the music scene.

THE ROCKERS

In this particular region, there wasn’t a significant musical boundary to overcome since traditional R&B was deeply ingrained in rock music. The roots of rock could be traced back to R&B, delta blues, and even southern bluegrass. Rock and roll simply amplified the sound and added a rough edge to it – it wasn’t polished or pristine. Similarly, artists like Jimmie Rodgers and Hank Williams were far from refined. The transition from country music to southern rock in the early ’70s was more about a change in attitude rather than a change in musical style. Luckily, these bands had plenty of attitude to go around.

“La Grange” by ZZ Top

Back in the day, when I first heard the electrifying blues beat that ignites “La Grange,” it catapulted ZZ Top into a bit of a legal pickle. A producer claimed they’d stolen the groove from John Lee Hooker. In the end, nothing came of it, but this quirky band of musical maestros found their way onto the airwaves. The song was about a house of ill-repute, although most listeners were more engrossed in Billy Gibbons’ growled melodies than they were in the lyrics. They were captivated by his intense blues solos and the rhythm section, made up of Dusty Hill and Frank Beard, that had everyone bobbing their heads and tapping their toes.

Initially, it wasn’t strictly a country genre, but since the music originated in Texas and featured a distinct drawl, it was categorized as such. This confusion paved the way for exploring the boundaries of country rock. Over the subsequent decade, ZZ Top released a string of hit albums, gradually moving away from those borderline country influences, with the definition of country rock following suit.

“Wasted Words” by the Allman Brothers

By 1973, when the Allman Brothers released their fourth album, “Brothers and Sisters”, they had endured numerous hardships that significantly impacted their creative direction. Regrettably, Duane Allman, an exceptionally talented guitarist, passed away at just 24 in 1971, followed by bass player Berry Oakley who met a tragic fate in a motorcycle accident similar to Duane’s the following year, also at the young age of 24. These losses deeply affected the band’s dynamics.

The band carried on, with vocalist Gregg Allman passing off some of his keyboard responsibilities to the newcomer Chuck Leavell and guitarist Dickey Betts assuming a more prominent part due to Duana’s absence. Oakley only stayed for the recording of the first two tracks from Brothers and Sisters. One of these, the country-style “Ramblin’ Man” penned by Betts, would later become the Allman Brothers’ greatest hit.

In simpler terms, Greg’s music, titled “Wasted Words,” had a gritty and energetic vibe similar to their blend of rock and soul they’ve been playing for some time now. Being one of the iconic vocalists from the ’70s, Greg carries a raw talent that seems to originate from the southern region. The distinction between country rock and southern rock wasn’t crucial; what mattered was their fusion, which was rapidly evolving into something fresh and unique.

“Gimme Three Steps” by Lynyrd Skynyrd

By 1973, The Allmans had already made their mark, but Lynyrd Skynyrd was still relatively unknown to most of the nation outside of Florida. Their debut album, titled “Pronounced ‘Leh-‘nerd ‘Skin-‘nerd“, introduced one massive hit, “Free Bird”, that solidified the popularity of country/southern rock on both FM and AM radio stations. “Free Bird” is a moving country ballad filled with an abundance of guitar playing.

This album skillfully combined soulful country ballads such as “Tuesday’s Gone” and “Simple Man” with the groovier, blues-rock tunes like “I Ain’t the One” and “Poison Whiskey.” The standout track, “Gimme Three Steps,” is a barroom tale of love gone wrong with a lively southern rhythm that pulsed with raw rock ‘n’ roll intensity.

“Take the Highway” by The Marshall Tucker Band

In a fresh release from a group known for its loose guitar work and laid-back blues rhythm reminiscent of the Allmans, one might wonder about the unique sound heard on the opening track by The Marshall Tucker Band. Could that distinct melody perhaps be coming from a flute? It certainly doesn’t seem like any other instrument we know of!

As I immersed myself in the game, I was jamming on both my virtual keyboard and saxophone. At times, it was just a bit of extra flair, but other moments, Jerry Eubanks took center stage with his soulful flute solos. The heart of “Take the Highway” showcased Eubanks’ solo performance on the flute before Toy Caldwell launched into an electrifying guitar solo. Later, we all came back to the main melody as Doug Gray crooned about old-school country travels, with the flute, guitar, and even Paul Hornsby’s keys creating a whirlwind of sound that built up to an epic climax.

“Dixie Chicken” by Little Feat

Originating from Texas is the band ZZ Top, while Marshall Tucker is from South Carolina. Interestingly, both The Allmans and Lynyrd Skynyrd are from Florida. Despite their unique identities, these states are all part of the southern region. On a different note, Lowell George, founder of Little Feat, was born in Los Angeles, California, just like Kris Kristofferson who faced criticism for leaving country music when both Nashville and Austin felt he abandoned it.

Apart from that, it’s worth noting that George briefly graced Frank Zappa’s experimental, rock ensemble, The Mothers of Invention, before joining Little Feat. The title track of their third album, “Dixie Chicken,” was a blend of country and funk. It combined various influences into its sound – some calypso percussion, New Orleans-style piano, backing vocals from Bonnie Raitt and Delaney Bramlett, as well as George’s slide guitar, narrating the bittersweet story of love gained and lost in the Commodore Hotel, Memphis. Although we didn’t reach Nashville, at least we returned to Tennessee.

THE TRADITIONALISTS

To avoid giving the notion that there wasn’t any top-notch classic country music in 1973, let me add two more tunes that epitomize country music. However, these songs subtly reflect the unease we’ve noticed in the past ten tracks.

“Louisiana Woman, Mississippi Man” by Loretta Lynn & Conway Twitty

By 1973, Lynn and Twitty were considered the royalty of Nashville music scene. For nearly a decade, Twitty had been shining as a star, while Lynn had already released seventeen top-ten country albums since she started her career in 1962. Their third album together was out by then, and they would go on to win several Country Music Association Awards for “Duo of the Year.

Despite Twitty being known as a traditional country singer, he often veered towards rockabilly in many of his songs. On the other hand, Lynn was poised to shock Nashville with “The Pill” in 1975. This song addressed birth control and was deemed too controversial for country music radio stations to air. However, “Louisiana Woman, Mississippi Man” wasn’t controversial; it was simply extraordinary.

In simpler terms, it was clearly a song celebrating pre-marital sex, yet even country music acknowledged this as a relatable theme for its listeners. The tune had a catchy, unavoidable beat that made everyone sway to its lively Cajun rhythm.

“Jolene” by Dolly Parton

We’ll conclude with Dolly. I’m not entirely sure I can share much detail about this one, but let me tell you, it’s one of the all-time great country songs. It was the lead track from an album dropped in 1974, although the single was released towards the end of ’73 and swiftly climbed to the peak of the country charts. The song follows a typical narrative of a woman submitting herself for her man’s love, yet Dolly’s exceptional writing and vocal prowess breathe life into it, elevating its intensity and drama above many similar tales in a genre known for such stories.

The performance is flawless, with a persistent, muddy sound created by doubled guitars. Here, the harmonized vocals and haunting strings are softly used and perfectly suited, creating an unsettling ambiance that mirrors the song’s desolation. In essence, “Jolene” can be described as countrypolitan music. It embodied the genre’s characteristics and managed to attain the sought-after status of a crossover hit. Essentially, it was a classic example of countrypolitan music performed by exceptional artists.

1973 wasn’t necessarily the time for revolutionaries, but anyone could compose lasting country tunes; there was an unspoken magic in the atmosphere that year.

2024-10-07 13:01