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By the late-1960s, the Nashville music industry had grown slick, complacent and predictable, even as the greater national culture, in the shadow of the Vietnam War, was entering an era of tumult and rebellion. Largely as a result of this, the outlaw movement arose. It began as a rudimentary grassroots uprising, instigated by a ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

When Jimmie Rodgers and The Carter Family became country music’s first superstars in 1927, their audience was the farmers, miners, wives and other blue-collar workers of the rural South. It was an audience that left school early for a life of hard work in isolated communities. When those men and women gathered at a tavern or schoolroom on ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

Hank Williams Jr. (b. 1949) was only three years old when his daddy died, and he barely knew the man who was, arguably, the greatest honky-tonker of them all. But his widowed mother groomed her baby boy to imitate his papa as closely as possible. He was on stage by eight, in the recording studio by 14 ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

Almost no Texan musicians have ever herded cattle, but most like to think of themselves as cowboys nonetheless. They imagine themselves pulling out an acoustic guitar after dinner and singing a song about the adventures and frustrations they have known. And not just any old song – it has to be one they wrote and it has to be more ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

The Byrds hired Gram Parsons (vocals, guitar, 1946–73) in 1968 because they needed a guitarist and pianist to fill the instrumental void left by the recent departure of David Crosby (vocals, guitar, b. 1941) and the earlier departure of Gene Clark (vocals, guitar, 1944–91). The remaining Byrds – Roger McGuinn (vocals, guitar, b. ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

Waylon Jennings (vocals, guitar, 1937–2002) was a teenage disc jockey in Lubbock, Texas, when he first met the hometown hero Buddy Holly (1936–59). Holly produced Jennings’ first single, ‘Jole Blon’, in September 1958, and hired Jennings as his bassist the following January. On 3 February 1959, Jennings was all set to take a charter ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

A few days after Christmas, 1969, Willie Nelson (b. 1933) watched his house outside Nashville burn to the ground. Going up in flames were not only his furniture, guitars and only copies of unpublished songs – but also some of his ties to Music Row. A New Beginning Nelson had begun the decade as one of the hottest ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

(Vocal/instrumental group, 1970s–present) The most impressive and most successful of the western-swing revival bands was co-founded by a couple of hippies from the Philadelphia suburbs. Ray Benson (vocals, guitar, b. 1951) and Reuben ‘Lucky Oceans’ Gosfield (pedal steel guitar, b. 1951) fell in love with the records of Bob Wills and formed the band in 1969, ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

(Vocals, guitar, b. 1935) Bush is best known for writing ‘Whiskey River’, for Willie Nelson, who used it to open and close every concert from the mid-1970s onwards. But Bush was a favourite of Texas audiences from the early 1950s through to the early twenty-first century with his vigorous dancehall brand of honky-tonk. He played in the bands ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

(Vocals, guitar, b. 1942) Clayton, a former fighter pilot from Tennessee, was one of the most original songwriters in the Outlaws movement, penning ‘Ladies Love Outlaws’ for Waylon Jennings, ‘If You Could Touch Her At All’ for Willie Nelson and ‘Lone Wolf’ for Jerry Jeff Walker. Clayton’s own albums, marked by vivid if unconventional ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

(Vocals, guitar, b. 1939) Coe broke through first as a songwriter, penning tunes for Tanya Tucker (1973’s No. 1 ‘Would You Lay Me Down (In A Field Of Stone)’, Willie Nelson and George Jones. Coe scored his own hit with 1975’s ‘You Never Even Called Me By My Name’, followed by five more Top 25 hits, including ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

(Vocals, b. 1943) Colter became associated with the Outlaw movement even though her big, pure pop-country voice gave her more in common with Glen Campbell than with her husband Waylon Jennings. She was born Mirriam Johnson in Phoenix, Arizona, where she married rockabilly guitarist Duane Eddy in 1962. After a 1968 divorce, she adopted her new ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

(Vocals, guitar, fiddle, b. 1936) Daniels was a North Carolina rock’n’roller who had a song cut by Elvis Presley and who played on Bob Dylan’s Nashville Skyline. Daniels formed his own band in 1972, modelled on the southern rock of The Allman Brothers Band, and had a hit with the 1973 tall tale, ‘Uneasy Rider’ ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

(Vocal/instrumental group, 1962–80) Doug Dillard (banjo, b. 1937) and Rodney Dillard (vocals, guitar, b. 1942) grew up in Missouri’s Ozark Mountains but ended up in California where they portrayed Mayberry’s local bluegrass band on television’s Andy Griffith Show. The Dillards, featuring mandolinist Dean Webb and electric bassist Mitch Jayne, soon mixed their bluegrass with Bob ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

(Vocals, guitar, b. 1941) Dylan had already conquered the folk and rock’n’roll fields completely by the time he recorded in Nashville for the first time in 1965. That was for the rock-flavoured Blonde On Blonde album, but he was soon back to cut the more obviously country projects John Wesley Harding and Nashville Skyline, which helped kick ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen
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