After carefully considering the whole situation…
Here’s a fun one for you–Robert Ward on Redneck Rock circa 1976 for New Times Magazine:
The bus floated through the Nashville streets and stopped at the James Thompson Motor Inn. I got out and walked with Tommy (the Outlaw) and Coe’s old friend, Bobby.
“It’s on the fourth floor.”
We climbed the steps and walked down a long motel corridor. Looking over, I noticed it was a good 75 feet to the parking lot. At the door, Tommy waited for me.
“Come on in, writer.”
I felt frightened by his tone—soft, but mocking. I had assumed that there would be women, other musicians, and whiskey. But there was none of that. Instead, there were Outlaws, about 15 of them, sprawled around the room. I looked at their eyes, which were all trained right on my own. In the exact center of the group, like some ancient fertility god, David Allan Coe sprawled on a bed. On his lap was an ugly, trashed-out looking woman, who was laughing insanely.
Behind me the door snapped shut. “This here is the writer,” someone said in a steel-wire voice.
Everyone was totally silent.
“The writer who wrote that shit about David Allan not being an outlaw!” someone else said.
I felt my breath leaving me and tried to laugh it off. “Hey, c’mon, you guys. I didn’t write that stuff.”
A short, squat, powerful man, the same Outlaw I’d seen screaming at the Exit Inn, came toward me. “You wrote that shit, did you?”
He reached in his back pocket and pulled out a five-inch hunting knife.
“Hey, wait now,” I said.
[Photo Credit: George Tice, 1974]
Last year, Texas Monthly ran a terrific oral history on the outlaw country music scene in Austin during the 1970s. John Spong did the work. And it’s well-worth your time for sure:
Halfway between the coasts sat Texas, where hundreds of honky-tonks functioned as Nashville’s farm system. But that music belonged to the old guard. Texas kids were more interested in the state’s thriving folkie circuit. The hub was a Dallas listening room called the Rubaiyat, from which young singer-songwriters like Steve Fromholz and B. W. Stevenson sallied forth to coffeehouses around the state. The music they played was distinct from the protest songs of Greenwich Village. Texas folk was rooted in cowboy, Tejano, and Cajun songs, in Czech dance halls and East Texas blues joints. It was dance music. And when the Texas folkies started gigging with their rock-minded peers, they found a truer sound than the L.A. country rockers. There was nothing ironic about the fiddle on Fromholz’s epic “Texas Trilogy.”
It’s impossible to pinpoint the exact moment when that sound and scene coalesced into something cohesive enough to merit a name, but then again none of the labels people came up with—cosmic cowboy, progressive country, redneck rock, and, ultimately, outlaw country—made everyone happy. Still, the pivotal year was 1972, and the place was Austin. Liquor by the drink had finally become legal in Texas, which prompted the folkies to migrate from coffeehouses to bars, turning their music into something you drank to. Songwriters moved to town, like Michael Murphey, a good-looking Dallas kid who’d written for performers such as the Monkees and Kenny Rogers in L.A. He was soon joined by Jerry Jeff Walker, a folkie from New York who’d had a radio hit when the Nitty Gritty Dirt Band covered his song “Mr. Bojangles.” In March, Willie played a three-day country festival outside town, the Dripping Springs Reunion, that would grow into his Fourth of July Picnics. Then he too moved to Austin and started building an audience that didn’t look like or care about any Nashville ideal. By the time the scene started to wind down, in 1976, Willie and Austin were known worldwide.