The Rise of the Roaring 70’s & Outlaw Country

Over forty years ago, publicist Hazel Smith coined the term “outlaw country,” which has since become synonymous with a particular image of longhaired rednecks playing “traditional” country music. For many country music fans today, the phrase evokes a sense of nostalgia for a genre they believe is fading away.

According to these fans, “traditional” country music has been overshadowed by bro-country, where artists incorporate influences from other genres, and radio programmers prioritize playing those songs. In discussions about the state of the genre, outlaw country artists are often revered as rebellious guardians of the good old days, the kind of artists believed to be lacking in today’s music landscape.

However, as Michael Gray, co-curator of the Country Music Hall of Fame and Museum’s Outlaws & Armadillos: Country’s Roaring ’70s exhibit, explains, the modern interpretation of “outlaw” often misinterprets the movement as merely a musical sound rather than a quest for artistic freedom.

“They were musical renegades, and they were challenging the system,” Gray explains, “but there’s also a lot of baggage that comes with that ‘outlaw’ label.”

The outlaw movement spearheaded by artists like Willie Nelson, Waylon Jennings, and Jessi Colter, both in Nashville, Tennessee, and Austin, Texas (and to some extent, California), was rooted in the pursuit of creative control. In the mid-1950s, the “Nashville Sound,” characterized by strings and a pop-leaning approach, dominated the music scene, with producers and label executives calling the shots.

Before the outlaw movement, artists often played a passive role, with producers and labels making decisions about song choices, session musicians, producers, and studios. The outlaws, however, were determined to be more than just stars; they sought to delve deep into their artistic selves and present their unique vision to the world.

In the mid to late 1960s, figures like Bob Dylan and Johnny Cash began challenging the established norms in Nashville, but the artists of the outlaw movement desired even more freedom.

“That’s really the essence of outlaw country,” Gray emphasizes, “these artists fighting for their creative freedom.”

One of the pioneers in seizing creative control was Bobby Bare. After starting his career with Chet Atkins at RCA Victor, he moved to Mercury Records in 1970. Atkins, recognizing Bare’s talent, offered him the opportunity to produce his own work.

“I didn’t have to fight or argue for it. Chet Atkins just gave it up,” Bare recalls. “I said okay, and that was it. He gave it up, I didn’t fight for it.”

Bare’s experience set a precedent, as Waylon Jennings, upon hearing about Bare’s autonomy, approached Atkins for the same opportunity. Atkins granted Jennings’ request, and the result was a groundbreaking album, Honky Tonk Heroes, which debuted in July 1973. Bare’s Bobby Bare Sings Lullabys, Legends and Lies followed in November of the same year. Both albums are considered among the best in the outlaw country genre, although they initially faced resistance in Nashville’s mainstream music scene.

“That’s what you had to do back then to break away… to grow,” Bare reflects. “If you can’t grow, you’re not doing anything. It was an interesting time, a lot of craziness… It was a growth period. If we hadn’t produced our own records, we’d have never had the growth period.”

The outlaws also influenced the culture of Music Row. Under the previous regime, it was unheard of for session musicians to drink or smoke pot. However, by the ’70s, studios began embracing a more relaxed and freer atmosphere.

Meanwhile, Austin offered an alternative to the Nashville scene. Willie Nelson, dissatisfied with the industry’s constraints, returned to Texas in the early 1970s and discovered a thriving and open-minded music community. Similar to today’s Texas country and Red Dirt artists who enjoy independence from Nashville politics and expectations, these artists didn’t have “The Man” reining them in.

“Austin did not have the music business infrastructure… so they didn’t have to worry as much about all those industry concerns,” Gray explains, although many artists had to travel to Nashville to record for major labels. Nevertheless, the live music scene in Austin flourished, with bands like Freda and the Firedogs bridging the gap between rednecks and hippies, creating a unique musical blend.

It is important to note that the artists themselves did not necessarily embrace the “outlaw” label; many of them sought to avoid being pigeonholed or labeled. However, the industry recognized the marketability of the loosely defined movement. In 1976, RCA released Wanted! The Outlaws, a compilation album featuring previously released tracks from Nelson, Jennings, Tompall Glaser, and Jessi Colter. The album’s cover, featuring sepia-toned pictures of the four contributors on a Wild West-style wanted poster, played into the outlaw imageryand further solidified the association of these artists with the outlaw country movement.

The outlaw country movement left a lasting impact on the genre. It opened doors for artists to have greater control over their music, challenged the established norms of the industry, and paved the way for a more diverse and independent country music scene. The influence of the outlaws can still be felt today, as many artists draw inspiration from their rebellious spirit and continue to push boundaries within the genre.

However, it’s important to recognize that country music is a constantly evolving genre, and what is considered “traditional” or “outlaw” can vary depending on the perspective and time period. The desire for creative freedom and authenticity remains a driving force for many artists, even if they don’t fit neatly into the outlaw country label.

In summary, the outlaw country movement of the 1970s was a response to the constraints and commercialization of the Nashville Sound. Artists such as Willie Nelson, Waylon Jennings, and others sought creative control and a deeper connection to their music. While the term “outlaw country” has become associated with a specific sound and image, it’s important to understand that the movement was about artistic freedom and challenging the status quo. The impact of the outlaws can still be felt in country music today, as artists continue to push boundaries and strive for authenticity.