One of my favorite lines from the great movie The Blues Brothers is when Elwood Blues asks the proprietor of a honky tonk “What kind of music do you usually have here?” She responds, “Oh, we got both kinds—we got country and Western.” It provided the grist for my favorite Baptist joke: I grew up going to a church with both kinds of preaching—hellfire and damnation. But have you ever wondered what the heck is “Western”?
Dwight Yoakam is Western. Western is cowboy music, but it is more than that. It was shaped by the cattle towns and the open range, but its roots are deeper. Like old-time, its roots are in Appalachia and England and Scotland before that. The same hillbillies who took their music with them when they settled in Oklahoma would take it with them when they moved again to the interior of California. The Bakersfield Sound developed as an alternative to the overproduced pablum coming out of Nashville (then, as now). Its most successful products were Buck Owens and Merle Haggard. Dwight Yoakam would pick up that mantle twenty years later.
Continue reading “Music Monday: Streets of Bakersfield by Dwight Yoakam and Buck Owens”