叛道乡村 Outlaw Country

  这场风暴的中心人物是Willie Nelson。1968年时,纳什维尔对他那较新的更多个人化的尝试的音乐的排斥,使他很沮丧。Nelson由此离开纳什维尔,到了德州(Texas)的奥斯汀(Austin),在那里他开始了一年一度的音乐会,并吸引了其他一些相似的当时不被注意的歌手,作曲人如Waylon Jennings和Kris Kristofferson等。
  他们那种淳朴的,根源化的尝试,是为了保持乡村音乐在一味迎合大众流行口味之前,独特的甚至粗野的个人化表现方式。不仅"叛道运动"迎合了那些彻头彻尾的乡村乐迷,而且在电台和校园中也得到了回应。结果,1976年如Waylon&Willie所愿,"The Outlaws"成为了乡村音乐史上第一张达到百万销量的大碟,更为带有根源特质的乡村音乐打开了大门。

Outlaw Country was one of the more significant trends in country music in the '70s. During that decade, many of the most popular hardcore country singers of the '60s — from George Jones to Merle Haggard — softened their sound slightly, moving away from their honky tonk roots. While the outlaws weren't strictly honky tonk — they were as much storytellers in the tradition of folk songwriters as they were honky tonk vocalists — they kept that spirit alive. Outlaws didn't play by Nashville's rules. They didn't change their music to fit the heavily produced, pop-oriented Nashville sound, nor did they go out of their way to fit into the accepted conventions of country music. Instead, they created an edgy form of hardcore country that was influenced by rock & roll, folk, and blues. Ironically, two of the leading figures of the movement — Waylon Jennings and Willie Nelson — had their roots in the music industry, but by the time they came into their own as recording artists in the mid-'70s, they had developed a unique, defiant way of performing. Several other musicians — including David Allan Coe, Billy Joe Shaver, and Tompall Glaser — followed in their footsteps, and the outlaws were quite popular for a period of three to four years. At the end of the '70s, the urban cowboy movement easily eclipsed the outlaw movement in terms of commercial appeal, but the outlaws had a lasting influence. During the '80s, certain neo-traditionalists owed a bit of their sound to the outlaws, while a whole breed of songwriters, led by Steve Earle, demonstrated a massive debt to the outlaws and their fusion of country, folk, and rock.

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