Cowpunk
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Cowpunk (or country punk) is a subgenre of punk rock that began in the United Kingdom and Southern California in the late 1970s and early 1980s. It combines punk rock or new wave with country, folk, and blues in its sound, lyrical subject matter, attitude, and style.<ref name=NYT84>Template:Cite news</ref><ref>Gerald Haslam, Workin' Man Blues: Country Music in California (Berkeley: University of California Press, 1999)</ref> Examples include Social Distortion,<ref name="sunsent">Template:Cite news</ref> the Gun Club, the Long Ryders, Dash Rip Rock, Violent Femmes, the Blasters, Mojo Nixon, Meat Puppets, the Beat Farmers, Rubber Rodeo, Rank and File, and Jason and the Scorchers.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Many of the musicians in this scene subsequently became associated with alternative country, roots rock or Americana.
Etymology and characteristicsEdit
The term "cowpunk" is first attested in 1979, as a blend of "cowboy" and "punk".<ref name="Crystal, David 2014, p. 228">Template:Cite book</ref> The term "country punk" has been proposed as an equivalent term.<ref name="Loudermilk">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Both terms are sometimes hyphenated, especially in late 1970s or early 1980s sources (e.g., cow-punk or country-punk).
In 1984, Robert Palmer wrote in the New York Times on the emerging aesthetic acknowledged "cowpunk" as one of several catch-all terms critics were using to categorize the country-influenced music of otherwise unrelated punk and new wave bands. The article briefly summarized the music's history, at least in the United States, saying that in the early 1980s, several punk and new wave bands had begun collecting classic country records, and soon thereafter began performing high-tempo cover versions of their favorite songs, and that new bands had also formed around the idea. By 1984, there were dozens of bands in both the U.S. and England "personalizing country music and making it palatable for the MTV Generation."<ref name="Palmer">Template:Cite news</ref>
A New York Times writer stated that one issue with the "cowpunk" term was that "...no single term really describes the music of all these bands."<ref name="Crystal, David 2014, p. 228" /> Another author called the term "cowpunk" a critic-coined "misnomer" in 1985.<ref>Template:Cite book</ref> A 2018 article looking back at the 1980s trends states that the "...diversity of styles beyond punk proper" in cowpunk, "...for some, made the category...suspect, [or] at least misleading."<ref name="Loudermilk" />
HistoryEdit
PrecursorsEdit
The first cowpunk bands in the late 1970s "...were inspired not by mainstream country but classic country, a more authentic-sounding music but also historically distant enough to be non-mainstream by default..."<ref name="Loudermilk"/> There were precedents for blending country and related genres with rock or other styles. For example, all through the 1970s, country rock and southern rock were popular. However, by the early 1980s, the outlaw country trend had "worn out its welcome".<ref>McLeese, Don. Dwight Yoakam: A Thousand Miles from Nowhere. University of Texas Press, 7 March 2012. p. 63</ref> Another factor that made country music unappealing to many youth in the early 1980s was that it was perceived as being on the "wrong side" in the "culture war", as country music was associated with conservative political values and highly-produced commercial music.<ref name="McLeese, Don 2012. p. 63-64">McLeese, Don. Dwight Yoakam: A Thousand Miles from Nowhere. University of Texas Press, 7 March 2012. p. 63-64</ref>
Don McLeese said the ways that youth associated country music made them not realize that it had youthful, exuberant "hillbilly music" roots in earlier eras.<ref name="McLeese, Don 2012. p. 63-64"/> Joey Camp says he was turned off country as a teen in the early 1980s because he mistakenly thought that the "...countrypolitan fare" then popular on commercial radio, such as "Islands in the Stream" by Kenny Rogers and Dolly Parton, "Queen of Hearts" by Juice Newton, and "Always on My Mind" by Willie Nelson" was the extent of country music.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Music writer Peter Doggett has stated that there has been a "difficult relationship between punk and country" since musicians from the two genres first encountered each other, but they did manage to meet and blend their styles.<ref name="ReferenceA">King, Ian. Appetite for Definition: An A-Z Guide to Rock Genres. HarperCollins, 2018</ref> As well, some new wave bands "displayed blatant country influences".<ref name="ReferenceA"/>
Early cowpunk bands were more appealing to alternative, non-mainstream youth from the 1980s, as some cowpunk bands explored "queer" themes in their lyrics, or identified or appeared in an androgynous manner.<ref name="Loudermilk"/> By the early 1980s, punk audiences did come to appreciate a blend of punk and rockabilly, when the new subgenre of psychobilly emerged, with bands such as the Cramps.
1970sEdit
In 1978, Rosie Flores led Rosie and the Screamers, a band that one author calls a "cow-punk" group.<ref>Carlin, Richard. Country Music: A Biographical Dictionary. Routledge, 2014</ref> T. Tex Edwards, the singer for Dallas area punk band the Nervebreakers, which opened for the Ramones in 1977 and the Sex Pistols on their 1978 US Tour, went on to cowpunk and other country-influenced groups. After The Nervebreakers, influenced by the Cramps and Gun Club he started Tex & The Saddletramps.
1980sEdit
In the early 1980s, punk groups such as L.A. band X, "...began to lean toward the twangy side, providing a subgenre that became known as cowpunk".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Dead link</ref> The L.A. cowpunk bands like X tended to be as intentionally sloppy, against "slick" production values, and anti-commercial as the punk genre they had "morphed" from, often from "blitzkrieg bands" (for example, the Dils became cowpunk band Rank and File).<ref>McLeese, Don. Dwight Yoakam: A Thousand Miles from Nowhere. University of Texas Press, 7 March 2012. p. 59</ref> In the 1980s, Rosie Flores left the Screamers and joined a cowpunk all-female band called Screamin' Sirens.<ref>Gary Indiana, "Screamin' Sirens," Flipside, whole no. 49 (Summer 1986), pp. 18–19.</ref>
UK groups include the country-tinged pop band Boothill Foot Tappers and the tongue-in-cheek new wave outfit Yip Yip Coyote.
There are a number of U.S. bands: X, the Blasters, Meat Puppets, the Beat Farmers,<ref>Template:Cite news</ref> Rubber Rodeo (which "juxtaposed countrypolitan elements and more conventional rock postures" in homage to "a pop-culture west rather than a geographic or historic one"), Rank and File (playing "an updated version of 1960s country-rock"), Jason and the Scorchers (with "authentically deep country roots"), Tex & the Horseheads, Blood on the Saddle<ref>Reynolds, Simon. Rip it Up and Start Again: Postpunk 1978-1984. Faber & Faber, 2009. Ch. 24.</ref> 1984), Dash Rip Rock, Drivin' n Cryin', Fetchin Bones (from North Carolina), the Rave-Ups, Concrete Blonde, Great Plains (from Ohio), and Violent Femmes (at that time incorporating "mountain banjo, wheezing saxophones, scraping fiddle, twanging jew's harp, and ragged vocal choruses").<ref name=NYT84/>
The Del-Lords formed in New York City in 1982,<ref name="time86">Cocks, Jay; L., Elizabeth. Music: Where the Lifeline Is. Time. 4 August 1986. Retrieved 9 November 2010</ref> founded by the Dictators' guitarist Scott Kempner. The band's cowpunk sound combined elements of 1960s garage rock with country, blues and folk influences. They were one of the early originators of urban roots-rock. The band members were Scott Kempner, Manny Caiati, Eric Ambel and Frank Funaro.
Nine Pound Hammer is an American hardcore-cowpunk band formed in 1985 by vocalist Scott Luallen and guitarist Blaine Cartwright in their hometown of Owensboro, Kentucky. They were one of the first rural hardcore punk bands to incorporate rural blue collar motifs into the hardcore sound. Their lyrics (suggestive of outlaw country) featured themes such as alcoholism, rural poverty, and violence. In contrast, most of the urban, experimental cowpunk bands of 1970s/80s Los Angeles and the UK were roots rock, folk rock or New Wave bands, and they incorporated country music instruments and influences as a secondary (sometimes temporary) aspect of their sound.
In Social Distortion's album Prison Bound (1986–1988), the band makes a notable style change, exploring a country/western flavor . This record marks the start of the band's entrance into a cowpunk style. Country legend Johnny Cash and a honky tonk style became more prominent influences and there are references to Cash.
Lone Justice is a Los Angeles cowpunk band.<ref>Chrispell, James. ""Shelter – Lone Justice" Template:Webarchive", AllMusic, 2014. Retrieved 31 December 2014.</ref> SPIN magazine also named Long Ryders, Danny & Dusty, and Mekons as from the genre.<ref name="Eddy, Chuck 2010">Eddy, Chuck. After thrashy nihilism flamed out, cowpunk giddy-upped from the ashes. SPIN. August 2010.</ref>
In Canada, prairies singer k.d. lang was called a "Canadian Cowpunk" in the 20 June 1985 issue of Rolling Stone.<ref>Adria, Marco. Music of Our Times: Eight Canadian Singer-Songwriters. James Lorimer & Company, 1990. p. 147</ref> In the late 1980s, Edmonton-based Jr. Gone Wild has been called a "[c]risp, cheerfully honest" example of ,"...that "cowpunk" thing, sure — but really it's just the sugary-yet-direct indie rock of its time, poppy and looking back more than a little at the Gram Parsons side of the Byrds."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In 1987, the independent film Border Radio was associated with the cowpunk scene. The film, which is directed by Allison Anders, Dean Lent and Kurt Voss, is about two musicians and a roadie who haven't been paid who rob money from a club and one of whom flees to Mexico leaving his wife and daughter behind. It features music from the Flesh Eaters, Green on Red, John Doe, the Divine Horsemen, X, and the Blasters.
Cowpunk made its mark on mainstream country radio for a brief period from 1987-1990 with the emergence of super-duo Foster & Lloyd. The video for their debut single Crazy Over You received extensive airplay on CMT. The radio single peaked at #4 on Billboard and #1 on the now defunct Radio & Records chart.
By the late 1980s, high-end firms tried to capitalize on the cowpunk trend by selling expensive country western-themed merchandise. In 1989, The Washington Post reported that "...the biggest trend, especially at NM [Neimen-Marcus], is Madison Avenue cowpunk—costumes for trust-fund Cowboy Junkies ranging from hand-stenciled "Indian" deerskin jackets by Ralph Lauren for her ($2,200) to western-style yoke-front tuxedos ($1,975) that are the visual equivalent of a Lonesome Strangers song. There's a Busch commercial/"Young Riders" yellow duster in lambskin ($1,200) that quite outshines the honest canvas one from J. Peterman ($184)."<ref>Template:Cite news</ref>
1990sEdit
In 1990, SPIN magazine called the Dead Milkmen a cowpunk band, also noting that they have been called "scruff rock".<ref>SPIN magazine. June 1990. p. 25</ref> In 1991, a reviewer called the Vandals a cowpunk band, while noting that by this year, the band was moving away from cowpunk towards a mix of metal with a touch of pop.<ref>Popson, Tom. LOVICH REISSUED ON CD; VANDALS QUIT COW-PUNK. CHICAGO TRIBUNE. 20 September 1991.</ref>
Dan Baird is an American singer-songwriter, musician and producer<ref name="LarkinHM">Template:Cite book</ref> best known as the lead singer and rhythm guitarist from the chart-topping 1980s rock band the Georgia Satellites, who is often credited as one of the pioneers in cowpunk and alt-country music, as his songs combine elements of rock music, country music, outlaw country, and punk rock.<ref>Template:Cite book</ref>
Goober & the Peas were a cowpunk band from Detroit, Michigan, active from 1990 to 1995, known for blending odd humor to a darker side of country music and indie rock (and for Jack White of the White Stripes having served as drummer for a period). The band was known for their frenetic live shows.
The Damn Band is the cowpunk-influenced backing band of Hank Williams III. It was formed in 1995 and consists of acoustic guitar (played by Williams), steel guitar, fiddle, bass, drums, electric guitar and banjo.
Steve Kidwiller, the former guitarist of punk rock band NOFX (on their 1989 and 1991 records) subsequently joined cowpunk band Speedbuggy USA.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> in 1994.
Following the breakup of Nine Pound Hammer in 1997, guitarist Blaine Cartwright formed Nashville Pussy, a Grammy-Nominated American rock & roll band from Atlanta, Georgia that has been called a mix of cowpunk, psychobilly, Southern rock, and hard rock, as well as "sleaze rock".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The American rock and roll band Supersuckers' fourth studio album, Must've Been High (1997) was called their first cowpunk album.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was released on 25 March 1997, via Sub Pop.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
2000s to presentEdit
In the 2000s, Those Darlins were called a cowpunk act.<ref name="Eddy, Chuck 2010"/>
Black Stone Cherry were formed in 2001 by Chris Robertson and John Fred Young, the son of Richard Young of the Kentucky Headhunters. Their unique musical style combines southern rock with heavy metal and grunge.<ref>Black Stone Cherry review at allmusic</ref>
Vandoliers, a band formed in 2015 by Jenni Rose, following the dissolution of her Fort Worth-based punk trio The Phuss.<ref name="Steward 2017">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Rolling Stone 2017">Template:Cite magazine</ref> She met members from The Marty Stuart Show and learned more about the similarities between punk and country.<ref name="Grubbs 2017">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The band's album The Native is noted for ushering in a cowpunk resurgence.<ref name="Vice 2017">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="No Depression 2017">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="McKenna 2017">Template:Cite magazine</ref>
In the 2010s, both Bloodshot Records artists Lydia Loveless and Sarah Shook's band were classified country-punk or cowpunk.
Other cowpunk groups of the 2000s and 2010s included Old Crow Medicine Show, Brazilian Matanza, Those Darlins, the Waco Brothers, 7 Shot Screamers, and Blackfoot. Danish hellbilly group Volbeat specialise in heavy metal infused covers of classic country songs.
Fashion and aestheticEdit
The cowpunk clothing style is a stereotypical U.S. rural, working class, western wear form of dress. Cowpunks may wear anything from a vintage western wear look, including checked shirts, bib overalls, worn jeans, and cowboy boots, to a more industrial look with wifebeater shirts, trucker hats, and work boots. Women's hair follows no single style, but men can have anything from a crew cut to long hair, or the exaggerated quiff pompadour hairstyle. Facial hair is also common.<ref name="apparelsearch">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
See alsoEdit
ReferencesEdit
BibliographyEdit
- Einarson, John. Desperados: The Roots of Country Rock. New York: Cooper Square Press, 2001
- Haslam, Gerald W. Workin' Man Blues: Country Music in California. Berkeley: University of California Press, 1999
- Wolff, Kurt. The Rough Guide to Country Music. London: Rough Guides, 2000.
- Hinton, Brian. "South By South West: A Road Map To Alternative Country" Sanctuary 2003
Further readingEdit
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