Hank Williams remains an undisputed titan in the realm of country music, and his songs continue to resonate deeply with audiences worldwide. His tragically short but incredibly prolific career left an indelible mark on music history, influencing not only country but also rock and roll and countless artists across genres. To truly understand the foundations of modern American music, exploring the catalog of Hank Williams Songs is essential.
Hank Williams performing with his guitar
While the cliché of rock and roll’s origins being solely a blend of blues and country is overly simplistic, the profound influence of country and western music, particularly artists like Hank Williams, cannot be overstated. We’ve previously explored figures like Bob Wills, but to fully appreciate the breadth of country music’s impact, we must delve into the world of hillbilly boogie and its most iconic figure, Hank Williams.
Hillbilly boogie, a vibrant genre emerging from Western Swing, served as a crucial stepping stone towards rock and roll. Characterized by country instrumentation – guitars, fiddles, steel guitars – infused with boogie rhythms, it became the soundtrack to late 1940s and 1950s working-class white America. Themes of drinking, fighting, and romance dominated, but within this seemingly simple framework lay a powerful musical force, capable of genuine artistry.
The hillbilly boogie movement gained momentum in 1945 with Arthur Smith’s “Guitar Boogie,” a relatively refined example showcasing Django Reinhardt’s influence. However, the genre quickly evolved into a rawer, more visceral sound, exemplified by Tennessee Ernie Ford’s “Shotgun Boogie.”
[excerpt: “Guitar Boogie” by Arthur Smith]
[excerpt: “Shotgun Boogie” by Tennessee Ernie Ford]
Today, we explore a song born from the creative minds of two country music giants: Hank Williams, the quintessential 1950s country star, and Moon Mullican, a master of hillbilly boogie and a pivotal, albeit less widely known, influence on early rock and roll.
While Hank Williams’ name is synonymous with country music, Moon Mullican’s contributions are often less recognized. Yet, Mullican, a piano virtuoso of hillbilly boogie, played with unparalleled speed and a driving left hand, laying the groundwork for legends like Jerry Lee Lewis. His music, a potent mix of country and blues influences, showcased the innovative cross-pollination happening in American music at the time.
[excerpt: Moon Mullican “What’s the Matter with the Mill?”]
Mullican’s artistry exemplifies a key aspect of musical evolution: the ability to absorb external influences and transform them into something unique. Instead of mere imitation, artists like Mullican incorporated elements from other genres, enriching their own style and paving the way for new musical landscapes. His incorporation of Cajun music into the mainstream country sound, for instance, became a significant conduit for its influence on rock and roll.
Cajun music, originating from the Cajun people of Louisiana, brought a distinct cultural flavor to American music. While the complexities of Cajun and Creole social dynamics are nuanced, their cultural contributions, particularly in cuisine, language (Cajun French), and music, are undeniable. This unique cultural tapestry is what sets Louisiana, and especially New Orleans, apart musically.
We’ve touched upon New Orleans music before, and Cajun music is undeniably woven into its fabric. Zydeco, a genre primarily developed by Creole people, shares close ties with Cajun music. The very name “zydeco,” possibly derived from a mispronunciation of “les haricots” (“the beans”) in the Cajun French phrase “Les haricots ne sont pas salés” (“the beans aren’t salty,” meaning “times are tough”), speaks to the cultural roots of the music. Clifton Chenier’s “Zydeco ne sont pas salés” is a prime example.
[excerpt “Zydeco ne sont pas sales”: Clifton Chenier]
Another related genre, fais dos dos music, predominantly played by white Cajuns, features the accordion and fiddle prominently, often with a Western Swing influence, as heard in Lawrence Walker’s “Bosco Stomp.”
[excerpt “Bosco Stomp”, Lawrence Walker]
Moon Mullican skillfully integrated fais dos dos music into the mainstream country sound. His hit “New Jole Blon” in 1951, reaching number two on the country charts, is a testament to this fusion.
[excerpt “New Jole Blon” by Moon Mullican]
“New Jole Blon” is a fascinating blend of fais dos dos and Western Swing, characterized by the “ahh” vocalizations reminiscent of Bob Wills, traditional country instrumentation (though less accordion-heavy), and a distinctly Louisiana melody. The lyrics, a mix of Cajun French and English, further emphasize its unique cultural identity, referencing Cajun cuisine and lifestyle. Mullican’s willingness to push melodic boundaries and incorporate diverse influences made his music truly distinctive.
While other Cajun musicians contributed to country music, Mullican stood out for his deep immersion in both Cajun and country traditions. This brings us back to the central figure of our exploration: Hank Williams.
It’s crucial to remember that even legends require introduction. For those unfamiliar, Hank Williams is arguably the most significant figure in country music history, especially post-Jimmie Rodgers. His impact is staggering: thirty-five top ten country hits, eleven of which reached number one, and a vast catalog of enduring country and gospel classics. Songs like “I Saw the Light,” “I’m So Lonesome I Could Cry,” “Your Cheatin’ Heart,” “Cold, Cold Heart,” and “Hey Good Lookin’” are just a fraction of his iconic discography. In his brief career, Hank Williams redefined country and western music.
His recording career, though spanning a mere six years (1946-1952), was transformative. Unlike the stylistic focus of Moon Mullican, Hank Williams demonstrated remarkable versatility. He excelled across various country subgenres while maintaining his signature sound. He didn’t just incorporate influences; he mastered and redefined entire styles within country music.
Williams began, like many of his era, with a Jimmie Rodgers-inspired style. Jimmie Rodgers, “The Singing Brakeman,” a pioneer of yodeling country blues, was immensely popular and influential in the early country scene. Rodgers’ collaborations, like “Blue Yodel Number 9” with Louis Armstrong and Lil Hardin Armstrong, highlight the cross-genre interactions prevalent in early 20th-century music.
[excerpt: “Blue Yodel Number 9”]
Despite the racial segregation of the time, musical boundaries were more fluid than often perceived. Jimmie Rodgers, considered the father of country music, collaborated with prominent black musicians, blurring genre lines. By the time Hank Williams emerged, he was firmly establishing his own unique voice, building upon but transcending the influences of his predecessors.
His first major hit, “Move It on Over” (1947), is a quintessential example of hillbilly boogie and foreshadows the rock and roll sound to come.
[Excerpt: “Move it on Over” by Hank Williams]
However, Hank Williams’ artistry extended far beyond hillbilly boogie. He recorded gospel, deeply moving ballads, and upbeat dance tunes with equal mastery. His songwriting prowess is undeniable, with his songs continuing to be covered extensively today. His enduring popularity is evident in the successful careers of his son and grandson, though neither quite matches his unparalleled talent.
Hank Williams’ appeal transcended racial barriers. Johnny Otis recounted a story of meeting Williams at a truck stop, highlighting Williams’ own appreciation for rhythm and blues. Fats Domino and numerous other R&B musicians were also known admirers. Hank Williams listened to and was respected by the rhythm and blues community, challenging any simplistic categorization based on genre or image. Even the pop audience embraced his songwriting, as evidenced by Tony Bennett’s rendition of “Cold, Cold Heart.”
[excerpt: Tony Bennett “Cold Cold Heart”]
By 1952, despite his immense success, Hank Williams faced personal struggles. At just twenty-eight, he battled severe back pain, alcoholism, and pill dependency. His personal life was in turmoil, marked by divorce and professional challenges, including impending dismissal from the Grand Ole Opry due to his unreliability.
Yet, amidst these difficulties, he remained country music’s brightest star, continuing to create exceptional music. In June 1952, he recorded “Jambalaya (On the Bayou),” a song likely co-written with Moon Mullican, though publishing contracts obscured Mullican’s official credit. Mullican also recorded his own version that same month, featuring slightly different lyrics. Let’s first listen to Mullican’s rendition.
[excerpt “Jambalaya” by Moon Mullican]
Now, let’s compare it to Hank Williams’ iconic version.
[excerpt: “Jambalaya” by Hank Williams]
Both versions share the core essence of the song, yet each bears the distinct sonic signature of its creator. Mullican’s version leans more heavily into the hillbilly boogie and Cajun influences, while Williams’ rendition embodies a more classic honky-tonk country sound.
Both tracks celebrate Cajun culture, particularly its festive spirit – the food, the music, the dancing. Lyrics like “Jambalaya, crawfish pie and filet gumbo” and “pick guitar, fill fruit jar, we’re gonna be gay-o” paint a vivid picture of Cajun celebration. This celebration is especially poignant considering the marginalized status of Cajun people in the broader American consciousness at the time. The song carries an undercurrent of defiance and cultural pride that resonates even today.
Notably, Chet Atkins, a legendary guitarist himself, played on Williams’ recording of “Jambalaya.” Atkins, while downplaying his “country guitarist” label, was a pivotal figure in country music and even contributed to early rock and roll. His presence on “Jambalaya” underscores the song’s significance within the country music landscape.
“Jambalaya” revealed a broader appetite within country music, one that transcended the confines of mainstream Nashville pop-country. Country music, often perceived as homogenous, possessed a surprising eclecticism and a closer kinship with the blues than commonly acknowledged. Its audience was more open to experimentation and innovation than prevailing media narratives suggested.
This openness within country music in the 1950s paved the way for various subgenres, many of which profoundly influenced rock and roll. Bluegrass emerged in the late 1940s, rockabilly gained momentum, and even regional sounds like the Bakersfield sound, while not directly impacting rock and roll, shared a similar raw energy.
“Jambalaya,” like “Choo Choo Ch’Boogie” in the R&B realm, achieved crossover appeal by blending diverse elements. Like the Cajun stew it’s named after, it combined ingredients from various musical traditions to create something far more appealing than the sum of its parts.
“Jambalaya” became a staple of early rock and roll, particularly beloved by Louisiana musicians like Fats Domino and Jerry Lee Lewis, who created dynamic piano-driven versions. While Hank Williams is primarily remembered as a country icon, his untimely death predated the rock and roll explosion. Had he lived longer, it’s conceivable he would be equally celebrated as a rockabilly pioneer.
[excerpts: “Jambalaya” by Fats Domino and Jerry Lee Lewis — short excerpts back to back]
Tragically, Hank Williams did not witness the full extent of his influence on the burgeoning rock and roll movement. Just six months after recording “Jambalaya,” he passed away at the young age of twenty-nine. His struggles with pain and addiction had intensified, leading to unreliability and a worsening health crisis. On New Year’s Eve 1952, en route to a New Year’s Day performance in Ohio, he died in the back of a car, asleep. His final single, “I’ll Never Get Out of This World Alive,” released just a month prior, eerily foreshadowed his fate. When his death was announced to the waiting audience, initial disbelief turned to shock and grief, marking the tragic end of a monumental career.
Hank Williams’ legacy lives on through his timeless songs. Exploring his catalog is not just a journey through country music history; it’s an exploration of the very foundations of American popular music. From heartfelt ballads to energetic boogie tunes, Hank Williams songs continue to captivate and inspire generations of musicians and listeners alike.
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