Bakersfield Sound

Bakersfield Sound is a genre of country music that originated in Bakersfield, California in the 1950s. It was developed as a response to the slick, string-laden productions of Nashville sound, which was popular at the time. The roots of Bakersfield Sound can be traced back to the migration of Oklahomans and Texans to California during the Great Depression. These migrants brought with them a love of country music, which had a significant influence on the music scene in California. However, it was not until the 1950s that a unique style emerged in Bakersfield. Buck Owens is widely considered to be the father of Bakersfield Sound. Owens was born in Texas and raised in Arizona, but he moved to Bakersfield in the early 1950s to pursue a career in music. He started to play honky-tonk music, which was inspired by the likes of Hank Williams. Owens formed a band called The Buckaroos, and they started to play at local clubs in Bakersfield. The band's sound was simple and raw, with twangy guitar and a driving rhythm section. This sound stood in stark contrast to the polished productions coming out of Nashville. In 1957, Owens signed a record deal with Capitol Records, which helped to introduce Bakersfield Sound to a wider audience. His debut album, "Buck Owens Sings Harlan Howard," was a hit, and it spawned several hit singles, including "Second Fiddle" and "Under Your Spell Again." Other artists soon picked up on the Bakersfield Sound. Merle Haggard, who was born in Bakersfield, started to play in local clubs in the early 1960s. He was greatly influenced by Owens, and he went on to become one of the most successful country artists of all time. In addition to Owens and Haggard, there were many other artists who helped to develop the Bakersfield Sound. Wynn Stewart, Don Rich, Tommy Collins, and Red Simpson all contributed to the genre with their twangy guitars, driving rhythms, and heartfelt lyrics. One of the defining characteristics of Bakersfield Sound was its rejection of Nashville's country music establishment. Bakersfield artists were seen as rebels, and they were proud to be so. They rejected the notion that country music had to sound a certain way and instead created a sound that was uniquely their own. Bakersfield Sound's influence can still be heard today. Many contemporary country artists cite Buck Owens and Merle Haggard as major influences, and the sound of Bakersfield continues to inspire new artists.

Buck Owens: An influential figure in country music, Buck Owens is often referred to as the “godfather of the Bakersfield Sound”. His distinctive sound veered away from the traditional Nashville sound of the time, incorporating elements of honky-tonk and rock and roll. Merle Haggard: Another prominent figure in the Bakersfield Sound, Merle Haggard’s music always had a political and social undertone. His hard-hitting lyrics, delivered in a raw, unvarnished style, landed him on top of the charts in the 60s and 70s. Bonnie Owens: Buck Owens’s ex-wife and duet partner, Bonnie helped bring a female perspective to the genre. Her powerful voice and emotional delivery made her a well-respected country singer in her own right. Red Simpson: A songwriter and singer known for his light-hearted, humorous approach to country music, Red Simpson became a key player in the Bakersfield Sound scene. His songs like “I’m a Truck” and “Roll Truck Roll” were some of the most successful compositions within the sub-genre. Wynn Stewart: An early pioneer of the Bakersfield Sound, Wynn Stewart was known for his smooth voice and classic honky-tonk style. Some of his biggest hits include “It’s Such a Pretty World Today” and “Cause I Have You”. Tommy Collins: A key player in the development of Bakersfield Sound, Tommy Collins was among the first to integrate rock and pop elements into his music. He had a string of hits in the 50s such as “You Better Not Do That” and “If You Can’t Bite, Don’t Growl”. Jean Shepard: Known for her “horn-rimmed glasses” style and signature voice, Jean Shepard was one of the leading female voices in the Bakersfield Sound movement. Her music often touched on issues like heartbreak and the struggles of working-class Americans. Bakersfield Sound All-Stars: A supergroup consisting of Buck Owens, Merle Haggard, Wynn Stewart, and others, the Bakersfield Sound All-Stars played a crucial role in popularizing the genre beyond California. Their ability to blend various musical styles made them a popular act in the 60s and 70s. Ferlin Husky: Not quite a Bakersfield native, Ferlin Husky still played an important role in popularizing the Bakersfield Sound. His career spanned several decades and included hits like “Gone” and “Wings of a Dove”. Kay Adams: A pioneer of the female honky-tonk singer, Kay Adams shone bright among male-dominated Bakersfield Sound scene. Her work with Buck Owens and Wynn Stewart helped pave the way for other female country artists to come.

1. "Okie From Muskogee" - Merle Haggard 2. "Act Naturally" - Buck Owens 3. "I've Got a Tiger by the Tail" - Buck Owens 4. "Together Again" - Buck Owens 5. "Mama Tried" - Merle Haggard 6. "Streets of Bakersfield" - Dwight Yoakam and Buck Owens 7. "Folsom Prison Blues" - Johnny Cash 8. "Sam's Place" - Buck Owens 9. "The Bottle Let Me Down" - Merle Haggard 10. "Hungry Eyes" - Merle Haggard 11. "I Don't Care (Just as Long as You Love Me)" - Buck Owens 12. "Buckaroo" - Buck Owens and The Buckaroos 13. "Who's Gonna Mow Your Grass?" - Buck Owens 14. "Silver Wings" - Merle Haggard 15. "My Heart Skips a Beat" - Buck Owens 16. "Swinging Doors" - Merle Haggard 17. "Only Daddy That'll Walk the Line" - Waylon Jennings 18. "If You're Going Through Hell (Before the Devil Even Knows)" - Rodney Atkins 19. "A Place to Fall Apart" - Merle Haggard and Janie Fricke 20. "Close Up the Honky Tonks" - Buck Owens and The Buckaroos 21. "If We Make It Through December" - Merle Haggard 22. "The Door" - George Jones 23. "Galveston" - Glen Campbell 24. "It's Not Love (But It's Not Bad)" - Merle Haggard 25. "Wake Up Little Susie" - The Everly Brothers (recorded in Bakersfield)

In “The Bakersfield Sound: How a Generation of Displaced Okies Revolutionized American Music” by Robert E. Price, the author traces the origin of the Bakersfield Sound to the influx of migrants from Oklahoma during the Great Depression. These migrants brought with them a love for country music, and they found a receptive audience in Bakersfield, a city that was experiencing rapid urbanization at the time. Price writes, “For the first time in American music, people were hearing original songs that reflected the travails and triumphs of an entire community of displaced Oklahomans. Haggard, Owens, and Stewart were the bardic voices of these proud, independent people.” Another notable book on the subject is “Twentieth-Century Drifter: The Life of Marty Robbins” by Diane Diekman. Though not all of Robbins’ music falls neatly into the category of the Bakersfield Sound, he was a pivotal figure in the development of the genre. Diekman writes, “Robbins was a star of the Grand Ole Opry and a favorite on the charts, but his real love was the Bakersfield Sound. It spoke to him in a way that the Nashville Sound never did.” In his book “Shotgun Boogie: The Origins of the Bakersfield Sound,” Mark A. Deming examines the style’s transition from a regional phenomenon to a national sensation. Deming argues that the Bakersfield Sound was a reaction to the slick, orchestrated sound that dominated mainstream country music in the 1950s. He notes, “Buck Owens, Merle Haggard, and their peers weren’t trying to create a new sound so much as they were trying to revive an older one, while putting their own stamp on it.” In addition to these books, many notable musicians and industry insiders have spoken about the Bakersfield Sound over the years. In a 1991 interview with The New York Times, Owens said, “The Nashville Sound drove me nuts. I was looking for something fresh, and I found it in Bakersfield.” Similarly, Haggard once said, “Bakersfield gave me what Nashville wouldn’t. Authenticity.” In a 2018 interview with Rolling Stone, country singer and Bakersfield native Dwight Yoakam said, “The Bakersfield Sound was like punk before punk. It was raw energy, stripped of all the frills.”

The external conditions that helped bring the Bakersfield Sound into existence were a combination of social, cultural, and technological factors. At the time of its inception, the country music industry was dominated by the Nashville Sound – a polished, orchestrated sound that favored commercial appeal over authenticity. In contrast, Bakersfield Sound eschewed this approach in favor of a rawer, honky-tonk-influenced sound that was more authentic and pared down. In the cultural context, Bakersfield was a small town with a predominantly blue-collar population. This setting gave rise to a country music style that focused on the grittier aspects of life – honky-tonks, truck driving, farming, and working-class struggles. The lyrics of Bakersfield Sound songs were often straightforward and blunt, with a focus on everyday experiences that resonated with listeners. Furthermore, the social context of the era contributed to the emergence of Bakersfield Sound. The 1950s and 1960s were marked by a growing countercultural movement that sought to reject mainstream values and champion individualism. As part of this cultural shift, artists associated with Bakersfield Sound actively worked to distance themselves from the Nashville establishment and create a new, independent voice in country music. This spirit of rebellion and anti-establishment sentiment aligned with the broader social context of the time, further fueling the appeal of Bakersfield Sound. Technologically, Bakersfield Sound was born just as new technologies were emerging that enabled recording studios to capture and reproduce sound in a more accurate and high-fidelity manner. As a result, Bakersfield Sound records had a more authentic and visceral feel than their Nashville counterparts. This was a crucial factor in making Bakersfield Sound a distinct sub-genre of country music. Notable record labels that were instrumental in the development of Bakersfield Sound include Capitol Records, which was home to artists like Buck Owens and Merle Haggard; and Tally Records, which released music by Wynn Stewart and Tommy Collins. These labels not only provided a platform for Bakersfield Sound musicians, but they also helped establish the sound as a distinct sub-genre within country music. Journalists and other figures were also key in establishing the Bakersfield Sound as a unique and influential style. For example, music critic Ralph J. Gleason played a significant role in championing Bakersfield Sound as an important part of the country music scene. He wrote extensively about the genre in publications like Rolling Stone and Downbeat magazine, helping to legitimize it in the eyes of the wider music world.