Retro Single Review: Alan Jackson, "Gone Country"

“I hear down there, it’s changed, you see.  They’re not as backward as they used to be.”

“Gone Country” is a snapshot of country music at the peak of the boom years, when forces within the music industry and larger shifts in the social landscape of America coalesced to launch country music from its long-suffering redheaded stepchild status into a billion dollar business.

Penned by Bob McDill, a pop songwriter who’d gone country himself many years earlier, the song’s sing-along chorus lends itself to “Born in the U.S.A.” syndrome.  Many sang along without realizing that it was actually an indictment of musical artists who manipulatively decided to go country, rather than a celebration of the explosive new audience that had embraced the format in the early nineties.

Who but Alan Jackson could have delivered it so masterfully? Even during the hat act years, when every young new buck was falling over himself to declare his affinity for Haggard and Jones, Alan Jackson stood out as the real deal.  But despite his staunch traditionalism and reverence for the genre’s greats, he still skillfully incorporated fifties rock, sixties pop and seventies rock into his sound, which is why he could cover “Tequila Sunrise” just as credibly as “A Good Year for the Roses.”

The man singing the song had reached mega-superstardom, selling more copies of one album than many of his heroes had sold of their entire catalog.   Even as he played the cocked-eyebrow guardian of the genre, looking at these carpetbaggers with disdain-laced suspicion, he also knew that the gold rush that was calling their names had made him successful beyond his wildest dreams.

So while there’s a whiff of condescension toward the Vegas singer going “back to her roots”, the folkie who thought “some of that stuff don’t sound much different than Dylan”, and the pop executive who was sure he’d  “be back in the money in no time at all”,  his confident air throughout the song was a reminder that all of their perceptions were based in truth.

Nineties country really did share some roots with the pop and rock music that lounge singers would belt out in Vegas.   Mary Chapin Carpenter, a folkie if there ever was one, was selling multi-platinum and dominating the award show circuit.  And while pop music was at its lowest nadir, languishing in the shadows of both grunge rock and hip-hop, country radio was the only place on the radio dial where bright production and lyrical emphasis could be found.

It was a golden moment in the genre’s history, the first and last time when country dominated the entire American musical landscape without having to compromise its own identity to capture the interest of the crossover audience.   They made smart, contemporary music that acknowledged and built upon the genre’s rich legacy, and the audience came to them.

These days, of course, they’re as backward as they’ve ever been.  Hillbilly pride songs compete for airtime with songs so blatantly pop that they don’t even need remixing for pop and AC airplay. But “Gone Country” is a beautiful snapshot of a time when buy generic viagra online the genre had risen to the top of the music scene, simply on the twin strengths of authenticity and artistry.

Written by Bob McDill

Grade: A

Next: A Good Year for the Roses (with George Jones)

Previous: Livin’ on Love



  1. “Grew up on Long Island” – my favorite line from the first verse of “Gone Country”. There are a kazillion country songs that mention Texas and a quite a few that mention Tennessee, but how many mention LI? Thank you Bob McDill – and he’s from Texas.

    Enjoyed the review including the point about the condescension for those who change their tune to advance their career – a familiar theme these days. Actually, I liked Gone Country from the first time I heard it and would have even if LI hadn’t been mentioned. I passed on Hillbilly Bone even though it mentions Queens.

  2. Fantastic summary of the significance of this song. The review touched on aspects that I had never even taken notice of. I’ve always generally enjoyed this song, though not necessarily regarding it as a favorite, but this review makes me appreciate it more than ever before.

  3. Fantastic review, and a great commentary on that decade, too. This is probably my favorite AJ radio single. (Favorite AJ song overall is another cut from Who I Am, “Thank God For The Radio.”)

    Regarding “Tequila Sunrise,” I’ve always thought Jackson’s rendition of that song is more country than a lot of what passes for it on the radio — a little bit when Common Thread was released, but more and more as the ’90s went on into the 2000s. Now it sounds positively Haggardesque in comparison.

    I might argue that Bob McDill was always country, but I’ll admit I’m a bit biased. (I spent almost 10 years in the Beaumont area and consider it more home than the town I grew up in.) Among other songs that came from his pen were “Amanda,” “Good Ole Boys Like Me,” and “Everything That Glitters (Is Not Gold).”

    I found out as I was attending Lamar University that McDill also went there. I thought that was kinda cool. As far as I know, he’s the school’s most famous alumnus. ;-)

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