11 Songs, 44 Minutes

EDITORS’ NOTES

Hank Williams, Jr. knows all about anthemic choruses and rallying his troops around contemporary concerns. In some ways, he’s a conservative good ol’ boy and in others he’s a hungry artist looking for a way to remain relevant. “Farm Song” opens 127 Rose Avenue with a firestorm of rock n’ roll percussion, out-of-control fiddling, and a vocal that wouldn’t sound out of  place on a hip-hop album. “Red, White & Pink Slip Blues,” the album’s first single slows things down and traces the recession for tax paying Americans who continue to see their jobs shipped elsewhere and are unable to earn a decent living. “Sounds Like Justice” looks at how much law and order money can buy. “High Maintenance Woman” is not the Toby Keith hit, but an original with similar themes and fiery guitar solos that would be hard rock by anyone’s estimation. “Last Driftin’ Cowboy” (with an opening sample from “Honky Tonk Blues”) and a blues-based approach to “Long Gone Lonesome Blues” continue his tributes to his late father and country legend. 

EDITORS’ NOTES

Hank Williams, Jr. knows all about anthemic choruses and rallying his troops around contemporary concerns. In some ways, he’s a conservative good ol’ boy and in others he’s a hungry artist looking for a way to remain relevant. “Farm Song” opens 127 Rose Avenue with a firestorm of rock n’ roll percussion, out-of-control fiddling, and a vocal that wouldn’t sound out of  place on a hip-hop album. “Red, White & Pink Slip Blues,” the album’s first single slows things down and traces the recession for tax paying Americans who continue to see their jobs shipped elsewhere and are unable to earn a decent living. “Sounds Like Justice” looks at how much law and order money can buy. “High Maintenance Woman” is not the Toby Keith hit, but an original with similar themes and fiery guitar solos that would be hard rock by anyone’s estimation. “Last Driftin’ Cowboy” (with an opening sample from “Honky Tonk Blues”) and a blues-based approach to “Long Gone Lonesome Blues” continue his tributes to his late father and country legend. 

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About Hank Williams, Jr.

He was born into the family business, but Hank Williams Jr. was always intent on burning it down and building it anew. At age eight, the boy nicknamed Bocephus was entrusted with keeping the legacy of his late father—country-music pioneer Hank Williams—alive through faithful cover renditions that endeared him to the country establishment but left him creatively stifled. “It was fun for the little boy to be doing Hank Williams,” he once said, “but it was hell for the man.” The Shreveport, Louisiana–born Williams found liberation in Southern rock: its renegade attitude inspired his 1975 outlaw-country bellwether Hank Williams Jr. and Friends. A near-fatal hiking accident that same year prompted him to cover up his resulting facial scars with the beard, sunglasses, and cowboy hat that became his signature bad-boy look. Since then, Hank Jr. has come to embody Southern culture, amassing a deep repertoire of raucous, boogie-woogie chart-toppers that celebrate debauchery and survival below the Mason-Dixon line. (His 1984 single “All My Rowdy Friends Are Coming Over Tonight” was adapted into the theme song for the ultimate beer-can-crushing ritual: Monday Night Football.) But that brash bonhomie has always been tempered by a deep-seated Dixie pride, one that’s let successors like Kid Rock, Gretchen Wilson, and Hank Jr.’s own metal-loving son, Hank III, unapologetically flaunt their roots.

HOMETOWN
Shreveport, LA
GENRE
Country
BORN
May 26, 1949

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