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Introduction

When Hank Williams Jr. released “A Country Boy Can Survive” in 1982, it wasn’t just another song—it was a declaration of resilience and rugged independence, striking a chord with rural audiences across America. Rooted in the backdrop of economic downturns and changing societal landscapes of the early 80s, this anthem gave voice to a segment of the population that prided itself on self-reliance and traditional values.

About The Composition

  • Title: A Country Boy Can Survive
  • Composer: Hank Williams Jr.
  • Premiere Date: January 1982
  • Album/Opus/Collection: The album The Pressure Is On
  • Genre: Country

Background

Hank Williams Jr. penned “A Country Boy Can Survive” as a reflection of his personal experiences and beliefs in the resilience of rural life. The song was released during a time of economic hardship in the U.S., especially impacting the rural communities. It quickly became emblematic of the country spirit, celebrated for its affirmation of self-sufficiency and rugged outdoor lifestyle. Initially received as a powerful statement from a well-established country artist, it further cemented Williams’ role as a spokesperson for the country way of life.

Musical Style

The song is characterized by its straightforward country composition, utilizing traditional instruments like the acoustic guitar, harmonica, and fiddle. The melody is haunting yet simple, emphasizing the song’s lyrical message over complex musicality. Williams’ vocal delivery is heartfelt and robust, which perfectly complements the song’s theme of enduring through tough times.

Lyrics/Libretto

The lyrics of “A Country Boy Can Survive” are a testament to the enduring human spirit against adversities. They narrate the story of a man who relies on his skills—hunting, fishing, and living off the land—to sustain himself and his loved ones. The song’s refrain, “Because you can’t starve us out and you can’t make us run,” serves as a rallying cry for those who feel overlooked by modern society.

Performance History

Since its release, “A Country Boy Can Survive” has been a staple in Hank Williams Jr.’s performances. It has resonated with audiences for its authenticity and emotional depth, maintaining popularity in concerts and radio play over decades.

Cultural Impact

The song’s influence extends beyond music; it has become an anthem for rural resilience and independence, often used in media depicting rural American life. Its message of survival and independence has also been embraced by various political and social movements, reinforcing its status as a cultural symbol.

Legacy

“A Country Boy Can Survive” continues to be relevant today, not just in the country music genre but as a cultural statement. It represents a timeless narrative of survival and resilience that continues to inspire and resonate with new generations.

Conclusion

“A Country Boy Can Survive” by Hank Williams Jr. is more than just a song—it’s a narrative that celebrates the enduring spirit of rural America. Its powerful message of self-sufficiency and resilience offers a window into the heart of the country lifestyle. For those looking to explore Hank Williams Jr.’s impact further, listening to this track on the The Pressure Is On album or experiencing it live can provide a deeper appreciation of its enduring appeal and significance

Video

Lyrics

The preacher man says it’s the end of time
And the Mississippi River, she’s a-goin’ dry
The interest is up and the stock market’s down
And you only get mugged if you go downtown
I live back in the woods you see
My woman and the kids and the dogs and me
I got a shotgun, a rifle and a four-wheel drive
And a country boy can survive
Country folks can survive
I can plow a field all day long
I can catch catfish from dusk ’til dawn (Yeah)
We make our own whiskey and our own smoke too
Ain’t too many things these old boys can’t do
We grow good-ole tomatoes and homemade wine
And a country boy can survive
Country folks can survive
Because you can’t starve us out and you can’t make us run
‘Cause we’re them old boys raised on shotguns
We say grace, and we say ma’am
If you ain’t into that, we don’t give a damn
We came from the West Virginia coal mines
And the Rocky Mountains, and the western skies
And we can skin a buck, we can run a trot line
And a country boy can survive
Country folks can survive
I had a good friend in New York City
He never called me by my name, just Hillbilly
My grandpa taught me how to live off the land
And his taught him to be a businessman
He used to send me pictures of the Broadway nights
And I’d send him some homemade wine
But he was killed by a man with a switchblade knife
For 43 dollars, my friend lost his life
I’d love to spit some Beech-Nut in that dude’s eyes
And shoot him with my old .45
‘Cause a country boy can survive
Country folks can survive
‘Cause you can’t starve us out and you can’t make us run
‘Cause we’re them old boys raised on shotguns
We say grace, and we say ma’am
If you ain’t into that, we don’t give a damn
We’re from North California and South Alabam’
And little towns all around this land
And we can skin a buck, and run a trotline
And a country boy can survive
Country folks can survive
A country boy can survive
Country folks can survive

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“THE BATTLE OF NEW ORLEANS” HAD JUST MADE HIM A GRAMMY WINNER. “NORTH TO ALASKA” WAS STILL MOVING. THEN JOHNNY HORTON LEFT AUSTIN AFTER A SHOW AND NEVER MADE IT BACK TO SHREVEPORT. Johnny Horton was not built like a quiet country singer. He had come through East Texas, California, Alaska, talent contests, radio work, and Louisiana Hayride stages before the big records finally caught him. He sang like a man chasing history with a fishing pole in one hand and a guitar in the other. “When It’s Springtime in Alaska” gave him a No. 1 country hit. Then “The Battle of New Orleans” made him enormous. By 1960, Horton had become the voice of country saga songs. “Sink the Bismarck” hit. “North to Alaska” followed, tied to the John Wayne film and still rising while Horton was working the road. He was only 35, but the songs had already made him sound like he belonged to some older American story — wars, frontiers, ships, frozen trails, men moving toward danger. On the night of November 4, 1960, he played the Skyline Club in Austin, Texas. After the show, Horton left for Shreveport with manager Tillman Franks and guitarist Tommy Tomlinson. Near Milano, Texas, their car collided with a truck on a bridge. Horton died on the way to the hospital. Tomlinson was badly injured and later lost a leg. Franks survived with serious injuries. The stage was behind them. Shreveport was still ahead. Johnny Horton died in the middle — between one club date and the next road home, while one of his biggest records was still out in the world singing about Alaska.

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“THE BATTLE OF NEW ORLEANS” HAD JUST MADE HIM A GRAMMY WINNER. “NORTH TO ALASKA” WAS STILL MOVING. THEN JOHNNY HORTON LEFT AUSTIN AFTER A SHOW AND NEVER MADE IT BACK TO SHREVEPORT. Johnny Horton was not built like a quiet country singer. He had come through East Texas, California, Alaska, talent contests, radio work, and Louisiana Hayride stages before the big records finally caught him. He sang like a man chasing history with a fishing pole in one hand and a guitar in the other. “When It’s Springtime in Alaska” gave him a No. 1 country hit. Then “The Battle of New Orleans” made him enormous. By 1960, Horton had become the voice of country saga songs. “Sink the Bismarck” hit. “North to Alaska” followed, tied to the John Wayne film and still rising while Horton was working the road. He was only 35, but the songs had already made him sound like he belonged to some older American story — wars, frontiers, ships, frozen trails, men moving toward danger. On the night of November 4, 1960, he played the Skyline Club in Austin, Texas. After the show, Horton left for Shreveport with manager Tillman Franks and guitarist Tommy Tomlinson. Near Milano, Texas, their car collided with a truck on a bridge. Horton died on the way to the hospital. Tomlinson was badly injured and later lost a leg. Franks survived with serious injuries. The stage was behind them. Shreveport was still ahead. Johnny Horton died in the middle — between one club date and the next road home, while one of his biggest records was still out in the world singing about Alaska.

THE YOUNG SHERIFF BECAME THE HILLBILLY HEARTTHROB. THEN, IN 1996, FARON YOUNG LEFT A NOTE SAYING THE BUSINESS HE HELPED BUILD HAD TURNED ITS BACK ON HIM. Faron Young had once looked like country music’s brightest kind of trouble. He came out of Louisiana, landed on the Louisiana Hayride, served in the Army, made movies, and turned into one of the most recognizable young faces in 1950s country. They called him the Hillbilly Heartthrob. “If You Ain’t Lovin’.” “Live Fast, Love Hard, Die Young.” “Hello Walls.” “It’s Four in the Morning.” For more than 30 years, his name kept finding the charts. He was not just a singer either. Faron backed younger writers, helped Willie Nelson by cutting “Hello Walls,” started the trade paper Music City News, and carried himself like a man who believed country music belonged to people who fought for it. Then the industry moved on. By the 1990s, Young’s health was failing. Emphysema made breathing hard. Prostate problems added more pain. Younger acts were rediscovering his music, but that did not erase the feeling that the business itself had no real place left for him. On December 9, 1996, at his Nashville home, Faron Young shot himself. He died the next day at 64. The cruel part was the timing. Country music had already taken his records, his swagger, his paper, his songs, and his help with younger writers. But near the end, Faron Young believed the same world had forgotten him. Four years later, he was inducted into the Country Music Hall of Fame. The honor came after the man who needed to hear it was gone.