It starts off with an electric guitar riff that sounds very similar to what you would hear on any hard rock album at the time but then takes off into a more traditional country tune that showcases TravisвЂ™ voice in all its glory. The song was written by Hank Cochran, who also wrote She Thinks I Still Care, which became a huge hit for George Jones in 1963.ДigginвЂ™ Up Bones is a great example of how country music can sound like rock without losing its identity. Randy Travis had already had some success with his album Storms Of Life when he released DigginвЂ™ Up Bones in 1989. There are only a couple of times that I can think of where these two genres collided in my life but one of those times was when I heard DigginвЂ™ Up Bones by Randy Travis for the first time. IвЂ™ve always loved both genres and have been a fan of a lot of the same artists. I grew up listening to country music and rock. CrystalвЂ™s version features a simple arrangement with just guitar and bass accompaniment, with occasional orchestral accompaniment during the chorus. The song was written by Harlan Howard, who wrote hundreds of songs for artists like Waylon Jennings, Willie Nelson and Kris Kristofferson. In this article, weвЂ™ll explore this trend and discuss some of the most successful examples of country music that sounds like rock.Д¬rystal Gayle released this song in 1978 and it became one of her biggest hits. Not only are there more country artists experimenting with rock and pop influences, but there is a growing number of rock bands who have moved to Nashville and blended their sound into traditional country. Why Have You Left The One You Left Me For (Crystal Gayle)Д¬ountry music is changing.

Conclusion for Country Music That Sounds Like Rock.

FAQs for Country Music That Sounds Like Rock.

If YouвЂ™Re Gonna Play In Texas (You Gotta Have A Fiddle In The Band) (Alabama).

Louisiana Saturday Night (Mel Mcdaniel).

Why Have You Left The One You Left Me For (Crystal Gayle).David Crosby always felt he was unfairly treated, that he didnвЂ™t get enough songs on the albums. It was always a little difficult politically because we could never do it quite evenly, and it was usually the producer who decided which songs ended up on the record. We decided to do more of our own material. We got a hit with вЂMr Tambourine ManвЂ™ and we thought, вЂWhy mess with success?вЂ™, but by the third album it was getting tired and we wanted to stretch out and see what else we could do. I still like to listen to it, and it caught on! Many other people have used it in their work. It was a different sound than you could get with an acoustic, so I had to get one of those! In the studio we put compression on it and it stretched out the sound, it made it sustain a good long time. I was already a 12-string player, IвЂ™d been playing it since the late вЂ™50s, and then we saw The Beatles with a Rickenbacker in A Hard DayвЂ™s Night. вЂњHaving said that, that early folk-rock sound is very pleasant, with the harmonies and jangling guitars. Like, вЂLetвЂ™s get out of folk-rock and do something elseвЂ™, which is why we got into John Coltrane. The only conscious effort was to get away from the labels the press kept putting on us. вЂњIt was always organic, it wasnвЂ™t a conscious effort at any point.

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