Recently, it has been nearly impossible to go on social media without hearing Ella Langley say, “And I said, Baby, I think you’re gonna wanna hear this…” Her latest single “you look like you love me,” a duet with Riley Green, has quickly become one of the biggest songs on the internet, and rightfully so. The traditional country sounds of pedal steel guitar and saloon piano paired with an infectious chorus and Riley Green’s presence turn it into a fun, flirtatious duet. However, the use of spoken words in the verses makes the song stand out. The term “spoken word” generally refers to any recitation of poetry; in the context of country music, spoken word is often mixed in with melodies to create contrast and draw the listener’s attention. While plenty of other genres, perhaps most notably hip hop, utilize spoken word differently, country music is unique. When used correctly, spoken word can be a great narrative device, truly elevating a country song’s storytelling by grabbing the audience’s attention. Numerous country artists have employed this technique throughout the years. We’ve listed a few notable country artists who have skillfully integrated spoken word interludes over the years.
Hank Williams Sr is often credited as country music’s first true superstar. Known as the Hillbilly Shakespeare, Williams was known for his exceptional songwriting ability and his lonesome voice. In the 29 years he was on this earth, he influenced more country singers and songwriters than perhaps anyone else in the genre’s history. By 1950, Hank had written a collection of incredibly dark songs, lugubrious poems, and moralistic narrations. He began recording them under the pseudonym “Luke the Drifter” with his producer Fred Rose. Hank Williams as Luke the Drifter, a 14-track record featuring these spoken lamentations, was released posthumously by MGM in 1953, months after Hank Williams’ tragic death. The incredibly morbid tracks delve into themes of gambling, suicide, morality, and religion. As Luke the Drifter, Hank Williams is one of the most famous early examples of spoken word use in country music.
Johnny Cash famously used spoken words in hits like “A Boy Named Sue.” The most well-known version of the song, originally a poem by Shel Silverstein, was recorded live at California’s San Quentin State Prison. It humorously narrates the life of a boy named Sue, and the use of spoken word enriches the storytelling aspect of the song, making it a memorable and impactful piece in Johnny Cash’s repertoire. The song, which reached #2 on the Billboard Hot 100 chart in 1969, effectively combines elements of country music and comedy with spoken storytelling to create a unique and engaging listening experience.
Throughout the years, spoken word has bridged country music with southern comedy. In the 1970s and 1980s, comedians like Jerry Clower often performed on the Grand Ole Opry and opened for country singers. Clower’s tales of southern life, frequently centered around the misadventures of his friends the Ledbetters and Uncle Versie, could often be seen on the country charts and heard on the airwaves of country radio stations in the 1970s.
In 1984, Ray Stevens famously released “Mississippi Squirrel Revival,” a novelty track with an absurd narrative of a squirrel getting loose in church in the “sleepy little town” of Pascagoula, Mississippi. The song goes back and forth between spoken word verses detailing the squirrel’s reign of terror and catchy, gospel-influenced choruses. Reaching the top 20 on the Hot Country chart in 1985, “Mississippi Squirrel Revival” is a hilarious example of spoken word adding vivaciousness to a narrative through sheer absurdity.
In 1975, David Allan Coe delivered one of the most unique uses of spoken-word storytelling with the fourth-wall-breaking “You Never Even Called Me By My Name.” The light-hearted tune was drunkenly written in a New York City hotel room by John Prine and Steve Goodman. It was penned as a parody of country music and featured loose impersonations of various country singers while listing off classic country tropes about a breakup. However, Prine requested not to be credited as a writer because he did not want to offend the country music community. Goodman infamously pitched the song to David Allan Coe as “the perfect country and western song.” David Allan Coe jokingly told him he had omitted a few genre cliches. Goodman then wrote another verse, hilariously cramming every cliche Coe mentioned into four lines. In the studio recording of the song, Coe takes a moment to recount how the final verse came to be. After speaking through the story, Coe croons Goodman’s iconic final verse about “Mama, trains, trucks, prison, and getting drunk.”
Just two years before the release of “You Never Even Called Me by My Name,” Dolly Parton penned what is widely considered one of the most beautiful songs of all time, “I Will Always Love You.” The song was famously written as a goodbye to her long-time performing partner Porter Wagoner, as Parton was venturing out as a solo artist. It featured bittersweet spoken verses and one of the most emotional choruses ever composed. Parton scored a #1 hit with the song in 1974, and it was later covered by Whitney Houston in 1992. Houston’s take was number one on the Hot 100 for 14 straight weeks. “I Will Always Love You” used spoken words to pull on listeners’ heartstrings by sharply contrasting the soft whispering verses and powerful choruses.
The bridge of George Jones’s “He Stopped Loving Her Today” serves as one of the most haunting examples of spoken word used as a narrative device. Widely regarded as the greatest country song of all time, “He Stopped Loving Her Today” tells the tragic tale of a man who could never move on from a woman he vowed to love until he died. After years of holding on to pictures, letters, and hope that his love would come back, the man finally dies and thus is no longer in love. The bridge of the song is a soft-spoken narration of the woman coming to the funeral to pay her respects while his friends state that he is finally over her for good. The song came in what seemed to be the twilight of Jones’s career. He had recently gone through a very public divorce with Tammy Wynette, which caused him to spiral into extreme drug use and alcoholism to the point where he would often get too drunk or high to perform his scheduled shows.
Jones’s producer Billy Sherrill, claimed that Jones was in such bad physical shape that he could not make it through the spoken recitation during the original recording session without slurring his speech and it had to be overdubbed 18 months later. Due to his drug and alcohol issues, along with the fact that he had not had a #1 song in over six years, country fans and critics alike were ready to give up on George Jones. However, “He Stopped Loving Her Today” was released in April of 1980, and it quickly shot to #1 on the country charts; the song earned Jones a Grammy, an ACM, and two CMA awards, relaunching a fading George Jones back into country stardom.
Spoken words continued to be utilized into the 21st century. Brad Paisley had a series of skits running through a stretch of his albums, which featured the “Kung Pao Buckaroos,” an assembly of Grand Ole Opry stars consisting of George Jones, Buck Owens, Little Jimmy Dickens, and Bill Anderson. The Kung Pao Buckaroos made their first unofficial appearance on Paisley’s 2001 sophomore album, Part II, when Buck Owens, George Jones, and Bill Anderson were featured on a spoken track titled “Too Country.” Most of Brad Paisley’s albums throughout the 2000s featured the Kung Pao Buckaroos in at least one skit and sometimes in hidden tracks not listed in the liner notes. The skits brought an element of respect for the genre’s history and a humorous aspect that set Paisley’s records apart from his contemporaries.
Through the 2000s and heading into the 2010s, many popular country songs, such as Toby Keith’s “Red Solo Cup” and Brooks & Dunn’s “Believe,” featured prominent spoken parts. However, perhaps the most controversial artist to weave spoken cadences with his melodies, Sam Hunt, quickly rose to fame in 2014 with the release of his debut album Montevallo. The record was chock-full of hip-hop-inspired songs featuring Hunt effortlessly slipping between spoken recitations and melodic lines. Hunt’s heavy lean on hip-hop-influenced production was very polarizing and, unfortunately, boosted the pop-country movement of the 2010s. Even so, there is no denying the success Hunt achieved by using his signature spoken word flow in his music.
Spoken word has been a distinctive and transformative element in country music, bridging the gap between narration and melody to elevate storytelling. From the heartfelt laments of Hank Williams Sr. to the humorous tales of Johnny Cash and Ray Stevens, the spoken word has enriched the genre’s narrative depth and emotional impact. In the modern era, Sam Hunt’s innovative fusion of spoken word with hip-hop influences demonstrates its evolving role in contemporary country music. Spoken word can make or break a song. When used effectively, it can bring a song to life and grab our attention as listeners; other times it can be off-putting and distracting. Regardless, spoken word is a medium of storytelling that has played a role in country music since the beginning and continues to do so today. As artists like Ella Langley continue to explore and innovate within this tradition, spoken word remains a testament to country music’s enduring ability to tell compelling stories in unique and memorable ways.
