4 Times Country Stars Took Great Songs and Made Them Even Better by Going Acoustic

The acoustic guitar has long been at the center of country music. In the early days of the genre, it was the only kind of guitar available. Even after the introduction of electric guitars, many country artists still clung to the acoustic for its warm and traditional sound. The same is true today. Usually, though, the acoustic guitar only serves as a part of the backdrop for vocals and a host of other instruments.

Many fans believe that a good song doesn’t need a full-band arrangement. Those in that camp stand firm on the belief that if a country song is good enough, it only needs an acoustic guitar and a talented singer to get the message across. The songs below prove that sometimes, the acoustic version of a song outshines its full-band counterpart.

Guy Clark’s Solo “L.A. Freeway” Is Acoustic Country at Its Finest

Guy Clark wrote “L.A. Freeway” and included it on his 1975 debut album Old No. 1. It’s a near-perfect song that is an early indication of Clark’s prowess as a songsmith. The original version includes a fiddle, harmonica, keys, and backup singers sprinkled tastefully throughout the song with Clark’s voice and guitar leading the way. It is, in short, a beautiful composition.

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Earlier this year, Clark’s estate released Truly Handmade, Vol. 1, a collection of demos of some of his best-loved songs. The album opens with his demo recording of “L.A. Freeway.” Stripped down to just Clark’s voice and his acoustic guitar, this country classic gets a new life. This rough demo version allows Guy’s vocals to breathe and really drive home the emotions in the lyrics.

Tyler Childers’ Acoustic “Honky Tonk Flame” Hits Harder

Tyler Childers wrote “Honky Tonk Flame” and included it on his 2017 album Purgatory. The full-band version of the song is great. The arrangement serves as a nearly perfect backdrop over which Childers seemingly tells the beginning of his and Senora May’s love story.

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However, the country star’s acoustic recording of the song for Radio Bristol is, subjectively, the superior version. For starters, he introduces “Honky Tonk Flame” with the still unreleased song, even without the addition of the still unreleased “Out on a Drunk.” For starters, Childers is a top-tier guitarist and much of that gets lost in the album mix. More than that, the emotion in his voice comes through raw and clear in the solo recording whereas he sounds more even-keeled in the album version.

Vince Gill’s Acoustic “Whenever You Come Around” Is Country Gold

Written about Amy Grant not long after he met her for the first time “Whenever You Come Around” is one of Vince Gill’s most touching songs. The album version, though may be a little too slick for some fans. It’s a beautiful piano-driven song full of love and longing.

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Gill’s acoustic version of the song sounds more country while delivering the same level of love and longing. In fact, like most acoustic recordings, this live version removes the production that can often get in the way of the raw emotion at the heart of the song. At the same time, hearing Gill play the guitar is always a treat, even if he’s just strumming rhythm while he sings.

Dwight Yoakam’s Solo Acoustic “Bury Me” Highlights All of the Longing

Dwight Yoakam wrote “Bury Me” and included it on his 1984 debut album Guitars, Cadillacs, Etc., Etc. as a duet with Maria McKee. While never released as a single, “Bury Me” is a highlight of the album. Telecaster twang, fiddles, and driving drums along with McKee’s vocals make this a country classic.

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Lyrically, this song sees Yoakam—a Kentucky native who moved to Los Angeles in hopes of finding fame—longing for home. More specifically, he sings about his desire to be buried in his home state along the Big Sandy River. While the album version is a killer country song, it doesn’t deliver the same level of longing and sadness as the acoustic recording.

In 2000, Yoakam released dwightyoakamacoustic.net, a collection of acoustic renditions of some of his biggest hits and best-loved songs. It opens with this recording of “Bury Me” which sets the tone for the collection.

Featured Image by Jason Kempin/Getty Images for the Country Music Hall of Fame and Museum