Country has always been intertwined with Christianity, which serves as one of its foundations. But unlike contemporary Christian music that tends to preach to a niche market, country music took a more digestible and gospel-influenced approach that skewed more Evangelical than Catholic.
For instance, in 1959, Charlie and Ira Loudermilk, better known as The Louvin Brothers, released the acclaimed album, Satan Is Real, which features some of the most entertaining cover artwork in music history. Aside from the unconventional cover, the songs found within follow a soulful brand of country gospel music that has grown in popularity since Ira’s death in 1965.
One song from Satan Is Real in particular would take on a life of its own, nearing the status of a country music standard.
Upon first listen, “The Christian Life” comes off as a straightforward ballad about following the path of God and not worrying about judgement from thy fellow man. The Louvin Brothers often penned songs from the perspective of the-down-and-out, but “The Christian Life” is different. The song unspools as an ecclesiastical celebration of walking in the Light.
Perhaps that’s why the song’s fervent message, defiant lyrics and vocal harmonies appealed to The Byrds, who recorded the most famous version of “The Christian Life” on their phenomenal 1968 country rock album Sweetheart of the Rodeo.
The Byrds’ mostly-sincere foray into country music consisted of nine covers — ranging from Woody Guthrie to Merle Haggard — and two original compositions by Gram Parsons called “Hickory Wind” and “One Hundred Years from Now.”
Never before Sweetheart had a rock band so deeply adapted to a different style of music than its own, throwing out the flanger pedal for a steel pedal guitar. Only Ray Charles’ 1962 Modern Sounds in Country and Western Music could compare to the inventiveness of non-country musicians cutting a country music record.
The floating steel pedal guitar by Jay Dee Maness that opens “The Christian Life” signifies the first improvement made from the original rendition. The Byrds’ version of the song was recorded with better production and better players like Maness and the legendary bluegrass guitarist Clarence White. The vocal harmonies between John McGuinn and either Chris Hillman or Parson — the credits are unclear in this case — invoke a clean-sounding choir standing on risers near the altar.
Most of The Byrds’ music centers around psychedelia, 12-string guitars and 60s counterculture, but Sweetheart makes an honest attempt to touch on each longstanding theme in American music. With “The Christian Life,” The Byrds choose to cover an overtly religious song and elevate it to something that can be enjoyed by the masses, believers and nonbelievers alike. And upon repeated listening, the track becomes an unshakable country-tinged earworm difficult to forget.
Throughout the final product and rehearsal takes, McGuinn pushes his voice with emotion preaching the song’s chorus, “I won’t lose a friend by heeding God’s call/For what is a friend who’d want you to fall,” to a point where it’s hard not to take him seriously. The performance not only matches The Louvin Brothers, but exceeds them.
When boiled down, “The Christian Life” is about following one’s heart and beliefs instead of giving into peer pressure and popular demand. In a way, The Byrds lived out this credo when its members decided to move away from their legacy of psychedelic music. But, unlike many outwardly Christian rock songs, this song can be universally enjoyed for its universal application and unmatched musicianship.
It doesn’t matter if The Byrd’s actually believed the song’s lyrics themselves or simply revered The Louvin Brothers’ work. The primary message is clear for anyone who listens.
And when it comes down to it, I have to admit, I like “The Christian Life.”
Luke Furman is a senior studying journalism at Ohio University. Please note that the views and opinions of the columnists do not reflect those of The Post. Do you like The Christian Life? Let Luke know by tweeting him @LukeFurmanLog or emailing him at lf491413@ohio.edu.
