The country music landscape is riddled with anthems celebrating beer, trucks, hunting, the South, and even honky tonk badonkadonks. Yet, traditionally, you might’ve struggled to find a nod to marijuana within this tapestry. While genres like rock and hip-hop embraced the cannabis culture, country music has, for the most part, kept it on the sidelines, echoing society’s cautionary stance on the leafy green.
Historically, only a mere 12% of Americans supported the legalization of marijuana in 1969. This figure didn’t breach the 32% mark until well into the 2000s, as indicated by the Pew Research Group. However, as societal views on the plant have mellowed, country music’s conventional gatekeepers have turned a blind eye, allowing marijuana-centric melodies to seep into the mainstream.
Country’s legendary renegades — the likes of Willie Nelson, Johnny Cash, and Merle Haggard to the contemporary trendsetters like Kacey Musgraves and Chris Stapleton — have often ventured off the beaten path, sometimes trailing the aromatic allure of cannabis. It’s these icons who’ve reshaped the genre’s narrative, ensuring that the scent of marijuana isn’t alien to country’s airwaves.
So here’s a salute to those iconic tracks that swapped the patriotic hues of red, white, and blue for a more hazy, crimson-eyed palette. Let’s dive into how the portrayal of marijuana in country music transitioned from forbidden fruit to town’s talk.
Merle Haggard – “Okie From Muskogee” (1969)
Arguably the hallmark of societal conservatism, “Okie From Muskogee” stands as a reflection of the era’s tumultuous climate. Articulated as a retort to the Vietnam War’s public resistance, this catchy number paints a vivid contrast between Haggard’s vision of America and the era’s progressive youth. It boldly declares, “We don’t smoke marijuana in Muskogee,” with Muskogee epitomizing the small-town America skeptical of the growing “peace and love” movement. This track didn’t merely ascend the charts but became an emblem, capturing the country music industry’s sentiments on marijuana — intertwining its consumption with unpatriotic values and questioning traditional masculinity. Its impact? You could argue it paved the way for later rebellious anthems, like Kid Rock’s defiant beer-can salutes.
Johnny Cash – “Sunday Morning Coming Down” (1970)
The Man in Black seamlessly merged the essence of country tradition with the audacious spirit of the counterculture. Through his rendition of Kris Kristofferson’s “Sunday Morning Coming Down,” Johnny Cash explores familiar themes of reflection and redemption. He poignantly croons, “I’m wishing, Lord, that I was stoned/ Cause there’s something in a Sunday that makes the body feel alone.” For an audience that resonated with tales of murder and sin, empathizing with a character yearning for a joint was hardly a stretch.
John Prine – “Illegal Smile” (1971)
First things first: “Illegal Smile” isn’t explicitly about marijuana. As John Prine confessed in a 2013 interview with Performing Songwriter, “Though the song wasn’t about smoking weed, its anthem-like qualities made it a favorite for those who did. I didn’t want to debunk the myth every time I performed it.” Regardless of Prine’s intention, the song became a favorite among marijuana enthusiasts who longed for representation in music. Its lyrics were a departure from the mainstream country vibes of 1971, making Prine more synonymous with folk than country to many. Whether perceived as Prine’s unique perspective on life or a subtle nod to weed, it’s undeniable that “Illegal Smile” harmonizes beautifully with a relaxed, smoke-filled atmosphere.
Merle Haggard & Willie Nelson – “Reasons to Quit” (1983)
Years after “Okie From Muskogee” took the charts by storm, Merle Haggard collaborated with Willie Nelson, a vocal cannabis aficionado in the country scene. Both trailblazers of the outlaw country genre, Haggard’s viewpoint on cannabis had significantly evolved since his 1969 hit, with rumors swirling that he later expressed regret over its creation.
Their collaborative album, “Pancho & Lefty”, featured the iconic title track by Townes Van Zandt and showcased their combined vocal prowess on several duets. However, the melancholic “Reasons to Quit” stands out. It doesn’t glorify weed—highlighting that “the lows are always lower than the highs”—but neither does it stigmatize marijuana as inferior to alcohol. Regardless of personal stances on weed, the song offers a reflective take on the pitfalls of intoxication.
Toby Keith – “Weed with Willie” (2003)
The polished country scene of the late ’80s and ’90s rarely gave marijuana the spotlight. Yet, as legalization movements gained traction, weed found its way back into the limelight. Enter “Weed with Willie,” a humorous ode to Willie Nelson, a veritable marijuana ambassador in the country realm by the early 2000s. Around this period, Toby Keith’s patriotic hit, “Courtesy of the Red, White, and Blue,” fervently backed the Iraq war. Additionally, Keith’s well-publicized spat with the Dixie Chicks culminated in Natalie Maines famously donning a shirt labeled, “FUTK.”
A bonus track on his album “Shock’n Y’all”, “Weed with Willie” humorously recounts Keith’s experience of being out-smoked by Nelson. With exaggerated anecdotes about a single puff leading to a near-comatose state, the song paints a lighthearted picture. While not a chart-topping sensation, its inclusion on a platinum-selling album underscores the softening of mainstream country’s stance on marijuana. But in an era replete with anthems about alcohol, it’s noteworthy how “Weed with Willie” amusingly projects cannabis as an overwhelming experience—until the allure of Nelson’s legendary tour bus, the Honeysuckle Rose, beckons once more.
Eric Church – “Smoke a Little Smoke” (2009)
Back in 2009, Eric Church was still on the cusp of becoming a household name in country music. Part of that was by design. Church’s image resonated with the raw authenticity of the outlaw era, and his album “Carolina” wasn’t crafted to chase radio airplay, a stark contrast to many of his peers during that period. Yet, “Smoke a Little Smoke” found its audience. The raspy chorus where Church declares his intent to “drink a little drink, smoke a little smoke” became emblematic of a particular mood. This song marked a significant shift in country music—a candidly pro-cannabis track that made its mark on the Billboard Hot 100. The tides of counterculture were making their way into Nashville’s limelight, taking rising artists like Church in their wake.
Ashley Monroe – “Weed Instead of Roses” (2013)
Throughout a good chunk of the 2010s, many country radio stations held back from consecutively playing tracks by female artists. An infamous 2015 comment likened women in the industry to “tomatoes” in a salad, suggesting they be “sprinkled” rather than featured prominently. Yet, a new wave of alt-country talents, spearheaded by the likes of Brandi Carlile, Brandy Clark, Kacey Musgraves, and Ashley Monroe, began reshaping this narrative. Monroe’s “Weed Instead of Roses,” featured on her album “Like a Rose,” was on-point in its messaging. The song candidly reveals her desires in romance: “Give me weed instead of roses and let’s see where it goes.” Monroe, also a member of the Pistol Annies, has consistently portrayed herself as an artist unfettered by convention. And perhaps because of this, her album resonated with many, securing a spot in the country Top 10.
Kacey Musgraves – “Follow Your Arrow” (2013)
Before her acclaimed “Golden Hour”, Kacey Musgraves introduced herself with “Same Trailer, Different Park,” a formidable debut that ushered in a new superstar in the country-pop realm, drawing comparisons with the meteoric rise of Taylor Swift. While “Merry Go Round” was her first radio success, it wasn’t long before “Follow Your Arrow” overshadowed it, solidifying Musgraves as an invigorating force in the industry. Two years ahead of nationwide marriage equality, Musgraves boldly proclaimed, “Say what you think, love who you love”—a sentiment that was undeniably progressive for typically conservative country airwaves. Alongside this empowering message, her casual nod to cannabis with, “Roll up a joint/ Or don’t (I would)” struck a chord with younger fans. Indeed, 2013 seemed to herald the era of cannabis-celebrating women in country.
Charlie Worsham, Old Crow Medicine Show – “I Hope I’m Stoned (When Jesus Takes Me Home)” (2019)
By the time 2019 rolled around, marijuana themes had permeated every corner of country music, from party anthems and heartbreak ballads to politically-driven tunes centered on beliefs and values. Charlie Worsham tapped into this trend with “I Hope I’m Stoned (When Jesus Takes Me Home),” artfully blending the world of cannabis with spiritual themes.
Let’s make it clear: Charlie Worsham remains an underappreciated gem in the realm of country music. This exceptional musician, known around Nashville for his genuine warmth, teamed up with Old Crow Medicine Show for this track. It exudes such a timeless charm that you’d be forgiven for thinking it was a classic from years past. The entire composition, from its musical arrangement to its production, resonates with purity and warmth. By the time it reaches its crescendo, even staunch anti-marijuana advocates might find themselves swaying to its rhythm.
Willie Nelson & Friends – “Roll Me Up and Smoke Me When I Die (Live)” (2020)
Willie Nelson’s “Roll Me Up and Smoke Me When I Die” made its debut on April 20, 2012, setting the tone for his “Heroes” album. With guest vocals from Kris Kristofferson, Jamey Johnson, and none other than Snoop Dogg, the track swiftly became an iconic addition to Nelson’s discography, securing its place in his live performance repertoire. While Willie has performed it alongside his sons at several Farm Aid events, its most poignant rendition took place during a 2019 tribute to Nelson, immortalized in the 2020 release, “Willie Nelson: American Outlaw.”
The concert’s grand climax saw a cavalcade of over two dozen artists join Willie on stage for a rendition of “Roll Me Up and Smoke Me When I Die.” The roster spanned the likes of Jimmy Buffett, Emmylou Harris, Sheryl Crow, Eric Church, George Strait, Dave Matthews, Chris Stapleton, Derek Trucks, Kris Kristofferson, The Avett Brothers, and many more. Gathering such a diverse ensemble—featuring industry icons, emerging rebels, and talents beyond the country scene—was no small accomplishment. Yet, all stood united, proud to champion the green cause alongside their legendary peer, Willie. The moment was a testament to the evolving perspectives on marijuana within country music circles. Looking ahead, the horizon seems promisingly hazed and mellowed out.