Know The Words, If You’re Wearin’ Manly Footwear
That’s a classic country music debate, and both songs are iconic in their own right, representing different flavors of the genre. London Homesick Blues by Gary P. Nunn and You Never Even Called Me by My Name by David Allan Coe (written by Steve Goodman and John Prine) tap into the heart of country music, but in distinct ways.
London Homesick Blues is a heartfelt anthem of homesickness and pride. It became the closing theme for Austin City Limits for decades and is deeply tied to Texas identity. With lyrics like “I wanna go home with the armadillo,” Nunn captures the unique cultural essence of the Lone Star State. The song is autobiographical in tone and its blend of longing and humor makes it resonate with anyone who has ever been away from home. It celebrates Texas as more than just a place it’s a feeling, a lifestyle, and a source of pride.
On the other hand, You Never Even Called Me by My Name is one of the best examples of tongue-in-cheek outlaw country. While it plays like a sentimental ballad at first, it famously transforms into a satirical critique of country music conventions. With references to trains, mothers, prison and pickup trucks, the song humorously checks off every country cliché. The last verse, where Coe says it’s the “perfect country and western song,” is legendary. It pokes fun at the genre while simultaneously celebrating it, an approach that has endeared it to fans for decades.
So, which is better? It depends on what you’re looking for. London Homesick Blues is more sincere and reflective, tapping into nostalgia and regional pride. It’s a great song for anyone who’s ever missed home. You Never Even Called Me by My Name, however, is a crowd-pleaser a smart, funny, irreverent take on the genre from an outlaw perspective.
In the end, I could argue that London Homesick Blues is a better song, while You Never Even Called Me by My Name is a better experience and that’s what makes this debate so fun, both are country classics in their own way.
