Lumping Jennings with, say, David Allen Coe or Asleep at the Wheel or Michael Murphey or any of the other ["redneck rock" or "progressive country"] "movement" entities is a mistake in the first place, as the whole idea with Jennings is going it alone. The way he, specifically, has elected to sound does not extend The Way Things Are Going (the old definition of "progress") but goes against it. (p. 104)

[The] pose Jennings strikes is symbolic, a truth-in-fiction device. He doesn't ask you to take him literally and go up against the computers with six-guns blazing. The point he's making visually is literary and relates to the point he's making musically: remember the poor cowboy, the romantic misfit; have a kind thought for those who can't or won't constantly adapt to The Way Things Are Going….

Artistically, Jennings went on a winning streak with parts of "Good Hearted...