They'll Never Keep Us Down
They'll Never Keep Us Down
They'll Never Keep Us Down
Aaron Smithers
Southern Cultures, Volume 24, Number 3, Fall 2018, pp. 165-167 (Article)
[ Access provided at 1 May 2020 18:36 GMT from The Library of California State University, Fullerton ]
Illustration by Bill Thelen.
Liner Notes
Hazel Dickens wrote “They’ll Never Keep Us Down” in 1976 for the soundtrack to Barbara Kopple’s Oscar-
winning documentary Harlan County, USA. In Dickens’s lyrics, “they” are the rich men who prioritize profits
over people, who “rob, steal, and kill” to maintain their power. Songs of protest have been around as long as
humans have made music, and the “they” in these songs is not exclusively rich men but shifts according to
the socio-historical context of the singer, or the needs of a community organizing around a common cause
for whom the song provides a rallying cry. “They” can be any people, institutions, or structures that would
oppress or otherwise subjugate another’s human rights. While protest songs are often communiqués for a
specific audience, the power of the medium allows for transcendence of the subject and can lead to greater
understanding of our shared humanity. We may not know who “they” are, but when we listen, we are ener-
gized, outraged, and connected.
The songs collected here span over a century, and the emotions and issues distilled in the music intersect
constructs of race, class, sexuality, and politics: workers demand decent wages; farmers struggle against
industrial agriculture; African Americans stand up for equal rights; prisoners lament the corruption of the
criminal justice system; gender-nonconforming persons affirm their identities; artists reject the strictures
of genre; immigrants and “others” have names. Not just a vehicle for airing grievances, protest songs act as
focal points for engagement, catalysts for change, and inspiration for action. They offer hope and a vision
of a better world. Like Allen Toussaint, we can hold Lee Dorsey’s words close, a mantra: “Oh yes we can, I
know we can can, yes we can can, why can’t we? If we wanna, yes we can can.”
2 | “Hard Time Killin’ Floor Blues” 10 | “I Hate the Capitalist System” Barbara Dane
Skip James (1931) I Hate the Capitalist System (1973)
20 | “How Much Can I Stand?” Gladys Bentley 38 | “Take This Job and Shove It”
(1928) David Allan Coe
Family Album (1978)
21 | “Any Other Way” Jackie Shane
Any Other Way (1967) 39 | “Lavender Country” Lavender Country
Lavender Country (1973)
22 | “Ballad of the Sad Young Men”
Roberta Flack 40 | “Chicano” Rumel Fuentes with
First Take (1969) Los Pingüinos Del Norte
Del Mero Corazon (1978)
23 | “Up Against The Wall, Red Neck”
Jerry Jeff Walker and The 41 | “Say It Loud—I’m Black And I’m Proud”
Lost Gonzo Band James Brown
¡Viva Terlingua! (1973) Say It Loud—I’m Black and I’m Proud (1969)
24 | “Hard Out Here (2011 Edition)” 42 | “You Don’t Know Me” Mykki Blanco
Casby & Colby Mykki (2016)
Welcome to Rob Co. (2011)
43 | “Caddo Revival” Jim Pepper
25 | “Backstreets of Downtown Augusta” The Path (1988)
Anne Romaine
Broadside Ballads, Vol. 5: Time Is Running Out (1970)
44 | “Mi Gente” J Balvin & Willy William,
featuring Beyoncé (2017)
26 | “I Got Too Much Time for the Crime I Done”
J. B. Smith 45 | “Idle No More” Pura Fé
Sacred Seed (2015)
Ever Since I Have Been a Man Full Grown (1965)
27 | “Are They Gonna Make Us Outlaws Again?” 46 | “Corrido De Gregorio Cortez” Ramon Ayala
Hazel Dickens Y Sus Bravos Del Norte
Corridos Famosos - Contrabando y Traicion (1975)
By the Sweat of My Brow (1983)
31 | “Wasteland of the Free” Iris DeMent 50 | “Freedom of Choice” Earth, Wind & Fire
Powerlight (1983)
The Way I Should (1996)
32 | “The Bourgeois Blues” Lead Belly 51 | “Yes We Can Can” Allen Toussaint
Our New Orleans (2005)
Negro Sinful Songs (1939)
Liner Notes 167