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What makes a great country song? It tells a story. It draws a line. It has a twang you can feel down to the soles of your feet. Some get mad, some get weepy, some just get you down the road. But these are 100 essential songs that map out the story of country music, from Hank Williams howling at the moon to George Jones pouring one out for all the desperate lovers to Taylor Swift singing the suburban cowgirl blues.

One of Bruce Springsteen's lesser-known influences is the late, hard-drinkin' Texas fiddle player Harry Choates. After playing for spare change as a teenager in the Thirties, Choates started making records by his early Twenties, and his aching 1946 reworking of the so-called "Cajun National Anthem" hit Number Four on the Billboard charts. "Jole Blon," a traditional cajun waltz with nearly indiscernible lyrics about a pretty blonde, rode commercial success via several reinterpretations and continued in country lore throughout the decade. It passed through the hands of Roy Acuff, Warren Zevon, Springsteen (who recorded an early-Eighties version with Gary U.S. Bonds) among many others. Fame and fortune never made it back to Choates, however. According to legend, he sold "Jole Blon" for $100 and a bottle of whiskey and died at the age of 28. By Reed Fischer

Charlie Rich had been struggling to find a niche between his rocking, jazz-picker roots and the Music Row mainstream for two decades. Then "Behind Closed Doors" gave the so-called Silver Fox the biggest hit of his career. "The jocks had been complaining that [Rich] was too bluesy for country," producer Billy Sherill explained to Billboard in September of 1974. "Others said he was too country for anything else. We just needed the right song." To create that right song, Sherill and Co. started with a riff that writer Kevin O'Dell had been humming for years, and then balanced traditional country flourishes with the dramatic orchestral instrumentation of an 11-piece string section. Rich won two Grammys and his only CMA Entertainer of the Year award. By Marissa R. Moss

After recording a pair of acoustic blues albums for Folkways, Lucinda Williams found her rightful audience with her eponymous 1988 Rough Trade debut. It contained this hoarse-voiced pop-rock anthem about not only wanting but deserving a comfortable bed, bath, and emotional beyond. Williams was broke and turning 40 when Mary Chapin Carpenter softened the song's edges, added a stirring guitar arrangement and took "Passionate Kisses" close to the top of the Billboard country chart in 1993, winning Grammys for both herself and its author. By Richard Gehr

If sparks flying off metal could sound sophisticated, they'd sound like Earl Scruggs' three-finger, five-string, five-alarm-fire banjo picking on this instrumental classic, which enshrined the banjo as a lead instrument in bluegrass. A stoic virtuoso from the western North Carolina boonies, Scruggs peppered the air with rippling eighth-note ragtime rolls on "Foggy Mountain Breakdown" (a song derived from an earlier track, "Bluegrass Breakdown," that he wrote for Bill Monroe), trading solo breaks with fiddler Benny Sims. Despite its innovative panache, the song only hit the country (and pop) charts after appearing as accompaniment to the car-chase scenes in Arthur Penn's scintillating, taboo-flaunting 1967 film Bonnie and Clyde. By Charles Aaron

Co-founders Brian Jones and Charlie Watts were soon delving just as deeply into the music of Muddy Waters, Jimmy Reed, Little Walter and others. Inevitably, their mutual interest bled over into the Rolling Stones' recorded output, both in the form of cover tunes and then blues-influenced originals.

Powered along by a remarkably confident Jagger, the Rolling Stones added rippled new muscle to a 1948 song that originally found Muddy Waters melding Delta and Chicago blues styles alongside bassist Big Crawford. Weirdly, nobody in America knew. The Stones' take on "I Can't Be Satisfied' appeared in the U.K. on their 1965 sophomore release, but for reasons not entirely clear didn't finally make it stateside until the last side of 1972's More Hot Rocks (Big Hits and Fazed Cookies), a cash-grab collection of odds and ends from their old label. Very unsatisfying, right? Well, better late than never.

The Stones often filtered their traditional blues through a rock 'n' roll filter. But their take on Robert Johnson's despondent love song sticks pretty much close to the source this time. Stripped down and as bleak as Johnson's original version (recorded during his final session in 1937), the Stones' "Love in Vain" is a perfect fit with the end-of-the-'60s apocalyptic tone of their classic Let It Bleed album.

Willie Dixon's blues perennial was first recorded by Muddy Waters in 1954, and the Stones covered it on their debut album a decade later. It pretty much serves as an introduction to the band's approach to the blues: more guitar, more menace and more rock 'n' roll. Still, in their formative years the Stones were mostly faithful, and this frenzied cover of "I Just Want to Make Love to You" remains an early highlight.

Featuring a rare co-writing credit for guitarist Mick Taylor, this strikingly malevolent blues was (ironically enough) actually recorded in a poorly ventilated space: the basement of Keith Richards' villa in France. Taylor's work gives "Ventilator Blues" a distinctive feel, as does a rare double-tracked vocal from Mick Jagger. But the song's strange rhythm signature, created by saxophonist Bobby Keys and then clapped out for drummer Charlie Watts, has made the song nearly impossible to replicate to any of the Stones' satisfaction on stage. Nicky Hopkins made things complete on the studio version with an intricate, Chess Records-inspired turn at the piano.

Brian Jones was the Stones' blues kingpin early on, and on this 1964 cover of Willie Dixon's "Little Red Rooster" (made famous by blues great Howlin' Wolf in 1961) he checks in with one of his all-time greatest performances. His slide playing is nothing short of phenomenal, and the band's slow-burning intensity came naturally: Reportedly, it was recorded at Chicago's Chess Studios, home of the original version.

Keith Richards first heard this song from the doomed bluesman Robert Johnson while hanging out at Brian Jones' crash pad, adorned with not much more than a chair, a few records and a turntable. The Stones version filled out Johnson's original bare-bones arrangement, adding serpentine slide work from Mick Taylor and a nasty turn on the harmonica from Mick Jagger. But Richards never got over hearing Johnson's version. "It took my a long time to realize he was actually doing it all himself," Richards marveled. "The guitar playing, it was almost listening to Bach. ... You want to know how good the blues can get? Well, this is it."

"Midnight Rambler," written by Jagger and Richards, was originally recorded for 1969's Let It Bleed. But the definitive version may be the live take on the following year's Get Yer Ya-Ya's Out! Either way, the song captures so much about the era: the menace, the hopelessness, the dread around every single corner. It's as close to genuine blues the Rolling Stones ever got. It's that good.

Powered along by a remarkably confident Jagger, the Rolling Stones added rippled new muscle to a 1948 song that originally found Muddy Waters melding Delta and Chicago blues styles alongside bassist Big Crawford. Weirdly, nobody in America knew. The Stones' take on \"I Can't Be Satisfied' appeared in the U.K. on their 1965 sophomore release, but for reasons not entirely clear didn't finally make it stateside until the last side of 1972's More Hot Rocks (Big Hits and Fazed Cookies), a cash-grab collection of odds and ends from their old label. Very unsatisfying, right? Well, better late than never. ff782bc1db