Some artifacts can only be referred to by themselves: A kidney bean is a kidney-shaped bean, and Lavender Country is the best country record by an openly gay person released in 1973. It is an object singular enough in music history that the Country Music Hall of Fame officially recognized it in 1999. Patrick Haggerty, the man who wrote and recorded it, was raised on a dairy farm outside Seattle by a loving and accepting family before the twin shocks of the Stonewall riots and his ejection from the Peace Corps radicalized him. He responded with Lavender Country, pressing about 1,000 copies with the help of a local gay community organization and selling them by word-of-mouth and in the back pages of gay magazines. Once those were gone, that was more or less it—Haggerty remained a staunch advocate of gay rights, and performed Lavender Country songs at pride events and community centers. But his record receded into history, to a rumor perfuming the edges of record collector conversation.
Now that the resourceful and adventurous North Carolina label Paradise of Bachelors is reissuing Lavender Country, the enduring richness of Haggerty's achievement can be appreciated again. Haggerty didn't just write a "gay country album" for the political theatre. There are winking lyrics about tumbling in the hay and a rewrite of "Back in the Saddle Again" as "Back in the Closet Again", but the country signifiers aren't just cheap hay-bale-and-tractor-bed props for a message. From the inexpertly sawed fiddle of Eve Morris to Michael Carr's saloon piano to Haggerty's reedy, searching tenor, it is a country album through and through. The sound is wobbly and amateurish, but in a playful, "come on y'all" sort of way, and you can easily imagine a roomful of enthusiastic participants in folding chairs at a community-center basement, singing along at Haggerty's encouragement.
Like any good culture-clash project, Lavender Country stops to have fun with sly subtext. "There's milk and honey flowin' when you're blowin' Gabriel's horn", Haggerty leers on "Come Out Singing". On the title track, he envisions a utopia where you wear your "frilly blouse" to "The People's Outhouse" and "the folks will hang around and pee for days." "Cryin' These Cocksucking Tears" claimed the FCC license of a DJ brave or foolhardy enough to play it on the air. On it, Haggerty's backup vocalist Morris sings the words "cock-sucking tears" with a clarion earnestness, like Joan Baez working blue. It is a fresh joy to hear every time it comes along.