How big was Tom Petty's influence on the country? Even Dolly Parton and George Strait sing his songs

When Tom Petty and Heartbreakers guitarist Mike Campbell heard about plans for country greats like Dolly Parton, Willie Nelson, George Strait, Chris Stapleton and Dierks Bentley to honor the band's music in the covers collection Petty Country: A Country Music Celebration of Tom Petty, it felt like it made perfect sense, even though they were a rock band at their core.

“We all grew up in the South and were exposed to the music of Hank Williams and George Jones that we heard on the radio,” he says. RS. “We all loved the Flying Burrito Brothers and the Byrds when they went country [on Sweetheart of the Rodeo]. We listened to a lot of country and some of it seeped into our consciousness.”

This explains why they were a natural choice to support Johnny Cash on his 1994 comeback LP American Recordings, and why Kenny Chesney has sprinkled songs like “Runnin' Down a Dream,” “Free Fallin'” and “Mary Jane's Last Dance” into his live set for over a decade. But the idea of Small country — which hit stores this week — only began to percolate in 2018 when Petty's posthumous collection An American treasure compiled from lesser-known songs in his vast catalog.

“Everybody realized he was just this great songwriter after he put it together,” says Petty's longtime producer George Drakoulias, who oversaw it. Small country along with Randall Poster. “We wanted to celebrate him as a writer, and we knew he loved the Nashville community and its commitment to the craft of songwriting.”

They sent feelings to artists from all over the country music world, starting with two absolute titans: Dolly Parton and Willie Nelson. Once they were both on board, getting others wasn't much of a problem. “It wasn't like we were starting out with Joe Six Pack,” Drakoulias says. “Having Willie and Dolly made people stand up and take notice.”

Soon, they also had commitments from Luke Combs, Thomas Rhett, Brothers Osborne, Steve Earle and many others. They mostly worked in studios around Nashville, mostly during Covid. “We kept getting sent these fantastic mixes,” Drakoulias says. “I wish I could have been at the sessions, but it was difficult since everything was locked down.”

Perhaps the most impressive song was Parton's cover of “Southern Accents.” “When Tom recorded this song, he used a provocative growl,” Drakoulias says. “He stood up for the South and was very emotional since he wrote it right after his mother died. Dolly's take is kinder, more about the magnolia trees, and it just crushes the vocals.”

“You could tell he was moved by it,” adds Campbell. “She really put her soul into it. God bless her.” (She also added a new coda verse: “Yeah, I'm proud of who I am/A southern girl from a southern town/I'm not ashamed/I'm not ashamed/I'm not ashamed/No, I'm 't.” )

Earle chose “Yer So Bad” from Full Moon Fever. “What he did was fantastic,” Drakoulias says. “Like a lot of people, he brought the front porch, which was killed. You hear things like banjo and fiddle. He added a train beat to it that moved the song differently. It gave Steve more room to go in and out with his vocal lines.”

Rhiannon Giddens stripped away all the synth-pop elements of “Don't Come Around Here No More” and brought in violinist Yo-Yo Ma and Heartbreakers pianist Benmont Tench to redefine the song into what Drakoulias calls “country bayou “. “He put in the Creole,” he says. “By the time it gets to the outro, you feel like you've been on this weird journey, like you're chasing thugs or something. And it was my idea to bring Belmont into it. He's just a super talent.”

Tench isn't the only Heartbreaker to make a guest appearance on the album. Campbell cut a new version of the 1986 dark “Ways to Be Wicked” with Margo Price. “The Heartbreakers never made a proper record,” he says. “But words are wonderful. It's a really exuberant song, and Margo sings it out.”

Other highlights include Thomas Rett's “Wildflowers” with violin, Willie and Lukas Nelson's tender performance. She's the one cut “Angel Dream (No. 2),” Jamie Johnson's gritty “I Forgive It All” and Lady A's country “Stop Draggin' My Heart Around.” It concludes with Strait tearing through “You Wreck Me” live in concert. “I felt honest about George Strait,” says Drakoulias. “Anytime you get a chance to hear George Straight sing, 'I'll Be the Boy in the Corduroy Pants,' take it.”

Now this Small country is in the shops, the estate turns its attention to a Long After Dark box set they plan to release in the fall. “I've heard some of it and it's going to be great,” Drakoulias says. “I worked at Reproduction box set. The big joke we made was, “What were you thinking leaving that?” Tom used to say “Jimmy thought it was too country.” I think it was, “Keeping Me Alive.” I was like, “Too much country?” It sounds great.”

Combing through the small vault is an emotional process for Dracula. “He was also the first person I would call during an earthquake,” he says. “I'd say, 'Did you feel that?' Or I would call him if a politician did something stupid. He just had so much joy in him. He was the eldest. I can't believe I was in his orbit. But I don't miss Tom Petty the rock star. I just miss Tom Petty my friend.”