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Country Music

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The mission completed, intermission is over, back to the history, starting today with Reba McEntire’s burgeoning acting career. In 1989, Reba made her movie debut playing Heather Gummer in the SF horror comedy Tremors, alongside Kevin Bacon. In the cult film, Gummer was a gun-toting resident of a small Nevada town terrorised by giant subterranean worm monsters called "Graboids." Kevin Bacon could have never gotten out of that mess without her! The film earned Reba a nomination for Best Supporting Actress at the 1991 Saturn Awards (for SF movies). After the film's release in 1990, Reba, who had already made some notable videos for her hit singles (unlike George Strait’s reluctantly acted slap-dash cheesy videos) developed a strong interest in serious acting and made it her second career. In 1992, she starred along with Kenny Rogers and Burt Reynolds in the TV movies The Gambler Returns: The Luck of the Draw and The Man From Left Field.

In 1994, McEntire worked with director Rob Reiner in the film North, playing Ma Tex and starred in Is There Life Out There? a TV movie based on her hit single. The following year, she appeared in Buffalo Girls, which was based upon the life of western cowgirl Calamity Jane (played by Anjelica Huston), playing Jane's friend Annie Oakley. It was nominated for an Emmy award. Much more of her film and TV career was to follow, but it’s time to return to Reba’s music, picking up from where we left off a few days back with the next single from her 1992 “For My Bromen Heart” album.

As outlined in the previous post, her 1991 “For My Broken Heart“ album was recorded during a particularly difficult time in McEntire's life, her first release after the tragic plane crash that killed 8 members of her band. The emotional weight of that period is palpable in McEntire's heartfelt performance.

‘The Nights The Lights Went Out In Georgia’, originally written by Bobby Russell, was famously recorded by his actress wife, Vicki Lawrence in 1972, topping the pop chart. McEntire scored a # 12 hit in 1992 with her cover in 1997. breainge a string of 24 consecutive Top 10 singles going back to 1984, though it peaked at # 7 in Canada (where Reba had also chalked up 12 # 1 hits, including 6 since 1990) . However, it’s another of Reba’s songs that have endured to become one of her most well-known tunes.

The masterfully written song vividly depicts a gripping Southern gothic tale of betrayal, murder, mystery and wrongful justice - with a surprise twist at the end, which many, or most, miss by not listening carefully to the lyrics. McEntire's powerful cover brings new intensity to this dark narrative, capturing the song's haunting, mena, southern atmosphere with her rich, emotive vocals -


‘The Greatest Man I Never Knew’ loosely based on Reba’s fraught relationship with her father (as outlined on her opening post, is one of the most poignant in her career. Penned by Richard Leigh and Laying Martine Jr., released in 1992 as the fourth and final single from her “For My Broken Heart” album and reached # 3 in 1992. It narrates a daughter's reflections on her emotionally distant father, whom she never truly knew despite living under the same roof. It features a stunning vocal performance that is all grief and regret and even a little bit of resentment intertwined, as she mourns the man who kept his distance while he sacrificed all of himself for her - but could never find the words or physical affection to express to his daughter just how much she was loved.

She mourns for what’s been lost and what was never found, for what had been and for what never was. When people wonder why Reba is considered one of the finest country music vocalists of all time, listen to this.
“… Then the days turned into years / and the memories to black and white. / He grew cold like an old winter wind /
blowing across my life … / … He was good at business / but there was business left to do / He never said he loved me /
guess he thought I knew"
-

I wrote above that the song was “loosely based on Reba’s fraught relationship with her father”, I did mean only loosely - in fact, her father was still well and truly alive when this was released in 1992. As is often the case, as Reba grew and her career took off - and as her father mellowed with age along the way, their relationship grew closer than in her youth. He died peacefully in 2014 at aged 86 and in 2016, Reba released a single,’Just Like Them Horses’, in his memory

‘The Heart Won’t Lie’ written by Kim Carnes and Donna Terry Weiss, a duet with Vince Gil, was released in 1993 as the second single from Reba's “It's Your Call” album, duly going all the way to # 1 in both the U.S. and Canada. The multi-talented Vince Gill was in the middle of a much longer string of chart-toppers, with this being the 4th of 10 straight chart toppers. Gill was already the best harmony singer to come along since Emmylou Harris, so his strong support throughout the track was inevitable. But he shows off a bit himself on his verse, not quite matching Reba’s vocal acrobatics but doing a few cartwheels and handsprings of his own.

Not so much country, it’s really an 1980’s power pop like ballad masquerading as a 1990’s country song, with just enough steel guitar and twangy vocals to distract from the opaque lyrics and bombastic chorus. Still, it kinda makes for an entertaining showcase of two incredibly distinctive vocal powerhouses. Then there’s that epic 1990’s video homage to An Officer and a Gentleman, which brought the whole “this is a major event” vibe to another level. All in all, it’s an entertaining big star flex from two future Hall of Famers who were quite aware just how big they – and country music – had become by 1993 -


Written by Sandy Knox and Billy Stritch, ‘Does He Love You’ is another duet, this time with Linda Davis. It was released in 1993 as the first single from Reba's compilation album “Greatest Hits Volume 2” . While Reba’s previous 2 singles had also gone # 1, Linda Davis was without a recording contract at all at the time she recorded ‘Does He Love You’. But McEntire was a big fan of Linda’s voice, and employed her on the road as her main backup singer.

‘Does He Love You’ was a massive 1992 hit, thanks to a cinematic music video and the 2 powerhouse vocal performances, with Linda Davis more than standing her own while going up against - or, ore correctly, with - one of the all-time greats at her career peak. The song itself seems anachronistic even for 1993 - it was originally written in 1982 and pitched to Barbara Mandrell and to Liza Minnelli - who eventually recorded it as a duet with Donna Summer in 1996.

The lyrics tell the tale of a wife and a mistress desperately wondering who their man really loves - rather than just showing the cheating cad the door and leaving him on his own. It all has the sheen of that early 1980’s pop-country that kept one foot in 1970’s R&B, despite the presence of two pure country vocalists doing their best to inject a bit of twang. The fireworks and bombast of Reba at her syllable-stretching best is what really makes this record work far better than it really should. Reba sings the hell out of her part and somehow Linda Davis goes toe-to-toe with her. This was before diva-like belting became commonplace later in the decade, so it really was something special in 1993. I don’t love it - this sure ain’t to my taste - but I can still respect it -

The success of ‘Does He Love You’, which won both a CMA and a Grammy, revived Linda Davis’ career, being promptly signed by Arista in the aftermath. She subsequently produced 2 albums and higher charting Top 20 singles than her previous work. Davis is also the mother of Hillary Scott, who found success in the band Lady Antebellum (now Lady A).
In 2021, Reba released another duet version of ‘Does He Love You’ - this time, not with a struggling singer but with another country legend, Dolly Parton.

‘Why Haven’t I Heard From You’, written by Sandy Knox and T. W. Hale, was released in 1994 as the first single from her 19th studio album, “Read My Mind“. Reaching # 5 in 1994, this light-hearted, upbeat, sassy stomper, with its R&B and gospel choir influences, provides a nice levity to Reba’s heavy material as she explains the creation of the phone, notes that there’s one virtually everywhere these days (but mobiles weren’t yet much of a thing just yet) and, therefore, no reason that she should be left hanging -


By mid-1994, after a dozen years at or near the top, Reba McEntire was still charting hits, taking 18 all the way to # 1 and 14 more Top 5 (and in Canada, the tally was 16 at # 1 and 18 more iTop 5). Then there was her blossoming acting career for a sideline. As you would’ve noticed, her sound had changed since the neo-traditionalist 1989’s to a more varied contemporary sound, with a mixture of influences. Unlike other neo-traditionalist artists, it was Reba’s twangy Oklahoman accent that kept her sound country, rather than the instrumental accompaniment. But enough for today. Hopefully, I’ll be back tomorrow following Reba’s career deeper into the 1990’s.
 
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Reba McEntire’s commercial success was at its peak in 1994, the year ner autobiography was published and she also had a top-rating NBC TV special, while her movie appearances further enhanced her public profile. Ner last two albums had even reached the Top 20 of the pop album chart, with her previous 1992 album, “It’s Yor Call” peaking at # 8 - which says a lot about her music at this point in time). However, her latest album, “Read My Mind”, which went right up to # 2 on both the country and pop charts, actually had a sluggish start when it came to the singles chart. It turned the corner with the pop-saturated ballad, ‘Till You Love Me’, (omitted here), the 3rd single, reached # 2 and also became her her only single to chart on the pop charts, albeit at a very modest # 78. The fourth single, ‘The Heart Is A Lonely Hunter’, was Reba’s first solo # 1 in 3 years since ‘Is There Life Out There’ in 1991

Written by written by Mark D. Sanders, Kim Williams and Ed Hill, its title borrowed from a classic piece of literature, the poem The Lonely Hunter by the Scottish poet William Sharp, ‘The Heart Is A Lonely Hunter’ is all build-up, introducing us to a woman who doesn’t care “… about right or wrong / she’s been alone way too long…”.The guitar hook reinforces this “… predator on the move …” atmosphere, hinting that due to her loneliness, she’s going to do something she shouldn’t, so controlled she is by lust and loneliness (then again, she is single so - why not?).

So she enters the bar, surveys the field and meets a married man who tries to pick her up (or vice versa) she notices the ring mark, but the chorus reminds us again - “… the heart is a lonely hunter …” setting us up for a payoff, or something … … but delivers nothing. Yes, by the time of the bridge, this supposed predatory woman decides on “no” and simply turns away - so he doesn’t see her tears. I ain’t so sure about the songs anti-climatic conclusion, but at least there’s no doubts about Reba’s vocal performance--


After going # 2 with ‘Till You Love Me’ and then # 1 in both the U.S. and Canada with ‘The Heart is a Lonely Hunter’, Reba finally won the ACM Entertainer of the Year award (having already won the CMA equivalent multiple times), along with her record 7th trophy for Top Female Vocalist. In the wake of these victories, MCA went 5 singles deep from her triple platinum “Read My Mind” album for the first (and last) time.

The 5th single, penned by Liz Hengber and Tommy Lee James, ‘And Still’, another # 2 hit - and again topping the chart in Canada - also happens to be the best from the album, a power ballad that keeps its instrumentation firmly rooted in country (in contrast to the lush strings of the pop-soaked ‘Till You Love Me’), which plays to Reba’s strengths as a vocalist. Since she doesn’t have to go loud to be heard over a busy backing track, she’s able to give a nuanced performance that conveys the wide range of emotions of its protagonist. The way her voice breaks during the bridge as she sings “… I gave my best smile / but I was dying inside …” is so beautifully sad. She does this kind of heartache song better than anyone else -


With “Read My Mind” selling over 3 million and producing a # 1 hit and two other # 2 hits, Reba celebrated her 20th anniversary as a recording artist with 1995’s “Starting Over”, a collection of cover songs meant a tribute to her roots and influences, that sold platinum - but still a lot less than her previous albums, producing just one top 10 hit - a cover of Lee Greenwood’s ‘Ring On Her Finger, Time On Her Hands’.

In response, Reba switched producers and hired her road band to back her in the studio for her next album, “What if It’s You”. This late 1996 release eventually went double platinum on the strength of 3 big hit singles, all reaching the Top 2. The first single, ‘The Fear Of Being Alone’, written by Walt Aldridge and Bruce Miller and released in 1996, is her best single of the entire decade. It peaked at #2 in the US and went all the way to #1 in Canada. Co-produced by Reba and John Guess, who was an engineer on her previous albums, this was the first time he was directly involved in recording production .

Crisply produced, effectively performed and brilliantly written, ‘The Fear Of Being Alone’ tells the story of 2 wounded souls having another go at a relationship, Reba is the voice of caution during the first two verses and choruses, as she sees the bloke she’s with convincing himself he’s already in love with her - “Don’t say that word,” she warns. “You may think you do, but you don’t. It’s just the fear of being alone.” By the end of their first night together, she stops warning him and turns her attention inward, as her own heart is starting to flutter - “… I must admit, it's been fun / But that's no reason to jump the gun / If this is real, time will tell …”. But then comes the doubts and that warning again - “… so let me bit by tongue and remind myself / Don’t stay that word …” - leaving the question unanswered - Is it love? … or just the fear of loneliness? It’s the kind of well-written country song that requires maturity and years of lived experiences under one’s belt to understand it and sing it well, and McEntire draws on her deep reservoirs of talent and life experience to knock it completely out of the park -


After nearly returning to #1 with The Fear of Being Alone’, Reba went one better, all the way to # 1 in both the U.S. and Canada with her 2nd single from the “What if it’s You” album.‘How Was I to Know’ confirmed what ‘The Fear of Being Alone’ had suggested - Reba had noticed the sophisticated and compelling work being produced by the new wave of female peers of the 1990’s such as Tricia Yearwood, Faith Hill and Shania Twain, and adjusted her approach to new material accordingly.

‘How Was I to Know’, written by Stephony Smith, Cathy Majeski (note the female contributors here) and Sonny Russ, has a nervy, complicated lyric, featuring Reba in a familiar role of heartbreak, but now demonstrating resilience in the face of it. The song works as well as a standalone record as it does as an interrogation and answer to her earlier material. She certainly had expressed feelings of helplessness around being left alone, but unlike most of her earlier hits, this time she’s doing just fine without the man who left her behind. Her reading of the second verse line – “… I gave up on myself …” – is revelatory, the sound of a woman directing ire at her own underestimation of herself, and ultimately becoming her own greatest champion -
1996 -

During 1997-1998, Reba did a co-headlining tour with Brooks & Dunn, which was the top-grossing country tour of all-time to date. Penned by Terry McBride, Jennifer Kimball and Tommy Lee James, ‘If You See Him / If You See Her’ served as the title track to their respective 1998 albums. There was an unprecedented marketing push behind it all. The new albums were released on the same day with a bonus CD if you bought both of them. MCA and Arista teamed up to work the song at radio together. A theatrical music video (typical of Reba) found a way to cleverly include Kix Brooks as the bloke who both Reba McEntire and Ronnie Dunn are confiding in at the bar.

From a marketing perspective, they got everything right, and the effort was warranted on paper, topping the chart in the U.S. and Canada. After all, Ronnie Dunn and Reba are two of best singers to ever record country music and both of them were at their peaks as vocalists. The ballad alternates Reba's vocals with Ronnie Dunn, while Kix Brooks provides harmony vocals on the verses sung by Dunn. Both Reba and Ronnie do their best to raise the musical stakes. I reckon it’s a pity the song chosen for these 2 great vocalists is a bit dull and monotonous. It’s too slow, it lacks a hook and seems to only exist so Reba and Ronnie can do some vocal acrobatics, with Reba stretching “him” to 6 syllables at one point -


If You See Himis still the most recent Reba album to produce four Top 10 singles, a feat also accomplished by “Sweet Sixteen”, “Rumor Has It” and “Read My Mind”, with the mellow ‘Forever Love’, the rollicking ‘Wrong Night’ and ‘One Honest Heart’ - but I can’t fit ‘em all in.

By the end of the 20th century, at age 45, Reba McEntire had racked up 21 # 1 singles (20 in Canada) and a further 20 in the Top 5 (12 in Canada). She had shown a willingness and ability to adapt her sound to the changing tastes of the 1990’s and had cemented herself as one of the icons of country music. She had also successfully diversified her portfolio through supporting roles in theatrical films and leading roles in made-for-TV movies. And she wasn’t done with yet, as we will see.
 
As we ploughed through the 1990’s with Reba McEntire, I couldn’t help noticing how George Strait had been randomly inserted into Reba’s history posts, as a comparison in either similarity or contrast. It’s worth a closer look. Born in Texas and Oklahoma respectively- neighbouring states that have many similarities, including a shared musical heritage (e.g. Texan western swing legend, Bob Wills, first found fame as a band leader in Tulsa, Oklahoma). Both were raised on cattle ranches, working on them after school hours from a very young age. Both seriously considered a career as professional rodeo performers - Reba, tutored by her world champion father was a junior champion herself, while Beorge became an exceptional amateur competitive steer roper. Both have been regular entertainment headline acts on the major rodeo circuit for decades.

Both Reba and George started singing in public while still at school, both began professional careers in the mid-1970’s while at university, but with some divergence - Reba, willing to sing whatever for popularity, soon got a recording contracting, her pop-country output gained some traction but not major stardom. Meanwhile, George and his band toiled away around the Texan honky tonks and bars with his sound based on traditional Texan country, which he refused to change. He had to wait 6 years before his first recording contracting - but quickly found huge success in the wake of Ricky Skaggs, paving the way for Reba to abandon her pop-country sound to join the neo-traditionalists and major stardom. But while Reba headed off to Nashville to live as well as work, George, while often visiting for recording and business, has never lived in Nashville, preferring his Texas ranch - and other prime properties in Colorado and Florida.

Whereas Strait has always basically stuck to his neo-traditional mantra, mining the music legacy of Texas, with its western swing, honky tonk and dancehall culture and the cowboy rodeo west, just tinkering it enough to keep up with the ever changing times. Reba, as we have seen, hasn’t confined herself so much, sometimes revisiting pop-country (actually I omitted a couple of her # 1 hits from here for being too pop). With her distinct, strong vocals, she has also taken from R&B, gospel and blues influences - most often to very good effect. In fact, one thing that distinguishes her from the other neo-traditionalists, who relied heavily on using traditional country instruments - fiddle, steel guitar and sometimes banjo - to obtain their country sound, Reba’s natural Oklahoman rural twang gives her songs a country sound even without the traditional instruments.

Strait’s mother had ran off when he was aged 10, leaving his father to raise him and his brother alone - and George remained very close to him. Reba’s father was tough with his children, but her tender mother made up for his emotional distance. Both married young - Reba at age 20, George eloping with his first girlfriend at just 19 - but while George has stayed with the only woman he has ever been with for almost 55 years and still counting, Reba has gone through 2 failed marriages and a few more live-in boyfriends since - so Strait relies on immigration for many of his songs, Reba on personal experience. But, while both had dabbled in song-writing since their school years, both have relied on the songwriting talent of others (in Reba’s case, mostly Nashville studio writers) for virtually all the hits

Both endured a terrible tragedy - George losing his only daughter in her teens in a car crash, Reba losing 8band members in a plane crash. Both very quickly immersed themselves back into their careers, performing and recording, as their way of coping with their loss.

One major difference (which one can notice with Reba’s many music videos, was that Reba can act - seriously act, whereas Strait never really tried. By his own admittance, George never liked doing videos and so put minimal effort into them - and the often cheesy productions were the result. His one movie role probably ensured he never appeared in any more. In contrast, Reba became well known for her often elaborate award winning storytelling videos, and this led on to many movie and TV roles and even into Broadway. At one stage, as we’re about to see, her success acting even overtook her music for a few years.

OK, I could go on about Reba and a George (they did eventually go on a concert tour together in 2017/18) but it’s time for Reba’s music, starting the new millennium. ‘What Do You Say’ penned by Neil Thrasher and Michael Dulaney, was released as the first single from Rebas’s So Good Together” album and topped out at #3 in January 2000. It also crossed over to reach # 31 number 31 on the Pop chart, becoming her first crossover Top 40 hit and highest peaking single on that chart.

So yes, this has its pop overlays, but Parents need to take this in. But the lyrics, along with, of course, Reba’s vocals still make this country enough - actually the lyrics are meaningful to me. The verses outline 2 situations - the first a realistic teen situation, with the lesson being that parents should always be their children’s safe harbour - no immediate, judgement, just acceptance and help when it’s required. Save the required discussion for a more appropriate time. The second verse speaks of what do you say farewelling a love one for the last time - and having spoken to my mother and brother on their last day as they passed away from cancer (and finding that the right words somehow come to me), I had to include this in my selection. The video adds another layer to the song-


In January 2001, Reba made her Broadway debut starring as Annie Oakley in the revival of Irving Berlin’s Annie Get Your Gun. Reba’s performance was critically acclaimed by theater critics throughout New York, and earned her both a Drama Desk Award and Outer Critics Award.

Then for 6 seasons, 2001-2007, McEntire was the star of the Warner Bros TV sitcom, Reba, playing Reba Hart, a single, sassy, wisecracking middle aged mum who struggles taking care of everyone in her house after her husband runs off with his hot, young dental hygienist. The shows theme song, written by Shelby Kennedy and Phillip White and released in 2001 as part of her “Greatest Hits Volume III” album, the aptly titled ‘I’m A Survivor’. Peaki g at # 3 in 2001 - and also cracking the Pop Top 50 - it tells the story of a premature baby, who later becomes a single parent. This connection to the sitcom, centring around a single mother navigating life's challenges, further cemented the song's message of perseverance when times get tough -
"… I don't believe in self-pity / It only brings you down /
I may be the queen of broken hearts / But I don't hide behind the crown …"
-


Having previously branched into broadway musical theatre in 2001, starring as Annie Oakley, then on TV starring in her own sitcom, Reba temporarily left the recording industry at the start of the new millennium - for a few years her forming sideline career of acting actually became her main career! But announcing her return to music,, her late 2003 “Room to Breathe” was Reba’s first album of new recordings since 1999's “So Good Together” and her first studio album of the new millennium - and it marked a return to a more traditional country sound than much of her later 1990’s material, defiantly featuring her best work of the decade. The release contained Reba's first # 1 single in 6 years.

Written by Dave Berg with Sam and Annie Tate and originally showing up on Mark Wills' album “Loving Every Minute” in 2001, ‘Somebody’ was McEntire’s 22nd # 1 hit in 2004. Boasting an evocative chorus that's full of hope, the melodic rises and list-style lyrics backs up the catchy hook, giving single people everywhere hope (optimistic or downright false hope for some) that their perfect match could be right around the corner. -
"Somebody in the next car / somebody on the mornin' train /
Somebody in the coffee shop that you walk right by every day"
-


Also from the 2093 “Room to Breathe” album, ‘Once You’ve Learned To Be Lonely‘, penned by Candy Cameron and Sharon Vaughn, is just a captains pick by me - for it was never released as a single. Reba’s role as the advice-giver never fails as she warns people that settling into isolation and loneliness - that for some unfortunate people’s can be too easy a habit to succumb to - just makes it harder to get back out into the world. This is one of Reba’s more rootsy performances of the 2000’s -

Another from the “Room to Breathe” album that I considered for inclusion here was ‘I’m Gonna Take That Mountain’, which got to # 7, not so much for the ditty itself , though its sprite tempo and light-hearted dance material would’ve made for a contrast from my selections here, but really for the video. The video features Reba performing the song against a mountain backdrop, and rodeo performers showing off rope and horse tricks - which I felt was very apt given her rodeo background I’ve already outlined. But, instead of being on a horse and roping, it shows her dancing on a wood dance floor with very fake cactus props, accompanied by 4 dancers who sure ain’t cowboys - and, fatally, it was filmed in a rural area of Tennessee near Nashville, a thousand kilometres East of any authentic cowboy country! So no, I rejected it.

Written by Wendell Mobley, Jason Sellers and Neil Thrasher, ‘Strange’ was Reba's first release for the Valory label, the first single from her 25th studio album, “Keep On Loving You”,.and reached # 11 in 2009. McEntire debuted the song on the ACM awards the week before its release to country radio. I don't find it strange at all that this was McEntire's highest chart debut of her career - it's a powerful song about being pleasantly surprised (and un-typically for a country song) by an un-broken heart, featuring lines like -
"… Strange, I ought to be in bed / With my head in the pillow / crying over us, but I ain't / Ain't love strange …
-


So we approach 2010, with the first decade of the new millennium being not as productive for Reba since she broke through to major stardom in the early 1980’s. This can be attributed to her focus first on her acclaimed role as Annie Oakley in the Broadway production of Calamity Jane, the her 6 season run to 2006 of her sitcom, Reba. Only after that ended Di Reba return ped to music as her primary focus.

In 2009, at age 54, Reba McEntire, proved she can still hit the charts - and there’s more to come in a career revival, as she turned progressively back to traditional country music - though, showing her willing to adapt, with an occupational excursion into pop-country. Tomorrow will bring her still very much on-going career - which is still not confined just to her music - up to date.
 
Today will conclude Reba McEntire’s history, at least to today. Thankfully, there’ll be only a couple of passing references to George Strait today. Instead, let’s go straight to her music, starting where we left off in 2009.

Reba, at age 54, proves country stardom isn't only for the young, defying expectations by returning to the top of the charts for the first time in 5 years. A standout track from her 2009 album, “Keep On Loving You” and her 23th # 1 hit ‘Consider Me Gone’, written by Steve Diamond and Marv Green, tells the story of a woman who has reached the end of her patience in a one-sided relationship. The protagonist declares her decision to leave if her partner cannot meet her needs, reflecting themes of self-respect and empowerment. The song's blend of contemporary country and traditional influences highlights Reba's versatility. Her vocal prowess and flawless delivery, plus no-holds-barred lines like "If you don't get drunk on my kiss / If you think you can do better than this / Consider me gone …", kept this song at the top of the charts for 4 weeks. -


Signing with the Valory Music Co. gave Reba’s career a shot in the arm, as she proved that taking ‘Consider Me Gone to ’a # 1 hit wasn’t a one off fluke, following up with another in 2010. ‘Turn on the Radio’ was quite an accomplishment for Reba. At its release, she was 55, and as it soared up the charts, it proved the music veteran could still compete with all the young stars of the day. The smash hit was Reba’s 60th Top 10 single, the first female country artist in history to achieve that many Top 10 hits. When it went away the way to the top, it became her 24th and final # 1 song, tying Dolly Parton for the most # 1’s by a female country artist ever.

‘Turn on the Radio’ proved are a had lost none of her fire, as it dripped with as much confidence and sass as anything she had ever recorded. The lead single from 2010's “All the Women I Am”, Reba felt so passionate about it, she called the writers, Mark Oakley, Cherie Oakley and J.P. Twang herself to request permission to record it. Singing to her misbehaving beau, it's the perfect song for a woman who had graced the airwaves for the previous 35 years -
"… Don't you come crawlin' begging please on your knees / baby if you're missin' me / Well you can hear me on the radio…"
The video is also worth a look -


In 2011, the CMA announced that Reba would be inducted into the Country Music HoF (5 years after George Strait was inducted). She was unable to attend the announcement after her father had slipped into a coma following a stroke. However Reba was able to attended the official induction ceremony and was inducted by Dolly Parton.

Reba maintained her high public profile beyond the limits of country music, appearing on and off (but much more regularly on than off) on the high rating TV talent show The Voice (American version obviously), as an adviser, judge and coach, since the show's first season back in 2011. However she will not appear for the 2025 season due to her latest TV show - ore on that below.

In 2015, at age 60, Reba had a shock assault on her dignity, finances trust. Just like the storyline of so many country cheating songs, many of which Reba herself had sung, out of the blue, her husband and business manager of 26 years, Narvel Blackstock, abruptly upped and left her, requesting a divorce. While Reba has forgiven but not forgotten, she has never denied her split from Black-stock was all his doing, saying in 2016 - “The divorce was not my idea. I didn’t want it in any shape, form or fashion”.

But what Reba didn’t know immediately (this is where the country cheating songs element comes in it) was that her husband was having it off with one of her closest friends and confidantes, Laura Stroud - though it took a further 9 years before they finally married. One can only imagine the sense of betrayal she felt (but never publicly expressed) when she found out.

And to rub salt into the wound, because Blackstock was also Reba’s business manager, with contractors over her financial portfolio, he got to walk away from the marriage with $47.5 million, a full 50% of Reba’s $95 million worth at the time. - "I had my production manager who left, I had my CEO who left, my manager and husband, and my father had died. So four men who were rock and pillars of my world were gone. I started taking over signing the cheques and then I started realizing how much water cost, and the electric bill, and all the things that was going on in my life," she added. "I made the money, I brought it home. So it was a huge, huge change for me”.

Reba had also mourned the death of her father after he died at age 86 in late 2014, just months before her divorce. Though I’ve already outlined the difficulties Reba and her siblings experienced with him as a child (expressing emotions was not really considered a masculine in the 1950’s), time had mellowed him and Reba appreciated other aspects he instilled in her that enabled her to succeed, such as a strong work ethic, discipline and resilience. The older they both got, the closer they became.

Reba chose to record this poignant, emotional song ‘Just Lime Them Horses’, because it reminded her of her father, a cattle rancher and multiple world champion rodeo Performer. She had intended to record an acoustic version for her father's funeral in 2014, knowing that he was coming to the end of his life. The third single spawned from Reba's 2015 album “Love Somebody”, released in early 2016, it was first penned by Liz Hengber, who had written the song in response to her friend dying of cancer. Because she could not finish the track, she had Tommy Lee James help her finish it -


In 2017, Reba began a relationship with photographer Anthony "Skeeter" Lasuzzo, stating in 2019 -"We're totally in love - absolutely. I wouldn't put up with somebody for two years if I wasn't in love with 'em!". Reba and Lasuzzo separated 6 months later. In 2020, Reba started another relationship, this time with movie and TV actor Rex Linn. They first met in 1991 on the set of The Gambler Returns: The Luck of the Draw and reconnected 29 years later when Reba guest-starred on Young Sheldon, where Linn plays the principal of Sheldon's high school.

Eventually, all artists get cast aside in favor of welcoming new artists, right or wrong. Arriving to 2019, she had, over the previous 8 years since ner last # 1 hit, 2010’s ‘Turn On The Radio’, Reba had balanced authenticity with commercialism quite well, but even a huge hook-driven hit like 2015’s ‘Going Out Like That’, with a contemporary pop-country sound and a music video to match, still wasn’t enough to help, peaking at a disappointing (by Reba’s standards) # 23. Instead, she buckled down and, turning more, and more publicly, to religion after the death of her father and her divorce, released a gospel album in 2017.

Then came 2019, with what was marketed as Reba’s comeback album “Stronger Than The Truth“, which she calls “My most country album ever” - and she delivered on this promise. Her 33rd studio album and the first of secular material since 2015's “Love Somebody” album kicks off with ‘Swing All Night Long with You’ a joyous slice of traditional western swing that sets the tone for the remainder of the album - a pure, unadorned country album (with o e part exception), unlike the gleaming “Love Somebody” of 2015. It’s well worth a listen for any lover of traditional country.

Strangely enough, the one single released from the album, ‘Freedom’, is the one song on the album I don’t like - and it seems I’m not alone in my dislike, as it didn’t even. Rack the Top 50. I can’t help but think they simply released the wrong song as a single, perhaps because it’s the one song on the album with a few pop elements. If so, it was a flawed judgment. It starts off pure and fine country but the chorus kinda spoils it.My 2 favourite songs from it are ‘The Clown’, penned by. James Slater, Hillary Lindsey and Dallas Davidson - its leading piano melody is most beautiful - and the title song ‘Stronger Than The Truth’. ‘But I’ce stayed disciplined limited my choice to the latter.

The first promotional single from the 2019 album and its title song ‘Stronger Than The Truth’, written by Reba’s niece, -Autumn McEntire and Hannah Blaylock, Reba would’ve been well aware this wouldn’t get played on 2019 country radio - because it’s actually country. Sonically, it sounds like an acoustic number from the 1990’s told from a current perspective. It’s standard stone-cold country, with rich piano, acoustics, pedal steel and fiddle accentuating the mix. In terms of the foundation, the song is absolutely rock solid.

As with the best country songs though, the focus is on the pain underlying it all. As Reba tells a story of a husband leaving to find a younger woman, you can’t help but appreciate the modern context through which she’s framing the song - like a metaphor for any legend’s aging days at country radio. With ‘Stonger Than The Truth’, though, there’s not much to say other than it’s a heartbreaking, classic country song. Watching the narrator resort to alcoholism with the self-awareness that it won’t help is just devastating - and Reba, at age 64, sounding as good as ever -


Released by MCA in 2021, the compilation album “Revived, Remixed and Revisited” was the first remix album by Reba McEntire. It consists of 3 discs. We have “Revived”, featuring 10 re-recordings made with McEntire's touring band, which replicates the live arrangements and sound of the songs in her live concerts. Then there’s “Remixed”, which turns 10 more Reba tracks into club anthems. And finally “Revisited”, which strips 10 classics down to simple, stripped back mostly acoustic re-recordings produced by Dave Cobb. The set was preceded by the release a new version of ‘Does He Love You’ with Dolly Parton instead of Linda Davis. Issued to country radio as the lead-off single and charted in the top 50.

Many of the songs in the 2021 “Revived, Remixed and Revisited” album have a far superior sound and arrangement than the originals from the 1980’s and 1990’s. But of course, I declined to use any on this series as it would kinda ruin the history aspect if I swapped in these recent re-recordings for the originals. Still, it’s well worth a listen.

In 2022, McEntire released “My Chains Are Gone”, a collection of gospel music featuring guest appearances by Kelly Clarkson and Trisha Yearwood.

In 2024, at age 69, Reba drew praise after premiering her new single, the anthemic ‘I Can’t’, Victoria Banks, Tia Sillers & Tania Hancheroff, live on NBC’s The Voice, soon followed by an unforgettable performance. Reba headed to Frisco, Texas, to host the ACM Awards - not for the first time, but for a record-breaking 17th time. Belying the songs title, she closed out the awards ceremony with a blazing performance of ‘I Can’t’, featuring a stunning choir of gospel singers (check it out on YouTube). Reba was awarded a sustained standing ovation. Driving, dramatic, soulful, ‘I Can’t’ builds as it goes on. Each verse and chorus adds a little more bite to its message. In the 2nd verse, Reba sings the oh-so-true lyrics - “”… I’ve been a fool for love / and I’ll be a fool again…”. On top of being a cathartic heartbreak song, it has something optimistic about it, an ode to new beginnings -
“… As soon as I find some higher ground / I’ll be good as new …” -

Directed by Dano Cerny, the epic landscape-driven video showcases stunning visuals and dancers whose movements are inspired by the song’s lyrics. In classic Reba fashion, the video features her in striking outfits artfully reinforcing the narrative of a resilient soul rising above the turmoil of a tumultuous relationship's end, seeking higher ground and new beginnings.

And that 2024 release concludes Reba’s music. All up, Reba charted 106 singles, a record 60 for a female making the Top 10 and a record equaling 24 (shared with Dolly Parton) going all the way to # 1. She has also 13 # 1 selling albums and 28 placed in the Top 10. She has recorded 35 studio albums over a recording career that has so far stretched for 48 years.

McEntire, has the second-most wins - 7 - for the ACM's Top Female Vocalist Awards. She holds the record of a remarkable 12 AMA’s for Favorite Country Female Artist. She is the first to win the CMA's Female Vocalist of the Year 4 consecutive times, a feat since equaled by Miranda Lambert in 2013 and in 2016 by Carrie Underwood. Reba, like George Strait, is one of the few to achieve solo # 1’s across 4 decades - 1980s, 1990s, 2000s, 2010’s. She has the 2nd most CMA Award nominations for a female artist, with 51 and holds the record with the most ACM Awards nominations for a female artist with 47. She Inas 3 Grammys, winning the best female vocalist in 1987, 1994 and 2018.

In 2018, McEntire received the prestigious Kennedy Center Honour. The Country Music HoF, Grand Ole Opry and Hollywood Bowl member has also won 16 ACM Awards, 15 American Music Awards, 9 People Choice Awards, and 6 CMA Awards - her CMA awards probably limited by her annual hosting of the rival ACM awards. Her leadership and philanthropic endeavours have been recognised with the Andrea Bocelli Foundation Humanitarian Award, Leadership Music Dale Franklin Award, the Music Biz Chairman Award, the National Artistic achievement Award from the U.S. Congress, and joining the Horatio Alger Association.

An acclaimed actress with 11 movie credits to her name, a lead on Broadway in Annie Get Your Gun, and starred in the 6 season TV sitcom, Reba. In 2024, 17 years after last starring in her sitcom Reba, McEntire returned to starring in a TV sitcom Happy Place along with her friend and Reba co-star Melissa Peterman. The upcoming 2025 series will also include the other major Reba co-star, Christopher Rich, reuniting the Reba trio on screen. Reba has also been locked in to host the ACM Awards in April - for the 18th time.

In short, Reba’s entertainment career, which stretches beyond her music, is still flying high. Taking into account sustained success over at least 4 decades as a qualification criteria, then along with Willie Nelson, Dolly Parton and George Strait, I have Reba in my four “Mt Rushmore” living country legends.

And, yet again, tomorrow I’m leaving on a jet plane, not sure when I’ll be back again -so that means another decent break from the history. If all goes well, I should be back in 2-4 weeks or so.
 

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I posted this in What are you listening to right now, but it would probably be more appreciated here.
Sister Hazel. Love the bass sound.


I enjoyed this, it had a bit of a Jackson Browne crafted tune and delivery, feel to it.

Thanks for sharing. :thumbsu:
 

New Ep with that True Detective stuff available. Arrived yesterday. Too expensive with shipping and taxes but had to get it.
 
So, on my last post, I said I’m leaving but I’d be back with more history in 2-4 weeks … which turned out to be 9 weeks, such has been my travels and travails. But now I’m back home for a few days, just enough time for another instalment. Our latest artist is now ranked with the neo-traditionalists of the mid 1980’s - hence why I held him back to now in this series - but in fact, while the mid eighties was his career peak, he actually broke through to commercial success in the late 1970’s, already aged in his 30’s, after a previous career as a licensed mortician, then a popular deejay in the South’s leading rock/pop (but not country) radio station. His music was authentic country from the start, likened with then contemporary honky-tonkers Gene Watson and Moe Bandy.

John Conlee is the epitome of the down to earth southern farm boy made good. Born in 1946 and raised on a tobacco farm in central Kentucky, coming of age in the 1950s, besides their cash crop of tobacco, Conlee’s family sold eggs door to door and raised sheep and feeder pigs. Conlee recalls his childhood, typical of that era, always seeming to have a hoe in his hand, spending long days cultivating tobacco and corn with both tractors and mules, ploughing fields, slopping hogs, tending cattle, harvesting grain - “I got 3 or 4 days off in the summer to go visit some cousins and that was it. Otherwise I was working with Dad on the farm. Up at the crack of dawn like most farm kids back then. And down as quickly as possible at night to get ready for the next day.”

But that farm is where the future country star heard music on the radio coming out of nearby Lexington and especially the Grand Ol Opry from Nashville. Radio was one doorway to music. Guitar was another, as he fell in love with the instrument and eventually took half-hour lessons every Saturday morning in nearby Lexington - “After that was over I had time to kill, so I’d go hang out at the local radio station across the street from the guitar lesson and fell in love with both. Over time I was able to make a living at both.” He later worked at that same radio station.

By age 10, Conlee was proficient enough to sing and play guitar on local radio, singing tenor with the town barbershop quartet. In his later high school days in the early 1960’s he and the group sang the popular folk songs of Peter, Paul & Mary, The Kingston Trio and The Brothers Four. But Conlee, regarding singing as just a side hobby just for fun, so after graduation, he was in morticians' school training for what he believed would be his future career and became a licensed mortician in his hometown, so the group was disbanded.

In 1966, Conlee decided not to pursue his undertaker's trade but try instead for a job within radio, starting in Fort Knox as a newsreader. Then moving back to Kentucky and then back to his home-town of Versailles, he became the new radio station's first programme director and later manager. But after 4 years working on small stations, Conlee felt he was ready to move to a larger station, making his move to Nashville to work as a DJ on one of Music City's rock stations.

Conlee eventually found his way to the legendary WLAC in Nashville, a powerhouse 50,000-watt station that could be heard all over the south at night, starting in the news department on the popular rock music station, but soon becoming a top rating DJ. Though most of the music he played was rock, in time, he became seen as an authority on rock, pop and jazz and was promoted to the stations music director. Much of his work was with rock, middle-of-the-road pop and easy-listening music - anything but country! He worked 9 years in radio, but, ironically, never at a station with a country music format - “For whatever reason, every format but that”.

Working at WLAC in Nashville gave Conlee many chances to meet people and make important industry connections in the music business - “That job is the only reason I ended up here. Slowly but surely I met a lot of those folks and it slowly evolved into a chance to record after a few years”. With his deep-rooted love of country music and his own musical inclinations, it was only natural that after a few years in Nashville, Conlee would be bitten by the singing bug again. He still treated music as a hobby but began to write songs, initially just for something to do. But pleased with the results, he pitched his songs to the publishers along the music row studios. Conlee recorded the demos, and the president of ABC Records' Nashville operation was just as impressed with Conlee's vocalising as he was with the songs.

Conlee was thus signed to the ABC label - “1976 was a big year. I wrote ‘Backside’ and ‘Rose Coloured Glasses’ within 6 weeks of each other, I met my producer, Bud Logan that year, signed my first recording contract and we had our first release but it didn’t make it”. So Conlee’s career almost didn’t happen - he first single, ‘Hold On’, made no impression, as did the next one (a future # 1) - ‘Backside Of Thirty’, which didn't even chart when it was first released. That’s not to say some stations didn’t pick up on the song, just not enough to make the national charts. Then came ‘Let Your Love Fall Back On Me’ and still Conlee hadn't cracked it, even though, in hindsight, they were excellent, authentic country singles. At the time he was still working his morning show on WLAC and had been unable to do any concerts and tours to promote his records.

For the music selections below, if you choose only to listen to two, i would go with the first and last selections … though you may prefer the third.

Conlee was given one final chance with his 4th single, ‘Rose-Coloured Glasses’, a song he had co-written with Glenn Barber - “… we released 2 more songs that didn’t make it either, and then along came ‘Rose-Coloured Glasses’ as our 4th and would have no doubt been our final release had it not made it. The label would have moved along and I would have been dropped.” Luckily, a DJ in Houston put the song on the air in 1978 - “… It started up the charts and became my first big hit”.

At that time, individual regional radio stations could actually make a hit record. Conlee remembers when he knew his 1978 release ‘Rose Coloured Glasses’ would be a hit - “One night when I was driving from Nashville back to Kentucky to visit family, I was tuned in across the radio dial and heard that song on WBAP out of Fort Worth, Texas. As soon as it finished there I went to a Chicago station and heard it played there. That’s when I knew we had a hit, or felt like we did, when I could hear it that quickly when I could hear it on two major markets on those great powerhouse radio stations”.

This reminds me of Charlie Rich's ‘Most Beautiful Girl In The World’, (post # 707) a smash hit with an irresistible chorus but with rambling, nonstandard verses that are as difficult to sing along with as the chorus is easy. And what a super-sad country codependency ballad! Like Rich, Conlee takes an unwieldy song structure, digs into the emotional abyss of the lyrics and brings it home. Coming from a previously disregarded singer, It struck a chord with the public, climbing into the Top 5 and also going to # 6 in Canada -

‘Rose Coloured Glasses’ has endured to become Conlee’s signature song - and when he performs it, which is pretty much at all his shows, he invariably literally wears a pair of rose coloured glasses.

The success of ‘Rose Coloured Glasses’ directly led to Conlee recording an album, which also included several of his previous unsuccessful singles. Released in October 1978, 6 months after the single, the cannily (if unoriginally) titled “Rose Coloured Glasses” album was a commercial success, peaking just outside the Top 10, at # 11 and also spawned 2 more hit singles. ‘Lay Lady Down’, written by Rafe Van Hoy and Don Cook (so not to be confused with Bob Dylan’s ‘Lay, Lady Lay), was released in 1978 as the second single from the album and became his second hit - only this time it went all the way up the chart to become his first # 1. The song’s premise seems to revolve around a man trying to woo his neglected lover back - by having sex, which, according to singer is his best asset -
“… Let me beg you to stay the best way I know …”. Good luck with that -


Sometimes an artist just knows a song is special after either writing or recording it. Conlee has said ‘Rose-Coloured Glasses’ was special to him and he had a gut feeling it might do well. But, he had had 9 years in radio and being a radio Music Director, long enough to know the whims of the market can be difficult to predict - “Sometimes the things you think are going to be the best and do the greatest, don’t. And vice-versa. Something else you didn’t have much hope for ends up being a bigger hit. You never know until you throw it out there and see what sticks”.

Comlee’s first release was a prime example of this. ‘Back Side of 30’ initially broke through regionally but not nationally - as he was unheard of outside of Tennessee and Kentucky.. But after the success of ‘Rose Coloured Glasses’, ‘Back Side of 30’, which was also included in his debut album, was re-released as a single - “Based on requests from radio. We reminded them we had that out already. And they said, ‘We know, but we’ll play it this time’. And indeed they did and it became a # 1 hit as well”. It was the 2nd # 1 hit from the “Rose Colored Glasses“ album, peaking in early 1979.

Conlee, himself already at the back side of 30 when his music career took off, mixes multiple classic country tropes (divorce, drinking to forget, mid-life crises etc) into quite the country music cocktail about a 35 y.o. working man whose aspirations of family life and the American dream come undone after a savagely acrimonious divorce. With his ex-wife and young son having left him, the man bemoans his brokeness, despair and solace in the bottle. When friends ask him about how things are going, he puts up his bravado, saying things are fine, although he admits "… my eyes tell a story that my lies can't hide ..." -


In 1979, at age 33, Conlee decided to finally give up his DJ and radio work and dedicate himself full-time to his burgeoning music career, working weekend dates with a pick-up band.

“Forever”, Conlee’s second album and first for MCA, produced by Bud Logan, was released in 1979. The album’s first single ‘Before My Time’, written by Ben Peters, is a a smoking ballad, fashioned by the special quality of Conlee's vocal, about a lover reassuring his woman scared by a previous toxic relationship. He assures her that he will right the wrongs her ex-lover caused. The song peaked at #2 in the u.S., but did become his first Canadian # 1 -


‘Friday Night Blues’, written by Sonny Throckmorton and Rafe Van Hoy, was originally recorded by Throckmorton, whose original version struggled to # 89 in 1980. But just one month after Throckmorton's version charted, Conlee released his own rendition of the song, from his album of the same name. The Conlee version, peaking at # 2, is an entirely different league, a testament to his remarkable skill as a singer (and the often overlooked virtues of early ‘80’s country production. It was the first Conlee recording for session guitarist Brent Rowan, who soon became the only guitarist Conlee used with producer Bud Logan.

The title track of his 1980 “Friday Night Blues” album, the album's artwork plays off the song's theme - A husband – presumably, some sort of businessman or salesman who has spent the week on the road making deals – would rather lie on the couch, watch TV and relax after a hard week at work, while his wife, left to watch daytime TV, do mundane housework, chat with a happier neighbour about domestic life and build to a hopeful weekend apex, is dressed up, ready to treat him -and, of course, herself - to a Friday night on the town ... but has the "Friday night blues" after she realises he just wants to stay home on the couch. Her need for a fun night out conflicts with his need to de-stress himself at home. Conlee’s vocal is rich and expressive, complementing the empathetic character drawings in the lyric. You can feel the anguish of both the husband who’s “… been working all week / he’s got mental fatigue …” and the lonely housewife, who’s been home all week “… slowly going out of her mind…” The chorus soars, with the electric piano gliding alongside Conlee’s strong vocal performance, bringing the song’s vivid imagery to life -
“… Those Friday night blues they get in your shoes / and they work to get you down /
Oh but there ain’t a lady that I ever knew / who didn’t need her a night on the town /
But the hills and the bills and a week’s worth of deals / has got him feeling used /
While he’s kicking his shoes off, she’s putting hers on / she’s got the Friday night blues …”
-


By 1980, the 34 y.o. Conlee had found solid success over the previous 3 years writing and performing songs that appealed to “ordinary” people - working class blue collar workers, farm workers, both men and women - true country songs of struggle, declarations of love, infidelity, disappointments, loneliness, drinking to forget and the like. He had released his third album, had chalked up two #1 hits, two more at # 2 and 2 others in the Top 10. He had an authentic country sound amongst the many pop country performers of the time (as we have seen), and more success lay ahead in the eighties as the neo-traditional movement came to the fore. But more on that tomorrow.
 
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John Conlee drew much of his inspiration from his experiences with farm life, hard work, and the lives of rural and blue collar, everyday people in Southern communities. He has always prided himself on his authentic, simple music that spoke to the “everyday folk”, with all their struggles, dreams and imperfections, has never been drawn to participate in country music trends or use their tropes. He remained the epitome of a “normal” everyday person - flabbily plump, typically cheaply dressed in basic jeans and t-shirt or sweater. He never has sought out any sort of high profile, doing just the minimum necessary amount on the publicity trail and limiting his touring and concert appearances, cherishing his private life and family and farm.

We left off yesterday with the title track from Conlee’s 1980 album, “Friday Night Blues”. The following single is also a Sonny Throckmorton written song (that owes a great deal, melodically, to Allen Reynolds' penned ‘Ready For The Times To Get Better’, a hit for Crystal Gayle in 1978 - post # 898). ‘She Can’t Say That Anymore’, a country cheating song - albeit with pop overlays, but kept country by Conlee’s vocals - just missed the top spot, peaking at # 2 in 1980 -

New York based no wave artist, Cristina, covered this song on her second album “Sleep It Off”.

It was now just 2 years since Conlee had made his debut on the country charts, and he had already notched up 7 Top 10 hits, including topping the chart and 2 more at # 2. Having won the ACM Best New Artist for 1979, he was inducted into the Grand Ole Opry, in 1981 (and has remained a member ever since), and went from playing taverns to the circuit of top-flight nightclubs and concert arenas - not that he was ever much of the “hitting the road” touring type. In fact, despite his background as a well known radio deejay in Nashville, once he broke through to commercial success and committed to music full time, he actually didn’t indulge in the celebrity lifestyle. He didn’t change his ways, only did the minimal amount of media required, and thus his public profile was always less than his chart success would indicate.

Conlee released his 4th album, “With Love” in 1981. Its lead single, Could You Love Me (One More Time)’, underperformed, only going Top 30. But its second single, the Red Lane written ‘Miss Emily’s Picture’ was the albums one standout track, adding to Conlee’s list of classic hits, and again just missing topping the chart, at # 2. We know nothing about Miss Emily, whether she is alive or dead, other than the narrator loved her with every last inch of his body. His head, eyes, heart, and hands seem to exist for no other reason than to hold her memory and to straighten her picture by his bed every morning. In fact, he straightens it all the time, even before going to bed each night.

Somehow – between all this house-keeping – Conlee’s character manages to get himself to work every day; he is a mess there as well. He drinks bourbon-laced coffee at the office and emotionally collapses on colleague’s shoulders in the hallways, apparently a burden to anyone close to him. Miss Emily’s image hangs on his office wall (presumably she was once a co-worker there) and he straightens it there when he is not unproductively pacing or nibbling his finger nails.

He carries another – perhaps even the identical – picture of her in his wallet. He spends his evenings at bars, purportedly having a ball. That is, until the hurting inevitably takes hold at which point the air goes out of the room when he once again shares that same picture of Miss Emily with everyone. His daily nervous breakdown quickens when he returns home each night. He drinks still more, eating just a bite. The only thing in his life he can straighten out is that bed-side frame holding the picture of his Miss Emily. In that simple act, the grinding hurt and relentless loneliness seem to stop, but then life goes on around him, and everything in his world goes sideways again, with nothing but that familiar pain staring him down.

The narrator claims he only does this picture-straightening every now and then, but it is clear that his “then” has become an endless “now.” His shattered life is a grotesque routine highlighted by this one tender act he is condemned to obsessively repeat until they hang a wreath upon his door. All-in-all, a heavenly honkytonker of unadulterated misery -
“… I stagger in the house and I slam the door / Scatter my clothes all over the floor /
Wishing I could do the same thing in my head
…”
As an added “bonus”, you may also (or not) choose to listen and enjoy the second pure honey tonk song on the clip, ‘Could You Love Me (One More Time)’, the underperforming lead single from the “With Love” album -


Rather surprisingly, for his first single of 1982, conlee updated the old Harlan Howard penned classic, ‘Busted’. It was first recorded by Johnny Cash (with the Carter Family) for Cash's 1963 “Blood, Sweat and Tears” album. It was also notably recorded by Ray Charles in 1963, who took it to # 4 on the pop chart, and later by the Scottish hard rock group Nazareth in 1977 and Chris Ledoux in 1982.

‘Busted’ also became the title tune of Conlee’s 5th album. It fitted neatly into the plight being experienced by many American working class families at that time, who were out of work in one of the worst slumps in living memory - the start of de-industrialisation of the U.S. as its tariffs reduced, opening the door to a mass of low wage foreign imports. The whole album, influenced by the rise of the back to basics neo-traditional movement, was recorded in just 3 days, the simplest of all of Conlee's albums. The string arrangements, which at times had come close to spoiling the effect on his previous albums, is missing, and instead there is a simple country combo with some strong and compelling songs.

‘Busted’ got to # 6 in 1982, with Conlee commentating - “That song has been a hit at least 3 times. Like everybody else I first heard Ray Charles do it – it was a huge hit for him. I had gotten to know its writer, Harlan Howard, and actually cut it for him in the studio just for fun, never dreaming it would be a single. I actually had a cold that day. We tried to overdub it but we couldn’t beat the original version so we just left it the way it was.” -

When Conlee now performs ‘Busted’ at concerts, it is a cue for fans to come up to the stage with money. It started as a joke at a state fair 38 years ago in 1987 when some in the audience threw him $5 notes while he sang about how broke he was, and he donated that $60 to the Feed the Children charity - and he has continued to do this ever since, donating more than $140,000 up to 2022 and still going.

The killer track on the “Busted” album is ‘I Don't Remember Loving You’ - about the most hurtful statement you can ever tell someone you once loved - and even worse when it comes out in a song. The combination of two of Nashville's finest writers - Harlan Howard and Bobby Braddock - came up with this classic. The song concerns a broken man, totally ruined mentally by a marriage break-up, who is in a psychiatric facility being visited by his ex-wife, a person he refuses to remember. It's one of those songs that could so easily be made sickly and unpleasant, but Conlee handles the lyrics so masterfully that it emerges as something of a modern-day country classic, again reaching the Top 10 and # 3 in Canada -
“… I don’t remember loving you / and I don’t recall the things you say you put me through...” -


Conlee's ability to bring reality to the tales of broken romances, love lost and found, family problems and infidelity, has earned him a reputation as one of the best pure country vocalists, with a distinctive melancholy vocal. He never wallows in the sadness and heartbreak, but puts across the messages convincingly and with compassion. Though by 1982 a big name star in Nashville, he still considered himself to be an everyday person, not altering his lifestyle to his new found fame. He remained very much a “common man”. It’s because of his closeness to the ordinary working man that makes so totally believable.

‘Busted’ had been the highest-charting single from the “Busted” album until MCA took the rare step of releasing a 4th single, ‘Common Man’. Written and originally recorded by Sammy Johns in 1981, charting to a modest # 50. It finally brought one of the era’s strongest artists in Conlee back to the top of the chart at # 1, and it’s just as much of a classic as the albums previous 2 singles. In fact, it would have that status even if the only line worthy of note was “… I’d rather chug-a-lug a mug of Budweiser Beer than sip a crystal glass of wine …” but the entire song has a balance of clever wordplay and working class references. The basic plot-line is a traditional venerable one for country songs - an uptown girl wants to hook up with a downtown boy, and they’ve got to figure out which world to live in.

As outlined above, Conlee is the very platonic ideal of a common man, so he’s the perfect narrator for this composition. His character is just an everyday blue-collar guy, super uncomfortable being around privilege and it’s a world he doesn’t aspire to fit into. We don’t find out what happens with this couple in the end, but I’d like to think she leaves with him, has her first Maccas and chips and decides to leave her high living world behind -


That’s all for today’s music. By the end of 1982, John Conlee had landed 10 Top 10 hits since his breakthrough in 1978, of which 3 had topped the chart and 4 peaked at # 2. While always a country music traditionalist at heart, at home in the working class honky tonk, his most recent stripped back “Busted” album showed the increasing influence of the neo-traditional movement that was starting its spread through country music in 1982.

John Conlee did two other things of note in 1982. He got married to a very private wife, Gale. They still remain married 43 years and 3 children later. He also purchased a 13 hectare hill property with a large house which had previously belonged to renowned country songwriter, Glenn Martin, ideal for his needs. It is like something you'd see in an old western - rough-hewn logs, barn, massive fireplaces, a long ranch-hands' dining table on two huge whiskey barrels, beamed ceilings and more than spacious rooms including the 700 square foot living room that doubles as a rehearsal room. Because the land is so hilly, there's little crop planting, so Conlee got busy raising cattle. He has used his country refuge to find the tranquillity that working on the road denies him, keeping his feet firmly planted on the ground. He still lives there with his wife.

There's never been that 'look at me, I'm a big star' aura about Conlee, he is basically just an average bloke who loves to sing - and just happened to be highly successful. His fans, essentially all southerners, where there is much disdain of the celebrity cult that Northerners indulge in, related well to this “average overweight guy done good”. And in 1982, John Conlee, at age 36, hadn’t yet reached his commercial peak - so there’s more tomorrow.
 
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So yesterday we left John Conlee at the end of 1982, newly married, with a farm just out of Nashville and charting hits consistently.country music is somewhat unique in how so-called “authenticity” plays a major role. Traditional country fans want to believe the words coming from their favorite performers, whether they wrote them or not. They want to buy into the idea that artists are singing what they live, and living what they sing, and that there isn’t any act or put-on happening.

Unlike mainstream rock and pop - or pop-country - traditional country fans don’t necessarily want their favourite artists to be larger than life. They want to think country starts are just like them, meaning everyday people who happened to find their way onto the stage, in part because of their authenticity and character. In some respects (and maybe somewhat ironically), this is one of the elements country music shares with hip-hop and heavy metal, where “street cred,” which is similar to authenticity, weighs so heavily.

What grants an artist authenticity? In country music, it could be where they’re from. Are they from the deep South, Texas or Oklahoma, Bakersfield, California or the interior West, Wyoming or Montana? Are they from a rural area as opposed to an urban one? Did they grow up on a farm or a ranch, meaning they know the country life? Do they live in the country now? Where is their family from? Did they work on a farm or ranch in their life? Or did they work a blue collar job in a factory, or out in the oil field? Have they ever been arrested, been to prison, served in the military? Though there are other factors I’ll leave out for brevity, all of these experiences could confer the kind of real-world authenticity that gives rise to the real and raw stories so many country music songs convey, and the kind of sentiments country fans crave.

What makes country music so special, and so unique in the popular music space is how when you listen to a performer sing, you know it’s coming straight from their heart and their lived experience. Or it least, they make you believe it is. It’s that connection that elevates the country music listening experience beyond mere entertainment, and why “authenticity” is something to revere, and at least attempt to preserve within the country music medium.

Conlee, with his down to earth lifestyle, has always been seen as authentic - “I’m living the life I’m supposed to live. We live on a farm in Tennessee and still have the farm in Kentucky I was raised on. I go up there every few weeks to check on things…”. He’s the fix-it guy when he’s on the home place - “…Around the farm there’s always something to take care of, you’re never done around the farm or the house. Things that would be work maybe for other people end up being hobbies and a way to clear out the cobwebs for me, …”.

Conlee hasn’t walked away from much of anything of his past, even including his first vocation funeral mortician - “I stay connected with my roots, all the different things I’ve done to make a living. I did that for 6 years and I still renew my license every year. I don’t practice but I appreciate the association with it. I think I learned more about people, life and service doing that than I did any other way.”

Back to Conlee’s music, where we left off at the end of 1982. Released in 1983, “In My Eyes”, Conlee’s 6th album, was commercially his most successful album, reaching #9 on the Album chart and spawned three #1 singles.

So much talent came together to make ‘I’m Only In It For The Love’. Conlee is here at the peak of his vocal power, while promising young artists like Deborah Allen and future Hall of Famer Kix Brooks are two of the co-writers. So why is it so much less than the sum of its parts? I’d put it down to the production, which is a little too busy. Conlee’s voice doesn’t work as well with brass instrumentation, so he gets a bit lost in the mix. Conlee made so many great records with Bud Logan, but this isn’t one of their best efforts, despite all the talent involved. It’s still an entertaining listen, but it’s puzzling this made it to # 1 in 1983 while some of their earlier collaborations didn’t quite get there -


Country album cycles were still pretty tight back in the first half of the eighties, with artists often releasing a new album every 6 to 9 months. This limited the number of singles that could be pulled from any given set, and the double-sided single approach was the exception to the rule. ‘In My Eyes’ likely would’ve been a big hit single for Conway Twitty if he didn’t move on to his next set after 2 hits from 1982’s “Dream Maker”. It wasn’t like Conway Twitty to miss a hit - it’s a really nice ballad. Thankfully, Conlee picked it up for his 1983 album, designating it as the title track and making it the 2nd of his 3 straight chart-toppers in 1983 from the album.

Conlee’s not quite as delicate as Twitty when delivering a compliment - he was always better with the heartbreak songs. But he does more than well enough here, his pure sincerity shining through as he celebrates his woman’s beauty and reaffirms his commitment to be with her always. It doesn’t have the satisfying pathos of Conlee’s earlier hits, but it demonstrates his versatility as a singer -


The third # 1 from the album, ‘As Long As I’m Rocking With You’ was written by sixties pop star Bruce Channel and rising eighties star Kieran Kane. So it ain’t so surprising this has a feeling of timelessness, which is helpfully abled by an organic production, a rarity among Conlee’s best records, which are usually immediately identifiable as being from the late seventies and early eighties. Perhaps it would’ve worked better with a slightly quicker tempo, but that’s the only thing holding it back, Conlee gives a mature performance, singing in a lower register than his earlier hits. It helps create the feeling he’s stating his ongoing commitment to a long term partner. It topped both the U.S. and Canadian charts in 1984 -


‘Way Back’, penned by Jerry Fuller, was released in 1984 as the fourth single pulled from the album – it reached #4 and # 2 in Canada, but perhaps could have done better with a little different arrangement. The song is a nostalgic look back at a relationship that has changed over time … and not for the better -


1984’s “Blue Highway” album saw Comlee making some adjustments to his sound in the light of the pop-leaning music which was still dominating country radio at the time, though this had all changed by 1985. The lead single, however, ‘Years After You’, was vintage Conlee – an emotional lost love ballad written by Thom Schuyler and originally recorded by Eddie Rabbitt (#972-974) in 1982 on his “Radio Romance” album. But Conlee then covered to much greater success in 1984 by Conlee, just missing the top spot, reaching #2. The backing vocals have dated, but the song itself, with strings and a lovely melody, is gorgeous and Conlee’s vocals excellent -


By the end of 1984, John Comlee had charted 16 hits in the Top 10 (15 in Canada), including 6 at # 1 and 5 more at # 2. Despite this chart success, he still only gave sporadic concerts rather than any full on tour and generally kept a low profile in public, preferring to spend time on his farm or his hobbies of woodcarving, fishing and hunting - as well as just spend time on his ranch home with his wife and new additions to the family of 2 daughters. But, now nearing his forties - and already looking like a middle aged farmer - he still had a bit more to give commercially and then a long career after he no troubled the charts, as will be seen tomorrow, bringing his career - and other activities Conlee’s been involved in - up to the present day.
 

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Although by 1985, Conlee was at the peak of his career, having g broken through 7 years earlier, he still didn’t have the public profile that At he’d his chart success- and this was in large part due to his reluctance to go on concert tours and not seeking any publicity for himself, determined to have as normal as possible private life, without all the trappings of being a celebrity - “I was never on the road for months at a time, even when I was busiest in those early years. It’s a balancing act. I could never have been happy being gone for three months at a time. There were times when we would go to the West Coast and stay a couple of weeks, but that was my limit. I’d think ‘I got to see the farm before too much more time passes.’ …”

As a native of rural Kentucky and a farm owner in central Tennessee, preservation of the family farm became a passion for Conlee, who started Generous with his time, he began his crusade to save the family farm system by performing a concert in Omaha in June 1985 as a benefit for the National Farmers Organization and speaking passionately and knowledgeably about modern farming practices that have continued to destroy the farming infrastructure - “The farm crisis reared its head in 1985. I am a farmer. I witnessed a demise in the family farm during the mid-1980s and I wanted to do something about it. I didn't do so much to raise money but to draw attention to the problem” he recalled, explaining what compelled him to perform the Omaha concert in Omaha.

Conlee was then instrumental alongside Willie Nelson and John Mellencamp in running the series of annual Farm Aid concerts to support struggling American farmers in the 1980s and ‘90s. He helped organise and entertain at 10 Farm Aid concerts, which raised more than $14 million in grants to aid family farmers - “… when Willie Nelson announced his plans for a September Farm Aid concert, I called and offered to help. I was part of the first 10 Farm Aid concerts, and Willie has kept on doing them. The reason Farm Aid ended up being created was because this was not a front page story in the first place, even though it should have been”.

But Conlee continued to hit the charts in 1985, his songs appealing to the traditional country music rural and working class base that Conlee, for all his success in the music business, never stopped identifying himself as being a part of, once saying - “There are more of us ordinary folks than anybody else". ‘Working Man’, written by Jim Hurt and Billy Ray Reynolds was released in 1985 as the second single from the “Blue Highway” album and reached #7 in 1985. The theme of the song, reminiscent of his 1983 # 1 hit ‘Common Man’, was, of course, grist for the mill for Conlee, aimed squarely at his blue-collar working class fanbase. It’s a mellow sounding, well observed and sympathetic song about ordinary blue-collar lives struggling to make ends meet, coping with everyday life and a difficult boss - and also throws in a cop armed with a speed gun and the taxman. Conlee’s real world-weary sound to his voice suits the song’s material perfectly -
“… The boss is in his usual mood / Not one thing does he approve / Sometimes you can't keep him satisfied /
Up and down the assembly line / Weary faces much like mine / Showing the wear and tear in their eye
…” -


‘Old School’, written by Russell Smith and Don Schlitz, was released in 1985 as the first single from his “Greatest Hits Vol 2”compilation album and fortuitously, it did become an actual hit, reaching #5. It’s a middle-aged man's reflection of his high school sweetheart, whom he meets up with at a school reunion, bringing back memories of their days at the literal "old school" where they spent all their free time together - “… cruising through town / In your daddy's car with the top pulled down / Looking so cool / We came from different sides of the track / But we still held hands out back of the old school …”

After graduation, the two part ways - while he becomes a blue collar truck driver and family man, her marriage to a highly-successful businessman makes front-page headlines. This news has him pining for her, but instead, he chooses to drive by the old school and reflect on memories together. Eventually, he learns that his high school sweetheart was abandoned or predeceased by her husband (after having "made his mark on the world"), left with several children and a big house with swimming pool; her children now go to the old school.

At the reunion's dance, the two meet up and recall their memories. After asking his wife for permission, she talks him into a slow dance together and – apparently lonely – “… whispered it could be just like before …", before asking him to call her. However, he firmly declines the temptation, telling her he's from the "old school," this time taking on the phrase's other metaphorical meaning that he adheres to traditional values of fidelity, and that his heart is staying true to his wife, before expressing disappointment that she is no longer from the "old school”. So this is an epitome of an “old school” country song -


After several years of hits, Conlee left MCA in 1985, ending his run with ‘Old School’. He resurfaced on Columbia a year later
in 1986 with his “Harmony” anlbum. Although his label had changed, his long running partnership with producer Bob Logan continued, so sonically, the transition is seamless. The title track went Top 10, and was followed by his seventh and final # 1 hit (to date), ‘Got My Heart Set On You’.

‘Got My Heart Set On You’ written by Dobie Gray and Bud Reneau, was released in 1986 as the second single from the “Harmony” album. As he did on some of his earlier uptempo hits, Conlee borrows heavily from the early days of rock and roll. That was the sound of nostalgia by 1986, and the youthful lyric would’ve sounded slight if there was a similarly young artist at the mic. But Conlee was always wise beyond his years, and, at age 40, was firmly in middle age by the time this was recorded. His maturity adds some gravitas to this wide eyed commitment to newfound love, as it suggests he’s already had his heart broken a few times and he can tell when love is for real. It’s warm, whimsical, and wonderful, perfectly showcasing Conlee’s careful phrasing and his joyous approach to material like this -


For the next selection, ‘The Carpenter’, I’ve just copied what I wrote back on post # 855 on its great writer, Guy Clark -
After Guy Clark moved from the gritty West Texan oil town of Monaghans to the quite lovely South Texan bayside town of Rockford, he took a summer job in high school in a shipyard as a carpenter’s helper, building 80-foot shrimp boats. Echoes of his teenage job showed up later in his song ‘Boats to Build’ (post # 850) -
“… I’m gonna build me a boat / With these two hands / It’ll be a fair curve / From a noble plan /
Let the chips fall where they will / Cause I’ve got boats to build …” -


Woodworking - or more specifically luthier work, remained a huge part of Clark’s life thereafter, as he combined his career as a singer-songwriter with his love of making guitars. Clark recalled - “… It was one of the best things that ever happened to me when I was in high school. My summer job was working in a shipyard as a carpenter’s helper on the Gulf Coast, with the last guys that built big wooden work boats. Eighty-foot shrimp boats, everything by eye, square to the world, and just to watch those guys do that, man, it influenced me as much as anything I’ve been through in my life”.

Clark had a combination workshop/office in his basement that had a large framed photo of his late, closest friend, Townes Van Zandt and was full of magazines and books about lutherie and woodworking. Of a book entitled Japanese Woodworking, Clark said “That’s wonderful. They have pull saws instead of push saws and planes that you pull through instead of push through”. It also had many of the guitars Clark’s made. A woodwork magazine article from 2005 described the scene - “The pungent, familiar smells of sawdust, cigarettes and coffee are present, even as a spring breeze blows through the windows. Clark says, of the workshop - “The ambience just smells right to me. It just smells right”.

So, with Clark’s love - and his in-depth first-hand experience and knowledge - of carpentry set out, time for today’s last selection. ‘The Carpenter‘ was released on Clark’s 1983 album, “Better Days”. John Conlee released it in 1986 as the 3rd single from his “Harmony” album and took it to # 6 in early 1987 and all the way to #1 in Canada -
“… Oh he was tough as a crowbar, quick as a chisel / Fair as a plane and true as a level /
He was straight as a chalkline and right as a rule / He was square with the world, he took good care of his tools
…” -


‘Domestic Life’, written by J.D. Martin and Gary Harrison, was released in 1987 as the first single from the “American Faces” album and reached #4. It was Conlee’s last Top 10 hit. With its saxophone riffs and lyrics addressing typical Conlee concerns of everyday life and dreams, the song kind’ve describes just where Conlee’s life was at - married with 2 young daughters and a newly arrived baby boy, happily ensconced on his farm. At age 41 and never one for the celebrity lifestyle, content to be out of the limelight, the song was actually reflective of Conlee’s main priority at the time -
Cruising in my Station Wagon / Trying to keep my muffler from dragging / Sometimes it seems so defeating /
As I’m hustling to make it to the Cub Scout meeting / I dream about Mexico / Where all the pretty people go /
But we’re on a budget that just won’t budge / Not much money but a whole lot of love / Living that domestic life /
Happy children and a pretty wife / Our Cocker Spaniel’s always having puppies / How could anybody be so lucky
? …“


The second single from the 1987 “American Faces” album was Conlee’s final Top 20 hit, “Mama’s Rocking Chair” reaching #11. Never much for touring (I’m sure I’ve typed that a few times), Conlee subsequently curtailed his recording activities as well, instead devoting his time to charity work on behalf of American farmers and devoting more time to his young growing family and, of course, running his own farm outside Nashville.

From 1978 to 1987, Conlee enjoyed major mainstream success as a country music artist with producer Bud Logan. Aged 32 when he first became a star, but never glamorous and relishing privacy ahead of publicity, he fell out of favour with country radio when the New Country movement of the late 198’0s cast aside older stars. At the end of the 80s, Conlee was one of many veteran artists to exit a major label and resurface on the independent 16th Avenue, where he released a string of top quality singles that alas didn’t gain traction on radio. One of those, ‘Hopelessly Yours’, originally recorded by George Jones, would later be a Top 20 hit for Lee Greenwood and Suzy Bogguss. Another, ‘Doghouse’, was his final chart appearance, reaching a modest # 61 in 1990. The 16th Avenue label then folded.

The next decade was a quiet one for Conlee with no recorded output, as he and his wife Gale raised their family of 3 children on their farm, but 1999 saw a return to music with an album recorded live at Billy Bobs honkytonk, Fort Worth, and in the present century he has taken to rerecording his earlier material with a few new tracks. Although, regrettably, not all his original recordings are readily available, this has helped to reach a new audience in the digital era. And, with his children having grown up and flown the coop, he started doing something he had never done in the past - he finally started touring extensively! He is presently occupied with an extensive tour through the South and mid-west.

Through his music, Conlee has raised a lot of money for charitable causes, including Wounded Warrior Project, which provides programs and services for wounded U.S. military veterans. His interest in veteran issues arose after his son joined the U.S. Marines Corp and did combat tours in Iraq. His work with Willie Nelson and John Mellencamp to organise and entertain at Farm Aid concerts, raising more than $14 million in grants to family farms is outlined above. And as mentioned 2 days back, he also raised more than $140,000 for Feed the Children - one dollar at a time - for the charity from the dollar bills tossed on the stage when he sings his 1983 hit version of "Busted”.

Since his induction by Porter Wagoner in 1981, Conlee has remained a Grand Ole Opry staple and a popular draw on the road, though his recordings have been limited to a spiritual album and live/re-recorded version of his hits. In recent years he has become the unofficial father of the Opry. Conlee, still a regular at the Grand Ole Opry, has performed in gigantic stadiums but prefers settings like the Mars Theatre. “You can be so much more personable in a smaller venue,” he said. “People can hear the music better and I think it’s a better experience for the fans and the artist. I much prefer that.” If you want to hear how well this man’s voice has held up, try to differentiate some of those re-recordings from the original ones.

All told, John Conlee, now aged 78, still fit, retaining his vocals remarkably well for his age and presently touring, has released 11 studio albums (including a 2004 Gospel album), one live album recorded at Billy Bobs in 1999 and 35 singles, with an impressive 23 of them charting in the Top 10, with 7 chart toppers and 5 more reaching # 2. He achieved that level of sustained success by simply being himself and making records his blue-collar working class public could relate to. He is a gifted entertainer, but was never into the glitz and hype of the entertainment world. He’d rather spend his “off the road” time working on his farm or engaging in his woodworking and gunsmithing hobbies, when he’d not out fishing and hunting. But you might also still catch him performing frequently at the Opry when he’s not touring.

And with John Comlee done, I’m now required to fly off again tomorrow, this time to London. Not sure when I’ll be back but should be anytime from mid-June onwards. But I do aim to back here - eventually.
 
This Tobacco City record "Horses" has some attractive moments with pedal steel guitar and male/female harmonies, perhaps on some tracks attempting to emulate the style of Parsons/Harris early 70's records. 2025 release but they also have an earlier LP which I haven't listened to. Not completely won over by it yet as I have a weakness for favourable first impressions based on nostalgic sounds, accepting something as authentic when it could be just some country schtick.



 
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This Tobacco City record "Horses" has some attractive moments with pedal steel guitar and male/female harmonies, perhaps on some tracks attempting to emulate the style of Parsons/Harris early 70's records. 2025 release but they also have an earlier LP which I haven't listened to. Not completely won over by it yet as I have a weakness for favourable first impressions based on nostalgic sounds, accepting something as authentic when it could be just some country schtick.





Thanks for that sotm :thumbsu: and I do agree there is a certain Gram and Emmy Lou feel to their work.

I like the Autumn track in particular.....then again I am a sucker for music that has some pedal steel guitar 🤠.
 
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Just got back from Hannah Juanita and the Hardliners:



Enjoyed that show. Was her first in Germany. Like 30 people at the show.

Actually unsure what artists like her expect. Is a European tour a holiday and an expensive hobby or do they want to live from it. Go to a lot of underground metal shows as well and most of them do the expensive hobby approach. Not sure what is common in underground country or what crowds these artists get in the US...

ONly had a short chat with her to buy a few CDs, but she had to get ready for stage then.
 
I found this online. Makes interesting reading.

Kris Kristofferson was "DISOWNED" by his family for chasing his country music dream!

Kris Kristofferson’s journey to country music stardom wasn’t just about talent and grit it was marked by deep personal sacrifice. Born into a distinguished military family, Kristofferson’s father was a general, and it was expected that Kris would follow in his footsteps. He attended prestigious schools, graduated from Oxford as a Rhodes Scholar, and served as an Army helicopter pilot. His future seemed set for a life in the military or academia.

But Kristofferson had other plans. His heart belonged to music, and in the 1960s, he made the life-altering decision to chase his dream of becoming a country singer and songwriter. This move, however, came at a steep price. His family, deeply rooted in the military tradition, disapproved of his decision, seeing it as a rejection of their values. They disowned him, and didn’t speak with him for decades. He was even told to “never visit” because he was a “disgrace to the family.”

Despite the family rift, Kristofferson moved to Nashville, where he took odd jobs including working as a janitor at Columbia Records while trying to get his foot in the door of the music industry. His perseverance paid off when he landed major hits like “Me and Bobby McGee,” “Why Me Lord,” and “Sunday Mornin' Comin' Down,” eventually becoming one of country music’s most iconic songwriters.

Though he was initially disowned by his family for pursuing music, Kristofferson’s unwavering dedication to his dream ultimately led to incredible success. His perseverance paid off, not only in the form of fame and fortune but also in the eventual reconciliation with his family. In fact, his mother became such a proud supporter that she would even call radio stations to request his songs, showcasing the transformative power of following one’s heart.
 
I found this online. Makes interesting reading.

Kris Kristofferson was "DISOWNED" by his family for chasing his country music dream!

Kris Kristofferson’s journey to country music stardom wasn’t just about talent and grit it was marked by deep personal sacrifice. Born into a distinguished military family, Kristofferson’s father was a general, and it was expected that Kris would follow in his footsteps. He attended prestigious schools, graduated from Oxford as a Rhodes Scholar, and served as an Army helicopter pilot. His future seemed set for a life in the military or academia.

But Kristofferson had other plans. His heart belonged to music, and in the 1960s, he made the life-altering decision to chase his dream of becoming a country singer and songwriter. This move, however, came at a steep price. His family, deeply rooted in the military tradition, disapproved of his decision, seeing it as a rejection of their values. They disowned him, and didn’t speak with him for decades. He was even told to “never visit” because he was a “disgrace to the family.”

Despite the family rift, Kristofferson moved to Nashville, where he took odd jobs including working as a janitor at Columbia Records while trying to get his foot in the door of the music industry. His perseverance paid off when he landed major hits like “Me and Bobby McGee,” “Why Me Lord,” and “Sunday Mornin' Comin' Down,” eventually becoming one of country music’s most iconic songwriters.

Though he was initially disowned by his family for pursuing music, Kristofferson’s unwavering dedication to his dream ultimately led to incredible success. His perseverance paid off, not only in the form of fame and fortune but also in the eventual reconciliation with his family. In fact, his mother became such a proud supporter that she would even call radio stations to request his songs, showcasing the transformative power of following one’s heart.
Twentieth century renaissance man.
 
Another c&w curio. Lorne Greene's French Version of "Sand". There's also a French version of "Ringo" but I can only locate the instrumental version of it.

 
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