ROOTS of Country Music

Antioch, TN 37013

Classic Albums

Classic Album Series

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All the Gold In California

(Gatlin Brothers)

Larry Gatlin is best-known for teaming up with his brothers, Steve, and Rudy as the Gatlin Brothers. They didn't officially form until 1979, when Larry began crediting them as a supporting band on his solo singles. However, the brothers had been performing together since childhood, when they sang in church and on several local Texastelevision shows.

While they were in their teens, they recorded a religious album for the independent Sword & Shield label. Following high-school graduation, Larry, who was the eldest of the brothers, headed off to the Universityof Houston, where he briefly joined the gospel group the Imperials.

Larry performed with the Imperials in Las Vegas, where he met Dottie West, who was impressed enough by his songwriting talents to record two of his songs and pay for him to move to Nashville. Once Larry arrived in Nashville, he found that West had been circulating his demo tapes, which led to Kris Kristofferson playing Larry's demo for Monument Records executive Fred Foster.

Impressed by the tape, Foster offered Gatlin a contract in 1972. By that time, Larry had already invited his brothers to Nashville to form a backing group and they wound up singing on his Monument debut album (LP), The Pilgrim, which featured his first country hit, Sweet Becky Walker.

The Gatlin Brothers Band recorded their first LP for Columbia in 1979 titled Straight Ahead (JC-36250) and followed with Help Yourself (JC-36582, 1980), Not Guilty (FC-37464, 1981) and Sure Feels Like Love (FC-38135, 1982). The Gatlin's did not record an album for Columbia in 1983. Instead, Columbia released an album by the talented brothers titled, Larry Gatlin & the Gatlin Brothers Band, Greatest Hits Vol. II.

The LP title was a bit unusual since it was the Gatlin's first greatest hits LP with Columbia. Columbia must have been pressed to release an album that year because the LP only contained 9 titles, instead of the customary ten. Furthermore, only five of the songs made the top-10. Nonetheless, the LP highlighted the pinnacle of their chart activity and contained two memorable number one songs.

Buck Owens

Sings Harlan Howard

Capitol ST-1482
August 28/1961
Produced by Ken Nelson
Recorded: Dec 3, 1960
Capitol Records Studio, Hollywood, California

Featuring Owens' early development of the Bakersfield sound (the classic Buckaroos lineup had yet to be assembled and Don Rich is only listed as the fiddle player on "Excuse Me [I Think I've Got a Heartache]"), this opening salvo sports his early hits Above and Beyond, Under Your Spell Again and Second Fiddle.

Harlan Howard wrote many of Buck Owens' biggest hits and best songs, including I've Got A Tiger By the Tail, Above and Beyond, Excuse Me (I Think I've Got A Heartache) and Under the Influence of Love, so it's only natural that Buck recorded an entire album of Howard's material.

Owens sang Howard better than nearly anybody and Buck Owens Sings Harlan Howard is full of wonderful songs and performances. Only "Foolin' Around is regularly featured on Buck's hit compilations, which means there's a cache of gems; including Heartaches By the Number, Pick Me Up on Your Way Down, Keys in the Mailbox and Let's Agree to Disagree that form the core of this record, one of Owens' most popular albumss of the '60s.

Bull Session At Bulls Gap

(Junior Samples vs Archie Campbell)

CHM/CHS-1007 (1968)

Produced by Bob Ferguson & Slim Williamson

Side 1:

Bull Session at Bulls Gap
Sports Common Taters
Bull Shootin'
Reluctant Draftee
Jailbird
Birds, Bees, Girls & Stuff Like That

Side 2:

Junior Takes to the Air
In a Stew (Chicken That Is)
Junior Foils the Game Warden
Intoxicated Automobile
Dippin', Chewin', Acid & Pot
Old Swimmin' Hole

Bull Session At Bull Gapbegan with a chance remark during the 1967 Country Music Festival in Nashville, Tennessee. During the RCA breakfast Archie Campbellheard about a very funny fellow from Cumming, Georgia, who had everyone in stitches with his down-home true-to-life stories.

Archie Campbell mentioned he'd like to meet this fellow, Junior Samples. Archie got his wish just a short time later. As it turned out, Junior Samples had his wish come true, also. It seems he was just as anxious to meet Archie Campbell, the Clown Prince of Country Music Comedy.

From the very first meeting it was said that these two big talents, both natives of small towns, held the greatest admiration for each others work. Archie was bowled over by the sharp, frank wit of the fellow in bib overalls. While the two great humorists swapped tales during a chance meeting outside the Grand Ole Opry house, the wheels began to turn toward this Bull Session at Bulls Gap.

The RCAs studio in Music City was turned into Bulls Gap. Then the room was packed with an invitation-only audience made up mostly of show biz personalities and the Bull Session at Bulls Gap was off and running.

Archie Campbell, as heard on this record, enjoyed the bull session as much as anyone. Campbell is obviously bowled over by Junior Samples side-splitting stories drawn from his honest-to-goodness life down home in Cumming, Georgia.

Ferlin Husky Songs of the Home and Heart

Capitol T - 718 (1956)

Produced by Ken Nelson

Recording Studio: Unknown

Session Personnel: Unknown

Side A

Hang Your Head In Shame
That Silver Haired Daddy Of Mine
I Can't Go On This Way
That Little Boy Of Mine
Farther And Farther Apart
Never Have Never Will

Side B

I Dreamed Of An Old Love Affair
Daddy's Little Girl
You Make Me Feel Funny Honey
Rockin' Alone In An Old Rockin' Chair
Honky Tonkin' Party Girl
Useless

One of the first country music artists to record for Capitol Records, Ferlin Husky had already charted six top-10 hits before Gone came along in 1957. And before Gone surfaced, Husky had already recorded four very successful albums.

Husky was equally adept at the genres of traditional honky-honk, ballads, spoken recitations and rockabilly pop tunes. Ferlin had a multiple-level career, beginning with music and encompassing acting and television hosting.

Larry Gatlin & the Gatlin Brothers Band Greatest Hits Vol. II

Columbia Records FC-38923 (1983)

All The Gold in California (No. 1, 1979) Written by Larry Gatlin, it was the first of two No. 1 singles for Larry Gatlin & The Gatlin Brothers while associated with Columbia. This song led to Larry being awarded Top Male Vocalist of the Year by the Academy of Country Music that year.

Houston (Means I'm One Day Closer to You) (No. 1, 1983) Written by Larry Gatlin, it was the group's third and last number one on the country chart. The single stayed at number one for two weeks and spent a total of fifteen weeks on the chart.

Sure Feels Like Love (No. 5, 1982) Released in August 1982, it was the first single from their album Sure Feels Like Love. The song reached No. 5 on the Billboard Hot Country Singles chart and No. 1 on the RPM Country Tracks chart in Canada.

Take Me to Your Lovin' Place (No. 5, 1980) The group's 9th top-10 hit came in early 1980 with this song which peaked at No. 5 that year.

What Are We Doin' Lonesome (No. 4, 1981) This was the final cut from their third Columbia LP titled, Not Guilty and their third top-10 single to that point with Columbia.

The Gatlin Brothers continued their chart run, garnering Top-20 hits, with Taking Somebody With Me When I Fall (No. 12, 1979), The Midnight Choir (No. 43, 1979), We're Number One (No. 18, 1980) and She Used To Sing On Sunday (No. 19, 1982), the remaining cuts from this LP.

At points in his career, Larry's success got to him, after outselling concert tickets and television appearances. The pressure took a toll on Larry. This led Gatlin into drugs and alcohol. However, Larry overcame his addictions with the help of his family and religion.

AboutColumbia Records:Columbia Records is owned by Sony Music Entertainment and operates as an imprint of the Columbia/Epic Label Group. It was founded in 1888, evolving from an earlier enterprise, the American Graph phone Company; successor to the Volta Graph phone Company.Columbia is the oldest surviving brand name in pre-recorded sound being the first record company to produce pre-recorded records as opposed to blank cylinders.

Behind the Tear

(Sonny James)

In this inaugural Classic Album Series, we journey back to the archives of theNashvillerecording establishment and feature the Southern Gentleman, Sonny James, and his album (LP) Behind the Tear. Released in 1965, it peaked at #2 on the Billboard album chart and yielded three #1 Billboard singles. While the title cut charted in 1965, the other two songs werent released until 1967.

Behind the Tear: Capitol ST-2415, Oct., 1965 Produced by Marvin Hughes

Behind the Tear: The album begins with this song written by Ned Miller (From a Jack to a King). It topped out at number one, his fourth to that point.

Ill Never Be Anything But in Love With You: This is a nice love ballad, done exceptionally well by Sonny, but Capitol didnt releases it as a single. In those days, studio albums typically had twelve cuts and often songs ended up on an LP that werent suitable in some fashion or not even intended for release, hence they were album fillers.

Shackles and Chains: This was not really that good of a song for Sonny and not appropriate chart material for the time. This is an old bluegrass song that has been covered by an array of singers, none of which got it into the charts. Capitol had no intention of releasing it as a single.

Tonight I Found My True Love has that late 1950s sound to it, but not really suitable for the time and not appropriate for Sonnys singing style XX. This was probably another filler song.

Its The Little Things (1967), written by Arlie Duff, was the third of Sonnys 16 consecutive number one hits that he charted between 1967 -71.

On And On, is an up tempo song with that distinctive Sonny James guitar picking heard on most of his songs. While many of Sonnys biggest hits were ballads, his best work was his up tempo numbers, such as this sleeper gem.

Ill Never Find Another You (x, 1967): Sonnys rendition of the Seekers hit is a more up tempo version of the song. Written by Tom Springfield, it was the second of Sonnys number one singles. During the 1960s, the country music industry was struggling with the onslaught of rock n roll. Some artist decided to totally move in that direction, while others such as Sonny created cross-over records. He had 21 songs that crossed over into the pop chart.

Yes Or No, is yet another LP filler type song that Capitol didnt released as a single. This song constitutes pressing the fast forward or track change button.

What Makes a Man Wander: Folk music was popular during the 1960s and while Sonny was never considered a folk singer, there is obviously folk influence on some of his material and clearly comes through on this song. Written by Harlan Howard, its a good melody, good lyrics, stellar arrangement and vocals, but not fitting for the country chart at the time.

In Memory Of Louisa is another ballad and like many of them, it falls into that range of good, but not great, yet graced by Sonnys vocals, along with outstanding production by Capitol producer, Marvin Hughes.

I Truly Do,is an up tempo song and a decent melody, but nothing particularly special. Even though it has a nice Southern Gentleman touch, this song constitutes pressing the fast forward or track change button.

Behind the Tear generated 3 # 1 singles and was the launch-pad for Sonnys steak of chart-topping singles. The album has never been reissued on CD, but the singles are available on Sonnys Capital CDs.

About Sonny James: Sonny James used the popularNashvillesound of the 1960s with a country twist on pop hits of the past and cleverly gained widespread crossover appeal. James even moved over to the pop charts for a time in the late 1950s but found the secret of his success by the time he returned to country arena.

Sonny was a smooth country crooner, with a distinct voice unlike any other, before or since. James had 72 country and pop chart hits from 1953 to 1983, including a five-year streak of 16 straight among his 23 # 1 hits. Sonny is a member of the Country Music Hall of Fame.

The Southern Gentlemen: Sonny James,MiloLiggett, Duane West, Glenn Huggins & Gary Robble.

Beautiful Country

(Gene Watson)

For Volume 3rd Edition of our Classic Album Review series, we visited the archives of Capitol Records. There we found Gene Watson and his 4th Capitol Records album (LP), Beautiful Country. Released in late-1977, it yielded Gene three top-20 hits. Watson built a ladder of success and the rungs on that ladder were some of the best country hits of the 1970s and 1980s.

Album: Beautiful Country: Capitol ST-11715

Recorded: 1977. Jack Clement Recording Studio,Nashville, Tennessee (TN) USA.

Bradley's Barn, Mt Juliet, TN (1, 2, 3)

Produced by Russ Reeder & Rob Webster

Session Personnel: Dale Sellers, Jimmy Colvard, Dave Kirby, Harold Bradley (guitar), Lloyd Green (steel), Joe Allen (bass), Buddy Harman, Kenny Malone (drums), Hargus Pig Robbins (piano), Buddy Spicher, Tommy Williams fiddle)

Album Cuts: Old Man And His Horn, Cowboy's Don't Get Lucky All The Time, I Won't Be Sleeping Alone, Hey Barnum And Bailey, I'd Love To Live With You Again, I Don't Need A Thing At All, Raining In Dallas, It Don't Hurt Me Half As Bad, I Knew We Could Never Love For Long, He Little Thing'd Her Out Of My Arms

Old Man and His Horn (Capitol 4458): Written byDallasharms, this lead off cut was Genes fifth top-20 single. While it helped him sustain chart presence, it would take Gene four more years to claim the top chart position.

Cowboys Don't Get Lucky All the Time (Capitol 4556): Watsons follow-up single was also composed by Dallas Harms and just missed breaking into the top-ten. Watson built a reputation for steamy ballads in the classic country tradition, but he also graced the charts with stirring up-tempo songs such as this fan favorite.

Hey Barnum and Bailey: Written by Jerry Abbott, Charles Stewart and Kenneth Hagler, this song had great chart potential. Backed by some of the greatest session players inNashvilleand worked up with brilliant production.

I Don't Need A Thing At All (Capitol 4513): Gene was a smooth country crooner, but with a style unlike any other, before or since. He had a smooth baritone delivery with a strong country presence. Gene took this Joe Allen composition to number eight on the Billboard chart.

During the 1960s and 1970s, artists were bound by contract to record a specified number of albums (LP) each year. In doing so, artists and their producers often found it difficult to acquire enough chart worthy songs to produce an album.

Typically a given album would have two or three good songs and anything more was extremely rare. The remaining songs were commonly known as album fillers. With Merle haggard, Willie Nelson and Waylon Jennings rocking the charts, it became imperative to be associated with only the best songwriters.

The following songs were album fillers: I'd Love to Live With You Again, I Won't Be Sleeping Alone, Raining In Dallas, It Don't Hurt Me Half as Bad and I Knew We Could Never Love For Long.

He Little Thing'd Her out of My Arms: Written by Hank Cochran, Jack Green recorded this song back in the 1960s. This is one of those rare times where the remake is better than the original. Regardless, neither artist was able to place it into the top-40.

This album exemplified Genes smooth vocals and helped him gain a foothold in the completive country music field. Watson showcased this album with excellent musicians and studio production. The LP garnered him three top-20 hits, which sustained his chart presence. Watson never gave up his traditional country style, even as he continued to record music throughout the 1980s.

---------------------------------------------------------------------------Country Boy

(Don Williams)

ABC Dot DO2088 (1977)
Produced by Don Williams

Recorded: Jack Clement Recording Studio, Nashville, Tennessee USA

Session musicians: Don Williams (vocal/guitar), Jimmy Colvard, Reggie Young (guitar), Garth Fundis (rhythm guitar, vocals), Lloyd Green (steel, dobro), Joe Allen (bass, vocals), Kenny Malone (drums, percussion), Charles Cochran (piano, keybords), Shane Keister (keyboards), Buddy Spicher (fiddle), Danny Flowers (harmonica),

Lennie Haight, Carl Gorodetzky, Wilfred Lehmann, George Binkley, Sheldon Kurland,
John Allan Catchings, Marin Katahn, David Vanderkooi, Donald Christian Teal, Kathryn Plummer (strings).

	1. I'm Just A Country Boy (Fred Hellerman, Marshall Barer)
	2. Louisiana Saturday Night (Bob McDill)
	3. Overlookin' and Underthinkin' (Joe Allen, Don Williams, D. Lay)
	4. Sneakin' Around (Bob McDill)
	5. Look Around You (Buck Lindsey, Bill Joor)
	6. I've Got A Winner In You (Don Williams, Wayland Holyfield)
	7. Rake and Ramblin' Man (Bob McDill)
	8. Too Many Tears (To Make Love Strong) (Jim Rushing)
	9. It's Gotta Be Magic (Don Williams)
	10. Falling In Love (Bob McDill, Wayland Holyfield) The 5th album recorded under the Dot label, Country Boy generated three top-10 singles: I'm Just A Country Boy (No. 1, 1977), I've Got A Winner In You (No. 7, 1977), Rake and Ramblin' Man (No. 3, 1977). During his 4-year stint with ABC/DOT Records (1974-1978), Don Williams record six albumsand racked up twelve top-10 singles. At the end of 1978, Williams was named Male Vocalist of the Year by the Country Music Association.

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Country Classics

(Hank Snow)

For the 7th edition of our Classic Album Series we visited the vaults of RCA Records and found Hank Snow's 6th RCA album, Country Classics. This album is an assortment of Hank's biggest hits that he charted during his first five years with RCA. Eleven of these songs made the Billboard top-10, including four that claimed the No. 1 position. The 1950s was Snow's most productive decade and these songs exemplify some of Hank's best material during that period.

Country Classics RCA Victor LPM-1233 (1956)

Recorded: RCA Studio A,Chicago (1949), Brown Radio Production, Nashville, Tennessee USA (1950, 1951, 1952), RCA Studio 1, New York City (1952, 1953)

Produced By: Stephen H. Sholes..

Session Personnel: Hank Snow (vocal/guitar), Jack Shook, Velma Smith, Al Chernet, Sugarfoot Collins (guitar), Joe Talbot, Otha Lohman (steel), Ernie Newton, Charles Grean, Hillous Butrum (bass guitar), Tommy Vaden (fiddle), Marty Gold (organ), Anita Carter (vocals).

Marriage Vow: This was Hank's debut chart single for RCA. Written by Jenny Lou Carson, it settled in at No. 10 on Billboard in 1949.

I'm Moving On: "Hank Snow, the Singing Ranger" was invited to play at the Grand Ole Opry in 1950. That same year he released his hit, "I'm Moving On." Written by Snow, this is the biggest charted song in the history of country music. It dominated the Billboard charts in 1950, when it spent 21 weeks at No. 1.

This was one of the first songs that Hank intended to record for RCA, but his producer, Stephen Sholes declined declaring there was no more interest in train songs. Snow brought the song to a session a year later and Sholes didn't remember it.

The Golden Rocket: Written by Hank, this was his follow up release to "I'm Movin' On." It spent 2 weeks at No. 1 (1950).

The Rhumba Boogie: Another Snow composition, this was his third consecutive No. 1 on the Billboard charts where it stayed at the top for 8 weeks in 1950. During the early 50s, Hank was the most successful recording artist on the RCA label. His closest contender was Eddy Arnold who had been with the label since 1944.

Bluebird Island: In 1951, Anita Carter stormed the charts with a pair of duets with Snow, "Bluebird Island" (No. 4, 1951), written by Snow and "Down the Trail of Achin' Hearts," written by Jimmy Kennedy & Nat Simon, which settled in at No.2 that year.

Hank continued to be a driving force throughout the 1950s with such songs as, "Unwanted Sigh Upon Your Heart"(No. 6, 1951), "Music Makin' Mama From Memphis" (No. 4, 1951), both written by Hank and "The Gal Who Invented Kissin'" (writers: Charles Orr & Earl Griswald) (No. 4, 1952). With This Ring I Thee Wed: Written by Jack Rollins & Steve Nelson, this song did not chart.

(Now and Then There's A) Fool Such As I: This is a popular song that was written by Bill Trader and published in 1952. It was performed by Snow and peaked at No. 3 on the country charts early in 1952. Since the original Snow version, "Fool Such as I" as the song is sometimes known, has been covered by several artists as diverse as Jo Stafford, Elvis Presley, Bob Dylan and Baillie & the Boys.

In the February 7th 1953 edition, Billboard Magazine reported that Snow's then seventeen year old son, Jimmy Rogers Snow, had signed with RCA Victor Records. Billboard reported that the younger snow would record duets with his father, as well as cover his own (presumably ghost-written) material.

I Don't Hurt Anymore: Hank blew the opening on this song when he sang, "It Don't Hurt Anymore." He said he recorded the song in NY City where there was no atmosphere for recording country music. Hank said he was nervous and sang, "It Don't Hurt Anymore."

His producer Sholes said, "Just leave it in there, I think it will help sell the record." Written by Don Robertson & Jack Rollins, it is ranked as the fifth biggest charted song in the history of country music. The song was Snow's fourth No. 1 on the country chart. It spent 20 weeks at the top chart spot in 1954.

This collection of Hank's early hits is hardly the last word on Snow's legacy. But if this 12-song collection only scratches the surface it is a highly appealing surface. These are some of the biggest songs that made Hank a staple on the RCA label for over forty years.

Note: When researching for this review, I came across the following Billboard Magazine (8/1950) notation in their Record Reviews Section. "With the Hank Snow original showing big, "I'm Moving On," should do okay in the hill country and Southwest." Go figure!

Country Green

(Don Gibson)

Album: Hickory LSP-160 (1971)
Single: Country Green, Hickory 1614 (No. 5, 1971)
Writer: Eddy Raven
Producer: Wesley Rose
Recorded: Studio Unknown

Don Gibson: Don wasn't a household name outside of country music circles, but three of his songs, are instantly recognized by fans and musicians all across the globe. Throughout his career, Don composed nearly one-hundred-fifty songs. His best known compositions, Sweet Dreams and I Can't Stop Loving You, are two of the most recorded songs.

Don was a prolific songwriter and singer, who gave country music a boost when it was being invaded by the onslaught of rockabilly and rock 'n roll during the late-50s and early-60s.

Country Green was Gibson's 4th album on the Hickory label. He spent eight years (1970 -- 1978) with Hickory and recorded 17 albums while on their roster. Don had eleven top-20 singles with Hickory Records and Country Green went to No. 5 in 1971. Don Gibson was inducted into the Songwriters Hall of Fame in 1973 and inducted into the Country Music Hall of Fame in 2001. Though Don passed away in 2003, he left behind a truly exceptional body of work, work that without the slightest exaggeration has touched the hearts of millions.

About Eddy Raven: (Aug. 19, 1944, in Lafayette, Louisiana) Eddy is known for his Cajun-influenced country music, Raven has been a recording artist since 1962. He has charted more than thirty-five singles in his career, including the No. 1 hits, I Got Mexico, Shine, Shine, Shine, I'm Gonna Get You, Joe Knows How to Live, In a Letter to You and Bayou Boys, as well as several more Top-10 hits, including seventeen consecutive Top-10 singles between 1984 and 1990.

About Wesley Rose: (Feb. 11, 1918 -- Apr. 26, 1990) Rose was a music industry executive and record producer. The son of songwriter Fred Rose, he was born in Chicago, Illinois and studied to become a Chartered Accountant. He eventually moved to Nashville, Tennessee where in 1945 he became involved in Acuff-Rose Music, a music publishing house established by his father and his father's partner, Roy Acuff.

Following his father's passing in 1954, Wesley Rose served as the company's president. He proved to be a very capable businessman, expanding the business significantly and establishing Acuff-Rose affiliate offices around the world. Rose was a very important part of the development of the country music industry.

Rosewas a driving force behind the creation of the Country Music Association (CMA) and was the first Nashville publisher to serve on the Board of Directors of the American Society of Composers, Authors, and Publishers (ASCAP) and the Music Publishers Association. In 1985, he and partner Roy Acuff sold the Acuff-Rose catalogues to Gaylord Broadcasting Company. In 1986, Rose joined his father as an inductee in the Country Music Hall of Fame.

AboutHickory Records:Hickory was founded by Acuff-Rose Music in 1954 which operated the label up to 1979. Originally based inNashville, functioning as an independent label throughout its history, it has had several distributors. From its inception in 1955 to 1973,Hickory was distributed independently. MGM Records then distributed the label in 1973. ABC Records distributed it four years later. MCA Records inherited the ABC distribution deal when MCA bought ABC Records in 1979.

The relationship between Acuff-Rose/Hickory and MCA turned sour shortly afterwards, so theHickory label was discontinued and its catalog pulled when the distribution deal expired later in 1979. The entireHickory output is now owned by Sony/ATV Music Publishing which owns the Acuff-Rose catalogue and revived theHickory label in 2007.

Heartbreak USA

(Kitty Wells)

For the 4th Edition of our Classic Album Review series, we visited the archives of Decca Records. There we found Kitty Wells and her 8th Decca album (LP), "HeartbreakUSA." Released in May, 1961, it yielded Kitty a number one single. The LP contains twelve cuts, all of which have "heart" in the title. Many of these songs were big hits charted by other country music artists. Strangely, Kitty's top-20 single, "Touch and Go Heart" (1958), wasn't included on this LP. A pioneering figure in country music, Wells built a ladder of success and the rungs on that ladder yielded some of the best country hits of the 1950s and 1960s.

Album: HeartbreakUSA Decca - DL-74141

Recorded: July 13/1960, Bradley Film & Recording Studio, Nashville, Tennessee USA (1) January 1961, Bradley Film & Recording Studio, Nashville, Tennessee USA

Produced by Owen Bradley

Session Personnel: Eddie Hill, Pete Wade, Louis Innis, Johnny Wright, Hank Garland, Ray Edenton (guitar), Shot Jackson, Robert Foster, Harold Morrison (steel), Joe Zinkan (bass), Dorris Warren, Ray Chrisp, Tommy Jackson, Benny Martin (fiddle), Owen Bradley (piano)

Album Cuts: HeartbreakUSA, Heart To Heart Talk, Heartaches By The Number, My Heart Echoes, I've Got A New Heartache, Open Up Your Heart, This Old Heart, I'll Hold You In My Heart, Excuse Me, My Cold Cold Heart Is Melted Now, Best of All My Heartaches, Leave All The Heartache To Me

HeartbreakUSA(DL - 31246): Written by Harland Howard, this lead off cut was Kitty's 18th top-10 single and her 2nd No. 1 to this point in her career. While it helped her sustain chart presence, it was would be her final No. 1 chart song.

Heart To Heart Talk: Written by Lee Ross, this was a number five single for Bob Wills in 1960. Backed by some of the greatest session players inNashvilleand standout producer, Owen Bradley, surprisingly, Decca's Artist and Repertoire (A&R) executive chose not to release it as a single for Kitty.

Heartaches By The Number: Ray Price took this Harlan Howard composition all the way to number two in 1958, making it his 12th top-ten single to that point in his career. Kitty's version of this song, backed by steel guitarist Shot Jackson, made this song worthy of another chart run.

My Heart Echoes: Written by Homer Bailes, Johnnie Bailes, Muriel Deason Wright (Kitty Wells) and Zeke Clements, this a song that Wells tried working into her previous Decca albums. Apparently, Owen Bradley consented here.

I've Got A New Heartache: Written by Wayne P. Walker and Ray Price, Ray made this his sixth top-ten single when he charted it in 1956. Decca's A&R executive did not release this as a single.

Open Up Your Heart: Both Kitty and Buck Owens recorded this Stuart Hamblen composition, but neither of them placed this uptempo song on the Billboard chart. Decca's A&R executive did not release this as a single.

This Old Heart: A Kitty Wells original, which was written by Eddie Miller and Bob Morris. Decca's A&R executive did not release this as a single.

I'll Hold You In My Heart:"Eddy Arnold had a massive hit on this song which he co-wrote with Vic McAlpin, Howard Horton and Thomas Dilbeck.Arnoldtook it all the way to number one in 1946, making it his sixth top-ten single to that point in his career. Decca's A&R executive did not release this as a single.

Excuse Me: Buck Owens took this self penned composition to number two in 1960, making it his third top-ten hit to that point in his career. Decca's A&R executive did not release this as a single.

My Cold Cold Heart Is Melted Now: Written by hank Williams Sr. And Johnny Masters. Decca's A&R executive did not release this as a single.

Best of All My Heartaches: An original recording by Kitty, this song was written by Tom T. Hall. Decca did not release this as a single.

Leave All The Heartache To Me: Another original recording by Kitty, this song was written by Bill Anderson, but Decca did not release this as a single.

Most of the cuts on this LP did not chart for Kitty, but her excellent cover of these songs nourished her popularity. Wells broke down the doors for female country singers, paving the way for artists like Patsy Cline, Tammy Wynette, and Loretta Lynn. Female country singers were a scarce commodity in those days and Wells excelled in what was very much a man's world.

Kitty was the beginning point for many, including the legendary producer Owen Bradley, who worked with her and Patsy Cline simultaneously. Wells' success in the 1950s and 1960s was so enormous that she still ranks as the sixth most successful female vocalist in the history of country music. This was one of Kitty's best concept albums, the cream of her career and one that helped her earn the title "Queen of Country Music.

Hello Walls

(Faron Young)

For the fifth edition of our Classic Album Series we visited the archives of Capitol Records. There we found Faron Young and his seventh Capitol album, Hello Walls. Released in February of 1961, it yielded Faron four top-40 singles, including his giant No. 1 single Hello Walls.

Hello Walls Capitol ST-1528 (1961)

Recorded: Mar. 9, 1957 - Jan. 7, 1961, Bradley Film & Recording Studio, Nashville, Tennessee USA

Produced By: Ken Nelson & Marvin Hughes

Session Personnel: Hank Garland, Grady Martin, Chet Atkins, Jack Shook (guitar), Darrell McCall (rhythm guitar), Harold Bradley, Floyd Chance (bass guitar), Buddy Emmons, Ben Shauefele (steel guitar), Buddy Harman (drums), Marvin Hughes, Flody Cramer (piano/organ), Tommy Jackson (fiddle). The Anita Kerr Singers, The Jordanaires (Hoyt H. Hawkins, Hugh T. Jarrett, Neal Matthews Jr., Hugh Gordon Stoker).

Session personnel are based on our extensive research of Bradley Film & Recording Studio recording sessions and Capitol Records artists and repertoire division (Nashville) archives.

Hello Walls: Written by Willie Nelson, it became a massive hit (No. 1, 1961) for Young and introduced Nelson to a national audience. Willie recorded Hello Walls the very next year for his debut album "And Then I Wrote." This song became Youngs fourth and final No. 1 single during his ten year stint with Capitol Records. The song was covered by Bing Crosby (1965), Brook Benton (1966) and Ricky Nelson (1966).

Theres Not Any Like You Left: Faron wasnt much of a songwriter, but he pinned this song and co-wrote four others on this album. Young took this song to No. 21 on the Billboard chart in 1960.

Anything Your Heart Desires: This song was written and later charted by Billy Walker (Charlies Shoes) (No. 10, 1967. This was possibly a filler song as Capitol Records didnt release Youngs version as a single.

Forget the Past: Written by Young, it went to No. 20 on Billboard. To that point, Faron had 31 top-20 singles.

Congratulations: This up-tempo song was written by Willie Nelson and reached No. 28 (1961) on the Billboard chart. The song was his thirty-seventh top-40 single to that point. While on the Capitol roster, he racked up 36 top-20 songs.

Let Old Mother Nature Have Her Way: Written by Loys Southerland & LouisClark, Carl Smith made this his debut No. 1 single in 1951. The song made Smith a well-known name in country music. This was possibly a filler song as Capitol Records didnt release Farons version as a single.

Big Shoes: Written by Justin Tubb, Tubb would later include this on his RCA (LSP 3591, 1966) album that he recorded with Lorene Mann. Is She All You Thought Shed Be (writer: Roy Drusky), I Made a Fool of Myself (writers: Faron Young, Johnny Paycheck), Out of My Heart (writers: Buddy Killen, Faron Young), World So Full of Love (Roger Miller, Faron Young) and Believing It Yourself (writer: Justin Tubb) are weak tracks and were likely album fillers, but these songs make this collection a bit more human. Yet, these cuts are far better than the best work by lesser artists.

This is music that sounds live even though it was recorded in a studio. It is raw, immediate, and full of an amiable good nature and clever wordplay with a cache of session instruments backing Faron.

Any album that generates five top-40 singles has to be considered a commercial success. However, it wasnt enough to sustain Youngs contract with Capitol. By 1962, Faron began rejuvenating his career with a Mercury Records contract. Much of the material Faron recorded around this time (1960-61) was with members of his road band, including future superstars Roger Miller (drums) and Johnny Paycheck (then Donnie Young) on bass.

Faronalso a employed a few aspiring front men, many of whom would later become stars. Faron had a knack for discovering good talent. The Wilburn Brothers, Willie Nelson, Darrell McCall, Jimmy and Johnny and Gordon Terry, got their start touring with Faron.

Note: What got Faron Young in the music business was a need for attention. He began entering talent contests at an early age, enjoying the spotlight and earning a few coins in the process. During the first half of his career, he was a driving force in country music. By the time his caree had ended, Faron garnered xx and become the all time charting artist.

Unfortunately, when Faron was no longer in the spotlight; when he stopped drawing big crowds; when the phone was no longer ringing; when his records quit charting and when his health began to deteriorate; he made the decision to take his own life (12/10/1996). It was a very sad consequence for a singer who spent his entire life perfecting country music and entertaining a huge following.

I Love You Drops

(Bill Anderson)

For our 2nd edition of the Classic Album Series, we crack the archives of Decca Records and find Whispering Bill Anderson and his album (LP) I Love You Drops. Released in 1966, it rose to No. 1 on the Billboard album chart and yielded two chart singles. While the title cut stalled at No. 4, the LP generated his second of five No. 1 songs.

I Love You Drops: Decca Records (DL-74771, 1966)

Producer: Owen Bradley

Recording Sessions: Dec. 30, 1964 ~ May 31, 1966, Bradley's Barn:Mount Juliet,Tennessee

I Love You Drops. An easy moving ballad, the song was written byAnderson. Surprisingly it stalled out at number four, but certainly had chart-topping potential.

Think Ill Go Somewhere and Cry Myself to Sleep: This follow-up song although relatively well known today, due to the many times its been recorded, has never been a major hit. Bills wrote this song and his rendition, although easy listening, it wasnt released as a single.

Talkin to The Wall: Warner Mack was the first artist to chart this song (No. 3, 1966) and later, Lynn Anderson (No. 6, 1974). Bill recorded a decent cover, but it didnt have much chart potential after Macks version.

When Liking Turns to Loving: This is one of those songs that after hearing the first few seconds, you push the change track button. Its a ballad that falls into the LP filler category. In those days, studio albums typically had twelve cuts and often songs were included that werent suitable in some fashion or the label had no intention of releasing, hence the term album filler.

I Get the Fever: This is anAndersoncomposition and an energetic track that garnered Bill his XX No. 1 hit (No. 1, 1966). Unlike the title cut, this is an up tempo song that became one of his most requested.

Used to: An Anderson composition, this song is a classic example of some of his best ballad work. His vocal style is very favorable to those generally softer tunes of love and or hurting. You can hear the despair drape all over this song.

In The Summertime: Bills rendition of this Roger Miller song (No. XX), simply doesnt match his vocal style. A likely filler song, this tune justifies pressing the track change button.

Next Time Youre In Tulsa: A very touching song, the hurt and despair unfolds as he asks a stranger to check in on his ex- and his kids, the next time youre inTulsa.

Lovin Pains. This is a song that wasnt worthy to be a LP filler: Lovin' pains wrapped around me, Like a chain, I will never be the same, Because of lovin' pains..

Im So Lonesome I Could Cry: This Hank Williams (No. XX) song has been recorded by an array of artist across most music sectors. Bill, by the time Bill recorded the song, its shelf life had expired and it wasnt very appropriate for the Billboard chart at the time. This was likely a filler song.

Nail My Shoes to the Floor is a fun, bouncy track that is easily listenable. Great, melody and clever lyrics make this song a keeper.

Certain: Not a not a bad song, the tune highlights Bills expertise with ballads, especially those of the sad variety. The song, on its own, is average, but Bills vocals take average and make it an easy listener.

I Love You Drops was success even though it only generated two chart songs. Aside from those singles, the LP didnt have much to offer. WhileAndersonhad already established himself as a prolific writer with his composition of City Lights, most of his writings on this LP were mediocre.

About Bill Anderson: Bill made a name for himself inNashville, writing Ray Price's "City Lights" (No. 1958). Bill took advantage of his big break, moving toNashvilleand landing a record contract with Decca. His first chart hit came with 1959's "That's What It's Like to Be Lonesome" and he had his first top-ten entry with "Tip of My Fingers" (No, 1960). Early hits like "Po' Folks" (1961), "Mama Sang a Song" (No. 1, 1962) and his biggest hit and signature song, "Still" (1963) are among his best-known. As a writer, Bill placed 132 singles on the country charts; more than any other songwriters except for Harlan Howard and Bob McDill. Bill is a member of the Nashville Songwriters Hall of Fame (1975) and the Country Music Hall of Fame (2001).

Keep On Truckin

(Dave Dudley)

Mercury SRM1-669 (1973)

Produced by Jerry Kennedy

Session Personnel: Jerry Kennedy *(guitar/dobro) Ray Edenton, Chip Young (rhythm guitar) Harold Bradley (bass guitar), Pete Drake (steel), Bob Moore (bass), Kenneth Buttrey, Buddy Harman (drums), Hargus Pig Robbins (piano), Buddy Spicher (fiddle), Charlie McCoy (harmonica/vibes) Byron Bach, Brenton Banks, George Binkley, Marvin Chantry, Stephen Clapp, David Darling, Carl Gorodetzky, Lillian Hunt, Martin Katahan, Sheldon Kurland,
Marty McGrory, Samuel Terranova, Gary Vanosdale, Stephanie Woolf (Strings), The Nashville Sounds (vocals)

Tracks

Keep On Truckin'
Canadian Sunset
City Of The Angels
I'm Hooked
Arms Of A Satisfied Woman
It Won't Hurt As Much Tomorrow
You've Got Another Thought Comin'
Patient Man
I Fly Everywhere
I Almost Didn't Make It Through The Door
I'm Puttin' It Together

When it comes to trucking songs, deep-voiced Dave Dudley was best-known for his truck-driving country anthems of the 1960s and 1970s.

Moving toward a career in country music, he became a radio disc jockey, working at stations in Wisconsin, Iowa, Idaho and Minnesota.

Dave Dudley's success manifested after many years of working noisy, small town clubs. Dudley first hit the Billboard country singles chart in 1961 with Maybe I Do, released on Vee Records.

Keep On Truckin' didn't generate any big chart singles, but the album has many good songs backed by some of the greatest musicians Nashville had to offer.

Personally

(Ronnie McDowell)

Epic FE-38514 (1983)

Produced by: Buddy Killen

Ronnie McDowell's sugary vocal sweetness sometimes made a powerfull, intense singer who rarely got material able to match his considerable talent. Ronnie often seemed caught between wanting to be country and wanting to be crossover pop. But the oddswere more even on his newest package, with several numbers that gave him a chance to prove himself. Most impressive is After You and a number he wrote himself andYou Make My day Pay Off (All Night Long), which ring with sincerety.

The Other Woman

(Ray Price)

For our 3rd edition of the Classic Album Series, we crack the archives of Columbia Records and find Ray Price and his album (LP) The Other Woman. Released in 1965, it peaked at number three on the bestseller list and yielded two chart singles, including the title cut, which locked in at No. 2.

The Other Woman: Columbia Records (CS-9182, 1965)

The Other Woman written by: Don Rollins

Producer: Don Law, Frank Jones

Recorded: 6/1/1964 ~ 10/11/1965, Columbia Studios, Tennessee, Tennessee

Session Personnel: Grady Martin (guitar, rhythm guitar), Harold Bradley (bass guitar), Buddy Emmons (steel guitar), Joe Zinkan (bass guitar), Buddy Harman (drums), Tommy Jackson (fiddle), Floyd Cramer (piano)

This LP demonstrates an incredible display of vocal work, mixed with outstanding production arrangements on a collection of incredible songs. Here Price exemplifies his trademark shuffle sound that could be heard on most of his hits from the late 50s through the mid 60s.

The Other Woman: Within the first few seconds of the opening track it becomes apparent that this isnt a singer performing here, but rather a stylist. And not just a stylist, but one of the greatest. With Ray at the controls, backed by exceptional studio musicians, this is a great listening experience.

Dont You Ever Get Tired of Hurting Me: This tune opens with the fiddle licks of Tommy Jackson and screaming steel at the hands of Buddy Emmons. This is a true classic from the pen of the legendary songwriter Hank Cochran.

After Effects (Of Loving You): Written by Hank Mills, the trademark Ray Price shuffle makes this track absolute pleasure to listen to. This song definitely had chart potential, but wasnt released as a single.

Too Much Love Is Spoiling You: Written by Fred Fred Carter. With a stellar backing band and superb arrangements, Ray nails another classic.

An Eye For An Eye: This song was written by Johnny Bush who was a drummer in the Cherokee cowboys band one earlier.

Unloved, Unwanted Written by Wayne P. Walker , it wasny released as a single, but has been very popular with Rays fans.

Funny How Time Slips Away: Written by Willie Nelson, this song has been recorded by dozens of artists, including the Red Headed Stranger, but the only singer that placed it into the top-twenty is Narvel Felts.Columbiashould have released this as a single for Ray, as it had chart-topping potential.

Born To Lose. Another great cut on this disc! Ray makes the song his own, with his performance.

Just Call Me Lonesome: Written by Rex Griffin, this was a No. 2 hit in 1955 for Eddy Arnold. Ray puts a contemporary touch on this classic song and its puzzling whyColumbiadidnt release it as a single.

This Cold War With You: Written by Floyd Tillman, this song was covered by Willie Nelson and he and Ray had a duet version on their San Antonio Rose album (1980). Ray takes another outstanding song and turns it into gem.

Rose-Colored Glasses: I dont have much to say, that I havent already said. By the way, this is not the same song that John Conlee later made famous.

The Last Letter: Written by Rex Griffin, this song has been recorded by an array of singers, including jack Greene and Willie Nelson who got it into the top-fifty, its highest chart position.

The Other Woman was released on CD by Koch Records in 1998. Ray Price is as always in great voice on this album. "The Other Woman" shows off that superb voice and music. He not only has a great voice he had a great band and the two together are un-beatable.

About the producers: In 1959, Frank Jones moved toNashvillefromOntario,Canadawhere he had been working for Columbia Records subsidiary. There he joined the artist and repertoire staff working under the supervision of legendary producer Don Law. Law was the protg of record industry pioneer Art Satherley. Popular with most of his acts, Law was, as Price once put it, a producer who let an artist be an artist. Many of those 1960sColumbiarecordings that sounded so good were the flawless work of the Law and Jones collaboration.

About Ray Price: Ray Price dominated the charts for more then three decades, generating 46 Top-10 hits, including the 4th biggest song (Crazy Arms) in the history of country music. His contribution to country music is unparallel. Price is the seventh most successful recording artist in the history of country music.

Tribute to Kitty Wells

(Norma Jean)

Album: A Tribute to Kitty Wells RCA Records, LSP-3664 (1966)
Produced By: Bob Ferguson
Recorded: RCA Victor Studio: Nashville, Tennessee

Session Personnel: Wayne Moss, Jerry Reed (guitar), Velma Smith (rhythm guitar), Weldon Myrick, Loyd Green (steel), Buck Trent (banjo), Henry Strzelecki, Speck Rhodes (bass), Jerry Carrigan (drums), Hargus Pig Robbins, Jerry Smith (piano), Mack Magaha (fiddle).

This album (LP) was a great tribute to Kitty Wells, the Queen of Country Music as it highlighted some of her biggest recordings. For the most part, Norma Jean's cover of these classic recordings was superbly performed in her own honky-tonk style.

Surprisingly though RCA only released one single from this LP, which was It Wasn't God Who made Honky Tonk Angels. It was the B side of Pursuing Happiness, neither of which charted. This LP contained 12 titles.

It Wasn't God Who made Honky Tonk Angels: Written by J. D. Miller, this was an answer song to the Hank Thompson hit, The Wild Side of Life. It was Kitty's debut chart single, her biggest career song and it became the one most associated with Kitty Wells. Amigos Guitar: In 1959, Wells had two Top-5 hits with Amigo's Guitar and Mommy for a Day. Although not known much for her songwriting, Wells has won two BMI awards, including one for co-writing Amigo's Guitar.

I Heard the Jukebox Play (1959): A song written by Webb Pierce, Linda Baggett & Kitty Wells, it was not released as a single . Norma Jean recorded a very respectable cover of this classic song. Three Ways (To Love You): Three ways is a 1957 single that rose to No. 7 and became Kitty's 13th Top-10 song. It was recorded on her album, Kitty Wells' Golden Favorites for Decca. Mommy for a Day: This is a 1959 Top-10 single written by Harlan Howard and Buck Owens that was also recorded on that album.

Searching (For Someone Like You) Searching was Kitty's 9th Top-10 single to that point (1956). Making Believe was a gigantic hit for Wells. It locked in at No. 2 on the country chart, where it remained for an astounding 15 weeks in 1955. Written by Jimmy Work, who charted his own version in 1955, this became Wells' 2nd biggest chart song.

Wells entered the 1960s on top of the chart with songs like I'll Repossess My Heart (No. 8, 1964), You Don't Hear (No. 4, 1965) and Meanwhile Down At Joe's (No. 9, 1965). Heartbreak U.S.A. peaked at No. 1 on the Billboard Country Chart in 1961 and became her 2nd and final No. 1 song. I Don't Claim to Be An Angel, written by Johnny Wright, Jack Anglin & Jim Anglin, was not released as a single.

Owen Bradley took over as Wells' producer in the 1960s. While Bradley did produce some of the biggest-selling country crossover singers of the era, including Patsy Cline, he did have to record some of what Nashville then called Old Timers from the 1950s, including Webb Pierce, Ernest Tubb , and Wells. With these singers, including Wells, he steered them all into the new contemporary sound without pushing them out of their limits.

Wells' sound changed slightly due to Bradley's influence, incorporating some of the new Nashville sound into her material. The well-known Nashville Sound vocal group, The Jordanaires, can be heard backing Wells on Heartbreak USA.

About Norma Jean: (b. 1/30/1938): Norma Jean was a member of The Porter Wagoner Show from 1961~ 1967. In 1963, Norma Jean released her first single with RCA titled, Let's Go All the Way. The song peaked at No. 11 on the Billboard Country charts. She had a number of country singles in the Top-20 between 1963 and 1967, including Go Cat Go and The Game of Triangles and was instrumental in opening doors for other female country singers. She is a former member of the Grand Ole Opry.