One of the longest-running groups in country music, the Oak Ridge Boys started life as a gospel quartet before gradually modernizing their style and moving into secular country-pop. Yet even at the height of their popularity in the late '70s and early '80s -- when they were big enough to cross over to the pop charts -- their sound always... [+] Read More

One of the longest-running groups in country music, the Oak Ridge Boys started life as a gospel quartet before gradually modernizing their style and moving into secular country-pop. Yet even at the height of their popularity in the late '70s and early '80s -- when they were big enough to cross over to the pop charts -- their sound always remained deeply rooted in country gospel harmony. Their existence dates all the way back to World War II, circa 1942-1943, when a Knoxville, TN, group began performing gospel songs in nearby Oak Ridge, the home of an atomic bomb research facility. The group's members also performed in a larger aggregation called Wally Fowler & the Georgia Clodhoppers, which recorded for Capitol. However, lead singer Fowler decided to focus on gospel music in 1945. Dubbed the Oak Ridge Quartet, the group first appeared at the Grand Ole Opry that year and made their first recordings in 1947 with a lineup of Fowler, Lon "Deacon" Freeman, Curly Kinsey, and Johnny New.

Numerous personnel shifts ensued over the next few years, particularly in 1949, when the entire group split from Fowler; at that point, he hired a completely different group, the Bob Weber-led Calvary Quartet, to assume the Oak Ridge name. With a core of Fowler and Weber, plus a revolving-door cast of supporting vocalists, the group became one of the top draws on the Southern gospel circuit, continuing up to the end of 1956. At that point, Fowler disbanded the quartet and sold the name to group member Smitty Gatlin, who organized a new lineup in early 1957. In 1961, Gatlin changed their name to the Oak Ridge Boys, made them a full-time professional act, and started to modernize their sound on record with fuller arrangements and elements of country and folk. Future mainstay William Lee Golden joined as the group's baritone vocalist in 1964, and when Gatlin retired to become a full-time minister two years later, the group, acting on Golden's recommendation, hired ex-Southernairs singer Duane Allen as his replacement on lead vocals.

With bass singer Noel Fox and tenor singer Willie Wynn, the Oak Ridge Boys continued to broaden their appeal by adapting their sound to the times, adding a drummer to their backing band and incorporating bits of pop and even rock into their country gospel style. As a result, they grew into one of the most popular gospel acts of the late '60s, despite purist criticism over their secular influences and increasingly long-haired image. They even won their first Grammy in 1970 for "Talk About the Good Times." Fox and Wynn were replaced by Richard Sterban (ex-Keystone Quartet) and Philadelphia native Joe Bonsall in 1972 and 1973, respectively, and this lineup would remain intact for the next decade and a half. In 1973, they recorded a single with Johnny Cash and the Carter Family called "Praise the Lord and Pass the Soup," which brought them their first appearance on the country charts. In 1975, they opened a series of tour dates for Roy Clark, whose manager was highly impressed and encouraged them to try their hands at secular country.

The Oak Ridge Boys signed with Columbia later that year but found the initial transition a rough one: They split their time between country and gospel, and without a strong identity their sales dropped. The resulting financial problems nearly forced them to disband, and a discouraged Columbia gave up on them after the 1976 single "Family Reunion" barely charted, even though labelmate Paul Simon had tapped them to sing backup on his hit "Slip Slidin' Away." Fortunately, they got another chance with MCA and scored a breakout Top Five hit in 1977 with "Y'all Come Back Saloon," the title song from their label debut. The follow-up, "You're the One," reached number two, and their next album, 1978's Room Service, gave them their first number one hit in "I'll Be True to You" as well as two more Top Five hits in "Cryin' Again" and "Come On In."

Thus established as country hitmakers, the Oak Ridge Boys embarked on a run of chart success that would last through the '80s. Golden stopped cutting his hair and beard altogether, giving the group a hugely recognizable visual signature as well. They hit number one again in 1980 with "Trying to Love Two Women," but it was the following year that would make them a genuine phenomenon. Their recording of "Elvira," an obscure, doo wop-style novelty song from the '60s, became a major, Grammy-winning crossover smash. Not only did it hit number one on the country charts, but its infectious "oom-pop-a-mow-mow" bass vocal hook boosted it into the Top Five on the pop charts. Its accompanying album, Fancy Free, became their first to top the country charts, not to mention their biggest seller ever. The title cut of their chart-topping 1982 follow-up, Bobbie Sue, also went number one country and nearly made the pop Top Ten as well. American Made's title track also topped the charts in 1983, as did its follow-up, "Love Song." In early 1984 Deliver became their third number one country album, and they landed two more number one singles that year with "Everyday" and "I Guess It Never Hurts to Hurt Sometimes." 1985 brought three number ones: "Little Things," "Make My Life With You," and "Touch a Hand, Make a Friend."

The Oak Ridge Boys' sales began to slow a bit in the latter half of the '80s, but they still produced big hits with regularity. They hit number one in 1987 ("It Takes a Little Rain," "This Crazy Love"), 1988 ("Gonna Take a Lot of River"), and 1990 ("No Matter How High"), giving them a total of 16 career country chart-toppers (and 29 Top Ten hits). However, by that point, the group's longtime lineup had split -- Golden, whose mountain-man appearance was increasingly supported by his rugged lifestyle, was given the boot in 1987 in an attempt to remake the group's image. He was replaced by longtime backing-band guitarist Steve Sanders and sued his former bandmates, eventually settling out of court. In 1991, the Oak Ridge Boys parted ways with MCA and signed with RCA, but after just two albums, it was apparent that their commercial prime had passed, and the relationship ended. The group returned to traditional-style country gospel on occasion during the '90s and continued to tour. Meanwhile, Sanders' marital problems worsened, causing him to leave the group in late 1995; Golden and the other members resolved their differences, and he returned at their New Year's Eve show that year; they still performed often, notably in Branson, MO. Sadly, Sanders shot and killed himself in 1998. Fox, who moved on to run the group's publishing arm and later became a high-ranking music executive, passed away in April 2003. ~ Steve Huey, All Music Guide [-] Hide

As a songwriter and a performer, Willie Nelson played a vital role in post-rock & roll country music. Although he didn't become a star until the mid-'70s, Nelson spent the '60s writing songs that became hits for stars like Ray Price ("Night Life"), Patsy Cline ("Crazy"), Faron Young ("Hello Walls"), and Billy Walker ("Funny How Time Slips Away")... [+] Read More

As a songwriter and a performer, Willie Nelson played a vital role in post-rock & roll country music. Although he didn't become a star until the mid-'70s, Nelson spent the '60s writing songs that became hits for stars like Ray Price ("Night Life"), Patsy Cline ("Crazy"), Faron Young ("Hello Walls"), and Billy Walker ("Funny How Time Slips Away") as well as releasing a series of records on Liberty and RCA that earned him a small, but devoted, cult following. During the early '70s, Willie aligned himself with Waylon Jennings and the burgeoning outlaw country movement which made him into a star in 1975. Following the crossover success of that year's The Red Headed Stranger and "Blue Eyes Crying in the Rain," Nelson was a genuine star, as recognizable in pop circles as he was to the country audience; in addition to recording, he also launched an acting career in the early '80s. Even when he was a star, Willie never played it safe musically. Instead, he borrowed from a wide variety of styles, including traditional pop, Western swing, jazz, traditional country, cowboy songs, honky tonk, rock & roll, folk, and the blues, creating a distinctive, elastic hybrid. Nelson remained at the top of the country charts until the mid-'80s, when his lifestyle -- which had always been close to the outlaw clichés his music flirted with -- began to spiral out of control, culminating in an infamous battle with the IRS in the late '80s. During the '90s, Nelson's sales never reached the heights that he had experienced a decade earlier, but he remained a vital icon in country music, having greatly influenced the new country, new traditionalist, and alternative country movements of the '80s and '90s as well as leaving behind a legacy of classic songs and recordings.


Nelson began performing music as a child growing up in Abbott, TX. After his father died and his mother ran away, Nelson and his sister Bobbie were raised by their grandparents, who encouraged both children to play instruments. Willie picked up the guitar, and by the time he was seven, he was already writing songs. Bobbie learned to play piano, eventually meeting -- and later marrying -- fiddler Bud Fletcher, who invited both of the siblings to join his band. Nelson had already played with Raychecks' Polka Band, but with Fletcher, he acted as the group's frontman. Willie stayed with Fletcher throughout high school. Upon his graduation, he joined the Air Force but had to leave shortly afterward, when he became plagued by back problems. Following his disenrollment from the service, he began looking for full-time work. After he worked several part-time jobs, he landed a job as a country DJ at Fort Worth's KCNC in 1954. Nelson continued to sing in honky tonks as he worked as a DJ, deciding to make a stab at recording career by 1956. That year, he headed to Vancouver, WA, where he recorded Leon Payne's "Lumberjack." At that time, Payne was a DJ and he plugged "Lumberjack" on the air, which eventually resulted in sales of 3,000 -- a respectable figure for an independent single, but not enough to gain much attention. For the next few years, Willie continued to DJ and sing in clubs. During this time, he sold "Family Bible" to a guitar instructor for 50 dollars, and when the song became a hit for Claude Gray in 1960, Nelson decided to move to Nashville the following year to try his luck. Though his nasal voice and jazzy, off-center phrasing didn't win him many friends -- several demos were made and then rejected by various labels -- his songwriting ability didn't go unnoticed, and soon Hank Cochran helped Willie land a publishing contract at Pamper Music. Ray Price, who co-owned Pamper Music, recorded Nelson's "Night Life" and invited him to join his touring band, the Cherokee Cowboys, as a bassist.


Arriving at the beginning of 1961, Price's invitation began a watershed year for Nelson. Not only did he play with Price -- eventually taking members of the Cherokee Cowboys to form his own touring band -- but his songs also provided major hits for several other artists. Faron Young took "Hello Walls" to number one for nine weeks, Billy Walker made "Funny How Time Slips Away" into a Top 40 country smash, and Patsy Cline made "Crazy" into a Top Ten pop crossover hit. Earlier in the year, he signed a contract with Liberty Records and began releasing a series of singles that were usually drenched in strings. "Willingly," a duet with his then-wife Shirley Collie, became a Top Ten hit for Nelson early in 1962, and it was followed by another Top Ten single, "Touch Me," later that year. Both singles made it seem like Nelson was primed to become a star, but his career stalled just as quickly as it had taken off, and he was soon charting in the lower regions of the Top 40. Liberty closed its country division in 1964, the same year Roy Orbison had a hit with "Pretty Paper."


When the Monument recordings failed to become hits, Nelson moved to RCA Records in 1965, the same year he became a member of the Grand Ole Opry. Over the next seven years, Willie had a steady stream of minor hits, highlighted by the number 13 hit "Bring Me Sunshine" in 1969. Toward the end of his stint with RCA, he had grown frustrated with the label, who had continually tried to shoehorn him into the heavily produced Nashville sound. By 1972, he wasn't even able to reach the country Top 40. Discouraged by his lack of success, Nelson decided to retire from country music, moving back to Austin, TX, after a brief and disastrous sojourn into pig farming. Once he arrived in Austin, Nelson realized that many young rock fans were listening to country music along with the traditional honky tonk audience. Spotting an opportunity, Willie began performing again, scrapping his pop-oriented Nashville sound and image for a rock- and folk-influenced redneck outlaw image. Soon, he earned a contract with Atlantic Records.


Shotgun Willie (1973), Nelson's first album for Atlantic, was evidence of the shift of his musical style, and although it initially didn't sell well, it earned good reviews and cultivated a dedicated cult following. By the fall of 1973, his version of Bob Wills' "Stay All Night (Stay a Little Longer)" had cracked the country Top 40. The following year, he delivered the concept album Phases and Stages, which increased his following even more with the hit singles "Bloody Mary Morning" and "After the Fire Is Gone." But the real commercial breakthrough didn't arrive until 1975, when he severed ties with Atlantic and signed to Columbia Records, who gave him complete creative control of his records. Willie's first album for Columbia, The Red Headed Stranger, was a spare concept album about a preacher, featuring only his guitar and his sister's piano. The label was reluctant to release with such stark arrangements, but they relented and it became a huge hit, thanks to Nelson's understated cover of Roy Acuff's "Blue Eyes Crying in the Rain."


Following the breakthrough success of The Red Headed Stranger as well as Waylon Jennings' simultaneous success, outlaw country -- so named because it worked outside of the confines of the Nashville industry -- became a sensation, and RCA compiled the various-artists album Wanted: The Outlaws!, using material Nelson, Jennings, Tompall Glaser, and Jessi Colter had previously recorded for the label. The compilation boasted a number one single in the form of the newly recorded Jennings and Nelson duet "Good Hearted Woman," which was also named the Country Music Association's single of the year. For the next five years, Nelson consistently charted on both the country and pop charts, with "Remember Me," "If You've Got the Money I've Got the Time," and "Uncloudy Day" becoming Top Ten country singles in 1976; "I Love You a Thousand Ways" and the Mary Kay Place duet "Something to Brag About" were Top Ten country singles the following year.


Nelson enjoyed his most successful year to date in 1978, as he charted with two very dissimilar albums. Waylon and Willie, his first duet album with Jennings, was a major success early in the year, spawning the signature song "Mammas Don't Let Your Babies Grow Up to Be Cowboys." Later in the year, he released Stardust, a string-augmented collection of pop standards produced by Booker T. Jones. Most observers believed that the unconventional album would derail Nelson's career, but it unexpectedly became one of the most successful records in his catalog, spending almost ten years in the country charts and eventually selling over four million copies. After the success of Stardust, Willie branched out into film, appearing in the Robert Redford movie The Electric Horseman in 1979 and starring in Honeysuckle Rose the following year. The latter spawned the hit "On the Road Again," which became another one of Nelson's signature songs.


Willie continued to have hits throughout the early '80s, when he had a major crossover success in 1982 with a cover of Elvis Presley's hit "Always on My Mind." The single spent two weeks at number one and crossed over to number five on the pop charts, sending the album of the same name to number two on the pop charts as well as quadruple-platinum status. Over the next two years, he had hit duet albums with Merle Haggard (1983's Poncho & Lefty) and Jennings (1982's WWII and 1983's Take It to the Limit), while "To All the Girls I've Loved Before," a duet with Latin pop star Julio Iglesias, became another major crossover success in 1984, peaking at number five on the pop charts and number one on the singles chart.


Following a string of number one singles in early 1985, including "Highwayman," the first single from the Highwaymen, a supergroup he formed with Jennings, Johnny Cash, and Kris Kristofferson, Nelson's popularity gradually began to erode. A new generation of artists had captured the attention of the country audience, which began to drastically cut into his own audience. For the remainder of the decade, he recorded less frequently and remained on the road; he also continued to do charity work, most notably Farm Aid, an annual concert that he founded in 1985 designed to provide aid to ailing farmers. While he career was declining, an old demon began to creep up on Willie -- the IRS. In November of 1990, he was given a bill for 16.7 million dollars in back taxes. During the following year, almost all of his assets -- including several houses, studios, farms, and various properties -- were taken away, and to help pay his bill, he released the double-album The IRS Tapes: Who'll Buy My Memories? Originally released as two separate albums, the records were marketed through television commercials, and all the profits were directed to the IRS. By 1993 -- the year he turned 60 -- his debts had been paid off, and he relaunched his recording career with Across the Borderline, an ambitious album produced by Don Was and featuring cameos by Bob Dylan, Bonnie Raitt, Paul Simon, Sinéad O'Connor, David Crosby, and Kris Kristofferson. The record received strong reviews and became his first solo album to appear in the pop charts since 1985.


After the release of Across the Borderline, Nelson continued to work steadily, releasing at least one album a year and touring constantly. In 1993, he was inducted into the Country Music Hall of Fame, but by that time, he had already become a living legend for all country music fans across the world. Signing to Island for 1996's Spirit, he resurfaced two years later with the critically acclaimed Teatro, produced by Daniel Lanois. Nelson followed up that success with the instrumental-oriented Night and Day a year later; Me and the Drummer and Milk Cow Blues followed in 2000. The Rainbow Connection, which featured an eclectic selection of old-time country favorites, appeared in spring 2001.


Amazingly prolific as a recording artist, Nelson released Great Divide on Universal in 2002. A collection of his early-'60s publishing demos for Pamper Music called Crazy: The Demo Sessions came out on Sugar Hill in 2003. Later in 2003 Nelson released Run That by Me One More Time, which reunited him with Ray Price and kicked off a relationship with Lost Highway Records. It Always Will Be and Outlaws and Angels both appeared on Lost Highway in 2004, followed by the release of Nelson's long-delayed attempt at a country-reggae fusion, Countryman, also on Lost Highway, in 2005. You Don't Know Me: The Songs of Cindy Walker arrived the following year. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

It's difficult to find a country performer who has moved from country roots to international fame more successfully than Dolly Parton. Her autobiographical single "Coat of Many Colors" shows the poverty of growing up one of 12 children on a run-down farm in Locust Ridge, TN. At 12 years old she was appearing on Knoxville television; at 13 she... [+] Read More

It's difficult to find a country performer who has moved from country roots to international fame more successfully than Dolly Parton. Her autobiographical single "Coat of Many Colors" shows the poverty of growing up one of 12 children on a run-down farm in Locust Ridge, TN. At 12 years old she was appearing on Knoxville television; at 13 she was recording on a small label and appearing on the Grand Ole Opry. Her 1967 hit "Dumb Blonde" (which she's not) caught Porter Wagoner's ear, and he hired Parton to appear on his television show, where their duet numbers became famous. By the time her "Joshua" reached number one in 1970, Parton's fame had overshadowed the boss', and she had struck out on her own, though still recording duets with him. During the mid-'70s, she established herself as a country superstar, crossing over into the pop mainstream in the early '80s, when she smoothed out the rough edges in her music and began singing pop as well as country. In the early '80s, she also began appearing in movies, most notably the hit 9 to 5. Though her savvy marketing, image manipulation -- her big, dumb blond stage persona is an act -- extracurricular forays into film, and her flirtations with country-pop have occasionally overshadowed her music, at her core Parton is a country gal and a tremendously gifted singer/songwriter. Among her classics are "Coat of Many Colors," "Jolene," "Kentucky Gambler," "I Will Always Love You," "But You Known I Love You," and "Tennessee Homesick Blues," and they give a hint to why her contribution to bringing country music to a wide audience, not only in America but throughout the world, cannot be underestimated.

The fourth of 12 children, Parton was born and raised in Locust Ridge, TN, just next to the Smoky Mountains National Forest. Parton's family struggled to survive throughout her childhood, and often she was ridiculed for her poverty, yet often music soothed their worries. Though her farming father did not play, her half-Cherokee mother played guitar and her grandfather Reverend Jake Owens was a fiddler and songwriter (his "Singing His Praise" was recorded by Kitty Wells). When she was seven, her uncle Bill Owens gave her a guitar, and within three years she became a regular on WIVK Knoxville's The Cas Walker Farm and Home Hour. Over the next two years, her career steadily increased, and in 1959 she made her debut on the Grand Ole Opry; the following year, she recorded her first single, "Puppy Love," for Goldband.

When she was 14 years old, Parton signed to Mercury Records, but her 1962 debut for the label, "It's Sure Gonna Hurt," was a bomb and the label immediately dropped her. Over the next five years, she shopped for a new contract and did indeed record a number of songs, which were later reissued through budget-line records. She continued to attend high school, playing snare drum in the marching band. After she graduated, she moved to Nashville where she stayed with Bill Owens. Both songwriters pitched songs across Nashville to no success, and Parton began singing on demos. Early in 1965, both Parton and Owens finally found work when Fred Foster signed them to his publishing house, Combine Music; Foster subsequently signed her to Monument Records. Parton's first records for Monument were marketed to pop audiences, and her second record, "Happy, Happy Birthday Baby," nearly made the charts. In 1966, Bill Phillips took two of Parton's and Owens' songs -- "Put It Off Until Tomorrow" and "The Company You Keep" -- to the Top Ten, setting the stage for Parton's breakthrough single, "Dumb Blonde." Released early in 1967, the record climbed to number 24, followed shortly afterward by the number 17 "Something Fishy."

The two hit Monument singles attracted the attention of country star Porter Wagoner, who was looking to hire a new female singer for his syndicated television show. Parton accepted the offer and began appearing on the show on September 5, 1967. Initially, Wagoner's audience was reluctant to warm to Parton and chanted for Norma Jean, the singer she replaced, but with Wagoner's assistance, she was accepted. Wagoner convinced his label, RCA, to also sign Parton. Since female performers were not particularly popular in the late '60s, the label decided to protect their investment by releasing her first single as a duet with Wagoner. The duo's first single, "The Last Thing on My Mind," reached the country Top Ten early in 1968, launching a six-year streak of virtually uninterrupted Top Ten singles. Parton's first solo single, "Just Because I'm a Woman," was released in the summer of 1968 and was a moderate hit, reaching number 17. For the remainder of the decade, none of her solo efforts -- even "In the Good Old Days (When Times Were Bad)," which would later become a standard -- were as successful as her duets. The duo was named Vocal Group of the Year in 1968 by the Country Music Association, but Parton's solo records were continually ignored. Wagoner and Parton were both frustrated by her lack of solo success, because he had a significant financial stake in her future -- as of 1969, he was her co-producer and owned nearly half of the publishing company Owepar.

By 1970, both Parton and Wagoner had grown frustrated by her lack of solo success, and Porter had her sing Jimmie Rodgers' "Mule Skinner Blues (Blue Yodel No. 8)," a gimmick that worked. The record shot to number three on the charts, followed closely by her first number one single, "Joshua." For the next two years, she had a number of solo hits -- including her signature song "Coat of Many Colors" (number four, 1971) -- in addition to her duets. Though she had successful singles, none of them were blockbusters until "Jolene" reached number one in early 1974. Parton stopped traveling with Wagoner after its release, yet she continued to appear on television and sing duets with him until 1976.

Once she left Wagoner, Parton's records became more eclectic and diverse, ranging from the ballad "I Will Always Love You" (number one, 1974) and the racy "The Bargain Store" (number one, 1975) to the crossover pop of "Here You Come Again" (number one, 1977) and the disco experiments of "Baby I'm Burning" (number 25 pop, 1978). From 1974 to 1980, she consistently charted in the country Top Ten, with no less than eight singles reaching number one. Parton had her own syndicated television show, Dolly, in 1976 and by the next year had gained the right to produce her own albums, which immediately resulted in diverse efforts like 1977's New Harvest, First Gathering. In addition to her own hits during the late '70s, many artists, from Rose Maddox and Kitty Wells to Olivia Newton-John, Emmylou Harris, and Linda Ronstadt, covered her songs, and her siblings Randy and Stella received recording contracts of their own.

Though she was quite popular, Parton became a genuine superstar in 1977, when the Barry Mann/Cynthia Weil song "Here You Come Again" became a huge crossover hit, reaching number three on the pop charts, spending five weeks at the top of the country charts, and going gold. Its accompanying album went platinum and the follow-up, Heartbreaker, went gold. Soon, she was on the cover of country and mainstream publications alike. With the new financial windfall, a lawsuit against Wagoner -- who had received a significant portion of her royalties -- ensued. By the time it was settled, she regained her copyrights while Wagoner was given a nominal fee and the studio the duo shared. In the wake of the lawsuit, a delayed duet album, Making Plans, appeared in 1980; its title track hit number two on the country charts.

Parton's commercial success continued to grow during 1980, as she had three number one hits in a row: the Donna Summer-written "Starting Over Again," "Old Flames Can't Hold a Candle to You," and "9 to 5." The latter was the theme song to Parton's acting debut, 9 to 5. Also starring Jane Fonda and Lily Tomlin, the movie became a huge success, establishing Parton as a movie star. The song became her first number one pop single, as well. 9 to 5 gave Parton's career momentum that lasted throughout the early '80s. She began appearing in more films, including the Burt Reynolds musical The Best Little Whorehouse in Texas (1982) and the Sylvester Stallone comedy Rhinestone (1984). Parton's singles continued to appear consistently in the country Top Ten: Between 1981 and 1985, she had 12 Top Ten hits and half of those were number one singles. Parton continued to make inroads on the pop charts as well with a re-recorded version of "I Will Always Love You" from The Best Little Whorehouse in Texas scraping the Top 50 and her Kenny Rogers duet "Islands in the Stream" (which was written by the Bee Gees and produced by Barry Gibb) spending two weeks at number one.

However, by 1985 many old-time fans had felt that Parton was spending too much time courting the mainstream. Most of her albums were dominated by the adult contemporary pop of songs like "Islands in the Stream," and it had been years since she had sung straightforward country. She also continued to explore new business and entertainment ventures such as her Dollywood theme park, which opened in 1985. Despite these misgivings, she had continued to chart well until 1986, when none of her singles reached the Top Ten. RCA Records didn't renew her contract after it expired that year, and she signed with Columbia in 1987. Before she released her Columbia debut, Parton joined forces with Linda Ronstadt and Emmylou Harris to record the rootsy Trio album. Trio became a huge hit, earning both critical and popular acclaim, selling over a million copies, and peaking at number six on the pop charts; it also spawned three Top Ten country singles: "To Know Him Is to Love Him," "Telling Me Lies," and "Those Memories of You." Following the success of the album, she had a weekly variety television show, Dolly, on ABC that lasted only one season. Trio also provided a perfect launching pad for her first Columbia album, 1989's White Limozeen, which produced two number one hits in "Why'd You Come in Here Lookin' Like That" and "Yellow Roses."

Though it looked like Parton's career had been revived, it was actually just a brief revival before contemporary country came along in the early '90s and pushed all veteran artists out of the charts. Parton had a number one duet with Ricky Van Shelton, "Rockin' Years," in 1991, but after that single, she slowly crept out of the Top Ten and later the Top 40. Parton was one of the most outspoken critics of radio's treatment of older stars. While her sales had declined, she didn't disappear. Despite her lack of sales, Parton remained an iconic figure in country music, appearing in films (the 1991 TV-movie Wild Texas Wind, 1992's Straight Talk), selling out concerts, and releasing a series of acclaimed albums -- including 1993's Honky Tonk Angels, a collaboration with Tammy Wynette and Loretta Lynn -- that all sold respectably. Furthermore, "I Will Always Love You" was covered in 1992 by Whitney Houston, who took it to number one on the pop charts; the single spent 14 weeks at number one, becoming the biggest pop hit of the rock & roll era (it was unseated four years later by Mariah Carey and Boyz II Men's "One Sweet Day"). In 1994, she published her autobiography My Life and Other Unfinished Business. Treasures, her 1996 album, was a praised collection of unusual covers, ranging from Merle Haggard to Neil Young. Hungry Again followed in 1998, and early the following year she reunited with Ronstadt and Harris for a second Trio collection in addition to releasing the solo The Grass Is Blue. A rootsy effort, it was well-received and prompted the release of more recordings like it on Little Sparrow from 2001 and Halos & Horns from 2002. The patriotic For God and Country appeared in 2003 and was followed by the CD and DVD Live and Well a year later. Those Were the Days from 2005 found Parton covering her favorite pop songs from the '60s and '70s. ~ David Vinopal, All Music Guide [-] Hide

Best-known for her Grammy-winning smash "Rose Garden," Lynn Anderson was one of the most popular female country singers of the early '70s, helped by her regular exposure on national television. Anderson was born in Grand Forks, ND, and grew up in Sacramento, CA; her mother, Liz, was a professional songwriter best-known for penning Merle... [+] Read More

Best-known for her Grammy-winning smash "Rose Garden," Lynn Anderson was one of the most popular female country singers of the early '70s, helped by her regular exposure on national television. Anderson was born in Grand Forks, ND, and grew up in Sacramento, CA; her mother, Liz, was a professional songwriter best-known for penning Merle Haggard's early hits "(All My Friends Are Gonna Be) Strangers" and "The Fugitive" (the latter with her husband, Carey). Naturally, Lynn picked up music too, and performed as a singer and guitarist during her teen years. In the mid-'60s, her mother got a recording contract of her own based on her demo tapes, some of which featured Lynn singing background vocals. When the two traveled to Nashville, Lynn wound up recording for the small Chart label, cutting a duet with Jerry Lane as her first single. Her first solo single was 1966's "In Person," and in 1967 she scored her first Top 40 hit with her mother's composition "Ride, Ride, Ride." She burst into the country Top Five with 1967's "If I Kiss You (Will You Go Away)," 1968's "Promises, Promises," and 1969's "That's a No No." Her success helped her land a spot as a weekly regular on The Lawrence Welk Show for a time, and made her the only country singer of her time to fill such a slot on any TV program. She eventually departed amid objections to singing in stereotypical haywagon settings, but went on to appear on numerous other variety shows.

In 1970, Anderson moved to Nashville with her husband, writer/producer Glenn Sutton, and signed with Columbia. She quickly scored the biggest hit of her career with the Joe South-penned "Rose Garden," which topped the country charts and went all the way to number three on the pop side. It won her a Grammy for Best Female Country Vocal, and proved a hit in 15 countries. While Anderson never quite duplicated that crossover phenomenon, she racked up 14 more Top Ten hits on the country charts through 1974, including the number ones "How Can I Unlove You," "You're My Man," "Keep Me in Mind," and "What a Man, My Man Is." Her run of success tailed off somewhat in the latter half of the decade, but she continued to make regular appearances on the charts, and finally returned to the Top Ten with 1979's "Isn't It Always Love." She parted ways with Columbia in 1981, and scored one last Top Ten hit for Permian with 1984's "You're Welcome to Tonight." Other than a single for MCA and an album for Mercury, Anderson was silent for the remainder of the '80s; in 1992, she issued the album Cowboy's Sweetheart on the small Delta label. Live at Billy Bob's Texas appeared from out of nowhere in 2000. ~ Steve Huey, All Music Guide [-] Hide

Juice Newton (born Judy Kay Newton, February 18, 1952, Lakehurst, NJ) was part of the first wave of country singers raised on rock, folk-rock, and singer/songwriters, which is evident from her hit singles. "Angel of the Morning" and "Queen of Hearts," her two crossover hits, have country-pop arrangements, but their roots are in '60s pop and new... [+] Read More

Juice Newton (born Judy Kay Newton, February 18, 1952, Lakehurst, NJ) was part of the first wave of country singers raised on rock, folk-rock, and singer/songwriters, which is evident from her hit singles. "Angel of the Morning" and "Queen of Hearts," her two crossover hits, have country-pop arrangements, but their roots are in '60s pop and new wave roots rock, respectively. That's why she managed pop crossover hits in the early '80s and also why she was able to sustain country success throughout the decade.

Although Newton was born in New Jersey, she was raised in Virginia. As she entered high school, her mother gave her a guitar, prompting her infatuation with folk music. After graduating from high school, she attended Foothill College in Los Altos Hills, CA, where she continued to play folk in coffeehouses. During this time, she met Otha Young, a fellow guitarist and songwriter. The two formed a folk-rock band called Dixie Peach and began playing bars around northern California.

Dixie Peach only lasted a year, but they did gain a local following while they were active. After the band broke up, Newton and Young formed Juice Newton & Silver Spur, which had more country leanings than Dixie Peach. They were also more successful. Their fan base was large enough to convince the band to go to Los Angeles and try to land a record contract. In 1975, Juice Newton & Silver Spur signed to RCA Records and released an eponymous debut which spawned the minor hit single "Love Is a Word" in early 1976. Later that year, the group released After the Dust Settles, which didn't attract much attention, and RCA dropped them after its release. The band signed with Capitol Records, releasing Come to Me in 1978. Like its predecessor, the album was more or less ignored, causing the Silver Spur to disband.

Though Silver Spur had broken up, Newton and Young continued to work together. Newton still had a contract with Capitol, and the pair immediately began working on her solo debut. The result, Juice, was released in early 1981 and quickly became a crossover hit. The first single from the record, "Angel of the Morning," reached number four on the pop charts, and it peaked at 22 on the country charts. "Queen of Hearts" was a bigger hit, reaching number two on the pop charts and number 14 on the country charts. "The Sweetest Thing (I've Ever Known)," the third single taken from Juice, was her biggest country hit, peaking at number one; on the pop charts, it hit number seven. Juice would eventually go platinum

Newton's follow-up album to Juice, Quiet Lies, was released in the spring of 1982. It was also a hit, spawning the pop Top Ten "Love's Been a Little Bit Hard on Me" and the number two country hit "Break It to Me Gently." The album won a Grammy for Best Country Vocal Performance, Female; it also went gold by the end of the year. Dirty Looks, her third solo album, was released in 1983. The record marked the first time Newton failed to crack either the pop or country Top 40.

In 1984, she switched labels, signing with RCA. Newton's first album for the label, Can't Wait All Night, was a transitionary album, seeing her move away from pop and begin to concentrate on country. Old Flame, released in 1985, was her country breakthrough, spawning the hits "You Make Me Want to Make You Mine," "Hurt," and the duet with Eddie Rabbitt "Both to Each Other (Friends & Lovers)," which all went to number one; the album had three additional Top Ten hits -- "Old Flame," "Cheap Love," and "What Can I Do With My Heart."

Old Flame happened to be Newton's only major country hit. Its follow-up, 1987's Emotion, only yielded one Top Ten hit, "Tell Me True." In 1989, she released Ain't Gonna Cry, which featured the single "When Love Comes Around the Bend," which barely scraped the Top 40.

Ain't Gonna Cry turned out be Newton's last album for several years. She abandoned country and began performing showy mainstream pop, which she performed in nightclubs. Throughout the '90s, she continued to perform live concerts without recording any new material for years. Finally, she reunited with producer Richard Landis in 1997, recording The Trouble With Angels, a collection of re-recorded hits and new songs that was released in the spring of 1998. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

The Essential Jim Reeves runs through 20 of Reeves' biggest hits, throwing a couple of rarities along the way. It's by no means definitive, but it offers a good introduction to his countrypolitan sound. ~ Stephen Thomas Erlewine, All Music Guide

The Essential Jim Reeves runs through 20 of Reeves' biggest hits, throwing a couple of rarities along the way. It's by no means definitive, but it offers a good introduction to his countrypolitan sound. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Razor & Tie's The Very Best of Mac Davis overlooks some late-'70s and early-'80s hits, but they're not missed, since this winds up as a first-rate chronicle of Davis at his peak. Davis walked the thin line between country and AM pop with his lavishly produced, sweet soft rock, delivering the melodies with just a hint of twang. This is... [+] Read More

Razor & Tie's The Very Best of Mac Davis overlooks some late-'70s and early-'80s hits, but they're not missed, since this winds up as a first-rate chronicle of Davis at his peak. Davis walked the thin line between country and AM pop with his lavishly produced, sweet soft rock, delivering the melodies with just a hint of twang. This is unabashedly mainstream stuff, but it's so well done that it's hard to resist, especially since Davis' warm baritone is the perfect foil for is evocatively corny tales. This concentrates on his late-'60s/early-'70s material, when he was at the peak of his powers. The compilers were savvy, and this doesn't slow as it winds through his biggest hits of the time, along with a couple lesser-known hits. It's an excellent compilation, and even if it doesn't have "I Believe in Music," it will make you a believer. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Featuring 20 tracks, The Essential Skeeter Davis collects all of her big hits from both the country and pop charts, making it the one definitive compilation. ~ Stephen Thomas Erlewine, All Music Guide

Featuring 20 tracks, The Essential Skeeter Davis collects all of her big hits from both the country and pop charts, making it the one definitive compilation. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Although it isn't necessarily a definitive retrospective, Essential is the best CD compilation of Floyd Cramer's solo recordings yet assembled. Containing 20 tracks, including his hits "Last Date," "San Antonio Rose" and "Stood Up," the disc captures Cramer's signature stride piano style in all of its glory on a variety of country, pop and R&B... [+] Read More

Although it isn't necessarily a definitive retrospective, Essential is the best CD compilation of Floyd Cramer's solo recordings yet assembled. Containing 20 tracks, including his hits "Last Date," "San Antonio Rose" and "Stood Up," the disc captures Cramer's signature stride piano style in all of its glory on a variety of country, pop and R&B numbers. Cramer was as well-known as a sideman as he was a solo artist, and even if Essential contains none of his session work, it contains a good portion of his very best recordings, making it a fine introduction to one of the most influential pianists in country and pop history. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

[-] Hide