Ray Price has covered -- and kicked up -- as much musical turf as any country singer of the postwar era. He's been lionized as the man who saved hard country when Nashville went pop, and vilified as the man who went pop when hard country was starting to call its own name with pride. Actually, he was -- and still is -- no more than a musically... [+] Read More

Ray Price has covered -- and kicked up -- as much musical turf as any country singer of the postwar era. He's been lionized as the man who saved hard country when Nashville went pop, and vilified as the man who went pop when hard country was starting to call its own name with pride. Actually, he was -- and still is -- no more than a musically ambitious singer, always looking for the next challenge for a voice that could bring down roadhouse walls. Circa 1949, Price cut his first record for Bullet at the Famous Jim Beck in Dallas. In 1951, he was picked up by Columbia, the label for which he would record for more than twenty years. After knocking around in Lefty Frizzell's camp for six months or so (his first Columbia single was a Frizzell composition) Price befriended Hank Williams. The connection brought him to the Opry and profoundly effected his singing style. After Hank died, Price starting stretching out more as a singer and arranger. His experimentation culminated in the 4/4-bass driven "Crazy Arms," the country song of the year for 1956. The intensely rhythmic sound he discovered with "Crazy Arms" would dominate his -- and much of country in general's -- music for the next six years. To this day, people in Nashville refer to a 4/4 country shuffle as the "Ray Price beat." Heavy on fiddle, steel, and high tenor harmony, his country work from the late '50s is as lively as the rock & roll of the same era. Price tired of that sound, however, and started messing around with strings. His lush 1967 version of "Danny Boy," and his 1970 take on Kris Kristofferson's "For the Good Times," were, in their crossover way, landmark records. But few of his old fans appreciated the fact. In the three decades following "For the Good Times," Price's career was often an awkward balancing act in which twin Texas fiddles are weighed against orchestras.

Born in tiny Perryville, Texas, Price spent most of his youth in Dallas. It was there where he learned how to play guitar and sing. Following his high-school graduation, he studied veterinary medicine at North Texas Agricultural College in Abilene before he left school to join the Marines in 1942. Price stayed in the service throughout World War II, returing to Texas in 1946. After leaving the Marines, he initially returned to college, yet he began to perform at local clubs and honky tonks, as well as on the local radio station KRBC, where he was dubbed the Cherokee Cowboy. Three years later, he was invited to join the Dallas-based The Big D Jamboree, which convinced him to make music his full-time career. Shortly after joining The Big D Jamboree, the show began to be televised by CBS, which helped him release a single, "Your Wedding Corsage" / "Jealous Lies," on the independent Dallas label Bullet.

Price moved to Nashville to pursue a major-label record contract in 1951. After auditioning and failing several time, Ray finally signed to Columbia Records, after A&R representative Troy Martin convinced the label's chief executive Don Law that Decca was prepared to give the singer a contract. Previously, Law was uninterested in Price -- he turned him down 20 times and threatened Martin never to mention his name again -- but he was unprepared to give a rival company a chance at the vocalist. Just before "Talk to Your Heart" became a number three hit for Price in the spring of 1952, Ray met his idol, Hank Williams, who immediately became a close friend. Over the next year, Hank performed a number of favors for Price, including giving him "Weary Blues" to record and helping him join the Grand Ole Opry. Ray also became the permanent substitute for Hank whenever he was missing or too drunk to perform. Following Williams' death in 1953, Price inherited the Drifting Cowboys.

Following the success of "Don't Let the Stars Get in Your Eyes" in the fall of 1952, Price was quiet for much of 1953. It wasn't until 1954 that he returned to the charts with "I'll Be There (If You Ever Want Me)," a number two hit which kicked off a successful year for Price that also included the Top Ten singles "Release Me" and "If You Don't, Somebody Else Will." Instead of capitalzing on that success, he disappeared from the charts during 1955, as he spent the year forming the Cherokee Cowboys. Over the course of the past two years, he had realized that performing with the Drifting Cowboys had made him sound too similar to Hank Williams, so he decided to form his own group. Originally, most of the members were lifted from Lefty Frizzell's Western Cherokees, but over the years a number of gifted musicians began their careers in this band, including Roger Miller, Johnny Paycheck, Buddy Emmons, Johnny Bush and Willie Nelson.

Ray returned to the charts in 1956, first with "Run Boy" and then with "Crazy Arms," a driving honky tonk number that immediately became a country classics. The song was one of the first country records to be recorded with a drum kit, which gave it a relentless, pulsating rhythm. Until Price, most country artists were reluctant to use drums and the instrument was even banned from the stage of the Grand Ole Opry. The blockbuster status of the single helped change that situation. Spending an astonishing 20 weeks at the top of the country charts, "Crazy Arms" not only crossed over into the lower reaches of the pop charts, but it also established Price as a star. After the success of the single, he remained at or near the top of the charts for the next ten years, racking up 23 Top Ten singles between the 1956 and 1966. During this time, he recorded a remarkable number of country classics, including "I've Got a New Heartache" (#2, 1956), "My Shoes Keep Walking Back to You" (#1, 1957), "Make the World Go Away" (#2, 1963) and "City Lights," which spent 13 weeks at the top of the charts in 1958.

The momentum of Price's career had slowed somewhat by the mid-'60s; though he was still having hits, they weren't as frequent nor as big. His musical inclinations were also shifting, bringing him closer to the crooning styles of traditional pop singers. Ray abandoned the cowboy suits and brought in strings to accompany him, making him one of the first to explore the smooth, orchestrated sounds of late '60s and early '70s country-pop. While it alienated some hardcore honky tonk fans, the change in approach resulted in another round of Top Ten hits. However, it took a little while for the country audience to warm to this new sound -- it wasn't until 1970, when his cover of Kris Kristofferson's "For the Good Times" hit number one, that he returned to the top of the charts. Over the next three years, he scored an additional three number one singles ("I Won't Mention It Again," "She's Got to Be a Saint," "You're the Best Thing That Ever Happened to Me").

By the mid-'70s, the appeal of his string-laden country-pop hits had diminished, and he spent the rest of the decade struggling to get into the charts. In 1974, he left his long-time home of Columbia Records to sign to Myrrh, where he had two Top Ten hits over the next year. By the end of 1975, he had left the label, signing to ABC/Dot. Though he hadn't changed his style, his records became less popular around the same time he signed to ABC/Dot; only 1977's "Mansion on the Hill" gained much attention. In 1978, he switched labels again, signing with Monument, which proved to be another unsuccessful venture. In 1980, Price reunited with his old bassist Willie Nelson, recording the duet album San Antonio Rose, which was a major success, spawning the number three hit "Faded Love." San Antonio Rose reignited Ray's career, and in 1981 he had two Top Ten singles -- "It Don't Hurt Me Half as Bad," "Diamonds in the Stars" -- for his new label, Dimension. Price left Dimension in 1983, signing with Warner Records. He remained at the label for one year, and by that time, his new spell of popularity had cooled down considerably; now, he was having trouble reaching the Top 40. That situation didn't remedy itself for the remainder of the decade, even though he signed with two new labels: Viva (1983-1984) and Step One (1985-1989).

By the late '80s, Ray Price had stopped concentrating on recording and had turned his efforts toward a theater he owned in Branson, Missouri. For most of the '90s, he sang and performed at his theater in Branson, occasionally stopping to record. Of all of his '90s records, the most notable was the 1992 album Sometimes a Rose, which was produced by Norro Wilson. ~ Dan Cooper, All Music Guide [-] Hide

Hank Thompson was perhaps the most popular Western swing musician of the '50s and '60s, keeping the style alive with a top-notch band, tremendous showmanship, and a versatility that allowed him to expand his repertoire into romantic ballads and hardcore honky tonk numbers. Born September 3, 1925, in Waco, TX, Henry William Thompson was the son... [+] Read More

Hank Thompson was perhaps the most popular Western swing musician of the '50s and '60s, keeping the style alive with a top-notch band, tremendous showmanship, and a versatility that allowed him to expand his repertoire into romantic ballads and hardcore honky tonk numbers. Born September 3, 1925, in Waco, TX, Henry William Thompson was the son of immigrants from Bohemia and grew up idolizing Western swing and country musicians like Bob Wills, Jimmie Rodgers, and Gene Autry. He began learning harmonica and guitar as a child, and appeared in local talent shows as a teenager, which eventually led to his own local radio program (billed as Hank the Hired Hand). After graduating from high school in 1943, Thompson joined the Navy as a radio technician and often wrote songs to entertain his fellow soldiers. Following his discharge, Thompson studied electrical engineering at Princeton through the G.I. Bill, but eventually decided to pursue music as a career. He returned to Waco and to the radio business, and set about putting together a band he dubbed the Brazos Valley Boys. They quickly became a popular live act around the area and recorded their first single, "Whoa Sailor" (a song Thompson had written in the Navy) for the Globe label in 1946. A few more singles followed for Bluebonnet, by which time Tex Ritter had become a Thompson admirer. Ritter helped Thompson land a record deal with Capitol in 1947, an association that would last for the next 18 years.

Thompson scored his first major hit for Capitol in 1949 with the smash "Humpty Dumpty Heart," the biggest of his six charting singles that year. In 1951, he hooked up with producer Ken Nelson, who would helm many of his most successful records. Those records included "The Wild Side of Life," a monster hit from 1952 (over three months at number one) that became Thompson's signature song. Its cynical attitude inspired an answer record by Kitty Wells called "It Wasn't God Who Made Honky Tonk Angels," which made her the first female artist in country music history with a million-selling record. Thompson continued to score hit after hit during the '50s, including 21 songs that reached the Top 20 on the country charts and five Top Tens in the year 1954 alone. A savvy promoter, Thompson devised a number of ways to make himself stand out from the crowd (even past his suave cowboy wardrobe): his early-'50s television show in Oklahoma City was the first variety show broadcast in color and he was the first country artist to tour with a sound and lighting system (put together using his Navy and collegiate experience), the first to receive corporate sponsorship, and the first to record in high-fidelity stereo. He also gave early breaks to musicians like guitar legend Merle Travis and female rockabilly pioneer Wanda Jackson. Toward the end of the '50s, Thompson began to create LPs that were more cohesive than just mere collections of singles plus filler; 1958's Dance Ranch and 1959's Songs for Rounders were Western swing/honky tonk masterpieces, especially the latter, which stirred up controversy with its groundbreakingly adult (some said decadent) lyrical content. In 1961, Thompson recorded the first live album ever released in the history of country music, the classic At the Golden Nugget.

After that burst of inspired creativity, Thompson's luck began to change: the public's taste was moving toward slick country-pop and the electrified Bakersfield sound and despite several more fine records, Thompson's relationship with Capitol ended in 1965. He first moved to Warner Bros., then ABC/Dot in 1968 (which became part of MCA in 1970). Thompson continued to record and tour and his singles charted regularly during the '70s all the way up to 1983, though he never matched the level of success he'd enjoyed in the '50s and early '60s. Even after the hits dried up, Thompson maintained a demanding concert tour schedule, playing all over the world. He was elected to the Country Music Hall of Fame in 1989. ~ Steve Huey, All Music Guide [-] Hide

Originally known as "the Hillbilly Heartthrob" and "the Singing Sheriff," Faron Young had one of the longest-running and most popular careers in country music history. Emerging in the early '50s, Young was one of the most popular honky tonkers to appear in the wake of Hank Williams' death, partially because he was able to smooth out some of the... [+] Read More

Originally known as "the Hillbilly Heartthrob" and "the Singing Sheriff," Faron Young had one of the longest-running and most popular careers in country music history. Emerging in the early '50s, Young was one of the most popular honky tonkers to appear in the wake of Hank Williams' death, partially because he was able to smooth out some of the grittiest elements of his music. At first, he balanced honky tonk with pop vocal phrasing and flourishes. This combination of grit and polish resulted in a streak of Top Ten hits -- including "If You Ain't Lovin'," "Live Fast, Love Hard, Die Young," "Sweet Dreams," "Alone With You," and "Country Girl" -- that ran throughout the '50s. During the '60s, Young gave himself over to country-pop, and while the hits weren't quite as big, they didn't stop coming until the early '80s. Through that time, he was a staple at the Grand Ole Opry and various television shows, including Nashville Now, and he also founded the major country music magazine, Music City News. Most importantly, he continued to seek out new songwriters -- including Don Gibson, Willie Nelson, and Kris Kristofferson -- thereby cultivating a new generation of talent.

Faron Young was born and raised outside of Shreveport, LA. While he was growing up on his father's dairy farm, he was given a guitar, and by the time he entered high school, he had begun singing in a country band. Following high school, he briefly attended college, before he left school to join the Louisiana Hayride as a regular performer. While on the Hayride, he met Webb Pierce and in a short time, the pair were touring throughout the South, singing as a duo in various nightclubs and honky tonks. In 1951, he recorded "Have I Waited Too Long" and "Tattle Tale Tears" for the independent label Gotham. After hearing the singles, Capitol Records decided to buy Young's contract away from Gotham in 1952. That same year, he was invited to perform regularly on the Grand Ole Opry.

Just as his career was taking off, Young was drafted into the Army to serve in the Korean War. Assigned to the Special Service division, he sang for the troops in Asia and appeared on recruitment shows; while on leave, he recorded his debut on Capitol, "Goin' Steady." Upon its early 1953 release, it climbed to number two on the country charts and it was followed in the summer by "I Can't Wait (For the Sun to Go Down)," which hit number five. Young was discharged from the Army in November of 1954, releasing "If You Ain't Lovin," his biggest hit, shortly after he returned. The single was quickly followed in the spring of 1955 by "Live Fast, Love Hard, Die Young," which became his first number one hit, and the number two single, "All Right."

As soon as he returned to the States, Faron Young began turning out singles at a very rapid pace, and most of them charted in the Top Ten. In addition to recording, he began appearing in films, starting with 1955's Hidden Guns. Over the next few years, he was in no less than ten films -- including Daniel Boone, Road to Nashville, Stampede, A Gun and a Gavel, That's Country, and Raiders of Old California -- and was featured in many television shows. Upon his first film appearance, Faron earned the nickname "the Young Sheriff," which eventually metamorphasized into "the Singing Sheriff." Young's career truly began to hit its stride in 1956, as "I've Got Five Dollars and It's Saturday Night" and "You're Still Mine" reached number four and three, respectively, during the spring, followed by the number two "Sweet Dreams" later that summer. "Sweet Dreams" was not only his biggest hit since "All Right," but it gave songwriter Don Gibson his first significant exposure. Soon, Young developed a reputation for finding promising new songwriters, bringing Roy Drusky's "Alone With You" to the top of the charts in the summer of 1958 and taking Willie Nelson's "Hello Walls" to number one in 1961; Young was one of the first artists to record a Nelson song.

Young continued to record for Capitol through 1962, when he switched labels and signed with Mercury. In general, Young's Mercury recordings were more pop-oriented than his Capitol work, possibly because "Hello Walls," his last number one for Capitol, reached number 12 on the pop charts. Throughout the early and mid-'60s, Young's music became more polished and produced, yet his audience didn't decline dramatically; he may not have been hitting every top of the charts with the same frequency as he was during the '50s, but he was still a consistent hitmaker, and singles like "You'll Drive Me Back (Into Her Arms Again)," "Keeping Up With the Joneses," and "Walk Tall" climbed into the Top Ten.

Faron left the Grand Ole Opry in 1965, deciding that it was more profitable for him to tour as a solo artist instead of being restricted to the Opry. Following his departure, Young began to explore a number of different business ventures, including a Nashville-based racetrack and helping to run the country music publication Music City News, which he co-founded with Preston Temple in 1963. By the end of the decade, he began to return to honky tonk, most notably with the hit "Wine Me Up," which reached number two upon its summer 1969 release. For nearly five years, Young continued to reach the Top Ten with regularity, including such hits as "Your Time's Comin'," "If I Ever Fall in Love (With a Honky Tonk Girl)," "Step Aside," and "It's Four in the Morning." During this time, Young continued to appear on television shows and he made the occasional appearance on the Grand Ole Opry. During the late '70s, his hits gradually began to fade away. In 1979, he left Mercury for MCA, but none of his singles for the new label reached the Top 40.

For most of the '80s, Young performed concerts, maintained his business interests, and appeared on television; in short, he was acting like the country music statesman he was. In 1988, he briefly returned to recording, signing with the small label Step One, and had two minor hits on the label. After that brief burst of activity, he retreated to semi-retirement, occasionally making concert appearances.

During the '90s, Young was stricken with a debilitating emphysema. Depressed by his poor health, he shot himself on December 9, 1996, and passed away the next day. Though he was underappreciated toward the end of his career, Faron Young was a groundbreaking vocalist during the '50s, and he remains one of the finest honky tonkers of his time. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Known as Mr. Country, Carl Smith was one of the most popular honky tonkers of the '50s, racking up over 30 Top Ten hits over the course of the decade. Smith was also able to sustain that popularity into the late '70s, during which time he had a charting single for every year except one. Smith had a talent for singing smooth ballads which... [+] Read More

Known as Mr. Country, Carl Smith was one of the most popular honky tonkers of the '50s, racking up over 30 Top Ten hits over the course of the decade. Smith was also able to sustain that popularity into the late '70s, during which time he had a charting single for every year except one. Smith had a talent for singing smooth ballads which polished the rough edges of hardcore country. Nevertheless, he could sing pure honky tonk with the best of them, and his hardest country was made tougher by the addition of a drum kit. Smith was one of the very first country artists to regularly perform with a drummer, and though it earned him criticism at the time, the hard-driving sound of those up-tempo numbers proved to be influential. Smith also occasionally dabbled in Western swing, and as he continued to record, he delved deeper into the genre. Since he specialized in honky tonk ballads and Western swing, Smith rarely crossed over into the pop audience. Still, he was one of the most popular and best-known country singers of his era, recording several classics -- including "Let's Live a Little," "Let Old Mother Nature Have Her Way," "This Orchard Means Goodbye," "Cut Across Shorty," "Loose Talk," "(When You Feel Like You're in Love) Don't Just Stand There," and "Hey Joe!" -- appearing in a handful of movies, and hosting his own television show. By the time he retired in the early '80s, he had hit the country charts nearly 100 times.

Smith was born and raised in Maynardsville, TN, which was also the hometown of Roy Acuff. As a child, Smith idolized Acuff, Ernest Tubb, and Bill Monroe. When he was a teenager, he taught himself how to play guitar. According to legend, he bought his first guitar with money he earned by selling flower seeds. At the age of 15, he was singing in the San Francisco-based country band Kitty Dibble and Her Dude Ranch Ranglers. Two years later, he learned to play string bass and spent his summer vacation working at WROL, a radio station in Knoxville. After Smith finished high school, he briefly served in the U.S. Navy before heading back home.

Once he returned to Tennessee, he continued to perform at WROL, usually playing bass for Skeets Williamson and Molly O'Day. Eventually, he began singing as well, and one of his colleagues at the station sent an acetate of Smith's singing to WSM in Nashville. WSM signed Smith to a contract, and he began working for the station and singing at the Grand Ole Opry. By 1950, Columbia Records signed Smith to a recording contract. His first hit, "Let's Live a Little," arrived in 1951, climbing all the way to number two. Over the course of the year, he racked up no less than three other hits, including the classic "If Teardrops Were Pennies" and his first number one single, "Let Old Mother Nature Have Her Way." Also that year, he married June Carter, the daughter of Maybelle Carter; the two would later divorce, yet they had a daughter named Carlene that would become a musician in her own right during the '70s.

Throughout the '50s, Smith was a consistent presence in the country charts, racking up no less than 31 Top Ten singles during the course of the decade. In addition to recording, he began appearing in Western movies, like 1957's The Badge of Marshal Brennan. In 1956, he resigned from the Grand Ole Opry and joined a package tour organized by Phillip Morris. In 1957, he married country singer Goldie Hill, best-known for the number one hit "I Let the Stars Get in My Eyes."

As the '50s ended, Smith was no longer as dominant in the upper reaches of the country charts as he was earlier in the decade, but he never stopped having hits. During the '60s, he consistently charted in the Top 40, which was indicative of his status as a country music statesman. In 1961, he appeared on ABC's country television series, Four Star Jubilee, and a few years later, he began hosting Carl Smith's Country Music Hall for Canadian television; the series also was syndicated in America. Throughout the '60s and early '70s, he began to incorporate more Western swing into his repertoire, especially on his albums. Smith continued to release albums and singles on Columbia Records until 1975, when he signed with Hickory. After having a handful of minor hits for the label -- including several that were released on ABC/Hickory -- he decided to retire in the late '70s.

Though he recorded an album of his greatest hits in the early '80s, Smith retreated from the spotlight after his 1979 retirement. He and his wife, Goldie, lived on their horse farm outside of Franklin, TN, and the two began to show horses professionally during the course of the decade. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Buck Owens, along with Merle Haggard, was the leader of the Bakersfield sound, a twangy, electricified, rock-influenced interpretation of hardcore honky tonk that emerged in the '60s. Owens was the first bona fide country star to emerge from Bakersfield, scoring a total of 15 consecutive number one hits in the mid-'60s. In the process, he... [+] Read More

Buck Owens, along with Merle Haggard, was the leader of the Bakersfield sound, a twangy, electricified, rock-influenced interpretation of hardcore honky tonk that emerged in the '60s. Owens was the first bona fide country star to emerge from Bakersfield, scoring a total of 15 consecutive number one hits in the mid-'60s. In the process, he provided an edgy alternative to the string-laden country-pop that was being produced during the '60s. Later in his career, his musical impact was forgotten by some as he became a television personality through the country comedy show Hee Haw. Nevertheless, several generations of musicians -- from Gram Parsons in the late '60s to Dwight Yoakam in the '80s -- were influenced by his music, which wound up being one of the blueprints for modern country music.

Owens was born in Texas, but his family moved to Mesa, AZ, when he was a child, seeking work during the Great Depression. Owens developed a fervent interest in music as a young child, learning to play guitar in his early teens. He dropped out of high school in ninth grade, working on the farm to help his family but also spending a significant amount of time learning how to play the guitar. By his late teens, he had an occasional spot on a local radio station, KTYL Mesa, and was playing gigs in honky tonks and clubs around Phoenix with his friend Theryl Ray Britten. When he was 19 years old, he married Bonnie Campbell, who was also a country singer. By 1950, the couple had two sons.

Buck and Bonnie Owens decided to leave Arizona in 1951, moving to Bakersfield, CA. In Bakersfield, he became a regular performer in a number of clubs, particularly the Blackboard, where he was the lead singer and played rhythm guitar for Bill Woods & the Orange Blossom Playboys. Soon, he formed his own band, the Schoolhouse Playboys, which also played the Blackboard. Buck's exposure in Bakersfield led to some session work for Capitol Records, beginning with Tommy Collins' 1954 hit "You Better Not Do That." During all of this, Buck and Bonnie grew apart and divorced in 1953; they remained friends and shared custody of their children.

Between 1954 and 1958, Owens played guitar on a number of Capitol country records produced by Ken Nelson, including some by Faron Young, Tommy Sands, and Wanda Jackson. Occasionally, he was a session musician at the local Bakersfield studio Lu-Tal, run by Lewis Talley. Owens made his first solo recordings at Talley's studio in 1956, cutting ten songs for an independent label called Pep. The singles -- which included the often-covered "Down on the Corner of Love" and "Sweethearts in Heaven" as well as two rockabilly sides released under the name Corky Jones -- were unsuccessful, yet they attracted the attention of many country music business insiders. Around this time, Owens met Harlan Howard, a struggling country singer/songwriter. The pair became friends and collaborators, with Buck writing the music and Harlan writing the lyrics. Owens and Howard formed Blue Book Music that year in order to publish their songs.

Owens continued to play regularly in Bakersfield clubs. At these concerts, he attracted the attention of Johnny Bond and Joe Maphis, who were performers on Town Hall Party and signed to Columbia Records. Impressed with Owens' music, the pair sent a demo to their record label, who immediately became interested in signing Buck. Several people at Capitol were trying to persuade Ken Nelson, the label's country A&R head, to sign Owens as a recording artist, but he wasn't convinced that Buck was a capable lead singer or songwriter. It wasn't until a Capitol recording artist, the Farmer Boys, picked Owens' songs to record instead of Nelson's that the A&R head decided to sign the guitarist in February 1957.

Initially, Owens' singles for Capitol Records were ignored. They were country-pop numbers, complete with a choral group singing backing vocals. Such a big production didn't fit comfortably with his unvarnished honky tonk roots and both singles sank without a trace when they were released in 1957. Hurting financially from the lack of sales, Owens moved to a suburb of Tacoma, WA, to work at a radio station, KAYE, in January 1958. In addition to DJing and selling ads for the station, he played clubs around the area. By the summer, Owens was convinced that his recording career was over, but Ken Nelson refused to let him out of his contract. In the fall of 1958, Owens had another session for Capitol Records, but this time he was allowed to use a steel guitar and a fiddle. One of the songs from the session, "Second Fiddle," was released as a single and became a surprise hit, climbing to number 24 on the country charts. Even though he had his first taste of success, Owens remained skeptical about his future as a recording artist, so he remained in Tacoma, hosting his own live show on KTNT. On the show, he featured a new local singer named Loretta Lynn. More importantly for Owens, he met Don Rich (born Donald Eugene Ulrich) at this radio show. Rich would become Owens' partner in the next decade and would have an immense influence over his music.

"Under Your Spell Again," the fall 1959 follow-up to "Second Fiddle," broke the doors open for Owens. Climbing to number four, the single began a streak of Top Ten singles that ran more of less uninterrupted into the '70s. After "Under Your Spell Again" became a success, Owens moved back to Bakersfield. That winter, Rich also moved to Bakersfield, joining Owens' band as a fiddler and guitarist. Early in 1960, Owens took over Howard's share of Blue Book Music, leaving him in total control of the publishing of all of his songs. "Above and Beyond" became a number three hit in the spring.

Owens had his next hit, "Excuse Me (I Think I've Got a Heartache)," in the fall of 1960. It was followed in January 1961 with Buck Owens, his first album, as well as the single "Foolin' Around," which spent eight weeks at number two. That spring he had a hit single, "Mental Cruelty"/"Loose Talk," recorded with Rose Maddox. Owens and Rich began touring the country together, playing with pickup bands in each honky tonk they visited. Soon, the pair stopped playing acoustic guitars and began playing Fender Telecasters, electric guitars with a bright, punchy twang. Rich would eventually become the lead guitarist. This change was evident in Owens' two Top Ten hits in 1962, "Kickin' Our Hearts Around" and "You're for Me." Instead of being the shuffling honky tonk numbers that had been Owens' signature, the songs were bright, driving tracks in 2/4 that showed a hint of rock & roll influence. By the beginning of 1963, Owens had begun to assemble his own band, featuring a drummer, bassist, and a pedal steel guitarist. One of the first bassists for the band was Merle Haggard, who named the group the Buckaroos.

Owens' first number one single, "Act Naturally," arrived in the spring of 1963. "Act Naturally" elevated Buck from a successful singer into stardom, starting a streak of 15 consecutive number one singles. Its follow-up single, "Love's Gonna Live Here," became his biggest hit, spending 16 weeks at number one. "My Heart Skips a Beat," released in the spring of 1964, was nearly as successful, spending seven weeks at the top of the charts. It was replaced at the top by its B-side, "Together Again"; later that year, "I Don't Care (Just as Long as You Love Me)" spent six weeks at number one.

In 1965, his number one hits included "I've Got a Tiger by the Tail," "Before You Go," "Only You (Can Break My Heart)," and the instrumental showcase "Buckaroo." That spring, Owens took out an advertisement in the Nashville-based publication Music City News claiming: "I shall make no record that is not a country record." He then released his ninth album, I've Got a Tiger by the Tail, which featured a version of Chuck Berry's "Memphis." Owens explained that "Memphis" was a rockabilly song, a genre he believed to be part of country music. Also in 1965, he demonstrated his knack for business by forming Buck Owens Enterprises (which was managed by his sister Dorothy) and the booking agency OMAC Artists Corporation. Blue Book Music was also becoming quite successful, with the songs of both Owens and Haggard earning the company significant amounts of money. The following year, Owens began purchasing radio stations; by the end of the decade, he owned four stations.

Owens' success had spearheaded the national acceptance of the Bakersfield sound. Haggard, Wynn Stewart, and Tommy Collins were all grouped under this heading in addition to Owens. The Bakersfield artists updated honky tonk, standing in direct contrast to the smooth country-pop of Nashville. Consequently, Owens was one of the biggest stars in popular music in the mid-'60s. He was playing hundreds of shows a year, selling thousands of records, and selling out concerts across the country. He continued to build his streak of number one hits with "Waitin' in Your Welfare Line," "Think of Me," and "Open Up Your Heart" in 1966. That year, Owens launched his first television series with Buck Owens' Ranch. The program was a half-hour music show that ran throughout the year and was syndicated to 100 markets at the peak of its popularity. Owens' string of number one hits continued throughout 1967, as "Where Does the Good Times Go," "Sam's Place," and "Your Tender Loving Care" all hit the top of the charts. His streak ended at the end of the year, when "It Takes People Like You (To Make People Like Me)" peaked at number two.

Owens began to branch out musically in 1968, adding more textures, tempos, and stylistic flourishes to his music. Though he only had one number one hit that year with "How Long Will My Baby Be Gone," all of his singles from 1968 -- "How Long Will My Baby Be Gone," "Sweet Rosie Jones," "Let the World Keep on a Turnin'," "I've Got You on My Mind Again" -- charted in the Top Ten, and all but one reached the Top Five. The following year, Owens opened a state-of-the-art, 16-track recording studio in downtown Bakersfield appropriately called Buck Owens Studios. Capitol allowed him to record himself and several other artists -- including Susan Raye, Tony Booth, and Buddy Alan -- at the studio; the label would merely press and package the records.

While Owens had a dedicated country following, he also had picked up a number of pop and rock fans as well. Not only did the Beatles cover "Act Naturally" on their 1965 Help! album, but in the fall of 1968, Owens headlined and sold out two concerts at the legendary rock & roll venue Fillmore West. Owens continued to experiment musically, as evidenced by the two 1969 number one singles, "Who's Gonna Mow Your Grass" and "Tall Dark Stranger." In the summer of 1969, Owens' second television show, Hee Haw, premiered. Hee Haw was the concept of two Canadian TV producers, who envisioned it as a down-home, country version of the popular Laugh-In. Owens was hired as its host, and he brought on singer/guitarist Roy Clark as a co-host. Owens only had to tape the show twice a year -- once in June and once in October -- and his segments were spread throughout the season's shows. Initially, the show was just a summer replacement for The Smothers Brothers Comedy Hour, but its summer run was so successful that CBS scheduled it for the fall. As Hee Haw became more popular, so did Owens. In the span of just over a year -- December 1969 to February 1971 -- Capitol released no less than nine Owens albums, including reissues and three new studio records. During that time, he continued to chart in the Top Ten with regularity, as "The Kansas City Song" peaked at number two in the summer of 1970 and "I Wouldn't Live in New York City (If They Gave Me the Whole Dang Town)" reached the Top Ten at the end of the year.

At the beginning of 1971, Owens signed what would turn out to be his last contract with Capitol. He would record for the label for another four years and after his contract expired, he would gain ownership of all of his Capitol recordings, from 1957 to 1975; Capitol could continue to manufacture Owens records until 1980, when the masters would all return to Buck. Throughout 1971, he continued to have Top Ten hits, including a version of Simon & Garfunkel's "Bridge Over Troubled Water," "Ruby (Are You Mad)," and "Rollin' in My Sweet Baby's Arms." In 1971, CBS canceled Hee Haw, and the show moved into syndication, where it became even more popular. By 1973, it had been so successful that it forced Buck Owens' Ranch off the air, simply because Owens' first program couldn't compete with the high ratings of his second show. In the spring of 1972, he had his final number one single as a solo artist, the ballad "Made in Japan." However, his career began to slide after that. It took him over a year to reach the Top Ten again with "Big Game Hunter" at the end of 1973. Two other Top Ten hits followed in the spring and summer of 1974, though both songs -- a rewrite of Dr. Hook's "On the Cover of the Rolling Stone" called "On the Cover of the Music City News" and "(It's A) Monsters' Holiday" -- were novelty numbers.

In July of 1974, Rich, Owens' longtime partner and guitarist, died in a motorcycle crash, which sent Buck into a deep depression. Though he had one more Top Ten hit that fall with "Great Expectations," he had trouble breaking the Top 40 in the years following Rich's death. Owens' contract with Capitol expired in 1975, and he moved to Warner Brothers, where he began recording in Nashville. Appropriately, his music began to sound more like country-pop than the hard-edged Bakersfield sound he had become famous for, but that's because he relinquished creative control of his records to the producers. Owens' record sales had significantly declined, but Hee Haw remained popular. Ironically, its success had an unwanted side effect -- for many listeners in the general audience, Owens became the cornball country comedian he was in the show, not the hardcore honky tonker he was at heart. That perception remained throughout the end of the '70s and even a hit duet with Emmylou Harris, "Play Together Again Again," in 1979 couldn't erase it. In 1980, Owens decided he didn't want to continue with the grind of constant performing and recording. He ended his contract with Warner and drastically cut back his performances. Even though he was semi-retired, he continued to tape Hee Haw until 1986.

Owens was out of public view for the early and mid-'80s, which is when a new generation of country singers was developing. Like Buck in the '60s, they stood in opposition to the pop-inflected country of Nashville, building their sound on the Bakersfield country of Owens and Haggard. One of the leading performers of the new traditionalists, Dwight Yoakam, persuaded Owens to join him on a re-recording of Buck's 1972 song "Streets of Bakersfield." After they performed it on a CBS television special, the duo recorded the song, releasing it in the summer of 1988. "Streets of Bakersfield" became a major hit, reaching number one; it was the first time since 1972 that Owens had a number one hit. Its success spurred him back into the recording studio, where he made a new album called Hot Dog! It was a moderate success and it re-energized Owens. He assembled a new version of the Buckaroos and continued to perform and record, including a duet of "Act Naturally" with Ringo Starr.

Owens didn't record or perform frequently in the '90s, but his classic Capitol recordings began to appear on compact disc; they hadn't been in print since 1980, when he gained control of the tapes from Capitol. Furthermore, Owens' influence continued to reverberate throughout country music as well as some quarters of rock & roll. Owens was diagnosed with throat cancer in 1993 and was hospitalized for pneumonia in 1997; in 2006, he passed away at age 76 in his Bakersfield home. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

At a time when most of her contemporaries were heading down the country-pop route, Jean Shepard was one of the few female honky tonk singers to stay true to the genre in the '50s and '60s. The definitive Honky Tonk Heroine: Classic Capitol Recordings, 1952-1962 is a terrific anthology of her peak years. Most of her biggest hits are included, as... [+] Read More

At a time when most of her contemporaries were heading down the country-pop route, Jean Shepard was one of the few female honky tonk singers to stay true to the genre in the '50s and '60s. The definitive Honky Tonk Heroine: Classic Capitol Recordings, 1952-1962 is a terrific anthology of her peak years. Most of her biggest hits are included, as are a handful of rarities that should delight casual fans as much as dedicated fans. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Given that the Country Music Foundation assembled this collection rather than Capitol Records, it's a far more representative example of Faron Young's understated honky tonk genius than anything else compiled on a single disc. For hardcore fans and collectors, there are the Bear Family sets. These 24 tracks represent all of the major moments in... [+] Read More

Given that the Country Music Foundation assembled this collection rather than Capitol Records, it's a far more representative example of Faron Young's understated honky tonk genius than anything else compiled on a single disc. For hardcore fans and collectors, there are the Bear Family sets. These 24 tracks represent all of the major moments in Young's career, from his early, raw, hard-driving barroom singles ("Tattle Tale Tears," "If That's the Fashion," and "I Got Five Dollars and It's Saturday Night") to the evolution of his singing style to a singing example of the pure countrybilly hedonist (the title track) to a pseudo-country crooner who still delivered in the pure Hank Williams style (unlike, say, Jim Reeves) in the late '50s ("I Miss You Already") to a near rockabilly ("That's The Way I Feel") to his late-period full-throated yet reedy baritone ("Hello Walls" and a live "Three Days" that rocks as hard as Elvis did in the '50s). In addition, the listener can also judge the quality of the material Young had to work with. Not a prolific songwriter, he utilized the likes of Tommy Collins (in the early '50s), Marvin Rainwater, Roger Miller, and Willie Nelson in addition to partnering with Bill Anderson, George Jones, and Roy Drusky for most of his own material -- though Young did write "Tattle Tale Tears" and "Goin' Steady" by himself. This material also provides a snapshot of a different Nashville, the one that Hank Williams left and was quickly being fazed from existence. These recordings, even the latest of them, are raw, lean, tough; they swing hard, out of the Jimmie Rodgers blues tradition into honky tonk. By the '60s, only Merle Haggard and Hank Thompson were still doing this. The package is deluxe for a single disc, with killer, not often seen photographs and a fine historical and biographical essay by the CMF's Daniel Cooper. If having one great Faron Young collection is your goal, let this one be it. ~ Thom Jurek, All Music Guide [-] Hide

Razor & Tie's 1996 collection Honky Tonk Amnesia: The Hard Country Sound of Moe Bandy is a superb summary of Bandy's peak as a hitmaker in the '70s and '80s, containing no less than 20 tracks, all of them major hits. Since his run at the top of the charts was lengthy, encompassing a number of big duets with both Janie Fricke and Joe Stampley,... [+] Read More

Razor & Tie's 1996 collection Honky Tonk Amnesia: The Hard Country Sound of Moe Bandy is a superb summary of Bandy's peak as a hitmaker in the '70s and '80s, containing no less than 20 tracks, all of them major hits. Since his run at the top of the charts was lengthy, encompassing a number of big duets with both Janie Fricke and Joe Stampley, not everything is here. The biggest absences are these duets, with solo singles like "Here I Am Drunk Again" and "Cowboys Ain't Supposed to Cry" also being MIA, but these are minor grievances, particularly since the Stampley duets are available on other collections. What is here is the cream of the crop, the best songs from a series of generally satisfying albums that did tend to be a little uneven as his star got bigger. While his first two albums -- I Just Started Hatin' Cheatin' Songs Today and It Was Always So Easy (To Find an Unhappy Woman), both available as a two-fer from WestSide Records -- are excellent albums in their own right, this is valuable in how it rounds up the rest of the best, including such great barroom anthems as "Hank Williams, You Wrote My Life," "Soft Lights and Hard Country Music," "It's a Cheating Situation," and "Barstool Mountain," along with a bunch of other pure country sides that are nearly their equal. During a time when country either tended toward pop or the unruly band of outlaws, Bandy kept country pure, and the best of it has stood the test of time, standing as fine hardcore country. Those first two albums are indeed classics, but there's no better proof of his enduring talents than Honky Tonk Amnesia, a flawless overview of Bandy at his best. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

This 36-track double-CD set, running just under an hour and a half, effectively chronicles Johnny Horton's Columbia Records career. The first disc, which is in mono, traces Horton's honky-tonk work of 1956-1957, starting with "Honky Tonk Man." Though lacking the crossover appeal of his later work at the time, this is the material on which his... [+] Read More

This 36-track double-CD set, running just under an hour and a half, effectively chronicles Johnny Horton's Columbia Records career. The first disc, which is in mono, traces Horton's honky-tonk work of 1956-1957, starting with "Honky Tonk Man." Though lacking the crossover appeal of his later work at the time, this is the material on which his reputation stands today, with people like Dwight Yoakam resurrecting it. The end of the first disc and the beginning of the second (which is in stereo) present the stylistic fishing expedition of Horton's commercially unsuccessful middle period, as be goes looking for a bit. He finds it, of course, with the martial rhythms and historical theme of "The Battle of New Orleans," a chart-topping novelty that leads to a string of similar productions. By the end, in songs like "The Mansion You Stole," Horton seems headed toward the lush, string-filled Nashville Sound, though he died before it gained dominance. Along the way, all of Horton's Country chart singles and most of his pop chart singles are included, along with two tracks, previously unreleased in the U.S. Of course, the set could have been considerably longer (or, better yet, shaved by a few tracks and fit onto a single disc), but nothing essential is missing. ~ William Ruhlmann, All Music Guide [-] Hide

The Killer's original album for Sun Records makes the compact disc sweepstakes with his big hit, "Whole Lotta Shakin' Going On," appended to the original 12-track lineup. It's a curious mixture, as Sam Phillips pulled songs from all avenues of Jerry Lee's repertoire, everything from handkerchief weepers like "It All Depends," "Fools Like Me,"... [+] Read More

The Killer's original album for Sun Records makes the compact disc sweepstakes with his big hit, "Whole Lotta Shakin' Going On," appended to the original 12-track lineup. It's a curious mixture, as Sam Phillips pulled songs from all avenues of Jerry Lee's repertoire, everything from handkerchief weepers like "It All Depends," "Fools Like Me," and a staid "Goodnight Irene" to rockers like "Put Me Down," "Matchbox," "Ubangi Stomp," "Don't Be Cruel," and "High School Confidential." But Jerry Lee even rocks up stuff like Hank Williams' "Jambalaya" and "When the Saints Go Marching In," making this one terrific debut, even if a great deal of his best material was inexplicably left off. ~ Cub Koda, All Music Guide [-] Hide