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Gambling cowboy

100 Greatest Country Songs of All Time

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Gambling cowboy barely song

Postby Nijinn В» 30.12.2019


What makes a great country song? It tells a story. It draws a line. It has a twang you can feel down to the soles of your feet. Some get mad, some get weepy, some just get you down the road. But these are essential songs that map out the story of country music, from Hank Williams howling at the moon to George Jones pouring one out for all the desperate lovers to Taylor Swift singing the suburban cowgirl blues.

Years of hard living eventually took their toll on Earle, who released three follow-ups to Guitar Town before spending the first half of the '90s in a heroin-addled haze. By the time he cleaned up his act in , the alt-country movement was in full swing and Earle joined a new generation of musicians — many of whom had strummed along to a Guitar Town cassette — in the effort to tear down the boundaries between country and rock. By Andrew Leahey.

Almost a decade later, the Byrds went on to cover "The Christian Life" on their country-rock masterpiece Sweetheart of the Rodeo, with Roger McGuinn's voice dubbed over Gram Parsons' original lead vocal. By Richard Gehr. Fred Rose wrote it in the Forties, and everyone from Roy Acuff to Hank Williams took a shot at it, but the true purpose of "Blues Eyes Crying in the Rain" was to finally launch a long-striving, industry-beleaguered, year-old Willie Nelson into orbit as the stark, startling centerpiece of his smash Red Headed Stranger.

It wasn't the way you went about making a record in Nashville in those days. By Rob Harvilla. Innuendo has always played a role in folk and country music. But few songs piqued the pop crossover crowd's curiosity more than Mississippi-born, Los Angeles-schooled Bobbie Gentry's debut, in which an adolescent narrator and her family sit around the dinner table passing biscuits and gossiping about Billie Joe McAllister's descent from the Tallahatchie Bridge.

McAllister threw something else off it a day earlier and Gentry never reveals what it was. Released as the B-side to "Mississippi Delta," "Ode" is a sultry country blues that drifts downstream on Gentry's ominous acoustic guitar.

Arranger Jimmie Haskell added dramatic strings, and three minutes were edited from her seven-minute original. Saxophonist Lou Donaldson's funky instrumental version was sampled on dozens of hip-hop songs. Complete with choo-choo sound effects and the harmonica solo of some long-imagined cowboy, Acuff's version of "Wabash Cannonball" was an early instance of country culture rising to meet the needs of city entertainment — the band even changed their name to the Smoky Mountain Boys once they made the Grand Ole Opry, presumably to retain that rural flavor.

No surprise that he soon got into publishing and later ran for office — his moves always did seem a little strategic. But these are milestones, too; moments of friction in the development of a style as it took shape within the listening public at large. By Mike Powell. This saga of sacrifice is arguably the most persuasive primer on the pitfalls of infidelity. The hero of Frizell's saga was wrongly executed for murder; he declined to give an alibi because was spending time "in the arms" of his best friend's wife, a lethal indiscretion he takes to the grave.

Since covered by Joan Baez, the Band, Johnny Cash, Bruce Springsteen and plenty of others, "The Long Black Veil" has become a country-folk standard, a grim, haunting evocation of forbidden love and all its consequences. By Amanda Petrusich. In "The Grand Tour," the Possum sings the part of a deserted husband and father leading a stranger through a memory-filled house that is no longer a home. The genius lies in the way Jones's voice evokes that ghostly feeling amid the lush excess of producer Billy Sherrill's strings, guitars and chorus.

Although Jones was an admitted heavy drinker when he recorded it, "The Grand Tour" contains no clue to its protagonist's crime. Instead, there's only Jones's impossibly detailed, syllable-by-heartbreaking-syllable performance of a shell of a man condemned to life in a haunted abode that is full of stuff but devoid of love. According to Owens' autobiography, Buck 'Em! When she asked what he would be doing, Russell gave her the line that would eventually open the song: "They're gonna put me in the movies, and they're gonna make a big star out of me.

Here, the group sounded tight and alive, the promise of that first line making the second — "We'll make a film about a man that's sad and lonely, and all I gotta do is act naturally" — all the more cutting. A Beatles cover helped a younger generation discover his music but Owens recalls a flight during which his neighbor explained to him how she loved the Beatles but hated country music.

This autobiographical reminiscence was a gear-shift for Lynn, who'd made her name by feistily fending off hordes of honky-tonk homewreckers out to bed her man. The song originally rambled for six minutes and eight verses before producer Owen Bradley got out his red pen, excising a scene of Lynn's mother hanging movie magazines on their cabin wall as well as other homey details.

It's country music's definitive started-from-the-bottom anthem, climaxing with one of popular music's most stirring key changes. Though Lynn is proud of her family's hardworking decency, she never pretends that her life would've been better if she'd never left Butcher Holler and poverty behind. By Keith Harris. Leave it to the poet laureate of Texas country to not only tell a story of betrayal, but to make the turncoat a sympathetic character. In the song, the bandit Pancho Villa has been dispatched by the hangman's rope, but at least his suffering is over.

His sidekick Lefty, who set him up, has to die a thousand deaths, trying to live with what he's done while hiding out in cheap hotels up north. By David Menconi. Devotees have been puzzling over the meaning of this enigmatic masterpiece for 40 years, but it has yet to yield up a definitive interpretation. Parsons' protagonist is a none-too-bright bridegroom at a low-rent possibly shotgun wedding, where he is stood up for reasons unknown. Maybe the bride died, maybe she ran off with someone else — it's never specified.

So he and his groomsmen go on a drunken bender so epic, "It's lucky they survived. Duet partner Emmylou Harris blesses the proceedings with the perfect note of angelic sadness. But like most of her debut Same Trailer, Different Park, "Follow Your Arrow" isn't an attack on conservatism so much as an attack on any system that keeps us from being who we are, gay or straight, sober or stoned.

The first million-seller by a female country artist, this yodeling paean to the Wild West mythos made an icon of Arkansas-born singer-songwriter-actress-fiddler and Jimmie Rodgers fan Ruby Blevins, a. Patsy Montana.

By Charles Aaron. Country's Greatest Actor and Crankiest Pill-popper. Prediction: Heartbreak wins again, in the most bluntly theatrical way possible.

The couple's screwy marriage on the outs, they sound like they're about to wrap their hands around each other's throats. Inspired by a made-for-TV movie about a handgun's history — going from cop to murderer to little kid — genius co-writer Bobby Braddock subs a wedding ring for the gun. But the narrative is no less gritty, working you over like a Cassavettes flick, moving from the mundane the intro's inexplicably frisky guitar to the devastating in the song's crowning scene, Wynette voices the man's palpable hurt, while Jones intones grimly, "She says one thing's for certain, I don't love you anymore".

The ring ends up back in the Chicago pawn shop from whence it came. Our protagonists, meanwhile, remain a dizzy gospel-invoking mess. The song that possibly best articulates the doomed country mythos that Hank Williams' life and death epitomize wasn't written by Hank himself. The blind country singer-songwriter Leon Payne wrote and recorded "Lost Highway" just a year before. Payne wasn't just waxing spiritually metaphorical: He was indeed lost along the highway, struggling unsuccessfully to hitchhike from California to Texas to visit his ailing mother, forced instead to seek food and shelter in a Salvation Army.

Apart from the song's introductory guitar riff, which Don Everly lifted from an earlier tune called "Give Me a Future," the brothers didn't write "Bye Bye Love.

Originally an parlor song titled "I'll Twine 'Mid the Ringlets" a raven-tressed maiden's plucky response to being unceremoniously abandoned , "Wildwood Flower" was revived by Virginia "song catcher" A. He arranged it for his family trio including singer-autoharpist wife Sara and her lead-guitarist cousin Maybelle, who turned 19 the day the group recorded the song outside Philadelphia.

Its opening lyrics were mondegreened, pursuant to the mishaps of oral tradition. No version, however, is quite so outlandish as country comedian Dan Bowman's hallucinogenic variation, "Wildwood Weed. In the ensuing decades, the most famous song by the man once known as Mr. By Jonathan Bernstein. Not so much straight "country" as the blues seasoned with rural fiddle, "World" percolated through the western swing circuit as covered by Bob Wills and Milton Brown; became Fifties blues in the hands of Howlin' Wolf; and then Sixties rock via the Grateful Dead and Cream — a history that, if nothing else, cements the song as a kind of Rorschach test that ultimately filtered back to Chet Atkins, the Nitty Gritty Dirt Band and Willie Nelson.

More recently, the Mississippi Sheiks became a cause for Jack White, who is reissuing their entire catalog through his Document label — presumably lured by that "real-thing" feel in their gritty but obscure sound. Did Hank Williams write perhaps his greatest "heart" song to spite his first wife, while joyriding in a convertible and eating ice cream with his second wife?

Wife No. At any rate, Williams was in full flail at the time, caught in a matrix of loves: Audrey ex-wife-manager, mother of his son ; Bobbie pregnant girlfriend contractually promised child support ; Billie Jean year-old new wife. It's not hard to imagine that the owner of the cheatin' heart was the guilt-wracked singer himself. While Don Helms' mournful pedal steel pierces the air, Williams sorrowfully laments a cheater's fate. Completed in a single take during his last recording session, it was released posthumously and went straight to Number One.

Lore has it that "Hello Walls" songwriter Willie Nelson once met up with Lefty Frizzell for a collaborative session, but when Frizzell took a break and left the garage where they were sitting, Nelson got the idea for his first major hit. When voiced by friend Faron Young, a. In the storied country-song tradition, "Hello Walls" possesses a wit that makes you wince: Like a character in a one-act play, the heartbroken singer literally speaks to the walls, window and ceiling of an empty room, asking pitifully, "I bet you dread to spend another lonely night with me.

A phenomenon that created country music's very first superstar, the first of 13 yodeling records by "the Singing Brakeman" Jimmie Rodgers began three months after a middling session in Bristol, Tennessee with a traveling record exec named Ralph Peer — the sessions, in a former hat factory, also captured the Carter Family for the first time. Jimmie Rodgers tracked Peer to New York and he soon ended up in Camden, New Jersey, where he recorded the song that defined his legacy.

What was it about Rodgers' yodel? Slippery but controlled, despairing but casual, refined but so strange it seemed to have been beamed him from some distant star — it was the sound of pain made charming, even sweet.

If he was really planning to buy a pistol and shoot poor Thelma "just to see her jump and fall," he would probably need to pick up the pace.

Hank Williams was better known for seeking earthly pleasures in Saturday night honky-tonks than for belting out promises of salvation on Sunday morning. But this gospel redemption number was his longtime show-closer, an upright happy ending to the pageant of sin and sorrow that preceded it.

Fans so strongly identified Williams with the song that when a Canton, Ohio crowd waiting for the star's long overdue arrival disbelieved the announcement of his death, "I Saw the Light" was what Hawkshaw Hawkins sang in tribute to convince them that the sad news was indeed true.

Country music rebel Johnny Cash was at his best when taking extreme measures: all-black clothing, performing for felons, and singing about unbridled love with flames to illustrate his point.

Kilgore, who later managed Hank Williams Jr. By Reed Fischer. Long story short: He gives her a black eye, she poisons his black-eyed peas — but it's ultimately a love song since she reunites with her high school BFF by song's end. Besides, is there a gentler way to go than with black-eyed peas? In the whole of recorded music, there's no more pithy a summation of the psychic turmoil of long-term employment than "Take This Job and Shove It," Johnny Paycheck's declaration of autonomy.

Although the two-and-a-half-minute track was written by David Allen Coe, Paycheck was destined by both name and temperament to animate it, and there's something about the way he hollers "Shove it! Paycheck knows: Sometimes it's worth a couple months of peanut butter sandwiches to hurl your metaphorical apron across the room and dance out the door.

Later, his job as a country singer was effectively shoved by a prison sentence for shooting a man.

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Re: gambling cowboy barely song

Postby Dotaur В» 30.12.2019

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Re: gambling cowboy barely song

Postby Daile В» 30.12.2019

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Postby Gumi В» 30.12.2019

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Postby Yorisar В» 30.12.2019

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