Down Memory Lane: The Ten Most Influential Country Music Hits of the 1970s

The 1970s were a pivotal era in country music. New subgenres emerged, cultural shifts were mirrored in song lyrics, and several country hits crossed over into mainstream popularity. As we tip our cowboy hats to the past, let's count down the 12 most influential country music hits from the '70s and the iconic artists behind them.

"Coal Miner's Daughter" - Loretta Lynn (1970)

Loretta Lynn's autobiographical song painted an honest portrait of her impoverished childhood in Butcher Hollow, Kentucky. This song made Lynn the first woman to top the Billboard country charts with a song she wrote herself, highlighting her as a trailblazer in the industry.

"Take Me Home, Country Roads" - John Denver (1971)

Perhaps one of the most well-known country songs of all time, "Take Me Home, Country Roads" reached listeners far beyond the country genre. John Denver's ode to West Virginia is a timeless classic, remaining synonymous with American country music.

"Kiss An Angel Good Mornin'" - Charley Pride (1971)

As one of the few African-American country stars, Charley Pride broke racial barriers with his universally appealing song about love and happiness. This song solidified Pride's position as an important figure in country music.

"Jolene" - Dolly Parton (1973)

This iconic track is one of Parton's most enduring songs, displaying her exceptional storytelling skills. "Jolene" laid the groundwork for Parton's transcendent career, taking her from a country singer to a beloved global superstar.

"Behind Closed Doors" - Charlie Rich (1973)

Charlie Rich’s smooth vocals and the song's sensual lyrics helped "Behind Closed Doors" reach a broad audience, marking an early example of country music's crossover into the pop charts.

"The Gambler" - Kenny Rogers (1978)

Rogers' tale of a late-night encounter with a gambler is one of the genre's most unforgettable narratives. The song's universal appeal, coupled with Roger's charismatic performance, made it a crossover hit.

"Luckenbach, Texas (Back to the Basics of Love)" - Waylon Jennings (1977)

Waylon Jennings' nostalgic song about escaping the pressures of fame to a simpler life became an anthem for the Outlaw country movement. Its message continues to resonate with audiences today.

"Blue Eyes Crying in the Rain" - Willie Nelson (1975)

With its sparse production and Nelson's emotional delivery, this song marked a significant departure from the heavily orchestrated Nashville sound popular at the time. It signaled the arrival of a new country sound and Nelson's reign as a key figure in the genre.

"He Stopped Loving Her Today" - George Jones (1979)

This tragic love song, often referred to as the greatest country music song ever recorded, is the epitome of the genre's storytelling prowess. Despite its release date slightly beyond the '70s, the song and George Jones' emotive delivery significantly influenced the era.

"Rhinestone Cowboy" - Glen Campbell (1975)

Campbell's career-defining hit about a veteran performer making a comeback is a testament to his own musical journey. "Rhinestone Cowboy" was a global sensation, and Campbell's crossover appeal helped country music gain further mainstream acceptance.

The 1970s proved to be a decade of growth and change for country music. These hits, along with the artists who sang them, played an influential role in shaping the genre and leaving an indelible mark on music history. Their timeless appeal continues to engage audiences and inspire new generations of country artists. From the narrative ballads to the crossover hits, these songs perfectly encapsulate the spirit and evolution of country music in the '70s.

The Ten Most Influential Country Music Songs of the 1960s: A Decade of Legendary Tunes

The 1960s were a transformative era for country music, with numerous artists and songs making a lasting impact on the genre. From the emergence of the Nashville Sound to the rise of outlaw country, the 1960s saw the release of iconic songs that would shape the course of country music history. In this article, we delve into the ten most influential country music songs released in the 1960s, exploring both the songs and the talented artists behind them.

"Ring of Fire" - Johnny Cash (1963):

One of the most recognizable country songs of all time, "Ring of Fire" was co-written by June Carter Cash and Merle Kilgore. This fiery track became a signature song for Johnny Cash, renowned for its distinct mariachi-style horn arrangement and Cash's deep, charismatic vocals. The song's passionate lyrics and memorable melody earned it a permanent place in country music's hall of fame.

"Stand by Your Man" - Tammy Wynette (1968):

Written by Billy Sherrill and Tammy Wynette, "Stand by Your Man" has become an enduring anthem for loyalty and devotion. With her rich and emotive voice, Wynette delivers heartfelt lyrics that struck a chord with audiences, propelling the song to become a classic in the country music canon.

"Crazy" - Patsy Cline (1961):

Penned by Willie Nelson, "Crazy" became a career-defining hit for the legendary Patsy Cline. Her soulful rendition of this timeless ballad showcased her remarkable vocal range and vulnerability, solidifying her status as one of country music's greatest voices.

"Hello Darlin'" - Conway Twitty (1969):

Conway Twitty's "Hello Darlin'" marked a significant turning point in his career, as it became his first chart-topping hit. With its gentle melody and heartfelt lyrics, the song showcased Twitty's undeniable talent as a vocalist and cemented his place as a leading figure in the genre.

"Folsom Prison Blues" - Johnny Cash (1968):

"Folsom Prison Blues" showcased Johnny Cash's rebellious spirit and storytelling prowess. The live recording of his performance at Folsom State Prison resonated with audiences, capturing the raw energy and emotion of the moment. Cash's distinctive voice and edgy persona made this song a timeless classic.

"Coal Miner's Daughter" - Loretta Lynn (1969):

As the title track of Loretta Lynn's autobiography and subsequent film, "Coal Miner's Daughter" tells the inspiring tale of her humble beginnings. Lynn's honest and relatable lyrics, combined with her powerful vocals, struck a chord with listeners and solidified her position as one of country music's greatest storytellers.

"Mama Tried" - Merle Haggard (1968):

Written and performed by Merle Haggard, "Mama Tried" became an anthem for the rebellious spirit of the era. With its honest portrayal of a troubled past and yearning for redemption, the song resonated with audiences and established Haggard as a force to be reckoned with in country music.

"Harper Valley P.T.A." - Jeannie C. Riley (1968):

With its sassy lyrics and catchy melody, "Harper Valley P.T.A." became a groundbreaking hit for Jeannie C. Riley. The song tells the story of a brave woman confronting small-town hypocrisy, resonating with audiences and making Riley the first female artist to top both the country and pop charts simultaneously.

"Big Bad John" - Jimmy Dean (1961):

"Big Bad John" marked Jimmy Dean's breakthrough hit, capturing the imagination of listeners with its vivid storytelling. The song's deep, booming vocals and powerful narrative of a heroic miner made it a classic in the country music landscape, earning Dean both critical acclaim and commercial success.

"El Paso" - Marty Robbins (1960):

Marty Robbins' epic ballad, "El Paso," showcases his ability to craft intricate and captivating story-songs. The song tells the tale of a cowboy's ill-fated love affair, blending elements of country and Western music to create a masterpiece that remains a staple of the genre.

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The 1960s were a transformative decade for country music, witnessing the emergence of new styles and the rise of legendary artists. The twelve influential songs highlighted in this article, from Johnny Cash's captivating performances to Loretta Lynn's storytelling prowess, shaped the genre's trajectory and left an indelible mark on the hearts of listeners. These songs continue to resonate with audiences, serving as a testament to the enduring power and timeless appeal of country music.

New Music Video From George Strait - "Don't Come Home A-Drinkin'"

New Music Video From Carly Pearce - "Dear Miss Loretta" (Live at the Opry)

New Music Video From Carly Pearce - "Dear Miss Loretta" (Live at the Opry)

New Music Video From Loretta Lynn - "Coal Miner's Daughter" (Recitation)

New Music Video From Ashley McBryde - "You're Lookin' At Country" (Loretta Lynn Cover)

For the Country Music Hall of Fame and Museum’s Big Night (At the Museum) last week, Ashley McBryde sang in tribute to Loretta Lynn, playing “You’re Lookin’ at Country” on the 1956 J-50 Gibson guitar that Lynn’s husband, Doolittle Lynn, purchased for his wife in 1961, and that resides in the Country Music Hall of Fame's historic collection.

Loretta Lynn To Release Book On Friendship With Patsy Cline In 2020

Book: Me & Patsy Kickin' Up Dust: My Friendship with Patsy Cline

Author: Loretta Lynn and Patsy Lynn Russell

Publisher: Grand Central

Release date: April 7, 2020

Loretta Lynn is an American country music singer-songwriter icon in every sense of the word.  Her groundbreaking career spans almost 60 years, with such famous hits as "You Ain't Woman Enough (To Take My Man)" and "Coal Miner's Daughter," as well as a biographical film and book of the same name. With more than 45 million albums sold worldwide, multiple gold albums, and numerous awards and accolades, Loretta is the most awarded female country recording artist and the only female ACM Artist of the Decade. She's known not only for her still-incredible voice, but also for her down-to-earth quality, quick wit, and humor. Patsy Lynn Russell, Loretta's daughter, is a singer-songwriter and music producer in her own right who has made it her mission to keep her mom's story and legacy alive for future generations of empowered women. Together, they've come together to write a story about Loretta's close relationship to another country music icon, the incomparable Patsy Cline. This new memoir shares the never-before-told story of the remarkable relationship between the legendary country queens Cline and Lynn.

"Full of laughter and tears, this eye-opening, heartwarming memoir paints a picture of two stubborn, spirited country gals who’d be damned if they’d let men or convention tell them how to be. Set in the heady streets of the 1960s South, this nostalgia ride shows how Nashville blossomed into the city of music it is today. Tender and fierce, Loretta & Patsy is an up-close-and-personal portrait of a friendship that defined a generation and changed country music indelibly–and a meditation on love, loss and legacy."

The dear friends had known each other for only 18 months when Patsy was tragically killed in a plane crash at 30 in 1963. But they packed a lot of memories into that short period of time. “Patsy showed my mom, who was 28, how to shave her legs,” Loretta’s daughter reveals. “My mom still has the razor Patsy gave her — it’s in her [Coal Miner’s Daughter] museum at her ranch in Hurricane Mills [in Tennessee].”

Eerily, it was a car crash that first brought the women together. Patsy was in the hospital recuperating from injuries she’d suffered in an auto wreck when she heard Loretta sing “I Fall to Pieces” on a live radio show broadcast from Ernest Tubb’s Record Shop in Nashville. The lesser-known Loretta dedicated Patsy’s hit song to her along with get-well wishes.

“Patsy’s husband, Charlie Dick, drove down to the record shop that night and told my mom that Patsy wanted her to visit Madison Hospital,” says Patsy Lynn. “My mom said she was nervous because she thought Patsy may not have liked her singing the song. But of course she did, and from the start, they became the best of friends.”

Early Recordings From Loretta Lynn and Jan Howard Being Released By Jasmine Records

Artists: Loretta Lynn & Jan Howard
Album: Honky Tonk Girls - Complete Recordings, 1958-1962
Label: Jasmine Records
Release date: October 2019

Jasmine Record's commitment to classic country music has always been at the forefront of what they do and with the recent release of Ken Burns' Country Music documentary on PBS, it's appropriate that this release from two of country music's women pioneers is seeing a release. This month they introduced a new series that focuses on the great country ladies of the 50s and early 60s, with a superb compilation that brings together the early recordings of two of the genre's more revered artists - Loretta Lynn and Jan Howard.

Loretta and Jan (wife of noted songwriter Harlan Howard) both made their first records in the late 1950s and happily, both are still alive and still occasionally releasing new music in the 21st century.

In this collection you will find the tracks on which both women built their reputations - among them all of Loretta's early sides for the small Zero label, and all of Jan's solo recordings for Challenge and Sundown. The tracks include many early hits by both, including 'I'm A Honky Tonk Girl' and 'Success' from Loretta and 'The One You Slip Around With' and 'Pick Me Up On Your Way Down' from Jan.

The style of these tracks and others here is pure unadulterated honky tonk with fiddles, steel guitars and none of the smoothing or sweetening that 'The Nashville Sound' was built around.

Two living legends paid tribute to here in one great collection - remastered and made for anyone who enjoy vintage country music as it's supposed to sound.

New Music Video From Trisha Yearwood - "I'm A Honky Tonk Girl" (Loretta Lynn Cover)

Crystal Gayle To Release First Album in Sixteen Years in September

Artist: Crystal Gayle
Album: You Don't Know Me
Release date: 9/16/19

Fresh off her recent induction into Grand Ole Opry membership, Crystal Gayle has announced that her first new album in 16 years You Don’t Know Me will be out September 6, 2019. The album features the first recorded song ever between her and sisters Loretta Lynn and Peggy Sue Wright.

Gayle began her career in the 1960s performing in the background of her sibling's bands, most notably Loretta Lynn. It was Lynn who helped her sister sign a recording contract with Decca Records in 1970 where she enjoyed minor success. Encouraged by Lynn to develop her own musical identity, Gayle signed a new recording contract with United Artists Records in 1974. A collaboration with producer Allen Reynolds brought forth major success by shifting her music towards a country pop style. In 1975, "Wrong Road Again" became Gayle's first major hit. However, it was in 1977 when Gayle achieved her biggest success with the single "Don't It Make My Brown Eyes Blue". The song topped the Billboard country chart, crossed over to the top five of the Billboard Hot 100, and became a major international hit.

Gayle continued having major country pop success from the late 1970s and through late 1980s. Her biggest hits included "Ready for the Times to Get Better" (1977), "Talking in Your Sleep" (1978), "Half the Way" (1979), "You and I" (1982), and "The Sound of Goodbye" (1984). In 1982, Gayle collaborated with Tom Waits on the soundtrack for Francis Ford Coppola's film One from the Heart. In the mid 1980s she and Gary Morris recorded the theme song for Another World and would appear in several of the show's episodes. Throughout the 1990s Gayle shifted artistic directions by recording various genres of music. This included an album of inspirational music entitled Someday (1995) and an album of standards called Crystal Gayle Sings the Heart and Soul of Hoagy Carmichael (1999). Her last studio album appeared in 2003 and Gayle has since continued to tour throughout the world.

Nashville Songwriter Hall of Fame Member Jerry Chesnutt Passes Away at 87

K.F. Raizor, author of the website Raizor's Edge and the book We Can't Sing and We Ain't Funny: The World of Homer and Jethro is our guest writer today on That Nashville Sound. She's ever so gracious to provide wonderful tributes to honor those to whom the music we treasure just wouldn't be the same without. Thank you, K.F.

There are songwriters, then there are songwriters' songwriters. Jerry Chesnut was a songwriter's songwriter.

Chesnut, the Nashville Songwriters Hall of Famer, died Saturday (12/15) in Nashville. Music Row reported that Chesnut's death was unexpected despite the fact that he had been suffering from a respiratory illness for some time.


Born in the eastern Kentucky town of Loyall, Jerry Donald Chesnut enlisted in the Air Force during the Korean War, then settled in St. Augustine, Florida after his military service. He worked as a railroad conductor by day and a country music performer by night. Moving to Nashville in 1958, he continued a day job (vacuum cleaner salesman) while honing his craft.

And hone his craft, he did. Beginning with "A Dime At a Time," the country music world became Jerry Chesnut's oyster throughout the late 60s and early 70s. Among the highly-touted songwriters who turned to Chesnut for songs: Del Reeves (the aforementioned hit and "Looking At the World Through a Windshield"), Bill Anderson ("Don't She Look Good"), Loretta Lynn ("They Don't Make 'Em Like My Daddy"), Johnny Cash ("Oney"), and Mel Tillis ("Best Way I Know How").

Then there was that little song about a man's world falling apart while the garden maintained its beauty: "A Good Year for the Roses." George Jones made the song a #2 smash in 1970 and set the stage for others, ranging from punk icon Elvis Costello to country outlaw Johnny Paycheck, to cover the tune. "A Good Year for the Roses" is a powerful song of heartbreak ("many blooms still linger there, the lawn could stand another mowing, funny how I don't even care") and ranks right up there with "He Stopped Loving Her Today" as one of Jones' finest rip-your-heart-out sad songs.

Chesnut also penned another heartbreaking classic, Faron Young's later-era hit "It's Four in the Morning." And, just to prove he wasn't solely a heartbreak song man, Chesnut penned the rocking "T-R-O-U-B-L-E," a hit for Elvis Presley in the 70s and Travis Tritt in the 90s.

Chesnut retired from songwriting in the early 1980s but would occasionally still perform. He was inducted into the Nashville Songwriters Hall of Fame in 1996 and the Kentucky Music Hall of Fame in 2004, the second induction class for the state's music hall of fame.

Jerry Chesnut was 87.

New Music Video From Loretta Lynn - "Ain't No Time To Go"

That Nashville Sound Saturday Newsbytes: Terri Clark, Tom Petty, Garth Brooks, Loretta Lynn, Tony Jackson, Abby Anderson & More

We're playing catch-up this weekend with a new music video and a handful of new album introductions. TNS would love to hear from you- what's your favorite off of the list below?

- Tony Jackson has a new music video for his new song, "Ain't No App For That"

- Garth Brooks will release a new live album called Triple Live featuring 26 tracks assembled from shows on Brooks’ extensive world tour that began in 2014 including a cover of Ashley McBryde's phenomenal song, "Girl Going Nowhere."

- Morgan Evans will drop his new project Things That We Drink To on October 2. His full-length debut album will include a duet with his wife, Kelsea Ballerini, on a song he wrote for her called, “Dance with Me.”

- It's been far too long since Terri Clark released new music and the news that she's delivering a new album so the news that Raising the Bar is coming on September 14 is a welcome one. Track list is below:

1. Givin' Up Givin' a Damn

2. Cowboys in This Town

3. Weddings, Funerals, and Empty Hotel Bars

4. Young As We Are Tonight

5. Half a Bottle Down

6. Bloody Mary Morning

7. Watered Down Whiskey

8. As Long As There's a Bar

9. Right Where You Left Me

10. You Can Have This Town

11. The One That Got Away (feat. Drake White)

12. The Encore

13. Better Than I Was

 

- Abby Anderson's "Make Him Wait" is one of our favorite songs of the year and she's just announced it and four additional tracks will be on her debut EP, I'm Good, out September 7th.

 

- Following her stroke last year, Loretta Lynn postponed her project, Wouldn't It Be Great. The good news is that Lynn is feeling strong enough to set the release date for the project and it will be forthcoming on September 18 on Sony.

 

- John Carter Cash will be releasing We Must Believe in Magic on Reviver Records on September 9.

 

- Criminally under-publicized is a brand new tribute album to Roger Miller that came out yesterday featuring the likes of Dolly Parton, Alison Krauss, Brad Paisley, Rodney Crowell, Dwight Yoakam, Jamey Johnson, Loretta Lynn, Ronnie Dunn, Eric Church and more. Check out the details here.

 

- Nearly a year on from his death, Tom Petty fans are getting a special gift in the form of An American Treasure, a forthcoming 60-track boxed set of mostly previously unreleased studio and live material coming out September 28.



Legendary Musician & Engineer Glenn Snoddy Passes Away At 96

 K.F. Raizor, author of the website Raizor's Edge and the book We Can't Sing and We Ain't Funny: The World of Homer and Jethro is our guest writer today on That Nashville Sound. She's ever so gracious to provide wonderful tributes to honor those to whom the music we treasure just wouldn't be the same without. Thank you, K.F.

Glenn Snoddy has died.

The man universally credited with inventing the "fuzz tone" guitar pedal died Monday (5/21) at his home in Murfreesboro, Tennessee.

Glenn Snoddy was born in Shelbyville, Tennessee in 1922. He served in the Army during World War II, earning Bronze Stars in the Pacific theater. While in the Army he began to tinker with radio and recording equipment, which set his course to change country music -- and rock and roll, for that matter -- in the early 1960s.

After the War Snoddy found work quickly in Nashville, working as engineer on, among others, Hank Williams' final session. He was in demand as he worked with Owen Bradley at the famed Quonset Hut.

His life changed completely by accident in 1961. He served as engineer for a Marty Robbins session at the Quonset Hut. While Grady Martin played the solo on "Don't Worry" it came through with a distorted, fuzzy sound. Instead of re-recording the take, they left it as it was. And people -- especially musicians -- loved it.

Snoddy invented a guitar pedal to duplicate the fuzz sound that had happened by accident on the "Don't Worry" session. "I'm pretty sure what happened was the primary transformer opened up," Snoddy later told the Nashville Tennessean about the ground-breaking accident.

In addition to that happy accident, Snoddy worked on classics by Johnny Cash (including "Ring of Fire"), Willie Nelson, Loretta Lynn, and countless others.

Farewell and a salute to Glenn Snoddy, who had turned 96 on May 4.

Songwriter Hall of Fame Member Kenny O'Dell Passes Away At 73

 K.F. Raizor, author of the website Raizor's Edge and the book We Can't Sing and We Ain't Funny: The World of Homer and Jethro is our guest writer today on That Nashville Sound. She's ever so gracious to provide wonderful tributes to honor those to whom the music we treasure just wouldn't be the same without. Thank you, K.F.

Nashville Songwriters Hall of Fame inductee Kenny O'Dell died Tuesday (3/27) in a suburban Nashville healthcare facility.

Born Kenneth Guy Gist, Jr. in 1944, O'Dell changed his name because of the difficulty people had pronouncing his real last name. His interest in songwriting began early, writing songs while he was still in grade school. Moving to Nashville in the late 60s, he recorded three albums of his own music, with his biggest hit as a singer being 1978's "Let's Shake Hands and Come Out Lovin'."

As a songwriter, however, O'Dell attained legendary status in 1973...thanks to Watergate. He told the Nashville Tennessean in 2017 that he kept hearing about Congressional hearings related to the Watergate scandal being held in secret. "They're always talking about how no one knows what goes on behind closed doors," O'Dell told Bart Herbison. "And I'm thinking, I like the title 'Behind Closed Doors.'"

O'Dell played rhythm guitar on Charlie Rich's recording of the song, which became a chart-topping smash in country and pop. The song won the "Country Song of the Year" Grammy award for the year, as well as the "Song of the Year" award in both the Country Music Association and Academy of Country Music awards presentations.

His other massive songwriting success -- earning him a BMI "Country Song of the Year" award and a Grammy nomination -- was "Mama, He's Crazy," one of the biggest hits in the career of the Judds. Additionally, O'Dell wrote or co-wrote other hits such as "Lizzy and the Rainman" (Tanya Tucker), "I Take It on Home" (Charlie Rich), and "Trouble in Paradise" (Loretta Lynn).

O'Dell was inducted into the Nashville Songwriters Hall of Fame in 1996. His wife, Corki Casey O'Dell, was a Musicians Hall of Fame guitarist. She passed away last year.

Kenny O'Dell was 73.

That Nashville Sound Sunday Newsbytes - New Music Videos & Upcoming Releases

We're playing catch-up this weekend with lots and lots of new music videos and a handful of new album introductions. TNS would love to hear from you- what's your favorite off of the list below?

- Bill Withers, Tim O'Brien, Kathy Mattea, Charlie McCoy, Connie Smith and many others from the bluegrass genre have contributed to a new project celebrating one of the Grand Ole Opry's all time favorites: Rhinestone Hillbilly: A Tribute to Little Jimmy Dickens.

- Rockabilly singer Sonny Burgess, who recorded for Sun Records, passed away at the age of 88.

- Billy Ray Cyrus‘ upcoming album Set The Record Straight, which releases November 10, will be packed with collaborations with Joe Perry, George Jones, Loretta Lynn, Bryan Adams, Glenn Hughes, Jencarlos Canela, and Ronnie Milsap, as well as with Cyrus’ daughter Miley Cyrus.

- That Nashville Sound favorite Aubrie Sellers released a new music video for "Paper Doll."

- Bluegrass Hall of Fame member Pete Kuykendall has died in Virginia at age 79.

- Kip Moore has released a new music video for his song "Bittersweet Company."

- Bluegrass artist Rebekah Long has enlisted the production and writing help of Donna Ulisse on her new album Run Away that will be coming out on September 8.

- The Texas Gentelmen released a new music video for their song "Bondurant Women."

- Radney Foster's upcoming September 15 release, For You To See The Stars, is a project comprised of two parts - a book of short fiction and an album of the songs that inspired them.

- Doug Supernaw has re-recorded his biggest charted songs and will release a new Greatest Hits package on September 22.

- A new project will be forthcoming from the famed Jennings family with Shooter Jennings' Live at Billy Bob's TX- to be released on November 10.

- November 10 will also be the release date for Taylor Swift's next pop album, Reputation. Her first single off of the project is "Look What You Made Me Do."

- Carly Pearce will be releasing an album on Big Machine Records on October 13 under the same name of her big surprise chart hit, Every Little Thing.  

Interview Flashback - Terri Clark Makes Her Long Road Home

I have been blessed to write contributions/reviews/interviews/opinion pieces for several country music and roots-oriented websites and publications over the years including Saving Country Music, Nashville Scene, Country California, Country Weekly, American Noise, The 9513 and Engine 145. As a regular contributor to the last two in that list, I did close to a 100 interviews with different artists- and since both of those great sites have come down, I will reprint some of those interviews here to give them a home in perpetuity. This interview was originally published in February 2010 on The 9513.

In the business of country music, few active artists boast as deep of a resume as Terri Clark. Her nineteen singles that have hit the Billboard Hot Country charts, two number ones, multiple platinum records, a Grand Ole Opry membership and numerous top tens are only rivaled by an even greater level of success in her native Canada- measured in part by eight Canadian Country Music Association Fan’s Choice Entertainer of the Year awards. Clark’s songs like “Easy On The Eyes”, “Girls Lie Too”, “Poor Poor Pitiful Me”, and “I Wanna Do It All” have left an indelible mark on the country landscape.

But three years ago, a major event in Clark’s life shifted priorities 180 degrees. At the time, Clark was recently signed to Sony/BMG and preparing what would have been the next evolution of a big country radio star’s career. With a discovery of cancer in her mother, however, that road of fame led back home. The person closest to Terri, the one who had taken her to Nashville and changed her life so that her daughter could live out her dreams on stage was in a fight for life.

“When the most important person in your whole life… when the doctors tell you they’re going to be taken away, it pulls you up short,” said Clark. “You don’t think about expiration dates with the people you love, but that’s the reality. And that kind of thing makes you get very real very very fast.”

And in a stunning turn of events, Clark asked for and was granted a release from one of the most powerful studio labels in the business. She went home, tended to her mother until she was healthy again and in the process, changed her musical priorities. There was a new conviction that every song and every album that was going to be put out hereafter was going to be on her terms and filled perhaps not with radio smashes, but with music that has meaning and deep emotion for her.

What resulted was an album that is appropriately titled The Long Road Home released late in 2009. The 9513 had a chance to sit down with the lovely Ms. Clark and talk about the new album, the Canadian country music scene and even a little snow in Nashville.

Ken Morton, Jr.- This exceptionally cold Nashville winter has to be downright balmy compared to your childhood Quebec winters, doesn’t it?

Terri Clark- (laughter) Absolutely. What is a way of life for us for half a year literally sends everybody into a complete state of emergency down here. Schools are shutting down. Kids are tobogganing down the middle of the street. It’s interesting to see the reaction to the cold and weather. Pipes will freeze down here because things just aren’t insulated the same way. People don’t have snow tires so it’s more of a hazard driving. They’re just not prepared for it. But, yeah, I’m pretty used to it. It reminds me of home, actually.

KMJ- You have a brand new album titled The Long Road Home and I thought that the title was appropriate considering your journey the last two or three years. Tell me about the journey.

TC- I chose The Long Road Home as the album title because it has a metaphorical meaning as well as the fact that I’m concentrating a little more on Canada with my airplay and touring. It doesn’t by any means that I’m abandoning the U.S., because I’m doing a lot of touring there as well. But I’ve been all the way around the world since I came to Nashville when I was eighteen. And I feel like I’ve sort of come full circle- coming back to my community and that side. So figuratively, The Long Road Home represents that to me. But it also represents that journey within me- a lot of the self-realizations and things that have become non-negotiable within myself within the last couple of years. It’s still a long journey and I’m still learning every single day working on myself. It’s been an eye-opening last couple year. Home is really inside your self. You just have to find your own way there. That’s the best thing. And it’s all reflective in my music as well.

KMJ- Speaking of the music, how would you describe the album from the artist’s perspective?

TC- I would say the album, musically, is more organic in sound. But it’s still a big band. It’s lush sounding with a full sound. I used more organic instruments. I don’t have a lot of screaming guitars, there’s a lot of mandolin. Instead of lush strings, we have more chamber strings. There’s some quartet sounds, a lot of acoustic guitar. I didn’t want it to sound like a big ole commercial record. I wanted it to sound sonically pleasant to listen to but different from what I’ve done in the past. I didn’t want to stray too far from what I’ve done in the past, but wanted it different enough to sound different.

KMJ- Was your goal of being more organic than all your previous albums was attained?

TC- I think compared to everything but Fearless, yes. And on my next record, I’m going to strip it down even more. I’m going to focus even more on the acoustic elements of the instruments. I just love that sound. The stuff I listen to at home is triple A and folk rock and more acoustic music. Less is more as I get older. I find less is more in every fashion both in music and in life. I feel the album musically is organic but not so organic as to feel not full. It’s still got horsepower where it needs to have it.

KMJ- I saw on your website that you’re already back in the studio doing some additional recording, I understand.

TC- I went in to rerecord a couple songs including one I recorded about eleven years ago called “Empty.” We did an acoustic version of that song for copyright reasons so I could pitch them to film and TV. It’s a song that I’ve always gotten a great response to all these years and I always felt like that was one that got away. We thought it could be showcased in television or film like so many different people told me it ought to be. We went in a rerecorded it and another because legally speaking, the record label I was working for owned that master. But after so long, we can go in and redo it and now the new version belongs to me. So now we’ll try to go out and get that song someplace somewhere.

KMJ- There is one full-fledged duet on the new album and a certain recognizable Country Music Hall of Famer backing you on another song. Talk to me about those songs.

TC- Johnny Reid, who is the golden boy in Canada right now- he’s doing really well there right now, did a duet with me on a song called “You Tell Me.” It’s a song that a lot of people face in relationships- when they don’t know whether to stay or go. It’s about the conversation between those people and whether they are at a turning point in their relationship. It’s very adult and very grown up. He did such a great job. He’s got such an R&B sounding voice and the two of us sounding so different really worked. And Vince Gill sang on “The One You Love.” It’s more of a guest vocal than a full-fledged duet, but Vince Gill can blend with anybody. He’s just got such great vocals.

KMJ- You mentioned Johnny Reid. You’ve been one of the few artists that has found full-fledged success on both sides of the border. Why do you think there isn’t more crossover on both sides?

TC- I think the key to that is having an American record deal. If you are on a Canadian label, it’s going to be hard to have radio airplay in the United States. I moved to Nashville when I was 18 or 19 and pursued it the other way. I knew if I could get an American record deal, it would bleed over into Canada. But a lot of Canadian artists work at just getting that Canadian record deal and unfortunately, it doesn’t work both ways over the border. Traditionally, you can cover all of North America with a U.S. record deal- actually you can cover the world that way. But in Canada, it’s more of a domestic type of success that you can have. I think that played a big role in my own success.

KMJ- You’re doing this more on your terms this time around rather than doing it on a big record label. What has that meant on this particular album?

TC- It means I have to wear more hats. (Laughter) No pun intended. I’ve got to oversee a little more. But I’ve got great business management. I’ve got a great operation and people that handle the paperwork on stuff that would normally steal away the creative energy when I’d be focused on that part of it. I had to kind of abandon some of my childhood expectations and dreams by going this route. More than likely, I’m not going to get any American radio airplay in any big way. There won’t be mainstream radio airplay any more. You need that major label budget and push to really get that airplay, unless something really strange happens. Things like being nominated for things like CMA awards are probably over. I’ve had to take some time and wrap my head around the realities of that. Those probably won’t happen any more. But that’s okay with me. When one door closes another one opens. I’ve got all the creative freedom in the world and I can do whatever I want, cut whatever songs I want to in whatever way I want to. And I can still do really well with my fan base and get satellite radio airplay and GAC play for videos and get played in Canada all day long. So I really have the best of both worlds. And I’ve got major label distribution with Capitol Nashville and BMI Canada.

KMJ- You alluded to this whole change of focus coming after your mom’s illness. How is she doing these days?

TC- She’s doing really well right now. It’s an up and down rollercoaster ride, but she’s doing well right now. She shouldn’t even be here any more according to doctors, so that’s all good. When you’re faced with something like that, it makes you regroup and reprioritize things in your life. I have a real gift of music in being able to deliver whatever message I choose to deliver. And I can help people that way. There’s a difference you can make if you choose to.

KMJ- I’ve got two more questions for you. On your website, I saw a quote that caught my eye. You said, “People aren’t getting anything from country music the way I think people should, the way I did.” I was hoping you could expound on that a little bit.

TC- I shouldn’t say anything. What I should have said people aren’t getting the same type of thing out all the artists that I listened to like The Judds, Reba, George Jones, Haggard, classic country, Loretta, and Patsy. It was a real adult format with real adult issues. It was about tragedy. And it was about facing things like death and suicide and drinking. That is what country music meant to me- more of a lifestyle kind of music. It’s just shifted. And it doesn’t mean that it’s different in a bad way, it’s just different. What I got out of it was the learning of life by listening to it. Real life. I find that the subject matter and the material and the things that are decorating it now are a little different. It’s definitely taken on a more of a pop format feel.

KMJ- You covered it a bit with that last question, but what is country music to Terri Clark?

TC- Country music is about real life. It’s about real loss. It’s about demons. It’s about angels. It’s about life. It is a lifestyle type of music- what we face every day in life. Some of it’s good and some of it’s not. But we have to look at it all to get a true picture of it. And that’s what country music has been to me. And it’s about the people who came before me, the people that started out. It’s about the Opry members that I run into every night. They’re the ones that paved the way so a lot of it is about the history of the music to me too.

New Live Performance Music Video From Loretta Lynn & Nikki Lane - "Don't Come Home A-Drinkin' (With Lovin' on Your Mind)"

Loretta Lynn To Release Wouldn't It Be Great In August

Artist: Loretta Lynn
Album: Wouldn't It Be Great
Label: Legacy/Sony
Release date: August 18, 2017

Legacy Recordings (a division of Sony Music Entertainment) will release Wouldn't It Be Great, the new studio album from American music icon Loretta Lynn, on Friday, August 18. In what is being called "one of the most deeply personal albums of her career," Wouldn't It Be Great is comprised entirely of songs written (or co-written) by Loretta, premiering new compositions nestled alongside select soulful reinterpretations of enduring classics from her catalog.

Like its predecessor, the critically-acclaimed, Grammy-nominated Full Circle (released March 2016), Wouldn't It Be Great was mainly recorded at the Cash Cabin Studio in Hendersonville, Tennessee, with producers Patsy Lynn Russell and John Carter Cash.

From the press release:

An exploration of Loretta's songwriting, Wouldn't It Be Great finds her communicating the universality of human experiencelove in all its intoxication and heartbreak, the things of the soul and spirit that abide, the transformative power of making music and connecting. Wouldn't It Be Great debuts new songs"Ruby's Stool," "Ain't No Time To Go," "I'm Dying For Someone To Live For"alongside newly recorded renditions of recent compositions ("God Makes No Mistakes," from Lynn's 2004 Grammy-winning Jack White-produced Van Lear Rose) and immortal classics like "Coal Miner's Daughter" (the song Loretta says she's most proud to have written, also the title of her 1976 memoir and subsequent Oscar-winning 1982 film adaptation) and "Don't Come Home A' Drinkin' (With Lovin' On Your Mind)," her first of 16 career No. 1 country singles.

"I think you try to do better with every record you put out," Loretta says of Wouldn't It Be Great. "It's just everyday living and everybody wants to know, 'Well, what is it about your songs that people like?' I think you've got to tell your stories. I just think it hits everybody, you know, the songs."

Despite turning 85 this year, Lynn is showing no signs of slowing down. The historic Ryman Auditorium in Nashville has slated two celebratory birthday shows on April 14 and April 15, which are both sold out. In addition, as part of its 50th anniversary commemoration, the Country Music Hall of Fame and Museum is mounting a major exhibitionopening August 25, 2017 focused on the life, art and music of Loretta Lynn.

"I am so happy the Country Music Hall of Fame has asked me to be one of their main exhibits in 2017...gonna show off my 50 some odd years in country music!," said Loretta. "They best have a big space...I have a lot of stuff! I'm so proud to share my life, and music with the Hall of Fame.Y'all come see us!" The exhibit is scheduled to run through June 2018.