Country Music

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Having melded folk, country, rock, blues and L.A. pop into a hugely successful cross-genre career, we left Juice Newton yesterday at the end of 1985 with her pop charting days behind her,. In 1985, she released her pivotal, highly successful "Old Flame" album - highly successful p, that is, on the country charts, being the most country rooted album of her career (not that one would describe this album as "pure" country, but it was as close to it as the L.A. based Newton could be expected to gett. Yesterday featured the first two singles released from the album, 'You Make Me Want to Make You Mine' and 'Hurt', both of which topped the U.S. and Canadian charts. But more was to come from this album in 1986.

The album's title track 'Old Flame', was released in 1986 as its third single. Written by Reed Nielsen, it was originally recorded by one of the founders of the L.A. country rock sound, Poco, as 'This Old Flame' in 1984 for their "Inamorata" album. But when released as a single, it failed to chart. However, Newton, this time in full country mode, took this to # 5. Her rendition improves on tne original, wringing out the emotion of a woman scorned and asked to collect a call from the louse who deserted her. - but she has well and truly, unapologetically moved on from him -


The next single released in 1986 wasn't from the "Old Flame" album, but instead a duet with Eddie Rabbit (posts # 972 - 974). Written by Jay Gruska and Paul Gordon, it was first recorded as a duet specifically for the soap opera, Days of Our Lives by Gloria Loring and Carl Anderson. Gloria Loring is a singer and actress who from 1980, portrayed a lounge singer on the soapie, so Loring was often called upon to perform on-screen. 'Friends and Lovers' was the song she performed the most, due to audience reaction. However, despite its popularity on the TV soapie, the recording remained unreleased for months due to contractual wrangling . According to Loring, it had been frustratingly turned down by most of the major American record labels at the time, and she had taken to referring to the song informally as "Friends and Lawyers".

Sensing an opportunity with the delay, RCA cannily teamed up Newton and Eddie Rabbitt, who RCA had recently signed from Warner Bros, to record their country version and hurrying to release it just before the release of the T.V. soapie pop version made popular by Loring and Anderson. The title was altered to 'Born to Each Other (Friends and Lovers)', echoing the final line in the song’s chorus, as a means to avoid confusion and controversy among the fans, as the 2 versions were released just a couple of weeks apart. Despite Newton's and Rabbit's arrangement differing a bit from the original recording by Loring and Anderson, the lyrics were the same.

For Newton and Rabbitt, their pop-country version that was released first, went all the way to # 1 in both the U.S. and Canada while the pop version by Loring and Anderson peaked at # 2 in the U.S pop chart, topped the Canadian pop chart and did the same on the US and Canadian AC charts, both # 1.

But having said all the above about 'Born to Each Other (Friends and Lovers)', and including it in my music selection due to its commercial success, this is one I would've been happy if it had just stayed on the TV soapie - it ain't to my taste, no matter how well Newton sings it with Rabbit. Still, for the purposes of this history, I suppose it's a good (if that's the right word) example of a successful 1980's pop-country romantic ballad, its sound rooted in that era, and others here may either enjoy it or just skip it, depending on your mood, taste or time -


Now we return to Newton's "Old Flame" album. The rollicking 'Cheap Love' was written and recorded by Del Shannon for his 1983 album "Drop Down and Get Me". After the success of the third single release, the title song from "Old Flame", RCA elected to release 'Cheap Love' as the album's 4th single in August 1986. It paid off, peaking at # 9 in the U.S. and # 5 in Canada. It also became a popular country line-dancing tune -

'Cheap Love' was later covered by Marty Stuart, under the name 'Sweet Love', for his 1996 album "Honky Tonkin's What I Do Best".

Deciding to keep striking while the iron was hot, with "Old Flame" having achieved two # 1 singles and two more landing in the Top 1o, RCA chanced their arm again by releasing 'What Can I Do With My Heart' in December 1986 as the 5th single from the album. Once again, it went to the Top 10, reaching #9 and # 7 in Canada in early 1987 - an impressive result given that by now, the neo-traditional movement had swept much of this type of material from the country charts, at least in the southern country heartland. The West coast was quite a different beast. Notably, the song was written by Newton's long-time musical partner Otha Young, who had written's Newton's first charted hit 'Lobe Is A Word', back in 1976 and also penned Newton's very first # 1 country hit, "The Sweetest Thing (I've Ever Known)" in 1981 -


Yesterday, I commented, just after the 'Ride Em Cowboy' selection, that Newton had purchased a thoroughbred and stabled him at the L.A. Equestrian Centre. The Centre's general manager was the renowned U.S. polo player,, coach and author, Tom Goodspeed. Newton married Goodspeed in 1986, and the couple went on to have a daughter a few months later in January 1987, just as 'What Can I Do With My Heart' climbed into the Top 10.

However, just 5 weeks later, while doing equestrian jumps, the horse Newton was riding took fright at something while jumping, reared up and threw her off, crushing a vertebra in her back. This resulted in more than 2 months of immobility followed by extensive physical therapy - all of which she endured without pain-killers, so she could continue breastfeeding her baby daughter, not get herself addicted to painkillers like so many others had done and to heal herself faster. Her recovery was also helped by the fact she always had kept herself extremely fit and strong, having kept up a routine of extensive gym strength and endurance workouts for years.

Once she recovered sufficiently, Newton returned to the studio to complete the recording of the follow-up to the "Old
Flame" album, with the 1987 release of "Emotion", though it was delayed by several months. It's a considerably different album for her, with songs relying much more on story than melody, and production stripped of her usual layering and lush instrumentation - to basically give the listener more Juice. Its title, taken from its cover of the old Brenda Lee hit 'Emotions' is apt. It deals not just with a singers usual exploration of love themes but, rather, with wider forays into feelings about other parts of life as well. Newton said at the time - ”It's a softer record. Theres only one up-tempo tune. It's a more reflective kind of record".

The "Emotion" album failed to continue Newton's hit streak when its 1st single 'First Time Caller' fell short of the Top 20. However, released as the 2nd single from the album in late 1987, 'Tell Me True', written by Paul Kennerley and Brent Maher, returned Newton to the Top 10 with a # 8 peak in the U.S. and # 2 in Canada in early 1988. This agreeable acoustic piece serves up a toe-tapping, easy-listening Juice Newton style at her best -
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Alas, 'Tell Me True' was Newton’s final Top 10 hit. Strangely enough, RCA Records released no additional singles from the album, despite the success of 'Tell Me True'. It would be the final Juice Newton commercial single produced by her longtime collaborator Richard Landis until the 1998 single 'When I Get Over You'. In 1989, Newton released her pop-country "Ain't Gonna Cry", which featured the single 'When Love Comes Around the Bend', which, released as a promotional single only to radio stations, not to retail stores for the general public, barely scraped into the Top 40.

Newton was then amongst the victims of the "great country clean-out" at RCA in 1989, which also saw them drop the likes of Dolly Parton, Kenny Rogers and a host of other 1980's pop-country performers, their music now out of fashion. She thus found herself, at age 37, without a recording contract for the first time in 14 years. She wouldn’t release an album again until 1998, though she continued to tour occasionally.

In 1990, Newton took the big step of moving from L.A., settling in a small property just outside San Diego with husband Tom Goodspeed and their 2 y.o. daughter. They had a second child, a son, in 1991 and she concentrated on raising her 2 children. A skilled equestrian, as already mentioned p, she continued to participate in polo and jumping competitions, while her husband, famous as a polo player and coach, was recruited to become manager the San Diego Polo Club.

Newton spent the next 9 years from 1989 to 1998 occasionally touring by bus - she has a flying phobia - equestrian riding, and focusing on family life. Her music career lacked proper direction in the 1990's. She was always considered to be an engaging live act, but most of her success was bound up in her recording. Contractual issues and failed recording projects seemed to bug her throughout the 1990's (I won't totally bore you with all the details) and the emergence of a series of bootleg albums she had no control over also took their toll.

Newton got back on track in 1998 with the "The Trouble with Angels" album, a collection of re-recorded favourites and several new tracks, followed by "American Girl" in 1999, Newton's first album of all-new material since 1989 and featured the single 'They Never Made It to Memphis'. The album featured tracks written by Otha Young, Freddie Mercury, Nanci Griffith, Tom Petty and Newton herself. She released a further 3 albums between 2002 and 2007, but the death by lung cancer of Otha Young, her long time music soul-mate and songwriter for some of her big hits in 2009 had a major impact - the 2 had worked together for 37 years.

Newton's final album was 2010’s “Duets: Friends and Memories” includes songs performed with Willie Nelson, Glen Campbell, Randy Meisner and Franki Valli, among others. The project had been started back in the mid1990's but it was one of those projects beset by legal issues and the original concept never saw the light of day. Some were finally released on the Fuel Records album. It was well received critically, with critics calling for a second volume of the recordings from the original sessions that have survived - something that still hasn’t happened 14 years later. There have been greatest hits packages and re-releases of her earlier albums but “Duets” remains her last studio recording. The duet with Willie Nelson of the 1961 Nelson penned classic, 'Funny How Time Slips Away' was also released as a single - Newton's final single.

The range of vocals Newton has been noted for never waned over the years and after her final 2010 album, as she aged into her sixties, she still performed live from time to time - and her equestrian riding. All up, Newton recorded 16 studio albums and produced 11 pop chart hits from 1978 to 1984, of which 5 made the Top 10. She placed 26 hits on the American and Canadian country charts, including 6 that reached the #1 position. She continued to tour until 2020 and then retired in 2021 during the Covid lockdown.

Newton divorced husband Tom Godspeed in 2022, but, now aged 72, still lives on her San Diego property with a menagerie of animals - dogs, goats, pigs, birds, fish, hamsters - and concentrating on her highly successful horse trading business, dealing mostly with European horses.

And so that's Juice Newton done - another whose sound is an essential part of the 1980's pop and country music sound.

I won't be back with more history until I figure out a way to adequately cover the next artist within reasonable bounds - for if Ricky Skaggs was the spark that lit the fuse of the neo-traditional movement, the next artist was the explosion that swept away the pop-country sound of the early 1980's - and once he charged to the top, he stayed there ... and stayed ... and stayed, It might take me a bit of time.
 
Bout 4-5 years ago i got into listening to modern artists and not the big mainstream but never really expected see any Perth at all. Saw Charley Crockett at the start of the year and just saw Sierra ferrall, Tyler Childers and the Red clay strays are doing a full Australia wide tour
 
Bout 4-5 years ago i got into listening to modern artists and not the big mainstream but never really expected see any Perth at all. Saw Charley Crockett at the start of the year and just saw Sierra ferrall, Tyler Childers and the Red clay strays are doing a full Australia wide tour
Add Jason Isbell to that
 

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I'm finally back to the history series (I've been very busy of late) with the 2nd of the neo-traditionalists in this series, who releasing his first single in 1981, hot on the heels of Ricky Skaggs "Waitin’ for the Sun to Shine" album that heralded the dawn of the traditionalist revival (post # 1,110). But it was today's artist, with a career thoroughly, uncompromisingly rooted in Texan dance halls yet accessible enough to shatter Nashville's glass ceiling, that led the neo-traditional movement to sweep away the pop-soaked early 1980's sound and take over country music by 1986. And even as the momentum of the neo-traditionalist movement eventually dimmed and fell to the next inevitable change in taste and direction (but not without a lasting influence), our latest artist continued to rule the roost, becoming the most successful, biggest selling artist in country music history - and also its biggest live draw card in history. He is King George, the undisputed king of Texas.

George Strait was born in 1952 and grew up on his family's cattle ranch in nearby Pearsall, SW of San Antonio - "It wasn't exactly a country-music upbringing. My dad didn't even have a record player. When he listened to the radio, it was usually for the news or the cow market reports". At age 9, George and older brother Buddy were raised by their father, John, after his mother left, taking his sister with her. But John, a junior-high math teacher and rancher, was devoted to his sons. From him, young George learned to rope cows and ride horses long before he ever wrapped his hands around a guitar neck. In his teenage years he entered a few amateur rodeo events as a buck-rider,

But slowly, music began seeping into his life. By the time high school rolled around, George was playing drums and singing in garage rock bands, influenced by the Beatles and so forth. One of his fellow students was a pretty blonde, Norma Voss, 2years his junior - "Norma was the first girl I ever loved. We knew each other forever, growing up in a small town". George asked her out, but the two drifted apart after only one date - "Then one day I thought, 'I'm missing the boat here!'. So I called her up, and we started dating again".

George graduated from high school in 1970 and headed to Texas State University in San Marcos, between San Antonio and Austin. In 1971, at age 19, he and 17 y.o. Norma, fueled by idealism and hormones, friskily eloped south of the border to Mexico and got married. Shortly later, they remarried more formally in a private church ceremony just to please their displeased parents - and 53 years on, they remain together.

Young George had every intention of becoming a rancher, taking over from his dad. But first, like so many southerners, as we've seen in this series, he decided he should do his bit for his country by joining the Army - and almost impossibly, that decision would eventually put him on the path to superstardom. Strait optimistically asked to be assigned to Hawaii - "What the hell, try it. Man, I got my orders to go to Hawaii, and I just couldn't believe it!". Newlyweds George and Norma enjoyed Hawaii but while there, George found something else - an album he fell in love with, Merle Haggard's 1970 salute to Western swing legend Bob Wills, "A Tribute To The Best Damn Fiddle Player In The World" - "That really turned me on to Bob Wills' music" (see post # 140 on Merle Haggard's revival of Bob Will's music).

By then, influenced by country music loving southerners he met in the army, Strait was already wondering if he might be able to follow in the footsteps of Wills and Merle. He had always enjoyed singing, and now he bought a cheap guitar and a Hank Williams songbook and he was on his way. Again, fate lent a hand - the base commander decided to form a band to entertain the troops. Strait tried out for the lead-singer position and nabbed it. Singing for the soldiers was good practice for the lifetime of stage work he didn't know yet was in store for him - "It gave me the time I needed to learn all about playing dates".

Strait and Norma had a daughter in 1972. The new family attempted to stay in Hawaii after George's Army stint ended in 1975, but after 6 months the cash-strapped Straits went back home, setting up house in the university city of San Marcos, which, typical of American, and especially Texan, university towns, had lots of are and honky tonks. Strait re-enrolled at college, studying agriculture, still leaning toward a ranching or a rodeo career, but music had become important enough for him to place an ad on a bulletin board looking for a new band. After hearing his perfect Texan country vocal, a local group made up of Strait's fellow college students eagerly signed him on.

At 23, George found himself the oldest member of the now legendary Ace In The Hole Band, which debuted in late 1975 at the Cheatham Street Warehouse in San Marcos. They soon became a regular in-demand fixture at all the local clubs at the university town - "There were lots of places we could play, and we played most of them". Strait was just enjoying the honky-tonk circuit, playing both traditional country and Western swing every night for not too much cash. The Ace In The Hole Band caught a break in 1976 when they got the chance to record several songs for small, independent, Houston based D Records including some of Strait's own tunes - "I tried to write them like what I thought was a good country song". However, this turned out to be the first and last time Strait focused on songwriting for many decades.

Urged on by his young wife, Norma, Strait took the road to Nashville to sing on some demo recordings. For not the last time, he was met with resistance from industry gatekeepers who felt his voice and music was "too country" for the Music City mainstream, which, as we've seen, was mired at the time in pop-country, which Strait couldn't stomach. With his Ace In the Hole band, Strait was most at home in front of an audience that was eager to dance, Texan style. Harking back to the barn-storming years of Bob Wills and the Texas Playboys, he was projecting the sound and ambience of the Texas dancehall circuit. But this wasn't appreciated in distant Nashville, where his music was considered not commercially viable to record.

So Strait went back home, earning his agriculture degree in 1979 and went to work as a ranch manager just out of his San Marcos home - "I was doing the ranching to supplement my income. I really liked it, but it sure was hard". He and the Ace In The Hole band continued to play their mix of western swing and traditional country to packed houses at the Cheatham Street Warehouse and other venues around San Marcos and beyond - but never beyond Texas.

Come 1981, Strait was now aged 28 with almost 6 years of head singer for the Ace In The Hole band behind him. Norma was expecting their second child, George Jr., or "Bubba, was born just months later. After several more unsuccessful trips to Nashville in search of a record deal in which he was turned down by every label for being too hard-core country, and with domestic pressures piling up, Strait's dream of a major musical career looked a pipe dream - "I felt like I was spinning my wheels. I didn't want to be 42 years old and still playing the same bars and honky tonks. I was beginning to think I wasn't good enough and maybe ought to try something else." So Strait decided to give up his dream of stardom. He broke the news to his Ace In The Hole buddies that he was packing it in and had signed on for a full-time job designing cattle pens out in West Texas.

But almost immediately, Norma saw a change for the worst in her husband. Strait became uncharacteristically short-tempered, difficult to get along with and moped around home like a defeated man. She recalled - "I figured I didn't want to live with him like that. I wanted him to give it one more chance". Norma talked George into giving music one more year to break through, so a week before he was supposed to report to his new job, Strait called and told his prospective employer he wouldn't be coming - "Norma has always been very supportive. Success is something she always wanted for me, because she knew how bad I wanted it".

Strait then made a fateful call, to a former nightclub manager and music promoter, Erv Woolsey. Woolsey had owned the Prairie Rose, one of the many clubs George had played, Woolsey first heard Strait perform in 1975 and was an immediate fan and proponent, when others dismissed Strait's music as too traditional to record. Woolsey worked for the Decca and ABC labels before joining the promotion staff at MCA Records in Nashville in 1980. "Isn't there some producer up there you can get to do a session on me?" asked Strait. Woolsey hooked his old friend up with producer Blake Mevis, so Strait returned to Nashville to record with him. The pair laid down several songs, but the response from the Nashville big brass was already familiar - just too country - "I went home yet again with my tail between my legs".

But rather than pack it all in for good, Strait again picked himself up, dusted himself off and had another try. He and Woolsey convinced another Blake Mevis to come to San Marcos and hear the Ace In The Hole band in its element - a Texan dance-hall, in front of a packed, raucous but appreciative Texan audience. It worked! Strait was offered the chance to record one single for MCA - if that was a hit, he could make an album.

No matter. George and Erv had already found a killer song. Mevis was co-owner of a publishing company that worked with an up-and-coming songwriter - Dean Dillon. Dillon and Frank Dycus originally had written 'Unwound' for Johnny Paycheck, but Paycheck was in jail at the time. Mevis drove over to Dillon's house, where Dillon and Dycus were writing songs on the front porch, and asked them if they had any new songs for a "new kid from Texas". Since Paycheck couldn't use it, they gave the song to Mevis for Strait. And that's how the greatest country performer / songwriter partnership commenced, with Dean Dillon, along with Erv Woolsey, becoming, in time, an indispensable part of the 'Team George Strait' juggernaut to come.

Mevis was finally convinced - "I told my wife, 'If that song ain't a hit, I need to get out of this business". he says. Woolsey was also all in, game, but Strait wasn't wasn't entirely convinced with the recording until some electronic tinkering gave the fiddle a bigger sound. Woolsey hand-delivered the first pressed single to a San Antonio radio station. He and Strait sat outside in a pickup truck, waiting to hear the song - “Erv said they were going to play it, but I couldn’t believe it. I mean, hearing your first record on the radio, after trying for so long. It was emotional for me.” Fuelled by Woolsey’s promotion expertise, 'Unwound' soon got serious radio play, entering the charts 2 days before Strait's 29th birthday, while he was still working his day job as a ranch foreman just outside San Marcos - "Here I was driving around the ranch, and I'd hear it on the radio as it went up the chart. I was shocked".

On 'Unwound', a little honky tonk heartbreak drinkin' number, just perfect for the Texan honky tonk raised Strait, the singers life is unraveling before his very eyes as his woman finds out he's been messing around (so it's all his own fault) and makes him pack his bags and leave.. So there's nothing else for it but to head to the nearest bar to drown his sorrows in and forget all about it. Now Strait most probably witnessed such self-destructive behaviour at at least some of the numerous bars ad honky tonks he performed at - and maybe that experience gave him the strength to avoid all the usual temptations of the road that snared so many of our other country heroes -


'Unwound' wound its way up to # 6 in 1981. But the battles with Nashville weren’t over yet. Almost immediately, MCA executives began trying to change Strait's, authentic Texan cowboy persona, pressuring Strait to adopt a more contemporary sound and image - "When I came to town wearing a cowboy hat, all I ever heard was 'Take the hat off'. They told me 'Your songs need to be more pop, that’s the market now. Take the hat off. Drop the starched shirt and jeans, nobody wears those anymore, they’re too old-fashioned'. But I never would do it. They were trying to make me into something else, but I was too hardheaded".

With the success of 'Unwound' Strait got the go-ahead to make a full-fledged album. However, still an unproven newcomer, he didn't have much control over his debut album, "Strait Country" (the punning album title was most apt), and somewhat unsuccessfully resisted the pop touches producer Blake Mevis insisted on adding - "The songs that we chose for that first album, I didn't have just a hell of a lot to say about. I did think that the majority of the songs we cut on there were good songs, but there are some that, if I were to go back right now, I'd try to say, 'No, we're not gonna do that".

Strait may not have liked some of the material, but the singles from the album sold enough for him to establish a foothold on the charts. 'If You're Thinking You Want A Stranger (There's One Coming Home)' got all the way to # 3, and 'Fool Hearted Memory' brought him to the very top - the very first of his 50+ # 1 singles. The irresistible fiddle track is a perfect match for Strait’s smooth and pure country vocal. It featured on the film The Soldier, in which Strait made a cameo in. Written by Byron Hill and Blake Mevis, George stamped his trademark warm Texan twang delivery on this hit, a weeping fiddle riff dancing delightfully around him, a reminder that traditional country instrumentals played a pivotal role in the emerging neo-traditional sound, with synthesisers, drum machines-or disco sounds all banished -


Now for an all time classic, one that has liven on as one of Strait's signature songs. From the memorable, mournful opening fiddle lick, you know the song. But 'Amarillo By Morning' had actually been a Texan and mid-west rodeo-circuit hit since 1973, when Terry Stafford wrote and recorded the original version following an all-night drive from one rodeo stop to another. It had also been covered by real-life rodeo champion Chris LeDoux by the time George, who himself had dabbled in rodeo riding as a teenager and had seriously considered it as a career, got his hands on the song, recorded for his 1982 album "Strait from the Heart" (yep, that album pun title again), he made the definitive version of this ode to the troubadour lifestyle, recounting broken bones and loves lost by a journeyman rodeo cowboy who owns nothing but the clothes on his back.

It’s all dusty Texan roads and wide-open spaces, as iconic a country song as exists thanks in large part to its perfect simplicity. And for all the wistfulness of Strait's aching delivery, he also conveys a Zen sense of being in the moment and on the right path - "... I ain't got a dime but what I got is mine / I ain't rich, but Lord I'm free...". The show must go on, but it ain't no burden - it's his life, and he wouldn't have it any other way. The keening tones of Buddy Spicher's high, lonesome, flying fiddle takes this timeless Texan classic all the way home -

Ironically, despite being regularly included on lists of the best country songs of all time, it’s one of the few George Strait singles released that didn’t make it to # 1, stalling at # 4 upon its release, though it has endured to become one of Straits biggest selling singles in time.

The lead single from his 1983 "Right Or Wrong" album, 'You Look So Good In Love', written by Glen Ballard, Rory Bourke and Kerry Chater, provided his 3rd #1 in early 1984. The singer looks on helplessly as his ex-lover falls in love with someone else, but can’t help noticing how much happier she looks now that she’s found someone who truly makes her happy, only regretfully wishing he’d been able to do the same -

Strait reluctantly agreed to make his first music video for 'You Look So Good In Love' - "It was embarrassing, corny, syrupy, gag me". He's right, the video is total crap cringe (but I would've happily shown it here for history purposes had the sound quality not also been bad). Strait's dislike of the clip set the tone for his entire career, which has included only a handful of videos in over 4 decades -"I've never cut one that I really liked. I've probably done it a little halfheartedly, because I never really wanted to do it. That's probably why they came off the way they did you know, you get pretty much what you put into it".

Strait's dislike of the then new music video promotional tool wasn't the only way Strait was straining at the Nashville leash. His patience was growing thin with the pop sheen being added to his records, when his heart was always with the hard-core country and Western swing that he was still cranking out with the Ace In The Hole guys on the road night after night.

The title track from his third album, 'Right Or Wrong' was originally a jazz ballad from 1921, composed by Arthur Sizemore and Paul Biese, with lyrics by Haven Gillespie. It was recorded by many early jazz and swing orchestras. The most influential recording was by Emmett Miller and the Georgia Crackers in 1929. Miller's version was picked up by Milton Brown (post # 163) and a young Bob Wills (# 132-140) and became a standard Western swing dance tune. Western swing versions generally do not include any of the verses, only repetitions of the chorus. Merle Haggard covered Wills' version in 1970, on his album "A Tribute to the Best Damn Fiddle Player in the World (or, My Salute to Bob Wills)".

Vindicating Strait's insistence on embracing the past traditions of Texan music and reviving it to a contemporary audience, Strait didn’t just revive the vintage Bob Wills standard, he took it to the top of the chart in 1984, becoming the most successful version ever, 63 years on from its original release – a sure sign of Straits place at the epicentre of neo-traditional country’s reign. Proving his Texas mettle with unadulterated, pure Western swing, Strait’s voice transports the listener to some Texan dance halls (they still abound in both city and rural areas) for some old-school two-step Texan culture. Yet for all its traditional sounds, the song is timeless, not dated - and still popular on Texan dancehalls . -

Strait's success with 'Right Or Wrong' led to songwriter, Haven Gillespie, receiving an ASCAP award in 1985 for writing the song's lyrics, the award coming 64 years after his work on it.

So that's today's quota done, leaving off in early 1984, with George Straits 3 albums to date having produced 4 # 1 hits in both the U.S, and Canada, as well as 4 more in the Top 10. It should be borne in mind that Strait, his music derived from Texan dance-halls and honky tonks, was (and is) naturally far more popular in his Texas homeland than anywhere else - but also keep in mind Texas is more populous than Australia (by about 5 million last time I checked), and country music remains the most popular genre there, so the Texan market is huge.
 
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George Strait’s stripped-down, back-to-basics, hard country music was the most interesting and exciting thing to happen to country music in years - at least since the Outlaw outbreak a decade earlier. Hard country had stood in implicit, and sometimes explicit, defiance of the ‘countrypolitan’ sound originally developed by Chet Atkins and Owen Bradley as the Nashville Sound in the late 1950's that initially injected country music with a new vitality that considerably expanded its horizons and provided many classic songs by great vocalists but which, by the early 1980's, had become just too pop oriented and aesthetically exhausted.

In contrast, (as per post # 1,108), neo-traditional country took inspiration from country music's traditional roots and particularly emphasised the instrumental background (in contrast to pop influences like synthesisers and disco drum machines etc) and a traditional country vocal style. Bursting with an insouciant swing, usually the province of older musicians, Strait’s music rang out with a renewed emphasis on keening pedal-steel guitars and baleful fiddling, harking back to the honky tonk music of Hank Williams, Lefty Frizzell, Webb Pierce and George Jones. Strait didn't just try recreate the past, but refined that basic hard country sound into a cool, no-nonsense synthesis of western swing and honky-tonk.

I must mention one other key influence on Strait - fellow Texan Mel Street was one of the best hard-core honky tonk country singers of the 1970s (see posts # 627-631), but he was up against a relentless tide of watered-down pop country. He committed suicide on his 45th birthday in 1978. He just gave up chasing after that elusive big hit record never came. As we saw yesterday, Strait very nearly followed the same road down to despair as he also gave up on his dream, only for his wife Norma, who couldn't stand having a depressed, irritable Strait moping around the house, urging him back in the business for one more year - a year in which he finally broke through to success.

From that low point, Strait’s rise to superstardom seemed smooth and effortless, but by the time he was recording his 4th album, tensions had boiled over behind the scenes. Strait was already wildly popular, drawing massive crowds on the road, especially in Texas, of course, and getting reliable airplay on country radio. His first 2 albums, as we saw yesterday had been produced by Blake Mevis, who had looked at how to expand his appeal. but Strait requested that Mevis be removed from his third album after laying some tracks down, unhappy that Mevis was trying to push him in a pop-flavoured direction he wasn’t comfortable with - and was a distinctly different sound to his by now wildly popular live road shows.

In 1983, veteran producer Ray Baker took over producing for Strait's 3rd album, "Right or Wrong", which became his first to go gold. But, despite the album topping the albums chart, Strait also grew increasingly frustrated with Baker while recording his fourth album. The older Baker refused to listen to Strait’s input on how the sessions should go and sent him out to the waiting room after he laid down scratch vocals. It was a situation uncannily similar to what Waylon Jennings had gone through some 12 years or so earlier (see posts # 775 & 776).

In 1984, Erv Woolsey decided to leave MCA to manage Strait’s career, which proved another pivotal turn upwards in Straits burgeoning stardom. Wollsey's support, both professionally and personally, along with his knowledge of the record industry gave Strait the freedom to choose his material and record songs the way he wanted. With time, their close-knit relationship grew tighter as they navigated the growth of one of the most remarkably enduring careers in modern American entertainment. Erv Woolsey was at the forefront of "Team Strait".

For all the commercial success he had now achieved, Strait's patience was growing thin with the pop sheen being added to his records, when his heart was with the hard-core country and Western swing he was still cranking out with the Ace In The Hole guys on the road night after night. So when Strait's planned 4th album was almost finished in 1984, tensions came to a head. Until then, Strait had been too intimidated in the studio to stick up for the way he wanted to do things, but now, with 5 # 1 hits and an ACM Male Vocalist of the Year award under his belt, the balance of power had changed. Strait demanded a meeting with the new, young head of MCA, Nashville, Jimmy.Bowen. "I've got 10 tracks and I'm never going to put my voice on them," he declared to Bowen and then followed through, flat out refusing to put final vocals on the 8 tracks Baker had completed.

In response, Bowen offered to personally co-produce with Strait instead. His first act of business was to replace nearly all of the studio musicians, bringing in young talent that would freshen up Strait’s sound. He required them to go see Strait perform live on the road and to model what they did in the studio after Strait’s touring Ace In The Hole band. Once they regrouped in the studio, Bowen told Strait to direct the studio musicians like he would do with his own band.

For the first time, Strait’s live sound was captured on record. Coupled with Bowen’s commitment to much higher recording studio standards than his veteran colleagues. The album's lead-off title track, 'Does Fort Worth Ever Cross Your Mind' is the first Strait single to truly sound like a Strait record. You can hear it from the opening seconds, as Strait takes his sweet time getting started. The piano and fiddle are given room to breathe. Then Strait and his signature Texan twang belt out the memorable opening line - “Cold Fort Worth beer just ain’t no good for jealous ...". Borderline yodels outline the classic lament with its quiet gut punches that land hard.

Co-written by Sanger Shafer and Darlene Shafer, 'Does Fort Worth Ever Cross Your Mind' wasn't new when it became a title track for Strait in 1984. It appeared on a Moe Bandy album seven years prior and was also covered in 1984 by Keith Whitley. Yet this brilliant string of Texas metaphors needed the right Lone Star native to become immortal, and it got just that in King George. So here, the singer's cold beers in Fort Worth (my favourite Texan big city) don't work at all in wiping away the memories as he dwells on his former woman, who is now with someone else in the nearby twin city of Dallas. He wonders if she ever thinks of him and the good times they had together - as one can easily do alone with a drink. It's about as Strait-country as it gets, the two-step-ready track sounds like it might've been a roadhouse favourite from the early 1950's. It’s not one of his flashiest singles, but 'Fort Worth' is proof-positive that nothing in a song really needs changing if it's done just right. It landed Strait his 6th # 1 hit in 1984 -
"... Darlin' while you're busy, burnin' bridges / Burn one for me, if you get time /
'Cause good memories, don't fade so easy / Does Fort Worth ever cross your mind
? ..." -


Previously having been released by John Anderson on his 1982 "Wild & Blue" album, the second single from Strait's 1984 "Does Fort Worth Ever Cross Your Mind" album, 'The Cowboy Rides Away' has (eventually) become a Strait classic. Yet, like 'Amarillo By Morning', it took some time to reach this status. Strangely, like the earlier 'Amarillo' classic, in a career overloaded with # 1 hits, this wasn't amongst them, reaching "only" # 5 in 1985. The song, where the proverbial cowboy does what a cowboy does - ride away into the sunset from a failed relationship - has endured longer than the title track and has since gone gold thanks to it's high streaming numbers -

This was the last song Strait sang at his final epic The Cowboy Rides Away Tour concert in 2014, at AT&T Stadium in Arlington, Texas with a world record setting indoor attendance for the show at 104,793. Another record was broken just a few months ago in June 2024 for a U.S. paid concert attendance when 110,905 ticket-buying fans crammed into Kyle Field at Texas A&M to watch Taylor Swift ... George Strait.

Brooks & Dunn performed a memorable live cover 'The Cowboy Rides Away' for the T.V. special George Strait: ACM Artist of the Decade All Star Concert back in 2009 (in which Taylor Swift also sang 'Run'). One can tell that even George was impressed by Brooks & Dunn's magnificent version, available on YouTube..

Closing out Strait's epochal fourth studio album, 'The Fireman', penned by Mack Vickery and Wayne Kemp. Again, just like 'The Cowboy Rides Away' (though in truth, this song ain't in the same class - it's no classic) it was a slow burn, also "only" reaching # 5 but enduring (mainly as a party song) gone gold thanks to it's high streaming numbers. It's basically a cheeky, quite silly but rocking western swing bachelorette party type of song (I'd argue the western swing instrumental arrangement is the best part of the song) about a man with particular charm, charisma and skill - whatever it is, he has it - who answers the call to go around his local town calming down women after they've been left feeling hot under the collar and more than a little bit horny and panting from a break up. Strait's delivery makes it clear this one is just for fun -
"... Last night, they had a bad one / A mile or two down the roadWell / My buddy walked out left his woman burnin' out of control / Well, I was down there in 'bout an hour or so / With a little mouth to mouth, she was ready to go ..." -


The "Does Fort Worth Ever Cross Your Mind" album remains one of Strait's strongestalbums in his long career. The impact on his career was immediate, going straight to # 1, certified gold 7 months after its release, and named both ACM and CMA Album of the Year, while Strait took home his first Male Vocalist awards on the strength of the project. its 1985 successor, "Something Special", doesn't pale in comparison, even if it doesn't quite offer as much radio friendly commercial music as Strait's previous albums. Instead, it digs even deeper into traditional country, rooted heavily on Western swing and pure honky tonk, from the shuffles to the barroom ballads. I love it - lean classic country, typified by the excellent Lefty Frizzell tribute 'Lefty's Gone' and the giddy 'Dance Time in Texas'. But of its couple of commercially appealing tracks, it had one that really is something special - another Strait classic, his 7th # 1 in 1985.

"It was four in the morning again, like it always seemed to be for me and Hank” Dean Dillon told Texas Monthly of how 'The Chair' came to be – a sentence that proves how naturally country phrasing comes to Strait’s longtime collaborator, who wrote the song with fellow country songwriting legend Hank Cochran. The two were on Cochran’s boat, celebrating a successful day of writing when, almost by accident, after Dillon strummed his guitar and sang the opening line, they came up with Strait’s smooth-talking classic in 30 minutes or so of intoxicated back-and-forth when they were “about written out". The slow-dance-ready track is as slyly seductive as its protagonist, inspired as it is by those artful barroom pick-up lines (Dillon and Cochran obviously had more talents than just writing country classics).

There are some songs that you could never imagine anyone but George Strait singing, and ‘The Chair’ surely is at the top of the list. When people ask what makes George Strait stand out among the sea of cowboy hat acts his success inspired, it has to be 'The Chair'. Strait’s interpretive gifts are so subtle that you need to look at a song that none of his peers or successors could have delivered - or even tried - so effectively.

His smooth delivery slips in to tell his one-sided account of a Friday night in a bar, where he walks up to a woman with the famous opening line, delivered in his killer Texan twang - “Well, excuuuse me, but I think you've got my chair” (surely only Strait could get away with an opening-line gambit like that) then awkwardly stumbling over his words, correcting himself as he offers to buy her a drink - here is a lesson in honky tonk barroom seduction in a classy bar with a single attractive woman. So they sit down and, after a night spent smoothly talking (and, if in Texas, most probably western swing dancing), and showing himself to be a gentleman, he ends up driving her home.

Strait, relying on all his charm and wiles as he makes his way through the essential stations of the pickup progression - including bumming a light (not allowed to smoke now), buying a drink, getting her name, asking to dance and offering a ride. Finally, he admits "... To tell you the truth, that wasn’t my chair after all...". But no matter - he's already in like Flynn.

And, no matter how much Strait may deride it now (see yesterdays post for his dislike of the music videos he reluctantly did back then), this songs 1985 video is too bad good to omit - between Strait's crooked, bashful grin and the period 1980's' hairstyles and fashion of his paramours, it would surely be in the barroom nightlife video HoF if there was such a thing -


By 1986, coming off of his domination of the Male Vocalist races at the CMA and the ACM Awards, George Strait was on top of the world, the hottest live act in country music, constantly played on country radio, his records dominating the charts. In his home state of Texas his popularity was untouchable. Furthermore, the neo-traditional movement had now swept right through to take over the country music landscape - and Strait was its undisputed leader. Then his world crumbled beneath him. In June 1986, his 13 y.o. daughter, Jenifer, was killed in a car crash south of their San Marcos home. Strait relied on family, friends and religion to get him through the horror of losing his firstborn child. He also buried his grief in even more work, going back on the road only 3 weeks later. But Strait, already known for his shyness and avoidance of publicity, refused to give any interviews for a year, and to this day has said little publicly about his daughter's death.

An already-very private man shut the door to his home life ever more tightly "I got even more private after I lost my daughter. That's when I really shut things down. I didn't feel like talking to anybody that wasn't really close to me." After the tragedy, getting publicity by chatting up the press meant nothing to him - "I had the attitude that nothing worse could happen and so this is the way I'm going to do things". It could have been a disastrous career decision but in Strait's case, the opposite became true. The less his fans knew about what was on his mind, the less they heard him speak, the more they longed to get close to him. His next album, "Ocean Front Property", recorded 3 months after his daughter's death and, released in January 1987, became his first ever album to debut week 1 at # 1..

The albums title song 'Ocean Front Property' makes it seem like a joke – even the song’s co-author, Dean Dillon (you're gonna keep seeing his name in the Strait history - another essential member of "Team Strait"), thought so - “I still didn’t like it, I thought it was funny, but I didn’t want to be known as a guy who just wrote funny songs". Yet beneath its titular metaphor (which seems like it would be best suited for a Jimmy Buffett song), lies the kind of understated break-up tragedy that Strait has long made his calling card. He sells every line, channeling the song’s blend of winking resignation and heartbreak – a combination that characterises so many country classics.

In this cleverly written, chart-topping single, Strait's 10th # 1 in 1986 (I'm having to skip some very worthy hits) finds him having some fun at his own expense, acknowledging just how terrible a liar he is by playing up false bravado for humorous effect. The song’s irony is its most powerful element, as the listener quickly understands the singer is lying about his indifference, even as he tries to convince himself otherwise. The humorous twist at the heart of the song actually adds depth to its emotional message, making it much more than just a clever punchline.

Strait’s smooth delivery and the song’s relaxed, traditional country sound make it a perfect fit for Strait's style. With a gentle, swinging rhythm and an understated arrangement, the song provides just the right backdrop for the playful, yet poignant lyrics. Helped by a catchy chorus, it showcases Strait’s ability to craft songs that blend humour and heartache. If you leave him, he won’t miss you or take you back ’cause he don’t even love you, no way, no m’am. And if you buy that, well, he’s got an ocean-front lot in the middle of the desert he’d be happy to sell you (if you don't get the joke, just google up a map of Arizona), with the Golden Gate Bridge as a freebie bonus. It’s among the greatest of Straits punchline hits -


With today's quota done, with Strait coping with personal tragedy by both withdrawing even more into his private world while channeling his energy into working on the road and recording studio as much as ever, all the while becoming the biggest name in country music, I'd thought I'll finish today talking about George Straits cowboy hat!

In addition to it's emphasis on traditional country vocals and instruments, the neo-traditional movement also encompassed stage presence, with many artists deliberately choosing to sport styles typical of the 1940s, 1950s, and 1960s. Now yesterday, quoting Strait, when visiting Nashville, he was advised to ditch his cowboy hat and cattle ranch attire, as it was years out of date - and he stubbornly refused.

But this also tells a story about the difference between Nashville (indeed of pretty much anywhere in the U.S. east of the Mississippi) and Texas - and even more specifically, of West Texas where Strait had hailed from. For Nashville, and all areas East of the Mississippi apart from a few areas of central Florida, now consumed by housing developments, isn't, and has never been, cow-country (and hence "cowboy country") for nearly 200 years!

Dressing in cowboy gear was a fad, driven by the Hollywood Singing Cowboy movies of the 1940's, starring Gene Autry and Roy Rogers. Popularised in Nashville by such stars as Hank Williams and Marty Robbins, amongst many others, it remained a fashion thing right up to the mid 1960's, though glamorised by the nudie suits (written about somewhere way back in this history). Then, with all parts of the U.S. east of the Mississippi not actually being authentic cowboy country, it went out of fashion - except in Texas and in a band from West Texas up to Montana, where cattle ranching, and hence cowboys, was still a real thing.

So for George Strait, coming from a West Texas cattle ranch, where he learned to ride and round up cattle before he could sing and play guitar, representing himself to the public by wearing a cowboy hat and cattle ranch gear wasn't a mere fashion or image choice - it was simply being his authentic self, regardless of whether it was fashionable or not. It was as straight forward as that. Ironically, the Urban Cowboy movement of the early 1980's, for all its inauthenticity, made Straits cowboy look fashionable again!

In addition to his classic cowboy songs 'Amarillo by Morning' and 'The Cowboy Rides Again', to underscore his authenticity, in 1983, Strait made his first appearance at the Houston Livestock Show and Rodeo, when the headlining star, Eddie Rabbitt became sick with the flu. Performing at that rodeo has since become a mainstay throughout his career. He has made more than 20 appearances at the rodeo, a major event playing for more than one million fans. And with that, that's it for today.
 
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So it's day 3 of the George Strait opus. Perhaps to fully appreciate the impact George Strait has in Texas, one needs traverse the state, taking in as many city and particularly the traditional rural dance halls and honky tonks as one could. Recall that just before Strait landed his first hit, his first producer, Blake Mevis, after visiting San Marcos to see Strait perform live, recalled - "There were a few things I observed, One, Texas is a whole different country that doesn't do what the rest of us do. Two, on a Wednesday night, 35 miles out in the country, the dance hall is filled; so they like their music. Three, I was unaware that Western swing was still so prevalent in Texas because it wasn't here in Nashville. ...".

I love Texas - and I really love old school traditional Texan honky tonks and dancehalls (even if they're not all actually in Texas, but I digress). Honky tonks are basically bars or saloons, varying in size but always tilting on the goodtime, sometimes rowdy and raucous atmosphere with music either live or (usually in daylight hours) from a jukebox or radio. Some are rough or worse, best described as dives. Others can have a real touch of class with some most attractive patrons to match (at a price, of course). The best ones have very few, if any windows, a bandstand and some sort of area for dancing - and traditional Texas music on offer.

Then there's the Texan dancehalls, where one goes for live shows and, of course, to dance to the music, not just sit and listen - it's a very Texan thing to do. Dancehalls are an indispensable part of true Texan culture, especially in the rural areas. There are famous ones, like the oldest one, Greene Hall, in what was once a small town, but now in the suburban corridor between San Antonio and Austin, and then there the one in the tiny hamlet of Luchenbach, made famous by the song 'Luchenbach Texas' by Waylon Jennings and Willie Nelson (post # 779). For a big Friday or Saturday night in these dancehalls, you can dress up with your best jeans, fanciest Dixon cowboy boots and your cleanest Stetson (apart from me with H.M. Williams boots and clobber, an Akubra and Aussie accent), for a night of meeting new people, getting to know them then twirling your chosen partner to the ubiquitous western swing as you listen to the music.

This difference between the South in its part east of the Mississippi and Texas (as well as Oklahoma), has been hinted at or referred to a number of times in this history e.g. post # 772, which mentions the pivotal role of Texas in the rise of the Outlaws, the subsequent histories of Waylon Jennings and Willie Nelson, and then on post # 1,026 on the band Alabama, in which I wrote -
"... When Alabama started touring nationally, they were shocked when they played in Texas clubs. They were confused over the reception of the crowd, because people were swing dancing and (so they mistakenly thought) not listening to their songs. Concerned they were bombing in the huge Texan country music market, they were reassured by their record company it was just a regional reaction. They quickly learned that in Texas, if people were swing dancing to your music, not just listening, you were actually a hit. Learning of the experience, songwriters Dan Mitchell and Murry Kellum went to work and created ‘If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)’, specifically written for Alabama to perform in Texas. Luckily for Alabama, they did have a fiddler in the band, and a very accomplished one in Jeff Cook....".

Now the point of the above paragraphs, apart from outlining how much different Texas is from Nashville and it's surrounding states, is to help one understand and appreciate what George Strait did - and how brilliantly he did it - by tapping into the beating heart of Texas and its rich musical heritage to inform his music. He achieved his immense success by incorporating the various elements of Texan music in a way which made it relevant and appealing to a contemporary market, hungry for a more authentic country sound than the pop-soaked sound coming out of the Nashville centred record labels. So with that done, we return to where we left off yesterday, following on from Straits title track from his 1986 'Ocean Front Property' album.

What I love most about today's first song selection, a perfect song for filling the floor on any decent Texan dancehall, released in 1987 as the 2nd single from Strait's "Ocean Front Property" album, is the retro Western Swing instrumentation, harking back to the Texan honky tonk and dancehall sound of the early 1950's, before pedals were added to the steel guitars. It's the sort of instrumental sound one hears on Hank Williams originals (posts # 205-214) and even more so by Texan Hank Thompson (# 235-237), who brought the dancehall Western Swing sound into the Texan honky tonks. Hank III also used this sound to great effect some 20 years back on some of his hits.

Strait’s quintessential quirkiness makes 'All My Ex’s Live in Texas', written by Sanger and Lyndia Shafer, one of his most enduring hits. It became his 11th # 1 in the U.S., his 9th in Canada. Built off a rhyme that could've been exploited years earlier, the Western swing tune 'All My Ex’s Live in Texas' is among those songs that mark the best of Strait - nostalgic, unserious, straightforward and restrained (even with its abundance of odd rhymes). Like most of his classics, 'Ex’s' puts his strait-laced (pun largely intended) sound and look to work, making the wit of the lyrics even more surprising.

Strait sings the entire song like he’s looking over his shoulder for trouble, while also making it clear how much he enjoyed the trouble he made leading up to his hiding out in Tennessee. He makes unconventional phrasing choices that heighten the absurdity of the corner he’s painted himself in, utilising his lower register effectively as he sings his lines like -
“... It’s been roo-murred that I’ve diiied...” -

The man of 'All My Exes' is so different to the real Strait himself, just a character he's depicting, as with most of his songs, and he has a ball with it, seemingly enjoying the irony that he’s done the polar opposite with his real life - staying put in Texas with the first and only love of his life, and only traveling to Tennessee (Nashville) for business, but never residing there,

It's a truth universally acknowledged that one man's lovesick blues is another man's unfathomable devastation. The Aaron Barker penned lyrics to 1988's 'Baby Blue', released in 1988 as the 2nd single from his "If You Ain't Lovin' You Ain't Livin'" album was Strait's 14th U.S. # 1, reads like a nostalgic, poignant but otherwise unremarkable breakup song. The narrator remembers a life-changing relationship with a girl who made a big impact in a criminally short time -
"... She always held it deep inside, but somehow I always knew / She'd go away when the grass turned green and the sky turned baby blue ...".

Strait sounds as smooth as a throwback pop crooner without totally overshadowing his neo-traditionalist mission throughout what has to be rated one of his finest vocal performances. But here comes the gut-punch. Given 'Baby Blue' was released 2 years after the tragic death of Strait's 13 y.o. daughter, Jenifer from the car accident mentioned yesterday, many believe Strait's own interpretation of the ballad, given its lyrics, hits closer - and so much harder - to home, as a tribute to Jenifer. Strait has never gone on record to either confirm or deny this interpretation (which seems a telling clue in itself) -


The 3rd single and title song from the album, 'If You Ain't Lovin, You Ain't Livin', written by Tommy Collins, was originally a # 2 hit for Faron Young way back in 1954 (see post # 261). It took falling in love with the Faron Young version of this song for me to fully appreciate what Strait pulls off with his cover.

Young’s hit is a giddy hard honky tonk classic that only a fan of old school 1950's twangy honky honk could love - so only someone like me. It’s got way too much honk in its honky tonk to have been palatable to the new wave of eighties country fans. Strait’s cover is masterful because it smooths the rough edges (though I love those rough, twangy edges) while still honouring and referencing the Young performance. I know It’s heresy to suggest such a thing, but could the truth be that George Strait is one of the best pop singers we’ve ever had in country music - cleverly disguised in hard-core.country?

He applies his gift here to make an old song sound relevant and contemporary for its 1988 audience, and he does so without compromising the essential country nature of the track. He makes it go down smoother for his audience by dialing back the twang in the vocal, leaving just enough in the mix to call back to Young’s delivery. As such, this became Strait's 15th U.S # 1 and 12th in Canada. It's a remarkable feat that is so easily masked by Strait’s unassuming talent. And pay attention to the western swing instrumentation.


The first single from his "Beyond The Blue Neon" album, 'Baby Gotten Good At Goodbyes', an anthem for the many men who’ve screwed up one too many times (and the women who still love them, but just can't take it anymore), was part of Strait’s unmatched late 1980s run, It was his 9th consecutive # 1. It captures much of what made Strait so unstoppable during that period - the Texan twangy traditionalism tempered by producer Jimmy Bowen’s pitch-perfect restraint, the witty flips on country song cliches and Strait’s ability to play the regretful ne’er-do-well to add to his list of characters.

It’s an extraordinary song to begin with, capturing a man who is slowly realizing that this time, his baby might really be gone. It's another of his songs with a great opening line - “What a rotten day this turned out to be. / I still can’t believe she’d leave so easily...” In just those 2 lines, you can hear his sadness, his disbelief, and his struggle with facing this unexpected pain is undercut by his begrudging acceptance of his own culpability. He’s wondering why this happened to him now, when he’s been such a louse for so long, but he has no choice but to recognise he’s been pushing her away for far too long and now it appears too late to make it right.

It’s a quintessential George Strait song, giving the words to men they can’t find on their own, and giving hope to women that this is what's going on behind the eyes with their own men who can’t find the words on their own. The emotions are so specific and perfectly articulated, the song never loses its impact with repeated listens -


In 1989 Strait finally won the CMA's most prestigious award, the Entertainer of the Year award for the first time (many thought it was overdue, perhaps not helped by both his shyness and reluctance to promote himself, along with his insistence on living on his Texas ranch, not in Nashville). But it was the award he really seemed hungry for - "I really wanted that thing."

'Love Without End, Amen' Was Strait's 15th # 1 hit in early 1990. It's openly, brazenly sentimental - but, as we've seen many times, sentimentality can work in country music (not all the time, but more than other genres, particularly in the booze fueled honky tonk sub-genre). But here, well away from the honky tonk this time, Strait shows he can get away with it by showing genuine sincerity rather than the usual sentimental schmaltz. And I'm sure there's at least two good reasons for Strait's sincerity here.

In the semi-autobiographical song, George gets sent home from school for fighting, expecting his dad to give him a bloody good ragging, but instead his dad just reacts by telling him he loves him no matter what. In the second verse, he’s now the father of a stubborn boy who’s “... just like my father’s son... .” At the end of his patience, he lets his son in on the same secret. Then, in the third and final verse, he dreams he’s gone to heaven, and thinks “... there must be some mistake. / If they know have the things I’ve done, they’ll never let me in...” Then he’s let in on the secret one more time, courtesy of a voice from the other side of the pearly gates.

This sentimental slow burner, the first single off 1990's "Livin It Up" album. spent 5 weeks at # 1 and not without reason. Released (somewhat conveniently no doubt) to coincide with Fathers Day, the song talks about a father’s unconditional love for his kids. There are a few religious undertones too, which would've done it no harm at all with a good portion of Strait’s core audience.

I have to suspect Strait's sincerity comes from two life changing events in his life - the first being his mother walking away from the family ranch, taking Straits only sister, leaving his father to raise the 9 y.o. George and his younger brother as a sole parent. Strait has talked little of what must have been a traumatic event for him at that time, but has long expressed his gratitude for the raising he and his brother got from his father. And then when his daughter Jenifer was killed, George and Norma were left with their only son, Bubba Jr, who no doubt became even more precious to them. So given these two pivotal life events, it's no wonder Strait siNGOs this sentimental song like he really means it - for he actually does really mean it -


So we leave off today right at the end of the 1980's - a decade in which George Strait, after the initial lift off provided by Ricky Skaggs, really led the charge of the neo-traditional movement against the pop-country sound of the early 1980's. Strait, after his first chart single in 1981, succeeded so well that by 1986, his music was now the mainstream sound of country - and was idolised in Texas, by fans of all ages (I found several contemporary reports from that era attesting to the diversity of his fan-base in Texas). He had assembled a tight knit team around him - "Team Strait" led by his manager and close personal friend, Erv Woolsey, including songwriter Denis Dillon and Nashville MCA head and producer Jimmy Bowen.

By this stage in the history, Strait had racked up 18 # 1 U.S. hits and 15 in Canada. From the mid 1980's, a host of other country performers, inspired by Strait, had joined the neo-traditionalist movement - some imitating Strait, but others, while drawing from the past p, were finding there own ways to success - Strait now had plenty of competition, but Strait still ruled the roost. Then in 1989 came a new wave of young performers - "The class of '89" who were to take the country music world by storm in the 1990's with a more progressive sound, sweeping aside many of the 1980's neo-traditionalists, as well as extinguishing altogether what little still remained of the 1980's pop-country sound.

So tomorrow (I hope), against that backdrop drop, we'll see how George Strait, ending the 1980's in such a dominant charting position - and also being the most popular live act to boot - fares in the changed music landscape of the 1990's. We'll also look at a couple of other aspect of his career I've so far largely overlooked, mentioning a few things only in passing that should really have more attention - there's been more than enough to write about so far!
 
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As mentioned a couple of days back, George Strait, with his Ace In the Hole band was most at home in front of an audience that was eager to dance. Harking back to the barn-storming years of Bob Wills and the Texas Playboys, he was projecting the sound and ambience of the Texas dancehall circuit. So time to talk more about Strait's band.

The Ace in the Hole Band really got its start in San Marcos in 1975 - so just 3 years after Springsteen's famed E-Street. Performing under the name Stoney Ridge, the original band members were all university students at San Marcos - Ron Cabal (lead guitar), Mike Daily (steel guitar), Terry Hale (bass guitar), Tommy Foote (drums) and Jay Dominguez (lead vocals). Dominguez left after graduating in 1975, so the remaining members really needed to survive as a live act was a good lead singer to front the group. And, as outlined on day 1 of the Strait history, it just so happened this coincided with Strait starting out, looking for a band - so how lucky were they?. When Strait answered the ad placed on the university bulletin board, it was one of those moments like when spare ribs and BBQ sauce were brought together for the first time.

After performing for 6 years in honky tonks and dance halls, at first just around San Marcos but then expanding there reach through Texas as their live shows grew in popularity, things really took off for the band in 1981 when Strait signed with MCA, as already outlined. Soon the Ace in the Hole Band was in Nashville, working at popular clubs and shows. In the early 1980s there were some important additions for the band - pianist Ronnie Huckaby came aboard and so did guitarists David Anthony and Rick McRae, fiddlers Gene Elders and Benny McArthur. In 1983, drummer Mike Kennedy replaced Foote, who relinquished this position to become the band's road manager. In 1991 the band won the SRO Touring Band of the Year. In 1994, Ace in the Hole Band released a self-titled album, showcasing classic country numbers to critical acclaim.

By 1990, superstardom has taken Strait and his band away from the honky-tonks into the big arenas and stadiums. There has also been a smoothing out of his rootsy Texas honky-tonk music, leading to platinum albums and across-the-board recognition (though, tellingly, his songs never bothered the pop-charts). He was now performing some 50-60 concerts, a far cry from the 250 dates he was handling back in 1982 - “The beauty of touring these days, as opposed to now, is that you can play large stadiums and auditoriums of 20,000, attracting audiences from wider areas. In the old days, you used to have to play in lots of smaller venues and (travelling over) larger areas to attract the same amount of people. The audience is made up of a very diverse age group. We get everyone from kids, teenagers, young married to grandparents"..

A song literally named for Strait's band, 'Ace in the Hole', written by Dennis Adkins, was released in 1989 as the third single from his "Beyond the Blue Neon" album. It became his 18th #1 single,his 11th in a row as well as his final # 1 of the 1980's.

Much has been spoken and written over the years about how George Strait puts on such a compelling, popular live show - after all, defying most live performance norms, he just stands and halfheartedly strums his guitar for most of his shows. But that reductive take misses two key things about Strait’s enduring appeal as a live performer. First, he’s not just standing still. There’s nothing idle about it. He’s completely commanding the attention of his audience without having to move around to keep them engaged. It’s deliberate, not disinterested. Second, he’s a great singer (more on this another day) backed by a talented, first-rate band - something we don’t get to hear on his recordings very often. As good as most of his albums are, they were all made with commercial radio in mind, so big instrumental breaks aren’t going to happen on most of his singles.

However, of all his # 1 hit singles, we get the best taste of what his live show may be like on 'Ace in the Hole', which has such prominent instrumentation you can picture it working perfectly as that song played live well into the setlist - the one that’s used for band member introductions. The lyrics are slight, but that’s beside the point. This one is all about Western Swing groove for the dancehall, and Strait does it better here than on any of his other big radio hits -


1990 was a great year for Strait. He won both the CMA and ACM Entertainer of the Year award, and, as we saw yesterday, the lead single from his "Livin’ it Up" album, 'Love Without End, Amen' spent 5 weeks at #1. Perhaps surprisingly, his second single from that album fell short of the top - 'Drinking Champagne' was a cover of an old Cal Smith hit, and it earned a solid Top 5 placing. But for the third single, 'I've Come To Expect It From You', Strait returned to form, managing to match his 5 week stay at the top as well as topping the Canadian chart.

Written by Dean Dillon with Buddy Cannon, 'I've Come To Expect It From You', is an anomaly - but a delightful one - in Strait’s storied career. It’s nervy and angry, with a thread of bitterness that Strait has rarely explored in his work. As a general rule, his songs shoulder the responsibility for love gone wrong or right. Not here, even if some moments of self-loathing surface. Strait gives a tense and irritated performance that matches the lyric, at times sounding like he’s singing through gritted teeth -
“... I guess that I should thank my unlucky stars / that I’m alive, and you’re the way you are. /
But that’s what I get / I’ve come to expect it from you ...
.”
He ruefully muses - “... How could you do what you’ve gone and done to me / I wouldn’t treat a dog the way you treated me...”
Finally finding his backbone, he packs up to leave, but not without some the parting last words-
“... There won't be no more next time doing me wrong / You'll come back this time to find out that I'm gone /
But that's what you get / You should expect that from me
...” -


Written by Dean Dillon with Pam Belford, released in 1991 as the first single to his "Chill of an Early Fall" album, Strait's 21st # 1, 'If I Know Me' is yet another effortless ballad, combining his ear for strong material with his strength as a storyteller. Sung from the perspective of a man who has just making off from home after a fight with his wife, in a fit of emotional anger, emotion, not thinking straight. Then, calming down and coming to his senses, his mind wanders back home, imagining her upset and worried that he isn’t coming home. But in the chorus, we can see he already knows he’s coming home. Strait - or his main songwriter, Dean Dillon - has an uncanny ability to embody how men secretly think. So much of his best material is in this vein -
“... Sometimes I lose my head / Say things to break your heart / Forgettin' if I lost your love / It would tear my world apart...” -


'You Know Me Better Than That' written by Anna Lisa Graham and Tony Haselden, was released in 1991 as the second single from his "Chill of an Early Fall" album, landing Strait his 22th # 1 and 18th in Canada. For my money, it’s one of Strait’s all-time great singles, thanks to its witty lyric and playful performance. The conceit of the song is remarkably creative. The protagonist (or at least his new partner, for it seems reality is sinking in to the singer) is in that idyllic stage of a new relationship (do you remember what that fills like?), where it's all too good to be true -
"... Baby, since you left me, there's somebody new / She thinks I'm perfect, I swear /
She likes my body, my class and my charm / She says I've got a confident air /
She respects my ambition, thinks I'm talented too / But she's in love with an image time is bound to see through
..."

But the singer is saying this in a conversation with his ex who had stuck with him before finally giving up as he revealed his true self (as we all eventually do) over time -
"... Oh, you know me better than that / You know the me that gets lazy and fat / How moody I can be, all my insecurities /
You've seen me lose all my charm / You know I was raised on a farm / Oh, she tells her friends I'm perfect /
And that I love her cat / But you know me better than that
...".

It becomes clear his new relationship is destined for the same doomed fate, and the two ex-lovers are basically having a laugh over it -
"... I miss picnics and blue jeans and buckets of beer / Now it's ballet and symphony hall /
I'm into culture, clean up to my ears / It's like wearing a shoe that's too small /
Oh, I caught her with an issue of Brides magazine / Starin' at dresses and pickin' out rings
...".

So by now, he knows, his ex knows and we know his new belle ain't anywhere near a good match for him but is intending to snare him for good. Now this would most likely come off as just too cynical in the hands of a lesser vocalist. But with Strait, it’s more like - “Hey, y'know, I’m trying, I am, honest, but, darn it all, you know me. You know I’m gonna mess this all up…”. Actually, I think he's really wanting his ex to help him get the hell out of his new entanglement - but just can't bring himself to beg her to take him back. And he really hates that damn cat! Anyway, it's a most enjoyable listen -


Strait has acted in several films. He started with a bit part in The Soldier back in 1982, which featured his 3rd # hit. But in 1992 he starred in Pure Country in the lead role as "Dusty Chandler", a famous country singer who strays too far from his country roots and traditional sound. It provided the opportunity for Strait to branch out from his own traditional country sound for a more rock-and-roll approach (harking back to his teenage years of garage rock). The film had little success at the box office, Strait's acting ability being no match to his singing, but the soundtrack, also called Pure Country, produced several hit singles for Strait, two of which went to # 1. The song featured in the the movie's finale, ‘I Cross My Heart’, reached # 1 in both the U.S. and Canada, his 23rd in the U.S. and 19th in Canada.

So as we've seen yesterday, when Strait gets sentimental, he pulls out all the stops. Written by Steve Dorff and Eric Kaz, It was released as the first single to his "Pure Country" album, which is also the soundtrack to the movie of the same title. It's such a signature George Strait song, it’s hard to believe that its origins were anything but pure country. But it was written with Boyz II Men in mind, and was originally recorded by Bette Midler for her own movie soundtrack. But when she didn't have the vocal chops to get the song to work and dropped it from ner film, and so it found its way to being the climactic centrepiece of the "Pure Country" soundtrack and featured as the movie's finale, ‘I Cross My Heart’ is Strait at his most incurably romantic in this love ballad to pretty much end all love ballads. The lyrics mix infinite devotion with much bravado and some gorgeously smooth vocals, with Strait delivering such lines as -
“... You will always be the miracle / that makes my life complete ..."
"... As long as there's a breath in me / I'll make yours just as sweet ...”
“ ... In all the world, you’ll never find / A love as true as mine” ..." -

Strait's profoundly endearing charm allowed him - or “Dusty Chandler,” his alter ego in the Pure Country movie - to once again get away with yet another # 1 in both the U.S. and Canada to add to his collection when it was released in 1992. Strait is a stylist, one of the finest to ever step up to a mic. He makes it look easy, but 'I Cross My Heart' works because of his sophisticated phrasing and his deliberate emphasis of individual words and phrases to heighten the emotional impact of the lyrics. It’s a wedding standard not only because of its thematic content, but because Strait makes this love feel like it’s for life with his performance. Just listen to his singing on the bridge –
“... If along the way we find a day it starts to storm / You’ve got the promise of my love to keep you warm ...”
As sung by Strait , 'I Cross My Heart', full of its selfless promises of devotion, mixed with irresistible bravado, is the love ballad that every girl dreams will be written in her honour. Spoiler alert - the song was enough for "Dusty Chandler" to win over the heart of the rodeo queen in the movies final, climatic scene -


Strait’s multiple Entertainer of the Year trophies in 1989 and 1990 from both the CMA and ACM would’ve signalled that a decline was near for anyone else, but Strait was just getting started. By the end of 1992, George Strait was a country music monument. Country was more popular than ever, and his influence could be heard all over its new generation of stars. The new generation of major stars like Alan Jackson, Clint Black, Sammy Kershaw and Garth Brooks credited George with inspiration. Garth declared that hearing Strait's very first single, 'Unwound' back in 1981 inspired him to become a country singer. He was increasingly crowned with the moniker "King George" in recognition that he was not just the King of Texas, but by spreading Texan style country music across the U.S.

But what about the future. Surely, by 1992, after a dozen years of sustained success, becoming the biggest star in country music, both as a live act (though Garth Brooks would soon have something to say about that) and in the sheer number of records he was moving, now that he had turned 40, the only way was down? After all, only a tiny handful of performers top the charts over a period exceeding one decade, there was a whole generation of up and coming new stars emerging and a harder rock edged sound was given to the neo-traditional sound, dubbed new country. Furthermore, Strait had earned enough that he never needed to work again. Away from the touring and recording, he enjoyed his private, quiet lifestyle on his Texas ranch. If he had walked away from the whole business at this stage, he would still have gone down as one of the all-time greats of country music, right up there as one of the legends.

Given all these circumstances, few in 1992, if any, perhaps including the 40 y.o. George Strait himself, thought it possible that the greater part of his music success would lay not behind him, but instead was still to come ahead - both live on stage and recording. ... so there's still a lot more to come.
 
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Have you ever written professionally, Prof?
I have listened to, and read widely about many genres of music over a lot of years, but I haven't come across anyone who writes with the authority, enthusiasm and flair that you do.
And it's extraordinary that work of this quality can only be found on the fringes of a football fan site.
If I was 20 years younger and 50% richer, I'd be putting together a proposal about a website called BigCountry.
 
Have you ever written professionally, Prof?
I have listened to, and read widely about many genres of music over a lot of years, but I haven't come across anyone who writes with the authority, enthusiasm and flair that you do.
And it's extraordinary that work of this quality can only be found on the fringes of a football fan site.
If I was 20 years younger and 50% richer, I'd be putting together a proposal about a website called BigCountry.
Thank you, Pat, for your generous words.

I've had a few suggestions in the past that I should make something more out of all of this - which, as I've mentioned before, only started as a little project to keep me sane - or at least occupied - while locked down here during Covid ... then I just sorta kept doing it afterwords, with a mind to keep it going up to the end of the 1980's, meanwhile, with more information and music available as the artists get more recent, so have my features also grown in detail - this being a mixture of the basic facts about the artist and their songs e.g. who wrote them and charting success etc,

The writing I most enjoy are the (subjective) opinions of the songs - which I usually put down while listening to the song - and are mostly positive as I tend to identify with any artist I'm covering, in what they were trying to achieve at that time. Getting back to your suggestion - yes, it's something I have in mind (which is partly why I now include so many song facts which I never bothered with at the start of the series, for future reference) but not right now, I have too much going on, hence limited rime to even just do this on BF - I do things in a hurry when here ... but maybe down the track, in a year or two, who knows?

Anyway, thanks again for your feedback - it's much appreciated
 
Some have criticised George Strait over the years for not writing more of his own material. Not being much of a songwriter, Strait relies heavily on others providing his material. He tends to stick with the same writers. Yet, in 2019, Strait received The President’s Keystone Award from the Nashville Songwriters Association. How so? One might think it strange for Strait to earn a prestigious songwriter’s award, given that throughout his career, he’s been known more as a great song chooser and interpreter, as opposed to a great songwriter. Strait has somewhat famously written very few of his own songs, though there are a few he has written scattered throughout his catalog, especially his latest releases. They just aren't of the type that make for hit singles (I think pretty much anyone with even just basic literacy and a musical feel can right a song - probably not good, but still a song - if they but try, it's not so hard - but writing a hit song? - well that's on a whole different level, and writing multiple hits - that's a skill well beyond the ability of all except a select gifted few).

But the Nashville Songwriters Association wasn’t recognising Strait for his own songwriting efforts. The President’s Keystone Award was given to Strait in “recognition of his contributions toward the betterment of all songwriters". This betterment of songwriters has taken form in many different ways throughout Strait’s career. There are many songwriters who may never have been successful or even had a career, or excelled in the profession as they did if it wasn’t for Strait recording their songs, and being so prosperous with them. This is a testament to Strait’s excellence as a performer and singer.

Songwriter Dean Dillon is one of the few pure songwriters in the Country Music HoF - he was not so good at performing on the stage, but a brilliant songwriter. This would have never happened if it wasn’t for Strait selecting so many Dean Dillon songs to record over his career - and those songs doing so well. Strait recognised both his own limitations as a songwriter and that Dillon possessed the hit-making songwriting talent he himself lacked (and vice-versa). Because of that symbiotic success, Dean Dillon wasn’t just able to make a career out of it. He was able to become amongst the most successful pure songwriters in country music history. Strait was there to personally induct Dean Dillon into the Country Music HoF in 2021.

Jim Lauderdale was one of the most under-appreciated songwriters and performers in country music in the last few decades. But Strait recorded over a dozen of Lauderdale’s tracks, filling up Lauderdale’s mailbox with royalty money and making fans out of the folks who pay attention to songwriting credits. When the Americana Music Association gave Jim Lauderdale a Lifetime Achievement award in 2016, Strait showed up to the Ryman Auditorium to personally pay tribute to Lauderdale, singing 'The King of Broken Hearts' that Lauderdale wrote and Strait sang for the Pure Country soundtrack in 1992.

Keith Gattis was another that Strait helped support over the years. Similar to Lauderdale, hr was incredibly overlooked and underrated throughout his career.. When he was tragically killed in a tractor accident on his property at the age of 52 in 2023, performers from across the country music world stepped up to remember him as one of the good ones. Gattis wrote songs for Strait’s 2013 "Love Is Everything" album and his 2015 "Cold Beer Conversation" album. Family, friends and fans of Gattis gathered at The Brooklyn Bowl in Nashville to pay tribute to the late songwriter in 2023. The 1,200-capacity venue is tiny compared to the places Strait is used to performing in, but there he was, singing the Keith Gattis penned songs 'I Got a Car' and 'Goin’, Goin’, Gone' for the family and attendees.

Other writers to have enjoyed credits on George Strait’s alums include Hank Cochran, Sanger Shafer, Aaron Barker, Curtis Wayne and Wayne Kemp. So yes, some have criticised George Strait over the years for not writing more of his own hit material. But there is nobody in country music more aware of how important his songwriters were to him than Strait. Whenever called upon to prop them up or pay tribute to them, he appears, proving he isn’t just an A+ performer, but a class act as a person.

So where would the George Strait story be without Dean Dillon? Certainly less interesting, if nothing else. But I strongly believe it was his Dillon-penned hits that fit Strait best, challenging him as a vocalist to deliver sophisticated phrasing that smoothed the edges of the idiosyncratic material Dillon wrote. 'Easy Come, Easy Go' is anything but easy to sing, and Strait brings a nuanced range of emotions to his reading of it. On one line, he sounds irritated, the next, sorrowful, and then the next, wearily resigned. If you’re experiencing, or had, a breakup, and feel angry, or bitter, or sad, or indifferent, or even just relieved, you can put this on and think - “Yeah - He feels just like I do".

Released in 1993 as the lead single and title track from his "Easy Come, Easy Go' album" of the same title, it delivered Strait his 25th U.S. and 19th Canadian # 1. Just listen carefully - it's a subtle masterclass performance as Strait delicately moves through the different emotions the lyrics demand, and should be Exhibit A for anyone trying to explain how Strait ended up the most successful country singles artist of all time -


'You Can't Make A Heart Love Somebody' is yet another great example of what separates George Strait from the sea of imitators he’s inspired since his arrival on the country music scene over 40 years ago. Written by Johnny MacRae and Steve Clark, it was released in late 1994 as the second single from Straits "Lead On" album and was Strait's 27 # 1.

In truth, the song, as composed, itself has its faults - it doesn’t have the strongest melody, and the chorus would’ve been clunky if delivered by a singer with less capability than Strait (so that's pretty much all singers). So, given this criticism, why have I selected it here? What it does have is a compelling storyline that hasn’t been told a million times before, and Strait delivers it with such a sense of deep empathy for both parties of the dinner scene, as an earnest marriage proposal ends in rejection, with no happy ending for the song. In case you miss it, the lyrics have a play on the proverb - "You can lead a horse to water but you can't make him drink", as the woman tearfully explains that - despite her best efforts—she is simply not in love with him -
"... You can lead a heart to love, but you can't make it fall" -


'Check Yes Or No' has to be included here as one of the biggest hits of Strait’s career. Written by Danny Wells and Dana Hunt Black, it was released in 1995 as the lead single from his box set S"trait Out of the Box" (another punning album title). With an upbeat melody, tailor-made for country radio. It peaked at # 1 in both the U.S. and Canada. It tells a story of lifelong love that must have rang true to Strait, having himselfeloped and married his high school sweetheart Norma while both were teens - and then remained together for 54 years and still counting.

Though it’s hard to imagine he didn’t see the song as a surefire hit, Strait only decided to record it after he quite literally road tested it in a morning car ride with his then 14 y.o. son, Bubba, who was in a foul mood. The song made his son smile in spite of himself. Years later, Bubba, now a hit-making songwriter, recalled - “I was trying real hard not to like it, but it’s a cool son” – the likely response of anyone who might start off thinking the innocent, upbeat track is just too squeaky-clean to carry weight all these years later. 'Check Yes Or No' inspired a whole host of imitators that only further reinforced the unique nature of the original composition and Strait's peerless delivery, capturing the innocence of childhood – “I think this is how love goes?”, the child questions – while also delivering on the promise of that innocence as the couple are still together all those years later, only now the chasing around happens in the bedroom instead of in the playground -


'Blue Clear Sky' is a simple love song with, as per the title, a slightly awkward lyric. Written by Bob DiPiero, John Jarrard and Mark Sanders, it was released in 1996 as the first single and title track from Strait's "Blue Clear Sky" album. Rhett Akins passed on recording it just because of the back-to-front lyric. But Rhett Akins ain't no George Strait, who can knock out an idiosyncratic song better than anyone, being such a supreme stylist (more on this point tomorrow). Yes, Strait knows it’s “clear blue sky”. Lyricist Bob DiPiero explained - "I went to see the movie "Forrest Gump." About halfway through the movie, Forest has a dialogue where he is talking about his girlfriend, Jenny. The dialogue went ...'Jenny was gone, then all of a sudden, out of the blue clear sky, she was back'.... it grabbed my attention. The next day I was in a songwriting session with John Jarrard and Mark Sanders. I told them about this backwards idea and we wrote 'Blue Clear Sky' about how love seems unfindable and then, out of the blue, you find it".

With its catchy, melodic introduction to the steel guitar weaving throughout this lively, bright and uptempo piece about finding love when all hope seems lost, topped both the U.S. and Canadian charts in 1996. The paean to optimism is honky tonk ready without sounding predictable, thanks in large part to its titular twist on a classic metaphor. It’s still radio filler, but it still sounds fresh and entertaining all of these years later -


A song that serves as a prequel or sequel (either way works) of Straits timeless early 1983 classic 'Amarillo By Morning', 'I Can Still Make Cheyenne' written by Aaron Barker and Erv Woolsey was released in 1996 as the third single from Strait's "Blue Clear Sky" album. In a bizarre coincidence, just like the earlier all-time classic, it only reached # 4 in 1996 but has endured since to be considered now in a better light. Now getting back to 'Amarillo By Morning', the journeyman rodeo circuit cowboy recounts (along with his broken bones) his loves lost -
"... Lost my wife and a girlfriend / Somewhere along the way ..."

In 'I Can Still Make Cheyenne' (on the cattle/cowboy belt, up in Wyoming), when the rodeo cowboy gets fed up with the circuit, he decides to finally come home. But when he calls ahead and the woman on the other end tells him not to bother, he's quick - real quick - to change his mind. He'll just try to make the next rodeo circuit stop in Cheyenne after all, which, no doubt, confirms all her suspicions in the process. If she was testing him - he failed miserably, boldly avoiding a typical happy ending. The plaintive ballad, with its wailing fiddle and wide-open Western feel, deflates a favourite myth as it turns country’s beloved cowboys into road-weary but road-addicted lone rangers, leaving and losing everything behind to look for the next big win -


I always look for stories about artists that might colour up the narrative - and if these stories involve scandal or trouble caused by booze or drugs, well I've never been shy of including such details - so much the better to warm up the narrative with a bit of spice - and such spice has been all too common in this series. The feature on Bob Wills western swing rival, Spade Cooley even included his gruesome murder of his wife!

Well I tried to dig up something - anything - with George Strait, but alas, controversy and scandal that surrounds so many musical celebrities is completely absent from the George Strait lifestyle - unless one includes his teenage elopement to Mexico, but even that "scandal" was annulled by their subsequent church ceremony to keep their parents and in-laws happy - and the fact they've remained devotedly married ever since, for 54 years and still counting.

This fourth-generation Texan cattle rancher who has done OK in the music game, has never been caught up in the Nashville celebrity lifestyle - or any celebrity lifestyle. While so many other artists have fought an on-going battle with the media, striving in vain to keep their private lives out of the tabloid headlines and stop the reporters from going through their trash cans, Strait, a very private person who, over the years, has rarely given interviews and avoided the media as much as he decently can, has been able to maintain the quiet life so many of his contemporaries crave, avoiding the press, the TV cameras, the prying eyes - no doubt helped by simply not giving any cause at all to interest the tabloids. As one 1995 article I came across on Strait put it - "No drugs, booze, gratuitous sex or violence … it’s been another clean-living year for country music’s quietest superstar ..."

Despite his superstar status, Strait never did take that road to Nashville like so many other stars or wannabes, to be at the centre of it all. Instead, except for his brief sojourn in the army, based in Hawaii, he has always lived in Texas, on his cattle ranch with his family, his horses and cows and only comes up to Nashville to record albums and take care of business. He maintains a typically western lifestyle on his ranch, plays golf, does some fishing and hunting as and otherwise, being at heart a quiet, private person when not on stage in front of thousands, spends a lot of time with his family and close friends.

Speaking of those thousands of adoring fans at his concerts, well many of these are female and comparatively young - not Taylor Swift teenage and prepubescent young fandom, these are women I'm talking about, not girls, but still a surprising amount in their twenties and thirties as well as older ones. I'm guessing Strait's impeccable life story - being brought up by his dad after his mother walked out, then his romantic teenage elopement to Mexico with his first love - topped off by him remaining faithful to his one and only love after so many years when, having found fame, he could've had his pick of the cream, as so many others stars do - all this makes him an irresistible attraction for many women. He seems to good to be true.

It's been that way throughout his career. It's been said many times - Strait by name, straight by nature.

So, clocking off today, at the end of 1996, the # 1 hit count for Strait now stands at 30 (with 20 more Top 10) and 23 in Canada. Tomorrow will have the usual daily quota of more # 1 Strait hits, starting from 1997.
 
As we proceed ever more into Strait's never-ending run of success as we enter the late 1990's, it's time to turn attention to George Strait's vocal - which critics agree is one of the finest in country music history. But when explaining how or why this is so, trouble arises - with explanations being often shallow or simplistic or worse still, confusing and contradictory. But make no mistake - having sampled pretty much every county singer worth listening too, I too rate Strait's singing as amongst the very best in country music history. I'll do my best to give a coherent reason why, as it's slightly complicated.

So Strait is a baritone, but only just, at the higher edge of the range. He doesn't possess the classic, strong timbre of Waylon Jennings, he doesn't have the power of a George Jones, Charlie Rich or Chris Stapleton, not the vowel bending wizardry of Lefty Frizzell or George Jones again, nor the pitch-perfect delivery of Jim Reeves and certainly not the vocal range of Marty Robbins. In all of these measurements, there is nothing remarkable about George Strait's vocal compared to other country music greats - yet have no doubt, as a singer, he is right up with the very best. How so?

Stay with me here. When growing up, as already outlined, Strait didn't grow up, as so many of our other artists did, surrounded by music. But that's not to say he didn't at least listen - recall, as a teenager, influenced by the Beatles, he was in a garage band, but what I haven't mentioned to now is that he was also a fan of Frank Sinatra' singing technique - and set out to emulate him. Now this meant reading up on Sinatra, in particular how he developed his voice through intensive vocal exercises. These exercises not only covered the usual - breathing, pitch, control and so forth, but also emphasised the clear enunciation of words, so that every lyric is clearly understood. Listen to any Strait song and tell me you can't hear every single word he sings! These early exercises (which all too few singers bother with these days), laid the foundation of his greatness as a singer - and had he not loved country so much, he really could've made it big time in pop.

I’m not the first call George Strait the Frank Sinatra of traditional country music. But it’s an apt comparison, because for all that he has been imitated, Strait’s vocal style cannot really be replicated. In fact, from the mid-1990's onwards, some of his songs could have passed for pop if it wasn't for the stripped back neo-traditional country accompaniment. In 1995, Strait. fulfilled another dream when he was asked to sing with his idol, Frank Sinatra - "My producer asked me if I'd be interested, and I said, 'Hell, yes!". George and Frank's team-up on 'Fly Me To The Moon' showed up on Strait's 1995 4-CD retrospective, "Strait Out Of The Box" (that pun again), itself a monument to the growing magnitude of his fame.

But furthermore, along with his smooth and soulful delivery and perfect enunciation - in short, a great stylist, it's all done with that perfect Texan drawl. Strait captures hard luck emotions as well as whimsy or passion and romance, in the Hank Williams mould. He also became ever more adept at changing up his emotion at particular moments in a song - he can be light-hearted, jocular, concerned and heart-broken all in the same song - while doing it all so naturally you don't even notice the art in his craft without closely listening.

His stripped-down arrangements always leave room for traditional calling cards like pedal steel and fiddle, yet, they are presented with such restraint, and accompanied by such a warm voice, that the effect is more timeless than retro. His music sounds like it might have been recorded in 1945 or yesterday - and given he still records, yesterday might be the case.Strait has been such a consistent hitmaker for so many years that hearing the subtle changes in his voice over time was like trying to feel the earth spin. He remained too pure of a singer for his voice to ever be described as weathered by time, but it did get richer and deeper. But enough, let's back to Strait's music, stepping back to 1997.

'Carrying Your Love With Me' written by Steve Bogard and Jeff Stevens, was released in 1997 as the 2nd single and title track from Strait's "Carrying Your Love With Me" album. Strait, even after 15 years of sustained success, was enjoying his strongest period of radio dominance, with this being the second multi-week # 1 from the album. It's a simple song about how well love travels - at least in this case - speaking of which, the songs opening lines I reckon as its best -
"... Baby all I got's this beat up leather bag / And everything I own don't fill up half ..."
Though I don't consider the song itself to be amongst the best Strait chose to record,. Strait’s effort here is still good, with a catchy hook that ingratiates itself with repeated listens. Once again, a composition that would’ve been mere radio filler in lesser hands becomes a captivating listen because of Strait’s peerless phrasing skills.

Strait has always kept romance at the heart of his music, and this is a prime example. Sung about a guy who's often away from home but never packs much (yes - I can easily relate to that part of it), the singer gives voice to the deepest kind of love a man can have for a woman - the kind that can sustain him entirely. As such, it's not to be taken too literally - after all, the way Strait sings it, he doesn't need food or clothing, just a goodbye kiss. Good luck with that -
"It's my strength for holdin' on / Every minute that I have to be gone" -

In 2022, 'Carrying Your Love With Me' regained popularity through singer David Morris in his song 'Carrying Your Love', a country rap song (the two genres don't mix, despite the BS out of Nashville) that contains an altered sample of the chorus. This song apparently went viral on TikTok - a thing I've heard of but never seen - that month.

When a pair of legendary singer-songwriters like John Prine (posts 685-695) and Roger Cook team up, you know the results are going to be good. 'I Just Want To Dance With You' is more than good, it’s epic. Prine recorded it himself for his 1986 "German Afternoons" album. It gave Daniel O’Donnell a Top 20 U.K.hit in 1992 and 6 years later, it gave Strait a much bigger one. Released as the first single to his "One Step at a Time" album, it peaked at #1 and even crossed over to # 61 on the Pop chart - a prelude of things to come over the next decade.

There's a surrealistic charm to 'I Just Want to Dance With You' that's unlike any Strait hit before or since it topped the chart in 1998. The Mexican-Spanish guitar is an exquisite addition that entices one to invite their partner (be it wife, girlfriend, or someone just met, perhaps a sassy cowgirl or a sultry senorita) up to the Texan dance floor to hold tight then twirl them right around the floor, to this gentle western two step. Actually, the tender lyrics suggests John Prine and Roger Cook were capturing those very first tender moments of burgeoning teen love -
"... I caught you looking at me when I looked at you / Yes I did, ain't that true? /
You won't get embarrassed by the things I do / I just wanna dance with you /
Oh, the boys are playing softly and the girls are too / So am I and so are you /
If this was a movie, we'd be right on cue / And I just wanna dance with you
..." -


Now get ready for Strait doing rockabilly 1955 style - albeit still with fiddle and steel guitar. 'We Shouldn't Be Doing This', written by Jim Lauderdale, was released in 1998 as the third and final single from his "One Step at a Time" album. It "only" peaked at # 4 in the U.S. and # 2 in Canada, but I've included here because I like for the rockabilly touch Strait playfully adds to this lighthearted romp and also just for the contrast with his other big hits. The single had been released to radio earlier that month, but the first time most heard it was watching the 1998 CMA Awards on TV. Strait, after an appropriate introduction by Vince Gill, just comes out of the gate and blew everybody away -

Oh - in case you were wondering, Strait win the CMA Artist of the Year again for 1998 - just another gong to his vast collection.

'Write This Down', penned by Dana Hunt Black and Kent Robbins, was released in 1999 as the second single from Strait's "Always Never the Same" album and even as country tides were rapidly changing in the 1990s, Strait scored yet another massive hit with this, his 35th # 1 single - his last for the 1990's. It also reached number # 27 on the Pop chart, becoming his most successful crossover singles to date, but with many more to come. As usual, Strait’s phrasing elevates the material of this cleverly written whimsical ditty, which aesthetically could have just as easily been released a decade earlier. It’s dancefloor-ready, perfect for getting a charming Texan belle - or a sassy cowgirl - up to the dance floor for a twirl, it’s totally inoffensive – a country music slam dunk. Strait' enunciation of “... l stick it on your ‘frigerator door ...,” which he then somehow manages to rhyme with “... you can see it for sure...” takes a couplet that would’ve been insufferably corny by someone else and makes it charming and funny instead -

This live music video for 'Write This Down' was filmed at his concert at Raymond James Stadium in Tampa, Florida and premiered in mid-1999. This shows the rock-star like adulation the now mid-forties aged Strait was getting at his live shows, especially by female fans in their twenties and thirties (just a bit older than today's Swifties). While he was popular basically everywhere, in Texas he was more popular and a bigger draw-card than any rock star at the time - and his biggest live concert tour still lay ahead of him.

'The Best Day', written for Strait by Dean Dillon with Carson Chamberlain, was released in 2000 as the first single from his compilation album "Latest Greatest Straitest Hits" (yet another punning title). Now we've already seen one father-son song by Strait, 'Love Without End, Amen'., in which, as I outlined the reasons why Strait would have a special feeling about his own relationship with his son, Bubba, having been raised by his father as a sole parent after his mother had walked out, and then the tragic death of his 13 y.o. Daughter, Jenifer.

If you're not a parent, you may wonder how this song made this cut of Strait songs. But fathers will especially appreciate this sweet tale about the advice a boy gets throughout his life as he grows up. Fathers and sons aren't always the best at expressing their emotions, so Strait does the hard work with this 1 hit from 2000 -

In singing 'The Best Day', Strait surely had in mind his own son, George Strait Jr, who was aged 18 when this came out. Much like his dad, Bubba loves the rodeo and actually became a professional roper after graduating from Texas A&M. When he retired from roping, he stayed in a different family business - music. Ironically showing a very real music talent that his father wasn't supreme in, Bubba has written or co-written with his father a number of songs, including the hits 'Here For a Good Time', 'Living For the Night' and 'Let It Go'

By the end of the the millennium, George Strait, against all odds - considering when he had his very first # 1 hit in 1982, he had already turned 30, an age when a large number of our country hero's had already passed their popular peak and in decline (in Hank Williams case, already dead!) - had racked up 35 # 1 hits in the U.S. - 18 in the 1980's, 17 in the '90's) and had also placed a further 18 Top 5 hits. In addition, he had chalked up 30 # 1 hits in Canada - 14 in the 1980's, 16in the '90's) and had also scored a further 19 Top 5 hits.

All in all, these was a staggering chart success, maintained over nearly 2 decades. Nevertheless, despite defying all expectations by not only surviving the influx of new, younger artists and the immense changes they wrought to country music through the 1990's, led by Garth Brooks, who had even upstaged Strait to be the hottest live country show around, history demanded that Strait's regular forays into the top end of the charts should now come to an end as the new millennium dawned. And earring age 50, with younger acts now grabbing the spotlight, surely his days as a major live event drawcard were at an end.

Well, George Strait didn't quite see it that way. Neither did his immense fanbase.- or the state of Texas.
 
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Having looked 2 days ago at Strait's relationship with songwriters, particularly with Dean Dillon, and then yesterday discussing
his vocals - or more accurately, his singing styling ability, which really sets him apart, today will look at another aspect of George Strait's astonishing success - his almost uncanny ability to pick the right songs to record - and, just like the other aspects of his success, it's not by accident.

While most artists are strongly encouraged to write their own material is generally (though of course, not always) encouraged
as a means to success. But the fact is, while most can write some sort of songs, writing a song that will be popular (let alone listenable) is an art that many singers - even great ones - aren't necessarily good at - and after giving songwriting a go very early in his career, back in the 1970's before his recording career got going, Strait decided it was wiser to let others better than him write the songs - and he'll then choose what to record.

This decision not to write his own songs but rely on the best songwriters, clearly worked to his advantage - but only because he carefully took the time and effort to really make it early. An interview he did in 1995 tells how he went about it - “As ever, the songs dictate what I do. I try to look for the best songs always, and spend a lot of time listening to them throughout the 12 months between each album release. So we go in and out of the studio to record whenever the opportunity allows.”. But on top
of this work was a seemingly innate ability to pick a song that had, in many cases, been rejected by multiple other singers - and turn it into a to a major hit. He Strait did this time and time again

As we shall see on my next post (which may be a few days away due to travel), as his career eventually slowed into his sixties, substantially cutting back his touring, Strait has, to some extent, gone back to his youth, returning to writing, or co-writing, some of his material - and even score a hit with his writing.

But back to Strait's music, starting just after where we left off yesterday in 2001, with 'Run', written by Anthony Smith and Tony Lane. It was released in 2001 as the lead single from "The Road Less Traveled" album, reaching # 2, where it stayed for nearly 3 months while 3 other songs, including from Alan Jackson and Toby Keith, kept blocking it from the # 1 spot. It also crossed over to # 34 on the pop chart. Here we have a new sound for the millennium. The extremely rare Strait power ballad - not Strait's fare - has less of a straight-from-the-honky-tonk feel than his usual catalog. Instead, it almost fits in with the AC sound of the early 2000's, both with its loose, rockish production and non-narrative lyrics. But the progressive elements are balanced by the mandolin and steel guitar, keeping it country. Expansive and impressionistic, this song is really about a mood – specifically,
longing – than the normal country story with witty turns of phrases. Streit sings it convincingly, though, once again proving
his oft-ignored versatility.

So in 'Run' whether it’s by plane, train, truck, car, cab or nikes, the lovestruck narrator just wants his lady to hurry up and get to him. A weepy, steel guitar-led intro sets a yearning tone from the start, making way for Strait to show a rarely seen vulnerable side. After the first two, rather raw verses, emotions heighten in the soaring chorus as he pleads with the object of his affection to “... Run, cut a path across the blue skies ...". But it's the mood that really matters -

In a memorable show, which nearly everyone who was anyone important in country music at the time, performed, Taylor Swift performed 'Run' at the ACM Artist of the Decade All Star Tribute Concert in honour of George Strait (who had won the award, of course) in 2009. This is the one Strait song you would expect Swift to perform.

Depending on how you count it, some claim Strait, scored his 50th #1 hit in 2002, breaking Conway Twitty's record of 49, with 'She'll Leave You With a Smile', which he released as the third and final single from "The Road Less Traveled" - but as I only use Billboard for the charting results in this series, I count it as his 38th # 1 (more on this issue later). Written by Odie Blackmon and Jay Knowles, the mid-tempo song described a woman who is unpredictable, and bound to leave you in the end - but thrilling along the way, totally worth any heartbreak you may suffer in the end. So es, she will have a smile when she leaves - but you will smile too, with all the good memories she'll leave you with - just don't hope for more -

Oddly - and a bit confusingly - Strait had already recorded a different song by the same title just 5 years prior, for his 1997 "Carrying Your Love With Me" album.

As King George entered his fifties, several of his songs included words of wisdom due to the experience he had gained in his life - fittingly for as I've oft said in this series, the best country music is for adults with life experience. This is nowhere more app et than in 'I Hate Everything, penned by Gary Harrison and Keith Stegall, released in 2004 as the lead single from his compilation album, "50 Number Ones" - it must've been included in this album in anticipation of it reaching # 1, which it duly did in 2004 and also crossed over to # 35 (I do wonder what the straight-country Strait thought about his hits now regularly flowing over to the pop chart - though no doubt the extra income was welcome).

So here, in a cautionary tale, a young George pulls up a barstool one evening next to an older down-on-his-luck drinker, drowning his sorrows by “... throwing doubles down ...”. He listens to the man sounding off at all the things in his life he’s taken a dislike to – the bar, his job, his apartment, all the four seasons and (weirdly) most of the colours of the rainbow. The man's bitterness about life serves as notice to George not to proceed down the same broken path as the older patron. He decides to call his wife and patch things up with her before he ends up the same boozed-up sinking boat. He pays for the man’s drinks before he heads home as his way of thanks for the life lesson he has just been given. So far from the rage-fueled rant its title suggests, 'I Hate Everything' is a life lesson about the value of burying the hatchet and choosing forgiveness over bitterness -


'The Seashores Of Old Mexico' was written by Merle Haggard way back in 1969, but it was recleased by Hank Snow in 1971, earning him a Top 10 hit, peaking at # 6 hit in his native Canada. It was then covered by Freddy Weller in 1972, Haggard himself had first recorded it in 1971, but for some reason this recording wasn't released until included in his 1974 "Merle Haggard Presents His 30th Album". Then in 1987 Haggard and Willie Nelson recut the song as a duet and it served as the title song for their second joint alum.

Strait had long had a warm association with Mexico - remember he and his 17 y.o. Girlfriend had eloped there way back in 1960 to marry. He also speaks fluent Spanish, as most who hail from Southern Texas can - in fact about 70% of Texans can speak at least some Spanish), and, like many from where he's from, he's a fan of Tejano music, even though he's never performed it himself - no doubt he would see that as not being authentic, not being of Latino extraction. There's also one more Mexican connection which I'll reveal on my next post. Now all this may explain why Strait chose this song - written by Merle but not amongst his many hits, not even released as a single - to record as a tribute to his idol, the artist who first really inspired Strait to turn his attention to country music with his 1971 tribute album to Bob Wills.

'The Seashores Of Old Mexico' was released as the last single from the 2005 album "Somewhere Down in Texas". By the standards set for any Strait single, this one actually bombed out in the charts at the time, not even reaching the Top 10 - it topped out at # 11 in 2006. However,, it's amongst the Strait songs that have endured with sales long after its release, no doubt helped by the music video. And, as Strait typically does when he does a song specifically as a tribute, his singing takes on some of the aspects of its original artist - so basically, this is Strait's version of being Merle Haggard, and, as you would expect, he does a pretty good job of it -


For over 20 years, Conway Twitty (posts # 514-520) had held the record for the most # 1 singles but in 2006 Strait took that record into with his 41st # 1. Carefully crafted by then up-and-coming singer-songwriter Jamey Johnson, with veterans great Bill Anderson and Buddy Cannon, the ever so slightly rough-and-tumble song sounds like a country classic. Even 43 years into his recording career, it's the undisputed highlight of his 'It Just Comes Natural' album, full of vivid details too specific to sound made up, And Strait was the perfect singer for it, delivering the my-baby-left-me storyline like he still couldn’t quite believe it himself, starting the song like it'll blow over and work out, but the. finding the required hopelessness in the lyrics to make it one of his all-time best songs.

Now this is perhaps the very best example of Strait's great song styling ability I talked about above, as Strait - without even once having to strain his voice - it's all about style and emotion - gives another singing masterclass. At the beginning of 'Give It Away', which works as a sequel to 'Baby’s Gotten Good at Goodbye', a slow groove grounds Strait’s uncharacteristic talk-singing. The song is a little edgier, a little more raw than Strait’s typical fare. At the start, Strait, seemingly not too worried, doesn’t initially believe his partner would actually leave him -
"... She was storming through the house that day / And I could tell she was leaving / And I thought, aw, she'll be back ...".
But he changes his tune when he asks her what to do with certain possessions, and she dismissively tells him to just give it all away,

The bridge reveals she did indeed leave and she ain't coming back - and the now heavy-hearted Strait has a real problem -
"... So I tried to move on / But I found that each woman I held / Just reminded me of that day / hmm ...".

Verse 3 builds the intensity of the song -
"... When that front door swung wide open / She flung her diamond ring / Said, give it away / Just give it away ...". But when he asks if she wants her half, she scornfully replies they're not worth anything fighting over - they've both had enough of fighting.

But listen as Strait, having started the song matter-of-factly, is now in full heartbreak mode in Verse 4 -
"... So I'm still right here where she left me / Along with all the other things / She don't care about anymore /
Mmm, like that picture from our honeymoon / That night in Frisco Bay / She said, give it away / Well, I can't give it away /
And that big four-poster king-size bed / Where all our love was made / She said, give it away / Well, I can't give it away /
...

Then Strait slows the tempo right down as, now despairing, talk-singingly delivers the gut punch of the last three shattering lines - which you will have to listen to the song to find out the end -

The song deservingly won CMA Song Of The Yeas and the ACM Awards for Single and Song of the Year in 2007.

So with todays songs done, I'm now going to address a question that arose above when referring to Strait's 50th # 1, or his 38th - depending on how you count it - 'She'll Leave You With a Smile' You would also note Strait's 2004 compilation double album was titled , "50 Number Ones" - though oddly, it actually contained 51 songs, 50 of which had topped the charts - through the counting method I'll get to next paragraph- with the new track, 'I Hate Everything also included, as per above and became his 51st overall # 1 in 2004 - or his 39th, as I've counted it for this history series.

The reason for the discrepancy is that throughout this series, I've solely used the Billboard charts (have I ever mentioned this before? - I can't recall), which was by far the most used, on couldn't say I industry standard up until the 1990's, with Cashbox, which put a greater emphasis on radio plays rather than record sales being its only rival. Then along came Mediabase which first came to some prominence in the industry in the 1990's. Without going into detail, keeping it basic, its music charts and data are based on logarithms and formulas that take into account the most played songs on terrestrial and satellite radio, taking into car listeners etc in addition to record sales.

In short, the 50 (which now stands at 61) George Strait # 1 hits are a combination of Billboard and Mediabase figures, whereas I'm just sticking with Billboard for consistency for the simple reason that this is what I've used all through the series. Which is
the most accurate? - it's impossible for me to really know of course, but I'd guess it's the combined tally - given that as from November 2022, Billboard has started using Mediabase for the Radio chart, one of the components used to determine Billboard's charts in the U.S. and Canada.

In either case - whether you count just the Billboard tally or the combined Billboard/Mediabase tally - King George holds the record for the most # 1 hits, ahead of Conway Twitty, so I guess it doesn't matter for our purposes. As we leave him today in 2006, my (Billboard) tally has him at 41.

I was to finish George Strait's feature tomorrow but now that's most unlikely as I will be driving most of the day deep into NSW, and to where any internet connection is doubtful, and will be required to stay a few days. I will be back with more - but it might well be 7-8 days down the track.
 
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So I'm back in town, a couple of days later than expected, but ready to resume the epic career of George Strait as its nearing its 4th decade. Although we're getting to the stage where his career does show signs of some decline, at least in terms of his # 1 hit making capacity, and his reign on country radio finally ends as Strait goes into semi-retirement, cutting back substantially on his touring and recording, in other ways his actually had some careers highs, with his actual popularity and influence not at all reducing.

Strait, having already been inducted into the Texas Music HoF in 2003, was elected into the Country Music HoF in 2006, only the second artist, after Eddy Arnold in 1966 (posts # 189-190) to be inducted while still actively recording and producing chart-topping hits and albums. In 2008, the ACM named Strait their Artist of the Decade for the 2000's. In 2010, Strait was named by Billboard as the top country-music artist of the past 25 years. But back to his music, having left off in 2007, we start today in 2008.

"Troubadour", released in 2008, is Strait's 25th studio album This iconic album won Strait his first Grammy Award, and also brought us hits like 'I Saw God Today' (one of the many of Strait's # 1 hits that didn't make the cut for his history) that still stick with fans, along with 'River Of Love'. However, instead of these two # 1 hits from the album, I selected the albums title song. It "only" reached # 7 in 2009 but has lived on to become the most enduring song from the album.

'Troubadour' addresses Strait's 21st century role as an elder statesman of country music, giving flashbacks to his earliest live success with his Ace in the Hole band filling the San Marcos honky tonks longe before any recording. For all his aesthetic nostalgia and staunch commitment to country tradition Strait very rarely reflects on his own past, rarely sounds confessional - though he makes all manner of songs sound like they were pulled directly from his own experience (when in fact, as we have seen with his scandal deprived life, they hardly ever were, apart from his ranching upbringing). But here, in his 56th year in 2098, his voice hardly changed, but his outlook a lot more philosophical, Strait, in one of his more personal moments, looks into the mirror and reflects nostalgically on his own past and all his years as a singer.

Released some 20 years after he’d been dubbed country’s king - a title he still retained,'Troubadour' finds Strait not only reflecting on his impact as an artist, but, affectingly, his mortality. It’s striking to hear the even-keeled icon singing about his feelings, especially on such a knotty, rich song. Strait has had so much obvious, visible fun over his decades as a traveling performer, the downside is easy to miss. But it hasn't been a free ride. Even though 2008's 'Troubadour' commences with the then 56-year-old singer declaring that he feels "... 25 most of the time..l" and still has his hell-raising bonafides in order, this late-period backward glance is an acknowledgement that we all lose our charms in the end. Strait confesses he's not really agreeing with the aging face he sees looking back at him in the damn mirror -
"... Well, the truth about a mirror / It's that a damn old mirror / Don't really tell the whole truth /
It don't show what's deep inside / Oh read between the lines / It's really no reflection of my youth
...".
"... I still feel 25 most of the time / I still raise a little cain with the boys / Honky tonks and pretty women /
Lord I'm still right there with them / singing above the crowd and the noise
...”
I was a young troubadour when I rode in on a song / and I'll be an old troubadour when I'm gone ...” -

'Troubadour' seemed at the time, back in 2009 to serve as a heck of an epitaph for Strait's career, but here we are in 2024, it's now 15 years on - and he's not gone yet, nor even faded away.

Not every worthwhile country song needs to be about heartbreak, home or rural woes. Some moods call for simple, upbeat lyrics about guilt-free fun, and Strait delivers that here, courtesy, of Strait himself and two co-writers: his son, Bubba Strait and his decades long collaborator, Denis Dillon, one of just a few singles he had co-writtenat that stage in his career. The first single and title track from the "Here For A Good Time" album, might be imbued with the celebratory beers and backroads spirit of early 2010's bro-country, but is rescued from that level of horror as it's accompaniment and shuffle is as traditional as it gets. It seems Strait wanted to prove he could hold his own amidst a new generation of faux-country artists with his raise-your-glasses sing-a-long chock full of real country cred -
“... Don’t think for a minute that I’m gonna sit around and sing some old sad song...”


Strait has been accused by some of putting his music on cruise control. A more astute listener can notice the subtle differences between albums. His best songs are timeless, seemingly capable of becoming a hit in the 1980s, '90s, 2000s or now. With its "... very unusual melody and very cool phrasing”, Strait said he was quickly drawn to 'Give It All We Got Tonight'. Written by Tim James, Phil O’Donnell, and Mark Bright, it was released in 2012 as the first single from his "Love Is Everything" album and reached # 7 in 2012, his last Top 10 hit, at age 60 - it peaked ar # 2 on the airwaves chart.

Strait sings with conviction about falling in love for the first time. He's been married to Norma for decades, yet it sounds like they just drove his old pick up truck down that secluded drive in the woods for the first time last weekend. It's a romancer with more sensory cues than pretty much everything Sfrait's ever cut. It's not his best pure vocal performance with that echo - but the imagery used by writers Mark Bright, Phil O’Donnell and Tim James more than fill in any gaps - and there's a killer bass line bringing the song home -
"... Pull over on the side of the road / Oh my God, you're something / Like nothing I've ever seen /
If I'm asleep girl, let me dream
/ ... Summer honeysuckle leaking through the rolled down window /
We both know when that seat lays back / Anything can happen / So imagine it will never end /
Just close your eyes and you can see / That we are where we're meant to be ...
" -


In Jan 2013, Strait launched the biggest, most highly attended tour in country music history in what was supposed to be his farewell tour, The Cowboy Rides Away Tour. The 2 year trek with his Ace in the Hole Band, followed his 2012 announcement that he would be retiring from touring, but not from making music - “I always had it in the back of my mind, when I turned 60, it might be the time to start thinking about it. I didn’t want to book a tour where nobody came". He was joined by opening act Martina McBride for its first leg, kicking off in Lubbock, West Texas.

Strait's concerts were mostly held in large arenas and in six football stadiums across the U.S. All the concerts sold out in minutes. Strait began a second leg of the The Cowboy Rides Away Tour on Jan. 2014. For those shows, a variety of opening acts, including Eric Church, Jason Aldean, Eric Church, Little Big Town, Lee Ann Womack and Luke Bryan, joined Strait. The final of the 48 shows was held in 2014, at the AT&T Stadium in Arlington. Guests, including Alan Jackson, Kenny Chesney, Ronnie Dunn, Vince Gill, Jason Aldean, Sheryl Crow, Martina McBride, Faith Hill and Miranda Lambert joined Strait on stage, which set a new world indoor attendance record, with 104,793 fans in attendance - a record which still stands, not even Taylor Swift breaking it.

In 2013, Texas Governor Rick Perry, announced that May 18, Strait's birthday, would thereon be designated and celebrated as George Strait Day in Texas each year. With his win of the CMA's entertainer-of-the-year award in 2013, he became the only artist ever to win the CMA's prestigious award in 3 different decades and also the oldest winner. Strait also tied with Merle Haggard for the most male vocalist-of-the-year awards.

In the previous post to this, I wrote of Strait's ties to Mexico for 'The Seashores Of Old Mexico' and said there's more on these ties to be revealed - and here it is. Strait invested in the Mexican Código Tequila Company in 2016, a cool little profitable passion project for him. God knows he doesn’t need the money, but like the rest of us, he’ll take it if it’s there. It’s an interesting hobby to keep him busy as he has cut back on his touring and recording, gently easing into semi-retirement. It’s not unusual these days to see folks dabbling in spirits as a side endeavour. Código 1530, co-owned by Strait, is an ultra-premium tequila (it's good stuff is too expensive for me), consumed privately by a small group of Mexican families for years before becoming commercially available. Strait "discovered" it when holidaying in Mexico (Strait's lontime favourite holiday destination). It comes in a variety of different “expressions” such as Blanco and Reposado, and goes from $50 (for the crap) to up to $8,000 a bottle.

By rights, I shouldn't really be including 'Codigo' here - for both its lyrics and music video are a blatant advertisement for the Strait co-owned product it promotes - and many were unaware of his ties to Codigo at the time, though neither the song or video were subtle in it's obvious plug. In his defence, it’s not that unusual for country stars to write jingles to sell products, far from it. One can go all the way back and check out Hank Williams' relationship with Mother’s Best Flour or Willie Nelson singing about the woman with the rose tattoo for Taco Bell. Dale Watson owned a little beer joint just east of San Antonio and cut a song that served to promote it called “Big T’s.

In this case, the song and video, released in late 2018, despite serving as an advertisement for his own product, is simply too good not to include. With its accordion and fiddle, the lighthearted track transports the listener to carefree days where the tequila flows. Another co-wrote with his son, Bubba and Denis Dillon, 'Código' celebrates its namesake tequila, melding the sounds of southwest Mexico and southwest Texas. The traditional music video was filmed on the agave fields in Mexico annd also on Strait's own Texan ranch, where we see guests enjoying western swing dancing, fuelled, one assumes, by Codigo 1530 tequila, either mixed or, of course ... straight. It also features Strait’s still gorgeous wife of over 50 years, Norma Jean -


Codigo had actually been released to radio as a "preview" of Strait's upcoming album, his 30th, the aptly titled "Honky Tonk Time Machine", an accurate description of its neo-traditional honky tonk music. Of these 30 albums, 23 topped the albums chart, including his last 10 consecutive albums. "Honky Tonk Time Machine", released in early 2018, includes a cover of Johnny Paycheck's 'Old Violin', a way of Strait acknowledging his elder statesmen status. However, further developing his late career creative side, Strait co-wrote most of the album's songs with his son Bubba and Dean Dillon, who, as we have seen, had written so many of Strait's singles.

The official lead single,'Every Little Honky Tonk Bar' is a nod to Strait's own music roots in Texan honky tonks and dance-halls, which remained its major inspiration and influence. It serves as a reminder of how good the Strait formula remains, as he finally sounds out of step from the contemporary country sound for about the first time - but, to be clear, that's not a criticism of Strait, but an indictment of how far the mainstream genre had strayed by 2019 - not just from its roots, but from good taste and decent songcraft. This celebration of all those little bars you can still find in any small town - and Texan towns in particular. 'Every Little Honky Tonk Bar' brings back the Strait Texan twang.

Strait, here aged 67, is still in fine voice, and he can still deliver a lyric with nuance and subtlety. This isn’t one of his several dozen all time great singles, but it’s way better than any of the drinking songs you’re likely to hear now on country radio. Strait has stepped back up to tell people what really happens in 'Every Little Honky Tonk Bar'. Instead of leaning on the sleazy pick-up culture that permeates too much of modern mainstream country, Strait does what he’s always done, delivering a neo-traditional, dance-ready track that offers a view of more than just the pretty available woman at the bar. It still has all the ingredients of a George Strait song over the 34 years or so; you know exactly what’s coming - guitars with equal parts texture and sizzle, copious amounts of fiddle and pedal-steel guitar, real drums with some punch, along with some other assorted instruments (piano, organ) for some background atmosphere.
The lyrics have a nod to the immortal song by Hank Williams which I rated, a few years back now, as the greatest song in country music history -
"... Stool holds the fool that pours the whiskey on his broken heart / Cigarettes create the smoke that hides the lonesome in his eyes /
The jukebox plays Hank, 'I'm So Lonesome I Could Cry' / Dance floor holds the folks trying to forget who they are
/ ..."
And then there's another sneaky little plug for Strait's tequila -
"... Neon lights flashing bright 'til you're almost hypnotized / Waitress, short skirt, gets hit on by every guy /
Comin' and goin', always rollin' with the flow / Bartender, pour our drinks, Código, do a shot
/ ..." -


The "Honky Tonk Time Machine" album also included Strait's duet with that other Texan titan, Willie Nelson. In fact, despite enjoying parallel careers, over the last 45 years, it wasn't until then Strait got to sing with Nelson, the song itself humorously sending up the fact Willie had sung with just about everyone - "... even Julio Iglesias..." - before he sang one with "... ole George... ". Apart from music, the the two Texan icons really were very different personalities - Willie, the long plat-haired, dope smoking, 5 times married womaniser, tax dodger who had a distinct rebellious wild side and left of centre politics, compared to the once married, clean living Strait by name, straight by nature, old school conservative, a personal friend of George Bush Snr and family (so not a friend of Donald Trump).

However, once they finally did get together in 2018 for their duet, the two giants of Texas music soon found their mutual knowledge and love of music - with their music taste being almost identical - overcame all their other personality differences - and they have developed a genuine friendship. They sang it again together during a Willie Nelson tribute concert in Nashville in 2019, and in a memorable performance at Willie's 90th birthday concert at the Hollywood Bowl in 2023, they sang the Townes Van Zandt penned classic 'Pancho and Lefty' together, the title track from Nelson's 1983 album with Merle Haggard (posts # 502 & 787).

Apart from music, Strait is a horse person, spending much of his spare time, when he's not fishing or golfing (his other favourite pastimes) in the saddle roping and checking on his cattle. He is so passionate about roping that he owns a team roping ranch in the deep south of Texas, where he raises both cattle and roping horses. Roping is his passion. So much so that for 35 years Strait and his family ran the George Strait Team Roping Classic (GSTRC). Team ropers are a roping duo - oneis the header who accurately lassos the head of the steer and the other is the heeler who quickly, deftly ropes the steer's hind legs of the steer

The GDTRC started in 1983 in deep South Texas as a small, family oriented event, but in 1998 it moved to the George Strait owned San Antonio Rose Palace. The 71-acre facility has two covered arenas, stabling for over 500 horses and seating for 4,500 spectators, holding horse shows and rodeos. It was the largest open team roping in the U.S., with millions of dollars awarded over the years. It was last run in 2017 where there were 583 team roping pairs competing - that is 1,166 people competing which made the GSTRC a big deal. Strait announced the 35th GSTRC would be the last event. Strait was inducted into the Cowboy HoF in 2003.

In 2018, George Strait, at age 66, was named by the Texas Legislature Assembly as the Texan of the Year. By then, he had enjoyed the longest career on radio in country music history and still making the Top 20- and he’d done it without significantly changing his sound along the way. Some tweaks here and there, of course, but no matter how traditional or crossover the genre swung in the past, Strait's music, by staying grounded in its Texan country roots, honky tonk, western swing, pedal steel and fiddle, continued to find its place in the contemporary landscape. Strait's incredible career to date will be concluded, if all goes to plan, tomorrow, as he enjoys yet more career highlights, but tempered by personal tragedy.
 
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Geez....just thinking about some of those mad afternoon and evening sessions launched with the nectar of the agave.
$8,000 a bottle?
Ay, Dios Mio!
Setting his 3 ranches and his Codigo 1530 hacienda, with his expensive cars, luxury ocean going fishing boat, luxury coastal holiday houses in Florida, Rockport Texas, and another in the Colorado ski fields, along with his private golf course and luxury resort in the Texas hill country ... and let's not forget his own Gulfstream G450 business jet worth from $11-15 million, it's fair to conclude Strait appreciates the finer (i.e. very expensive) things in life.

So when, on 'Here For A Goid Time' he sings - "... To hell with the red wine / Pour me some moon shine ...", I don't reckon ole George is telling his truth!
 
In yesterday's post, in 2013/14, Strait, with his Ace In The Hole Band, undertook the most highly attended tour in country music history in The Cowboy Rides Away Tour, promoted as his farewell tour. But it turned out he wasn't done with the stage just yet. Strait was totally straight at the time that he wasn’t disappearing altogether from the public spotlight or retiring from making records entirely. He specifically stated he and his Ace in the Hole Band would continue to perform select dates here or there, when and where it made sense - he just wouldn’t go on any actual tours henceforth. He made good on that promise by announcing a series of shows in Las Vegas in 2016 titled Strait to Vegas. Being based in just the one lucrative location for one season per year was ideal for Strait. Those shows were so successful that he performed more Vegas show each year through 2022.

Strait also given a few scattered performances elsewhere, including a 2019 and 2022 shows at the Houston Rodeo as well as a series of stadium shows in 2023, which all made sense and didn’t really break the “no touring” promise. But arguably, all that just changed come 2024, with Strait going on a 9 date stadium run with Chris Stapleton in 2024, billed as an extension of the sold-out and sometimes record-breaking shows the pair, along with Little Big Town, played during 2023 in Seattle, Milwaukee and Columbus.

The clear highlight of Strait's 2024 stadium concerts was his Texas show on June 15 at Kyle Field in the university city of College Station. Having already set, and still holding, the world indoor attendance of 104,793 for his final farewell on the 2014 The Cowboy Rides Away Tour at the AT&T Stadium in Arlington (see yesterdays post), Strait went one beer, officially shattering the all-time record for attendance at a single concert with 110,905 tickets sold (breaking the previous record of 107,019 in attendance at a 1977 Grateful Dead show at Raceway Park, New Jersey).
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The record-setting show, held just 6 months ago, proves Strait is still very relevant in country music. It’s just that he’s no longer so relevant in the country mainstream, which in turn, is increasingly becoming less relevant to the public at large and more like niche programming itself, while everything ignored by “mainstream” country - like actual authentic country music - is now becoming the mainstream. As has been verified by recent market research (highlighted in at least 2 threads in the BF music forum about old music killing new), older songs continue to rise in popularity and market share compared to newer ones, and that gulf is continuing to grow as today’s consumers continue to show preference in older music. Older songs now make up over 70% of music consumption, and rising.

To underline this point, Universal Music Group Nashville recently played catch up with multiple artists who had RIAA Certifications coming to them for gold (500,000) and platinum (1 million) records. When the new certifications were announced, amongst all the dozens of younger artists, it was the 70 y.o. Strait who came out on top, tied with Chris Stapleton (perhaps not coincidentally Strait's latest touring partner) for the biggest haul - ten. Country radio sounds a lot different than when Strait ceased to be a major factor on it back around 2010, the genre jumping from trend to trend in search of its next big country score. Then again, the whole influence of radio is in retreat before the ever advancing tide of streaming.

Despite not being able to hear him on the radio anymore, Strait remains - and in 2024 even more so - clearly one of the most popular artists is country music in the U.S. - and retained his god like cultural status in Texas. So when the Boss of Rock, Bruce Springsteen, came to Texas in his latest world tour, of course he made sure to get the King Of Country, George Strait, to introduce him (not that he really need an introduction) to the audience, shaking hands and hugging in the Moody Center in Austin, which Strait, along with Willie Nelson, had opened in 2022.

As for recordings, Strait has also cut back a lot as he entered into his semi-retirement. Despite his 2015 "Cold Beer Conversations" album going to # 1 and even climbed to # 4 on the pop albums chart, it took 4 years for Strait's next studio album, "Honky Tonk Time Machine":in 2019 (which also went to # 1 and also to # 4 on the pop albums chart) - and then a further 5 years until 2024, with "Cowboys And Dreamers". Hearing a new George Strait single in this day and age can make one feel like you’ve entered a time warp.

After giving 70,000 fans a sneak preview of his forthcoming studio album during the opening night of his 2024 stadium tour with Chris Stapleton at Indianapolis, Strait released the first single off his 2024 "Cowboys and Dreamers" album,'MIA Down in MIA', a twangy slice of tropical country that feels inspired by the late Jimmy Buffett, Strait taking the "A1A to where the palm trees sway" down to one his own private hideaways, in Miami (yeah, along with his luxury beach house in Rockport, Texas, his 3 Texan cattle and horse ranches, his Texan luxury tourist resort and private 18 hole golf course and his Mexican Codigo 1530 hacienda). But I won't feature it here - it turns out there were much better, more relevant tracks on the album.

Not released as a single, the "Cowboys and Dreamers" title song, was written by Bubba, Dean Dillon's daughter, Jessie Jo Dillon and Keith Gattis. Though not written by Strait himself, it was written specifically for him and feels like one of the most autobiographical songs on the album. The key lyric is -
“...Some days I feel like the last of a dying breed / trying to find where I fit /
somewhere between high on top of the world and / fighting with calling it quits ...".

This explains Strait’s in between semi-retirement but just can't give it up entirely status rather expertly. The song is complimented by a modern traditional sound that is pleasant to the ears like some of the best songs of Aaron Watson -
"... We like our big skies, our West Texas blue highs / Until they cry in the rain /
We're always after some greener pastures / Who won't quit calling our name
..." -

This was one of 3 Gattis co-penned songs on the album. He died in a tractor accident in 2023 at age 52. Gattis was another songwriter Strait helped support over the years. Gattis wrote the song 'I Got a Car' on Strait’s 2013 "Love Is Everything" album, as well as 'Goin’, Goin’, Gone' and 'Let It Go' for Strait’s 2015 "Cold Beer Conversation" album. When Gattis was tragically killed in 2023 in a tractor accident on his property at age 52, Strait sang the Gattis songs 'I Got a Car' and 'Goin’, Goin’, Gone' for the 1,200 crowd at his Nashville tribute. Gattis not only gets 3 writing credits on "Cowboys and Dreamers", for the song 'Rent' that Gattis co-wrote with Guy Clark, Strait starts it off with a little spoken word tribute to the songwriter, producer, and guitar player.

One of the best tracks on the album is one Strait co-wrote with Monty Criswell and Bubba Strait, 'The Little Things'. Here Strait really spells out his philosophy in life at this stage in his career. Growing up on his father's ranch, Strait developed his hard work ethic, which saw him maintain a punishing schedule of up to 250 live shows per year for over 3 decades, as well as recording 33 studio albums in Nashville - which he never lived in, just going their to work. He spent all these years forging his legacy and chasing stardom that he had to sacrifice in many other areas, staying away from his beloved ranching and rodeo, fishing and golfing. And since Strait was always a staunch traditionalist, this often meant working twice as hard as some of his high-flying contemporaries bringing rock-concert like gimmickry, suspended on wires, soaring across stadiums (not mentioning any names - just GB). But, having slowed down in the last decade of his career, the 72 y.o. Strait, clearly enjoying having more time to devote to things he likes, has a different perspective now -
“The secret to life, hey, we all wanna find it / But the more I look, the more that I’m reminded /
What we want is always right there, hiding / In all the little things…” -


I've outlined Strait's record breaking huge stadium crowds, but I'm not really one for those big shows - for me, the smaller, more intimate thé venue, the better. Strait, as we've seen, played with his Ace In The Hole Band for some 6 years in Texan honky tonks and dancehalls to full houses, before breaking through to recording - so these venues are Strait's true home, the inspiration for most of his music. So, being a lover of honky tonk (have I said this too many times?), I thought I'd finish Strait's music selection with a live 2016 performance at the oldest and most famous honky tonk in Texas - Gruene Hall, between San Antonio and Austin.

Written by Casey Beathard and Ed Hill, 'How About Them Cowgirls' was released back in 2007 as the 4th single from the "It Just Comes Natural" album and reached # 3. After singing so many cowboy themed songs, Strait cannily pays homage to the qualities of cowgirls (just as the song title suggests) - of which, in the cow belt, there are more of the than what you might think (we call them jillaroos in Australia). The lyrics of the song also refers to the diminishing range of the open ranch lands, with the overwhelming majority of cattle in the U.S. now raised in feedlots - especially in Texas -

Though Gruene Hall is probably the most famous honky tonk in Texas, I reckon the Broken Spoke dancehall in Austin tops it - it's as traditional as it gets. Bob Wills and the Texas Playboys used to play their ans have about every worthy Texan country musician since. Strait and his band played the Spoke once a week for 7 years and he loved the Spoke so much he used a picture of it on the cover of his 2019 album "Honky Tonk Time Machine". I'ss crammed full of music memorabilia, including a signed poster promoting George Strait’s first appearance at the Spoke on June 24th 1982. Don't miss a night in it if you're ever in Austin.

In 2021, Trent Tomlinson and Jim Collins wrote the tribute song 'Damn Strait'. Tomlinson had also written 'Why Can’t I Leave Her Alone', which Strait recorded for his 2006 "It Just Comes Natural" album. Tomlinson later shared the story of how an old girlfriend bonded with him over Strait songs, and because of their breakup, he couldn’t listen to them anymore - “I loved George Strait as much as she did. It was our thing. We’d dance to a George Strait song for the first time. It was kind of our connection. Long story short, that went to shit. But, I never thought in a million years that I’d turn on my radio and hear a George Strait song and turn the radio off because I didn’t want to hear it. But, I did because of what me and that girl went through.”

Scotty McCreery has written or co-written many of his biggest hits, but he jumped at the chance to record 'Damn Strait', which la died him a # 6 hit in 2021 - “I pretty much had my album "Same Truck" done until I found this song. Nashville is a songwriter’s town, and when you get a song sent to you like this one, you raise your hand very quickly to say, ‘Yes, please. I would love to sing this.’ I mean, if you love country music, you love George Strait, and as soon as I heard this, just how cleverly it was written and all the song titles they had sprinkled in it throughout - the George Strait hits - I just instantly fell in love. I’m so glad I got to sing on this one. It’s one of my favorite songs to sing, even now on the road" -
Scotty McCreery 'Damn Strait' 2022

'Damn Strait' name-checked 6 of Straits big hits in the lyrics. Showing the difficulty in selecting the Strait songs for this history, the first 2 songs name-dropped here didn't actually make it into my selection! Actually, had I ditched any attempt of objectivity and just included my own subjective list of favourites, I would've filled this history with loads of hard core George Strait honky tonk songs found in his albums but never released as singles. His entire song catalog in his 33 studio albums has to be the richest in country music.

Just a month ago, at the 2024 CMA Awards, George Strait, having get a star on the Hollywood Walk of Fame in June 2024, received the CMA's highest award - the Willie Nelson Lifetime Achievement Award - awarded to an iconic artist who has attained the highest degree of recognition in Country Music. It's previous recipients are the inaugural awardee, Willie Nelson (2012), Kenny Rogers (2013), Johnny Cash (2015), Dolly Parton (2016), Kris Kristofferson (2019), Charley Pride (2020), Loretta Lynn (2021) and Alan Jackson (2022). It isn’t handed out every year, but only when one is considered worthy. Strait was the first recipient of the award in 3 years.

The CMA released a statement - "There have been few other artists as authentically Texas and authentically Country as George Strait, and Country Music fans all over the world have been better for it. As a three-time CMA Entertainer of the Year and the most nominated artist of all time, he serves as an inspiration and icon to many of the great, new artists we know today. We are thrilled we are awarding him with this deserving donor”.

George Strait receiving the Willie Nelson Lifetime Achievement Award also meant there was at least be some actual country music during the awards night (the remainder of the night was rubbish and Strait was caught on camera visibly grimacing through some of the dross served up, masquerading as modern country music). The star-studded performance by some of Strait's biggest admirers was by far and away the best part (not that there was any real competition) of the Awards presentation -


So the year 2024 has, in a career sense, been a triumphant year for Strait, still the King of Country, still , at age 72, enormously popular and an icon for a host of others like Garth Brooks, Eric Church and Chris Stapleton to name only a few. But 2024 also dealt some severe tragic body blows to Strait. The community of players, managers, and personnel around George Strait is a small, close-knit family. It’s been the loyalty and continuity of the George Strait camp for going on 45+ years has placed King George at the very pinnacle of the country genre for the lion’s share of that period.

The first post on Strait, now 2 weeks back, outlined the critical role that Erv Woolsey played in Strait finally achieving a recording contract and the resulting success. By 1984, Strait’s career had taken off so well, Woolsey left MCA to become his full-time manager. And that’s where he would remain for the rest of his life, as well as being one of Strait's closest friends - which, after 45 years of service to Strait, ended with his death at age 80 from complications with surgery in March 2024.

The same year that Woolsey started working for George Strait full-time in 1984, fiddle player Gene Elders had just moved to Austin and got a job paining houses, but not for long. Shortly thereafter, he got a call from Strait’s camp looking for a fiddle player. He immediately started to learn all the songs. Strait’s bus took a detour from Houston to a gig in Dallas, swinging through Austin to pick Elders up. His audition happened on the bus, and on the stage later that night. He won the job. Officially joining Strait’s Ace in the Hole band and quickly become a mainstay on stage with Strait. After 21 years playing fiddle for Strait, Elders also won the job as the band’s mandolin player in 2005. On the very same day, just 2 hours after Woolsey passed, Gene Elders, at age 66, also passed away.

And if that wasn't enough, Tom Foote goes so far back with Strait, it was Foote who was mostly responsible for hiring Strait in 1975 to front the San Marcos band called Stoney Ridge, playing mostly honky tonk and Western Swing covers, after their former singer had left. Foote briefly left the band after graduating college, but returned shortly after it reformed as the Ace in the Hole Band behind Strait. Along with playing drums, Foote was also the de facto manager of the band, booking many of the gigs, and handling the logistics. Foote recalled - “We didn’t even know what success was in the music business or how to get it,But the first time I heard George sing, I thought, ‘Well, this my chance to find out“. Tom Foote remained Strait’s drummer until 1983 when he was replaced by Roger Montgomery. But Foote stayed on as Strait’s official road manger - a position he held all the way until his death in April 2024.

Steel guitar player Mike Hale, and bassist Terry Hale are the only remaining original members of the Ace in the Hole Band. Strait released the following statement about the death of Tom Foote - “We lost another one of our good friends and a huge part of our musical journey yesterday. Tom Foote, our one-time drummer and long-time road manager for around 48 years, suddenly passed away at his home after our rehearsal. The band and I were with him most of the afternoon and he was great. Just doing what he loved to do which was making sure we were taken care of. 2024 is taking its toll on the Ace in the Hole group. We’re all heartbroken to say the least. Rest in peace brother Tom. You will be hugely missed. I’ll see you down the road amigo".

Following another of his passions, Strait along with long-time friend and business partner Tom Cusick created the Vaqueros Del Mar (Cowboys of the Sea) Invitational Golf Tournament and Concert held annually at Strait Texas Hill Country Tapatio Springs Resort near Boerne, Texas. The Invitational raises money for the Troops First Foundation, benefiting wounded servicemen, servicewomen and their families. Since its beginning in 2012, more than US$5 million have been raised.

Good music never really gets old or goes out-of-style. It only becomes more cherished. any contemporary male artist who had the greatest influence on him and you'll hear Strait's name first, second or third. Strait was supposed to have (mostly) retired from the road and most everything else 10 years ago, but he now seems as popular as ever, and his music is just as relevant as it’s ever been as the retro cycle and time has been very kind to his catalog. That’s why, seemingly despite his best efforts and avoidance of publicity, Strait just doesn’t seem to be able to stay away.

In 2024, King George Strait's name sits on the very short list of artists as clearly one of the greatest ever in country music history. During his career, George Strait won the coveted CMA Entertainer of the Year award 3 times (1989, 1990 and 2013), as well as 17 other CMA Awards, and is the most nominated artist in CMA Awards history with 83 total. Strait is also a member of the Country Music HoF - though not the Texas Music HoF, as he's still too commercially successful to qualify! These accolades go along with 44 Billboard # 1 or 61 combined # 1 singles (as discussed last post) and 33 Platinum or multi-Platinum-selling albums and having at least one Top 10 hit in the charts for 30 consecutive years - no-one else even comes close to these achievements.

And with that, my last history post for 2024 is done - though Inintend to get an updated index out before Christmas. I think I should be back some time in January with the next major neo-traditional artist - it won't be as long as the Strait section, which I knew would be a marathon one - and made even longer with some Texan digressions.
 
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Now, once again as it’ll be at least a few weeks before any more history gets posted, I’ll leave an updated index. As always, with a few exceptions, it’s order is roughly based upon when an artist breaks through to sustained prominence/stardom. The index to the history includes the sub-genre types of each artist or group. You can use this as a guide to peruse any artist or country sub-genre at your leisure.

And apart from that - Have a merry ccampaignerry Christmas and a happy Western New Year.

Name, Post/s number, State of origin, Key to sub-genre.
BG = Bluegrass (usually traditionally acoustic using traditional instruments including banjo and slap bass)
CB = Country Ballad, e.g. Marty Robbins' 'El Paso' and Johnny Hortons 'Battle of New Orleans', popular in the late fifties to early sixties.
CP = Countrypolitan, an even more refined “Nashville Sound”, with smooth vocals and instrumentals, sometimes including soul or jazz influences
CR = Country Rock, still definably country but with a heavily rock influenced sound, especially the accompaniment.
G = Gospel
GW = Gulf & Western Laidback Island sound with Calypso and/or Reggae influence, developed by Jimmy Buffett. Also called ‘Trop Rock’.
HT = Honky Tonk (baroom "adult" music - usually about breakups, heartaches, drinking, cheating etc) that generally appealed to the rural and working class base, and usually features pedal steel and fiddles.
NS = Nashville Sound, a more sophisticated 'pop country' sound than honky tonk, deliberately appealing to a mass suburban, more middle class audience, thus expanding the country music market.
NT - Neo-Traditionalist, 1980's movement led by Ricky Skaggs and especially George Straits that rescued country music from being buried in pop production elements.
OC = Music associated with the Outlaw era of the mid to late seventies, often with a heavier Country rock influenced sound.
PC = Pop Country. Lighter pop/rock sound appealing to beyond the traditional country market to middle clas suburbia, with Sonny James and particularly Glenn Campbell as breakthrough artists, then climaxed in 1980 and again in the 21st century.
PRC = usually called “Alternative” (or “Alt” for short), a term I dislike (it describes what it ain’t, not what it iis), so i go with Progressive Roots Country, an updated folk-country (TF) sound with a rock influence that became popular in the 1990’s.RR = Rockabilly and/or rock'n'roll (rockabilly generally retaining a more country flavour than straight out R&R) that in the 1950's was generally confined to the youth, mostly teenage base.
SGQ = Southern Gospel Quartet
TC = Traditional Country but without the folk influence.
TF = Traditional and/or folk country (as established by Vernon Dalhart, The Carter Family and Jimmy Rodgers)
TM = Tex/Mex aka Tejano - traditional Mexican, esp North Mexican Norteno and South Texas European influence - including use of mixed English & Spanish lyrics and accordions.
UC = 1980’s “Urban Cowboy” Country Pop sound developed by Mickey Gilley.
WC = Western Cowboy or trail songs - associated with the singing cowboys of the 1930's and 1940s
WM = Western movie music
WS = Western Swing - western dance hall music still very popular in Texas and Oklahoma.

Vernon Dalhart 114-115 Texas TF
The Carter Family 117-119 Virginia TF, G
Jimmie Rodgers 120-122 Mississippi TF, HT
Sons of the Pioneers 123-124 California WC, WM
Gene Autry 125-126 Texas WC, WM
Bob Wills & The Texas Playboys 132-140 Texas WS
Roy Acuff 147-149 Tennessee TF, G
Jimmie Davis 150-153 Louisiana TF
Roy Rogers 154-157 Ohio WC, WM
Elton Britt 159-160 Arkansas WC, TF
Ernest Tubb 161-165 Texas HT
Milton Brown 163 Texas WS
Al Dexter 166-168 Texas HT
Spade Cooley 169-171 Oklahoma WS
Tex Williams 172 Illinois WS
Red Foley 173 & 176-178 Kentucky TF, HT, RR, G
Tex Ritter 179-180 Texas TF, HT, WM
Bill Monroe &
The Bluegrass Boys 181-183 Kentucky BG
Merle Travis 184-186 Kentucky HT, TF
The Stanley Brothers 187-188 Virginia BG
Eddy Arnold 189-191 Tennessee TF, HT, NS, WC
Flatt & Scruggs 194-195 Tennessee BG
Tenessee Ernie Ford 196-197 Tennessee TF, RR
Moon Mullican 198-199 Texas HT, RR
Hank Snow 202-204 Novia Scotia (Can) TF, HT
Hank Williams 205-214 Alabama HT, TF, RR, G
Lefty Frizzell 216-219 Texas HT, TF
Mother Maybelle &
The Carter Sisters 222 Virginia TF, G
Anita Carter 225-232 Virginia TF
Carl Smith 233-234 Tennessee HT, RR
Hank Thompson 235-237 Texas WS, HT, RR
Kitty Wells 238-239 Tennessee HT
Webb Pierce 240-250 Louisiana HT, RR
Jean Shepard 251 Oklahoma HT
Slim Whitman 252-254 Texas WT
Frankie Laine 255-256 Illinois WM
Faron Young 261-262 & 266 Louisiana HT, TF
Ray Price 269-275 Texas HT, TF, NS
Elvis Presley 278-286 Alabama RR, TF, G
Carl Perkins 287-291 Tennessee RR, TF
The Louvin Brothers 294-295 Tennessee TF, G
Johnny Horton 296 & 301 & 308 California. HT, RR, CB
Sanford Clark 311-313 Arizona RR, WT
Marty Robbins 325-330 & 335 Arizona HT, RR, TF, WC, CB, WS, NS, G
Johnny Cash 338-345 Arkansas RR, HT, TF, CB, WT, NS, G
Charlie Feathers 346-348 Tennessee RR
Jerry Lee Lewis 349-352 & 365-367 Louisiana RR, HT, TF, G
Chet Atkins 353-356 Tennessee - world class guitarist and producer of NS
Ferlin Husky 362-364 Missouri NS, G
The Browns 368-369 Arkansas TF, G
Jim Ed Brown 371-372 Arkansas TF, HT
Helen Cornelius 372 Missouri TF, HT
Bobby Helms 377 Indiana RR, TF
Hank Locklin 378-379 Florida HT, TF
Jim Reeves 383-386 Texas NS
Patsy Cline 387-389 Virginia NS
Cowboy Copas 390 Oklahoma TF
The Everly Bros 393-399 Illinois RR, TF
Don Gibson 400-404 North Carolina HT
George Jones 405-412 Texas HT, TF
Western movie themes to 1962 416-419 WM
Leroy Van Dyke 423-424 Missouri RR, HT, TF
Jimmy Dean 428-429 Texas RR, TF, CB, NS
Porter Wagoner 430-432 Missouri TF, G
Roy Drusky 433-434 Georgia NS, TF
Claude King 440-441 Louisiana CB, WC, TF, HT
Ray Charles 443-445 Georgia Soul country
Skeeter Davis 446-448 Kentucky NS, TF
Bill Anderson 449-452 South Carolina TF, NS, BG, G
Bakersfield Sound 455 HT
Buck Owens 456-463 Texas HT
Bobby Bare 464-468 Ohio TF, HT, OC
Nat King Cole 469 Alabama pop country influencer
Sonny James 474-478 Alabama NS PC (influenced by Nat King Cole)
Roger Miller 479-482 Texas TF
Connie Smith 483-486 Indiana NS, TF, G
David Houston 487-488 Louisiana HT, NS
Loretta Lynn 489-493 Kentucky TF, HT
Jack Greene 494-495 Tennessee TF, NS
Merle Haggard 497-502 California TF, HT
Tammy Wynette 503-506 Mississippi TF, HT
Glen Campbell 507-509 Arkansas TF, PC
Charley Pride 510-513 Mississippi NS, PC
Conway Twitty 514-520 Mississippi RR, NS, PC
Western Movie Themes 1964-1970 521-524
Bobby Gentry 531-535 Mississippi TF, PC
Jeannie Riley 537-540 Texas PC, G
Tom T. Hall 543-550 Tennessee TF, BG, CB
Townes Van Zandt 551-555 Texas TF,
Gram Parsons 560-570 Florida HT, TF
Lynn Anderson 573-575 North Dakota, TF, PC, BG, WC, G
Dolly Parton 581-607 Tennessee TF, PC, BG, WC, HT, CB, G
Tom T Hall 611-617 Tennessee TF, BG, CB
Freddie Hart 622-625 Alabama TF, PC, G
Mal Street 627-631 Tennessee HT, TF
Donna Fargo 647 North Carolina PC
Mel Tillis 648-657 Florida RR, HT, TF, PC, OC
Kris Kristofferson 661-667 Texas TF, NS, HT, PC, RR, G, OC
Nitty Gritty Dirt Band California 674-680 TF, BG, RR
John Prine Illinois 685-691+695 TF, CB
Gordon Lightfoot Ontario 696-702 TF, CB, PC
Charlie Rich Arkansas 706-70. RR, CP, G
Johnny Rodriguez Texas 713-716 TM, HT,
Billy “Crash” Craddock North Carolina 721-723. RR, PC, TC
Ronnie Milsap North Carolina 732-737 PC, HT
Olivia Newton John UK/Australia 738-741 PC
John Denver New Mexico 744-748 PC, TF
Don Williams Texas 757-759 TC, TF, CP
Freddy Fender Texas 764-766 TM, CP, PC
Pussycat, Netherlands, 771 PC
Outlaw Artists outline
Billy Joe Shaver Texas 773 OC
Waylon Jennings Texas 774-781 TC, HT, NS, CR, OC
Willie Nelson Texas 782-793 TF, TC, G, WC, CB, HT, CR, OC
Hank Williams Jr Louis 800-807 TC, HT, NS, CR, OC
Johnny Paycheck Ohio 815-821 TC, HT, NS, OC
Sammi Smith Okla 822-823 NS, TC, OC
Tanya Tucker Texas 824-828 TC, NS, CR, OC
David Allan Coe Ohio 830-836 TC, HT, CR, OC
Gary Stewart Florida 840-842 HT, TC, OC
Jerry Jeff Walker New York 844-847 OC, TF, GW
Guy Clark Texas Texas 848-856 TF, OC, TC
Emmylou Harris Alabama 860-873 TF, TC, OC, CR
Linda Ronstadt Arizona 889-893 TC, RR
Crystal Gayle Kentucky 897-902 PC, NS, TC
Mickey Gilley Mississippi 907-909 UC, PC, TC
Jimmy Buffett Alabama 911-924 GW, TC, PC, CR
Kenny Rogers Texas 932-936 PC, CR, UC
Dottie West Tennessee 939-940 NS, PC
Anne Murray Novia Scotia (Can) 946-948 PC, CR
The Statler Bros Virginia 949-952 SGQ, TC, PC, G
The Oak Ridge Boys, Tennessee 961-964 SGQ, TC, PC, RR, G
Eddie Rabbitt, New Jersey, 972-974 TC, PC, UC, CR
T.G. Sheppard, Tennessee, 977-978 TC, PC, UC
Fred Eaglesmith, Ontario (Can) 982-987 PRC, CR, TF, TC
The Bellamy Bros, Florida, 984-997 PC, CR, TC
Johnny Lee, Texas, 1004-1005 UC, PC, TC
Alabama, Alabama, 1,009-1016 CR, PC, TC, BG,
John Anderson, Florida 1,035-1,040 TC, TF
Barbara Mandrell, Texas, 1,052-1,055. PC, CP, CR, TC
Roseanne Cash, California, 1,069-1,071, TF, TC, PC, PRC
Razzy Bailey, Alabama, 1,073-1,074, PC, CR, TC, HT
Earl Conley, Ohio, 1,078-1,082, PC, CR, TC,
1980's Neo-traditionalist brief intro.
Ricky Skaggs, Kentucky, 1,110-1,117, BG, NT, G, TC, TF
Janie Fricke, Indiana, 1,118-1,120, PC, TC, HT
Juice Newton, Virginia, 1,123-1,126. PC, CR
George Strait, Texas, 1,129-1,143 NT, HT, TC
 
Vale to the "Sheik of Scrubby Creek", Chad Morgan. An Australian Country legend for 70 years. Deep down one of the Profs favourites and loved and admired by Australian Country Music followers and artists.

Such was Chad's persona, that it was rumoured that a bloke called Les Patterson modelled himself after Chad. What a role model, he got Knighted, but Chad got an OAM.
 
Last edited:
Vale to the "Sheik of Scrubby Creek", Chad Morgan. An Australian Country legend for 70 years. Deep down one of the Profs favourites and loved and admired by Australian Country Music followers and artists.

Such was Chad's persona, that it was rumoured that a bloke called Les Patterson modelled himself after Chad. What a role model, he got Knighted, but Chad got an OAM.

There was no-one else like the Sheik - a 100% ridgy-didge Aussie icon, with his unique brand of country comedy. The Slim Dusty roadshow provided the perfect stage for Chad's quirky talent.
 

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