My Kind of Country

Country music from a fan's point of view since 2008

Week ending 3/11/17: #1 singles this week in country music history

1957 (Sales):Young Love — Sonny James (Capitol)

1957 (Jukebox): There You Go/Train of Love — Johnny Cash (Sun)

1957 (Disc Jockeys): Young Love — Sonny James (Capitol)

1967: Where Does The Good Times Go — Buck Owens (Capitol)

1977: Heart Healer — Mel Tillis (MCA)

1987: Mornin’ Ride — Lee Greenwood (MCA)

1997: Me Too — Toby Keith (A&M)

2007: Ladies Love Country Boys — Trace Adkins (Capitol)

2017: Body Like a Back Road — Sam Hunt (MCA)

2017 (Airplay): Better Man — Little Big Town (Capitol)

7 responses to “Week ending 3/11/17: #1 singles this week in country music history

  1. Luckyoldsun March 16, 2017 at 2:20 am

    “Mornin’ Ride” is a classic of that certain type of country. You can tell that the writers had a blast trying to see how far they could go with the lyrics. Lee Greenwood said when he heard it: “Can I really do this?” –But Lee plays it totally straight on the record, never letting on to what the song’s about. That’s got to be what got it on the radio. The guy who had to be really teed was Conway Twitty. He said: “Why didn’t they bring that song to me?!” God Bless the U.S.A.!

    • Ken March 17, 2017 at 10:54 am

      This is one of numerous songs that have used the double entendre device to include risque meanings. Most radio stations had no problem programming songs of that nature as long as the lyrics were not graphic or blatantly sexual and only infer that connotation. Saying that Lee “plays it totally straight on the record, never letting on to what the song’s about” is ridiculous. Of course Greenwood sang the lyrics exactly as they were written. The concept of the writers was to compose clever lyrics that could be interpreted in different ways. Would you expect Greenwood to add a narration that describes a very graphic interpretation? Ridiculous.

      And please present evidence that Conway Twitty was “really teed” that the song was not offered to him.There are thousands of songs created in Nashville each year and not every artist has access to every new song. Conway Twitty especially knew that as he staked his career on finding the best material for every session. Every artist hears hit songs by other acts that they wish they could have recorded first. But Conway was very aware of the reality that not every song could be his and did not exhibit animosity when he missed one. Those same writers just might compose the next Conway Twitty hit. Conway was not petty as you imply. He was a consummate professional and a businessman.

      • Paul W Dennis March 17, 2017 at 1:48 pm

        Conway never seemed to mind the success of other artists. On more than one occasion he came across a song that he liked that the writer or another artist recorded, On those occasions he would simply wait to see if the other artist had a big hit with it. If the song didn’t hit, then Conway would record it .

        • Luckyoldsun March 17, 2017 at 8:34 pm

          I looked it up. Conway had scored his final #1–“Desperado Love”–in 1986, the year before this song came out, but he was still hitting #2 in 1987 with songs like “Julia” and “I Want To Know You.” I think if Conway had gotten a hold of “Mornin’ Ride,” he would have murdered it–nailed it to the wall for another #1 smash, a la “Slow Hand.” But Greenwood got it and obviously, he did a good job on it, as it went to #1. It also turned out to be Lee’s last #1 hit.

        • Ken March 18, 2017 at 10:59 am

          And how does this support your ridiculous contention that Conway was “really teed” that “Mornin’ Ride” was was not offered to him? Lee Greenwood made the song a #1 hit. Cannot see how Conway could have improved upon that.

  2. Luckyoldsun March 18, 2017 at 2:19 pm

    You know I love you Kenny, but I don’t have time to play now. Sorry.

  3. Ken March 18, 2017 at 2:44 pm

    I know. When you cannot defend your comments it’s time to fold up your tent and move on.

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