My Kind of Country

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

Week ending 9/21/18: #1 singles this week in country music history

1958: Bird Dog / Devoted To You — Everly Brothers (Cadence)

1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)

1968: Mama Tried — Merle Haggard (Capitol)

1978: I’ve Always Been Crazy — Waylon Jennings (RCA)

1988: Addicted — Dan Seals (Capitol)

1998: How Long Gone — Brooks & Dunn (Arista Nashville)

2008: Don’t Think I Don’t Think About It — Darius Rucker (Capitol Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay):

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Tanya Tucker dazzles at Lancaster Fair

The Lancaster Fair, located on a flat grassy fairground in rural New Hampshire, has been carrying on a Labor Day weekend tradition since 1870. In recent years, the featured entertainment has been legacy country acts including Jo Dee Messina, Sawyer Brown and Pam Tillis & Lorrie Morgan. In fact, it was through Tillis herself I found out the fair even existed at all.

The act this year, who plays a free concert at the bandstand with admission to the fair, was Tanya Tucker. Having never seen her live before, I jumped at the opportunity to add her name to my ever-growing concert resume. As I suspected she dazzled the crowd and didn’t skip a beat as she ran through a nice cross-selection of her vast catalog.

What struck me the most, was her vitality. I had very wrongfully conjured up the perception in my mind that Tucker was on her last legs as a performer without much of a singing voice anymore. I’m thrilled to report she couldn’t have looked or sounded more like herself.

Her band opened the performance with a faithful rendition of Vince Gill’s “One More Last Chance” before Tucker graced the stage in a black western button-down, black pants, and a rhinestone-studded belt. She began with “Some Kind of Trouble” and kept the setlist tied to her work from the 1980s and 1990s, running through most of the hits from her well-deserved and celebrated comeback.

The majority of her set was accentuated by her up-tempo material with the gorgeous twangy guitars that always set her apart from the pack. She flubbed, and quickly recovered from forgetting the opening line of “Hangin’ In,” and turned in stellar renditions of “If Your Heart Ain’t Busy Tonight” and “Walking Shoes.”

She referenced 1997’s Complicated, the final album of her commercial peak, to introduce a surprise performance of “Little Things,” her most recent top ten single. It comes off a bit slicker and more pop-leaning than her earlier hits, especially mixed in the company of the earlier hits she performed, but it’s still classic Tucker and remains one of my favorites of hers.

Another favorite of mine, and one of hers too thankfully, is “Strong Enough To Bend,” which was dosed with gorgeous mandolin licks throughout. “Love Me Like You Used To” was equally as wonderful. The biggest surprise was the non-single “Can’t Run From Yourself,” the title track from her 1992 album, and a song she said she’s always liked. Her passion for the track was on fully display and her performance was feisty and incredible.

Mid-way through, she dipped her toes back into the 1970s, beginning with the creepy “What’s Your Mama’s Name” and continuing through “Lizzie and the Rainman” and “San Antonio Stroll.” “Texas (When I Die)” was another highlight, and the perfect excuse for a sing-a-long by the end.

Another detour found Tucker covering a few hits from her favorite artists. She began with a joyous and faithful reading of the Eagles “Peaceful Easy Feeling” before jumping into a unique medley of Bruce Springsteen’s “I’m On Fire” mixed with Johnny Cash’s “Ring of Fire.” Despite the obvious differences between the two songs, Tucker and the band found a way to blend them together perfectly and with ease. She concluded with Merle Haggard’s “Ramblin’ Fever,” which she recorded on her most recent album, the country standards covers record My Turn in 2009. Tucker’s performance was a revelation, and for me, one of the top highlights of the whole night.

Returning to her hits, Tucker somewhat stumbled through “It’s A Little Too Late,” inadvertently switching the first and second verses. Her performance was excellent though, and even included a nice bit of line dancing during the instrumental breakdown. She dedicated “Two Sparrows In A Hurricane” to her parents.

While Tucker doesn’t move on stage like she used to thirty years ago, she did inject her signature personality into the performance. I would say she did a lot of folding her arms and posing at the ends and between songs, but she never once stood still. At one point she even said she’d like to do a Harley trip in the area sometime during the autumn months some year, this after seeing the biggest cow she had ever seen, in the area that day, or possibly even at the fair itself.

If I could find any fault with the show at all, it came as Tucker began an impromptu and long intermission where she signed autographs from the stage for what felt like an eternity. Concertgoers were rushing to the front of the stage in droves for autographs and selfies, much to the disdain of everyone else, like myself, who would’ve rather seen the time filled with more music (such as “If It Don’t Come Easy,” “(Without You) What Do I Do with Me” and “Soon”).

One concertgoer had her sign their copy of her autobiography Nickel Dreams, which had her proclaim the book might’ve been billed as a tell-all but “a lot of people would have to die” before she could really “tell all.” Tucker joked she’ll have to write a sequel (none is currently in the works) and at this point, call it “Quarter Dreams.” She was sharp as a tack, even as people began filling out to get to their cars before a mad rush. Tucker did redeem herself, closing the show with a beautiful medley of “Amazing Grace” and “Delta Dawn,” the latter of which had the audience singing the final chorus back to her.

The crowd was mixed with people ranging from both young to older, with many young boys (5-7 years old) who were moving, grooving, and clearly had music in their souls. It was heartwarming to see young people exposed to authentic and traditional honky-tonk country music, which the seemed to be enjoying.

I also sincerely appreciated the lack of alcohol at the show. People may have had their share of soda, and other drinks, but there wasn’t any beer and the ruckus it causes. It truly was a refreshing thing not to have that added aggravation to potentially put a damper on the night.

I had never been to the Lancaster Fair before, despite having a ski condo in the area for the past 24+ years. I only went for Tucker and she was incredible. I’ve been to many unique and special concerts through the years, and this one was right up there with the best I’ve seen.

I hope this goes without saying, but if Tucker comes to your area, make it your duty as a country music fan to attend the show. She’s still got every bit the swagger she had all those years ago. You will most certainly not be disappointed.

Album Review: Jim Lauderdale — ‘Country Super Hits, Vol. 1’

Released in 2006, Country Super Hits, Vol. 1 is an oddly titled collection, as it sounds like a greatest hits or tribute record when indeed all the tracks are original. But Jim Lauderdale does perform the album in a traditional style, which is a nice change of pace.

Lauderdale co-wrote eleven of the album’s thirteen songs with Odie Blackmon, who is perhaps best known as the writer behind Lee Ann Womack’s “I May Hate Myself In The Morning,” which came out a year prior to this album. The pair kicks the album off with “Honky Tonk Mood Again,” a mid-tempo shuffle about a guy following his woman since she undoubtedly knows where the party is at.

“Playing On My Heart Strings” is a Dwight Yoakam-esque ballad. “Too More Wishes” is a steel-drenched uptempo number about a man who feels luck is on his side. Lauderdale shines on the spellbinding “Cautious,” about a man who’s jumping into his new relationship slowly and surely. A fiddle plays a prominent role on “If You’ve Never Seen Her Smile,” which is as striking as the woman Lauderdale and Blackmon are describing in the lyric. “Right Where You Want Me” is country rock and not to my taste at all and “Are You Okay” is a modernized shuffle.

“Single Standard Time” is reminiscent of Buck Owens and is one of the album’s strongest tracks. “That’s Why We’re Here” is slow and sparse, with Lauderdale exaggerating his twang. The album rebounds with “Change,” which has a wonderful melodic structure and an ear-catching sonic makeup. “You Can’t Stop Her,” about a guy who realizes his girl isn’t ever coming back, is firmly within the 1990s country style and would’ve worked brilliantly in George Strait’s hands during that era.

The album also features two non-Blackmon tracks. Lauderdale teamed with Leslie Satcher for “I Met Jesus In A Bar” and Shawn Camp for “She’s Got Some Magic Going On.” The former is much strong than its title would indicate while the latter has an interesting and engaging melody.

Both songs are very good, as is the album, which owes more to Americana than country, despite the abundance of traditional instrumentation. I highly recommend checking this one out. You won’t be disappointed.

Grade: A- 

Week ending 9/15/18: #1 singles this week in country music history

1958: Bird Dog / Devoted To You — Everly Brothers (Cadence)

1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)

1968: Mama Tried — Merle Haggard (Capitol)

1978: I’ve Always Been Crazy — Waylon Jennings (RCA)

1988: Joe Knows How To Live — Eddy Raven (RCA)

1998: How Long Gone — Brooks & Dunn (Arista Nashville)

2008: Do You Believe Me Now? — Jimmy Wayne (Valory Music Group)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Sunrise, Sunburn, Sunset — Luke Bryan (Capitol Nashville)

Classic Rewind: Alan Jackson — ‘Where Were You (When The World Stopped Turning)’

In remembrance, 17 years later:

Album Review: Jim Lauderdale — ‘Every Second Counts’

Jim Lauderdale released his third album, Every Second Counts, in 1995. His second and final album for Atlantic, it was co-produced by Lauderdale and Dusty Wakeman.

The record opens with “It’s Time When It’s Time,” a rather generic mid to fast tempo rocker. “That’s Not The Way It Works” follows in the same vein, although the melody, while uninteresting, is engaging.

“Don’t Build Your World Around It” is straight up rock, with a cluttered arraignment that somewhat drowns out the lyric. I don’t think it’s a bad song and would benefit from a more traditional accompaniment. Lauderdale co-wrote “Always On The Outside,” a horn-drenched mid-tempo rocker, with Nick Lowe. It’s the first truly interesting song to appear on the album.

I really like the ballad “Charmed” and can see a lot of potential with the track, although the production feels very dated. “Fireball,” the first song that feels like classic Lauderdale, is one of two tracks co-written with Jamie Hartford. The other, “I’m Still Learning How to Crawl,” is an excellent ballad about a man going back to the love he lost, accentuated with muscular guitars.

The overall sonic makeup of the title track really isn’t to my taste, but I do like “Echo,” which appears next. Lauderdale’s delivery on the song is sleepy, but the song is good. “Ready To Ramble” is straight up Americana in the truest sense of the style, and while it isn’t something I would normally gravitate towards, it shows why he’s a pioneer of that genre.

“If You Look Real Close” is far more my speed and a song that grabbed me from the first note. He closes the album with its strangest offering, the bluesy “Bluebell,” which is fine on its own, but it proceeded with a hidden track I couldn’t quite decipher, which sounds like a choral gospel number.

When James Chrispell of AllMusic reviewed Every Second Counts he said Lauderdale was “playing it safe.” I would have to agree and add the music also feels uninteresting and not really all that memorable, even on multiple listenings. I was really hoping to enjoy this album a lot more than I actually did.

Grade: B (for effort)

Week ending 9/8/18: #1 singles this week in country music history

1958: Bird Dog / Devoted To You — Everly Brothers (Cadence)

1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)

1968: Mama Tried — Merle Haggard (Capitol)

1978: I’ve Always Been Crazy — Waylon Jennings (RCA)

1988: Do You Love Me (Just Say Yes) — Highway 101 (Warner Bros)

1998: I’m Alright — Jo Dee Messina (Curb)

2008: You Look Good In My Shirt — Keith Urban (Capitol Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Life Changes — Thomas Rhett (Big Machine) 

 

Week ending 9/1/18: #1 singles this week in country music history

1958: Blue, Blue Day — Don Gibson (RCA)

1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)

1968: Mama Tried — Merle Haggard (Capitol)

1978: Blue Skies — Willie Nelson (Columbia)

1988: I Couldn’t Leave You If I Tried — Rodney Crowell (Columbia)

1998: I’m Alright — Jo Dee Messina (Curb)

2008: Should’ve Said No — Taylor Swift (Big Machine)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Drowns The Whiskey — Jason Aldean Feat. Miranda Lambert (Broken Bow)

Classic Rewind: Nat Stuckey – ‘Sweet Thang’

Album Review: Earl Thomas Conley — ‘Yours Truly’

Richard Landis, who was best known at the time for his work with Lorrie Morgan, produced Earl Thomas Conley’s eighth studio album, Yours Truly, released in June 1991. It was Conley’s final album for RCA, his final to chart (it peaked at #53), and his first not to produce a #1 hit since he joined the label ten years earlier.

The album was preceded by “Shadow of a Doubt,” an excellent and engaging uptempo rocker co-written by actor and singer Tom Wopat. It peaked at #8 yet deserved to go much higher.

The second single “Brotherly Love” was a duet he had recorded with Keith Whitley back in 1987 for the intended follow-up album to L.A. To Miami Whitley had recorded with his producer at the time, Blake Mevis. He convinced RCA to shelve the project, leaving the recordings unreleased.

In 1991, the vocals Whitley and Conley had recorded for “Brotherly Love” were rescued and given a new arraignment by Whitley’s next producer, Garth Fundis. The track served as the lead single for his first official posthumous release, Kentucky Bluebird. It peaked at #2 and was nominated for the CMA Vocal Event of the Year award in 1992, where it lost to “This One’s Gonna Hurt You (For A Long, Long Time)” by Marty Stuart and Travis Tritt.

In a recently unearthed interview Whitley gave to Ralph Emory in 1987, before the album with Mevis was shelved, in fact it was even due for a September release when they spoke, Whitley said it was Joe Galante’s (The head of RCA) idea he record a duet with a male artist on the label. Galante suggested Conley. The excellent ballad, about “a bond that brother’s know” had originally been recorded by Moe Bandy in 1989 and Billy Dean in 1990. Whitley and Conley’s version was the first and only time the song had been recorded as a duet.

Conley’s commercial fortunes would greatly diminish after “Brotherly Love.” His next two singles would be his last to chart, although neither would peak very high. “Hard Days and Honky Tonk Nights,” which he co-wrote with Randy Scruggs, was a rather strong song, buried in production that was dosed in fiddle, yet just too loud. “If Only Your Eyes Could Lie” was a wonderful steel-drenched ballad in his classic style, updated for modern times. The single peaked at 36 and 74 respectively.

The ballad “You Got Me Now” opens the album as a bridge between his classic sonic textures and the updated sound Landis brought to the record. The song is unspectacular but good. “One of Those Days” is also solid, but it lacks a layer of emotion from Conley. The dobro-infused “Keep My Heart On The Line” is an infectious mid-tempo number that wouldn’t have been out of place in Whitley’s hands at all.

The cleverly titled “You’re The Perfect Picture (To Fit My Frame of Mind)” is easily the most traditional I’ve ever heard Conley, and the results are spectacular. This uptempo honky-tonker just might be the best moment he ever committed to record. “Borrowed Money” sounds like something John Anderson might have recorded at the time, and while the two artists are hardly alike, Conley does exceptionally well with this song. “I Want To Be Loved Back” is good, but the distracting, cheesy, and unnecessary backing vocalists are incredibly jarring.

Yours Truly is an excellent album, which to my ears, has aged remarkably well. I love seeing artists with a somewhat updated sound and Conley shines here. “Brotherly Love” is the standout track and well deserved big hit. Go to YouTube and stream everything else. You won’t be disappointed.

Grade: A

Week ending 8/25/18: #1 singles this week in country music history

1958: Blue, Blue Day — Don Gibson (RCA)

1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)

1968: Already It’s Heaven — David Houston (Epic)

1978: Talking In Your Sleep — Crystal Gayle (United Artists)

1988: The Wanderer — Eddy Rabbitt (RCA)

1998: I’m Alright — Jo Dee Messina (Curb)

2008: Should’ve Said No — Taylor Swift (Big Machine)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018 (Airplay): Drowns The Whiskey — Jason Aldean Feat. Miranda Lambert (Broken Bow)

Album Review: Earl Thomas Conley — ‘Too Many Times’

Earl Thomas Conley was coming off of another of his biggest hits “Once In A Blue Moon,” when he readied his sixth album, Too Many Times. It was his first album in two years, the longest he had gone without a proper studio album since his career began. Mark Wright joins Nelson Larkin as co-producer, on what would be ETC’s last big album, peaking at #3.

All but one of the singles topped the charts. The outlier was the first single, the title track, a very smooth and pop/R&B flavored duet with Anita Pointer. It peaked at #2 despite not resembling country music at all.

The second single, “I Can’t Win For Losin’ You” follows a similar sonic path, but sets itself apart with an excellent and memorable chorus. “That Was A Close One” is also of high quality. “Right From The Start” is the album’s strongest single overall, with a production that slightly ups the tempo and allows ETC to dip into his more distinctive lower register.

“Dancin’ With The Flame” is even more uptempo, and while it’s still smooth, it’s a nice change of pace. “Attracted To Pain” has some intrusive muscular guitar on it that gives ETC something to work with, but proves to distract overall.

“Many Forgiving Years” is the most country-leaning song on the album thus far, even if it doesn’t sound like it in the least. The same is true for “I Need A Good Woman Bad,” one of the album’s more excellent offerings both vocally and lyrically. “Preservation of The Wild” is also wonderful, a bit dark, and would’ve worked splendidly in Hank Williams Jr’s hands. “If Leavin’ Was Easy” is also very, very good.

Too Many Times is a strong album, with a handful of some truly great songs, most of which were buried as album tracks. I have a hard time buying most of this as being country, but this is what some of the genre still sounded like in the crossover period when the New Traditionalist Movement pushed out the Urban Cowboy era. All of the tracks can be streamed on YouTube, which I highly recommend doing.

Grade: B+

Week ending 8/18/18: #1 singles this week in country music history

1958:  Guess Things Happen That Way / Come In Stranger — Johnny Cash (Sun)

1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)

1968: Heaven Says Hello — Sonny James (Capitol)

1978: Talking In Your Sleep — Crystal Gayle (United Artists)

1988: Bluest Eyes In Texas — Restless Heart (RCA)

1998: There’s Your Trouble — Dixie Chicks (Monument)

2008: All I Want To Do — Sugarland (Mercury Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018: Mercy — Brett Young (Big Machine)

Album Review: Earl Thomas Conley — ‘Don’t Make It Easy For Me’

Earl Thomas Conley released his fourth album, and third for RCA, in May 1983. Don’t Make It Easy For Me, produced as per usual by ETC and Nelson Larkin, was his most successful album to date, with all four of its singles hitting #1. This was the album that kicked off his successful string of nine consecutive number one hits between 1983-1986.

The album’s first single, “Your Love’s On The Line” was co-written by ETC and Randy Scruggs. The excellent mid-tempo ballad is smooth and hardly country, but Conley sells it with conviction.

He didn’t write his next single, which is arguably his signature song. “Holding Her and Loving You” is an incredible lyric about a conflicted man who must tell his wife he’s in love with his mistress. Conley does the impossible, which is to allow the listener to sympathize with our protagonist’s struggle. His emotion-filled vocal elevates the already great song to new heights.

The next single, the title track, changes the pace and adds a heavy electric guitar to give the track some muscle. The song is very dated and in retrospect, shouldn’t have been a #1 hit at all. I would file this away as one of those songs you couldn’t believe were once considered radio-friendly enough to be a hit. It’s just strange and not to my taste at all.

The fourth and final single “Angel in Disguise” is another wonderful song, this time about a man who finds his fling has turned out to be something more. Go ahead and watch the video on YouTube. It’s hideous but worth the chuckle. I’m glad it exists as an example of the era, but boy is it bad.

Another song from the album given the video treatment is “Crowd Around The Corner,” which is very good, although the video is slightly creepy. “You Can’t Go On (Like A Rolling Stone)” is a bland AC-leaning cautionary tale about a guy who cannot go on living his life as a playboy.

“Ball and Chain” is a charming rocker while “Under Control” maintains the fast beat but adds a heavy synth track into the mix. “Changes of Love” is classic, yet unremarkable, ETC and “Home  So Fine” is the most traditionally structured country song on the album.

Don’t Make It Easy For Me is the embodiment of a country album smack dab in the center of the Urban Cowboy era of country music. It’s so early 1980s and while it undoubtedly worked at the time, it’s aged poorly in the 35 years since its release. “Holding Her and Loving You” is the album’s most worthy and stand out track by a mile. The album is available to stream on YouTube, with all the music videos included, which I highly recommend checking out.

Grade: B- 

Week ending 8/11/18: #1 singles this week in country music history

1958:  Guess Things Happen That Way / Come In Stranger — Johnny Cash (Sun)

1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)

1968: Folsom Prison Blues — Johnny Cash (Columbia)

1978: You Don’t Love Me Anymore — Eddy Rabbitt (Elektra)

1988: Don’t Close Your Eyes — Keith Whitley (RCA)

1998: There’s Your Trouble — Dixie Chicks (Monument)

2008: Good Time — Alan Jackson (Arista Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018: Mercy — Brett Young (Big Machine)

 

Album Review: Earl Thomas Conley — ‘Fire and Smoke’

Earl Thomas Conley made his debut on RCA Records, the label where he would reside for the bulk of his career and enjoy his greatest success, in the fall of 1981. That label debut, Fire and Smoke, was a success out of the gate.

The album was produced by Conley and his collaborator Nelson Larkin. RCA sent it’s first single to radio just over a year before the album hit store shelves. “Silent Treatment,” which Conley wrote solo, is a mid-tempo ballad about a woman giving her guy the cold shoulder, a tactic he says is “working on me.” It peaked at #7, giving Conley his first top ten hit.

The title track became Conley’s first of eighteen number one hits upon release in April 1981. Also solely written by the singer, it features a nice groove and tells the story of a love that was all “fire and smoke” when it was hot, and ash when the fire burned out.

The album’s third single, “Tell Me Why,” was written by John Booth Aclin. It features a muscular production consisting of forceful guitars mixed with steel. Although the lyric is unremarkable, the song peaked at #10.

RCA managed to squeeze one final single from the album, the excellent string-laced ballad “After The Love Slips Away.” It does sort of drone on without a chorus and is a bit slower than the radio offerings preceding it, two factors that may help explain why it stalled at #16. Wikipedia lists the song as “After The Love Slips Away / Smokey Mountain Memories,” the latter being an excellent banjo, fiddle and steel drenched down-home tribute to life amongst the titular mountain range in Tennessee.

“Too Much Noise (Trucker’s Waltz)” finds Conley straining to overcompensate with twang, in order to up the country credibility of the song. “This Time I’ve Hurt Her More (Than She Loves Me)” is a brilliant slice of classic country and one of the strongest cuts on the album.

“Your Love Is Just For Strangers (I Suppose)” is a smoothed over string-heavy unremarkable ballad. “Like Cinderella,” with its sinister vibe, is one of the album’s weaker offerings and one of my least favorite. “As Low As You Can Go,” with it’s spoken intro, is really just more of the same and another not to my taste.

Fire and Smoke is an album trying to be a little bit to everyone, and for the most part, it succeeds. I was pleasantly surprised to find a few instances of actual country music among the ten tracks, moments like “Smokey Mountain Memories” and “This Time I’ve Hurt Her More (Than She Loves Me)” that Conley executes with ease. It’s clear he was just getting started and finding his way.

Grade: B

Week ending 7/28/18: #1 singles this week in country music history

1958:  Guess Things Happen That Way / Come In Stranger — Johnny Cash (Sun)

1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)

1968: Folsom Prison Blues — Johnny Cash (Sun)

1978: Only One Love In My Life — Ronnie Milsap (RCA)

1988: Don’t We All Have The Right — Ricky Van Shelton (Columbia Nashville)

1998: I Can Still Feel You — Colin Raye (Epic)

2008: Home — Blake Shelton (Warner Bros. Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018: Get Along — Kenny Chesney (Blue Chair/Warner Nashville)

Classic Rewind: Tennessee Ernie Ford — ‘Peace In The Valley’

Week ending 7/21/18: #1 singles this week in country music history

1958:  Guess Things Happen That Way / Come In Stranger — Johnny Cash (Sun)

1958 (Disk Jockeys): Alone With You — Faron Young (Capitol)

1968: Folsom Prison Blues — Johnny Cash (Sun)

1978: Only One Love In My Life — Ronnie Milsap (RCA)

1988: Set ‘Em Up Joe — Vern Gosdin (Columbia)

1998: I Can Still Feel You — Colin Raye (Epic)

2008: Home — Blake Shelton (Warner Bros. Nashville)

2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)

2018: Get Along — Kenny Chesney (Blue Chair/Warner Nashville)

Classic Rewind: Jeannie Seely & Lorrie Morgan – ‘End of The World’