My Kind of Country

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

Tag Archives: Earl Thomas Conley

Album Review: Conway Twitty – ‘Borderline’

Released in March 1987, Borderline marked Conway’s return to MCA after five year interlude with Elektra/Warner Bros. Frankly, other than the Lost In The Feeling album, I really had consistently disliked his recent output.

I received this album as a birthday present in April 1987. While I had high hopes for a return to the earlier Twitty sound my hopes were dashed when I read the back of the album and saw the following:

Musicians:

James Stroud – Drums
Emory Gordy, Jr. – Bass
John Jarvis – Piano
David Innis, Mike Lawler – Keyboards
Richard Bennett – Acoustic Guitar
Reggie Young, Fred Newll – Electric Guitar
Background Harmonies – Vince Gill and Conway Twitty

That’s right – no John Hughey, or any other steel guitar player for that matter.

My expectations suitably lowered I put the album on the turntable and played it. The album opened up with the first single release, John Jarvis-Don Cook song “Julia” which topped out at #2. This song is bland 80s ballad with cocktail lounge production. The song itself is not bad, but the production ruins it for me.

Brent Mason and Jim McBride collaborated on “Lonely Town”, a mid-tempo song about a one night stand. I would have picked this song as for single release. By the standards of this album, this was a country song

She gave into him last night
She thought he was Mr. Right
But he left like all the others
Before the morning came around

Same old story in lonely town
The sun comes up, the heart goes down
She’s tried everything she knows

Come so far and yet so close
She keeps searching for the magic
But it’s nowhere to be found
But that’s how it is in lonely town

The sun comes up, the heart goes down
There’s got to be a way out
Someday she’ll find it, she won’t always be alone

The one she’s been waitin’ for
Will turn her life around and take her away
From this lonely town

The sun comes up, the heart goes down
There’s got to be a way out
Someday she’ll find it, she won’t always be alone
The one she’s been waitin’ for
Will turn her life around and take her away
From this lonely town

Track three was “I Want To Know Before We Make Love” by Candy Parton and Becky Hobbs. Good advice no doubt – no point getting involved with a sociopath – but I think this song works better from the femine perspective. This song also reached #2.

Track four is the title track “Borderline” a decent song marred by cheesy 80s production. Walt Aldridge wrote this song. He wrote several #1 records for the likes of Earl Thomas Conley, Ronnie Milsap, Alabama and Travis Tritt.

Track five (the last track on side one of the vinyl album) concludes with “Not Enough Love To Go Around”  a slow R&B ballad that is nice but ultimately uninteresting.

Track six is “Snake Books”, written by Troy Seals. Troy wrote many great songs, but this wasn’t one of them. This is followed by “I’m For A While” by Kent Robbins, a generic song about a man who swears that he is not looking for a one night stand.

Most songs written by committees stink, but “Fifteen To Forty-Three” by Don Goodman, Frank Dycus, Mark Sherrill and John Wesley Ryles is a terrific ballad about a fellow sorting through a box of memories and regrets. This has a very country feel to it and would have made a great single.

<blockquote>I just cut the string
On a dusty old shoe box
And opened a door to the past
Now I’m sittin’ here with my souvenirs
And these faded old photographs.

Fightin’ back tears
Lookin’ back through the years
And wonderin’ why dreams fade so fast
Now the young boy I see
Don’t look like the me
Reflected in this old looking glass.

The man in the mirror
Sees things so much clearer
Than the boy in the pictures
With his eyes full of dreams
Oh, the men that I’ve tried to be
From fifteen to forty-three
Never believed that they’d end up like me.

The ninth track “Everybody Needs A Hero” was written by Troy Seals and Max D Barnes. It’s a great song that Gene Watson released as a single. Although Conway does a nice job with the song, it is not quite as nice as Gene’s version (I like the production on Gene’s record better).

The album closes with Gary Burr’s “That’s My Job”, the last single released from this album. The single reached #6 but deserved a better fate. It is one of the best songs Conway ever recorded

I woke up crying late at night
When I was very young.
I had dreamed my father
Had passed away and gone.
My world revolved around him
I couldn’t lay there anymore.
So I made my way down the mirrored hall
And tapped upon his door.

And I said “Daddy, I’m so afraid
How will I go on with you gone that way?
Don’t want to cry anymore
So may I stay with you?”

And he said “That’s my job,
That’s what I do.
Everything I do is because of you,
To keep you safe with me.
That’s my job you see.”

Borderline was one of Conway Twitty’s last big hit albums, reaching #25, higher than any subsequent Conway Twitty studio album would reach. There are some good songs on this album, but the filler truly is filler and the production sounds as phony as most late 1980s country production. This album is somewhere between a C and a C+.

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Week ending 11/4/17: #1 singles this week in country music history

1957 (Sales): Wake Up Little Susie — The Everly Brothers (Cadence)

1957 (Disc Jockeys): Wake Up Little Susie — The Everly Brothers (Cadence)

1967: You Mean the World to Me — David Houston (Epic)

1977Heaven’s Just a Sin Away — The Kendalls (Ovation)

1987: Right From the Start — Earl Thomas Conley (RCA)

1997: Everywhere — Tim McGraw (Curb)

2007: Don’t Blink — Kenny Chesney (BNA)

2017: What Ifs — Kane Brown ft Lauren Alaina (RCA)

2017 (Airplay): When It Rains It Pours — Luke Combs (River House/Columbia)

Week ending 7/8/17: #1 singles this week in country music history

1957 (Sales): A White Sport Coat (and a Pink Carnation) — Marty Robbins (Columbia)

1957 (Disc Jockeys): Four Walls — Jim Reeves (RCA)

1967: All The Time — Jack Greene (Decca)

1977That Was Yesterday — Donna Fargo (Warner Bros.)

1987: That Was a Close One — Earl Thomas Conley (RCA)

1997: It’s Your Love — Tim McGraw with Faith Hill (Curb)

2007: Lucky Man — Montgomery Gentry (Columbia)

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

2017 (Airplay): God, Your Mama, and Me — Florida Georgia Line ft. The Backstreet Boys (Republic Nashville)

Week ending 3/4/16: #1 singles this week in country music history

92df52cf5d67b83799c3a62467aef3291957 (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: I’m a Lonesome Fugitive — Merle Haggard (Capitol)

1977: Say You’ll Stay Until Tomorrow — Tom Jones (Epic)

1987: I Can’t Win For Losin’ You — Earl Thomas Conley (RCA)

1997: Running Out of Reasons to Run — Rick Trevino (Columbia)

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)

Album Review: Clay Walker – ‘Live, Laugh, Love’

live laugh loveAs the 90s drew to an end, Clay stopped working with former producer James Stroud. His blandly titled 1999 album was co-produced by the artist with Doug Johnson, and saw the artist moving in a more R&B direction.

Lead single ‘She’s Always Right’ (written by Lonestar’s Richie McDonald with Ed Hill and Phil Barnhart) is a rather bland contemporary ballad about a happy marriage. Clay sings it soulfully, but the song isn’t at all memorable. It reached #16 on the Billboard country chart. The theme is repeated later on the album with the very similar ‘Woman Thing’, written by Larry Boone, Tracy Lawrence and Paul Nelson.

The beachy title track was a little more successful, peaking just outside the top 10. Written by Gary Nicholson and Allen Shamblin, it has Caribbean instrumentation and a syncopated vocal which haven’t worn well.

The album’s biggest hit at #3, ‘The Chain Of Love’, written by Rory Lee Feek and Jonnie Barnett, marked returned to more conventional country territory. The warm hearted story song offers a sweet tale of kindness from strangers.

The self penned big ballad ‘Once In A Lifetime Love’ wasn’t really a country song, and although Clay sings it well, at the turn of the millennium that was still enough to deny it any chart action when it was the album’s last single. Clay and his co-writer Jason Greene also contributed the pleasant but dull ‘Lose Some Sleep Tonight’ and the disastrously ill-judged ‘Cold Hearted’, a feeble attempt at an R&B song which falls completely flat.

‘This Time Love’ is a soul-drenched ballad which is okay on its own terms, but has nothing to do with country music.

‘If A Man Ain’t Thinking (‘Bout His Woman)’, written by Buddy Brock, Debi Cochran and Jerry Kilgore, on the other hand, is a country song, and very good. The mid-paced ‘It Ain’t Called Heartland (For Nothin’)’ is also quite enjoyable.

The best song is a cover of Earl Thomas Conley’s ‘Holding Her And Loving You’. Clay doesn’t bring anything new, but he sings it with emotion.

Clay sings with great commitment and enthusiasm on this album, but not much of it can really be classified as country. Listeners with more eclectic tastes may like this better than I did.

Grade: C-

Week ending 5/7/16: #1 singles this week in country music history

mickey-gilley-041956 (Sales): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Jukebox): Heartbreak Hotel/I Was The One — Elvis Presley (RCA)

1956 (Disc Jockeys): Heartbreak Hotel — Elvis Presley (RCA)

1966: I Want To Go With You — Eddy Arnold (RCA)

1976: Don’t the Girls All Get Prettier at Closing Time — Mickey Gilley (Playboy)

1986: Once in a Blue Moon — Earl Thomas Conley (RCA)

1996: You Win My Love — Shania Twain (Mercury)

2006: Who Says You Can’t Go Home — Bon Jovi with Jennifer Nettles (Island)

2016: Somewhere on a Beach — Dierks Bentley (Capitol)

2016 (Airplay): Confession — Florida Georgia Line (Republic Nashville)

Album Review: Lorrie Morgan – ‘Letting Go … Slow’

51bUlVvWr7LI’ve been a fan of Lorrie Morgan ever since I first saw her video of “Trainwreck of Emotion” on TNN back in 1988. I’ve followed her career ever since, though admittedly not quite as closely since her days as a major label artist ended about 15 years ago. I’ve always felt that the true artists are the ones who continue to make music after they’ve peaked commercially. Morgan certainly falls into that category; she released three solo albums and one collaboration with Pam Tillis in the years since her tenure with BNA Records ended. But post- commercial peak projects are often a mixed bag, particularly for artists who don’t write a lot of their own material. Finding good songs is frequently a challenge – and then there is the added problem of declining vocal power, which often plagues aging artists.

Fortunately, Morgan has overcome both of those obstacles on her latest collection Letting Go … Slow, which was released by Shanachie Entertainment last week. In an interview with Country Universe she said that she spent a considerable amount of time working to get her voice back in shape. The effort has paid off in spades; she sounds better on Letting Go … Slow than she has in years. And although she relies heavily on cover material to compile an album’s worth of songs, she’s managed to dig a little deeper and come up with some gems that are deserving of another listen but have been largely overlooked by the plethora of artists releasing covers albums in recent years. Read more of this post

Week ending 12/19/15: #1 singles this week in country music history

p12475vpn551955 (Sales): Sixteen Tons — Tennessee Ernie Ford (Capitol)

1955 (Jukebox): Love, Love, Love/If You Were Me — Webb Pierce (Decca)

1955 (Disc Jockeys): Love, Love, Love — Webb Pierce (Decca)

1965: Make the World Go Away — Eddy Arnold (RCA)

1975: Love Put a Song In My Heart — Johnny Rodriguez (Mercury)

1985: Nobody Falls Like a Fool — Earl Thomas Conley (RCA)

1995: Tall, Tall Trees — Alan Jackson (Arista)

2005: Tequila Makes Her Clothes Fall Off — Joe Nichols (Universal South)

2015: Die a Happy Man — Thomas Rhett (Valory)

2015 (Airplay): Nothin’ Like You — Dan + Shay (Warner Bros.)

Reissues wish list: part 3 – RCA and Columbia

carl smithWhen speaking of the big four labels we need to define terms
Columbia refers to records originally issued on Columbia, Epic, Harmony or Okeh labels. Okeh was used for so-called minority interest recordings. Columbia also owned Vocalion for a while. RCA refers to recordings on the RCA Victor and RCA Camden labels.

RCA

In addition to folks such as Chet Atkins, Jim Reeves, Dolly Parton, Eddy Arnold, Connie Smith and Charley Pride, RCA had a fine group of second tier artists including Kenny Price, Porter Wagoner, Jim Ed Brown, Stu Phillips, Nat Stuckey, Jimmy Dean, Norma Jean, Skeeter Davis, Dottie West, Bobby Bare, The Browns and Jerry Reed.

Bear Family has released multiple boxed sets on several RCA artists including Connie Smith, Don Gibson, Waylon Jennings and Hank Snow who have multiple boxed sets (essentially everything Hank Snow recorded while on RCA – forty plus years worth of recordings is available on Bear). Enough Waylon has been released that what remains doesn’t justify a wish list.

What is really needed is for someone to issue decent sets on Kenny Price, Jim Ed Brown (without his sisters or Helen Cornelius), Norma Jean, Dottsy, Liz Anderson and Earl Thomas Conley. There is virtually nothing on any of these artists. Jimmy Dean recorded for RCA for about six years but nothing is available from his RCA years which saw some really fine recordings, including the best version of “A Thing Called Love“.

I would have said the same thing about Charley Pride but recent years have seen various Charley Pride sets become available, so we can take him off our wish list.

COLUMBIA RECORDS

When you think of Columbia Records, names such as Johnny Cash, Ray Price, Carl Smith, Stonewall Jackson, Flatt & Scruggs and Marty Robbins spring immediately to mind, but the well is deep and that doesn’t even count sister label Epic which boasted names like David Houston, Tammy Wynette, Charlie Rich, Jody Miller, Johnny Paycheck and Bob Luman.

By and large foreign and domestic reissues abound for most of the bigger names, but even here there are some major shortfalls.

Carl Smith recorded for Columbia through the early 1970s and while his 1950s output has been thoroughly mined, his sixties output has barely been touched and his seventies output (“Mama Bear”, “Don’t Say Goodbye”) completely neglected. Smith’s recordings increasingly veered toward western swing as the sixties wore on, but he recorded a fine bluegrass album, and a tribute to fellow East Tennessean Roy Acuff. His outstanding Twenty Years of Hits (1952-1972) recast twenty of his classic tunes as western swing. A good three CD set seems in order.

I could make a good case for electing David Houston to the Country Music Hall of Fame. From 1966 he had thirteen #1 hits and a bunch more top ten and top twenty recordings. “Almost Persuaded” was his biggest hit but there were bunches of good songs scattered across his many albums. A good two CD set is a must, and I could easily justify a three CD set.

While Sony Legacy issued a decent Johnny Paycheck single disc hits collection, it is long on the later stages of his career and short on the earliest years. Paycheck released over thirty singles for Epic from 1972–1982 and it’s about time someone collected them on a good two (or preferably three) disc collection along with some key album cuts.

Moe Bandy achieved his greatest commercial success while recording for Columbia. Between chart singles and album cuts Moe warrants at least a decent two CD set, and please leave the ‘Moe & Joe’ nonsense out of the mix.

Columbia has a lot of artists that would justify a single or double disc hits collection: David Wills, Al Dexter, Ted Daffan, David Rodgers, Connie Smith, Carl & Pearl Butler, Tommy Cash, David Frizzell, Bob Luman, Jody Miller, Barbara Fairchild, Barbara Mandrell, Charlie Walker and Sammi Smith.

Week ending 8/1/15: #1 singles this week in country music history

65d4876d6c6750a7cc2bf6e0f47728951955 (Sales): I Don’t Care/Your Good For Nothing Heart — Webb Pierce (Decca)

1955 (Jukebox): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Disc Jockeys): A Satisfied Mind — Porter Wagoner (RCA)

1965: Before You Go — Buck Owens (Capitol)

1975: Touch the Hand — Conway Twitty (MCA)

1985: Love Don’t Care (Whose Heart It Breaks) — Earl Thomas Conley (RCA)

1995: Any Man of Mine — Shania Twain (Mercury)

2005: As Good as I Once Was — Toby Keith (DreamWorks)

2015: Girl Crush — Little Big Town (Capitol)

2015 (Airplay): Tonight Looks Good On You — Jason Aldean (Broken Bow)

Week ending 4/18/15: #1 singles this week in country music history

IQ0000048321955 (Sales): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Jukebox): In The Jailhouse Now — Webb Pierce (Decca)

1955 (Disc Jockeys): In The Jailhouse Now — Webb Pierce (Decca)

1965: King of the Road — Roger Miller (Smash)

1975: Always Wanting You — Merle Haggard (Capitol)

1985: Honor Bound — Earl Thomas Conley (RCA)

1995: The Heart Is A Lonely Hunter — Reba McEntire (MCA)

2005: That’s What I Love About Sunday — Craig Morgan (Broken Bow)

2015: Take Your Time — Sam Hunt (MCA)

2015 (Airplay): Homegrown — Zac Brown Band (Southern Ground/Big Machine)

Album Review: Dean Dillon & Gary Stewart – ‘Brotherly Love’

0124albums018The pairing of Dean Dillon with Gary Stewart seems an odd one; often these types of collaborations are meant to garner some attention for a newcomer or revive the flagging career of a veteran. But in 1981, neither artist had the commercial pull to carry the other; Dillon was still a newcomer hoping for a breakthrough and Stewart’s career was on a downward spiral. 1982’s Brotherly Love did nothing to change the commercial fortunes of either artist, but nevertheless it is a good — though not great — collection of songs.

Brotherly Love features duets as well as solo efforts by both artists. The title track was co-written by both artists and released as a single in advance of the album in 1981. The duet is not the Keith Whitley and Earl Thomas Conley hit that appeared a decade later. Rather it is about two brothers planning for a night out on the town with two sisters from the local honky tonk. Although pleasant, it lacks subtlety and is ultimately not very memorable. It was the album’s highest ranking single, peaking at #41. The uptempo “Play This Working Day Away” finds the pair trying to remedy their situations of all work and no play. It reached #74. It was followed by a pair of solo efforts from each: Dillon’s rather dull “You To Come Home To” which climbed to #65 and Stewart’s “She Sings Amazing Grace”, which is by far the best song on the album, despite petering out at #83.

“Honky Tonk Crazy”, a Dillon co-write with Frank Dycus, will be familiar to George Strait fans; his cut was included on his sophomore disc Strait From The Heart which was also released in 1982. “Suburban Life”, about a pair of newly divorced men about to embark on a night on the town — trading “the suburban life for the bourbon life” is less rowdy than the lyrics suggest and for that reason it doesn’t quite work.

What is perhaps the most surprising about this album is its reliance on outside songwriters. Dillon had a hand in writing only four of the album’s tracks, and Stewart co-wote two. I was expecting more original material, and perhaps some versions of Dillon’s songs that later went on to be hits for other artists, but in all likelihood he was still cutting his teeth as a songwriter and many, if not most, of his most memorable songs were still to be written. Overall, the material on Brotherly Love isn’t quite as strong as it ought to be, but the production — though a bit dated — isn’t as heavy-handed as most of Nashville’s output during that era. Brotherly Love wasn’t a huge commercial success, but Dillon and Stewart paired up for another collaborative effort Those Were The Days the following year. Both albums are available on a 2-for-1 disc, but the $20.99 price tag seems a little high considering that neither album produced any major hits.

Grade: B

Week ending 12/13/14: #1 singles this week in country music history

rich_charlie_13771154566831954 (Sales): More and More — Webb Pierce (Decca)

1954 (Jukebox): More and More — Webb Pierce (Decca)

1954 (Disc Jockeys): More and More — Webb Pierce (Decca)

1964: Once A Day — Connie Smith (RCA)

1974: She Called Me Baby — Charlie Rich (Epic)

1984: Chance of Lovin’ You — Earl Thomas Conley (RCA)

1994: If You’ve Got Love — John Michael Montgomery (Atlantic)

2004: Nothing On But The Radio — Gary Allan (MCA)

2014: Shotgun Rider — Tim McGraw (Big Machine)

2014 (Airplay): Girl In A Country Song — Maddie & Tae (Dot)

Week ending 8/2/14: #1 singles this week in country music history

kittyred1954 (Sales): I Don’t Hurt Anymore — Hank Snow (RCA)

1954 (Jukebox): One By One — Kitty Wells and Red Foley (Decca)

1954 (Disc Jockeys): I Don’t Hurt Anymore — Hank Snow (RCA)

1964: Dang Me — Roger Miller (Smash)

1974: You Can’t Be A Beacon (If Your Light Don’t Shine) — Donna Fargo (Dot)

1984: Angel In Disguise — Earl Thomas Conley (RCA)

1994: Summmertime Blues — Alan Jackson (Arista)

2004: Live Like You Were Dying — Tim McGraw (Curb)

2014: Dirt — Florida Georgia Line (Republic Nashville)

2014 (Airplay): Yeah — Joe Nichols (Red Bow)

Week ending 4/12/14: #1 singles this week in country music history

LIttle Texas1954 (Sales): Slowly — Webb Pierce (Decca)

1954 (Jukebox): Slowly — Webb Pierce (Decca)

1954 (Disc Jockeys): Slowly — Webb Pierce (Decca)

1964: Understand Your Man — Johnny Cash (Columbia)

1974: A Very Special Love Song — Charlie Rich (Epic)

1984: Don’t Make It Easy For Me — Earl Thomas Conley (RCA)

1994: My Love — Little Texas (Warner Bros.)

2004: When The Sun Goes Down — Kenny Chesney with Uncle Kracker (BNA)

2014: This Is How We Roll — Florida Georgia Line ft. Luke Bryan (Republic Nashville)

2014 (Airplay): Doin’ What She Likes — Blake Shelton (Warner Bros.)

Week ending 11/30/13: #1 singles this week in country music history

charlie rich1953 (Sales):I Forgot More Than You’ll Ever Know — Davis Sisters (RCA)

1953 (Jukebox):I Forgot More Than You’ll Ever Know — Davis Sisters (RCA)

1953 (Disc Jockeys): A Dear John Letter — Jean Shepard & Ferlin Husky (Capitol)

1963: Love’s Gonna Live Here — Buck Owens (Capitol)

1973: The Most Beautiful Girl — Charlie Rich (Epic)

1983: Holding Her And Loving You — Earl Thomas Conley (RCA)

1993: Reckless — Alabama (RCA)

2003: I Love This Bar — Toby Keith (DreamWorks Nashville)

2013: We Were Us — Keith Urban & Miranda Lambert (Capitol)

2013 (Airplay): Mine Would Be You — Blake Shelton (Warner Bros.)

Classic Rewind: Earl Thomas Conley – ‘Fire And Smoke’

Classic Rewind: Earl Thomas Conley – ‘Somewhere Between Right And Wrong’

Country Heritage: Earl Thomas Conley

ETCEarl Thomas Conley was the oldest and most successful of the triumvirate of somewhat similarly named country artist of the 1980s. Born on October 17, 1941, in Portsmouth, Ohio, ETC (as he was often called) had an extended run of success, both as a recording artist and as a songwriter. Between 1980 and 2003, ETC recorded ten studio albums, including seven for RCA. During this same period he charted more than 30 singles on the Billboard country charts, with 18 reaching #1.

Earl was raised in a working class family that had a love for music and the arts, and painting – which he started when he was 10 – was Earl’s first love. At age 14, Earl’s father lost his job with the railroad and Earl went to live with an older sister in Dayton, Ohio, where he continued to paint and develop his skills as an artist. While painting was his first love, Earl’s father had introduced him to music and Earl began to be more aware of it as an influence in his life.

After graduating high school, Earl decided against college, joining the Army instead. While in the Army, Earl became a member a Christian-influenced trio, where his musical talent and vocal ability were first placed on public display. At some point Earl decided that performing might not be a bad way to make a living. Accordingly, he delved more deeply into the classic country sounds of artists such as Merle Haggard and George Jones. During this period Earl first tried his hand at songwriting. In 1968, some time after his discharge from the Army, Earl began commuting from Dayton to Nashville.

With nothing happening for him in Nashville (and tired of back and forth commuting), Earl moved to Huntsville, Alabama, to be 150 miles closer to the recording industry. While in Nashville on a song-plugging visit in 1973, Earl met Dick Herd, who produced the great Mel Street. This meeting eventually led to the Conley-Herd collaboration on the song “Smokey Mountain Memories”, which Street took into the top 10 in early 1975.

Prior to Street’s recording Earl had moved to Nashville, where he met record producer Nelson Larkin, who signed Earl to his publishing house and helped sign him with independent label GRT in 1974. Larkin placed one of Earl’s songs with his brother Billy Larkin, “Leave It Up to Me”, which Larkin took to #22 in late 1975. Nelson Larkin would produce Earl’s sessions through the end of the 1980s.

GRT released four of Earl’s singles without much success. Meanwhile, Earl placed “This Time I’ve Hurt Her More Than She Loves Me,” with Conway Twitty, who took it all the way to the top in 1975, giving Earl his first #1 record as a songwriter.

On the strength of his successful songwriting, Warner Brothers signed Earl to a recording contract. Unfortunately, the three singles Warner Brothers issued in 1979 on ‘Earl Conley’ failed to achieve much traction.

After his stint at Warner Brothers was over, Earl Thomas Conley (as he was now billed) trod water briefly before signing with the independent label Sunbird Records, where he recorded the album Blue Pearl, reuniting with producer Nelson Larkin. “Fire & Smoke,” released as a single and given a decent promotional push to radio, emerged as Earl’s first major hit, eventually reaching the top of Billboard’s county chart, thus giving Earl his first #1 record as a performer at the relatively old age of 40.

The success of “Fire and Smoke” caused RCA to pick up Earl’s contract and purchase the rights to Earl’s Sunbird recordings for release on RCA. Ultimately RCA became his home for the next decade during which time the following songs reached #1:

•“Somewhere Between Right and Wrong”
•“Your Love’s On The Line”
•“Holding Her and Loving You”
•“Don’t Make It Easy For Me”
•“Angel In Disguise”
•“Chance of Loving You”
•“Love Don’t Care (Whose Heart it Breaks)”
•“Nobody Fall s Like A Fool”
•“Once In A Blue Moon”
•“I Have Loved You Girl”
•“I Can’t Win For Losing You”
•“That Was A Close One”
•“Right From The Start”
•“What She Is (Is A Woman In Love)”
•“We Believe In Happy Endings” (w/Emmylou Harris)
•“What I’d Say”
•“Love Out Loud”

While Earl Thomas Conley tended to regard himself as a straight country artist, his rather smoky voice helped gain him acceptance across the board. Earl appeared on the television show Soul Train in 1986, and to the best of my knowledge he is the only country artist to be so featured.

Chart success basically ran out for Earl at the end of the 1980s although there were a few minor chart hits as late as 1991. Since then, Earl has continued to tour occasionally and write songs but has done relatively little recording, with a seven year recording hiatus 1991-1997. This hiatus was due to a number of factors, including vocal problems, disenchantment with record label politics, road fatigue and mental burnout. Earl finally emerged with another album in 1998, aided and abetted by long-time friends Randy Scruggs and Curly Corwin. Earl still performs occasionally, typically two or three dates a month.

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Week ending 8/10/13: #1 singles this week in country music history

etc1953 (Sales): It’s Been So Long — Webb Pierce (Decca)

1953 (Jukebox): Rub-A-Dub-Dub — Hank Thompson (Capitol)

1953 (Disc Jockeys): It’s Been So Long — Webb Pierce (Decca)

1963: Ring of Fire — Johnny Cash (Columbia)

1973: Lord, Mr. Ford — Jerry Reed (RCA)

1983: Your Love’s On The Line — Earl Thomas Conley (RCA)

1993: Chattahoochie — Alan Jackson (Arista)

2003: It’s Five O’Clock Somewhere — Alan Jackson with Jimmy Buffett (Arista)

2013: Cruise — Florida Georgia Line (Republic Nashville)

2013 (Airplay): Runnin’ Outta Moonlight — Randy Houser (Stoney Creek)