Country music from a fan's point of view since 2008
The McCarters were three young sisters from near Dolly Parton’s neck of the woods. The Gift, released in 1988 was truly a revelation resembling nothing else being played on the radio at that time. One critic described the album as the sequel to the Trio album that Dolly Parton, Emmylou Harris and Linda Ronstadt had not gotten around to making yet.
High praise indeed and based on this album, the McCarters seemed to have a bright future ahead. The shimmering sibling harmonies and brilliant acoustic settings made this album something special and unique. I should note that this is NOT a bluegrass album, although I would not be surprised to hear the songs on bluegrass radio. With the exception of the piano and presence of drums, all of the instruments on the album are acoustic, played by such aces as Mark O’Connor (fiddle, viola, mandolin, mandola), Carl Jackson (acoustic guitar) and John Jorgenson (acoustic guitar, mandolin, mandocello). Jennifer McCarter was the lead singer on all songs, with younger twin sisters Lisa and Teresa providing the vocal harmonies.
The album opens up with “I Give You Music” a story ballad written by Dennis Adkins. This was the third single released from the album. It charted at a disappointing #28 (#16 in Canada).
Next up is “Timeless and True Love”, the debut single released in late 1987. Written by Austin Roberts, Charlie Black & Buzz Cason, the song soared to #5. The song is a very nice ballad featuring Mark O’Connor’s fiddle through the arrangement:
For mine is a timeless and true love
An endless river rollin’ on and on
Forever and ever for you love
Oh mine is a timeless and true loveJust look at how the mountains reach up to the sky
So strong against the hard winds as the years go by
My love is no less tender born of fire and steel
And the world could never change the way I feel
This is followed by a Bill Graham-Carl Jackson-Buddy Landon collaboration “Flower In The Desert”, a mid-tempo ballad with some excellent fiddling by Mark O’Connor. The song is album track with strong Appalachian overtones.
Lola Jean Dillon was a successful songwriter who wrote several of Loretta Lynn’s big hits and co-wrote with L. E. White the funny Conway Twitty / Loretta Lynn duet “You’re The Reason Our Kids Are Ugly”; “Where Would That Leave Us” is not a humorous but a fine ballad about a relationship that seems to be the salvation of the singer.
“I Know Love” comes from the pens of Randy Albright, Mark D Sanders and Lisa Silver. The song is a another slow ballad, nicely sung, but I do not think the song is anything special; however the next track “The Gift” by Nancy Montgomery is indeed something special .
Darling let me tell you the way I truly feel
A simple explanation from a heart so real
I have been the whole world over and sailed a thousand seas
And still come back to you[Chorus}
Now I believe that gold is not so precious or so real
For I Have Seen The Miracle of Love As It’s Revealed
And When You Hear This Song I Hope That You Will See
The gift I give to you, my love forever true
“The Gift” would be the biggest hit reaching #4 (#2 in Canada). After that it would be downhill, as it would be for the rest of this album, four more songs that fit nicely in context with the album.
The Gift appeared at one of those brief moments in history when something as retro sounding as this album could break through, if only momentarily. In 1989 the ‘New Traditionalist’ movement (in reality the new honky-tonk traditionalist movement) would have its leading avatars appear thus wiping out the market for The McCarters’ music. In fact after the first two singles, the market had already turned away from the McCarters. A second album would follow and then it was over.
I would give this album an A+, but as much as I enjoyed the album at the time it was released, I realized that it was an outlier and unlikely to be repeated.
1959: White Lighting — George Jones (Mercury)
1969: Woman Of The World (Leave My World Alone) — Loretta Lynn (Decca)
1979: I Just Fall in Love Again — Anne Murray (Capitol)
1989: I’m No Stranger To The Rain — Keith Whitley (RCA)
1999: How Forever Feels — Kenny Chesney (BNA)
2009: It Won’t Be Like This for Long — Darius Rucker (Capitol)
2019: Beautiful Crazy — Luke Combs (Columbia Nashville)
2019 (Airplay): Beautiful Crazy — Luke Combs (Columbia Nashville)
Paying tribute to Loretta Lynn:
Guitarist Harold Bradley of Owen Bradley’s Studio, here in the studio May 10, 1961, is one of six local musicians taking part in a demonstration of Nashville’s music as a part of the upcoming Nashville Arts Festival. Joe Rudis / The Tennessean
Bradley’s daughters announced on Facebook this morning their father passed peacefully in his sleep. Elected to the Country Music Hall of Fame in 2006, Bradley was a key member of Nashville’s “A-Team” of studio session musicians. As a guitarist, he played on legendary records from “Stand By Your Man” to “Crazy” and “Battle of New Orleans.” He was the younger brother of country music legend Owen Bradley, the famed record producer, who died twenty years ago.
Stephen L. Betts of Rolling Stone magazine wrote this about Bradley’s life and career:
Born in Nashville in 1926, Harold Ray Bradley was the younger brother of fellow Hall of Fame member Owen Bradley, who produced records by Patsy Cline, Loretta Lynn and many others. Although he first played banjo, the younger Bradley was given a six-dollar guitar purchased by his father in a junk store. By high school he was playing well enough to earn a spot in Ernest Tubb’s band the Texas Troubadours and also played in his brother’s popular dance band. Bradley served in the Navy and after his return began playing in the Grand Ole Opry house band, while also doing session work playing lead and rhythm guitar as well as bass. It was on the latter instrument that he popularized the “tic-tac” method, a muted style of playing that involved doubling a melody on six-string bass. Bradley’s first session took place in Chicago, playing on Pee Wee King’s “Tennessee Central No. 9” in 1946.
In the early Fifties, Owen and Harold opened several recording studios in Nashville, the most famous being the Quonset Hut on 16th Avenue South, part of the city’s then-burgeoning Music Row. Bradley would be among the most recorded musicians working in the style that would be known as “countrypolitan” or the “Nashville sound,” a blend of smooth pop and traditional country music. Among the more notable songs that include his work are the holiday classic, “Jingle Bell Rock,” which opens with his distinctive guitar riff and “The Battle of New Orleans,” which kicks off with a memorable banjo lick. Bradley also recorded a trio of instrumental LPs for Columbia Records in the early Sixties.
In 1978, Bradley was one of the organizers of a concert at the White House, given by Loretta Lynn, Conway Twitty and Tom T. Hall to honor the Country Music Association. In 1999, he co-produced Mandy Barnett’s second LP, I’ve Got a Right to Cry, which featured four tracks produced by Owen Bradley just prior to his death in January 1998.
Bradley served as president of Nashville’s American Federation of Musicians from 1991 to 2008 and was the AFM’s International Vice President from 1999 to 2010. The first president of Nashville’s chapter of the Recording Academy, he was honored with a special Grammy Trustees Award in 2010.
Click here to read what Barnett had to say about Bradley’s passing.
Ray Stevens had this to say, as well.
It seems harder and harder to find great new music as the mainstream gets more pop oriemnted. However, some good music is still out there, and here are my favorite full-length albums this year.
10. Junior Sisk – ‘Brand New Shade Of Blue’
My favorite bluegrass album this year. Sometimes witty, sometimes lonesome, but a great listen.
Download now: ‘By Now I Would Be Dead’, ‘Ain’t Nothing Wrong With That’, ‘The Whiskey & The Guitar’
9. Josh Turner – I Serve A Savior
The best religious album of the year.
Download now: ‘I Saw The Light’, ‘Great Is Your Faithfulness’, ‘I Pray My Way Out Of Trouble’, ‘Me And God’
8. Jason Eady – ‘I Travel On’
The troubadour takes a bluegrass twist with this year’s fine set.
Download now: ‘She Had To Run’, ‘Below The Waterline’, ‘I Travel On’, ‘I Lost My Mind In Carolina’
7. Randall King – ‘Randall King’
I’m afraid I didn’t get around to reviewing this promising debut album, but it’s a strong introduction with a 90s neotraditional country vibe.
Download now: ‘Reason To Quit’, ‘Mirror, Mirror’, ‘Dent In It’
6. Dillon Carmichael – Hell On An Angel
Sometimes sublime, sometimes a bit too heavy on the Southern Rock, this remains the debut of the year.
Download now: ‘That’s What Hank Would Do’, ‘Dixie Again’, ‘Hard On A Hangover’, ‘Natural Disaster’
5. Courtney Patton – What It’s Like To Fly Alone
Courtney Patton produced my favorite album of 2015. This year’s follow up was not quite as good, but still extremely rewarding.
Download now: ‘Devil’s Hand’, ‘Round Mountain’, ‘Words to My Favorite Memory’, ‘Red Bandana Blue’, ‘Open Flame’
4. Josh Ward – ‘More Than I Deserve
Solid traditional country from Texas.
Download now: ‘One More Shot Of Whiskey’, ‘Say Hello To Goodbye’, ‘The Devil Don’t Scare Me’, ‘More Than I Deserved’
3. Adam Harvey – The Nashville Tapes
Great neotraditional country from the deep voiced Australian who was our last Spotlight Artist.
Download now: ‘What A Song Can Do’, ‘When Willie’s Gone’, ‘We’ll Have To Drink Our Way Out Of This’, ‘I’d Rather Be A Highwayman’, ‘Three Rivers Hotel’
2. Loretta Lynn – ‘Wouldn’t It Be Great’
The legend returns with a fabulous mix of sassy growing old disgracefully and emotional ballads.
Download now: ‘Ruby’s Stool’, ‘Lulie Vars’, ‘Another Bridge To Burn’, ‘Wouldn’t It Be Great?’
1. Kayla Ray – Yesterday & Me
The Jason Eady-helmed project allos an excellent singer songwriter to shine.
Download now: ‘Once A Week Cheaters’, ‘Things Only Years Can Teach A Woman’, ‘Fair Warning’, ‘Rockport’.
Bonus selection: Tim Culpepper – DUI
I omitted this fabulous traditional honky tonk projct as it has only eight tracks. But what there is is outstanding.
Download now: ‘Under The Influence’, ‘Another Way To Try’, ‘She Only Loves Me’, ‘Sad Ole Country Song’
And the winner of the 2018 CMA Entertainer of the Year is ….. The Malpass Brothers!
Well not really, but if the CMA had a shred of integrity left, the Malpass Brothers would have at least been nominated. This is not a knock against this year’s winner Keith Urban, who is an excellent rock guitarist (with very little country in his playing) and a passable (but very overrated) vocalist with a decent sense of humor, but having seen both perform, Urban is miles (or kilometers) behind in the ability to entertain.
So who are the Malpass Brothers? According to their website:
As young boys, Christopher and Taylor Malpass soaked up the music of their granddad’s phonograph records. Christopher earned his first talent show trophy at age 7, and Taylor was playing mandolin by the time he was 10. Today, they promote the work and music of classic country artists they treasure while creating new music and making their own mark in the lineage of a rich American cultural heritage.
With sincerity, honesty and an utter ease on stage that belies their years, their smooth vocal blend and skillful musicianship layer infectiously into the deep respect they pay to legends who have paved the way. Add the funny, off-the-cuff quips between the two 20-something siblings, and the engaging concert becomes a magnetic time-traveling journey to when a calmer rhythm reigned supreme.
The Malpass Brothers toured with the late Don Helms, former steel guitarist for Hank Williams, have opened for music legend Merle Haggard on multiple tours and appeared on stages from the Shetland Islands to Ryman Auditorium to Merlefest. Gifted musicians and songwriters, the brothers have shared billing with artists including Ray Price, Willie Nelson, Doyle Lawson, Rhonda Vincent, Marty Stuart, Doc Watson and more. The title cut video from their “Memory That Bad” album hit CMT Pure Country’s Top Ten.
The above quote gives but a small hint as to what the Malpass Brothers are all about. Although there are other young country traditionalists who are true to the traditions of real country music, most of them are faithful to the traditions of the country music of the 1970s and the new traditionalists movement that kicked off in 1986 and held sway for about 12-15 years. North Carolina natives Chris and Taylor Malpass are torch carriers for the sounds of the country music of the 1950s through 1975 with occasional rockabilly overtones, and a lot of humor in their performances. Chris normally sings lead and Taylor typically plays electric lead and mandolin
After spending about seven years opening for Merle Haggard, the Malpass Brothers started working the bluegrass festivals along with other more normal venues. Although there is nothing at all bluegrass about their music, there is an interesting dynamic at work in the world of bluegrass which is that while there is a schism (of sorts) between the traditionalist “true grass” advocates and more modernist “newgrass” fans, both groups love the music of traditional country artists such as George Jones, Merle Haggard, Hank Williams, Lefty Frizzell, Loretta Lynn and the Louvin Brothers and it rare to find a group in either the truegrass or newgrass camps that does not include the music of the pre-1975 period in their repertoire.
From what I’ve written above, you may think that the Malpass Brothers are nothing more than a covers band, but in fact, their repertoire is a mixture of covers and originals written by the brothers. In fact, their most recent album Live At The Paramount Theatre (taken from a PBS Documentary), features six original tunes along with three Merle Haggard songs, Lefty Frizzell’s “If You’ve Got The Money I Got The Time”, Ernst Tubb’s “Walking The Floor Over You” and the Jimmie Rodgers classic from the 1930s (later covered by Crystal Gayle) “Miss The Mississippi and You”.
This album also includes a live performance of their CMT hit “Memory That Bad” which was written by Chris and Taylor Malpass.
For more information check their website: https://themalpassbrothers.com/
Meanwhile, I’ve stacked three of their CDs in my changer and will be listening to some real country music. I will see them again in February 2019
Below are some YouTube clips:
“Hoping That You’re Hoping:”
“Luther Played The Boogie:”
“Half A Mind:”
Roger Miller was unique in terms of his all-around abilities as an entertainer. He could write off-beat and humorous songs then turn around and write a masterpiece of a straight ahead ballad. The nearest thing to him in terms of his compositional abilities was Shel Silverstein, but unlike Silverstein, who was a terrible singer, Roger was an outstanding vocalist and musician. People who have heard Roger’s concert in Birchmere, VA, about a year before he died can attest that Roger Miller barely even needed a guitar in order to keep and audience entertained.
Because Roger was so offbeat, tributes to him and his music have been rare – many of his most famous songs barely lend themselves to being covered. One of the few tributes I’ve seen was Tim O’Brien’s O’Brien Party of Seven – Reincarnation: The Songs Of Roger Miller, released about six years ago and featuring members of Tim’s family. It is a great album, but Tim and his family mostly stayed away from the more famous songs, and delved deeper into the Roger Miller catalogue.
King of The Road: A Tribute to Roger Miller is a two disc set featuring snippets of dialogue from Roger along with covers of 34 of his songs as performed by various artists. The covers of straight ahead country songs work best as few artists have the ability that Roger had to let vocal scats and odd phrasings simply roll of his tongue. Among the odder songs tackled on disc one are “Chug A Lug” (Asleep at The Wheel with Huey Lewis), “Dang Me” (Brad Paisley), “Kansas City Star” (Kacey Musgraves), “You Ought a Be Here With Me” /“I’ve Been A Long Time Leaving” (Alison Krauss & The Cox Family) and In The Summertime” (Shawn Camp /Earls of Leicester) . All of these songs are competently performed but sound a bit forced except Shawn Camp’s take on “In The Summertime” since Camp simply treats the song as a straight ahead county song. The Krauss / Cox song would have been better had they performed it as separate songs and not made a medley of it.
For me the disc one the standouts are Loretta Lynn’s take on “Half A Mind”, a hit for her mentor Ernest Tubb, Mandy Barnett’s “Lock Stock and Teardrops” and the religious song “The Crossing” as performed by Ronnie Dunn and the Blind Boys of Alabama.
Dwight Yoakam does a fine job with his co-write “It Only Hurts Me When I Cry” but you’d expect no less since it was a hit for him.
Disc two is more of the same, some banter, goofy songs, and some straight ahead ballads. Cake makes a complete mess of “Reincarnation” (the only decent cover I’ve had was by Jim Nabors as Gomer Pyle, USMC) and I didn’t like Toad The Wet Sprocket’s take on the old George Jones hit “Nothing Can Stop My Loving You” (also decently covered in the 1970s by Patsy Sledd). Jamey Johnson & Emmylou Harris do a nice job on “Husbands and Wives”.
John Goodman, who never claimed to be a singer, reprises “Guv’ment” from the play Big River. Ringo Starr, also not a compelling singer, gives the right vibe to “Hey Would You Hold It Down?”
For me the two best songs on disc two are the Dolly Parton & Alison Krauss recording of “The Last Word In Lonesome Is Me” and Flatt Lonesome’s exquisite “When Two Worlds Collide”, easily the best performance on the album.
This album offers a good overview of the depth and breadth of the songwriting talents of Roger Miller. While I wasn’t all that impressed with all of the performers on the album, all of them clearly gave their performances their best efforts.
I mostly enjoyed this album and would give it a B+ but if this is your first exposure to Roger Miller, I would strongly suggest picking up one of Roger’s currently available collections of Smash/Mercury recordings.
Josh Turner’s deep religious faith has underpinned his career, from his astonishing debut single ‘Long Black Train’. It comes as no surprise that he has now recorded a gospel album – or indeed that ‘Long Black Train’ makes another appearance.
Josh wrote the title track with Mark Narmore. It is quite a nice song set to a gentle melody in which he sets out the story of salvation and affirms his own commitment. It is one of only two new songs on the album, although some choices are less familiar than others. The other is actually the album’s one misstep. ‘The River (Of Happiness)’ was written by Josh’s wife Jennifer and son Hampton, and the whole family sings along live (apart from Josh himself). The song itself is not bad. Unfortunately the children can’t all sing In tune.
My favorite track is a measured, deeply sincere, reading of the Hank Williams classic ‘I Saw The Light’, backed by the sweet harmonies of Sonya Isaacs. I also loved the less well known ‘I Pray My Way Out Of Trouble’, a charming song written by Loretta Lynn and Teddy Wilburn. It was recorded by the Osborne Brothers in the 1960s, and Bobby Osborne contributes harmonies to this version.
There is a solid version of spiritual ‘Swing Low, Sweet Chariot’ which allows Josh to showcase the furthest reaches of his deep voice. ‘Without Him’ Is from the Southern Gospel tradition and has an emotional soulful vocal.
Classic hymns ‘Great Is Your Faithfulness’, ‘How Great Thou Art’ and (the best of the three) ‘Amazing Grace’ are all performed with reverence to tasteful arrangements. A more unusual inclusion is the short (very short if you’re thinking of it as a song, at only 42 seconds) ‘Doxology’ composed In the 17th century by Bishop Ken. Josh sings this quite simply and completely acappella. Really, this ought to close the set, but a retread of the sunny ‘Me And God’ (from Your Man) follows it.
Impeccably sung, arranged and produced, if not very original, this is a fine record with appeal for fans of Josh Turner or Christian country music.
Grade: A-
I’ve been lucky in that I’ve been able to see almost all of my radio heroes in live performance with three notable exceptions. One of those, Ernest Tubb, I simply was unable to see. Another, Sammi Smith, I had purchased the tickets to see her perform but the show was canceled and she died before the show was scheduled to take place.
The third exception involved Flatt & Scruggs. My father had been transferred to the UK in January 1969 and Flatt & Scruggs were slated to be the headliners at the First International Festival of Country Music to be held at the Empire Pool (Wembly Stadium) on April 5, 1969. Dad purchased the tickets for us to go; however, by the time the festival took place, Flatt & Scruggs had split up and we had to content ourselves with a six-hour show that included Bill Anderson & The Po Boys, Phil Brady & The Ranchers, Wes Buchanan, Larry Cunningham & The Mighty Avons, George Hamilton IV, The Hillsiders, Jan Howard, Loretta Lynn & her stage show, Merrill Moore, Orange Blossom Sound, John Wesley Ryles, Conway Twitty & The Lonely Blue Boys and Charlie Walker.
While I never did get to see Flatt & Scruggs, in November 2017, I got to see the Earls of Leicester perform at the Rodeheaver Boys Ranch / Bluegrass Festival in Palatka Florida. For ninety mesmerizing minutes Jerry Douglas (dobro) and his crew of Charlie Cushman (banjo & guitar), Shawn Camp (lead vocals & guitar), Johnny Warren (fiddle), Barry Bales (bass) and Jeff White (mandolin) transported the listener and breathed life into the truly classic repertoire of Flatt & Scruggs.
The Earls of Leicester perform only the music of Flatt & Scruggs circa 1954-1965, but they are far from being either a cover band or tribute band as they have updated the Flatt & Scruggs sound (mostly due to improved recording technology) while breathing new life into the music and remaining true to the spirit of the original recordings. Most importantly, they are having fun and their infectious joy at performing the music permeates every rack. None of the members of this ensemble can be said to be imitating members of Flatt & Scruggs Foggy Mountain Boys, but they are absorbed into the music.
Live At The CM Theater was recorded in February 2018, only I few months after I saw them in Palatka and features essentially the same program I saw a few months earlier. The recording opens with “Salty Dog Blues”, the very track that Flatt & Scruggs used to open their famous Carnegie Hall concert. From that point forward the band goes through a solid program of Flatt & Scruggs favorites. While each member of the band takes the role of one of the Foggy Mountain Boys at no point are any of them referred to on stage any name but their own.
Basically Shaw Camp takes Lester Flatt’s spot in the band, Charlie Cushman, a marvelous music musician who spent years in Mike Snider’s comic group takes Earl Scruggs role. Jerry Douglas handles the Josh Graves role, Jeff Whites takes Curley Seckler’s role, Barry Bales steps in for Cousin Jake Tulloch and Johnny Warren takes his father Paul Warren’s place in the pantheon.
This is a wonderful album that I have listened to continuously for about two weeks now. I am not sure when I will take it out of my player – perhaps never.
Grade: A+
Loretta Lynn is enjoying a creative renaissance in her 80s. Her latest album was originally expected more than a year ago, but its release was delayed due to health issues and Loretta wanting to able to promote it. Produced by Loretta’s daughter Patsy Lynn Russell and John Carter Cash, the long-awaited album has proved to be well worth waiting for. While Loretta’s voice is obviously not what it was in her 1960s/70s heyday, it is surprisingly strong for someone of her years, and actually better than in the 1980s.
Her songwriting skills are also still strong, and she wrote or co-wrote all but one of the 13 tracks. Admittedly, half are older songs, including enjoyable retreads of two of her signature songs – ‘Coal Miner’s Daughter’ and ‘Don’t Come Home A Drinking’. There are also two obscure songs originally written and recorded at the dawn of Loretta’s career in 1960. ‘My Angel Mother’ is a pretty, gentle, folky song, and ‘Darkest Day’ is a classic country shuffle about a husband leaving – very nice.
The title song and lead single was originally recorded in the 1980s, and has a nice arrangement and a subdued but emotional vocal as Loretta bemoans an alcoholic husband. The simple faith of ‘God Makes No Mistakes’ made its first appearance on Loretta’s Van Lear Rose album in 2004, and is better here with a more sympathetic arrangement.
The one outside song is an even older one – traditional murder ballad ‘Lulie Vars’ which is very effective with a stripped down acoustic arrangement. (The song, originating from Kentucky where I presume Loretta heard the song as a child, and based on a real murder in 1917, is marginally better known as ‘Lula Viers’.) (Incidentally the real Lula was related to the famous Hatfield family.)
My favorite of the new songs is the delightful ‘Ruby’s Stool’, an amusing tale of misbehaviour and rivalry among an older generation of “honky tonk girls” who have not retired into a less combative way of life. Loretta wrote this with Shawn Camp, who also co-wrote ‘I’m Dying For Someone To Live For’, a lovely song about the loneliness of widowhood, with some very pretty mandolin; and also the charming gospel ‘The Big Man’, which I love.
Veteran songwriter Lola Jean Dillon teamed up with Loretta to write ‘Another Bridge To Burn’. This is a great song about moving on from a bad relationship to a better life:
I don’t suppose I’ll ever love him
Quite the way that I love you
When he sleeps into my dreams
I don’t wake up feeling blue
What we don’t have in common
We make up for in concern…Through the years I’ve cried a river
One teardrop at a time
I kept that old bridge standing strong
Just in case you changed your mind
I can’t live on dreams for ever
At least reality returns
With his hand in mine we’ll light the aflame
You’re another bridge it’s time to burn
Daughter Patsy co-wrote two songs. ‘Ain’t No Time To Go’, a delicate appeal to a loved one to live, is rather charming with some delightful folky fiddle. ‘These Ole Blues’ has a lovely Hank Williams style vibe about it.
I didn’t necessarily have high hopes for this record beforehand, but it has been a positive revelation. Loretta Lynn really is a living legend of country music, and this is a very fine album.
Grade: A+
1958 (Sales): Oh Lonesome Me / I Can’t Stop Loving You — Don Gibson (RCA Victor)
1958 (Disk Jockeys): Oh Lonesome Me — Don Gibson (RCA Victor)
1968: Fist City — Loretta Lynn (Decca)
1978: Someone Loves You Honey — Charley Pride (RCA)
1988: I Wanna Dance With You — Eddy Rabbitt (RCA)
1998: Bye, Bye — Jo Dee Messina (Curb)
2008: You’re Gonna Miss This — Trace Adkins (Capitol Nashville)
2018: Meant To Be — Bebe Rexha featuring Florida Georgia Line (Big Machine)
2018 (Airplay): Singles You Up — Jordan Davis (MCA Nashville)
Today is the anniversary of the sinking of the Titanic:
My Kind of Country 