Posts Tagged ‘Jan Howard’
Sunday, June 9th, 2013
100 Greatest Men: The Complete List
An impressive run of hit singles and his visible Opry stardom gave him tremendous success as a singer, but it’s been Bill Anderson’s songwriting that’s kept him topping the country charts for decades longer than even his most successful contemporaries.
The man who’d become known as Whisperin’ Bill Anderson had always wanted to be a professional writer, but it was sports journalism that was his original goal. But as he was working his way through college as a radio disc jockey, he was inspired to try his hand at songwriting. An early attempt was “City Lights”, which ended up a smash hit for Ray Price and began a songwriting career that is still going strong 55 years later.
Soon, he was writing hits for himself as well as others. He earned his Whisperin’ moniker from his soft, conversational singing style, which found him speaking as often as singing. The sixties brought classic recordings like “The Tips of My Fingers”, which didn’t include the plural of tip when he recorded it, but was added when other artists like Roy Clark and Steve Wariner also had hits with it. He launched Connie Smith’s career with “Once a Day”, just a year after he released a country classic of his own, the #1 smash hit, “Still.”
In addition to his solo hits like “Po’ Folks” and “I Get the Feeling”, he had a series of successful duets with Jan Howard and with Mary Lou Turner. A collaboration with the latter, “Sometimes”, was his final #1 hit in 1975, after which his hits as an artists became fewer and far between. From this point on, his popularity as a performer would be limited to his Opry appearances, and when those shows became televised in the eighties, his colorful personality reached an entire new audience.
While he had plenty of songs recorded in the eighties and nineties, it’s been in the new century that Anderson had his most prolific songwriting renaissance. He’s co-written songs for contemporary artists such as Sara Evans and Sugarland. Amazingly, in his fifth decade of writing, he earned his first Song of the Year trophy for the Brad Paisley and Alison Krauss hit, “Whiskey Lullaby.” Just a couple of years later, he won a companion piece for his mantle, taking home honors for the George Strait hit, “Give it Away.”
Amazingly, these awards came after he was already inducted into the Country Music Hall of Fame, an honor he received in 2001. In addition to remaining a current songwriter on the charts, Anderson continues to document the incredibly legacy of country music, hosting popular concert reunions for country singers and songwriters of days gone by. He has also written successful memoirs and reflections on life, and can still be found on the Opry stage sharing some of those stories in between performances of the songs that have kept him on the stage for more than five decades.
- The Tip of My Fingers, 1960
- Po’ Folks, 1961
- Mama Sang a Song, 1962
- Still, 1963
- For Loving You (with Jan Howard), 1967
- My Life (Throw it Away if I Want to), 1969
- Sometimes (with Mary Lou Turner), 1975
Essential Singles by Other Artists:
- City Lights (Ray Price), 1958
- Once a Day (Connie Smith), 1964
- The Cold Hard Facts of Life (Porter Wagoner), 1967
- The Lord Knows I’m Drinking (Cal Smith), 1973
- Whiskey Lullaby (Brad Paisley and Alison Krauss), 2004
- Give it Away (George Strait), 2006
- Sings Country Heart Songs, 1962
- Still, 1963
- Bright Lights and Country Music, 1965
- I Love You Drops, 1966
- For Loving You (with Jan Howard), 1968
- Wild Weekend, 1968
Next: #26. ?
Previous: #28. Hank Williams Jr.
100 Greatest Men: The Complete List
Category 100 Greatest Men
Tags: Alison Krauss, Bill Anderson, Brad Paisley, Cal Smith, Connie Smith, George Strait, Jan Howard, Mary Lou Turner, Porter Wagoner, Ray Price, Sara Evans, Sugarland
Sunday, January 25th, 2009
Revised and Updated for 2009
While the Grammys have honored country music from the very first ceremony in 1959, they did not begin honoring by gender until 1965, when the country categories were expanded along with the other genre categories.
This is a look back at the Best Female Country Vocal Performance category. It was first awarded in 1965, an included single competing with albums until the Best Country Album category was added in 1995. When an album is nominated, it is in italics, and a single track is in quotation marks.
I’ve often made the case that female artists were making the best music in the 1990s, and the Grammys did a great job nominating songs and albums that were ignored at the CMA and ACM awards, which is not surprising, given that those shows have so few categories that are actually for songs and albums.
As usual, we start with a look at this year’s nominees and work our way back.
- Martina McBride, “For These Times”
- LeAnn Rimes, “What I Cannot Change”
- Carrie Underwood, “Last Name”
- Lee Ann Womack, “Last Call”
- Trisha Yearwood, “This is Me You’re Talking To”
This year’s lineup includes three former winners and two women looking for their first victory in this category. Martina McBride is in the running for the eighth time in fifteen years, and with one of her more understated performances. Lee Ann Womack returns for a fifth time, having received a nomination for the lead single of her five most recent albums. Both ladies turned in good performances here, but they’ve been overlooked for records bigger and better, so they’re not likely to snap their losing streaks this time around.
As for the previous winners, LeAnn Rimes earned her third consecutive nod, bringing her total to five in this category. She hasn’t won since 1997, when she took home the award for “Blue.” If enough voters hear “What I Cannot Change,” she might have a shot, though the only version of the song that’s been a legitimate hit has been the dance remix.
Trisha Yearwood won in 1998 for “How Do I Live,” her only victory to date. But she’s earned her tenth nomination for “This is Me You’re Talking To,” which is arguably her strongest vocal performance of the ten. Like Rimes, the challenge is getting enough voters to listen to it, but she’s never been more deserving of the victory than she is this year.
Still, the favorite remains Carrie Underwood. She’s quickly become a favorite with Grammy voters, having won this category two years running, along with Best New Artist in 2007. She’s the nominee with the highest profile, and while “Last Name” is nowhere near the same league of “Jesus, Take the Wheel” and “Before He Cheats” in terms of artistry or impact, it was a big hit, something that the other four entries cannot claim.
If Underwood was nominated for “Just a Dream,” she’d have a mortal lock on this one. But the strength of the other nominees will at least keep this race competitive. If Underwood prevails, Grammy queen Alison Krauss better watch her back.
- Alison Krauss, “Simple Love”
- Miranda Lambert, “Famous in a Small Town”
- LeAnn Rimes, “Nothin’ Better to Do”
- Carrie Underwood, “Before He Cheats”
- Trisha Yearwood, “Heaven, Heartache and the Power of Love”
Looking at this lineup, you’d think that it was a golden age of female country artists, something akin to the mid-nineties. In reality, only one of these songs was a big radio hit, though three others managed to go top twenty. In terms of quality, however, this is the most consistent and thoroughly wonderful set of nominees this category has seen this century. You’d have to go back to exactly 1999 to find a better lineup.
In a year when any winner would have been deserving, Underwood won for “Before He Cheats,” her second straight win for a signature mega-hit from her debut album.
Tags: Alison Krauss, Angie Aparo, Anne Murray, Barbara Fairchild, Barbara Mandrell, Billie Jo Spears, Brenda Lee, Carlene Carter, Carrie Underwood, Connie Smith, Crystal Gayle, Deana Carter, Deborah Allen, Diana Trask, Dolly Parton, Donna Fargo, Dottie West, Emmylou Harris, Faith Hill, Gretchen Wilson, Holly Dunn, Jamie O'Neal, Jan Howard, Janie Fricke, Jean Shepard, Jeannie C. Riley, Jeannie Seely, Jessi Colter, Jo Dee Messina, Jody Miller, Juice Newton, June Carter Cash, k.d. lang, K.T. Oslin, Kathy Mattea, LeAnn Rimes, Lee Ann Womack, Linda Ronstadt, Liz Anderson, Loretta Lynn, Lorrie Morgan, Lucinda Williams, Lynn Anderson, Marie Osmond, Martina McBride, Mary Chapin Carpenter, Mary Kay Place, Miranda Lambert, Molly Bee, Olivia Newton-John, Pam Tillis, Patty Loveless, Reba McEntire, Rosanne Cash, Sammi Smith, Shania Twain, Sheryl Crow, Sissy Spacek, Skeeter Davis, Sylvia, Tammy Wynette, Tanya Tucker, Terri Gibbs, Trisha Yearwood, Wanda Jackson, Wilma Burgess, Wynonna
Sunday, November 16th, 2008
In coordination with the Country Music Hall of Fame and Museum, Shout Factory! has begun a new series of country music DVDs that collect archived performances of the genre’s legends, coupled with rare interview footage and Hall of Fame inductions. The promise of this series cannot be overstated, both for fans of the artists profiled and the need for country music’s legacy to be preserved.
Both of the debut entries in the series follow the same format. Fifteen performance clips from old television shows are arranged chronologically, and provide the bulk of each set’s content. The defining singles of both artists are included, and in watching the clips, viewers can get a sense of how each artist developed, along with a fascinating window into how country music itself was presented on television over the course of four decades.
For a variety of reasons, the Marty Robbins collection is the stronger of the two. Since his career dates back to the fifties, we’re treated to four performances from Country Style USA, one of the earliest country music television programs. As we transition into the age of color television, we’re treated to a stunning performance of “My Woman, My Woman, My Wife” from the 1970 CMA Awards. As the liner notes point out, Robbins penned the song in the hospital while recovering from his first heart attack. In one of many appearances on these two collections by other country legends, Tennessee Ernie Ford gives a classy introduction that precedes the performance.
Category DVD Reviews
Tags: Bill Anderson, Eddy Arnold, George Jones, Jan Howard, Johnny Cash, Loretta Lynn, Lorrie Morgan, Marty Robbins, Merle Haggard, Pam Tillis, Tammy Wynette, Tennessee Ernie Ford
Saturday, August 23rd, 2008
“I like to give artists a song they have to sing the rest of their lives. Songwriting is both my living and my pleasure, so I’m a happy man.” ~ Harlan Howard
The dean of country music songwriters, Harlan Howard paved the way for all future practitioners of his craft, lending an authenticity and eloquence to the music that will last for the ages. Through five decades of classic songs, Howard put his indelible stamp on the country music industry through sheer genius and, like many fellow artists and songwriters, rose through the ranks with country music as a constant love through a hardscrabble life.
Born and raised in a Michigan farm town, Howard, an orphan, was first drawn to country music by his weekly appointments with the Grand Ole Opry radio shows on Nashville’s WSM radio. This love affair with the music continued when he traveled to Nashville on weekends during his stint as an Army paratrooper in Georgia, and it was that appreciation for the fine art that led him to leave for Los Angeles in 1955 to work in the factories while attempting a career in songwriting. A year after arriving in Los Angeles, Howard met Tex Ritter and Johnny Bond, who were impressed with the young songwriter’s catalog, culled from numerous hours of writing songs in his head while working at the factory. One of the first tunes that Howard wrote eventually became a country classic, “Pick Me Up on Your Way Down”, first recorded by Charlie Walker and a #2 hit in 1958. Another early success came in 1960, with both Guy Mitchell and Ray Price taking his “Heartaches by the Number” to top of the pop and country charts, respectively.
In that same year, Harlan moved to Nashville with his second wife, Jan Howard, and their three children. Soon after, Harlan’s success rate skyrocketed. He enjoyed as many as 15 of his own songs in the country Top 40 simultaneously, a long-standing record. His friendships with young writers such as Willie Nelson, Hank Cochran and Roger Miller further developed his songwriting skills and laid the foundation for the future of country songwriting. They would collaborate in an effort to create the “next big hit” for a number of Opry stars at the time. One superlative song in this stretch was “I Fall to Pieces”, immortalized by Patsy Cline. The likes of Johnny Cash, George Jones and Buck Owens all achieved considerable success on the charts in the 1960s, displaying Howard’s unique ability to write witty love songs (“I’ve Got a Tiger by the Tail”, Owens’ 1964 classic) or heartbreaking ballads (Bobby Bare’s breathtaking 1966 song, “Streets of Baltimore”).
Howard’s fortunes took a dip in the 1970s, although he would find sporadic chart success with songs such as Melba Montgomery’s “No Charge”. Throughout the decade and into the 1980s, Howard wrote infrequently, but the mid-to-late 1980s brought greater triumphs for Howard. The Judds’ version of his “Why Not Me” earned the CMA Single of the Year award in 1985, and the Reba McEntire chose his “Somebody Should Leave”, another #1 single in 1985, as the final single from her album My Kind of Country. “Life Turned Her That Way”, a Top Ten record for Ricky Van Shelton, earned Howard his sole nomination for Song of the Year from the CMAs (the song had also received a wonderful treatment from Mel Tillis in the late 1960s).
In 1989, Howard took further control of his career by starting his own publishing firm, Harlan Howard Songs, Inc., with wife Melanie, and leaving his long-term post at Tree Publishing. Howard’s run of hit records continued during the surge of female radio success in the 1990s. “Don’t Tell Me What to Do” helped Pam Tillis’ career gain new traction, becoming her first Top Five single (and a nominee for the CMA Single of the Year) in 1991. Also, the first single for Patty Loveless after career-threatening throat surgery was 1993’s “Blame It On Your Heart”, a #1 smash for two weeks. The tongue-twister, a co-write with Kostas, was named BMI’s most-played song of 1994, and launched Loveless into the top tier of country music superstars.
As a result of his consistency and continuous wealth of classic songs, the Country Music Hall of Fame welcomed him as a member in 1997. Other honors included induction into the Songwriters Hall of Fame, the National Academy of Popular Music Hall of Fame and the Grammy Hall of Fame. His list of 100+ Top Ten singles is an honor roll of country music and its ability to challenge, change or just plain entertain the listener. For Howard, it was easy to determine the ultimate mettle detector of a country song and its prospects for greatness. He maintained that it must be, simply, “three chords and the truth”.
The Harlan Howard Songbook
- Above and Beyond the Call of Love/Buck Owens; Rodney Crowell
- Blame It On Your Heart/Patty Loveless
- Busted/Johnny Cash; John Conlee
- Don’t Tell Me What to Do/Pam Tillis
- Excuse Me (I Think I’ve Got a Heartache)/Buck Owens
- Heartaches by the Number/Ray Price
- I Fall to Pieces/Patsy Cline; Aaron Neville & Trisha Yearwood
- I’ve Got a Tiger by the Tail/Buck Owens
- Life Turned Her That Way/Mel Tillis; Ricky Van Shelton
- No Charge/Melba Montgomery
- Pick Me Up On Your Way Down/Charlie Walker; Faron Young
- Somebody Should Leave/Reba McEntire
- Streets of Baltimore/Bobby Bare
- Why Not Me/The Judds
- Your Heart Turned Left and I Went Right/George Jones
Thursday, May 8th, 2008
100 Greatest Women
She’s been an Opry member for three decades, and by the time of her induction, she was already a presence on the Nashville music scene for eleven years. Jan Howard’s biography could have been its own country song, and even was at times, but her talent has always been coupled with grit.
She was born in Missouri, and only fifteen when she married. Three children and two divorces later, she moved to California with her sons. In Los Angeles, she met a young songwriter named Harlan Howard. They quickly married in Vegas, a union that would last for ten years. One night, she began to sing while washing the dishes, and he discovered she had a vocal talent she’d been too shy to share. He asked her to sing the demo for a song he’d written called “Mommy For a Day.” The song became a big hit for Kitty Wells, and Howard became her husband’s demo singer.