Classic CMA Awards Moments, #23: Patty Loveless & George Jones, “You Don’t Seem to Miss Me” (1997)

#23: Patty Loveless & George Jones
“You Don’t Seem to Miss Me”

Their partnership was a moment in hillbilly heaven, as one of the genre’s finest-ever traditional singers joined a terrific artist of the new generation in 1997. For her album Long Stretch of Lonesome, Patty Loveless enlisted the help of George Jones on the song “You Don’t Seem to Miss Me,” and its television debut occurred on the CMA show. Jones joined Loveless on stage, and the industry crowd voiced their approval of the perfect pairing. It was a soulful rendition of the song, a desperate plea to rekindle love’s flame. And only a couple of country music’s most heartbreaking voices could’ve given it the aching quality that writer Jim Lauderdale had intended.

Although country radio balked at the “too-traditional song,” only allowing it to reach #14 on the singles chart, the pairing proved beneficial. The following year, the two artists claimed the CMA award for Vocal Event of the Year. Loveless is one of only four female acts to win Album of the Year (in 1995, a truly remarkable achievement, considering that she‘d only been nominated in the category after Alison Krauss’ album was deemed ineligible). Among her five CMA awards is the Female Vocalist of the Year honor of 1996. Jones owns seven CMA trophies, including Male Vocalist of the Year in 1980-1981.

Patty Loveless & George Jones, “You Don’t Seem to Miss Me” (1997)

Patty Loveless, Album of the Year victory (1995)

Patty Loveless Female Vocalist of the Year victory (1996)


  1. Jim Lauderdale is one of my favorite artists. He’s written some of the greatest songs in country music, and for Jones and Loveless to cover one of his is proof of that. They did a great job on the song.

  2. This is one of my all-time favorite songs! I remember watching this performance when I was about 8 or 9 years old…what a great performance!

  3. Of the “old crowd”, I think Jones hands down does the best job meshing with the more traditional “new” crowd. This song was incredible.

  4. Love the song… especiallly Patty’s performance.
    However, I always thought Jones sounds too much like an afterthought and distractive… kinda like some old guy getting on my nerves trying to sing along to a Patty Loveless song I’m trying to listen to.

    Disclaimer: Yes, I love me some Possum… just not so much on this song.

  5. Patty and the Possum, it just doesn’t get any better!

    I read somewhere that Patty was pressured by some radio stations to drop George Jones from the song, and that she refused. I think she made the right call, and I admire her loyalty.

    This is one of my absolute favorite PL songs, it has that “Mountain Rock” sound that she talks about sometimes, similar to Keep Your Distance in that regard.

    I love all Patty’s music, but especially her Lauderdale stuff. YDSTMM is the song that drew me deeper into Patty’s music, eventually leading me to the conclusion that Patty Loveless is the best thing to happen to Country music in our generation. Call it Neo-classic or Neo-traditonal, she is the champion and torch bearer of our time.

    Great topic Blake.

  6. Thanks, Blake. Good stuff. She was obviously very influenced by George Jones and I loved that song and so glad it was recognized.

    From a story on her new album, full of Geroge influence:
    “George’s wife, Nancy, played him my version of ‘He Thinks I Still Care’ on his birthday, and Nancy said he loved it so much that he spent the day playing it over and over,” Loveless said. “A few weeks later, I got a call from George, who said, simply, ‘Just when I thought you had sung it all, here you come again. That’s a mighty fine performance.'”

    Loveless paused, then softly giggled. “If it’s good enough for George Jones, then I reckon it’s good enough — period.”

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