Stories

Uncategorized

Freddy Fender first recorded “Wasted Days and Wasted Nights” in 1959. Sixteen years later — after prison, years as an auto mechanic, and a career that seemed finished — he recorded it again and finally took it to No. 1. He was born Baldemar Huerta in San Benito, Texas, to a family of migrant workers. As a young singer, he changed his name to Freddy Fender, believing it would give him a better chance with Anglo audiences. Then everything stopped. In 1960, Fender was arrested in Baton Rouge for marijuana possession and sentenced to Angola prison. He served roughly three years before Louisiana governor and songwriter Jimmie Davis helped secure his release. Back in Texas, Fender worked as an auto mechanic, attended college, and played music when he could. For years, Nashville seemed far away. Then producer Huey P. Meaux gave him “Before the Next Teardrop Falls.” Fender sang it in English and Spanish. In 1975, the song reached No. 1 on both the country and pop charts. He was thirty-seven. Then Fender went back to the song he had recorded before prison — “Wasted Days and Wasted Nights.” The new version reached No. 1 country too. Sixteen years after the song first appeared, Freddy Fender finally got the hit his younger self had never lived long enough to see coming.

No Comments

Freddy Fender and the Long Road Back to No. 1 Long before Freddy Fender became a household name, he was…

Uncategorized

She kept renewing her beautician’s license every year, even after “Stand by Your Man” had sold millions. Tammy Wynette had known poverty too well to believe success could never disappear. Before Nashville, she was Wynette Pugh — raised on a Mississippi cotton farm, married at seventeen, and a mother of three by twenty-two. She went to beauty school, worked in a Birmingham salon, and sang at night. When her youngest daughter became seriously ill with spinal meningitis, Tammy kept working while trying to build a singing career. Her husband, Euple Byrd, thought the dream was foolish. After their marriage ended, he reportedly told her, “Dream on.” In 1966, Tammy packed her three daughters into a car and headed for Nashville. Rejection followed until she reached producer Billy Sherrill at Epic Records. He eventually signed her, changed her first name to Tammy, and helped shape the voice country music would soon know everywhere. “Apartment #9” came first. Then “Your Good Girl’s Gonna Go Bad,” “I Don’t Wanna Play House,” “D-I-V-O-R-C-E,” and finally “Stand by Your Man.” Years later, the story came full circle. Euple Byrd showed up in an autograph line after one of her concerts and asked Tammy to sign something for him. She wrote: “Dream on, baby.”

No Comments

Tammy Wynette, the License, and the Long Road to Nashville Before Tammy Wynette became one of country music’s defining voices,…

Uncategorized

Before Charley Pride became one of country music’s biggest stars, Nashville had already heard his voice — the problem was getting someone to believe the singer behind it could be accepted. Pride had spent years chasing a baseball career before country singers Red Sovine and Red Foley encouraged him to try Nashville. There, manager Jack Johnson eventually introduced him to producer Cowboy Jack Clement. Clement heard something worth risking money on. In 1965, he paid for Pride to record professional demos at RCA Studio B, then took those recordings to RCA Nashville chief Chet Atkins. Even with the voice on tape, getting a record deal was difficult. A Black country singer was still considered a commercial gamble in Nashville. Atkins decided to trust what he heard. RCA signed Pride, and his first two singles made little impact. Then “Just Between You and Me” reached the country Top 10 in 1966 and earned him his first Grammy nomination. The gamble had worked. Charley Pride would eventually score 29 No. 1 country singles and become CMA Entertainer of the Year. But before all of that, there was simply a demo tape, Cowboy Jack Clement willing to pay for it, and Chet Atkins willing to listen.

No Comments

Before Charley Pride Became a Star, Nashville Had to Decide Whether to Believe What It Heard Long before Charley Pride…

Uncategorized

Waylon Jennings wrote “Just to Satisfy You” in 1963. It took nearly 20 years — and Willie Nelson — for the song to finally reach No. 1. Waylon wrote it with Don Bowman when his national career had barely begun. He recorded the song early, and it became a local favorite around Phoenix, but it never gave him the breakthrough he was looking for. Still, Waylon never left it behind. He recorded it again and made it the title track of his 1969 album. Other singers, including Glen Campbell, recorded it too. Years passed, and Waylon’s career grew far beyond the young singer who had first written the song. Then in 1982, he returned to it one more time. This time Willie Nelson sang beside him. Their version of “Just to Satisfy You” climbed all the way to No. 1 on Billboard’s country chart and stayed there for two weeks. Waylon once admitted he had almost not recorded the song at all because he didn’t think it was very good. Nearly two decades later, it was sitting at No. 1. Sometimes a song simply has to wait for its moment.

No Comments

How Waylon Jennings Waited Nearly 20 Years for “Just to Satisfy You” to Find Its Moment In 1963, Waylon Jennings…

Uncategorized

When Dottie West was fighting for her life in a Nashville hospital, Kenny Rogers went to see the woman whose voice had once stood beside his on some of country music’s biggest duets. On August 30, 1991, Dottie was on her way to perform at the Grand Ole Opry when the car she was riding in crashed. She suffered devastating internal injuries and underwent multiple operations. Kenny and Dottie had not been making hit records together for years, but the friendship was still there. He visited her at Vanderbilt University Medical Center during her final days. Dottie died on September 4. She was 58. Years earlier, the two had shared hits like “Every Time Two Fools Collide” and “What Are We Doin’ in Love.” But when Dottie was gone, Kenny did not talk first about record sales or awards. He talked about what made her different. “When she sang about pain, she felt pain,” Kenny said. “When she sang about love, she felt love.” Then he summed her up in one line: “While some performers sang words, she sang emotions.”

No Comments

When Kenny Rogers Went to See Dottie West One Last Time in Nashville By the time August 1991 arrived, Dottie…

Uncategorized

Twenty-three years after Tammy Wynette divorced George Jones, her death left him grieving not simply for an ex-wife, but for a friend he had finally found his way back to. Their marriage had ended in 1975 after years of love, drinking, arguments and turmoil. For a long time, the wounds between them were very real. But time softened what the divorce had broken. By 1995, Tammy and George were recording together again. Their album One was their first joint album in 15 years, and they returned to the road together. Tammy said she was thrilled they had been able to put their personal feelings behind them. Then Tammy died on April 6, 1998, at 55. George did not use that moment to reopen the painful parts of their past. He remembered what they had managed to repair. “In the end we were very close friends. And now, I have lost that friend. I couldn’t be sadder.” Their marriage had failed decades earlier. But before Tammy was gone, they had been given something many former couples never get — enough time to forgive each other.

No Comments

The Friendship George Jones and Tammy Wynette Found Again By the time George Jones and Tammy Wynette recorded together again…

Uncategorized

In 2009, producer Julian Raymond started following Glen Campbell around the studio with a small notebook. He wasn’t writing down production notes. Campbell had begun forgetting things — a lyric, a name, a conversation from ten minutes earlier — and between takes he kept saying small, plain things about his own life. Raymond wrote them down. Later he shaped them into rough songs and brought them back for Campbell to finish. Campbell never knew it was happening. He only said afterward that he’d been wondering why the man kept asking him so many questions. The sessions took two and a half years. By the time they ended, the doctors had given the forgetting a name. The album was called Ghost on the Canvas, and it opened with a line lifted straight out of that notebook: “Some days I am so confused, Lord.”Raymond has said they never once had to stop a session because Campbell couldn’t do it. He did every take. What was hard to watch was Campbell getting angry at himself, asking why he couldn’t hold onto something that easy. The record came out on August 30, 2011, two months after he told the public he had Alzheimer’s. He was 75. The farewell tour that followed was booked for five weeks. It ran a year and a half and 151 sold-out shows, with a teleprompter at his feet and three of his children in the band. Then, in January 2013, months after the last show, Raymond walked him back into a Los Angeles studio one more time. Campbell had spent a whole day being asked how he felt about the disease, and finally told Raymond he didn’t understand what everyone was so worried about — it wasn’t like he was going to miss anybody. Raymond wrote that down too. They cut the song in four takes in a single day, with the old Wrecking Crew players behind him — the same men he’d started with in the 1960s. It was called “I’m Not Gonna Miss You,” and it was the last thing Glen Campbell ever recorded. It won the Grammy for Best Country Song and was nominated for an Academy Award. He was already in a memory care facility by then, and could not be told what it meant.

No Comments

Glen Campbell, Memory, and the Last Song He Couldn’t Leave Behind Some recording sessions are about polish. Others are about…

Uncategorized

Kenny Rogers thought the hardest part would be telling his 12-year-old son that the marriage was over. Then Christopher asked him one question he never forgot. In 1993, Kenny and Marianne Gordon were ending their marriage after more than 15 years together. Kenny later remembered taking Christopher out in a golf cart and telling him quietly that his mother and father were getting divorced. Christopher began to cry. Kenny tried to reassure him, explaining that although they might spend less time together, the time they did have would still matter. Then the boy looked at him and asked, “But will you still be my dad?” Christopher was afraid his mother might someday remarry, another man would become his father, and Kenny might stop looking at him as his son. Kenny immediately told him, “Of course.” Years later, Kenny still remembered that conversation clearly. Divorce had ended a marriage, but to a frightened 12-year-old boy, the only thing that mattered was knowing it would never end the bond between a father and his son.

No Comments

Kenny Rogers and the Question That Changed Everything for Christopher In 1993, Kenny Rogers and Marianne Gordon were ending a…

Uncategorized

George Strait was playing nearly 200 shows a year when losing his 13-year-old daughter changed what success meant to him. On June 25, 1986, Jenifer Strait was killed in a car accident near San Marcos, Texas. George was away working when the call came. At the time, his career was exploding, and he was spending much of his life on the road. Three weeks later, he returned to the stage. That fall, when he won CMA Male Vocalist of the Year, he dedicated the award to Jenifer. But something inside him had changed. George became far more protective of his private life and eventually began cutting back his touring schedule. Looking back, he said the tragedy made him realize that nothing in the music business could ever be more important than his family. Years later, he spoke about Jenifer with a simple sentence: “We were blessed to have been able to spend 13 years with our beautiful daughter Jenifer.” George Strait kept making records and filling arenas. But after 1986, he knew there was one thing even a country music career could never give back: time with the people you love.

No Comments

George Strait, Jenifer Strait, and the Moment Success Changed Meaning Before the loss, George Strait was living the kind of…

Uncategorized

Four years after Waylon Jennings died, his son walked back into a studio to finish a record they had started together when Shooter was still a teenager. Years earlier, Waylon and Shooter Jennings had recorded a small collection of songs together, including new versions of “Lonesome, On’ry and Mean,” “Waymore’s Blues,” and “Ain’t Livin’ Long Like This.” The recordings never became a finished album, and Shooter eventually moved on with his own career. Waylon died on February 13, 2002, at 64. Then in 2006, Shooter returned to those old tapes. His father’s voice was already there. Instead of replacing it, Shooter and his band, the .357s, recorded new backing tracks around Waylon’s vocals. Producer Dave Cobb helped bring the pieces together. Shooter later said it felt like he was getting to “finish that record for him.” In October 2008, Waylon Forever was finally released with eight songs. Waylon had been gone more than six years. But inside that studio, Shooter wasn’t simply preserving his father’s music. For one unfinished record, he had been given the rare chance to work beside his dad again.

No Comments

When Shooter Jennings Returned to the Tapes: The Story Behind Waylon Forever By the time Shooter Jennings walked back into…

You Missed

Uncategorized

Freddy Fender first recorded “Wasted Days and Wasted Nights” in 1959. Sixteen years later — after prison, years as an auto mechanic, and a career that seemed finished — he recorded it again and finally took it to No. 1. He was born Baldemar Huerta in San Benito, Texas, to a family of migrant workers. As a young singer, he changed his name to Freddy Fender, believing it would give him a better chance with Anglo audiences. Then everything stopped. In 1960, Fender was arrested in Baton Rouge for marijuana possession and sentenced to Angola prison. He served roughly three years before Louisiana governor and songwriter Jimmie Davis helped secure his release. Back in Texas, Fender worked as an auto mechanic, attended college, and played music when he could. For years, Nashville seemed far away. Then producer Huey P. Meaux gave him “Before the Next Teardrop Falls.” Fender sang it in English and Spanish. In 1975, the song reached No. 1 on both the country and pop charts. He was thirty-seven. Then Fender went back to the song he had recorded before prison — “Wasted Days and Wasted Nights.” The new version reached No. 1 country too. Sixteen years after the song first appeared, Freddy Fender finally got the hit his younger self had never lived long enough to see coming.

Uncategorized

She kept renewing her beautician’s license every year, even after “Stand by Your Man” had sold millions. Tammy Wynette had known poverty too well to believe success could never disappear. Before Nashville, she was Wynette Pugh — raised on a Mississippi cotton farm, married at seventeen, and a mother of three by twenty-two. She went to beauty school, worked in a Birmingham salon, and sang at night. When her youngest daughter became seriously ill with spinal meningitis, Tammy kept working while trying to build a singing career. Her husband, Euple Byrd, thought the dream was foolish. After their marriage ended, he reportedly told her, “Dream on.” In 1966, Tammy packed her three daughters into a car and headed for Nashville. Rejection followed until she reached producer Billy Sherrill at Epic Records. He eventually signed her, changed her first name to Tammy, and helped shape the voice country music would soon know everywhere. “Apartment #9” came first. Then “Your Good Girl’s Gonna Go Bad,” “I Don’t Wanna Play House,” “D-I-V-O-R-C-E,” and finally “Stand by Your Man.” Years later, the story came full circle. Euple Byrd showed up in an autograph line after one of her concerts and asked Tammy to sign something for him. She wrote: “Dream on, baby.”

Uncategorized

Before Charley Pride became one of country music’s biggest stars, Nashville had already heard his voice — the problem was getting someone to believe the singer behind it could be accepted. Pride had spent years chasing a baseball career before country singers Red Sovine and Red Foley encouraged him to try Nashville. There, manager Jack Johnson eventually introduced him to producer Cowboy Jack Clement. Clement heard something worth risking money on. In 1965, he paid for Pride to record professional demos at RCA Studio B, then took those recordings to RCA Nashville chief Chet Atkins. Even with the voice on tape, getting a record deal was difficult. A Black country singer was still considered a commercial gamble in Nashville. Atkins decided to trust what he heard. RCA signed Pride, and his first two singles made little impact. Then “Just Between You and Me” reached the country Top 10 in 1966 and earned him his first Grammy nomination. The gamble had worked. Charley Pride would eventually score 29 No. 1 country singles and become CMA Entertainer of the Year. But before all of that, there was simply a demo tape, Cowboy Jack Clement willing to pay for it, and Chet Atkins willing to listen.

Uncategorized

Waylon Jennings wrote “Just to Satisfy You” in 1963. It took nearly 20 years — and Willie Nelson — for the song to finally reach No. 1. Waylon wrote it with Don Bowman when his national career had barely begun. He recorded the song early, and it became a local favorite around Phoenix, but it never gave him the breakthrough he was looking for. Still, Waylon never left it behind. He recorded it again and made it the title track of his 1969 album. Other singers, including Glen Campbell, recorded it too. Years passed, and Waylon’s career grew far beyond the young singer who had first written the song. Then in 1982, he returned to it one more time. This time Willie Nelson sang beside him. Their version of “Just to Satisfy You” climbed all the way to No. 1 on Billboard’s country chart and stayed there for two weeks. Waylon once admitted he had almost not recorded the song at all because he didn’t think it was very good. Nearly two decades later, it was sitting at No. 1. Sometimes a song simply has to wait for its moment.