country

Tanya Tucker | I Don’t Believe My Heart Can Stand Another You

“Tanya Tucker is a living country music legend,” (AllMusic). “She first engraved her name in the genre’s history books in 1972 when, at 13, she hit with the Top Ten single ‘Delta Dawn.’ Across the following decade, Tucker transitioned into adulthood and maintained her fan base (no mean feat). Since then, she has notched a remarkable streak of hits including the chart-topping ‘What’s Your Mama’s Name’ and ‘Would You Lay with Me (In a Field of Stone).’ She’s placed many titles on the Top Country Albums charts, nine singles in the general Hot 100, and more than a dozen on the Top Country Songs list.

Between 1988 and 1997, she charted a comeback that netted three gold albums. In the 21st century, she started her own label and was inducted into the Texas Music Hall of Fame, while continuing to tour. After an extended break from recording, she released the full-length While I’m Livin’ in 2019, co-produced by Brandi Carlile and Shooter Jennings. They reunited with the artist to helm the sessions for 2023’s Sweet Western Sound.”

“I Don’t Believe My Heart Can Stand Another You” (1975), an absolutely textbook mid-tempo country tune, shifts up a half-step at 1:23 during a short interlude. Written by Billy Ray Reynolds, the track reached #4 and #1 on the US and Canadian Country charts, respectively. Many thanks to regular MotD contributor Rob P. for submitting this tune!

Ray Charles, feat. Willie Nelson | Seven Spanish Angels

Ray Charles and Willie Nelson’s duet “’Seven Spanish Angels’ showcases the vocal strengths of both artists … allowing the lyric and the singers to shine,” (Country Universe). Written by Troy Seals and Eddie Setser, the tune was released in 1985. “… Charles and Nelson deliver this song with the reverence and empathy that it deserves. It feels like the best music often comes from storytelling like this, where characters with such different lives than us listeners can imagine have their stories told with humanity.”

“It was released in November 1984 as a single from Charles’ 1984 album Friendship,” (The Billboard Book of Country Hits). “Charles and Nelson split the verses, with Charles singing the first and Nelson the second, Charles sang the first and second choruses with Nelson joining for the outro. It was also included on Nelson’s 1985 compilation album Half Nelson. ‘Seven Spanish Angels’ was the most successful of Charles’ eight hits on the country chart. The single spent one week at number one and a total of twelve weeks on the country chart.”

Willie’s clipped delivery provides contrast with Ray’s lyrical phrasing. The two vocalists have a similar range, but the overarching difference in timbre between their two instantly recognizable voices is one of this version’s more noticeable features. At 2:58, the key moves up a half step for the final few verses.

Dolly Parton | You’re the Only One

“We’ve been wishing for something to unite us, and as always we have forgotten to be careful what we wish for,” (Esquire). “Today each of us has lost a family member. Dolly Parton has died at age 80, and it’s a measure of the space she leaves behind that no words seem to want to fit in front of her name. I’ve tried a few, too: ‘Country music superstar’ is limiting, ‘entertainer’ doesn’t cut it, ‘icon’ has been rendered meaningless by overuse. She did too many things, at too high a level, with too singular a sensibility, that reached too many people in too personal a way to be reduced to a simple descriptor. ‘Dolly’ will have to do.

Even if you aren’t a superfan, you know the details of her life. You know she was (the fourth of 12 children, raised) in rural Tennessee in a one-room log cabin … you know she started playing guitar and writing songs at age eight and those songs got her on local radio at age 13. You know she went right from high school to Nashville, where she met her husband Carl Dean at a laundromat the day she arrived, and that she got her big break as the new ‘girl singer’ on The Porter Wagoner Show, which she soon outgrew. You know that leaving Porter behind was the basis of ‘I Will Always Love You,’ and maybe she did write that song on the very same day she wrote ‘Jolene,’ or maybe she didn’t, but it doesn’t matter anyway because it’s now up with George Washington chopping down the cherry tree in American lore.”

Co-written by Carole Bayer Sager and Bruce Roberts, “You’re the Only One” (1979) topped the US and Canadian Country charts. But it also crossed over for respectable top-100 chart positions in both countries, also reaching #14 (US) and #1 (Canada) on the adult contemporary charts. The intro and verse are in C# major, leading into a chorus which climbs up to D major (0:42). At 1:14, the next verse settles back into the original key. The two keys continue to alternate throughout. We’ve featured many of Dolly’s most famous tunes in the past (including the multi-key hit “Here You Come Again“). But today, we’ve chosen “You’re the Only One” to honor the sheer depth of her catalog, comprising scores of tunes. This track was merely a garden-variety big hit, not quite reaching the level of multi-generational classic. Many thanks to Julianna A. for submitting this track!

Ronnie Milsap | It Was Almost Like a Song

“Listen closely to Ronnie Milsap’s golden voice and you’ll hear a singer as close to the heart of American music as anyone who’s ever made the charts,” (Soul Country). ” He wound through the R&B nightclubs of Memphis and Atlanta, where he sang straight-up Southern soul and rock ‘n’ roll, before moving to Nashville at the urging of Charley Pride.

‘Today, the coolest building in the world is cooler for the presence of Ronnie Milsap,’ (interviewer) Peter Cooper said, introducing the singer for the joyful, wide-ranging conversation in 2015. ‘He is the piano-playing, country-soul singing, Braille-reading, radio listening, native North Carolinian and 42-year Nashvillian who is — along with Hank Cochran and Mac Wiseman — among the three newest members of the Country Music Hall of Fame.’ The singer’s accomplishments in popular music are staggering. He had 12 No. 1 singles in his first five years in country music, Cooper said. Then came the 1980s. ‘He sang 35 No. 1 Billboard country singles between June 1973 to March of ’92,’ Cooper continued. ‘Every song he released was a Top 20 country hit. All but two were Top 10. All but six were Top Five.'”

Co-written by Burt Bacharach’s favorite lyricist collaborator Hal David and Archie Jordan and released in 1977 on an album of the same name, Milsap’s “It Was Almost Like a Song” begins in C major. At 2:31, a key change up to Db major takes effect through to the end of the tune, accompanying Milsap’s soaring vocal and leading up to a quieter piano feature for the short outro. Many thanks to our regular contributor Rob P. for submitting this tune!

J.D. Souther | Banging My Head Against the Moon

“It’s been said that JD Souther could have been a major artist if he had kept more of those beautiful, introspective songs he wrote for himself,” (Country Music Hall of Fame). “He had the aching tenor voice, the good looks that got him TV acting jobs … He wasn’t a star of country-rock, but he was crucial to its enduring power.

—Kyle Young, CEO, Country Music Hall of Fame and Museum”

Souther wrote ‘Faithless Love’ for his then-girlfriend Linda Ronstadt and later co-wrote ‘The Best of My Love’ with Glenn Frey and Don Henley of the Eagles. He went on to write other signature Eagles hits: ‘Heartache Tonight,’ ‘New Kid in Town,’ and ‘Victim of Love.’ “Souther even had an opportunity to join the band early in their run—an experience he called being ‘an Eagle for a day.'” He summed it up by saying “‘I think they were so relieved when I said no. I’m not a very good team player.’” He had his own chart success with 1979’s “You’re Only Lonely” and then a duet with James Taylor, ‘Her Town Too.’ Looking back, he summed up his career: “’Good music really lasts a long time.’”

“Banging My Head Against the Moon,” from Souther’s 1976 release Black Rose, is built in F major overall. At 1:39, a bridge slips quickly into Db major for what starts as an instrumental bridge, later joined by vocals. At 2:00, we slip right back into F major before a return to the next verse at 2:09.

Dolly Parton | Baby, I’m Burnin’

“’Baby, I’m Burnin” is a killer disco track that still sounds great today,” (Country Universe). “Very much of the era, but not overwhelmed by it. A big reason that it works is that Parton’s jubilant persona is a good fit for dance music in its late 1970s form. When the genre moved toward synthesized sounds in the 1980s, her natural warmth would often sound out of place. But she sounds great here. She knows she’s singing a silly song for people to dance to, and she commits to it wholeheartedly.

And don’t let the cotton candy substance of the song fool you. A great disco song isn’t any easier to write than a great country song, and having a talent for the latter doesn’t necessarily translate to having one for the former. It’s a keeper, and one that’s proven timeless enough for her to still open her shows with it today.”

There’s a disco-infused country version of “Baby, I’m Burnin'” (1978) and a country-infused disco version; this video is from the latter category. At 3:41, after what sounds like both an electronic and acoustic percussion break, the tune moves up a half step.