Tom T. Hall
Thomas T. Hall is an American country music songwriter, instrumentalist and short-story writer, he has written 12 No. 1 hit songs, with 26 more that reached the Top 10, including the No. 1 international pop crossover smash "Harper Valley PTA" and the hit "I Love", which reached No. 12 on the Billboard Hot 100. He became known to fans as "The Storyteller," thanks to his storytelling skills in his songwriting. Hall was born in 1936; as a teenager, he organized a band called the Kentucky Travelers that performed before movies for a traveling theater. During a stint in the Army, Hall performed over the Armed Forces Radio Network and wrote comic songs about Army experiences, his early career included being a radio announcer at WRON, a local radio station in Ronceverte, West Virginia. Hall was an announcer at WMOR 1330AM in Morehead, Kentucky. Hall was an announcer at WSPZ, which became WVRC Radio in Spencer, West Virginia, in the 1960s. Hall's big songwriting break came in 1963, when country singer Jimmy C.
Newman recorded his song, "DJ For a Day." In 1964, Hall moved to Nashville and started to work as a $50-a-week songwriter for Newkeys Music, the publishing company belonging to Newman and his business partner Jimmy Key, writing up to half a dozen country songs per day. Key suggested. Hall has been nicknamed "The Storyteller," and he has written songs for dozens of country stars, including Johnny Cash, George Jones, Loretta Lynn, Waylon Jennings, Alan Jackson, Bobby Bare. One of his earliest successful songwriting ventures, "Harper Valley PTA," recorded in 1968 by Jeannie C. Riley, hit No. 1 on the Billboard Hot 100 and Hot Country Singles charts a week apart, sold over six million copies, won both a Grammy Award and CMA Award. The song would go on to inspire a motion television program of the same name. Hall himself has recorded this song, on his album The Definitive Collection. Hall's recording career took off after Riley's rendition of the song, releasing a number of hits from the late 1960s through the early 80s.
Some of Hall's biggest hits include "A Week in a Country Jail", " Watermelon Wine", "I Love", "Country Is", "The Year Clayton Delaney Died", "I Like Beer", "Faster Horses",That Song Is Driving Me Crazy Which Peaked At Number 2 On The Country Charts and many others. He is noted for his children-oriented songs, including "Sneaky Snake" and "I Care", the latter of which hit No. 1 on the country charts in 1975. In 1979, Hall appeared on the PBS music program Austin City Limits during Season 4. Hall won the Grammy Award for Best Album Notes in 1973 for the notes he wrote for his album Tom T. Hall's Greatest Hits, he was nominated for, but did not win, the same award in 1976 for his album Greatest Hits Volume 2. He has been a member of the Grand Ole Opry since 1971. Together with his wife Dixie Hall he won the Bluegrass Song Writer of the Year award in 2002, 2003, 2004, 2005, 2007, 2008, 2009, 2010, 2011, 2013, 2014, 2015, awarded annually by the Society for the Preservation of Bluegrass Music of America.
Hall succeeded Ralph Emery as host of the syndicated country music TV show Pop! Goes the Country in 1980 and continued until the series ended in 1982, he composed the theme song for Fishin' with Orlando Wilson. His 1996 song "Little Bitty", from the album Songs from Sopchoppy, became a No. 1 single that year when it was recorded by Alan Jackson for the album Everything I Love. In 1998 his 1972 song Old Dogs and Watermelon Wine came in second in a BBC Radio 2 poll to find the UK's favorite easy listening record, despite never having been a hit in the UK and being familiar to Radio 2 listeners through occasional plays by DJ Terry Wogan, his song "I Love", in which the narrator lists the things in life that he loves, was used, with altered lyrics, in a popular 2003 TV commercial for Coors Light, used in 2014 in a TV advert for Clipper Teas. On July 3, 2007, he released the CD Tom T. Hall Sings Miss Dixie & Tom T. on his independent bluegrass label Blue Circle Records. On June 1, 2014, Rolling Stone magazine ranked Watermelon Wine #93 in their list of the 100 greatest country songs.
Hall was inducted into the Kentucky Music Hall of Fame in 2002. On February 12, 2008, Hall was inducted into the Country Music Hall of Fame. In November 2018 Hall and his wife Dixie Hall were inducted into the International Bluegrass Music Hall of Fame. Tom Hall was married to bluegrass songwriter and producer Dixie Hall from 1969 until her death on January 16, 2015. Dixie Hall was born Iris Lawrence in the West Midlands, England, in 1934 and emigrated to the U. S. in 1961. They lived in Tennessee. Tom and Dixie met at a 1965 music industry award dinner she was invited to for having written the song "Truck Drivin’ Son-of-a-Gun" which became a hit for Dave Dudley. Hall has Dean Hall, from his 1961 marriage to Opal "Hootie" McKinney from Grayson, Kentucky. In the early eighties, Dean Hall, a singer and songwriter, worked for his father, first as a roadie as a guitar player, before joining Bobby Bare’s band. In Search of a Song We All Got Together and... Places I've Done Time Song in a Seashell; the Songwriter's Handbook, Rutledge Hill Press The Storyteller's Nashville, Doubleday & Co..
The Acts of Life, The University Of Arkansas Press Homewords, The University of Tennessee Press Christmas and the Old House, Peachtree Publishers, Ltd. Spring Hill, Te
Angel of the Morning
"Angel of the Morning" is a popular song and composed by Chip Taylor, recorded numerous times by various artists including Evie Sands, Merrilee Rush, Juice Newton, Nina Simone, P. P. Arnold, Olivia Newton-John, The Pretenders/Chrissie Hynde, Dusty Springfield, Mary Mason, Melba Montgomery, Billie Davis, Bonnie Tyler, Rita Wilson, The New Seekers, Skeeter Davis, Crystal Gayle; the song was composed in 1966 by Chip Taylor:"I wrote'Angel of the Morning' after hearing the Rolling Stones' song'Ruby Tuesday' on the car radio driving into New York City. I wanted to capture that kind of passion.""Angel of the Morning" was offered to Connie Francis, but she turned it down because she thought that it was too risqué for her image, as the song's narrator describes her feelings about a one-night stand: "If morning's echo says we've sinned, well, it was what I wanted now." Taylor produced a recording of the song with Evie Sands, but the financial straits of Cameo-Parkway Records, which had Sands on their roster prevented either that version's release or its distribution.
Other early recordings of the song were made in 1967 by Danny Michaels for Lee Hazlewood's LHI label and by UK vocalist Billie Davis. The song became a hit in 1968 through a recording by Merrilee Rush, made that January at American Sound Studios in Memphis, with Chips Moman and Tommy Cogbill producing. Rush had come to Memphis through the group she fronted, the Turnabouts, being the opening act for a Paul Revere and the Raiders tour. While in Memphis, the Raiders recorded the album Going to Memphis at American Sound Studios, an association which led to Rush's discovery by Tommy Cogbill, hoping to find the right voice for "Angel of the Morning"—he had kept a tape of the demo of that song in his pocket for several months. Rush recorded the song and the tracks which would compose her Angel of the Morning album with the American Sound house band though the single and the album would be credited to the group "Merrilee Rush & the Turnabouts."The single version was released in February 1968, reached the Top 10 on the Billboard Hot 100 that June, peaking at No. 7.
A No. 1 hit in Canada and New Zealand, gave Rush a hit in the Netherlands. The song earned Rush a Grammy nomination for Female. Rush recorded a new version of the song for her 1977 eponymous album release. In the United Kingdom, where Rush's version stalled at No. 55, a rendition by P. P. Arnold, who had sung background on the 1967 Billie Davis version, reached No. 29 in August 1968. In 1970 a rendition by Connie Eaton reached No. 34 on the Billboard C&W charts. In 1977, Mary Mason had a UK Top 30 hit with her version, a medley of two Chip Taylor songs, "Angel of the Morning" and "Any Way That You Want Me," reaching No. 27. In 1977, the British act Guys'n' Dolls had a hit in the Netherlands with the song, their version reached No. 11 on the Dutch charts. In 1978, a release by Melba Montgomery reached No. 22 on the Billboard C&W chart. The highest-charting and best-selling version in the United States was recorded and released in 1981 by country-rock singer Juice Newton for her album Juice. Newton re-interpreted the song at the suggestion of Steve Meyer, who promoted Capitol Records singles and albums to radio stations and felt a version of "Angel of the Morning" by Newton would be a strong candidate for airplay.
Newton would state that she would never have herself thought of recording "Angel of the Morning," and though she recognized the song when Meyer played it for her: "I aware of that song because...when was popular I was listening to folk music and R&B and not Pop, and, a Pop song." Newton's version reached No. 4 on the Billboard Hot 100, No. 22 on the Billboard country music chart, spent three weeks at No. 1 on the Billboard adult contemporary chart in April of that year. The recording earned Newton a Grammy nomination, in the same category as Rush's 1968 hit. More than 1 million units of Newton's single of the song were sold in the United States, the single reached the Top 10 in a number of other countries, including Canada and Australia. Notably, Newton's video for "Angel of the Morning" was the first country music video aired on MTV, debuting the day the network launched, in 1981. In the UK, this recording reached No. 43 on the UK Singles Chart, marking the song's third appearance on that chart without becoming a major hit.
The song "Angel," released by reggae artist Shaggy samples "Angel of the Morning," using the melody, but with different words, for the sung refrain. It reached #1 on the Billboard Hot 100 for the week ending March 31, 2001. Swedish singer Jill Johnson released "Angel of the Morning," with lyrics in English, in 2007 from her album of cover versions, Music Row; this version peaked at No. 30 at the Swedish singles chart. In 1972, Taylor released a version on Buddah 325, it reached #101 in the Record World survey. In 1996, Taylor released. In 1999, a version by Taylor appeared on the KGSR fundraiser CD Broadcasts Vol. 7. In 2004, Taylor released a version of the song with his singer/songwriter partner Carrie Rodriguez on the album of the same name. In 1968, the American singer Joya Landis recorded a late rocksteady/early reggae version of this song in Jamaica for producer Arthur "Duke" Reid a
I Will Always Love You
"I Will Always Love You" is a song written and recorded in 1973 by American singer-songwriter Dolly Parton. Her country version of the track was released in 1974 as a single and was written as a farewell to her one-time partner and mentor of seven years, Porter Wagoner, following Parton's decision to pursue a solo career. Parton's version of "I Will Always Love You" was a commercial success, it reached. It first reached number one in June 1974, in October 1982, with her re-recording on the soundtrack of the movie version of The Best Little Whorehouse in Texas. Thus, she achieved the number one position twice with the same song, a rare feat that Chubby Checker had done with "The Twist" becoming number one in 1960 and again in 1962. Whitney Houston recorded her version of the song for the 1992 film The Bodyguard, her single spent 14 weeks at number one on the Billboard Hot 100 chart making it one of the best-selling singles of all time. It holds the record for being the best-selling single by a woman in music history.
Houston's version of "I Will Always Love You" re-entered the charts in 2012 after her death, making it the second single to reach the top three on the Billboard Hot 100 in separate chart runs. The song has been recorded by many other artists including John Doe and LeAnn Rimes. Country music singer-songwriter Dolly Parton wrote the song in 1973 for her one-time partner and mentor Porter Wagoner, from whom she was separating professionally after a seven-year partnership, she recorded it in RCA's Studio B in Nashville on June 13, 1973. "I Will Always Love You" was issued on June 6, 1974, as the second single from Parton's thirteenth solo studio album, Jolene. In 1982, Parton re-recorded the song, when it was included on the soundtrack to the film The Best Little Whorehouse in Texas. In addition to the 1982 re-recording for the soundtrack album, Parton's original 1974 recording of the song appeared in Martin Scorsese's film Alice Doesn't Live Here Anymore, the 1996 film It's My Party; the song won Parton Female Vocalist of the Year at the 1975 CMA Awards.
Author Curtis W. Ellison stated that the song "speaks about the breakup of a relationship between a man and a woman that does not descend into unremitting domestic turmoil, but instead envisions parting with respect – because of the initiative of the woman". According to sheet music published at musicnotes.com by Hal Leonard Corporation, the country love track is set in a time signature of common time with a tempo of 66 beats per minute. Although Parton found much success with the song, many people are unaware of its origin. During an interview on the The Bobby Bones Show, Dolly Parton revealed that she wrote her signature song "Jolene" on the same day that she wrote "I Will Always Love You."Several times, Dolly Parton suggested to singer Patti Labelle that she record "I Will Always Love You" because she felt Patti could have sung it so well. However, Patti admitted she kept putting off the opportunity to do so and deeply regretted it after she heard Whitney Houston's rendition. During its original release in 1974, "I Will Always Love You" reached number four in Canada on the Canadian RPM Country Tracks chart and peaked at number one on the Billboard Hot Country Songs chart, becoming one of the best selling singles of 1974.
When Parton re-recorded the song in 1982 for the soundtrack of the film The Best Little Whorehouse in Texas, the track was issued as a single and once again charted at number one on Hot Country Songs — making her the first artist to earn a number one record twice with the same song. The 1982 version reached #53 on Billboard's Hot 100 and #17 on its adult contemporary charts. After recording a duet with Vince Gill in 1995 for the album Something Special, the duet version of "I Will Always Love You" made the Billboard country chart and peaked at number 15. Parton and Gill were awarded the CMA's "Vocal Event of the Year" award in 1996 for their recording of the song. Another duet version of the song was released in 2017 with Michael Bolton from his album Songs of Cinema; when the 1974 recording of the song was reaching number one on the country charts, Elvis Presley indicated that he wanted to cover the song. Parton was interested until Presley's manager, Colonel Tom Parker, told her that it was standard procedure for the songwriter to sign over half of the publishing rights to any song Elvis recorded.
Parton refused. She recalls:I said,'I'm sorry,' and I cried all night. I mean, it was like the worst thing. You know, it's like, Oh, my God … Elvis Presley.' And other people were saying,'You're nuts. It's Elvis Presley.'... I said,'I can't do that. Something in my heart says, `, and I just didn't do it... He would have killed it, but anyway, so he didn't. When Whitney came out, I made enough money to buy Graceland. In Curtis W. Ellison's book, Country Music Culture: From Hard Times to Heaven, he stated: "In the early 1990s, when ambiguity in romantic relationships accompanies changing expectations for both men and women, this song demonstrates Dolly Parton's appeal as a songwriter in the pop music market." Ken Knight, author of The Midnight Show: Late Night Cable-TV "Guy-Flicks" of the'80s, commented that Parton is the only singer who can sing "I Will Always Love You" and "make it memorable". Writer Paul Simpson criticized the singer, stating that the track was only written to "soften the blow" of Parton and Wagoner's split.
7" vinyl"I Will Always Love You" – 2:53 "L
The ARIA Charts are the main Australian music sales charts, issued weekly by the Australian Recording Industry Association. The charts are a record of the highest selling albums in various genres in Australia. ARIA became the official Australian music chart in June 1988, succeeding the Kent Music Report, Australia's national charts since 1974; the Go-Set charts were Australia's first national singles and albums charts published from 5 October 1966 until 24 August 1974. Succeeding Go-Set, the Kent Music Report began issuing the national top 100 charts in Australia from May 1974; the compiler, David Kent published Australia's national charts from 1940–1974 in a retrospective fashion using state based data. In mid 1983, the Australian Recording Industry Association commenced licensing the Kent Music Report chart; the first printed national top 50 chart available in record stores, branded the Countdown chart, was dated the week ending 10 July 1983. ARIA began compiling its own charts in-house from the chart survey dated 13 June 1988, corresponding with the printed top 50 chart dated week ending 26 June 1988.
Various artists compilation albums were included in the albums chart, as they had been on the Kent Report chart, until 2 July 1989, when a separate Compilations chart was created. The ARIA Report, detailing the top 100 singles and albums charts, was first available via subscription in January 1990; the printed top 50 chart ceased publication in June 1998, but resumed publication in the year. The printed top 50 chart again ceased publication at the end of 2000; the ARIA charts are based on data collected from digital retailers in Australia. Data of physical sales come from retailers such as Sanity and JB Hi-Fi, while data of digital sales come from online retailers such as iTunes. Since 17 February 1997, all physical sales data contributing towards the chart has been recorded electronically at point of sale. In March 1991, "Do the Bartman" by The Simpsons was the first single to reach #1 in Australia, not available on 7 inch vinyl, but cassingle only. Starting from 8 October 2006, due to low physical single sales at the time, the ARIA singles chart included online data as well as physical sales.
In 2006, it was announced that the Brazin retailing group, comprising major retailers HMV, Sanity and Virgin music/DVD stores would no longer contribute sales data to the ARIA charts. However, after a five-month absence, Brazin re-commenced contributing sales figures to the ARIA Charts on 26 November 2006; the ARIA website publishes the top 50 singles and albums charts, top 40 digital tracks chart, top 20 dance singles chart. The ARIA Report is available via paid e-mail subscription each week; these reports are uploaded to the Pandora Archive periodically. On 5 February 2006, the ARIA Chart Show was a radio program launched on the Nova network and broadcast throughout Australia, playing the official ARIA top 50 singles; the live music program was hosted by Jabba each Sunday afternoon at 3:00pm. From 1 June 2013 to 3 September 2016, the Take 40 Australia radio program broadcast the official ARIA top 40 singles on Saturday afternoons from 2:00 pm to 6:00 pm, on each state's Hit Network-owned radio station.
The show was aired before the top 50 chart, dated for the following Monday, is published on the ARIA website at 6:00 pm. The charts were published online at 6:00 pm each Sunday. ARIA Top 100 Singles Chart ARIA Top 100 Albums Chart ARIA Top 100 Physical Albums Chart ARIA Top 50 Digital Tracks Chart ARIA Top 50 Digital Albums Chart ARIA Top 50 Streaming Tracks Chart ARIA Top 50 Club Tracks Chart ARIA Top 50 Catalogue Albums Chart ARIA Top 40 Urban Singles Chart ARIA Top 40 Urban Albums Chart ARIA Top 40 Country Albums Chart ARIA Top 40 Music DVDs Chart ARIA Top 25 Dance Singles Chart ARIA Top 25 Dance Albums Chart ARIA Top 20 Australian Artist Singles Chart ARIA Top 20 Australian Artist Albums Chart ARIA Top 20 Compilation Albums Chart ARIA Top 20 Jazz & Blues Albums Chart ARIA Top 20 Classical/Crossover Albums Chart ARIA Top 10 Core Classical Albums Chart ARIA Top 20 Hitseekers Singles Chart ARIA Top 20 Hitseekers Albums Chart Yearly Top 100 End of Year charts profiling the year in music End of Decade Top 100 charts profiling the decade in music Pre-2000: 2000 to present: 2006 to present: Pre-2000: 2000 to present: 2016 to present: Music of Australia List of Australian chart achievements and milestones Official website Top 50 chart archives from June 1988 at australian-charts.com Top 100 chart archives from January 2001 at Pandora Archive
Beccy's Big Hits
Beccy's Big Hits is the first greatest hits album by Australian country music singer Beccy Cole. The album celebrates 20 years since Cole burst onto the national Country Music scene winning the Star Maker award at the 1993 Australian Country Music Awards; the album was released in May 2013. Upon release, Cole described the album as “a Country Music version of a box of Cadbury favourites!” "This Heart" - 3:50 "Shiny Things" - 4:00 "Lifeboat" - 3:46 "Mother Knows Best" - 3:57 "Too Strong to Break" - 3:33 "Waitress" - 4:20 "Blackwood Hill" - 4:51 "Sorry I Asked" - 4:43 "Clown Song" - 4:12 "Rainbows and Butterflies" - 3:57 "Millionaires" - 3:47 "Girls Out Here" - 4:18 "Poster Girl" - 4:00 "Lazy Bones" - 9:53
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro