Will This Be the Day
"Will This Be the Day" is a song by the American country rock band The Desert Rose Band, released in 1991 as the first single from their first compilation album A Dozen Roses – Greatest Hits. It was written by Chris Hillman and Steve Hill, produced by Ed Seay and Paul Worley. "Will This Be the Day" marked the beginning of the band's commercial decline on both the American and Canadian Country Singles Charts. It was the band's first single not to make the Top 30 in America and the first in Canada not to reach the Top 40. "Will This Be the Day" peaked at No. 37 on the Billboard Hot Country Songs Chart, No. 44 on the Canadian RPM Country Singles Chart. The single failed to generate the same level of radio play that the band's previous singles had seen. Speaking to The Journal of Country Music in 1991, Hillman said of the song: "It's not doing as well as any of the other singles." "Will This Be the Day" was released by Curb Records in America and Canada only on 7" vinyl. Although the 7" vinyl release had no artwork, it was issued in a standard MCA Records coloured sleeve.
The B-side, "Our Baby's Gone", was taken from the band's album Pages of Life. A music video was filmed to promote the single. Licensed under MCA Records, it was directed by Gerry Wenner and produced by ET/VideoLink, a division of Edwards Technology Video, California. Upon release, Cash Box listed the single as one of their "feature picks" during May 1991, they commented: "When a song makes you feel this good and it causes your entire body to somehow blend with the music, it's gotta be hot! The Desert Rose Band kick off their brand new LP, entitled A Dozen Roses, with this explosion-of-a-tune. "Will This Be the Day" is charged up with racing energy, stellar instrumentation, a little vocal gut-n-grind and of course tremendous harmony - a playlist picker-upper."In a review of A Dozen Roses – Greatest Hits, CD Review described the song as "country/rock at its finest". Randy Lewis of the Los Angeles Times described the song as a "driving rocker". Newsday highlighted the "Roger McGuinn-like Rickenbacker guitar chiming" on the track.
7" single"Will This Be the Day" - 3:26 "Our Baby's Gone" - 2:44 The Desert Rose BandChris Hillman - Lead vocals, acoustic guitar Herb Pedersen - Acoustic guitar, backing vocals John Jorgenson - Lead guitar, backing vocals Bill Bryson - Bass guitar Steve Duncan - Drums Tom Brumley - Pedal steel guitarAdditional personnelPaul Worley, Ed Seay - producers
Herbert Joseph "Herb" Pedersen is an American musician, banjo player, singer-songwriter who has played a variety of musical styles over the past forty years including country, progressive bluegrass, folk rock, country rock, has worked with numerous musicians in many different bands. Pedersen performs with Chris Hillman, both were once members of the Desert Rose Band. Pedersen fronted his own band called the Laurel Canyon Ramblers. Besides this, Pedersen has worked with the following musicians and groups: John Fogerty, Pine Valley Boys, Michael Martin Murphey, Earl Scruggs, The Dillards, Smokey Grass Boys, The New Kentucky Colonels, Old & In the Way, David Grisman, Peter Rowan, Vassar Clements, Gram Parsons, Emmylou Harris, Skip Battin, Tony Rice, Dan Fogelberg, Stephen Stills, Linda Ronstadt, Kris Kristofferson, John Prine, Jackson Browne, John Denver, John Jorgenson, Leland Sklar, Rice, Rice and Pedersen, among others. Southwest Epic Sandman Epic Lonesome Feeling Sugar Hill Official Herb Pedersen Website Herb Pedersen discography at Discogs
Come a Little Closer (The Desert Rose Band song)
"Come a Little Closer" is a song by the American country rock band The Desert Rose Band, released in 1991 as the second and final single from their first compilation album A Dozen Roses – Greatest Hits. It was written by Chris Hillman and Steve Hill, produced by Ed Seay and Paul Worley."Come a Little Closer" marked a continuation of the band's commercial decline on both the American and Canadian Country Singles Chart. Earlier in 1991, "Will This Be the Day" had entered the US Top 40, but "Come a Little Closer" was the band's first single not to reach the Top 40 in either America or Canada, it peaked at No. 65 on the Billboard Hot Country Songs Chart and No. 67 on the Canadian RPM Country Singles Chart. "Come a Little Closer" was released by Curb Records in America and Canada only, on 7" vinyl and as a one-track promotional CD. For release as a single, the album version of "Come a Little Closer" was edited and reduced by a minute in duration, it was dubbed the "Edited Version". The B-side on the 7" vinyl, "Everybody's Hero", was taken from the band's Pages of Life album.
No music video was created to promote the single, however a live performance of the song would be professionally filmed in Aspecta, Japan, on October 18, 1992. Upon release, Cash Box listed the single as one of their "feature picks" during May 1991, they commented: "What a band, what a sound, what a song! The Desert Rose Band has managed to create its own recognizable sound, with its latest release, the sound undoubtedly sparks a best yet! With a driving hit-n-go pulse and a plead-of-love theme, the band delivers an unusual "live" approach with "Come a Little Closer". In addition to an expected fire-tinged harmony blend, this spicy number lends time for a commanding instrumental performance." In a review of True Love, they said the song had a "traditional country sound with a modern day attitude". Billboard commented: "Desert Rose Band leans in the direction of pop/rock with this crisply sung number. Rock guitar licks are showered throughout."In a review of A Dozen Roses – Greatest Hits, CD Review said: ""Come a Little Closer" ranks as one of Hillman and Hill's best compositions.
Crafty and commercial, the Desert Rose Band offers a seamless blend of country and rock styles..." Randy Lewis of the Los Angeles Times described the song as a "driving rocker", but added ""Come a Little Closer," teeters too close to rock cliche for comfort, something this group avoids for the most part." The Milwaukee Journal Sentinel described the track as a "country rock/reggae fusion tune." The Fresno Bee, said of the compilation album: "The best of the bunch on this collection are "Come a Little Closer" and "Price I Pay"." 7" Single"Come a Little Closer" - 3:10 "Everybody's Hero" - 3:17CD Single"Come a Little Closer" - 3:10 The Desert Rose BandChris Hillman - Lead vocals, acoustic guitar Herb Pedersen - Acoustic guitar, backing vocals John Jorgenson - Lead guitar, backing vocals Bill Bryson - Bass guitar Steve Duncan - Drums Tom Brumley - Pedal steel guitarAdditional personnelPaul Worley, Ed Seay - producers
Traditional is the second compilation album by the country rock band the Desert Rose Band, released in 1993. It comprises 10 country songs from the band's previous albums; the compilation was not a commercial success. Traditional compromises of ten released album tracks; the songs "Once More," "Time Between" and "Hard Times" were taken from the band's 1987 self-titled debut album The Desert Rose Band, "Step on Out" and "Our Songs" were taken from the band's second 1988 album Running. "Missing You" and "Desert Rose" were taken from the band's third 1990 album Pages of Life, "Price I Pay" from the band's 1991 compilation A Dozen Roses – Greatest Hits, "Undying Love" and "True Love" from the fourth 1991 studio album True Love."Undying Love" is a duet with Alison Krauss, "Price I Pay" is a duet with Emmylou Harris. The album's front cover photograph was taken during the same photograph session as used for the True Love album two years before. Traditional was released half a year before the band's final studio album Life Goes On, failed to make an appearance on the US Top Country Albums chart.
No singles were released from the compilation. The album was issued on CD and cassette via Curb Records; the CD soon became out-of-print, however in recent years the compilation has been made available as a downloadable MP3 version via sites such as Amazon and iTunes. Lead Vocals, Acoustic Guitar – Chris Hillman Backing Vocals, Acoustic Guitar – Herb Pedersen Backing Vocals, Acoustic Guitar, Electric Guitar, Mandolin – John Jorgenson Pedal Steel Guitar – Jay Dee Maness, Tom Brumley Bass – Bill Bryson Drums, Percussion – Steve Duncan Producers – Ed Seay, Paul Worley, Tony Brown
RPM was a Canadian music industry publication that featured song and album charts for Canada. The publication was founded by Walt Grealis in February 1964, supported through its existence by record label owner Stan Klees. RPM ceased publication in November 2000. RPM stood for "Records, Music"; the magazine was reported to have variations in its title over the years such as RPM Weekly and RPM Magazine. RPM maintained several format charts, including Top Singles, Adult Contemporary, Urban, Rock/Alternative and Country Tracks for country music. On 21 March 1966, RPM expanded its Top Singles chart from 40 positions to 100. On December 6, 1980 the main chart became a Top 50 chart and remained this way until August 4, 1984 whereupon it returned to being a Top 100 Singles chart. For the first several weeks of its existence, the magazine did not compile a national chart, but printed the current airplay lists of several major market Top 40 stations. A national chart was introduced beginning with the June 22, 1964 issue, with its first-ever national #1 single being "Chapel of Love" by The Dixie Cups.
Prior to the introduction of RPM's national chart, the CHUM Chart from Toronto radio station CHUM was considered the de facto national chart. The final #1 single in the magazine was "Music" by Madonna; the modern Juno Awards had their origins in an annual survey conducted by RPM since its founding year. Readers of the magazine were invited to mail in survey ballots to indicate their choices under various categories of people or companies; the RPM Awards poll was transformed into a formal awards ceremony, The Gold Leaf Awards in 1970. These became the Juno Awards in following years; the RPM Awards for 1964 were announced in the 28 December 1964 issue: Top male vocalist: Terry Black Top female singer: Shirley Matthews Most promising male vocalist: Jack London Most promising female vocalist: Linda Layne Top vocal instrumental group: The Esquires Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: The Courriers Top country male singer: Gary Buck Top country female singer: Pat Hervey Industry man of the year: Johnny Murphy of Cashbox Canada Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Ed Lawson, Quality Records Top album of the year: That Girl by Phyllis MarshallA column on page 6 of that issue noted that the actual vote winner for Top Canadian Content record company was disqualified due to a conflict of interest involving an employee of that company, working for RPM.
Therefore, runner-up Capitol Records was declared the category's winner. The Annual RPM Awards for 1965 were announced in the 17 January 1966 issue, with more country music categories than the previous year: Top male vocalist: Bobby Curtola Top female singer: Catherine McKinnon Most promising male vocalist: Barry Allen Most promising female vocalist: Debbie Lori Kaye Top vocal/instrumental group: The Guess Who Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: Malka and Joso Top folk singer: Gordon Lightfoot Best produced single: "My Girl Sloopy", Little Caesar and the Consuls Best produced album: Voice of an Angel by Catherine McKinnon Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Angus Walker Most promising country female singer: Sharon Strong Top country instrumental vocal group: Rhythm Pals Top country instrumentalist: Roy Penney Top country radio personality: Al Fisher, CFGM Toronto Top Canadian disc jockey: Chuck Benson, CKYL Peace River Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Charlie Camilleri, Quality Records The winners were: Top male vocalist: Barry Allen Top female singer: Catherine McKinnon Most promising male vocalist: Jimmy Dybold Most promising female vocalist: Lynda Lane Top vocal/instrumental group: Staccatos Top female vocal group: Allan Sisters Top instrumental group: Wes Dakus & The Rebels Top folk group: 3's a Crowd Top folk singer: Gordon Lightfoot Best produced single: "Let's Run Away", Staccatos Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Johnny Burke Most promising country female singer: Debbie Lori Kaye Top country instrumental vocal group: Mercey Brothers Top country instrumentalist: Roy Penney Top country radio personality: Ted Daigle Top country radio station: CFGM Top record company: Capitol Records of Canada Top Canadian Content record company: Red Leaf Records Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Al Nair Top Canadian music industry man of the year: Stan Klees List of number-one singles in Canada List of RPM number-one alternative rock singles List of RPM number-one country singles List of RPM number-one dance singles RPM archive charts RPM Library and Archives Canada: "The RPM Story" The Canadian Encyclopedia: RPM Charts archive from 1964 to 1999 on worldcharts.co.uk Megan Thow.
"Critical Miss". Ryerson Review of Journalism. Archived from the original on 27 September 2007. Retrieved 15 September 2007
Alvis Edgar Owens Jr. professionally known as Buck Owens, was an American musician, singer and band leader who had 21 No. 1 hits on the Billboard country music charts with his band the Buckaroos. They pioneered what came to be called the Bakersfield sound, named after Bakersfield, the city Owens called home and from which he drew inspiration for what he preferred to call American music. While Owens used fiddle and retained pedal steel guitar into the 1970s, his sound on records and onstage was always more stripped-down and elemental, his signature style was based on simple storylines, infectious choruses, a twangy electric guitar, an insistent rhythm supplied by a drum track placed forward in the mix, high two-part harmonies featuring him and his guitarist Don Rich. From 1969 to 1986 Owens co-hosted. According to his son, Buddy Allen, the accidental death of Rich, his best friend, in 1974 devastated him for years and halted his career until he performed with Dwight Yoakam in 1988. Owens is a member of the Nashville Songwriters Hall of Fame.
Owens was born on a farm in Sherman, Texas, to Alvis Edgar Owens Sr. and his wife, Maicie Azel née Ellington. The stretch of US Highway 82 in Sherman is named the Buck Owens Freeway in his honor. "'Buck' was a donkey on the Owens farm," Rich Kienzle wrote in the biography About Buck. "When Alvis Jr. was three or four years old, he walked into the house and announced that his name was "Buck." That was fine with the family, the boy's name was Buck from on." He attended public school for grades 1 -- 3 in Texas. His family moved to Arizona, in 1937 during the Dust Bowl and the Great Depression. Owens co-hosted a radio show called Buck and Britt in 1945. In the late 1940s he drove through the San Joaquin Valley of California, he was impressed by Bakersfield, where he and his wife settled in 1951. Soon, Owens was traveling to Hollywood for session recording jobs at Capitol Records, playing backup for Tennessee Ernie Ford, Wanda Jackson, Tommy Collins, Tommy Duncan, many others. Owens recorded a rockabilly record called "Hot Dog" for the Pep label, using the pseudonym Corky Jones because he did not want the fact he recorded a rock n' roll tune to hurt his country music career.
Sometime in the 1950s, he lived with his second wife and children in Fife, where he sang with the Dusty Rhodes band. In 1958 Owens met Don Rich in Steve's Gay 90's restaurant in Washington. Owens had observed one of Rich's shows, went to speak with him. Rich started to play fiddle with Owens at local venues, they were featured on the weekly BAR-K Jamboree on KTNT-TV 11. Owens' career took off in 1959, when his song "Second Fiddle" hit No. 24 on the Billboard country chart. Soon after, "Under Your Spell Again" made it to No. 4 on the charts and Capitol Records wanted Owens to return to Bakersfield, California. Owens tried to convince Rich to go with him to no avail. Rich opted to go to Centralia College so that he could become a music teacher while tutoring and playing local venues, but after a year of college, he decided to drop out and join Owens in Bakersfield in December 1960. "Above and Beyond" hit No. 3. On April 2, 1960, he performed the song on ABC-TV's Ozark Jubilee. In early 1963, the Johnny Russell song "Act Naturally" was pitched to Owens, who didn't like it, but his guitarist and long time collaborator, Don Rich, enjoyed it and convinced Owens to record it, which he did with the Buckaroos, on February 12, 1963.
It was released on March 11 and entered the charts of April 13. By June 15 the single began its first of four non-consecutive weeks at the No. 1 position. It was Owens' first No. 1 hit. The Beatles recorded a cover of it in 1965, with Ringo Starr as lead singer. Ringo Starr re-recorded the song as a duet with Owens in 1988; the 1966 album Carnegie Hall Concert was a smash hit and further cemented Buck Owens and the Buckaroos as more than just another honky tonk country band. They achieved crossover success on to the pop charts. During that year, R&B singer Ray Charles released cover versions of two of Owens' songs that became pop hits: "Crying Time" and "Together Again". In 1967, Owens and the Buckaroos toured a then-rare occurrence for a country musician; the subsequent live album, appropriately named Buck Owens and His Buckaroos in Japan, was an early example of country music recorded outside the United States. In 1968 Owens and the Buckaroos performed for President Lyndon Baines Johnson at the White House, released as a live album.
Between 1968 and 1969, pedal steel guitar player Tom Brumley and drummer Willie Cantu left the band and drummer Jerry Wiggins and pedal steel guitar player Jay Dee Maness were added. Owens and the Buckaroos had two songs reach No. 1 on the country music charts in 1969, "Tall Dark Stranger" and "Who's Gonna Mow Your Grass". In 1969, they recorded a live album, Live in London, where they premiered their rock song "A Happening In London Town" and their version of Chuck Berry's song "Johnny B. Goode". During this time Hee Haw, starring the Buckaroos, was at its height of popularity; the series envisioned as country music's answer to Rowan & Martin's Laugh-In, outlived that show and ran for 231 episodes over 24 seasons. Creedence Clearwater Revival mentioned Owens by name in their 1970 single "Lookin' Out My Back Door". Between 1968 and 1970, Owens made guest appearances on top TV variety programs, including The Dean Martin Show, The Ed Sullivan Show, The Jackie Gleason Show and seven times on The Jimmy Dean Show.
In the early 1970s, Owens and the Buckaroos enjoyed a str
Christopher "Chris" Hillman is an American musician. He was one of the original members of The Byrds, which in 1965 included Roger McGuinn, Gene Clark, David Crosby and Michael Clarke. With frequent collaborator Gram Parsons, Hillman was a key figure in the development of country rock, defining the genre through his work with The Byrds, The Flying Burrito Brothers and the country-rock group Desert Rose Band. Hillman, the third of four children, spent his early years at his family's ranch home in rural northern San Diego County 110 miles from Los Angeles, he has credited his older sister with exciting his interest in country and folk music when she returned from college during the late 1950s with folk music records by The New Lost City Ramblers and others. Hillman soon began watching many of the country-music shows on local television in southern California at the time such as Town Hall Party, The Spade Cooley Show and Cal's Corral. Hillman's mother bought him his first guitar. At age 15 Hillman went to Los Angeles to see the Kentucky Colonels bluegrass band at the Ash Grove, convinced his family to allow him to travel by train to Berkeley for lessons from mandolinist Scott Hambly.
When he was 16, Hillman's father committed suicide. He became known in San Diego's folk music community as a solid player; the band lasted two years, recording only one album. When the band broke up in late 1963 Hillman received an invitation to join the Golden State Boys, regarded as the top bluegrass band in southern California and featuring future country star Vern Gosdin, his brother Rex and banjoist Don Parmley. Shortly thereafter the band changed its name to The Hillmen; when the Hillmen folded, he joined a spinoff of Randy Sparks' New Christy Minstrels known as the Green Grass Revival. At this point a frustrated Hillman considered quitting music and enrolling at UCLA when he received an offer from The Hillmen's former manager and producer, Jim Dickson, to join Jim McGuinn, David Crosby, Gene Clark and Michael Clarke in a new band, The Byrds. Hillman was recruited to play bass guitar. Thanks to his bluegrass background, he developed his own melodic style on the instrument; the Byrds' first single, a jangly cover of Bob Dylan's "Mr. Tambourine Man", was an international hit and marked the birth of folk rock.
During the mid-1960s the Byrds ranked as one of the most successful and influential American pop groups. Turn! Turn!", "Eight Miles High" and "So You Want to Be a Rock'n' Roll Star". Hillman kept a low profile on the band's first two albums, on which McGuinn and Clark shared lead vocals with Crosby adding high harmony and singing the bridge on "All I Really Want to Do". However, Clark's departure in 1966 and Crosby's growing restlessness allowed Hillman the opportunity to develop as a singer and songwriter in the group, he came into his own on the Byrds' 1967 album Younger Than Yesterday, co-writing and sharing lead vocals with McGuinn on the hit "So You Want to Be a Rock'n' Roll Star". Hillman wrote the minor hit "Have You Seen Her Face", "Thoughts and Words", "Time Between" and "The Girl with No Name", the latter two demonstrating his bluegrass and country roots. Hillman's prominence continued with the Byrds' next album, The Notorious Byrd Brothers, on which he shared songwriting credit on seven of the album's eleven songs.
Internal strife dogged the Byrds, by the beginning of 1968 the band was down to two original members, with Hillman's cousin Kevin Kelley on drums. They hired Gram Parsons to replace Crosby. Hillman and Parsons changed the Byrds' musical direction, helping to usher in a new genre known as country rock when they recorded the album Sweetheart of the Rodeo. Once again Hillman seemed to recede into the background, leaving most of the vocals to Parsons and McGuinn and concentrating on bass and mandolin. Parsons left the band shortly thereafter. Hillman convinced Whisky A Go Go to give Buffalo Springfield an audition recording. Hillman teamed with Gram Parsons again to form the Flying Burrito Brothers. Further honing their pioneering country-rock hybrid sound by combining the energy and attitude of rock and roll with the issues and themes of country music, the Burritos recorded the landmark The Gilded Palace of Sin followed by 1970's Burrito Deluxe. Parsons was out of the lineup by June 1970 when the band toured Canada as part of the Festival Express tour, with Hillman reverting to bass guitar.
Hillman stayed with the band for two more records, The Flying Burrito Brothers and Last of the Red Hot Burritos. Before the Flying Burrito Brothers disbanded, Hillman joined Stephen Stills' band Manassas