A song is a single work of music, intended to be sung by the human voice with distinct and fixed pitches and patterns using sound and silence and a variety of forms that include the repetition of sections. Through semantic widening, a broader sense of the word "song" may refer to instrumentals. Written words created for music or for which music is created, are called lyrics. If a pre-existing poem is set to composed music in classical music it is an art song. Songs that are sung on repeated pitches without distinct contours and patterns that rise and fall are called chants. Songs in a simple style that are learned informally are referred to as folk songs. Songs that are composed for professional singers who sell their recordings or live shows to the mass market are called popular songs; these songs, which have broad appeal, are composed by professional songwriters and lyricists. Art songs are composed by trained classical composers for recital performances. Songs are recorded on audio or video.
Songs may appear in plays, musical theatre, stage shows of any form, within operas. A song may be for a solo singer, a lead singer supported by background singers, a duet, trio, or larger ensemble involving more voices singing in harmony, although the term is not used for large classical music vocal forms including opera and oratorio, which use terms such as aria and recitative instead. Songs with more than one voice to a part singing in polyphony or harmony are considered choral works. Songs can be broadly divided depending on the criteria used. Art songs are songs created for performance by classical artists with piano or violin/viola accompaniment, although they can be sung solo. Art songs require strong vocal technique, understanding of language and poetry for interpretation. Though such singers may perform popular or folk songs on their programs, these characteristics and the use of poetry are what distinguish art songs from popular songs. Art songs are a tradition from most European countries, now other countries with classical music traditions.
German-speaking communities use the term art song to distinguish so-called "serious" compositions from folk song. The lyrics are written by a poet or lyricist and the music separately by a composer. Art songs may be more formally complicated than popular or folk songs, though many early Lieder by the likes of Franz Schubert are in simple strophic form; the accompaniment of European art songs is considered as an important part of the composition. Some art songs are so revered. Art songs emerge from the tradition of singing romantic love songs to an ideal or imaginary person and from religious songs; the troubadours and bards of Europe began the documented tradition of romantic songs, continued by the Elizabethan lutenists. Some of the earliest art songs are found in the music of Henry Purcell; the tradition of the romance, a love song with a flowing accompaniment in triple meter, entered opera in the 19th century, spread from there throughout Europe. It became one of the underpinnings of popular songs.
While a romance has a simple accompaniment, art songs tend to have complicated, sophisticated accompaniments that underpin, illustrate or provide contrast to the voice. Sometimes the accompaniment performer has the melody. Folk songs are songs of anonymous origin that are transmitted orally, they are a major aspect of national or cultural identity. Art songs approach the status of folk songs when people forget who the author was. Folk songs are frequently transmitted non-orally in the modern era. Folk songs exist in every culture. Popular songs may become folk songs by the same process of detachment from its source. Folk songs are more-or-less in the public domain by definition, though there are many folk song entertainers who publish and record copyrighted original material; this tradition led to the singer-songwriter style of performing, where an artist has written confessional poetry or personal statements and sings them set to music, most with guitar accompaniment. There are many genres of popular songs, including torch songs, novelty songs, rock and soul songs, other commercial genres, such as rapping.
Folk songs include ballads, plaints, love songs, mourning songs, dance songs, work songs, ritual songs and many more. Air Animal song: bird vocalization, whale song, zoomusicology Aria Canticle Hymn Instrumental Lists of songs Madrigal Poem and song Song structure Theme song Vocal music Marcello Sorce Keller, "The Problem of Classification in Folksong Research: a Short History", Folklore, XCV, no. 1, 100- 104. Jean Nicolas De Surmont, From vocal poetry to song, toward a Theory of Song Obects" with a foreword by Geoff Stahl, Ibidem
Popular music is music with wide appeal, distributed to large audiences through the music industry. These forms and styles can be performed by people with little or no musical training, it stands in traditional or "folk" music. Art music was disseminated through the performances of written music, although since the beginning of the recording industry, it is disseminated through recordings. Traditional music forms such as early blues songs or hymns were passed along orally, or to smaller, local audiences; the original application of the term is to music of the 1880s Tin Pan Alley period in the United States. Although popular music sometimes is known as "pop music", the two terms are not interchangeable. Popular music is a generic term for a wide variety of genres of music that appeal to the tastes of a large segment of the population, whereas pop music refers to a specific musical genre within popular music. Popular music songs and pieces have singable melodies; the song structure of popular music involves repetition of sections, with the verse and chorus or refrain repeating throughout the song and the bridge providing a contrasting and transitional section within a piece.
In the 2000s, with songs and pieces available as digital sound files, it has become easier for music to spread from one country or region to another. Some popular music forms have become global, while others have a wide appeal within the culture of their origin. Through the mixture of musical genres, new popular music forms are created to reflect the ideals of a global culture; the examples of Africa and the Middle East show how Western pop music styles can blend with local musical traditions to create new hybrid styles. Scholars have classified music as "popular" based on various factors, including whether a song or piece becomes known to listeners from hearing the music. Sales of'recordings' or sheet music are one measure. Middleton and Manuel note that this definition has problems because multiple listens or plays of the same song or piece are not counted. Evaluating appeal based on size of audience or whether audience is of a certain social class is another way to define popular music, but this, has problems in that social categories of people cannot be applied to musical styles.
Manuel states that one criticism of popular music is that it is produced by large media conglomerates and passively consumed by the public, who buy or reject what music is being produced. He claims that the listeners in the scenario would not have been able to make the choice of their favorite music, which negates the previous conception of popular music. Moreover, "understandings of popular music have changed with time". Middleton argues that if research were to be done on the field of popular music, there would be a level of stability within societies to characterize historical periods, distribution of music, the patterns of influence and continuity within the popular styles of music. Anahid Kassabian separated popular music into four categories. A society's popular music reflects the ideals that are prevalent at the time it is performed or published. David Riesman states that the youth audiences of popular music fit into either a majority group or a subculture; the majority group listens to the commercially produced styles while the subcultures find a minority style to transmit their own values.
This allows youth to choose what music they identify with, which gives them power as consumers to control the market of popular music. Music critic Robert Christgau coined the term "semipopular music" in 1970, to describe records that seemed accessible for popular consumption but proved unsuccessful commercially. "I recognized that something else was going on—the distribution system appeared to be faltering, FM and all", he wrote in Christgau's Record Guide: Rock Albums of the Seventies, citing that records like The Velvet Underground and The Gilded Palace of Sin possessed populist qualities yet failed to impact the record charts. "Just as semiclassical music is a systematic dilution of highbrow preferences, semipopular music is a cross-bred concentration of fashionable modes." In his mind, a liking "for the nasty and short intensifies a common semipopular tendency in which lyrical and conceptual sophistication are applauded while musical sophistication—jazz chops or classical design or avant-garde innovation—is left to the specialists."
Form in popular music is most sectional, the most common sections being verse, chorus or refrain, bridge. Other common forms include thirty-two-bar form, chorus form *, twelve-bar blues. Popular music songs are composed using different music for each stanza of the lyrics; the verse and chorus are considered the primary elements. Each verse has the same melody, but the lyrics change for most verses; the chorus has a melodic phrase and a key lyrical line, repeated. Pop songs may have an introduction and coda, but these elements are not essential to the identity of most songs
Jo Elizabeth Stafford was an American traditional pop music singer and occasional actress, whose career spanned five decades from the late 1930s to the early 1980s. Admired for the purity of her voice, she underwent classical training to become an opera singer before following a career in popular music, by 1955 had achieved more worldwide record sales than any other female artist, her 1952 song "You Belong to Me" topped the charts in the United States and United Kingdom, the record becoming the first by a female artist to reach number one on the U. K. Singles Chart. Born in Coalinga, Stafford made her first musical appearance at age twelve. While still at high school she joined her two older sisters to form a vocal trio named The Stafford Sisters, who found moderate success on radio and in film. In 1938, while the sisters were part of the cast of Twentieth Century Fox's production of Alexander's Ragtime Band, Stafford met the future members of The Pied Pipers and became the group's lead singer.
Bandleader Tommy Dorsey hired them in 1939 to perform back-up vocals for his orchestra. In addition to her recordings with the Pied Pipers, Stafford featured in solo performances for Dorsey. After leaving the group in 1944, she recorded a series of pop standards for Capitol Records and Columbia Records. Many of her recordings were backed by the orchestra of Paul Weston, she performed duets with Gordon MacRae and Frankie Laine. Her work with the United Service Organizations giving concerts for soldiers during World War II earned her the nickname "G. I. Jo". Starting in 1945, Stafford was a regular host of the National Broadcasting Company radio series The Chesterfield Supper Club and appeared in television specials—including two series called The Jo Stafford Show, in 1954 in the U. S. and in 1961 in the U. K. Stafford married twice: first in 1937 to musician John Huddleston, she and Weston developed a comedy routine in which they assumed the identity of an incompetent lounge act named Jonathan and Darlene Edwards, parodying well-known songs.
The act proved popular at parties and among the wider public when the couple released an album as the Edwardses in 1957. In 1961, the album Jonathan and Darlene Edwards in Paris won Stafford her only Grammy Award for Best Comedy Album, was the first commercially successful parody album. Stafford retired as a performer in the mid-1960s, but continued in the music business, she had a brief resurgence in popularity in the late 1970s when she recorded a cover of the Bee Gees hit, "Stayin' Alive" as Darlene Edwards. In the 1990s, she began re-releasing some of her material through Corinthian Records, a label founded by Weston, she died in 2008 in Century City, Los Angeles, is interred with Weston at Holy Cross Cemetery, Culver City. Her work in radio and music is recognized by three stars on the Hollywood Walk of Fame. Jo Elizabeth Stafford was born in Coalinga, California, in 1917, to Grover Cleveland Stafford and Anna Stafford —a second cousin of World War I hero Sergeant Alvin York, she was the third of four children.
Both her parents enjoyed sharing music with their family. Stafford's father hoped for success in the California oil fields when he moved his family from Gainesboro, but worked in a succession of unrelated jobs, her mother was an accomplished banjo player and singing many of the folk songs which influenced Stafford's career. Anna insisted that her children should take piano lessons, but Jo was the only one among her sisters who took a keen interest in it, through this she learned to read music. Stafford's first public singing appearance was in Long Beach, where the family lived when she was twelve, she sang ``", a Stafford family sentimental favorite. Her second was far more dramatic; as a student at Long Beach Polytechnic High School with the lead in the school musical, she was rehearsing on stage when the 1933 Long Beach earthquake destroyed part of the school. With her mother's encouragement, Stafford planned to become an opera singer and studied voice as a child, taking private lessons from Foster Rucker, an announcer on California radio station KNX.
Because of the Great Depression, she abandoned that idea and joined her older sisters Christine and Pauline in a popular vocal group The Stafford Sisters. The two older Staffords were part of a trio with an unrelated third member when the act got a big booking at Long Beach's West Coast Theater. Pauline was too ill to perform, Jo was drafted in to take her place so they could keep the engagement, she asked her glee club teacher for a week's absence from school, saying her mother needed her at home, this was granted. The performance was a success, Jo became a permanent member of the group; the Staffords' first radio appearance was on Los Angeles station KHJ as part of The Happy Go Lucky Hour when Jo was 16, a role they secured after hopefuls at the audition were asked if they had their own musical accompanist. Christine Stafford said that Jo played piano, the sisters were hired though she had not given a public piano performance; the Staffords were subsequently heard on KNX's The Singing Crockett Family of Kentucky, California Melodies, a network radio show aired on the Mutual Broadcasting System.
While Stafford worked on The Jack Oakie Show she met John Huddleston—a backing singer on the programme—and they were married in October 1937. The couple divorced in 1943; the sisters found work in the film industry as backup vocalists, after graduating from high school, Jo worked on film soundtracks. The Stafford Sisters made their first recordi
Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis
"Ramona" is a 1928 song, with lyrics written by L. Wolfe Gilbert and music by Mabel Wayne, it was created as the title song for the 1928 adventure film-romance Ramona. The song was used again in the 1936 remake of the movie. Ramona was recorded in 1928 by Dolores del Río for the film. Gene Austin's version charted for 17 weeks, eight weeks at #1, topped a million in sales. On record it was a popular hit performed as a romantic ballad, sometimes with a Latin inflection by "Whispering" Jack Smith and, in an idiosyncratic arrangement recorded on 4 January 1928, the Paul Whiteman Orchestra; the Paul Whiteman version, Victor 21214-A, featuring Bix Beiderbecke on cornet, was #1 for 3 weeks on the Billboard charts in 1928. Gene Austin's recording was #1 for 8 weeks the same year. Ruth Etting recorded a version that reached #10In 1958 Jim Reeves recorded "Ramona" for his album Girls I Have Known, it was a German, Dutch number one hit in 1960 for the Blue Diamonds, arranged in an upbeat style similar to the Everly Brothers recordings of that period.
In 1964 it was a UK hit for The Bachelors who reached the No. 4 spot in the charts during a 13-week stay. Singer Billy Walker revived the song for the country market in 1968, reaching the top 10 of the US country charts, it has been used on the soundtracks of several other films, most by Ken Loach in Land and Freedom and in the BAFTA-nominated Harry un ami qui vous veut du bien. Grady Martin released an instrumental version in 1965 on his Instrumentally Yours album; this song was covered by the late Singaporean singer/songwriter/lyricist Su Yin in Mandarin Chinese language with Chinese lyrics written by Li Tian and given the title name of蕾夢娜, appearing on his LP album 黃昏放牛＊一片青青的草地, released by EMI Columbia Records in 1967
Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s. It takes its roots from genres such as folk blues. Country music consists of ballads and dance tunes with simple forms, folk lyrics, harmonies accompanied by string instruments such as banjos and acoustic guitars, steel guitars, fiddles as well as harmonicas. Blues modes have been used extensively throughout its recorded history. According to Lindsey Starnes, the term country music gained popularity in the 1940s in preference to the earlier term hillbilly music. In 2009 in the United States, country music was the most listened to rush hour radio genre during the evening commute, second most popular in the morning commute; the term country music is used today to describe many subgenres. The origins of country music are found in the folk music of working class Americans, who blended popular songs and Celtic fiddle tunes, traditional English ballads, cowboy songs, the musical traditions of various groups of European immigrants.
Immigrants to the southern Appalachian Mountains of eastern North America brought the music and instruments of Europe along with them for nearly 300 years. Country music was "introduced to the world as a Southern phenomenon." The U. S. Congress has formally recognized Bristol, Tennessee as the "Birthplace of Country Music", based on the historic Bristol recording sessions of 1927. Since 2014, the city has been home to the Birthplace of Country Music Museum. Historians have noted the influence of the less-known Johnson City sessions of 1928 and 1929, the Knoxville sessions of 1929 and 1930. In addition, the Mountain City Fiddlers Convention, held in 1925, helped to inspire modern country music. Before these, pioneer settlers, in the Great Smoky Mountains region, had developed a rich musical heritage; the first generation emerged in the early 1920s, with Atlanta's music scene playing a major role in launching country's earliest recording artists. New York City record label Okeh Records began issuing hillbilly music records by Fiddlin' John Carson as early as 1923, followed by Columbia Records in 1924, RCA Victor Records in 1927 with the first famous pioneers of the genre Jimmie Rodgers and the first family of country music The Carter Family.
Many "hillbilly" musicians, such as Cliff Carlisle, recorded blues songs throughout the 1920s. During the second generation, radio became a popular source of entertainment, "barn dance" shows featuring country music were started all over the South, as far north as Chicago, as far west as California; the most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville and continuing to the present day. During the 1930s and 1940s, cowboy songs, or Western music, recorded since the 1920s, were popularized by films made in Hollywood. Bob Wills was another country musician from the Lower Great Plains who had become popular as the leader of a "hot string band," and who appeared in Hollywood westerns, his mix of country and jazz, which started out as dance hall music, would become known as Western swing. Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. Country musicians began recording boogie in 1939, shortly after it had been played at Carnegie Hall, when Johnny Barfield recorded "Boogie Woogie".
The third generation started at the end of World War II with "mountaineer" string band music known as bluegrass, which emerged when Bill Monroe, along with Lester Flatt and Earl Scruggs were introduced by Roy Acuff at the Grand Ole Opry. Gospel music remained a popular component of country music. Another type of stripped-down and raw music with a variety of moods and a basic ensemble of guitar, dobro or steel guitar became popular among poor whites in Texas and Oklahoma, it became known as honky tonk, had its roots in Western swing and the ranchera music of Mexico and the border states. By the early 1950s a blend of Western swing, country boogie, honky tonk was played by most country bands. Rockabilly was most popular with country fans in the 1950s, 1956 could be called the year of rockabilly in country music, with Johnny Cash emerging as one of the most popular and enduring representatives of the rockabilly genre. Beginning in the mid-1950s, reaching its peak during the early 1960s, the Nashville sound turned country music into a multimillion-dollar industry centered in Nashville, Tennessee.
The late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres. In the aftermath of the British Invasion, many desired a return to the "old values" of rock n' roll. At the same time there was a lack of enthusiasm in the country sector for Nashville-produced music. What resulted was a crossbred genre known as country rock. Fourth generation music included outlaw country with roots in the Bakersfield sound, country pop with roots in the countrypolitan, folk music and soft rock. Between 1972 and 1975 singer/guitarist John Denver released a se
Cindy Walker was an American songwriter, as well as a country music singer and dancer. As a songwriter Walker was responsible for a large number of popular and enduring songs recorded by many different artists, she adopted a craftsman-like approach to her songwriting tailoring particular songs to specific recording artists. She produced a large body of songs that have been described as “direct and unpretentious”, she had Top 10 hits spread over five decades. Walker was inducted into the Country Music Hall of Fame in 1997 and inducted into the Texas Heritage Songwriters Hall of Fame in March 2011. Cindy Walker was born on July 20, 1918 on her grandparents' farm near Mart, the daughter of a cotton-broker, her maternal-grandfather F. L. Eiland was a noted composer of hymns and her mother was a fine pianist. From childhood Cindy Walker wrote habitually; as a teenager, inspired by newspaper accounts of the dust storms on the American prairies in the mid-1930s, Walker wrote the song, "Dusty Skies" (later recorded by Bob Wills and the Texas Playboys.
In 1936, her "Casa de Mañana" was performed by the Paul Whiteman Orchestra. By the end of the decade Cindy Walker was dancing in Texas stage shows. In 1940, Walker, at the age of 22, accompanied her parents on a business trip to Los Angeles; as they were driving down Sunset Boulevard she asked her father to stop the car near the Bing Crosby Enterprises building. Walker recalled: "I had decided that if I got to Hollywood, I was going to try to show Bing Crosby a song I had written for him called'Lone Star Trail'", her father nonetheless stopped the car. Walker went inside the building to pitch her song and emerged shortly afterward to ask her mother to play the piano for her. Bing Crosby's brother Larry Crosby had agreed to listen to the song. Larry Crosby was aware that his brother was looking for a new Western song to record; the next day Cindy sang "Lone Star Trail" for Bing Crosby at Paramount Studios. Crosby arranged for her to record a demo with Dave Kapp of Decca Records, impressed and offered her a recording contract.
"Lone Star Trail" became a top-ten hit for Bing Crosby. Walker remained in Los Angeles for 13 years. In 1940 she appeared as a singer in the Gene Autry Western Ride, Ride; the Decca recording contract led to Walker recording several songs with Texas Jim Lewis and His Lone Star Cowboys, including “Seven Beers with the Wrong Man” in 1941, filmed as an early "Soundie". In 1944 Walker recorded a song which became a top ten hit, “When My Blue Moon Turns to Gold Again”. Walker pitched her songs to Bob Wills and began to contribute compositions for recordings and the movies that Wills made in the 1940s; the collaboration was fruitful: Bob Wills and the Texas Playboys recorded over 50 of Cindy Walker's songs, including "Cherokee Maiden", "Dusty Skies", "Miss Molly", "Sugar Moon" and "Bubbles in My Beer". Bob Wills and his band performed Walker's first top-ten country hit, “You're From Texas”. Among her other 1940s hits were "Triflin' Gal"; some sources have erroneously attributed Johnny Bond's 1948 "Oklahoma Waltz" to her.
During the 1950s Walker continued her success as a writer of popular songs. In 1952 Hank Snow had a hit with her "The Gold Rush is Over" and in 1955 Webb Pierce had success with "I Don't Care". Another Walker song was "Blue Canadian Rockies" recorded by Gene Autry; the song was revived in 1968 by The Byrds on their influential country-rock album Sweetheart of the Rodeo. In 1955 Eddy Arnold pitched Walker the theme and the song-title for "You Don't Know Me" when they met during a WSM deejay convention in Nashville. Walker wrote the song based on Arnold's idea, it has been described as “a beautifully symmetrical and poignant portrait of a love not to be”."You Don't Know Me" has been recorded by numerous artists over the years, most by Jerry Vale. "Anna Marie", was a hit for Jim Reeves in 1957 and the beginning of another productive artist-writer association which culminated in "This is It" and "Distant Drums". "Distant Drums" remained at No.1 on the British charts for five weeks in 1966. Reeves recorded many of Walker's compositions, she wrote for him and offered him the right of first refusal of her tracks.
"Distant Drums" was recorded by Reeves as a demo because he loved the song. Chet Atkins felt; this demo, like many for Reeves, was unearthed upon his death and along with Atkins and Mary Reeves, Walker oversaw the production of the overdub, to be released in 1966, became a huge international hit. In 1961 Eddy Arnold had a minor hit with Walker's "Jim, I Wore a Tie Today", a moving song about the death of a cowboy. Cindy Walker wrote the song "Dream Baby ", recorded by Roy Orbison, she had little confidence in “Dream Baby”, but Orbison's re