My Country Roots: The Ultimate MP3 Guide to America's Original Outsider Music
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About this ebook
How do you define rockabilly?
Who were the original "outlaws" of Country music?
Where can you go to hear great music in Austin, Texas?
My Country Roots answers all these questions and hundreds more! It is a resource that will help you fill your mp3 player with the essential Country songs, while impressing your friends with your knowledge of the ultimate outsider art.
Containing 100 recommended playlists for downloading, this book is the best and most unique way to explore the Country music genre in a modern easy, convenient way. Each playlist walks you through the history, culture, and relevance of Country music, revealing the authenticity and raw truth that represents Country.
Whether you are a long-time lover of Country music or just discovering the genre, this book will help you not only organize your music, but explore, evaluate, and critique the music while learning about the basics of Country?what we sound like, what we believe in, where we've come from, and where we're goin'. This guide also provides a behind the scenes look at some of the cities that have spawned the greatest music of the genre and films that have contributed to the mystique which defines Country.
For all you music lovers, mp3 users, or folks who are interested in discovering or rediscovering your country roots, this is a book you can't live without!
Alice Randall
Alice Randall is a New York Times bestselling novelist, award-winning songwriter, and educator. She is widely recognized as one of the most significant voices in modern Black fiction and has emerged as an innovative food activist committed to reforms that support healthy bodies and healthy communities. She lives in Nashville where she writes country songs.
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Book preview
My Country Roots - Alice Randall
Copyright © 2006 Alice Randall, Carter Little and Courtney Little
All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotation in printed reviews, without the prior permission of the publisher.
Published by Naked Ink, a Division of The General Trade Book Group of Thomas Nelson Publishers, Inc., P.O. Box 141000, Nashville, Tennessee, 37214.
ISBN-10: 15955558608
ISBN-13: 978-1-59555-860-2
Printed in the United States of America.
06 07 08 09 — 9 8 7 6 5 4 3 2 1
A Word Of Caution:
Downloading or transferring music without proper permission or payment is illegal and punishable by law. The authors of My Country Roots believe you should pay to play,
whether it’s a song or an album, and they intend for this book to be used solely in conjunction with the practice of legal downloading. There are very few songs that may not be available for digital download online at this time. So, if you want to add Garth Brooks to a list, or someone else you may not be able to find, you must purchase their albums through the appropriate online or local retailers and then transfer those recordings to your computer. Show your support of the hard-working songwriters and musicians who make this music possible. Pay to play. Thank you.
Acknowledgements
The authors would like to thank those people who have kindly contributed their talent and time towards the successful completion of this book, with particular humble thanks to the following: Rebekah J. Whitlock, Bo Spessard, Susan Nadler, John Huie, Rodd Essig, Evelyn Schriver, Austin Gray, Lindsey Jamieson, Caroline Randall Williams, Ralph Murphy, D.K. Barton, Vivian Williams, Mimi Oka, David Ewing, Amanda Little, and Sophie Simmons.
Dedication
It’s been rough and rocky traveling but I’m finally standing upright on the ground.
—Willie Nelson, Me and Paul
To Frank Little, who was lovingly raised on this music and departed us wishing for this book.
And to the songwriters we have known and loved: Steve Earle and Allison Moorer; Bob McDill and Bobby Braddock; Mark Sanders and Marshall Chapman; Ray Kennedy and Robert Jetton; Don Shlitz and Matraca Berg and Harry Stinson; Guy Clark and David Olney; Kevin Welch and Willis Alan Ramsey and J.C. Crowley; Bob Doyle and Garth Brooks and Pat Alger; Marcus Hummon and Jeff Hanna and Bruce Bouton; Tia Sillers and Radney Foster; John Hartford and Anders Osborne; Jonathan Long and Rowland Stebbins; Shannon Lawson and Dave Coleman; Michael Merenda and Richard Upchurch; Colin Linden and Carter Wood; Harlan Howard and Mickey Newberry; Amy Grant; Rodney Crowell; Don Schlitz; and Bob Delevante, who took our photograph.
Table of Contents
Introduction
Foreword
How to Use This Book
Who We Are
1. Honky Tonk Angels
2. Honky Tonk Men
3. Good Women
4. Ramblers
5. Outlaws/Bandits
6. Bad Mamas
7. Hookers
8. Rednecks
9. Angels
10. Black
11. John Henry
12. Teen Girls
13. Feminists
14. Ladies of Legend
15. Mythic Men
16. Fools
17. Mamas & Daddies
18. Soldiers
19. Waitresses
20. Cowboys
21. Icons
22. Old People
What We Do
23. Love & Money
24. Cheating
25. Goodbye Love
26. Dance with the Devil
27. Honky Tonkin’
28. Courting
29. Rings
30. Divorce
31. Jails & Prisons
32. Coal Mining
33. Abuse
34. Hard Questions
35. Sweet Invitations
36. Alcohol
37. Drugs (Illicit)
38. Trains
39. Murder
40. Executions
41. Love Begs
How We Feel
42. Crazy
43. Country Erotica
44. Existential Despair
45. Empathy
46. Desire
47. Love Hurts
48. Hot
49. Revenge
50. Before & After the Big D
51. Surreal
52. Country Is Identity
53. Haunted
54. Last Call
Where We Come From & Where We Long to Go
55. Home
56. Hometown
57. Mountains & Rivers
58. Country Contrasted
59. Poverty
60. Coffee, Cigarettes, & Sugar
61. Roads
62. Motels
63. Big City
64. California
65. The United State of Texas
66. Return South/Lost South
67. Music Row
68. Music Industry
69. Cities
70. Story Songs
What We Believe In
71. Spirit
72. Family
73. Mama
74. Kids
75. Friends
76. Married Love
77. Good Love
78. Loving Lies
79. Love & the Road
80. Mama Earth
81. History
82. Irony
83. Labor
84. Simple Wisdom
85. Death
86. God
What We Sound Like (Genres)
87. Country Blues
88. Old Time
89. Bluegrass
90. Honky Tonk
91. Western Swing
92. Nashville Sound
93. Countrypolitan
94. Rockabilly
95. Outlaw
96. Country Rock
97. Songwriters
98. Neo-Traditionalists
99. Pop
100. Alternative Country
Films
My Country Atlas
About the Authors
Index by Artist
Introduction
Country music. Is it . . .
A hard music for a hard people, or cliché music for a sentimental people? Do all country songs sound alike, or is country music as diverse as the nation that birthed it? Three chords and the truth, or reverb, synthesizers, and platitudes? Intricate psychological, social, and political observations, or rants about Mama, Prison, and Work? Racist, or class-conscious, or both? A genre heavily influenced by European music, or a genre heavily influenced by African-American instruments, blues progressions, and jazz solos? Warmed over rock ’n’ roll, or birthed from the cradle of Elvis, Jerry Lee Lewis, and Chuck Berry?
Country music is all of the above. Love it or hate it, there’s more to this genre than most people recognize. No genre of music deals with a more diverse body of subject matter, provides a more mature perspective, or draws from a wider range of conflicting impulses than Country.
Foreword
This is a kind of last will and testament, except you don’t have to wait for me to die to get what’s coming to you. I want you to have a big time while I can enjoy knowing you’re having a big time.
There are some things you need to remember and some things you need to forget. You learn that in seventy-five years on this earth and fifty-two years in the music business.
Forget they called me No Show Jones. Forget Ralph Emery and T. Tommy Cutrer tagged me The Possum
after I looked real bad on the White Lightning album cover. Forget the drugs and the alcohol and that old story nobody ever got right about me riding to town on a lawn mower to get a drink.
You can even forget that I charted 166 singles. The ladies at Bandit Records, Susan Nadler and Evelyn Shriver, tell me that’s more than any artist in any format of music. Forget that, too.
Remember this. Out of those 166 songs, He Stopped Loving Her Today
is a favorite song of mine. When we first cut it, I thought it was too sad. Fans proved me wrong. She Thinks I Still Care
and Walk Through This World With Me
are also favorite songs of mine. When I pass away, let those three recordings be what remains of me on this earth.
But that’s not all I leave behind. I got more from seventy-five trips around the sun than the songs I sang. I got the songs I heard and loved.
It started for me when I was seven years old, in the part of east Texas they call the Big Thicket. My daddy got our family a radio, and that’s when I first heard Wabash Cannon Ball
and The Great Speckle Bird.
I leave you my respect for Roy Acuff. I leave you the thrill it was for me to come to Nashville and work with him, laugh with him, and be sad with him. I leave you the thrill it always was for me to step on the Opry stage with Bill Monroe. Acuff and Monroe—that’s the first piece of your inheritance.
The second piece is Hank Williams, Senior. It was back in 1947 or 1948 when I first heard Hank Williams. I flipped over his voice. I still do. My favorite Hank Williams song is You Win, Again.
Use My Country Roots to find your way to some Hank Williams you haven’t heard in a long time, or to some Hank Williams you have never heard before. Hank Williams’s voice is just simply the best.
The last thing I’m leaving you is my respect for Merle Haggard. Merle Haggard is one of the best songwriters who ever lived. Nobody who’s ever come after is any better than he is.
I first met Merle Haggard in Bakersfield, California in 1962. We were at the same radio station to promote our records. I was there with She Thinks I Still Care
and he was there with Sing Me a Sad Song.
Forty some years later, we’re doing a new record this year. He’s recording five of my songs and I’m recording five of his. It’s going to be a big time. When you download those cuts, you can join the party.
The book you’re holding in your hands now, My Country Roots, is going to take some of my old friends who died in the twentieth century into the twenty-first. And it’s going to take a look at a whole lot of new Country singers and a few living legends. That’s why I’m here to tell you about it. This book gives you a new way to find the great pickers, the great singers, and the great songwriters who are my country roots.
I’m a traditionalist. I love the old music. I love the ways we used to record—but legal music downloading is also one of the great things about modern technology.
Fishing in the middle of a lake, a hundred miles from electricity, with a little machine in your hands, you can have a hundred of Acuff’s songs, a hundred of Bill Monroe’s, a hundred of Hank Williams’s, a hundred of Merle Haggard’s, a hundred of mine, and whatever else you want to listen to, tucked in your pocket on a mp3 player. But you got to know where to go to find what you like. This book will help with that.
There is nothing in the world like country music. A great country song will tear your heart out. Country songs go with you to work, sit with you when you’re crying, slide in the room when you’re loving, and hang around in your heart when the loving leaves. A great country record can help turn a body on and will help hold a life together when everything falls apart.
Last September I released a CD called Hits I Missed and One I Didn’t…. Really and truly that thing started off as something called Songs I Wished I Had Recorded. The main thing about that album (I try to say CD, and this is a forward to a book about downloads, but they’re all still albums to me), is I wanted to pay my respect to some songs I didn’t record: Funny How Time Slips Away,
Detroit City,
The Blues Man,
Here in the Real World,
If You Gonna Do Me Wrong,
Today I Started Loving You Again,
On the Other Hand,
Pass Me By,
Skip a Rope,
Too Cold At Home,
and Busted.
Some of these originals, like some of my early hits, started off on vinyl, moved onto eight tracks, then onto cassettes before jumping onto CDs. And now they’re somewhere out there waiting to be downloaded. You could have a good time thinking how good it would be to hear my versions alongside the originals.
Used to be only the singer and the band had a playlist and you had to listen to songs in the order they were put on the album. Things change. Sometimes that’s a good thing.
I still headline about a hundred shows a year. One of the songs I like to sing when I’m out there on the road is Who’s Gonna Fill Their Shoes.
Max D. Barnes and Troy Seals got it just about right. The radio has abandoned our legends. They don’t understand there won’t be no new Roy Acuff or Hank Williams, or Johnny Cash, or Willie Nelson, or Waylon Jennings, any more than there’s going to be a new William Shakespeare. Like the song says, There’s nothing better once you’ve had the best.
As long as babies cry, hearts break, good times shout, and lonely folk hang their heads; as long as being poor hurts, and loving helps— people all over the world will listen to great Country music.
Welcome to Country cyberspace—the place where songs that have stood the test of time meet the songs fighting to make their way.
I don’t need no rocking chair—but I got me an iPod. I hope you put a few of my old friends and old favorites on your new playlists. You could start with the song I leave to my wife, Nancy: I’m a One Woman Man.
That’s a part of my legacy that was a long time coming. And it’s the last thing I’m leaving you with—living proof that legends and legacies change. And that’s the biggest time of all.
George Jones
Franklin, Tennessee
2006
A George Jones Playlist:
She Thinks I Still Care . . . . . . . . . . . .George Jones
One of George Jones’s favorite George Jones records.
Walk Through This World with Me . . . . . . .George Jones
Another favorite of George, by George.
Today I Started Loving You Again . . . . . . Merle Haggard
One of George’s favorite Haggard songs.
Wabash Cannon Ball . . . . . . . . . . . . . . Roy Acuff
One of the first songs George heard on the radio. Acuff started playing on the Opry about the same time the Jones family got a radio.
The Window Up Above. . . . . . . . . . . . .George Jones
This classic, which is one of the greatest, if not the greatest of all, cheating songs, reveals Jones as a master songwriter who didn’t need a co-writer to create a song for the ages. Jones wrote sixteen of his first twenty hits.
Why Baby Why . . . . . . . . . . . . . . . .George Jones
George’s first big (top five) hit. Jones co-wrote this one with Darrell Edwards.
You Win Again . . . . . . . . . . . . . . . Hank Williams
The other of George’s favorite Hank songs.
He Stopped Loving Her Today . . . . . . . . .George Jones
George’s biggest song ever, and his all time favorite. Has to be.
Oh Lonesome Me . . . . . . . . . . . . . . . Roy Orbison
Don Gibson, the songwriter, originally pitched this one to George who passed on it. He still regrets that.
I’m A One Woman Man . . . . . . . . . . . .George Jones
The song George would sing to his wife.
I Didn’t See a Thing . . . . . . .George Jones & Ray Charles
I’m open and willing to record one with anybody that wants to.
Recording with Ray Charles was one of George’s favorite experiences.
Sing Me a Sad Song . . . . . . . . . . . . . Merle Haggard
The song Merle was playing the day he and George met.
Choices . . . . . . . . . . . . . . . . . . George Jones
The song that sums up George’s life.
How to Use This Book
Read this book in front of your computer while you search for downloadable music (legally, of course!). Whether you download whole playlists, only the songs that particularly interest you, or browse the thirty-second free clips that legal downloadable music sites provide, the volume in hand is a sourcebook that will allow you to enter the world of Country in a way never possible before the advent of the Internet and the rise of new technology. If at anytime you would like to see these lists individually, modify the lists, create your own favorite Country lists or purchase any of the songs/lists please visit our website at www.mycountryroots.com.
Very few people have ever owned three hundred albums, but now anyone who owns a computer has access to thousands upon thousands of songs—too many songs to navigate without guidance. In fact, this plethora of songs can be overwhelming, and so we go back to what we know again and again. Many mp3 players and iPods are as boring as FM radio; few are as interesting as the best independent radio station in town. This book is a solution to that problem.
Not only will we help you organize your music, we want to help you systematically explore, evaluate, critique, and develop an awareness of one of the most dynamic art forms of both the Gutenberg era and the cyberspace era: the song lyric.
We’re starting with Country songs in this series. Country is America’s ultimate outsider art. We’ve created a musical feast of Country songs for you to dip into. Newbies will find this an accessible introduction to the genre; aficionados will be inspired to name their candidates for songs that should have made the list, define other themes worthy of the list, shuffle the arrangement of songs on the lists, and evict songs from a list to install them on another. Shuffling is good. Together we will develop a Country canon, an understanding of the songs that we, today’s listeners, feel are significant.
Our lists are idiosyncratic and provocative by design, not definitive. Each raises many questions: What is the connection between these songs? Is there a song that does not belong on the list? Is there a song that is clearly more successful artistically than the others on the list? What makes it so? Is there a song or songs on the list that fail? Is there a song you would like to add from another list in the book to this list? Is there a song not in the book that you would like to add? From the songs provided, what are the dimensions of the theme as you understand them? What are the connections of this theme in Country to other musical genres with which you are familiar? What song on the list goes on your desert island playlist? Your pick me up
list? Your slow me down
list? Your just barely making it
list? Your exercise
list? Your go to sleep
list? Pick. Shuffle. Create the playlists you want.
This volume you have in your hands is soon to be archaic. It is an artifact from an age associated with the printing of the Gutenberg Bible that began to end the day the very first civilian used the Internet. We’re repurposing old technology to enhance the new. And we’re using that new technology to show you an art form you don’t know or will know now in a new way. Welcome to our roots: an idiosyncratic guide to Country music in cyberspace and your instrument for creating the unique playlists that will become the soundtrack to your life.
Who We Are
We are the icons who define what it means to be Country—or at least, the roles country folk are most likely to be playing when you find them at the center of a Country song. These cast-in-song-heroes and heroines represent aspects of what it means to be human that often go ignored for being too simple, too ugly, too ordinary, or too far beyond the law. You’ll find yourself both comfortable and uncomfortable among the raggedy and righteous souls who populate the Country landscape.
1 Honky Tonk Angels
Offering an invitation into a world of intoxication, danger, and companionship, honky tonk angels inhabit and provide a way into a realm set apart from home, nature, or work (that is, unless you are a waitress). Partly victims, partly free agents, transcendent and transgressing, the women who frequent bars are powerful and alluring creatures of the night. Always female, the particular character of an individual honky tonk angel is often revealed by examining why she is in the bar, what she does while there, who she does it with, who she has left behind to do it, and who’s watching while it all goes on.
It Wasn’t God Who Made Honky Tonk Angels . . . . . Kitty Wells
Honky tonk angels are man-made.
Barroom Girls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gillian Welch
A Gillian Welch masterpiece, this song captures the ephemeral but real joys of being a barroom girl. From the opening metaphor that compares the night that falls apart to a dress that falls open, to the closing refrain that compares the jewelry and finery worn by young women to stars of the morning, the women described and the language used are divinely beautiful. After listening to this song, you may want a little smoke in your curls, too.
Rita Ballou. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Guy Clark
With an exuberant rawhide rope and velvet texture,
Rita Ballou entrances and inspires the men of the Texas hill country.
Fist City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Loretta Lynn
Honky tonk Angels battle each other and many a catfight begins in a honky tonk.
She’s More to Be Pitied Than Scolded. . . . . The Seldom Scene
A patronizing apology, this song describes one woman’s descent from honky tonk angel ingenue to a very different sub-genre of the genus, the aging honky tonk angel. This tired and overly painted cherubim attempts to hide a youth, which is fleeing faster than bad friends and too many nights of too much beer, too much wine, and too many parties.
Queen of the Silver Dollar . . . . . . . . . . . . . . . . . Emmylou Harris
Her highness holds court at the local tavern, where jesters with drink in hand try to woo her to their bed. The song leaves open to interpretation whether or not these jesters have to pay to play
(in silver dollars, of course). Written by Shel Silverstein.
’Cause Cheap is How I Feel . . . . . . . . . . . . . . . . Cowboy Junkies
Here we have an urban honky tonk angel in a big city bar, but the fear of the cold and the fear of poverty, almost as much as the steel guitar and delicate mandolin dancing across the track brushing against the brazen slide guitar, mark this honest expression of you give what you get
—a country song. Though the intoxications are different and the dangers new, the pain of transgression and the promise of transcendence remain.
Wild Side of Life . . . . . . . . . . . . . . . . . . . . . . . . . Wanda Jackson
A furious man writes his wife a letter accusing her of being—among other things—an anybody’s baby,
who drinks in liquor and glamour instead of milk.
Pay No Attention to Alice . . . . . . . . . . . . . . . . . . . . . Tom T. Hall
It doesn’t sound like Alice is the only one who’s drunk all the time.
Where do you think the husband, army buddy, and wife, were off to when they ran the car into a ditch? We see through the haze of the grape to the farm girl charm that allows Alice to make apple pie and biscuits from recollection.
I’m A Honky Tonk Girl . . . . . . . . . . . . . . . . . . . . . . . . Loretta Lynn
An abandoned woman becomes a honky tonk prototype, craving drink and loud music, crying tears, ashamed of what she has become.
Honky Tonk Badonkadonk . . . . . . . . . . . . . . . . . . . .Trace Adkins
Honky tonk angels often look life-changingly good in tight britches.
You Ain’t Woman Enough to Take My Man . . . . . . . Tina Turner
A honky tonk declaration, written and made famous by the woman from Butcher Holler, Kentucky, is sung here by the woman from Nutbush, Tennessee
Honky Tonk Women. . . . . . . . . . . . . . . . . . . . The Rolling Stones
The Stones testify that honky tonk angels, snatches of heaven on earth, are not bound by geographical or cultural borders. The singer encounters both the hard-partying ways of a Memphis queen
and the contained refinement of a New York divorcee. Both take him for a whirl and leave him begging like a baby for more soul saving—even though he knows it’s gonna hurt like hell in the morning. The sounds of Mississippi, Chicago, and London are wrapped together in a bar-shaking tune.
2 Honky Tonk Men
White southern men who revel and rebel in the part of life not defined by family, work, or God. Often found near honky tonk angels, these notably secular and universal characters are not to be confused with barroom devils.
Live Fast, Love Hard, Die Young. . . . . . . . . . . . . . . Faron Young
He doesn’t need your approval. He tells grandiose lies, particularly to himself. He wants to satisfy a whole lot of women. He’s a honky tonk man.
Guitars, Cadillacs. . . . . . . . . . . . . . . . . . . . . . . . Dwight Yoakam
Honky tonk men have style.
There’s a Honky Tonk Angel (Who’ll Take Me Back In) . . . . . . . . . . . . . . . . . Conway Twitty
Honky tonk men have other
women.
In the Jailhouse Now . . . . . . . . . . . . . . . . . . . . . . . .Webb Pierce
There is a very fine line that honky tonk men walk between drinking, shooting dice, picking up women…and going to jail. This is a Pierce classic.
Understand Your Man. . . . . . . . . . . . . . . . . . . . . . . . Johnny Cash
Honky tonk men will leave you shamelessly.
Your Goddamn Mouth . . . . . . . . . . . . . . . . . . . . . . . . . Freakwater
He’s got his tongue inside a beer bottle and God only knows where else, and he’s glad she’s there to call him out on it.
Good Friends, Good Whiskey, Good Loving. . . . . . . . . . . . . . . . . . . . . . . . . Hank Williams, Jr.
The basic requirements for a good life are available at a honky tonk.
Back Up Buddy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Carl Smith
Honky tonk men fight with each other often, particularly over women.
All My Rowdy Friends Are Coming Over Tonight . . . . . . . . . . . . . . Hank Williams, Jr.
Honky tonk behavior sometimes happens outside of the honky tonk.
Tryin’ To Find Atlantis . . . . . . . . . . . . . . . . . . . . . . Jamie O’Neal
Trying to find a good man in a honky tonk or elsewhere is like trying to find a mythical city.
Only Daddy That’ll Walk the Line . . . . . . . . . . Waylon Jennings
Some honky tonk men do right.
All My Rowdy Friends Have Settled Down . . Hank Williams, Jr.
Honky tonk days inevitably come to an end.
Honkytonk Man . . . . . . . . . . . . . . . . . . . . . . . . . . . Marty Robbins
A honky tonk man invites a sad honky tonk angel to walk through the world with him after both have been cuckolded by their respective partners. Their minds set on mutual rescue, in the end they walk out of the honky tonk with the best gifts it can possibly offer: love, music, and no pain, be it for a night or forever.
3 Good Women
Good women love well. They are committed, loyal, passionate, and patient. They are clear and uncomplicated compensations living complex lives.
Good Hearted Woman. . . . . . Waylon Jennings & Willie Nelson
There’s a certain naiveté in the confidence expressed by the good timin’ man
that sings this Country classic. Is she really that patient with him or is that what she wants him to think?
When I Think about Cheating . . . . . . . . . . . . . Gretchen Wilson
Leave it to a woman to think about it—and really think about it hard— before deciding that her current love isn’t worth jeopardizing. There is a moral here, folks.
Pearl, Pearl, Pearl . . . . . . . . . . . . . . . . . . . . . . . Flatt & Scruggs
Flatt & Scruggs vie for the love of one, Pearl, in this simple bluegrass number. Note the strength and power of Scruggs’s banjo playing.
My Elusive Dreams . . . . . . .Tammy Wynette and David Houston
A husband and wife move from city to city looking for the work and dreams that continue to slip through their fingers. In the end, they find that all they have is each other. Thank goodness.
Good Woman’s Love . . . . . . . . . . . . . . . . . . . . . . . . . . . Tony Rice
He could have become a drifter, a