Join the DSO for a honky-tonking, heart-aching celebration of everything America loves about country music past and present. Featuring the classic country hits you know and love from legendary stars Patsy Cline, Dolly Parton, Willie Nelson and Johnny Cash to the biggest stars of today like Garth Brooks, Tim McGraw, The Chicks and Kacey Musgraves.
I have "your top songs 2022" which I promptly saved cos NOW I know they vanish after a point ... And somehow "your top songs 2020" ALSO started showing up in my suggestions a couple of weeks back strangely. Promptly saved that too.
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The song is about a dude asking his girlfriend's father if he can marry her, getting a no, and saying, "Why you gotta be so rude?" and "I'm going to marry her anyway." Time named it one of the top 10 worst songs of the year, and we have to agree.
Her Greatest Hits: Songs of Long Ago is the first official compilation album by Carole King. It was released in 1978 and features twelve songs that had previously appeared on her six studio albums released between 1971 and 1976. The album was re-released on CD/Cassette in 1999 with two additional tracks.
Her Greatest Hits: Songs of Long Ago is Carole King's first compilation album.[3] The original release features twelve songs which had previously appeared on her studio albums Tapestry, Music, Rhymes and Reasons, Fantasy, Wrap Around Joy and Thoroughbred. Four of the songs had appeared on her second album Tapestry, one of the most successful albums in the history of popular music. "Brother, Brother", a song of her third album Music, is the only one chosen for the compilation LP that was never released as a single. The original release does not feature any songs from her debut album Writer or from her two most recent albums at the time of the initial release, Simple Things and Welcome Home.
The 1999 re-release of the album was digitally remastered[1] and included the live versions of two more songs as performed during her Carnegie Hall concert in 1971: "Eventually," from her debut album Writer, and "(You Make Me Feel Like) A Natural Woman," which was originally recorded by Aretha Franklin in 1967 and was covered by King for Tapestry.
Yes guys, the new album from TayTay, The Tortured Poets Department, hit the shelves last week, and it may as well have been released on a Thursday given how dominant it was compared to poor old Pearl Jam and UB40. By Monday it had nearly 200,000 takers, so no matter what you think of the world's most omnipresent popstar, you can't deny she gets the job done. The 270K it sold is the highest tally for any album since all that Ed Sheeran garbage in 2017, which says a lot given I thought physical sales were dead in the water at this point. That's 12 chart-topping albums for the lass now, and it's definitely not impossible that she can set the record for most No.1 albums in the UK by the end of the decade (The Beatles lead the way with 16, if you're wondering). It also helps that the same day this album dropped, she just CASUALLY swung another 15 songs our way as part of the deluxe edition, in a move that puts everyone else to shame. Given she's virtually the 21st century Bob Dylan in the lyrical musical department (see what I did there?), critically judging this album will get me crucified by anyone I find out loves songs like Guilty As Sin?, I Can Fix Him (No Really I Can), loml, Chloe or Sam or Sophia or Marcus, and my personal fave title, Florida!!!, with Florence Welch reduced to mumbling away in the background like a lost spirit.
First up on the running order is Fortnight, a duet with Post Malone that is clearly the highlight here, and lands her a 4th chart-topper on these shores, even though you can barely here old Post on this song. Seriously, he shouldn't have bothered. What's the point? Ah well. Grabbing 3rd place is the title track of the album, mainly serving as the latest put-down to one of her zillion ex-boyfriends, Matt Healy of The 1975 getting the chop this time out. And also failing to beat Hozier's Too Sweet is Down Bad, another classic case of "too many ballads, spoil the broth". Or however that quote goes. There may be more debuts as these songs tip into oblivion, but right now, it's Swifty's world and we're all just living in it. And I don't think next week is any easier on the eye in all honesty.
Two places below him is a climb of twenty-five for Collins Obinna Chibueze, or Shaboozey to the average guy, who clearly saw how famous Lil Nas X got by mixing country with pop and causing a backlash with it and thought, "Yeah I'll try that". His third album arrives at the end of the month, and it's hailed by this tune going absolutely BONKERS on the social sites, as A Bar Song (Tipsy) pulls a blinder after narrowly missing out at 41 last week. It's also far better than the country genre has any right to be nowadays, which is quite a sight until you realise that Beyonc exists. Shaboozey can actually be found on Cowboy Carter on a couple of songs, so he is clearly hot product right now. Expect loads of success from this guy in the future. Or you know, he'll probably end up like all the other 1-hit wonders. It's hard to tell anymore.
Elsewhere, and the three new hits from last week's ladies have taken some interesting moves. Sabrina Carpenter is now officially an actual successful lady in the business, Espresso climbing a place and proving everybody wrong. Including me. Illusion by Dua Lipa drops ten places, a disappointing sight until you actually listen to the song, and then it becomes all to obvious that it's just sorta mid. Oh, and Perrie from Little Mix has fallen to 31. Surprised? You better not be. Anyways, the other new hit is Headie One's first appearance since his collab album with K-Trap in October, as Cry No More starts it's journey at 33. It's a bit of a flop though, given Martin's Sofa was Top 10 barely a year ago, and the fact that Stormzy guests on this song is extra evidence that he could've done better overall. Hey man, at least you're not a member of a group who duetted with Big Mike in 2017.
The likes of Blur, David Bowie, Black Sabbath and Orbital can all be found on this wacky album chart, as last week's winners James plummet to 74. Which is just your average drop nowadays. Back to the singles, and Pozer follows up Kitchen Stove with Malicious Intentions, and his debut at 41 indicates he clearly has some support, meanwhile Training Season and Whatever have been injected with ACR-itis as they evaporate from the best-sellers faster than my dignity. And that says a lot, given I don't have any. Irish band Fontaines D.C. finally experience Top 100 success with Starbuster entering at 62, Latin fever strikes again with Pedro going in at 67 by three people I don't give one about, AJ Tracey stiffs at 69th position, while Yeat, Teddy Swims, Chappell Roan and Zerb all break through into the charts with songs of various quality. I'm not sure if any of them are Top 40 worthy, but you never know in this day and age. For all we know, 's PartyRock Anthem could be here next time out.
Dolly Parton estimates that she has written close to 3,000 songs throughout her illustrious seven-decade career. While 450 of those songs have been recorded, Parton hasn't always been the artist to sing them: Merle Haggard, Hank Williams Jr. and Kenny Rogers have famously recorded and released tracks written by the 10-time GRAMMY winner.
"I love to write songs for men," Parton says in her 2020 book, Dolly Parton, Songteller: My Life in Lyrics. "And it's a good thing I do because back then, there weren't that many women in the country-music business to write songs for. Especially ones who weren't writing their own songs, like Loretta Lynn was. I didn't have a lot of space to write songs for women so I purposefully tried to write songs that men could record. Or songs that could go either way."
That's not to say women haven't been a part of Parton's canon. She penned songs that have been recorded by Emmylou Harris and Skeeter Davis, and even gave Whitney Houston one of the biggest songs of her career.
Parton's songs have taken on new life thanks to artists across countless genres. In celebration of the Country Music Hall of Famer's 76th birthday on Jan. 19, GRAMMY.com takes a look back at 10 songs you may not have known Dolly Parton wrote.
Before Parton became a household name for her own music, she was a songwriter for other artists. In January 1966, Bill Phillips released one of the songs she penned, "Put It Off Until Tomorrow," on which she provided backing vocals. The song peaked at No. 6 on Billboard's Hot Country Songs chart three months later, and the track's success helped garner Parton a recording contract with Monument Records. (Phillips also recorded Parton's "The Company You Keep," which became another top 10 hit later that year.)
Like many of Parton's songs that were recorded by someone else, the singer still included her own version of "I'm In No Condition" on her 1967 album Hello, I'm Dolly. But after listening to Hank Williams Jr.'s rendition, it's hard to believe it was written for anyone but him.
Hymnal references are interlaced throughout the album, particularly in songs like "II HANDS II HEAVEN" and in the lyrical nuances on "JUST FOR FUN." In the later track, Beyonc's voice soars with gratitude in a powerful delivery of the lines, "Time heals everything / I don't need anything / Hallelujah, I pray to her."
The gospel-inspired, blues-based "16 CARRIAGES" reflects the rich history of country songs borrowing from the blues while simultaneously calling back to songs sung by field laborers in the colonial American South. "Sixteen dollars, workin' all day/ Ain't got time to waste, I got art to make" serves as the exhausted plea of an artist working tirelessly long hours in dedication to a better life. 0852c4b9a8
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