Showing posts with label porter wagoner. Show all posts
Showing posts with label porter wagoner. Show all posts

Saturday, July 13, 2019

A Look Back At Country Albums ~ 1969

(I used to subscribe to this ~ it had song lyrics!)

By 1969 I could afford to buy albums. Up 'til then I'd been solely a singles gal, because I was penniless. Of course, I was barely a teen, so jobs were hard to come by. Due to family circumstances, however, my mom frequently enlisted me to man the motel office (during the times she was off looking for my dad). Travelers were taken aback by finding a little girl waiting to check them in, but I just did what needed to be done ~ shove the heavy metal bar across the credit card swiper, tear the little side receipt off the registration card and hand it over, answer the beeping switchboard, make change for the Coke machine.

Mom reluctantly determined that I needed to be paid for those nights, when I really needed to be doing homework, so my paying wage became seventy-five cents per hour. Before too long I had enough money saved to buy an album!

Sometimes albums were the only means of obtaining songs I really liked, because our little town's selection of country singles was limited to the top ten. At least JC Penney's basement had a middling country album offering. Often my tastes were dictated by my best friend Alice's inclinations. I was still a relative country music novice; still feeling my way around this new musical world. I liked Merle Haggard, Waylon Jennings, and Charley Pride (which essentially sums up sixties country music), but I was keen to spread my wings.

There was a pretty new gal on the scene, a beehived blonde who had teamed up with an old guy with a pale pompadour, and this was the album I bought by this duo:

There had been occasional duet pairings before Porter and Dolly, but none so successful or influential. In the "actual" country music world (as opposed to the faux New York/Hollywood lexicon), they were superstars. Any skim of country music charts from the late sixties will reveal a multitude of hit records by one or the other, or both.

In that vein:

 Snigger if you will, but Carroll County Accident was an enormous hit. Granted, Alice and I weren't enamored with it ~ we made up our own, politically incorrect lyrics. But it could not be avoided on AM radio or ignored.

Then there was:

The album cover included a distant shot of Dolly's real-life husband, Carl Dean; the one and only time Carl allowed himself to participate in Parton's musical world.

I fell in love with the sweet voice of Lynn Anderson sometime around 1967. She'd begun moving away from her mom's penned songs (although Liz Anderson was no slouch ~ she did write "Strangers" after all) and was still signed to Chart Records until 1970.

This was an album of covers, but Lynn sang the hell out of them.

No live video, unfortunately:

Not my favorite Hag album, but with few exceptions (see below) I always bought Merle Haggard LP's. I did like this one:

Here's one I didn't buy, and my reasoning is this (if I can remember): I'd heard the single ad nauseam and I didn't need a live version of it. I liked studio recordings, although I never bought this as a single, either. Looking back, I think I had an issue with the title song. At fourteen I was far from sophisticated, but the track seemed almost mocking, and I wasn't on board with that. As for live Haggard albums, "The Fightin' Side Of Me" ranks up there with my favorites of all time, so I had no bias against live recordings.


I also didn't buy this one, and again I will explain. Johnny Cash is the hip country artist that non-country fans always cite. Granted, he had a network TV show in '69 that featured acts that rarely got television exposure, and he had a great gospel group performance (thanks to the Statlers) at the end of each episode. But real country fans weren't real Cash aficionados. All his songs sounded the same, with their thump-thudda-thump beat, over and over.

And speaking of overplayed songs, what could top this?

These last two will get all the kudos, naturally undeserved, but I choose to remember the LP's that touched me as a fourteen-year-old kid, newly seeping herself in country music.

Ahh, fifty years. 


Saturday, December 1, 2018

50 Years of Country Albums ~ 1968

I was thirteen in 1968, so you do the math. I was at that desperately awkward stage ~ I'd somehow managed to slither through seventh grade with only a moderate amount of embarrassment, but it was a struggle. Thirteen-year-olds are like alien beings who must learn how to simulate the movements of a human without an instruction manual. It's a wonder most of us survive past our first decade of life.

I bought multiple tubes of Maybelline concealer in an attempt to mask my zits. To complete my look, I slathered green eye shadow on my lids and liberally applied Cover Girl ivory-tone liquid makeup not only to my face, but my neck as well, so I had perpetual grease stains on the collars of all my polyester dresses. I thought I looked neat.

I pulled on pantyhose each morning and a pair of plastic kitten-heel pumps. I hiked up my half-slip to ensure it didn't peek below my thigh-high skirt. My hair was a disaster. I hadn't yet grown it out and thus was yet to endure the nightly torture of brush rollers with plastic pins jabbed into my scalp. I didn't know how to style hair, so I essentially let my mop do whatever it deigned to do. I did have long bangs that unfortunately obscured my carefully-applied lime eye shadow, but had the fortuitous benefit of camouflaging my forehead pimples.

I grabbed my geography and math textbooks and my spiral notebooks and Bic pen and padded out to await the bus. I was never cool and I painfully knew it. All I could pray for was to be was unnoticed. I think I actually prayed for that.

My only savior was music.

Musically, I was still torn between the pop songs played on KFYR AM and the chosen genre of my new best friend, Alice. Alice was unapologetically a country fan and didn't give a damn who knew it. Unlike me. I did my best to cloak my country proclivities by pressing my transistor up against the bus window and flooding the column of cocoa bench seats with Judy In Disguise. I didn't talk to anyone on the bus and certainly no one talked to me, but John Fred and the Playboys conveyed the desired message.

I had dipped my toe into albums in '67 and by 1968 had garnered quite the collection ~ if twenty is a collection. Granted, I had no means of income other than birthday money, and albums cost a whole three dollars and forty-nine cents. But I did my best.

Historically, few of the 1968 albums I owned have made any "best" lists, but you know, it was country. Country albums weren't exactly concept-driven. I feel a need to explain why none of Merle Haggard's '68 LP's made a home in my row of cardboard treasures. I already owned a tri-fold "Best of Merle Haggard" disc that contained all one could wish for, plus I didn't wait for new albums to be released ~ I needed those '45 singles immediately. So if I had a couple of dollars for an album, I wasn't going to waste it on something for which I already owned the prime track.

Critics (and you know how smart they are) will say that "Live At Folsom Prison" by Johnny Cash is one of the very best country albums of all time. Well, I never was a Cash fan. I found his music simplistic and monotonous. Rolling Stone Magazine loves the Johnny Cash mystique; the hell with the actual music. If I never hear Folsom Prison Blues again, my life will be a success.

Here's what I did buy:

How could one go wrong? "Best Of's" were a poor girl's dream. I knew all the songs were good, and as a bonus, the album included "Buckaroo", which was the only song I ever learned how to pick on a guitar.

Okay, this is performed by Marty Stuart and his Fabulous Superlatives, because I can't find a decent video of Don Rich:

Like almost all country albums of that era, this album was filled to the brim with covers. So, I'm just going to go with the big daddy of songs:

This was the second duet album by Porter and Dolly, but not their best. "Porter Wayne and Dolly Rebecca" far outshines it. There was a fascination with this new girl singer in '68 ~ we hadn't seen or heard anyone like her before.

There was not one original song on this album! Not even one hit single. I don't know what the people at RCA records were thinking, but if you're going to release an LP, you might want to have one original song on it. With that in mind, I'm just going to cheat and show a video of one of Pride's actual hits:

I don't think I actually owned this album, but Alice did and we played it at her house over and over. Again, we didn't know what to make of this brash young blonde, but we knew she had something goin' on.

Again, "greatest hits" ~ how can one go wrong? I was always equivocal about Loretta Lynn. She'd been around since I was a tyke and saw her perform at Panther Hall in Fort Worth, Texas. I truthfully still haven't made my mind up about Loretta. I wouldn't go out of my way to play any of her tracks, but she paved the way for other, better female country singers, so...

That about sums up my album purchases from 1968. Not really a "classic" among them, but nobody knows at the time or even gives a damn what will endure. 

I do know, however, that this will:

Saturday, March 24, 2018

Transitions ~ 1969 In Music

I "graduated" from junior high in May, 1969 and transitioned to Mandan Senior High that September. I was grown-up! Shoot, I was fourteen going on fifteen! On my way to freshman renown!

Richard Nixon had become president. I'd pissed off my dad by tacking my eighth grade history project (a campaign placard) up on the wall right outside the kitchen door ~ "This Time Vote Like The Whole World Depends On It ~ Nixon/Agnew". Dad was reliably perturbed and baffled. I think he literally scratched his head as he alighted the stoop. My work was done!

That summer odd things happened. Teddy Kennedy killed a girl and the Manson Family killed a bunch of people in gruesome ways. Woodstock happened and most people didn't give a shit. My best friend Alice and I went to the Mandan Theater and saw "Butch Cassidy" and "True Grit". We learned that Glen Campbell was a terrible actor and that Paul Newman still had the bluest eyes under the sun.

Oh yea, there was some kind of "moon landing" that summer. Unfortunately, it was a Sunday night, which was really bad scheduling. Plus the optics weren't good. It was hard to make out what exactly was going on. I did park myself in front of our console TV, and I think my dad was there, too. Maybe Dad was more impressed than I. I didn't grasp the enormity of the event, but I was fourteen. I was more excited anticipating the next "World of Beauty" kit that would land in my mailbox.

(I hope it has white lipstick!)

I'd abandoned rock and roll. But old habits died hard. I still had one foot in AM radio, but mostly, thanks to the influence of my new best friend, I became immersed in country music. 

I was still aware of certain '69 hits, like this:

And this song, over and over:


This was catchy:

I liked this one because I watched Hawaii Five-O every Thursday night at nine p.m. on CBS television (Book 'em. Danno):

But frankly, the number one song of the year was one my seven-year-old sister really liked, because it was a cartoon. This is where pop music was in '69, as much as one wants to wax nostalgic over "Get Back" and "Lay Lady Lay":

On the home front, life had settled into a routine. Dad was sober "sometimes";  Mom was a harpy, mostly. I retreated to the room I now shared with my adolescent sister and spun records on my (still) battery-operated turntable. 

TV was supreme. After all, that's where I basked in Hawaii Five-O and Medical Center, and that's where I found the Johnny Cash Show on ABC TV. 

1969 was Johnny's year. He was insidious. Johnny, with his black waistcoat and his Carters and Statlers and his Carl Perkins and Tennessee Three climbed inside one's brain matter and made himself at home.

But, try as he might, Johnny could never supersede the artist of the sixties, or basically of ever; Merle:

Glen Campbell had his Goodtime Hour on CBS. It was a summer replacement for that subversive Smothers Brothers Comedy Hour. I was so oblivious I didn't know the Smothers Brothers were incendiary. We tended to overlook the political screeds, because they appeared nightly on the network news, and focused instead on the comedy. 

Glen Campbell, on the other hand, was an artist I despised. Fortuitously, I later came to my senses ~ but it wasn't entirely my fault. Glen played the hayseed role so well, he was one of the prime reasons I disavowed any familiarity with country music anytime I was pinned down about my musical tastes.

"Hi! I'm Glen Campbell!" he piped up through the cornfield. If it hadn't been for John Hartford, I would have clicked my TV dial to whatever medical drama was playing out on NBC. 

It didn't help that Glen insisted on recording Jimmy Webb songs, although this one, in retrospect, is not bad:

My musical tastes ran more towards:

As a (bogus) CMA member, I voted for this next song as Single of the Year. Freddy Weller had once been a member of Paul Revere and the Raiders, whose posters from Tiger Beat I had tacked to my bedroom wall. I didn't actually like Paul Revere and the Raiders, but I thought Mark Lindsay was cute, with his ponytail. 

This Joe South song didn't win, despite my best efforts. 

Nobody (but me) remembers Jack Greene, but he had the number one song and Single of the Year in 1967, with "There Goes My Everything". 

In 1969 he had an even better song (as Ricky Van Shelton can attest). 

Porter Wagoner actually had a career without Dolly Parton, believe it or not. Alice and I sat cross-legged in her living room and played this LP (and made up our own lyrics to the song (that are NSFW):

Transitions, yes. Confusion, yes. 

Music was my lifeline. And I was just trying to get by.

Friday, January 13, 2012

Making Life Simpler

Well, that's rather a misnomer, isn't it? Life is never simple.

I am of a mind, though, that life would be simpler without so much "stuff" to clutter it up.

I'm not certain, but the evidence tells me that, when I was in my twenties, I pretty much saved everything. That was brought home to me recently when my oldest son delivered about six or seven boxes of junk, once belonging to me, that he had been storing in his garage. Yes, junk.

I've been on a remodeling kick of late, so in conjunction with that, I needed to go through those boxes, to see if per chance there might be something I'd actually want.

Well, here's what was in those boxes of "treasures". About 50 picture frames of various sizes (I've always been a sucker for picture frames; don't ask me why); some random photos of people I couldn't pick out of a lineup if my life depended on it; a copy of Life Magazine, "The Year In Pictures, 1986"; three sizes of embroidery hoops, along with a couple packages of unfinished cross-stitch projects; a few of those cheesy CD's ~ you know, "The Best Of...", which were actually re-recordings of songs that you really loved in their original form, but you don't so much love the re-doing of them, twenty years after the fact. A copy of National Geographic from March, 1987; the cover story titled, "North Dakota ~ Tough Times on the Prairie". Guess we can't say that now, can we??

A microphone that I think was part of my reel-to-reel tape recorder, which I haven't a clue where that is, but I would kind of like to have that. A super-8 movie camera and projector. That's cool and all, but what I am really searching for are the actual super-8 films that I shot of my kids when they were little. A movie projector without movies is sort of worthless. I will find those movies; I think they're in the back of our closet somewhere. I'll be transferring those to DVD, just as soon as I can pinpoint their location; I'm thinking in two to three years, at the most.

An instamatic camera inside its very own faux-leather carrying case with the initials CJL pasted on the back of it. AND with a film still inside it! I'm giving that back to my son, and I hope he gets the film developed. That sort of mystery is just the kind of thing that I find ultimately cool.

Some sleeves of baseball cards, all from the Minnesota Twins, circa 1987 (their championship year). I'm sincerely hoping that these belong to my son, because I don't remember being dorky enough to collect baseball cards back then, even though I was sort of a Twins fanatic in those years.

Record albums. A whole lot of record albums. I thought my son had given me all of them awhile back. Apparently not.

That's the one thing that brought a lump to my throat. Why? Well, the thing is, when I was about 16 or 17 years old, I couldn't just buy a record album on my Visa card (cuz, you know, I didn't have one, and frankly, in 1971 - 1972, Visa cards didn't actually exist).

No, I had to save up my pennies to buy an album, and I was only making seventy-five cents an hour, so you do the math.

So, I pretty much wore out those albums. I'd study the covers. In fact, I drew facsimiles of some of them (I was into drawing back then; a hobby I abandoned shortly thereafter).

So, those albums, when I saw them again, brought back a ton of memories for me. They took me back to that room, that component stereo system that I saved and saved to buy. The fact that I couldn't really sing along with the songs on those albums without disturbing whoever might be lodging in the room next door. But I really, really wanted to sing along, so it was a conundrum.

It wasn't even so much the songs on those albums. It was the albums themselves.

So, I thought I would post some pictures of those albums. Just because. The flash sort of obscures some of the pictures, but I still like them. And these, by the way, are Part II. I got the first box of albums awhile back, and I think I will post pictures of those later.

These are some that hold a whole bunch of memories for me..

It seems from these photos that I was a huge Dolly Parton fan. Not necessarily. But it was the late sixties/early seventies, and you couldn't turn around without bumping into Porter and Dolly. Seriously. Porter by himself. Dolly on her own. Porter and Dolly, singing some of Dolly's scribbles. We were all sort of relieved, frankly, in 1973, when Conway and Loretta decided to get together, just for the variety, if nothing else.

It was basically Porter & Dolly, or the Statler Brothers. That was 1970 through 1972, in a nutshell.

I can't explain it, but seeing those album covers kind of stabs at my heart. I guess you had to be there.

So, simplifying my life involves purging superfluous stuff, and stuff that at one time meant something to me, but just doesn't anymore.

The things I have on display in my computer room now are, pictures of family, my dad's AA book and his watch, a letter from my mom, pictures of people and things that hold a special place in my heart, and some funny stuff ~ cartoons ~ because we need to remember that life, and we, are sort of ridiculous.

And what do we need, other than the people we love, and the music we love?

I think that's about it.

Friday, September 26, 2008

The CMA Awards - 1969

The third annual CMA awards, in 1969, were, like 1967's, kind of a rout. One guy took home five of the ten awards.

But, before we get to the big winner of the evening, let's take a look at some of the other winners, shall we?

SONG OF THE YEAR Carroll County Accident - recorded by Porter Wagoner, written by Bob Ferguson

See? Porter actually had hit songs even before Dolly came along! This was, by far, Porter's biggest solo hit.

I'm not saying that one could listen to this song over and over, because, face it, once you know the "punch line" (so to speak), it kinda takes the fun out of it.

(This is coming out all wrong; I don't mean to imply that the song is funny or fun; although it is pretty corny, when you think about it.)

I will say that my friend, Alice, and I did rewrite the words to this song, and that actually was funny.

But, getting back to the song....You gotta love Buck Trent's electric banjo.


Here's Tammy doing one of the songs that won her the female vocalist award in 1969, "I Don't Wanna Play House". This song was written by Billy Sherrill and Glenn Sutton (who just passed away this week). Sherrill and Sutton wrote other hits songs for Tammy, including another of my favorites, "Take Me To Your World", as well as many, many hit songs for David Houston.

As you know by now, Tammy is one of my all-time favorite singers. And very classy, as demonstrated by this performance. Miss you, Tammy.


Chet Atkins


Danny Davis & The Nashville Brass

Yup, Chet won again - third year in a row! And for the first time, Danny and his Brass took home the instrumental group honors.

Sadly, I cannot find any videos on YouTube of the Brass's performances, but here is two birds, one stone:

Danny Davis & The Nashville Brass with Chet Atkins (not a "video", per se - sorry):

I liked the Nashville Brass. It was an acquired taste, to be sure. There wasn't a lot of "brass" being heard on country records at the time (or ever), except for "Ring Of Fire".

I wasn't aware that Danny was actually a producer for RCA Records, and (not surprisingly) the story is that Waylon pulled a gun on him at one point. Apparently, they did not work well together (although if I have a problem with a co-worker, I just generally try to avoid them. Gunplay is frowned upon in my office.)

Anyway, with Waylon nowhere in sight, Chet and Danny put together this number, and the song was always a favorite of my dad's (as recorded by Billy Vaughn).


You know, I can kinda see why the CMA eventually did away with this award. Rarely do music awards feature "comedian" categories. You know, the Grammys and what-not. And by rarely, I mean "never".

Because, what's comedy got to do with music? (Oops, what century am I living in? It's got everything to do with music nowadays, albeit not intentionally.)

But, with this category, I can see where country music got its "hick" reputation. I mean, c'mon guys (and gals), couldn't we just focus on the music? Did we really need to hand out an award to some refugee from Hee Haw? I'm not trying to come off as an elitist; I just don't (and didn't ever) find this stuff very funny.

But anyway, with that rousing introduction, here's Archie Campbell (God love 'em):

The good news is, this award was only given out one more year.

And now we get to the "rout" portion of our awards presentation. We'll start it off with the:

SINGLE OF THE YEAR A Boy Named Sue - Johnny Cash

Hey! This version doesn't have the, "I'm the BOOOOOP that named you Sue"! Kind of a surprise! Man, censorship was tough back then! They say a lot worse stuff now! And, you know, there's a difference between "swear words" and stuff that's TRULY offensive.

Anyway, this was the original version, recorded live at San Quentin, and released as a single (with the "BOOOOP", of course.) And there's Carl Perkins on guitar!

Nice to see this. Johnny looks like he was having a heck of a time, and the inmates were, too. Bet Merle was wishing he was still incarcerated, so he could have been there (okay, maybe not).


Johnny Cash At San Quentin

You gotta hand it to old Johnny. Who else was putting on concerts in prisons back then? Nobody. And he was having a good time, you can tell. I think he deserved the album of the year award, not only because "albums" weren't country music's forte back then, but because he had the moxey (I wanted to use a different word) to go to San Quentin and entertain those guys.

VOCAL GROUP OF THE YEAR Johnny Cash & June Carter

There are several versions of this song available on YouTube, but for historical accuracy, I wanted to feature a performance from that era.

Oh, and coincidentally, they were introduced by that master of mirth himself, Archie Campbell!


Surprise! Johnny Cash

This is a fun video to watch. Look how young the Statler Brothers look here! And there's Lew DeWitt! I don't know if you know this, but a lot of people don't: June Carter did not sing the "mama sang tenor" part on the recording. I guess she was unavailable or something, but it was Jan Howard who sang the part on the record.

A side note, if you will permit: While June may be (okay, is) the most famous Carter Sister, have you ever heard Anita sing? She had a pure, lovely voice.

I found a rare video treat, and while it doesn't have anything to do with the 1969 CMA awards, I have to share:

Hey, who's that guy she's singing with? I think he might have had some country songs that hit the charts awhile back. Can't think of his name, though........


Gene Autry

Okay, here's what I know about Gene Autry in a nutshell (and it's a very small shell): He did cowboy movies (or serials); he sang cowboy songs; he recorded "Rudolph The Red-Nosed Reindeer"; he wore a big white hat; his biggest non-holiday song was, "Back In The Saddle Again".

You know, I haven't lived forever! I don't know about people who came to prominence in the 1940's.

Anyway, here's a compendium of Gene Autry snippets:

Interestingly, while researching Gene Autry, I found that he recorded this song, and since 1969 was definitely Johnny Cash's year, how about this for a finale:

So, all in all, for 1969's CMA awards, pretty much everybody could have stayed home, except for Tammy Wynette, because the female vocalist award was the one category that Johnny wasn't eligible to win.

Kudos, Johnny! Good work. You came a long way from Dyess, Arkansas.

1970 is next! A personal favorite of mine!

Saturday, January 5, 2008

Friday, December 7, 2007

Blast From The Past - Top Country Hits Of 1968

Some of the top hits from 1968 were:

Sing Me Back Home - Merle Haggard

Skip A Rope - Henson Cargill

Take Me To Your World - Tammy Wynette

Fist City - Loretta Lynn

The Legend Of Bonnie & Clyde - Merle Haggard

Honey - Bobby Goldsboro

(Without a doubt, one of the WORST songs EVER. Click on this video if you want to puke - sorry, I just hate this song.)

She wrecked the car

And she was sad

And so afraid

That I'd be mad

But what the heck


D-I-V-O-R-C-E - Tammy Wynette

Folsom Prison Blues - Johnny Cash

Mama Tried - Merle Haggard

Harper Valley PTA - Jeannie C. Riley (writ' by Tom T. Hall - a camp classic)

I Walk Alone - Marty Robbins

Stand By Your Man - Tammy Wynette

Wichita Lineman - Glen Campbell

By The Time I Get To Phoenix - Glen Campbell

Big Girls Don't Cry - Lynn Anderson

The Easy Part's Over - Charley Pride

Flattery Will Get You Everywhere - Lynn Anderson

The Last Thing On My Mind - Porter Wagoner & Dolly Parton

Promises Promises - Lynn Anderson

We'll Get Ahead Someday - Porter
Wagoner & Dolly Parton

Wild Weekend - Bill Anderson

Your Squaw Is On The Warpath - Loretta Lynn

Gee, was 1968 a banner year for country music, or what? Some of these songs are what you'd call CLASSICS.

I guess, from this list, it appears that 1968 was the year of MERLE HAGGARD, Tammy Wynette, Porter & Dolly, Lynn Anderson, Loretta Lynn, Glen Campbell , and, of course, George Strait (ha ha - I'm just kidding on that one).

Friday, November 2, 2007


I've been reading the news coverage this week on CMT, (thanks again, Chet Flippo) and surprisingly, on Entertainment

I didn't know if I had anything to say, and if I did, what would it be?

But, since I've saddled myself with the mantle of acknowledging and celebrating the country music of my generation, I thought it was only fitting that I say something, but only if it was something personal.

So, I'll start here:

Carroll County Accident, 1969 (?)

Porter was almost too "country" for my tastes back then. But my friend, Alice, introduced me to some of these "too country" songs, and I gained an appreciation for them, based upon her recommendations.

I remember listening to that song in Alice's living room, played on her parents' hi-fi stereo. But what I remember most is that we wrote a parody of that song. It was pretty much ripe for parody. I won't quote any of the lyrics that we wrote, because they're really not politically correct, but it was fun, and it's a memory that still resides with me, mostly because Alice and I came up with the words together. Funny how I still remember that, after all this time.

I had no frame of reference for Porter Wagoner up until that time, but I started watching his syndicated show, and I appreciated it for what it was. The Wagonmasters included a doofus comedian by the name of Speck Rhodes, whose act was a bit too corn-pone for my tastes. Porter also had an electric banjo picker by the name of Buck Trent, who ended every song by going up on the last chord. "da-DOWWW". That's how all Porter's songs ended.

I was vaguely aware that Porter had done a song called, "A Satisfied Mind", but it wasn't until Marty Stuart and his Fabulous Superlatives re-recorded the song that I really learned to appreciate it.

I have to say, though, that what really brought Porter into my consciousness was his pairing with Dolly Parton.

I believe the first duet I heard by Porter & Dolly was, "The Last Thing On My Mind", a song written by Tom Paxton.

I was drawn to the song when I heard it on the radio, because it was so well done. Porter's harmonies complimented Dolly's vocals so perfectly. This was obviously a natural partnership.

My favorite song that Porter & Dolly recorded is, "Just Someone I Used To Know".

I think that Dolly brought out the playfulness in Porter. Check out this youtube video:

Porter had a lot of success. But his greatest success was hiring Dolly to be his girl singer. A great partnership, to be sure.

Porter was looking for a replacement for Norma Jean, who left to get married, or for some other reason, if you read some interviews with Porter.....

But anyway, here's to you, Porter. I hope you left this old world with a satisfied mind: