The Country Music Hall Of Fame (CD) ~ Kitty Wells (Artist) Cover Art

Country Music Hall of Fame Series (CD)

By: Kitty Wells (Artist)

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Product Description

Track Listing

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DISC 1 for Country Music Hall of Fame Series (CD) Album By Kitty Wells (Artist)
1   It Wasn't God Who Made Honky Tonk Angels
2   I Heard The Jukebox Playing
3   Icicles Hanging From Your Heart - (previously unreleased)
4   My Cold, Cold Heart Is Melted Now
5   I Gave My Wedding Dress Away
6   Release Me
7   Making Believe
8   I'd Rather Stay Home
9   Searching (For Someone Like You)
10   I Can't Stop Loving You
11   Mommy For A Day
12   Amigo's Guitar
13   Heartbreak, U.S.A.
14   Will Your Lawyer Talk To God
15   Password
16   Woman Half My Age, A
 

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Title Note

Personnel includes: Kitty Wells (vocals); Paul Yandell (electric guitar, guitar); Johnnie Wright (guitar, background vocals); Harold B. "Shot" Jackson (steel guitar, dobro); Bob Foster, Johnny Sibert, Pete Drake, Stu Basore (steel guitar); "Smilin" Eddie Hill, Herman Wade, John D. Loudermilk, Ray Edenton, Bill Phillips, Harold Bradley, James O'Dell Martin (guitar); Paul Warren, Benny Martin, Tommy Jackson, Ray Crisp (fiddle); Floyd Cramer (piano); Joe Zinkan (bass); Leo Taylor, Joe Taylor (drums); Ronnie Pugh (programming); The Jordanaires (background vocals); Jack Anglin.

Compilation producer: Country Music Foundation.

Recorded in Nashville, Tennessee between May 1952 and May 1965. Includes liner notes by Ronnie Pugh.

This is part of MCA's Country Music Hall Of Fame Series.

At only 16 songs this is a necessarily incomplete best-of collection (Wells has had more than 80 country chart hits), and it neglects the many smash duet records she made with Red Foley, Roy Acuff, and honky-tonk king Webb Pierce. Still, most everything here, recorded in her heyday between 1952 and 1965, is hard country heaven, from the original country woman's song "It Wasn't God Who Made Honky-Tonk Angels" to the divorce song to end all divorce songs "Will Your Lawyer Talk to God." Purists may prefer the '50s stuff (the first eight cuts), where the instrumentation is as sparse as if it was recorded on some back porch in Appalachia. But even when the production gets slicker, Wells' vocals here are the very essence of that high lonesome sound.

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