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George Jones

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George Jones

Complet songs in this topic
01= Ceremony
02= She Thinks I still care
03= Love Bug

George Glenn Jones (September 12, 1931 April 26, 2013) was an American musician, singer and songwriter. He achieved international fame for his long list of hit records, including his best known song "He Stopped Loving Her Today", as well as his distinctive voice and phrasing. For the last 20 years of his life, Jones was frequently referred to as the greatest living country singer.

 Country music scholar Bill C. Malone writes, "For the two or three minutes consumed by a song, Jones immerses himself so completely in its lyrics, and in the mood it conveys, that the listener can scarcely avoid becoming similarly involved." Waylon Jennings expressed a similar opinion in his song "It's Alright": "If we all could sound like we wanted to, we'd all sound like George Jones." The shape of his nose and facial features earned Jones the nickname "The Possum."

Born in Texas, Jones first heard country music when he was seven and was given a guitar at the age of nine. He married his first wife, Dorothy Bonvillion, in 1950, and was divorced in 1951. He served in the United States Marine Corps and was discharged in 1953. He married Shirley Ann Corley in 1954. In 1959, Jones released a cover version of "White Lightning" by J. P. Richardson, which launched his career as a singer.

His second marriage ended in divorce in 1968; he married fellow country music singer Tammy Wynette a year later. Many years of alcoholism caused his health to deteriorate severely and led to his missing many performances, earning him the nickname "No Show Jones."

 After his divorce from Wynette in 1975, Jones married his fourth wife, Nancy Sepulvado, in 1983 and became mostly sober. Jones died in 2013, aged 81, from hypoxic respiratory failure. During his career, Jones had more than 150 hits, both as a solo artist and in duets with other artists.
#1 - January 22, 2017, 05:44:47 PM

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George Jones - Ceremony

"The Ceremony" is a duet by country artists George Jones and Tammy Wynette. It was released by Epic Records as the married couple's second single together in 1972 and reached No. 6 on the Billboard country survey.

"The Ceremony" was co-written by producer Billy Sherrill, who immediately recognized the potential sales-wise in recording duets on George and Tammy. Wynette, who had enjoyed immense success recording at CBS with Sherrill, convinced Jones to cut ties with his mentor Pappy Daily and buy out his contract at Musicor so he could record with her at Epic. Their first single, "Take Me," had been a Top 10 hit, but Sherrill saw it as only the beginning:

"He knew that Tammy and George were now in the process of turning their celebrated romance into a country-music passion play. He knew they wanted to take their romantic road shows out to strange cities like Sioux City and Peoria, where they would perform for all the people who'd been reading in the tabloids and fan mags about their storybook love affair."

"The Ceremony" became the template for many of their early duets: romantic, occasionally overwrought Harlequin love songs that bubbled with optimism. The song mimics a wedding service, beginning with a minister's preamble over a church organ and containing verses where George and Tammy renew their vows and profess their love for each other.

 It became a highlight of their live shows, although Jones biographer Bob Allen wryly noted that when they sang "The Ceremony" onstage, it was "quite unlike the quickie civil ceremony with which they'd actually sealed their nuptial bond."  In 1995, Jones reflected in his autobiography, "It sounds cheesy now, but it was a show-stopper for two people whose divorce was often the subject of tabloid speculation. People went crazy when we did 'The Ceremony' live."

#2 - January 22, 2017, 05:46:07 PM
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George Jones - She Thinks I still care

According to Bob Allen's book George Jones: The Life and Times of a Honky Tonk Legend, Jones first heard the song when Jack Clement played it for him at Gulf Coast Studio in Beaumont, which Clement owned with Bill Hall. The song had been written by Dickie Lee Lipscomb and Steve Duffy, two professional songwriters under contract to Clement's publishing company, so Clement was eager for Jones to record it. According to Allen, Jones had little interest, responding, "I don't like it too much. It's got too many damn 'just becauses' in it. I don't think nobody really wants to hear that shit, do you?"  Undeterred, both Clement and Hall continued to pitch the song to Jones. Raymond Nalley, brother of Gulf Coast session musician Luther Nalley, later recalled:

"They had this ole, wornout, rinky-dink tape recorder layin' around the studio...Everytime they'd try to lay that song on George, he'd just look at that damn tape recorder and ask 'em, 'How much you sell me that thing for?' One day, Bill Hall finally told him, 'Hell, George, if you'll record the song, I'll give ya the damn tape recorder!'"

In his essay for 1994 Sony retrospective The Essential George Jones: The Spirit of Country, Rich Kienzle also states that Jones was underwhelmed by the song after Clement had "decided not to play George the tape but to sing him the song, altering the melody as he sang it to give it a stronger country feel." Jones himself always insisted he had no doubts about the song. Recalling his first impression of the tune, he insisted in the 1989 documentary Same Ole Me, "Boy, I just flipped! I said, 'Golly, lemme have this thing.'" In the 1994 video retrospective Golden Hits, he added, "It knocked me out. I couldn't wait to get into the studio."

The song was released in April 1962, his first single release on United Artists after leaving Mercury, and it remained on the Billboard survey for twenty-three weeks, six of them at #1. In his autobiography I Lived to Tell It All, the singer wrote, "For years after I recorded it, the song was my most requested, and it became what people in my business call a 'career record,' the song that firmly establishes your identity with the public." The B-side, "Sometimes You Just Can't Win", reached No. 17 on the C&W chart.  "She Thinks I Still Care" was one of seven records George would chart in 1962, and in the fall of 1963 he would travel to New York City and perform the song on Jimmy Dean's ABC network show.
#3 - January 22, 2017, 05:50:22 PM
« Last Edit: September 28, 2017, 12:15:38 PM by admin »

Yamaha Korg
George Jones - Love Bug

"Love Bug", also spelled "Lovebug," is a single by American country music artist George Jones. Jones' version, which also features a young Johnny Paycheck on backup vocals and draws heavily from the Bakersfield sound as popularized by Buck Owens, reached #6 on the Billboard Hot Country Singles chart in 1965.

By 1965, one of the few other country singers who was as hot as Jones on the country charts was Buck Owens, who had helped establish Bakersfield as an alternative to Nashville as a country music center.[citation needed] The Bakersfield sound was seen as having more bite than the more tepid Nashville sound, and a rivalry soon sprouted; in the 2001 documentary series Lost Highway music journalist Chet Flippo states, "I think that Nashville felt that Bakersfield was a bad smell that they wished would go away.

It really had nothing to do with the scene in Nashville but country radio loved that music, so there was a certain co-existence that had to go on."[citation needed] This rivalry extended to Jones and Owens; although they would always remain friends, during the occasions in which they toured together in the early days they often argued about who would close the show, with Jones recalling in his autobiography I Lived to Tell It All that he "was resentful because Buck's home in Bakersfield did not make him part of the Nashville family."

"Love Bug" was written by Wayne Kemp and Curtis Wayne. Lyrically, the song celebrates the giddiness of new love that's "got the whole world shook up."[citation needed] Musically, the song is an unmistakable nod to the Bakersfield sound, from the treble on the guitars to George's elongated delivery at the start, "Oh...that...little bitty teeny weeny thing they call the love bug," which is reminiscent of Owens hits like "Love's Gonna Live Here" and "I've Got a Tiger By the Tail".

 Several alternate takes of the song can be heard on the Jones box set Walk Through This World with Me: The Complete Musicor Recordings 1965-1971, including a version with an overdriven electric guitar solo and harmonica that makes it sound more like a Rolling Stones record of the time than either Nashville or Bakersfield.[citation needed] Jones later recorded the song as a duet with Vince Gill on the 1994 album The Bradley Barn Sessions.
#4 - January 22, 2017, 07:01:48 PM
« Last Edit: December 17, 2017, 12:52:37 PM by admin »

George Jones - He Stopped Loving Her Today

"He Stopped Loving Her Today" is a song recorded by American country music artist George Jones. It has been named in several surveys as the greatest country song of all time.

 It was released in April 1980 as the lead single from the album I Am What I Am. The song was Jones's first solo No. 1 single in six years. The melancholy song was written by Bobby Braddock and Curly Putman. The week after Jones' death the song re-entered the Hot Country Songs chart at No. 21. As of November 13, 2013, the single has sold 521,000 copies in the United States.  Since 2008 it has been preserved by the Library of Congress into the National Recording Registry.

Alan Jackson sang the song during George Jones' funeral service on May 2, 2013. George Strait and Jackson sang the song as a tribute during the 2013 CMA Awards on November 6, 2013.
#5 - September 28, 2017, 12:18:11 PM
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George Jones - Golden Rings

"Golden Ring" is a song made famous by country music singers George Jones and Tammy Wynette. Originally released in 1976, the song was the title track to their duet album released that same year. It was a Number One hit on the Billboard country charts.

The song was conceived by songwriter Bobby Braddock, who had seen a television drama about the life of a handgun. The story showed the gun changing hands several times, with a hunter, police officer, criminal and a father of a 2-year-old child all owning the gun at one point, with the consequences played out in each segment. Braddock applied the same concept to a song about the life of a wedding ring.

In the song, a young couple from Chicago - apparently very much in love - goes to a pawn shop to shop for a ring for their upcoming wedding. The man (both characters are unnamed in the song) laments that he is unable to pick out a more expensive band, but he's willing to buy it to show how much he loves his bride-to-be, whom - in the song's second verse - he marries in a small wedding chapel later on that afternoon. In the third verse, the couple has been fighting, and with the marriage clearly in trouble the man accuses his wife of planning to leave town. Shortly afterward, the woman retorts by telling her husband she doesn't love him anymore and leaves. The final verse features the ring, once again in a pawn shop, waiting for its next owners.

The refrains tell about the meaning of the ring through its lifecycle with the couple. The first refrain speaks of the promise of love shown in the glittering ring; the second verse talks about how "at last, it's found a home," and the finale tells of how the ring has been cast aside "like the love that's dead and gone." Each refrain ends with how a wedding band is meaningless without love ("By itself, it's just a cold metallic thing. / Only love can make a golden wedding ring").

According to Rich Kienzle's essay for the 1994 Sony compilation The Essential George Jones: The Spirit of Country, the recording features Pete Wade and Jerry Kennedy on acoustic guitars and drummer Jerry Carrigan playing a snare drum with his hands, as instructed by producer Billy Sherrill. Released in May 1976 14 months after their real-life divorce "Golden Ring" was the second George Jones-Tammy Wynette duet to reach No. 1 on the Billboard Hot Country Singles chart that August.

 With its tale of a young couple's engagement, marriage, and bitter break up, the song is arguably the one that is most closely identified with Jones and Wynette, whose tumultuous six year marriage had ended in bitter recrimination. Country audiences, however, remained more fascinated with the couple than ever, with Eugene Chadbourne of AllMusic observing, "The chemistry that develops between partners in a male and female country music duo can sometimes be based on fantasy, as was obviously the case with Loretta Lynn and Ernest Tubb, who no country listener even imagined for a moment were romantically involved. Tammy Wynette and George Jones, on the other hand, did have a relationship."

Like many of the duets that the two recorded when they were still husband and wife, 'Golden Ring' resonated with an authentic sense of romantic tragedy and irresolution that was hauntingly similar to the real-life timbre of their troubled, on-again-off-again love affair.

 Jones, who at the time made no secret of the fact that he still carried a torch for his ex-wife, later addressed the issue of reteaming with Wynette in his 1996 memoir by insisting, "That wasn't my idea. In fact, I hated to work with her. It brought back too many unpleasant memories, and when some fans saw us together, they got it in their heads that we were going to get back together romantically."

 It was precisely this romantic titillation that sparked their record sales, however, and they would record again at various times throughout the rest of the decade.
#6 - March 20, 2018, 12:02:59 PM
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