If you are a copyright owner and believe that your copyrighted works have been used in a way that constitutes copyright infringement, here is our DMCA Notice.

« Elvis To KLF: The Train I Ride Is Sixteen Coaches Long | Main | Mining the Audio Motherlode, Volume 149 »

January 11, 2012


Duh - Duh - Duh classic!

Samm Bennett

It's the Price you pay for being Ray.


I love Ray Price. My favorites by him are "Go Away" (not "Make The World Go Away") and "Your Old Love Letters"

So smooth that guy.

Here "Go Away" here:


Thanks for the post. This reminds me, I miss the Radio Thrift Shop. Happy Birthday to Ray.

Blind Boy Belvedere

I imagine a Ray Price superfan contest where the challengers have to take that two-minute plus clip of song intros and name everyone they possibly can. See who gets the most right.

monarch paxar 1131 labels

Ray Price has covered -- and kicked up -- as much musical turf as any country singer of the postwar era. He's been lionized as the man who saved hard country when Nashville went pop, and vilified as the man who went pop when hard country was starting to call its own name with pride. Actually, he was -- and still is -- no more than a musically ambitious singer, always looking for the next challenge for a voice that could bring down roadhouse walls. Circa 1949, Price cut his first record for Bullet in Dallas. In 1951, he was picked up by Columbia, the label for which he would record for more than 20 years. After knocking around in Lefty Frizzell's camp for six months or so (his first Columbia single was a Frizzell composition) Price befriended Hank Williams. The connection brought him to the Opry and profoundly affected his singing style. After Hank died, Price starting stretching out more as a singer and arranger. His experimentation culminated in the 4/4 bass-driven "Crazy Arms," the country song of the year for 1956. The intensely rhythmic sound he discovered with "Crazy Arms" would dominate his -- and much of country in general's -- music for the next six years. To this day, people in Nashville refer to a 4/4 country shuffle as the "Ray Price beat." Heavy on fiddle, steel, and high tenor harmony, his country work from the late '50s is as lively as the rock & roll of the same era. Price tired of that sound, however, and started messing around with strings. His lush 1967 version of "Danny Boy" and his 1970 take on Kris Kristofferson's "For the Good Times" were, in their crossover way, landmark records. But few of his old fans appreciated the fact. In the three decades following "For the Good Times," Price's career was often an awkward balancing act in which twin Texas fiddles are weighed against orchestras.

The comments to this entry are closed.