VA - Dim Lights Thick Smoke & Hillbilly Music - Country & Western Hit Parade 1967 (2013) Lossless

Tracklist:

01. Bobbie Gentry - Ode To Billie Joe
02. Johnny Darrell - Ruby (Don't Take Your Love To Town
03. Waylon Jennings - Mental Revenge
04. Jim Reeves - I Won't Come In While He's There
05. George Hamilton IV - Break My Mind
06. Leon Ashley - Laura (What's He Got That I Ain't Got)
07. Merle Haggard - Branded Man
08. Loretta Lynn - What Kind Of Girl (Do You Think I Am)
09. Jim Ed Brown - Pop A Top
10. Ray Price - Danny Boy
11. Robert Mitchum - Little Ole Wine Drinker Me
12. John Hartford - Gentle On My Mind
13. Glen Campbell - By The Time I Get To Phoenix
14. Marty Robbins - Tonight Carmen
15. Mel Tillis - Life Turned Her That Way
16. Buck Owens - Where Does The Good Times Go
17. Skeeter Davis - What Does it Take (To Keep A Man Like You Satisfied)
18. Waylon Jennings - The Chokin' Kind
19. Johnny Cash & June Carter - Jackson
20. Merle Haggard - Sing Me Back Home
21. Wanda Jackson - Tears Will Be The Chaser For Your Wine
22. Jerry Reed - Guitar Man
23. Norma Jean - Jackson Ain't A Very Big Town
24. George Jones - Walk Through This World With Me
25. David Houston & Tammy Wynette - My Elusive Dreams
26. Wynn Stewart - It's Such A Pretty World Today
27. Buck Owens - Sam's Place
28. Tammy Wynette - I Don't Wanna Play House
29. Charlie Pride - Does My Ring Hurt Your Finger
30. Porter Wagoner - Cold Hard Facts Of Life
31. The Lovin' Spoonful - Nashville Cats

Charley Pride is featured on the front cover of the 1967 volume of Bear Family's excellent, ongoing country music series Dim Lights, Thick Smoke and Hillbilly Music: Country & Western Music Hit Parade, and his presence suggests how things were changing. Charley was the first African-American country music superstar, a pop icon perfectly suited for the Civil Rights era, but he was positively conservative compared to other singers who charted in 1967. Some of Pride's peers tackled controversial topics -- Tammy Wynette's "I Don't Wanna Play House" addressed divorce in a clear, unsentimental fashion, while her duet with David Houston on "My Elusive Dreams" chronicled a uniquely '60s futility -- while others rode the zeitgeist coming out of California, with Waylon Jennings sharply navigating rock and soul on his "Mental Revenge" and "The Chokin' Kind." Merle Haggard was quickly eclipsing his benefactor Buck Owens via such nervy, finely etched songs as "Branded Man" and "Sing Me Back Home," while George Jones dug in his heels with "Walk Through This World With Me," about as exquisite a single as Nashville ever produced. Elsewhere, there were straightforward honky tonk hits -- none better than Jim Ed Brown's beer-drinking anthem "Pop A Top" -- and lively, winking, referential cuts like Jerry Reed's "Guitar Man," but nothing signaled the shifting tides like John Hartford's "Gentle on My Mind," Bobbie Gentry's "Ode to Billie Joe," and, especially, Glen Campbell's "By the Time I Get to Phoenix," the latter splitting the difference between the folk narrative of Hartford and the Hollywood symphony of Gentry. This was the sound of the late '60s, and it remains vivid, cinematic, and haunting.

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