The Grand Ole Opry is celebrating its 100th birthday all year. And it’s getting fans’ help as it looks back on its rich history.
The Opry is naming the 100 Greatest Country Songs of all time, with the help of fans who have weighed in, nominating their favorites. All summer long, the Opry will be releasing lists separated by era. By the end of the summer, fans will have the ultimate country playlist.
List one featured the 18 greatest country songs released from the 1930’s through the 1960’s.
In its second list, the Opry is giving fans a glimpse of the 19 greatest country songs released in the 1970’s.
Here are the songs that made the cut, along with fan descriptions on why they got the votes.
Dolly Parton Has Three Songs on the List
Dolly Parton dominates the Opry’s list, with three songs in the 70’s section.
They are:
Grand Ole Opry Associate Producer, Show Development Nicole Judd writes, “One of the most instantly recognizable songs in country music history, “Jolene” was written by Dolly Parton in a matter of hours—but it has lasted a lifetime. Inspired by a red-haired bank teller who flirted with Dolly’s husband, the song captures the desperate plea of a woman begging another not to steal her man. Released in 1973, “Jolene” reached No. 1 on the country chart the following year and achieved Grammy Hall of Fame honors in 2014.”
Dolly has capitalized on “Jolene” as one of her most recognizable hits, even doing a blue jean line with Khloe Kardashian’s clothing company Good American called “Joleans.”
Country singer and Opry member Lauren Alaina explains a personal connection to this song, writing, “I actually inherited my great-grandmother’s coat of many colors. My great-aunt made it for my great-grandmother. I think they heard the song and made the coats back in the day. They were very poor and made all of their clothing and that song made them feel so empowered because they could have a beautiful coat of many colors. I just love that Dolly Parton made so many women feel proud of where they came from. Even if they didn’t have much, they felt celebrated and excited. And I got to keep my great-grandmother’s coat! And it’s very cute! I’ve actually worn it at the Grand Ole Opry to sing ‘Coat of Many Colors.’”
Opry Vice President & Executive Producer Dan Rogers writes, “If I had a dollar for every Opry staff member who has cited Dolly Parton’s performance of this song on the Opry stage to Porter Wagoner on the evening of his 50th Opry anniversary as their all-time favorite Opry moment they’ve witnessed, I’d have at least $25. Most music fans know the story well: Parton had written the song as a means of telling Wagoner that after years in his shadow, she was going to depart The Porter Wagoner Show and go her own way as an artist. After fights, lawsuits, and make-ups, the reunion between the former duet partners on May 19, 2007, was the last time the two appeared together on the Opry stage. In a testament to the song’s versatility, it became the centerpiece to this year’s OPRY 100 network television special, as Lady A, Reba McEntire, and Carrie Underwood were joined by nearly 50 additional Opry members in dedicating “I Will Always Love You” to Parton in the days following the loss of her husband, Carl Dean.”
Willie Nelson Is the Only Other Artist Who Appears On List More Than Once
Willie Nelson is the only artist besides Dolly Parton to make the 70’s song list twice. And one of his credits is shared.
Nicole Judd writes, “Blue Eyes Crying in the Rain” sounds like it was written just for Willie Nelson, but it actually dates back to 1945 when Fred Rose penned it for Opry star Roy Acuff. However, it was Willie’s stripped-down, emotional 1975 recording that made it legendary. Featured on his breakthrough album Red Headed Stranger, the song gave Nelson his first No. 1 hit, thirteen years after charting for the first time. The single’s sparse, mournful sound made it one of the most haunting heartbreak songs in country history and brought Nelson his first of 12 Grammy Awards.”
Mammas, Don’t Let Your Babies Grow Up to Be Cowboys – Waylon Jennings & Willie Nelson
Craig Shelburne, who wrote The Opry’s “100 Years of Grand Ole Opry” book, writes, “Like a cowboy, this classic country duet drifted for years before Waylon Jennings grabbed a hold of it. Initially, songwriter Ed Bruce challenged his frustrations as a fledgling artist into a song called “Mammas, Don’t Let Your Babies Grow Up to Be Guitar Players.” His wife at the time, Patsy Bruce, suggested “cowboys” instead, since many country fans grew up loving Western movies and cowboys had become almost mythical figures in the American landscape. They finished writing the song together and Ed Bruce notched a modest hit with his rendition. But in 1978, Waylon Jennings and Willie Nelson made it their own.”
‘Coal Miner’s Daughter‘- Loretta Lynn
Country singer Sunny Sweeney writes, “I know every word to “Coal Miner’s Daughter”…. the song AND the movie. No one will watch it with me because pre-quoting the actors’ lines is annoying, I’m sure. However, being that Loretta is so revered (and hearing in her words the setting in which she came from, then musically aligned with a modulating melody) makes it all that more special. It’s her words. Her life. She was “borned” a coal miner’s daughter, to a momma who raised all those babies and a daddy that she lost too soon. She even said she kinda knew it would be the last time she saw him when he dropped her at the train station to move off to the PNW to live with Doo. When you can write a song that’s heavyweight enough to carry a title track of a movie that wins an Academy Award, you’re doing something right. Loretta Lynn wrote that song in 1969 and released it the next year and, personally, I consider it her signature song, the one I think of first when I think of her.”
Loretta Lynn also had a song listed among the Opry’s greatest songs from the 1930’s through the 1960’s with “You Ain’t Woman Enough.”
The Opry paid tribute to Loretta Lynn in a special concert May 13 featuring Carly Pearce, Lynn’s sister Crystal Gayle, Rhonda Vincent, Martina McBride, Ashley McBryde, Twitty and Lynn (a duo made up of Conway Twitty’s grandson, Tre Twitty, and Lynn’s granddaughter, Tayla Lynn), and another granddaughter of Lynn, “American Idol” star Emmy Russell.
‘Help Me Make It Through the Night‘- Sammi Smith
Gina Keltner, who is the Grand Ole Opry Associate Producer, Talent, writes, “Inspired by a magazine interview with Frank Sinatra who proclaimed he believed in “booze, broads, or a bible…whatever helps me make it through the night,” Kris Kristofferson created this masterpiece early in his career while residing at the home of Opry star Dottie West who was known for taking in and supporting fledgling songwriters. With a suggestive lyric that likely made traditional country listeners of that day squirm, the song was also undoubtedly relatable as it addressed the human desire of intimacy, albeit temporary and maybe even sinful. Released first by Kristofferson and covered by everyone from Elvis Presley to Tyler Childers, it was country singer Sammi Smith’s 1971 version that became a crossover pop hit.”
‘Hello Darlin‘- Conway Twitty
Craig Shelburne writes, “Conway Twitty could fill a darkened arena with screams by speaking just two words: “Hello Darlin’.” In the recording session for that song, producer Owen Bradley suggested that Twitty speak, rather than sing, the first two lines. Twitty would then glide into that definitive baritone delivery: “It’s been… a… long… tiiiiime.” Remarkably, this nearly forgotten masterpiece became his signature hit. Twitty had written the song a decade earlier and pulled it out of a box of assorted lyrics when he needed something to round out an upcoming album.”
‘For the Good Times‘- Ray Price
WSM Radio DJ Charlie Mattos writes, “Listening to Ray Price’s classic version of this Kris Kristofferson composition, it’s hard to believe that it wasn’t even the “A” side of the single when first released. Despite Ray’s protests that “For the Good Times” was a hit, his record label Columbia went with “Grazin’ in Greener Pastures” instead. It wasn’t until Wayne Newton released his version of “For the Good Times” that Columbia switched Price’s single to the A-side. Price’s version would hit not only #1 on the country charts in 1970 but would become his only foray into the Billboard Hot 100 pop chart, going all the way to #11. His elegant recording won a Grammy for Best Country Vocal Performance and revitalized Price’s career. Elvis Presley loved the song so much he chose to sing it during his historic run of shows at Madison Square Garden in the summer of 1972.”
‘Sunday Morning Coming Down‘- Johnny Cash
While Johnny Cash only appears on the Opry’s 1970’s list once, the Man in Black had three showings on the Opry’s songs from the 1930’s through the 1960’s.
WSM Radio DJ Charlie Mattos, “Songwriter and Country Music Hall of Fame member Kris Kristofferson called this song the most autobiographical of his career. He once said he was ‘living in a slum tenement that was torn down afterwards and ‘Sunday Morning Coming Down’ was more or less looking around me and writing about what I was doing.’ Ray Stevens loved the song so much that he passed on ‘Another Somebody Done Somebody Wrong Song’ to record it, although his version would fizzle on the charts. It wasn’t until Johnny Cash released his live version recorded at the historic Ryman Auditorium that ‘Sunday Morning Coming Down’ would prove to be a hit. Cash and Kristofferson, who became close friends and frequent collaborators, shared the win for CMA Song of the Year in 1970. If you’ve never heard Kristofferson’s original version, check that out as well. It conveys a desperation in the lyrics from the man who truly lived them.”
‘Take Me Home Country Roads‘- John Denver
Craig Shelburne writes, “John Denver’s comforting tenor carries a listener through the back highways into the heart of America in this enduring 1971 hit. Opry member Dustin Lynch recalls his first visit to Brazil where crowds sang along at the top of their lungs to “Take Me Home, Country Roads” at every show. ‘It was amazing to me that a song that means so much to us in the United States of America stands up that far south in Brazil,’ he says. ‘I think that’s the power of a great lyric, a great melody.’ Rhonda Vincent has earned a standing ovation at the Opry when she performed it accompanied by twin fiddles. ‘I think that song, maybe over any other song, is known around the world,’ she believes. ‘It doesn’t matter where people are from. You can sing ‘Take Me Home, Country Roads’ and everybody’s going to sing along, bar none.’”
‘Kiss an Angel Good Morning‘- Charlie Pride
Craig Shelburne writes, “As a kid in the Mississippi Delta, Charley Pride loved tuning in to the Opry, always hoping to hear Hank Williams on the family’s radio. When his baseball ambitions withered, Pride started singing country music in the bars of Helena, Montana. He signed with RCA in 1966, just as the lush Nashville Sound faded and traditional country returned to the forefront. Audiences were shocked to discover he was a black artist before they gradually focused instead on his friendly demeanor and effortless singing style. The feel-good 1971 smash, ‘Kiss an Angel Good Morning,’ conveyed Pride’s love for his wife, Rozene, yet songwriter Ben Peters actually came up with the title while thinking about a daily ritual he shared with his newborn daughter. After forging deep friendships at the Opry over decades of guest appearances, Pride accepted his Opry invitation in 1993, moments after performing this beloved signature hit.”
‘Delta Dawn‘- Tanya Tucker
Opry historian Craig Shelburne writes, “Shortly after recording ‘Delta Dawn,’ Tanya Tucker overheard her producer Billy Sherrill tell someone over the phone, ‘Don’t tell anyone she’s 13.’ By keeping the focus on the music and not her age, Tucker presumably wouldn’t be seen as a novelty act. The strategy worked as her landmark debut single reached the top ten in 1972. Songwriter Alex Harvey, who shares credit on the song with Larry Collins, reflected on the hardscrabble life of his mother, who grew up in the Mississippi Delta, as the song took shape. As soon as Sherrill played ‘Delta Dawn’ for Tucker on his reel-to-reel tape machine, she knew she wanted to record it. Sherrill listened – and so did country fans. Tucker performed ‘Delta Dawn’ during Ernest Tubb’s segment at her Opry debut at the Ryman in 1972, and again in 2023, when she became the first artist to ride a horse onto the Opry stage.”
‘The Grand Tour‘- George Jones
The Opry writes, “When it comes to country heartbreak, nobody sings it better than George Jones, and ‘The Grand Tour’ might be his finest moment… The 1974 classic takes listeners through the empty rooms of a broken home after a love has fallen apart. With Jones’ aching delivery and Billy Sherrill’s dramatic production, “The Grand Tour” became the Opry legend’s first #1 solo hit in seven years and remains a masterclass in storytelling through song.”
‘Rhinestone Cowboy‘- Glen Campbell
Opry Vice President & Executive Producer Dan Rogers writes, “Dozens of artists who followed Glen Campbell to stardom have cited the influence of ‘Rhinestone Cowboy,’ a dazzling chart-topping hit about seeking success and knowing that one day the world will be singing along… ‘Rhinestone Cowboy” earned CMA’s Song of the Year in 1976 as well as ACM trophies for Single and Song of the Year. (It also became the first song since Jimmy Dean’s 1961 smash “Big Bad John” to top the country and Hot 100 charts simultaneously.) …Although he never joined the Opry as a member, Campbell performed “Wichita Lineman” and “Rhinestone Cowboy” at his final guest appearance in 2003. One of the most popular and recognizable crossover artists of all time, Campbell was inducted into the Country Music Hall of Fame in 2005.”
‘Don’t It Make My Brown Eyes Blue‘- Crystal Gayle
Dan Rogers writes, “‘I hope you remember this one,’ Crystal Gayle often humbly says on the Opry stage as her band launches into this jazzy classic recorded in 1976, released in 1977, and earning a Grammy in 1978. Of course nearly everyone in the Opry House does in fact know ‘Don’t It Make My Brown Eyes Blue,’ as it was recognized by ASCAP as one of the ten most-performed songs of the 20th century. Richard Leigh, who also wrote each of Gayle’s first three Top 10 hits, penned the tune somewhat famously inspired by his dog. After the dog’s passing, Leigh has said he lovingly placed her collar on his Grammy Award for Country Song of the Year. In 2016, more than 50 years after Gayle had made her Opry debut at the Ryman Auditorium, Carrie Underwood joined her on the same stage first to collaborate with her on ‘Don’t It Make My Brown Eyes Blue’ and secondly to extend a long-awaited Opry invitation.”
Gayle is, of course, the sister of Loretta Lynn and participated in the Opry’s tribute concert to her May 13.
‘The Gambler‘- Kenny Rogers
Opry historian Craig Shelburne writes, “On a warm summer’s evening, you might just meet up with ‘The Gambler’ at the Grand Ole Opry. After a few years of trying to catch a break in Nashville, Don Schlitz wrote most of the song in his head on a 20-minute walk to a meeting. He then put those words on the page using his late father’s Smith-Corona typewriter. The final verse eluded him for weeks, but after he finished the song and Kenny Rogers released it in 1978, they both hit the jackpot. ‘The Gambler’ won two Grammy awards, inspired five TV movies, and set the stage for Schlitz’s magnificent songwriting career. In 2022, Vince Gill surprised him with an Opry invitation. Schlitz replied, ‘Can I bring my songs?’ Whenever he performs ‘The Gambler’”’ at the Opry now, backed by the Opry band, the entire audience sings along. Clearly he’s found an ace that he could keep.”
‘Family Tradition‘ – Hank Williams, Jr.
Craig Shelburne writes, “Hank Williams Jr. revitalized his career with ‘Family Tradition,’ a Top 5 hit in 1979 that redefined his image and his musical direction. As a boy, he had been molded by his mother into somewhat of a tribute act to his late father, Hank Williams, a legendary yet troubled artist who’d been dropped from the Opry cast. ‘Family Tradition’ amplified the rowdy ways of both men, with the song’s title answering the inevitable question: ‘Why must you live out the songs that you wrote?’ (And if you want to know why he drinks and rolls smoke, sing this song in a bar and the whole crowd will shout the answer back to you.) ‘Family Traditio’” appeared four years after Hank Jr. fell from a mountain in Montana, a devastating accident with a long recovery – and a silver lining. After ‘Family Tradition,’ he would make the music he wanted to make.”
Father Hank Williams had two songs on the Opry’s list highlighting the 1930’s through the 1960’s.
‘The Devil Went Down to Georgia‘- The Charlie Daniels Band
Opry Vice President & Executive Producer Dan Rogers writes, “I’ve worked at the Grand Ole Opry for more than 25 years, and I don’t know if I have ever heard the Opry crowd explode with raucous applause the way it would when the Charlie Daniels Band would break into ‘The Devil Went Down to Georgia.’ There was always a standing ovation involved. Sometimes it’d come at the end of the classic and on other nights the ovation would begin with Daniels’ first notes from his fiddle. Released in 1979, ‘The Devil Went Down to Georgia’ earned the Charlie Daniels Band their first and only number one country hit, crossed over to the pop chart, and won a Grammy before gaining even more notoriety from the 1980 monster success of the ‘Urban Cowboy’ soundtrack. After decades of guest appearances, Charlie Daniels achieved his lifelong dream when he was inducted into the Opry by Marty Stuart and Connie Smith in 2008.”
To take a look at all the songs on the Opry’s list of top country songs from the 1930’s through the 1960’s, click here.
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Grand Ole Opry Names Biggest Songs of 70’s