Artist: George Jones Genre(s):
Country
Discography:
40 Years Of Duets Year: 2007
Tracks: 20
The Essential CD2 Year: 2006
Tracks: 20
The Essential CD1 Year: 2006
Tracks: 20
The Rock: Stone Cold Country 2001 Year: 2001
Tracks: 12
Anniversary - Ten Years Of Hits Year:
Tracks: 22
By most accounts, George Jones is the finest vocalist in the recorded history of country music. Initially, he was a hardcore honkie tonker in the tradition of Hank Williams, only over the course of his life history he developed an touching, nuanced lay expressive style. In the line of his life history, he never left wing the top of the area charts, fifty-fifty as he suffered multitudinous personal and professional difficulties. Only Eddy Arnold had more Top Ten hits, and Jones always stayed finisher to the roots of hard-core country.
Jones was born and brocaded in east Texas, approximate the city of Beaumont. At an early old age, he displayed an fondness for music. He enjoyed the gospel he heard in church and on the family's Carter Family records, just he truly became hypnotised with land euphony when his family bought a wireless when he was 7. When he was nine-spot, his father-God bought him his first guitar. Soon, his fatherhood had Jones playacting and singing on the streets on Beaumont, earning spare change. At 16, he ran off to Jasper, TX, where he panax quinquefolius at a local radiocommunication station. Jones married Dorothy, his low gear married woman, in 1950 when he was 19 geezerhood old. The man and wife collapsed within a twelvemonth and he enlisted in the Marines at the goal of 1951. Though the U.S. was at war with Korea, Jones never served overseas -- he was stationed at a military camp in California, where he unbroken singing in parallel bars. After he was fired, Jones immediately began playing once more.
In 1953, Jones was observed by record manufacturer Pappy Daily, world Health Organization was besides the co-owner of Starday Records, a local Texas label. Impressed with Jones' potential difference, Daily signed the isaac M. Singer to Starday. "No Money in This Deal," Jones' low gear single, was released in early 1954, only it received no attention. Starday released trey more singles that year, which all were ignored. Jones released "Why, Baby, Why" late in the summer of 1955 and the single became his low gear hit, peaking at number little Joe. However, its momentum was halted by a cover version by Webb Pierce and Red Sovine that polish off number one on the land charts.
Daniel Jones was on the road to success and Daily secured the singer a spot on the
Pelican State Hayride, where he co-billed with Elvis Presley. Jones reached the Top Ten with regularity in 1956 with such singles as "What Am I Worth" and "Just One More." That same year, Jones recorded some rockabilly singles under the diagnose Thumper Jones which were unsuccessful, both commercially and artistically. In August, he linked the cast of the
Grand Ole Opry and his low gear album appeared by the remnant of the year. In 1957, Starday Records signed a dispersion deal with Mercury Records and Jones' records began coming into court under the Mercury label. Daily began recording Jones in Nashville, and his low gear single for the modern label, "Don't Stop the Music," was another Top Ten polish off. Throughout 1958, he was landing nigh the top of the charts, culminating with "White Lightning," which worn out five weeks at number nonpareil in the saltation of 1959. His next openhanded reach arrived deuce geezerhood later, when the ballad "Tender Years" spent seven-spot weeks at issue one. "Untoughened Years" displayed a smoother production and bigger arrangement than his old hits, and it pointed the way toward Jones' afterward achiever as a crooner.
In early 1962, Jones reached phone number five-spot with "Achin', Breakin' Heart," which would grow out to be his last reach for Mercury Records. Daily became a staff producer for United Artists Records in 1962 and Jones followed him to the label. His number one exclusive for UA, "She Thinks I Still Care," was his one-third number one reach. In 1963, Jones began performing and recording with Melba Montgomery. During the early '60s, mainstream country music was getting more and more slick, but Jones and Montgomery's harmonies were raw and load with bluegrass influences. Their number one couplet, "We Must Have Been out of Our Minds" (springtime 1963), was their biggest strike, peaking at issue trey. The couple continued to record in concert throughout 1963 and 1964, although they never once more had a Top Ten strike; they too reunited in 1966 and 1967, recording a couple of albums and singles for Musicor. Jones had a phone number of solo hits in 1963 and 1964 as well, peaking with the number three "The Race Is On" in the fall of 1964.
Under the management of Daily, Jones touched to the new record label Musicor in 1965. His number one exclusive for Musicor, "Things Have Gone to Pieces," was a Top Ten strike in the spring of 1965. Between 1965 and 1970, he had 17 Top Ten hits for Musicor. While at Musicor, Jones recorded virtually ccc songs in five years. During that fourth dimension, he cut a number of top-notch songs, including body politic classics like "Love Bug," "Walk Through This World With Me," and "A Good Year for the Roses." He besides recorded a reasonable part of mediocre material, and given the bluff amount of songs he sang, that isn't surprising. Although Jones made a brace of records that were unfeigned tributes or experiments, he also tested to outfit into contemporaneous nation styles, such as the Bakersfield sound. Not all of the attempts resulted in hits, but he systematically charted the Top Ten with his singles, if not with his albums. Musicor wound up implosion therapy the market with George Jones records for the rest of the '60s. Jones' albums for Musicor tended to be arranged thematically, and only two, his 1965 couple
George VI Jones & Gene Pitney and 1969's
I'll Share My World With You, charted. That meant that while Jones was one of the most popular and acclaimed singers in rural area music, there was still a surplusage of material.
Like his discography, Jones' personal spirit was spinning out of control. He was drink heavily and began missing concerts. His second wife, Shirley, filed for divorce in 1968, and Jones moved to Nashville, where he met Tammy Wynette, the most popular novel female isaac Bashevis Singer in country music. Soon, Jones and Wynette fell in love; they married on February 16, 1969. At the same metre Jones matrimonial Wynette, tensions that had been building between Jones and longtime producer Daily culminated. Jones was infelicitous with the sound of his Musicor records, and he placed most of the pick on Daily. After his marriage, Jones cherished to record with Wynette, merely Musicor wouldn't give up him to appear on her mark, Epic, and Epic wouldn't let her whistle on a Musicor album. Furthermore, Epic cherished to sweetener Jones aside from Musicor. Jones was more than willing to leave, just he had to satisfy his contract before the company would let him go.
While he continued recording material for Musicor, Epic entered shrink negotiations with their rivals, and halfway through 1971, Jones severed ties with Musicor and Daily. He gestural off all the rights to his Musicor recordings in the action. The label continued to freeing Jones albums for a couple of age, and they likewise licenced recordings to RCA, world Health Organization released iI singles and a series of budget-priced albums in the early '70s. Jones gestural with Epic Records in October of 1971. It was the completion of a busy year for Jones, one that saw him and Wynette becoming the biggest stars in country music, wrenching up a phone number of Top Ten hits as solo artists and merchandising extinct concerts crosswise the body politic as a duet. Jones had successfully remade his persona from a short-haired, deranged honkie tonker to more than relaxed, sensible crooner. At the end of the year, he rationalize his low gear records for Epic.
Jones' novel record producer was Billy Sherrill, wHO had been creditworthy for Wynette's hit albums. Sherrill was known for his lush, string-laden productions and his exact, aggressive approach in the studio apartment. Under his centering, musicians were there to obey his orders and that included the singers as well. Jones had been accustomed to the relaxed style of Daily, wHO was the polar opposite of Sherrill. As a termination, the singer and producer were tense at number one, simply presently the pair highly-developed a fruitful on the job family relationship. With Sherrill, Jones became a fully fledged crooner, sanding away the rasping edges of his hardcore whitey tonk roots.
"We Can Make It," his offset solo single for Epic, was a solemnisation of Jones' marriage ceremony to Wynette, written by Sherrill and Glenn Sutton. The strain was a number deuce polish off early in 1972, kick off a successful life history at Epic. "The Ceremony," Jones and Wynette's second pas de deux, followed "We Can Make It," and as well became a Top Ten hit. "Loving You Could Never Be Better," followed its predecessors into the Top Ten at the end of 1972. By at present, the couple's marriage was becoming a public soap opera, with their hearing following each single as if they were word reports. Even though they were proclaiming their dearest through their music, the couple had begun to battle ofttimes. Jones was sinking feeling deep into alcoholism and drug ill-use, which escalated as the couple continued to tour together.
Though every individual he released in 1973 went into the Top Ten, Jones' personal life was acquiring more and more hard. Wynette filed for disjoint in August 1973. Shortly later on she filed the document, the mates distinct to accommodate and her postulation was reclusive. Following her drug withdrawal, the couple had a number one single with the suitably highborn "We're Gonna Hold On." In the summertime of 1974, Jones had his offset number one polish off since "Walk Through This World With Me" with "The Grand Tour," a strain that drew a dexterous portrait of a broken in marriage ceremony. He followed it with some other number one polish off, "The Door." Not long subsequently its release, he recorded "These Days (I Barely Get By)," which featured lyrics co-written by Wynette. Two years subsequently he recorded the song, Wynette left Jones; they divorced inside a class.
The late '70s were plagued with problem for Jones. Between 1975 and the commencement of 1980, he had only deuce Top Ten solo hits -- "These Days (I Barely Get By)" (1975) and "Her Name Is" (1976). Though they divorced, Jones and Wynette continued to record and duty tour in concert, and that is where he racked up the hits, outset with the back-to-back 1976 number ones, "Halcyon Ring" and "Near You." The decrement in hits accurately reflects the downward spiral in Jones' wellness in the late '70s, when he became addicted not only to alcoholic drink, but to cocaine as advantageously. Jones became notorious for his bibulous, intoxicated rampages, often involving both drugs and shotguns. Jones would disappear for days at a time. He began missing a solid amount of concerts -- in 1979 lonely, he missed 54 shows -- which earned him the soubriquet "Nonattender Jones."
Jones' vocation began to blame up in 1978, when he began dalliance with rock-and-roll & roll, cover Chuck Berry's "Maybellene" with Johnny Paycheck and recording a pair with James Taylor called "Bartender's Blues." The success of the singles -- both went Top Ten -- light-emitting diode to an record album of duets,
My Very Special Guests, in 1979. Though it was collected to be a devolve to the top of the charts for Jones, he neglected to seem at the scheduled recording sessions and had to overdub his vocals subsequently his partners recorded theirs. That same twelvemonth, doctors told the isaac Bashevis Singer he had to leave office drinking, otherwise his life was in endangerment. Jones checked into a rehab clinic, merely left afterward a calendar month, uncured. Due to his cocaine dependency, his weightiness had fallen from one hundred fifty pounds to a mere 100.
Despite his declining health, Jones managed a comeback in 1980. It began with a Top Ten duet with Tammy Wynette, "Deuce Story House," early in the twelvemonth, merely the sung that pushed him indorse to the teetotum of the charts was the dramatic ballad "He Stopped Loving Her Today." The unmarried strike number one in the give of the year, beginning a raw series of Top Ten hits and number one singles that ran through 1986. The bowed stringed instrument of hits was so successful it rivaled the bill of his popularity in the '60s. "He Stopped Loving Her Today" was followed by the Top Ten "I'm Not Ready Yet" and an album,
I Am What I Am, in the fall of the 1980.
I Am What I Am became his most successful record album, going platinum.
Throughout 1981 and 1983, he had eighter Top Ten hits. Although he was having hits once more, he hadn't kicked his addictions. Jones was still leaving on half-crazed, intoxicated rampages, which culminated with a televised law chase of Jones, world Health Organization was driving wino, through the streets of Nashville. Following his check, Jones managed to rock his dose and alcohol addictions with the support of his quartern wife, Nancy Sepulvada. Jones and Sepulvada marital in March of 1983. Soon after their spousal relationship, he began to detoxicate and by the end of 1983, he had completed his rehabilitation.
Jones continued to experience Top Ten hits regularly until 1987, when res publica wireless became dominated by newer artists; ironically, the artists that unbroken him off the charts -- singers like Randy Travis, Keith Whitley, and Dwight Yoakam -- were heavily influenced by Jones himself. Jones and Sepulvada stirred endorse to Nashville in 1987. In 1988, he recorded his terminal record album with Billy Sherrill,
One Woman Man. The title vocal, which was a strike for Johnny Horton in 1956, was Jones' last solo Top Ten reach.
One Woman Man was his last record book for Epic Records. After its spill, he touched to MCA, cathartic his number one record for the label,
And Along Came Jones, in the fall of 1991. In between its release and
Unmatched Woman Man arrived a duet with Randy Travis, "A Few Ole Country Boys," that was a Top Ten reach in the fall of 1990. Jones' records for MCA didn't sell nearly as intimately as his Epic albums, only his albums commonly were critically acclaimed. In 1995, he reunited with Wynette to phonograph record
One. In April of 1996, Jones promulgated his autobiography, I Lived to Tell It All. In 1998, he returned with another studio record album,
It Don't Get Any Better Than This.
Following the release of
It Don't Get Any Better Than This, Jones stirred from MCA to Elektra/Asylum, world Health Organization signed him on the provision that he would disc hardcore res publica music. Jones was complemental work on his debut for the label when he crashed his gondola into a bridge in Nashville on March 6, 1999, critically injuring himself. Amazingly, he pulled through the accident, just the investigating proven that Jones had been drinking and driving -- a troubling revelation, given his long history with alcohol addiction. He plead guilty to a lesser charge, DWI, and entered a rehab plan. The liberation of his Elektra/Asylum debut,
Cold Hard Truth, went on as scheduled, appearance in stores in the summertime of 1999.
The Rock: Stone Cold Country 2001 followed in 2001.
Hits I Missed...And One I Didn't from 2005 establish Jones look stake over the years and picking songs that he originally declined to record, just were hits for the other artists.
