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Mother, Mother, Mother Pin a Rose on Me is a film, produced by Out of the Inkwell Studios in the Phonofilm sound-on-film system, and released on March 1, 1925, as part of the Song Car-Tunes series.
CMT Pure Country, the all-music counterpart to CMT, relegated its classic country programming to a daily half-hour block known as "Pure Vintage" before abandoning classic country altogether by 2015. (Complicating matters somewhat is a relative lack of music videos for country music songs before the 1980s.)
"Country Girls" is a song written by Troy Seals and Eddie Setser, and recorded by American country music artist and The Dukes of Hazzard cast member John Schneider. It was released in December 1984 as the second single from the album Too Good to Stop Now. The song was Schneider's second number one on the country chart.
Can't Have Mine (Find You a Girl) Can't Keep Waiting; Can't Shake You; Can't You See (The Marshall Tucker Band song) Carried Away (George Strait song) Catch (Brett Young song) Chasin' You; Circles (Jana Kramer song) The Climb (song) Colder Weather; Come a Little Closer (Dierks Bentley song) Come Over (Kenny Chesney song) Come Wake Me Up
A train song is a song referencing passenger or freight railroads, often using a syncopated beat resembling the sound of train wheels over train tracks.Trains have been a theme in both traditional and popular music since the first half of the 19th century and over the years have appeared in nearly all musical genres, including folk, blues, country, rock, jazz, world, classical and avant-garde.
"Convoy" is a 1975 novelty song performed by C. W. McCall (a character co-created and voiced by Bill Fries, along with Chip Davis) that became a number-one song on both the country and pop charts in the US and is listed 98th among Rolling Stone magazine's 100 Greatest Country Songs of All Time. [1]
The song was covered with slightly reworked lyrics by Tom Waits in July 1975 at Record Plant Studios in Los Angeles and released in October on his third album, the pseudo-live double-LP Nighthawks at the Diner, under the title "Big Joe and Phantom 309". (To establish mood for the studio audience, Waits refers to the studio as "Raphael's Silver ...
[4] Allmusic critic Richie Unterberger also finds the lyrics to be enigmatic and difficult to understand. [6] Unterberger does find the first two parts to contain "evocative images that seem suffused with nostalgic lament and regret." [6] He finds the last part to be a "romantic plea for the girl to let him be her country man." [6]