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  2. I'm No Stranger to the Rain - Wikipedia

    en.wikipedia.org/wiki/I'm_No_Stranger_to_the_Rain

    "I'm No Stranger to the Rain" is a song recorded by American country music artist Keith Whitley. It was released in January 1989 as the fifth and final single from his album Don't Close Your Eyes, and was the last single released during Whitley's lifetime. It peaked at number-one in both the United States and Canada. [1]

  3. Would These Arms Be in Your Way - Wikipedia

    en.wikipedia.org/wiki/Would_These_Arms_Be_in...

    This song has been covered numerous times, most notably by Daryle Singletary on his 1995 self-titled album, Gosdin on his 1998 album The Voice, Mark Chesnutt on his 2004 album Savin' the Honky Tonk, and Jamey Johnson on his 2012 album Living for a Song.

  4. Somebody's Doin' Me Right - Wikipedia

    en.wikipedia.org/wiki/Somebody's_Doin'_Me_Right

    "Somebody's Doin' Me Right" is a song written by J. Fred Knobloch, Paul Overstreet and Dan Tyler, and recorded by American country music artist Keith Whitley.

  5. Sonny Curtis - Wikipedia

    en.wikipedia.org/wiki/Sonny_Curtis

    Curtis also co-wrote the 1989 Country Song of the Year, "I'm No Stranger to the Rain", recorded by Keith Whitley. [1] Other songs he has written include "The Straight Life" (recorded by Glen Campbell , and later by Bobby Goldsboro ) [ 1 ] and " A Fool Never Learns " (recorded by Andy Williams ).

  6. Don't Close Your Eyes (album) - Wikipedia

    en.wikipedia.org/wiki/Don't_Close_Your_Eyes_(album)

    Don't Close Your Eyes is the second studio album by American country music artist Keith Whitley and the last to be released during his lifetime. The album was released on May 31, 1988, by RCA Records.

  7. I–V–vi–IV progression - Wikipedia

    en.wikipedia.org/wiki/I–V–vi–IV_progression

    The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.