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The general consensus amongst country music pundits in 2013 is that we are in the midst of the ‘Year Of The Woman.’ It has been so declared by NPR, legendary country journalist Chet Flippo, and right here on Saving Country Music. As the men of mainstream country chase each other in dirt road circles in their pickup trucks sipping ice cold beer, trying to figure out how to integrate rap into their next single without cheesing off the radio programmers, women are offering inspiring lyrics and sonic leadership in an otherwise bleak musical landscape.
But this isn’t the first year in country when the women deserved the lion’s share of attention.
The year was 1952, and country music was still a predominately male-dominated format. A few women had made some marks in country in the past, but never in the same measure as their male counterparts. Moonshine Kate made some noise in the 1920′s, and Patsy Montana in the 1930′s. Molly O’ Day was one of the first women to be singed to the Acuff-Rose publishing company, which gave her the connections to be able to record Hank Williams songs in the late 40′s. And of course the women of The Carter Family had a major influence on the sound of country music. But prior to 1952, women were still considered supporting, 2nd-tier artists, and country had yet to see a true female star.
Then came along Rose Maddox of The Maddox Brothers & Rose, Goldie Hill, and the woman who would later rise to be known as the Queen of Country Music, Kitty Wells. Together, they became pioneers for women in country, and proved that female performers could do just as well as their male counterparts, as performers and profit makers.
It wasn’t until 1956 when the Maddox Brother & Rose officially broke up that Rose Maddox would fully remove herself from the shadow of her male siblings. But in January of 1952, the California-based Maddox Brothers & Rose recorded their first record with Columbia after years with the lesser-known 4 Star Recordings. Written by Rose, “I’ll Make Sweet Love To You” had remarkably-suggestive lyrics for that time in country music, but Rose could get away with it being on the West Coast, and being considered just a singer in her family band instead of a solo artist.
Showcasing Rose’s signature laugh, and the Maddox Brothers’ hybrid sound that was just as much country as rock and roll, “I’ll Make Sweet Love To You” opened up the door for women in country to sing about the same themes that men had for years.
Right on Rose’s heels, a 32-year-old married mother of three named Kitty Wells became country music’s first female superstar when her song “It Wasn’t God Who Made Honky Tonk Angels” made it to #1 on Billboard’s Country Singles Chart. The song was an answer song to Hank Thompson’s hit “Wild Side of Life.” Written by JD “Jay” Miller, Kitty initially didn’t want to cut the song, but then decided to for a $125 session payment.
The song did so well, it eventually beat out Thompson’s “Wild Side of Life” in sales. Like Rose Maddox before her, “It Wasn’t God…” helped open up new risque themes for female singers. Women weren’t supposed to “answer back” to men in those days. But coming from a mother and devoted wife, the conservative Nashville establishment didn’t put up a fuss. And most importantly, Kitty Wells proved that women performers could make big money for labels and publishers. Wells went on to have 35 more Top 10 singles, and 81 total songs on the charts, but none were as big as “It Wasn’t God Who Made Honky Tonk Angels.”
Just as Kitty Wells was having big success with her answer song and 1952 was drawing to a close, another answer song called “I Let The Stars Get In My Eyes” was offered to Kitty. But she turned it down, and instead it was cut by rising female country star Goldie Hill. Released in December of 1952, it was the counter to Slim Willett’s hit “Don’t Let The Stars Get In Your Eyes” and once again dealt with issues that before had been considered taboo for females in country. Women weren’t just singing country music, they were symbolizing a strong, female character, willing to stand up up against male infidelity, while at the same time willing to show their own vulnerability when it comes to matters of the heart.
By early 1953, “I Let The Stars Get In My Eyes” became another #1 hit by a female performer, entrenching Goldie beside Kitty Wells as bona-fide female country stars. It has one of the most unusual structures and pentameters for a country song you will ever hear, intriguing the ear as the verses zig and zag. Though it is definitely a traditional country song, “I Let The Stars…” could be called a more progressively-molded song; a precursor to today’s advanced, evolving country sound championed by female performers.
Certainly women in country music were not going to be held down forever. But in 1952, Rose Maddox, Kitty Wells, and Goldie Hill laid the groundwork for women in country that would later see the rise of strong, powerful performers like Patsy Cline, Loretta Lynn, Tammy Wynette, Dolly Parton, and the female performers of today that are doing their level best to keep country music moving forward while still respecting its roots.
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