Kylie Spence is the Highway Hits promotion winner for her song, “Tobacco Roots.”

The promotion, which is a joint effort between American Songwriter and Artist For Artist, includes several prizes for the winner. Chief among them is the opportunity to travel to Hamburg, Germany, for the ultimate artist experience at the world-renowned Reeperbahn Festival.

“I’m genuinely so excited to travel to Germany to share my stories and songs for new people, and I hope I can make someone’s day feel a little brighter in the process,” Spence said. “This will actually be my second time playing in Germany, which makes it even more special. I’m really looking forward to coming back with a few more years of songs, life, and experience under my belt.”

Spence assured fans that she plans to play “Tobacco Roots” during her set, and teased that some new music may be featured as well.

“I’m in the middle of creating something I’m really excited about right now, so it feels like the perfect opportunity to share some of the things I am working on,” she said.

Read on to learn more about Spence.

Kylie Spence Q&A

HOW LONG HAVE YOU BEEN SONGWRITING? WHAT GOT YOU INTO MUSIC IN THE FIRST PLACE?

I’ve been songwriting for as long as I can remember. The first song I remember writing was for my dad for Father’s Day when I was probably seven. I’ve always loved music, and Coldplay’s “Viva La Vida” was one of the first songs I remember being completely moved and inspired by.

When I was 12, I was asked to sing at my cousin’s wedding in Texas. Instead of singing a cover, I decided I wanted to write a song for them. I think that was one of the first times I realized how special it was to be able to take a feeling or a story and turn it into something other people could connect with. I’ve pretty much been writing ever since.

WHY DID YOU ENTER AMERICAN SONGWRITER’S HIGHWAY HITS PROMOTION?

I entered because I believe in my music, and honestly, I thought, why not? You never know what can happen when you put yourself out there, and I’m so glad that I did.

TELL US ABOUT THE INSPIRATION BEHIND THE SONG YOU SUBMITTED.

“Tobacco Roots” was actually the last song I wrote for my first record, Everything and Nothing. It came after a relationship went south and left me feeling hurt, confused, and wishing things had ended differently.

At the same time, I was getting ready to leave Montana and move to Tennessee, so the song started to feel like a farewell to a version of my life that I knew I was leaving behind. 

WHAT HAS WINNING MEANT TO YOU?

It feels incredibly special. At the end of the day, the biggest thing I want from music is to connect with people. Having an opportunity that allows me to bring these songs to a new audience means so much to me.

The fact that I get to travel across the world to do it is pretty surreal. It also feels like a really meaningful reminder to keep putting myself and my music out there, and to never give up. You never really know which opportunity is going to open a door.

WHAT SONGWRITERS AND ARTISTS DO YOU COUNT AS YOUR BIGGEST INSPIRATIONS? WHY?

My inspirations are constantly changing depending on what I’m listening to and what kind of music I’m making. I really love Lizzy McAlpine’s last record and the way her songwriting can feel incredibly conversational and intimate while still being so musical.

I’ve also been a huge Lennon Stella fan since around 2015. I remember watching her post covers when I was about 14. Seeing someone not that much older than me making music like that was really inspiring. I’m so happy she’s releasing music again.

Bon Iver has also been a longtime favorite of mine. I’m drawn to artists who create an entire world around their music, where everything from the songwriting, production, emotion, and visuals all feel like extensions of the same story. I’m always aspiring to do that with my own work.

TELL US ABOUT YOUR PLANS IN 2026.

I recently started a series where I turn anonymous confessions into songs, which has been such a fun creative exercise and has pushed me to write from perspectives and stories outside of my own.

I’m also in the studio right now working on new music that I’m really, really excited about. I can’t share too much yet, but I’m having the most fun I’ve ever had creating the world and sound around these songs. It feels like a new chapter for me, and I cannot wait to share it when the time comes.

WHAT IS YOUR BIGGEST CAREER DREAM?

As corny as it might sound, I really want to be a source of light and love for people. I think music is medicine. Some of the most important songs in my life have made me feel understood at times when I really needed it. I would love for my music to do that for somebody else.

My dream is to keep making art and writing songs that excite me, build a career that allows me to keep doing that for a very long time, and hopefully help people feel a little less alone along the way.

And hey, a Grammy would be nice too.

WHAT WOULD YOU TELL OTHER ARTISTS WHO ARE CONSIDERING ENTERING THE CONTEST?

Just do it. Why not? If you believe in your art, one of the best things you can do is give it the chance to be heard. 

Photos by Tracie Spence

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These three songs from the 1990s are the perfect options for a playlist curated for the perfect day. These tracks help foster the spirit you need to power through anything life throws at you.

[RELATED: 3 Rock Bands From the 1990s That Saw Multiple Members Go Solo]

“Linger” — The Cranberries

The Cranberries’ “Linger” has no shortage of atmosphere about it. The listener is instantly put in a cinematic frame of mind when this 1990s song comes on. That makes it the perfect choice for a prime needle drop. If you want to curate the perfect vibe for the perfect day, this song is a strong choice.

“But I’m in so deep / You know I’m such a fool for you / You got me wrapped around your finger / Do you have to let it linger,” the iconic lyrics read. Whether you’re at a party or listening to music all alone in your room, this song hits hard. This track rounds out a day, giving it the perfect amount of bittersweet energy.

“You Get What You Give” — New Radicals

“Wake up, kids / We got the dreamers disease,” the lyrics to New Radicals’ “You Get What You Give” read. The powerhouse opening to this song instantly hooked listeners back in the 1990s and still excites today. The energy this song provides is unparalleled, making it an apt choice for the “perfect day” playlist.

“You’ve got the music in you / Don’t let go / You’ve got the music in you / One dance left / This world is gonna pull through,” the optimistic lyrics continue. Try to be in a bad mood when this song comes on. Any frown won’t be able to stay down once this upbeat, playful track hits full swing.

“Only Wanna Be With You” — Hootie & The Blowfish

This alt-rock track remains Hootie & The Blowfish’s signature. It’s a mid-tempo banger that no one can help but sing along to. “Well, there’s nothing I can do / I only wanna be with you / You can call me your fool / I only wanna be with you,” the loved-up lyrics read. This is a simple song, but it has no shortage of appeal. That’s the power of a concisely written track with absolutely no wasted space.

This band pushed past any relationship pitfalls to reveal the hidden beauty underneath in this track. “Sometimes I wonder if it will ever end / You get so mad at me when I go out with my friends / Sometimes you’re crazy, then you wonder why,” the lyrics continue, rounding out one of the most famous songs of the 1990s.

(Photo by Gie Knaeps/Getty Images)

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On this day (September 11) in 1974, WROV-AM in Roanoke, Virginia, began playing the Doobie Brothers’ “Black Water” in honor of the Blackwater, a tributary of the Roanoke River. The song became a regional smash hit and soon began to spread. Later, it became the Doobies’ first No. 1 single. Before it grew organically, no one in the band’s camp believed it could be a hit.

The Doobie Brothers released “Another Park, Another Sunday” as the lead single from What Were Once Vices Are Now Habits in March 1974. “Black Water” was the B-side. The A-side peaked at No. 32, and the band kept pushing forward. They released “Eyes of Silver” as the album’s next single. Then, they reissued “Nobody” from their self-titled album.

How “Black Water” Became the Doobie Brothers’ First No. 1

The top-40 station WROV-AM started playing “Black Water” on September 11, 1974. It was an immediate hit with locals, who began calling to request it. Before long, nearby WQRK started playing the song, too. It continued to spread from there.

“That’s a story that could have happened back then, but never would ever, ever happen now,” Doobie Brothers frontman Tom Johnston told Songfacts. “Roanoke, Virginia, picked that tune up and started playing it in heavy rotation. Somebody in Minneapolis, who I guess knew somebody in Roanoke, heard the song and decided to follow suit,” he explained. “It ended up being our first No. 1 single.”

Soon, news of the track’s regional popularity got to Warner Bros. Records. They issued “Black Water” as a single, backed with “Song to See You Through,” in October 1974. It reached the top of the Hot 100 in March 1975.

“I remember when I first heard it was No. 1. We were in Baton Rouge, Louisiana, and we were just getting ready to go on stage,” Johnston recalled. Their manager, Bruce Cohn, delivered the news. “I think we were already aware of the fact that it was getting airplay, but nobody was really paying a lot of attention. Then, all of a sudden, it became No. 1, and we were paying attention,” he added.

[RELATED: On This Day in 1975, the Doobie Brothers Hit No. 1 for the First Time With a Song Later Covered by Garth Brooks]

Guitarist Patrick Simmons wrote and sang lead on “Black Water.” When the band learned that the song had topped the Hot 100, they rushed to congratulate him. It was their first single on which Simmons sang lead, making the moment even bigger for him.

Featured Image by Michael Ochs Archives/Getty Images

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Most people know John Travolta as the actor who has starred in movies like Saturday Night Fever, Grease, Pulp Fiction, and more. But Travolta is also a talented singer. In fact, Travolta has actually had several hit singles. In 1974, Travolta released “Dream Drummin’”. Although that song didn’t do well, nor did several subsequent ones, two years later, Travolta finally found success on the radio with “Let Her In”.

On his eponymous album, also released in 1976, “Let Her In” was written by Gary Benson, who first released the song on his own in 1973. His version did not chart. But three years later, Travolta took the same song to radio, making it his first Top 5 single.

“Let Her In” says in part, “You know what I find, I find / A look at her face, and there isn’t a trace / Of doubt in my mind / Gonna let her in / Gonna let her in / Gonna let her in my life / Let her in my life.”

John Travolta’s Success in Music

Travolta had other hits in music, although “Let Her In” is his biggest success as a solo artist. In 1978, Travolta had two hit singles with Oliver Newton-John, both from the Grease movie, starring both of them. The two had a No. 1 single with “You’re The One That I Want”, and a Top 5 hit with “Summer Nights”. Two more songs, both “Sandy” and “Greased Lightnin’”, were also released, although they did not do as well at radio.

After songs from Grease, Travolta released “Never Gonna Fall In Love Again” in 1980, plus three more duets. In 1997, he and Carly Simon released “Two Sleepy People”. And in 2008, Travolta and Miley Cyrus released “I Thought I Lost You”.

In 1983, Travolta teamed up again with Newton-John for “Take A Chance”. That song was part of the soundtrack for Two Of A Kind, a film starring Travolta and Newton-John. It became a Top 5 single for the pair.

Travolta and Newton-John not only sang and acted together, but they also became close friends. Travolta touched on her influence on his life after she passed away in 2022.

“My dearest Olivia, you made all of our lives so much better. Your impact was incredible. I love you so much,” Travolta shared on social media after the news was announced. “We will see you down the road and we will all be together again. Yours from the first moment I saw you and forever! Your Danny, your John!”

Photo by Ron Galella/Ron Galella Collection via Getty Images

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Remember going to the mall with your friends as a teenager? From the late 1980s through the 2000s, the mall was the go-to “third place” for teenagers of all walks of life. And if you were an 80s teen, I bet you jammed out to these three rock songs from 1989 while loitering around the mall with your pals.

“Free Fallin’” by Tom Petty from ‘Full Moon Fever’

There’s no way I could leave this heartland rock classic off our list here. This Tom Petty jam, co-written by ELO’s Jeff Lynne, was one of the biggest rock songs of the year. Years later, it’s still the song that most people immediately think of when they think of Tom Petty. And I don’t know about you, but I can’t help but groove a little when it comes on the radio, even today.

“Free Fallin’” by Tom Petty was a No. 7 hit on the Billboard Hot 100 chart back in 1972. It also topped the Mainstream Rock chart in the US.

“When I See You Smile” by Bad English from ‘Bad English’

Remember this glam metal classic? Bad English had quite a hit on their hands with this late-80s offering. “When I See You Smile” peaked at No. 1 on the Hot 100 chart and did similarly well in Canada. The music video for the song was also a pretty big deal on MTV in 1989. If you were a young glam metal fan that year, you were probably jamming out to “When I See You Smile” constantly.

“Mixed Emotions” by The Rolling Stones from ‘Steel Wheels’

The Rolling Stones weren’t interested in slowing down in 1989, and this song from Steel Wheels was a hard rock delight that made it to radio and mall speakers in tandem that year. Whether you were an 80s teen mall rat or a diehard fan of The Stones since the 60s, you probably enjoyed this very direct rocker of a track. 

“Mixed Emotions” by The Rolling Stones peaked at No. 1 in Canada and (surprisingly) only made it to No. 36 in the UK. However, the song was a smash hit in the US. It reached No. 5 on the Hot 100 and topped the Mainstream Rock chart.

(Photo by Jeffrey Mayer/WireImage)

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These three 1970s songs feel as peaceful and soothing as the perfect Sunday morning. These songs will transport you to a slow morning with nothing on your plate but easing into your day. They help set the tone for a day spent lounging around with all your worries sent far away.

[RELATED: 3 Hall of Fame Rockers From the 1970s Whose First Bands Never Got off the Ground]

“Easy” — Commodores

We have to start here. The Commodores’ “Easy” is about finally walking away from a struggling relationship, likening the feeling to the cool calm of a Sunday morning. “You know I’ve done all I can / You see, I begged, stole, and I borrowed,” the lyrics to this Commodores staple read. The lyrics are mirrored with a melody so tender and lulling that the listener feels the same sense of relief.

“Why in the world would anybody put chains on me / I’ve paid my dues to make it / Everybody wants me to be / What they want me to be / I’m not happy when I try to fake it,” the lyrics continue later in the song. The storyline might be rife with conflict, but the melody washes all of that away.

“Morning Has Broken” — Cat Stevens

This soothing, light Cat Stevens song is about the beginning of a new day. “Morning has broken like the first morning / Blackbird has spoken like the first bird / Praise for the singing, praise for the morning / Praise for them springing fresh from the world,” the lyrics to “Morning Has Broken” read. This prayer-like track is like a mantra for the perfect, soothing morning.

“Mine is the sunlight, mine is the morning / Born of the one light, Eden saw play / Praise with elation, praise every morning / God’s recreation of the new day,” the lyrics read later on in the song. This song was pretty much tailor-made for a slow Sunday.

“Ventura Highway” — America

This America song is a little more upbeat than the rest on this list, but it still has a simple structure that’s perfect for a slow start to the day. “Ventura Highway in the sunshine / Where the days are longer / The nights are stronger than moonshine,” the lyrics read.

This soft rock staple melts all your troubles away. You’ll be flying pretty high when this song comes on to start your day.

(Photo of Commodores by Michael Ochs Archives/Getty Images)

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Just last year, Alison Krauss released her latest album with Arcadia. Joining forces with Union Station, the album peaked at No. 1 on the US Top Bluegrass Albums chart. It also went No. 1 on the UK Country Albums chart. Thrilled over the success of the album, Krauss planned to hit the road with a tour. And in April, that tour kicked off. Having already traveled the country, sadly, the famed fiddler was forced to cancel the rest of her shows. 

The news was somewhat of a shock to fans as Krauss was expected to take the stage tonight. But in late August, she needed a break from the concerts in California. Hoping to return to the tour, Krauss shared on Instagram that doctors advised her to go on vocal rest. “It is with great regret that Alison Krauss & Union Station have announced the cancellation of our upcoming tour dates. After consulting with medical professionals, Alison has been advised to take a period of vocal rest to ensure a full and healthy recovery.”

Not the news fans wanted to hear, Krauss was taking no chances when it came to her health. And according to her team, “This decision was not made lightly as we are deeply committed to our fans. However, prioritizing health and vocal integrity is imperative at this time.”  

[RELATED: Remember When Alison Krauss Switched to Mainstream Country in 1995?]

Alison Krauss Had A History Of Vocal Issues

Offering full refunds for the canceled shows, the team urged fans to reach out to their point of purchase with any questions they had. As for Krauss, the statement concluded with, “We hope to make it back to these cities in the near future.”  

Looking at the canceled dates that included September and October, Krauss was planning to entertain fans in Austin, Las Vegas, Davenport, Nashville, and St. Louis before returning to California. 

This wasn’t the first time Krauss found herself struggling with her voice. In 2013, she was diagnosed with dysphonia. According to the National Library of Medicine, “Dysphonia occurs when there is an alteration in normal voice quality, which can be due to structural and/or functional causes.” 

With Krauss spending over four decades in music, a few canceled concerts were nothing compared to risking her career. For now, the stage and fans would have to wait while she focused on finding her voice again.  

(Photo by Frank Hoensch/Redferns)

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While hair metal wasn’t around for very long, there are still songs from the style we love. There are still tunes we return to often because they give us a charge during an otherwise mundane day-to-day existence.

Here below, we wanted to explore some of those tracks. We wanted to highlight three songs from back in the day we know by heart. Indeed, these are three hair metal tracks from the 1980s we still can’t live without.

“Livin’ On A Prayer” by Bon Jovi from ‘Slippery When Wet’ (1986)

The New Jersey-born band Bon Jovi has entertained millions of fans throughout the decades. But the group rose to popularity in the 1980s thanks to its brash rock style and lyrics that were both bold and sensitive. Indeed, the group’s lead singer Jon Bon Jovi knew how to access his heartstrings and also make himself look like a warrior up on stage. It was a thin line to walk, but Jon did it with aplomb. There’s a reason why Bon Jovi was one of the biggest hair metal bands of the decade. And when Jon sings about living on a prayer? We’re in hook, line, and sinker.

“We’re Not Gonna Take It” by Twisted Sister from ‘Stay Hungry’ (1984)

This is one of the greatest songs of rebellion the 1980s produced. Twisted Sister remains iconic for this track. The group looked around one day and decided that enough was enough. They were going to put their feelings into song, into action. They were going to stand up for themselves (long, curly hair and all) and they were going to tell the world that they were no longer available to be pushed around. The result? A protest track for the ages. It’s one we find ourselves putting on repeat whenever we need a boost.

“Dr. Feelgood” by Mötley Crüe from ‘Dr. Feelgood’ (1989)

In the 1980s, Mötley Crüe saw the entire decade as a reason to party. So, they brought that energy in just about every song they released. But nowhere was it more present than in the 1989 single, “Dr. Feelgood”, from the album of the same name. On it, the band talks about self-medication to the nth degree. All the group wanted, it seemed, was to cut loose and go a lot of crazy throughout the entire 1980s. Well, that’s the proverbial license that this track gave the world.

Photo By Larry Busacca/Getty Images

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While most artists will have a great year, Ella Langley is having a great era. With hits like “You Look Like You Love Me” and “Nicotine,” the country singer continued to dominate the genre. But that all changed when “Choosin’ Texas” hit the airwaves. It didn’t take long before the song climbed the charts, snagging numerous No. 1 positions. And if that wasn’t enough, she watched her stardom explode recently when she received a total of nine nominations for the CMA Awards. Needing a minute to process the milestone, Langley was left in shock. 

Ever wonder what an artist looks like when they get nominated nine times? Well, Langley gave fans an all-access view to just that. Sitting on the couch, trying to relax, the country singer watched the nominations being revealed on a laptop. Given her stardom, some might think Langley would have a party. But no, it was just her, her dog, a friend, and the couch. 

With each new nomination, the weight of the moment started to sink in. What began with Langley quietly watching the screen quickly turned into disbelief over what she was accomplishing in real time. Struggling to comprehend the historic moment, she told fans, “I know everyone has probably like seen what’s going on this year. But no, no, no… This is still happening in real time.” 

[RELATED: In a League of Her Own: Ella Langley Just Did What No Female Country Artist Has Done This Century]

Ella Langley Struggled To Form A Single Sentence

Having to look back at the screen over and over, Langley needed a higher vantage point. Deciding to stand on the couch, she continued her statement. “The amount of work that went into this record from everyone. This is the thing I’m gonna be like, ‘Back in my day, I really had a couple years in there that I just had a blast.’”

With her adrenaline pumping, Langley walked away with nominations for Single of the Year, Album of the Year, Song of the Year, and the coveted Entertainer of the Year. The full list included:

Entertainer of the Year

Ella Langley
Cody Johnson
Luke Combs
Chris Stapleton
Lainey Wilson

Single of the Year

“Be Her”
“Choosin’ Texas”

Album of the Year

Dandelion

Song of the Year

“Be Her”
“Choosin’ Texas”

Female Vocalist of the Year

Ella Langley

Musical Event of the Year

“I Can’t Love You Anymore” — Ella Langley & Morgan Wallen

Music Video of the Year

“Choosin’ Texas.” 

Although Langley will face top names like Cody Johnson, Taylor Swift, Chris Stapleton, Luke Combs, Lainey Wilson, and more, she was just living in the moment. Caring little about what the future held, the singer was more surprised by her ability to form a single sentence. “I can’t believe I strung that all together.”

Don’t miss Langley’s historic run at the 2026 CMA Awards, airing live on Wednesday, November 18 at 8:00 p.m., on ABC and Disney+. The event will be available to stream the following day on Hulu. 

(Photo by Connie Chornuk/Disney via Getty Images)

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We music fans probably shouldn’t get as upset as we tend to do about the Grammy Awards’ occasional missteps. They won’t ever please everyone with their choices. And music is a subjective enterprise anyway.

That said, they occasionally drop the ball so epically that we can’t help but wonder what they were thinking. Consider the ceremony held in 1989. That year, their effort to broaden the scope of the music considered Grammy-worthy ended up majorly backfiring on them.

Rap and Metal Recognized

For many years, a popular complaint about the Grammys was that they didn’t do enough to recognize narrower genres of music. Standbys like rock, R&B, country, and pop received all the attention. Niche artists were left high and dry because they didn’t really have a category that fit them.

After hearing that criticism for a while, the powers that be behind the awards decided to do something about it. For the 1989 ceremony, they added awards for heavy metal and rap, two genres that had busted onto the mainstream late in the decade after years of being somewhat under the radar.

But what should have been a triumph for the Grammys turned into a bit of a PR mess. That was especially true when it came to the heavy metal award. And, in years to come, an omission from the rap category also looked quite glaring.

A Tull Upset

Let’s start with metal, or as the category card read that fateful night in 1989, Best Hard Rock/Metal Performance Vocal or Instrumental. Most assumed that Metallica, long the leading light of the heavy metal world by that time, would walk away with the trophy for their monumental …And Justice For All album.

But Grammy voters, likely some of those longer in the tooth who didn’t know Metallica from Megadeth and likely had heard the name Jethro Tull from tuning in briefly to a classic rock station, handed the veteran British rockers the trophy. No matter that they weren’t remotely heavy metal.

Boos could be heard on stage when the award was announced. Jethro Tull wasn’t there to accept the award because the band understandably thought they had no chance of winning. And the Grammys were soon dealing with blowback from angry metal fans, claiming they were way out of touch.

The PE Snub

To rectify the problem of the metal category, the Grammys began separating the genre from hard rock. And to atone for their injustice, they handed Metallica the next three trophies for Best Metal Performance.

On the same night that Jethro Tull pulled off the bizarre upset, the first-ever Grammy for Best Rap Performance was awarded. Considering the nominees that night, it wasn’t altogether surprising that “Parents Just Don’t Understand”, a big crossover hit for DJ Jazzy Jeff & The Fresh Prince, took the trophy.

The more egregious error came when the nominees were announced. Somehow, Public Enemy, whose It Takes A Nation Of Millions To Hold Us Back LP revolutionized the genre and took top spot on countless best-of lists in 1988, didn’t get nominated for any of the songs from the record. In other words, the Grammys went 0-for-2 in their efforts to branch out that evening.

Photo by Fin Costello/Redferns/Getty Images

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Some singles that were released in the 2000s to great acclaim (and charting success) haven’t exactly aged well. Some songs, though, sound just as fresh today as they did back in the early aughts. Let’s take a look at just a few such singles from the 2000s that still sound absolutely amazing today.

“Crazy” by Gnarls Barkley from ‘St. Elsewhere’ (2006)

Neo-soul never sounded so good. Though, you can’t really define “Crazy” by Gnarls Barkley as solely neo-soul. The duo of CeeLo Green and Danger Mouse touched on about a million different genre elements throughout St. Elsewhere, and “Crazy” alone has elements of psychedelia, electronica, funk, pop, alt-R&B, and more. “Crazy” peaked in the Top 5 almost globally back in 2006, and it took home a Grammy Award as well.

“Seven Nation Army” by The White Stripes from ‘Elephant’ (2003)

This song is really minimalist when you listen carefully. The bass is simple. The drums are simple. The vocals, pacing, and overall structure are all quite simple. Yet, when put together, you’ve got one of the most addictive and well-aged alternative rock songs of all time. It makes sense why “Seven Nation Army” by The White Stripes is still so beloved after all these years. Shockingly, the song only made it to No. 76 on the Billboard Hot 100 chart at the time.

“Mr. Brightside” by The Killers from ‘Hot Fuss’ (2003)

If you’re a millennial, this is one of those famous alt-rock songs from your younger years that will be stuck in your head for the rest of your life. I’ll probably be belting out the lyrics to this Killers track well into my elderly years when it comes on oldies radio. If radio even still exists in the future.

“Mr. Brightside” by The Killers wasn’t a massive hit when it was first released. But after a re-release in 2004, the track made it to No. 10 in both the US and UK.

(Photo by Frank Micelotta/Fox via Getty Images)

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On Monday, the 78th Emmy Awards will celebrate another year in entertainment with Mariska Hargitay hosting. Excited to welcome some of the biggest stars in Hollywood to the Peacock Theater in L.A., the producers also put the final touches on their In Memoriam segment. While the entertainment industry lost a few icons over the last year, it was hard to compare to the shining light that was Dolly Parton. And when wanting to highlight her talent and generosity, producers turned to Noah Kahan. But apparently, the tribute won’t feature a Dolly song. 

It seemed impossible to have a tribute to Dolly without a Dolly song. During her career, she wrote 3,000 tracks. With more than enough hit songs to pick from, Kahan went a different route with “Bridge Over Troubled Water.” One of the reasons was the fact that the In Memoriam segment included several stars. 

Not wanting to share every detail just yet, one of the producers, Jesse Collins, promised that Dolly would get a special moment. “We’re holding it back. But I think it will be a very beautiful tribute to Dolly.” And given how much of her life Dolly spent entertaining others, the Emmys appeared determined to make sure her moment stood apart from the rest. 

[RELATED: Dolly Parton’s First Posthumous Song Released as Part of Star-Studded Tribute Album]

Why A Simon & Garfunkel Song Over Dolly Parton?

As for the decision to use a Simon & Garfunkel song, Collins noted that it held a special place in Kahan’s heart. “It’s a song that is very meaningful to him. Paul Simon is one of his favorite artists. So it was really about coming up with an arrangement that does the song justice. He’s such a pure musician, and he’s worked really hard with our team to create something I think people are going to love.”   

Aside from the tribute to Dolly, the 78th Emmy Awards will bring a few laughs to the event. Teasing her hosting role, Hargitay called on a few late-night writers to give her a hand. “We’re throwing out a lot of different ideas. I’m working with an incredible team of writers — the writers from Colbert … We’ve been meeting a lot and discussing a lot and pitching a lot of ideas. We’re pitching so many ideas.” 

Hargitay might be responsible for bringing the laughs, but the night wasn’t going to be all punchlines. Somewhere between the celebrations, the Emmys planned to make room for a goodbye to not just an icon – but an angel.  

(Photo by David Redfern/Redferns)

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Over the last week, Americans have honored the lives lost on September 11 when terrorists attacked the World Trade Center. Marking the 25th anniversary of the tragic events that claimed the lives of nearly 3000 people, countless tributes poured in as the country remembered a day that changed history forever. And for Alan Jackson, 9/11 marked a special moment in his career when he released “Where Were You (When the World Stopped Turning.” Although the song was released in 2001, the country singer offered a new live version recorded at his final concert. 

After decades in country music, Jackson decided it was time to walk off the stage one last time. With 2026 the end of the road for the country icon, he entertained fans with a final concert at Nashville’s Nissan Stadium. Packed with 50,000 fans, the night was nothing short of a historic moment for the entire genre. 

During the celebration, Jackson looked back at the horrific time in the United States. Following the terrorist attack, the country singer poured his emotions into his songwriting. The result – “Where Were You.” Two decades later, the song remained just as powerful, with Jackson now offering fans a new live rendition from his historic farewell concert. 

[RELATED: 5 Timeless Alan Jackson Songs That Aren’t “Chattahoochee”]

Alan Jackson Didn’t Want To Be “Vengeful”

With Jackson discussing the songwriting process behind the track, he admitted that it was difficult to find the perfect balance between love and hate. “I didn’t want to write a patriotic song. And I didn’t want it to be vengeful, either. But I didn’t want to forget about how I felt and how I knew other people felt that day.”  

Becoming the lead single of Jackson’s Drive album, “Where Were You” brought the singer more than praise. The song captured numerous awards from the Academy of Country Music and the Grammys. It brought Jackson his first Grammy for Best Country Song, and was even nominated for Song of the Year but ultimately lost to “Don’t Know Why.” 

But no matter the accolades or fame, Jackson was content knowing the song perfectly captured his feelings at that moment. “I’m glad that people like it, but I’m a little nervous about the attention. I think it was Hank Williams who said, ‘God writes the songs, I just hold the pen.’ That’s the way I felt with this song.” 

Now, over two decades later, “Where Were You” remained bigger than any award Jackson received for it. And with Jackson now stepping away from the stage, his final performance ensured those words would forever remain.  

(Photo by Terry Wyatt/WireImage)

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Although Dolly Parton shared her talents with the world, she decided to remain silent when it came to her health issues over the last few months. During her country music career, the icon proved just how bright her star was when she created the Imagination Library. If that wasn’t enough, she poured millions into her community. Always willing to help those around her, her sister, Stella Parton, recently revealed the final request Dolly had before she passed away at 80. 

As fans continue to mourn the loss of Dolly, Stella sat down with Gayle King on CBS Mornings to highlight her sister’s generosity over the decades. But at the same time, the topic of her death eventually surfaced. And according to Stella, her sister’s faith never wavered – even when her health was rapidly declining. It wasn’t released until after her death that Dolly had suffered from a brief battle with cancer. 

While painful to remember that time, Stella explained how Dolly leaned on her faith when she neared the end of her life. And her simple request – “prayers.” It seemed that Dolly wanted the people closest to her to do what she had done throughout her life, and that was to have faith.

[RELATED: Fan Petition and Tennessee Lawmaker Call on Nashville To Give Dolly Parton One of Its Biggest Honors Yet] 

Dolly Parton’s Sister Promises “We Will Be Okay”

Gaining over 290,000 views, fans praised Stella for how she handled her sister’s legacy. Not wanting to share those parts of Dolly’s life she kept secret, comments read: 

“Stella is a loving and respectful sister.  Yes, we’ll all miss Dolly and her talents and contribution to make life better for a lot of people.”  
“I love how she respects her sister and not sharing too much. Just like Dolly would’ve wanted!” 
“Thank you Stella for providing a little more clarity on Dolly’s final days.  This has really helped so many of us who are struggling with grief over her loss.” 
“I can see a small piece of Dolly in Stella. You’re a wonderful sister, Stella. You and Dolly were so fortunate to have one another.” 

Aside from cherishing the time they spent together, Stella thanked fans for their continued support. Posting a message on social media, she wrote, “Thank you to the ones of you who have shown ‘genuine’ support and love during this time of our family bereavement. We will be okay in time but each of us will grieve in our own personal way. Every human being experiences pain and loss in life and my family is no different.” 

Dolly gave the world more than enough memories to hold onto throughout her career. But when it came to her final days, Stella believed her sister deserved something she rarely had – privacy. 

(Photo by UPI/Bettmann Archive/Getty Images)

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On this day (September 11) in 1962, the Beatles recorded the third version of “Love Me Do.” It was their debut single in the United Kingdom, where it peaked at No. 17. The song was also originally meant to be their debut single in the United States. However, the label balked and refused to release it until 1964, when it became their fourth consecutive chart-topper.

The Beatles recorded the first version of “Love Me Do” in June 1962 with Pete Best on drums. This recording didn’t see the light of day until it was included on Anthology 1 in 1995. Then, on September 4, they recorded it again, with Ringo Starr on drums. They released this version as their debut UK single in October 1962. Finally, on September 11, 1962, they cut the song a third time. This time, session musician Andy White played drums, and Starr played tambourine. The tambourine is an easy way to tell the two popular versions apart.

According to Songfacts, Parlophone Records issued “Love Me Do” as a single in the United Kingdom. Sales, especially in the Liverpool area, were good enough to take the song to No. 17. Capitol Records, Parlophone’s US partner, refused to release the single, fearing it would flop. Tollie finally released the song in the US in April 1964. By that time, “I Want to Hold Your Hand,” “She Loves You,” and “Can’t Buy Me Love” had all reached No. 1 on the Billboard Hot 100.

“Love Me Do” Is Older Than the Beatles

When John Lennon and Paul McCartney were teenagers, they would skip school to write songs together. The duo wrote several songs before “Love Me Do,” but this was the first they liked enough to record.

While the song is officially a Lennon-McCartney co-write, there was some debate about the actual authorship of the song. “Paul wrote the main structure of this when he was 16, or even earlier,” Lennon said. “I think I had something to do with the middle.”

[RELATED: John Lennon Was Incredibly Ill When The Beatles Recorded One of Their Biggest Hits: “John’s Voice Was Almost Completely Gone”]

McCartney remembered things differently. He said the song was “completely co-written” with Lennon. “It might have been my original idea, but some of them really were 50-50s, and I think that one was,” he said.

Featured Image by David Redfern/Redferns

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The 70s soul scene was engulfed with powerful voices like Aretha Franklin, James Brown, and Stevie Wonder, to name a few. Here are some of the best songs from this era that still capture our attention today.

“Let’s Get It On” by Marvin Gaye

Marvin Gaye easily has one of the most recognizable voices in soul music. The deluxe edition liner notes for Let’s Get It On tell an interesting story about this song. Apparently, Gaye became infatuated with the teenage daughter of a friend of his friend, Ed Townsend during recording. The girl, named Janis, came by while Gaye was recording “Let’s Get It On”. Therefore, he sang the song more passionately than he likely would have.

“The presence of this young girl compelled him to perform the song to her,” explain the liner notes, “and in so doing, it was transformed into the masterpiece of raw emotion we know so well.”

“Let’s Stay Together” by Al Green

Tina Turner actually covered this song, and it ended up reviving her career. She was convinced by Heaven 17 member Martyn Ware, who told Songfacts:

“..and the one track I really wanted to do with her was ‘Let’s Stay Together’ because I thought she had turned her back a little bit on her soul roots—she clearly wanted to be a rock singer,” he shared. “I said, ‘Look, as far as I’m concerned Tina, you are still one of the greatest soul singers in the world.’ And I said, ‘What were your influences when you were growing up?’ And she said, ‘Otis Redding, Sam Cooke.’ And I said, ‘How would you feel about ‘Let’s Stay Together’ by Al Green?’ And she jumped at the idea.”

“Best of My Love” by The Emotions

This one was written by Earth Wind & Fire members Al McKay and Maurice White. White apparently didn’t think a song like this one would’ve worked for Earth, Wind & Fire. In “Best Of My Love”, the singer has an air of acceptance about the fact that her relationship is going south. The lyrics are sad, but even she admits that she probably gave “the best” that she could have.

But every morning, I wake up and worry
What’s gonna happen today
You see it your way, and I see it mine
But we both see it slippin’ away.

Photo by: Afro American Newspapers/Gado/Getty Images

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Some songs just wound every time they are played. The three heartbreak ballads from the 1970s below are like that. No matter how many times we’ve heard these hits, they still cut deep. Revisit them below and try to tell me it doesn’t hurt a little.

[RELATED: 4 Songs From 70s Classic Rock You Can Probably Recognize (Even if You Can’t Name Them)]

“Alone Again (Naturally)” — Gilbert O’Sullivan

This song is about deep, existential heartbreak. Gilbert O’Sullivan isn’t just nursing a lost love; he’s reckoning with his very life after years of suffering. It’s the kind of heartbreak that makes the listener wince a little to hear.

“Oh, in a little while from now / If I’m not feeling any less sour / I promised myself / To treat myself / And visit a nearby tower / And climbing to the top / Will throw myself off,” the painful lyrics read. The upbeat rhythm of this song makes it somewhat digestible, but if we dig into the lyrics, we’re left with the kind of heartache you can’t shake off just by pressing the pause button.

“Sorry Seems To Be The Hardest Word” — Elton John

Elton John’s “Sorry Seems To Be The Hardest Word” is about how pride can sometimes cost a relationship. “It’s sad, so sad / Why can’t we talk it over? / Ohh, it seems to me / That sorry seems to be the hardest word,” he sings in this 1970s ballad.

John’s songs have always had a unique way of touching the listener’s heart, and this one is no exception. We’ve all experienced something that makes this song relevant to our lives. It’s so brutally honest that it makes you want to turn away in shame.

“Ain’t No Sunshine” — Bill Withers

This simple song says a lot. It feels like walking around a city street by yourself, head hung low, wondering where you went wrong. It’s a song you can listen to in any state, but beware if you’re even the littlest bit heartbroken; it stings like a deep cut.

“Ain’t no sunshine when she’s gone / It’s not warm when she’s away / Ain’t no sunshine when she’s gone / And she’s always gone too long / Anytime she’s goes away,” the familiar lyrics read. We all know the soul-sucking feeling Bill Withers sang about here. When we listen to it, we step away from Withers’ story and into our own.

(Photo by Arthur Grimm/United Archives via Getty Images)

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In 2018, Luke Combs released “She Got The Best Of Me”. The song, written by Combs, Rob Snyder, and Channing Wilson, is part of This One’s For You Too, the deluxe version of his debut This One’s For You album. The song, his fourth No. 1 single, became a multi-platinum hit. So it’s surprising that Combs was still relatively new to songwriting when he penned this song, long before his superstar career began.

“I was still in college when I came and wrote with them, and wrote the song,” Combs tells The Boot, adding that it was in 2014. “I was still in school, living in North Carolina. So we ended up writing it [when] I was just in town visiting. I went back to Boone, [North Carolina], and started playing the song out at my little gigs and stuff, and eventually came back to Nashville a few months later and recorded that song. I put it out that year.”

The chorus of “She Got The Best Of Me” says, “She got the best of me / She broke my heart / Now all that’s left of me / Is beating in this guitar / Every night, a different town / She follows me around / So you get what’s left of me / Yeah, you get what’s left of me / ‘Cause she got the best of me.”

What Luke Combs Says About the Success of “She Got the Best of Me”

It’s “She Got The Best Of Me” that gave Combs an early taste of what success tasted like. After releasing it on his own in 2014, the song quickly took off.

“I was like, ‘People already know that song,’” Combs recalls. “There’s 50 million people that listen to country radio every week. So in my mind, I was like, ‘I’ve sold 50,000 copies of this. Everyone’s already heard this.’ It had just been going so well.”

In fact, it wasn’t until Combs was touring that he realized that “She’s Got The Best Of Me” was about to become one of his biggest hits.

“After this album came out, we were still playing it on the road,” Combs shares. “And the reaction to it was just always so good. It just kind of made sense to give it a chance. It went No. 1 on The Highway after ‘Hurricane’. They just wanted to play a song, so they played the version I recorded in college.”

Combs later said that “She Got The Best Of Me” might be partially autobiographical.

“There’s bits and pieces of kind of all of our experiences in there,” he says.

Photo by Mat Hayward/Getty Images

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In the 1990s, there was so much good music on the radio that if you wanted to hear your favorite song, you just had to call up your local station to request it yourself. It was the way things went back then.

Here below, we wanted to highlight three songs from back in the day we regularly needed to hear on the local airwaves. Indeed, these are three one-hit wonders from the 1990s we used to request on the radio every day.

“Firestarter” by The Prodigy from ‘The Fat Of The Land’ (1997)

In the late 1990s, there was nothing quite like listening to The Prodigy. The British-born electronic outfit was an onslaught of rhythm and melody on your senses. Hearing the group was like teleporting to some warehouse on the outskirts of town. Everything goes black until you start to see flashes of neon light—red, green, yellow, and blue. Then the music begins, and everyone around you starts to headbang. Their chain wallets start to clink. Where are you? What is this? Indeed, the music is disorienting and fabulous. And we just had to hear it as often as we could.

“Return Of The Mack” by Mark Morrison from ‘Return Of The Mack’ (1996)

Some songs just boast a chorus that you can’t get enough of. You need to hear it over and over again at all costs, even if that means tying up your home phone lines to ring up your favorite local radio station over and over again. Well, maybe we know a little bit about this from personal experience. Maybe that’s what happened in the mid-1990s when “Return Of The Mack” by Mark Morrison came out. So what if we got callouses on our index fingers from dialing so often? IT’S OUR LIFE, MOM!!

“The Freshmen” by The Verve Pipe from ‘Villains’ (1996)

While this tune isn’t as celebratory or rambunctious as the others on this list, it is just as magnetic. There was something about the 1996 track by The Verve Pipe that was irresistible. Maybe it was the pained nostalgia woven into the lyrics. Maybe it was the echoing guitars. Who knows? But whatever it was, “The Freshmen” was a favorite. So, it’s no wonder why we dialed up the radio station so often to request it.

Photo by Simone Joyner/Getty Images

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You don’t often get sequels in the world of music. And when you do, it often takes place when an artist revisits one of their earlier songs years down the road. (For example, Elton John did something like that with his song “Mona Lisas And Mad Hatters”.)

How about when a sequel is done by an entirely different artist from the original? And it arrives 18 years after the first song was released? That’s the sequence that took place in 1988 when U2 paid homage to a classic John Lennon song.

Lennon’s Original

John Lennon’s post-Beatles solo debut album, titled John Lennon/Plastic Ono Band when released in 1970, confronted and challenged listeners as much as it entertained them. Lennon was working out demons and trying to make sense of his new status in the world without the world’s biggest band as part of his identity.

Towards the end of the album, Lennon uncorked the song “God”. He started it with this searing line: “God is a concept by which we measure our pain.” It was a bold gambit, as he dared to question the wisdom of those with strong religious beliefs.

Just as shocking was Lennon’s declaration near the end of the song: “I don’t believe in Beatles.” “The dream is over,” he crooned. It was a clear indication that the Fab Four, at least in Lennon’s mind and heart, were no longer going to be around to prop people up. Lennon suggested that they learn to do that themselves.

U2’s Update

Just as The Beatles had been throughout the 60s, U2 could make a legitimate claim to being the world’s biggest rock and roll band in 1988. Fresh off their most monumental success with the album The Joshua Tree, the Irish quintet decided to build on their gains by attempting an ambitious project.

Rattle And Hum would serve as a tour documentary. But it would also be the band’s next album release, made up of both live recordings and new studio material. Among the studio songs concocted was “God Part II”.

Musically, it’s a far cry from the original “God”. Whereas Lennon sang over a loping piano melody, U2 concocted a song driven by Adam Clayton’s brooding bass and a pulsating beat from Larry Mullen Jr. That was the perfect setting for Bono to unleash some torrid lyrics, partly to come to Lennon’s defense.

Angry at an Author

In 1988, Albert Goldman penned the biography The Lives Of John Lennon. As was the case with Goldman’s book on Elvis Presley, the portrait he painted of the rock legend was anything but flattering. Many called into question his research and the accuracy of some of his claims about Lennon.

Certainly, Bono wasn’t a fan. In “God Part II”, he uses Lennon’s lyrical pattern from the original (“I don’t believe in…”) to get his points across. And he doesn’t take long to take dead aim at Albert Goldman. “Don’t believe the devil,” he begins. “I don’t believe his book.” Later, he name-drops the author and claims, “Instant karma’s gonna get him,” referencing Lennon’s solo smash “Instant Karma”.

“God Part II” diverges from that to get into territory that’s both more personal and more universal. But the lasting memory is of Bono trying to avenge his hero’s tarnished reputation by borrowing from Lennon’s own playbook.

(Photo by Western Mail Archive/Mirrorpix/Getty Images)

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On this day (September 11) in 1899, Jimmie Davis was born in Quitman, Louisiana. He gained fame as a country singer, launching a string of hits in the 1930s and ’40s. More importantly, he helped popularize country music outside of the rural South. Davis also served two terms as the governor of Louisiana. He first won the office in 1944, when he was still actively recording. Then, he won the seat again in 1960.

Davis’ music career began at the Louisiana College in Pineville. He sang in the glee club and was a member of a quartet called the Wildcat Four. Later, he moved to Louisiana State University in Baton Rouge, where he sang in the glee club and another quartet, the Tiger Four. He also sang on the street while in college. After he graduated, he began regularly performing on KWKH, a Shreveport-based radio station.

In the late 1920s, Davis briefly taught history and yodeling at the Dodd College for Girls. Then, he became a court clerk. He remained in this role, which helped him enter the world of politics, for more than a decade. While working for the Shreveport Criminal Court, he signed a deal with the Victor Talking Machine Company. According to the Country Music Hall of Fame, he recorded nearly 70 songs for the label between 1929 and 1933. Those recordings included raunchy blues numbers like “Organ Grinder’s Blues” and “Tom Cat and Pussy Blues.”

Jimmie Davis Steps into the Sunshine

Jimmie Davis didn’t find success as a recording artist until he signed with Decca Records in 1934. “Nobody’s Darling but Mine,” his first single with the label, became his first hit. In 1938, he began a four-year stint as the public safety commissioner of Shreveport. A year later, he went to No. 1 with “It Makes No Difference Now” and “Two More Years (and I’ll Be Free).” Additionally, “Memories” and “The Last Trip of the Old Ship” peaked at No. 5 and No. 2, respectively.

In 1940, Davis purchased the copyright for “You Are My Sunshine” from Paul Price and released it as a single. The song was a huge hit and inspired covers from some of the biggest artists of the day. Four years later, the popularity of the song helped him win the governor’s seat.

His time in office didn’t slow his recording career. Davis notched several hits during his first term as Louisiana’s governor. Notably, he topped the chart with “There’s a New Moon Over My Shoulder” in 1945.

While in office, Davis left Louisiana for Hollywood several times to appear in movies. Cyclone Prairie Rangers premiered in November 1944. The biopic Louisiana, starring Davis as himself, premiered in November 1947. It is also likely that he left the governor’s mansion to film the musical Mississippi Rhythm, which premiered in May 1949.

Second Gubernatorial Term

After his first term ended, Davis became a full-time singer. He found that songs like “Suppertime,” which was a hit in the early 1950s, appealed to gospel listeners. As a result, he began recording and releasing sacred songs.

In 1959, he ran for governor again. His pro-segregation stance helped him win his second term. During his second term, which ran from 1960 to 1964, he notched a hit with “Where the Old Red River Flows.”

[RELATED: 4 Country Songs That Sound Happy but Are Actually Dark]

Jimmie Davis tried to win a third term in 1971, but lost the race. The next year, he was inducted into the Country Music Hall of Fame. He continued to record and perform into the 1990s.

When asked how he wanted to be remembered, he said, “As someone who scattered a little sunshine along his path.” He died at the age of 101 on November 6, 2000.

Featured Image by Bettmann/Getty Images

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Soft rock in its truest and most sentimental form, á la the mid-1970s, might have gone out of style around the same time that synthesizers and R&B influence began leaning this genre of popular music into a more pop-specific category. But the melodies and memories that these songs possess are timeless, as proven by four must-hear soft rock hits from 1974 that every baby boomer remembers.

“Seasons In The Sun” by Terry Jacks

Terry Jacks’ version of the Belgian song “Le Moribond”, “Seasons In The Sun”, is one of those rare soft rock hits that become more poignant and gut-wrenching the older we get. Every baby boomer alive can likely remember the first time the intense melancholy of the lyrics of a dying man saying his goodbyes washed over them. Decades later and all the more closer to their own peril, “Seasons In The Sun” takes on a whole new meaning.

“Top Of The World” by The Carpenters

The Carpenters lived up to their second No. 1 single, “Top Of The World”, when they soared to the top of the Billboard Hot 100 for two weeks. The song’s uplifting message and Karen and Richard Carpenter’s distinct vocals made this song an instant hit worldwide, and it’s one that every baby boomer can likely sing along to today. “I’m on top of the world, looking down on creation / and the only explanation I can find / is the love that I’ve found ever since you’ve been around / your love’s put me at the top of the world.” 

“Please Come To Boston” by Dave Loggins

Soft rock has enough groove to be catchy with enough sentimentality to be emotionally moving, and Dave Loggins’ 1974 hit, “Please Come To Boston”, certainly fits that bill. Loggins’ voice front and center in the mix helps drive the heartbreaking narrative home. By the time the chorus finally expands to add harmony and more driving percussion, the song has hooked the listener. Decades later, this song is still rattling around in every baby boomer’s brain.

“I’ll Have To Say I Love You In A Song” by Jim Croce

Jim Croce had no shortage of songs that embedded themselves deep in the minds of every baby boomer alive, and the soft rock classic, “I’ll Have To Say I Love You In A Song”, is undoubtedly one of his most ubiquitous. Croce recorded this song in 1973, three months before a plane crash would take his life. This track was a posthumous release and Croce’s final Top 10 hit.

Photo by Michael Ochs Archives/Getty Images

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At 15 years old, Ashley Monroe made the 180-mile jaunt to Music City from her hometown of Knoxville, Tennessee. Determined to make her country music dreams a reality, she wrote songs for other artists — including Jason Aldean’s 2009 chart-topper “The Truth” — as she put in the work to establish a solo career. Finally gaining recognition in 2011 as one-third of the Pistol Annies alongside Miranda Lambert and Angaleena Presley, Monroe has gone on to release seven albums of her own. Her soulful vocals and candid storytelling style have earned Monroe recognition from the Grammys, the Academy of Country Music, and the Country Music Association.

Today, we’re diving into the life and career of Ashley Lauren Monroe, born in Knoxville on this day (September 10) in 1986.

Ashley Monroe Started Writing Songs After a Terrible Tragedy

Growing up in a tight-knit family in Tennessee’s third-most populous city, Ashley Monroe picked up the piano and guitar at a young age. At 11, she won first prize at a talent contest in Pigeon Forge with her performance of Patsy Montana’s “I Want to Be a Cowboy’s Sweetheart”.

Sadly, Monroe’s father was diagnosed with pancreatic cancer a short while later. After he passed, the grieving 13-year-old threw herself into writing songs to cope.

“My relationship with music changed. Then it wasn’t just something I loved to do. It was the only thing I had and that’s when I started writing,” she said in a 2019 interview with Songwriting magazine. “My heart was shattered. I didn’t know what was going on and all I could do was write songs.”

A Delayed Debut

Her father’s passing made one thing clear: Ashley Monroe needed to give country music a chance. So at 15, she moved to Nashville with her mother. The aspiring singer-songwriter frequented the honky-tonks of Lower Broadway, asking local bands if she could sing with them.

Finally, those connections led to first a publishing deal as a songwriter, then a recording contract with Sony.

However, the journey to releasing her debut album, Satisfied, was anything but smooth. Released as an advance single, the title track failed to make waves on the country charts. The follow-up single, “I Don’t Want To” — featuring Ronnie Dunn — fared slightly better, peaking at number 37.

Still, the label refused to release Satisfied until Monroe scored a top 20 hit. The repeated delays led to the singer parting ways with Sony in late 2007. (Sony finally released Satisfied in digital-only form to online retailers in May 2009.)

The Pistol Annies

Ashley Monroe spent the next several years working behind the scenes as a songwriter, penning tracks for artists like Jason Aldean and Miranda Lambert. After co-writing Lambert’s number-one hit “Heart Like Mine,” the two forged an unbreakable bond that led to the formation of the Pistol Annies with fellow country singer-songwriter Angaleena Presley in 2011.

In April of that year, the trio surprised the audience with a debut performance of their song “Hell on Heels” during CBS’ airing of ACM Girls Night Out. They released their album of the same name in August. It topped the country albums chart and climbed to number five on the Billboard 200.

Turns out, joining the Pistol Annies was a lifeline for Monroe’s solo career as well. Signing with Warner Bros. Nashville, she teamed up with Vince Gill, who produced her second album, Like a Rose.

Released in March 2013, Like a Rose reached number 10 on the Billboard country albums chart. The following year, she partnered with Blake Shelton on the latter’s chart-topping hit “Lonely Tonight”.

[RELATED: Ashley Monroe Opens up About Making New Music After Cancer Battle & Her Road to Remission]

In addition to three albums with the Pistol Annies, Ashley Monroe has released seven solo albums. She surprise released her latest offering, Dear Nashville, on March 27, 2026.

Featured image by Keith Griner/Getty Images

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Country music was really coming into its own by the late 1970s. Among the many great country songs that came out in the decade are these four tunes. All out in 1978, it’s almost a guarantee that every 70s kid still knows them by heart today.

“I’ve Always Been Crazy” by Waylon Jennings

Waylon Jennings had a three-week No. 1 hit with “I’ve Always Been Crazy”. Written by Jennings and Richie Albright, “I’ve Always Been Crazy” is the title track of an album that Jennings also released in 1978.

A bit of a cautionary tale, “I’ve Always Been Crazy” says, “I’ve always been crazy and the trouble that it’s put me through / I’ve been busted for things that I did, and I didn’t do / I can’t say I’m proud of all of the things that I’ve done. But I can say I’ve never intentionally hurt anyone.”

“I’ve Always Been Crazy” follows “Mammas Don’t Let Your Babies Grow Up to Be Cowboys”, Jennings’ duet with Willie Nelson, which also became a No. 1 hit.

“Every Time Two Fools Collide” by Kenny Rogers and Dottie West

Kenny Rogers might be known for his duets with Dolly Parton. But he also did several with Dottie West, including “Every Time Two Fools Collide”. The title track of an album of duets by Rogers and West, “Every Time Two Fools Collide” was written by Jan Dyer and Jeff Tweel.

“Every Time Two Fools Collide” says, “And how long can we keep right and wrong / So cut and dried / And who picks up the pieces / Every time two fools collide.”

This song became West’s first single to go all the way to No. 1. After this song, the pair released “Anyone Who Isn’t Me Tonight”, also from the same record. Rogers and West won the CMA Award for Vocal Duo of the Year in both 1978 and 1979.

“Tulsa Time” by Don Williams

Don Williams includes “Tulsa Time” on his Expressions record.  Written by Danny Flowers, “Tulsa Time” became one of Williams’ many songs to reach the top of the charts.

“Tulsa Time” says in part, “Livin’ on Tulsa time / Livin’ on Tulsa time / Well, you’ll know I been through it / When I set my watch back to it / Livin’ on Tulsa Time.“

Eric Clapton includes a version of this song on his Backless album, also out in 1978.

“Sleeping Single In A Double Bed” by Barbara Mandrell

One of Barbara Mandrell’s most noteworthy singles, “Sleeping Single In A Double Bed” is also her first No. 1 single. The song, on Mandrell’s Moods album, was written by Kye Fleming and Dennis Morgan.

The chorus of “Sleeping Single In A Double Bed” says, “Sleeping single in a double bed / Thinking over things I wish I’d said / I should have held you but I let you go / Now I’m the one sleeping all alone, oh / Sleeping single in a double bed.”

After “Sleeping Single In A Double Bed”, Mandrell released “(If Loving You Is Wrong) I Don’t Want to Be Right”. That song became her second No. 1 single.

Photo by Tom Hill/Getty Images

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Bob Dylan was an activist before it was cool. Here are a few of his most impactful lyrics.

“Blowin’ In The Wind”

“Yes, and how many years must a mountain exist / Before it is washed to the sea? / Yes, and how many years can some people exist / Before they’re allowed to be free?”

Thanks to a version of this song by Peter, Paul and Mary that peaked at No. 2, Bob Dylan became increasingly well known. This song has been covered by countless artists since, including Dolly Parton and Neil Young.

“Masters Of War”

“You that never done nothin’ / But build to destroy / You play with my world / Like it’s your little toy.”

In this song, Dylan calls out those with power and influence. This song is a little bit more violent than some of his other protest songs, as it calls for the death of certain types of individuals.

“The Times They Are A-Changin'”

“Come senators, congressmen, please heed the call / Don’t stand in the doorway, don’t block up the hall / For he that gets hurt will be he who has stalled / The battle outside ragin’.”

Dylan calls this one “a song with a purpose” in the liner notes of his Biograph album. “The Times They Are A Changin'” addresses the civil rights movement and the rise of protest from younger generations. In a way, this song is an anthem for them.

“A Hard Rain’s A-Gonna Fall”

 “And I’ll tell it and think it and speak it and breathe it / And reflect it from the mountain so all souls can see it.”

This song is not only unique structurally but was also written with impeccable timing. Dylan penned this song about nuclear war close before the Cuban Missile Crisis began.

“‘Hard Rain’ is a desperate kind of song,” Dylan said in the liner notes of The Freewheelin’ Bob Dylan. “Every line in it, is actually the start of a whole song. But when I wrote it, I thought I wouldn’t have enough time alive to write all those songs, so I put all I could into this one.”

Photo by: Steve Morley/Redferns

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Metallica has many songs that are incredibly difficult for guitarists. Their songs are searing, to say the least, boasting some of the most memorable and impressive riffs in hard rock history. Even the author of many of those riffs, Kirk Hammett, struggles to get it right now and then. There is one song Hammett talked about worrying about in their live shows. He once said he was liable to mess it up. Find out which track that was below.

[RELATED: On This Day in 1983, Metallica Released the Album That Changed American Heavy Metal Forever]

Kirk Hammett’s Important Role in Metallica

Hammett is responsible for many of Metallica’s most memorable guitar moments. Namely, he lent his talents to “Enter Sandman”, portions of “Master Of Puppets”, and many more. His playing is a part of the fabric of this legendary hard rock band, despite not being an original member.

For most of the group’s collective career, however, it’s been Hammett who has held down the fort when it comes to their flashy guitar solos and riffs. Seeing them play live reveals the mind-boggling ability of this underappreciated guitarist. However, there is one song that Hammett stumbles over, proving that no one (not even a rock legend) is infallible.  

The Metallica Song Kirk Hammett Struggles To Play Live Sometimes

Taken from their ninth studio album, “My Apocalypse” is a haunting track. “So we cross that line / Into the grips, total eclipse / Suffer unto my apocalypse / Deadly vision / Prophecy reveal / Death magnetic / Pulling closer still,” the lyrics read, painting a portrait of an accident.

While the lyrics carry most of the weight in telling this story, Hammett’s playing is equally as transportive. When we listen to the recorded version of this track, it’s easy to see where and how Hammett would get tripped up. Nothing about the guitar playing here seems straightforward, even for a master instrumentalist.

“That’s a riff I hope I get every night because when that riff kicks in, I’m the only one playing it,” he once said. “If I don’t practice that riff, I’m liable to mess it up.”

Because of this struggle, the song has been played only a couple of dozen times in their live sets. It’s played less in the modern day than many of their other more popular tracks. Despite being a fan favorite, this song’s difficulty has kept it out of the limelight.

(Photo by Steve Jennings/Getty Images)

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Some of the biggest names in rock music in the 2000s came from much more modest beginnings. After all, just because you pick up a guitar doesn’t mean you’ll immediately become a household name. But some who stuck with it certainly did become well known. And that’s just what we wanted to highlight below. Indeed, these are three Hall of Fame rockers from the 2000s whose first bands never got famous.

Dave Grohl

Dave Grohl has had many musical lives throughout his long career. Born on January 14, 1969, in Warren, Ohio, Grohl became famous as the drummer for the 1990s grunge band Nirvana. But before he was in that group, he played in the band Freak Baby in high school. He was even that outfit’s guitarist for a stint. When new members came to play in Freak Baby, Grohl switched to drums. But as the 1980s turned to the 1990s, he found himself behind the drum kit for Nirvana. When that band ran its course, Grohl founded his own project, Foo Fighters.

Tom Morello

Like Grohl, guitarist Tom Morello has also enjoyed many chapters to his long musical career. Born on May 30, 1964, in Harlem, New York City, Morello became a household name thanks to his role in the rebellious rock group Rage Against The Machine. But when that outfit disbanded, he played in the heavy rock band Audioslave. Indeed, Morello is one of the most influential rockers of the 20th and 21st centuries. But before all that got going, he played in the band Lock Up, which released its debut LP, Something Bitchin’ This Way Comes, in 1989.

Trent Reznor

Born on May 17, 1965, in New Castle, Pennsylvania, Trent Reznor first wowed global audiences thanks to his industrial group Nine Inch Nails. Today, Reznor is famous for his film scores on movies like The Social Network. But before all that could happen, Reznor was playing in lesser-known groups in the early 1980s. First it was Option 30 in high school. Then in the late 1980s, he played in synth pop bands like The Innocent, Slam Bamboo, and Exotic Birds. But it was in 1989 when NIN dropped its debut LP, and the rest, as they say, is history.

Photo courtesy of Bourbon & Beyond

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These three country songs helped push the genre into new territory in their era. From establishing the “Nashville Sound” to moving away from it completely, these songs represent major shifts in country music history. These songs pushed the genre down new paths, giving different eras their titular sound.

[RELATED: 40 Years Ago Today, Randy Travis Was at No. 1 With the Album That Set the Stage for Garth Brooks, Alan Jackson, and the 90s Country Boom]

“Crazy” — Patsy Cline

Patsy Cline’s “Crazy” helped establish the “Nashville Sound”. Written by Willie Nelson, this track was a cornerstone of the genre in the 1960s and beyond. It replaced country’s rootsy, rough-around-the-edges origins with a glamorous sheen. Blending pop appeal, this song was one of country’s tickets to the big time.

“I knew / You’d love me as long as you wanted / And then someday / You’d leave me for somebody new,” the lyrics read. This track, both lyrically and musically, had a glitzy quality. “Crazy” helped make country into a major commercial force.

“Redneck Woman” — Gretchen Wilson

Moving ahead several decades, we have another major shift in country music’s history, “Redneck Woman”. Gretchen Wilson stood in opposition to Cline’s track. Instead of being a heartbroken artist resigned to that feeling, Wilson dared to be reckless and a little unflattering.

“Well, I ain’t never been the Barbie Doll type / No, I can’t swig that sweet champagne / I’d rather drink beer all night / In a tavern or in a honky-tonk / Or on a four-wheel-drive tailgate,” the lyrics read. This Wilson song helped give female country artists the license to be as rough-and-tumble as their male counterparts, changing the industry from then on out.

“Old Town Road” — Lil Nas X feat. Billy Ray Cyrus

Lastly, we have a more recent shift with “Old Town Road”. This song broke the conventions of country. Despite being a bit of a parody, the hip-hop infusion this song boasted opened a can of worms that the country genre has capitalized on greatly.

“I got the horses in the back / Horse tack is attached / Hat is matte black / Got the boots that’s black to match,” the lyrics to this pop culture giant read. Whether it was this song’s doing or not, country has been steadily moving towards a hip-hop/pop fusion over the last several years. This song marked or represented that stark shift we’re enjoying now.  

(Photo by Michael Ochs Archives/Getty Images)

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Taylor Swift is heading back to the CMAs! The country darling turned pop star earned her first CMA Awards nomination in four years thanks to her song, “I Knew It, I Knew You.”

“LOOKS LIKE I HAVEN’T YEE’D MY LAST HAW THANK YOU CMA!!!!” Swift wrote on Instagram after learning she’d earned a nomination in the Single of the Year category.

Swift’s song, which she penned for Toy Story 5, is facing some stiff competition. She’s up against Ella Langley’s tracks “Be Her” and “Choosin’ Texas,” as well as Lainey Wilson’s “Somewhere Over Laredo” and Cody Johnson’s “The Fall.”

Swift was last nominated at the 2022 ceremony. At the time, her and Chris Stapleton’s “I Bet You Think About Me” competed in the Video of the Year category.

Her latest win came in 2017. At the time, Little Big Town’s “Better Man,” a song Swift wrote, won Song of the Year.

Swift’s last appearance at the ceremony was back in 2016. At the time, Swift, a 12-time CMA Award winner, presented Garth Brooks with the Entertainer of the Year trophy.

Swift will be back in Nashville for the 2026 event, as she confirmed on her Instagram Story, “See you there Nov. 18 .”

What to Know About the 2026 CMA Awards

Wilson, who’s up for three awards this year, has been tapped to host the show for the third time.

“I couldn’t be more excited to be hosting the CMA Awards again this year, especially with it being the 60th anniversary,” Wilson previously said in a press release. “I’ve had so much fun hosting the last two years, and this one’s going to be extra special. Can’t wait to see y’all in November!”

As for the nominees, Langley leads the pack with nine total nods. Miranda Lambert isn’t far behind, as she earned seven nominations. Other multi-nominees include Kacey Musgraves, Ben West, Johnson, Stapleton, Wilson Jr., Dave Clauss, and Luke Combs.

The 60th Annual CMA Awards will air live on ABC and Disney+ from Nashville’s Bridgestone Arena on Nov. 18. The ceremony will be available to stream next day on Hulu.

Tickets to the show will go on sale Friday, Sept. 18.

Photo by Emma McIntyre/TAS24/Getty Images for TAS Rights Management

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Rock music in the 1970s will likely always sound timeless. Especially in the early part of the 1970s, some of the best rock songs of all time were released, including these three tunes. All out in 1973, I still smile when I listen to them today, even after so many years.

“Live And Let Die” by Wings

Wings was still a relatively new band when they released “Live And Let Die”. Part of the soundtrack for a film of the same name, “Live And Let Die” was written by Paul McCartney and his wife, Linda McCartney.

A No. 1 single, “Live And Let Die” says, “But if this ever-changing world in which we’re livin’ / Makes you give in and cry / Say live and let die / Live and let die / Live and let die / Live and let die.”

In 1991, Guns N’ Roses released their own version of “Live And Let Die”. On their Use Your Illusion I record, it became a Top 20 hit for them.

“Ramblin’ Man” by The Allman Brothers Band

Arguably The Allman Brothers Band’s most popular song, “Ramblin’ Man” is their first Top 5 single. Part of their Brothers And Sisters record, the band’s Dickey Betts is the sole writer of “Ramblin’ Man”. 

“Ramblin’ Man” begins with, “Lord, I was born a ramblin’ man/ Tryin’ to make a livin’ and doin’ the best I can / And when it’s time for leavin’ / I hope you’ll understand / That I was born a ramblin’ man.”

After “Ramblin’ Man”, it took 17 more years before The Allman Brothers Band had another big hit on the radio. In 1990, they had a No. 1 single with “Good Clean Fun”. 

“Dream On” by Aerosmith

A rock anthem if there ever was one, “Dream On” is the band’s first single. Written by Steven Tyler, the band’s lead singer, “Dream On” also became their first single to reach the top of the charts.

“Dream On” says in part, “Sing with me, sing for the year / Sing for the laughter and sing for the tear / Sing with me, if it’s just for today / Maybe tomorrow the good Lord will take you away.”

“People ask me all the time what ‘Dream On’ is all about,” Tyler says in Aerosmith’s autobiography, Walk This Way.  “It’s simple. It’s about dreaming until your dreams come true. It’s about the hunger and desire and ambition to be somebody that Aerosmith felt in those days. You can hear it in the grooves because it’s there.”

Photo by David Warner Ellis/Redferns/Getty Images

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