RCA Country Legends

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following years of success in bluegrass. When he finally broke through, the

O III P world heard a vocalist of unfettered emotion and musicality, reflecting a mas-

U ill V tery and maturity far beyond his roots.

That genius ended tragically just as his career hit cruising speed. The

demons that claimed many of his musical idols like Hank Williams, Lefty

_ ^

Frizzell and Carter Stanley, that nearly snuffed George Jones and many others,

M H 111 ended Whitley's life far too soon.

^ W?lll

jj- began so idyllically.

Jessie Keith Whitley was born in tiny, remote Sandy Hook in eastern

Kentucky, deep in the heart of the impoverished Appalachians, in 1955. He

M ^ gravitated to the country music he heard on radio and TV and on the Lefty and

\ 1I Hank records at home. At age eight, he sang on West Virginia country singer

Buddy Starcher's Charleston-based TV show. He and his brother Dwight sang

together and for a time, he toyed with playing rock and roll.

I I

It wasn't until 1969 that he embraced bluegrass. He met bluegrass child

I I H A prodigy Ricky Skaggs, another rural Kentuckian, at a talent show. They teamed

L lllv

Lonesome Mountain Boys with Dwight Whitley on banjo and

Skaggs's father Hobart fiddling. The two embraced the Stanley Brothers'

music. They absorbed the eerie, otherworldly vocal harmonies of Ralph and

,

Carter Stanley though Whitley's personal frame of reference always encom-

fi I IV Passed hard country.

' U V/ j

Ralph Stanley performed solo with his Clinch Mountain Boys after Carter's

1966 death from alcoholism ended the classic Stanley harmonies. One night in

1970, Skaggs and Whitley were at a West Virginia club awaiting a Stanley performance. He

and the band were late, so the two teenagers filled in until Stanley showed up. Astounded

and delighted to hear them recreate the classic Stanley harmonies, he soon hired them. When Skaggs and Whitley weren't in school, they played bluegrass festivals and recorded with their idol.

Whitley still wanted to articulate his honky-tonk side, but that proved difficult while performing and recording within Stanley's conservative musical con? text. In 1973 he briefly worked in other bands, then returned to Stanley in 1977 (Skaggs moved on in 1974). From 1978 to 1983, Whitley was a mainstay of J.D. Crowe's progressive bluegrass band the New South, where he began incorporating his love for honky-tonk into their music.

In early 1983, he did an abrupt 360. Intent on estabhshing the country music career he'd long wanted, he relocated to Nashville. It wasn't the best time. Frothy, easy listening country-pop ballads surrounded by strings and synthesizers, music inspired by the 1980 film Urban Cowboy, were in vogue.

RCA signed Whitley in 1984. At first, they tried fit? ting him into that sound. That was easier said than done, given a voice as thick, unvarnished and rich as molasses and a crackling drawl that synthesized Hank and Lefty with Whitley's deep bluegrass roots. Some in

radio considered his voice "too country." In the fall of `84, "Turn Me to Love," (with vocal harmonies from Patty Loveless) became his first solo chart record, albeit a minor one. The flipside was "Pick Me Up On Your Way Down," a remake of Charlie Walker's 1958 honky tonk standard.

Whitley, whose marriage failed in 1985, was disap? pointed at the modest inroads he'd made despite the musical compromises. His self-confidence plummeted. Those were the least of his problems. Within was a tor? tured soul who, like many of his idols, had a severe prob? lem with alcohol, often sober in pubhc but a binge drinker when alone.

"Miami, My Amy" (available on The Essential Keith Whitley) broke the Top 20 in early 1986, lifting his spir? its and hopes. That wasn't the only positive develop? ment. Not long after arriving in Nashville, he'd met Lorrie Morgan, daughter of the late country crooner George Morgan. Lorrie, who also recorded for RCA, was hard at work on her own career. They married in 1986.

That year signaled a major shift in Nashville. As the treacly Urban Cowboy sound fell from grace with hsteners. Music Row found its future in its past. New Traditionahsm brought forth raw, elemental music gar?

nished with fiddles and steel. New talents Randy Travis and Dwight Yoakam joined Ricky Skaggs and George Strait, who'd carried the traditionahst banner for years. At last, the business was ready for Whitley on his terms.

Results came quickly. His ballads "Ten Feet Away" and "Homecoming `63" were Top Ten singles in early 1987. "Hard Livin's" raw hillbilly boogie gave him another Top Ten ("Quittin' Time" was the B-side), fol? lowed by the Top 20 hit "Some Old Side Road." He completed a new album that year, only to conclude he wasn't satisfied with it. He asked RCA Nashville execu? tive Joe Galante if he could do it over. Not every execu? tive would have said yes; Galante, who totally believed in Whitley's talent, quickly agreed.

1988 was his breakthrough year. He co-produced the new album. Don't Close Your Eyes', "The Birmingham Turnaround" and his remake of Lefty Frizzell's 1975 single "I Never Go Around Mirrors" (Lefty's brother Allen sang harmony) both appeared on that album, the first of two Whitley albums to earn a Gold Record. The album's deeply introspective, emotional title song became his first# 1 single ("Lucky Dog" was the B-side). "When You Say Nothing At All" also reached # 1. So did the dark, honest "I'm No Stranger to the Rain," which

won the 1989 Country Music Association Single of the Year award and a second CMA Award for production. "A Day In The Life of A Fool" was the single's B-side.

"I wish," Whitley sang on his 1987 hit, "hard livin' didn't come so easy for me." Sadly, it still did. On May 9, 1989, he was found dead at his home outside Nashville. Lorrie was on tour at the time. The coroner's verdict: alcohol poisoning. Late that summer I Wonder Do You Think ofMe became his second Gold album. The 1990 posthumous release of "`Til A Tear Becomes A Rose," a duet with Lorrie, made the Top 20 and won the CMA's 1990 Vocal Event of the Year award. "Brotherly Love," a duet with Earl Thomas Conley," reached # 2 in 1991. In 1994, an all-star Whitley tribute album fea? tured performances by, among others, Skaggs, Morgan, Alan Jackson and Allison Krauss.

It would be easy to characterize Keith Whitley's tragedy as one more cautionary tale, the kind played out for decades in all fields of entertainment: the gifted artist whose dark side wins. We're fortunate he left such an outstanding legacy; it shouldn't have ended so soon.

RICH KIENZLE

1. SOME OLD SIDE ROAD (Roger D. Ferris)

Recorded 1986 - Aug. 1987 at Music City Music Hall, Nashville, TN Keith Whitley (vocals); Brent Rowan (lead, rhythm guitar); Mike Lawler (synthesized keyboard);

Sonny Garrish (steel guitar); Jerry Kroon (drums); Larry Paxton (bass); Mitch Humphries (keyboards); Dennis Wilson, Curtis Young (background vocals)

Produced by Blake Mevis for Southwind Music, Inc. RCA single 5326

Country #16 / chart debut: 11/14/87 ? 1987 BMG Entertainment

Courtesy of the RCA Records Label/Nashville

2. A DAY IN THE LIFE OF A FOOL (Dike Dekle/Byron Hill)

Recorded Nov. 1987 at Sound Emporium, Nashville, TN Keith Whitley (vocals); Eddie Bayers (dmms); Dave Pomeroy (bass); Mac McAnally (acoustic guitar); Red Lane (acoustic guitar); Paul Franklin (steel guitar, ped-a-bro); Billy Sanford (acoustic & electric guitar); Matt Rollings (piano); Dennis Wilson, Garth Fundis (background vocals) Produced by Garth Fundis and Keith Whitley

RCA single 8797(b) ? 1988 BMG Entertainment Courtesy of the RCA Records Label/Nashville

3. TEN FEET AWAY (Troy Seals/Billy Sherrill/Max D. Barnes) Recorded March 28, 1985 & April 15, 1985 at Music City Music Hall, Nashville, TN Keith Whitley (vocals); Sonny Garrish (steel guitar, ffedess dobro); Brent Rowan (lead guitar, fretted dobro); Don Potter (rhythm guitar); Bobby Tbompson (rhythm guitar); Chip Young (rhythm guitar); Mitch Humphries (kejboards); Gary Prim (keyboards); David Hungate (bass); Larry Paxton (bass); Jerry Kroon (drums); Dennis SoUee (saxophone); Curtis Young, Carol Chase (background vocals) Produced by Blake Mevis for Southwind Music, Inc.

RCA single 14383 Country #9 / chart debut: 6/21/86

? 1985 BMG Entertainment Courtesy of the RCA Records Label/Nashville

4.1 NEVER GO AROUND MIRRORS (Sanger D. Shafer/Lefty Frizzell)

Recorded Nov. 1987 at Sound Emporium, Nashville, TN Keith Whidey (vocals); Eddie Bayers (drums); Red Lane (acoustic guitar); Matt Rollings (piano); Paul Franklin (steel guitar); Billy Sanford (electric guitar); Dave Pomeroy (electric upright bass);

Allen Frizzell (harmony vocal) Produced by Garth Fundis & Keith Whidey Taken from Don't Chse Your Eyes RCA 6494 ? 1988 BMG Entertainment

Courtesy of the RCA Records Label/Nashville

5. THE BIRMINGHAM TURNAROUND (Sanger D. Shafer/Warren Robb)

Recorded Nov. 1987 at Sound Emporium, Nashville, TN Keith Whidey (vocals); Eddie Bayers (drums); Dave Pomeroy (bass);

Mac McAnally (acoustic guitar); Red Lane (acoustic guitar); Paul Franklin (steel guitar, ped-a-bro); Billy Sanford (acoustic & electric guitar);

Matt Rollings (piano); Dennis Wilson, Garth Fundis (background vocals) Produced by Garth Fundis & Keith Whidey

Taken from Don't Close Your Eyes RCA 6494 ? 1988 BMG Entertainment

Courtesy of the RCA Records Label/Nashville

6. HOMECOMING`63 (Dean Dillon/Royce Porter)

Recorded June 27,1986 at Eleven Eleven Sound/Woodland Sound Studios, Nashville, TN Keith Whidey (vocals); Brent Rowan (lead guitar); Sonny Garrish (steel guitar);

Bobby Thompson (rhythm guitar); Chip Young (rhythm guitar); Larry Paxton (bass); Mitch Humphries (keyboards); Gary P^ (keyboards); Michael Lawler (keyboards);

Jerry Kroon (drums); Jim Horn (saxophone); Curtis Young (background vocals) Produced by Blake Mevis for Southwind Music, Inc. RCA single 5013 Country #9 / chart debut: 11/8/86 ? 1985 BMG Entertainment Courtesy of the RCA Records Label/Nashville

7. HARD LIVIN' (David Halley)

Recorded June 27,1986 at Eleven Eleven Sound/Woodland Sound Studios, Nashville, TN Keith Whidey (vocak); Brent Rowan (lead guitar); Sonny Garrish (steel guitar);

Bobby Thompson (rhythm guitar); Chip Young (rhythm guitar); Larry Paxton (bass); Mitch Humphries (keyboards); Gary Prim (keyboards); Michael Lawler (keyboards);

Jerry Kroon (drums); Jim Horn (saxophone); Curtis Young (background vocals) Produced by Blake Mevis for Southwind Music, Inc. RCA single 5116 Country #10 / chart debut: 3/14/87 ? 1986 BMG Entertainment Courtesy of the RCA Records Label/Nashville

8. DON'T CLOSE YOUR EYES (BobMcDiU)

Recorded Nov. 1987 at Sound Emporium, Nashville, TN Keith Whidey (vocals); Eddie Bayers (drums); Dave Pomeroy (bass); Mac McAnally (acoustic gui? tar); Red Lane (acoustic guitar); Paul Franklin (steel guitar, ped-a-bro); Billy Sanford (acoustic &

electric guitar); Matt Rollings (piano); Dennis Wilson, Garth Fundis (background vocals) Produced by G^ Fundis & Keith Whidey RCA single 6901 Country#! / chart debut: 4/30/88 ? 1988 BMG Entertainment Courtesy of the RCA Records Label/Nashville

9. WHEN YOU SAY NOTHING AT ALL (Paul Overstreet/Don Schlitz)

Recorded Nov. 1987 at Sound Emporium, Nashville, TN Keith Whidey (vocals); Eddie Bayers (drams); Dave Pomeroy (bass); Mac McAnally (acoustic guitar); Red Lane (acoustic guitar); Paul Franklin (steel guitar, ped-a-bro); Billy Sanford (acoustic & electric guitar); Matt Rollings (piano);

Dennis Wilson, Garth Fundis (background vocals) Produced by Garth Fundis & Keith Whidey RCA single 8637 Country#! / chart debut: 9/19/88 ? 1988 BMG Entertainment Courtesy of the RCA Records Label/Nashville

10. I'M NO STRANGER TO THE RAIN (Sonny Curtis/Ron Hellard)

Recorded Nov. 1987 at Sound Emporium, Nashville, TN Keith Whidey (vocals); Eddie Bayers (drums); Dave Pomeroy (bass);

Mac McAnally (acoustic guitar); Red Lane (acoustic guitar); Paul Franklin (steel guitar, ped-a-bro); Billy Sanford (acoustic & electric guitar);

Matt Rollings (piano); Dennis Wilson, Garth Fundis (background vocals) Produced by Garth Fundis & Keith Whidey RCA single 8797 Country#! / chart debut: 1/21/89 ? 1988 BMG Entertainment Courtesy of the RCA Records Label/Nashville

11.1 WONDER DO YOU THINK OF ME (Sanger D. Shafer)

Recorded 1989 at Sound Emporium, Nashville, TN Keith Whidey (vocals); Eddie Bayers (drums); Dave Pomeroy (bass guitar, electric upright bass); Matt Rollings (piano); Paul Franklin (steel guitar, ped-a-bro); Mac McAnally (acoustic guitar); BiUy Sanford (acoustic, electric & gut string guitars, tic tac bass); Rob Hajacos (fiddle); Brent Mason (electric & acoustic guitar); Biff Watson (electronic keyboards); Curtis Young, Dennis Wilson (harmony vocals)

Produced by Garth Fundis 8c Keith Whidey RCA single 8940

Country#! / chart debut: 6/24/89 ? 1989 BMG Entertainment

Courtesy of the RCA Records Label/Nashville

12. LUCKY DOG (Verlon Thompson/Bill Caswell) Recorded Nov. 1987 at Sound Emporium, Nashville, TN Keith Whidey (lead and harmony vocds); Eddie Bayers (drums); Matt Rollings (piano); Dave Pomeroy (electric upright bass); Paul Franklin (ped-a-bro); Billy Sanford (acoustic guitar); Mac McAnally (acoustic guitar) Produced by Garth Fundis 8c Keith Whidey RCA singles 6901(b), 8637(b)

? 1988 BMG Entertainment Courtesy of the RCA Records Label/Nashville

13. BROTHERLY LOVE 0immy Stewart/Tim Nichols)

Recorded 1986 - Aug. 1987 at Music City Music Hall, Nashville, TN; Additional recording 1990

Keith Whidey (vocals); Earl Thomas Conley (vocals); Eddie Bayers (drams); Rob Hajacos (fiddle); Matt Rollings (piano); Dave Pomeroy (electric upright bass);

Paul Franklin (steel guitar); Mac McAnally (acoustic guitar); Brent Mason (electric guitar); Sam Bush (mandolin)

Originally produced by Blake Mevis for Southwind Music, Inc. Additional recording produced by Garth Fundis RCA single 62037 Country #2 / chart debut: 9/7/91 ? 1991 BMG Entertainment Courtesy of the RCA Records Label/Nashville

14. PICK ME UP ON YOUR WAY DOWN (Harlan Howard)

Recorded March 28,1984 at Music City Music Hall, Nashville, TN Keith Whidey (vocals); Emory Gordy, Jr. (bass); Jerry Kroon (drums);

Jimmy Capps (guitar); ^bby Thompson (rhythm guitar); Hargus "Pig" Robbins (piano); Pete Wade (guitar); John Hughey (steel guitar);

Harold Bradley (guitar) Produced by Norro Wilson RCA single 13810(b)

? 1984 BMG Entertainment Courtesy of the RCA Records Label/Nashville

Also available m the RCA Country

Legends series

Eddy Arnold 7446S997S92

Chet Atkins 74465 998362

IS.QUnriN'TIME

(Ron Hellard/Michael Garvin/Bucky Jones) Recorded June 27,1986 at Eleven Eleven Sound/Woodland Sound Smdios, Nashville, TN

Keith Whidey (vocals); Brent Rowan (lead guitar); Sonny Garrish (steel guitar); Bobby Thompson (rhythm guitar); Chip Young (rhythm guitar); Larry Paxton (bass); Mitch Humphries (keyboai^); Gary Prim (keyboaids); Michael Lawler (keyboards);

Jerry Kroon (drums); Jim Horn (saxophone); Curtis Young (background vocals) Produced by Blake Mevis for Southwind Music, Inc. RCA single 5116 (b) ? 1985 BMG Entertainment Courtesy of the RCA Records Label/Nashville

16. `TIL A TEAR BECOMES A ROSE (Bill Rice/Mary Sharon Rice)

Recorded 1986 - Aug. 1987 at Music City Music Hall, Nashville, TN; Additional recording 1990

Keith Whidey (vocals); Lorrie Morgan (vocals); Brent Rowan (lead, rhythm guitar); Mike Lawler (synthesized keyboard); Sonny Garrish (steel guitar); Jerry Kroon (drams);

Larry Paxton (bass); Mitch Humphries (keyboards); Dennis Wilson, Curtis Young (background vocals) Original production by Blake Mevis for Southwind Music, Inc.

Additional recording produced by Garth Fundis RCA single 2619

Country #13 / chart debut: 7/28/90 ? 1990 BMG Entertainment

Courtesy of the RCA Records Label/Nashville

Floyd Cramer 74465 99775 2

Skeeter Davis 74465 998292

Don Gibson 74465 997912

John Hartford 74465 998372

Waylon Jennings 74465 997882

Ronnie Milsap 74465 997902

Dolly Parton 07863651012

Charley Pride 74465997602

Compilation Producer Rob Santos Compilation 8c liner Notes: Rich Kienzle

Product Manager: John Hudson

Jerry Reed 74465 997762

Production Coordinator Jeremy Holiday Mastered by Elliott Federman at SAJE Sound, NYC

Jim Reeves 07863-65100-2

Design: Smay Vision Photos Courtesy oC BMG Archives Project Coordination: Neil Carfora, Laura Dorson, Stephanie Kika,

Hank Snow 74465997892

Sue Raffman, and BettyAnn Rizzo Thanks to Paul Barnabee, Mandana Eidgah, Joe Galante, Bob Jamieson,

Porter Wagoner 07863651022

Pete Jones, Alex Miller, Tom O'Flynn, Butch Waugh, and Kathy Woods

Dottie West 74465 99828-2

16 tracks includes 10 Top 20

Country Hits

4^ 3 X CMA Award Winner 4- Features duets with

Earl Thomas Conley and Lorrie Morgan 4- Digitally remastered from the original master tapes 4^ Authoritative liner notes

0786365103-2

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