Jolene
Dolly pleading with her rival rather than fighting her, written the same day as "I Will Always Love You."
Dolly pleading with her rival rather than fighting her, written the same day as "I Will Always Love You."
Willie Nelson wrote it; Cline, back after a car wreck bruised her ribs, nailed the vocal in one take.

Cash slipped paper under his guitar strings for that snare tick, and hums to find each new key.

Anita Carter cut it first, her sister June wrote it with Merle Kilgore, and Cash added the mariachi trumpets.

Issued as a B-side because jukeboxes wanted uptempo, with Jerry Byrd's steel guitar shadowing every line Williams sings.

Jones thought nobody would play something so morbid; Sherrill spent eighteen months coaxing the vocal onto tape.

A prison film in Germany gave Cash the song; he borrowed the melody from Gordon Jenkins and later paid up.

A lyric dictated from a car seat, one last Nashville session, and six weeks at country number one.

Webb sent it over unfinished, one verse short, and Campbell cut the loneliest three minutes in country music.

Cline resisted the pop polish until Bradley's arrangement and the Jordanaires handed her a first country number one.

Cut in a converted Camden church in 1927, two takes, and the yodel that made hillbilly records big business.
A 1784 French melody rewritten for Blue Hawaii, and the song Presley chose to close his shows for a decade.

A 1907 hymn rewritten into a mother's funeral, with A.P. Carter tightening the grief and Maybelle's guitar holding it.

Three years in San Quentin behind him, Haggard gave his narrator a life sentence he never served himself.

Cut at RCA Studio B with Floyd Cramer on piano, and Orbison's voice climbing until the room falls away.

Written in about twenty minutes at the end of a session, and Wynette immediately dreaded that high note forever.

Williams wrote it for Little Jimmy Dickens, recorded it first himself, and held country number one for eight weeks.

Gentry's demo vocal was kept, Jimmie Haskell added four violins and two cellos, and the intended B-side became the A-side hit.

Swift wrote it in twenty minutes on her bedroom floor, gave Romeo and Juliet a happy ending, banjo included.

Danoff and Nivert finished it with Denver one December night, and they premiered it hours later at the Cellar Door.