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George Jones

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See also George Jones (disambiguation) for other people with similar names.

Template:Infobox musical artist 2 George Glenn Jones (born September 12, 1931), nicknamed The Possum, is an American country singer known for his distinctive voice and phrasing that frequently evoke the raw emotions caused by grief, unhappy love, and emotional hardship. He has had more individual songs than any other singer on the country charts, 167 as of November, 2005, but, according to a formula derived by Joel Whitburn, is second to Eddy Arnold in his overall ranking for hits and their time on the charts. He has also had the most Top 40 Hits, 143, and is second to Arnold with the most Top 10 Hits, 78. Since at least the early 1980s he has frequently been referred to as "the greatest living country singer." Almost as often he is called "the Rolls-Royce of country singers." Frank Sinatra once called him "the second best white male singer." And as the scholar Bill C. Malone writes, "For the two or three minutes consumed by a song, Jones immerses himself so completely in its lyrics, and in the mood it conveys, that the listener can scarely avoid becoming similarly involved."[1]

Appraisal

Jones is often cited as the finest vocalist in the history of country music, his primary rival for this title being Hank Williams. Initially Jones was a hardcore honky-tonker in the tradition of Williams but over the course of his career developed an affecting, nuanced ballad style. In a career that has spanned 51 years, he has seldom left the top of the country charts, even as he suffered innumerable personal and professional difficulties. Only Eddy Arnold can rival him for hits, but Jones has always remained closer to the roots of hardcore country than Arnold. In his earliest songs, Malone writes, his "searing emotional singing... was almost undisciplined in its passion, but one could hear the stylistic traits that have made him famous: the alternating low moans and high wails, the bending and lengthening of notes to almost incredible lengths, and the enunciation of words either with rounded, open-throated precision or through clenched teeth."[2]

Although he is perhaps best known for He Stopped Loving Her Today, She Thinks I Still Care, and The Window Up Above, his greatest hit remains the 1961 romantic ballad Tender Years.

In the five years following his first charted hit, Why Baby Why, Jones also proved himself an accomplished songwriter. Although less prominent in this area than other noted singer-songwriters such as Hank Williams and Merle Haggard, of his first 20 hits, 16 of them, including the classic Window Up Above, were either written by Jones alone or with a collaborator. After 1960, however, he composed only a few more hits. His last such song came in 1975, giving Jones a total of 30 hits in this field. Among songs he wrote that were hits for other artists is Life to Go, a 1958 Number 2 hit for Stonewall Jackson

The Early Years

File:Jones1955.jpg
George Jones in 1955.

Jones was born and raised in east Texas, near the city of Beaumont, TX. At an early age, he displayed an affection for music. He enjoyed the gospel he heard in church and on the family's Carter Family records, but he truly became fascinated with country music when his family bought a radio when he was seven. When he was nine, his father bought him his first guitar. Soon, his father had Jones playing and singing on the streets on Beaumont, earning spare change. At 16, he ran away to Jasper, TX, where he sang at a local radio station. Jones married Dorothy, his first wife, in 1950 when he was 19 years old. The marriage collapsed within a year and he enlisted in the Marines at the end of 1951. Though the U.S. was at war in Korea, Jones never served overseas -- he was stationed at a military camp in California, where he kept singing in bars. After his discharge Jones immediately began performing again.

In 1953, Jones was discovered by record producer Pappy Daily, who was also the co-owner of Starday Records, a local Texas label. Impressed with Jones' potential, Daily signed the singer to Starday. "No Money in This Deal," Jones' first single, was released in early 1954, but it received no attention. Starday released three more singles that year, which all were ignored. Jones released "Why, Baby, Why" late in the summer of 1955 and the single became his first hit, peaking at number four. However, its momentum was halted by a cover version by Webb Pierce and Red Sovine that hit number one on the country charts.

Jones was on the road to success and Daily secured the singer a spot on the Louisiana Hayride, where he co-billed with Elvis Presley. Jones reached the Top Ten with regularity in 1956 with such singles as "What Am I Worth" and "Just One More." That same year, Jones recorded some rockabilly singles under the name Thumper Jones which were unsuccessful, both commercially and artistically. In August, he joined the cast of the Grand Ole Opry and his first album appeared by the end of the year. In 1957, Starday Records signed a distribution deal with Mercury Records and Jones' records began appearing under the Mercury label. Daily began recording Jones in Nashville, and his first single for the new label, "Don't Stop the Music," was another Top Ten hit. Throughout 1958, he was landing near the top of the charts, culminating with "White Lightning," which spent five weeks at number one in the spring of 1959. His next big hit arrived two years later, when the ballad "Tender Years" spent seven weeks at number one. "Tender Years" displayed a smoother production and larger arrangement than his previous hits, and it pointed the way toward Jones' later success as a balladeer.

1960s

In early 1962, Jones reached number five with "Achin', Breakin' Heart," which would turn out to be his last hit for Mercury Records. Daily became a staff producer for United Artists Records in 1962 and Jones followed him to the label. His first single for UA, "She Thinks I Still Care," was his third number one hit. In 1963, Jones began performing and recording with Melba Montgomery. During the early '60s, mainstream country music was getting increasingly slick, but Jones and Montgomery's harmonies were raw and laden with bluegrass influences. Their first duet, "We Must Have Been out of Our Minds" (spring 1963), was their biggest hit, peaking at number three. The pair continued to record together throughout 1963 and 1964, although they never again had a Top Ten hit; they also reunited in 1966 and 1967, recording a couple of albums and singles for Musicor. Jones had a number of solo hits in 1963 and 1964 as well, peaking with the number three "The Race Is On" in the fall of 1964.

Under the direction of Daily, Jones moved to the new record label Musicor in 1965. His first single for Musicor, "Things Have Gone to Pieces," was a Top Ten hit in the spring of 1965. Between 1965 and 1970, he had 17 Top Ten hits for Musicor. While at Musicor, Jones recorded almost 300 songs in five years. During that time, he cut a number of first-rate songs, including country classics like "Love Bug," "Walk Through This World With Me," and "A Good Year for the Roses." He also recorded a fair share of mediocre material, and given the sheer amount of songs he sang, that isn't surprising. Although Jones made a couple of records that were genuine tributes or experiments, he also tried to fit into contemporary country styles, such as the Bakersfield sound. Not all of the attempts resulted in hits, but he consistently charted the Top Ten with his singles, if not with his albums. Musicor wound up flooding the market with George Jones records for the rest of the '60s. Jones' albums for Musicor tended to be arranged thematically, and only two, his 1965 duet George Jones & Gene Pitney and 1969's I'll Share My World With You, charted. That meant that while Jones was one of the most popular and acclaimed singers in country music, there was still a surplus of material.

Like his discography, Jones' personal life was spinning out of control. He was drinking heavily and began missing concerts. His second wife, Shirley, filed for divorce in 1968, and Jones moved to Nashville, where he met Tammy Wynette, the most popular new female singer in country music. Soon, Jones and Wynette fell in love; they married on February 16, 1969 in Ringgold, Georgia. At the same time Jones married Wynette, tensions that had been building between Jones and longtime producer Daily culminated. Jones was unhappy with the sound of his Musicor records, and he placed most of the blame on Daily. After his marriage, Jones wanted to record with Wynette, but Musicor wouldn't allow him to appear on her label, Epic, and Epic wouldn't let her sing on a Musicor album. Furthermore, Epic wanted to lure Jones away from Musicor. Jones was more than willing to leave, but he had to fulfill his contract before the company would let him go.

1970s

File:Georgeandtammy.jpg
Tammy Wynette (left) and George Jones (right) singing at the Grand Ole Opry.

While he continued recording material for Musicor, Epic entered contract negotiations with their rivals, and halfway through 1971, Jones severed ties with Musicor and Daily. He signed away all the rights to his Musicor recordings in the process. The label continued to release Jones albums for a couple of years, and they also licensed recordings to RCA, who released two singles and a series of budget-priced albums in the early '70s. Jones signed with Epic Records in October of 1971. It was the culmination of a busy year for Jones, one that saw him and Wynette becoming the biggest stars in country music, racking up a number of Top Ten hits as solo artists and selling out concerts across the country as a duo. Jones had successfully remade his image from a short-haired, crazed honky tonker to more relaxed, sensitive balladeer. At the end of the year, he cut his first records for Epic.

Jones' new record producer was Billy Sherrill, who had been responsible for Wynette's hit albums. Sherrill was known for his lush, string-laden productions and his precise, aggressive approach in the studio. Under his direction, musicians were there to obey his orders and that included the singers as well. Jones had been accustomed to the relaxed style of Daily, who was the polar opposite of Sherrill. As a result, the singer and producer were tense at first, but soon the pair developed a fruitful working relationship. With Sherrill, Jones became a full-fledged balladeer, sanding away the rough edges of his hardcore honky tonk roots.

"We Can Make It," his first solo single for Epic, was a celebration of Jones' marriage to Wynette, written by Sherrill and Glenn Sutton. The song was a number two hit early in 1972, kicking off a successful career at Epic. "The Ceremony," Jones and Wynette's second duet, followed "We Can Make It," and also became a Top Ten hit. "Loving You Could Never Be Better," followed its predecessors into the Top Ten at the end of 1972. By now, the couple's marriage was becoming a public soap opera, with their audience following each single as if they were news reports. Even though they were proclaiming their love through their music, the couple had begun to fight frequently. Jones was sinking deep into alcoholism and drug abuse, which escalated as the couple continued to tour together.

Though every single he released in 1973 went into the Top Ten, Jones' personal life was getting increasingly difficult. Wynette filed for divorce in August 1973. Shortly after she filed the papers, the couple decided to reconcile and her petition was withdrawn. Following her withdrawal, the duo had a number one single with the appropriately titled "We're Gonna Hold On." In the summer of 1974, Jones had his first number one hit since "Walk Through This World With Me" with "The Grand Tour," a song that drew a deft portrait of a broken marriage. He followed it with another number one hit, "The Door." Not long after its release, he recorded "These Days (I Barely Get By)," which featured lyrics co-written by Wynette. Two days after he recorded the song, Wynette left Jones; they divorced within a year.

The late '70s were plagued with trouble for Jones. Between 1975 and the beginning of 1980, he had only two Top Ten solo hits -- "These Days (I Barely Get By)" (1975) and "Her Name Is" (1976). Though they divorced, Jones and Wynette continued to record and tour together, and that is where he racked up the hits, beginning with the back-to-back 1976 number ones, "Golden Ring" and "Near You." The decrease in hits accurately reflects the downward spiral in Jones' health in the late '70s, when he became addicted not only to alcohol, but to cocaine as well. Jones became notorious for his drunken, intoxicated rampages, often involving both drugs and shotguns. Jones would disappear for days at a time. He began missing a substantial amount of concerts -- in 1979 alone, he missed 54 shows -- which earned him the nickname "No-Show Jones."

Jones' career began to pick up in 1978, when he began flirting with rock & roll, covering Chuck Berry's "Maybellene" with Johnny PayCheck and recording a duet with James Taylor called "Bartender's Blues." The success of the singles -- both went Top Ten -- led to an album of duets, My Very Special Guests, in 1979. Though it was poised to be a return to the top of the charts for Jones, he neglected to appear at the scheduled recording sessions and had to overdub his vocals after his partners recorded theirs. That same year, doctors told the singer he had to quit drinking, otherwise his life was in jeopardy. Jones checked into a rehab clinic, but left after a month, uncured. Due to his cocaine addiction, his weight had fallen from 150 pounds to a mere 100.

He Stopped Loving Her Today

 
I Am What I Am (Epic Records, 1980)

Despite his declining health, Jones managed a comeback in 1980. It began with a Top Ten duet with Tammy Wynette, "Two Story House," early in the year, but the song that pushed him back to the top of the charts was the dramatic ballad "He Stopped Loving Her Today." The single hit number one in the spring of the year, beginning a new series of Top Ten hits and number one singles that ran through 1986. The string of hits was so successful it rivaled the peak of his popularity in the '60s. "He Stopped Loving Her Today" was followed by the Top Ten "I'm Not Ready Yet" and an album, I Am What I Am, in the fall of the 1980. I Am What I Am became his most successful album, going platinum.

Throughout 1981 and 1983, he had eight Top Ten hits. Although he was having hits again, he hadn't kicked his addictions. Jones was still going on crazed, intoxicated rampages, which culminated with a televised police chase of Jones, who was driving drunk, through the streets of Nashville. Following his arrest, Jones managed to shake his drug and alcohol addictions with the support of his fourth wife, Nancy Sepulvada. Jones and Sepulvada married in March of 1983. Soon after their marriage, he began to detoxicate and by the end of 1983, he had completed his rehabilitation.

Later Years

File:George No Show Jones.jpg
George Jones.

Jones continued to have Top Ten hits regularly until 1987, when country radio became dominated by newer artists; ironically, the artists that kept him off the charts -- singers like Randy Travis, Keith Whitley, and Dwight Yoakam -- were heavily influenced by Jones himself. Jones and Sepulvada moved back to Nashville in 1987. In 1988, he recorded his final album with Billy Sherrill, One Woman Man. The title song, which was a hit for Johnny Horton in 1956, was Jones' final solo Top Ten hit. One Woman Man was his last record for Epic Records. After its release, he moved to MCA, releasing his first record for the label, And Along Came Jones, in the fall of 1991. In between its release and One Woman Man arrived a duet with Randy Travis, "A Few Ole Country Boys," that was a Top Ten hit in the fall of 1990. Jones' records for MCA didn't sell nearly as well as his Epic albums, but his albums usually were critically acclaimed. In 1995, he reunited with Wynette to record One. In April of 1996, Jones published his autobiography, I Lived to Tell It All. In 1998, he returned with another studio album, It Don't Get Any Better Than This.

Following the release of It Don't Get Any Better Than This, Jones moved from MCA to Elektra/Asylum, who signed him on the provision that he would record hardcore country music. Jones was completing work on his debut for the label when he crashed his car into a bridge in Nashville, TN on March 6, 1999, critically injuring himself. Amazingly, he pulled through the accident, but the investigation proved that Jones had been drinking and driving -- a troubling revelation, given his long history with alcoholism. He pled guilty to a lesser charge, DWI, and entered a rehab program. The release of his Elektra/Asylum debut, Cold Hard Truth, went on as scheduled, appearing in stores in the summer of 1999. The Rock: Stone Cold Country 2001 followed in 2001. Hits I Missed...And One I Didn't from 2005 found Jones looking back over the years and picking songs that he originally declined to record, but were hits for the other artists. On March 24, 2006 Jones was honored in his hometown of Beaumont, TX by pressing his boots into a wet cement slab that is placed on display in front of the city's Ford Arena.

Despite the hard living, hard drinking past, George Jones continues to make albums and play concerts to his loyal fans. He spends up to 165 days a year on the road. This year, 2006, marks Jones's 51st year in country music as well as his 37th year at the Grand Ole Opry.

Awards

File:George No Show Jones2.jpg
George Jones.
  • 1962: Male Vocalist Of The Year – Country Music D.J. Convention
  • 1962: Male Vocalist Of The Year – Cash Box
  • 1963: Male Vocalist Of The Year – Country Music D.J. Convention
  • 1963: Male Vocalist Of The Year – Cash Box
  • 1970: Walkway Of Stars at The Country Music Hall Of Fame
  • 1980: Male Vocalist Of The Year – CMA
  • 1981: Male Vocalist Of The Year – CMA
  • 1981: Male Vocalist Of The Year – Music City News
  • 1987: Living Legend – Music City News
  • 1993: Vocal Event Of The Year – CMA
  • 1995: Vocal Collaboration of the Year – TNN/Music City News
  • 1998: Vocal Event of the Year – CMA
  • 1999: Best Male Country Vocal Performance – Grammy
  • 2003: Ranked #3 of the 40 greatest men in country music – CMT

Gold & Platinum

Music Videos

  • "Who’s Gonna Fill Their Shoes?" (1985)
  • "She Loved Alot In Her Time" (1991)
  • "Wild Irish Rose" (1998)
  • "50,000 Names" (2002)
  • "Funny How Time Slips Away" (2006)

Songs In Top 100 From 1955 On — (In parentheses: weeks at #1, #2, or #3)[3]

No. First Charted Peak Position Weeks Charted Title
1 10/29/55 4 18 Why Baby Why, co-written by Jones
2 1/28/56 7 7 What Am I Worth, co-written by Jones
3 7/14/56 7 8 You Gotta Be My Baby, written by Jones
4 10/20/56 3 (1) 11 Just One More, written by Jones
5 5 Gonna Come Get You (Juke Box flip side hit, apparently, of Just One More), written by Jones
6 1/26/57 10 1 Yearning (with Jeanette Hicks), co-written by Jones
7 3/9/57 10 2 Don't Stop The Music, written by Jones
8 1 Uh, Uh, No (Juke Box flip side hit, apparently, of Don't Stop The Music), written by Jones
9 6/10/57 13 6 Too Much Water, co-written by Jones
10 4/14/58 7 10 Color of the Blues, co-written by Jones
11 11/17/58 6 16 Treasure of Love, co-written by Jones
12 12/8/58 29 1 If I Don't Love You (Grits Ain't Groceries), flip side, apparently, of Treasure of Love, co-written by Jones
13 3/9/59 1 (5) 22 White Lightning
14 7/20/59 7 13 Who Shot Sam, co-written by Jones
15 11/23/59 15 12 Money To Burn
16 11/23/59 19 12 Big Harlan Taylor, flip side, apparently, of Money To Burn
17 4/4/60 16 12 Accidentally On Purpose, co-written by Jones
18 4/25/60 30 1 Sparkling Brown Eyes, flip side, apparently, of Accidentally On Purpose
19 8/22/60 25 2 Out Of Control, co-written by Jones
20 11/7/60 2 (1) 34 The Window Up Above, written by Jones
21 5/29/61 16 2 Family Bible
22 6/19/61 1 (7) 32 Tender Years
23 9/18/61 15 (1) 3 Did I Ever Tell You (with Margie Singleton)
24 2/24/62 5 12 Aching, Breaking Heart
25 4/14/62 1 (6) 23 She Thinks I Still Care Grammy: Hall of Fame
26 4/28/62 17 5 Sometimes You Just Can't Win, flip side, apparently, of She Thinks I Still Care
27 6/16/62 11 10 Waltz Of The Angels (with Margie Singleton)
28 7/21/62 13 11 Open Pit Mine
29 8/25/62 28 1 You're Still On My Mind
30 10/6/62 3 (4) 18 A Girl I Used To Know (& The Jones Boys)
31 10/13/62 13 9 Big Fool Of The Year (& The Jones Boys), flip side, apparently, of A Girl I Used To Know
32 2/9/63 7 18 Not What I Had In Mind (& The Jones Boys)
33 4/6/63 29 1 I Saw Me (& The Jones Boys), co-written by Jones
34 5/4/63 3 (1) 28 We Must Have Been Out Of Our Minds (with Melba Montgomery)
35 7/13/63 5 22 You Comb Her Hair
36 11/30/63 20 5 What's In Our Heart (with Melba Montgomery), co-written by Jones
37 12/7/63 17 7 Let's Invite Them Over (with Melba Montgomery), flip side, apparently, of What's In Our Heart
38 2/1/64 5 18 Your Heart Turned Left (And I Was On The Right)
39 2/8/64 15 9 My Tears Are Overdue, flip side, apparently, of Your Heart Turned Left (And I Was On The Right)
40 3/28/64 39 3 The Last Town I Painted
41 6/6/64 31 7 Something I Dreamed
42 6/20/64 10 16 Where Does A Little Tear Come From, flip side, apparently, of Something I Dreamed
43 9/5/64 31 5 Please Be My Love (with Melba Montgomery)
44 9/26/64 3 (6) 28 The Race Is On
45 12/12/64 25 15 Multiply The Heartaches (with Melba Montgomery)
46 1/30/65 15 15 Least Of All
47 3/13/65 9 21 Things Have Gone To Pieces
48 4/24/65 16 10 I've Got Five Dollars And It's Saturday Night (George & Gene) (with Gene Pitney)
49 6/5/65 14 12 Wrong Number, co-written by Jones
50 7/3/65 25 7 Louisiana Man (George & Gene) (with Gene Pitney)
51 8/28/65 6 18 Love Bug
52 10/9/65 40 3 What's Money, co-written by Jones
53 11/6/65 8 18 Take Me, co-written by Jones
54 11/20/65 50 2 Big Job (George & Gene) (with Gene Pitney)
55 3/12/66 6 17 I'm A People
56 3/12/66 46 3 World's Worse Loser
57 6/4/66 47 3 That's All It Took (George & Gene) (with Gene Pitney), co-written by Jones
58 6/25/66 30 7 Old Brush Arbors
59 7/30/66 5 16 Four-O-Thirty-Three, co-written by Jones
60 11/19/66 70 3 Close Together (As You And Me) (with Melba Montgomery)
61 1/21/67 1 (2) 22 Walk Through This World With Me
62 5/20/67 5 17 I Can't Get There From Here
63 9/9/67 24 10 Party Pickin' (with Melba Montgomery)
64 10/7/67 7 18 If My Heart Had Windows
65 2/3/68 8 14 Say It's Not You
66 4/13/68 35 11 Small Time Laboring Man, co-written by Jones
67 7/6/68 3 (1) 13 As Long As I Live
68 9/28/68 12 12 Milwaukee, Here I Come (With Brenda Carter)
69 11/23/68 2 (2) 17 When The Grass Grows Over Me'
70 3/29/69 2 (2) 18 I'll Share My World With You
71 7/19/69 6 14 If Not For You
72 11/15/69 6 14 She's Mine
73 11/22/69 72 13 No Blues Is Good News, flip side, apparently, of She's Mine
74 3/14/70 28 10 Where Grass Won't Grow
75 7/4/70 13 14 Tell Me My Lying Eyes Are Wrong (And The Jones Boys)
76 11/21/70 2 (1) 1 A Good Year For The Roses
77 3/20/71 10 13 Sometimes You Just Can't Win, new version of his 1962 hit
78 6/12/71 7 14 Right Won't Touch A Hand
79 10/2/71 13 12 I'll Follow You (Up To Our Cloud)
80 12/25/71 9 13 Take Me (with Tammy Wynette), new version of his 1965 hit, co-written by Jones
81 2/12/72 6 14 We Can Make It
82 2/12/72 30 8 A Day In The Life Of A Fool
83 5/20/72 2 (1) 14 Loving You Could Never Be Better
84 7/8/72 6 15 The Ceremony (with Tammy Wynette)
85 10/14/72 46 7 Wrapped Around Her Finger, co-written by Jones
86 10/28/72 5 16 A Picture Of Me (Without You)
87 11/25/72 38 9 Old Fashioned Singing (with Tammy Wynette)
88 3/3/73 6 14 What My Woman Can't Do, co-written by Jones
89 4/7/73 32 9 Let's Build A World Together (with Tammy Wynette)
90 6/23/73 7 13 Nothing Ever Hurt Me (Half As Bad As Losing You)
91 9/1/73 1 (2) 17 We're Gonna Hold On (with Tammy Wynette), co-written by Jones
92 11/24/73 3 (1) 16 Once You've Had The Best
93 2/9/74 15 13 (We're Not) The Jet Set (with Tammy Wynette)
94 4/6/74 25 12 The Telephone Call (with stepdaughter Tina)
95 6/8/74 1 (1) 17 The Grand Tour
96 7/27/74 8 12 We Loved It Away (with Tammy Wynette)
97 10/26/74 1 (1) 13 The Door
98 3/22/75 10 14 These Days (I Barely Get By), co-written by Jones
99 5/17/75 25 13 God's Gonna Get'cha (For That)
100 7/26/75 21 11 Memories Of Us
101 11/1/75 92 4 I Just Don't Give A Damn, flip side, apparently, of Memories Of Us, co-written by Jones
102 2/7/76 16 12 The Battle
103 5/22/76 37 9 You Always Look Your Best (Here In My Arms)
104 6/5/76 1 (1) 15 Golden Ring (with Tammy Wynette)
105 9/4/76 3 (2) 16 Her Name Is...
106 12/11/76 1 (2) 16 Near You (with Tammy Wynette)
107 5/21/77 34 8 Old King Kong
108 7/16/77 5 13 Southern California (with Tammy Wynette)
109 8/13/77 24 10 If I Could Put Them All Together (I'd Have You)
110 1/7/78 6 14 Bartender's Blues (James Taylor vocal harmony)
111 7/1/78 11 13 I'll Just Take It Out In Love
112 12/9/78 7 13 Mabellene (with Johnny PayCheck)
113 5/26/79 14 11 You Can Have Her (with Johnny PayCheck)
114 6/30/79 22 11 Someday My Day Will Come
115 3/1/80 2 (1) 14 Two Story House (with Tammy Wynette)
116 4/12/80 1 (1) 18 He Stopped Loving Her Today, CMA Award for Single of the Year two years in a row, 1980 and 1981; 1980 Grammy for Best Country Vocal Performance, Male
117 6/2/80 31 9 When You're Ugly Like Us (You Just Naturally Got To Be Cool) (with Johnny PayCheck)
118 8/23/80 2 (1) 17 I'm Not Ready Yet
119 9/6/80 19 11 A Pair Of Old Sneakers (with Tammy Wynette)
120 12/13/80 18 12 You Better Move On (with Johnny PayCheck)
121 1/17/81 8 15 If Drinkin' Don't Kill Me (Her Memory Will)
122 10/3/81 1 (1) 17 Still Doin' Time
123 2/6/82 5 19 Same Ole Me (Oak Ridge Boys backing vocals)
124 8/7/82 1 15 Yesterday's Wine (with Merle Haggard)
125 12/4/82 10 19 C. C. Waterback (with Merle Haggard)
126 1/15/83 3 (2) 19 Shine On (Shine All Your Sweet Love On Me)
127 5/7/83 1 (1) 18 I Always Get Lucky With You
128 9/10/83 2 (1) 22 Tennessee Whiskey
129 12/17/83 6 18 We Didn't See A Thing (with Ray Charles and Chet Atkins)
130 4/7/84 3 (2) 19 You've Still Got A Place In My Heart
131 9/22/84 2 (3) 23 She's My Rock
132 12/22/84 15 16 Hallelujah, I Love You So

(with Brenda Lee)

133 4/27/85 19 18 Size Seven Round (Made Of Gold) (with Lacy J. Dalton)
152 10/17/92 34 20 I Don't Need Your Rockin' Chair (with Vince Gill, Mark Chesnutt, Garth Brooks, Travis Tritt, Joe Diffie, Alan Jackson, Pam Tillis, T. Graham Brown, Patty Loveless, and Clint Black)
167 4/23/05 26 23 4th Of July (with Shooter Jennings)

Discography

Details of George Jones' singles and albums can be found at his website.

Further reading and Reference

  • In The Country of Country: A Journey to the Roots of American Music, Nicholas Dawidoff, Vintage Books, 1998, ISBN 0-375-70082-x
  • Country Music U.S.A., Bill C. Malone, University of Texas Press, 1985, ISBN 0-292-71096-8
  • Joel Whitburn's Top Country Songs, 1944 to 2005, Record Research, Inc., Menomonee Falls, WS, 2005, ISBN 0-89820-165-9

Notes

  1. ^ Country Music U.S.A, Bill C. Malone, page 288
  2. ^ Country Music U.S.A, Bill C. Malone, page 288
  3. ^ Joel Whitburn's Top Country Songs, 1944 to 2005, pages 194-196

See also

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