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SELAMAT DATANG DI GEDUNG UTAMA “MERDEKA
(Driwan Music Record Cybermuseum)
The Vintage Skeeter Davis record History(Piring Hitam antik Skeeter Davis )
Frame One :
The Vintage Skeeter Davis Record Found In Indonesia
(Dr Iwan suwandy Collections)
1)Skeeter Davis and Bobby Bare sing Tunes for two front cover(1965)
2)Skeeter Davis record cover
3)RCA record,Skeeter Davis sing Wkat Does It Take
please Indonesian collectors show their collections thanks (Dr Iwan S)
Frame Two :
The Skeeter Davis and Bobby Bare History
|Birth name||Mary Frances Penick|
|Also known as||Skeeter Davis|
|Born||December 30, 1931(1931-12-30)
Dry Ridge, Kentucky, U.S.
|Origin||Dry Ridge, Kentucky|
|Died||September 19, 2004(2004-09-19) (aged 72)
Nashville, Tennessee, U.S.
|Associated acts||Chet Atkins, Patsy Cline, Loretta Lynn, Connie Smith, Bobby Bare, Dottie West, George Hamilton IV|
Mary Frances Penick (December 30, 1931–September 19, 2004), better known as Skeeter Davis, was an American country music singer best known for crossover pop music songs of the early 1960s. She started out as part of The Davis Sisters in the early 1950s on Fortune Records, then RCA Records. In the late ’50s and early ’60s, she became a solo star. Her best-known hit was the song “The End of the World” in 1963.
One of the first women to achieve major stardom in the country music field as a solo vocalist, she was an acknowledged influence on Tammy Wynette and Dolly Parton and was hailed as an “extraordinary country/pop singer” by The New York Times music critic Robert Palmer.
Davis was the first of seven children born to William and Punzie Penick, in Dry Ridge, Kentucky. Because her grandfather thought that she had a lot of energy for a young child, he nicknamed Mary Frances “Skeeter” (slang for mosquito). In 1947, the Penick family moved to Erlanger, Kentucky, where Skeeter met Betty Jack Davis at Dixie Heights High School, becoming instant friends. They sang together through much of high school. They formed a group known as The Davis Sisters (although they were unrelated), and started singing on Detroit radio station WJR‘s program Barnyard Frolics. The duo also scored a regional hit with “Jealous Love”, released on Fortune Records. The pair released two more singles on Fortune, a small family owned label, before scoring a deal with RCA Records.
Rise to fame
RCA Records producer Steve Sholes liked The Davis Sisters’ harmonies and offered the duo a recording contract in 1953. Their most successful release was “I Forgot More Than You’ll Ever Know“, which spent eight weeks at No. 1 on the country charts in 1953, as well as making the Top 20 on the pop charts. The record ranks No. 65 on the Top 100 Country Singles of All Time, according to Billboard historian Joel Whitburn.
While “I Forgot More Than You’ll Ever Know” was climbing the charts, The Davis Sisters were involved in a major car accident on August 1, 1953. The crash killed Betty Jack Davis and left Skeeter with severe injuries. After the accident, Skeeter and Betty Jack’s sister Georgia continued as The Davis Sisters until 1956.
Davis decided to go back into country music as a solo act. She hooked up again with RCA Records in 1958, this time working with guitarist and record producer Chet Atkins. That year, Davis recorded “Lost to a Geisha Girl”, which reached the country Top 15 and became her first solo hit. Atkins worked with Davis as a guitarist on all of these sessions. Atkins also multi-tracked Davis’ voice to resemble the sound of The Davis Sisters. This echo can be found on several of her early solo hits, such as “Lost to a Geisha Girl” and “Am I That Easy to Forget“. “Lost to a Geisha Girl” was an “answer song” to Hank Locklin‘s hit “Geisha Girl”.
Davis had a Top 5 country hit, “Set Him Free”, in 1959. That same year, she had another Top 20 hit called “Homebreaker”. She also joined the Grand Ole Opry that year, and was nominated for a Grammy Award for “Set Him Free”, becoming the first female country singer to be nominated for a Grammy.
From 1960 to 1962, Davis had hits with the songs “(I Can’t Help You) I’m Falling Too”, “My Last Date (With You)”, “Where I Ought to Be” and “Optimistic”. “(I Can’t Help You) I’m Falling Too” in 1960 was her first entrance as a solo onto the pop charts. The song went all the way to the Top 40, unheard of for a country singer at the time. In 1961, she scored a second pop hit with a lyric version (written by Skeeter) of Floyd Cramer‘s instrumental country pop smash “Last Date” called “My Last Date (With You)” which did even better making the Top 30 on the pop charts. Both of these songs did very well on the country charts, peaking at No. 2 and No. 5, respectively.
In 1963, Davis achieved her biggest success with country pop crossover hit “The End of the World”. The song just missed topping the country and pop charts that year; however, it did top the adult contemporary charts. It sold over one million copies, and was awarded a gold disc. “The End of the World” soon became Davis’ signature song. Davis achieved one other country-pop hit with the Carole King-penned “I Can’t Stay Mad At You”, which peaked at No. 7 on the pop charts and No. 2 on the Easy Listening chart in 1963. She made several appearances on the pop music show American Bandstand in the early 1960s and a decade later was one of the first country artists to appear on The Midnight Special.
Davis received five Grammy Award nominations, including four for Best Female Country Vocal Performance: 1964 (“He Says the Same Things to Me”), 1964; (“Sunglasses”), 1965; (“What Does It Take”), 1967, and “One Tin Soldier“), 1972. Davis was also an accomplished songwriter, penning almost 70 songs and earning two BMI awards for “Set Him Free” and “My Last Date With You”, the latter also recorded by Ann-Margret, Pat Boone, Kay Starr, Joni James, and several others in addition to Davis’ original hit version. Conway Twitty wrote new lyrics for the instrumental in 1972 as “Lost Her Love (On Our Last Date), which reached No. 1 on the country chart as did Emmylou Harris‘s remake of Twitty’s version in 1983 retitled “Lost His Love (On Our Last Date)”. In the 1990s, Deborah Harry recorded a remake of Davis’ version featuring Michael Stipe, a long-time Davis fan.
Davis’ success continued after 1963. She followed in late 1963 with “I’m Saving My Love” and 1964’s Gonna Get Along Without Ya Now , an updated cover a 1956 hit by Patience and Prudence). Both made the Top 10 on the country charts and cracked the Billboard Top 50 pop charts, though the success of “Gonna Get” was likely hampered by another remake of the song by vocalist Tracey Dey simultaneously climbing the charts to peak slightly lower than Davis’ version. Later pop efforts, like “Let Me Get Close to You” in July of 1964, missed making the Hot 100, reflecting the changing nature of pop styles due to the ongoing British Invasion. But Davis continued a successful run on the country charts.
In 1965, she recorded a duet with Bobby Bare called “A Dear John Letter“, which just missed the country Top 10 and received light pop action. (The best-known version of the song had been recorded originally by Jean Shepard and Ferlin Husky in 1953.) Davis also recorded quite a few albums during this time. One was a tribute album entitled Skeeter Davis Sings Buddy Holly. In 1967, Davis had her first Top 10 hit in a while with “What Does It Take? (To Keep a Man Like You Satisfied)”. An album was also released by the same name, which featured the hit single. Davis only achieved two other major country hits the rest of the decade, “Fuel to the Flame” (written by Dolly Parton, whom Davis paid tribute to with an album called Skeeter Sings Dolly in 1972), and “There’s a Fool Born Every Minute”. Other singles were minor hits, but she released many albums.
Decline and controversy
In 1970, Davis had another Top 10 hit with “I’m a Lover (Not a Fighter)” and another duet with Bobby Bare with “Your Husband, My Wife”. The following year, she had a hit with the autobiographical “Bus Fare To Kentucky”. Subsequently, however, her chart success began to fade. Singles such as “It’s Hard to Be a Woman” and “Love Takes a Lot of My Time” failed to crack the country Top 40. “One Tin Soldier” did not get much attention from country radio but was nominated for a Grammy as Best Female Country Vocal. In the 1970s, she began regularly touring foreign countries such as Barbados, Singapore, and Sweden, where she was among the most popular entertainers of any field. In 1973, she had a brief comeback with her Top 20 hit, “I Can’t Believe That It’s All Over”.
In 1973 during a performance at the Grand Ole Opry, Davis dedicated a gospel song to street evangelists arrested by Nashville police. The country was highly divided during these last days of the Nixon administration, and The Grand Ole Opry, being owned by National Life and Accident Insurance Company, had conservative management. For her “political” commentary, Davis was barred from the Opry. In 1974, the show moved from 2,300-seat Ryman Auditorium to the new Grand Ole Opry House, a 4,400-seat auditorium. With those additional seats to fill, losing the support of Davis’ fans was no longer painless, and may have been a factor in allowing her back after a 15-month exile. Despite losing other bookings during that period, Davis remained active by singing with a number of religious ministries. A brief stint on Mercury Records produced two single releases, including her last song to make the national charts, 1976’s “I Love Us”.
Davis was married three times, first to Kenneth Depew. She later married WSM disc jockey Ralph Emery in 1960, divorcing in 1964. In 1985, Davis made a solid comeback with the album She Sings, They Play, with the band NRBQ. In 1987, she married NRBQ’s bassist Joey Spampinato. They were divorced in 1996.
Later years and death
Davis lived in Brentwood, Tennessee, from the early 1960s until the time of her death in 2004. Her autobiography, Bus Fare to Kentucky (named after a 1971 Davis hit), was published in 1993. In 1998 she wrote a children’s book, The Christmas Note, (with Cathie Pelletier) based on her childhood that received praise from a number of authors, including Lee Smith, Rebecca Wells, and Terry Kay.
Davis continued to perform frequently throughout much of the 1990s and into 2000. In 2001 she became incapacitated by the breast cancer that would claim her life. While Davis remained a member of the Grand Ole Opry until her death, she last appeared there in 2002. She died of breast cancer in a Nashville, Tennessee, hospice, at the age of 72, on September 19, 2004
|Birth name||Robert Joseph Bare|
|Born||April 7, 1935 (1935-04-07) (age 75)|
|Origin||Ironton, Ohio, USA|
|Years active||1958 – Present|
|Associated acts||Skeeter Davis, Waylon Jennings|
Bare had many failed attempts to sell his songs in the 1950s. He finally signed with Capitol Records and recorded a few rock and roll songs without much chart success. Just before he was drafted into the Army, he wrote a song called “The All American Boy” and did a demo for his friend, Bill Parsons, to learn and record. Instead of using the version Bill Parsons did later, the record company, Fraternity Records, decided to use the original demo done by Bobby Bare. The record reached number 2 on the Billboard Hot 100, but they made an error: the singles’ labels all credited the artist as being “Bill Parsons.” 
Career at RCA (1962–1970)
Bare’s big break in country music came when RCA Records‘ Chet Atkins signed him. The first song he released on the label was “Shame On Me” in 1962. His second RCA release, “Detroit City,” was his first top-ten Country single, reaching number six. It also hit number 16 on the pop charts. In 1964, he also received a Grammy Award for Best Country and Western Recording for the song Detroit City. Then a surge of hits followed, including “500 Miles Away from Home” (based on a traditional folk ballad written by Hedy West as “500 Miles”) and Ian Tyson‘s “Four Strong Winds.” In 1965 he received two Grammy nominations for Best Country & Western Vocal Performance and Best Country & Western single for the song “Four Strong Wind”. In 1966, he received a Grammy Nomination for Best Country & Western Male Vocal Performance for his song “Talk Me Some Sense”. He also recorded with Skeeter Davis, Norma Jean and Liz Anderson. “The Game of Triangles”, a wife-husband-other woman drama that hit number five on the Billboard chart earned the trio a Grammy nomination. In 1968, he recorded an album with a group from England called The Hillsiders. In 1969, he had a Top 5 hit with Tom T. Hall‘s “(Margie’s At) The Lincoln Park Inn“.
Career at Mercury (1970–1972)
Bare moved to Mercury Records in 1970 and immediately scored a Top 3 hit with “How I Got To Memphis” and had two Top 10 hits from early Kris Kristofferson compositions, “Come Sundown” (1971) and “Please Don’t Tell Me How The Story Ends,” (1971). He also scored a #12 hit in 1972 with a version of Dr. Hook and the Medicine Show’s pop hit “Sylvia’s Mother“, written by Shel Silverstein.
Second career at RCA (1973–1977)
Bobby Bare started to release novelty songs recorded live with selected audiences. One such song, “Marie Laveau,” reached the number one position on the country chart in 1974; it was his only number one hit. This song was co-written by his friends Shel Silverstein and Baxter Taylor, who received a BMI Award for the song in 1975.
Silverstein penned other songs for Bare including a Grammy-nominated hit, “Daddy What If,” which he recorded with his five-year-old son, Bobby Bare, Jr. The song was an immediate success as well not only reaching #2 on the country charts but nearly reaching the Top 40 on the Pop charts. Bare’s album, “Lullabys, Legends and Lies” became his most commercially successful album and Bobby had a new audience with pop radio once again playing his songs and a new following with college kids. These two songs, however, would become Bobby’s last Top 10 hits. Bare later recorded a very successful album with his family, written mainly by Silverstein, called “Singin’ in The Kitchen.” It was nominated for best group category in Grammy Awards, but was declined by Bobby himself. He continued to record critically acclaimed albums and singles. His biggest hits during this time included “Alimony” (1975), “The Winner” (1976), and “Drop Kick Me Jesus (Through The Goalposts Of Life)” (the world’s only Christian–football waltz, and a 1976 Grammy nominee). In 1977 he recorded “Redneck Hippie Romance” and “Vegas” (a duet with his wife Jeannie).
Concept albums were nothing new for Bobby, In 1967, Bare came up with a concept album called “Bird Named Yesterday,” which was very successful. His most successful concept album is “Lullabys, Legends and Lies”. He also is the first to be given full control of his work and thus the very first Outlaw.
Career at Columbia Records (1978–1983)
Bobby signed with Columbia Records and continued to have hits like “Sleep Tight Good Night Man” a near Top 10 in 1978 and releasing critically acclaimed albums like “Bare” and “Sleeper Wherever I Fall”. In 1979, he started off Rosanne Cash‘s career in a big way by singing a duet with her called “No Memories Hangin’ Round” which went Top 20 for them. In 1980, he scored a near Top 10 with “Numbers” which came from his album “Down and Dirty” where Bare started to experiment with Southern rock and continued this with his next album “Drunk and Crazy”. In 1981, Bobby released an album entitled “As Is” which was produced by Rodney Crowell and returned Bobby back to his country roots with songs like “New Cut Road”. Bare was still doing well chartwise into the early 1980s. In 1983, he released a Top 30 duet with Lacy J. Dalton called “It’s A Dirty Job”. His last trip into the Top 30 came that summer with the novelty song “The Jogger”.
Bobby Bare was also given an opportunity to star in the movies. He acted in a Western with Troy Donahue, A Distant Trumpet, and a few episodes of the TV series No Time for Sergeants. He turned his back on Hollywood to pursue his career in country music.
Later career in country music and today
From 1983 to 1988, Bobby hosted Bobby Bare and Friends on The Nashville Network which featured Bobby interviewing songwriters who sang their hit songs on the show.
In 1985, Bobby signed with EMI America Records where he scored 3 charted singles, but none of these reached the upper regions of the charts.
In nearly 50 years of making music, Bobby has made many firsts in country music. Bare is credited for introducing Waylon Jennings to RCA. He is also one of the first to record from many well- known song writers such as Jack Clement, Harlan Howard, Billy Joe Shaver, Mickey Newbury, Tom T. Hall, Shel Silverstein, Baxter Taylor and Kris Kristofferson.
|US Country||US||CAN Country|
|1963||“Detroit City” And Other Hits||9||119||—||RCA Victor|
|500 Miles Away from Home||9||133||—|
|1964||The Travelin’ Bare||14||—||—|
|1965||Tunes for Two (w/ Skeeter Davis)||8||—||—|
|1966||The Best of Bobby Bare||—||—||—|
|Talk Me Some Sense||6||—||—|
|The Streets of Baltimore||7||—||—|
|This I Believe||17||—||—|
|1967||The Game of Triangles (w/ Norma Jean & Liz Anderson)||16||—||—|
|A Bird Named Yesterday||20||—||—|
|The English Country Side (w/ The Hillsliders)||29||—||—|
|1968||The Best of Bobby Bare – Volume 2||33||—||—|
|1969||(Margie’s At) The Lincoln Park Inn
(And Other Controversial Country Songs)
|1970||Your Husband My Wife (w/ Skeeter Davis)||—||—||—|
|This Is Bare Country||37||—||—||Mercury|
|1971||Where Have All the Seasons Gone||44||—||—|
|I Need Some Good News Bad||—||—||—|
|1972||What Am I Gonna Do?||19||—||—|
|High and Dry||—||—||—|
|1973||I Hate Goodbyes / Ride Me Down Easy||31||—||—||RCA Victor|
|Bobby Bare Sings Lullabys, Legends and Lies||5||—||—|
|1974||Singin’ in the Kitchen (Bobby Bare and Family)||27||—||—|
|1975||Hard Time Hungrys||33||—||—|
|Cowboys and Daddys||21||—||—|
|1976||The Winner and Other Losers||18||—||—|
|1977||Me and McDill||27||—||—|
|Sleep Wherever I Fall||—||—||—|
|1980||Down & Dirty||21||—||4|
|Drunk & Crazy||47||—||17|
|1982||Ain’t Got Nothin’ to Lose||29||—||—|
|1983||Drinkin’ from the Bottle||—||—||—|
|1998||Old Dogs (with Waylon Jennings, Jerry Reed, & Mel Tillis)||61||—||—||Warner Bros|
|2005||The Moon Was Blue||—||—||—||Dualtone|
|US Country||US||US AC||CAN Country||CAN|
|1959||“The All-American Boy” (as Bill Parsons)||—||2||—||—||—||Detroit City|
|1962||“Shame on Me”||18||23||—||—||—|
|“500 Miles Away from Home”||5||10||4||—||—||500 Miles Away From Home|
|1964||“Miller’s Cave”||4||33||—||—||—||The Best of Bobby Bare|
|“I Have Stayed Away Too Long”||47||94||—||—||—||single only|
|“Four Strong Winds“||3||60||—||—||40||The Best of Bobby Bare|
|1965||“A Dear John Letter” (with Skeeter Davis)||11||114||—||—||—||Tunes for Two|
|“Times Are Gettin’ Hard”||30||—||—||—||—||Constant Sorrow|
|“It’s All Right”||7||122||—||—||—|
|“Just to Satisfy You“||31||—||—||—||—|
|“Talk Me Some Sense”||26||—||—||—||—||Talk Me Some Sense|
|1966||“In the Same Old Way”||34||131||—||—||—||single only|
|“Streets of Baltimore“||5||124||—||—||—||Streets of Baltimore|
|“The Game of Triangles” (with Liz Anderson and Norma Jean)||5||—||—||—||—||The Game of Triangles|
|1967||“Charlestown Railroad Tavern”||16||—||—||—||—||The Best of Bobby Bare Vol. 2|
|“Come Kiss Me Love”||14||—||—||—||—|
|“The Piney Wood Hills”||15||—||—||—||—|
|1968||“Find Out What’s Happening”||15||—||—||5||—||English Country Side|
|“Little Bit Later on Down the Line”||14||—||—||7||—||Talk Me Some Sense|
|“Town That Broke My Heart”||16||—||—||21||—||single only|
|1969||“(Margie’s At) The Lincoln Park Inn“||4||—||—||7||—||Margie’s at the Lincoln Park Inn|
|“Which One Will It Be”||19||—||—||—||—||single only|
|“God Bless America Again“||16||—||—||—||—||This Is Bobby Bare|
|1970||“Your Husband, My Wife” (with Skeeter Davis)||22||—||—||—||—||Your Husband, My Wife|
|“How I Got to Memphis”||3||—||—||22||—||This Is Bare Country|
|1971||“Please Don’t Tell Me How the Story Ends”||8||—||—||3||—||Where Have All the Seasons Gone|
|“Short and Sweet”||57||—||—||—||—||I Need Some Good News Bad|
|1972||“What Am I Gonna Do”||13||—||—||24||—||What Am I Gonna Do|
|1973||“I Hate Goodbyes”||25||—||—||38||—||I Hate Goodbyes/Ride Me Down Easy|
|“Ride Me Down Easy”||11||—||—||4||—|
|“You Know Who”||30||—||—||13||—|
|1974||“Daddy, What If”A (with Bobby Bare, Jr.)||2||41||—||5||53||Lullabys, Legends and Lies|
|“Where’d I Come From” (with Bobby Bare, Jr. and “Mama”)||41||—||—||—||—||Singin’ in the Kitchen|
|1975||“Singin’ in the Kitchen” (with His Family)||29||—||—||43||—|
|“Back in Huntsville Again”||23||—||—||14||—||Hard Time Hungries|
|“Cowboys and Daddys”||29||—||—||20||—||Cowboys and Daddys|
|1976||“The Winner”||13||—||—||—||—||The Winner and Other Losers|
|“Put a Little Lovin’ on Me”||23||—||—||23||—|
|“Drop Kick Me Jesus”||17||—||—||18||—|
|1977||“Vegas” (with Jeannie Bare)||30||—||—||—||—||The Essential Bobby Bare|
|“Look Who I’m Cheatin’ on Tonight”||21||—||—||10||—||Me and McDill|
|“Red-Neck Hippie Romance”||85||—||—||—||—||Single only|
|1978||“Too Many Nights Alone”||29||—||—||15||—||Bare|
|“Sleep Tight Good Night Man”||11||—||—||8||—|
|1979||“Healin'”||23||—||—||30||—||Sleep Wherever I Fall|
|“Till I Gain Control Again”||42||—||—||47||—||Single only|
|“No Memories Hangin’ Round” (with Rosanne Cash)||17||—||—||38||—||Bobby Bare: The Columbia Years|
|1980||“Numbers”||11||—||—||26||—||Down and Dirty|
|“Food Blues”||41||—||—||63||—||Drunk and Crazy|
|1981||“Learning to Live Again”||28||—||—||—||—||As Is|
|“Take Me as I Am (Or Let Me Go)”||28||—||—||34||—|
|“Dropping Out of Sight”||35||—||—||—||—|
|1982||“New Cut Road”||18||—||—||32||—|
|“If You Ain’t Got Nothin’ (You Got Nothin’ to Lose)”||31||—||—||31||—||Ain’t Got Nothin’ to Lose|
|“(I’m Not) A Candle in the Wind”||37||—||—||—||—|
|“Praise the Lord and Send Me the Money”||83||—||—||—||—|
|1983||“It’s a Dirty Job” (with Lacy J. Dalton)||30||—||—||—||—||Bobby Bare: The Columbia Years|
|“The Jogger”||29||—||—||19||—||Drinkin’ from the Bottle|
|1985||“When I Get Home”||53||—||—||51||—||Singles only|
|“Reno and Me”||76||—||—||—||—|
"Wait Until Tomorrow / Better Not Look Down - EMI America Records
- A“Daddy, What If” also peaked at #19 on the RPM Adult Contemporary Tracks chart in Canada.
|1967||“Chet’s Tune”||Some of Chet’s Friends||38|