Masks are required for educational programs in the Museum’s theaters and classrooms, as well as for tours to Historic RCA Studio B and Hatch Show Print.



May 10, 2012

Kenny Rogers illustrated the vastness of his catalog of well-known hits by presenting a markedly different set of songs for the second of two consecutive nights of concerts at the Country Music Hall of Fame and Museum.

As the museum’s 2012 artist-in-residence, Rogers was given carte blanche to curate his own shows, both of which sold out quickly. Free to do whatever he found most pleasing, or challenging, Rogers chose to survey his fifty-year-plus career by performing two dissimilar concerts, complete with his regular seven-piece band. Even the two surprise guests were different for both nights.

Rogers noted that performing for such an intimate audience-the museum’s Ford Theater has 213 seats-had him “stepping outside his comfort zone.” Instead of following his usual concert format, Rogers featured several songs he rarely if ever performs these days, giving each two-hour show a rarefied air.

“I’m blessed to have a long list of songs I’ve recorded over the years,” Rogers said near the beginning of the evening. “This has given me a chance to do a few I don’t usually get to do.”

Performing more than forty songs over two nights, Rogers only repeated a handful of classics, making each show unique. He knew each crowd would want to hear such highlights as “The Gambler,” “Lucille,” “Lady,” and “Islands in the Stream”; past that, he treated fans by reaching back to songs from early in his career, such as the jazz standard “Walking My Baby Back Home,” and First Edition’s great “Ruby, Don’t Take Your Love to Town,” written by Country Music Hall of Fame member Mel Tillis, and originally released as a single in 1969.

“I’m going to give you a personal guarantee: Before the night is over, I promise you I’m going to screw up a song,” Rogers said in introducing “Morning Desire,” a 1985 #1 written by Dave Loggins that isn’t a part of his concert repertoire these days. For that song, and the 1986 hit “Twenty Years Ago,” another rarity, Rogers pulled out lyric sheets, but only occasionally glanced at them. He never miffed a line.

To get over his anxiety, the 73-year-old legend approached each show as if performing for friends in his living room. He had his crew lightly turn up the crowd lights, so he could see people’s faces, and he sat on a stool just a few feet from the first row. “I do sit down in my living room,” he joked.

He talked about his career, and the coincidental nature of fame, spinning revealing stories buoyed by humor, gratitude, and emotion. He introduced many of his hits with a story about how he found it or why he chose to record it.

The special guests were both integral to his career, but for entirely different reasons. The two-pop star Kim Carnes and Nashville Songwriters Hall of Fame member Don Schlitz-emphasized the broad parameters of Rogers’s musical journey and his willingness to take chances that often boosted the profiles of other artists.

Schlitz provided Rogers with what may be his best-known classic, “The Gambler,” which gave the singer a Grammy and served as the basis for a made-for-TV movie series that encompassed five films in all. “The Gambler” also was the first hit for Schlitz as a songwriter-a majestic introduction for an off-beat guy who evolved into one of his generation’s most successful composers. More than twenty years after Schlitz’s first hit, Rogers came back to him for another memorable song, “The Greatest,” a heart-tugging tale of a young boy and his dreams of baseball stardom, which Schlitz performed with Rogers for the Ford Theater crowd.

“This guy has written so many hits,” Rogers said of Schlitz. “I’m just sick I didn’t get them all.” Schlitz, for his part, added, “This person kicked the door in for me, and everything I got to do after that was because of what he did. You gave me the chance to write whatever the heck I liked for the rest of my life, and I’m incredibly grateful.”

Carnes, a one-time Los Angeles resident who now resides in Nashville, shared Rogers’s background as a raspy-voiced pop singer with a knack for story songs. The two first became musical partners as members of the New Christy Minstrels, a well-known folk group that Rogers joined in 1966 after moving to L.A. from his hometown of Houston.

In 1980, Rogers reunited with Carnes. He had just conquered country music with an astounding streak; in the previous three years, he had released nine #1 hits, among them “Coward of the County,” with which he opened Thursday night’s concert. That year, Rogers presented Carnes and her husband, Dave Ellingson (another member of the New Christy Minstrels), with a proposition: He asked them to write a complete album about a modern-day cowboy. That album, Gideon, included “Don’t Fall in Love with a Dreamer,” a duet with Carnes that reached #3 on the country charts and #4 on the pop charts. The two got a standing ovation for their rousing performance of it Thursday night.

“Don’t Fall in Love with a Dreamer” was Carnes’s biggest hit up until then. It set her up for the success of her best-known song, the Grammy-winning “Bette Davis Eyes,” which shot to #1 on the pop charts the year after her Rogers duet. In 1984, Rogers and Carnes, along with R&B singer James Ingram, scored another pop hit together with “What About Me.”

That dichotomy of recognizing talent in an unknown songwriter and in a veteran pop singer underscores Rogers’s ability to relate to songs that work in multiple formats, which helped make him an international star of rare magnitude. Museum director Kyle Young, in introducing Rogers, addressed this aspect of the singer’s success, describing Rogers as “a renaissance man who has made an indelible mark on popular culture, at home and abroad. . . . His familiarity with a broad spectrum of pop music would continue to inform his song selection and arrangements and make him the master of crossover hits and one of America’s most successful artists.”

As with any Rogers show, the set leaned heavily on romantic songs. Of the many he performed, three are newly included in his shows, and he did them as a medley: “Share Your Love with Me,” “Crazy,” and “I Don’t Need You.” Two were #1 hits, the other a Top Five-indicating that his catalog is so deep and rich that he has top hits he can’t fit into a two-hour concert. Indeed, even across four hours and two nights, there remained famous Rogers songs he didn’t have time to perform.

At the conclusion of his last artist-in-residence concert, Rogers said, “What a special two nights this has been for me, to be here and to be a part of all this. I don’t get this chance very often, to play for you guys like this. It has truly been a thrill.”

Rogers is the museum’s tenth artist-in-residence. He joins an esteemed list that includes Cowboy Jack Clement, Earl Scruggs, Tom T. Hall, Guy Clark, Kris Kristofferson, Jerry Douglas, Vince Gill, Buddy Miller, and Connie Smith.

Set List:
-Michael McCall

“Coward of the County”
“Daytime Friends”
“Walking My Baby Back Home”
“When I Fall in Love”
“Ruby, Don’t Take Your Love to Town”
“Just Dropped In (To See What Condition My Condition Was In)”
“We’ve Got Tonight”
“Love or Something Like It”
Medley: “Share Your Love,” “Crazy,” and “I Don’t Need You”
“Morning Desire”
“Twenty Years Ago”
“If You Want to Find Love”
“The Greatest” (with Don Schlitz)
“Have a Little Faith”
“Don’t Fall in Love with a Dreamer” (with Kim Carnes)
“The Gambler”
“Islands in the Stream”
“Sweet Music Man”


May 9, 2012

Kenny Rogers set aside his usual concert agenda to reflect on a career of more than fifty years of music-making in the first of two special performances in the 213-seat Ford Theater at the Country Music Hall of Fame and Museum.

Named the museum’s 2012 artist-in-residence, Rogers responded by creating a one-of-a-kind, intimate experience for the sold-out crowd. He discussed different stages of his career with humor, insight, and poignancy, and he delved into the background of his most famous songs. His stories emphasized the coincidental nature of stardom, how some of his biggest breaks and most important moments occurred through a chance encounter, a trick of timing, or simple good fortune.

For that reason, Rogers said he’s named his upcoming autobiography Luck or Something Like It, a play on the title of one of his dozens of hit songs, “Love or Something Like It.”

The show’s wide scope underscored museum director Kyle Young’s introduction, in which he described Rogers as “a renaissance man who has made an indelible mark on popular culture, at home and abroad.” Young later added, “His familiarity with a broad spectrum of pop music would continue to inform his song selection and arrangements and make him the master of crossover hits and one of America’s most successful artists.”

The concert also featured special guests Billy Currington, an avid Rogers fan, and Billy Dean, a longtime friend. Both have recorded with Rogers, with Currington joining his hero for “Standing on the Rock of Your Love,” a song written by Vince Gill that Rogers included on his 2011 gospel album, The Love of God. Dean joined his idol on “Buy Me a Rose,” the 2000 #1 Rogers hit on which Dean and Alison Krauss shared harmony vocals. Dean returned for the final song, to play acoustic guitar on “Sweet Music Man,” a popular hit from early in Rogers’s solo career. The singer said he wrote it about Waylon Jennings after an unexpected conversation with Jessi Colter on an airplane.

Rogers spun stories about his early days in Houston in the Bobby Doyle Three, performing “Walking My Baby Back Home,” a 1930s pop standard that was a major hit for Nat King Cole in the early 1950s. He followed that with “When I Fall in Love,” another pop classic Cole (and many others) recorded.

The 73-year-old legend addressed the risks he took fifty years ago in moving to Los Angeles to start the folk-rock band First Edition, which gave him his first national hits. He pointed out that the band at first didn’t want him because, at age 30, they thought he was too old. So he grew his hair longer, added a beard, sunglasses, and an earring. The group relented.

Rogers performed several First Edition songs, including “Something’s Burning,” “Reuben James,” “Ruby, Don’t Take Your Love to Town,” and “Just Dropped In (To See What Condition My Condition Was In),” the latter augmented by a psychedelic video shot at the time of the song’s release. “I think we can all agree here tonight, they just don’t write songs like that anymore,” Rogers said.

Even though the First Edition was a rock band and recorded in Los Angeles, the songs illustrated that, even back then, Rogers liked country songwriting, as those songs came from writers associated with the country genre. The songs also illustrated how Rogers had a powerful capacity to use his husky voice to convey sensitive stories in compelling, believable fashion. Relying on tone and subtly dramatic phrasing, rather than showy vocal tricks, he indicated early on what a consummate storyteller he can be.

In one of his stories, Rogers explained how he had to persuade a producer, Jimmy Bowen-later an important country music executive-to let him record “Ruby, Don’t Take Your Love to Town,” a song written by country star Mel Tillis. Bowen feared the material was too dark and depressing, and radio deejays would never play it. Rogers argued that maybe they wouldn’t, but if they gave it a chance, it would be a huge hit.

From that encounter, and from his First Edition experience, Rogers learned something important about what works for him. “Ever since then, I’ve tended to choose two kinds of songs,” he said. “I choose love songs that say what every man would like to say, and what every woman would like to hear. The other songs are the ones that are socially significant and have something important to stay.”

As Rogers continued to trace his career, it became evident that another key to his success was the ability to gently coax the drama from a lyric. That trait made his transition to country music a natural one, and songs like “Lucille”-which drew the crowd to sing along on the chorus-helped him shoot to solo stardom in Nashville. “The Gambler,” another song he performed, perfectly illustrated that talent-and his country music bona fides.

On the ballad “Lady,” written for him by Lionel Richie before Richie left the Commodores for a solo career, Rogers demonstrated his talent for romantic love songs. He underscored that ability with a medley that combined “Through the Years,” “You Decorated My Life,” and “She Believes in Me”-the latter of which he described as the favorite of his 1980s ballads.

The concert also repeatedly emphasized yet another special trait, and one he didn’t mention-that is, having an ear for good material. He performed “Ol’ Red,” a hit for Blake Shelton, although Rogers recorded the song a decade earlier, obviously recognizing its hit potential.

At the start, Rogers admitted he was more nervous than he had been in many years, because of the nature of the show and the intimacy of the Ford Theater. “I’m definitely stepping outside of my comfort zone,” he said. So he decided to act as if he was performing for friends in his living room, sitting on a stool in front of his seven-piece band-and only a few feet from the front row of fans. Adding the family feel was his wife Wanda, who was sitting in the center a couple of rows from the stage.

At show’s end, the long standing ovation proved just how much the crowd appreciated the open-hearted, friendly, revealing manner in which Rogers conducted his special performance.

Rogers is the museum’s tenth artist-in-residence. He joins an esteemed list that includes Cowboy Jack Clement, Earl Scruggs, Tom T. Hall, Guy Clark, Kris Kristofferson, Jerry Douglas, Vince Gill, Buddy Miller, and Connie Smith.

Set List:
-Michael McCall

“Something’s Burning”
“Reuben James”
“Just Dropped In (To See What Condition My Condition Was In)”
“Walking My Baby Back Home”
“When I Fall In Love”
“Ruby, Don’t Take Your Love to Town”
Medley: “Through the Years,” “You Decorated My Life,” “She Believes in Me”
“Love Will Turn You Around”
“Standing on the Rock of Your Love” (with Billy Currington)
“Ol’ Red”
“Love the World Away”
“If You Want to Find Love”
“Buy Me a Rose” (with Billy Dean)
“To Me”
“The Gambler”
“Islands in the Stream”
“Sweet Music Man” (with Billy Dean)

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