Country Music

Classic Country Music Hits

Country Music

Charley Pride didn’t try to write a song that would shake the world. He simply wrote about a small habit he believed kept love alive: kissing his wife every morning before walking out the door. Kiss an Angel Good Mornin’ isn’t a song full of promises. It’s a song about being present — about love that endures quietly, day after day. Inspired by his more-than-60-year marriage to Rozene, the song became Charley Pride’s way of showing the world: True love doesn’t need to be proven. It just needs to be lived — in life’s smallest, most honest moments.

“Scroll down to the end of the article to listen to music.”

Introduction

I still remember the first time I heard Charley Pride’s “Kiss an Angel Good Mornin’.” It was a sunny afternoon, and the song came on the radio as I was driving through the countryside. The upbeat melody and heartfelt lyrics instantly lifted my spirits, reminding me of the simple joys that love brings into our lives.

About The Composition

  • Title: Kiss an Angel Good Mornin’
  • Composer: Ben Peters
  • Premiere Date: October 1971
  • Album: Charley Pride Sings Heart Songs
  • Genre: Country

Background

“Kiss an Angel Good Mornin'” is one of Charley Pride’s most celebrated songs, written by the accomplished songwriter Ben Peters. Released in October 1971, it served as the lead single from Pride’s album Charley Pride Sings Heart Songs. At a time when country music was embracing new sounds and themes, this song stood out with its genuine warmth and universal message.

The inspiration behind the song lies in its portrayal of love’s ability to bring happiness. The narrator shares his secret to staying cheerful: the simple act of kissing his “angel” good morning. This resonated with many listeners, as it highlighted the profound impact of everyday gestures of affection. The song was met with critical acclaim and commercial success, becoming Pride’s eighth number-one hit on the country charts. It also crossed over to the pop charts, reaching number 21 on the Billboard Hot 100 and number 19 on the Adult Contemporary chart, showcasing its broad appeal.

Musical Style

The song embodies classic country elements with its use of steel guitar and fiddle, creating a rich, melodic backdrop for Pride’s smooth vocals. Its structure is straightforward, featuring verses and a catchy chorus that makes it easy to sing along. The upbeat tempo and harmonious instrumentation contribute to an overall feel-good vibe, reinforcing the song’s theme of joy and contentment.

Lyrics

The lyrics offer a heartfelt narrative about the simple pleasures of life and love. When others inquire about the narrator’s consistently happy demeanor, he reveals that his secret is starting each day by kissing his “angel” good morning. This metaphorical “angel” represents his loved one, emphasizing how love enriches daily life. The song beautifully captures the essence of appreciating and nurturing personal relationships.

Performance History

Since its debut, “Kiss an Angel Good Mornin'” has become a signature song for Charley Pride. It earned him the Country Music Association’s Single of the Year award in 1972, further cementing his status in the music industry. The song has been covered by numerous artists over the years, reflecting its lasting influence. Notable performances include those by George Jones, Alan Jackson, and even a rendition by Conway Twitty, each adding their unique touch while honoring the original.

Cultural Impact

The song’s success played a significant role in bridging gaps within the music industry, particularly as Charley Pride was one of the few African-American artists in country music at the time. “Kiss an Angel Good Mornin'” helped broaden the audience for country music and demonstrated its universal themes. Its inclusion in various media and continued airplay on classic country stations highlight its enduring relevance.

Legacy

Decades later, the song remains a beloved classic, often cited as one of the greatest country songs of all time. It not only solidified Charley Pride’s legacy as a country music icon but also inspired future generations of artists. The song’s message about the power of love continues to resonate, proving that its appeal is timeless.

Conclusion

Listening to “Kiss an Angel Good Mornin'” always brings a smile to my face. It’s a reminder of how small acts of love can have a profound impact on our happiness. If you haven’t experienced this uplifting classic yet, I highly recommend giving it a listen. Charley Pride’s original recording captures the song’s essence perfectly, but exploring covers by other artists can also offer new perspectives on this timeless piece

Video

Lyrics

[Verse 1]
Whenever I chance to meet
Some old friends on the street
They wonder, “How does a man get to be this way?”
I’ve always got a smiling face
Anytime and any place
And every time they ask me why
I just smile and say

[Chorus]
“You’ve got to
Kiss an angel good mornin’
And let her know you think about her when you’re gone
Kiss an angel good mornin’
And love her like the devil when you get back home”

[Verse 2]
Well, people may try to guess
The secret of a happiness
But some of them never learn, it’s a simple thing
The secret I’m speakin’ of
Is a woman and a man in love
And the answer is in this song
That I always sing

[Chorus]
You’ve got to
Kiss an angel good mornin’
And let her know you think about her when you’re gone
Kiss an angel good mornin’
And love her like the devil when you get back home
Kiss an angel good mornin’
And let her know you think about her when you’re gone
Kiss an angel good mornin’
And love her like the devil when you get back home

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BILLIE JO SPEARS HAD ALREADY FOUGHT HER WAY INTO THE COUNTRY TOP 5 WHEN SURGERY ON HER VOCAL CORDS THREATENED THE ONE THING HER CAREER DEPENDED ON. THREE YEARS LATER, “BLANKET ON THE GROUND” TOOK HER TO NO. 1. Billie Jo Spears had been chasing country success since childhood. Born in Beaumont, Texas, she performed on the *Louisiana Hayride* at thirteen, recorded young, worked as a secretary, and eventually moved to Nashville. Her first real national breakthrough came in 1969 with “Mr. Walker, It’s All Over,” which reached the country Top 5. Then her voice became the problem. In the early 1970s, Spears developed serious vocal-cord trouble. She underwent surgery to remove nodules and polyps, with AllMusic noting that she required two operations over roughly two years. For a singer whose husky voice was her identity, the risk was obvious: the procedures could have ended her career instead of saving it. Spears recovered, but the momentum she had built was gone. She returned to recording with United Artists and producer Larry Butler in 1974. Among the songs cut for the new album was Roger Bowling’s “Blanket on the Ground,” a playful story about a married woman asking her husband to recreate the romance of their younger days. Spears initially did not even expect Butler to include it on the album. He did more than include it. United Artists released “Blanket on the Ground” in 1975, and it became Spears’s only No. 1 country single. The record also crossed into pop markets overseas, reaching especially large audiences in Britain and Ireland. The comeback held. “What I’ve Got in Mind” and “Misty Blue” both reached the country Top 5 in 1976, while later songs such as “If You Want Me” and “‘57 Chevrolet” kept her on the charts and strengthened a following overseas that would last long after her American peak. “Blanket on the Ground” was not the beginning of Billie Jo Spears’s career. It was the record that arrived after she had already learned how fragile a career could be when the instrument was part of her own body. By the time the song reached No. 1, the voice on it was not simply older or rougher. It was a voice she had almost lost.

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CAL SMITH SPENT YEARS PLAYING GUITAR BEHIND ERNEST TUBB WHILE OTHER MEN STOOD AT THE MICROPHONE. THEN, IN HIS LATE 30s, “THE LORD KNOWS I’M DRINKING” TOOK HIM TO NO. 1—AND “COUNTRY BUMPKIN” MADE HIM ONE OF 1974’S BIGGEST COUNTRY WINNERS. Cal Smith was already deep into country music before most listeners knew his name. Born Calvin Shofner in Oklahoma and raised in California, he worked clubs and radio before joining Ernest Tubb’s Texas Troubadours in the early 1960s. For years, Smith played guitar behind one of country music’s most established stars while trying to build a recording career of his own. The solo records came slowly. By 1972, Smith was in his late thirties and had only modest chart success. Then Bill Anderson gave him “The Lord Knows I’m Drinking,” a song about a man being judged for drinking by a churchgoing woman whose own behavior is hardly spotless. Released late that year, it became Smith’s first No. 1 country hit. The real peak came next. In December 1973, Smith recorded Don Wayne’s “Country Bumpkin” at Bradley’s Barn. The song follows a country boy through marriage, fatherhood and eventually the death of his wife, compressing an entire life into a few verses. Released in 1974, “Country Bumpkin” went to No. 1. It also won Single Record of the Year and Song of the Year at the Academy of Country Music Awards, while the composition earned Song of the Year honors from the Country Music Association as well. Smith followed with another No. 1, “It’s Time to Pay the Fiddler,” confirming that the breakthrough had not been a one-record accident. By then, the former sideman had spent well over a decade watching other singers take the spotlight. When his turn finally came, it arrived late—but large enough that one of country music’s biggest songs of 1974 carried his voice.

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CAPITOL DROPPED FREDDIE HART AFTER “CALIFORNIA GRAPEVINE” STALLED AT NO. 68. THEN AN ATLANTA DJ STARTED PLAYING AN ALBUM CUT CALLED “EASY LOVING”—AND HART HAD A NO. 1 HIT BEFORE THE LABEL COULD EVEN SIGN HIM BACK. By 1971, Freddie Hart had spent years close to country success without ever fully breaking through. He had recorded for several labels, written songs for other artists, and even supplied hits such as Carl Smith’s “Loose Talk” and Porter Wagoner’s “Skid Row Joe.” But his own records remained modest sellers. Then “California Grapevine” stalled at No. 68. Capitol dropped him. On the album, however, was a song Hart had written called “Easy Loving.” Atlanta DJ Jim Clemens at WPLO began playing it, and listener response was strong enough that other stations followed. Capitol suddenly had a problem. The song was taking off, but the singer was no longer under contract. The label rushed “Easy Loving” out as a single. By September 1971, it had reached No. 1 on Billboard’s country chart, staying there for three weeks, and it crossed to No. 17 on the Hot 100. Capitol quickly signed Hart again. The turnaround became much bigger than one rescued record. “Easy Loving” won CMA Song of the Year in both 1971 and 1972. Hart followed it with five more consecutive No. 1 country hits, including “My Hang-Up Is You,” and became one of the biggest country hitmakers of the early 1970s. A few months earlier, the record company had decided Freddie Hart’s commercial future was over. What changed that judgment was not another Nashville meeting or a new contract negotiation. It was one DJ in Atlanta turning over an album and deciding the song buried inside deserved to be heard.

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BILLIE JO SPEARS HAD ALREADY FOUGHT HER WAY INTO THE COUNTRY TOP 5 WHEN SURGERY ON HER VOCAL CORDS THREATENED THE ONE THING HER CAREER DEPENDED ON. THREE YEARS LATER, “BLANKET ON THE GROUND” TOOK HER TO NO. 1. Billie Jo Spears had been chasing country success since childhood. Born in Beaumont, Texas, she performed on the *Louisiana Hayride* at thirteen, recorded young, worked as a secretary, and eventually moved to Nashville. Her first real national breakthrough came in 1969 with “Mr. Walker, It’s All Over,” which reached the country Top 5. Then her voice became the problem. In the early 1970s, Spears developed serious vocal-cord trouble. She underwent surgery to remove nodules and polyps, with AllMusic noting that she required two operations over roughly two years. For a singer whose husky voice was her identity, the risk was obvious: the procedures could have ended her career instead of saving it. Spears recovered, but the momentum she had built was gone. She returned to recording with United Artists and producer Larry Butler in 1974. Among the songs cut for the new album was Roger Bowling’s “Blanket on the Ground,” a playful story about a married woman asking her husband to recreate the romance of their younger days. Spears initially did not even expect Butler to include it on the album. He did more than include it. United Artists released “Blanket on the Ground” in 1975, and it became Spears’s only No. 1 country single. The record also crossed into pop markets overseas, reaching especially large audiences in Britain and Ireland. The comeback held. “What I’ve Got in Mind” and “Misty Blue” both reached the country Top 5 in 1976, while later songs such as “If You Want Me” and “‘57 Chevrolet” kept her on the charts and strengthened a following overseas that would last long after her American peak. “Blanket on the Ground” was not the beginning of Billie Jo Spears’s career. It was the record that arrived after she had already learned how fragile a career could be when the instrument was part of her own body. By the time the song reached No. 1, the voice on it was not simply older or rougher. It was a voice she had almost lost.

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CAL SMITH SPENT YEARS PLAYING GUITAR BEHIND ERNEST TUBB WHILE OTHER MEN STOOD AT THE MICROPHONE. THEN, IN HIS LATE 30s, “THE LORD KNOWS I’M DRINKING” TOOK HIM TO NO. 1—AND “COUNTRY BUMPKIN” MADE HIM ONE OF 1974’S BIGGEST COUNTRY WINNERS. Cal Smith was already deep into country music before most listeners knew his name. Born Calvin Shofner in Oklahoma and raised in California, he worked clubs and radio before joining Ernest Tubb’s Texas Troubadours in the early 1960s. For years, Smith played guitar behind one of country music’s most established stars while trying to build a recording career of his own. The solo records came slowly. By 1972, Smith was in his late thirties and had only modest chart success. Then Bill Anderson gave him “The Lord Knows I’m Drinking,” a song about a man being judged for drinking by a churchgoing woman whose own behavior is hardly spotless. Released late that year, it became Smith’s first No. 1 country hit. The real peak came next. In December 1973, Smith recorded Don Wayne’s “Country Bumpkin” at Bradley’s Barn. The song follows a country boy through marriage, fatherhood and eventually the death of his wife, compressing an entire life into a few verses. Released in 1974, “Country Bumpkin” went to No. 1. It also won Single Record of the Year and Song of the Year at the Academy of Country Music Awards, while the composition earned Song of the Year honors from the Country Music Association as well. Smith followed with another No. 1, “It’s Time to Pay the Fiddler,” confirming that the breakthrough had not been a one-record accident. By then, the former sideman had spent well over a decade watching other singers take the spotlight. When his turn finally came, it arrived late—but large enough that one of country music’s biggest songs of 1974 carried his voice.

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CAPITOL DROPPED FREDDIE HART AFTER “CALIFORNIA GRAPEVINE” STALLED AT NO. 68. THEN AN ATLANTA DJ STARTED PLAYING AN ALBUM CUT CALLED “EASY LOVING”—AND HART HAD A NO. 1 HIT BEFORE THE LABEL COULD EVEN SIGN HIM BACK. By 1971, Freddie Hart had spent years close to country success without ever fully breaking through. He had recorded for several labels, written songs for other artists, and even supplied hits such as Carl Smith’s “Loose Talk” and Porter Wagoner’s “Skid Row Joe.” But his own records remained modest sellers. Then “California Grapevine” stalled at No. 68. Capitol dropped him. On the album, however, was a song Hart had written called “Easy Loving.” Atlanta DJ Jim Clemens at WPLO began playing it, and listener response was strong enough that other stations followed. Capitol suddenly had a problem. The song was taking off, but the singer was no longer under contract. The label rushed “Easy Loving” out as a single. By September 1971, it had reached No. 1 on Billboard’s country chart, staying there for three weeks, and it crossed to No. 17 on the Hot 100. Capitol quickly signed Hart again. The turnaround became much bigger than one rescued record. “Easy Loving” won CMA Song of the Year in both 1971 and 1972. Hart followed it with five more consecutive No. 1 country hits, including “My Hang-Up Is You,” and became one of the biggest country hitmakers of the early 1970s. A few months earlier, the record company had decided Freddie Hart’s commercial future was over. What changed that judgment was not another Nashville meeting or a new contract negotiation. It was one DJ in Atlanta turning over an album and deciding the song buried inside deserved to be heard.

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GARY STEWART’S ONLY NO. 1 HIT WAS ABOUT A MAN DRINKING THROUGH A COLLAPSING RELATIONSHIP. YEARS LATER, THE DARKNESS IN HIS RECORDS WOULD BEGIN TO LOOK FAR TOO MUCH LIKE HIS OWN LIFE. Gary Stewart did not sound like the smooth Nashville country dominating much of the 1970s. Born in Kentucky and raised in Florida, he developed a high, quivering voice that seemed permanently on the edge of breaking. Before his own breakthrough, Stewart and songwriting partner Bill Eldridge placed songs with artists including Stonewall Jackson and Cal Smith. RCA signed him as an artist in the early 1970s. The label initially struggled to find a clear direction, but Stewart’s fortunes changed when producer Roy Dea leaned into the harder honky-tonk sound that suited him best. In 1974, “Drinkin’ Thing” reached the Top 10. Then came “She’s Actin’ Single (I’m Drinkin’ Doubles).” Written by Wayne Carson, the song placed Stewart inside a failing relationship where the woman was behaving as though she were unattached and the man responded by drinking twice as hard. Stewart’s strained delivery made the lyric sound less like clever wordplay than a nervous breakdown happening in real time. In 1975, it went to No. 1. The album *Out of Hand* produced three major hits and later came to be regarded as one of the strongest hard-country albums of the decade. For a moment, Stewart had carved out a space between traditional honky-tonk and the emerging outlaw audience. But the instability in his records was not purely theatrical. As the decade progressed, Stewart struggled increasingly with alcohol and drugs. Personal losses compounded the problem, and by the 1980s his recording career had slowed sharply. He eventually returned to performing and recording, retaining a devoted audience that had never forgotten the rawness of those RCA records. Then, in December 2003, Stewart’s wife of more than four decades, Mary Lou, died of pneumonia. Less than a month later, Gary Stewart died by suicide at his Florida home. His reputation had never depended on polish. What listeners remembered was the feeling that every syllable might come apart before the band reached the next measure—and that, somehow, Stewart always held it together just long enough to finish the song.