I've played the guitar for about 25 or so years now, but I've never really payed much attention to country music, or at least not with a critical ear for song construction and chord progression. By "country," of course, I mean the stuff that was coming out of Nashville from the '50s through the '70s, before Mutt Lange made Shania Twain a sort of Def Leppard with fiddles and pedal steels singing about rural themes. I grew up with no choice but to hear 1970s country music whenever my parents listened to music in the car or at home; my Dad had long since lured my Mom away from her R&B, stuff like Sly and the Family Stone and Otis Redding that initially piqued my intense interest in music as a child. If your folks dig it, it can't be cool, right?
Musically, my only previous experience with country was as a member of a country/bluegrass ensemble __ years ago, comprised of fellow hospital employees. We played some old standards and had a great boogie woogie piano player, amazing pedal steel, geetar strummers and banjo pickers. I played the
token rocker. Sometimes we added this gigantic orderly whose father was a country session drummer, so we were in pretty good shape unless he flaked out and we had to resort to the washboard. This old geezer named Silas who played mandolin had a homemade washboard, with holders for thimbles on which he had painted the essential keys: E, C, G, A and F; it was his idea of a joke. We did various hospital function type gigs, played standards, smiled a lot and got paid to skip out of work a few hours a day and rehearse on the clock. Sweet. And when things got
really wild at the old dedication ceremony, they'd put me up front to do a Chuck Berry number. Wild. But I wish I would have taken the opportunity then to delve further into the actual
craft of country music, instead of just getting by chordally and playing Keith Richards and Dickie Betts leads in a major key, my ideal then of "country guitar."
So in my first study today, about four songs into it, the whole secret of Nashville hit making laid out before my very eyes. Items submitted for study were as follows:
1. "Stand By Your Man" by Tammy Wynette
2. "Hello Darlin'" by Conway Twitty
3. "When You're Hot, You're Hot" by Jerry Reed
4. "Daddy Sang Bass" by Johnny Cash
5. "If We Can Make It Through December" by Merle Haggard
At the exact moment I first heard the chord progression to item five, that awesome F major to F minor change, with the C to Cmaj7 to C/G and back to F before turning it around with the G7, I felt that I had cracked the secret code to Nashville hit making, though I'm sure many of you already knew this - it was the first time that I had actually analyzed it. It goes:
"Will the Circle Be Unbroken," when played by top studio cats in a booming post-WWII Nashville recording industry who would rather be playing jazz but make serious bucks doing this, becomes a BIG TIME COUNTRY HIT when combined with lyrical themes based on the strife of country living. It was a familiar sound for people in the south who secretly tapped their foots to "race" records or perhaps owned a Benny Goodman record.
Or more succinctly, learned musicians added passing tones to simple chord progressions favored in certain country regions, and wrote great lyrics with great melodies that sounded even greater after drinking seven Miller High Lifes and playing a game or two of darts.

Special prize for first person to name all pictured individuals; I'm guessing you already know the first one.