Texas holds a unique place in the landscape of country music, a realm where seemingly disparate elements—tuxedos and cowboy boots, steel guitars and symphony orchestras, tradition and innovation—harmoniously coexist. To truly understand this Texan essence in country music, one must delve into the world of Ray Price and his remarkable songs. For those uninitiated, Ray Price might initially appear as just another crooner from a bygone era, akin to Eddy Arnold or Jim Reeves. However, experiencing Price within his native Texas environment reveals a vital artist whose body of work resonates deeply, showcasing his unparalleled ability to connect with a song and his audience.
Ray Price performing live, a portrait commemorating the country music legend known for his iconic Ray Price songs, captured by John Carrico.
Ray Price’s interpretive genius and inherent dignity remained undiminished throughout his career, spanning over half a century. His 1992 album Time, his first in eight years, marked not a comeback, but a reaffirmation of his enduring artistry. He was at his peak, commanding an audience that had never truly let him go. Eight years later, at 74, he released Prisoner of Love, an even more impressive collection where he masterfully reinterpreted standards like the title track, Nat King Cole’s “Ramblin’ Rose,” The Beatles’ “In My Life,” and a poignant “What a Wonderful World.” These songs, seemingly disparate, were unified by Price’s distinctive style, proving his artistry transcended time and genre.
Upon Ray Price’s passing on December 16th, many obituaries struggled to encapsulate his profound significance. He was acknowledged for his longevity and numerous hits, particularly from his early career. His connections to other legendary artists like Hank Williams, whose band he inherited, and his mentorship of future stars like Willie Nelson and Roger Miller, were also highlighted. Price was often seen as a living link to country music’s golden age.
While not primarily a songwriter himself, Ray Price possessed an exceptional talent for recognizing great songs and songwriters. He could take existing melodies and lyrics and imbue them with his own unique essence. This deep connection to the material—his emotional sincerity, conversational phrasing, and the resonant clarity of his baritone voice—transformed every piece into a quintessential Ray Price song, and by extension, a country song.
Ray Price’s impact extends beyond mere longevity or hit records. He fundamentally reshaped country music, notably by popularizing the “Ray Price shuffle.” This 4/4 beat, characterized by prominent drums and a walking bass line, revolutionized dance floors and propelled Price from the shadows of his influences, Hank Williams and Bob Wills. “Crazy Arms” in 1956 was a seismic shift, but it was not his last.
His 1963 album Night Life further exemplifies his innovative spirit. The spoken-word introduction sets a contemplative tone, reminiscent of Sinatra’s In the Wee Small Hours, exploring the nocturnal themes of love and loss.
“Tonight, we’ve chosen some of the songs that we sing and play on our dances across the country,” Price announces. “Songs that reflects the emotion of the people that live in the night life. Songs of happiness, sadness, heartbreak …
“This first song was written especially for me by a boy from down in Texas way,” he continues, as the haunting melody of “Night Life” begins to play. “And it’s accepted so good on our dances, we hope you like it. It’s a little different from what we normally do …”
“Night Life” was indeed different. Its bluesy undertones, later embraced by B.B. King, and jazzy arrangement, featuring Buddy Emmons’s mesmerizing steel guitar, were groundbreaking for country music. Yet, it remained deeply rooted in Texas sensibility, having been rigorously tested and perfected on roadhouse dance floors before becoming the centerpiece of his pivotal album.
This album bridged Ray Price’s past and future, demonstrating the evolution of honky-tonk into a broader American musical form. In Texas, country music has always been intrinsically linked to dance. Price reigned as a roadhouse monarch, commanding respect and bridging the gap between the dance floor and the concert hall. Even when backed by lush string arrangements, his music remained undeniably country.
“Night Life” was a departure from the shuffle, yet, as he explains, it was pure Texas and pure dancefloor music. Written for him by a then-unknown “boy from down in Texas way”—Willie Nelson—the song became a standard, cherished by generations, a testament to Price’s ear for timeless music.
The sophistication of “Night Life” paved the way for the next phase of his career, where string arrangements became a defining characteristic. While some “countrypolitan” artists were diluted by such arrangements, they enhanced Price’s artistry. His impeccable phrasing, tone, and intuitive interpretation shone brighter, broadening his appeal without compromising his core sound.
This evolution was not without its detractors. The stylistic leap from honky-tonk shuffles like “Heartaches by the Number” to string-laden renditions of “Danny Boy” seemed vast to some. However, the purity of the arrangement in “Danny Boy” evokes the sublime beauty of songs like “The End of the World,” representing country music at its most poignant. His crossover success with “Danny Boy” further propelled him to mainstream recognition, culminating in his definitive version of Kris Kristofferson’s “For the Good Times.”
Understanding Ray Price’s journey requires working backward, as appreciation often deepens with retrospective listening. His independent albums from the late 1990s ignited a renewed interest, leading to a triumphant return to the national stage in 2007 with Willie Nelson and Merle Haggard in “The Last of the Breed.” While some may have perceived him as the elder statesman tagging along, his trio mates knew him as the mentor, the senior partner.
Merle Haggard recounted to Rolling Stone, “I told Willie when it was over, ‘That old man gave us a goddamn singing lesson.’ He really did. He just sang so good. He sat there with the mic against his chest. And me and Willie are all over the microphone trying to find it, and he found it.”
Ray Price’s own words encapsulate his philosophy: “The only thing I’ve ever done is sing my kind of song for my kind of people.” Whether it was a string-drenched “Danny Boy” or a honky-tonk shuffle, it was country music because Ray Price sang it, for the people who understood and cherished his Texan authenticity. His rendition of “Danny Boy” resonated with a country soul in a way that Tony Bennett’s take on Hank Williams’ “Cold Cold Heart,” despite its merit, never could.
In his final weeks, Ray Price shared a heartfelt message: “I love my fans and have devoted my life to reaching out to them. I appreciate their support all these years and I hope I haven’t let them down. I am at peace. I love Jesus. I’m going to be just fine. Don’t worry about me. I’ll see you again one day.”
In the end, Ray Price was at peace—with himself, his legacy, his family, his fans, and his indelible contribution to country music. He was, and remains, a true Texas icon.
