Lynn Anderson, who passed away on July 30, 2015, was early '70s radio royalty. Although her country chart presence stretched all the way between 1967 and 1988, her streak of ten crossover pop hits happened precisely between the years 1970 and 1975. Below is a list of all of these in order:
Written by Joe South * Produced by Glenn Sutton * 45: "Rose Garden" / "Nothing Between Us" * LP: Rose Garden * Label: Columbia * Billboard charts: Hot 100 (#3), country (#1), easy listening (#5) * Entered: 1970-11-07 (country), 1970-11-14 (easy listening), 1970-11-28 (Hot 100)
This was Anderson's biggie, a country #1 that rose up to #3 on the pop chart. Written and first recorded by Joe South, the song had also been tried out by Freddie Weller, Billy Joe Royal, and Dobie Gray—all chart flops—before Anderson made it her own. Here's the Lynn Anderson quote about the song that pops up most: "I believe that 'Rose Garden' was released at just the right time. People were trying to recover from the Vietnam Years," she said. "The message in the song [was] that... if you just take hold of life and go ahead, you can make something out of nothing."
Maybe, but Anderson's recording transformed the song into a post-"Stand By Your Man" early '70s feminist anthem right up there with "I Am Woman," "One's on the Way," and "The Pill." It's safe to assume that the message more than a few women heard when "Rose Garden" hit the airwaves was "make your own damn dinner." Before Anderson recorded her version of it, it had been earmarked wrongly as a man song because it mentions diamond rings and has an implied focus on bringing home the bacon, but it only resonated once its Scarlett O'Hara-like "I beg your pardon" refrain was voiced by a woman. Anderson probably knew this but wasn't about to use the F word (Feminism) in the country press. A rueful adultery song from the Rose Garden album written by Anderson appears on side B.
Side B: "Nothing Between Us"
"I'm Alright" (1969)
None of Anderson's pop crossover hits after "Rose Garden" made it past #63. Should she have embraced that song's feminist angle more aggressively? Her follow up to "Rose Garden," an ode to independence called "I'm Alright" hinted that she might have considered it, although its relatively low pop and country chart showings could have caused her to back pedal.
Country singer and songwriter Bill Anderson (no relation to Lynn) wrote this and she originally released it on her 1969 At Home with Lynn album on the Chart label. After she had switched to Columbia and had her big hit with "Rose Garden" in 1970, Chart reissued and repackaged the song to capitalize. "I'm Alright" was a suitable choice for an immediate follow up - like "Rose Garden," it was written from a man's perspective but had a much more self-empowering effect when sung by a woman.
The B-side was written by her mother, Liz Anderson, who had not only racked up a few country hits of her own as a singer in the sixties, but also scored some big ones as a songwriter, including two Merle Haggard classics: "(My Friends Are Gonna Be) Strangers" and "I'm a Lonesome Fugitive." Her 1967 country top 5 hit "Mama Spank," though, was an odd equivocation of her man's behavior with that of a toddler from the days of corporeal punishment.
Side B: "Pick of the Week"
"You're My Man" (1971)
Written and produced by Glenn Sutton * 45: "You're My Man" / "I'm Gonna Write a Song" * LP: You're My Man * Label: Columbia * Billboard charts: Country (#1), Hot 100 (#63), easy listening (#6) * Entered: 1971-05-15 (all charts)
Yes, it's just business, but listening to this string-doused country #1 about Lynn's man being her "reason for living" with the knowledge that it was actually written by her real-life man Glen Sutton makes for an unsettling experience. Coming so soon after the woman-empowering "Rose Garden," both sides of the 45 feel like an effort to right the ideological ship.
The B-side is called "I'm Gonna Write a Song," also written by Sutton, and it contains the lines "Folks sit around with their face in a frown and gripe about the way things are...We need a little more soul savin' and a whole lot more flag wavin'." But it also calls for songs about "sunshine and praise for every living thing." Welcome to the country music of the early '70s. Jerry Reed recorded a version of it in 1973.
Side B: "I'm Gonna Write a Song"
"How Can I Unlove You" was the second of three Joe South-written hits for Lynn Anderson. With its sprightly strings and marimbas, it rode a cheerful sound to the top of the country singles chart while undermining the lyrics' central emotion. Joe South sounds a bit more distraught on his own 1971 recording. Glenn Sutton's "Don't Say Things You Don't Mean" approached the "Rose Garden" attitude but sounded merely like a vulnerable woman's complaint. Arranger Cam Mullins reprised the opening chord change of his "Rose Garden" instrumental hook (root to flat-three) to reinforce the association. The track appeared, along with some other B side interlopers, among charting hits on Lynn Anderson's Greatest Hits the following year
Side B: "Don't Say Things You Don't Mean"
Written by Churchill Kohlmann * Produced by Glenn Sutton * Arranged by Cam Mullins * 45: "Cry" / "Simple Words" * LP: Cry * Label: Columbia * Billboard charts: Country (#3), Hot 100 (#71), easy listening (#16) * Entered: 1972-01-29 (all charts)
With "Cry," Lynn Anderson translates Johnny Ray's classic 1951 #1 hit into a classic early '70s country hit. Although Ray, in his original recording, seemed to be shedding tears (and reportedly did during live performances), Anderson's comparative show of restraint gives it emotional complexity, as though she's not the one who's hurting but knows what it's like and is here to help. Composer Churchill Kohlmann, an African American factory worker, is one of pop music history's many casualties of underpaid exploitation. Glenn Sutton's "Simple Words" provides a welcome sense of assurance after the heavy heart strings of "Cry."
Side B: "Simple Words"
"Listen to a Country Song" (1972)
Written by Alan Garth and Jim Messina * Produced by Glenn Sutton * 45: "Listen to a Country Song" / "That's What Loving You Has Meant to Me" * LP: Listen to a Country Song * Label: Columbia * Billboard charts: Country (#4), Bubbling under (#107)
This was Lynn Anderson's version of a Loggins and Messina song that had appeared on that duo's 1971 Sittin' In album. It embodied a paradoxical early '70s scenario in which a mainstream country artist covered a pop artist's "country" caricature offering—of a sort never usually a part of the country artist's standard repertoire—in the name of "crossing over." (cf. John Denver's "Thank God I'm a Country Boy.") And of course, this track was the most rock 'n' roll Anderson would ever sound. A Glenn Sutton exercise in key changes appears as the B side.
Side B: "That's What Loving You Has Meant to Me"
Written by Joe South * Produced by Glenn Sutton * 45: "Fool Me" / "What's Made Milwaukee Famous" * LP: Listen to a Country Song * Label: Columbia * Billboard charts: Country (#4), bubbling under (#101) * Entered: 1972-10-14 (country), 1972-11-18 (bubbling under)
"Fool Me" was Lynn Anderson's third and final pop crossover hit to be written by Joe South. As with her version of his "How Can I Unlove You," she missed the emotional mark in comparison to South's own recording. (Anderson had also recorded a spirited version of South's popular "Games People Play" in 1969 as an album track.) The single's flipside was her version of Glenn Sutton's recent classic "What's Made Milwaukee Famous (Has Made a Loser Out of Me)," which rearranged the perspective of the 1968 Jerry Lee Lewis country top ten recording: she's the loser because her man's a drunk.
Side B: "What's Made Milwaukee Famous"
"Keep Me in Mind" (1973)
Written by Glenn Sutton and George Richey * Produced by Glenn Sutton * 45: "Keep Me in Mind" / "Rodeo Cowboy" * LP: Keep Me in Mind * Label: Columbia * Billboard charts: Country (#1), bubbling under (#104) * Entered: 1973-01-13 (country), 1973-03-03 (bubbling under)
A shining bit of countrypolitan satin, "Keep Me in Mind was a co-write between Glenn Sutton and George Richey (who would marry Tammy Wynette in 1978 and stand by her until her death in 1998). Cam Mullins's arrangement gave it an added air of refinement. Sutton's "Rodeo Cowboy" on side B, going in a different stylistic direction from side A, trotted with likable country folk authenticity.
Side B: "Rodeo Cowboy"
"Top of the World" (1973)
The B-side of "Top of the World" was a complicated offering from Anderson, who—whether she realized it or not—was one of country music's voices of gender experimentation, having recorded two songs ("Rose Garden" and "I'm Alright") originally intended for men. Songwriting credits for "I Wish I Was a Little Boy Again" went to Darrell Edwards (a frequent George Jones collaborator) and Glenn Sutton, who was a prolific writer of country songs with childhood themes, especially for Tammy Wynette. This one had Anderson pining for her tomboy youth with the following lines: "Girls grow into women and boys grow into men/ And the world of make believe all too soon must end/ And I blame that awful change for the shape my life is in/ Oh I wish I was a little boy again."
Side B: "I Wish I Was a Little Boy Again"
With this single, Anderson's then-husband Glenn Sutton again took the opportunity to write her a song in praise of her man. This one—with its memorable guitar lines—and "You're My Man" were both country number ones, though, so who's laughing? This was Anderson's final appearance on the Billboard Hot 100 and also her very last country chart topper, although she'd appear with regularity on that chart until 1988. The gender games continue (see "I Wish I Was a Little Boy Again" above) on the final song on the LP, "I Feel Like a New Man Today," which was written by her mother, Liz Anderson.
Bonus: "I Feel Like a New Man Today"