It can be argued that Charlie Pride’s emergence during the ’60s was the decade’s most surprising musical event. While British invaders and white soul stars were routinely landing hits simultaneously on the pop and R&B charts, only Pride among African-American performers enjoyed consistent success in the country arena.
Several optimistic individuals thought Pride’s ascension to the top only marked the beginning of increased black involvement with and participation in country music. Instead, it must now be viewed as an exception to the rule at best, and an aberration at worst, albeit a magnificent one.
Ironically, Pride’s real strength was his total stylistic immersion in country. He’s not an eclectic visionary like Ray Charles, or a soulful blues artist like Bobby “Blue” Bland or Lazy Lester who also enjoys country music. Pride’s heroes and prime influences are George Jones, Jim Reeves, Ernest Tubb, Loretta Lynn and Hank Williams Sr., and there’s nothing artificial, forced or phony in his articulation or delivery.
Charlie Pride’s magnificent baritone, amiable personality and fervent devotion to heartache ballads and country sagas proved so pure and earnest that he overcame the antipathy many within the country audience felt at the time not only towards African-Americans, but the general societal changes resulting from the civil rights, women and youth movements. It also helped that such giants as Chet Atkins and “Cowboy” Jack Clement were in his corner providing vital production and content assistance.
Interestingly, as contemporary country evolved and its movers and shakers began emphasizing a more cosmopolitan, crossover ethos, Pride has found himself just as locked out of radio airplay and mainstream exposure as his idols and contemporaries. At least on this level country has achieved a measure of real integration because a black Mississippi singer’s music is considered every bit as anachronistic as that of any other hillbilly.
Because he’s enjoyed substantial business success over the last couple of decades and hasn’t had a major country hit in some time newcomers may not be fully aware of Pride’s greatness, despite his recent induction into the Country Music Hall of Fame. The two-disc Anthology contains 40 Pride winners, among them such Clement-penned classics as “Just Between You And Me” and “I Know One,” as well as his greatest numbers “All I Have To Offer You Is Me,” “Is Anybody Going To San Antone,” “Kaw-liga,” and “Kiss An Angel Good Morning.”
The collection showcases his ability to handle everything from story tunes to heartache and sentimental ballads, as well as creditable covers like Jones’ “Why Baby Why” and “The Power of Love.” There’s even a collaboration with Henry Mancini on “All His Children” that may not rank among his finest numbers, but is still worth hearing.
It would have been nice if the single “Honky Tonk Blues” had been included, or more attention paid to his gospel material. Still, numbers like “Mississippi Cotton Picking Delta Town,” “Where Do I Put Her Memory” and “Let The Chips Fall” are fine songs that aren’t always remembered or included in Pride’s live shows. He’s no longer BMG’s alltime country sales champion, but Charlie Pride is certainly a legendary figure whose finest songs rank among the greatest country material made during the ’60s and ’70s.
