Kenny Rogers
t took several tries before Kenny Rogers became a star. As a member of the First Edition (and the New Christy Minstrels before that), he shared in some million-sellers, among them "Reuben James" and "Ruby, Don't Take Your Love to Town," an excellent Mel Tillis song about a disabled veteran. But superstardom lay ahead for this Texan, and it arrived in the late '70s. His experience with the two previous pop groups had prepared him well: He knew the easy listening audience was out there, and he supplied them with well-done middle-of-the-road songs with a country flavor. Having gone solo, in 1976 Rogers charted with "Love Lifted Me." But it was with an outstanding song by writers Roger Bowling and Hal Bynum, "Lucille,", that his star shot upward. The rest (as they say) is history: award-winning duets with Dottie West and Dolly Parton, 12 TV specials, another song-of-the-year with "The Gambler," "Daytime Friends," "Coward of the County," "We've Got Tonight," "Crazy," "Lady" (his first pop number one), etc., etc., etc. And that's just the musical side of Rogers. In 1980, the made-for-TV movie The Gambler blasted the competition, followed quickly by Coward of the County, then enough sequels to The Gambler to get him to Roman numeral IV. Throughout the '80s, Rogers remained a celebrity, even when his sales were declining. Even during the '90s, when he rarely charted, his name, face, and music were recognizable in a series of concerts, television specials, films, and even fast-food restaurants.
Like many country superstars, Rogers came from humble roots. Born in Houston, TX, Rogers and his seven siblings were raised in one of the poorest sections of town. Nevertheless, he progressed through high school, all the while learning how to play guitar and fiddle. When he was a senior, he played in a rockabilly band called the Scholars, who released three singles, including "Kangewah," which was written by Louella Parsons. Following his graduation, he released two singles, "We'll Always Fall in Love Again" and "For You Alone," on the local independent label Carlton. The B-side of the first single, "That Crazy Feeling," was popular enough to earn him a slot on American Bandstand. In 1959, he briefly attended the University of Texas, but he soon dropped out to play bass in the jazz combo the Bobby Doyle Three. While he was with the group, Rogers continued to explore other musical venues and played bass on Mickey Gilley's 1960 single "Is It Wrong." The Bobby Doyle Three released one album, In a Most Unual Way, before Rogers left the group to play with the Kirby Stone Four. He didn't stay long with Stone and soon landed a solo record contract with Mercury.
Rogers released a handful of singles on Mercury, all of which failed. Once Mercury dropped the singer, he joined the New Christy Minstrels in 1966. He stayed with the folk group for a year, leaving with several other bandmembers -- Mike Settle, Terry Williams, and Thelma Lou Camacho -- in 1967 to form the First Edition. Adding drummer Mickey Jones, the First Edition signed with Reprise and recorded the pop-psychedelic single "Just Dropped In (To See What Condition My Condition Was In)." The single became a hit early in 1968, climbing to number five. Within a year, the group was billed as Kenny Rogers & the First Edition, and in the summer of 1969, they had their second and final Top Ten hit, "Ruby, Don't Take Your Love to Town." The country overtones of the single hinted at the direction Rogers was taking, as did the minor hit follow-up, "Ruben James." For the next two years, the First Edition bounced between country, pop, and mild psychedelia, scoring their last big hit with Mac Davis' "Something's Burning" in early 1970. By the end of 1972, the group had their own syndicated television show, but their sales were drying up. They left Reprise the following year, signing to Rogers' new label, Jolly Rogers. None of their singles became major hits, though a version of Merle Haggard's "Today I Started Loving You Again" reached the lower regions of the country charts late in 1973. Rogers left the group in 1974, and the band broke up the following year.
At the time the band broke up, Rogers was severely in debt and Jolly Rogers was out of business. In order to jump-start his career, he signed to United Artists in 1975, and with the help of producer Larry Butler, he devised an accessible, radio-ready, and immaculately crafted take on country-pop that leaned toward adult contemporary pop, not country. "Love Lifted Me," his debut single for the label, was a minor hit early in 1976, but it took a full year for Rogers to have a genuine breakthrough hit with "Lucille." Climbing to number one early in 1977, "Lucille" not only was a major country hit, earning the Country Music Association's Single of the Year award, but it also was a huge crossover success, peaking at number five on the pop charts. For the next six years, Rogers had a steady string of Top Ten hits on both the country and pop charts. His crossover success is important -- his lush, easy listening productions and smooth croons showed that country stars could conquer the pop audience, if produced and marketed correctly. During the late '70s and early '80s, much of country radio was dominated either by urban cowboy or country-pop in the vein of Rogers' own singles. Between 1978 and 1980, he had five straight number one country singles -- "Love or Something Like It," "The Gambler," "She Believes in Me," "You Decorated My Life," "Coward of the County" -- most of which also reached the pop Top Ten. In addition to his solo hits, he had a series of Top Ten duets with Dottie West, including the number one hits "Every Time Two Fools Collide" (1978), "All I Ever Need Is You" (1979), and "What Are We Doin' in Love" (1981). Not only did his singles sell well, but so did his albums, with every record he released between 1976's Kenny Rogers and 1984's Once Upon a Christmas going gold or platinum.
By the beginning of the '80s, Rogers' audience was as much pop as it was country, and singles like his cover of Lionel Richie's "Lady" confirmed that fact, spending six weeks at the top of the pop charts. Rogers also began duetting with pop singers like Kim Carnes ("Don't Fall in Love With a Dreamer," number three country, number four pop, 1980) and Sheena Easton ("We've Got Tonight," number one country, number six pop, 1983). Rogers also began making inroads into television and film, appearing in a number of TV specials and made-for-TV movies, including 1982's Six Pack and two movies based on his songs "The Gambler" and "Coward of the County." Late in 1983, he left United Artists/Liberty for RCA Records, releasing a duet with Dolly Parton called "Islands in the Stream" as his first single for the label. Written by the Bee Gees and produced by Barry Gibb, the record became one of his biggest hits, spending two weeks on the top of both the country and pop charts. Rogers stayed at RCA for five years, during which time he alternated between MOR, adult contemporary pop and slick country-pop. The hits didn't come as often as they used to, and they were frequently competing with releases from Liberty's vaults, but he managed to log five number one singles for the label, in addition to "Islands in the Stream": "Crazy" (1984), "Real Love" (1985), "Morning Desire" (1985), "Tomb of the Unknown Love" (1986), and the Ronnie Milsap duet "Make No Mistake, She's Mine" (1987). Despite his country successes, he no longer had pop crossover hits. Nevertheless, Rogers' concerts continued to be popular, as did his made-for-TV movies. Still, the lack of blockbuster records meant that RCA failed to renew his contract when it expired in 1988. Rogers returned to his first label, Reprise, where he had one major hit -- 1989's Top Ten "The Vows Go Unbroken (Always True to You)," taken from the gold album Something Inside So Strong -- before his singles started charting in the lower half of the Top 40.
Throughout the late '80s and '90s, Rogers kept busy with charity work, concerts, his fast-food chain Kenny Rogers' Roasters, television specials, movies, and photography, publishing no less than two books, Kenny Rogers' America and Kenny Rogers: Your Friends and Mine, of his photos. Rogers continued to record, releasing albums nearly every year, but they failed to break beyond his large, devoted fan base and only made a slight impact on the charts. With 1998's Christmas From the Heart, he established his own record label, Dreamcatcher; She Rides Wild Horses followed a year later, and There You Go Again was issued in mid-2000. ~ David Vinopal & Stephen Thomas Erlewine, All Music Guide
http://www.mp3.com/Kenny-Rogers/artists/75053/biography.html
The Gambler
On a warm summer's evenin' on a train bound for nowhere,
I met up with the gambler; we were both too tired to sleep.
So we took turns a starin' out the window at the darkness
'Til boredom overtook us, and he began to speak.
He said, "Son, I've made a life out of readin' people's faces,
And knowin' what their cards were by the way they held their eyes.
So if you don't mind my sayin', I can see you're out of aces.
For a taste of your whiskey I'll give you some advice."
So I handed him my bottle and he drank down my last swallow.
Then he bummed a cigarette and asked me for a light.
And the night got deathly quiet, and his face lost all expression.
Said, "If you're gonna play the game, boy, ya gotta learn to play it right.
You got to know when to hold 'em, know when to fold 'em,
Know when to walk away and know when to run.
You never count your money when you're sittin' at the table.
There'll be time enough for countin' when the dealin's done.
Now Ev'ry gambler knows that the secret to survivin'
Is knowin' what to throw away and knowing what to keep.
'Cause ev'ry hand's a winner and ev'ry hand's a loser,
And the best that you can hope for is to die in your sleep."
So when he'd finished speakin', he turned back towards the window,
Crushed out his cigarette and faded off to sleep.
And somewhere in the darkness the gambler, he broke even.
But in his final words I found an ace that I could keep.
You got to know when to hold 'em, know when to fold 'em,
Know when to walk away and know when to run.
You never count your money when you're sittin' at the table.
There'll be time enough for countin' when the dealin's done.
You got to know when to hold 'em, know when to fold 'em,
Know when to walk away and know when to run.
You never count you r money when you're sittin' at the table.
There'll be time enough for countin' when the dealin's done.
