Celebrating Women’s History Month: Crystal Gayle, Rose Maddox, and More

Our partnership with our friends at Real Roots Radio in Southwestern Ohio continues as we move from Black History Month to Women’s History Month! This time, we’ll bring you weekly collections of a variety of powerful women in bluegrass, country, Americana, folk, and elsewhere who have been featured on Real Roots Radio’s airwaves each weekday in March, highlighting the outsized impact women have on American roots music. You can listen to Real Roots Radio online 24/7 or via their FREE app for smartphones or tablets. If you’re based in Ohio, tune in via 100.3 (Xenia, Dayton, Springfield), 106.7 (Wilmington), or 105.5 (Eaton).

American roots music, historically and currently, has often been regarded as a male-dominated space. It’s certainly true of the music industry in general and these more down-home musics are no exception. Thankfully, American roots music and its many offshoots, branches, and associated folkways include hundreds and thousands of women who have greatly impacted these art forms, altering the courses of roots music history. Some are relatively unknown – or under-appreciated or undersung – and others are global phenomena or household names.

Over the next couple weeks, we and RRR will do our best to bring you more examples of women in roots music from all levels of notoriety and stature. Radio host Daniel Mullins, who together with BGS and Good Country staff has curated the series, kicked us off last week with Dottie West, Gail Davies, and more. This week, we’re shining a spotlight on Kristin Scott Benson, Crystal Gayle, Big Mama Thornton, Reba McEntire, and Rose Maddox. We’ll return next week and each Friday through the end of the month with even more examples of women who blazed a trail in roots music.

Plus, you can find two playlists below – one centered on bluegrass, the other on country – with dozens of songs from countless women artists, performers, songwriters, and instrumentalists who effortlessly demonstrate how none of these roots genres would exist without women.

Crystal Gayle (b. 1951)

She’s a country music icon with signature floor-length hair and a voice as smooth as silk – Crystal Gayle!

Born Brenda Gail Webb in Paintsville, Kentucky, Crystal Gayle stepped out of the shadow of her legendary sister, Loretta Lynn, to carve her own path in country and pop music. She scored her first Top Ten hit in 1975 with “Wrong Road Again.” However, her major breakthrough came in 1977 with the GRAMMY Award-winning “Don’t It Make My Brown Eyes Blue,” a crossover hit that topped the country charts and even made waves on the pop scene. It peaked at Number Two on the overall Hot 100, setting Gayle up to be one of the premiere crossover artists of the era.

With 18 Number One hits, Crystal Gayle has the fourth most chart-topping songs for a female in country music history, even more than her older sister. She became a defining voice of the late ’70s and ’80s, blending country with soft pop for her signature sound. Who could forget those long, flowing locks – almost as famous as her music! A member of the Grand Ole Opry and the Kentucky Music Hall of Fame, she even has a star on the Hollywood Walk of Fame in addition to scores of other awards, honors, and accolades. Crystal Gayle is still shining today, proving that true talent – and great hair – never go out of style!

Suggested Listening:
Wrong Road Again
The Sound of Goodbye

Big Mama Thornton (1926 – 1984)

Before Elvis shook his hips and Janis wailed the blues, there was Big Mama Thornton. Born Willie Mae Thornton in 1926, this powerhouse of a woman changed music forever.

Thornton’s deep, growling voice and raw emotion made her a legend in blues and rock and roll. She recorded “Hound Dog,” which was written specifically for her, in 1952 – years before Elvis made it even more famous. It sold over half a million copies and reached the Top Ten on the Billboard R&B charts. Her recording of “Hound Dog” is regarded as a pivotal recording in the birth of rock and roll, and truthfully, her female perspective makes the song make a lot more sense.

Like many Black artists of her time, she never saw the wealth or credit she deserved. Big Mama wasn’t just a singer – she played drums, harmonica, and wrote music, influencing generations of artists. Janis Joplin’s hit “Ball and Chain” was written by Big Mama.

As a blues icon, she toured the United States and Europe, worked at many prestigious folk, blues, and jazz festivals, and even recorded an album with Muddy Waters. Sadly, her life was cut short after years of alcohol abuse, passing away at the age of 57 in an LA boarding house; Big Mama was buried in a potter’s field.

Big Mama Thornton paved the way for rock and roll, blues, and soul, and was posthumously inducted into the Rock & Roll Hall of Fame in 2024.

Suggested Listening:
Ball and Chain
Wade in the Water

Kristin Scott Benson (b. 1976)

A South Carolina native, Kristin Scott Benson is a six-time IBMA Banjo Player of the Year and an absolute force on the five-string. She was a mandolin player as a youngster, but caught the banjo bug at nine years old when she saw Doyle Lawson & Quicksilver in the 1980s with their exciting brand of bluegrass – and a young Scott Vestal on banjo. She joined the all-female bluegrass band Petticoat Junction when she was just a senior in high school, moving to Nashville in 1994 to attend Belmont University.

Unknowingly, she made history during her sophomore year in college when she was hired by The Larry Stephenson Band. She is viewed by many as having “broke the glass ceiling” in bluegrass, by playing in a male-dominated professional bluegrass band, without being married to, dating, or being related to any of the other members – she was simply a powerful picker. Kristin worked two different stints with The Larry Stephenson Band, in addition to working with Larry Cordle & Lonesome Standard Time. She joined The Grascals in 2008, where she has remained for over fifteen years.

Pointing to Sonny Osborne as her banjo mentor, she has fit The Grascals’ sound like a glove with their heavy Osborne Brothers influence. (It was actually Sonny who recommended her to The Grascals for their banjo job.) In addition to kicking tail on stage and in the studio with The Grascals, in recent years Kristin has formed a recording duo with her husband, mandolin master Wayne Benson of Russell Moore & IIIrd Tyme Out. Together they are simply known as Benson.

Kristin Scott Benson received the Steve Martin Prize for Excellence in Banjo & Bluegrass in 2018, and was inducted into the American Banjo Hall of Fame in 2024.

Suggested Listening:
Up This Hill and Down” – The Grascals
Conway” – Benson

Rose Maddox (1925 – 1998)

She was bold, she was brash, and she helped shape country as we know it! Rose Maddox wasn’t just another singer, she was a trailblazer.

Born in Alabama and raised in Modesto, California, Rose and her brothers – The Maddox Brothers and Rose – became pioneers of the “hillbilly boogie” sound. Performing on radio as teenagers, their career really took off when Rose’s brothers returned from World War II, anchored by her powerhouse vocals. One of the first hillbilly bands to come from California, The Maddox Brothers & Rose cut a wide swathe, touring across the country, performing on the Louisiana Hayride, and making smash records.

With wild outfits, high energy, and Rose’s infectious laugh, they were country music’s first real rock stars, known as America’s most colorful hillbilly band. In the 1950s, The Maddox Brothers & Rose parted ways and Rose pursued a solo career. She broke barriers as a female country star, scoring over a dozen Top 30 hits like “Sing a Little Song of Heartache” and inspiring legends like Dolly Parton and Emmylou Harris. She also recorded several popular country duets with another legend with ties to southern California – Buck Owens. In 1962, she released the first bluegrass album by a female artist, Rose Maddox Sings Bluegrass, joined by Bill Monroe, Don Reno, Red Smiley, Donna Stoneman, and more.

She would continue to tour and record, even recording an album with Merle Haggard & The Strangers as her backing band. The Hag always pointed to The Maddox Brothers & Rose as one of his influences. Maddox also performed on stage and in studio with California bluegrasser Vern Williams, and even received a bluegrass GRAMMY nomination for her Byron Berline-produced album $35 & A Dream, shortly before her passing in 1998 at the age of 72.

Honky-tonk, bluegrass, rockabilly – Rose did it all and she did it first! So next time you hear a fiery female country singer, tip your hat to Rose Maddox, the original queen of country sass.

Suggested Listening:
Honky Tonkin’” – The Maddox Brothers & Rose
Sing A Little Song of Heartache

Reba McEntire (b. 1955)

From the heart of Oklahoma, one voice has echoed through the decades, captivating fans with her powerhouse vocals and undeniable charm. Reba McEntire, one of the true Queens of Country Music, has been breaking barriers since she first stepped onto the scene in the 1970s.

Her big break came in 1974 when country & western singer Red Steagall saw Reba perform the National Anthem at a rodeo event in Oklahoma. He then helped her land her first record deal. But she was hardly an immediate success, working to find her footing in the music industry and after four years, she scored her first Top Ten hit, “(You Lift Me) Up To Heaven.” After that, she hasn’t looked back!

Reba topped the Billboard country singles chart for the first time in 1983 with “Can’t Even Get The Blues,” the first of her many Number One hits. With over 40 chart toppers and a career spanning more than four decades, she’s done it all. From mega hits to her legendary TV show, Reba, she’s not just a country icon, she’s a cultural force. However, Reba’s most iconic hit only reached #8, from her classic 1990 album, Rumor Has It. A song she learned from Bobbie Gentry, that has been a signature song of Reba’s ever since, it has been certified double-platinum, selling over 2 million copies: everyone loves “Fancy.”

Known for her fierce spirit and down-to-earth personality, Reba’s music continues to inspire generations of fans. Whether she’s singing about love, heartbreak, or resilience, one thing’s for sure – Reba’s voice is timeless. Reba McEntire, a true legend and a voice like no other.

Suggested Listening:
Fancy
Swing All Night Long With You


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Photo Credit: Rose Maddox courtesy of Discogs.com; Crystal Gayle courtesy of the artist; Big Mama Thornton from Ball N’ Chain.

Crystal Gayle Goes Deep into Classic Country

It’s a little startling when Crystal Gayle pops into the hallway of her Music Row office and cheerfully waves for this writer to come on back. Along with being a charming and welcoming host, she’s also one of country music’s most identifiable entertainers, a Grand Ole Opry member, a Grammy winner, and a genuine class act.

She’s also a recording artist again, ending a 16-year absence with You Don’t Know Me, a collection of country classics that honors her heroes, as well as her sister, Loretta Lynn, and Loretta’s late husband, Mooney Lynn. It was Mooney, she says, that ushered her into the spotlight as a teenager, and that memory prompted Gayle to begin the album with “Ribbon of Darkness,” a Marty Robbins hit in 1965.

“‘Ribbon of Darkness’ was my first song on the Opry,” she recalls. “I was probably 16 or 17, and my sister Loretta was sick and Mooney talked them into letting me get on stage and sing a song in her place. It was just a thrill! Of course, later on when I started out, I opened for Marty Robbins. Marty was so incredible. I got to work with Jack Greene, Stringbean, Grandpa Jones, Bill Monroe. … My album is filled with songs that mean something to me. This is a part of my life that a lot of people don’t know about.”

Gayle co-produced the album with her son, Christos, and continued the family connection by recording “Put It Off Until Tomorrow” with both of her singing sisters, Loretta Lynn and Peggy Sue. She also unearthed “You Never Were Mine,” a tearjerker written by her late brother Jay Lee Webb. Surrounded by fan gifts and photos from throughout her career, Gayle visited with BGS about her earliest days in Nashville, how she found her own voice, and why she’s still fond of her own country classic, “Don’t It Make My Brown Eyes Blue.”

BGS: What was it like for you as a new artist in 1970, meeting Jack Greene, Marty Robbins, and all of these stars?

CG: I was in awe of everybody, but of course when Loretta would come through town — because she was singing as I was growing up — she would be with maybe Ferlin Husky. I remember loving that. Or the Wilburn Brothers. They were incredible! I loved the harmony that they did. I could sit and listen to their music all day long, I just loved it. Of course I was a fan as well, but you have to give them their space. [Laughs] I learned that from Loretta.

I’m curious about Mooney. How did he influence your career?

Mooney really believed in my ability of singing. He loved my voice and he actually got my contract with Decca Records, but the best thing about it, he got a very short contract. It was the long ones that can ruin a lot of artists, because now they’re on this label, they’ve got so many years left, and they can’t do anything and [the label isn’t] helping them at all. They are not pushing the records.

So I was very lucky when my contract was up and Owen [Bradley] called me in. It was like, “Well, you’re going to do this, this, this, or we say bye.” I said, “Okay, bye.” [Laughs] I mean, it was hard. It was a hard time and I really thought at that time, “I’m just going to go back to Indiana and do what I’m doing.” I was married and my husband was going to Indiana University. Then when we moved to Nashville, he went to Vanderbilt in law school.

But I was just lucky. I was in the right place at the right time because before I left town, I was fulfilling my [appearance] obligations and I ran into Lynn Shults, who was with United Artists. We were just talking and he says, “Well, what label are you with now?” I said, “No one.” He said, “Will you come and talk to me Monday?” So things fell into place. And they put me with Allen Reynolds.

To say the least, that worked out.

Oh it did.

There was one song here I didn’t recognize – “I’ve Seen That Look on Me a Thousand Times.”

That was a song that our engineer Eric Prestidge loved. He said, “You’ve got to listen to this.” It was a song that I thought, “You know, a girl doesn’t really sing this… And I’m going to do it.” And I loved that it was a Harlan Howard song.

Several times on this record, it’s a woman singing about the drinking and the cheating. What is it about those flawed characters that makes you want to step into those shoes?

I’ve always said that if I had all the heartache I’ve sung about in my songs, I’d be in poor shape. So you’re a little bit of an actress or an actor. I’ve worked so many little clubs and bars on the way up — and even in high school I’d work the little places I could get into without getting anybody in trouble — that you saw the heartache. You saw the people that these songs really was their life.

So you can get into that and sing about it. “Just One More” was one of Mooney’s favorite songs and when they’d come through and stop at Mom’s house, I’d have to sing a cappella — he had me learn “Just One More.”

How old were you?

I was probably in sixth or seventh grade. [Laughs] “Just one more and then another…”

A drinking song from a 12-year-old.

“I’ll keep drinking, it don’t matter….” [Laughs]

You’ve included “Hello Walls,” written by the great Willie Nelson. As a co-producer, what kind of vibe were you going for?

I was actually going to go for the style that Faron Young did, and have the type of harmonies with the “hello, hello” … and we didn’t [use that idea] because I let other people influence me. They said, “No, you can’t, you’ve got to change it a little.” But I did my own harmony on that particular song. You know, I opened for Faron. I used his band and we did some dates together.

I remember rehearsing with him and the group. They were incredible guys, and very, very special to me. They’d watch out. I was that young girl that — all of them, even Conway Twitty — if I was on their shows, they were going to watch out for me because as the little sister of Loretta, they knew that she’d kill them if they didn’t!

Here you are, this young woman, 20 or 21 years old, starting out with these middle-aged guys who are stars. I wondered how they treated you.

Everyone treated me great and I think it really showed a lot of respect as well for my sister. And you know, I’m not someone that’s going to come out there and be that floozy, too. I think the way you present yourself is a part of it. But no, they were all very, very, very good.

And with Faron, when I wanted to do “Hello Walls,” I had completely forgotten that Willie Nelson had written the song and I’m starting to sing it, and I said, “Of course, the phrasing.”

Your phrasing is distinct, too. At what point did you find your own voice, do you think?

I think working with Allen. He would say, “Now sing this song, do it different ways, and then listen back and see which you like the best.” See, he let me listen to my voice and not just go in and sing the song. Because I was a belter. I remember going in the first time and Charles Cochran’s playing the piano and I’m singing at the top of my lungs. Allen grins and he says, “Can you sing it a little bit lighter?” [Laughs] … Allen was laid-back like me, and was not forceful, but he did pull out things within me. He’d say, “Do you like this song? Because you’re going to be the one singing it. You better like it.”

What a gift, instead of a producer just telling you what to do.

Oh, it was incredible. I was used to people telling me everything but Allen knew it was going to be me out there pounding the road and he wanted me to have the songs that I felt really comfortable with. I get asked the question, “Do you ever get tired of singing ‘Don’t It Make My Brown Eyes Blue’?” I don’t, because that song — Richard Leigh wrote it — is so well-written. I’ve always said it says so much in so little. I love it that it’s not all these words I have to think about to sing. There are so many songs out there where it’s like, “OK, what verse is next?” But this song just flows, and I think that’s one of the reasons that it was as big as it was.


Photo courtesy of the artist.

WATCH: Lorraine Jordan & Carolina Road, ‘Ready for the Times to Get Better’

Artist: Lorraine Jordan & Carolina Road
Hometown: Garner, NC
Song: “Ready for the Times to Get Better”
Album: Country Grass
Label: Pinecastle Records

In Their Words: “‘Ready for the Times to Get Better’ has always been one of my favorite songs. Whether it’s the Doc Watson or the Crystal Gayle version, the song never gets old. It was a great song to add to the Country Grass project. The Carolina Road boys did a great job playing on this tune. It’s one of our most requested tunes.” — Lorraine Jordan


Photo credit: Webster PR