Reba McEntire
Country Weekly, Feb. 1, 2016
During my post-CMA diaspora into the freelance wilderness, nothing brightened my mornings like an assignment pitch. I accepted almost all of them. But when an editor offered me some time with an artist of international renown, those mornings came with a jolt, like a cup of pure caffeine.
One such day began on Nov. 30, 2015, when I saw Lisa Konicki’s name in my inbox. I had met Lisa back when I was editing CMA Close Up, so when that gig ended she very generously started tossing pitches my way. In those days, Country Weekly headquartered in the Cumulus Building at Second Avenue and Peabody Street, a few blocks south of the Lower Broadway honky-tonks. Unlike Close Up, the CW staff had a battery of excellent editors and writers on staff: Ken Tucker, Bob Paxman, Tammy Ragusa, Joe Hudak et al. Their writing room, with everyone seated on both sides of a long table, typing on laptops and sharing jokes, felt like home to me.
So anyway, Lisa wrote, “I have a phoner coming up with Reba on Dec. 3 at 1 pm. Wanted to see if you would be interested in talking with her.” (I answered immediately, “YES!!” Then I resumed reading.) “It’s for a cover story. We are looking back over her 40-year career. … I’d like to take a walk down Memory Lane with her [and] look back at the highlights of a career.” She followed with a few examples of high points she’d like me to cover with her. In other words, it was a model editor’s assignment missive: clear, to the point, with word count and deadline … and directed at me.
I had already met Reba in person, during one of those days in which artists get grilled, in the friendliest manner, by a parade of journalists. Almost always the focus was more or less mandatorily the artist’s upcoming album; straying off topic was the publicist’s cue to stop the timer, hustle the questioner out and beckon the next one in. So it was when I had my five or ten minutes with Reba for CMA Close Up. I can’t remember which album we discussed, but I do remember that at the end, as with all of the other writers lined up in the hall outside, we had our picture taken together, side by side, like classmates in a high school yearbook.
This one, though, was a little different. The focus was broader, with ample time for reflection and actual conversation. I prepared, with notes about landmarks in her life and career before me, when I made the call.
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Talk about the day Red Stegall discovered you.
It was one of the major milestones of my life. It was December 1974. I was singing the national anthem at the National Farmers Radio in Oklahoma City. I was getting some buddies from college in for the rodeo. I saw my friend Ken Lance — we sang a lot at his rodeo. He introduced me to Red Stegall. That was a monumental event because Red and Mama talked later about getting all three of us kids, Pake, Suzie and myself, into the music business. He told her, “Jackie said, I’m just really fighting for myself [?].” But a month later he called Mama back and he said, “What if I just try Reba first and then get the other two kids in after her?” Mama said, “Well, OK.” So Red asked us to come down to Nashville. I recorded two or three songs that Red and Lynn Anderson’s husband Lynn Sutton had written. It went from there. Eleven months later I was signed to Polygram/Mercury records. So everything changed. I had no idea it was going to. I was going to school at Southeastern State University in Durant, Oklahoma. Mama said for me to go get my degree in elementary education, so just in case the music didn’t come on I could have a job. Mama made sure all of us girls had an education so we could take care of ourselves. That’s exactly what happened. I was going on faith. I thought I was born for this. I didn’t know what was going to happen. I always had the faith that God was going to show me what to do — and he always did. He opened the doors and I took the lead and went on.
You’d never met Red before. What was your introduction to him like?
It was very quick because I had to get back up and sing the national anthem.The rodeo was fixing to start. Then we went to a Justin Boot party that night, after the show. That’s where I saw him again. Then Pate, Susie and I sang some songs there for the cowboys. Red sang. And we got to know each other a little bit better. He was just a big old tall, slim, very smart, red-headed Texan, who was very nice.
You almost didn’t get to sing on the Opry.
So I called Shorty and he said, “You go right back over there. I’ll take care of that.” We pulled up and the guard said, “Yes, Mr. McEntire, you go right on in. We’re glad to have Reba at the Grand Ole Opry tonight.” They were going to give me two songs, but then they came and said, “We’re only gonna give you one song because Dolly Parton just pulled into the parking lot and we’re gonna give her one of your songs.” And I said, “Oh, my God, you can give her both of mine!” I’ll never forget seeing her for the first time. She was my hero. Charlie Walker introduced me and the Four Guys walked me onstage. I was scared to death! My knees would have buckled if they hadn’t held onto me.
What did it mean to you to sing on that stage?
It was very important to get to be part of the tradition. I don't know any other genre in music that has that many people in the past paving the way for you and helping you. So I thought it was a great tradition. I loved to be part of it and hoped I could pave the way for the newcomers coming behind me.
A Special Anniversary
My Kind of Country may have been an especially important album for you in that it asserted your ties to traditional country at a time when a lot of people were going in a different direction.
I would say either My Kind of Country because of the reasons you stated, Whoever’s in New England because it was my first Gold record and also my first No. 1 record, which was six years after I got into the music business — “Can’t Even Get the Blues.” It was the fifth single off my sixth album. That was a huge milestone because we found something that works. I had been the Queen of Waltzes before then. Jerry Kennedy played me a song that he was going to play for Jackie Ward. I said, “Well, Jerry, why don’t you ever play me those kinds of songs?” And he said, “You mean you’d record that?” I said, “Oh, yeah, I’d love to, because I’m playing a lot of rodeo dances and dance halls and that would really fit in with my show.” That was my first No. 1 record.
Was My Kind of Country the first album you co-produced?
Well, Harold Shedd was producing me at the time. I went to Jimmy [Bowen] and I told him, “I’m really not liking the orchestras and the symphonies. I want steel guitar and fiddle.” That’s when Jimmy told me to start looking for my own songs. And I did: I went with Don Lanier — Dirk, that was his nickname — to publishing companies and basically found the songs.
“I love breaking records. I like the competition.”
That album also led to your first CMA Award, for Female Vocalist of the Year.
Oh, I was shocked! I was thrilled! It was a dream come true. Back when Merle Haggard was winning for “Okie from Muskogee,” I’d go to bed rehearsing my CMA acceptance speech [laughs]. Now, that was something I’d dreamed of for years.
Do you keep track of statistics and awards?
I love the statistics. I love breaking records. I like the competition. I like that I’ve gotten to do this for 40 years. It’s really special to me. I appreciate it more than you know.
The Acting Bug
The acting side of your career is also important. In 2001 you made your Broadway debut and also premiered the Reba program. Let’s start with Annie Get Your Gun.
When Annie Get Your Gun started, they wanted me to play Annie Oakley. I said, “Oh, no, I can’t do that. I’m doing way too much touring. I’m a gypsy; I can’t do it.” Then when we were going over to Europe to do a TV show, we were going to take the Concorde. But when we landed in New York, they said that the flight had been canceled because the catering truck had backed up into the Concorde and knocked the door off the hinges. So Narvel said, “What do you want to do?” I said, “Let’s go see a play.” He said, “What do you want to see?” I said, “I don’t care. I just want to go and see the play.” He said, “Well, they’ve been trying to get you to do Annie Get Your Gun. Let’s go see it.” At intermission, I looked at him and said, “I’ve got to do this play.” He said, “Yeah, it was written for you.” So they started working on it and I started the next January. It was a huge thrill — the hardest work I ever did in my life but I’m so glad I did it.
Who was doing your role when you saw the play?
Bernadette Peters.
Did you think she would be a hard act to follow?
You know, I didn’t even think of that. I’d never done a play before. I just wanted to be Annie Oakley. I knew all about her. She was my hero. I’d been a big fan of hers since before I ever went to school.
What were the differences between doing your show and playing a role onstage?
They’re totally different. Number one, the lines you’re learning are somebody else talking. And they’re not in melody, so if they don’t rhyme, it’s harder to memorize. And if you say something funny, you have to wait for the laugh. But that was natural timing; that was OK with me. I got to play and perform with other people onstage and I just absolutely loved it
How did the TV show come together?
We’d been looking for a TV show for several years. In ’99 we had an idea for a show, so we went out there but nobody liked it. We met with ABC, CBS, NBC, Fox and everybody, but it just didn’t take. Then in 2000 they found the idea of the “Sally” show. I loved it. I had to audition for it while I was in rehearsals for “Annie Get Your Gun.” I got the part, so in the fall of 2001 I went and did the Reba TV show.
How did you combine your acting with your musical career?
Well, I did Annie Get Your Gun. I did a five-weeks all-girl tour. Then we went and did the Reba show. The next year, I took the summer off. It was the first summer I’d taken off in my career.
“I’m pretty dang funny.”
What did you learn about yourself as an entertainer from those experiences?
Well, you’re getting a little deeper than I ever think about [laughs]. I did find out I’m pretty dang funny. I always thought I was funny, but I did get a big kick out getting to do it. I’ve got pretty good endurance. Doing eight shows a week was pretty hard, but I never lost my voice, thank God. I’m always really open. I learned and they kept telling me, “Don’t expect any great reviews because Bernadette did it; she was the one that started it out.” And I got rave reviews, so I was very grateful.
When we see you on Reba, is that 100 percent you or did you introduce other elements into the character?
No, that’s pretty much me. I’m not a character actor. What you see is what you get. Even when I did Annie Oakley, that was me too. That’s why I like her so much. We’re very similar.
Did your acting experience affect your approach to singing onstage?
Yes. Before I did Annie Get Your Gun I was doing 15 clothes changes and flying around. When I got through with the Reba show, I just wanted to stay out there and visit with the audiences. I liked that so much more. That was a big change for me. I think the audiences liked it too.
Did you ever take any acting instruction?
I just did it.
Did you ever forget a line on Broadway?
Oh, yeah. I improvised once or twice, and the actor onstage with me looked at me real funny. And I said, “Well, didja?” I apologized to him. I said, “I couldn’t help it. I just had a brain fart.” We went on with it.
SUBHEAD: Honors & Accolades
Your induction into the Hall of Fame may have been your biggest milestone of all.
Well, it kind of goes into the same category of the Grand Ole Opry or getting your star into the Walkway Hall of Fame. Doing the Hall of Fame was really important to me. To be in the Grand Ole Opry was very important to me. Being in the music business is very prestigious. It’s a great family. I don’t know if people take it for granted. I definitely don’t. But I appreciated being able to get into the Hall of Fame. That was a huge honor.
How did you hear that you were being inducted?
I think Narvel told me. I’m really not sure. I wasn’t there for the announcements because Daddy was in the hospital. So I really don’t remember a lot about that period because I was home a lot and really worried about Mama and taking care of her and being in the hospital with Daddy.
You made your Opry debut in 1977 …
September 17.
… and you almost weren’t let into the venue.
That’s true. I wasn’t on the list at all. Mama and Daddy had driven all the way from Oklahoma, and Alice, to be there with me. That was my first big gig. When Daddy rolled down his window and the security guard said, “Can I help you?” Daddy said, “Yeah, I got Reba McEntire here to sing on the Grand Ole Opry tonight.” “She’s not on the list.” Daddy said, “What do you think we ought to do?” He said, “Well, I suggest you just go home.” He said, “We can’t! We drove 700 miles!” I said, “Daddy, go back over the Interstate. We’ll go to that Get-’n’-Go over there and I’ll call my booking agent,” which was Shorty Lavender at Lavender & Blake.
When you founded Starstruck, that was an important milestone as well. A female artist takes control of her career.
It’s a huge milestone. I wanted to do it because people kept saying “you’ve peaked” or “you can’t do that
or “no, that’s not the way we do it.” I would make a suggestion and they would say the reasons why we can’t.” And I would be like, “OK! One of these days, I’m gonna do it like that.” Then in ’88, that’s when we formed Starstruck because I wanted my own person to book me. I had Trey Turner to book me on tour. Then I had Mike Allen to book all the fair dates and festivals. Narvel was my manager. We had our own publishing company. I just wanted to do it my way — and we did.
You take responsibility for the problems as well as the successes.
Absolutely. We hit a few snags and butted a few heads, but it was very well worth it. I remember more of the good times than the bad times. Narvel was a manager for the very first time. I had total trust and faith in him, but he had to prove himself. It was harder on him than it was on me. We made a great team. We still make a great team.
The Songs I Love
Can we play a little word association, using songs from your catalog that I think were probably special for you?
Shoot!
Let’s start with “Fancy” (from Rumour Has It, 1980).
Well, that was a big impact record. Everybody loves a story song, and this one is rags-to-riches. It’s always the last song I perform on my show. It only went to No. 7, but I’d say it’s the biggest song of my career.
Next, I’ve got “Is There Life Out There”(For My Broken Heart, 1991).
Women especially could relate to this song. I’ve had ladies stand up in the audience holding their GED or their college diplomas where they have finished their education after they got their kids raised.
How about “I’m a Survivor (Greatest Hits Vol. Three, 2001)?
Again, very relatable. Women who have beaten breast cancer, gone through a divorce, been deserted, abandoned, single empty-nester: The list goes on and on of how many women relate to this song.
Now we’ve got “Can’t Even Get the Blues” (Unlimited, 1982).
My first No. 1 record. It was the fifth single off my sixth album. It was totally a gift from God that I even got to record it. Jerry Kennedy, my producer, was going to play it for Jackie Ward, my label mate. Then one day after we were finished recording, he played it for me. I asked Jerry why he never pitched me those kinds of songs. He said, “Would you record that?” I said, “Yes!” And we did [laughs].
You duetted with Linda Davis on “Does He Love You” (Greatest Hits, Volume Two, 1993).
We won a Grammy for this song. It’s about two women loving and wanting the same man – a very common situation.
My last one is “Just Like Them Horses” (Love Somebody, 2015). Why is this song important to you?
“Just Like them Horses” was a song Liz Hengber was writing for a friend who was dying of cancer. She couldn’t finish it, so she asked our friend Tommy Lee James to help her. They finished it and Liz sent it to me to hear. I loved it! I wanted to record it and have it played at my Daddy’s funeral: He had been sick for several years. My producer, Tony Brown, insisted on it being on the new CD. I said okay. We put it on the CD and also played it at Daddy’s funeral.
I’ve got to ask you about the video for that song. It’s one of the most emotional music videos I’ve ever seen, and it connects so deeply with the lyric. How did you come up with that concept?
It just came to me – another gift from God. I told Jim Weatherson, who was the head man at Nash Icon Records, and he loved the concept. I almost waited too long to go to Oklahoma to film it because of the rain and cold weather everyone expects in Oklahoma in November. But we got two beautiful days of filming. I’m so proud of it, especially since mama and the horses, who belong to my nephew Sam Luchsinger, have a major part in the video. I wanted to do it in black & white. We had a crew of ten people: actors, photographers, videographers, cooks, glam and tour manager, all there at our homeplace in Chockie, Oklahoma, where we filmed it. You can see Susie and Mark’s house, my little sister’s home, up on top of the hill. I love Chockie Mountain. It’s a beautiful place, where we grew up. I have so many wonderful memories of it.
Beyond the Horizon
What milestones still lie ahead?
I have no earthly idea what the future holds. I just want to continue to get to do what I’m doing. Bob Hope said, “If you have a giving heart, then you’re a good person.” I just want to try to help as many people as I can, steer them in the right direction like Red Stegall and Ken Lance and all the people who have helped me and guided me. I just want to do the same thing for the people coming up and continue to be a part of this wonderful business.
What do you see as the major changes in country music these past 40 years?
Technology, by far — how we record, how we get it out to our fans. Radio has changed. Everything has changed. The thing that hasn’t changed is the talent. We still have great singers. We still have great entertainers. It’s a new breed. It’s a new generation. It’s a new kind of country music. But it’s all good. I’ve tried to keep up and embrace it because I’m sure when I stepped in to do it my way, I had criticism. But change is good. Change is healthy. If we stay the same, it becomes stagnant. So we need to embrace and encourage and sit on the sidelines and be cheerleaders and continue to try to help all we can and criticize less.
Would you like to do a hologram duet sometime?
That’s totally possible! Patsy would be a great one. That’d be pretty cool, wouldn’t it?
I’d buy a ticket.
Me too!
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