![]() Bangor, Maine." Now, if you don't know that that's also the home and setting for many of the novels of Stephen King, well, in the words of Harlen Ellison (for whom King wrote the introduction to Ellison's Stalking the Nightmare), "have yourselves placed under house arrest for terminal illiteracy." King (author Stephen not to be confused with "King of the Road") has sometimes cloaked references to Bangor under the fictitious name of "Derry," but the residents are too savvy to fall for that dodge, and recognize many of the settings from Bangor. So hang onto your engineer hat and board the train - we're in for a heck of a whistle stop!įirst off, the only specific destination mentioned in the song lyrics themselves is "Destination. Any time you research a song, start out with Pennywise the Clown and end up with dancing hamsters, you're bound to have some strange visions. Please bear with us, as our research staff has a case of the cultural bends. “I’d Come Back to Me,” Radney Foster featuring Tawnya ReynoldsĢ9.Read full LyricsPlaces: Bangor, Maine Boise, Idaho the Day's Inn in Nashville, Tennessee. ![]() “The Last Word in Lonesome Is Me,” Dolly Parton featuring Alison KraussĢ8. “Hey, Would You Hold It Down?” Ringo StarrĢ7. “I Believe in the Sunshine,” Daphne and the Mystery MachinesĢ6. “Husbands and Wives,” Jamey Johnson featuring Emmylou HarrisĢ4. “Nothing Can Stop Me,” Toad the Wet SprocketĢ2. “You Can’t Do Me This Way,” Dean Miller featuring the McCrary SistersĢ1. “When Two Worlds Collide,” Flatt LonesomeĢ0. “Engine, Engine #9,” Emerson Hart featuring Jon Randallġ8. “It Only Hurts Me When I Cry” (Live), Dwight Yoakamġ7. “Invitation to the Blues,” Shooter Jennings and Jessi Colterġ5. “You Can’t Rollerskate in a Buffalo Herd,” Various Artistsġ4. “In the Summertime,” The Earls of Leicester featuring Shawn Campġ2. “The Crossing,” Ronnie Dunn and the Blind Boys of Alabamaġ0. “You Oughta Be Here With Me,” Alison Krauss featuring the Cox Familyĩ. “Lock, Stock and Teardrops,” Mandy BarnettĨ. “Old Friends,” Willie Nelson, Kris Kristofferson and Merle Haggardħ. “World So Full of Love,” Rodney CrowellĦ. “Leaving’s Not the Only Way to Go,” The Stellas and Lennon & Maisyĥ. “Chug-a-Lug,” Asleep at the Wheel featuring Huey Lewisģ. In 1995, the year Miller was inducted into the Country Music Hall of Fame, Alan Jackson had a Number One country hit with the songwriter’s “Tall, Tall Trees.” Brooks & Dunn topped the chart in 1998 with his 1966 hit, “Husbands and Wives.”ġ. Roger Miller succumbed to cancer in 1992 at age 56. Owing to Miller’s influence outside of mainstream country music are offerings from alt-rock bands Toad the Wet Sprocket and Cake, and Americana, folk and bluegrass artists including Daphne and the Mystery Machines, the Dead South and Earls of Leicester featuring Shawn Camp, among others. Also featured are contributions from Loretta Lynn, Asleep at the Wheel, Rodney Crowell and actor John Goodman, who originated the role of Pap Finn in the Eighties Broadway musical Big River, which featured Miller’s Tony Award-winning original songs, based on Mark Twain’s The Adventures of Huckleberry Finn. In the works since 2015 but beset by repeated delays, which is hardly surprising given the array of artists involved, King of the Road was co-produced by the legendary artist’s son, singer-songwriter Dean Miller, with Colby Barnum Wright of Wright of Center Music, and features a dazzling lineup that includes Dolly Parton, Ringo Starr, Brad Paisley, Willie Nelson, Kris Kristofferson, Merle Haggard (in one of his last recordings), Kacey Musgraves and Eric Church. Influential for his extraordinary songcraft and revered for his offbeat humor, Roger Miller’s artistry will be the subject of a genre-hopping two-disc tribute LP, out August 31st. Amid the yeah-yeah-yeahs of the British Invasion and the protests that “The Times They Are a-Changin’,” Miller was a poet of the uncommon (or sometimes just plain weird) man whose quirky hobo anthem, “King of the Road,” was positively average compared to many of his other oddball compositions, including “Dang Me,” “Chug-a-Lug” and “You Can’t Rollerskate in a Buffalo Herd.” Roger Miller was part Hank Williams, part Will Rogers, yet a wholly original talent with a densely populated mind from which sprang some of the most noteworthy and enduring songs of the 1960s.
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