80's Ladies

80's Ladies
Studio album by K. T. Oslin
Released	June 30, 1987 (1987-06-30)[1]
Studio	The Music Mill, Nashville, TN
Genre	Country
Length	33:51
Label	RCA
Producer	Harold Shedd
K. T. Oslin chronology
80's Ladies (1987) This Woman (1988)
Singles from 80's Ladies
"Wall of Tears" Released: January 9, 1987[1] "80's Ladies" Released: April 24, 1987[1] "Do Ya" Released: September 11, 1987[1] "I'll Always Come Back" Released: January 8, 1988[2] "Younger Men" Released: 1988 (UK)[3]
Alternative cover
Vinyl cover version of the album

80's Ladies is the debut studio album by American country music artist K. T. Oslin, released on June 30, 1987 by RCA Records Nashville. The album marked her second major label debut, which shot her successes to the mainstream country after her first failed attempt with Elektra Records, a Warner subdivision, had folded with two singles released there in 1982. Ultimately showing activity in songwriting and being praised for her works in the upcoming years, she made her second and final effort to sign with another major label. After meeting with RCA Records executives, she signed with the label at 45 years old.

Commercially, the record had topped the Billboard country chart, along with peaking at number 68 on the main Billboard 200, making it her highest-charting peak in her discography. It was certified platinum in the United States by RIAA and gold in Canada. Four singles were released on that latter, with her self-titled single, being praised by fans and critics who have penned it as a major signature hit, eventually winning the title at the 1987 Grammy Awards for Best Female Country Vocal Performance, becoming the first female to win "Song of the Year" at Country Music Association Awards and ACM Awards's top female vocalist and music video of the year. The album also featured many major award nominations throughout 1988, including unparalleled reviews from music critics. Following its release, Oslin embarked on tours with Alabama and George Strait.

Between the late 1970s and early 1980s, K.T. Oslin wrote country songs that brought the attention to SESAC, while also finding herself singing with Guy Clark's self-titled album.^[4] Diana Petty, a Nashville executive for SESAC, advised Oslin to acquire a major label contract. By 1979, Oslin was signed with Elektra via a "singles-only" contract through Petty's support.^[5] Only two singles were issued on the label, which later flopped to commercial failure, with the song "'Clean Your Own Tables' managed to get on the charts" at a timeline from "about a minute and a half... died a fiery death"^[6] to "about 15 minutes," Oslin recalled.^[7] Eventually, she was dropped by Elektra in 1982, but she however returned to New York and commercially returned to work, which she found unsatisfying. Continuing writing compositions, she won as "Most Promising Country Music Writer" by SESAC that same year.^[8] She made her appearance on a live radio broadcast in 1984 to establish more musicians through her compositions.^[9] Oslin fell into a depressive state deemed by her commercial losses as a result, after "several '4 AM anxiety attacks'" questioning her decision.^[7] Positively, Petty's words of encouragement followed due to Oslin's extensive work with Judy Rodman, Dottie West, Gail Davies and The Judds.^[4][7]

Eventually, the support led Oslin to make a final effort to regain a recording contract. By the beginning of 1986,^[10] she borrowed $7,000 from her aunt, lost 40 pounds, and temporarily acquired a Nashville nightclub, inviting music executives to a one-time live showcase, expecting a phone call for a decision.^[7] "The next morning, I sat waiting for the phone to ring. It did not," she recounted.^[7]

Through her musical connections, Oslin contacted Nashville producer Harold Shedd, who had recently been successful recording Alabama.^[7] Shedd convinced Oslin to record three of her original tunes and he eventually became her full-time production collaborator.^[7] Through Shedd's connections with RCA Nashville, primarily Alabama's contract with the label, Oslin met RCA executive Joe Galante, who believed that Oslin had potential due to her outstanding composition and voice.^[9] At age 45, Oslin was signed officially to RCA in 1986.^[4]

After signing with the label, Oslin immediately commenced songwriting, which culminated with five new tracks. Recording sessions for 80's Ladies took place at The Music Mill from early to late 1986 in Nashville, Tennessee, where all the rhythm tracks and vocal overdubs were done. Harold Shedd, with whom Oslin had previously negotiated, served as the album's sole producer. The recording was done digitally using a digital 32-track X850 Mitsubishi PCM tape recorder.^[11] Oslin provided lead vocals and played keyboards on the album. Additional keyboards were contributed by David Briggs, known for his extensive work for Nashville musicians and Gary Prim. Guitar parts were recorded by Bruce Dees, Steve Gibson, and Brent Rowan, with Rowan also playing acoustic guitar. The track "Dr., Dr." notably features guitar overdubs. Drummers Eddie Bayers, Larrie Londin and James Stroud contributed to the rhythm section, alongside aided the bass parts recorded by Mike Brignardello and Larry Paxton. Sam Levine played saxophone on the album, with his contributions being particularly notable on the track "I'll Always Come Back". Terry McMillan, who also is a solo artist for the song "Love is a Full Time Thing", provided the harmonica tracks. Backing vocals were added by Joe Scaife, while Costo Davis played synthesizers, with most of his work prominently featured on the album. The album was engineered by Jim Cotton and Joe Scaife, with assistance from George W. Clinton and Paul Goldberg, helping to match the sound. It was then mixed and edited by Milan Bogdan, while mastering is being done by Hank Williams.^[11]

80's Ladies sound was compromised to a "blend of pop and southern-blues-and-rock" release.^[10] AllMusic journalist Rodney Batdorf describes it as "a new voice in country music",^[12] crediting her voice as the major narration to "a whole generation of women about the social changes".^[13] Lyrically, the album's material is largely known about Oslin's autobiographical career in music, to which many fans were made aware of, but Oslin denied, responding to the claims: "It's indeed not my life story—it's everybody's life story".^[14]

The song "Wall of Tears", which was written by Richard Leigh and Peter McCann, was the only track Oslin did not write.^[11] "I'll Always Come Back" was written by Oslin. She remarked that it had qualities about distinguishing elements inspired by Little Bo-Peep (About a little and some sheep that she could not find/They'd told her not to worry/They'd come back) and a boomerang (They call it a boomerang/If you handle it right/It'll come back) that was quietly composed as a love song.^[15][11]

Oslin's title track of the same name starts as a piano riff that is comparable to Jackson Browne.^[16] According to Oslin, the song took her approximately a year to write the lyrical arrangements, starting it off as a "little [show] piece at the time", working it as a song where she had actually never envisioned it as a single neither she had it known to be a major hit.^[17] Rich Kienzle noted in Oslin's 2002 RCA Country Legends complication that it "captured the feelings of middle-aged women everywhere."^[18] Oslin herself stated that the lyrics were inspired from her best friend's photo that showed a picture of a ten-year-old daughter that looked identical to her at that age. She then described the scenes about how great accomplices Oslin and her friend were since they had known each other since childhood, then implied various scenes where the song would "picture the friends having lunch and talking about old times." However, she proposed the idea of three women who were each described as: pretty, smart and a border-line fool; to portray them more simply.^[15] The song, "Do Ya" is a eulogy about a couple that has been married for five years,^[19] although Oslin implied the relationship that lasted for around thirteen years.^[15]

"Younger Men", "Dr., Dr." and "Lonely But Only for You" was written earlier somewhere back between 1982 through 1985 before Oslin revived her solo career.^[11] "Younger Men" was written by Oslin herself and was described as "a woman of forty checking out younger guys", while there were no men of Oslin's age, being in her forties at that time.^[20][15] Sharpe from The Pittsburgh Press claimed that the content "reverses the role about middle-aged men trying to regain youth through a fling with young women".^[21] Oslin was inspired by a view while being in a park location with runners, possibly men, during the spring season in warm temperature.^[15] The song dates back to 1982 as Oslin's earlier recording as a follow-up from her first single "Clean up Your Tables", which then failed commercially, and would be eventually re-recorded for 80's Ladies.^[22] "Lonely But Only for You", composed by Oslin along with Rory Bourke and Charlie Black (Black's only contribution to the album),^[11] was originally written for actress Sissy Spacek that appeared as her only 1983 studio album Hangin' Up My Heart. Spacek's version would peak at number 15 on Billboard Hot Country songs and number ten on the Bubbling singles chart.^[23] The composition of "Dr., Dr" was used as a "bluesy, brazzy and jazzy" backside piece that refers to a million songwriters that had worked with a doctor from a broken heart angle.^[24] Originally titled "How Many Loves Have I Got Left", which is found on the B-side of the 1982 version of "Younger Men", the song title was virtually used as the ending progression on the chorus parts.^[25]

The track "Two Hearts" was written by Bourke and Oslin, particularly with the lyrics possibly referring to the point of heartbreak being mended (Two Hearts are better than one/Keep the pain on the run).^[11] "Old Pictures" was written by Jerry Gillespie and Oslin, coming first composed as an idea that they came up with the chorus progression. They were convinced at first was "a Kodak jingle" tune. The verses were planned to be completed within the next two years, along with the composition being worked on "every day for a week" in New York.^[15] Eventually, the two were reminiscent of the direction they were having but no lyrics were ever produced. When Gillespie approached producer Brent Maher, he gave the two a positive reputation to finish the song. The rest of the lyrics were finalized over the telephone.^[15] "Old Pictures" deals with a woman reminiscing over her photographs of her close relatives and her loved ones.^[21] Country-duo, known as The Judds, picked up the composition through Maher and eventually made the cut that appeared on their Heartland album, not long before Oslin released that song on the particular album track.^[26][15]

Promotional single airplay ensued on country radio stations during Oslin's numerous showcases through label promotions by the beginning of 1987 before rising into fame. The album was slated to be released in March of that year but was moved to June for unspecified reasons.^[27] 80's Ladies was released on June 30, 1987 by RCA Nashville and BMG Music.^[1][28] The album debuted on the US Billboard Top Country at number 15^[29] on August 8, 1987,^[30] making it the highest debut release for a female country artist since Loretta Lynn's Loretta Lynn Sings debuted at number 18 dating back to January 1964.^[31] 80's Ladies peaked at the top spot for one week on February 27, 1988 in the country chart.^[32] The album debuted at number 145 on the US Billboard chart on December 12, 1987,^[33] before peaking at number sixty-eight on March 26, 1988 during Oslin's career peak,^[34] making her album the highest spent on the country chart for 148 weeks and her second-highest on the main chart behind her proceeding This Woman, spending for 32 weeks.^[32] It eventually sold almost near at 400,000 copies by February 1988,^[35] and by March 22, it had been certified gold by the RIAA for sales of over 500,000 copies in the US, before eventually certified platinum on May 23, 1989 for 1,000,000 copies.^[28] Despite the album having only charted in the US, it was eventually certified gold in Canada for selling over 50,000 in that country.^[36] In retrospect, Oslin has become "the oldest breakthrough artist in country music history."^[37] The album has sold more than one million copies worldwide.^[38]

"Wall of Tears" was released as the first single on January 9, 1987 and reached number 40 in the Billboard Hot Country Songs chart for fifteen weeks^[1][39] but failed to penn itself to become a major hit. Her second and most successful single, "80's Ladies" was released on April 24, 1987, and reached number seven on Billboard Country Singles, charting for twenty-one weeks on that chart,^[39] and number four on RPM Canadian Country Tracks,^[40] becoming her smash hit that won Oslin her first "Song of the Year" at the Country Music Association Awards^[41] and nominated at the Academy of Country Music Awards^[42] as well as becoming the first female artist to receive one. She was also brought honors for winning the title of Grammy Award for Best Female Country Vocal Performance in 1988.^[43]

"Do Ya" was released on September 11, 1987,^[1] and peaked at the top spot in Billboard Country Singles^[39] as well as number three in Canada.^[40] It was Oslin's longest-charted single at that time for twenty-five weeks.^[39] The song also received numerous nominations at the CMAs, notably on single and song accolades.^[41] "I'll Always Come Back" was also released on January 8, 1988 (February 5th according to RCA)^[1][2] and again earned the top spot for both the United States^[44][39] and Canada.^[40] "Younger Men" was released in 1988 as a single in the UK.^[3]

Music videos were produced for "80's Ladies" and "I'll Always Come Back", both produced by Marc W. Ball and directed by Jack Cole and John Lloyd Miller,^[45] which the "80's Ladies" video had won for ACM's "Country Music Video of the Year", while "I'll Always Come Back" has been nominated for that same accolade.^[42]

In September 1987, Oslin began assembling a tour supported with her backing band to promote her debut across the continental United States^[46] The tour began on mid-January 1988,^[47] and continued throughout the year as an opening act for Alabama and George Strait, covering across the southern and eastern sections of the US.^[2][48][49] Oslin had also co-opened and performed with Restless Heart, Merle Haggard and Randy Travis. The tour ended in October 1988, shortly after the release of her second album two months earlier.^[2]

Professional ratings

Review scores
Source	Rating
AllMusic	[12]
Billboard	(favorable)[50]
Chicago Tribune	(favorable)[50]
Christgau's Record Guide	B[51]
Country Music People	[52]
High Fidelity	(favorable)[53]
Indianapolis Star	(favorable).[24]
MusicRow	[54]
People	(favorable)[50]
Stereo Review	(favorable)[55]
The Christian Science Monitor	(favorable)[56]
The Philadelphia Inquirer	[57][50]
The Washington Post	(favorable)[50]

80's Ladies was met with positive reviews ranging from country to contemporary music critics. Ralph Novak from People commented the album "as wryly funny, tuneful and all-around enjoyable as country music gets." He further viewed the songwriting as reflecting "a Kristofferson-like blend of cynical and romantic," giving kudos on Oslin's performance.^[50] A review from The Philadelphia Inquirer noted Oslin that she was able to compose music that "addresses marriage, divorce, motherhood and middle-age dating in a way" that was elusive the country genre "in a long time," and compared the record's self-titled song "tradition[ally]" to Merle Haggard's Okie from Muskogee as a "rabble-rouser."^[57][50] MusicRow's magazine staff wrote 80's Ladies as "the best sign of country music's renewed health... new artists who come from nowhere and quickly redefine the field to fit their vision," giving positive impressions in Oslin's songwriting "proving how just flexible a rigid form can become in an intelligent writer's hands,"^[54] while Billboard's Gerry Wood described the songs as a fundamental perspective "with sass and sagacity."^[50]

Critic Robert Christgau described 80's Ladies as "asserts[ing] herself only when she writes a song all by her lonesome on tracks," as he voiced the opinion of songwriters launching their singing careers "in the prime of life." However, he gave the second half of the album a "dreck", describing the dramatic qualities "down to the last overripe chord change." Despite the understatement, he approved Oslin's vocal style and concluded the review with a "B" rating.^[51] Country Music People staff, writing for the album, addressed the qualities they were fond of, similarly Oslin's voice as "strong and gusty" and her productive songwriting, but felt that Shedd's production is similar to all the songs combined.^[52] AllMusic's Rodney Batdorf felt the songwriting "remained the same" but was "given a new viewpoint," while giving 80's Ladies containing "a few weak tracks", he concluded his review by declaring it "an [a] exciting, fresh change."^[12]

Joe Sasfy, writing for The Washington Post, quoted Oslin as "a can't-miss country star," adding to "proof that Nashville's future doesn't depend on fiddles and steel guitars so much as on singer-songwriters who can make you feel they're singing your life."^[50] Tulsa World reviewers declared it "the voice of experience", giving it as an example to Oslin's songwriting contribution "are good ones--tough and poetic, full of heartbreak, tenderness and intelligence."^[50] Nashville-based music journalist Robert K. Oermann, writing in Gannett newspapers, approached the singer's debut by stating: "introduced[ing] to a major new recording personality", while praising the eponymous song as "a warm, earthy, good-humored anthem that is 'real' as anything Patsy Cline or Dolly Parton ever sang."^[50] A Stereo Review writer commented on the performance as "the real stuff" while calling the recording for 80's Ladies as "sparkling". He leaned on the style as "Oslin is really more Southern rock-and-blues than country, influenced more by Chuck Berry than Ernest Tubb," right after playing "Wall of Tears," and added that there was significant usage of humorous themes "often in tandem", accessing "Younger Men" as an example. He positively gave the production as "topnotch", concluding that the album should be "impossible to ignore".^[55]

All songs are written and composed by K.T. Oslin, except where noted.^[11]

Credits are adapted from liner notes.^[11]