“Scroll down to the end of the article to listen to music.”

Introduction

There’s a gentle simplicity to “Kiss an Angel Good Mornin’” that immediately captures the heart, a song that reminds us of the small acts of love that make life special. When Charley Pride released this track in 1971, he not only gave country music one of its most memorable hits, but he also conveyed a message of everyday affection, a sentiment that resonated across generations and continues to be beloved today.

About The Composition

  • Title: Kiss an Angel Good Mornin’
  • Composer: Ben Peters
  • Premiere Date: 1971
  • Album: Charley Pride Sings Heart Songs
  • Genre: Country

Background

Composed by Ben Peters, “Kiss an Angel Good Mornin’” is part of the collection Charley Pride Sings Heart Songs and became a defining piece in Pride’s career. Released during a time when country music was still a predominantly white genre, the song achieved massive success, helping Pride break barriers as one of the few African American artists in country music. The song topped the country charts and also made a rare crossover onto the Billboard Hot 100, reaching audiences who might never have otherwise engaged with country music. With its catchy melody and simple yet heartfelt lyrics, the song captured the spirit of the era and quickly became one of Pride’s signature tunes.

Musical Style

The song is defined by its upbeat, straightforward country instrumentation—characterized by steel guitar and bass, with a gentle rhythm that emphasizes its heartfelt lyrics. “Kiss an Angel Good Mornin’” doesn’t rely on complex techniques or intricate compositions; rather, its strength lies in its directness. The rhythm invites listeners into the warmth of the song’s message, echoing the sentiment of simple, loving gestures. Pride’s smooth and genuine vocal delivery further underscores the sincerity of the piece, giving it a charm that has made it timeless in the world of country music.

Lyrics

The lyrics of “Kiss an Angel Good Mornin’” revolve around the importance of affection in relationships, a theme that is both universal and timeless. Pride sings about the simple act of showing love, presenting it as the key to happiness. “Kiss an angel good morning, and love her like the devil when you get back home” is a line that has stayed with fans, encapsulating the warmth and devotion that make the song resonate. Through its relatable message, the song became more than just a hit; it became a source of inspiration for couples everywhere.

Performance History

“Kiss an Angel Good Mornin’” premiered to wide acclaim and quickly became a standard in Pride’s repertoire. Not only did it reach the top of the Billboard Country charts, but it also secured Pride a Grammy nomination. Pride’s live performances of the song were met with enthusiastic audiences, with fans singing along to every word. Over the years, numerous artists have covered this classic, but Pride’s version remains iconic. Each performance served as a testament to the song’s enduring appeal, and it remains a beloved staple in the history of country music.

Cultural Impact

The impact of “Kiss an Angel Good Mornin’” extends far beyond the charts. As Pride’s most famous song, it brought country music into homes that might never have listened to it otherwise. Pride’s success with the song also paved the way for greater diversity within the genre, proving that music has the power to bridge divides. Its simple message of love continues to appeal to audiences across generations, making it a favorite for weddings, anniversaries, and personal celebrations.

Legacy

Today, “Kiss an Angel Good Mornin’” is regarded as one of country music’s all-time classics. The song has been covered by artists across genres, and Pride’s original recording remains widely played on country stations and playlists worldwide. Its legacy endures, not only because of its place in Charley Pride’s storied career but also due to its universal message of love and devotion.

Conclusion

“Kiss an Angel Good Mornin’” is a reminder that sometimes, the simplest things in life hold the most meaning. Charley Pride’s smooth voice, coupled with Ben Peters’ heartfelt composition, invites listeners to slow down and cherish the little moments of love. If you haven’t yet experienced the warmth of this classic, seek out Pride’s original recording or one of his live performances—it’s a song that not only uplifts but stays with you, like a gentle reminder to show appreciation for those you hold dear

Video

Lyrics

… When ever I chance to meet, old friends on the street
They wonder how does a man get to be this way
Always got a smiling face, anytime and any place
And every time they ask me why I just smile and say
… ‘Cause you’ve got to kiss an angel good morning
And let her know you think about her when you’re gone
Kiss an angel good morning
And love her like the devil when you get back home
… Though people may try to guess, the secret of our happiness
But some of them never learn it’s a simple thing
The secret I’ma speaking of, is a woman and a man in love
And the answer is in this song that I always sing
… ‘Cause you’ve got to kiss an angel good morning
And let her know you think about her when you’re gone
Kiss an angel good morning
And love her like the devil when you get back home
… Kiss an angel good morning
And let her know you think about her when you’re gone
Kiss an angel good morning
And love her like the devil when you get back home

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JEAN SHEPARD CUT “LONESOME 7-7203” BEFORE HER HUSBAND DID. CAPITOL LEFT IT SITTING. THEN HAWKSHAW HAWKINS RECORDED IT — AND DIED THREE DAYS AFTER ITS RELEASE. The song did not start as Hawkshaw Hawkins’ last hit. It passed through Jean Shepard first. By the early 1960s, Jean was already one of country music’s toughest women. She had come up through honky-tonk, made “A Dear John Letter” a No. 1 duet, joined the Grand Ole Opry, and proved she was not just a pretty harmony voice in a man’s business. Hawkshaw Hawkins was already part of that same Opry world. Tall, smooth, steady, with a career that had stretched from West Virginia radio to national country stages. He and Jean married in 1960. Two singers. Two roads. One house outside Nashville. Then came a Justin Tubb song called “Lonesome 7-7203.” Jean recorded it for Capitol, but the label left it unreleased. The song sat there. A lonely telephone number. A heartbreak line waiting for somebody to dial it. Hawkshaw finally told her that if Capitol was not going to release it, he would record it himself. King Records released his version on March 2, 1963. Three days later, Hawkshaw Hawkins was dead. The plane crash near Camden took him, Patsy Cline, Cowboy Copas, and pilot Randy Hughes. Jean was left with the grief, the children, and the strange sound of her husband’s voice still rising on the radio. Then the song climbed. “Lonesome 7-7203” reached No. 1 after Hawkshaw was gone. Jean had recorded it first. Hawkshaw made it immortal. Country music kept dialing the number after the man who sang it could no longer answer.

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JEAN SHEPARD CUT “LONESOME 7-7203” BEFORE HER HUSBAND DID. CAPITOL LEFT IT SITTING. THEN HAWKSHAW HAWKINS RECORDED IT — AND DIED THREE DAYS AFTER ITS RELEASE. The song did not start as Hawkshaw Hawkins’ last hit. It passed through Jean Shepard first. By the early 1960s, Jean was already one of country music’s toughest women. She had come up through honky-tonk, made “A Dear John Letter” a No. 1 duet, joined the Grand Ole Opry, and proved she was not just a pretty harmony voice in a man’s business. Hawkshaw Hawkins was already part of that same Opry world. Tall, smooth, steady, with a career that had stretched from West Virginia radio to national country stages. He and Jean married in 1960. Two singers. Two roads. One house outside Nashville. Then came a Justin Tubb song called “Lonesome 7-7203.” Jean recorded it for Capitol, but the label left it unreleased. The song sat there. A lonely telephone number. A heartbreak line waiting for somebody to dial it. Hawkshaw finally told her that if Capitol was not going to release it, he would record it himself. King Records released his version on March 2, 1963. Three days later, Hawkshaw Hawkins was dead. The plane crash near Camden took him, Patsy Cline, Cowboy Copas, and pilot Randy Hughes. Jean was left with the grief, the children, and the strange sound of her husband’s voice still rising on the radio. Then the song climbed. “Lonesome 7-7203” reached No. 1 after Hawkshaw was gone. Jean had recorded it first. Hawkshaw made it immortal. Country music kept dialing the number after the man who sang it could no longer answer.

SHE SAID A MAN WITH A GUN WAS WAITING IN THE BACK SEAT. DAYS LATER, TAMMY WYNETTE STILL WALKED ONSTAGE IN SOUTH CAROLINA. Tammy Wynette already knew what it meant to sing pain for a living. By 1978, she was not just a country star. She was the woman behind “Stand by Your Man,” “D-I-V-O-R-C-E,” “I Don’t Wanna Play House,” and the kind of songs that made broken homes sound like they had wallpaper, bills, children, and nowhere clean to hide. Her life had become part of the story too. Marriages. George Jones. Public fights. Illness. A voice that could make surrender sound noble even when the woman singing it was barely holding the pieces together. Then came October 4, 1978. Tammy had gone shopping at Green Hills in Nashville for a birthday gift for her daughter. When she returned to her car, she later said a masked man was hiding in the back seat with a gun. He forced her to drive, beat her, and released her about 80 miles away in Giles County. The story sounded like something too strange even for country music. Questions followed. Rumors followed. No one was ever convicted. The mystery stayed attached to her name for the rest of her life. But Tammy still had a calendar. A few days later, bruised and shaken, she appeared for a concert in Columbia, South Carolina. The fans saw the First Lady of Country Music under the lights. What they could not fully see was the woman who had just been left on a Tennessee roadside, trying to explain a nightmare nobody could neatly close. Loretta Lynn turned poverty into defiance. Patsy Cline turned survival into steel. Tammy Wynette turned private wreckage into a voice so controlled it almost hid the damage.

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