Country Music

Classic Country Music Hits

Country Music

Rory Feek – Are You Washed In The Blood (Live)

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Introduction

“Are You Washed in the Blood” is one of those timeless hymns that feels like it’s been stitched into the fabric of faith itself. It’s not just a song; it’s a heartfelt call to reflection, redemption, and renewal. Written by Elisha A. Hoffman in the late 19th century, this hymn has been a cornerstone of Christian worship, echoing through church halls, tent revivals, and even quiet living rooms where someone strums a guitar in prayerful devotion.

What makes this hymn so special is its central question—are you ready, spiritually cleansed, and prepared to meet the divine? It’s powerful, isn’t it? The lyrics are simple yet profound, offering a direct message about salvation and the transformative power of Christ’s sacrifice. With every verse, it feels like the song pulls you closer to introspection, nudging you to examine your heart and faith.

Musically, the hymn is both uplifting and commanding, often performed in a lively, foot-tapping rhythm. It carries that beautiful mix of reverence and joy—serious in its message but jubilant in the assurance of grace. It’s the kind of song that makes you want to clap your hands, lift your voice, and join the chorus, no matter where you are.

This hymn has transcended generations, uniting believers with its enduring truth and soulful melody. It’s not just a reminder of spiritual cleansing; it’s an invitation to fully embrace the grace that’s always available. Whether sung in a booming choir or hummed in solitude, “Are You Washed in the Blood” carries a message of hope that never fades

Video

Lyrics

Have you been to Jesus for the cleansing power?
Are you washed in the blood of the Lamb?
Are you fully trusting in His grace this hour?
Are you washed in the blood of the Lamb?

Are you washed in the blood
In the soul cleansing blood of the Lamb?
Are your garments spotless? Are they white as snow?
Are you washed in the blood of the Lamb?

Are you walking daily by the Savior’s side?
Are you washed in the blood of the Lamb?
Do you rest each moment in the Crucified?
Are you washed in the blood of the Lamb?

Are you washed in the blood
In the soul cleansing blood of the Lamb?
Are your garments spotless? Are they white as snow?
Are you washed in the blood of the Lamb?

Lay aside the garments that are stained with sin
And be washed in the blood of the Lamb
There’s a fountain flowing for the soul unclean
O be washed in the blood of the Lamb!

Are you washed in the blood
In the soul cleansing blood of the Lamb?
Are your garments spotless? Are they white as snow?
Are you washed in the blood of the Lamb?

Are your garments spotless? Are they white as snow?
O be washed in the blood of the Lamb!

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Country Music

GLEN CAMPBELL HEARD “RHINESTONE COWBOY” ON THE RADIO AND DECIDED HE HAD TO RECORD IT. WHEN HE WALKED INTO CAPITOL RECORDS TO ASK ABOUT THE SONG, AN EXECUTIVE WAS ALREADY WAITING TO PLAY HIM THE VERY SAME RECORD. By 1974, Campbell knew what it felt like when the lights moved somewhere else. He had already lived through “Wichita Lineman,” “Galveston,” television stardom and years as one of America’s most recognizable crossover singers. But the huge records had slowed, and his personal life was becoming increasingly unsettled. “Rhinestone Cowboy” reached him at exactly the kind of moment its story described: a veteran still trying to find the lights again. The song belonged to **Larry Weiss**. Weiss had written and recorded it himself for his 1974 album *Black and Blue Suite*. His version failed to become a significant U.S. hit. Campbell heard it on Los Angeles radio, remembered the title even though he could not remember the singer’s name, and became so taken with it that he learned the song while touring Australia. Then came the coincidence. Back in Los Angeles, Campbell walked into Capitol executive Al Coury’s office intending to pursue the song. Coury told him he had something Campbell needed to hear. He put on **“Rhinestone Cowboy.”** There was little left to debate. Campbell recorded it in early 1975 with producers Dennis Lambert and Brian Potter. Before Capitol had even fully launched the single, Campbell performed it on a telethon. Los Angeles programmer Paul Drew saw the performance, obtained an acetate and began playing it across the RKO radio chain, helping force the label into an accelerated release. The result was bigger than a country comeback. “Rhinestone Cowboy” reached No. 1 on both the Billboard Hot 100 and the country chart, giving Campbell his **first solo Hot 100 No. 1** after more than a decade of hits. For one week in September 1975, it topped both charts simultaneously — something no song had done since Jimmy Dean’s “Big Bad John” in 1961. But Campbell was not the only career altered by the record. Larry Weiss had become so discouraged after his own album failed that he was considering leaving music and going into the furniture business. Then word arrived that Glen Campbell was cutting his song. So “Rhinestone Cowboy” ended up carrying two men at once. One was a star trying to find his way back toward the center of American radio. The other was a songwriter getting ready to walk away from music entirely. The same three-minute song gave both of them a reason not to disappear.

Country Music

BRAD PAISLEY WAS EIGHT WHEN HIS GRANDFATHER GAVE HIM HIS FIRST GUITAR. BY 13, HE WAS A REGULAR ON JAMBOREE USA. A WEEK AFTER COLLEGE GRADUATION, NASHVILLE WAS ALREADY PAYING HIM TO WRITE SONGS. Brad Paisley grew up in Glen Dale, West Virginia, watching his maternal grandfather Warren Jarvis play the country guitar music he loved. On Christmas Day in 1980, when Brad was eight, Jarvis gave him a Sears Danelectro Silvertone guitar. With lessons and encouragement, Paisley progressed quickly. By ten he was performing, and at 13 he wrote his first song and began appearing regularly on WWVA’s **Jamboree USA** in Wheeling. That was more than a childhood novelty. Paisley would spend roughly eight years performing through the Jamboree world, getting comfortable in front of real country audiences while still in school. As a teenager, he also opened shows for established artists including Roy Clark, Jack Greene and Little Jimmy Dickens, along with other major country names who passed through the region. After high school and two years at West Liberty State College, Paisley received a fully funded ASCAP scholarship to Belmont University in Nashville, where he studied music business. Belmont put him inside the machinery he had been watching from a distance. During an internship, people around Paisley discovered that he was writing songs himself. Once they heard the material, they began helping him make the right introductions. Paisley later said that by graduation, it felt as though much of the path had already been laid out. The timing proved it. Just **one week after graduating from Belmont**, Paisley signed a songwriting deal with EMI Music Publishing. Before he had a record contract of his own, other singers began cutting his songs. David Kersh recorded “Another You,” which became a Top 5 country hit and gave the newly graduated Paisley his first significant royalties as a professional songwriter. Cuts by David Ball and Tracy Byrd followed before Arista Nashville eventually signed Paisley as a recording artist. His debut album, *Who Needs Pictures*, arrived in 1999 and produced the No. 1 hits “He Didn’t Have to Be” and “We Danced.” But Nashville’s first serious vote of confidence had come several years earlier. Before the record deal, the videos or the No. 1 singles, somebody in Music Row had already decided that Brad Paisley’s songs were worth buying. And only a week earlier, he had still been a college student.

Country Music

SAMMY KERSHAW HAD BEEN PLAYING MUSIC SINCE HE WAS 12. BY 1988, DRUGS, ALCOHOL AND YEARS OF CLUB WORK HAD WORN HIM DOWN SO BADLY THAT HE QUIT MUSIC AND TOOK A FULL-TIME JOB REMODELING WALMART STORES. THREE YEARS LATER, HIS FIRST MAJOR-LABEL SINGLE REACHED THE COUNTRY TOP 3. Raised in Kaplan, Louisiana, he began performing as a child and was opening shows for established country acts while still a teenager. But nearly two decades of bars, road work and unstable income took their toll. Kershaw later described years marked by failed marriages, drugs and alcohol, while supporting himself through jobs ranging from carpentry and welding to radio work. By 1988, he was finished. Trying to save his marriage and get his life under control, Kershaw quit drinking, quit drugs — and quit the music business with them. He took a full-time job supervising store remodeling for Walmart. In another interview, he remembered simply being tired of the business and deciding that chasing the dream was no longer practical. For a while, country music became the thing he used to do. Then songwriter Barry Jackson persuaded him to make another demo. That tape helped bring Kershaw to Mercury Records, which heard in his voice the traditional Louisiana-country sound that immediately drew comparisons to George Jones. Mercury signed him, and in 1991 released **“Cadillac Style.”** The single climbed to No. 3 on Billboard’s country chart. His debut album, *Don’t Go Near the Water*, followed and eventually went platinum. Two years later, Kershaw scored his first No. 1 with **“She Don’t Know She’s Beautiful.”** By then, the man who had once decided music could no longer support a real life had become one of the recognizable traditional voices of the 1990s country boom. The strangest part was how little time separated those two lives. In the late 1980s, Sammy Kershaw was remodeling stores because he believed the sensible part of his music career was over. By the middle of the next decade, he had gone from that Walmart job to platinum records — without changing the George Jones-inspired country voice that Nashville had ignored for years.

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Country Music

GLEN CAMPBELL HEARD “RHINESTONE COWBOY” ON THE RADIO AND DECIDED HE HAD TO RECORD IT. WHEN HE WALKED INTO CAPITOL RECORDS TO ASK ABOUT THE SONG, AN EXECUTIVE WAS ALREADY WAITING TO PLAY HIM THE VERY SAME RECORD. By 1974, Campbell knew what it felt like when the lights moved somewhere else. He had already lived through “Wichita Lineman,” “Galveston,” television stardom and years as one of America’s most recognizable crossover singers. But the huge records had slowed, and his personal life was becoming increasingly unsettled. “Rhinestone Cowboy” reached him at exactly the kind of moment its story described: a veteran still trying to find the lights again. The song belonged to **Larry Weiss**. Weiss had written and recorded it himself for his 1974 album *Black and Blue Suite*. His version failed to become a significant U.S. hit. Campbell heard it on Los Angeles radio, remembered the title even though he could not remember the singer’s name, and became so taken with it that he learned the song while touring Australia. Then came the coincidence. Back in Los Angeles, Campbell walked into Capitol executive Al Coury’s office intending to pursue the song. Coury told him he had something Campbell needed to hear. He put on **“Rhinestone Cowboy.”** There was little left to debate. Campbell recorded it in early 1975 with producers Dennis Lambert and Brian Potter. Before Capitol had even fully launched the single, Campbell performed it on a telethon. Los Angeles programmer Paul Drew saw the performance, obtained an acetate and began playing it across the RKO radio chain, helping force the label into an accelerated release. The result was bigger than a country comeback. “Rhinestone Cowboy” reached No. 1 on both the Billboard Hot 100 and the country chart, giving Campbell his **first solo Hot 100 No. 1** after more than a decade of hits. For one week in September 1975, it topped both charts simultaneously — something no song had done since Jimmy Dean’s “Big Bad John” in 1961. But Campbell was not the only career altered by the record. Larry Weiss had become so discouraged after his own album failed that he was considering leaving music and going into the furniture business. Then word arrived that Glen Campbell was cutting his song. So “Rhinestone Cowboy” ended up carrying two men at once. One was a star trying to find his way back toward the center of American radio. The other was a songwriter getting ready to walk away from music entirely. The same three-minute song gave both of them a reason not to disappear.

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FLEETWOOD MAC CUT STEVIE NICKS’ BREAKUP SONG FROM RUMOURS — THEN STUCK IT ON THE B-SIDE OF LINDSEY BUCKINGHAM’S BREAKUP SONG ABOUT HER. TWENTY YEARS LATER, SHE SANG IT TO HIS FACE ONSTAGE. The timing made the rejection sting even more. Nicks and Buckingham had been together for years before joining Fleetwood Mac, surviving lean days as a duo before the band suddenly made them famous. By the time *Rumours* was being made in 1976, their relationship was coming apart while they were still expected to write, record and perform beside one another. Nicks turned that fracture into “Silver Springs.” The title came from seeing a sign for Silver Spring, Maryland, while traveling. She liked the name and began imagining it as a place that represented what her relationship with Buckingham might have become. She expected the song to be on *Rumours*. It wasn’t. The album was already pushing the limits of vinyl running time, and “Silver Springs” was judged too long. The band substituted the shorter Nicks song “I Don’t Want to Know.” Producer Ken Caillat later confirmed that the physical limitations of the LP were part of the reason it was left behind. For Nicks, it felt like losing one of the songs that mattered most to her. Then came the placement that made the whole episode almost cruelly symmetrical. “Silver Springs” was released as the B-side of **“Go Your Own Way”** — Buckingham’s own public account of their breakup. His song became one of Fleetwood Mac’s defining hits. Hers remained the record people had to turn over to hear. For years, that might have been the end of it. It wasn’t. When Fleetwood Mac reunited for *The Dance* in 1997, “Silver Springs” returned to the set. During the televised performance, Nicks eventually turned toward Buckingham and delivered the song directly at him while he played guitar and sang harmony. Twenty years had passed since she wrote it. The performance gave the discarded song a second life, and “Silver Springs” later received a Grammy nomination for Best Pop Performance by a Duo or Group with Vocals. There was one more quiet consequence. Nicks had assigned the song’s royalties to her mother, Barbara, who called it her “rainy day song.” So the track that missed *Rumours*, disappeared into a B-side and spent two decades outside the album eventually became something else entirely: a source of income for her mother and, much later, one of the performances most closely associated with Stevie Nicks herself.

Country Music

BRAD PAISLEY WAS EIGHT WHEN HIS GRANDFATHER GAVE HIM HIS FIRST GUITAR. BY 13, HE WAS A REGULAR ON JAMBOREE USA. A WEEK AFTER COLLEGE GRADUATION, NASHVILLE WAS ALREADY PAYING HIM TO WRITE SONGS. Brad Paisley grew up in Glen Dale, West Virginia, watching his maternal grandfather Warren Jarvis play the country guitar music he loved. On Christmas Day in 1980, when Brad was eight, Jarvis gave him a Sears Danelectro Silvertone guitar. With lessons and encouragement, Paisley progressed quickly. By ten he was performing, and at 13 he wrote his first song and began appearing regularly on WWVA’s **Jamboree USA** in Wheeling. That was more than a childhood novelty. Paisley would spend roughly eight years performing through the Jamboree world, getting comfortable in front of real country audiences while still in school. As a teenager, he also opened shows for established artists including Roy Clark, Jack Greene and Little Jimmy Dickens, along with other major country names who passed through the region. After high school and two years at West Liberty State College, Paisley received a fully funded ASCAP scholarship to Belmont University in Nashville, where he studied music business. Belmont put him inside the machinery he had been watching from a distance. During an internship, people around Paisley discovered that he was writing songs himself. Once they heard the material, they began helping him make the right introductions. Paisley later said that by graduation, it felt as though much of the path had already been laid out. The timing proved it. Just **one week after graduating from Belmont**, Paisley signed a songwriting deal with EMI Music Publishing. Before he had a record contract of his own, other singers began cutting his songs. David Kersh recorded “Another You,” which became a Top 5 country hit and gave the newly graduated Paisley his first significant royalties as a professional songwriter. Cuts by David Ball and Tracy Byrd followed before Arista Nashville eventually signed Paisley as a recording artist. His debut album, *Who Needs Pictures*, arrived in 1999 and produced the No. 1 hits “He Didn’t Have to Be” and “We Danced.” But Nashville’s first serious vote of confidence had come several years earlier. Before the record deal, the videos or the No. 1 singles, somebody in Music Row had already decided that Brad Paisley’s songs were worth buying. And only a week earlier, he had still been a college student.

Country Music

SAMMY KERSHAW HAD BEEN PLAYING MUSIC SINCE HE WAS 12. BY 1988, DRUGS, ALCOHOL AND YEARS OF CLUB WORK HAD WORN HIM DOWN SO BADLY THAT HE QUIT MUSIC AND TOOK A FULL-TIME JOB REMODELING WALMART STORES. THREE YEARS LATER, HIS FIRST MAJOR-LABEL SINGLE REACHED THE COUNTRY TOP 3. Raised in Kaplan, Louisiana, he began performing as a child and was opening shows for established country acts while still a teenager. But nearly two decades of bars, road work and unstable income took their toll. Kershaw later described years marked by failed marriages, drugs and alcohol, while supporting himself through jobs ranging from carpentry and welding to radio work. By 1988, he was finished. Trying to save his marriage and get his life under control, Kershaw quit drinking, quit drugs — and quit the music business with them. He took a full-time job supervising store remodeling for Walmart. In another interview, he remembered simply being tired of the business and deciding that chasing the dream was no longer practical. For a while, country music became the thing he used to do. Then songwriter Barry Jackson persuaded him to make another demo. That tape helped bring Kershaw to Mercury Records, which heard in his voice the traditional Louisiana-country sound that immediately drew comparisons to George Jones. Mercury signed him, and in 1991 released **“Cadillac Style.”** The single climbed to No. 3 on Billboard’s country chart. His debut album, *Don’t Go Near the Water*, followed and eventually went platinum. Two years later, Kershaw scored his first No. 1 with **“She Don’t Know She’s Beautiful.”** By then, the man who had once decided music could no longer support a real life had become one of the recognizable traditional voices of the 1990s country boom. The strangest part was how little time separated those two lives. In the late 1980s, Sammy Kershaw was remodeling stores because he believed the sensible part of his music career was over. By the middle of the next decade, he had gone from that Walmart job to platinum records — without changing the George Jones-inspired country voice that Nashville had ignored for years.