Others became standards without technically reaching Number One: “Gold Rush Is Over” (1952), “I Went to Your Wedding” (1952), “Fool Such as I” (1952), “Yellow Roses” (1955), “Conscience, I’m Guilty” (1956), “The Last Ride” (1959) and “The Name of the Game Was Love” (1968). In addition, Hank put out a series of trend-setting “theme” LPs and a series of impressive guitar duets with Chet Atkins. By the mid-1950s, Hank was one of Nashville’s most visible and most successful stars.
He rejected an offer from Dot Records in order to stay with RCA and weathered the rock ‘n’ roll storm by refusing to try to beat the rockers at their own game. While other country singers tried rockabilly to impress the teenage audience, Hank turned his attention to albums and went after their parents. He put together Jamboree Attractions, one of the best of the early booking agencies that specialized in package shows and visited the parents of the young Elvis Presley to convince them to allow the singer to sign with Jamboree. He also helped further the career of his own son, Jimmie.
He played steel guitar on Jimmie’s four RCA sides—Jimmie eventually became an evangelist and the founder of the Sunday evening Grand Ole Gospel show. Through the 1970s and ’80s, Hank held the line against the dilution of traditional country music. He traveled widely, going as far afield as Vietnam, and released his 104th album for RCA in 1977, Still Movin’ On.
A jazzy, blues-tinged set that reflected the then-current Outlaw movement in country music, it was one of Hank’s better efforts, though not commercially successful. A series of duets with Kelly Foxton in 1979 fared better; they were Hank’s last real fling with singles. His 1985 duet album with Willie Nelson remains his last major commercial recording work. By the 1980s, Hank Snow stood as perhaps the most articulate and serious spokesman for the classic sound of country music.
His passionate attempt to keep the old songs and the pure styles alive has led some writers, reporters, and promoters to characterize him as aloof. His fans know better. His remarkable works speak more eloquently than any reporter or TNN tribute could, and his great songs continue to be revived—most recently, “Yellow Roses”—by new generations of singers, a tribute to his taste and uncanny ability to find good songs. Toward the end, he toured little, recorded little, and was content to do his regular Opry shows. Few would argue that he had earned that right.