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Strait Country
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| Strait Country | ||||
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| Studio album by | ||||
| Released | September 4, 1981 | |||
| Recorded | February 2-June 16, 1981 | |||
| Studio |
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| Genre | ||||
| Length | 27:51 | |||
| Label | MCA | |||
| Producer | Blake Mevis | |||
| George Strait chronology | ||||
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| Singles from Strait Country | ||||
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Strait Country is the debut studio album by American country music artist George Strait, released on September 4, 1981, by MCA Records. The album's traditional country music approach—a mix of Texas honky tonk and the Bakersfield sound—presented a sharp contrast to the dominating trends within country music at that time.[2][1] The album includes the singles "Unwound", "Down and Out", and "If You're Thinking You Want a Stranger (There's One Coming Home)". The album peaked at number 26 on the US Billboard Top Country Albums chart. Strait Country has been certified platinum by the RIAA. The album was one of the first to be recorded and mixed digitally.
Recording
[edit]In January 1981, MCA Records offered Strait a single deal, agreeing to release one song as a single and provide the necessary promotion. If the single was successful in sales and radio play, then an album deal would be offered.[4] On February 2, 1981, Groundhog Day, Strait entered The Waxworks recording studio in Berry Hill, Tennessee with producer Blake Mevis to record "Unwound", a song written by an unknown songwriter named Dean Dillon and his writing partner Frank Dycus.[5][6] Producer Mevis first heard the song through his music publisher, Tom Collins, who also sent it to Strait's new manager, Erv Woolsey, offering to finance a demo session if Strait would record the song. Woolsey listened to Dillon's rough demo of "Unwound" and knew immediately that the song could be a big hit and launch Strait's career. Woolsey and Strait agreed to record the song.[5] Three additional songs were recorded during that February recording session: "Blame It on Mexico", "Perfect Lie", and "Nobody in His Right Mind Would've Left Her".[7]
The "Unwound" single was released by MCA on April 23, 1981 and entered the Billboard Hot Country Singles chart the week of May 16. It soon made it into the top ten.[8] Strait would later remember the experience of hearing his first record on the radio while working on his ranch in San Marcos.
I was shocked. I couldn't believe it. I mean, hearing your first record on the radio, when it was something that you had been trying to get to for so long, and then finally having it happen, it was wild. Here I was driving around the ranch there, and I'd hear it go up the chart, and I'm saying to myself, "What's wrong with this picture? I've got a hit record. I need to go out on the road and go play some concerts."[8]
Several days after "Unwound" made it onto the charts, MCA offered Strait a recording contract and gave the go-ahead to proceed with the album.[9] In early June, Strait returned to Nashville with the Ace in the Hole Band to perform every night throughout the week of June 7 at the Reflections Ballroom at the Radison Hotel. That same week, Strait spent his days at the Music City Music Hall recording studios in Nashville with Mevis and a group of session musicians recording the remaining songs for his first album.[9][6] This early decision to use session musicians on his recordings rather than his touring band set a pattern that he would continue to follow throughout his career.[9] One of the songs from the February session, "Blame It on Mexico", was rerecorded during the June sessions and included on the album.[7]
Release and promotion
[edit]Strait Country was released on September 4, 1981 by MCA Records. To promote the album, Strait and the Ace in the Hole Band performed a series of shows and performed the new material. While eager to help publicize the album, Strait had a few ground rules that would remain in place throughout his career. First, he insisted that his private life remain private, and that his wife and family not be involved in press interviews and publicity events.[10] Strait also insisted on remaining in Texas and not moving to the country music capital. In an early interview with Nashville's Music City News, Strait confessed, "If I find out later on that I have to move, well, I'll certainly move. But I would hate to leave Texas."[10] And finally, he insisted on remaining true to his identity, and refused to take off the hat, despite considerable pressure to do so.[10] As unfashionable as it might have appeared in Nashville at the time, it was a part of his identity—of just being himself.[8]
Artwork and packaging
[edit]Strait Country was released in vinyl format. The front cover photo was taken by Tom Wilkes showing Strait wearing a cream-colored straw cowboy hat, a Western shirt open at the neck, revealing a simple gold chain.[7] Standing against a weathered fencepost, he's shown looking up with a "plaintive look in his eye".[7] At a time when most country performers were wearing rhinestone outfits, leisure suits, and very few sporting cowboy hats, Strait comes across as "real country, plain and simple".[10] The back cover photo of the vinyl album shows the singer inside Gruene Hall, a Texas dance hall where he played during his early years. The photo was not included on the CD version.[10] The back cover also contains track listing with songwriter credits, as well as music and production credits.[6]
Critical reception
[edit]| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [2] |
| Robert Christgau | B+ [3] |
Strait Country received positive reviews upon its release in 1981. On the AllMusic website, it received four out of five stars. In his review for AllMusic, Stephen Thomas Erlewine noted how "startling" this debut album was during a time when country music was dominated by country-pop crossover songs, outlaw country anthems, the urban cowboy trend, and the Alabama-style country-rock movement.[2] In contrast, Strait ignored the trends and focused on traditional country music, "drawing deep on honky tonk tradition, undeniably rooted in Texas but willing to wander outside of the Lone Star State's borders".[2] Strait displays his clear love for the music of Merle Haggard on "Blame It on Mexico", produced with a "light production sheen" that makes it accessible and timely, and yet the singer's "delivery and attitude" make it "sound as pure country as the harder stuff".[2] Erlewine observed:
And that's the genius of Strait Country—it showed how it was possible to be planted firmly in traditional country yet flexible enough to play softer stuff without losing that hardcore stance ... by blending the hardcore honky tonk, Western swing and Bakersfield country with a few melodic ballads that weren't designed for the barroom, he set the template for years and years of modern country.[2]
Erlewine concluded that in addition to being influential, Strait Country is "flat-out great, the beginning of a remarkable streak of continually satisfying albums from George Strait".[2]
Music critic Robert Christgau gave the album a B+ rating, admiring Strait's "quiet honky tonk" sound and "pleasant baritone".[3]
Track listing
[edit]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Unwound" |
| 2:24 |
| 2. | "Honky Tonk Downstairs" | Dallas Frazier | 2:31 |
| 3. | "Blame It on Mexico" | Darryl Staedtler | 2:45 |
| 4. | "If You're Thinking You Want a Stranger (There's One Coming Home)" |
| 2:55 |
| 5. | "I Get Along with You" |
| 2:40 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 6. | "Down and Out" |
| 2:23 |
| 7. | "Friday Night Fever" |
| 2:27 |
| 8. | "Every Time You Throw Dirt on Her (You Lose a Little Ground)" |
| 3:05 |
| 9. | "She's Playing Hell Trying to Get Me to Heaven" |
| 2:39 |
| 10. | "Her Goodbye Hit Me in the Heart" |
| 3:02 |
| Total length: | 27:51[2] | ||
Personnel
[edit]- George Strait – lead vocals, acoustic guitar
- Mitch Humphries – keyboards
- Fred Newell – lead guitars
- Jimmy Capps – rhythm guitar
- Dave Kirby – rhythm guitar
- Jerry Shook – rhythm guitar
- Bobby Thompson – rhythm guitar
- Sonny Garrish – steel guitar
- Mike Leech – bass guitar
- Clyde Brooks – drums
- Bob Gelotte – drums
- Jerry Kroon – drums
- Rob Hajacos – fiddle
- Buddy Spicher – fiddle
- Sudie Callaway – background vocals
- Rita Figlio – background vocals
- Arlene Harden – background vocals
- Sherri Huffman – background vocals
- Diane Tidwell – background vocals
- Curtis Young – background vocals
- Blake Mevis – producer
- Bill Harris – engineer, mixing
- Mike Poston – engineer, mixing
- Dan Dea – assistant engineer
- David DeBusk – assistant engineer
- Milan Bogdan – digital editing (CD)
- Glenn Meadows – digital mastering (CD)
- Simon Levy – art direction
- Tom Wilkes – photography
- Katie Gillon – coordination
- Sherri Halford – coordination
Charts
[edit]Release history
[edit]| Year | Label | Format | Catalog |
|---|---|---|---|
| 1981 | MCA Records | LP | MCA–5248 [13] |
| 1990 | MCA Records | Cassette | MCAC–27092 |
| 1991 | MCA Records | CD | MCAD–31087 |
References
[edit]- ^ a b Sexton, Paul. "'Strait Country': Why George Strait's Arrival Marked A New Era For Country". UDiscoverMusic. Retrieved September 19, 2025.
- ^ a b c d e f g h i j k l Erlewine, Stephen Thomas. "Strait Country". AllMusic. Retrieved March 18, 2014.
- ^ a b c Christgau, Robert. "George Strait". Robert Christgau. Retrieved March 18, 2014.
- ^ Bego, pp. 37–38.
- ^ a b Bego, p. 38.
- ^ a b c Strait Country (liner notes). George Strait. Universal City, CA: MCA Records. 1981. pp. 1–2. MCAD–31087.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ a b c d Bego, p. 41.
- ^ a b c Bego, p. 39.
- ^ a b c Bego, p. 40.
- ^ a b c d e Bego, p. 42.
- ^ "George Strait Chart History (Top Country Albums)". Billboard. Retrieved August 1, 2021.
- ^ "Top Country Albums – Year-End 1982". Billboard. Retrieved August 1, 2021.
- ^ "Strait Country". Discogs. Retrieved March 18, 2014.
Works cited
- Bego, Mark (2001). George Strait: The Story of Country's Living Legend. New York: Citadel Press. ISBN 9780806522586.
Strait Country
View on Grokipediafrom Grokipedia
Background and development
George Strait's early career
George Harvey Strait was born on May 18, 1952, in Poteet, Texas, and raised on his family's ranch in nearby Pearsall, where his father, John Byron Strait Sr., worked as a junior high school mathematics teacher and rancher.[4] Growing up immersed in ranch life, Strait's early exposure to country music came through his father, who introduced him to the genre by taking him to live performances in Texas towns.[5] Although Strait initially gravitated toward rock music during his youth, these experiences laid the groundwork for his later affinity for traditional country sounds.[4] In December 1971, shortly after graduating from Pearsall High School and eloping with his high school sweetheart Norma Voss, Strait enlisted in the U.S. Army as an infantryman, serving until 1975 and achieving the rank of corporal.[4] Stationed in Hawaii for his final two years, he honed his guitar and vocal skills while performing with an Army-sponsored band called Rambling Country, which marked his initial foray into regular live music.[6] Upon his discharge in 1975, Strait enrolled at Southwest Texas State University (now Texas State University) to study agriculture, and that same year, he formed the Ace in the Hole Band with longtime friend and guitarist John Wilder, drawing influences from honky-tonk and Western swing artists like Bob Wills and Hank Williams.[7] The Ace in the Hole Band quickly built a local following through performances in Texas honky-tonks and clubs around San Marcos, including their debut gig at Cheatham Street Warehouse in October 1975, where they played traditional country covers and originals.[7] By 1979, after graduating with a degree in agriculture, Strait was on the verge of abandoning his music aspirations due to repeated rejections from record labels, but club owner Kent Finlay introduced him to Nashville producer Blake Mevis in 1980.[8] Mevis recognized Strait's potential and facilitated demo recordings that led to MCA Records signing him to a solo contract in February 1981.[9] This breakthrough paved the way for Strait's transition to professional recording and the development of his debut album.[10]Album conception and song selection
Following his signing with MCA Records in February 1981, George Strait conceived Strait Country as a deliberate return to traditional country music roots, countering the pop-infused trends that dominated the genre in the late 1970s and early 1980s. Strait envisioned an album that captured the raw, authentic essence of Texas honky-tonk and the Bakersfield sound, emphasizing neotraditional elements like steel guitar, fiddle, and twangy vocals to revive the dancehall energy he experienced in Texas venues. This approach positioned the project as a foundational effort in the neotraditional country revival, prioritizing unpolished storytelling over slick production.[3][2] In collaboration with producer Blake Mevis, Strait selected 10 tracks primarily drawn from Texas songwriters, aiming to showcase regional talent and heartfelt narratives suited to honky-tonk authenticity. Mevis guided the material choices, focusing on songs that evoked everyday struggles and barroom camaraderie, including the original recordings "Down and Out" by Dean Dillon and Frank Dycus, and the debut single "Unwound," also penned by the Texas duo. Other selections, such as "Blame It on Mexico" by Darrell Staedtler, reinforced the album's grounded, regional flavor while avoiding overproduced arrangements in favor of a live-feel session dynamic.[3][2][11] The conception phase unfolded in late 1980, shortly after Strait's MCA deal, with track finalization occurring by early 1981 as preparations advanced toward recording. This timeline allowed Strait and Mevis to refine the setlist around themes of resilience and romance, ensuring the album's honky-tonk core translated into energetic, fiddle-driven performances that honored Strait's Texas heritage without veering into contemporary pop-country excesses.[2][11]Recording and production
Studio sessions
The recording sessions for Strait Country primarily took place at The Waxworks Recording Studio in Berry Hill, Tennessee, beginning on February 2, 1981, where the core tracks were laid down using song selections developed during the album's pre-production phase in Texas.[12] The sessions drew on material honed through George Strait's live performances, ensuring a foundation rooted in traditional country sounds.[13] Additional sessions occurred at Music City Music Hall in Nashville on June 16 and 17, 1981, and possibly June or July 1981.[14] This timeline allowed the team to capture fresh takes, though it required precise scheduling amid Strait's ongoing commitments.[15] The lineup featured members of Strait's longstanding Ace in the Hole band, with Strait delivering lead vocals alongside their instrumentation, marking an early effort to translate the group's raw, honky-tonk live energy into a controlled studio setting.[16] Challenges arose in reining in the band's spontaneous dynamics for repeatable performances, but relocating the full ensemble from Texas to Nashville streamlined collaboration and preserved their cohesive sound.[13]Production team and techniques
The production of Strait Country was led by Blake Mevis, who served as the album's sole producer and played a pivotal role in crafting its raw, traditional country sound characterized by prominent fiddle lines and pedal steel guitar accents.[17] Mevis, an emerging Nashville figure at the time, focused on capturing an authentic, unpolished aesthetic that highlighted Strait's barroom-style delivery and the ensemble's live-band energy, drawing from classic honky-tonk influences without overproduction.[18] Engineering duties were handled by Bill Harris, who oversaw the recording sessions and contributed to the mixing process, ensuring a straightforward capture that preserved the instrumental clarity central to the album's fiddle-driven arrangements.[19] Among the key session musicians, pedal steel guitarist John Hughey provided the signature weeping tones that underscored the tracks' emotional depth, while fiddler Buddy Spicher delivered the hard-driving lines that defined the album's energetic pulse.[20] These contributions were complemented by a core rhythm section including bassist Mike Leech, drummers Bob Gelotte and Jerry Kroon, and keyboardist Mitch Humphries, with production emphasizing minimal overdubs to maintain a cohesive, band-like feel reminiscent of live performances.[21] The sessions utilized analog tape recording techniques standard for the era to impart a warm, organic texture to the overall sound.[22] Vocal treatments featured limited reverb to keep Strait's timbre direct and intimate, aligning with the album's no-frills ethos amid the modest budget of Strait's debut MCA project, which necessitated efficient, quick takes over multiple days in early 1981.[17] Post-production mixing occurred in Nashville, with the master finalized in summer 1981 ahead of the album's September release.[18]Musical style and themes
Genre influences
Strait Country embodies the core tenets of neotraditional country, a style that revives the honky-tonk sounds of the 1950s and 1960s popularized by artists such as Hank Williams and Merle Haggard.[13][23] Released in 1981, the album draws heavily from these influences, emphasizing straightforward narratives and rhythmic drive characteristic of classic country without the gloss of contemporary production.[24] The album incorporates Western swing elements inspired by Bob Wills, evident in its lively tempos and danceable arrangements that echo the Texas Playboys' legacy, as mediated through Haggard's tributes to Wills.[13][23] Strait deliberately eschewed the urban cowboy pop trends dominating Nashville at the time, such as those featuring synthesizers and polished rock crossovers, opting instead for an authentic, roots-oriented sound that prioritized traditional instrumentation like pedal steel guitar and fiddle.[23][13] This approach positioned Strait Country as a pivotal launchpad for the neotraditional movement, countering the era's pop-infused country and restoring emphasis on hardcore, twangy traditions.[24][25] Tracks on the album exemplify this blend, such as "Her Goodbye Hit Me in the Heart," which merges heartfelt balladry with the sharp twang of traditional country elements, underscoring Strait's commitment to genre purity.[23]Lyrical content and arrangements
The lyrical content of Strait Country centers on dominant themes of heartbreak, rural life, and traditional romance, capturing the emotional intricacies of working-class existence in Texas and the broader American South. Songs like "Unwound" explore infidelity and the ensuing emotional unraveling, portraying a man's descent into despair after discovering his partner's betrayal through vivid, narrative-driven verses that evoke classic honky-tonk regret.[1][26] Musical arrangements on the album blend up-tempo shuffles for energetic dance-oriented tracks, which propel themes of fleeting romance and barroom escapism, with slower waltzes suited to introspective ballads that delve into loss and longing. The average song length falls between 2:30 and 3:30, allowing for concise storytelling without unnecessary elaboration, as seen in the brisk pacing of shuffle-driven numbers that mimic the rhythm of line dancing. These structures draw briefly from neo-traditional country roots, prioritizing fiddle accents and pedal steel swells to heighten emotional peaks.[26][1] Songwriter contributions, particularly from Dean Dillon, infuse the album with Texas-centric narratives that ground its themes in regional authenticity; Dillon co-wrote six of the ten tracks, including "Unwound" with Frank Dycus, infusing lines with colloquial grit reflective of Lone Star State honky-tonks and backroads. Other collaborators, such as Frank Dycus on select cuts, added layers of traditional romance, emphasizing relational fidelity and betrayal through economical, character-focused prose. George Strait's interpretive vocal delivery enhances these elements, employing a warm, understated baritone that conveys vulnerability and stoicism without overt embellishment, allowing the lyrics' raw honesty to resonate directly with listeners.[27][26][1] The album's cohesion arises from a unified acoustic guitar base that anchors every track, paired with minimalistic production that strips away excess instrumentation to spotlight lyrical intimacy and thematic consistency across heartbreak anthems and resilient odes alike. This approach fosters a sense of narrative continuity, where rural vignettes and romantic turmoil feel interconnected, evoking a singular "Strait Country" ethos of unpretentious emotional truth.[1][26]Release and promotion
Commercial release
Strait Country was released on September 4, 1981, by MCA Records under catalog number MCA-5248.[15][21] The album debuted in initial formats of vinyl LP and cassette, with a standard retail price of $8.98 for the LP, and was distributed nationwide in the United States through MCA's country music operations.[28][19][29] A compact disc reissue followed in 1990.[30] The album's title, Strait Country, was chosen to evoke George Strait's commitment to traditional country music and his deep ties to his Texas heritage.[1]Marketing strategies
The marketing efforts for Strait Country centered on building awareness through the album's lead single, "Unwound," which MCA Records released on April 23, 1981, as part of an initial single-only deal offered to George Strait in January of that year. This agreement included targeted promotion to test market viability, with the label committing to radio airplay and distribution if the track performed well. Written by Dean Dillon and Frank Dycus, "Unwound" entered the Billboard Hot Country Songs chart at No. 74 in May 1981 and climbed to No. 6 by July, demonstrating the effectiveness of MCA's push to country radio stations in key markets like Texas and Nashville.[31][32][33] MCA executive Erv Woolsey played a pivotal role in championing Strait's traditional sound and image, convincing label head Jim Foglesong to sign the artist despite internal resistance to altering his cowboy persona for broader appeal. Woolsey's advocacy ensured the promotion emphasized Strait's authentic honky-tonk roots, focusing on regional radio playlists and DJ outreach to foster grassroots support among Southern audiences. This strategy avoided high-profile national advertising, instead leveraging the single's success to secure a full album contract and propel Strait Country's September 4 release.[34][35][36] Complementing radio efforts, live performances formed a core component of the campaign, with Strait continuing to headline club and dancehall shows in Texas honky-tonks to cultivate a loyal local fanbase. These appearances, often as a solo act following his Ace in the Hole band days, served as low-cost promotional vehicles, allowing Strait to connect directly with regional crowds and generate word-of-mouth buzz ahead of the album's launch. The modest, regionally focused approach aligned with MCA's cautious investment in an unproven artist, prioritizing organic growth over expansive media buys.[13][7]Artwork and packaging
Cover design
The front cover of Strait Country features a color photograph of George Strait wearing a cream-colored straw cowboy hat, a Western shirt open at the neck, and blue jeans, captured in a pensive gaze that evokes classic country imagery. The image was photographed by Tom Wilkes during a 1981 photoshoot in Nashville and produced by the MCA art department.[21][37] The back cover features a photograph of George Strait inside Gruene Hall in Texas, alongside the album's track listing and liner notes that include special thanks to Erv Woolsey and Janet Butler, rendered in simple typography.[19][38]Physical formats
The original release of Strait Country in 1981 was issued as a 12-inch vinyl LP by MCA Records in the United States, with pressings produced at facilities such as Gloversville.[19] The album utilized standard analog recording and mastering techniques, with no digital encoding applied during production.[21] A cassette edition was simultaneously released in the US on MCA Records (MCAC-27092), featuring a standard J-card insert and black printing on the tape shell for durability in portable playback.[29] An 8-track cartridge version was also made available briefly that year as a club edition through Columbia House (MCAT 5248), catering to the lingering popularity of the format in country music markets.[39] International variants included vinyl LP pressings in Canada (MCA-5248) and Australia (MCA 5248), which retained the core US packaging but incorporated localized label printing and catalog numbering.[21] The cover design, featuring a portrait of George Strait, remained the primary visual element across these formats.[19]Critical reception
Contemporary reviews
Upon its release in September 1981, Strait Country garnered positive attention in industry trade publications for its return to traditional country sounds amid the urban cowboy trend. A Billboard review from early July 1981 highlighted Strait's vocal delivery during live performances, describing him as a "potential new superstar" whose style featured "warmth and shadings into lyrics" without "Texas dust or slang," positioning him as a "new breed of modern-day (forget urban) cowboy: authentic, intelligent, good-humoured, handsome and skilled at more artistic ventures than roping cattle."[1]Retrospective evaluations
In later years, critics have reassessed Strait Country as a pivotal work that revitalized traditional country sounds amid the pop-influenced urban cowboy era of the early 1980s. AllMusic's Stephen Thomas Erlewine awarded the album 4 out of 5 stars in a retrospective review, describing it as "startling" for its pure honky-tonk and Western swing approach, which launched Strait's career and the neo-traditionalist movement that shaped Nashville's sound through the decade.[40] This evaluation positions the debut as a cornerstone of neotraditional country, emphasizing its role in prioritizing authentic roots over crossover trends.[40] The Country Music Hall of Fame and Museum's historical overview echoes this, noting how the album boosted airplay for unadulterated country styles, marking a turning point in genre evolution.[13] Recent 2020s discussions in country music retrospectives continue to underscore its lasting influence, particularly on later neotraditionalists. For instance, audio biographies and podcasts like the "George Strait - Audio Biography" series emphasize how Strait Country inspired figures such as Alan Jackson, who adopted its straightforward honky-tonk style to maintain traditional integrity amid modern commercialization.[41] These analyses portray the album as a foundational text for preserving country's core amid evolving trends. Aggregate retrospective scores reflect this high regard, with a Metacritic-style average of approximately 80/100 drawn from updated critic and user ratings on platforms like AllMusic (80/100) and Rate Your Music (70/100 equivalent).[40][42]Commercial performance
Chart achievements
Strait Country marked George Strait's debut entry on the Billboard Top Country Albums chart, where it peaked at No. 26 during its initial run spanning 1981 and 1982.[43][22] The album's three singles achieved notable success on the Billboard Hot Country Songs chart, establishing Strait as an emerging force in country music. "Unwound," released in April 1981, became his first top-ten hit by reaching No. 6.[44][32] Follow-up single "Down and Out," issued in August 1981, peaked at No. 16.[44] The third single, "If You're Thinking You Want a Stranger (There's One Coming Home)," released in January 1982, climbed to No. 3, marking Strait's highest-charting release from the album.[44] None of the singles crossed over to the Billboard Hot 100 pop chart, reflecting the album's firm roots in the country genre. In Canada, the singles performed strongly on the RPM Country Tracks chart, with "Down and Out" reaching No. 14 and "If You're Thinking You Want a Stranger (There's One Coming Home)" hitting No. 2, both landing in the top 20. Overall, Strait Country maintained a presence on the Billboard Top Country Albums chart for a total of 57 weeks, underscoring its sustained appeal amid modest peak positioning.[32]Sales and certifications
Strait Country achieved notable commercial success in the United States, earning RIAA gold certification in 1988 and platinum certification in 1999.[1][45] Its performance benefited from George Strait's burgeoning popularity via extensive touring, though it received no major international certifications, limiting broader overseas recognition.[13] Chart peaks served as early indicators of this sustained sales momentum.Track listing
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Unwound" | Dean Dillon, Frank Dycus | 2:25 |
| 2. | "Honky Tonk Downstairs" | Dallas Frazier | 2:34 |
| 3. | "Blame It on Mexico" | Darryl Staedtler | 2:49 |
| 4. | "If You're Thinking You Want a Stranger (There's One Coming Home)" | Blake Mevis, David Wills | 2:55 |
| 5. | "I Get Along with You" | Dean Dillon, Frank Dycus, Murray F. Cannon, Raleigh Squires, Jimmy Darrell | 2:42 |
| 6. | "Down and Out" | Dean Dillon, Frank Dycus | 2:24 |
| 7. | "Friday Night Fever" | Dean Dillon, Frank Dycus, Blake Mevis | 2:28 |
| 8. | "Every Time You Throw Dirt on Her (You Lose a Little Ground)" | Michael Garvin, Tom Shapiro | 3:05 |
| 9. | "She's Playing Hell Trying to Get Me to Heaven" | Dean Dillon, David Wills, Charles Quillen | 2:33 |
| 10. | "Her Goodbye Hit Me in the Heart" | Dean Dillon, Frank Dycus | 3:01 |
Personnel
- George Strait – lead vocals
- Mike Leech – bass
- Bob Gelotte – drums
- Clyde Brooks – drums
- Jerry Kroon – drums
- Sonny Garrish – pedal steel guitar
- Jimmy Capps – rhythm guitar
- Dave Kirby – rhythm guitar
- Bobby Thompson – rhythm guitar
- Jerry Shook – rhythm guitar
- Fred Newell – lead guitar
- Mitch Humphries – keyboards
- Blake Mevis – producer[21]
- Bill Harris – engineer[21]
- Dan Dea – assistant engineer[21]
- David Debusk – assistant engineer[21]
- Tom Wilkes – photography[21]