OldiesSong

Greatest Hits Oldies But Goodies Ever

When Reba McEntire and Narvel Blackstock’s twenty-six-year marriage began falling apart in 2015, their daughter-in-law Kelly Clarkson tried everything she could behind closed doors to keep the two together. Long before joining the family, Kelly had grown up in Texas idolizing Reba and toured alongside her in 2007 and 2008. In October 2013, Kelly married Narvel’s son, Brandon Blackstock, making Reba her stepmother-in-law. Across twenty-six years of marriage, Reba had never used the word stepchildren for Narvel’s three children from his previous marriage, raising them alongside her son Shelby and gathering the whole family, including Kelly’s baby born in 2014, for Thanksgiving and Christmas under one roof. When Reba and Narvel announced their separation in August 2015, the split was not what sixty-year-old Reba wanted. Watching the two pillars of their family drift apart, Kelly and Brandon stepped in, talking with both sides and pleading for a reconciliation to save the marriage. Nothing could change Narvel’s mind, and the divorce was finalized on October 28, 2015, ending twenty-six years of marriage and thirty-five years of working together. Three years later, at the 2018 Kennedy Center Honors, Kelly walked onto the stage to sing one of Reba’s signature songs in tribute while Reba sat in the audience in tears. Even after Kelly went through her own divorce from Brandon in 2020, Reba refused to take sides against her and continued calling Kelly family, preserving the bond between two women who had tried to hold their home together.

Please scroll down for the video. It is at the end of the article!

WHEN REBA MCENTIRE AND NARVEL BLACKSTOCK’S TWENTY-SIX-YEAR MARRIAGE BEGAN FALLING APART, KELLY CLARKSON TRIED EVERYTHING SHE COULD BEHIND CLOSED DOORS TO KEEP THEM TOGETHER.

Long before Kelly Clarkson ever shared a holiday table with Reba McEntire, she was a Texas schoolgirl wearing out Reba’s cassette tapes in her bedroom. After winning the first season of American Idol in 2002, Kelly performed with her musical hero on television, recorded a hit 2007 duet version of “Because of You” with her, and co-headlined the 2 Worlds 2 Voices Tour across North America in 2008. Through her management company, Starstruck Entertainment, which was run by Reba’s husband and manager, Narvel Blackstock, Kelly soon grew close to Narvel’s son, talent manager Brandon Blackstock.

When Kelly and Brandon were married on October 20, 2013, at Blackberry Farm in Walland, Tennessee, the idol she had admired since childhood officially became her stepmother-in-law. Across twenty-six years of marriage to Narvel, Reba had never used the word stepchildren for his three kids from his first marriage—Shawna, Chassidy, and Brandon—raising them alongside her younger son, Shelby Blackstock.

By 2014, when Kelly and Brandon welcomed their daughter, River Rose, the blended family gathered regularly under one roof for birthdays, Easter, Thanksgiving, and Christmas. For Kelly, who had grown up in a broken home of her own, the stability of Reba and Narvel’s long marriage anchored the entire family.

Then, in the summer of 2015, that foundation began to fracture. In August 2015, Reba and Narvel released a joint statement announcing that they had been separated for several months after twenty-six years of marriage and thirty-five years of working side by side.

At sixty years old, Reba later admitted publicly that ending the marriage had not been her choice in any form. Behind the scenes, watching the two people who held their family and business world together drift apart, Kelly and Brandon stepped in to mediate.

Hoping to prevent the split, the younger couple spoke directly with both Reba and Narvel in private, pleading with them to work through their differences and reconcile. Despite their efforts to hold the marriage together, nothing could change the outcome, and the divorce was finalized on October 28, 2015.

Even after the legal papers were signed and Reba left Starstruck Entertainment to launch her own company, she and Kelly refused to let the family breakup divide them. In early 2017, Kelly joined Reba and Trisha Yearwood to sing three-part harmony on the hymn “Softly and Tenderly” for Reba’s Grammy-winning gospel album, Sing It Now: Songs of Faith & Hope.

The depth of their bond became visible to the entire country on December 2, 2018, when Reba was celebrated at the forty-first annual Kennedy Center Honors in Washington, D.C. Sitting in the Presidential Box alongside fellow honorees Cher, Philip Glass, Wayne Shorter, and the creators of Hamilton, Reba watched as Lady Antebellum, Brooks & Dunn, and Kristin Chenoweth paid tribute to her career.

Then Kelly walked out onto the Opera House stage to close the musical tribute with a stripped-down performance of Reba’s 1990 ballad “Fancy.” Before singing, Kelly addressed Reba from the microphone, telling the crowd that sometimes when people meet their heroes, it does not always pan out, but meeting Reba had been one of the greatest highlights of her life, first as a fan and later as her family. Watching from the balcony as Kelly poured every ounce of emotion into the song, Reba openly wiped away tears.

That loyalty was tested again in June 2020, when Kelly filed for divorce from Brandon after nearly seven years of marriage, leading to a long legal battle over property and management commissions. Caught between her stepson and her former daughter-in-law, Reba made a quiet decision not to choose sides publicly. She stated plainly in interviews that she loved them both and could not play judge over their dispute.

Years later, whether crossing paths on the set of NBC’s The Voice or staying in touch over text messages about Kelly’s two children, River Rose and Remington, the two singers remained part of each other’s lives. Two divorces had reshaped the family tree around them, yet the respect between the woman who tried to save Reba’s marriage and the country star who refused to abandon her afterward never broke.

https://www.youtube.com/watch?v=kZNvjmXM7eg

Related Post

Reba McEntire and Rex Linn had been friends since meeting on a movie set in 1991, yet their love story began over phone screens while she grieved her mother alone in 2020. The two first met filming The Gambler Returns: The Luck of the Draw alongside Kenny Rogers and stayed warm acquaintances for nearly three decades. In January 2020, when Reba came to Los Angeles for a guest role on Young Sheldon, where Rex was a cast member, they went out to dinner to catch up, and a plate of tater tots at the table earned her the nickname “Tater Tot” while he became “Sugar Tot.” Weeks later, on March 14, 2020, Reba’s ninety-three-year-old mother, Jacqueline McEntire, passed away after battling cancer. At the exact same time, nationwide pandemic lockdowns went into effect, forcing the family to postpone the funeral indefinitely and leaving Reba isolated on her ranch in Oklahoma. Alone in California, Rex began calling and texting to check on her. Having lost his own mother in 1998, he understood that emptiness and listened for hours as she talked through memories of Jacqueline and their shared Oklahoma and Texas roots. From March through June 2020, without being able to see each other in person, the two in their sixties built a daily routine over video calls, pouring morning cups for what they called “Coffee Camp” and checking in again every evening. When travel restrictions eased in June 2020, Rex drove to Oklahoma to be with Reba and her sisters. The thirty-year friend who had kept her smiling through the loneliest mornings of her grief was already part of the family before he even walked through the door.

During the darkest mornings of 2015 and 2016, Reba McEntire did not pray for another hit record, only for the strength to put one foot in front of the other. The previous year had already taken a heavy toll when her father, Clark McEntire, passed away in October 2014 after a long illness. Months later, her twenty-six-year marriage and thirty-five-year working partnership with her husband and manager, Narvel Blackstock, came to an end in late 2015. Reba openly admitted the divorce was not something she wanted, and losing both her father and the man who had stood beside her for decades left her in the loneliest season of her sixty years. Instead of holding onto bitterness, she began talking to God throughout the day like a close friend, whispering prayers while waking up in an empty house, driving alone, or taking walks. In 2016, that daily habit of leaning on faith led her into the studio to record her first gospel project, the two-disc album Sing It Now: Songs of Faith & Hope. One disc featured contemporary songs of hope, while the other gathered the traditional hymns she had grown up singing in Chockie, Oklahoma. For one of those old hymns, Reba invited her mother, Jacqueline, and her sisters, Alice and Susie, to sing alongside her at the microphone. Bringing her family voices together gave her back the peace of their Oklahoma childhood before fame and heartbreak. Released in February 2017, the album reached number one on both Billboard’s Top Country Albums and Top Christian Albums charts. When Reba performed those songs at the Ryman Auditorium that year, she was visibly moved in front of the crowd, and in 2018 the project won the Grammy for Best Roots Gospel Album, her first Grammy win in twenty-four years. The quiet morning prayers she started just to get through the day had become the music that carried her forward.

At sixty years old, Reba McEntire had sold millions of records and commanded arenas across the country, yet after her twenty-six-year marriage ended in 2015, she had to learn what a gallon of milk cost. When she and Narvel Blackstock announced their separation in August 2015 and finalized their divorce that October, Reba lost both a husband and the business structure around her life. Narvel had started in her road band on steel guitar in the early 1980s before becoming her manager and standing beside her through the 1991 plane crash that took eight members of her touring group. Across thirty-five years of working together through Starstruck Entertainment, the division of labor was complete: Reba focused on singing and acting, while Narvel and his team handled the bills, finances, and daily operations. Reba later admitted the divorce had not been her choice. It arrived during an already heavy season, shortly after her father, Clark McEntire, passed away in October 2014 and while her mother, Jacqueline, faced serious health struggles back in Oklahoma. Suddenly on her own at sixty, one of country music’s biggest stars realized she did not know how to handle basic personal transactions. Watching her struggle to adjust, close friends urged her to step into everyday routines by driving herself to the store, pushing a shopping cart down the aisles, and checking the price of a gallon of milk for herself. She applied that same independence to her career. Stepping away from her former husband’s management company, she launched Reba’s Business Inc. to oversee her own creative and financial decisions and poured her healing into her 2017 gospel album, Sing It Now: Songs of Faith & Hope. Learning to pay her own bills and shop for her own groceries gave Reba a quiet confidence that decades of being sheltered had never offered.

Before the twenty-two Grammy Awards, Vince Gill turned down the Grand Ole Opry so a six-year-old girl would not have to sing alone at her elementary school talent show. In the late 1980s, Gill was still fighting to establish himself as a solo artist in Nashville before his breakthrough with “When I Call Your Name.” His daughter, Jenny, was in the first grade when she asked him to play acoustic guitar behind her for the school talent show. They practiced “You Are My Sunshine” together at home. Then the phone rang with an invitation to play the Grand Ole Opry on that exact same night. For a struggling singer in Nashville, saying no to country music’s most famous stage carried the real risk of losing a career-making chance. Six-year-old Jenny had no idea what the Opry meant to her father’s future. She only knew she needed her dad beside her so she would not be nervous in front of her classmates and teachers. Gill called the Opry organizers and declined the slot to keep his word to his daughter. The doors in Nashville did not close on him. Roy Acuff officially inducted Gill into the Grand Ole Opry on August 10, 1991, and Gill still continues to build one of the most respected careers in country music. More than thirty years after that first-grade talent show, Jenny brought the quiet family memory onto a televised stage at Belmont University during the September 2022 CMT Giants tribute, though the way she surprised her father that night and the words she shared before singing the same childhood song again left Gill wiping away tears in the front row.

When Vince Gill and Amy Grant married on a hillside outside Nashville on March 10, 2000, the public criticism was loud, yet twenty-four years later their home runs on handwritten kitchen notes and early-morning guitar chords. Speaking with reporters in 2024 at age sixty-seven, the twenty-two-time Grammy winner explained that keeping their marriage strong never required a complicated formula. He credited everyday kindness, respect for each other’s differences, and letting go of the need to win an argument. That patience was tested early as they blended a family of five children, joining Vince’s daughter Jenny and Amy’s three kids, Matthew, Millie, and Sarah, before welcoming their daughter Corrina in 2001. Rather than forcing a new dynamic, they gave the children space and even built a close friendship with Vince’s first wife, Janis Oliver, so the whole family could gather comfortably. They took the same approach to their personalities and careers. Vince, a quiet traditional country star who tours with the Eagles, stayed home playing vintage guitars and golf while Amy, the outgoing pioneer of Christian pop, filled the house with guests. They kept their music separate for most of the year, sharing the stage mainly for their annual Christmas at the Ryman concerts. Their daily kindness mattered most between 2020 and 2022. Vince paused his work to care for Amy after her June 2020 open-heart surgery for a congenital condition called PAPVR, and again after her July 2022 cycling crash caused a brain injury. When short-term memory loss made Amy repeat the same questions at the dinner table, Vince answered her every time as if he were hearing the question for the first time. Those quiet dinners carried them through twenty-four years together, though the early turning points of their relationship and the songs Vince wrote while Amy recovered reveal how much they had to overcome before reaching that peace.

Amy Grant was missing from the Ryman Auditorium stage in December 2022, so her twenty-one-year-old daughter stepped up to the microphone to sing the tribute Vince Gill had written for her mother. For years, Vince Gill and Amy Grant’s “Christmas at the Ryman” residency had been a December staple in Nashville. The 2022 run looked very different. Months earlier, in July, Amy had suffered a serious bicycle crash near the Percy Warner Park Harpeth Hills golf course that left her with a concussion and forced her away from the tour calendar to recover. Vince kept the residency dates on the books so the band and crew could still work, carrying the shows while his wife healed at home. During the December run, their daughter, Corrina Grant Gill, walked out under the stage lights of the historic mother church of country music. Vince sat nearby with his acoustic guitar and played the opening chords to “When My Amy Prays,” a quiet song he had written and released on his 2019 album, Okie, as a tribute to Amy’s faith and gentle spirit. Corrina took the lead vocal on her own. A song written by a husband taking pride in his wife suddenly became a daughter’s tribute to her mother in a room where Amy’s absence was felt in every pew. Vince stayed right beside her, accompanying every verse while his daughter carried the melody through the hall. That night at the Ryman kept a family tradition alive until Amy could finally return to the stage the following year, though the long months of quiet recovery that led up to her return tested the family in ways the public rarely saw.

In 2018, a mystery illness that swelled the nerves in John Anderson’s brain distorted his hearing so badly that his own guitar sounded like harsh noise. After releasing his album “Goldmine” in 2015, Anderson disappeared from recording studios for five years. Between 2017 and 2018, the severe neurological condition drained his physical strength and forced him to cancel his tour dates, retreating to his farm in Tennessee convinced he might never sing again. As his health slowly stabilized in 2019, longtime Johnny Cash engineer David “Fergie” Ferguson connected Anderson with The Black Keys frontman Dan Auerbach at Easy Eye Sound studio in Nashville. Still thin from his illness and unsure if his voice would hold up after five years away from songwriting, Anderson walked in intending to try writing just one song over a single afternoon. Instead, that first session unlocked a rush of new material. Working alongside Auerbach and veteran writers including Paul Overstreet, Pat McLaughlin, Bobby Wood, and Ronnie Bowman, Anderson co-wrote ten songs that drew directly from his brush with mortality. Auerbach and Ferguson surrounded him with vintage microphones and seasoned Nashville session players who had backed Elvis Presley and George Jones, while Blake Shelton joined his longtime hero for a duet on “Tuesday I’ll Be Gone.” When the 65-year-old closed his eyes to sing the title track live in the room, his weathered, slower delivery left the musicians and control room crew in quiet awe. Released on April 10, 2020, “Years” was hailed by critics as his most reflective work since 1992’s “Seminole Wind,” though the specific medical battle that nearly silenced him and the stories behind those ten songwriting sessions hold an even deeper chapter of his recovery.

In March 1983, a song written in a living room by John Anderson and his closest friend, Lionel Delmore, became the best-selling country single in Warner Bros. Records history. Anderson and Delmore, the son of Grand Ole Opry star Alton Delmore of The Delmore Brothers, put “Swingin'” together quickly at home, building a playful story around everyday Southern family life. When veteran producer Frank Jones brought the song into the studio for the 1982 album “Wild & Blue,” they ignored the polished Urban Cowboy sound dominating Nashville radio and recorded a driving mix of western swing, rockabilly piano, and a raw saxophone solo. Several Music Row executives and radio programmers initially balked at the track, questioning both the horn section and the heavy Apopka, Florida drawl Anderson leaned into on the title word. For Anderson, that working-class inflection was simply how people talked back home, and he refused to sand it down. Once the single hit the airwaves in early 1983, phone requests from truck drivers, construction crews, and barroom regulars flooded station switchboards across the country. By March, “Swingin'” sat at No. 1 on the Billboard Hot Country Singles chart, crossed over to No. 43 on the Billboard Hot 100, and sold more than one million physical copies to earn an RIAA Gold certification. In October 1983, ten years after hauling roofing materials on Nashville construction sites, Anderson walked onto the CMA Awards stage to collect both the Horizon Award and Single of the Year. Even with a lighthearted baseball-field music video airing on CMT and MTV, the record always meant the most to Anderson because he wrote it beside Delmore in their leanest years, long before Delmore’s death in 2002 and the other songs their partnership left behind.

In 1983, John Anderson delivered the best-selling country single in the history of Warner Bros. Records with “Swingin'” and took home the CMA Horizon Award. Three years later, the same label ended his contract. Signed by Warner Bros. in 1977 when he was still a former construction worker chasing a break, Anderson viewed the Nashville office as the home that gave him his start. As radio tastes shifted in the mid-1980s and a younger wave of singers arrived, his commercial momentum slowed. Between 1984 and 1986, he released the albums “Eye of a Hurricane,” “Tokyo, Oklahoma,” and “Countrified.” Critics praised the pure honky-tonk sound, and when industry voices suggested he smooth out his raw vocal style to fit pop-leaning radio trends, Anderson refused. Still, none of the singles from those three albums reached the Billboard Top 5. At the same time, playing more than 250 road dates a year left him physically exhausted, fueling destructive habits and personal strain that followed him into the studio. By late 1986, the sold-out arenas of 1983 had given way to smaller venues with empty seats, and Warner Bros. declined to renew his deal after nine years. From 1987 to 1990, Anderson moved through MCA Records with “Blue Skies Again” and “10,” then Universal Records with “Too Tough to Tame,” watching each project fade with little promotion. While industry friends disappeared, his wife, Jamie, and their quiet life in rural Tennessee kept him grounded through the fallout, setting the stage for the unexpected 1991 studio pairing that finally brought his voice back to No. 1.