
IN MARCH 1975, JACQUELINE MCENTIRE DROVE HER TWENTY-YEAR-OLD DAUGHTER TO NASHVILLE — CARRYING THE COUNTRY MUSIC DREAM SHE HAD SET ASIDE FOR HER FAMILY.
Long before Reba McEntire signed her first recording contract on Music Row, the earliest version of her career belonged to her mother. Growing up in southeastern Oklahoma, Jacqueline had hoped to become a country singer herself before marriage and ranch life in the small community of Chockie reshaped her path.
After marrying Clark McEntire, a three-time world champion steer roper who earned his national titles in 1957, 1958, and 1961, Jacqueline traded any thought of the stage for practical work. She taught in a two-room schoolhouse, worked as a school librarian, kept the cattle ranch books, and raised four children: Alice, Pake, Reba, and Susie.
Music still filled the household, especially on long highway drives to Clark’s rodeo competitions across the country. From the front seat of the family car, Jacqueline turned the back seat into a rolling classroom, teaching her children how to hold harmonies and keep rhythm until Pake, Reba, and Susie began performing locally as The Singing McEntires.
By 1974, despite years of singing at local rodeos and dance halls, Reba was preparing for a quieter future. After growing up working cattle from daybreak on the family ranch, she was a college sophomore at Southeastern Oklahoma State University studying elementary education so she could teach school just like her mother.
That plan shifted in December 1974 at the National Finals Rodeo in Oklahoma City. With the help of family friend and rodeo announcer Clem McSpadden, Reba was booked to sing the National Anthem in the arena, where country artist Red Steagall heard her voice cutting clearly through the crowd.
Later that evening at a hotel gathering, Reba sang an a cappella version of Dolly Parton’s “Joshua,” prompting Jacqueline to ask Steagall if he could help all three singing siblings land a record deal. Early in 1975, Steagall called Oklahoma with a harder offer: he could not take the whole group to Nashville, only Reba alone.
Stepping into a professional studio without Pake and Susie beside her left Reba uncertain whether she belonged there at all. When March 1975 arrived, Jacqueline packed the car and made the trip from Chockie to Nashville with her twenty-year-old daughter to record the demo session Steagall had arranged.
Sensing her daughter’s hesitation on the journey to Tennessee, Jacqueline spoke with quiet candor. She told Reba that if she did not truly want to go to Nashville, they could turn around right then and head home so she could finish college and teach school, admitting honestly that she was living all her own dreams through her daughter.
Instead of adding pressure, her mother’s honesty settled the question inside Reba. Realizing she was carrying a dream large enough for both of them, she walked into the studio and recorded the demo tape that convinced producer Glenn Keener to sign her to PolyGram/Mercury Records in November 1975.
In the years that followed that first Nashville session, Jacqueline remained a steady presence behind her daughter’s rise. As Reba moved from her January 1976 debut recordings to touring with Pake and Susie in a three-car caravan pulling a horse trailer of instruments, her mother stayed close to the family band and cheered every milestone.
Over four decades after their 1975 drive, Reba finally brought her mother to the microphone too. In 2017, ninety-year-old Jacqueline joined Reba and sisters Susie and Alice to record backup harmonies on the gospel classic “I’ll Fly Away” for the Grammy-winning album Sing It Now: Songs of Faith & Hope, even sharing the Ryman Auditorium stage that February.
Across more than fifty years in country music, dozens of number-one hits, and a place in the Country Music Hall of Fame, Reba never separated her success from the woman in the passenger seat. Even after Jacqueline passed away in March 2020 at age ninety-three, that shared bond endured.
One honest conversation on a road to Nashville gave a schoolteacher’s daughter her own voice—and let a mother hear her dream sung out loud.