Tom Harper

Tom Santopietro, an author well-known for his writing about American popular culture, delves into the heart of the beloved classic and shows readers why To Kill a Mockingbird matters more today than ever before.

Harper Valley P.T.A.: The Plantation Recordings 1968-70 Review by Mark Deming
In 1968, Jeannie C. Riley became one of the biggest stars in country music almost overnight when her recording of Tom T. Hall's "Harper Valley P.T.A." became a massive hit on both the C&W and pop charts, topping both at a time when there was precious little crossover between the formats. While Riley would never enjoy another success as great as "Harper Valley P.T.A.," she fared well on the country charts over the next few years, and her records were fine stuff, with Riley's voice well suited to the tough, sassy attack of "The Cotton Patch," "Harper Valley P.T.A.," and "The Widow Jones," as well as darker, more thoughtful material like "No Brass Band," "Shed Me No Tears," and the proto-feminist "The Rib."

Harper Valley P.T.A.: The Plantation Recordings 1968-70 Review by Mark Deming
In 1968, Jeannie C. Riley became one of the biggest stars in country music almost overnight when her recording of Tom T. Hall's "Harper Valley P.T.A." became a massive hit on both the C&W and pop charts, topping both at a time when there was precious little crossover between the formats. While Riley would never enjoy another success as great as "Harper Valley P.T.A.," she fared well on the country charts over the next few years, and her records were fine stuff, with Riley's voice well suited to the tough, sassy attack of "The Cotton Patch," "Harper Valley P.T.A.," and "The Widow Jones," as well as darker, more thoughtful material like "No Brass Band," "Shed Me No Tears," and the proto-feminist "The Rib."