Melba Montgomery remembered as a country music trailblazer

A trailblazer in country music remembered for her heartfelt duets and solo hits.

Melba Montgomery, circa 1970. Photo by Michael Ochs/Getty Images

By Hayu Andini and Novanka Laras

Melba Montgomery’s contributions to country music spanned decades, earning her recognition as “the female George Jones” for her authentic Appalachian phrasing and emotive vocal delivery. Her collaborations with iconic artists like George Jones produced timeless hits, including “We Must Have Been Out of Our Minds,” which captivated audiences with its raw emotion and memorable harmonies. This 1963 track not only launched her into national prominence but also became a defining moment in country music history.

Montgomery’s career included 30 charting singles from 1963 to 1986, both as a solo artist and as part of duets. Her solo rendition of Harlan Howard’s “No Charge” in 1974 was a standout, reaching No. 1 on the country charts and crossing over to the pop Top 40. Despite her success as a solo artist, her collaborations cemented her legacy, with fans celebrating her as a pioneer of the male-female duet format in country music. 

Born Melba Joyce Montgomery on October 14, 1938, in Iron City, Tennessee, she was one of nine children in a family steeped in music. Her father, Norman Montgomery, was a fiddler and voice teacher who instilled a love for traditional Appalachian sounds. Raised in Florence, Alabama, Melba began singing harmonies and playing instruments like the banjo and guitar, skills that would later define her career.

In 1958, at just 20 years old, Montgomery’s talent caught the attention of country legend Roy Acuff during a talent competition hosted by WSM, the radio station behind the Grand Ole Opry. Acuff was so impressed by her powerful vocals that he invited her to join his touring revue, marking the beginning of her professional journey.

Four years later, she signed with United Artists Records, where she met George Jones. This partnership proved transformative, as their collaborations produced six Top 40 hits and showcased Montgomery’s ability to bring depth and authenticity to duet performances. 

Montgomery’s duets with George Jones were often characterized by their heartfelt storytelling and comic undertones. Their first major hit, “We Must Have Been Out of Our Minds,” explored themes of infidelity and regret, set against the backdrop of waltz-time rhythms. Montgomery wrote the song herself, proving her talent as both a vocalist and a songwriter.

Her partnership with Jones also included humorous tracks like “Let’s Invite Them Over,” a song about a couple who fall in love with each other’s best friends. These duets resonated with audiences for their relatability and Montgomery’s ability to infuse emotional complexity into her performances.

The singer-songwriter John Prine later paid tribute to Montgomery’s duet legacy by including her on his 1999 album In Spite of Ourselves. They performed “We Must Have Been Out of Our Minds” together, further cementing the song’s status as a classic. Montgomery also lent her voice to “Milwaukee Here I Come,” another duet famously associated with Jones.

Beyond Jones, Montgomery found success with other duet partners. In 1966, she recorded “Baby Ain’t That Fine” with Gene Pitney, and in the 1970s, she teamed up with Charlie Louvin for several hits, including “Something to Brag About.” While her duets didn’t always achieve the same commercial success as those of her contemporaries Loretta Lynn and Tammy Wynette, Montgomery’s influence on the genre was undeniable.

Melba Montgomery recording with Gene Pitney. Photo by GAB/Getty Images

Although Montgomery’s duets often overshadowed her solo work, she made significant contributions as an individual artist. Her 1974 hit “No Charge” remains one of her most memorable recordings, celebrated for its poignant portrayal of motherhood. She also delivered an evocative rendition of Merilee Rush’s “Angel of the Morning” in 1977, showcasing her versatility and emotional depth as a performer.

When her commercial success began to wane in the 1990s, Montgomery shifted her focus to songwriting. Collaborating with other writers, she contributed to hits for artists like George Strait and Patty Loveless, further solidifying her impact on country music.

In 2010, Montgomery released her final album, Things That Keep You Going, marking a reflective chapter in her career. She retired from performing in 2015, a year after the death of her husband, Jack Solomon, who had been a member of George Jones’s band.

Despite her immense talent, Montgomery often found herself in the shadows of her peers. However, her voice and style influenced a new wave of country and bluegrass artists, including Patty Loveless and Rhonda Vincent. George Jones, widely regarded as one of the greatest country singers of all time, praised Montgomery for her authenticity and connection to traditional country music.

“Melba fit my style of singing more than Tammy did,” Jones once said, referring to his ex-wife and duet partner Tammy Wynette. “I hate to use the word ‘hard-core,’ but that’s what Melba is — a down-to-earth hard-core country singer.”

Montgomery herself sometimes expressed regret that her duet career overshadowed her solo work. Yet, her collaborations played a crucial role in popularizing the male-female duet format in country music, a legacy she embraced alongside Jones.

Melba Montgomery photographed around 1970. Photo by Michael Ochs/Getty Images

Melba Montgomery’s passing marks the end of an era in country music. She is survived by her daughters Jackie Chancey, Tara Denise Solomon, Diana Lynn Cirigliano, and Melissa Solomon Barrett; her brother Earl Montgomery; five grandchildren; and two great-grandchildren.

Her career, spanning over five decades, leaves behind a rich tapestry of music that continues to inspire. From her early days harmonizing in Appalachia to her unforgettable duets with George Jones, Montgomery’s voice remains a testament to the power of authenticity in country music.

As George Jones once said, “Melba and I may not have been the first to sing male-female duets in country music, but we popularized it. And that’s something to be proud of.”

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