The Greatest Oldies Music

Oldies Musics

B.J. Thomas – ‘Raindrops Keep Falling on my Head’

Introduction

Raindrops Keep Falling on my Head is a melodious gem that has stood the test of time. Sung by the renowned B.J. Thomas, this enchanting song has captured the hearts of generations since its release in 1969. In this article, we will delve into the story behind this iconic track, discover fascinating facts about the artist, and even treat ourselves to a video performance that brings the magic of this song to life.B.J. Thomas through the years

Did You Know?

  • B.J. Thomas, whose full name is Billy Joe Thomas, was an American singer known for his distinctive voice and impressive musical career spanning over five decades.
  • “Raindrops Keep Falling on my Head” was featured in the 1969 movie “Butch Cassidy and the Sundance Kid,” starring Paul Newman and Robert Redford. The song played a pivotal role in the film’s success and won an Academy Award for Best Original Song.
  • This timeless classic topped the Billboard Hot 100 chart in 1970, cementing its status as one of the most beloved songs of its era.
  • B.J. Thomas’ rendition of “Raindrops Keep Falling on my Head” earned him a Grammy Award for Best Male Pop Vocal Performance in 1970.
  • Apart from his chart-topping hit, B.J. Thomas was celebrated for numerous other hits in his career, including “Hooked on a Feeling” and “I Just Can’t Help Believing.”Hooked On a Feeling' Singer B.J. Thomas Dead at 78

Video

Lyrics: Raindrops Keep Falling on my Head

Raindrops are falling on my head
And just like the guy whose feet are too big for his bed
Nothing seems to fit
Those raindrops are falling on my head, they keep falling

So I just did me some talking to the sun
And I said I didn’t like the way he got things done
He’s sleeping on the job
Those raindrops are falling on my head, they keep fallin’

But there’s one thing I know
The blues they send to meet me
Won’t defeat me
It won’t be long ’till happiness steps up to greet me

Raindrops keep falling on my head
But that doesn’t mean my eyes will soon be turning red
Crying’s not for me
‘Cause, I’m never gonna stop the rain by complaining

Because I’m free
Nothing’s worrying me

It won’t be long ’till happiness steps up to greet me

Raindrops keep falling on my head
But that doesn’t mean my eyes will soon be turning red
Crying’s not for me, ’cause,
I’m never gonna stop the rain by complaining

Because I’m free
Nothing’s worrying me

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The musicians at RCA Studio B were ready to make records. They were not ready for the way Elvis Presley entered the room. During his celebrated Nashville sessions in 1970, bassist Norbert Putnam remembered Elvis appearing in dramatic fashion—wearing a flowing black cape and carrying an ornate cane. Putnam later recalled the impression that it was almost as though “a prince had walked into the room.”

STONEWALL JACKSON ASKED TOM T. HALL TO WRITE A PRISON SONG, BUT HALL COULD NOT DO IT BECAUSE HE HAD NEVER ACTUALLY BEEN TO PRISON. Tom T. Hall spent his early career turning out the kind of polished, commercial hits that Nashville publishers lived for. He could write what people expected, but he always felt like a fraud. When Stonewall Jackson approached him requesting a prison song—hoping to capture that rugged, authentic aura Johnny Cash was building—Hall hit a wall. He stared at his notepad, realized he had no genuine experience with a cell, and flatly refused to fake it. He was a songwriter, not an actor, and his pride kept him from writing about a world he didn’t know. His wife, Dixie, cut through the tension with a simple reminder: he had indeed spent a week in a county jail in Kentucky after a traffic violation. That memory was not cinematic or heroic. It was just mundane, quiet, and uncomfortable. It involved bad food, the sound of iron bars, and the slow, agonizing crawl of days where the jailer’s wife suddenly started looking like the most beautiful woman on earth. He stopped writing songs that invented generic situations and started reporting the people and places he actually encountered. The result was his first number one hit, written like a man telling a story across a kitchen table. Stonewall Jackson never got his song, but Hall finally found his own voice in the silence of that jail cell.

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Elvis Presley’s greatest musical gift was not putting words onto paper. It was hearing something inside a song that other people sometimes could not hear yet. Give him someone else’s melody and lyrics, and he could reshape the emotion through his phrasing, timing and voice until the recording felt intensely personal.

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The musicians at RCA Studio B were ready to make records. They were not ready for the way Elvis Presley entered the room. During his celebrated Nashville sessions in 1970, bassist Norbert Putnam remembered Elvis appearing in dramatic fashion—wearing a flowing black cape and carrying an ornate cane. Putnam later recalled the impression that it was almost as though “a prince had walked into the room.”

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BOB DYLAN AND JOHNNY CASH SHATTERED THE WALLS OF NASHVILLE WITHOUT FIRING A SINGLE SHOT. Columbia Studio A sat thick with the smell of stale coffee and cigarette smoke on a February morning in 1969. While the rock world was chasing ghosts in psychedelic haze, Bob Dylan stepped into the epicenter of American country music with a voice that sounded like it had been dragged across gravel. He wasn’t there to challenge the gatekeepers at the Opry; he was there to find the heartbeat of a sound he had loved from afar. Johnny Cash walked through the heavy studio doors, guitar in hand, and for two days, the rigid borders of genre simply dissolved into the air. They didn’t record some grand manifesto to change the industry. Instead, they sat on stools and tore through old folk standards and each other’s deep cuts, letting the microphones capture the loose, unvarnished truth of a collaboration that felt more like a porch gathering than a major label session. Carl Perkins added his own licks to the mix, blending the percussive snap of rock and roll with the lonesome ache of a country ballad. It was a deliberate, quiet rebellion that treated the traditions of both worlds as neighbors rather than strangers. When the tape stopped rolling, they walked away having proved that the lines drawn by radio programmers were mostly make-believe. The Ryman Auditorium stage eventually welcomed a new kind of guest, and the air in Nashville felt lighter, forever changed by two men who knew that music didn’t need permission to belong everywhere at once.