Skeeter Davis’s recording of “The End of the World” was a major country and pop hit in 1963, but it was recorded at RCA Studio B with surprising quickness. “We got that song in in the last ten minutes [of the session],” said studio bassist Henry Strzelecki.

Raised in Arkansas and shaped by gospel, jazz, blues, pop and rockabilly, Charlie Rich became a Sun Records session player before scoring a hit with “Lonely Weekends.” A decade later, recordings Rich made at RCA Studio B found new life—turning into a string of No. 1 country hits.

“Shame on Me,” @MrBobbyBare’s 1962 debut single for RCA Records, was his first recording from RCA Studio B. Fifty years later, he returned to record the album “Darker Than Light."

Whether writing songs or singing them, Johnny Russell had personality and presence to spare. The Mississippi native wrote the Buck Owens's smash “Act Naturally” and put his spin on blue-collar life in “Rednecks, White Socks and Blue Ribbon Beer.”

Considered among the greatest Canadian singer-songwriters of the twentieth century, Gordon Lightfoot spent formative years recording in Nashville—including at Studio B. Here he's pictured with George Hamilton IV, who placed multiple Lightfoot compositions on the country charts.

In August 1958, the @Everly_Brothers recorded their second album, “Songs Our Daddy Taught Us,” at RCA Studio B. With its twelve songs and stripped-down arrangements, the album highlighted the duo’s love of old-school country.

Gary Stewart recorded his lone country chart-topper, 1975’s “She’s Actin’ Single (I’m Drinkin’ Doubles),” at RCA Studio B. Wayne Carson wrote the honky-tonk classic.

On July 16, 1974, @DollyParton visited RCA Studio B to record what would become her fourth solo No. 1 country hit. In her 2020 book “Songteller,” Parton describes “Love Is Like a Butterfly” as a “very poetic, very descriptive, very innocent, and very flowery song.”

Felton Jarvis and Nat Stuckey both found success away from the spotlight. Jarvis produced a run of Stuckey’s RCA albums in the late 1960s and early 1970s that yielded some hit records. Pictured: Felton Jarvis (right) and Nat Stuckey (seated) at RCA Studio B.

Is anybody goin’ to Music Row? Among the songs Country Music Hall of Fame member Charley Pride cut at RCA Studio B is his 1970 chart-topper “Is Anybody Goin’ to San Antone,” written by Dave Kirby and Glenn Martin, and produced by fellow Hall of Fame member “Cowboy” Jack Clement.

Often credited with introducing Cajun music to mass audiences, Louisiana-born brothers Doug and Rusty Kershaw cut several hard-hitting, Cajun-flavored songs at Studio B, including 1961's "Louisiana Man," a No. 10 country hit, and "Diggy Liggy Lo," which went No. 14 that year.

Take home a piece of history. Stop by The Museum Store at the Country Music Hall of Fame and Museum and shop Historic RCA Studio B merchandise. Shop in person or online: shop.countrymusichalloffame.…

Hugh X. Lewis scored a chart hit with “What I Need Most” from 1964 and wrote “B.J. the D.J.,” a No. 1 hit for Stonewall Jackson. He also appeared in a handful of films and hosted a television show from his bar in Nashville’s Printer’s Alley.

Roy Orbison recorded "Love Hurts" at RCA Studio B in 1961, though with a much different flavor than the Everly Brothers' original. The Boudleaux Bryant-penned song has been recorded by numerous artists, including hard rock band Nazareth, who took it to the Top Ten in 1976.

A large portion of country music history was made inside RCA Studio B, which was built of concrete blocks in 1957 by Nashville businessman and real estate developer Dan Maddox at 800 17th Avenue South, now 1611 Roy Acuff Place, in an area now known as Music Row.

Ferlin Husky, seen here recording at Studio B, was a versatile entertainer whose hits included the Jean Shepard duet “A Dear John Letter” and the solo cuts “Gone” and “Wings of a Dove.” He was elected to the Country Music Hall of Fame in 2010.

In spring of 1971, @DollyParton visited Studio B to record "Coat of Many Colors." Even before its official release later that fall, the song was already a fan favorite. Parton had regularly performed the song live and even cut a version as early as 1969.

When Ann-Margret burst into show business with a sultry voice and high-octane stage presence, critics dubbed her “the female Elvis.” To capitalize on the comparison, she cut her 2nd album, "On the Way Up," at RCA Studio B using the same musicians and production team as Presley.

During a golden window, from 1957 to 1977, artists flocked to RCA Studio B to record what are now considered some of the greatest songs of all time. Each left their fingerprints, along with their melodies and harmonies, heartbreak and healing.