Rex Allen Jr.
Rex Allen Jr. (born August 23, 1947) is an American country music singer, songwriter, actor, and entertainer renowned for his smooth baritone voice and contributions to Western and pop-country genres.[1] As the son of the famed singing cowboy and film star Rex Allen, he began performing at age six, blending influences from folk, pop, and traditional country music into a distinctive style that earned him over two dozen chart entries on the Billboard country charts between 1973 and 1987.[1][2] Raised in Chicago, Illinois, Allen Jr. developed his talents early, learning guitar and performing in church and school settings before studying theater arts and training at the MGM Actors Studio; he also worked briefly as a rodeo clown.[1] Relocating to Nashville in the late 1960s after military service, he signed with Plantation Records in 1970 and later Warner Brothers, launching his recording career with the 1973 single "The Great Mail Robbery."[2][1] His breakthrough came with the 1977 Top Ten hit "Two Less Lonely People," followed by other notable successes including "I'm Getting Good at Missing You," "Lying in My Arms," "It's Over," "Lonely Street," and "Dream On Texas Ladies," which showcased his emotive delivery on themes of love and heartbreak.[1][2] Beyond music, Allen Jr. has excelled in entertainment, starring in the 1997 production Gone Country at the Rio Casino, which he wrote and directed, and narrating films like Me, Myself, and Irene (2000) as well as CMT's Most Shocking Feuds.[1] He hosted the radio show Up All Nights On The Range starting in 2011 and performed internationally, including a 2006 concert on China's Great Wall.[1] His television appearances include regular spots on The Statler Brothers Show (1992) and the TNN special Yesteryear (1994), which reached 28 million viewers across 58 million households.[1] Allen Jr.'s accolades include induction into the Western Music Association Hall of Fame in 2007, the 2017 Male Performer of the Year award from the same organization, and the Ernest Tubb Memorial Award in 2013; he also co-wrote Arizona's alternate state anthem "I Love You Arizona" in 2012.[3][1] Residing in Nashville, he continues to release music and perform live as of 2025, such as the 2023 album For the Last Time and entries in the ongoing Garage Songs series, alongside earlier works like the 2011 album Other Voices and gospel projects in the Faith of a Man series, while maintaining a career spanning over five decades in film, television, and live performances.[4][3][1]Early Life and Background
Birth and Family
Rex Elvie Allen Jr. was born on August 23, 1947, in Chicago, Illinois.[1][5] His father, Rex Allen Sr., was a prominent singing cowboy, actor, and narrator known for starring in Western films and television productions during the 1940s and 1950s; he signed with Republic Pictures in 1949 and appeared in 19 B-Westerns through 1954 while also providing voiceovers for Disney nature documentaries starting in the 1950s.[6] Allen Jr.'s mother, Bonita "Bonnie" M. Linder Allen (1925–2007), was a performer herself as one half of the Linder Sisters, a duo that appeared regularly on the WLS National Barn Dance radio program in Chicago, contributing to the family's deep ties to the entertainment industry.[7][8] He grew up in a show business family alongside siblings including brothers Curtis and Mark, and a sister Bonita, all children of his parents' 1946 marriage.[9][10] Due to his father's rising career in radio and film, the family relocated from Chicago to California around 1949.[11]Childhood and Musical Influences
Rex Allen Jr. grew up immersed in the world of show business, traveling extensively with his family from a young age, which exposed him to the rhythms of performance life and Western music traditions. By the age of six, he had begun singing. This environment, shaped by constant family travels and the sounds of his parents' musical endeavors, fostered a deep appreciation for country and folk styles that would define his artistic path.[1][2] During his childhood, Allen Jr. developed his instrumental skills by learning to play the guitar in the family setting. His mother, Bonnie Linder, a proficient musician who had performed on Chicago's Barn Dance program, played an influential role in his musical development. This familial influence, combined with the nomadic lifestyle of show business, instilled in him a versatile foundation blending pop, folk, and country elements.[7] Allen Jr. pursued formal education in theater arts during college, where he majored in the subject and further studied acting and performance techniques at the MGM Actors Studio under instructor Vince Chase, while also working briefly as a rodeo clown. After college, he completed military service. These academic pursuits complemented his youthful exposures, sharpening his stage presence and broadening his understanding of entertainment beyond music alone. Before turning 18, he gained pre-professional experience through local and family stage appearances, including his debut performance at age seven alongside his father at the Rex Allen Days event in Willcox, Arizona, in 1954, which solidified his commitment to a career in entertainment.[1][7][2]Professional Career
Early Music Career
Rex Allen Jr. entered the music industry professionally in 1970, signing his first recording contract with Shelby Singleton's SSS International label, a subsidiary associated with Plantation Records, after serving in the military and performing in folk and rock groups during his youth.[2] His debut album, Today's Generation, was released in 1971 and featured 10 tracks addressing contemporary social issues such as war protests and family dynamics, with unconventional arrangements incorporating sitars and mellotrons to appeal to a younger audience.[12][13] The album received limited attention and failed to chart, marking an experimental start that did not immediately resonate in the country market.[2] In the early 1970s, Allen Jr. released several singles prior to achieving commercial success, including "Other Husbands and Wives" and "The Corners of My Life," which also did not reach the charts despite their blend of country storytelling and pop sensibilities.[2] These initial efforts represented tentative chart attempts, with his first Billboard country entry coming in 1973 with "The Great Mail Robbery," peaking at No. 63 on Warner Bros. Records after he transitioned labels.[14] During this period, he began developing a countrypolitan sound, characterized by smooth vocal delivery, orchestral elements, and crossover appeal that merged traditional country roots with pop production techniques.[2] One of the primary challenges in Allen Jr.'s early career was establishing an independent identity apart from his father, the renowned singing cowboy Rex Allen Sr., whose legacy often led to skepticism about whether the younger Allen was relying solely on family fame.[2] Building on foundational guitar skills honed in childhood alongside his parents, he navigated this by focusing on original material and collaborating with his wife, Judy Maude, who contributed songwriting and helped refine his pop-infused style.[2] This transition period laid the groundwork for his later breakthroughs, though it involved trial and error with thematic and sonic experimentation.[12]Peak Success and Hit Recordings
Rex Allen Jr. achieved his commercial peak during the 1970s, particularly from 1974 to 1979, when he amassed a string of successful country singles on the Billboard Hot Country Songs chart. His breakthrough came with "Goodbye" in 1974, which reached No. 19, marking his first significant hit and establishing his smooth countrypolitan style. This was followed by stronger performances, including "Two Less Lonely People in the World" in 1976, peaking at No. 8, and "Lonely Street" in 1977, also hitting No. 8; these tracks showcased his emotive baritone and romantic themes, resonating widely with country audiences. Another top performer was "I'm Getting Good at Missing You (Solitaire)" in 1977, which climbed to No. 10, contributing to his reputation as a consistent chart contender during this era.[14] His album releases during this period further solidified his success, with Ridin' High (1976) reaching No. 31 on the Billboard Top Country Albums chart and featuring hits like "Can You Hear Those Pioneers" (No. 17) and "Teardrops in My Heart" (No. 18). The self-titled Rex (1977) followed, peaking at No. 42 and including the top-10 single "Don't Say Goodbye" (No. 15), while the compilation The Best of Rex (1977) charted at No. 47, encapsulating his rising popularity with a mix of recent successes. These albums, released under Warner Bros. Records, highlighted his polished production and appeal in the countrypolitan sound dominant in the decade, though specific sales figures remain limited; they collectively underscored a peak phase where Allen Jr. transitioned from emerging artist to established star.[15][14] Throughout his career, Rex Allen Jr. placed 32 singles on the Billboard country charts between 1973 and 1987, with the 1970s representing his most prolific period of top-20 entries. He also contributed as a songwriter, co-writing tracks like "Can You Hear Those Pioneers" from Ridin' High, and later penning "Arizona" in 1981, which became Arizona's official alternate state anthem in 1982. While notable duets emerged later, his 1970s work primarily featured solo efforts, often produced by figures like Jerry Kennedy, emphasizing heartfelt ballads over collaborations.[16][14][17]Television Appearances and Media Ventures
Rex Allen Jr. made several guest appearances on prominent country music television programs during the 1970s and 1980s, helping to showcase his vocal talents alongside his hit recordings. He performed on Hee Haw, a long-running variety show, in multiple episodes, including a 1978 installment where he sang "Lonely Street" and a 1982 episode featuring collaborations with bluegrass artist Bill Monroe.[18][19] These spots, along with appearances on The Porter Wagoner Show in the early 1970s, allowed him to reach a broad audience through live performances and musical segments that highlighted his smooth baritone style.[20] Additionally, he featured on syndicated programs like The Bob Braun Show, contributing to his visibility in the evolving landscape of country television during that era.[20] In the 1990s, Allen transitioned to more prominent roles on The Nashville Network (TNN), becoming a regular performer on The Statler Brothers Show from its premiere in 1992 through 1998. This variety program, which quickly became TNN's highest-rated series, provided a platform for Allen to deliver musical performances and comedic sketches.[1] His contributions to the show led to the launch of the spin-off series Yesteryear in 1994, which he hosted and focused on the history of country music through interviews, archival footage, and live renditions. Yesteryear rapidly rose to become TNN's second-highest-rated program, solidifying Allen's role as a key figure in preserving and promoting the genre's legacy on television.[21][22] Beyond music-focused shows, Allen ventured into acting with cameo roles in television productions, including the 1990 TV movie Ragin' Cajun, where he appeared alongside Samantha Eggar in a supporting capacity. He also had early television exposure through the short-lived series The CBS Newcomers in 1970-1971, marking his initial foray into scripted content. These media endeavors, combined with voice-over work for radio stations and advertising agencies, diversified his career by extending his reach beyond concert stages and recordings, revitalizing his profile after a lull in chart success during the late 1980s.[23][24]Later Career and Ongoing Activities
Following his chart success in the 1970s, Rex Allen Jr. continued releasing music into the 1980s and beyond, maintaining a steady output through independent labels and self-produced projects. Notable among his later works are the Garage Songs series, a collection of albums recorded in a casual, home-studio style that began with Garage Songs, Vol. II in 2013 and extended through volumes up to Garage Songs XVI: The Covid Album in 2021, featuring covers and originals like "Where Are the Heroes" and "Don't Let the Old Man In." These releases, along with singles such as "Thank God for Kids" in 2024 and the album For the Last Time in 2023, showcased his enduring commitment to country and western traditions while adapting to contemporary recording methods.[4][25] Allen Jr. sustained a rigorous touring schedule for over forty years, performing at venues across the U.S. and emphasizing live shows as a cornerstone of his career longevity. His approach to touring reflected a strategic focus on audience connection, often incorporating storytelling and tributes to his father's legacy to build enduring fan loyalty. However, after an initial retirement from live performances in 2017 at Rex Allen Days in Willcox, Arizona, he briefly returned in 2025 for select events, including a performance at Rex Allen Days from October 2–5 in Willcox, where he and his family were welcomed back for the festival's rodeo, parade, and entertainment. His final concert occurred on October 18, 2025, in Wickenburg, Arizona, marking the end of his touring career after more than five decades.[7][26][27] In a February 2025 interview ahead of the Tucson Rodeo Parade, Allen Jr., a former grand marshal in 1998, discussed his deep ties to Arizona's western heritage and announced his unretirement for the year's Rex Allen Days and a Green Valley show, highlighting his ongoing passion despite health considerations at age 78. This event underscored his selective return to the stage, prioritizing meaningful regional appearances. The family's philosophy of treating entertainment as a diversified business—spanning music, narration, production, and media—guided his longevity, as instilled by his father Rex Allen Sr., who emphasized versatility across roles to ensure career sustainability.[28][7] As of November 2025, following his retirement announcement on November 4, Allen Jr. remains active in music through his official website, where fans access his catalog and updates, though he has shifted focus from touring to potential recording and legacy projects like an upcoming biography. At 78, he continues to embody the multi-faceted entertainer model, with over 800 music videos shared online to preserve his contributions.[27][29][7]Discography
Studio Albums
Rex Allen Jr. began his studio recording career in the early 1970s, releasing albums primarily with major labels that highlighted his baritone voice and traditional country influences, before transitioning to independent projects in later decades. These works often featured themes of family, love, and Western heritage, with production emphasizing live instrumentation and heartfelt storytelling. His debut studio album, Today's Generation, was released in 1971 by SSS International Records and produced by Shelby Singleton. The album addressed generational themes through tracks like "Younger Generation" and "Father Needs a Man," reflecting contemporary social changes in country music.[30] In 1974, Allen released Another Goodbye Song on Warner Bros. Records, produced by Larry Butler, featuring covers and originals such as "I Can See Clearly Now" and the title track, which explored themes of loss and renewal.[30] Ridin' High, issued in 1976 by Warner Bros. Records and also produced by Larry Butler, marked a commercial upswing, peaking at number 31 on the Billboard Top Country Albums chart. Key tracks included "Crying in the Rain" and "Can You Hear Those Pioneers," blending pop-country crossover elements with Western motifs.[30][15] The self-titled Rex followed in 1977 on Warner Bros. Records, co-produced by Norro Wilson and Larry Butler, with standout songs like "I'm Getting Good at Missing You" and "Lovin' Arms," focusing on romantic introspection.[30] Subsequent Warner Bros. releases included Brand New (1978, produced by Norro Wilson), highlighting tracks such as "No, No, No (I'd Rather Be Free)" and "I Got a Name"; Me and My Broken Heart (1979, produced by Buddy Killen), featuring "Me and My Broken Heart" and "Amazing"; Oklahoma Rose (1980, co-produced by Rex Allen Jr. and Norro Wilson), with "Oklahoma Rose" and "Prairie Moon"; Cat's in the Cradle (1981, produced by Rex Allen Jr., Judy Allen, and Curtis Allen), including a duet "Cup of Tea" with Margo Smith and the title track; and The Singing Cowboy (1982, produced by Snuff Garrett), which paid homage to his father's legacy through songs like "Last of the Silver Screen Cowboys" (featuring Roy Rogers and Rosalie Allen). All emphasized Allen's narrative songwriting and collaborative production style.[30] Earlier, Country Comfort appeared in 1979 on Plantation Records, produced by Shelby Singleton, revisiting themes from his debut with tracks like "Country Comfort" and "When Two Worlds Collide." Later, On the Move was released in 1984 by Moon Shine Records, produced by Andy DiMartino, showcasing songs such as "Running Down Memory Lane" and "Dream on Texas Ladies."[30] In the 2010s and beyond, Allen Jr. shifted to independent releases, including the covers album Other Voices (2011, BPR Records) featuring classics like "Cool Water" and "Ghost Riders in the Sky"; the gospel-focused Faith of a Man series, with Vol. 1 (2012) and Vols. 2 & 3 (2013) containing traditional hymns such as "Amazing Grace" and "Jesus Loves Me"; Then and Now (2019, independent), blending re-recordings and new material; and the "Garage Songs" series, self-recorded in his garage and emphasizing raw, acoustic country interpretations. Beginning around 2013, the series includes volumes like Garage Songs I (featuring "Loving Arms" and "Dark as a Dungeon"), up to Garage Songs XVI: The Covid Album (2021) and For the Last Time (2023), his announced final studio effort, produced by Allen himself and focusing on reflective, personal material.[31][32][33][34][35]Compilation Albums
Rex Allen Jr.'s compilation albums provide retrospective overviews of his most notable recordings, drawing from his earlier studio work to showcase his evolution as a country artist during the 1970s and beyond. These collections highlight his blend of traditional country sounds with contemporary hits, offering fans curated selections of fan favorites and chart performers. The Best of Rex, released in 1977 by Warner Bros. Records, marks his initial foray into compilation releases. This 12-track album aggregates key singles from his mid-1970s output, including "Goodbye," "Lonely Street," "Two Less Lonely People," and "The Great Mail Robbery." Tracks like "Silver Wings / Today I Started Loving You Again" demonstrate his interpretive style on classic country medleys, while "Can You Hear Those Pioneers" nods to his Western heritage. The album serves as a snapshot of his rising popularity in Nashville, encapsulating the smooth vocal delivery and heartfelt themes that defined his breakthrough era.[36] In 1994, Warner Bros. issued The Very Best of Rex Allen, Jr., a more streamlined 10-track CD compilation that focuses on his signature hits from the 1970s and early 1980s. Featured selections include "The Great Mail Robbery," "Goodbye," "Two Less Lonely People," "I'm Getting Good At Missing You (Solitaire)," "Lonely Street," "No, No, No (I'd Rather Be Free)," "With Love," "Me and My Broken Heart," "It's Over," and "Dream on Texas Ladies," emphasizing romantic ballads and uptempo narratives central to his discography. This release underscores the longevity of his Warner Bros. catalog, presenting polished remasters that reflect his contributions to mainstream country radio.[37] Subsequent compilations, such as the 2014 Greatest Hits collection, continue this tradition by compiling 15 tracks spanning his career highlights, like "I'm Getting Good at Missing You (Solitaire)" and "Arizona." These later efforts, often digitally reissued, illustrate how Allen's music maintains appeal through thematic consistency—exploring love, loss, and Western motifs—while introducing his work to newer audiences via streaming platforms.Notable Singles
Rex Allen Jr. achieved over 30 entries on the Billboard Hot Country Songs chart between 1973 and 1987, with the bulk of his chart activity concentrated in the 1970s, where he notched several Top 10 hits.[14] His singles were primarily released on Warner Bros. Records during this peak period, often featuring heartfelt country ballads and traditional themes.[30] Among his most notable singles, "Goodbye," released in 1974 on Warner Bros. 7788 with B-side "The Same Old Way," peaked at No. 19.[14][30] "Two Less Lonely People in the World," issued in 1976 on Warner Bros. 8297 backed by "I Gotta Remember to Forget You," reached No. 8.[14][30] In 1977, "I'm Getting Good at Missing You (Solitaire)" on Warner Bros. 8354 with B-side "Don't Say Goodbye" climbed to No. 10, while "Lonely Street" on Warner Bros. 8482 featuring "Don't It Make You Want to Go Home" as the flip side hit No. 8.[14][30] Other key releases from the era include "No, No, No (I'd Rather Be Free)" (1978, Warner Bros. 8541, peaked at No. 8), "With Love" (1978, Warner Bros. 8608, No. 10), and "Me and My Broken Heart" (1979, Warner Bros. 8786, No. 9), all contributing to his string of mid-decade successes.[14][30] Later efforts like "Dream on Texas Ladies" (1984, Moon Shine 3030, No. 18) marked a continuation of charting activity into the 1980s, though at lower peaks. In 2024, he released the independent single "Thank God for Kids," continuing his output into the 2020s.[14][30][38]| Single Title | Year | Label/Catalog | Peak US Country | Notable B-Side |
|---|---|---|---|---|
| Goodbye | 1974 | Warner Bros. 7788 | 19 | The Same Old Way |
| Two Less Lonely People in the World | 1976 | Warner Bros. 8297 | 8 | I Gotta Remember to Forget You |
| I'm Getting Good at Missing You (Solitaire) | 1977 | Warner Bros. 8354 | 10 | Don't Say Goodbye |
| Lonely Street | 1977 | Warner Bros. 8482 | 8 | Don't It Make You Want to Go Home |
| No, No, No (I'd Rather Be Free) | 1978 | Warner Bros. 8541 | 8 | I Got a Name |
| With Love | 1978 | Warner Bros. 8608 | 10 | You Turned It On Again Last Night |
| Me and My Broken Heart | 1979 | Warner Bros. 8786 | 9 | Lovin' You Is Everything to Me |
| Dream on Texas Ladies | 1984 | Moon Shine 3030 | 18 | You Sure Could Have Fooled Me |