Evocative images of trains have been an enduring staple of country music since the genre's inception and Jimmie Rodgers' tragically truncated bout with stardom. Not only was Hank Snow an unabashed Rodgers admirer, he shared the Singing Brakeman's lifelong love affair with the rails -- and wrote one of country's greatest locomotive odes, "I'm Movin' On." Snow cut the seminal number March 28, 1950, in Nashville for RCA Victor, fiddler Tommy Vaden sawing in accurate simulation of a smoke-stained train whistle before Snow delivers his up-tempo tale of farewell in a clipped, hard-edged Canadian accent (he was a native of Nova Scotia), betraying little regret or hope for reconciliation; this Singing Ranger sounds quite content to swap his untrue woman for a big eight-wheeler movin' down the track. He also inserts a snazzy little acoustic guitar solo two-thirds of the way through, underscoring what an expert fretsman the diminutive Snow was. "I'm Movin' On" made him a country luminary of dazzling magnitude, the song holding down the top slot on Billboard's country charts for 21 amazing weeks later that year (his next hit, "The Golden Rocket," rode a similar stylistic rail line). The song impacted the next generation of rockabilly and country royalty -- Warren Smith waxed a hot rockabilly version for Sun in Memphis that laid unissued at the time, and Don Gibson scored a sizable seller with a 1960 remake for RCA -- but it took a certified genius to propel it into the pop arena. Though his groundbreaking 1962 album, Modern Sounds in Country and Western Music, for ABC-Paramount justifiably receives the credit for knocking down idiomatic barriers, Ray Charles' first recorded venture into country material actually came on his 1959 remake of "I'm Movin' On" for Atlantic that was a zesty hybrid; the horns deputize for the fiddle, but Brother Ray does retain the keening steel guitar (played here by Charley Macey) as he transforms Snow's rural theme into a relentless R&B rocker stoked by the Raeletts' interjections and his own electric piano that hit late that year. Blue-eyed soul singer Matt Lucas also made some noise with the tune in 1963 for Smash, his reading owing more to Brother Ray's conception than Snow's.