Can Dottie West survive without Kenny Rogers? That’s what’s she’s trying to find out-sort of. For the last few years this has been the most popular singing duo in pop-country music. West recorded two albums with him, served as his opening act and sang duets with him during his part of the show. Despite all the benefits of teaming with Rogers, West decided last year to concentrate more on solo work. “Working with Kenny all the time isn’t smart,” West explained while squeezing a lunch between taping TV guest spots. “People started thinking the only way I could work was with him. It seemed like time establish an identity of my own, so for the past year I’ve been touring with other artists.” But the weaning process is slow. She still works with Rogers occasionally and, professionally, still needs him to some degree. Though her first Top 20 single, a ballad called “What Are We Doing In Love,” is from her solo album “Wild West,” it’s not a solo. “What Are We Doing In Love” is a duet with Rogers.

That’s why, unlike other West’s singles, this one received the extensive airplay necessary to create a hit. Radio stations seem to play anything featuring Rogers. West has always been considered a good singer, though not quiet in the class of country divas Dolly Parton, Loretta Lynn, Tammy Wynette. Until she started recording and touring with Rogers four years ago, West, a 17-year veteran of Grand Ole Opry and a prolific songwriter, was known almost exclusively to country audiences. Her collaboration with Rogers, a friend since the late 60s, began four years ago when he was visiting one of her recording sessions and sang an impromptu duet with her on “Every Time Two Fools Collide,” which became a No.1 country single. Before teaming up with him, West recorded 31 country albums for RCA in 13 years. In the last few years West, who records for Liberty, has shifted to a pop style with only traces of traditional country. Of course she’s often accused by hard-core country fans of turning her back on her roots. “Country music has changes, and I’ve changed with it,” she said in her defence. “I like the music I’m doing now better than the music I was singing before. Why stick with what’s old if what’s new is better>? I’m never to old to change.” West is 48 but takes pride in neither looking nor acting her age. There aren’t many like her. Few 50ish female stars-certainly none in country-have a sexpot image. West is known for wearing low-cut skin-

tight outfits. Many designed by Bob Mackie. She readily admits being dedicated to looking trim and youthful. “Audiences certainly don’t want to pay money to see me wrinkled and flabby,” she said. “I work hard to take care of myself-I don’t want to shrivel up and turn into a big wrinkle. People don’s want to see you then. I wouldn’t want to see me then either.” When wrinkles started appearing, she had a face lift. West didn’t mind talking about it and made it clear that if other cosmetic surgery become necessary, she won’t hesitate. Possibly the most notorious aspect of West’s image and the part that really turns on the gossips is her well publicized passion for younger men. She’s 13 years older than her second husband, whom she divorced a month ago. Currently she’s dating a 27-year-old sound engineer. “Older men have been chasing young girls for years,” she said, “so it should be OK for women to be involved with younger guys. Why should I go around with some old fuddy duddy if I don’t want to? I’m attracted to younger men and I’m not afraid to admit it-a lot of older women are attracted to younger men but they’re afraid to admit it. I don’s mind saying it, I have nothing to hide.” West, who just bought a farm near Nashville, Tenn, was bon on a farm near tiny McMinnville, Tenn, and studied music at Tennessee tech. “I was from a very strict family,” recalled West, eldest of 10 children. “I Wasn’t allowed to date. When I was in college I married the first man who kissed me.” That marriage, to pedal steel guitarist Bill West, lasted 20 years and produced three sons and a daughter who range from 17 to 27 years old. West travelled with her as a member of her band until they divorced in 1972. She married Byron Metcalf, who became her drummer, that same year. He was, she said, uneasy living in her shadow. “Theses last few years should have been great with all the success I’ve had,” she said, “but they were not as sweet as they could have been because of all the problems with Byron. I can’t blame him. I know it’s hard for a man to be married to a woman

who’s the big breadwinner. What’s a woman in my position supposed to do? I’m not poor and I have a certain amount of fame. If I’m with a man who dosen’t have those things, how do I keep his ego from getting messed up? Sure I could get involved with a star or a rich guy, but I don’t want to start looking for money or status in my relationships with me. What’s the answer?.” West proposed some solutions and promptly vetoed all of them, particularly the one calling for a relationship with a man who isn’t travelling with her like both husbands did. “First of all,” she said, “I don’t want to leave my man home. It’s hard to believe a man will be that true and wait for me while I go on a 30-day tour. Man ain’t made that way. Women aren’t either. I like somebody travelling with me. You know, I’ve never been alone. I don’ like going to my hotel rooms alone. That’s when it get lonely and I hate being lonely.” Would she sacrifice her career and all the travelling to settle down in a traditional, stay-at-home marriage? “No way,” she replied. “I like men, but not enough quit the business for one. I’d be alone before I did something stupid like that.”