During mass today, I thought about how much enjoyment I get out of spiritual songs. Most of my favorite religious songs are by country artists. More than any other artist, it’s Kathy Mattea who has produced the music in that vein that I love the most. Her work tends to emphasize the gospel values of peacemaking, forgiveness and social justice. Some of my favorites from Mattea include:
There Were Roses
God Ain’t No Stained Glass Window
Give it Away
That’s All the Lumber You Sent
Junkyard
Mary, Did You Know?
Beautiful Fool
Sending Me Angels
Love Travels
Guns of Love
Unto Us a Child is Born
There’s Still My Joy
Seeds
Ashes in the Wind
Most of the rest of my favorite religious songs are scattered among other artists. Some are recent, while others are decades old:
Donna Fargo, “You Can’t Be a Beacon (If Your Light Don’t Shine)”
Big & Rich, “Live This Life”
Dixie Chicks, “I Hope” and “Top of the World”
Pam Tillis, “Morning Has Broken” and “‘Till All the Lonely’s Gone”
Trisha Yearwood, “It Wasn’t His Child”
Rosanne Cash, “I Was Watching You”
Johnny Cash, “God’s Gonna Cut You Down” and “No Earthly Good”
Wynonna, “Rescue Me”
Dolly Parton, “Welcome Home” and “Hello God”
Olivia Newton-John, “Let Go Let God” and “Serenity”
Emmylou Harris, “Cup of Kindness”, “I Hear a Call” and “Prayer in Open D”
George Strait, “You’ll Be There”
Patty Loveless, “Someday I Will Lead the Parade”, “When the Fallen Angels Fly” and “A Handful of Dust”
Randy Travis, “Three Wooden Crosses”
Sawyer Brown, “The Walk”
Vince Gill, “Worlds Apart” and “What You Give Away”
Willie Nelson, “The Troublemaker”
Ceili Rain, “You Then Me Then You Then Me”
Alison Krauss, “A Living Prayer”, “Simple Love” and “Away Down the River”
I could keep on going, but I better leave some for the rest of you. What are your favorite religious songs?
Garth Brooks lowest-selling studio album (Scarecrow at 5 million) is more albums than the most successful country music artist, with the exception of a few, can sell in today’s struggling CD market. Love him, hate him or indifferent to him, it cannot be disputed that Garth Brooks has had a profound influence on country music and music in general. This Oklahoma boy, who truly appreciates his hordes of fans, has enjoyed more success than even he thought possible… and we all know that Garth isn’t lacking in the confidence area.
Many things can and have been said about Garth Brooks, but the fact that he and his producer, Allen Reynolds, had a vision for his music that has quite obviously been successful is what makes this countdown relevant today.
#25
“Beer Run (B-double E-double Are You In?)” – Duet with George Jones
Scarecrow (2001)
This song with his worthy idol, George Jones, is a fun tune that captures the energy of a bunch of friends who are itching to quench their week long thirst. Since they live in a dry county, they all have to cram into the truck to cross the county line. It’s okay, though, because “half the fun is in the getting there.” I hope so, because Garth seems to suddenly realize that it’s his turn to drive!
#24
“Standing Outside The Fire”
In Pieces (1993)
Although Garth’s enunciation is a bit strange in this song, the infectious guitar pattern sticks in your head. His message is something that he is certainly qualified to preach. He simply advises us to fight the urge to avoid risks, which is a lesson that has strongly resonated with many people.
#23
”Learning To Live Again”
The Chase (1992)
“Learning To Live Again” is a simple song, but it is sung with lots of emotion. The character in this song is having a difficult time of getting back into the dating game. Somehow, his friends convince him to go on a double date with them. He is so nervous that he can’t even seem to focus on the conversation. Worst of all, he’s forgotten his date’s name, which is a line into which Garth puts a lot of emotion.
#22
“Cowboy Cadillac”
Sevens (1997)
“Cowboy Cadillac” has no lyrical value, but it’s sure fun and catchy. His girl looks as good as a Cadillac.
#21
“The Beaches of Cheyenne”
Fresh Horses (1995)
This is a heartbreaking illustration of what could happen if you don’t adopt the sentiment of Garth’s song, “If Tomorrow Never Comes.” As if losing her husband to bull riding wasn’t enough, her diary reveals that they had had a fight before he had left. Likely, out of fear for his life, she told him that if he went to Wyoming, he might as well not bother to come home. So, he didn’t, which ends in two tragedies.
There’s been a lot of chatter in recent years about the rising frequency of spiritual songs in country music. Big hits like “Jesus, Take the Wheel” and “When I Get Where I’m Going” have given country radio a Christian feel, but such sentiments in country music are nothing new. Country artists have been singing about God for generations, but it was a recently divorced singer named Martha Carson who brought the country gospel song to the masses back in the 1950s.
Martha had been singing in various country groups such as the Coon Creek Girls when she started turning toward more spiritual material. She formed the Dixie Sweethearts with her husband James, and spent the late forties touring and recording country-flavored gospel numbers. The family-friendly image of their act, however, was quickly becoming a facade.
After recently being both amused and impressed by Carrie Underwood’s performance of Guns N’ Roses’ “Sweet Child Of Mine”, I started to think of the place of cover songs in country music. There are many people who love to hear cover songs. They are excited about the prospect of their old favorite songs being revived by new artists. Conversely, there are many others who feel that well enough should be left alone. They are doubtful that their favorite songs can be improved upon. I suspect, however, that most people fit in the third category and judge a cover song on an individual basis.
I suppose I fit in all three categories. Of course, I base a song on its individual merit, but I also feel both excited and reticent when I recognize a title on a new album that I buy. Likewise, there are times when I am disappointed by the reinterpretation of a song and then there are other cover songs that I end up thoroughly enjoying and find myself gravitating toward them more than the originals.
So, my questions to you are: What songs do you find that you like better than the originals? What cover songs just make you cringe?
Reba McEntire, “The Night The Lights Went Out In Georgia” (Vicki Lawrence)
Travis Tritt, “Take It Easy” (The Eagles)
George Jones’ cover of his own “White Lightning” from the Bradley Barn Sessions
Dwight Yoakam, “Understand Your Man” (Johnny Cash)
Charlie Daniels & Gretchen Wilson, “Jackson” (Johnny & June Carter Cash) I only like it because it’s different, not because it’s better than the original.
Alan Jackson, “The Blues Man” (Hank Williams, Jr.)
Cover Songs that make me cringe:
Jack Ingram, “Lips Of An Angel” (though I could live without either version)
Rascal Flatts, “Life Is A Highway”
Mark Chesnutt, “I Don’t Want To Miss A Thing” (Aerosmith’s version was bad enough, but Chesnutt’s version?)
Mark Chesnutt has one of the purest voices in country music. It seems that he can breathe emotion into a ballad with very little effort. After a string of cover songs, it is nice to hear Chesnutt give us something new with “When You Love Her Like Crazy.”
“When You Love Her Like Crazy” covers the same well trodden ground of a man extolling the many virtues of his woman. Everything she does sends him into a glorious tailspin. The singer tells us that “when you love her like crazy, that’s just what you are.”
The thing is that while this song doesn’t cover new lyrical or melodic ground, Chesnutt’s vocal performance, especially in the verses, is simply wonderful to hear. The production is good as well, though leaving out the synthesizer would have made it even better.
Some artists produce music that changes the sound of their time. Others adapt to the current time, shaping their sound to match what’s currently popular. Sylvia is one of the latter artists, a pop-flavored singer that rode the Urban Cowboy wave, complete with synthesizers and a chorus of female backup singers echoing the lines she sang.
Sylvia was only 23 when she released her first single for RCA records, “You Don’t Miss a Thing.” She had spent her previous years in Nashville as secretary for producer Tom Collins, followed by a successful run as a studio backup vocalist, and when that first single was released, she had only recently made her first stage appearance as a solo country artist. She had caught the attention of RCA label executive Jerry Bradley when auditioning to be the latest Sugar, and she ended up landing a solo deal instead.
“You Don’t Miss a Thing” and its follow-up, “It Don’t Hurt to Dream”, both barely dented the top forty. Then, Collins, now producing his former secretary, and Sylvia went for a sound he called “prairie music – Western-type lyrics with a disco beat.”
That new sound produced her first top ten hit, “Tumbleweed”, which was followed by her first #1 single, “Drifter.” The sonic description Collins provides is pretty much accurate, and could charitably be described as something like an old-time saloon band fronted by Juice Newton.
As someone who is half-Irish, it’s something of a national holiday for me. Unfortunately, I’m full-”working adult”, so the closest I’ll come to the sauce today is by listening to my favorite drinking songs.
I have some Irish favorites, of course, particularly “Drunken Sailor.” Kind of a sentimental favorite, with my late father having been a Navy veteran. I’m also partial to “Seven Drunken Nights.”
But I have a few country drinking favorites, too:
Cal Smith, “The Lord Knows I’m Drinking”
Merle Haggard, “I Think I’ll Just Stay Here and Drink”
Willie Nelson, “Yesterday’s Wine” and “I Gotta Get Drunk”
Emmylou Harris, “Two More Bottles of Wine”
Alan Jackson, “It’s Five O’Clock Somewhere”
Lori McKenna, “Monday Afternoon”
Keith Urban, “Nobody Drinks Alone”
Todd Snider, “Beer Run”
Dixie Chicks, “Tonight the Heartache’s On Me”
John Michael Montgomery, “Beer and Bones”
Brad Paisley, “Alcohol”
Toby Keith, “Get My Drink On”
Maria McKee, “Drinkin’ in My Sunday Dress”
Roger Miller, “Chug-a-Lug”
So, those are some of mine. Add yours in the comments!
Last night, Carrie Underwood was surprised to be invited to join the Grand Ole Opry. The invitation was extended by Randy Travis, in a touching exchange, after she finished singing his song, “I Told You So”, which can be found on her latest album, Carnival Ride.
While this invitation will surprise many people, it cannot be denied that she possesses a genuine reverence for country music and the Grand Ole Opry in particular. This will be an exciting addition to the Grand Ole Opry family and her mass appeal will surely help to elevate its profile. Likewise, her induction to the Grand Ole Opry should help to dispel some of the questions that people have regarding her dedication to the genre.
So, congratulations to Carrie Underwood! Surely, this is the best way for Carrie to conclude her birthday week.
She will be officially inducted on May 10.
Update: Here’s the video of her surprise invitation.
One of the definitive female artists of Americana music.
Allison Moorer was the second musical artist to emerge from her family, with an older sister who goes by the name Shelby Lynne preceding her in the industry by about a decade.
Moorer signed with MCA in the mid-nineties, and began to carve out an unconventional path to success. Her first single, “A Soft Place to Fall”, was placed in the movie The Horse Whisperer. Moorer found herself launching her career with a song in a major motion picture, and while radio never warmed to it (or any of her other singles), she scored an Oscar nomination for Best Original Song and performed it on the 1999 telecast.
Much like Jeannie Kendall was locked into cheating songs as soon as “Heaven’s Just a Sin Away” topped the charts, country and gospel star Barbara Fairchild found herself trapped singing childish songs because of her breakthrough hit and only #1 single, “Teddy Bear Song.”
Fairchild had spent ten years seeking her big break, recording for Norman records in St. Louis, Missouri before finally moving to Nashville in 1968. She quickly signed with Kapp Records, and soon moved on to MCA, still looking for that elusive hit. Even when legendary producer Billy Sherrill signed her to Columbia, she would spend four years recording minor hits without much luck.
Then, in 1973, she sang a plaintive song about wishing she was a teddy bear, a childish conceit that overshadowed the fairly dark lyrics of the song. At one point, she laments that if she was a teddy bear, then “no one would know the mess that I’ve made with my life.” No doubt, many radio listeners missed the desperation in the lyric, as Fairchild sang it in a sing-song voice that approached nursery rhyme territory.
Garth Brooks lowest-selling studio album (Scarecrow at 5 million) is more albums than the most successful country music artist, with the exception of a few, can sell in today’s struggling CD market. Love him, hate him or indifferent to him, it cannot be disputed that Garth Brooks has had a profound influence on country music and music in general. This Oklahoma boy, who truly appreciates his hordes of fans, has enjoyed more success than even he thought possible… and we all know that Garth isn’t lacking in the confidence area.
#25
#24
#23
#22
#21
Mark Chesnutt has one of the purest voices in country music. It seems that he can breathe emotion into a ballad with very little effort. After a string of cover songs, it is nice to hear Chesnutt give us something new with “When You Love Her Like Crazy.”
Happy Saint Patrick’s Day!
Last night, Carrie Underwood was surprised to be 
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