I’ve been wanting to write about Bobbie Cryner for a long time. Thanks to some kind folks uploading her music on to YouTube, I can finally do so. (For whatever reason, her two fantastic albums – Bobbie Cryner and Girl o f Your Dreams – have yet to see digital release.)
This woman was good. Real good. Possibly the best unheralded singer-songwriter of her time, with a sultry voice formed at the crossroads of Bobbie Gentry and Dottie West. She first surfaced on Sony, releasing her self-titled debut in 1993. It was previewed by the autobiographical “Daddy Laid the Blues on Me.”
It could’ve been the start of a legendary career, but the single stalled at #63. Next up was the haunting “He Feels Guilty”, which went to #68. It has an amazing guitar intro. That video can be viewed here. Her debut album produced a third single, the #72 “You Could Steal Me.” This one’s heartbreakingly gorgeous, but I can’t find an online way of sharing it with you.
The rest of that first album includes a duet with Dwight Yoakam on “I Don’t Care”, the Buck Owens classic. Another stellar cover is “The One I Love the Most”, which could’ve been a George Jones classic back in the early seventies.
But the best material comes from her own pen. Check out “I Think It’s Over Now”, which features the lyric, “You don’t have to say you love me if you think there’s any doubt. But if you have to think it over, well, I think it’s over now.”
Also worth seeking out is the closing track from that album, “This Heart Speaks For Itself,” which has every part of her body fooling others that she’s over the man who let her down.
In one of those glorious second chances that the music business rarely doles out, Cryner resurfaced on MCA three years later, sporting a more cosmopolitan sound and look. On Girl of Your Dreams, Cryner penned all five of the strongest tracks, while also credibly covering Dusty Springfield and Dottie West. The lead single was “I Just Can’t Stand to Be Unhappy”, a kiss-off anthem that was too smart for country radio, stopping at #63:
What followed was an absolute masterpiece, one that still only reached #56 (and only #66 when Lorrie Morgan revived it two years later.) “You’d Think He’d Know Me Better” is shockingly good, managing to tell the story of a selfish and cold woman by having her talk about how inconsiderate her man is. She’s the only one left in the dark at the end, as the listeners all realize who’s really to blame for this broken home:
Her final MCA single was “I Didn’t Know My Own Strength”, which chronicled Cryner’s battle with alcoholism. It didn’t chart.
Again, the album had gems beyond what went to radio. “Vision of Loneliness” is amazing, a song that gained new resonance with me when my mother related to it so well during her bereavement:
The title track should’ve been a single, though it’s hard to imagine radio playing it after passing on her earlier work. I’d argue that “The Girl of Your Dreams” isn’t just Cryner’s finest piece of writing, but that it rivals the very best of Matraca Berg, Mary Chapin Carpenter, and Rosanne Cash. It begs for Trisha Yearwood to cover it:
So what happened after that second album faded into obscurity? How could a songwriting talent like this get lost in the shuffle? Well, it didn’t happen right away. After Morgan covered “You’d Think He’d Know Me Better”, Cryner surfaced as a writer on albums by top-tier female artists.
The most high profile of these three came after Cryner left a demo in Yearwood’s mailbox that simply had the title, “Real Live Woman.” Yearwood later commented that she prayed before listening to it that it would live up to that title. It did, and ended up being Cryner’s biggest hit when Yearwood took it into the top twenty:
Suzy Bogguss took the compelling story song “Nobody Love, Nobody Gets Hurt” to #63 in 1998, titling her album after it as Yearwood did with “Real Live Woman” in 2000.
Finally, Lee Ann Womack included “Stronger Than I Am” on her smash album I Hope You Dance. It finds a woman in awe of her young daughter who seems so much stronger than she is.
After that, I have no idea what happened to this woman. Do you? In an era when country music isn’t made for adults, or even by adults, this woman’s contributions are desperately needed.