“(Who Says) You Can’t Have It All” is not just an average song of lost love. Rather, the loss translates into a certain resolution from a man who is the lord and master of his proverbial castle that has turned into nothing more than a lonely room with “a ceiling, a floor and four walls”, full of pictures and memories of the broken past.
2000 | #30
The eleventh single from Shania Twain’s Come On Over was one of the least successful in the U.S., barely scraping the bottom of the Top 30. This was due in part to a lack of promotion for the single, though it did go Top 5 in Twain’s native Canada. In some ways, “Rock This Country!” comes across as a standard Twain up-tempo – peppy, with a fun Mutt Lange-style pop-country production, but the lyrics are surprisingly flavorless.
Nashville, Vol. 1: Tear the Woodpile Down
The casual listener may remember Marty Stuart for the string of country radio hits he enjoyed in the late eighties and early nineties. However, Stuart’s legacy was cemented by groundbreaking projects released after his commercial heyday had drawn to a close, particularly 1999’s landmark The Pilgrim as well as 2010’s career-best effort Ghost Train: The Studio B Sessions. Through such critically lauded work Stuart has built up a reputation as an elder statesman of country music, acting to preserve country music’s heritage and traditions, while simultaneously working to move the genre forward.
1999 | #6
“Get a life, get a grip, get away somewhere, take a trip
Take a break, take control, take advice from someone you know
“Come on over, come on in
Pull up a seat, and take a load off your feet
Come on over, come on in
You can unwind, and take a load off your mind.”
Hmm. So the lyrics don’t seem to have a whole lot to say. The song is primarily simple series of feel-good platitudes.
Emerging with the slow-blooming Top 20 debut single “Amen” last year, Arkansas trio Edens Edge introduced themselves to the country audience as one of the genre’s brightest and most refreshing new talents. Their follow-up release “Too Good to Be True” lacks the distinct lyrical freshness that made “Amen” a winner, but continues to showcase the group’s unique, left-of-center musical style.