An impressive run of hit singles and his visible Opry stardom gave him tremendous success as a singer, but it’s been Bill Anderson’s songwriting that’s kept him topping the country charts for decades longer than even his most successful contemporaries.
The man who’d become known as Whisperin’ Bill Anderson had always wanted to be a professional writer, but it was sports journalism that was his original goal. But as he was working his way through college as a radio disc jockey, he was inspired to try his hand at songwriting. An early attempt was “City Lights”, which ended up a smash hit for Ray Price and began a songwriting career that is still going strong 55 years later.
Soon, he was writing hits for himself as well as others. He earned his Whisperin’ moniker from his soft, conversational singing style, which found him speaking as often as singing. The sixties brought classic recordings like “The Tips of My Fingers”, which didn’t include the plural of tip when he recorded it, but was added when other artists like Roy Clark and Steve Wariner also had hits with it. He launched Connie Smith’s career with “Once a Day”, just a year after he released a country classic of his own, the #1 smash hit, “Still.”
In addition to his solo hits like “Po’ Folks” and “I Get the Feeling”, he had a series of successful duets with Jan Howard and with Mary Lou Turner. A collaboration with the latter, “Sometimes”, was his final #1 hit in 1975, after which his hits as an artists became fewer and far between. From this point on, his popularity as a performer would be limited to his Opry appearances, and when those shows became televised in the eighties, his colorful personality reached an entire new audience.
While he had plenty of songs recorded in the eighties and nineties, it’s been in the new century that Anderson had his most prolific songwriting renaissance. He’s co-written songs for contemporary artists such as Sara Evans and Sugarland. Amazingly, in his fifth decade of writing, he earned his first Song of the Year trophy for the Brad Paisley and Alison Krauss hit, “Whiskey Lullaby.” Just a couple of years later, he won a companion piece for his mantle, taking home honors for the George Strait hit, “Give it Away.”
Amazingly, these awards came after he was already inducted into the Country Music Hall of Fame, an honor he received in 2001. In addition to remaining a current songwriter on the charts, Anderson continues to document the incredibly legacy of country music, hosting popular concert reunions for country singers and songwriters of days gone by. He has also written successful memoirs and reflections on life, and can still be found on the Opry stage sharing some of those stories in between performances of the songs that have kept him on the stage for more than five decades.
Essential Singles:
The Tip of My Fingers, 1960
Po’ Folks, 1961
Mama Sang a Song, 1962
Still, 1963
For Loving You (with Jan Howard), 1967
My Life (Throw it Away if I Want to), 1969
Sometimes (with Mary Lou Turner), 1975
Essential Singles by Other Artists:
City Lights (Ray Price), 1958
Once a Day (Connie Smith), 1964
The Cold Hard Facts of Life (Porter Wagoner), 1967
The Lord Knows I’m Drinking (Cal Smith), 1973
Whiskey Lullaby (Brad Paisley and Alison Krauss), 2004
Something you probably already know about us here at Country Universe: We love country music. A lot. While truly great country music has become scarce on country radio, we are fortunate to live in an age in which modern technology has made great music more accessible than ever, regardless of whether Top 40 radio dares touch it.
At the close of each year we separate the grain from the chaff, and share the music we discovered over the past year that made us glad that we stuck with our genre of choice. We at Country Universe have put our heads together to create the following lists of favorite singles and albums of 2012.
Seven writers – Kevin Coyne, Leeann Ward, Dan Milliken, Tara Seetharam, Jonathan Keefe, Sam Gazdziak, and myself – individually listed our twenty favorite albums and singles of 2012, and used a points system to combine our individual lists into collective lists. Our Best of 2012 feature will include countdowns of forty albums and forty singles. Today we reveal our Top 40 Singles, with our Top 40 Albums countdown to follow shortly thereafter. Enjoy, and please be sure to share your own favorites in the comments section. Thank you to all for being a part of the Country Universe family in 2012. We look forward to sharing more great music in 2013.
#40
“Southern Comfort Zone” Brad Paisley
Individual rankings: Jonathan – #13; Leeann – #20
Brad Paisley has never been one for subtlety, and “Southern Comfort Zone,” with its tacky gospel-choir-singing-“Dixie” coda and Kings of Leon arena-rock chorus, is perhaps his most graceless and didactic effort. But sometimes it takes the subtlety and precision of a sledgehammer to get one’s point across, especially when your point is a thoughtful and sincere charge to consider how unfamiliar experiences can both reinforce and challenge your core beliefs (a point Paisley makes, it’s worth mentioning, while straying significantly from his trademark aesthetic), and whenthat point has to be made while trying to shout over a bunch of Ed Hardy-dressed hacks whose entire “artistry” hinges on perpetuating ugly rural-versus-urban class conflicts over music that sounds like a Metallica cover band. No, it isn’t a single I particularly like listening to, but it’s one I fundamentally respect for challenging what became country’s status quo in 2012. - Jonathan Keefe
#39
“Every Storm (Runs Out of Rain)” Gary Allan
Individual rankings: Sam – #8
The title is a little trite and sounds like something that Dr. Phil might say, but Allan’s vocal performance and a moody arrangement make this song a winner. - Sam Gazdziak
#38 “Goodbye In Her Eyes” Zac Brown Band
Individual rankings: Sam – #14; Leeann – #18
“Goodbye in Her Eyes” is, hands down, the coolest-sounding sad song on the radio in 2012. - Leeann Ward
#37 “In Between Jobs” Todd Snider
Individual rankings: Jonathan – #6
An update of “Working Man’s Blues” for the modern economic crisis, Todd Snider’s “In Between Jobs” glides along the sleaziest of blues riffs and slowly reveals his frustrated, unemployed narrator’s intentions. Spoiler alert: He doesn’t plan on staging a “We Are the 99%” protest outside the home of the wealthy man he’s addressing. - Jonathan Keefe
#36 “You Go Your Way” Alan Jackson
Individual rankings: Kevin – #13; Sam – #18
“You go your way, and I’ll go crazy,” Jackson sings. It’s too bad that Jackson has fallen out of radio’s good graces, because this beautiful heartbreaker deserved to be another of his #1 singles. - Sam Gazdziak
#35
“Born to Be Blue” The Mavericks
Individual rankings: Ben – #17; Dan – #18; Tara – #20
A slice of throwback 50′s pop that reminds us how blissfully therapeutic it feels to pair heartache with a sweet, simple melody. - Tara Seetharam
#34 “Closer” Mindy Smith
Individual rankings: Leeann – #12; Dan – #14
Much like Alison Krauss, to whom Mindy Smith is often compared, you’ll rarely hear Smith’s pretty voice singing upbeat, frivolous songs. Instead, she tends toward the introspective and even melancholy. The Swampy “Closer” showcases both tones, but it’s blended with some hopeful optimism as well. - Leeann Ward
#33 “Drunk On You” Luke Bryan
Individual rankings: Dan – #12; Kevin – #14
In reality, I don’t think any woman could take a guy seriously if he told her that “you make my speakers go boom-boom.” Funny how the best country music is far more forgiving than reality. - Kevin John Coyne
#32
“Cruise” Florida Georgia Line
Individual rankings: Dan – #3
Sorry, people with taste; there’s (I mean – there’z) a reason this abomination is riding high. It’s the catchiest country sing-along since “Wagon Wheel.” - Dan Milliken
#31 “When I’m Gone” Joey + Rory
Individual rankings: Kevin – #12; Ben – #12
A pensive meditation on the process of grief, delivered through one of Joey Martin Feek’s most deeply moving performances on record. While it obviously had no chance at country radio, “When I’m Gone” is nonetheless a standout career achievement for this exceptionally talented husband-and-wife duo. - Ben Foster
#30 “Postcard from Paris” The Band Perry
Individual rankings: Ben – #11; Sam – #13
In spite of their occasional misfires, “Postcard from Paris” is a moment in which the Perry siblings are able to effectively marry their lovably quirky nature to a lyrical concept that actually works – and works beautifully, with a titular analogy that’s both clever and effective, and a refrain that bites subtly but sharply (“The meanest thing you ever did is come around…and now I’m ruined”). Finish it off with an arrangement that sounds like something off of the Dixie Chicks’ Fly, and everybody wins. - Ben Foster
#29 “When It Pleases You” Sara Watkins
Individual rankings: Dan – #10; Leeann – #17
With slow, seething ire, Watkins faces the truth that she’s giving her whole heart to a relationship and getting jack back. ”I call you when I want to hear –,” she sighs, “– my voice whisper…in your voicemail’s ear.” - Dan Milliken
#28
“Live and Die”
The Avett Brothers
Individual rankings: Sam – #2
The lead single from The Avetts Brothers’ new album was the perfect middle ground between their charmingly rough-around-the-edges independent albums and their more polished I and Love and You release from 2010. There is something about the Avetts singing sentimental, romantic lyrics over the strumming of a banjo that’s just so right. - Sam Gazdziak
#27 “Is It Already Time?” Wade Hayes
Individual rankings: Kevin – #10; Dan – #15
A to-the-point account of getting a diagnosis out of nowhere and suddenly having to stare down one’s own mortality. - Dan Milliken
#26
“Safe & Sound” Taylor Swift featuring The Civil Wars
Individual rankings: Leeann – #10; Jonathan – #14
The soft production and gentle melody of “Safe & Sound” compliment Taylor Swift’s wispy voice rather than competing against it, as is prone to happen in many of Swift’s recordings. The addition of The Civil Wars’ sublime vocal support greatly elevates a recording that would have been pretty good without them, but turns out to be even better with them. - Leeann Ward
#25 “I Like Girls That Drink Beer” Toby Keith
Individual rankings: Kevin – #9; Leeann – #16
Keith revisits the classic uptown girl/downtown boy pairing that’s resulted in so many great country records in years gone by. - Kevin John Coyne
#24
“Plant White Roses” Kelly Hogan
Individual rankings: Jonathan – #1
Stephin Merritt of the Magnetic Fields is one of pop music’s most sardonic, morose songwriters, prone to declarations like, “Plant white roses, and plan to cry/If I can’t spend my life with you, I want to die.” But Kelly
Hogan, best known for her work singing back-up with Neko Case, is a such a gifted interpretive singer that she’s able to find the humanity in Merritt’s sad-sack narrators, and it’s her multifaceted, nuanced reading of “Plant White Roses” that ropes the song into the country genre. - Jonathan Keefe
#23 “Good Girl” Carrie Underwood
Individual rankings: Kevin – #6; Dan – #16
A rockin’ little record that exudes Underwood’s growing confidence as a singer and a songwriter. A much-needed shot of adrenaline into the arm of country radio. - Kevin John Coyne
#22 “Hello Cruel World” Gretchen Peters
Individual rankings: Ben – #8; Sam – #12
An insightful, slyly self-deprecating take on middle age and mortality, with the narrator musing “I’m not dead, but I’m damaged goods, and it’s getting late.” A clever pun of a title hook reflects the narrator’s resolve to make peace with the past, and to keep moving forward. - Ben Foster
#21 “Dig Gravedigger Dig” Corb Lund
Individual rankings: Sam – #4; Jonathan – #18
Lund gives a little love to the gravedigging profession with this bluesy stomper. It’s perhaps a little twisted, but more country songs could stand to reference rigor mortis these days. - Sam Gazdziak
#20 “I’m a Mess” Rodney Crowell
Individual rankings: Leeann – #4; Kevin – #16
From his collaborative project with Mary Karr that includes many esteemed guest artists, this Rodney Crowell-performed cut emerges as one of the strongest. With a production that would neatly fit on one of his albums of the 2000′s, the lyric suits the chaos that its title suggests. - Leeann Ward
#19 “Fly Over States” Jason Aldean
Individual rankings: Tara – #7; Dan – #9
Aldean relaxes his badass-hicktown-pride muscles for a moment and reveals the beating heart beneath. It’s like a heartland-rock “Colors of the Wind” – and what could be more badass than that? - Dan Milliken
#18
“Even If It Breaks Your Heart” Eli Young Band
Individual rankings: Sam – #5; Tara – #16; Jonathan – #16; Dan – #20
The song was written by Will Hoge and Eric Paslay, but the Eli Young Band made this tale about preservation and hope their own. Given the ups and downs and should’ve-been-hits that the Texas group has seen in its career, they’ve lived this song. - Sam Gazdziak
#17 “Two Black Cadillacs” Carrie Underwood
Individual rankings: Kevin – #4; Tara – #4; Ben – #18
A haunting Southern Gothic tale of revenge, heavy on the catharsis and light on the narrative. Underwood fills in the gaps with a spot-on performance – imbuing it with chilling fury, sinister joy, and just enough poise to suggest she knows tantalizingly more than we do. - Tara Seetharam
#16
“Beer Money” Kip Moore
Individual rankings: Dan – #8; Tara – #9; Kevin – #11 Ben – #19
The year’s finest blue-collar drinkin’ song, crackling with desperation and sexual friction. - Dan Milliken
#15 “Better Dig Two” The Band Perry
Individual rankings: Jonathan – #7; Leeann – #9; Dan – #11; Tara – #19
The second most surprising moment in country music in 2012 was that The Band Perry’s “Better Dig Two” finds producer Dann Huff, known for his heavy hand at the mixing board and his affinity for maudlin arrangements, doing an on-point impression of Rick Rubin. But the most surprising moment in country music in 2012 has to be the casual reference to crystal meth in the single’s second verse. Artists like Drive-By Truckers and Hank III have addressed rural America’s drug of choice for years now, but who would’ve ever expected that the exceedingly polite, ridiculously coiffed Perry siblings – and not, say, Eric Church in full “outlaw” drag – would’ve been the ones to bring a parallel between one of the nastiest, most damaging of vices and the addictive powers of love to country radio? Or that they’d pull off such a thing with the kind of authority and conviction that make “Better Dig Two” so searing? This isn’t a wistful fantasy about what happens if the narrator dies young; it’s an open threat of how things very likely will end. - Jonathan Keefe
#14 “I Just Come Here for the Music” Don Williams featuring Alison Krauss
Individual rankings: Ben – #6; Sam – #7; Dan – #17; Kevin – #20
Don Williams’ return from retirement was a nice surprise in and of itself. And So It Goes found Williams still at the top of his game, and this duet with Krauss is one of the many highlights. His deep baritone and her angelic harmonies blend beautifully. - Sam Gazdziak
#13 “The Dreaming Fields” Matraca Berg
Individual rankings: Ben – #2; Leeann – #6; Jonathan – #10
In one of the finest songs by one of country music’s finest songwriters, Matraca Berg lays bare her feelings of wistfulness over the loss of a family farm embodying scores of memories. ”The Dreaming Fields” boasts a deeply compelling melody, a chillingly effective arrangement, and a gut-wrenching vocal performance. I may not know the first thing about farming, but one thing I do understand is the meaning of a memory. This song rips my heart out. - Ben Foster
#12
“Springsteen” Eric Church
Individual rankings: Dan – #6; Tara – #6; Leeann – #15; Jonathan – #17; Ben – #20
The song was a pretty piece of nostalgia to begin with. But Jay Joyce’s hypnotic groove lifts the record to a higher ground, giving it the same sort of spiritual beauty often attributed to its namesake’s best work. - Dan Milliken
#11 “Blown Away” Carrie Underwood
Individual rankings: Kevin – #2; Dan – #7; Tara – #14; Ben – #15
An epic single with both a theme and a production big enough to contain the overwhelming vocal powerhouse that is Carrie Underwood. Give her points for being courageous enough to tackle this topic on record, but get down on your knees and offer praise and gratitude for being talented enough to pull it off. - Kevin John Coyne
#10
“The Wind”
Zac Brown Band
Individual rankings: Jonathan – #2; Tara – #11; Leeann – #13; Ben – #14; Sam – #19
With an impressive string of Top 2 hits and a couple of platinum-plus albums to their credit, Zac Brown Band had earned the opportunity to take a risk leading up to the release of their third studio album. While Uncaged had no shortage of obvious radio hits, the band, who have always been more of a “Southern” band than a proper “country” outfit, chose to prove their genre bona fides by releasing “The Wind.” A fast-picking, freewheeling romp, “The Wind” sets the ideal stage for a “hoedown” vs. “hootenanny” debate. The song’s breakneck speed and clever turns-of-phrase may have proved too much for radio, where it became the band’s first single to miss the Top 10, but it’s a single that highlighted the real breadth of Zac Brown Band’s range. - Jonathan Keefe
#9 “The Sound of a Million Dreams” David Nail
Individual rankings: Tara – #1; Kevin – #8; Ben – #9; Dan – #19
With an arrangement as rich as its sentiment, “The Sound of a Million Dreams” is an elegant tribute to songs, punctuated by a searing second verse. Billy Joel could have mastered this piano ballad, but he wouldn’t have delivered it with such painfully earnest hope. And in an era where too many artists have the audacity to present us with career-low music, Nail’s unapologetic faith in the power of his craft is deeply, depressingly refreshing. - Tara Seetharam
#8 “Creepin’” Eric Church
Individual rankings: Sam – #1; Dan – #2; Leeann – #8; Tara – #15
With an ominous vibe and distorted vocals, Church manages to come up with a unique song in an increasingly cookie-cutter genre. From the opening “bom bom bom bah-dom” to its searing guitar solos, “Creepin’” is one of the year’s most distinctive singles in any genre. When all to many “country-rock” songs are really just rock songs about country things, “Creepin’” really does manage to blend the two elements into something new and exciting. - Sam Gazdziak
#7
“Neon” Chris Young
Individual rankings: Tara – #3; Dan – #5; Leeann – #7; Jonathan – #8; Ben – #13
Young’s ode to a bar gracefully treads the line between vintage and current, packed with clever imagery and backed by a sturdy neotraditional arrangement. But don’t pity the patron a la “Neon Moon” – Young trades Ronnie Dunn’s loneliness for sweet, boozy contentment. Note by note, he melts the entire song into a sublime pool of resignation, a near-perfect encapsulation of those hazy, memory-drowning nights. - Tara Seetharam
#6 “Takin’ Pills” Pistol Annies
Individual rankings: Jonathan – #3; Leeann – #5; Sam – #9; Tara – #10; Ben – #10
Miranda Lambert’s critical clout took a considerable hit in 2012 as a result of back-to-back career-worst singles, but the second proper single from the Pistol Annies was plenty strong enough to keep Lambert associated with some of the smartest, most self-aware songwriting in modern country. “Takin’ Pills” finds the Annies having an absolute ball in playing dress-up, and the song is all the better because they give their audience credit for knowing exactly what they’re doing and why they’re doing it. During a year when so many acts were preoccupied with misguided notions of authenticity, to hear the Annies flaunt their artifice so brazenly made for a welcome change of pace. It’s a shame — albeit an unsurprising one — that country radio still won’t give them the time of day. - Jonathan Keefe
#5 “Like a Rose” Ashley Monroe
Individual rankings: Leeann – #1; Ben – #5; Jonathan – #9; Sam – #10; Tara – #13
Hearing a new country song from Ashley Monroe, as a solo artist, has been a long time coming. While the wait has been tough, the payoff has certainly been worth it. ”Like A Rose”, the first song that the public has been able to hear from her upcoming 2013 album, is a crisply produced, sharply written and exquisitely sung gem. High praise for a song that may unfortunately ultimately slip under the radar, but such praise is easily warranted here. - Leeann Ward
#4 “Drinkin’ Man” George Strait
Individual rankings: Kevin – #3; Ben – #3; Tara – #5; Jonathan – #5; Leeann – #11
There are few bright spots that come with the knowledge that Strait is in the twilight of his career, with retirement seeming more likely with each passing year. One particularly shiny one is that Strait’s become something of a vanguard in these final years. “Drinkin’ Man” is challenging, compelling, and subtly powerful, not adjectives typically associated with his remarkable thirty years of hits. He’s always been good, but he’s rarely been this interesting. - Kevin John Coyne
#3 “What Have I Done” LeAnn Rimes
Individual rankings: Tara – #2; Leeann – #3; Dan – #4; Ben – #4; Kevin – #5
Music’s finest quality is its ability to express the intangible – the smallest trace of thought, the slightest nuance of emotion. “What Have I Done” is a striking example of this, a quiet shuffle of pain, regret and reflection that, if only for a few minutes, elevates a well-known story to a three-dimensional reality. The lyrics are sharp and unadorned, but the song’s soul is Rimes’ layered performance, easily the most compelling of the year. - Tara Seetharam
#2 “So You Don’t Have to Love Me Anymore” Alan Jackson
Individual rankings: Kevin – #1; Ben – #1; Jonathan – #4; Tara – #8; Sam – #11
Had it been released fifteen or twenty years ago, “So You Don’t Have to Love Me Anymore” would stand a much greater chance at being remembered as the classic it is. Shameful #25 chart peak aside, this is an achingly beautiful, finely detailed story of a man who is willing to let his reputation fall into ruins for the sake of allowing his former lover to move on without him, resigning himself to a despondent, heartbroken existence in which nothing matters to him at all except the happiness of the one he loves. A steel guitar, a nakedly sincere vocal, and the dark, bitter, aching truth – It’s everything a great country record should be. A timeless career highlight from a true country music legend. - Ben Foster
#1 “Merry Go ‘Round” Kacey Musgraves
Individual rankings: Dan – #1; Leeann – #2; Sam – #3; Kevin – #7; Ben – #7; Tara – #12
In a single masterful stroke, Musgraves cuts to the fearful, defeated heart of countless small-towners – countless any-towners, really. The nursery-rhyme chorus is country poetry of the highest order, illustrating in a few simple lines how we compromise ourselves rather than face the unknown, turning to one distraction or another until we almost don’t notice the years rolling by, our dreams collecting dust.
It would have been a standout single in most any era of country music. That it’s managed to go Top 20 in this era – in which the mainstream anxiously evades things that are smart, challenging, new, and female – feels like a small miracle, and speaks to the timeless power of great music to transcend meaningless boundaries. It’s the most impressive debut country single in recent memory, and an enticing challenge to an ever-reductive Music Row: Truth and creativity can still win out in 2012. - Dan Milliken
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The list of distinguished artists who have recorded “Song for the Life” is a long one, but Alan Jackson is the only one who managed to make a hit out of it.
That radio played this pensive and philosophical ballad at all is a testament to Jackson’s incredible popularity at the time. Its mere presence on the airwaves elevated the genre for the handful of weeks it was in heavy rotation.
When you have some time, check out the other versions of this by the Seldom Scene, Johnny Cash, Jerry Jeff Walker, Alison Krauss, John Denver, Waylon Jennings, Kathy Mattea, and its writer, Rodney Crowell. It’s one of those songs that reveals quite a bit about where a singer is in their life and how they feel about the meaning of it all.
For my money, Jackson’s reading is the best, though I suspect he’d hit it even further out of the park if he recorded it again today.
A musical pairing that combines two of the most beautifully understated, comforting voices in country music. How could it not be good? Happily, songwriters John Ramey, Bobby Taylor, and Doug Gill turn out a fine piece of hillbilly poetry worthy of both talents.
“I Just Come Here For the Music,” from Williams excellent new album And So It Goes, is laced with simple, easily envisioned details that practically place the listener right in the midst of that smoky barroom as the scene plays out before the eyes. Williams narrates the story of a man who has recently seen a longtime relationship come to an end, and is tentatively beginning to feel out new romantic prospects. It’s a character that he inhabits with authority as well as the same quiet sincerity that has long characterized his musical persona.
The woman in the story is no less vividly drawn. She “doesn’t mean to be so cold” in receiving such attention, but like the protagonist in Pam Tillis’ “In Between Dances,” she is clearly recovering from a heartbreak of her own, and is not yet prepared to take a step that could potentially lead to further hurt. Upon the woman’s being asked to dance, the line “Lord knows her body’s willing, but her heart can’t take that chance” is as fine and concise a description of such a pivotal emotional point as I’ve ever heard in a country lyric.
Though the second chorus finds the woman beginning to gradually lower her guard, the story ends on an unresolved note. Do the two ever get together? We are left the guess the outcome. Ultimately, the story doesn’t need to be given a fully resolved happy ending. Its true value is in its presentation of a simple yet colorful snapshot of the point at which its two characters begin taking the first steps in their healing journey – an experience which many a listener can relate to.
How refreshing it is to hear a record characterized by such pure, elegant simplicity. There are no cheesy pick-up lines, no gimmicks, and no condescending cliché stereotypes – just naked honesty and sincerity, making “I Just Come Here For the Music” a beautiful example of country storytelling at its finest.
Written by John Ramey, Bobby Taylor, and Doug Gill
It’s about time somebody did a Favorite Songs feature on Shania, isn’t it? I was going to save this article for after we finished covering Shania in our Retro Single Review series, but I decided I just couldn’t wait that long.
Her astounding commercial success speaks for itself, as does her heavy impact on popular music, but I remain of the opinion that Shania Twain doesn’t get nearly enough credit for the artist she was – as a songwriter, or as a vocalist. Her songs were clever, sassy, fun, and often tapped into deep wells of substance underneath all the catchiness. Her distinct perspective was revolutionary for her time. As an interpretive singer, she had a strong knack for finishing off her lyrical creations through her nuanced, dynamically layered performances. Twain's remarkable talent combined with Mutt Lange's musical vision made her one of the biggest record sellers in history. Ever since her heyday, countless young female stars have attempted to emulate her, but the magic Twain herself created with her delicious pop-country confections remains unreplicated.
I tend to become obsessed with one favorite Shania Twain song, and then move rapidly to another, so it’s not easy to assess which songs are my all-time favorites. I’ve resigned myself to the fact that I’ll be doing a lot of second-guessing after this article runs (though I’m fairly confident that my top three selections are set in stone). At any rate, it will still be a fun look back on all the memorable tunes Shania gave us over the years, while also shining a spotlight on a few lesser-known tracks that we might have forgotten about. As always, feel free to share your own favorites in the comments section.
#25
“Party for Two” (with Billy Currington)
Greatest Hits – 2004
I have at times referred to this song as a “guilty pleasure,” but then I realized that it’s such a great fun record that I don’t really feel guilty at all about loving it. Silly “sexy in your socks” line aside, “Party for Two” is fun flirty tune that Twain and Currington sell with charm and enthusiasm. Though more of a pop song than a country song, “Party for Two” is best heard in its country mix, as the pop version with Sugar Ray’s Mark McGrath tries a little too hard to sound pop, demonstrating that Shania often sounded best when still keeping a toe in country territory. “Party for Two” served as Twain’s last Top 10 country hit to date.
#24
“Blues Eyes Crying In the Rain” (with Willie Nelson)
Willie Nelson & Friends – Live and Kickin’ – 2003
Twain’s pop sensibilities certainly have no ill effect on her ability to tackle a traditional country classic with grace and ease, as evidenced by her beautiful cover of this beloved Willie Nelson hit, accompanied by the man himself.
#23
“Ka-Ching!”
Up! – 2002
Though largely known for her lighthearted frivolous side, “Ka-Ching!” – a deft takedown of commercial materialism – shows that Twain was still perfectly capable of addressing relevant social themes.
#22
“It Only Hurts When I’m Breathing”
Up! – 2002
Though known for her positivity, Twain could still be surprisingly effective at conveying heartbreak. Such is demonstrated by this Top 20 hit in which the protagonist strives to maintain optimism as she moves on after a breakup. Still, the title hook shows that her heavy emotional pain remains constant.
#21
“Love Gets Me Every Time”
Come On Over – 1997
Hey, if you’re going to write a silly, cheesy song, you might as well do it thoroughly and shamelessly. “Love Gets Me Every Time” combines a hillbilly catchphrase with an unshakable two-step-friendly musical hook to make a delightful ditty that just never seems to get old.
#20
“Coat of Many Colors” (with Alison Krauss & Union Station)
Just Because I’m a Woman: Songs of Dolly Parton – 2003
It’s easy to see how Twain’s own impoverished upbringing might give her a special connection to this classic song, and to its timeless theme of love and family being worth far more than material possessions. Indeed, “One is only poor only if they choose to be.” Twain delivers the revered Dolly Parton lyric with authenticity and deep sincerity, while the unique touch of Alison Krauss’s backing vocal elevates the record further.
#19
“You Win My Love”
The Woman In Me – 1995
Written by Twain’s then-husband/producer Mutt Lange, this is the only song on Twain’s last three studio albums that she didn’t have a hand in writing. The lyric is full of clever automobile-related metaphors, while the driving arrangement and the “Rev it up, rev it up ‘til your engine blows” hook practically beg to be blasted out one’s car windows.
#18
“That Don’t Impress Me Much”
Come On Over – 1997
The sentiment is clear: Shania Twain is not impressed by guys who are overly impressed with themselves. One part sing-along, one part spoken word, with some steel guitar and cowbell hooks thrown in, it all adds up to one heck of a fun record.
#17
“Shoes”
Desperate Housewives soundtrack – 2005
It may have been recorded for a soundtrack, but make no mistake about it: A song that compares finding the right man to finding the ideal footwear, noting that “Some you can’t afford, some are real cheap, some are good for bummin’ around on the beach” is classic Shania. A clever song loaded with humorous double entendres, “Shoes” is good for a chuckle any day.
#16
“(If You’re Not In It for Love) I’m Outta Here!”
The Woman In Me –1995
The dance-friendly beat is hooky and infectious, but the content runs deeper. At the heart of the song is a confident female protagonist who refuses to be taken advantage of. If the guy’s not in it for love… she’s outta here. This chart-topping hit established Twain’s distinct songwriting point of view, while helping to power her The Woman In Me album to 12x platinum sales.
#15
“I’m Gonna Getcha Good!”
Up! – 2002
Not really much to say about this one except that, as far as great pop-country hooks go, they don’t come much catchier than this.
#14
“Nah!”
Up! – 2002
A kiss-off tune that’s not nearly as bitter as such songs usually are, but that doesn’t make it any less delicious. Twain almost seems to casually enjoy the moment of letting her no-good ex know that she’s done being mistreated by him. She admits “I miss you now and then, but would I do it all again?” The band abruptly stops playing as if to await her answer: “Nah!” Ouch.
#13
“Home Ain’t Where His Heart Is (Anymore)”
The Woman In Me – 1995
It’s a shame this song didn’t make a bigger dent in history. I’ve always considered it one of Twain’s most subtly moving performance as the female narrator mourns the deteriorating state of her marriage; while the song offers no full resolution of the story, save for Twain hoping “If we could only find that feeling once again… If we could only change the way the story ends.”
#12
“Don’t Be Stupid (You Know I Love You)”
Come On Over – 1997
Because it makes me happy. So there.
#11
“Leaving Is the Only Way Out”
The Woman In Me – 1995
The only song on any of Twain’s albums on which she takes sole writer’s credit, this is one of her best songs, as well as one of her countriest. The refrain “If cryin’ is the only way into your arms, then leavin’ is the only way out” is nothing short of heartbreaking.
#10
“You’ve Got a Way”
Come On Over – 1997
Though I would recommend steering clear of the hokey Notting Hill pop remix, “You’ve Got a Way” remains one of Twain’s most beautifully understated, sincere performances on record, with the acoustic arrangement allowing her to positively shine.
#9
“Forever and For Always”
Up! – 2002
A gem of a love song with an effortlessly endearing melody and a deeply heartfelt performance on Twain’s part. Though the song was remixed into an international pop smash, it remains best heard in its country form, in which Twain’s sentiments are driven home by subtle, beautiful strains of banjo and steel.
#8
“Whose Bed Have Your Boots Been Under”
The Woman In Me – 1995
Right out of the starting gate, Shania’s first major hit, and first Lange-produced single release, delivers a powerful punch of her priceless personality. With a bouncy fiddle-driven production, silly rhyme schemes involving the names of the cheating lover’s mistresses, and the delightfully cheesy bridge (“So next time you’re lonely/ Don’t call on me/ Try the operator/ Maybe she’ll be free”), “Whose Bed” is both shamelessly campy and tons of fun as a result.
#7
“Is There Life After Love”
The Woman In Me – 1995
A rare thematic venture on Twain’s part to the wrong side of cheating. She regrets her tryst, but regrets coming forward and confessing it even more, bemoaning “You gave me forgiveness, but you could not forget/ I should never have told you what I’ll live to regret.”
#6
“Man! I Feel Like a Woman!”
Come On Over – 1997
Well of course! Who could leave out one of Shania’s most energetic, free-spirited, entertaining performances of her career?
#5
“Dance with the One That Brought You”
Shania Twain – 1993
An early Twain record from the days before she was singing her own self-written material, “Dance with the One That Brought You” marries twain’s beautifully nuanced vocal performance to a charming Gretchen Peters lyric and a gorgeous piano and steel-driven waltz of an arrangement. It just might be one of Twain’s best moments on record, and yet Mutt Lange had absolutely nothing to do with it. Who’da guessed?
#4
“You’re Still the One”
Come On Over – 1997
I love this song so, so much. An unabashedly sincere vocal, shimmering production, and a lyric that encapsulates the firm commitment, pride in having overcome obstacles, and deep, genuine love of a couple that has remained together against all odds and expectations. While I’ve long believed that commercial success does not equate to quality, I still say that this song was a massive hit because it deserved to be a massive hit. A timeless, universal sentiment that touched pop fans and country fans alike, “You're Still the One” is pure pop-country perfection.
#3
“No One Needs to Know”
The Woman In Me – 1995
The best country songs are those that rely, not on words themselves, but on the feelings that the words and melodies tap into. “No One Needs to Know” absolutely radiates with the giddiness and joy of a newfound love that only the narrator herself is to know of (which suggests that Taylor Swift is not kidding when she cites Twain as a major influence). The infectious, stripped down acoustic arrangement, complete with dobro and steel chords, is a pure and simple delight.
#2
“Up!”
Up! – 2002
Twain has long been known for her incessant positivity – a consistent thread that ran throughout the Come On Over and Up! albums in particular, but was nowhere more concentrated than on the title track of Up! It comes as a fist-pumping pop-anthem on the red disc; a sprightly banjo rocker on the green disc. “Up!” is a hugely lovable ball of energy either way. The production pulses with urgency as it underscores Twain’s spirited performance. No matter what it is that’s got you down, Twain shouts “Up! Up! Up! There’s no way but up from here!” until she has you believing it too.
#1
“Any Man of Mine”
The Woman In Me – 1995
Is there any other song in her catalog that so thoroughly sums up everything one could love about Shania Twain? The energy of this performance leaps out your speakers, along with boot-stomping rhythm, the awesome fiddling, and all the signature Twain wit in the humorous lyrics. I’m not the least bit ashamed to admit that the line dance breakdown just might be my favorite part.
It was a bold artistic move and a substantial risk at the time of its release, yet it helped blaze a trail that female country artists are still following today. But even when bringing it down to a personal, individual level, there are simply few other Shania Twain songs, hits or not, that put a skip in my step like this one does. Shania's cheeky delivery makes me smile. The lyrics make me laugh. The beat makes me want to dance. Any way you look at it, this song hits me just right.
The critic in me respects it. The fan in me adores it. Now if you'll excuse me, I think it's time for some kicking, turning, and stomp-stomping…
The 54th annual GrammyAdele Awards air this Sunday at 8 p.m. Eastern. Look for appearances by Miranda Lambert, Dierks Bentley and Lady Antebellum as well as country-ish performances by Jason Aldean, Glen Campbell (with the Band Perry and Blake Shelton), Taylor Swift and Carrie Underwood. We’ve picked and predicted the awards below – share your thoughts, and be sure to drop by on Sunday night for our live blog!
Album of the Year
Should Win
Adele, 21 -Dan, Kevin, Ben, Tara, Sam
Foo Fighters, Wasting Light
Lady Gaga, Born this Way
Bruno Mars, Doo-Wops & Hooligans
Rihanna, Loud
Will Win
Adele, 21 - Dan, Kevin, Ben, Tara, Sam
Foo Fighters, Wasting Light
Lady Gaga, Born this Way
Bruno Mars, Doo-Wops & Hooligans
Rihanna, Loud
Ben: Adele made some of the best and most memorable music of the year, and met with across-the-board critical and commercial success, so it’s hardly a stretch to say that she should and will emerge victorious here.
Tara: I don’t often agree with Bob Lefsetz, but his case for why 21 has resonated so well is spot on: “music trumps everything.” How true, and how refreshing that an album that embraced the hell out of this theme made such a commercial splash.
Sam: Lady Gaga is the only one of the nominees who can rival her for publicity in 2011, but Adele’s record sales should put her over the top. Oh, and it was a great record — not that that means anything where Grammy voters are concerned.
Dan: It helps that this is an especially lazy pool of nominees. 21 is certainly a strong album and a commercial landmark, but I do wish something like Kanye’s My Beautiful Dark Twisted Fantasy were here to help hold up the bar.
Kevin: Adele made the best album by a wide margin.
Record of the Year
Should Win
Adele, “Rolling in the Deep” - Dan, Kevin, Ben, Tara, Sam
Bon Iver, “Holocene”
Bruno Mars, “Grenade”
Mumford & Sons, “The Cave”
Katy Perry, “Firework”
Will Win
Adele, “Rolling in the Deep” - Dan, Kevin, Ben, Tara, Sam
Bon Iver, “Holocene”
Bruno Mars, “Grenade”
Mumford & Sons, “The Cave”
Katy Perry, “Firework”
Ben: The dramatic build-up nature, the simmering intensity, the all-guns-blazing chorus…“Rolling In the Deep” is all but untouchable.
Tara: As rousing a Top 40 hit as we’ve heard in years. I think we all know Adele will sweep.
Sam: I’m a Mumford & Sons fan, but it’s hard to top “Rolling in the Deep.” Anyone who votes for a Katy Perry song in this category should lose their Grammy voting rights permanently.
Dan: Long after it became overplayed, it was still more refreshing to me than everything else on the radio.
Kevin: Adele cut through the hype by being the best singer and the best songwriter. Amazing, isn’t it?
Song of the Year
Should Win
“All of the Lights” – Jeff Bhasker, Malik Jones, Warren Trotter & Kanye West - Dan
“The Cave” – Ted Dwane, Ben Lovett, Marcus Mumford & Country Winston
“Grenade” – Brody Brown, Claude Kelly, Philip Lawrence, Ari Levine, Bruno Mars & Andrew Wyatt
“Holocene” – Justin Vernon
“Rolling in the Deep” – Adele Adkins & Paul Epworth – Kevin, Ben, Tara
Will Win
“All of the Lights” – Jeff Bhasker, Malik Jones, Warren Trotter & Kanye West
“The Cave” – Ted Dwane, Ben Lovett, Marcus Mumford & Country Winston
“Grenade” – Brody Brown, Claude Kelly, Philip Lawrence, Ari Levine, Bruno Mars & Andrew Wyatt
“Holocene” – Justin Vernon
“Rolling in the Deep” – Adele Adkins & Paul Epworth - Dan, Kevin, Ben, Tara
Tara: “Rolling in the Deep” shines more as a record than as a composition, but it’s still memorable enough to nab this award, and I think it will.
Dan: Here’s where I’d love to see some variation. “All of the Lights” is a poetic, layered micro-drama. Plus, from a songwriting standpoint, I’ve never fully gotten over how “Rolling in the Deep” cribs its chorus from Gnarls Barkley’s “Crazy.”
Kevin: The British slang that the song is built around doesn’t stop “Rolling” from being the most universal of the five compositions.
Best New Artist
Should Win
The Band Perry - Sam
Bon Iver
J. Cole – Tara
Nicki Minaj – Dan, Kevin
Skrillex
Will Win
The Band Perry – Sam
Bon Iver – Dan, Kevin, Tara
J. Cole
Nicki Minaj
Skrillex
Tara: Bon Iver fits the Grammy mold the best. Personally, I’m not married to any of these acts, but I guess J. Cole piques my interest the most right now. This is totally one of those picks I’m going to regret in six months…
Sam: I think this one could be an upset win for the country world. “If I Die Young” was such an unexpected crossover hit, and I think it had more resonance than most other singles from the eligibility period. Plus the Band Perry is cuter than a basket full of puppies, which can only help them.
Dan: I think Bon Iver is the most fully realized act, and predict the band’s Song and Record nods will tip Grammy voters to vote for them like Adele’s did a few years ago. But Minaj’s potential excites me the most, and I had “Super Bass” on loop last year.
Kevin: Minaj is the most refreshing of the five, though Bon Iver’s the most Grammy-friendly.
Best Country Solo Performance
Should Win
Jason Aldean, “Dirt Road Anthem”
Martina McBride, “I’m Gonna Love You Through It”
Blake Shelton, “Honey Bee”
Taylor Swift, “Mean” - Dan, Kevin, Jonathan, Ben, Tara, Leeann, Sam
Carrie Underwood, “Mama’s Song”
Will Win
Jason Aldean, “Dirt Road Anthem” – Sam
Martina McBride, “I’m Gonna Love You Through It”
Blake Shelton, “Honey Bee”
Taylor Swift, “Mean” - Dan, Kevin, Jonathan, Ben, Tara, Leeann
Carrie Underwood, “Mama’s Song”
Ben: Swift outclasses the competition by miles.
Jonathan: A depressing line-up here, really. Swift’s single and performance are far and away the strongest of the five nominees, but she didn’t land the general field nominations that many people were expecting her to receive, so I do wonder if her support runs as deep this year as it did during the Fearless juggernaut. If she loses this one, I think it will be to the red-hot-but-I-don’t-get-it-at-all Aldean.
Tara: Embarrassing line-up. “Mean” is the only one that even comes close to Grammy worthy. I think Swift still has the voters on her side, but I could also see Aldean edging her out.
Sam: “Honey Bee?” “Dirt Road Anthem?” Really, Grammy voters? I guess we should be lucky they managed to put one good song in the category, even if it was probably an accident. However, I think voters are going to take a year off on the Swift love and give it to Aldean, because it’s the least country-sounding song in the category.
Dan: I could see Shelton’s familiarity prompting a win here, but suspect Grammy voters are still in Swift’s corner.
Kevin: They should just make the genre categories line up perfectly with the big three. This is really a race for Country Record of the Year anyway. Swift’s entry is the best.
Leeann: All of the songs on this are vanilla except for the Swift song, both in lyrics and execution. This is the inarguable standout song.
Best Country Duo / Group Performance
Should Win
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
Kenny Chesney with Grace Potter, “You and Tequila” – Kevin, Leeann
The Civil Wars, “Barton Hollow” - Dan, Jonathan, Ben, Tara, Sam
Thompson Square, “Are You Gonna Kiss Me or Not”
Will Win
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” - Dan, Jonathan, Ben, Tara, Leeann, Sam
Kenny Chesney with Grace Potter, “You and Tequila”
The Civil Wars, “Barton Hollow” – Kevin
Thompson Square, “Are You Gonna Kiss Me or Not”
Ben: It’s a super tough call for me to choose between The Civil Wars and Chesney and Potter. As much as I adore “You and Tequila,” I’m finally settling on The Civil Wars as my pick. However, I expect that Aldean and Clarkson will likely triumph over both.
Jonathan: Had the Civil Wars scored the Best New Artist nomination that they seemed primed for, I would be more bullish on their chances here. They’re still the only of the four nominees I’d even consider voting for, but Clarkson is the only proven Grammy commodity in this lot, and this is probably the least credibility-straining place to recognize Aldean.
Tara: Confession: I don’t really see the sparkle that others see in “You and Tequila.” The swampy “Barton Hollow” has my heart, but I think Aldean & Clarkson will have the Grammy voters’ hearts. And I’m always OK with a little K. Clarkson love.
Sam: “Barton Hollow” kicks the ass of every other song on the list, including the excellent Chesney/Potter collaboration, and if Grammy voters actually listened to the songs they vote for, it would probably win. However, the Aldean/Clarkson screamfest has the benefit of Kelly Clarkson’s name recognition and Aldean’s current popularity.
Dan: The Civil Wars wail like mad dogs on their track. But Aldean and Clarkson are both having a moment right now.
Kevin: The Civil Wars seem like Grammy catnip.
Leeann: My vote goes for the Chesney/Potter collaboration or The Civil Wars song, but I won’t be surprised if it goes to the powerhouse duet of Aldean and Clarkson based on crossover appeal. I hope, however, that it turns out that I’m not giving the Grammy voters enough credit.
Best Country Song
Should Win
“Are You Gonna Kiss Me or Not” – Jim Collins & David Lee Murphy
“God Gave Me You” – Dave Barnes
“Just Fishin’” – Casey Beathard, Monty Criswell & Ed Hill
“Mean” – Taylor Swift - Dan, Ben, Tara, Sam
“Threaten Me With Heaven” – Vince Gill, Amy Grant, Will Owsley & Dillon O’Brian - Kevin, Jonathan, Leeann
“You and Tequila” – Matraca Berg & Deana Carter
Will Win
“Are You Gonna Kiss Me or Not” – Jim Collins & David Lee Murphy
“God Gave Me You” – Dave Barnes
“Just Fishin’” – Casey Beathard, Monty Criswell & Ed Hill
“Mean” – Taylor Swift - Dan, Kevin, Jonathan, Ben, Tara, Leeann
“Threaten Me With Heaven” – Vince Gill, Amy Grant, Will Owsley & Dillon O’Brian – Sam
“You and Tequila” – Matraca Berg & Deana Carter
Ben: Gill’s “Threaten Me with Heaven” is mature and beautifully written, but ultimately, my heart still belongs to “Mean.”
Jonathan: Gill has a real shot at this because it’s the Grammys so Gill always has a real shot at anything he’s nominated for. He’d be a worthy winner here, too, as would “You and Tequila” or the more likely winner, “Mean.”
Tara: I wrestle with this one, but I think the freshness of “Mean” gives it an edge over Gill’s track for me. Gill could easily take this given he’s Grammy royalty, but I’ll predict the voters will stick with Swift.
Sam: It’s Vince Gill in a Grammy category. That’s why.
Dan: I’d be happy with any of those last three. Honestly, I even half-like “Just Fishin’” and “God Gave Me You” as songs.
Kevin: Can’t believe that Gill’s composition got a nod. I like Swift’s record the most, but as a song, “Threaten Me With Heaven” is jaw-droppingly good.
Leeann: I’d love to see Vince win another grammy, but I won’t be surprised or too disappointed if Swift takes this one.
Best Country Album
Should Win
Jason Aldean, My Kinda Party
Eric Church, Chief - Jonathan, Tara, Leeann
Lady Antebellum, Own the Night
Blake Shelton, Red River Blue
George Strait, Here For a Good Time - Kevin, Ben
Taylor Swift, Speak Now – Sam
Will Win
Jason Aldean, My Kinda Party – Dan
Eric Church, Chief
Lady Antebellum, Own the Night - Tara
Blake Shelton, Red River Blue
George Strait, Here For a Good Time
Taylor Swift, Speak Now - Kevin, Jonathan, Ben, Leeann, Sam
Ben: Church, Strait, and Swift have the three best albums, and of those three, Strait’s Here for a Good Time is the most fully realized, but I would expect that Swift’s crossover appeal and high sales numbers will lead voters to gravitate toward Speak Now.
Jonathan: The nomination for Lady Antebellum’s godawful album represents Grammy voting at its laziest. I don’t care how many people bought Own the Night: It’s terrible and, at some point, the over-rewarding of Lady A for their aggressively middlebrow, banal music has to stop. Church’s album would get my vote over Strait’s by just a hair and, even though I would’ve nominated it for Best Pop Album instead, Speak Now is Swift’s strongest set to date, so I won’t complain too loudly when she wins here.
Tara: Chief packs a killer, audacious punch…but I have this sinking feeling that Lady A will pull a repeat in this category. Look – I was (and probably still am) Lady A’s biggest advocate at Country Universe, but I can’t get behind the overblown success of their degenerating music. How will they ever be motivated to live up to the massive potential shown on Lady Antebellum if we keep rewarding them like this?
Sam: Quality-wise, Speak Now edges out Chief, though I think Chief deserves some recognition for its ambition. Speak Now was a commercial and an artistic triumph, though the only concern is that it was released so long ago that its impact may have faded from the voters’ memories. That might open the door for Lady Antebellum to win, which would be a shame. While I actually kind of liked Own the Night, there are three albums better than it in the category.
Kevin: Strait just keeps getting better lately. I think he’d win if it wasn’t for category crossover votes for Swift.
Leeann: I wish I cared about this category more this year than I actually do. It’s likely that either Strait or Swift will win the award, but I think Church’s album is the most interesting.
Best Americana Album
Should Win
Linda Chorney, Emotional Jukebox
Ry Cooder, Pull Up Some Dust and Sit Down
Emmylou Harris, Hard Bargain - Jonathan
Levon Helm, Ramble at the Ryman
Lucinda Williams, Blessed
Will Win
Linda Chorney, Emotional Jukebox
Ry Cooder, Pull Up Some Dust and Sit Down
Emmylou Harris, Hard Bargain
Levon Helm, Ramble at the Ryman – Dan
Lucinda Williams, Blessed - Jonathan, Ben, Sam
Jonathan: Of the four veterans nominated, only Harris’ album is anywhere close to her best work, but that rarely matters much. The vitriol directed at Chorney and her exploiting of NARAS’s new social networking initiatives to garner her nomination has reflected very, very poorly on a whole lot of Americana fans and has perpetuated an ugly “us-versus-them” attitude, but there’s no dressing up how poor Chorney’s album actually is, either. But she’s also the only one of the five nominees that anyone has been talking about during the entirety of the voting period… I give the edge to Williams on sales stats alone, but there’s really no frontrunner here.
Sam: Should win: Hayes Carll, KMAG YOYO and other American Stories (yeah, I know it wasn’t nominated). I actually kind of hope that Linda Chorney wins. For one thing, the outcry would be phenomenal. For another, it might shed some light on just how the voting is done, and is there a better way to do it. Do the voters know what Americana music is? Did they listen to any of the albums? I have nothing against any of the nominees, but Hayes Carll released one of the best albums of the year and had no chance in competing against legends like Emmylou, Ry Cooder and Levon Helm. Of the four legitimate nominees, Williams has gone the longest between Grammy wins, so maybe it’s her turn.
Dan: Levon has won for his last two albums. This one is a live set, so Lucinda could definitely unseat him, but still.
Best Bluegrass Album
Should Win
Alison Krauss and Union Station, Paper Airplane
Jim Lauderdale, Reason and Rhyme
Steve Martin and the Steep Canyon Rangers, Rare Bird Alert – Sam
The Del McCoury Band, Old Memories: The Songs of Bill Monroe
Ralph Stanley, A Mother’s Prayer
Chris Thile and Michael Staves, Sleep With One Eye Open – Jonathan
Will Win
Alison Krauss and Union Station, Paper Airplane - Jonathan, Dan, Ben, Tara, Sam
Jim Lauderdale, Reason and Rhyme
Steve Martin and the Steep Canyon Rangers, Rare Bird Alert
The Del McCoury Band, Old Memories: The Songs of Bill Monroe
Ralph Stanley, A Mother’s Prayer
Chris Thile and Michael Staves, Sleep With One Eye Open
Ben: I have no rationale for who should win, but I think we all know who will.
Jonathan: I can’t think of anything more foolhardy than betting against Alison Krauss at the Grammys.
Tara: What Ben said.
Sam: Honestly, I thought Krauss’ Paper Airplane was kind of tepid, while Rare Bird Alert was charming and energetic. Still, Krauss is the Jimmy Sturr of the Grammy bluegrass categories (all the polka fans should get that reference), so unless the voters decide to give Martin a lifetime achievement award of sorts, she’s got this one in the bag.
Dan: Steve Martin’s got a chance, but…
Best Folk Album
Should Win
The Civil Wars, Barton Hollow – Leeann
Steve Earle, I’ll Never Get Out of This World Alive - Jonathan, Sam
Fleet Foxes, Hopelessness Blues
Eddie Vedder, Ukelele Songs
Gillian Welch, The Harrow & The Harvest
Will Win
The Civil Wars, Barton Hollow - Jonathan, Ben
Steve Earle, I’ll Never Get Out of This World Alive - Dan
Fleet Foxes, Hopelessness Blues
Eddie Vedder, Ukelele Songs - Leeann, Sam
Gillian Welch, The Harrow & The Harvest
Ben: If my prediction of an Aldean-Clarkson victory for Duo/Group Performance comes true, I would expect that this is where voters will recognize The Civil Wars.
Jonathan: If NARAS were really committed to the idea of reducing the number of categories, they’d merge the Americana and Folk Album categories with Best Country Album and, considering how fast and loose they’re already playing with genre tags, they probably should do just that and let the chips fall where they may. Welch’s album is the only one of the five that really scans as “folk” music in any traditional sense, so who wins here will depend on whether or not voters are looking for something more traditional or contemporary. I’m guessing it’s the latter case, to the benefit of the Civil Wars.
Sam: Steve Earle released his best album in years with I’ll Never Get Out of This World Alive. The love songs were tender, the topical songs were sharp and insightful, and there weren’t any love songs about Condoleezza Rice. Eddie Vedder, on the other hand, is in Pearl Jam, so clearly he’s the odds-on favorite. Actually, Ukelele Songs got some pretty good reviews, and if Vedder’s vocals didn’t remind me so much of Bob Dylan’s current voice crossed with an injured goat, I might be more inclined to like it.
Dan: I can imagine a Fleet Foxes or Civil Wars win, but in the end, I’m still guessing Earle, the proven Grammy favorite.
Leeann: It’s sad that I care about this category far more than the Country Album category this year. I love The Civil Wars album the most, but the Welch, Vedder and Earl albums are great too. I’ll be happy to see any of them win, but I have a strange feeling that Vedder will take it.
Whenever we get new music from Alison Krauss & Union Station, there are two things we can generally count on: stellar musicianship, and pure, naturally beautiful vocals. Still, one variable is whether or not the music builds on the group’s tried-and-true musical formula of modern-bluegrass-meets-adult-pop, and moves it forward such that the approach does come across as merely business-as-usual. Last year’s set Paper Airplane contained the usual goods, but suffered to some extent from what one might call the plodding midsection syndrome – a cluster of competent but not particularly memorable tracks bookended by moments of brilliance.
In the context of the album, new single “My Love Follows You Where You Go” comes at a point at which things are just beginning to lose a little shine. It begins on a pedestrian-sounding note with a repetitive melody, and a first verse composed of a string of vague metaphors. But then the chorus comes, and the song gradually hits its stride. The melody rises, and the lyrics take on added specificity. At this point, we learn that the narrator’s lover is leaving her. The chorus rings quietly poignant by isolating the climactic moment in which her signficant other faces the outside world, preparing to depart. Though not attempting to deter him, Krauss’s character expresses grave awareness that her lover will one day “wake up, and the world is cruel and cold,” while simultaneously reaffirming her undying love – both in the titular phrase, and in the resolve of “I won’t pretend that it’s not killing me watching you walk away slow.”
The fourth verse is superfluous, not adding to or detracting from the story in any significant way. As a whole, the song doesn’t necessarily advance the group’s art, but it is an enjoyable variation on a reliable formula. Though the lyric could benefit from added straightforwardness, we are nevertheless left with a very good single, if not a great one.
Cover songs can be a hot topic at just about any given time. We recently got to hear a somewhat underwhelming OneRepublic cover by Faith Hill, which Kevin recently reviewed. Other recent attempts include Sara Evans’ pop-country reworking of Rod Stewart’s “My Heart Can’t Tell You No,” as well as last year’s polarizing Beyoncé cover by Reba McEntire.
Since cover songs are so much fun to talk about, I thought I’d weigh in on a few well-known cover songs from the past few years – the good ones, as well as a few that we would rather forget. My criteria is simple: A good cover song should bring something new to the table, and the song should be treated in a way that is well-suited to the artist as well as the genre. This list focuses specifically on country covers of non-country songs.
Click the original artists’ names in parentheses to hear the original versions.
Rosanne Cash, “I Don’t Want to Spoil the Party” (The Beatles)
1989 | #1
Where it goes right: Rosanne’s last career hit was a cover from a Beatles tribute album, and it didn’t sound quite like one might expect. Though rarely one to use overt country instrumentation throughout most of her career, she delivers a brisk, upbeat take that’s layered in fiddling. I’ll take it!
Grade: B+
Mark Chesnutt, “I Don’t Want to Miss a Thing” (Aerosmith)
1998 | #1
Where it goes wrong: It’s hard to imagine a worse pairing between song and performer. Mark Chesnutt, the revered neotraditionalist behind “Too Cold at Home” and “Going Through the Big D” covering a rock power ballad? It’s true – complete with apologetic steel guitar fills and a vocal smothered in autotune. The end result is so cheesy that you might as well slap it between two crackers. The fact that this is the top Mark Chesnutt iTunes download is very very sad.
Where it goes right: The Chicks give a well-known Fleetwood Mac favorite a stripped-down bluegrass treatment, which is a great fit for the nature-related imagery in the song’s lyrics. The Chicks elevate the song further with their gorgeous harmonies. As much as I love Fleetwood Mac, I have to say that this version tops the original. It’s one of the best cover songs I’ve ever heard, and one of the Dixie Chicks’ personal best moments, of which there have been many.
Grade: A
Sara Evans, “I Could Not Ask for More” (Edwin McCain)
2001 | #2
Where it goes right: Evans delivers a stunning and powerful vocal performance that holds nothing back whatsoever.
Where it goes wrong: The arrangement is a bit syrupy, and it’s essentially a pop cover of a pop song. Is a little fiddle or steel too much to ask for?
Where it goes right: The fact that Hill was unfamiliar with the Franklin and Joplin versions is telling. You can easily tell that she is making no attempt to emulate the style of another artist, instead giving a performance totally her own, while the songs’s melody fits well with the countrified arrangement.
Where it goes wrong: Again, the fact that Hill was unfamiliar with the previous versions is telling. Her performance lacks the fire and fury of Joplin’s version, which makes it easy to see why one might consider Hill’s performance to be a bit too sugary.
Grade: B-
Alison Krauss, “Baby, Now That I’ve Found You” (The Foundations)
1995 | #49
Where it goes right: Krauss takes a forgettable Motown tune, and delivers a slowed-down mid-tempo version that much more deeply accentuates the emotions conveyed in the lyrics. In contrast, the original sounded like one big party, which is an ill-fitting treatment of a song about trying to stop one’s lover from leaving. The track is made all the more sweeter by Kruass’ angelic vocals, and by the expert instrumental backup of Union Station. The song went on to win Krauss a well-deserved Grammy for Best Female Country Vocal Performance.
Where it goes right: It’s extremely effective as a reinterpretation, as McEntire slows the song down to an emotional ballad, and tweaks the lyrics to fit her feminine perspective. Did I mention that she also gives a mighty fine vocal performance?
Where it goes wrong: The production is a bit watered-down, which was not unusual for Reba’s late eighties and early nineties output.
Grade: B+
Pam Tillis, “When You Walk In the Room” (Jackie DeShannon)
1994 | #2
Where it goes right: Tillis could hardly have chosen a better song to countrify, as the lyric about a nervous encounter with an old flame fits right in with classic country music. She even tweaked the instrumental opening so as to be better suited for the steel guitar, which demonstrates her strong commitment to the country genre.
Grade: A
Travis Tritt, “Take It Easy” (The Eagles)
1994 | #21
Where it goes right: The Eagles were about the countriest rock band you’d ever meet, and did a great deal to influence the evolution of country sounds and styles, so they were a fitting candidate for an all-country tribute album. The centerpiece of the collection was honky-tonker Travis Tritt’s version of “Take It Easy” – an energetic performance that had even more body than the original, but that still felt reverent toward the legendary group’s classic version.
Grade: A
Conway Twitty, “The Rose” (Bette Midler)
1983 | #1
Where it goes right: Nowhere.
Where it goes wrong: Everywhere. (Can you say bad karaoke?)
Where it goes wrong: To put it simply… reinterpreting a song does not mean simply ”adding a banjo line.” The fact that Hall and Oates even sing background vocals on this track only adds to the overall feeling of pointlessness.
Where it goes wrong: If it made for an awfully cheesy pop song in the hands of Brian McKnight, it made a flat-out terrible country song when Mark Wills covered it a mere two months after the release of the McKnight version. It’s a record characterized by superfluous genre-pandering steel guitar fills, and a lead vocal that sounds more occupied with grooving to the beat than making any sort of emotional connection. The song peaked at #2, and then Wills tackled a Brandy song immediately afterwards. Seriously, dude?
Where it goes right: Covering an Elvis song is a tall order, to say the least. The fact that Yoakam’s version rivals the original, with its contemporized arrangement and knockout lead vocal, is hardly a small feat.
Grade: A
What’s your take on these tunes? What are your favorite cover songs? What are your least favorite cover songs?
A musician since receiving his first guitar at age eight, Brad Paisley emerged in the late nineties and became the most consistently successful radio artist in the decade that followed.
Paisley’s career began in earnest when he penned his first song at age twelve, “Born On Christmas Day.” His junior high principal invited him to perform at a local function. He was spotted by a representative of Jamboree USA, and after one performance, he was invited to join the cast.
Over the next eight years, Paisley performed in West Virginia, opening up for major country acts when they visited the area. After completing a two year stint at Belmont University in Nashville, he was immediately signed to a publishing deal with EMI. After penning hits for David Kersh and David Ball, he signed with Arista Records.
His debut album, Who Needs Pictures, featured two top #1 hits. The first one, “He Didn’t Have to Be”, began a string of award show nominations that continues through this day. As the 2000s progressed, he reaped awards for his collaborations with Alison Krauss, Keith Urban, Dolly Parton, Little Jimmy Dickens, and George Jones.
Paisley was the first male artist since Earl Thomas Conley to score ten consecutive #1 hits on the Billboard charts. His innovative videos incorporated appearances from Hollywood television stars, often satirizing their own public images to humorous effect. At the peak of his popularity, Paisley showcased his Grammy-winning instrumental skills. With Play, he became the first mainstream country artist since Steve Wariner to release a largely instrumental album.
Now a touring powerhouse, Paisley collected his first Entertainer trophy from the CMA in 2010, joining shelves full of awards for Male Vocalist, Single, Album, Music Video, and Musical Event from all three major industry organizations. Most recently, he has scored #1 hits collaborating with Alabama and then Carrie Underwood. The latter collaboration, “Remind Me”, became his fourth platinum-selling digital single, following “Whiskey Lullaby”, “She’s Everything”, and “Then.”
Essential Singles:
He Didn’t Have to Be, 1999
I’m Gonna Miss Her (The Fishin’ Song), 2002
Whiskey Lullaby (with Alison Krauss), 2004
When I Get Where I’m Going (with Dolly Parton), 2005
As I’m sure the rest of you do, I make playlists all the time. Many of them are lists of individual artists, but some of them have a concept.
My latest playlist is of covers. First, I have the original version (or the one that’s famous for being the original) followed by my favorite cover of it. My only rule is that I have to like both versions. So, songs where I like the cover but not the original won’t make the list.
I’ll share a sampling of what I have so far, as long as you share your latest or greatest concept playlist in the comments:
1. Buddy Miller, “Somewhere Trouble Don’t Go” (Miranda Lambert)
2. Hank Williams, “Hey, Good Lookin’” (The Mavericks)
3. Elvis Presley, “Suspicious Minds (Dwight Yoakam)
4. Dolly Parton, “Coat of Many Colors (Shania Twain/Alison Krauss)
5. Waylon Jennings, “Dreaming My Dreams with You” (Alison Krauss and Union Station)
6. Johnny Cash, “Understand Your Man” (Dwight Yoakam)
7. Merle Haggard, “The Way I Am” (Alan Jackson)
8. John Prine, “That’s the Way the World Goes ‘Round” (Miranda Lambert)
9. John Anderson, “Swingin’” (LeAnn Rimes)
10. Buddy Miller, “Don’t Tell Me” (Alicia Nugent)
11. Kasey Chambers, “Pony” (Ashley Monroe)
12. Tammy Wynette, “Stand by Your Man” (Dixie Chicks)
13. Bill Monroe, “Blue Moon of Kentucky” (John Fogerty)
14. Conway Twitty, “Goodbye Time” (Blake Shelton)
15. Hank Williams, “I Saw the Light” (Blind Boys of Alabama/ Hank Williams Jr.)
16. Bob Dylan, “Shelter from the Storm” (Rodney Crowell/Emmylou Harris)
17. Merle Haggard, “Today I Started Loving You Again” (Buddy Jewell/Miranda Lambert)
18. Nitty Gritty Dirtband, “Fishing in the Dark” (Garth Brooks)
19. The White Stripes, “Dead Leaves in the Dirty Ground” (Chris Thile)
20. Al Green, “Lets Stay Together” (John Berry)
21. David Allan Coe, “You Never Even Called Me by My Name” (Doug Supernaw)
22. The Decemberists, “Shankill Butchers” (Sarah Jarosz
23. Steve Earle, “My Old Friend the Blues” (Patty Loveless)
24. Eric Clapton, “Lay Down Sally” (Delbert McClinton)
25. Fred Eaglesmith, “Time to Get a Gun” (Miranda Lambert)
26. Dolly Parton, “Jolene” (The White Stripes)
27. Johnny Cash, “I Still Miss Someone” (Suzy Bogguss)
28. Pearl Jam, “Better Man” (Sugarland)
29. Kris Kristofferson, “From the Bottle to the Bottom” (Dierks Bentley/Kris Kristofferson)
30. Don Williams, “Lord, I hope this Day is Good” (Lee Ann Womack)
31. Bob Dylan, “Don’t Think Twice, It’s all right” (Randy Travis)
100 Greatest Men: The Complete List
Something you probably already know about us here at Country Universe: We love country music. A lot. While truly great country music has become scarce on country radio, we are fortunate to live in an age in which modern technology has made great music more accessible than ever, regardless of whether Top 40 radio dares touch it.
1995 | Peak: #6
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