My dad was passionate about many things, and in my memory, he’s defined by two of them: c0llecting vintage toys and loving music. Earlier today, my mother and I attended Toy Story 3. He loved the first two films, and it was a way to get closer to him in spirit this Father’s Day.
I couldn’t let this day end without using my humble little corner of the internet to celebrate some of his favorite songs. A love for country music was something that my father shared with my mother, and thanks to long car trips as child, this love eventually rubbed off on me. This morning, my mother put on the country classics Music Choice channel and it was playing their song: “Blanket on the Ground” by Billie Jo Spears.
It’s one of those songs that always seemed to be on the mix tapes that my parents listened to. But there are a wealth of country hits that I associate with just Dad. Some of them I always loved. Some of them I didn’t care for at the time. Some I openly disdained and wished he’d never play again. All of them are now among my favorites because they remind me of him.
So in honor of Father’s Day, here are some of my Dad’s favorite country songs. Share your dad’s favorites in the comments!
Alan Jackson, “Livin’ On Love”
From my mom’s point of view, K.T. Oslin’s “Hold Me” perfectly encapsulated their marriage. For my dad, it was “Livin’ On Love.”
Clint Black, “Nobody’s Home”
My dad loved Clint Black, especially his first two albums. This was the hit he played to death when Killin’ Time was his album of choice.
Johnny Cash, “(Ghost) Riders in the Sky”
Sure, my dad loved “Sunday Morning Coming Down” and “Five Feet High and Rising.” But he also loved Cash’s campier hits, like “One Piece at a Time” and this chestnut.
Dixie Chicks, “Travelin’ Soldier”
No matter what was going on in the room, my dad would stop what he was doing to watch this video. As a Navy veteran, this song really hit home for him.
Dwight Yoakam, “A Thousand Miles From Nowhere”
Another guy that Dad couldn’t get enough of. This was a song that I thought he played too much, never caring for it at the time. Now it’s one of my favorites of his.
John Anderson, “Seminole Wind”
He bought the album for “Straight Tequila Night”, but this quickly emerged as one of his all-time favorite songs.
John Conlee, “Common Man”
I do believe that I’d never have discovered this great vocalist if his greatest hits set wasn’t one of the very first CDs my father purchased. I still remember the “Priceless Music Priced Less” logo on the front.
Johnny Horton, “Sink the Bismarck”
Another hits collection dad played the heck out of. I always thought this was Horton’s biggest hit because Dad played it so much. I remember being shocked to find “Honky Tonk Man”, which I knew as a Dwight Yoakam song, was on there, too.
Kenny Rogers, “The Gambler”
He didn’t care for the man’s love songs or most of his pop hits, but he had this album on vinyl and I only remember hearing him play the title track.
Willie Nelson & Merle Haggard, “Pancho and Lefty”
Another one of Dad’s first CD purchases. I always thought the opening music sounded like a TV theme song.
Marty Robbins, “Big Iron”
Dad loved the Western subgenre of country music, at least as performed by Marty Robbins.
And finally, it’s not a country song, but it was his favorite song, and I’ll forever associate it with him. Amazing how I used to groan when I heard him playing it on our living room jukebox again, and now I never get tired of it because it’s him.
Sing for the common man and heaven help the working girl. Country music is full of songs about the working folk. The ones that work a 40 hour week for a livin’, the ones that worked all night in the Van Lear coalmine, the ones who did what they had to do because they didn’t want to let Mama down. Hey, even a girl named Fancy has gotta pay the bills.
In honor of Labor Day, I’m putting y’all to work. What are you favorite songs about working?
I’ll go with one of the somewhat Billie Jo Spears classic “Mr. Walker, It’s All Over,” a #4 hit from 1969. Check it out after the jump, and add your own favorites in the comments!
While the Grammys have honored country music from the very first ceremony in 1959, they did not begin honoring by gender until 1965, when the country categories were expanded along with the other genre categories.
This is a look back at the Best Female Country Vocal Performance category. It was first awarded in 1965, an included single competing with albums until the Best Country Album category was added in 1995. When an album is nominated, it is in italics, and a single track is in quotation marks.
I’ve often made the case that female artists were making the best music in the 1990s, and the Grammys did a great job nominating songs and albums that were ignored at the CMA and ACM awards, which is not surprising, given that those shows have so few categories that are actually for songs and albums.
As usual, we start with a look at this year’s nominees and work our way back.
Martina McBride, “For These Times”
LeAnn Rimes, “What I Cannot Change”
Carrie Underwood, “Last Name”
Lee Ann Womack, “Last Call”
Trisha Yearwood, “This is Me You’re Talking To”
This year’s lineup includes three former winners and two women looking for their first victory in this category. Martina McBride is in the running for the eighth time in fifteen years, and with one of her more understated performances. Lee Ann Womack returns for a fifth time, having received a nomination for the lead single of her five most recent albums. Both ladies turned in good performances here, but they’ve been overlooked for records bigger and better, so they’re not likely to snap their losing streaks this time around.
As for the previous winners, LeAnn Rimes earned her third consecutive nod, bringing her total to five in this category. She hasn’t won since 1997, when she took home the award for “Blue.” If enough voters hear “What I Cannot Change,” she might have a shot, though the only version of the song that’s been a legitimate hit has been the dance remix.
Trisha Yearwood won in 1998 for “How Do I Live,” her only victory to date. But she’s earned her tenth nomination for “This is Me You’re Talking To,” which is arguably her strongest vocal performance of the ten. Like Rimes, the challenge is getting enough voters to listen to it, but she’s never been more deserving of the victory than she is this year.
Still, the favorite remains Carrie Underwood. She’s quickly become a favorite with Grammy voters, having won this category two years running, along with Best New Artist in 2007. She’s the nominee with the highest profile, and while “Last Name” is nowhere near the same league of “Jesus, Take the Wheel” and “Before He Cheats” in terms of artistry or impact, it was a big hit, something that the other four entries cannot claim.
If Underwood was nominated for “Just a Dream,” she’d have a mortal lock on this one. But the strength of the other nominees will at least keep this race competitive. If Underwood prevails, Grammy queen Alison Krauss better watch her back.
Alison Krauss, “Simple Love”
Miranda Lambert, “Famous in a Small Town”
LeAnn Rimes, “Nothin’ Better to Do”
Carrie Underwood, “Before He Cheats”
Trisha Yearwood, “Heaven, Heartache and the Power of Love”
Looking at this lineup, you’d think that it was a golden age of female country artists, something akin to the mid-nineties. In reality, only one of these songs was a big radio hit, though three others managed to go top twenty. In terms of quality, however, this is the most consistent and thoroughly wonderful set of nominees this category has seen this century. You’d have to go back to exactly 1999 to find a better lineup.
In a year when any winner would have been deserving, Underwood won for “Before He Cheats,” her second straight win for a signature mega-hit from her debut album.
Her star may not have shone as bright as some of her contemporaries in the seventies, but Billie Jo Spears earned a dedicated following both in the United States and Europe with her bluesy vocals and sharp material.
She started young, a mere teenager when she released her first single on independent label Abbott Records, “Too Old For Toys, Too Young For Boys.” A high school diploma and a few demos later, she was in the big leagues, signing with United Artists in 1964.
While she floundered for most of the sixties on that label, watching her singles go nowhere, a move to Capitol records led to her first big hit. Sung from the perspective of a country girl who gets more than she bargained for as a secretary in New York, “Mr. Walker, It’s All Over” was something of a working girl’s anthem, a slightly seedier spin on Norma Jean’s “Heaven Help the Working Girl.”