Suzy Bogguss has been my favorite female vocalist for about 20 years now. The first time I heard her was on some TV show with Jerry Reed in 1991. She sang “Aces” and “Night Riders Lament” and I was hooked. Since then, I’ve seen her in concert about a dozen times from New York to Nashville and in-between. She still tours on her own in addition to her “Wine, Women and Song” shows with great songwriter friends Matraca Berg and Gretchen Peters. Suzy has done some writing herself having co-written 56 songs, including hits “Hey Cinderella” and “Just Like the Weather”.
Some of these covers became big hits, like Billy Dean’s “We Just Disagree” and Brooks & Dunn’s “My Maria.” Various album cuts and tribute projects demonstrated Lorrie Morgan’s fondness for Bonnie Tyler (“It’s a Heartache”), Garth Brooks’ love for Kiss (“Hard Luck Woman”), and more than a dozen artists’ affinity for the Eagles.
It’s just a matter of time before today’s country stars start remaking pop and rock hits from the nineties. Here’s a few that I think would work well:
Johnny Cash may have been too dark for country radio back in 1994, but his morbid single lives on alongside debut singles, seventies covers, and a whole lot of Mary Chapin Carpenter.
400 Greatest Singles of the Nineties: #125-#101
1999 | Peak: #1
Sure, the melody of the chorus sounds just like “It Matters to Me.” But “Breathe” took the country power ballad to new heights, becoming Hill’s signature hit in the process. – Kevin Coyne
Life’s a Dance
John Michael Montgomery
1992 | Peak: #4
It’s the catchy fiddle riff that’s so memorable about John Michael Montgomery’s debut, number one, single. He is known for being a balladeer, but this one is an up-tempo motivational song. – Leeann Ward
A lot of songs from both ends of the charts here, including a husband-and-wife duet that spent six weeks at #1.
400 Greatest Singles of the Nineties: #250-#226
I Meant Every Word He Said
Ricky Van Shelton
1990 | Peak: #2
At least the third song on this list about a guy mulling over romantic gestures he wishes he’d made to his former love, and the most traditional among those songs. You could easily imagine this one being a minor classic by a 60’s or 70’s legend, so close is its replication of that style. – Dan Milliken
I’m So Happy I Can’t Stop Crying
Toby Keith with Sting
1997 | Peak: #2
My hard-and-fast rule for Toby Keith: The sadder he is, the happier the listening experience tends to be. He’s all kinds of sad in this snapshot of post-divorce melancholia, reflecting on everything from unfair custody protocol to the greater motions of the universe. Even a gratuitous Sting cameo can’t detract from the single’s gloomy grandeur. – DM
You Ain’t Much Fun
1995 | Peak: #2
Toby Keith is also funny, though. What’s a man to do? Sobering up ain’t all that it’s cracked up to be from is perspective. Ever since he’s done so, his wife has been taking advantage of his increased functionality by giving him honey-do lists that he wasn’t ably tackling pre-sobriety. It’s enough to drive a man to drink. – Leeann Ward
The first quarter of the countdown comes to a close, highlighted by excellent comeback attempts by T. Graham Brown, Emmylou Harris, and Willie Nelson.
400 Greatest Singles of the Nineties: #325-#301
He Would Be Sixteen
1992 | Peak: #31
Sometimes the choices that you make linger forever. Here, a woman in her thirties drives past a high school football game, and her mind wanders to the painful void left in her heart from the son she gave up for adoption. – Kevin Coyne
It Matters to Me
1995 | Peak: #1
Faith Hill’s sophomore album is a surprisingly deep set, filled with candid insights into different womens’ lives. The title track represents that spirit well, as a woman articulates the differences in her and her man’s relationship approaches with impressive precision. – Dan Milliken
New fans of country music in the nineties were hit over the head with the assertion that country music was one big family. Nothing demonstrated this mythos better than the all star jams that cropped up during the boom years.
There were some variants of this approach. A popular one found a veteran star teaming up with one or more of the boom artists to increase their chances of radio airplay. George Jones was big on this approach, with the most high profile attempt being “I Don’t Need Your Rockin’ Chair.” Seventeen years later, it’s amazing to see how young everyone looks – even Jones himself!