Blake Shelton
The 201 Greatest Singles of the Decade, Part 2: #180-#161
The 201 Greatest Singles of the Decade, Part 2: #180-#161
#180
“These Days”
Rascal Flatts
2002
Peak: #1
It’s the pairing of aching nostalgia and all the power that comes with a Flatts country-pop ballad that makes this song so potent. – Tara Seetharam
#179
“Takin’ Off This Pain”
Ashton Shepherd
2007
Peak: #20
Like a fiery-eyed hybrid of Loretta Lynn and Jennifer Nettles, Shepherd burst onto the scene snapping her newly ring-free fingers at the clueless sap not treating her right. Next Decade, please take note: you’ve got a star in waiting. – Dan Milliken
The 201 Greatest Singles of the Decade, Part 1: #201-#181
This was the decade that brought back the single. Not that it ever fully went away, as radio still played the promotional ones and video outlets the filmed ones. But actual commercial singles had gone the way of the dodo, until the digital revolution suddenly made them practical again. Why buy the whole album when you can just get the song that you want?
The devastation this has brought to record company bottom lines was probably unavoidable anyway, given the realities of post-Napster society. But technology has its perks. Now you can buy the songs on this list with a click of our mouse!
And what a list it is: 201 singles that run the gamut, from genuine hits that topped the charts to songs spun only by renegade DJs working the night shift. Here’s how we compiled it: four Country Universe writers ranked their personal favorite 100 singles, with an inverted point system applied (#1 on a list meant 100 points, while #100 on the list meant 1 point.) The songs were then ranked by number of total points, greatest to least. Ties were broken by the number of lists the song appeared on, then by highest individual ranking.
There was more consensus than usual for CU, and we all agreed on one thing: this list was a heck of a lot of fun to compile. We hope you enjoy it, too!
The 201 Greatest Singles of the Decade, Part 1: #201-#181
#201
“I Run To You”
Lady Antebellum
There’s a palpable intensity to this song that grips me every time I listen to it. Love isn’t always characterized by peacefulness, and the song’s pulsing production perfectly conveys the urgency, desperation and passion that often accompanies it. – Tara Seetharam
#200
“The Last Thing on My Mind”
Patty Loveless
Given her allegiance to country music’s history and personal association with both Porter Wagoner and Dolly Parton, you might think this was a cover of that duo’s first top ten hit. Instead, it’s a very modern-sounding song with a modern-day woman who never thinks about the guy she’s left behind until right before she goes to sleep, when “something in my broken heart rewinds” as she lies in an “empty bed as big as Arkansas.” – Kevin Coyne
The Worst Singles of the Decade, Part 4: #20-#11
Time’s running short. If your personal least favorite wasn’t in Part 1, Part 2 , or Part 3, perhaps it will turn up now.
The Worst Singles of the Decade, Part 4: #20-#11
#20
The Lost Trailers, “Holler Back”
If your response to hearing “Holler Back” is to brag that you’ve got a holler back in the woods, I suggest that you and your music stay there.
#19
Trailer Choir, “Rockin’ the Beer Gut”
I appreciate the sincerity, but it can’t overcome the fact that he’s rockin’ the Autotune and singin’ the most ridiculous lyric of the year.
#18
Bucky Covington, “A Different World”
Bucky and I are roughly the same age, and I know for a fact that we grew up with seat belts, video games, and remote controls. What’s next, Taylor Swift singing about growing up without the internet?
Review: Blake Shelton & Trace Adkins, “Hillbilly Bone”
Evidently, country artists in Nashville are damn proud to be from the country – so proud that they each feel the need to record a song proclaiming just this and, no less, release it to country radio. I’ve lost track of the number of these singles put out in the past year, a handful of which I’ve found to be borderline offensive. As a city girl with a heck of a lot of love for the spirit of country music, I’d rather not be made to feel like I’m being excluded from a members-only club.
Miranda Lambert, Revolution
Miranda Lambert
Revolution
Miranda Lambert is a rare and fascinating case study of an artist who is able to push a significant number of records out the door, but is hard-pressed to receive equally significant radio airplay in return. While her first album, Kerosene, was certified Platinum and the follow up project, Crazy Ex Girlfriend, fared similarly well with Gold certification, she has only managed to squeak into radio’s top ten once with “Gunpowder And Lead.” On her third album, Revolution, it is entirely possible that Lambert has finally found a way to strike the tenuous balance of pleasing both critics and the general country music listening public with her album consisting of everything from sensitive ballads to rocked up, punk-flavored songs and a lot in between.
Picking the CMA Nominees: Female Vocalist
As I work my way through these categories, it’s becoming apparent to me that this was a very weak year for country music. I’m struggling to come up with a list of five women who actually made a musical impact over the twelve months that make up the eligibility period.
Only two women have made any serious commercial impact this year, so I’m filling up the category with the women who put out solid music that also did reasonably well:
Patty Loveless
If the Grammys can acknowledge her, I don’t see why the CMA should overlook her. She made an excellent covers album that has sold as well as several major label efforts. She was a surprise nominee in 2003 on the strength of Mountain Soul, and it would be nice to see the CMA show such good judgment again.
Picking the CMA Nominees: Male Vocalist of the Year
The past two decades have only brought eight winners in the CMA Male Vocalist race, with only two of them – Toby Keith and Clint Black – winning only once. Compare this to the Female Vocalist race, which has brought twelve winners during the same time frame, though even that race has become more streaky of late, with Martina McBride and Carrie Underwood combining for seven victories in the past eleven years.
Is it time for an overhaul in the Male Vocalist race? Yes and no. There’s no denying that some of the multiple nominees/winners over the past nineteen years remain the genre’s strongest male voices. Still, there’s room for some others at the table. The problem is that there are so very few of the genre’s male artists that are genuinely at the top of their game. Even most of the men listed below have had weak singles this year.
Still, if I picked the five nominees for the 2009 CMA Male Vocalist of the Year, they would be:
Jamey Johnson
If Johnson earns fewer less than five nominations at this year’s CMA Awards, I’ll be shocked. In fact, I think he’ll earn six, with the surprise nomination being in this category. These aren’t predictions, though, so I’ll state that while I’m not particularly a fan of Johnson, his success at retail with a traditional project that has only received airplay for one single is darn impressive. Along with Brad Paisley, he’s one of only two artists I’ve listed that were determined by genuine merit, not process of elimination.
Jason Michael Carroll, “Hurry Home”
While Blake Shelton’s “Austin” is the quintessential song with an answering machine acting as the peacemaker/mediator in a broken relationship, Jason Michael Carroll’s “Hurry Home” is a surprising contender for another quality song with just such a hero. Except, this time, the relationship is between perseverant father and prodigal daughter. Although the conclusion is extremely predictable, the emotional payoff of a parent’s unconditional love is still quietly powerful.
Album Sales Update: July 2009
It’s time for an album sales update, our first since May 23. Brad Paisley is off to a strong start with American Saturday Night, selling 130k in its first week. That’s about 70k less than his previous two studio albums – Time Well Wasted and 5th Gear – opened with, but not a terrible drop-off, considering the state of the music market.
Meanwhile, the new studio albums by Rascal Flatts and Keith Urban are slowing down considerably, now being outpaced on a weekly basis by 2008 releases by Taylor Swift, Zac Brown Band, Darius Rucker and Lady Antebellum.
Among younger acts with a new album in 2009, the most impressive sales are coming from Jason Aldean, while 2008 releases from Kellie Pickler, Billy Currington, and Randy Houser are showing new signs of life.
Biggest disappointments? It’s hard not to look in the direction of Martina McBride, who has barely cleared the 100k mark on her new studio set. Lee Ann Womack’s 2008 set just made it over that mark, too. Then again, one only needs to have sold 455 copies to make the chart this week, with the anchor position going to Wynonna with that total. Her covers album Sing – Chapter 1 has sold 41k to date.
Here are the latest totals for albums released over the past three years that are still charting:
2009
- Rascal Flatts, Unstoppable – 842,000
- Keith Urban, Defying Gravity – 452,000
- Jason Aldean, Wide Open – 384,000
- Kenny Chesney, Greatest Hits II – 281,000
- Dierks Bentley, Feel That Fire – 219,000
- Martina McBride, Shine – 104,000
- John Rich, Son of a Preacher Man – 103,000
- Eric Church, Carolina – 94,000
- Rodney Atkins, It’s America – 88,000
- Jake Owen, Easy Does It – 81,000
