What are your top five train songs?
Here’s my list:
- Rosanne Cash, “Runaway Train”
- Pam Tillis, “Train Without a Whistle”
- Dwight Yoakam, “Train in Vain”
- Whiskey Falls, “Last Train Running”
- Clint Black, “There Never Was a Train”
As we’re prepping our 1993 lists, there have been many debut albums in consideration. That year brought the first studio sets from big stars like Tracy Byrd, Toby Keith, Tim McGraw, Shania Twain, and Clay Walker. Also, sentimental favorites of attentive listeners, like Brother Phelps. Shawn Camp, Bobbie Cryner, Lisa Stewart, and Lari White also released their first discs.
Debut albums aren’t always great. Sometimes the artistic voice just isn’t there yet. But some new artists knock it out of the park the first time out.
Today we ask: What are your Top Five Debut Albums?
Here’s my list:
The narrative surrounding Aaron Watson’s The Underdog makes it an album that is easy to root for: Buoyed by more than a decade of goodwill and fan support and a deft pre-release promotional push, the album surprised many with its #1 bow atop Billboard’s Top Country Albums chart, surreptitiously around the same time that erstwhile Sony Nashville CEO Gary Overton made his controversial remark about how artists who don’t get played on country radio “don’t exist.” The Underdog, the twelfth album from a traditional-leaning Texas singer-songwriter known as much for his humility as for his music, provided a perfectly timed counterexample to Overton’s short-sighted arrogance.
Songs have such a big impact on our life experience that they sometimes inspire songs of their own. It’s a cool theme that I wish more singers and songwriters would explore.
Here are some of my favorite examples of this theme:
Trisha Yearwood, “The Song Remembers When”
Far and away, the gold standard for songs about songs. I love the way the intro’s guitar hook is repeated immediately after Yearwood, sings, “When I heard that old familiar music start.” Producer Garth Fundis is the unsung hero of this classic recording, which has always seen heaps of deserved praise for Hugh Prestwood’s poetic songwriting and Yearwood’s skillful interpretation.
Since its inception, the top honor an artist could be given at the Country Music Association awards is this one: Entertainer of the Year. Originally a revolving door of winners, the winner in early years was often not even nominated the following year. In 1981, Barbara Mandrell became the first artist to win the award twice. Alabama succeeded her with a three year run from 1982-1984. Fourteen years later, Garth Brooks became the first artist two win four times, a feat later matched by Kenny Chesney in 2008.
Here’s a look back at the award from the very beginning, along with some facts and feats about the category and its nominees.
One year after being inducted into the Country Music Hall of Fame, Eddy Arnold was named the very first Entertainer of the Year at the inaugural CMA awards in 1967. Don’t assume it was a sympathy vote. Arnold had three #1 hits in the twelve months leading up to the ceremony, as he was in the middle of his impressive mid-sixties comeback, a period best defined by the 1965 classic, “Make the World Go Away.” He remains the only member of the Hall of Fame to win this award after being inducted.
Glen Campbell was a big awards favorite in 1968, with “By the Time I Get to Phoenix” and “Gentle On My Mind” both dominating the Grammy awards earlier that year. His win in this category foreshadowed bigger things, as he soon became a network variety star, while also scoring major country and pop hits with “Wichita Lineman” and “Galveston.”
Johnny Cash’s career was rejuvenated on the strength of two live prison albums, the latter of which produced the massive Shel Silverstein-penned smash, “A Boy Named Sue.” His victory came in a year that marked the beginning of his network variety show and had him dominating the country singles charts, spending ten combined weeks at #1 with “Sue” and “Daddy Sang Bass.”
Merle Haggard was a mainstay in this category from the beginning, nominated in each of the first seven years of the CMA Awards. His victory in 1970 coincided with his commercial peak, with signature hits “The Fightin’ Side of Me” and “Okie From Muskogee” helping him secure his only win in this category.
The last of four consecutive years where the Male Vocalist winner matched the Entertainer winner, Charley Pride went home with both awards in 1971. A winner on his fourth nomination, his popularity skyrocketed upon the release of “Kiss an Angel Good Morning,” which was climbing the charts at the time of the awards ceremony.
Instead of attending the awards show, Loretta Lynn’s husband Mooney went hunting. He didn’t want to watch her lose, but he missed watching history unfold as she became the first woman to win Entertainer of the Year. Lynn’s victory came on the heels of both solo hits like “One’s on the Way” and her popular duets with Conway Twitty.
Today he’s best known for Hee Haw, the country music variety show that he co-hosted, and it’s no coincidence that he won while the show was in its prime. Still, Clark is also one of country’s most admired legends, and his legacy goes far beyond the television show that showcased his extensive musical and comedic talents.
The massive success of “The Most Beautiful Girl” and “Behind Closed Doors” helped Charlie Rich win this award. It was a long time coming, as Rich toiled in obscurity despite critical acclaim for his work. He would continue to score big hits on the country and pop charts over the next couple of years, at one point charting hits on different labels at the same time.
John Denver’s victory in this race led to the most infamous moment in CMA history. Though he claimed it was due to medication later on, presenter Charlie Rich seemed to be making a furious statement against the pop crossover artists dominating country music when he opened the envelope, read it, and then lit a cigarette lighter and burned the envelope. The paper went up in flames as he derisively snarled the winner’s name, “My friend, Mister John Denver.” Poor John, accepting via satellite, was clueless to what was going on at the Opry house, and graciously accepted his award.
This 2007 Hall of Fame inductee won this award just as he was changing labels. Tillis first gained notoriety for his remarkable songwriting talent, but eventually he was scoring enough hits to earn a place in this category. He would go on to have several more big hits after winning this award, earning another nomination in this category two years later.
Ronnie Milsap dominated the CMA Awards, becoming one of its most frequently honored performers during the formative years of the awards show. He finally won the big prize on his third try, powered by the success of his classic hit, “It was Almost like a Song.”
Her famous quote – “I’m not leaving country. I’m taking it with me” – must have held some water with the Nashville establishment, as Parton won this award at the height of her pop crossover success with “Here You Come Again,” the title track of her first platinum album. The front of her dress popped open before she went up to receive the trophy, prompting her to quip, “That’s what I get for trying to put fifty pounds of mud in a five pound bag.”
He never won Male Vocalist of the Year, but superstar Willie Nelson was given his due by the CMA in 1979 when they awarded him Entertainer of the Year. While it wasn’t his biggest year on the charts, residual goodwill from Stardust and his collaborations with Waylon Jennings helped carry him to victory.
She had a few big hits in 1980, like “Crackers” and “The Best of Strangers.” But it was her incredibly popular variety show with sisters Louise and Irlene that truly showcased her versatility as an entertainer, securing the first of two wins in this category.
Despite sharing the category with four artists who had never won this award, Barbara Mandrell became the first artist in CMA history to win Entertainer of the Year for the second time. Credit the continued popularity of her television show and the biggest hit of her career, “I Was Country When Country Wasn’t Cool”, which featured a guest turn by fellow nominee George Jones.
The band that laid the groundwork for all other country bands that followed, Alabama set a new bar for commercial success in the early eighties. The eligibility period included the release of their biggest-selling studio album, and also two of their signature hits: “Mountain Music” and “Love in the First Degree.”
As their studio albums sold in the millions, every single Alabama released to radio was hitting #1, a stretch that would eventually include 21 consecutive chart-toppers. They repeated in this category on the strength of hits like “Dixieland Delight” and “The Closer You Get.”
A mere three years after Barbara Mandrell made history by being the first artist to win two Entertainer awards, Alabama went her one better and won three. They remain one of only two acts to win this award three years in a row, doing so as their hits “Roll On (Eighteen Wheeler)” and “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)” dominated the airwaves.
Few country artists command as much respect as Ricky Skaggs, a consummate singer and musician. Skaggs’ victory in this category signaled the resurgence of traditional country music, as he was the first winner since 1976 to not have achieved crossover hits on pop radio.
One of the most popular new traditionalists of the mid-eighties, McEntire achieved her commercial breakthrough with “Whoever’s in New England”, which was aided in popularity by her first of many high-concept music video clips. McEntire would eventually become the most nominated woman in history, scoring ten nominations over eleven years.
When Hank Williams, Jr. won the Music Video award the previous year, he reminded voters, “I make audio, too.” They finally got around to acknowledging his meaningful contributions to the genre, awarding him the first of two Entertainer trophies in 1987.
Hank Jr. may have waited a long time for some CMA love, but once it came, it was in droves. He won Album of the Year the same night he repeated in this category. His biggest hit of the year, “Young Country”, featured guest appearances by up and comers like Highway 101 and Marty Stuart.
Three years after his most recent Male Vocalist trophy, megastar George Strait was named Entertainer of the Year. He would go on to have one of his biggest years at radio, with two multi-week #1 singles in the twelve months that followed his victory.
While Randy Travis dominated the Male Vocalist race, George Strait was given his due again in the Entertainer category. He wore an Entertainer of the Year cowboy belt on the cover of Livin’ it Up, perhaps giving him good luck toward his second victory. He remains the most nominated in this category, and is only the second Hall of Famer to receive a nomination after being inducted into the Hall.
A mere year after winning the Horizon award, Garth Brooks was the Entertainer of the Year at the CMA Awards. He was breaking every sales record in the book by that point. Shortly before the ceremony, he became the first country artist to enter the overall album chart at #1, leading to a media frenzy that gained unprecedented exposure for both Garth and the genre he represented.
Given that he was already the biggest-selling country artist the world had ever seen, it was no surprise that Garth Brooks won his second Entertainer of the Year trophy in 1992. His continued popularity was fueled by sold out live shows that soon led to network specials showcasing his unique brand of arena country.
Vince Gill capped off an amazing night at the 1993 CMA Awards with his first victory in this category. It was his fifth win of the night, as he also took home Male Vocalist, Song, Album and Vocal Event. As he was also the show’s sole host, the collective exposure pushed him to multi-platinum sales.
The soft-spoken Gill won for a second year, which was no big surprise given his widespread popularity in Music City. He also went home with Album and Male Vocalist the same night, giving him a stunning fourteen trophies in only five years.
As one of the evening’s top nominees, Alan Jackson brought his parents as his special guests. After losing in every other category, he expressed relief that he finally won something, as going home empty handed would’ve been embarrassing. Jackson would eventually become one of the organization’s most awarded artists.
They were already winners of five CMA awards, due solely to their domination of the Vocal Duo category. But in 1996, they finally won another race, and it was a big one. Brooks & Dunn remain the only duo to win this award, with The Judds and Sugarland being the only other duos to receive nominations.
In a year when all five nominees had won this award before, it was Garth Brooks who returned to the winner’s circle, tying Alabama’s long-standing record of three victories in this category. Adding to the sense of déjà vu, this was the third year in a row where all five nominees were the same.
As hard as it is to believe that there were any records left for him to break by 1998, Garth Brooks shattered another one, becoming the first artist in the history of the CMA to win four Entertainer of the Year awards. By this time, Garth had already sold more than 60 million albums, and while he has yet to win this award again, he remains the top-selling solo artist of all time in the United States.
The odds seemed against Shania Twain, as she had never won a CMA award before and the last woman to win was Reba McEntire thirteen years earlier. Fittingly, McEntire was on hand to present the trophy to Twain, who won on the strength of Come On Over, which eventually became top-selling country album of all time and the top selling album of the decade from any genre.
The Dixie Chicks capped off a stunning three-year run at the CMA Awards with this victory, one of nine that they racked up since 1998. Within those three years, their first two albums each sold over ten million copies, and the band was widely credited for championing country radio and traditionalism while other top acts were crossing over to pop radio.
After winning two Male Vocalist and two Album of the Year honors in the previous three years, Tim McGraw finally won the CMA’s top award. It was a satisfying acknowledgment of an artist who’d had his talent underestimated in the first few years of his stardom, but built up a reputation for his stellar taste in choosing material.
Jackson’s win in 1995 came as he was reaching his commercial peak. In the years that followed, Jackson remained a successful and well-respected artist that got less attention every year when it came time to hand out awards. Then came the one-two punch of “Where Were You (When the World Stopped Turning)” and “Drive (For Daddy Gene)”, both of which were viewed as the very embodiment of all that makes country music unique and essential. This was one of five awards he was honored with that night.
Although the ACM had chosen Toby Keith as their standard bearer a few months earlier, the CMA stuck with the previous year’s winner Alan Jackson. By 2003, Jackson had evolved into an elder statesman for the genre, but still managed to stay relevant with hits both clever (“It’s Five O’Clock Somewhere”) and poignant (“Remember When.”)
Chesney’s long dry spell at the CMA’s came to a satisfying end as the superstar collected both Entertainer and Album of the Year trophies. He had been charting for eleven years before finally winning his first CMA award.
One of the most surprising and endearing wins in the history of this category, a shocked and humbled Urban accepted this award in New York City. He couldn’t have picked a better night to bring his Australian parents to the ceremony.
It’s pretty rare to come back and win this award for a second time, as most multiple wins have been consecutive in this category. But Kenny Chesney joined Garth Brooks and Alan Jackson as the only other artists to pull it off when he won in 2006, a club that would later be joined by Taylor Swift.
Chesney entered the elite company of Garth Brooks, Alabama, and Alan Jackson with his third victory in this category. Rascal Flatts, meanwhile, became the first group since the Dixie Chicks to score back-to-back nominations, a feat also accomplished by Alabama and the Oak Ridge Boys.
As Sugarland became only the third duo in history to receive a nomination and George Strait extended his record number of nominations to sixteen, Kenny Chesney tied Garth Brooks for the most wins in this category with his fourth victory. His popularity at radio and retail was remarkable, but it was Chesney’s highly attended summer stadium tours that earned him these wins.
Taylor Swift both made history and prevented it with her win in this category. She simultaneously became the youngest artist ever and the first female solo artist in ten years to take home the prize. She also kept Kenny Chesney from becoming the sole all-time champion in this category, as he remains tied with Garth Brooks with four wins to date.
2010 shook up the category, with three first-time contenders in the running for the crown for the first time since 1981. Despite all the new blood, sixth time proved to be the charm for Brad Paisley, who finally won this award after five consecutive losses. Paisley’s persistent popularity helped him earn the nod in a year where the two previous winners weren’t even nominated.
Thirty years after Barbara Mandrell became the first woman to win this award twice, Swift became the second to do so. She won the award on the strength of her third set, Speak Now, which showcased her growing maturity as a songwriter and her growing appeal beyond her teenage and young adult fan base.
One of the most surprising wins in CMA history, few saw Blake Shelton’s victory coming. But it isn’t too surprising when you consider the number of artists who parlayed network television exposure into a win in this category. Perhaps in this new era of media saturation and minimal album sales, television may once again become a deciding factor when choosing the genre’s top star every year.
George Strait’s farewell tour helped return him to the category for the first time since 2009, earning him a record-extending eighteenth career nomination. Strait joins previous winners Taylor Swift (2009, 2011) and Blake Shelton (2012) in attempting a return to the winner’s circle. Luke Bryan earns his first nomination, just months after winning the ACM trophy. Jason Aldean, meanwhile, is hoping to get lucky the third time around.
Facts & Feats
Most Consecutive Wins:
Most Nominations Without a Win:
Winners in First Year of Nomination:
Eddy Arnold (1967), Garth Brooks (1991), Glen Campbell (1968), John Denver (1975), Charlie Rich (1974), Taylor Swift (2009), Mel Tillis (1976), Shania Twain (1999), Keith Urban (2004), Hank Williams, Jr. (1987)
CMA Entertainers of the Year Who Have Never Won the ACM Award:
Eddy Arnold, Johnny Cash, Glen Campbell, Roy Clark, John Denver, Vince Gill, Alan Jackson, Tim McGraw, Ronnie Milsap, Brad Paisley, Charlie Rich, Blake Shelton, Ricky Skaggs, Taylor Swift, Mel Tillis, Keith Urban
ACM Entertainers of the Year Who Have Never Won the CMA Award:
Luke Bryan, Mac Davis, Mickey Gilley, Freddie Hart, Toby Keith, Kenny Rogers, Carrie Underwood
In a year that has already brought the deaths of immortal talents like George Jones, Slim Whitman, Patti Page, and Jack Greene, not to mention the untimely loss of Mindy McCready, it is understandable that the recent news regarding Randy Travis is having the country music fans collectively holding their breath with nervousness and dread.
There is something distinctly different about how I am processing the news about Randy Travis. The thought of losing him is inextricably linked with a feeling that we’d be losing an essential core of the country music that I fell in love with more than two decades ago. Now, I remember Randy Travis from when I was a child. What little kid wouldn’t be in love with a catchy song like “Forever and Ever, Amen”?
By the time I was old enough to discover country music on my own, he was already something of an elder statesman, despite his young age. As I delved into the history of the genre I was falling in love with, widely accepted concepts like Travis starting the new traditionalist movement and Storms of Life being one of greatest albums of all time had taken root. The truth is, traditionalism never really went away, and even during the Urban Cowboy years, artists like Ricky Skaggs and Emmylou Harris were having commercial success with roots-based music.
But Randy Travis didn’t just have a bit of success. He sold millions of records in a time where almost no country acts were doing so, and certainly none who didn’t incorporate pop or rock sounds into their work. His massive success was the tipping point that made the nineties boom inevitable, as labels saw new acts like Clint Black and Alan Jackson as being capable of superstar status, instead of just being genre favorites that sold moderately well.
He never really got the credit he deserved for this, with the industry treating him like old news despite him continuing to score hits and sell platinum throughout the nineties and early 2000’s. There are so many great singles that I was around for when they first came out. “Before You Kill Us All.” “Look Heart, No Hands.” “Out of My Bones.” “Whisper My Name.” “If I Didn’t Have You.” “Better Class of Losers.” “The Hole.” “Three Wooden Crosses.” “Dig Two Graves.” The list goes on and on.
He’s also responsible, through no fault of his own, for what I call country music’s Messiah Complex. After he revolutionized the widespread appeal for traditionalism, which led to a solid decade of traditional country artists being signed and succeeding wildly, the sounds began to drift back to pop and rock flavorings. Since this shift, every slightly twangy newbie has been anointed as the savior of country music. Lee Ann Womack, Brad Paisley, Dixie Chicks, Joe Nichols, Josh Turner, Jamey Johnson, and Gretchen Wilson have all been shouldered with the burden of being the next Randy Travis.
This has led to deep disappointment when their second or third album struggled, or even worse, to feelings of betrayal when these selected stewards veered away from traditional country music. All that pressure, and not a one of them even started off with an album in the same league as Storms of Life, though Johnson and the Chicks came remarkably close.
I can’t get my head or my heart around the thought that his contemporary titan might not be with us anymore. I can’t stomach the coverage that focuses more on his personal troubles than his incredible body of work and peerless impact on country music as a whole.
Please use the comments to share your own thoughts and feelings about Randy Travis. Also, I recommend reading the Favorite Songs by Favorite Artists piece that Leeann Ward wrote a few years ago. It’s an excellent place to start for those who are looking to discover the his rich and diverse catalog.
He’s widely hailed as the leader of the new traditionalist movement of the mid-eighties, but his impressive sales numbers made him something the genre had never seen before: a traditionalist superstar.
Travis was born Randy Traywick in a town just outside of Charlotte, North Carolina. His youth was marked by two distinguishing features: a prodigious talent for music and a dangerous rebellious streak. As a teenager, he played clubs with his older brother Ricky, but when the elder Traywick was jailed after a car chase, Randy moved to Charlotte proper to launch his own career at age sixteen.
Randy won a talent contest at a club owned by Lib Hatcher, who took him under her wing and soon under her guardianship, after he barely evaded jail for what he was warned would be the last time. Hatcher took on the role of manager, and managed to land an independent record deal that resulted in a minor hit in the early eighties. A stint at the Nashville Palace and a well-received independent live album helped him land a deal with Warner Bros. Records.
The label convinced him to change his performing name to Randy Travis, and in 1986, his star took off. He released the seminal album Storms of Life, arguably the most significant country album of the decade. Its stunning multi-platinum success made Travis a household name, and destroyed the conventional wisdom that country must abandon its traditional sound to cross over to mainstream popularity.
Travis dominated the singles and albums charts for the next ten years, selling out arenas and racking up major industry awards. But as significant as his own success was, he was just as important for creating the climate that allowed future legends
like Alan Jackson, Clint Black, and Garth Brooks to reach massive sales heights without the help of pop radio. Though he was soon overshadowed by those giants, his sound remained the blueprint for mainstream country music well into the nineties.
Travis continued to score hits after leaving Warner Bros. for Dreamworks Records, but by the turn of the century, he was focusing his attention on country gospel music. Even this detour produced a surprise country hit, with “Three Wooden Crosses” returning him to the top of the country charts in 2002, after an eight-year absence from the penthouse. While he still remains primarily focused on the Christian market, his legacy continues to reverberate. Most recently, Carrie Underwood revived his self-penned hit “I Told You So”, and invited him to record a duet version for the radio that peaked at #2.
Next: #30. Jim Reeves
Previous: #32. A.P. Carter
The Class of 1989 permanently changed the face of country music. Clint Black was its valedictorian.
Born in New Jersey and raised in Texas, Black’s vocal talent was evident at an early age. He played in a band with his older brothers, and taking a gamble, he dropped out of high school and pursued a solo career.
The new traditionalist movement of the early eighties inspired him to commit himself to the country music genre. As he honed his craft throughout the eighties, he met songwriter and guitarist Hayden Nicholas, who would become an instrumental component of Black’s success.
Signing with RCA, he recorded his debut album with his road band. Black wrote or co-wrote every track on Killin’ Time, and the 1989 release had a seismic impact on country music. Black became the first country artist in history to have his first four singles reach #1, and the album quickly reached multi-platinum status. Beyond its sales and radio impact, Killin’ Time was widely hailed by critics and genre enthusiasts as a masterpiece.
The impact of Black opened the doors for fellow artists like Garth Brooks, Travis Tritt, and Alan Jackson to find similar massive success with their debut albums. Together, they rejuvenated the country music market, putting it on the even playing field with pop, rock, and R&B that it still enjoys today. Black won several major industry awards, and then had another multi-platinum album with his sophomore set, Put Yourself in My Shoes.
Throughout the nineties, Black continued to write and record radio hits. Even as his album sales cooled to platinum and then gold, he still maintained a streak of top ten hits. It wasn’t until his 29th solo single, “Loosen Up My Strings” in 1998, that he missed the top ten. To a certain extent, Black’s profile was reduced because of the very door that he opened. The flood of talent that followed in his wake included major talents who soon overshadowed him.
The tail end of his run with RCA found him recording with wife Lisa Hartman Black, and they enjoyed a big hit with their duet, “When I Said I Do.” Collaborations with Wynonna, Steve Wariner, Roy Rogers and Martina McBride also gained positive attention. In the new century, Black took the bold step of launching his own label, Equity Records, resulting in two studio albums that achieved moderate success. One of them, 2004’s Drinkin’ Songs and Other Logic, was his most critically acclaimed set in years.
His most recent release is 2007’s Love Songs, which featured re-recordings of some of his hit ballads from the nineties. He’s kept his profile alive with various film and television appearances, and he does some light touring, preferring at this stage to spend as much time as possible with his family.
Next: #62. Red Foley
Previous: #64. Jerry Reed
Many stars shone brighter before they quickly faded away. Steve Wariner stayed humble and relied on his talent, and he managed to outlast all of them.
He was born and raised in Indianapolis, and started out as a member of his dad’s backing band. Though he enjoyed singing, his guitar meant just as much to him, and the dual talents caught the attention of Dottie West. At age seventeen, he was hired to join her band. Unlike most guitar players on the road, his prodigious talent was considered worthy enough to take into the studio, and he backed West on several records, including her smash hit “Country Sunshine.”
By 1976, he’d gained the attention of RCA, which would be the first of four major label deals over the next quarter century. His first album didn’t make much of an impact, and RCA released several singles before one finally hit. In 1980, he had his first top ten hit, “Your Memory.” His second album was released in 1981, and the self-titled set received high critical acclaim. It featured his first #1 single, “All Roads Lead to You.”
After one more album with RCA, Wariner switched to MCA, where he would have his greatest success at radio. Over the course of six albums and six years, Wariner racked up seventeen consecutive top ten hits, including eight #1 hits. Wariner chose to leave MCA for upstart Arista in 1991, and the change was creatively reinvigorating.
Hie first set for his new label, I am Ready, hit stores in 1991, and it produced three top ten hits. It quickly became the top-selling album of his career, and his first to be certified gold. During his years at Arista, Wariner would release an instrumental album and win a Grammy for a collaboration with Mark O’Connor. In 1997, he teamed with Anita Cochran on her debut album, and their collaboration “What If I Said” became his first #1 hit since the eighties.
Wariner guested on a Garth Brooks single, who coaxed Wariner into joining his label Capitol. Wariner would have his greatest commercial success at this label, with two straight gold-selling albums. His first single for Capitol, ‘Holes in the Floor of Heaven”, became his signature song. When he won the CMA awards for Single and Song in 1998, he was greeted with standing ovations, as the genial performer finally received industry honors for his solo work.
He scored the last of his thirty-one top ten hits in 2000, reaching #5 with “Been There”, a duet with Clint Black. Since then, he has gone on to release several independent albums to continued critical acclaim. Wariner still tours, but keeps a higher profile in Nashville, particularly at the Grand Ole Opry, where he’s been a member since 1996.
Next: #66. David Houston
Previous: #68. Mark Chesnutt
Terri Clark’s new release “The One” retains many of the familiar features that have made Clark’s music so enjoyable. It has a pleasant restrained production arrangement, and a nuanced, sincere vocal performance, along with an interesting lyrical scenario with some clever turns of phrase.
What it’s missing is a good hook. The unoriginal hook of “I don’t need a love I can live with/ I want the one I can’t live without” bears a strong resemblance to songs like Clint Black’s “The One She Can’t Live Without,” and that feels like a notable artistic liability, mirrored by the song’s ho-hum two-syllable title. As mentioned before, there’s still some musical goodness to be heard on this track, but the lack of a great hook leaves a bit of a hole in the song, so to speak. Thus, a potentially interesting song ends up feeling somewhat vanilla.
It still sounds pretty good, but like the first two singles released from the album, it’s just not great. As a whole, Roots and Wings is a better album than the three singles would lead one to think. How long until the great songs get released instead of just the “pretty good”?
Written by Tom Shapiro and Jim Collins
Listen: The One