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.
A Leaving Song.
Here are the staff picks:
Leeann Ward: “She’s Crazy For Leavin'” – Rodney Crowell
For me, this song plays out like a movie scene in one of those wacky romantic comedies. The guy is over-the-top trying to convince his girl not to go, saying that “she’s crazy for leaving”, while everyone else at the bus stop pretty much knows he’s the crazy one and tells him to just let her go. I especially love the hook, “You can’t stop a woman when she’s out of control.” Few can write tongue in cheek like Crowell and Guy Clark, I tell ya.
It’s hard to believe that there once was a time that country artists put out two full-length albums a year. If they were part of a regular superstar duet team, like Conway Twitty & Loretta Lynn or Porter Wagoner & Dolly Parton, a fan might hear as many as four new studio albums from their favorite artist.
By the time that I got into country music – twenty years ago, natch – things had slowed down a bit. Artists usually released a new album every 12-18 months. Sometimes they’d push it to two years, but not often.
Those were the days. Waits between album releases have gotten crazy lately. I’m all for taking the time to get it right, but once we push past the half-decade mark, things have gone too far. Sure, we’re given side projects to carry us over, but there’s no substitute for a full-length studio album of all-new material.
Here are five artists who I’d really love to see make a long-awaited return with a new album in 2011, along with a brief rundown of the side projects that they’ve been busy with while we’ve waited for that new album:
We’re in that super cool period of anticipation, where we wonder what the albums we know about will sound like, and hope that the albums that we don’t know about will be from artists who we can’t get enough of.
I am not one who typically embraces extremes, but I must make an exception for Johnny Cash’s recording of “Ring of Fire.” It’s the definitive version; it’s an untouchable. Sure, some people have made valiant attempts, even changing things up so as not to try to mimic Cash, but make it their own, and I even like some of these other versions. None of these other efforts, however, has surpassed or even come close to touching Cash.
And so we come to the end. The top of our list includes a wide range of artists singing a wide range of country music styles. Thematically, these entries are diverse, but what they all have in common is what has always made for great country music. They are all perfectly-written songs delivered with sincerity by the artists who brought them to life.
400 Greatest Singles of the Nineties: #25-#1
Smoke Rings in the Dark
1999 | Peak: #12
A dark, atmospheric wonder, as Allan delivers the final eulogy for a love that couldn’t help burning out. – Dan Milliken
Just to See You Smile
1997 | Peak: #1
Being deeply enamored of someone can make it easy – even appealing – to forfeit your own well-being. This single’s sunny sound reflects the persistent affection pulsing through its protagonist, but its story demonstrates the heartbreak to which such unmeasured selflessness leads. – DM
The themes of love and loss have permeated country music for as long as it’s been in existence. This second-to-last batch of great nineties hits contains songs that are direct descendants of well-known classics like “Can the Circle Be Unbroken” and “I’m So Lonesome I Could Cry”, along with a Shania Twain hit that would have made Roba Stanley smile.
400 Greatest Singles of the Nineties: #50-#26
Here’s a Quarter (Call Someone Who Cares)
1991 | Peak: #2
From the first forceful guitar strum on, this kiss-off number somehow manages to seem unusually cool and collected in its own aggression. You get the impression that Tritt’s character has been anticipating this moment, and has already determined that he’s going to relish every second of it. – Dan Milliken
I’ve Come to Expect it From You
1990 | Peak: #1
This is about as dark and bitter as George Strait gets. It’s a coat that he wears well. – Kevin Coyne
As might be expected, the subject matters are getting more intense as we edge closer to the top. But there’s still room for some carefree moments here, thanks to the Dixie Chicks and Jo Dee Messina.
400 Greatest Singles of the Nineties: #75-#51
When You Say Nothing at All
Alison Krauss & Union Station
1995 | Peak: #3
This Keith Whitley classic was recorded as part of a tribute album to the late country star. It became a hit all over again, perhaps because Krauss performed it in a near-whisper. The quiet arrangement matches the sentiment beautifully. – Kevin Coyne
1993 | Peak: #1
Lawrence dishes on his ex’s cheating ways to her new potential lover. How did she get that way? He reveals that he’s the one who taught her everything she knows from the cheater’s playbook. Moreover, he seems regretful of her corruption. – Leeann Ward
Many a star was launched in the nineties, a few of them right out of the gate. This section includes the debut singles from Toby Keith, Jo Dee Messina, LeAnn Rimes, and Doug Stone, along with Grammy-winning hits by Alison Krauss and Dwight Yoakam.
400 Greatest Singles of the Nineties: #100-#76
The Battle Hymn of Love
Kathy Mattea & Tim O’Brien
1990 | Peak: #9
Wedding songs are typically made of the same fiber, but this one is a little different: it’s energized by burning conviction and fierce pledges. – Tara Seetharam
1996 | Peak: #10
Sure, the novelty of thirteen year-old Rimes’ prodigious Patsy imitation helped things along. But that unshakable yodeled hook would have made “Blue” a classic in any era of country music. – Dan Milliken
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