Tag Archives: Faith Hill

Single Review: Faith Hill, “Come Home”

What a voice this woman has.   Hearing it again, with just a few more shades of age-earned wisdom and range, is a revelation.

That being said, it’s a OneRepublic cover.  It would fit nicely on an action movie soundtrack, maybe playing over the end credits.

As a lead single to a studio album, it’s a bit discouraging, especially for an artist who has produced killer lead singles in the past.

Maybe I’d like it a whole lot more if it didn’t get so loud toward the end.  Sometimes I wonder if they even try to take a few elements out and hear if it’s any better.

Written by Ryan Tedder

Grade: C+

Listen: Come Home

 

 

 

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Favorite Songs by Favorite Artists: Faith Hill

Friday, May 5, 2006 – The Palace of Auburn Hills, Michigan.  For Faith Hill, it was just another stop on her Soul2Soul II tour with her superstar husband Tim McGraw.  For young 14-year-old Ben Foster, it was my very first live concert experience (or at least the first that did not entail bringing a picnic blanket), and it was one that I never forgot.  I still have the ticket stub.

I became a Faith Hill fan at a young age, and I became an even bigger fan as I grew older.  As I set about acquiring all six of her Warner Bros. studio albums, my admiration for this talented artist only grew.  To one who knows Faith Hill only for crossover pop hits like “Breathe,” “This Kiss,” and “The Way You Love Me,” it might come as a bit of a surprise what a strong album artist she was.  Besides that, she possessed genuine country sensibilities in addition to the pop diva persona that she became so well known for.

As I continue to eagerly await Faith Hill’s return with her seventh studio album, I’m thrilled to share my 25 personal favorites out of her eclectic catalog of tunes.  Many of these songs were substantial hits, but I’ve also left off a few well-known singles in favor of some lesser-known hidden treasures.  As always, please feel free to share your own favorites in the comments section.

#25

“The Way You Love Me”

Breathe, 1999

Now, don’t give me that look.  We’re all entitled to a little guilty pleasure time, aren’t we?  Look, I still don’t know what “If I could grant you one wish, I wish you could see the way you kiss” is supposed to mean, and I’m guessing you don’t either.  But what I do know is that Faith Hill somehow managed to craft a ridiculously catchy piece of pop-country nonsense that had me hopelessly hooked ever since I first heard it over a decade ago.  I couldn’t not love it if I tried.

#24

“Wild One”

Take Me As I Am, 1993

Faith’s 1993 debut single is an enjoyable and fitting introduction to a major talent.  The lyrics portray a free-spirited teenage girl who, in addition to having a rebellious streak a mile wide, is a proactive go-getter who takes life as it comes.  “Life is hard,” but she says “That’s all right.”  It’s an effortlessly charming record, and yet at the same time, it almost seems like an hors d’oeuvre in comparison to the deep and insightful material Faith would tackle in the future.

#23

“Sleeping with the Telephone” (with Reba McEntire)

Reba McEntire – Reba Duets, 2007

With this fantastic collaboration from Reba’s 2007 duets project, Faith and Reba play the parts of two neighbors, each of whom is married to a man who risks his life on a daily basis.  Their circumstances are different, with one husband being a soldier and the other being a police officer, but each wife copes with the same troubling feelings of deep worry and anxiety.  But honestly, this track is a shoo-in just for the pure pleasure of hearing Hill and McEntire, two of country’s most dynamic vocal powerhouses, paired together – trading verses and blending their voices in harmony on the soaring chorus.

#22

“Let Me Let Go”

Faith, 1998

A brokenhearted woman tries to move on in the wake of a break-up, but is unable due to the unshakable feeling that they really were meant to be together. (“If this is for the best, why are you still in my heart, are you still in my soul?”)

#21

“Someone Else’s Dream”

It Matters to Me, 1995

The story of a young woman gradually discovering her own distinct identity, and discovering that her parents’ hopes and dreams will never be hers.  When the song reaches its final bridge, the young woman has firmly made her decision:  “She’s got twenty-seven candles on her cake, and she means to make her life her own before there’s twenty-eight.”

#20

“Love Ain’t Like That”

Faith, 1998

In a clever composition with some classic Matraca Berg lines, Faith debunks a series of mistaken ideas about what love is really about, while also underscoring the importance of commitment in a lasting relationship.  Favorite lines:  “You can’t buy it at the store, try it on for size, bring it back if it don’t feel right.… You can’t trade it in like an automobile that’s got too many miles and rust on the wheels.”

#19

 “Let’s Go to Vegas”

It Matters to Me, 1995

The unshakable joyfulness of “Suds In the Bucket” meets the wide-eyed charm and innocence of “She’s In Love with the Boy.”  From the light airy arrangement to Faith’s enthusiastic performance, “Let’s Go to Vegas” embodies all of the youthful romantic excitement found in that one little moment of “Hey, I just had a crazy thought…”

#18                 

“Lost”

The Hits, 2007

This one might have come across as an attempt to re-visit the power ballad euphoria of “Breathe,” which it might have been, but it carries an extra air of mystery that gives it a distinct identity separate from its predecessor, while the melody and performance make the song captivating on its own merits alone.

#17

“What’s In It for Me”

Breathe, 1999

On the kickoff track of Faith’s runaway success of an album, her performance sounds like the release of an eternity’s worth of pent-up fury.  The aggressive country-rock production, combining awesome guitar work with some mighty fierce fiddling, added up to a record that sounded truly ferocious.

#16

“The Secret of Life”

Faith, 1998

In this philosophical number written by the ever-excellent Gretchen Peters, several men drinking in a bar ponder over the fabled “Secret of Life,” eventually concluding that “The Secret of Life is nothing at all.”  Faith’s half-sung, half-spoken performance brought the conversational tone to life, taking a song that was hardly radio-friendly, and turning it into a Top 5 hit.

#15

“Cry”

Cry, 2002

A full-on pop power ballad in which Faith strikes the delicate balance of exercising her powerful pipes in a fiery delivery, while still retaining the emotional connectivity of a great country record.  Her formidable vocal prowess is on full display, but even the biggest power notes are still colored with a deep emotional quiver.

#14

 “Breathe”

Breathe, 1999

Faith Hill took the pop-country power ballad to new heights with this cross-genre career-defining hit.
Regardless of how overexposed the song might have been, it’s a memorable record for the way it combines physical attraction with the warmth and comfort found in true love, while also displaying the increased power and fullness that Faith’s voice had acquired over the years.

#13

“I Can’t Do That Anymore”

It Matters to Me, 1995

This Alan Jackson-penned ballad puts into song the frustration, exhaustion, and hurt of a sunken housewife worn down from constantly striving to please her unappreciative husband

#12

“I Need You” (with Tim McGraw)

Tim McGraw – Let It Go, 2007

Of all Faith’s collaborations with her famous husband, this is one of the best.  This was only their second full-fledged duet single (with their first being “Let’s Make Love”).  The restrained arrangement lends a deeply intimate romantic feel to the record, while both vocalists give killer performances.  Tim McGraw digs deep into his lower register, while Faith’s soaring performance elevates the record to greatness.  Never before or since had their chemistry been captured as effectively as it is here.

#11

“Dearly Beloved”

Fireflies, 2005

This track served as one of the lighter moments on the mature and compelling collection of songs found on Faith’s Fireflies album.  The plucked-out, nearly-hillbillyish country-bluegrass arrangement sounds worlds removed from polished crossover number like “Breathe.”  In a song ripe with clever and silly lines, Faith steps into the minister’s shoes at a backwoods white trash wedding.  The flirt of a bride is three months late, and the groom is “checkin’ out the bridesmaids, thinkin’ that he might take the maid of honor’s honor.”  Fittingly, Faith ices the cake with a closing line of “Y’all come back now, ya hear?”

#10

 “A Man’s Home Is His Castle”

It Matters to Me, 1995

Listening to this song is like peeking in the windows of a home torn apart by domestic violence.  “Castle” takes on an added level of realism in that it gives a voice to the battered woman, and even gives the couple names (Linda and Jim).  The victimized woman is hurt, angry, and desperate, and every tortured emotion is conveyed in the lyrics, which make no attempt to tamper the song’s impact with a manufactured happy ending.

#9

“Take Me As I Am”

Take Me As I Am, 1993

Could it be?  A love song that brings maturity and self-realization to the table without sacrificing the joy and
giddiness of newfound romance?  Faith delivers exactly that with the title track to her debut album, which includes standout lines like “I’d trade a million pretty words for one touch that is real,” as well as romantic lines like “Baby, don’t turn out the light… I wanna see you look at me.”

#8

“Like We Never Loved At All”

Fireflies, 2005

A delicate piano intro with strains of steel set the tone for a beautiful ballad of a woman who struggles to move on after a breakup, while her pain in increased by the realization of how easily her former flame seems to have moved on.  The song is bolstered by Tim McGraw’s harmony vocal, while memorable visual images (“There… walking with your friend, laughing at the moon… I swear you looked right through me”) bring the narrator’s pain down to a strikingly relatable level.

#7

“It Matters to Me”

It Matters to Me, 1995

An expression of hurt feelings that is all the more effective for its simplicity and straightforwardness:  “When we don’t talk, when we don’t touch, when it doesn’t feel like we’re even in love… It matters to me.”  How much more direct can you get?

#6

“When the Lights Go Down”

Cry, 2002

Faith’s 2002 set Cry was criticized by some for going in a straight-up adult pop direction.  But the detractors often missed the fact that Cry is a fantastic pop album, which includes some of the best songs Faith Hill has ever recorded.  Exhibit A is “When the Lights Go Down” – a stunning musical testament to the clarity and inescapability of ultimate truth, elevated by Faith’s showstopping vocal performance.  The song takes on a tone of positivity as it highlights the fact that life’s most turbulent experiences afford us the opporunity to discover our own inner strength.  Easily one of the finest tracks on the Cry album, it’s a shame it wasn’t fully embraced by radio.

#5

“You’re Still Here”

Cry, 2002

It’s hard to go wrong with a Matraca Berg/ Aimee Mayo song.  In a similar vein to Trisha Yearwood’s “On a Bus to St. Cloud,” “You’re Still Here” is a tale of the love that’s long gone, most likely in death, but whom the narrator still sees in her dreams, in her baby’s eyes, and everywhere else.  At one point she even says “I heard you in a stranger’s laugh, and I hung around to hear him laugh again, just once again.”  It’s an achingly beautiful lyric, delivered in one of Faith’s finest and most emotionally-resonant performances on record, while the soft touches of oboe in the arrangement add layer of mystery to the track.

 

#4

“Wish for You”

Fireflies, 2005

A mother’s expression of all that she wishes for her child.  It’s made even more touching by the fact that she never once makes the wish that everything in life will go perfectly for her child.  Instead, she simply wishes that, when things do go wrong, her child will pick herself back up, move on, and be a better person because of it.  That keeps the song from coming across as cheesy, instead deepening its emotional impact, and keeping it firmly grounded in real life.

#3

“If My Heart Had Wings”

Breathe, 1999

Sometimes it irritates me when certain female artists constantly feel the need to belt out their songs at the top of their lungs.  In the case of “If My Heart Had Wings,” however, I can’t imagine the song being sung any other way.  Begging to be blared at high volume in one’s car with the windows rolled, “If My Heart Had Wings” is three and a half minutes of pure pop-country euphoria.

#2

“This Kiss”

Faith, 1998

Does this song even need a caption?  Probably not, but here it goes anyway.  “This Kiss” is a perfect sonic encapsulation of all the joy and romantic giddiness of a newfound love (and yet it came out when Taylor Swift was still in grade school).  There are few pop-country tunes that are able to achieve such high levels of catchiness, or to give the replay button a workout like this song does.

#1

“Stealing Kisses”

Fireflies, 2005

Mature, intelligent, and insightful – exactly the kind of material country radio is perpetually in need of, and yet all too often shies away from.  “Stealing Kisses” plays like a sequel to the innocent youthful “Love Story”-esque material of artists such as Taylor Swift.  As a young woman, the narrator is “stealing kisses from a boy” only to find herself a housewife “begging affection from a man” with the passage of time.

Lori McKenna writes a beautiful song, and Faith Hill beautifully sings it.  The song was released as the fifth and final single from Fireflies, and though it only scraped the bottom of the Top 40, it offered one of those rare and special moments when the voice of the adult woman was heard on country radio.  Faith Hill and her label are to be commended for having the guts to send it to radio in the first place.  A definite career highlight, “Stealing Kisses” aptly demonstrates that, at her best, Faith Hill is just as capable of delivering deep, substantial material as she is capable of serving up a tasty morsel of ear candy.

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A Tale of Four Hits Collections

Four generous hits collections were released in 2010, each one chronicling the entire career of a contemporary country music star.  Individually, each double-disc set serve as the most expansive and thorough compilation for each artist. Taken together, they tell the story of country music over the last twenty years.

Alan Jackson
34 Number Ones

In the late eighties, Randy Travis did something that no other country star had done before. He became the top-selling country artist by a wide margin without making any musical concessions to pop or rock. In doing so, he tore up the old playbook. Suddenly, you could be a multi-platinum country artists without the added benefit of top 40 radio or accolades from the rock and roll press.

Thus began contemporary country music, the new paradigm that reached its commercial peak in the nineties, but has never come close to receding to its earlier status as a niche genre. A crop of young stars surfaced in 1989 and 1990, each one of them staking a claim to be the Haggard, the Jones, the Willie, the Waylon of their generation. Out of all of them, none struck a more perfect balance between artistic credibility and commercial viability than Alan Jackson.

Simply put, he is the most significant singer and songwriter of the past quarter century. So it’s no surprise that out of all of the country stars who’ve compiled #1 hit collections, Jackson’s set is the best, both in terms of overall quality and effectiveness in summing up an entire career.

Fact is, radio’s played nearly everything Jackson’s sent their way, and he’s demonstrated remarkably good judgment over the past twenty years. The highest of the high points – “Here in the Real World”, “Don’t Rock the Jukebox”, “Chattahoochee”, “Gone Country”, “Where Were You”, “It’s Five O’Clock Somewhere” – aren’t just great records from their time period. They’re accurate representations as well, little time capsules that show Jackson as being centrally relevant to the genre while he was also making great music.

Today, with critical acclaim and commercial success becoming increasingly divergent pathways, 34 Number Ones serves as a powerful reminder that one need not sacrifice quality for radio airplay. Of the new tracks, Jackson’s cover of “Ring of Fire” doesn’t quite measure up, It’s certainly a competent reading, but Jackson’s already a legend in his own right. Just listen to “As She’s Walking Away”, the duet with Zac Brown Band that serves at the set’s bonus 35th number one. His mere presence elevates the track into greatness.

Tim McGraw
Number One Hits

Jackson’s ascent into superstardom came at the peak of the new traditionalist movement. Tim McGraw got in just under the buzzer, breaking through a year before Shania Twain shifted the course of country music to a distinctively more pop sound. He’s since been able to maintain stardom by going with the flow of these changes.

At his best, few have been better than Tim McGraw, but Number One Hits documents his bookend years as a follower of trends. It’s the songs on either end of his hit run than are the weakest. Whereas Jackson has flirted with banality once in a while, McGraw has openly embraced it. He became a mega-star by alternating shoehorning the five-hankie weepfest “Don’t Take the Girl” between novelty songs like “Indian Outlaw” and “Down on the Farm”, all of which reek of the hat act herd mentality that was heading out of style in 1994.

But McGraw used his clout from those early hits to get access to better material, and his albums soon demonstrated a song sense that was unrivaled among the other new acts of the time, most of whom quickly faded away as pop ascended in the genre. The best of his biggest singles came over the course of the next decade. Classics like “Just to See You Smile”, “Please Remember Me”, “Angry all the Time” and “Live Like You Were Dying” were among the best songs on the radio.

For a while there, he could get just about anything into the top fifteen, but this collection focuses only on the chart-toppers. So instead of fantastic gems like “Can’t Be Really Gone”, “One of These Days”, “Red Ragtop”, and “If You’re Reading This”, this set features quite a bit of forgettable fare that hasn’t aged well. They may have topped the charts, but that doesn’t make “Not a Moment Too Soon”, “She Never Lets it Go to Your Heart”, and the particularly abysmal “Southern Voice” worthy of inclusion in a best-of set.

If they were able to suspend the concept to include a questionable dance remix of the #8 chart hit “Indian Outlaw” and the mediocre new hit “Felt Good on My Lips”, they might as well have just been more generous with the track listing and released The Very Best of Tim McGraw. His music has been far more compelling than this collection shows.

Dixie Chicks
The Essential Dixie Chicks

The explosive crossover success of Shania Twain, LeAnn Rimes, and Faith Hill was in full swing in 1998, which left traditionalists hungering for a superstar alternative. In waltzed the Dixie Chicks, with a combination of musical credibility, traditional roots, and youthful appeal that instantly made them the darlings of the format. Over the course of two albums – 1998’s Wide Open Spaces and 1999’s Fly – they dominated radio, retail and the awards circuit.

Tracks from those two albums combine for fourteen of the thirty tracks of The Essential Dixie Chicks. All of the biggest hits are here, but chart success wasn’t the only determination for inclusion. Thank God for that, as less impressive top ten hits like “Cold Day in July” and “If I Fall You’re Going Down With Me” are left off, with the far more compelling “Heartbreak Town” and “Sin Wagon” in their place.

As good as their first two albums were, it was the 2002 masterpiece Home that truly solidified them as artists for the ages. Released at the height of O Brother mania, the timing couldn’t have been better for this acoustic album. “Long Time Gone”, “Landslide”, and “Travelin’ Soldier” all went top two, and the album swept the country categories at the 2003 Grammy Awards.

And then, the bottom fell out. Poorly chosen words about the president quickly overshadowed Home, and the princesses of country radio suddenly became pariahs, taking the burgeoning roots movement down with them. Radio slamming its door shut is what makes a hit-centered Chicks compilation impossible, and Essential Dixie Chicks wisely chooses to give equal representation to Home and its follow-up, the California country Taking the Long Way.

An excellent job is done of selecting the best album cuts from both collections, an especially difficult task with the latter album. Sure, it won five Grammys and sold well, but the platinum single “Not Ready to Make Nice” was the only real hit. Thankfully, we’re treated to gems like “Top of the World” and “Truth No. 2″ from Home and “The Long Way Around”, “Easy Silence,” and “Lubbock or Leave It” from Taking the Long Way.

And while a case could be made for some great tracks left off – “Godspeed (Sweet Dreams)”, “More Love”, and “Voice Inside My Head” come to mind – everything that’s here is essential listening. Then again, the Chicks could have randomly picked any 30 songs from the four albums represented here and still ended up with a great collection of music, so high has their standard of excellence been all along. How many other superstar country artists could do the same?

Brad Paisley
Hits Alive

If the Dixie Chicks best represent the last gasp of lofty aspiration in mainstream country music over the past twelve years, Brad Paisley best represents the mediocrity the genre was willing to settle for. Rising to fame around the same time as the Chicks, Paisley was similarly touted as a traditional savior for the increasingly pop-influenced genre.

And for more than ten years, he’s lived up to the traditionalist part, rarely flirting with crossover sounds. Much like Alan Jackson, Paisley’s sound hasn’t changed much over time. But unlike Jackson, Paisley’s point of view hasn’t changed much either. He’s been releasing antiseptic, mostly dull radio fodder for most of his career, getting regular radio play with an endless stream of interchangeable love songs and party anthems.

Hits Alive attempts to assess his work to date, and it takes an odd approach. A disc of studio hits is paired with a disc of live recordings of his hits. Figuring out the guiding principle in song selection is near impossible. Some of his signature hits – “I’m Gonna Miss Her”, “Letter to Me”, “Waitin’ on a Woman” – appear only in live form. Songs that practically beg to be livened up, like “Ticks”, “The World”, and “Celebrity” – are only here in their studio incarnations. Bizarrely, “Alcohol” and “Mud on the Tires”, are presented in both forms.

The double dipping means early hits like “Who Needs Pictures”, “Wrapped Around”, “Two People Fell in Love”, and “I Wish You’d Stay” are omitted entirely. That’s a shame, because they’re all better than his string of condescending and slightly misogynist love songs that do make the cut, the worst offenders being “The World” and the jaw-dropping “Little Moments”, the latter providing a list of endearing traits that would be insulting if he was singing about his child, let alone his partner.

Thankfully, many of his best moments are included, most notably “Whiskey Lullaby” and “When I Get Where I’m Going”, two hits that have gone on to become genre standards in the years since their release. Plus, the live disc brings some unexpected treats. “Time Warp” showcases his stunning instrumental talent, while the hits “Water” and “American Saturday Night” truly do come alive on stage, making them sound better here than they did on the radio.

Of the four collections, Paisley’s may be the least impressive, but it’s still a decent representation of one of country music’s last superstars, and it speaks volumes about the creative holding pattern that still paralyzes the genre. Unless the spiritual successors to Alan Jackson or the Dixie Chicks come along, Paisley’s might be as good as it’s gonna get on country radio.

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CMA 2010: Female Trouble

It’s pretty rare that the CMA nominations garner much attention outside of the country music press, but the always excellent Whitney Pastorek at Entertainment Weekly has a lengthy article trying to rationalize the exclusion of Carrie Underwood and Taylor Swift from the Entertainer category.

It’s amazing that in a year where a record was set for the most nominations by a female artist, there can still be a valid accusation of gender bias among the nominations.  Women have been poorly represented in the Entertainer category for pretty much the entire history of the CMA Awards.  Even when you include duos or groups with female members, there have never been more than two out of five nominees that are women.

Never. Think about that for a minute. If this category’s nominees are to be considered reliable, the CMA is essentially saying that there has never been a time in the past 44 years that more than two of the genre’s top five acts have been female, and in the past decade, there’s never been more than one.

Why is this coming to a head this year, when it’s been a problem all along?  Because there is no rational argument that exists, in this era of decreased record sales and economic downturn, for the exclusion of Carrie Underwood and Taylor Swift from this category.  Ironically, the inclusion of another female artist – Miranda Lambert – makes the oversight even more obvious.  By any historical standard for this category, Lambert would be jockeying for fourth or fifth place, at best.

With all due respect to Brad Paisley and Keith Urban, their success this year would not get them into this category if they were women. Yet two women who have far exceeded them this year by every measurable standard, two women who are more immediately recognizable and widely beloved than Paisley and Urban have ever been, are left off of the list.

There’s a bias here, and it’s hurting the credibility of the CMA. How is it possible that acts long past their prime, like Brooks & Dunn or Vince Gill, were still getting Entertainer nominations regularly, yet superstars like Shania Twain, Faith Hill and Taylor Swift only made the cut once?  Has there truly been no woman besides Reba McEntire in the last 25 years who has been one of the five top entertainers more than once?

Even if you strain your reason to justify Swift’s exclusion because she was a little less visible during the last three months of the eligibility period, the Underwood snub is the most blatantly unfair this category has seen since the days of Shania Twain, who somehow only earned one nomination while she was absolutely destroying the competition at an international level that has never been matched.

Perhaps the voting methodology of the CMA awards, which allows voters to pick up to five nominees in each category, has exacerbated the “token female” dilemma.  I don’t know, and I really don’t care. Because in an era where even the ACM Awards are showing better taste than the CMA’s, the flagship organization of country music needs to address its female trouble while it still has a single shred of credibility left.

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400 Greatest Singles of the Nineties: #50-#26

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

#50
Here’s a Quarter (Call Someone Who Cares)
Travis Tritt
1991 | Peak: #2

Listen

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 made up his mind that he’s going to relish every second of it. – Dan Milliken

#49
I’ve Come to Expect it From You
George Strait
1990 | Peak: #1

Listen

This is about as dark and bitter as George Strait gets. It’s a coat that he wears well. – Kevin Coyne Continue reading

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Single Review: Jamey Johnson, “Playing the Part”

Country boy, you got your feet in L.A. Again.

The country boy as fish out of the water in Los Angeles. Or New York. Or Detroit. It’s a pretty common theme in country music. Jamey Johnson does his own spin on this theme with his new single, “Playing the Part.”  It’s not terribly bad, but it’s not terribly good, either.  “Big City” certainly doesn’t have to worry about losing its slot on the Waffle House Jukebox.

Despite a busy little beat, Johnson remains only a step above lethargic.  His “Randy Travis 45 on 33 1/3 speed” vocal delivery worked for the slowly revealing lyrics of “In Color” and “High Cost of Living.”  But it lets him down here. Even the addiction reference feels obligatory, with Johnson repeating the “pills’ and “Hollywood hills” rhyme that worked much better on Faith Hill’s “When the Lights Go Down.”

That record worked because Hill actually sounded like someone who could have known someone in L.A. who’d gone down that road. Johnson’s got a gold album under his belt and has won a few awards, but it’s a stretch to picture him as a country boy who went chasing fame and fortune in California and is now collapsing under the weight of his success.

It was a stroke of marketing brilliance for Johnson to package himself as a modern-day Outlaw, making it far easier for him to reach a targeted demographic that would eagerly embrace him. Lord knows they’re going to eat these limited editions up like Taylor Swift fans blew their Sweet Sixteen money on this.

But he’s yet to really demonstrate that he could be the second coming of Waylon Jennings or Willie Nelson.  Right now, he’s got a shot at being a modern-day Gary Stewart or Mel Street, but he’s going to need better material than this to get there.

Like so much of country music today, and pop for that matter, the marketing and media campaigns are dramatically outpacing the development of the music.  Artists who have an album or two under their belt are being heralded as the new incarnation of legends with thirty-year careers. It’s an insult to the legends and an unfair burden to place on artists that are still honing their craft.

Because  in the end, the hype will die down and the music is all we’ll be left with.  I’d love to see Johnson become the traditional country legend that he’s been prematurely ordained, but he’s barely out of the starting gate, and I don’t see him getting much further down the road with material like this.

Written by Jamey Johnson and Shane Minor

Grade: B-

Listen: Playing the Part

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400 Greatest Singles of the Nineties: #125-#101

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

#125
Breathe
Faith Hill
1999 | Peak: #1

Listen

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

#124
Life’s a Dance
John Michael Montgomery
1992 | Peak: #4

Listen

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 Continue reading

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400 Greatest Singles of the Nineties: #175-#151

Proving that the airplay charts don’t tell all of the story, this part of the countdown features several singles by nineties stars that didn’t reach the top but have stood the test of time.

400 Greatest Singles of the Nineties: #175-#151

#175
I Wish I Could Have Been There
John Anderson
1994 | Peak: #4

Listen

This is the country equivalent to “Cats in the Cradle”, but more tender and less selfish. – Leeann Ward

#174
Sometimes She Forgets
Travis Tritt
1995 | Peak: #7

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Tritt gives a surprisingly but fittingly subdued performance on this cover of a Steve Earle song, telling the story of a woman who sometimes forgets that she’s sworn off men. I can never get enough of the incredibly cool arrangement. – Tara Seetharam Continue reading

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Carrie Underwood and Female Country Artists: A Historical Perspective

I’ve always been something of a chart junkie. While I don’t pay as close attention as I used to, I still have a pretty good handle on historical trends. One artist I’ve been keeping an eye on is Carrie Underwood. When each official country single from her first two albums peaked at #1 or #2, it caught my attention.

But I never expected the trend to continue, with three more #1 hits from the new album. The source of that belief was the history of women on country radio, especially in the twenty most recent years that were based on actual monitored airplay instead of radio playlists. Since that change, far less records have gone #1 or #2.

When “Undo It” reached #2 last week, Underwood became the only female artist in country music history to have eleven consecutive top two singles. Until then, she was tied with Tammy Wynette, who scored ten consecutive top two singles from 1967-1970. All but one of Wynette’s singles were #1 hits, with the only #2 being “I’ll See Him Through.” With “Undo It” moving to #1 this week, Underwood has only two singles in her streak that didn’t top the charts: “Don’t Forget to Remember Me” and “I Told You So.”

“Undo It” is Underwood’s tenth #1 single. How rare is it for a female to reach that milestone? The last woman to reach it was Rosanne Cash, her tenth #1 being “Runaway Train” in the fall of 1988. Earlier that same year, Reba McEntire scored her tenth #1 with “Love Will Find Its Way To You.”

Underwood’s support at radio is unprecedented for a female artist in the modern chart era. In less than five years, she’s already tied for the most #1’s since 1990, and she’s moving quickly up the all-time list as well:

Most #1 Hits by a Female Artist – Monitored Era (1990-present):

  1. Reba McEntire, Carrie Underwood – 10
  2. Faith Hill – 9
  3. Shania Twain – 7
  4. Jo Dee Messina – 6
  5. Martina McBride, Trisha Yearwood – 5
  6. Sara Evans, Patty Loveless, Taylor Swift, Wynonna – 4

Most #1 Hits by a Female Artist – All-Time:

  1. Dolly Parton – 25
  2. Reba McEntire – 23
  3. Tammy Wynette – 20
  4. Crystal Gayle – 18
  5. Loretta Lynn – 16
  6. Rosanne Cash – 11
  7. Anne Murray, Tanya Tucker, Carrie Underwood – 10

Why do you think that Underwood has been the one to push up against country radio’s glass ceiling so much? Can she keep this up?  Will she eventually get to the top of each list, or is there somebody below her that might jump ahead?

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Filed under Crunching the Numbers, Miscellaneous Musings

400 Greatest Singles of the Nineties: #250-#226

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

#250
I Meant Every Word He Said
Ricky Van Shelton
1990 | Peak: #2

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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

#249
I’m So Happy I Can’t Stop Crying
Toby Keith with Sting
1997 | Peak: #2

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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

#248
You Ain’t Much Fun
Toby Keith
1995 | Peak: #2

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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

#247
Tender Moment
Lee Roy Parnell
1993 | Peak: #2

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Actions speak louder than words. – KC

#246
Go Rest High On That Mountain
Vince Gill
1995 | Peak: #14

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Every once and awhile an artist delivers a song so powerful that it seems to shatter all divides in its genre. A tribute to both the late Keith Whitley and Gill’s late brother, “Go Rest High On That Mountain” pairs deeply spiritual lyrics with a tender, emotion-soaked performance. The combination is magic. – TS

#245
Nothing
Dwight Yoakam
1995 | Peak: #20

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Living up to its title, the Yoakam’s barren heart and soul are replicated in the arrangement of the song.  If emptiness has a sound, this is it. – Kevin Coyne

#244
(Who Says) You Can’t Have it All
Alan Jackson
1994 | Peak: #4

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Jackson more than earns his neo-traditional street cred thanks to this song. Just soak up that lonesome steel guitar! – LW

#243
It’s Your Love
Tim McGraw with Faith Hill
1997 | Peak: #1

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A good power ballad shot to greatness by its artists’ striking chemistry – palpable, fiery and so very genuine. More than just a hit single, “It’s Your Love” represents the moment in country music history at which we were introduced to one of its definitive couples. – TS

#242
Grandpa Told Me So
Kenny Chesney
1995 | Peak: #23

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Amidst a collection of country life lessons passed down from two generations back is one to live by: “There’ll be times that you want to hold on but you’ve got to let go.” – KC

#241
Thank God For You
Sawyer Brown
1993 | Peak: #1

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This man has a lot to thank God for, including stereotypical parental figures, but he’s most thankful for his girl. – LW

#240
I Never Knew Love
Doug Stone
1993 | Peak: #2

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An earnest, soulful confession of love. It’s hard to ignore the fact that it leans more in the adult-contemporary direction than that of anything else, but when a song is this moving, it’s also hard to care. – TS

#239
What She’s Doing Now
Garth Brooks
1992 | Peak: #1

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In an unusual tact for Mr. Brooks, he forgoes melodrama in order to allow the natural drama of pining for a lost love to speak for itself. The dialed down performance works in the service of the song, as the sadness appropriately penetrates through. – LW

#238
Find My Way Back to My Heart
Alison Krauss & Union Station
1997 | Peak: #73

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Some of the best songs from AKUS play on the home life that’s sacrificed by following the musical dream. Krauss remembers how she used to laugh at songs about the lonely traveling life, but she’s not laughing now. – KC

#237
I Know
Kim Richey
1997 | Peak: #72

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It takes more than self-awareness to mend a broken heart. – KC

#236
Leave Him Out of This
Steve Wariner
1991 | Peak: #6

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A man makes a soaring yet understated plea for his lover to let go of her past love. The song is made sadder by the touch of resignation in Wariner’s performance, which suggests the man knows he’s making his plea in vain. – TS

#235
Just My Luck
Kim Richey
1995 | Peak: #47

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Roba Stanley once sang about the joys of the single life and its simplicities.  Richey is about to leave it behind, and wonders just how lucky that makes her. – KC

#234
What if I Do
Mindy McCready
1997 | Peak: #26

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A whole song about deciding whether or not to go all the way with one’s movie date. McCready gives a fantastically entertaining performance, speak-singing her lines with a a bold campiness that most other gals wouldn’t dare. – DM

#233
Chasin’ That Neon Rainbow
Alan Jackson
1990 | Peak: #2

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Stories of would-be stars trying to make it big in Nashville are nothing too novel, but Jackson’s plucky earnestness gives this one an accessibility many of the others lack. – DM

#232
Now That’s All Right With Me
Mandy Barnett
1996 | Peak: #43

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The other great Barnett single of the era, fusing Patsy Cline-style vocal class, Pam Tillis-style production and Gloriana-style youthful exuberance. – DM

#231
With You
Lila McCann
1999 | Peak: #9

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Ten years before “You Belong With Me” made its splash, McCann set her sights on the same demographic with a song just as relatable, vibrant and passionate. That the song lacks Taylor Swift’s sharp perspective is perhaps what makes it such a great record: there’s something so pure about McCann’s fully unapologetic, headfirst fall into love. – TS

#230
My Maria
Brooks & Dunn
1996 | Peak: #1

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The rare country cover of a pop song that improves on the original. No offense, B.W. Stephenson. – DM

#229
Boom! It Was Over
Robert Ellis Orrall
1992 | Peak: #19

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How far can an amazing song title carry you? All the way to #229, that’s how far! – DM

#228
Somewhere in My Broken Heart
Billy Dean
1991 | Peak: #3

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So simple and plain in its heartbreak, and so understated and quiet in its delivery.  – KC

#227
I Just Wanted You to Know
Mark Chesnutt
1993 | Peak: #1

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Chesnutt makes a phone call to an old love that could be construed as creepy, pathetic or terribly sad – take your pick. I’m going with a mixture of all three, with a pinch of selfishness thrown in. Either way, “I Just Wanted You to Know” is a memorable slice of the-one-that-got-away reality.- TS

#226
I’m Gonna Be Somebody
Travis Tritt
1990 | Peak: #2

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In the twenty years that passed since the release of this song, the path to success in the music industry has morphed into something that looks very different than it used to. Unlike that of Bobby in the song, these days an artist’s journey can come in all shapes and forms, sometimes abrupt and sometimes completely unprecedented.

Think what you want about this paradigm shift, but here’s what I believe: regardless of how you shoot to the top, the only way you’ll achieve longevity and, most importantly, respect in country music is if you share the fire in Bobby’s eyes. This soul-stirring hunger and unshakable passion is the heart of “I’m Gonna Be Somebody” and the reason it remains a timeless classic. Here’s to hoping – and I’m optimistic – our modern artists are made of the same stuff. – TS

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Filed under Back to the Nineties