Tag Archives: Faith Hill

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

Listen

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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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

Listen

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

Listen

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

Listen

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

Listen

Actions speak louder than words. – KC

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

Listen

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

Listen

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

Listen

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

Listen

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

Listen

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

Listen

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

Listen

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

Listen

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

Listen

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

Listen

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

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

Listen

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

Listen

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

Listen

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

Listen

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

Listen

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

Listen

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

Listen

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

Listen

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

Listen

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

Listen

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

Listen

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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400 Greatest Singles of the Nineties: #275-#251

This section begins with a song about a farmer and his wife and ends with one about Mama. Doesn’t get much more country than this!

400 Greatest Singles of the Nineties: #275-#251

#275
Somewhere Other Than the Night
Garth Brooks
1992 | Peak: #1

Listen

About a woman who only feels truly appreciated by her husband when they’re having sex. Practically literature, that. – Dan Milliken

#274
Looking Out For Number One
Travis Tritt
1993 | Peak: #11

Listen

From his rocking side, Tritt is tired of trying to please everyone around him, including his demanding lover. As a result, he brashly declares that he’s going to make some changes, which will include looking out for himself. Get out of the way, because his ferocious performance makes him seem quite serious about his epiphany. – Leeann Ward Continue reading

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400 Greatest Singles of the Nineties: #325-#301

The first quarter of the countdown comes to a close, highlighted by excellent comeback attempts by T. Graham Brown, Emmylou Harris, and Willie Nelson.

400 Greatest Singles of the Nineties: #325-#301

#325
He Would Be Sixteen
Michelle Wright
1992 |  Peak: #31

Listen

Sometimes the choices that you make linger forever. Here, a woman in her thirties drives past a high school football game, and her mind wanders to the painful void left in her heart from the son she gave up for adoption. – Kevin Coyne

#324
It Matters to Me
Faith Hill
1995  |  Peak: #1

Listen

Faith Hill’s sophomore album is a surprisingly deep set, filled with candid insights into different womens’ lives. The title track represents that approach well, with Hill’s protagonist speaking to the differences in her approach to love and her partner’s. Seems simple, but then again, people spend thousands in couples counseling trying to find a way to voice feelings this directly. – Dan Milliken

#323
She’d Give Anything
Boy Howdy
1993  |  Peak: #4

Listen

A not-so-subtle depiction of how elusive true love can be for some women – even those who desperately seek it – that resonates not despite of but because of its blatancy. There’s a beautiful honesty to the song’s precise articulation of the mixture of frustration and strength that builds up within these women. – Tara Seetharam

#322
The Trouble With the Truth
Patty Loveless
1997  |  Peak: #15

Listen

The trouble with the truth is that is just so demanding. We think we want it, but it often requires some sort of action from us once we have it. Loveless struggles with this quandary: “The trouble with the truth is it always begs for more. That’s the trouble with the truth.” – Leeann Ward

#321
Still Gonna Die
Old Dogs
1999  |  Peak: Did Not Chart

Listen

Waylon Jennings, Mel Tillis, Bobby Bare, and Jerry Reed united for an amazing live album dominated by Shel Silverstein songs. For anyone who read his brilliant poetry books for children, “Still Gonna Die” is the golden years equivalent: clever, frightening, and darkly hilarious.  KC

#320
Wanted
Alan Jackson
1990  |  Peak: #3

Listen

An apology via a wanted ad could be disastrous in the hands of many male country artists, but it’s simply lovely in Jacksons’, ringing with sincerity and regret. – TS

#319
Finish What We Started
Diamond Rio
1995  |  Peak: #19

Listen

While it’s not a part of the wedding song canon, this is a gorgeous declaration of commitment. – LW

#318
Tryin’ to Hide a Fire in the Dark
Billy Dean
1992  |  Peak: #6

Listen

From the first strains of the song, we know this is going to be a dark one. While he hasn’t physically cheated yet, the thoughts of at least wishing to do so are spilling over, which begs the analogy of “It’s like trying to hide a fire in the dark.” – LW

#317
She is Gone
Willie Nelson
1996  |  Peak: Did Not Chart

Listen

As in his classic recording of “Blue Eyes Crying in the Rain”, Nelson’s sad remembrance of a lost love glows with unspoken warmth, as the beauty of his good memories shines through the outer layer of melancholy. – DM

#316
It Was
Chely Wright
1999  |  Peak: #11

Listen

An ode to the nonsensical mess of emotions that accompany falling in love, just contradictory enough to make sense. – TS

#315
You Can Feel Bad
Patty Loveless
1995  |  Peak: #1

Listen

As deft a take down of a departing lover there’s ever been.  Not since “You’re So Vain” has a jilted lover struck back so powerfully by simply holding up a mirror. – KC

#314
Till I Found You
Marty Stuart
1991  |  Peak: #12

Listen

With a Roy Orbison feel, “Til I Found You” is a sweet declaration of finally finding the right one. – LW

#313
Blame it On Your Heart
Patty Loveless
1993 |  Peak: #1

Listen

A shameless radio bid delivered with more power and charm than such bids generally deserve. – DM

#312
You Never Even Call Me By My Name
Doug Supernaw
1994 |  Peak: #60

Listen

Presenting the perfect Country & Western song! This is a great David Allan Coe cover with some alterations, including the exclusion of a stanza (which does water down the song a bit), changes to the spoken part, and additions of some special guests. – LW

#311
Wine Into Water
T. Graham Brown
1998  |  Peak: #44

Listen

A kneeling drunkard’s plea for the modern age.  A broken man struggling with his alcoholism asks Jesus to perform His first miracle in reverse. Brown’s rough and tumble voice is the best possible fit for this fine composition.- KC

#310
High Powered Love
Emmylou Harris
1993  |  Peak: #63

Listen

The added punch to the production shows that Harris could do nineties country as well as anybody on the radio back then, which is quite the compliment, given who was getting airplay in 1993.  A perfect lament for a lover who won’t settle for skin deep treasures, she wonders, “Is there anyone left with teeth just a little uneven? Who won’t spend more time with a mirror than he does with me?” – KC

#309
You Won’t Ever Be Lonely
Andy Griggs
1998  |  Peak: #2

Listen

Griggs creates a touching ballad out of one of the sweetest, simplest promises that comes with making a commitment to someone – that no matter the storm outside, you’ll never have to face it alone. – TS

#308
A Door
Aaron Tippin
1997  |  Peak: #65

Listen

Instead of serving as a means to shut the other person out, the door that Tippin is suggesting is for the purpose of letting the other person in. “a door ain’t nothin’ but a way to get through a wall”, he sings. If they work together to create it, then they might be able to walk through it to meet each other halfway. – LW

#307
Someday Soon
Suzy Bogguss
1991  |  Peak: #12

Listen

Suzy Bogguss takes this Ian Tyson cowboy folk song and makes it her own. She successfully breathes emotion into this wistful song that, once again, pits woman against rodeo. – LW

#306
The River
Garth Brooks
1992  |  Peak: #1

Listen

Built on a poignantly written metaphor, “The River” gracefully weaves together elements of faith, inspiration and motivation. It’s a masterful single, from its poetic lyrics to its beautifully simplistic arrangement, but the heart and soul is Brooks’ gripping conviction – quiet yet fierce. On a personal note, this song contains one of my all-time favorite lyrics that I often revisit: “So don’t you sit upon the shoreline and say you’re satisfied/Choose to chance the rapids and dare to dance the tide.” – TS

#305
Time Passes By
Kathy Mattea
1991  |  Peak: #7

Listen

Blessings are fleeting, and they’re best appreciated in the moment. It’s far more satisfying to celebrate them without the bittersweet tinge of regret. – KC

#304
You Can’t Stop Love
Marty Stuart
1996  |  Peak: #26

Listen

To hear Marty Stuart tell it, there’s nothing more powerful than love. No matter what you do, you can’t stop it. True enough. – LW

#303
Everywhere
Tim McGraw
1997  |  Peak: #1

Listen

McGraw’s character leaves behind a lifelong love interest and a little home town to explore the world. But instead of getting good closure, the poor guy starts seeing the girl he left in every place he visits, even long after she has married and had children. That these visions could feasibly represent both unresolved romantic feelings and the inescapable imprint of one’s roots is just country-delicious. – DM

#302
You’re Beginning to Get to Me
Clay Walker
1998  |  Peak: #2

Listen

Walker’s falling head first for a girl, but he isn’t ready to take the plunge with the L-word just yet. In his catalogue of fabulous 90s hits, this understated “love” song gets overshadowed by some of the more distinct ones, but it’s nonetheless memorable. – TS

#301
Help Me Hold On
Travis Tritt
1990  |  Peak: #1

Listen

Travis Tritt is one of few country artists who is as known for his rocking side as he is for being a strong balladeer. “Help Me Hold on” is a plea to his lover to help him salvage what’s left of their relationship, which doesn’t seem to be much, since she’s already packing a suitcase. – LW

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400 Greatest Singles of the Nineties: #375-351

The second segment of our countdown includes the first appearances by Garth Brooks and Reba McEntire, two of the biggest-selling stars of the decade.

#375
How Do I Get There
Deana Carter
1997 |  Peak: #1

It’s always a gamble when friends decide to take their relationship to the next level. “How Do I Get There” explores the struggle of following one’s heart, even though it’s taking a big emotional risk to do so. – Leeann Ward

#374
If I Could Make a Living
Clay Walker
1994  |  Peak: #1

This song is either ridiculously cheesy or irresistibly cheesy depending on your taste, but there’s no denying Walker sells the heck out of it with charm and enthusiasm. – Tara Seetharam

#373
It Sure is Monday
Mark Chesnutt
1993  |  Peak: #1

Mark Chesnutt is one of the best male vocalists of the nineties, but there were many times when he did not always rise to the challenge of conveying the energy to elevate a decent song to a good one. Case in point: “Friends in Low Places”, which was eventually properly energized by Garth Brooks. “It Sure Is Monday”, however, is a positive example of Chesnutt actually making a song his own by demonstrating the ability to breathe life into a decent song and make it really good. – LW Continue reading

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Single Review: Jerrod Niemann, “Lover, Lover”

Country music legend tells of a certain powerful, polarizing breed of radio single, said to have been spun together out of magical cane sugar by Aphrodite herself (or her Southern Baptist counterpart, April-Jean the Angel. Depends who you ask.) The single appears only sporadically, sometimes waiting years to reemerge – but when it comes, it walks loudly and carries a big, hooked stick.

It’s been known to travel under many names: “Ooo, Turn It Up!”; “I’m Getting Kind Of Sick Of This Song”; “Damn It, AGAIN?”. All worthy monikers, to be sure. But for the purposes of this review, we’ll keep things straightforward and call it the “Shameless Pop Ditty.”

Now, wait one second there. We mustn’t confuse this special specimen with your standard country-pop numbers – those songs which, while heavily poppy in sound, still try to convey some kind of actual point. The Shameless Pop Ditty doesn’t care about points, you see. It cares only about making you sing.

“Sunflower.” “Islands in the Stream.” “I’m Gonna Getcha Good!” What the hell do they mean? We can never offer fuller explanations than the song titles themselves, for each Shameless Pop Ditty comes embedded with a special charm that renders its message inarticulable. You can try to eek out, “it’s about Shania pursuing this guy she -,” but you won’t be able to finish. The explanation will sound too dumb, too redundant. You’ll feel silly for even trying, and will simply slip back into singing along.

Of course, now and then the Shameless Pop Ditty goes through a self-conscious phase, flirts with substance a bit. A few times it’s almost succeeded in making itself kind of mean something, with “I Love a Rainy Night” and “This Kiss” being two of the most famous results.

But in its heart of hearts, the Shameless Pop Ditty is content to be what it’s always been: totally infectious nonsense. And that’s why we love it. (Then hate it. Then maybe go back to loving it years later when we’ve had some much-needed time away from it.)

And with this country music mythology lesson under our belts, we can at last shift our sights to the present day, where we easily identify that Jerrod Niemann’s “Lover, Lover” is, in fact, a Shameless Pop Ditty of the purest pedigree.

Not so sure? Consider its bona fides. It was written and previously released as a (slightly superior) pop single by Sonia Dada, never even intended for country audiences. Its chorus features a mere nine unique words, rendered in chant-a-long style with thick, stacked harmonies. It has basically one verse which it just repeats twice to bide time between those chanted choruses. It features hand claps and a constantly-repeated acoustic guitar hook.

Story? Clever lines? Not here, friend. “Lover, Lover” is a sugar song pixie, delivered from the clouds to bring nonsensical joy to all unafraid to sing in their cars. And it has positioned itself as one of the key country singles of Summer 2010.

These are the facts. You can love it or hate it (or maybe love it and then hate it and then love it again like we discussed), but you can’t rewrite destiny. The Shameless Pop Ditty will triumph again. You will know all twenty or so words to “Lover, Lover” before August is out. James Otto will sit around kicking himself for recording a song generically titled “Groovy Little Summer Song” when he could have recorded this, the Grooviest Little Summer Song in years. Aphrodite/Angel April-Jean hath written it in the stars; your best chance of surviving is to give in, mortal, and sing along.

Written by Dan Pritzker

Grade: A-

Listen: Lover, Lover

Buy:


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How Very Nineties: George Jones & Friends, and other All Star Jams

New fans of country music in the nineties were hit over the head with the assertion that country music was one big family. Nothing demonstrated this mythos better than the all star jams that cropped up during the boom years.

There were some variants of this approach.  A popular one found a veteran star teaming up with one or more of the boom artists to increase their chances of radio airplay.  George Jones was big on this approach, with the most high profile attempt being “I Don’t Need Your Rockin’ Chair.”   Seventeen years later, it’s amazing to see how young everyone looks – even Jones himself!

Jones shared the CMA Vocal Event of the Year trophy for that collaboration with Clint Black, Garth Brooks, T. Graham Brown, Mark Chesnutt, Joe Diffie, Vince Gill,  Alan Jackson, Patty Loveless, Pam Tillis, and Travis Tritt.   He’d continue with this approach by teaming up with his vocal chameleon Sammy Kershaw on “Never Bit a Bullet Like This”, and he recorded an entire album of his own songs as duets with mostly younger stars. The Bradley Barn Sessions was represented at radio with “A Good Year For the Roses”, which found him singing one of his best hits with Alan Jackson:

Among the legends, the only other one to be successful with this approach was Dolly Parton, who used collaborations with young stars to score consecutive platinum albums for the first and only time in her career.  Her 1991 set Eagle When She Flies was powered by the #1 single “Rockin’ Years”, co-written by her brother and sung with Ricky Van Shelton:

That album also included a duet with Lorrie Morgan on “Best Woman Wins.”  She upped the bandwagon ante on Slow Dancing With the Moon, bringing a whole caravan of young stars on board with her line dance cash-in “Romeo.”

That’s Mary Chapin Carpenter, Billy Ray Cyrus, Kathy Mattea, and Tanya Tucker in the video. Pam Tillis isn’t in the clip, but she sings on the record with them.  Parton also duets with Billy Dean on that album on “(You Got Me Over a) Heartache Tonight.”

Her next collaboration was with fellow legends Loretta Lynn and Tammy Wynette, but they couldn’t resist the temptation to squeeze in several younger stars in the video for “Silver Threads and Golden Needles.”  Alongside veterans like Chet Atkins,  Bill Anderson, and Little Jimmy Dickens, you’ll catch cameos from Mark Collie, Confederate Railroad, Rodney Crowell, Diamond Rio, Sammy Kershaw, Doug Stone, and Marty Stuart.

Parton scored a CMA award when she resurrected “I Will Always Love You” as a duet with Vince Gill:

And while it didn’t burn up the charts, her version of “Just When I Needed You Most” with Alison Krauss and Dan Tyminski:

Tammy Wynette made an attempt to connect with the new country audience with her own album of duets, Without Walls.  Her pairing with Wynonna on “Girl Thang” earned some unsolicited airplay:

Perhaps the most endearing project in this vein came from Roy Rogers.  How cool is it to hear him singing with Clint Black?

The new stars liked pairing up with each other, too.  A popular trend was to have other stars pop up in music videos.  There’s the classic “Women of Country” version of “He Thinks He’ll Keep Her”, for starters. Mary Chapin Carpenter sounds pretty darn good with Suzy Bogguss, Emmylou Harris, Patty Loveless, Kathy Mattea, Pam Tillis, and Trisha Yearwood on backup:

That’s a live collaboration, so at least you hear the voices of the other stars. But Vince Gill put together an all-star band for his “Don’t Let Our Love Start Slippin’ Away” video without getting them to actually play.  That’s Little Jimmy Dickens, Kentucky Headhunters, Patty Loveless, Lee Roy Parnell, Carl Perkins, Pam Tillis, and Kelly Willis behind him, with Reba McEntire reprising her waitress role from her own “Is There Life Out There” clip.

My personal favorite was Tracy Lawrence’s slightly less A-list spin on the above, with “My Second Home” featuring the future superstars Toby Keith, Tim McGraw, and Shania Twain, along with John Anderson, Holly Dunn, Hank Flamingo, Johnny Rodriguez, Tanya Tucker, Clay Walker, and a few people that I just can’t identify.


Humor Videos
Tracy Lawrence – My Second Home

For pure star wattage, it took the bright lights of Hollywood to get a truly amazing group together. The Maverick Choir assembled to cover “Amazing Grace”, and it doesn’t get much better than country gospel delivered in a barn by John Anderson, Clint Black, Suzy Bogguss, Billy Dean, Radney Foster, Amy Grant, Faith Hill, Waylon Jennings, Tracy Lawrence, Kathy Mattea, Reba McEntire, John Michael Montgomery, Restless Heart, Ricky Van Shelton, Joy Lynn White, and Tammy Wynette.

What’s your favorite of the bunch? Any good ones I missed?

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Filed under Back to the Nineties

Favorite Songs by Favorite Songwriters: Gary Burr

Written by Music & More blogger Bob Losche.

Connecticut born songwriter Gary Burr got his first break when he broke his leg in a high school soccer game. With time on his hands, he taught himself to play the guitar and began writing songs. His second break came in 1982 when, without a co-writer, he penned Juice Newton’s “Love’s Been a Little Bit Hard on Me”. That same year, he became the lead singer for Pure Prairie League after Vince Gill left the group to pursue a solo career. Gary remained with PPL until 1985 and headed to Nashville in the late 1980′s. He has since been awarded ‘Songwriter of the Year’ on three separate occasions by three different organizations: Billboard, Nashville Songwriter’s Association International, and ASCAP. He has also received over twenty of ASCAP’s recognition awards for radio play activity, and cds featuring his songs have sold more than 50 million units world-wide. He’s currently affiliated with SESAC. Most recently, he was Carole King’s guitarist on her “Living Room Tour”, performing some of his own songs as well.

If you go to Gary’s website and click on Discography you’ll see a Short List of 35 of his best known songs, in alphabetical order by recording artist. If you click on Full List, you see the names of about 170 songs. You’ll find hits and albums track (“hidden treasures” to some) by country artists such as Hal Ketchum, Patty Loveless, Randy Travis, Reba McEntire, Garth Brooks, Tanya Tucker, Ty Herndon, Faith Hill, Leann Rimes, Mary Chapin Carpenter, Gary Allan, Andy Griggs, Kathy Mattea, Lorrie Morgan, Terri Clark, Collin Raye, Doug Stone, Ricky Van Shelton, Diamond Rio, Conway Twitty, Chely Wright and many others plus pop artists Kelly Clarkson, Clay Aiken, etc . The website list does not include the current Sarah Buxton hit “Outside My Window”.

Gary appears quite frequently at Nashville’s famous Bluebird Cafe, appearing in the round with singer/songwriters like Mike Reid, Georgia Middleman, J.D. Souther and others. In addition, he performs as part of the group MelDiBurPho which is composed of songwriters Vince Melamed, Bob DiPiero, Gary and Jim Photoglo.These shows are performed on the Bluebird’s small stage and, unlike the shows in the round, includes a drummer in addition to the usual guitars and a keyboard. Gary and the Guys have been doing these great shows for about 12 years. They call themselves the oldest boy band in America and the best band you can see for $12. They really seem to be having a great time together and they can be very funny, much of the humor either self-deprecating or at the expense of one of the other guys. For the February show, the guys performed in their pj’s, an annual event closely coinciding with three of their birthdays. Supposedly Faith Hill once showed up in pj’s and bunny slippers. She was discovered while singing back-up for Gary at the Bluebird.

After seeing Mr. Burr perform twice at the Bluebird, I purchased his two cd’s from the Bluebird on-line store. Stop Me If You’ve Heard This One Before …, released in 1997, includes 18 of his best songs performed and recorded live at the Bluebird. Mariane’s includes 11 songs and was released in 2004. The list of my favorite Gary Burr written songs that follows indicates the artist and cd it appeared on and his co-writer. Many of these favorites are from his Stop Me … cd and a few from Marianne’s. (Songs that can also be found on Gary’s cds have an asterisk next to the title.)

Should you already have or decide to purchase these cds, you may find, as I did, that you prefer Gary’s version for quite a few of them. A lot of his songs are about lost love, some because the guy was clueless, others about love that just didn’t work out and the difficulty in leaving memories behind. At his shows, Gary refers to himself as the “sensitive one” when he sings one of his ballads. Check out the songs listed on Gary’s website and let us know your favorites. Obviously, differing tastes will result in a very different list by many readers.

#25
“I Wear Your Love” – Kathy Mattea
Time Passes By, 1991
co-writer – None

An album track for Kathy Mattea from a cd chock full of great songs in addition to the three chosen for release as singles. The chorus concludes, “on the chillest night though I travel light, it is always enough for I wear your love”. Mattea is still one of the best female vocalists in country music.

#24
“A Man Ain’t Made of Stone” – Randy Travis
A Man Ain’t Made of Stone,  1999
co-writers – Frannie Golde and Robin Lerner

About this song, Leeann wrote, “I love Travis’ vulnerable, yet passionate, vocal delivery in this song. This man thought it was important to seem strong and unflappable, but realizes that she needed to see the softer side of him at times. Unfortunately, he reached this conclusion too late. Her leaving unearths his emotions and he abruptly learns that ‘a man ain’t made of stone/A man ain’t made of steel.’” The song peaked at #16.

#23
“What’s In It For Me” – John Berry
John Berry, 1993
co-writer – John Jarrard

This up tempo song is about a guy asking a girl who dumped him but has changed her mind and wants him back, ” What’s in it for me?” He’s glad she’s back and wants her but are things going to be different this time? “If it’s only more tears, then I’ll have to pass.” The song reached #5 on the charts for John Berry.

#22
“Love’s Been a Little Bit Hard On Me” – Juice Newton
Quiet Lies, 1982
co-writer – None

The young lady is a bit skittish about love after being burned in this up tempo tune. Calls to her inner romantic self can’t convince her to try again yet. “I’ll be back when I calm my fears … See you around in a thousand years.” This did better on the pop charts (# 7) than country (#30).

#21
“A Thousand Times a Day” – Patty Loveless (1995); George Jones (1993)
The Trouble With The Truth, 1995;  High Tech Redneck, 1993
co-writer – Gary Nicholson

Another song about trying to forget someone. Giving up booze and smokes was difficult but “Forgetting you is not that hard to do, I’ve done it a thousand times a day”. The song reached #13 for Patty and was an album track for George. I prefer Patty’s version.

#20
“In a Week or Two” – Diamond Rio
Close To The Edge, 1992
co-writer – James House

A song of warning for procrastinators from a group known for their great harmony. “These words in my heart never had a chance to be heard”. The guy waited too long to tell her he loved her so he came out second. The song nearly reached the top of the charts but, as Trent Summar once reminded us, “close only counts in horseshoes and hand grenades.”

#19
“I Try to Think About Elvis” – Patty Loveless
When Fallen Angels Fly, 1994
co-writer – None
I recall seeing Patty sing this in a concert about 10 years ago. I would think that “list songs” like this would present a challenge remembering all the lyrics but she nailed it. A fun song that made it to #3.

#18
“Heart Half Empty” – Ty Herndon with Stephanie Bentley
What Mattered Most, 1995
co-writer – Desmond Child
“Is my heart half full of the love you gave me, or my heart half empty ’cause your love is gone?” While the half full, half empty metaphor is obviously not new and the song is a bit schmaltzy, I still love it. I add a star for true duets – equal contributions by the duet partners. Although Ty’s recent comeback attempt appears to have come up short, he still has a great voice and was well complemented here by Stephanie Bentley.

#17
“Blue Sky” – Emily West
Emily West, 2007 (EP)
co-writer – Emily West

The original version was from her EP. The current single includes background vocals by Keith Urban and online reviews have been very favorable but it hasn’t cracked the top 40 yet. The girl is saddened by her lover’s behavior but resolved not to be hurt by him again. “So you made a list of shoulders that you’d be needing, well mine aren’t yours anymore, come on show me your temper, be the man I remember, so I won’t forget what you’ve done.”

#16
“Out of My Bones” – Randy Travis
You and You Alone 1998
co-writers – Sharon Vaughn and Robin Lerner

Randy sings “I’m in need of a remedy, to cure me from loving you”. His remedy is walking in the first verse and talking in the second til she’s “out of my bones”. While his 1986 song “Diggin’ Up Bones” made it to the top, “Out of My Bones” stalled at #2. The album also included the late Patrick Swayze singing background on one of the tracks.

#15
“Rockin’ the Rock” – Larry Stewart (Restless Heart)
Heart Like a Hurricane, 1994
co-writer – None

A rollicking song about a girl who rocks his world but didn’t rock the charts peaking at #56. “I had a wonderful sense of balance, everything under control, til the day she came along and started rockin’ the rock that I’m standing on.” If you have a multiple tissues tune on your playlist, play this next. Larry Stewart’s solo career after leaving Restless Heart was not a huge success. He’s been back with them since 2004.

#14
“That’s My Job” – Conway Twitty
Borderline, 1987
co-writer – None

The relationship between a son and his father is portrayed in three vignettes. In the first, the father comforts his young son, calming his fears. Conflict and doubts occur in the second while the final scene finds the son, who makes his living with words and rhyme, trying to deal with the death of his father, asking himself how can I come up with a song to say I love you. The song made it to #6. (I remember liking “It’s Only Make Believe” as a kid but shortly after Conway disappeared from the pop charts. I didn’t know til much later that he had become a country star.)

#13
“The One You Love” – Terri Clark with Vince Gill
The Long Way Home, 2009; Pain to Kill, 2003
co-writer – Terri Clark

While Terri’s new cd did not include lyrics, they can be found with comments for each song on her website. She said that she hesitated to re-cut this song but her mother’s recent bout with cancer inspired her because it put the lyrics in a whole different light. “when someone’s slippin’ away, right before your eyes, how useless we are is a painful surprise”. Although Vince Gill singing harmony is always a plus, the original version on Pain to Kill was still excellent.

#12
“West of Crazy” – Lisa Brokop
Lisa Brokop, 1996
co-writer – Vince Melamed

An up tempo tune which reflects a woman’s state of mind after a breakup. “Just a few miles west of crazy, a stone’s throw away from tears, oh, so close to normal, but I can’t get there from here”. Love the song although it didn’t even chart in Canada. Lisa Brokop has become one of my favorite country music singers.

#11
“One Night a Day” – Garth Brooks
In Pieces, 1993
co-writer – Pete Wasner

The piano is the star in this song about a guy trying to leave a girl’s memory behind. He tells of the things he’s doing to get through the breakup, including “calling every friend I had, wake ‘em up, make ‘em mad, to let them know I’m okay”. Garth’s version, which reached #7 on the charts, also features a sax while in Gary’s, a steel guitar complements the piano.

#10
“Time Machine” – Collin Raye
I Think About You, 1995
co-writer – None

Although it was never a single, it’s one of my favorite Collin Raye songs. The songs tells of a lonely man who knows things won’t be any better tomorrow so he wants to go back in time. “To the casual eye it’s a barstool, but it’s really much more than it seems, a few drinks and then, she’ll be with him again, as he sits on the time machine”.

#9
“Up and Flying” – Reba McEntire
If You See Him, 1998
co-writer – Patty Griffin

Her ex-love is doing fine but she’s still doing time. “You make it look so easy, it doesn’t seem quite fair, baby I’m still tryin’, to get up and flying”. An album track for Reba. Should this song have been a single? Love Gary’s take on it.

#8
“You Tell Me” – Terri Clark with Johnnie Reed
The Long Way Home, 2009
co-writer – Terri Clark

As noted above, I love duets and on this album track, Terri is joined by Scotland born, Canadian country music artist, Johnny Reid. On her website, she describes it as a grown up song about a relationship in trouble that she wrote with Gary about 10 years ago. The conversational quality of the lyrics made it feel as a natural duet.

#7
“Sure Love” – Hal Ketchum
Sure Love, 1992
co-writer – Hal Ketchum

Hal sings of what he would do to find “Sure Love”. “I would chase all ghosts and watch them scatter, drop old dreams and watch them shatter, lose myself and all I own, to find sure love.” This up tempo song reached #3.

#6
“Silence Is King” – Tanya Tucker
Soon, 1993
co-writer – Jim Photoglo

This sad tune is about a couple who have reached the point where they don’t communicate any more. The chorus begins “We live in a land where silence is king, whispers have all disappeared”. In the last verse, there’s no let-up, “desperate measures come from desperate times, I don’t regret what I’ve done, if my actions made you speak your mind, angry words are better than none”. An album track for Tanya. On the live “Stop Me …” cd you hear Gary saying “so depressing” after he finishes singing. Probably too serious for country radio.

#5
“I Will Not Be a Mistake” – Cliff Richard
Something’s Goin’ On, 2004
co-writers – Helen Darling and Will Robinson

While Cliff is not a country singer, I could easily see someone like Collin Raye covering this song. It’s about a guy who assures the girl he’s about to get together with that while it may not come to anything it won’t be something she’ll regret. “I’ll be a chance you had to take, a heart you had to break, but I will not be a mistake”.



#4

“Can’t Be Really Gone” – Tim McGraw
All I Want, 1995
co-writer – None

A man tries to convince himself that his girl must be coming back when he mends his ways because “so much of her remains”. “The shoes she bought on Christmas day, she laughed and said they called her name”. “Her book is lying on the bed, the two of hearts to mark the page, now who would ever walk away at chapter twenty-one.” Just missed the top peaking at #2.

#3
“Station on the Line”
Stop Me If You’ve Heard This One Before …
co-writer – None

A haunting melody about a guy who falls for a girl who can’t commit. The chorus goes “and her type never does linger, she leaves all could and might-have-beens behind, she rode from New York to California, and I was just a station on that line”. As far as I can tell, no one else has covered this song.

#2
“What Mattered Most” – Ty Herndon
What Mattered Most, 1995
co-writer – Vince Melamed

A lament by a clueless guy who knew all the trivial stuff but missed what mattered most. “I never asked…she never said,and when she cried I turned my head, she dreamed her dreams behind closed doors, and that made them easy to ignore”. A #1 song for Ty in his successful stretch during the 90′s.

#1
“In Front of the Alamo” – Hal Ketchum with LeAnn Rimes
One More Midnight (no U.S. release)
co-writer – None

Allusions to one of the most famous battles in American history are combined with the story of a woman’s love gone bad because of her husband’s infidelity. The couple met as tourists in front of the Alamo. The second verse ends “she wanted trust, she wanted truth, the two things he found hard to do. So forever was shorter than she planned”. (The lives of the defenders of the Alamo were shorter than they planned.) She returns to the Alamo so that she can move on. The bridge begins “she didn’t come for inspiration or to breathe the mighty dust of heroes lost” and concludes “She just felt the time was right, at this random traffic light, to say ‘enough is enough’ and move on”. The third verse ends “maybe something in the air makes the timid braver there, to cross the line that they’ve drawn in the sand”. The tag chorus completes the analogy “they held on she lets go” (they were brave by holding on she by letting go) and concludes “in front of the Alamo, that’s a pretty good place to make a stand”.

While I do recall hearing the song on the radio, it failed to crack the top 40.

Kevin Coyne wrote here in 2007, “… a beautifully sympathetic portrait of a woman leaving a bad relationship behind. After all, what better a place to make a stand than in front of the Alamo? Before you worry that this is one of those over-the-top country numbers with a tortured metaphor, it’s actually wonderfully understated. The character is so believable that it seems just a happy accident that she makes a tough choice in front of a historical landmark.”

Also in 2007, Jim Malec of the 9513 wrote about the Ketchum song, “if you ask me, his latest, “In Front Of The Alamo,” is the best single I’ve heard so far this year. Featuring a brilliant support vocal from LeAnn Rimes, this song does everything right. Lyrically, it is a lesson in excellence, accomplishing in just over three minutes what most songs never do. On the production side it’s damn near perfect, even down to the mix (the short but fitting instrumental parts are well-played and perfectly placed).
It just doesn’t get much better than this.”

I agree.

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Filed under Favorite Songs by Favorite Songwriters, Features