The 201 Greatest Singles of the Decade, Part 7: #80-#61
“When Somebody Loves You”
A treasure of a love song. Contrasted stunningly with modest accompaniment and vocals, the song’s message is that of love’s sublime ability to transform one’s life and bring light to dark. – Tara Seetharam
#79 “Separate Ways”
“Separate Ways” is an instructive narrative of a couple who did everything together, but “the last thing they did together was go their separate ways.” Fortunately, the song’s narrator learns from his parents’ divorce and wisely applies its valuable lesson to his own relationship. – Leeann Ward (more…)
The 201 Greatest Singles of the Decade, Part 5: #120-#101
#120 “Tonight I Wanna Cry”
A chillingly frank portrait of loneliness, awkward reference to “All By Myself” notwithstanding. Few mainstream vocalists today could pull off something this intense. – Dan Milliken
#119 “Portland, Oregon”
Loretta Lynn with Jack White
Peak: Did not chart
If you can take a healthy dose of dirty rock ‘n’ roll in your country, this is one of the coolest-sounding records of the decade, a classic one-night-stand duet. That it’s a very cross-generational pairing singing it would be creepy if not for the goofy smiles shining through Lynn’s and White’s performances. – DM (more…)
The 201 Greatest Singles of the Decade, Part 4: #140-#121
#140 “Who Says You Can’t Go Home”
Bon Jovi featuring Jennifer Nettles
Packed as country music has been lately with rocked-up little singalongs, perhaps it was only natural that one of the leading bands in rocked-up little singalongs should cross over for a bit to show everybody how it’s done. It was newcomer Nettles, though, who stole this show, driving Bon Jovi’s ditty home with an infectiously joyful performance. – Dan Milliken
“God’s Gonna Cut You Down”
Peak: Did not chart
The arrangement is cool enough, but it’s Cash’s stoic, slicing vocal performance that makes his version of this song so memorable. – Tara Seetharam (more…)
Instead of bombarding our readers with a million Christmas posts, we thought it would be more efficient to gather a bunch of 2009’s Christmas singles and provide a quick rundown in one post. So, in no particular order, here are my thoughts on this year’s Christmas singles.
This brother duo treats this lightweight classic with an unimaginative contemporary production. It does not bring anything interesting to the table and is, mercifully, an all in all forgettable track.
Carters Chord, “O Come, O Come Emanuel” (Listen), & “Santa Baby” (Listen)
It’s a shame that the most talented act (besides Keith himself, of course) on Toby Keith’s Show Dog label has not gained any traction in the last couple of years. It seems that, so far, the only way Carters Chord will be heard is through digital downloads, as their very good 2008 studio album was only released in digital form. Likewise, they have just released a 2-song Christmas EP that contains a pretty version of “O Come, O Come Emanuel” and a sassy interpretation of “Santa Baby.” Both tracks are well produced with prominent dobro and acoustic guitar in the mixes. “Santa Baby” is less whimsical and more assertive than the original version. “O Come O Come Emanuel” is well sung with beautiful sister harmonies and very few vocal gymnastics.
“Candy Cane Christmas” is a nice jazzy Christmas original that invokes warmth by tapping into the sweet feelings of anticipation for the big day. Rucker is a pretty decent crooner, which is what this song calls for. Over all, it’s a nice song, though not especially memorable.
Faith Hill has an inarguably top-shelf voice that is capable of various musical styles. So, it is disappointing that her 2008 Christmas album was good, but generally uninspiring as far as creativity or energy goes. As to be expected, she does these classics justice, but nothing more.
This is just bad. Very bad. If you want a cool version of this song, not counting the untouchable original, seek out Aimee Mann’s funky version that will surely make you smile, unlike this pointless version that will only make you cringe.
Joe Nichols, “Have Yourself A Merry Little Christmas” (Listen) , “I’ll Be Home for Christmas” (Listen)
Much like Faith Hill’s Christmas album, Joe Nichol’s album is nice, but does not particularly stand out. As you’ll find with these songs, his voice is wonderful as always, but there’s still a barely perceptible something to be desired. .
I love this husband-wife duo, as I’m sure is no secret to Country Universe readers at this juncture. This gorgeous Rory Feke original only cements my adoration. It is a sweet slice of life snapshot of Christmastime. I could say more, but what’s the point? Joey + Rory + Christmas = Beautiful Authenticity.
Marty Raybon, “Good Old Fashioned Christmas” (Listen), “One Night in Bethlehem” (Listen)
Marty Raybon is best known for being the lead singer for Shenandoah, one of the best and most popular pop country groups of the nineties. He has since left the group to pursue a quiet solo career that has garnered a couple albums that are more rootsy in nature. “Old Fashioned Christmas” is in line with Raybon’s solo career, inasmuch as it is an up-tempo honky tonk romper. Conversely, the pretty “One Night in Bethlehem” is similar to Raybon’s work with Shenandoah, which employs aggressive piano and other more contemporary elements. Both tracks, which can be found on a digital EP, are solid songs with the latter song being more substantive and, over all, superior.
Interestingly and happily, many of the songs on Sugarland’s new Christmas album are the most country that we’ve ever heard from them. One of the standout tracks on this very good album is “Silent Night.” Jennifer Nettles’ vocal is flawless and the acoustic instrumentation is truly heavenly. As a nice surprise, Nettle’s beautifully sings the second verse in Spanish, in which she holds a college degree. This is, no doubt, the best Christmas single of 2009.
Kathy Mattea has rarely sounded more open and warm than on this set of innovative folk-tinged songs. Topics of peace, love, resignation and heartache are sensitively explored in songs both written by Mattea and other well-known names, including captivating interpretations of The Rolling Stones’ “Gimme Me Shelter” and Creedence Clearwater Revival’s “Down on the Corner.” It’s a rich album with a decisively vibrant feel. – Leeann Ward
Recommended Tracks: “Gimme Shelter”, “Down on the Corner”, “Give It Away”
Johnny Cash, American IV: The Man Comes Around
American IV: The Man Comes Around was the last Cash album released in his lifetime; the bulk of its tracks are covers performed by the then ailing singer. Amazingly enough, the album seems almost biographical despite the limited material written by Cash. Still, American IV is not limited to “Hurt” (written by Trent Reznor of Nine Inch Nails), as other well-interpreted covers and Cash’s own “The Man Comes Around” help cement the depth of the album. – William Ward
Recommended Tracks: “The Man Comes Around”, “Hurt”, “Sam Hall”
Jamey Johnson, That Lonesome Song
The media hype machine had a field day with Johnson’s breakthrough sophomore album, showering it with the kind of superlatives usually reserved for miracle cures and immaculate conceptions (see also: Crazy Ex-Girlfriend). Most of the attention went to the album’s counterculturism within the increasingly safe and watered-down Music Row, with numerous nods to its Outlaw aesthetic and “cocaine and a whore” business. But That Lonesome Song‘s greatness was always more than contextual, and certainly more than attitudinal; this is an album with a genuine story to tell, filled with a slow-burning sorrow that pervades every track and doesn’t rest until the wife finally walks away and the husband resigns himself to playing seedy bars and trying to convince you he’s worthy of comparison to the greats. – Dan Milliken
Recommended Tracks: “High Cost Of Living”, “Angel”, “Dreaming My Dreams With You”
For all of the attention given to her power ballads and catchy pop numbers, Faith Hill has always included more offbeat material from lesser known songwriters. This album had some great power ballads and catchy pop numbers, but its heart and soul comes from the trio of Lori McKenna songs that make up its core. “Stealing Kisses” just might be Hill’s finest moment to date, and the other two McKenna songs – “If You Ask” and the title track – are nearly as good. – Kevin Coyne
Recommended Tracks: “Dearly Beloved”, “Stealing Kisses”, “Wish For You”
Vince Gill, Next Big Thing
Gill dips into a wider range of styles and subjects on his first self-produced album, but it all seems to thoughtfully tie back to his classically sweet sound – a tricky thing to do in country music. Next Big Thing is mature, clever and vocally spot-on, and features some killer guest vocals from Emmylou Harris, Lee Ann Womack and others. – TS
Easily one of the most versatile artists in country music, Underwood is capable of tackling almost any musical style, and she makes a solid case for this on her third album. The kicker, though, is that rather than signaling a lack of identity, each style feels like a natural extension of herself as an artist. She’s mournful on a haunting country standard in one breath, and commanding on a rock-charged up-tempo in the next – all without compromising her authenticity. Most significantly, Underwood finally digs a little deeper on Play On, marrying her extraordinary vocal proficiency with a higher level of tangible, sincere conviction than ever before. – TS
Recommended Tracks: “Someday When I Stop Loving You”, “Songs Like This”, “What Can I Say”
Rodney Crowell, The Outsider
Crowell’s take on mid-decade politics avoids heavy-handedness, perhaps because what he’s appealing to is not so much partisanship as patriotism in its purest form: “Democracy won’t work if we’re asleep. That kind of freedom is a vigil you must keep.” Bonus points for not one, but two guest turns from Emmylou Harris, the highlight being their stunning duet of Bob Dylan’s “Shelter From the Storm.” – KC
Recommended Tracks: “Dancin’ Circles ‘Round the Sun (Epictetus Speaks)”, “Don’t Get Me Started”, “Shelter From the Storm”
The Little Willies, The Little Willies
Norah Jones pet country side project with four of her New York City friends, including former boyfriend bassist Lee Alexander, results inn an inextricably fun album named after Willie Nelson who is covered twice on the project (“Gotta Get Drunk” and “Night Life”). The productions, including jaunty piano and prominent bass, along with Jones’ atypically loose vocals, make this disc a thrilling listening experience. While The Little Willie’s self titled album is not tight in technical terms, the album is all the better for it. – LW
Recommended Tracks: “Roll On”, “Gotta Get Drunk”, “Tennessee Stud”
Trisha Yearwood, Real Live Woman
Upon its release, the artist declared that she’d finally made her dream album. It’s easy to understand why, as Real Live Woman is Trisha Yearwood’s most cohesive album to date. It has a warmth and depth that makes it more than just reminiscent of Linda Ronstadt’s classic L.A. country albums from the mid-seventies. It’s actually on par with them. – KC
Recommended Tracks: “Where Are You Now”, “Try Me Again”, “When a Love Song Sings the Blues”
Kris Kristofferson, Broken Freedom Song: Live From San Francisco
For each unequivocal success like At Folsom Prison and Nirvana Unplugged, there are a dozen uninspired live albums that simply exist to capitalize on old material. Kris Kristofferson’s Broken Freedom Songs, with his extended introductions and banter, is an unequivocal success. Along with its friendly and almost conversational tone, Broken Freedom Songs focuses on unexpected compositions and makes a nice addition to other historically strong live albums. – WW
Recommended Tracks: “The Circle”, “Here Comes that Rainbow Again”, “Moment of Forever”
Ah, the naughties. The decade began and ended with pop crossover queens, with Shania Twain and Faith Hill at the top of their game in 2000 much like Taylor Swift and Carrie Underwood reign supreme today. In between, we had the roots music boom, best exemplified by O Brother and the platinum-selling Nickel Creek and Alison Krauss & Union Station; the post-9/11 patriotic explosion, which brought Toby Keith and Darryl Worley to the top of the charts; the near-total banishment of women from the country radio dial for a good part of the decade, which started to fade as redneck pride ascended, thanks to a certain woman trying to make Pocahontas proud; and far too many tributes to country living and island-flavored beach bum songs to count.
All of this made for a fascinating decade to be a country fan. As radio worked its way through all of the above (with the notable exception of roots music), the internet made it far easier for acts to be discovered without ever getting a single spin of traditional radio play. With MySpace, YouTube, Facebook, and the explosion of country music blogs, the barriers have been torn down between artist and audience in a way that was never possible before.
The motley crew of Country Universe has a diversity of tastes that fit within the widest boundaries of country music, as reflected our collaborative list of the 100 best albums of the decade. Five of our writers contributed to the list, with all writer’s selections being weighed equally. We’ll reveal ten entries a day until the list is complete. A look back at the greatest singles of the decade will then follow.
The 100 Greatest Albums of the Decade, Part 1
Abigail Washburn, Song of the Traveling Daughter
Song of the Traveling Daughter is the debut album from Uncle Earl claw hammer banjo player Abigail Washburn. Produced by Béla Fleck and featuring Ben Sollee, it is a subdued album filled with intriguing instrumentation and influences. Standout songs include “Nobody’s Fault but Mine,” with its interesting Civil War period influence; the upbeat “Coffee’s Cold,” originally performed by Uncle Earl; and “Song of the Traveling Daughter,” based on the classical Chinese poem “Song of the Traveling Son.” – William Ward
Recommended Tracks: “Nobody’s Fault but Mine”, “Coffee’s Cold”
Kim Richey, Rise
Her ambitious swan song for Mercury Records was perhaps her least accessible record, with an emphasis on eclectic arrangements instead of hook-laden melodies. It’s also her most deeply rewarding record, one that is remarkably introspective and fully delves into themes of faith and mortality that her earlier work had only hinted at before. – Kevin Coyne
Recommended Tracks: “A Place Called Home”, “No Judges”
Little Big Town, The Road to Here
The quartet’s second album catapulted them to the forefront thanks to the swampy anthem, “Boondocks,” and was a breath of fresh, earthy air to mainstream country music. Packed with tight harmonies and songs ranging in style from bluegrass-leaning to Fleetwood Mac-inspired, the album served as a window into the raw talent and potential of one of the best groups to hit country music in quite some time. – Tara Seetharam
Recommended Tracks: “Boondocks”, “Live With Lonesome”
Dolly Parton, Halos & Horns
A gorgeous, gospel-heavy album, with tasteful bluegrass elements. Parton is effervescent as usual, and rid of any self-consciousness, which makes “Hello God” overwhelmingly stirring. A response to the September 11 tragedies, the song has Parton pleading and philosophically wrestling with God, in the sincerest of ways. – TS
Recommended Tracks: “Hello God”, “John Daniel”
Brad Paisley, Part II
Sometime back before the Future, before the smirking social commentary and the endless odes to his wife, Brad Paisley was just a silly little neotraditionalist writing silly little neotraditional songs about the twists of everyday life and love. Part II captures him at his most unassuming and tuneful, waxing breezily about courtships and feeling out his new place as a neotrad spokesperson with a few classic roots songs, plus a cute Bill Anderson/Chuck Cannon co-write (“Too Country”). – Dan Milliken
Recommended Tracks: “Wrapped Around”, “Come On Over Tonight”
Patty Loveless, Strong Heart
More so than any Loveless album since leaving MCA, Strong Heart draws on her pop and rock influences, with a healthy dose of Ronstadt thrown in for good measure. The contrast between her hillbilly wail and the pop-leaning arrangements of several songs manages to make her sound even more rural than she normally does. Arguably her last mainstream project, she proved that she can sound just as good chasing radio as she does ignoring it. – KC
Recommended Tracks: “The Last Thing On My Mind”, “My Heart Will Never Break This Way Again”
Sara Evans, Real Fine Place
One of the finer female vocalists in the genre, Evans is a fantastic interpreter on her fifth album, carefully treading both traditional and pop country waters. The warmth and purity to her tone is prominent on this album, and this is particularly true of the songs with more traditional arrangements, on which she shines the brightest. – TS
Recommended Tracks: “Cheatin’”, “These Four Walls”
Sarah Jarosz, Song Up in Her Head
Sarah Jarosz’ much hyped debut with Sugar Hill Records features Darrell Scott, Tim O’Brien, Jerry Douglas, Aofie O’Donavan, and Abigail Washburn. Notable tracks include “Shankill Butchers,” a Decemberists cover that outperforms the original; the progressive acoustic “Song up in Her Head,” reminiscent of Nickel Creek; and “Come on Up to the House,” an impressive Tom Waits cover. – WW
Recommended Tracks: “Shankill Butchers”, “Come On Up to the House”
Terri Clark, Pain to Kill
This album made Clark a serious contender for Female Vocalist, the only time in her career that she reached that level of success. It’s as radio-friendly as her first two albums, but the material is substantive. This is the best collection of songs that she ever assembled, and by a healthy margin. When Trisha Yearwood finds something to cover from a record, you’ve done a great job picking songs. – KC
Recommended Tracks: “I Just Called to Say Goodbye”, “Not a Bad Thing”
Dwight Yoakam, Population: Me
Genre superhero Yoakam stretched his habit of excellence into a third decade, beginning with the quirky South of Heaven, West of Hell soundtrack and continuing with this solid set. The album is notable for distilling a wide assortment of Yoakam’s mastered sounds into about half an hour, from the Eaglesy (“The Late Great Golden State”) to the Owensy (“No Such Thing”) to the Elvisy (“I’d Avoid Me Too”), all united by the singer’s uniquely buoyant brand of fatalism. – DM
Recommended Tracks: “I’d Avoid Me Too”, “The Back Of Your Hand”
Country Universe contributor and reader Cory DeStein flagged this rundown from Billboard regarding women on the charts this decade:
PERFECT 10: On Country Songs, Carrie Underwood ropes her 10th top 10, as “Cowboy Casanova” climbs 11-8. With the advance, Underwood now stands alone in first-place for most top 10s on the chart among solo women this decade.
Here are the solo females with the most top 10s on Country Songs since 2000:
10, Carrie Underwood
9, Faith Hill
9, Martina McBride
8, Taylor Swift
7, Sara Evans
7, Reba McEntire
6, Jo Dee Messina
5, LeAnn Rimes
5, Gretchen Wilson
4, Shania Twain
Notably, the artist who led the category among women last decade did so with almost three times as many top 10s. Reba McEntire ranked first among solo women in the ’90s with 27 top 10s on Country Songs. Trisha Yearwood placed second with 18 between 1990 and 1999, and Faith Hill, Patty Loveless and Tanya Tucker each posted 14 in that span.
The decline in fortune for women at radio this decade is even more pronounced when you compare the above top ten to the previous decade:
Most Top Ten Singles by a Female Artist – 1990-1999:
Reba McEntire (27)
Trisha Yearwood (18)
Faith Hill (14)
Patty Loveless (14)
Tanya Tucker (14)
Pam Tillis (13)
Lorrie Morgan (12)
Shania Twain (12)
Martina McBride (10)
That’s ten women who matched Underwood’s total for this decade. That Underwood didn’t even hit the top ten for the first time until late 2005 shows how bleak it was at radio for female artists this year.
But this comparison doesn’t even tell the whole story. Take a look at the list of women with the most top ten singles two decades ago:
Most Top Ten Singles by a Female Artist – 1980-1989:
Reba McEntire (23)
Crystal Gayle (22)
Dolly Parton (21)
Janie Fricke (17)
Barbara Mandrell (17)
Rosanne Cash (16)
Emmylou Harris (16)
Anne Murray (14)
Tanya Tucker (12)
Kathy Mattea (10)
Notice the trend? This decade, the top ten women combined for a total of 70 top ten hits. In the 90′s, the top ten women enjoyed a total of 145 top ten hits. In the eighties, a total of 168 top ten hits. Even the nineties list is dominated by women who were played heavily in the earlier part of the decade.
What’s strange is that it was in the mid-nineties that female artists became the dominant commercial force in country music. Janie Fricke never had a gold album. Shania Twain has sold 48 million albums. Yet Fricke had more top ten hits in just the eighties than Shania Twain has earned in her entire career. Record buyers have wholeheartedly embraced Alison Krauss and Miranda Lambert, but despite their strong sales, they’ve each enjoyed only one solo top ten hit.
So what to make of all of this? Is the recent success of Taylor Swift and Carrie Underwood an indication that things are improving for women on the radio dial? Is it worth noting that Sugarland and Jennifer Nettles (11 top ten hits) and the Dixie Chicks (14 top ten hits) have done their part to compensate for this lack of gender parity? Does it even matter that radio is playing women less often each decade, especially if record buyers are finding their music anyway?
I came across this feature today: Bad Songs By Good Bands. Reading through the list, I found that not only did I like the songs chosen as “bad”, but many were my favorite songs by that artist. I love the tracks that they singled out by Blondie, R.E.M., Guns N’ Roses, Depeche Mode, Paul Simon, Outkast, U2, Bruce Springsteen, Madonna, The Beach Boys, and The Clash.
But as much as I disagree with their choices, I know a good topic of conversation when I see one.
Perhaps some of you will disagree with me as much as I disagree with the good folks at Spinner, but here are some songs that I think are pretty bad, even though the artist is very good:
Faith Hill, “Bringing Out the Elvis” – “When I’m with you I never have to feel like a sardine in a little metal can. I’m more like wild shark that travels in a pink limousine. Yeah, together with my fans.”
Toby Keith, “Whiskey Girl” – I’ll never forget my dad’s reaction to this as he watched the video: “Wow. He’s not even trying anymore.” He was a huge Toby fan, too.
Patty Loveless, “You Will” – Goes on forever without ever getting anywhere.
What do you think are perfect examples of good artists gone bad?
For a good stretch in the nineties, women were the dominant creative force in country music. Songwriter Matraca Berg was an indispensable component of that dominance, penning many of the biggest hits and best-loved tracks by signature acts like Trisha Yearwood, Patty Loveless, and Martina McBride.
It’s no surprise that this list of Favorite Songs written by Matraca Berg is almost completely composed of female artists. So distinguished is Berg’s catalog that worthy cuts by the Dixie Chicks, Nitty Gritty Dirt Band, and Gretchen Wilson just missed the list. Even Berg herself is only present with one performance, despite releasing several outstanding recordings in her own right.
But the beauty of these lists is that these are my own favorite songs, so I don’t have to force anything on to the list just to make it more well-rounded. Add your own favorites in the comments, and read Matraca’s 100 Greatest Women profile to learn more about this stunning songwriter.
“Wild Angels” – Martina McBride Wild Angels, 1995
This was meant to be the title cut of an album that Berg never released. Instead, the cut went to Martina McBride. It was McBride’s first #1 single, and listening to it today, it sounds remarkably rough around the edges for an artist who’d eventually become an AC radio staple.
“Fool, I’m a Woman” – Sara Evans No Place That Far, 1998
Berg’s writing can be effortlessly snarky, as evidenced by this breezy Sara Evans track that was a minor hit in 1999. “Did I say that I’d never leave you behind?” she queries. “Well, just keep treating me unkind. ‘Cause fool, I’m a woman, and I’m bound to change my mind.”
“When a Love Song Sings the Blues” – Trisha Yearwood Real Live Woman, 2000
Trisha Yearwood is Berg’s finest vessel, the only voice elegant enough to equal Berg’s words. This melancholy closer to Yearwood’s excellent Real Live Woman set finds the protagonist seeking solace in a dusty old piano, playing “Faded Love” and “Born to Lose” so she doesn’t have to cry alone.
“Give Me Some Wheels” – Suzy Bogguss Give Me Some Wheels, 1996
A tense struggle between being herself and living up to an idealized creation formed by her lover leads to choosing the car keys over sticking around. “I’ll never be the angel you see in your dreams. Give me some wheels if I can’t have wings.”
“The Last One to Know” – Reba McEntire The Last One to Know, 1987
Berg’s talents came to full fruition in the nineties, but there are a handful of treasures in her catalog from the previous decade. McEntire’s dignified performance is tasteful and understated, as she asks herself, “I believed you really loved me. Why can’t I believe you said goodbye?”
“Demolition Angel” – Pam Tillis The Collection, 2006
A variety of CD and MP3 albums have been compiled from the live DVD released by Pam Tillis in 2005. She debuted several new songs in that concert, including “Demolition Angel”, a stellar Berg song that has yet to be included on a studio album. She’s asking God to send down a “demolition angel” to tear down the walls she’s built around her heart, which she describes as a “monument to pride.”
“Everybody Knows” – Trisha Yearwood Pure Country, 1992
I once saw Yearwood remark durin a concert that she had to record this song because it included the words “jerk” and “chocolate.” She’s growing frustrated with everyone in her life that has a different opinion on how to get over her heartache. She’s be happy to be left alone with “some chocolate and a magazine.”
“You Should’ve Lied” – Lee Ann Womack Something Worth Leaving Behind, 2002
A deliciously bitter rejection of a cheater’s apologetic confession. “You overestimated me,” Womack seethes, “thinking I would understand. Believing that your honesty would make me see a bigger man. Was that all part of your plan?”
“You Are the Storm” – Dusty Springfield A Very Fine Love, 1995
Springfield covered this evocative track from Berg’s debut album, a weary goodbye to a man plagued by his own inner demons. “I tried to love you, I tried to keep you from harm,” she rues, “but I can’t give you shelter when you are the storm.”
“You’re Still Here” – Faith Hill Cry, 2002
This shamefully overlooked gem from Hill’s Cry collection is painfully poignant. A woman sings to her husband who has passed on, but is still everywhere that she goes. My personal favorite moment is when she sings, “I heard you in a stranger’s laugh, and I hung around to hear him laugh again. Just once again.”
“Cry on the Shoulder of the Road” – Martina McBride Wild Angels, 1995
Levon Helm provides the killer harmony track as McBride finally leaves a troubled relationship behind, content to find her comfort out on the interstate. “I’d rather break down on the highway with no one to share my load, and cry on the shoulder of the road.” I’ve always thought that the lyrics of Lee Ann Womack’s “A Little Past Little Rock” were heavily influenced by this song.
“For a While” – Trisha Yearwood Inside Out, 2001
Another Berg song cut by Yearwood that uses the word “jerk”, though I suspect it was the undercurrent of self-deprecation that truly appealed to the songstress when she cut this song. Watching an old Road Runner cartoon, she notices the “poor old coyote. Someone had a worse day than me for a change.”
“Mining for Coal” – Randy Travis No Holdin’ Back, 1989
This deep and moving performance by Randy Travis makes me wish more male artists would cut Berg’s songs. He’s so surprised to have found a true love while he was just looking for someone to ease his loneliness. “It’s like finding a diamond when you’re mining for coal.”
“Come Back When it Rainin’” – Trisha Yearwood Real Live Woman, 2000
Here, Yearwood is refusing to indulge her rainy day lover, who only seems to come around when he’s feeling down. “I’m just someone to call when you need a place to fall,” she notes, showing him the door.
“You Can Feel Bad” – Patty Loveless The Trouble With the Truth, 1996
Loveless turns the tables on the man who thinks he’s letting her down easy. “Your head is hanging and you look real sad. Maybe you should have called?” Her heart may be broken but her dignity – and biting wit – remain intact.
“Strawberry Wine” – Deana Carter Did I Shave My Legs For This?, 1996
Berg’s signature song of lost innocence is a perfect match for Carter’s sandpaper vocals. For those of us who “still remember when thirty was old”, this remains a beautiful commentary on the passage of time.
The earliest entry in Berg’s trilogy of songs inspired by her grandfather’s farm. I don’t know if this one is as autobiographical as “Strawberry Wine” and “The Dreaming Fields”, but it’s certainly as beautiful. “Calico Plains” tells the story of an older sister sharing her dreams with her younger sister. Little sis ends up making that dream her own when the elder Abilena finds herself with child and must marry and stay at home.
“Nobody Drinks Alone” – Keith Urban Be Here, 2004
A cautionary tale sung to a man who thinks he is at home by himsef, drowning his sorrows and painful memories with a bottle of wine. “Don’t you know nobody drinks alone?” Urban warns. “Every demon, every ghost from your past, and every memory you’ve held back follows you home.”
“Wrong Side of Memphis” – Trisha Yearwood Hearts in Armor, 1992
If there’s a better song out there about chasing the dream of country music stardom, I haven’t heard it. As the opening track of Yearwood’s landmark sophomore set, it announced her arrival as one of country music’s greatest album artists.
“On Your Way Home” – Patty Loveless On Your Way Home, 2003
Loveless earned a Grammy nomination for this confrontation of a cheating spouse who isn’t quite as forthcoming as his spurned lover needs him to be. “The truth is gonna set you free,” she sings, wearily promising, “If you keep on lying to me, I might stay right here just to spite you.”
“Diamonds and Tears” – Suzy Bogguss Something Up My Sleeve, 1993
Berg’s finest philosophical moment, a reflection on how the journey of life is its own destination. Even lost love is a form of “higher education”: “I have said and heard the word ‘goodbye’, felt the blade and turned the knife sideways. But I crossed bridges while they burned, to keep from losing what I’ve learned along the way.”
“The Dreaming Fields” – Trisha Yearwood Heaven, Heartache, and the Power of Love, 2007
A return to the wheat fields of her youth upon the death of her grandfather contains a sprinkle of social commentary, but is mostly a heart-wrenching exploration of grief over “the end of a world I love.”
“My Heart Will Never Break This Way Again” – Patty Loveless Strong Heart, 2000
The end of a first love brings not only the death of that romance, but also of the innocence that dies along with it. “It’s too bad, it’s so sad when your innocence is gone. It’s wasted on the ones that do you wrong.” Thus is the end result of a love “too blind with trust to know the Judas kiss.”
“Back When We Were Beautiful” – Matraca Berg Sunday Morning to Saturday Night, 1997
Berg received a standing ovation when she performed this stunning song on the 1997 CMA Awards, the same night that she won Song of the Year for “Strawberry Wine.” It recounts a conversation between grandmother and granddaughter, with the former confessing to the latter that “I hate it when they say I’m aging gracefully. I fight it every day. I guess they never see.”
The song is not available digitally and the album is out of print, but you can listen to it here.
“Lying to the Moon” – Trisha Yearwood The Song Remembers When, 1993
Berg refused to perform this song for years after Yearwood’s version was released, feeling that she couldn’t do it justice after Yearwood’s flawless rendition. Berg’s poetic style could be too precious in lesser hands, but Yearwood’s ability to be sincere without being schmaltzy makes her the perfect singer for “Lying to the Moon,” a song so breathtakingly beautiful that it’s easy to forget it’s essentially about getting stood up.
“I told the starry sky to wait for you. I told the wind to sigh to like lovers do. I even told the night that you were true, and that you would be here soon, and now I’m lying to the moon.” It’s one of Berg’s finest songs, combined with one of Yearwood’s finest vocal performances, a high-water mark for two of the genre’s greatest talents.