Garth Brooks

400 Greatest Singles of the Nineties: #25-#1

August 30, 2010 // 32 Comments

And so we come to the end. The top of our list includes a wide range of artists singing a wide range of country music styles. Thematically, these entries are diverse, but what they all have in common is what has always made for great country music. They are all perfectly-written songs delivered with sincerity by the artists who brought them to life.

400 Greatest Singles of the Nineties: #25-#1

#25
Smoke Rings in the Dark
Gary Allan
1999 | Peak: #12

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A dark, atmospheric wonder, as Allan delivers the final eulogy for a love that couldn’t help burning out. – Dan Milliken

#24
Just to See You Smile
Tim McGraw
1997 | Peak: #1

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Being deeply enamored of someone can make it easy – even appealing – to forfeit your own well-being. This single’s sunny sound reflects the persistent affection pulsing through its protagonist, but its story demonstrates the heartbreak to which such unmeasured selflessness leads. – DM

The Nineties All Over Again

August 17, 2010 // 23 Comments

The new country music stars of the nineties grew up with the pop/rock of the seventies. It’s no wonder that many of them revisited songs from that era.

Some of these covers became big hits, like Billy Dean’s “We Just Disagree” and Brooks & Dunn’s “My Maria.” Various album cuts and tribute projects demonstrated Lorrie Morgan’s fondness for Bonnie Tyler (“It’s a Heartache”), Garth Brooks’ love for Kiss (“Hard Luck Woman”), and more than a dozen artists’ affinity for the Eagles.

It’s just a matter of time before today’s country stars start remaking pop and rock hits from the nineties. Here’s a few that I think would work well:

400 Greatest Singles of the Nineties: #150-#126

August 9, 2010 // 16 Comments

Signature hits, breakthrough hits, and why-weren’t-they-hits abound in this entry.

400 Greatest Singles of the Nineties: #150-#126

#150
Gone Country
Alan Jackson
1994 | Peak: #1

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A perfect time capsule of the boom times, as Jackson wryly notes all of those genre-hoppers who saw dollar signs in the growing country music scene. Funny how they didn’t arrive on radio until a decade later. – Kevin Coyne

#149
I Want to Be Loved Like That
Shenandoah
1993 | Peak: #3

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Sometimes the deepest understanding of love comes from what you see around you. The narrator in this song won’t settle for anything less than the unwavering love he’s witnessed in his life, and his examples are stunning in the way they slice straight to the core of love, to the bond that can’t be broken by the physical world. This is one of the purest tributes to love I’ve ever heard. – Tara Seetharam

400 Greatest Singles of the Nineties: #200-#176

August 2, 2010 // 25 Comments

The hits come from all over the place here. Breakthrough hits from Trace Adkins and Carlene Carter join one-hit wonders Brother Phelps and George Ducas. And alongside crafty covers of songs by sixties rock band The Searchers and nineties country artist Joy Lynn White, you can also find tracks from three diamond-selling country albums.

400 Greatest Singles of the Nineties: #200-#176

#200
Carrying Your Love With Me
George Strait
1997 | Peak: #1

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A traveler gets through his lonely nights on the sheer strength of love. It’s perhaps a little too saccharine for some, but the sweet melody and Strait’s understated vocals make the record work. – Tara Seetharam

#199
Nothing’s News
Clint Black
1990 | Peak: #3

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A man sits around in a bar “talking ’bout the good old times, bragging on how it used to be.” Simple premise, but the gorgeously melancholy melody and performance lift the record to Haggardly heights. – Dan Milliken

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

July 23, 2010 // 22 Comments

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

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

July 20, 2010 // 23 Comments

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

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About a woman who only feels truly appreciated by her husband when they’re having sex. That kind of says it all, doesn’t it? – Dan Milliken

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

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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

#273
Let That Pony Run
Pam Tillis
1992 | Peak: #1

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Gretchen Peters wrote the gorgeous song and Pam Tillis, in turn, beautifully sings it. The song is about Mary, a woman who is forced to start a new life after her husband confesses his infidelities with no apologies. The story is sad, it’s resilient, and it’s hopeful. – LW

#272
I Just Want to Dance With You
George Strait
1998 | Peak: #1

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Any monotony in the verses is overcome by the song’s completely enticing rhythm and flavor. How can you not get lost in this? – Tara Seetharam

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

July 14, 2010 // 12 Comments

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

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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

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Faith Hill’s sophomore album is a surprisingly deep set, filled with candid insights into different womens’ lives. The title track represents that spirit well, as a woman articulates the differences in her and her man’s relationship approaches with impressive precision. – Dan Milliken

400 Greatest Singles of the Nineties: #350-326

July 11, 2010 // 24 Comments

A few should’ve been hits are mixed in with genuine smashes as the countdown continues.

400 Greatest Singles of the Nineties: #350-#326

#350
How Do I Live
Trisha Yearwood
1997  |  Peak: #2

When Yearwood and LeAnn Rimes released dueling versions of this song in 1997, it was apparently a wake up call to country listeners: “Hey, wait a minute. Trisha Yearwood is an amazing singer!”  She elevates “How Do I Live” beyond its movie theme nature by adding layers of subtlety and nuance to the typical Diane Warren template. – Kevin Coyne

#349
Boot Scootin’ Boogie
Brooks & Dunn
1992  |  Peak: #1

I don’t claim to have any real knowledge of what it’s like to spend a night at the liveliest of honky-tonks, but I’ll be darned if this song doesn’t make me feel like I do. Because “Boot Scootin’ Boogie” isn’t really about a specific place where people go, and it isn’t even about the boogie itself; it’s about the universal thrill of busting out of the work week, kicking back and dancing your troubles away. From start to finish, Brooks & Dunn’s performance is a twangy blast of exhilaration, and that’s a feeling we can all relate to – outlaws, in-laws, crooks and straights alike. – Tara Seetharam

400 Greatest Singles of the Nineties: #375-351

July 7, 2010 // 21 Comments

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

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

June 13, 2010 // 11 Comments

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!

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