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?
There’s no doubt that Gretchen Wilson is very talented. She proved it with her smash debut song, “Redneck Woman”, which was a catchy rave up that joyously celebrated the less fine things in life. It easily struck a chord with a lot of people, due to its universal appeal (even men could champion the message) and its loud, but fresh, production. Wilson is also equipped with a voice that can sing a tender country ballad as adeptly as a country rocker like “Redneck Woman.” Unfortunately, radio has historically cast her as the party anthem, redneck woman and she has found it nearly impossible to escape the narrow typecast as a result.
As part of her relatively rapid decline in favor with radio, her major record deal resulted in the most recent casualty, which, in turn, has freed her to form her own record label. Interestingly, however, it seems that the move has not mentally freed her to make fresh sounding music. While “Redneck Woman” may have seemed fresh in 2004, it is categorically old news by now.
The content of “Work Hard, Play Harder” is as transparent as one might easily deduce from the title. Once again, as we’ve heard in even more Wilson songs than “Redneck Woman”, this song embraces being a redneck woman, albeit with a different title than her debut single. Not only is the theme the same, but the production is just about as close to being an inferior carbon copy of its redneck predecessor without technically being the same song, even right down to the slick background vocals. While it may have worked the first time around, and even a couple times thereafter, the dated shtick has long worn out its welcome. Moreover, it’s simply time for Gretchen Wilson, a decidedly talented artist, to take advantage of her newly acquired freedom and move on to better things.
Written by Gretchen Wilson, John Rich & Vicky McGehee
Katie Cook has been a staple on Country Music Television since 2002, hosting various series and specials such as CMT Most Wanted Live, the MWL concert series, MWL Star, MWL Stacked and the popular weekly entertainment magazine show, CMT Insider.
But her experience with country music is actually three-fold: along with being embedded in the industry as a television host and interviewer, she’s also the daughter of Nashville Songwriters Hall of Fame member Roger Cook, and she’s both a singer and songwriter herself – she released an album in 2000 as part of a band called Reno and continues to hone her songwriting skills. Cook took some time to share with Country Universe her opinions on the state of country music, the evolution of CMT and her recent White House visit, among other topics.
Seetharam: You’ve grown up around different cultures and lifestyles, having lived overseas in London. How has that shaped your perspective on country music?
Cook: That’s a good question. I honestly think when I was younger living in Nashville, I didn’t fully understand the appeal of country music until I moved back to England after high school. And then I moved back again in my mid 20s to work on music and I found myself missing Nashville so much, and when I really tried to become a songwriter myself, I realized how difficult it was to write a great, melodic, catchy, hooky, 3-minute song that tells a story, that can wrap an entire interesting story up and make a point in 3 minutes. It’s extraordinarily difficult and it’s something that country is known for, and I don’t feel it exists in such a powerful way in any other musical genre I’ve experienced anywhere else in the world.
I think I had to get away from Nashville and the country music scene to really look back and realize how strong the writers are here, and how incredible the players are. Because very often as a younger person in Nashville, I would listen to stuff from elsewhere. You know, I’d listen to more alternative music coming out of England and stuff, but when I really got into the music scene over there, I was like, “No one plays like they do in Nashville.” The pickers, you know, you don’t get that kind of quality anywhere in the world, I don’t think, so again I think being part of these different cultures helped me look back on Nashville and appreciate it that much more.
I have to ask about your father because he’s really a fantastic songwriter. Between him working with such high profile artists and you interviewing such high profile artists, what kind of conversations do you two have?
You know, we never talk about music. In fact, we’ve tried to write so many songs together, and I suppose we’ve completed a few, but you know, when he and I get together, it seems to turn to any other subject but music. I think because we’re so close and there’s so many other things going on in the family and with friends and stuff that the conversation always leads elsewhere.
We’re both really opinionated, and we don’t necessarily agree on everything musically either. He’ll say, “Oh, I heard this song on the radio the other day by such and such. I couldn’t stand it. I thought it was awful,” and I’m like, “Really? That’s my new favorite song.” So, we just have such different opinions that we’ve just kind of learned to keep our musical lives separate. But that’s not to say he’s not completely supportive, and he watches the shows I do, and I try to listen to all of his new songs. But for the most part, we’re just dad and daughter.
You mentioned you liked some alternative music when you were younger – it seems like your musical taste stretches across many genres, not just country music. What do you think of the current country music that’s infused with other sounds, like rock or pop?
Well, you know, there’s two sides of the argument. Some people say, “Well country’s got to move forward,” and other people would say, “Why is it changing? Keep it traditional.” I really see both sides of it. I probably prefer it when somebody has a real appreciation of traditional country and then mixes it in with things you don’t expect them to. And that can even be an artist like Beck – that doesn’t necessarily even have to be a country artist. I kind of probably lean more to liking that type of thing more than someone who’s just trying to sell me a rock song as a country song. I think that’s just…I don’t know. That’s not my favorite style. It’s almost like bad 80s rock being regurgitated and labeled country music. So you know, I don’t typically have a music collection that reflects that kind of modern country.
But I have absolutely no boundaries as an artist, as a writer, as a music lover. I mean, nothing frightens me at all about loving country music and mixing it with other things or driving it forward, in even bizarre ways. I’m like, “Bring it on!” I love music, period. I personally do really love country music because I think the playing is magnificent. I think the story telling is magnificent. I think there’s just something so romantic about unfortunately an almost lost way of life in America, and I think I’m very drawn to do that, but I wouldn’t necessarily call myself one of those people that would be guarding country against change. I don’t think I’m that person at all. In fact, I think the more people that can discover it, the better.
Absolutely. That’s my philosophy as well. What about all these female artists who are breaking barriers in country music? You’re a female musician yourself – what’s your take on them?
I think it’s fantastic. I really, really love that there are so many young females out there now that play all different kinds of instruments. You know, you’ve always had a few of those in the past, but when I was younger, you had like Sheila E. You had Joan Jett. You definitely had a few artists that played. And of course, you had Barbara Mandrell, who played everything. And she was just a hero because she literally played every instrument: drums, saxophone, keyboard, everything.
But I think more likely now, a young girl’s going to grow up and be like, “Yeah it’s just no big deal to pick up the guitar and learn how to play and write a song. Taylor Swift does it.” It’s just obviously such a more common sight now, and I just think that’s a wonderful thing. Because too often in the past a woman was just supposed to stand at the mic and look pretty. And there’s nothing wrong with that but women take to playing just as easily as men, and I think they’re going to be more encouraged now because of this young crop of lovely ladies that play and sing and write. It’s fantastic.
Let’s talk CMT a bit. Earlier in the decade, CMT played an important role in popularizing roots music, with artists like Alison Krauss and Nickel Creek. What drove that, and why do you think there’s been a shift away from that now?
Yeah. I think everything’s cyclical. Obviously at one point, that kind of sound would be all you would have heard, practically, on the Grand Ole Opry and WSM years ago. And country’s always going to shift in and out of different things. It’ll all come back around. Right now it is kind of more of a maybe rock-edged type of thing. Look at how big Gretchen Wilson was, and now, if anything, Taylor Swift and Carrie Underwood kind of slid into her position, and they’re more slick in their production. It’ll come back around. You know, it always does.
One thing that I thought was so interesting – the first time I interviewed Loretta Lynn was backstage at the Opry. And we weren’t on camera, and we were just kind of chatting, and I said, “I want to know what your take is on country and where it’s going.” And she said, “Oh you know, it’s always going to be going somewhere different and that’s fine. Back in the day, everyone gave Patsy Cline so much grief for going pop.” And it was so interesting to hear her say that because I would not have labeled her a pop artist, but when I think about it, at the time, what she was doing was very pop for most country ears. And yet now we would look back and consider her such a traditional artist, and anyone who sounds like Patsy Cline now would be considered hard-core, country traditional. It’s just interesting, isn’t it? To get that different perspective.
I think it’ll all come back around. If you get too much of any one thing, you’re going to crave the other. The grass is always greener. Things are a little less acoustic right now but it’ll all come back.
That’s an interesting perspective both you and Loretta have, and I think many people would agree. But it does seem like CMT as a channel has evolved over the years into something different. There’s a little more pop culture on there now, more television shows and movies, and a little less music. Do you think it’s moving in a positive direction?
Well, yes and no. I love some of the programming, but I’m just a music person, so I’m always going to wish that there was more music. It’s very interesting what people watch, what they tune into. Because we can run music programs and get very low ratings, and then run a rerun of Nanny 911 and get massive ratings.
So, although I personally would rather see music and videos all day, I can understand some of the programming decisions because like any business, we want to stay on the air, and we want to be able to afford to do these big award shows and great big music programs like CMT Giants, that honor Alan Jackson and Reba [McEntire] and all these wonderful artists. And you can’t pay for those unless you’ve got people tuning in, and for some strange reason, people will tune in sometimes in very large numbers to programming that’s not always music-related. So, it’s a catch-22. I can see the business side of it, but I personally tune in more to the actual music programs because that’s what I’m interested in.
What’s your favorite music video of the decade? Or do you have one?
Wow. Hmm, there are so many to choose from. I tend to live very much in the moment, so usually what’s on my mind is something that I saw very recently. I can tell you one of my favorite songs of the past decade was probably Little Big Town’s “Boondocks.”
I love that song.
And I thought it was a video that perfectly matched the song. I loved the extras that they had in it. I loved the way it was cut together, the editing. I loved the scenery. I loved how cool the band looked in it. That was a favorite. Gosh, what was that other…why am I going blank…it’s because I’ve just been staining my floor and I’m probably high from the chemicals. That first really big Jason Aldean song. “Hicktown!” Jason Aldean’s “Hicktown” – that’s the one I’m thinking of. It’s kind of similar to the “Boondocks,” Little Big Town kind of vibe. I just thought they were both really fresh videos and those were probably a couple of my favorites.
Is there a single quality that you look for in a good music video?
I think because I’ve been doing TV for awhile now I really look at editing, and I look at how things time out. You know, how a cut or a certain dance moves really times out with the beat of a song. “Pickin’ Wildflowers” by Keith Anderson – that was probably one of my favorite videos of the last decade. I know I’m giving you a few instead of picking just one. I just thought it was really sexy and the way the dancers again moved with the beat. I think you can be a great video director, but a really great music video director to me needs to have a great sense of the music. They need to be really passionate about the song and really feel the beat of it and edit accordingly. That’s just something I personally really like in a song.
When you’re interviewing these artists on the red carpet or on any of the shows you host, you’re essentially a musician interviewing a musician. Does that affect the way you interview? Do you ever wish you could give advice?
Well, I wouldn’t dream of giving advice, but I do think it affects the way I interview people. If anything, it probably – I don’t know, in some way it helps. But I think it probably hinders me more because I know sometimes a question that they might not really want to answer, or something that I know they’ve probably been asked a million times, and you know, I always try to come at it with an understanding of how they might answer something. But sometimes a question just needs to be asked because it makes good television and it’s what the viewers at home want to know. But I might inside be squirming a little bit.
I can’t really think of a perfect example right now. But even something as simple as, “When you did that duet with so and so, what was it like being in the studio with them?” I know there’s a really good chance they weren’t in the studio together. Because when you live in Nashville and you work around music yourself, you have a good understanding of how these things work, and you know that schedule-wise, it’s very rare that duets even happen in the same room with people. But you know, it’s important to ask that because it’s what people at home might be wondering. So, I don’t know, I think sometimes I do see an interview slightly differently.
And I understand Dolly Parton is your favorite artist?
Oh I love her. She’s just my favorite – not just musically, but just…
Your favorite person.
Yes, favorite person to interview, definitely.
Do you have a Dolly interview or quote that stands out for you?
You know, well, yeah, I’ve got a lot. It seems like every single time I’m with her I’m like, “OK, that tops the last one.” She always says something that tops the last one.
She’s just fabulous. And hilarious.
The funniest interview, honestly, was, the very first time I ever met her. I did like a whole half-hour, sit-down live show with her called [CMT] Most Wanted Live, and before we went out, we were comparing outfits. And of course she had on a to-die-for, fabulous outfit. Oh, it was pink and yellow and princess-like and just made her look amazing. And I was kind of joking that my outfit wasn’t very interesting compared to hers, and I must have made some comment like, you know, “Maybe I need to put more of a push-up bra on. I’m going to look like a child sitting next to you.” And she laughed and she said, “Your boobs look great!”
Well later on we were sitting there in front of the audience, the whole crowd, and I think I took like an audience question about, does she ever feel sorry for flat-chested women because she’s so well-endowed or whatever. And she laughed and she said, “No we’re all beautiful,” and then she said to the audience, “Look! Look at her boobs! Don’t you think they’re great?” – pointing to me. “Don’t you think she has lovely boobs?” And you know I just absolutely went bright red.
Oh I was fanning myself. I broke a sweat. I was laughing so hard. I could not believe I was on camera with Dolly Parton and she’s commenting on my boobs. It was just one of the funniest moments in my life. I’m not sure anything’s ever going to top Dolly Parton complimenting me on my chest (laughs).
Dolly is clearly a hold-nothing-back kind of person, but have you ever interviewed an artist who you think is misunderstood by the public? Maybe you got a different perspective when you met him or her in person?
Yeah. There are certain artists that I can tell are a little bit shy. I mean, obviously Alan Jackson, Billy Currington – some of the guys are really, painfully shy, and they get on camera and they’re just quiet and, you know, they seem very unsure of themselves. And then the minute the camera goes off, you can have the most normal conversation with them. And I always think, “Oh why can’t you do that when the little red light comes on?” So yeah, there’s definitely artists that seem very different off camera, and I wonder if their real personality comes across, but you know what? They’re doing well and they have fans, so evidently people do understand them. But yeah, some of those shy guys are the ones that really wear me out. I’m like, “Come on, loosen up!”
Shifting gears a little, you were recently at the White House for “An Evening of Country Music.” That must have been an amazing experience. What was it like?
Yeah! It was incredible. It was really exciting to see an entire day at the White House devoted to country music. Brad Paisley and Alison Krauss and Charley Pride were there – all great ambassadors for country music. To actually be in that ballroom and see the President get up and give a wonderful introduction to these country artists and talk about country, and how it’s such an important part of American culture was, you know – I really got the chills. It was a wonderful moment. I don’t know if I’ll ever get to go back to the White House, so I really was kind of absorbing it all.
We got to see the press room, which was tiny. And it’s so interesting because, you know, you see something on television and then you see it in person, how different it is. And we were at the back of the room, so when the show was over, we were actually the first to walk out, and they led us down a hallway and then just kind of left us on our own to find our way out. And I was like, “We’ve been let loose in the White House!”
That’s not something you can say every day!
It was incredible. We weren’t really let loose, of course. It was all under very controlled supervision, but it felt like we were running goofy and loose in the White House, and that was very exciting. But yeah, it was a very proud moment for country.
Did you get to interact at all with the President?
I didn’t get to hang out with Obama and Michelle and the girls, but I did get to see the First Dog. One of the White House workers, I guess — I don’t know what the right term would be– but somebody was walking the dog, and he’s beautiful. He’s big. For some reason I thought he was still a little puppy. But he’s quite large and he’s a good-looking dog. He’s got quite a yard to roam around in.
I hear you’re an expert tweeter – or rather, I see you’re an expert tweeter. What do you enjoy about twitter?
Well I’m actually fairly new to it. I like getting to know people. I like getting very kind of down-to-earth questions from people, and I think what I find refreshing is that I assume the only reason anybody would want to talk to me or hear from me is to get like country music gossip, and that actually doesn’t seem to be the case. A lot of people are like, “Where do you like to eat? How old’s your kid now? Do you like being a mother?”
More personal questions.
Yeah. It seems like people just are more curious about who you really are as a person, and I find that really refreshing. I go to work and put on the false eyelashes and do my hair all fancy and put on the nice outfits and everything, but when I come home, I’m just like anybody else. I’m sitting around in my Old Navy sweats and eating something I shouldn’t be eating and prying my eyeballs on the computer. And we’re all kind of the same when we just get into that mode, and I just like connecting with people on that really normal level. That’s a lot of fun for me.
Do you tweet at other artists? Or mostly fans?
You know, I don’t know who all these people are that read it. I just kind of get on there and send a message out and wonder where it goes. It goes into cyberspace and I don’t really know who’s reading it but people keep signing on, so I guess I’m doing something right.
When you’re not tweeting, what are some of the projects you’re working on that you’re excited about?
Well I have a children’s book called “Little Big Benny,” and that has recently been edited. I kind of have it out with a lot of kids right now. A lot of kids are reading it and giving me their feedback. I’m trying to really nail down exactly what age group it’s for. I’m really hoping by the end of the year to be shopping that around to publishers. So that’s taking up a lot of free time.
I’m a mother and that’s an ongoing project right there. She’s going to be three in a couple of weeks. And we decided to do our kitchen. We just ripped our whole kitchen from the 40s out, which was actually kind of cool looking but had absolutely no storage or work space. So we just completely gutted the middle of our house and decided to pretty much do it ourselves so that we could save money, and at this point I think I maybe would rather just be in debt (laughs).
That sounds extremely chaotic.
It’s been really chaotic. I’ve been making meals in a toaster oven for almost six months. But you know, there are some people in the world who don’t even have a toaster oven, so I’m not going to complain.
But there’s always other stuff going on. I’m always writing. I’m always working on creative stuff. I’m hoping to launch a T-shirt campaign –I’m not going to say anymore about it– but I’m hoping to have something really fun available in the next month. Very creative T-shirt thing. So yeah I’m kind of – I consider myself a creative person. I’m not happy unless I’m working on something. So I never really have a day off, but that’s just the way I like it.
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.
What can you say when the song title tells you upfront how generic the song itself is going to be? I mean, the thing practically reviews itself, doesn’t it?
Seriously, though, the problem here isn’t that the song is about why living in a small town is (as you might guess) awesome. The problem is that it doesn’t really give anyone who doesn’t feel the same way any reason to feel otherwise. It was clearly written solely to appeal to a demographic of people who also live in small towns and can relate to surface-level ideas like “everybody knows me and I know them” and “give me a Sunday morning that’s full of grace” (or in Moore’s case, “grA-a-A-a-A-ace”) without any further development of those ideas.
But that’s the thing: without further development, the ideas just sound really, really clichéd. Simply pointing out that you enjoy a “six-pack of Lite” doesn’t really tell me much about you, because guess what? Lots of people from lots of different living environments like lite beer. You have to give your ideas a little context for them to mean anything to anyone but you.
The problem reminds me of “Redneck Woman,” which also glorified a particular rural lifestyle but felt a lot more accessible in how it did so. I think what made the difference was that Gretchen Wilson explained why she liked being a redneck instead of just saying, “hey, I like being a redneck.” For instance, when she mentioned that she liked to drink beer, she set it up as a contrast to being a “Barbie Doll-type” who “swig[s] that sweet champagne,” so that even if we couldn’t relate to that particular preference ourselves, we could see where she was coming from and apply the greater principle in play to ourselves. If her life was a party, she let us in on it.
Moore, on the other hand, is like that guy who calls you from inside the party to let you know how awesome it is without actually explaining what’s going on. It’s not that you don’t believe him; it’s just that he never explains why you should happen to care.
While the Grammys have honored country music from the very first ceremony in 1959, they did not begin honoring by gender until 1965, when the country categories were expanded along with the other genre categories.
This is a look back at the Best Female Country Vocal Performance category. It was first awarded in 1965, an included single competing with albums until the Best Country Album category was added in 1995. When an album is nominated, it is in italics, and a single track is in quotation marks.
I’ve often made the case that female artists were making the best music in the 1990s, and the Grammys did a great job nominating songs and albums that were ignored at the CMA and ACM awards, which is not surprising, given that those shows have so few categories that are actually for songs and albums.
As usual, we start with a look at this year’s nominees and work our way back.
Martina McBride, “For These Times”
LeAnn Rimes, “What I Cannot Change”
Carrie Underwood, “Last Name”
Lee Ann Womack, “Last Call”
Trisha Yearwood, “This is Me You’re Talking To”
This year’s lineup includes three former winners and two women looking for their first victory in this category. Martina McBride is in the running for the eighth time in fifteen years, and with one of her more understated performances. Lee Ann Womack returns for a fifth time, having received a nomination for the lead single of her five most recent albums. Both ladies turned in good performances here, but they’ve been overlooked for records bigger and better, so they’re not likely to snap their losing streaks this time around.
As for the previous winners, LeAnn Rimes earned her third consecutive nod, bringing her total to five in this category. She hasn’t won since 1997, when she took home the award for “Blue.” If enough voters hear “What I Cannot Change,” she might have a shot, though the only version of the song that’s been a legitimate hit has been the dance remix.
Trisha Yearwood won in 1998 for “How Do I Live,” her only victory to date. But she’s earned her tenth nomination for “This is Me You’re Talking To,” which is arguably her strongest vocal performance of the ten. Like Rimes, the challenge is getting enough voters to listen to it, but she’s never been more deserving of the victory than she is this year.
Still, the favorite remains Carrie Underwood. She’s quickly become a favorite with Grammy voters, having won this category two years running, along with Best New Artist in 2007. She’s the nominee with the highest profile, and while “Last Name” is nowhere near the same league of “Jesus, Take the Wheel” and “Before He Cheats” in terms of artistry or impact, it was a big hit, something that the other four entries cannot claim.
If Underwood was nominated for “Just a Dream,” she’d have a mortal lock on this one. But the strength of the other nominees will at least keep this race competitive. If Underwood prevails, Grammy queen Alison Krauss better watch her back.
Alison Krauss, “Simple Love”
Miranda Lambert, “Famous in a Small Town”
LeAnn Rimes, “Nothin’ Better to Do”
Carrie Underwood, “Before He Cheats”
Trisha Yearwood, “Heaven, Heartache and the Power of Love”
Looking at this lineup, you’d think that it was a golden age of female country artists, something akin to the mid-nineties. In reality, only one of these songs was a big radio hit, though three others managed to go top twenty. In terms of quality, however, this is the most consistent and thoroughly wonderful set of nominees this category has seen this century. You’d have to go back to exactly 1999 to find a better lineup.
In a year when any winner would have been deserving, Underwood won for “Before He Cheats,” her second straight win for a signature mega-hit from her debut album.
A look back at the previous winners and nominees of the Best Country Album Grammy, updated to include the 2009 contenders.
The Grammys have been doing better in the country categories since they reintroduced the Best Country Album category in 1995, which had only been in existence for two years in the 1960s. Prior to 1995, albums and singles were both eligible in the vocalist categories, so full albums would compete against single tracks in Best Male Country Vocal Performance, for example.
Looking over the history of this fairly young category, you can see trends emerge, with certain acts clearly being favorites of NARAS. You see the same trend with the CMAs, just with different people. What is clear with the Grammys is that radio and retail success will only carry you so far. For awards that are supposed to be based on artistic merit, that’s how it should be.
As with the CMA flashbacks, we’ll begin with a look at this year’s nominees, then discuss previous year’s in reverse chronological order. Winners are in bold.
Be sure to drop by My Kind of Country and vote in their Best Country Album poll. Let your preference be known!
Jamey Johnson, That Lonesome Song
Patty Loveless, Sleepless Nights
George Strait, Troubadour
Randy Travis, Around the Bend
Trisha Yearwood, Heaven, Heartache and the Power of Love
Four veterans and one newcomer vie for this year’s Best Country Album, and it’s a wide-open race with no obvious favorite. The critically acclaimed breakthrough album of Jamey Johnson could earn him his first Grammy. The legendary George Strait would like to start a Grammy collection of his own. Like fellow nominee Patty Loveless, this is his third nomination for this award. While Loveless has also yet to win this one, she does have a Grammy already, for her contributions to the multi-artist collaboration “Same Old Train.”
Randy Travis is a real contender here; five of his previous albums have won Grammys. Two of them (Always & Forever, Old 8×10) won in the Best Male Country Vocal Performance category, back when albums and singles competed with each other in that race. And while this is his first nomination for Best Country Album, he was won Best Southern, Country, or Bluegrass Gospel Album three times, for Glory Train (2007), Worship & Faith (2005) and Rise and Shine (2004.)
While Vince Gill broke the all-female trend in this category last year, he was nominated in an all-male field. If the trend begins again this year, this will be a battle between Loveless and Trisha Yearwood. The latter’s Heaven, Heartache and the Power of Love is arguably the strongest album in this category, and while Yearwood won three Grammys in the nineties, she has never won Best Country Album, despite earning more nominations than any other artist in the history of the category – Heartache is her eighth set to contend for the trophy. She’s beyond overdue, but her competition is formidable.
Dierks Bentley, Long Trip Alone
Vince Gill, These Days
Tim McGraw, Let it Go
Brad Paisley, 5th Gear
George Strait, It Just Comes Natural
With the exception of Shania Twain’s Come On Over, no album that has also been nominated for the general Album of the Year race has failed to win Best Country Album. So it was no surprise when Vince Gill picked up the trophy for his four-disc opus These Days. In his acceptance speech, he good-naturedly ribbed Kanye West, providing one of the evening’s brightest moments.
Dixie Chicks, Taking the Long Way
Alan Jackson, Like Red On a Rose
Little Big Town, The Road to Here
Willie Nelson, You Don’t Know Me: The Songs of Cindy Walker
Josh Turner, Your Man
The Chicks became the first artists in Grammy history to win four genre Best Album awards, breaking their tie with Eminem, who has won three Best Rap Album trophies. This was one of five trophies they took home at the February 2007 ceremony, and the album returned to #1 on the country chart and back to the pop top ten on the strength of those victories.
Earlier this year, the Grammys celebrated their fiftieth anniversary with a series of compilations focusing on winners in different fields. Two of the best entries in this series focused on country music. With five decades of winners to choose from, it’s no surprise that Ultimate Grammy Collection: Classic Country and Ultimate Grammy Collection: Contemporary Country are solid collections.
The Classic Country set is particularly strong, including a diverse selection of significant artists from the sixties and seventies. Even better, most of them are represented with their signature tracks. Roger Miller opens the set with “King of the Road”, easily his biggest hit. Other superstars include Tammy Wynette (“Stand By Your Man”), Johnny Cash (“A Boy Named Sue”) and Waylon & Willie (“Mammas Don’t Let Your Babies Grow Up to Be Cowboys.”)
As the collection moves on to the seventies and eighties, there is a healthy portion of pop-country classics from the likes of Kenny Rogers (“The Gambler”), Dolly Parton (“9 to 5″), Crystal Gayle (“Don’t it Make My Brown Eyes Blue”) and Willie Nelson (“Always on My Mind”). In the midst of that crossover sound, however, there’s a healthy dose of traditional country, courtesy of George Jones with “He Stopped Loving Her Today.”
That Jones track is the only one that wouldn’t be familiar to fans that buy the set because they remember those crossover hits, even though it’s a country classic. They might also revel in the discovery of Ray Price (“For the Good Times”) and Jerry Reed (“When You’re Hot, You’re Hot”), which were both AM radio staples back when top 40 regularly played country records. The set also includes mega-hits from Charlie Daniels Band, Lynn Anderson, Donna Fargo and Jeannie C. Riley. The only real misstep is the inclusion of Johnny Cash & June Carter’s “If I Were a Carpenter”, an unnecessary inclusion that was no doubt shoehorned in because of lingering sentiment for all things Cash. That slot would’ve been better represented with Conway Twitty and Loretta Lynn’s “After the Fire is Gone.”
When women became the dominant creative force in country music during the mid-nineties, it wasn’t just on the strength of their vocal talents, but also because of their excellent choice of material. No single songwriter supplied more of that quality material than Matraca Berg, one of the most prominent and successful female country songwriters in country music history.
Most songwriter stories begin with their journey to Nashville, but Matraca Berg was born in Music City. She grew up thinking that she’d either be a lawyer or a songwriter, and she later quipped that once she dropped out of high school, it was obvious that law wasn’t an option.
Not that it mattered much. Berg was only eighteen when she met up with songwriter legend Bobby Braddock (”D-I-V-O-R-C-E,” “He Stopped Loving Her Today”), who was very impressed with her self-written songs and suggested they pair up to write on together. The result was “Faking Love,” which went to No. 1 for T.G. Sheppard & Karen Brooks in 1983.
Not a bad start for a young songwriter. But some lean years followed as she honed her songwriting craft, while also pursuing a career as a recording artist. Things began to pick up in the late eighties, when Reba McEntire turned her “The Last One to Know” into a #1 hit in 1987. After she scored more cuts with Randy Travis, Tanya Tucker and Sweethearts of the Rodeo, RCA offered her a recording contract.
In 1990, her stellar debut album, Lying to the Moon, was released. Four singles made moderate dents on the singles chart, and the album sold enough to reach the forties on the album chart. A second album was recorded but never released, and then RCA tried to push her in the pop market with the 1993 album The Speed of Grace. It failed to make an impact, and she was dropped from the label.
These would have been harrowing times, except for the fact that a bumper crop of female artists were looking for smart, contemporary material. Berg’s debut album was mined by several artists. Trisha Yearwood immortalized the title track, Pam Tillis covered “Calico Plains,” Dusty Springfield tackled “You Are the Storm,” and Berg’s childhood heroine, Linda Ronstadt, recorded “Walk On.”
Patty Loveless had a top five hit in 1990 with Berg’s “I’m That Kind of Girl,” and scored a #1 single six years later with “You Can Feel Bad.” Suzy Bogguss, another rising star in the early nineties, cut “Eat at Joe’s”, which had been recorded for that unreleased second album. Berg and Bogguss became friends and songwriting partners, and they wrote Bogguss’ last big hit together, “Hey Cinderella”, which went top five in 1994.
Trisha Yearwood would become the artist most associated with Berg. She had a big hit in 1992 with “Wrong Side of Memphis,” a No. 1 single with “XXX’s and OOO’s (An American Girl)” in 1994 and a top five hit with “Everybody Knows” in 1996. Meanwhile, Martina McBride had her first No. 1 single in 1996 with “Wild Angels,” which Berg had imagined would be the title cut of one of her own albums.
Yearwood passed on the song that would become Berg’s signature composition, and it was recorded instead by an aspiring new artist named Deana Carter. In 1996, Carter made Berg’s “Strawberry Wine” her debut single, and the slow waltz about lost innocence was a surprise smash, topping the charts for two weeks. Carter repeated at #1 with the follow-up single, another Berg song called “We Danced Anyway.”
All of these hits renewed interest in Berg as a recording artist, and she signed with Rising Tide Records. In 1997, she released Sunday Morning to Saturday Night. She was invited to perform on that year’s CMA awards telecast, where host Vince Gill introduced her as not just a songwriter, but a poet. She performed the heartbreaking “Back When We Were Beautiful” and received one of her two standing ovations of the evening. The other one came when she and co-writer Gary Harrison won Song of the Year for “Strawberry Wine.” She was only the third woman in history to win the award, after K.T. Oslin (1988) and Gretchen Peters (1996).
In 1998, Berg had a popular video hit with “Back in the Saddle”, thanks to a supporting cast of many of the female stars who’d scored hits with her songs: Trisha Yearwood, Faith Hill, Suzy Bogguss, Patty Loveless and Martina McBride. Meanwhile, newer artists also began to embrace Berg’s work. Sara Evans did well with “Fool, I’m a Woman” and Berg earned some big royalties when the Dixie Chicks had a smash with her “If I Fall You’re Going Down With Me.” She even caught the attention of another legend, Loretta Lynn, who recorded “Working Girl” for her Still Country album in 2000. Terri Clark followed Lynn’s lead and included the song on her 2002 comeback album Pain to Kill.
More recently, Keith Urban included “Nobody Drinks Alone” on his Be Here album, Pinmonkey revived her Rising Tide single “That Train Don’t Run,” and Lee Ann Womack cut “You Should’ve Lied.” Berg earned a Grammy nomination for “I Don’t Feel Like Loving You Today,” which was a hit for Gretchen Wilson.
But it’s with those nineties women that Berg remains most closely associated. Patty Loveless earned a Grammy nomination for her performance of “On Your Way Home.” Pam Tillis included “Crazy By Myself” on her 2007 album RhineStoned. Trisha Yearwood’s new album features Berg’s “Dreaming Fields” as the emotional centerpiece.
In recent years, Berg has been touring both the U.S. and Europe with other female songwriters, and while she shares billing with peers like Gretchen Peters and Carolyn Dawn Johnson, the depth of Berg’s catalog is unmatched by any female songwriter of her generation.
For a look back at the other major categories, visit our CMA Awards page.
Zac Brown Band
Usually there isn’t this much turnover in this race unless most of last year’s nominees are ineligible. This year, only one of the four eligible nominees from last year – Zac Brown Band – earns a nomination. With their massive success and their multiple nominations, they’ve got an excellent shot at winning. Then again, Easton Corbin is elsewhere on the ballot, too. It could be a horse race. 2009
Zac Brown Band
Thirteen years after winning the Best New Artist Grammy as part of Hootie & The Blowfish, Darius Rucker won the country music equivalent, adding an exclamation point to the most successful pop-to-country crossover in a generation.
The industry favorites Lady Antebellum became the fourth band in history to win this award, following Rascal Flatts, Dixie Chicks and Sawyer Brown.
Little Big Town
In the year since winning the Horizon Award, Swift has solidified her position as the genre’s most successful rising star. While her debut album hasn’t reached the sales heights of the first discs by previous winners Carire Underwood and Gretchen Wilson, Swift is still one of the genre’s only significant sellers.
Little Big Town
I had a sneaking suspicion that Josh Turner was going to take this home, but as I’ve said before, Carrie’s got the best pipes since Trisha Yearwood. That she’ was acknowledged for that at such an early stage of her career is pretty amazing. Somehow I think the thrill of winning Horizon was short-lived, as winning Female Vocalist the same night left that memory in the dust.
Big & Rich
Four of these five were nominees again the following year, and all in categories besides just Horizon, though Lambert got another shot at that as well.I think Big & Rich and Sugarland are making the most interesting music, and they’re moving more units than Bentley, though he’s no slouch himself.The CMA showed good judgment this year.