Of course, it’s not just the Americana acts that can’t get radio play these days. Even top-selling albums by Scotty McCreery and Alison Krauss & Union Station weren’t embraced.

Country Universe editors and contributors each submitted a list of their ten favorite albums of 2011.  31 different albums were included on our lists, and over the next two days, we’ll share with you our collective top twenty.

Top Twenty Albums of 2011, Part One: #20-#11

#20
Beat the Devil and Carry a Rail
Noam Pikelny

His tenure with the Punch Brothers and his winning of the first annual “Steve Martin Prize for Excellence in Banjo and Bluegrass” in 2010 both earned Noam Pikelny the clout to release Beat the Devil and Carry a Rail, his second solo album and first since 2004. Joined by an all-star roster of fellow pickers, Pikelny’s mostly instrumental set is a showcase both for its lead artist’s extraordinary technical skills and for the banjo’s wide-ranging potential. – Jonathan Keefe

Individual Rankings:  Jonathan – #4

Recommended Tracks: “Fish and Bird” featuring Aoife O’Donovan, “Boathouse on the Lullwater,” “My Mother Thinks I’m a Lawyer”

#19
The King is Dead
The Decemberists

The indie favorites take their hyper-literate brand of folk-rock for a rustic spin, achieving new concision in the process. Colin Meloy’s wild narratives and wilder lexical choices sound right at home in these short-and-sweet song designs, and the Americana field is richer for having them. – Dan Milliken

Individual Rankings: Dan – #4

Recommended Tracks: “Don’t Carry It All,” “June Hymn”

#18
Concrete
Sunny Sweeney

That solo women disappeared from country radio was one of 2011′s major talking points within the genre, but Sunny Sweeney’s Concrete provided some of the most compelling evidence that it wasn’t a lack of strong material that kept female artists off radio playlists. Balancing a keen traditionalist bent with a thoroughly modern point-of-view, Sweeney’s fully-drawn characters and clever spins on familiar country tropes proved that an album that sounds “radio friendly” doesn’t have to be light on actual substance or craft. – Jonathan Keefe

Individual Rankings: Ben – #3

Recommended Tracks: “Amy,” “From a Table Away,” “Fall for Me”

#17
It’s Already Tomorrow
Foster and Lloyd

Their first time around, Foster and Lloyd were one of the coolest country acts going, blending in a love of traditional country music with some ’60s post-British Invasion rock vibes. It’s Already Tomorrow, their first album in 20 years, shows an impressive return to form. Radney Foster and Bill Lloyd have released some terrific solo albums, but there is a definite magic that happens when they record as a duo. – Sam Gazdziak

Individual Rankings: Sam – #2

Recommended Tracks: “Picasso’s Mandolin,” “That’s What She Said,” “Can’t Make Love Make Sense”

#16
This is My Blood
The Dirt Drifters

As mainstream country music becomes increasingly slick and polished, it’s a refreshing change to hear something gritty and rough around the edges. The Dirt Drifters’ debut on Warner Bros. certainly qualifies. If you’re looking for country-rock that takes its cue from run-down country roadhouses instead of ’80s arena rock, this album is for you. – Sam Gazdziak

Individual Rankings: Sam – #3; Dan – #10

Recommended Tracks: “Always a Reason,” “Married Men and Motel Rooms,” “Hurt Somebody”

#15
Ghost to a Ghost/Gutter Town
Hank III

Hank III’s entire artistic persona is built on indulging in every type of excess he can think of, so it was hardly a shock when, for his first recordings after a less-than-amicable departure from Curb Records, he dropped four full-length albums of new material on the same day. While not all of his ideas are good ones– the less said about Cattle Callin’, the better– the double-album Ghost to a Ghost / Gutter Town proves that Hank III is driven to his spectacular highs not just by the various recreational drugs circulating through his bloodstream but also by a real fearlessness and creativity and a sense of respect for his bloodline. – Jonathan Keefe

Individual Rankings: Jonathan – #1

Recommended Tracks: “Don’t Ya Wanna,” “Musha’s,” “Dyin’ Day”

#14
Ghost on the Canvas
Glen Campbell

A late-in-life swan song by an icon acutely aware of their own mortality. That’s a fitting description of so many of the best country albums in recent years. This is the best of that subgenre since Porter Wagoner’s Wagonmaster. – Kevin John Coyne

Individual Rankings: Kevin – #5; Dan – #6

Recommended Tracks: “There’s No Me…Without You”, “Ghost on the Canvas”

#13
Chief
Eric Church

On the heels of an album that was largely a hit or miss affair, Church delivers a surprisingly electric third album, marked by its edgy sonic splash. But while its spin on country rock is undeniably enticing –a funky mix of swampy, trippy and punchy—the album’s soul is Church himself, a more believable artist this time around than most of his contemporaries. Because for all its hard ass sentiment, Chief actually walks the walk, as authentic as it is audacious. Outlaw in the making? Probably, but don’t tell Church I said so. – Tara Seetharam

Individual Rankings: Tara – #4; Sam – #6; Leeann – #10; Jonathan – #10

Recommended Tracks: “Hungover & Hard Up,” “Keep On,” “Creepin’”

#12
Long Line of Heartaches
Connie Smith

What more can you ask for? Purely straightforward and unadulterated country songs delivered by the finest vocalist the genre has ever been privileged to call its own. Smith’s own co-writes with husband and producer Marty Stuart (The title track, “I’m Not Blue,” “Pain of a Broken Heart”) sit comfortably alongside top-notch cover material penned by Harlan Howard, Johnny Russell, and Dallas Frazier, all backed by the sweet sounds of fiddle and steel aplenty. Long Line of Heartaches is a beautiful reminder of what country music once was, and could be again. – Ben Foster

Individual Rankings: Ben – #2; Jonathan – #5

Recommended Tracks: “Long Line of Heartaches,” “I’m Not Blue,” “Ain’t You Even Gonna Cry”

#11
Your Money and My Good Looks
Gene Watson and Rhonda Vincent

There was no chance that this collaboration of straight up country songs between Gene Watson and Rhonda Vincent was going to garner any attention from mainstream country music outlets. However, thanks to memorable songs, pure country production and Watson and Vincent reverently following the spirit of classic country duet albums of the past, this project was surely one of the stand out albums of the year. – Leeann Ward

Individual Rankings: Leeann – #2; Ben – #5

Recommended Tracks: “You Could Know as Much from a Stranger,” “My Sweet Love Ain’t Around”

Connie Smith

Long Line of Heartaches

Connie Smith is hailed by many as the best vocalist in country music history, and that distinction is clearly warranted.  When it comes to tone, phrasing, and vocal power, the woman has no equal.  In listening to Long Line of Heartaches, her first album of new material since 1998, it would be a great understatement to say that she is still in fine voice.  Her voice may have picked up a few rough edges over the years, but she still posseses more than enough vocal chops to blow today’s hitmakers out of the water.

Perhaps one of the most important characteristics setting Smith head-and-shoulders above so many current artists is her firm grasp on one of the most important truths about great country music:  Sincerity comes before power.  “I believe that country music is the cry of the heart,” she says in the album’s liner notes.  “It spans the whole of our emotions from the ecstasy to the agony.  I believe the role of a singer is not just to perform, but to communicate this heart-felt cry to the audience.”

Right from the opening steel guitar chords of the title track, Long Line of Heartaches gives unshakable authority and authenticity to the above statements.  Husband Marty Stuart acts as producer for this twelve-track set, backing Smith with vintage-sounding traditional country arrangements that consistently allow her incomparable voice to be the center of attention.  The sound of this record is not far removed from the music of her 60′s heyday, yet it benefits from the clarity of sophisticated modern-day recording techniques.  She wringes every ounce of emotion from each song’s lyrics, bringing a weathered been-there-done-that pathos to her delivery of “Long Line of Heartaches” and “The Pain of a Broken Heart,” both co-written with Stuart (Smith shares writing credits on five of the album’s twelve tracks).

Today’s mainstream artist’s often lean toward positive uplifting material so as to be accepted by country radio, but they all too often seem to forget the fact that country music’s signature theme is heartache.  On this set, however, heartache is the central theme – treated often with undercurrents of pain and regret, but sometimes tinged with hope and dawning optimism.  In the beautiful “That Makes Two of Us,” written by Kostas with Patty Loveless and Emory Gordy, Jr., Smith expresses a desire to set aside past differences and to reconcile with her former lover, and seeks to find out if her feelings are requited, entreating “Don’t you think it’s time to let the healing start?”

On “Ain’t You Even Gonna Cry,” Smith is determined to walk out on an ill-fated relationship, completely self-assured of her decision, yet still taken back by the nonchalant ease with which her significant other watches her leave.  In contrast, she puts on a confident air on the album standout “I’m Not Blue,” yet the lyric and performance betray the fact that she is in denial of her true feelings. (“If you think there’s teardrops in my eyes/ They’re only raindrops from the sky… The truth gets hard to say when pride stands in the way/ So just let me lie to you/ I’m not blue) In addition to these fine selections, we are treated to a well-chosen cover of the Harlan Howard/ Kostas composition “I Don’t Believe That’s How You Feel.”

Complementing the high caliber of songwriting, Smith is joined by some talented musicians on this album, including the members of her longtime backing band The Sundowners.  Marty Stuart plays electric, acoustic, and hi 3rd guitars, while renowned steel player Robby Turner plays on six of the album’s tracks.  As a special treat in closing, Smith’s own daughters – Jodi Seyfried, Jeanne Jaynes, and Julie Barnick – sing background vocals on the album’s final track, the spiritual ballad “Take My Hand.”

Long Line of Heartaches triumphs artistically thanks to its unerring focus on song and storytelling above all else, thus drawing on Smith’s formidable vocal prowess without exploiting it.  It’s the same approach that has served Smith well throughout her Hall of Fame-worthy career.  The result is an album that ranks among the best of 2011, and that effectively builds on the already well-established legacy of Connie Smith.

I was in my early teens when I first discovered Sara Evans… and I thought she was the greatest thing since sliced bread.  The rich, throaty texture of her distinct voice reeled me in, and her entertaining mixture of traditional and contemporary influences had me thoroughly hooked.  Now that I’ve also become familiar with the likes of Patty Loveless, Pam Tillis, Trisha Yearwood, and Emmylou Harris, my view of Sara is a little more in-perspective these days, but I do still consider myself a big fan, and she holds a special distinction as one of the first female country artists I really got into.

Radio passed on her when she first emerged as a neotraditionalist in the late nineties, but with future efforts, Sara went on to become a star, thanks to her ability to adapt to changing times while still staying true to herself.  She was one of the dominant female country voices on the radio dial in the early years of the twenty-first century, and after enduring a bit of a dry spell for a few years, she has recently experienced a commercial resurgence.

Though she maintained a fairly consistent quality standard for the better part of her career, recent years have seen that standard slipping thanks to subpar pop-country cuts in the vein of “Feels Just Like a Love Song.”  Nonetheless, Sara still deserves credit for having a solid body of work behind her that’s well worth remembering.  If we’re fortunate, perhaps we may one day see Sara make a return to form, or even delve back into her traditional country and bluegrass roots.

The following list includes many of the songs that best exemplify the qualities that drew me to the music of Sara Evans in the first place.  It’s not meant to be a strict listing of the songs that unquestionably rank as Sara’s “best;” (which would be pretty subjective anyway) It’s merely a list of my own personal favorites.  Let it be an enjoyable look back on some of Sara’s finest moments.  If you would like to share any of your own favorites in the comments section, please feel free to do so.

#25

“A Little Bit Stronger”

Stronger, 2011

Somehow, Sara’s comeback hit finds a way to hit my sweet spot for power ballads. (Yes, I actually do have a sweet spot for power ballads, though few have been able to hit it) What was it about this song that won me over?  Maybe it was the subtle strains of mandolin and steel.  Maybe it’s the build-up nature of the song – the way the progressive nature of the narrator’s healing is mirrored by the production and by Sara’s vocal delivery.  At any rate, the ingredients come together to form a record greater than the sum of its parts.

#24

“New Hometown”

Real Fine Place, 2005

It’s not just a song about how cool small-town life is.  Stylistically, the song even ranks as one of Sara’s most pop-friendly album tracks.  As Sara’s character expresses her desire to escape the hustle-and-bustle of city life, the song becomes a plea for a return to the simple things in life.  Though not all of us intend to make a big old move to a small town, no doubt many among us harbor a similar deep-down yearning just to “find a little earth to stand on.”

#23

“Perfect”

Restless, 2003

The catchy guitar hook is an instant attention-getter, but this number-two hit from Sara’s Restless album has a heart and a simple message at its core:  “Real love and real life doesn’t have to be perfect.”  Add in a few quirky and clever lines such as “If in every wedding picture my daddy looks annoyed, it’s all right,” as well as the fitting conclusion that “All the fairy tales tell a lie,” and you’ve got a real beauty.

#22

“Momma’s Night Out” 

Real Fine Place, 2005

I love this song mainly because it’s a side of Sara that we haven’t seen very often.  She’s rarely been one to record party songs.  But on this track, Sara takes on the role of an overworked mother who throws in the towel, leaves the kids with daddy, and hits the town with the girls.  Sara’s sassy vocal finds her as loose as she’s ever been, while the funky horn-infused production makes it an unforgettable track

#21

“Cupid”

No Place That Far, 1999

The distinct voice of George Jones, even when coming in the form of background vocals, has the ability to make a great song even greater (see Patty Loveless, “You Don’t Seem to Miss Me”).  In this shamelessly twangy steel-infused country rave-up from No Place That Far, the Possum joins Sara in delivering the unshakable hook of “Tell Cupid not to point that thing at me!”

#20

“Restless”

Restless, 2003

I have a bit of a weakness for country music that borrows from Irish and Celtic influences as this track does.  The gorgeous Celtic-harp-laced arrangement makes “Restless” a highlight of one of Sara’s most stylistically-diverse albums.  The lyrics are every bit as beautiful, poetically telling of a restless soul learning to make peace with the fact that she will be a wanderer until the day she dies.

#19

“Low”

Billy: The Early Years (soundtrack), 2008

Sara’s contribution to the Billy soundtrack is nothing short of a pure joy, replete with the sounds of pure country and bluegrass instrumentation.  Though the lyrics invoke religious elements, they don’t sound preachy at all.  It’s not a “You should live your life this way” kind of song;  It’s an “I’m going to live my life this way” kind of song.  It’s a proactive anthem of strength, resolve, and determination – more uplifting than a million Martina McBride power ballads combined.

#18

“I’ve Got a Tiger By the Tail”

Three Chords and the Truth, 1997

Fact:  Sara sounds best when singing traditional country music.  Going back and listening to Sara’s shamelessly neotraditional debut album is a joy for any fan of stone cold country.  Here she pays tribute to the vintage Bakersfield sound with a cover of a Buck Owens hit co-written by Harlan Howard.  Besides being a highlight of the Three Chords and the Truth album, this song was instrumental in helping Sara get the chance to snag a record deal and become a star.  It was when the legendary songwriter Harlan Howard himself heard Sara’s performance of his classic song that he threw all his efforts into helping the young talent get discovered.

#17

“Fool, I’m a Woman”

No Place That Far, 1999

This deliciously snarky tune has Matraca Berg’s fingerprints all over it.  In a composition by one of country’s finest songwriters, Sara plays off the age-old stereotype of a woman’s continual habit of changing her mind.  She scoffs at old romantic clichés as she pointedly tells off her soon-to-be-ex-lover – “You used to tell me so many nights/ You don’t deserve me/ Well maybe you were right.”  Ouch!

#16

“A Real Fine Place to Start”

Real Fine Place, 2005

I have a major affinity for songs that can effectively channel the excitement of a newfound romance, and this Radney Foster-penned number-one hit from 2005 squarely hits that target.  Thanks in large part to Sara’s soaring vocal performance, “A Real Fine Place to Start” is a fun, breezy record that bubbles over with energy and exuberance, and begs to be blasted out one’s car windows.  A shining example of pop-country done well.

#15

“Why Should I Care”

Born to Fly, 2000

A sparse pop-country ballad in which a woman struggles to make sense of the feelings of guilt and jealousy that suddenly surface when she finds out that her former lover has found someone new.

#14

“Imagine That”

Three Chords and the Truth, 1997

Sara’s take on this Patsy Cline torch ballad ranks as arguably one of the finest displays of Sara’s vocal talents that can be found on any of her studio albums.

#13

“Bible Song”

Real Fine Place, 2005

This melancholy Lori McKenna song was one of the best tracks on Real Fine Place.  While so many country stars have gleefully sang the praises of small-town living, “Bible Song” echoes the message that life in such idealistic small towns is not always what it’s cracked up to be.  The pace of life may be slower, but this tragic story of a young man’s drug-induced death shows that even small town residents at times fall prey to their own inner demons.

#12

“Rockin’ Horse”

Restless, 2003

A genuine nugget of wisdom is wrapped up in this blazing fiddle-shredder.  The narrator recounts a frightening childhood experience in which a tree falls near her family’s house after being struck by lightning.  Then her father carves the tree’s wood into a rocking horse that becomes one of her most treasured toys.   By showing how this experience shapes the narrator’s outlook on life, “Rockin’ Horse” becomes a colorful testament to the power of positive thinking, with its message summed up in the memorable hook “When it’s pouring down on me/ In my life I see the rockin’ horse inside the tree.”

#11

“As If”

Greatest Hits, 2007

Four new tracks were included on Sara’s 2007 Greatest Hits package, and this almost-Top 10 hit was by far the best.  With cheeky, humorous lyrics, Sara satirically poked fun at the human tendency toward infatuation that blinds one to all a person’s shortcomings.  The catchy melody and energetic performance made for an earworm of a record that was truly unforgettable.

#10

“What That Drink Cost Me”

Stronger, 2011

The new album could have benefited greatly from more songs like this.  This restrained steel guitar weeper is the stuff of a country classic – a heart-wrenching tale of the destructive power of alcohol.  Though the Stronger album as a whole found Sara saddled with an excess of disposable material, the fact that it also included one of the best songs she had written in years is an encouraging sign.  Besides that, “What That Drink Cost Me” is yet another example of one of the qualities that I’ve always appreciated about Sara’s music:  Even after she went in a more pop-flavored musical direction, her traditional country influences were never fully snuffed out.

#9

“If You Ever Want My Lovin’”

Three Chords and the Truth, 1997

This loose, flirty, upbeat little ditty was co-written by Sara along with Billy Yates and Melba Montgomery.  Though the cheeky lyrics can put an instant smile on one’s face, the record’s most endearing trait is Sara’s raw, expressive vocal delivery.  Though Sara’s Missouri twang is toned back on some of her more pop-oriented material, this record allows that twang to stand front and center.

#8

“Unopened”

Three Chords and the Truth, 1997

This was the only original song on Sara’s debut album on which she did not share writing credits, originating from the pen of Leslie Satcher.  As the song’s narrator discovers evidence of a secret love from her man’s past, she views his willingness to leave it behind as evidence of his genuine love for her.  She resolves to return that love by trusting in her man, and allowing his secret to remain a secret.

#7

“No Place That Far”

No Place That Far, 1999

Vince Gill is one of country music’s favorite harmony vocalists (besides being an A-list legend in his own right), and he adds something particularly special to the hauntingly beautiful love song that was Sara’s breakthrough chart-topper.  The song reaches a crescendo in the final chorus as Sara sings “If I had to run, if I had to crawl…” and is answered each time by that distinctive tenor.  It’s as if we’re listening to two lovers singing to one another from afar off, pledging their unwavering determination to be reunited.  Though it’s a great lyric in its own right, the chemistry of the two performers gives the story an extra layer that can’t be seen just by looking at the lyrics on paper.

#6

“I Learned That from You”

Born to Fly, 2000

Though found on one of Sara’s most pop-oriented albums, “I Learned from You” was one of the finest and most country tracks on Sara’s breakthrough album Born to Fly.  A heavy-hearted reflection on the difficult leassons learned from a first love that didn’t last, while also an appreciative recollection of all the happy memories that were made at the time.

#5

“Coalmine”

Real Fine Place, 2005

The timing was unfortunate for the release of this underplayed gem that offered a glimpse of Sara’s mountain bluegrass influences.  A flirty, playful lyric and performance added up to a song that was loads of fun as Sara fawned over her man “walking out of that coalmine, covered with dust, T-shirt tight, all muscled up.”  This is one Sara Evans single that is definitely deserving of a re-release.

#4

“Three Chords and the Truth”

Three Chords and the Truth, 1997

The title track of Sara’s debut is a testament to the power of country music in dredging up deeply held emotions in a listener – emotions that we might have ignored in the past.  It’s the kind of song that always reminds me why I love country music so much.  Sara’s character hears a country song on the radio for the first time, and it not only brings back the emotions, but it moves her to action.  It motivates her to turn the car around and reconcile with the lover she had intended to leave far behind.  “Three Chords” is a beautifully constructed story that effectively pays tribute to country music at its best, demonstrating that there’s so much more to this unique and special genre than what the ugly stereotypes would lead some to believe.

#3

“Suds In the Bucket”

Restless, 2003

Besides being an excellent singalong driving jam, this fiddle-and-steel-laden hit is a humorous glimpse at tongue-wagging small-town culture, sans the chest-pounding backwoods clichés that are common on country radio today.  Fun, playful, and full of personality, this country rave-up was the song that first got me into Sara Evans, and it’s remained a personal favorite of mine ever since.  It never fails to make me feel happy.

#2

“Cheatin’”

Real Fine Place, 2005

This Top Ten hit takes a classic country music theme – infidelity – and puts a distinct and memorable spin on it.  After having parted ways with an unfaithful spouse, Sara’s character gloats over the unpleasant living situation her ex has since found himself in.  But as the lyric progresses, she reveals that she has been genuinely hurt by his actions, and she unashamedly drops the bomb of “Yes, I’ll be glad to take you back just as soon as I stop breathing.”  Amusingly spiteful and achingly emotional at the same time, “Cheatin’” exemplifies the layered organic storytelling that makes for a killer country song, while the traditional-styled arrangement acts as the perfect sonic backdrop to Sara’s bitterly nuanced performance.

#1

“Born to Fly”

Born to Fly, 2000

Sara’s career record remains one of her most enduring and effortlessly charming hits, and with it’s distinctive drumbeat intro and bluegrass-tinged instrumentation, it’s definitely one of her most recognizeable.  “Born to Fly” is an endearing coming-of-age tale of a young woman exploring her potential in life, and seeking to find her place in the world.  It manages to perfect the magic formula of possessing a unique identity of its own, while still being universal such that a wide array of individuals can relate to the feelings it expresses.  Who among us has never gone through this period of life as a young person?  We’ve all been at that crossroads point in life, and felt what it’s like to be “starin’ down the road, just lookin’ for my one chance to run.”

In a way, the song could also be seen as symbolic of the point Sara was at in her career when she recorded it.  Would her third album improve on the moderate success of No Place That Far, or would it be ignored like the commercially-underappreciated Three Chords and the Truth?  It was with this album and single that Sara struck platinum with a style that was just slick enough to be commercially friendly without sacrificing the heart of her earlier work.  The result?  Her career ‘soared away like a blackbird.’

In a career that has included many memorable singles, “Born to Fly” is one of the very finest.

Perhaps the least satisfying Wagoner & Parton singles are the ones that fall in the “let’s pledge our true love” category.

This shouldn’t be a surprise.  Stop and think about the very best solo songs by Parton and by Wagoner.  How many of them are sweet love songs?

Nah, we’d all rather hear them hurtin’, bickerin’, losin’, and leavin’.   Or even better, spinning a good third person yarn about characters even more outsized in personality than these two singers.

So this isn’t a bad song, but it simply doesn’t play to their strengths.

Written by Harlan Howard

Grade: B-

Listen: Yours Love

http://www.youtube.com/watch?v=XLLR1e4xIAw

#100
“Restless”
Alison Krauss & Union Station
2004
Peak: #36

A shimmering moment of infatuation chased with unease. Krauss is entangled in thoughts of her beloved but at a distance, and temptation lurks for both of them. – Dan Milliken

#99
I’m Holdin’ On to Love (To Save My Life)
Shania Twain
2000
Peak: #4

A terribly catchy slice of country-pop that, true to Twain, doesn’t sacrifice authenticity for appeal – Twain simply embodies the snappy energy that pulses through the song. – Tara Seetharam

#98
“The Back of Your Hand”
Dwight Yoakam
2003
Peak: #52

All allegory and metaphor, with the stark choice between together and alone wrapped up in a pretty verbal package: “Pick a number from one to two.” – Kevin Coyne

#97
“I Would Cry”
Amy Dalley
2005
Peak: #29

Dalley can’t be bothered with the emotional histrionics. Her response to being cheated on is resigned and matter-of-fact: “You made a choice and now there’s no way to ever make it right.” – KC

#96
“When I Get Where I’m Going”
Brad Paisley with Dolly Parton
2005
Peak: #1

Paisley delivers a stirring look at the splendor in life after death, but it’s Parton who takes the song to new heights with her exquisite soprano and gorgeous harmonies. – TS

#95
“I’m Tryin’”
Trace Adkins
2001
Peak: #6

It’s been a long time since country music has truly been the voice of the working man. Just like the working class has become invisible on the national stage, so too have they disappeared from country radio in anything but caricature form. But this Adkins single is a glowing exception, akin to what Merle Haggard might sing if he was starting out in today’s world of child support payments and dead-end jobs. Adkins is good, but “I’m Tryin’” hints at his potential greatness too often untapped. – KC

#94
“Modern Day Bonnie and Clyde”
Travis Tritt
2002
Peak: #8

Here is another fun story song, though the prominent Dobro throughout is even more captivating than the outlaw story itself. – Leeann Ward

#93
“Busted”
Patty Loveless
2009
Peak: Did not chart

Patty Loveless restores the original lyrics to Harlan Howard’s “Busted”, which reflects the hardships of a downtrodden coalminer. Behind a lively performance is a serious topic for these times. – LW

#92
“As Good As I Once Was”
Toby Keith
2005
Peak: #1

An aging tough guy that still has a good fight and a good night’s loving to offer. This is Keith at his self-deprecating best. – KC

#91
“Arlington”
Trace Adkins
2005
Peak: #16

This is a gorgeous, heartfelt tribute to the fallen veterans. Adkins gives the song the reverence to which it is entitled. – LW

#90
“I’ll Stand By You”
Carrie Underwood
2007
Peak: #41

It’s certainly innovative to scrub The Pretenders’ 90s anthem of all its rock coating and reveal it as a bare-bones, folky country ballad. But innovation alone does not a masterful cover make: it’s Underwood’s raw, understated yet urgent vocal performance that makes this rendition as compelling as – if not more so than – the original. – TS

#89
“Beautiful Mess”
Diamond Rio
2002
Peak: #1

“Beautiful Mess” perfectly encapsulates the euphoric “mess” of a new relationship. – LW

#88
“Just A Dream”
Carrie Underwood
2008
Peak: #1

Grief’s great cruelty is that it allows you a moment to forget your loss. Then the pain comes flooding back in. Underwood alternates between denying reality and bargaining with it, but is still left alone and forsaken. No wonder she sings the fire out of it. – KC

#87
“The Hard Way”
Pam Tillis
2007
Peak: Did not chart

The fact that this sublime, understated song didn’t even have a chance on radio in the latter half of the 2000s doesn’t make “The Hard Way” any less worthy of  positive attention. – LW

#86
“You’ll Be There”
George Stait
2005
Peak: #4

The best line of 2005 that was heard on country radio: “You don’t take nothing with you here and you can’t take nothing back. I ain’t never seen a hearse with a luggage rack.” – KC

#85
“Every Mile a Memory”
Dierks Bentley
2006
Peak: #1

You can’t outrun an unresolved past, even when you’ve got a fast tour bus and a band of brothers to get trashed with and stuff. – DM

#84
“Nothing On But the Radio”
Gary Allan
2004
Peak: #1

Allan is charmingly seductive on this number, suggesting a romantic evening that involves just what the song’s title spells out. – TS

#83
“When You Come Back Down”
Nickel Creek
2001
Peak: #48

“When You Come Back Down” is a gorgeous pledge  of unconditional love: “When you’re soarin’ through the air/I’ll be your solid ground/Take every chance you dare/I’ll still be there/When you come back down.” – LW

#82
“Earthbound”
Rodney Crowell
2003
Peak: #60

The phenomenal thing about Rodney Crowell’s work in the last decade is his ability to  say something meaningful with the support of strong melodies that actually help us remember what he has to say. “Earthbound” is bouncy and positive, but still slips in a few thoughtful tidbits to make the song more substantive at its core. – LW

#81
“Our Song”
Taylor Swift
2007
Peak: #1

It’s hard to believe this bright, cleverly-written song was the brainchild of a fifteen year-old. Swift blends the kind of ingenuity you’d expect from a seasoned songwriter with all the radiance you’d expect from a puppy-love-drunk teenager. – TS

- – -

• The 201 Greatest Singles of the Decade, Part 1: #201-#181
• The 201 Greatest Singles of the Decade, Part 2: #180-#161
• The 201 Greatest Singles of the Decade, Part 3: #160-#141
• The 201 Greatest Singles of the Decade, Part 4: #140-#121
• The 201 Greatest Singles of the Decade, Part 5: #121-#101
• The 201 Greatest Singles of the Decade, Part 6: #100-#81
  
• The 201 Greatest Singles of the Decade, Part 7: #80-#61
• The 201 Greatest Singles of the Decade, Part 8: #60-#41
• The 201 Greatest Singles of the Decade, Part 9: #40-#21
• The 201 Greatest Singles of the Decade, Conclusion: #20-#1

But for those who know her best as a sitcom star or Kelly Clarkson’s and Kenny Chesney’s duet partner, trying to tackle her catalog is a daunting task. This Starter Kit will get you going, as it includes ten of her most essential tracks. Those of you looking to learn more about McEntire are highly recommended to check out the excellent My Kind of Country blog, which gives frequent and always high-quality coverage of McEntire’s music, past and present.

“Somebody Should Leave” from the 1984 album My Kind of Country

Even though she was won her first CMA award for Female Vocalist before this album was released, My Kind of Country is widely credited as being the first truly great Reba McEntire album. She exerted creative control for the first time, and instantly became one of the genre’s most significant new traditionalists.

This Harlan Howard classic is achingly, heartbreakingly beautiful, a description that fits most of McEntire’s best work. Here, a couple is aware that it’s time to part ways, but aren’t sure how to go about it, so worried are they for their children: “If it was only you and me, goodbye might come more easily. But what about those babies down the hall?”

“Whoever’s in New England” from the 1986 album Whoever’s in New England

A country ballad on the surface, a power pop ballad below the surface. This epic of suspected cheating turned her into a record seller, and earned her the CMA award for Entertainer of the Year.

“One Promise Too Late” from the 1986 album What Am I Gonna Do About You

McEntire’s recorded quite a bit of traditional country, but rarely as pure as this track, where the musical hook is provided by twin fiddles and her voice is even twangier than usual.

“You Lie” from the 1990 album Rumor Has It

There were quite a few solid singles off Reba’s lesser-known but still platinum-selling albums from the late eighties. But when she teamed with Tony Brown for Rumor Has It, the lead single “You Lie” blew them out of the water. The full range of her voice was on display for the first time, and it was a force to be reckoned with.

“Fancy” from the 1990 album Rumor Has It

Bobbie Gentry’s original was tinged with sadness and regret, but McEntire turned it into an empowerment anthem, a full force assualt on the “self-righteous hypocrites that call me bad.” She did what she had to do, and she stayed true to her mother and herself. She could care less what anyone else thinks about it.

“For My Broken Heart” from the 1991 album For My Broken Heart

Paul W. Dennis of The 9513 said that his Randy Travis Starter Kit could begin and end with the entirety of Storms of Life. I could say the same about McEntire and her masterpiece For My Broken Heart.

Recorded in the wake of the plane crash that killed her road manager and several members of her band, the album is somber without ever becoming too morose. The title track was originally planned as a duet with Clint Black, but McEntire did it alone in the end. Her performance on the CMA Awards was one of her finest moments, even as her voice visibly cracked with emotion at the end.

“The Greatest Man I Never Knew” from the 1991 album For My Broken Heart

A daughter looks back on the man who sacrificed everything he had to make a better life for his family, but in so doing, never got to know his daughter. “I never really knew him,” she laments, “and now it seems so sad. Everything he gave to us took all he had.”

“If I Had Only Known” from the 1991 album For My Broken Heart

Her finest moment on record, as she looks back with sad regret on the things that she never said to a loved one who has died. “If I had only known it was my last night by your side, I’d pray a miracle stop the dawn. And when you smiled at me, I would look into your eyes and make sure you know my love for you goes on and on.”

“The Fear of Being Alone” from the 1996 album What If It’s You

This strikingly intelligent hit finds McEntire warning her new beau not to rush into saying “I love you.”  She warns him that “you may think you do, but you don’t. It’s just the fear of being alone.”

“Moving Oleta” from the 2003 album Room to Breathe

This one’s so painfully sad that it could’ve been on For My Broken Heart. A man moves his wife into a nursing home because he can no longer care for her, so advanced is her Alzheimer’s.

“Why Not Me” wasn’t a great title. To get a really good record, you’ve gotta write a hell of a song when you’re dealing with a title that average. The only thing I know to do with songs like “Why Not Me” and “Busted” – which I never thought was a good title – is to put the title in there often so that people remember it. The weaker the title, the more you gotta hear it.”

“Why Not Me” earned the Judds the Country Duo/Group Grammy and the CMA award for Single of the Year. “Busted” was hit for both Johnny Cash with the Carter Family in the sixties and John Conlee in the eighties. Both songs feature the titles repeated endlessly.

I think this quote is fascinating because it provides a window into how two songs from different eras were crafted by the same writer. I never noticed the similarities before reading the quote.

I’d also add that the Little Texas hit “My Love” and the Brooks & Dunn hit “That’s What It’s All About” show how the rule can be taken too far, in my opinion, and turn into just an annoying song.

What do you think?

“I like to give artists a song they have to sing the rest of their lives. Songwriting is both my living and my pleasure, so I’m a happy man.” ~ Harlan Howard

The dean of country music songwriters, Harlan Howard paved the way for all future practitioners of his craft, lending an authenticity and eloquence to the music that will last for the ages. Through five decades of classic songs, Howard put his indelible stamp on the country music industry through sheer genius and, like many fellow artists and songwriters, rose through the ranks with country music as a constant love through a hardscrabble life.

Born and raised in a Michigan farm town, Howard, an orphan, was first drawn to country music by his weekly appointments with the Grand Ole Opry radio shows on Nashville’s WSM radio. This love affair with the music continued when he traveled to Nashville on weekends during his stint as an Army paratrooper in Georgia, and it was that appreciation for the fine art that led him to leave for Los Angeles in 1955 to work in the factories while attempting a career in songwriting. A year after arriving in Los Angeles, Howard met Tex Ritter and Johnny Bond, who were impressed with the young songwriter’s catalog, culled from numerous hours of writing songs in his head while working at the factory. One of the first tunes that Howard wrote eventually became a country classic, “Pick Me Up on Your Way Down”, first recorded by Charlie Walker and a #2 hit in 1958. Another early success came in 1960, with both Guy Mitchell and Ray Price taking his “Heartaches by the Number” to top of the pop and country charts, respectively.

In that same year, Harlan moved to Nashville with his second wife, Jan Howard, and their three children. Soon after, Harlan’s success rate skyrocketed. He enjoyed as many as 15 of his own songs in the country Top 40 simultaneously, a long-standing record. His friendships with young writers such as Willie Nelson, Hank Cochran and Roger Miller further developed his songwriting skills and laid the foundation for the future of country songwriting. They would collaborate in an effort to create the “next big hit” for a number of Opry stars at the time. One superlative song in this stretch was “I Fall to Pieces”, immortalized by Patsy Cline. The likes of Johnny Cash, George Jones and Buck Owens all achieved considerable success on the charts in the 1960s, displaying Howard’s unique ability to write witty love songs (“I’ve Got a Tiger by the Tail”, Owens’ 1964 classic) or heartbreaking ballads (Bobby Bare’s breathtaking 1966 song, “Streets of Baltimore”).

Howard’s fortunes took a dip in the 1970s, although he would find sporadic chart success with songs such as Melba Montgomery’s “No Charge”. Throughout the decade and into the 1980s, Howard wrote infrequently, but the mid-to-late 1980s brought greater triumphs for Howard. The Judds’ version of his “Why Not Me” earned the CMA Single of the Year award in 1985, and the Reba McEntire chose his “Somebody Should Leave”, another #1 single in 1985, as the final single from her album My Kind of Country. “Life Turned Her That Way”, a Top Ten record for Ricky Van Shelton, earned Howard his sole nomination for Song of the Year from the CMAs (the song had also received a wonderful treatment from Mel Tillis in the late 1960s).

In 1989, Howard took further control of his career by starting his own publishing firm, Harlan Howard Songs, Inc., with wife Melanie, and leaving his long-term post at Tree Publishing. Howard’s run of hit records continued during the surge of female radio success in the 1990s. “Don’t Tell Me What to Do” helped Pam Tillis’ career gain new traction, becoming her first Top Five single (and a nominee for the CMA Single of the Year) in 1991. Also, the first single for Patty Loveless after career-threatening throat surgery was 1993’s “Blame It On Your Heart”, a #1 smash for two weeks. The tongue-twister, a co-write with Kostas, was named BMI’s most-played song of 1994, and launched Loveless into the top tier of country music superstars.

As a result of his consistency and continuous wealth of classic songs, the Country Music Hall of Fame welcomed him as a member in 1997. Other honors included induction into the Songwriters Hall of Fame, the National Academy of Popular Music Hall of Fame and the Grammy Hall of Fame. His list of 100+ Top Ten singles is an honor roll of country music and its ability to challenge, change or just plain entertain the listener. For Howard, it was easy to determine the ultimate mettle detector of a country song and its prospects for greatness. He maintained that it must be, simply, “three chords and the truth”.

The Harlan Howard Songbook

• Above and Beyond the Call of Love/Buck Owens; Rodney Crowell
• Blame It On Your Heart/Patty Loveless
• Busted/Johnny Cash; John Conlee
• Don’t Tell Me What to Do/Pam Tillis
• Excuse Me (I Think I’ve Got a Heartache)/Buck Owens
• Heartaches by the Number/Ray Price
• I Fall to Pieces/Patsy Cline; Aaron Neville & Trisha Yearwood
• I’ve Got a Tiger by the Tail/Buck Owens
• Life Turned Her That Way/Mel Tillis; Ricky Van Shelton
• No Charge/Melba Montgomery
• Pick Me Up On Your Way Down/Charlie Walker; Faron Young
• Somebody Should Leave/Reba McEntire
• Streets of Baltimore/Bobby Bare
• Why Not Me/The Judds
• Your Heart Turned Left and I Went Right/George Jones

#7

Patsy Cline

There are few women in the history of popular music as revered as Patsy Cline, one of the few country legends who has transcended the status of a singer and become a pop culture icon. Almost all of her classic recordings were created in a three-year span, and she only released three albums in her lifetime. However, her fame has grown exponentially since her career was tragically cut short, leaving behind questions of the music that might have been, but also immortally preserving her in her musical prime.

Cline hailed from Virginia, the daughter of a blacksmith and a seamstress. She grew up idolizing Judy Garland and Shirley Temple, and asserted from a young age that she would be a star as well. She also liked country music, being particularly drawn to the hits of Hank Williams. Cline suffered a throat infection as a child that she would later credit as a gift, believing that it was that illness that resulted in her deep-throated voice.

As a teenager, Cline competed in local talent shows and sang on the radio in Winchester. She performed in local country clubs wearing fringed cowgirl outfits that her mother created. A brief marriage in her early twenties to Gerald Cline provided her stage surname, while a later boyfriend suggested using Patsy along with it. She was soon commanding a large following in the Virginia/D.C./Maryland area, and was appearing on the television show Town and Country. She caught the attention of Jimmy Dean, who also frequently appeared on the show, and he became an early champion of her talent. Cline began appearing on the Grand Ole Opry, and she signed to Four Star Records in 1955.

Her contract with Four Star would lead to her breakthrough hit, but it would also limit her success for many years. Her voice showed great promise in both pop and country, but Four Star executives wrote in her contract that she could only record country music. Even more limiting was the clause that she could only record songs from Four Star’s publishing company. So for two years, Cline recorded an assortment of honky-tonk material that failed to capitalize on her vocal talents.

Though she would record more than fifty sides for the label, including her 1957 debut album Patsy Cline, she would only score one hit, 1957′s “Walkin’ After Midnight.” The single’s b-side, “A Poor Man’s Roses (Or a Rich Man’s Gold),” was intended to be the A-side, but after she performed “Midnight” on Arthur Godfrey’s television show, her label was convinced the song could be a hit. They were right, as the song went to #2 on the country chart and crossed over to the pop hit parade. “Roses” was also a hit in its own right, reaching #14 on the country chart.

Unfortunately, Four Star was unable to supply Cline with another hit, and until her contract with the label expired in 1960, her career was stuck in a holding pattern. During this time, she married Charlie Black, and their daughter was born in 1958. The family moved to Nashville soon after, and Cline secured a new manager, Randy Hughes, in 1959. He was central in landing Cline a recording contract with Decca, which would be the label she would make nearly all of her classic recordings with over the next three years.

Cline’s producer Owen Bradley sensed the crossover potential that Cline had, and her first release for the label in 1961, “I Fall to Pieces” was classic Nashville sound, featuring lush instrumentation and Cline’s finest vocal performance to date. The Harlan Howard-composed song was an absolute smash, topping the country charts and becoming a major pop hit as well. She joined the Opry cast that year, largely on the strength of the hit single.

However, a near-fatal car accident that year almost ended her career. She was forced to spend a month in the hospital, and performed on crutches once she finally returned to the road. Cline can be heard speaking candidly about the accident on the 1995 CD Live at the Cimarron Ballroom, a recording of her first concert after the accident that was discovered decades later.

While searching for a follow-up, Cline was pitched a song by hot young songwriter Willie Nelson, who had just had his breakthrough hit as a writer, Faron Young’s “Hello Walls.” Cline found the song Nelson pitched her, “Crazy,” impossible to sing, as she tried to follow his inimitable vocal style and make the melody work for her. Rib injuries from the car accident made that first recording session even more difficult, as Cline had trouble using her full voice. A week later, Cline recorded the song again after Bradley had completely revamped it into a sweeping pop ballad, and she nailed it in one take. The song became another smash, further elevating her popularity.

Cline’s crossover success made her a top concert draw, and she became the first female country artist to headline her own show. She was an assertive force on stage and off, refusing to kowtow because of her gender. She also became a champion for other female artists, giving solid support to rising stars Loretta Lynn and Dottie West.

Her two Decca albums, 1961′s Showcase and 1962′s Sentimentally Yours were top sellers. She cemented her popularity with the massive hit “She’s Got You”, which anchored the latter album and topped the country charts for five weeks in 1962. It was the last of her signature hits to peak during her lifetime, and it’s rarely noted that during the last year of her life, her hit records were on a decidedly smaller scale, a series of top ten and top twenty singles that didn’t resonate as much as her classics from the previous year, but had nice moments, including “Leavin’ On Your Mind,” “Imagine That” and the Mel Tillis-penned “So Wrong.”

In 1963, Cline went back into the studio, preparing songs that were intended to be included on her planned fourth album, Faded Love. “Faded Love” moved Cline so much in the studio that she actually began crying as she finished it, which is documented by the crack in her voice at the end of the finished recording.

On March 3, Cline performed at a benefit concert in Kansas City, and eager to get home to her children, she refused car rides back to Nashville and chose to fly, along with fellow Opry stars Hawkshaw Hawkins and Cowboy Copas. The plane flew into sever weather and crashed outside of Camden, Tennessee, only ninety miles away from its final destination. The news of the tragedy shook the country music industry, as it lost a trio of its stars, including its brightest of all, Patsy Cline.

Decca released several compilations after her death, including songs from her last sessions that became hits, like “Faded Love” and “Sweet Dreams (of You)”, the latter of which became another signature song and was made a hit all over again by both Emmylou Harris and Reba McEntire. A 1967 Greatest Hits album would be the top-selling album by a female country artist for decades to come. At sales of ten million to date, today it trails only a pair of Shania Twain albums among female country releases.

The impact of Cline’s seminal recordings was further demonstrated when Cline became the first female inductee into the Country Music Hall of Fame in 1973. Her close relationship with Loretta Lynn was described in Lynn’s autobiography Coal Miner’s Daughter, and Cline’s popularity rose again when Beverly D’Angelo portrayed her in the film version of Lynn’s book. This led to a film biography of Cline, Sweet Dreams, where she was immortalized on screen by Jessica Lange.

In the nineties, Cline’s brief recording career was encompassed with the exhaustive four-CD box set, The Patsy Cline Collection, which is one of the top-selling country box sets in history. In 1995, she was honored with the Grammy Lifetime Achievement Award. Her life was also the subject of a popular Nashville stage show, Always…Patsy Cline, which was based on letters written to a friend of hers. She was the only solo female country artist included in a series of U.S. postal service stamps in 1992, an honor that is only possible after death due to federal rules.

Today, Cline’s legacy lives on in the wealth of female vocalists that she has inspired and influenced. Her recording career was brief and she only had a handful of hits, but they’ve stood the test of time better than the best moments of most country artists’ entire careers.

The inevitable question of what might have been can never be answered, as we will never know if she would have recorded more classic songs or if her fortunes would have declined. She’ll never have the rich and varied catalog of other female country icons, and we’ll never know how age and maturity would have affected her song choices and vocal performances. But the upshot is that Cline’s talent has been frozen in time, and she will always be a singer in her prime, a legendary vocalist silenced while at the top of her game.

Patsy Cline

Essential Singles

• “Walkin’ After Midnight/A Poor Man’s Roses (Or a Rich Man’s Gold)”, 1957
• “I Fall to Pieces,” 1961
• “Crazy,” 1961
• “She’s Got You,” 1962
• “Sweet Dreams (Of You),” 1963
• “Faded Love,” 1963

Essential Albums

• Patsy Cline, 1957
• Showcase, 1961
• Sentimentally Yours, 1962

Industry Awards

• Country Music Hall of Fame, 1973
• Grammy: Lifetime Achievement Award, 1995

==> #6. Reba McEntire

<== #8. Trisha Yearwood

100 Greatest Women: The Complete List

#54

Sara Evans

A pure country singer with a sweet tooth for pop hooks. Sara Evans has been one of the most prominent female artists during the male-dominated 21st century, thanks not only to her talent, but also to her ability to adapt to changing times.

She sounded like something out of another era when she burst on the country music scene in 1997, only two years after moving back to Nashville after a stint in Oregon. While she had recorded some sides in the early nineties with E and S Records, she was pretty much starting all over again when she returned to Music City in 1995. But songwriting legend Harlan Howard heard her take on his classic tune “I’ve Got a Tiger By the Tail,” and was so impressed that he worked actively to get her noticed. Eventually, his efforts led to a deal with RCA Records.

When she released her debut album, Three Chords and the Truth, it was widely praised for its classic country sound. It was produced by Pete Anderson of Dwight Yoakam fame, and while it featured a handful of covers from the Nashville Sound era, the album was most notable for establishing Evans’ gifts as a songwriter. The haunting title cut was as pure a country song as anything released to radio that year, and Patsy Cline would’ve had a field day with Evans’ ditty “Shame About That.”

However, radio didn’t bite, so Evans was sent back in the studio to prep her sophomore set, No Place That Far. It featured a more contemporary sound, and while first single “Crying Game” barely dented the charts, the title cut was her breakthrough hit. It featured a soaring harmony from Vince Gill. The song went to No. 1 and pushed the album to gold status. Evans was nominated for the CMA Horizon Award in 1999 and 2000 on the strength of the hit and its follow-up, the lower-charting “Fool, I’m a Woman.”

Evans finally hit the big time with her third album, appropriately titled Born to Fly. The title cut was also the lead single, and it topped the singles chart in the fall of 2000. She followed up with her first bold pop move, a cover of the Edwin McCain hit “I Could Not Ask For More.” It went to No. 2 and helped push her album to double-platinum status. At the 2001 CMA awards, she was a five-time nominee, including nods for Female Vocalist and Album of the Year. She took home the trophy for Video, honored for her Wizard of Oz-themed “Born to Fly” clip.

When Evans returned in 2003, she attempted to further mine the big pop sound on her fourth album, Restless. However, first single “Backseat of a Greyhound Bus” stalled at No. 16, and while she recovered with the incessantly catchy “Perfect”, a No. 2 hit, album sales were still well below expectations.

The market had switched back to a more traditional sound, with female crossover artists suddenly out of fashion at country radio. But Evans had included a pure country rave-up at the end of her Restless set, almost as an afterthought. When “Suds in the Bucket” was released, sales for the album exploded. The song became her third No. 1 single and pushed her once-struggling album to platinum sales.

In 2005, Evans released her fifth album, Real Fine Place, and led off with “A Real Fine Place to Start,” a Radney Foster song that topped the charts for two weeks, and its follow-up “Cheatin’” also went top ten. The album hit a stumbling block when third single “Coalmine” faltered in the wake of mine disasters, but her consistency over the past few years was honored by the ACM when they named her Top Female Vocalist in 2006. A fourth single, “You’ll Always Be My Baby,” went top twenty later that year, and Real Fine Place became her third platinum album.

Meanwhile, Evans raised her visibility in an unorthodox way, becoming a highly popular contestant on Dancing With the Stars. She left the show for personal reasons, and dropped out of the spotlight for a few months to tend to them. But she came back with a batch of freshly written material to add to her first Greatest Hits record, released in October 2007. “As If” just missed the top ten, and was followed by the single “Some Things Never Change.”

Most recently, Evans paired up with pop act Maroon 5 for a CMT Crossroads Special. Even more impressive this year has been her partnership with the American Red Cross, as she has donated her time and talents to help raise disaster relief funds and encourage volunteer service across the country. She is currently working on her sixth studio album, which should be released in the next year.

Sara Evans

Essential Singles

• “No Place That Far” (with Vince Gill), 1999
• “Born to Fly”, 2000
• “Perfect”, 2004
• “Suds in the Bucket”, 2004
• “A Real Fine Place to Start”, 2005

Essential Albums

• Three Chords and the Truth (1997)
• No Place That Far (1998)
• Born to Fly (2000)
• Restless (2003)
  

Industry Awards

• CMA Video of the Year – “Born to Fly”, 2001
• ACM Top Female Vocalist, 2006

==> #53. Jo Dee Messina

<== #55. Jeannie Seely

100 Greatest Women: The Complete List