I’ll pick different artists this time around:
- Patty Loveless, “Here I am”
- John Anderson, “Straight Tequila Night”
- Carlene Carter, “Come on Back”
- Lee Roy Parnell, “I’m Holdin’ My Own”
- Emerson Drive, “Moments”
I’ll pick different artists this time around:
Here’s my list:
What do you think are the best second tracks on albums?
Here’s my list:
Seems as good a time as any to share our five favorite songs about money!
Here ‘s my top five:
Today, we kick off a new feature: Daily Top Five. Every day, one of our writers will post their top five picks for a given category, and invite readers to share their own lists in the comments. This idea was
ripped off from inspired by the film Top Five.
Since this is the first entry, today’s topic is First Favorites – your top five songs that got you into country music.
What’s your top five?
The list continues with big hits from Clay Walker, Neal McCoy, and Mary Chapin Carpenter, along with should’ve been hits from Carlene Carter and Merle Haggard.
“Daddy Never was the Cadillac Kind”
Written by Dave Gibson and Bernie Nelson
KJC #10 | JK #22 | SG #39
Confederate Railroad made it big by balancing party anthems with thoughtful songs about growing up in the south. This was their best “growing up” song, a thoughtful tribute from a son to his late father. As tends to happen, the lessons taught to us in our youth aren’t fully appreciated or understood until it’s too late to truly say “thank you.” – Kevin John Coyne
As one of the finest new traditionalists of the eighties and nineties, John Anderson pushed the boundaries of country music without sacrificing its distinctive heritage.
Like many of his contemporaries, Anderson grew up on both country and rock and roll. He was a teenager when Merle Haggard led him to the genre, and what he heard was enough to motivate him to move to Nashville. He did construction work around town, including putting the roof on the new Grand Ole Opry in the early seventies. Over the next few years, he made a name on the club scene, which soon earned him a recording contract with Warner Brothers.
The label patiently worked him as a singles act, and as he gained traction at radio, they released his self-titled debut in 1980. Its honky-tonk, traditional sound stood in stark contrast to the pop-flavored country that dominated the day. With his second album, John Anderson 2, he solidified himself as a leader of the nascent new traditionalist movement, covering Lefty Frizzell and Billy Joe Shaver alongside original songs.
Still, it was the pop-flavored “Swingin'” which earned Anderson his greatest notoriety in the eighties. The million-selling single earned Anderson the CMA award for Single of the Year, and was the peak of his years with Warner Brothers. By the time he left the label in the late eighties, he’d scored twelve top ten hits. But despite the fact that the sound he’d brought back to the forefront was all over country radio, he struggled for airplay and the critical acclaim of his early years faded away.
Then, a stunning second act. Anderson signed with BNA Records in 1991, and staged a major comeback with the #1 hit, “Straight Tequila Night.” It served as the anchor to the 1992 album Seminole Wind, which earned rave reviews and double-platinum sales. Anderson was nominated for every major industry award, with the most attention going to the title track, a poignant environmental plea for the protection of the Florida Everglades.
Anderson maintained momentum with the follow-up album, Solid Ground, which sold gold and included three big hits. For the rest of the nineties, his success at radio was less consistent, and he scored his last significant chart action with “Somebody Slap Me”, a top thirty hit that was his first release for Mercury Records.
The new millenium brought a well-received collaboration with John Rich, with the resulting album, Easy Money, earning Anderson’s strongest reviews since Seminole Wind. More recently, Anderson co-wrote Rich’s single, “Shuttin’ Detroit Down.” In addition to maintaining a hectic touring schedule, Anderson is currently preparing a new studio album, slated to include guest appearances by Haggard and Willie Nelson.
Next: #58. Carl Smith
Previous: #60. Don Gibson
Lady and Gentlemen
A new covers album from LeAnn Rimes would likely draw comparisons to her 1999 self-titled effort, which found her covering the likes of Hank Williams and Patsy Cline. But this time, there’s a twist: All of the songs she’s covering were originally recorded by male artists. Thus, Rimes is re-interpreting them in a female perspective.
And while 1999’s LeAnn Rimes album might have given you a feeling that you were listening to really good karaoke singer, as her versions seldom strayed far from the originals, Rimes’ new collection Lady and Gentlemen finds her taking substantial liberties with these classic hits. She even alters lyrics on Waylon Jennings’ “Good Hearted Woman” and “Only Daddy That’ll Walk the Line” (re-titled as “The Only Mama That’ll Walk the Line”). The songs are given modern, yet reverent, production arrangements, with Rimes adding her own personal style to each one, resulting in a uniquely creative effort.
Besides the obviously strong song material, what really makes Lady and Gentlemen a keeper is the fact that, although she covers everyone from Jennings to Jones to Haggard, the project remains first and foremost a LeAnn Rimes album. She sounds entirely in her element – After all, she grew up listening to these songs – and the result is a strong set of performances that sound natural, sincere, and unaffected.
Rimes and her co-producers Vince Gill and Darrell Brown craft arrangements that sound simultaneously vintage and modern, never treating the songs as museum pieces. The albums kicks off with Rimes’ cover of John Anderson’s “Swingin,” which was released as the project’s first single last year. Though it barely made a ripple on the charts, it easily ranked as one of the best singles of the year.
While everything about the original Anderson recording screamed “eighties,” LeAnn speeds up the tempo, and transforms the über-cheesy hit into a modern-day jam session. In listening to Rimes’ vocal delivery, you’d think she chugged down a pot of espresso before heading into the recording studio. Like an auctioneer at the county fair, Rimes calls out the verses in rapid-fire succession, while the band furiously plucks away behind her.
The better part of the album finds Rimes backed with simple acoustic and steel guitar-driven arrangements, such as on the Freddy Fender cover “Wasted Days and Wasted Night” – worth hearing for her Spanish accent alone. She utilizes a similar sonic approach on Merle Haggard’s “I Can’t Be Myself,” notable also for a vocal that sounds deeply plaintive, while also casting a feminine tone over the classic lyric. While her version of Tennessee Ernie Ford’s “16 Tons” carries a deep retro vibe, she adds an extra layer of sass to the lyric, which makes the song one of the album’s most interesting tracks.
She deviates from the vintage approach with her cover of Vince Gill’s “When I Call Your Name,” and instead puts a blue-eyed country soul spin on the nineties hit. Such an approach accents the deep bluesy tone in her voice, but the unnecessary addition of a gospel choir distracts from the raw emotion that came through in Gill’s original recording. Though interesting, her take on “When I Call Your Name” is less satisfying than many of the album’s other tracks.
Perhaps the song that gives her the biggest shoes to fill is the classic Bobby Braddock/ Curly Putman composition “He Stopped Loving Her Today,” a hit for George Jones in 1980, and widely regarded as the greatest country song of all time. Appropriately, Rimes and Gill’s approach places the classic lyric front and center, with no superfluous bells or whistles. Rimes is backed by little more than an acoustic guitar as she recounts the dark tale of a man who loved his woman until the very end, even when his love was no longer requited. She gives a remarkably moving performance of the familiar ballad, even when delivering the spoken-word portion. Vince Gill adds his distinctive harmony touch to the track, and the result sounds absolutely haunting, making “He Stopped Loving Her Today” a strong contender for being the album’s best track.
The album closes with the original songs “Crazy Women” and “Give,” both of which have seen release as singles. “Crazy Women” sounds like something out of a Broadway musical (or a Laura Bell Bundy album, for that matter), and Rimes deftly pulls it off with a broadly entertaining performance of the wickedly snarky tune. Current single “Give” returns Rimes to a fully modern pop-country style. While the philosophical song – a call for proactivity and benevolence in the world – is a strong composition, the musical styling is an awkward fit for an album that is largely retro in style. It’s a good song – It just sounds like it belongs on a different album.
As a special treat for her fans, Rimes offers a re-recorded version of her classic 1996 debut single “Blue,” commemorating the fifteen-year anniversary of the song’s release. The new version sounds even more traditional than the original, which is saying a lot, while also displaying Rimes’ growth as a vocalist and lyrical interpreter. She gives a performance with more restraint than the original, connecting with the underlying emotions on an even deeper level than before, while the simpler, twangier arrangement highlights the timeless nature of the Bill Mack composition. It’s impressive to note the ease with which “Blue” fits in among all these revered classics. As one who’s known and loved the song “Blue” for years, I do not say this lightly: The new version of “Blue” rivals the original.
A binding thread running throughout the set is the palpable reverence Rimes displays for these songs, which makes Lady and Gentlemen one of the most intriguing and wholly satisfying releases of 2011, and of Rimes’ own career output. It all comes together so well that the project’s success seem perfectly natural. LeAnn Rimes is a great singer, and these are great songs, so in her tackling these timeless tunes, it logically follows that a great album would result.
The themes of love and loss have permeated country music for as long as it’s been in existence. This second-to-last batch of great nineties hits contains songs that are direct descendants of well-known classics like “Can the Circle Be Unbroken” and “I’m So Lonesome I Could Cry”, along with a Shania Twain hit that would have made Roba Stanley smile.
400 Greatest Singles of the Nineties: #50-#26
Here’s a Quarter (Call Someone Who Cares)
1991 | Peak: #2
From the first forceful guitar strum on, this kiss-off number somehow manages to seem unusually cool and collected in its own aggression. You get the impression that Tritt’s character has been anticipating this moment, and has already made up his mind that he’s going to relish every second of it. – Dan Milliken
I’ve Come to Expect it From You
1990 | Peak: #1
This is about as dark and bitter as George Strait gets. It’s a coat that he wears well. – Kevin Coyne Continue reading
Signature hits, breakthrough hits, and why-weren’t-they-hits abound in this entry.
400 Greatest Singles of the Nineties: #150-#126
1994 | Peak: #1
A perfect time capsule of the boom times, as Jackson wryly notes all of those genre-hoppers who saw dollar signs in the growing country music scene. Funny how they didn’t arrive on radio until a decade later. – Kevin Coyne
I Want to Be Loved Like That
1993 | Peak: #3
Sometimes the deepest understanding of love comes from what you see around you. The narrator in this song won’t settle for anything less than the unwavering love he’s witnessed in his life, and his examples are stunning in the way they slice straight to the core of love, to the bond that can’t be broken by the physical world. This is one of the purest tributes to love I’ve ever heard. – Tara Seetharam Continue reading