We can thank the shortsighted radio consultant Keith Hill for one thing: drawing attention to the women of country music in a year where so many of them are making outstanding music. As their mainstream counterparts cycle through a series of one-note styles and themes, female country artists are putting out diverse and decidedly more progressive music, even as they draw influence from previous generations. That they do so while supporting each other makes it all the more impressive.
The combined efforts of nine women and three men form the upper echelon of our Best Albums list from 1993. This embarrassment of riches showcases just how much great music there was to choose from that year, especially given how many of the genre’s biggest and most acclaimed stars – Vince Gill, Alan Jackson, Reba McEntire, Mary Chapin Carpenter, and Pam Tillis, just to name a few – were between albums that year. It was also a strong and diverse enough year that despite some overall consensus among the lists of all of the writers, each one of us has a different album at #1 on our personal lists. Enjoy the second half of our list, and look for the Singles list to kick off next weekend. #10 Uncle Tupelo Anodyne #1 – JK | #3 – SG In jumping to a major label, Uncle Tupelo was supposed to give Read More
In a long, fascinating interview with the Houston Press, Vince Gill was asked about the recent controversy involving female artists and country radio. Here’s what he had to say: “That’s one of the greatest tragedies in this stretch of life for me,” Gill says. “Because I’ve been inspired as much or more by women artists, equally, than I have as men. So if there’s only a couple that are getting the opportunity to really knock it out of the park at radio, then you just go, “What about Patsy Cline/Kitty Wells/Tammy Wynette/Loretta Lynn?’ “I could go on and on and on and on and name you about 50 great female artists,” Gill continues. “And I don’t know why that is. To me, they’re making much more…interesting records. They’re saying more things I’d prefer to hear, lyrically and song-wise, and that’s compelling. This Ashley Monroe kid, she writes songs like she’s Read More
One of the great crooners of the post-war era, Red Foley helped build a crucial bridge between the country music of the mountains and the Nashville Sound of the sixties.
1995 | Peak: #1
By now, “Any Man of Mine” has become such a familiar Shania classic that it’s easy to take for granted what a bold artistic move it was at the time.
Though feminist viewpoints previously had surfaced in country music at times through the likes of Loretta Lynn and Kitty Wells, they were the exception rather than the rule in 1995. In the early to mid-nineties, it was more common for female artists like Reba to be topping the charts with sad songs that often cast the woman as the victim.
While we continue to notice tangible gender inequities in country music today, particularly the ratio of male artists versus female artists that are played on mainstream radio, the gap between what male and female artists can sing about has narrowed considerably. Moreover, it’s certainly not uncommon to hear a range of topics from female singers that reveal the strength of independent minded, empowered women.
The list continues with appearances from artists who first surfaced in the eighties and continued to thrive into the nineties, like Reba McEntire and Patty Loveless, along with new stars from the nineties who would find greater success in the next decade, like Toby Keith and Brad Paisley.
400 Greatest Singles of the Nineties: #300-#276
Does He Love You
Reba McEntire with Linda Davis
1993 | Peak: #1
This two-female duet was a gamble at the time of its release, but it offers such a brilliant fusion of perspectives that it’s hard to imagine why. The song fleshes out the range of emotions that the two women are experiencing –from pain to longing to self-doubt– and culminates in one shared question that they’ll never know the answer to: “does he love you like he’s been loving me?” – Tara Seetharam
100 Greatest Women #9 Kitty Wells She was called the Queen of Country Music, the genre’s first major female solo star. In the fifties and early sixties, her string of hits were unprecedented for a female artist, as she began to prove the industry adage wrong: women could indeed sell records just like the men. She was born Muriel Deason in Nashville, and her father taught her guitar when she was still quite young. By her teen years, she sang with her siblings as The Deason Sisters on a local radio station. When Muriel married Johnnie Wright at the age of eighteen, the newly married couple performed with Muriel’s sister Louise. Soon, Wright met Jack Anglin, who married Louise and joined the band. Around this time, Wright chose a stage name for Muriel from the old folk ballad “I’m A-Goin’ to Marry Kitty Wells.” The four performed as the Tennessee Read More