Tag Archives: Mary Chapin Carpenter

Single Review: The Judds, “I Will Stand By You”

In theory, Wynonna Judd has the gravitas to pull off a feisty inspirational song like “I Will Stand By You,” the kind that builds on momentum and resolve instead of hope and compassion. And the lyrics, though clichéd, aren’t necessarily enough to kill the song’s spirit – because who better than Wynonna to breathe fire and energy into nondescript lyrics?

Only she doesn’t. Her performance misses the mark on all accounts: she blasts her notes with so much splashy aggression that they can barely find their pitch, and her phrasing is painfully affected (what’s with the varying pronunciations of the word “you”?). Gone is her soulful conviction and unshakeable control; in its place is a voice that begs for a recharge. And then there’s Naomi Judd’s harmony vocals, which manage to be both barely there and glaringly off-key.

The vocals are so off-putting that they almost completely mask the semi-cool arrangement, which weaves in a tinge of Celtic flavoring – a little Mary Chapin Carpenter, a little Keith Urban. Some vocal fine-tuning might have allowed this driving production to make a more powerful impact.

Given that this is The Judds’ first single in over a decade –charity single or not– it’s a shame you have to wonder how many times the ladies went through this in the studio. What’s your guess? I know mine.

Written by Steven Lee Olsen, Robert Ellis Orrall & Angelo Petraglia

Grade: D+

Listen: I Will Stand By You

Buy:

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Single Review: Mary Chapin Carpenter, “The Way I Feel”

A song about finding liberation on the open road shouldn’t put you in danger of falling asleep at the wheel.

I don’t know what’s going on with Mary Chapin Carptenter.  She made my favorite album of all-time, Stones in the Road, and it wasn’t particularly upbeat.  But the songs were amazingly good. I’m still learning new things from that album a full sixteen years after its release.

With a singer-songwriter cut from the folk cloth, there’s not much left to work with if the song itself isn’t that great.  “The Way I Feel” isn’t that great, much like most of what Carpenter’s recorded for her last few albums.

So ultimately, what’s most disappointing about this song  is that its  mediocrity doesn’t disappoint me. I fully expected it.

Written by Mary Chapin Carpenter

Grade:  C

Listen: The Way I Feel

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

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

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

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

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

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

Listen

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

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400 Greatest Singles of the Nineties: #50-#26

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

#50
Here’s a Quarter (Call Someone Who Cares)
Travis Tritt
1991 | Peak: #2

Listen

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

#49
I’ve Come to Expect it From You
George Strait
1990 | Peak: #1

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This is about as dark and bitter as George Strait gets. It’s a coat that he wears well. – Kevin Coyne Continue reading

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400 Greatest Singles of the Nineties: #125-#101

Johnny Cash may have been too dark for country radio back in 1994, but his morbid single lives on alongside debut singles, seventies covers, and a whole lot of Mary Chapin Carpenter.

400 Greatest Singles of the Nineties: #125-#101

#125
Breathe
Faith Hill
1999 | Peak: #1

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Sure, the melody of the chorus sounds just like “It Matters to Me.” But “Breathe” took the country power ballad to new heights, becoming Hill’s signature hit in the process. – Kevin Coyne

#124
Life’s a Dance
John Michael Montgomery
1992 | Peak: #4

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It’s the catchy fiddle riff that’s  so memorable about John Michael Montgomery’s debut, number one, single. He is known for being a balladeer, but this one is an up-tempo motivational song. – Leeann Ward Continue reading

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400 Greatest Singles of the Nineties: #225-#201

As we reach the halfway point of the countdown, seventies stars like Tanya Tucker and Don Williams prove just as relevant to the decade as newbies like Terri Clark and and Clay Walker. But it’s eighties original George Strait that dominates this section with three additional entries.

400 Greatest Singles of the Nineties: #225-#201

#225
Passionate Kisses
Mary Chapin Carpenter
1992 | Peak: #4

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A lightweight wish list/love ditty that somehow seems to tap into a deep well of truth. Credit Carpenter’s soulful vocal, which digs in and finds the cohesive character written between the song’s separate cute lines. – Dan Milliken

#224
Black Coffee
Lacy J. Dalton
1990 | Peak: #15

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The electric guitar line sounds cribbed from The Police’s “Every Breath You Take”, but the sentiment couldn’t be much more different. Dalton is tense all over, as bad omens seem to stack on top of each other while she waits in anticipation of one big let-down. – DM Continue reading

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

This section begins with a song about a farmer and his wife and ends with one about Mama. Doesn’t get much more country than this!

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

#275
Somewhere Other Than the Night
Garth Brooks
1992 | Peak: #1

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About a woman who only feels truly appreciated by her husband when they’re having sex. Practically literature, that. – Dan Milliken

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

Listen

From his rocking side, Tritt is tired of trying to please everyone around him, including his demanding lover. As a result, he brashly declares that he’s going to make some changes, which will include looking out for himself. Get out of the way, because his ferocious performance makes him seem quite serious about his epiphany. – Leeann Ward Continue reading

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400 Greatest Singles of the Nineties: #300-#276

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

#300
Does He Love You
Reba McEntire with Linda Davis
1993  |  Peak: #1

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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 Continue reading

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400 Greatest Singles of the Nineties: #350-326

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

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

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

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

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

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

#348
Don’t Take Her She’s All I Got
Tracy Byrd
1997  |  Peak: #4

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Just a damn catchy trad country sing-a-long. It was good fun when Johnny Paycheck had the original hit with it, and lost none of its steam when Tracy Byrd resurrected it for a new audience twenty-six years later. – Dan Milliken Continue reading

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400 Greatest Singles of the Nineties: #400-#376

It’s hard to believe that twenty years have passed since the nineties first began.  Perhaps that’s because so many of the artists who broke through during that decade remain relevant on the music scene today, whether they’re still getting major spins at radio or not.

For many of us, it was the nineties when we discovered and fell in love with country music, and it’s the music and artists from that decade that represent the pinnacle of the genre. It may be debatable whether the nineties were the most artistically significant decade in the history of country music, but there’s no debating that country music never had more commercial success or cultural impact than it did in that decade.

It was a time that when the C-list artists could sell gold or platinum on the strength of one or two hits, and that 24-hour video outlets could give wide exposure to songs and artists that radio playlists could not.  When the four writers of this feature got together and combined our favorite singles from the decade, it was clear that this retrospective had to run far deeper than the one we recently completed for the first decade of the 21st century. There were simply far more good singles to choose from.

That being said, this list is a reflection of our personal tastes.  While they often overlapped with what was commercially popular, with nineteen top ten hits and eleven #1 hits among the first 25 entries alone, we didn’t consider radio or retail success in our picks.  So while you’ll see all of the big nineties stars represented on this list, it won’t always be with their biggest hits.  There’s more than a few stars that never quite came to be as well, saved from the dustbins of history and easier to find now than they were back then, thanks to the twin marvels of YouTube and Amazon.

As always, share your thoughts in the comments!

400 Greatest Singles of the Nineties: #400-#376

#400
Little Good-Byes
SHeDaisy
1999  |  Peak: #3

Passive aggression finally got its due representation in modern country with SHeDAISY’s debut single, in which a mistreated protagonist exacts revenge on her ex by ever-so-slightly screwing up his house. Sort of like “Before He Cheats” for sane women. On the other hand – taking all the Beatles records and leaving only Billy Joel? Pretty cold, Osborn sisters. – Dan Milliken

#399
It Wouldn’t Hurt to Have Wings
Mark Chesnutt
1995  |  Peak: #7

Chesnutt is getting over you – promise – but he sure wouldn’t mind being lifted above the memories of your “mind-wrecking” love in this delightfully charming sing-along. – Tara Seetharam

#398
Fool, I’m a Woman
Sara Evans
1999  |  Peak: #32

The age-old stereotype that women can’t make up their minds is cleverly subverted into a threat toward an unkind man. A good combo of Loretta Lynn sass and Diana Ross sha-la-las. – DM

#397
One More Last Chance
Vince Gill
1993  |  Peak: #1

“One More Last Chance” may seem like a song about a man who is begging for just one more last chance to get things right. But under the surface, it’s about a man who is hopelessly addicted to alcohol and partying. Even when his wife takes away his obvious means of transportation by hiding the keys to the car, he resorts to riding his John Deere tractor to the bar instead. It’s a fun song, but one that is inspired by an incident associated with George Jones, who, incidentally, is infamous for his destructive alcohol addiction. – Leeann Ward

#396
The Cheap Seats
Alabama
1994  |  Peak: #13

“The Cheap Seats” aptly captures the spirit of America’s favorite pastime. – LW

#395
Lonely Too Long
Patty Loveless
1996  |  Peak: #1

A tender plea for the morning after to be the beginning of something more, with Loveless delivering both angst and cautious optimism through her vocal. – Kevin Coyne

#394
(If You’re Not in it For Love) I’m Outta Here!
Shania Twain
1995  |  Peak: #1

Look, guys, some of you are so transparent, it’s laughable. And to you I offer Twain’s deliciously audacious, merciless warning: if you’re not in it for love, we’re outta here. – TS

#393
Jenny Come Back
Helen Darling
1995  |  Peak: #69

Darling recalls watching a high school friend sacrifice her intelligence and ambition to please the boy she loves, who outgrows her in the end because she has nothing of her own to offer him. She ends up a high school dropout working at a movie theater. In short, how those fantasy Taylor Swift videos would end in the real world. – KC

#392
Dreaming With My Eyes Open
Clay Walker
1994  |  Peak: #1

Walker puts a clever twist on a fact of life that’s all too hard to grasp – the only thing we can control is the present. His infectious pledge to live in the moment is as effective as country’s finest inspirational ballads because it’s firmly grounded in reality: “I learned that one step forward will take you further on than a thousand back or a million that ain’t your own.” – TS

#391
There Ain’t Nothin’ Wrong With the Radio
Aaron Tippin
1992  |  Peak: #1

With an addicting guitar riff, Tippin celebrates the radio. It doesn’t matter that the car is falling apart, but at least there’s nothing wrong with the most important part of the vehicle, the souped up radio. – LW

#390
Write This Down
George Strait
1999  |  Peak: #1

One of the dittiest of all George Strait ditties? Sure. But there’s a subtle, maybe accidental wisdom to it, too. So much art is created in moments of unusual passion, when sensations like pain or love feel intense and everlasting. But most life isn’t lived in such moments, and any feeling is subject to fade away without some regular renewal. “Tell yourself ‘I love you and I don’t want you to go'” sounds light and cutesy on the surface, but it’s those little notes – and not grandiose gestures of unusual passion – that keep a relationship chugging along for the long haul.  – DM

#389
Still in Love With You
Travis Tritt
1997  |  Peak: #23

With conspicuous steel guitar work, this minor hit for Tritt is a straight up country romper by today’s standards. – LW

#388
Walking Shoes
Tanya Tucker
1990  |  Peak: #3

She seems a little sad about it, but she’s had enough of being taken for granted and is gearing up to walk right on out of her underappreciating lover’s life. – LW

#387
Big Deal
LeAnn Rimes
1999  |  Peak: #6

A sassy little number that finds a regretful Rimes lashing out at the girl who nabbed her old boyfriend. Brash, spunky and so much fun. – TS

#386
That’s My Story
Collin Raye
1993  |  Peak: #6

What do you think – the grooviest song about a guy trying to craft an alibi out of a backyard hammock ever? – DM

#385
I Like It, I Love It
Tim McGraw
1995  |  Peak: #1

A melody destined for inclusion in Applebee’s commercials. A lyric about a horny guy and his teddy bear-loving girlfriend. I thought about trying to mount a good argument for it, but whatever. I know you sang along the first eight times you heard it. – DM

#384
You Can’t Make a Heart Love Somebody
George Strait
1994  |  Peak: #1

A simply sung, heartbreaking story of a woman who desperately wishes the heart could take orders – and a man who bears the brunt of the reality that it can’t. – TS

#383
Count Me In
Deana Carter
1997  |  Peak: #5

Easily the most understated of the five hit singles from her debut album, “Count Me In” is beautiful because of its innocent vulnerability. – KC

#382
Where Do I Fit in the Picture
Clay Walker
1994  |  Peak: #11

Sure, Walker milks this forlorn ballad for all it’s worth, but his ability to dramatically emote is the success of his trademark tear-soaked voice. – LW

#381
Some Girls Do
Sawyer Brown
1992  |  Peak: #1

Set to a hooky melody: Boy meets girl. Girl acts unimpressed. Boy knows better. Girl hooks up with boy. The end. – LW

#380
I Want to Be Your Girlfriend
Mary Chapin Carpenter
1997  |  Peak: #35

Even in the nineties, Carpenter was mostly known for her introspective lyrics. That’s the best part of her songwriting, but hearing the lighter side of MCC from time to time is fun, too. – LW

#379
Little Bitty
Alan Jackson
1996  |  Peak: #1

Alan Jackson has a knack for dressing up inriguing social themes as fluffy radio bait. Here, he counters the societal fixation on the “big” draws of money and prestige, expressing a peaceful acceptance of the rather small role most of us will ultimately play in the universe. We can’t all be famous or widely influential, but if we can love well and carry our chosen mantles with pride, things aren’t so bad. – DM

#378
Not a Moment Too Soon
Tim McGraw
1994  |  Peak: #1

Some people find the whole “you saved my life” concept melodramatic, but I think if there’s anything in life that calls for melodrama, it’s love. McGraw’s testimony is sweet and believable, and the weighty lyrics are cushioned by a simple yet moving arrangement. – TS

#377
Here in the Real World
Alan Jackson
1990  |  Peak: #3

Jackson’s breakthrough hit lamented that what we see in the movies – cowboy heroes, good winning out in the end, the boy getting the girl – doesn’t always work out that way in the real world. How fitting that he’d end up a real world cowboy hero, one of the good guys making great music for twenty years and counting. – KC

#376
Everybody Knows
Trisha Yearwood
1996  |  Peak: #3

Most of your friends probably found you kind of boring when you were paired off and content. Now you’ve been dumped, and everyone’s got an opinion about what the relationship meant and what you should do next. Trisha is having none of it – just chocolate, a good mag and some much-needed alone time for her. – DM

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Jump Around

#400 – #376
#375 – #351
#350 – #326
#325 – #301
#300 – #276
#275 – #251
#250 – #226
#225 – #201
#200 – #176
#175 – #151
#150 – #126
#125 – #101
#100 – #76
#75 – #51
#50 – #26
#25 – #1

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