While many might get caught up in Billy Currington’s smoldering love songs, he’s really the most charming when he loosens up and has a little fun. While “Love Done Gone” is technically about lost love, Currington’s breezy performance along with the festive horns makes it seem more freeing than heartbreaking. As a result, the song turns out to be his most compelling since “Good Directions.” – Leeann Ward
A 90′s-throwback gem, “Amen” shimmers in a different way than most of the songs on this list. There’s no striking life lesson or clever turn of phrase – just a fresh hook and an earnest, slightly unconventional love story between a preacher’s son and a farmer’s daughter. But there’s magic in its recipe: from the charmingly organic arrangement to the endearingly spirited performance to the adorably written story line – “whooped and hollered” tops my favorite phrases of 2011 – “Amen” is the sweetest package sent to country radio in years. – Tara Seetharam
Of all of the many, many things “Sparks Fly” proves that Taylor Swift understands, perhaps the most important is this: If you’re going to order someone to, “Drop everything now,” you’d better make sure they have reasons to want to. – Jonathan Keefe
Can anyone be this strong when facing down their rapidly approaching death? Perhaps only in song. For those who can pull this off in real life, their faith blows away those who can merely move mountains. – Kevin John Coyne
“Barton Hollow” may be a song about a dead man walking, but, with its stomping percussion line and force-of-nature vocal performances, it plays more like a determined march right to the front-line of a war zone. If the Devil’s going to follow the Civil Wars wherever they go, they sound more than ready to throw down. – Jonathan Keefe
A piano, a wanderer’s tale and killer vocals are the bones of this song– none of which are unique to country music. And yet, “Colder Weather” pleads like the best country songs, hurts like the loneliest of country stories. It serves as an elegant reminder that while country music is sometimes marked by a fiddly sparkle, it can also turn up in the form of pure emotion – and how Brown emotes. His performance is both soulful and skillful, embodying the rambler’s spectrum of emotions with chilling accuracy – longing, regret, defeat, hunger – right down to the final line that rings hauntingly hollow: “It’s a shame about the weather / But I know soon we’ll be together / And I can’t wait til then.” – Tara Seetharam
#4
You and Tequila
Kenny Chesney with Grace Potter
“You and Tequila” is a great reminder of just how good Kenny Chesney can be when he’s not releasing the same song over and over again. In classic Matraca Berg fashion, “You and Tequila” is a deftly constructed lyric that displays intelligence and self-awareness, while the beautiful acoustic arrangement makes “Tequila” easily one of the year’s finest and most memorable singles. Grace Potter’s sweet harmony adds a delicious icing to the cake.- Ben Foster
For those of us who think that Miranda Lambert is one of the bright spots in an otherwise bleak mainstream country landscape these days, could there have been much more exciting news than that she would be hooking up with Ashley Monroe, somebody that we at Country Universe have previously lamented going under the radar, to form a trio with songwriter Angaleena Presley? Happily, the prospect of such an exciting trio did not disappoint, as the Pistol Annies turned out to be the most refreshing act of the year with any chance of mainstream success.
Their debut single, “Hell on Heels,” signaled that the group were a force to be reckoned with, both in attitude and artistry. From the beginning swampy guitar riffs, it’s obvious that the characters in this song are going to live up to the fiery title. Furthermore, the Annies turn in a performance that is so eerily calm that it effectively creates the intended aggression of the story. As a result, “Hell on Heels” is one of the most unique and refreshing singles to get anywhere near a radio playlist in 2011. – Leeann Ward
The toll of a corrupt, abusive economy, encapsulated in one man’s fractured personal account. If that sounds a bit like an “I am the 99%” speech, it’s a testament to how well “Cost of Livin’” – begun in 2008, long before mass havoc finally led to mass protest – found the pulse of present-day America. The brilliant choice to frame the song as a job interview allows it to explore both why Dunn’s character deserves the work he and his family needs, and why he likely won’t get it.
In short, the most frighteningly real song of 2011. – Dan Milliken
You know what I love about Taylor Swift? She has a real knack for tapping into emotions and experiences that are personal to her, but conveying them in such a way that any listener can see it as his or her own story set to music. The deeper and more personal she gets, the more we feel it as listeners.
Some might write off “Mean” as a cheap comeback to the oft-heard criticism that “Taylor Swift can’t sing,” but to do so is to miss the full scope of feelings that the song addresses. It speaks to anyone who’s been insulted or disrespected by those who cross the line between constructive criticism and plain cruelty, doing so with some of Swift’s most raw and honest lyrics to date.
It all makes for a most delicious slice of musical catharsis. In addition to being one of the flat-out best lyrics Swift has written, the song features a Shania Twain-esque singalong melody, not to mention one of the coolest and countriest productions of any mainstream release this year. In multiple aspects, “Mean” is clearly the work of an artist who was willing to step outside the box, making it a standout achievement for Swift, and a definite standout moment on radio playlists.
I can see a few jaws dropping at this somewhat divisive selection, but we make no apologies for it. A case could be made for a number of other worthy songs taking this top spot, but for me there’s just no getting round the fact that “Mean” is the one 2011 single release that I will be replaying the most in years to come. Thus, it’s a great pleasure to name “Mean” our top single of 2011. – Ben Foster
Our annual list concludes with a look at our ten favorite albums of 2011.
Check out Part One to see #11-#20, and look for our countdown of the year’s best singles tomorrow.
Top Twenty Albums of 2011, Part One: #10-#1
#10 Lady & Gentlemen
LeAnn Rimes
On the surface, Lady & Gentleman is a concept album, flying in the face of a genre whose gender bias sometimes feels like the elephant in the room. But as with the best concept albums, it’s not the concept that carries it. With her most thoughtful, vocally mature performances to date, Rimes herself is the heartbeat of the set, deftly navigating the songs with a blend of reverence and fearlessness.
And she has plenty of room to shine: rather than trying to rebirth a collection of classics, Rimes and her team tastefully reinvigorate the songs with production risks (“Swingin’”), lyrical twists (“Good Hearted Women”) and the occasional overhaul (“When I Call Your Name”). The result is an album that stands neither as a tribute nor as a statement, but as a unique body of work that earns its merits all on its own. – Tara Seetharam
Individual Rankings: Tara – #2; Ben – #8; Leeann – #9; Kevin – #10
Recommended Tracks: “Blue,” “Wasted Days and Wasted Nights,” “He Stopped Loving Her Today”
#9 KMAG YOYO
Hayes Carll
Texas has a long track record of producing talented, innovative songwriters, and The Woodlands native Carll is one of the best of his generation. With an eye for detail and a wry sense of humor, Carll proves to be a sympathetic narrator as he bemoans his fate in dealing with politics, the economy and relationships. And just when you think he’s pure smartass, he breaks out his sincerity with a song like “Grateful for Christmas.” – Sam Gazdziak
Individual Rankings: Sam – #1; Dan – #2
Recommended Tracks: “Stomp and Holler”, “Another Like You”, “Bottle in My Hand”
#8 American Folk Songbook
Suzy Bogguss
Over the last two decades, Suzy Bogguss has ably covered a lot of musical ground, including classic country, western swing, pop country, adult contemporary and jazz. With the unplugged American Folk Songbook, she is able to add folk to the list. This expansive 17-track set of traditional folk songs is the most stunning of her genre specific projects.
Without a misstep on the album, it finds Bogguss firmly in her element as both an effortless singer and adept song interpreter. What’s more, Suzy’s crystal clear voice blends perfectly with her own crisp, engaging productions. – Leeann Ward
Individual Rankings: #1 – Leeann; #1 – Ben
Recommended Tracks: “Shenandoah”, “Johnny Has Gone for a Soldier”, “Swing Low Sweet Chariot”
#7 Lorraine
Lori McKenna
A somber coffeehouse album, which admittedly makes for a bit of a plodding listen-through. Hang around, though; McKenna is chronicling the experience of the working-class family woman with the kind of depth and character we usually associate with people named Dolly and Merle. And like those forebears, she transcends her persona by finding the universal in it: “My life is pieces of paper that I’ll get back to later,” the key line of “The Most,” could be the lament of anyone trying to manage in the real world. - Dan Milliken
Recommended Tracks: “The Luxury of Knowing”, “The Most”, “Still Down Here”
#6 Barton Hollow
The Civil Wars
It’s almost scary how this duo just seems to get everything right. The level of emotional connectivity in their performances, not to mention their ethereal harmonies and stellar songwriting, is absolutely spellbinding. Just listen to the way they can repeat the refrain “I don’t love you, but I always will” in “Poison & Wine” such that each repetition successively rises in passion and urgency.
While they will most likely never be mainstream country stars, one would certainly hope that the excellent Barton Hollow is not the last we will hear from The Civil Wars. – Ben Foster
Recommended Tracks: “Poison & Wine,” “Barton Hollow,” “Forget Me Not”
#5 Here For a Good Time
George Strait
The best artistic choice that George Strait has ever made is taking more time between albums. Here For a Good Time is yet another high point in his ongoing 21st century renaissance. He’s tackling, even sometimes co-writing, compelling material that reflects the wisdom and life experience of the most distinguished voice that remains on country radio. – Kevin John Coyne
Recommended Tracks: “Drinkin’ Man”, “House Across the Bay”, “I’ll Always Remember You”
#4 Four the Record
Miranda Lambert
If Revolution was Lambert’s commercial crowning moment, Four the Record is her earned hissy fit – a foot stomp and a “my turn, folks.” That’s not to say her previous albums weren’t authentic; it’s just that Four the Record seems to be the most transparent reflection of Lambert the artist to date, flaws and all.
And that’s why it soars. Wonderfully weird, the collection of songs is best described as a tapestry of personalities, punctuated by some of the oddest –but coolest– production choices of the year. Where the album lacks in depth of songwriting, it makes up for in fiercely committed, layered performances.
She sneers old school style in “Fastest Girl In Town,” brilliantly spits in her mother’s face in “Mama’s Broken Heart” and eccentrically celebrates diversity in “All Kinds of Kinds.” But the album’s shining moments come in the form of palpable vulnerability: the trio of “Dear Diamond,” “Look at Miss Ohio,” and “Oklahoma Sky” is nakedly honest – the highest country music compliment. – Tara Seetharam
At age 54, Vince Gill’s voice shows absolutely no signs of deterioration. Moreover, his artistry continues to be as strong as it has ever been even after almost three-and-a-half decades in the business. Following his critically acclaimed and ambitious project, These Days, a box set of all original songs, Guitar Slinger somehow manages to stand up to Gill’s self-imposed high benchmark of excellence.
In fact, in a way, while this album is fresh, the sound of Guitar Slinger could also be a continuation of These Days, since many of its songs follow the genre variances of its predecessor, including rockers, easy listening and traditional country songs. As evidenced by this album, Gill is still at the top of his game both in musical talent and ability to capture a range of emotions with diverse themes and expert storytelling. – Leeann Ward
Recommended Tracks: “The Lucky Diamond Hotel”, “Who Wouldn’t Fall in Love with You”, “Buttermilk John”
#2 The Dreaming Fields
Matraca Berg
Matraca Berg has given us a good portion of country music’s most memorable compositions of the past twenty years, and her first new album since 1997 shows a pen still full of tricks. With a tight set of tracks that includes her own versions of songs recorded by Trisha Yearwood (“The Dreaming Fields”) and Kenny Chesney (“You and Tequila”), Berg displays the same subtle cleverness, instantly relatable emotional conflicts, and insightful perspective that have long been the hallmarks of her work.
She tenderly addresses such themes as spousal abuse (“If I Had Wings”) and the death of a loved one (“Racing the Angels”), but arguably the finest moment comes with the title track’s wistful meditation on the loss of a family farm that has remained for generations. Matraca Berg is nothing short of a musical treasure, and The Dreaming Fields reaffirms her status as the most talented singer-songwriter of her generation. – Ben Foster
Recommended Tracks: “If I Had Wings,” “Racing the Angels,” “The Dreaming Fields,” “Oh, Cumberland”
#1 Hell on Heels
Pistol Annies
For all of the lip-service that contemporary country acts give to the idea that country music tells real stories about real people, precious little country music in 2011 seemed to be about anything at all. Whether jockeying for some kind of authenticity cred that their music just didn’t support or rattling off list after pointless list of rural signifiers without an actual narrative or a greater point to make, many of the biggest country stars of the past year seemed completely divorced from the experiences of the real world around them.
Enter Pistol Annies– ostensibly a one-off side project for Miranda Lambert, Ashley Monroe, and Angaleena Presley– and their debut album, Hell on Heels. Not only is it the finest and most detailed chronicle of the current recession, the album stands as a much-needed reminder of both the depth of insight that country music offers in its best moments and the expertly-crafted escapism country music provides when things get a little too real.
Sure, there’s an element of playing dress-up to what the Pistol Annies are doing, but that fits perfectly with the album’s focus on finding ways to escape from day-to-day drudgery. Songs like “Bad Example” and the tongue-in-cheek, gold-digging title track make it clear that Lambert, Monroe, and Presley are in full control of their charades: The way Presley drawls, “Whistle it, ‘Randy,” at the bridge of “Lemon Drop” should erase any doubt that they’re in on the joke. That sense of fun is reflected in the album’s light-handed production and in the Annies’ winning performances.
That said, a devastating gut-check of a line like, “I’ve been thinking about all these pills I’m taking/I wash ‘em down with an ice cold beer/And the love I ain’t been making,” from “Housewife’s Prayer,” doesn’t happen by accident. What elevates Hell on Heels into an album of real depth is that the Annies realize that escapism only has value when you know exactly what it is you’re trying to escape from.
The color of the bride’s dress in a shotgun wedding, the thrift-store curtains hanging in a house that the landlord owns, the dings and dents in the side of a trailer: Pistol Annies get all of these details right, and they employ them with both a swagger they can actually back up and a sense of purpose that speaks to something greater than simply proving their country bona fides. – Jonathan Keefe
It’s that time of year again! The time when we all dutifully tune in to the CMA Awards show, raise our eyebrows at the “What the heck are they doing here?” award presenters, and afterwards complain about how totally un-country the whole show was. I don’t know about the rest of you, but I can’t wait.
We’re pleased to share the Country Universe staff picks for this year’s CMA Awards, as well as our predictions of who the winners will be. This year we have some highly competitive categories in which predicting the winners is quite difficult, leading to some significantly divergent picks among our writing staff. Agree? Disagree? Join in the discussion in the comment thread below, and let us know.
The CMA Awards telecast will air on Wednesday, November 9, 8pm Eastern on ABC-TV. We will be live blogging the show here at Country Universe, so do be sure to drop by and join in the fun!
Entertainer of the Year
Should Win:
Jason Aldean – Kevin
Brad Paisley
Blake Shelton
Taylor Swift - Dan, Ben, Leeann, Jonathan, Tara
Keith Urban
Will Win:
Jason Aldean
Brad Paisley
Blake Shelton - Dan, Leeann, Jonathan
Taylor Swift – Ben, Kevin, Tara
Keith Urban
Dan: I can imagine anyone but Urban taking it, but I like Jonathan’s logic.
Ben: It’s hard to bet on the Entertainer award going to a female artist, but it seems Swift has undoubtedly had the biggest year of all the nominees. Her album sold like hotcakes, and produced a trio of killer radio singles, while she topped that off with her Speak Now tour. That combination should bag her this year’s top prize.
Leeann: Paisley could take it again, but my money’s on the CMA wanting to give it to fresh blood this year. Taylor Swift is who probably actually deserves it, however.
Jonathan: Paisley is probably the most logical pick, but he didn’t figure as heavily into the nominations this year as he could have, so I’m wondering if the voters have cooled on him as much as the crew here at CU have of late. Swift’s live show should be a factor in this category, but she has a whole lot of gender bias to overcome, and there seems to be at least something of a backlash against her in the country community post-Fearless. Which leaves the ubiquitous Shelton, who has been something of a new “Everywhere Man” for the genre over the past year.
Kevin: I think Swift will win because she had the highest profile year. But I think Aldean defines the genre in 2011, for better or for worse. Mostly worse.
Tara: As I’ve said before, this is the most appropriate way for the voters to reward Swift’s monster success, and for the first time at the CMAs, I truly feel she deserves this award. I’m particularly impressed with the way she continues to cultivate her relationship with her fans. I just hope the voters don’t pair this award with the FVOTY award.
Male Vocalist of the Year
Should Win:
Jason Aldean - Dan, Ben
Kenny Chesney
Brad Paisley
Blake Shelton
Keith Urban - Leeann, Jonathan, Kevin, Tara
Will Win:
Jason Aldean – Dan, Ben
Kenny Chesney
Brad Paisley
Blake Shelton - Leeann, Jonathan, Kevin, Tara
Keith Urban
Dan: Aldean’s not my thing, but he’s the biggest guy in the field by an unignorable margin. More than anything, I think the indie Broken Bow Records deserves props for building their flagship artist so well.
Ben: I’m largely indifferent to this particular field of nominees (save possibly Keith Urban), but Aldean’s massive success should most likely nab him his first Male Vocalist trophy.
Leeann: Again, I think it’s Shelton’s night to sweep in order to shake things up this year. He and Urban have the strongest voices in the category anyway.
Jonathan: Urban’s the only one of the lot who has released even one single I’ve liked in the past year, so he’d get my vote. Aldean has the commercial clout, sure, but quality has to count for something, right? Voters have looked at the word “Vocalist” in the category name and have passed over Chesney for years, and I wonder if they’ll do the same to Aldean here. I’m thinking yes.
Kevin: Urban’s the one who I can stand to listen to. But if Shelton was able to win last year, I don’t see how he loses this year. Not post-Voice and “Honey Bee.”
Tara: It makes me sad that I can’t find a solid reason to support Urban or Paisley, both of whom I used to feel passionately about. And in all honesty, I can’t find a solid reason to support any of these guys, based on their output during the eligibility period. I’m going to blindly back Urban –who, despite being “Urban-lite” these days, is at least consistent– and predict that Shelton’s amped public profile will give him the edge with voters.
Female Vocalist of the Year
Should Win:
Sara Evans – Kevin
Miranda Lambert
Martina McBride
Taylor Swift – Dan, Ben, Leeann, Jonathan
Carrie Underwood – Tara
Will Win:
Sara Evans
Miranda Lambert – Dan, Leeann, Jonathan, Kevin, Tara
Martina McBride
Taylor Swift - Ben
Carrie Underwood
Dan: Come ACM season, I’ll be all for Lambert; Pistol Annies and Four The Record prove she’s using her new commercial powers nobly. But I like Swift’s performances on Speak Now, and that album just applies more to this awards cycle.
Ben: Swift is the overall strongest contender, but I could see voters seizing the opportunity to recognize Evans, who released a new album and had a number one single during the eligibility period. I wouldn’t rule Lambert out either, though she didn’t have as strong a year as she did in 2010. But I doubt this will be Underwood’s year, and McBride’s was essentially a filler nomination, so I’d say it’s down to Swift, Evans, and Lambert. (But, like Dan, I will totally be Team Miranda when the ACMs roll around)
Leeann: I reflexively say Lambert should win, but Swift has had the best year and will likely win as a result. I won’t be heart broken if Lambert takes it though.
Jonathan: There’s a part of me that would vote for Lambert on principle and out of loyalty, but I can’t argue with a simple mathematical inequality: “Back to December,” “Mean,” and “Sparks Fly” > “Only Prettier,” “Heart Like Mine” and “Baggage Claim.” Had her label been campaigning harder that she’s never won this award, Evans could’ve been a bigger threat here, but Lambert’s ongoing momentum should carry her to a repeat win.
Kevin: Can this power couple nonsense be derailed? Probably not, so while I’d rather see Swift get it over Lambert, I’m doubtful it would happen. My real fantasy would be for the only non-winner, Sara Evans, to take it. For prosperity’s sake, and for actually putting out a great single that I failed to realize was great until it was already a hit.
Tara: This is a tough one for me. Lambert’s worked the genre like no other female has this past year and a half, but the singles she’s released in the eligibility period have been so-so. Swift’s put out some solid material, but I’m not sure I’ll ever be able to support her winning a vocalist award. And then there’s Underwood, who’s been relatively quiet on the radio front, but whose stunning performance of “How Great Thou Art” back in April went viral and serves as a reminder of what I firmly believe is one of the finest voices in the genre. I’m going with my gut and backing Underwood, but I think the voters will reward Lambert again, which is fine with me.
Vocal Duo of the Year
Should Win:
The Civil Wars – Dan, Ben, Leeann, Jonathan, Kevin, Tara
Montgomery Gentry
Steel Magnolia
Sugarland
Thompson Square
Will Win:
The Civil Wars
Montgomery Gentry
Steel Magnolia
Sugarland - Dan, Ben, Leeann, Jonathan, Kevin, Tara
Thompson Square
Dan: Seriously, why not the Civil Wars? They’ve sold about as many albums (200,000-ish) as everyone besides Sugarland without the support of a major label. Not to mention they just made the most interesting music.
Ben: I’m supporting the Civil Wars on principle, but it’s a no-brainer that Sugarland’s hot streak is not over yet.
Leeann: I love The Civil Wars. The end.
Jonathan: Yet more evidence that this category should be merged with Vocal Group of the Year to cut the deadweight. Though the Civil Wars getting in instead of the JaneDear Girls is a nice testament to the fact that the CMAs, every so often, can exercise good taste and discretion.
Kevin: Sugarland’s album was atrocious. The Civil Wars are in the running for my favorite set of the year. Easy call for me.
Tara: Can Sugarland hurry up and release a new, redeeming album, please?
Vocal Group of the Year
Should Win:
The Band Perry
Lady Antebellum
Little Big Town
Rascal Flatts
Zac Brown Band – Dan, Ben, Leeann, Jonathan, Kevin, Tara
Will Win:
The Band Perry
Lady Antebellum – Tara
Little Big Town
Rascal Flatts
Zac Brown Band - Dan, Ben, Leeann, Jonathan, Kevin
Dan: Lady A were between albums. Some variety this year, please.
Ben: It’ hard to bet against Lady Antebellum, but the Zac Brown band gave us a strong album and two of the year’s most memorable hit singles (“As She’s Walking Away” and “Colder Weather”), and I predict that they will be rewarded justly.
Leeann: Zac Brown Band has a good chance with the best music in the category, but Lady A just might not be out yet.
Jonathan: Little Big Town’s brilliant “Little White Church” should’ve put them back in the mix for good, but they really botched the single releases from their album and are right back to being also-rans. The Band Perry will settle for the “New Artist” award as a consolation prize this year, which leaves Lady A and Zac Brown Band to duke it out. In terms of the quality of their output, Zac Brown Band has Lady A dead to rights, but is that enough to stop the trio’s awards-show juggernaut? Let’s hope so.
Kevin: Zac Brown Band is the only option both realistic and palatable.
Tara: This is the first of these categories that I feel strongly about this year. Based on the strength of You Get What You Give, Zac Brown Band deserves to nab this award, hands down. But I’ll go against my co-bloggers here and guess that Lady Antebellum still has the industry wrapped around its finger.
New Artist of the Year
Should Win:
The Band Perry - Ben
Luke Bryan
Eric Church - Leeann, Jonathan
Thompson Square
Chris Young – Dan, Kevin, Tara
Will Win:
The Band Perry – Ben, Jonathan, Tara
Luke Bryan
Eric Church – Dan, Leeann, Kevin
Thompson Square
Chris Young
Dan: Church seems the most likely to have a long, interesting career and probably deserves the win. I just don’t want to encourage “Homeboy,” I guess.
Ben: Thompson Square and The Band Perry are the only two nominees whom I would still consider “new” artists, and I think The Band Perry beats Thompson Square any day. Bryan, however, did reach a new level of stardom over the past year, so he stands a good chance at wining nonetheless.
Leeann: While it’s strange that with three albums Church is still in the New Artist category, it’s probably that same reason that he should win the award, not to mention that he had the strongest album of the nominees in the past year.
Jonathan: Young’s the best singer in the field, but his material is still too inconsistent in quality for me to get on board with him. Church, on the other hand, finally made good on his early promise and his considerable hype with Chief and would be a deserving winner, as would the uneven but still pretty good The Band Perry. As the only nominee with any other nominations, they have to be considered the slight favorites over Crest WhiteStrips.
Kevin: I think Church’s big breakthrough happened close enough to the voting window to give him a slight edge. I’d like to see Chris Young get the boost from a win.
Tara: Of all the nominees, I’m the most excited for Chris Young’s future in country music – his vocal talent is tremendous, and even though it falls right outside of the eligibility period, Neon is one of my favorite releases of this year. Based on their other major nominations, though, I think The Band Perry will take this.
Album of the Year
Should Win:
Blake Shelton, All About Tonight
Jason Aldean, My Kinda Party
Taylor Swift, Speak Now- Ben, Kevin
Brad Paisley, This Is Country Music
Zac Brown Band, You Get What You Give- Dan, Leeann, Jonathan, Tara
Will Win:
Blake Shelton, All About Tonight
Jason Aldean, My Kinda Party – Dan, Leeann, Jonathan, Tara
Taylor Swift, Speak Now – Ben, Kevin
Brad Paisley, This Is Country Music
Zac Brown Band, You Get What You Give
Dan: Here’s a logical place to acknowledge Aldean, though I hope voters think twice about it.
Ben: In my book, Swift and the Zac Brown Band are the only truly worthy winners (and I’m still scratching my head over why a Blake Shelton “Six Pak” was even nominated in the first place). To me, the most intriguing thing about Swift is that she really does seem to get a little better and a little deeper with each album. Speak Now is her crowning achievement to date, and in my opinion, the best album on this ballot.
Leeann: It hurts my heart to think it, but Jason Aldean’s big year will likely earn him the award for best album, even though numbers isn’t how such an award should be selected.
Jonathan: Speak Now is Swift’s strongest album, but, “Mean” notwithstanding, it’s also her most unabashedly pop album. And song-for-song, I still think You Get What You Give is slightly better. But Aldean has been a steady seller, and he’s big enough that he has to win one of the major awards, and this one’s his best bet.
Kevin: “All songs composed by Taylor Swift” impressed the heck out of me, not the least of which because the songs were far better than her earlier work. Zac Brown Band’s a close second for me.
Tara: Speak Now is solid, but You Get What You Give is the better example of how to move this genre forward, with its delicious yet reverent mishmash of influences. But I think this is where the voters will recognize the often overlooked commercial success of Jason Aldean.
Single of the Year
Should Win:
Sara Evans, “A Little Bit Stronger”
Zac Brown Band, “Colder Weather”- Leeann, Tara
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
Blake Shelton, “Honey Bee”
The Band Perry, “If I Die Young” – Dan, Ben, Jonathan, Kevin
Will Win:
Sara Evans, “A Little Bit Stronger”
Zac Brown Band, “Colder Weather”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” - Jonathan, Tara
Blake Shelton, “Honey Bee” - Kevin
The Band Perry, “If I Die Young” - Dan, Ben, Leeann
Dan: It’d be heartening to see The Band Perry’s risky, rootsy release get its due. Plus: the single alone is 3x Platinum, better than any of its competitors can claim.
Ben: “Colder Weather” and “If I Die Young” are the two strongest competitors, but for me, a cool folksy arrangement puts the latter over the edge.
Leeann: This is tough. I can actually see any of these singles winning, but I have a good feeling about “If I Die Young”, though I’d love to see “Colder Weather” prove me wrong.
Jonathan: This one’s actually a tough call, since all five of the singles are big radio hits and everyone here has multiple nominations. “If I Die Young” is the best-produced single of the lot, but I’m predicting that Kelly Clarkson’s endless likability gives the edge to her duet with Aldean.
Kevin: Love the Band Perry record most, followed by Sara Evans. But this is the CMA awards, and Shelton managed to be both completely vanilla and namedrop Conway Twitty and Loretta Lynn.
Tara: If I better understood the story in “If I Die Young,” I might be able to get behind it, but I think “Colder Weather” is the more memorable single. It’s my favorite kind of country ballad – killer vocals, gripping melody and palpable emotion. I see the fiery Aldean / Clarkson collaboration taking this one, though. (By the way, dude, “Honey Bee” – really CMA?)
“If I Die Young” – Kimberly Perry - Dan, Ben, Jonathan, Tara
“Mean” – Taylor Swift - Kevin
“You and Tequila” – Matraca Berg & Deana Carter – Leann
Dan: “If I Die Young” is a flawed composition, but it’s still the most striking and strange one here, and that’s worth something.
Ben: I never though I’d see a CMA Song of the Year field in which Matraca Berg and Deana Carter would compete against Colt Ford and Brantley Gilbert. I would so love to see Berg and Carter win the award. I might tend to be slightly biased when it comes to Matraca Berg, but I think “Tequila” is a fine composition on its own merits, and a worthy winner indeed. Still, my gut predicion is that Perry will grab the trophy instead.
Leeann: “Mean” is probably my favorite song in terms of production and melody, but “You and Tequila” is the best song of the nominees.
Jonathan: Berg is a treasure and I like Carter well enough, so it’s nice to see their names on the ballot again, but “You and Tequila” isn’t either of their best compositions. Here’s the thing about “Mean”: What doesn’t work about the song has everything to do with the fact that it shows the extent to which Swift still hasn’t fully figured out her artistic persona. But in terms of melody and overall construction as a stand-alone song? It’s the class of the field. As Dan said, “If I Die Young” is flawed, but it also has a lot going for it and will be a fine, worthy winner when it inevitably takes this.
Kevin: I love “You and Tequila”, but it’s an old song. I’m glad Chesney rediscovered it, but I can’t see it as this year’s Song of the Year. I think “Mean” is the best of the bunch, with the music as clever as the lyrics.
Tara: I’m with Jonathan and Leann re: “Mean” in that I agree its melody and overall construction are terrific; unfortunately its flaw –the bridge, which undermines the premise of the song– is too big for me to overlook. And as much as I love it, I don’t feel right backing “Colder Weather,” either, as it’s really Brown’s vocal performance that elevates the composition to a memorable song. So I’ll go with the quirky and unique “If I Die Young” and guess the voters will, too.
Musical Event of the Year
Should Win:
“As She’s Walking Away” – Zac Brown Band featuring Alan Jackson – Dan, Ben, Leeann, Jonathan, Kevin, Tara
“Don’t You Wanna Stay” – Jason Aldean with Kelly Clarkson – Dan, Ben, Leeann, Jonathan
“Old Alabama” – Brad Paisley with Alabama
“You and Tequila” – Kenny Chesney featuring Grace Potter
Dan: The Single nod for Jason and Kelly suggests they have the edge here. But my heart echoes a resounding “Go on, son.”
Ben: “As She’s Walking Away” is just so effortlessly charming that it would easily be my first pick, but the cross-genre appeal – and bonus Clarkson star power – of “Don’t You Wanna Stay” make it the most likely winner. The fact that “Don’t You Wanna Stay” is also nominated for Single (which “As She’s Walking Away” sadly isn’t) suggests a likely victory in this category.
Leeann: How can I not pull for the Zac Brown Band and Alan Jackson when I have a chance? I’m pretty confident that the drama, cross genre appeal, and, yup, the drama again, make “Don’t You Want to Stay” the sure bet though.
Jonathan: “As She’s Walking Away” is one of the purest and truest duets in years, and it could pull some votes from the more traditionalist voters, but the Aldean and Clarkson single just has too much firepower to lose here.
Kevin: If this doesn’t go to Zac Brown Band and Alan Jackson, then I no longer understand how CMA voters think.
Tara: No question here, “As She’s Walking Away” is head and shoulders above the rest of the collaborations in this category, one of the most quietly charming singles we’ve heard on country radio in quite some time. I’ll go out on a limb and predict that voters will have trouble ignoring the warm fuzzies they get when Jackson starts singing.
Music Video of the Year
Should Win:
Blake Shelton, “Honey Bee”
The Band Perry, “If I Die Young” – Dan
Taylor Swift, “Mean” – Ben, Kevin, Tara
Brad Paisley featuring Alabama, “Old Alabama”
Kenny Chesney featuring Grace Potter, “You and Tequila”
Kenny Chesney featuring Grace Potter, “You and Tequila”
Dan: It’s my least favorite Paisley video ever, though.
Ben: Swift’s “Mean” is my personal favorite among these nominees, but I’m expecting that voters will show some Shelton love instead.
Jonathan: Paisley has to win something, right? And this also gives the voters a chance to honor some beloved genre vets.
Kevin: I think the video splicing tricks will give Paisley and Alabama an additional edge. Of the five clips, “Mean” is the one I like the most.
Tara: I love the whimsical video for “Mean” but think (and actually kind of hope) the voters will use this category to award the show co-host and his buddies.
Musician of the Year
Should Win:
Paul Franklin (steel guitar) - Dan, Ben, Leeann, Jonathan, Kevin, Tara
Dann Huff (guitar)
Brent Mason (guitar)
Mac McAnally (guitar)
Randy Scruggs (guitar)
Will Win:
Paul Franklin (steel guitar) - Leeann, Jonathan
Dann Huff (guitar)
Brent Mason (guitar)
Mac McAnally (guitar) – Dan, Ben, Kevin, Tara
Randy Scruggs (guitar)
Dan: Default underdog support.
Ben: I would love to see this go to the steel guitar man (and preferably not to Dann Huff), but Mac McAnally tends to be the favorite here.
Leeann: I want the steel guitar to represent this year. So, I’ll will it to happen.
Jonathan: Franklin’s the only nominee who hasn’t won previously, and being regarded as long overdue eventually helped McAnally score his first win, leading to his current three-year hot streak.
Kevin: I’ll be rooting for Paul Franklin until he finally wins, but I won’t believe that he’ll win until he finally does.
Friday, May 5, 2006 – The Palace of Auburn Hills, Michigan. For Faith Hill, it was just another stop on her Soul2Soul II tour with her superstar husband Tim McGraw. For young 14-year-old Ben Foster, it was my very first live concert experience (or at least the first that did not entail bringing a picnic blanket), and it was one that I never forgot. I still have the ticket stub.
I became a Faith Hill fan at a young age, and I became an even bigger fan as I grew older. As I set about acquiring all six of her Warner Bros. studio albums, my admiration for this talented artist only grew. To one who knows Faith Hill only for crossover pop hits like “Breathe,” “This Kiss,” and “The Way You Love Me,” it might come as a bit of a surprise what a strong album artist she was. Besides that, she possessed genuine country sensibilities in addition to the pop diva persona that she became so well known for.
As I continue to eagerly await Faith Hill’s return with her seventh studio album, I’m thrilled to share my 25 personal favorites out of her eclectic catalog of tunes. Many of these songs were substantial hits, but I’ve also left off a few well-known singles in favor of some lesser-known hidden treasures. As always, please feel free to share your own favorites in the comments section.
#25
“The Way You Love Me”
Breathe, 1999
Now, don’t give me that look. We’re all entitled to a little guilty pleasure time, aren’t we? Look, I still don’t know what “If I could grant you one wish, I wish you could see the way you kiss” is supposed to mean, and I’m guessing you don’t either. But what I do know is that Faith Hill somehow managed to craft a ridiculously catchy piece of pop-country nonsense that had me hopelessly hooked ever since I first heard it over a decade ago. I couldn’t not love it if I tried.
#24
“Wild One”
Take Me As I Am, 1993
Faith’s 1993 debut single is an enjoyable and fitting introduction to a major talent. The lyrics portray a free-spirited teenage girl who, in addition to having a rebellious streak a mile wide, is a proactive go-getter who takes life as it comes. “Life is hard,” but she says “That’s all right.” It’s an effortlessly charming record, and yet at the same time, it almost seems like an hors d’oeuvre in comparison to the deep and insightful material Faith would tackle in the future.
#23
“Sleeping with the Telephone” (with Reba McEntire)
Reba McEntire – Reba Duets, 2007
With this fantastic collaboration from Reba’s 2007 duets project, Faith and Reba play the parts of two neighbors, each of whom is married to a man who risks his life on a daily basis. Their circumstances are different, with one husband being a soldier and the other being a police officer, but each wife copes with the same troubling feelings of deep worry and anxiety. But honestly, this track is a shoo-in just for the pure pleasure of hearing Hill and McEntire, two of country’s most dynamic vocal powerhouses, paired together – trading verses and blending their voices in harmony on the soaring chorus.
#22
“Let Me Let Go”
Faith, 1998
A brokenhearted woman tries to move on in the wake of a break-up, but is unable due to the unshakable feeling that they really were meant to be together. (“If this is for the best, why are you still in my heart, are you still in my soul?”)
#21
“Someone Else’s Dream”
It Matters to Me, 1995
The story of a young woman gradually discovering her own distinct identity, and discovering that her parents’ hopes and dreams will never be hers. When the song reaches its final bridge, the young woman has firmly made her decision: “She’s got twenty-seven candles on her cake, and she means to make her life her own before there’s twenty-eight.”
#20
“Love Ain’t Like That”
Faith, 1998
In a clever composition with some classic Matraca Berg lines, Faith debunks a series of mistaken ideas about what love is really about, while also underscoring the importance of commitment in a lasting relationship. Favorite lines: “You can’t buy it at the store, try it on for size, bring it back if it don’t feel right.… You can’t trade it in like an automobile that’s got too many miles and rust on the wheels.”
#19
“Let’s Go to Vegas”
It Matters to Me, 1995
The unshakable joyfulness of “Suds In the Bucket” meets the wide-eyed charm and innocence of “She’s In Love with the Boy.” From the light airy arrangement to Faith’s enthusiastic performance, “Let’s Go to Vegas” embodies all of the youthful romantic excitement found in that one little moment of “Hey, I just had a crazy thought…”
#18
“Lost”
The Hits, 2007
This one might have come across as an attempt to re-visit the power ballad euphoria of “Breathe,” which it might have been, but it carries an extra air of mystery that gives it a distinct identity separate from its predecessor, while the melody and performance make the song captivating on its own merits alone.
#17
“What’s In It for Me”
Breathe, 1999
On the kickoff track of Faith’s runaway success of an album, her performance sounds like the release of an eternity’s worth of pent-up fury. The aggressive country-rock production, combining awesome guitar work with some mighty fierce fiddling, added up to a record that sounded truly ferocious.
#16
“The Secret of Life”
Faith, 1998
In this philosophical number written by the ever-excellent Gretchen Peters, several men drinking in a bar ponder over the fabled “Secret of Life,” eventually concluding that “The Secret of Life is nothing at all.” Faith’s half-sung, half-spoken performance brought the conversational tone to life, taking a song that was hardly radio-friendly, and turning it into a Top 5 hit.
#15
“Cry”
Cry, 2002
A full-on pop power ballad in which Faith strikes the delicate balance of exercising her powerful pipes in a fiery delivery, while still retaining the emotional connectivity of a great country record. Her formidable vocal prowess is on full display, but even the biggest power notes are still colored with a deep emotional quiver.
#14
“Breathe”
Breathe, 1999
Faith Hill took the pop-country power ballad to new heights with this cross-genre career-defining hit.
Regardless of how overexposed the song might have been, it’s a memorable record for the way it combines physical attraction with the warmth and comfort found in true love, while also displaying the increased power and fullness that Faith’s voice had acquired over the years.
#13
“I Can’t Do That Anymore”
It Matters to Me, 1995
This Alan Jackson-penned ballad puts into song the frustration, exhaustion, and hurt of a sunken housewife worn down from constantly striving to please her unappreciative husband
#12
“I Need You” (with Tim McGraw)
Tim McGraw – Let It Go, 2007
Of all Faith’s collaborations with her famous husband, this is one of the best. This was only their second full-fledged duet single (with their first being “Let’s Make Love”). The restrained arrangement lends a deeply intimate romantic feel to the record, while both vocalists give killer performances. Tim McGraw digs deep into his lower register, while Faith’s soaring performance elevates the record to greatness. Never before or since had their chemistry been captured as effectively as it is here.
#11
“Dearly Beloved”
Fireflies, 2005
This track served as one of the lighter moments on the mature and compelling collection of songs found on Faith’s Fireflies album. The plucked-out, nearly-hillbillyish country-bluegrass arrangement sounds worlds removed from polished crossover number like “Breathe.” In a song ripe with clever and silly lines, Faith steps into the minister’s shoes at a backwoods white trash wedding. The flirt of a bride is three months late, and the groom is “checkin’ out the bridesmaids, thinkin’ that he might take the maid of honor’s honor.” Fittingly, Faith ices the cake with a closing line of “Y’all come back now, ya hear?”
#10
“A Man’s Home Is His Castle”
It Matters to Me, 1995
Listening to this song is like peeking in the windows of a home torn apart by domestic violence. “Castle” takes on an added level of realism in that it gives a voice to the battered woman, and even gives the couple names (Linda and Jim). The victimized woman is hurt, angry, and desperate, and every tortured emotion is conveyed in the lyrics, which make no attempt to tamper the song’s impact with a manufactured happy ending.
#9
“Take Me As I Am”
Take Me As I Am, 1993
Could it be? A love song that brings maturity and self-realization to the table without sacrificing the joy and
giddiness of newfound romance? Faith delivers exactly that with the title track to her debut album, which includes standout lines like “I’d trade a million pretty words for one touch that is real,” as well as romantic lines like “Baby, don’t turn out the light… I wanna see you look at me.”
#8
“Like We Never Loved At All”
Fireflies, 2005
A delicate piano intro with strains of steel set the tone for a beautiful ballad of a woman who struggles to move on after a breakup, while her pain in increased by the realization of how easily her former flame seems to have moved on. The song is bolstered by Tim McGraw’s harmony vocal, while memorable visual images (“There… walking with your friend, laughing at the moon… I swear you looked right through me”) bring the narrator’s pain down to a strikingly relatable level.
#7
“It Matters to Me”
It Matters to Me, 1995
An expression of hurt feelings that is all the more effective for its simplicity and straightforwardness: “When we don’t talk, when we don’t touch, when it doesn’t feel like we’re even in love… It matters to me.” How much more direct can you get?
#6
“When the Lights Go Down”
Cry, 2002
Faith’s 2002 set Cry was criticized by some for going in a straight-up adult pop direction. But the detractors often missed the fact that Cry is a fantastic pop album, which includes some of the best songs Faith Hill has ever recorded. Exhibit A is “When the Lights Go Down” – a stunning musical testament to the clarity and inescapability of ultimate truth, elevated by Faith’s showstopping vocal performance. The song takes on a tone of positivity as it highlights the fact that life’s most turbulent experiences afford us the opporunity to discover our own inner strength. Easily one of the finest tracks on the Cry album, it’s a shame it wasn’t fully embraced by radio.
#5
“You’re Still Here”
Cry, 2002
It’s hard to go wrong with a Matraca Berg/ Aimee Mayo song. In a similar vein to Trisha Yearwood’s “On a Bus to St. Cloud,” “You’re Still Here” is a tale of the love that’s long gone, most likely in death, but whom the narrator still sees in her dreams, in her baby’s eyes, and everywhere else. At one point she even says “I heard you in a stranger’s laugh, and I hung around to hear him laugh again, just once again.” It’s an achingly beautiful lyric, delivered in one of Faith’s finest and most emotionally-resonant performances on record, while the soft touches of oboe in the arrangement add layer of mystery to the track.
#4
“Wish for You”
Fireflies, 2005
A mother’s expression of all that she wishes for her child. It’s made even more touching by the fact that she never once makes the wish that everything in life will go perfectly for her child. Instead, she simply wishes that, when things do go wrong, her child will pick herself back up, move on, and be a better person because of it. That keeps the song from coming across as cheesy, instead deepening its emotional impact, and keeping it firmly grounded in real life.
#3
“If My Heart Had Wings”
Breathe, 1999
Sometimes it irritates me when certain female artists constantly feel the need to belt out their songs at the top of their lungs. In the case of “If My Heart Had Wings,” however, I can’t imagine the song being sung any other way. Begging to be blared at high volume in one’s car with the windows rolled, “If My Heart Had Wings” is three and a half minutes of pure pop-country euphoria.
#2
“This Kiss”
Faith, 1998
Does this song even need a caption? Probably not, but here it goes anyway. “This Kiss” is a perfect sonic encapsulation of all the joy and romantic giddiness of a newfound love (and yet it came out when Taylor Swift was still in grade school). There are few pop-country tunes that are able to achieve such high levels of catchiness, or to give the replay button a workout like this song does.
#1
“Stealing Kisses”
Fireflies, 2005
Mature, intelligent, and insightful – exactly the kind of material country radio is perpetually in need of, and yet all too often shies away from. “Stealing Kisses” plays like a sequel to the innocent youthful “Love Story”-esque material of artists such as Taylor Swift. As a young woman, the narrator is “stealing kisses from a boy” only to find herself a housewife “begging affection from a man” with the passage of time.
Lori McKenna writes a beautiful song, and Faith Hill beautifully sings it. The song was released as the fifth and final single from Fireflies, and though it only scraped the bottom of the Top 40, it offered one of those rare and special moments when the voice of the adult woman was heard on country radio. Faith Hill and her label are to be commended for having the guts to send it to radio in the first place. A definite career highlight, “Stealing Kisses” aptly demonstrates that, at her best, Faith Hill is just as capable of delivering deep, substantial material as she is capable of serving up a tasty morsel of ear candy.
I’ve had the Adele album for a good bit now, and “Someone Like You” is my favorite track on it. I’d already heard how the song shot to #1 in the U.K. after she performed it on the Brit Awards.
I checked out that performance, and thought it was good. Not great, but good.
I can’t tell if it’s because she was a bit hoarse, or if she was trying to hold back her tears. Either way, it was so stunningly powerful that I was even a bit shaken up by the whole thing.
I know that there’s going to be the inevitable claims of authenticity and real talent and such, which makes sense given the pop landscape that she’s performing in. But honestly, it’s been a really long time since anything has happened on a country music stage that’s even come close to what Adele pulled off that night.
It reminded me of Reba McEntire’s performance of “For My Broken Heart” on the 1991 CMA Awards. She’s a seasoned pro who rarely misses a note, but she tears up so much in the final chorus that she can’t get the notes out, and imperfection that makes the performance timelessly perfect:
I can’t find the clip online, but it also reminded me of Vince Gill singing “The Key to Life” on the 1998 show, also breaking down in the final few lines of the song. I miss moments like this in country music.
No wonder I’m so awfully disinterested in country this year. Besides the usual mainstream drivel, I’ve also been disappointed by new albums from usually reliable folks like Dolly Parton, Todd Snider, Alison Krauss & Union Station, and even Emmylou Harris. I’ve taken to pretending that The Civil Wars are somehow country so that I don’t write the genre off completely this year.
The only thing I’ve really loved so far? Matraca Berg’s The Dreaming Fields. It’s got that same rawness that must be speaking to me for some reason these days. There’s no chance of Berg making it back on the radio in 2011, but with all the shameless format-hopping that’s been allowed by country programmers in recent years, maybe we can get them to give a few spins to Adele.
An accompanying press release explains how the idea came about for Suzy Bogguss to record an album of classic American folk songs (some of which sprang from European origins, and were later adopted into American culture): “Suzy Bogguss had a revelation on stage with Garrison Keillor in 2008. Everyone loves to sing along on ‘Red River Valley’ - except the children who somehow don’t know the song.” That realization gave rise to concern over the possibility that such beautiful folk songs could be overlooked, particularly with music education fading from the public school system. Thus, she set about to record an album of her favorite folk classics with updated-yet-reverent arrangements. The resulting collection is an absolute delight.
Bogguss herself fills the producer’s shoes for the project, and she does an excellent job of carefully seeing that each song is given its ideal treatment. When beloved folk songs meet Bogguss’s golden-throated vocals and soft acoustic instrumental backing, it’s a match made in heaven. In recognizing the timelessness of these songs, Bogguss sees to it that they are never treated as museum pieces. Instead, each song is interpreted in a manner that is updated, yet still true to the spirit of the original song. Though their classic nature is emphasized, they are treated in a way that makes them feel relevant even today.
The songs are backed by a beautiful stripped-down instrumental arrangements, featuring the sounds of fiddle, mandolin, concertina, harmonica, banjo, and tin whistle, as well as other instruments. Drums are used sparingly. In addition, Bogguss’s talented partners in crime – Matraca Berg and Gretchen Peters – can be heard singing background vocals. Many distinctive creative touches are added, but Bogguss never resorts to cheap gimmickry. Echoing background vocals at the end of “Banks of the Ohio” give the dark murder ballad an almost otherworldly feel, while subtle hopping-frog sound effects meld nicely with the sprightly arrangement on the ditty “Froggy Went A-Courtin’.” There are many instances in which the instrumental arrangements on their own are engaging enough to hold up as instrumental tracks. One example is “Ol’ Dan Tucker” on which Richard Bailey’s banjo picking makes the familiar tune sound more catchy than ever before. Meanwhile, Stuart Duncan’s fiddling makes “Sweet Betsy from Pike” a delightful sonic treat.
But a major part of what makes this collection so special is the fact that Bogguss clearly has a deep connection to these songs, and that connection is audible in her performances. The once-platinum-selling Grammy winner is still in fine voice at age 54. Through her ethereal vocals, she breathes new life into these familiar tunes. One of her finest vocal turns comes at the beginning of the iconic “Swing Low Sweet Chariot,” as she sings the opening lines a cappella, and then the gentle dobro-driven arrangement gradually kicks in. On her broadly enjoyable version of “Erie Canal” she gives a loose, jazzy delivery as she eases into the musical tale of navigating the Erie Canal.
A fine example of Bogguss’s deep emotional resonance comes in her performance of “Red River Valley” – the standard that inspired the recording of this album. She injects deep emotion into the oft-heard lyrics “Do you think of the kind heart you’re breaking/ And the pain you are causing to me?” Even if you’ve heard the song countless times, hearing Suzy Bogguss sing it is like hearing it for the very first time all over again. Another highlight is “Shenendoah,” a song whose lilting melody fits Bogguss’s voice perfectly. As the album reaches its final tracks, she sings “Beautiful Dreamer” in a half-whisper against a bare-bones acoustic arrangement, closing out the set on a high note.
Though the album weighs in at a hefty 17 tracks, Bogguss effectively holds our attention throughout. Each track feels essential in its own way. There is no filler material. It feels cohesive without the tracks running together. Through these stellar reinterpretations, Bogguss’s American Folk Songbook not only keeps these classic folk songs alive, but ends up an artistic achievement in its own right.
Whether you’re a devoted fan who’s followed Suzy Bogguss’s career from the start, or a new convert just beginning to discover the riches of her music, Songbook is an album that’s well worth adding to your collection. Now everyone can sing along to “Red River Valley”!
Suzy Bogguss has been my favorite female vocalist for about 20 years now. The first time I heard her was on some TV show with Jerry Reed in 1991. She sang “Aces” and “Night Riders Lament” and I was hooked. Since then, I’ve seen her in concert about a dozen times from New York to Nashville and in-between. She still tours on her own in addition to her “Wine, Women and Song” shows with great songwriter friends Matraca Berg and Gretchen Peters. Suzy has done some writing herself having co-written 56 songs, including hits “Hey Cinderella” and “Just Like the Weather”.
Besides attending her shows, I have all her albums. In reviewing her 2007 album “Sweet Danger”, the bossman here at CU, Kevin Coyne said “the arrangements of the songs are subtle and low-key, allowing for the vocals to shine and the songs to work on their own merit, not through the bells-and-whistles of clever production”. I believe that Kevin’s statement could be applied to all of Suzy’s albums.
Suzy never throws away a lyric. You never have to guess at the words she sings. Back to Kevin again – In his review of her last single “In Heaven”, he said that “her voice is still as pure and clear as a mountain stream, and she instinctively knows the great truth about singing that too many women these days never learned: it’s not about power, it’s about sincerity”.
Chet Atkins was a big admirer of Suzy, saying “I don’t like hot dogs and I don’t like anchovies. I don’t like people who say there are too many guitar players in the world, and I especially don’t like singers who sneak up on their notes. But I like Suzy Bogguss…she is always in the tone center, her voice sparkles like crystal water, and she ain’t all that bad looking boys and girls–she’s only one of the best.”
As other writers in this series have mentioned, I found it difficult to get down to 25 songs. Suzy’s highest charting single, “Drive South”, didn’t make my list. Here are some of my favorite songs by Suzy Bogguss:
#25
“Shenandoah”
From the 2011 album American Folk Songbook
A beautiful rendition of a traditional American folk song said to date back to the early 19th century.
#24
“Nobody Love, Nobody Gets Hurt”
from the 1998 album Nobody Love, Nobody Gets Hurt
A Bobbie Cryner song about a would be robber who hands the girl behind the counter in a convenience store a note that he meant to say “Nobody Move, Nobody Gets Hurt”; he wrote “Nobody Love …”
#23
“Outbound Plane”
from the 1991 album Aces
Her current love has flown but she knows she’ll fall in love again in this Nanci Griffith and Tom Russell penned song.
#22
“Do Nothing Til You Hear From Me”
from the 2003 album Swing
Duke Ellington composed the music and Bob Russell wrote the lyrics for this song from the 40′s about not paying attention to rumors. Ray Benson produced the album.
#21
“When She Smiled at Him”
from the 1994 album Simpatico
A father daughter song, written by Michael Johnson and Joanie Beeson, that begins “he wasn’t prepared for a daughter, he thought how nice a son would have been, but she had her way with her father, when she smiled at him”. OK, it’s a sweet and sentimental song. Add a star if you have a daughter. I do.
#20
“Somebody to Love”
from the 1998 album Nobody Love, Nobody Gets Hurt
Her last single to crack the country top 40 was written by Matraca Berg, Suzy & hubby Doug Crider. The girl is brokenhearted and wants somebody cause the night is long. But “she’s got to be tough and hold out honey cause, what you really want is somebody to love”.
#19
Diamonds and Tears
from the 1993 album Something Up My Sleeve
In an article Kevin wrote on Matraca Berg, he said the song was “Berg’s finest philosophical moment, a reflection on how the journey of life is its own destination. Even lost love is a form of “higher education”: “I have said and heard the word ‘goodbye’, felt the blade and turned the knife sideways. But I crossed bridges while they burned, to keep from losing what I’ve learned along the way.” The song was co-written by Gary Harrison.
#18
“I Heard the Bells on Christmas Day”
from the 2001 album Have Yourself a Merry Little Christmas
The song is based on the Longfellow poem, “Christmas Bells”, which was written on Christmas Day 1864, a few months before the end of the Civil War. Verse two expresses despair that there’s no peace on earth. In verse three, joy triumphs: “then pealed the bells more loud and deep, God is not dead, nor doth he sleep, the wrong shall fail, the right prevail, with peace on earth, good will to men.”
#17
“In Heaven”
from the 2007 album Sweet Danger
Solely written by Doug Crider, who has written 184 songs, this song always gets to me. Since I can’t think of a better way to say it (how’s that for sucking up?), I’ll quote Kevin again from his review noted above: “As Bogguss asks her deceased husband for his blessing on the new love she has found, all of the shades of emotion are there in her multi-layered performance: fear, apprehension, guilt, joy, sorrow. You can feel the conflict inside of her character as she sings every line.”
#16
“Goodnight”
from the 1999 album Suzy Bogguss
This Charlie Black and Dana Hunt song is a perfect fit for my playlists of songs mentioning a U.S. city or state. The woman is trying to get back with her lover, but keeps just missing him. The chorus goes “So goodnight Raleigh, goodnight Durham, goodnight Atlanta and Macon and Jacksonville, Live from high atop the hood of my car, I’m signing off, sweet dreams baby, wherever you are”.
#15
“She Said, He Heard”
from the 1996 album Give Me Some Wheels
A song Suzy wrote with Don Schlitz about the different planets men and women sometimes occupy. “She said ‘I’m mad’, he heard ‘I’m leaving’, she said ‘I’m sad’, he heard ‘It’s all your fault’.”
#14
“How Come You Go to Her”
from the 1992 album Voices in the Wind
A what’s she got that that I ain’t got song from Anthony Smith, Michael Garvin and Suzy. “You said it was heaven in my arms, so how come they ain’t holding you.”
#13
“Cold Day in July”
from the 1992 album Voices in the Wind
“You always said that the day you’d leave me, would be a cold day in July”. I love the Dixie Chicks but Suzy’s earlier recording of this Richard Leigh song from 1981 blows them out of the water.
#12
“Just Like the Weather”
from the 1993 album Something Up My Sleeve
Her man is thinking about leaving, so she uses the changeability of the weather as a metaphor to convince him to stay and tough it out. A Bogguss-Crider writing collaboration that resulted in a top ten hit.
#11
“I Want to Be a Cowboy’s Sweetheart”
from the 1989 album Somewhere Between
Suzy’s cover of Country Music Hall of Famer Patsy Montana’s signature song first released in 1935. Love Suzy’s yodeling.
#10
“Saying Goodbye to a Friend”
from the 1996 album Give Me Some Wheels
A song from Angela Kaset and Doug Gill about trying to get over the loss of a loved one. Lines like “These little things that shouldn’t matter, make something inside me shatter” and “like a scene in a rearview mirror, I thought I’d got past it, now I’m looking at it again” reflect the singer’s state of mind.
#9
“Handyman’s Dream”
from the 1989 album Somewhere Between
A bouncy Gary Nicholson-Pam Tillis tune about potential as expressed by lines like: “I’m a little rundown from lack of attention, but my possibilities are too numerous to mention” and “I need a man who’s not afraid to roll up his sleeves, If you could only picture what the end result will be”. Hmm.
#8
“Someday Soon”
from the 1991 album Aces
An Ian Tyson classic, first recorded in 1964. The woman’s problem: “He loves his damned old rodeo as much as he loves me.” Today her problem would more likely be playing golf or watching football.
#7
“Letting Go”
from the 1991 album Aces
A song from hubby Doug and Matt Rollings that parents sending their kids off to college for the first time can appreciate. I speak from first hand experience.
#6
“Eat at Joe’s”
from the 1992 album Voices in the Wind
In this Berg-Harrison tune about a waitress in an all night diner, Suzy’s sounds a bit sassy as she sings “here’s a hot top on your coffee, honey you’re a mess, I ain’t your wife, I ain’t your momma, but I’ll do I guess”.
#5
“It’s Not Gonna Happen Today”
from the 2007 album Sweet Danger
Kevin’s comment: “Bogguss co-wrote one of the strongest tracks on the album, the dark and despondent “It’s Not Gonna Happen Today.” It finds the narrator hiding out in her house on an autumn afternoon, with the leaves piling up outside. “I don’t really want to face all the things I’ve left undone,” she confesses. “At least a thousand things…maybe only one.” Suzy’s co-writers were Greg Barnhill and Doug Crider.
#4
“Night Rider’s Lament”
from the 1989 album Somewhere Between
There’s low pay and no advancement so why does this cowboy ride and rope for his living in this Michael Burton song? The end of the chorus provides the answer to the suggestion that “he must have gone crazy out there”:
But he’s never seen the Northern Lights
Never seen a hawk on the wing
He’s never seen Spring hit the Great Divide
And never heard Ol’ Camp Cookie sing.
Suzy’s yodeling at the end is awesome.
#3
“Something Up My Sleeve”
from the 1993 album Something Up My Sleeve
A duet with Billy Dean penned by Suzi Ragsdale and Verlon Thompson. The relationship isn’t working out for either party but neither one wants to leave. Suzy sings the first verse and Billy the second. In the third verse they alternate lines, Suzy then Billy responding. In the fourth verse, they again alternate, Billy with Suzy answering. They end together singing “I wish I had the power to make us both believe, I wish I had something up my sleeve.” Both contribute equally, a true duet, and their voices, Suzy’s soprano and Billy’s baritone, go so well together.
#2
“Hey Cinderella”
from the 1993 album Something Up My Sleeve
The fantasy of the first two verses turns into “dreams that lost their way” by the end of the third verse. The chorus begins “Hey Cinderella” and ends with the question “Does the shoe fit you now?” In the song’s second half, reality has totally set in. There’s talk of compromising and coming to terms with our vanity. Suzy co-wrote the song with Berg and Harrison.
#1
“Aces”
from the 1991 album Aces
Writer Cheryl Wheeler once explained that the song is about 3 persons. A and the singer, B, are former lovers. A introduces B to C and the latter two get together. A and C were also former lovers. B is singing to A who complained about B and C getting together. Hence, she sings “you can’t deal me the Aces and think I wouldn’t play.”
Since the lyrics do not mention this third party, C, another interpretation could be that of mentor and protege. The former trains the latter and makes her a star but never wants to relinquish control. (Porter and Dolly?) Lines like “you feel undermined and hurt again” and “compromise and realize you can never really run every thing you start” could fit this second scenario. This has been how I always interpreted the lyrics. Cheryl’s explanation can be found on her website.
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.
In some parallel universe where I had actual musical talent and the opportunity to record an album, I suspect I’d forgo the pile of demo tapes sent to unknown artists and just look for awesome album cuts from great songwriters.
Matraca Berg’s catalog of recorded cuts would be a good place to start, an epiphany that serves Kenny Chesney well. Berg is usually associated with female artists, and indeed, this song was originally recorded by Deana Carter, who also co-wrote the song. But Berg’s pen has been responsible for some great moments from Keith Urban and Randy Travis, so it’s no surprise that Chesney does well with this one.
Chesney sings it with more personality and general presence than Carter did, and the record also benefits from picking up the pace toward the end, a choice that would have elevated Berg’s own version as well. The harmony vocal of Grace Potter isn’t essential until the song starts to fade away, but it does ease some of the loneliness embedded in the lyric.
All in all, it’s just nice to hear Chesney singing a great song again.
Leeann Ward: “The Last Bus” – Zoe Muth and the Lost High Rollers
One of my favorite moments is when I put my iPod on shuffle and discover a song that I’ve never heard before and fall in love with it. Such an occasion occurred a few weeks ago. I’ve had this Zoe Muth album for quite some time, but as often happens, I bought the album and hadn’t gotten around to listening to it yet.
The song has my favorite kind of gentle instrumentation and Muth’s performance exudes the kind of melancholy that is easy to get wrapped up in, which is a testament to a well interpreted and well crafted song.
P.S. The whole album is highly worth checking out.
I knew them as the band behind two of my favorite 90’s singles, “Found Out About You” and “Follow You Down,” but I’d never listened through one of their albums until I happened upon a used copy of New Miserable Experience a few weeks ago. “Lost Horizons” is the opening track, and it’s a killer marriage of depressive angst and jaunty power-pop: “I’ll drink enough of anything to make this world look new again / I’m drunk, drunk, drunk in the gardens and the graves.”
Love this album, love this song. The lyrics are simple and its sentiment isn’t groundbreaking, but its vocal nuances and gorgeous throwback arrangement make it an instant favorite for me. I can’t get enough of the fierce tenacity in Adele’s performance and how sweetly it contrasts with the song’s soothing vibe.
From her exquisite new album The Dreaming Fields, this is the highlight among highlights. A real heartbreaker, Berg is mourning her husband’s death alongside the death of the woman that she used to be. Enjoy it by the songwriter now, and by a nineties artist with great taste on some future album. My money’s on Yearwood.
Friday, May 5, 2006 – The Palace of Auburn Hills, Michigan. For Faith Hill, it was just another stop on her Soul2Soul II tour with her superstar husband Tim McGraw. For young 14-year-old Ben Foster, it was my very first live concert experience (or at least the first that did not entail bringing a picnic blanket), and it was one that I never forgot. I still have the ticket stub.
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