For the second year, Country Universe is publishing a 40-deep list of the year’s best albums. Part One includes releases from talented newcomers, genre legends, and quite a few entries from the outskirts of country music. As usual, that’s where most of the cool stuff can be found.
Country Universe will close out our year with the conclusion of this list tomorrow. As always, share your thoughts and opinions in the comments!
#40 Ventucky Dan Grimm
Individual rankings: #12 – Jonathan
The EP format doesn’t leave much margin for error, but with a knack for unconventional imagery and a style that blends vintage SoCal rock with authentic honky-tonk, Dan Grimm ensures that every track on his freewheeling, endlessly likable Ventucky is a standout. - Jonathan Keefe
Recommended Tracks: “Skeletor,” “300 Beers”
#39 Magpie and the Dandelion The Avett Brothers
Individual rankings: #12 – Sam
Since moving up to a major label, the Avetts’ album releases have strayed further and further away from their ragged-but-right indie albums. There aren’t as many reckless moments, though “Another Is Waiting” and “Open Ended Life” come close. The trade is that their slower, introspective songs are increasingly sophisticated. “Good to You” is beautifully written, and Bob Crawford’s rare vocals are a dagger to the heart for any dads who spend too much time traveling. - Sam Gazdziak
Recommended Tracks: “Good to You”, “Another is Waiting”, “Morning Song”
#38 Love’s Truck Stop Matraca Berg
Individual rankings: #11 – Kevin
Originally released in Europe last year, Matraca Berg’s latest collection builds on the strength of 2011′s Dreaming Fields. She embodies the characters of her song so fully that she allows you to walk as easily in the shoes of a truck stop waitress as those of a grieving, abused daughter clutching flowers at her father’s graveside. Her vulnerable vocals shine best on “My Heart Will Never Break This Way Again”, which was sung by Patty Loveless many years ago. - Kevin Coyne
Recommended Tracks: “Her Name is Mary”, “Fistful of Roses”, “My Heart Will Never Break This Way Again”
#37 Feels Like Home Sheryl Crow
Individual rankings: #11 – Leeann
It was inevitable that Sheryl Crow would eventually make a country album, since she’s dabbled in it over the years on various tribute projects and has collaborated with country stalwarts like Willie Nelson and Vince Gill, not to mention that even her pop albums have had elements of country in them. So, Feels Like Home seems appropriate for the title of her first official country record.
While certainly not a traditional country record, as I had personally hoped it would be, Crow is instead authentic to her way of doing things, while also being able to draw from the good parts of the modern sounds and styles of country music. - Leeann Ward
Recommended Tracks: “We Oughta Be Drinkin’”, “Stay at Home Mother”
#36 They Called it Music The Gibson Brothers
Individual rankings: #11 – Ben
On the title track of They Called it Music, IBMA Entertainers of the Year Leigh and Eric Gibson pine for the days when music was honest, simple, and “helped the hard times heal” – when it was a medium of art and self-expression rather than a mere moneymaker. Whether lighthearted (“Buy a Ring, Find a Preacher”), melancholy (“Dying for Someone to Live For”) or introspective (“Something Coming to Me”), the entire album is a beautiful realization of that very standard. - Ben Foster
Recommended Tracks: “Buy a Ring, Find a Preacher,” “They Called It Music,” “Something Coming to Me”
#35 Studebaker Mando Saenz
Individual rankings: Sam – #11
The third album from Texas-raised, Nashville resident Saenz is the most eclectic and best of his career. While the focus is still on his sharp songwriting skills, the mood varies from introspective to rocking to, on “Tall Grass,” downright playful. Saenz collaborated with an A-list batch of co-writers, including Kim Richey for “Break Away Speed” and Wade Bowen for “Bottle into Gold,” and the mix of songs with Saenz’s pleasant vocals and a hot band is a winning combination. - Sam Gazdziak
Recommended Tracks: “Break Away Speed”, “Bottle into Gold”, “Pocket Change”
#34 Build Me Up from Bones Sarah Jarosz
Individual rankings: #17 – Jonathan; #19 – Ben
On her third album, Build Me Up from Bones, Sarah Jarosz found her voice as both a singer and a songwriter. Her sense of phrasing draws from both her expansive knowledge of contemporary folk and her conservatory training in improvisation, and sharply observed original songs like “Gone Too Soon” and “1000 Things” more than hold their own alongside Joanna Newsom and Bob Dylan covers. - Jonathan Keefe
Recommended Tracks: “Over the Edge,” “Build Me Up from Bones,” “1000 Things”
#33 Opening Day Peter Cooper
Individual rankings: #16 – Leeann; #18 – Sam
eter Cooper’s second album was entitled after the great pedal steel guitar player, Lloyd Green. While Opening Day is not named after him, Green is still the other star player on Cooper’s third stellar solo album. Along with Green’s prominent steel and cooper’s own emotionally conversational voice, Cooper once again proves that he is as an adept songwriter as he is a journalist. Themes of living life well, baseball (Of course!), and even drone strikes. Each of these songs with its various themes are all presented with either insight or witty humor and sometimes both. - Leeann Ward
Recommended Tracks: “Much Better Now”, “Quiet Little War”
#32 Holly Grove The Whiskey Gentry
Individual rankings: #8 – Sam
It’s hard to say if The Whiskey Gentry will be the next big thing to come out of Georgia, but they have the talent to spare. The band mixes in bluegrass, country, a bit of Celtic and a dash of punk rock, resulting in a high-energy, hard-to-classify sound. “I Ain’t Nothing” and “Dixie” wouldn’t sound out of place in a honky tonk, while “Colly Davis” is a bluegrass-on-amphetamines winner. The title track is a four-and-a-half minute epic that was one of the most moving songs of the year. - Sam Gazdziak
#31 When We Fall Rebecca Frazier
Individual rankings: Ben – #7
Rebecca Frazier is a genuine triple threat – a great picker, a great singer, and a great songwriter. She shows that she can throw it down with the best of them on “Ain’t Gonna Work Tomorrow” as well as a trio of stellar instrumental tracks, while her delivery of ballads such as the deeply personal “Babe in Arms” resounds with humanity and vulnerability, the result being one of the year’s finest bluegrass albums. - Ben Foster
Recommended Tracks: “When We Fall,” “Ain’t Gonna Work Tomorrow,” “Babe in Arms”
#30 Not Cool Tim Easton
Individual rankings: #7 – Jonathan
Even if its self-deprecating title isn’t at all accurate, singer-songwriter Tim Easton’s Not Cool proves that, despite the glut of counter-evidence 2013 presented, it’s still possible to incorporate a heavy rock influence into folk and country styles without sacrificing wit, craft, or genre know-how. Spirited, ramshackle cuts like “Lickety Split” and “Crazy Motherfucker from Shelby, OH” make the underrated Easton’s seventh outing one of the year’s most raucous and, yes, coolest albums. - Jonathan Keefe
Recommended Tracks: “Troubled Times,” “Lickety Split,” “They Will Bury You”
#29 Wheelhouse Brad Paisley
Individual rankings: Sam – #7
Did you know that Brad Paisley released one of the best albums of his career this year? The humorous songs, like “Harvey Bodine” and “Death of a Single Man,” stayed humorous after multiple listenings, and unlike most other country singers, Paisley blended in pop elements, like sampling Roger Miller in “Outstanding in Our Field,” and did it without turning them into pop or rock songs with token country elements. “Southern Comfort Zone” and “Those Crazy Christians” showed more depth than their titles would suggest. And all anyone wanted to talk about was that damn “Accidental Racist” song. - Sam Gazdziak
Recommended Tracks: “Southern Comfort Zone”, “Beat This Summer”, “Death of a Single Man”
#28 In the Throes John Moreland
Individual rankings: #6 – Jonathan
A difficult meditation on what happens when one has experienced losses of love and faith, John Moreland’s In the Throes is a testament to the redemptive power of music. He may sing, “Nobody Gives a Damn About Songs Anymore,” on the album’s most keenly observed song, but Moreland’s spectacular songwriting is something everyone should hear. - Jonathan Keefe
Recommended Tracks: “Nobody Gives a Damn About Songs Anymore,” “Break My Heart Sweetly,” “Blues & Kudzu”
#27 Dos Divas
Lorrie Morgan & Pam Tillis
Individual rankings: #13 – Kevin; #16 – Ben
A lively and entertaining collaboration between two nineties, second-generation country stars. The album features six full collaborations, along with four solo tracks from each artist. The pairings are funny and loose, recalling the best of those old-school duet albums from the sixties and seventies. But the biggest surprise is in the solo turns by Lorrie Morgan, who turns in some of her strongest moments ever put down to tape. - Kevin Coyne
Recommended Tracks: “Last Night’s Makeup”, “Next Time it Rains”, “I Know What You Did Last Night”
#26 Good Wine and Bad Decisions
Julie Roberts
Individual rankings: #13 – Ben; #16 – Tara
Roberts’ comeback album is best approached with an aching heart and a glass of something smooth – all the better to absorb its combo of earthy blues and provoking, damn-that’s-depressing stories. But don’t mistake Good Wine and Bad Decisions for a downer; Roberts lures you into her dark places with such emotional gusto and groovy, engaging vibes that you somehow end up celebrating in misery. - Tara Seetharam
Recommended Tracks: “Arms of Jesus,” “He Made a Woman Out of Me,” “Bones,” “Old Strings”
#25 Finally Home Blue Sky Riders
Individual rankings: #4 – Dan
With their considerable powers combined, Georgia Middleman, Gary Burr, and Kenny Loggins (Kenny Loggins!) produce the year’s most relentlessly positive LP. No time for cynics here; this is distilled country-poptimism, a set of songs that could easily soundtrack a self-help seminar (“Just Say Yes”! “How About Now”!) and like it that way, thanks. And are you gonna complain? The songs are so catchy, you will help yourself. - Dan Milliken
Recommended Tracks: “Little Victories”, “Just Say Yes”, “How About Now”
#24 To All the Girls… Willie Nelson
Individual rankings: #12 – Tara; #15 – Leeann
Only Nelson could create an album akin to a mug of hot chocolate on a lazy Sunday afternoon that still feels elegant and impeccably thought-out. There’s no doubt he was tickled to record with all 18 female acts, from current stars to genre darlings to his own family, and it shows. He plays to each of her strengths with grace – stepping back in “Grandma’s Hands” to let Mavis Staples take it to church, standing quietly still in “Always On My Mind” so Carrie Underwood can inhabit the classic, waltzing right alongside Norah Jones in “Walkin.” It’s all comfort food, to be sure, but comfort food of the classiest, most tasteful order. - Tara Seetharam
Recommended Tracks: “Far Away Places,” “Please Don’t Tell Me How the Story Ends,” “Grandma’s Hands,” “Have You Ever Seen the Rain?”
Built around full-bodied melodies, subtle yet evocative arrangements, and authoritative vocal performances, Thorn in My Heart is another excellent collection of mature, compelling roots country songs by one of the genre’s most underrated singer-songwriters. - Ben Foster
Recommended Tracks: “Thorn in My Heart,” “London Town,” “Breakaway Speed”
#22 Massachusetts Lori McKenna
Individual rankings: #3 – Kevin
Whereas the previous, excellent Lorraine dealt heavily in the themes of loss and grief, the finest moments on McKenna’s latest collection surround matters of the heart. McKenna captures the quiet desperation just under the surface of life’s mundanity better than any writer today. - Kevin Coyne
Recommended Tracks: “Shake”, “Salt”, “Smaller and Smaller”
#21 The Stand-In
Caitlin Rose
Individual rankings: #10 – Dan; #11 – Jonathan
Liz Rose’s daughter once again proves her family can school yours all day long, with a sophomore set of songs every bit as sharp as her debut. Her soft, demure singing style belies her ability to slip powerful blows—whether aimed at others or herself—into a song. Call her Nashville’s ninja. - Dan Milliken
Recommended Tracks: “I Was Cruel”, “Silver Sings”, “Menagerie”
The original rockabilly queen returns with a vengeance on her sassy, spirited new album Unfinished Business, following up last year’s solid Jack White-produced comeback set The Party Ain’t Over. This time around, Jackson swaps out White for Americana star Justin Townes Earle as producer as she takes on another set of classic cover tunes mixed with some newer material.
Unfinished Business draws material from a variety of
genre wells spanning classic country, blues, R&B, and rock and roll. The album kicks off with a bang as Jackson tears into a rollicking rendition of Sonny Thompson’s “Tore Down.” Kenny Vaughan injects a searing guitar riff into the tune that serves as a perfect match to the raw energy and grit of Jackson’s performance. Certain choices might not fare well in comparison to previous renditions - We’ve heard superior versions of “Old Weakness (Comin’ On Strong)” by Patty Loveless and Tanya Tucker, while Jackson’s take on Bobby and Shirley Womack’s “It’s All Over Now” sounds surprisingly tame. But even at their weakest, Jackson’s versions are always enjoyable for what they are, and there are no real duds in the bunch.
Jackson nods to her country roots with the sweet pedal steel-laden ballad “Am I Even a Memory,” a duet with Earle, as well as the aching “What Do You Do When You’re Lonesome” – a fine country shuffle if ever there was one. But it’s not an entirely gloomy affair, as Jackson balances out the melancholy material with upbeat fare such as the Townes Van Zandt gospel rave-up “Two Hands,” which she sells with infectious joy. Though Jackson’s vocal power may have deteriorated, her natural spunk and sense of presence more than make up for it, as toe-tappers such as “The Graveyard Shift” and Etta James’ “Pushover” show that Jackson can still belt and growl with the best of them. The album closes with a beautiful rendition of Woody Guthrie’s “California Stars,” featuring some lovely steel guitar work by Paul Niehaus.
Considering Wanda Jackson’s musical style has long drawn from an amalgam of influences, it’s fitting that she here draws from such an eclectic selection of material. What’s particularly impressive is that she is able to take songs from different genre origins, and make them sound like they belong together, blended by the unique flair of her performances. Similarly, Earle’s production approach borrows elements from varying genre influences, and brings them over to traditional Wanda Jackson territory, creating an album that sounds diverse without sounding disjointed.
Indeed, though Unfinished Business pays tribute to Etta James, Sonny Thompson, Bobby Womack, and Woody Guthrie, among others, the star of the show is Jackson. It’s not so much a country album, a rock album, or a blues album as it is simply a Wanda Jackson album – a fun, entertaining collection that serves as a testament to the enduring legacy of the talented rockabilly legend. Her place in music history may already be secure, but as hinted at by the album’s title, Wanda Jackson is clearly not resting on her laurels.
Top Tracks: “Tore Down,” “Pushover,” “California Stars”
Pam Tillis & Lorrie Morgan
Grits & Glamour Tour
Southern Kentucky Performing Arts Center
Bowling Green, Kentucky
October 13, 2012
This past Saturday night, I had the immense pleasure of seeing two favorite artists of mine – contemporary country legends Pam Tillis and Lorrie Morgan – perform live in concert at the newly completed Southern Kentucky Performing Arts Center (SKyPAC) in Bowling Green, Kentucky. The SKyPAC is a beautifully decorated 1800-seat venue with excellent acoustics, thus providing an ideal atmosphere for Tillis and Morgan’s fantastic Grits & Glamour show.
The Grits & Glamour tour is all about the fans, and all about great music. No unnecessary gimmicks, bells, or whistles – just Tillis and Morgan singing their hearts out, joined by a small four-piece band. Both ladies were in fine voice, boasting some absolutely gorgeous harmonies, as they performed together backed by fiddle, bass, guitar, and keyboard. Such simplicity created a warm, laid-back, almost familial environment as Tillis and Morgan treated the eager crowd to a selection of best-loved tunes, all the while cutting up like one would expect from a couple of longtime girlfriends, and sharing often-humorous personal anecdotes – such as Tillis’ account of being mistaken for Patty Loveless at a Waffle House, by a fan from Knockemstiff, Ohio. (Google it – It’s a real place)
a selection of well-known hits from both artists, finished off with covers of classic songs that are close to their hearts, as well as some more recent cuts. The two opened the show with a lovely duet version of Joni Mitchell’s “Both Sides Now.” From that point onward, they alternated between performing Morgan’s hits and Tillis’ hits, beginning with Morgan’s “Watch Me” (performed in a fierce fiddle-laden arrangement quite different from the relative slickness of the 1992 hit version) and Tillis’ “Shake the Sugar Tree.” Obviously, both ladies have had more than enough hits to fill up an entire set list (Tillis has had 13 Top 10 country hits; Morgan has had 14), but Tillis and Morgan did a fine job covering the main highlights of their careers, such that virtually any audience member could enjoy the thrill of hearing something familiar. Though the hits dominated the set list, Tillis and Morgan also performed standout cuts from each of their most recent albums. Tillis performed “Train Without a Whistle” from her 2007 career-best effort Rhinestoned, while Morgan gave a heartrending performance of “How Does It Feel” from 2010’s I Walk Alone.
A major facet of what makes Grits & Glamour such a broadly enjoyable show is the way its two headliners simply exude genuine love for great country music new and old. They commented on the increased scarcity of “real” country music in modern times, but Tillis nonetheless assured the audience that “We got it all – fiddles, steel guitar, mandolins – and we ain’t ever lettin’ go of it!” Both ladies shared a common experience of growing up with the musical heritage of a famous parent – an experience they recollected with fond enthusiasm - being the daughters of singer-songwriter legend Mel Tillis, and of late Opry star George Morgan, respectively. One of the night’s most memorable moments was a heartfelt tribute to Tillis and Morgan’s famous fathers, as they eased into a medley of George Morgan’s 1949 signature “Candy Kisses” and Mel Tillis’ classic composition “Burning Memories,” a hit first for Ray Price in 1964, and then for Mel Tillis himself in 1977. In addition, the ladies also lovingly covered classics such as Skeeter Davis’ “The End of the World” and Roger Miller’s “King of the Road.”
As the show neared its end, Tillis and Morgan were met with the loudest applause of the night as they treated the audience to performances of their respective signature classics – Tillis’ “Maybe It Was Memphis,” and Morgan’s “Something In Red.” They then rose to their feet for an inspired performance of gospel song “Jesus On the Line.” After an encore, they returned to the stage to perform brief snippets of Morgan’s 1993 number one “What Part of No” and Tillis’ 1990 debut hit “Don’t Tell Me What to Do.” Then came one of the biggest highlights of the evening as the two closed out the show by tearing into the rousing up-tempo number “I Know What You Did Last Night” – a new song which is to appear on Pam Tillis and Lorrie Morgan’s forthcoming Grits & Glamour duets record. After the show ended, Tillis and Morgan headed out to the atrium to sign autographs for a crowd of enthusiastic concertgoers.
Needless to say, the Grits & Glamour concert experience was more than enough to whet one’s appetite for the ladies’ soon-to-be-completed duet effort. The unique chemistry shared between the two outstanding talents was on full display throughout the evening. If you have the opportunity to catch any of Pam Tillis and Lorrie Morgan’s future shows on the Grits & Glamour tour, you will be in for a real country music treat.
Set list:
“Both Sides Now”
“Watch Me”
“Shake the Sugar Tree”
“Except for Monday”
“Cleopatra, Queen of Denial”
“A Picture of Me (Without You)”
“Train Without a Whistle”
Medley: “Candy Kisses”/ “Burning Memories”
“The End of the World”
“Mi Vida Loca (My Crazy Life)”
“How Does It Feel”
“Spilled Perfume”
“King of the Road”
“I Guess You Had to Be There”
“Maybe It Was Memphis”
“Something In Red”
“Jesus On the Line”
Encore:
“What Part of No”
“Don’t Tell Me What to Do”
“I Know What You Did Last Night”
On her exquisite new album Calling Me Home, Kathy Mattea shows herself to be an artist who fully understands music as a medium of art and self-expression. Following down a path similar to that of her stellar Grammy-nominated 2008 effort Coal, but expanding upon it by dealing with a wider range of topics, Calling Me Home finds Mattea turning to her own roots for inspiration, and producing what just might be the finest album of her illustrious career.
Produced by Gary Paczosa and Mattea herself, Calling Me Home is a confident, ambitious album that displays broadness in thematic scope, and eclecticism in musical influences, yet does so without sacrificing cohesion. The album is perhaps most instantly appreciable as a work of astounding sonic beauty. Mattea’s distinctive alto has rarely sounded better than it does when poured into a collection of simply beautiful Appalachian songs that she renders with poise, grace, and palpable personal connection. Her voice is framed by the sounds of pure, gorgeous mountain instruments, performed by an ace team of veteran pickers that includes Bill Cooley on guitar, Bryan Sutton on mandolin, and Stuart Duncan on fiddle, among others.
Several songs encapsulate the warmth and comfort of home, as well as the homesickness brought on by one’s being separated from it. The former is manifested in a warm and inviting waltz-like take on Hazel Dickens’ “West Virginia, My Home, with the latter being explored on the beautiful mandolin-driven album opener “A Far Cry.” Mattea also addresses the coal mining industry that is central to the West Virginia economy. In musing on man’s unending lust for coal, she takes on the voice of coal itself in the brilliant Larry Cordle/ Jeneé Fleenor
composition, “Hello, My Name Is Coal.” She ventures into bleaker territory with Jean Ritchie’s “Black Waters,” (which features contributions from two of country music’s finest harmony vocalists, Patty Loveless and Emmylou Harris) a song which conveys the frustration of a narrator who sees his beloved farmland overrun by mining pollution. Another Jean Ritchie song, the tragic “West Virginia Mine Disaster” deals with the heartbreak of a woman whose husband is killed in a coal mine, with Mattea delivering a desperate, heartrending performance.
A foremost thematic thread running through the album is that of respect for the natural world, and of the ongoing conflict between preservation of nature and man’s desire for growth and expansion. “The Maple’s Lament” is worth hearing even just for the piercing, moaning fiddle that opens the track, and winds its way throughout, but Mattea’s take on Laurie Lewis’s aching tale of a maple tree that loses its life to a woodsman’s axe is more than enough to keep one interested. In a similar vein, “The Wood Thrush’s Song” takes on the voice of the woodland bird whose song is no longer heard in the Appalachian woods. Mattea’s vocal renderings show that she deeply she identifies with the characters she inhabits in these songs, whether giving voice to the widow of a deceased coal miner, or to something as simple as a personified wood thrush or maple tree.
The theme of human activities’ effect on nature comes to a head on Alice Gerrard’s “Now Is the Cool of the Day.” In this haunting, unadorned a cappella performance, (one of two a cappella tracks on the album, the title track being the other) Mattea recounts an exchange between God and man that serves as a reminder of humankind’s responsibility to tend earth’s natural resources rather than damage them. A message of hope is echoed by Si Kahn’s Gaelic ballad “Gone, Gonna Rise Again,” which deals with the restorative power of nature in the face of having been marred by human carelessness.
The value of this album is manifold. Calling Me Home acquaints us on a personal level with the woman behind the microphone, giving insight into her background, and the things that are important and dear to her. It enlightens, and challenges the listener to become a better, more caring person – not through a preachy or condescending tone, but through thought-provoking song material that that appeals to the listener’s heart, as well as to one’s own sense of home.
In short, the album does everything that music in its finest and purest form is meant to do. The resulting product is not only the best country album of 2012, but a new peak for a woman who has already made some of the most compelling music of her generation. Without a doubt, Mattea’s Calling Me Home is a must-have.
her taste in material and I thought the production of her records was impeccable.
But on those early hits like “The Fool” and “A Little Past Little Rock”, I always had the nagging feeling that the songs would’ve been better if they’d been recorded by Pam Tillis, who has a similar vocal style but more power and range.
Over time, Womack perfected her vocal technique and created her own distinctive style, one that is best showcased by simple arrangements and tasteful restraint. The power of later hits like “I May Hate Myself in the Morning” and “Last Call” comes from her ability to accentuate an understated vocal will little punches of twang and power that create a dramatic effect.
So now, fifteen years after Womack first surfaced, I find myself listening to the new single by Joanna Smith and wishing it was being sung by Lee Ann Womack. Smith’s got a great song, and she sings it well, following Patty Loveless’ golden rule: “Don’t get in the way of the song.”
But she stays out of the way of the song just a little too much, and there aren’t enough moments of twang or power to make the record interesting. I still hope it gets a shot at radio, as it would be the best breakthrough single for a new female artist in a good long while. I want to hear more from Smith, so I can hear more of Smith as she hones her style over time.
Grade: B+
Written by Brandy Clark, Shane McAnally, and Shelley Skidmore
Since bringing back Recommend a Track proved so popular, I’m resurrecting another CU oldie but goodie: the iPod check.
I’ve only recently discovered the Most Played feature on iTunes, since it never had any relevance until iPods were large enough in memory to sync all of my music. So going back to early 2011, I have a lengthy list of the songs I’ve played the most.
So today’s iP0d check: List your most-played song from twenty different country artists.
You can access this info by going to your own Most Played list and adjusting the number of songs on it – I use 500 for mine – or you can just go to Music and sort by number of plays. Or you can just pick twenty artists at random and list your most played song for each. We’re easy here. (This would also work in Spotify, from what I hear.)
Alan Jackson – So You Don’t Have to Love Me Anymore (40)
Crystal Gayle – Why Have Your Left the One You Left Me For (39)
George Strait – Meanwhile (39)
Lee Ann Womack – I May Hate Myself in the Morning (39)
Aaron Tippin – Whole Lotta Love on the Line (38)
I’m surprised that some of my most played artists overall, like Dolly Parton, Randy Travis, and Tim McGraw, don’t have that one big song that I play excessively. Also, at least half of the songs above aren’t what I would call my favorite song by the given artist. How about you?
He spent most of the eighties struggling for recognition, but thanks to his smooth ballads and country’s suddenly expanded audience, Vince Gill emerged as one of the biggest superstars of the nineties.
Born and raised in Oklahoma, he followed in the footsteps of his musician father, but while it was a hobby for his dad, it became Vince’s life mission. His ability to play several different instruments and his talent for harmonizing earned him a place in local bands, and he moved to Kentucky and then to Los Angeles seeking out further opportunities. An audition for the Pure Prairie League in 1979 resulted in him becoming their new lead singer, and Gill had his first taste of success when their single, “Let Me Love You Tonight”, topped the adult contemporary charts and cracked the pop top ten.
He left the band to join Rodney Crowell’s backing group, Cherry Bomb, only a few years after he had played a similar backing role for Ricky Skaggs. His time with Cherry Bomb connected him to Tony Brown, the musician and record executive who signed him to RCA in 1981. For the next several years, stardom remained just out of reach for Gill, who managed to score just three top ten hits with the label. He was better known for his session work as a guitarist and as a harmony singer, with his distinctive vocals appearing on #1 hits by Rosanne Cash (“I Don’t Know Why You Don’t Want Me”) and Patty Loveless (“Timber I’m Falling in Love.”)
When Brown left RCA for MCA records, Gill followed shortly thereafter. In 1989, he released the dramatic ballad “When I Call Your Name”, featuring harmony vocals from Loveless. The record made him one of the genre’s hottest stars, setting up a decade of dominance at radio and retail. Throughout the nineties, Gill racked up a stunning run of hits and big-selling albums, with I Still Believe in You selling more than five million copies on the strength of four #1 hits.
Gill alternated between rave-ups that featured his guitar prowess and power ballads that brought country’s traditional heartache sound into the late twentieth century. Despite his new popularity, he still did as much session work as ever, happily accepting offers to sing and play on the albums of anyone who requested him to. He became known as the genre’s leading gentleman, and his quick wit led to him hosting the CMA awards for more than a decade. Because of both his talent and his work with other artists, Gill dominated the two award shows voted on by his peers, winning more than a dozen Grammys and CMA awards. He is tied with George Strait for the most CMA Male Vocalist trophies, and holds the record for the most wins in the Song of the Year category.
As radio support slowly dwindled toward the late nineties, Gill focused on making ambitious albums, most notably the four-CD set These Days, which earned him another pair of Grammys and a platinum award. He was inducted into the Nashville Songwriters Hall of Fame in 2005, and he was one of the youngest inductees in history to the Country Music Hall of Fame in 2007. A marriage to fellow singer Amy Grant has kept him focused more on family than music in recent years, but he still tours regularly and remains an Opry staple. His most recent set, Guitar Slinger, hit shelves in 2011 and earned him multiple songwriting nominations for the lead single, “Threaten Me with Heaven.”
A lush and gorgeous ballad that is elevated by a Patty Loveless harmony vocal, this is arguably Tim McGraw's finest moment on record.
Originally recorded by co-writer Rodney Crowell, “Please Remember Me” was also covered by Linda Ronstadt and Aaron Neville before McGraw included it on his 1999 album, A Place in the Sun.
His pleading performance gives the song its urgency, and the pop-flavored production, complete with strings, harkens back to the glory days of the Nashville sound.
Loveless once said that her job as a singer was to not get in the way of the song. McGraw's best moments are when he finds a great song like this and gets out of the way.
Loveless’ Bluegrass and White Snow is one of the best Christmas albums around and a staple of my holiday soundtrack. This song boasts background vocals from Jon Randall and Emmylou Harris, which proves that if you want to make a great song even better, get Emmylou to sing on it.
Leeann’s Pick: Drew Holcomb and the Neighbors
I am not familiar with Drew Holcomb and the Neighbors outside of the Christmas album on which this song can be found, but I can say that the album is a mix of fun and warmth and this song is just one example of that.
Along with all the other traditions that come with Christmas time – watching your favorite TV specials, getting together with family on Christmas Day, wondering how you ever lived without a pre-lit Christmas tree - one of the best ones involves breaking out the collection of Christmas music.
As a kid, it meant that the Bing Crosby and The Chipmunks Christmas albums make their way out of the buffet draw and take up a month-long residence on my mom’s stereo. Now, it means flipping over to my Christmas songs playlist on iTunes, where Patty Loveless, Dwight Yoakam and The Chieftains all are a part of the family’s Christmas soundtrack.
Seeing as how Christmas has more beloved songs than any other holiday around, Leeann Ward and I have put together a list of some of their favorite renditions of classic holiday songs. Feel free to add your own personal favorites in the comments section.
Song #1: Twelve Days of Christmas
Leeann: John Denver and the Muppets
Not a particularly high brow pick, but neither is this Christmas classic anyway. The juxtaposition of Denver’s straight delivery and the Muppets’ goofiness is especially delightful. What’s more, the way Miss Piggy revels in making the typically drawn out “Five golden rings” line even longer than usual is somehow endearing.
Sam: Bela Fleck & the Flecktones
As fun as the song is, even the merriest of people get a little tired of it by the time it gets around to the leaping lords and the dancing ladies. Fleck and company decide to ratchet up the degree of difficulty by performing each day in a different key and a different time signature — AND include some Tuvan throat singing to boot.
