Tag Archives: Patty Loveless

400 Greatest Singles of the Nineties: #175-#151

Proving that the airplay charts don’t tell all of the story, this part of the countdown features several singles by nineties stars that didn’t reach the top but have stood the test of time.

400 Greatest Singles of the Nineties: #175-#151

#175
I Wish I Could Have Been There
John Anderson
1994 | Peak: #4

Listen

This is the country equivalent to “Cats in the Cradle”, but more tender and less selfish. – Leeann Ward

#174
Sometimes She Forgets
Travis Tritt
1995 | Peak: #7

Listen

Tritt gives a surprisingly but fittingly subdued performance on this cover of a Steve Earle song, telling the story of a woman who sometimes forgets that she’s sworn off men. I can never get enough of the incredibly cool arrangement. – Tara Seetharam Continue reading

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Filed under Back to the Nineties

Carrie Underwood and Female Country Artists: A Historical Perspective

I’ve always been something of a chart junkie. While I don’t pay as close attention as I used to, I still have a pretty good handle on historical trends. One artist I’ve been keeping an eye on is Carrie Underwood. When each official country single from her first two albums peaked at #1 or #2, it caught my attention.

But I never expected the trend to continue, with three more #1 hits from the new album. The source of that belief was the history of women on country radio, especially in the twenty most recent years that were based on actual monitored airplay instead of radio playlists. Since that change, far less records have gone #1 or #2.

When “Undo It” reached #2 last week, Underwood became the only female artist in country music history to have eleven consecutive top two singles. Until then, she was tied with Tammy Wynette, who scored ten consecutive top two singles from 1967-1970. All but one of Wynette’s singles were #1 hits, with the only #2 being “I’ll See Him Through.” With “Undo It” moving to #1 this week, Underwood has only two singles in her streak that didn’t top the charts: “Don’t Forget to Remember Me” and “I Told You So.”

“Undo It” is Underwood’s tenth #1 single. How rare is it for a female to reach that milestone? The last woman to reach it was Rosanne Cash, her tenth #1 being “Runaway Train” in the fall of 1988. Earlier that same year, Reba McEntire scored her tenth #1 with “Love Will Find Its Way To You.”

Underwood’s support at radio is unprecedented for a female artist in the modern chart era. In less than five years, she’s already tied for the most #1’s since 1990, and she’s moving quickly up the all-time list as well:

Most #1 Hits by a Female Artist – Monitored Era (1990-present):

  1. Reba McEntire, Carrie Underwood – 10
  2. Faith Hill – 9
  3. Shania Twain – 7
  4. Jo Dee Messina – 6
  5. Martina McBride, Trisha Yearwood – 5
  6. Sara Evans, Patty Loveless, Taylor Swift, Wynonna – 4

Most #1 Hits by a Female Artist – All-Time:

  1. Dolly Parton – 25
  2. Reba McEntire – 23
  3. Tammy Wynette – 20
  4. Crystal Gayle – 18
  5. Loretta Lynn – 16
  6. Rosanne Cash – 11
  7. Anne Murray, Tanya Tucker, Carrie Underwood – 10

Why do you think that Underwood has been the one to push up against country radio’s glass ceiling so much? Can she keep this up?  Will she eventually get to the top of each list, or is there somebody below her that might jump ahead?

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Filed under Crunching the Numbers, Miscellaneous Musings

Discussion: Worst Album Titles?

We don’t do as many discussions as we used to at CU, and it’s possible that we already did this one. But seeing the title of this week’s #1 country album, I couldn’t resist:

Jerrod Niemann, Judge Jerrod & The Hung Jury

I’d call it juvenile, but I don’t think I would’ve laughed as a kid, either. But I’m sure some people found it funny.

Here are a few others that make me wince:

Pam Tillis, Above and Beyond the Doll of Cutey

I. Don’t. Get. It.  “(You Just Want to Be) Weird”, indeed.

Cross Canadian Ragweed, Soul Gravy

Oh, yeah? But where are the lumps? Ha ha!  Oh, no…

Patty Loveless, Mountain Soul II

Though it would go from worst to first if she’d called it  Mountain Soul II: Bluegrass Boogaloo.

Carlene Carter, Blue Nun

Why is the nun so sad? Or choking? Or a smurf?

Those are some of my favorite bad album titles. What are some of yours?

31 Comments

Filed under Conversations

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

The list continues with appearances from artists who first surfaced in the eighties and continued to thrive into the nineties, like Reba McEntire and Patty Loveless, along with new stars from the nineties who would find greater success in the next decade, like Toby Keith and Brad Paisley.

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

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

Listen

This two-female duet was a gamble at the time of its release, but it offers such a brilliant fusion of perspectives that it’s hard to imagine why. The song fleshes out the range of emotions that the two women are experiencing –from pain to longing to self-doubt– and culminates in one shared question that they’ll never know the answer to: “does he love you like he’s been loving me?” – Tara Seetharam Continue reading

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400 Greatest Singles of the Nineties: #325-#301

The first quarter of the countdown comes to a close, highlighted by excellent comeback attempts by T. Graham Brown, Emmylou Harris, and Willie Nelson.

400 Greatest Singles of the Nineties: #325-#301

#325
He Would Be Sixteen
Michelle Wright
1992 |  Peak: #31

Listen

Sometimes the choices that you make linger forever. Here, a woman in her thirties drives past a high school football game, and her mind wanders to the painful void left in her heart from the son she gave up for adoption. – Kevin Coyne

#324
It Matters to Me
Faith Hill
1995  |  Peak: #1

Listen

Faith Hill’s sophomore album is a surprisingly deep set, filled with candid insights into different womens’ lives. The title track represents that approach well, with Hill’s protagonist speaking to the differences in her approach to love and her partner’s. Seems simple, but then again, people spend thousands in couples counseling trying to find a way to voice feelings this directly. – Dan Milliken

#323
She’d Give Anything
Boy Howdy
1993  |  Peak: #4

Listen

A not-so-subtle depiction of how elusive true love can be for some women – even those who desperately seek it – that resonates not despite of but because of its blatancy. There’s a beautiful honesty to the song’s precise articulation of the mixture of frustration and strength that builds up within these women. – Tara Seetharam

#322
The Trouble With the Truth
Patty Loveless
1997  |  Peak: #15

Listen

The trouble with the truth is that is just so demanding. We think we want it, but it often requires some sort of action from us once we have it. Loveless struggles with this quandary: “The trouble with the truth is it always begs for more. That’s the trouble with the truth.” – Leeann Ward

#321
Still Gonna Die
Old Dogs
1999  |  Peak: Did Not Chart

Listen

Waylon Jennings, Mel Tillis, Bobby Bare, and Jerry Reed united for an amazing live album dominated by Shel Silverstein songs. For anyone who read his brilliant poetry books for children, “Still Gonna Die” is the golden years equivalent: clever, frightening, and darkly hilarious.  KC

#320
Wanted
Alan Jackson
1990  |  Peak: #3

Listen

An apology via a wanted ad could be disastrous in the hands of many male country artists, but it’s simply lovely in Jacksons’, ringing with sincerity and regret. – TS

#319
Finish What We Started
Diamond Rio
1995  |  Peak: #19

Listen

While it’s not a part of the wedding song canon, this is a gorgeous declaration of commitment. – LW

#318
Tryin’ to Hide a Fire in the Dark
Billy Dean
1992  |  Peak: #6

Listen

From the first strains of the song, we know this is going to be a dark one. While he hasn’t physically cheated yet, the thoughts of at least wishing to do so are spilling over, which begs the analogy of “It’s like trying to hide a fire in the dark.” – LW

#317
She is Gone
Willie Nelson
1996  |  Peak: Did Not Chart

Listen

As in his classic recording of “Blue Eyes Crying in the Rain”, Nelson’s sad remembrance of a lost love glows with unspoken warmth, as the beauty of his good memories shines through the outer layer of melancholy. – DM

#316
It Was
Chely Wright
1999  |  Peak: #11

Listen

An ode to the nonsensical mess of emotions that accompany falling in love, just contradictory enough to make sense. – TS

#315
You Can Feel Bad
Patty Loveless
1995  |  Peak: #1

Listen

As deft a take down of a departing lover there’s ever been.  Not since “You’re So Vain” has a jilted lover struck back so powerfully by simply holding up a mirror. – KC

#314
Till I Found You
Marty Stuart
1991  |  Peak: #12

Listen

With a Roy Orbison feel, “Til I Found You” is a sweet declaration of finally finding the right one. – LW

#313
Blame it On Your Heart
Patty Loveless
1993 |  Peak: #1

Listen

A shameless radio bid delivered with more power and charm than such bids generally deserve. – DM

#312
You Never Even Call Me By My Name
Doug Supernaw
1994 |  Peak: #60

Listen

Presenting the perfect Country & Western song! This is a great David Allan Coe cover with some alterations, including the exclusion of a stanza (which does water down the song a bit), changes to the spoken part, and additions of some special guests. – LW

#311
Wine Into Water
T. Graham Brown
1998  |  Peak: #44

Listen

A kneeling drunkard’s plea for the modern age.  A broken man struggling with his alcoholism asks Jesus to perform His first miracle in reverse. Brown’s rough and tumble voice is the best possible fit for this fine composition.- KC

#310
High Powered Love
Emmylou Harris
1993  |  Peak: #63

Listen

The added punch to the production shows that Harris could do nineties country as well as anybody on the radio back then, which is quite the compliment, given who was getting airplay in 1993.  A perfect lament for a lover who won’t settle for skin deep treasures, she wonders, “Is there anyone left with teeth just a little uneven? Who won’t spend more time with a mirror than he does with me?” – KC

#309
You Won’t Ever Be Lonely
Andy Griggs
1998  |  Peak: #2

Listen

Griggs creates a touching ballad out of one of the sweetest, simplest promises that comes with making a commitment to someone – that no matter the storm outside, you’ll never have to face it alone. – TS

#308
A Door
Aaron Tippin
1997  |  Peak: #65

Listen

Instead of serving as a means to shut the other person out, the door that Tippin is suggesting is for the purpose of letting the other person in. “a door ain’t nothin’ but a way to get through a wall”, he sings. If they work together to create it, then they might be able to walk through it to meet each other halfway. – LW

#307
Someday Soon
Suzy Bogguss
1991  |  Peak: #12

Listen

Suzy Bogguss takes this Ian Tyson cowboy folk song and makes it her own. She successfully breathes emotion into this wistful song that, once again, pits woman against rodeo. – LW

#306
The River
Garth Brooks
1992  |  Peak: #1

Listen

Built on a poignantly written metaphor, “The River” gracefully weaves together elements of faith, inspiration and motivation. It’s a masterful single, from its poetic lyrics to its beautifully simplistic arrangement, but the heart and soul is Brooks’ gripping conviction – quiet yet fierce. On a personal note, this song contains one of my all-time favorite lyrics that I often revisit: “So don’t you sit upon the shoreline and say you’re satisfied/Choose to chance the rapids and dare to dance the tide.” – TS

#305
Time Passes By
Kathy Mattea
1991  |  Peak: #7

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Blessings are fleeting, and they’re best appreciated in the moment. It’s far more satisfying to celebrate them without the bittersweet tinge of regret. – KC

#304
You Can’t Stop Love
Marty Stuart
1996  |  Peak: #26

Listen

To hear Marty Stuart tell it, there’s nothing more powerful than love. No matter what you do, you can’t stop it. True enough. – LW

#303
Everywhere
Tim McGraw
1997  |  Peak: #1

Listen

McGraw’s character leaves behind a lifelong love interest and a little home town to explore the world. But instead of getting good closure, the poor guy starts seeing the girl he left in every place he visits, even long after she has married and had children. That these visions could feasibly represent both unresolved romantic feelings and the inescapable imprint of one’s roots is just country-delicious. – DM

#302
You’re Beginning to Get to Me
Clay Walker
1998  |  Peak: #2

Listen

Walker’s falling head first for a girl, but he isn’t ready to take the plunge with the L-word just yet. In his catalogue of fabulous 90s hits, this understated “love” song gets overshadowed by some of the more distinct ones, but it’s nonetheless memorable. – TS

#301
Help Me Hold On
Travis Tritt
1990  |  Peak: #1

Listen

Travis Tritt is one of few country artists who is as known for his rocking side as he is for being a strong balladeer. “Help Me Hold on” is a plea to his lover to help him salvage what’s left of their relationship, which doesn’t seem to be much, since she’s already packing a suitcase. – LW

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

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

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

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

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

As always, share your thoughts in the comments!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Jump Around

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

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How Very Nineties: George Jones & Friends, and other All Star Jams

New fans of country music in the nineties were hit over the head with the assertion that country music was one big family. Nothing demonstrated this mythos better than the all star jams that cropped up during the boom years.

There were some variants of this approach.  A popular one found a veteran star teaming up with one or more of the boom artists to increase their chances of radio airplay.  George Jones was big on this approach, with the most high profile attempt being “I Don’t Need Your Rockin’ Chair.”   Seventeen years later, it’s amazing to see how young everyone looks – even Jones himself!

Jones shared the CMA Vocal Event of the Year trophy for that collaboration with Clint Black, Garth Brooks, T. Graham Brown, Mark Chesnutt, Joe Diffie, Vince Gill,  Alan Jackson, Patty Loveless, Pam Tillis, and Travis Tritt.   He’d continue with this approach by teaming up with his vocal chameleon Sammy Kershaw on “Never Bit a Bullet Like This”, and he recorded an entire album of his own songs as duets with mostly younger stars. The Bradley Barn Sessions was represented at radio with “A Good Year For the Roses”, which found him singing one of his best hits with Alan Jackson:

httpv://www.youtube.com/watch?v=MzQrAPoTI58

Among the legends, the only other one to be successful with this approach was Dolly Parton, who used collaborations with young stars to score consecutive platinum albums for the first and only time in her career.  Her 1991 set Eagle When She Flies was powered by the #1 single “Rockin’ Years”, co-written by her brother and sung with Ricky Van Shelton:

httpv://www.youtube.com/watch?v=CqN7N9-AHXs

That album also included a duet with Lorrie Morgan on “Best Woman Wins.”  She upped the bandwagon ante on Slow Dancing With the Moon, bringing a whole caravan of young stars on board with her line dance cash-in “Romeo.”

httpv://www.youtube.com/watch?v=afF3XHW7mZ4

That’s Mary Chapin Carpenter, Billy Ray Cyrus, Kathy Mattea, and Tanya Tucker in the video. Pam Tillis isn’t in the clip, but she sings on the record with them.  Parton also duets with Billy Dean on that album on “(You Got Me Over a) Heartache Tonight.”

Her next collaboration was with fellow legends Loretta Lynn and Tammy Wynette, but they couldn’t resist the temptation to squeeze in several younger stars in the video for “Silver Threads and Golden Needles.”  Alongside veterans like Chet Atkins,  Bill Anderson, and Little Jimmy Dickens, you’ll catch cameos from Mark Collie, Confederate Railroad, Rodney Crowell, Diamond Rio, Sammy Kershaw, Doug Stone, and Marty Stuart.

httpv://www.youtube.com/watch?v=qbFpsKwywWU

Parton scored a CMA award when she resurrected “I Will Always Love You” as a duet with Vince Gill:

httpv://www.youtube.com/watch?v=XafBLDVtF7Y

And while it didn’t burn up the charts, her version of “Just When I Needed You Most” with Alison Krauss and Dan Tyminski:

httpv://www.youtube.com/watch?v=XeeMDGq1FMI

Tammy Wynette made an attempt to connect with the new country audience with her own album of duets, Without Walls.  Her pairing with Wynonna on “Girl Thang” earned some unsolicited airplay:

httpv://www.youtube.com/watch?v=gjzFuWhOeG4

Perhaps the most endearing project in this vein came from Roy Rogers.  How cool is it to hear him singing with Clint Black?

httpv://www.youtube.com/watch?v=vq5FdZgS08g

The new stars liked pairing up with each other, too.  A popular trend was to have other stars pop up in music videos.  There’s the classic “Women of Country” version of “He Thinks He’ll Keep Her”, for starters. Mary Chapin Carpenter sounds pretty darn good with Suzy Bogguss, Emmylou Harris, Patty Loveless, Kathy Mattea, Pam Tillis, and Trisha Yearwood on backup:

httpv://www.youtube.com/watch?v=_qxU82mNaI8

That’s a live collaboration, so at least you hear the voices of the other stars. But Vince Gill put together an all-star band for his “Don’t Let Our Love Start Slippin’ Away” video without getting them to actually play.  That’s Little Jimmy Dickens, Kentucky Headhunters, Patty Loveless, Lee Roy Parnell, Carl Perkins, Pam Tillis, and Kelly Willis behind him, with Reba McEntire reprising her waitress role from her own “Is There Life Out There” clip.

My personal favorite was Tracy Lawrence’s slightly less A-list spin on the above, with “My Second Home” featuring the future superstars Toby Keith, Tim McGraw, and Shania Twain, along with John Anderson, Holly Dunn, Hank Flamingo, Johnny Rodriguez, Tanya Tucker, Clay Walker, and a few people that I just can’t identify.


Humor Videos
Tracy Lawrence – My Second Home

For pure star wattage, it took the bright lights of Hollywood to get a truly amazing group together. The Maverick Choir assembled to cover “Amazing Grace”, and it doesn’t get much better than country gospel delivered in a barn by John Anderson, Clint Black, Suzy Bogguss, Billy Dean, Radney Foster, Amy Grant, Faith Hill, Waylon Jennings, Tracy Lawrence, Kathy Mattea, Reba McEntire, John Michael Montgomery, Restless Heart, Ricky Van Shelton, Joy Lynn White, and Tammy Wynette.

What’s your favorite of the bunch? Any good ones I missed?

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Single Review: Patty Loveless, “Drive”

It’s such a welcome relief to hear Patty Loveless doing something outside the mountain soul/classic country vein that I’m going to overlook the fact that this sounds modern simply in comparison.

“Drive” doesn’t approach the sonic euphoria of her work for Sony, but it’s fun to hear her do something that could’ve been entertaining filler on one of her late eighties MCA albums.

This one’s a free download for charity, so add it to your collection using the link below.

Grade: B

Listen: Drive

FREE DOWNLOAD: Drive

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iPod Check: Playing Favorites

It’s been a long time since we’ve done one of these!

I think that the strongest feature of the iPod is the ability to create playlists.  I currently have over 16,000 songs, so playing it on pure shuffle is interesting but not likely to result in hearing a string of my favorite songs.

I have dozens of playlists, but the one that I visit the most is called “Repeat.” It’s an ever-shifting playlist of songs that I don’t tire of.  Currently, there are 131 songs on the list.

I’m sharing the first ten that play on shuffle from the list. Share your favorite playlist and ten of its tracks in the comments!

Ten Tracks from “Repeat”:

  • Miranda Lambert, “Kerosene”
  • Nickel Creek, “Helena”
  • Roxette, “Spending My Time”
  • Pam Tillis, “When You Walk in the Room”
  • John Conlee, “Rose Colored Glasses”
  • Madonna, “Devil Wouldn’t Recognize You”
  • Clint Black, “Burn One Down”
  • Dixie Chicks, “Bitter End”
  • Patty Loveless, “Keep Your Distance”
  • Cyndi Lauper, “Time After Time”


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ACM 2010: Ladies Night

Female artists dominated this year’s ACM Awards in a way that would have been unimaginable just five years earlier, with nearly all of the major winners of the evening coming from a female solo artist or a band that prominently features a female vocalist.  More significantly, this year’s ACM dissented from the CMA this fall in the marquee categories of Entertainer and Female Vocalist, which makes this fall’s CMA Awards that much more unpredictable.

Here’s my spin on the show’s highlights:

Carrie Underwood wins Entertainer of the Year

Perhaps we should have known not to underestimate the fan base of Ms. Underwood, who helped deliver the singing siren her second consecutive win for Entertainer of the Year. With Taylor Swift dominating the Grammys and CMAs, it was easy to forget that Underwood has continued to do quite well in her own right. Her string of hits at radio – eleven consecutive top two hits, nine of which reached #1  – is unprecedented.  She’s also had ten gold singles, three of which have sold platinum or better. Her third album, Play On, has moved her cumulative album sales past eleven million.

She’s consistently proven herself as a live vocalist and entertainer as well, with her once-awkward stage presence now  a distant memory.  She remains the genre’s most constant and dedicated ambassador, shown again with her heartfelt acceptance speech for the quite silly Triple Crown Award.  So while I’m surprised by her win, I can’t say that I’m disappointed or that there’s another person who deserved it more.

Miranda Lambert wins Female Vocalist, Album, and Video

I suppose it shouldn’t be too shocking, since Lambert’s won Album at this show before and the ACM was the first to award Patty Loveless in the Female Vocalist category, proving that the CMA doesn’t always get it right before the ACM does.  “The House That Built Me” is shaping up to be a career record for her, making Lambert the presumptive favorite at this year’s CMA Awards. Much can happen between now and then, but it’s not difficult to imagine her repeating in these categories and adding Single and Song to boot.

Lady Antebellum wins Single, Song, and Vocal Group

Rascal Flatts had quite the run, but it’s clear that Lady Antebellum is now the group to beat. “Need You Now” is arguably more deserving of the hardware it won than its predecessor “I Run to You”, which earned Lady Antebellum a CMA and a Grammy.  This group is a force to be reckoned with, and has the potential to dominate its Vocal category for a long time.

Brooks & Dunn win Vocal Duo

I should’ve seen this coming, as all of my colleagues at CU were able to. The ACM has always loved these guys, giving them two Entertainer wins and sticking with them when the CMA switched over to Montgomery Gentry and Sugarland.  It helped that Sugarland was completely off the radar this year, clearing the way for a sympathy vote.  But as I watched them perform “My Maria”, the cover song picked by fans over two excellent originals, it felt like 1996 all over again.  They’re good at what they do, but it’s hard not to notice that their music never evolved much over the twenty years they spent in the spotlight.

Brad Paisley wins his fourth Male Vocalist trophy

It’s funny that the guy who waited forever to finally win this race has now become so dominant in it that nobody’s been able to take it from him. I can’t picture somebody else getting this in the fall. Can you?

Taylor Swift shut out

Our predictions for Swift varied, with all of us expecting her to win both Entertainer and Video, and some of us expecting similar victories in her other categories.  But the shut-out makes sense. “You Belong With Me” lost to “Need You Now” in the big races, and to belle of the ball Miranda Lambert in Video and Female Vocalist.  Her speed dialers just couldn’t keep up with Underwood’s in the night’s biggest category, resulting in the first Swift-free country awards show since the 2008 CMA Awards, I believe.  It felt rather abrupt after her CMA and Grammy sweeps, but it also felt good not having to wince at her being named a standard-bearer after yet another mediocre performance.

Laura Bell Bundy, Kenny Chesney, and live music

Though at least Swift sang live, and she wasn’t the only one to sound less than great while doing so.  Chesney lip-synched his heart out without moving a step on stage, while Bundy did an amazing song-and-dance number with a live mic that recalled the very best of Reba McEntire’s showstoppers from the nineties. The Broadway background helped her command the stage in the way that our B-listers simply couldn’t, and let’s be honest: the genre is mostly B-listers these days.

There’s certainly more to talk about.  Thoughts?

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