As we enter the top half of the list, signature hits by some of the era’s biggest stars rub elbows with a pair of breakthrough singles and an overlooked release by a future superstar. You’ll also find out, in case you’ve been wondering for the past 22 years, just what Dwight Yoakam sneers at the end of one of his classic records. #20 “Soon” Tanya Tucker Written by Casey Kelly and Bob Regan Peak: #2 #13 – LW | #22 – JK | #28 – KJC | #30 – BF Cheating songs that successfully make us feel compassion for the other woman are a rarity, but “Soon” manages to make us root for the woman who finds herself in a losing cycle, one that she finally finds the strength to stop. Tanya Tucker’s sympathetic performance and the song’s soothing melody invite us to feel compassion for the woman in Read More
One of the strongest voices of the New Traditionalist movement, Dwight Yoakam revitalized the Bakersfield sound as he shot to stardom in 1986.
As a tribute of sorts to her father who loved traditional country music, Tanya Tucker has compiled a set of twelve songs that pays homage to country music’s past. While not an example of traditionalism herself as a recording artist, Tucker ably demonstrates that she is more than capable of stepping into the role on this project, but also shows that this is not her most comfortable position as an artist.
Produced by accomplished and respected producer, Pete Anderson (Dwight Yoakam), Tucker’s new covers album, My Turn, is full of both oft sung and lesser known gems. Tucker shines on up-tempo fare such as Buck Owens’ “Love’s gonna Live Here” with guest help from Jim Lauderdale, Don Gibson’s “Oh, Lonesome Me”, Charley Pride’s “Is Anybody Goin’ to San Antone” and the album’s best track, Merle Haggard’s “Ramblin’ Fever.” With the support of snappy productions to match Tucker’s assured vocals, these interpretations aptly showcase Tucker’s spunk and are where she seems to fully connect, both vocally and emotionally, to the songs and their lyrics, which is likely why the straightforward “Ramblin’ Fever works so well for her. “If someone said I ever gave a damn/Well, the damn sure told you wrong/’Cause I’ve had ramblin’ fever all along”, she growls with utmost believability.
Anyone who reads Bob Lefsetz’ “The Lefsetz Letter” knows that Lefsetz is a fairly new country music fan, but a passionate one all the same. I frequently disagree with his current assessment of country music, particularly country radio (although recently he has clued in to its frequent vapidness and monotony), but he’s a fantastic voice out there championing country music.
In a recent letter, he made some interesting statements about his desired role for the future of country music (i.e. the classic rock of the future). After approvingly citing the recent Newsweek article which bemoaned the current state of country music, Lefsetz stated:
Country used to have an edge. My buddy Pete Anderson would love to bring it back. But I’m thinking we’ve just got to move the needle a little bit, and suddenly we’ve got the rock business we used to have, the one that triumphed in the seventies.