Tag Archives: Radney Foster

The Best Singles of 1993, Part Four: #10-#1

The list comes to a close with ten classic records from some of the era’s most commercially and critically successful stars.

It’s easy to be cynical about country radio these days, but unlike most of the songs on the lists we compile now, 1993’s best singles got a lot of airplay. All but one of our top ten entries reached the top five of the singles chart. If we could get a success rate today that was anywhere near that, it might be safe to turn on the radio again!

Enjoy the end to this list, and us writers will enjoy that rare downtime that comes between finishing the publication of one of these lists and starting another one!

Patty Loveless Only What I Feel

#10
“Nothin’ But the Wheel”

Patty Loveless

Written by John Scott Sherrill

Peak: #20

#3 – BF | #7 – KJC | #24 – SG

Loveless’ brokenhearted narrator takes to the midnight highway with only the mournful sounds of fiddle and steel for company, sadly aware that she is not being missed at home. In a catalog rich with beautiful ballads, this is one of the finest. – Ben Foster

Continue reading

5 Comments

Filed under Best of 1993

The Best Albums of 1993, Part 2: #10-#1

The combined efforts of nine women and three men form the upper echelon of our Best Albums list from 1993. This embarrassment of riches showcases just how much great music there was to choose from that year, especially given how many of the genre’s biggest and most acclaimed stars – Vince Gill, Alan Jackson, Reba McEntire, Mary Chapin Carpenter, and Pam Tillis, just to name a few – were between albums that year.

It was also a strong and diverse enough year that despite some overall consensus among the lists of all of the writers, each one of us has a different album at #1 on our personal lists.

Enjoy the second half of our list, and look for the Singles list to kick off next weekend.

Uncle Tupelo Anodyne

#10
Uncle Tupelo

Anodyne

#1 – JK | #3 – SG

In jumping to a major label, Uncle Tupelo was supposed to give alt-country its Nirvana; though that didn’t happen, the critical acclaim and indie following that Anodyne earned served as an impetus for the nascent alt-country scene.

An album that’s both legitimately great and historically important in equal measure, Anodyne proved that alt-country was commercially viable as a refuge for artists and fans who felt at-odds with the increasingly slick mainstream country of the early 1990s. Borne of long-simmering conflicts between co-frontmen Jeff Tweedy and Jay Farrar, Anodyne is a sprawling and ambitious album that finds Uncle Tupelo at their most fully-realized as a band.

Drawing heavily from country-rock, folk, and traditional styles, it’s easy to hear the band’s lingering influence on both contemporary Americana and on modern country acts like Miranda Lambert and Eric Church. – Jonathan Keefe

Recommended Tracks:
“Acuff-Rose,” “The Long Cut,” “Chickamunga”

 

Continue reading

15 Comments

Filed under Best of 1993

Daily Top Five: Songs with Social Commentary

Radney Foster Everything I Should Have SaidThe last few weeks have been full of discussions, debates and even steps and leaps toward major social changes. Songs that most easily hit my sweet spot are songs with thoughtful social commentary. Happily, even with its stereotypes of drinking, cheating and, now, tailgating, country music has not been shy about commenting on social issues.

Here are five of my favorite songs with social commentary. What are some of yours?

  1. Radney Foster, “Not in My House”
  2. Waylon Jennings, “America”
  3. Gail Davies, “Unwed Fathers”
  4. Peter Cooper, “715 (For Hank Aaron)”
  5. Dolly Parton, “Just Because I’m a Woman”

17 Comments

Filed under Daily Top Five

Daily Top Five: Going Solo

WynonnaKristian Bush of Sugarland released his debut solo album this year, and the buzz on it has been good.

Good enough, in fact, to inspire its own Daily Top Five!

What are your favorite solo singles by artists famous for being in a duo or group?

For my list, I stuck to singles from their first solo projects, but feel free to break that rule!

  1. Radney Foster, “Nobody Wins”  (Foster & Lloyd)
  2. Wynonna, “She is His Only Need” (The Judds)
  3. Larry Stewart, “Alright Already”  (Restless Heart)
  4. Ronnie Dunn, “Bleed Red” (Brooks & Dunn)
  5. Heidi Newfield, “What am I Waiting For?” (Trick Pony)

10 Comments

Filed under Daily Top Five

The Best Albums of 2014

2014 was a banner year for country music albums.   In addition to the predictably solid entries from the Americana, folk, and bluegrass scenes, some excellent albums also surfaced from the unlikeliest of sources: mainstream, radio-friendly contemporary country artists!

Here are our twenty favorite albums from 2014.   Fingers crossed that 2015 is as good or better than this year has been.

Jennifer Nettles That Girl

#20
Jennifer Nettles
That Girl

KJC #8 | LW #16

A confident, intelligent solo project that washes away all of the bitter taste left by Sugarland’s preceding studio album, The Incredible Machine.  Nettles manages to remind us what was so appealing about the trio-turned-duo in the first place, while also staking out her own musical territory that has room for independence anthems alongside wry, humorous commentary on society and, of course, palpably vulnerable heartbreak numbers.  – Kevin John Coyne

Recommended Tracks: “Me Without You”, “Know You Wanna Know”, “Jealousy”

Continue reading

10 Comments

Filed under Best and the Rest of 2014, Best of 2014

The Best Singles of 1994, Part 2: #30-#21

The list continues with big hits from Clay Walker, Neal McCoy, and Mary Chapin Carpenter, along with should’ve been hits from Carlene Carter and Merle Haggard.

confederate railroad daddy never was the cadillac kind

#30
“Daddy Never was the Cadillac Kind”
Confederate Railroad

Written by Dave Gibson and Bernie Nelson

KJC #10 | JK #22 | SG #39

Confederate Railroad made it big by balancing party anthems with thoughtful songs about growing up in the south.  This was their best “growing up” song, a thoughtful tribute from a son to his late father.  As tends to happen, the lessons taught to us in our youth aren’t fully appreciated or understood until it’s too late to truly say “thank you.”  – Kevin John Coyne

Continue reading

7 Comments

Filed under Best of 1994

Song Talk: Music that Moves Me

Sarah JaroszMy local Public Radio station has a wonderful series called Music that Moves Me, which was conceived and originally produced by the inimitable Suzanne Nance who has now (sadly for us, but happily for her) moved on to bigger things in a big Chicago market. For this series, people across Maine submitted touching or funny stories about how a particular song or specific music has moved them in their lives. As a result, this series inspired me to make a playlist of songs that move me whenever I hear them. The songs that move me the most are those that promote sensitivity and kindness in the world or in me.

Here are just a few of the songs that move me. What are some of yours and why?

Sarah Jarosz, “Ring Them Bells”

Jarosz beautifully interprets this Bob Dylan Chestnut with the help of Vince Gill. There’s just something in her voice that makes me feel that she’s emotionally connected to the song and it’s inclusive message, which, in turn, connects me to the song.

Continue reading

10 Comments

Filed under Discussion, Great Songs, Miscellaneous Musings, Song Talk

A Conversation with Zane Williams

Zane WilliamsCountry music singer-songwriter Zane Williams had his first taste of mainstream success in 2006 when Jason Michael Carroll took his song “Hurry Home” into the Top 20. Having already made inroads in the regional country market of his home state of Texas, the Abilene native is currently attempting to break through to a national audience with his fourth album Overnight Success. Amid preparations to embark on his first nationwide radio tour (in an RV with his wife and two children along for the ride), Williams found the time to call Country Universe to chat about his current single and album.

Ben Foster:  What can you tell us about the creative process behind your single “Overnight Success”?

Zane Williams:  Well, that was a pretty easy one to write because it’s so autobiographical. Once I got the idea, I had a lot of subject material to pull from – just from my own life, and from all the other musicians I know. It was a little tricky to get it sort of figured out. I wanted it to be a ten-step process. Pretty much all those things that I talk about in the song I’ve actually lived out in my own life. I didn’t borrow ten grand from my uncle to make my first CD, but I borrowed $17,000 from my grandparents to make my first CD. All the stuff that the song talks about.

Does the album have any central unifying themes?

I don’t think the songs do really. I think the main theme that sort of ties it all together is just the fact that I wrote all the songs, and so I think each one of them sort of shows a different side of my personality, and I kind of think of each one as being kind of its own mini-movie, and they’re all pretty different from each other.

Like an exploration of who Zane Williams is, basically?

Yeah, basically. Just all the different sides of my writing and just how I hear country music. You got your honky-tonk song, and then you got your kind of rocking country song like “Hands of a Working Man,” and you got your acoustic-y bluegrass sittin’ on a front porch type song with “The Simple Things,” love song with “Kissin’.” You hear all those types of song on the radio. You don’t always hear that kind of variety from just one artist, but as a writer, I like to write all those different styles.

Do you have any favorite songs or lyrics on this album, or does that feel like choosing between your children?

I think maybe “On a Good Day,” especially the first verse, the one about “steam rising from my coffee cup like a prayer going up.” I was really feeling the mojo that day. I think I put some good imagery in that song. Metaphors and similes and imagery and stuff, you know. I was feeling sort of poetic that day, so I’m kind of proud of that one, and then “While I Was Away” is real personal for me because it’s written for my boy, and I think that one’s got some mojo on it too. But yeah, I like ’em all, though.  That’s true.

Who are your favorite songwriters?

Man, there are so many.

Living or dead, past or present.

I think Garth Brooks wrote some killer songs. Of course, not all of his hits did he write, but he did write some of those hits. He wrote some really, really good ones. I still feel like Garth Brook’s greatest hits is just like the pinnacle for me. They’re just all so iconic. Like I said, he didn’t write ’em all, but he picked them.

He knows how to write ’em, and he knows how to pick ’em.

Yeah, exactly. Alan Jackson is somebody who I really have a lot of respect for as a writer because he’d just keep it simple and keep it country and classic, and yet still not be too cliché and still be personal and original. He’s just a good’n. He showed that sweet spot. Of Nashville writers, Dennis Linde is one of my favorites. He passed away not too long ago. He wrote a lot of songs. He was kind of a recluse that lived off by himself and wrote by himself. His songs always had a lot of character to them, like “Bubba Shot the Jukebox” and [sings] “Made her the queen of my double wide trailer.” He wrote “Goodbye Earl” for the Dixie Chicks. All the hit songs just were fun. And then he wrote [sings] “In John Deere green, on a hot summer night…” So he was one of my favorite writers that wrote a lot of stuff back in the nineties. And then you got the guys like Radney Foster or Guy Clark, kind of singer-songwritery, little bit more folksy-type.

Yeah, Guy Clark’s new album is killer.

Yeah, they’re so varied, so good in their own way.

As a Texan, what are your thoughts on the current Texas country music scene, and what Texan artists do you enjoy listening to?

Well, I think like any scene it’s got its good music and bad music, and it’s got good music that’s not popular and you wonder why, and it’s got bad music that is popular and you wonder why. But it’s also got a lot of great stuff too. I think the main thing I like about it is just that you don’t have to be on a major label. There’s fewer gatekeepers. You don’t have to get permission to work with somebody. You pretty much just get your band together and sort of band together and go play shows and just work hard. So I’m thankful for the Texas community. If it weren’t for that, I don’t think I’d have a career right now because I’m always a little bit of a square peg in a round hole in Nashville. I’ve never had any luck getting a major label deal or whatever, and in Nashville you either get that major label deal or you’re just waiting tables. Or you get a publishing deal, but I did that, and I wasn’t happy just being that because I’m more than just a songwriter. I want to be an artist and I want to perform. Down here in Texas I’ve got a scene that enables me to do that.

I’d say some of my favorites on the Texas scene would be the Randy Rogers Band. They’re just cool, man. They’re really good. I like the Turnpike Troubadours. Singer-songwriters, I like Sean McConnell a lot. Those are some of my favorites. I guess one of my favorites is the new guy up-and-comer William Clark Green.

So what’s next for you?

Well, a lot of stuff, man. We’re basically kicking it into fifth gear, you know. I’m leaving the day after tomorrow and I’m taking my family, and we’re going in an RV that we borrowed from a friend, and we’re going on a twelve-day radio tour. On this twelve-day radio tour we’ll be going through Texas, Louisiana, Mississippi up to Nashville, and then spending a few days in Nashville, and then we’ll go through Bowling Green up to Lexington we’re I’ve got some family, and then we’ll be coming back down hitting a bunch of stations in Tennessee, and then going home by way of Arkansas and Oklahoma, hitting stations as we go. So anyway, it’s my first nationwide radio tour. “Overnight Success” is my first nationwide radio single. We’ve got a video for “Overnight Success” that’s coming out. We’ve been working it to the Texas charts for a couple months now. It’s in the Top 10 on the Texas charts. And that’s just the first single, man. Everybody that’s on my team and my record label – management, publicists, and radio promoters and all those people – we feel like there’s a lot more than just one single on our album. There’s two, five or six, so many to choose from.

So the next year or two is just gonna basically be the busiest I’ve ever been, just working my tail off playing shows every weekend and visiting as many radio stations as I can during the week and just really kicking it in into a higher gear than I’ve ever been in. I’ve never really had a good team behind me. It’s really the first time I’ve ever had the help of good publicists and radio promoters and everybody setting up a bunch of interviews for me and just helping to get the word out. We’re hoping to basically make Overnight Success a reality. I’d like this to be my breakout album, and I’m gonna do anything and everything in my power to get the word out about it.

3 Comments

Filed under Interviews

Favorite Songs by Favorite Artists: Sara Evans

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.

41 Comments

Filed under Favorite Songs by Favorite Artists

The Best Singles of 2010, Part 1: #40-#31

Greatness comes in twos this year, as ten different artists make dual appearances on this list. Perhaps this demonstrates a greater truth about 2010.  Sure, there was some good music, but greatness was concentrated among a smaller group of artists than usual.

As is the annual tradition, we’ll reveal this year’s forty best singles, ten at a time.  Check back tomorrow for Part 2.

The Best Singles of 2010, Part 1: #40-#31

#40

Why Wait
Rascal Flatts

The Flatts boys return to their roots with this bright, infectious slice of country-pop. Bonus points for keeping both Gary LeVox’s voice and Dann Huff’s production in check. – Tara Seetharam

#39

That’s Important to Me
Joey + Rory

So far, Joey+Rory’s calling card has been their ability to exude authenticity through their songs with a naturalness and warmth as convincingly as a certain mother-daughter duo of the eighties, The Judds. Only, unlike the Judds, this partnership’s perceived connection isn’t marred by real accounts of strife and familial discord. Instead, by all accounts, Joey and Rory’s love is as sweet as their musical harmonies suggest. And this song is a nice encapsulation of what makes them who they are as a duo, both in a personal and professional sense. – Leeann Ward

#38

Where Do I Go From You
Clay Walker

Walker’s voice has matured so much over the past decade. Thankfully, he still has preserved his playful way with a melody, resulting in records like this that elevate radio fodder into something more than just filler.  – Kevin John Coyne

#37

Back to December
Taylor Swift

She ran from love “when fear crept into [her] mind,” but fear has long since given way to sorrowful regret. Swift knows there’s probably no reversing her mistake, but gets the grief off her chest anyway, with a chorus that sounds almost as nervous as you’d imagine the real-life plea to. – Dan Milliken

#36

Little Miss
Sugarland

My disdain for the duo’s label remains strong, as their lack of quality control let a terrible album reach the marketplace. But kudos to the folks who are picking the singles, as The Incredible Machine must sound like a great piece of work to radio listeners who’ve only heard the album’s two singles. It’s not quite “What it Feels Like For a Girl”, but as modern-day post-feminist explorations of gender go, “Little Miss” is very good. – KC

#35

Pretty Good at Drinkin’ Beer
Billy Currington

He ain’t cut out to sing great ballads. He’s not the type to make deep and introspective albums.  But he’s pretty good – no, pretty great – at laid back songs like this. – KC

#34

Temporary Home
Carrie Underwood

A story of shared humanity, brought to life by Underwood’s spot-on vocal interpretation. This is the first single in her catalog to slice through to the person behind the artist, and the payoff –striking, palpable personal conviction– is rich. – TS

#33

I’m In
Keith Urban

In an unusual accomplishment, Keith Urban manages to allow a drum machine to enhance a song rather than destroy it. What’s more, this lively Radney Foster penned celebration of commitment is both infectious and refreshing. When it comes to a new relationship, we don’t know what to expect, so the best choice is to be all in and present. – LW

#32

Pray For You
Jaron and The Long Road to Love

If we’re going to bring a college-boy mentality to country music – heck, Hootie’s already in the house anyway – let’s have it be as satisfyingly clever as it is juvenile.   – KC

#31

From a Table Away
Sunny Sweeney

Seeing the man she loves visibly enthralled by the wife he claims he’s leaving, the man’s mistress finally realizes how badly she’s being used. Sort of like “Stay” with more reserved narration. This is the kind of country single we don’t hear much anymore, with traditional-leaning vocals and production that work only enough to capture the song’s natural pathos, never overcooking things. – DM

Check out the rest of the list:

15 Comments

Filed under Best of 2010