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Favorite Songs by Favorite Artists: Faith Hill

Friday, May 5, 2006 – The Palace of Auburn Hills, Michigan.  For Faith Hill, it was just another stop on her Soul2Soul II tour with her superstar husband Tim McGraw.  For young 14-year-old Ben Foster, it was my very first live concert experience (or at least the first that did not entail bringing a picnic blanket), and it was one that I never forgot.  I still have the ticket stub.

I became a Faith Hill fan at a young age, and I became an even bigger fan as I grew older.  As I set about acquiring all six of her Warner Bros. studio albums, my admiration for this talented artist only grew.  To one who knows Faith Hill only for crossover pop hits like “Breathe,” “This Kiss,” and “The Way You Love Me,” it might come as a bit of a surprise what a strong album artist she was.  Besides that, she possessed genuine country sensibilities in addition to the pop diva persona that she became so well known for.

As I continue to eagerly await Faith Hill’s return with her seventh studio album, I’m thrilled to share my 25 personal favorites out of her eclectic catalog of tunes.  Many of these songs were substantial hits, but I’ve also left off a few well-known singles in favor of some lesser-known hidden treasures.  As always, please feel free to share your own favorites in the comments section.

#25

“The Way You Love Me”

Breathe, 1999

Now, don’t give me that look.  We’re all entitled to a little guilty pleasure time, aren’t we?  Look, I still don’t know what “If I could grant you one wish, I wish you could see the way you kiss” is supposed to mean, and I’m guessing you don’t either.  But what I do know is that Faith Hill somehow managed to craft a ridiculously catchy piece of pop-country nonsense that had me hopelessly hooked ever since I first heard it over a decade ago.  I couldn’t not love it if I tried.

#24

“Wild One”

Take Me As I Am, 1993

Faith’s 1993 debut single is an enjoyable and fitting introduction to a major talent.  The lyrics portray a free-spirited teenage girl who, in addition to having a rebellious streak a mile wide, is a proactive go-getter who takes life as it comes.  “Life is hard,” but she says “That’s all right.”  It’s an effortlessly charming record, and yet at the same time, it almost seems like an hors d’oeuvre in comparison to the deep and insightful material Faith would tackle in the future.

#23

“Sleeping with the Telephone” (with Reba McEntire)

Reba McEntire – Reba Duets, 2007

With this fantastic collaboration from Reba’s 2007 duets project, Faith and Reba play the parts of two neighbors, each of whom is married to a man who risks his life on a daily basis.  Their circumstances are different, with one husband being a soldier and the other being a police officer, but each wife copes with the same troubling feelings of deep worry and anxiety.  But honestly, this track is a shoo-in just for the pure pleasure of hearing Hill and McEntire, two of country’s most dynamic vocal powerhouses, paired together – trading verses and blending their voices in harmony on the soaring chorus.

#22

“Let Me Let Go”

Faith, 1998

A brokenhearted woman tries to move on in the wake of a break-up, but is unable due to the unshakable feeling that they really were meant to be together. (“If this is for the best, why are you still in my heart, are you still in my soul?”)

#21

“Someone Else’s Dream”

It Matters to Me, 1995

The story of a young woman gradually discovering her own distinct identity, and discovering that her parents’ hopes and dreams will never be hers.  When the song reaches its final bridge, the young woman has firmly made her decision:  “She’s got twenty-seven candles on her cake, and she means to make her life her own before there’s twenty-eight.”

#20

“Love Ain’t Like That”

Faith, 1998

In a clever composition with some classic Matraca Berg lines, Faith debunks a series of mistaken ideas about what love is really about, while also underscoring the importance of commitment in a lasting relationship.  Favorite lines:  “You can’t buy it at the store, try it on for size, bring it back if it don’t feel right.… You can’t trade it in like an automobile that’s got too many miles and rust on the wheels.”

#19

 “Let’s Go to Vegas”

It Matters to Me, 1995

The unshakable joyfulness of “Suds In the Bucket” meets the wide-eyed charm and innocence of “She’s In Love with the Boy.”  From the light airy arrangement to Faith’s enthusiastic performance, “Let’s Go to Vegas” embodies all of the youthful romantic excitement found in that one little moment of “Hey, I just had a crazy thought…”

#18                 

“Lost”

The Hits, 2007

This one might have come across as an attempt to re-visit the power ballad euphoria of “Breathe,” which it might have been, but it carries an extra air of mystery that gives it a distinct identity separate from its predecessor, while the melody and performance make the song captivating on its own merits alone.

#17

“What’s In It for Me”

Breathe, 1999

On the kickoff track of Faith’s runaway success of an album, her performance sounds like the release of an eternity’s worth of pent-up fury.  The aggressive country-rock production, combining awesome guitar work with some mighty fierce fiddling, added up to a record that sounded truly ferocious.

#16

“The Secret of Life”

Faith, 1998

In this philosophical number written by the ever-excellent Gretchen Peters, several men drinking in a bar ponder over the fabled “Secret of Life,” eventually concluding that “The Secret of Life is nothing at all.”  Faith’s half-sung, half-spoken performance brought the conversational tone to life, taking a song that was hardly radio-friendly, and turning it into a Top 5 hit.

#15

“Cry”

Cry, 2002

A full-on pop power ballad in which Faith strikes the delicate balance of exercising her powerful pipes in a fiery delivery, while still retaining the emotional connectivity of a great country record.  Her formidable vocal prowess is on full display, but even the biggest power notes are still colored with a deep emotional quiver.

#14

 “Breathe”

Breathe, 1999

Faith Hill took the pop-country power ballad to new heights with this cross-genre career-defining hit.
Regardless of how overexposed the song might have been, it’s a memorable record for the way it combines physical attraction with the warmth and comfort found in true love, while also displaying the increased power and fullness that Faith’s voice had acquired over the years.

#13

“I Can’t Do That Anymore”

It Matters to Me, 1995

This Alan Jackson-penned ballad puts into song the frustration, exhaustion, and hurt of a sunken housewife worn down from constantly striving to please her unappreciative husband

#12

“I Need You” (with Tim McGraw)

Tim McGraw – Let It Go, 2007

Of all Faith’s collaborations with her famous husband, this is one of the best.  This was only their second full-fledged duet single (with their first being “Let’s Make Love”).  The restrained arrangement lends a deeply intimate romantic feel to the record, while both vocalists give killer performances.  Tim McGraw digs deep into his lower register, while Faith’s soaring performance elevates the record to greatness.  Never before or since had their chemistry been captured as effectively as it is here.

#11

“Dearly Beloved”

Fireflies, 2005

This track served as one of the lighter moments on the mature and compelling collection of songs found on Faith’s Fireflies album.  The plucked-out, nearly-hillbillyish country-bluegrass arrangement sounds worlds removed from polished crossover number like “Breathe.”  In a song ripe with clever and silly lines, Faith steps into the minister’s shoes at a backwoods white trash wedding.  The flirt of a bride is three months late, and the groom is “checkin’ out the bridesmaids, thinkin’ that he might take the maid of honor’s honor.”  Fittingly, Faith ices the cake with a closing line of “Y’all come back now, ya hear?”

#10

 “A Man’s Home Is His Castle”

It Matters to Me, 1995

Listening to this song is like peeking in the windows of a home torn apart by domestic violence.  “Castle” takes on an added level of realism in that it gives a voice to the battered woman, and even gives the couple names (Linda and Jim).  The victimized woman is hurt, angry, and desperate, and every tortured emotion is conveyed in the lyrics, which make no attempt to tamper the song’s impact with a manufactured happy ending.

#9

“Take Me As I Am”

Take Me As I Am, 1993

Could it be?  A love song that brings maturity and self-realization to the table without sacrificing the joy and
giddiness of newfound romance?  Faith delivers exactly that with the title track to her debut album, which includes standout lines like “I’d trade a million pretty words for one touch that is real,” as well as romantic lines like “Baby, don’t turn out the light… I wanna see you look at me.”

#8

“Like We Never Loved At All”

Fireflies, 2005

A delicate piano intro with strains of steel set the tone for a beautiful ballad of a woman who struggles to move on after a breakup, while her pain in increased by the realization of how easily her former flame seems to have moved on.  The song is bolstered by Tim McGraw’s harmony vocal, while memorable visual images (“There… walking with your friend, laughing at the moon… I swear you looked right through me”) bring the narrator’s pain down to a strikingly relatable level.

#7

“It Matters to Me”

It Matters to Me, 1995

An expression of hurt feelings that is all the more effective for its simplicity and straightforwardness:  “When we don’t talk, when we don’t touch, when it doesn’t feel like we’re even in love… It matters to me.”  How much more direct can you get?

#6

“When the Lights Go Down”

Cry, 2002

Faith’s 2002 set Cry was criticized by some for going in a straight-up adult pop direction.  But the detractors often missed the fact that Cry is a fantastic pop album, which includes some of the best songs Faith Hill has ever recorded.  Exhibit A is “When the Lights Go Down” – a stunning musical testament to the clarity and inescapability of ultimate truth, elevated by Faith’s showstopping vocal performance.  The song takes on a tone of positivity as it highlights the fact that life’s most turbulent experiences afford us the opporunity to discover our own inner strength.  Easily one of the finest tracks on the Cry album, it’s a shame it wasn’t fully embraced by radio.

#5

“You’re Still Here”

Cry, 2002

It’s hard to go wrong with a Matraca Berg/ Aimee Mayo song.  In a similar vein to Trisha Yearwood’s “On a Bus to St. Cloud,” “You’re Still Here” is a tale of the love that’s long gone, most likely in death, but whom the narrator still sees in her dreams, in her baby’s eyes, and everywhere else.  At one point she even says “I heard you in a stranger’s laugh, and I hung around to hear him laugh again, just once again.”  It’s an achingly beautiful lyric, delivered in one of Faith’s finest and most emotionally-resonant performances on record, while the soft touches of oboe in the arrangement add layer of mystery to the track.

 

#4

“Wish for You”

Fireflies, 2005

A mother’s expression of all that she wishes for her child.  It’s made even more touching by the fact that she never once makes the wish that everything in life will go perfectly for her child.  Instead, she simply wishes that, when things do go wrong, her child will pick herself back up, move on, and be a better person because of it.  That keeps the song from coming across as cheesy, instead deepening its emotional impact, and keeping it firmly grounded in real life.

#3

“If My Heart Had Wings”

Breathe, 1999

Sometimes it irritates me when certain female artists constantly feel the need to belt out their songs at the top of their lungs.  In the case of “If My Heart Had Wings,” however, I can’t imagine the song being sung any other way.  Begging to be blared at high volume in one’s car with the windows rolled, “If My Heart Had Wings” is three and a half minutes of pure pop-country euphoria.

#2

“This Kiss”

Faith, 1998

Does this song even need a caption?  Probably not, but here it goes anyway.  “This Kiss” is a perfect sonic encapsulation of all the joy and romantic giddiness of a newfound love (and yet it came out when Taylor Swift was still in grade school).  There are few pop-country tunes that are able to achieve such high levels of catchiness, or to give the replay button a workout like this song does.

#1

“Stealing Kisses”

Fireflies, 2005

Mature, intelligent, and insightful – exactly the kind of material country radio is perpetually in need of, and yet all too often shies away from.  “Stealing Kisses” plays like a sequel to the innocent youthful “Love Story”-esque material of artists such as Taylor Swift.  As a young woman, the narrator is “stealing kisses from a boy” only to find herself a housewife “begging affection from a man” with the passage of time.

Lori McKenna writes a beautiful song, and Faith Hill beautifully sings it.  The song was released as the fifth and final single from Fireflies, and though it only scraped the bottom of the Top 40, it offered one of those rare and special moments when the voice of the adult woman was heard on country radio.  Faith Hill and her label are to be commended for having the guts to send it to radio in the first place.  A definite career highlight, “Stealing Kisses” aptly demonstrates that, at her best, Faith Hill is just as capable of delivering deep, substantial material as she is capable of serving up a tasty morsel of ear candy.

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100 Greatest Men: #80. The Everly Brothers

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rs.jpg” alt=”” width=”160″ height=”159″ />100 Greatest Men: The Complete List

Their fraternal harmonies saturated stations across the radio dial in the fifties and early sixties, and today they’re best remembered as founders of both rock and country music as we know it.

Brothers Don and Phil Everly were born two years apart in the late thirties, and grew up listening to music that transitioned out of the depression and into the second world war. Their father, Ike, was a traveling musician and had his own radio show out of Shenandoah, Iowa.

They started as part of the family act, but as they got older, they became a duo. Through the help of Chet Atkins, they received a record deal at Columbia, which faltered after one failed single. Still, Atkins encouraged them to stay at it, and helped them get a publishing contract in Nashville.

Their publisher, Acuff-Rose, introduced them to the higher-ups at Cadence Records, and when they signed with the label, the hits came quickly. Hits like “Bye Bye Love”, “Wake Up Little Susie”, “Devoted to You”, and “Bird Dog” made a big impact on the radio, reaching the upper ranks of the pop and country charts in America. Their Rockabilly sound reached all the way around the world, as the duo had big hits in the United Kingdom and Australia.

As format walls hardened, the band signed with Warner Bros., where they had their last big pop hits with “Cathy’s Clown” and “When Will I Be Loved.” Interestingly, though the songs didn’t crack the country charts back then, both would later be covered by female country artists who took them all the way to #1. When Reba McEntire sang “Cathy’s Clown” and Linda Ronstadt sang “When Will I Be Loved”, they sounded just as country as anything else at the time, if not a bit more.

Throughout the sixties, their fortunes faded at radio, and a feud broke the duo apart in the seventies. But before they temporarily called it quits, they released the landmark 1968 set Roots, a critically acclaimed set that was one of the earliest examples of the country-rock that Ronstadt and the Eagles would mainstream in the years that followed.

The Everly Brothers were among the first group of acts inducted during the inaugural year of the Rock and Roll Hall of Fame in 1986. Since then, they’ve been inducted into the Country Music Hall of Fame and received the Grammy Lifetime Achievement Award.

Essential Singles:

  • Bye Bye Love, 1957
  • Wake Up Little Susie, 1957
  • All I Have to Do is Dream, 1958
  • Take a Message to Mary, 1959
  • Cathy’s Clown, 1960
  • When Will I Be Loved, 1960

Essential Albums:

  • The Everly Brothers, 1958
  • Songs Our Daddy Taught Us, 1959
  • It’s Everly Time, 1960
  • A Date With the Everly Brothers, 1961
  • Roots, 1968

Next: #79. Hank Locklin

Previous: #81. Eagles

100 Greatest Men: The Complete List

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