PROCRASTINATION: “Hard Work Often Pays Off After Time, But Laziness Always Pays Off Now.”

On paper, this certainly shows with regard to the newly-released fifth single, “No Hurry”, from the industrious Zac Brown Band’s current album You Get What You Give: vying to tie Rodney Crowell’s record for most Billboard Hot Country Song #1 hits from a single album.

As you could indubitably guess from the title alone, this song depicts a passive protagonist whittling the day away and basking in faineancy without a care in the world. Lyrically, it regurgitates all-too-familiar images associated with relaxed, simple living. Old cane fishing pole? Check! Fold-up easy chair? Check! Hiding out from the “bossman”? Gotta have that, right?

It also follows an all-too-familiar narrative arc, where the first two verses are concerned with personal details, while the third and final verse moves onto more universal ruminations with regards to life and death (“Heaven knows that I ain’t perfect, I’ve raised a little cain. And I plan to raise a whole lot more, before I hear those angels sing…”)……..and feels the need to obligatorily exclaim “Gonna get right with the lord!” immediately after so not to, you know, displease the Focus On The Family types.

From the band that has already given us “Knee Deep” this time around, it sounds, straight-up, consonant to the band’s strengths. Who can go wrong with a harmless ditty that would probably make for a fine official anthem in observance of the Day After New Year’s Day, and the inevitable plentitude of nullified resolutions that appear in its wake?

So, lyrics aside………why does the band sound like it’s trying too hard here?

Ironically, Brown sounds as though he’s trying to give it his all vocally. By the time we reach the climatic final verse, he actually sounds like he’s rehearsing for a Bud Light “Real Men of Genius” television advertisement promo as opposed to singing an ode to quiet living (imagine that…….Zac Brown saluting Mister Croup-Preventing Skullcap Weaver………if not Mister Sweet Tea, Pecan Pie & Homemade Wine Fixer-Upper! ;) )

He certainly doesn’t sound laid-back by that point. He sounds like he’s starting to run a cold sweat. Which underscores the main reason I can’t seem to connect with this. The band actually makes procrastination sound……….dare I say it…………not any fun at all. Even funereal.

Jimmy De Martini provides another hearty helping of fiddle here that nevertheless only reinforces this lasting impression that the effort would sound better fitted to a late-autumn dirge than to the scents of early spring. Come on, fellas, you assured me before the only thing I ought to fear is if the tide is going to reach this easy chair!

Then again, as far as we know, perhaps that is the point. After all, “No Hurry”, punctuated by mournful fiddle throughout, may not be so much about celebrating procrastination than, from a more practical standpoint, accepting that we’d be fools not to worry about everything we can’t change in a more philosophical sense…….or else, in doing so, we would be fated to the tagline of another satirical, grimmer motivational poster on the issue of procrastination, depicting a dying goldfish in a dirty bowl:

PROCRASTINATION: “It’s, Hands-Down, Our Favorite Form Of Self-Sabotage”

Either way you skin it, “No Hurry” is a time-waster in that it fails to inspire either a rousing or reflective quality…….resulting in their weakest of ten singles to date. In spite of that, expect this to quite likely make history in making the Zac Brown Band the first group in the history of country music to produce five Billboard Hot Country Song #1s from a single album.

See, what did I tell you? Laziness Always Pays Off Now! Even for a band whose work ethic and rise to stardom has been anything BUT slothful.

Written by Zac Brown, Wyatt Durette, and James Otto

Grade: C

Listen: No Hurry

In this feature, we will focus on some of the best Rodney Crowell songs–whether they were big hits, minor hits or unreleased album tracks—but these twenty-five songs certainly do not do enough justice to this man’s contribution to country music. As a result, look for an accompanying Favorite Songs by Favorite Songwriters feature on Rodney Crowell to come soon.

#25
“You’ve Been on My Mind”

from the 1989 album Keys to the Highway

The lyrics are a little ambiguous, but it’s clear that this is a lonesome song about love lost. Crowell can do a lonesome song with the best of them and he does just that here.

#24
“Telephone Road”

from the 2001 album The Houston Kid

With an infectious, driving production, “Telephone Road” depicts Crowell’s childhood with fondness (an ice cream from the ice cream truck was only 5 cents), but without the irresponsible nostalgia that seems to afflict many such songs of today (I’m looking at you Bucky Covington). To be totally shallow, this is one to blast on some good speakers.

#23
“Adam’s Song”

from the 2003 album Fate’s Right Hand

Anyone who has experienced the passing of a loved one knows the reality that Crowell sings about. As he knowingly observes, “We’ll keep learning how to live with a lifelong broken heart.”

#22
“Many A Long and Lonesome Highway”

from the 1989 album Keys to the Highway

This is the first song I’d ever heard by Rodney Crowell. At the time, I had just gotten into country music and the song was already four or five years old, but I had no idea of his history. I simply thought it was a great, melodic song. I still do.

#21
“Song for the Life”

from the 1978 album Ain’t Living Long Like This

To me, this song sounds mature and reflective, from a man who has lived and learned. However, in a 2005 20 Questions interview with CMT, Rodney reveals that he wrote this song when he was a mere twenty-one years old. And, is that Willie Nelson I hear singing background vocals? Yes, it is.

#20
“Fate’s Right Hand”

from the 2003 album Fate’s Right Hand

The title track of the critically acclaimed Fate’s Right Hand explores changing times and injustices much better than Toby Keith’s “American Ride” does.

#19
“Topsy Turvy”

from the 2001 album The Houston Kid

This song vividly paints the picture of Crowell’s parents’ abusive relationship. It’s from his perspective as the fully aware child who witnesses the turbulence. He doesn’t mince words throughout the song, but especially when he admits, “I cross my heart and tell myself ‘I hope they die’”. He also details the lack of meaningful response from neighbors and police officers.

#18
“Beautiful Despair”

from the 2005 album The Outsider

It’s not a feeling that one wants to embrace often, but there are times when leaning into that feeling of despair propels one to action or at least some needed introspection. From this song, it’s likely that despair has played a beautiful function in his life.

#17
“Leaving Louisiana in the Broad Daylight”

from the 1978 album Ain’t Living Long Like This

Emmylou Harris was one of the first people to record a Rodney Crowell song and what a gem it is. While Harris’ recording of it is the strongest and most exuberant version, Crowell’s version is great too.

#16
“This Too Will Pass”

from the 2003 album Fate’s Right Hand

What I like about a Rodney Crowell penned inspirational song is that it’s not embarrassing to listen to. It’s inspiring without sounding like a page from Chicken Soup for the Soul.

#15
“My Baby’s Gone” (with Emmylou Harris)

from the 2003 album Livin’ Lovin’ Losin’: Songs of the Louvin Brothers

From the excellent Louvin Brothers tribute album, one of the many shining moments is this duet from Rodney and Emmylou Harris. It just cements the fact that they need to do a duets album. Stat!

#14
“The Rock of My Soul”

from the 2001 album The Houston Kid

While this song is not strictly autobiographical, it is a chilling representation of Crowell’s tumultuous experiences with his father.

#13
“Dancin’ Circles Round the Sun (Epictetus Speaks)”

from the 2005 album The Outsider

Here’s another example of Rodney Crowell inspiring without sickening.

#12
“After All This Time”

from the 1988 album Diamonds & Dirt

If you’re not listening carefully, you might think this is a pretty love song. It, however, is a wistful love song to a relationship that no longer exists.

#11
“I Walk the Line Revisited” (With Johnny Cash)

from the 2001 album The Houston Kid

This is a joyful account of the first time Crowell heard Johnny Cash’s “I Walk the Line” on the radio as a kid. It’s an obvious full circle moment when Cash sings an altered melody of the classic on Crowell’s song about it.

#10
“We Can’t Turn Back”

from the 2005 album The Outsider

In his gentle but no nonsense way, Crowell explores the notion that we can’t change the past, which means that we can only focus on the present and what we can do to make it better.

#9
“Artemis and Orion”

from the 2003 digital release Lost Tracks

Supported by a delightfully simple production and memorable tune, Rodney sings a version of the story of Artemis and Orion from Greek Mythology. I’m not sure of the origins of the song, since it seems to have been randomly recorded by Crowell, but it is fun to listen to.

#8
“’Til I Gain Control Again”

from the 1981 album Rodney Crowell

Crowell has written several songs that have become classics for him and for others. “’Til I Gain Control Again” was first recorded by Emmylou Harris in the mid-seventies, then made famous by Crystal Gayle in the early eighties and subsequently recorded by many artists over the years. Crowell’s own version is beautifully sung with just the right air of forlornness.

#7
“Things that Go Bump in the Day”

from the 2005 album The Outsider

I hardly even know what this song means, but I still love it for its bouncy production, unshakable melody and Crowell’s energy while singing it. I dare you not to get it stuck in your head.

#6
“The Outsider”

from the 2005 album The Outsider

The effective use of horns in this bluesy soul infused song is enough to hook me, but the theme of being okay with being different is something to embrace too.

#5
“Things I Wish I Said”

from the 1989 album Keys to the Highway

Much has been written and said about Rodney Crowell’s difficult relationship with his violent father, but the end of that story is that they found a way to heal their relationship and turn it into something healthy and tender. This song is personal to Crowell as it describes the relief that he feels that he has no regrets with the passing of his father. Likewise, it is a universal sentiment that most of us can relate to as well.

#4
“She’s Crazy for Leaving”

from the 1988 album Diamonds & Dirt

I love this song because both the melody and the song’s vividly painted story are equally funky. The scene that’s created for the song is fodder for a hilarious and ridiculous comedy sketch.

#3
“Riding Out the Storm”

from the 2003 album Fate’s Right Hand

A not so beautiful picture is underscored by a beautiful melody and poetic lyrics. That’s one of Rodney Crowell’s effortless songwriting talents.

#2
“Making Memories of Us”

from the 2004 album The Notorious Cherry Bombs

Keith Urban is who made this song famous and Crowell a little richer, but Rodney Crowell, backed by Vince Gill, is who makes it a fine treasure. Written for his wife as a last minute Valentine’s Day gift, it’s a tender love song that rivals most modern songs of its ilk. It’s one of those “action” songs that I especially love. He’s not just promising to love her, but also pledging to be an active part of their relationship in order to create meaningful memories.

#1
“Shelter from the Storm” (with Emmylou Harris)

from the 2005 album The Outsider

Again, there’s no reason that Emmylou and Rodney shouldn’t make a duets album together. With sublime vocal chemistry, they turn this Bob Dylan song into something entirely different than what it once was. Instead of having to dig for the gem, they put it out there front and center for us. It’s gorgeous and it’s their interpretation that makes it so.

In “Beautiful Despair”, Crowell acknowledges the depth of Bob Dylan’s songwriting and his feelings of inadequacy when compared to Dylan’s ability. He sings: “Beautiful despair is hearing Dylan/ When you’re drunk at 3 a.m. / Knowing that the chances are/ No matter what you’ll never write like him.”

As a Dylan fan, it may be heresy to think it, but methinks Rodney Crowell is being too hard on himself. It is not a knock on Rodney Crowell’s incredible songwriting that I chose a song that he did not write as my top Crowell song, but rather, a testament to his ability to interpret a legendary song well enough to make it his own.

A Leaving Song.

Here are the staff picks:

Leeann Ward: “She’s Crazy For Leavin’” – Rodney Crowell

For me, this song plays out like a movie scene in one of those wacky romantic comedies. The guy is over-the-top trying to convince his girl not to go, saying that “she’s crazy for leaving”, while everyone else at the bus stop pretty much knows he’s the crazy one and tells him to just let her go. I especially love the hook, “You can’t stop a woman when she’s out of control.” Few can write tongue in cheek like Crowell and Guy Clark, I tell ya.

Dan Milliken: “She’ll Remember” – Dwight Yoakam

The zany first minute never gets old for me.

Tara Seetharam: “Let Him Fly” – Patty Griffin

To me, one of the most beautiful songs ever written. It so perfectly captures the equally peaceful and equally crushing “beauty of just letting go.”

Kevin Coyne: “Consider Me Gone” – Reba McEntire

Smart, adult, and even-tempered, this record claims the moral high ground while still managing to get in a subtle dig or two.

You’re giving me an achingly sincere vocal performance. You’re giving me a stripped down production that’s genuinely country, fiddle and all.   You’re giving me your life story, from the music to the marriage to the birth of your daughter.

It all adds up to so much goodness that you almost distracted me from the clunky and self-indulgent songwriting.  I can’t even give you a pass on that, because you didn’t write it.

You might have pulled it off if you’d held off on using the line, “Up until you came along, no one ever heard my song, now it’s climbing like a bullet,” until later on, maybe in one of those random breakdowns you like to do at the end to extend album versions from four minutes to twenty.

See, I love it when you get personal.  Remember “Song For Dad” and “You’re Not My God”?  Loved ‘em.  And “Thank You” was basically this song, done more artfully and in a more universally relevant way.

But “Without You” just feels too much like “Keith Urban sings about what it’s like to be in love with Nicole Kidman” to be interesting to me.  It might be an unfair criticism, given that’s what your life is all about these days and it’s made you blissfully happy, but it’s a boring song.

Maybe blissful happiness is hard to write about well when you’re not Rodney Crowell. Perhaps you should go back to covering him when you’re feeling this way?

Written by Dave Pahanish and Joe West

Grade: B-

Listen: Without You

Last Tuesday (September 7), Rounder Records released The SteelDrivers’ second album, Reckless (which is pretty spectacular, by the way) and this week, they will be releasing Robert Plant’s follow up to his 2007 collaborative album with Alison Krauss, also on Rounder. From the streaming preview that can be heard on NPR’s website until release day, the album is a wonderfully rootsy project helmed by Plant and Buddy Miller and includes guitar work from Darrell Scott. October will also finally see the release of Joe Diffie’s bluegrass album on the label.

When one learns that an album will be released through Rounder Records (which has recently been sold to Concord Music Group), it’s pretty much automatically expected that the project will be quality. Whether it’s The SteelDrivers, Robert Plant, Joe Diffie, John Mellancamp, Alison Krauss or Willie Nelson, it’s reasonable to assume certain aspects of a Rounder release, including that the album may even stray from a typical artist release to be more rootsy in approach, as is the case with the recent Willie Nelson and John Mellancamp albums, along with the upcoming Diffie project. More often than not, I can count on Rounder Records to please my musical sensibilities, even with unexpected artists, since I never expected that Robert Plant would be recording some of my favorite roots music.

As much as I love and count on Rounder Records to produce great music, my absolute favorite record company is Sugar Hill Records (owned by Vanguard Records). Incidentally, Joey+Rory will be releasing their anticipated second album through Sugar Hill on Tuesday (September 14). Additionally, Marty Stuart’s recent release, the excellent Ghost Train, was released through them as well. Other artist who have been associated with Sugar Hill include, but are not limited to: Nickel Creek, Ricky Skaggs, Guy Clark, Dolly Parton, Darrell Scott, Kasey Chambers and Shane Nicholson, The Duhks, Sarah Jarosz, and the list goes on. As with Rounder Records, many artists seem to release albums with Sugar Hill as a deviation from the music for which they are most popularly associated, as is the case with Dolly Parton, Ricky Skaggs, and even Rodney Crowell, who released his venerable The Houston Kid on the label.

Right now, it seems that my favorite record labels aren’t in the business of releasing music that we hear on mainstream country radio, though Joey+Rory are attempting to crack through. While I don’t have the inside knowledge to say that it doesn’t exist, we don’t hear about the red tape and politics that is ever present with major companies like, lets say, the infamous Curb Records, which has produced some rather publicly disgruntled artists, most notably Tim McGraw and the two Living Hank Williamses.

But when I was a kid, MCA Records was the label that seemed like the powerhouse record company for country music to me. Some of my favorite artists were on that label, including Trisha Yearwood, George Strait, Reba McEntire and, of course, Vince Gill. I admired the country roster of Arista as well, which included Alan Jackson, Diamond Rio, Radney Foster, and Blackhawk.

Along with reminding you about some good releases that have recently been released and will soon be available, this is the very long and self-indulgent way of getting to the question of:

What is the record label that you most admire and can count on to release your favorite music?

400 Greatest Singles of the Nineties: #50-#26

#50
Here’s a Quarter (Call Someone Who Cares)
Travis Tritt
1991 | Peak: #2

Listen

From the first forceful guitar strum on, this kiss-off number somehow manages to seem unusually cool and collected in its own aggression. You get the impression that Tritt’s character has been anticipating this moment, and has already made up his mind that he’s going to relish every second of it. – Dan Milliken

#49
I’ve Come to Expect it From You
George Strait
1990 | Peak: #1

Listen

This is about as dark and bitter as George Strait gets. It’s a coat that he wears well. – Kevin Coyne

#48
House of Cards
Mary Chapin Carpenter
1995 | Peak: #21

Listen

No neighborhood or family is without its secrets, and the more time we spend trying to hide them, the worse they become. “House of Cards” is a plea: forget appearances. Just take care of each other. – DM

#47
Love Without End, Amen
George Strait
1990 | Peak: #1

Listen

A song about a father’s eternal love for his children, powered by a fundamental Christian truth. Once again, a grand message is told through relatable anecdotes, by one of the best storytellers in country music. – Tara Seetharam

#46
State of Mind
Clint Black
1993 | Peak: #2

Listen

A tribute to the power of a melody, done so tastefully that you could almost miss the depth of its hook: “Ain’t it funny how a melody can…completely change your state of mind?” I rarely go a day without wondering the same thing. – TS

#45
Burn One Down
Clint Black
1992 | Peak: #4

Listen

Black bids his final farewell to an unworthy lover. Steeped in traditionalism, this record could stand as a classic on its sound alone, but its lyrics are masterfully bitter. – TS

#44
Seminole Wind
John Anderson
1992 | Peak: #2

Listen

Couched in a beautiful, though sing-able melody, “Seminole Wind” is a gorgeous song that pays tribute to the hardships of Native Americans. While the sound is unique, with its mix of strong piano and fiddle, it’s an example of the diversity that nineties country music enjoyed. Likewise, it’s one of the finer instances of intelligence that was often displayed in that era. – LW

#43
Sticks and Stones
Tracy Lawrence
1991 | Peak: #1

Listen

This is the more subdued version of this decade’s “Give It Away.” Lawrence hands over all of the material possessions that they had acquired together, because “sticks and stones” are worthless without the love that they lost in the acquisition of them. – LW

#42
Whose Bed Have Your Boots Been Under?
Shania Twain
1995 | Peak: #11

Listen

To simply label this as one of Twain’s “countriest” records is to miss the massive slab of personality she throws into it. The snappy performance, the ridiculous, rhyming names and the terrifically cheesy bridge (“So next time you’re lonely/Don’t call on me/Try the operator/Maybe she’ll be free)? All signature Twain. – TS

#41
The Walk
Sawyer Brown
1991 | Peak: #2

Listen

While one of Sawyer Brown’s signature songs is quite possibly the most inspiring father-son song of country music, there is a strength of love that is ever-present in it. In its quiet way, it powerfully depicts a relationship of a family history of support and understanding. – LW

#40
Little Rock
Collin Raye
1994 | Peak: #2

Listen

A recovering alcoholic makes a candid phone call to the one he had to leave at home. Getting sober was only the beginning; now he has to pick up the pieces of the life he let fall to shambles. A lesser song would have resolved the situation tidily; “Little Rock” wisely abstains, leaving a realistic sense of ambiguity about whether the man is truly fit to rekindle the relationship. – DM

#39
Any Man of Mine
Shania Twain
1995 | Peak: #1

Listen

A landmark moment, both for Twain and country music. The combination of arena-stomping verses and honky-tonking choruses was a musical revelation, while the thematic demand that men continually work to deserve their women’s affections helped contribute to a major shift in the female point-of-view presented in mainstream country. – DM

#38
Suspicious Minds
Dwight Yoakam
1992 | Peak: #35

Listen

Ah, to cover an Elvis Presley song is a pretty daunting task. So, it’s no small feat to be one of the few to record a version to rival a Presley recording. – LW

#37
Straight Tequila Night
John Anderson
1991 | Peak: #1

Listen

About a bar regular who’s infamous for nursing her broken heart with hard stuff and subsequently taking out her frustrations on interested suitors. Where did these songs go? – DM

#36
This Kiss
Faith Hill
1998 | Peak: #1

Listen

A big heap of stars-in-your-eyes-head-in-the-clouds-Taylor-Swift-on-Ecstasy drivel. In other words: the perfect soundtrack to new love. – DM

#35
Nobody Wins
Radney Foster
1993 | Peak: #2

Listen

The hard truth: sometimes you’ve got to give up winning the argument in order to avoid losing the love. – DM

#34
Come Some Rainy Day
Wynonna
1997 | Peak: #14

Listen

The current of time flows forcefully in one direction, yet it’s only the most vulnerable of memories that are strong enough to swim against it.- KC

#33
Anymore
Travis Tritt
1991 | Peak: #1

Listen

Tritt tackles this confession of a song with rousing, ferocious conviction so intense that you can almost feel the narrator’s tipping point as he comes to terms with his emotions. One hell of a power ballad. – TS

#32
Love, Me
Collin Raye
1991 | Peak: #1

Listen

“Love, Me”  is like one of those tearjerker movies that gets you every time, no matter how many times you see it.  For you, it might be Titanic or Terms of Endearment. For me, it’s Toy Story 3.  This one is a sucker punch to the gut, as only the very saddest movies and the very saddest country songs can be. – KC

#31
Please Remember Me
Tim McGraw
1999 | Peak: #1

Listen

The original recording by Rodney Crowell was great in its own right. But McGraw took it to new heights, thanks in no small part to Patty Loveless lifting him up with her harmony vocal. This is a selfish man making a supreme act of selflessness. – KC

#30
Things I Wish I’d Said
Rodney Crowell
1991 | Peak: #72

Listen

It’s not a secret that Rodney Crowell endured a tumultuous relationship with his father.  As one of Crowell’s forgotten gems, “Things I Wish I’d Said”, is a  cathartic autobiographical reflection of healing between parent and child. – LW

#29
Fancy
Reba McEntire
1991 | Peak: #8

Listen

A mother pushes her daughter into prostitution, seeing it as the only way for her daughter to have any hope of escaping poverty. The daughter does, and speaks out confidently against those who judge her and her mothers’ decisions. It was a great song when Bobbie Gentry did it; when flamboyant Reba happened upon it, it became its own kind of anthem. – DM

#28
A Night to Remember
Joe Diffie
1999 | Peak: #6

Listen

He’s reeling from a tough week, ready to let loose and have “a night to remember.” But all is not as it seems. No spoilers here – you’ve got to enjoy a good country music twist where you can find one – but Diffie has never met better material. It’s enough to make you annoyed with “Pickup Man” all over again. – DM

#27
Song For the Life
Alan Jackson
1995 | Peak: #6

Listen

Alan Jackson is a masterful interpreter just as Rodney Crowell’s composition is masterfully written. It’s certainly not unheard of, but it’s rare that a single without a catchy chorus is a hit. The quiet and reflective “Song for the Life”, however, is effectively poignant with no bells and whistles to overshadow the intimacy of the performance and lyrics. – LW

#26
In Between Dances
Pam Tillis
1995 | Peak: #3

Listen

Pam Tillis was one of the women who helped bridge the gap between the victim queens that came before her and the Rah! Rah! Girl Power! ladies who came after, and she did it with songs like this.  Here, her heart is on the mend, and a potential suitor is circling. Is he a knight in shining armor, or a vulture who senses weakness? Doesn’t really matter. She’s taking a breather for now, and will proceed cautiously from here.  The hurt is palpable, but so is the strength that lies underneath it. – KC

400 Greatest Singles of the Nineties: #150-#126

#150
Gone Country
Alan Jackson
1994 | Peak: #1

Listen

A perfect time capsule of the boom times, as Jackson wryly notes all of those genre-hoppers who saw dollar signs in the growing country music scene. Funny how they didn’t arrive on radio until a decade later. – Kevin Coyne

#149
I Want to Be Loved Like That
Shenandoah
1993 | Peak: #3

Listen

Sometimes the deepest understanding of love comes from what you see around you. The narrator in this song won’t settle for anything less than the unwavering love he’s witnessed in his life, and his examples are stunning in the way they slice straight to the core of love, to the bond that can’t be broken by the physical world. This is one of the purest tributes to love I’ve ever heard. – Tara Seetharam

#148
Trail of Tears
Billy Ray Cyrus
1996 | Peak: #69

Listen

The sensitive portrayal of the plight of Native Americans is far removed from the bombastic “Achy, Breaky Heart” for which Billy Ray Cyrus is most associated. With its acoustic-bluegrass production, it may have been a little too quiet for even the nineties, but it’s his most elegant piece of art to date. – Leeann Ward

#147
This Woman and This Man
Clay Walker
1995 | Peak: #1

Listen

Country music is rich with stories of broken relationships, but I’ve always found this one to be particularly tragic. Against a pleading melody, Walker sings of a man who’s trying desperately to make his other half understand that there’s still a chance to save their relationship. That he feels the only way he can communicate this is by stripping the situation down to an anonymous woman and man is heartbreaking. – TS

#146
Ball and Chain
Paul Overstreet
1991 | Peak: #5

Listen

Part of a string of “family man”-themed singles, Overstreet turns out the best of them with a joyous ode to settling down. – LW

#145
I’ve Been Everywhere
Johnny Cash
1996 | Peak: Did Not Chart

Listen

It works because he has. Some songs just sound better when sung by an older man. – KC

#144
Lord Have Mercy On the Working Man
Travis Tritt
1992 | Peak: #5

Listen

The best working man anthem of the nineties is among the best working man anthems in general. – LW

#143
Look Heart, No Hands
Randy Travis
1992 | Peak: #1

Listen

Likening his confidence in love to a reckless, carefree youth, Travis delivers one of his many simple, but poetic, love songs. – LW

#142
When it Comes to You
John Anderson
1992 | Peak: #3

Listen

I’ve never heard Anderson’s signature vocal style so well complemented by the music. All the truth, with room for it to breathe. – KC

#141
Cold Day in July
Joy White
1993 | Peak: #71

Listen

A swell of pain and shock, as White tries to make sense of a goodbye she didn’t even get to see coming. The Dixie Chicks made the song a moderate hit years later, but seek this original version out; the quivering vocal sells it with unmatchable pathos. – Dan Milliken

#140
Outbound Plane
Suzy Bogguss
1992 | Peak: #9

Listen

Is Bogguss’ perspective on love a pessimistic one, or a realistic one based on the idea that you create your own happiness? I’m not sure, to be honest, but the terrific arrangement and vocal performance steal the spotlight on this record, anyway. – TS

#139
How Do You Like Me Now?!
Toby Keith
1999 | Peak: #1

Listen

Keith skillfully slaps his swag on one of the most spirited revenge anthems of the decade. I give him bonus points for working the teasing “na-na na-na boo boo” into the melody. Brilliant. – TS

#138
Learning to Live Again
Garth Brooks
1993 | Peak: #2

Listen

Another dose of melodrama that’s completely justified. Brooks uses his first experience back on the dating scene to flesh out the depth of his scars from a painful break-up. It’s a tasteful and understated record, highlighted by a fully-invested performance from Brooks. – TS

#137
Chattahoochee
Alan Jackson
1993 | Peak: #1

Listen

Simple, catchy nostalgia, destined to play in Nashville bars for all eternity. In a good way. – DM

#136
I’m in a Hurry (And Don’t Know Why)
Alabama
1992 | Peak: #1

Listen

As a fun lament to always being in a hurry, “I’m in A Hurry” showcases one of Alabama’s finest harmonies of their career. – LW

#135
Don’t Worry Baby
The Beach Boys featuring Lorrie Morgan
1996 | Peak: #73

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Sometimes a woman covers a song originally sung by the man, and changes the lyrics around a bit to make it make sense. Sometimes the song makes more sense in its new incarnation. Oh, and she sings the fire out of it. – KC

#134
She’s in Love With the Boy
Trisha Yearwood
1991 | Peak: #1

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One of country music’s most all-around lovable singles, like Romeo and Juliet with a happier ending and a Tastee-Freez shout-out. – DM

#133
You Know Me Better Than That
George Strait
1991 | Peak: #1

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Not only does the character in this song know that his ex-lover knows the real him that his new lover hasn’t yet seen, he’s self-aware enough to acknowledge his faults as well. Lest you think this song is serious, however, it’s one of Strait’s more amusing singles. – LW

#132
Wild Angels
Martina McBride
1995 | Peak: #1

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It’s nice – and humbling – looking back and realizing how many things you’ve survived that could have wrecked you. McBride is counting her lucky stars for the unlikely endurance of her relationship, and  her soaring performance rings with infectious joy. It makes me think I’d probably still like her glory-note stylings if the songs had just happened to remain this good. – DM

#131
No One Needs to Know
Shania Twain
1996 | Peak: #1

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Reveling in a love that’s only hers to know, Twain is playful, charming and romantic all at once on what remains one of her finest singles. – TS

#130
Look at Us
Vince Gill
1991 | Peak: #4

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A love that is standing the test of time, leaving Gill awestruck and deeply appreciative. – KC

#129
I Don’t Call Him Daddy
Doug Supernaw
1993 | Peak: #1

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The biggest casualty of divorce is the innocent children who are forced to adjust to new situations that they didn’t ask for. Part of such adjustments include new parental figures that they are expected to accept with grace. The most heartbreaking part of this song is the little boy who obviously knows that his loyalty is divided, as he assures his long distance father that his stepfather is reliable, but still isn’t considered “Daddy.” – LW

#128
I Walk the Line Revisited
Rodney Crowell with Johnny Cash
1998 | Peak: #61

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Crowell audaciously reworks the melody of Johnny Cash’s classic “I Walk the Line” to tell the story of how that classic impacted him growing up. Somewhat blasphemic, but mostly just cool. – DM

#127
Live Until I Die
Clay Walker
1993 | Peak: #1

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Unlike similar songs of today, this is one of the few instances when the theme of celebrating a carefree life is set to a pretty melody and restrained production. – LW

#126
How Can I Help You Say Goodbye
Patty Loveless
1994 | Peak: #3

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One of the most solid examples of selfless love from a mother to her daughter. – LW

In honor of this occasion, we’ve decided to dedicate some of our favorite songs on that subject to the birthday guy.

Leeann:

I don’t drink, but I do love me a good drinking song. In fact, I love so many drinking songs that it’s impossible for me to narrow it down to just one favorite. So, I decided to put my iPod on shuffle and discuss/recommend the first one that popped up, which happens to be “I Drink”, recorded by both Blake Shelton and Bill Chambers and co-written and also recorded by Americana favorite, Mary Gauthier.

If people know “I Drink”, it’s likely due to Blake Shelton’s version from Barn and Grill. It’s a good version, but I prefer the versions from Bill Chambers and/or Mary Gauthier, because they provide the grittiness and moroseness that properly conveys the quiet resignation that the song requires. Therefore, this one’s not a party anthem.

From a grown child’s perspective, the act of drinking is passed down like a tradition. Just as “fish swim, birds fly, daddy’s yell, mama’s cry, old men sit and think”, the grown child proclaims, “I drink.” And that’s just that.

Kevin:

I’m going to go all meta and recommend two songs that are as much about getting older as they are about drinking. Kenny Chesney’s “Beer in Mexico”, which has him pondering why he’s not happy with where is in his life so far. And Rodney Crowell’s “Song For the Life”, which finds him not drinking as much as he used to, perhaps because he’s very happy with where he is in his life so far!

Recommend your favorite drinking song for Dan in the comments. Oh, and wish him a happy birthday too, if you like!

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:

http://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:

http://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.”

http://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.

http://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:

http://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:

http://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:

http://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?

http://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:

http://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.

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?

It’s not a hard and fast rule, but oftentimes, the most intriguing albums come from extreme adversity. Such is the case for Chely Wright, whose finest project to date is her latest album, Lifted off the Ground, which comes from a long period of deep depression and subsequent painful self-examination of where she fits in the world. Masterfully produced by Rodney Crowell, the album is mostly a reflection of Wright’s darkest times of tumult, which naturally results in an album of varied emotions.

To set the tone for the project, the album opens with the slow-burning “Broken”, a resignation of lovers who can’t open themselves up enough to let the other person in. “Damn Liar” is an aggressive condemnation to, you guessed it, a no-good liar, while “Like Me” wistfully (and possibly controversially) contemplates the future of a close friend, “Who’s gonna end up holding your hand? / A beautiful woman or a tall, handsome man?” The most clever song on a very solid album, however, is the quirky “Notes to the Coroner”, wherein the protagonist points to her in-depth diary as her notes to the coroner on what caused her death, which simply happens to be a broken heart.

It’s not mainstream country music like she once did, but rather, more folk-tinged with a bit of tasteful pop influence sprinkled throughout, which will likely feel more comfortable with the Americana crowd. As a result, Rodney Crowell’s sympathetic production expertly supports Wright’s clear voice with a crisp, yet soft, foundation. Moreover, by pouring her heart and unfiltered thoughts into this album, we are treated to an introspective collection of songs with unique and accessible melodies and, more importantly, intelligent insights.