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

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

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

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

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

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

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

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

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

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

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

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

As always, share your thoughts in the comments!

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

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

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

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

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

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

The age-old stereotype that women can’t make up their minds is cleverly subverted into a threat toward an unkind man. It’s kind of like Loretta Lynn with shimmery sha-la-la background vocals. – DM

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Listening to the new Joe Nichols single “The Shape I’m In”, I’m thinking the same thing about George Strait.

Perhaps it’s just because “The Breath You Take” is still a fresh disappointment in my mind, but I can’t help thinking Strait would’ve knocked “The Shape I’m In” out of the park.

That being said, Nichols does a good job himself, in a vocal performance that is so inspired by Strait it might as well be an homage.

It’s a great song, too. Classic country heartbreak theme, quite a few clever lines, and an altogether realistic account of a man begrudgingly coming to terms with the end of a relationship.

Nichols captures the slowly dawning optimism of the lyric well.  The sun might be coming up, but it’s still a cloudy morning.

Written by Rhett Akins, Dallas Davidson, and Ben Hayslip

Grade: A-

Listen: The Shape I’m In

Still, the ACM category has bragging rights of its own. Critically-acclaimed albums like Storms of Life, Trio, Killin’ Time and Crazy Ex-Girlfriend won at the ACMs but were overlooked by the CMAs.  Additionally, women have also been far more successful at this ceremony. Only five women have ever won the CMA Album trophy, and one of them was Sissy Spacek!  At the ACMs, women have dominated the category for the past three years, and the category has honored everyone from Loretta Lynn and Donna Fargo to K.T. Oslin and Shania Twain.

A special note about ACM flashbacks. Like the Grammys, the ACMs issue their award for a given year the following year, so the awards for 2009, for example, are given out in 2010.  For the purposes of the flashbacks, Country Universe notes the year the award is presented. While the ACM first presented awards in 1966, the Album category wasn’t introduced until 1968.

As with other flashbacks, we begin with a look at this year’s nominees:

2010

• Lady Antebellum, Lady Antebellum
• Miranda Lambert, Revolution
• Brad Paisley, American Saturday Night
• Carrie Underwood, Play On
• Zac Brown Band, The Foundation

Three previous winners – Miranda Lambert, Brad Paisley, and Carrie Underwood – compete against the debut albums of two hot bands.  Lady Antebellum and Zac Brown Band each picked up a Grammy this year and are well represented on the rest of the ACM ballot.  This is a very competitive race. Even the sales-friendly nature of the ACMs doesn’t help much here, as four of these albums are platinum and Lambert’s just went gold.

2009

• Jamey Johnson, That Lonesome Song
• Montgomery Gentry, Back When I Knew It All
• George Strait, Troubadour
• Taylor Swift, Fearless
• Carrie Underwood, Carnival Ride

Taylor Swift became the third consecutive female artist to win in this category, a feat that would’ve seemed unthinkable earlier in the middle part of the decade, when country radio all but exiled women from radio.

2008

• Rodney Atkins, If You’re Going Through Hell
• Kenny Chesney, Just Who I Am: Poets and Pirates
• Miranda Lambert, Crazy Ex-Girlfriend
• Brad Paisley, 5th Gear
• Taylor Swift, Taylor Swift

A visibly shocked Lambert accepted the trophy for her critically acclaimed sophomore set.  While it did go gold, it remains an anomaly among ACM album winners. You have to go all the way back to 1979 (Oak Ridge Boys) to find another ACM album winner that didn’t sell platinum or higher.

2007

• Brooks & Dunn, Hillbilly Deluxe
• Vince Gill, These Days
• Rascal Flatts, Me and My Gang
• George Strait, It Just Comes Natural
• Carrie Underwood, Some Hearts

Carrie Underwood became the first solo female artist to win this award in eleven years with her 7 million-selling Some Hearts.

2006

• Gary Allan, Tough All Over
• Brad Paisley, Time Well Wasted
• Rascal Flatts, Feels Like Today
• Sugarland, Twice the Speed of Life
• Lee Ann Womack, There’s More Where That Came From

A strikingly strong lineup, with the victory going to Brad Paisley. Due to differences in eligibility between the two shows, there are two CMA winners in this category. Not only did Paisley repeat his victory the following fall, Womack won the CMA the previous year.

2005

• Kenny Chesney, When the Sun Goes Down
• Sara Evans, Restless
• Tim McGraw, Live Like You Were Dying
• Keith Urban, Be Here
• Gretchen Wilson, Here for the Party

Though he’s always been popular with the CMA and Grammy voters, Urban’s only Album award to date came courtesy of the ACMs. Oddly enough, they haven’t nominated him since.

2004

• Brooks & Dunn, Red Dirt Road
• Toby Keith, Shock’n Y’All
• Martina McBride, Martina
• Brad Paisley, Mud on the Tires
• George Strait, Honkytonkville

On an evening where he won several major awards, Keith picked up his second Album of the Year trophy from the ACMs for an album that included the #1  hits “American Soldier”, “Whiskey Girl”,  and “I Love This Bar.”

2003

• Kenny Chesney, No Shoes, No Shirt, No Problems
• Dixie Chicks, Home
• Alan Jackson, Drive
• Toby Keith, Unleashed
• Trick Pony, On a Mission

If you think all of those 2009 nominations for Heidi Newfield were surprising, check out Trick Pony’s presence in this category among four albums that sold more than 4 million copies each.  Alan Jackson picked up his third trophy in this category for the album that included “Where Were You (When the World Stopped Turning)” and “Drive (For Daddy Gene)”.

2002

• Brooks & Dunn, Steers & Stripes
• Toby Keith, Pull My Chain
• Tim McGraw, Set This Circus Down
• Soundtrack, O Brother, Where Art Thou?
• Travis Tritt, Down the Road I Go

Big comeback albums for Brooks & Dunn and Travis Tritt were nominated, but it was no surprise to see the victory go to the landmark soundtrack that sold more than eight million copies in the end.

2001

• Johnny Cash, American III: Solitary Man
• Billy Gilman, One Voice
• Toby Keith, How Do You Like Me Now?!
• Brad Paisley, Who Needs Pictures
• Lee Ann Womack, I Hope You Dance

Even Keith was a veteran in comparison to Gilman and Paisley, who were nominated with their debut albums, but the biggest surprise was the nomination of Cash for his third project with Rick Rubin. Even the CMA didn’t recognize those collaborations until the fourth volume and “Hurt.”

2000

• Asleep at the Wheel, Ride With Bob
• Dixie Chicks, Fly
• Faith Hill, Breathe
• George Jones, Cold Hard Truth
• Tim McGraw, A Place in the Sun

An impressively eclectic lineup is unsurprisingly represented by the consensus choice Dixie Chicks, the one act that everybody used to agree on.

1999

• Garth Brooks, Double Live
• Dixie Chicks, Wide Open Spaces
• Faith Hill, Faith
• Jo Dee Messina, I’m Alright
• George Strait, One Step at a Time

For the fourth time in the nineties, the trophy went to an artist’s breakthrough album.  After their shocking win at the Grammys a few weeks earlier, this Dixie Chicks victory wasn’t quite as surprising.

1998

• Garth Brooks, Sevens
• Patty Loveless, Long Stretch of Lonesome
• Tim McGraw, Everywhere
• George Strait, Carrying Your Love With Me
• Shania Twain, Come On Over

Strait’s third victory in this category tied him with Alabama for most wins.  It was also his first album to top the overall Billboard 200, a feat he’s repeated with three additional albums.

1997

• Brooks & Dunn, Borderline
• Tracy Lawrence, Time Marches On
• Patty Loveless, The Trouble With the Truth
• LeAnn Rimes, Blue
• George Strait, Blue Clear Sky

Strait’s victory came with an album that featured the #1 hits “Blue Clear Sky” and “Carried Away”, along with the rodeo-themed “I Can Still Make Cheyenne.”

1996

• Brooks & Dunn, Waitin’ On Sundown
• Patty Loveless, When Fallen Angels Fly
• Tim McGraw, All I Want
• George Strait, Lead On
• Shania Twain, The Woman in Me

Although Loveless won the CMA award the previous fall, the ACM sided with the Grammy winner for Best Country Album, Shania Twain’s landmark set, The Woman in Me.

1995

• Garth Brooks, In Pieces
• Mary Chapin Carpenter, Stones in the Road
• Vince Gill, When Love Finds You
• Alan Jackson, Who I Am
• Tim McGraw, Not a Moment Too Soon

McGraw’s only victory in this category came with his first nomination. This set remains his top-selling to date, thanks to the presence of the massive hits “Don’t Take the Girl”, “Indian Outlaw”, “Down on the Farm”, and the title track.

1994

• Brooks & Dunn, Hard Workin’ Man
• Billy Ray Cyrus, It Won’t Be the Last
• Vince Gill, I Still Believe In You
• Alan Jackson, A Lot About Livin’ (And a Little ‘Bout Love)
• Various Artists, Common Thread: The Songs of the Eagles
• Dwight Yoakam, This Time

Alan Jackson picked up his second victory in this category with an album that included “Chattahoochee”, which would remain his biggest hit for nearly a decade.

1993

• Garth Brooks, The Chase
• Brooks & Dunn, Brand New Man
• Mary Chapin Carpenter, Come On Come On
• Billy Ray Cyrus, Some Gave All
• Wynonna, Wynonna

These are some big selling albums. Wynonna and Mary Chapin Carpenter both sold five million and they are tied for last place among the nominees.  It’s easy to forget how fresh the Brooks & Dunn sound was when it first arrived on the scene.  Five hits, including the classic title track, “Neon Moon”, and “Boot Scootin’ Boogie”, helped power them to a win.

1992

• Garth Brooks, No Fences
• Garth Brooks, Ropin’ the Wind
• Alan Jackson, Don’t Rock the Jukebox
• Ricky Van Shelton, Backroads
• Travis Tritt, It’s All About to Change

In perhaps the most bizarre moment in this category’s history, Garth Brooks competed again with No Fences, which won the same award last year. Alan Jackson emerged victorious with his sophomore set.

1991

• Alabama, Pass it On Down
• Garth Brooks, No Fences
• Vince Gill, When I Call Your Name
• Alan Jackson, Here in the Real World
• Ricky Van Shelton, RVS III

No Fences includes the Garth Brooks classics “Friends in Low Places”, “Unanswered Prayers”, and “The Thunder Rolls”. It remains his highest-selling album to date, and second only to Shania Twain’s Come On Over among all single-disc country albums in history.

1990

• Clint Black, Killin’ Time
• Rodney Crowell, Diamonds and Dirt
• Kathy Mattea, Willow in the Wind
• Nitty Gritty Dirt Band, Will the Circle Be Unbroken? Vol. II
• Randy Travis, Old 8×10

The winning album demonstrates why Clint Black was the head of the Class of ’89, even though he’d soon be overshadowed by fellow newbie Garth Brooks.

1989

• Vern Gosdin, Chiseled in Stone
• K.T. Oslin, This Woman
• Ricky Van Shelton, Loving Proof
• George Strait, If You Ain’t Lovin’ You Ain’t Livin’
• Dwight Yoakam, Buenos Noches From a Lonely Room

K.T. Oslin dominated the awards circuit in 1988 and 1989, with her final victories coming at the ACM Awards.  Her Album of the Year winner included the #1 hit “Hold Me”, along with the top five hits “Hey Bobby” and the title track.

1988

• The Judds, Heart Land
• Dolly Parton, Linda Ronstadt, and Emmylou Harris, Trio
• George Strait, Ocean Front Property
• Randy Travis, Always and Forever
• Hank Williams Jr., Born to Boogie

The classic project by legends Dolly Parton, Linda Ronstadt, and Emmylou Harris also won a CMA for Vocal Event and a Grammy for Best Country Performance by a Duo or Group with Vocals.

1987

• The Judds, Rockin’ With the Rhythm
• Ricky Skaggs, Live in London
• George Strait, 7
• Randy Travis, Storms of Life
• Dwight Yoakam, Guitars, Cadillacs, Etc., Etc.

The neo-traditionalist movement at its peak, with a win by its standard-bearing artist with his standard-bearing debut album.

1986

• Alabama, 40 Hour Week
• Waylon Jennings, Willie Nelson, Johnny Cash, and Kris Kristofferson, Highwayman
• The Judds, Why Not Me
• George Strait, Does Fort Worth Ever Cross Your Mind
• Hank Williams Jr., Five-O

The only #1 hit from this album was the title track, but “The Fireman” and “The Cowboy Rides Away” have since become signature songs for the legendary artist.

1985

• Alabama, Roll On
• Earl Thomas Conley, Don’t Make it Easy On Me
• Ricky Skaggs, Don’t Cheat in Our Hometown
• George Strait, Right or Wrong
• Hank Williams Jr., Man of Steel

Their third victory in four years came on the strength of the hits “Roll On (Eighteen Wheeler)”, “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)”, “(There’s a) Fire in the Night”, and “When We Make Love.”

1984

• Alabama, The Closer You Get…
• John Anderson, Wild & Blue
• Merle Haggard, Going Where the Lonely Go
• Merle Haggard & Willie Nelson, Pancho & Lefty
• Ricky Skaggs, Highways & Heartaches

Over a field of traditionalists old and new, the pop-country supergroup Alabama won their second Album award. In addition to the hit title track, The Closer You Get… included the hits “Lady Down on Love” and “Dixieland Delight.”

1983

• Alabama, Mountain Music
• Willie Nelson, Always On My Mind
• Kenny Rogers, Love Will Turn You Around
• Ricky Skaggs, Waitin’ For the Sun to Shine
• Don Williams, Listen to the Radio

Nelson’s biggest single powered the album of the same name to victory. It also included a pair of #2 hits: “Last Thing I Needed First Thing This Morning” and “Let it Be Me.”

1982

• Alabama, Feels So Right
• Rosanne Cash, Seven Year Ache
• George Jones, Still the Same Ole Me
• Oak Ridge Boys, Fancy Free
• Dolly Parton, 9 to 5 and Odd Jobs

With the exception of George Jones, all the nominees here enjoyed significant pop success with these projects. Alabama won their first trophy in this category with Feels So Right, which included the hit title track, “Old Flame”, and their biggest crossover hit, “Love in the First Degree.”

1981

• Charley Pride, There’s a Little Bit of Hank in Me
• Kenny Rogers, Greatest Hits
• Soundtrack, Coal Miner’s Daughter
• Soundtrack, Urban Cowboy
• Don Williams, I Believe in You

For all that it’s been maligned, the Urban Cowboy soundtrack does have a lot of classic hits on it.  Some of them were recycled, like “Devil Went Down to Georgia” and “Lyin’ Eyes”, but some were introduced on the soundtrack, most notably Anne Murray’s “Could I Have This Dance” and Johnny Lee’s “Lookin’ For Love.”

1980

• Larry Gatlin, Straight Ahead
• Emmylou Harris, Blue Kentucky Girl
• Waylon Jennings, Greatest Hits
• Willie Nelson, Willie Sings Kristofferson
• Kenny Rogers, Kenny

Those of you wondering how on earth Larry Gatlin was the winner in this field should know that this was actually a platinum-selling album. Perhaps its big hit, “All the Gold in California”, endeared the project to west coast voters.

1979

• Ronnie Milsap, It Was Almost Like a Song
• Anne Murray, Let’s Keep it That Way
• Willie Nelson, Stardust
• Oak Ridge Boys, Y’All Come Back Saloon
• Kenny Rogers & Dottie West, Every Time Two Fools Collide

They had made several albums as gospel stars, but it was their first big country hit that fueled this win for Album of the Year.

1978

• Waylon Jennings, Ol’ Waylon
• Dolly Parton, Here You Come Again
• Elvis Presley, Moody Blue
• Kenny Rogers, Kenny Rogers
• Conway Twitty, Greatest Hits Vol. II

This self-titled album was renamed “Lucille” in later pressings to capitalize on its biggest hit.

1977

• Mickey Gilley, Gilley’s Smokin’
• Waylon Jennings, Willie Nelson, Jessi Colter, and Tompall Glaser, Wanted! The Outlaws
• Loretta Lynn, Somebody Somewhere
• Marty Robbins, El Paso City
• Conway Twitty, Now and Then

Gilley’s winning album features his most well known hit, “Don’t the Girls All Get Prettier at Closing Time.” It’s the most recent album in the category’s history that hasn’t reached at least gold status.

1976

• Glen Campbell, Rhinestone Cowboy
• Freddie Fender, Before the Next Teardrop Falls
• Merle Haggard, Keep Movin’ On
• Loretta Lynn & Conway Twitty, Feelins’
• Willie Nelson, Red Headed Stranger

This shared award is the only Album trophy that either Lynn or Twitty won from the ACM or CMA, though Lynn did go on to win Best Country Album three decades later at the Grammys.

1975

• John Denver, Back Home Again
• Merle Haggard, Merle Haggard Presents His 30th Album
• Loretta Lynn, They Don’t Make ‘Em Like My Daddy
• Cal Smith, Country Bumpkin
• Bob Wills, For the Last Time

Denver’s biggest country album, it spent thirteen weeks atop the country album chart. The title track topped the chart, and “Annie’s Song” became a wedding standard.

1974

• Merle Haggard, I Love Dixie Blues…so I Recorded “Live” in New Orleans
• Loretta Lynn, Love is the Foundation
• Charlie Rich, Behind Closed Doors
• Johnny Rodriguez, Introducing Johnny Rodriguez
• Conway Twitty & Loretta Lynn, Louisiana Woman, Mississippi Man

Rich’s classic set has sold four million copies, an unheard of tally for a country album from this time period. It didn’t hurt that the title track and “The Most Beautiful Girl” were crossover hits, with the latter actually topping the pop singles chart.

1973

• Mac Davis, Baby Don’t Get Hooked On Me
• Donna Fargo, The Happiest Girl in the Whole U.S.A.
• Merle Haggard, The Best of the Best of Merle Haggard
• Merle Haggard, It’s Not Love (But It’s Not Bad)
• Merle Haggard, Let Me Tell You About a Song
• Freddie Hart, Bless Your Heart

Donna Fargo triumphed in a field of six albums, half of which were recorded by Merle Haggard! The Fargo set produced two million-selling singles – the title track and “Funny Face”.

1972

• Merle Haggard, Hag
• Merle Haggard, Someday We’ll Look Back
• Freddie Hart, Easy Loving
• Ray Price, I Won’t Mention it Again
• Charley Pride, Charley Pride Sings Heart Songs

The title track was a massive hit, helping Hart’s Easy Loving reach gold status and spend nine weeks atop the country albums chart.

1971

• Glen Campbell, The Glen Campbell Goodtime Album
• Merle Haggard, The Fightin’ Side of Me
• Merle Haggard, A Tribute to the Best Damn Fiddle Player in the World (or, My Salute to Bob Wills)
• Ray Price, For the Good Times
• Charley Pride, Charley Pride’s 10th Album

Who knows how many times Haggard could’ve won this award if he wasn’t nominated against himself? This year, Ray Price’s For the Good Times was the victor, thanks to the Kristofferson-penned title track.

1970

• Glen Campbell, Live
• Johnny Cash, At Folsom Prison
• Merle Haggard, Okie From Muskogee
• Charley Pride, Best of Charley Pride
• Tammy Wynette, Greatest Hits

Haggard’s only victory in this category was for a live album. Incidentally, he won over two other live albums and a pair of greatest hits sets.

1969

• Glen Campbell, Wichita Lineman
• Bobbie Gentry & Glen Campbell, Bobbie Gentry & Glen Campbell
• Merle Haggard, The Best of Merle Haggard
• Merle Haggard, Mama Tried
• Buck Owens, Best of Buck Owens

Campbell won for the second year in a row, this time sharing the victory with Bobbie Gentry of “Ode to Billie Joe” fame.

1968

• Glen Campbell, Burning Bridges
• Glen Campbell, Gentle on My Mind
• Merle Haggard, Branded Man
• Merle Haggard, I’m a Lonesome Fugitive
• Wynn Stewart, It’s Such a Pretty World Today

California favorite Glen Campbell won the first ACM trophy in this category, and he’d remain a favorite of the Academy over the next decade.

Facts & Feats

Multiple Wins:

• (3) – Alabama, Alan Jackson, George Strait
• (2) – Glen Campbell, Dixie Chicks, Toby Keith

Most Nominations:

• (17) – Merle Haggard
• (12) – George Strait
• (7) – Garth Brooks, Glen Campbell, Willie Nelson
• (6) – Alabama, Tim McGraw
• (5) – Loretta Lynn, Brad Paisley, Kenny Rogers

Most Nominations Without a Win:

• (4) – Vince Gill, Waylon Jennings, Charley Pride, Ricky Skaggs
• (3) – Johnny Cash, Kenny Chesney, The Judds, Patty Loveless, Ricky Van Shelton, Hank Williams Jr., Dwight Yoakam

Albums that won the ACM Award and the CMA Award:

• Merle Haggard, Okie From Muskogee
• Charlie Rich, Behind Closed Doors
• Willie Nelson, Always on My Mind
• Alabama, The Closer You Get
• George Strait, Does Fort Worth Ever Cross Your Mind
• Garth Brooks, No Fences
• George Strait, Blue Clear Sky
• George Strait, Carrying Your Love With Me
• Dixie Chicks, Fly
• Soundtrack, O Brother Where Art Thou?
• Alan Jackson, Drive
• Brad Paisley, Time Well Wasted
• George Strait, It Just Comes Natural
• Taylor Swift, Fearless

Albums that Won the ACM award and the Grammy for Album of the Year:

• Soundtrack, O Brother Where Art Thou?
• Taylor Swift, Fearless

Albums that Won the ACM award and the Grammy for Best Country Album (only presented in 1965-1966 and 1995-present):

• Shania Twain, The Woman in Me
• Dixie Chicks, Wide Open Spaces
• Dixie Chicks, Fly
• George Strait, Troubadour
• Taylor Swift, Fearless

Lipstick Promises

One hit wonders were once an anomaly in country music.  The nineties changed that, as the massive commercial success of the genre inspired more labels to get into the game. The result was more artists than country radio could ever play regularly, so even a breakthrough top ten hit was no longer enough to get radio to automatically give the next single a shot.

George Ducas was one of the earliest casualties of this new era.  With a voice like Dwight Yoakam with a touch of Raul Malo, Ducas showed tremendous promise as a singer-songwriter.  There’s a beautiful melancholy to his performance of “Lipstick Promises.” It’s the tale of a man who has been blinded by beauty and ends up being burned by his unfaithful lover.

It still sounds great today, and it’s a shame that radio didn’t give a fair shot to the singles that followed. “Hello Cruel World” and “Every Time She Passes  By” were both on par with the better single releases of their day. Ducas exited his label after two projects, but has gone on to have some success as a songwriter, penning hits for Garth Brooks (“Beer Run)” and Sara Evans (“A Real Fine Place to Start.”) He’s also had songs recorded by Trisha Yearwood, Dixie Chicks, and Gary Allan.

Tia Sellers, co-writer of “Lipstick Promises”, went on to win major awards for “I Hope You Dance”, the peak of a songwriting career that has also included hits by Pam Tillis (“Land of the Living”), Trisha Yearwood (“Heaven, Heartache, and the Power of Love”),  Dixie Chicks (“There’s Your Trouble”), and Alan Jackson (“That’d Be Alright.”)

#40
“This Is Me You’re Talking To”
Trisha Yearwood
2008
Peak: #25

Flawless. Proof positive that the nineties formula at its best is better than anything on naughties radio. Perhaps they can’t play it too much for that reason. It’s not good for business to park a new Lexus in a used car lot of Ford Pintos. – Kevin Coyne

#39
“Famous in a Small Town”
Miranda Lambert
2007
Peak: #14

This is one of those slice-of-life songs that anyone from a small town can easily relate to. What sets it above the pack of songs of that ilk is the witty nugget of truth that “everybody dies famous in a small town.” The Springsteen-esque vibe of the production is pretty cool, too. – Leeann Ward

#38
“Simple Love”
Alison Krauss
2007
Peak: Did not chart

A sweet homage to the purest form of love – the kind that always gives and never asks back – sung by one of the purest voices in country music. The combination is magic. – Tara Seetharam

#37
“Songs About Rain”
Gary Allan
2003
Peak: #12

A somewhat corny song about a man seeking musical escape is raised to the classic country rafters by Allan’s miserable snarl of a vocal. – Dan Milliken

#36
“Jesus, Take the Wheel”
Carrie Underwood
2005
Peak: #1

On the surface, it’s a story of a woman who finds herself at a personal crossroad and looks to Jesus to take control. But at its core, “Jesus, Take the Wheel” is a sweeping plea for salvation that’s accessible to anyone who subscribes to this belief, in any situation. And that’s the beauty of the song: it trades self-righteousness for compassion, largely due to Underwood’s fervent yet humble performance. – TS

#35
“What You Give Away”
Vince Gill with Sheryl Crow
2007
Peak: #43

In this anthem of giving, Vince Gill sings, “The measure of a man is one who lends a hand.” He clearly believes the platitude to be true, as thoroughly demonstrated by his own various charitable endeavors. With a swelling gospel choir and soulful harmony contribution by Sheryl Crow, Gill inspires us to think of others, because it’s all in “what we give away.” – LW

#34
“Remember When”
Alan Jackson
2003
Peak: #1

This is a beautifully simplistic song that serves as a lyrical photo album of memories for the Jacksons. It richly chronicles the various stages of their relationship and lets us all in on the memories in the process. – LW

#33
“Travelin’ Thru”
Dolly Parton
2006
Peak: Did not chart

The 2005 film Transamerica digs into the heart of a transsexual woman’s identity struggle as she nears her final operation. Parton’s Oscar-nominated contribution to the film digs into the heart of the identity struggles within us all, recognizing that we are all fundamentally trying to “figure out where all [our] pieces fit” in some way or another. A country-folk classic. – DM

#32
“Monday Morning Church”
Alan Jackson
2004
Peak: #5

The woman who holds the keys to his salvation is buried in the cold, hard ground. One suspects that his heart would feel just as empty in a Sunday morning church, so deep is his grief. – KC

#31
“Born to Fly”
Sara Evans
2000
Peak: #1

This isn’t so much a tale of a restless soul as it is an encapsulation of every emotion a restless soul feels. Evans is buoyantly impatient from start to finish, and it’s just one of those rare performances where the spirit of the character transcends the song. – TS

#30
“Rattlin’ Bones”
Kasey Chambers & Shane Nicholson
2008
Peak: #55 (Australia)

The husband-wife duo showcases their easy harmony in this swampy song of hopelessness. While its mood is decidedly dark, it’s still a sonic treat. – LW

#29
“Gunpowder & Lead”
Miranda Lambert
2008
Peak: #7

Lambert follows in the footsteps of “Goodbye Earl” and “Independence Day” with this vengeful anthem of female liberation, but it’s far from derivative. With palpable ferocity, the song focuses on a single moment of raw determination, building from an eerily collected verse to an explosive chorus that surges with sheer, rocking energy. – TS

#28
“Bless the Broken Road”
Rascal Flatts
2005
Peak: #1

A gorgeous expression of a grand, yet powerfully simplistic view on love – that God designs the journey of two soul mates. I can’t find many words that speak to the innate personal connection I’ve formed with this song, but perhaps my favorite line sums up its lyrical poignancy:  “now I’m just rolling home into my lover’s arms” is as best a description of the ease of true love as I’ve ever heard. – TS

#27
“Stealing Kisses”
Faith Hill
2006
Peak: #36

Desperate housewife indeed. The walls are closing in on this one, as she’s isolated from the rest of society in her suburban prison. No wonder she winds up in front of her high school twenty years after graduation, whispering to all of the girls with their future still ahead of them: “Run. Run. Run.” – KC

#26
“Somebody Like You”
Keith Urban
2002
Peak: #1

Over the last decade, Urban has been arguably the best source of complication in any broad-strokes argument decrying the artistic quality of country-pop. This star-making signature hit introduced a sound so infectious – with singing so passionate, riffs so face-melting – that even the most rigid traditionalists could be heard muttering concessions that Nashville had a superlative talent on its hands. – DM

#25
“Wagon Wheel”
Old Crow Medicine Show
2004
Peak: Did not chart

Old Crow Medicine Show’s first album is full of melodically memorable hooks, but none more so than their signature song, “Wagon Wheel”, which was originally started by Bob Dylan and later filled in by OCMS’s lead singer, Ketch Secor. – LW

#24
“Moments”
Emerson Drive
2006
Peak: #1

A chance encounter with a homeless man turns into a stirring, pivotal reflection on the events that truly define our lives. Few third-person narratives this decade have drawn characters of such tangible spirit. – DM

#23
“I Don’t Paint Myself into Corners”
Trisha Yearwood
2002
Peak: #47

“In the light of truth, it wasn’t you. It was me.” So goes this reclaiming of one’s own identity, which shifts the responsibility of happiness from the other who always disappoints to the self who finds freedom in letting the other go. Yearwood’s masterful performance parallels this journey of personal growth, with the first declaration barely a whisper and the final a full-throated wail. – KC

#22
“You’ll Think of Me”
Keith Urban
2004
Peak: #1

Urban nurses a broken heart by reveling in the idea that his ex will eventually regret letting him go. He nails the sharp mix of emotions that accompanies this mindset, with a performance that’s both peaceful and biting, dejected and vindictive. – TS

#21
“Godspeed (Sweet Dreams)”
Dixie Chicks
2003
Peak: #48

The story behind the song is heart-wrenching. Radney Foster penned it for his young son who moved to Paris with his ex-wife, and recorded it on a tape that his son played every night before he went to bed. Yet it works just as well as a maternal tuck-in from far away, which Natalie Maines is able to credibly emote despite the fact that she and her fellow Chicks took their kids on the road with them. – KC

- – -

• The 201 Greatest Singles of the Decade, Part 1: #201-#181
• The 201 Greatest Singles of the Decade, Part 2: #180-#161
• The 201 Greatest Singles of the Decade, Part 3: #160-#141
• The 201 Greatest Singles of the Decade, Part 4: #140-#121
• The 201 Greatest Singles of the Decade, Part 5: #121-#101
  
• The 201 Greatest Singles of the Decade, Part 6: #100-#81
• The 201 Greatest Singles of the Decade, Part 7: #80-#61
• The 201 Greatest Singles of the Decade, Part 8: #60-#41
• The 201 Greatest Singles of the Decade, Part 9: #40-#21
• The 201 Greatest Singles of the Decade, Conclusion: #20-#1

#60
“Long Trip Alone”
Dierks Bentley
2006
Peak: #10

In a perfect world, this would be this decade’s wedding standard. – Kevin Coyne

#59
“Your Man”
Josh Turner
2005
Peak: #1

Lush baritone against an effortlessly charismatic, enticing invitation to let Turner be “your man.” How can you resist? – Tara Seetharam

#58
“The Lucky One”
Alison Krauss & Union Station
2001
Peak: #46

I feel a real kinship toward the man being sung about in this song, which suggests that happiness is choosing to embrace what is there today instead of mourning what’s been left behind or bathing in regret over what never was or what may never be. Perhaps the narrator’s sadness isn’t because she can’t be with “The Lucky One,” but rather can’t be like him. – KC

#57
“Nothin’ Better to Do”
LeAnn Rimes
2007
Peak: #14

The little girl who made her name imitating Patsy Cline and chirping Dianne Warren tunes grew up to write and release this muddy, soulful tale of mischief and theft, the most all-around badass thing Bobbie Gentry or Miranda Lambert never thought up. – DM

#56
“Like Red on a Rose”
Alan Jackson
2006
Peak: #15

With producer Alison Krauss at the helm, Jackson unexpectedly croons his way through this slow-churning love song that, for all its rich professions of love, manages to retain his signature earnest simplicity. – TS

#55
“Redneck Woman”
Gretchen Wilson
2004
Peak: #1

More than just a single, Gretchen Wilson’s debut was a watershed in modern country music, an unexpected smash whose rowdy declaration of self-acceptance ushered in a movement of redneck pride amid the genre’s writers and artists, the output of which has been mostly quite crude. Of course, that movement resulted from a shallow reading of what made “Redneck Woman” appealing. At its heart, the song isn’t about a particular lifestyle being better or worse than any other one; it’s just about being able to love yourself, Walmart lingerie and all. – DM

#54
“When It Rains”
Eli Young Band
2007
Peak: #34

“When It Rains” is fun, unshakably catchy ear candy. The narrator prefers when it rains, because it guarantees that he’s not the only one who’s unhappy. How clever (and dark) is that? – LW

#53
“Bring on the Rain”
Jo Dee Messina with Tim McGraw
2001
Peak: #1

Usually we don’t appreciate our times of struggle until we look back on them and give them credit for our personal growth. Messina suggests here that we can appreciate them in the moment. – KC

#52
“What the World Needs”
Wynonna Judd
2003
Peak: #14

Sometimes a message is so meaningful on its own that it doesn’t need to be swathed in lyrical complexity. Judd’s case for what the world needs is heartfelt, honest and too accurate to feel clichéd, with dead-on lines like, “Rich, poor, don’t matter/We’re all the same/Everybody’s hungry in a different way.” – TS

#51
“Boondocks”
Little Big Town
2005
Peak: #9

One of the decade’s few examples of the hackneyed “country living” theme done gloriously right, with a lush, rustic sound, unstoppable hook and potent sensory details. And oh, the harmonies! – DM

#50
“The Long Way Around”
Dixie Chicks
2006
Peak: Did not chart

If “Not Ready to Make Nice” is the Chicks’ attempts to address “the incident” to the world, “The Long Way Around” is like their attempt to address it to themselves. Reflecting on the history of their lives and careers, they observe that they’ve always done things their own way, concluding that “the incident” is just one more manifestation of that spirit, and to change course to suit others’ expectations would be to lie to themselves. “Guess I could have made it easier on myself,” Natalie Maines concedes, “but I could never follow.” – DM

#49
“Flies on the Butter (You Can’t Go Home Again)”
Wynonna Judd with Naomi Judd
2004
Peak: #33

With the wistful “Flies on the Butter” The Judds reunite for a song that nostalgically hearkens to their beloved mother-daughter harmony. – LW

#48
“Goodbye Earl”
Dixie Chicks
2000
Peak: #13

Call it malicious wrongdoing or call it justice served – whatever it is, “Goodbye Earl” is an inventive, spunky black comedy of sorts about two best friends who take the domestic abuse justice system into their own hands. It’s no doubt controversial, but in the end, to take the song at face value is to overlook its hilarity (death by black-eyed peas? Really?). – TS

#47
“What I Cannot Change”
LeAnn Rimes
2008
Peak: Did not chart

An adaptation of the Serenity Prayer, “What I Cannot Change” is a gorgeous declaration of changing oneself rather than demanding change that cannot be controlled. Rimes wisely sings, “I will learn to let go what I cannot change/I will learn to forgive what I cannot change/I will learn to love what I cannot change/But I will change, I will change/Whatever I, whenever I can.” – LW

#46
“Suds in the Bucket”
Sara Evans
2004
Peak: #1

A vivid, delightful story of a girl who, via her pick-up-truck-clad Prince Charming, smashes out the walls of her small town, leaving a community in disarray, the suds in the bucket and the clothes hangin’ out on the line. Evans delivers the story with genuine, toe-tapping gusto. – TS

#45
“Letters From Home”
John Michael Montgomery
2004
Peak: #2

One of country music’s all-time great war songs, a beautifully human portrait of the men and women in the armed forces and the relationships they put on hold back home in order to do their jobs. – DM

#44
“Like We Never Loved At All”
Faith Hill with Tim McGraw
2005
Peak: #5

A song that so perfectly speaks to the disbelief you feel upon realization that someone who once made you whole is now becoming whole on his own. It’s a well-known sentiment, but Hill and McGraw are so effective at infusing the song with real feelings of hurt, despair and remnants of love that the pain seems to come alive. – TS

#43
“Good Directions”
Billy Currington
2006
Peak: #1

“Good Directions” shows that it’s country without loudly declaring it. This song with turnip greens and pork rinds is ridiculously charming, which is largely bolstered by Currington’s boyish delivery. – LW

#42
“Wake Up Older”
Julie Roberts
2005
Peak: #46

The three minutes and eight seconds in which the Julie Roberts hype matched reality. – KC

#41
“Wrapped”
George Strait
2007
Peak: #2

Strait tries in vain to untangle himself from an irresistible love interest in this song, and it’s just the kind of authentic, charming dance hall number that he knocks out of the park. – TS

- – -

• The 201 Greatest Singles of the Decade, Part 1: #201-#181
• The 201 Greatest Singles of the Decade, Part 2: #180-#161
• The 201 Greatest Singles of the Decade, Part 3: #160-#141
• The 201 Greatest Singles of the Decade, Part 4: #140-#121
• The 201 Greatest Singles of the Decade, Part 5: #121-#101
  
• The 201 Greatest Singles of the Decade, Part 6: #100-#81
• The 201 Greatest Singles of the Decade, Part 7: #80-#61
• The 201 Greatest Singles of the Decade, Part 8: #60-#41
  
• The 201 Greatest Singles of the Decade, Part 9: #40-#21
• The 201 Greatest Singles of the Decade, Conclusion: #20-#1

#140
“Who Says You Can’t Go Home”
Bon Jovi featuring Jennifer Nettles
2005
Peak: #1

Packed as country music has been lately with rocked-up little singalongs, perhaps it was only natural that one of the leading bands in rocked-up little singalongs should cross over for a bit to show everybody how it’s done. It was newcomer Nettles, though, who stole this show, driving Bon Jovi’s ditty home with an infectiously joyful performance. – Dan Milliken

#139
“God’s Gonna Cut You Down”
Johnny Cash
2006
Peak: Did not chart

The arrangement is cool enough, but it’s Cash’s stoic, slicing vocal performance that makes his version of this song so memorable. – Tara Seetharam

#138
“Young Man’s Town”
Vince Gill
2003
Peak: #44

Vince Gill, one of the most gracious and graceful artists in country music, is surely qualified to sing this gentle warning to his fellow artists who are being replaced by younger faces. He humbly advises, “Just teach ‘em what you know an’ pass it on down.” There’s no doubt that this song was just as much for him as it was for others. – Leeann Ward

#137
“Believe”
Brooks & Dunn
2005
Peak: #8

This song is no doubt a bit much for some, but that’s kind of what makes it work. It’s a shameless, deep profession of faith, brought to life by a simple yet profound story. – TS

#136
“When I Think About Cheatin’”
Gretchen Wilson
2005
Peak: #4

I love me some “Redneck Woman” bravado, but Wilson is most effective at traditional ballads like this one, on which she aptly blends tenderness and tenacity. – TS

#135
“Coalmine”
Sara Evans
2006
Peak: #37

Released at an unfortunate time, “Coalmine” likely never reached its potential as a radio hit. An unshakably fun song, it did not focus on the trials of coalmines, but rather the steamy relationship of a hardworking coalmine worker: “Gonna keep him busy ‘til it’s time/That he goes back to that coalmine.” – LW

#134
“Drugs or Jesus”
Tim McGraw
2005
Peak: #14

McGraw rejects society’s tendency to judge and divide people solely by the face of their conduct, making the provocative observation that we use drugs and religion to address the same core needs. – DM

#133
“Hello God”
Dolly Parton
2002
Peak: #60

A pleading, conflicted, beautifully honest prayer of a song. – TS

#132
“Landslide”
Dixie Chicks
2002
Peak: #2

Amazing how a Fleetwood Mac cover provides one of the purest country moments on a pretty pure country album to start with. As a vocal group, I don’t think they ever sounded better than they do on this track. – Kevin Coyne

#131
“Walking in Memphis”
Lonestar
2003
Peak: #8

Speaking of surprisingly great covers of pop songs, Richie McDonald’s performance of this Marc Cohn hit is so commanding and soulful that it makes the original – which was already solid – sound like a demo. Arguably Lonestar’s finest moment. – DM

#130
“Backseat of a Greyhound Bus”
Sara Evans
2003
Peak: #16

Redemption comes not from the forgiveness of the judgmental town that has banished this single mom-to-be, but from the pure and selfless love that she has for her newborn child. – KC

#129
“If My Heart Had Wings”
Faith Hill
2001
Peak: #3

One of those rare country songs that demands you turn the radio up and roll the windows down. Unless it’s winter. Then just rock out with the windows closed. – KC

#128
“Give It Away”
George Strait
2006
Peak: #1

Jamey Johnson wrote it, but George Strait sings the fire out of it. Instead of quibbling over who gets what, the woman just says, “give it away.” She’s so done with their relationship that she has no use for anything connected with it. Now, that’s a bitter ending if there ever was one. – LW

#127
“Red Dirt Road”
Brooks & Dunn
2003
Peak: #1

Want to make your nostalgic country-rock song stick out from the pack? Two tips: 1) Fill it with memorable details that tell an actual story – bonus points if you can rhyme a main character’s name with “blackberries.” 2) Have Ronnie Dunn sing it. – DM

#126
“Tough”
Craig Morgan
2007
Peak: #11

I come from a family of matriarchs who are far stronger than the men who put up the appearances of being tough. I’ve seen this exact scenario play out more than once, and it’s spot-on. – KC

#125
“I Go Back”
Kenny Chesney
2004
Peak: #2

A Chesney-style reminder that one of music’s best and most powerful qualities is its reminiscent, transcendental nature. – TS

#124
“Picture”
Kid Rock with Sheryl Crow
2002
Peak: #21

Kid Rock does such a good job of writing a pure country song that it sounds like a cover of a classic than a Kid Rock original. – LW

#123
“Dancin’ Circles ‘Round the Sun (Epictetus Speaks)”
Rodney Crowell
2005
Peak: Did not chart

Who needs self-help books when you can just listen to Rodney Crowell? The bouncy “Dancin’ Circles ‘Round the Sun” is surely a more fun way to get your positive fix. – LW

#122
“Down the Road”
Kenny Chesney with Mac McAnally
2008
Peak: #1

I don’t know if it’s the layered textures of Chesney’s and McAnally’s voices, or the way each artist is a poignant storyteller in his own right, or the simplistic, bittersweet story of giving a child away – but something about this song touches me deep inside. - TS

#121
“A Woman Knows”
John Anderson
2007
Peak: Did not chart

“A Woman Knows” is a first-rate cheating song. While everything seems perfect on the surface, Anderson suggests that a woman knows when it’s not quite right. He sings this song as a man who knows it just as well as the woman.

- – -

• The 201 Greatest Singles of the Decade, Part 1: #201-#181
• The 201 Greatest Singles of the Decade, Part 2: #180-#161
• The 201 Greatest Singles of the Decade, Part 3: #160-#141
• The 201 Greatest Singles of the Decade, Part 4: #140-#121
  
• The 201 Greatest Singles of the Decade, Part 5: #121-#101
  
• The 201 Greatest Singles of the Decade, Part 6: #100-#81
• The 201 Greatest Singles of the Decade, Part 7: #80-#61
• The 201 Greatest Singles of the Decade, Part 8: #60-#41
• The 201 Greatest Singles of the Decade, Part 9: #40-#21
• The 201 Greatest Singles of the Decade, Conclusion: #20-#1

#180
“These Days”
Rascal Flatts
2002
Peak: #1

It’s the pairing of aching nostalgia and all the power that comes with a Flatts country-pop ballad that makes this song so potent. – Tara Seetharam

#179
“Takin’ Off This Pain”
Ashton Shepherd
2007
Peak: #20

Like a wide-eyed hybrid of Loretta Lynn and Jennifer Nettles, Shepherd burst onto the scene snapping her newly ring-free fingers at the clueless sap not treating her right. Next Decade, please take note: you’ve got a star in waiting. – Dan Milliken

#178
“Welcome to the Future”
Brad Paisley
2009
Peak: #2

Paisley blends funky, fresh production with a powerful yet lighthearted depiction of the progress that marks our times. Refreshingly, the result is a politically-tinged song that doesn’t preach, but celebrates. – TS

#177
“A Real Fine Place to Start”
Sara Evans
2005
Peak: #1

Evans simply soars on this perfect bubblegum hook, a hormone rush courtesy of the inimitable Radney Foster. – DM

#176
“Ticks”
Brad Paisley
2007
Peak: #1

One of the decade’s most polarizing singles, as evidenced by its inclusion in both this countdown and our recent Worst Singles of the Decade one. Indeed, Paisley’s shamelessly pervy, creepy ditty has inspired much tut-tutting from those who equate quality with seriousness, or who simply don’t care for pervy, creepy things in general. For others, however, “Ticks” is just a hilariously wrong little novelty with some of the smokingest Telecaster riffs around. – DM

#175
“Band in the Window”
Pam Tillis
2007
Peak: Did not chart

In this jaunty song, Pam Tillis pays tribute to the struggling hopefuls whose only platforms for sharing their music is in bar bands that can be seen through windows by passersby. It’s a celebration of Nashville’s vibrancy wherein talent can be found on every corner. – Leeann Ward

#174
“Who Wouldn’t Wanna Be Me”
Keith Urban
2003
Peak: #1

Only Urban could strip a phrase like this of all its pomposity and turn it into a hook for an exhilarating song about open-road bliss. – TS

#173
“Something More”
Sugarland
2005
Peak: #2

An anthem for those who believe that happiness is something we create. – Kevin Coyne

#172
“Ten Rounds With José Cuervo”
Tracy Byrd
2002
Peak: #1

Byrd is contagiously entertaining on this boozy, purely fun number. – TS

#171
“Some Beach”
Blake Shelton
2004
Peak: #1

The often cerebral Paul Overstreet helped write this catchy and amusing song that skates around cussing with “some beach” as the expression of choice instead of what is more likely to come out when one has had a bad-luck day like the one in this song. – LW

#170
“Cowboys are Frequently Secretly (Fond of Each Other)”
Willie Nelson
2006
Peak: Did not chart

The Aughts have brought us some classic Willie, from reggae experiments to dead-on Western swing revivals to badass live sets. Also classic: his cover of Ned Sublette’s underground “gay cowboy” song, equal parts goofy satire and bold queer theory. Really, what did you think all them saddles and boots was about? – DM

#169
“Sounds So Good”
Ashton Shepherd
2008
Peak: #21

“Sounds So Good” effectively illuminates the joys of summer activities by effectively focusing on their sounds, most notably that of a cooler slushing. – LW

#168
“Must Be Doin’ Somethin’ Right”
Billy Currington
2005
Peak: #1

Intimate, soulful and incredibly sensual – there’s not much more to say. Currington has never sounded so good. – TS

#167
“Twenty Years and Two Husbands Ago”
Lee Ann Womack
2005
Peak: #32

Beautifully frank, from the awesome title to the distinct little moments of bittersweet hindsight throughout. – DM

#166
“Sweet Music Man”
Reba McEntire
2002
Peak: #36

Kenny Rogers wrote a nice song that was marred by insufferable, dated eighties production. Fortunately, Reba McEntire had the good sense to update the song by eliminating the synthesizers, which uncovers a gem with a more organic, acoustic sound. – LW

#165
“High Cost of Living”
Jamey Johnson
2009
Peak: #34

This song is dark for today’s sterile radio climate, and Johnson’s no-nonsense performance makes no effort to lighten the mood in any way. As a result, we get a glimpse into raw emotions and real consequences that make for a more authentic and enlightening song. – LW

#164
“For These Times”
Martina McBride
2007
Peak: #35

McBride is no stranger to socially conscious songs, but there’s a sad honesty to this one that sets it apart from the others. It reads like a prayer for these often disheartening times in which we live, that we can’t and weren’t made to give up on. – TS

#163
“Already Gone”
Sugarland
2008
Peak: #1

Sure, they’ve got some silly-pops in the fridge, but few modern country acts write with the passion and intelligence of this duo at their best. “Already Gone” makes the insightful observation that we spend much of our lives playing catch-up to our hearts, and touches upon both the joys and tragedies that that tendency can bring. – DM

#162
“No Fear”
Terri Clark

With this reflective song co-written by Mary Chapin Carpenter, Terri Clark shows that bravery and silence are not contradictory. – KC

#161
“In Color”
Jamey Johnson
2008
Peak: #9

A song whose premise is a series of photographs may have fallen flat in the hands of another artist, but Johnson infuses it with poignant imagery and a heaping amount of understated conviction – and just like that, it comes alive. – TS

- – -

• The 201 Greatest Singles of the Decade, Part 1: #201-#181
• The 201 Greatest Singles of the Decade, Part 2: #180-#161
  
• The 201 Greatest Singles of the Decade, Part 3: #160-#141
• The 201 Greatest Singles of the Decade, Part 4: #140-#121
• The 201 Greatest Singles of the Decade, Part 5: #121-#101
  
• The 201 Greatest Singles of the Decade, Part 6: #100-#81
• The 201 Greatest Singles of the Decade, Part 7: #80-#61
• The 201 Greatest Singles of the Decade, Part 8: #60-#41
• The 201 Greatest Singles of the Decade, Part 9: #40-#21
• The 201 Greatest Singles of the Decade, Conclusion: #20-#1

The devastation this has brought to record company bottom lines was probably unavoidable anyway, given the realities of post-Napster society. But technology has its perks. Now you can buy the songs on this list with a click of the mouse!

And what a list it is: 201 singles that run the gamut, from genuine hits that topped the charts to songs spun only by renegade DJs working the night shift. Here’s how we compiled it: four Country Universe writers ranked their personal favorite 100 singles, with an inverted point system applied (#1 on a list meant 100 points, while #100 on the list meant 1 point.) The songs were then ranked by number of total points, greatest to least. Ties were broken by the number of lists the song appeared on, then by highest individual ranking.

There was more consensus than usual for CU, and we all agreed on one thing: this list was a heck of a lot of fun to compile. We hope you enjoy it, too!

The 201 Greatest Singles of the Decade, Part 1: #201-#181

#201
“I Run To You”
Lady Antebellum
2009
Peak: #1

There’s a palpable intensity to this song that grips me every time I listen to it. Love isn’t always characterized by peacefulness, and the song’s pulsing production perfectly conveys the urgency, desperation and passion that often accompanies it. – Tara Seetharam

#200
“The Last Thing on My Mind”
Patty Loveless
2001
Peak: #20

Given her allegiance to country music’s history and personal association with both Porter Wagoner and Dolly Parton, you might think this was a cover of that duo’s first top ten hit. Instead, it’s a very modern-sounding song with a modern-day woman who never thinks about the guy she’s left behind until right before she goes to sleep, when “something in my broken heart rewinds” as she lies in an “empty bed as big as Arkansas.”  – Kevin Coyne

#199
“She’s Everything”
Brad Paisley
2006
Peak: #1

It’s the sweetest tribute to all the parts that make the whole of Paisley’s love for his wife. Some are small (“she’s ‘I want a piece of chocolate’”), and some are large (“she’s the hand that I’m holding when I’m on my knees and praying”) – but each is as endearing as the next. – TS

#198
“Drinkin’ Me Lonely”
Chris Young
2006
Peak: #42

“Drinkin’ Me Lonely” is a great drinking song with killer falsetto that helps to contribute to the narrator’s dreary mood. – Leeann Ward

#197
“Fifteen”
Taylor Swift
2009
Peak: #7 (still charting)

Swift speaks directly to the fragile emotional core underlying her own boy-centric outlook. It’s her most explicitly youth-oriented song yet, yet it’s also her most mature. – Dan Milliken

#196
“On the Rocks”
The Wrights
2005
Peak: Did not chart

The Wrights are a more sassy husband-wife duo than the beloved Joey + Rory, but they are charming nonetheless. The catchy and bluesy “On the Rocks” is a biting assessment of a relationship gone bad, but there seems to be a hint of love underneath the exchanged derision. – LW

#195
“A Feelin’ Like That”
Gary Allan
2006
Peak: #12

A rocking blast of adrenaline, as Allan realizes that no thrill in the world – be it skydiving, running with bulls, speeding at night with closed eyes – is intense enough to displace the memory of his past love. He’s supercharged with righteous lust for that memory, and leaves you thinking there’s nothing he won’t do to make it real again. – DM

#194
“I’m Just Talkin’  About Tonight”
Toby Keith
2001
Peak: #1

Keith does his best to negotiate a rendezvous with charming bravado and hilarious results. – KC

#193
“Nothin’ to Lose”
Josh Gracin
2005
Peak: #1

This tongue-in-cheek, mile-a-minute toe-tapper is cleverly written and infectiously performed – reminiscent of the bouncy country songs from the 90′s that I’ve so missed. – TS

#192
“Out of the Rain”
The Duhks
2006
Peak: Did not chart

About that moment of clarity when you realize that the only way to progress is to get yourself out of the destructive situation you’re in. The song doesn’t advocate avoiding problems entirely, but acknowledges that some are impossible to solve as long as you remain in the emotional thick of them.  – DM

#191
“He Gets That From Me”
Reba McEntire
2004
Peak: #7

The heartbreak queen at her heartbreaking best, mourning a lost husband while celebrating his presence living on in their child. – KC

#190
“Tennessee”
Marcel
2003
Peak: Did not chart

He’s an acquired taste, as few like their country balladeers to be so relentlessly earnest. But this one gets me every time. – KC

#189
“So Small”
Carrie Underwood
2007
Peak: #1

Underwood’s most underrated single and my personal favorite, “So Small” is an earnest ode to what matters most in life, wrapped in a beautiful, swelling melody. The gospel undertones add an element of soul to the song, and suggest a deeper ‘love’ than the lyrics spell out. – TS

#188
“Perfect”
Sara Evans
2003
Peak: #2

Funny how a song about how you don’t have to be perfect is close enough to perfect itself.  – KC

#187
“What a Beautiful Day”
Chris Cagle
2003
Peak: #4

This upbeat chronicle of the life of a relationship is both clever and entertaining. The underlying piano riff is addictive as well. – LW

#186
“Forgive”
Rebecca Lynn Howard
2002
Peak: #12

I understand the appeal of subtlety, but sometimes you just need to belt it out. This is one of those times. – KC

#185
“Ol’ Red”
Blake Shelton
2002
Peak: #14

Ol’ Red” is one of those cool story songs, complete with a plot twist, that country music is known for. – LW

#184
“Me and Emily”
Rachel Proctor
2004
Peak: #18

One of country music’s great one-hit wonders, although even this one barely broke the Top 20. Proctor’s tale of a mother and daughter fleeing an abusive home brims with warmth and maternal love, even as it acknowledges the tense uncertainty of the duo’s future. – DM

#183
“Shine”
Dolly Parton
2001
Peak: Did not chart

Parton teams up with Nickel Creek to turn Collective Soul’s classic rock song into a timeless acoustic gospel number. She’s rarely sounded so inspired. – DM

#182
“Mine All Mine”
SHeDaisy
2002
Peak: #28

Bittersweet regret and tight family harmonies have always been a killer combination in country music. They work so well here that even the phrase “my bad” doesn’t seem out of place. – KC

#181
“Crazy Ex-Girlfriend”
Miranda Lambert
2006
Peak: #50

You don’t want to mess with this self-professed crazy ex-girlfriend. She’ll take you down! – LW

- – -

• The 201 Greatest Singles of the Decade, Part 1: #201-#181
• The 201 Greatest Singles of the Decade, Part 2: #180-#161
• The 201 Greatest Singles of the Decade, Part 3: #160-#141
• The 201 Greatest Singles of the Decade, Part 4: #140-#121
• The 201 Greatest Singles of the Decade, Part 5: #121-#101
  
• The 201 Greatest Singles of the Decade, Part 6: #100-#81
• The 201 Greatest Singles of the Decade, Part 7: #80-#61
• The 201 Greatest Singles of the Decade, Part 8: #60-#41
• The 201 Greatest Singles of the Decade, Part 9: #40-#21
• The 201 Greatest Singles of the Decade, Conclusion: #20-#1