What it’s missing is a good hook.  The unoriginal hook of “I don’t need a love I can live with/ I want the one I can’t live without” bears a strong resemblance to songs like Clint Black’s “The One She Can’t Live Without,” and that feels like a notable artistic liability, mirrored by the song’s ho-hum two-syllable title.  As mentioned before, there’s still some musical goodness to be heard on this track, but the lack of a great hook leaves a bit of a hole in the song, so to speak.  Thus, a potentially interesting song ends up feeling somewhat vanilla.

It still sounds pretty good, but like the first two singles released from the album, it’s just not great.  As a whole, Roots and Wings is a better album than the three singles would lead one to think.  How long until the great songs get released instead of just the “pretty good”?

Written by Tom Shapiro and Jim Collins

Grade:  B-

Listen:  The One

Perhaps it could have been, with a stronger melody and a more refined concept.  The song itself is pretty good, but Evans turns in a listless performance, delegating all of the “oomph” to the background vocalists and studio musicians.  And they’re pretty listless in their own right.

Evans has produced some great variations on the “wronged woman slowly discovers her own self-worth” theme before.  But the charm and the wit and the personality of her best songs of this nature – “Fool, I’m a Woman”, “Cheatin’”, “Shame About That” – are completely absent this time around.

I hate to say it, but it reminds me of post- “Girls Lie Too” Terri Clark, where a woman that seemed on the cusp of really big stardom suddenly loses her knack for finding strong material and spinning it into a golden performance.  What a disappointment.

Written by Luke Laird, Hillary Lindsay, and Hillary Scott

Grade: C

Listen: A Little Bit Stronger

400 Greatest Singles of the Nineties: #225-#201

#225
Passionate Kisses
Mary Chapin Carpenter
1992 | Peak: #4

Listen

A lightweight wish list/love ditty that somehow seems to tap into a deep well of truth. Credit Carpenter’s soulful vocal, which digs in and finds the cohesive character written between the song’s separate cute lines. – Dan Milliken

#224
Black Coffee
Lacy J. Dalton
1990 | Peak: #15

Listen

The electric guitar line sounds cribbed from The Police’s “Every Breath You Take”, but the sentiment couldn’t be much more different. Dalton is tense all over, as bad omens seem to stack on top of each other while she waits in anticipation of one big let-down. – DM

#223
Everytime I Cry
Terri Clark
1999 | Peak: #12

Listen

The downward spiral of abuse may be more dramatic when it climaxes with a burning house. It certainly makes for a heck of a song. But choosing to walk away, overcoming the weakness inside in the process, makes for a heck of a song, too. – Kevin Coyne

#222
The Tips of My Fingers
Steve Wariner
1992 | Peak: #3

Listen

These days Bill Anderson is most known for co-writing Brad Paisley’s “Whiskey Lullaby” and George Strait’s “Give It Away”, but Steve Wariner’s “Tips of My Fingers” is yet another lonesome Anderson composition from the early nineties. The  soaring blend of Wariner’s lead and Vince Gill’s background vocals is the perfect combination to sell this song of self-inflicted heartache. – Leeann Ward

#221
Don’t Rock the Jukebox
Alan Jackson
1991 | Peak: #1

Listen

Only Jackson could turn one “heartbroke” hillbilly’s simple request to hear some Jones into an endearing tagline for country music. – Tara Seetharam

#220
Soon
Tanya Tucker
1993 | Peak: #2

Listen

They say that “someday never comes.” Such is the case with “Soon”, as Tucker’s character learns the hard way. – LW

#219
Rumor Has It
Clay Walker
1997 | Peak: #1

Listen

The roses, the wine and his unexplainable smile are giving away Walker’s secret, but the only thing he cares about is whether or not his special someone shares the same secret. I find myself wanting to use the word “charming” every time I write about Walker, but that’s just what this is: a charming little record that he sings with sincerity. – TS

#218
Sold (The Grundy County Auction Incident)
John Michael Montgomery
1995 | Peak: #1

Listen

I’m not sure how this scenario would play out in real life, but it makes for a part ridiculous, part ingenious toe-tapper. – TS

#217
Angels Working Overtime
Deana Carter
1999 | Peak: #35

Listen

Is the driving force here God’s plan for the girl or the girl’s faith that God will provide? Does it matter, given the glorious result? – KC

#216
I’ll Try
Alan Jackson
1995 | Peak: #1

Listen

On the surface, it seems like a halfhearted declaration of commitment, since we’re used to saying, “I promise to love only you.” However, anyone who’s in a committed relationship, even the strongest of relationships, learns that “I’ll try” is really the most honest promise one can make. – LW

#215
If I Didn’t Have You
Randy Travis
1992 | Peak: #1

Listen

Randy Travis is really good at the up-tempo love songs. “If I Didn’t Have You” isn’t necessarily lyrically original, but the jaunty production and Travis’ vocal exuberance elevates the song from sappy to delightful. – LW

#214
Whenever You Come Around
Vince Gill
1994 | Peak: #2

Listen

I stand by my belief that the best-written lyrics can’t touch the best-written melodies or the most expressive vocal performances. Case in point: “Whenever You Come Around,” in which Gill conveys through his vocal performance alone the intoxicating, paralyzing infatuation he has with a woman. He pays such careful attention to the synergistic rise and fall of the sentiment and melody that I’m convinced no combination of words could have told this story better. – TS

#213
If I Know Me
George Strait
1991 | Peak: #1

Listen

It’s a simple song of commitment. He knows that no matter the argument, they’ll be back in each other’s arms when all is said and done. – LW

#212
Tender When I Want to Be
Mary Chapin Carpenter
1994 | Peak: #6

Listen

Carpenter acknowledges that strength is an admirable quality, but a budding relationship shows her that a little tenderness isn’t a sign of weakness. – LW

#211
Norma Jean Riley
Diamond Rio
1992 | Peak: #2

Listen

Diamond Rio shows off their tight harmonies and instrumental prowess in this goofy song  that celebrates the steps of sheer infatuation. – LW

#210
Don’t Tell Me What to Do
Pam Tillis
1990 | Peak: #5

Listen

Tillis stands up for her right as an independent woman…to stay hopelessly in love with you. The drums drive it, the steel guitar defines it. A brilliant fusion of old and new in both theme and sound. This lady knew what she was doing. – DM

#209
Blue Clear Sky
George Strait
1996 | Peak: #1

Listen

There he goes again, turning one of life’s simplest truths – that love, like the best things in life, comes when you least expect it – into a solid hit, made all the more charming by its Forrest Gump-inspired turn-of-phrase. – TS

#208
Nowhere Bound
Diamond Rio
1992 | Peak: #7

Listen

How influential was sixties rock on nineties country? Diamond Rio did a country derivative on the Beatles classic “Nowhere Man” without compromising its integrity as a country record or cheapening the classic original. – KC

#207
Hey Cinderella
Suzy Bogguss
1993 | Peak: #5

Listen

Bogguss understands the wiser, more mature version of the fairy tale; the one where the mundane details of life take center stage. – LW

#206
Dust On the Bottle
David Lee Murphy
1995 | Peak: #1

Listen

My guess is that this spunky little record from the mid-90s is still in rotation today not just because it’s infectious ear candy, but because, like the best country songs, it uses a bite-size story to tell a timeless, life-size truth. – TS

#205
I’m Alright
Kim Richey
1997 | Peak: Did Not Chart

Listen

“After all was said and done…there was nothing left to do.” The weary smile embedded in that opening line lingers through the song, which doesn’t make a big show out of getting over someone and persevering through the occasional pain. This is what real people sound like when they decide to overcome stuff, I think. (I am also assuming that real people have sunny banjo parts playing somewhere during such decisions.) – DM

#204
Lead On
George Strait
1995 | Peak: #7

Listen

Two weary lovers who were burned in their youth find new hope in each other. Well, not so much hope as a willingness to believe that their potential future together might be better than being alone with the memories of love from days gone by. – KC

#203
Lord Have Mercy On a Country Boy
Don Williams
1991 | Peak: #7

Listen

Williams wistfully longs for the country  life that he once enjoyed, but his beloved country surroundings has slowly transformed into a city, which is difficult for him to endure. Unlike many “I’m from the country songs”, this one lacks the bravado and, instead, conveys humble befuddlement. – LW

#202
One of These Days
Tim McGraw
1998 | Peak: #2

Listen

Lays on enough sap to rival “Don’t Take the Girl”, but if you can sift through that, there’s a strikingly frank self-reflection here by a man with whom we might not normally think to sympathize. – DM

#201
Tempted
Marty Stuart
1991 | Peak: #5

Listen

Marty Stuart is respected for championing traditional country music today, but he wasn’t afraid to stray from the format at times back in the day. Listen to this song, and you hear some cool  old-time rock influences. – LW

400 Greatest Singles of the Nineties: #275-#251

#275
Somewhere Other Than the Night
Garth Brooks
1992 | Peak: #1

Listen

About a woman who only feels truly appreciated by her husband when they’re having sex. Practically literature, that. – Dan Milliken

#274
Looking Out For Number One
Travis Tritt
1993 | Peak: #11

Listen

From his rocking side, Tritt is tired of trying to please everyone around him, including his demanding lover. As a result, he brashly declares that he’s going to make some changes, which will include looking out for himself. Get out of the way, because his ferocious performance makes him seem quite serious about his epiphany. – Leeann Ward

#273
Let That Pony Run
Pam Tillis
1992 | Peak: #4

Listen

Gretchen Peters wrote the gorgeous song and Pam Tillis, in turn, beautifully sings it. The song is about Mary, a woman who is forced to start a new life after her husband confesses his infidelities with no apologies. The story is sad, it’s resilient, and it’s hopeful. – LW

#272
I Just Want to Dance With You
George Strait
1998 | Peak: #1

Listen

Any monotony in the verses is overcome by the song’s completely enticing rhythm and flavor. How can you not get lost in this? – Tara Seetharam

#271
Come Next Monday
K.T. Oslin
1990 | Peak: #1

Listen

The cheap-sounding keyboard production is actually a perfect fit for this plucky song about forgetting an old love…next week. Also a perfect fit for the song: the hilarious, similarly cheap video. – DM

#270
Keep it Between the Lines
Ricky Van Shelton
1991| Peak: #1

Listen

The rich voiced, traditionally minded Van Shelton seems almost forgotten today. In turn, “Keep It Between the Lines” is one of his nearly forgotten hits, which is a shame, as it’s a heartbreaking, yet tender, father song that’s rarely recognized on the annual Father’s Day lists. – LW

#269
I Can’t Do That Anymore
Faith Hill
1996 | Peak: #8

Listen

The sinking housewife is Faith Hill’s specialty role. If this Alan Jackson-penned confessional doesn’t have the striking vision of “Stealing Kisses”, it’s nonetheless powerful in its directness. – DM

#268
Holes in the Floor of Heaven
Steve Wariner
1998 | Peak: #2

Listen

Over-the-top sad but wonderfully written, Wariner’s classic serves as both a touching homage to lost loved ones and a comfort to those they’ve left behind. – TS

#267
Wish I Didn’t Know
Toby Keith
1994 | Peak: #2

Listen

Is ignorance bliss when it comes to cheating lovers? Keith wrestles with his conflicting feelings in this cleverly written song, proving once again that his gruff bravado is most effective when he’s expressing a multi-faceted sentiment. – TS

#266
Why Didn’t I Think of That
Doug Stone
1993 | Peak: #1

Listen

Call it the mature version of Mark Chesnutt’s “It’s a Little Too Late” – same concept, but more introspective and wistful. – TS

#265
Quittin’ Time
Mary Chapin Carpenter
1990 | Peak: #7

Listen

One of her earliest hits benefits from an aggressive vocal and escalating production that goes crazy with the drums in the final verse. – Kevin Coyne

#264
Wrong Again
Martina McBride
1998 | Peak: #1

Listen

Nobody likes to be wrong, but poor Martina seems to have a knack for it. Just when she’s sure that she’s finally found “the one”, she discovers that she’s, once again, wrong. It’s one of Martina’s best songs, which, just about marks the end of her time of  best songs. – LW

#263
One Way Ticket (Because I Can)
LeAnn Rimes
1996 | Peak: #1

Listen

There’s a distinct moment after every break-up when the pain subsides, the clouds part and there it is – a world of opportunities in front of you that you feel like you’re seeing for the first time. Rimes captures this experience perfectly in “One Way Ticket,” with a performance that exudes spirit and conviction. – TS

#262
Down to My Last Teardrop
Tanya Tucker
1991 | Peak: #2

Listen

A snappy, energetic performance brimming with self-assurance. – TS

#261
Sawmill Road
Diamond Rio
1993 | Peak: #21

Listen

In contrast to their very successful first few singles, this was  the first single of Diamond Rio’s to receive lukewarm radio reception. It is, however, a gem from their sophomore album that portrays a tight knit sibling group with ideal childhoods who all grew up to take vastly different paths as adults. – LW

#260
You’re Easy on the Eyes
Terri Clark
1998 | Peak: #1

Listen

Good-looking men and women who are otherwise terrible people are among the key recurring characters in country music lore. This song about one such man has become so well-known that it’s easy to take for granted how well it actually upholds the tradition. – DM

#259
Cheap Whiskey
Martina McBride
1992 | Peak: #44

Listen

Written by Emory Gordy, Jr. (Patty Loveless’ husband), “Cheap Whiskey” is a straight up country song that McBride mournfully tackles with complete success. The man chooses cheap whiskey over good love and he lives to regret it as a lonely, broken person. And who’s that guy singing in the background? Well, none other than Garth Brooks. – LW

#258
The Day That She Left Tulsa (In a Chevy)
Wade Hayes
1997 | Peak: #5

Listen

A great modern heartbreak story narrated by one of our great modern heartbreak singers. You just can’t go wrong. – DM

#257
Baby Likes to Rock It
The Tractors
1994 | Peak: #11

Listen

A bizarre, awesome, unique boogie-woogie record that somehow got to be a #11 country hit. My personal favorite part is how the lead singer’s riffs near the beginning of the song actually sound like a tractor revving. – DM

#256
Out of My Bones
Randy Travis
1998 | Peak: #2

Listen

How do you know that Travis will get this woman out of his bones? Because his searing voice and the fiery fiddle combine to cut right down to them. – KC

#255
Don’t Let Our Love Start Slippin’ Away
Vince Gill
1992 | Peak: #1

Listen

This song is essentially a plea to save a relationship, but I find it uplifting more than anything else, perhaps because the focus is kept on the couple’s underlying love. There’s a hopefulness to the song that’s woven into both Gill’s performance and the warm melody. – TS

#254
When I Said I Do
Clint Black and Lisa Hartman Black
1999 | Peak: #1

Listen

Don’t look at me like that. Not all schmaltz is inherently evil, and when it’s as well-crafted and exceptionally well-sung as it is here, who’s going to complain about a little extra sentimentality dripping off?  – DM

#253
Whatcha Gonna Do With a Cowboy
Chris LeDoux with Garth Brooks
1992 | Peak: #7

Listen

Garth Brooks gets to sing with one of his performing heroes and you can hear the joy in the recording as a result. The  comical, fiddle-laden song asks the unthinkable: “Whatchya gonna do with a cowboy when he don’t saddle up and ride away?” – LW

#252
Thinkin’ Problem
David Ball
1994 | Peak: #2

Listen

Again, all you have know is the title to know why country fans like us love songs like this. – DM

#251
Mama Knows the Highway
Hal Ketchum
1993 | Peak: #8

Listen

Country music chronicles a lot of trucking fathers, but the trucker in this song isn’t your typical truck driver character, but instead, a mama who knows the highway by heart, including its conditions at various points. – LW

Written by

Connecticut born songwriter Gary Burr got his first break when he broke his leg in a high school soccer game. With time on his hands, he taught himself to play the guitar and began writing songs. His second break came in 1982 when, without a co-writer, he penned Juice Newton’s “Love’s Been a Little Bit Hard on Me”. That same year, he became the lead singer for Pure Prairie League after Vince Gill left the group to pursue a solo career. Gary remained with PPL until 1985 and headed to Nashville in the late 1980′s. He has since been awarded ‘Songwriter of the Year’ on three separate occasions by three different organizations: Billboard, Nashville Songwriter’s Association International, and ASCAP. He has also received over twenty of ASCAP’s recognition awards for radio play activity, and cds featuring his songs have sold more than 50 million units world-wide. He’s currently affiliated with SESAC. Most recently, he was Carole King’s guitarist on her “Living Room Tour”, performing some of his own songs as well.

If you go to Gary’s website and click on Discography you’ll see a Short List of 35 of his best known songs, in alphabetical order by recording artist. If you click on Full List, you see the names of about 170 songs. You’ll find hits and albums track (“hidden treasures” to some) by country artists such as Hal Ketchum, Patty Loveless, Randy Travis, Reba McEntire, Garth Brooks, Tanya Tucker, Ty Herndon, Faith Hill, Leann Rimes, Mary Chapin Carpenter, Gary Allan, Andy Griggs, Kathy Mattea, Lorrie Morgan, Terri Clark, Collin Raye, Doug Stone, Ricky Van Shelton, Diamond Rio, Conway Twitty, Chely Wright and many others plus pop artists Kelly Clarkson, Clay Aiken, etc . The website list does not include the current Sarah Buxton hit “Outside My Window”.

Gary appears quite frequently at Nashville’s famous Bluebird Cafe, appearing in the round with singer/songwriters like Mike Reid, Georgia Middleman, J.D. Souther and others. In addition, he performs as part of the group MelDiBurPho which is composed of songwriters Vince Melamed, Bob DiPiero, Gary and Jim Photoglo.These shows are performed on the Bluebird’s small stage and, unlike the shows in the round, includes a drummer in addition to the usual guitars and a keyboard. Gary and the Guys have been doing these great shows for about 12 years. They call themselves the oldest boy band in America and the best band you can see for $12. They really seem to be having a great time together and they can be very funny, much of the humor either self-deprecating or at the expense of one of the other guys. For the February show, the guys performed in their pj’s, an annual event closely coinciding with three of their birthdays. Supposedly Faith Hill once showed up in pj’s and bunny slippers. She was discovered while singing back-up for Gary at the Bluebird.

After seeing Mr. Burr perform twice at the Bluebird, I purchased his two cd’s from the Bluebird on-line store. Stop Me If You’ve Heard This One Before …, released in 1997, includes 18 of his best songs performed and recorded live at the Bluebird. Mariane’s includes 11 songs and was released in 2004. The list of my favorite Gary Burr written songs that follows indicates the artist and cd it appeared on and his co-writer. Many of these favorites are from his Stop Me … cd and a few from Marianne’s. (Songs that can also be found on Gary’s cds have an asterisk next to the title.)

Should you already have or decide to purchase these cds, you may find, as I did, that you prefer Gary’s version for quite a few of them. A lot of his songs are about lost love, some because the guy was clueless, others about love that just didn’t work out and the difficulty in leaving memories behind. At his shows, Gary refers to himself as the “sensitive one” when he sings one of his ballads. Check out the songs listed on Gary’s website and let us know your favorites. Obviously, differing tastes will result in a very different list by many readers.

#25
“I Wear Your Love” – Kathy Mattea
Time Passes By, 1991
co-writer – None

An album track for Kathy Mattea from a cd chock full of great songs in addition to the three chosen for release as singles. The chorus concludes, “on the chillest night though I travel light, it is always enough for I wear your love”. Mattea is still one of the best female vocalists in country music.

#24
“A Man Ain’t Made of Stone” – Randy Travis
A Man Ain’t Made of Stone,  1999
co-writers – Frannie Golde and Robin Lerner

About this song, Leeann wrote, “I love Travis’ vulnerable, yet passionate, vocal delivery in this song. This man thought it was important to seem strong and unflappable, but realizes that she needed to see the softer side of him at times. Unfortunately, he reached this conclusion too late. Her leaving unearths his emotions and he abruptly learns that ‘a man ain’t made of stone/A man ain’t made of steel.’” The song peaked at #16.

#23
“What’s In It For Me” – John Berry
John Berry, 1993
co-writer – John Jarrard

This up tempo song is about a guy asking a girl who dumped him but has changed her mind and wants him back, ” What’s in it for me?” He’s glad she’s back and wants her but are things going to be different this time? “If it’s only more tears, then I’ll have to pass.” The song reached #5 on the charts for John Berry.

#22
“Love’s Been a Little Bit Hard On Me” – Juice Newton
Quiet Lies, 1982
co-writer – None

The young lady is a bit skittish about love after being burned in this up tempo tune. Calls to her inner romantic self can’t convince her to try again yet. “I’ll be back when I calm my fears … See you around in a thousand years.” This did better on the pop charts (# 7) than country (#30).

#21
“A Thousand Times a Day” – Patty Loveless (1995); George Jones (1993)
The Trouble With The Truth, 1995;  High Tech Redneck, 1993
co-writer – Gary Nicholson

Another song about trying to forget someone. Giving up booze and smokes was difficult but “Forgetting you is not that hard to do, I’ve done it a thousand times a day”. The song reached #13 for Patty and was an album track for George. I prefer Patty’s version.

#20
“In a Week or Two” – Diamond Rio
Close To The Edge, 1992
co-writer – James House

A song of warning for procrastinators from a group known for their great harmony. “These words in my heart never had a chance to be heard”. The guy waited too long to tell her he loved her so he came out second. The song nearly reached the top of the charts but, as Trent Summar once reminded us, “close only counts in horseshoes and hand grenades.”

#19
“I Try to Think About Elvis” – Patty Loveless
When Fallen Angels Fly, 1994
co-writer – None
I recall seeing Patty sing this in a concert about 10 years ago. I would think that “list songs” like this would present a challenge remembering all the lyrics but she nailed it. A fun song that made it to #3.

#18
“Heart Half Empty” – Ty Herndon with Stephanie Bentley
What Mattered Most, 1995
co-writer – Desmond Child
“Is my heart half full of the love you gave me, or my heart half empty ’cause your love is gone?” While the half full, half empty metaphor is obviously not new and the song is a bit schmaltzy, I still love it. I add a star for true duets – equal contributions by the duet partners. Although Ty’s recent comeback attempt appears to have come up short, he still has a great voice and was well complemented here by Stephanie Bentley.

#17
“Blue Sky” – Emily West
Emily West, 2007 (EP)
co-writer – Emily West

The original version was from her EP. The current single includes background vocals by Keith Urban and online reviews have been very favorable but it hasn’t cracked the top 40 yet. The girl is saddened by her lover’s behavior but resolved not to be hurt by him again. “So you made a list of shoulders that you’d be needing, well mine aren’t yours anymore, come on show me your temper, be the man I remember, so I won’t forget what you’ve done.”

#16
“Out of My Bones” – Randy Travis
You and You Alone 1998
co-writers – Sharon Vaughn and Robin Lerner

Randy sings “I’m in need of a remedy, to cure me from loving you”. His remedy is walking in the first verse and talking in the second til she’s “out of my bones”. While his 1986 song “Diggin’ Up Bones” made it to the top, “Out of My Bones” stalled at #2. The album also included the late Patrick Swayze singing background on one of the tracks.

#15
“Rockin’ the Rock” – Larry Stewart (Restless Heart)
Heart Like a Hurricane, 1994
co-writer – None

A rollicking song about a girl who rocks his world but didn’t rock the charts peaking at #56. “I had a wonderful sense of balance, everything under control, til the day she came along and started rockin’ the rock that I’m standing on.” If you have a multiple tissues tune on your playlist, play this next. Larry Stewart’s solo career after leaving Restless Heart was not a huge success. He’s been back with them since 2004.

#14
“That’s My Job” – Conway Twitty
Borderline, 1987
co-writer – None

The relationship between a son and his father is portrayed in three vignettes. In the first, the father comforts his young son, calming his fears. Conflict and doubts occur in the second while the final scene finds the son, who makes his living with words and rhyme, trying to deal with the death of his father, asking himself how can I come up with a song to say I love you. The song made it to #6. (I remember liking “It’s Only Make Believe” as a kid but shortly after Conway disappeared from the pop charts. I didn’t know til much later that he had become a country star.)

#13
“The One You Love” – Terri Clark with Vince Gill
The Long Way Home, 2009; Pain to Kill, 2003
co-writer – Terri Clark

While Terri’s new cd did not include lyrics, they can be found with comments for each song on her website. She said that she hesitated to re-cut this song but her mother’s recent bout with cancer inspired her because it put the lyrics in a whole different light. “when someone’s slippin’ away, right before your eyes, how useless we are is a painful surprise”. Although Vince Gill singing harmony is always a plus, the original version on Pain to Kill was still excellent.

#12
“West of Crazy” – Lisa Brokop
Lisa Brokop, 1996
co-writer – Vince Melamed

An up tempo tune which reflects a woman’s state of mind after a breakup. “Just a few miles west of crazy, a stone’s throw away from tears, oh, so close to normal, but I can’t get there from here”. Love the song although it didn’t even chart in Canada. Lisa Brokop has become one of my favorite country music singers.

#11
“One Night a Day” – Garth Brooks
In Pieces, 1993
co-writer – Pete Wasner

The piano is the star in this song about a guy trying to leave a girl’s memory behind. He tells of the things he’s doing to get through the breakup, including “calling every friend I had, wake ‘em up, make ‘em mad, to let them know I’m okay”. Garth’s version, which reached #7 on the charts, also features a sax while in Gary’s, a steel guitar complements the piano.

#10
“Time Machine” – Collin Raye
I Think About You, 1995
co-writer – None

Although it was never a single, it’s one of my favorite Collin Raye songs. The songs tells of a lonely man who knows things won’t be any better tomorrow so he wants to go back in time. “To the casual eye it’s a barstool, but it’s really much more than it seems, a few drinks and then, she’ll be with him again, as he sits on the time machine”.

#9
“Up and Flying” – Reba McEntire
If You See Him, 1998
co-writer – Patty Griffin

Her ex-love is doing fine but she’s still doing time. “You make it look so easy, it doesn’t seem quite fair, baby I’m still tryin’, to get up and flying”. An album track for Reba. Should this song have been a single? Love Gary’s take on it.

#8
“You Tell Me” – Terri Clark with Johnnie Reed
The Long Way Home, 2009
co-writer – Terri Clark

As noted above, I love duets and on this album track, Terri is joined by Scotland born, Canadian country music artist, Johnny Reid. On her website, she describes it as a grown up song about a relationship in trouble that she wrote with Gary about 10 years ago. The conversational quality of the lyrics made it feel as a natural duet.

#7
“Sure Love” – Hal Ketchum
Sure Love, 1992
co-writer – Hal Ketchum

Hal sings of what he would do to find “Sure Love”. “I would chase all ghosts and watch them scatter, drop old dreams and watch them shatter, lose myself and all I own, to find sure love.” This up tempo song reached #3.

#6
“Silence Is King” – Tanya Tucker
Soon, 1993
co-writer – Jim Photoglo

This sad tune is about a couple who have reached the point where they don’t communicate any more. The chorus begins “We live in a land where silence is king, whispers have all disappeared”. In the last verse, there’s no let-up, “desperate measures come from desperate times, I don’t regret what I’ve done, if my actions made you speak your mind, angry words are better than none”. An album track for Tanya. On the live “Stop Me …” cd you hear Gary saying “so depressing” after he finishes singing. Probably too serious for country radio.

#5
“I Will Not Be a Mistake” – Cliff Richard
Something’s Goin’ On, 2004
co-writers – Helen Darling and Will Robinson

While Cliff is not a country singer, I could easily see someone like Collin Raye covering this song. It’s about a guy who assures the girl he’s about to get together with that while it may not come to anything it won’t be something she’ll regret. “I’ll be a chance you had to take, a heart you had to break, but I will not be a mistake”.

#4
“Can’t Be Really Gone” – Tim McGraw
All I Want, 1995
co-writer – None

A man tries to convince himself that his girl must be coming back when he mends his ways because “so much of her remains”. “The shoes she bought on Christmas day, she laughed and said they called her name”. “Her book is lying on the bed, the two of hearts to mark the page, now who would ever walk away at chapter twenty-one.” Just missed the top peaking at #2.

#3
“Station on the Line”
Stop Me If You’ve Heard This One Before …
co-writer – None

A haunting melody about a guy who falls for a girl who can’t commit. The chorus goes “and her type never does linger, she leaves all could and might-have-beens behind, she rode from New York to California, and I was just a station on that line”. As far as I can tell, no one else has covered this song.

#2
“What Mattered Most” – Ty Herndon
What Mattered Most, 1995
co-writer – Vince Melamed

A lament by a clueless guy who knew all the trivial stuff but missed what mattered most. “I never asked…she never said,and when she cried I turned my head, she dreamed her dreams behind closed doors, and that made them easy to ignore”. A #1 song for Ty in his successful stretch during the 90′s.

#1
“In Front of the Alamo” – Hal Ketchum with LeAnn Rimes
One More Midnight (no U.S. release)
co-writer – None

Allusions to one of the most famous battles in American history are combined with the story of a woman’s love gone bad because of her husband’s infidelity. The couple met as tourists in front of the Alamo. The second verse ends “she wanted trust, she wanted truth, the two things he found hard to do. So forever was shorter than she planned”. (The lives of the defenders of the Alamo were shorter than they planned.) She returns to the Alamo so that she can move on. The bridge begins “she didn’t come for inspiration or to breathe the mighty dust of heroes lost” and concludes “She just felt the time was right, at this random traffic light, to say ‘enough is enough’ and move on”. The third verse ends “maybe something in the air makes the timid braver there, to cross the line that they’ve drawn in the sand”. The tag chorus completes the analogy “they held on she lets go” (they were brave by holding on she by letting go) and concludes “in front of the Alamo, that’s a pretty good place to make a stand”.

While I do recall hearing the song on the radio, it failed to crack the top 40.

Kevin Coyne wrote here in 2007, “… a beautifully sympathetic portrait of a woman leaving a bad relationship behind. After all, what better a place to make a stand than in front of the Alamo? Before you worry that this is one of those over-the-top country numbers with a tortured metaphor, it’s actually wonderfully understated. The character is so believable that it seems just a happy accident that she makes a tough choice in front of a historical landmark.”

Also in 2007, Jim Malec of the 9513 wrote about the Ketchum song, “if you ask me, his latest, “In Front Of The Alamo,” is the best single I’ve heard so far this year. Featuring a brilliant support vocal from LeAnn Rimes, this song does everything right. Lyrically, it is a lesson in excellence, accomplishing in just over three minutes what most songs never do. On the production side it’s damn near perfect, even down to the mix (the short but fitting instrumental parts are well-played and perfectly placed).
It just doesn’t get much better than this.”

I agree.

Country radio was good to me for many years, but it also pigeonholed me. After my first album, I was expected to fill the slot on their playlist for ‘fun, up-tempo female.’ That provided me with a space to fill on that playlist, and a string of turntable hits, but in my entire career I had only two ballads that broke the Top 10.

There have been quite a few songs, songs that never got released as singles, that I felt were stronger than a lot of the singles that came out.

Lamenting the restraints that their former labels placed on their artistic freedom is a common refrain of country artists once they go indie. But in Clark’s case, I see her point. Her first wave of hits included two ballads, but most of the biggest hits were uptempo rockers like “You’re Easy On the Eyes” and “Better Things To Do.”  Her second wave was only three hits deep, a trio of upbeat numbers that all reached the top two.  Radio essentially walked away when she took a turn for the serious.

Interestingly enough, she fell out of favor during Gretchen Wilson’s meteoric rise, who essentially filled that “fun, up-tempo female” slot.  Radio embraced Wilson more than they ever embraced Clark, but also tired of her quickly.  Radio has since backed more female artists than it did in the early part of the decade, with Carrie Underwood,  Taylor Swift and Sugarland regularly topping the charts.  But it could be argued that Clark’s niche has never been filled again, much like Mary Chapin Carpenter and Patty Loveless were never succeeded by a younger counterpart.

Do you agree with Clark that radio pigeonholds its artists to the detriment of their music?  If so, what artists are currently being the most limited by this mindset?

H/T: GAC

#120
“Tonight I Wanna Cry”
Keith Urban
2005
Peak: #2

A chillingly frank portrait of loneliness, awkward reference to “All By Myself” notwithstanding. Few mainstream vocalists today could pull off something this intense. – Dan Milliken

#119
“Portland, Oregon”
Loretta Lynn with Jack White
2004
Peak: Did not chart

If you can take a healthy dose of dirty rock ‘n’ roll in your country, this is one of the coolest-sounding records of the decade, a classic one-night-stand duet. That it’s a very cross-generational pairing singing it would be creepy if not for the goofy smiles shining through Lynn’s and White’s performances. – DM

#118
“If You Ever Stop Loving Me”
Montgomery Gentry
2004
Peak: #1

This charismatic band never encountered a better hook than this one, with an instant sing-along melody that is impossible to ignore. – Kevin Coyne

#117
“I Just Wanna Be Mad”
Terri Clark
2002
Peak: #2

A song that would have felt more at home in the 90s than in 2003, Clark’s playful plea is an encapsulation of all the female charm that’s missing from this decade’s mainstream country music. – Tara Seetharam

#116
“The Long Goodbye”
Brooks & Dunn
2001
Peak: #1

They often paint in broad strokes, but the portrait painted of this crumbling relationship is sympathetically detailed, with two decent people putting off the inevitable break-up. – KC

#115
“Heartbreak Town”
Dixie Chicks
2003
Peak: #23

“Heartbreak Town” could easily be a companion to Pam Tillis’ “Band in the Window.” While “Band in the Window” sounds more like a celebration, “Heartbreak Town” goes deeper and exposes the disappointment and heartbreak found in a town with so much talent that only a select number of people get to rise to the top. – Leeann Ward

#114
“Cry”
Faith Hill
2002
Peak: #12

It may not be as haunting as the Angie Aparo original, but Hill’s willingness to make her power ballads challenging and complex keeps her leagues beyond the pretenders. – KC

#113
“Life Ain’t Always Beautiful”
Gary Allan
2006
Peak: #4

Allan turns these simple lyrics into a chilling inner dialogue that’s both painfully dark and genuinely hopeful. – TS

#112
“That Train Don’t Run”
Pinmonkey
2006
Peak: Did not chart

The rootsy country-rock outfit named for some gag or other in The Simpsons revived this 1997 Matraca Berg single with awesome gusto, tearing into it with electric guitar, bright harmonies and dobro all ablaze. A must-hear. – DM

#111
“Blame the Vain”
Dwight Yoakam
2005
Peak: #58

While not produced by Pete Anderson, “Blame the Vain” harkens back to Yoakam’s signature rhythmic Bakersfield sound. Fruitlessly blaming everyone else for his failed relationship and, while he’s at it, all that’s wrong with the world, Yoakam finally concludes that he may have some ownership in things as well: “Oh and don’t you know that blame/Is always never enough/It just keeps you in the game/Till you’ve only got yourself left to bluff.” – LW

#110
“Every Friday Afternoon”
Craig Morgan
2003
Peak: #25

In one of the saddest singles of the decade, Morgan’s naturally plaintive voice perfectly captures the devastation of a father who is faced with the dilemma of his ex-wife moving far away from him with his little boy. Up until that point, he had him every weekend, but he now realizes that “there’s no way [he] can be there every Friday afternoon.” – LW

#109
“Best I Ever Had”
Gary Allan
2005
Peak: #7

A decent soft rock song is transformed into a guilt-ridden meditation on death, solely by the vocalist who has chosen it as his vehicle to express his grief. – KC

#108
“Beer in Mexico”
Kenny Chesney
2007
Peak: #1

Part Buffett, part Mellencamp. Part frat boy drinking anthem, part sincere self-reflection. And it’s about hanging out down by the equator. Such a perfect encapsulation of Kenny Chesney’s musical identity from this decade that you could skip over the most of the rest of his work and still get the basic idea. One of his few self-written hits, too. – DM

#107
“What Hurts the Most”
Rascal Flatts
2006
Peak: #1

Angst-ridden power pop country done right. – KC

#106
“It Just Comes Natural”
George Strait
2006
Peak: #1

This is simply a delightful celebration of love that “just comes natural”…or naturally. – LW

#105
“Up!”
Shania Twain
2003
Peak: #12

Twain’s incessantly peppy poppy positivity fully concentrated. – KC

#104
“Lost in This Moment”
Big & Rich
2007
Peak: #1

There’s nothing extraordinarily unique about the lyrics in this wedding ballad – besides the fact that it’s the otherwise bad-ass Big & Rich singing them – but somehow they feel incredibly commanding against the duo’s power vocals. It’s just a beautiful song with beautiful harmonies, and I’m not ashamed to admit that lines like, “Bow our heads while the preacher talks to Jesus: ‘please bless this brand new life’” get me every time. – TS

#103
“Just Got Started Lovin’ You”
James Otto
2008
Peak: #1

Otto’s suave performance and a purely addictive bass line makes for an irresistible piece of smoldering ear candy. – LW

#102
“Would You Go With Me”
Josh Turner
2006
Peak: #1

There’s something endearing about the way Turner covers the theme of free-spirited love in this song – the whimsical lyrics contrast sweetly with his deep, sensible vocals. – TS

#101
“Keep Your Distance”
Patty Loveless
2005
Peak: Did not chart

The best line of 2005 not played on country radio: “I played and I got stung. Now I’m biting back my tongue, and sweeping out the footprints where I strayed.”  I love Loveless the most when she taps into that Ronstadt growl. – 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: #120-#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. “Say, 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

All of this made for a fascinating decade to be a country fan. As radio worked its way through all of the above (with the notable exception of roots music), the internet made it far easier for acts to be discovered without ever getting a single spin of traditional radio play.  With MySpace, YouTube, Facebook, and the explosion of country music blogs, the barriers have been torn down between artist and audience in a way that was never possible before.

The motley crew of Country Universe has a diversity of tastes that fit within the widest boundaries of country music, as reflected our collaborative list of the 100 best albums of the decade.  Five of our writers contributed to the list, with all writer’s selections being weighed equally.  We’ll reveal ten entries a day until the list is complete. A look back at the greatest singles of the decade will then follow.

The 100 Greatest Albums of the Decade, Part 1

#100
Abigail Washburn, Song of the Traveling Daughter

Song of the Traveling Daughter is the debut album from Uncle Earl claw hammer banjo player Abigail Washburn. Produced by Béla Fleck and featuring Ben Sollee, it is a subdued album filled with intriguing instrumentation and influences.  Standout songs include “Nobody’s Fault but Mine,” with its interesting Civil War period influence; the upbeat “Coffee’s Cold,” originally performed by Uncle Earl; and “Song of the Traveling Daughter,” based on the classical Chinese poem “Song of the Traveling Son.” – William Ward

Recommended Tracks: “Nobody’s Fault but Mine”, “Coffee’s Cold”

#99
Kim Richey, Rise

Her ambitious swan song for Mercury Records was perhaps her least accessible record, with an emphasis on eclectic arrangements instead of hook-laden melodies. It’s also her most deeply rewarding record, one that is remarkably introspective and fully delves into themes of faith and mortality that her earlier work had only hinted at before. – Kevin Coyne

Recommended Tracks: “A Place Called Home”, “No Judges”

#98
Little Big Town, The Road to Here

The quartet’s second album catapulted them to the forefront thanks to the swampy anthem, “Boondocks,” and was a breath of fresh, earthy air to mainstream country music. Packed with tight harmonies and songs ranging in style from bluegrass-leaning to Fleetwood Mac-inspired, the album served as a window into the raw talent and potential of one of the best groups to hit country music in quite some time. – Tara Seetharam

Recommended Tracks: “Boondocks”, “Live With Lonesome”

#97
Dolly Parton, Halos & Horns

A gorgeous, gospel-heavy album, with tasteful bluegrass elements. Parton is effervescent as usual, and rid of any self-consciousness, which makes “Hello God” overwhelmingly stirring. A response to the September 11 tragedies, the song has Parton pleading and philosophically wrestling with God, in the sincerest of ways. – TS

Recommended Tracks: “Hello God”, “John Daniel”

#96
Brad Paisley, Part II

Sometime back before the Future, before the smirking social commentary and the endless odes to his wife, Brad Paisley was just a silly little neotraditionalist writing silly little neotraditional songs about the twists of everyday life and love. Part II captures him at his most unassuming and tuneful, waxing breezily about courtships and feeling out his new place as a neotrad spokesperson with a few classic roots songs, plus a cute Bill Anderson/Chuck Cannon co-write (“Too Country”). – Dan Milliken

Recommended Tracks: “Wrapped Around”, “Come On Over Tonight”

#95
Patty Loveless, Strong Heart

More so than any Loveless album since leaving MCA, Strong Heart draws on her pop and rock influences, with a healthy dose of Ronstadt thrown in for good measure. The contrast between her hillbilly wail and the pop-leaning arrangements of several songs manages to make her sound even more rural than she normally does. Arguably her last mainstream project, she proved that she can sound just as good chasing radio as she does ignoring it. – KC

Recommended Tracks: “The Last Thing On My Mind”, “My Heart Will Never Break This Way Again”

#94
Sara Evans, Real Fine Place

One of the finer female vocalists in the genre, Evans is a fantastic interpreter on her fifth album, carefully treading both traditional and pop country waters. The warmth and purity to her tone is prominent on this album, and this is particularly true of the songs with more traditional arrangements, on which she shines the brightest. – TS

Recommended Tracks: “Cheatin’”, “These Four Walls”

#93
Sarah Jarosz, Song Up in Her Head

Sarah Jarosz’ much hyped debut with Sugar Hill Records features Darrell Scott, Tim O’Brien, Jerry Douglas, Aofie O’Donavan, and Abigail Washburn.  Notable tracks include “Shankill Butchers,” a Decemberists cover that outperforms the original; the progressive acoustic “Song up in Her Head,” reminiscent of Nickel Creek; and “Come on Up to the House,” an impressive Tom Waits cover. – WW

Recommended Tracks: “Shankill Butchers”, “Come On Up to the House”

#92
Terri Clark, Pain to Kill

This album made Clark a serious contender for Female Vocalist, the only time in her career that she reached that level of success. It’s as radio-friendly as her first two albums, but the material is substantive. This is the best collection of songs that she ever assembled, and by a healthy margin. When Trisha Yearwood finds something to cover from a record, you’ve done a great job picking songs. – KC

Recommended Tracks: “I Just Called to Say Goodbye”, “Not a Bad Thing”

#91
Dwight Yoakam, Population: Me

Genre superhero Yoakam stretched his habit of excellence into a third decade, beginning with the quirky South of Heaven, West of Hell soundtrack and continuing with this solid set. The album is notable for distilling a wide assortment of Yoakam’s mastered sounds into about half an hour, from the Eaglesy (“The Late Great Golden State”) to the Owensy (“No Such Thing”) to the Elvisy (“I’d Avoid Me Too”), all united by the singer’s uniquely buoyant brand of fatalism. – DM

Recommended Tracks: “I’d Avoid Me Too”, “The Back Of Your Hand”

- – -

• 100 Greatest Albums of the Decade, Part 2: #90-#81
• 100 Greatest Albums of the Decade, Part 3: #80-#71
• 100 Greatest Albums of the Decade, Part 4: #70-#61
• 100 Greatest Albums of the Decade, Part 5: #60-51
• 100 Greatest Albums of the Decade, Part 6: #50-#41
• 100 Greatest Albums of the Decade, Part 7: #40-#31
• 100 Greatest Albums of the Decade, Part 8: #30-#21
• 100 Greatest Albums of the Decade, Part 9: #20-#11
• 100 Greatest Albums of the Decade, Conclusion: #10-#1

The Worst Singles of the Decade, Part 3: #30-#21

#30
Terri Clark, “Dirty Girl”

Double entendres are a lot more enjoyable when the naughty meaning is the real one.

#29
Jamey Johnson, “The Dollar”

Real kids don’t talk like this.

#28
Garth Brooks & Trisha Yearwood, “Love Will Always Win”

This treacly ballad is the nadir of Trisha’s career and one “It’s Midnight Cinderella” away from being Garth’s as well.

#27
Darryl Worley, “Have You Forgotten?”

Featuring more straw men than a Wizard of Oz audition.

#26
Clint Black, “I Raq and Roll”

“Have You Forgotten?” without all the nuance and subtlety.

#25
Shania Twain and Billy Currington, “Party For Two”

Proof positive that spoken dialogue can ruin a song before it even begins.

#24
Martina McBride, “God’s Will”
He was dressed as a bag of leaves? That’s his costume? Hey, at least she didn’t kill him off in the last verse.

#23
Brooks & Dunn, “Play Something Country”

There are so many poorly written female characters in Brooks & Dunn songs, it’s hard to pick just one to represent them all. But I’ll give the nod to this one, simply because it has her howling the title to a melodic hook that’s a blatant rip-off of Mary Chapin Carpenter’s “Shut Up and Kiss Me.”

#22
Jason Aldean, “Johnny Cash”

The “country star as song name” trend hasn’t yielded anything worthwhile, but at least “Tim McGraw” and “Kristofferson” have some tenuous connection to their titular song. “Johnny Cash” is just shameless name-dropping.

#21
Gretchen Wilson, “Red Bird Fever”

http://www.youtube.com/watch?v=Haxd6g2Mux8

In retrospect, this should’ve been a huge red flag that Wilson wasn’t built to last.  My personal favorite moment of this St. Louis Cardinals shout-out comes in the chorus, when she sings “Let me get a big ‘Go Cards!’ from the Red Bird fans like me. Go Cards!” and the backup singers answer back, “Hell yeah!”  because they couldn’t be bothered to change the “Redneck Woman” backing track.