Tag Archives: Thad Cockrell

The 100 Greatest Albums of the Decade, Part 9: #20-#11

The 100 Greatest Albums of the Decade, Part 9

20 Nickel

#20
Nickel Creek, This Side

With Alison Krauss still in the producer’s chair, This Side begins to drift away from the more pure bluegrass feel of Nickel Creek’s debut album. Containing deliciously funky grooves and even tighter musicianship among the trio, Nickel Creek further proves their inimitable creativity and talent on their sophomore project that ultimately secures their popularity among progressive bluegrass fans and perhaps a few unsuspecting traditionalists along the way as well. – Leeann Ward

Recommended Tracks: “Spit on A Stranger”, “I Should’ve Known Better”, “This Side”, “Sabra Girl”

19 Leeann

#19
Lee Ann Womack, There’s More Where That Came From

It wasn’t quite the radical return to traditional country music that the album cover and subsequent marketing implied, but There’s More Where That Came From had more going for it than twin fiddles and steel, anyway: the strongest collection of songs that Womack had ever assembled. For those who went beyond the album’s one hit and two subsequent singles, the treasures were bountiful, including a cover of “Just Someone I Used to Know” hidden at the end of the disc. – Kevin Coyne

Recommended Tracks: “One’s a Couple”, “I May Hate Myself in the Morning”, “The Last Time”, “Stubborn (Psalm 151)”

18 Bill

#18
Bill Chambers, Sleeping With the Blues

Kasey Chambers’ father, Bill Chambers, shows that the talented apple doesn’t fall far from the proverbial tree. Chambers’ well worn gravel voice sounds as though he is personally all too familiar with the blues, which appropriately helps in service of the album’s general tone. Sleeping with the Blues is wonderfully produced with pure acoustic country instrumentation, which nicely supports this set of songs that contain straight up country music themes with a sly mix of wit and doom. – LW

Recommended Tracks: “I Drink”, “”Sleeping with the Blues”, “Big A** Garage Sale”, “Hold You in My Heart”

17 Caitlin

#17
Caitlin Cary & Thad Cockrell, Begonias

George and Tammy, Loretta and Conway, Dolly and Porter, Caitlin and Thad. Heresy? Perhaps. However, when Begonias was released in 2005, duet albums seemed like a thing of the past in country music. Caitlin Cary and Thad Cockrell, once neighbors in North Carolina, succeed in questioning that perception with their harmonies, songwriting, and natural chemistry by producing a timeless folk-country album that reminds us that great duets are not something that only exist as part of country music history. – William Ward

Recommended Tracks: “Something Less than Something More”, “Second Option”, “Conversations About a Friend”, “Waiting on June”

16 AKUS

#16
Alison Krauss & Union Station, Lonely Runs Both Ways

But just what are the two ways that lonely runs? Through the leaver (“Goodbye Is All We Have”) and the left (“Wouldn’t Be So Bad”)? Through the lovestruck (“If I Didn’t Know Any Better”) and the loved (“Crazy As Me”)? Or just through haunting traditional bluegrass (everything the fellas sing lead on here) as well as haunting grass-pop (everything with Krauss)? I say all of the above – and if Krauss and company are the ones running lonely around, I’ll follow them whichever way they decide to take it. – Dan Milliken

Recommended Tracks: “Restless”, “Crazy As Me”, “If I Didn’t Know Any Better”, “A Living Prayer”

15 Be Good

#15
The Be Good Tanyas, Blue Horse

It is true that The Be Good Tanyas are in the periphery of country music’s big tent, but their mellow sound is refreshingly organic. Their unconventional vocal style, delightful harmonies and accessible melodic hooks make this album a joy to hear. Particularly interesting is their meandering interpretation of “Oh Suzanna.” – LW

Recommended Tracks: “The Littlest Birds”, “Dog Song aka. Sleep Dog Lullaby”, “Oh Suzanna”, “Light Enough to Travel”

14 Dwight

#14
Dwight Yoakam, Blame the Vain

Fully self-producing for the first time, Yoakam returned to what he’s always does best: smart, simple heartbreak songs with no-frills production and minimal BS. Except on “She’ll Remember,” where the frills and BS are badly British-accented, bizarrely futuristic and fully awesome. He’s the kind of artist so consistent that it’s easy to take him for granted, but here he tried to one-up himself and damn near succeeded. – DM

Recommended Tracks: “Blame The Vain”, “Just Passin’ Time”, “She’ll Remember”, “The Last Heart In Line”

13 Shania

#13
Shania Twain, Up!

As distinctive and boundary-pushing as they were, Shania Twain’s first two mega-albums were a bit restrained, as if there was a “let’s not push this too far” voice in the back of her head. With Up!, she fully lets loose her creativity, spinning the same nineteen tracks in three different styles over three discs, with the American release featuring the country and pop editions. Rather than split the difference to please both audiences, she shamelessly panders to each one instead, stacking on the fiddle and steel more so than she ever did before on one disc, while venturing into pure Europop on the other. The winner in all of this is the listener, particularly the one who has a taste for both banjo and synthesizer, as Twain’s relentless zest for lyrical escapism finally has the music to match her infectious positivity. – KC

Recommended Tracks: “Nah!”, “Ka-Ching!”, “What a Way to Wanna Be!”, “I Ain’t Goin’ Down”

12 Chicks

#12
Dixie Chicks, Taking the Long Way

Somewhere between the Bush slam heard around the world and the five-Grammy victory seen around the world came this masterful, refreshingly real album, defined only by its own merits. A raw slice of the album deals with the incident that changed the Chicks’ career – and quite possibly the course of mainstream country music – reflecting a tenacity that’s wrapped in still-tender pain. But the same multi-faceted assuredness rings throughout the rest of Taking The Long Way, found in songs that dive deep, lyrically and sonically, into stories of struggle and doubt. With its bone-chilling depictions of life’s realities, the Chicks’ first fully-written album is a piece of art that pays a brilliant, ironic tribute to the heart of country music. – Tara Seetharam

Recommended Tracks: “Not Ready to Make Nice”, “Silent House”, “I Hope”, “So Hard”

11 Nickel

#11
Nickel Creek, Why Should the Fire Die?

While they have been nominated for a Grammy Award for Best Bluegrass Album and won IMBA award for Instrumental Group of the Year, Nickel Creek have always insisted that they are not a bluegrass band. With Why Should the Fire Die?, Nickel Creek makes its strongest argument, taking on new producers, introducing more rock and pop influence, and generally going in their own direction. Still, and perhaps most importantly, they have maintained their ability to avoid all things formulaic while pushing beyond the boundaries of youthful talent. – WW

Recommended Tracks: “When in Rome”, “Can’t Complain”, “Anthony”, “Doubting Thomas”

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Discussion: Creative Song Titles

I was listening in the car today to a track from the Caitlin Cary and Thad Cockrell album Begonias.   It’s a winding, bittersweet epic that clocks in at over seven minutes.   The title?   “Conversations About a Friend (Who’s in Love with Katie).”   It captures the content and mood of the song, rather than just taking a line from the chorus and making it the title.

Though I can name countless pop and rock songs like that, I couldn’t think of too many country examples of this.   There’s Emmylou Harris’ “Prayer in Open D”, which is as evocative a title as it is a song.   Rosanne Cash’s “Blue Moon with Heartache” was actually a #1 hit despite its mysterious title, which captures the muddled, melancholy moodiness of the track.

Then there’s my ring tone for a good two years, Dixie Chicks’ “Lubbock or Leave It.”   Since it’s the only upbeat selection and you can never have enough Dixie Chicks, I’ve embedded the “Lubbock” clip below.   The title really captures the spirit of the feisty performance, which is my personal favorite from their most recent album.

What do you think are some of the most creative song titles in country music?

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