Tim McGraw and Faith Hill’s first studio collaboration is still one of their best (“one of” – “I Need You” is even better). I’ve never been a huge fan of power ballads, but I probably would be if they all sounded as great as this.
Lyrics like “It’s your love/ It just does something to me/ It sends a shock right through me/ I can’t even get enough” might come across as paint-by-number if given a simple by-the-book vocal treatment. But McGraw turns in a top-notch vocal performance – restrained in all the right places, but rising high when the time is appropriate. Thus, the lyrics do not ring vague at all, but instead are heard to spring from a deep place of sincerity. The song itself is good, but it’s the vocals that push the song to greatness.
In essence, Faith Hill does what is typically referred to as “singing background vocals,” but her contributions are prominent enough that her voice clearly comes across as that of the narrator’s lover. More importantly, the depth and color of their harmonies gave fans their first taste of the powerful chemistry that became the hallmark of the McGraw-Hill vocal pairing.
To quote Tara, who says it better than I could, “‘It’s Your Love’ represents the moment in country music history when we were introduced to one of its definitive couples.” Tim McGraw’s singles had been largely hit-or-miss up to this point, but as the precursor to one of his strongest studio albums, “It’s Your Love” announced that McGraw had found his mojo.
A sound sentiment stuffed in a sound-impaired package.
The generic “moody” 90′s production does some of the damage, as does a patchwork melody that can’t seem to connect its phrases. But you can also hear McGraw still ironing out his vocal technique, as his likably nervous tremor in the verses meets a series of clumsy trills and some pitchy “baby”s and “maybe”s.
That great title sentiment shines bright, though, almost overcoming the facelessness of the story and the aforementioned sonic issues. Just not quite.
If history had played out the way Woodrow Wilson planned, we’d be celebrating the 92nd Armistice Day today. When first proclaimed a national holiday, Wilson declared the following:
To us in America, the reflections of Armistice Day will be filled with solemn pride in the heroism of those who died in the country’s service and with gratitude for the victory, both because of the thing from which it has freed us and because of the opportunity it has given America to show her sympathy with peace and justice in the councils of the nations.
If the Great War had been the last war, we wouldn’t be celebrating what is now known as Veterans Day. We also wouldn’t have an incredible legacy of songs about soldiers in the annals of country music.
Here are five classics that celebrate those who have served our country and the ones who love them, along with one tale that has a returned soldier that’s not being loved quite enough.
“Dear Uncle Sam” by Loretta Lynn
from the 1966 album I Like ‘Em Country
Lynn was on the cusp of superstardom when she released this top five hit. Penning a letter to Uncle Sam, she pleads for the safe return of her husband. She sings, “I really love my country, but I also love my man.” His return is not to be, as the song closes with a heart-wrenching recitation of the telegram informing her that he won’t be coming home.
“Galveston” by Glen Campbell
from the 1969 album Galveston
Campbell’s finest performance is a homesick ode for the lady and hometown that he left behind. The sweeping strings and stirring vocal evoke the waves of heartache that are crashing up against his heart, much like the waters of Galveston Bay crash along the shores he once walked with her.
“Ruby, Don’t Take Your Love to Town” by Kenny Rogers and The First Edition
from the 1969 album Ruby, Don’t Take Your Love to Town
Mel Tillis penned this massive hit for Rogers and his band, originally recorded by country artist Johnny Darrell, who took it into the top ten in 1967. The narrator lays in bed, paralyzed from his stint in “that crazy Asian war.” He is helpless as Ruby gives in to desire and heads into town looking for the love he can no longer provide, and he’s left there wishing she’d only wait until he died for her to step out on him.
“Soldier’s Last Letter” by Merle Haggard
from the 1971 album Hag
The spiritual predecessor of Tim McGraw’s “If You’re Reading This.” Mama sits at home, reading a letter from her son overseas. He’s writing from a trenchmouth, hoping his mother won’t scold him for his sloppy handwriting the way she did when he was a kid, tracking mud into the house because he didn’t wipe his feet. He promises to finish the letter when he returns from his next battle, but the letter that arrives back home is incomplete.
“Travelin’ Soldier” by Dixie Chicks
from the 2002 album Home
The modern benchmark for soldier songs. Bruce Robison’s original versions are both worth seeking out, and can be found on his self-titled 1996 album and his 1999 set, Long Way Home from Anywhere. But the acoustic instrumentation that surrounds Natalie Maines’ plaintive delivery makes the Dixie Chicks version the definitive one.
“Welcome Home” by Dolly Parton
from the 2003 album For God and Country
In a brilliant feat of songwriting, Parton weaves together four stories: a soldier returning home, a soldier dying overseas, Christ’s death and resurrection, and Parton’s own hope and longing for eternal salvation.
Friday, May 5, 2006 – The Palace of Auburn Hills, Michigan. For Faith Hill, it was just another stop on her Soul2Soul II tour with her superstar husband Tim McGraw. For young 14-year-old Ben Foster, it was my very first live concert experience (or at least the first that did not entail bringing a picnic blanket), and it was one that I never forgot. I still have the ticket stub.
I became a Faith Hill fan at a young age, and I became an even bigger fan as I grew older. As I set about acquiring all six of her Warner Bros. studio albums, my admiration for this talented artist only grew. To one who knows Faith Hill only for crossover pop hits like “Breathe,” “This Kiss,” and “The Way You Love Me,” it might come as a bit of a surprise what a strong album artist she was. Besides that, she possessed genuine country sensibilities in addition to the pop diva persona that she became so well known for.
As I continue to eagerly await Faith Hill’s return with her seventh studio album, I’m thrilled to share my 25 personal favorites out of her eclectic catalog of tunes. Many of these songs were substantial hits, but I’ve also left off a few well-known singles in favor of some lesser-known hidden treasures. As always, please feel free to share your own favorites in the comments section.
“The Way You Love Me”
Now, don’t give me that look. We’re all entitled to a little guilty pleasure time, aren’t we? Look, I still don’t know what “If I could grant you one wish, I wish you could see the way you kiss” is supposed to mean, and I’m guessing you don’t either. But what I do know is that Faith Hill somehow managed to craft a ridiculously catchy piece of pop-country nonsense that had me hopelessly hooked ever since I first heard it over a decade ago. I couldn’t not love it if I tried.
Take Me As I Am, 1993
Faith’s 1993 debut single is an enjoyable and fitting introduction to a major talent. The lyrics portray a free-spirited teenage girl who, in addition to having a rebellious streak a mile wide, is a proactive go-getter who takes life as it comes. “Life is hard,” but she says “That’s all right.” It’s an effortlessly charming record, and yet at the same time, it almost seems like an hors d’oeuvre in comparison to the deep and insightful material Faith would tackle in the future.
“Sleeping with the Telephone” (with Reba McEntire)
Reba McEntire – Reba Duets, 2007
With this fantastic collaboration from Reba’s 2007 duets project, Faith and Reba play the parts of two neighbors, each of whom is married to a man who risks his life on a daily basis. Their circumstances are different, with one husband being a soldier and the other being a police officer, but each wife copes with the same troubling feelings of deep worry and anxiety. But honestly, this track is a shoo-in just for the pure pleasure of hearing Hill and McEntire, two of country’s most dynamic vocal powerhouses, paired together – trading verses and blending their voices in harmony on the soaring chorus.
“Let Me Let Go”
A brokenhearted woman tries to move on in the wake of a break-up, but is unable due to the unshakable feeling that they really were meant to be together. (“If this is for the best, why are you still in my heart, are you still in my soul?”)
“Someone Else’s Dream”
It Matters to Me, 1995
The story of a young woman gradually discovering her own distinct identity, and discovering that her parents’ hopes and dreams will never be hers. When the song reaches its final bridge, the young woman has firmly made her decision: “She’s got twenty-seven candles on her cake, and she means to make her life her own before there’s twenty-eight.”
“Love Ain’t Like That”
In a clever composition with some classic Matraca Berg lines, Faith debunks a series of mistaken ideas about what love is really about, while also underscoring the importance of commitment in a lasting relationship. Favorite lines: “You can’t buy it at the store, try it on for size, bring it back if it don’t feel right.… You can’t trade it in like an automobile that’s got too many miles and rust on the wheels.”
“Let’s Go to Vegas”
It Matters to Me, 1995
The unshakable joyfulness of “Suds In the Bucket” meets the wide-eyed charm and innocence of “She’s In Love with the Boy.” From the light airy arrangement to Faith’s enthusiastic performance, “Let’s Go to Vegas” embodies all of the youthful romantic excitement found in that one little moment of “Hey, I just had a crazy thought…”
The Hits, 2007
This one might have come across as an attempt to re-visit the power ballad euphoria of “Breathe,” which it might have been, but it carries an extra air of mystery that gives it a distinct identity separate from its predecessor, while the melody and performance make the song captivating on its own merits alone.
“What’s In It for Me”
On the kickoff track of Faith’s runaway success of an album, her performance sounds like the release of an eternity’s worth of pent-up fury. The aggressive country-rock production, combining awesome guitar work with some mighty fierce fiddling, added up to a record that sounded truly ferocious.
“The Secret of Life”
In this philosophical number written by the ever-excellent Gretchen Peters, several men drinking in a bar ponder over the fabled “Secret of Life,” eventually concluding that “The Secret of Life is nothing at all.” Faith’s half-sung, half-spoken performance brought the conversational tone to life, taking a song that was hardly radio-friendly, and turning it into a Top 5 hit.
A full-on pop power ballad in which Faith strikes the delicate balance of exercising her powerful pipes in a fiery delivery, while still retaining the emotional connectivity of a great country record. Her formidable vocal prowess is on full display, but even the biggest power notes are still colored with a deep emotional quiver.
Faith Hill took the pop-country power ballad to new heights with this cross-genre career-defining hit.
Regardless of how overexposed the song might have been, it’s a memorable record for the way it combines physical attraction with the warmth and comfort found in true love, while also displaying the increased power and fullness that Faith’s voice had acquired over the years.
“I Can’t Do That Anymore”
It Matters to Me, 1995
This Alan Jackson-penned ballad puts into song the frustration, exhaustion, and hurt of a sunken housewife worn down from constantly striving to please her unappreciative husband
“I Need You” (with Tim McGraw)
Tim McGraw – Let It Go, 2007
Of all Faith’s collaborations with her famous husband, this is one of the best. This was only their second full-fledged duet single (with their first being “Let’s Make Love”). The restrained arrangement lends a deeply intimate romantic feel to the record, while both vocalists give killer performances. Tim McGraw digs deep into his lower register, while Faith’s soaring performance elevates the record to greatness. Never before or since had their chemistry been captured as effectively as it is here.
This track served as one of the lighter moments on the mature and compelling collection of songs found on Faith’s Fireflies album. The plucked-out, nearly-hillbillyish country-bluegrass arrangement sounds worlds removed from polished crossover number like “Breathe.” In a song ripe with clever and silly lines, Faith steps into the minister’s shoes at a backwoods white trash wedding. The flirt of a bride is three months late, and the groom is “checkin’ out the bridesmaids, thinkin’ that he might take the maid of honor’s honor.” Fittingly, Faith ices the cake with a closing line of “Y’all come back now, ya hear?”
“A Man’s Home Is His Castle”
It Matters to Me, 1995
Listening to this song is like peeking in the windows of a home torn apart by domestic violence. “Castle” takes on an added level of realism in that it gives a voice to the battered woman, and even gives the couple names (Linda and Jim). The victimized woman is hurt, angry, and desperate, and every tortured emotion is conveyed in the lyrics, which make no attempt to tamper the song’s impact with a manufactured happy ending.
“Take Me As I Am”
Take Me As I Am, 1993
Could it be? A love song that brings maturity and self-realization to the table without sacrificing the joy and
giddiness of newfound romance? Faith delivers exactly that with the title track to her debut album, which includes standout lines like “I’d trade a million pretty words for one touch that is real,” as well as romantic lines like “Baby, don’t turn out the light… I wanna see you look at me.”
“Like We Never Loved At All”
A delicate piano intro with strains of steel set the tone for a beautiful ballad of a woman who struggles to move on after a breakup, while her pain in increased by the realization of how easily her former flame seems to have moved on. The song is bolstered by Tim McGraw’s harmony vocal, while memorable visual images (“There… walking with your friend, laughing at the moon… I swear you looked right through me”) bring the narrator’s pain down to a strikingly relatable level.
“It Matters to Me”
It Matters to Me, 1995
An expression of hurt feelings that is all the more effective for its simplicity and straightforwardness: “When we don’t talk, when we don’t touch, when it doesn’t feel like we’re even in love… It matters to me.” How much more direct can you get?
“When the Lights Go Down”
Faith’s 2002 set Cry was criticized by some for going in a straight-up adult pop direction. But the detractors often missed the fact that Cry is a fantastic pop album, which includes some of the best songs Faith Hill has ever recorded. Exhibit A is “When the Lights Go Down” – a stunning musical testament to the clarity and inescapability of ultimate truth, elevated by Faith’s showstopping vocal performance. The song takes on a tone of positivity as it highlights the fact that life’s most turbulent experiences afford us the opporunity to discover our own inner strength. Easily one of the finest tracks on the Cry album, it’s a shame it wasn’t fully embraced by radio.
“You’re Still Here”
It’s hard to go wrong with a Matraca Berg/ Aimee Mayo song. In a similar vein to Trisha Yearwood’s “On a Bus to St. Cloud,” “You’re Still Here” is a tale of the love that’s long gone, most likely in death, but whom the narrator still sees in her dreams, in her baby’s eyes, and everywhere else. At one point she even says “I heard you in a stranger’s laugh, and I hung around to hear him laugh again, just once again.” It’s an achingly beautiful lyric, delivered in one of Faith’s finest and most emotionally-resonant performances on record, while the soft touches of oboe in the arrangement add layer of mystery to the track.
“Wish for You”
A mother’s expression of all that she wishes for her child. It’s made even more touching by the fact that she never once makes the wish that everything in life will go perfectly for her child. Instead, she simply wishes that, when things do go wrong, her child will pick herself back up, move on, and be a better person because of it. That keeps the song from coming across as cheesy, instead deepening its emotional impact, and keeping it firmly grounded in real life.
“If My Heart Had Wings”
Sometimes it irritates me when certain female artists constantly feel the need to belt out their songs at the top of their lungs. In the case of “If My Heart Had Wings,” however, I can’t imagine the song being sung any other way. Begging to be blared at high volume in one’s car with the windows rolled, “If My Heart Had Wings” is three and a half minutes of pure pop-country euphoria.
Does this song even need a caption? Probably not, but here it goes anyway. “This Kiss” is a perfect sonic encapsulation of all the joy and romantic giddiness of a newfound love (and yet it came out when Taylor Swift was still in grade school). There are few pop-country tunes that are able to achieve such high levels of catchiness, or to give the replay button a workout like this song does.
Mature, intelligent, and insightful – exactly the kind of material country radio is perpetually in need of, and yet all too often shies away from. “Stealing Kisses” plays like a sequel to the innocent youthful “Love Story”-esque material of artists such as Taylor Swift. As a young woman, the narrator is “stealing kisses from a boy” only to find herself a housewife “begging affection from a man” with the passage of time.
Lori McKenna writes a beautiful song, and Faith Hill beautifully sings it. The song was released as the fifth and final single from Fireflies, and though it only scraped the bottom of the Top 40, it offered one of those rare and special moments when the voice of the adult woman was heard on country radio. Faith Hill and her label are to be commended for having the guts to send it to radio in the first place. A definite career highlight, “Stealing Kisses” aptly demonstrates that, at her best, Faith Hill is just as capable of delivering deep, substantial material as she is capable of serving up a tasty morsel of ear candy.
Despite the dated keys, light swells of synthesizers and layered background vocals, “Can’t Be Really Gone” manages to be McGraw’s most compelling single to that point in his career both in content and performance.
Unlike “Don’t Take the Girl”, “Can’t Be Really Gone” doesn’t have to pull out any stops of overwrought heartstring pulls to pack a good punch. In fact, it straightforwardly captures the feeling of disbelief that accompanies a surreal event like having somebody in your life one minute and then the next minute trying to comprehend the knowledge that he or she is gone. In this case, little details of everything still in their places, including a book that is almost completely read, only heighten the disbelief and denial of this man’s situation.
Until this single, McGraw sang with an exaggerated twang that often threatened to sound more silly than serious. His quiet, melancholy vocal performance on this record, however, demonstrates that he is capable of properly interpreting a song when it is necessary, which is something that he gets even better at proving as his career progresses.
Tim McGraw’s third number-one hit is an odd record to review, as it somehow defies the typical appraisal. How does one even explain it? The lyrics are silly. It’s extremely cheesy. It’s sole purpose of existence is to get the listener to sing along, so it throws everything it has into reaching that goal. The second it comes on the radio, you can’t help but start bopping out to it. You start singing along before you know it. Then you might get tired of it to the point that you can’t stand to hear it. But after a short time, you find yourself blasting it out your car windows again.
Maybe it’s the ridiculously catchy melody. Maybe it’s the fiddle and barroom piano that hooks you. Maybe it’s the way Tim just owns it with his infectiously playful Southern drawl. Somehow, he totally sells the puppy-love tale of a guy dressing up, cleaning the house, holding the door open, and doing anything else he can think of to spoil his teddy-bear-loving girlfriend.
All I think to say is… “I like it, I love it… I can’t rise above it.” Just listen, and try to understand.
Written by Mark Hall, Jeb Stuart Anderson, and Steve Dukes
By all laws of logic and reason, I should hate this song. But I don’t.
I like that the lyrics move by quickly enough that you can enjoy the rhyme without having to linger over their inanity. McGraw’s vocal is a bit goofy, but not to the point that you doubt he’s actually a bit heartbroken.
And hey, the song’s central concept actually works, helping it rise above an otherwise corny title.
The intense heat of McGraw’s record sales helped propel a handful of middling songs to the upper rungs of the chart.
This one went all the way to #1. Fair enough, as it’s quite a few notches above the singles that came before and after it. It has a sense of its own scale, with a beefed-up production that doesn’t get too overwhelming. That’s a good match for a song that makes bold claims of love but without too many superfluous or sappy lyrical images.
He’s still singing a bit too high, but this one won’t make the alley cats come runnin’.