Country Universe - A Country Music Blog » Todd Snider

Someone Like You

Kevin John Coyne — Fri, 02 Sep 2011 00:56:48 +0000

I didn’t expect much.

I’ve had the Adele album for a good bit now, and “Someone Like You” is my favorite track on it. I’d already heard how the song shot to #1 in the U.K. after she performed it on the Brit Awards.

I checked out that performance, and thought it was good. Not great, but good.

So when I heard all the buzz about her performance of the song on Sunday’s MTV Awards, I didn’t rush to check it out, and ended up just watching it last night out of boredom.

I can’t tell if it’s because she was a bit hoarse, or if she was trying to hold back her tears. Either way, it was so stunningly powerful that I was even a bit shaken up by the whole thing.

I know that there’s going to be the inevitable claims of authenticity and real talent and such, which makes sense given the pop landscape that she’s performing in. But honestly, it’s been a really long time since anything has happened on a country music stage that’s even come close to what Adele pulled off that night.

It reminded me of Reba McEntire’s performance of “For My Broken Heart” on the 1991 CMA Awards. She’s a seasoned pro who rarely misses a note, but she tears up so much in the final chorus that she can’t get the notes out, and imperfection that makes the performance timelessly perfect:

http://www.youtube.com/watch?v=3s9mQXISe_I

I can’t find the clip online, but it also reminded me of Vince Gill singing “The Key to Life” on the 1998 show, also breaking down in the final few lines of the song. I miss moments like this in country music.

No wonder I’m so awfully disinterested in country this year. Besides the usual mainstream drivel, I’ve also been disappointed by new albums from usually reliable folks like Dolly Parton, Todd Snider, Alison Krauss & Union Station, and even Emmylou Harris. I’ve taken to pretending that The Civil Wars are somehow country so that I don’t write the genre off completely this year.

The only thing I’ve really loved so far? Matraca Berg’s The Dreaming Fields. It’s got that same rawness that must be speaking to me for some reason these days. There’s no chance of Berg making it back on the radio in 2011, but with all the shameless format-hopping that’s been allowed by country programmers in recent years, maybe we can get them to give a few spins to Adele.

Best of 2011?

Kevin John Coyne — Wed, 29 Dec 2010 02:25:00 +0000

End-of-year lists abound, and we still have another on the way. But what about the best albums of 2011?

We’re in that super cool period of anticipation, where we wonder what the albums we know about will sound like, and hope that the albums that we don’t know about will be from artists who we can’t get enough of.

Right now, the announced albums that I’m most pumped for are the 2-CD live album from Todd Snider and the new studio album from Alison Krauss, both scheduled for release in early 2011.

Among the unannounced, I’m pining for new studio albums from Dwight Yoakam and Shania Twain. Feels like a lifetime since either had a proper album of new material.

If we’re getting into pipe dreams, I’ll add a new Dixie Chicks set into the mix.

What albums are you hoping for in 2011?

iPod Check: Hidden Treasures

Kevin John Coyne — Thu, 17 Jun 2010 00:46:00 +0000

This edition of iPod Check is all about those great songs that you love which aren’t that well known. Put your iPod or favorite playlist on shuffle, then list the first ten songs that come up which weren’t singles or widely heard album cuts.

Bonus points for a little blurb with each song!

My list is after the jump.

1. Shania Twain, “Whatever You Do! Don’t!”

Only four of the sixteen tracks from Come On Over weren’t released as singles for one market or another. It features the creative use of fiddles that would become so prominent on Up!

2. Todd Snider, “Maybe You Heard”

From the Kris Kristofferson tribute album The Pilgrim, it’s a powerful challenge to friends who aren’t friends in need: “Don’t you condemn him. Leave it to strangers. You oughta know to give him a hand if you can.”

3. Bonnie Tyler, “Have You Ever Seen the Rain”

Creedence Clearwater Revival as arranged by Jim Steinman? As the opener of the album that features “Total Eclipse of the Heart”, it’s surprisingly effective.

4. Willie Nelson, “Rainbow Connection”

A lot of his covers don’t work – “Time After Time”, anyone? But this one does, taking a Kermit the Frog standard and elevating it to the league of “Imagine.”

5. Bruce Robison, “Can’t Get There From Here”

Why Tim McGraw or Keith Urban haven’t covered this yet is beyond me: “I’m on a road that’s going nowhere, looking for a place that I belong. The wind’s pushing me in all directions, and none of them look like home.”

6. Tim McGraw, “Tickin’ Away”

Time is running out, and not just because closing time is drawing near.

7. Johnny Cash, “I See a Darkness”

This time the friend in need is there, but that’s not enough to halt his desperation from spiraling out of control.

8. Lorrie Morgan, “Greater Need”

“It seems like I want you around me a little more than you want to be, so I guess I’m the one with a greater need.” Killer.

9. Joe Diffie, “Good Brown Gravy”

They didn’t call him Joe Ditty for nothing. But this one’s a riot!

10. Madonna, “‘Til Death Do Us Part”

From her post-divorce classic Like a Prayer, this is one of the most nakedly revealing songs I’ve heard. “The bruises they will fade away. You hit so hard with the things you say. I will not stay to watch your hate as it grows. You’re not in love with someone else. You don’t even love yourself. Still, I wish you’d ask me not to go.

What are your ten hidden treasures?

Single Review: Jack Ingram, “Barbie Doll”

Dan Milliken — Mon, 31 May 2010 08:34:52 +0000

Country, blues and rock ‘n’ roll – mostly the lattter two – combine for a hearty serving of frat boy fun on Jack Ingram’s latest single. “Barbie Doll” has been a fan favorite since its initial release on Ingram’s 1999 set Hey You, but this latest iteration boasts a driving arrangement that may finally get the track on mainstream radio.

The song marries Ingram’s straightforward hook sense to Todd Snider’s rambling barroom-sage style, wringing as much talk as it can out of a pretty slight premise (“dude, that girl you’re checking out is a total B-word”) and culminating in a big group shout-a-long.

It would probably be annoying as hell coming from a Jason Aldean-type, but Ingram sells it, delivering the kind of loose, grinning performance that can only be honed by performing one’s art for untold numbers of drunk guys.

I must say that part of me misses the slow-burning spite of the song’s earlier arrangement, but this rocked-up reinterpretation works in its own way, and the track still sounds fresher than most Nashville product. Plus, this single edit omits the distracting Dierks Bentley cameo featured on the album. Plus, Todd Snider still co-wrote it.

So “Barbie Doll” 2.0 turns out, y’know, pretty darn fun. A little mindless, maybe a bit of a sellout, but hey – I’ll get drunk to it.

Written by Jack Ingram and Todd Snider

Grade: B+

Listen: Barbie Doll

Buy (be warned: only the inferior version with Dierks Bentley is currently available for purchase):

Best Country Albums of 2009, Part 2: #10-#1

Dan Milliken — Fri, 15 Jan 2010 19:44:59 +0000

Round 2 – FIGHT!

#10
Play On
Carrie Underwood

World: meet Underwood. She’s fiercely compassionate and endearingly idealistic (the riveting “Change”). She holds her beliefs with a firm but quiet conviction (“Temporary Home”). She’s as comfortable and convincing at tearing down a wrong-doer (the Dixie Chicks-esque “Songs Like This”) as she is nursing an irreparable heartache, whether it’s in the form of a haunting country standard (“Someday When I Stop Loving You”) or a rich pop ballad (“What Can I Say?”). And she’s one of the most gifted vocalists of this generation, possessing an instrument that, when colored and layered with emotion as she’s aptly learned to do on Play On, can have bone-chilling effects.

Like it or leave it, Play On is the most authentic encapsulation of Underwood’s artistry and persona to date, and serves as an exciting glimpse at how far a little growth can carry her. The best is yet to come, but in the meantime, the “good” is pretty damn good. – Tara Seetharam

#9
Sara Watkins
Sara Watkins

As most people know by now, Sara Watkins is the female member of the now-disbanded (hopefully temporarily) New Grass trio, Nickel Creek. While Nickel Creek was difficult to classify in a certain genre (not bluegrass, not country), they were embraced by bluegrass and country music fans alike. Each member of the popular trio has released intriguing projects outside of Nickel Creek, but Watkins’ album has assumed the most decidedly country direction of them all. As a result, we are treated to a sublime album thanks to Watkins’ sweet voice and a set of impressively solid songs. – Leeann Ward

#8
Live at Eddie’s Attic
The Civil Wars

When Alabama singer/songwriter John Paul White and eleven-time Dove Award nominee Joy Williams formed the Civil Wars, their first release Live at Eddie’s Attic (available for free download) appeared to be purely publicity, not something one expects to be spectacular. Yet, Live at Eddie’s Attic is exactly that, excelling in the emerging acoustic movement that floats along the outskirts of country much like the most pop-oriented country radio fare, albeit in its own direction. – William Ward

#7
Live on the Inside
Sugarland

I’ve never heard a live album that has so made me long to see an act in concert. Sure, the live versions of the hits are solid, especially the marriage of “Joey” with Nightswimming,” But it’s the broad selection of interesting covers that make this essential listening. Where else can you hear Pearl Jam and Kings of Leon songs alongside songs by The B-52′s and Edie Brickell & The New Bohemians? – Okay, fine. Satellite radio. But you won’t hear Nettle’s irreplaceable drawl wrapped around them anywhere else. – Kevin Coyne

#6
Revolution
Miranda Lambert

If Crazy Ex-Girlfriend was the album that commanded us to sit up and take notice of Lambert, Revolution is the album that lures us in, one intriguing, introspective song at a time. By shedding the authentic but limiting aggression-heavy skin of her previous album, Lambert is free to explore the complex of emotions behind her fierce persona, in songs that range from poking tongue-in-cheek fun (“Only Prettier”) to honestly and accessibly conveying love (“Love Song”). And it should be noted that, while Lambert has honed her songwriting skills to a tee on Revolution, her largely underrated vocal skills are perhaps equally superb on this album; this is no more apparent than on the touching, beautifully restrained “The House that Built Me.” – TS

#5
Written in Chalk
Buddy & Julie Miller

A textbook Americana album – textbook in the sense that it truly does blend a wide range of roots sounds, and in the sense that it’s really freaking good. What you get here is part warm country (“Ellis County”), part dirty rock ‘n’ roll (“Gasoline and Matches”), part quiet folk (“Chalk”), and even part slow-burning jazz (“Long Time”). The common thread is immaculately crafted melodies and productions which nail the essence of each song’s emotional point.
- Dan Milliken

#4
Willie and the Wheel
Willie Nelson & Asleep at the Wheel

Three decades in the making, Willie & The Wheel came to us in a swingin’ flurry at the beginning of 2009, setting the bar so high for future albums that very few were able to outshine it. It’s one of those rare albums that sounds inspired from start to finish, as though not one single note of the wildly energetic, masterfully performed disc was taken for granted by its creators. Given the current musical landscape, Willie & The Wheel may feel like a tribute to Western Swing, but make no mistake: distinct and compelling, this is an album that embodies and, in many ways, enhances Western Swing – a classic on its own merits. – TS

#3
The Excitement Plan
Todd Snider

The Excitement Plan is more acoustic than some of Snider’s previous work (thanks to producer Don Was), but the clever turn of ideas and his trademark relaxed delivery is ever-present. As always, Snider gently pokes a stick at the world, along with himself, as he views life’s situations through his typically goofy, but insightful, lens. Album highlights include the retro-sounding “Don’t Tempt Me” (with Loretta Lynn), the self-aware/self-deprecating “Money, Compliments, Publicity (Song Number Ten)” and the simple “Corpus Christi Bay.” With a string of quality and engaging albums under his belt, it’s heartening that The Excitement Plan manages to be one of Snider’s most solid projects so far. – LW

#2
Midnight at the Movies
Justin Townes Earle

Justin Townes Earle’s largest claim to fame is still a matter of his family tree, despite musical differences that, in many ways, make comparisons with his acclaimed singer/songwriter father quite challenging. Midnight at the Movies continues Justin’s argument for fame under his own merits, highlighting his less political and more personal writing with a warm voice much less worn than his father’s. It also provides one of the strongest songs of the decade, “Mama’s Eyes,” an epic wrapped up in a package so tiny it leaves you wondering how it was done. – WW

#1
Satisfied
Ashley Monroe

Satisfied was supposed to be released in 2006, but since the album did not produce any top 20 singles, Columbia Nashville held the album instead of officially releasing it. It did momentarily find its way onto digital retail outlets for a month, just long enough to gain hype by ardent supporters who recognized that Satisfied was a real gem that deserved to be officially released to the public. Fortunately, the powers that be at Columbia (though Monroe and the record label had long since parted ways) finally decided to re-release the digital version of the album in May 2009, this time for good.

While Monroe was merely nineteen years old when she recorded this album, she neither caters to the teen crowd nor overreaches to prove her maturity. Instead, her warm, clear crackling voice simply sings of what she knows. From her playful duet with Dwight Yoakam (“That’s Why We Call Each Other Baby”) to introspective compositions such as “Hank’s Cadillac” and the album’s title track, Satisfied is smart without being pretentious, contemporary without being bubblegum and traditional without being stale. – LW

The 201 Greatest Singles of the Decade, Part 3: #160-#141

Dan Milliken — Wed, 16 Dec 2009 08:27:09 +0000

The 201 Greatest Singles of the Decade, Part 3: #160-#141

#160
“Last Call”
Lee Ann Womack
2008
Peak: #14

Womack’s second-best Aughts song about late-night temptations is still better than a lot of people’s first-best songs about anything. Even in avoiding her drunken ex’s advances, she sounds positively heartbroken, suggesting she’d gladly make the other decision if she didn’t know better. – Dan Milliken

#159
“She’s Not Just a Pretty Face”
Shania Twain
2003
Peak: #9

Her motivation for her music has always been escapism, but I love the personal touch she slips into this one. Her late mother is the one who she’s referring to when she sings “at night, she pumps gasoline.” – Kevin Coyne

#158
“Wild West Show”
Big & Rich
2003
Peak: #21

Big & Rich’s loud “Save A Horse (Ride A Cowboy)” overshadowed this quieter song that showcases Big Kenny’s and John Rich’s supreme harmonies, their biggest asset. – Leeann Ward

#157
“Muddy Water”
Trace Adkins
2008
Peak: #22

A gospel-infused, fervent plea for forgiveness, fueled by the power of Adkins’ rumbling vocals. – Tara Seetharam

#156
“Real Live Woman”
Trisha Yearwood
2000
Peak: #16

We didn’t get any new music from Bobbie Cryner this decade, but at least we got a couple of songs, this one being the best. It’s an understated anthem to be sure, but who wouldn’t want to hold in his arms a woman with such hard-earned self-confidence? – KC

#155
“Settle for a Slowdown”
Dierks Bentley
2006
Peak: #1

The haunting opening strains of this song are captivating enough, but the ultimate strength of “Settle for a Slowdown” lies in the palpable desperation of the man who knows his relationship is over, but doesn’t want it to end: “I know there’s nothin’ stopping you now, but I’d settle for a slowdown.” – LW

#154
“How’s the World Treating You?”
Alison Krauss & James Taylor
2003
Peak: Did not chart

Some songs simply get more interesting when you turn them into male/female duets, where the same sentiment is expressed on both sides of a romantic divide. This is one of those songs. – DM

#153
“Trying to Stop Your Leaving”
Dierks Bentley
2008
Peak: #5

Poor Dierks Bentley isn’t having much luck with the ladies. Much like in “Settle for a Slowdown”, the narrator of “Trying to Stop Her Leavin’“ knows his relationship is over, but is still holding onto a shred of hope. It seems that the odds are against him and she’s leaving no matter how hard he tries to stop her. The song, with its pulsating undercurrent, successfully creates the atmosphere of urgency. – LW

#152
“Family Tree”
Darryl Worley
2002
Peak: #26

“Family Tree” seems to depict a chaotic household that’s still happy to add yet another limb to their family tree. Worley’s manic performance suggests joy and, perhaps, a hint of resignation as well. – LW

#151
“Brokenheartsville”
Joe Nichols
2003
Peak: #1

“Here’s to the past; they can kiss my glass.” If that’s not a classic drinkin’ song, I will kiss your glass. – DM

#150
“Johnny & June”
Heidi Newfield
2008
Peak: #11

Many a country song tries to get by on the sheer strength of the names it drops, but Newfield bypasses exploitation with “Johnny and June.” Instead, she creates a metaphor of a song that is so vigorous and so impassioned that you can’t help but feel at least a smidgen of the Cashs’ fiery love. – TS

#149
“Down in Mississippi (Up to No Good)”
Sugarland
2006
Peak: #17

In which a bored housewife and her two best friends head down to the Delta for some gambling, or possibly some sleeping around expressed in gambling metaphors. Not totally sure which, but apparently all you can see during it is asses and elbows. – DM

#148
“I Play Chicken with the Train”
Cowboy Troy with Big & Rich
2005
Peak: #48

Scoff if you must. But this decade has been marked by countless attempts to sneak outside musical styles into the mainstream country tent, and it’s a trend worth documenting at its best and worst. Troy’s “hick-hop” probably gave us some of both, but it’s certainly easy to admire this deliriously catchy, danceable debut single, even if only for camp value. – DM

#147
“My Give a Damn’s Busted”
Jo Dee Messina
2005
Peak: #1

In this playfully sassy number, Messina just don’t give a damn. – TS

#146
“Me And God”
Josh Turner with Ralph Stanley
2006
Peak: #16

Not only is “Me And God” more traditional than what radio tends to play; Josh Turner stood firm against pressure to remove Ralph Stanley from the radio version. The song is a simple and joyful depiction of an intimate relationship with God. Instead of the fire and brimstone image in “Long Black Train”, “Me and God” defines Him as a beloved companion and friend. – LW

#145
“It Must Be Love”
Alan Jackson
2000
Peak: #1

It’s a shame that it’s hard to imagine a song like this climbing today’s charts. Jackson’s cover of Don William’s 1979 hit is a simplistic, delightfully charming take on the joy of being in love. – TS

#144
“If Something Should Happen”
Darryl Worley
2005
Peak: #9

A man makes preparations for his best friend to look after his family, should something go wrong. Good dad. – KC

#143
“Lovin’ All Night”
Patty Loveless
2003
Peak: #18

It’s not easy to greatly outshine a Rodney Crowell original, but Emmylou Harris does it with Crowell’s “Leavin’ Louisiana in the Broad Daylight” and Patty Loveless does it with “Lovin’ All Night.” Loveless adds an addictive energy to this flirtatious song, which resulted in a radio comeback of sorts for her. – LW

#142
“Looking for a Job”
Todd Snider
2006
Peak: Did not chart

Snider plays an ex-con fed up with his new boss’ crap, producing one of country’s sharpest work anthems in years. – DM

#141
“Who You’d Be Today”
Kenny Chesney
2005
Peak: #2

A painfully sad song about a loved one who died too young. I still can’t watch the video without getting chills and tearing up. – 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

Recommend Ten Tracks: 2009 Edition

Kevin John Coyne — Sun, 13 Dec 2009 02:15:37 +0000

Can’t say that I’m loving country music in its 2009 version, though my steadfast allegiance to the genre runs deep, so I hold out hope as a new decade is about to begin. Tonight, I’m recommending ten tracks from albums that were released this year. I’ve avoided singles so there’s some sense of discovery. I look forward to discovering music that I missed through the comments!

Recommend Ten Tracks: 2009 Edition

Lorrie Morgan, “I’m Always On a Mountain When I Fall” from A Moment in Time

I love the effect that was created by having this album recorded live in the studio. It’s like hearing her in a smoky nightclub. This is by far my favorite track on the album, a loser’s lament that was quite worthy of revival.

Aaron Tippin, “Prisoner of the Highway” from In Overdrive

He already has the default voice of the overworked working man, so his world-weary vocal is a perfect fit for this song about an imprisoned by the freedom of the road.

Miranda Lambert, “The House That Built Me” from Revolution

I find her new album to be a bit unwieldy as a whole, but I love this particular track about a woman asking the new owner of her childhood home to allow her some time alone with the place that raised her. Having just sold our family home of thirty years, this song has been resonating with me, as we truly can’t go home again.

Todd Snider, “Money, Compliments, Publicity (Song Number 10)” from The Excitement Plan

The wry and witty folkster at his most wry and witty, yet still spilling out nuggets of brilliance from the corner of his mouth.

Carrie Underwood, “Someday When I Stop Loving You” from Play On

Don’t count me among the folks that wish that Underwood would just stick to simple songs like this with quiet arrangements that showcase her voice at its most tender. I like my pop-country and want some more, thank you very much. But for those of you who just want to hear that voice and the barest of accompaniment, this track is golden.

Patty Loveless, “When the Last Curtain Falls” from Mountain Soul II

Given the preference, I’ll take my Patty Loveless down from the mountain. I love that pure country voice contrasted against electric instrumentation. But the best reason to listen to Patty Loveless is to hear her wrap her voice around complicated and truly adult material that reflects the reality of life and love. This track could stand toe to toe with the best of her material to date.

Tim McGraw, “If I Died Today” from Southern Voice

It’s not nearly as accessible an assessment on one’s own morality as “Live Like You Were Dying”, but it’s a heck of a lot more believable than sixteen seconds on a bull named Fu Man Chu.

Love and Theft, “Slow Down” from World Wide Open

He’s talking to life and it’s a sadly beautiful conversation.

Holly Williams, “Birds” from Here With Me

This song is hauntingly gorgeous, a requiem for a dying love and a wishful hope for the new love that has yet to come.

Keith Urban, “Thank You” from Defying Gravity

Urban’s explorations of his demons have produced some of his best tracks, like “You’re Not My God”, and this one is a winner, a love letter to the wife that helped pull him away from the precipice.

The 100 Greatest Albums of the Decade, Part 8: #30-#21

Kevin John Coyne — Tue, 08 Dec 2009 07:23:37 +0000

The 100 Greatest Albums of the Decade, Part 8

#30
Trisha Yearwood, Heaven, Heartache, and the Power of Love

The latest album from Trisha Yearwood was one of her best yet, with a surprisingly loose sound and quite a few more uptempo tracks than is the norm for this queen of the ballads. The best moments came from the pens of female songwriters, most notably the poignant “Dreaming Fields” penned by Matraca Berg. – Kevin Coyne

Recommended Tracks: “This Is Me You’re Talking To”, “Dreaming Fields”, “Sing You Back to Me”

#29
Pam Tillis, Rhinestoned

On Rhinestoned, Pam Tillis demonstrates that she need not limit herself to covering her father’s songs in order to make a stellar traditional leaning album in her own right. The album, co-produced by Tillis, is consistent with accessible melodies, gentle, classic arrangements and impressively nuanced performances. While this is Tillis’ best album of the decade, it’s also possibly the best of her substantive career. – Leeann Ward

Recommended Tracks: “Something Burning Out”, Band in the Window”, “Life Has Sure Changed Us Around” (with John Anderson)

#28
Patty Loveless, Dreamin’ My Dreams

The reigning Miss Country Covers has proven almost ad nauseam that she can re-render a standard with the best of them. But the might of Patty Loveless’ talent emerges more fully in her musically diverse contemporary albums, which allow her powerful voice to flex its complete range of colors and nuances. Those sets also exercise more of her taste, giving opportunity for song selections which, at their sharpest, present an inspiring vision of how country music can evolve without losing its core identity. Dreamin’ My Dreams is an achievement on both fronts, arguably one of the brightest moments in a very distinguished career. – Dan Milliken

Recommended Tracks: “Keep Your Distance”, “When Being Who You Are Is Not Enough”, “Nobody Here By That Name”

#27
Peter Cooper, Mission Door

Peter Cooper’s Mission Door is an album built around the most country of instrumentation, centered around Lloyd Green on steel guitar. Full of insightful glimpses of troubled lives, it might be considered a throwback, but on the strength of its writing and sound it never seems to try to exist in the past. – William Ward

Recommended Tracks: “All the Way to Heaven”, “715 (For Hank Aaron)”, “Sheboygan”

#26
Robert Plant and Alison Krauss, Raising Sand

Alison Krauss and Led Zeppelin’s front man, Robert Plant, are surely an unlikely duo. It turns out, however, that they managed to make one of the most intriguing duets projects of the decade. With vocal styles that are on opposite ends of the spectrum, they find a way to meld together to create an easy harmony that causes the listener to forget their vocal dissimilarities. Moreover, T Bone Burnett’s slow burning productions perfectly compliment this diverse set of songs to make it a legitimately cohesive record. – LW

Recommended Tracks: “Sister Rosetta Goes Before Us”, “Please Read the Letter”, “Through the Morning, Through the Night”

#25
Todd Snider, East Nashville Skyline

One of music’s most poetic songwriters lays bare his fears, demons and revelations, throwing in the requisite dry wit and some loosey-goosey social commentary for good measure. Snider has rarely sounded countrier, and he’s never sounded better. – DM

Recommended Tracks: “Alcohol And Pills”, “The Ballad Of the Kingsmen”, “Sunshine”

#24
Randy Travis, Worship & Faith

Randy Travis has dedicated most of this decade to his spiritual side. Of all of his gospel albums, this collection is the most traditional both in arrangements and content, which covers several beloved hymns, gospel and praise and worship songs. Travis sings these meaningful compositions with a depth of sincerity that truly makes partaking of this rootsy project a spiritual experience. – LW

Recommended Tracks: “He’s My Rock, My Sword, My Shield”, “Just A Closer Walk with Thee” (with John Anderson), “Sweet By and By”

#23
Sugarland, Love On the Inside (Deluxe Fan Edition)

More so than any act since the Dixie Chicks, Sugarland can fuse mainstream country with roots instrumentation in such imaginative ways that even pop audiences will lap it up. This is the best commercial country album from the tail end of the decade, powered by the Nettles/Bush songwriting chops and the awe-inspiring vocals of Miss Nettles. – KC

Recommended Tracks: “We Run”, “Keep You”, “Very Last Country Song”

#22
Keith Urban, Be Here

Urban is an exceptional vocalist, songwriter and guitar player, but what separates him from his contemporaries is the raw, explosive emotion he throws into his performances. Be Here finds him channeling this passion more vigorously than ever and in new, more revealing ways – like the wrenching confession, “Tonight I Wanna Cry.” Urban bypasses the role of interpreter on this album and simply inhabits the material; he’s as complex a person to be able to sing realistically, yet poignantly, of both life’s highest mountaintops and deepest valleys. Even further, Be Here is as accessible as it is personal, a quality that is perhaps what has made Urban one of the most accomplished recording artists in mainstream country music. – Tara Seetharam

Recommended Tracks: “Days Go By”, “Tonight I Wanna Cry”, “Live To Love Another Day”

#21
Neko Case & Her Boyfriends, Furnace Room Lullaby

Neko Case’s Furnace Room Lullaby is familiar with its use of reverb and Case’s overflowing voice. What may not be familiar for some is how much Case, who has moved more towards alternative influences with recent albums, draws from country influences on her sophomore album. – WW

Recommended Tracks: “Set Out Running”, “Porchlight”, “South Tacoma Way”

- – -

The 100 Greatest Albums of the Decade, Part 4: #70-#61

Kevin John Coyne — Thu, 03 Dec 2009 07:19:08 +0000

The 100 Greatest Albums of the Decade, Part 4

#70
Pam Tillis, It’s All Relative: Tillis Sings Tillis

By the time she released a tribute to her father Mel, she’d become something of a legend in her own right. So it’s no surprise that she approached Mel’s stellar songwriting catalog as if she was recording any other studio album, taking the best of the bunch and making them her own. Bonus points for preserving the original fiddle breakdown from “Heart Over Mind” while making that classic shuffle a forlorn ballad, and a few more for hitting the archives of the Country Music Hall of Fame until she found a forgotten gem that should’ve been a hit back in the day (“Not Like it Was With You.”) – Kevin Coyne

Recommended Tracks: “Mental Revenge”, “Detroit City”

#69
Dwight Yoakam, dwightyoakamacoustic.net

Yoakam takes a new, inspired spin on the greatest hits album concept, presenting us with a hearty sampling (over 20 songs) of his catalog served acoustic style. It simply works for the country legend. He introduces some delightful new twists and turns to his old classics, and as it should go with acoustic music, the album is driven by unadulterated, raw vocals, coupled with honest storytelling – the purest form of country music. – Tara Seetharam

Recommended Tracks: “A Thousand Miles From Nowhere”, “Things Change”

#68
Gillian Welch, Time (The Revelator)

Time (The Revelator) is Gillian Welch and David Rawlings with much of their typical production stripped away. Accompanied by acoustic guitar and banjo, Gillian sings with emotions as much as she sings notes that create a surprisingly full sound. – William Ward

Recommended Tracks: “I Want to Sing That Rock and Roll”, “Red Clay Halo”

#67
Reba McEntire, Reba Duets

That McEntire is able to smoothly and effortlessly wrap her voice around eleven other distinctive voices is a tribute to her sheer talent as an artist. With duet partners stretching from Justin Timberlake to Ronnie Dunn, McEntire presents a stunning, layered mix of sounds and styles, demonstrating that when gifted artists come together, no perceived boundaries can stop them from making good music. – TS

Recommended Tracks: “The Only Promise That Remains”, “When You Love Someone Like That”

#66
Lee Ann Womack, Call Me Crazy

Very few country artists can express pain more poignantly than Womack, who taps into a place of tender desperation with her highly-acclaimed 2008 album. The stories are deep and reflective, the sorrow palpable, and the production adeptly sparse – a potent combination. – TS

Recommended Tracks: “Solitary Thinkin’”, “Either Way”

#65
Nickel Creek, Nickel Creek

Nickel Creek has been nominated for Best Bluegrass Album and Best Country Instrumental Performance Grammys and won Best Contemporary Folk Album, yet the group does not easily fit into any of those categories. Produced by Alison Krauss, Nickel Creek’s self-titled album is their most bluegrass-influenced album. – WW

Recommended Tracks: “The Fox”, “The Hand Song”

#64
Sara Watkins, Sara Watkins

Sara Watkins’ self-titled debut holds more than a few surprises, including more country influence than you will hear from any of her former Nickel Creek bandmates’ solo work. Produced by John Paul Jones, pedal steel is prominent on Jimmie Rodgers’ “Any Old Time,” performed as western swing, “All this Time,” and Tom Waits’ “Pony.” – WW

Recommended Tracks: “All This Time”, “Give Me Jesus”

#63
Dierks Bentley, Modern Day Drifter

Rife with accessible melodies, solid lyrics and a penchant for traditional sounds, Dierks Bentley’s sophomore project, Modern Day Drifter, confirmed the promise that was only hinted at on his first album. The title of the album rightly suggests that Bentley will explore the components of breaking the chains of domesticity, which include the freedom (“Lotta Leavin’ Left to Do”, “Modern Day Drifter”, “Domestic Light and Cold”, “the Cab of My Truck”) and the ultimate consequences (“Settle for a Slowdown”, “Down on Easy Street”). Nevertheless, Bentley does not stop with those themes. He also finds room for common themes as love and loss, as demonstrated in the pretty “Good Things Happen”, the smoldering “Come A Little Closer” and heartbreaking “Gonna Get There Someday.” – Leeann Ward

Recommended Tracks:

#62
Todd Snider, The Devil You Know

An explosion of righteous anger over poverty with an undercurrent of joyous celebration of America’s underclass. You can never tell for sure if he sees himself as their advocate or their peer, but the songs are so powerful, it doesn’t really matter. – KC

Recommended Tracks: “Just Like Old Times”, “The Devil You Know”

#61
Rodney Crowell, The Houston Kid

After a string of somewhat underwhelming major-label releases in the 90′s, Rodney Crowell rebounded in a big way with this remarkably deep set on celebrated indie label Sugar Hill. Childhood joys and adult insights stand side-by-side in The Houston Kid, producing an emotionally rich and complicated survey of the album’s world. Such is the detail and soul of Crowell’s writing that every second comes across as autobiographical, even the ones that probably aren’t. – Dan Milliken

Recommended Tracks: “The Rock Of My Soul”, “I Walk The Line (Revisited)”

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100 Greatest Albums of the Decade, Part 2: #90-#81

Kevin John Coyne — Tue, 01 Dec 2009 10:38:26 +0000

The 100 Greatest Albums of the Decade, Part 2

#90
Miranda Lambert, Kerosene

On her first major-label album, Lambert reveals herself as a fiery, spirited artist with a lot to say, and a clever voice with which to speak. Her sharp songwriting skills, though a work in progress as we’d later learn, take her naturally from aggression to desolation and back again. But most notably, through Kerosene, Lambert got the traditionalists to pay a little more attention to mainstream country music and its more promising artists. – Tara Seetharam

Recommended Tracks: “Kerosene”, “I Can’t Be Bothered”

#89
Kris Kristofferson, This Old Road
This Old Road has not have received as much mainstream attention as Kristofferson’s recent appearance in Ethan Hawke’s Rolling Stone article; an unfortunate fact, given it was the legendary writer’s first album of new material in 11 years. With This Old Road, Kristofferson shines a spotlight on the world much in the same his earlier writing shined a spotlight on himself. The result is an overtly political album with more depth than most modern attempts have been able to produce. – William Ward

Recommended Tracks: “The Last Thing to Go”, “Pilgrim’s Progress”

#88
Guy Clark, Workbench Songs

The recordings of the songs that Guy Clark, one of country music’s most respected modern songwriters, has written for the most popular artists in country music are typically polished by the best Nashville musicians and slick producers. But Clark’s own albums tend to be more organic, with spare instrumentation that somehow manages to avoid sounding anemic as a result. His well worn voice sings these eleven melodically and lyrically strong songs with warmth and the kind of emotion that easily captures the listener. It’s one of the best albums of his deep catalog that spans over thirty years. – Leeann Ward

Recommended Tracks: “Walkin’ Man”, “Expose”

#87
Wynonna, What the World Needs Now is Love

It’s hard to believe that it’s been six years since Wynonna’s last proper studio album. This collection is easily one of her best, with effective covers like “I Want to Know What Love Is” and “Flies On the Butter”, along with socially conscious material that provokes thought instead of pandering to already held beliefs (“It All Comes Down to Love”). – Kevin Coyne

Recommended Tracks: “Sometimes I Feel Like Elvis”, “Rescue Me”

#86
Lee Ann Womack, I Hope You Dance

The massively successful title track powered this album to triple platinum, but it also overshadowed the excellent songs surrounding it. For those who explored the album beyond track two, there were some of Womack’s finest moments on record, as she had the good taste to plunder the catalogs of Bruce Robison (“Lonely Too”), Bobbie Cryner (“Stronger Than I Am”), Julie Miller (“I Know Why the River Runs”), and Rodney Crowell (“Ashes By Now”). – KC

Recommended Tracks: “Lonely Too”, “Does My Ring Burn Your Finger”

#85
Chris Thile, How to Grow a Woman From the Ground

This is the first album from the band that would eventually become Punch Brothers. Garnering a Grammy Award Nomination in 2006, How to Grow a Woman From the Ground is a solid bluegrass album with classical sensibilities and extraordinary instrumentation. – WW

Recommended Tracks: “Wayside (Back in Time)”, “Dead Leaves and the Dirty Ground”

#84
Ralph Stanley II, This One Is Two

Hyperbole alert, but it’s hard to think of a more beautiful-sounding traditional country album from this decade, or one which more comfortably merges old school aesthetics with modern production polish. Stanley corralled a number of meaty story songs here, but it’s the combination of his warm baritone and the lush instrumentation that gives this gem its quiet strength. – Dan Milliken

Recommended Tracks: “Cold Shoulder”, “They Say I’ll Never Go Home”

#83
Various Artists, Livin’ Lovin’ Losin’: Songs of the Louvin Brothers

Tribute albums too often feel redundant, as well-meaning artists deliver nice but forgettable imitations of classic records. Not so with the Louvins’, which sticks veteran and current artists alike on the Bros’ close harmonies and sees each intriguing combination (Pam Tillis and Johnny Cash? Why not!) triumph. I daresay it’s as good an introduction to the duo’s work as any compilation of their own recordings. – DM

Recommended Tracks: “How’s the World Treating You?”, “Are You Teasing Me”

#82
Todd Snider, The Excitement Plan

Snider mostly avoids both political themes and complex arrangements on his latest record, emphasizing his greatest strength as a writer instead: his uncanny ability to make the most specifically personal have universal resonance. Listen out for a wonderful cameo from Loretta Lynn on “Don’t Tempt Me.” – KC

Recommended Tracks: “Barefoot Champagne”, “Money, Compliments, Publicity (Song Number 10)”

#81
Mark O’Connor, Thirty-Year Retrospective (Live)

Mark O’Connor’s Thirty Year Retrospective is a double instrumental album of his live performance with Chris Thile, Bryan Sutton and Byron House. The album covers a wide range of Mark O’Connor’s career, presenting a range of instrumental country, bluegrass, new grass and jazz with the detail and care often only applied to classical music. – WW

Recommended Tracks: “Caprice No. 4 in D Major”, “Macedonia”

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