To recognize the impact that Alabama has had on modern country music, you could consider their millions of albums sold, their hundreds of awards, their many #1 songs or their induction into the Country Music Hall of Fame in 2005. You could also look at how the boys from Fort Payne, Ala. have the distinction of bringing something entirely new into country music.
Prior to Alabama, country music was predominantly a land of solo acts, with the occasional superstar duos (Conway & Loretta, George & Tammy) or backing bands (The Strangers, The Buckaroos) thrown in for good measure. Sure, there were plenty of vocal groups (Statler Brothers, Oak Ridge Boys), but actual bands, who played their own instruments, were few and far between in country music. It took Alabama to break down that particular barrier, and they paved the way for groups like Zac Brown Band, Diamond Rio, Eli Young Band and others.
Alabama is celebrating its 40th anniversary with a reunion tour and a couple of well-deserved tribute albums. The tributes are quite different, with one being done under the direction of the band, and the other a completely independent effort.
Alabama & Friends, featuring many of today’s leading country stars, comes off as less of a tribute album and more of an Alabama-themed celebrity karaoke night. Many of the songs have very similar arrangements to the originals, and even include Randy Owen, Jeff Cook and Teddy Gentry on lead and harmony vocals.
Many of the memorable elements from the original songs are still present. The fiddle breakdown in “Tennessee River” (with Jason Aldean), the tempo changes in “My Home’s in Alabama” (with Jamey Johnson) – they’re all present and accounted for. The songs that stick close to the originals aren’t necessarily bad. Luke Bryan, for instance, has plenty of flaws as a country singer, but his vocal abilities are not in question, so his version of “Love in the First Degree” is solid. The same could be said of Jason Aldean’s take on “Tennessee River” and Toby Keith’s “She and I.” There’s nothing wrong with them, but fans who love the Alabama originals might think the new ones are a bit too by-the-book.
There are a few instances where the guest singers step outside the box and add more of their own personality to the recording. Trisha Yearwood, the only female voice on the project, does a lovely job on “Forever’s as Far as I’ll Go,” and “Lady Down on Love” by Kenny Chesney stands among his best vocal performances. The same can’t be said of Florida Georgia Line, who takes “I’m in a Hurry (and Don’t Know Why),” adds their usual amount of noise and clutter to the mix, and makes it sound like every other Florida Georgia Line song ever recorded. While it’s a rare opportunity to hear both Tyler Hubbard and Brian Kelley sing lead vocals, it raises the issue of whether or not they’ve already run out of original ideas.
Alabama recorded two songs for the first time in 11 years, but they’re the weakest songs on the album. For a band that was one of the first to successfully blend country music with amped-up Southern rock, “That’s How I Was Raised” and “All American” are low-energy, generic rah-rah country disappointments.
Various Artists High Cotton: A Tribute to Alabama
High Cotton: A Tribute to Alabama, is available from Lightning Rod Records and has a collection of Americana/Red Dirt/indie all-stars doing their takes on Alabama hits. There is some overlap with the Alabama & Friends, but these versions have a bit more of an original feel. “Why Lady Why” gets transformed into a smoldering soul tune by JD McPherson, while Jason Isbell and John Paul White of The Civil Wars completely reinvent “Old Flame.” The Turnpike Troubadours and Shonna Tucker provide a spark with “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)” and “Roll On (Eighteen Wheeler),” respectively. While neither version is light years from the original, they add energy to a project that leans heavily toward slow and reflective songs.
Two of Alabama’s love songs are recast as duets. While it’s startling to hear Todd Snider as a romantic balladeer instead of a smart-ass hippie folk singer, his voice never quite meshes with Elizabeth Cook on “Feels So Right.” Wade Bowen and Brandy Clark’s duet on “Love in the First Degree” is excellent, however, and raises the anticipation level for Clark’s debut album.
Not every experiment is a success. Once again, “I’m in a Hurry” gets short shrift, as Jessica Lea Mayfield turns it into a funereal dirge. “Lady Down on Love” just does not work as a bluegrass/spoken word ballad, as evidenced by Bob Schneider & The Texas Bluegrass Massacre with Ray Benson. Jason Boland & The Stragglers’ take on “Mountain Music” is fine, but the insistence of aping the original, from the spoken-word intro to the guest vocals from a couple of the Stragglers à la Cook and Gentry is a little cheesy.
It’s a testament to Alabama’s far-reaching appeal that artists as different as Jason Isbell and Jason Aldean would want to sing their songs. Whether it’s a note-for-note recreation or a completely new interpretation of their hit songs, there is something in these two albums to please any Alabama fan.
We at Country Universe were very saddened to hear of Linda Ronstadt’s recent announcement that she was diagnosed with Parkinson’s disease eight months ago, and that the disease has resulted in the total loss of her ability to sing.
Though Linda Ronstadt never took up exclusive residence in country territory (or in any one genre for that matter), she had remarkable successes in the country field, including the now-classic Trio project with Dolly Parton and Emmylou Harris, and she served as an important influence for women such as Pam Tillis, Martina McBride and Trisha Yearwood. She has also been the subject of several excellent Country Universe features that are well worth revisiting.
First of all, be sure to check out Kevin’s feature on Ronstadt from the 100 Greatest Women countdown, in which she placed at No. 21.
Below is a selection of videos of Ronstadt in her prime performing some of her best-loved songs. Without a doubt, she will always be remembered as one of the greatest voices in music history, even if she can no longer use that voice today. Please share your own favorite Linda Ronstadt songs and performances in the comments section.
Randy Houser impressed the critics with 2010′s They Call Me Cadillac, but country radio yawned, and neither of the album’s two singles cracked the Top 30. Houser’s Stoney Creek Records debut thus comes across as a mea culpa of sorts, as Houser shrugs his shoulders in defeat, and gets ready to do some good old-fashioned pandering.
The title track and first single, which recently became Houser’s first number one hit, was a most accurate preview of the project to follow. Producer Derek George swaps out the tasteful, traditional-leaning arrangements of They Call Me Cadillac for spit-shine polished productions tailor-made for endless airplay. The album is peppered with odes to country living and rural romance. Trucks! Tailgates! Hollers and hills! Country girls! Skinny dipping! Houser shouts Aldean-style over a pounding bass line in “Sunshine On the Line,” and shoehorns in some arena-rock chants in the vapid backwoods come-on “Running Outta
Moonlight.” Lyrical formulas and clichés abound, from “Hands up, rockin’ like a boat… We’re gonna live this never-ending summer like we’re just growin’ younger” to “This kiss, this moment, yeah I just wanna stay in it.” It’s unfortunately fitting that one of the songs finds Houser singing, without a hint of self-awareness, “I wrote a song ’bout absolutely nothing with my toes tapping in the sand,” as the majority of the album’s tracks seem to be about exactly that – nothing.
Even when the songwriters’ aspirations seem to be slightly higher, the songs rarely rise above one dimension. “Route 3 Box 250 D” grasps at domestic violence to create a semblance of emotional heft, but leans on a bare-boned narrative that fails to channel the narrator’s inner struggles and emotions, while the songwriters awkwardly attempt to create a title hook out of the narrator’s home address. Though “Along for the Ride” is one of the better-produced cuts, the lyric offers only dime store pseudo-philosophy with a boring, cliché-driven take on what Iris DeMent said far more eloquently with “Let the Mystery Be.”
The album’s only truly outstanding cut is one unlikely to see the light at radio. “The Singer,” co-written by Houser with Cory Batten and Kent Blazy, is by far the album’s best-written song, utilizing a clear-cut, accessible hook in detailing the struggles behind a marriage in the spotlight. “She loved the singer; she just couldn’t live the song,” Houser sings, effectively summing up the heartache of a woman who loves her famous spouse, but can no longer settle for being “just one of a million screaming his name.” “Power of a Song” speaks to the power of songcraft with a melody that draws out an evocative performance from Houser, but the lyrics don’t pack the punch of past gems like Trisha Yearwood’s “The Song Remembers When” or Sara Evans’ “Three Chords and the Truth.”
The problem of weak material is compounded by the album’s length – a whopping fifteen tracks, roughly half of which are interchangeable. What’s with the need for today’s artists to fill an album up with fourteen, fifteen, sixteen-plus songs when barely five of those songs have anything substantial or authentic to say? Of course, Randy Houser’s performances are consistently solid - unsurprising, as he is in command of one of the strongest male voices on country radio. He even manages to elevate the formula-driven title track into something mildly enjoyable. But the problem remains that there’s no voice strong enough to save a fifteen-track album that’s stacked with poorly-written songs.
How Country Feels will likely succeed in keeping Randy Houser on the radio for the next two years. Nonetheless, we might observe a moment of silence for the early artistic potential that this album leaves largely buried.
Country music has always been a singles genre, a fact that is clearly reflected on my iPod. Only three of my most thirty played country songs were never sent to radio. That doesn’t necessarily mean radio played them, of course.
My most played country song is Alan Jackson’s “So You Don’t Have to Love Me Anymore”, which didn’t crack the top twenty, and not far behind is Trisha Yearwood’s “Where are You Now”, which didn’t crack the top forty.
But looking at our most played album cuts is a great way to discover great music we might have missed, so it seems like a good choice for an iPod Check. Here are my country album cuts that I’ve played more than 10 times, separated by artist. Plays to date follow the song title. Sort your list however you like. I’m getting my Amazon MP3 page loaded now so I can buy the great songs I’ve missed which surface in the comments.
Kevin’s Most Played:
Truth No. 2 (53)
Lil Jack Slade (22)
Am I the Only One (Who’s Ever Felt This Way) (21)
White Trash Wedding (17)
A Home (14)
Lubbock or Leave It (11)
Rocking Horse (54)
I Thought I’d See Your Face Again (27)
Play On (53)
See You Again (45)
Do You Think About Me (41)
I Know You Won’t (31)
Good in Goodbye (16)
Cupid’s Got a Shotgun (15)
Nobody Ever Told You (13)
If I Had Wings (40)
Racing the Angels (11)
Drown Me (40)
Standing Out in a Crowd (39)
Try Me (36)
Dreaming Fields (33)
Try Me Again (28)
Little Hercules (24)
Heart’s in Armor (24)
Harmless Heart (23)
For Reasons I’ve Forgotten (21)
A Lover is Forever (15)
Two Days From Knowing (15)
Come Back When it Ain’t Rainin’ (12)
New Kid in Town (11)
Shattered Image (36)
Down From Dover (16)
Let Her Fly (with Loretta Lynn and Tammy Wynette) (13)
Since bringing back Recommend a Track proved so popular, I’m resurrecting another CU oldie but goodie: the iPod check.
I’ve only recently discovered the Most Played feature on iTunes, since it never had any relevance until iPods were large enough in memory to sync all of my music. So going back to early 2011, I have a lengthy list of the songs I’ve played the most.
So today’s iP0d check: List your most-played song from twenty different country artists.
You can access this info by going to your own Most Played list and adjusting the number of songs on it – I use 500 for mine – or you can just go to Music and sort by number of plays. Or you can just pick twenty artists at random and list your most played song for each. We’re easy here. (This would also work in Spotify, from what I hear.)
Alan Jackson – So You Don’t Have to Love Me Anymore (40)
Crystal Gayle – Why Have Your Left the One You Left Me For (39)
George Strait – Meanwhile (39)
Lee Ann Womack – I May Hate Myself in the Morning (39)
Aaron Tippin – Whole Lotta Love on the Line (38)
I’m surprised that some of my most played artists overall, like Dolly Parton, Randy Travis, and Tim McGraw, don’t have that one big song that I play excessively. Also, at least half of the songs above aren’t what I would call my favorite song by the given artist. How about you?
At this point, it’s easy to forget that Carrie Underwood first kicked off her country music career as an American Idol graduate. Besides being one of country music’s most technically gifted female vocalists, she’s gone on to become one of its strongest commercial forces, with a seven-year-long string of Top-2 hit singles, not to mention albums that consistently sell like hotcakes. But a noteworthy gap has often been seen between the impressiveness of Underwood’s talent and success and the quality of her material. In terms of lyrics and production, at least, Underwood’s new album Blown Away finds her taking steps forward that are small, but steps forward nonetheless.
As hinted at by the gloomy cover image, Underwood’s fourth album finds her taking on some notably darker, more serious song material than on her previous albums. After leading off with the wildly catchy Shania Twain-esque debut single “Good Girl,” the album quickly takes a turn for deadly serious territory. The title track tells of a young woman taking revenge on her abusive alcoholic father by hiding in the cellar when a tornado approaches their home, letting the house collapse on top of her father while he lies passed out on the floor. Though it doesn’t quite reach the spine-tingling heights of Martina McBride’s similarly themed “Independence Day,” “Blown Away” is one of the most interesting and complex songs here, and though it could do without the gaudy vocal reverb effects, the arrangement lends the track an appropriately eerie feel. As “Two Black Cadillacs” begins with a funeral scene, the listener is quickly pulled into the tale of two black veil-wearing women who share a dark secret. The omission of some narrative details toward the end lessens the ultimate listener payoff, but “Two Black Cadillacs” likewise remains one of the album’s more striking and memorable cuts. Indeed, Underwood is to be applauded for putting for the attempt to tackle more challenging lyrical material, as opposed to the predictable fare that tended to weigh down her previous releases.
Similarly, though the album often settles for the same pop-country sound that Underwood and producer Mark Bright have long favored, here there are several tweaks to the usual formula. The prominent mandolin line on “Leave Love Alone” sounds different that anything Underwood has previously recorded, while the signature Brad Paisley guitar-shredding on “Cupid’s Got a Shotgun” turns an already fun song into a regular jam session. The surprisingly sparse, primarily acoustic number “Do You Think About Me” benefits from added restraint both in production and vocal, which is effective in delivering the wistful lyric. These production choices don’t necessarily reinvent the wheel, while some – such as the reggae flavorings of “One Way Ticket,” for example – may prove polarizing, but they are unexpected coming from Underwood. Such willingness on the parts of Underwood and Bright to go for the occasional risk is refreshing.
Weighing in at a generous fourteen tracks, the album could have benefited from leaving off a few of its more forgettable cuts, and perhaps being condensed into a more consistently solid ten- or twelve-track collection instead. Blown Away suffers most when it veers off into a shallow, feel-good thematic direction, which is particularly evident on the trite self-esteem booster “Nobody Ever Told You,” as well as the beachy Chesney-esque reggae of “One Way Ticket” – the latter an obvious candidate for a summertime single release, with a music video that practically creates itself. That’s not to say that such lyrical concepts are necessarily taboo, but these particular efforts lack the personality and strong hooks that are needed to make such efforts memorable. The fact that power ballad “See You Again” was originally intended for The Chronicles of Narnia soundtrack is telling, as the vague, platitudinous lyric savors strongly of disposable soundtrack fare. Cliché-laden album closer “Who Are You,” a surprising misfire of a composition from Shania Twain’s ex-husband/ ex-producer/ ex-songwriting-collaborator Robert John “Mutt” Lange,” is just a total bore.
That said, Underwood can be remarkably successful when she puts forth the earnest attempt to connect with her listeners on a relatable emotional level. Though the title of “Thank God for Hometowns” raises a red flag, we are treated to a fully three-dimensional portrayal of the very best aspects of small-town living (“Small Town U.S.A.” it isn’t, thankfully), including the small-town camaraderie of close neighbors and friends, while the conversational tone lends both a personal feel and a welcome sense of structure to the lyric. The two finest tracks are “Good In Goodbye” and “Wine After Whiskey,” both ranking among Underwood’s strongest co-writes to date. The former displays a level of maturity and clear-eyed insight as Underwood reflects on a difficult breakup that has turned out to be a blessing in disguise. The latter utilizes an effective metaphor of drinking wine after whiskey to illustrate how the narrator’s current lover pales in comparison to the one she lost. Better still, Underwood displays notable growth as a lyrical interpreter on both of these songs, wisely sparing us the power notes, while adding to the emotional impact through her nuance and subtlety.
Though it’s not quite a wholly consistent project, and it does have its share of weak spots, Blown Away is an album that is brilliant at best, and bland at worst. But what makes Blown Away a fascinating and ultimately satisfying collection is that it displays an artist willing to continually grow and challenge herself by experimenting with different sounds, musical styles, and lyrical themes. In today’s music industry, it’s all too easy for an established superstar to settle for predictable, wheels-spinning material that furthers his or her primary marketing persona without moving forward artistically in any meaningful way. Granted, Underwood’s attempts at branching out still result in occasional missteps, several of which are documented on this album. Still, to see such a demonstration of a “What’s next?” artistic muse, particularly from a woman who can already out-sing most of her peers from the corner of her mouth, is an absolute joy to hear. Here’s hoping her future efforts achieve greater consistency to go along with her ambition.
“You’ve Got a Way” is a beautiful showcase of the unique set of gifts Shania Twain brought to the table as a vocalist.
Her detractors often maligned her vocal abilities, dismissing her as a subpar talent, as she did lack the range and power possessed by several of her contemporaries (such as Faith Hill, Martina McBride, and Trisha Yearwood). Many failed to appreciate the fact that Twain had a strong talent for exuding sincerity in her performances, whichs adds more to a song’s impact than even the highest power notes.
Though having just conquered the world with a succession of hook-heavy pop crossover hits, Twain abruptly changed the rules with “You’ve Got a Way,” instead unplugging with a soft acoustic ballad. Twain does all of the heavy lifting with her vocal delivery, and does so beautifully – with restraint, and a bit of an emotional quiver. It’s a perfect fit for a lyric that is a simple, straightforward expression of love and appreciation.
I would recommend steering clear of the gaudy pop remix used in the film Notting Hill, as it interrupts the flow of emotion with unnecessary echo effects, an intrusive beat, and other distractions. The original country version, however, ranks among Twain’s best work.
Written by Shania Twain and Robert John “Mutt” Lange
As the story goes, “You’re Still the One” was inspired by media speculation that Shania Twain’s marriage to Robert John “Mutt” Lange would not last. Twain and Lange decided to respond to the criticism in song. The result was a song that would become a monster crossover hit, a staple for weddings and anniversaries for years to come, an instant standard of nineties country and pop music, and one of the songs that would go on to define Twain’s unique and outstanding career.
The song was remixed into a massive international pop hit, and was a major factor in powering the Come On Over album to such staggering sales numbers. Still, the song is best heard in its original country form for one simple reason: Any song celebrating an enduring relationship deserves steel guitar backing.
Like many a classic country song, “You’re Still the One” utilizes simple and straightforward lyrics to tap into varying emotions. “You’re Still the One” is a song of joy, triumph, satisfaction, and most of all, a celebration of endless love. Though it’s likely a song of personal nature to Twain, it’s constructed in a way that allows any couple to hear the song as their own story set to music.
It’s Twain’s performance, however, that lifts the song into the heavens. Twain was never known for being a powerhouse vocalist like contemporaries such as Trisha Yearwood, Martina McBride, and Faith Hill (and was even dismissed as a sub-par vocalist by some detractors). But “You’re Still the One” demonstrates the fact that Twain brought her own unique set of gifts as a vocalist. She invests deep shades of emotions into her lower register throughout her hushed delivery of the opening verses. Two choruses and one steel guitar solo later, she lets her voice rise as if releasing every ounce of the deep love and triumph that was previously conveyed understatedly. Such a layered dynamic rendering is a fine example of Twain’s formidable, yet often overlooked skills as a vocal interpreter, as well as a testament to everything she got right as a songwriter and vocalist.
Sadly, Twain and Lange’s marriage eventually did dissolve a decade later. Regardless, the song’s deep impact is untempered. “You’re Still the One” remains an anthem for any couple who has ‘beaten the odds together,’ with my own parents being one such couple. Songs become hits, and songs fade into obscurity, but this one has been around for thirteen years, and still shows no signs of ever being forgotten.
Written by Shania Twain and Robert John “Mutt” Lange
Lately, I’ve been playing “Deep Down” on a loop, and it got me thinking…
What if one of the big female artists of 2011 were the first to release this song?
If Carrie Underwood recorded it in 2011, the song would be praised as one of the best she’s ever recorded, but she’d be criticized for over-singing and over-producing it.
If Taylor Swift recorded it in 2011, the song would be praised as one of the best she’s ever recorded, but she’d be criticized for missing every other note, even with the help of auto-tune.
If Miranda Lambert recorded it in 2011, the song would be praised as one of the best she’s ever recorded, and further evidence that she’s the messiah of contemporary country music, regardless of how she sang or produced it.
But alas, Pam Tillis recorded it in 1995, and the song went largely unnoticed, because a great song with a great vocal performance and a great production was expected, not special, coming from her.
Perhaps the best way to listen to country music in 2011 is not to listen to anything else in the genre’s history. That way the illusion that there is some great contemporary country music out there can be preserved.
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.