1994 Written by Matraca Berg, Suzy Bogguss, and Gary Harrison
There’s a term that has gathered strength over the past decade: the quarter-life crisis. It describes that phase in life where the idealism of what you thought your life would be collides with what reality has in store for you. Reconciling the two is needed to get beyond this point of life, and adulthood completely sets in once such reconciliation has been accomplished.
A significant difference between the major female artists of the early nineties and those of today is that they’re on opposite sides of that quarter-life marker. Take at the ages in which today’s newer female stars enjoyed their first top twenty hit: Carrie Underwood, 22; Miranda Lambert, 22; Kellie Pickler, 20; Taylor Swift, 17.
Now compare that to the women who broke through from 1989-1992: Suzy Bogguss, 34; Pam Tillis, 33; Mary Chapin Carpenter, 31; Wynonna, 27; Trisha Yearwood, 26. Unlike today, there were also several additional female artists who were also on the radio – Reba McEntire, Kathy Mattea, Patty Loveless, and Tanya Tucker – all of whom were in their thirties.
“Age ain’t nothin’ but a number,” Aaliyah once sang, but the musical output of these two crops of artists suggest otherwise. “Hey Cinderella” was a top five hit for Bogguss in 1994, and perhaps best exemplifies the different perspectives of these two generations of women.
“We believed in fairy tales that day,” Bogguss sings as she reminisces with her friend about the day her friend got married. “I watched your father give you away. Your aim was true when the pink bouquet fell right into my hands.” It sounds like the beginning of the latest Taylor Swift song, perhaps a duet with Kellie Pickler.
But as life goes on, “through the years, and the kids, and the jobs, and the dreams that lost their way,” these grown women are wondering about those fairy tales. “I’ve got a funny feeling we missed a page or two somehow”, and find themselves wanting to question the legendary princess: “Cinderella, maybe you can help us out?” they ask. “Does the shoe fit you now?”
While the perspective of youth is honestly preserved, these are clear-eyed adults with a wealth of life experiences informing their feelings today. It doesn’t get more honest than the line “We’re good now ’cause we have to be.” It’s not so much we grow up because we want to, but rather because we have to.
I’ve written many times that I don’t find Taylor Swift’s music offensive so much as irrelevant. When I was a teenager, I could listen to country music and not fully understand the intricacies of what the songs were about, but I knew I’d eventually grow into an understanding. Over the past fifteen years, I’ve done just that. What I can’t do is regress back into the state of development needed to find Taylor Swift’s music relevant to me.
Honestly, I don’t think that the world looked like what’s described in “You Belong With Me” and “Love Story” at any period of my life. I’ve just never known girls who saw the world that way. The ones I knew have grown up to be women quite a bit like those that Bogguss and her contemporaries sang about. Here’s hoping that this generation is able to do the same. In the meantime, if you like country music by and for adults, this forgotten hit is a great starting point.
Peak: #9 Written by George Ducas and Tia Sillers
One hit wonders were once an anomaly in country music. The nineties changed that, as the massive commercial success of the genre inspired more labels to get into the game. The result was more artists than country radio could ever play regularly, so even a breakthrough top ten hit was no longer enough to get radio to automatically give the next single a shot.
George Ducas was one of the earliest casualties of this new era. With a voice like Dwight Yoakam with a touch of Raul Malo, Ducas showed tremendous promise as a singer-songwriter. There’s a beautiful melancholy to his performance of “Lipstick Promises.” It’s the tale of a man who has been blinded by beauty and ends up being burned by his unfaithful lover.
It still sounds great today, and it’s a shame that radio didn’t give a fair shot to the singles that followed. “Hello Cruel World” and “Every Time She Passes By” were both on par with the better single releases of their day. Ducas exited his label after two projects, but has gone on to have some success as a songwriter, penning hits for Garth Brooks (“Beer Run)” and Sara Evans (“A Real Fine Place to Start.”) He’s also had songs recorded by Trisha Yearwood, Dixie Chicks, and Gary Allan.
Tia Sillers, co-writer of “Lipstick Promises”, went on to win major awards for “I Hope You Dance”, the peak of a songwriting career that has also included hits by Pam Tillis (“Land of the Living”), Trisha Yearwood (“Heaven, Heartache, and the Power of Love”), Dixie Chicks (“There’s Your Trouble”), and Alan Jackson (“That’d Be Alright.”)
The 201 Greatest Singles of the Decade, Part 9: #40-#21
#40 “This Is Me You’re Talking To”
Flawless. Proof positive that the nineties formula at its best is better than anything on naughties radio. Perhaps they can’t play it too much for that reason. It’s not good for business to park a new Lexus in a used car lot of Ford Pintos. – Kevin Coyne
#39 “Famous in a Small Town”
This is one of those slice-of-life songs that anyone from a small town can easily relate to. What sets it above the pack of songs of that ilk is the witty nugget of truth that “everybody dies famous in a small town.” The Springsteen-esque vibe of the production is pretty cool, too. – Leeann Ward (more…)
The 201 Greatest Singles of the Decade, Part 7: #80-#61
“When Somebody Loves You”
A treasure of a love song. Contrasted stunningly with modest accompaniment and vocals, the song’s message is that of love’s sublime ability to transform one’s life and bring light to dark. – Tara Seetharam
#79 “Separate Ways”
“Separate Ways” is an instructive narrative of a couple who did everything together, but “the last thing they did together was go their separate ways.” Fortunately, the song’s narrator learns from his parents’ divorce and wisely applies its valuable lesson to his own relationship. – Leeann Ward (more…)
A guest contribution from Country Universe reader Zack Jodlowski.
When I first came across country music back in the eighth grade, I automatically gravitated towards the female artists of country music. When I heard the romp-stomping performance of “I’m Gonna Take That Mountain,” I thought “I have to hear more!”
Reba McEntire’s music has been such a lifesaver for me, that four years after my mom died, I found new found strength within me that allowed me to make peace with her death. It says a lot for a teenager to relate so strongly to the lyrics of Reba McEntire songs. Reba has been my favorite artist of all time, and she’ll most likely remain that for as long as I live.
Reba McEntire has been the heartbreak queen, an entertainer, and a superstar; at times she doesn’t make music choices that are spot-on, but her ability to deliver a song with an emotional tinge in her voice is all but rare in the music business, and with this ability she lifts a song up to another level. Reba also finds a way to relate to her audience with her music, whether it be helping someone through tragedies or inspiring people to continue to chase their dreams. Reba’s ability to adapt to the changing times and to continue to make herself relevant to the new country music generations is one that transcends the biases on radio that are established against females and the elder men and women of country music.
It was hard to narrow Reba’s extensive catalog down to twenty-five songs, and hard not to include some of her other great songs, but in the end I’ve managed to pick my twenty-five personal favorites.
For My Broken Heart, 1991
Truly heartbreaking. Bobby kills his spouse, causing hatred from his son to be thrust upon him, but in the chorus we find he does this out of love (he didn’t want his spouse to suffer any longer). His son later realizes his father’s intentions and realizes “He still missed his mama, but he’d missed his daddy too.” This is one of the rare Reba McEntire co-writes found in her catalog.
Rumor Has It, 1990
Reba captures the story of a woman thrust into prostitution at a young age by her mother in an iconic performance, but the woman is not ashamed or angry; she knows that her mother had to save her from a life of desperation and despair. (more…)
The 201 Greatest Singles of the Decade, Part 3: #160-#141
#160 “Last Call”
Lee Ann Womack
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”
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
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”
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)
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”
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”
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”
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”
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”
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”
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”
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”
Kathy Mattea has rarely sounded more open and warm than on this set of innovative folk-tinged songs. Topics of peace, love, resignation and heartache are sensitively explored in songs both written by Mattea and other well-known names, including captivating interpretations of The Rolling Stones’ “Gimme Me Shelter” and Creedence Clearwater Revival’s “Down on the Corner.” It’s a rich album with a decisively vibrant feel. – Leeann Ward
Recommended Tracks: “Gimme Shelter”, “Down on the Corner”, “Give It Away”
Johnny Cash, American IV: The Man Comes Around
American IV: The Man Comes Around was the last Cash album released in his lifetime; the bulk of its tracks are covers performed by the then ailing singer. Amazingly enough, the album seems almost biographical despite the limited material written by Cash. Still, American IV is not limited to “Hurt” (written by Trent Reznor of Nine Inch Nails), as other well-interpreted covers and Cash’s own “The Man Comes Around” help cement the depth of the album. – William Ward
Recommended Tracks: “The Man Comes Around”, “Hurt”, “Sam Hall”
Jamey Johnson, That Lonesome Song
The media hype machine had a field day with Johnson’s breakthrough sophomore album, showering it with the kind of superlatives usually reserved for miracle cures and immaculate conceptions (see also: Crazy Ex-Girlfriend). Most of the attention went to the album’s counterculturism within the increasingly safe and watered-down Music Row, with numerous nods to its Outlaw aesthetic and “cocaine and a whore” business. But That Lonesome Song‘s greatness was always more than contextual, and certainly more than attitudinal; this is an album with a genuine story to tell, filled with a slow-burning sorrow that pervades every track and doesn’t rest until the wife finally walks away and the husband resigns himself to playing seedy bars and trying to convince you he’s worthy of comparison to the greats. – Dan Milliken
Recommended Tracks: “High Cost Of Living”, “Angel”, “Dreaming My Dreams With You”
For all of the attention given to her power ballads and catchy pop numbers, Faith Hill has always included more offbeat material from lesser known songwriters. This album had some great power ballads and catchy pop numbers, but its heart and soul comes from the trio of Lori McKenna songs that make up its core. “Stealing Kisses” just might be Hill’s finest moment to date, and the other two McKenna songs – “If You Ask” and the title track – are nearly as good. – Kevin Coyne
Recommended Tracks: “Dearly Beloved”, “Stealing Kisses”, “Wish For You”
Vince Gill, Next Big Thing
Gill dips into a wider range of styles and subjects on his first self-produced album, but it all seems to thoughtfully tie back to his classically sweet sound – a tricky thing to do in country music. Next Big Thing is mature, clever and vocally spot-on, and features some killer guest vocals from Emmylou Harris, Lee Ann Womack and others. – TS
Easily one of the most versatile artists in country music, Underwood is capable of tackling almost any musical style, and she makes a solid case for this on her third album. The kicker, though, is that rather than signaling a lack of identity, each style feels like a natural extension of herself as an artist. She’s mournful on a haunting country standard in one breath, and commanding on a rock-charged up-tempo in the next – all without compromising her authenticity. Most significantly, Underwood finally digs a little deeper on Play On, marrying her extraordinary vocal proficiency with a higher level of tangible, sincere conviction than ever before. – TS
Recommended Tracks: “Someday When I Stop Loving You”, “Songs Like This”, “What Can I Say”
Rodney Crowell, The Outsider
Crowell’s take on mid-decade politics avoids heavy-handedness, perhaps because what he’s appealing to is not so much partisanship as patriotism in its purest form: “Democracy won’t work if we’re asleep. That kind of freedom is a vigil you must keep.” Bonus points for not one, but two guest turns from Emmylou Harris, the highlight being their stunning duet of Bob Dylan’s “Shelter From the Storm.” – KC
Recommended Tracks: “Dancin’ Circles ‘Round the Sun (Epictetus Speaks)”, “Don’t Get Me Started”, “Shelter From the Storm”
The Little Willies, The Little Willies
Norah Jones pet country side project with four of her New York City friends, including former boyfriend bassist Lee Alexander, results inn an inextricably fun album named after Willie Nelson who is covered twice on the project (“Gotta Get Drunk” and “Night Life”). The productions, including jaunty piano and prominent bass, along with Jones’ atypically loose vocals, make this disc a thrilling listening experience. While The Little Willie’s self titled album is not tight in technical terms, the album is all the better for it. – LW
Recommended Tracks: “Roll On”, “Gotta Get Drunk”, “Tennessee Stud”
Trisha Yearwood, Real Live Woman
Upon its release, the artist declared that she’d finally made her dream album. It’s easy to understand why, as Real Live Woman is Trisha Yearwood’s most cohesive album to date. It has a warmth and depth that makes it more than just reminiscent of Linda Ronstadt’s classic L.A. country albums from the mid-seventies. It’s actually on par with them. – KC
Recommended Tracks: “Where Are You Now”, “Try Me Again”, “When a Love Song Sings the Blues”
Kris Kristofferson, Broken Freedom Song: Live From San Francisco
For each unequivocal success like At Folsom Prison and Nirvana Unplugged, there are a dozen uninspired live albums that simply exist to capitalize on old material. Kris Kristofferson’s Broken Freedom Songs, with his extended introductions and banter, is an unequivocal success. Along with its friendly and almost conversational tone, Broken Freedom Songs focuses on unexpected compositions and makes a nice addition to other historically strong live albums. – WW
Recommended Tracks: “The Circle”, “Here Comes that Rainbow Again”, “Moment of Forever”
Ah, the naughties. The decade began and ended with pop crossover queens, with Shania Twain and Faith Hill at the top of their game in 2000 much like Taylor Swift and Carrie Underwood reign supreme today. In between, we had the roots music boom, best exemplified by O Brother and the platinum-selling Nickel Creek and Alison Krauss & Union Station; the post-9/11 patriotic explosion, which brought Toby Keith and Darryl Worley to the top of the charts; the near-total banishment of women from the country radio dial for a good part of the decade, which started to fade as redneck pride ascended, thanks to a certain woman trying to make Pocahontas proud; and far too many tributes to country living and island-flavored beach bum songs to count.
All of this made for a fascinating decade to be a country fan. As radio worked its way through all of the above (with the notable exception of roots music), the internet made it far easier for acts to be discovered without ever getting a single spin of traditional radio play. With MySpace, YouTube, Facebook, and the explosion of country music blogs, the barriers have been torn down between artist and audience in a way that was never possible before.
The motley crew of Country Universe has a diversity of tastes that fit within the widest boundaries of country music, as reflected our collaborative list of the 100 best albums of the decade. Five of our writers contributed to the list, with all writer’s selections being weighed equally. We’ll reveal ten entries a day until the list is complete. A look back at the greatest singles of the decade will then follow.
The 100 Greatest Albums of the Decade, Part 1
Abigail Washburn, Song of the Traveling Daughter
Song of the Traveling Daughter is the debut album from Uncle Earl claw hammer banjo player Abigail Washburn. Produced by Béla Fleck and featuring Ben Sollee, it is a subdued album filled with intriguing instrumentation and influences. Standout songs include “Nobody’s Fault but Mine,” with its interesting Civil War period influence; the upbeat “Coffee’s Cold,” originally performed by Uncle Earl; and “Song of the Traveling Daughter,” based on the classical Chinese poem “Song of the Traveling Son.” – William Ward
Recommended Tracks: “Nobody’s Fault but Mine”, “Coffee’s Cold”
Kim Richey, Rise
Her ambitious swan song for Mercury Records was perhaps her least accessible record, with an emphasis on eclectic arrangements instead of hook-laden melodies. It’s also her most deeply rewarding record, one that is remarkably introspective and fully delves into themes of faith and mortality that her earlier work had only hinted at before. – Kevin Coyne
Recommended Tracks: “A Place Called Home”, “No Judges”
Little Big Town, The Road to Here
The quartet’s second album catapulted them to the forefront thanks to the swampy anthem, “Boondocks,” and was a breath of fresh, earthy air to mainstream country music. Packed with tight harmonies and songs ranging in style from bluegrass-leaning to Fleetwood Mac-inspired, the album served as a window into the raw talent and potential of one of the best groups to hit country music in quite some time. – Tara Seetharam
Recommended Tracks: “Boondocks”, “Live With Lonesome”
Dolly Parton, Halos & Horns
A gorgeous, gospel-heavy album, with tasteful bluegrass elements. Parton is effervescent as usual, and rid of any self-consciousness, which makes “Hello God” overwhelmingly stirring. A response to the September 11 tragedies, the song has Parton pleading and philosophically wrestling with God, in the sincerest of ways. – TS
Recommended Tracks: “Hello God”, “John Daniel”
Brad Paisley, Part II
Sometime back before the Future, before the smirking social commentary and the endless odes to his wife, Brad Paisley was just a silly little neotraditionalist writing silly little neotraditional songs about the twists of everyday life and love. Part II captures him at his most unassuming and tuneful, waxing breezily about courtships and feeling out his new place as a neotrad spokesperson with a few classic roots songs, plus a cute Bill Anderson/Chuck Cannon co-write (“Too Country”). – Dan Milliken
Recommended Tracks: “Wrapped Around”, “Come On Over Tonight”
Patty Loveless, Strong Heart
More so than any Loveless album since leaving MCA, Strong Heart draws on her pop and rock influences, with a healthy dose of Ronstadt thrown in for good measure. The contrast between her hillbilly wail and the pop-leaning arrangements of several songs manages to make her sound even more rural than she normally does. Arguably her last mainstream project, she proved that she can sound just as good chasing radio as she does ignoring it. – KC
Recommended Tracks: “The Last Thing On My Mind”, “My Heart Will Never Break This Way Again”
Sara Evans, Real Fine Place
One of the finer female vocalists in the genre, Evans is a fantastic interpreter on her fifth album, carefully treading both traditional and pop country waters. The warmth and purity to her tone is prominent on this album, and this is particularly true of the songs with more traditional arrangements, on which she shines the brightest. – TS
Recommended Tracks: “Cheatin’”, “These Four Walls”
Sarah Jarosz, Song Up in Her Head
Sarah Jarosz’ much hyped debut with Sugar Hill Records features Darrell Scott, Tim O’Brien, Jerry Douglas, Aofie O’Donavan, and Abigail Washburn. Notable tracks include “Shankill Butchers,” a Decemberists cover that outperforms the original; the progressive acoustic “Song up in Her Head,” reminiscent of Nickel Creek; and “Come on Up to the House,” an impressive Tom Waits cover. – WW
Recommended Tracks: “Shankill Butchers”, “Come On Up to the House”
Terri Clark, Pain to Kill
This album made Clark a serious contender for Female Vocalist, the only time in her career that she reached that level of success. It’s as radio-friendly as her first two albums, but the material is substantive. This is the best collection of songs that she ever assembled, and by a healthy margin. When Trisha Yearwood finds something to cover from a record, you’ve done a great job picking songs. – KC
Recommended Tracks: “I Just Called to Say Goodbye”, “Not a Bad Thing”
Dwight Yoakam, Population: Me
Genre superhero Yoakam stretched his habit of excellence into a third decade, beginning with the quirky South of Heaven, West of Hell soundtrack and continuing with this solid set. The album is notable for distilling a wide assortment of Yoakam’s mastered sounds into about half an hour, from the Eaglesy (“The Late Great Golden State”) to the Owensy (“No Such Thing”) to the Elvisy (“I’d Avoid Me Too”), all united by the singer’s uniquely buoyant brand of fatalism. – DM
Recommended Tracks: “I’d Avoid Me Too”, “The Back Of Your Hand”
After Part 1 and Part 2 , we’re wading further into the sea of mediocrity.
The Worst Singles of the Decade, Part 3: #30-#21
Terri Clark, “Dirty Girl”
Double entendres are a lot more enjoyable when the naughty meaning is the real one.
Jamey Johnson, “The Dollar”
Real kids don’t talk like this.
Garth Brooks & Trisha Yearwood, “Love Will Always Win”
This treacly ballad is the nadir of Trisha’s career and one “It’s Midnight Cinderella” away from being Garth’s as well.
Darryl Worley, “Have You Forgotten?”
Featuring more straw men than a Wizard of Oz audition.
Clint Black, “I Raq and Roll”
“Have You Forgotten?” without all the nuance and subtlety.
Shania Twain and Billy Currington, “Party For Two”
Proof positive that spoken dialogue can ruin a song before it even begins.
Martina McBride, “God’s Will”
He was dressed as a bag of leaves? That’s his costume? Hey, at least she didn’t kill him off in the last verse.
Brooks & Dunn, “Play Something Country”
There are so many poorly written female characters in Brooks & Dunn songs, it’s hard to pick just one to represent them all. But I’ll give the nod to this one, simply because it has her howling the title to a melodic hook that’s a blatant rip-off of Mary Chapin Carpenter’s “Shut Up and Kiss Me.”
Jason Aldean, “Johnny Cash”
The “country star as song name” trend hasn’t yielded anything worthwhile, but at least “Tim McGraw” and “Kristofferson” have some tenuous connection to their titular song. “Johnny Cash” is just shameless name-dropping.
Gretchen Wilson, “Red Bird Fever”
In retrospect, this should’ve been a huge red flag that Wilson wasn’t built to last. My personal favorite moment of this St. Louis Cardinals shout-out comes in the chorus, when she sings “Let me get a big ‘Go Cards!’ from the Red Bird fans like me. Go Cards!” and the backup singers answer back, “Hell yeah!” because they couldn’t be bothered to change the “Redneck Woman” backing track.