A star-studded line up of country stars came together on Tuesday, Dec. 13 to raise money for victims of the East Tennessee wildfires. Dolly Parton’s Smokey Mountains Rise telethon led to such a huge response that phone lines were overwhelmed. Organizers had to add two extra lines to accommodate the amount of people calling in.
During the telethon, many stars performed and called in to show their support for Parton’s “My People Fund.”
Kenny Rogers, Hank Williams Jr., Chris Stapleton, Reba McEntire, Alison Krauss, Michael W. Smith, Chris Janson, Big & Rich, LOCASH, Chris Young, Montgomery Gentry, Jamey Johnson, Cyndi Lauper, Don McLean, Amy Grant, Alabama, Aaron Lewis, Rhonda Vincent and Keith Urban were among those who showed their support.
The total wasn’t revealed until late Tuesday night, so phone lines could stay open until 3 a.m for those on the West Coast. After the lines were closed, the totals were added up, revealing that My People Fund raised approximately $9 million.
Nearly $500,000 of donations were already committed before the telethon even started on Tuesday evening. The My People Fund will also provide $1000 each month to Sevier County families whose homes are unreachable or destroyed from the recent Smoky Mountain wildfires.
We lost many great people in 2016. The world of country music had at least one notable death occur every month this year. Here’s a look back at the country stars we lost in 2016.
Red Simpson passed in January. Simpson was best known for “I’m a Truck.” The hit is just one of Simpson’s contributions to the Truck Driving subgenera of country music. He was 81.
Glenn Frey
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Frey was a lead vocalist, guitarist and founding member of the Eagles. In his career as a recording artist, he had a combined 24 singles reach the Top 40, from his work with The Eagles and his solo career.
In February Sonny James died at the age of 87. James was best known for his number one hit from 1957 “Young Love.” He received a star on the Hollywood Walk of Fame in 1961, and was inducted into the Country Music Hall of Fame in 2007.
Joey Feek
Kevin Winter/Getty Images
In March Joey Feek passed away after a long and highly publicized fight with cervical cancer. Feek was one-half of the husband and wife duo Joey+Rory, and left behind a young daughter and her loving husband.
About a week after Feek passed, Canadian singer/songwriter Ray Griff died. Griff wrote over 700 songs for singers like Jerry Lee Lewis and Dolly Parton. Griff moved to Nashville in 1964 to pursue country music, eventually landing contracts with Dot Records and then Capitol Records. Griff moved back home to Canada in the 1970’s and continued to be active in country music well into the 2010’s.
Merle Haggard
Facebook/Merle Haggard
At 79, country legend Merle Haggard had still been recording and touring up until the point that he got double pneumonia and had to cancel some tours in early 2016. Haggard even recorded an album with Willie Nelson as recently as last year. He leaves a legacy that won’t soon be rivaled, having written and recorded dozens of iconic country songs like “Mama Tried,” “The Fightin’ Side of Me” and “Okie From Muskogee”.
Emilio Navaira
Emilio Navaira
On May 16 we lost Emilio Navaira, the famed Tejano singer who simply went by his first name, Emilio. Navaira died of a heart attack at home at the age of 53. He charted six songs on the Billboard Hot Country Singles chart and was known as “The Garth Brooks of Tejano.”
Guy Clark
Facebook/Guy Clark
Clark was a legendary singer and songwriter, and will be dearly missed in country music. He won a Grammy two years ago for his folk music album My Favorite Picture of You.
Ralph Stanley, a patriarch of bluegrass music, passed away in June. He began his career as one-half of the Stanley Brothers, and later went on to have a successful solo career. His distinct vocals and harmony style have influenced countless musicians over the decades. He was known as “Dr. Ralph Stanley.”
Bonnie Brown
(From left) Bonnie, Jim Ed and Maxine Brown. Photo via CMA
In July Bonnie Brown of The Browns passed away. The Browns were comprised of Bonnie and her older siblings Maxine Brown and Jim Ed Brown. Their song “The Three Bells” was a number one hit in 1956. Brown lived to see her family trio inducted into the Country Music Hall of Fame just last year.
Richard Fagan
Wikimedia Commons
In August songwriter Richard Fagan both passed. Fagan wrote two of John Michael Montgomery’s smash hits from the 1990’s, “Sold” and “Be My Baby Tonight.” He also wrote songs for George Strait, Clay Walker and George Jones, among many others.
Kacey Jones
Kacey Jones was a comedian, singer and songwriter who will be sorely missed. Jones fought a three-year battle with cancer and passed away at the age of 66. Jones is probably best known for her song “I’m the One Mama Warned You About” made famous by Mickey Gilley.
John D. Loudermilk
J.D. Loudermilk
John D. Loudermilk was a talented singer, but he was best known for his songwriting. Loudermilk penned songs that became hits for other prominent singers. Eddie Cochran made Loudermilk’s song “Sittin’ in the Balcony” famous in 1956. His other hit songs included “Indian Reservation,” “Tobacco Road” and “Then You Can Tell Me Goodbye.”
Jean Shepard
Grand Ole Opry/Chris Hollo
Shepard passed at 82 after a lifetime of achievement in country music and 60 years in the Grand Ole Opry. Over the course of her career, Shepard released 73 singles to the Hot Country Songs chart.
Curly Putnam
Curly Putman
In October Curly Putnam also left us. Putnam was a talented songwriter. He wrote (or in some cases helped write) such hits as “He Stopped Loving Her Today” and “The Green Green Grass of Home.”
Holly Dunn
Holly Dunn
“Daddy’s Hands” singer Holly Dunn passed away in November at the age of 59 due to ovarian cancer. Two of her singles reached the number one spot on the country music charts. “Are You Ever Gonna Love Me” made it to number one in 1989 and “You Really Had Me Going” topped the charts in 1990.
Mark Gray
Wilson Post
The talented Mark Gray of the band Exile passed away in early December at the age of 64. He had eight top 40 country hits including his duet with the great Tammy Wynette when they covered the Dan Hill song “Sometimes When We Touch” in 1993.
Gordon Robert Tapp was once introduced to United States President Gerald Ford as “The world’s funniest storyteller”. The world is just a little sadder now that he’s gone at the ripe old age of 94. Tapp delighted audiences nationwide in his longtime role on the variety show Hee Haw.
As we come into the new year, hopes for the future of country music are high. Furthermore, as we look back on those we’ve lost in 2016, what we see is a lifetime of achievement in this all-American genre.
Dozens of country music’s biggest stars assembled in Nashville for a night of music and memories dedicated to Randy Travis.
Thousands packed Bridgestone Arena on Wednesday night for the highly-anticipated tribute concert that lasted nearly four hours. The night kicked off with a standing ovation when Travis and his wife Mary walked on stage with huge smiles. The pair sat side-stage through the evening, rightfully giving them the best seat in the house. Nashville mayor Megan Barry then took the stage to declare Feb. 8 as Randy Travis Day, in celebration of his incredible career and efforts to provide awareness and raise money for stroke and other cardiovascular issues.
Travis himself nearly died from a devastating stroke in 2013, which left him paralyzed on the right side of his body. Although he still has difficulty walking and speaking, the fact that he survived the ordeal was described by many of the night’s performers as a “miracle.”
Randy and Mary Travis. Rick Diamond/Getty Images
Emotions ran high during the series of performances from artists including Scotty McCreery, Tanya Tucker, Ricky Skaggs, Montgomery Gentry and William Michael Morgan. Some of the most impressive renditions came from Jamey Johnson (“Promises”), Josh Turner (“Three Wooden Crosses”), Alison Krauss (“Deeper Than The Holler”) and Wynonna, who fondly recalled their time touring together before belting a powerhouse rendition of “On The Other Hand.”
Along with Travis’ hits, Ben Haggard performed Randy’s favorite Merle song, “Are The Good Times Really Over,” Kenny Rogers sang his tracks “Love Lifted Me” and “The Gambler,” and Alabama recruited a children’s choir for their inspiring 1993 single “Angels Among Us.”
The night came to a close with an appearance from Garth Brooks, who personally thanked Travis for “saving” the country music format in the 1980s. “This is the hardest thing I think I’ve ever done,” he admitted before performing a heartfelt rendition of “Forever and Ever, Amen.” When it came time for the last lyric, Brooks ran over and held the microphone up to Travis, who happily sang “amen.” But Travis was far from done with singing for the night.
Garth Brooks and Randy Travis. Rick Diamond/Getty Images
With help from his wife, he made his way to the center-stage microphone and performed “Amazing Grace” in its entirety, alongside the night’s other performers. Although Travis had sang a portion of the song during his Country Music Hall of Fame induction last year, this marked the first time he had performed a full song publicly since his stroke.
Although it’s unclear if Travis will ever completely regain his ability to perform a full show, the event proved that his already influential legacy will make an impact on country music for decades to come.
A portion of the proceeds raised from the event will go toward the non-profit Randy Travis Foundation, which provides support for stroke victims and funding for medical research.
On Friday, Sept. 15, Montgomery Gentry released a new song called “Better Me.” It’s a somber, low-key ballad about becoming a better person, largely abandoning the band’s anthemic singalong rock songs. And though it didn’t start as a bittersweet tribute, tragic circumstances gave it a new meaning.
There, 1,500 family, friends and fans gathered to celebrate Gentry’s life. Little Big Town, Vince Gill, Trace Adkins, Charlie Daniels and more honored the late singer. And after the last mourner left, the question remains for Eddie Montgomery: now what?
With a new album on the way, Montgomery Gentry could live on, or it could remain there on the hallowed stage of the Opry. But either way, the duo’s lasting impact won’t soon fade.
Southern Sound
Eddie Montgomery and Troy Gentry actually first made music together as Early Tymz, a trio with Montgomery’s younger brother John Michael Montgomery. After the younger Montgomery left to pursue a successful solo career, Eddie tried to do the same.
But Eddie’s affinity for southern rock didn’t quite yet fit into the 1990s country craze, which again favored a pop crossover sound. So he reunited with Troy Gentry and formed Deuce, which they eventually renamed to Montgomery Gentry.
The Kentucky boys spearheaded a “Kentucky country” renaissance, blending rock n’ roll and outlaw country with just a hint of that smooth pedal steel. They took Nashville by storm and struck pay dirt with blue collar, singalong anthems championing the types of themes you’d expect from Kentucky boys. The Saturday nights and Sunday mornings. Celebrating where you’re from. Not taking yourself too seriously, but still being proud. The kinds of themes that didn’t fill arenas, but packed clubs and midsize venues across the country with loyalists and long-time fans.
Tattoos & Scars
Montgomery Gentry’s first single “Hillbilly Shoes” actually hit the radio before it even went out. Fans hungry for a new male duo to take the shoes of Brooks & Dunn ate up the tune — so much so, that radio programmers were even bootlegging the song to play on air.
One radio programmer told Billboard at the time, “I couldn’t be any more excited about these guys. I think the format is in desperate need of some fun and some attitude.” Another called them “aggressive,” “raw,” “raucous” and “gritty.” That type of buzz worked wonders for the group. The label even moved the record release up an entire month to meet demand.
Interestingly enough, none of the debut album’s five singles hit No. 1 on the charts. But they didn’t have to. Montgomery Gentry sold more than a million units of that first record. And then they pulled off a major upset.
At the 2000 Country Music Association Awards, they won the Vocal Duo of the Year award, unseating Brooks & Dunn, who had won it an astounding eight times in a row prior. They repeated the feat at the Academy of Country Music Awards.
Keep On Keepin’ On
But despite their early success, Montgomery Gentry is more defined by staying relentlessly themselves, even through fads and trends. The country duo never really recaptured that initial buzz in terms of awards and radio love. But they took their fans with them everywhere. And their fans didn’t care the pair didn’t even notch their first No. 1 single on radio until their fourth album, “If You Ever Stopped Loving Me” off 2004’s You Do Your Thing.
In a lot of ways, the pair felt impervious to the ever-changing winds of the industry. They’ve floated in and out of record contracts. And even when the industry nearly tanked with illegal downloading, they kept selling records to their loyal following.
At the heart of every record, Montgomery Gentry focused on glorifying the everyday. What some may seem as mundane and covered in dust, they heralded as the mana of life. Songs like “My Town,” “Where I Come From” and “Folks Like Us” prove it. You can expect most songs to hit plenty of cliches. They probably all contain the same chords and are within a few beats of being the same tempo.
But dammit if they aren’t catchy, and dammit if their fans don’t love it. Montgomery’s earthy baritone and Gentry’s complementary tenor seemed to always hit the right notes.
Where To Go From Here
The pair worked closely with Colt Ford’s label Average Joes Entertainment at the beginning of the bro country fad. It makes a lot of sense, because Ford is a great example of somebody who knows exactly who his fans are and doesn’t try to do anything but stick by them. Montgomery Gentry certainly laid the foundation for many of the southern rock-inspired country groups of today, including the Cadillac Three, A Thousand Horses and Brantley Gilbert (who also works closely with Ford).
With a new album still slated for 2018, Montgomery Gentry’s future is anything but certain, in both ways. Those who just assume the duo is over greatly underestimate the lifespan on the music they made together. And just how timeless it is to their audience.
But that doesn’t mean Eddie wants to forge on with a new singing partner. Nor does it mean he wants to go on as a solo country singer. Only time will tell the direction he wants to take his career. But the band and its nearly 20 years of music will live on in the hearts and minds of endearing fans.
If you were alive and a country fan in 1995, chances are you had John Michael Montgomery‘s infectious hit “Sold! (Grundy County Auction)” on repeat. 22 years later, the song is earning a whole new crop of fans, thanks to Keith Urban and Chris Janson.
The pair took the stage at Nashville’s beloved Grand Ole Opry last night (Oct. 10) to perform a special cover of the track. And let me tell you, it’s no easy song to sing, even in the shower. But these two manage to sail through it with ease, adding in plenty of smiles and rolling harmonica.
It was a natural fit for Janson, who spent years singing country hits in honky-tonks along Nashville’s Lower Broadway. He still adds in plenty of country covers to his own sets, and has previously put his own spin on Johnny Cash’s “Folsom Prison Blues”and Merle Haggard’s “My Favorite Memory”during past visits to the Grand Ole Opry stage.
Since before the 1950s, Billboard has named the year’s best country song. Some of these songs reshaped the genre, while others simply capture what was fleetingly popular at the time. With this year-end list as your guide, here’s a long journey through over six decades of hits.
Keep in mind that these selections reflect contemporary takes on what song defined a calendar year. Retrospectively, it’s a list full of omissions that seem outrageous. Garth Brooks, Merle Haggard, Dolly Parton, George Strait, Alabama and Keith Urban are among the huge names to never receive this honor, taking a back seat to artists time hasn’t treated as fondly.
Still, country fans curious about what song defined their birth year, then more so than now, should look no further than this exhaustive round-up of over six decades of hits.
1950: “I’m Movin’ On” by Hank Snow
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Hank Snow, a great singer of train songs, built the metaphorical trestle bridge between early country and western music and the more mainstream accessible sounds that popped up in the ’50s, as exemplified by the decade’s first year-defining hit.
1951: “Cold, Cold Heart” by Hank Williams
“Cold, Cold Heart” ranks among Hank Williams’ greatest musical statements for drifting souls and broken hearts. Like Williams’ other hits, it inspired the lyrical direction of country for decades to come.
1952: “Wild Side of Life” by Hank Thompson
Amid this run of success by the three Hanks came a sympathetic view on cheating husbands that inspired Kitty Wells to sing the most famous “diss track” in country music history.
1953: “Kaw-Liga” by Hank Williams
One of Hank Williams’ most celebrated songs during his shortened career referenced the Native American influence on his home state of Alabama.
1954: “I Don’t Hurt Anymore” by Hank Snow
Before it became one of Snow’s most covered songs, by both country and R&B vocalists, his recording of “I Don’t Hurt Anymore” topped the charts for 20 weeks.
1955: “In the Jailhouse Now” by Webb Pierce
Only four different songs topped the country charts in 1954. Three of them were sung by Webb Piece. Hits kept coming the next year, including this nod to the lingering influence of the great Jimmie Rodgers.
1956: “Crazy Arms” by Ray Price
A new Nashville sound was just around the corner, but a more traditional sound still dominated the year-end charts. Ray Price’s crowning achievement of ’56 soon became a honky tonk standard following its 20 total weeks on top of the country charts.
1957: “Gone” by Ferlin Husky
The late ’50s was a time of great crooners in country music, as captured in one of Ferlin Husky’s most gorgeous and moving hits.
1958: “Oh Lonesome Me” by Don Gibson
Don Gibson’s “Oh Lonesome Me” wasn’t alone in introducing the blossoming Nashville sound. It’s B-side, unbelievably enough, was the original version of the Gibson-penned classic “I Can’t Stop Loving You.”
1959: “Battle of New Orleans” by Johnny Horton
The biggest song of the year, regardless of genre, was Johnny Horton’s greatest historical narrative. The song is so engrained in country and roots music culture now that it’s hard to believe it’s not decades older.
1960: “Please Help Me, I’m Falling” by Hank Locklin
Hank Locklin surely reminded longtime country fans of another Hank with this sentimental favorite that soon drifted farther from the sounds of Luke the Drifter.
1961: “I Fall to Pieces” by Patsy Cline
Getty Archives
An obvious choice on par with “Crazy” or “Walking After Midnight,” the biggest hit of Cline’s shortened life shows off the God-given vocal talents of one of the all-time greats.
1962: “Wolverton Mountain” by Claude King
Claude King remains arguably the best “one hit wonder” among artists with just one song that topped the charts. His rewording of a Merle Travis song became a memorable million-seller for a talented artist who never cracked the top five again.
1963: “Still” by Bill Anderson
The second of a long string of hits by Whisperin’ Bill Anderson became a benchmark of his career. It exemplifies the pop and jazz-oriented sound used back then to embellish the best singers’ talents.
1964: “My Heart Skips a Beat” by Buck Owens
Although he’s now just as synonymous with Hee Haw, Buck Owens and the Bakersfield Sound began a dominating run on the charts a few years earlier with his storied Capitol Records output.
1965: “What’s He Doing in My World” by Eddie Arnold
One of the finest crooners, regardless of genre, ended a ten-year drought at the top of the charts with this famous single. Even as the new Nashville sound took hold, legends received their just due.
1966: “Almost Persuaded” by David Houston
David Houston’s breakthrough hit introduced country fans to a song that’s since been covered by everyone from Etta James to Merle Haggard. It’s the story of a man whose moral compass won’t let barroom flirting escalate to cheating on his wife.
1967: “All the Time” by Jack Greene
Although prior year’s “There Goes My Everything” defined the Jolly Greene Giant’s career, it’s this revision of a prior Kitty Wells hit that netted him high honors.
1968: “Folsom Prison Blues” by Johnny Cash
In just about any other year, one of Johnny Cash’s signature tunes might have been an obvious choice. This was no regular year for the country charts, with “Fist City,” “D-I-V-O-R-C-E.,” “Harper Valley P.T.A.,” “Mama Tried,” “Stand By Your Man” and “Wichita Lineman” also topping the charts in an insane 12-month stretch.
1969: “My Life (Throw It Away If You Want To)” by Bill Anderson
The 1960’s ended with one of the decade’s biggest success stories reclaiming top honors. This relatively innocent love song soon took a back seat to the sensuous vibes of ‘70s hit-makers.
1970: “Hello Darlin’” by Conway Twitty
Wikimedia Commons
Conway Twitty became the king of the lusty country ballad with this signature song. It opened Twitty’s concerts for years to come and contains one of the best-known opening lines in popular music history.
1971: “Easy Loving” by Freddie Hart
Freddie Hart’s tales of requited lust frequented the charts often in the early ‘70s. This self-penned hit began a run of success that’s overshadowed now by the hits of more famous peers.
1972: “My Hang-Up Is You” by Freddie Hart
Before Hart became a gospel singer, he prompted a lot of pastors to preach against the carnal themes of early ‘70s country.
1973: “You’ve Never Been This Far Before” by Conway Twitty
Twitty’s other early ‘70s mega-hit that still helps define his career remains an easily recognizable hit from the years before outlaws and truck drivers claimed center stage.
1974: “There Won’t Be Anymore” by Charlie Rich
The Silver Fox remains a legend for “The Most Beautiful Girl” and “Behind Closed Doors,” but it’s this less obvious hit that defined country music success in 1974.
1975: “Rhinestone Cowboy” by Glen Cambpell
As outlaws and truck drivers became all the rage, Glen Campbell returned to the top of the charts with yet another hit that was quickly incorporated into the great American songbook.
1976: “Convoy” by C.W. McCall
The most successful novelty song in country music history had Americans clamoring for CB radios and glamorizing truck drivers’ lives on the road.
1977: “Luckenbach, Texas (Back to the Basics of Love)” by Waylon Jennings with Willie Nelson
The good times continued in ’77 for country music rebels, even if Waylon Jennings began yearning in song for simpler times.
1978: “Mamas, Don’t Let Your Babies Grow Up to Be Cowboys” by Willie Nelson and Waylon Jennings
This counter to the press’ glamorization of outlaw living remains an enduring hit from one of country music’s dynamic duos.
1979: “I Just Fall in Love Again” by Anne Murray
A past Carpenters and Dusty Springfield hit went country as pop-oriented hits began overtaking the outlaw rebellion.
1980: “My Heart” by Ronnie Milsap
The rise of cosmopolitan, pop-oriented county music catapulted Ronnie Milsap back to the top of the charts. He revisited that plateau quite a few times in the years to come.
1981: “Fire and Smoke” by Earl Thomas Conley
With a new decade came new levels of success for young country stars. “Fire and Smoke” was the first in a long string of chart-toppers for Conley.
1982: “Always on My Mind” by Willie Nelson
Taylor Hill/Getty Images
Who other than Willie Nelson ever heightened the cultural profile of an Elvis song? Nelson’s version has been so great for so long that the feat somehow seems normal.
1983: “Jose Cuervo” by Shelly West
Dottie West’s daughter flew solo apart from duet partner David Frizzell, providing free advertising for her liquor of choice for what became 1983’s defining hit.
1984: “To All the Girls I Loved Before” by Willie Nelson and Julio Iglesias
By the mid-‘80s, Willie Nelson’s global stardom made him a suitable duet partner for just about anyone, as proven by this pop-crossover event.
1985: “Lost in the Fifties Tonight” by Ronnie Milsap
One of the voices of ‘80s country waxed nostalgic on his final song of the year. Milsap knew a thing or two about old time rock ‘n’ roll from his own time in Memphis,.
1986: “Never Be You” by Roseanne Cash
Country and rock crossed paths when Johnny Cash’s daughter topped the charts with this Tom Petty co-write. Despite these ties to the past, it played a role in the younger Cash earning her own reputation as an interpreter of songs.
1987: “Give Me Wings” by Michael Johnson
With all due respect to Michael Johnson, this choice seems peculiar 30 years later. Johnson’s “Bluer than Blue” was more impactful nine years earlier. Besides, it’s Randy Travis’ “Forever and Ever, Amen” that owned the charts in ’87.
1988: “Don’t Close Your Eyes” by Keith Whitley
The late, great Keith Whitley’s chase of mainstream stardom paid off with this career-defining hit. Whitley passed away the following year, cutting short a promising career.
1989: “A Better Man” by Clint Black
Time somehow forgot that Clint Black reached the same level of old-school cool as Alan Jackson, Travis Tritt and the like. For a time, he stood tall alongside country’s biggest stars due to such traditionally-minded hits as “A Better Man.”
1990: “Nobody’s Home” by Clint Black
In the year Garth broke, Black remained at the top of the Billboard heap. Black’s celebrity back then even had him co-headlining the Super Bowl halftime show a few years later.
1991: “Don’t Rock the Jukebox” by Alan Jackson
Although the ‘90s ushered in modern pop-country, those early years stand up well as a period of traditionally-minded country hits. This climate propelled Alan Jackson to a string of singles that earned him a Hall of Fame spot.
1992: “I Saw the Light” by Wynonna
Wynonna’s hit about catching a cheater in the act stands as a reminder that ‘90s country music aged gracefully in part because of the number of talented women on the charts and the airwaves.
1993: “Chattahoochee” by Alan Jackson
Alan shared his lighter side with the lake party anthem that served as a precursor to today’s carefree pop-country.
1994: “I Swear” by John Michael Montgomery
John Michael Montgomery simultaneously brought tender love ballads back to the top of the charts while inching country closer to pop acceptance.
1995: “Sold (The Grundy Country Auction Incident)” by John Michael Montgomery
Montgomery traded tears for laughter, broadening his audience with this light-hearted song and its charming music video. It took a trip to the small-town cattle auction in an unexpected direction.
1996: “My Maria” by Brooks & Dunn
Hit-making duo Brooks & Dunn brought even more ears to an old B.W. Stephenson country-rock song about a visit to a benevolent gypsy. The cover song netted Brooks & Dunn a Grammy.
1997: “It’s Your Love” by Tim McGraw and Faith Hill
A Nashville power couple both then and now, Tim McGraw and Faith Hill’s real-life love and natural talents made this hit sound second-nature.
1998: “Just to See You Smile” by Tim McGraw
A 20-plus year run of hits was solidified by one of Tim McGraw’s twangiest and catchiest songs. It’s the sort of broadly appealing pop song that could’ve easily been a Glen Campbell hit 30 years earlier.
1999: “Amazed” by Lonestar
Just as many decade-closing hits predicted the near future, Lonestar’s “Amazed” pointed to an even more pop-accessible approach to mainstream country. They laid the blueprint for the successful pop singers who’d soon push country music into the 21st century.
2000: “How Do You Like Me Now?!” by Toby Keith
Rick Diamond/Getty Images
This bombastic tale of broken hearts and revenge suits the pent-up emotions of a lot of shunned ex-boyfriends faced with a high school reunion.
2001: “Ain’t Nothing ‘Bout You” by Brooks & Dunn
Ronnie Dunn showed off his range as a vocalist on this sultry pop song that strayed from Brooks & Dunn’s usual honky tonk formula.
2002: “The Good Stuff” by Kenny Chesney
Kenny Chesney’s most decorated song to this point of his career departed from his party hearty, beach bumming image. Instead, Chesney added a touch of tenderness to his biggest hit of the early aughts.
2003: “My Front Porch Looking In” by Lonestar
Lonestar’s second year-defining hit tells a straightforward story about valuing loved ones over earthly possessions and even nature’s most beautiful sights.
2004: “Live Like You Were Dying” by Tim McGraw
For his most heart-wrenching hit, Tim McGraw sang of living life to its fullest, with illusions to the multitudes of men and women diagnosed with cancer.
2005: “That’s What I Love About Sunday” by Craig Morgan
Few artists in recent memory captured what’s special about Sunday mornings at an old country church as accurately as Craig Morgan with this gorgeous celebration of some people’s only day off.
2006: “If You’re Going Through Hell (Before the Devil Even Knows)” by Rodney Atkins
Rodney Atkins became the next new thing with his second album, featuring this memorable title track inspired by a Winston Churchill quote and an old Irish toast.
2007: “I’m Watching You” by Rodney Atkins
The second consecutive year-defining hit from Atkins’ If You’re Going Through Hell album tells of a young son who emulates his dad in less than ideal ways.
2008: “Just Got Started Loving You” by James Otto
James Otto’s breakout hit follows the rocking, honky tonkin’ country song mold, but sometimes the most memorable song over a twelve-month stretch doesn’t have to cover new ground.
2009: “I Run to You” by Lady Antebellum
A new generation of vocal groups gained further legitimacy when this single from Lady Antebellum’s debut album dominated the charts and won CMA and Grammy awards.
2010: “Love Like Crazy” by Lee Brice
Terry Wyatt/Getty Images
Break out some tissues whenever encountering this heart-warming tale of an older man who defied the critics by successfully making a young marriage work and entering the computer early in that game.
2011: “Crazy Girl” by the Eli Young Band
Despite its title, this song celebrates not allowing a partner’s quirks and insecurities end an otherwise happy relationship. Lee Brice co-wrote the song, giving him a hand in consecutive year-defining hits.
2012: “Time is Love” by Josh Turner
Before “bro-country” completely took over the Billboard charts, the baritone vocals and mandolin-driven instrumentation on this Josh Turner hit celebrated the old school.
2013: “Cruise” by Florida Georgia Line
Love them or loathe them, Florida Georgia Line redefined what it means to have a massive hit single with “Cruise.” It launched an ongoing success story for the duo, as recording artists and a touring act.
2014: “This is How We Roll” by Florida Georgia Line with Luke Bryan
Florida Georgia Line’s polarizing music got a big stamp of approval by the modern Nashville establishment when they cut this massive hit with help from Tyler Hubbard’s fellow Georgia “bro,” Luke Bryan.
2015: “Take Your Time” by Sam Hunt
Sam Hunt’s blend of country, soul and rap shook up the charts with “Take Your Time,” two years before monster hit “Body Like a Back Road” rewrote the record books.
2016: “H.O.L.Y.” by Florida Georgia Line
Florida Georgia Line’s third song of the year in a four year stretch owes more to pop-country harmonies and religious imagery than second-rate hip-hop.
2017: “Body Like a Back Road” by Sam Hunt
Based on sales and chart performance, no song even came close this year to Hunt’s record-breaking single. It’s so undeniably catchy that staunch “bro country” haters probably stop themselves from humming along every now and then.
There are plenty of country songs about drinkin’ and cheatin’, but some of the best songs in country music are about plain old love and all that goes along with it. From tracks on falling in love with your soulmate to tunes about unrequited love, here are the top 20 country love songs of all time.
20. “I Told You So,” Randy Travis
“I Told You So” was written and recorded by Travis for his 1983 album Live at the Nashville Palace. The song, which finds the narrator wondering if the woman he once left could ever take him back, became one of Travis’ most requested songs at his early shows. When he recorded the song for 1988’s Always and Forever, it was a certified hit. The song took on another life when Travis recorded it as a duet with Carrie Underwood in 2009.
19. “Amazed,” Lonestar
Country radio in 1999 was all about “Amazed” by Lonestar. The song, written by Aimee Mayo, Chris Lindsey and Marv Green, became a smash hit for the band and is still one of the most played country wedding songs.
18. “When I Said I Do,” Clint Black
Clint Black joined the ranks of George and Tammy and Tim and Faith when he recorded the duet “When I Said I Do” with his wife Lisa Hartman Black in 1999.
17. “Need You Now,” Lady Antebellum
Recorded in 2009, “Need You Now” won four Grammy awards and made Lady Antebellum into country music superstars.
16. “It’s Your Love,” Tim McGraw and Faith Hill
Tim McGraw and Faith Hill released their steamy duet “It’s Your Love” in 1997. The song was the first in a series of duets the couple would release throughout their careers. The song must have been a good omen, since the couple has now been married for over 20 years.
15. “Remember When,” Alan Jackson
Sometimes the most meaningful love songs aren’t about newfound love, but a lasting love that’s withstood years of ups and downs. Such is the case with Alan Jackson’s “Remember When,” a tribute to his lasting love with his wife, Denise.
14. “Mama He’s Crazy,” The Judds
Everyone wants to meet a love they can introduce to mama. The Judds’ 1984 hit “Mama He’s Crazy” became the second No. 1 country hit for the mother-daughter duo.
13. “Little Moments,” Brad Paisley
Brad Paisley’s “Little Moments” ignores grandiose gestures and focuses on the snapshot moments of a relationship that are truly special.
12. “I Swear,” John Michael Montgomery
Released in 1994, John Michael Montgomery’s “I Swear” became a No. 1 hit on the country charts. But the song was so beloved, the pop group All-4-One covered the song and had a smash hit on the pop charts that same year.
11. “Still the One” Shania Twain
Shania Twain’s scorching love song “You’re Still the One” became Twain’s first top ten hit on the Billboard Hot 100. The crossover hit, written by Twain and her then husband Mutt Lange, also won two Grammy Awards in 1999.
10. “Breathe,” Faith Hill
A soaring ballad released at the peak of country pop diva anthems, Faith Hill’s “Breathe” is still one of the most beloved country love songs ever.
9. “Crazy,” Patsy Cline
Widely regarded as one of the best country songs ever written, “Crazy” became Cline’s signature song when she recorded it in 1961.
8. “Ring of Fire,” Johnny Cash
Written by June Carter Cash and Merle Kilgore, “Ring of Fire” is one of Johnny Cash’s most memorable hits and a reminder of the powerful impact of romantic love.
7. “Whenever You Come Around,” Vince Gill
Sometimes the greatest love songs are for the unrequited love. Vince Gill’s 1994 hit “Whenever You Come Around” is about a man who can’t find the words – or perhaps the courage – to tell someone how he feels.
6. “Forever and Ever, Amen,” Randy Travis
Randy Travis’ “Forever and Ever, Amen” has stood the test of time as one of country music’s most endearing love songs. As plain spoken and true as only a country song can be, “Forever and Ever, Amen” is one of the greatest country love songs ever written.
5. “Cowboy Take Me Away,” Dixie Chicks
“Cowboy Take Me Away” was co-written by Dixie Chicks fiddler Martie Maguire for her sister (and fellow bandmate) Emily’s wedding. The song, an ode to getting away from it all with someone you love, went to No. 1 in 1999.
4. “When You Say Nothing At All,” Keith Whitley
Written by country hit-makers Paul Overstreet and Don Schlitz, “When You Say Nothing at All” was a No. 1 hit for Keith Whitley in 1988. After Whitley’s tragic death, Alison Krauss and Union Station recorded the song for a Whitley tribute album. Krauss’ tender vocals took the song back the Top 10 in 1995.
3. “I Cross My Heart,” George Strait
Released as the first single from Strait’s Pure Country soundtrack, “I Cross My Heart” was a No. 1 hit for Strait in 1992. The song, a tribute to unconditional love, is still one of country music’s most requested wedding songs.
Love doesn’t always work out like we want it to. Some of country music’s greatest songs are born out of the notion that even the truest loves don’t always last. “He Stopped Loving Her Today,” about a man who carries a torch for his one true love until his dying day, is perhaps country’s greatest example of heartbreaking, enduring love.
1. “I Will Always Love You,” Dolly Parton
The greatest country music love song wasn’t written about romantic love. Dolly Parton wrote “I Will Always Love You” for her dear friend Porter Wagoner upon her exit from The Porter Wagoner Show. From then on, the song took on a life of its own. It was a No. 1 hit for Parton in 1974, then again in 1982 when she re-recorded it for the Best Little Whorehouse In Texas. (She’s the first singer to score a No. 1 hit twice for the same song.)
Ten years later, Whitney Houston had the best-selling single by a woman in music history with her cover of the song. But even without the massive chart success, “I Will Always Love You,” a song about pure, selfless love, would still be the best country love song ever written.
WATCH: Chris and Morgane Stapleton’s Incredible Love Story
Clichés about sad country songs ring true, considering how often death has reared its ugly head into various artists’ material.
Fortunately, there isn’t a set formula for this genre trope. Some of the best country songs about death sometimes open dialogue about public safety, addiction, suicide, domestic abuse and other social ills. Other songs use death to add immediacy to the heartbreak and hard drinking also associated with country songwriting. There’s also a heaping helping of tracks that pay tribute to lost friends, loved ones and the military, furthering some artists’ reputations for singing about real-life emotions.
The following 25 songs rank among the saddest country songs and demonstrate the range of emotions and themes songwriters have explored while grappling with mortality.
“Careless Driver,” Maddox Brothers and Rose (1947)
One of early country’s most influential family bands explored how the growing number of motorists posed safety threats to children with this incredibly gruesome track.
“The Funeral,” Hank Williams A.K.A. Luke the Drifter (1950)
Among the many country song tropes pioneered by Hank was the use of modern terminology to address death and other eternal matters. A Will Carleton poem about the funeral of an African-American child provided these poorly-aged lyrics, brought to life here with evangelistic fervor.
“One Dyin’ and a Buryin’,” Roger Miller (1965)
Few in country’s long history could turn a phrase or pick a guitar like Miller, as evidenced by this tune from his career-defining album The 3rd Time Around. It laid the modern template for singing about death as the only respite from heartbreak.
“Ballad of Forty Bucks,” Tom T. Hall (1968)
Hall’s first top ten hit is a semi-autobiographical tale of a cemetery caretaker who’s become a calloused onlooker at funerals. In the end, we learn that the narrator wasn’t too fond of the deceased—he still owed him $40.
“Waiting ‘Round To Die,” Townes Van Zandt (1968)
One of the greatest songwriters of his generation, regardless of genre, focused a lot on mortality. His saddest composition cast many of this list’s themes, from parental abuse to love gone bad, on an overburdened drifter.
“Letter to Heaven,” Dolly Parton (1970)
This seemingly tender story of a naïve young girl wishing to send a letter to her deceased mother takes a dark turn. After preparing a letter asking God if she could see her mommy again, the child gets struck and killed while taking it to the mailbox.
“Desperados Waiting For a Train,” Guy Clark (1975)
This often-covered classic revisits Clark’s close relationship with his grandmother’s boyfriend, Jack. It’s a powerful song for anyone who’s lost a childhood hero to old age.
“He Stopped Loving Her Today,” George Jones (1980)
The crowning moment of Jones’ early ‘80s return to the spotlight remains the greatest country song about heartbreak and death. The main character holds on to the memories of a lost love who doesn’t return until his funeral.
“Pancho and Lefty,” Willie Nelson and Merle Haggard (1983)
One of Townes Van Zandt’s most widely-covered compositions became modern-day murder ballad under the watch of two fellow outlaws.
“Chiseled in Stone,” Vern Gosdin (1988)
This classic by one of the ‘80s greatest vocalists explores the long-term heartache felt by anyone who outlives a partner or spouse.
“Ships That Don’t Come In,” Joe Diffie (1992)
Soldiers who make the ultimate sacrifice are honored in this cut from Diffie’s breakthrough second album.
“She Thinks His Name Was John,” Reba McEntire (1994)
Reba McEntire used her stardom to draw attention to the many lives lost to AIDS with this powerful single. The song tells of a woman who regrets all she’ll miss by dying young, all for a one-night stand with a stranger. Co-writer Sandy Knox wrote the song in part to pay tribute to her late brother.
“Go Rest High On That Mountain,” Vince Gill feat. Ricky Skaggs and Patty Loveless (1995)
Inspired by the deaths of Keith Whitley and Gill’s older brother Bob, this fine addition to the country-gospel canon looks to faith to lessen death’s bitter sting.
“Holes in The Floor of Heaven,” Steve Wariner (1998)
Can departed love ones in Heaven witness our happiest moments on Earth? Wariner thinks so, based on this CMA and ACM Song of the Year.
“Goodbye Earl,” The Dixie Chicks (2000)
This macabre tale of black-eyed pea-flavored revenge is light-hearted without overshadowing the seriousness of spousal abuse. It remains one of the Dixie Chicks’ best-loved songs, and it’s at least their second best-known socio-political statement.
“The Little Girl,” John Michael Montgomery feat. Alison Krauss and Dan Tyminski (2000)
The saddest country song in recent memory tells of a little girl whose abusive parents never took her to church. After losing both parents to a murder-suicide, the girl was taken to a foster home and allowed to attend Sunday school for the first time. There, she recognized Jesus as the stranger who protected her the night she lost her mom and dad.
“Concrete Angel,” Martina McBride (2001)
This song’s lead character is a 7-year-old girl, beaten to death by an abusive mother after neighbors and a teacher ignore tell-tale signs of serious abuse. The song’s music video encouraged viewers to be proactive, sharing the American Child Abuse Hotline’s phone number.
“Three Wooden Crosses,” Randy Travis (2002)
Travis’ country gospel classic ends with a surprising yet rewarding surprise. A farmer, a teacher, a preacher and a hooker are riding a bus struck by an 18-wheeler. Three of them pass away, with the song explaining the farmer and teacher’s lasting legacies. The narrative is then revealed to be part of a sermon, with the preacher holding up a blood-stained Bible from the accident. It’s not the same preacher from the wreck, as he ends up being the third victim. Instead, the hooker survived, keeping the deceased preacher’s Bible before giving it years later to her adult son, now a preacher himself.
“Whiskey Lullaby,” Brad Paisley and Alison Krauss (2003)
In this tear-jerking tale of broken hearts, a returning soldier discovers that his wife is having an affair. He responds by drinking himself to death. Out of guilt, the woman spirals toward the same self-inflicted fate.
“Sissy’s Song,” Alan Jackson (2008)
Alan Jackson used his personal faith and Hall of Fame talent to pay tribute to former housekeeper Leslie “Sissy” Fitzgerald. She died in a May 20, 2007 motorcycle accident.
“Cryin’ For Me (Wayman’s Song),” Toby Keith (2009)
Keith pours genuine emotions into this tribute to former NBA star, jazz musician and fellow son of Oklahoman Wayman Tisdale. Tisdale lost his battle with cancer earlier that year.
“I Drive Your Truck,” Lee Brice (2012)
Despite its title, this isn’t yet another pickup truck song about frivolous partying or promiscuity. Instead, Brice sings about a man who proudly drives the truck of a sibling who passed away while serving his country.
“Heaven’s Only Days Down the Road,” Shelby Lynne (2012)
Sisters Shelby Lynne and Allison Moorer were orphaned as teenagers after witnessing their father murder their mother before killing himself. Twenty-five years later, Lynne boldly addressed her dark past with this song, sung from her father’s perspective.
“Over You,” Miranda Lambert (2012)
Lambert co-wrote this song with Blake Shelton in memory of his older brother who was killed in a wreck. It captures the grief, guilt and resentment resulting from an untimely death as well as any song on this list.
“Drink a Beer,” Luke Bryan (2013)
This heart-wrencher, co-written by Chris Stapleton, finds a man responding to a buddy’s death by cracking open a beer and watching the sunset while reflecting on a life lost. It shows the vulnerability and emotion often absent from today’s pop-country.
Honorable Mentions: “If I Die Young,” The Band Perry; “If Tomorrow Never Comes” by Garth Brooks
Now Watch: Shane Owens Shares the Story Behind the Song “Country Never Goes out of Style”
Country music megastar Chris Stapleton will be releasing his third solo album, From A Room: Volume 2 this Friday, Dec. 1. The nine-track album is the second half of Stapleton’s larger From A Room project, an homage to RCA’s Studio A, where Stapleton and longtime collaborator Dave Cobb have recorded Volume 1, as well as Stapleton’s debut, Traveller.
While certainly an homage to classic country, rootsy blues and southern rock, From A Room isn’t just recycled commentary and the reshuffling of the deck by Stapleton and company. It’s Stapleton diving further into the American songbook. He delivers radio-friendly anthems that are felt by casual and die-hard fans alike. In several ways, Volume 2 isn’t just a sequel. At times, it’s a broken mirror that reflects the same story, but from a different point of view or vantage point.
Stapleton’s songbook revolves heavily around simple, easily digested storytelling, relatable parables and a boundless list of collaborating songwriters. Here’s how the tracks of From A Room: Volume 2 relate to Stapleton’s catalog of music.
1. “Millionaire”
“Millionaire” kicks off Volume 2 with a vintage country trope, how “love is more precious than gold.” It’s as classic to country storytelling as anything recorded in RCA’s Studio A. It’s straightforward in both its lyrics and sonically. It’s prime radio gold.
“Millionaire” was originally written by Kevin Welch. While an accomplished songwriter, Stapleton has never shied away from including covers. The single “Tennessee Whiskey,” perhaps Stapleton’s breakout moment on Traveller, was written by Dean Dillon and Linda Hargrove. These are just the tip of the iceberg when it comes to covers too.
2. “Hard Livin'”
“Hard Livin'” feels like a prequel of sorts to Volume 1‘s “Up To No Good Livin’.” On “Hard Livin’,” Stapleton goes on about how the rambling days of his youth are catching up to him as he grows older. It’s his most “outlaw” moment on the album and feels right at home next to Traveller‘s set of wayfaring songs “The Devil Named Music,” “Outlaw State of Mind” and “Traveller.”
“Hard Livin'” was written with long-time Stapleton collaborator and veteran songwriter Kendall Marvel. On the podcast “Walking The Floor” with Chris Shiflett, Marvel said he’s written over 60 songs with Stapleton over the years. Blake Shelton’s “Never Lovin’ You” was written by Marvel and Stapleton. Along with songwriter Tim James, Stapleton and Marvel wrote Josh Turner’s “Lovin’ You On My Mind” and “Either Way,” which appeared on Volume 1 and Lee Ann Womack‘s Call Me Crazy. “Tryin’ To Untangle My Mind” was also written by Stapleton, Marvel and Jaron Boyer.
3. “Scarecrow In The Garden”
Stapleton does his best storytelling with the dark and haunting “Scarecrow In The Garden.” It’s the tale of Irish immigrants who settle rich and fertile lands in West Virginia. After two decades worth of profit, the extended family begins moving away leaving only the lone grandson to tend the fading fields. Despite the strong family ties, Stapleton’s narrator feels burdened by the land. There’s a strong sense of abandonment felt by the narrator–not only by family but also by God. The final lines of “I’ve been sitting here all morning. I was sitting here all night. There’s a bible in my left hand and a pistol in my right” leaves the story open-ended. It’s Stapleton at his most despondent, conflicted and macabre. Should he restore his faith in God or end his own life?
In many ways, “Scarecrow In The Garden” is a callback to Stapleton’s Appalachian roots. It’s not quite Kentucky bluegrass but is reminiscent of Stapleton’s time in the bluegrass band The SteelDrivers. Stapleton’s storytelling is as cautionary as it is thought-provoking with its’ inside look at the thoughts of a broken man.
4. “Nobody’s Lonely Tonight”
“Nobody’s Lonely Tonight” was written with former SteelDrivers bandmate Mike Henderson. Henderson is perhaps Stapleton’s greatest co-writing collaborator to date. The duo co-wrote the vast majority of The SteelDrivers’ first two albums with highlights such as “If It Hadn’t Been For Love,” “East Kentucky Home” and “Where Rainbows Never Die.” The pair also wrote the standout singles “Broken Halos” and “Second One To Know” as well as “Midnight Train To Memphis.”
“Nobody’s Lonely Tonight” is Volume 2‘s most bluesy contribution. It’s a slow-burning lament that feels closest to Traveller‘s “Sometimes I Cry,” and Volume 1‘s “I Was Wrong.” There are moments in these songs where Stapleton feels as close to becoming unhinged and off the rails as he can become. Where they differ though is where Stapleton is in the heartbroken grieving process. “Sometimes I Cry” and “I Was Wrong” have the apologetic Stapleton confessing his mistakes with his heart on his sleeve. “Nobody’s Lonely Tonight” is a callused Stapleton who has given up on love, but still searching for some comfort. His “What’s love but just some illusion we believe?” and “What’s love but just some confusion we don’t need?” may sound like cold pick-up lines, but Stapleton’s delivery hints that he’s still hurting on the inside.
5. “Tryin’ To Untangle My Mind”
“Tryin’ To Untangle My Mind” opens up with a laundry list — whiskey, women and money — of ways Stapleton has tried to untangle his mind. Whiskey is Stapleton’s all-time favorite song subject. Some whiskey highlights include “Tennessee Whiskey,” “Whiskey & You,” “Might As Well Get Stoned,” “Parachute,” “Nobody to Blame,” “Drunkard’s Prayer” as well as The SteelDrivers songs “Drinkin’ Dark Whiskey” and “Good Corn Liquor.”
In the end, Stapleton resorts to getting stoned. It’s often been his last resort in song and rivals the likes of Traveller‘s “Might As Well Get Stoned” and Volume 1‘s “Them Stems.”
6. “A Simple Song”
“A Simple Song” was written with Darrell Hayes, Stapleton’s father-in-law. While “Millionaire” may get most of the fanfare for Stapleton’s unflinching adoration for Morgane, “A Simple Song” is the down-home heart of Volume 2. Stapleton may be using a blue-collar narrator throughout, but make no mistakes, this is absolutely Stapleton. While Morgane’s fingerprints (and harmonies) are all over Volume 2, they’re most apparent here on “A Simple Song.” As it hints, “A Simple Song” revolves around warm fingerpicking and plain, yet welcoming harmonies.
“A Simple Song” is very much juxtaposed to “Scarecrow In The Garden.” Where “Scarecrow In The Garden’s” narrator is withdrawn and losing his faith, the narrator of “A Simple Song” is reassured by his family’s presence time and again. Even when times get rough, he’s comforted. “But I love my life and it’s something to see. It’s the kids and the dogs and you and me,” sings Stapleton.
7. “Midnight Train To Memphis”
“Midnight Train To Memphis” was first recorded by The SteelDrivers for their 2008 debut and written by Stapleton and Henderson. While “Midnight Train To Memphis” started out rooted firmly in bluegrass, the song took a rocking turn once Stapleton formed the short-lived Southern Rock outfit The Jompson Brothers. While never recorded by The Jompson Brothers, it was a staple of their live show and seems to be the blueprint for Volume 2‘s Southern Rock homage.
Like Volume 1‘s “Death Row,” Stapleton steps into the mind of a prisoner on “Midnight Train To Memphis.” While “Death Row” has Stapleton sentenced to death, “Midnight Train To Memphis” is a much lighter sentence–a mere 40 days. Still, his insight for both characters feels genuine despite being at the polar opposite ends of the spectrum. While “Death Row” has the narrator already having come to terms with his imminent death, Stapleton’s “Midnight Train To Memphis” narrator is coming to grips with his lighter sentence.
8. “Drunkard’s Prayer”
“Drunkard’s Prayer” feels tied to Traveller‘s “Daddy Doesn’t Pray Anymore.” “Daddy Doesn’t Pray Anymore” is the thoughts of a son speaking about the recent death of his father, stating that his father doesn’t pray because his father has passed. The narrator of “Drunkard’s Prayer” only prays when he’s finished off a bottle (“I hate the fact it takes a bottle to get me on my knees.”) Like “Scarecrow In The Garden” or even “Death Row,” “Drunkard’s Prayer” is very conflicted by his thoughts on faith and forgiveness.
“Drunkard’s Prayer” was written by Stapleton and Jameson Clark. John Michael Montgomery first recorded a version for his 2008 album Time Flies. Clark and Stapleton have also written Zane Lewis’ “A Helluva Time” and along with Trent Willmon, “Home Sweet Holiday Inn,” which appeared on Willmon’s self-titled debut.
9. “Friendship”
Written by veteran musicians Homer Banks and Lester Snell, “Friendship” was first recorded by Pops Staples, the longtime leader of American gospel soul outfit, The Staple Singers. It was posthumously released on 2015’s Don’t Lose This, which was produced by Wilco leader Jeff Tweedy.
“Friendship” doesn’t just bookend Volume 2. It’s the final uplifting statement for Stapleton’s From A Room project. While Stapleton questions the hardships of life throughout From A Room, “Friendship” reaffirms that friends and family are the backbone and foundation of life. The soulful laidback groove is as heartfelt as its’ lyrics.
WATCH: Stuff You May Not Know About Chris Stapleton
Between his days as an upstart traditional-minded hit-maker to his current status as Nashville’s elder statesman, Randy Travis‘ songs captured the imagination of fans and future singing stars. He and George Strait helped define the 1980s for fans of the old time way. As an established megastar in the ’90s, Travis joined Alan Jackson and other traditionalists in providing a increasingly pop-friendly genre with modern-day honky tonk heroes. Since then, he’s been a genuine legend for both country and gospel audiences.
For a broader overview of his career phases, consider this roundup of his 10 all-time greatest hits. Each song was made special by Travis’ unforgettable voice.
10. “Amazing Grace”
Travis, with his mighty voice and mightier faith, made this familiar standard his own over the years. FromGeorge Jones’ funeralto Travis’ own Hall of Fame induction, his version has become a rallying cry of sorts for fans that need a pick-me-up.
9. “Hard Rock Bottom of Your Heart”
Despite its relatively low ranking here, “Hard Rock Bottom of Your Heart” might be the best Travis song aside from his most obvious hits. Everything you’d want from him, from memorable hooks to a helping of fiddle driven “real country music,” is present in spades.
8. “Honky Tonk Moon”
At the peak of Travis’ commercial success, this boogie-friendly blend of old-school country and contemporary sounds from 1988 became his fifth straight number one single. Travis simultaneously reached perhaps his most commercial and most traditional height simultaneously.
7. “High Lonesome”
A torchbearer of what Bill Monroe billed a “high lonesome sound” revitalized country’s rich past with this classic song. It brings old-time music down from the mountain to cosmopolitan audiences.
6. “On the Other Hand”
Travis officially became America’s old-time counter to Urban Cowboy schlock with this hit, penned by Paul Overstreet and new Country Music Hall of Famer Don Schlitz. It was a perfect song for a new wave of ole country boys, based on an equally awesome version recorded by Keith Whitley.
5. “Deeper Than the Holler”
In the 1980s, only Sissy Spacek taught more city folks that it’s pronounced “holler,” not “hollow,” in the mountains. As Travis acknowledges in the song, Deep South dialect serves as effectively as true love analogies as the crashing ocean or soaring eagles.
4. “I Told You So”
The mighty “I Told You So” exemplifies Travis’ influence on future generations of country artists. Carrie Underwood covered the 1988 Billboard singles chart-topper nearly 20 years later. Both artists converged for a hit duet in 2009.
3. “Diggin’ Up Bones”
Only two other Randy Travis classics near the staying power of this lamenting of finding artifacts of lost love. The greatest country songs ring true to listeners, and pretty much every one with a broken heart understands Travis’ sentiment loud and clear.
2. “Three Wooden Crosses”
A man of faith, Travis sometimes shared the good word through country songs. Not even John Michael Montgomery broke as many tender hearts with a song about loss and redemption.
1. “Forever and Ever, Amen”
Of all the great songs by Travis, only one helps define the sound and spirit of late ’80s country. It remains as much a definitive statement of a place in time as Garth Brooks’ “Friends in Low Places” became for the following wave of superstars. Itsmusic video further cements Travis’ greatness.
WATCH: Randy Travis Sings “Amazing Grace” at Hall of Fame Induction
Chris Jansonreceived a potentially life-defining surprise on Monday night (Feb. 5) during a sold-out performance at the Ryman Auditorium.
After Janson sang a cover of John Michael Montgomery’s “Sold” withKeith Urban, the latter stuck around to announce that his friend and peer will soon join him as an Opry member. “I know the feeling of the night I got invited,” Urban says. “It’s an incredible feeling. I think it’s about time that you feel that way too, Chris.”
During Urban’s announcement, someone brought out the familiar WSM mic stand, representing the high-frequency radio station behind the Opry’s storied success. Per a Twitter post by the Opry, Janson’s proper induction comes sometime in the spring.
Janson literally could not stand still following the surprise announcement. Say what you will about his brand of pop-country, but clearly he cherished the opportunity to bask in those famed footlights. The jubilation in his every movement visually captures the strong feelings described by Urban.
Janson first rose to prominence in Nashville as a songwriter. Tim McGraw’s tongue-in-cheek 2012 single “Truck Yeah” defined Janson’s career up to that point. His self-released single “Buy Me a Boat” got enough attention in 2015 to catch Warner Brothers Nashville’s attention. From there, he gained a reputation with light-hearted, upbeat songs and an equally energetic stage show.
Now Watch: Whitney Rose Performs “You Don’t Own Me”
This month (May 2018) marks key anniversaries for these songs that topped the country charts. The list goes back 50 years and represents trends in the changing world of country music. From the late Glen Campbell’s first number one to yet another chart-topper by George Strait, this serves as a pretty telling history lesson. Each song listed topped the charts at some point in May during the specified year.
1968: “I Wanna Live” By Glen Campbell
It’s not as famous as future interpretations of Jimmy Webb and John Hartford songs, but Campbell’s first number one hit says a lot about late ’60s country and pop music. The Arkansas farm boy turned sought-after session musician takes part in another lush studio creation here, working with the sorts of string arrangements that took Nashville uptown.
1978: “It’s All Wrong, But It’s All Right” By Dolly Parton
Although it’s not iconic now, Parton’s seventh number one hit bolstered her legendary status as a singer and songwriter. It’s the county half of a split A-side with top 20 pop single “Two Doors Down,” coming after Dolly transcended genre and became an international celebrity. With very suggestive lyrics about a woman itching to have an affair, it’s a wonder this one made it past censors.
1988: “Eighteen Wheels And A Dozen Roses” By Kathy Mattea
For several years, the country music floodgates opened to artists outside of the Nashville mold. The same moment in time that brought us Lyle Lovett, Mary Chapin Carpenter and others gifted fans with this still poignant single and music video about an aging truck driver’s enduring marriage.
As both traditional and mainstream country gave way to crossover pop, talented women owned the charts. While Shania Twain rewrote history, Hill made her own impact with this up-tempo song about puppy love.
2008: “I Saw God Today” by George Strait
While many of the songs listed here signaled a superstar’s arrival, this recent Strait hit helped cap a legendary run of hit singles. Instead of returning to the same old well of Western imagery and country love songs, King George explored gospel music, adding his own touch to the sort of song that’d already done wonders for folks like John Michael Montgomery and Randy Travis.
Now Watch: Country Classics Revisited: “Ring of Fire”
It’s easy to assume that a lot of folks expect the worst from Toby Keith songs. Before “bro-country” became a thing, most thought of Keith’s post-9/11 output as the epitome of lowbrow country songs.
Even if he didn’t come across as the most eloquent patriot then with “The Taliban Song,” “American Ride” and others, it’s unfair to dismiss Keith as a bad guy or skip over any album in his discography. Respectively, those songs are on the same albums as the underappreciated “Baddest Boots” and “Gypsy Driftin’.” Even beyond his more political material, if you don’t care for the macho bravado of “How Do You Like Me Now?!,” skip ahead to the gorgeous, more traditional-sounding “New Orleans.”
From his early ’90s output, known mostly for debut single “Should’ve Been a Cowboy,” to present day, Keith has consistently cranked out quality singles. In between, he’s done it all– dueting with Sting, hanging out with Wayman Tisdale and cutting the fun holiday album Christmas to Christmas (featuring the amazing song titles “Hot Rod Sleigh,” Bethlehem in Birmingham” and “Jesus Gets Jealous of Santa Claus”).
10. “American Soldier”
Instead of falling back on political sloganeering, Keith celebrates the common men and women doing uncommon things for their country.
9. “Does That Blue Moon Ever Shine On You?”
Sustained greatness in ’90s Nashville pretty much required not just energetic songs worthy of a stage show, but also tender love ballads like this, “Victoria’s Secret,” “Upstairs Downtown” and others that sounded ready-made for the airwaves.
8. “She Ran Away With a Rodeo Clown”
Keith always does great with songs about the rodeo, be it the serious “Rodeo Moon” or this light-hearted deep cut from 1997. It’s from the same “hat act” phase that brought us “Dream Walkin” and “Double Wide Paradise.”
7. “Jacky Don Tucker (Play By The Rules Miss All the Fun)”
How this one didn’t create a beloved outlaw character is beyond us. It’s fast, furious and fun, from back when that formula worked so well for John Michael Montgomery and others.
6. “A Little Too Late”
The influence of old Mexico, a place that long inspired Marty Robbins and numerous other greats, adds a touch of class to this co-write with Dean Dillon and frequent Keith collaborator Scotty Emerick.
If someone like Jerry Jeff Walker had gotten to this loose, funny barroom sing-along off the Clancy’s Tavern album first, we’d all sing its praises louder.
4. “I Love This Bar”
This song tells of all sorts of characters you’d find in most any small town, bound by geography and a desire to drink beer and Jack Daniels out of Mason jars.
3. “Beer For My Horses” (With Willie Nelson)
When this song came out, the widespread appeal of Willie Nelson forced even the sternest Keith skeptic to share a good laugh with these two close friends.
2. “Should’ve Been a Cowboy”
The song that started it all was this classic ’90s country single that’s normally brought up first when explaining why Keith is way better than some want to admit.
1. “Who’s That Man”
Although it’s less celebrated now than “Should’ve Been a Cowboy,” this gorgeously written and sung composition epitomizes all of the good qualities of Toby Keith, a country music superstar with a tender heart to go along with his rough exterior.
John Michael Montgomerysongs represent pretty much every mainstream country music trend from the ’90s. Starting with his 1992 debut album, he added to the musical discourse on line dancing, hat acts, surprisingly decent holiday songs about Santa and Rudolph, traditionally-grounded storytelling and pop crossovers.
A native of Danville, Kentucky, Montgomery inherited the same same heaven sent helping of talent as older brother Eddie Montgomery of Montgomery Gentryfame. Like Eddie, he’s capable of the fiery showmanship Nashville always craves, yet he knows how to put his sensitive side to use. In fact, it’s not the younger Montgomery brother’s ability to sling a guitar and sing Alan Jackson-style honky tonk that led to many of his best songs. Instead, it’s the sentimental country songs, grounded in a real love for faith, family and country, that shook up the country charts then and now best define a varied career.
Check out these 10 songs, plucked from the John Michael Montgomery discography, for a sampling of a tremendous talent who’d make you cry one with one song and then, a couple of tracks later, have you up on your feet dancing a jig.
10. “I Swear”
This one and “I Can Love You Like That” are decade-specific stereotypes at this juncture, but at least they’ve aged gracefully. It’s a reminder that Montgomery’s voice did wonders with sentimental material (see also “Line on Love,” “Little Cowboys Cry” and “Nickels and Dimes and Love”).
9. “Country Thang”
I used to thinkCharlie Danielssang this one, based on both vocal delivery and lyrical content. That’s a high complement, considering that not everyone gets confused for aHall of Famer.
8. “Mad Cowboy Disease”
This might be the best Toby Keith song that never was. It’s a funny yet seriously rocking story about a drunken night on the town. Other examples of clever wordplay in Montgomery’s catalog include the always fun “Paint the Town Redneck.”
7. “Full Time Love”
Once again, Montgomery is all things to all ’90s nostalgia hounds. He’s even got some well-aged songs in the “hat act” mold, including this cut from 1994, plus “If You’ve Got Love” and other tracks worth revisiting.
6. “Weekend Superstar”
When current country singers get it right, it’s often through saluting the common working people in the audience. Here, Montgomery celebrates the guy who’s working for the weekend.
5. “Rope the Moon”
With this love song to fatherhood, Montgomery whips up an analogy to real-life cowboys. It’s a gentle ballad in line with some of George Strait’s later hits.
4. “Cowboy Love”
Back when good singers like Joe Diffie and Ronnie Dunn flaunted their talents withboot-scootingdance numbers, Montgomery joined in on the fun.
3. “Sold (The Grundy County Auction Incident)”
Montgomery joinedLeroy Van Dykeas one of the great singers of country songs about auctioneers with one of the most memorable hits of its time, along with the equally infectious “Be My Baby Tonight.”
2. “Letters From Home”
Another great lesson contemporary artists learned from their 20th century predecessors is how to celebrate the brave men and women in our Armed Forces with a touching song.
1. “The Little Girl” (feat. Alison Krauss and Dan Tyminski)
The power and message of this song could be an essay unto itself. With the help of Krauss, Montgomery sang what has to be one of the best statements ofunwavering faith in the face of tragedy in modern country or gospel music.
Wide Open Country is here to get your Memorial Day playlist started with these 10 holiday-appropriate selections, featuring some of the biggest country stars of the past 40 years.
“Still a Soldier,” Trace Adkins
Adkins is one of the proudest and most eloquent patriots in the business, so it was hard to pick just one of his songs. After some deliberation, the nod goes to this recent cut about soldiers adjusting to life on the home front.
“I Drive Your Truck,” Lee Brice
One of the most lyrically-rich mainstream singles of the past decade tells of a man who proudly inherited a truck after his brother gave his life for our country.
“They Also Serve,” John Conlee
When young men and women enlist or get drafted, it impacts their loved ones directly. Conlee sings this one for every parent, child or spouse to suffer through sleepless nights apart from their soldier.
“Ships That Don’t Come In,” Joe Diffie
The normally rambunctious Diffie slowed things down for one of the most touching songs about all of the soldiers to never make it back home.
“God Bless the USA,” Lee Greenwood
It’s a little overplayed all these years later, but few country music standards better state the meaning of Memorial Day.
“American Soldier,” Toby Keith
Like Adkins, Keith is pretty much synonymous with patriotic songs. While some of his other selections are polarizing, to say the least, this one’s a genuine celebration of our troops.
“If You’re Reading This” by Tim McGraw
This McGraw co-write is one of the most heart-breaking country songs of the young century. It’s a letter a soldier had written for his significant other, just in case he died in the line of duty.
“Letters From Home,” John Michael Montgomery
In this song, a soldier overseas gets a moment of respite from his dangerous job whenever he gets mail from his parents and loved ones.
“For You,” Keith Urban
A less obvious pick for such a playlist is Keith Urban’s musical ode to the brave, dedicated and elite soldiers in the Navy SEALs.
“Bumper of my SUV,” Chely Wright
Wright sings this true story about a disgruntled motorist’s disapproval of the pro-military bumper sticker she proudly displayed in honor of her brother while he served in Iraq.
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Carmichael tells a familiar tale in his husky, baritone voice, flavored by the honky tonk and Southern rock influences that set his music apart from his uncles’ back catalogs. The 24-year-old shows the songwriting talent and even the stubbornness of a veteran performer by telling a rich story that fits his traditional country vision.
The video flashes back to a little boy who doesn’t know that his bike and Walkman look like beat-up hand-me-downs. Those treasures and quality time with Grandpa make the simple life worth living. We eventually find out that the singer and the little boy are one and the same, with the footage representing memories that influence Carmichael’s lyrical love affair with his small town upbringing.
The song is off Carmichael’s debut album Hell of An Angel, out Aug. 17.
“It’s Simple” Lyrics:
A good song in your ear A hot night, a cold beer A woman to put your arm around
A charcoal weekend New jokes and old friends A red white and blue country town The one you had to leave to find out
Love is for making Kids are for raising And home is that place in your heart Don’t overthink it Don’t complicate it The secret to life ain’t that hard It’s simple
A bird dog and a backyard Three chords and a guitar Sunday school Jesus loves you A breeze through a screen door A talk on a front porch The old man next door telling you
There’ll be ups and downs Ain’t nobody saying it’s easy
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Dillon Carmichael calls his debut album Hell on an Angel, out Aug. 17 on Riser House Records, his “dream record.” The young Burgin, Kentucky native didn’t catch lightning in a bottle, lucking into a set of songs that caught the attention of producer Dave Cobb. Instead, his dream come true is the culmination of a lifelong journey.
Born in 1993, Carmichael can’t remember a time when his mom’s brothers Eddie and John Michael Montgomery weren’t country stars. Carmichael chased his own Neon Rainbow at a young age, receiving his first guitar at age 11. A fascination with swampy Southern rock, classic honky-tonk and the country songwriting of Vern Gosdin, Waylon Jennings and Merle Haggardgarnered talk of a publishing deal by age 17.
A former high school phenom instead of an overnight success, Carmichael sings and writes raw, honest country songs seeped in the sort of real-life experiences he shares with other small town Americans. That’s why one of the youngest veterans in Nashville is worth watching as his debut reaches fans of Sturgill Simpson and other home state beneficiaries of Cobb’s magic touch.
Wide Open Country chatted with Carmichael recently about his path to Nashville, his famous uncles and traditional country’s most sought-after producer.
WOC: Just from reading up on you, you were a teenager when you first came to Nashville…
Carmichael: I moved to Nashville when I just turned 19, but I was 17 when I got offered a publishing deal. I started writing in Nashville immediately.
Had you been coming down to Nashville to do some work before you got a publishing deal, or did you just go into it blindly and the pieces fell into place?
The lady that offered the publishing deal set me up. Even though we hadn’t signed the deal officially yet, she had me coming down and writing on a regular basis when I was still in high school. She said I had to turn 18 and graduate from high school before I could sign a contract. It’s kind of an interesting situation.
With family involved in the business, was there ever any temptation to rebel and not do country just because you might’ve thought it was expected of you?
No, I’ve always had a lot of respect for what my family does. I’ve always been happy to be a part of the same world that they’re in. I’ve never felt the need to kind of rebel against it. I’ve loved country music from the time I was very young anyway. It wasn’t an issue for me.
Do you ever talk to your uncles about country music? Do they maybe give you advice they wish they’d heard when they were your age?
Yeah, they’ve been through all the ups and downs of the music business, from contracts to playing live shows and hiring a band, entertaining folks and writing songs. All the stuff that goes into being what I am, they’ve done it all over and over again. There’s definitely been times when I asked them for advice, and they openly gave me advice and helped me through a lot of situations. Especially with the business side of it, which I don’t particularly have a knack for.
We’re very close on the business aspect and the personal aspect. I’ve been doing a couple of shows with uncle Eddie, Eddie Montgomery of Montgomery Gentry. I’ve done shows with John Michael, and we’re definitely close. They’ve been an impact on what I’m doing.
Your uncle Eddie is such a showman. Do you take any inspiration from just watching him have a ball on stage?
Absolutely. I wish sometimes that I was able to do that. Not that I’m not able. It’s just my style is a little different. My music is different. All of that is based on the way it feels. A lot of his songs are driven and open to that high energy thing. A lot of mine are swampy blues or country kind of like Keith Whitley, although we do have a few upbeat songs. I do get a lot of the way I address the crowd, and I’ve definitely learned to be my own style of entertainer, by watching my uncles and my mom.
My mom (Becky Montgomery) has been a singer. She didn’t make it near as far as them, simply because she quit going to make Nashville visits because she was raising us kids. The way it worked out, she wasn’t able to juggle all of that at the same time. But I learned to entertain and sing by watching her.
My grandfather on my dad’s side was an entertainer, as well (with Southern gospel quartet the Carmichael Brothers). I learned from him. He loved Elvis, and he always told me that I need to watch how Michael Jackson entertains crowds and how Elvis makes people laugh.
I guess music and traveling is in your blood, then.
Absolutely. A gypsy at heart, no doubt. I’m starting to get busy traveling now, and I’ve got to say that I love it.
We talked about your uncle Eddie. When you look at John Michael Montgomery’s hits, there’s so many different kinds of songs. There’s the saddest songs you’ll hear and also funny songs. Does he inspire you to open up your repetoire to different sounds?
As far as the content of the songs, I’m open to any kind of story or any kind of topic. As far as the style goes, I pretty much stick to traditional country and Southern rock. I don’t venture too far from there.
How did you hook up with Dave Cobb? He seems like the perfect producer for the kind of music that you do.
One of the people at the record label had a mutual friend, and it’s kind of those deals where it’s like, “Hey, I don’t like to do this, but just this one time can you get us hooked up with a meeting?” That person likes my music and what I’m doing, so they hooked it up. We got a meeting set up with Dave, and we went in blind. Our communication was limited with him, because he was so busy cutting the last Chris Stapleton record. He’s very, very, very busy winning Grammys, doing media and working with all the artists that are cutting new records. I’m not sure what they said to make him say yes, but he took a 30-minute meeting.
So I walked in and Dave didn’t know me from Adam and I had never met him. We just kind of started talking. We didn’t talk about music. We talked about where we’re from, our families and what we do for fun. We got to know each other for that first 30 minutes. He said, “Well, I guess if I’m going to consider being your producer, I should hear a song first.” I played him one song. I played him “It’s Simple.”
As I left the building, he said, “Hey man, I’d love to produce your record.” I don’t think I said anything. I just walked away because I didn’t even know how to respond to that. I figured he’d take a couple of days or a week to get back with me on whether or not he wants to produce it, if he even gets back with me. I wasn’t expecting him to say right then and there, “I want to produce your record.”
What was it like working with a producer with a lot of experience with other traditional-minded artists?
He had an incredible way of reading my heart and my mind on what I wanted to do. He wants to record songs that aren’t looked at as a marketable object. He just wants, “This one is your truth.” He had a sixth sense about what was my truth.
He told me when he first went in that he didn’t want to know any of the business side of anything. This is the art part of what you do. He didn’t want to know right off the bat who wrote the songs. He said, “I don’t care if, you know, Justin Beiber wrote it. If I like the song, I like the song. I don’t want to know if you wrote it or if four other people wrote it because that can become political. I know a lot of songwriters, and I know you know a lot of songwriters. We don’t want that to affect our decision-making.”
So I played him songs, and he didn’t want to know who the songwriters were. He particularly liked songs I had written by myself. That’s a sworn example of him knowing that’s my song that came from my hand without any outside influence. He gets me as an artist.
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In 1993, John Michael Montgomery was enjoying an early career highlight with his top 10 hit “Life’s a Dance” from his debut album of the same name. But it was another song on the album that would push the Kentucky-born singer into country superstardom and make him a part of wedding dances for years to come.
“I Love the Way You Love Me” was released in March of 1993 and went on to become Montgomery’s first No. 1 single. The song struck a chord with audiences for its specificity and genuine look at a relationship. Rather than vague references to “the one,” the song laid out everything the narrator liked about his other half, from the way she laughs to her love of sappy old movies. But all the quirks and mannerisms are just the many wonderful parts that make up the person.
If it sounds like it had to be written with a specific person in mind, it should come as no surprise that the sweet song was written about a very real love story. “I Love the Way You Love Me” was written by Victoria Shaw (“The River,” “Where Your Road Leads”) and Chuck Cannon, who was inspired by his wife, the late singer-songwriterLari White.
The love song held the No. 1 spot on the country charts for three weeks and won the Academy of Country Music award for Song of the Year. More importantly, it became the soundtrack to countless late night slow dances and still stands as a celebration of once-in-a-lifetime love.
The song was introduced to new audiences by Irish boyband Boyzone in 1998. It certainly wasn’t the only John Michael Montgomery song to enjoy crossover success. In the following years, Montgomery released the smash hit ballads “I Swear” and “I Can Love You Like That,” which were both covered by the pop group All-4-One.
‘I Love the Way You Love Me’ Lyrics:
I like the feel of your name on my lips
And I like the sound of your sweet gentle kiss
The way that your fingers run through my hair
And how your scent lingers even when your not there
And I like the way your eyes dance when you laugh
And how you enjoy your two hour bath
And how you convinced me to dance in the rain
With everyone watching like we were insane
But I love the way you love me
Strong and wild
Slow and easy
Heart and soul
So completely
I love the way you love me
I like to imitate old Jerry Lee
And watch you roll your eyes when I’m slightly off key
And I like the innocent way that you cry
At sappy old movies you’ve seen hundreds of times
But I love the way you love me
Strong and wild
Slow and easy
Heart and soul
So completely
I love the way you love me
And I could list a million things
I love to like about you
But they all come down to one reason I could never live without you
I love the way you love me
Strong and wild
Slow and easy
Heart and soul
So completely
I love the way you love me
Oh baby I love the way you love me
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Although its namesake may have gotten more attention lately for mmhmm, a duo with Hannah Fairlight that relies on shock value, the Raelyn Nelson Band’s new song “Mama Cry” goes for sentimentality instead of scandal.
Nelson’s mama cries over a child not quite prepared to leave Tennessee and take on the world. Her sad story gets told in a bratty, upbeat punk rock song that sounds like something off the Clueless soundtrack. Think The Muffs with a Southern accent.
This all comes from a band fronted by the granddaughter of Willie Nelson. Like Lukas Nelson, her rocking sound shuns the stigma that comes with a famous surname — without sounding out of place at Willie’s annual 4th of July Picnic Festival.
Raelyn co-wrote the song with her little sister Scout, the RNB tour manager. It’s about leaving the nest, even if it worries your loved ones. Sometimes, after you realize “why why why” mama feels the need to “cry cry cry,” it’s still worth chasing grown-up dreams on the road.
While the singer puts on a performance that should make Grandpa proud, it’s guitarist Jonathan Bright’s jaw-dropping skills that’ll make a lot of country/garage rockers green with jealousy.
For a taste of the Raelyn Nelson Band’s sense of humor, check out their other music videos. In addition to this rapid-fire blitz of visual gags, there’s also a hyper-active musical take on John Michael Montgomery’s “The Grundy Country Auction Incident.”
There’s definitely the makings of a dirty garage rock band that totally slays live, so keep an eye on their busy tour schedule while we all wait patiently for the band’s debut album to hit digital outlets.
Raelyn Nelson Band Tour Dates
Aug. 4 — Hummingbird Stage — Macon, Ga.
Aug. 17 — Exit In — Nashville, Tenn.
Aug. 18 — Tidball’s –Bowling Green, Ky.
Aug. 24-25 — HempFest –Harmony, Maine
Aug. 31 — The Muddy Roots Festival — Cookeville, Tenn.
While the Sun gives Kenny Chesney plenty to sing about, its counterpart signals what goes down at night in party anthems and love ballads. For sadder songs, it’s a reminder of another night alone or another day wasted. It’s a constant storytelling device that’s been in country music ever since Hank Williams had ample reason to howl like a broken-hearted dog and Elvis Presley wanted to introduce rock ‘n’ rollers to Bill Monroe.
Here are our 25 favorite country songs about the moon.
“Does That Blue Moon Ever Shine On You,” Toby Keith
It’s always worth stressing that Toby Keith used to be one of the better mainstream traditionalists, as heard on this self-written top five hit from 1996.
“Blue Moon With Heartache,” Rosanne Cash
This slow-tempo cut from Rosanne Cash’s new wave years is worth revisiting, if only for that old footage of the Exit/In and its surrounding area. Now who’s down for a slice from Obie’s?
“I’ll Be The Moon,” Dierks Bentley
Dierks Bentleymight just be top dog among mainstream traditionalists, and everything’s better when you add the crossover-friendly voice of Maren Morris.
“Mr. Man In The Moon,” Patty Loveless
Unsung traditionalist and gifted song interpreter Patty Loveless gives a performance here that would’ve gotten a standing ovation at the Opry in just about any decade.
“Goodnight Moon,” Jack Ingram
Beloved Texans get in on the moon-gazing act frequently, leading to songs like this broken man’s lullaby by Jack Ingram.
“The Moon, The Stars, And Me,” Dolly Parton
The hope in Dolly Parton’s heart that took her from childhood poverty to international fame makes this gorgeous song all the more charming.
“Even the Man in the Moon Is Crying,” Mark Collie
One of Mark Collie’s better songs reminds fans that he had a tremendous voice and a sound that suited early ’90s country.
“Honky Tonk Moon,” Randy Travis
This 1988 single by one of country music’s most beloved singers serves as an example of how he brought tradition back to the charts.
“Texas Moon,” Stoney LaRue
Glide across the dance hall floor to this sweet as sugar love song by Stoney LaRue that’s part modern red dirt jewel, part AM gold nugget.
“American Flag on the Moon,” Brad Paisley
Brad Paisley thinks anything must be possible if American astronauts could plant the stars and stripes on another planet.
“Buicks To The Moon,” Alan Jackson
Instead of loving her until the sun blows up, Alan Jackson promises to stay with his lady until they’re sending luxury automobiles into outer space.
“Sugar Moon,” Willie Nelson
Willie Nelson celebrated the work of Cindy Walker in a grandiose way with this Texas-honoring two-stepper.
“Bad Moon Rising,” Creedence Clearwater Revival
John Fogerty and CCR get a little paranoid here about what goes down when there’s not a gorgeous full moon in the night sky.
“I Don’t Know a Thing About Love (The Moon Song),” Conway Twitty
It’s weird to associate the phrase “I Don’t Know a Thing About Love” with Conway Twitty, considering the content of his obvious songs. Although he’s not saying that about himself, or any other human, in this literal dispatch from the Moon.
“Howlin’ at the Moon,” Hank Williams
Acting like an ole hound dog and howling at the moon are among the side effects of love, per the father of modern country music.
“From Here to the Moon and Back,” Dolly Parton
You can’t round out 25 songs about anything morally decent without multiple Parton picks, even if you have to look to a relatively recent collaboration.
“Shame on the Moon,” Bob Seger
Blues-rock giant Bob Seger and his Silver Bullet Band nearly play a Western stroll that, without the familiar voice from “Night Moves” front-and-center, would sound like a long-lost a country song.
“Cajun Moon,” Ricky Skaggs
One of the signature songs of hall of famer Ricky Skaggs celebrated both his bluegrass roots and the rich cultural and musical traditions of Louisiana.
“Lying To The Moon,” Trisha Yearwood
At her peak, Trisha Yearwood could rival Ronnie Milsap when it came to making the most of piano-based songs about heartbreak.
“Rope the Moon,” John Michael Montgomery
The most versatile ’90s hit maker went from knee-slappers like “The Grundy County Auction Incident” to slow, weepy songs like this poignant ode to fatherhood.
“Missouri Moon,” Rhonda Vincent
The first lady of modern bluegrass sings a gentle ballad that’s ideal for front porch picking sessions on any night with a clear sky.
“Hypnotize the Moon,” Clay Walker
It’s video might be a little corny now, but “Hypnotize the Moon” remains one of the better vocal performances by Clay Walker.
“Blue Moon of Kentucky,” Bill Monroe
As bluegrass pioneer Bill Monroe’scalling card and one of Elvis Presley’s opening statements, this Southern classic represents change in popular music.
“Neon Moon,” Brooks and Dunn
Ronnie Dunnearned his reputation as a great storyteller and vocalist with this and other tradition-grounded songs of love and loss.
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