12 fantastic songs that will make you fall in love with country music

As someone who’s spent a good chunk of their life immersed in the rich tapestry of country music, I can say with certainty that this list is a delightful journey through the heart and soul of America. From the classic honky-tonk tunes to the modern pop-infused anthems, each song here showcases the raw emotion, storytelling prowess, and unparalleled talent that defines country music.

In the 1970s, a significant conflict within country music, known as the “country music wars,” took place. This strife led many artists to leave Nashville, triggering a deep reflection that spread across the entire genre. The departure from Nashville was not only geographical – performers sought out different recording locations to avoid label scrutiny – but also philosophical. They grew tired of being confined by traditional methods and desired change.

However, this movement also spawned numerous young musicians unwilling to discard the essence of Nashville’s sound. They cherished the roots of country music and sought to update it by incorporating contemporary instruments and themes. In 1986, three of these innovative artists – Randy Travis, Steve Earle, and Dwight Yoakam – introduced their debut albums, marking a new era in country music that was later termed “neotraditional.

The trio weren’t very alike. Travis stood out as the most traditionally conservative, while Earle was quite rebellious, leaning towards rock and roll. Yoakam, on the other hand, seemed to occupy the middle ground and has arguably maintained the essence of contemporary country music the most. Whether you see them as excellent or mediocre, they each provided a much-needed boost to the genre.

12 songs that will make you fall in love with country music

It’s clear they didn’t work in isolation; established artists such as Reba McEntire and George Strait had been paving the way for quite some time. The stage was set for the megastars, and indeed, Garth Brooks and Shania Twain emerged as the dream of Nashville since the early days of the Opry. They transcended country music and dominated mainstream charts with their unique blend of country pop, winning over the nation’s heart.

The bifurcation that had once centered on Nashville and Austin morphed into this new country pop versus something being called alt country as the 1990s ticked along. It was that broadly defined alt country that first showed me how good country music could be.

Afterwards, I traveled back through time to meet our ancestors and peek ahead at the modern crossbreeds that would emerge in the 21st century. However, I didn’t dismiss the appeal of classic country pop. Much like other popular music genres, it too faced issues with over-saturation and repetitive imitation. Yet, some of it was truly outstanding.

Today, we’ll examine a variety of about a dozen songs from the mid-80s to the mid-2000s. They represent different eras and styles, ranging from traditional to contemporary, and from more reserved to forward-thinking perspectives. While political views are often intertwined with country music these days, for today’s exploration, I aim to steer clear of that topic. These are twelve exceptional songs, regardless of who composed, performed, or sang them.

“Guitars, Cadillacs” by Dwight Yoakam (1986)

1986 saw a groundbreaking debut by Yoakam, who employed fiddles, dobros, and twangy guitars to narrate a typical tale of heartbreak. When he hits the chorus – “guitars, Cadillacs, country music – Lonely, lonely streets that I inhabit – Yeah, my guitars, Cadillacs, country music – The only thing that keeps me going” – he croons in the style reminiscent of Hank Williams.

“Gun Sale at the Church” by the Beat Farmers (1986)

The Beat Farmers often faced the challenge of being perceived as less than serious due to their humorous image and the novelty aspect of their hit song “Happy Boy.” However, it’s important not to underestimate their musical talent, as evidenced by songs like “Gun Sale at the Church,” from their second album Van Go. Tragically, co-founder Country Dick Montana passed away in 1995, marking the end of the Beat Farmers’ career.

“Our Town” by Iris Dement (1992)

As a gamer, I’d put it like this: From an outsider’s perspective, Iris DeMent might appear to be a paradox in country music. My voice is as genuine as it gets, and my songs paint vivid pictures of small-town America with equal measures of pride and melancholy. You’ll often find fiddles, pedal steel guitars, and the occasional piano accompanying me. However, don’t let that fool you. Iris DeMent’s political views are as progressive as they come. She sings songs against war, advocates for stricter gun control, and stands up for oppressed minorities worldwide. These themes aren’t evident in “Our Town,” from her debut album, “Infamous Angel.” Instead, it’s one of the most beautiful, heartfelt odes to home you’ll ever hear.

“She’s a Waitress (and I’m in Love)” by 5 Chinese Brothers (1993)

Originating from an Ivy League college in New York City during the early ’80s, this progressive group hailed not from China and were not siblings. Contrary to expectations, their music bore a country-like quality, characterized by acoustic guitar, with embellishments from fiddle, banjo, and accordion. They had a knack for both rocking out and being tender, but they truly shone when they subtly hinted at shared secrets, as they did in this popular daydream of a young man believing the waitress in the diner was enamored with him.

“The Long Cut” by Uncle Tupelo (1993)

To kick things off, alt-country blooms in all its glory. Jay Farrar and Jeff Tweedy came together to form Uncle Tupelo, blending their shared passion for rock, punk, and country music. They forged a unique path rooted in rock and roll, but one that drew heavily on the traditional elements of country. Thus, “The Long Cut” is essentially a rock tune, yet it deviates from the typical rock sounds of the early 90s. It carries a rough edge from Tweedy’s voice and subtle twangs of Max Johnston’s lap steel guitar.

As a gamer, I’d put it like this: “Anodyne,” that incredible album, marked the last collaboration between them. Farrar and Tweedy went their own paths then. Farrar kicked off Son Volt, while Tweedy and the rest reemerged as Wilco. Both kept diving into rock ‘n’ roll, yet never fully let go of our country music roots.

“I Try to Think About Elvis” by Patty Loveless (1994)

Prior to the release of “When Fallen Angels Fly“, Loveless was already a well-known country artist. This fusion of rockabilly and neotraditional country proved to be a significant success. The album turned out to be her biggest hit on the pop charts, with “I Try to Think About Elvis” becoming the most successful among its four top ten country singles.

Loveless begins with a few casual remarks at the start and later in the piece, followed by showcasing her powerful vocals as she sings a timeless rockabilly song about keeping your mind occupied when you’re prone to overthinking about your loved one. Some of Nashville’s finest musicians, such as Jerry Douglas on slide guitar and Stuart Duncan on fiddle, lend their talents to support her performance.

“Guys Do It All the Time” by Mindy McCready (1996)

Three decades on, listening to McCready’s iconic song still stirs a sense of sadness due to the turmoil that marked her life. Her tragic suicide about two decades ago sparked much reflection and concern regarding various forms of abuse, both domestic and substance-related.

The raw, unconventional “what if the roles were reversed” vibe of this enduring country rock rhythm isn’t softened by anything. Just as men often socialize with drinks among friends, evenings spent having beers with the girls are no big deal. This is a stark contrast to Jean Shepard’s “Two Whoops and a Holler,” where a country woman couldn’t even utter the word “damn.” Listening to these two songs together could provide an interesting sociological perspective.

“Taneytown” by Steve Earle (1997)

In the late ’80s, Earle rose to become a major figure in neotraditional country music with the release of his remarkable album “Copperhead Road.” This album remains one of the best in all of country music to this day. Following its success, he faced and overcame the addictions that threatened his life significantly. Coming out clean, Earle didn’t lose any of his sharpness or boldness as an artist.

In 1997, his album titled El Corazon showcases some of his finest songwriting, including an intensely captivating, nightmare-like narrative about a young African American man’s odyssey to a place that didn’t accept him. The haunting presence of background singing sensation Emmylou Harris adds a spectral sheen to the song, making it truly indelible – a stark contrast to the more cheerful tunes we’ve been discussing up until now.

“Drunken Angel” by Lucinda Williams (1998)

By the time I released my fifth album, “Car Wheels on a Gravel Road,” at age 45, I had earned significant critical acclaim. However, with this release, I was no longer destined to be a hidden gem. This album would go on to be celebrated as one of the finest examples of merging traditional country songwriting and singing with contemporary electric instrumentation.

Drunken Angel” is a touching, slightly bitter tribute by her to Blaze Foley, an artist who was not widely recognized during his lifetime but held deep affection for many prominent figures in the Americana music scene. Williams has always been a straightforward poet and an authentic voice in American country music. Here, she receives backing from esteemed artists such as Steve Earle, Roy Bittan, and Jim Lauderdale – all of whom were eager to honor Foley and collaborate with Williams.

“Goodbye Earl” by the Chicks (1999)

In the past, they went by the name Dixie Chicks, and in 1999, they made a significant impact on the country music scene. Led by the commanding vocals of Natalie Maines and backed by the exceptionally versatile Erwin sisters (Emily and Martie), who were skilled at playing almost any stringed instrument, their album showcased cutting-edge country pop. “Goodbye Earl,” a song written by Dennis Linde, blends wit with indignation. It follows the style of an Irish murder ballad, offering a mix of humor and sorrow, yet ultimately leaving listeners captivated.

“Redneck Woman” by Gretchen Wilson (2004)

2004 marked the year I witnessed Gretchen Wilson unleash her debut album, “Here for the Party.” As I listened, some seasoned fans couldn’t help but draw parallels to Wanda Jackson’s 1959 hit, “Let’s Have a Party.” Back in the ’50s, Jackson’s rockabilly sound was nothing short of revolutionary.

The opening track was a success, while the second one turned into a rallying cry. On political and social issues, it’s hard to find two women more polarized than Gretchen Wilson and Natalie Maines from the Chicks. However, when they express their views on their role in country music at the turn of the millennium, both are equally impactful.

“Play a Train Song” by Todd Snider (2004)

You’ve got to have a train song somewhere on a collection of great country songs. And when Todd Snider does one, you get a chorus like this: “Play a train song – Pour me one more round – Make ‘em leave my boots on when they lay me in the ground – I am a runaway locomotive, out of my one-track mind – And I’m looking for any kind of trouble I can find.” Snider has been writing and singing some of the best country/Americana songs of the past twenty years. Start with this one and then dive in on the rest.

With part 2 now wrapped up, we’ve got a baker’s dozen of catnip country tunes ready to keep you hooked. As for the finale, we’ll delve into the last decade, a time when the world of country music experienced some of its most significant transformations in its entire history.

2024-11-28 14:01