When I started writing this entry, I was originally going to go for my Top 5 Reba songs, but then I realised that there's just so many that I had no idea where to begin. So, to make it a little more interesting, and to celebrate her long career, here's my favourite song from each of Reba's decades, from the '70s to the '10s.
1970s
Glad I Waited Just For You
The seventies isn't really the golden age of McEntire's career, with just two albums of material to select from. Her debut, self-titled album is surprisingly strong, if not particularly reflective of her later style, and I really like this simple, understated declaration of love, and the satisfaction that comes from finally having found The One. And yes, the instrumentation is eerily reminiscent of 'Raindrops Keep Falling On My Head'.
1980s
Whoever's In New England
The lead single from McEntire's successful breakout album, My Kind of Country, 'Whoever's In New England' takes the perspective of a devoted wife who knows that her husband is cheating on her in his frequent business trips, yet swears to stand by him, and to be there for him 'when whoever's in New England's through with you'. It's extremely touching, and McEntire's sympathetic yet dignified performance is largely responsible for that.
1990s
For My Broken Heart
A very difficult decade to choose just one song, but eventually I settled on this, the title track from her 1991 album, the best of her career. The narrator is emotionally recovering after helping her lover to load up the car and leave her, and slowly realises that the world around her is carrying on and so she must too. Like many of Reba's best songs, it's heartbreaking in its everyday, mundane detail and its reflection of real, human, adult emotion.
2000s
Every Other Weekend
Narrated from the perspective of both halves of a divorced couple, this is a touching account of their feelings as they share custody of their children. Once again, it's all about the details - the loneliness of the mother when her children are away ("nothing to do and all day not to do it in") and the father trying desperately to please his children ("'that's not the way mom does it, Dad.' It breaks my heart"). The characters are completely identifiable and oh-so-real, and Chesney and McEntire combine their best in a heartbreaking performance.
(Except the Kenny Chesney version isn't on YouTube, so here's the radio version with Skip Ewing)
2010s
If I Were A Boy
Probably not a popular choice, many critics disliked this pop cover from McEntire's most recent album, citing it as an example of her dumbing-down, not acting her age and not being country enough. I disagree. The first time I heard this song, I was struck by just how well it worked with McEntire's signature twang, and how well it transferred to the country genre.
One thing that struck me while I was researching and writing this post was just how detailed McEntire's songs are, and how real the characters are. As well as being a canny selector of songs, McEntire lives the characters, their thoughts and their emotions, and brings it all out with her authoritative, sympathetic interpretation that reflects her years, her experiences and her maturity. Those things are her strength, and I hope she never leaves them behind.
1970s
Glad I Waited Just For You
The seventies isn't really the golden age of McEntire's career, with just two albums of material to select from. Her debut, self-titled album is surprisingly strong, if not particularly reflective of her later style, and I really like this simple, understated declaration of love, and the satisfaction that comes from finally having found The One. And yes, the instrumentation is eerily reminiscent of 'Raindrops Keep Falling On My Head'.
1980s
Whoever's In New England
The lead single from McEntire's successful breakout album, My Kind of Country, 'Whoever's In New England' takes the perspective of a devoted wife who knows that her husband is cheating on her in his frequent business trips, yet swears to stand by him, and to be there for him 'when whoever's in New England's through with you'. It's extremely touching, and McEntire's sympathetic yet dignified performance is largely responsible for that.
1990s
For My Broken Heart
A very difficult decade to choose just one song, but eventually I settled on this, the title track from her 1991 album, the best of her career. The narrator is emotionally recovering after helping her lover to load up the car and leave her, and slowly realises that the world around her is carrying on and so she must too. Like many of Reba's best songs, it's heartbreaking in its everyday, mundane detail and its reflection of real, human, adult emotion.
2000s
Every Other Weekend
Narrated from the perspective of both halves of a divorced couple, this is a touching account of their feelings as they share custody of their children. Once again, it's all about the details - the loneliness of the mother when her children are away ("nothing to do and all day not to do it in") and the father trying desperately to please his children ("'that's not the way mom does it, Dad.' It breaks my heart"). The characters are completely identifiable and oh-so-real, and Chesney and McEntire combine their best in a heartbreaking performance.
(Except the Kenny Chesney version isn't on YouTube, so here's the radio version with Skip Ewing)
2010s
If I Were A Boy
Probably not a popular choice, many critics disliked this pop cover from McEntire's most recent album, citing it as an example of her dumbing-down, not acting her age and not being country enough. I disagree. The first time I heard this song, I was struck by just how well it worked with McEntire's signature twang, and how well it transferred to the country genre.
One thing that struck me while I was researching and writing this post was just how detailed McEntire's songs are, and how real the characters are. As well as being a canny selector of songs, McEntire lives the characters, their thoughts and their emotions, and brings it all out with her authoritative, sympathetic interpretation that reflects her years, her experiences and her maturity. Those things are her strength, and I hope she never leaves them behind.
I haven't picked a favorite 70s Reba song, but my favorite 80s entry would be a tie between "Somebody Should Leave" and "Have I Got a Deal for You," while my favorite 90s hit is "The Fear of Being Alone," and by a wide margin. The 00's would probably be "Every Other Weekend" for me as well. Reba hasn't put out much that I've liked in the current decade, but I'll probably go with her 2010 single "I Keep On Lovin' You" as my favorite, though I did like "If I Were a Boy" well enough. (If I were to cite an example of Reba dumbing things down, I would go with "Turn On the Radio" and "Somebody's Chelsea.")
ReplyDelete'Somebody Should Leave' would be up there for me too! I do really like all the songs you mention, with the exception of 'Somebody's Chelsea', which is pretty bland. 'Turn On the Radio' I really like, but it totally is dumbing down for her. I like listening to it, I just wish someone else had recorded it instead.
DeleteCall it dumbing down if you want to guys but TOTR was a number one hit. If Reba were to hang in there with the newbies then she had to put out this kind of song. Radio is not playing the ballads such as Somebody should leave. I have followed her since the early 80s. I LOVE her and her music, especially some of her older songs. There are too many too pick from...Is There Life Out There is a classic, Does He Love You, And Still is another that comes to mind. My favorite of her 2010-11 is Keep on Lovin You and Consider Me Gone...which spent 4 weeks at #1. If I Were a Boy was wonderful, but somehow radio dissed her after this...Could it be she was over 50, not blonde or could it be she was back in the running with the younger artists? I have no idea but it truly is sad and her music speaks to people. Reba is by far one of the best in the business, the young ones can learn a thing or two from her. I just think that some of the record labels were getting a little scared that she might beat the young ones out again. I do like the younger female artists, I just think that country is now pop/country with the exception of Miranda, Martina and Reba.
DeleteRadio needs to play more females in the rotation. It wouldn't hurt to hear Martina, Reba, Trisha, Patty, Dolly, and Loretta mixed in with Carrie, Miranda and Taylor.