Reba McEntire - one from each decade

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.

Five great country songs you probably didn't hear in 2011 (and should have)

Part of my objective in writing this blog was to promote music that doesn't necessarily make the mainstream country scene. Here are five songs that I've enjoyed this year but which, for whatever reason, you probably haven't heard. And you really should have done. Let me know what you think below.

Pernilla Andersson - Desperados
I've featured this song before, but had to include it in here again. It's (from what I can make out with my limited Swedish) the tale of 'two desperados who always wanted more' and features wonderful ambiguity reflected in the music and Andersson's vocal.



Tara Oram - Kiss Me When I Fall
Tara was the obligatory country contestant on the fifth season of Canadian Idol, and has found some minor success in her home country. This song, the second single from her second album released this year, is a powerful, mid-tempo ballad with a driving beat and a heartfelt vocal.



Jill Johnson - In One Piece
Written by Swedish country star Johnson along with Lisa Carver and Taylor Swift's sometime co-writer Liz Rose, 'In One Piece' is a Faith Hill-style big ballad, with Johnson performing the role of the woman whose lover is leaving her, with just the right balance of grace and desperation.



The Lucky Bullets - Fire Below
Eurovision goes country, and properly country while it's at it. This traditional-sounding song from Norway wouldn't sound out of place on a Justin Townes Earle album, and would be far too traditional for contemporary country radio.



Gretchen Peters - The Matador
Peters released this video in December to promote her upcoming album Hello Cruel World. With this as a taster (as well as the wonderful 'Five Minutes, which moved me to tears when Peters premiered on her tour), I can't wait for the album's release at the end of January.



There's my five songs you didn't hear in 2011. What's yours? Comment below and let me know your favourite country song that didn't make the mainstream.

My favourite Christmas album

It's that time of year again. Just two days to go and the shops are full of people running around like headless chickens trying to find that last elusive Christmas gift, while through the sound systems wafts an endless onslaught of inane, relentlessly joyful and soulless 'classics'. And because they're classics, it's the same twenty songs going round and round in every shop you'll visit in December, on every TV program and, if you're really unlucky (I am), even in your office.

Gretchen Peters' Northern Lights is the perfect antidote to all that. The album combines Peters' clear soprano with a bleak, Appalachian feel to produce an album that's just the thing for sitting indoors with on a cold, snowy winter's night in front of the fire (whiskey optional). It's an album of solitude and contemplation, a world away from the forced jollity that can often characterise the festive season, and, while it may sound potentially depressing, that melancholy is warming and comforting.

The album contains songs by contemporary songwriters, as well as traditional carols and newly written tracks, all in Peters' own distinctive style. My personal favourites come from all three categories: 'Waitin' On Mary', drawing beautiful parallels between the nativity story and the poor and destitute around the world today; the Gordon Lightfoot-penned 'Song for A Winter's Night', which sets the bleak, melancholy feel of the album perfectly; and the carols 'Coventry Carol' and 'In the Bleak Midwinter', two songs that I've loved for many years but which are given new life by Peters' take on them.

Because she's a lovely lady, Gretchen has put all twelve of the tracks on YouTube in a playlist (though not in the right order, tsk Gretchen!), but if you enjoy listening to the album, please consider buying it, either from your usual digital retailer or from Peters' own store.

Have a lovely Christmas. I know what I'll be listening to.

Eurovision goes country

Those of you who know me will probably know that my two great musical passions are country music and the Eurovision Song Contest. Not two genres that naturally fit well together, I admit, but in this blog entry I'll take a look at nine of the songs that were entered for this year's contest (though didn't get there), which wouldn't necessarily sound out of place on US country radio.

Babel Fish – Depend On Me
Who'd sing it? Rascal Flatts

The first time I heard this song, I was immediately reminded of the group Rascal Flatts. The slightly straining falsetto in the chorus and the sentimental lyrics are very reminiscent of their work, and this song would fit right in on one of their recent albums. I'm not sure they've ever had a stage show that involved looking through the window of a cardboard house though.

Dalma – Song for Him
Who'd sing it? Gretchen Wilson

Dalma puts on the growls a little too much for them to sound authentic, but there's a decent country song at the heart of this – or possibly two or three different country songs. There's a bit of a kiss-off and there's a couple of broken hearts; I'm not so sure about the silliness at the end though – it works well enough as a song without having to be a pastiche.

Evija Sloka – Don't Stop the Dance
Who'd sing it? Pam Tillis

The lyrics are a little questionable, and the accent is all over the place, but there's no mistaking the country influences on this song that never really stood much chance of making it through a Latvian selection. Sloka lists Brad Paisley and Alan Jackson as her dream duet partners.

Hanne Sørvaag – You're Like A Melody
Who'd sing it? Jewel

In 2010, Eurovision fans were comparing Swedish singer Anna Bergendahl and her song 'This Is My Life' to Jewel's earlier work, but nowadays she'd be more likely to record songs like this Norwegian finalist. It's very much at the pop end of pop country, right where Jewel's recent albums have positioned her, and the feelgood similes hold together very well and would fit right in on contemporary country radio.

CH – Gid nid uf
Who'd sing it? Keith Urban (he basically already did!)

Other than being sung in Swiss German, this song sits right in the Keith Urban-school of country music, with pumping beats and a prominent electric guitar line, but it's grounded by the fiddle that runs right through the arrangement. The song's so committed to sounding like Keith Urban that it even steals the entire chorus melody of the Australian's 'I Told You So'.

Yohanna – Nótt
Who'd sing it? Carrie Underwood

It's not really country, but this track would fit right in on a Carrie Underwood album, particularly in its English version, with its considered lyrics and a silky melody that takes off into a crescendo for the last chorus.

Carmel Eckman - Nosa'at el ga'agu'ay
Who'd sing it? Sarah Jarosz

To be honest with you, Israel is more or less the last place where I'd expect to find a song like this. It's a gentle, acoustic ballad, with a lovely strummy guitar and a fiddle break in the middle. Unsurprisingly, it came almost last.

The Lucky Bullets – Fire Below
Who'd sing it? Justin Townes Earle

I was absolutely astounded when I first heard this in the Norwegian preselection, as it sounds so authentically rockabilly – not a hint of the slight 'foreignness' that often blights Eurovision songs that are trying to be very American. I was even more impressed when the Norwegians voted it into third place in the final, and I even got to cheer for it in person!

Pernilla Andersson – Desperados
Who'd sing it? Kathleen Edwards

Perhaps less country and more Americana than some of the songs on this list, 'Desperados' was one step away from making it into the Melodifestivalen final. The gentle chugging beat, the savoured chords and Andersson's velvety voice combine to make this my favourite song of the Eurovision season.

I'm sure many of you will disagree with the singers I've chosen to record these songs, so I invite you to post your suggestions below. And clearly, some of them would need quite a bit of changing and improvement before the singers mentioned would even consider going near them, and they might not take too kindly to being connected to them (sorry Pam Tillis!). But this is Eurovision, I have to take what I can get!

Discovering Tanya Tucker: a personal Top 10

I recently decided that I knew next to nothing about Tanya Tucker, one of the big female country artists throughout the years, and that it was time to educate myself. So I listened to several of her Greatest Hits albums; like many artists who've had long careers, Tucker has been released by several record labels, all of whom have put out their own collections of her work. So after listening to around 70 of her (supposedly) best recordings, I've chosen ten that were my favourites. It's by no means a comprehensive list, as I don't claim to have listened to all of her extensive catalogue, and I'm certainly no expert! It's just a summary of what I listened to.

And if you'd like to listen along with the list and you have Spotify, click here for a playlist.

#10 – Down To My Last Teardrop

An enjoyable example of pop-country done well, Tucker's character has cried all her tears over her man, and she won't cry anymore. Despite sounding from the title like it might be quite a sad song, it's actually a fun kiss-off number with a catchy melody, a great example of the genre.

#9 – Baby I'm Yours

This song comes from Tucker's sole release for the Arista label, 'Changes', the cover of which features her wearing the ugliest jumper known to man. Tucker sounds surprisingly childlike considering the date on this straightforward song of eternal love, with its simple call-and-response structure, but her performance is emotional and convincing.

#8 – Spring

Released by Columbia in 1975 after Tucker's move to MCA, this song was presumably recorded and not used on a previous album. It has an unusual narrative structure for a three-verse country song, but the optimistic ending works, as does Tucker's interpretation of both the good and bad times.

#7 – Strong Enough To Bend

A simple metaphor, executed simply. The tree in the backyard is never broken by the storm, because its limbs bend with the wind. The same is true of a good relationship, where both parties learn to compromise – an important lesson to be learned, that can be applied in many situations. The minimal arrangement and uncomplicated melody line complement the message well.

#6 – We Don't Have To Do This

The characters in this song would do well to learn from the lessons of 'Strong Enough To Bend'. Both partners are too proud to put aside their differences, even though the narrator agonisingly recognises that she doesn't want the relationship to be over – “Tell me where it's written that we can't change our minds”, she sings. Tucker's performance is exquisite, bringing across the despair and sense of horrible inevitability in the song perfectly.

#5 – What's Your Mama's Name

The painful story of a man who spends thirty years trying to track down his lost love and their child, going to prison for child-grooming and being driven to drink in the process, this song manages to be catchy and sing-along despite the dark subject matter – a frequent theme of much of Tucker's early work.

#4 – Texas (When I Die)

An iconic song that really set the scene for some of the singers who have been popular in recent years, like Gretchen Wilson and Miranda Lambert. This song's just a whole lot of fun to listen, and shows a different side to Tucker's voice to many of the songs on this list.

#3 – Delta Dawn

Tucker's first single, and reflective of the complex material she would tackle during her career, particularly during her younger years. At the age of just 13, Tucker's already found her distinctive, mature voice on this recording and it's incredibly powerful. Perhaps best known to international and younger audiences as the song where Monica's shirt goes see-through at the piano bar in Friends.

#2 – Two Sparrows In a Hurricane

A beautiful song, one that could have just been a standard 'lovers making it against the odds' ditty, but is set apart by an expressive performance and a skilful use of the three-verse structure, juxtaposing and comparing the youth and age of the characters through the near-identical first and third verses. The end-result is something that feels almost quite life-affirming, and always makes me feel happy and content.

#1 – Lizzie and the Rainman

Easily top of my list before I even started putting it together. The characters in this song are so strongly drawn that I even looked up the song to see if it was based on a true story. Tucker's performance is brilliant, with strains of a gospel preacher complemented by the choir behind her, and the arrangement is exquisite. Try listening to it through headphones to hear the sounds of the rain, the violin glissandos and the beating of the drums going around your head that uses the best effects of stereo to make the whole scenario feel real and present. All the elements come together to produce an excellent song.

So, do you agree? If you're a fan of Tanya Tucker, would you have put different songs on this list? And if I've managed to introduce you to her music, would you have ranked them in this way? I'd be interested to see what people think.

Song Review: Sunny Sweeney - From A Table Away

I don't intend to make this blog a music reviews blog, but from time to time I intend to write about songs I absolutely love, or ones I despise. The latter's a lot more fun to do, but I'm actually going to start off on a positive note. Shocking, I know.

'From A Table Away' is Sunny Sweeney's first single in several years, and marks a change in direction from the traditional honky-tonk sound of her first album, Heartbreaker's Hall of Fame. The production here is more modern country, and Sweeney's voice has echoes of Natalie Maines', which is certainly no bad thing indeed!

The song tells the story, in the first person, of the 'other woman', who finds herself at the next table in a restaurant to her lover and his wife, and listens in on their conversation, in which she realises they're still very much in love, and confronts her man afterwards. There's several ways this song could have been taken by a lesser vocalist, and that's where my admiration for both the song and singer comes in. The song doesn't tell us how to feel, it doesn't tell us all the background, and lets us fill in the gaps for ourselves. Did this man lie to her? Did he ever intend to leave? Or have his feelings changed? And then there's the fact that we are hearing the song from the perspective of the other woman, the potential homewrecker. Is that where our sympathies lie?

There's slight echoes of anger and resentment in the song, but they don't take over at any point. I'd say the main emotion here is sadness, and of a realisation. In overhearing and watching their conversation, the narrator realises that her lover is still in love with his wife, or is at least prepared to make another go of it with her ("I heard you tell her you still love her"), and that this spells the end for her relationship with him. Then there's the line "I guess that means that things are better", could be interpreted in several ways. It could be sarcastic, bitter or desperate, and there's possibly even a little bit of pleasure, that the man she loves, even though she cannot have him, is happy.

I guess that's my overall feeling with this song, and the reason I like it so much. There's so many lines that can be read in many ways, and Sweeney interprets them beautifully, managing to bring across all of these emotions without letting one dominate, giving the song an ambiguity that demands the listener think, consider, and listen again.

The multiple layers of the lyrics can be summed up in the final line: "You're gonna stay a table away". This could be anger, pushing the man who has hurt her away. Or it could be sad resignation, developing the metaphor of a crowded restaurant to where she realises she will never share a table with the man she loves.

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