Faith Hill
One of my favorite parts of writing Roots & Rhinestones is binging the music for each post. To borrow from Clint Black, melodies bring back memories — and Faith Hill’s first three albums take me to simpler times.
Back then, I thought I was the stuff with my three-disc CD changer. (I only recently learned some lucky ducks had five-disc changers.) When I convinced Mom to mount the detachable speakers on either side of my bedroom windows, I was really living large.
Many nights in high school, Faith — Faith Hill’s eponymous masterpiece — sang me to sleep. I’ve got a few years on her, but I bet Carrie Underwood could say the same. Because before she grabbed a Louisville slugger, Faith Hill perfected the country-pop crossover with an effervescent song about a kiss. With “This Kiss” coming through my speakers, I was hooked.
Blending steel guitar, mandolin, and fiddle with strings and synths, Faith Hill became the ideal ambassador for a fresh Nashville sound. Her first two singles — “Wild One” and “Piece of My Heart” — from her 1993 debut Take Me as I Am topped the Billboard Hot Country Songs chart, a rare feat for any female artist.
With teased blonde curls, Cover Girl makeup, and high-waisted jeans, Faith was the girl next door. I can picture her in the choir loft, smiling shyly before blowing the roof off with a soulful solo. Her voice — equal parts Tammy Wynette, Aretha Franklin, and Janis Joplin — took audiences to church. Even as she edged toward pop on Breathe, and some would argue dove in on Cry, that gospel growl stayed center stage.
While peers like Trisha Yearwood and Martina McBride kept recording while branching into publishing and television, Faith slowed down. It’s hard to believe she only has seven solo studio albums because her musical legacy looms large.
Let’s look at her impact — through timing and Tim McGraw.
Timing is everything
In 1993, country music was still riding high on the neotraditional wave of the late ’80s. Reba, Ricky Skaggs, and Randy Travis had proven that country — stripped of the slick Nashville Sound — was still cool.
Then came the Class of ’89. Garth Brooks, Clint Black, Alan Jackson, and Travis Tritt sold records by the millions and lifted the genre to new heights.
Faith Hill stepped into the moment with natural twang and a touch of rock. Her debut single, “Wild One,” written by Pat Bunch, Jaime Kyle, and Will Rambeaux, was an instant classic. The song captures the tension between a 17-year-old girl and her parents — light-hearted, but honest. In the video, Faith plays the easygoing narrator, and it’s clear she was born for the camera.
Like Reba, Faith understood the power of visual storytelling. She leaned into it with “I Can’t Do That Anymore,” her 1996 Top 10 hit written by Alan Jackson. Those early singles from Take Me as I Am and It Matters to Me were pure country perfection — up-tempo tracks full of energy, ballads steeped in longing, and her Mississippi roots shining through every note.
But the genre was shifting. In 1995, Shania Twain’s The Woman in Me exploded onto the scene, a bold departure from her first album. It leaned into pop-rock with unapologetic attitude — think Carrie’s “Before He Cheats” or Miranda Lambert’s “Kerosene.”
Faith’s timing was perfect. Her 1998 album Faith effortlessly blended country and pop. The lead single, “This Kiss,” was infectious with clever lyrics, an irresistible melody, and a music video bursting with color, oversized flowers, fruits, and butterflies. It’s as refreshing as sweet tea on a hot summer day. I swear I can hear the cicadas in the background.
“This Kiss” topped the country charts and broke into the Top 10 on both the Billboard Hot 100 and Adult Contemporary charts, launching Faith into pop stardom. It was the first in a string of hits from Faith, including her second duet with Tim McGraw, “Let Me Let Go” (with Vince Gill on background vocals), and my favorite, “The Secret of Life.”
The success of Faith, paired with Shania’s rise, paved the way for Faith’s best-selling album to date — 1999’s Breathe. From the opening notes of “What’s in It for Me,” it’s clear the record marks a shift from country-pop to pop-country.
That distinction may seem subtle now, but in the late ’90s and early 2000s, it drew a clear dividing line. Country purists argued for tradition while artists like Faith pushed the genre’s boundaries and brought it to a broader audience.
The “Breathe” video drew another line. Faith had always been beautiful and camera-ready, but “Breathe” was boldly sensual. Again, the timing worked in her favor. Had she released a similar video earlier in her career, her female fans might have been more critical. But after marrying Tim McGraw and having children, Faith was even more beloved.
“Breathe” was a No. 1 smash and earned Faith her first Grammy. The album won Best Country Album, and her duet with Tim — “Let’s Make Love” — won Best Country Collaboration.
Then came Cry, and the cries of “not country” were deafening. I listened to the full album this week, with more mature ears that appreciate artists who take risks. The country community judged Faith harshly, but the title track won a Grammy for Best Female Country Vocal Performance. Faith’s voice is always country, even when the songs lean pop-rock.
Cry didn’t land for me, but without it, we might not have Fireflies. Released in 2005, it recaptured the magic of Faith. The autobiographical “Mississippi Girl,” written for her by John Rich and Adam Shoenfeld, returned her to the top of the charts. Throughout the album, we get classic Faith: the throaty delivery that recalls Tammy Wynette, the poignant ache of “Stealing Kisses,” and the breezy hits like “Sunshine and Summertime” and “The Lucky One.”
The album is a breath of fresh air that stood tall with Sara Evans’ Real Fine Place, Miranda’s Kerosene, Carrie’s Some Hearts, and Trisha’s Jasper County.
With 11 No. 1 songs and five Grammy Awards, Faith built her musical legacy in a relatively short span. Her impact is only enhanced by her personal and professional partnership with Tim McGraw. Let’s look at their musical collaborations.
Tim McGraw
Tim deserves — and will get — his own Roots & Rhinestones feature. But here, we’re looking at Tim through the lens of Faith. I saw them in Memphis on their first Soul2Soul Tour back in 2000. He’s said she saved his life and made him a better performer — and who am I to argue.
Their first duet, 1997’s “It’s Your Love,” established them as a country music power couple. They followed that No. 1 hit with more duets and, like Garth and Trisha, backed each other up on countless tracks. While singles like 2001’s “Angry All the Time” and 2014’s “Meanwhile Back at Mama’s” are golden, album tracks like 2007’s “Shotgun Rider” are equally compelling. (Don’t confuse it with Tim’s single “Shotgun Rider” from his 2014 album Sundown Heaven Town.)
They elevate each other’s game, drawing from the rich tradition of great country duet partners: Conway Twitty and Loretta Lynn, George Jones and Tammy Wynette, and Vince Gill and Patty Loveless. When the Country Music Hall of Fame calls Tim’s name, which it no doubt will, I hope they call Faith’s with it.
If you’re still unsure of her merits, check out these Faith Hill essentials.
My Top 5 Faith Hill Songs
1. “The Secret of Life”
From her 1998 album Faith. Written by Gretchen Peters. Peaked at No. 4 on the Billboard Hot Country Songs chart.
This song carried me into college, whispering quiet advice from someone who had lived a little. Written by Gretchen Peters, one of country’s finest songwriters, Faith’s delivery is a playful wink: The secret of life is there ain’t no secret/ and you don’t get your money back.
2. “It Matters to Me”
From her 1995 album of the same name. Written by Ed Hill and Mark D. Sanders. No. 1 on the Billboard Hot Country Songs chart.
My emotional connection to “The Secret of Life” bumps this one down to No. 2, but it’s a vocal powerhouse. “It Matters to Me” helped establish Faith as one of country’s most expressive singers, and the lyrics cut deep: Baby, tell me where’d you ever learn/ to fight without saying a word.
3. “Like We Never Loved at All” with Tim McGraw
From her 2005 album Fireflies. Written by John Rich, Vicky McGehee, and Scot Stax. Peaked at No. 5 on the Billboard Hot Country Songs chart.
The music video shaped my love for this song. Faith and Tim portray a 1960s country music duo. After having seen “Dolly: An Original Musical” recently, it’s not a stretch to compare their characters to Dolly Parton and Porter Wagoner. Even without the strong visuals, “Like We Never Loved at All” is a standout that earned the couple their second Grammy for Best Country Collaboration.
4. “Mississippi Girl”
From her 2005 album Fireflies. Written by John Rich and Adam Shoenfeld. No. 1 on the Billboard Hot Country Songs chart.
“Mississippi Girl” puts Faith in her sweet spot — that gritty delivery paired with charming lyrics. Some may call it her triumphant return to country music, but I see it as a reminder that she never really left.
5. “A Baby Changes Everything”
From her 2008 Christmas album Joy to the World. Written by Craig Wiseman and Tim Nichols. Peaked at No. 36 on the Billboard Hot Country Songs chart. Reached No. 1 on the Billboard Adult Contemporary chart.
When Faith set out to record a classic Christmas album, she included seven sacred hymns, three secular favorites, and this original track that easily finds its place with “Mary, Did You Know” and “It Wasn’t His Child.” “A Baby Changes Everything” is a sweeping ballad that lets Faith dig deep — her voice stretches from hushed lows to soaring highs. With strings and a choir behind her, it gives me chills every time.
Bonus Album Cuts
“There Will Come a Day”
From her 1999 album Breathe. Written by Chris Lindsey, Bill Luther, and Aimee Mayo.
This is Faith Hill at her gospel music best. Her voice soars as a choir joins her on the last verse, and the lyrics are simply stunning.
“You Give Me Love”
From her 1998 album Faith. Written by Matraca Berg, Jim Photoglo, and Harry Stinson.
Every deep track on Faith is a winner, but today I give this one the edge. It starts slow and builds to the chorus with hope-filled lyrics.
“Keep Walkin’ On” with Shelby Lynne
From her 1995 album It Matters to Me. Written by Karen Staley and Tricia Walker.
Another gospel standout for Faith to take us to church, this time with help from popular Americana artist Shelby Lynne, whose raw vocals up the ante on the call-and-response section.
Thanks for reading Part III of The Big Three. If you missed the first two installments, be sure to check them out. By compiling the hits of Trisha Yearwood, Martina McBride, and Faith Hill, you’ll be ready for our next featured artist — Reba McEntire, whose influence on The Big Three and beyond makes for great discussion.
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