Roots & Rhinestones

When Patty Loveless had a big hit with “Blame It on Your Heart” in 1993, I was in middle school and just starting to fall in love with country music. With its fiddle, steel guitar, and tongue-twisting chorus, the song was an early favorite of mine. I couldn’t help but tap my toes and sing along. 

But when I bought Only What I Feel, I realized Patty’s voice held something deeper — a sound that carried both hope and heartache. I didn’t have the language for it then, but I know it now: she sings with the voice of a sorrowful angel. 

That sound was forged in the Appalachian Mountains where Patty Loveless traces her lineage. With its rich traditions of storytelling, string bands, and ethereal harmonies, mountain music is a cornerstone of country music. And Patty is a direct descendant of a line of its most influential practitioners — the Carter Family and Ralph Stanley, Loretta Lynn and Dolly Parton. 

With Appalachia always present in her music, Patty’s voice rises to the heavens while carrying the weight of Eastern Kentucky’s coal mines in every note. Never do her roots shine brighter than in her late-career Mountain Soul and bluegrass projects that helped draw a new generation of fans to her homeland. 

For this installment of Roots & Rhinestones, I’ll break down Patty’s career from her time with MCA before she underwent vocal surgery and her comeback and tenure with Epic. 

The MCA years 

Though I was unaware of Marty Stuart’s sage advice to start with what you like in country music and work your way back, that’s exactly what I did with Patty Loveless. Her Greatest Hits album — with songs like “If My Heart Had Windows” and “Don’t Toss Us Away” — was revelatory.  

Before Patty, I wasn’t a fan of the traditional country singers she loved. I couldn’t appreciate George Jones or Porter Wagoner because I thought their tones were too nasal. It didn’t happen overnight, but Patty was a bridge that helped me hear the emotion in those stone-cold country voices. 

Those traditional influences came alive on her MCA albums thanks to the musicians who surrounded her — Tony Brown, Paul Franklin, Mark O’Connor, Eddie Bayers, and her future husband Emory Gordy, Jr. With talent like that behind her, the final piece was finding songs worthy of her emotional range. 

From the start, Patty showed a knack for selecting songs that fit her voice and Appalachian roots. She worked with some of the era’s finest songwriters — Kostas, Matraca Berg, and Tony Arata — while going back in time to cover Hank Williams and Carter Stanley. 

Kostas penned Patty’s first No. 1 single and breakout hit “Timber, I’m Falling in Love,” which featured Vince Gill on background vocals. Fiddle and steel guitar drive the melody, with Patty and Vince riding the chorus upward to mirror the joy of falling in love. 

Patty continued adding to her catalog of hits with her next two albums. But in 1992, doctors found an aneurysm on one of her vocal cords. Surgery to remove it was successful, and she followed it with vocal rest and therapy. The break came just as she was hitting her stride, but praise the Lord, Patty returned with an even stronger voice. She stepped into the next chapter of her career with a new label — and a voice ready to cement her place as one of country music’s most expressive storytellers. 

Epic Records 

1993’s Only What I Feel was her first album on her new label. Critics and fans immediately noticed the change in her voice. There was a new intensity — a richer, warmer tone and bigger range that allowed her to take on some of her most demanding material. 

And at the center of this new chapter was her husband Emory Gordy, Jr. who produced her Epic albums and helped shape the sound that defined her greatest work. In 1995, they took home trophies for CMA Album of the Year for When Fallen Angels Fly. Patty was only the second solo female artist to win the coveted award. That partnership would prove to be, well, epic. 

For my money, When Fallen Angels Fly is her best work. Singles “Here I Am” and “You Don’t Even Know Who I Am” belong in the same conversation as country standards — songs that define eras and outlast trends. Patty delivers a master class in storytelling, her voice breaking in all the right places to convey heartbreak and resignation.  

Patty followed When Fallen Angels Fly with The Trouble with the Truth, scoring her third consecutive platinum-selling album. By the late ’90s as the genre trended toward pop influences, Patty’s chart success was spotty. Her fans, however, stuck with her. 

In 2001, she released her masterpiece — Mountain Soul. 

I’m no expert, but I understand the music business can be heavier on the business than the music. Producers, entertainers, label executives — everybody’s got to make a living. So I love when someone of Patty’s stature says, “I’ve sold lots of records for you. Now I’m going to make the album I want to make.” 

Mountain Soul peaked at No. 19 on the Billboard Top Country Albums chart and was hailed by critics, but there wasn’t a place for it on country radio. Singles “The Boys Are Back in Town” and “Out of Control Raging Fire” didn’t chart, but Patty Loveless had come home.  

All 14 tracks are steeped in the Appalachian sound that shaped her — fiddle, mandolin, tight harmonies, and that unmistakable high‑lonesome ache in her voice. And with friends Ricky Skaggs, Earl Scruggs, Stuart Duncan, Jon Randall, Rebecca Lynn Howard, and Travis Tritt lending their impressive talents to the record, Patty created more than an album. Mountain Soul is a celebration of community —  a front-porch jam session — making it my favorite in her discography. 

She followed it with Bluegrass and White Snow: A Mountain Christmas — the holiday version of the jam session — and later gave us Mountain Soul II. In 2008, Patty released Sleepless Nights, billed as “The Traditional Country Soul of Patty Loveless,” covering country standards like “Crazy Arms,” “There Stands the Glass,” and “Cold, Cold Heart.” 

Patty hasn’t recorded new music since 2009, largely retiring from the spotlight to care for her husband. She occasionally performs on the Grand Ole Opry, and she took her rightful spot in the Country Music Hall of Fame in 2023.  

In 2022, Patty surprised fans at Chris Stapleton’s Kentucky Rising benefit concert, which raised money for victims of that summer’s Eastern Kentucky floods. Those Kentucky mountain voices created pure magic that night, which is nothing new for Patty. She’s been backing her peers since her arrival in Nashville in the ‘80s. 

It was tempting to stretch my Top 5 Patty Loveless songs into a Top 10. Her catalog is deep, and she doesn’t waste a single release. But in the spirit of Roots & Rhinestones — and because Patty has always shined when she’s lifting others up — I’m starting with a twist. Before giving her the solo spotlight, here are my Top 5 Patty Loveless collaborations. 

“When I Call Your Name” by Vince Gill 

From Vince’s 1989 album of the same name. Written by Vince Gill and Tim Dubois. Peaked at No. 2 on the Billboard Hot Country Songs chart. 

Vince has compared himself and Patty to George Jones and Melba Montgomery, calling it a “special anointing.” They had the privilege of working on each other’s breakout hits, with Patty providing background vocals on his “When I Call Your Name.” There are a lot of great harmony singers in Nashville, but it’s hard to imagine anyone but Patty on that record. 

In 1995, Patty and Ricky Skaggs joined Vince on “Go Rest High on That Mountain.” Thirty years later, fans are still connecting with Vince’s poignant tribute to his late friend Keith Whitley and late brother Bob. The song was destined to be a classic, but Patty and Ricky helped lift those words to heavenly heights. 

“Please Remember Me” by Tim McGraw 

From Tim’s 1999 album A Place in the Sun. Written by Rodney Crowell and Will Jennings. No. 1 on the Billboard Hot Country Songs chart. 

Tim has always walked the line between “Indian Outlaw” and “It’s Your Love,” making him a compelling artist. Put “Please Remember Me” in the emotionally mature column of his hits. His performance deserves every accolade he received — including a Grammy nomination — but Patty’s gentle ache on background vocals turns the song into something timeless. 

“You Don’t Seem to Miss Me” with George Jones 

From Patty’s 1997 album Long Stretch of Lonesome. Written by Jim Lauderdale. Peaked at No. 14 on the Billboard Hot Country Songs chart. 

It’s not a cover of a Jones hit, but Patty sure makes it sound that way. Adding him on background vocals was an inspired choice that gives it that early honky-tonk vibe from her MCA years. Their voices — his pure hillbilly and hers refined coal — blend with a shared lived‑in quality that takes the song from heard to felt. 

“Bible and a .44” by Trisha Yearwood 

From Trisha’s 2019 album Every Girl. Written by Terri Jo Box, Ashley McBryde, and Patrick Savage. 

How could I not put a song featuring two of my all-time favorites on the list? It was never released as a single, but the song pays tribute to a dad who taught his daughter everything from how to hunt to how to praise the Lord. Trisha’s performance is restrained, pulling back that big voice to create the intimacy the song deserves. And Patty’s background vocals feel like burying your face in Dad’s old shirt — hints of sweat, Old Spice, and comfort filling your nostrils and your memories. 

“Dear Diamond” by Miranda Lambert 

From Miranda’s 2011 album Four the Record. Written by Miranda Lambert. 

Patty didn’t just put down the harmony track for Miranda Lambert’s “Dear Diamond,” her signature sound inspired Miranda to write it. The gem Miranda describes is a “perfectly flawless” ring, and it’s tempting to apply that to Patty Loveless. But the “flaws” in her voice — that tension between clinging coal dust and refreshing mountain air — wrap me around her finger tighter than any wedding band. Kudos to Miranda for capturing Patty’s essence in this heartbreaker, which, unfortunately, wasn’t released as a single. 

This has, hands down, been the most challenging Top 5 I’ve put together for Roots & Rhinestones. Patty’s catalog spans more than 40 years, so narrowing her hits wasn’t easy. These five stand out as moments where her voice carries the story as only she can. 

My Top 5 Patty Loveless Songs 

1. “On Your Way Home” 

From her 2003 album of the same name. Written by Ronnie Samoset and Matraca Berg. Peaked at No. 29 on the Billboard Hot Country Songs chart. 

2003 was a time of transition as ‘90s heavyweights shared the charts with the next generation of country stars. “Bro country was still on the horizon, but the neotraditional sound was moving toward more pop-country. Maybe that’s why this haunting song didn’t get the attention it deserved. The somber fiddle intro sets the scene for another story of betrayal. But this time, the woman at its center is willing to stay — if only to spite the man who won’t tell her the truth. 

2. “Here I Am” 

From her 1994 album When Fallen Angels Fly. Written by Tony Arata. Peaked at No. 4 on the Billboard Hot Country Songs chart. 

The devil himself officiated the wedding between liquor and heartache, but country music hosted the reception. In this single, the brokenhearted lover is branded by bourbon and water and lies. Patty soars on the bridge, her voice breaking under the weight of the emotion she’s carrying. It is both classic ‘90s country and classic Patty Loveless. 

3. “Hurt Me Bad (In a Real Good Way)” 

From her 1991 album Up Against My Heart. Written by Deborah Allen and Rafe Van Hoy. Peaked at No. 3 on the Hot Country Songs chart. 

Patty delivers a tender performance on this sweet song of gratitude to the lover who hurt her — because he led her straight to a new and devoted love. 

4. “A Thousand Times a Day” 

From her 1996 album The Trouble with the Truth. Written by Gary Burr and Gary Nicholson. Peaked at No. 13 on the Hot Country Songs chart. 

Here’s another Patty song with a mournful fiddle, and she matches it by pulling back and belting in all the right places. And what a clever hook — “Forgetting you is not that hard to do/ I’ve done it a thousand times a day.” 

5. “The Last Thing on My Mind” 

From her 2000 album Strong Heart. Written by Craig Wiseman and Al Anderson. Peaked at No. 20 on the Billboard Hot Country Songs chart. 

If Patty’s delivery isn’t enough to move you, the lyrics — full of Wiseman’s wit and irony — will. My absolute favorite line is so out of left field that it stops me cold every time: “And this empty bed’s as big as Arkansas.” 

Bonus Album Cuts 

“You’ll Never Leave Harlan Alive” 

From her 2001 album Mountain Soul. Written by Darrell Scott. 

I could do a whole blog on this song alone. It feels autobiographical for good reason. Patty, like her distant cousin Loretta Lynn, is a coal miner’s daughter. She does, in fact, trace her bloodlines to those “deep, dark hills of Eastern Kentucky,” where for generations, broken promises from outsiders meant the same ending: “Spend your life diggin’ coal from the bottom of your grave.” Tear my heart out, why don’t you? 

“A Handful of Dust” 

From her 1994 album When Fallen Angels Fly and her 2009 album Mountain Soul II. Written by Tony Arata. 

I love the simplicity of this one — a song Patty gives the bluegrass treatment in her second recording of it. It’s a gospel message of love without a hint of preachiness. 

“Someday I Will Lead the Parade” 

From her 1996 album The Trouble with the Truth. Written by Tony Arata and D. Scott Miller. 

As a writer, it’s frustrating when I can’t find the words to express my feelings. Unfortunately, the problem plagued me long before I knew I wanted to earn a living in communications. I remember trying to tell a high school friend how Patty ended her albums with these special tracks that always left me feeling a little melancholy. “Someday I Will Lead the Parade” — the closer on this album — could have been taken straight out of The Baptist Hymnal and sung at every church homecoming and funeral. 

I went a few rounds with this blog. Patty’s singular voice is like art — I don’t know how to define it, but I know it when I hear it. I hope you enjoy the included playlists. The Amazon Music version includes Josh Turner’s cover of “You Don’t Seem to Miss Me” and Brad Paisley’s “You’ll Never Leave Harlan Alive.” Make sure to add your own favorites and share them in the comments. We’ll stay in Kentucky for our next installment and follow Wynonna from her time with mom Naomi in The Judds to her solo career. 

As always, thanks for reading! 

Travis Tritt

My parents have never tolerated vulgar language. When I was a kid, I allegedly asked my oldest brother what the hell he was doing, prompting our mom to send me to timeout under the kitchen table. While I don’t remember the incident, I’m certain I didn’t hear that phrase at home. 

So when Travis Tritt released “Here’s a Quarter (Call Someone Who Cares)” in 1992, I was uncomfortable with the chorus. But Travis’s smirking delivery and the song’s infectious melody made it difficult for me not to sing along. For years, I changed “damn” to “darn” — an edit I felt was acceptable but probably wouldn’t have met Travis’s standards as the songwriter or singer. 

After all, the B-side of that single is “If Hell Had a Jukebox,” a song that wouldn’t have been admired in my house no matter how many changes I made. 

Now, when I think about Travis Tritt, my first thought is “T-R-O-U-B-L-E,” a song that fits both his swagger and energy. In a musical cohort that includes Clint Black, Garth Brooks, and Alan Jackson, Travis stands out for embracing the neotraditional sound while defying the Nashville establishment. 

During the height of “Achy Breaky Heart” mania, Billy Ray Cyrus slammed a quarter down on the podium. It happened at the 1993 American Music Awards, where Motley Crue had just presented him with the trophy for Best Country Song. Billy Ray told anyone who didn’t like his smash hit to “call someone who cares.” 

Call it a lapse in judgment or a moment of candor. Travis had, after all, publicly criticized the song. He later apologized, and he and Billy Ray went on to honor a shared hero — Waylon Jennings — on stage together. 

Burying the hatchet showed Travis’s maturity, just as his tender love songs and soulful ballads do. Much more than a good-timin’ man, Travis is a gifted songwriter with a rich voice that carries the dreams of the working class, a creative eye for music videos, and a genuine connection to his fans.  

For the final entry in my Class of ‘89 series, let’s look at Travis’s distinctive catalog of hits — while also unpacking some of his most memorable music videos. 

Bulletproof 

Travis released his debut studio album, Country Club, in 1990. The album produced five bona fide hits, including his first No. 1 single. All of them showed the emotional and stylistic range of his songwriting and vocal delivery. 

Travis gives “Country Club,” written by Catesby Jones and Dennis Lord, a breezy feel that allows fans to sink into the deliciously clever lyrics. While the self-penned “Put Some Drive in Your Country” takes listeners on a ride through Travis’s musical influences, it also effectively maps out his career. “Drift Off to Dream,” which he cowrote with Stewart Harris, captures the tenderness of a sweet, private moment. 

Throughout his career, Travis’s songs have run the gamut from sly and sexy to mournful and introspective. His voice holds his memories of George Jones, Lynyrd Skynyrd, and Sam Moore. His gritty, rootsy delivery — with its underlying warmth — draws listeners in. It’s no surprise that the more you hear from Travis, the more you want to hear. 

That blend is crucial to Travis’s success. The invincibility of “Ten Feet Tall and Bulletproof” is nothing without the vulnerability of “Can I Trust You with My Heart.” 

He’s a masterful storyteller, mining the ups and downs of his own life to create compelling songs that resonate with fans. He co-wrote his first three No. 1 hits — all of them ballads — but like George Strait and Reba, he can find songs from other songwriters that fit him like a glove.  

“Lord Have Mercy on the Working Man,” written by Kostas, is a blue-collar anthem Travis sings with gusto that comes from having lived it. “Modern Day Bonnie and Clyde,” written by Walt Aldridge and James LeBlanc, has all the hallmarks of a great Travis Tritt story with a swampy sound that gives it an extra edge. 

Travis’s willingness to wear his heart on his sleeve gives his catalog a seamless quality. Each song is a new chapter of the same book — with Travis’s fans hanging on every word. 

Trilogy 

Like many of his peers in the ‘90s, Travis understood the power of the music video and used the medium to great success. But he was the first to carry a single character through a cohesive storyline in a series of powerful videos. What makes this trilogy remarkable is that it wasn’t planned — the story simply kept unfolding over seven years. 

It started with 1991’s “Anymore,” directed by Jack Cole. In a bold move, Travis plays a disabled Vietnam veteran named Mac Singleton. Scenes from a VA hospital where Mac is receiving physical therapy are interspersed with his memories of his wife Annie. The video could have easily crossed into cheesy or comically overdone territory, but Travis’s portrayal of Mac is sincere and his reunion with Annie feels genuine. 

Then in 1995, four years after “Anymore,” Travis and director Michael Merriman gave Mac an unexpected sequel with “Tell Me I Was Dreaming.” Barry Scott reprises his role as Al, Mac’s fellow veteran and steadfast companion. Annie, unfortunately, doesn’t get a happy ending in this one. She falls and hits her head on the docks, leaving Mac a widower with an infant daughter. It was bleak, but revealing the couple’s baby girl at least gave viewers a glimpse of joy. 

Merriman returned to direct 1998’s “If I Lost You,” the final chapter arriving seven years after Mac first appeared on screen. The video opens with the ending of “Tell Me I Was Dreaming” before jumping five years into the future to show Mac with his little girl. Al is still by his side, helping Mac and his daughter. In the closing minute, we see daddy and daughter visit Annie’s memorial, ending the trilogy on a bittersweet note of sorrow and hope. 

Those videos aren’t the only heavy ones in Travis’s arsenal, but he has some light-hearted entries too. One of my favorites is 1996’s “More Than You’ll Ever Know,” directed by John Lloyd Miller. Travis gets into character once again, playing an old man “collecting” flowers from his neighbors’ gardens to fill his wife’s hospital room. His makeup and costume are so good, I didn’t realize the old fella was Travis the first few times I saw the video. 

If you think of songs as stories and stories as connections, you’ll see how Travis built a dedicated fan base over his 30-plus years in the business. I saw that connection firsthand several years ago at the Discovery Park of America’s outdoor summer concert series. Let me say, there were some women congregated near the stage who were very excited to see Travis Tritt. 

He did several of his big hits with his band before sending them off and finishing the set with just his acoustic guitar. He was equally engaging in both settings, and I was delighted to recall all those great songs from the ‘90s and early 2000s that made Travis Tritt one of the most influential artists of his generation. 

Whittling down my list of Travis Tritt songs to just my top five favorites was no small task, but I hope each one inspires you to dig deeper into his catalog. 

My Top 5 Travis Tritt Songs 

“It’s a Great Day to Be Alive” 

From his 2000 album Down the Road I Go. Written by Darrell Scott. Peaked at No. 2 on the Billboard Hot Country Songs chart. 

Picture a perfect spring day with clear skies and the sun shining brightly. The windows are down, and you’re driving your favorite stretch of country road. Put on this song, crank it up and let Travis take you to church. I know it’s not a gospel song, but I feel like I’m praising the Lord with him every time this one comes on. 

“Where Corn Don’t Grow” 

From his 1996 album The Restless Kind. Written by Roger Murrah and Mark Alan Springer. Peaked at No. 6 on the Billboard Hot Country Songs chart. 

I remember thinking this song was lame when I first heard it in 1996. Just like the narrator, I thought I knew more than I did. Now, I understand that the weeds are indeed high “where corn don’t grow.” Travis’s voice is hauntingly similar to Waylon’s in this cover of a song his hero released just six years earlier. 

“Modern Day Bonnie and Clyde” 

From his 2000 album Down the Road I Go. Written by Walt Aldridge and James LeBlanc. Peaked at No. 8 on the Billboard Hot Country Songs chart. 

I’m a sucker for a song that features the great State of Tennessee, and this ride takes us to a truck stop in Johnson City where the narrator meets a woman who will get him in all sorts of trouble before their time together comes to an end. Travis gives a master class in his trademark country-rock-soul-infused rasp on this number. The accompanying music video perfectly casts Oscar winner Billy Bob Thorton as the modern-day Clyde. 

“Sometimes She Forgets” 

From his 1995 album Greatest Hits: From the Beginning. Written by Steve Earle. Peaked at No. 7 on the Billboard Hot Country Songs chart. 

When artists include new songs on a greatest hits package, you have to wonder if they’re manifesting another hit or setting themselves up for a letdown. “Sometimes She Forgets” was a smart move for Travis, who put an Eagles-inspired spin on it to create a piece of music that is distinct from any of his previous songs. It’s a simple story told simply. 

“The Whiskey Ain’t Workin” (duet with Marty Stuart) 

From his 1991 album It’s All About to Change. Written by Ronny Scaife and Marty Stuart. Peaked at No. 2 on the Billboard Hot Country Songs chart. 

When this duet was released, Marty Stuart was making what he’s since called “butt-wigglin’” music — the kind that sells out stadiums now but may not match the longevity of the classics. But he and Ronny Scaife penned a country standard that still holds up today. Travis’s and Marty’s voices blend perfectly with an almost-familial harmony they replicated on 1992’s “This One’s Gonna Hurt You (For a Long, Long Time),” which Marty also wrote. 

And that’s a wrap on the Class of ‘89 series. I don’t think I had any of Travis’s albums, so I can’t give you any bonus album cuts. His singles should give you plenty of material to remember — or discover — the music that made ‘90s country so special. 

Below you’ll find the accompanying playlists featuring my top favorites from Clint, Garth, Alan, and Travis, with bonus album cuts from Clint, Garth and Alan. Since Garth doesn’t have an official YouTube channel, I didn’t include his music on that playlist.  

Remember to add your own favorites and share them in the comments. 

Alan Jackson

One middle school summer, my cousin Sarah and I caught a ride home with our Meme after the fireworks at our aunt’s Fourth of July pool party.

I climbed into the backseat of her Buick LeSabre while Sarah rode shotgun. On a country road, we sang Alan Jackson’s “Chattahoochee” at the top of our lungs, bickering over who had the lyrics right.

I’m not saying we didn’t deserve it, but Meme was awfully quick to blame our singing when a police officer pulled her over. Maybe that was a clue I’d never be a music star…or maybe we can chalk it up to Alan’s charm.

In the ‘90s, Clint Black was my favorite of the Class of ’89. But now I gravitate to Alan Jackson. His music also connects me to memories of my maternal grandmother and our special bond.

With the songwriting chops of a Don Williams or a Merle Haggard, and a voice that carries the legacy of George Jones, Alan Jackson moved country music forward while honoring its traditions.

In his 1985 hit “Who’s Gonna Fill Their Shoes” — written by Troy Seals and Max D. Barnes — George Jones asks who’s going to give their heart and soul to the music.Alan Jackson made it clear early in his career that he was one answer to the question, earning a place on the Mount Rushmore of ‘90s country icons.

Let’s dive into Alan’s place in the Class of ’89 — as the songwriter who paints vivid portraits of small towns and rural living, and as the artist who embraced the music video as part of his storytelling.

Small town, Southern writer

Like Clint Black, Garth Brooks, and Travis Tritt, Alan Jackson found early chart success with 1989’s No. 3 hit “Here in the Real World,” followed by his first No. 1 in 1990 with “I’d Love You All Over Again.”

As I review Alan’s catalog of hits, I’m struck by the variety. He writes as easily about family and home as he does about romance and heartbreak. With autobiographical songs like “Chasin’ That Neon Rainbow” and beautiful tributes like “Small Town Southern Man,” Alan tells his own stories while reflecting ours.

“Little Man” recounts my experience as a kid growing up in a small county with a once thriving county square. When I hear “Drive (For Daddy Gene),” I see my granddaddy letting me take the wheel of his fishing boat. And the chorus of “Small Town Southern Man” could be an ode to my dad.

Alan doesn’t just speak for a generation of fans — he speaks to us, capturing our shared experiences. Few songs illustrate that better than “Where Were You (When the World Stopped Turning),” the song Alan wrote after the 9-11 terrorist attacks in 2001. Moving in their simplicity, the lyrics make a place for everyone to feel seen and heard.

The question isn’t “How Did You Feel (When the World Stopped Turning).” Alan conveys the full range of emotion — shock, anger, fear, guilt, sorrow, and even pride.

Instead, he asks us what we were doing at that fateful moment — hanging out with family, working, teaching children, or driving — and more importantly what we did in the aftermath.

Pray? Give blood? Call Mama?

Like many of Alan’s hits, “Where Were You (When the World Stopped Turning)” uses plainspoken language to speak deep truths, separating the politics from the humanity of the tragedy.

It’s no wonder the song topped the country charts for five weeks and climbed to No. 28 on the all-genre Billboard Hot 100. I wouldn’t argue if you called it the crowning achievement of his Hall of Fame career.

But Alan’s songs are also marked by their cleverness, and I’m not just talking about the funny ones.

There are early hits “Don’t Rock the Jukebox” — about a brokenhearted man wanting to hear country instead of rock — and “Dallas” — about a woman named Dallas who lives in Texas, while he’s in Tennessee.

And later hits “Remember When” — a couple looking back on their relationship while also looking ahead — and two songs Alan didn’t write but match his style perfectly: “It’s Five O’Clock Somewhere” and “The Talkin’ Song Repair Blues.”

Through it all, Alan wove in music videos to visually enhance so many of his stories — including that song Meme blamed on that long-ago Fourth of July.

“Chattahoochee”

While Alan uses music videos to express some of his sincerest ballads, my favorites are the ones that showcase his personality. His humor shines through on early hits, but “Chattahoochee” took it to the next level.

Timed with the opening twin-lead guitar lick and fiddle playing in harmony, Alan — in his signature white cowboy hat and a life jacket — rises out of the water gripping a tow rope. The camera pulls back to reveal he’s water-skiing in ripped jeans. Later, he’s wearing cowboy boots as skis and using his guitar as an oar while he tubes.

Cut between scenes of teenagers awkwardly flirting and Alan and his band playing on a pier, it’s impossible to watch “Chattahoochee” without matching Alan’s wide grin. Decades later, it’s pure nostalgia for anyone who spent their summers at the lake or river.

He matches that carefree energy in “Summertime Blues” and “It’s Five O’Clock Somewhere.”

For a moment, picture country music as a relay race. George Jones grips the baton passed from Hank Williams. As he rounds the turn, he spots Alan Jackson — full of talent, creativity, authenticity, and reverence for the genre — ready for his leg, knowing the race won’t end with him. Alan will pass the baton to Brad Paisley, who, shaped by his predecessors, will chart a course for country music in the early 2000s.

Thanks in no small part to Alan Jackson, the circle of country music remains unbroken. While I could easily give you a playlist a mile long, I’ll stick to my format and share my Top 5 Alan Jackson songs — plus three bonus album cuts.

My Top 5 Alan Jackson Songs

“Dallas”

From his 1991 album Don’t Rock the Jukebox. Written by Alan Jackson and Keith Stegall. No. 1 on the Billboard Hot Country Songs chart.

Written with his frequent collaborator and producer, Keith Stegall, the wordplay in “Dallas” is simply delicious: I took her out of Texas/ When she was just a girl/ But old Tennessee and me/ Couldn’t take Texas out of her.

“Drive (For Daddy Gene)”

From his 2002 album Drive. Written by Alan Jackson. No. 1 on the Billboard Hot Country Songs chart.

A Billboard critic described the song as having “emotional warmth,” and I can’t think of a better way to put it. Even though this is Alan’s story about his grandfather, he fills it with such relatable imagery that fans of all ages and walks of life can wrap themselves in its glow.

“Gone Crazy”

From his 1998 album High Mileage. Written by Alan Jackson. Peaked at No. 4 on the Billboard Hot Country Songs chart.

Alan has a beautiful, clear, strong voice, and his slower ballads tend to show it off a bit more than his more up-tempo songs. On “Gone Crazy,” he infuses lyrics full of his signature wordplay with a longing and sorrow that give the listener pause. The stripped-down arrangement only deepens the ache in his voice.

“(Who Says) You Can’t Have It All”

From his 1992 album A Lot About Livin’ (And a Little ‘bout Love). Written by Alan Jackson and Jim McBride. Peaked at No. 4 on the Billboard Hot Country Songs chart.

Wearily proclaiming himself “lord and master of a fool’s Taj Mahal,” Alan stretches himself vocally on this one. He was named Top Male Vocalist or Male Vocalist of the Year by the ACMs and CMAs a combined five times, thanks to those golden pipes.

“Chasin’ That Neon Rainbow”

From his 1990 album Here in the Real World. Written by Alan Jackson and Jim McBride. Peaked at No. 2 on the Billboard Hot Country Songs chart.

Alan gives us a glimpse into his upbringing — both at home as a young boy and on the honky-tonk circuit as a young artist — in this infectious early hit that leans into the neotraditional country sound Alan typifies. Steel guitars, fiddles, and a beat built for a line dance make “Chasin’ That Neon Rainbow” a classic.

Bonus Album Cuts

“Precious Memories”

From his 2013 album Precious Memories Volume II. Written by John B.F. Wright.

In 2006, Alan made good on a promise to his mother and recorded his first gospel album, Precious Memories. My grandmother loved Alan Jackson and traditional hymns, and I often walked into her kitchen to hear that CD playing while she cooked or cleaned. When he released his second volume, I bought it for her.

Many years later, after Grandmother suffered a stroke, Mom would play Alan’s Precious Memories collections on her smartphone to soothe Grandmother during restless nights in the hospital. And when Grandmother passed away, we played his cover of “Precious Memories” at her funeral — just as she had done at Granddaddy’s a couple of years before.

If I ever meet Alan Jackson, I’ll give him a great, big hug for that.

“The Firefly’s Song”

From his 2006 album “Like Red on a Rose.” Written by Robert Lee Castleman.

Alan took a creative gamble in 2006 when he handed the reins of an entire album over to Alison Krauss. Not only did the bluegrass songstress produce the album, but she also chose every song. In fact, there’s only one Alan-penned number — a rerecording of a 1998 cut that was never released as a single.

“The Firefly’s Song” sounds like something Alan might have written himself, and Alison and Lee Ann Womack’s angelic harmonies only deepen the song’s earnestness.

“Kiss an Angel Good Mornin’”

From his 1999 album Under the Influence. Written by Ben Peters.

The first time I heard “Pop a Top,” it wasn’t Jim Ed Brown on lead — it was Alan Jackson. His album of traditional country covers includes this Charley Pride classic, which sits perfectly in Alan’s range.

I can add Alan Jackson to the list of lucky-I-got-to-see-‘em-live artists since, like Garth, I saw him at the Grand Ole Opry in the mid-‘90s. My family and I had balcony seats again, but Alan connected with everyone.

Alan will give his final concert at Nashville’s Nissan Stadium this June. He announced his retirement due to a rare genetic condition that affects his balance and ability to walk. While it’s a shame fans won’t get to see his live shows anymore, what a gift to go out in a sold-out stadium in Music City.

Do you have tickets?

We’ll close the book on this set of musical memories when we break down Travis Tritt’s career. I’ll be ready to share my Class of ’89 playlist with you when we do. Thanks for reading!

Garth Brooks 

Blame it all on my roots, I showed up in boots 

With the opening line of his hit single celebrating the value of having “Friends in Low Places,” Garth Brooks changed country music forever and cemented his place in its history. 

I was in fifth grade and had no idea what the lyrics meant. Still, I sang every word with as much twang as I could muster. Many of my friends — and countless folks across the country — were doing the same. 

Though I don’t know how to quantify it, I’m confident that Garth’s tremendous success opened the door for some terrific country artists — some of whom would never have gotten their shot otherwise. Record companies were willing to take more chances and bankroll more albums because Garth proved country music could be wildly profitable on a global scale. 

He consistently broke long-held records for album and ticket sales — even surpassing Elvis and The Beatles in some categories — and won dozens of awards by combining honky-tonk twang with rock ’n’ roll showmanship. 

Even during a four-year sabbatical to be more present for his daughters, Garth kept a firm grip on the hearts of his fans so that 37 years after his 1989 debut, he’s still selling out arenas and stadiums all over the world. Two things define his reign: his dramatic storytelling and the “it” factor. 

Drama king 

In Part I of this series, I briefly wrote about the similarities in both style and substance between Class of ‘89 artists Garth, Clint Black, Alan Jackson, and Travis Tritt. They’re neotraditionalists with a talent for what Dolly Parton has coined songtelling — that unison of songwriting and storytelling that makes country music special.  

Clint is to philosophy as Garth is to drama. 

From singles like “Papa Loved Mama” and “That Ol’ Wind” to album cuts like “New Way to Fly” and “The Night I Called the Old Man Out,” Garth has a flair for the dramatic. In his songs, he tells vivid stories of breakups and makeups, wishes denied and dreams fulfilled, life and death, and everything in between. 

As so many of his fellow ‘90s country stars learned, pairing those songs with cinematic music videos brought his stories to life in new ways and expanded his reach even further.  

In “The Thunder Rolls,” Garth transformed his appearance, hiding under a fake beard, wig, and glasses to play the cheating, abusive husband as Garth the singer performs in the pouring rain to narrate the tragic events. 

The video broke ground in country music, tackling head-on the taboo subject of domestic violence and paving the way for artists like Martina McBride to boldly address social issues in their songs and music videos. 

Later, Garth would give us “Standing Outside the Fire,” an emotional music video that follows a high schooler’s quest to compete on his school’s track team instead of in the Special Olympics. Because he has Down syndrome, his father fears that he’ll embarrass himself. Though the boy falls during the race, his dad, recognizing his son’s strength and persistence, encourages him to finish strong. In a shrewd move, Garth doesn’t appear in the video until two minutes into the song, deepening viewers’ investment in the boy’s story. 

In “The Dance,” written by Tony Arata, video footage of American icons — from civil rights leader Martin Luther King Jr. to Western film star John Wayne to World Champion bull rider Lane Frost — adds layers of new meaning to the song.  

Though his first album, 1989’s Garth Brooks, which included “The Dance” and three more Top 10 hits, was a bona fide success, his follow-up No Fences established his legacy. “Friends in Low Places” became his signature song and a No. 1 hit that, when performed live, shows off the indefinable characteristic that makes Garth a transcendent superstar. 

“It” factor 

The “it” factor is hard to define. It’s not just one quality but several that combine to make unforgettable magic. 

Garth’s “it” factor is most obvious in his concerts. His live shows, made more accessible by broadcast TV deals that beamed those experiences to the masses, were opposite of what most people expected from a country singer at the time. He smashed acoustic guitars, sprayed bottles of champagne, climbed the scaffolding on stage, and flew over the audience suspended by wires. 

I’ve only seen Garth live once, and it wasn’t his concert. When my parents, one of my brothers, and I got lucky and caught him at the Grand Ole Opry, it was a much more muted performance. Garth holds the Opry and its history in high regard, so there were no theatrics that Saturday night.  

Still, when he walked on stage, the floor shook. He sang three or four songs to an absolutely enraptured audience, connecting with fans like us in the balcony and the luckier ducks on the front row. That genuine connection and devotion to his fans is a big piece of his magic. Remember when he signed autographs and took pictures with fans for 23 hours straight at the 1996 Fan Fair in Nashville? 

A savvy businessman, Garth used exclusive deals with Walmart and later live Facebook episodes of “Inside Studio G” to build his brand. While I think he went too far with the “G-spot” on his website, I can appreciate that his branding goes beyond the lowercase “g” logo or the Friends in Low Places Bar & Honky-Tonk. Reciprocating his fans’ adoration, Garth created a community that’s still introducing new converts to country music. 

Whether you’re a longtime listener or one of the newbies, I hope you’ll check out my favorite songs from the ‘90s king. 

My Top 5 Favorite Garth Brooks Songs 

“Much Too Young (to Feel This Damn Old)” 

From his 1989 album Garth Brooks. Written by Garth Brooks and Randy Taylor. Peaked at No. 8 on the Billboard Hot Country Singles chart. 

I liked this song before it mattered to me. In my early 20s, I was really struggling. Driving through town one day, I heard this song on the radio and felt it in my very bones. You don’t have to be banged up from a grueling rodeo circuit to realize you’re much too young to feel this damn old. 

“More Than a Memory” 

From his 2007 album The Ultimate Hits. Written by Lee Brice, Kyle Jacobs and Billy Montana. No. 1 on the Billboard Hot Country Songs chart. 

What a well-written, gut-wrenching song that’s as Garth-esque as anything he’s written. The first time I heard it, I was convinced he had. Garth fully inhabits the song’s narrator and challenges himself vocally much like he does on his 1991 hit “Shameless.” 

“The Beaches of Cheyenne” 

From his 1995 album Fresh Horses. Written by Garth Brooks, Bryan Kennedy and Dan Roberts. No. 1 on the Billboard Hot Country Songs chart. 

This ghost story details the breakup of a couple after the rodeo cowboy goes back on his word to his beloved to withdraw from a bull-riding event. He’s injured and killed, and she’s consumed by grief. Her diary tells of their fight and her regrettable words to him before his death. But the rumor is she’s still alive. You can even see her footprints in the sand because every night she walks the beaches of Cheyenne. The storytelling on this one is chef’s-kiss perfect as is the fiddle intro.

“What She’s Doing Now” 

From his 1991 album Ropin’ the Wind. Written by Pat Alger and Garth Brooks. No. 1 on the Billboard Hot Country Songs chart. 

Back when Garth had his own channel on Sirius/XM, I always enjoyed hearing the behind-the-scenes stories he told about his songs. This one surprised me because he described the idea behind it as little more than a lark. “What would it be like to call an ex’s number?” The finished product is far more serious, and I love how the lyrics shift from him wondering what she’s doing now to wondering if she knows that he’s wondering what she’s doing now. Does she know that he isn’t over her? 

“One Night a Day” 

From his 1993 album In Pieces. Written by Gary Burr and Pete Wasner. Peaked at No. 7 on the Billboard Hot Country Songs chart. 

There are probably three or four songs I could put in this slot, but this is today’s Top 5. “One Night a Day” stands out because of its departure from Garth’s usual twang. It’s bluesy and features only piano, saxophone, bass guitar and drums. There are times when singers step outside of their comfort zones when you wish they hadn’t. That’s not the case here. 

Bonus Album Cuts 

“Mr. Blue” 

From his 1990 album No Fences. Written by Dewayne Blackwell. 

Garth managed to make this pop-jazz cover of a 1959 No. 1 hit by the Fleetwoods all his own, giving fans an early glimpse into his diverse music tastes. 

“Mr. Right” 

From his 1992 album The Chase. Written by Garth Brooks. 

Clever and upbeat. I’m Mr. Right forever or just until whenever/ Mr. Right or Mr. Right now 

“The Night Will Only Know” 

From his 1993 album In Pieces. Written by Garth Brooks, Stephanie Davis and Jenny Yates. 

Even juicier than “The Thunder Rolls” or “The Beaches of Cheyenne,” this album cut with risqué subject matter includes an affair, a murder and a cover-up. Find another country song that rhymes innuendos with steamy windows, and I’ll buy you a Coke. 

What’s your favorite Garth Brooks hit? Are you into his early stuff or do you play his more recent hits on repeat? Let me know in the comments and come back to Roots & Rhinestones for Part III of the Class of ‘89 series featuring the champion of the small-town Southern man, Mr. Alan Jackson.  

Clint Black

In 1989, a quartet of new artists ushered in an era of country music that built on the neo-traditional sounds of Randy Travis, Ricky Skaggs, Reba, and George Strait and led to an unprecedented boon for the genre. Their rising tide of success would lift countless boats in the sea of ‘90s country and earn them the collective nickname of the Class of ‘89. 

Clint Black, Garth Brooks, Alan Jackson, and Travis Tritt introduced themselves to the masses with Killin’ Time, Garth Brooks, Here In The Real World, and Country Club, respectively. Their sound and songwriting were steeped in tradition: Musically, they leaned heavily on fiddles and steel guitar, and lyrically, they honored the classic country themes of heartbreak and home, with plenty of drinking references thrown in for good measure. 

But their contemporary spin — from blending traditional instruments with electric guitars and keyboards to more narrative-driven songwriting styles — made country music sound new. And when Garth won over audiences with live shows influenced by rock legends like KISS, country music morphed into a bankable commodity few thought possible. 

Their songs are the soundtrack of my youth, and all these years later, I’m still singing along to their impressive catalog of hits. So, taking the group in alphabetical order, let’s dive into Clint Black — a modern-day poet and gifted musician obsessed with time. 

“State of Mind” 

When I first considered starting Roots & Rhinestones, lyrics from Clint Black’s “State of Mind” weighed heavy on my heart: 

Ain’t it funny how a melody can bring back a memory/ Take you to another place in time/ Completely change your state of mind 

I was 12 years old when the song came out, and I can still remember watching the music video: Clint walking down a desert highway, guitar case in hand. Later, the scene shifts to Clint and his band, dressed in Western ribbon ties and cowboy hats, playing under the stars to a small crowd of couples dancing in the dirt. 

I didn’t understand why the lyrics to this simple song hit me so hard at the time, but they stuck with me, as did my love for what can only be described as Clint Black’s poetry. Clint was fortunate to find a kindred spirit and songwriting partner in Hayden Nicholas, a fellow Texan who also plays lead guitar in Clint’s band. Together, they have written more than 60 songs, sending 15 of them to the top of the charts. 

In fact, their first three singles were No. 1 hits, and Black’s self-penned “Nobody’s Home” was his fourth consecutive No. 1. Not a bad way to start a career. 

I could quote Clint Black lyrics all day, but allow me to give you a just a sampling of favorites: 

When you find another friend who’ll light your candle up again/ You can burn one down for me (“Burn One Down”) 

I still comb my hair the same/ Still like the same cologne/ And I still drive that pick-up truck/ That the same old bank still owns (“Nobody’s Home”) 

It’s a little and a lot to ask/ An endless and a welcome task/ Love isn’t something that we have/ It’s something that we do (“Something That We Do”) 

No time to kill, but time to change the kind of hurry I’ve been in/ And quit this work and worry looking back at where I’ve been/ If you don’t look ahead, nobody will, there’s no time to kill (“No Time to Kill”) 

Early in his career, Clint impressed critics and fans with the emotional precision of his songwriting. In his debut single, “A Better Man,” Black reaches out to a former love to explain how their failed relationship had an unexpected positive result. It’s a sweet tribute to lost love that he followed with “Killin’ Time,” a song that continues to define his career. 

You were the first thing that I thought of/ When I thought I drank you off my mind/ When I get lost in the liquor/ You’re the only one I find/ And if I did the things I oughta/ You still would not be mine/ So I’ll keep a tight grip on the bottle/ Gettin’ loose and killin’ time 

Clint’s first three albums tell us a lot about the music he grew up listening to — Haggard, George Jones, and the Western swing music pioneered by Bob Wills and His Texas Playboys. Even his music videos showed his honky-tonk roots. Both “A Better Man” and “Killin’ Time” have the feel of watching TNN’s “Club Dance.” 

Though his songwriting was fresh, his music videos were mostly “live” performances wrapped in loose storytelling until he experimented with “When My Ship Comes In.” In a white dress shirt blowing in the wind and without his signature cowboy hat, Clint navigates a sailboat through the Rocky Mountains, faithful dog at his side, eventually arriving in a sunny, tropical destination. 

We’re willing to take that trip with Clint because, even though everyone knows you can’t “sail right out of Colorado,” we can relate to cabin fever and loneliness and that feeling that there’s something better waiting out there for us. 

His personality shines in the cameo-filled “Summer’s Comin’” starring Howie Mandell. Clad in a wetsuit and cowboy hat, Clint shows off his impressive electric guitar licks. “Blossom” star Joey Lawrence closes the video with his signature “Whoa” catchphrase in a brilliant piece of ‘90s pop culture adoration. 

But nothing defines Clint Black’s career like the theme of time. 

Killin’ it and spendin’ it 

Even as a teenager, I understood the importance of Clint’s reflections on time. From 1989’s Killin’ Time to 1993’s No Time to Kill, it was clear he had given a lot of thought to the seconds and minutes that measure our days.  

If I’m not mistaken, No Time to Kill was the first Clint Black album I owned, and I listened to it faithfully. I loved the vocal acrobatics of the title cut — which when done correctly as Clint does, and I never could — require breathing exercises to train the diaphragm. 

While I was more focused on my breathing back then, it didn’t take too many years for me to grasp the wisdom of Clint’s words and the poetry of his lyrics. 

After a four-year break from recording, Clint revisited the theme of time with 2004’s Spend My Time and accompanying title track. Reading those lyrics now, I get chills. “Spend My Time” is another philosophical reflection on life: 

I’ve many miles behind me, maybe not so much ahead/ It seems I made good time with the directions I misread 

Even without a No. 1 hit since 1999’s duet with his wife Lisa Hartman-Black, songs like “Spend My Time” prove his songwriting skills are as sharp as ever. As I’ve said before, charts aren’t the only — or even the most important — measure of success. Clint Black is still writing and recording music, touring and connecting with fans across the world. I was fortunate to see him at the Soybean Festival in Martin, Tennessee in 2017, and he filled my ‘90s country heart with joy. 

Clint also hosts a Circle TV series called “Talking In Circles,” inviting some of his friends in the entertainment industry to “talk shop” about music, movies and more. I’ve watched a few episodes, but one that’s especially relevant to Roots & Rhinestones is his sit-down with Travis Tritt, which you can watch here. 

To Travis, Clint says, “I think the whole industry exploded in ‘89. It wasn’t just us, but we were in that first wave.” That first wave boosted the careers of established stars and brought a host of like-minded new artists to Nashville. 

For that — and for all the melodies that bring back memories — Clint Black deserves to join his fellow 1989 “classmates” Garth and Alan in the Country Music Hall of Fame. And I can prove it with five of my favorite songs. 

My Top 5 Clint Black Songs 

1. “Nothin’ but the Taillights” 

From his 1997 album of the same name. Written by Clint Black and Steve Wariner. No. 1 on the Billboard Hot Country Songs chart. 

When it comes to songwriting and playing guitar, Clint Black and Steve Wariner are two titans of their industry. Their sizable talents in both departments are easily showcased on this up-tempo break-up song served with a side of sweet revenge. This is, hands down, my favorite Clint Black song. 

2. “Killin’ Time” 

From his 1989 album of the same name. Written by Clint Black and Hayden Nicholas. No. 1 on the Billboard Hot Country Songs chart. 

When the Country Music Association Awards celebrated its 50^th anniversary show, they brought out all the stops for the opening medley of hits. Generations of stars — Charley Pride and Roy Clark, Alabama and Dwight Yoakam — performed some of their biggest songs. When Clint took the stage to sing “Killin’ Time,” it was cool to see Reba, Carrie Underwood, and Alabama behind him on the stage singing along. 

3. “One Emotion” 

From his 1994 album of the same name. Written by Clint Black and Hayden Nicholas. Peaked at No. 2 on the Billboard Hot Country Songs chart. 

He has better songs, but there’s something about this one that pulls me in every time. I wish I had the musical vocabulary to describe why “One Emotion” feels like peak ‘90s country to me.  

4. “When My Ship Comes In” 

From his 1992 album The Hard Way. Written by Clint Black and Hayden Nicholas. No. 1 on the Billboard Hot Country Songs chart. 

Clint’s headed to “Puerta No-One-Knows.” I didn’t know Puerta was door or gate in Spanish, but I understood the spirit of adventure when Clint declared he would “catch a ride on a warm trade wind” to that peaceful destination.  

5. “Put Yourself in My Shoes” 

From his 1990 album of the same name. Written by Clint Black, Hayden Nicholas, and Shake Russell. Peaked at No. 4 on the Billboard Hot Country Songs chart. 

From the bluesy harmonica intro to the clever lyrics to the Texas twang, this one is playful without being condescending. He goes into a higher register on the final chorus, which is something he rarely does, lending a touch more gravitas to his plea for another chance. What woman wouldn’t let Clint walk right back to her? 

Bonus Album Cut 

I typically give you three bonus album cuts, but doing so in this case would be disingenuous. His singles are my favorites, and holding that list to five was difficult. There is one album cut that readily comes to mind for Clint. It’s both a tribute to his heroes and peers and a great example of his craftsmanship as a songwriter. 

“Tuckered Out” 

From his 1993 album No Time to Kill. Written by Clint Black and Hayden Nicholas. 

Check it out live from the 1993 CMA Awards to see his country music references come to life on the big screen behind him.

What Clint Black melody brings back a memory for you? Share it in the comments. 

Up next is Garth Brooks, a bona fide superstar who took country music to new heights and can still sell out a stadium in mere minutes. 

‘Tis the season to take a break from the routine and celebrate the holidays. I’ll get back to my usual artist spotlight next time, but today I want to share some of my favorite Christmas songs recorded by (mostly) ‘90s country artists. 

I’ve established a couple of rules for the playlist. 

Rule No. 1 

I’m only including artists that were actively recording or performing in the 1990s. That lets me sneak in Brad Paisley and Montgomery Gentry, who debuted in ’99, though they didn’t release Christmas songs until the ’00s. 

Unfortunately, the rule eliminates recent country covers, including Carrie Underwood’s “Do You Hear What I Hear” and Brett Eldredge’s “I Heard the Bells on Christmas Day.” These are both worthy additions to other holiday playlists but don’t fit the bill for this one. 

Rule No. 2 

Since my focus is on country music, many legends of the season are missing. While I hope you’ll add my country favorites to your Christmas playlist, make sure to include the classics: Dean Martin, Nat King Cole, Bing Crosby, Rosemary Clooney, and Elvis. Lots of Elvis.  

Rule No. 3 

While my all-genre Christmas playlist on Amazon Music includes entire albums, for this list, I’ve limited myself to only one song per artist.

Not a rule, but a rant 

Is Die Hard a Christmas movie? Use that mentality to consider songs like “Let It Snow” or “Winter Wonderland.” They don’t specifically mention Christmas, but we accept them as seasonal songs. It would be weird to hear them playing at the grocery store in July. 

Dolly Parton’s “Hard Candy Christmas” and Merle Haggard’s “If We Make It Through December,” however, should be enjoyed year round. They aren’t Christmas songs, although Dolly’s certainly feels more Christmas-y. 

But it doesn’t matter how much I like the artist — Martina McBride, Trisha Yearwood, Brad Paisley — I cannot abide “My Favorite Things” being passed off as a Christmas song. It is not. Play it in April or September, but do not play it for Christmas. 

With that off my chest, we can dive into the list.

My Top 25 Country Christmas Songs

Alphabetized by artist’s first name

“Tennessee Christmas” — Alabama 

From their 1982 album Christmas. Written by Gary Chapman and Amy Grant. 

Before Amy Grant married Vince Gill and into the country music family, she and her first husband wrote “Tennessee Christmas,” a song that perfectly captures Christmas in the volunteer state. Including her recording on the list would violate Rule No. 2, so I chose the Bama boys’ version. Eight-year-old Crystal would give the nod to “Thistlehair the Christmas Bear,” but middle-age Crystal hopes for a “tender Tennessee Christmas.” (I will accept any arguments that “Christmas in Dixie,” written by band members Mark Herndon, Randy Owen, Jeff Cook, and Teddy Gentry, is the more suitable option for the group’s entry on this list.) 

“Holly Jolly Christmas” — Alan Jackson 

From his 1993 album Honky Tonk Christmas. Written by Johnny Marks. 

Alan put his honky-tonk spin on the season with a package of new and old favorites that included some compelling duet partners in Alison Krauss, Keith Whitley, and even Alvin and the Chipmunks. His smooth baritone wraps “Holly Jolly Christmas” up like a present under the tree. 

“364 Days to Go” — Brad Paisley 

From his 2006 album Brad Paisley Christmas. Written by Brad Paisley and Kevin Marcy. 

If you like electric guitar solos and Christmas music, Brad Paisley is your guy. (He recently released his second Christmas album, Snow Globe Town, with even more solos.) But in “364 Days to Go,” Brad’s knack for capturing life’s small details shines as he paints the soft glow of Christmas night through the eyes of a six‑year‑old — a mix of wonder and restless anticipation. 

“Rockin’ Around the Christmas Tree” — Brenda Lee 

Recorded in 1958 with a B-side of “Papa Noel.” Written by Johnny Marks. 

I may have cheated just a bit, but Brenda Lee was performing in the ‘90s. In fact, the 80-year-old rockabilly pioneer is still performing — and this hit is by far her biggest. She was only 13 years old when she recorded what would become a beloved Christmas favorite. I don’t remember the first time I heard it, but I wouldn’t be surprised if it was in the 1990 movie, “Home Alone,” which gave Brenda Lee a late career boost. Check out this video of Ms. Brenda describing the song she calls a “gift.”

“Milk and Cookies (‘Til Santa’s Gone)” — Clint Black 

From his 1995 album Looking for Christmas. Written by Clint Black, Hayden Nicholas, and Shake Russell. 

Clint and his cowriters put themselves inside the mind of the song’s 5-year-old narrator to channel those night-before-Christmas jitters: Close my eyes and concentrate/ I gotta sleep now it’s getting late/ All night long I lie awake/ ‘Til Santa’s gone I just can’t wait. Paired with a bright melody and Clint’s harmonica licks, this song is a ‘90s country classic. 

“Have Yourself a Merry Little Christmas” — Crystal Gayle 

From her 1986 album A Crystal Christmas. Written by Hugh Martin and Ralph Blane. 

I have a vivid memory of watching this music video on CMT at my grandparents’ house on a Christmas Eve night when I was little. With her long, black hair flowing, Crystal descends a staircase wearing a chic white sweater and dark slacks. She quickens the tempo to give the song a different feel than what you’ll hear from Judy Garland or Crystal’s fellow country singer Vince Gill. Hers is more hopeful than melancholy, and I’m for it. 

“With Bells On” — Dolly Parton & Kenny Rogers 

From their 1984 album Once Upon a Christmas. Written by Dolly Parton. 

You can’t listen to this one without tapping your foot and smiling along, but I should address why “Hard Candy Christmas,” written by Carol Hall, didn’t make the list. Dolly has said the song isn’t a Christmas song, but she included it on this album and has performed it for various Christmas specials. Unlike “My Favorite Things,” I like hearing it this time of year. It’s on my all-genre Christmas playlist in various forms — from Reba’s stripped-down acoustic cover to Trisha Yearwood backed by an orchestra. Just this week, I discovered Zach Top’s version on YouTube. Still, Dolly’s will always be the best. 

“Santa Claus is Back in Town” — Dwight Yoakam 

From his 1997 album Come on Christmas. Written by Jerry Leiber and Mike Stoller. 

Since I couldn’t include Elvis on this list (see Rule No. 2), I chose an artist who has the same self-assured swagger as the King. His rendition of one of Elvis’s Christmas classics is as feisty as the original. 

“A Baby Changes Everything” — Faith Hill 

From her 2008 album Joy to the World. Written by Craig Wiseman and Tim Nichols. 

I included this one on my list of Top 5 Faith Hill Singles because I love it that much. Her gospel roots blaze through this ballad about a young mother’s recognition that a baby changes everything for her. This baby — Jesus — also changes everything for the world.  

“Belleau Wood” — Garth Brooks 

From his 1997 album Sevens. Written by Garth Brooks and Joe Henry. 

A haunting song that gives me chills, Garth’s Belleau Wood isn’t included on any of his Christmas albums, yet it tells the story of the World War I Christmas truce of 1914. While the title references the Battle of Belleau Wood in France, the truce itself occurred when German and British soldiers exchanged greetings in no man’s land, sparking a widespread unofficial ceasefire. Like “If Tomorrow Never Comes” and “Unanswered Prayers,” Garth here reveals his gift for crafting songs of emotional gravity. 

(“It Must Have Been Ol’) Santa Claus” — Gary Allan 

From his 2021 EP Please Come Home for Christmas. Written by Harry Connick Jr. 

Christmas music is generally divided into two categories: sacred and secular. Within the secular division, you could also include a subgroup: sappy. There are plenty of sappy Christmas songs, and I like most of them, including Allan’s cover of the Eagles’ “Please Come Home for Christmas.” But I like his country-fied version of the New Orleans-flavored (“It Must Have Been Ol’) Santa Claus” even more. 

“Christmas Cookies” — George Strait 

From the compilation album A Country Christmas 1999. Written by Aaron Barker. 

Strait delivers this one flawlessly, talk-singing his way through the simple chorus and verses that hide a sweet love story in lyrics about cookies that look like Santa Claus/ Christmas trees, and bells, and stars. No one sings this one better than King George.

“There’s a New Kid in Town” — Kathy Mattea 

From her 1993 album Good News. Written by Don Cook, Curly Putman, and Keith Whitley. 

Although the wise men are routinely featured in retellings of Christ’s birth — from nativity scenes sold by retailers to children’s Christmas pageants — they aren’t largely included in music. But the magi narrate this story, which reminds us that the same Jesus that was mistaken “as just another baby” at his birth is still questioned as King and Messiah. I heard Kathy’s version before the Keith Whitley original, and it still stands out as one of the best. 

“The Nativity” — Lee Ann Womack 

From the 2001 compilation album Christmas Cookies. Written by Lee Ann Womack 

I think I’m right in saying Lee Ann wrote this one, but information online was spotty. Regardless, the song’s narrator reminisces about her mother’s nativity at Christmastime and the Easter service “at the Central Baptist Church.” In those memories, adult Lee Ann asks profound questions of herself and all modern-day Christians: Could I pursue the unknowing to accept Him in their home/ If I were there with Jesus would I help to right the wrong. 

“O Holy Night” — Martina McBride 

From her 1998 album White Christmas. Written by Adolphe Adam and John Sullivan Dwight. 

Few singers have the chops to meet the demands of this traditional carol, but Martina McBride’s control brings out both the reverence and grandeur of Christ’s birth. 

“Even Santa Claus Gets the Blues” — Marty Stuart 

From the 2003 compilation album A Very Special Acoustic Christmas. Written by Marty Stuart. 

Born in Philadelphia, Mississippi, and largely raised on the road touring with bluegrass legend Lester Flatt before joining Johnny Cash’s road band, Marty Stuart is a master of seamlessly blending country, rockabilly, and rhythm and blues. His recognition that even Santa gets the blues isn’t whiney but a reminder that sometimes we all get down, but we keep moving forward. 

“Merry Christmas from the Family” — Montgomery Gentry 

Released in 2000. Written by Robert Earl Keen. 

The country duo released their cover of Robert Earl Keen’s holiday ode to family dysfunction on the B-side of their single “All Night Long.” There probably aren’t a lot of country acts who could pull it off as well as Eddie and T-roy. Whether you call them rednecks or outlaws, you can picture them buying bean dip and Diet Rite at the Quickpak on Christmas.

“Christmas Time’s a Comin’” — Patty Loveless 

From her 2002 album Bluegrass & White Snow: A Mountain Christmas. Written by Tex Logan. 

Back when TNN churned out country music entertainment from Music City, Riders in the Sky hosted a Christmas special with guest star Reba McEntire. (I taped it and wore out that old VHS.) Their comedy-musical jam included “Christmas Time’s a Comin.’” Patty’s cover leans into bluegrass instrumentation, the perfect vehicle for her pure but raw delivery.

“Meet Me Under the Mistletoe” — Randy Travis 

From his 1989 album An Old Time Christmas. Written by Joe Collins, Mark Irwin, and Betsy Jackson. 

It was a toss-up between this one and “How Do I Wrap My Heart Up for Christmas” for Randy’s entry on the list. This one is more upbeat and a nice reminder for all you couples out there to make some time for each other during the busy holiday season. 

“A Christmas Letter” — Reba McEntire 

From her 1987 album Merry Christmas to You. Written by John Greenebaum, Paul Nelson, and Gene Nelson. 

As a kid, I could memorize lyrics quickly, but I rarely paid attention to the meaning of the songs I consumed. So even though I listened to Reba’s first Christmas album religiously, it was a while before I fully grasped that Santa Claus was the old man sitting alone at the antique desk, penning his own Christmas letter for peace on earth. Reba is at her My Kind of Country best on this album, and her voice and style fit the rustic imagery of this song. For extra credit, check out her version of “The Christmas Guest,” also on this album. 

“It Wasn’t His Child” — Sawyer Brown 

From their Wide Open album. Written by Skip Ewing. 

Like Garth’s Belleau Wood, this song was included on a non-Christmas album. Understandably, Joseph doesn’t get the same recognition as Mary, so a song from his perspective is compelling. Skip Ewing deserves a lot of credit for penning such thoughtful lyrics, and Sawyer Brown’s delivery is heartfelt.

“Beautiful Star of Bethlehem” — The Judds 

From their 1987 album Christmas Time with the Judds. Written by A.L. Philips. 

Wynonna provides a strong vocal foundation while Naomi adds unblemished harmonies to give this Christmas favorite a traditional country feel.

“Santa Looked a Lot Like Daddy” — Travis Tritt 

From his 1992 album A Travis Tritt Christmas: Loving Time of the Year. Written by Buck Owens and Don Rich. 

I’m not saying Travis does it better than Buck Owens because who can imitate Buck’s unique phrasing? But Travis certainly honors Buck with his worthy cover of Bakersville’s best. Brad Paisley’s version is also worth your time. 

“Take A Walk Through Bethlehem” — Trisha Yearwood 

From her 1994 album The Sweetest Gift. Written by Ashley Cleveland, John Barlow Jarvis, and Wally Wilson. 

When Trisha adds gospel flair to her traditional country voice, the results are darn-near perfect. Such is the case on this soul-stirring walk through Bethlehem. 

“Do You Hear What I Hear” — Vince Gill 

From his 1993 album Let There Be Peace on Earth. Written by Noel Regney and Gloria Shayne Baker. 

I don’t know if Vince introduced me to this song or if I simply learned the lyrics from his version, but it stands out in my memory. His pure tenor makes every Christmas song special, and this one is no exception. 

I know I missed some great songs — my mom may even withhold my Christmas present for leaving out her favorite, ‘Mary, Did You Know?’ But I’m confident these 25 will put you on the road to discovering even more country Christmas classics — from ‘90s artists and beyond — which is what Roots & Rhinestones is all about. 

I hope your heart is light this holiday season, but like Marty sings, “Even Santa Claus Gets the Blues.” Whether you’re grieving, far from family, facing illness, or overwhelmed by life’s challenges, you aren’t alone. Find education and resources on mental health at https://www.nami.org/support-education/. 

And if listening to Christmas music isn’t your jam, I’ll be back soon with the first of a series on the Class of ‘89, starting with a man I believe is destined for the Country Music Hall of Fame. Do you know who I have in mind? 

I grew up hearing my parents, alumni of the University of Tennessee at Martin, talk about the great concerts they attended on campus when they were students. UT Martin is much smaller than our state’s flagship campus, the University of Tennessee in Knoxville, but it pulled in some big acts back in the day. 

The school hosted fewer concerts when I was growing up in neighboring Gibson County, but the 1994 Soybean Festival brought Suzy Bogguss and Tim McGraw to Pacer Arena. I was in eighth grade, and my uncle took me to see the show.  

Times have changed since then. Skyhawks replaced Pacers as the UT Martin mascot, and the basketball teams now play in the Kathleen and Tom Elam Center. Tim McGraw hasn’t been an opening act in 30 years. And mercifully, I haven’t worn a suede vest over a t-shirt since that 1994 concert either. 

Suzy Bogguss’s clear, resonant voice remains as pure as ever. Influenced by singing cowboys Roy Rogers and Gene Autry and singer/songwriters Merle Haggard and Emmylou Harris, Suzy made a name for herself with her 1991 release Aces, her third studio album that produced three Top 10 hits and garnered her the 1992 Country Music Association Horizon Award (now known as New Artist of the Year). 

Three decades later, Suzy’s still recording and touring. Just a couple of weeks ago, her friend Kathy Mattea, on her own Grand Ole Opry induction night, invited Suzy to join the famed country music family shortly after taking the stage as a newly inducted member herself. Their fellow ‘90s stars Trisha Yearwood and Terri Clark were standing by with tears in their eyes as Suzy emotionally said yes. 

Suzy, Kathy, and Terri are bonded by more than their success in a golden decade. They’re also examples of what I like best about ‘90s country: there was room. Room for women and men who didn’t fit the mold of superstardom but carved out meaningful, lasting careers. Room for voices that were thoughtful and quietly powerful. Suzy wasn’t a stadium act, but she was a consistent presence on the radio and one of my favorite artists of the decade. 

In honor of the Opry giving Suzy Bogguss her due, let’s dissect the crystal-clear voice that has connected with fans for over 30 years. 

‘Like crystal water’ 

In 1994, Suzy Bogguss recorded Simpatico with guitar legend Chet Atkins. Known as Mister Guitar and the Country Gentleman, Chet Atkins was an architect of the Nashville sound, which mixed pop production values with traditional country instruments and songwriting. He produced records for some of country music’s finest, including Porter Wagoner, Dolly Parton, Eddy Arnold, Don Gibson, and Jim Reeves. 

When a guy known for having “a golden ear” wants to record an album with you, you’re doing something right. Before Simpatico, Chet Atkins wrote in the liner notes of Suzy’s debut album, “Her voice sparkles like crystal water.” 

Her voice is, indeed, as pure as a mountain stream. You hear it in the graduation standard “Letting Go” and the Western tentpole “Someday Soon” as clearly as the emotional “Aces” and underrated “You Wouldn’t Say That to a Stranger.” 

Suzy Bogguss has moved through the 2000s to the present with less chart success, but that hasn’t diminish how fans feel about her. Instead, we celebrate her experimentation with swing and jazz music on the Ray Benson-produced Swing and her cover of Chicago’s “If You Leave Me Now” on 2007’s Sweet Danger.  

Her radiant voice is at home on American Folk Songbook, which connects modern listeners to some of our country’s most important songs, and her 2014 album Lucky is a beautifully crafted love letter to Merle Haggard. Nobody sings Merle better than Merle, but her cover of “Silver Wings” is almost perfect. 

Suzy’s musicianship also shines through her recordings. I always appreciated that, like Emmylou and Kathy, Suzy clung to her guitar when other women set theirs aside. I can’t say whether she was pushing back against the norms of gender dynamics in country music or just more comfortable playing guitar while singing, but her talent and authenticity are undeniable. 

It was true way back in 1994 at Pacer Arena in Martin and again in 2008 when I saw her in an intimate performance at the Dixie Carter Performing Arts Center in Huntingdon. There’s no doubt in my mind that it’s still true today. 

Whether you’re a die-hard Suzy Bogguss fan, dusting off your memories of her, or totally unfamiliar, here are some songs that show off her warm, rich voice. 

My Top 5 Suzy Bogguss Songs 

1. “Just Like the Weather” 

From her 1993 album Something Up My Sleeve. Written by Suzy Bogguss and Doug Crider. Peaked at No. 5 on the Billboard Hot Country Songs chart. 

This is a sentimental favorite I’m putting at the top spot because it’s one of the few songs I can decently play on guitar. I love that Suzy Bogguss co-wrote and had a hit with this one with her husband Doug Crider. 

2. “Hey Cinderella” 

From her 1993 album Something Up My Sleeve. Written by Matraca Berg, Suzy Bogguss, and Gary Harrison. Peaked at No. 5 on the Billboard Hot Country Songs chart. 

After watching a friend get married and get older, the song’s narrator contemplates what the women in the song are missing. It’s a clever take on the old fairy tale, culminating a question for Cinderella: Does the shoe fit you now? Matraca Berg’s fingerprints are all over this gem. (Bonus: Reba McEntire officially inducted Suzy into the Opry on Jan. 16, 2026. A fan posted a video of Reba, Trisha Yearwood, Terri Clark, and Kathy Mattea helping Opry’s newest member out on “Hey Cinderella.” It’s guaranteed to put a smile on your face.)

3. “Drive South” 

From her 1992 album Voices in the Wind. Written by John Hiatt. Peaked at No. 2 on the Billboard Hot Country Songs chart. 

Early in her career, Suzy Bogguss showed a penchant for recording songs written by Americana singer/songwriters. It’s the first of three songs in my list that fit the bill. Ain’t gotta pack your nylons for this Hiatt-penned, carefree road trip. 

4. “Outbound Plane” 

From her 1991 album Aces. Written by Nanci Griffith and Tom Russell. Peaked at No. 9 on the Billboard Hot Country Songs chart. 

“Letting Go,” often performed at commencement ceremonies at the time, was my introduction to Suzy Bogguss. I ordered Aces from Columbia House largely for that song and was delighted to find “Outbound Plane” and “Someday Soon” on the same cassette. This is another up-tempo song with Americana vibes that sits right in Suzy’s sweet spot. 

5. “Someday Soon” 

From her 1991 album Aces. Written by Ian Tyson. Peaked at No. 12 on the Billboard Hot Country Songs chart. 

Lots of men and women have recorded this Western standard that leans heavily on Suzy’s singing cowboy influences. Just picture her strumming her guitar while riding a horse into the sunset and singing plaintively about the rodeo cowboy who has stolen her heart and her parents’ dreams for their daughter. 

Bonus Album Cuts 

“Forget About It” 

From her 1994 album Simpatico with Chet Atkins. Written by Robert Lee Castleman. 

I love Alison Krauss, and her 1999 version of this song is one of my favorites. I use the term “pure” to describe her voice as well as that of Suzy Bogguss, but there are different kinds of purity. While Alison wows and soothes with her angelic vocals, Suzy’s crystalline voice provides a slightly different but still powerful interpretation of the song. 

“If You Leave Me Now” 

From her 2007 album Sweet Danger. Written by Peter Cetera. 

True story: Suzy Bogguss introduced this song when I saw her live at The Dixie by telling the audience that she was surprised to hear an “American Idol” contestant namecheck her for covering the Chicago classic. I felt compelled to say aloud from my seat, “Yours is the best version.” She was kind enough to sign autographs and pose for pictures after the show, and I told her, “Yours really is the best version of ‘If You Leave Me Now.’” Her reply? “Ah, that was you.” My face flushed, and my mother had a good chuckle. Still, her voice is made for this song.

“Night Rider’s Lament” 

From her 1989 album Somewhere Between. Written by Michael Burton. 

Suzy yodels effortlessly on this poignant tribute to working cowboys and really any “outsiders” who defy convention and find freedom in solitude. I’m proud to say I’ve heard Suzy sing this one live twice, and each time gave me chills. 

What’s your favorite Suzy Bogguss song or album? Do you prefer her older stuff, or have you gotten into her newer material released on independent labels? Let me know in the comments as I chart where Roots & Rhinestones will take us next. I see a fork in the road: one path leads to the famed Class of 1989 — Garth Brooks, Clint Black, Alan Jackson, and Travis Tritt — and the other to the country-flavored tribute and cover albums I played on repeat in the ‘90s. 

More than melody or rhythm, harmony or tempo, texture or form — music is made of memories.  

Songs take us back in time, reconnecting us with old friends and special places.  

Perhaps no other artist in country music plays our memories better than George Strait. With a sound that is pure country and an uncanny ability to choose songs that resonate with fans, it’s no wonder we call him the king. The Texas “Troubadour” has influenced generations of country music artists — from Garth Brooks and Tim McGraw to Brad Paisley and Miranda Lambert to Luke Combs and Lainey Wilson.  

And he’s done it without flash or fanfare.  

As one of his admirers and fellow performers Lee Ann Womack wrote in her tribute “Just Stand There and Sing,”  

Just stand there and sing/ That’s all we need/ The way you tell a story/ Makes it easy to believe  

In Wrangler jeans and western shirt, cowboy boots and hat, George Strait stands at the microphone and delivers moving stories with unquestionable authenticity. He’s a throwback to the honky-tonk stars of the ‘50s with a keen ear for keeping traditional songs fresh, so let’s look at his legendary career in two parts: his extensive catalog of hits and his lasting impact on modern music.  

The Hits  

I remember standing in the hall outside my sixth grade classroom when my friend Beth started talking about Pure Country — the movie and the accompanying soundtrack. I did my best George Strait impression and sang the chorus of “I Cross My Heart.”  

“You sound just like him,” Beth said.   

This was not true nor was it a compliment for a 12-year-old girl, but I took no offense. I loved George Strait.  

A few years later in our high school locker room, my friend Marisa asked if I’d heard his new song on the radio yet.   

“You’ll love it,” she told me.  

And she was right. “Carrying Your Love with Me” is still one of my favorite George Strait cuts. Every time I hear it, I sing along — wrapped in memories of precious friendships.   

King George was a dominant force with a decade of hits under his belt when I got to know him in the ‘90s. Sure, I’d heard “All My Ex’s Live in Texas,” but my education in 1980s-George Strait was his 1995 Strait Out of the Box set.  

I memorized all four CDs, but Disc Two was my favorite. It starts with the old Bob Wills Western swing standard “Right or Wrong” and ends with “Famous Last Words of a Fool.”  

And my favorite George Strait song “The Chair” is the sixth song on that CD. The first time I heard and understood the brilliance of “The Chair,” I recognized George’s genius for interpreting songs.   

Even as a teenager who had never stepped foot in a bar, I was right there with him, watching him awkwardly fumble his words as he took his shot with a woman. I believed him when he conversationally sang the lines:   

Well, thank you, could I drink you a buy?/ Oh, listen to me, what I mean is can I buy you a drink?/ Anything you please.  

“The Chair” was George’s seventh No. 1 hit and an excellent example of his fruitful partnership with Dean Dillon — one of the finest songwriters to put pen to paper. Their work spans four decades and, by my unofficial count, includes at least 17 singles and dozens of album cuts.   

Dean Dillon’s songs are clever without being gimmicky and smart without being pompous. He’s as authentic as George, which is what made them such a sure-fire team.  

I remember a framed quilt square that was hung near the Ryman Ballroom in the Opryland Hotel that was called “Songwriter’s Prayer” and showed artists like Willie Nelson and Dolly Parton. George Strait should’ve been there too.  

He’s so successful that when he released his 50 Number One Hits album in 2004, fans couldn’t understand why some of their favorite songs weren’t included. It’s only natural to assume that “Amarillo by Morning” and “The Cowboy Rides Away” made it to the top of the charts.   

George included those and 20 more fan favorites on his 2007 album 22 More Hits, a celebration of classics that didn’t reach No. 1.   

He’s sold more than 70 million albums and won a record 22 Country Music Association awards since debuting Strait Country in 1981. As the winds of country music shifted throughout his 40-plus years in the business, George stood rooted in tradition, as solid as an oak tree. But to say he’s the same artist in 2025 as he was in 1981 would be a disservice to his artistry and legacy.  

George Strait evolved — elevating neotraditional country music to prominence and keeping it relevant through eras of pop-country, bro country, and metro country. He did it by being true to himself, incorporating elements of his own heroes from Hank Williams and Lefty Frizzell to Bob Wills and Merle Haggard into music that ignited a passion for storytelling in so many of my favorite ‘90s country artists.  

His George Strait Country Music Festivals, held from 1997 until 2001, amplified the voices of Tim and Faith, Kenny Chesney, Alan Jackson, Mark Chesnutt, Martina McBride and so many others. Through them and his own continued recording and touring success, George Strait is still influencing the next generation of country music.  

His Influence  

Influence is hard to measure. There are no suitable metrics like album sales, No. 1 records, awards, or sold-out shows.  

Artists, however, have had no trouble testifying about Strait’s outsized influence on them. There’s Garth’s …where it’s George Strait/ Real late dancing cheek to cheek in “Ain’t Goin’ Down (‘Til the Sun Comes Up).”  

Rodney Atkins’ …a song comes slippin’ through the radio static/ Changing my mood/ A little George Strait 1982 in “Take a Backroad.”  

And Brad Paisley’s foursome of namechecks and tributes:  

I was never gonna be the best and brightest guy around/ But like the great George freakin’ Strait, I’m the king of getting unwound from “Crushin’ It.”  

Like a George Strait cassette in a Pontiac from “Last Time for Everything.”  

George Strait’s playing on the jukebox from “Bucked Off,” which also mentions three of George’s classics.  

And his shoutout to “Amarillo by Morning” in his masterpiece “This Is Country Music.”  

George — or his songs — are referenced in dozens of more songs by Brooks & Dunn, Chris Young, Maddie & Tae, Tim McGraw, Scott McCreery, Lee Ann Womack, Eric Church, John Michael Montgomery, Miranda Lambert and Luke Combs, Rascal Flatts, Chase Rice, Florida Georgia Line, Morgan Evans, and more.  

All those mentions — from a line or two to full-blown tribute songs — put George in the same category as Hank Williams. They’re both revered. While we mourn Hank’s life cut short and marvel at his impact made in such a short time, we celebrate George’s long career and measure his influence by the number of artists, songwriters, musicians, and producers who cut their teeth on his extensive catalog of hits.  

So, I know I’m cheating for the second blog in a row, but it is George freakin’ Strait. Instead of five favorites, I’ve doubled the list to help you get to know one of country music’s most legendary performers.  

My Top 10 George Strait Songs 

1. “The Chair”  

From his 1985 album Something Special. Written by Hank Cochran and Dean Dillon. No. 1 on the Billboard Hot Country Songs chart.  

The resolution to this song leaves a silly grin on my face. The premise is that a guy goes up to a woman at a bar and tells her that she has taken his seat. He then offers her another chair, which leads to a conversation, which leads to a dance, which leads to his confession to her. Not only does he like her, but that wasn’t his chair after all. Simply brilliant.  

2. “Amarillo by Morning”  

From his 1982 album Strait from the Heart. Written by Terry Stanford and Paul Fraser. Peaked at No. 4 on the Billboard Hot Country Songs chart.  

I’ve told the story before, but it’s worth repeating. On a family trip to Florida, my dad drove us through the night to avoid traffic. I fell asleep to Reba’s “Fallin’ Out of Love” and woke up to “Amarillo by Morning.” The opening fiddles match the longing in the rodeo cowboy’s plaintive story.  

3. “Blue Clear Sky”  

From his 1996 album of the same name. Written by Bob DiPiero, John Jarrard, and Mark D. Sanders. No. 1 on the Billboard Hot Country Songs chart.  

The legend goes that the phrase “blue clear sky” is taken from the movie Forrest Gump. George Strait thought it should be “clear blue sky” and almost changed the lyrics. Instead, he called Bob DiPiero and asked for clarification. George kept the words intact and sent it to the top of the charts. It’s a great sing-along song with a hopeful message: love may seem out of reach until out of the blue, you find it.  

4. “The Cowboy Rides Away”  

From his 1984 album Does Fort Worth Every Cross Your Mind. Written by Sonny Throckmorton and Casey Kelly. Peaked at No. 5 on the Billboard Hot Country Songs chart.  

Though George and his wife Norma have been married for over 50 years, he convincingly sings about heartbreak. His voice is packed with emotion on this classic.  

5. “Easy Come, Easy Go”  

From his 1993 album of the same name. Written by Aaron Barker and Dean Dillon. No. 1 on the Billboard Hot Country Songs chart.  

This one is peak ‘90s. With legendary musicians Paul Franklin and Stuart Duncan on steel guitar and fiddle, respectively, blending with piano, acoustic and electric guitars, and drums, George easily says goodbye to love without regret or finger-pointing. Via con Dios indeed.  

6. “Carrying Your Love with Me”  

From his 1997 album of the same name. Written by Jeff Stevens and Steve Bogard. No. 1 on the Billboard Hot Country Songs chart.  

Pop country was really gaining steam when George released this neotraditional flagbearer. The steel guitar helps paint a picture of a road-weary traveler eager to get back to his true love.  

7. “Marina Del Rey”  

From his 1982 album Strait from the Heart. Written by Dean Dillon and Frank Dycus. Peaked at No. 6 on the Billboard Hot Country Songs chart.  

King George has a knack for choosing songs with memorable opening lines like: Cold Fort Worth Beer just ain’t no good for jealous and this one: We said goodbye in Marina Del Rey. We know we’re in for another heartbreaker, but we’re gladly along for the ride.  

8. “Living for the Night”  

From his 2009 album Twang. Written by Dean Dillon, Bubba Strait, and George Strait. Peaked at No. 2 on the Billboard Hot Country Songs chart.  

Keith Urban and Rascal Flatts were wooing fans with pop-infused country music when George, who co-wrote this song with his son and Dean Dillon, kept it country with this mournful number about a guy just trying to get through the lonely days to “neon arms” that hold him tight every night.  

9. “She Let Herself Go”  

From his 2005 album Somewhere Down in Texas. Written by Dean Dillon and Kerry Kurt Phillips. No. 1 on the Billboard Hot Country Songs chart.  

Dean Dillon is up to his old tricks with another clever turn of phrase. The husband thought his wife would let herself go when he divorced her, and she did. She let herself go on a singles cruise to Vegas and trips to Honolulu, the beach, and LA.  

10. “The Fireman”  

From his 1982 album Does Fort Worth Ever Cross Your Mind. Written by Mack Vickery and Wayne Kemp. Peaked at No. 5 on the Billboard Hot Country Songs chart.  

Don’t laugh, but I was well into adulthood when I realized this song wasn’t about a literal firefighter. I was quite sheltered, but I also wasn’t paying much attention to the lyrics when singing “The Fireman” at the top of my lungs. Now I sing it and laugh at myself.  

Bonus Album Cuts  

“The King of Broken Hearts”  

From his 1992 album Pure Country. Written by Jim Lauderdale.  

For the record, when I selected my bonus album cuts, I had no idea Jim Lauderdale penned all of them…by himself. He’ll join Dean and George in the Country Music Hall of Fame one day. The song tests George’s range, but he rises to the challenge. Check out Lee Ann Womack’s version on her incredible Call Me Crazy album.  

“Stay Out of My Arms”  

From his 1993 album Easy Come, Easy Go. Written by Jim Lauderdale.  

The lyrics and instrumentation are neotraditional country at its finest.  

“What Am I Waiting For”  

From his 1994 album Lead On. Written by Jim Lauderdale.  

Up tempo and reminiscent of the honky-tonk sounds George grew up on, you’ll sing along as the narrator watches the clock and wonders why he can’t stop waiting on the woman he knows will stand him up again.   

Thanks for reading my latest installment of Roots & Rhinestones! Next time, our musical meanderings will take us to Suzy Bogguss, one of my favorite women of the ‘90s country era. She was recently invited to join the Grand Ole Opry, so it’s a great time to revisit her biggest hits and hidden gems. 

I was 12 years old when Mom let me tag along to the state FHA/HERO Convention in Nashville. Sitting in the back of our minivan, timidly eavesdropping on her high schoolers’ chatter, I vividly remember one of her star students — a friendly, outgoing junior with a beautiful voice — singing along to Reba McEntire’s For My Broken Heart cassette tape.  

Later that year, standing in line at a convenience store with Mom, I asked her to buy a magazine with Reba on the cover. Back in the same minivan, I consumed the feature article and fell in love with the redheaded trailblazer from Oklahoma.  

That voice — that instantly-recognizable voice with the inimitable phrasing — is as familiar as my oldest friend’s. Reba sounds like…the creak of the door at my grandparents’ house…truck tires on our old gravel road…cicadas singing in the heat of summer.  

She sounds like home.   

Three decades and eight concerts later, I’m still in awe of her unmistakable voice, unmatched work ethic, and unwavering grace.   

While I love the ways Reba diversified her career — with movies, books, TV, clothing lines, and more — her music is my first love. I won’t get into her role in the cult-classic movie Tremors, her TV shows, or her autobiography (which I read and did a book report on in seventh grade — further proof of my nerdiness). Instead, I’ll break down her music in three eras. In each era, I’ll explore her most significant singles and albums, her music videos, and her concerts.  

Three Eras  

To help review her half century in music, I’m breaking her magnificent career into three eras: Reba’s Rise (1977-1989), Reba’s Reign (1990-2002), and Reba’s Legacy (2003-Present). Because it’s impossible to choose just five favorite songs and three bonus album cuts, I’m tripling the lists to give you more songs that defined her eras of excellence.   

Note: Chart positions referenced throughout the blog include both U.S. Billboard Hot Country Songs and Canadian RPM Country Tracks. For consistency, Billboard rankings are used in the Top 5 lists.  

We can’t talk about Reba without digging into her music video collection, which further cements her legacy as a trailblazer.   

Her visual storybooks gave fans “something extra.” There’s the cinematic masterpiece of “The Night the Lights Went Out in Georgia,” the personality-infused romp of “Why Haven’t I Heard from You,” and the subdued classic “It’s Your Call.”  

Her dedication to telling compelling stories — through songs and videos — influenced countless ‘90s artists.  

Think Garth Brooks in a wig and fake beard in “The Thunder Rolls” or Alan Jackson waterskiing in skin-tight jeans and a cowboy hat in “Chattahoochee.” Reba didn’t just embrace the music video — she elevated it.  

Reba incorporated elements of her music videos in her live concerts with giant video screens, Broadway-inspired sets, and quick-as-lightning costume changes. As much as Garth gets credit for revolutionizing country music concerts with rock band stage antics, Reba showed an early willingness to adopt a more theatrical approach to concerts that kept her fans’ eyes glued to the stage.  

Mine sure were the first time I saw her in concert. In fact, her show was my first concert. I was in seventh grade and won tickets from a local radio station. I sent in a bunch of postcards with my favorite Reba songs.  

One day on the way home from school, the DJ drew one of my postcards. I had to call so quickly to claim the tickets (this was before cell phones) that Mom stopped at a grocery store and asked to use their phone.  

I was so nervous that Mom made the call for me.  

A few weeks later, she and I boarded bus the radio station chartered to Memphis for Reba’s show with opening act John Michael Montgomery. I wore black jeans, a Southwestern print shirt, bolo tie, and white cowboy hat.  

I’ll never forget seeing “Fancy” live for the first time. It was her encore, and she entered the stage in a taxicab fashioned from a golf cart as the opening scenes of the music video played on the giant screen at the back of the stage.  

She exited the cab wearing the famous black fur coat and hat from the video. As she sang the line about “plain white trash,” Reba dropped the coat to reveal the iconic “dancin’ dress.” 

It was “red, velvet trimmin’” and pure magic. I’ll revisit this moment in her second era.  

But I’m getting ahead of myself. Let’s start at the very beginning, a very good place to start, with Reba’s Rise in the late-’70s and ‘80s.  

Reba’s Rise (1977-1989)  

I’ve always known Reba as a superstar, but her first decade in the business was defined more by her grit than glamour. Those early years at Mercury Records helped shape her signature sound while showing her willingness to experiment and adapt.  

Discovering her early music was much harder in the ‘90s. There were no streaming services, and my parents made it clear we did not have an unlimited budget to spend on my latest obsession. I did convince Mom to let me join Columbia House to help fill my coffer with Reba.  

It’s a little embarrassing to think of how excited I was to learn I could check out Reba records from my local library. Pairing those with whatever I could find in older family members’ music collections helped me fill in the gaps.  

Soon, I knew all the early hits: from her first No. 1 “Can’t Even Get the Blues” to the heartbreaking ballads “Somebody Should Leave” and “One Promise Too Late.”  

I couldn’t go back in time to see her live, but I did buy her 1989 album Reba Live and memorized every song. One of the coolest things about that concert album is the peek Reba gives fans into her own influences.  

She covers Bob Wills’s “San Antonio Rose,” Merle Haggard’s “Mama Tried,” Willie Nelson’s/Ray Price’s “Night Life,” Dolly’s “Jolene,” Patsy Cline’s “Sweet Dreams,” and Aretha Franklin’s “Respect.”  

Dad had a treasure trove of Merle Haggard and Asleep at the Wheel — the popular band that keeps the transformative Western swing of Bob Wills and His Texas Playboys alive.   

Decades later, thanks to Willie’s Roadhouse on Sirius/XM, I’d fall for Ray Price’s rich baritone on songs like “For the Good Times” and “Heartaches by the Number.” Streaming services helped me further explore Dolly’s extensive catalog.  

I can hear those influences — Dolly’s and Patsy Cline’s — in Reba’s music. She effortlessly combines fiddles and steel guitars with saxophones and keyboards. She easily moves from the polished production of the Nashville Sound to the stone-cold country of the Oklahoma and Texas honky-tonks she and her siblings toured as The Singing McEntires.  

On her rise to the top, Reba faced hurdles despite the success of Dolly, Loretta Lynn, and Kitty Wells and the foundational contributions of Mother Maybelle Carter and Patsy Montana. Country music labels signed “girl singers” sparingly. With hard work and persistence learned on her family’s cattle ranch, Reba convinced producers to let her record her kind of country — and to believe that women would buy albums by women.   

1984’s My Kind of Country and 1986’s Whoever’s in New England showed her savvy on both fronts. “How Blue” from My Kind of Country kicked off a string of No. 1 hits, and the single “Whoever’s in New England” was a breakthrough, showing off Reba’s impressive range and unique phrasing. She won four consecutive CMA Female Vocalist of the Year awards and a CMA Entertainer of the Year trophy in the ‘80s.   

The “Whoever’s in New England” music video, initially shown on HBO, introduced Reba to new audiences. Her ability to emote on camera as well as she does on stage was a revelation, leading to roles in movies and TV. More than that, the video proved Reba is a storyteller at heart. Giving her a new way to interpret songs and engage fans put her on the path to her reign in the ‘90s.  

My Top 5 Songs of Reba’s Rise  

1. “Love Will Find Its Way to You”  

From her 1987 album The Last One to Know. Written by Dave Loggins and J.D. Martin. No. 1 on the Billboard Hot Country Songs chart.   

With a lush intro steeped in the Nashville Sound, “Love Will Find Its Way to You” found its way to No. 1. It’s my overall favorite Reba song and has been for at least a decade. Before that, I hadn’t paid much attention to it. But getting older changes the way we hear songs, and one day driving home, I listened to this one with fresh ears. Reba has flashier songs, no doubt — but the hope in this one breaks through even this cynic’s heart.  

2. “How Blue”  

From her 1984 album My Kind of Country. Written by John Moffatt. No. 1 on the Billboard Hot Country Songs chart.  

With the tight harmonies and bluegrass feel, it’s no wonder Reba recorded this classic as an acoustic version for her 2023 Not That Fancy album, a companion to her book of the same name. “How Blue” is like “Can’t Even Get the Blues” in tone. She’s telling a sad story with laissez-faire attitude.  

3. “Somebody Should Leave”  

From her 1984 album My Kind of Country. Written by Harlan Howard and Chick Rains. No. 1 on the Billboard Hot Country Songs chart.  

This gut punch tells the story of a disintegrating marriage, with both husband and wife aware that one of them should leave. Who should make the first move is up for debate because You need the kids/ but they need me. Co-written by a legendary songwriter with hits from Ray Price and Patsy Cline, “Somebody Should Leave” hits the sweet spot of Reba’s range and interpreting powers.  

4. “The Last One to Know”  

From her 1987 album of the same name. Written by Matraca Berg and Jane Mariash. No. 1 on the Billboard Hot Country Songs chart.  

The more I listen to this song, the more it reminds me of Reba’s 1990 hit “Rumor Has It.” Both have a conversational feel with beginnings pitched low in her register. Through the course of each one, she climbs to her vocal peak, and in true Reba style, stretches words like go into more than one syllable. Put this one in the “simple-but-powerful” category of Reba heartbreakers.  

5. “Whoever’s in New England”  

From her 1986 album of the same name. Written by Kendal Franceschi and Quentin Powers. No. 1 on the Billboard Hot Country Songs chart.  

I was close to putting “Little Rock” in this spot, but “Whoever’s in New England” reached beyond Nashville, earning Reba her first Grammy Award for Best Female Country Vocal Performance. If you’ve ever wondered what “Whoever’s in New England” sounds like in a man’s voice, check out Cody Johnson’s cover. Garth Brooks covered “Whoever’s in New England” during Reba’s 2011 induction into the Country Music Hall of Fame. You can probably find that clip online.  

Reba’s Reign (1990-2002)  

Reba opened the ‘90s riding high on No. 1 singles, strong album sales, and major awards recognition. Her first collaboration with soon-to-be Country Music Hall of Fame producer Tony Brown, Rumor Has It, marked a turning point.  

The landmark album delivered three No. 1 hits — “You Lie,” “Falling Out of Love,” and the title track — alongside her iconic cover of Bobbie Gentry’s “Fancy” and an equally compelling slate of album cuts.  

Reba’s pairing with Tony Brown proved to be inspired. They produced 13 albums and nearly a dozen No. 1 songs together.  

Poised for even more success, tragedy struck when seven members of Reba’s band and her tour manager were killed in an airplane crash that also claimed the lives of the pilot and co-pilot outside of San Diego in March 1991. She emotionally recalls the horrific night in a 2012 episode of Oprah’s Master Class here. 

Her 1991 concert VHS tape, Reba In Concert, became a tribute to her band members’ immense talents and joy of performing. I watched it too many times to count and loved Reba’s encore of Patsy Cline’s “Sweet Dreams,” written by the brilliant Don Gibson.  

Though she performed it a cappella, Reba pulled “Sweet Dreams” from her setlist following the tragedy. “Fancy” would eventually replace it, and as I said earlier, her live performances of the song are magical.  

We have Tony Brown to thank since he encouraged Reba to revisit and cover some of her favorite songs, including Vicki Lawrence’s “The Night the Lights Went Out in Georgia” on 1991’s For My Broken Heart.  

Laden with grief and raw emotion, For My Broken Heart is a testament to music’s restorative power and the first step in Reba’s public healing. In her autobiography, Reba: My Story, she recalls recording the album’s final number, “If I Had Only Known.” Knowing she was emotionally fragile, Tony Brown kicked everyone out of the studio so that only he and Reba were left to record the heartbreaking track.  

1992’s It’s Your Call remained somber, ending with “Lighter Shade of Blue,” which Reba said in the liner notes described her stage of grief:  

Here and there I’ve turned a stone/ But the mountain hasn’t moved/ I’ve only turned a lighter shade of blue  

Her opening single, however, was “Take It Back,” a rocking number with a jazz saxophone solo that Reba turned into one of her most energetic music videos. In a courtroom, she and the prosecuting attorney grill her cheating boyfriend.  

The choreography includes a lift that places her on the banister of the jury box. The judge takes the sax solo — using a saxophone clearly marked as evidence.   

Reba’s hair is jacked to Jesus, making the video an accurate snapshot of this time in her career.  

As she moved through the ‘90s with Read My Mind, Starting Over, What If It’s You, and If You See Him, it’s clear that Reba’s preference for ballads and sad songs lingers, but hits like “Why Haven’t I Heard from You” and “I’d Rather Ride Around with You” provide balance.  

She also created two more upbeat music videos for those tracks that show off her personality and silly humor. In real life, I think she’s dry — something that comes across better on stage and in interviews.  

Clearly, I was eating all of it — the music, videos, and concerts — up with a spoon.   

After that first Memphis concert gave me a taste of Reba live, I was lucky that my parents took me to four more shows during Reba’s Reign. Each one was better than the last, culminating in Reba in the Round in Nashville — a spectacle I’ll never forget.  

Reba entered the stage in a squatty airplane (made from golf carts), threw in a jump scare with a prop from Tremors, and once again dropped her black fur coat to reveal that iconic red dress during “Fancy.” It was a masterclass in spectacle and storytelling — and I thought I loved her then.  

Her next era would bring a newfound reverence for Reba, the trailblazer who doesn’t really need all the hoopla to sell you on her songs. Before we go there, let’s look at five of her classic singles from ‘90s.  

My Top 5 Songs of Reba’s Reign  

1. “The Fear of Being Alone”  

From her 1996 album What If It’s You. Written by Walt Aldridge and Bruce Miller. Peaked at No. 2 on the Billboard Hot Country Songs chart.  

I’ve seen her perform this one live in concert many times, and it’s always a fan favorite — so easy to clap and sing along with. Reba is one of the finest at choosing songs that speak well beyond their release date. Thirty years later, “The Fear of Being Alone” is still a certified bop.  

2. “Rumor Has It”  

From her 1990 album of the same name. Written by Bruce Burch, Vern Dant, and Larry Shell. Peaked at No. 3 on the Billboard Hot Country Songs chart.  

Many years ago, Martina McBride had an exchange with a fan on Instagram or Twitter. The fan asked Martina to name her favorite song. Martina simply called this Reba classic “pretty perfect.” Who am I to argue with a Grammy winner? Perfectly written and perfectly delivered.  

3. “And Still”  

From her 1994 album Read My Mind. Written by Liz Hengber and Tommy Lee Jones. Peaked at No. 2 on the Billboard Hot Country Songs chart.  

“And Still” is another Mary Poppins song — practically perfect in every way. It’s Reba at her storytelling best, with a heartbreaking twist you don’t see coming. The video is also one of her most memorable. Shot in Guatemala, it tells a layered story of a music teacher reconnecting with a doctor in a South American village. She’s getting excited about the reunion until she he introduces her to his wife. Listen to Reba growl on “says,” packing emotion into such a simple word.  

4. “It’s Your Call”  

From her 1992 album of the same name. Written by Bruce Burch, Shawna Harrington-Burkhart, and Liz Hengber. Peaked at No. 5 on the Billboard Hot Country Songs chart.  

I remember hearing this song on the radio and thinking, “This video is going to be amazing.” It was ripe for the telling: a woman answering the phone to hear another woman on the line, then confronting the man at the center of the drama. Instead, Reba simply sang the song on an empty stage. The less-is-more tactic was disappointing at first, but I came to love how Reba let the lyrics tell the story.  

5. “Fallin’ Out of Love”  

From her 1990 album Rumor Has It. Written by John Ims. Peaked at No. 2 on the Billboard Hot Country Songs chart.   

I remember Dad driving our family through the night to Florida. We had a Ford Aerostar van, and my brothers and I thought it was cool that we could lay the seats down and sleep comfortably on the road. With the radio playing softly, I fell asleep to “Fallin’ Out of Love” and woke up to George Strait’s “Amarillo by Morning.” Both songs remain two of my all-time favorites.  

Reba’s Legacy (2003-Present)  

I’ll admit, 1999-2003 was a rough spot for me and Reba. I didn’t buy her 1999 album So Good Together until I discovered the now defunct half.com website, which allowed me to get it cheap. It didn’t move me the way her other albums had, but there are a couple vintage Reba standouts in “Roses” and “She Wasn’t Good Enough for Him.”  

I wasn’t a huge fan of her first sitcom, Reba, either. I’ve come to appreciate it more in syndication, but as I said earlier, my first love has always been her music. But I can certainly respect anyone’s desire to pivot in their careers.  

I was also discovering new music during this time. In college, I still listened to a whole lot of country, but I was branching out into the bands and singers my friends liked — Matchbox Twenty and Goo Goo Dolls, Destiny’s Child and Lauryn Hill, Sixpence None the Richer and Sarah McLachlan.  

College is about expanding our horizons, so I look back on that time with gratitude for the “new” artists I discovered. But I was running away from my Reba obsession because I was embarrassed. I eventually learned to embrace it, poking fun at myself but still railing against anyone who doesn’t show proper respect to this American treasure.  

The break wasn’t long anyway.  

I remember waiting on my order at the Sonic just a couple streets over from campus when I heard Reba’s new single, “I’m Gonna Take That Mountain,” on the radio in 2003. It was a beautiful day, perfect to hear her first single from a studio album since 2000’s “We’re So Good Together.”   

I called a friend to let him know, “Reba’s back, baby!” This song was straight outta the ‘90s — full of attitude and empowerment with fiddles and steel guitar.  

Reba followed the throwback classic with “Somebody,” her first No. 1 since 1998. The music video featured her witnessing a couple’s meet cute in a diner.  

I saw Reba in a 2004 concert at Chastain Park Amphitheater in Atlanta — stripped of the theatrics that defined her 1990s shows. I wasn’t one bit disappointed. Instead, I fell in love with her all over again.  

Don’t get me wrong. Reba’s elaborate stage shows are FUN! But her real talent is connecting with fans. She’s one of the most engaging artists I’ve ever seen.  

In 2014, I was incredibly fortunate to use my newspaper job to get free tickets to see Reba with Loretta Lynn and Bobby Bare at the Johnny Cash Music Festival at Arkansas State University. My press pass included the opportunity to take photos during Reba’s first two songs.  

I don’t think anyone was paying much attention, and I was tempted to stay in front of that stage all night. I was a little scared to break the rules — there wasn’t much reason a newspaper reporter in northwest Tennessee needed a pass to an Arkansas State Event — so I returned to my seat.  

I saw Reba again in 2017 as she promoted her gospel album Sing It Now: Songs of Faith & Hope. Leaving the historic Ryman Auditorium after her matinee performance, I texted a three-word critique to my mom: “Best. Concert. Ever.”  

In 2019, Reba released Stronger Than the Truth, which she’s described as the most country album she’s ever recorded. I don’t wear out cassettes or CDs anymore, but if it were possible to wear out a streaming service, I would have with Stronger Than the Truth.   

With Trisha Yearwood’s Every Girl and Josh Turner’s Country State of Mind, the album was a balm during the COVID-19 pandemic. Stronger Than the Truth was nominated for Best Country Album at the 2020 Grammys, but radio didn’t play it. Maybe it was too country.  

Prior to 2019, Reba was still finding success on the charts with No. 1 hits “Consider Me Gone” and “Turn On the Radio” and the rollicking “Going Out Like That.” 

Reba is as savvy — and sassy — as ever. She’s still releasing new music, touring, filming a sitcom (Happy’s Place), and cementing her legacy as one of country music’s finest ambassadors.  

She was one of three featured headliners at the Music City Rodeo earlier this year. As I scanned the crowd before and during her concert, I marveled at the generational diversity. I really expected an arena full of middle-aged folks like me, but there were kids, teens, young adults, and senior citizens — all singing along to the hits. From 1983’s “Can’t Even Get the Blues” to 2010’s “Turn On the Radio,” we knew the words and were eager to lift our voices.  

We were also excited when Reba brought Miranda Lambert and Lainey Wilson on stage to perform their collaboration, “Trailblazer,” a poignant tribute to the great women of country music who have kicked down doors and cut paths for generations of stars.  

In the song, Reba talks about the seat at the table that Dolly, Patsy, Loretta, amd Tammy saved for her and vows to save seats for the next generation of female country singers.  

In a broader sense, I think Reba’s saying that there’s room at the table for everyone. That generosity is one of the primary reasons she’s beloved by fans and her peers.  

Of course, Reba’s not for everyone. You don’t have to crown her queen — Kitty Wells should keep that title — but hopefully you can recognize Reba as a trailblazer with a legacy built on talent, hard work, and authenticity.  

She’s one of country music’s few “triple crown” winners: Grand Ole Opry member, Country Music Hall of Fame member, and Kennedy Center Honors recipient.  

From gospel to grit, throwbacks to fresh takes, Reba’s legacy era shows she’s not just surviving — she’s thriving. These are the songs that define her continued reign.  

My Top 5 Songs of Reba’s Legacy  

1. “Back to God”  

From her 2017 album Sing It Now: Songs of Faith & Hope. Written by Randy Houser and Dallas Davidson. Peaked at No. 25 on the Billboard Hot Country Songs chart.  

I already loved co-writer Randy Houser’s version of this song from his 2008 album Anything Goes. The lyrics are a cry for revival wrapped in the assurance that God hears our prayers. As one of my favorite pastors says, “Tears are a language God understands.”  

2. “Consider Me Gone”

From her 2009 album Keep On Loving You. Written by Steve Diamond and Marv Green. No. 1 on the Billboard Hot Country Songs chart.  

With modern instrumentation and classic storytelling, “Consider Me Gone” resonated with a new generation of country fans as well as longtime Reba fans. Throughout her career, Reba has adapted to trends without sacrificing her core values and influences. All the songs on this list are great examples of that, but this one takes the cake.  

3. “Somebody”  

From her 2003 album Room to Breathe. Written by Dave Berg, Annie Tate, and Sam Tate. No. 1 on the Billboard Hot Country Songs chart.  

“Somebody” fits Reba’s wheelhouse — a story you can see playing out in your head as you listen. It’s also a fun one to sing along to.  

4. “I’m Gonna Take That Mountain”  

From her 2003 album Room to Breathe. Written by Jerry Salley and Melissa Pierce. Peaked at No. 14 on the Billboard Hot Country Songs chart.  

As discussed earlier, this marked her triumphant return to country radio and her signature ‘90s sound.  

5. “Turn On the Radio”  

From her 2010 album All the Women I Am. Written by Cherie Oakley, Mark Oakley, and Bobby Huff. No. 1 on the Billboard Hot Country Songs chart.  

Try to call/ Twitter me/ Text until your fingers bleed  

Tell me Reba doesn’t have all the sensibilities of a modern artist? She once again met a new audience—and tied Dolly for most No. 1 singles by a female country artists—with this gem of a good time.  

Are you still on the fence about Reba or are you just hankering for more? Here’s a supersized list of bonus album cuts to satisfy any need.

Bonus Album Cuts

“Once You’ve Learned to be Lonely”  

From her 2003 album Room to Breathe. Written by Candy Cameron, Chip Davis, and Sharon Vaughn.  

If the lyrics weren’t relatable, it would make the list just because of Alison Krauss and Dan Tyminski on background vocals.  

“The Bar’s Getting Lower”  

From her 2019 album Stronger Than the Truth. Written by Kellys Collins, Erin Enderlin, Liz Hengber, and Alex Kline.  

Easily my favorite song on one of my favorite albums. The woman in the song didn’t plan on settling, but surveying her choices at the bar, she realizes as she’s getting older, the bar — or standard — is getting lower. Clever plays on words speak to me. 

“Buying Her Roses”  

From her 1991 album For My Broken Heart. Written by Joe Doyle and Rick Peoples.  

Remember me telling you about my mom’s student singing along to this album? This is the song seared into my memory. Reba’s delivery is restrained but emotionally charged as she shows off her impressive vocal range. There’s also that hint of resignation at the coming heartbreak that makes the song a standout.  

“Invitation to the Blues” and “I Won’t Mention It Again”  

“Invitation to the Blues” is from her 1977 eponymous album. Written by the incomparable Roger Miller. “I Won’t Mention It Again” is from her 1995 album Starting Over. Written by Cameron L. Mullins and Carolyn Jean Yates.  

Yes, I am cheating but cut me some slack. I’ve talked about Ray Price’s influence on Reba. The first song she ever performed on the Grand Ole Opry was a cover of his classic “Invitation to the Blues.” She included his “I Won’t Mention It Again” on Starting Over, her album of covers. Both songs are full of longing.  

“Baby’s Gone Blues”  

From her 1992 album It’s Your Call. Written by Pat Bunch, Mary Ann Kennedy, and Pam Rose.  

One of the things I miss about not buying physical albums anymore is the liner notes. I loved reading all the musicians’ and songwriters’ names and the artist’s comments. I thought this song was particularly cool because Reba backs herself on harmony.  

“Read My Mind”  

From her 1994 album of the same name. Written by Keith Thomas, Melissa Coleman, and Todd More.  

A contemporary ballad with a strong vocal build, the instrumentation and production on this one offer a modern take on the Nashville Sound.  

“To Make That Same Mistake Again”  

From her 1986 album Whoever’s in New England. Written by Roger Murrah and Richard Leigh.   

The lyrics are clever, and Reba’s delivery is breezy. She’s always been great with ballads, but until you listen to her pre-For My Broken Heart recordings, it’s easy to forget she mixed in a lot of up-tempo tunes early in her career.  

“Does the Wind Still Blow in Oklahoma” with Ronnie Dunn  

From her 2007 album Reba: Duets. Written by Reba McEntire and Ronnie Dunn.  

Ronnie Dunn, of Brooks & Dunn fame, tells the story that he only agreed to record with Reba on this album if she helped write the song. She doesn’t have a lot of writing credits to her name, but Reba has shown prowess with the pen — just listen to her Top 5 hit “Only in My Mind.” I love how the two Oklahoma natives go back home for this wistful lost-love story.  

Thanks for reading this lengthy tribute to the one and only Reba Nell McEntire. Let me know your favorite Reba song, album, or music video. Or maybe you prefer her non-musical endeavors. Leave your thoughts in the comments.  

I’ll be back soon to talk about George Strait’s impact on country music in the ‘90s and beyond. His 1995 Strait Out of the Box set was a revelation for me, filling my ears with Western swing, honky-tonk, and neotraditional country music as only George Strait could deliver it. 

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.) When I convinced my 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 still 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 — clever lyrics, 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 personal 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 this 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. It’s not for me, but I’ve come to appreciate artists who take risks. The title track won a Grammy for Best Female Country Vocal Performance — proof that 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 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 personality-packed 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 — its message felt like 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 — the one and only Reba McEntire, whose influence on The Big Three and beyond makes for great discussion.