Nashville Anthems: Dissecting 80s & 90s Country Music

In the first of a trilogy of feminine perspectives in the 90s, we tackle Shania Twain's lighthearted 1997 hit "Don't Be Stupid".  Twain puts a twist on stereotypical gender roles, and not for the first time, but how does her protagonist's response to her man's stereotypical suspicion give us a perfect example of Twain's brand of 90s feminine empowerment?

We follow one "Pure Country" hit with another: 1992's "I Cross My Heart".  George Strait doffs the pyrotechnics (or something like that) and gets intimate in this one, but how do these rolling harmonic and melodic hills frame this speaker's specific message of commitent?  And what about that key change??

George Strait takes us back to his acting days, with 1993's "Heartland". Strait's signature honky-tonk style sounds right at home on this Texas-sized arena astage, but how do this song's lyrics try to take us somewhere else? And what tensions might this song encapsulate between the journeys of "Dusty" and real-life George Strait?

It's vintage Judds, with their 1987 classic hit "I Know Where I'm Going". This cut is a prime example of the Judds' signature acoustic-with-attitude shtick, but how does heavy harmonic ambiguity in this one leave us less sure of our destination that Wynonna and Naomi seem to be?

Our first encounter with Doug Stone taps into his rowdy side, with 1994's indignant, deliciously unhinged, "Addicted to a Dollar". Stone shows us what angry, working class honky-tonk sounds like in the mid-90s, but what indications do we have in this song that this first person narrator is ever actually going to muster the courage to tell anyone to take this job and shove it?

One episode after exploring Brooks & Dunn's explosive debut, we turn our ears to Alan Jackson's more toned down entrance onto the scene, 1990's "Here in the Real World". As we'd expect, Jackson writes the book here on Jones-inspired neotraditionalism, as melody, harmony, instrumentation, lyrics, and phrasing all work together on this heartbreaker. But how does all that combine with the very idea of neotraditionalism, to give this one a nostalgic feel that seems to break the fourth wall?

We examine the song that introduced Brooks & Dunn to an unsuspecting country music world in 1991: their debut single "Brand New Man". In some sense, Kix & Ronnie were just continuing what George Strait, Randy Travis, and the famed Class of 1989 had already brought to the fore, but what is it about this high-octane Texas honky-tonker that yet felt like the ushering in of a new, or maybe a consummate, era of neotraditionalism?

In this episode, we explore why George Strait's career-defining 1983 classic "Amarillo by Morning" isn't just a great song, isn't just Strait's own favorite, but is in the conversation for greatest of all time.

We tackle a listener request: Randy Travis's all-time great "Hard Rock Bottom of Your Heart". From melody to harmony, instrumentation to lyrics, everything works about this neotraditional classic.  And we didn't even talk about Randy Travis's smooth, effortless phrasing!  Only country music would lay bare the sort of righteous indignation the unfaithful might feel, on days when shame turns into anger.  It's brilliant.

We finally tackle the song that's been at the top of our list all along, Alan Jackson's 1994 hit "Gone Country".  Is this classic the straightforward celebration it sounds like?  Or might the on-the-nose harmony and melody hint at something more satirical in the lining of this new kinda suit?  Watch this video, listen to this episode, and let's find out!

We expand our way backwards through Reba McEntire's discography, with the title track of her relentlessly gut-wrenching 1991 album, "For My Broken Heart".  Natural minor tonality dominates the specifically empty sorrow of this sad country song about Day 2 of a devastating breakup.  But what happens when we compare this cut to our previous selection "How Was I to Know", and what can that comparison tell us about the trajectory of McEntire's 80s & 90s body of work?

We revisit mid-90s Girl Power as Reba cuts her hair and changes her tone, from victim to victor, in her 1996 hit "How Was I to Know".  The first-chorus rug-pull is clever enough on its own, but how is this moment pivotal not just for this song, but for McEntire's entire corpus?  

This year's Christmas episode takes us back to 1982, and Dolly Parton's nuanced version of "Hard Candy Christmas".  Chords, lyrics, and melody all keep this song subtly shifting between bitter and sweet, but how does Dolly Parton's exquisite delivery turn this one from lovely to legendary?

Alan Jackson takes the Lovable Loser through a 12-bar blues romp complete with lighthearted fun, virtuoso solos, and even some poetic justice, in his 1995 hit "I Don't Even Know Your Name". But is it more George Jones this time, or Buck Owens?

Diamond Rio restacks the harmony and dishes out the twang in their 1991 hit "Mirror, Mirror". Everyone's delivering blue notes on this one, but how do the lyrics and tonality suggest something darkly humorous about the singer's hardluck introspection? (Also, what exactly is the Mandela Effect?)

Alabama takes us back to the past in more ways than one...or two...with their 1981 hit "Old Flame". Their typical vocal harmonic fun is there, but what is it about the lyrics of this one that suggests an internal dialogue about a relatable external threat?

We head back to the personal ads to peruse Chely Wright's "Single White Female". There are several unique rhythmic and harmonic things going on in this quintessential 1999 hit, but what do those defining musical characteristics have to do with the simultaneously forward and reserved lyrics?

We dive into the waters of Alan Jackson's signature song, 1993's "Chattahoochee".  It's Alan Jackson, so it's going to be earnest neotraditional honky-tonk, but how does the authentic nostalgia in this one take it from good, to great, to all-time classic? (And what exactly is a hootchie-cootchie?)

We dive deep into Alabama's Cajun-flavored 1984 anthem, "If You're Gonna Play in Texas (You Gotta Have a Fiddle in the Band)". This one has always had us screaming "Cotton-eye Joe!" from back the row, but is there something larger going on here about Alabama's posture toward the impending neotraditionalist wave?  Hmm... let's open up this case and see what's inside.

We take our first look at the late, great Toby Keith, and his 1993 hit (from the Long Names Department) "A Little Less Talk and a Lot More Action". We get all of the trademark Toby Keith brashness in this cut, but what key ingredients of the Toby Keith persona are missing from this early-career, non-Keith-penned single?

We explore the supremely earnest delivery of Alan Jackson, as exemplified in 1990's "Wanted".  Honky-tonk meets gospel in this quintessentially neotraditionalist gem, but how can Jackson's humble "yes ma'am"s and "no ma'am"s authentically carry the emotional weight that this song needs them to?

We take another look at the Haggard-esque neo-traditional grit of early Clint Black, with his 1992 hit, "We Tell Ourselves".  We get all the earthy blues we'd expect, but how does the musical setting of this cut channel both the doubt and the determination inherent in the complex and heavy situation that the lyrics describe?

We explore the late-90s country pop of megastar Tim McGraw's megahit "Please Remember Me".  Dramatics abound in this go-big-or-go-home production, but why exactly does this song feel more suited to a stadium stage than to a honky-tonk? And how can a cut that sounds so full manage to convey such emptiness?

Melody, harmony, and lyrics all meticulously and perfectly set a specifically bittersweet tone on Billy Dean's 1991 classic: "Somewhere in My Broken Heart".  One listen to this cut will tell you that it's a beautiful song.  But why?  What specific, nuanced details of this tune and these words strike such a distinct chord with us, both literally and figuratively?Also, here's a link Dean's interview by The Tennessean that we reference several times in this episode: https://www.youtube.com/watch?v=mEuHk54daVg.

Things turns all kinds of Yacht Rock as we sail away with one of the biggest hits of the 1980s, Kenny Rogers and Dolly Parton's iconic duet, "Islands in the Stream".  We're not even sure what they're talking about, but when a song is this catchy and fun, who cares?  But why is that?  What is it about this country pop classic that has kept it in our collective heads for 40 years?  And why do Kenny & Dolly work so well as a pair?

Bonus episode!  For the Fourth of July, we had to turn to Lee Greenwood's towering, uber-patriotic, 1984 single, "God Bless the U.S.A."  That he's proud to be an American no one can doubt, but what richer depths might we find undergirding that sentiment upon closer examination?  And what do fireworks have to do with it?

Reba McEntire helps us connect some of the dots that comprise the specific mid-90s MCA sound, as she narrates the complexities of adulthood as only she can, in her 1995 hit "The Heart Is a Lonely Hunter".  We relate to the loneliness mentioned in the title, but is that all that's going on here?  And what do major 9th chords have to do with this song's lyrical richness?

We cruise down to southwestern Louisiana to encounter Sammy Kershaw and his debut single, "Cadillac Style".  We've all always known there was a lot of Jones in Kershaw, but is there something deeper to that connection than just the voice?  And what possible connection could there be between Cadillac Style and one that's often considered the greatest country song of all time?

Little Texas continue to blend musical streams with their only #1 single, 1994's "My Love".  This song is more than just the video, and this band is more than just the hair.  But they aren't less than that either.  Listen to find out what 80s hair metal and 70s California rock have to do with this song's specific sound.  How much is Heart, and how much is Restless Heart?  And what does Janis Joplin have to do with it?Also, here's the Brady Seals's solo version that we reference in the episode.

In this episode, we dance across the familiar ground of 12-bar blues, as the energetic shuffle of Tanya Tucker's 1993  hit "It's a Little Too Late" convinces us to kick up a little sawdust while we re-evaluating some of our life choices. It's a fun song, but how does the melding of persona and reality make this early 90s dance number particularly memorable?

We take a shot of an all-time classic, John Anderson's "Straight Tequila Night".  Anderson's signature breathy vocals anchor a particularly textural take on neotradional honky-tonk, but why does this song have a certain uncanny sound, and what does the number 440 have to do with it?

We search through another early Brooks & Dunn hit, 1992's "Lost and Found". It's all about the flow, as this song always seems to take us exactly where we want to go, measure after perfect little measure. But we already knew Kix Brooks could write a great cut, so how exactly does this one nail the feeling of a frantic search, and what does Brooks & Dunn's signature honky-tonk sound have to do with it?

90s icon Shania Twain takes us right back to the world of 90s feminism with her half-arena-rock / half-honky-tonk hit, "Honey, I'm Home". Twain played big, and this song plays big, but where we do get irony in her particular brand of subversion, and what musical touchpoints does this song have with a couple of hits from 20 years before?

We look at how The Judds bring their acoustic-with-attitude vibe to the sultry, electric piano-infused "One Man Woman". Slow, dark, and bluesy is the order of the day on this late-career Judds single, but what does a sonic atmosphere like that have to do with the lyrics' insistence on monogamy?

We take a ride with a legend in his prime in this episode on Ronnie Milsap's 1980 classic "Smoky Mountain Rain". The connection to Elvis's "Kentucky Rain" is multifaceted and deep, but how does this song use theatrical drama to color its image of a country music cliche?  And what happens when you ask Ronnie Milsap to make the thunder roll?Here a couple of videos that are referenced in the episode:Smoky Mountain Rain on Austin City Limits: https://youtu.be/p0ZpytVUElU?si=5K88u9cBUqbjPUGlSource of the Elvis story: https://youtu.be/0I7v2zx6ttM?si=Jyv22w9sJ34dPhwx

In this episode, we look at how Collin Raye's signature song, "Love, Me" kept it gentle sentimental. Everything contributes, from the memorable acoustic guitar intro to Raye's smooth, sweet tenor vocals. But what do stoic farmers have to do with it?  Also, who remembered that this recording had an electric piano?

Terri Clark tells her ex where he ranks in no uncertain terms, with her debut hit, "Better Things to Do".  Or does she?  There's plenty of 90s attitude here, but what details in these lyrics hint that something else may be going on?

Melton finally gets to take on the King, by way of his 1997 hit "Carrying Your Love with Me". Everything works in this perfect little country song, but how does it all work together, and what is it about George Strait's simple delivery that connects so well not only with the song but also with us?

We continue to explore the quirky side of Mary Chapin Carpenter, and of early 90s country, with her Grammy-winning 1992 hit "I Feel Lucky". So what is it besides the Dwight Yoakam and Lyle Lovett reference that makes this song so much fun, and what does the long history of country "outlaws" have to do with it?

For Christmas day, we went with the perfect song about Christmas night: Alabama's 1982 classic "Christmas in Dixie".  The joyful yuletide setting is plenty explicit in the song, but what subtly bittersweet threads have also been knit into this comfy Christmas sweater?

We plow through one of Melton's all-time favorite's, Joe Diffie's and Dennis Linde's 1993 classic: "John Deere Green". The tongue-in-cheek Mayberry tone carries over from "Bubba Shot the Jukebox", but how exactly does this one celebrate simplicity with an assertion that never flaunts its rural contentment?

They don't get much more classic than Randy Travis's major label debut single, 1985's "On the Other Hand".  We could have spent the whole episode on Travis's understated vocals (we practically do!), but what other elements of the song cause us to find ourselves rooting for a man who has already gone a few steps too far?

Mark Chesnutt balances funny and disturbing with the of-its-time 1992 hit "Bubba Shot the Jukebox".  It's a Dennis Linde composition, so we can expect a tongue-in-cheek tone, but how does this one mix peril with absurdity to stay just on this side of too far?

We finally get to a classic from Clint Black's era-defining (and we're not exaggerating here) 1989 debut album, its title track no less: "Killin' Time". But we're not just filling 24 minutes: What are the puzzle pieces that make this song cross that line from great to classic, and why do they fit together so naturally?

Mary Chapin Carpenter's ode to her favorite Bethesda haunt is one of the most infectious country songs of the early 90s.  But what exactly made "Down at the Twist and Shout" strike such a strong Cajun chord, and what exactly is she saying anyway?

David Lee Murphy shows us what it was like in 1995 to hang out with the "Party Crowd"... or does he?  What's going on below the surface of this honky-tonk celebration, and what do "Neon Moon" and "The Thunder Rolls" have to do with it? I bet you thought this one was straightforward, didn't you? Listen to see if you agree with Melton that there's something deeper here.

Dwight Yoakam's influences are readily apparent in this early neotraditionalist cover of Johnny Horton's "Honky Tonk Man".  Hank, Cash, Elvis, and of course Buck Owens are all in there, but what thematic material has Yoakam also imported from the mid-20th century?

Tanya Tucker reminds us that there is more than one point of view to a country cliche, beating Sugarland to the punch while doing so, in her early 90s hit "Soon". We didn't just start liking cheating songs or anything, but what is it about the melody and harmony on this particular one that leaves us feeling so unsettled?

Garth Brooks finds the best kind of disillusionment at his high school homecoming in his 1990 hit "Unanswered Prayers". Nostalgia reigns in this early example of Brooks's sweet spot, but what is it about his brand of neotradionalist country music that keeps this song so gloriously local as we wistfully revisit it all these years later?

Shania Twain takes us back to the diva days of the late 90s with pop-country powerhouse, 1997's "From This Moment On". Of course, we're still suckers for the soaring vocals and dramatic key-changes, but is there something more that keeps this nuptial classic in our collective consciousness?

Billy Dean takes us into the wild west of his childhood backyard in his signature hit, "Billy the Kid".  Rodeo-esque dark, western blues permeates the chorus, but in what sense(s) does the tone shift in the choruses? And what exactly is so relatable about Dean's specific take on nostalgia in this song?