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Favorite Songs by Favorite Songwriters: Matraca Berg

June 21, 2009 Kevin John Coyne 33

For a good stretch in the nineties, women were the dominant creative force in country music. Songwriter Matraca Berg was an indispensable component of that dominance, penning many of the biggest hits and best-loved tracks by signature acts like Trisha Yearwood, Patty Loveless, and Martina McBride.

It’s no surprise that this list of Favorite Songs written by Matraca Berg is almost completely composed of female artists. So distinguished is Berg’s catalog that worthy cuts by the Dixie Chicks, Nitty Gritty Dirt Band, and Gretchen Wilson just missed the list. Even Berg herself is only present with one performance, despite releasing several outstanding recordings in her own right.

But the beauty of these lists is that these are my own favorite songs, so I don’t have to force anything on to the list just to make it more well-rounded. Add your own favorites in the comments, and read Matraca’s 100 Greatest Women profile to learn more about this stunning songwriter.

#25
“Wild Angels” – Martina McBride
Wild Angels, 1995

This was meant to be the title cut of an album that Berg never released. Instead, the cut went to Martina McBride. It was McBride’s first #1 single, and listening to it today, it sounds remarkably rough around the edges for an artist who’d eventually become an AC radio staple.

#24
“Fool, I’m a Woman” – Sara Evans
No Place That Far, 1998

Berg’s writing can be effortlessly snarky, as evidenced by this breezy Sara Evans track that was a minor hit in 1999. “Did I say that I’d never leave you behind?” she queries. “Well, just keep treating me unkind. ‘Cause fool, I’m a woman, and I’m bound to change my mind.”

#23
“When a Love Song Sings the Blues” – Trisha Yearwood
Real Live Woman, 2000

Trisha Yearwood is Berg’s finest vessel, the only voice elegant enough to equal Berg’s words. This melancholy closer to Yearwood’s excellent Real Live Woman set finds the protagonist seeking solace in a dusty old piano, playing “Faded Love” and “Born to Lose” so she doesn’t have to cry alone.

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Album Sales Update

May 23, 2009 Kevin John Coyne 20

2009

* Rascal Flatts, Unstoppable – 669,000
* Keith Urban, Defying Gravity – 349,000
* Jason Aldean, Wide Open – 241,000
* Dierks Bentley, Feel That Fire – 189,000
* Martina McBride, Shine – 89,000
* John Rich, Son of a Preacher Man – 89,000
* Rodney Atkins, It’s America – 72,000
* Jake Owen, Easy Does It – 70,000
* Eric Church, Carolina – 66,000
* Randy Travis, I Told You So: Ultimate Hits – 59,000
* Randy Rogers Band, Randy Rogers Band – 57,000
* Pat Green, What I’m For – 54,000
* Willie Nelson & Asleep at the Wheel, Willie & The Wheel – 50,000
* Billy Ray Cyrus, Back to Tennessee – 29,000
* Jason Michael Carroll, Growing Up is Getting Old – 26,000
* Dean Brody, Dean Brody – 5,000

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Favorite Songs by Favorite Artists: Dan Seals

April 3, 2009 Guest Contributor 16

The following is a guest contribution by Country Universe reader Tad Baierlein.

When Dan Seals died of lymphoma last Wednesday, a great deal of the press coverage centered on his days as “England Dan” in the soft rock duo England Dan and John Ford Coley. Seals’ country career, though more successful for a longer period of time, seemed to be treated as an afterthought.

Many of the obituaries mentioned Seals’ biggest country hit, “Bop”; hardly an accurate representation of his years spent in country. Now, it’s perfectly justifiable to glance at a person’s career highlights for a newspaper obituary, but I think that a great deal more attention should’ve been paid to Seals’ death within the country music community. I would like to contribute this little appreciation to one of my favorite country artists.

“The Banker”
Rebel Heart, 1983

For two years following the split of England Dan and John Ford Coley, nothing seemed to be going right for Seals. First off, he recorded two solo soft rock albums just as that sound was going out of favor. Aside from one single ekeing its way into the Adult Contemporary charts, the albums were considered huge failures. Secondly, Seals had accrued a massive amount of debt to the IRS; almost everything he owned was repossessed to pay it. Seals’ move to Nashville had been planned for quite a while but in 1982 it seemed almost a necessity.

This song that he wrote for Rebel Heart would seem to place his frustrations and hope in the story of a man trying to save his land from an evil, number-crunching banker. Sometimes when it seems like all hope is lost all you can do is work to get yourself out of trouble. Seals could only hope that the oil-rich resolution of “The Banker” came true in his life as well; he wouldn’t have to worry.

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Randy Travis Starter Kit

March 28, 2009 Kevin John Coyne 6

As his recent stint as an American Idol mentor proves, Randy Travis is one of the most widely recognized and respected traditional country artists of the past three decades. After selling millions of albums in the eighties, Travis remained a force on the country charts throughout the nineties. This decade, he has won several Grammy awards for his Christian albums, and even returned to the top of the country charts with “Three Wooden Crosses”, a selection from one of those albums.

A Starter Kit for an artist like Randy Travis can only skim the surface. Those looking to dig deeper should check out Leeann’s Favorite Songs by Favorite Artists: Randy Travis feature, along with his recent collaboration with Carrie Underwood on “I Told You So”, which resulted in his first-ever top ten pop hit, a full thirty years after he made his first appearance on the country charts with “She’s My Woman” under his real name, Randy Traywick.

“On the Other Hand” from the 1986 album Storms of Life

His first hit single was an instant classic about the consequences of infidelity.

“Diggin’ Up Bones” from the 1986 album Storms of Life

He’ll forever have coolness for scoring a #1 hit with “exhuming” in the chorus.

“Forever and Ever, Amen” from the 1987 album Always & Forever

This instant wedding classic powered his second album to quintuple platinum status.

“I Told You So” from the 1987 album Always & Forever

The original version is mandatory listening for fans of Carrie Underwood and contemporary country music.

“Hard Rock Bottom of Your Heart” from the 1989 album No Holdin’ Back

The production was startlingly innovative for the time, and Travis deserves kudos for convincing listeners that it’s the woman who was cheated on who is being unreasonable.

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Carrie Underwood featuring Randy Travis, “I Told You So”

March 24, 2009 Kevin John Coyne 14

What a fascinating collaboration. Both Randy Travis and Carrie Underwood have recorded distinctly different but equally compelling versions of “I Told You So.”

Travis was all tortured uncertainty in his version, like a nervous inner monologue made public. It was only on the chorus that he truly sang, as the verses were practically spoken.

Underwood chose to sand down those rough edges in her spin on the classic, expanding the hook into a power note and crafting a smooth melody out of the jagged verses.

Each original recording played to its artist’s strengths, but how can such disparate performances come together to make one cohesive record?

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Idol Opry Night: Live Blog

March 17, 2009 Kevin John Coyne 122

Country Universe continues its annual tradition of live-blogging country night on American Idol. LIVE BLOG 9:55 Kind of boring night overall. I liked Anoop the most. Not too much stood out for me. 9:52 When

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Hall of Fame, By the Numbers

March 16, 2009 Kevin John Coyne 11

My good friend and favorite sports blogger Charles Geier, of The Widening Geier fame, has long used statistics-based reasoning when making the case for the best in sports, whether for the current season or throughout

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My Start in Country Music

March 2, 2009 Guest Contributor 11

The following article is by guest contributor and Country Universe commenter, Craig R. My Start in Country Music By Craig Ross My memories only started collecting at age four. That year, 1969, my uncle was

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Perfect Producer/Artist Pairs

February 25, 2009 Leeann Ward 17

Last week, I berated producers that I could count on to produce bland, generic albums that I inevitably would not enjoy. As promised, I’ll be more positive this week. As previously noted, producers play a

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