The Musical Divide

Previous: Favorite Hit Country Songs of 1991

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So, here we are: the final ‘90s country list. Well, almost. After all, we still have to throw these lists together for one big ol’ top 50 extravaganza before we move on to the next decade. To be frank, however, as I ran through the hits for this particular year, it honestly felt like we had already left that golden era.

That’s not an indicator of a drop of quality, to be clear; this year’s list of hits is way more stacked than it may appear at first glance. It’s just that many of the names featured here carried over from the previous decade and would struggle to find footing not long afterward, while many beloved names of the decade were in their career infancy. It’s bittersweet, but it’s also exciting looking at this all in hindsight, knowing just what would follow.

So yeah, if anything, I think this is a pretty mellow, transitional year, but it’s also a sneakily great one. Better yet, it still features plenty of those beloved classics … but I feel like I’ll be flying down a slightly different path in that regard. So, as a refresher, regardless of whether you are or aren’t new to this feature, this is a series in which we explore the hits of yesteryear – not necessarily the best or most impactful ones (because that’s just a silly exercise anyway), but rather just personal favorites, meaning I invite you to share yours, as well. If you’re curious as to what qualifies for this particular list, here’s a handy guide. Let’s get started.

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No. 10 – Garth Brooks, “Friends in Low Places” (written by Dewayne Blackwell and Earl Bud Lee)

… Yeah, I can bet some of you are shocked that this is only starting off this list. It’s the biggest hit of the entire decade, and heck, I praised this song once already this week! Honestly, though, it is the overexposure to this song over the decades that’s kept me from revisiting it much on my own, especially when there are Garth Brooks songs I personally like better anyway.

Even still, it’s an all-time anthem of the ages for a reason. Even when Brooks plays the role of a working class stiff who doesn’t fit into his pretentious ex-partner’s higher class world, he leans into it effectively with a wink and a smile. It’s a wild ride as he crashes her black tie affair, but it’s also played with a lot of humorous self-awareness and good-spirited charm, mostly carried by Brooks’ boundless charisma. I’m not sure I can call it an anthem for the underdog, given that Brooks was far from that in his prime. But he always presented himself as just a regular guy on record and off, so in speaking for the fans … yeah, this is still a riot, right from that timeless opening.

No. 9 – Restless Heart, “Dancy’s Dream” (written by Greg Jennings, Monty Powell, and Tim DuBois)

There are two Restless Heart songs from this year I really love, and that I can’t find room for the atmospheric, shimmering high of “Fast Movin’ Train” does sadden me. But there’s still “Dancy’s Dream,” a song about a married deacon who lives with the guilt of a past cheating incident. And yet, given how it’s played fairly bright off the chipper mandolin rollick and swells of keys and organ, it’s a memory replayed that’s transgressive yet feels almost alluring and inviting - a memory where our character isn’t sure exactly what about that woman tempted him, but you almost get the feeling he’d like to find out once more, sinful or not. Emily Scott Robinson’s “If Trouble Comes a Lookin’” probably provides a more all-encompassing view of this exact theme for the modern era, but there is something alluring about this song I still can’t turn away from; it’s shamefully good.

No. 8 – Mark Chesnutt, “Too Cold At Home” (written by Bobby Harden)

Like I said last time, I think Mark Chesnutt’s first run of hits remain his best. And as for where it truly all began, this is another heartbreak classic for the ages. I won’t say Chesnutt is the most expressive vocal presence in the world, but if anything, that works to sell the beaten-down, weary sentiments of a man trapped in the bars during the dog days of summer.

With a sigh of resignation, then, he acknowledges he can’t go home due to a domestic dispute. So he runs through old memories and even finds solace within a familiar setting, if not actual peace. Really, with the way the focus is only on the setting around him and not what got him there, it lets the turn of that hook sink in effectively, especially when you get the idea that it’s not our character’s first rodeo as he looks for a place to cool down, in more ways than one. Heartbreak rarely got better than this, folks.

No. 7 – Lacy J. Dalton, “Black Coffee” (written by Hillary Kanter and Even Stevens)

Man, Lacy J. Dalton is such an underrated presence in the country music genre; I hope to prove that as we move onward to our ‘80s lists. This was her final hit, a modest top 20 chart success that coasts off a strongly pronounced midtempo groove, a fear of what’s to come, and, of course, that powerfully expressive, gritty vocal to carry it through. It’s maybe a bit oversold in concept on paper – a song where our character’s fear of losing her partner is really only shown through feeling instead of actual events. But Dalton’s haggard tone is what really sells it, where there’s enough there to fill in the details of how things came to be and the focus is just on that fear of being alone. It’s a powerful song that stuck with me, and I’m happy to include it.

No. 6 – Travis Tritt, “I’m Gonna Be Somebody” (written by Jill Colucci and Stewart Harris)

I think this is my favorite Travis Tritt single, and a perfect encapsulation of what ‘90s country would be all about. Much like Alan Jackson’s “Chasin’ That Neon Rainbow” - which also came close to making this list - this is a song for the young, hungry dreamers of the era ready to make their marks, and with Tritt’s natural grit and gravitas, there’s a raw determination to his own journey that lends this song so much natural passion. Of course, the song is also smart to acknowledge that everyone deserves their chance to shine, which is why I love the third verse for showing how one generation inspires the next. Heck, even if things had panned out differently, you get the feeling that Tritt and his character would have at least gone down swinging, until the final note was played.

No. 5 – Highway 101, “This Side of Goodbye” (written by Scott “Cactus” Moser, Jeff Pennig, and Michael Noble)

Highway 101 is one of those lesser-known bands that manages to frustrate me, if only because they had a great run from the mid-to-late ‘80s up until this year, until lead singer Paulette Carson left for an ill-fated solo career. It’s one of those cases where you wonder what could have been, especially when their final single to feature her on lead vocal duty may be my favorite cut of theirs.

I mean, off the slick, minor electric groove and breakup-centered content, it’s basically set up to sound like a cut off Fleetwood Mac’s Rumours. That’s one of my all-time favorite albums, so I’m not complaining. But it is, again, Carson who really sells this for me: the frustration, angst, and even the regret of traveling so far to get away from an old flame’s memory, only to have nothing to really show for it as she holds out hope for a possible reunion. An excellent song from an underrated group.

No. 4 – Clint Black, “Nothing’s News” (written by Clint Black)

Weird as it sounds (or maybe not, if you read a certain recent feature of mine), Clint Black’s “Killin’ Time” and “A Better Man” won’t qualify for our ‘90s lists, even despite both being remembered most as belonging to this decade. They’ll just barely, according just to chart history, qualify for the ‘80s lists.

Even then, given that this is a favorites list, they would have had stiff competition with this song as my favorite from Black’s iconic debut album. I just love everything about the way this comes together: from the lounge vibe accented by those beautifully creamy layers of pedal steel, to the content centered around the night life, where our character settles into a new normal of watching the familiar returning patrons around him living their day-to-day lives. It’s a reflective and melancholic ode to what was and what isn’t coming back around again. Sure, it’s not as immediate as those iconic hits, but that’s part of the point; it’s a slow-burn worth the time to let settle. Plus, I always love tracks like these that take a moment to stop and reflect on the journey thus far. This, however, was one that was just getting started.

No. 3 – Garth Brooks, “The Dance” (written by Tony Arata)

I mean, what can I really say? It’s “The Dance,” a song that’s viewed as another all-time classic next to “Friends in Low Places,” and for arguably easier reasons. Really, it’s a simple song to describe: a statement about adversity in the face of loss, where despite having to endure that grieving process, it’s worth it all to run back through years and decades of happy memories. Pain and suffering is a natural part of life, even at its happiest; there are certain kinds of both that can even be cathartic.

And it’s such a true and heavy statement that it doesn’t come across as an empty platitude, but rather as a statement informed by both the smokey, understated piano work, and its framing in which Brooks sings to someone no longer around. Whether that’s to suggest the person has simply moved away or passed on is up to personal interpretation, but either way, it’s a powerful song. There’s actually quite a bit of heavy reflection anchoring my top favorites for this year, but this is at least one moment that reminds me of the good that can come of that.

No. 2 – Kathy Mattea, “Where’ve You Been” (written by Jon Vezner and Don Henry)

Honestly? I thought this song was just decent for the longest time. It wasn’t something I disliked, but it seemed like one of those familiar songs that tried to toy with multiple interpretations for the hook and mined its sentimentality a little too often and too well because of it. Two things happened that changed my mind on it. For one, it was such a big focus of the final part of Ken Burns’ 2019 documentary on country music, that I gained a new appreciation for its creation and meaning not long afterward.

As for the other thing … well, my grandmother had dementia, and losing her not long after the pandemic hit helped put that final verse into uncomfortable perspective, especially when I lost my grandfather not long after that and understood the full song a lot better. There really isn’t a lot of room to hide from this song’s emotional devastation after that anyway – not when it’s a spare piano ballad and Kathy Mattea’s fragile delivery offer every ounce of respect the sentiment deserves. But hey, like the artist before this once said, you can miss the pain, but you’d also have to miss the dance; it’s uncomfortable, but also the best kind of healing offered.

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As always, before unveiling my No. 1 pick, here are more than a few honorable mentions that just barely missed the cut for this list, presented in no particular order:

Randy Travis, “Hard Rock Bottom Of Your Heart” (written by Hugh Prestwood)

I mean, that hook.

Alan Jackson, “Here in the Real World” (written by Mark Irwin and Alan Jackson)

A master of the craft shows why he had a handle on things from nearly the beginning.

Reba McEntire, “You Lie” (written by Bobby Fischer, Austin Roberts, and Charlie Black)

I don’t know what more I can say about Reba McEntire’s knack for nailing big, emotional ballads like this. I better think of something new soon, given that she’s going to be a prominent name for more lists to come.

Willie Nelson, “Ain’t Necessarily So” (written by Beth Nielsen Chapman)

Yeah, fun surprise, am I right? Willie Nelson’s final top 20 hit is, fittingly enough, a warm, lighthearted song filled with perspective and wisdom.

Alabama, “Jukebox In My Mind” (written by Dave Gibson and Ronnie Rogers)

These guys were all over the place, and I’m sure we’ll see them again in the ‘80s. But their few arrays into classic country were pretty damn great, too.

Tanya Tucker, “My Arms Stay Open All Night” (written by Paul Overstreet and Don Schlitz)

Bright, bubbly fluff of the best variety.

Doug Stone, “I’d Be Better Off (In a Pine Box)” (written by Johnny MacRae and Steve Clark)

I can’t say I’m much of a Doug Stone fan outside of this song, but that hook is certainly an all-timer.

Restless Heart, “Fast Movin’ Train” (written by Dave Loggins)

Hey, I told you already I wanted to include it.

Joe Diffie, “Home” (written by Fred Lehner and Andy Spooner)

I’m bummed I couldn’t fit this into the top 10 proper, but Joe Diffie was always a reliable and underappreciated performer, and this is one of his best.

Mary Chapin Carpenter, “Quittin’ Time” (written by Robb Royer and Roger Linn)

I’ve said it countless times before: Mary Chapin Carpenter at her darkest and most frustrated always results in excellence.

And lastly, though I’m not sure I’m counting them here as actual honorable mentions, I’d be remiss not to mention Kentucky Headhunters’ “Dumas Walker” for its infamous misheard lyric, and Shenandoah’s “Ghost in This House,” which is a good song … even if I vastly prefer Alison Krauss’ version.

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And now, my No. 1 pick:

No. 1 – Rodney Crowell, “Many A Long and Lonesome Highway” (written by Will Jennings and Rodney Crowell)

It feels right to end off our lists for this decade with something this relaxed and reflective. It’s not much different from my other top favorites of this year, come to think of it. It’s another song that reflects on one’s journey thus far, with plenty of experiences, glories, and regrets to help fill the cracks and crevices of a life story. But it’s also one that sees it all – good and bad – as tools for what remains of that long and lonesome highway; you might not be able to change what’s already been done or who you were before, but as long as you’re still around and kicking, it’s best to see it all as experience and wisdom gained.

And with Crowell’s haggard yet calming demeanor and perspective steering this ship – one tempered by age and experience - he’s able to help listeners see it that way, too. Even in the face of loss, you brave that highway for yourself and for others until it runs out of road. It’s the type of poetry that’s simple but profound in its impact, as to be expected from the singer and writer at hand. And as for me, it’s the sort of song I appreciate more and more with each passing year, if only to keep me grounded.