Nashville Anthems: Dissecting 80s & 90s Country Music

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=5K88u9cBUqbjPUGl
Source 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?

We take our first walk with Eddie Arnold's brand of early 80s R&B-inspired country pop with his 1981 hit "Step by Step".  But what is it that gives this song its particular catchy groove, and how does that groove relate to the idea of taking it slow?

The influence of Garth Brooks and some hallmarks of country piano take center stage in Kenny Chesney's 1999 #1 hit "You Had Me from Hello". Some of the same trends we've previously explored about country music in 1999 show up here as well, but how does Chesney's particular brand of macho mojo enrich in this seemingly straightforward love song?

Brad Paisley applies his self-consciously retro schtick to the concept of grace in a modern family, in his late-1999 breakthrough hit, "He Didn't Have to Be". But what exactly is the nature of his throwback vibe? What's surprising about it, and what about his neo-traditionalist-influenced vocals works so well with this song's whimsical melody?  "When a single mom goes out on a date with..."

Alabama shows us how country music approaches Conway Twitty's favorite subject, while continuing to meld the 70s & 80s influences that formed their unique wheelhouse, on their 1982 hit "Take Me Down".  But how does this song's harmonic complexity particularly fit the particular subject matter?

Melton tackles Steve Wariner's 1998 ACM & CMA Song of the Year, "Holes in the Floor of Heaven," a cut remarkable for its similarity to recent selection, "Two Teardrops". But what holes might there be in this song so acclaimed, and what points of departure from its said close cousin?

Brooks & Dunn get us up from our tables and onto the dance floor with their  quintessential neotraditional honky-tonker, "Boot Scootin' Boogie".  But what is it about this cut that not only made us start dancing in 1992 but has also kept us dancing all these decades later?

Vince Gill teaches us how to milk a great hook for all it's worth  in his 1997 hit "A Little More Love". But what specific take does this hook have on the country trope of almost breaking up? And what on earth is Melton talking about with this idea of "bluegrass soul"?

Ronnie Milsap does what he does on 1982's "He Got You". You knew it was going to be 50s/60s R&B-infused 80s country, but what other genre shows up, perhaps unexpectedly, with all four on the floor?

The Oak Ridge Boys remind country music what it sounds like to be lighthearted and fun with their monster 1981 hit "Elvira".   Everybody remembers Richard Sterbin's rafter-rattling bass solo, but what context does it take for something that unique, to fit perfectly into?  In other words, why are our hearts on fire for this classic country song?

Steve Wariner puts on a clinic in tasteful, well-crafted sentimentally in one of his last hits, 1999's "Two Teardrops".  But how exactly is he able to keep it mellow without becoming melodramatic?

In this episode, we get locked away inside of some old Alabama, in their 1981 hit "Love in the First Degree".  Nowadays it all just sounds like old school country, but what specific things things were happening more broadly in country music at the time that Alabama are guilty of?

Collin Raye makes us still feel like we're in 1998 with his upbeat pop country hit "I Can Still Feel You".  We've apostrophized lost love before, but what perhaps surprising left turn does this particular version take?

The restrained pendulum from the last episode swings fully the other way as we examine Joe Diffie's audacious 1994 hit, "Third Rock from the Sun".  Diffie's vocals take center stage in another E blues romp, but what are the links in this chain that Melton thinks don't quite hold together?

Vince Gill's 1992 CMA Song of the Year "Look at Us".  What a nice, straightforward love song.  ...Or is it?  Might there be some sub-surface complexity in this one that invites us look at it a little more deeply?  Tune in and find out.

Syncopation moves to the center of the ring, as we saddle up for a youthful and whimsical ride through Faith Hill's 1993 debut megahit, Wild One.  But what particular twists will we find on this otherwise well trodden course?

Everybody in town knows Foster & Lloyd are doing their best Elvis impression on 1987's Crazy Over You, but what early 90s country song finds its boots firmly in this song's footsteps?

Melton has more questions than answers as he explores the ambiguous tone of David Frizzell's 1982 hit "I'm Gonna Hire a Wino to Decorate Our Home".  Who's mocking whom?

Melton tackles an early example of The Judds' unique approach to 80s country in "Girls Night Out", but does this song hold up as well as some of its contemporaries?

Melton puts his best effort toward getting to the bottom of what makes Alan Jackson's 1995/1996 hit "I'll Try" tick.  It comes down to three adjectives: two of which are part of the patented Alan Jackson formula, but the third of which may surprise you. Tune in to see if you agree or disagree.

The rhythm section yields to a three-way dueling electric guitar showcase, on Steve Wariner's fun 1987 hit, "Lynda".  Listen to the guitars, then listen to Melton break it all down. But sorry folks, calls to Wonder Woman have not been returned.

Melton drives 25 miles away from his responsibilities, upshifts, and revels in the motion-filled energy and contentment of Reba McEntire's 1996/7 "I'd Rather Ride Around with You".  We also have a little fun diagramming sentences.

Melton grabs a chair and spends some time reminiscing with Jo Dee Messina's 1998 hit, the Phil Vassar-penned "I'm Alright". It's great old time with a great old song, but how does the song's incessant motion play into its specific take on nostalgia?

Melton looks this time at what doesn't work about an 80s/90s country song, as Clint Black makes an uncharacteristic trip to the beach in this 1995 hit, "Summer's Comin'".  The Beach Boys comparison is obvious, but what does George Strait have to do with this?

If last week found our protagonist wallowing alone at the local watering hole, this one may tell us what drove him there, as indignation has yet to give way to despair, in Brooks & Dunn's 1993/1994 hit "That Ain't No Way to Go".  In addition to following this lonesome-whistling train down the tracks, we'll talk about how country takes unique looks at cliched situations. Sure you were drunk the day your mom got out of prison...but why?

When the sun goes down on your side of town, join Melton as he moves in and out of the beams of Brooks & Dunn's definitive 1992 classic "Neon Moon".  We take a different approach on this song, by comparing and contrasting it with the last one we covered.  What do "Neon Moon" and "Longneck Bottle" have in common, and what do the differences tell us about how country music worked and progressed in the 90s?  Let's see what we can unravel.

We pull our stools up to the bar as Melton serves up his take on Garth Brooks and Steve Wariner's 1997/1998 hit, "Longneck Bottle", a swinging, honky-tonking celebration (or is it?) of contentment with one's station.  This one's got fiddle, pedal steel, drawly pitch bends, and all the elements needed for Garth Brooks's typically immersive approach to whatever style he happens to be performing.  So come let your hair down, and let's get into a fun one.  Only, be careful with those spurs when you're on the dance floor- those things can be dangerous.

Melton tries his best not to get into the ills of Country Music Yet To Come as we dip our toes and a big orange ball into Kenny Chesney's 1998/1999 hit, "How Forever Feels," a song full of exuberance and fun that arguably made him a Big Star.  But which of these idiosyncratic lyrics are making us drop our sunglasses for a closer look?

It's getting all kinds of 1992 up in here with the blast from the political past that is Travis Tritt's "Lord Have Mercy on the Working Man," a song that we argue doesn't work as well as some others.  But what tools does it employ to get its otherwise difficult message across?

Fiddle and steel guitar ornament Alan Jackson's otherwise simple, straightforward "Livin' on Love", a song that pulls off its rose-colored-glasses-tinged view of traditional family life by filtering it through Jackson's signature honest delivery.  Join us as we dig deeper into this 1994 country radio staple.

Melton goes back to the Diamond Rio mine and digs deeper this time into this emerging concept of rural authenticity  as it's exhibited by the 1997 hit "How Your Love Makes Me Feel".  But what do Randy Travis and Barenaked Ladies have in common?  BYOIC.

It all feels right, as we drop any and all twang to discuss Vince Gill's 1996 hit "Pretty Little Adriana".  Come for the apostrophe; stay for the major 7th chords.  But how are the Eagles involved?

Melton waxes music nerdy about his favorite country band, the always-meticulous Diamond Rio, and their uber-bright 1996 hit "That's What I Get for Loving You".  What makes this song feel so upbeat and happy?  When is twang poppy (or pop twangy), and what does Mariah Carey have to do with it?

Buckle up and hang on tight, as we race this pickup truck out of the driveway and into Garth Brooks's frantic 1993 hit "Ain't Going Down (Til the Sun Comes Up)".  We start by talking about when the blues is not the blues and finish by exploring the concept of rural authenticity that is starting to feel like it's at the bottom of this whole 80s & 90s country music phenomenon.  Or is it?  Join us as we try to figure it out.

We journey over to the harder side of town to idealize about working ourselves into our destinies as we dissect an early Tritt hit "I'm Gonna Be Somebody."  We talk about the rootsy instruments, chords, vocals, and, most of all, "family values."  If this song were a southern dish, it would be grits.  But is it glossing over some important details?

Hang out with Melton by the pool at Southfork Ranch as we soak up this singular confluence of outgoing and incoming musical trends in 1993.  What comprises that particular Little Texas sound, and how does it relate to the difference between playing honky-tonks and playing basketball arenas?  What unexpected streams does this song draw from?  And when does religious language imply the opposite?  You have to listen to believe.

God Blessed Texas

Melton takes a train beat ride down to Georgia to discover what happens you when you set a violin/fiddle exhibition inside a blend of folk and southern rock music.  Also, what is this diabolic sound of a blues scale in a minor key?  So rosin up your bow and give this one a listen.  And don't worry, the dog doesn't bite.

The Devil Went Down to Georgia

We take an airboat through central and south Florida to explore John Anderson's 1992 classic "Seminole Wind".  We get into the song's driving rhythm, how that relates to its plaintive urgency, and how all of that works within a context of (super)natural mystical imagery.  Also, there's that idea of authenticity that just keeps coming up.

So let's come sit upon a cypress stump and work through this one together, as we work through what exactly made the wide river of 80s & 90s country music flow.

We seek to build our understanding of 80s & 90s country music by looking at Garth Brooks's energetic and unapologetic 1991 classic "Rodeo".  We talk about the song's killer instrumental track, bluesy vibe, contrast between restrained verses and a frenetic chorus, and unironic celebration of western U.S. imagery.

Grab your boots and chaps, and let's dig in.

In the debut episode of Nashville Anthems, Melton looks at what makes Patty Loveless's song "How Can I Help You Say Goodbye" special.  We discuss Loveless's unique voice, storytelling in song, piano balladry, and heartfelt heartache.

Give the song a listen or two, then tune in!