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 s…

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 fi…

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 co…

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'…

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 …

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…

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 me…

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 &…

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 co…

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 som…

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? "Whe…

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?