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© 2026 Nashville Anthems: Dissecting 80s & 90s Country Music
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Have you always thought there was something special about 80s and 90s country music that you've never been able to put your finger on? Why does this music stand out? Well, let's don our cowboy hats, adjust our oversized belt buckles, tease that hair, and see if we can get the bottom of it, by picking apart one song at a time.
106 Episodes
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George Strait reminds us for the upteenth time why he's The King, in this vintage cut from the early part of his (very long) commercial peak, 1986's "Ocean Front Property". Authentic Texas honky-tonk is the order of the day, but what other influences might be lurking in the background? And how does Strait's signature brand of honky-tonk weave it all together to feel like an organic, cohesive whole?
1985 takes us to a quartet of legendary "outlaws". Willie Nelson, Kris Kristofferson, Waylon Jennings, and Johnny Cash called themselves the Highwaymen, and it wasn't just about the song. A lot combines sonically on "Highwayman" to establish its sublime, ethereal vibe, but how do fantasy and reality combine to suggest that something more self-consciously attached to the history of country music is going on in this instant classic?
Our 2025 Christmas episode takes us to some gift-wrapping music of Melton's childhood: from Kenny Rogers & Dolly Parton's 1984 Christmas album, we're curling up with "The Greatest Gift of All". If "Christmas in Dixie" was about coming down after Christmas day, this one is about settling down after an extended Christmas Eve. Kenny warms us up with his cozy verse, and Dolly settles comfortably into hers as well. But what kind of Christmas magic occurs when these two era-defining v...
1983 takes us to one of the elite hitmakers of the 1980s, Earl Thomas Conley, and one of his best known hits, "Holding Her and Loving You". As another example of the nuance with which country music talks about cheating, this song delivers some lines that are so unbelievably self-absorbed they have to be true. But how does the musical setting of these eye-popping lyrics reinforce the almost unbearable feeling of tedious stagnation in this classic of the 80s?
1982 finally takes us to legendary hitmaker Conway Twitty's cover of the Pointer Sisters' "Slow Hand". Twitty was never shy about mature topics, and this one is no exception, but how does the change in perspective from the original serve to amplify the charismatic delivery of this all-time pro?
1981 takes us to a time when reigning Entertainer of the Year Barbara Mandrell needed to remind us that she had stayed true to her roots. And if you don't believe her, just ask guest vocalist George Jones, as he supports Mandrell in one of her signature hits: "I Was Country When Country Wasn't Cool". We know this refrain, don't we?, in a genre that is constantly pitting itself against the "evil" forces of Top 40. But was Barbara Mandrell country? Or was country Barbara Mandrell? And what does...
For our milestone 100th episode, we take on a song and singer both of whom are in the conversation for Greatest of All-time. And it's no coincidence: in "He Stopped Loving Her Today", the sheer weight of Bobby Braddock & Curly Putman's composition, set in the legendary Billy Sherrill's production (with an assist from unsung hero Millie Kirkham), could have been carried by no other voice than that of George Jones. It's known as the saddest song ever written and the cut that put George Jone...
Daryle Singletary lets life happen to him in this mid-90s gem: 1995's "I Let Her Lie". No one can deny the Randy Travis influence in the vocals, but how does the fruit of that influence align with the passive lyrics and common chord progression, to give us a taste of irrevocable loss due, at least in part, to our own refusal to act?
Sawyer Brown remind us how to have fun in the early 90s, with their catchy, lowish-class anthem "Some Girls Do". Mark Miller paints a vivid picture of connecting within one's lane, in this classic of 1992, but what does the abrupt resolution in the chorus tell us about how his narrator wrestles with his station in life?
As we close in our 100th episode (this is #97), we tackle another listener request, and one of Melton's all-time favorites, Collin Raye's gut-wrenching 1994 hit "Little Rock". Raye delivers a wallop of emotion with Tom Douglas's poignant lyrics taking center stage, as we don't know whether to cheer or cringe at what this recovering alcoholic is proclaiming. But does he believe what he's saying? And if so, what's so diminuitive about this guy's new foundation?
Faith Hill showcases her powerful and versatile vocal stylings on her plaintive 1998 hit "Let Me Let Go". Vince Gill's harmony vocals don't hurt a bit either, but what are we to do with all these unorthodox chords? And what does Ray Charles have to do with it?
By request, we're finally chasing down thoroughbred Texas honky-tonker Tracy Lawrence, and his 1995 hit "Texas Tornado". Steel guitar and soaring strings collide on this Bobby-Braddock-penned, Tracy-Lawrence-produced amalgation. But how does Braddock's wild chord progression pick this chorus up, spin it round, and put us right back down again where we started from? Also, if you're into this sort of thing, you can find Melton's other podcast here: Propaniacs: A King of the Hill Podcast.
By request, it's the smooth sounds of Blackhawk's 1994 hit "Every Once in a While". The instrumentation, the vocals, and the overall sound are all Blackhawk. But how do all these things lend support to these lyrics' understated confidence? And while you're at it, why not roll over to Melton's other podcast, Propaniacs: A King of the Hill Podcast? He publishes an episode every now and then...
The requests keep coming in, and this time it's Reba & Vince's 1993 powerhouse ballad, "The Heart Won't Lie". In the canon of country duets, this one holds a unique place. Conway & Loretta this ain't, but how does this arrangement fit the adult contemporary context leading up to it, and what does Disney have to do with it?
It's about time. In this special July 4th episode, we finally tackle 90s icon Martina McBride, and arguably her signature song, 1994's "Independence Day". Rarely has a song been so committed in every aspect to its interwoven themes of justice and judgment, and from so many different angles and perspectives that we had to bring in a PhD to help us unravel them! (Seriously.) Dr. Victoria Reynolds Farmer joins Nashville Anthems as our first ever guest! So you're going to want to stick arou...
By request, we take on a classic one-hit-wonder (in the U.S. anyway). It's Michelle Wright with 1992's "Take It Like a Man". Rarely has a song done more with a single note than this one does with the note G. But this cut is much more than a just G thing. How does this catchy number shift seamlessly between eye-rolling frustration and empowered assertion? And how do Wright's outstanding vocals tie it all together? Here's the video we mention in the episode, in which Wright tells the stor...
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 stage, 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?
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