Rating: 
Summary: don't y'all get it?
Review: It seems unfortunate to me that there are reviews in this forum that judge this book negatively because the reviewers happen to disagree with the authors' choices. Of course you're not going to agree with all the choices (or even most of them), but even if you don't, the simple fact is that Cantwell and Friskics-Warren have crafted a beautifully-written, well-argued text that will start conversations and promote deep and appreciative listening of one of America's finest musical forms. Bravo.
Rating: 
Summary: SUNDAY MORNING LOOKING IN VAIN
Review: Like other of your reviewers, I found this book both enjoyable and baffling. Following the intentions stated by the authors in their introduction, I have listened to many of these selections with "new ears" and come away with new appreciation. Their #1 pick Sammi Smith's version of "Help Me Make It through the Night" is a good example but I'm sticking with their #2 "Lost Highway" is the all time greatest. The one thing that really confounds me and led to my reduction in rating is how in the world could they have ignored Johnny Cash's version of "Sunday Morning Coming Down" not only from the 500 greatest but the alternate 100. John R. is well represented here as he should be but "Sunday Morning" was a landmark in his ongoing transformation to American Music God as well as serving as a breakthrough in the country music
world for songwriter Kristofferson.
Rating:
Summary: SUNDAY MORNING LOOKING IN VAIN
Review: Like other of your reviewers, I found this book both enjoyable and baffling. Following the intentions stated by the authors in their introduction, I have listened to many of these selections with "new ears" and come away with new appreciation. Their #1 pick Sammi Smith's version of "Help Me Make It through the Night" is a good example but I'm sticking with their #2 "Lost Highway" is the all time greatest. The one thing that really confounds me and led to my reduction in rating is how in the world could they have ignored Johnny Cash's version of "Sunday Morning Coming Down" not only from the 500 greatest but the alternate 100. John R. is well represented here as he should be but "Sunday Morning" was a landmark in his ongoing transformation to American Music God as well as serving as a breakthrough in the country music
world for songwriter Kristofferson.
Rating:
Summary: 500 Reasons Why Nashville Music Today Is Horrid
Review: Nashville's schtick is to put some gorgeous babe (male or female) in a hat and boots, have him or her sing some souped-up arrangment, and voila...a "country" hit. Never mind that Nashville's idea of a "country" hit is not far removed from any other top forty hit cluttering up the Clear Channel airwaves. Never mind that in 3 years nobody, except the most hard core trivia hounds, will even remember the tune. Never mind that it just ain't country!Which is not to say that each and every one of the 500 singles outlined in this book is in fact "country." Many of them aren't (at least not how I'd catalogue 'em). But each and every one of these tunes is in fact "great" and has its place in whatever bin is labeled "country" at the local Wal-Mart. Any collection like this is going to be highly subjective and is bound to create arguments over inclusions and exclusions. Hell, I think that the Rolling Stones' "Exile On Main Street" is one of the greatest country albums ever reduced to vinyl. I'm sure not everyone is gonna agree with me. the point is that this book is not a compendium of the 500 Best Acts....so whoever it was whining that a single from that hack band Alabama wasn't included, please....re-read the damn thing. Besides, even if this book was supposed to serve as some country music survey, Alabama would barely rate a footnote. So, having said that, is this book any good? Actually, it is very good. There is a lot of very good, insightful writing here. What Cantwell and Friskics have done is essentially survey popular country music, in virtually all of its permutations. In constructing this survey, the authors, under the guise of critiquing each selected tune, present an idisyncratic critical theory of country music which holds up very well to scrutiny. And they've done it without academic jargon. This book is going to an essential component in any country music fan's library. Now, can anyone explain to me why there isn't a single version of "Dark As A Dungeon" included here?
Rating:
Summary: 500 Reasons Why Nashville Music Today Is Horrid
Review: Nashville's schtick is to put some gorgeous babe (male or female) in a hat and boots, have him or her sing some souped-up arrangment, and voila...a "country" hit. Never mind that Nashville's idea of a "country" hit is not far removed from any other top forty hit cluttering up the Clear Channel airwaves. Never mind that in 3 years nobody, except the most hard core trivia hounds, will even remember the tune. Never mind that it just ain't country! Which is not to say that each and every one of the 500 singles outlined in this book is in fact "country." Many of them aren't (at least not how I'd catalogue 'em). But each and every one of these tunes is in fact "great" and has its place in whatever bin is labeled "country" at the local Wal-Mart. Any collection like this is going to be highly subjective and is bound to create arguments over inclusions and exclusions. Hell, I think that the Rolling Stones' "Exile On Main Street" is one of the greatest country albums ever reduced to vinyl. I'm sure not everyone is gonna agree with me. the point is that this book is not a compendium of the 500 Best Acts....so whoever it was whining that a single from that hack band Alabama wasn't included, please....re-read the damn thing. Besides, even if this book was supposed to serve as some country music survey, Alabama would barely rate a footnote. So, having said that, is this book any good? Actually, it is very good. There is a lot of very good, insightful writing here. What Cantwell and Friskics have done is essentially survey popular country music, in virtually all of its permutations. In constructing this survey, the authors, under the guise of critiquing each selected tune, present an idisyncratic critical theory of country music which holds up very well to scrutiny. And they've done it without academic jargon. This book is going to an essential component in any country music fan's library. Now, can anyone explain to me why there isn't a single version of "Dark As A Dungeon" included here?
Rating:
Summary: don't y'all get it?
Review: Sometimes you can judge a book by its cover. Take for example the cheesy cover showing LPs. Books in which the editors choose songs are usually done in a respectful manner and by those who are well steeped in the genre. Not here. Take for example Merle Haggard's "Carolyn" that comes in at #9. Haggard, a prolific songwriter wasn't the one who penned this song. And few Merle fans would even included this in there top 20 songs that Merle performs. And then there's the inclusion of Juice Newton and Oliva Newton John. For goodness sakes.
Rating: 
Summary: This Book Gave Me a Heartache
Review: Sometimes you can judge a book by its cover. Take for example the cheesy cover showing LPs. Books in which the editors choose songs are usually done in a respectful manner and by those who are well steeped in the genre. Not here. Take for example Merle Haggard's "Carolyn" that comes in at #9. Haggard, a prolific songwriter wasn't the one who penned this song. And few Merle fans would even included this in there top 20 songs that Merle performs. And then there's the inclusion of Juice Newton and Oliva Newton John. For goodness sakes.
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