My Favorite Songs with Female Vocals (Part Two)

In part one I chose “Boogie Woogie Bugle Boy” – Andrew Sisters, “Over the Rainbow” – Judy Garland – “Sleep On” – Alison Krauss, “Gypsys, Tramps & Thieves” – Cher, “What Is Life” – Olivia Newton-John, and “Tear Off Your Own Head” – the Bangles. Here are six more:

“The Grass Is Green” is a song by Nelly Furtado from her second studio album Folklore, released on November 25, 2003, and it stands as one of the record’s most rhythmically urgent and emotionally conflicted tracks, blending pop, folk, and subtle worldbeat textures that reflected the album’s more organic,

introspective direction compared to her debut Whoa, Nelly!; the song was written by Nelly Furtado along with Gerald Eaton and Brian West of the production team Track & Field, who also produced it, and its tightly wound percussion, bright acoustic guitar figures, and insistent melodic phrasing frame lyrics that explore romantic dissatisfaction, denial,

and the temptation to believe that life would be better elsewhere, with the central metaphor—“the grass is green but it’s not what it seems”—undercutting the familiar cliché that the grass is always greener on the other side and instead suggesting illusion, projection, and self-deception in matters of the heart; although not released as a major commercial single in North America, the song did receive single treatment in parts of Europe and Australia in 2004, accompanied by a music video featuring stylized, emotionally tense performance imagery, and it charted modestly in several territories without matching the commercial impact of earlier hits

such as “I’m Like a Bird” or later global successes like “Promiscuous,” yet it has been regarded by critics and fans as one of the standout cuts on Folklore for its lyrical sharpness and restless energy, often cited as emblematic of the album’s themes of identity, longing, and cultural hybridity; no radically different studio versions were issued beyond standard single edits and remixes prepared for radio and promotional use,

but live performances during the Folklore era emphasized its percussive drive and emotional volatility, underscoring the song’s place as a bridge between Furtado’s early folk-pop sensibility and the more rhythm-driven pop she would later explore, and while it did not achieve high chart rankings compared to her biggest singles, it remains an important artistic statement within her early catalog, capturing a moment when she was consciously resisting pop expectations in favor of a more personal and sonically adventurous approach.

“My Church” is the breakthrough single by Maren Morris, released on January 19, 2016, as the lead single from her major-label debut album Hero, and it was written by Maren Morris and busbee (Michael James Ryan), with busbee also producing the track, crafting a sound that fused country storytelling with gospel fervor

and pop accessibility; driven by handclaps, piano, and a soaring chorus punctuated by references to Hank Williams and Johnny Cash, the song uses the metaphor of a car radio as a place of spiritual refuge, equating the emotional release of singing along to country music with the experience of attending church, thereby reframing faith in personal, musical,

and communal terms rather than strictly religious doctrine, and its exuberant tone, complete with a choir-like backing vocal and a saxophone solo rare for mainstream country radio at the time, helped distinguish it within the evolving mid-2010s country landscape; the single reached number one on the Billboard Country Digital Songs chart, peaked at number five on the

Hot Country Songs chart, and crossed over to the Billboard Hot 100 where it reached the top 40, while also charting in Canada, and it was certified multi-platinum by the RIAA, becoming one of the defining country hits of 2016; critically acclaimed, it won the Grammy Award for Best Country Solo Performance at the 59th Annual Grammy Awards and earned nominations for Best Country Song and Best New Artist for Morris, and it also received honors from the

Country Music Association and the Academy of Country Music, cementing her arrival as a major new voice in country music; beyond the original album version, “My Church” appeared in radio edits and live performances, including prominent award show renditions that emphasized its gospel climax, but no substantially re-recorded studio versions have supplanted the original, and the song’s enduring

reputation rests on its clever lyrical conceit, its celebratory blend of sacred imagery and secular joy, and its commercial and awards success, which together marked a pivotal moment in Maren Morris’s career and in the broader conversation about the boundaries of contemporary country music.

“Leave Me Alone (Ruby Red Dress)” is a 1973 single by Helen Reddy, written by Linda Laurie and produced by Joe Wissert, released on Capitol Records as the lead single from Reddy’s album Long Hard Climb, and it became one of her most distinctive narrative hits during the peak of her early-1970s success; built around a dramatic storytelling structure,

the song follows a recently widowed woman who defiantly puts on a ruby red dress and goes out despite small-town gossip, using vivid imagery and conversational asides to explore grief, resilience, female independence, and the social policing of women’s behavior, themes that resonated strongly in the post–“I Am Woman” phase of Reddy’s career and

aligned with her public image as a voice of assertive femininity; musically, the record blends pop orchestration with a country-tinged storytelling sensibility, allowing Reddy to deliver both spoken-style verses and emotionally swelling choruses that heighten the protagonist’s inner conflict and ultimate resolve;

commercially, the single reached number three on the Billboard Hot 100, climbed to number two on the Adult Contemporary chart, and charted on the country listings as well, while also achieving significant success in Canada and Australia, reinforcing Reddy’s status as a reliable hitmaker in the adult pop market of the era; although the original studio recording remains the definitive version, Reddy performed the song frequently in concert and on

television appearances throughout the 1970s, and it has appeared on numerous greatest-hits compilations, sometimes in slightly edited forms for radio play, but without major re-recordings supplanting the hit version; critically and historically, “Leave Me Alone (Ruby Red Dress)” is often cited as one of Reddy’s most cinematic

singles, notable for its empathetic portrayal of a woman reclaiming autonomy in the face of public scrutiny, and it stands alongside her signature songs as an example of how early-1970s pop could merge commercial appeal with socially observant storytelling.

“Midnight at the Oasis” is the signature 1973 hit by Maria Muldaur, written by David Nichtern and produced by Lenny Waronker and Joe Boyd for her self-titled debut album Maria Muldaur, and it became an unexpected pop and adult contemporary breakthrough in 1974 thanks to its languid, desert-tinged atmosphere and subtly suggestive lyric;

built around a gently swaying rhythm, prominent electric piano, and the distinctive, fluid slide guitar work of Amos Garrett—whose solo became one of the track’s most celebrated elements—the song evokes an exotic, romantic fantasy set against an imagined North African backdrop, using imagery of camels, veils, and moonlit rendezvous to frame a playful yet

sensual invitation, with Muldaur’s cool, understated vocal delivery balancing humor and allure rather than overt melodrama; released as a single in early 1974, it rose to number six on the Billboard Hot 100, reached number two on the Adult Contemporary chart, and earned a Grammy nomination for Record of the Year, while the album itself achieved gold certification and established Muldaur, previously known for her work in folk and jug band circles including the Jim Kweskin Jug Band, as a mainstream solo artist; the original studio recording remains definitive,

though Muldaur has performed it extensively in concert over the decades and included it on various live recordings and retrospective compilations, and it has also been covered by other artists in styles ranging from jazz to lounge pop, underscoring its adaptable melody and enduring appeal; critically,

“Midnight at the Oasis” is often cited as emblematic of the early-1970s soft-rock and adult pop aesthetic that blended folk roots with light R&B and jazz textures, and its commercial ranking, Grammy recognition, and lasting radio presence have cemented it as both Muldaur’s career-defining hit and one of the era’s most recognizable romantic pop singles.

“Before He Cheats” is a 2006 single by Carrie Underwood from her debut album Some Hearts, written by Chris Tompkins and Josh Kear and produced by Mark Bright, and it became one of the most commercially successful and culturally resonant country crossover hits of the 2000s; structured around a pounding, minor-key groove with blues-rock guitar riffs and a defiant

vocal performance, the song tells the story of a woman taking revenge on an unfaithful partner by vandalizing his pickup truck, using vivid, sharply detailed imagery—most memorably the Louisville Slugger smashing headlights and keying leather seats—to dramatize anger and betrayal while framing the destructive act as a cautionary warning to future would-be cheaters;

although initially released as the fifth single from Some Hearts, it gained momentum through strong radio airplay and word of mouth, eventually peaking at number eight on the Billboard Hot 100, reaching number one on the Hot Country Songs chart, and crossing into the top ten of the Pop 100, while also achieving multi-platinum status and ultimately becoming one of the best-selling country singles of all time, certified multi-platinum by the RIAA;

critically praised for its assertive narrative and Underwood’s powerhouse delivery, it won the Grammy Award for Best Female Country Vocal Performance and earned nominations from the Country Music Association and Academy of Country Music, and it has frequently ranked high on lists of top country songs of the 2000s and greatest country revenge songs, cementing its status as Underwood’s signature hit; beyond the original album and radio versions,

the song has appeared on numerous live albums and greatest-hits compilations, with Underwood often extending the climactic final chorus in concert to heighten audience participation, but no substantially altered studio re-recordings have replaced the original, and its enduring popularity reflects both its cathartic storytelling and its seamless blend of country tradition with rock-inflected mainstream appeal.

“Mercy” is the 2008 breakthrough single by Duffy, released from her debut album Rockferry, written by Duffy (Aimée Anne Duffy) and Bernard Butler, with production by Butler, and it became one of the defining retro-soul hits of the late 2000s thanks to its Motown-inspired groove, driving bassline, handclaps, and Duffy’s distinctive, vintage-tinged vocal

delivery; lyrically, the song captures the tension of overwhelming romantic attraction and emotional surrender, with the repeated plea of “Why won’t you release me?” expressing both desire and vulnerability, while the upbeat arrangement creates a deliberate contrast between lyrical desperation and buoyant,

danceable energy; released in the United Kingdom in February 2008, “Mercy” debuted at number one on the UK Singles Chart and went on to top charts in multiple countries including Ireland and Sweden, while reaching the top ten across Europe and peaking within the top 40 on the Billboard Hot 100 in the United States,

where it also became a significant Adult Top 40 and Adult Contemporary hit, contributing to Rockferry becoming one of the best-selling albums of the year in the UK; the song received widespread critical acclaim and won the Brit Award for Best British Single in 2009, and it played a central role in Duffy later winning the Grammy Award for Best Pop Vocal Album for Rockferry, cementing her as a major new voice during the soul revival movement alongside

contemporaries such as Amy Winehouse; beyond the original album version, “Mercy” appeared in radio edits, remixes, and numerous live performances that often emphasized its rhythmic drive and audience call-and-response potential, but the core studio recording remains the definitive version, and its enduring appeal lies in its fusion of 1960s soul aesthetics with contemporary pop polish, its strong chart rankings across international markets, and its status as Duffy’s signature song.