Barbara Mandrell stands as a testament to prodigious talent meeting country-pop stardom. From her early days as an instrumental virtuoso to her reign as a chart-topping vocalist, Mandrell’s career is rich with unforgettable songs. Understanding Barbara Mandrell begins with recognizing her as a musical prodigy. By the age of 11, she was already proficient on the pedal steel guitar, an instrument known for its complexity, performing alongside seasoned professional musicians. It wasn’t long before she shared stages with legends like Johnny Cash and Patsy Cline, showcasing her exceptional skills to captivated audiences.
While her instrumental abilities might sometimes be overshadowed by her immense commercial success in the 1970s and 1980s, it’s crucial to remember the foundation of her artistry. Her music during this period leaned heavily into the pop sensibilities of country-pop, resulting in songs that were both commercially triumphant and, at times, critically debated. Looking back, this era of Barbara Mandrell Songs reveals a fascinating genre fluidity and a spirit of experimentation. Yet, this crossover approach also drew some criticism, which Mandrell herself would address head-on with one of her signature hits.
Listen to the best Barbara Mandrell songs now.
Barbara Mandrell’s vocal talent was as versatile as her instrumental skills. Her voice, both skillful and effortlessly adaptable, allowed her to explore various pop styles while remaining rooted in her country foundation. Importantly, she never abandoned her instrumental prowess. Every Barbara Mandrell show, and her appearances on her family variety show, featured her playing a range of instruments, from pedal steel and banjo to dobro, mandolin, and even saxophone. This remarkable versatility, combined with her consistent stream of hit songs, culminated in her historic achievement as the first artist to win the Country Music Association’s Entertainer of the Year award for two consecutive years.
Below, we delve into 20 of Barbara Mandrell’s best songs, a collection that highlights her journey through throaty country-soul, twangy disco-infused tracks, and everything wonderfully in between. This list is a celebration of the diverse and enduring catalog of Barbara Mandrell songs.
“Married, But Not To Each Other” (1977)
Barbara Mandrell in 1978 publicity portrait, showcasing her sophisticated country-pop image
This compelling country-pop single fearlessly tackles the complexities of infidelity, both from a moral and practical perspective. “Married, But Not To Each Other” served as a pivotal moment for Barbara Mandrell, allowing her to further develop the disco-influenced sound that would soon propel her to mainstream success. The song is characterized by shimmering string arrangements expertly interwoven with traditional country instrumentation. Mandrell’s powerful vocal delivery brings a captivating credibility to the song, originally an R&B track, transforming it into a country-pop gem. It became her most significant hit at that point in her career, reaching No. 3 on Billboard’s country chart and solidifying her crossover appeal.
“Standing Room Only” (1975)
Achieving Barbara Mandrell’s first top-five hit on Billboard’s country chart, “Standing Room Only” marked her initial recordings with ABC/Dot Records. These sessions were helmed by Tom Collins, the producer who would become instrumental in shaping the most commercially successful phase of her career. This poignant and melancholic single features the distinctive “crying” pedal steel guitar work of John Hughey, creating a deeply emotional soundscape. “Standing Room Only” showcased Mandrell’s vocal strength and control within a more restrained and subtle delivery. Distinct from much of her later, more pop-centric work, this song leaned decidedly towards traditional country, with a twang that remained evident even within its dramatic and powerful chorus.
“Woman to Woman” (1978)
For enthusiasts of 1970s pop music, Barbara Mandrell’s spoken-word intro on “Woman to Woman” is instantly iconic. Like many of her recordings, this song originated in the soul genre. While Barbara Mandrell’s rendition softened some of the raw emotion of Shirley Brown’s original Stax version, it possesses its own unique charm and appeal. In less capable hands, this cover might have sounded exaggerated or insincere. However, Mandrell transforms it into an effective piece of country soul, with subtle pedal steel accents weaving through the lush string arrangements, creating a rich and textured sound.
“Fast Lanes And Country Roads” (1985)
Barbara Mandrell extended her streak of top ten hits with “Fast Lanes And Country Roads,” a spirited and slightly irreverent take on the increasingly common pop-country theme of rural pride and “dirt road” culture. Surprisingly, the song leans more towards rock and roll than traditional country roots. Despite this stylistic choice, the lyrics are notably clever and more sophisticated than typical for the genre. Mandrell’s performance convincingly blends synthesizers, gospel-style backing vocals, and pedal steel, creating a unique and catchy sound that resonated with audiences.
“After Closing Time” (1970)
A shared producer, Billy Sherrill, facilitated a series of collaborations between Barbara Mandrell and David Houston. Houston was already a major star, celebrated for his hit “Almost Persuaded.” In contrast, Mandrell was yet to release her debut album when they recorded “After Closing Time,” a lively and playful duet. This song is a lighthearted tribute to the allure of a flirtatious waitress who already has a boyfriend. “After Closing Time” became a significant milestone in Barbara Mandrell’s early career, marking her first top ten hit on the country charts and introducing her to a wider audience.
“Treat Him Right” (1971)
“Treat Him Right,” Barbara Mandrell’s energetic rendition of Roy Head’s 1965 hit, highlights her early versatility as an artist. Rather than simply “countrifying” an R&B song, as she had done with some earlier singles, she skillfully extracted the sweetness and seductive undertones from a blues song that already had a rockabilly edge. While slightly retro even for its time, this release proved successful for the still-emerging singer, showcasing her ability to blend genres and appeal to a broad audience.
“Tonight My Baby’s Coming Home” (1973)
Barbara Mandrell’s first solo top ten hit on the country charts, “Tonight My Baby’s Coming Home,” is a surprisingly suggestive ode to a captivating trucker. Trucking-themed songs were popular when she recorded this single, yet the lyrical content, with lines like “he’s got that big ol’ engine singing my favorite song,” is still quite unexpected. Humorous innuendo aside, the song is undeniably fun and catchy. Its rollicking, uptempo sound offers a distinctive and welcome deviation within the broader Barbara Mandrell catalog, showcasing her range beyond ballads and pop-infused tracks.
“Wish You Were Here” (1981)
“Wish You Were Here,” from a live album recorded at the legendary Roy Acuff Theater in Opryland, perfectly exemplifies the seamless fusion of disco and authentic country sounds. Her band, the Do-Rites, provides a subtly groovy backdrop for this melancholic tune. The lyrics express a relatable lament about the loneliness of drinking piña coladas alone. For listeners wanting to explore Barbara Mandrell’s deeper dive into disco, the club-ready track “Sometime, Somewhere, Somehow,” released just a year prior, offers an even more pronounced example of her genre-bending experimentation.
“Crackers” (1980)
“Crackers” boasts perhaps one of the most endearingly quirky and genuinely honest choruses in pop music history. Penned by her frequent collaborators Kye Fleming and Dennis Morgan, this Barbara Mandrell song might have been dismissed by some for its bouncy melody. However, it’s hard to deny the sincere affection conveyed in the seemingly simple act of allowing someone to eat crackers in your bed. This playful and relatable sentiment contributed to the song’s charm and popularity.
“I’ve Been Loving You Too Long (To Stop Now)” (1969)
Covering an Otis Redding song, especially one as iconic as “I’ve Been Loving You Too Long (To Stop Now),” is a daunting task for any artist. However, Barbara Mandrell’s debut charting single was a courageous and successful attempt. Her rendition stands on its own merits, offering a distinct interpretation that avoids direct comparison to Redding’s definitive version. Mandrell’s effortless vocal delivery and the song’s subtly smoky quality lend a convincing weight to her interpretations of soul and R&B tracks, proving her versatility even early in her career.
“The Midnight Oil” (1973)
“The Midnight Oil” is a notable example of a liberated woman’s anthem in Barbara Mandrell’s catalog. The song’s narrator isn’t just working late instead of rushing home; she’s also playfully fabricating the reason for her late hours to continue a passionate workplace affair. A gentle, almost folk-like instrumental arrangement supports Mandrell’s smooth vocals as she delivers (quite suggestive for the time) sweet nothings to her unsuspecting partner. This song became a hit on the country charts and paved the way for Mandrell to explore a series of singles centered around themes of infidelity and complex relationships.
“Darlin’” (1979)
Barbara Mandrell’s vocal performance on “Darlin’” is unusually raw and emotionally exposed for her catalog. This unexpected cover was released shortly after David Rogers’ version first charted in America. The song’s style contrasts sharply with the disco-tinged pop and string-laden ballads that Mandrell was simultaneously achieving success with on both the country charts and the Billboard Hot 100. Featuring gentle acoustic guitar and almost bluesy vocal inflections, “Darlin'” offers listeners a glimpse into a different facet of Barbara Mandrell’s artistry – an artist equally comfortable blending harmonica and synthesizers to create compelling music.
“One Of A Kind Pair Of Fools” (1983)
Barbara Mandrell’s final No. 1 country song, “One Of A Kind Pair Of Fools,” signaled a shift away from the overt disco influences of her earlier hits. Strings and synthesizers are less prominent, giving way to a brighter electric guitar sound and a rhythm that is more bouncy than groovy. The song’s narrative, centered on two women unknowingly involved with the same man, was featured on Spun Gold, one of the most commercially successful albums of Mandrell’s career, reaching No. 5 on Billboard’s country charts and demonstrating her continued relevance in a changing musical landscape.
“No One Mends A Broken Heart Like You” (1986)
While few artists could rival Barbara Mandrell’s combined vocal and instrumental talents, particularly within the country genre, her willingness to experiment with pop crossover sounds often made her a target for critics. This was especially true as the 1980s progressed and the neotraditional country movement gained momentum. “No One Mends A Broken Heart Like You” is a straightforward and understated country ballad. It serves as a perfect showcase for the pure quality of Mandrell’s voice. The song’s unadorned simplicity is a refreshing contrast to some of the more elaborate productions in her catalog, highlighting her vocal talent without stylistic distractions.
“There’s No Love In Tennessee” (1985)
Following a serious car accident in 1984 that left her with critical injuries, Barbara Mandrell contemplated whether she would continue her music career at all. Yet, in 1985, she returned to the studio to record “There’s No Love In Tennessee,” a hit ballad that showcased her resilience. Remarkably free of the sentimental clichés that sometimes plagued the genre, “There’s No Love In Tennessee” is a deeply emotional and evocative single. Despite its heavy subject matter, the song maintains a light touch, propelled by a subtle two-step rhythm and made uniquely memorable by its specific references to the state of Tennessee, creating a poignant and lasting impact.
“I Wish That I Could Fall In Love Today” (1988)
Barbara Mandrell, a Texas native, might have offered her first true honky-tonk anthem a couple of decades into her career, but “I Wish That I Could Fall In Love Today,” written by Harlan Howard and originally recorded by Ray Price in 1960, felt perfectly suited for the dance floor when she released it. Mandrell’s version climbed to No. 5 on Billboard’s country chart. By this point, Barbara Mandrell hardly needed to prove her country credentials. However, the fact that her last top ten single was as traditionally country as it gets served as a definitive response to any lingering critics who questioned her country authenticity.
“In Times Like These” (1983)
“The rich keep getting richer, the poor barely get by,” sings Barbara Mandrell in “In Times Like These,” a timeless song addressing economic hardship and the importance of community support. Despite its upbeat, almost rockabilly musical style, the song carries a deeper lyrical weight, exploring themes of social inequality and resilience. This thematic depth helped it resonate with audiences and climb the country charts, even amidst its seemingly cheerful veneer. Released during Mandrell’s peak popularity, when she dominated country radio with her pop crossover hits, “In Times Like These” stood out even more for its roadhouse-ready energy and socially conscious lyrics.
“(If Loving You Is Wrong) I Don’t Want To Be Right” (1978)
Like many of Barbara Mandrell’s early crossover successes, “(If Loving You Is Wrong) I Don’t Want To Be Right” had a previous life as a hugely successful R&B single. Written by Stax songwriters and first recorded by Luther Ingram in 1973, Ingram’s version reached No. 3 on Billboard’s Hot 100 and was subsequently covered by numerous R&B and blues artists. Mandrell’s rendition opens with a dramatic and seductive blend of bass and strings, setting the stage for an evocative take on the sultry ballad. It is Mandrell’s vocal depth and conviction that truly sell the song, transforming it into a country-pop crossover hit while retaining its emotional core.
“Sleeping Single In A Double Bed” (1978)
“Sleeping Single In A Double Bed,” with its upbeat tempo and catchy melody, sounds almost tailor-made for exercise classes or movie montages. This song marked Barbara Mandrell’s first country No. 1 hit and was the first of several successful singles penned by the songwriting duo Kye Fleming and Dennis Morgan. It took nearly a decade of hard work and a significant stylistic evolution, but with this song, Barbara Mandrell finally reached the pinnacle of country music stardom. Despite its lyrical theme of loneliness and regret, the song is undeniably fun and catchy. This enduring appeal led to its revival decades later in a Dave Audé dance remix, demonstrating its timeless quality.
“I Was Country When Country Wasn’t Cool” (1981)
“I Was Country When Country Wasn’t Cool” is undoubtedly Barbara Mandrell’s most enduring and iconic song. It was released at a peak moment in her career when she was a constant presence on television and a fixture in the upper reaches of the country charts. This success was largely due to hit singles that were, ironically, often criticized by country music purists for being too pop-oriented. Alongside the legendary George Jones, Mandrell sang about listening to the Grand Ole Opry and facing mockery for it. This resonated deeply with audiences and became an anthem for a genre increasingly concerned with authenticity. Regardless of whether she was considered “cool” by critics at the time, the song became a massive hit, topping the country charts and contributing to the album’s significant commercial success, solidifying its place as one of the most beloved Barbara Mandrell songs.
Listen to the best Barbara Mandrell songs now.
