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Win Marty Stuart’s Ghost Train: The Studio B Sessions

August 18, 2010 Leeann Ward 46

Post updated with winners.

As a virtuosic instrumentalist in both mandolin and guitar, Marty Stuart was one of the very talented artists whose peak occurred in the early nineties. While his chart success wasn’t as numerically present as many of his counterparts, his reverence for country music and its history has turned him into one of the most respected nineties country artists today.

Stuart has explored several facets of country music over the years, including rockabilly, traditional, and honky tonk. Now, he is paying his respects to traditional country music with his latest release called Ghost Train: The Studio B Sessions”, which will be released on August 24th. Along with 12 other quality tracks, the album includes a haunting song that Stuart wrote with Johnny Cash just four days before Cash’s death. From the perspective of a man who hanged people for a living, the song is called “Hangmen.” The other stand out song is called “Porter Wagoner’s Grave.”

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The Nineties All Over Again

August 17, 2010 Kevin John Coyne 23

The new country music stars of the nineties grew up with the pop/rock of the seventies. It’s no wonder that many of them revisited songs from that era.

Some of these covers became big hits, like Billy Dean’s “We Just Disagree” and Brooks & Dunn’s “My Maria.” Various album cuts and tribute projects demonstrated Lorrie Morgan’s fondness for Bonnie Tyler (“It’s a Heartache”), Garth Brooks’ love for Kiss (“Hard Luck Woman”), and more than a dozen artists’ affinity for the Eagles.

It’s just a matter of time before today’s country stars start remaking pop and rock hits from the nineties. Here’s a few that I think would work well:

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Single Review: Jason Aldean, “My Kinda Party”

August 17, 2010 Kevin John Coyne 12

I’m a big Nintendo guy. They put out a console, I buy it.

I like their handhelds even more. Every time they upgrade one, I buy the new and improved version. Bigger and brighter screens, internet access, more comfortable design. All good reasons to trade in the old one and get the new.

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Picking the CMA Nominees: Male Vocalist of the Year

August 15, 2010 Kevin John Coyne 25

If turnover has been slow in the Entertainer category, it’s been nothing less than glacial in the Male Vocalist race. Over the past ten years, only eleven men have received nominations. Four of those eleven – Dierks Bentley, Vince Gill, Darius Rucker, and Josh Turner – have been nominated only once.

Now, Toby Keith and Tim McGraw were regularly invited to the party in the first half of the last decade, with four and three nominations, respectively. But the race has essentially been dominated by the same five men: Kenny Chesney, Alan Jackson, Brad Paisley, George Strait, and Keith Urban, who combine for forty nominations in just one decade.

The recent history has been pretty boring. After two consecutive wins by Alan Jackson, we’ve had three consecutive wins each by Keith Urban and reigning champ Brad Paisley.

Will there be a new winner this year, or even a new nominee? Should there be?

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400 Greatest Singles of the Nineties: #100-#76

August 15, 2010 Kevin John Coyne 13

Many a star was launched in the nineties, a few of them right out of the gate. This section includes the debut singles from Toby Keith, Jo Dee Messina, LeAnn Rimes, and Doug Stone, along with Grammy-winning hits by Alison Krauss and Dwight Yoakam.

400 Greatest Singles of the Nineties: #100-#76

#100
The Battle Hymn of Love
Kathy Mattea & Tim O’Brien
1990 | Peak: #9

Listen

Wedding songs are typically made of the same fiber, but this one is a little different: it’s energized by burning conviction and fierce pledges. – Tara Seetharam

#99
Blue
LeAnn Rimes
1996 | Peak: #10

Listen

Sure, the novelty of thirteen year-old Rimes’ prodigious Patsy imitation helped things along. But that unshakable yodeled hook would have made “Blue” a classic in any era of country music. – Dan Milliken

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Single Review: Rascal Flatts, “Why Wait”

August 13, 2010 Tara Seetharam 24

Maybe it’s a product of their new home, Big Machine Records, or maybe it’s their way of responding to the monster success of Lady Antebellum – but the Flatts boys are back on their game.

For five years and three albums, we’ve heard only a watered-down brand of Rascal Flatts: their signature tight harmonies have been masked by overblown production, and their typically well-crafted melodies have seemed stale. Their music as of late has generally lacked the spark that turned their early 2000s hits into gems.

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400 Greatest Singles of the Nineties: #125-#101

August 12, 2010 Kevin John Coyne 24

Johnny Cash may have been too dark for country radio back in 1994, but his morbid single lives on alongside debut singles, seventies covers, and a whole lot of Mary Chapin Carpenter.

400 Greatest Singles of the Nineties: #125-#101

#125
Breathe
Faith Hill
1999 | Peak: #1

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Sure, the melody of the chorus sounds just like “It Matters to Me.” But “Breathe” took the country power ballad to new heights, becoming Hill’s signature hit in the process. – Kevin Coyne

#124
Life’s a Dance
John Michael Montgomery
1992 | Peak: #4

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It’s the catchy fiddle riff that’s so memorable about John Michael Montgomery’s debut, number one, single. He is known for being a balladeer, but this one is an up-tempo motivational song. – Leeann Ward

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Single Review: Sugarland, “Stuck Like Glue”

August 11, 2010 Kevin John Coyne 42

I could write a few paragraphs about why I love this song, but what’s the point?

They don’t sing the praises of Bubble Yum and S’Mores in Food & Wine magazine, but boy, do those treats taste good.

So you’ll have to look for the country connoisseur perspective elsewhere. All I have to say about “Stuck Like Glue” is this:

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Single Review: Taylor Swift, “Mine”

August 11, 2010 Dan Milliken 85

Where do you go from the top of the world? It’s a question all kinds of music icons have had to answer, but it’s hard to imagine most of them facing Taylor Swift’s level of pressure. Consider her standing: an American Sweetheart adored by young people and respected by their parents, staple of multiple radio formats, winner of commercial music’s very biggest awards, but facing sharp backlash for embarrassing live vocals, for a narrow songwriting perspective, and all in the most media-pervasive climate ever, a fame minefield where one bad move can mean national embarrassment – and all, of course, before she turns twenty-one.

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Single Review: Brad Paisley, “Anything Like Me”

August 10, 2010 Leeann Ward 26

A common element that runs through Brad Paisley’s songs is a style of conversational storytelling. To many it seems simple and authentic while others just feel it’s simplistic without real depth. Depending on the song, either opinion is relevant or in some instances, both views are valid within the same song. “Anything Like Me” just may be one such song, but leaning closer to the positive than negative. The song is written in the trademark conversational tone, but the personal sentimentality of the subject matter is strongly present.

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