In the early eighties, a new kind of country band surfaced, structured like the rock bands that came before them, but deeply grounded in country instrumentation. Alabama were the pioneers of the field, and they reached a level of superstardom beyond most bands of any genre during their peak.
Three of the four members of Alabama are cousins from the band’s namesake state, though Jeff Cook, Teddy Gentry, and Randy Owen first began performing as Young Country in 1969. The band went through a series of day jobs and a series of drummers while honing their sound on the local music circuit in Alabama and neighboring states. After switching to Wildcountry in 1972, and settling on Rick Scott as their drummer in 1974, they finally took the name Alabama in 1977.
A series of minor hits on an independent label led to a contract with RCA, after a final lineup change replaced Scott with Mark Herndon. When the band broke in 1980 with the top twenty hit “My Home’s in Alabama”, what followed set a new bar for commercial success in country music. The band scored a record consecutive 21 #1 hits, became the first act to win CMA Entertainer of the Year three times in a row, and released several multi-platinum albums, including the five million-selling Mountain Music in 1982.
Their success opened the floodgates for other country bands, eventually replacing vocal groups as the dominant non-solo sound in the genre. Though they didn’t receive much critical acclaim for their work, their relevance on the
commercial front was undeniable. Even as a wave of new acts in the nineties again raised the bar for what country acts could achieve, Alabama remained successful, consistently selling gold and platinum while radio continued to play their hits.
At the turn of the century, the band slowed down, even doing a farewell tour. They still released music, however, scoring their first #1 country album in 17 years with Songs of Inspiration in 2006. They also returned to the penthouse of the singles chart in 2011, scoring their 34th #1 single in support of Brad Paisley’s “Old Alabama.”
They are currently recording and performing as a trio, with Herndon departing the group after a rift over royalties that led to a lawsuit. They were inducted into the Country Music Hall of Fame in 2005, and returned to the stage in 2013 for a fortieth anniversary tour.
Back in the early nineties, CMT used to run videos 24/7. It was very predictable. Three videos, commercial break. Three more videos, commercial break.
Occasionally, they’d do a “Triple Take”, where they’d play three videos in a row by the same artist. It was a good way to discover an artist’s catalog. I didn’t know “Don’t Tell Me What to Do” existed until CMT did a Triple Take for Pam Tillis, who I’d first noticed with the ridiculous video for “Put Yourself in My Place” and fell in love with when she released “Maybe it was Memphis.”
When it was an older artist like Alabama or Reba McEntire, Triple Takes could feature any number of videos stretching back several years. But even back then, George Strait loathed making videos, and he had only three of them in rotation by the summer of 1992, when I spent hours on end watching CMT.
The end result? I saw the video for “Baby’s Gotten Good at Goodbye” at least a hundred times, making it a far bigger classic in my mind than it would be if my primary exposure to country music had been through radio instead of video.
This single is so closely associated with my discovery of George Strait’s music and country music as a whole that I can’t separate the experience enough to give “Baby’s Gotten Good at Goodbye” an objective evaluation. It was my first favorite song by one of my most favorite artists, and the only one of his that I can’t listen to without picturing every frame of the video.
Seriously. The girl with the bad eighties perm is always carrying that saddle and counting her pawn shop money in my head, every single time I listen to the record. Which is something I still do quite often, because it’s awesome.
Throw on your bedazzled boots – the 47th annual Academy of Country Music Awards air live from Las Vegas this Sunday at 8 p.m. EST. The show promises to be a melting pot of performances, with oddball duets like Rascal Flatts and Steve Martin - and no, that’s not an April Fools joke. The CU staff picked and predicted the awards below. Tell us your thoughts, and check back for our live blog on Sunday night!
Entertainer of the Year
Should Win:
Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift – Jonathan, Dan, Tara, Leeann, Kevin, Ben, Sam
Will Win:
Jason Aldean – Sam
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift – Jonathan, Dan, Tara, Kevin, Ben
Ben: Okay, so I was going to go with Aldean based on his massive success… but Swift’s music has just been too dang good lately.
Jonathan: Swift is the only one of the five who has released any music I really liked during the eligibility period; that fan voting is part of whatever mysterious algorithm is used to determine the winner of this award helps her case. I recognize that Aldean has a good look at this, too, but I’ll admit to just digging my heels in and refusing to get on board with the idea that he’s considered the standard-bearing artist in country music.
Tara: Swift released some of the best material of her career in the eligibility period, and her star seems as bright as it’s ever been. And while I can’t picture her losing something fan-voted, I wouldn’t be shocked if Aldean snuck up on her, especially given the secret fan / academy vote ratio. I just hope that this time next year, there are a few shake-ups in this category. I’m bored.
Dan: I like Swift the best, but can’t muster the energy to root actively against Aldean like I did with, say, Rascal Flatts.
Kevin: Aldean vs. Swift, with me erring on the side of the one who made more music that I liked this year.
Sam: Just a hunch, but the Taylor Swift voters might be as fanatical as usual because Carrie Underwood isn’t nominated for this award. That might give Aldean the chance to sneak in.
Male Vocalist of the Year
Should Win:
Jason Aldean – Dan, Kevin, Sam
Kenny Chesney
Brad Paisley
Blake Shelton
Chris Young – Ben, Jonathan, Tara
Will Win:
Jason Aldean – Dan, Sam
Kenny Chesney
Brad Paisley
Blake Shelton – Ben, Jonathan, Tara, Kevin
Chris Young
Dan: Aldean remains the hottest guy out there by a huge margin, and occasionally puts out something decent like “Fly Over States.” I’ll just keep picking him to win this until he does. La la la.
Ben: Aldean’s success speaks for itself, but I would really like to see Chris Young take this. He released a solid new album, remained a consistent hitmaker at radio, and has made the most music that I’ve actually cared about. But seeing as the industry award voters have been showing a lot of excessive Shelton love as of late, my gut says that Blake Shelton is going to get this. (There are no awards for TV Judge of the Year or Newlywed of the Year, so the ACM will probably give him this one instead)
Jonathan: So let’s talk about Chris Young for a minute. The guy has a fantastic voice, one of the strongest and most distinctive instruments to come down Music Row in a minute, and that alone is enough to elevate him above most of the other men who have scored major airplay in the past couple of years. But the discrepancy between the quality of Young’s vocal performances and the quality of the songs he’s performing is a problem, and here’s yet another instance of an artist with the potential to be really and truly great receiving a thumbs-up from the industry for work that’s just occasionally on the better side of okay. Where’s the incentive for someone like Young to be even better if he’s being recognized now? And what does it say that, despite his wildly uneven material, he’s far and away the class of this particular field of nominees?
Tara: I have to disagree with Jonathan on this one; I find Neon to be a refreshing, neo-traditional gem, more organic than it is uneven. In this stage of Young’s career, I view his body of work as a stepping stone and an indication of potential, and I have no issue with it being rewarded. But it won’t be; Mr. Lambert’s got the entertainment industry on lockdown. And I can’t say I really mind.
Kevin: Picking Aldean as the “should win” solely because he had the biggest year, though I suspect Shelton will win anyway.
Sam: I get the love for Miranda Lambert, but the Blake Shelton love is largely lost on me. Not a fan of Aldean either, but he’s due for this award.
Female Vocalist of the Year
Should Win:
Sara Evans
Miranda Lambert – Dan, Ben, Tara, Leeann, Sam
Martina McBride
Taylor Swift – Jonathan, Kevin
Carrie Underwood
Will Win:
Sara Evans
Miranda Lambert – Dan, Ben, Jonathan, Tara, Leeann, Sam
Martina McBride
Taylor Swift – Kevin
Carrie Underwood
Dan: I think Swift has been the strongest solo act this past year, but Lambert released a decent fourth album and a terrific group one. With no place on the ballot to reward Pistol Annies (fix that, CMAs?), this’ll do.
Ben: Swift put out a string of very good singles, but… Four the Record + Pistol Annies = The Miranda Lambert love will be fully justified.
Jonathan: If we’re counting Pistol Annies, then I can absolutely see the case for Lambert and could be convinced to vote accordingly, and I think she still has the momentum to win here. If we’re just looking at solo material, though, I’m unapologetically sticking with Swift’s “Mean” and “Sparks Fly,” which trump anything that the other four women in the category released during the eligibility period. With Underwood having a new album to support and, hopefully, Kellie Pickler getting the recognition she deserves for her latest work, this category should be a hell of a lot more interesting and competitive come CMA time.
Tara: Swift delivered the better material, but Lambert delivered the better performances, Hell On Heels notwithstanding. By my definition of FVOTY, this should go to Lambert. (And I’m stoked for the fall award season, too.)
Leeann: I have no real reason to believe that the Academy would take this from Lambert this year.
Kevin: Can you believe that Swift is the only nominee who hasn’t won this yet? I know Lambert should be the favorite, especially given the ACM’s fondness for her. But I can’t shake the feeling that she’s lost some momentum with her latest project.
Sam: Miranda will continue to own this category until someone like Carrie Underwood steps up with a new album.
Vocal Duo of the Year
Should Win
Love and Theft
Montgomery Gentry
Steel Magnolia
Sugarland – Leeann
Thompson Square – Dan, Ben, Tara
Will Win:
Love and Theft
Montgomery Gentry
Steel Magnolia
Sugarland – Dan, Ben, Leeann, Kevin
Thompson Square – Jonathan, Tara, Sam
Ben: The Civil Wars are really the only duo I’ve cared about this past year, but they have been stupidly excluded in favor of Love and Theft (who only released one mediocre single in the past year), so I’m going with Thompson Square instead. They’ve been doing well at radio, and their music has not been terribly grating, but I’m pretty sure that the ACM will remain stuck on Sugarland.
Dan: With The Civil Wars absent from ACM’s roster and Sugarland having a messy year across the board, Thompson Square seems like the last band standing. And they’re cute, right?
Jonathan: The song remains the same: This category should’ve been merged with Vocal Group of the Year eons ago to trim the fat. Given that the ACMs are still ostensibly more radio-oriented than the CMAs and that Sugarland have actively alienated radio with the god-awful singles from their god-awful album, I’m going to say that Thompson Square pull off the upset here. Just don’t ask me to hum or even to name more than one of their songs…
Tara: I honestly can’t muster an opinion. What’s Sugarland been up to these days, anyway?
Leeann: This category isn’t even worth comment this year.
Kevin: Saying somebody should win implies that I think there’s a worthy winner, so I’m just going to say that Sugarland will win.
Sam: No Bellamy Brothers nod? You mean country music actually had five legit nominees for a Duo award this year? Artistically, The Civil Wars and Foster & Lloyd would be the most deserving this year.
Vocal Group of the Year
Should Win:
The Band Perry
Eli Young Band
Lady Antebellum
Rascal Flatts
Zac Brown Band – Dan, Ben, Jonathan, Tara, Leeann, Kevin, Sam
Will Win:
The Band Perry – Sam
Eli Young Band
Lady Antebellum – Dan, Ben, Jonathan, Tara, Leeann, Kevin
Rascal Flatts
Zac Brown Band
Ben: I’ve tried to hold out hope that the award industries would lay off the ridiculous Lady A adoration, but the CMAs and Grammys have shown me otherwise.
Jonathan: No reason to think the ACMs will break the trend of giving unearned trophies to the C students in the class.
Tara: I remain firmly in ZBB’s corner; the band produced my favorite single of 2011. But I would much, much prefer this award to go to the flavor of the month Eli Young Band than the flavor of the year Lady Antebellum.
Dan: I miss Little Big Town, but this is the first time in recent memory that this category has had five competitive groups. Like Aldean in the Male Vocalist race, Zac Brown Band sell as well as anyone and haven’t won yet, so I’ll probably keep picking them until they do, too. La la la x2.
Leeann: I’d love to see Zac Brown Band take it this year, but I don’t have enough faith that Lady A won’t just keep the award.
Kevin: Always gonna root for ZBB. Just losing hope that they’ll ever actually win.
Sam: ZBB is operating on a higher level than any other vocal group, but I’m alright with The Band Perry’s quirkiness getting some recognition.
New Artist of the Year
Should Win:
Brantley Gilbert
Hunter Hayes – Dan, Tara
Scotty McCreery
Will Win:
Brantley Gilbert
Hunter Hayes
Scotty McCreery – Ben, Dan, Jonathan, Tara, Leeann, Kevin, Sam
Dan: Of the three, I think Hayes has the most raw talent (played every instrument on his album!) and could one day be an interesting artist. So, vote of optimism! ;D
Ben: I think this will be between Gilbert and McCreery. My gut says Scotty McCreery “will” win, but this line-up is just too depressing for me to make a case for who “should” win. Dan makes a good point about Hunter Hayes though…
Jonathan: I can’t.
Tara: Uh…I guess this is as good a time as any to confess my love for “Storm Warning.”
Leeann: I don’t even have the heart to choose who I think should win, but I’m guessing the “American Idol” winner will win.
Kevin: New Coke >>>> New Artist of the Year.
Sam: This is fan voted, right? Well, if McCreery’s fans can vote him to win “American Idol”…
Album of the Year
Should Win:
Eric Church, Chief – Dan, Ben, Jonathan, Tara, Leeann, Kevin
Miranda Lambert, Four The Record – Sam
Kenny Chesney, Hemingway’s Whiskey
Jason Aldean, My Kinda Party
Lady Antebellum, Own The Night
Will Win:
Eric Church, Chief
Miranda Lambert, Four The Record
Kenny Chesney, Hemingway’s Whiskey
Jason Aldean, My Kinda Party – Dan, Ben, Sam
Lady Antebellum, Own The Night – Jonathan, Tara, Leeann, Kevin
Ben: Eric Church edges out Miranda as my pick, but I’m fairly sure this will go to Aldean, and I refuse to predict that Lady Antebellum will win this.
Jonathan: I liked Lambert’s album exponentially less each time I listened to it, so I stopped listening to all but two of its tracks (“Fine Tune” and “Dear Diamond”) months ago to preserve at least some degree of fondness for it. Church’s album has some significant limitations of its own, but, song-for-song, it’s the strongest set in this line-up. I have no idea what I would ever actually say to a person who believes that Richard Marx’s Repeat Offender Amy Grant’s House of Love Lady Antebellum’s Own the Night scans as a country album in any substantive way, or that it’s the best country album of this or any year. But clearly there are people who do believe that, and recent history says there are enough of them for Lady A to win this.
Tara: It’s a toss up between Lambert and Church for me, with Church’s realized hard-assness giving Chief a slight edge. But it’s Lady A’s to lose – and I’m not sure anything in the industry has frustrated me more than their wins as of late. It’s worse than laughably unfair; it’s potential-threatening. And it has to stop.
Dan: When Church is bad, he’s cringe-worthy. When he’s good, he kicks most of the ass he told you he’d kick.
Leeann: I won’t be surprised if Lady A wins, but I’d love to see Eric Church win for the most interesting album of the bunch. I wouldn’t mind seeing Miranda Lambert win either.
Kevin: I just hope I’m wrong a lot this year.
Sam: Pretty sad when a “good for a Jason Aldean album” album beats out two superior albums from Church and Lambert, but I think that will be the case.
Single Record of the Year
Should Win:
Eli Young Band, “Crazy Girl”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
Toby Keith, “Red Solo Cup”
Chris Young, “Tomorrow”
Kenny Chesney featuring Grace Potter, “You and Tequila” – Ben, Dan, Tara, Leeann, Kevin, Sam
Will Win:
Eli Young Band, “Crazy Girl”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” – Dan, Ben, Jonathan, Tara, Leeann, Kevin, Sam
Toby Keith, “Red Solo Cup”
Chris Young, “Tomorrow”
Kenny Chesney featuring Grace Potter, “You and Tequila”
Ben: “Tequila” outclasses most of the field, though “Tomorrow” is also a solid contender. I get the novelty value of “Red Solo Cup,” but Single Record of the Year? Nah…
Jonathan: Even for a novelty song, I thought “Red Solo Cup” was poorly constructed and lazily written, but I kind of hope it wins, if only to prove that this year’s ACMs are just a straight-up farce.
Tara: I don’t love any of these, but “You and Tequila” is the only one I can imagine holding up in ten years.
Dan: Whatever.
Leeann: I can’t even believe “Red Solo Cup” is a contender! I’d love to see Kenny win for one of his best recordings, though I suspect Jason Aldean and Kelly Clarkson will win due to their cross genre appeal and all.
Kevin: Please let me be wrong a lot this year.
Sam: I will be rooting for “Red Solo Cup” and its inspired idiocy, but this could be part of Jason Aldean’s big night at the ACM.
Song of the Year
Should Win:
“Crazy Girl” – Lee Brice & Liz Rose
“Home” – Brett Beavers, Dierks Bentley & Dan Wilson – Leeann
“Just a Kiss” – Dallas Davidson, Dave Haywood, Charles Kelley & Hillary Scott
“Threaten Me With Heaven” – Amy Grant, Vince Gill, Dillon O’Brian & Will Owsley – Jonathan, Tara, Kevin
“You and Tequila” – Matraca Berg & Deana Carter – Dan, Ben, Sam
Will Win:
“Crazy Girl” – Lee Brice & Liz Rose
“Home” – Brett Beavers, Dierks Bentley & Dan Wilson – Dan, Ben, Jonathan, Tara, Sam
“Just a Kiss” – Dallas Davidson, Dave Haywood, Charles Kelley & Hillary Scott – Kevin
“Threaten Me With Heaven” – Amy Grant, Vince Gill, Dillon O’Brian & Will Owsley
“You and Tequila” – Matraca Berg & Deana Carter – Leeann
Dan: “Home” has felt like awards bait to me since I first heard it. Me, I’m a “Tequila” guy.
Ben: Ditto to Dan.
Jonathan: As much as I’d like to see Berg and Carter pick up some new hardware, I’d still give the edge to Gill’s song. When “Home” does win, which I agree it will, I’ll just pretend it means that Jason Isbell has finally won a major industry award.
Tara: “Threaten Me With Heaven” is gorgeously written, but I won’t mind if (and when) “Home” takes the award. Country music could use a shot of graceful patriotism.
Leeann: I’m pleased to have three songs that I’d be happy to see win the award this year. I feel like either Chesney or Bentley will rightfully win…I hope so at least.
Kevin: Pretty please?
Video of the Year
Should Win:
Eric Church, “Homeboy”
Lady Antebellum, “Just a Kiss”
Taylor Swift, “Mean” – Ben, Dan, Jonathan, Tara, Kevin, Sam
Toby Keith, “Red Solo Cup”
Jason Aldean, “Tattoos On This Town”
Will Win:
Eric Church, “Homeboy”
Lady Antebellum, “Just a Kiss”
Taylor Swift, “Mean” – Kevin
Toby Keith, “Red Solo Cup” – Ben, Dan, Jonathan, Tara, Sam
Jason Aldean, “Tattoos On This Town”
Ben: I could actually live with “Red Solo Cup” winning this, but I still enjoy “Mean” quite a bit more. Plus I kind of hate Lady Antebellum’s video for being nothing more than a glorified iPad commercial. I also think “Mean” deserved a nomination for Single Record of the Year, so I would like to see it acknowledged here. Still, I don’t think I can bet against “Red Solo Cup.”
Jonathan: That “Mean” didn’t score the Single and Song of the Year nominations with the ACMs that it has elsewhere seems revealing, with “Red Solo Cup” as the most likely beneficiary. I just hope that the faux gravitas of the “Homeboy” clip doesn’t give it any footing.
Tara: I’m equally disappointed that “Mean” didn’t snag a nomination for Single or Song of the Year. With the video almost as freshly produced as the single, it’s an easy one to root for in this category. I have no inkling as to who will win, but I’ll piggyback off of my co-bloggers on the frat party anthem.
Dan: I could do without how the “Mean” clip ends with a little girl idolizing Taylor Swift, but am I gonna vote against the country music video that had the anti-gay-bullying message? No, I’m not.
Kevin: I think the Swift clip has enough pizazz to triumph in the end over Toby’s YouTube video.
Vocal Event of the Year
Should Win:
Aaron Lewis featuring George Jones & Charlie Daniels, “Country Boy”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
Brad Paisley featuring Alabama, “Old Alabama”
Brad Paisley duet with Carrie Underwood, “Remind Me” – Tara, Kevin, Ben
Kenny Chesney featuring Grace Potter, “You and Tequila” – Dan, Jonathan, Leeann, Sam
Will Win:
Aaron Lewis featuring George Jones & Charlie Daniels, “Country Boy”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” – Jonathan, Dan, Leeann, Kevin, Sam
Brad Paisley featuring Alabama, “Old Alabama”
Brad Paisley duet with Carrie Underwood, “Remind Me” – Tara, Ben
Kenny Chesney featuring Grace Potter, “You and Tequila”
Jonathan: The Lewis track is one of the worst singles of the past five years or more, and its nomination is an indication of how deeply modern country music hates the actual traditions and values of the genre.
Tara: As middle-of-the-road as it is, something in the melody of “Remind Me” intrigues me. And I have a random feeling the voters will use this category to reward their dethroned male and female vocalists of the year.
Dan: It’ll be interesting to see if “Remind Me” can unseat “Don’t You Wanna St– oh, who am I kidding. Nothing is interesting anymore.
Leeann: Ugh. I pretty much know that Jason Aldean and Kelly Clarkson will win, but I’d love to be wrong. Meanwhile, I continue to faithfully root for the Chesney/Potter collaboration.
Kevin: I like my Vocal Events to be full-out Vocal Events, so I’m going for Paisley/Underwood over Chesney with backing vocals from Potter. The latter pair made the better record, though.
Ben: I’m with Tara and Kevin. “You and Tequila” is the best record overall, but that has more to do with Berg and Carter’s songwriting than with Potter’s contributions. “Remind Me” is the one that feels like an actual event.
Sam: Aldean & Clarkson outscreamed Paisley & Underwood, so they lay claim to the trophy. Chesney and Potter, what were you two thinking by just going out there and singing? Next time, I want to hear some wailing and primal screams, because that’s what makes for a successful duet these days.
A musician since receiving his first guitar at age eight, Brad Paisley emerged in the late nineties and became the most consistently successful radio artist in the decade that followed.
Paisley’s career began in earnest when he penned his first song at age twelve, “Born On Christmas Day.” His junior high principal invited him to perform at a local function. He was spotted by a representative of Jamboree USA, and after one performance, he was invited to join the cast.
Over the next eight years, Paisley performed in West Virginia, opening up for major country acts when they visited the area. After completing a two year stint at Belmont University in Nashville, he was immediately signed to a publishing deal with EMI. After penning hits for David Kersh and David Ball, he signed with Arista Records.
His debut album, Who Needs Pictures, featured two top #1 hits. The first one, “He Didn’t Have to Be”, began a string of award show nominations that continues through this day. As the 2000s progressed, he reaped awards for his collaborations with Alison Krauss, Keith Urban, Dolly Parton, Little Jimmy Dickens, and George Jones.
Paisley was the first male artist since Earl Thomas Conley to score ten consecutive #1 hits on the Billboard charts. His innovative videos incorporated appearances from Hollywood television stars, often satirizing their own public images to humorous effect. At the peak of his popularity, Paisley showcased his Grammy-winning instrumental skills. With Play, he became the first mainstream country artist since Steve Wariner to release a largely instrumental album.
Now a touring powerhouse, Paisley collected his first Entertainer trophy from the CMA in 2010, joining shelves full of awards for Male Vocalist, Single, Album, Music Video, and Musical Event from all three major industry organizations. Most recently, he has scored #1 hits collaborating with Alabama and then Carrie Underwood. The latter collaboration, “Remind Me”, became his fourth platinum-selling digital single, following “Whiskey Lullaby”, “She’s Everything”, and “Then.”
Essential Singles:
He Didn’t Have to Be, 1999
I’m Gonna Miss Her (The Fishin’ Song), 2002
Whiskey Lullaby (with Alison Krauss), 2004
When I Get Where I’m Going (with Dolly Parton), 2005
In the modern era of country music, you have to move a lot of units to be considered a legitimate superstar. The first act to do so on a regular basis was Alabama, who had eight consecutive multi-platinum albums in a row in the first half of the eighties.
Since then, there have been a multitude of country artists who’ve accomplished the same feat, but despite the fact that it was a band that broke down the barrier, only one male band since Alabama has achieved similar success: Rascal Flatts.
Family connections helped this power trio get their start. Lead singer Gary LeVox and his cousin, Jay DeMarcus, each had a desire to be country musicians, but it was DeMarcus who went to Nashville first. After a stint in Christian band East Meets West, DeMarcus convinced LeVox to join him in Nashville.
DeMarcus joined Chely Wright’s band, which is where he met the final trio member, JoeDon Rooney. By that time, DeMarcus and LeVox were doing regular gigs at Printer’s Alley in downtown Nashville. One night, their guitarist didn’t show, so DeMarcus invited Rooney to perform with them. They were an instant hit, and when they couldn’t come up with a band name, an audience member suggested Rascal Flatts.
The band signed with Lyric Street in late 1999. The fledgling label had launched with projects by Lari White and SHeDaisy, but soon Rascal Flatts would become their flagship act. Success was immediate, with radio embracing all four singles from their self-titled debut album. A Nashville disc jockey was responsible for the release of “I’m Movin’ On” as the fourth single, giving it heavy play as a n album cut. It became their first huge hit, winning Song of the Year honors at the ACM Awards and powering their debut set to double-platinum status.
Over the next few years, they became a core act at country radio, scoring eleven #1 hits and selling nearly twenty million albums. Signature records released during this time include “Bless the Broken Road” and “What Hurts the Most.” Interestingly, both of those songs had been recorded by other artists, but adding their distinctive sound and trademark harmonies made these songs huge hits on both the country and pop charts.
As their career peaked in the mid-2000s, they were regularly nominated for Entertainer of the Year, while sweeping the CMA and ACM Vocal Group category for several years on end. They also became a powerful force on the road, ranking among the top-grossing acts of all genres.
Like many of their contemporaries, the pace of their record sales began to slow down, but even today, they remain a strong presence at both radio and retail. After switching from Lyric Street to Big Machine, the band received plaudits for their newest music, with critics noting a return to the more country arrangements of their earlier work and a move away from the arena pop sound that had become more prevalent.
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.
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
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 (more…)
A perfect time capsule of the boom times, as Jackson wryly notes all of those genre-hoppers who saw dollar signs in the growing country music scene. Funny how they didn’t arrive on radio until a decade later. – Kevin Coyne
#149
I Want to Be Loved Like That Shenandoah
1993 | Peak: #3
Sometimes the deepest understanding of love comes from what you see around you. The narrator in this song won’t settle for anything less than the unwavering love he’s witnessed in his life, and his examples are stunning in the way they slice straight to the core of love, to the bond that can’t be broken by the physical world. This is one of the purest tributes to love I’ve ever heard. – Tara Seetharam (more…)
The hits come from all over the place here. Breakthrough hits from Trace Adkins and Carlene Carter join one-hit wonders Brother Phelps and George Ducas. And alongside crafty covers of songs by sixties rock band The Searchers and nineties country artist Joy Lynn White, you can also find tracks from three diamond-selling country albums.
400 Greatest Singles of the Nineties: #200-#176
#200
Carrying Your Love With Me George Strait
1997 | Peak: #1
A traveler gets through his lonely nights on the sheer strength of love. It’s perhaps a little too saccharine for some, but the sweet melody and Strait’s understated vocals make the record work. – Tara Seetharam
A man sits around in a bar “talking ’bout the good old times, bragging on how it used to be.” Standard premise, but Black’s melancholy performance lifts the record to Haggardly heights. – Dan Milliken (more…)
As we did last year, it’s time to share our preferences for this year’s CMA Awards. Last year, Taylor Swift was the belle of the ball, winning four awards. Some long winning streaks came to an end, as Swift replaced both Kenny Chesney as Entertainer of the Year and Carrie Underwood as Female Vocalist of the Year. Lady Antebellum ended Rascal Flatts’ long run as top Vocal Group, and were the surprise winners of Single of the Year as well.
Once again. I’ve selected the five artists that I believe are most deserving of an Entertainer of the Year nomination. But first, let’s take a look at last year’s race:
Entertainer of the Year (2009)
Kenny Chesney
Brad Paisley
George Strait
Taylor Swift
Keith Urban
Swift was victorious in her first nomination in this category. She competed against three previous winners: Kenny Chesney, who has gone 4 for 8 in this category; Keith Urban, who is 1 for 5; and the incomparable George Strait, who is 2 for 17. Brad Paisley lost for the fifth year, tying Kenny Rogers for the most nominations without a win.
As the numbers above show, this has been a largely static category for the past ten years. Only thirteen artists earned nominations from 2000-2009. The CMA noms can be very predictable.
But looking at radio and retail these days, there’s been a big changing of the guard. I think that this category more than any other should reflect that. I’m putting my personal tastes aside here, as there are only two artists I list that I actually listen to regularly.
Entertainer of the Year (2010)
The nominees should be:
Lady Antebellum
Their second album has already spent 25 weeks at #1, and “Need You Now” was such a big hit that it’s led to pop airplay for “I Run to You”, the award-winning hit from their debut album. It would be an early nomination in terms of their career, but Alabama and Dixie Chicks were elevated to this category even faster, so there’s precedent for vocal groups.
Miranda Lambert
She’s always had the critical success, and she’s always sold records. But she’s selling them a heck of a lot faster these days and radio is suddenly, shockingly, spectacularly on board. It’s time for the CMA to catch up with the ACM, who have been away ahead in acknowledging this artist.
Taylor Swift
Being nominated the year after winning is not a given, but it’s the norm. While it was common in the seventies, it’s been very rare in recent years. Shania Twain (1999) was the last winner to not receive another nomination the following year, with the others being: Dolly Parton (1978), Mel Tillis (1976), John Denver (1975), and Charlie Rich (1974).
So she’s probably a lock for a nomination, and she deserves one. Though things have been quiet on the Swift front for the past couple of months, she had a massive tour and sold a ton of records during the eligibility period.
Carrie Underwood
She really should be enjoying her third nomination this year, but a (flimsy) case could be made for her not making the ballot in 2008 and 2009. But no nomination this year would be inexcusable. She had a very successful tour, continued to dominate radio, and her third album is quickly approaching double platinum. At this point, she shouldn’t just get a nomination. She should win.
Zac Brown Band
Their live performances are well-regarded, radio is fully on board, and their first major label album is double platinum. A case could be made for Brad Paisley getting this spot, but sales of his new album have fallen quite a bit short of previous efforts. The same goes for other perennial nominees Keith Urban, George Strait, and Kenny Chesney.
It’s hard to believe that twenty years have passed since the nineties first began. Perhaps that’s because so many of the artists who broke through during that decade remain relevant on the music scene today, whether they’re still getting major spins at radio or not.
For many of us, it was the nineties when we discovered and fell in love with country music, and it’s the music and artists from that decade that represent the pinnacle of the genre. It may be debatable whether the nineties were the most artistically significant decade in the history of country music, but there’s no debating that country music never had more commercial success or cultural impact than it did in that decade.
It was a time that when the C-list artists could sell gold or platinum on the strength of one or two hits, and that 24-hour video outlets could give wide exposure to songs and artists that radio playlists could not. When the four writers of this feature got together and combined our favorite singles from the decade, it was clear that this retrospective had to run far deeper than the one we recently completed for the first decade of the 21st century. There were simply far more good singles to choose from.
That being said, this list is a reflection of our personal tastes. While they often overlapped with what was commercially popular, with nineteen top ten hits and eleven #1 hits among the first 25 entries alone, we didn’t consider radio or retail success in our picks. So while you’ll see all of the big nineties stars represented on this list, it won’t always be with their biggest hits. There’s more than a few stars that never quite came to be as well, saved from the dustbins of history and easier to find now than they were back then, thanks to the twin marvels of YouTube and Amazon.
As always, share your thoughts in the comments!
400 Greatest Singles of the Nineties: #400-#376
#400 Little Good-Byes SHeDaisy
1999 | Peak: #3
Passive aggression finally got its due representation in modern country with SHeDAISY’s debut single, in which a mistreated protagonist exacts revenge on her ex by ever-so-slightly screwing up his house. Sort of like “Before He Cheats” for sane women. On the other hand – taking all the Beatles records and leaving only Billy Joel? Pretty cold, Osborn sisters. – Dan Milliken
#399
It Wouldn’t Hurt to Have Wings Mark Chesnutt
1995 | Peak: #7
Chesnutt is getting over you – promise – but he sure wouldn’t mind being lifted above the memories of your “mind-wrecking” love in this delightfully charming sing-along. – Tara Seetharam
#398
Fool, I’m a Woman Sara Evans
1999 | Peak: #32
The age-old stereotype that women can’t make up their minds is cleverly subverted into a threat toward an unkind man. A good combo of Loretta Lynn sass and Diana Ross sha-la-las. – DM
#397
One More Last Chance Vince Gill
1993 | Peak: #1
“One More Last Chance” may seem like a song about a man who is begging for just one more last chance to get things right. But under the surface, it’s about a man who is hopelessly addicted to alcohol and partying. Even when his wife takes away his obvious means of transportation by hiding the keys to the car, he resorts to riding his John Deere tractor to the bar instead. It’s a fun song, but one that is inspired by an incident associated with George Jones, who, incidentally, is infamous for his destructive alcohol addiction. – Leeann Ward
#396
The Cheap Seats Alabama
1994 | Peak: #13
“The Cheap Seats” aptly captures the spirit of America’s favorite pastime. – LW
#395
Lonely Too Long Patty Loveless
1996 | Peak: #1
A tender plea for the morning after to be the beginning of something more, with Loveless delivering both angst and cautious optimism through her vocal. – Kevin Coyne
#394
(If You’re Not in it For Love) I’m Outta Here! Shania Twain
1995 | Peak: #1
Look, guys, some of you are so transparent, it’s laughable. And to you I offer Twain’s deliciously audacious, merciless warning: if you’re not in it for love, we’re outta here. – TS
#393
Jenny Come Back Helen Darling
1995 | Peak: #69
Darling recalls watching a high school friend sacrifice her intelligence and ambition to please the boy she loves, who outgrows her in the end because she has nothing of her own to offer him. She ends up a high school dropout working at a movie theater. In short, how those fantasy Taylor Swift videos would end in the real world. – KC
#392
Dreaming With My Eyes Open Clay Walker
1994 | Peak: #1
Walker puts a clever twist on a fact of life that’s all too hard to grasp – the only thing we can control is the present. His infectious pledge to live in the moment is as effective as country’s finest inspirational ballads because it’s firmly grounded in reality: “I learned that one step forward will take you further on than a thousand back or a million that ain’t your own.” – TS
#391
There Ain’t Nothin’ Wrong With the Radio Aaron Tippin
1992 | Peak: #1
With an addicting guitar riff, Tippin celebrates the radio. It doesn’t matter that the car is falling apart, but at least there’s nothing wrong with the most important part of the vehicle, the souped up radio. – LW
#390
Write This Down George Strait
1999 | Peak: #1
One of the dittiest of all George Strait ditties? Sure. But there’s a subtle, maybe accidental wisdom to it, too. So much art is created in moments of unusual passion, when sensations like pain or love feel intense and everlasting. But most life isn’t lived in such moments, and any feeling is subject to fade away without some regular renewal. “Tell yourself ‘I love you and I don’t want you to go’” sounds light and cutesy on the surface, but it’s those little notes – and not grandiose gestures of unusual passion – that keep a relationship chugging along for the long haul. – DM
#389
Still in Love With You Travis Tritt
1997 | Peak: #23
With conspicuous steel guitar work, this minor hit for Tritt is a straight up country romper by today’s standards. – LW
#388
Walking Shoes Tanya Tucker
1990 | Peak: #3
She seems a little sad about it, but she’s had enough of being taken for granted and is gearing up to walk right on out of her underappreciating lover’s life. – LW
#387
Big Deal LeAnn Rimes
1999 | Peak: #6
A sassy little number that finds a regretful Rimes lashing out at the girl who nabbed her old boyfriend. Brash, spunky and so much fun. – TS
#386
That’s My Story Collin Raye
1993 | Peak: #6
What do you think – the grooviest song about a guy trying to craft an alibi out of a backyard hammock ever? – DM
#385
I Like It, I Love It Tim McGraw
1995 | Peak: #1
A melody destined for inclusion in Applebee’s commercials. A lyric about a horny guy and his teddy bear-loving girlfriend. I thought about trying to mount a good argument for it, but whatever. I know you sang along the first eight times you heard it. – DM
#384
You Can’t Make a Heart Love Somebody George Strait
1994 | Peak: #1
A simply sung, heartbreaking story of a woman who desperately wishes the heart could take orders – and a man who bears the brunt of the reality that it can’t. – TS
#383
Count Me In Deana Carter
1997 | Peak: #5
Easily the most understated of the five hit singles from her debut album, “Count Me In” is beautiful because of its innocent vulnerability. – KC
#382
Where Do I Fit in the Picture Clay Walker
1994 | Peak: #11
Sure, Walker milks this forlorn ballad for all it’s worth, but his ability to dramatically emote is the success of his trademark tear-soaked voice. – LW
#381
Some Girls Do Sawyer Brown
1992 | Peak: #1
Set to a hooky melody: Boy meets girl. Girl acts unimpressed. Boy knows better. Girl hooks up with boy. The end. – LW
#380
I Want to Be Your Girlfriend Mary Chapin Carpenter
1997 | Peak: #35
Even in the nineties, Carpenter was mostly known for her introspective lyrics. That’s the best part of her songwriting, but hearing the lighter side of MCC from time to time is fun, too. – LW
#379
Little Bitty Alan Jackson
1996 | Peak: #1
Alan Jackson has a knack for dressing up inriguing social themes as fluffy radio bait. Here, he counters the societal fixation on the “big” draws of money and prestige, expressing a peaceful acceptance of the rather small role most of us will ultimately play in the universe. We can’t all be famous or widely influential, but if we can love well and carry our chosen mantles with pride, things aren’t so bad. – DM
#378
Not a Moment Too Soon Tim McGraw
1994 | Peak: #1
Some people find the whole “you saved my life” concept melodramatic, but I think if there’s anything in life that calls for melodrama, it’s love. McGraw’s testimony is sweet and believable, and the weighty lyrics are cushioned by a simple yet moving arrangement. – TS
#377
Here in the Real World Alan Jackson
1990 | Peak: #3
Jackson’s breakthrough hit lamented that what we see in the movies – cowboy heroes, good winning out in the end, the boy getting the girl – doesn’t always work out that way in the real world. How fitting that he’d end up a real world cowboy hero, one of the good guys making great music for twenty years and counting. – KC
Most of your friends probably found you kind of boring when you were paired off and content. Now you’ve been dumped, and everyone’s got an opinion about what the relationship meant and what you should do next. Trisha is having none of it – just chocolate, a good mag and some much-needed alone time for her. – DM
100 Greatest Men: The Complete List
on 
on 
on 
on 
on