Tag Archives: Alan Jackson

Best Singles of 1994, Part 4: #10-#1

The countdown concludes with a wide range of classics, including breakthrough hits, signature songs, and exciting later career gems from long-established icons of the genre.

Alan jackson Who Says You Can't Have it All#10
“(Who Says) You Can’t Have it All”
Alan Jackson

Written by Alan Jackson and Jim McBride

LW #10 | BF #5 | JK #38

What makes a better country song than a stark naked light bulb, one lonely pillow on a double bed, a mournful fiddle and steel guitar? Jackson’s “(Who Says) You Can’t Have It All” is one of the finest exhibits to present as the answer to that question. – Leeann Ward

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The Best Singles of 1994, Part 1: #40-#31

Our Best of 1994 Singles List kicks off today with the bottom quarter of our top forty. The list was compiled by weighing each individual writer’s choices, with preference given to songs that appeared on multiple lists. Each writer’s individual ranking is listed under the songwriter credits.

Bonus retro fun: Check out those cassette singles covers!

Alan Jackson Livin' On Love

#40
“Livin’ on Love”
Alan Jackson

Written by Alan Jackson

SG #14 | JK #23 | BF #37

Country music has, historically, given voice to those disenfranchised by poverty, validating and finding the value in the struggles of economic hardship. What elevates the appropriately bare-bones narrative of “Livin’ on Love” is the warmth and real sense of empathy in Jackson’s performance. – Jonathan Keefe

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CU10: What a Turkey! The Worst Singles of the Last Ten Years

Country Universe has reviewed more than a thousand singles during its ten year run.  Some of them have been real turkeys.  Here are some of the worst, with highlights and links to the original reviews.

Big and Rich Party-Like-Cowboyz

“Party Like Cowboyz”

Big & Rich

Reviewed on December 12, 2012

“Yes, from the opening cry of ‘Come on, cowboys and cowgirls, it’s time to par-tay!’ to the stupid ‘Z’ slapped onto the end of the title, this is just bad, bad, bad.” – Ben Foster

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2014 CMA Nominations

This year’s CMA nominees are the best in years, with multiple nominations for Miranda Lambert, Kacey Musgraves, and Brandy Clark.  Country radio may still be shunning women, but their embrace by CMA voters suggests that the industry knows who is really leading the way in the genre these days.

George Strait ACMEntertainer of the Year

  • Luke Bryan
  • Miranda Lambert
  • Blake Shelton
  • George Strait
  • Keith Urban

Who’s In:  Miranda Lambert, Keith Urban

Who’s Out: Jason Aldean, Taylor Swift

George Strait, a surprise winner last year, is nominated again in a year that includes his record-shattering final concert.   Miranda Lambert’s domination of this year’s nominations extends to the big category, where she competes for the first time since 2010.

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100 Greatest Men: #1. Merle Haggard

Merle Haggard100 Greatest Men: The Complete List

The Poet of the Common Man.  Merle Haggard emerged from the Bakersfield music scene in the mid-sixties, and over the course of time, became the greatest man in the history of country music.

Born during the height of the Great Depression, the son of a honky tonk fiddler and a church-going mother, Haggard’s life was a hard one from early on.  When he lost his father at age nine, he rebelled to the point that much of his youth was spent in juvenile detention centers.  His only positive outlet was country music, and he listened to and studied obsessively the work of his heroes Bob Willis, Hank Williams, and Lefty Frizzell, all of whom would shape his singing and his songwriting.

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Single Review: Jason Aldean, “Burnin’ It Down”

Jason-Aldean-Burnin-It-Down“Burnin’ it Down”

Jason Aldean

Written by Rodney Clawson, Tyler Hubbard, Brian Kelley,  and Chris Tompkins

Country music isn’t historically prudish. It covers the topical gambit of love, drinking, cheating, murder and, yes, even passion. Conway Twitty, Alabama, Charlie Rich, even Alan Jackson ,as well as many others,  haven’t shied away from memorably singing about sexual intimacy. But their songs maintained a respect for the intimacy, which Jason Aldean’s “Burnin” it Down” grossly fails to do. Instead, the song is high octane graphic with no sense of real intimacy and nothing left up to the imagination.

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100 Greatest Men: #22. Alan Jackson

Alan Jackson100 Greatest Men: The Complete List

Since arriving on the country music scene in 1989, Alan Jackson has become one of the most critically acclaimed and commercially successful superstars to ever call country music home.  Amazingly, in this modern era, he did it all as a traditionalist.

Hailing from small town Georgia, Jackson started with singing gospel, but by his teenage years, he was already part of a local country duo.  He worked odd jobs while performing with his country band, and got his first big break when his wife, Denise, passed on his demo tape to Glen Campbell after a chance meeting in an airport.  He encouraged them to move to Nashville, and Jackson continued to work odd jobs while honing his craft as a singer and songwriter.

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100 Greatest Men: #25. Tom T. Hall

100 Greatest Men: The Complete List

Tom T HallTom T. Hall is known as the Storyteller, a fitting title for a man whose ability to spin a musical yarn led to some of the greatest country story songs of all-time, many of which he sang himself.

His childhood set the stage for a career in music.  His father gave him a guitar when he was eight, and he learned music from his hometown neighbor Clayton Delaney, later the subject of Hall’s longest-running #1 single.  His mother died when he was just 11, and when a hunting accident four years later made it impossible for his father to work, Hall joined the workforce of a garment factory at age 15.

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Hall Worthy: 2014 Edition

halloffamelogoEight years ago, we posted our second edition of Hall Worthy, a list of significant country music figures who we felt were most deserving of being in the Country Music Hall of Fame.

Since then, a lot has changed.  First and foremost, more than half of the list is now in the Hall of Fame (or, at least, headed there later this year.)  An additional entry, Wanda Jackson, is now in the Rock and Roll Hall of Fame.

A bigger change came in 2009, when new categories were introduced to ensure that two artist inductees would be represented from different eras:  The Modern Era (20-44 years of national prominence), and the Veterans Era (45+ years of national prominence.)  There are also three more categories that rotate, meaning one from each category gets in every third year:  Non-Performer, Songwriter, and Recording and/or Touring Musician.

Finally, since that list was published, our readership has grown tremendously and is incredibly well-versed on country music, past and present.  So in this new and now annual edition of Hall Worthy, we are going to run down the list of the most successful artists that are eligible but have yet to make it into the Hall of Fame, in the order of  “Hall Worthiness.”

The Modern Era:

alan-jackson

Alan Jackson

Scoring his first hit in 1990 with “Here in the Real World”, Alan Jackson is the most successful country artist that isn’t currently in the Hall of Fame.  His storied career has included 25 #1 hits and 49 visits to the top ten.  He’s won a slew of awards over the years, including many for his songwriting.  He is the most traditionalist of all of the nineties superstars, but has managed to stay relevant regardless of how pop the genre went over the past quarter century, selling more than forty million albums in the U.S. alone.   He should be the next inductee for the Modern Era.

Randy Travis

Randy Travis

The poster child for the new traditionalist movement was also the first true country music superstar to sell millions of records without any crossover airplay or rock press appeal.  Travis is the primary reason that Nashville turned away from pursuing pop airplay for more than a decade, realizing that there was more than enough money to be made by growing (and eventually saturating) the country market.  His debut album, Storms of Life, remains one of the greatest country albums of all-time, and songs like “Forever and Ever, Amen”, “On the Other Hand”, and “Three Wooden Crosses” were award-winning classics.

Judds02.jpg

The Judds

Put aside all of the tabloid drama and focus just on the music.  Those heavenly harmonies were reminiscent of the Carter Family, while Wynonna’s breathtaking vocals added a contemporary breadth and soulful twist to their pure country sound.  They were so commercially successful and critically acclaimed that the CMA had to change the rules of the Vocal Duo category so someone else could win Vocal Group.   Wynonna’s solo career following Naomi Judd’s retirement only further extended the legacy of this essential duo.

rickyskaggs

Ricky Skaggs

He’s often overlooked these days, as he’s made bluegrass his primary home.  But when he was a contemporary country star, he found a way to make bluegrass be contemporary country.  He was a central figure in making bluegrass music mainstream, making possible the future success of everyone from Alison Krauss & Union Station to the Dixie Chicks.   He’s managed to be both a pioneer of bluegrass music while also being a steadfast advocate for the bluegrass of old, and still scored eleven #1 country hits along the way and the CMA for Entertainer of the Year.  The Hall shouldn’t wait until he’s old enough for the Veterans Era.

patty_loveless

Patty Loveless

One of the few artists to successfully navigate both the eighties and the nineties on country radio, Patty Loveless is the most significant female artist of the Modern Era who is not yet inducted into the Hall of Fame.  Her acclaimed work for both MCA and Epic saw her develop from a singles artist with the good taste to cover Lucinda Williams, into an album artist that made critically acclaimed and surprisingly progressive traditional music.  Since fading from radio, she’s remained relevant with widely appreciated sets that delve deep into her mountain heritage, with her most recent set earning her a Grammy for Best Bluegrass Album.

Dwight Yoakam

Dwight Yoakam

Extraordinarily talented and unfailingly artistic, Dwight Yoakam remains one of the most significant country artists from the new traditionalist movement, though his traditionalism has always had a West Coast flair that was more Owens than Haggard.   Never that much of a radio favorite, Yoakam still managed to sell millions of records, being one of the few legitimate album artists of his time.   His most recent work, 3 Pears, made more year-end critics lists than any other country album in 2012.

trisha-yearwood1

Trisha Yearwood

The only artist on this list who could never be described as a traditionalist, Trisha Yearwood has earned her place in the Hall of Fame through making more consistently excellent music over a longer period of time than any of her contemporaries.   She’s sold a ton of records and had more than her fair share of radio hits and industry awards, but her ultimate legacy will be having the best set of pipes and the best taste in songs, a combination that many artists – female and male – have never managed to pull off nearly as well as Yearwood has over the years.  That’s what having the voice of a Ronstadt and the song sense of a Harris will do for you.

The Veterans Era:

Hank Williams Jr

Hank Williams, Jr.

By a wide margin, Hank Jr. is the most commercially successful artist of the Veterans Era who is not yet in the Hall of Fame.  His noxious public statements in recent years have reinforced a notion that he’s little more than a Southern rock caricature, but his legacy is greater than Monday Night Football and regional xenophobia. At his peak, he made some of the most significant country rock that’s ever been made, crafting himself a distinguished place in country music history that is wholly separate from his legendary father.  In fact, there’s a better chance right now that a bar in America is singing along with “Family Tradition” than anything from his daddy’s catalog.

Rich_Charlie_002_c_MOA.jpg

Charlie Rich

An artist who was always years ahead of his time, he had a remarkable run of commercial success in the seventies, a period where the times finally caught up to him for a brief spell.  His bluesy style was embraced by the pop scene for a time, with his hit “The Most Beautiful Girl” being one of those rare country hits that also topped the Hot 100.   A veteran of the Sun Records label that produced Hall of Famers like Johnny Cash and Elvis Presley, Rich made the transition to Nashville while always keeping one foot grounded back in Memphis.

Jerry Reed

Jerry Reed

He was one of the most iconic stars of his time, thanks to his witty novelty records, stunning guitar prowess, and extensive appearances on film.  His songwriting success arrived earlier than his recording stardom, but once he got rolling, he was scoring million-selling hits that ran up the country and the pop charts.  He’s one of the few legends left that were truly unique and distinctive personalities who haven’t yet been inducted into the Hall of Fame.

tanya-tucker

Tanya Tucker

She’s still three years away from eligibility in this category, with 2017 being the first year she can claim 45 years on the scene.  But while the competition is fierce for those Modern Era slots, Tucker should be voted in the first year she’s eligible as a veteran.  Her haunting, gothic early records are still revelatory, and in the years that followed, her gravely voice brought grit and soul to a long string of country hits.  She was able to remain a force to be reckoned with in the first half of the nineties, a remarkable holdover from the early seventies in an era that had wiped away even the stars of the late eighties to make room for the next big things.

Jim Ed Brown

Jim Ed Brown

Another legend that remained relevant over many different eras of country music, Jim Ed Brown’s immortality on record had already been guaranteed in 1959, when his family group the Browns recorded “The Three Bells.”  That classic hit topped the country and pop charts for many weeks, and the Browns kept going through most of the sixties, joining the cast of the Grand Ole Opry a few years before disbanding.  Brown went on to a successful solo career with classics like “Pop a Top” and “Morning” reaching the top five.  Then he teamed with Helen Cornelius and had his biggest hits since his days with the Browns, most notably “I Don’t Want to Have to Marry You.”  At age eighty, he remains a force on the Opry and as a radio host, making him one of the longest-running personalities that the genre has ever seen.

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Single Review: Dierks Bentley, “I Hold On”

Dierks Bentley I Hold OnDierks Bentley has done a lot of growing up since his young man’s anthem, “What Was I Thinkin'”, launched him to stardom.

“I Hold On” has the energetic groove that Bentley always does so well, but there’s a refreshing lyrical depth that makes this song stand out among its lesser peers on the radio today.  His sentimental attachment to his old pickup truck because he worked on it with his departed father is reminiscent of Alan Jackson’s now-classic “Drive (For Daddy Gene)”, and there’s a nice mix of nostalgia and pride in him hanging on to the beat up guitar that he strapped on during all those rowdy club dates early in his career.

The song is so personal that even the patriotic clinging to the flag seems more genuine than cloying, though it does slow the song down a bit, at least until he pivots to promising to hold on to the love he’s found with his one true flame.

It’s not perfect, but it’s better than most.  I’m always on board with country music for grownups.

Written by Dierks Bentley and Brett James

Grade: B+

 

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