Oh, they think they’re soooo cool.
(But they do need new percussion.)
Listen: Hell on Heels
Oh, they think they’re soooo cool.
(But they do need new percussion.)
Listen: Hell on Heels
My latest playlist is of covers. First, I have the original version (or the one that’s famous for being the original) followed by my favorite cover of it. My only rule is that I have to like both versions. So, songs where I like the cover but not the original won’t make the list.
I’ll share a sampling of what I have so far, as long as you share your latest or greatest concept playlist in the comments:
1. Buddy Miller, “Somewhere Trouble Don’t Go” (Miranda Lambert)
2. Hank Williams, “Hey, Good Lookin’” (The Mavericks)
3. Elvis Presley, “Suspicious Minds (Dwight Yoakam)
4. Dolly Parton, “Coat of Many Colors (Shania Twain/Alison Krauss)
5. Waylon Jennings, “Dreaming My Dreams with You” (Alison Krauss and Union Station)
6. Johnny Cash, “Understand Your Man” (Dwight Yoakam)
7. Merle Haggard, “The Way I Am” (Alan Jackson)
8. John Prine, “That’s the Way the World Goes ‘Round” (Miranda Lambert)
9. John Anderson, “Swingin’” (LeAnn Rimes)
10. Buddy Miller, “Don’t Tell Me” (Alicia Nugent)
11. Kasey Chambers, “Pony” (Ashley Monroe)
12. Tammy Wynette, “Stand by Your Man” (Dixie Chicks)
13. Bill Monroe, “Blue Moon of Kentucky” (John Fogerty)
14. Conway Twitty, “Goodbye Time” (Blake Shelton)
15. Hank Williams, “I Saw the Light” (Blind Boys of Alabama/ Hank Williams Jr.)
16. Bob Dylan, “Shelter from the Storm” (Rodney Crowell/Emmylou Harris)
17. Merle Haggard, “Today I Started Loving You Again” (Buddy Jewell/Miranda Lambert)
18. Nitty Gritty Dirtband, “Fishing in the Dark” (Garth Brooks)
19. The White Stripes, “Dead Leaves in the Dirty Ground” (Chris Thile)
20. Al Green, “Lets Stay Together” (John Berry)
21. David Allan Coe, “You Never Even Called Me by My Name” (Doug Supernaw)
22. The Decemberists, “Shankill Butchers” (Sarah Jarosz
23. Steve Earle, “My Old Friend the Blues” (Patty Loveless)
24. Eric Clapton, “Lay Down Sally” (Delbert McClinton)
25. Fred Eaglesmith, “Time to Get a Gun” (Miranda Lambert)
26. Dolly Parton, “Jolene” (The White Stripes)
27. Johnny Cash, “I Still Miss Someone” (Suzy Bogguss)
28. Pearl Jam, “Better Man” (Sugarland)
29. Kris Kristofferson, “From the Bottle to the Bottom” (Dierks Bentley/Kris Kristofferson)
30. Don Williams, “Lord, I hope this Day is Good” (Lee Ann Womack)
31. Bob Dylan, “Don’t Think Twice, It’s all right” (Randy Travis)
The chorus is solid, the second verse about her father and her brother are quietly revealing and fully believable. I love the message about Jesus and how he’d very well love her just the way she is.
But I don’t believe for a second that she’s the kind of girl that you don’t take home to mama. She expresses her love for family too openly in the rest of the song to think that she’d be someone who you couldn’t introduce to your mother. And I don’t believe that Christians are getting in her face about cigarette smoking, and she’s demurely saying “God Bless,” either.
Lambert’s a stunningly talented singer and songwriter, but like her rough male equivalent, Jamey Johnson, she has these “I’m an outlaw! Really! I mean it!” moments that ring hollow to me and distract from the overall excellence of her work. Just being herself would be good enough. An original is always worth more than a copy.
Written by Travis Howard, Miranda Lambert, and Ashley Monroe
Listen: Heart Like Mine
Round 2 – FIGHT!
World: meet Underwood. She’s fiercely compassionate and endearingly idealistic (the riveting “Change”). She holds her beliefs with a firm but quiet conviction (“Temporary Home”). She’s as comfortable and convincing at tearing down a wrong-doer (the Dixie Chicks-esque “Songs Like This”) as she is nursing an irreparable heartache, whether it’s in the form of a haunting country standard (“Someday When I Stop Loving You”) or a rich pop ballad (“What Can I Say?”). And she’s one of the most gifted vocalists of this generation, possessing an instrument that, when colored and layered with emotion as she’s aptly learned to do on Play On, can have bone-chilling effects.
Like it or leave it, Play On is the most authentic encapsulation of Underwood’s artistry and persona to date, and serves as an exciting glimpse at how far a little growth can carry her. The best is yet to come, but in the meantime, the “good” is pretty damn good. – Tara Seetharam
As most people know by now, Sara Watkins is the female member of the now-disbanded (hopefully temporarily) New Grass trio, Nickel Creek. While Nickel Creek was difficult to classify in a certain genre (not bluegrass, not country), they were embraced by bluegrass and country music fans alike. Each member of the popular trio has released intriguing projects outside of Nickel Creek, but Watkins’ album has assumed the most decidedly country direction of them all. As a result, we are treated to a sublime album thanks to Watkins’ sweet voice and a set of impressively solid songs. – Leeann Ward Continue reading
The 201 Greatest Singles of the Decade, Part 7: #80-#61
“When Somebody Loves You”
A treasure of a love song. Contrasted stunningly with modest accompaniment and vocals, the song’s message is that of love’s sublime ability to transform one’s life and bring light to dark. – Tara Seetharam
“Separate Ways” is an instructive narrative of a couple who did everything together, but “the last thing they did together was go their separate ways.” Fortunately, the song’s narrator learns from his parents’ divorce and wisely applies its valuable lesson to his own relationship. – Leeann Ward Continue reading
The 100 Greatest Albums of the Decade, Part 7
Tim McGraw, Live Like You Were Dying
The title track looks forward, pondering what to do with the scarcity of time left, but the best of the rest of these tracks look backward, sometimes with sadness (“My Old Friend”), sometimes with humor (“Back When”), and often with both (“Open Season on My Heart”, “Can’t Tell Me Nothin’.”) – Kevin Coyne
Recommended Tracks: “My Old Friend”, “Old Town New”, “Open Season On My Heart”
Ashley Monroe, Satisfied
At just nineteen years old, Ashley Monroe has made an album with content comparatively mature, both in lyrics and production, to most other albums on this list. With a voice naturally tinged with both twang and sophistication, Monroe sings of loss, relational strife and even regret and sorrow with acute adeptness. While many of the compositions are sonically and topically subdued, she is not incapable of letting loose on certain numbers such as Kasey Chambers’ “Pony”, which includes a mean yodel, and a delightful duet with Dwight Yoakam, “That’s Why We Call Each Other Baby.” – Leeann Ward
Recommended Tracks: “Pony”, “Satisfied”, “Hank’s Cadillac”
Dolly Parton, Little Sparrow
She got her groove back with The Grass Is Blue, but Parton’s career revival truly peaked when she revisited her mountain roots on this classic album. She won a Grammy for her treatment of the Collective Soul hit “Shine”, and she wrote new songs like the title track, which ranks among her best work. She even revisited her finest pre-“Coat of Many Colors” composition, “Down From Dover”, restoring the verse that Porter Wagoner had forced her to edit out for the sake of brevity. – KC
Recommended Tracks: “Little Sparrow”, “Shine”, “Down From Dover”
Carrie Underwood, Some Hearts
Six months after taking the American Idol crown, Underwood unapologetically introduced herself as a polished country-pop artist via Some Hearts. With explosive hits like “Before He Cheats” at the helm, the album became the best-selling debut by a solo female country artist, making it easy to overlook that it is as genuine as it is commercially viable. It’s an album that fits Underwood like a glove, bottling a unique combination of naivety and perceptiveness, sass and charm, bombast and reservation – the kinds of paradoxes that have come to define her as an artist and as a person. And while the material is standard country-pop, to be sure, we’re reminded by Underwood’s compelling, crystalline performances that standard material can be made to be just as memorable as anything else. – Tara Seetharam
Recommended Tracks: “Wasted”, “Jesus, Take The Wheel”, “The Night Before (Life Goes On)”
Tim O’Brien and Darrell Scott, Real Time
In which two modern virtuosos sit in a living room and pluck out an acoustic album to match any before or since. The playing is exemplary, the songwriting deeply inspired, and the country-folk-bluegrass sound ageless. – Dan Milliken
Recommended Tracks: “Walk Beside Me”, “There Ain’t No Easy Way”, “Long Time Gone”
Soundtrack, O Brother, Where Art Thou?
Sometimes an album’s perceived quality becomes inextricable from its legend. Such is the case with the soundtrack to the Coen Brothers’ modern-day Odyssey, one of the bestselling country sets of the decade and a landmark in the genre’s history for its regeneration of mainstream interest in roots music. In essence, it’s really just a bunch of old-time covers done in exceptionally convincing old-time form. Whether that’s enough to put it among the decade’s finest country albums is up for debate – but there’s no denying it’s among the most essential. – DM
Recommended Tracks: “I Am a Man of Constant Sorrow”, “Didn’t Leave Nobody But the Baby”, “O Death”
Buddy and Julie Miller, Written in Chalk
Americana’s favorite couple outdo themselves on one of this year’s most revelatory albums, a tour de force of down-home soul and raw depth. The Millers excel at finding just the right sound to express the sentiments of their material, scoring randy lovemakin’ (“Gasoline And Matches”) and quiet grief (“Don’t Say Goodbye”) with equal aplomb. – DM
Recommended Tracks: “One Part, Two Part”, “Chalk”, “Everytime We Say Goodbye”
Patty Loveless, Sleepless Nights
The last decade has seen numerous well executed traditional covers albums, but none of higher quality than Patty Loveless’ tribute to tradition, Sleepless Nights. Loveless culls songs from various places, including compositions mostly previously attributed to male singers, to create an album that solidly stands as a cohesive unit. Due to Loveless’ naturally distinctive twang and her producer husband’s (Emory Gordy, Jr.) tasteful arrangements (prominent bass, light percussion and steel guitar), Sleepless Nights does well at staying authentic while still sounding progressive enough to warrant yet another covers project. – LW
Recommended Tracks: “Pain of Loving You”, “Sleepless Nights”, “Cold Cold Heart”
Justin Townes Earle, Midnight at the Movies
While The Good Life gained considerably more attention among traditional country audiences than Midnight at the Movies, with Justin Townes Earle’s follow-up, we are presented with his first fully mature album. Nominated for an Americana Music Award for Album of the Year, Midnight at the Movies delivers a voice fallen far from the rough gravel of Earle’s father, Steve Earle, but with gleaming jewels of writing equal to some of his father’s best work. – William Ward
Recommended Tracks: “They Killed John Henry”, “Mama’s Eyes”, “Black Eyed Suzy”
Keith Urban, Golden Road
Urban’s second solo album is an exuberant, original piece of work that solidified his place as one of the genre’s most gifted and charismatic male artists. The album showcases both his fine musicianship and intuitive sense of balance, as the material embraces exhilaration without feeling frivolous, and sentimentality without feeling melodramatic. Much like his other albums, it’s hard to classify Urban’s style on Golden Road, with its intermixed elements of rock, pop and traditional country – but who the heck cares when it’s this good? – TS
Recommended Tracks: “Who Wouldn’t Wanna Be Me”, “You’ll Think Of Me”, “Raining On Sunday”
– – –
The CMA Awards are upon us again, and I must say that this is the most underwhelming lineup I’ve ever seen, and I started watching the show back in 1991. We’ll be back to live blog the festivities on Wednesday night. In the meantime, enjoy our personal picks in each category, along with who we think will actually win.
Kevin: Much like the field finally cleared for him in the Male Vocalist race two years ago, I expect that this is Paisley’s year to win with his sixth nomination. I think Taylor Swift deserves to win, though. There’s no getting around the fact that she’s the biggest thing out there right now.
Leeann: I won’t be shocked (or really even disappointed) if Taylor Swift picks it up, but I really feel it’s finally Brad’s year.
Dan: Swift is the face of the genre right now, and she’s putting out better-written material than many of the veterans in this category. It looks like a race between her and Paisley, and I think she may actually get it.
Tara: It wouldn’t be inappropriate for Swift to take this award, and I would much (understatement) prefer her to win this over the vocalist award. But to me, Paisley is the all-around entertainer, and I think it’s his year to be recognized.
Leeann: I have no doubt that Paisley will win again, as he has had a strong year and the CMAs tend to prefer him for this award. While I think Urban is technically a very worthy opponent, the combination of Paisley’s warm voice and stronger album makes me continue to root for him. I’d also be just as happy if Strait won, however, and feel that his and Paisley’s albums were the strongest of the year.
Dan: Looks like an easy Paisley win, but I’ll give Strait the nod for all-around strength this past year.
Tara: I don’t anticipate that Paisley’s winning streak will be broken. I’m pulling for him on the strength of his material, but wouldn’t mind one bit if Urban took the award. Just please, CMAs, don’t give it to Rucker!
Kevin: Paisley’s poised to pick up his third trophy, with his only real competition being five-time winner George Strait. I’d give a fourth trophy to previous winner Keith Urban over the rest of the field. He really sang rings around the rest of ’em when comparing their latest albums.
Dan: I tend to find Underwood boring, but I do think she released some of her better singles this past year. Swift just isn’t a strong enough vocalist to merit this prize, and I’d rather see Lambert win in a year where she has more momentum going, which could well be next year.
Tara: It will no doubt spark controversy when Underwood takes her fourth trophy and joins the ranks of Reba McEntire and Martina McBride, and that’s another discussion all together – but looking at the nominees for this year, it’s clear she deserves to win. In terms of sheer vocal talent, few artists in the genre come close to her. I’d love to see Lambert take this award (and Underwood would too!), but like Dan, I don’t think it’s her time just yet.
Kevin: I won’t believe a different winner in this race until I see it. I was underwhelmed by the latest albums from Lambert, McBride, McEntire, and Swift, and quite frankly, Underwood is the only lady of the five to put out more than one single this year that I actually really liked (“Just a Dream”, “I Told You So.”) I remain in her corner.
Leeann: Carrie will deserve to win this award when she wins it this year. I, however, still prefer Lambert’s voice and feel that her output (album) is the most interesting of the nominees.
Vocal Duo of the Year
Tara: Sugarland continues to excite me, and I think they deserve this award again.
Kevin: I love Joey + Rory, but Sugarland have really been blowing me away lately. I’d pick them for Entertainer if they’d been nominated.
Leeann: I’d technically love for Joey + Rory to win, but I know full well that Sugarland is the duo that truly deserves to win based upon their impact this year.
Dan: Sugarland. But I want to talk to whoever is picking their singles.
Vocal Group of the Year
Kevin: I find Zac Brown Band more interesting, and I think they have a real shot at winning this. I suspect Lady Antebellum has a bit more industry support, though, so I’ll give them the edge.
Leeann: Lady A will win because they’ve got more industry support and popularity with radio, but the Zac Brown Band has certainly put out more interesting music and have a refreshingly unique sound that deserves to be rewarded.
Dan: Pretty much what Kevin and Leeann said. “Chicken Fried” notwithstanding.
Tara: It’s definitely a race between Zac Brown Band and Lady Antebellum, and I can understand why my co-bloggers are rooting for the former. But even if Lady Antebellum’s talent needs a little cultivating, their music strikes a very personal chord with me, and I’ll be thrilled when they take this award. Can you believe Rascal Flatts might actually walk away from an awards show empty-handed?
Kevin: A weak lineup that speaks volumes about why country music is where it is today. I think Zac Brown Band should win. They’ve really been the real breakthrough act of the five. But I suspect in this battle of “Honky Tonk Badonkadonk” co-writers, Jamey Johnson will emerge victorious.
Leeann: While I’m tempted to root for Jamey Johnson, I think Zac Brown Band has a chance of keeping me intrigued over the next few years (even if they fall out of the mainstream), though I don’t think they’ve reached their potential just yet. I predict that Darius Rucker will actually win, however, as he’s been the most successful in the last year.
Dan: Time will tell whether Johnson is able to remain a strong artistic force, but I’d say he has as good a chance as any of these five if he can keep from getting self-important. Rucker is the biggest star on the ballot, though, and I suspect he’ll squeak the win over Johnson and Zac Brown Band.
Tara: Johnson and Zac Brown Band are both deserving recipients of this award, but I personally prefer the band’s music. With the commercial success Rucker’s seen in the past year, though, I think it’s his award to lose. Not too sure how I feel about that.
Album of the Year
Leeann: While Johnson’s album hasn’t really stuck with me over the past year or so, I still think it’s the best album out of the bunch. I think Swift will win, however, due to the volume of sales and hit singles.
Dan: All of these albums have strengths, but That Lonesome Song is the only one that makes me optimistic about country music’s future. I expect it to triumph, though Swift’s has a great shot, too.
Tara: Paisley’s album, to me, strikes that sweet balance of traditional and contemporary. I think it’s a strong, interesting and relevant album that epitomizes why Paisley is so deservingly successful. But Johnson will deserve this award when he takes it, and I recognize and appreciate his positive influence on mainstream country music.
Kevin: I expected more nods overall for Jamey Johnson. I think that the eligibility period hurt him, with the project less fresh in voters’ minds. But the CMA values traditional country more than any other awards organization, so I expect him to win this. I enjoy the Sugarland album far more than any of the other four, so I’m rooting for that one.
Single of the Year
Dan: I’ve just got a bad feeling about that Currington single. “I Run To You” does have some smokin’ production, but “In Color” is the only one of the five I can still stand.
Tara: Ouch. I’m pleased that “I Run to You” is nominated as it’s a personal favorite, but I don’t think any song other than “In Color” is deserving of this award. Again…ouch.
Kevin: This is the weakest lineup in the history of this category.
Leeann: Johnson’s song feels old to me now, but it’s the best song in this underwhelming category, though I’m sure David Letterman disagrees. While I like the production on “People Are Crazy” the best in this line-up, the hook (not to mention the frustratingly weak story development) is just lame.
Tara: I would absolutely love to see Travis take this award; Underwood’s success with the song proves that the best-written country songs are timeless. I think “In Color” has more pull, though.
Kevin: I think Johnson will win, but kudos to Carrie Underwood for recognizing the value of the Randy Travis-penned gem and making it a hit all over again.
Leeann: This is not one of my favorite Randy Travis songs, but for nostalgia’s sake, I’m rooting for him to win this one. I even think it has a chance of winning, since it was a hit song for one of today’s country music’s most popular artists. I think the Paisley composition is, by far, the weakest though.
Dan: I like probable-winner “In Color” marginally more than “I Told You So.” Any of the other three winning would hurt me way down deep.
Musical Event of the Year
Kevin: Will the CMA really pass up the chance to give a trophy to Randy Travis for the first time in 21 years? I hope not.
Leeann: Paisley’s and Urban’s collaboration was originally accidentally left off the ballot, but the superstar pairing is the most likely to win. Conversely, I suspect that the inclusion of the collaboration with Ricky Skaggs and Ashley Monroe was likely an accident, but I’d still love to see this dark horse nomination win. It’s certainly the most interesting song of the category. I might have gone for the Underwood/Travis pairing if Travis’ inclusion didn’t seem so random. I liked Underwood’s original version better, as Vince Gill’s harmony seemed more natural.
Dan: It’s totally between “I Told You So” and “Start A Band”, but I’m pulling for the underdog Raconteurs record, too. I like my collaborations a little spontaneous like that, and it’s always great to see outsiders included in the CMA fold.
Tara: While I have a particular soft spot for “Down the Road,” which I thought was one of the best singles of 2008, it should come as no surprise that I’m pulling for the beautiful, rough-and-pure “I Told You So.” I think it will easily win.
Dan: I enjoy the Strait video most, but Swift’s is the flashiest, and that tends to win out.
Tara: Strait’s video is poignant and tastefully done. I never understood the appeal of Swift’s Shakespearean video, but apparently a whole generation of country music fans does. My money’s on Swift.
Kevin: I think the Swift fairytale will get the most votes, but the Strait clip hypnotizes me every time it’s on. Who knew a simple slide show could be so powerful and such a perfect fit for a song?
Dan: I should really start paying more attention to this kind of thing. But I know Paul Franklin’s been doing steel for everyone from Lyle Lovett to Rascal Flatts in the past year. Respek!
Tara: Franklin’s the one I’m most familiar with, and I agree with Kevin and Dan that he deserves it. I’ll admit I’m not entirely sure how to gauge who’ll win this year, but I suppose I’d go with McAnally again.
Kevin: I guess that McAnally will repeat his victory from last year. The other previous winners won quite a bit of time ago – Dann Huff in 2001 and 2004, Brent Mason in 1997 and 1998. My sympathy goes to Eddie Bayers, who is nominated for the tenth time and has yet to win. I have no choice but to pull for Paul Frankin, though, who has lost this award sixteen times. Here’s hoping that seventeen’s a charm!
Leeann: Please don’t let it be Dann Huff! That’s all I ask. Of course, I’m partial to the steel guitar, not to mention that it’s a shame that a steel guitar player has to work so hard to win a country music award.
Miranda Lambert is a rare and fascinating case study of an artist who is able to push a significant number of records out the door, but is hard-pressed to receive equally significant radio airplay in return. While her first album, Kerosene, was certified Platinum and the follow up project, Crazy Ex Girlfriend, fared similarly well with Gold certification, she has only managed to squeak into radio’s top ten once with “Gunpowder And Lead.” On her third album, Revolution, it is entirely possible that Lambert has finally found a way to strike the tenuous balance of pleasing both critics and the general country music listening public with her album consisting of everything from sensitive ballads to rocked up, punk-flavored songs and a lot in between.
Not only does her impressive range of versatility sonically manifest itself, her depth of influences also appears by way of song contributions by people who aren’t just the usual suspects, but also dips into the pens of some highly esteemed Americana artists who aren’t typically covered by mainstream artists, as she did with songs from Gillian Welch and Patty Griffin on Crazy Ex Girlfriend. While there is a song that is co-written with the male members of Lady Antebellum and three co-writes with Blake Shelton, more interesting contributions are Fred Eaglesmith’s “Time to Get A Gun”, which is actually more relaxed than Eaglesmith’s manic rendering, Julie Miller’s “Somewhere Trouble Don’t Go” that was rearranged with a punk vibe, and a lyrically watered down (with confusing changes) but sonically amped up version of John Prine’s “That’s the Way the World Goes ‘Round”. Additionally, she includes three songs written with Ashley Monroe, including the catchy “Me and Your Cigarrettes” (also written with Shelton), which Monroe sings on as well.
As was ever present in her previous albums, Lambert maintains a certain edge for which she is best known both in sound and lyrics. Songs like “Maintain the Pain” (with a guest appearance from Blake Shelton), “Time to Get A Gun”, “Sin for A Sin”, “White Liar” and “Only Prettier” display Lambert’s trademark tendency toward the attitudinal. While all these songs are noteworthy for various reasons, “Only Prettier” specifically taps into Lambert’s sardonic capabilities, which results in the most amusing song of the album. Using political jargon, she suggests that the high society crowd can get along with the less refined folks but ends up antagonistically concluding with the barb, “We’re just like you, only prettier.”
However, as is also often overlooked with Lambert’s music, there is certainly a more sensitive and introspective side that is actually more prevalent on Revolution than on her prior albums. In fact, “Makin’ Plans”, “The House That Built Me”, “Airstream Song” (her answer to Merle Haggard’s “The Way I Am”), and “Virginia Bluebell” can all be described as gorgeous. Incidentally, they are also the quieter tracks. Of these songs, the most thematically compelling is “The House that Built Me”, which is an unshakably touching tribute to the contribution of the childhood home and its accompanying memories. “If I could just come in, I swear I’ll leave/Won’t take nothin’ but a memory from the house that built me”, she promises the house’s current owner.
In this fifteen song set, Lambert does not merely rest on the comfort ability of her past album’s themes and productions. Instead, she reaches for growth and diversity. While she is not completely successful (mostly thanks to some heavy production choices), her attempts to stretch herself are largely positive and indicative of an artist who is mainstream but not afraid to stay true to her tasteful and eclectic roots. Moreover, Lambert continues and even improves upon her natural inclination toward quality songs, stellar vocals and intriguing productions. Hopefully, she will someday be truly rewarded for her artistic integrity by receiving airplay to match her sales.
It’s time for another iPod (or any other music player) check. Last time, I asked you to put your music device on shuffle and then tell us the first ten songs that you would recommend. This time, I want you to do the same thing, but then jot down your initial thoughts on the songs as your ten recommended songs play. Then share your informal thoughts in the comments.
I’ll play along too, but I’ll spare you the Christmas songs that will inevitably come up in my shuffle, which I’d heartily recommend if I wasn’t keenly aware that it’s still only September.
John Anderson, “I’d Love You Again”
Nice, sweet song from the rough voice guy who’s still able to sing a tender song with the best of them.
Todd Snider, “Alright Guy”
I love how Snider really seems to be pondering this question: “I’m an alright guy? Right? Right?”
Ashley Monroe, “Can’t Let Go”
Peppy…reminds me of a Garth Brooks type song.
Patty Loveless, “What’s A Broken Heart”
Melancholy…something Patty Loveless does the best.
Rodney Crowell, “Earthbound”
A celebration of life that doesn’t happen to be sappy.
Kathy Mattea, “Junkyard”
I can relate to this song. My motto has always been “Life’s depressing enough. Why would I want to watch things that would only contribute to the darkness?” That’s why I don’t watch dark films, though it so happens that I don’t have the same philosophy about music.
The Judds, “Flies on the Butter (You Can’t Go Home Again)”
There’s just something wistful about this song. Obviously, the theme, but also how it’s performed. Perhaps I’m just imagining it, because I’m wistfully wishing there was a duo on radio like The Judds today…probably why I love Joey + Rory
Trent Summar and the New Row Mob, “Louisville Nashville Line”
It’s just imperative to turn Trent Summar and the New Row Mob up when they come up on the iPod.
Vince Gill, “Don’t Pretend with Me”
I really like the guitar on this song. It’s cool. In reality, this whole box set is awesome.
Keith Anderson, “Pickin’ Wild Flowers”
It’s that time of year again! For each major category, we’ll look at who’s broken in since last year, who’s been booted out, plus some initial thoughts. As always, we invite you to share your own opinions in the comments. Without further ado:
Who’s In: Taylor Swift
Who’s Out: Sugarland
Snap Judgment: With Carrie Underwood and Sugarland a little out of the spotlight recently, it’s no shock to see the regular foursome of Chesney, Paisley, Strait and Urban prevail. Swift was a logical inclusion given her across-the-board dominance, but I gotta say that I’m surprised to see her acknowledged for it by the historically traditional-leaning CMA.
Who’s In: Darius Rucker
Who’s Out: Alan Jackson
Snap Judgment: Pretty predicable. Rucker has shown he can get serious spins at radio, which is probably what won him this slot over Jamey Johnson.
Who’s In: Reba McEntire
Who’s Out: Alison Krauss
Snap Judgment: Again, no big surprises. Martina always hangs in there somehow, doesn’t she?
Who’s In: Joey + Rory
Who’s Out: The Wreckers (finally!), oddly not Big & Rich
Snap Judgment: I guess there has to be at least one defunct act in this category every year, huh?
Who’s In: Zac Brown Band
Who’s Out: Emerson Drive
Snap Judgment: I’m baffled to see the Eagles still here. I expect there will be a lot more shake-up in this category next year, with Love and Theft, Eli Young Band and The Lost Trailers all experiencing a rise in profile recently.
Who’s In: Completely new line-up!
Snap Judgment: A strong group. Johnson, Rucker and Zac Brown Band are selling better than many of the veteran acts, so they’re the serious contenders this year, but all five nominees show great artistic potential.
Snap Judgment: Probably as good a line-up as you could’ve hoped for. Never thought I’d live to see a CMA category where I thought Keith Urban had the weakest offering!
Snap Judgment: Sigh.
Snap Judgment: I mean, it’s not like Randy Travis ever had his own hit with “I Told You So” or anything.
Snap Judgment: How in the world did that Raconteurs record sneak in there? Props, CMA!
Snap Judgment: Not bad. Houser’s doesn’t have much, but the only one I outright dislike is Currington’s. It’s just another excuse for him to sit around looking scruffy on a beach.