“Jim and Jack and Hank”
Written by Alan Jackson
It’s country. It’s clever. It’s funny.
It’s classic Alan Jackson, with his signature attention to details and refusal to do cutesy rhymes at the end of each line.
“Jim and Jack and Hank”
Written by Alan Jackson
It’s country. It’s clever. It’s funny.
It’s classic Alan Jackson, with his signature attention to details and refusal to do cutesy rhymes at the end of each line.
Ronnie Milsap, Mac Wiseman and the late Hank Cochran are the newest members of the Country Music Hall of Fame.
Wiseman got his start in music after contracting polio as a child, which kept him out of the fields in his native Virginia. He was an original member of Lester Flatt and Earl Scruggs’ Foggy Mountain Boys, made his Grand Ole Opry debut with Bill Monroe, was an executive with the influential Nashville independent label Dot Records and a founding board member of the Country Music Association.Milsap, inducted in the modern era category, was an established talent by the time he arrived in Nashville in the 1970s. He’d played in J.J. Cale’s band in the early 1960s and moved to Memphis to work with Chips Moman at the hit-making American Studios, where he worked with Elvis Presley, among others, before accepting an invitation to go to Nashville to record for RCA Records.
It was something of an experiment for Milsap, known as an R&B and rock singer, but he made sure he had a regular gig before he hit town, playing nightly at Roger Miller’s King of the Road Hotel.
He found country fans were open to his style, and he went on to win several Grammy Awards, the CMA’s entertainer of the year award in 1977 and four album of the year awards between 1975 and 1986.
Cochran, who is being inducted posthumously in the songwriter category, probably secured his place in country music history when he got Willie Nelson a songwriting job at Pamper Music by forgoing his own raise.
He wrote the Ray Price standard “Make the World Go Away” and Patsy Cline’s second most-memorable song, “I Fall to Pieces” (following Nelson’s own “Crazy”), among many others.
He died in 2010 of pancreatic cancer shortly after a touching bedside singalong that included friends Jamey Johnson, Buddy Cannon and Billy Ray Cyrus.
Source: Associated Press via CBS News
The journalist noted his surprise at the title track, which demonstrated more subtlety and gravitas than he’d previously thought McGraw was capable of.
That was so many years ago that it’s hard to remember that McGraw was something of a novelty singer back in the day, a step or two above Billy Ray Cyrus but not quite up there with Joe Diffie.
Fourteen years later, we’ve had so many thoughtful and compelling records from McGraw that when a new one comes along, it’s easy to take it for granted. Standing in the shadow of “Live Like You Were Dying” is a hard place to shine.
So while “Better Than it Used to Be” is classic McGraw and a welcome relief to hear after “Felt Good on My Lips”, it’s not quite in the league of his very best songs in the same vein, like “One of These Days” and “My Next Thirty Years.”
But I do have to publicly thank him for the clean, tasteful, and decidedly country production. Any record that doesn’t hurt my ears these days is greatly appreciated.
Written by Ashley Gorey and Brian Simpson
The First Song You Remember Liking.
Here are the staff picks:
Tara Seetharam: “She’s Not Cryin’ Anymore” – Billy Ray Cyrus
Cyrus released “Achy Breaky Heart” when I was seven years old, and I fell for it. The upside? My mom bought me his Some Gave All cassette tape, and I fell in love with “She’s Not Cryin’ Anymore.” It was the first song in my life to grip me with emotion, which would later come to define my bond with music.
Kevin Coyne: “I Love Rock’ n Roll” – Joan Jett & The Blackhearts
I know that it was either this or “Physical”, but I’m pretty sure it was this one because I have foggy memories of this being turned up for my amusement in the car when I was a small child. This is what happens when you’re a child of the eighties.
Dan Milliken: “Keep on Dancing” – The Gentrys
This is just my best guess. My dad used to crank this oldie in our living room and literally swing me and my little sister around in the air to it when we were young. I sometimes wonder if my preference for uptempo material (regardless of actual emotional tone) was established right there.
Leeann Ward: The songs of Raffi
I don’t have a particular song in mind, but when I think about it, I realize that the first music that I remember really liking was from Raffi, a children’s’ singer. There was a particular cassette that I was obsessed with (recorded by my dad from the TV), which was a recording of a concert that aired on the Disney channel and subsequently released on CD a few years later.
As an adult when I revisited the album, along with Raffi’s Christmas album, I realized that the instrumentation closely resembled the sounds of country music. In fact, the country music community released a tribute to Raffi, which includes adorable recordings by the likes of Keith Urban, Marty Stuart, Kathy Mattea, Lee Roy Parnell, Lari White, Elizabeth Cook, Eric Heatherly, Alison Krauss and Asleep at the Wheel, among others.
My favorite track from the tribute is Raul Malo’s version of “Thanks A Lot” (not the Ernest Tubb song). Although I didn’t fall in love with country until I was a young adolescent, as I see it, loving Raffi music proves that I was wired to naturally love country music, even as a young child.
You might want to let that sink in before deciding to click the Listen link.
If you’re still interested, then you’ll be happy to know that “Mary Was the Marrying Kind” is really good, a promising debut single from a guy who can string together clever lyrics without sacrificing the heartfelt sentiment.
I found all of the girls in this song interesting and believable. I’d buy a concept album that fleshed out the back story of each one. But Mary is the main focus, and he definitely let a good one go. Kudos for him allowing us to reach that conclusion on our own, just by his choice of details and the weathered regret in his voice.
Further proof that 2011 is exceeding expectations.
Written by Dan Couch, Kip Moore and Scott Stepakoff
Listen: Mary Was the Marrying Kind
Signature hits, breakthrough hits, and why-weren’t-they-hits abound in this entry.
400 Greatest Singles of the Nineties: #150-#126
1994 | Peak: #1
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
I Want to Be Loved Like That
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 Continue reading
New fans of country music in the nineties were hit over the head with the assertion that country music was one big family. Nothing demonstrated this mythos better than the all star jams that cropped up during the boom years.
There were some variants of this approach. A popular one found a veteran star teaming up with one or more of the boom artists to increase their chances of radio airplay. George Jones was big on this approach, with the most high profile attempt being “I Don’t Need Your Rockin’ Chair.” Seventeen years later, it’s amazing to see how young everyone looks – even Jones himself!
Jones shared the CMA Vocal Event of the Year trophy for that collaboration with Clint Black, Garth Brooks, T. Graham Brown, Mark Chesnutt, Joe Diffie, Vince Gill, Alan Jackson, Patty Loveless, Pam Tillis, and Travis Tritt. He’d continue with this approach by teaming up with his vocal chameleon Sammy Kershaw on “Never Bit a Bullet Like This”, and he recorded an entire album of his own songs as duets with mostly younger stars. The Bradley Barn Sessions was represented at radio with “A Good Year For the Roses”, which found him singing one of his best hits with Alan Jackson:
Among the legends, the only other one to be successful with this approach was Dolly Parton, who used collaborations with young stars to score consecutive platinum albums for the first and only time in her career. Her 1991 set Eagle When She Flies was powered by the #1 single “Rockin’ Years”, co-written by her brother and sung with Ricky Van Shelton:
That album also included a duet with Lorrie Morgan on “Best Woman Wins.” She upped the bandwagon ante on Slow Dancing With the Moon, bringing a whole caravan of young stars on board with her line dance cash-in “Romeo.”
That’s Mary Chapin Carpenter, Billy Ray Cyrus, Kathy Mattea, and Tanya Tucker in the video. Pam Tillis isn’t in the clip, but she sings on the record with them. Parton also duets with Billy Dean on that album on “(You Got Me Over a) Heartache Tonight.”
Her next collaboration was with fellow legends Loretta Lynn and Tammy Wynette, but they couldn’t resist the temptation to squeeze in several younger stars in the video for “Silver Threads and Golden Needles.” Alongside veterans like Chet Atkins, Bill Anderson, and Little Jimmy Dickens, you’ll catch cameos from Mark Collie, Confederate Railroad, Rodney Crowell, Diamond Rio, Sammy Kershaw, Doug Stone, and Marty Stuart.
Parton scored a CMA award when she resurrected “I Will Always Love You” as a duet with Vince Gill:
And while it didn’t burn up the charts, her version of “Just When I Needed You Most” with Alison Krauss and Dan Tyminski:
Tammy Wynette made an attempt to connect with the new country audience with her own album of duets, Without Walls. Her pairing with Wynonna on “Girl Thang” earned some unsolicited airplay:
Perhaps the most endearing project in this vein came from Roy Rogers. How cool is it to hear him singing with Clint Black?
The new stars liked pairing up with each other, too. A popular trend was to have other stars pop up in music videos. There’s the classic “Women of Country” version of “He Thinks He’ll Keep Her”, for starters. Mary Chapin Carpenter sounds pretty darn good with Suzy Bogguss, Emmylou Harris, Patty Loveless, Kathy Mattea, Pam Tillis, and Trisha Yearwood on backup:
That’s a live collaboration, so at least you hear the voices of the other stars. But Vince Gill put together an all-star band for his “Don’t Let Our Love Start Slippin’ Away” video without getting them to actually play. That’s Little Jimmy Dickens, Kentucky Headhunters, Patty Loveless, Lee Roy Parnell, Carl Perkins, Pam Tillis, and Kelly Willis behind him, with Reba McEntire reprising her waitress role from her own “Is There Life Out There” clip.
My personal favorite was Tracy Lawrence’s slightly less A-list spin on the above, with “My Second Home” featuring the future superstars Toby Keith, Tim McGraw, and Shania Twain, along with John Anderson, Holly Dunn, Hank Flamingo, Johnny Rodriguez, Tanya Tucker, Clay Walker, and a few people that I just can’t identify.
For pure star wattage, it took the bright lights of Hollywood to get a truly amazing group together. The Maverick Choir assembled to cover “Amazing Grace”, and it doesn’t get much better than country gospel delivered in a barn by John Anderson, Clint Black, Suzy Bogguss, Billy Dean, Radney Foster, Amy Grant, Faith Hill, Waylon Jennings, Tracy Lawrence, Kathy Mattea, Reba McEntire, John Michael Montgomery, Restless Heart, Ricky Van Shelton, Joy Lynn White, and Tammy Wynette.
What’s your favorite of the bunch? Any good ones I missed?
The ACM Awards has traditionally been overshadowed by the CMA Awards, despite its longer existence. This is for several reasons. First, the ACM originally existed to emphasize the West Coast country music scene, whereas the CMA Awards represented Nashville from the start. The ACM has also been more commercially-oriented from the beginning, as the history of this category proves. Eighteen of the last twenty winners in this ACM category are multi-platinum sellers, and the organization allowed greatest hits albums to compete for more than a decade.
Still, the ACM category has bragging rights of its own. Critically-acclaimed albums like Storms of Life, Trio, Killin’ Time and Crazy Ex-Girlfriend won at the ACMs but were overlooked by the CMAs. Additionally, women have also been far more successful at this ceremony. Only five women have ever won the CMA Album trophy, and one of them was Sissy Spacek! At the ACMs, women have dominated the category for the past three years, and the category has honored everyone from Loretta Lynn and Donna Fargo to K.T. Oslin and Shania Twain.
A special note about ACM flashbacks. Like the Grammys, the ACMs issue their award for a given year the following year, so the awards for 2009, for example, are given out in 2010. For the purposes of the flashbacks, Country Universe notes the year the award is presented. While the ACM first presented awards in 1966, the Album category wasn’t introduced until 1968.
As with other flashbacks, we begin with a look at this year’s nominees:
Three previous winners – Miranda Lambert, Brad Paisley, and Carrie Underwood – compete against the debut albums of two hot bands. Lady Antebellum and Zac Brown Band each picked up a Grammy this year and are well represented on the rest of the ACM ballot. This is a very competitive race. Even the sales-friendly nature of the ACMs doesn’t help much here, as four of these albums are platinum and Lambert’s just went gold.
Taylor Swift became the third consecutive female artist to win in this category, a feat that would’ve seemed unthinkable earlier in the middle part of the decade, when country radio all but exiled women from radio.
A visibly shocked Lambert accepted the trophy for her critically acclaimed sophomore set. While it did go gold, it remains an anomaly among ACM album winners. You have to go all the way back to 1979 (Oak Ridge Boys) to find another ACM album winner that didn’t sell platinum or higher.
Carrie Underwood became the first solo female artist to win this award in eleven years with her 7 million-selling Some Hearts.
A strikingly strong lineup, with the victory going to Brad Paisley. Due to differences in eligibility between the two shows, there are two CMA winners in this category. Not only did Paisley repeat his victory the following fall, Womack won the CMA the previous year.
Though he’s always been popular with the CMA and Grammy voters, Urban’s only Album award to date came courtesy of the ACMs. Oddly enough, they haven’t nominated him since.
On an evening where he won several major awards, Keith picked up his second Album of the Year trophy from the ACMs for an album that included the #1 hits “American Soldier”, “Whiskey Girl”, and “I Love This Bar.”
If you think all of those 2009 nominations for Heidi Newfield were surprising, check out Trick Pony’s presence in this category among four albums that sold more than 4 million copies each. Alan Jackson picked up his third trophy in this category for the album that included “Where Were You (When the World Stopped Turning)” and “Drive (For Daddy Gene)”.
Big comeback albums for Brooks & Dunn and Travis Tritt were nominated, but it was no surprise to see the victory go to the landmark soundtrack that sold more than eight million copies in the end.
Even Keith was a veteran in comparison to Gilman and Paisley, who were nominated with their debut albums, but the biggest surprise was the nomination of Cash for his third project with Rick Rubin. Even the CMA didn’t recognize those collaborations until the fourth volume and “Hurt.”
An impressively eclectic lineup is unsurprisingly represented by the consensus choice Dixie Chicks, the one act that everybody used to agree on.
For the fourth time in the nineties, the trophy went to an artist’s breakthrough album. After their shocking win at the Grammys a few weeks earlier, this Dixie Chicks victory wasn’t quite as surprising.
Strait’s third victory in this category tied him with Alabama for most wins. It was also his first album to top the overall Billboard 200, a feat he’s repeated with three additional albums.
Strait’s victory came with an album that featured the #1 hits “Blue Clear Sky” and “Carried Away”, along with the rodeo-themed “I Can Still Make Cheyenne.”
Although Loveless won the CMA award the previous fall, the ACM sided with the Grammy winner for Best Country Album, Shania Twain’s landmark set, The Woman in Me.
McGraw’s only victory in this category came with his first nomination. This set remains his top-selling to date, thanks to the presence of the massive hits “Don’t Take the Girl”, “Indian Outlaw”, “Down on the Farm”, and the title track.
Alan Jackson picked up his second victory in this category with an album that included “Chattahoochee”, which would remain his biggest hit for nearly a decade.
These are some big selling albums. Wynonna and Mary Chapin Carpenter both sold five million and they are tied for last place among the nominees. It’s easy to forget how fresh the Brooks & Dunn sound was when it first arrived on the scene. Five hits, including the classic title track, “Neon Moon”, and “Boot Scootin’ Boogie”, helped power them to a win.
In perhaps the most bizarre moment in this category’s history, Garth Brooks competed again with No Fences, which won the same award last year. Alan Jackson emerged victorious with his sophomore set.
No Fences includes the Garth Brooks classics “Friends in Low Places”, “Unanswered Prayers”, and “The Thunder Rolls”. It remains his highest-selling album to date, and second only to Shania Twain’s Come On Over among all single-disc country albums in history.
The winning album demonstrates why Clint Black was the head of the Class of ’89, even though he’d soon be overshadowed by fellow newbie Garth Brooks.
K.T. Oslin dominated the awards circuit in 1988 and 1989, with her final victories coming at the ACM Awards. Her Album of the Year winner included the #1 hit “Hold Me”, along with the top five hits “Hey Bobby” and the title track.
The classic project by legends Dolly Parton, Linda Ronstadt, and Emmylou Harris also won a CMA for Vocal Event and a Grammy for Best Country Performance by a Duo or Group with Vocals.
The neo-traditionalist movement at its peak, with a win by its standard-bearing artist with his standard-bearing debut album.
The only #1 hit from this album was the title track, but “The Fireman” and “The Cowboy Rides Away” have since become signature songs for the legendary artist.
Their third victory in four years came on the strength of the hits “Roll On (Eighteen Wheeler)”, “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)”, “(There’s a) Fire in the Night”, and “When We Make Love.”
Over a field of traditionalists old and new, the pop-country supergroup Alabama won their second Album award. In addition to the hit title track, The Closer You Get… included the hits “Lady Down on Love” and “Dixieland Delight.”
Nelson’s biggest single powered the album of the same name to victory. It also included a pair of #2 hits: “Last Thing I Needed First Thing This Morning” and “Let it Be Me.”
With the exception of George Jones, all the nominees here enjoyed significant pop success with these projects. Alabama won their first trophy in this category with Feels So Right, which included the hit title track, “Old Flame”, and their biggest crossover hit, “Love in the First Degree.”
For all that it’s been maligned, the Urban Cowboy soundtrack does have a lot of classic hits on it. Some of them were recycled, like “Devil Went Down to Georgia” and “Lyin’ Eyes”, but some were introduced on the soundtrack, most notably Anne Murray’s “Could I Have This Dance” and Johnny Lee’s “Lookin’ For Love.”
Those of you wondering how on earth Larry Gatlin was the winner in this field should know that this was actually a platinum-selling album. Perhaps its big hit, “All the Gold in California”, endeared the project to west coast voters.
They had made several albums as gospel stars, but it was their first big country hit that fueled this win for Album of the Year.
This self-titled album was renamed “Lucille” in later pressings to capitalize on its biggest hit.
Gilley’s winning album features his most well known hit, “Don’t the Girls All Get Prettier at Closing Time.” It’s the most recent album in the category’s history that hasn’t reached at least gold status.
This shared award is the only Album trophy that either Lynn or Twitty won from the ACM or CMA, though Lynn did go on to win Best Country Album three decades later at the Grammys.
Denver’s biggest country album, it spent thirteen weeks atop the country album chart. The title track topped the chart, and “Annie’s Song” became a wedding standard.
Rich’s classic set has sold four million copies, an unheard of tally for a country album from this time period. It didn’t hurt that the title track and “The Most Beautiful Girl” were crossover hits, with the latter actually topping the pop singles chart.
Donna Fargo triumphed in a field of six albums, half of which were recorded by Merle Haggard! The Fargo set produced two million-selling singles – the title track and “Funny Face”.
The title track was a massive hit, helping Hart’s Easy Loving reach gold status and spend nine weeks atop the country albums chart.
Who knows how many times Haggard could’ve won this award if he wasn’t nominated against himself? This year, Ray Price’s For the Good Times was the victor, thanks to the Kristofferson-penned title track.
Haggard’s only victory in this category was for a live album. Incidentally, he won over two other live albums and a pair of greatest hits sets.
Campbell won for the second year in a row, this time sharing the victory with Bobbie Gentry of “Ode to Billie Joe” fame.
California favorite Glen Campbell won the first ACM trophy in this category, and he’d remain a favorite of the Academy over the next decade.
Facts & Feats
Most Nominations Without a Win:
Albums that won the ACM Award and the CMA Award:
Albums that Won the ACM award and the Grammy for Album of the Year:
Albums that Won the ACM award and the Grammy for Best Country Album (only presented in 1965-1966 and 1995-present):
Time’s running short. If your personal least favorite wasn’t in , , or , perhaps it will turn up now.
The Worst Singles of the Decade, Part 4: #20-#11
The Lost Trailers, “Holler Back”
If your response to hearing “Holler Back” is to brag that you’ve got a holler back in the woods, I suggest that you and your music stay there.
Trailer Choir, “Rockin’ the Beer Gut”
I appreciate the sincerity, but it can’t overcome the fact that he’s rockin’ the Autotune and singin’ the most ridiculous lyric of the year.
Bucky Covington, “A Different World”
Bucky and I are roughly the same age, and I know for a fact that we grew up with seat belts, video games, and remote controls. What’s next, Taylor Swift singing about growing up without the internet?
Toby Keith featuring Krystal, “Mockingbird”
As endearing as it is that Toby Keith wanted to help his daughter on to country radio, I have to ask the question: Why is one of country music’s greatest all-time vocalists aping James Taylor’s far less capable vocal stylings? Did we really need to hear Toby Keith sing, “Yes indeed-o?”
Billy Ray Cyrus featuring Miley Cyrus, “Ready, Set, Don’t Go”
Then again, trying to help your daughter is a heck of a lot more sympathetic than riding on her coattails. I’d give this a pass if it was the original recording, but slapping Miley on to the track when the solo version is struggling at radio is just sad.
Blake Shelton, “The Baby”
Or as he sings it, “The Bay-ay-bee.”
Neal McCoy, “Billy’s Got His Beer Goggles On”
Of all of the nineties stars to make a one-off comeback, did it have to be the man who brought us “The Shake?”
Gretchen Wilson, “All Jacked Up”
In which Wilson sees both her front tooth and her pickup truck damaged, and pundits are left debating which one best symbolizes what she’s done to her career.
Brad Paisley, “Ticks”
A warning to all the ladies: If a stranger starts talking to you like this at a bar, please don’t follow him into the woods. It won’t end well.
Trace Adkins, “Swing”
The strikes are called after you swing, not before them. Stupid songwriters.
I’ve just gotta ask: Is this the worst year ever for country music?
Forgive me, but I can’t remember ever being so uninspired and uninterested in mainstream country music as I have been this year. I started listening to country around 1991, so that would make this the worst of the nineteen years I’ve been listening to it.
Even the nineties artists have been limiting themselves to covers albums and even sequels. Not that some of those aren’t good projects, but what does a guy have to do to get a solid studio album these days?
The reissue market hasn’t been any better. Even the upcoming Dolly Parton box set is a disappointment, a collection that abruptly stops in 1993. A collection claiming to be definitive that ends with her Billy Ray Cyrus duet “Romeo” does not bode well.
Am I just being a grouch, or has this really been a bummer of a year?