Tag Archives: Carrie Underwood

Concert Review: Carrie Underwood with Hunter Hayes

Carrie Underwood with Hunter Hayes
The Blown Away Tour
Prudential Center
Newark, NJ
December 1, 2012

There’s a desirable sweet spot in every big performer’s career where they finally have a large number of hits to fill out a two-hour show, a compelling enough current album to sustain audience interest between the hits, and the appropriate level of earned confidence to take some bold risks in staging and presentation.

Carrie Underwood just hit that sweet spot.  Her Blown Away Tour hit Newark on Saturday, playing to an arena packed with fans of all ages.  It’s an arena show, too, filled with pyrotechnics and

special effects and a backing band that shook the cheap seats on the more rocking numbers.  Opening with “Good Girl”, Underwood tore through an opening section which included a healthy mix of hits from all four of her studio albums.

But the show didn’t hit its stride until the second section, when she surprised the audience with the appearance of a choir from local elementary school P.S. 22.   They supported her in a touching rendition of “So Small” that lived up to its name, stripping the bombast from the studio recording and letting the lyric shine over the sweet harmonies that only bewilderingly talented tots can produce in unison.    The arena felt as intimate as a sitting room as she sang “Temporary Home”, which seemed to have her on the verge of tears by the third verse.

After a few more hits, the show peaked with an ingenious third act that had Underwood floating above the audience on a moving platform.   Why was it ingenious?  It solved a few arena show dilemmas at once, keeping the entire audience riveted while the artist sang unfamiliar album cuts.   At the point of the set list usually designed for bathroom breaks, Underwood had the entire arena on their feet, cheekily waving to and interacting with the audience members all around her, and even those directly under her.  These are the benefits of a clear plexiglass floor, you see.

At times, the staging was a bit too ambitious.  The video screens that were used so effectively for visual songs like “Two Black Cadillacs” were a glaring distraction for much of the show, with random patterns that looked more like late nineties Windows screen savers than anything else.  Transitional interludes featured some interesting animation, but it was interrupted by glamour shots of Underwood, as if they were afraid we’d forget about her while she was changing costumes backstage.   But the opening and closing projections centered around “Blown Away” were executed brilliantly, among the best I’ve seen in an arena show.

Vocally, Underwood was nearly flawless, never missing a note but occasionally losing her breath while she enthusiastically engaged the audience.  At times, she seemed a little overwhelmed by her band, most notably during a painfully loud cover of Aerosmith’s “Sweet Emotion.”  When the arrangements were slower or simpler, with her voice accompanied by only a handful of instruments, she sounded better than I’ve ever heard a powerhouse vocalist sound in concert.

When you combine her precision with the very few liberties the band took with the studio arrangements, and you could be forgiven for thinking you were listening to an actual studio recording.  She really is that good.  She somehow elevated the fan favorite “I Know You Won’t” to staggering new heights, and that’s a song that seemed superhuman even as a studio recording.  I repeat, she really is that good.  But most impressive was when she revisited older tracks like “Jesus, Take the Wheel” and “Wasted”, and actually improved on them, showing how much she has grown in interpretive skill and vocal nuance since the beginning of her career.

Those hits from the first album, along with the pre-encore closer “Before He Cheats”, where absolutely the biggest crowd-pleasers, giving anecdotal evidence to the theory that Underwood’s greatest competition has been herself.  Those early hits have overshadowed everything she’s done since, successful as she’s been.  But I discovered something when she closed the show with “Blown Away.”  The audience roared at the opening notes, after having been teased mercilessly with clips from the video all night.   There was more energy and excitement during that performance than at any other moment.  It’s her first career record in years.

Underwood was classy and thoroughly charming throughout.  That light shines through even when her material’s at its darkest.   It was a minor annoyance for me that I was surrounded by tweens, teens, and twenty-somethings that stood for the whole show and sang along with far too many songs.   But seeing a whole row of those tweens in Carrie Underwood t-shirts, clearly at their first big concert and hanging on every word that their idol sang, I was struck with a deep appreciation for this artist.   I’ve always been grateful that she respected the genre’s traditions and institutions, but I’m always worried about preserving the genre’s past.  She’s also securing its future, as perhaps the only artist in country music history who can pack an arena that is equal parts tween, young adult, and the rest of us.  In that sense, she just might be the most significant country artist of her time, in addition to being the flat-out best singer.

I missed the first couple of songs by opening act Hunter Hayes, but judging by the piercing adolescent screams that permeated the arena, he won’t be an opening act for much longer.  I must say that he’s remarkably talented.  I expected the country arrangements and the solid vocals, but his prowess with both the guitar and the piano took me by surprise.  He’s somewhere between Keith Urban without the gravitas and Gary LeVox without the nasal drip.   Hopefully, he’ll keep honing his songwriting skills and his audience will stick around as he develops.  He’s got more promise than most of his contemporaries.

Carrie Underwood Set list:

Good Girl
Undo It
Wasted
I Told You So
Two Black Cadillacs
Last Name
So Small (with P.S. 22 Student Choir)
Temporary Home
Jesus, Take the Wheel
Cowboy Casanova
Get Out of This Town
Nobody Ever Told You
Thank God for Hometowns
Crazy Dreams
Do You Think About Me
One Way Ticket
Flat on the Floor
Leave Love Alone (with Hunter Hayes)
Sweet Emotion
Remind Me (with Brad Paisley via Video Screen)
Cupid’s Got a Shotgun
Before He Cheats
I Know You Won’t
Blown Away

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100 Greatest Men: #31. Randy Travis

100 Greatest Men: The Complete List

He’s widely hailed as the leader of the new traditionalist movement of the mid-eighties, but his impressive sales numbers made him something the genre had never seen before: a traditionalist superstar.

Travis was born Randy Traywick in a town just outside of Charlotte, North Carolina.   His youth was marked by two distinguishing features: a prodigious talent for music and a dangerous rebellious streak.   As a teenager, he played clubs with his older brother Ricky, but when the elder Traywick was jailed after a car chase, Randy moved to Charlotte proper to launch his own career at age sixteen.

Randy won a talent contest at a club owned  by Lib Hatcher, who took him under her wing and soon under her guardianship, after he barely evaded jail for what he was warned would be the last time.   Hatcher took on the role of manager, and managed to land an independent record deal that resulted in a minor hit in the early eighties.   A stint at the Nashville Palace and a well-received independent live album helped him land a deal with Warner Bros. Records.

The label convinced him to change his performing name to Randy Travis, and in 1986, his star took off.  He released the seminal album Storms of Life, arguably the most significant country album of the decade.  Its stunning multi-platinum success made Travis a household name, and destroyed the conventional wisdom that country must abandon its traditional sound to cross over to mainstream popularity.

Travis dominated the singles and albums charts for the next ten years, selling out arenas and racking up major industry awards.  But as significant as his own success was, he was just as important for creating the climate that allowed future legends

like Alan Jackson, Clint Black, and Garth Brooks to reach massive sales heights without the help of pop radio.   Though he was soon overshadowed by those giants, his sound remained the blueprint for mainstream country music well into the nineties.

Travis continued to score hits after leaving Warner Bros. for Dreamworks Records, but by the turn of the century, he was focusing his attention on country gospel music.   Even this detour produced a surprise country hit, with “Three Wooden Crosses” returning him to the top of the country charts in 2002, after an eight-year absence from the penthouse.   While he still remains primarily focused on the Christian market, his legacy continues to reverberate.  Most recently, Carrie Underwood revived his self-penned hit “I Told You So”, and invited him to record a duet version for the radio that peaked at #2.

Essential Singles:

  • On the Other Hand, 1986
  • Diggin’ Up Bones, 1986
  • Forever and Ever, Amen, 1987
  • Deeper than the Holler, 1988
  • Hard Rock Bottom of Your Heart, 1990
  • Look Heart, No Hands, 1992
  • Whisper My Name, 1994
  • Out of My Bones, 1998
  • Three Wooden Crosses, 2002

Essential Albums:

  • Storms of Life, 1986
  • Always & Forever, 1987
  • No Holdin’ Back, 1989
  • High Lonesome, 1991
  • This is Me, 1994
  • Rise and Shine, 2002
  • Glory Train, 2005

Next: #30. Jim Reeves

Previous: #32. A.P. Carter

100 Greatest Men: The Complete List

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Single Review: Carrie Underwood, "Two Black Cadillacs"

Thankfully, this should be the last single this year from Carrie Underwood.

I say thankfully because a good “Best Singles of the Year” list needs some variety. Underwood’s been stacking the deck this year, putting out one outstanding single after another, and it’s really bad form to leave no room at the top for the rest of the competition.

“Two Black Cadillacs”  revives the Southern Gothic murder ballad subgenre that was once far more prominent in country music.   This is not to be confused with the wrongfully abused variety of murder ballad, which has only surfaced in the past twenty years.

No, “Two Black Cadillacs” has a lot more in common with “The Cold Hard Facts of Life” than “Independence Day.”  There’s nothing righteous about this tale of two women getting even with the man who wronged them both.  It’s pure revenge.

A pure revenge fantasy mind you, as unbelievable and fantastical as anything Porter Wagoner ever dreamed up.  Underwood’s the perfect narrator for the tale, her pithy descriptions punctuated by melancholy strings that would sound just as comfortable on American Horror Story as they do accompanying our favorite American Idol.

She lets her bias slip with a giddy “bye bye,” revealing she’s fully on board with the just desserts being served.  It works because the scenario is simply implausible, which allows the listener to indulge in the darkness that would horrify us if it was actually reality.

It’s a testament to Underwood’s versatility as a singer and her credibility as a public persona that she can pull off something so wicked and not get an ounce of dirt on her squeaky clean image.    But most of all, it’s a credit to her ambition as an artist.  For someone so frequently accused of getting to the top without having to

earn it, she continues to work harder than the rest of her peers just to stay there.

Written by Josh Kear, Hillary Lindsey, and Carrie Underwood

Grade: A

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2012 CMA Awards: Staff Picks & Predictions

While the rest of the country fixates on “Nashville,” the 46th annual Country Music Association Awards air live from Music City with equal drama and ridiculousness November 1 at 7 p.m. CST. The CU staff picked and predicted the awards below. Chime in with your thoughts, and check back for our live blog on Thursday night!

Entertainer of the Year 

Should Win:

  • Jason Aldean – Dan, Ben, Kevin
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton
  • Taylor Swift – Jonathan, Tara, Leeann

Will Win:

  • Jason Aldean – Dan, Ben, Jonathan, Kevin
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton
  • Taylor Swift – Tara, Leeann

Dan: I’ll probably never be able to fully embrace Aldean, but his impact on the genre remains undeniable, and once in a while he releases something like “Fly Over States” that lends some dimension to his hick-rock formula.

Tara: “Fly Over States” will land on my best-of-2012 list (I’m as surprised as you are), but I just can’t get behind Jason Aldean’s overall brand of country, regardless of his impact. That leaves me with Blake Shelton and Taylor Swift, and only the latter put out music to match her star in the eligibility period. Boring category.

Ben: Sadly, this category just keeps getting harder and harder for me to care about.  I could still see Swift taking it, but an Aldean victory is almost certain to happen sooner or later, and I’m thinking this could be his year.  Blake’s turn will come eventually, but not until after Aldean has had his.

Jonathan: Aldean has yet to release anything I’ve liked even a little bit, but this award has increasingly turned into Nashville’s way to say “thank you” to whoever is bringing the most cash back to Music Row, so Aldean is likely due for a pat on the back. On some level, Shelton’s heightened media presence is its own reward, but he’s the most likely spoiler here, since pop crossover stars like Swift rarely pull off repeat wins.

Kevin: Should win: Carrie Underwood. But since she’s not nominated, I’ll go with Jason Aldean, who has been the biggest country artist this past year. I expect he’ll win, too.

Leeann: While it’s completely baffling to me that Jason Aldean has taken off as he has, I wouldn’t be shocked if he won this award. I, however, feel that it’s far more likely that Taylor Swift will win again.

Female Vocalist of the Year 

Should Win:

  • Kelly Clarkson
  • Miranda Lambert – Leeann
  • Martina McBride
  • Taylor Swift
  • Carrie Underwood – Dan, Ben, Jonathan, Tara, Kevin

Will Win:

  • Kelly Clarkson
  • Miranda Lambert – Dan, Ben, Jonathan, Tara, Kevin
  • Martina McBride
  • Taylor Swift – Leeann
  • Carrie Underwood

Tara: I still believe Underwood’s best is yet to come, but she deserves respect from the industry and critics alike for taking the kind of creative, thematic and interpretive risks she took with Blown Away. Maybe come next year she’ll have more influence; this year, the award is still Lambert’s to lose. (And shout out to homegirl Clarkson, who may have no place in this category, but who gave us the best cover of “Go Rest High On That Mountain” that I’ve ever heard.)

Ben: In my perfect world, Carrie Underwood’s solid new music (which was released within this year’s eligibility period) would nab her the trophy.  Miranda had the most radio success this year, and will almost surely emerge victorious, but I simply can’t endorse the idea of rewarding her for releasing two singles that were easily the worst duds of her career.  Footnote:  Country radio seriously needs to start supporting more female artists.

Jonathan: I adore Kelly Clarkson, and, based upon nearly a decade’s worth of concert performances, I’d argue that she has the best taste in country material of any of the women nominated, and I look forward to the day when she finally records a proper country album. But her nomination here is absurd. Fortunately, she’s not really in the running to win. This likely comes down to Lambert and Underwood. In the past, I’ve championed Lambert for her fearless artistic vision, and I’ve been highly critical of Underwood’s grossly over-praised and over-rewarded output. But, this year, I’d prefer to see Underwood recognized for what is far and away her career-best work than to see Lambert win for what is quite obviously her worst. I doubt the voters will agree.

Dan: Ditto the others, pretty much. Underwood’s taste in material has deepened, but what excites me most is that her interpretive abilities have, too. I never used to feel comfortable with those comparisons to the Trishas and Connies of the world. Now I do.

Kevin: It’s all been said. Underwood’s reached new heights of artistry while still maintaining her commercial relevance. I’d call her one of the best,  but that would imply there’s anyone else in her league right now.

Leeann: Miranda Lambert is still my favorite out of these choices and Kelly Clarkson’s nomination is still confusing to me. I think the award is a toss up between Taylor and Carrie in all actuality though.

Male Vocalist of the Year

Should Win:
  • Jason Aldean
  • Luke Bryan
  • Eric Church – Dan, Ben, Jonathan, Tara, Kevin
  • Blake Shelton – Leeann
  • Keith Urban

Will Win:

  • Jason Aldean
  • Luke Bryan – Dan
  • Eric Church – Kevin
  • Blake Shelton – Ben, Jonathan, Tara, Leeann
  • Keith Urban

Tara: Unlike last year’s crop of men, these five at least put out memorable if not entirely thoughtful material in the eligibility period. But Church is the only one who’s had a consistent vision, and what a difference that makes. I don’t see the voters dethroning Shelton, though.

Ben: I expect that the CMA is going to continue shoving the whole “Blake and Miranda are the new Tim and Faith!” idea down our throats, but Eric Church made the best music of the field by far, and country radio finally decided to get on board with it.  Eric Church deserves this.

Jonathan: Church is the only one of the five who has released any strong material during the eligibility period, though I generally remain a fan of Urban’s. It’s hard to see either of those two men winning, though. Urban’s past his commercial peak, and Church is still too divisive a persona. I also think Aldean’s vocal limitations play against him here – see Chesney, Kenny, and his track record in Male Vocalist races – especially since he’s likely to be recognized elsewhere. That leaves Crest WhiteStrips to take on Shelton. I think Shelton gets another win before Bryan’s inevitable coronation here.

Dan: CMA has developed a bad habit of just voting for the incumbent. But Bryan has the most momentum right now, so what the hey; I’ll mix things up and call it Crest Whitestrips 2012.

Kevin: Gonna go out on a limb and say the best one takes it home this year. They’ve got to be itching to finally acknowledge Eric Church, right? Right???

Leeann: Blake Shelton has had a good year. I suppose he has a good, high profile chance of being rewarded for it.

Vocal Group of the Year 

Should Win:
  • The Band Perry
  • Eli Young Band
  • Lady Antebellum
  • Little Big Town – Kevin
  • Zac Brown Band – Dan, Ben, Jonathan, Tara, Leeann

Will Win:

  • The Band Perry
  • Eli Young Band
  • Lady Antebellum – Dan, Ben, Leeann
  • Little Big Town – Jonathan, Tara, Kevin
  • Zac Brown Band

Dan: Little Big Town’s album is too new, but their sudden momentum could power them to a spoiler win here anyway, depending on who Capitol gets behind. I’ll support them come ACM time; for now, give Zac Brown Band their freakin’ due.

Tara: Zac Brown Band and Little Big Town both put out stellar new music; the only major difference is timing. I support a ZBB win but won’t be disappointed if/when the “Pontoon”-fueled LBT steals this from the most complacent group in country music.

Ben: Zac Brown Band should win.  Lady Antebellum will win. Déjà vu?

Jonathan: As much as logic points to another indefensible win for the most useless act in popular music, and as much as I want to see Zac Brown Band finally earn their long-overdue recognition, I’m calling this one an upset for the also-long-overdue Little Big Town. That karaoke video for “Pontoon” showed off just how deeply likedthey are by their peers, and now that they have the commercial stats, I think that that pervasive goodwill gives them the edge here.

Kevin: I think the red-hot momentum of Little Big Town could put them over the top. Zac Brown Band’s been my pick for a couple of years, but I really think they’re just treading water at this point.

Leeann: Zac Brown Band is far and away my favorite group of the nominees here, but Little Big Town’s talent is undeniable. I’d be happy if either of them won. I’m afraid Lady A will still win though.

Vocal Duo of the Year

Should Win:
  • Big & Rich
  • Love and Theft
  • Sugarland
  • The Civil Wars – Dan, Ben, Jonathan, Tara, Kevin, Leeann
  • Thompson Square

Will Win:

  • Big & Rich
  • Love and Theft
  • Sugarland – Leeann
  • The Civil Wars  – Kevin
  • Thompson Square – Dan, Ben, Jonathan, Tara

Ben: Because The Civil Wars are good.

Jonathan: Per usual: Merge this category with Vocal Group to trim the fat. The only act here deserving of the recognition is the one with the longest of long-shots to win.

Dan: La la la.

Tara: So pointless.

Kevin: I’m going out on another limb, this time by thinking that the whole “massive commercial success without radio” thing will give the Civil Wars a Mavericks-style victory. I’d honestly rather be wrong in my predictions than be depressed before the show even airs.

Leeann: I don’t think Sugarland has had a particularly active year, but I think they might still win based on name recognition.

New Artist of the Year

Should Win:
  • Lee Brice – Ben, Tara, Leeann
  • Brantley Gilbert
  • Hunter Hayes – Dan, Kevin
  • Love and Theft
  • Thompson Square

Will Win:

  • Lee Brice
  • Brantley Gilbert – Dan, Ben, Jonathan
  • Hunter Hayes – Kevin, Leeann, Tara
  • Love and Theft
  • Thompson Square

Dan: Since none of these artists do it for me, I’d shrug it over to the technically skilled Hayes, who I think could be interesting in the future if he challenges himself to become more than a one-man boy-band. As Sawyer Brown and Keith Urban have proven, sometimes an artist earns their win in this category retroactively.

Tara: Hunter Hayes needs to rein it in a bit, but his chops have potential. Lee Brice needs to find better material, but his performances are believable. “Hard To Love” is one of my favorite guilty pleasures of the year, so I guess I’ll go with the latter?

Ben: Lee Brice strikes me as having the most potential of these nominees, but right now, I think the Brantley Gilbert virus has already spread too far.

Jonathan: Absolutely not.

Kevin: Hunter Hayes is the musical equivalent of those memes that show cats doing people things. He’s putting out real country music, and it’s adorable! All joking aside, I’m pulling for real country music wherever I can find it. Hayes is all I’ve got to work with here.

Leeann: I’m really not fond of any of these choices.

Album of the Year
Should Win:
  • Luke Bryan, Tailgates and Tanlines
  • Eric Church, ChiefDan, Ben, Jonathan, Tara, Kevin, Leeann
  • Miranda Lambert, Four the Record
  • Dierks Bentley, Home
  • Lady Antebellum, Own the Night

Will Win:

  • Luke Bryan, Tailgates and Tanlines
  • Eric Church, ChiefDan, Kevin
  • Miranda Lambert, Four the RecordBen, Tara
  • Dierks Bentley, Home
  • Lady Antebellum, Own the NightJonathan, Leeann

Dan: Everyone but Bentley’s got a shot, but my hopeful guess is that this is where the CMA will reward Church.

Tara: Chief and Four the Record both made big impressions on me last year, but only the former has held up with time. I’ll be optimistic and predict the CMA will reward its reigning Female Vocalist of the Year over its reigning Group of the Year. (I still can’t get over Own the Night winning a Grammy, y’all. Unbelievable.)

Ben: Church’s Chief is head-and-shoulders above the rest of the field, but my gut is still predicting a Lambert and Shelton sweep, though there’s still a chance the voters may decide to reward that dreadful Lady A album instead.

Jonathan: Bright side: This is the last major “Album of the Year”-type award Own the Night is eligible to win. Downside: This is the last major “Album of the Year”-type award Own the Night will win, at the expense of far more deserving competition.

Kevin:  I think Chief really made an impression, and I’m betting it was enough of one to win.

Leeann: I  reflexively assume Lady A will win this award at this point, but I’m hoping for a Dierks Bentley or Eric Church win. Dierks Bentley’s album is quality and I feel Eric Church’s album is interesting and fresh.

Song of the Year

Should Win:
  • “Even If It Breaks Your Heart” – Will Hoge and Eric Paslay – Dan, Jonathan, Tara
  • “God Gave Me You” – Dave Barnes
  • “Home” – Dierks Bentley, Dan Wilson and Brett Beavers – Kevin, Leeann
  • “Over You” – Miranda Lambert and Blake Shelton
  • “Springsteen” – Eric Church, Jeff Hyde and Ryan Tyndell – Ben

Will Win:

  • “Even If It Breaks Your Heart” – Will Hoge and Eric Paslay – Dan, Tara
  • “God Gave Me You” – Dave Barnes – Leeann
  • “Home” – Dierks Bentley, Dan Wilson and Brett Beavers
  • “Over You” – Miranda Lambert and Blake Shelton – Ben, Jonathan
  • “Springsteen” – Eric Church, Jeff Hyde and Ryan Tyndell  – Kevin

Dan: I think I’m just being optimistic, but maybe the earnest Hoge/Paslay story of struggling for an artistic life will resonate with enough music-industry vets to overcome the bait-ishness of “Over You” and “Home.” Maybe?

Tara: I’d be fine with three of these five winning — and would even argue that, as a composition, “God Gave Me You” is solid — but “Even If It Breaks Your Heart” has the most soul. I’m not entirely sure where the votes will fall on this one, but maybe pop culture’s spotlight on Nashville will mean a win for the songwriters’ anthem?

Ben: I can’t picture this going to anyone but Lambert and Shelton. If the CMA intends to keep working this ridiculous power-couple nonsense, they have created a golden opportunity here, and I highly doubt the song’s awfulness will be any hindrance.

Jonathan: If knowing a song’s tragic backstory is a requirement for finding “meaning” in that song, then its songwriters have failed.

Kevin: I’m hoping the CMA voters sing Shelton and Lambert’s song back to them when filling out their ballots, and pick the strongest singer-songwriter in this race. Bentley’s cut is my personal favorite.

Leeann: I just have a feeling that the bland love song will win, but I’m hoping that the thoughtful  “Home” will prove me wrong.

Single of the Year 

Should Win:
  • Jason Aldean, “Dirt Road Anthem” – Kevin
  • Blake Shelton, “God Gave Me You”
  • Dierks Bentley, “Home” – Leeann
  • Little Big Town, “Pontoon”
  • Eric Church, “Springsteen” – Dan, Ben, Jonathan, Tara

Will Win:

  • Jason Aldean, “Dirt Road Anthem” – Kevin
  • Blake Shelton, “God Gave Me You” – Ben, Leeann
  • Dierks Bentley, “Home” – Dan, Jonathan, Tara
  • Little Big Town, “Pontoon”
  • Eric Church, “Springsteen”

Dan: Feels like a toss-up, actually. I’d figure “Home” and “Springsteen” to duke it out, but remember that year when “I Saw God Today” randomly won?

Tara: “Home”’s graceful approach to patriotism is lovely and especially appreciated during this infuriating election season, but the song itself lacks spark. “Springsteen” is the better all-around record, and I think it’ll hold up with time, which is a lot more than I can say about the remaining three songs in the category.

Ben: I think “Springsteen” is going to be the song with the most staying power.

Jonathan: As fine a single as “Springsteen” is, I just can’t see the CMA rallying behind a song inspired by the Boss, especially not in an election year. Bentley’s thoughtful and relatively subtle brand of patriotism seems like a far safer bet.

Kevin: I think that Aldean’s track is the coolest sounding record of the five. Surface pleasures will suffice.

Leeann: Please not “Dirt Road Anthem”!

Musical Event of the Year 

Should Win:
  • ”Dixie Highway”- Alan Jackson and Zac Brown Band
  • ”Feel Like a Rock Star” – Kenny Chesney and Tim McGraw
  • ”Roll Me Up and Smoke Me When I Die” – Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson – Dan, Jonathan, Tara
  • ”Safe and Sound” – Taylor Swift featuring the Civil Wars – Ben, Kevin, Leeann
  • ”Stuck on You” – Lionel Richie and Darius Rucker

Will Win:

  • ”Dixie Highway”- Alan Jackson and Zac Brown Band
  • ”Feel Like a Rock Star” – Kenny Chesney and Tim McGraw – Ben, Jonathan, Leeann
  • ”Roll Me Up and Smoke Me When I Die” – Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson
  • ”Safe and Sound” – Taylor Swift featuring the Civil Wars – Dan, Kevin, Tara
  • ”Stuck on You” – Lionel Richie and Darius Rucker

Dan: “Roll Me Up” is a little hoot. But “Safe and Sound” had a higher profile, and it gives CMA a chance to be like, “See? We do appreciate the Civil Wars!”

Tara: Every song but “Roll Me Up” feels like it’s lacking something (in Chesney/McGraw’s case, taste), but I think “Safe and Sound” will have enough commercial clout to nab this one.

Ben:  While I’m always happy to see some Alan Jackson love, “Dixie Highway” just doesn’t match the simple charm of Jackson and ZBB’s previous collaboration.  “Safe and Sound” is just such a cool, haunting record – one that brings out the best in both of the acts involved.  But since “Feel Like a Rock Star” has the biggest names attached, I think it’s an easy call that it’s going to win.

Jonathan:“Safe and Sound” is my favorite track here, but not necessarily because it’s a great collaboration. “Roll Me Up,” on the other hand, is a fun standalone cut that feels like a real event, and I appreciate the self-awareness with which the artists toy with their public personas. But it’s hard to imagine more conservative voters being on-board with the phrase, “CMA award winner Snoop Dogg.” The Chesney and McGraw duet quite rightfully bricked at radio, but it’s still the most likely winner here on star power alone.

Kevin: “Safe and Sound” succeeded in pushing the most  mainstream of artists into an alternative country sound without sacrificing the identity of the duo that helped her get there. Plus it actually worked as a theme song to a movie that didn’t exactly lend itself to easy theming.

Leeann: I’d be fine with any of these except for the one that will probably win.

Music Video

of the Year

Should Win:
  • Eric Church, “Springsteen” – Dan, Ben, Tara, Kevin
  • Kenny Chesney, “Come Over”
  • Miranda Lambert, “Over You”
  • Little Big Town, “Pontoon”
  • Toby Keith, “Red Solo Cup”

Will Win:

  • Eric Church, “Springsteen”
  • Kenny Chesney, “Come Over”
  • Miranda Lambert, “Over You” – Dan, Ben, Jonathan, Kevin
  • Little Big Town, “Pontoon”
  • Toby Keith, “Red Solo Cup”

Dan: The “Springsteen” video is pretty neato. Oh well.

Tara: The video for “Springsteen” is haunting. I dig it.

Jonathan: The Twilight-hued video for “Over You” is every bit as narrativeless, cloying, and shallow as the song itself, so I’m just going to pretend this is a retroactive win for “Kerosene.”

Kevin:  (…Goes to YouTube to watch videos for first time…) Lambert, you had me until the horse. I’m going with Church, mostly because it reminds me of my own childhood and also Poltergeist for some reason.

Musician of the Year 

Should Win:
  • Sam Bush – Jonathan, Kevin
  • Paul Franklin – Ben, Leeann
  • Dann Huff
  • Brent Mason
  • Mac McAnally

Will Win:

  • Sam Bush
  • Paul Franklin
  • Dann Huff – Jonathan, Kevin
  • Brent Mason
  • Mac McAnally – Ben, Leeann

Ben: It’s Paul Franklin’s turn… and it has been for years now.

Jonathan: It’s not as cool as Chris Thile’s winning a MacArthur Fellowship, but Sam Bush’s nomination for his extraordinary mandolin work is my favorite thing on the entire CMA ballot this year.

Kevin: I can’t vote against the mandolin. I just can’t.

Leeann: I continue to root for the steel guitar.

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Single Review: Little Big Town, "Tornado"

Even by Little Big Town standards, “Tornado” has a unique and cool sound.  I can only guess that they were especially inspired by the song’s concept.

Too bad that inspiration didn’t produce stronger lyrics.  The concept is interesting, but it’s forced,

with predictable imagery lifted right out of Wizard of Oz.

It doesn’t help matters that “Blown Away” is out at the same time, which took this imagery to far more compelling territory.  It sounds a lot more creative than it really is.

“Tornado” rumbles and grumbles, but it never gets off the ground.

Written by Natalie Hemby and Delta Maid

Grade: B-

 

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The Day the Music (Chart) Died

“300” height=”80″ />So, Billboard decided to completely change its chart methodology today:

Billboard unveils new methodology today for the long-standing Hot Country Songs, Hot R&B/Hip-Hop Songs and Hot Latin Songs charts. Each receive a major consumer-influenced face-lift, as digital download sales (tracked by Nielsen SoundScan) and streaming data (tracked by Nielsen BDS from such services as Spotify, Muve, Slacker, Rhapsody, Rdio and Xbox Music, among others) will now be factored into the 50-position rankings, along with existing radio airplay data monitored by Nielsen BDS. The makeovers will enable these charts to match the methodology applied to Billboard’s signature all-genre songs ranking, the Billboard Hot 100.

On the surface, this seems like a good idea. After all, the country singles chart included both sales and airplay data for decades, until

switching to airplay-only in 1989. Declining availability of retail singles made this change necessary.

Since the digital market emerged, I’ve been an advocate for bringing sales data back into the mix. There have been a few songs that were very popular with country audiences that radio didn’t embrace, like “I am a Man of Constant Sorrow”, “Hurt”, and “Not Ready to Make Nice”, but were mainstays on country video outlets and sold plenty of digital downloads alongside impressive album sales. The digital singles market also indicated the budding popularity of acts like Miranda Lambert and Eric Church, who have since become core radio acts.

So what’s the problem with the change? This:

The immediate beneficiaries of this week’s methodology change are Taylor Swift, Rihanna and Mumford & Sons.

Swift, who holds down the top two slots on Hot Country Songs with “We Are Never Ever Getting Back Together” and “Red.” Her new country radio single “Begin Again” jumps 37-10. The pop-crossover No. 1 title ranks at No. 36 on Country Airplay (but also gets points associated with its pop-crossover play) and No. 1 on Country Digital Songs, while “Red” is absent from the Country Airplay list, but ranks No. 2 on Country Digital Songs. “Begin Again” appears at No. 29 on Country Airplay and No. 3 on Country Digital Songs.

There are so many problems here. First, and probably worst, pop airplay is now counting for the country genre chart. This week’s “#1 country song” would’ve been #36 if the methodology hadn’t changed. A song that was most notable for being the first song that country radio refused to play by Taylor Swift, because it had no business being on country radio in the first place. It is not a country hit that crossed over to pop. It’s a pop hit that failed to cross over to country.

#2 isn’t even a country single. It’s an advance download track previewing Swift’s new album. It will drop like a stone next week, much like it will on the Hot 100, where it enters at #6. But the Hot 100’s breadth is able to absorb tracks like this more easily, and it is almost impossible to get that high without at least some radio support. The #2 country single of the week wasn’t played on country radio this week.

Billboard says it’s modeling the new genre charts after the Hot 100, much like the way the genre album charts mirror the Billboard 200:

The move to the Hot 100-based formula will ensure that the top-ranked country, R&B/hip-hop, Latin and rock titles each week will be the top titles listed on each genre’s songs ranking. This will be in line with how the Billboard 200 albums chart aligns with the albums charts for each corresponding genre. Because of the switch to new methodology, the week-to-week movements on the charts for some songs (in either direction) could be quite dramatic.

Until now, only country stations contributed to the Hot Country Songs chart, or R&B/hip-hop stations to Hot R&B/Hip-Hop Songs; the same held true for Latin and rock. The new methodology, which will utilize the Hot 100’s formula of incorporating airplay from more than 1,200 stations of all genres monitored by BDS, will reward crossover titles receiving airplay on a multitude of formats. With digital download sales and streaming data measuring popularity on the most inclusive scale possible, it is only just the radio portion of Billboard chart calculations that includes airplay from the entire spectrum of monitored formats.

Big mistake. Albums sales are album sales. If x sells more than y, it’s higher on the album chart. Apples to apples. Each genre singles chart has its own idiosyncrasies, reflecting the different ways that music is received by the audience.

Despite all the new methods of delivery, country music’s primary method of distribution remains the radio. It may be the only thing left that is identifiably “country” in mainstream music. The vast majority of country artists do not pursue the pop market in lieu of the country market. At most, they pursue pop as well as country, but usually wait until the song’s a hit at their home format first.

The big crossover hits of years past – “Need You Now”, “You’re Still the One”, “Before He Cheats” – would’ve done very well under this new format, but would likely have spent more time at #1 when they were dominating top forty radio and the song was already a recurrent at country stations. Instead, they went #1 on the country chart when country radio was playing them, then flew up the pop charts a few weeks later, while a new single was hitting the country market.

This new chart methodology is bad enough as it is now. But what will happen when the labels realize the only way to have a #1 country hit is to get your song to be a pop hit, too?

There are so many other problems with this, including the increased challenges of breaking new country acts and the likelihood that digital single releases will now become more strategic than ever. (Remixes! Acoustic versions! Buy them separately so they each count as their own sale!)

I guess I just don’t see the point of having a country chart at all if it isn’t going to measure just the country market.

 

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2012 CMA Nominations

The list of nominees for the 46th annual Country Music Association Awards has been released.  Eric Church had a big breakthrough this past year, and such is reflected in the nominee list – Church leads the pack with five nominations.  Power couple Blake Shelton and Miranda Lambert follow with four each, including a shared Song of the Year nod for their co-write “Over You.”

What’s your take on this year’s field of CMA nominees? Whose nominations were deserved, and whose were not? Who got snubbed? Share your thoughts in the comments section.

The live presentation airs Thursday, November 1 at 8pm Eastern on ABC-TV.  The Country Universe Staff Picks & Predictions will be released the week of the show.  Feel free to join us on show night for some live-blogging fun!

Entertainer of the Year 

  • Jason Aldean
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton
  • Taylor Swift

Who’s in:  Kenny Chesney
Who’s out:  Keith Urban

No real surprises here.  This year we swapped out Urban for Chesney, but all of these nominees have been here at least once before.

Female Vocalist of the Year

  • Kelly Clarkson
  • Miranda Lambert
  • Martina McBride
  • Taylor Swift
  • Carrie Underwood

Who’s in:  Kelly Clarkson
Who’s out:  Sara Evans

Well, I was hoping for some new blood in this category, and that’s definitely what I got.  Pop crossover star Kelly Clarkson scores her first nomination in the Female Vocalist field, displacing Sara Evans.  There will likely be some amount of upset over Clarkson receiving such an accolade, as she had one #21-peaking country hit in the past year with “Mr. Know It All,” but has yet to release a full-length country album.  And…that makes her one of the top five leading female vocalists in the country format?  Okay…

Male Vocalist of the Year

  • Jason Aldean
  • Luke Bryan
  • Eric Church
  • Blake Shelton
  • Keith Urban

Who’s in:  Luke Bryan, Eric Church
Who’s out:  Kenny Chesney, Brad Paisley

Bryan and Church’s recent career strides are rewarded

with their first nominations in the always-competitive Male Vocalist race.

Vocal Group of the Year

  • The Band Perry
  • Eli Young Band
  • Lady Antebellum
  • Little Big Town
  • Zac Brown Band

Who’s in:  Eli Young Band
Who’s out:  Rascal Flatts (!!!)

Eli Young Band scores a pair of huge radio hits, and thus squeezes out a former staple of the Vocal Group race.

Vocal Duo of the Year

  • Big & Rich
  • Love and Theft
  • Sugarland
  • The Civil Wars
  • Thompson Square

Who’s in:  Big & Rich, Love and Theft
Who’s out:  Montgomery Gentry, Steel Magnolia

New Artist of the Year

  • Lee Brice
  • Brantley Gilbert
  • Hunter Hayes
  • Love and Theft
  • Thompson Square

Who’s in:  Lee Brice, Brantley Gilbert, Hunter Hayes, Love and Theft
Who’s out:  The Band Perry (won), Luke Bryan, Eric Church, Chris Young (So, everyone except Thompson Square)

Album of the Year (Awarded to artist and producer)

  • Luke Bryan, Tailgates and Tanlines
    Produced by Jeff Stevens and Mark Bright
  • Eric Church, Chief
    Produced by Jay Joyce
  • Miranda Lambert, Four the Record
    Produced by Frank Liddell, Chuck Ainlay, and Glenn Worf
  • Dierks Bentley, Home
    Produced by Brett Beavers, Luke Wooten, and Jon Randall Stewart
  • Lady Antebellum, Own the Night
    Produced by Paul Worley and Lady Antebellum

Song of the Year (Awarded to songwriters)

  • Eli Young Band, “Even if It Breaks Your Heart”
    Written by Will Hoge and Eric Paslay
  • Blake Shelton, “God Gave Me You”
    Written by Dave Barnes
  • Dierks Bentley, “Home”
    Written by Dierks Bentley, Dan Wilson and Brett Beavers
  • Miranda Lambert, “Over You”
    Written by Miranda Lambert and Blake Shelton
  • Eric Church, “Springsteen”
    Written by Eric Church, Jeff Hyde and Ryan Tyndell

Single of the Year (Awarded to artist and producer)

  • Jason Aldean, “Dirt Road Anthem”
    Produced by Michael Knox
  • Blake Shelton, “God Gave Me You”
    Produced by Scott Hendricks
  • Dierks Bentley, “Home”
    Produced by Brett Beavers and Luke Wooten
  • Little Big Town, “Pontoon”
    Produced by Jay Joyce
  • Eric Church, “Springsteen”
    Produced by Jay Joyce

Musical Event of the Year

  • Alan Jackson and Zac Brown Band, “Dixie Highway”
  •  Kenny Chesney and Tim McGraw, “Feel Like a Rock Star”
  •  Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson, “Roll Me Up and Smoke Me When I Die”
  •  Taylor Swift featuring the Civil Wars, “Safe and Sound”
  •  Lionel Richie and Darius Rucker, “Stuck on You”

Music Video of the Year (Awarded to artist and director)

  • Eric Church, “Springsteen”
    Directed by Peter Zavadil
  • Kenny Chesney, “Come Over”
    Directed by Shaun Silva
  • Miranda Lambert, “Over You”
    Directed by Trey Fanjoy
  • Little Big Town, “Pontoon”
    Directed by Declan Whitebloom
  • Toby Keith, “Red Solo Cup”
    Directed by Michael Salomon

Musician of the Year

Sam Bush
Paul Franklin
Dann Huff
Brent Mason
Mac McAnally

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Retro Single Review: Alan Jackson, "I Don't Even Know Your Name"

1995 | Peak: #1

With all the righteous indignation regarding the lackluster performance of “So You Don’t Have to

Love Me Anymore” at radio, it’s easy to forget that country radio once played the bad Alan Jackson singles just as much as the great ones.

Case in point: “I Don’t Even Know Your Name” was a #1 single.

Perhaps that’s a little unfair.   The song is somewhat clever, and it was apparently memorable enough that Carrie Underwood rewrote it a decade later.   I think I’d like it a lot more if it was missing the final verse, much like the waitress was missing her front tooth.

But it’s that kind of forced humor that makes me wince every time Brad Paisley tries to be funny.  Jackson pulls it off better than most, but it’s just not my cup of tea. Love the instrumentation, though.

Written by Alan Jackson, Ron Jackson, and Andy Lofton

Grade: C

Next: Tall, Tall Trees

Previous: Song for the Life

httpv:www.youtube.com/watch?v=-aNjYlgwBN0

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iPod Check: Most Played Song by Twenty Country Artists

Since bringing back Recommend a Track proved so popular, I’m resurrecting another CU oldie but goodie: the iPod check.

I’ve only recently discovered the Most Played feature on iTunes, since it never had any relevance until iPods were large enough in memory to sync all of my music.   So going back to early 2011, I have a lengthy list of the songs I’ve played the most.

So today’s iP0d check:  List your most-played song from twenty different country artists.

You can access this info by going to your own Most Played list and adjusting the number of songs on it – I use 500 for mine – or you can just go to Music and sort by number of plays.  Or you can just pick twenty artists at random and list your most played song for each.  We’re easy here.  (This would also work in Spotify, from what I hear.)

Here’s my top twenty:

  1. Pam Tillis – Deep Down (89 plays)
  2. Keith Urban – I Told You So (81)
  3. Dixie Chicks – Long Time Gone (71)
  4. Taylor Swift – Mean (68)
  5. Trisha Yearwood – Where Are You Now (63)
  6. Patty Loveless – You Can Feel Bad (59)
  7. Emmylou Harris – Easy From Now On (55)
  8. Carrie Underwood – Undo It (50)
  9. Lori McKenna – Lorraine (50)
  10. Dwight Yoakam – Ain’t That Lonely Yet (46)
  11. Sara Evans – Rocking Horse (45)
  12. Sawyer Brown – Cafe on the Corner (45)
  13. Reba McEntire – The Fear of Being Alone (44)
  14. Shania Twain – Up! (43)
  15. Faith

    Hill – Stealing Kisses (41)

  16. Alan Jackson – So You Don’t Have to Love Me Anymore (40)
  17. Crystal Gayle – Why Have Your Left the One You Left Me For (39)
  18. George Strait – Meanwhile (39)
  19. Lee Ann Womack – I May Hate Myself in the Morning (39)
  20. Aaron Tippin – Whole Lotta Love on the Line (38)

I’m surprised that some of my most played artists overall, like Dolly Parton, Randy Travis, and Tim McGraw, don’t have that one big song that I play excessively.  Also, at least half of the songs above aren’t what I would call my favorite song by the given artist.  How about you?

 

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Recommend a Track: Pick the Next Single

Today, I’m bringing back an old Country Universe favorite: Recommend a Track.

We all like to play armchair record executive.  So I’m asking readers to share what they think should be the

next single from a current country album.

My Pick: Carrie Underwood, “Do You Think About Me”

The first two singles from Blown Away have been dramatic affairs, where the production is as much the star as the vocalist.   I’ve found both “Good Girl” and “Blown Away” to be very compelling singles, but I’m jonesing for a simpler showcase of Underwood’s incomparable vocals.

“Do You Think About Me” is thematically similar to “Strawberry Wine”, but it’s heavier on nostalgia for the actual relationship and is refreshingly indifferent to any innocence lost.  It’s a crisply produced record that allows the melody to remain front and center.  It’s one of those records that makes me smile every time I hear it.

What do you think should be the next single sent to radio from a current country album?

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