During the first decade of the twenty-first century, the antiseptic depictions of faith that have dominated contemporary Christian music began to seep in to country music.
This perception created records both good (“Jesus, Take the Wheel”) and bad (“The Little Girl”), but most of them were bland, adding going to church on Sunday or praying as just one of the token traits of southern life, no more or less significant than the fried chicken or football game that followed the morning services.
In one of the genre’s great ironies, Randy Travis had crossed over to contemporary Christian music, having had little luck on the radio since the late nineties. He brought country music’s love of fallen angels along with him, and with “Three Wooden Crosses”, he managed to found his way back to the top of the country charts without even trying.
It starts off like an off-color joke that shouldn’t be told in polite company, let alone on the radio dial next to Martina McBride’s “Blessed” and Craig Morgan’s “That’s What I Love About Sunday”: “A farmer and a teacher, a hooker and a preacher, ridin’ on a midnight bus bound for Mexico.” The story that unfolds reveals that one of these four travelers will be instrumental in spreading the Good News for a long time to come.
But because it manages to humanize all four of them along the way, revealing how each of them helped make the world a better place, its ultimate message is that our lives are best defined by what we do when we’re at our best, not by the labels that may be assigned to us through occupation or personal choices.
This is going to be a really important show, you guys.
WINNERS
Entertainer of the Year: Taylor Swift
Top Female Vocalist: Miranda Lambert
Top Male Vocalist: Brad Paisley
Album of the Year: Lady Antebellum, Need You Now
Song of the Year: “The House That Built Me”
Single of the Year: “The House That Built Me”
Top Vocal Duo: Sugarland
Top Vocal Group: Lady Antebellum
Top New Artist: The Band Perry
Top Till You Drop:
Vocal Event of the Year: Zac Brown Band & Alan Jackson, “As She’s Walking Away”
Music Video of the Year: Miranda Lambert, ”The House That Built Me”
- – -
10:02 Well, all right, that was fun enough. Kinda. Thanks for playing along, y’all, and have a good night!
9:58 A shocking upset! As shocking as, like, one of those chewy Sweet Tarts.
Entertainer of the Year: Taylor Swift
9:56 Hey, how about next year we get James Taylor to come back and sing with the Dixie Chicks again? Yes or yes?
9:52 They segue into “Sweet Baby James.” At least this pairing makes musical sense.
9:48 Leeann: Zac Brown and James Taylor, Carrie Underwood and Steven Tyler, Jennifer Nettles and Rihanna? Is CMT testing for upcoming Crossroads episodes?
9:45 Was having some trouble with the site for a few minutes there. Now we’re up to Zac Brown Band doing a very cool “Colder Weather” with James Taylor.
9:41 Amazing how only a year and a half ago the idea of Miranda winning one of the really competitive awards still seemed like a pipe dream.
Top Female Vocalist: Miranda Lambert
9:36 “Love Gets a Hold of You” or something. It sounds okay – almost in the same you’re-gonna-miss-me-boy! vein as “Turn on the Radio,” though. I think we’re all ready for some more mature Reba now. Take a lesson from Martina.
9:34 Reba’s out to sing something or other. I just saw today that “If I Were a Boy” got yanked as a single; this must be the new one?
9:27 Darius Rucker singing “Music from the Heart” with a choir of various ages and developmental disabilities. Very passionate, touching performance.
9:25 Chris Young’s trying out the hatless thing.
9:25 Oh, for real? At least he acknowledged he has too many now.
Top Male Vocalist: Brad Paisley
9:22 I don’t know how I’m still awake through all this. I shouldn’t be saying such things at 9:23.
9:17 Leeann: Martina is worming her way back into my heart again. I’m a soft touch.
9:17 …Who just tweeted, “Holy crap, I’m singing.” Perfect.
9:14 Awesome. It does. This reminds me of Jeannie C. Riley, the spunky honesty of it. And I like to fantasize that she got some inspiration for that opening “honestly, I think I need a drink” line from Drunken Martina.
9:13 Martina’s coming out with “Teenage Daughters.” I really hope this translates well to stage.
Top Vocal Duo: Sugarland
9:10 Kevin: Naomi Judd: The answer to the age-old question, “Whatever Happened to Baby Jane?”
9:09 Leeann:Ronnie Dunn sounds so much like Brooks & Dunn. Go figure.
9:07 He looks and sounds like musical Jesus. I mean that in a complimentary way!
9:03 Ronnie Dunn’s coming up with “Bleed Red.” Excited for that, kinda. I think C.M. Wilcox is right and that it’ll work well as an award show performance even if the single itself is a little sleepy (to some of us).
8:56 Leeann: Good. Have Kristian introduce Nettles/Rihanna to show how secure he is about being put on the sideline all the time. We’re convinced.
8:55 True fact: The banner at the top of this post will light up and spin all through this Rihanna-Jennifer Nettles performance. Watch closely!
8:53 She interjects a bit of some song I should probably recognize but don’t, and then “I’ll Fly Away.” And she sounds real good.
8:53 I bet there are some Christian folks out there from Miranda’s life who are like, “We did not say that!”
8:52 A Miranda performance is usually my favorite part of an awards night. But it’s “Heart Like Mine.”
8:41 Or, as our pal Corey Parkman of Farce the Music just put it on Twitter, “I wonder what Sara Evans would sound like if she ever got over that sinus infection.”
8:38 The return of Sara Evans to the ACMs. Last performance I remember from her here was that severely pitch-challenged one of “Coalmine” the night she won Top Female years ago. She sounds better here, but still not up to many of her recorded performances.
8:35 I mean, seriously, y’all. “Need You Now” is the only reason Need You Now has sold like it has, and the album selling like it has is the only reason it’s getting this recognition. “Need You Now” won Song and Single of the Year at last year’s ACMs; couldn’t that have been enough?
8:31 IEIOF432IfffkDdk&*$#vdsadvfdjfpvfs >:(
Album of the Year: Lady Antebellum, Need You Now
8:28 Well, don’t think I was missing much. Such a shame – he truly would be one of the best male vocalists in the game if he had better taste.
8:25 We get a Blake Shelton performance. Don’t recognize the song.
Single of the Year: “The House That Built Me”
8:14 Jason Aldean doing the Colt Ford country-rap “Dirt Road Anthem” and it’s every bit as cool you would imagine. (That is, decidedly un-.)
8:09 Apparently their dad’s name is Steve Perry. I snickered harder than I should have.
Best New Artist: The Band Perry
8:07 Kevin: And my favorite of the 57 performances so far is…Taylor Swift. No one can ever accuse me of not having an open mind.
8:05 Kimberly Perry delivers the “well” in “If I Die Young” with way too much spunk. “Well! I’ve had just enough time. So if I do die – y’know, whatever!”
8:03 Whoops, apparently it’s a guitjo/ganjo. Whatever, it’s not like I’m a writer of music-related opinion articles or something!
8:00 Taylor Swift singing “Mean” and strumming the banjo, which is not how I’ve known anyone to play the banjo. Pretty cool scene, though – they’re in front of an old-timey house and the band’s all decked out in their Depression-era best.
7:55 Kevin: Not naming the songwriters for Song of the Year is an absolute disgrace.
[They announced it as "Miranda Lambert, 'The House That Built Me,'" though she's not the one who wrote it.]
Song of the Year: “The House That Built Me”
7:53 Finally, we get one: Song of the Year.
7:50 Eric Church doing “Smoke a Little Smoke,” the one single of his I really dig, with verve. BUT THERE STILL HASN’T BEEN A SINGLE AWARD.
7:45 Back from commercial, Keith Urban performing his newest hit, “Without You (Nicole Kidman)(Pt. 3)(Ballad Version).”
7:42 Leeann: Seriously? Still no award yet? What are we watching?
7:38 Dierks Bentley running laps around the arena to “Am I the Only One,” determined to make us like the unlikable.
7:36 Kevin:That’s what I wanted that song to sound like on the album.
7:35 I’ll say this: JNett still has the best stage charisma of any mainstream country star who isn’t Keith Urban.
7:32 Leeann: Half hour in and still no award yet at this…uh…awards show.
7:32 Sugarland’s here, Jennifer apparently with hair extensions, and they’re doing “Tonight.” Figured this would probably be the next single. Like Kevin, I’d like the recorded version if not for the head-cold-ish performance.
7:30 Well, that was fun. Good thing I gave up on the term “country music” meaning anything a few weeks ago!
7:27 Kevin: We’re officially down the rabbit hole.
7:27 They segue into “Walk This Way.”
7:26 Steven Tyler is really good at screaming awesomely and only ok at remembering the words to Carrie Underwood songs.
7:24 Two Soul Surfer ladies come out to introduce Carrie, who’s doing “Undo It.” WITH STEVEN TYLER! OK, I like this now.
7:20 Apparently Dr. Pepper’s current slogan is “There’s nothing like a Dr. Pepper.” Uhhhh.
7:17 Pleasant enough song (“Somewhere Else”), and he’s got that sweet Toby growl going.
7:16 Leeann: It’s nice to like Toby Keith music these days.
7:14 “ARE THEY READY?! DOES ZAC BROWN ENJOY THE FEEL OF HIS ASS IN THE SAND?!” Best Blake line of the night so far.
7:13 The celebrity cheap shots are coming hard and fast, though.
7:10 We are promised no Charlie Sheen or Lindsay Lohan jokes. God? Is that you?!?
7:07 Celine Dion’s here now, and she’s VERY VERY EXCITED! I honestly can’t think of a better Vegas gate-keepeer, though.
7:07 Kevin: Since when did Alabama become a trio? What a poorly cropped picture, lawsuit or not.
7:06 It would be great if, instead of writing songs about how great the classic acts were, today’s artists just figured out how to measure up.
7:04 Leeann: Good. We get this disappointing Paisley song out of the way now.
7:04 “Old Alabama” now.
7:02 Cute-ish opening skit with Blake Shelton “rehearsing for his wedding night” by serenading a blond-wigged Reba with “Who Are You When I’m Not Looking.”
6:52 Leeann: John Rich is so much more tolerable when he’s with Big Kenny.
6:38 The JaneDear Girls just appeared onscreen. When are they un-appearing, I wonder?
6:33 Wynonna and Naomi Judd chilling with Suzanne Alexander now. Colorically speaking, Wynonna has become a human sunset.
6:31 Chris Young is now talking to Storme which means his voice is audible – yay!
6:26 On some red carpet somewhere, GAC’s Storme Warren just presented to Vocal Event award, inevitably, to “As She’s Walking Away.”
6:15 Dierks Bentley will be playing “Am I the Only One” tonight. Have fun, no one!
6:04 Super-jealous of The 9513′s sweet new live blog layout. Also: the smartness of their live-bloggers. Also: the fact that Brady and Brody Vercher are named thusly.
5:59 Red carpet time, woo!! I bet everybody’s totally wearing clothes this year.
It’s hard to believe, but it’s that time of year again: the 2011 Grammy Awards air this Sunday at 8 p.m. Eastern. Country music has its hand in the Grammy pot via major nominations for Lady Antebellum, performances by Miranda Lambert, Lady A and Martina McBride, and appearances by Keith Urban, Zac Brown, Blake Shelton and Kris Kristofferson. We’ve picked and predicted the awards below – chime in with your own thoughts, and stop by on Sunday night for our live blog!
Album of the Year
Should Win
Arcade Fire, The Suburbs- Dan
Eminem, Recovery- Kevin, Tara
Lady Antebellum, Need You Now
Lady Gaga, The Fame Monster
Katy Perry, Teenage Dream
Will Win
Arcade Fire, The Suburbs
Eminem, Recovery- Kevin, Dan, Tara
Lady Antebellum, Need You Now
Lady Gaga, The Fame Monster
Katy Perry, Teenage Dream
Kevin: In a field of newer artists, Eminem is the established veteran that is overdue for this award. It helps that he also made the best album of his career, as well as of the five nominees.
Dan: I could actually see Lady A coming out on top, since they’ve moved a lot of units and are the least divisive act here. But Recovery was a big comeback, and NARAS likes to use this award as a lifetime achievement thing. I don’t like that tendency, though; I’d rather we just reward the best set. To me, that was Arcade Fire’s ambitious concept album.
Tara: I really respect The Suburbs and really dig Recovery. Both are deserving, but Eminem probably has the edge with NARAS for the reasons stated above. (PS – I’m still not over it. TEENAGE DREAM?)
Record of the Year
Should Win
B.O.B featuring Bruno Mars, “Nothin’ On You”
Eminem featuring Rihanna, “Love the Way You Lie”
Cee Lo Green, “F*** You” - Dan, Tara
Jay-Z featuring Alicia Keys, “Empire State of Mind” - Kevin
Lady Antebellum, “Need You Now”
Will Win
B.O.B featuring Bruno Mars, “Nothin’ On You”
Eminem featuring Rihanna, “Love the Way You Lie”
Cee Lo Green, “F*** You”
Jay-Z featuring Alicia Keys, “Empire State of Mind”
Lady Antebellum, “Need You Now” - Kevin, Dan, Tara
Kevin: Perhaps it’s an instinctual reaction as a native New Yorker, but I still get chills every time I hear “Empire State of Mind.” Jay-Z’s casual “Long live the World Trade” in the second verse perfectly captures how our city moved briskly forward after 9/11 like we always do, but we haven’t forgotten it.
No Urban or Hip-Hop record has ever won this award, so it pains me to predict that Lady Antebellum will triumph over four better records. I hope I’m wrong.
Dan: Cee Lo’s viral novelty hit was one of last year’s biggest delights. I could see this award going to any track but “Nothin’ On You,” but suspect voters will probably go with the least edgy track.
Tara: I could make an argument for four of the five songs here, but I can’t peel myself away from Green’s personality-packed throwback hit that practically begs you to love it. And do I. I agree with Dan and Kevin, though, that Lady A will take this.
Song of the Year
Should Win
“Beg, Steal, or Borrow” – Ray LaMontagne
“F*** You!” – Brody Brown, Cee Lo Green, Philip Lawrence & Bruno Mars
“The House That Built Me” – Tom Douglas & Allen Shamblin - Kevin, Tara
“Love the Way You Lie” – Alexander Grant, Skylar Grey & Marshall Mathers
“Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott
Will Win
“Beg, Steal, or Borrow” – Ray LaMontagne
“F*** You!” – Brody Brown, Cee Lo Green, Philip Lawrence & Bruno Mars
“The House That Built Me” – Tom Douglas & Allen Shamblin – Kevin, Tara
“Love the Way You Lie” – Alexander Grant, Skylar Grey & Marshall Mathers
“Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott
Kevin: I think the biggest hurdle for “The House That Built Me” was getting the nomination. It really stands out in this field. It used to be rare for the Song victor to not be nominated for Record, but it has happened three times in the last seven years, including last year.
Tara: I’d honestly be happy to see any of these songs win. I’ll back “The House That Built Me” and just take a guess that the voters will, too.
Best New Artist
Should Win
Justin Bieber
Drake
Florence + the Machine
Mumford & Sons - Dan, Kevin, Tara
Esperanza Spalding
Will Win
Justin Bieber
Drake – Kevin, Dan, Tara
Florence + the Machine
Mumford & Sons
Esperanza Spalding
Kevin: I dig Mumford & Sons the most, but Drake seems to be the guy to beat.
Dan: I think Mumford has the most potential going forward. They’re got a dark-horse shot at the win, too, though Drake does seem like the most logical choice. Bieber’s by far the biggest name right now, but NARAS didn’t give it to tween-fave forerunners Hanson or Jonas Brothers, so…
Tara: Ditto. Although I have an unexplainable inkling that the Bieber might nab the award.
Best Country Album
Should Win
Dierks Bentley, Up on the Ridge – Kevin, Tara, Leeann
Zac Brown Band, You Get What You Give
Jamey Johnson, The Guitar Song - Dan
Lady Antebellum, Need You Now
Miranda Lambert, Revolution
Will Win
Dierks Bentley, Up on the Ridge
Zac Brown Band, You Get What You Give
Jamey Johnson, The Guitar Song
Lady Antebellum, Need You Now – Dan
Miranda Lambert, Revolution- Kevin, Tara, Leeann
Kevin: I think Bentley made the best record, and perhaps the slew of collaborators will help raise its profile with voters. Usually the country album nominated for overall Album wins this award, but I’m thinking that Lambert’s recent awards streak will continue here.
Dan: I pick Johnson by a nose, but genuinely like every album here besides Need You Now. Hoping Kevin’s right about that one.
Leeann: Like Kevin said, Bentley deserves to win and I hope he does, but I think Lambert’s album may win due to accessibility and her reputation for artistic integrity.
Tara: Up on the Ridge and Revolution both hit my sweet spot: they straddle the line between reverent and relevant and make me genuinely excited about country music’s future. Bentley’s album is the better of the two (and the best of the bunch) – but I think Lambert’s will pick up the most votes.
Best Female Country Vocal Performance
Should Win
Jewel, “Satisfied”
Miranda Lambert, “The House That Built Me” - Dan, Kevin, Tara, Leeann
LeAnn Rimes, “Swingin’”
Carrie Underwood, “Temporary Home”
Gretchen Wilson, “I’d Love to Be Your Last”
Will Win
Jewel, “Satisfied”
Miranda Lambert, “The House That Built Me” - Dan, Kevin, Tara, Leeann
LeAnn Rimes, “Swingin’”
Carrie Underwood, “Temporary Home”
Gretchen Wilson, “I’d Love to Be Your Last”
Kevin: This is Lambert’s best shot at a Grammy. Underwood will threaten, as always, but I think the strength of this song makes it tough to beat.
Leeann: Lambert’s signature song is the strongest and likely most long-lasting of the bunch.
Tara: Lambert and Underwood turn in two of the most emotive, powerful performances of their careers, but “The House That Built Me” is undeniably the better song. Since Underwood’s Grammy streak seems to be up for now, I think the voters will side with Lambert.
Best Male Country Vocal Performance
Should Win
Jamey Johnson, “Macon”
Toby Keith, “Cryin’ For Me (Wayman’s Song)” - Kevin, Leeann
David Nail, “Turning Home” - Dan
Keith Urban, “‘Til Summer Comes Around”
Chris Young, “Gettin’ You Home (The Black Dress Song)” - Tara
Will Win
Jamey Johnson, “Macon”
Toby Keith, “Cryin’ For Me (Wayman’s Song)”
David Nail, “Turning Home”
Keith Urban, “‘Til Summer Comes Around” - Dan, Kevin, Tara, Leeann
Chris Young, “Gettin’ You Home (The Black Dress Song)”
Kevin: I am not going to complain about Urban winning again for my favorite single from his last two albums. But Toby Keith is way overdue in this category, and he’s nominated for one of his best vocal performances to date.
Dan: Nail’s nuanced performance brought what could have been a very rote song to life. And his career could use the boost.
Leeann: I think the Grammy voters will reflexively give the award to Keith Urban, but Toby Keith’s song is the most poignant of the nominees.
Tara: Urban’s got his hold on this category, but I’m in Young’s corner. His slow-burning hit is as charming as it is sexy, which isn’t an easy thing to pull off. And that voice.
Best Duo/Group Country Vocal Performance
Should Win
Zac Brown Band, “Free”
Dailey & Vincent, “Elizabeth”
Lady Antebellum, “Need You Now”
Little Big Town, “Little White Church”- Tara
The SteelDrivers, “Where Rainbows Never Die” - Kevin, Leeann
Will Win
Zac Brown Band, “Free”
Dailey & Vincent, “Elizabeth”
Lady Antebellum, “Need You Now” - Kevin, Tara, Leeann
Little Big Town, “Little White Church”
The SteelDrivers, “Where Rainbows Never Die”
Kevin: I think it’s a race between Lady Antbellum and Zac Brown Band, with LA in the lead. But the SteelDrivers get the annual “song I discovered because it was nominated for a Grammy and fell in love with after hearing it” award from me.
Leeann: The SteelDriver’s song is my favorite with Little Big Town at a close second, but I suspect that Lady A won’t be shut out for such a hugely popular radio hit across the board.
Tara: Dear NARAS: since “Single Ladies” got screwed over for ROTY last year, please show Little Big Town some love for their crazy awesome countrified version. It’s just as good…maybe even better?
Best Country Collaboration with Vocals
Should Win
“Bad Angel” — Dierks Bentley, Miranda Lambert & Jamey Johnson
“Pride (In The Name Of Love)” — Dierks Bentley, Del McCoury & The Punch Brothers
“As She’s Walking Away” — Zac Brown Band & Alan Jackson – Kevin, Tara, Leeann
“Hillbilly Bone” — Blake Shelton & Trace Adkins
“I Run To You” — Marty Stuart & Connie Smith
Will Win
“Bad Angel” — Dierks Bentley, Miranda Lambert & Jamey Johnson
“Pride (In The Name Of Love)” — Dierks Bentley, Del McCoury & The Punch Brothers
“As She’s Walking Away” — Zac Brown Band & Alan Jackson – Kevin, Tara, Leeann
“Hillbilly Bone” — Blake Shelton & Trace Adkins
“I Run To You” — Marty Stuart & Connie Smith
Kevin: Best collaboration in a very long time. Love hearing an artist from my youth playing elder statesman so well.
Leeann: It’s difficult for me to imagine that “As She’s Walking Away” won’t be rewarded for both its popularity and the significance of the still active veteran, Alan Jackson, dispensing wisdom to the up-and-coming bright stars of country music in the Zac Brown Band.
Tara: I love the groove of “Bad Angel,” but its collaboration isn’t nearly as dynamic nor as fitting as that of “As She’s Walking Way.” I can’t imagine any “wise man” but Jackson pulling up a stool next to Brown in this song.
Kevin: Punch Brothers are approaching Nickel Creek levels of awesomeness. Possibly exceeding them.
Leeann: Kevin’s right. Even as someone who isn’t typically fond of instrumentals, I dig those of the Punch Brothers.
Best Country Song
Should Win
“The Breath You Take” — Casey Beathard, Dean Dillon & Jessie Jo Dillon
“Free” — Zac Brown
“The House That Built Me” — Tom Douglas & Allen Shamblin - Dan, Kevin, Tara, Leeann
“I’d Love To Be Your Last” — Rivers Rutherford, Annie Tate & Sam Tate
“If I Die Young” — Kimberly Perry
“Need You Now” — Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott
Will Win
“The Breath You Take” — written by Casey Beathard, Dean Dillon & Jessie Jo Dillon
“Free” — written by Zac Brown
“The House That Built Me” — written by Tom Douglas & Allen Shamblin – Kevin, Tara, Leeann
“I’d Love To Be Your Last” — written by Rivers Rutherford, Annie Tate & Sam Tate
“If I Die Young” — written by Kimberly Perry
“Need You Now” — written by Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott
Kevin: My heart is owned by “If I Die Young”, but I think that “The House That Built Me” is objectively the best song.
Leeann: While The Band Perry’s song sounds the coolest, the writing for “The House That Built Me” is clear frontrunner for the best song of the year. It deserves and likely will be recognized as such, especially since it was both very critically acclaimed and successful as a single.
Tara: No question “The House That Built Me” is the best written song of the group, and I think it’ll be recognized as such.
Best Bluegrass Album
Should Win
Sam Bush, Circles Around Me
Patty Loveless, Mountain Soul II
The Del McCoury Band, Family Circle
Peter Rowan Bluegrass Band, Legacy
The SteelDrivers, Reckless – Kevin
Will Win
Sam Bush, Circles Around Me
Patty Loveless, Mountain Soul II
The Del McCoury Band, Family Circle – Kevin
Peter Rowan Bluegrass Band, Legacy
The SteelDrivers, Reckless
Kevin: Kudos to Loveless for her nomination, but I like the SteelDrivers set more.
Best Americana Album
Should Win
Rosanne Cash, The List
Los Lobos, Tin Can Trust
Willie Nelson, Country Music – Dan, Kevin
Robert Plant, Band of Joy
Mavis Staples, You Are Not Alone
Will Win
Rosanne Cash, The List
Los Lobos, Tin Can Trust
Willie Nelson, Country Music
Robert Plant, Band of Joy
Mavis Staples, You Are Not Alone - Kevin
Kevin: So I think Staples is nominated for an awesome gospel album and Nelson for an awesome country album. This category is confusing.
I became a country fan twenty years ago, and have been fully immersed in the genre for about as long. I’ve read up on the history, heard pretty much every significant artist and recording, and can speak knowledgeably about the genre’s highs and lows over the past few decades.
We’ve never been this low. I think I finally understand why that is.
Jonathan Keefe from Slant wrote this in his review of the JaneDear Girls album, and it really hit home with me:
…the JaneDear Girls use a couple of catchy melodies and garish costumes to mask the fact that they can’t sing even a little bit, and, if they could, wouldn’t have a single authentic thing to say. In other words, they’re exactly what country music, in the throes of a pretty severe identity crisis, doesn’t need right now: its own Katy Perry.
This is the paradox that’s increasingly devouring country music. Artists are singing more than ever about how country they are, yet they’re doing it with songs that sound less country than ever.
Perhaps all of these “loud and proud” country identity songs are a reflection of the country lifestyle being fully swallowed up by suburbia, and “country” is now more of a chosen lifestyle than it is something homegrown. But “country music” has almost completely shifted to “music about being country.” You don’t have to sound country, you just have to revel in being country.
Country music cannot retain its identity this way. As a radio format, it isn’t going anywhere. As the larger player on the field, it’s managed to absorb a good chunk of what we used to call Adult Top 40, picking up a few of their core artists along the way.
But as a relevant genre of its own? That can’t continue if the vast majority of the new mainstream artists have little connection to what came before them. Superstars are hard enough to come by as it is, and when you think about the ones who have emerged from country music in recent years – Sugarland, Keith Urban, Taylor Swift, Lady Antebellum – their tenuous links to country music as a distinct art form are virtually nonexistent.
Ten years ago, Carrie Underwood would’ve been grouped as a pop-country diva. These days, she’s the only recent superstar that even seems to care that her music sounds identifiably country. And while there is no shortage of alternative country acts who are connected to the genre’s roots, their very existence on the outskirts of the mainstream prevent them from having a meaningful enough impact to carry on country music’s rich legacy.
Without a new generation of country stars breaking through enough to really captivate the interest of the public, I see no way for country music to continue as a viable art form and culturally relevant presence in contemporary music.
The bulk of our work at Country Universe this month has been catching up on singles currently at radio. Collectively, they’ve been abysmal, with review grades rarely reaching a B, let alone an A.
How can we turn this around? Here are five songs that I’d love to see sent to radio tomorrow. Share your own in the comments!
Zac Brown Band, “Let it Go”
A dizzying dose of positivity, with a few great musical twists to boot. The Serenity Prayer never sounded so good.
Court Yard Hounds, “Ain’t No Son”
The only truly country song on their album. The only truly great song on their album.
Toby Keith, “In a Couple of Days”
It’s easy to take Keith for granted, so consistent are his vocals and song structures. Usually, its his lyrics that trip him up. It’s his heartbroke ballads, like this gem, that showcase his talent best.
Reba McEntire, “The Day She Got Divorced”
Country singers used to sing about people like this all the time. Flawed anti-heroines like this don’t come along too often anymore.
Carrie Underwood, “Change”
I suspect those with more refined tastes than mine are clamoring for “Someday When I Stop Loving You”, an admittedly beautiful ballad, but this is the track I’m returning to the most from Play On. I think it captures the nagging cynicism that prevents many of us from fully embracing our inner benevolence.
Is there anyone left in Nashville with a functioning memory of country music?
Trisha Yearwood put out “Georgia Rain” in 2005. This is almost the same song. The theme, storyline, geography, and even the weather are all identical.
The only differences? It’s not written as well or sung as well. Not even close.
Helpful hint to all aspiring female singers: Don’t get in the ring with Trisha Yearwood. The very best female vocalists on radio today – Carrie Underwood, Miranda Lambert, Jennifer Nettles – they shouldn’t get in the ring with Trisha Yearwood, unless they really are on the top of their game.
“Georgia Rain” isn’t even Trisha Yearwood at the top of her game. It’s one of her less notable singles. But wow, does it wipe the floor with Joanna Smith and her “Georgia Mud.”
Then again, if I’m the only one who even remembers “Georgia Rain”, Smith has nothing to worry about. With the tasteful arrangement that is identifiably country, she might even be hailed as a visionary. At least it’s not a rock record, right?
Earlier this year, a discussion with a colleague of mine revealed a mutual affinity for country music. It was a typical conversation that I have with fans that are around my age. We fell in love with the music about twenty years ago, don’t think it’s quite as good as it once was, but can find a lot of things to like from just about any era, including the current one.
So in the 2010 version of making a mix tape, I offered to load up her iPod with a whole bunch of country music. A week later, she took me to dinner as a thank you. We started talking about the music that I’d passed on to her, and she told me that she was listening to the iPod while mowing the lawn. Suddenly, a song came on that made her cry. Full-out cry, mind you, not just a tear or two.
So I ask if it was “Love, Me”, or maybe “Where’ve You Been”, or something similarly tragic. She was almost embarrassed as she told me that it was the old Anne Murray hit, “You Needed Me.”
Now, there are a few possible reactions to this. I suspect for many or even most, it will be either befuddlement or outright derision. But me? I totally understood why that song would have such a strong impact, and I can best describe it in one word: Sincerity.
It’s the bane of the cynic’s existence, and of many critics as well. You don’t see Anne Murray pop up on too many lists when discussing the greatest country artists of all time, or even the greatest pop-country singers of all time, even though she’s definitely both. Ditto for Kenny Rogers and my once future wife Olivia Newton-John, who also fit well into both categories.
But there are some artists who exude sincerity and still are treated with reverence, like Loretta Lynn and Alan Jackson. What makes them different? I think it’s the added perception of authenticity that differentiates them from the artists above.
Take Dolly Parton as a case study. Rare is the critic or country music historian who doesn’t speak highly of both her pre-1976 and post-1999 output, where her music was firmly grounded in her mountain roots. But her pop era – roughly 1977-1986 – is widely maligned. The sincerity is there all the way throughout her career, whether it’s delivering the brilliant working class social commentary present in both “In the Good Old Days” and “9 to 5″, or when she’s just being hopelessly maudlin, be it with “Daddy Come and Get Me” or “Me and Little Andy.”
I think that she gets less credit for that period because there’s a sense that she’s being something that she’s not, that the authenticity is lacking. When you think someone is being inauthentic in their sincerity, it’s hard for some to embrace them. I think that I’m in the minority in that I don’t care much if someone is authentic, so long as they’re sincere.
Where things fall apart for me are when I perceive authenticity without being able to sense the sincerity in the performances. This is my major issue with many of the more traditional artists today. I think Jamey Johnson, Gretchen Wilson, and Brad Paisley are completely authentic in their music. They are who they say they are, and such. But I have trouble getting into them because they don’t come off as genuinely sincere.
It’s hard to articulate this, but to use Paisley as an example, he often sounds to my ears like he’s emotionally divorced from what he’s singing. The brain is plugged in, but I don’t feel the heart. I loved, loved, loved “Letter to Me” because his voice cracked with emotion. I felt the sincerity that I don’t feel when I hear “Anything Like Me” or “Little Moments.”
Meanwhile, Carrie Underwood can rarely do wrong with me because she drips with sincerity, something that was prevalent even during her embryonic Idol days, but has really come into play with her writing so much of her material. “Change” is my favorite song she’s done so far, not just because I fully agree with the message, but that she sings it with such sincerity. Does she live out the message in her own life? I have no idea. But her performance is so powerful to my ears that it being her authentic life story is as irrelevant to me as the fact that Sean Penn and Susan Sarandon aren’t really a death row convict and a Catholic nun, respectively.
Sincerity over authenticity, if I have to choose. Both are great to have, but the former is more essential than the latter in the music that I love the most. It may be a meaningless distinction in the end, but it’s the only explanation I can come up with for me usually liking songs much better by great singers than by the original songwriters, and for Laura Bell Bundy getting so much more play on my iPod than Taylor Swift, the most genuinely authentic teen star ever. Or at least since Lesley Gore.
With that all said, how about we listen to some Anne Murray? She’s awesome.
Here are the ten singles that were almost the best of the year:
The Best Singles of 2010, Part 3: #20-#11
#20
Crazy Women LeAnn Rimes
Poised, calculated and ferocious all at once, Rimes’ performance captures the exact persona of the scorned “ex-wives and old girlfriends” she sings of. It’s a wiser, cooler revenge anthem than we’ve heard in awhile, and it takes the crown for the year’s most fabulous opening line: “Who’d have guessed that Aqua Net could start a fire with a single cigarette?” – Tara Seetharam
#19
What Do You Want Jerrod Niemann
A contemporary spin on the standard country theme of heartache, “What Do You Want” owes its brilliance to its perfect storm of elements: The raw honesty of Niemann’s plea (“I get so tired of living like this/I don’t have the time/Neither do my friends”). The hollow, pulsing arrangement that mirrors his cycle of pain. The killer vocal performance, soaked in emotional fatigue. Each element draws out the potency of the next, culminating in one of the most captivating releases of the year. – TS
#18
Steal You Away Randy Rogers Band
If you can say anything about Randy Rogers, it’s that he emotes somberness in every note that he sings. In this song, he is tortured by the knowledge that the object of his affection is not properly appreciated by the man that she’s currently with. More than anything, he’d like to steal her away from her loveless relationship, but moral boundaries stop him from carrying out his desire. – Leeann Ward
#17
Kiss Goodbye Little Big Town
If you love somebody, set them free. Easy to say, maybe even easy to do, but what’s left behind is empty and cold. This powerful song explores that truth with subtlety and sincerity. – Kevin Coyne
#16
Lover, Lover Jerrod Niemann
I heard Sonia Dada’s Dan Pritzker wrote this goodbye number when his real-life lover forgot to make him a pot of coffee or something. That should give you a good sense of the depth here. But a ditty like “Lover, Lover” is really only about one thing: achieving a compulsive singalong. And it gets that job done ably, even offering equal opportunity for all voice parts with its thick, stacked harmonies. – Dan Milliken
#15
Undo It Carrie Underwood
Judging from what I’ve heard people say about this song, I don’t think there’s any middle ground on this one. Either turn the radio off in disgust, or turn it up and sing along. – KC
#14
Still Tim McGraw
Memories. The very best ones are stripped of all the reality that existed in the moment. All the irks and irritations and utter banality of every day life fade away in hindsight, and all that’s left is the warm comfort of knowing that in a certain moment of time, you were there and so were they. There isn’t a reference to Christmas in “Still”, but the holidays make it feel that much more real. Achingly real. – KC
#13
Rain is a Good Thing Luke Bryan
One of the more charming frat-country hits in recent years, as Bryan celebrates how precipitation in a farm town nourishes both the crops and the spirit. Oh, and helps him get some! Yeah, bro!!! – DM
#12
Swingin’ LeAnn Rimes
It’s always a bold move to try to recapture the novelty of an already dubbed novelty song. Instead of recreating what John Anderson had already done with “Swingin’”, LeAnn Rimes wisely reinvents the tune by ramping things up up with a jaunty, high octane production that dares us to try to sit still. The result is one of the most energetic, free spirited songs of the year. – Leeann Ward
#11
Turning Home David Nail
High school nostalgia songs are typical these days, but Nail’s soars above most others with a sensitive performance that brings each little detail to life. Annoyingly loud production toward the end keeps the single from home-run territory, but unfortunately that’s pretty typical now, too. – DM
Greatness comes in twos this year, as ten different artists make dual appearances on this list. Perhaps this demonstrates a greater truth about 2010. Sure, there was some good music, but greatness was concentrated among a smaller group of artists than usual.
As is the annual tradition, we’ll reveal this year’s forty best singles, ten at a time. Check back tomorrow for Part 2.
The Best Singles of 2010, Part 1: #40-#31
#40
Why Wait Rascal Flatts
The Flatts boys return to their roots with this bright, infectious slice of country-pop. Bonus points for keeping both Gary LeVox’s voice and Dann Huff’s production in check. – Tara Seetharam
#39
That’s Important to Me Joey + Rory
So far, Joey+Rory’s calling card has been their ability to exude authenticity through their songs with a naturalness and warmth as convincingly as a certain mother-daughter duo of the eighties, The Judds. Only, unlike the Judds, this partnership’s perceived connection isn’t marred by real accounts of strife and familial discord. Instead, by all accounts, Joey and Rory’s love is as sweet as their musical harmonies suggest. And this song is a nice encapsulation of what makes them who they are as a duo, both in a personal and professional sense. – Leeann Ward
#38
Where Do I Go From You Clay Walker
Walker’s voice has matured so much over the past decade. Thankfully, he still has preserved his playful way with a melody, resulting in records like this that elevate radio fodder into something more than just filler. – Kevin John Coyne
#37
Back to December Taylor Swift
She ran from love “when fear crept into [her] mind,” but fear has long since given way to sorrowful regret. Swift knows there’s probably no reversing her mistake, but gets the grief off her chest anyway, with a chorus that sounds almost as nervous as you’d imagine the real-life plea to. – Dan Milliken
#36
Little Miss Sugarland
My disdain for the duo’s label remains strong, as their lack of quality control let a terrible album reach the marketplace. But kudos to the folks who are picking the singles, as The Incredible Machine must sound like a great piece of work to radio listeners who’ve only heard the album’s two singles. It’s not quite “What it Feels Like For a Girl”, but as modern-day post-feminist explorations of gender go, “Little Miss” is very good. – KC
#35
Pretty Good at Drinkin’ Beer Billy Currington
He ain’t cut out to sing great ballads. He’s not the type to make deep and introspective albums. But he’s pretty good – no, pretty great – at laid back songs like this. – KC
#34
Temporary Home Carrie Underwood
A story of shared humanity, brought to life by Underwood’s spot-on vocal interpretation. This is the first single in her catalog to slice through to the person behind the artist, and the payoff –striking, palpable personal conviction– is rich. – TS
#33
I’m In Keith Urban
In an unusual accomplishment, Keith Urban manages to allow a drum machine to enhance a song rather than destroy it. What’s more, this lively Radney Foster penned celebration of commitment is both infectious and refreshing. When it comes to a new relationship, we don’t know what to expect, so the best choice is to be all in and present. – LW
#32
Pray For You Jaron and The Long Road to Love
If we’re going to bring a college-boy mentality to country music – heck, Hootie’s already in the house anyway – let’s have it be as satisfyingly clever as it is juvenile. – KC
#31
From a Table Away Sunny Sweeney
Seeing the man she loves visibly enthralled by the wife he claims he’s leaving, the man’s mistress finally realizes how badly she’s being used. Sort of like “Stay” with more reserved narration. This is the kind of country single we don’t hear much anymore, with traditional-leaning vocals and production that work only enough to capture the song’s natural pathos, never overcooking things. – DM
When the nominees were announced in August for the 44th annual CMA Awards, they sparked a firestorm of headlines –and thoughtful commentary by critics and fans alike– thanks to the CMA voters’ surprisingly bold moves. It’s all about change this year, as the voters revamped the ballot with a slew of fresh faces in almost all of the big categories.
How will it all play out? We’ll know for sure on Wednesday at 8pm Eastern, but before Gwenyth Paltrow throws on her cowboy boots, check out our staff picks and predictions and join the discussion in the comments below. And be sure to drop by Wednesday night for all of the CU live blog madness!
Entertainer of the Year
Should Win:
Lady Antebellum
Miranda Lambert – Kevin
Brad Paisley
Keith Urban
Zac Brown Band – Leeann, Dan, Tara
Kevin: Among the five nominees, Miranda Lambert has best represented the genre this year.
Leeann: I’m torn between Lambert and the Zac Brown Band as most deserving this year. I recently saw Lambert’s show and wasn’t incredibly impressed, however. While I have not yet attended a ZBB show, theirs is one of the few spots that I look forward to at awards shows these days. Moreover, I’m impressed by how much of a following they had even before they made any mainstream records.
Dan: Of these five, Zac Brown Band had the second-most success this year (after Lady A) and made the second-best music (after Lambert), so that’s pretty good standing. And I feel like giving this award to a grassroots act would be a good way for the industry to greet the future.
Tara: I’m consistently impressed by Zac Brown Band’s live performances, and it would be really refreshing to see them win – so I’ll go with them. (But I’m still disappointed that the first year my head and heart align on Carrie Underwood deserving an EOTY award, I can’t support her. I’m holding out for 2012…)
Will Win:
Lady Antebellum
Miranda Lambert – Tara
Brad Paisley – Kevin, Leeann, Dan
Keith Urban
Zac Brown Band
Kevin: I’ve probably learned nothing from last year’s Swift sweep by going with Paisley again, but he’s the only nominee of veteran stature who hasn’t won yet.
Leeann: I can’t imagine that Paisley won’t finally win this one.
Dan: I was going to guess Lady A, since they’re sort of 2010′s “flavor of the year” the way Taylor Swift was 2009′s. But when I think about it, Swift’s ascent was greater and more gradual, and she stood in contrast to the rest of her nominee pool (four male veterans) in a way Lady A don’t with theirs (in which they’re one of three new competitors). So, Paisley.
Tara: I have no rationale. My gut says Lambert.
Male Vocalist of the Year
Should Win:
Dierks Bentley – Kevin, Leeann, Dan, Tara
Brad Paisley
Blake Shelton
George Strait
Keith Urban
Kevin: Bentley made the best music this year.
Leeann: Bentley may not have the best technical voice out of these nominees, but he has the most interesting and distinctive of them, which is always something that I gravitate toward. Also, I agree with Kevin that he’s made the best music this year.
Dan: Shelton and Bentley are the only ones in this pool who made significant career strides this year – Shelton at radio, and Bentley creatively. Since I’m backing someone else in the Album category, this is where I’d like to see Bentley recognized for following his muse.
Tara: I guess Up on the Ridge is as good a reason as any to fall off the Brad-for-MVOTY bandwagon. He’s a close second for me, though.
Will Win:
Dierks Bentley – Kevin, Dan
Brad Paisley – Leeann, Tara
Blake Shelton
George Strait
Keith Urban
Kevin: I can see the roots album giving Bentley an edge. Then again, Paisley could just repeat again, or Shelton may suddenly have deep support among voters. I say, Bentley by a nose.
Leeann: I think that voters will reflexively give this one to Paisley again.
Dan: I’ll ditto Kevin.
Tara: I can’t really see Paisley losing this one, but I think if he does lose to Bentley, it’ll be a telling moment.
Female Vocalist of the Year
Should Win:
Miranda Lambert – Kevin, Leeann, Dan
Martina McBride
Reba McEntire
Taylor Swift
Carrie Underwood – Tara
Kevin: Underwood and McEntire are the women who made my favorite singles from the eligibility period, but Lambert’s the only one who hasn’t won this award. She’s not overdue, but she’s due.
Leeann: Kevin’s right that Lambert is due to win this award now, not to mention that she’s my favorite female singer out of the bunch.
Dan: Lambert still isn’t at Underwood’s sales level, much less Swift’s, and I don’t see her catching up before traditional music sales die out altogether. Doesn’t matter, though: her habit of making creative music will sustain her regardless of industry conditions, and will elevate the genre in the long run. It’s time to look ahead.
Tara: I’m 50/50 on Lambert and Underwood. I’m not sure how to balance Lambert’s long overdue mega-year against Underwood’s continuous stream of solid success, ambassadorship and artistic growth. I’ll be happy either way, but personal investment’s got me in Underwood’s camp.
Will Win:
Miranda Lambert - Kevin, Dan, Tara
Martina McBride
Reba McEntire
Taylor Swift
Carrie Underwood- Leeann
Kevin: I’d be shocked if Lambert lost, and can’t even make a guess as to who she’d lose to, should she somehow lose.
Leeann: It’s between Lambert and Underwood, but I give Underwood the edge, especially since it’s somewhat surprising that she didn’t get an Entertainer nomination. Although Lambert has gained popularity in the past year, Underwood is still one of the two biggest females in the business and I refuse to predict that Swift will win the award.
Dan: Lambert’s had enough mainstream success this year to give tasteful voters an excuse to give her some props.
Tara: The voters love them some Lambert this year, and I think of all her nominations, this is the one she’s got in the bag.
Vocal Duo of the Year
Should Win:
Brooks & Dunn
Joey + Rory – Kevin, Leeann, Dan, Tara
Montgomery Gentry
Steel Magnolia
Sugarland
Kevin: I’m assuming “Stuck Like Glue” was after the eligibility period, so I think actually making some music over the year is important. Joey + Rory are the only duo I like who have yet to win.
Leeann: I simply like them the most, but I know they don’t have a chance.
Dan: I mean, why not? Nobody on this ballot has done much but tour.
Tara: I’m not very excited about any of these acts right now, to be honest. It would just be heartwarming to see Joey + Rory pick this one up.
Will Win:
Brooks & Dunn – Kevin, Dan
Joey + Rory
Montgomery Gentry
Steel Magnolia
Sugarland – Leeann, Tara
Kevin: Sugarland’s year off helped guarantee a B&D victory lap, which would probably have happened anyway.
Leeann: It’s between Brooks & Dunn and Sugarland. I should just pick B&D because of their retirement, but I’m still going with Sugarland because of their popularity.
Dan: Brooks & Dunn, unless voters ignore the eligibility period and stick with Sugarland.
Tara: Isn’t the Brooks & Dunn retirement thing kind of old news by now, or am I just out of touch?
Vocal Group of the Year
Should Win:
Lady Antebellum – Tara
Little Big Town
Rascal Flatts
The Band Perry
Zac Brown Band – Kevin, Leeann, Dan
Kevin: Let’s start getting some variety in this category, instead of having Lady A own it for five years.
Leeann: They’re the only group that I like right now.
Dan: I’ll probably be rooting for Little Big Town come ACM season, but for now…
Tara: I don’t want Lady A to own this for five years, either, but I do think they deserve to win this year. At least in my opinion, their huge success on the charts and with album sales can be attributed much to their ability to (I know, I know – I’m a broken record) hone in on specific emotion and deliver it in a way that people can really connect with. There’s some meat (and a heck of a lot of potential) behind their success that tends to go unnoticed.
Will Win:
Lady Antebellum – Kevin, Leeann, Dan, Tara
Little Big Town
Rascal Flatts
The Band Perry
Zac Brown Band
Kevin: Lady A and Zac BB are both very popular with voters, but I’m thinking that this is the only race where voters can reward Lady A for dominating at retail this year.
Leeann: Ditto to Kevin.
Dan: New Artist will be ZBB’s consolation prize.
Tara: …And I think the voters will agree with my pick, if not for the same reasons.
New Artist of the Year
Should Win:
Luke Bryan
Easton Corbin
Jerrod Niemann
Chris Young – Leeann
Zac Brown Band - Kevin, Dan, Tara
Kevin: ZBB is in another league, which makes me wish they still called this the Horizon Award.
Leeann: It’s weird to see ZBB here considering their nominations elsewhere, so I think that Chris Young has the most potential of the remaining nominees.
Dan: I’d love to see Young take this, but ZBB can’t be denied.
Tara: This is a great line-up, but there’s no question that ZBB deserves this win.
Will Win:
Luke Bryan
Easton Corbin
Jerrod Niemann
Chris Young
Zac Brown Band – Kevin, Leeann, Dan, Tara
Kevin: ZBB is nominated for Entertainer of the Year, much like Ricky Skaggs was when he won Horizon in 1982. (Skaggs also won Male Vocalist, which means I may have to rethink my pick for Vocal Group, too.)
Leeann: Kevin’s argument is too compelling not to follow. Also, they are the most popular of the nominees, therefore, probably the most deserving.
Dan: Everyone here but Niemann has had a significant breakthrough. With ZBB in the mix, though, it’s no contest.
Tara: It’s a funky set-up to have ZBB nominated for both the top and bottom (figuratively) prizes, and I think this one will play out exactly the way Kevin explained it.
Album of the Year
Should Win:
Dierks Bentley, Up on the Ridge – Leeann
Lady Antebellum, Need You Now
Miranda Lambert, Revolution – Dan, Tara
George Strait, Twang
Carrie Underwood, Play On – Kevin
Kevin: I have all five of these albums, and Underwood’s is the one that I listen to the most, with Strait a not-too-close second. In 2010, of course, “listening to an album” really means “how many songs do I pull off the album and put on a play list,” which has Underwood ahead by three tracks.
Leeann: If I follow Kevin’s test, Bently wins with Lambert as a close second. Bentley’s is, hands down, my favorite album of these choices. I’d love to see something this different from the mainstream win.
Dan: Also employing Kevin’s test, I flip-flop Leeann’s first and second choices. Only about two thirds of Revolution click for me a year later, but those two thirds have helped redefined what I thought modern country could be (still flipping about “Me and Your Cigarettes”), and the stray third at least tried.
Tara: I’m not going to follow Kevin’s test: I don’t play Revolution quite as much as three of the other albums on here, but I feel it’s the most deserving. It’s sharp, smart and an excellent example of an artist taking her potential by the horns.
Will Win:
Dierks Bentley, Up on the Ridge
Lady Antebellum, Need You Now
Miranda Lambert, Revolution – Kevin, Leeann, Dan, Tara
George Strait, Twang
Carrie Underwood, Play On
Kevin: I really do think Lambert will sweep. I think she should’ve won for her last album, which wasn’t even nominated, but I’m not going to complain about an ambitious album getting the prize.
Leeann: I’m guessing either Lambert or Underwood. Although Lambert has the better album, Underwood has the slight edge because it sold better. I wouldn’t be especially surprised if Lady A takes it though.
Dan: Seems to me like a toss-up between Lady A’s commercial favorite and Lambert’s critical one. Lambert?
Tara: This is Lambert’s to lose, but I wouldn’t be too surprised if Lady A (or maybe Bentley?) snatched it.
Single of the Year
Should Win:
Easton Corbin, “A Little More Country Than That”
Lady Antebellum, “Need You Now”
Miranda Lambert, “The House That Built Me” – Kevin, Leeann, Dan, Tara
Kevin: It’s the big chunk of meat in a category of mashed potatoes and candied apples.
Leeann: Kevin just made me really hungry, therefore, kind of distracted. It’s a good thing that my choice doesn’t need justification then.
Dan: “Need You Now” had the biggest impact, of course, but “The House That Built Me” was no slouch either – four weeks at #1 – and was arguably the riskiest, most rewarding release. Also of note: she sang it real pretty.
Tara: “Need You Now” and “The House That Built Me” are performed equally well, but “House” is the better-written song. I’ll go with “House” on the basis of that, but I do think country music will be represented justly either way. Both songs resonate with pure, compelling sentiment.
Will Win:
Easton Corbin, “A Little More Country Than That”
Lady Antebellum, “Need You Now” - Dan, Tara
Miranda Lambert, “The House That Built Me” - Kevin, Leeann
Kevin: I think Lady A would have a better shot if they hadn’t won last year for “I Run to You.”
Leeann: It’s simply the clear winner.
Dan: Again, somewhat for diversity’s sake, I’ll guess that many voters have already forgotten about “I Run to You” – I certainly have – and will use this category to recognize the biggest hit, while they use Song to recognize the best one.
Tara: I’m jumping on Dan’s train…
Song of the Year
Should Win:
“A Little More Country Than That” – Rory Lee Feek, Don Poythress & Wynn Varble
“Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott
“The House That Built Me” – Tom Douglas & Allen Shamblin – Kevin, Leeann, Dan, Tara
Kevin: Overall, I think that “Need You Now” is a better Single than Song, and that “The House That Built Me” is a better Song than Single, but “House” is better than “Need” on both counts.
Leeann: I’m just being repetative now. It’s the best single and song of the year.
Dan: It’s the deepest-cutting of the five and the most unique.
Tara: “The House That Built Me” is, quite simply, beautifully written.
Will Win:
“A Little More Country Than That” – Rory Lee Feek, Don Poythress & Wynn Varble
“Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott – Kevin
“The House That Built Me” – Tom Douglas & Allen Shamblin – Leeann, Dan, Tara
Kevin: Here’s where they can honor “Need You Now” without shortchanging Lambert.
Leeann: I just see “House” sweeping in all possible categories.
Dan: They often manage to pick the actual best song of the five, especially when that song is also the most “serious.”
Tara: This just seems way to obvious; I don’t see how the voters could bypass the most clearly deserving song.
Musical Event of the Year
Should Win:
Dierks Bentley featuring Jamey Johnson & Miranda Lambert, “Bad Angel” – Tara
Kenny Chesney with Dave Matthews, “I’m Alive”
Alan Jackson with Lee Ann Womack, “‘Til the End” – Leeann, Dan
Blake Shelton featuring Trace Adkins, “Hillbilly Bone” – Kevin
Zac Brown Band featuring Kid Rock, “Can’t You See”
Kevin: I don’t find any of these five songs particularly compelling, so I’ll go with the two artists who are longest overdue for some CMA love.
Leeann: I’m not big on any of these either, but the Jackson/Womack collaboration is the one I like the most if I have to choose.
Dan: I’d be fine with either “Til the End” or “Bad Angel”. Whatevs.
Tara: The Jackson/Womack song falls squarely within my typical taste, but “Bad Angel” gets under my skin – in a good way. It’s just a really cool record.
Will Win:
Dierks Bentley featuring Jamey Johnson & Miranda Lambert, “Bad Angel”
Zac Brown Band featuring Kid Rock, “Can’t You See”
Kevin: Its presence in the Single category makes “Hillbilly Bone” the most likely winner.
Leeann: It’s the most mainstream of all the choices.
Dan: “Bad Angel” could play a welcome spoiler, since all three of the artists behind it command a lot of respect right now. I still see this going to the hit, though.
Tara: I’m predicting the big boys will win this one. It’s a decent song, but it makes me laugh that it gets as much love as it does – I mean, this is the song that has Adkins admitting that he’s “always wanted to sing a bone song”…!
Kevin: Lambert made the two best clips, with the humor of “Liar” outpacing the literalism of “House.”
Dan: The “House” video is beautifully conceived and directed, but somehow the “White Liar” one just sticks out more. Maybe it’s because “White Liar” is a thinner song, so the video has more of a chance to establish its own identity.
Tara: The “White Liar” video is the brightest and most creative of the bunch.
Three Wooden Crosses
on 
on 
on 
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