Saturday, February 5th, 2011
Charley Pride, 1984:
Music is only a product, like anything else. You pick out what you feel your audience will like, and do it. At first, I recorded a lot of things I didn’t like. After I reached a point where I had some say-so about what I record, I try now to record what I like.
Thoughts?
Category Say What?
Tags: Charley Pride
Saturday, April 3rd, 2010
As with the similar CMA category of Single of the Year, looking over the history of this category is the quickest way to get a snapshot of country music in a given year. There is a quite a bt of consensus among the two organizations here, and it is very rare for the winner at one show to not at least be nominated at the other. The winners list here would make a great 2-disc set of country classics, at least for those who don’t mind a little pop in their country. The ACM definitely has more of a taste for crossover than its CMA counterpart, and the organizations have only agreed on 17 singles in the past four decades and change.
As always, we start with a look at this year’s nominees and work our way back to 1968.
2010
There’s usually a “Huh?” nominee among the ACM list in recent years. This year, it’s David Nail. Good for him! Currington hasn’t won yet for this hit, even though he got himself a Grammy nomination for it. With Lady Antebellum reaching the upper ranks of the country and pop charts with “Need You Now”, my guess is that they’re the presumptive favorites. Then again, Miranda Lambert is a nominee for the third straight year, and she’s up for her biggest radio hit.
2009
Adkins has been a fairly regular fixture on country radio since 1996, but this was his first major industry award. He also won the ACM for Top New Male Vocalist in 1997.
2008
“Stay” swept the Song of the Year categories at all three industry shows, along with winning the ACM for Single Record. Allan’s presence here shows that being a little West Coast can still help a guy at the ACMs.
2007
George Strait earned his second ACM Single Record award a decade after his first (“Check Yes or No”) and two and a half decades after having his first radio hit. Underwood won at the CMAs later that year. “Give it Away” is one of a small group of ACM winners to not receive a nomination at the CMA ceremony.
2006
In the battle of biblical hits, the CMA picked Brooks & Dunn but the ACM picked Carrie Underwood. Much like George Strait would later win a CMA trophy for a different single (“I Saw God Today”), Underwood later triumphed at the CMA with “Before He Cheats.”
2005
Because McGraw picked up the trophy at the CMAs in 2004, the field was cleared for Womack to win the CMA later in 2005. McGraw had won the ACM before for “It’s Your Love.”
2004
Among all the lead nominees, only Toby Keith wasn’t a previous winner. Still, the award went to the new alcoholic’s creed, winning over a more pensive Jackson track and a big comeback hit for Randy Travis.
2003
Chesney spent nearly two months at #1 with this hit, perhaps giving him the edge over the other mega-hits at radio from Keith, Urban, and Wills. As for the Trick Pony nomination, somebody really should find out what Heidi Newfield has on those ACM voters.
2002
Jackson’s powerful 9/11 reflection stands out as the only ballad among his four ACM Single Record victories.
2001
Toby Keith’s run of four consecutive nominations began this year. His album of the same name proved victorious that evening. Womack’s massive hit became an instant standard, and is incidentally the most recent winner to also be a genuine crossover hit.
2000
As pop hits go, this one was a monster. “Amazed” even topped the Hot 100, the first country single to do so since “Islands in the Stream.”
1999
Hill and hubby Tim McGraw each have two ACM trophies in this category, one solo and one shared.
1998
While Yearwood had won over Rimes at the Grammys a few weeks earlier, the ACM sidestepped the big controversy of the year and gave the trophy to the biggest hit in the bunch.
1997
It’s rare that the ACM goes with the song that was least successful at radio, but don’t let that #10 peak of “Blue” fool you. That hit was responsible for millions of record sales.
1996
It was a stroke of marketing brilliance: add two singles to a box set of a genre superstar. When the first single became one of his biggest hits, the box set quickly became the top selling in country music history.
1995
There have been a few wedding standards to win this award, though Montgomery’s hit didn’t cross over in its original form.
1994
Jackson won the ACM with his massive hit, but the McEntire/Davis duet and the Yoakam track were Grammy winners.
1993
Brooks & Dunn are among the most nominated artists in this category’s history, but this is their only victory.
1992
This was Jackson’s first major industry award.
1991
Garth-mania was beginning to peak in 1991. He swept the ACMs that year.
1990
Clint Black is one of only three artists in the last twenty years to win for their first proper single, with Carrie Underwood and LeAnn Rimes being the other two.
1989
Mattea’s award-winning hit had such a high profile that it was even referenced in the dialog of the hit movie Rain Man.
1988
Travis won for the second year in a row with what would become his signature hit.
1987
This was technically his first single, but when released under the name Randy Traywick, it bombed. Warner Bros. then released “1982″ under Randy Travis, and it went top ten. They then re-released this song, and it became his first #1 hit.
1986
So successful was this winning single that the four legends would go on to release future collaborations as the Highwaymen.
1985
Say what you want about this winner, but it was popular enough to sell two million 45s.
1984
Another pop smash that moved two million 45s. Is there anybody over 30 who can’t sing along to the chorus?
1983
Nelson’s had quite a few signature hits, but none bigger than this one.
1982
This might be the most pop-flavored lineup in category’s history. Even the Mandrell hit doth protest too much.
1981
Jones capped his biggest comeback in a career defined by them with several awards for this classic hit.
1980
West Coast represent!
1979
In a category of superstars, the Gentle Giant of Country Music was the victor.
1978
All of these records made a big impact on both the country and the pop chart.
1977
A surprising win, perhaps fueled by the momentum of Gilley’s previous single, “Don’t the Girls All Get Prettier at Closing Time.”
1976
Campbell made quite the comeback with this one, and it later inspired the Dolly Parton film vehicle Rhinestone, which earned an ACM nomination of its own for the Tex Ritter Award.
1975
Smith may not have gotten all the recognition that his talent warranted, but he made two undeniable classics: “The Lord Knows I’m Drinking”, and his winner here.
1974
Rich’s two hits were so big that even with vote-splitting, he still emerged the winner.
1973
Fargo was a local star on the West Coast before she broke through nationwide with this hit, dominating the 1973 ACM Awards as a result.
1972
This gold-selling classic helped Hart triumph over the superstars of his day.
1971
Each one of these is a classic in its own right. In a battle of Kristofferson-penned hits, Price emerged victorious, though Smith won the CMA later that year.
1970
Haggard’s only victory in this category came on a night where he also won Album of the Year for the only time in several nominations.
1969
Miller’s known for his legendary songwriting, but his winning hit here was penned by Bobby Russell.
1968
A young Vern Gosdin made up half of the nominated Gosdin Bros., a nice historical footnote to the first year of this category. Glen Campbell’s victory was appropriately West Coast for the ACMs first attempt at honoring the national country music scene.
Facts & Feats:
Most Wins
Most Nominations
Most Nominations Without a Win
Singles that Won Both the ACM and CMA Award:
Category ACM Awards
Tags: Aaron Tippin, Alabama, Alan Jackson, Alison Krauss, Anne Murray, Barbara Mandrell, Big & Rich, Billy Currington, Billy Mize, Billy Swan, Bobbie Gentry, Bobby Russell, Brad Paisley, Brooks & Dunn, Byron MacGregor, Cal Smith, Charley Pride, Charlie Daniels Band, Clint Black, Conway Twitty, Crystal Gayle, David Frizzell, David Nail, Deana Carter, Debby Boone, Diamond Rio, Dixie Chicks, Don Williams, Donna Fargo, Dwight Yoakam, Eddie Rabbitt, Elvis Presley, Faith Hill, Faron Young, Freddie Fender, Freddy Weller, Garth Brooks, Gary Allan, George Jones, George Strait, Glen Campbell, Gosdin Bros., Gretchen Wilson, Hank Wililams Jr., Hank Williams, Heartland, Heidi Newfield, Jamey Johnson, Jamie O' Neal, Janie Fricke, Jeanne Pruett, Jerry Wallace, Jimmy Buffett, Joe Diffie, John Denver, John Michael Montgomery, John Schneider, Johnny Cash, Johnny Lee, Johnny Rodriguez, Josh Turner, Julio Iglesias, K.T. Oslin, Kathy Mattea, Keith Urban, Keith Whitley, Kenny Chesney, Kenny Rogers, Kenny Starr, Kris Kristofferson, Lady Antebellum, Larry Gatlin, LeAnn Rimes, Lee Ann Womack, Lee Greenwood, Linda Davis, Linda Ronstadt, Lonestar, Loretta Lynn, Lynn Anderson, Mark Wills, Martina McBride, Marty Robbins, Mel McDaniel, Merle Haggard, Mickey Gilley, Miranda Lambert, Oak Ridge Boys, Patty Loveless, Randy Travis, Rascal Flatts, Ray Price, Reba McEntire, Red Sovine, Restless Heart, Ricky Skaggs, Ricky Van Shelton, Roger Miller, Ronnie Milsap, Rosanne Cash, Sammi Smith, Shania Twain, Shenandoah, Sons of the Desert, Steve Wariner, Sugarland, Sylvia, Tammy Wynette, The Judds, The Wilkinsons, Tim McGraw, Toby Keith, Trace Adkins, Tracy Lawrence, Travis Tritt, Trick Pony, Trisha Yearwood, Vern Gosdin, Vince Gill, Waylon Jennings, Willie Nelson, Wynonna, Zac Brown Band
Monday, November 9th, 2009
While Taylor Swift mania continues to grow, there’s another impressive accomplishment being achieved by two veterans of country music on the opposite end of the age spectrum.
Contrary to what is commonly believed, there has always been a ceiling on how old you could be and still get country airplay. This year, both George Strait and Reba McEntire have been working steadily to shatter that ceiling.
Take a look at the age of country legends when they earned their most recent top ten solo hit:
* Kenny Rogers was the lead singer for his final top ten hit “Buy Me a Rose”, with harmony vocalists Billy Dean and Alison Krauss credited on the single
** George Jones, Willie Nelson, and Dolly Parton returned to the top ten in later years through duets with younger artists
It’s also worth noting that Alan Jackson, at 50, isn’t too far away from passing several legends on the list.
So George Strait remains in heavy rotation at the age of 57, outpacing all but three stars in country music history. Among the ladies, McEntire is a full seven years older than her nearest competitor Loretta Lynn was when she enjoyed her last top ten hit.
Thoughts?
Category Conversations, Crunching the Numbers
Tags: Alan Jackson, Alison Krauss, Billy Dean, Charley Pride, Conway Twitty, Dolly Parton, Eddy Arnold, Ernest Tubb, Garth Brooks, George Jones, Hank Williams Jr., Johnny Cash, Kenny Rogers, Loretta Lynn, Marty Robbins, Merle Haggard, Ray Price, Reba McEntire, Ronnie Milsap, Taylor Swift, Waylon Jennings, Webb Pierce, Willie Nelson
Friday, August 21st, 2009
Katie Cook has been a staple on Country Music Television since 2002, hosting various series and specials such as CMT Most Wanted Live, the MWL concert series, MWL Star, MWL Stacked and the popular weekly entertainment magazine show, CMT Insider.
But her experience with country music is actually three-fold: along with being embedded in the industry as a television host and interviewer, she’s also the daughter of Nashville Songwriters Hall of Fame member Roger Cook, and she’s both a singer and songwriter herself – she released an album in 2000 as part of a band called Reno and continues to hone her songwriting skills. Cook took some time to share with Country Universe her opinions on the state of country music, the evolution of CMT and her recent White House visit, among other topics.
Seetharam: You’ve grown up around different cultures and lifestyles, having lived overseas in London. How has that shaped your perspective on country music?
Cook: That’s a good question. I honestly think when I was younger living in Nashville, I didn’t fully understand the appeal of country music until I moved back to England after high school. And then I moved back again in my mid 20s to work on music and I found myself missing Nashville so much, and when I really tried to become a songwriter myself, I realized how difficult it was to write a great, melodic, catchy, hooky, 3-minute song that tells a story, that can wrap an entire interesting story up and make a point in 3 minutes. It’s extraordinarily difficult and it’s something that country is known for, and I don’t feel it exists in such a powerful way in any other musical genre I’ve experienced anywhere else in the world.
I think I had to get away from Nashville and the country music scene to really look back and realize how strong the writers are here, and how incredible the players are. Because very often as a younger person in Nashville, I would listen to stuff from elsewhere. You know, I’d listen to more alternative music coming out of England and stuff, but when I really got into the music scene over there, I was like, “No one plays like they do in Nashville.” The pickers, you know, you don’t get that kind of quality anywhere in the world, I don’t think, so again I think being part of these different cultures helped me look back on Nashville and appreciate it that much more.
I have to ask about your father because he’s really a fantastic songwriter. Between him working with such high profile artists and you interviewing such high profile artists, what kind of conversations do you two have?
You know, we never talk about music. In fact, we’ve tried to write so many songs together, and I suppose we’ve completed a few, but you know, when he and I get together, it seems to turn to any other subject but music. I think because we’re so close and there’s so many other things going on in the family and with friends and stuff that the conversation always leads elsewhere.
We’re both really opinionated, and we don’t necessarily agree on everything musically either. He’ll say, “Oh, I heard this song on the radio the other day by such and such. I couldn’t stand it. I thought it was awful,” and I’m like, “Really? That’s my new favorite song.” So, we just have such different opinions that we’ve just kind of learned to keep our musical lives separate. But that’s not to say he’s not completely supportive, and he watches the shows I do, and I try to listen to all of his new songs. But for the most part, we’re just dad and daughter.
You mentioned you liked some alternative music when you were younger – it seems like your musical taste stretches across many genres, not just country music. What do you think of the current country music that’s infused with other sounds, like rock or pop?
Well, you know, there’s two sides of the argument. Some people say, “Well country’s got to move forward,” and other people would say, “Why is it changing? Keep it traditional.” I really see both sides of it. I probably prefer it when somebody has a real appreciation of traditional country and then mixes it in with things you don’t expect them to. And that can even be an artist like Beck – that doesn’t necessarily even have to be a country artist. I kind of probably lean more to liking that type of thing more than someone who’s just trying to sell me a rock song as a country song. I think that’s just…I don’t know. That’s not my favorite style. It’s almost like bad 80s rock being regurgitated and labeled country music. So you know, I don’t typically have a music collection that reflects that kind of modern country.
But I have absolutely no boundaries as an artist, as a writer, as a music lover. I mean, nothing frightens me at all about loving country music and mixing it with other things or driving it forward, in even bizarre ways. I’m like, “Bring it on!” I love music, period. I personally do really love country music because I think the playing is magnificent. I think the story telling is magnificent. I think there’s just something so romantic about unfortunately an almost lost way of life in America, and I think I’m very drawn to do that, but I wouldn’t necessarily call myself one of those people that would be guarding country against change. I don’t think I’m that person at all. In fact, I think the more people that can discover it, the better.
Absolutely. That’s my philosophy as well. What about all these female artists who are breaking barriers in country music? You’re a female musician yourself – what’s your take on them?
I think it’s fantastic. I really, really love that there are so many young females out there now that play all different kinds of instruments. You know, you’ve always had a few of those in the past, but when I was younger, you had like Sheila E. You had Joan Jett. You definitely had a few artists that played. And of course, you had Barbara Mandrell, who played everything. And she was just a hero because she literally played every instrument: drums, saxophone, keyboard, everything.
But I think more likely now, a young girl’s going to grow up and be like, “Yeah it’s just no big deal to pick up the guitar and learn how to play and write a song. Taylor Swift does it.” It’s just obviously such a more common sight now, and I just think that’s a wonderful thing. Because too often in the past a woman was just supposed to stand at the mic and look pretty. And there’s nothing wrong with that but women take to playing just as easily as men, and I think they’re going to be more encouraged now because of this young crop of lovely ladies that play and sing and write. It’s fantastic.
Let’s talk CMT a bit. Earlier in the decade, CMT played an important role in popularizing roots music, with artists like Alison Krauss and Nickel Creek. What drove that, and why do you think there’s been a shift away from that now?
Yeah. I think everything’s cyclical. Obviously at one point, that kind of sound would be all you would have heard, practically, on the Grand Ole Opry and WSM years ago. And country’s always going to shift in and out of different things. It’ll all come back around. Right now it is kind of more of a maybe rock-edged type of thing. Look at how big Gretchen Wilson was, and now, if anything, Taylor Swift and Carrie Underwood kind of slid into her position, and they’re more slick in their production. It’ll come back around. You know, it always does.
One thing that I thought was so interesting – the first time I interviewed Loretta Lynn was backstage at the Opry. And we weren’t on camera, and we were just kind of chatting, and I said, “I want to know what your take is on country and where it’s going.” And she said, “Oh you know, it’s always going to be going somewhere different and that’s fine. Back in the day, everyone gave Patsy Cline so much grief for going pop.” And it was so interesting to hear her say that because I would not have labeled her a pop artist, but when I think about it, at the time, what she was doing was very pop for most country ears. And yet now we would look back and consider her such a traditional artist, and anyone who sounds like Patsy Cline now would be considered hard-core, country traditional. It’s just interesting, isn’t it? To get that different perspective.
I think it’ll all come back around. If you get too much of any one thing, you’re going to crave the other. The grass is always greener. Things are a little less acoustic right now but it’ll all come back.
That’s an interesting perspective both you and Loretta have, and I think many people would agree. But it does seem like CMT as a channel has evolved over the years into something different. There’s a little more pop culture on there now, more television shows and movies, and a little less music. Do you think it’s moving in a positive direction?
Well, yes and no. I love some of the programming, but I’m just a music person, so I’m always going to wish that there was more music. It’s very interesting what people watch, what they tune into. Because we can run music programs and get very low ratings, and then run a rerun of Nanny 911 and get massive ratings.
So, although I personally would rather see music and videos all day, I can understand some of the programming decisions because like any business, we want to stay on the air, and we want to be able to afford to do these big award shows and great big music programs like CMT Giants, that honor Alan Jackson and Reba [McEntire] and all these wonderful artists. And you can’t pay for those unless you’ve got people tuning in, and for some strange reason, people will tune in sometimes in very large numbers to programming that’s not always music-related. So, it’s a catch-22. I can see the business side of it, but I personally tune in more to the actual music programs because that’s what I’m interested in.
What’s your favorite music video of the decade? Or do you have one?
Wow. Hmm, there are so many to choose from. I tend to live very much in the moment, so usually what’s on my mind is something that I saw very recently. I can tell you one of my favorite songs of the past decade was probably Little Big Town’s “Boondocks.”
I love that song.
And I thought it was a video that perfectly matched the song. I loved the extras that they had in it. I loved the way it was cut together, the editing. I loved the scenery. I loved how cool the band looked in it. That was a favorite. Gosh, what was that other…why am I going blank…it’s because I’ve just been staining my floor and I’m probably high from the chemicals. That first really big Jason Aldean song. “Hicktown!” Jason Aldean’s “Hicktown” – that’s the one I’m thinking of. It’s kind of similar to the “Boondocks,” Little Big Town kind of vibe. I just thought they were both really fresh videos and those were probably a couple of my favorites.
Is there a single quality that you look for in a good music video?
I think because I’ve been doing TV for awhile now I really look at editing, and I look at how things time out. You know, how a cut or a certain dance moves really times out with the beat of a song. “Pickin’ Wildflowers” by Keith Anderson – that was probably one of my favorite videos of the last decade. I know I’m giving you a few instead of picking just one. I just thought it was really sexy and the way the dancers again moved with the beat. I think you can be a great video director, but a really great music video director to me needs to have a great sense of the music. They need to be really passionate about the song and really feel the beat of it and edit accordingly. That’s just something I personally really like in a song.
When you’re interviewing these artists on the red carpet or on any of the shows you host, you’re essentially a musician interviewing a musician. Does that affect the way you interview? Do you ever wish you could give advice?
Well, I wouldn’t dream of giving advice, but I do think it affects the way I interview people. If anything, it probably – I don’t know, in some way it helps. But I think it probably hinders me more because I know sometimes a question that they might not really want to answer, or something that I know they’ve probably been asked a million times, and you know, I always try to come at it with an understanding of how they might answer something. But sometimes a question just needs to be asked because it makes good television and it’s what the viewers at home want to know. But I might inside be squirming a little bit.
I can’t really think of a perfect example right now. But even something as simple as, “When you did that duet with so and so, what was it like being in the studio with them?” I know there’s a really good chance they weren’t in the studio together. Because when you live in Nashville and you work around music yourself, you have a good understanding of how these things work, and you know that schedule-wise, it’s very rare that duets even happen in the same room with people. But you know, it’s important to ask that because it’s what people at home might be wondering. So, I don’t know, I think sometimes I do see an interview slightly differently.
And I understand Dolly Parton is your favorite artist?
Oh I love her. She’s just my favorite – not just musically, but just…
Your favorite person.
Yes, favorite person to interview, definitely.
Do you have a Dolly interview or quote that stands out for you?
You know, well, yeah, I’ve got a lot. It seems like every single time I’m with her I’m like, “OK, that tops the last one.” She always says something that tops the last one.
She’s just fabulous. And hilarious.
The funniest interview, honestly, was, the very first time I ever met her. I did like a whole half-hour, sit-down live show with her called [CMT] Most Wanted Live, and before we went out, we were comparing outfits. And of course she had on a to-die-for, fabulous outfit. Oh, it was pink and yellow and princess-like and just made her look amazing. And I was kind of joking that my outfit wasn’t very interesting compared to hers, and I must have made some comment like, you know, “Maybe I need to put more of a push-up bra on. I’m going to look like a child sitting next to you.” And she laughed and she said, “Your boobs look great!”
Well later on we were sitting there in front of the audience, the whole crowd, and I think I took like an audience question about, does she ever feel sorry for flat-chested women because she’s so well-endowed or whatever. And she laughed and she said, “No we’re all beautiful,” and then she said to the audience, “Look! Look at her boobs! Don’t you think they’re great?” – pointing to me. “Don’t you think she has lovely boobs?” And you know I just absolutely went bright red.
That’s priceless.
Oh I was fanning myself. I broke a sweat. I was laughing so hard. I could not believe I was on camera with Dolly Parton and she’s commenting on my boobs. It was just one of the funniest moments in my life. I’m not sure anything’s ever going to top Dolly Parton complimenting me on my chest (laughs).
Dolly is clearly a hold-nothing-back kind of person, but have you ever interviewed an artist who you think is misunderstood by the public? Maybe you got a different perspective when you met him or her in person?
Yeah. There are certain artists that I can tell are a little bit shy. I mean, obviously Alan Jackson, Billy Currington – some of the guys are really, painfully shy, and they get on camera and they’re just quiet and, you know, they seem very unsure of themselves. And then the minute the camera goes off, you can have the most normal conversation with them. And I always think, “Oh why can’t you do that when the little red light comes on?” So yeah, there’s definitely artists that seem very different off camera, and I wonder if their real personality comes across, but you know what? They’re doing well and they have fans, so evidently people do understand them. But yeah, some of those shy guys are the ones that really wear me out. I’m like, “Come on, loosen up!”
Shifting gears a little, you were recently at the White House for “An Evening of Country Music.” That must have been an amazing experience. What was it like?
Yeah! It was incredible. It was really exciting to see an entire day at the White House devoted to country music. Brad Paisley and Alison Krauss and Charley Pride were there – all great ambassadors for country music. To actually be in that ballroom and see the President get up and give a wonderful introduction to these country artists and talk about country, and how it’s such an important part of American culture was, you know – I really got the chills. It was a wonderful moment. I don’t know if I’ll ever get to go back to the White House, so I really was kind of absorbing it all.
We got to see the press room, which was tiny. And it’s so interesting because, you know, you see something on television and then you see it in person, how different it is. And we were at the back of the room, so when the show was over, we were actually the first to walk out, and they led us down a hallway and then just kind of left us on our own to find our way out. And I was like, “We’ve been let loose in the White House!”
That’s not something you can say every day!
It was incredible. We weren’t really let loose, of course. It was all under very controlled supervision, but it felt like we were running goofy and loose in the White House, and that was very exciting. But yeah, it was a very proud moment for country.
Did you get to interact at all with the President?
I didn’t get to hang out with Obama and Michelle and the girls, but I did get to see the First Dog. One of the White House workers, I guess — I don’t know what the right term would be– but somebody was walking the dog, and he’s beautiful. He’s big. For some reason I thought he was still a little puppy. But he’s quite large and he’s a good-looking dog. He’s got quite a yard to roam around in.
I hear you’re an expert tweeter – or rather, I see you’re an expert tweeter. What do you enjoy about twitter?
Well I’m actually fairly new to it. I like getting to know people. I like getting very kind of down-to-earth questions from people, and I think what I find refreshing is that I assume the only reason anybody would want to talk to me or hear from me is to get like country music gossip, and that actually doesn’t seem to be the case. A lot of people are like, “Where do you like to eat? How old’s your kid now? Do you like being a mother?”
More personal questions.
Yeah. It seems like people just are more curious about who you really are as a person, and I find that really refreshing. I go to work and put on the false eyelashes and do my hair all fancy and put on the nice outfits and everything, but when I come home, I’m just like anybody else. I’m sitting around in my Old Navy sweats and eating something I shouldn’t be eating and prying my eyeballs on the computer. And we’re all kind of the same when we just get into that mode, and I just like connecting with people on that really normal level. That’s a lot of fun for me.
Do you tweet at other artists? Or mostly fans?
You know, I don’t know who all these people are that read it. I just kind of get on there and send a message out and wonder where it goes. It goes into cyberspace and I don’t really know who’s reading it but people keep signing on, so I guess I’m doing something right.
When you’re not tweeting, what are some of the projects you’re working on that you’re excited about?
Well I have a children’s book called “Little Big Benny,” and that has recently been edited. I kind of have it out with a lot of kids right now. A lot of kids are reading it and giving me their feedback. I’m trying to really nail down exactly what age group it’s for. I’m really hoping by the end of the year to be shopping that around to publishers. So that’s taking up a lot of free time.
I’m a mother and that’s an ongoing project right there. She’s going to be three in a couple of weeks. And we decided to do our kitchen. We just ripped our whole kitchen from the 40s out, which was actually kind of cool looking but had absolutely no storage or work space. So we just completely gutted the middle of our house and decided to pretty much do it ourselves so that we could save money, and at this point I think I maybe would rather just be in debt (laughs).
That sounds extremely chaotic.
It’s been really chaotic. I’ve been making meals in a toaster oven for almost six months. But you know, there are some people in the world who don’t even have a toaster oven, so I’m not going to complain.
But there’s always other stuff going on. I’m always writing. I’m always working on creative stuff. I’m hoping to launch a T-shirt campaign –I’m not going to say anymore about it– but I’m hoping to have something really fun available in the next month. Very creative T-shirt thing. So yeah I’m kind of – I consider myself a creative person. I’m not happy unless I’m working on something. So I never really have a day off, but that’s just the way I like it.
Category Interviews
Tags: Alan Jackson, Alison Krauss, Barbara Mandrell, Billy Currington, Brad Paisley, Carrie Underwood, Charley Pride, Dolly Parton, Gretchen Wilson, Jason Aldean, Joan Jett, Katie Cook, Keith Anderson, Little Big Town, Loretta Lynn, Nickel Creek, Patsy Cline, Reba McEntire, Roger Cook, Sheila E, Taylor Swift
Tuesday, June 30th, 2009
The following is a guest contribution from Scott O’Brien.
“But someone killed tradition. And for that someone should hang.” –Larry Cordle & Larry Shell, “Murder on Music Row”
Dan Milliken’s recent post got me thinking: The country music I grew up with is nothing like the music on country radio today. If I turned on today’s country radio in 1988, I might not realize it was a country station and keep right on flipping. Back then, Randy Travis and Keith Whitley’s traditional twang ruled the airwaves. Today, they are dominated by the giggly teeny-bopper ditties of Taylor Swift and the boy band sounds of Rascal Flatts. Did they get away with murder on music row? Well, let’s start by briefly uncovering country’s traditional roots.
What is traditional country music? Is it simply anything from the past? That seems too broad; Shania Twain wasn’t traditional. Anything that isn’t pop? Maybe, but that is still a rather wide and subjective net. To me, traditional country music is honky tonk music. It heavily employs steel guitars, fiddles, and forlorn vocals. It moves at a slow pace. There are no drums or electric guitars. The songs typically deal with heavy topics such as heartbreak, cheating, or drinking, with a ballad here and there. In most cases, the goal is to induce pain. Not bad pain, but the therapeutic empathy that tugs your heart and helps you through your personal struggles. The patron saint of traditional country is Hank Williams. Hank’s first disciple is George Jones. Jones’ first disciple is Alan Jackson. The traditional template is supposed to help us decipher what is country and what is not. After all, what makes country music country if not fiddles and cheatin’ songs?
These days, traditionalists have a legitimate beef. When you turn on the radio, you don’t hear much steel guitar. Instead, you hear what might pass for 1990s pop, replete with fluffy repetitive lyrics, catchy drum beats, guitar riffs, and sex appeal. We aren’t preserving country music when the CMT Music Awards feature the B-52s and Def Leppard in lieu of John Anderson and Charley Pride. Was there a tribute to recently deceased traditionalist Vern Gosdin? No way. Do today’s artists “tear your heart out when they sing”? Not a chance. Is Keith Urban going to fill Conway Twitty’s shoes? Not a prayer. You know we are in trouble when pop-infused zipwire-flier Garth Brooks sounds more like Merle Haggard than today’s stars. Heck, just listen to Taylor Swift’s latest album. If that is country, I’ll kiss your ass. Nashville, we have a problem.
But let’s not go off the deep end just yet. Maybe traditionalists are thinking about things too narrowly. Country music is much more than Webb Pierce’s raw steel guitar-laden crooning. It always has been. Going back before Hank to the First Family of Country Music, the Carter family sound was an amalgam of several different sub-genres including Appalachian old-time, folk, and gospel. Jimmie Rodgers, the Father of Country Music, blended elements of jazz, gospel, old-time and blues to create some of the first country sounds. Marty Robbins played just about every musical style conceivable. Traditionalist hero Elvis Presley sang rockabilly. Johnny Cash had similar beginnings and even years later there was nothing “traditional” about his trademark up-tempo bass beat. Waylon Jennings’ music incorporated Buddy Holly’s rock-n-roll rhythm; he even wrote a song about how un-Hank-like his music was. Merle Haggard’s Bob Wills-inspired Bakersfield sound used amps and electric guitars. Even 1980s ACM Artist of the Decade Alabama shunned the steel guitar altogether and typically sang up-tempo, feel-good music. Yet these names are among the most venerated by traditionalists. What gives?
The problem is that traditionalists aren’t even sure what traditional country is. If it includes all artists who sold country records without crossing over to pop, the label is not very helpful. If it is strictly honky tonk, do we really want a bunch of Hank Williams clones? As great as he was, we surely do not. There has to be some updating – just ask Alan Jackson, who has innovated the traditionalist motif without sacrificing his authenticity. The genre has to evolve or it risks becoming boring and repetitive. Waylon Jennings understood this well (“It’s the same old tune, fiddle and guitar/Where do we take it from here?”). Hank Williams’ own son realized it too after trying for years to replicate his father’s sound. His song “Young Country” directly attacked the tradition-or-else mentality: “We like some of the old stuff/We like some of the new/But we do our own choosing/We pick our own music/If you don’t mind, thank you.” He is right. Why draw lines? Strict uniformity is not desirable in any genre, particularly country, whose trademark is its diversity of influences, instruments, rhythms, voices, song topics, and stories.
So what should define today’s country music? It should pay tribute to the past by incorporating and updating its unique fusion of diverse influences. It doesn’t have to be strictly “traditional.” But country music needs to capture the sentiments of rural and working class America. It needs to cover painful topics like drinking and cheating. It needs to tell colorful stories. It needs to tear your heart out sometimes. It also needs to make you feel good sometimes. What it shouldn’t do is become pop music. When country is indistinguishable from Top 40, it loses its soul. Unfortunately, this has happened with the Keith Urbans, Rascal Flatts, and Taylor Swifts – all talented artists to be sure. But country artists? Not so much. Still, there are old warhorses like George Strait who carry the torch and newcomers like Jamey Johnson who give us hope that country’s soul will stay alive and well.
Category Conversations, Miscellaneous Musings
Tags: Alabama, Alan Jackson, Charley Pride, Conway Twitty, Elvis Presley, Garth Brooks, George Jones, George Strait, Hank Williams, Jamey Johnson, John Anderson, Johnny Cash, Keith Urban, Keith Whitley, Larry Cordle, Marty Robbins, Merle Haggard, Randy Travis, Rascak Flatts, Shania Twain, Taylor Swift, Vern Gosdin, Waylon Jennings, Webb Pierce
Tuesday, June 30th, 2009
Tanya Tucker
My Turn
As a tribute of sorts to her father who loved traditional country music, Tanya Tucker has compiled a set of twelve songs that pays homage to country music’s past. While not an example of traditionalism herself as a recording artist, Tucker ably demonstrates that she is more than capable of stepping into the role on this project, but also shows that this is not her most comfortable position as an artist.
Produced by accomplished and respected producer, Pete Anderson (Dwight Yoakam), Tucker’s new covers album, My Turn, is full of both oft sung and lesser known gems. Tucker shines on up-tempo fare such as Buck Owens’ “Love’s Gonna Live Here” with guest help from Jim Lauderdale, Don Gibson’s “Oh, Lonesome Me”, Charley Pride’s “Is Anybody Goin’ to San Antone” and the album’s best track, Merle Haggard’s “Ramblin’ Fever.” With the support of snappy productions to match Tucker’s assured vocals, these interpretations aptly showcase Tucker’s spunk and are where she seems to fully connect, both vocally and emotionally, to the songs and their lyrics, which is likely why the straightforward “Ramblin’ Fever” works so well for her. “If someone said I ever gave a damn/Well, the damn sure told you wrong/’Cause I’ve had ramblin’ fever all along”, she growls with utmost believability.
The more inferior songs, admittedly, tend to be the slower tracks. While they are sung very well, there seems to be a palpable disconnect between the singer and the songs. Tucker’s version of Lefty Frizzell’s “I Love You A Thousand Ways” is, however, a welcome exception. It sticks close to the original, but Tucker’s relaxed vocal manages to help it stand out from the other slow compositions on the album.
As is naturally common on covers projects such as this, Pete Anderson applies a warm quality to the production, which is sonically pleasant, but perhaps not quite the fit that Tanya Tucker’s uniquely rough voice calls for. Instead of seamlessly blending with Anderson’s productions, Tucker’s vocals often seem to be muted, as if her voice needed to be turned up a bit in the mixes. Likewise, the choices for some of the guest vocalists (The Grascals and Rhonda Vincent) did not work especially well. Their rootsy vocals were more of a distraction than a compliment to the songs on which they appeared.
While it is likely unreasonable to compare this project to other albums of its ilk, it’s impossible not to hold it up to previous efforts that have been recently offered by her peers (Patty Loveless, Martina McBride, etc), especially since some of the same ground has been covered here. Tucker’s husky, and even flirtatious vocal style naturally sets this project apart from those of her fellow artists, but it is not as strong or cohesive as the others. Despite its few shortcomings, however, it is still a solid effort and deserves a high-profile spot in one’s collection of covers albums.
Sunday, April 12th, 2009
I really love everything that Daryle Singletary’s approach to country music represents. Sometimes it seems there are only two veins of country traditionalists: the ones who take the Haggard and Jones approach, and the ones who take the Waylon and Willie approach. Singletary is all about the Conway Twitty and Charley Pride, a crooner of romantic ballads awash in steel guitar.
There’s only one thing that holds Singletary back from being the Twitty or Pride of his generation. His voice just doesn’t have the ability to pull off these types of songs completely. “Love You With the Lights On” is a solid enough song. It certainly would’ve been a chart-topper in the seventies for one of the aforementioned men.
Singletary sings it pleasantly enough, but he’s not entirely convincing as the seducer here. His voice just doesn’t have the depth and nuance to pull it off. God bless him, but he sounds like he’s singing for control of the remote, not fulfillment of his desires.
Grade: B-
Listen: Love You With the Lights On
Monday, January 19th, 2009
Updated for 2009
While the Grammys have honored country music from the very first ceremony in 1959, they did not begin honoring by gender until 1965, when the country categories were expanded along with the other genre categories. This year, the 45th trophy for Best Male Country Vocal Performance will be awarded.
In a continuation of our Grammy Flashback series, here is a rundown of the Best Country Vocal Performance, Male category. It was first awarded in 1965, and included singles competing with albums until the Best Country Album category was added in 1995. When an album is nominated, it is in italics, and a single track is in quotation marks.
As usual, we start with a look at this year’s nominees and work our way back. Be sure to vote in My Kind of Country’s Best Male Country Vocal Performance poll and let your preference for this year’s race be known!
2009
As with the album race, this year’s contenders for Best Male Country Vocal Performance are a combination of unrecognized veterans and promising newcomers. In fact, none of this year’s nominees have won in this category, and only one of them – Brad Paisley – has a Grammy at all.
First, the veterans. Paisley has numerous ACM and CMA victories to his credit, including two each for Male Vocalist. Although he’s been nominated for this award twice before, this is the first time he’s contended with a cut that can’t be dismissed as a novelty number. The touching self-penned “Letter to Me” is his best shot yet at taking this home.
Trace Adkins has been at this a bit longer than Paisley, but this is his first Grammy nomination. His crossover exposure from Celebrity Apprentice might help him out here, along with the fact that the song was considered strong enough by voters to earn a nomination of its own.
But the real veteran to watch out for is George Strait. After being nominated only twice for this category in the first 25 years of his career, voters have now given him three consecutive nominations. This is one of four nods he’s earned for the 2009 ceremony, and “Troubadour” is essentially the story of his epic career distilled into a radio-length song. It would be the perfect way to honor the man and his music in one fell swoop.
However, there’s a newcomer that might be a Grammy favorite already. We just haven’t found out yet. Not James Otto, of course, who is nominated for his charming romantic romp “Just Got Started Lovin’ You”, but rather, Jamey Johnson. The recent Nashville Scene critics’ poll further confirmed the depth of his support among tastemakers, and his nominations for Best Country Song and Best Country Album indicate that he’s very much on the academy’s radar. It helps that he has the most substantial track of the five, and it’s the obvious choice for traditionalists, who have little reason to split their votes in this category. If voters aren’t considering legacy when making their selections, he has a great shot at this.
2008
The often offbeat Grammy voters have been surprisingly mainstream in this category for the past three years, a trend best exemplified by this lineup, which was the first in more than a decade to feature only top ten radio hits. Tim McGraw and Keith Urban were the only two who had won this before, and it was Urban who emerged victorious. ”Stupid Boy” was a highlight of his fourth studio album, and this was the only major award that the impressive collection would win.
2007
Vince Gill returned to win in this category for a ninth time with “The Reason Why.” Not only is he, by far, the most honored artist in this category, his wins here account for nine of the nineteen Grammys currently on his mantle.
2006
Urban’s biggest and probably best hit launched his second album to triple platinum and established him as a crossover artist. He gave a killer performance of the song on the show. Toby Keith was a first-time nominee here, and while he publicly groused that the Grammys put too little emphasis on commercial success in picking their nominations, he lost to the only track that was a bigger hit than his own.
Category Grammys
Tags: Aaron Neville, Alan Jackson, Ben Colder, Billy Dean, Billy Gilman, Bob DiPiero, Bobby Bare, Bobby Lewis, Brad Paisley, Buck Owens, Carl Belew, Charley Pride, Charlie Rich, Cheryl Wheeler, Clay Hart, Clint Black, Dan Seals, David Ball, David Houston, Delbert McClinton, Dierks Bentley, Doug Stone, Dwight Yoakam, Earl Thomas Conley, Eddie Rabbitt, Eddy Arnold, Elvis Presley, Faith Hill, Freddie Hart, Freddy Fender, Garth Brooks, George Burns, George Hamilton IV, George Jones, George Strait, Glen Campbell, Hank Locklin, Hank Williams Jr., Henson Cargill, Jack Greene, James Otto, Jamey Johnson, Jerry Jeff Walker, Jerry Lee Lewis, Jerry Reed, Jim Ed Brown, Jim Reeves, Joe Nichols, John Anderson, John Berry, John Denver, John Michael Montgomery, Johnny Cash, Johnny Lee, Johnny Paycheck, Johnny Russell, Josh Turner, Junior Brown, Keith Urban, Keith Whitley, Kenny Rogers, Kris Kristofferson, Larry Gatlin, Lee Greenwood, Lyle Lovett, Mac Davis, Mary Chapin Carpenter, Mel McDaniel, Merle Haggard, Pat Green, Patty Loveless, Porter Wagoner, Ralph Stanley, Randy Travis, Ray Benson, Ray Charles, Ray Price, Rick Rubin, Ricky Skaggs, Rodney Crowell, Roger Miller, Ronnie Milsap, Roy Clark, Ryan Adams, Sammi Smith, Sonny James, Steve Earle, Steve Wariner, Tammy Wynette, Tim McGraw, Toby Keith, Tom T. Hall, Trace Adkins, Travis Tritt, Vern Gosdin, Vince Gill, Waylon Jennings, Willie Nelson
Saturday, November 1st, 2008
For a look back at the other major categories, visit our CMA Awards page.
2010
Bentley and Shelton have never won, but they’re up against Strait, who has won five times, and Paisley and Urban, who’ve won three times each. With the balance of commercial and critical success not significantly different across the category, this race could bring the night’s biggest surprise. But whatever happens, kudos to Paisley for earning his tenth nomination, and Strait for earning his twenty-fifth!
2009
Just like in the Entertainer category, 80% of this race for the past three years had been Kenny Chesney, Brad Paisley, George Strait, and Keith Urban. This year, Darius Rucker took the fifth slot that was occupied by Alan Jackson in 2008 and Josh Turner in 2007. Brad Paisley went on to win his third Male Vocalist prize.
2008
After so many years on the sidelines, Paisley began to dominate the category, scoring his second consecutive Male Vocalist award. Meanwhile, Kenny Chesney tied Willie Nelson for most nominations without a win, though his seventh loss was accompanied by his fourth win for Entertainer.
2007
This was the year that Brad Paisley finally won, with his seventh nomination in eight years. The stars aligned for him, with a very successful tour, a new album that is selling strongly, and a continued hot streakat radio that was nearly unmatched. He still hasn’t had a single miss the top ten since “Me Neither” in 2000, a claim that even radio favorites like George Strait, Toby Keith, Brooks & Dunn, Tim McGraw and Rascal Flatts can’t call their own.
2006
Urban became the first artist to win Male Vocalist three years in a row since George Strait did it in 1996-1998, right after Vince Gill’s 1991-1995 run. His acceptance letter, read by Ronnie Dunn, was the emotional highlight of the evening’s show.
2005
No surprises here, as another multi-platinum year full of radio hits and a high-profile appearance at Live 8 kept Urban fresh on voter’s minds. The big shock was him walking away with Entertainer of the Year later that night.
2004
Urban hadn’t even been nominated for any CMA Awards in 2002 and 2003, after winning Horizon in 2001, but he came back with a bang, taking home Male Vocalist of the Year over the four other superstars in the category. He joined Chesney as the only other man in the running who had never won before; Chesney got the wonderful consolation prizes of Entertainer and Album of the Year the same night.
2003
Things were getting tight in this category in 2003, with so many worthy contenders that ties resulted in six nominees, instead of the usual five. Still, voters chose to stick with last year’s winner, Alan Jackson, a sure indicator of his enduring popularity among CMA voters.
2002
The other four men were merely placeholders, there to create a list around the obvious winner, Alan Jackson. As he swept the awards on the strength of his post-9/11 “Where Were You” and autobiographical “Drive”, the only real shock was that he was winning Male Vocalist for the first time, a result of the ridiculously slow turnover in this category during the 1990′s.
2001
Toby Keith has been a vocal critic of the CMA because he feels they’ve overlooked him, but he’s been up against some tough competition, with his popularity peaking at the same time that Alan Jackson, Kenny Chesney and Keith Urban were making a huge impact on the charts and at the CMA’s. Thankfully, he’s at least won in this category, so he won’t go down in history with Willie Nelson and Conway Twitty as one of the best male singers to never win it.
2000
On the same evening that his wife was crowned Female Vocalist, McGraw walked away with his second consecutive Male Vocalist award.
1999
Early on in his career, when McGraw was selling tons of records but being excluded from this category, he humbly said that he didn’t think he was a good enough singer to be nominated. His talents grew over the years, and he finally won in 1999.
1998
Strait matched Vince Gill’s record of five wins in this category, defeating Gill and three other nominees who had yet to win in the category.
1997
With no turnover in the category from the previous year, Strait won for the fourth time, again defeating his fellow mega-winner Gill, and three other stars who had never won before.
1996
Jackson was already long overdue, and Collin Raye and Bryan White broke into the category for the first time. Nobody expected Gill to win for the sixth year in a row, but many were surprised to see former two-time winner George Strait collect a Male Vocalist award for the first time in ten years.
1995
Even Gill was expecting to lose, so when his name was called out for the fifth year in a row, he was gamely applauding backstage for the winner, before suddenly realizing it was him and rushing out to the stage.
1994
Vince won for the fourth year in a row, even though fellow nominees John Anderson, Alan Jackson and Dwight Yoakam were seen as likely spoilers.
1993
Vince not only won his third Male Vocalist award this year, he also took home four other awards: Entertainer, Album, Song and Vocal Event.
1992
A bunch of hot young stars dominated the ballot this year, with Gill emerging triumphant for the second time. Though they would continue to score hits for many years, Joe Diffie and Travis Tritt received their only nominations to date in this category.
1991
After Garth swept the ACM’s earlier that year, he was expected to do the same at the CMA’s, and he came close, winning Entertainer, Single and Album. But industry favorite Vince Gill took home Male Vocalist, an award that Garth Brooks would never receive, though he would win Entertainer a record four times.
1990
For the second year in a row, the previous year’s Horizon winner took home Male Vocalist. Clint Black won easily over very distinguished competition.
1989
After winning Horizon in 1988, platinum-selling Ricky Van Shelton graduated into a Male Vocalist winner only one year later. Keith Whitley received a posthumous nomination; he won Single of the Year that same evening.
1988
It’s hard not to wince at the knowledge that the peerless Vern Gosdin only received one nomination in this category, but there was no stopping Travis from collecting his second win.
1987
In a lineup that was a traditionalist’s dream, new star Randy Travis took home the trophy. At the time, he was breaking sales records, enjoying a quadruple-platinum studio album in Always & Forever.
1986
Strait won his second consecutive Male Vocalist award on the strength of another huge year at radio and retail.
1985
George Strait won the first of a record-matching five Male Vocalist awards, also taking home Album of the Year that same evening.
1984
Greenwood’s Vegas vocals won him the award for the second time.
1983
Greenwood looks pretty shabby against these other four nominees, taking home Male Vocalist in the same year Janie Fricke won for Female Vocalist. Is there a year in the history of the CMA’s where the winners of those two categories were collectively less impressive?
1982
Pulling off the astonishing feat of winning both Male Vocalist and Horizon award, Emmylou Harris’ former bandmate was hugely rewarded for bringing bluegrass to the masses.
1981
It’s taken for granted that Jones is the greatest living male vocalist in country music; few would dare to argue otherwise. No surprise, then, that he won for the second year in a row.
1980
Nominated for the first time in his career, George Jones walked away with Male Vocalist of the Year, along with Single of the Year for “He Stopped Loving Her Today”.
1979
It’s hard to believe that the legendary showman never won Entertainer of the Year, but he did take home a much-deserved Male Vocalist award, at least. Unfortunately, fellow nominee John Conlee would never be recognized at all, losing his first of two shots at this award.
1978
One of the most underrated artists in country music history got a well-deserved pat on the back, winning over four larger personalities in 1978.
1977
Milsap set a record when he won for the third time in this category, which would stand until 1994, when Vince Gill won his fourth trophy.
1976
After losing to Jennings the previous year, Milsap returned to collect his second Male Vocalist trophy in 1976. Conway Twitty lost again in his final appearance in the category.
1975
There was no love lost between Waylon Jennings and the CMA – he loathed the organization so much, he didn’t even show up at his Hall of Fame induction. This was the first of several CMA wins for Jennings, though the only one in this category that he would receive.
1974
Blind singer-songwriter and pianist Ronnie Milsap won for the first time; with Olivia Newton-John winning Female Vocalist the same night, pop was the flavor of the evening.
1973
The Silver Fox won on the strength of a great year at radio. He’s still considered one of the era’s finest and most under-appreciated vocalists.
1972
Charley Pride became the first artist to repeat in the category, winning for the second year in a row.
1971
The CMA had a wealth of great male vocalists to choose from in the early years of the awards, and they finally got around to acknowledging Pride, who had been nominated four times already.
1970
Merle Haggard dominated the show in 1970, winning Entertainer, Male Vocalist, Single and Album of the Year.
1969
Cash was a huge winner in 1969, taking home five awards: Entertainer, Male Vocalist, Single, Album and Vocal Group (with wife June Carter Cash). He wouldn’t win again until after his death in 2003, when he took home another three awards.
1968
Crossover star Glen Campbell won in a year that is so impressive, all five nominees are now in the Hall of Fame. He also took home Male Vocalist the same evening.
1967
Few casual country fans would recognize him today, but Jack Greene will forever go down in history as the first Male Vocalist winner at the CMA’s. He won on the strength of his signature hit “There Goes My Everything”, which also won Single of the Year and was the title track of his Album of the Year winner that same night.
Facts & Feats
Multiple Wins:
Most Consecutive Wins:
Most Nominations:
Most Nominations Without a Win:
Winners in First Year of Nomination:
Clint Black (1990), Glen Campbell (1968), Vince Gill (1991), Lee Greenwood (1983), George Jones (1980), Toby Keith (2001), Ronnie Milsap (1974), Charlie Rich (1973), Ricky Skaggs (1982), Randy Travis (1987), Keith Urban (2004)
CMA Male Vocalists of the Year Who Have Never Won the ACM Award:
Johnny Cash, Jack Greene, Waylon Jennings, Charley Pride, Ricky Van Shelton, Ricky Skaggs, Randy Travis, Don Williams
ACM Male Vocalists of the Year Who Have Never Won the CMA Award:
Garth Brooks (1990 & 1991), Kenny Chesney (2003), Larry Gatlin (1980), Mickey Gilley (1977), Freddie Hart (1972)
CMA Male Vocalists Who Have Also Won the Grammy for Best Country Vocal Performance, Male:
Glen Campbell, Johnny Cash, Vince Gill, Lee Greenwood, George Jones, Tim McGraw, Ronnie Milsap, Brad Paisley, Charley Pride, Charlie Rich, Kenny Rogers, Randy Travis, Keith Urban
Winners of the Grammy for Best Country Vocal Performance, Male Who Have Never Won the CMA Male Vocalist Award:
Garth Brooks, David Houston, Lyle Lovett, Roger Miller, Willie Nelson, Ray Price, Jerry Reed, Ralph Stanley, Dwight Yoakam
Category CMA Awards
Tags: Alan Jackson, Brad Paisley, Brooks & Dunn, Bryan White, Buck Owens, Cal Smith, Charley Pride, Charlie Rich, Clint Black, Collin Raye, Conway Twitty, Dierks Bentley, Don Williams, Dwight Yoakam, Eddy Arnold, Freddie Hart, Freddy Fender, Garth Brooks, Gary Morris, George Jones, George Strait, Glen Campbell, Hank Williams Jr., Jack Greene, Janie Fricke, Jerry Reed, Jerry Wallace, Joe Diffie, John Anderson, John Berry, John Conlee, John Denver, John Michael Montgomery, Johnny Cash, Johnny Paycheck, Johnny Rodriguez, Josh Turner, Keith Urban, Keith Whitley, Kenny Chesney, Kenny Rogers, Larry Gatlin, Lee Greenwood, Marty Robbins, Merle Haggard, Olivia Newton-John, Randy Travis, Rascal Flatts, Ray Price, Ricky Skaggs, Ricky Van Shelton, Rodney Crowell, Ronnie Milsap, Sonny James, Steve Wariner, Tim McGraw, Toby Keith, Tom T. Hall, Travis Tritt, Vern Gosdin, Vince Gill, Waylon Jennings, Willie Nelson
on Twelve Songs of Christmas: Day 11
on Album Review: Kellie Pickler, 100 Proof
on Rodney Atkins, It’s America
on Rodney Atkins, It’s America
on Single Review: Eric Church, “Springsteen”
on Single Review: Lee Brice, “Woman Like You”
on Retro Single Review: Dolly Parton, “My Tennessee Mountain Home”
on Retro Single Review: Dolly Parton, “My Tennessee Mountain Home”