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.
- Zac Brown Band, “Toes”
- Billy Currington, “People Are Crazy”
- Lady Antebellum, “Need You Now”
- Miranda Lambert, “White Liar”
- David Nail, “Red Light”
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.
- Trace Adkins, “You’re Gonna Miss This”
- Jamey Johnson, “In Color”
- Miranda Lambert, “Gunpowder & Lead”
- Heidi Newfield, “Johnny and June”
- Brad Paisley, “Waitin’ On a Woman”
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.
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:
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.
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 before 1990? Maybe, but that is still a rather wide 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?
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.