Bear in mind that Blake Shelton isn’t just another country singer. He is the reigning Male Vocalist of the Year for both the ACM and CMA Awards, as well as the CMA Entertainer of the Year. Due to his position as a judge on “The Voice,” he is one of the most recognizable country stars around. Therefore, his new album Based on a True Story… isn’t just another album release. It’s an event. It’s a highly anticipated occasion. So how does Shelton kick off this record?
Backwoods, legit, don’t take no s*** Chew tobacco, chew tobacco, chew tobacco, spit.
Those words of wisdom come from “Boys ‘Round Here,” the opening track and one of the worst country songs of recent memory, even by the relative low standards of country-rap. Sexist, crude and jam-packed with country stereotypes, it’s an embarrassment to everyone involved, including Shelton, the songwriters (Rhett Akins, Dallas Davidson and Craig Wiseman) the Pistol Annies who sing background vocals and even the guy who says “red red red red red red red red redneck.”
That’s the low-water mark for the album, though it’s certainly a harbinger for what comes after. For all the references to country songs and country living scattered throughout, it’s largely pop music, with some R&B and adult contemporary elements thrown in the mix. In other words, it’s an ideal country album for people who like Shelton as a famous personality but don’t really care for country music. The two most traditional-sounding songs (as well as two of the best songs) are available in the download- only deluxe version, so anyone who wants to avoid anything sounding like actual country music can easily do so.
There are plenty of other country singers who are employing pop sounds to reach a wider audience, so Shelton isn’t alone in that regard. The problem with True Story is that the songs are so pedestrian and unmemorable. “Sure Be Cool if You Did” and “My Eyes” are essentially the same song about picking up a woman, though at least the cheesy pickup lines are different. “Small Town Big Time” is essentially the same song as half of Jason Aldean’s back catalog – the bad half – with some Auto-Tuned verses thrown in for
“Country on the Radio” deserves special mention because it attempts to justify all of the hokey, redneck-centric songs that have clogged up the country charts for the last few years. Why are they all about dirt roads, pretty girls on tailgates and homemade wine? Because that’s how country folks roll, of course. That’s not exactly a compliment – country songs are so simplistic and shallow because country people really are that simplistic and shallow.
“I Still Got a Finger” is one of the few instances where the feisty Blake Shelton of old – before he became famous outside of country music circles – makes an appearance. Still, it has the feel of being forced, as if it was made to highlight Shelton’s smartass, uncensored Twitter personality without being too rude for a large audience.
“Grandaddy’s Gun,” written by Atkins, Davidson, and Bobby Pinson, is one of the highlights of True Story. Without pushing one side of the gun control debate like an Aaron Lewis or Charlie Daniels would do, Shelton sings about the sentimental value of an old battered shotgun and demonstrates that he is still an outstanding country singer when he wants to be. He does the same on “Mine Would Be You” from the dependable Jessi Alexander, Connie Harrington and Deric Ruttan.
Shelton infamously said in his “old farts and jackasses” interview that kids don’t want to listen to their grandpa’s music and that country music has to evolve in order to survive. If that’s true, then this is the evolution of country music. It’s slick and mainstream-friendly, with Top 40 appeal. It features pop songs about how wonderful country living is. It’s occasionally raucous, but not enough to offend a focus group. It has some traditional country elements, but those are on album tracks that can easily be skipped over or not downloaded. If you happen to remember the great Blake Shelton songs like “Ol’ Red” and “Austin,” you’re clearly too old for this new country music.
Throw on your bedazzled boots – the 47th annual Academy of Country Music Awards air live from Las Vegas this Sunday at 8 p.m. EST. The show promises to be a melting pot of performances, with oddball duets like Rascal Flatts and Steve Martin - and no, that’s not an April Fools joke. The CU staff picked and predicted the awards below. Tell us your thoughts, and check back for our live blog on Sunday night!
Entertainer of the Year
Should Win:
Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift – Jonathan, Dan, Tara, Leeann, Kevin, Ben, Sam
Will Win:
Jason Aldean – Sam
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift – Jonathan, Dan, Tara, Kevin, Ben
Ben: Okay, so I was going to go with Aldean based on his massive success… but Swift’s music has just been too dang good lately.
Jonathan: Swift is the only one of the five who has released any music I really liked during the eligibility period; that fan voting is part of whatever mysterious algorithm is used to determine the winner of this award helps her case. I recognize that Aldean has a good look at this, too, but I’ll admit to just digging my heels in and refusing to get on board with the idea that he’s considered the standard-bearing artist in country music.
Tara: Swift released some of the best material of her career in the eligibility period, and her star seems as bright as it’s ever been. And while I can’t picture her losing something fan-voted, I wouldn’t be shocked if Aldean snuck up on her, especially given the secret fan / academy vote ratio. I just hope that this time next year, there are a few shake-ups in this category. I’m bored.
Dan: I like Swift the best, but can’t muster the energy to root actively against Aldean like I did with, say, Rascal Flatts.
Kevin: Aldean vs. Swift, with me erring on the side of the one who made more music that I liked this year.
Sam: Just a hunch, but the Taylor Swift voters might be as fanatical as usual because Carrie Underwood isn’t nominated for this award. That might give Aldean the chance to sneak in.
Male Vocalist of the Year
Should Win:
Jason Aldean – Dan, Kevin, Sam
Kenny Chesney
Brad Paisley
Blake Shelton
Chris Young – Ben, Jonathan, Tara
Will Win:
Jason Aldean – Dan, Sam
Kenny Chesney
Brad Paisley
Blake Shelton – Ben, Jonathan, Tara, Kevin
Chris Young
Dan: Aldean remains the hottest guy out there by a huge margin, and occasionally puts out something decent like “Fly Over States.” I’ll just keep picking him to win this until he does. La la la.
Ben: Aldean’s success speaks for itself, but I would really like to see Chris Young take this. He released a solid new album, remained a consistent hitmaker at radio, and has made the most music that I’ve actually cared about. But seeing as the industry award voters have been showing a lot of excessive Shelton love as of late, my gut says that Blake Shelton is going to get this. (There are no awards for TV Judge of the Year or Newlywed of the Year, so the ACM will probably give him this one instead)
Jonathan: So let’s talk about Chris Young for a minute. The guy has a fantastic voice, one of the strongest and most distinctive instruments to come down Music Row in a minute, and that alone is enough to elevate him above most of the other men who have scored major airplay in the past couple of years. But the discrepancy between the quality of Young’s vocal performances and the quality of the songs he’s performing is a problem, and here’s yet another instance of an artist with the potential to be really and truly great receiving a thumbs-up from the industry for work that’s just occasionally on the better side of okay. Where’s the incentive for someone like Young to be even better if he’s being recognized now? And what does it say that, despite his wildly uneven material, he’s far and away the class of this particular field of nominees?
Tara: I have to disagree with Jonathan on this one; I find Neon to be a refreshing, neo-traditional gem, more organic than it is uneven. In this stage of Young’s career, I view his body of work as a stepping stone and an indication of potential, and I have no issue with it being rewarded. But it won’t be; Mr. Lambert’s got the entertainment industry on lockdown. And I can’t say I really mind.
Kevin: Picking Aldean as the “should win” solely because he had the biggest year, though I suspect Shelton will win anyway.
Sam: I get the love for Miranda Lambert, but the Blake Shelton love is largely lost on me. Not a fan of Aldean either, but he’s due for this award.
Female Vocalist of the Year
Should Win:
Sara Evans
Miranda Lambert – Dan, Ben, Tara, Leeann, Sam
Martina McBride
Taylor Swift – Jonathan, Kevin
Carrie Underwood
Will Win:
Sara Evans
Miranda Lambert – Dan, Ben, Jonathan, Tara, Leeann, Sam
Martina McBride
Taylor Swift – Kevin
Carrie Underwood
Dan: I think Swift has been the strongest solo act this past year, but Lambert released a decent fourth album and a terrific group one. With no place on the ballot to reward Pistol Annies (fix that, CMAs?), this’ll do.
Ben: Swift put out a string of very good singles, but… Four the Record + Pistol Annies = The Miranda Lambert love will be fully justified.
Jonathan: If we’re counting Pistol Annies, then I can absolutely see the case for Lambert and could be convinced to vote accordingly, and I think she still has the momentum to win here. If we’re just looking at solo material, though, I’m unapologetically sticking with Swift’s “Mean” and “Sparks Fly,” which trump anything that the other four women in the category released during the eligibility period. With Underwood having a new album to support and, hopefully, Kellie Pickler getting the recognition she deserves for her latest work, this category should be a hell of a lot more interesting and competitive come CMA time.
Tara: Swift delivered the better material, but Lambert delivered the better performances, Hell On Heels notwithstanding. By my definition of FVOTY, this should go to Lambert. (And I’m stoked for the fall award season, too.)
Leeann: I have no real reason to believe that the Academy would take this from Lambert this year.
Kevin: Can you believe that Swift is the only nominee who hasn’t won this yet? I know Lambert should be the favorite, especially given the ACM’s fondness for her. But I can’t shake the feeling that she’s lost some momentum with her latest project.
Sam: Miranda will continue to own this category until someone like Carrie Underwood steps up with a new album.
Vocal Duo of the Year
Should Win
Love and Theft
Montgomery Gentry
Steel Magnolia
Sugarland – Leeann
Thompson Square – Dan, Ben, Tara
Will Win:
Love and Theft
Montgomery Gentry
Steel Magnolia
Sugarland – Dan, Ben, Leeann, Kevin
Thompson Square – Jonathan, Tara, Sam
Ben: The Civil Wars are really the only duo I’ve cared about this past year, but they have been stupidly excluded in favor of Love and Theft (who only released one mediocre single in the past year), so I’m going with Thompson Square instead. They’ve been doing well at radio, and their music has not been terribly grating, but I’m pretty sure that the ACM will remain stuck on Sugarland.
Dan: With The Civil Wars absent from ACM’s roster and Sugarland having a messy year across the board, Thompson Square seems like the last band standing. And they’re cute, right?
Jonathan: The song remains the same: This category should’ve been merged with Vocal Group of the Year eons ago to trim the fat. Given that the ACMs are still ostensibly more radio-oriented than the CMAs and that Sugarland have actively alienated radio with the god-awful singles from their god-awful album, I’m going to say that Thompson Square pull off the upset here. Just don’t ask me to hum or even to name more than one of their songs…
Tara: I honestly can’t muster an opinion. What’s Sugarland been up to these days, anyway?
Leeann: This category isn’t even worth comment this year.
Kevin: Saying somebody should win implies that I think there’s a worthy winner, so I’m just going to say that Sugarland will win.
Sam: No Bellamy Brothers nod? You mean country music actually had five legit nominees for a Duo award this year? Artistically, The Civil Wars and Foster & Lloyd would be the most deserving this year.
Vocal Group of the Year
Should Win:
The Band Perry
Eli Young Band
Lady Antebellum
Rascal Flatts
Zac Brown Band – Dan, Ben, Jonathan, Tara, Leeann, Kevin, Sam
Will Win:
The Band Perry – Sam
Eli Young Band
Lady Antebellum – Dan, Ben, Jonathan, Tara, Leeann, Kevin
Rascal Flatts
Zac Brown Band
Ben: I’ve tried to hold out hope that the award industries would lay off the ridiculous Lady A adoration, but the CMAs and Grammys have shown me otherwise.
Jonathan: No reason to think the ACMs will break the trend of giving unearned trophies to the C students in the class.
Tara: I remain firmly in ZBB’s corner; the band produced my favorite single of 2011. But I would much, much prefer this award to go to the flavor of the month Eli Young Band than the flavor of the year Lady Antebellum.
Dan: I miss Little Big Town, but this is the first time in recent memory that this category has had five competitive groups. Like Aldean in the Male Vocalist race, Zac Brown Band sell as well as anyone and haven’t won yet, so I’ll probably keep picking them until they do, too. La la la x2.
Leeann: I’d love to see Zac Brown Band take it this year, but I don’t have enough faith that Lady A won’t just keep the award.
Kevin: Always gonna root for ZBB. Just losing hope that they’ll ever actually win.
Sam: ZBB is operating on a higher level than any other vocal group, but I’m alright with The Band Perry’s quirkiness getting some recognition.
New Artist of the Year
Should Win:
Brantley Gilbert
Hunter Hayes – Dan, Tara
Scotty McCreery
Will Win:
Brantley Gilbert
Hunter Hayes
Scotty McCreery – Ben, Dan, Jonathan, Tara, Leeann, Kevin, Sam
Dan: Of the three, I think Hayes has the most raw talent (played every instrument on his album!) and could one day be an interesting artist. So, vote of optimism! ;D
Ben: I think this will be between Gilbert and McCreery. My gut says Scotty McCreery “will” win, but this line-up is just too depressing for me to make a case for who “should” win. Dan makes a good point about Hunter Hayes though…
Jonathan: I can’t.
Tara: Uh…I guess this is as good a time as any to confess my love for “Storm Warning.”
Leeann: I don’t even have the heart to choose who I think should win, but I’m guessing the “American Idol” winner will win.
Kevin: New Coke >>>> New Artist of the Year.
Sam: This is fan voted, right? Well, if McCreery’s fans can vote him to win “American Idol”…
Album of the Year
Should Win:
Eric Church, Chief – Dan, Ben, Jonathan, Tara, Leeann, Kevin
Miranda Lambert, Four The Record – Sam
Kenny Chesney, Hemingway’s Whiskey
Jason Aldean, My Kinda Party
Lady Antebellum, Own The Night
Will Win:
Eric Church, Chief
Miranda Lambert, Four The Record
Kenny Chesney, Hemingway’s Whiskey
Jason Aldean, My Kinda Party – Dan, Ben, Sam
Lady Antebellum, Own The Night – Jonathan, Tara, Leeann, Kevin
Ben: Eric Church edges out Miranda as my pick, but I’m fairly sure this will go to Aldean, and I refuse to predict that Lady Antebellum will win this.
Jonathan: I liked Lambert’s album exponentially less each time I listened to it, so I stopped listening to all but two of its tracks (“Fine Tune” and “Dear Diamond”) months ago to preserve at least some degree of fondness for it. Church’s album has some significant limitations of its own, but, song-for-song, it’s the strongest set in this line-up. I have no idea what I would ever actually say to a person who believes that Richard Marx’s Repeat Offender Amy Grant’s House of Love Lady Antebellum’s Own the Night scans as a country album in any substantive way, or that it’s the best country album of this or any year. But clearly there are people who do believe that, and recent history says there are enough of them for Lady A to win this.
Tara: It’s a toss up between Lambert and Church for me, with Church’s realized hard-assness giving Chief a slight edge. But it’s Lady A’s to lose – and I’m not sure anything in the industry has frustrated me more than their wins as of late. It’s worse than laughably unfair; it’s potential-threatening. And it has to stop.
Dan: When Church is bad, he’s cringe-worthy. When he’s good, he kicks most of the ass he told you he’d kick.
Leeann: I won’t be surprised if Lady A wins, but I’d love to see Eric Church win for the most interesting album of the bunch. I wouldn’t mind seeing Miranda Lambert win either.
Kevin: I just hope I’m wrong a lot this year.
Sam: Pretty sad when a “good for a Jason Aldean album” album beats out two superior albums from Church and Lambert, but I think that will be the case.
Single Record of the Year
Should Win:
Eli Young Band, “Crazy Girl”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
Toby Keith, “Red Solo Cup”
Chris Young, “Tomorrow”
Kenny Chesney featuring Grace Potter, “You and Tequila” – Ben, Dan, Tara, Leeann, Kevin, Sam
Will Win:
Eli Young Band, “Crazy Girl”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” – Dan, Ben, Jonathan, Tara, Leeann, Kevin, Sam
Toby Keith, “Red Solo Cup”
Chris Young, “Tomorrow”
Kenny Chesney featuring Grace Potter, “You and Tequila”
Ben: “Tequila” outclasses most of the field, though “Tomorrow” is also a solid contender. I get the novelty value of “Red Solo Cup,” but Single Record of the Year? Nah…
Jonathan: Even for a novelty song, I thought “Red Solo Cup” was poorly constructed and lazily written, but I kind of hope it wins, if only to prove that this year’s ACMs are just a straight-up farce.
Tara: I don’t love any of these, but “You and Tequila” is the only one I can imagine holding up in ten years.
Dan: Whatever.
Leeann: I can’t even believe “Red Solo Cup” is a contender! I’d love to see Kenny win for one of his best recordings, though I suspect Jason Aldean and Kelly Clarkson will win due to their cross genre appeal and all.
Kevin: Please let me be wrong a lot this year.
Sam: I will be rooting for “Red Solo Cup” and its inspired idiocy, but this could be part of Jason Aldean’s big night at the ACM.
Song of the Year
Should Win:
“Crazy Girl” – Lee Brice & Liz Rose
“Home” – Brett Beavers, Dierks Bentley & Dan Wilson – Leeann
“Just a Kiss” – Dallas Davidson, Dave Haywood, Charles Kelley & Hillary Scott
“Threaten Me With Heaven” – Amy Grant, Vince Gill, Dillon O’Brian & Will Owsley – Jonathan, Tara, Kevin
“You and Tequila” – Matraca Berg & Deana Carter – Dan, Ben, Sam
Will Win:
“Crazy Girl” – Lee Brice & Liz Rose
“Home” – Brett Beavers, Dierks Bentley & Dan Wilson – Dan, Ben, Jonathan, Tara, Sam
“Just a Kiss” – Dallas Davidson, Dave Haywood, Charles Kelley & Hillary Scott – Kevin
“Threaten Me With Heaven” – Amy Grant, Vince Gill, Dillon O’Brian & Will Owsley
“You and Tequila” – Matraca Berg & Deana Carter – Leeann
Dan: “Home” has felt like awards bait to me since I first heard it. Me, I’m a “Tequila” guy.
Ben: Ditto to Dan.
Jonathan: As much as I’d like to see Berg and Carter pick up some new hardware, I’d still give the edge to Gill’s song. When “Home” does win, which I agree it will, I’ll just pretend it means that Jason Isbell has finally won a major industry award.
Tara: “Threaten Me With Heaven” is gorgeously written, but I won’t mind if (and when) “Home” takes the award. Country music could use a shot of graceful patriotism.
Leeann: I’m pleased to have three songs that I’d be happy to see win the award this year. I feel like either Chesney or Bentley will rightfully win…I hope so at least.
Kevin: Pretty please?
Video of the Year
Should Win:
Eric Church, “Homeboy”
Lady Antebellum, “Just a Kiss”
Taylor Swift, “Mean” – Ben, Dan, Jonathan, Tara, Kevin, Sam
Toby Keith, “Red Solo Cup”
Jason Aldean, “Tattoos On This Town”
Will Win:
Eric Church, “Homeboy”
Lady Antebellum, “Just a Kiss”
Taylor Swift, “Mean” – Kevin
Toby Keith, “Red Solo Cup” – Ben, Dan, Jonathan, Tara, Sam
Jason Aldean, “Tattoos On This Town”
Ben: I could actually live with “Red Solo Cup” winning this, but I still enjoy “Mean” quite a bit more. Plus I kind of hate Lady Antebellum’s video for being nothing more than a glorified iPad commercial. I also think “Mean” deserved a nomination for Single Record of the Year, so I would like to see it acknowledged here. Still, I don’t think I can bet against “Red Solo Cup.”
Jonathan: That “Mean” didn’t score the Single and Song of the Year nominations with the ACMs that it has elsewhere seems revealing, with “Red Solo Cup” as the most likely beneficiary. I just hope that the faux gravitas of the “Homeboy” clip doesn’t give it any footing.
Tara: I’m equally disappointed that “Mean” didn’t snag a nomination for Single or Song of the Year. With the video almost as freshly produced as the single, it’s an easy one to root for in this category. I have no inkling as to who will win, but I’ll piggyback off of my co-bloggers on the frat party anthem.
Dan: I could do without how the “Mean” clip ends with a little girl idolizing Taylor Swift, but am I gonna vote against the country music video that had the anti-gay-bullying message? No, I’m not.
Kevin: I think the Swift clip has enough pizazz to triumph in the end over Toby’s YouTube video.
Vocal Event of the Year
Should Win:
Aaron Lewis featuring George Jones & Charlie Daniels, “Country Boy”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
Brad Paisley featuring Alabama, “Old Alabama”
Brad Paisley duet with Carrie Underwood, “Remind Me” – Tara, Kevin, Ben
Kenny Chesney featuring Grace Potter, “You and Tequila” – Dan, Jonathan, Leeann, Sam
Will Win:
Aaron Lewis featuring George Jones & Charlie Daniels, “Country Boy”
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” – Jonathan, Dan, Leeann, Kevin, Sam
Brad Paisley featuring Alabama, “Old Alabama”
Brad Paisley duet with Carrie Underwood, “Remind Me” – Tara, Ben
Kenny Chesney featuring Grace Potter, “You and Tequila”
Jonathan: The Lewis track is one of the worst singles of the past five years or more, and its nomination is an indication of how deeply modern country music hates the actual traditions and values of the genre.
Tara: As middle-of-the-road as it is, something in the melody of “Remind Me” intrigues me. And I have a random feeling the voters will use this category to reward their dethroned male and female vocalists of the year.
Dan: It’ll be interesting to see if “Remind Me” can unseat “Don’t You Wanna St– oh, who am I kidding. Nothing is interesting anymore.
Leeann: Ugh. I pretty much know that Jason Aldean and Kelly Clarkson will win, but I’d love to be wrong. Meanwhile, I continue to faithfully root for the Chesney/Potter collaboration.
Kevin: I like my Vocal Events to be full-out Vocal Events, so I’m going for Paisley/Underwood over Chesney with backing vocals from Potter. The latter pair made the better record, though.
Ben: I’m with Tara and Kevin. “You and Tequila” is the best record overall, but that has more to do with Berg and Carter’s songwriting than with Potter’s contributions. “Remind Me” is the one that feels like an actual event.
Sam: Aldean & Clarkson outscreamed Paisley & Underwood, so they lay claim to the trophy. Chesney and Potter, what were you two thinking by just going out there and singing? Next time, I want to hear some wailing and primal screams, because that’s what makes for a successful duet these days.
A cornerstone of country, southern rock, and gospel music, Charlie Daniels and his fiddle have made an indelible impact on the fabric of American music.
Born and raised in North Carolina, Daniels first achieved notoriety through his astonishing fiddling talent. Since he was also efficient with a guitar, he started off by assembling the instrumental band the Jaguars. They played throughout the late fifties and early sixties, and were signed to Epic Records for a period of time. While the band was slowly fizzling out, Daniels got his first taste of real success as a songwriter and a backing musician. Elvis Presley recorded his composition, “It Hurts Me”, in 1963. By the end of the sixties, Daniels had played on the seminal Bob Dylan album Nashville Skyline, and toured with Leonard Cohen.
His recording career entered full stride in the seventies. After a self-titled solo album in 1970, Daniels expanded his act into the Charlie Daniels Band. In this incarnation, Daniels would enjoy his greatest notoriety as a singer, songwriter, and performer. By deftly tackling societal issues from a fiercely Southern perspective, Daniels added powerful and remarkably effective social commentary to his songs, surrounding his worldview with scorching fiddle.
A series of classic singles like “Uneasy Rider”, “The South’s Gonna Do It”, and “Long Haired Country Boy” firmly established Charlie Daniels and his band as a force to be reckoned with. After a series of critically acclaimed albums that sold well, the band reached its peak of mainstream success in 1979, with “The Devil Went Down to Georgia.” It became Daniels’ biggest hit on both the country and the pop charts, and powered Million Mile Reflections to sales of over three million in the United States alone.
Daniels and his band coasted on their success throughout the eighties, touring extensively and continuing to score country hits, along with the occasional pop crossover. Some of his most high-profile hits remained political in nature, most notably “Still in Saigon”, his remarkable attempt to shed light on the Vietnam War veterans struggling with Post-Traumatic Stress Disorder. In 1989, he had his last major commercial success with the band’s album, Simple Man. Though the title track just missed the country top ten, the vigilante hit received wide media exposure, and pushed sales of the album to platinum status.
For the past two decades, Daniels has remained a widely popular draw on the road, and a widely respected media star, appearing regularly on political talk shows to share his views on issues of the day. Always a fan of gospel music, he’s released several spiritual sets in recent years. Songs from the Longleaf Pines, a bluegrass gospel collection from 2005, was released to overwhelming praise. In 2007, he became a member of the Grand Ole Opry. Always a patriot, his latest release is 2010′s Land That I Love, which features a handful of new songs alongside his many America-themed songs from the past.
It’s hard to believe that there once was a time that country artists put out two full-length albums a year. If they were part of a regular superstar duet team, like Conway Twitty & Loretta Lynn or Porter Wagoner & Dolly Parton, a fan might hear as many as four new studio albums from their favorite artist.
By the time that I got into country music – twenty years ago, natch – things had slowed down a bit. Artists usually released a new album every 12-18 months. Sometimes they’d push it to two years, but not often.
Those were the days. Waits between album releases have gotten crazy lately. I’m all for taking the time to get it right, but once we push past the half-decade mark, things have gone too far. Sure, we’re given side projects to carry us over, but there’s no substitute for a full-length studio album of all-new material.
Here are five artists who I’d really love to see make a long-awaited return with a new album in 2011, along with a brief rundown of the side projects that they’ve been busy with while we’ve waited for that new album:
Shania Twain
Last Studio Album: Up! (2002)
Side Projects: Greatest Hits (2005), featuring four new tracks; contributions to a Dolly Parton tribute album, a live Willie Nelson album, an Anne Murray duet album, and the Desperate Housewives soundtrack.
It’s been over eight years since Twain released that 19-track opus. It was cool that she released the album in three different mixes, essentially giving us 57 new mp3s for the iPods we didn’t even have yet. Of all the superstar acts, she’s the one who has been away the longest.
Wynonna
Last Studio Album: What the World Needs (2003)
Side Projects: Live album, Christmas album, covers album, Cracker Barrel album…
In a sense, she’s never really gone away. But despite being a fixture in the media and releasing so many other-type albums, we haven’t gotten a real studio set from Wynonna in over seven years. Given that the last one was among the finest in her career, it’s a shame she has yet to craft another mainstream country album.
Dwight Yoakam
Last Studio Album: Blame the Vain (2005)
Side Projects: A Buck Owens tribute album in 2007, Dwight Sings Buck.
The most distressing absence on the list, mostly because he’s been so prolific in the past. Movie appearances are keeping him busy. Here’s hoping that when he does return, we get more than ten songs.
Dixie Chicks
Last Studio Album: Taking the Long Way (2006)
Side Projects: “The Neighbor”, from the Shut Up & Sing documentary; contributions to a Tony Bennett duet project; Emily and Martie’s Court Yard Hounds set; Natalie’s duet with Neil Diamond.
It’s hard to follow up an album that wins a bunch of Grammys, but it’s not like they haven’t done so before. If they’re insisting on writing all of the next album, it could be gestating for a very long time. Can’t we get a Patty Griffin or Darrell Scott covers album to hold us over?
Vince Gill
Last Studio Album: These Days (2006)
Side Projects: A mother lode of duet and harmony appearances on other artist’s albums (Reba McEntire, Charlie Daniels, Amy Grant, Clay Aiken…)
Gill’s last album was a four discs worth of new material, so it’s understandable that it would take a couple of years for him to craft a new one. But we’re going on five now. Since Gill was able to create those four discs a mere three years after his previous studio set (2003′s Next Big Thing), we should be due for a new album soon.
Besides the fact that Wilson has once again turned out a country pride anthem in the vein of “Redneck Woman”, she name drops several legends of Southern Rock while appropriating their style for her own.
Gretchen, I’ll give you a pass on Hank Jr. and Charlie Daniels, even though you sang about both of them on your first hit. But come on, the Allman Brothers Band? ZZ Top? Are you kidding?
I’d say it’s like she’s not even trying anymore, but she probably is. It just turns out that she’s a one-dimensional character, and that character hasn’t been fresh or interesting since 2004.
Last year, I counted down my twenty-five favorite Christmas songs. This year, it’s time to do the same with my favorite country Christmas albums. Feel free to add your own favorites in the comment section.
Merry Christmas!
#25
SHeDaisy, Brand New Year
This is not a typical, conservative country Christmas album. SHeDaisy spices things up by not only including originals, but rearranges the classics to make an unpredictable, unique Christmas album that stands out from the pack.
#24
Dolly Parton, Home for Christmas
This is an incredibly cheesy Christmas album. As only Dolly can do, however, it’s at least delightfully cheesy.
#23
Charlie Daniels & Friends, Joy To the World: A Bluegrass Christmas
This album flew under the radar this year, but it’s a wonderful bluegrass album with a few famous friends. Daniels even steps aside to allow his guests to sing while only accompanying them. Jewel steps up with an impressively country vocal on “Blue Christmas” and Kathy Mattea offers a rollicking version of “Oh Come All Ye Faithful.”
#22
John Denver and the Muppets, Christmas Together
I grew up with this album. On the strength of nostalgia, I’d put it at the top of this list, but for the sake of being reasonable, I’ll settle for this ranking. Who doesn’t love the Muppets, anyway?
#21
John Cowan, Comfort and Joy
John Cowan’s Comfort and Joy is a new release, but its acoustic production and Cowan’s clear voice is instantly appealing. He interprets some classics, but also includes some worthy originals and lesser-known songs. The sprightly “Christmas Everyday”, the thoughtful “Little Match Girl” and the gospel “Good News” provide welcome depth to this Christmas project.
#20
Mindy Smith, My Holiday
Mindy Smith adeptly covers well-known standards on her Christmas album, but her original inclusions are what really stand out here, particularly “Follow the Shepherd Home” and “I Know the Reason.” With guest appearances from Alison Krauss, Thad Cockrell and Emmylou Harris (not to mention Smith’s own beautiful voice), My Holiday is one of the most outstanding mixes of originality and tradition on this list.
#19
Loretta Lynn, Best of Christmas…Twentieth Century Masters
This is a collection of Loretta Lynn Christmas songs. It’s my favorite traditional country Christmas album.
#18
Emmylou Harris, Light of the Stable
If you enjoy Harris’ bluegrass album, Roses in the Snow, and her Live At the Ryman, you’ll likely enjoy this acoustic-based Christmas album as well. It has a live, relaxed feel to it. While it doesn’t necessarily sound big-budget, it is still a well-crafted Christmas album.
#17
The Tractors, Have Yourself A Tractors Christmas
The Tractors are infamous for their cringe-worthy novelty song, “Baby Likes To Rock It”, but they made an excellent Christmas album nonetheless. Their blend of swing and shuffle makes for a crisp album that I love to hear every year. I enjoy the entire album with the exception of their Christmas twist on “Baby Likes to Rock It.”
#16
Lee Ann Womack, A Season for Romance
Lee Ann Womack is successful in conveying a romantic vibe on this album that suggests just that. With her easy southern drawl, Womack knows her way around a gorgeous Christmas melody. Her fun side should not be ignored, however, as her version of “the Man with the Bag” is easily the superior track on the album.
#15
Travis Tritt, A Travis Tritt Christmas: Loving Time of the Year
Tritt rocks on songs like “Winter Wonderland”, adds a bluesy twist to “Have Yourself a Merry Little Christmas”, waxes nostalgic on “Christmas in My Hometown” and reverently sings “O Little Town of Bethlehem” and “I Heard the Bells on Christmas Day.” Nevertheless, he keeps Christmas in perspective as he philosophizes on the title track and, possibly naively, proclaims it to be the “most loving time of the year.”: “I wish I could bottle up this feeling/Pass out a little everyday/’Cause all the scars of pain have started healing/And troubles of this world just fade away…”
#14
Dwight Yoakam, Come on Christmas
Dwight’s signature quirky vocal style does not disappoint on this Christmas album. He does some standards and a few originals. His bluesy version of “I’ll Be Home For Christmas” just may be the only version of that song that I like. Among the originals, the dysfunctional “Santa Can’t Stay” and the album’s sensual title track are the highlights of the project.
#13
Gene Autry, Rudolph the Red Nosed Reindeer and Other Christmas Classics
Like Bing Crosby, Gene Autry’s name is simply synonymous with Christmas music.
#12
John Prine, A John Prine Christmas
Prine’s rough, unpolished voice does not try to navigate beloved classics that conjure up feelings of warmth and frivolity. Instead, he does what works best for him, which means writing songs that reveal insightful observations of real life. As a result, A John Prine Christmas is darker than a typical Christmas album.
#11
Alan Jackson, Let It Be Christmas
While Alan Jackson’s first Honky Tonk Christmas album is great, this one was recorded to appease his mother who requested a more traditional-sounding record. This one is especially good when hosting guests with mixed music tastes. Backed by a big band and orchestra, Jackson’s smooth voice navigates these traditional tunes with ease. Jackson’s original composition, the title track, is superb enough to stand with the revered classics.
#10
Martina McBride, White Christmas
Martina McBride made a safe Christmas album with all familiar songs, but she still managed to deliver an album that’s engaging and among the best of its kind. And as one might expect from McBride, she knocks “O Holy Night” out of the park.
#9
Toby Keith, A Classic Christmas
Toby Keith shows his generosity at Christmas time by making two Christmas albums (one of religious classics and the other of secular classics) and packaging them together for one low price. As a skillful interpreter, he treats these classics with both reference and fun as appropriate, with “Little Drummer Boy” receiving the coolest laid back production that I’ve ever heard on it.
#8
Lorrie Morgan, Merry Christmas from London
With the London Orchestra, Morgan is in fine voice and keeps up with the power accompaniment quite well. This is a beautiful, straightforward album that includes many classics and a sweeping version of “My Favorite Things.”
#7
Randy Travis, An Old Time Christmas
This Christmas album is exactly what one would expect from Randy Travis. If you like Randy Travis music and you like Christmas music, this one doesn’t disappoint. Highlights include his version of “God Rest Ye Merry Gentlemen”, Meet Me Under The mistletoe” and “Old Time Christmas.”
#6
Kathy Mattea, Joy for Christmas Day
Kathy’s warm, soothing voice is meant for Christmas songs. She sings some standards along with some awesome originals. The stand out tracks are the gorgeous “Straw Against The Chill” and the infectious “Unto Us A Child Is Born.”
#5
Garth Brooks, Beyond the Season
Garth’s first and best Christmas album sounds a lot like Garth Brooks music of the early nineties. Even the classics get the Brooks treatment, including a soulful version of “Go Tell It On A Mountain.” The highlights include but aren’t limited to “The Friendly Beasts” (in which he enlists the help of some of his songwriting friends), “Unto You This Night” and Buck Owens’ “Santa Looked A Lot Like Daddy.”
#4
George Strait, A Classic Christmas
Strait has as many Christmas albums as he has decades in the country music business. This album is far superior to the other two, however. While all of the songs are classics, he has recorded them with rootsy productions to match his warm vocals. Highlights include “Jingle Bells”, “Oh Come All Ye Faithful” and “Oh Christmas Tree.”
#3
Clint Black, Christmas With You
This album consists of all original songs composed by Clint Black himself. Most of it contains Christmas through the eyes of children, including “Slow As Christmas”, “Milk and Cookies” and “The Coolest Pair.” It’s fresh, fun and joyous, just as Christmas should be.
#2
Patty Loveless, Bluegrass And White Snow: A Mountain Christmas
As a follow up to Mountain Soul, Patty Loveless delivers a soulful bluegrass Christmas album that radiates Christmas warmth while injecting moments of festive frivolity as well. Appearances by Vince Gill, Emmylou Harris, Rebecca Lynn Howard and Jon Randall are not necessary to strengthen this already masterful Christmas album, but they certainly help the celebration in a special way. (For more on this album, read a review by guest contributor Stephen Fales.)
#1
Pam Tillis, Just in Time for Christmas
Most of the time, I want to hear warmth on a Christmas album. As is the case with many of my favorites, I like to be able to imagine listening to Christmas music by a cozy fire (though I don’t have a fireplace) and a nice mug of hot chocolate. With Tillis’ album, my imagination does not have to stretch very far, because it commands such images with its tasteful, jazzy production and Tillis’ naturally pleasant voice. This is clearly a country Christmas album, but it also manages to blend country elements with other traditional components that result in a perfect hybrid of torch and twang.
The Devil Went Down to Georgia
Charlie Daniels Band
1979
Written by Charlie Daniels
A work of great electricity, “The Devil Went Down to Georgia” is one of the most rousing songs in country music’s history, crossing genre lines and generating career-high milestones for the Charlie Daniels Band. With a wicked instrumental setting and a growling vocal from Daniel, it is an energetic story that continues to captivate audiences.
The song is the story of the devil, “way behind and “willin’ to make a deal” as he searches through Georgia in desperate need of his latest victim. He meets a young fiddle player named Johnny and challenges him to a fiddle duel. Johnny’s soul is the Devil’s possession if he were to lose, but a win would guarantee Johnny the Devil’s gold fiddle. Johnny accepts the Devil’s offer, proudly telling the Devil that he is “the best there’s ever been.”
The duel begins with the Devil performing a rapid-fire piece; however, Johnny matches him fiddle stroke by stroke. After a few rounds, The Devil is squarely defeated by the more talented Johnny after Johnny performs his last spectacular number, “Fire on the Mountain.” The Devil acknowledges being bested and, true to his word, presents Johnny with a gleaming, golden fiddle. As he turns to leave, Johnny tells the Devil that he can return for another battle at any time.
The Devil’s and Johnny’s performances are played as instrumental bridges during the song. Daniels has been approached by fans who felt the Devil played a better piece, and to this he says, “If you dissect it and listen to it, that’s the smoke and mirrors thing about the Devil. There’s just nothing there. I mean, there’s nothing. There’s no music involved.”
“The Devil Went Down to Georgia” was released on the band’s 1979 album Million Mile Reflections, which was prompted to multi-platinum status in the wake of the song’s success. It was the band’s biggest pop hit, reaching #3 on the Billboard Hot 100 and topping the country singles chart in August 1979. It was named the CMA Single of the Year at the 1979 ceremony, and also earned a Grammy for Best Country Vocal Performance by a Duo or Group in February 1980. Although Daniels (a Grand Ole Opry inductee in 2008) experienced even more radio and retail success in the 1980s and continues to perform and record today, his defining moment is this storming sensation of a song, equal parts devilish and divine.
“The Devil Went Down to Georgia” is the the latest in a series of articles showcasing Classic Country Singles. You can read previous entries at the Classic Country Singles page.
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