Album of the Year

Should Win

• Arcade Fire, The Suburbs - Dan
• Eminem, Recovery - Kevin, Tara
• Lady Antebellum, Need You Now
• Lady Gaga, The Fame Monster
• Katy Perry, Teenage Dream

Will Win

• Arcade Fire, The Suburbs
• Eminem, Recovery - Kevin, Dan, Tara
• Lady Antebellum, Need You Now
• Lady Gaga, The Fame Monster
• Katy Perry, Teenage Dream

Kevin: In a field of newer artists, Eminem is the established veteran that is overdue for this award. It helps that he also made the best album of his career, as well as of the five nominees.

Dan: I could actually see Lady A coming out on top, since they’ve moved a lot of units and are the least divisive act here. But Recovery was a big comeback, and NARAS likes to use this award as a lifetime achievement thing. I don’t like that tendency, though; I’d rather we just reward the best set. To me, that was Arcade Fire’s ambitious concept album.

Tara: I really respect The Suburbs and really dig Recovery. Both are deserving, but Eminem probably has the edge with NARAS for the reasons stated above. (PS – I’m still not over it. TEENAGE DREAM?)

Record of the Year

Should Win

• B.O.B featuring Bruno Mars, “Nothin’ On You”
• Eminem featuring Rihanna, “Love the Way You Lie”
• Cee Lo Green, “F*** You” - Dan, Tara
• Jay-Z featuring Alicia Keys, “Empire State of Mind” - Kevin
• Lady Antebellum, “Need You Now”

Will Win

• B.O.B featuring Bruno Mars, “Nothin’ On You”
• Eminem featuring Rihanna, “Love the Way You Lie”
• Cee Lo Green, “F*** You”
• Jay-Z featuring Alicia Keys, “Empire State of Mind”
• Lady Antebellum, “Need You Now” - Kevin, Dan, Tara

Kevin: Perhaps it’s an instinctual reaction as a native New Yorker, but I still get chills every time I hear “Empire State of Mind.” Jay-Z’s casual “Long live the World Trade” in the second verse perfectly captures how our city moved briskly forward after 9/11 like we always do, but we haven’t forgotten it.

No Urban or Hip-Hop record has ever won this award, so it pains me to predict that Lady Antebellum will triumph over four better records. I hope I’m wrong.

Dan: Cee Lo’s viral novelty hit was one of last year’s biggest delights. I could see this award going to any track but “Nothin’ On You,” but suspect voters will probably go with the least edgy track.

Tara: I could make an argument for four of the five songs here, but I can’t peel myself away from Green’s personality-packed throwback hit that practically begs you to love it. And do I. I agree with Dan and Kevin, though, that Lady A will take this.

Song of the Year

Should Win

• “Beg, Steal, or Borrow” – Ray LaMontagne
• “F*** You!” – Brody Brown, Cee Lo Green, Philip Lawrence & Bruno Mars
• “The House That Built Me” – Tom Douglas & Allen Shamblin - Kevin, Tara
• “Love the Way You Lie” – Alexander Grant, Skylar Grey & Marshall Mathers
• “Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott

Will Win

• “Beg, Steal, or Borrow” – Ray LaMontagne
• “F*** You!” – Brody Brown, Cee Lo Green, Philip Lawrence & Bruno Mars
• “The House That Built Me” – Tom Douglas & Allen Shamblin – Kevin, Tara
• “Love the Way You Lie” – Alexander Grant, Skylar Grey & Marshall Mathers
• “Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott

Kevin: I think the biggest hurdle for “The House That Built Me” was getting the nomination. It really stands out in this field. It used to be rare for the Song victor to not be nominated for Record, but it has happened three times in the last seven years, including last year.

Tara: I’d honestly be happy to see any of these songs win. I’ll back “The House That Built Me” and just take a guess that the voters will, too.

Best New Artist

Should Win

• Justin Bieber
• Drake
• Florence + the Machine
• Mumford & Sons - Dan, Kevin, Tara
• Esperanza Spalding

Will Win

• Justin Bieber
• Drake – Kevin, Dan, Tara
• Florence + the Machine
• Mumford & Sons
• Esperanza Spalding

Kevin: I dig Mumford & Sons the most, but Drake seems to be the guy to beat.

Dan: I think Mumford has the most potential going forward. They’re got a dark-horse shot at the win, too, though Drake does seem like the most logical choice. Bieber’s by far the biggest name right now, but NARAS didn’t give it to tween-fave forerunners Hanson or Jonas Brothers, so…

Tara: Ditto. Although I have an unexplainable inkling that the Bieber might nab the award.

Best Country Album

Should Win

• Dierks Bentley, Up on the Ridge – Kevin, Tara, Leeann
• Zac Brown Band, You Get What You Give
• Jamey Johnson, The Guitar Song - Dan
• Lady Antebellum, Need You Now
• Miranda Lambert, Revolution

Will Win

• Dierks Bentley, Up on the Ridge
• Zac Brown Band, You Get What You Give
• Jamey Johnson, The Guitar Song
• Lady Antebellum, Need You Now – Dan
• Miranda Lambert, Revolution - Kevin, Tara, Leeann

Kevin: I think Bentley made the best record, and perhaps the slew of collaborators will help raise its profile with voters. Usually the country album nominated for overall Album wins this award, but I’m thinking that Lambert’s recent awards streak will continue here.

Dan: I pick Johnson by a nose, but genuinely like every album here besides Need You Now. Hoping Kevin’s right about that one.

Leeann: Like Kevin said, Bentley deserves to win and I hope he does, but I think Lambert’s album may win due to accessibility and her reputation for artistic integrity.

Tara: Up on the Ridge and Revolution both hit my sweet spot: they straddle the line between reverent and relevant and make me genuinely excited about country music’s future. Bentley’s album is the better of the two (and the best of the bunch) – but I think Lambert’s will pick up the most votes.

Best Female Country Vocal Performance

Should Win

• Jewel, “Satisfied”
• Miranda Lambert, “The House That Built Me” - Dan, Kevin, Tara, Leeann
• LeAnn Rimes, “Swingin’”
• Carrie Underwood, “Temporary Home”
• Gretchen Wilson, “I’d Love to Be Your Last”

Will Win

• Jewel, “Satisfied”
• Miranda Lambert, “The House That Built Me” - Dan, Kevin, Tara, Leeann
• LeAnn Rimes, “Swingin’”
• Carrie Underwood, “Temporary Home”
• Gretchen Wilson, “I’d Love to Be Your Last”

Kevin: This is Lambert’s best shot at a Grammy. Underwood will threaten, as always, but I think the strength of this song makes it tough to beat.

Leeann: Lambert’s signature song is the strongest and likely most long-lasting of the bunch.

Tara: Lambert and Underwood turn in two of the most emotive, powerful performances of their careers, but “The House That Built Me” is undeniably the better song. Since Underwood’s Grammy streak seems to be up for now, I think the voters will side with Lambert.

Best Male Country Vocal Performance

Should Win

• Jamey Johnson, “Macon”
• Toby Keith, “Cryin’ For Me (Wayman’s Song)” - Kevin, Leeann
• David Nail, “Turning Home” - Dan
• Keith Urban, “‘Til Summer Comes Around”
• Chris Young, “Gettin’ You Home (The Black Dress Song)”  - Tara

Will Win

• Jamey Johnson, “Macon”
• Toby Keith, “Cryin’ For Me (Wayman’s Song)”
• David Nail, “Turning Home”
• Keith Urban, “‘Til Summer Comes Around” - Dan, Kevin, Tara, Leeann
• Chris Young, “Gettin’ You Home (The Black Dress Song)”

Kevin: I am not going to complain about Urban winning again for my favorite single from his last two albums. But Toby Keith is way overdue in this category, and he’s nominated for one of his best vocal performances to date.

Dan: Nail’s nuanced performance brought what could have been a very rote song to life. And his career could use the boost.

Leeann: I think the Grammy voters will reflexively give the award to Keith Urban, but Toby Keith’s song is the most poignant of the nominees.

Tara: Urban’s got his hold on this category, but I’m in Young’s corner. His slow-burning hit is as charming as it is sexy, which isn’t an easy thing to pull off. And that voice.

Best Duo/Group Country Vocal Performance

Should Win

• Zac Brown Band, “Free”
• Dailey & Vincent, “Elizabeth”
• Lady Antebellum, “Need You Now”
• Little Big Town, “Little White Church”- Tara
• The SteelDrivers, “Where Rainbows Never Die” - Kevin, Leeann

Will Win

• Zac Brown Band, “Free”
• Dailey & Vincent, “Elizabeth”
• Lady Antebellum, “Need You Now” - Kevin, Tara, Leeann
• Little Big Town, “Little White Church”
• The SteelDrivers, “Where Rainbows Never Die”

Kevin: I think it’s a race between Lady Antbellum and Zac Brown Band, with LA in the lead. But the SteelDrivers get the annual “song I discovered because it was nominated for a Grammy and fell in love with after hearing it” award from me.

Leeann: The SteelDriver’s song is my favorite with Little Big Town at a close second, but I suspect that Lady A won’t be shut out for such a hugely popular radio hit across the board.

Tara: Dear NARAS: since “Single Ladies” got screwed over for ROTY last year, please show Little Big Town some love for their crazy awesome countrified version. It’s just as good…maybe even better?

Best Country Collaboration with Vocals

Should Win

• “Bad Angel” — Dierks Bentley, Miranda Lambert & Jamey Johnson
• “Pride (In The Name Of Love)” — Dierks Bentley, Del McCoury & The Punch Brothers
• “As She’s Walking Away” — Zac Brown Band & Alan Jackson – Kevin, Tara, Leeann
• “Hillbilly Bone” — Blake Shelton & Trace Adkins
• “I Run To You” — Marty Stuart & Connie Smith

Will Win

• “Bad Angel” — Dierks Bentley, Miranda Lambert & Jamey Johnson
• “Pride (In The Name Of Love)” — Dierks Bentley, Del McCoury & The Punch Brothers
• “As She’s Walking Away” — Zac Brown Band & Alan Jackson – Kevin, Tara, Leeann
• “Hillbilly Bone” — Blake Shelton & Trace Adkins
• “I Run To You” — Marty Stuart & Connie Smith

Kevin: Best collaboration in a very long time. Love hearing an artist from my youth playing elder statesman so well.

Leeann: It’s difficult for me to imagine that “As She’s Walking Away” won’t be rewarded for both its popularity and the significance of the still active veteran, Alan Jackson, dispensing wisdom to the up-and-coming bright stars of country music in the Zac Brown Band.

Tara: I love the groove of “Bad Angel,” but its collaboration isn’t nearly as dynamic nor as fitting as that of “As She’s Walking Way.” I can’t imagine any “wise man” but Jackson pulling up a stool next to Brown in this song.

Best Country Instrumental Performance

Should Win

• Cherryholmes, “Tattoo of a Smudge”
• The Infamous Stringdusters, “Magic #9″
• Punch Brothers, “New Chance Blues” – Kevin, Leeann
• Darrell Scott, ‘Willow Creek”
• Marty Stuart, “Hummingbyrd”

Will Win

• Cherryholmes, “Tattoo of a Smudge”
• The Infamous Stringdusters, “Magic #9″
• Punch Brothers, “New Chance Blues” - Kevin, Leeann
• Darrell Scott, ‘Willow Creek”
• Marty Stuart, “Hummingbyrd”

Kevin: Punch Brothers are approaching Nickel Creek levels of awesomeness. Possibly exceeding them.

Leeann: Kevin’s right. Even as someone who isn’t typically fond of instrumentals, I dig those of the Punch Brothers.

Best Country Song

Should Win

• “The Breath You Take” — Casey Beathard, Dean Dillon & Jessie Jo Dillon
• “Free” — Zac Brown
• “The House That Built Me” — Tom Douglas & Allen Shamblin - Dan, Kevin, Tara, Leeann
• “I’d Love To Be Your Last” — Rivers Rutherford, Annie Tate & Sam Tate
• “If I Die Young” — Kimberly Perry
• “Need You Now” — Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott

Will Win

• “The Breath You Take” — written by Casey Beathard, Dean Dillon & Jessie Jo Dillon
• “Free” — written by Zac Brown
• “The House That Built Me” — written by Tom Douglas & Allen Shamblin – Kevin, Tara, Leeann
• “I’d Love To Be Your Last” — written by Rivers Rutherford, Annie Tate & Sam Tate
• “If I Die Young” — written by Kimberly Perry
• “Need You Now” — written by Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott

Kevin: My heart is owned by “If I Die Young”, but I think that “The House That Built Me” is objectively the best song.

Leeann: While The Band Perry’s song sounds the coolest, the writing for “The House That Built Me” is clear frontrunner for the best song of the year.  It deserves and likely will be recognized as such, especially since it was both very critically acclaimed and successful as a single.

Tara: No question “The House That Built Me” is the best written song of the group, and I think it’ll be recognized as such.

Best Bluegrass Album

Should Win

• Sam Bush, Circles Around Me
• Patty Loveless, Mountain Soul II
• The Del McCoury Band, Family Circle
• Peter Rowan Bluegrass Band, Legacy
• The SteelDrivers, Reckless – Kevin

Will Win

• Sam Bush, Circles Around Me
• Patty Loveless, Mountain Soul II
• The Del McCoury Band, Family Circle – Kevin
• Peter Rowan Bluegrass Band, Legacy
• The SteelDrivers, Reckless

Kevin: Kudos to Loveless for her nomination, but I like the SteelDrivers set more.

Best Americana Album

Should Win

• Rosanne Cash, The List
• Los Lobos, Tin Can Trust
• Willie Nelson, Country Music – Dan, Kevin
• Robert Plant, Band of Joy
• Mavis Staples, You Are Not Alone

Will Win

• Rosanne Cash, The List
• Los Lobos, Tin Can Trust
• Willie Nelson, Country Music
• Robert Plant, Band of Joy
• Mavis Staples, You Are Not Alone - Kevin

Kevin: So I think Staples is nominated for an awesome gospel album and Nelson for an awesome country album. This category is confusing.

As with the Singles of the Decade feature, this countdown has been compiled through combination of four equally weighed Top 20 lists by Kevin, Leeann, Tara and myself. An inverted point system was applied to the individual rankings (#1 on a list meant 20 points, while #20 on the list meant 1 point). The songs were then ranked together by number of total points, greatest to least. The final result is another rather stylistically diverse set.

As always, we hope you enjoy the countdown, and welcome all the feedback you can muster. Happy New Year!

#40

Lady Antebellum, “Need You Now”

The trio puts a country spin on an old school pop sound, but without forsaking raw emotion. The highlight of the song is Hillary Scott’s smoky performance, which draws out all the anguish and regret you’d expect from a desperate, 1 AM lover’s call. – Tara Seetharam

#39

Joey + Rory, “Play the Song”

While Joey + Rory’s image appears to be squeaky-clean, it is fascinating that their songs have displayed some of the most attitude in the mainstream country music world. After releasing the sassy “Cheater, Cheater”, they have appealed to radio (the very people holding part of the duo’s career in their hands) to stop limiting their playlists with safe choices and to just “play the song.” – Leeann Ward

#38

Toby Keith, “Cryin’ for Me (Wayman’s Song)”

A heartfelt tribute to a friend that has passed on, with a vocal that once again proves Keith to be among the finest the genre has ever seen. – Kevin Coyne

#37

Rosanne Cash with Bruce Springsteen, “Sea of Heartbreak”

On her 2009 covers album, Rosanne Cash includes a rendtion of Don Gibson’s “Sea of Heartbreak.” She turns the song into her own with a jaunty production and the inclusion of revered rocker Bruce Springsteen, who channels a smoother sound than usual. – LW

#36

Zac Brown Band, “Toes”

As tired as I am of picturing Zac Brown’s ass in the sand, his group delivered the best Jimmy Buffett send-up the genre has seen in many years of them. “Toes” is light and silly, to be sure, but light and silly can work when you paint them with detail and don’t over-amplify them. – Dan Milliken

#35

Joey + Rory, “To Say Goodbye”

The matter-of-fact presentation somehow enhances the sadness by underplaying it. – KC

#34

Charlie Robison, “Feelin’ Good”

Charlie Robison’s album Beautiful Day reflects his varied emotions after his divorce from Dixie Chick Emily Robison. While there is a lot of dark reflection on the album, there are sparks of hope for the future as well, though forced they may sometimes be. “Feelin’ Good” is one of those songs; it’s mixed with both optimism and leftover pain. – LW

#33

Trace Adkins, “All I Ask for Anymore”

A humble confession of a man’s shifting priorities, sung with sturdy conviction and quiet confidence. It’s nothing groundbreaking for Adkins, but a home run nonetheless. – TS

#32

Kellie Pickler, “Best Days of Your Life”

The chorus that will not quit helped make this the closest that Taylor Swift has ever gotten to heavy rotation in my world. – KC

#31

Montgomery Gentry, “Long Line of Losers”

Yeah, I know. But I can’t help it. Every time my brain tells me to forget this sensationalized celebration of white-trash lineage, I listen to it again and the smile comes right back. There’s just something cool about being willing to accept the role your family has in shaping your identity, especially those parts of it that outsiders might look down on. – DM

#30

Steve Azar, “Moo La Moo”

Good to know that the working man still has a voice being offered to country radio, even if they don’t choose to play him. – KC

#29

Cherryholmes, “This Is My Son”

A mother’s prayers draw a sad parallel between her soldier son and her savior, as she realizes each has been sacrificed for “a people who don’t care that they’re free at the cost of his life.” It’s a wonder the group was able to make such a provocative message sound so pretty. – DM

#28

Charlie Robison, “Reconsider”

Robison’s vulnerability is palpable in this song that wonders if he could somehow repair his failed relationship. While he asks “would you reconsider?”, it’s evident that he already knows the answer and it’s not good. – LW

#27

Tim McGraw, “It’s a Business Doing Pleasure with You”

Funny as all get out, McGraw returned with an “I Like It, I Love It” for the new millenium. $48 and a thrown shoulder at the county fair would be getting off easy these days. – KC

#26

Holly Williams, “Mama”

Songs that pay tribute to Mama are rather common in country music. Holly William’s version of the Mama tribute is different, however, as it looks through the lens of a daughter who is grateful to a mother for not trying to sabotage the daughter’s relationship with her father, even with plenty of valid ammunition to do so. The fact that we know that Holly Williams is the daughter of Hank Williams, Jr. only helps to add to the weight of the song. – LW

#25

Brad Paisley, “American Saturday Night”

Paisley serves up his own brand of playful patriotism with this infectious ode to our melting-pot nation. It’s a splash of truth mixed with a heck of a lot of fun – a signature Paisley recipe. – TS

#24

Zac Brown Band, “Whatever It Is”

There is no mainstream band who manages to sound more at ease than the Zac Brown Band. “Whatever It Is” magnifies the relaxed vibe that the group seems to naturally exude. Furthermore, the fact that they’re able to do it with a love song is refreshing in and of itself. – LW

#23

Sugarland, “Joey”

Never-ending questions that will remain unanswered, fueled by guilt and helplessness that are unabated. – KC

#22

Mark Chesnutt, “She Never Got Me Over You”

A slice of pure, timeless classic country, written by the late Keith Whitley and performed beautifully by one of our most talented traditional male vocalists. – TS

#21

Emily West, “That Kind of Happy”

This is one of those rare instances when pop and country successfully collide to create a piece of irresistible ear candy. Emily West seems to be good at that. – LW

What was the single driving force behind creating The Marty Stuart Show? What are your hopes for the future of the program?

The most important thing was the right setting, the channel, RFD (a Nashville-based television station focused on rural America programming). I’m a big fan of the network and I’ve watched it grow. As a country music fan, I loved those old syndicated shows—The Porter Wagoner Show, The Johnny Cash Show, The Flatt & Scruggs Show, The Wilburn Brothers Show. I loved the spirit of those shows and started talking to Patrick (Carr, Stuart’s biographer) and really wanted to develop this idea. There was nothing like it on television at the time. Traditional country has so few outlets now. I wanted to give it a voice and show the integrity and entertainment value. You know, you have your Kenny Chesneys and Taylor Swifts, and they’re great for the genre, but this is the absolute other end of the country universe, the real traditional stuff. I’m just trying to present country music as a part of American culture, our heritage.

Have you had a favorite guest on the show or a favorite moment that’s transpired during the taping?

No. Honestly, I just can’t pick one. From the first note, there’s not one stray moment, not a bum song, not a throwaway performance. It’s been that way since Little Jimmy Dickens kicked off the first show. We’ve got six more shows in Season One and after we tour this summer and work on some new projects, we’ll be thinking about what we did right, what we can improve, and go on with the next season.  I heard somebody say that the show is a throwback, but to me, it’s taking the tradition and putting a new twist on it, bringing it into the present day.

In the thirty minutes, something will appeal to every viewer. Connie (Smith, legendary country singer and Stuart’s wife) says that it’s just one smile from top to bottom. Each segment is sculpted around the individual artists. We’ve carefully selected each piece. It’s just as tailor-made as a Nudie suit (laughs). Right off the bat, with the response that we’ve gotten, it seems to be working. There were a lot of people that were looking for this type of show.

You’ve mentioned how Johnny Cash passed down the torch to you and the younger generation in the 1980s. What artists now do you trust to keep the flame burning?

A lot of people, Ricky (Skaggs), Vince (Gill), me, Alan (Jackson), Patty (Loveless), Alison (Krauss). It’s our turn to scoot it on down the line. Brad Paisley has a heart for it, Keith Urban has a heart for it, even artists that don’t get played on the radio all the time are doing it. There’s a great singer, Sunny Sweeney, from Texas and a lot of really cool bluegrass acts, like SteelDrivers and this guy from Kentucky, Trey Hensley. All these artists keep the tradition alive and well. Just because it’s not front and center, in the mainstream, it doesn’t mean that it’s still there. It’s an eternal flame.

Recently you served as producer on Porter Wagoner’s final album (2007′s Wagonmaster) and Kathy Mattea’s critically-acclaimed project, Coal. What about the role of producer feeds your creative spirit?

It has to be the right project. It all depends on the feeling that gets inside me. It’s about a need. With Porter’s album, I wanted to keep his legacy intact. I thought it would be a great injustice for the integrity and dignity of one our statesmen, one of our elder chiefs, to be overlooked and brushed aside.

With Kathy’s album, Coal, she came to me with this desire to shine a light on the coal-mining industry, something she was familiar with being from West Virginia. She wanted it to be authentic and get back in touch with her roots, draw from her experiences. The best word to describe it is “need.” I needed to do it. Great music is about passion and belief.

What’s the status on new music from you as a recording artist?

Well, I’m sitting here right now with a pile of about 20 songs for my next album, and we’ve got three more songs to go on a gospel record that I’m doing with the Superlatives. And I’m doing an album of instrumental hillbilly surf music!

Instrumental hillbilly surf?

It’s gonna be interesting. (laughs)

Connie has three albums that she’s working on, too, so that’s six albums total by the end of the year. I’m producing Connie’s and they’re gonna be great, great records. Connie sings from the heart.

She owns one of the most powerful, pristine voices in country music.

Absolutely. When someone comes up to me and tells me about this new singer I’m supposed to check out, well, I say, “Hey, I’m married to Connie Smith!”  That’s a pretty high measure. She’s the real deal.

How has your approach to making records changed since you broke as a solo act in the mid-1980s?

Back then, it was a popularity contest, all about having a hit and chasing the charts and becoming a part of the parade. Now, I can follow my heart and let it go from there.

The exhibit featuring all your treasured memorabilia, Sparkle & Twang, was recently showcased at the Tennessee State Museum and finishes a run at the Rock & Roll Hall of Fame at the end of the month. Where can fans see the exhibit next?

The Gene Autry Museum in California (Los Angeles); this spring we’ll be opening up a new exhibit there.

What’s the greatest satisfaction in maintaining this historical collection you’ve amassed throughout the year?

Country music is a treasured city, a vanishing race. It seemed so wrong for me to see it discarded and overlooked.

Connie and I went to Rome last week. They’ve taken great care of the Vatican. Every stone has been cared for, every scene photographed. In country music, nobody was at home, so to speak. So much of this songs, the artifacts, the artists, were lost. I wanted to be a missionary, to represent and keep watch over the music, to have some sort of remembrance of it. It’s part of America’s culture and history. It defines who we are, who we were, and who we’ll be. Country music is timeless. I wanted to be a steward of this stuff.

Your book of photography, Country Music: The Masters, was released in November. Two photos in particular stand out. First and most famously, the picture of Johnny soon before his death. The one that struck me, though, was the photo that you took of Connie in the backseat of her car when you were just twelve years old.

The local radio station, WHOC, announced that Connie Smith was coming to the Choctaw Indian Fair. Connie was mama’s favorite singer, and she had the album, Ms. Smith Goes to Nashville and we loved that album. She’d play on the Opry and I was just in awe. My dad couldn’t go, but mama took me and my sister to go see Connie. I had her go buy a yellow shirt so that I could stand out in the crowd. So me and Jennifer (Stuart’s sister) went down to get her autograph. I still didn’t think that Connie had noticed me, so I borrowed mama’s camera and snapped that picture.

This year is the 60th anniversary of the Choctaw County Fair, and it’s one day after our 12th anniversary, so we’re going to play a concert there together right at the scene of the crime where cupid shot his arrow.

In the past, you were known for wearing rhinestone-studded Nudie suits onstage, but some have said that you took to wearing black to honor Johnny Cash. What’s the truth behind the rumor?

That’s not true at all!  A lot of folks said I was wearing it out of respect or dedication, but I just like black. The style rolls on. It doesn’t give me any trouble when I go to the closet. It’s really slimming.

It never goes out of style.

Yeah. You know, it’s Abraham Lincoln’s 200th birthday this week and Johnny always patterned himself by him and that’s what Lincoln wore. It’s not bad company to be in. I’ve always liked the high collar clothes, the dark clothing. It just works. Even back when I was young and touring with Lester Flatts or wearing all those Nudie suits, it was black, just with a bunch of rhinestones on it! But there’s white in my heart. (laughs)

Your annual Late Night Jam (a CMA Music Festival staple) is slated to go on sale soon.

Tickets go on sale Valentine’s Day, February 14. Last year’s show sold out. We’ve got the Oak Ridge Boys and Cherryholmes this year. I don’t remember who else we’ve got coming, but you just know it’s going to be a great show. It’s just back-to-basics country music.

Tickets to Marty’s 8th Annual Late Night Jam will go on sale Saturday, February 14 through Ticketmaster. The Marty Stuart Show can be seen on Saturday nights on RFD-TV. Check your local cable provider for times.

The song is written as a mother’s prayer to God that her son will remain safe while he’s away at war. Not a terribly objectionable set-up, but the kicker comes swiftly as the mother draws a parallel between her son potentially dying for “a people who don’t even care that they’re free at the cost of his life” and Christ having done the same. It’s a striking idea, one that serves to make the mother’s personal faith sound rich and thoughtful while also making a provocative statement about the way we as bystanders regard the wars our nations engage in and those who are directly impacted by them.

But my favorite aspect of the comparison is how it brings God’s sacrifice down to a human level, where it’s easier for us to fully understand its significance. My experience tells me that because Christians understand God to be too big and mysterious to fully understand, many of them tend to think about his reported Biblical works more dogmatically than personally. They’ll harp on about the significance of Him giving up His Son because those are the words to the story, but they won’t actually engage emotionally, because the God of the Bible seems more like a mysterious figure in history than a real, current presence to them.

Here, though, we have a case of a woman crying out to God because she thinks she might actually feel a slice of the suffering He did. She puts His sacrifice in a context we can all understand, and in doing so makes it seem like more than just an Important Story to memorize and restate each night as you get tucked in – or at least makes us understand why she feels that way about it.

And really, if the main objective of Christianity is to bring oneself closer to God, I have to imagine that a sense of shared suffering with Him really would do the trick much better than a hollow recitation of praise ever could. And I think that idea plays out here, too, because something in the record’s melody and vocal actually sounds very uplifted and resolved, as if the mother’s realization of this connection between herself and God has brought her a curious moment of joy in spite of her present torment. You can tell that she’s scared to death about what’s happening and angry at the world’s indifference, but her fear co-exists with faith, and the combination of the two makes her sound that much more genuine, even wise.

And in that sense, I think the song is more than just a study in one woman’s faith in God and love for her son; whether it was intended or not, the mother’s example seems to make an implicit cry to Christians and Americans to really consider the conceits of their faith and their country’s decisions in a more thoughtful, personal way if they hope to understand either one more fully – which, if nothing else, is certainly one heck of a message to send to country radio.

There are a few quibbles to be made: the piano and drums that have been added in for this radio mix clutter it up in spots, the song’s structure is a little clipped and clumsy, and you wind up wishing it had delved even deeper into the issues instead of just repeating the chorus a bunch of times and changing the key at the end. But Cia Cherryholmes’ tastefully emotive lead performance is a real treat, and the fact that she’s managed to compose a song about God and country that seems genuine, challenging and uplifting all at once tells me we’ve got quite a budding maverick on our hands. I’m impressed.

Written by Cia Leigh Cherryholmes

Grade: A-

Listen: This Is My Son

Country radio version:

Original album version:

Narrowing my favorite Christmas songs down to twenty-five choices proved to be a nearly impossible challenge. In order to accomplish this feat, I had to do two things: (1) disqualify all quintessential versions of classics, i.e., Bing Crosby’s “White Christmas” or any songs by Gene Autry. Instead, I’ve stuck to modern country versions of any classics that may appear on this list. (2) Limit the number of classics included on this list so that there can be room for as many original Christmas songs as possible.

You can listen to most of the songs and purchase them through the Amazon link at the end.  Merry Christmas!

#25

Asleep At The Wheel, “Christmas in Jail”

Merry Texas Christmas, Y’All, 1997

Ray Benson and Asleep at the Wheel have a fun time with “Christmas In Jail.” The lesson he learns?: “Ain’t going to drink and drive no more.” Good!

#24

Roger Miller, “Old Toy Trains”

King Of The Road: The Genius of Roger Miller, 1995

I first heard this song as a little girl on a Raffi Christmas album, long before I had any idea of who Roger Miller was. So, after I discovered country music and Roger Miller, I was pleasantly surprised to find that this familiar song was actually written by Roger Miller for his son Dean. In this sweet and irresistible ditty, Miller is trying to coax his little boy to go to bed despite the excitement of Christmas

#23

Clint Black, “Til’ Santa’s Gone (Milk And Cookies)”

Looking For Christmas, 1995

This is sung from the perspective of a five-year-old who is getting ready for Santa’s impending visit. He knows what brings Santa back every year. Milk and cookies, of course!

#22

Trisha Yearwood, “Take A Walk Through Bethlehem”

The Sweetest Gift, 1994

With her signature soulfulness, Yearwood reminds us that amidst all of the hustle and bustle that accompanies Christmas, we can close our eyes and “take a walk through Bethlehem” in order to remember the reason for the season.

#21

Garth Brooks, “Unto You This Night”

Beyond The Season, 1992

This is a nice adaptation of Luke 2:14-18, which is when an angel joyfully announced the good news of Christ’s birth to the shepherds watching their flock of sheep in the field. Garth Brooks sings of the story with reverence and Trisha Yearwood adds heavenly harmony vocals to an angelic backing choir.

#20

Randy Travis, “God Rest Ye Merry Gentlemen”

An Old Time Christmas, 1987

Randy Travis’ low baritone is well suited for this song that seems to call for some strong low notes. Travis provides a decisive vocal performance that makes this song especially powerful.

#19

Pam Tillis, “Light Of The World”

Just In Time For Christmas, 2005

From one of my favorite Christmas albums, this gorgeous song is the story of the wise men visiting the baby Jesus, the light of the world.

#18

The Judds, “The Sweetest Gift”

Heartland, 1990

This is a song of a mother who visits her son while he’s in prison. She can’t give him any physical gifts, but she gives him “the sweetest gift, a mother’s love.” I especially like The Judds’ version because of the wonderful mother-daughter harmony that is obviously appropriate for the premise of the song.

#17

Toby Keith, “Little Drummer Boy”

A Classic Christmas, 2007

I typically find this song to be boring, but Toby Keith manages to do a version that impresses me. The rootsy , fresh production and Keith’s strong vocals, somehow, livens up this otherwise dull song.

#16

Alan Jackson, “Let It Be Christmas”

Let It Be Christmas, 2002

This original Christmas song penned by Jackson calls for the peaceful feeling of Christmas to be everywhere. Along with all of the tangible elements of Christmas, he also decrees: “Let it be Christmas everywhere/Let heavenly music fill the air/Let every heart sing/Let every bell ring/The story of hope and joy and peace/And let it be Christmas everywhere/Let heavenly music fill the air/Let anger and fear and hate disappear/Let there be love that lasts through the year/And let it be Christmas/Christmas everywhere.”

#15

The Tractors, “The Shelter”

Have Yourself A Tractors Christmas, 1995

The Tractors are an almost forgotten group from the ‘90s who were dismissed as a novelty act thanks to the quirky “Baby Likes To Rock It.” They, however, cranked out a pretty dang good Christmas album. One of its gems is “The Shelter.” It’s a sweet rendering of the love between Joseph and Mary. The melody is simple, the production is sparse and Steve Ripley’s rough voice happens to also be tender in this song.

#14

Vince Gill, “’Til The Season Comes Around Again”

Let There Be Peace On Earth, 1993

This song has a sad quality to it. It captures the typical anticlimactic feeling that we tend to experience on Christmas day after the weeks of excitement leading up to Christmas. It’s bittersweet. We celebrate, but we also know that the season is almost over and it could be awhile before we’re together again.

#13

Pam Tillis, “Beautiful Night”

Just In Time For Christmas, 2005

It’s a pretty song that describes a beautiful Christmas night.

#12

Martina McBride, “O Holy Night”

White Christmas, 1998

I’m not one who is usually impressed by bombastic vocals. I tend to prefer understated and restraint whenever possible. I, however, am only impressed when my favorite Christmas song, “O Holy Night” is sung with power. If it’s too understated, I feel as though something is missing. McBride’s version manages to do both. She starts out singing with beautiful restraint, but comes through with the powerhouse vocals that are needed in order to properly sell this song.

#11

Toby Keith, “Santa I’m Right Here”

Christmas To Christmas, 1995

This song is heartbreaking. The song’s narrator finds a note on the sidewalk from a little homeless boy who’s asking Santa to bring his family essentials for Christmas. Instead of asking for toys, he asks for a warm coat for his mama and a job for his dad.

#10

Mary Chapin Carpenter, “Bells Are Ringing”

Come Darkness, Come Light : Twelve Songs of Christmas, 2008

Leave it to Mary Chapin Carpenter to record a somber Christmas album that makes us stop and think. “Bells Are Ringing” reminds us that Christmas is not a joyful occasion for everyone. There is, however, a glimmer of hope to be found at the end of the song.

#9

Rosie  O’Donnell & Dixie Chicks, “Merry Christmas From The Family”

Another Rosie Christmas, 2000

While the talking intro to this song is annoying, this redneck Christmas song is hilarious. The Chicks and O’Donnell understand the ridiculousness of the song and are playful throughout, which only helps to make the song even more amusing. It’s especially fun to hear Natalie try to sing badly.

#8

Dolly Parton, “Hard Candy Christmas”

Once Upon A Christmas, 1983

This has always been one of my favorite Dolly Parton songs. She’s feeling depressed at Christmas time, but is trying to convince herself that sorrow won’t get the best of her. She assures herself “I’ll be fine/Oh, I’ll be fine.” I hope so.

#7

Cherryholmes, “The King As A Babe Comes Down”

Cherryholmes III: Don’t Believe, 2008

While it isn’t on an actual Christmas album, I count it as a Christmas song. With a rootsy Celtic flavor, it explores the hope and peace that is a part of the birth of the Christ Child. It’s one of my new favorite Christmas songs.

#6

Vince Gill, “It Won’t Be The Same This Year”

Let There Be Peace On Earth, 1993

Vince wrote this incredibly sad song after the death of his brother, Bob, whose favorite time of year was Christmas. Because of the meaning that Christmas had for Bob and the fact that it was the Gill’s first Christmas without him, Vince proclaims that even after all of the Christmas rituals are performed, “it won’t be the same this year.” You can hear the emotion in his voice.

#5

Kathy Mattea, “Unto Us A Child Is Born”

Joy For Christmas Day, 2003

This is just one of the coolest Christmas songs. Mattea sings this unshakably catchy song with joy and power. Furthermore, the production has so much going on in it that it’s riveting.

#4

Alan Jackson, “If We Make It Through December”

Honky Tonk Christmas, 1993

I hope it’s okay to admit that while I am fond of Merle Haggard’s original version of this song, I still prefer Alan Jackson’s version in the end. It’s probably the banjo addition that does it for me.

#3

Clint Black, “The Coolest Pair”

Looking For Christmas, 1995

In his excellent Christmas album, Clint Black is really able to capture the exuberance of Christmas through the eyes of a child. Like “Milk And Cookies”, this is just another example. This bluegrass number is simply oozing with charm.

#2

John Berry, “O Come Emmanuel”

O Holy Night, 1995

I never really appreciated this song until I heard John Berry’s version. He sings it with appropriate reverence and vocal strength. The production is simple, which allows Berry’s voice to carry the song to the necessary heights in order to make it soar.

#1

Alan Jackson & Alison Krauss, “The Angels Cried”

Honky Tonk Christmas, 1993

Alan Jackson and Alison Krauss’ Voice blend together so perfectly that it makes me long for a duets project from them someday. While the song is already written beautifully by Jackson, the combination of their smooth easy vocals elevate it to one of the most gorgeous Christmas songs that exists.

The song tells a story of the majesty and joy that was brought by Jesus Christ’s birth. While the creatures of the earth didn’t know why the event was so special, they knew that it was all the same. So, they came from all around to see the Baby while the angels looked upon the scene and cried with joy. As Alan Jackson is so capable of doing, he paints a beautiful picture with his lyrics in a simple but captivating melody.

#1 “She Left Me For Jesus” (Hayes Carll, Trouble in Mind)

Honestly, when is the last time you heard a song this slyly clever? This laugh-out-loud engaging? But not just anyone could pull off this song. Carll’s slow laughing drawl is absolutely perfect and he nails every punch line. He not only gets the joke, he assumes you do as well. Carll readily acknowledges that this song isn’t for everyone, but in my book, it’s an instant classic.

#2 “Red River Shore” (Bob Dylan, Tell Tale Signs: the Bootleg Series Vol. 8)

Bob Dylan, that enigmatic icon, continues to raise the bar for singer-songwriters. It’s nearly ridiculous at this point. This year, Dylan treated us to a grand smorgasbord of songs with the latest in his bootleg series. “Red River Shore” was one of the few previously unreleased songs on the set, and it’s perhaps the best on the album. I could spend hours ruminating over what Dylan intended with his lyrics about star-crossed lovers, but instead I’ll leave you with his opening lines: “Some of us turn off the lights and we live / In the moonlight shooting by / Some of us scare ourselves to death in the dark / To be where the angels fly.” This is, as the album booklet suggests, an elegant summation of Dylan’s artistic credo. If only others took note.

#3 “I’ve Done Everything I Can” (Rodney Crowell, Sex and Gasoline)

On “I’ve Done Everything I Can,” Crowell acknowledges that incredibly delicate interplay between father and daughter; that difficult line a father must walk between wanting to protect his little girl, and preparing her for the real world. He sings: “The sun comes up tomorrow / But there are no guarantees / It can rock you like a baby / It can knock you to your knees / The path that lies between us / Is a rough and rocky rue / I’ve done everything I can / There’s nothing I can do.” This song reminds me rather poignantly of my own father, who occasionally walked that fine line with grace, but usually just blundered over it with good intentions.

#4 “Coming of the Roads” (Kathy Mattea, Coal, Written by Billy Edd Wheeler)

Every track on Mattea’s masterpiece, Coal, is worthy of recognition, but “Coming of the Roads” stands out, with Mattea giving a gorgeous performance on a wistful song that laments the big changes that come to small communities with the building of new roads and the destruction of the natural environment. This song was likely particularly significant for Mattea, an environmental activist, who has committed her time to saving the mountaintops of Tennessee and her home state of West Virginia from the same devastating tree removal referenced in the song.

#5 “Crooked Road” (Chris Knight, Heart of Stone, Co-written with Dan Baird)

Great songwriters can set the scene with a single line, and Chris Knight kicks off “Crooked Road” with just such a line: “Got married at sixteen / Had a fifteen year old wife / Guess I’ve been a grown man just about all my life.” The insightful maturity of this statement rings throughout the song, which is colored with bitter resignation, yet surprising resilience. On “Crooked Road,” Knight visits the coal mines of Logan, West Virginia, and recounts the tale of a man nearly brought to his knees by such a dangerous way of life. However, the song is a testament to all those who have had the odds stacked against them, experienced heart-breaking loss, but shouldered on, buoyed by love.

#6 “Very Last Country Song” (Sugarland, Love On The Inside, Written by Jennifer Nettles, Christian Bush, Tim Owens)

I’m not a Sugarland convert…yet. But Sugarland half won me over with “Very Last Country Song.” I typically find the band to be over the top, with Jennifer Nettles over-exaggerated Georgia accent occasionally grating, but Sugarland hits all the right notes here. I’d love a Sugarland album that displayed more of the unvarnished beauty and restraint demonstrated on this, hopefully not their very last, country song.

#7 “God Forsaken Town” (Reckless Kelly, Ragged As The Road, Co-written with Robert Earl Keen)

“God Forsaken Town” is a wonderful departure for the rockin’ Reckless Kelly. Inspired by the floods that drowned so much of the south after Hurricane Katrina, this horn-laden number is drenched in honest emotion and bolstered by great writing. The song’s defiance is accompanied by the same bring-it-on attitude that has characterized the rebuilding process thus far in New Orleans and Mississippi and will undoubtedly help on the long trek towards recovery still ahead. As Braun sings it: “They say we’ve got to leave but there’s no way to go / This ain’t the first time we’ve weathered out a storm / And I ain’t got nothing but at least I know it’s mine / And I’ll be god damned if I’m leaving here before the day I die.”

#8 “Sweetest Waste of Time” (Kasey Chambers and Shane Nicholson, Rattlin’ Bones)

Kasey Chambers and Shane Nicholson’s entire album, a country roots gem, was a pleasant surprise this year. Rattlin’ Bones’ charmed with sweet sexiness and brought out a side of both singers previously unexplored. “Sweetest Waste of Time” perfectly encapsulates the sheer charm exuded on the album by these two married Aussies, and showcases their remarkable chemistry. Slightly reminiscent in lyrics of the Eagles’ “Wasted Time,” the song rather benevolently cries: “If you don’t see me / Caught in your wires / If you don’t hear me / Outside your door / If all this wanting / Just leaves me waiting / You still would be / The sweetest waste of time.”

#9 “Broken” (Cherryholmes, Cherryholmes III: Don’t Believe, Written by Cia Cherryholmes)

Cia Cherryholmes gives a haunting performance on this standout track from Cherryholmes’ latest album. With a gorgeous swooping string arrangement, this gothic tale follows a young broken-hearted girl to her marble grave. While the lyrics are not precisely uplifting, it is exciting to hear two young talents – Cia and Molly Cherryholmes (who composed the orchestral arrangement) – play with the boundaries of bluegrass to create a new sound all their own.

#10 “Turn Out My Lights” (Justin Townes Earle, The Good Life, Written by Justin Townes Earle and Scotty Melton)

Justin Townes Earle released my favorite debut of the year. Charming and confident, The Good Life showcases an artist not only brimming with talent, but with a keen ear for American music–for The Good Life can only be described as quintessential American music. It was difficult to choose a favorite song from the album, but “Turn Out My Lights” struck a chord. I’ll admit that may partly be because there’s a twinge of his dad hidden in the song (whom I adore), but I also love his subtle instrumental choices on the track.

Other Favorites:

“American Tune” (Performed by Darrell Scott, Modern Hymns, Written by Paul Simon)
“Dignity (Piano Version)” (Bob Dylan, Tell Tale Signs: the Bootleg Series Vol. 8)
“God Is Mad At Me” (Jason Boland & The Stragglers, Comal County Blue)
“Circles and Xs” (Lucinda Williams, Little Honey)
“The Carolinian” (Chatham County Line, IV)

Cherryholmes

Upon listening to Cherryholmes’ latest album, Cherryholmes III: Don’t Believe, you’ll remember, if you’ve been ambivalent of late, why you love music. Because at the end of the day, bluegrass is one of the last honest forms of music: it’s real, it’s tangible, it’s grounded, it requires heart and talent, and it can’t be faked. In an era where image is everything, and substance and talent seemingly count for little, bluegrass is one of the last great refuges for music lovers.

Continuing the long tradition of family bands in bluegrass, all six members of the Cherryholmes family contribute their unique talents to this album: Cia Cherryholmes, 25, a fast and powerful banjo player, wrote or co-wrote seven of the twelve tracks, and takes lead vocals on four of them; Molly Cherryholmes, 16, contributes lead vocals, orchestral arrangements, songwriting and a fine fiddle; Sandy Cherryholmes, the matriarch, takes lead vocals on two songs and plays a mean mandolin and clawhammer banjo; Skip Cherryholmes, 19, contributes fast picking and rhythm guitar and takes lead vocals on one track; B.J. Cherryholmes, 21, contributes a fast fiddle, lead vocals and composed two of the instrumental tracks; and finally, Jere Cherryholmes, the patriarch, grounds the group with his supporting vocals and bass playing.

The family approach, which characterizes both the look and sound of the band, is what makes Cherryholmes III: Don’t Believe special. Five different singers—male and female, young and old—take the lead on the album, contributing to a sound that is timeless yet progressive. Instead of feeling disjointed, the back and forth between the ages and the sexes, takes the listener on a journey—one with immense variety, depth and spirituality. The first four songs perfectly encapsulate that journey, moving from the young broken heart of “I Can Only Love You (So Much)” to the wise faith of “The King As A Babe Comes Down,” to the blistering critique of those who blindly follow in “Don’t Believe” and finally to the resigned sacrifice in “This is My Son.”

As it does in their lives shows, the unmistakable sound and feel of Ireland floats through the album. Both Jere and Sandy Cherryholmes had a strong background in Celtic music before the formation of Cherryholmes in 1999, and that strong Celtic undercurrent is readily apparent on the album, particularly in the two songs on which Sandy sings lead vocals—the soaring “The King As A Babe Comes Down” and the jangly toe-tapper “The Sailing Man”—BJ’s Cherryholmes’ instrumental “Mansker Spree/O’Coughlin’s Reel” and the song at the heart of the album—“Broken.”

“Broken,” perhaps the best song on the album, is a haunting song with a fierce string arrangement about a woman who dies alone with a shattered heart. Those already familiar with Cherryholmes’ music will continue to appreciate the gorgeous vocal stylings of Cia Cherryholmes. However, this album reveals a new star in the Cherryholmes family—16-year-old Molly. Not only did Molly write and sing the lead vocals on “Goodbye,” a song about saying goodbye to a love who played you for a fool, but she composed the excellent orchestral arrangement on “Broken.” Molly’s rich voice and undeniable ear for music belies her 16 years and makes her an exciting one to watch in the future.

If you’ve never given bluegrass a chance before, there is no time like the present and this album to start. From beginning to end, Cherryholmes challenges and transports the listener both lyrically and musically, combining the best of the past with a fresh take on the future.