Here’s my list:
- Big & Rich, “Save a Horse (Ride a Cowboy)”
- Gretchen Wilson, “Redneck Woman”
- Deana Carter, “Strawberry Wine”
- The Band Perry, “If I Die Young”
- Billy Dean, “Somewhere in My Broken Heart”
Here’s my list:
This One’s Not For The Girls: Finally, Hill cautions against playing too many females. And playing them back to back, he says, is a no-no. “If you want to make ratings in Country radio, take females out,” he asserts. “The reason is mainstream Country radio generates more quarter hours from female listeners at the rate of 70 to 75%, and women like male artists. I’m basing that not only on music tests from over the years, but more than 300 client radio stations. The expectation is we’re principally a male format with a smaller female component. I’ve got about 40 music databases in front of me and the percentage of females in the one with the most is 19%. Trust me, I play great female records and we’ve got some right now; they’re just not the lettuce in our salad. The lettuce is Luke Bryan and Blake Shelton, Keith Urban and artists like that. The tomatoes of our salad are the females.”
Tossed salad imagery aside, in what other professional setting would such blatant gender discrimination be openly advocated? The breathtaking condescension toward female listeners in country music is nothing new, but it’s been more than twenty years since any such case could be supported by sales numbers.
Nineties country star Kevin Sharp has passed away at the age of 43 from complications relating to cancer.
Sharp had major success with his debut album, Measure of a Man, which spawned three big hits: “Nobody Knows”, a Tony Rich Project cover that spent four weeks at #1, and two additional top five follow-up singles, “If You Love Somebody” and “She’s Sure Taking it Well.”
Sharp’s inspirational biography made his early success especially impressive. He suffered from a rare form of bone cancer that was so dire that he received a Make-a-Wish grant that introduced him to record producer David Foster. After Sharp’s cancer went into remission, they remained in contact and Foster helped Sharp secure a contract with Asylum Records.
Sharp’s success came during a transitional time in country music, before one-hit wonders became far more common but while one-album wonders were becoming prominent. Like Lari White, Paul Brandt, Michael Peterson, Deana Carter, and Ricochet, Sharp seemed to have garnered a foothold at radio, scoring several hits off a breakthrough album.
But like those other artists, radio completely ignored the follow-up project, Love is, in 1998. Despite his first set going gold, he parted ways with his label after the second collection wasn’t a success. A few years earlier, and radio would’ve probably played more of his second album. A few years later, and the burgeoning independent label scene and digital distribution methods might have made it easier for his career to maintain momentum.
Still, he found great success on the road in the new century, this time as an inspirational speaker, and he released an independent album in 2005, appropriately titled, Make a Wish. By this time, he was a spokesperson for the organization that once introduced him to Foster. His 2004 memoir’s title, Tragedy is a Gift, speaks to the positivity that defined Sharp’s work and made him such a wonderful addition to the country music scene in the latter half of the nineties.
But mission accomplished, thanks to a plodding mid-tempo groove that never gets out of first gear, and a grating vocoder effect that should’ve been left behind with “Felt Good on My Lips.”
Come on, Tim McGraw. You’re Tim McGraw. You took Bruce Robison and Rodney Crowell songs to number one. Can’t you find some other should’ve been hits from days gone by, instead of recording weak sauce like this?
Tim McGraw used to be the gold standard. I’m looking for that guy, that guy, that guy.
Written by Mark Irwin, Jimmy Slater, and Chris Tompkins
Listen: Lookin’ for that Girl
So… this is coming from pop idol Britney Spears’ 22-year-old younger sister who starred in a teen sitcom on Nickelodeon, and who became a tabloid favorite thanks to a controversial teen pregnancy. By all immediate expectations, her debut country single should be a disaster, and I should be making a stale pun out of the song’s title, right?
Only it isn’t a disaster. It’s well written, competently sung, and backed by a confident, un-fussy production that unmistakably identifies it as a country record. No disastrous attempts at power notes, no wall of thrashing guitars – just simple, gimmick-free, no-frills storytelling with generous amounts of country instrumentation. A pleasant surprise coming from a figure who could easily coast along on name recognition.
It’s unfortunate that “How Could I Want More” is hindered by a few clichés (“Treats me like a princess,” “Let’s me have it my way,” etc.), but the gaps are filled in with a fully realized melody and a tastefully restrained vocal. One might even hear shades of Deana Carter in Spears’ vocal stylings – poised, subtle, sincere, and with a hint of twang.
We’ll have to wait and see if Spears’ full-length debut country album, due out later this year, will bring her any closer to the potential suggested by this single. But if “How Could I Want More” is a sign of an artist taking her cues from country’s finest storytellers of the nineties, I will gladly welcome the younger Spears sibling into the country fold with open arms.
Written by Jamie Lynn Spears and Rivers Rutherford
Rick Springfield. Slightly less theatrical, but Owen doesn’t have all that soap opera experience to draw upon.
So, “The One that Got Away” is about a summer love that ends when the weather changes. It’s an old story. It’s been done on the beach. It’s been done at the seaside carnival. It’s been done on the farm. It’s been done in the fields.
It’s gotta be done with cleverness. Or distinctiveness. Or viagra non prescription sincerity. This fails on all counts, leaving us with a generic summer song that’s as easily forgotten as the love that it documents.
Written by Dallas Davidson, Jake Owen, and Jimmy Ritchey
Listen: The One that Got Away
The 54th annual GrammyAdele Awards air this Sunday at 8 p.m. Eastern. Look for appearances by Miranda Lambert, Dierks Bentley and Lady Antebellum as well as country-ish performances by Jason Aldean, Glen Campbell (with the Band Perry and Blake Shelton), Taylor Swift and Carrie Underwood. We’ve picked and predicted the awards below – share your thoughts, and be sure to drop by on Sunday night for our live blog!
Ben: Adele made some of the best and most memorable music of the year, and met with across-the-board critical and commercial success, so it’s hardly a stretch to say that she should and will emerge victorious here.
Tara: I don’t often agree with Bob Lefsetz, but his case for why 21 has resonated so well is spot on: “music trumps everything.” How true, and how refreshing that an album that embraced the hell out of this theme made such a commercial splash.
Sam: Lady Gaga is the only one of the nominees who can rival her for publicity in 2011, but Adele’s record sales should put her over the top. Oh, and it was a great record — not that that means anything where Grammy voters are concerned.
Dan: It helps that this is an especially lazy pool of nominees. 21 is certainly a strong album and a commercial landmark, but I do wish something like Kanye’s My Beautiful Dark Twisted Fantasy were here to help hold up the bar.
Kevin: Adele made the best album by a wide margin.
Ben: The dramatic build-up nature, the simmering intensity, the all-guns-blazing chorus…“Rolling In the Deep” is all but untouchable.
Tara: As rousing a Top 40 hit as we’ve heard in years. I think we all know Adele will sweep.
Sam: I’m a Mumford & Sons fan, but it’s hard to top “Rolling in the Deep.” Anyone who votes for a Katy Perry song in this category should lose their Grammy voting rights permanently.
Dan: Long after it became overplayed, it was still more refreshing to me than everything else on the radio.
Kevin: Adele cut through the hype by being the best singer and the best songwriter. Amazing, isn’t it?
Tara: “Rolling in the Deep” shines more as a record than as a composition, but it’s still memorable enough to nab this award, and I think it will.
Dan: Here’s where I’d love to see some variation. “All of the Lights” is a poetic, layered micro-drama. Plus, from a songwriting standpoint, I’ve never fully gotten over how “Rolling in the Deep” cribs its chorus from Gnarls Barkley’s “Crazy.”
Kevin: The British slang that the song is built around doesn’t stop “Rolling” from being the most universal of the five compositions.
Tara: Bon Iver fits the Grammy mold the best. Personally, I’m not married to any of these acts, but I guess J. Cole piques my interest the most right now. This is totally one of those picks I’m going to regret in six months…
Sam: I think this one could be an upset win for the country world. “If I Die Young” was such an unexpected crossover hit, and I think it had more resonance than most other singles from the eligibility period. Plus the Band Perry is cuter than a basket full of puppies, which can only help them.
Dan: I think Bon Iver is the most fully realized act, and predict the band’s Song and Record nods will tip Grammy voters to vote for them like Adele’s did a few years ago. But Minaj’s potential excites me the most, and I had “Super Bass” on loop last year.
Kevin: Minaj is the most refreshing of the five, though Bon Iver’s the most Grammy-friendly.
Best Country Solo Performance
Ben: Swift outclasses the competition by miles.
Jonathan: A depressing line-up here, really. Swift’s single and performance are far and away the strongest of the five nominees, but she didn’t land the general field nominations that many people were expecting her to receive, so I do wonder if her support runs as deep this year as it did during the Fearless juggernaut. If she loses this one, I think it will be to the red-hot-but-I-don’t-get-it-at-all Aldean.
Tara: Embarrassing line-up. “Mean” is the only one that even comes close to Grammy worthy. I think Swift still has the voters on her side, but I could also see Aldean edging her out.
Sam: “Honey Bee?” “Dirt Road Anthem?” Really, Grammy voters? I guess we should be lucky they managed to put one good song in the category, even if it was probably an accident. However, I think voters are going to take a year off on the Swift love and give it to Aldean, because it’s the least country-sounding song in the category.
Dan: I could see Shelton’s familiarity prompting a win here, but suspect Grammy voters are still in Swift’s corner.
Kevin: They should just make the genre categories line up perfectly with the big three. This is really a race for Country Record of the Year anyway. Swift’s entry is the best.
Leeann: All of the songs on this are vanilla except for the Swift song, both in lyrics and execution. This is the inarguable standout song.
Ben: It’s a super tough call for me to choose between The Civil Wars and Chesney and Potter. As much as I adore “You and Tequila,” I’m finally settling on The Civil Wars as my pick. However, I expect that Aldean and Clarkson will likely triumph over both.
Jonathan: Had the Civil Wars scored the Best New Artist nomination that they seemed primed for, I would be more bullish on their chances here. They’re still the only of the four nominees I’d even consider voting for, but Clarkson is the only proven Grammy commodity in this lot, and this is probably the least credibility-straining place to recognize Aldean.
Tara: Confession: I don’t really see the sparkle that others see in “You and Tequila.” The swampy “Barton Hollow” has my heart, but I think Aldean & Clarkson will have the Grammy voters’ hearts. And I’m always OK with a little K. Clarkson love.
Sam: “Barton Hollow” kicks the ass of every other song on the list, including the excellent Chesney/Potter collaboration, and if Grammy voters actually listened to the songs they vote for, it would probably win. However, the Aldean/Clarkson screamfest has the benefit of Kelly Clarkson’s name recognition and Aldean’s current popularity.
Dan: The Civil Wars wail like mad dogs on their track. But Aldean and Clarkson are both having a moment right now.
Kevin: The Civil Wars seem like Grammy catnip.
Leeann: My vote goes for the Chesney/Potter collaboration or The Civil Wars song, but I won’t be surprised if it goes to the powerhouse duet of Aldean and Clarkson based on crossover appeal. I hope, however, that it turns out that I’m not giving the Grammy voters enough credit.
Ben: Gill’s “Threaten Me with Heaven” is mature and beautifully written, but ultimately, my heart still belongs to “Mean.”
Jonathan: Gill has a real shot at this because it’s the Grammys so Gill always has a real shot at anything he’s nominated for. He’d be a worthy winner here, too, as would “You and Tequila” or the more likely winner, “Mean.”
Tara: I wrestle with this one, but I think the freshness of “Mean” gives it an edge over Gill’s track for me. Gill could easily take this given he’s Grammy royalty, but I’ll predict the voters will stick with Swift.
Sam: It’s Vince Gill in a Grammy category. That’s why.
Dan: I’d be happy with any of those last three. Honestly, I even half-like “Just Fishin’” and “God Gave Me You” as songs.
Kevin: Can’t believe that Gill’s composition got a nod. I like Swift’s record the most, but as a song, “Threaten Me With Heaven” is jaw-droppingly good.
Leeann: I’d love to see Vince win another grammy, but I won’t be surprised or too disappointed if Swift takes this one.
Ben: Church, Strait, and Swift have the three best albums, and of those three, Strait’s Here for a Good Time is the most fully realized, but I would expect that Swift’s crossover appeal and high sales numbers will lead voters to gravitate toward Speak Now.
Jonathan: The nomination for Lady Antebellum’s godawful album represents Grammy voting at its laziest. I don’t care how many people bought Own the Night: It’s terrible and, at some point, the over-rewarding of Lady A for their aggressively middlebrow, banal music has to stop. Church’s album would get my vote over Strait’s by just a hair and, even though I would’ve nominated it for Best Pop Album instead, Speak Now is Swift’s strongest set to date, so I won’t complain too loudly when she wins here.
Tara: Chief packs a killer, audacious punch…but I have this sinking feeling that Lady A will pull a repeat in this category. Look – I was (and probably still am) Lady A’s biggest advocate at Country Universe, but I can’t get behind the overblown success of their degenerating music. How will they ever be motivated to live up to the massive potential shown on Lady Antebellum if we keep rewarding them like this?
Sam: Quality-wise, Speak Now edges out Chief, though I think Chief deserves some recognition for its ambition. Speak Now was a commercial and an artistic triumph, though the only concern is that it was released so long ago that its impact may have faded from the voters’ memories. That might open the door for Lady Antebellum to win, which would be a shame. While I actually kind of liked Own the Night, there are three albums better than it in the category.
Kevin: Strait just keeps getting better lately. I think he’d win if it wasn’t for category crossover votes for Swift.
Leeann: I wish I cared about this category more this year than I actually do. It’s likely that either Strait or Swift will win the award, but I think Church’s album is the most interesting.
Jonathan: Of the four veterans nominated, only Harris’ album is anywhere close to her best work, but that rarely matters much. The vitriol directed at Chorney and her exploiting of NARAS’s new social networking initiatives to garner her nomination has reflected very, very poorly on a whole lot of Americana fans and has perpetuated an ugly “us-versus-them” attitude, but there’s no dressing up how poor Chorney’s album actually is, either. But she’s also the only one of the five nominees that anyone has been talking about during the entirety of the voting period… I give the edge to Williams on sales stats alone, but there’s really no frontrunner here.
Sam: Should win: Hayes Carll, KMAG YOYO and other American Stories (yeah, I know it wasn’t nominated). I actually kind of hope that Linda Chorney wins. For one thing, the outcry would be phenomenal. For another, it might shed some light on just how the voting is done, and is there a better way to do it. Do the voters know what Americana music is? Did they listen to any of the albums? I have nothing against any of the nominees, but Hayes Carll released one of the best albums of the year and had no chance in competing against legends like Emmylou, Ry Cooder and Levon Helm. Of the four legitimate nominees, Williams has gone the longest between Grammy wins, so maybe it’s her turn.
Dan: Levon has won for his last two albums. This one is a live set, so Lucinda could definitely unseat him, but still.
Best Bluegrass Album
Ben: I have no rationale for who should win, but I think we all know who will.
Jonathan: I can’t think of anything more foolhardy than betting against Alison Krauss at the Grammys.
Tara: What Ben said.
Sam: Honestly, I thought Krauss’ Paper Airplane was kind of tepid, while Rare Bird Alert was charming and energetic. Still, Krauss is the Jimmy Sturr of the Grammy bluegrass categories (all the polka fans should get that reference), so unless the voters decide to give Martin a lifetime achievement award of sorts, she’s got this one in the bag.
Dan: Steve Martin’s got a chance, but…
Best Folk Album
Ben: If my prediction of an Aldean-Clarkson victory for Duo/Group Performance comes true, I would expect that this is where voters will recognize The Civil Wars.
Jonathan: If NARAS were really committed to the idea of reducing the number of categories, they’d merge the Americana and Folk Album categories with Best Country Album and, considering how fast and loose they’re already playing with genre tags, they probably should do just that and let the chips fall where they may. Welch’s album is the only one of the five that really scans as “folk” music in any traditional sense, so who wins here will depend on whether or not voters are looking for something more traditional or contemporary. I’m guessing it’s the latter case, to the benefit of the Civil Wars.
Sam: Steve Earle released his best album in years with I’ll Never Get Out of This World Alive. The love songs were tender, the topical songs were sharp and insightful, and there weren’t any love songs about Condoleezza Rice. Eddie Vedder, on the other hand, is in Pearl Jam, so clearly he’s the odds-on favorite. Actually, Ukelele Songs got some pretty good reviews, and if Vedder’s vocals didn’t remind me so much of Bob Dylan’s current voice crossed with an injured goat, I might be more inclined to like it.
Dan: I can imagine a Fleet Foxes or Civil Wars win, but in the end, I’m still guessing Earle, the proven Grammy favorite.
Leeann: It’s sad that I care about this category far more than the Country Album category this year. I love The Civil Wars album the most, but the Welch, Vedder and Earl albums are great too. I’ll be happy to see any of them win, but I have a strange feeling that Vedder will take it.
It’s that time of year again! The time when we all dutifully tune in to the CMA Awards show, raise our eyebrows at the “What the heck are they doing here?” award presenters, and afterwards complain about how totally un-country the whole show was. I don’t know about the rest of you, but I can’t wait.
We’re pleased to share the Country Universe staff picks for this year’s CMA Awards, as well as our predictions of who the winners will be. This year we have some highly competitive categories in which predicting the winners is quite difficult, leading to some significantly divergent picks among our writing staff. Agree? Disagree? Join in the discussion in the comment thread below, and let us know.
The CMA Awards telecast will air on Wednesday, November 9, 8pm Eastern on ABC-TV. We will be live blogging the show here at Country Universe, so do be sure to drop by and join in the fun!
Dan: I can imagine anyone but Urban taking it, but I like Jonathan’s logic.
Ben: It’s hard to bet on the Entertainer award going to a female artist, but it seems Swift has undoubtedly had the biggest year of all the nominees. Her album sold like hotcakes, and produced a trio of killer radio singles, while she topped that off with her Speak Now tour. That combination should bag her this year’s top prize.
Leeann: Paisley could take it again, but my money’s on the CMA wanting to give it to fresh blood this year. Taylor Swift is who probably actually deserves it, however.
Jonathan: Paisley is probably the most logical pick, but he didn’t figure as heavily into the nominations this year as he could have, so I’m wondering if the voters have cooled on him as much as the crew here at CU have of late. Swift’s live show should be a factor in this category, but she has a whole lot of gender bias to overcome, and there seems to be at least something of a backlash against her in the country community post-Fearless. Which leaves the ubiquitous Shelton, who has been something of a new “Everywhere Man” for the genre over the past year.
Kevin: I think Swift will win because she had the highest profile year. But I think Aldean defines the genre in 2011, for better or for worse. Mostly worse.
Tara: As I’ve said before, this is the most appropriate way for the voters to reward Swift’s monster success, and for the first time at the CMAs, I truly feel she deserves this award. I’m particularly impressed with the way she continues to cultivate her relationship with her fans. I just hope the voters don’t pair this award with the FVOTY award.
Dan: Aldean’s not my thing, but he’s the biggest guy in the field by an unignorable margin. More than anything, I think the indie Broken Bow Records deserves props for building their flagship artist so well.
Ben: I’m largely indifferent to this particular field of nominees (save possibly Keith Urban), but Aldean’s massive success should most likely nab him his first Male Vocalist trophy.
Leeann: Again, I think it’s Shelton’s night to sweep in order to shake things up this year. He and Urban have the strongest voices in the category anyway.
Jonathan: Urban’s the only one of the lot who has released even one single I’ve liked in the past year, so he’d get my vote. Aldean has the commercial clout, sure, but quality has to count for something, right? Voters have looked at the word “Vocalist” in the category name and have passed over Chesney for years, and I wonder if they’ll do the same to Aldean here. I’m thinking yes.
Kevin: Urban’s the one who I can stand to listen to. But if Shelton was able to win last year, I don’t see how he loses this year. Not post-Voice and “Honey Bee.”
Tara: It makes me sad that I can’t find a solid reason to support Urban or Paisley, both of whom I used to feel passionately about. And in all honesty, I can’t find a solid reason to support any of these guys, based on their output during the eligibility period. I’m going to blindly back Urban –who, despite being “Urban-lite” these days, is at least consistent– and predict that Shelton’s amped public profile will give him the edge with voters.
Dan: Come ACM season, I’ll be all for Lambert; Pistol Annies and Four The Record prove she’s using her new commercial powers nobly. But I like Swift’s performances on Speak Now, and that album just applies more to this awards cycle.
Ben: Swift is the overall strongest contender, but I could see voters seizing the opportunity to recognize Evans, who released a new album and had a number one single during the eligibility period. I wouldn’t rule Lambert out either, though she didn’t have as strong a year as she did in 2010. But I doubt this will be Underwood’s year, and McBride’s was essentially a filler nomination, so I’d say it’s down to Swift, Evans, and Lambert. (But, like Dan, I will totally be Team Miranda when the ACMs roll around)
Leeann: I reflexively say Lambert should win, but Swift has had the best year and will likely win as a result. I won’t be heart broken if Lambert takes it though.
Jonathan: There’s a part of me that would vote for Lambert on principle and out of loyalty, but I can’t argue with a simple mathematical inequality: “Back to December,” “Mean,” and “Sparks Fly” > “Only Prettier,” “Heart Like Mine” and “Baggage Claim.” Had her label been campaigning harder that she’s never won this award, Evans could’ve been a bigger threat here, but Lambert’s ongoing momentum should carry her to a repeat win.
Kevin: Can this power couple nonsense be derailed? Probably not, so while I’d rather see Swift get it over Lambert, I’m doubtful it would happen. My real fantasy would be for the only non-winner, Sara Evans, to take it. For prosperity’s sake, and for actually putting out a great single that I failed to realize was great until it was already a hit.
Tara: This is a tough one for me. Lambert’s worked the genre like no other female has this past year and a half, but the singles she’s released in the eligibility period have been so-so. Swift’s put out some solid material, but I’m not sure I’ll ever be able to support her winning a vocalist award. And then there’s Underwood, who’s been relatively quiet on the radio front, but whose stunning performance of “How Great Thou Art” back in April went viral and serves as a reminder of what I firmly believe is one of the finest voices in the genre. I’m going with my gut and backing Underwood, but I think the voters will reward Lambert again, which is fine with me.
Dan: Seriously, why not the Civil Wars? They’ve sold about as many albums (200,000-ish) as everyone besides Sugarland without the support of a major label. Not to mention they just made the most interesting music.
Ben: I’m supporting the Civil Wars on principle, but it’s a no-brainer that Sugarland’s hot streak is not over yet.
Leeann: I love The Civil Wars. The end.
Jonathan: Yet more evidence that this category should be merged with Vocal Group of the Year to cut the deadweight. Though the Civil Wars getting in instead of the JaneDear Girls is a nice testament to the fact that the CMAs, every so often, can exercise good taste and discretion.
Kevin: Sugarland’s album was atrocious. The Civil Wars are in the running for my favorite set of the year. Easy call for me.
Tara: Can Sugarland hurry up and release a new, redeeming album, please?
Dan: Lady A were between albums. Some variety this year, please.
Ben: It’ hard to bet against Lady Antebellum, but the Zac Brown band gave us a strong album and two of the year’s most memorable hit singles (“As She’s Walking Away” and “Colder Weather”), and I predict that they will be rewarded justly.
Leeann: Zac Brown Band has a good chance with the best music in the category, but Lady A just might not be out yet.
Jonathan: Little Big Town’s brilliant “Little White Church” should’ve put them back in the mix for good, but they really botched the single releases from their album and are right back to being also-rans. The Band Perry will settle for the “New Artist” award as a consolation prize this year, which leaves Lady A and Zac Brown Band to duke it out. In terms of the quality of their output, Zac Brown Band has Lady A dead to rights, but is that enough to stop the trio’s awards-show juggernaut? Let’s hope so.
Kevin: Zac Brown Band is the only option both realistic and palatable.
Tara: This is the first of these categories that I feel strongly about this year. Based on the strength of You Get What You Give, Zac Brown Band deserves to nab this award, hands down. But I’ll go against my co-bloggers here and guess that Lady Antebellum still has the industry wrapped around its finger.
Dan: Church seems the most likely to have a long, interesting career and probably deserves the win. I just don’t want to encourage “Homeboy,” I guess.
Ben: Thompson Square and The Band Perry are the only two nominees whom I would still consider “new” artists, and I think The Band Perry beats Thompson Square any day. Bryan, however, did reach a new level of stardom over the past year, so he stands a good chance at wining nonetheless.
Leeann: While it’s strange that with three albums Church is still in the New Artist category, it’s probably that same reason that he should win the award, not to mention that he had the strongest album of the nominees in the past year.
Jonathan: Young’s the best singer in the field, but his material is still too inconsistent in quality for me to get on board with him. Church, on the other hand, finally made good on his early promise and his considerable hype with Chief and would be a deserving winner, as would the uneven but still pretty good The Band Perry. As the only nominee with any other nominations, they have to be considered the slight favorites over Crest WhiteStrips.
Kevin: I think Church’s big breakthrough happened close enough to the voting window to give him a slight edge. I’d like to see Chris Young get the boost from a win.
Tara: Of all the nominees, I’m the most excited for Chris Young’s future in country music – his vocal talent is tremendous, and even though it falls right outside of the eligibility period, Neon is one of my favorite releases of this year. Based on their other major nominations, though, I think The Band Perry will take this.
Dan: Here’s a logical place to acknowledge Aldean, though I hope voters think twice about it.
Ben: In my book, Swift and the Zac Brown Band are the only truly worthy winners (and I’m still scratching my head over why a Blake Shelton “Six Pak” was even nominated in the first place). To me, the most intriguing thing about Swift is that she really does seem to get a little better and a little deeper with each album. Speak Now is her crowning achievement to date, and in my opinion, the best album on this ballot.
Leeann: It hurts my heart to think it, but Jason Aldean’s big year will likely earn him the award for best album, even though numbers isn’t how such an award should be selected.
Jonathan: Speak Now is Swift’s strongest album, but, “Mean” notwithstanding, it’s also her most unabashedly pop album. And song-for-song, I still think You Get What You Give is slightly better. But Aldean has been a steady seller, and he’s big enough that he has to win one of the major awards, and this one’s his best bet.
Kevin: “All songs composed by Taylor Swift” impressed the heck out of me, not the least of which because the songs were far better than her earlier work. Zac Brown Band’s a close second for me.
Tara: Speak Now is solid, but You Get What You Give is the better example of how to move this genre forward, with its delicious yet reverent mishmash of influences. But I think this is where the voters will recognize the often overlooked commercial success of Jason Aldean.
Dan: It’d be heartening to see The Band Perry’s risky, rootsy release get its due. Plus: the single alone is 3x Platinum, better than any of its competitors can claim.
Ben: “Colder Weather” and “If I Die Young” are the two strongest competitors, but for me, a cool folksy arrangement puts the latter over the edge.
Leeann: This is tough. I can actually see any of these singles winning, but I have a good feeling about “If I Die Young”, though I’d love to see “Colder Weather” prove me wrong.
Jonathan: This one’s actually a tough call, since all five of the singles are big radio hits and everyone here has multiple nominations. “If I Die Young” is the best-produced single of the lot, but I’m predicting that Kelly Clarkson’s endless likability gives the edge to her duet with Aldean.
Kevin: Love the Band Perry record most, followed by Sara Evans. But this is the CMA awards, and Shelton managed to be both completely vanilla and namedrop Conway Twitty and Loretta Lynn.
Tara: If I better understood the story in “If I Die Young,” I might be able to get behind it, but I think “Colder Weather” is the more memorable single. It’s my favorite kind of country ballad – killer vocals, gripping melody and palpable emotion. I see the fiery Aldean / Clarkson collaboration taking this one, though. (By the way, dude, “Honey Bee” – really CMA?)
Dan: “If I Die Young” is a flawed composition, but it’s still the most striking and strange one here, and that’s worth something.
Ben: I never though I’d see a CMA Song of the Year field in which Matraca Berg and Deana Carter would compete against Colt Ford and Brantley Gilbert. I would so love to see Berg and Carter win the award. I might tend to be slightly biased when it comes to Matraca Berg, but I think “Tequila” is a fine composition on its own merits, and a worthy winner indeed. Still, my gut predicion is that Perry will grab the trophy instead.
Leeann: “Mean” is probably my favorite song in terms of production and melody, but “You and Tequila” is the best song of the nominees.
Jonathan: Berg is a treasure and I like Carter well enough, so it’s nice to see their names on the ballot again, but “You and Tequila” isn’t either of their best compositions. Here’s the thing about “Mean”: What doesn’t work about the song has everything to do with the fact that it shows the extent to which Swift still hasn’t fully figured out her artistic persona. But in terms of melody and overall construction as a stand-alone song? It’s the class of the field. As Dan said, “If I Die Young” is flawed, but it also has a lot going for it and will be a fine, worthy winner when it inevitably takes this.
Kevin: I love “You and Tequila”, but it’s an old song. I’m glad Chesney rediscovered it, but I can’t see it as this year’s Song of the Year. I think “Mean” is the best of the bunch, with the music as clever as the lyrics.
Dan: The Single nod for Jason and Kelly suggests they have the edge here. But my heart echoes a resounding “Go on, son.”
Ben: “As She’s Walking Away” is just so effortlessly charming that it would easily be my first pick, but the cross-genre appeal – and bonus Clarkson star power – of “Don’t You Wanna Stay” make it the most likely winner. The fact that “Don’t You Wanna Stay” is also nominated for Single (which “As She’s Walking Away” sadly isn’t) suggests a likely victory in this category.
Leeann: How can I not pull for the Zac Brown Band and Alan Jackson when I have a chance? I’m pretty confident that the drama, cross genre appeal, and, yup, the drama again, make “Don’t You Want to Stay” the sure bet though.
Jonathan: “As She’s Walking Away” is one of the purest and truest duets in years, and it could pull some votes from the more traditionalist voters, but the Aldean and Clarkson single just has too much firepower to lose here.
Kevin: If this doesn’t go to Zac Brown Band and Alan Jackson, then I no longer understand how CMA voters think.
Dan: It’s my least favorite Paisley video ever, though.
Ben: Swift’s “Mean” is my personal favorite among these nominees, but I’m expecting that voters will show some Shelton love instead.
Jonathan: Paisley has to win something, right? And this also gives the voters a chance to honor some beloved genre vets.
Kevin: I think the video splicing tricks will give Paisley and Alabama an additional edge. Of the five clips, “Mean” is the one I like the most.
Dan: Default underdog support.
Ben: I would love to see this go to the steel guitar man (and preferably not to Dann Huff), but Mac McAnally tends to be the favorite here.
Leeann: I want the steel guitar to represent this year. So, I’ll will it to happen.
Jonathan: Franklin’s the only nominee who hasn’t won previously, and being regarded as long overdue eventually helped McAnally score his first win, leading to his current three-year hot streak.
Kevin: I’ll be rooting for Paul Franklin until he finally wins, but I won’t believe that he’ll win until he finally does.
Tara: What Ben and Kevin said.
In some parallel universe where I had actual musical talent and the opportunity to record an album, I suspect I’d forgo the pile of demo tapes sent to unknown artists and just look for awesome album cuts from great songwriters.
Matraca Berg’s catalog of recorded cuts would be a good place to start, an epiphany that serves Kenny Chesney well. Berg is usually associated with female artists, and indeed, this song was originally recorded by Deana Carter, who also co-wrote the song. But Berg’s pen has been responsible for some great moments from Keith Urban and Randy Travis, so it’s no surprise that Chesney does well with this one.
Chesney sings it with more personality and general presence than Carter did, and the record also benefits from picking up the pace toward the end, a choice that would have elevated Berg’s own version as well. The harmony vocal of Grace Potter isn’t essential until the song starts to fade away, but it does ease some of the loneliness embedded in the lyric.
All in all, it’s just nice to hear Chesney singing a great song again.
Written by Matraca Berg and Deana Carter
Listen: You and Tequila
Written by Bob Losche (Music & More)
Google “Gary Harrison songwriter” and you won’t find a website or MySpace. There’s not even a Wikipedia article. Don’t know where he’s from, how he got into songwriting or what he likes to eat for dinner.
As far as I know, he has never made an album. When he co-writes a song, does he write the music or the lyrics or a little of both? Don’t know. He’s a Grammy nominated songwriter as co-writer of “Strawberry Wine”, the 1997 CMA Song of the Year, and has penned many BMI Award-Winning Songs. It appears that his first big hit was “Lying in Love with You”, written with Dean Dillon for Jim Ed Brown and Helen Cornelius. The duet went to #2 in 1979.
Since there is so little data to draw from, a chronological treatment of his illustrious career would be difficult. I’ve decided instead to begin with the collaboration Gary is best known for, his work with Matraca Berg, and then continue with his other significant songwriting collaborations.
In his excellent Favorite Songs by Favorite Songwriters article on Matraca Berg, Kevin gave us his favorite 25 songs written by Berg. Gary Harrison has frequently collaborated with Matraca. On Kevin’s list the following 9 songs are written by Berg/Harrison:
Give a read to Kevin’s write-up for all 25. Kevin asked for comments from his readers on their favorite Matraca Berg songs. In the 29 comments received, three more collaborations with Gary were mentioned that didn’t make Kevin’s cut, including “Hey Cinderella” and “Eat at Joe’s” by Suzy Bogguss and Pinmonkey’s “That Train Don’t Run”.
“Hey Cinderella” is from Suzy’s 1993 CD, Something Up My Sleeve. Fantasy turns into “dreams that lost their way” by the end of the first long verse. In the second verse, reality sets in. In “Eat at Joe’s”, from her 1992 CD, Voices in the Wind, Suzy’s sounds like a sultry waitress in an all night diner – “here’s a hot top on your coffee, honey you’re a mess, I ain’t your wife I ain’t your momma, but I’ll do I guess”. The bridge is a wistful but not really hopeful call out to prince charming.
My favorite Pinmonkey song is still “Barbed Wire and Roses”, but “That Train Don’t Run”, from their 2006 Big Shiny Cars CD, isn’t far behind. It’s up-tempo like Barbed Wire. It was also a single for Matraca Berg from her 1997 “Sunday Morning to Saturday Night” cd. The singer recalls a former lover who may have been a bit on the wild side. It must be “your memory rattlin’ the shutters, that train don’t run by here no more”. The next line is “I lie and listen to the last boxcar, sweet dreams baby wherever you are”. Love that last phrase. Sounds like something Bogie might have said.
A bit of trivia: I wonder how many times that last phrase, “sweet dreams baby, wherever you are”, has been used in a song. In addition to the Pinmonkey song, I found it in “Goodnight”, written by Charlie Black and Dana Hunt, from Suzy Bogguss’ self-titled 1999 CD. The last line of the chorus is “I’m signing off, sweet dreams baby, wherever you are”. A song by Jedd Hughes, “Time to Say Goodnight” has “sweet dreams baby, sweet dreams baby wherever you are tonight”. It was written by Hughes, Tommy Lee James and Terry McBride and can be found on Hughes’ 2004 CD, Transcontinental. I wouldn’t be surprised if someone else finds another instance.
I found another Berg/Harrison collaboration but this time with Jeff Hanna on a Chely Wright song, “Emma Jean’s Guitar”. It’s an album track from Chely’s 1997 Let Me In CD, which featured “Shut Up and Drive”. The story tells of a guitar with Emma Jean’s name etched in the finish found in a pawnshop. The singer wonders about Emma Jean’s hopes and dreams and feels that she’s the guardian of her guitar.
Gary has written quite a few great songs without Matraca. Another frequent co-writer for Gary has been Tim Mensy. My favorite Mensy-Harrison collaboration is Trisha Yearwood’s “Nearest Distant Shore”, an album track from her 1992 Hearts in Armor CD. It’s a song about getting out of a bad relationship: “You did your best but “the one you swore to love is pulling you down, you’re in over your head, chilled to the bone by the waters you’ve tread, chart a course to land before you drown”.
“That Wasn’t Me” was an excellent album track for Martina McBride on her 1993 CD, The Way That I Am. She knows that the guy is still hurting from the memory of an old girlfriend. She tells him “that wasn’t me”. It’s time to move on because she “can no longer pay the price” of his not letting go.
For fans of Mark Chesnutt, there’s “I Just Wanted You to Know”, a #1 song in ’94 from the CD Almost Goodbye and a #6 the same year, “She Dreams”, from What a Way to Live. Other Mensy Harrison collaborations include Doug Stone’s “I Thought It Was You”, a #4 in 1991, “A Singer in the Band”, an album track on Joe Nichol’s Revelation CD in 2004, and a Mark Wills song “Any Fool Can say Goodbye”.
With J.D. Martin, Gary Harrison wrote “Rollin’ Lonely”, a Johnny Lee song from his “Workin’ for a Livin’ ” album, which reached #9 on the charts in 1985, “Domestic Life”, a John Conlee #4 hit from his “American Faces” album in 1987, “Two Car Garage”, a #3 hit in 1983 from the B.J. Thomas album “The Great American Dream” and “Broken Toys”, a song about child abuse from BJ’s 1985 album “Throwin’ Rocks at the Moon”. The last song was written with Gloria Thomas as well as J.D.
Gary co-wrote 3 songs with Tammy Cochran from her “Thirty Something and Single” album released in June of 2009, the title track, “It’s All Over But the Leaving” and “He Really Thinks He’s Got It”.
With Karen Staley, he wrote “Face in the Crowd” which peaked at #4, a duet with Michael Martin Murphey and Holly Dunn from the former’s 1987 “Americana” album and “Now and Then” which Michelle Wright took to #9 in Canada.
Some other Gary Harrison songs are:
– “I Hate Everything” written with Keith Stegall, a #1 for George Strait in 2005. Check out the wake-up call at the end.
– “Alone Some” with Billy Yates, an album track for Billy from his 2005 album “Harmony Man”.
– “Crazy Me” and “I Do It for Your Love” with Richard Marx, from the Kenny Rogers 2000 CD There You Go Again.
Impressive list and I’ve probably missed some songs. If you search BMI.com, you’ll find 918 work titles for Gary Harrison. He’s been so busy, he probably hasn’t had time to set up a website or MySpace.