Tag Archives: Dierks Bentley

Nashville Scene: 11th Annual Country Music Critics’ Poll

The 11th Annual Country Music Critics’ Poll has just been published by Nashville Scene. It covers the 2010 year of country music. The participants of the poll consists of country music critics who spend their time listening to and analyzing stacks of music throughout the year in order to knowledgeably write about it for the purpose of either promoting excellent music or warning against the not so good stuff. Kevin, Dan and Tara are among these prestigious critics.

Each year, invited critics submit their ballots with their favorite music and artists in the appropriate categories. The poll includes the best albums, singles, male and female artists, reissues, live acts, duos and groups, songwriters, new acts, and the over all artists of the year. While the results include the usual suspects, they are mixed with some surprises or names that aren’t commonly associated with mainstream country.

Some of my favorite results include Raul Malo tied at #8 with Gary Allan for top males and Elizabeth Cook at #2 for top females, not to mention Sunny Sweeney’s “From A Table Away” landing at the #3 spot for singles. The most amusing result, however, is Jamey Johnson and Taylor Swift in the top two spots for songwriters.

What’s most fascinating about this process is that the critics have the opportunity to include comments with their ballots. These comments serve to clarify choices and pontificate on the state of country music and its various aspects. There are some insightful comments from both Dan and Tara, along with other critics that you might recognize from our blog roll.

Here are some of the cream of the crop comments that display a satisfyingly diverse array of perspectives:

“Lost amidst the rush to proclaim Jamey Johnson as the man to reclaim country music from pop acts like Taylor Swift is the fact that Johnson and Swift are cut from the precisely same cloth. Johnson is most often championed for the supposed authenticity of his songwriting, but is it really any more believable that he’s been “takin’ dee-pression pills in the Hollywood hills” than it is that Swift regrets not calling an ex when his birthday passed? Both Johnson and Swift have developed public personae and voices as songwriters that trade in the same suspension of disbelief. Swift’s music may not scan as “country” to the extent that Johnson’s does, but that isn’t because she’s any less authentic than Johnson. They both act like they’re “Playing the Part,” and they both do so awfully well.” —Jonathan Keefe, Slant Magazine

“Thank goodness the Internet and satellite radio are around to pick up FM’s slack, because brilliant would-be singles continue popping up on independent releases that Clear Channel won’t touch. My favorite two this year were Elizabeth Cook’s “El Camino” and Chely Wright’s “Notes to the Coroner.” The former: a hilarious country-rap about a creepy, mulleted lothario. The latter: a frank diary introduction from a recently deceased woman. Both: utterly unique and unshakably catchy.” —Dan Milliken, Country Universe

“In 2010, Grandpa told us about the good old days again. The most conspicuous presence on country radio in recent years has been this kindly old gentleman, lugging his aching bones out of bed to share some worldly wisdom. After years of hard labor and heartache, he’s now embarked on a second career as life coach for his hillbilly kin on recent singles from Lee Brice, Billy Currington, Craig Morgan and Alan Jackson (the matured mentor on Zac Brown’s “As She’s Walking Away”). Of course, country radio won’t fool with women over 40 except for Reba, so you never really get to hear Grandma’s side of things.” —Blake Boldt, The 9513

“Despite their two weak singles this year, “Our Kind of Love” and “Hello World,” I remain in Lady Antebellum’s corner. What hooks me is the way they’re able to inject gritty, tangible emotion into the glossiest of production and the vaguest of lyrics. That’s what elevates “Need You Now” to an aching confession, and that’s how, on a song that compares innocence to a condiment, Hillary Scott’s vocal performance alone manages to tell an evocative story.” —Tara Seetharam, Country Universe

“So if country music is doing so well artistically, why is it that whenever I turned on the radio in 2010, I heard mostly pop or rock songs with a token steel guitar thrown into the mix? I’ve long since given up hope of Americana artists ever getting picked up by mainstream radio, and I’ve pretty much come to terms with the fact that Jamey Johnson won’t be getting many (if any) hit songs no matter how good they are. But would it kill them to play some non-hyphenated country music a little more? I know that country-pop and country-rock are the flavors of the month, but where does that leave more traditional artists? I know I’d be more willing to tolerate Jason Aldean rapping or Jennifer Nettles singing with her stupid fake Jamaican accent if “Draw Me a Map” or “Will I Always Be This Way” was next on the playlist.” —Sam Gazdziak, The 9513

“In an August interview with Spinner, Ryan Bingham rejected the notion that he makes country music. Two weeks later, Bingham was named the Americana Music Association’s “Artist of the Year,” thanks in large part to his Academy Award-winning song “The Weary Kind,” a song he wrote for a movie about a country singer. In September, when asked about the state of country music today, rising star Justin Townes Earle told The Wall Street Journal that he’s embarrassed to be from Nashville because of the “shit songwriting, shit records and shit singers who are making a million dollars.” Even mainstream country stalwart Zac Brown distanced himself from the genre, telling American Songwriter in September, “The songs that I write are Southern, but I wouldn’t necessarily call them country.” It’s a shame — and an enormous loss for the genre — that the term “country music” has come to describe something so narrow that bright young artists like these choose not to identify themselves as country. Thank God for Jamey Johnson, who wears the mantle proudly.” —Jim Malec, American Twang

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Crunching the Numbers: January 2011

Feel that chill in the air?  It’s not just climate change, friends.  The music industry is suffering through historic lows in record sales, the worst since SoundScan started tallying them in 1991.

How are country artists faring?  Let’s take a look at cumulative sales for current albums. Sales are rounded to the nearest hundred.

Top Selling Current Country Albums

  1. Taylor Swift, Fearless: 6,233,900
  2. Taylor Swift, Taylor Swift: 4,955,000
  3. Lady Antebellum, Need You Now: 3,138,700
  4. Taylor Swift, Speak Now: 3,078,600
  5. Zac Brown Band, The Foundation: 2,489,200
  6. Carrie Underwood, Play On: 1,937,041
  7. Lady Antebellum, Lady Antebellum: 1,835,800
  8. Jason Aldean, Wide Open: 1,364,700
  9. Miranda Lambert, Revolution: 1,149,000
  10. Rascal Flatts, Greatest Hits Volume 1: 994,600
  11. Sugarland, The Incredible Machine: 815,200
  12. Jason Aldean, My Kinda Party:  766,300
  13. Tim McGraw, Southern Voice: 749,200
  14. George Strait, Twang: 670,200
  15. Kenny Chesney, Hemingway’s Whiskey: 655,200
  16. Zac Brown Band, You Get What You Give: 636,000
  17. Rascal Flatts, Nothing Like This: 585,800
  18. Luke Bryan, Doin’ My Thing: 509,200
  19. Keith Urban, Get Closer: 508,200
  20. Brooks & Dunn, #1’s…and Then Some: 479,700
  21. Toby Keith, American Ride: 432,100
  22. Chris Young, The Man I Want to Be: 408,000
  23. Eric Church, Carolina: 380,600
  24. Darius Rucker, Charleston, SC 1966: 376,700
  25. The Band Perry, The Band Perry: 364,000
  26. Josh Turner, Haywire: 361,800
  27. Justin Moore, Justin Moore: 325,600
  28. Easton Corbin, Easton Corbin: 314,000
  29. Toby Keith, Bullets in the Gun: 279,400
  30. Jamey Johnson, The Guitar Song: 256,300
  31. Gary Allan, Get Off on the Pain: 238,000
  32. Reba McEntire, All the Women I Am: 224,800
  33. Jerron Niemann, Judge Jerron & The Hung Jury: 222,700
  34. Billy Currington, Enjoy Yourself: 222,000
  35. Tim McGraw, Number One Hits: 220,500
  36. Dierks Bentley, Up on the Ridge: 204,900
  37. Zac Brown Band, Pass the Jar: 202,100
  38. Trace Adkins, Cowboy’s Back in Town: 194,200
  39. Johnny Cash, American VI: Ain’t No Grave: 190,100
  40. Brad Paisley, Hits Alive: 189,200
  41. Alan Jackson, 34 Number Ones: 181,000
  42. Blake Shelton, All About Tonight: 160,700
  43. Little Big Town, The Reason Why: 158,300
  44. Blake Shelton, Loaded: The Best of Blake Shelton : 142,300
  45. Jaron and the Long Road to Love, Getting Dressed in the Dark: 119,700
  46. Josh Thompson, Way Out Here: 107,000
  47. Joe Nichols, Old Things New: 100,700
  48. Brantley Gilbert, Halfway to Heaven: 81,400
  49. Lee Brice, Love Like Crazy: 81,200
  50. Steel Magnolia, Steel Magnolia: 41,000
  51. Joey + Rory, Album Number Two: 34,100
  52. Randy Houser, They Call Me Cadillac: 30,900

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The Best Country Albums of 2010, Part 2: #10-#1

There was a lot of good music out there in 2010, provided you knew where to look.  Sometimes, you could even find it on the radio.  Here are the top ten albums of 2010, according to our staff:


#10
Easton Corbin
Easton Corbin

With the charisma of Clay Walker and the chops of George Strait, Easton Corbin sauntered onto the mainstream country music scene with a hit song that –refreshingly– name-checked “country” in all the right ways. He needs no such affirmation, though, as his debut album is a collection of effortlessly neo-traditionalist songs, ripe with sincerity. It’s fair to compare Corbin to his obvious influences, but there’s something about the natural, youthful effervescence he brings to his music that makes it sparkle all on its own. – Tara Seetharam


#9
Freight Train
Alan Jackson

Like an old, trusted friend, Freight Train is easy to take for granted – and that’s a shame, because it’s as rousing as any of the boundary-pushing albums released this year. Jackson returns to his signature sound on this album, sinking comfortably into the set of twelve songs but never skimping on emotional investment. From the smoking “Freight Train” to the exquisite “Till the End” to the shuffling “I Could Get Used To This Loving Thing,” Jackson reminds us that his formula of bare-bones authenticity and quiet charm is as relevant and rewarding as ever. – TS

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The Best Singles of 2010, Part 4: #10-#1

Our look back at the year’s best singles comes to a close, with unprecedented CU consensus at the top of the list.  The top two singles of the year were ranked in that order by three of our four writers, and both appeared in the top ten of the fourth writer.

Here’s our ten best of 2010:

The Best Singles of 2010, Part 4: #10-#1

#10

Draw Me a Map
Dierks Bentley

Bentley is getting a lot of deserved attention for sonically diverging from the mainstream to create a bluegrass-inspired album. It’s an excellent album, but to his credit, “Draw Me A Map” isn’t so far removed from some of the unreleased songs on his first two mainstream projects; It’s just that he gets to shine a finer focus on it for this album, and therefore, this seemingly subversive song for radio gets to be released. The inspired blend of Bentley’s ragged voice with Alison Krauss’ angelic one takes the song to an even sweeter level. – Leeann Ward

#9

Broken
Chely Wright

Robert Louis Stevenson once remarked that “Hope lives on ignorance; open-eyed Faith is built upon a knowledge of our life, of the tyranny of circumstance and the frailty of human resolution.” He was talking, in context, about marriage. The truth is that no one enters a relationship completely free of burden, and only by submitting to the complications of that truth can we avoid being ruled by them. Wright, for her part, manages the task with simple, earnest grace, probably strengthening her relationship through mere acknowledgment of its weaknesses. – Dan Milliken

#8

Drop On By
Laura Bell Bundy

Unlike the year’s other booze-induced lover’s call, “Drop On By” isn’t rooted in emotional dependency; it’s fueled by Bundy’s earthy physical longing – and what a longing that is. Proving her masterful interpretative skills, Bundy churns out a slow-burning performance that’s both deftly controlled and achingly sensual, with just a tinge of playful warmth woven through. The song’s kicker, though, is the smoky throwback arrangement – a delicious mix of blues, jazz and country – that not only fits Bundy like a glove, but pushes the boundaries of what constitutes a great country record. – Tara Seetharam

#7

Giddy On Up
Laura Bell Bundy

The most interesting and surprising debut single that I can remember. So many creative and unexpected choices are made, but it is Bundy’s forceful personality that pulls it all together into something cohesive.  In an era of country music that is little more than dull shades of gray, “Giddy On Up” is a Technicolor marvel. – Kevin Coyne

#6

As She’s Walking Away
Zac Brown Band featuring Alan Jackson

A young man just about chickens out of approaching the radiant girl across the bar, panicking that “my heart won’t tell my mind to tell my mouth what it should say.” Luckily, Wise Older Man At Bar can see exactly what’s going on and nudges Junior into action. A bit silly, but the single radiates such warmth that you gobble it up. And if there was a more motivational moment in 2010 than Alan Jackson’s spoken “Go on, son,” well, I didn’t hear it. – DM

#5

Smoke a Little Smoke
Eric Church

Church finally puts his music where his mouth is, delivering an unapologetic, roguish (for country radio, anyway) ode to escapism by intoxication. The erratic musical flow evokes the very physical sensations the song celebrates, and Church’s swagger makes bumming sound almost appealing. Turns out that if you stop talking about being a badass for long enough, you may just manage to kinda be one. – DM

#4

If I Die Young
The Band Perry

“If I Die Young”  arrives like a gift from an alternate universe, one where the public’s embrace of Alison Krauss, Nickel Creek, and O Brother was treated as a road map  for the genre’s future, not just a passing interest that needn’t be cultivated.  – KC

#3

Stuck Like Glue
Sugarland

Every once and awhile, a piece of ear candy comes along that defies the term “ear candy.” That’s what “Stuck Like Glue” is, to be sure: an infectious acoustic-pop morsel, invigorated by Nettles’ insanely joyful performance and a genre-busting breakdown. But there’s something about the song that puts it on another plane. Maybe it’s the organic energy, or maybe it’s the lack of artistic inhibition. Or maybe it’s the simple fact that “Stuck Like Glue” doesn’t try to be anything that it’s not. It just is. And as a result, it’s that rare breed of song that taps into your spirit – that demands you to stop thinking, start feeling and have a damn good time. – TS

#2

Little White Church
Little Big Town

It probably owes some theme to “Single Ladies (Put a Ring on It),” but Little Big Town’s swampy sleeper hit is the coolest-sounding country single of the year all on its own. From handclaps to snarling electric licks, creepy whispers to gospel-esque call-and-response choruses, “Little White Church” is a potent reminder of all the creativity still bubbling under in Music City. – DM

#1

The House That Built Me
Miranda Lambert

Miranda Lambert’s career defining song is also our song of the year. Not much can be said about this gorgeous ode to childhood memories that hasn’t already been said better by countless writers before me, including our very own Dan Milliken, which helps make the case for what’s inevitably the song of the year on many 2010 countdowns.

Its all-acoustic, understated arrangement underscores the story of a woman who tries to find solace in the memories buried in a structure that was more than a house. Its descriptive lyrics move us as they detail memories from turning blueprints into the family dream home to the heartbreak of losing the family dog.

As it is always is with the best songs, “The House that Built Me” does not hit us over the head with its emotional resonance. It’s strong, it’s palpable, but it’s all done with gentleness, which is the most effective way to tug at the heartstrings. – LW

Check out the rest of the list:

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2010 CMA Awards: Staff Picks and Predictions

When the nominees were announced in August for the 44th annual CMA Awards, they sparked a firestorm of headlines –and thoughtful commentary by critics and fans alike– thanks to the CMA voters’ surprisingly bold moves. It’s all about change this year, as the voters revamped the ballot with a slew of fresh faces in almost all of the big categories.

How will it all play out? We’ll know for sure on Wednesday at 8pm Eastern, but before Gwenyth Paltrow throws on her cowboy boots, check out our staff picks and predictions and join the discussion in the comments below. And be sure to drop by Wednesday night for all of the CU live blog madness!

Entertainer of the Year

Should Win:

  • Lady Antebellum
  • Miranda Lambert – Kevin
  • Brad Paisley
  • Keith Urban
  • Zac Brown Band – Leeann, Dan, Tara

Kevin:  Among the five nominees, Miranda Lambert has best represented the genre this year.

Leeann: I’m torn between Lambert and the Zac Brown Band as most deserving this year. I recently saw Lambert’s show and wasn’t incredibly impressed, however. While I have not yet attended a ZBB show, theirs is one of the few spots that I look forward to at awards shows these days. Moreover, I’m impressed by how much of a following they had even before they made any mainstream records.

Dan: Of these five, Zac Brown Band had the second-most success this year (after Lady A) and made the second-best music (after Lambert), so that’s pretty good standing. And I feel like giving this award to a grassroots act would be a good way for the industry to greet the future.

Tara: I’m consistently impressed by Zac Brown Band’s live performances, and it would be really refreshing to see them win – so I’ll go with them. (But I’m still disappointed that the first year my head and heart align on Carrie Underwood deserving an EOTY award, I can’t support her. I’m holding out for 2012…)

Will Win:

  • Lady Antebellum
  • Miranda Lambert – Tara
  • Brad Paisley – Kevin, Leeann, Dan
  • Keith Urban
  • Zac Brown Band

Kevin: I’ve probably learned nothing from last year’s Swift sweep by going with Paisley again, but he’s the only nominee of veteran stature who hasn’t won yet.

Leeann: I can’t imagine that Paisley won’t finally win this one.

Dan: I was going to guess Lady A, since they’re sort of 2010’s “flavor of the year” the way Taylor Swift was 2009’s. But when I think about it, Swift’s ascent was greater and more gradual, and she stood in contrast to the rest of her nominee pool (four male veterans) in a way Lady A don’t with theirs (in which they’re one of three new competitors). So, Paisley.

Tara: I have no rationale. My gut says Lambert.

Male Vocalist of the Year

Should Win:

  • Dierks Bentley – Kevin, Leeann, Dan, Tara
  • Brad Paisley
  • Blake Shelton
  • George Strait
  • Keith Urban

Kevin: Bentley made the best music this year.

Leeann: Bentley may not have the best technical voice out of these nominees, but he has the most interesting and distinctive of them, which is always something that I gravitate toward. Also, I agree with Kevin that he’s made the best music this year.

Dan: Shelton and Bentley are the only ones in this pool who made significant career strides this year – Shelton at radio, and Bentley creatively. Since I’m backing someone else in the Album category, this is where I’d like to see Bentley recognized for following his muse.

Tara: I guess Up on the Ridge is as good a reason as any to fall off the Brad-for-MVOTY bandwagon. He’s a close second for me, though.

Will Win:

  • Dierks Bentley – Kevin, Dan
  • Brad Paisley – Leeann, Tara
  • Blake Shelton
  • George Strait
  • Keith Urban

Kevin: I can see the roots album giving Bentley an edge. Then again, Paisley could just repeat again, or Shelton may suddenly have deep support among voters. I say, Bentley by a nose.

Leeann: I think that voters will reflexively give this one to Paisley again.

Dan: I’ll ditto Kevin.

Tara: I can’t really see Paisley losing this one, but I think if he does lose to Bentley, it’ll be a telling moment.

Female Vocalist of the Year

Should Win:

  • Miranda Lambert – Kevin, Leeann, Dan
  • Martina McBride
  • Reba McEntire
  • Taylor Swift
  • Carrie Underwood – Tara

Kevin: Underwood and McEntire are the women who made my favorite singles from the eligibility period, but Lambert’s the only one who hasn’t won this award.  She’s not overdue, but she’s due.

Leeann: Kevin’s right that Lambert is due to win this award now, not to mention that she’s my favorite female singer out of the bunch.

Dan: Lambert still isn’t at Underwood’s sales level, much less Swift’s, and I don’t see her catching up before traditional music sales die out altogether. Doesn’t matter, though: her habit of making creative music will sustain her regardless of industry conditions, and will elevate the genre in the long run. It’s time to look ahead.

Tara: I’m 50/50 on Lambert and Underwood. I’m not sure how to balance Lambert’s long overdue mega-year against Underwood’s continuous stream of solid success, ambassadorship and artistic growth. I’ll be happy either way, but personal investment’s got me in Underwood’s camp.

Will Win:

  • Miranda Lambert - Kevin, Dan, Tara
  • Martina McBride
  • Reba McEntire
  • Taylor Swift
  • Carrie Underwood- Leeann

Kevin: I’d be shocked if Lambert lost, and can’t even make a guess as to who she’d lose to, should she somehow lose.

Leeann: It’s between Lambert and Underwood, but I give Underwood the edge, especially since it’s somewhat surprising that she didn’t get an Entertainer nomination. Although Lambert has gained popularity in the past year, Underwood is still one of the two biggest females in the business and I refuse to predict that Swift will win the award.

Dan: Lambert’s had enough mainstream success this year to give tasteful voters an excuse to give her some props.

Tara: The voters love them some Lambert this year, and I think of all her nominations, this is the one she’s got in the bag.

Vocal Duo of the Year

Should Win:

  • Brooks & Dunn
  • Joey + Rory – Kevin, Leeann, Dan, Tara
  • Montgomery Gentry
  • Steel Magnolia
  • Sugarland

Kevin: I’m assuming “Stuck Like Glue” was after the eligibility period, so I think actually making some music over the year is important. Joey + Rory are the only duo I like who have yet to win.

Leeann: I simply like them the most, but I know they don’t have a chance.

Dan: I mean, why not? Nobody on this ballot has done much but tour.

Tara: I’m not very excited about any of these acts right now, to be honest. It would just be heartwarming to see Joey + Rory pick this one up.

Will Win:

  • Brooks & Dunn – Kevin, Dan
  • Joey + Rory
  • Montgomery Gentry
  • Steel Magnolia
  • Sugarland – Leeann, Tara

Kevin: Sugarland’s year off helped guarantee a B&D victory lap, which would probably have happened anyway.

Leeann: It’s between Brooks & Dunn and Sugarland. I should just pick B&D because of their retirement, but I’m still going with Sugarland because of their popularity.

Dan: Brooks & Dunn, unless voters ignore the eligibility period and stick with Sugarland.

Tara: Isn’t the Brooks & Dunn retirement thing kind of old news by now, or am I just out of touch?

Vocal Group of the Year

Should Win:

  • Lady Antebellum – Tara
  • Little Big Town
  • Rascal Flatts
  • The Band Perry
  • Zac Brown Band – Kevin, Leeann, Dan

Kevin: Let’s start getting some variety in this category, instead of having Lady A own it for five years.

Leeann: They’re the only group that I like right now.

Dan: I’ll probably be rooting for Little Big Town come ACM season, but for now…

Tara: I don’t want Lady A to own this for five years, either, but I do think they deserve to win this year. At least in my opinion, their huge success on the charts and with album sales can be attributed much to their ability to (I know, I know – I’m a broken record) hone in on specific emotion and deliver it in a way that people can really connect with. There’s some meat (and a heck of a lot of potential) behind their success that tends to go unnoticed.

Will Win:

  • Lady Antebellum – Kevin, Leeann, Dan, Tara
  • Little Big Town
  • Rascal Flatts
  • The Band Perry
  • Zac Brown Band

Kevin: Lady A and Zac BB are both very popular with voters, but I’m thinking that this is the only race where voters can reward Lady A for dominating at retail this year.

Leeann: Ditto to Kevin.

Dan: New Artist will be ZBB’s consolation prize.

Tara: …And I think the voters will agree with my pick, if not for the same reasons.

New Artist of the Year

Should Win:

  • Luke Bryan
  • Easton Corbin
  • Jerrod Niemann
  • Chris Young – Leeann
  • Zac Brown Band - Kevin, Dan, Tara

Kevin: ZBB is in another league, which makes me wish they still called this the Horizon Award.

Leeann: It’s weird to see ZBB here considering their nominations elsewhere, so I think that Chris Young has the most potential of the remaining nominees.

Dan: I’d love to see Young take this, but ZBB can’t be denied.

Tara: This is a great line-up, but there’s no question that ZBB deserves this win.

Will Win:

  • Luke Bryan
  • Easton Corbin
  • Jerrod Niemann
  • Chris Young
  • Zac Brown Band – Kevin, Leeann, Dan, Tara

Kevin: ZBB is nominated for Entertainer of the Year, much like Ricky Skaggs was when he won Horizon in 1982. (Skaggs also won Male Vocalist, which means I may have to rethink my pick for Vocal Group, too.)

Leeann: Kevin’s argument is too compelling not to follow. Also, they are the most popular of the nominees, therefore, probably the most deserving.

Dan: Everyone here but Niemann has had a significant breakthrough. With ZBB in the mix, though, it’s no contest.

Tara: It’s a funky set-up to have ZBB nominated for both the top and bottom (figuratively) prizes, and I think this one will play out exactly the way Kevin explained it.

Album of the Year

Should Win:

  • Dierks Bentley, Up on the RidgeLeeann
  • Lady Antebellum, Need You Now
  • Miranda Lambert, Revolution – Dan, Tara
  • George Strait, Twang
  • Carrie Underwood, Play OnKevin

Kevin: I have all five of these albums, and Underwood’s is the one that I listen to the most, with Strait a not-too-close second. In 2010, of course, “listening to an album” really means “how many songs do I pull off the album and put on a play list,” which has Underwood ahead by three tracks.

Leeann: If I follow Kevin’s test, Bently wins with Lambert as a close second. Bentley’s is, hands down, my favorite album of these choices. I’d love to see something this different from the mainstream win.

Dan: Also employing Kevin’s test, I flip-flop Leeann’s first and second choices. Only about two thirds of Revolution click for me a year later, but those two thirds have helped redefined what I thought modern country could be (still flipping about “Me and Your Cigarettes”), and the stray third at least tried.

Tara: I’m not going to follow Kevin’s test: I don’t play Revolution quite as much as three of the other albums on here, but I feel it’s the most deserving. It’s sharp, smart and an excellent example of an artist taking her potential by the horns.

Will Win:

  • Dierks Bentley, Up on the Ridge
  • Lady Antebellum, Need You Now
  • Miranda Lambert, RevolutionKevin, Leeann, Dan, Tara
  • George Strait, Twang
  • Carrie Underwood, Play On

Kevin: I really do think Lambert will sweep. I think she should’ve won for her last album, which wasn’t even nominated, but I’m not going to complain about an ambitious album getting the prize.

Leeann: I’m guessing either Lambert or Underwood. Although Lambert has the better album, Underwood has the slight edge because it sold better. I wouldn’t be especially surprised if Lady A takes it though.

Dan: Seems to me like a toss-up between Lady A’s commercial favorite and Lambert’s critical one. Lambert?

Tara: This is Lambert’s to lose, but I wouldn’t be too surprised if Lady A (or maybe Bentley?) snatched it.

Single of the Year

Should Win:

  • Easton Corbin, “A Little More Country Than That”
  • Lady Antebellum, “Need You Now”
  • Miranda Lambert, “The House That Built Me” – Kevin, Leeann, Dan, Tara
  • Miranda Lambert, “White Liar”
  • Blake Shelton featuring Trace Adkins, “Hillbilly Bone”

Kevin: It’s the big chunk of meat in a category of mashed potatoes and candied apples.

Leeann: Kevin just made me really hungry, therefore, kind of distracted. It’s a good thing that my choice doesn’t need justification then.

Dan: “Need You Now” had the biggest impact, of course, but “The House That Built Me” was no slouch either – four weeks at #1 – and was arguably the riskiest, most rewarding release. Also of note: she sang it real pretty.

Tara: “Need You Now” and “The House That Built Me” are performed equally well, but “House” is the better-written song. I’ll go with “House” on the basis of that, but I do think country music will be represented justly either way. Both songs resonate with pure, compelling sentiment.

Will Win:

  • Easton Corbin, “A Little More Country Than That”
  • Lady Antebellum, “Need You Now” - Dan, Tara
  • Miranda Lambert, “The House That Built Me” - Kevin, Leeann
  • Miranda Lambert, “White Liar”
  • Blake Shelton featuring Trace Adkins, “Hillbilly Bone”

Kevin: I think Lady A would have a better shot if they hadn’t won last year for “I Run to You.”

Leeann: It’s simply the clear winner.

Dan: Again, somewhat for diversity’s sake, I’ll guess that many voters have already forgotten about “I Run to You” – I certainly have – and will use this category to recognize the biggest hit, while they use Song to recognize the best one.

Tara: I’m jumping on Dan’s train…

Song of the Year

Should Win:

  • “A Little More Country Than That” – Rory Lee Feek, Don Poythress & Wynn Varble
  • “Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott
  • “The House That Built Me” – Tom Douglas & Allen Shamblin – Kevin, Leeann, Dan, Tara
  • “Toes” – Zac Brown, Wyatt Durrette, John Hopkins & Shawn Mullins
  • “White Liar” – Natalie Hemby & Miranda Lambert

Kevin: Overall, I think that “Need You Now” is a better Single than Song, and that “The House That Built Me” is a better Song than Single, but “House” is better than “Need” on both counts.

Leeann: I’m just being repetative now. It’s the best single and song of the year.

Dan: It’s the deepest-cutting of the five and the most unique.

Tara: “The House That Built Me” is, quite simply, beautifully written.

Will Win:

  • “A Little More Country Than That” – Rory Lee Feek, Don Poythress & Wynn Varble
  • “Need You Now” – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott – Kevin
  • “The House That Built Me” – Tom Douglas & Allen Shamblin – Leeann, Dan, Tara
  • “Toes” – Zac Brown, Wyatt Durrette, John Hopkins & Shawn Mullins
  • “White Liar” – Natalie Hemby & Miranda Lambert

Kevin: Here’s where they can honor “Need You Now” without shortchanging Lambert.

Leeann: I just see “House” sweeping in all possible categories.

Dan: They often manage to pick the actual best song of the five, especially when that song is also the most “serious.”

Tara: This just seems way to obvious; I don’t see how the voters could bypass the most clearly deserving song.

Musical Event of the Year

Should Win:

  • Dierks Bentley featuring Jamey Johnson & Miranda Lambert, “Bad Angel” – Tara
  • Kenny Chesney with Dave Matthews, “I’m Alive”
  • Alan Jackson with Lee Ann Womack, “‘Til the End” – Leeann, Dan
  • Blake Shelton featuring Trace Adkins, “Hillbilly Bone” – Kevin
  • Zac Brown Band featuring Kid Rock, “Can’t You See”

Kevin: I don’t find any of these five songs particularly compelling, so I’ll go with the two artists who are longest overdue for some CMA love.

Leeann: I’m not big on any of these either, but the Jackson/Womack collaboration is the one I like the most if I have to choose.

Dan: I’d be fine with either “Til the End” or “Bad Angel”. Whatevs.

Tara: The Jackson/Womack song falls squarely within my typical taste, but “Bad Angel” gets under my skin – in a good way. It’s just a really cool record.

Will Win:

  • Dierks Bentley featuring Jamey Johnson & Miranda Lambert, “Bad Angel”
  • Kenny Chesney with Dave Matthews, “I’m Alive”
  • Alan Jackson with Lee Ann Womack, “‘Til the End”
  • Blake Shelton featuring Trace Adkins, “Hillbilly Bone”- Kevin, Leeann, Dan, Tara
  • Zac Brown Band featuring Kid Rock, “Can’t You See”

Kevin: Its presence in the Single category makes “Hillbilly Bone” the most likely winner.

Leeann: It’s the most mainstream of all the choices.

Dan: “Bad Angel” could play a welcome spoiler, since all three of the artists behind it command a lot of respect right now. I still see this going to the hit, though.

Tara: I’m predicting the big boys will win this one. It’s a decent song, but it makes me laugh that it gets as much love as it does – I mean, this is the song that has Adkins admitting that he’s “always wanted to sing a bone song”…!

Music Video of the Year

Should Win:

  • Lady Antebellum, “Need You Now”
  • Miranda Lambert, “The House That Built Me”
  • Miranda Lambert, “White Liar” – Kevin, Dan, Tara
  • Brad Paisley, “Water”
  • Blake Shelton featuring Trace Adkins, “Hillbilly Bone”

Kevin: Lambert made the two best clips, with the humor of “Liar” outpacing the literalism of “House.”

Dan: The “House” video is beautifully conceived and directed, but somehow the “White Liar” one just sticks out more. Maybe it’s because “White Liar” is a thinner song, so the video has more of a chance to establish its own identity.

Tara: The “White Liar” video is the brightest and most creative of the bunch.

Will Win:

  • Lady Antebellum, “Need You Now”
  • Miranda Lambert, “The House That Built Me”
  • Miranda Lambert, “White Liar” – Kevin, Dan, Tara
  • Brad Paisley, “Water”
  • Blake Shelton featuring Trace Adkins, “Hillbilly Bone”

Kevin: I think “White Liar” has won all the video awards this year, so I guess it will win again.

Dan: This is the logical place to reward the other Lambert single the CMA liked this year.

Tara: One of Lambert’s videos will win for sure. My best guess is “White Liar” since it’s won before, like Kevin said.

Musician of the Year

Should Win:

  • Paul Franklin (steel guitar) – Kevin, Leeann, Dan, Tara
  • Dann Huff (guitar)
  • Brent Mason (guitar)
  • Mac McAnally (guitar)
  • Randy Scruggs (guitar)

Kevin: Paul Franklin is the nominee I’m rooting for the most this year. Give the man, and the steel guitar, some long overdue recognition!

Leeann: It’s the steel guitar for heaven’s sake! It should be a no-brainer, even though it’s clearly not.

Dan: I won’t pretend I know what’s going on. I’m just going to root for the guy who hasn’t won yet until he finally does.

Tara: How can you pass up the steel guitar?

Will Win:

  • Paul Franklin (steel guitar)
  • Dann Huff (guitar)
  • Brent Mason (guitar)
  • Mac McAnally (guitar) – Kevin, Leeann, Dan, Tara
  • Randy Scruggs (guitar)

Kevin: Mac McAnally won the last two years, so I guess he’s the favorite. Did I mention that Franklin is 0-for-17 going into this year’s ceremony?

Leeann: I suppose its a habit to give it to McAnally at this point. So, why should I be so bold as to predict anyone else?

Dan: No justice!

Tara: Just going off of pattern here.


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Single Review: Dierks Bentley, “Draw Me a Map”

This single review is written by Guest Contributor Jennifer Bernard.

“Draw Me a Map,” the second single from Up on the Ridge, contains lyrics which are cleverly evocative and packed with passion. The acoustic arrangement combined with the vocals of Dierks Bentley and Alison Krauss make for a soothing delivery of words that definitely dive below the surface. Specifically with lines such as “I’d beg forgiveness but I don’t know where to start” and “I’ve never been so at loss, I’m at a canyon I can’t get around or cross,” you can truly feel the anxiety and hopelessness that Bentley illustrates.

What strikes me while listening to this song is the vulnerability of the man in this situation. It is obvious that he regrets letting her go and now understands that she and him are meant to be (“You’re my destiny and destination”). It’s always refreshing to put pride aside and express how one feels on a deeper level which the ballad so strongly conveys. Krauss doesn’t have a major presence in this song which is both dulcet as it is symbolic.  We understand that this song is about the man’s apology and the woman’s forgiveness. Furthermore, with Krauss in the background we are comforted knowing that she is there listening and possibly yearning for their relationship, too.

I’m a huge fan of metaphors, so there’s no mistaking that I appreciate this song’s metaphorical lyrics. No, he’s not asking her to physically draw him a map to help him find her. Rather, he’s desperate for her to tell him how he can come back in her life. It’s a song about a tender subject, so the simple vocals and music execute a harmonious match. Although the tune may not have an outstanding presence or be as memorable as its country ballad predecessors, all in all, this collaboration provides a unique touch to the album and is a nice addition to Bentley’s musical résumé.

Written by Dierks Bentley & Jon Randall Stewart

Grade: B

Listen: Draw Me a Map

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Picking the CMA Nominees: Male Vocalist of the Year

If turnover has been slow in the Entertainer category, it’s been nothing less than glacial in the Male Vocalist race.  Over the past ten years, only eleven men have received nominations.  Four of those eleven – Dierks Bentley, Vince Gill, Darius Rucker, and Josh Turner – have been nominated only once.

Now, Toby Keith and Tim McGraw were regularly invited to the party in the first half of the last decade, with four and three nominations, respectively. But the race has essentially been dominated by the same five men: Kenny Chesney, Alan Jackson, Brad Paisley, George Strait, and Keith Urban, who combine for forty nominations in just one decade.

The recent history has been pretty boring. After two consecutive wins by Alan Jackson, we’ve had three consecutive wins each by Keith Urban and reigning champ Brad Paisley.

Will there be a new winner this year, or even a new nominee? Should there be?

Let’s take a look at last year’s race:

2009

  • Kenny Chesney
  • Brad Paisley
  • Darius Rucker
  • George Strait
  • Keith Urban

Darius Rucker was the new face to enter the race last year. No brand new nominee has been nominated again in this category since Keith Urban earned his first nomination in 2004. He’s been in the race ever since.  I’d say Rucker’s close to a lock, along with Paisley. But just like in the Entertainer race, a case could be made for a decent shake-up, especially some of this category’s veteran acts have dipped at radio and retail.

Here’s who I would nominate this year. Share your picks in the comments:

Jason Aldean

Anybody else notice that this guy’s outselling the rest of the male solo artists? All the while, he’s been completely ignored at the country awards shows for his last two projects.  He’s not overdue just yet, but he’s due.

Dierks Bentley

He went out of his comfort zone to release a bluegrass-flavored album that was pretty darn good.

Brad Paisley

He just missed my list for preferred Entertainer nominees, but he’s at the head of the pack in this category. With his domination at radio, not to mention a stronger studio album than his previous two, I wouldn’t be shocked for him to become the third artist in history to win four of these.

Blake Shelton

His hit-making has certainly been kicked up a notch as of late.  He may be destined to toil just under the radar of this category like Trace Adkins and Gary Allan before him, but it would be nice to see him get a nod.

Josh Turner

A decent comeback at radio and retail, coupled with him being a great singer who’s been overlooked, makes me hope he finishes out this category.

___

I left off previous nominees Keith Urban, George Strait, and Darius Rucker because they haven’t put out new albums during the eligibility period, so it seems like a good time to let some new folks get a chance. I left off Kenny Chesney because he’s been doing nothing but stopgap releases for the past year, none of which sold to  his normal standards.  I left off Tim McGraw, even though he’s made some music I really like lately, because he hasn’t been doing as well as usual at radio and retail.

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Album Review: Dierks Bentley, Up on the Ridge

Dierks Bentley
Up on the Ridge

As Dan observed in his single review of “Up on the Ridge”, there was a noticeable decline in Dierks Bentley’s music after his well received Long Trip Alone album. It is purely speculative to suggest, but one can’t help but wonder if Bentley himself felt staleness creeping into his music as well. It’s not farfetched for the idea to be true, since Dierks has proven himself to be an astute artist in the past. So, why wouldn’t he notice if there was, indeed, a shift?

Speculation aside, Bentley has taken a break from the routine of his last four albums to create an album that is far removed from what is popular on mainstream country radio and somewhat different than what he’s put on his own previous albums. However, he is still marketing to radio, as his first single, the title track, has been treated like any other Bentley single release. The album is not as adventurous, or as strong, as the Dixie Chicks’ unapologetically acoustic album, but it may be as close to the concept as we have gotten since their targeted mainstream acoustic project, Home.

It has been appropriately publicized that this album is not a pure bluegrass project. Instead, it is close in style to the bluegrass influenced tracks that Bentley has consistently included on each of his studio albums. Yes, mandolin, banjo, dobro and fiddle are ever present, but Bentley is not shy about using drums, exploring subversive melodies (“Up on the Ridge”, “Fallin’ for You”), or deviating from traditional bluegrass rules of engagement along the way. Moreover, Bentley does not possess the high lonesome tenor that is typically associated with bluegrass. He, however, proves himself to be a capable vocalist within the parameters of his unique style of it.

A handful of covers, songs by well respected songwriters, and some of Bentley’s own compositions makes this rootsy album a well rounded set. The best of the covers is bob Dylan’s “Senor (Tales of Yankee Power) and Kris Kristofferson’s Bottle to the Bottom”. While the otherwise solid “Bottle to the Bottom” features a somewhat pointless cameo by Kristofferson, the addition of the Punch Brothers on “Senor” is inspired art. A less successful cover is U2’s “Pride (in the Name of Love).” While Del McCoury’s distinctive tenor does well to do the heavy lifting, the over all recording still lacks the etherealness of the original. Ironically, as they are most closely associated with Americana, the Buddy Miller cover is the most mainstream friendly sounding song on the album. Unfortunately, it is also inferior to Miller’s version.

Among the strongest of Bentley’s songs is “Rovin’ Gambler” (once again, with the Punch Brothers), “Draw Me a Map” (featuring Alison Krauss on background vocals), “You’re Dead to Me” (co-written by and featuring Tim O’Brien”, and “Down in the Mine.”

Bentley wisely enlists the help of some of his creative friends such as the Punch Brothers (with Chris Thile of Nickel Creek fame), Del McCoury, Alison Krauss, Vince Gill, Jamey Johnson, Miranda Lambert, Tim O’Brien, and Kris Kristofferson. Complimented by Jon Randall’s organic production sensibilities, this impeccable support adds a welcome texture to the project. However, the collaborations work best when they are more subtle. For instance, while the prospect of Miranda Lambert and Jamey Johnson collaborating is, indeed, an appealing concept, the result does not rise to the occasion in practice. Both Lambert and Johnson deliver excellent performances with Bentley on “Bad Angel”, with Lambert’s voice being huskier than usual, but the parts together translate as more disjointed than natural. Likewise, the results of Del McCoury’s and Kris Kristofferson’s contributions were not as successful as one would hope for from such revered artists. On the other hand, the Punch Brothers (who played on several tracks), Alison Krauss, Tim O’Brien, Jon Randall, and Vince Gill (“Fiddlin’ Around”) were used less overtly to greater effect.

With expert musicianship by the best in the business, solid songs, and impressive vocal support, Up on the Ridge is a refreshing album from an artist who is taking a chance with this musical detour while still in the throes of a considerably lucrative career. Not only is taking such a chance commendable, Bentley has created a solid album to justify the diversion.

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Single Review: Dierks Bentley, “Up on the Ridge”

I don’t know about y’all, but Dierks Bentley has been on this swift downward trajectory for me ever since his killer trio of “Every Mile a Memory”, “Long Trip Alone” and “Free And Easy (Down the Road I Go)” back in ’06/’07. I don’t know whether his team got spooked by Long Trip Alone‘s low sales and tried to force crowd-pleasers out of him or if he just ran out of interesting ideas on his own. Either way, it’s been a bummer.

I believe in second chances, though, and there’s no better way to prime me for one than to announce a roots-based or traditionalist project. (Like, even Kellie Pickler is getting me kind of curious.) So I was pumped to hear that Bentley was planning on releasing a full bluegrass album, especially one with actual radio singles. And here we are at the first one, the upcoming album’s title track.

Now, as Bentley is an A-minus-list country star who cut some of his teeth at Nashville’s Station Inn, it’s no surprise that he managed to corral the very finest pickers for this project, and it’s no surprise that those pickers sound very well-arranged here. “Up on the Ridge” has a dark, shimmering newgrass production that doesn’t quit, and that alone will easily make it one of 2010’s most memorable singles.

Unfortunately, that production is forced to prop up some pretty weak efforts by the headlining artist. The song – an extended invitation to join its singer for a sexy camping trip – sounds like it was written merely as a means to get to its cool-sounding title. The melody and lyrics are serviceable but stagnant, offering none of the excitement of similarly-themed singles like “Fishin’ in the Dark”, “Hey Bobby” or even “Mud on the Tires.” Even Bentley’s vocal sounds awkard and disconnected as it mulls over throwaway lines about his dog howling at an owl (or something). So while the record has a cooler style than, say, “Sideways,” its substance suffers from many of the same shortcomings.

Worse still, the juxtaposition of the awesome guest players and the thoroughly bland song and performance by Bentley makes the single sound like a premature vanity project, something no one would’ve wanted to contribute to if the chief creator weren’t a star. That’s probably not the case, as Bentley seems like a great guy and a genuine friend to the bluegrass community. But it’s abundantly obvious who’s doing the heavy lifting here; I can only hope that the rest of the album showcases Bentley’s own talents much better.

Written by Dierks Bentley and Angelo Petraglia

Grade: C+

Listen: Up on the Ridge

Buy:

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Grammy 2010 Staff Picks & Predictions

Even in Grammy’s darkest hours, CU brings its picking powers!

– Superhero television show about our blog from the 50’s.

We won’t be live-blogging this time around, but will be reacting to the show in a full post tomorrow, and welcome your reactions in comments on this post. The awards telecast starts at 8 pm Eastern, and I imagine there will be some red carpet action in the hour prior.

Record of the Year

Picks

  • Beyonce, “Halo” – Kevin
  • Black Eyed Peas, “I Gotta Feeling”
  • Kings of Leon, “Use Somebody” - Tara
  • Lady GaGa, “Poker Face” - Dan
  • Taylor Swift, “You Belong with Me”

Predictions

  • Beyonce, “Halo”
  • Black Eyed Peas, “I Gotta Feeling”
  • Kings of Leon, “Use Somebody” – Kevin, Dan, Tara
  • Lady GaGa, “Poker Face”
  • Taylor Swift, “You Belong with Me”

Kevin: Am I wrong for preferring Eric Cartman’s rendition of “Poker Face” over the original? This is a pretty lightweight slate of contenders. I really like “Halo”, but I suspect Kings of Leon will win, simply because it’s the only rock song in a lineup of pop hits.

Dan: “Poker Face” just feels very representative of popular music in 2009. I wouldn’t whine if it got passed over so that “Bad Romance” could take this award next year, though.

Tara: I would’ve pulled for “Single Ladies” in a heartbeat had it been submitted, but “Use Somebody” is just as deserving of this award. It’s a fantastic song even outside the context of its moment in pop culture, and it’s the kind of larger-than-life song that the voters have picked to win in the past.

Album of the Year

Picks

  • Beyonce, I Am…Sasha Fierce
  • Black Eyed Peas, The E.N.D.
  • Lady GaGa, The Fame Kevin, Tara
  • Dave Matthews Band, Big Whiskey and the Groogrux King
  • Taylor Swift, Fearless - Dan

Predictions

  • Beyonce, I Am…Sasha Fierce
  • Black Eyed Peas, The E.N.D.
  • Lady GaGa, The Fame
  • Dave Matthews Band, Big Whiskey and the Groogrux King - Kevin
  • Taylor Swift, Fearless - Dan, Tara

Kevin: I’d like to see dance music get some respect in the big category, even if there are a half-dozen Madonna albums at this point that would’ve been worthier winners than The Fame. Again, I think the Top 40 votes are going to be split, leaving Dave Matthews Band the winners.

Dan: In little over a year, Fearless has grown from success story to cultural artifact. It’s that rare pop album that seems to have a personality all its own, like Jagged Little Pill in a yellow sundress (and sung about as well). I could see anyone but the Peas taking this, but I think Swift’s support in both Nashville and the Top 40 crowd will take her to the top.

Tara: I have to say I was fairly shocked to see Swift’s truckload of Grammy nominations, so I’m having a little trouble wrapping my mind around the Academy’s thought process – but, I suppose a Swift win in this category is inevitable. However, I fully back Lady GaGa, who is the perfect storm of creativity, vision, swagger and raw vocal talent (remember that, pop world?). Continue reading

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