I’ve always been something of a chart junkie. While I don’t pay as close attention as I used to, I still have a pretty good handle on historical trends. One artist I’ve been keeping an eye on is Carrie Underwood. When each official country single from her first two albums peaked at #1 or #2, it caught my attention.
But I never expected the trend to continue, with three more #1 hits from the new album. The source of that belief was the history of women on country radio, especially in the twenty most recent years that were based on actual monitored airplay instead of radio playlists. Since that change, far less records have gone #1 or #2.
When “Undo It” reached #2 last week, Underwood became the only female artist in country music history to have eleven consecutive top two singles. Until then, she was tied with Tammy Wynette, who scored ten consecutive top two singles from 1967-1970. All but one of Wynette’s singles were #1 hits, with the only #2 being “I’ll See Him Through.” With “Undo It” moving to #1 this week, Underwood has only two singles in her streak that didn’t top the charts: “Don’t Forget to Remember Me” and “I Told You So.”
“Undo It” is Underwood’s tenth #1 single. How rare is it for a female to reach that milestone? The last woman to reach it was Rosanne Cash, her tenth #1 being “Runaway Train” in the fall of 1988. Earlier that same year, Reba McEntire scored her tenth #1 with “Love Will Find Its Way To You.”
Underwood’s support at radio is unprecedented for a female artist in the modern chart era. In less than five years, she’s already tied for the most #1′s since 1990, and she’s moving quickly up the all-time list as well:
Most #1 Hits by a Female Artist – Monitored Era (1990-present):
Reba McEntire, Carrie Underwood – 10
Faith Hill – 9
Shania Twain – 7
Jo Dee Messina – 6
Martina McBride, Trisha Yearwood – 5
Sara Evans, Patty Loveless, Taylor Swift, Wynonna – 4
Most #1 Hits by a Female Artist – All-Time:
Dolly Parton – 25
Reba McEntire – 23
Tammy Wynette – 20
Crystal Gayle – 18
Loretta Lynn – 16
Rosanne Cash – 11
Anne Murray, Tanya Tucker, Carrie Underwood – 10
Why do you think that Underwood has been the one to push up against country radio’s glass ceiling so much? Can she keep this up? Will she eventually get to the top of each list, or is there somebody below her that might jump ahead?
At least the third song on this list about a guy mulling over romantic gestures he wishes he’d made to his former love, and the most traditional among those songs. You could easily imagine this one being a minor classic by a 60′s or 70′s legend, so close is its replication of that style. – Dan Milliken
I’m So Happy I Can’t Stop Crying Toby Keith with Sting
1997 | Peak: #2
My hard-and-fast rule for Toby Keith: The sadder he is, the happier the listening experience tends to be. He’s all kinds of sad in this snapshot of post-divorce melancholia, reflecting on everything from unfair custody protocol to the greater motions of the universe. Even a gratuitous Sting cameo can’t detract from the single’s gloomy grandeur. – DM
You Ain’t Much Fun Toby Keith
1995 | Peak: #2
Toby Keith is also funny, though. What’s a man to do? Sobering up ain’t all that it’s cracked up to be from is perspective. Ever since he’s done so, his wife has been taking advantage of his increased functionality by giving him honey-do lists that he wasn’t ably tackling pre-sobriety. It’s enough to drive a man to drink. – Leeann Ward
Tender Moment Lee Roy Parnell
1993 | Peak: #2
Every once and awhile an artist delivers a song so powerful that it seems to shatter all divides in its genre. A tribute to both the late Keith Whitley and Gill’s late brother, “Go Rest High On That Mountain” pairs deeply spiritual lyrics with a tender, emotion-soaked performance. The combination is magic. – TS
A good power ballad shot to greatness by its artists’ striking chemistry – palpable, fiery and so very genuine. More than just a hit single, “It’s Your Love” represents the moment in country music history at which we were introduced to one of its definitive couples. – TS
Grandpa Told Me So Kenny Chesney
1995 | Peak: #23
An earnest, soulful confession of love. It’s hard to ignore the fact that it leans more in the adult-contemporary direction than that of anything else, but when a song is this moving, it’s also hard to care. – TS
What She’s Doing Now Garth Brooks
1992 | Peak: #1
In an unusual tact for Mr. Brooks, he forgoes melodrama in order to allow the natural drama of pining for a lost love to speak for itself. The dialed down performance works in the service of the song, as the sadness appropriately penetrates through. – LW
Find My Way Back to My Heart Alison Krauss & Union Station
1997 | Peak: #73
Some of the best songs from AKUS play on the home life that’s sacrificed by following the musical dream. Krauss remembers how she used to laugh at songs about the lonely traveling life, but she’s not laughing now. – KC
A man makes a soaring yet understated plea for his lover to let go of her past love. The song is made sadder by the touch of resignation in Wariner’s performance, which suggests the man knows he’s making his plea in vain. – TS
A whole song about deciding whether or not to go all the way with one’s movie date. McCready gives a fantastically entertaining performance, speak-singing her lines with a a bold campiness that most other gals wouldn’t dare. – DM
Chasin’ That Neon Rainbow Alan Jackson
1990 | Peak: #2
Ten years before “You Belong With Me” made its splash, McCann set her sights on the same demographic with a song just as relatable, vibrant and passionate. That the song lacks Taylor Swift’s sharp perspective is perhaps what makes it such a great record: there’s something so pure about McCann’s fully unapologetic, headfirst fall into love. – TS
Chesnutt makes a phone call to an old love that could be construed as creepy, pathetic or terribly sad – take your pick. I’m going with a mixture of all three, with a pinch of selfishness thrown in. Either way, “I Just Wanted You to Know” is a memorable slice of the-one-that-got-away reality.- TS
In the twenty years that passed since the release of this song, the path to success in the music industry has morphed into something that looks very different than it used to. Unlike that of Bobby in the song, these days an artist’s journey can come in all shapes and forms, sometimes abrupt and sometimes completely unprecedented.
Think what you want about this paradigm shift, but here’s what I believe: regardless of how you shoot to the top, the only way you’ll achieve longevity and, most importantly, respect in country music is if you share the fire in Bobby’s eyes. This soul-stirring hunger and unshakable passion is the heart of “I’m Gonna Be Somebody” and the reason it remains a timeless classic. Here’s to hoping – and I’m optimistic – our modern artists are made of the same stuff. – TS
From his rocking side, Tritt is tired of trying to please everyone around him, including his demanding lover. As a result, he brashly declares that he’s going to make some changes, which will include looking out for himself. Get out of the way, because his ferocious performance makes him seem quite serious about his epiphany. – Leeann Ward (more…)
Sometimes the choices that you make linger forever. Here, a woman in her thirties drives past a high school football game, and her mind wanders to the painful void left in her heart from the son she gave up for adoption. – Kevin Coyne
Faith Hill’s sophomore album is a surprisingly deep set, filled with candid insights into different womens’ lives. The title track represents that approach well, with Hill’s protagonist speaking to the differences in her approach to love and her partner’s. Seems simple, but then again, people spend thousands in couples counseling trying to find a way to voice feelings this directly. – Dan Milliken
She’d Give Anything Boy Howdy
1993 | Peak: #4
A not-so-subtle depiction of how elusive true love can be for some women – even those who desperately seek it – that resonates not despite of but because of its blatancy. There’s a beautiful honesty to the song’s precise articulation of the mixture of frustration and strength that builds up within these women. – Tara Seetharam
The Trouble With the Truth Patty Loveless
1997 | Peak: #15
The trouble with the truth is that is just so demanding. We think we want it, but it often requires some sort of action from us once we have it. Loveless struggles with this quandary: “The trouble with the truth is it always begs for more. That’s the trouble with the truth.” – Leeann Ward
Still Gonna Die Old Dogs
1999 | Peak: Did Not Chart
Waylon Jennings, Mel Tillis, Bobby Bare, and Jerry Reed united for an amazing live album dominated by Shel Silverstein songs. For anyone who read his brilliant poetry books for children, “Still Gonna Die” is the golden years equivalent: clever, frightening, and darkly hilarious. KC
From the first strains of the song, we know this is going to be a dark one. While he hasn’t physically cheated yet, the thoughts of at least wishing to do so are spilling over, which begs the analogy of “It’s like trying to hide a fire in the dark.” – LW
She is Gone Willie Nelson
1996 | Peak: Did Not Chart
As in his classic recording of “Blue Eyes Crying in the Rain”, Nelson’s sad remembrance of a lost love glows with unspoken warmth, as the beauty of his good memories shines through the outer layer of melancholy. – DM
Presenting the perfect Country & Western song! This is a great David Allan Coe cover with some alterations, including the exclusion of a stanza (which does water down the song a bit), changes to the spoken part, and additions of some special guests. – LW
Wine Into Water T. Graham Brown
1998 | Peak: #44
A kneeling drunkard’s plea for the modern age. A broken man struggling with his alcoholism asks Jesus to perform His first miracle in reverse. Brown’s rough and tumble voice is the best possible fit for this fine composition.- KC
High Powered Love Emmylou Harris
1993 | Peak: #63
The added punch to the production shows that Harris could do nineties country as well as anybody on the radio back then, which is quite the compliment, given who was getting airplay in 1993. A perfect lament for a lover who won’t settle for skin deep treasures, she wonders, “Is there anyone left with teeth just a little uneven? Who won’t spend more time with a mirror than he does with me?” – KC
You Won’t Ever Be Lonely Andy Griggs
1998 | Peak: #2
Griggs creates a touching ballad out of one of the sweetest, simplest promises that comes with making a commitment to someone – that no matter the storm outside, you’ll never have to face it alone. – TS
Instead of serving as a means to shut the other person out, the door that Tippin is suggesting is for the purpose of letting the other person in. “a door ain’t nothin’ but a way to get through a wall”, he sings. If they work together to create it, then they might be able to walk through it to meet each other halfway. – LW
Built on a poignantly written metaphor, “The River” gracefully weaves together elements of faith, inspiration and motivation. It’s a masterful single, from its poetic lyrics to its beautifully simplistic arrangement, but the heart and soul is Brooks’ gripping conviction – quiet yet fierce. On a personal note, this song contains one of my all-time favorite lyrics that I often revisit: “So don’t you sit upon the shoreline and say you’re satisfied/Choose to chance the rapids and dare to dance the tide.” – TS
McGraw’s character leaves behind a lifelong love interest and a little home town to explore the world. But instead of getting good closure, the poor guy starts seeing the girl he left in every place he visits, even long after she has married and had children. That these visions could feasibly represent both unresolved romantic feelings and the inescapable imprint of one’s roots is just country-delicious. – DM
You’re Beginning to Get to Me Clay Walker
1998 | Peak: #2
Walker’s falling head first for a girl, but he isn’t ready to take the plunge with the L-word just yet. In his catalogue of fabulous 90s hits, this understated “love” song gets overshadowed by some of the more distinct ones, but it’s nonetheless memorable. – TS
Travis Tritt is one of few country artists who is as known for his rocking side as he is for being a strong balladeer. “Help Me Hold on” is a plea to his lover to help him salvage what’s left of their relationship, which doesn’t seem to be much, since she’s already packing a suitcase. – LW
The second segment of our countdown includes the first appearances by Garth Brooks and Reba McEntire, two of the biggest-selling stars of the decade.
#375 How Do I Get There Deana Carter
1997 | Peak: #1
It’s always a gamble when friends decide to take their relationship to the next level. “How Do I Get There” explores the struggle of following one’s heart, even though it’s taking a big emotional risk to do so. – Leeann Ward
If I Could Make a Living Clay Walker
1994 | Peak: #1
This song is either ridiculously cheesy or irresistibly cheesy depending on your taste, but there’s no denying Walker sells the heck out of it with charm and enthusiasm. – Tara Seetharam
It Sure is Monday Mark Chesnutt
1993 | Peak: #1
Mark Chesnutt is one of the best male vocalists of the nineties, but there were many times when he did not always rise to the challenge of conveying the energy to elevate a decent song to a good one. Case in point: “Friends in Low Places”, which was eventually properly energized by Garth Brooks. “It Sure Is Monday”, however, is a positive example of Chesnutt actually making a song his own by demonstrating the ability to breathe life into a decent song and make it really good. – LW (more…)
Country music legend tells of a certain powerful, polarizing breed of radio single, said to have been spun together out of magical cane sugar by Aphrodite herself (or her Southern Baptist counterpart, April-Jean the Angel. Depends who you ask.) The single appears only sporadically, sometimes waiting years to reemerge – but when it comes, it walks loudly and carries a big, hooked stick.
It’s been known to travel under many names: “Ooo, Turn It Up!”; “I’m Getting Kind Of Sick Of This Song”; “Damn It, AGAIN?”. All worthy monikers, to be sure. But for the purposes of this review, we’ll keep things straightforward and call it the “Shameless Pop Ditty.”
Now, wait one second there. We mustn’t confuse this special specimen with your standard country-pop numbers – those songs which, while heavily poppy in sound, still try to convey some kind of actual point. The Shameless Pop Ditty doesn’t care about points, you see. It cares only about making you sing.
“Sunflower.”“Islands in the Stream.”“I’m Gonna Getcha Good!” What the hell do they mean? We can never offer fuller explanations than the song titles themselves, for each Shameless Pop Ditty comes embedded with a special charm that renders its message inarticulable. You can try to eek out, “it’s about Shania pursuing this guy she -,” but you won’t be able to finish. The explanation will sound too dumb, too redundant. You’ll feel silly for even trying, and will simply slip back into singing along.
Of course, now and then the Shameless Pop Ditty goes through a self-conscious phase, flirts with substance a bit. A few times it’s almost succeeded in making itself kind of mean something, with “I Love a Rainy Night” and “This Kiss” being two of the most famous results.
But in its heart of hearts, the Shameless Pop Ditty is content to be what it’s always been: totally infectious nonsense. And that’s why we love it. (Then hate it. Then maybe go back to loving it years later when we’ve had some much-needed time away from it.)
And with this country music mythology lesson under our belts, we can at last shift our sights to the present day, where we easily identify that Jerrod Niemann’s “Lover, Lover” is, in fact, a Shameless Pop Ditty of the purest pedigree.
Not so sure? Consider its bona fides. It was written and previously released as a (slightly superior) pop single by Sonia Dada, never even intended for country audiences. Its chorus features a mere nineunique words, rendered in chant-a-long style with thick, stacked harmonies. It has basically one verse which it just repeats twice to bide time between those chanted choruses. It features hand claps and a constantly-repeated acoustic guitar hook.
Story? Clever lines? Not here, friend. “Lover, Lover” is a sugar song pixie, delivered from the clouds to bring nonsensical joy to all unafraid to sing in their cars. And it has positioned itself as one of the key country singles of Summer 2010.
These are the facts. You can love it or hate it (or maybe love it and then hate it and then love it again like we discussed), but you can’t rewrite destiny. The Shameless Pop Ditty will triumph again. You will know all twenty or so words to “Lover, Lover” before August is out. James Otto will sit around kicking himself for recording a song generically titled “Groovy Little Summer Song” when he could have recorded this, the Grooviest Little Summer Song in years. Aphrodite/Angel April-Jean hath written it in the stars; your best chance of surviving is to give in, mortal, and sing along.
New fans of country music in the nineties were hit over the head with the assertion that country music was one big family. Nothing demonstrated this mythos better than the all star jams that cropped up during the boom years.
There were some variants of this approach. A popular one found a veteran star teaming up with one or more of the boom artists to increase their chances of radio airplay. George Jones was big on this approach, with the most high profile attempt being “I Don’t Need Your Rockin’ Chair.” Seventeen years later, it’s amazing to see how young everyone looks – even Jones himself!
Jones shared the CMA Vocal Event of the Year trophy for that collaboration with Clint Black, Garth Brooks, T. Graham Brown, Mark Chesnutt, Joe Diffie, Vince Gill, Alan Jackson, Patty Loveless, Pam Tillis, and Travis Tritt. He’d continue with this approach by teaming up with his vocal chameleon Sammy Kershaw on “Never Bit a Bullet Like This”, and he recorded an entire album of his own songs as duets with mostly younger stars. The Bradley Barn Sessions was represented at radio with “A Good Year For the Roses”, which found him singing one of his best hits with Alan Jackson:
Among the legends, the only other one to be successful with this approach was Dolly Parton, who used collaborations with young stars to score consecutive platinum albums for the first and only time in her career. Her 1991 set Eagle When She Flies was powered by the #1 single “Rockin’ Years”, co-written by her brother and sung with Ricky Van Shelton:
That album also included a duet with Lorrie Morgan on “Best Woman Wins.” She upped the bandwagon ante on Slow Dancing With the Moon, bringing a whole caravan of young stars on board with her line dance cash-in “Romeo.”
That’s Mary Chapin Carpenter, Billy Ray Cyrus, Kathy Mattea, and Tanya Tucker in the video. Pam Tillis isn’t in the clip, but she sings on the record with them. Parton also duets with Billy Dean on that album on “(You Got Me Over a) Heartache Tonight.”
Her next collaboration was with fellow legends Loretta Lynn and Tammy Wynette, but they couldn’t resist the temptation to squeeze in several younger stars in the video for “Silver Threads and Golden Needles.” Alongside veterans like Chet Atkins, Bill Anderson, and Little Jimmy Dickens, you’ll catch cameos from Mark Collie, Confederate Railroad, Rodney Crowell, Diamond Rio, Sammy Kershaw, Doug Stone, and Marty Stuart.
Parton scored a CMA award when she resurrected “I Will Always Love You” as a duet with Vince Gill:
And while it didn’t burn up the charts, her version of “Just When I Needed You Most” with Alison Krauss and Dan Tyminski:
Tammy Wynette made an attempt to connect with the new country audience with her own album of duets, Without Walls. Her pairing with Wynonna on “Girl Thang” earned some unsolicited airplay:
Perhaps the most endearing project in this vein came from Roy Rogers. How cool is it to hear him singing with Clint Black?
The new stars liked pairing up with each other, too. A popular trend was to have other stars pop up in music videos. There’s the classic “Women of Country” version of “He Thinks He’ll Keep Her”, for starters. Mary Chapin Carpenter sounds pretty darn good with Suzy Bogguss, Emmylou Harris, Patty Loveless, Kathy Mattea, Pam Tillis, and Trisha Yearwood on backup:
That’s a live collaboration, so at least you hear the voices of the other stars. But Vince Gill put together an all-star band for his “Don’t Let Our Love Start Slippin’ Away” video without getting them to actually play. That’s Little Jimmy Dickens, Kentucky Headhunters, Patty Loveless, Lee Roy Parnell, Carl Perkins, Pam Tillis, and Kelly Willis behind him, with Reba McEntire reprising her waitress role from her own “Is There Life Out There” clip.
My personal favorite was Tracy Lawrence’s slightly less A-list spin on the above, with “My Second Home” featuring the future superstars Toby Keith, Tim McGraw, and Shania Twain, along with John Anderson, Holly Dunn, Hank Flamingo, Johnny Rodriguez, Tanya Tucker, Clay Walker, and a few people that I just can’t identify.
For pure star wattage, it took the bright lights of Hollywood to get a truly amazing group together. The Maverick Choir assembled to cover “Amazing Grace”, and it doesn’t get much better than country gospel delivered in a barn by John Anderson, Clint Black, Suzy Bogguss, Billy Dean, Radney Foster, Amy Grant, Faith Hill, Waylon Jennings, Tracy Lawrence, Kathy Mattea, Reba McEntire, John Michael Montgomery, Restless Heart, Ricky Van Shelton, Joy Lynn White, and Tammy Wynette.
What’s your favorite of the bunch? Any good ones I missed?
Connecticut born songwriter Gary Burr got his first break when he broke his leg in a high school soccer game. With time on his hands, he taught himself to play the guitar and began writing songs. His second break came in 1982 when, without a co-writer, he penned Juice Newton’s “Love’s Been a Little Bit Hard on Me”. That same year, he became the lead singer for Pure Prairie League after Vince Gill left the group to pursue a solo career. Gary remained with PPL until 1985 and headed to Nashville in the late 1980′s. He has since been awarded ‘Songwriter of the Year’ on three separate occasions by three different organizations: Billboard, Nashville Songwriter’s Association International, and ASCAP. He has also received over twenty of ASCAP’s recognition awards for radio play activity, and cds featuring his songs have sold more than 50 million units world-wide. He’s currently affiliated with SESAC. Most recently, he was Carole King’s guitarist on her “Living Room Tour”, performing some of his own songs as well.
If you go to Gary’s website and click on Discography you’ll see a Short List of 35 of his best known songs, in alphabetical order by recording artist. If you click on Full List, you see the names of about 170 songs. You’ll find hits and albums track (“hidden treasures” to some) by country artists such as Hal Ketchum, Patty Loveless, Randy Travis, Reba McEntire, Garth Brooks, Tanya Tucker, Ty Herndon, Faith Hill, Leann Rimes, Mary Chapin Carpenter, Gary Allan, Andy Griggs, Kathy Mattea, Lorrie Morgan, Terri Clark, Collin Raye, Doug Stone, Ricky Van Shelton, Diamond Rio, Conway Twitty, Chely Wright and many others plus pop artists Kelly Clarkson, Clay Aiken, etc . The website list does not include the current Sarah Buxton hit “Outside My Window”.
Gary appears quite frequently at Nashville’s famous Bluebird Cafe, appearing in the round with singer/songwriters like Mike Reid, Georgia Middleman, J.D. Souther and others. In addition, he performs as part of the group MelDiBurPho which is composed of songwriters Vince Melamed, Bob DiPiero, Gary and Jim Photoglo.These shows are performed on the Bluebird’s small stage and, unlike the shows in the round, includes a drummer in addition to the usual guitars and a keyboard. Gary and the Guys have been doing these great shows for about 12 years. They call themselves the oldest boy band in America and the best band you can see for $12. They really seem to be having a great time together and they can be very funny, much of the humor either self-deprecating or at the expense of one of the other guys. For the February show, the guys performed in their pj’s, an annual event closely coinciding with three of their birthdays. Supposedly Faith Hill once showed up in pj’s and bunny slippers. She was discovered while singing back-up for Gary at the Bluebird.
After seeing Mr. Burr perform twice at the Bluebird, I purchased his two cd’s from the Bluebird on-line store. Stop Me If You’ve Heard This One Before …, released in 1997, includes 18 of his best songs performed and recorded live at the Bluebird. Mariane’s includes 11 songs and was released in 2004. The list of my favorite Gary Burr written songs that follows indicates the artist and cd it appeared on and his co-writer. Many of these favorites are from his Stop Me … cd and a few from Marianne’s. (Songs that can also be found on Gary’s cds have an asterisk next to the title.)
Should you already have or decide to purchase these cds, you may find, as I did, that you prefer Gary’s version for quite a few of them. A lot of his songs are about lost love, some because the guy was clueless, others about love that just didn’t work out and the difficulty in leaving memories behind. At his shows, Gary refers to himself as the “sensitive one” when he sings one of his ballads. Check out the songs listed on Gary’s website and let us know your favorites. Obviously, differing tastes will result in a very different list by many readers.
“I Wear Your Love” – Kathy Mattea Time Passes By, 1991
co-writer – None
An album track for Kathy Mattea from a cd chock full of great songs in addition to the three chosen for release as singles. The chorus concludes, “on the chillest night though I travel light, it is always enough for I wear your love”. Mattea is still one of the best female vocalists in country music.
“A Man Ain’t Made of Stone” – Randy Travis A Man Ain’t Made of Stone, 1999
co-writers – Frannie Golde and Robin Lerner
About this song, Leeann wrote, “I love Travis’ vulnerable, yet passionate, vocal delivery in this song. This man thought it was important to seem strong and unflappable, but realizes that she needed to see the softer side of him at times. Unfortunately, he reached this conclusion too late. Her leaving unearths his emotions and he abruptly learns that ‘a man ain’t made of stone/A man ain’t made of steel.’” The song peaked at #16.
“What’s In It For Me” – John Berry John Berry, 1993
co-writer – John Jarrard
This up tempo song is about a guy asking a girl who dumped him but has changed her mind and wants him back, ” What’s in it for me?” He’s glad she’s back and wants her but are things going to be different this time? “If it’s only more tears, then I’ll have to pass.” The song reached #5 on the charts for John Berry.
“Love’s Been a Little Bit Hard On Me” – Juice Newton Quiet Lies, 1982
co-writer – None
The young lady is a bit skittish about love after being burned in this up tempo tune. Calls to her inner romantic self can’t convince her to try again yet. “I’ll be back when I calm my fears … See you around in a thousand years.” This did better on the pop charts (# 7) than country (#30).
“A Thousand Times a Day” – Patty Loveless (1995); George Jones (1993) The Trouble With The Truth, 1995; High Tech Redneck, 1993
co-writer – Gary Nicholson
Another song about trying to forget someone. Giving up booze and smokes was difficult but “Forgetting you is not that hard to do, I’ve done it a thousand times a day”. The song reached #13 for Patty and was an album track for George. I prefer Patty’s version.
“In a Week or Two” – Diamond Rio Close To The Edge, 1992
co-writer – James House
A song of warning for procrastinators from a group known for their great harmony. “These words in my heart never had a chance to be heard”. The guy waited too long to tell her he loved her so he came out second. The song nearly reached the top of the charts but, as Trent Summar once reminded us, “close only counts in horseshoes and hand grenades.”
“I Try to Think About Elvis” – Patty Loveless When Fallen Angels Fly, 1994
co-writer – None
I recall seeing Patty sing this in a concert about 10 years ago. I would think that “list songs” like this would present a challenge remembering all the lyrics but she nailed it. A fun song that made it to #3.
“Heart Half Empty” – Ty Herndon with Stephanie Bentley What Mattered Most, 1995
co-writer – Desmond Child
“Is my heart half full of the love you gave me, or my heart half empty ’cause your love is gone?” While the half full, half empty metaphor is obviously not new and the song is a bit schmaltzy, I still love it. I add a star for true duets – equal contributions by the duet partners. Although Ty’s recent comeback attempt appears to have come up short, he still has a great voice and was well complemented here by Stephanie Bentley.
“Blue Sky” – Emily West Emily West, 2007 (EP)
co-writer – Emily West
The original version was from her EP. The current single includes background vocals by Keith Urban and online reviews have been very favorable but it hasn’t cracked the top 40 yet. The girl is saddened by her lover’s behavior but resolved not to be hurt by him again. “So you made a list of shoulders that you’d be needing, well mine aren’t yours anymore, come on show me your temper, be the man I remember, so I won’t forget what you’ve done.”
“Out of My Bones” – Randy Travis You and You Alone 1998
co-writers – Sharon Vaughn and Robin Lerner
Randy sings “I’m in need of a remedy, to cure me from loving you”. His remedy is walking in the first verse and talking in the second til she’s “out of my bones”. While his 1986 song “Diggin’ Up Bones” made it to the top, “Out of My Bones” stalled at #2. The album also included the late Patrick Swayze singing background on one of the tracks.
“Rockin’ the Rock” – Larry Stewart (Restless Heart) Heart Like a Hurricane, 1994
co-writer – None
A rollicking song about a girl who rocks his world but didn’t rock the charts peaking at #56. “I had a wonderful sense of balance, everything under control, til the day she came along and started rockin’ the rock that I’m standing on.” If you have a multiple tissues tune on your playlist, play this next. Larry Stewart’s solo career after leaving Restless Heart was not a huge success. He’s been back with them since 2004.
The relationship between a son and his father is portrayed in three vignettes. In the first, the father comforts his young son, calming his fears. Conflict and doubts occur in the second while the final scene finds the son, who makes his living with words and rhyme, trying to deal with the death of his father, asking himself how can I come up with a song to say I love you. The song made it to #6. (I remember liking “It’s Only Make Believe” as a kid but shortly after Conway disappeared from the pop charts. I didn’t know til much later that he had become a country star.)
“The One You Love” – Terri Clark with Vince Gill The Long Way Home, 2009; Pain to Kill, 2003
co-writer – Terri Clark
While Terri’s new cd did not include lyrics, they can be found with comments for each song on her website. She said that she hesitated to re-cut this song but her mother’s recent bout with cancer inspired her because it put the lyrics in a whole different light. “when someone’s slippin’ away, right before your eyes, how useless we are is a painful surprise”. Although Vince Gill singing harmony is always a plus, the original version on Pain to Kill was still excellent.
“West of Crazy” – Lisa Brokop Lisa Brokop, 1996
co-writer – Vince Melamed
An up tempo tune which reflects a woman’s state of mind after a breakup. “Just a few miles west of crazy, a stone’s throw away from tears, oh, so close to normal, but I can’t get there from here”. Love the song although it didn’t even chart in Canada. Lisa Brokop has become one of my favorite country music singers.
“One Night a Day” – Garth Brooks In Pieces, 1993
co-writer – Pete Wasner
The piano is the star in this song about a guy trying to leave a girl’s memory behind. He tells of the things he’s doing to get through the breakup, including “calling every friend I had, wake ‘em up, make ‘em mad, to let them know I’m okay”. Garth’s version, which reached #7 on the charts, also features a sax while in Gary’s, a steel guitar complements the piano.
“Time Machine” – Collin Raye I Think About You, 1995
co-writer – None
Although it was never a single, it’s one of my favorite Collin Raye songs. The songs tells of a lonely man who knows things won’t be any better tomorrow so he wants to go back in time. “To the casual eye it’s a barstool, but it’s really much more than it seems, a few drinks and then, she’ll be with him again, as he sits on the time machine”.
“Up and Flying” – Reba McEntire If You See Him, 1998
co-writer – Patty Griffin
Her ex-love is doing fine but she’s still doing time. “You make it look so easy, it doesn’t seem quite fair, baby I’m still tryin’, to get up and flying”. An album track for Reba. Should this song have been a single? Love Gary’s take on it.
“You Tell Me” – Terri Clark with Johnnie Reed The Long Way Home, 2009
co-writer – Terri Clark
As noted above, I love duets and on this album track, Terri is joined by Scotland born, Canadian country music artist, Johnny Reid. On her website, she describes it as a grown up song about a relationship in trouble that she wrote with Gary about 10 years ago. The conversational quality of the lyrics made it feel as a natural duet.
“Sure Love” – Hal Ketchum Sure Love, 1992
co-writer – Hal Ketchum
Hal sings of what he would do to find “Sure Love”. “I would chase all ghosts and watch them scatter, drop old dreams and watch them shatter, lose myself and all I own, to find sure love.” This up tempo song reached #3.
“Silence Is King” – Tanya Tucker Soon, 1993
co-writer – Jim Photoglo
This sad tune is about a couple who have reached the point where they don’t communicate any more. The chorus begins “We live in a land where silence is king, whispers have all disappeared”. In the last verse, there’s no let-up, “desperate measures come from desperate times, I don’t regret what I’ve done, if my actions made you speak your mind, angry words are better than none”. An album track for Tanya. On the live “Stop Me …” cd you hear Gary saying “so depressing” after he finishes singing. Probably too serious for country radio.
“I Will Not Be a Mistake” – Cliff Richard Something’s Goin’ On, 2004
co-writers – Helen Darling and Will Robinson
While Cliff is not a country singer, I could easily see someone like Collin Raye covering this song. It’s about a guy who assures the girl he’s about to get together with that while it may not come to anything it won’t be something she’ll regret. “I’ll be a chance you had to take, a heart you had to break, but I will not be a mistake”.
“Can’t Be Really Gone” – Tim McGraw All I Want, 1995
co-writer – None
A man tries to convince himself that his girl must be coming back when he mends his ways because “so much of her remains”. “The shoes she bought on Christmas day, she laughed and said they called her name”. “Her book is lying on the bed, the two of hearts to mark the page, now who would ever walk away at chapter twenty-one.” Just missed the top peaking at #2.
“Station on the Line” Stop Me If You’ve Heard This One Before …
co-writer – None
A haunting melody about a guy who falls for a girl who can’t commit. The chorus goes “and her type never does linger, she leaves all could and might-have-beens behind, she rode from New York to California, and I was just a station on that line”. As far as I can tell, no one else has covered this song.
“What Mattered Most” – Ty Herndon What Mattered Most, 1995
co-writer – Vince Melamed
A lament by a clueless guy who knew all the trivial stuff but missed what mattered most. “I never asked…she never said,and when she cried I turned my head, she dreamed her dreams behind closed doors, and that made them easy to ignore”. A #1 song for Ty in his successful stretch during the 90′s.
“In Front of the Alamo” – Hal Ketchum with LeAnn Rimes One More Midnight (no U.S. release)
co-writer – None
Allusions to one of the most famous battles in American history are combined with the story of a woman’s love gone bad because of her husband’s infidelity. The couple met as tourists in front of the Alamo. The second verse ends “she wanted trust, she wanted truth, the two things he found hard to do. So forever was shorter than she planned”. (The lives of the defenders of the Alamo were shorter than they planned.) She returns to the Alamo so that she can move on. The bridge begins “she didn’t come for inspiration or to breathe the mighty dust of heroes lost” and concludes “She just felt the time was right, at this random traffic light, to say ‘enough is enough’ and move on”. The third verse ends “maybe something in the air makes the timid braver there, to cross the line that they’ve drawn in the sand”. The tag chorus completes the analogy “they held on she lets go” (they were brave by holding on she by letting go) and concludes “in front of the Alamo, that’s a pretty good place to make a stand”.
While I do recall hearing the song on the radio, it failed to crack the top 40.
Kevin Coyne wrote here in 2007, “… a beautifully sympathetic portrait of a woman leaving a bad relationship behind. After all, what better a place to make a stand than in front of the Alamo? Before you worry that this is one of those over-the-top country numbers with a tortured metaphor, it’s actually wonderfully understated. The character is so believable that it seems just a happy accident that she makes a tough choice in front of a historical landmark.”
Also in 2007, Jim Malec of the 9513 wrote about the Ketchum song, “if you ask me, his latest, “In Front Of The Alamo,” is the best single I’ve heard so far this year. Featuring a brilliant support vocal from LeAnn Rimes, this song does everything right. Lyrically, it is a lesson in excellence, accomplishing in just over three minutes what most songs never do. On the production side it’s damn near perfect, even down to the mix (the short but fitting instrumental parts are well-played and perfectly placed).
It just doesn’t get much better than this.”
As with the similar CMA category of Single of the Year, looking over the history of this category is the quickest way to get a snapshot of country music in a given year. There is a quite a bt of consensus among the two organizations here, and it is very rare for the winner at one show to not at least be nominated at the other. The winners list here would make a great 2-disc set of country classics, at least for those who don’t mind a little pop in their country. The ACM definitely has more of a taste for crossover than its CMA counterpart, and the organizations have only agreed on 17 singles in the past four decades and change.
As always, we start with a look at this year’s nominees and work our way back to 1968.
Zac Brown Band, “Toes”
Billy Currington, “People Are Crazy”
Lady Antebellum, “Need You Now”
Miranda Lambert, “White Liar”
David Nail, “Red Light”
There’s usually a “Huh?” nominee among the ACM list in recent years. This year, it’s David Nail. Good for him! Currington hasn’t won yet for this hit, even though he got himself a Grammy nomination for it. With Lady Antebellum reaching the upper ranks of the country and pop charts with “Need You Now”, my guess is that they’re the presumptive favorites. Then again, Miranda Lambert is a nominee for the third straight year, and she’s up for her biggest radio hit.
Trace Adkins, “You’re Gonna Miss This”
Jamey Johnson, “In Color”
Miranda Lambert, “Gunpowder & Lead”
Heidi Newfield, “Johnny and June”
Brad Paisley, “Waitin’ On a Woman”
Adkins has been a fairly regular fixture on country radio since 1996, but this was his first major industry award. He also won the ACM for Top New Male Vocalist in 1997.
Gary Allan, “Watching Airplanes”
Big & Rich, “Lost in This Moment”
Kenny Chesney, “Don’t Blink”
Miranda Lambert, “Famous in a Small Town”
“Stay” swept the Song of the Year categories at all three industry shows, along with winning the ACM for Single Record. Allan’s presence here shows that being a little West Coast can still help a guy at the ACMs.
Heartland, “I Loved Her First”
Rascal Flatts, “What Hurts the Most”
George Strait, “Give it Away”
Josh Turner, “Would You Go With Me”
Carrie Underwood, “Before He Cheats”
George Strait earned his second ACM Single Record award a decade after his first (“Check Yes or No”) and two and a half decades after having his first radio hit. Underwood won at the CMAs later that year. “Give it Away” is one of a small group of ACM winners to not receive a nomination at the CMA ceremony.
Gary Allan, “Best I Ever Had”
Brooks & Dunn, “Believe”
Brad Paisley, “Alcohol”
Sugarland, “Baby Girl”
Carrie Underwood, “Jesus, Take the Wheel”
In the battle of biblical hits, the CMA picked Brooks & Dunn but the ACM picked Carrie Underwood. Much like George Strait would later win a CMA trophy for a different single (“I Saw God Today”), Underwood later triumphed at the CMA with “Before He Cheats.”
Tim McGraw, “Live Like You Were Dying”
Brad Paisley with Alison Krauss, “Whiskey Lullaby”
Rascal Flatts, “Bless the Broken Road”
Keith Urban, “Days Go By”
Gretchen Wilson, “Redneck Woman”
Lee Ann Womack, “I May Hate Myself in the Morning”
Because McGraw picked up the trophy at the CMAs in 2004, the field was cleared for Womack to win the CMA later in 2005. McGraw had won the ACM before for “It’s Your Love.”
Brooks & Dunn, “Red Dirt Road”
Alan Jackson with Jimmy Buffett, “It’s Five O’ Clock Somewhere”
Alan Jackson, “Remember When”
Toby Keith, “American Soldier”
Randy Travis, “Three Wooden Crosses”
Among all the lead nominees, only Toby Keith wasn’t a previous winner. Still, the award went to the new alcoholic’s creed, winning over a more pensive Jackson track and a big comeback hit for Randy Travis.
Kenny Chesney, “The Good Stuff”
Toby Keith, “Courtesy of the Red, White, and Blue (The Angry American)”
Trick Pony, “Just What I Do”
Keith Urban, “Somebody Like You”
Mark Wills, “19 Somethin’”
Chesney spent nearly two months at #1 with this hit, perhaps giving him the edge over the other mega-hits at radio from Keith, Urban, and Wills. As for the Trick Pony nomination, somebody really should find out what Heidi Newfield has on those ACM voters.
Brooks & Dunn, “Ain’t Nothin’ ‘Bout You”
Diamond Rio, “One More Day”
Alan Jackson, “Where Were You (When the World Stopped Turning)”
Toby Keith, “I Wanna Talk About Me”
Travis Tritt, “It’s a Great Day to Be Alive”
Jackson’s powerful 9/11 reflection stands out as the only ballad among his four ACM Single Record victories.
Toby Keith, “How Do You Like Me Now?!”
John Michael Montgomery, “The Little Girl”
Jamie O’Neal, “There is No Arizona”
Aaron Tippin, “Kiss This”
Lee Ann Womack with Sons of the Desert, “I Hope You Dance”
Toby Keith’s run of four consecutive nominations began this year. His album of the same name proved victorious that evening. Womack’s massive hit became an instant standard, and is incidentally the most recent winner to also be a genuine crossover hit.
Dixie Chicks, “Ready to Run”
Tim McGraw, “Please Remember Me”
Brad Paisley, “He Didn’t Have to Be”
George Strait, “Write This Down”
As pop hits go, this one was a monster. “Amazed” even topped the Hot 100, the first country single to do so since “Islands in the Stream.”
Faith Hill, “This Kiss”
Martina McBride, “A Broken Wing”
Shania Twain, “You’re Still the One”
Steve Wariner, “Holes in the Floor of Heaven”
The Wilkinsons, “26 Cents”
Hill and hubby Tim McGraw each have two ACM trophies in this category, one solo and one shared.
Diamond Rio, “How Your Love Makes Me Feel”
Tim McGraw with Faith Hill, “It’s Your Love”
LeAnn Rimes, “How Do I Live”
George Strait, “Carrying Your Love With Me”
Trisha Yearwood, “How Do I Live (from “Con Air”)”
While Yearwood had won over Rimes at the Grammys a few weeks earlier, the ACM sidestepped the big controversy of the year and gave the trophy to the biggest hit in the bunch.
Brooks & Dunn, “My Maria”
Deana Carter, “Strawberry Wine”
Tracy Lawrence, “Time Marches On”
LeAnn Rimes, “Blue”
George Strait, “Carried Away”
It’s rare that the ACM goes with the song that was least successful at radio, but don’t let that #10 peak of “Blue” fool you. That hit was responsible for millions of record sales.
Brooks & Dunn, “You’re Gonna Miss Me When I’m Gone”
Faith Hill, “It Matters to Me”
Tim McGraw, “I Like It, I Love It”
George Strait, “Check Yes or No”
Shania Twain, “Any Man of Mine”
It was a stroke of marketing brilliance: add two singles to a box set of a genre superstar. When the first single became one of his biggest hits, the box set quickly became the top selling in country music history.
Joe Diffie, “Third Rock From the Sun”
Vince Gill, “Tryin’ to Get Over You”
Alan Jackson, “Livin’ On Love”
Tim McGraw, “Don’t Take the Girl”
John Michael Montgomery, “I Swear”
There have been a few wedding standards to win this award, though Montgomery’s hit didn’t cross over in its original form.
Clint Black with Wynonna, “A Bad Goodbye”
Garth Brooks, “Ain’t Goin’ Down (‘Til the Sun Comes Up)”
Alan Jackson, “Chattahoochee”
Reba McEntire with Linda Davis, “Does He Love You”
Dwight Yoakam, “Ain’t That Lonely Yet”
Jackson won the ACM with his massive hit, but the McEntire/Davis duet and the Yoakam track were Grammy winners.
John Anderson, “Straight Tequila Night”
Brooks & Dunn, “Boot Scootin’ Boogie”
Billy Ray Cyrus, “Achy Breaky Heart”
Collin Raye, “Love, Me”
Tanya Tucker, “Two Sparrows in a Hurricane”
Brooks & Dunn are among the most nominated artists in this category’s history, but this is their only victory.
Clint Black, “Where Are You Now”
Garth Brooks, “Shameless”
Alan Jackson, “Don’t Rock the Jukebox”
Travis Tritt, “Here’s a Quarter (Call Someone Who Cares)”
Trisha Yearwood, “She’s in Love With the Boy”
This was Jackson’s first major industry award.
Alabama, “Jukebox in My Mind”
Garth Brooks, “Friends in Low Places”
Vince Gill, “When I Call Your Name”
Alan Jackson, “Here in the Real World”
Shenandoah, “Next to You, Next to Me”
Garth-mania was beginning to peak in 1991. He swept the ACMs that year.
Clint Black, “Better Man”
Garth Brooks, “If Tomorrow Never Comes”
Patty Loveless, “Timber I’m Falling in Love”
Keith Whitley, “I’m No Stranger to the Rain”
Hank Williams & Hank Williams Jr., “There’s a Tear in My Beer”
Clint Black is one of only three artists in the last twenty years to win for their first proper single, with Carrie Underwood and LeAnn Rimes being the other two.
Kathy Mattea, “Eighteen Wheels and a Dozen Roses”
K.T. Oslin, “I’ll Always Come Back”
Ricky Van Shelton, “I’ll Leave This World Loving You”
Randy Travis, “I Told You So”
Keith Whitley, “Don’t Close Your Eyes”
Mattea’s award-winning hit had such a high profile that it was even referenced in the dialog of the hit movie Rain Man.
Restless Heart, “I’ll Still Be Loving You”
Ricky Van Shelton, “Somebody Lied”
George Strait, “All My Ex’s Live in Texas”
Randy Travis, “Forever and Ever, Amen”
Hank Williams Jr., “Born to Boogie”
Travis won for the second year in a row with what would become his signature hit.
Alabama, “Touch Me When We’re Dancing”
Janie Fricke, “Always Have, Always Will”
The Judds, “Rockin’ With the Rhythm of the Rain”
Reba McEntire, “Whoever’s in New England”
Randy Travis, “On the Other Hand”
This was technically his first single, but when released under the name Randy Traywick, it bombed. Warner Bros. then released “1982″ under Randy Travis, and it went top ten. They then re-released this song, and it became his first #1 hit.
Lee Greenwood, “Dixie Road”
Waylon Jennings, Willie Nelson, Johnny Cash, Kris Kristofferson, “Highwayman”
The Judds, “Love is Alive”
Mel McDaniel, “Baby’s Got Her Blue Jeans On”
Hank Williams Jr., “I’m For Love”
So successful was this winning single that the four legends would go on to release future collaborations as the Highwaymen.
Alabama, “When We Make Love”
Julio Iglesias & Willie Nelson, “To All the Girls I’ve Loved Before”
The Judds, “Why Not Me”
John Schneider, “I’ve Been Around Enough to Know”
Conway Twitty, “I Don’t Know a Thing About Love (The Moon Song)”
Say what you want about this winner, but it was popular enough to sell two million 45s.
John Anderson, “Swingin’”
Anne Murray, “A Little Good News”
Willie Nelson & Merle Haggard, “Pancho and Lefty”
Kenny Rogers & Dolly Parton, “Islands in the Stream”
Shelly West, “José Cuervo”
Another pop smash that moved two million 45s. Is there anybody over 30 who can’t sing along to the chorus?
David Frizzell, “I’m Gonna Hire a Wino to Decorate Our Home”
Willie Nelson, “Always on My Mind”
Kenny Rogers, “Love Will Turn You Around”
Ricky Skaggs, “Crying My Heart Out Over You”
Nelson’s had quite a few signature hits, but none bigger than this one.
Rosanne Cash, “Seven Year Ache”
David Frizzell & Shelly West, “You’re the Reason God Made Oklahoma”
Barbara Mandrell, “I Was Country When Country Wasn’t Cool”
Ronnie Milsap, “(There’s) No Gettin’ Over Me”
Oak Ridge Boys, “Elvira”
This might be the most pop-flavored lineup in category’s history. Even the Mandrell hit doth protest too much.
George Jones, “He Stopped Loving Her Today”
Johnny Lee, “Lookin’ For Love”
Dolly Parton, “9 to 5″
Eddie Rabbitt, “Drivin’ My Life Away”
Don Williams, “I Believe in You”
Jones capped his biggest comeback in a career defined by them with several awards for this classic hit.
Charlie Daniels Band, “Devil Went Down to Georgia”
Larry Gatlin & The Gatlin Brothers Band, “All the Gold in California”
Crystal Gayle, “Half the Way”
Waylon Jennings, “Amanda”
Kenny Rogers, “Coward of the County”
West Coast represent!
Crystal Gayle, “Talking in Your Sleep”
Loretta Lynn, “Out of My Head and Back in My Bed”
Willie Nelson, “Georgia On My Mind”
Waylon & Willie, “Mammas Don’t Let Your Babies Grow Up to be Cowboys”
Don Williams, “Tulsa Time”
In a category of superstars, the Gentle Giant of Country Music was the victor.
Debby Boone, “You Light Up My Life”
Crystal Gayle, “Don’t it Make My Brown Eyes Blue”
Waylon Jennings, “Luckenbach, Texas (Back to the Basics of Love)”
Kenny Rogers, “Lucille”
Linda Ronstadt, “Blue Bayou”
All of these records made a big impact on both the country and the pop chart.
Mickey Gilley, “Bring it On Home to Me”
Loretta Lynn, “Somebody Somewhere (Don’t Know What He’s Missin’ Tonight)”
Marty Robbins, “El Paso City”
Red Sovine, “Teddy Bear”
Waylon & Willie, “Good Hearted Woman”
A surprising win, perhaps fueled by the momentum of Gilley’s previous single, “Don’t the Girls All Get Prettier at Closing Time.”
Glen Campbell, “Rhinestone Cowboy”
Freddie Fender, “Before the Next Teardrop Falls”
Mickey Gilley, “Overnight Sensation”
Willie Nelson, “Blue Eyes Crying in the Rain”
Kenny Starr, “The Blind Man in the Bleachers”
Campbell made quite the comeback with this one, and it later inspired the Dolly Parton film vehicle Rhinestone, which earned an ACM nomination of its own for the Tex Ritter Award.
John Denver, “Back Home Again”
Merle Haggard, “Things Aren’t Funny Anymore”
Ronnie Milsap, “(I’d Be) A Legend in My Time”
Cal Smith, “Country Bumpkin”
Billy Swan, “I Can Help”
Smith may not have gotten all the recognition that his talent warranted, but he made two undeniable classics: “The Lord Knows I’m Drinking”, and his winner here.
Merle Haggard, “If We Make it Through December”
Byron MacGregor, “The Americans”
Jeanne Pruett, “Satin Sheets”
Charlie Rich, “Behind Closed Doors”
Charlie Rich, “The Most Beautiful Girl”
Rich’s two hits were so big that even with vote-splitting, he still emerged the winner.
Donna Fargo, “The Happiest Girl in the Whole U.S.A.”
Merle Haggard, “It’s Not Love (But It’s Not Bad)”
Johnny Rodriguez, “Pass Me By (If You’re Only Passing Through)”
Jerry Wallace, “If You Leave Me Tonight I’ll Cry”
Faron Young, “Four in the Morning”
Fargo was a local star on the West Coast before she broke through nationwide with this hit, dominating the 1973 ACM Awards as a result.
Merle Haggard, “Carolyn”
Freddie Hart, “Easy Loving”
Loretta Lynn and Conway Twitty, “Lead Me On”
Loretta Lynn, “One’s On the Way”
Charley Pride, “Kiss an Angel Good Morning”
This gold-selling classic helped Hart triumph over the superstars of his day.
Lynn Anderson, “Rose Garden”
Merle Haggard, “The Fightin’ Side of Me”
Anne Murray, “Snowbird”
Ray Price, “For the Good Times”
Sammi Smith, “Help Me Make it Through the Night”
Each one of these is a classic in its own right. In a battle of Kristofferson-penned hits, Price emerged victorious, though Smith won the CMA later that year.
Glen Campbell, “Try a Little Kindness”
Johnny Cash, “A Boy Named Sue”
Merle Haggard, “Okie From Muskogee”
Billy Mize, “Make it Rain”
Elvis Presley, “Don’t Cry Daddy”
Freddy Weller, “Games People Play”
Tammy Wynette, “Stand By Your Man”
Haggard’s only victory in this category came on a night where he also won Album of the Year for the only time in several nominations.
Glen Campbell, “Wichita Lineman”
Merle Haggard, “I Take a Lot of Pride in What I Am”
Merle Haggard, “The Legend of Bonnie and Clyde”
Merle Haggard, “Mama Tried”
Roger Miller, “Little Green Apples”
Miller’s known for his legendary songwriting, but his winning hit here was penned by Bobby Russell.
Glen Campbell, “Burning Bridges”
Glen Campbell, “Gentle on My Mind”
The Gosdin Bros., “Hangin’ On”
Bobbie Gentry, “Ode to Billy Joe”
Merle Haggard, “Branded Man”
Merle Haggard, “I’m a Lonesome Fugitive”
A young Vern Gosdin made up half of the nominated Gosdin Bros., a nice historical footnote to the first year of this category. Glen Campbell’s victory was appropriately West Coast for the ACMs first attempt at honoring the national country music scene.
Facts & Feats:
(4) – Alan Jackson
(3) – Willie Nelson
(2) – Glen Campbell, Faith Hill, Tim McGraw, Kenny Rogers, George Strait, Randy Travis