Tag Archives: George Jones

Retro Single Review: Alan Jackson, "Tall, Tall Trees"

1995 | Peak:#1

Leave it to Alan

Jackson to find a #1 single on a Roger Miller box set.

Miller co-wrote “Tall, Tall Trees” with George Jones.  Jones recorded it first.  Miller recorded it a few years later.

With Miller being the king of comedic country and Jones of honky-tonk drawl, Jackson managed an awesome feat with his version.  He sounds more comfortable with the rapid wordplay and hillbilly humor than either of the two guys who wrote it.

Jackson’s cover isn’t just the most commercially successful of the three.  It’s also the best.

Written by George Jones and Roger Miller

Grade: A

Next: I’ll Try

Previous: I Don’t Even Know Your Name

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100 Greatest Men: #43. Roger Miller

100 Greatest Men: The Complete List

He became widely hailed for his lightning-fast wit and charming novelty songs, but Roger Miller’s talents ran far deeper than just the moments of comedic brilliance that made him a legend.

Miller took a long and winding route to country stardom.  His brother-in-law, Sheb Wooley, encouraged his fiddle playing as a boy, and he sang and played guitar, but he was more interested in working as a ranch hand.  But after a stint in the army led to a chance meeting with industry insiders, he made the jump and moved to Nashville.

An audition for Chet Atkins at RCA went poorly, but Miller persevered, focusing on his songwriting.  He wrote the classic Ray Price hit “Invitation to the Blues”, along with hits for Jim Reeves, Ernest Tubb, and Faron Young.   He also co-wrote with George Jones, and although it wasn’t a hit at the time, their collaboration “Tall, Tall Trees” would become a #1 hit for Alan Jackson three decades later.

Miller’s success as a writer garnered him new attention from Nashville labels, and he had a handful of minor hits on RCA during a short stint on the label.   While he was known as a hardcore country singer up until this point, he tried a new approach, moving to California and appearing on network variety shows as a more comedic country singer.

The new image was a big success, and when he began releasing singles and albums on the Smash Records label, he became a superstar.   Over the course of just three years, he released several major hits, won eleven Grammy awards, and earned several gold albums, along with the million-selling single, “King of the Road.”

After those peak years, he continued to chart, and often brought attention to material from newer songwriters like Bobby Russell (“Little Green Apples”) and Kris Kristofferson (“Me and Bobby McGee”).   His own songwriting led to additional hits for other artists, most notably Eddy Arnold, who had a #2 hit with “The Last Word in Lonesome is Me.”

Miller’s storytelling skills led him to pen several songs for the Disney animated film Robin Hood in 1973, which foreshadowed his next and final major signature success.  In 1985, he became the toast of Broadway for his score to the show Big River, which won him two Tony awards.   Though Miller continued to work after this incredible achievement, he was soon sidelined by throat cancer, which claimed his life in 1991.

Essential Singles:

  • Dang Me, 1964
  • Chug-a-Lug, 1964
  • Do-Wacka-Do, 1964
  • King of the Road, 1965
  • England Swings, 1965
  • Husbands and Wives, 1966
  • Little Green Apples, 1968
  • Me and Bobby McGee, 1969

Essential Albums:

  • Roger and Out, 1964
  • The Return of Roger Miller, 1965
  • Third Time Around, 1965
  • Words and Music,  1966
  • Walkin’ in the Sunshine, 1967
  • A Tender Look at Love, 1968

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#42. Porter Wagoner

Previous: #44. Glen Campbell

100 Greatest Men: The Complete List

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Retro Single Review: George Jones & Alan Jackson, "A Good Year for the Roses"

1994  | Peak: #56

So, Alan Jackson is at the peak of his first wave of popularity, and he partners up with a still-potent George Jones to cover one of the Possum’s greatest singles.

I qualify that statement with “one of”, simply because “He Stopped Loving Her Today”, “The Window Up Above”, and “She Thinks I Still Care” exist, but in my personal opinion, the original recording of “A Good Year for the Roses” really is the best George Jones single.

So the two traditionalists pairing up to resurrect this classic couldn’t possibly go wrong, with Jackson being an heir apparent for Jones, who was creatively resurgent at the time.   But they don’t go quite as right as they could have.  The tempo is a bit too slow, and the dramatic strings are conspicuously missing.

Maybe they didn’t want too much tamoxifen production getting in the way, but for all that Jones is praised for being pure country, what made his best seventies and eighties records soar were those big strings and layers of backing vocalists.  Jones is a big enough singer to maintain a commanding presence amidst all of the bells and whistles.   That approach wouldn’t play to Jackson’s strengths, so maybe that’s why they kept it simple.

But even though both men are in fine form and they perform the song well, it sounds like something is missing.

Written by Jerry Chesnut

Grade: B+

Next:  Song For the Life

Previous: Gone Country

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Retro Single Review: Alan Jackson, "Gone Country"

“I hear down there, it’s changed, you see.  They’re not as backward as they used to be.”

“Gone Country” is a snapshot of country music at the peak of the boom years, when forces within the music industry and larger shifts in the social landscape of America coalesced to launch country music from its long-suffering redheaded stepchild status into a billion dollar business.

Penned by Bob McDill, a pop songwriter who’d gone country himself many years earlier, the song’s sing-along chorus lends itself to “Born in the U.S.A.” syndrome.  Many sang along without realizing that it was actually an indictment of musical artists who manipulatively decided to go country, rather than a celebration of the explosive new audience that had embraced the format in the early nineties.

Who but Alan Jackson could have delivered it so masterfully? Even during the hat act years, when every young new buck was falling over himself to declare his affinity for Haggard and Jones, Alan Jackson stood out as the real deal.  But despite his staunch traditionalism and reverence for the genre’s greats, he still skillfully incorporated fifties rock, sixties pop and seventies rock into his sound, which is why he could cover “Tequila Sunrise” just as credibly as “A Good Year for the Roses.”

The man singing the song had reached mega-superstardom, selling more copies of one album than many of his heroes had sold of their entire catalog.   Even as he played the cocked-eyebrow guardian of the genre, looking at these carpetbaggers with disdain-laced suspicion, he also knew that the gold rush that was calling their names had made him successful beyond his wildest dreams.

So while there’s a whiff of condescension toward the Vegas singer going “back to her roots”, the folkie who thought “some of that stuff don’t sound much different than Dylan”, and the pop executive who was sure he’d  “be back in the money in no time at all”,  his confident air throughout the song was a reminder that all of their perceptions were based in truth.

Nineties country really did share some roots with the pop and rock music that lounge singers would belt out in Vegas.   Mary Chapin Carpenter, a folkie if there ever was one, was selling multi-platinum and dominating the award show circuit.  And while pop music was at its lowest nadir, languishing in the shadows of both grunge rock and hip-hop, country radio was the only place on the radio dial where bright production and lyrical emphasis could be found.

It was a golden moment in the genre’s history, the first and last time when country dominated the entire American musical landscape without having to compromise its own identity to capture the interest of the crossover audience.   They made smart, contemporary music that acknowledged and built upon the genre’s rich legacy, and the audience came to them.

These days, of course, they’re as backward as they’ve ever been.  Hillbilly pride songs compete for airtime with songs so blatantly pop that they don’t even need remixing for pop and AC airplay. But “Gone Country” is a beautiful snapshot of a time when buy generic viagra online the genre had risen to the top of the music scene, simply on the twin strengths of authenticity and artistry.

Written by Bob McDill

Grade: A

Next: A Good Year for the Roses (with George Jones)

Previous: Livin’ on Love

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Single Review: George Strait, "Drinkin' Man"

More than thirty years into his legendary career, George Strait has released the most compelling single of his career with “Drinkin' Man.”

An alcoholic examines his past and present with clear eyes, looking into the mirror while still holding on to the bottle.  With sad resignation, he remembers the parents who worried about him, the friends that tried to save him, and the woman who loved him in spite of his affliction.

Strait isn't known for dealing with such challenging subject matter, but his experience as a singer and remarkable growth as a songwriter have resulted in the genre's best drinking song in recent memory.  It's something that Merle Haggard or George Jones would have produced at their peak.

I don't know if radio can handle something this substantive from an artist that they tend to love most when he's frivolous these days.  But whether or not it receives wide airplay, this is the finest single that George Strait has ever released.

Written by Dean Dillon, Bubba Strait, and George Strait

Grade:  A

Listen: Drinkin' Man

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2012 ACM Awards: Staff Picks & Predictions

Throw on your bedazzled boots – the 47th annual Academy of Country Music Awards air live from Las Vegas this Sunday at 8 p.m. EST. The show promises to be a melting pot of performances, with oddball duets like Rascal Flatts and Steve Martin – and no, that’s not an April Fools joke. The CU staff picked and predicted the awards below. Tell us your thoughts, and check back for our live blog on Sunday night!

Entertainer of the Year

Should Win:

  • Jason Aldean
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton
  • Taylor Swift – Jonathan, Dan, Tara, Leeann, Kevin, Ben, Sam

Will Win:

  • Jason Aldean – Sam
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton
  • Taylor Swift – Jonathan, Dan, Tara, Kevin, Ben

Ben: Okay, so I was going to go with Aldean based on his massive success… but Swift’s music has just been too dang good lately.

Jonathan: Swift is the only one of the five who has released any music I really liked during the eligibility period; that fan voting is part of whatever mysterious algorithm is used to determine the winner of this award helps her case. I recognize that Aldean has a good look at this, too, but I’ll admit to just digging my heels in and refusing to get on board with the idea that he’s considered the standard-bearing artist in country music.

Tara: Swift released some of the best material of her career in the eligibility period, and her star seems as bright as it’s ever been. And while I can’t picture her losing something fan-voted, I wouldn’t be shocked if Aldean snuck up on her, especially given the secret fan / academy vote ratio. I just hope that this time next year, there are a few shake-ups in this category. I’m bored.

Dan: I like Swift the best, but can’t muster the energy to root actively against Aldean like I did with, say, Rascal Flatts.

Kevin:  Aldean vs. Swift, with me erring on the side of the one who made more music that I liked this year.

Sam: Just a hunch, but the Taylor Swift voters might be as fanatical as usual because Carrie Underwood isn’t nominated for this award. That might give Aldean the chance to sneak in.

Male Vocalist of the Year

Should Win:

  • Jason Aldean – Dan, Kevin, Sam
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton
  • Chris Young – Ben, Jonathan, Tara

Will Win:

  • Jason Aldean – Dan, Sam
  • Kenny Chesney
  • Brad Paisley
  • Blake Shelton – Ben, Jonathan, Tara, Kevin
  • Chris Young

Dan: Aldean remains the hottest guy out there by a huge margin, and occasionally puts out something decent like “Fly Over States.” I’ll just keep picking him to win this until he does. La la la.

Ben: Aldean’s success speaks for itself, but I would really like to see Chris Young take this. He released a solid new album, remained a consistent hitmaker at radio, and has made the most music that I’ve actually cared about. But seeing as the industry award voters have been showing a lot of excessive Shelton love as of late, my gut says that Blake Shelton is going to get this. (There are no awards for TV Judge of the Year or Newlywed of the Year, so the ACM will probably give him this one instead)

Jonathan: So let’s talk about Chris Young for a minute. The guy has a fantastic voice, one of the strongest and most distinctive instruments to come down Music Row in a minute, and that alone is enough to elevate him above most of the other men who have scored major airplay in the past couple of years. But the discrepancy between the quality of Young’s vocal performances and the quality of the songs he’s performing is a problem, and here’s yet another instance of an artist with the potential to be really and truly great receiving a thumbs-up from the industry for work that’s just occasionally on the better side of okay. Where’s the incentive for someone like Young to be even better if he’s being recognized now? And what does it say that, despite his wildly uneven material, he’s far and away the class of this particular field of nominees?

Tara: I have to disagree with Jonathan on this one; I find Neon to be a refreshing, neo-traditional gem, more organic than it is uneven. In this stage of Young’s career, I view his body of work as a stepping stone and an indication of potential, and I have no issue with it being rewarded. But it won’t be; Mr. Lambert’s got the entertainment industry on lockdown. And I can’t say I really mind.

Kevin: Picking Aldean as the “should win” solely because he had the biggest year, though I suspect Shelton will win anyway.

Sam: I get the love for Miranda Lambert, but the Blake Shelton love is largely lost on me. Not a fan of Aldean either, but he’s due for this award.

Female Vocalist of the Year

Should Win:

  • Sara Evans
  • Miranda Lambert – Dan, Ben, Tara, Leeann, Sam
  • Martina McBride
  • Taylor Swift – Jonathan, Kevin
  • Carrie Underwood

Will Win:

  • Sara Evans
  • Miranda Lambert – Dan, Ben, Jonathan, Tara, Leeann, Sam
  • Martina McBride
  • Taylor Swift – Kevin
  • Carrie Underwood

Dan: I think Swift has been the strongest solo act this past year, but Lambert released a decent fourth album and a terrific group one. With no place on the ballot to reward Pistol Annies (fix that, CMAs?), this’ll do.

Ben: Swift put out a string of very good singles, but… Four the Record + Pistol Annies = The Miranda Lambert love will be fully justified.

Jonathan: If we’re counting Pistol Annies, then I can absolutely see the case for Lambert and could be convinced to vote accordingly, and I think she still has the momentum to win here. If we’re just looking at solo material, though, I’m unapologetically sticking with Swift’s “Mean” and “Sparks Fly,” which trump anything that the other four women in the category released during the eligibility period. With Underwood having a new album to support and, hopefully, Kellie Pickler getting the recognition she deserves for her latest work, this category should be a hell of a lot more interesting and competitive come CMA time.

Tara: Swift delivered the better material, but Lambert delivered the better performances, Hell On Heels notwithstanding. By my definition of FVOTY, this should go to Lambert. (And I’m stoked for the fall award season, too.)

Leeann:  I have no real reason to believe that the Academy would take this from Lambert this year.

Kevin:  Can you believe that Swift is the only nominee who hasn’t won this yet?  I know Lambert should be the favorite, especially given the ACM’s fondness for her.  But I can’t shake the feeling that she’s lost some momentum with her latest project.

Sam: Miranda will continue to own this category until someone like Carrie Underwood steps up with a new album.

Vocal Duo of the Year

Should Win

  • Love and Theft
  • Montgomery Gentry
  • Steel Magnolia
  • Sugarland – Leeann
  • Thompson Square – Dan, Ben, Tara

Will Win:

  • Love and Theft
  • Montgomery Gentry
  • Steel Magnolia
  • Sugarland – Dan, Ben, Leeann, Kevin
  • Thompson Square – Jonathan, Tara, Sam

Ben: The Civil Wars are really the only duo I’ve cared about this past year, but they have been stupidly excluded in favor of Love and Theft (who only released one mediocre single in the past year), so I’m going with Thompson Square instead. They’ve been doing well at radio, and their music has not been terribly grating, but I’m pretty sure that the ACM will remain stuck on Sugarland.

Dan: With The Civil Wars absent from ACM’s roster and Sugarland having a messy year across the board, Thompson Square seems like the last band standing. And they’re cute, right?

Jonathan: The song remains the same: This category should’ve been merged with Vocal Group of the Year eons ago to trim the fat. Given that the ACMs are still ostensibly more radio-oriented than the CMAs and that Sugarland have actively alienated radio with the god-awful singles from their god-awful album, I’m going to say that Thompson Square pull off the upset here. Just don’t ask me to hum or even to name more than one of their songs…

Tara: I honestly can’t muster an opinion. What’s Sugarland been up to these days, anyway?

Leeann:  This category isn’t even worth comment this year.

Kevin: Saying somebody should win implies that I think there’s a worthy winner, so I’m just going to say that Sugarland will win.

Sam: No Bellamy Brothers nod? You mean country music actually had five legit nominees for a Duo award this year? Artistically, The Civil Wars and Foster & Lloyd would be the most deserving this year.

Vocal Group of the Year

Should Win:

  • The Band Perry
  • Eli Young Band
  • Lady Antebellum
  • Rascal Flatts
  • Zac Brown Band – Dan, Ben, Jonathan, Tara, Leeann, Kevin, Sam

Will Win:

  • The Band Perry – Sam
  • Eli Young Band
  • Lady Antebellum – Dan, Ben, Jonathan, Tara, Leeann, Kevin
  • Rascal Flatts
  • Zac Brown Band

Ben: I’ve tried to hold out hope that the award industries would lay off the ridiculous Lady A adoration, but the CMAs and Grammys have shown me otherwise.

Jonathan: No reason to think the ACMs will break the trend of giving unearned trophies to the C students in the class.

Tara: I remain firmly in ZBB’s corner; the band produced my favorite single of 2011. But I would much, much prefer this award to go to the flavor of the month Eli Young Band than the flavor of the year Lady Antebellum.

Dan: I miss Little Big Town, but this is the first time in recent memory that this category has had five competitive groups. Like Aldean in the Male Vocalist race, Zac Brown Band sell as well as anyone and haven’t won yet, so I’ll probably keep picking them until they do, too. La la la x2.

Leeann: I’d love to see Zac Brown Band take it this year, but I don’t have enough faith that Lady A won’t just keep the award.

Kevin:  Always gonna root for ZBB.  Just losing hope that they’ll ever actually win.

Sam: ZBB is operating on a higher level than any other vocal group, but I’m alright with The Band Perry’s quirkiness getting some recognition.

New Artist of the Year

Should Win:

  • Brantley Gilbert
  • Hunter Hayes – Dan, Tara
  • Scotty McCreery

Will Win:

  • Brantley Gilbert
  • Hunter Hayes
  • Scotty McCreery – Ben, Dan, Jonathan, Tara, Leeann, Kevin, Sam

Dan: Of the three, I think Hayes has the most raw talent (played every instrument on his album!) and could one day be an interesting artist. So, vote of optimism! ;D

Ben: I think this will be between Gilbert and McCreery. My gut says Scotty McCreery “will” win, but this line-up is just too depressing for me to make a case for who “should” win. Dan makes a good point about Hunter Hayes though…

Jonathan: I can’t.

Tara: Uh…I guess this is as good a time as any to confess my love for “Storm Warning.”

Leeann: I don’t even have the heart to choose who I think should win, but I’m guessing the “American Idol” winner will win.

Kevin: New Coke >>>> New Artist of the Year.

Sam: This is fan voted, right? Well, if McCreery’s fans can vote him to win “American Idol”…

Album of the Year

Should Win:

  • Eric Church, ChiefDan, Ben, Jonathan, Tara, Leeann, Kevin
  • Miranda Lambert, Four The Record – Sam
  • Kenny Chesney, Hemingway’s Whiskey
  • Jason Aldean, My Kinda Party
  • Lady Antebellum, Own The Night

Will Win:

  • Eric Church, Chief
  • Miranda Lambert, Four The Record
  • Kenny Chesney, Hemingway’s Whiskey
  • Jason Aldean, My Kinda PartyDan, Ben, Sam
  • Lady Antebellum, Own The NightJonathan, Tara, Leeann, Kevin

Ben: Eric Church edges out Miranda as my pick, but I’m fairly sure this will go to Aldean, and I refuse to predict that Lady Antebellum will win this.

Jonathan: I liked Lambert’s album exponentially less each time I listened to it, so I stopped listening to all but two of its tracks (“Fine Tune” and “Dear Diamond”) months ago to preserve at least some degree of fondness for it. Church’s album has some significant limitations of its own, but, song-for-song, it’s the strongest set in this line-up. I have no idea what I would ever actually say to a person who believes that Richard Marx’s Repeat Offender Amy Grant’s House of Love Lady Antebellum’s Own the Night scans as a country album in any substantive way, or that it’s the best country album of this or any year. But clearly there are people who do believe that, and recent history says there are enough of them for Lady A to win this.

Tara: It’s a toss up between Lambert and Church for me, with Church’s realized hard-assness giving Chief a slight edge. But it’s Lady A’s to lose – and I’m not sure anything in the industry has frustrated me more than their wins as of late. It’s worse than laughably unfair; it’s potential-threatening. And it has to stop.

Dan: When Church is bad, he’s cringe-worthy. When he’s good, he kicks most of the ass he told you he’d kick.

Leeann: I won’t be surprised if Lady A wins, but I’d love to see Eric Church win for the most interesting album of the bunch. I wouldn’t mind seeing Miranda Lambert win either.

Kevin: I just hope I’m wrong a lot this year.

Sam: Pretty sad when a “good for a Jason Aldean album” album beats out two superior albums from Church and Lambert, but I think that will be the case.

Single Record of the Year

Should Win:

  • Eli Young Band, “Crazy Girl”
  • Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
  • Toby Keith, “Red Solo Cup”
  • Chris Young, “Tomorrow”
  • Kenny Chesney featuring Grace Potter, “You and Tequila” – Ben, Dan, Tara, Leeann, Kevin, Sam

Will Win:

  • Eli Young Band, “Crazy Girl”
  • Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” – Dan, Ben, Jonathan, Tara, Leeann, Kevin, Sam
  • Toby Keith, “Red Solo Cup”
  • Chris Young, “Tomorrow”
  • Kenny Chesney featuring Grace Potter, “You and Tequila”

Ben: “Tequila” outclasses most of the field, though “Tomorrow” is also a solid contender. I get the novelty value of “Red Solo Cup,” but Single Record of the Year? Nah…

Jonathan: Even for a novelty song, I thought “Red Solo Cup” was poorly constructed and lazily written, but I kind of hope it wins, if only to prove that this year’s ACMs are just a straight-up farce.

Tara: I don’t love any of these, but “You and Tequila” is the only one I can imagine holding up in ten years.

Dan: Whatever.

Leeann: I can’t even believe “Red Solo Cup” is a contender! I’d love to see Kenny win for one of his best recordings, though I suspect Jason Aldean and Kelly Clarkson will win due to their cross genre appeal and all.

Kevin: Please let me be wrong a lot this year.

Sam: I will be rooting for “Red Solo Cup” and its inspired idiocy, but this could be part of Jason Aldean’s big night at the ACM.

Song of the Year

Should Win:

  • “Crazy Girl” – Lee Brice & Liz Rose
  • “Home” – Brett Beavers, Dierks Bentley & Dan Wilson – Leeann
  • “Just a Kiss” – Dallas Davidson, Dave Haywood, Charles Kelley & Hillary Scott
  • “Threaten Me With Heaven” – Amy Grant, Vince Gill, Dillon O’Brian & Will Owsley – Jonathan, Tara, Kevin
  • “You and Tequila” – Matraca Berg & Deana Carter – Dan, Ben, Sam

Will Win:

  • “Crazy Girl” – Lee Brice & Liz Rose
  • “Home” – Brett Beavers, Dierks Bentley & Dan Wilson – Dan, Ben, Jonathan, Tara, Sam
  • “Just a Kiss” – Dallas Davidson, Dave Haywood, Charles Kelley & Hillary Scott – Kevin
  • “Threaten Me With Heaven” – Amy Grant, Vince Gill, Dillon O’Brian & Will Owsley
  • “You and Tequila” – Matraca Berg & Deana Carter – Leeann

Dan: “Home” has felt like awards bait to me since I first heard it. Me, I’m a “Tequila” guy.

Ben: Ditto to Dan.

Jonathan: As much as I’d like to see Berg and Carter pick up some new hardware, I’d still give the edge to Gill’s song. When “Home” does win, which I agree it will, I’ll just pretend it means that Jason Isbell has finally won a major industry award.

Tara: “Threaten Me With Heaven” is gorgeously written, but I won’t mind if (and when) “Home” takes the award. Country music could use a shot of graceful patriotism.

Leeann: I’m pleased to have three songs that I’d be happy to see win the award this year. I feel like either Chesney or Bentley will rightfully win…I hope so at least.

Kevin:  Pretty please?

Video of the Year

Should Win:

  • Eric Church, “Homeboy”
  • Lady Antebellum, “Just a Kiss”
  • Taylor Swift, “Mean” – Ben, Dan, Jonathan, Tara, Kevin, Sam
  • Toby Keith, “Red Solo Cup”
  • Jason Aldean, “Tattoos On This Town”

Will Win:

  • Eric Church, “Homeboy”
  • Lady Antebellum, “Just a Kiss”
  • Taylor Swift, “Mean” – Kevin
  • Toby Keith, “Red Solo Cup” – Ben, Dan, Jonathan, Tara, Sam
  • Jason Aldean, “Tattoos On This Town”

Ben: I could actually live with “Red Solo Cup” winning this, but I still enjoy “Mean” quite a bit more.  Plus I kind of hate Lady Antebellum’s video for being nothing more than a glorified iPad commercial.  I also think “Mean” deserved a nomination for Single Record of the Year, so I would like to see it acknowledged here.  Still, I don’t think I can bet against “Red Solo Cup.”

Jonathan: That “Mean” didn’t score the Single and Song of the Year nominations with the ACMs that it has elsewhere seems revealing, with “Red Solo Cup” as the most likely beneficiary. I just hope that the faux gravitas of the “Homeboy” clip doesn’t give it any footing.

Tara: I’m equally disappointed that “Mean” didn’t snag a nomination for Single or Song of the Year. With the video almost as freshly produced as the single, it’s an easy one to root for in this category. I have no inkling as to who will win, but I’ll piggyback off of my co-bloggers on the frat party anthem.

Dan: I could do without how the “Mean” clip ends with a little girl idolizing Taylor Swift, but am I gonna vote against the country music video that had the anti-gay-bullying message? No, I’m not.

Kevin: I think the Swift clip has enough pizazz to triumph in the end over Toby’s YouTube video.

Vocal Event of the Year

Should Win:

  • Aaron Lewis featuring George Jones & Charlie Daniels, “Country Boy”
  • Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
  • Brad Paisley featuring Alabama, “Old Alabama”
  • Brad Paisley duet with Carrie Underwood, “Remind Me” – Tara, Kevin, Ben
  • Kenny Chesney featuring Grace Potter, “You and Tequila” – Dan, Jonathan, Leeann, Sam

Will Win:

  • Aaron Lewis featuring George Jones & Charlie Daniels, “Country Boy”
  • Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” – Jonathan, Dan, Leeann, Kevin, Sam
  • Brad Paisley featuring Alabama, “Old Alabama”
  • Brad Paisley duet with Carrie Underwood, “Remind Me” – Tara, Ben
  • Kenny Chesney featuring Grace Potter, “You and Tequila”

Jonathan: The Lewis track is one of the worst singles of the past five years or more, and its nomination is an indication of how deeply modern country music hates the actual traditions and values of the genre.

Tara: As middle-of-the-road as it is, something in the melody of “Remind Me” intrigues me. And I have a random feeling the voters will use this category to reward their dethroned male and female vocalists of the year.

Dan: It’ll be interesting to see if “Remind Me” can unseat “Don’t You Wanna St– oh, who am I kidding. Nothing is interesting anymore.

Leeann: Ugh. I pretty much know that Jason Aldean and Kelly Clarkson will win, but I’d love to be wrong. Meanwhile, I continue to faithfully root for the Chesney/Potter collaboration.

Kevin: I like my Vocal Events to be full-out Vocal Events, so I’m going for Paisley/Underwood over Chesney with backing vocals from Potter.  The latter pair made the better record, though.

Ben:  I’m with Tara and Kevin.  “You and Tequila” is the best record overall, but that has more to do with Berg and Carter’s songwriting than with Potter’s contributions.  “Remind Me” is the one that feels like an actual event.

Sam: Aldean & Clarkson outscreamed Paisley & Underwood, so they lay claim to the trophy. Chesney and Potter, what were you two thinking by just going out there and singing? Next time, I want to hear some wailing and primal screams, because that’s what makes for a successful duet these days.

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Country Music Hall of Fame Welcomes Garth Brooks, Connie Smith, and Hargus “Pig” Robbins

Garth Brooks, Connie Smith, and keyboardist Hargus “Pig” Robbins will join the Country Music Hall of Fame in 2012.

Brooks is the top-selling country music artist in history.  At fifty, he is one of the youngest living inductees ever.

Smith is the fifth female artist to be inducted since 2008, when Emmylou Harris ended a nine year drought for female inductees.

Since playing on the George Jones classic “White Lightning” in 1957, Robbins has recorded with countless legends of country and rock music, including Loretta Lynn, Conway Twitty, Alan Jackson, and Bob Dylan.

What’s your take on the 2012 inductees?  More importantly, who deserves to join them in 2013?

We’ll run a list of our picks for the next round. Share your suggestions in the comments!

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100 Greatest Men: #64. Jerry Reed

100 Greatest Men: The Complete List

A first class singer, songwriter, and musician, Jerry Reed’s talents ran far deeper than his tongue-in-cheek persona might have indicated.

Born and raised in Georgia, Reed played guitar from an early age. Music brought him comfort and structure during a childhood of instability. By the time he was out of high school, he was already signed to Capitol Records.   Though he released several singles over the next few years, it was his songwriting and guitar playing that first earned him notice.

Throughout the late fifties and the sixties, his songs were recorded by Elvis Presley, Gene Vincent, Johnny Cash, Brenda Lee, and others.  He also became an in-demand session guitarist, with a career highlight being the sessions he played with Presley, who feel in love with Reed when he heard his 1967 single, “Guitar Man.”

A strong working relationship with Chet Atkins led to a contract with RCA and further raised Reed’s profile.  By the late sixties, Reed was getting critical notice for his own records.   He had his big breakthrough in 1970, when “Amos Moses” became a gold-selling pop and country hit.   In 1971, ‘When You’re Hot, You’re Hot” became his first #1 country single and another big pop hit.

Throughout the seventies, Reed matched popular singles and albums with high profile media exposure.  He was a regular on Glen Campbell’s television show, and he appeared in several films.   His greatest notoriety came as Cledus Snow in the wildly popular Smokey and the Bandit film series.   “East Bound and Down” was recorded for the soundtrack of the first film, and became one of his biggest hits.

Reed’s recording career had a second wind when he released the 1982 album The Man with the Golden Thumb.   Often rated as his strongest studio album, it featured the classic hit “She Got the Goldmine (I Got the Shaft).”  Reed quickly followed with the hit album, The Bird.  The title track had him mimicking both George Jones and Willie Nelson, and the album also featured a hit cover of the Creedence Clearwater Revival song, “Down on the Corner.”

The nineties brought a fun collaboration with Mel Tillis, Bobby Bare, and Waylon Jennings, a live album dubbed Old Dogs.   Reed also starred as the coach in the box office smash, The Waterboy.    Illness sidelined him as he aged, and he passed away in 2008 due to complications caused by emphyzema.

Essential Singles:

  • Guitar Man, 1967
  • Amos Moses, 1970
  • When You’re Hot, You’re Hot, 1971
  • Lord, Mr. Ford, 1973
  • East Bound and Down, 1977
  • She Got the Goldmine (I Got the Shaft), 1982

Essential Albums:

  • The Unbelievable Guitar and Voice of Jerry Reed, 1967
  • Nashville Underground, 1968
  • Me & Chet (with Chet Atkins), 1972
  • Lord Mr. Ford, 1973
  • The Man with the Golden Thumb, 1982

Next: #63. Clint Black

Previous: #65. Asleep at the Wheel

100 Greatest Men: The Complete List

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100 Greatest Men: #71. Johnny Paycheck

100 Greatest Men: The Complete List

For casual fans of country music, Johnny Paycheck was a one-hit wonder who spent a good chunk of his life in jail.  For those who know better, he was the greatest of the Outlaw singers and the definitive honky-tonk voice of his time.

Born Donald Lytle in Ohio, he performed from age nine, and after a stint in the Navy, he pursued music full-time.  He quickly became known as a songwriter of high caliber and an in-demand tenor singer.   He toured with Ray Price and Willie Nelson, and was a major influence on George Jones as he was developing his signature style.

After scoring a minor hit under the name Danny Young, he adopted the stage name Johnny Paycheck.   Recording for Little Darlin’ in the late sixties, he made a series of crucial, hardcore country albums that stood in sharp contrast to the slicker Nashville sound recordings of the day.  While this wasn’t his most commercially successful work, the Little Darlin’ sessions are arguably the most significant traditional country recordings of the sixties, and laid the groundwork for the Outlaw movement that would follow the next decade.

Switching over to Epic, Paycheck found success at both radio and retail throughout the seventies.  While not a chart-topper, he regularly sent records to the top forty.  In the latter half of the decade, he broke through in a huge way, thanks to his signature song and only #1 hit: “Take This Job and Shove it.”   It became a working man’s anthem, and much like Bruce Springsteen’s “Born in the U.S.A.”, its anthemic chorus led people to miss the actual content of the verses, as Paycheck never actually says the title to his boss.  It’s the inner rage of a man trapped at a job he’d like to quit.

Paycheck recorded a few more great albums and a handful of hit singles until 1985, when he was convicted of shooting and killing a man in a bar.  The subsequent appeals process distracted from his music, and he ended up serving a 22-month jail term.  He was later pardoned by the governor of Ohio.

Though he performed throughout the nineties, chronic illness limited his appearances by the turn of the century.  Paycheck died in 2003, and his friend and colleague George Jones absorbed the costs of his funeral and burial.

Essential Singles:

  • Motel Time Again, 1966
  • She’s All I Got, 1971
  • Someone to Give My Love To, 1972
  • Slide Off Your Satin Sheets, 1977
  • Take This Job and Shove It, 1977
  • Friend, Lover, Wife, 1978

Essential Albums:

  • The Lovin’ Machine, 1966
  • She’s All I Got, 1971
  • 11 Months and 29 Days, 1976
  • Slide Off Your Satin Sheets, 1977
  • Mr. Hag Told My Story, 1981
  • Modern Times, 1987

Next: #70. Ferlin Husky

Previous: #72. Vern Gosdin

100 Greatest Men: The Complete List

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Retro Single Review: George Strait, “The Chair”

1985 | Peak: #1

Want to separate the real deals from the posers?

Ask them to sing “The Chair.” There isn’t a hat act out there who could measure up to Strait’s delivery of this song.

It may not have the emotional heft of  George Jones’ “He Stopped Loving Her Today” or Porter Wagoner’s “Green, Green Grass of Home,”  but Strait’s delivery shares an important commonality with those classics. The song remains fresh and interesting even after you know the twist at the end.

That’s the hallmark of a great storyteller.

Written by Hank Cochran and Dean Dillon

Grade: A

Next: You’re Something Special to Me

Previous: The Fireman

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