An extensive tribute piece to follow. In the meantime, enjoy the voice that will remain immortal and share your memories and favorite songs in the comments.
An extensive tribute piece to follow. In the meantime, enjoy the voice that will remain immortal and share your memories and favorite songs in the comments.
This review of George Strait’s final Houston Livestock Show and Rodeo concert was originally published on CultureMap Houston.
It was 30 years ago that the Texas rancher and country music newcomer received a last-minute call to make his Houston Livestock Show and Rodeo debut, replacing the ill Eddie Rabbitt. Since then, George Strait has become part of the RodeoHouson fabric: He’s played a total of 21 shows, including the Astrodome’s closing concert in 2002 — its highest-attended event — and the Reliant Stadium’s debut concert in 2003.
And Sunday night, he made one last piece of history with a terrific RodeoHouston appearance, a stop on his “The Cowboy Rides Away Tour.” Along with Martina McBride and the Randy Rogers Band, Strait’s concert-only performance amassed a record-breaking crowd of 80,020.
History aside, it’s fitting that Strait chose RodeoHouston for his final Houston tour stop. The annual event, in its 81st year, embodies the same blend of rugged charm and modern energy that’s kept the 60-year-old singer relevant well into the 21st century. Strait’s sold-out concert appeared almost mystical in its generation-bridging force — its ability to elicit the same level of awestruck respect from young and old.
Strait was preceded by two opening acts, the Texas-bred Randy Rogers Band and tour mate Martina McBride. The former’s material was uneven (thumbs down for “Fuzzy,” a honky tonk spin on Jason Aldean’s party anthems), but its newer offerings, like the raucous “Trouble Knows My Name,” were on-point.
McBride proved a force per usual, her crystalline voice searing through her bread and butter of inspirational ballads with precision and poise. Hits like “A Broken Wing” and “Independence Day” carried as much weight as they did 10 years ago, and the under-appreciated “Love’s The Only House” rang with renewed urgency.
But make no mistake: this was Strait’s house, and McBride knew it. “I’m the luckiest girl in the world. You know why? Cause I get to tour with George freaking Strait,” she yelled.
If McBride’s set was a polished collection of career highlights, Strait’s felt more like a laidback jam session that just happened to be peppered with No. 1 hits. Wearing
his signature Wranglers and a simple black cowboy hat, Strait burned through a deep, career-spanning set of 31 songs, never once losing the crowd’s attention.
his signature Wranglers and a simple black cowboy hat, Strait burned through a deep, career-spanning set of 31 songs, never once losing the crowd’s attention.
“I can’t tell you how happy we are to be here tonight,” he said while taking in the packed stadium, and that earnest joy quickly became the theme of the night.
He had the crowd on its feet with opener “Here for a Good Time,” a beer-raising ode to living like you’re dying, and he followed it with familiar hits “Ocean Front Property” and “Check Yes or No.” Even when he slowed the pace with a one-two punch of the saccharine “I Saw God Today” and somber “Drinkin’ Man,” the energy in the stadium didn’t seem to waver.
Perhaps because Strait promised upfront that he had a few tricks up his sleeve — and indeed he did. Eight songs in, he brought McBride back out for a pair of classic duets, Johnny and June Cash’s “Jackson” and George Jones and Tammy Wynette’s “Golden Ring,” which the duo shuffled through with fresh chemistry. It was a moment, among many in the concert, that transcended the confines of time.
Strait then dove into the meat of his show, a career-tracing journey through story and song. He laughed as he recounted his first trip to Nashville in 1981, cutting his first handful of songs and nabbing his breakthrough record deal. He paid tribute to old friends and writers Darryl Staedtler and Dean Dillon while performing early hits “Blame it on Mexico” and “Her Goodbye Hit Me in the Heart” from his debut album Strait Country.
“Are y’all still liking the old stuff?” he asked, before continuing through the 80s with songs like “Honky Tonk Crazy” and the jaunty “80 Proof Bottle of Tear Stopper,” which had the audience clapping along.
The first emotional jolt of the night came from Strait’s 1982 hit “Marina del Rey,” a song that, over the years, he’s learned to inject with the melancholy weariness it deserves. The crowd sang along audibly while brave couples took to the floor to dance.
The 90s followed with songs from a “little ole movie called ‘Pure Country,’” including “The King of Broken Hearts” and the fast-paced toe-tapper “Where the Sidewalk Ends.” But just like the decade before, it was the slow two-step of “The Chair” that mesmerized the audience, bringing it to a standing ovation that lasted for a good 20 seconds.
When he barreled through to recent years, “Give it Away” punched things up with country-style angst, and “How ‘Bout Them Cowgirls” turned into an endearing sing-along. He brought his catalogue full circle with 1983’s “Amarillo by Morning,” a song he re-recorded on his 2003 album For the Last Time: Live from the Astrodome, capping it off with a gorgeous fiddle solo.
Throughout the show, Strait gave longtime friends Ace in the Hole plenty of room to shine. The band’s craftsmanship was so sharp that it was able to pump much-needed energy into recent sleeper “Rolling on the River of Love” and tepid chart-climber “Give it All We Got Tonight.” In the context of Strait’s superb catalogue, the latter fell undeniably flat – but again, the crowd couldn’t be bothered.
And what a crowd. One scan of the 80,000 plus-filled stadium was overwhelming, a visual reminder of the kind of scale most artists only dream of reaching.
Strait understood that. “I’m really going to miss this,” he said, as he launched into a sentimental performance of “I’ll Always Remember You” off of his past album, Here for a Good Time. His plain-speak ‘thank you’ to fans was achingly sincere –“But you kept calling me back to the stage / And I finally found my place in each and every face,” he sang — but not particularly unique. The better send-off came with Strait’s honest confession, “Troubadour,” which paints a more telling portrait of his career.
Strait appeared to close the show with his very first hit “Unwound,” but was cheered back in for a four-song encore. He hopped from “Same Kind of Crazy” to the crowd-favorite “All My Ex’s Live in Texas” to a solid, foot-stomping cover of Johnny Cash’s “Folsom Prison Blues.” Finally, he rode out with “The Cowboy Rides Away,” a potentially cheesy retirement song, but not in his hands.
In an era where singing straight from the heart (pun intended) is heavily sacrificed for bravado and wit, Strait’s presence as a live entertainer — as a cowboy in the least superficial sense of the word —will be simply irreplaceable.
George Strait’s set list:
“Here for a Good Time”
“Ocean Front Property”
“Check Yes or No”
“I Saw God Today”
“Love’s Gonna Make it Alright”
“Blame it on Mexico”
“Her Goodbye Hit Me in the Heart”
“80 Proof Bottle of Tear Stopper”
“Honky Tonk Crazy”
“Marina del Rey”
“A Fire I Can’t Put Out”
“The King of Broken Hearts”
“Where the Sidewalk Ends”
“Rolling on the River of Love”
“How ‘Bout Them Cowgirls”
“Give it Away”
“Middle Age Crazy”
“Amarillo by Morning”
“Give it All We Got Tonight”
“I’ll Always Remember You”
“Same Kind of Crazy”
“All My Ex’s Live in Texas”
“Folsom Prison Blues”
“The Cowboy Rides Away”
A great covers record, no matter how sincere the artist’s intentions, must provide a satisfactory answer to one question: Why should we listen to this artist’s versions of these songs when the originals are still there for us to enjoy?
There are moments when Terri Clark’s Classic answers that question effectively, as well as some when the answer is murky at best. Produced by Clark with Jeff Jones, the project fares best when Clark brings thoughtful vocal interpretations and creative production touches to her renderings of these classic songs. Her take on Glen Campbell’s “Gentle On My Mind” marries a pleasantly subtle vocal reading to a warm and inviting bluegrass-tinged arrangement. Another highlight is a reworking of Tanya Tucker’s 1972 debut hit “Delta Dawn,” on which Tucker herself contributes duet vocals. Tucker proves to be in fine voice, while an acoustic guitar and fiddle-based arrangement accentuates the song’s Southern Gothic charms. The album also includes some less-expected cover choices such as Linda Ronstadt’s “Love Is a Rose” and Emmylou Harris’ “Two More Bottles of Wine” – not necessary the usual go-to selections for a classic country covers project, but Clark’s searing fiddle-laced reworkings are a real treat.
The album’s most polarizing aspect would likely be its recurring tendency to place the songs in contemporary country-rock settings (which may make some country purists wince) similar to the style that became Clark’s calling card during her days as a mainstream country star. One could commend Clark for adapting the songs to her own style (as opposed to causing the same musical whiplash as Martina McBride’s by-the-book re-creations from her Timeless project), but the strategy does suffer from the occasional overhaul. She amps up Kittle Wells’ landmark hit “It Wasn’t God Who Made Honky Tonk Angels” into a honky-tonk shuffle that could have worked if not for her overwrought vocal delivery, but an over-produced take on Loretta Lynn’s “Don’t Come Home a Drinkin’ (With Lovin’ On Your Mind)” all but buries the infectious sass of Lynn’s 1967 original. By the time Clark’s rocked-up versions of Merle Haggard’s “Swingin’ Doors” and Hank Snow’s “I’m Movin’ On” roll around, the style begins to feel somewhat tired.
The duets included on the album are something of a mixed bag. Dierks Bentley turns in one of his better performances as he fills George Jones’ shoes on the classic Jones-Wynette duet “Golden Ring.” Dean Brody joins Clark on “I’m Movin’ On,” thus shifting the song to a two-person (ostensibly an ex-couple) perspective. The third-person narrative of “Delta Dawn” is likewise well-suited to the duet treatment. On the other hand, sonically pleasant duet versions of “How Blue” (with original artist Reba McEntire) and Patsy Cline’s “Leavin’ On Your Mind” (with fellow Canadian singer-songwriter Jann
Arden) suffer from the simple common flaw that the songs don’t work well as two-woman duets.
Terri Clark is to be commended for the sense of risk-taking evident on Classic, but unfortunately it sometimes comes at the expense of consistency. Sleepless Nights it isn’t, but the best moments on Terri Clark’s Classic make it an enjoyable and worthwhile listen as a whole, even if the project falls a degree short of fulfilling its lofty potential.
Top Tracks: “Love Is a Rose,” “Gentle On My Mind,” “Delta Dawn”
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
Next: I’ll Try
Previous: I Don’t Even Know Your Name
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.
Previous: #44. Glen Campbell
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
Next: Song For the Life
Previous: Gone Country
“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
Next: A Good Year for the Roses (with George Jones)
Previous: Livin’ on Love
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
Listen: Drinkin' Man
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!
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.
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.
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.
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.
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.
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”…
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.
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.
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.
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?
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.
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.
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!