Have we reached the point yet where a solid George Strait single should bring on waves of deep gratitude?
He’s been so good for so long that it’s easy to take him for granted. Maybe it’s radio’s sudden unwillingness to play him in heavy rotation, or the bittersweet sadness brought on by his farewell tour. But I’ve never been more aware that the music will eventually stop coming from him.
“I Got a Car” isn’t anything revolutionary or Single of the Year worthy. It’s just a good song elevated by a master storyteller who can make the most pedestrian conversation sound interesting. There’s so much back story in his voice, still strong but weathered by time, that adds layers of meaning here. This is a potential romance between two older people who are trying to start over again, and stumble upon a chance at real love and starting a family.
It wouldn’t sound like that if even the best of the new singers were singing it. Not because they aren’t good. They just haven’t lived enough yet. Maybe twenty years from now, somebody else will write about how much more interesting a song sounds because they’re singing it instead of whoever the new kid on the block is then.
I hope we’ll get a few more good ones from this guy before he’s gone.
The festivities begin at 8 PM EST. Refresh for updates and check for winners above the fold:
Entertainer: George Strait
Male Vocalist: Blake Shelton
Female Vocalist: Miranda Lambert
Vocal Group: Little Big Town
Album: Blake Shelton, Based On a True Story…
New Artist: Kacey Musgraves
Vocal Duo: Florida Georgia Line
Song: “I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary
Single: “Cruise” – Florida Georgia Line
Music Video: “Highway Don’t Care” – Tim McGraw with Taylor Swift and Keith Urban; director: Shane Drake
Musical Event: “Highway Don’t Care” – Tim McGraw with Taylor Swift and Keith Urban
Live Blog (EST):
7:04 First two wins go to “Highway Don’t Care” for Music Video and Vocal Event. First wavering of previously held sentiment: I totally want George Strait to win Entertainer of the Year for his farewell tour. – KJC
8:01 It’s 8:01 and Luke Bryan is wearing a glittery shirt. I’m already confused. – KJC
8:03 And the show starts with two of the most insufferable songs of the year (to me). Where’s the money shot of Zac Brown’s face? -TS
8:06 Weird how we can go from such a horrible representation of the genre to such a charming one. Carrie/Brad >>>Luke/FGL. – KJC
8:08 Brad and Carrie shining as always. This feud sketch is stellar. Thoughts on the Julianne Hough dig? – TS
8:09 It would be nice if there was someone other than Darius Rucker to hand the name to. – KJC
8:10 A bunch of rich people with insurance making health care jokes. Privilege goes down smooth with “Amarillo by Morning.” – KJC
8:10 “Cruise” is only one of the biggest crossovers of all time because they changed the chart rules. Boo. – KJC
8:12 I thought that was Blake Shelton in a costume. Turns out it’s the real Duck Dynasty guys. Wow. – KJC
8:15 SINGLE OF THE YEAR: “Cruise” – Florida Georgia Line. (That is not a typo.)
8:17 I can’t think of anything quippy, I’m so disgusted by this FGL win! – LW
8:20: CMA Awards 1992: The feud is Billy Ray Cyrus vs. Travis Tritt, and “Achy Breaky Heart” wins Single of the Year over “Maybe it Was Memphis”, “I Feel Lucky”, “Love, Me” and “Look at Us.” The more things change… – KJC
8:23 Jason Aldean singing “Night Train” is the best actual performance so far. We’re reaching a point where last year’s nadir is this year’s apex. Where’s Kacey Musgraves? – KJC
8:25 There she is. Singing a Brandy Clark co-write. Now we’re talking. -KJC
8:28 Can we take a moment to reflect on how awesome this chick’s mainstream success is? She’s looking and sounding fab here. Love this song. – TS
8:30 Always nice to hear some actual audible steel guitar on the CMAs for a change. – BF
8:34 Who else feels like a giddy 14-year-old listening to this new Lady Antebellum song? I’m not sure if that’s a good or bad thing. – TS
8:35 Lady Antebellum with “Compass,” a song which is really growing on me. It sounds like it was made for a live setting. – BF
8:37 Song: “I Drive Your Truck” – Jessi Alexander, Connie Harrington, and Jimmy Yeary
8:38 Lee Brice wins Song of the Year with “I Drive Your Truck.” I’m not complaining. - TS
8:41 I feel like “I Drive Your Truck” is a surprise win…but maybe that just shows how much I’m out of the mainstream these days. – LW
8:42 As truck songs go, it’s not a bad one. But wow, there was so much more compelling material to choose from this year. – KJC
8:44 “Sober.” YES. – BF
8:45 Every year, there’s at least one performance that makes it clear that it’s not the sound system’s fault that everyone sounds bad. This year, it’s Little Big Town. They sound fantastic. – KJC
8:46 I’ll say it again: I always love LBT live, even if I don’t love the recorded version of the same song. – LW
8:45 LBT nailing “Sober” with a sparse and spiritual performance. – TS
8:46 LBT sounding fantastic as usual. This is one of those performances that makes me glad I tuned in in spite of all the drivel. – BF
8:47 Vocal Duo: Florida Georgia Line
8:48 For one brief moment, I was clinging to a tiny shred of hope that The Civil Wars would get it. I don’t know why. – BF
8:53: Keith and Miranda with “We Were Us.” I actually think I’m liking this performance better than the studio version. It’s one of those songs that I like well enough, but would like better if it had a better production. – BF
9:00 Having Vince Gill and Alison Krauss onstage doesn’t exactly invite favorable comparison to Taylor Swift’s vocal abilities, but I am enjoying this performance. I love hearing the cheers for Vince and Alison.
9:02 Incidentally, I may be going crazy, but I actually think T-Swift is sounding quite decent tonight. – BF
9:02 The R-eh-eh-ed hook doesn’t work in this setting. – KJC
9:01 I feel like the TS collaboration with Vince and Alison could be good, but my sound must be messed up, because it’s not working for me… – LW
9:02 Even when Taylor isn’t sounding as bad as she usually does, it’s pretty daring of her to sing with two of the best voices in country music! – LW
9:04 Florida Georgia Line performing “Round Here.” – BF
9:10 Hunter Hayes and Jason Mraz with “Everybody’s Got Somebody But Me.” I’m actually enjoying this so far. – BF
9:12 Hunter Hayes channeling Gary LeVox with this messy live performance. This kid has so much potential, though. – TS
9:12 New Artist: Kacey Musgraves
9:13 Woohoo! I could not be happier for Kacey. This is one that the CMA got very, very right. – BF
9:14 I liked that Hayes/Mraz performance – LW
9:14 Eric Church performing “The Outsiders.” – BF
9:16 I don’t think Eric Church’s backup singers are actually making those sounds – KCJ
9:17 I wonder what the aforementioned Tom Petty thinks of this one. Me, I kinda dig it. - TS
9:18 Does that bass breakdown in the Church song remind anyone else of “The Devil Went Down to Georgia”? – LW
9:19 It would be hilarious if this segued right into the George jones tribute. – KJC
9:23 The Band Perry performing “Don’t Let Me Be Lonely.” – BF
9:24 I’m half expecting Jennifer Nettles to walk out during this Sugar Land-lite tune. Really, though, that would be kind of awesome. – TS
9:28 Sheryl Crow presenting Album of the Year. – BF
9:29 Album: Blake Shelton, Based On a True Story…
9:29 Blech. So much for my optimism is predicting an LBT win here.
9:31 This is pretty much the worst slate of winners I can remember. – KJC
9:31 Tim McGraw performing “Southern Girl.” – BF
9:32 I’ve decided the CMA voters are just trolling now. – KJC
9:33 This song gets on my nerves so bad. I can’t believe the songwriters have the bad taste to rhyme “girl” with “rock my world.” – BF
9:35 And there’s glitter on Tim’s hat. – KJC
9:35 Nashville fans, do you get a 90s Rayna James vibe from this song? Have I lost my mind? – TS
9:35 What is with all the glitter? – KJC
9:40 Nice to hear some acknowledgement for Cowboy Jack Clement and Bobby Bare.
9:40 Blake Shelton performing “Mine Would Be You.” – BF
9:44 Not one part of me can get behind a Blake Shelton AOTY win, but this is a decent song and performance. – TS
9:47 Tim McGraw, Faith Hill, Keith Urban, George Strait, and Rascal Flatts presenting Taylor Swift with the CMA Pinnacle Award.
9:48 Leeann: I would like to hear George Strait do a Swift song. – LW
9:49 LOL to Keith Urban describing Taylor Swift’s contribution to country music while “22″ plays in the background. – TS
9:50 LOL at Ellen’s “Pineapple Award” quip! – BF
9:51 ”The Pinnacle Award?” Okay ,they’re just making things up now. No time for the Hall of Fame inductees, but time for this. And stop acting so shocked. They announced this beforehand. – KJC
9:54 This is like the first husband who knows his wife is leaving and tries to keep her by giving a really shiny piece of jewelry. – KJC
9:56 But it’s not on her. It’s on them. We got a stupid award made up in 2005 for Garth Brooks, with Mick Jagger and Julia Roberts shout-outs, and nothing but a three-second wave for Bobby Bare. Too much. – KJC
10:01 Carrie Underwood highlight reel from the past year leading up to her Entertainer of the Year award… Oh, wait – KJC
10:05 So Tim McGraw got a standing O but Carrie polite applause? Huh. – KJC
10:05 Disappointed in her team for taking the lazy route with this medley, but nonetheless proud of Carrie for, ahem, following her own arrow during this Blown Away era. My EOTY. – TS
10:05 So weird that Carrie’s doing a medley. It’s usually what people do when they’re not big anymore… – LW
10:05 I really enjoy Carrie’s voice these days. – LW
10:07 Vocal Group: Little Big Town
10:07 Can’t complain about LBT. Though they still look like ABBA to me. – KJC
10:08 Beautiful shout-out to Nancy Jones. – KJC
10:09 Loving the George Jones tribute with George Strait and Alan Jackson. I cannot think of two guys better qualified for this job. – BF
10:11 First time tonight I couldn’t take my eyes off the screen. Just lovely. – TS
10:12 So much history. So much love. – KJC
10:14 Kinda weird how the Opry can be just like a digital backdrop, given how many years the show was aired from the actual Opry. It feels sometimes like the arena has swallowed the CMA show like arena rock has swallowed country music. - KJC
10:14 The Jones tribute was wonderful. I felt a bit emotional during. I’m such a wimp. – LW
10:17 Zac Brown Band with Dave Grohl of The Foo Fighters debuting a new song, “Day of the Dead.” – BF
10:21 Between this and Eric Church’s “The Outsiders,” I’m all kinds of confused and happy. – TS
10:22 Brad Paisley performing “The Mona Lisa.” – BF
10:31 The Kenny Rogers tribute begins with Jennifer Nettles. – BF
10:32 Jennifer Nettles is certainly doing her best Dolly Parton impression. – KJC
10:32 Rascal Flatts singing “Just Dropped In (To See What Condition My Condition Was In).” – BF
10:33 Darius Rucker singing “The Gambler.” This I can take, but if given a choice, I would just as soon hear Kenny Rogers sing it himself. – BF
10:35 Kenny Rogers singing “Islands In the Stream.” I love this song. Unashamedly. – BF
10:35 The audience sing-along to these Kenny Rogers tunes is my favorite part of the night so far. – TS
10:35 I’m enjoying hearing Jennifer Nettles sing this, but I can only imagine the warm fuzzies I would be getting if Dolly were onstage singing it. – BF
10:36 Wow. Darius did a rough job on “The Gambler.” Nettles and Rogers doing “Islands in the Stream” works for me! - LW
10:39 Female Vocalist: Miranda Lambert
10:40 Eh. Not my choice this year, but she’s being classy as ever in her acceptance speech. – BF
10:42 Very sweet of Miranda to recognize the other females in the category. Don’t agree with it, but there are worse things than her fourth FVOTY trophy (see: basically every other award given out today). – TS
10:44 Miranda is always classy when she accepts these awards. – LW
10:44 Given how the night’s gone so far, can we just call Male and Entertainer for Blake now? – KJC
10:46 Luke Bryan performing “Drink a Beer” (“a very personal and meaningful song dedicated to the memory of his brother and sister”). – BF
10:49 Leeann: I’ll admit that as much as I hate Luke’s music these days, I soften when I think of how he lost two siblings within a short span. I’m just a sap that way, I guess. – LW
10:49 It’s so easy to forget what a good vocalist Luke Bryan is these days. Wish that weren’t the case. His voice deserves better material. – TS
10:50 It’s nice to hear Luke Bryan singing in a quieter setting. – BF
10:50 This is a great song that is being sung well…on the set of Once Upon a Time. ABC sure is good with the corporate synergy. – KJC
10:50 Seriously? He even turns a song about his deceased siblings into a beer-drinking song? That takes…something. – LW
10:50 Male Vocalist: Blake Shelton
10:51 Can we just get over Blake Shelton already? – BF
10:51 Blake Shelton, however, is not in the same league as the other two men who won four of these at the time that they won. – KJC
10:53 Other two: Vince Gill and George Strait. – KJC
10:53 I can’t even. – TS
10:56 Blake Shelton, Vince Gill and George Strait: One of these things is not like the other. – TS
10:57 I’ve learned to accept that ABC is going to use the CMA Awards to shamelessly plug their programming. I just wish that they’d leave the Entertainer of the Year award out of it. – BF
10:57 Entertainer: George Strait
10:58 That just saved the whole night. – KJC
10:59 I share Kevin’s remorse for not picking George Strait for Entertainer. Was he on the top of his game this year? No. But he’s still the only nominee whom I can be genuinely happy for their winning. – BF
11:00 Keith Urban’s arms in the air is the best reaction to George Strait’s EOTY win. I had the privilege of seeing and reviewing his farewell concert earlier this year, and he is an entertainer indeed. – TS
11:01 Go King Gentleman George Strait!! I’m so, so happy for George Strait right now! Strait is so classy. – LW
10:03 Thanks so much for hanging with us, y’all. Not a bad show, in all honesty. All props to Ben for keeping this post alive in the midst of technical difficulties! – TS
10:03 That was almost worth the three hours. Almost! – KJC
10:04 I’m relieved that that didn’t wind up another Blake Shelton victory. – BF
10:04 Thanks, all! This was a blast. Rough show as usual, but we had a few great moments. – BF
Since its inception, the top honor an artist could be given at the Country Music Association awards is this one: Entertainer of the Year. Originally a revolving door of winners, the winner in early years was often not even nominated the following year. In 1981, Barbara Mandrell became the first artist to win the award twice. Alabama succeeded her with a three year run from 1982-1984. Fourteen years later, Garth Brooks became the first artist two win four times, a feat later matched by Kenny Chesney in 2008.
Here’s a look back at the award from the very beginning, along with some facts and feats about the category and its nominees.
One year after being inducted into the Country Music Hall of Fame, Eddy Arnold was named the very first Entertainer of the Year at the inaugural CMA awards in 1967. Don’t assume it was a sympathy vote. Arnold had three #1 hits in the twelve months leading up to the ceremony, as he was in the middle of his impressive mid-sixties comeback, a period best defined by the 1965 classic, “Make the World Go Away.” He remains the only member of the Hall of Fame to win this award after being inducted.
Glen Campbell was a big awards favorite in 1968, with “By the Time I Get to Phoenix” and “Gentle On My Mind” both dominating the Grammy awards earlier that year. His win in this category foreshadowed bigger things, as he soon became a network variety star, while also scoring major country and pop hits with “Wichita Lineman” and “Galveston.”
Johnny Cash’s career was rejuvenated on the strength of two live prison albums, the latter of which produced the massive Shel Silverstein-penned smash, “A Boy Named Sue.” His victory came in a year that marked the beginning of his network variety show and had him dominating the country singles charts, spending ten combined weeks at #1 with “Sue” and “Daddy Sang Bass.”
Merle Haggard was a mainstay in this category from the beginning, nominated in each of the first seven years of the CMA Awards. His victory in 1970 coincided with his commercial peak, with signature hits “The Fightin’ Side of Me” and “Okie From Muskogee” helping him secure his only win in this category.
The last of four consecutive years where the Male Vocalist winner matched the Entertainer winner, Charley Pride went home with both awards in 1971. A winner on his fourth nomination, his popularity skyrocketed upon the release of “Kiss an Angel Good Morning,” which was climbing the charts at the time of the awards ceremony.
Instead of attending the awards show, Loretta Lynn’s husband Mooney went hunting. He didn’t want to watch her lose, but he missed watching history unfold as she became the first woman to win Entertainer of the Year. Lynn’s victory came on the heels of both solo hits like “One’s on the Way” and her popular duets with Conway Twitty.
Tom T. Hall
Today he’s best known for Hee Haw, the country music variety show that he co-hosted, and it’s no coincidence that he won while the show was in its prime. Still, Clark is also one of country’s most admired legends, and his legacy goes far beyond the television show that showcased his extensive musical and comedic talents.
The massive success of “The Most Beautiful Girl” and “Behind Closed Doors” helped Charlie Rich win this award. It was a long time coming, as Rich toiled in obscurity despite critical acclaim for his work. He would continue to score big hits on the country and pop charts over the next couple of years, at one point charting hits on different labels at the same time.
John Denver’s victory in this race led to the most infamous moment in CMA history. Though he claimed it was due to medication later on, presenter Charlie Rich seemed to be making a furious statement against the pop crossover artists dominating country music when he opened the envelope, read it, and then lit a cigarette lighter and burned the envelope. The paper went up in flames as he derisively snarled the winner’s name, “My friend, Mister John Denver.” Poor John, accepting via satellite, was clueless to what was going on at the Opry house, and graciously accepted his award.
This 2007 Hall of Fame inductee won this award just as he was changing labels. Tillis first gained notoriety for his remarkable songwriting talent, but eventually he was scoring enough hits to earn a place in this category. He would go on to have several more big hits after winning this award, earning another nomination in this category two years later.
Ronnie Milsap dominated the CMA Awards, becoming one of its most frequently honored performers during the formative years of the awards show. He finally won the big prize on his third try, powered by the success of his classic hit, “It was Almost like a Song.”
Her famous quote – “I’m not leaving country. I’m taking it with me” – must have held some water with the Nashville establishment, as Parton won this award at the height of her pop crossover success with “Here You Come Again,” the title track of her first platinum album. The front of her dress popped open before she went up to receive the trophy, prompting her to quip, “That’s what I get for trying to put fifty pounds of mud in a five pound bag.”
He never won Male Vocalist of the Year, but superstar Willie Nelson was given his due by the CMA in 1979 when they awarded him Entertainer of the Year. While it wasn’t his biggest year on the charts, residual goodwill from Stardust and his collaborations with Waylon Jennings helped carry him to victory.
Charlie Daniels Band
Larry Gatlin & The Gatlin Brothers
She had a few big hits in 1980, like “Crackers” and “The Best of Strangers.” But it was her incredibly popular variety show with sisters Louise and Irlene that truly showcased her versatility as an entertainer, securing the first of two wins in this category.
Oak Ridge Boys
Despite sharing the category with four artists who had never won this award, Barbara Mandrell became the first artist in CMA history to win Entertainer of the Year for the second time. Credit the continued popularity of her television show and the biggest hit of her career, “I Was Country When Country Wasn’t Cool”, which featured a guest turn by fellow nominee George Jones.
Oak Ridge Boys
The band that laid the groundwork for all other country bands that followed, Alabama set a new bar for commercial success in the early eighties. The eligibility period included the release of their biggest-selling studio album, and also two of their signature hits: “Mountain Music” and “Love in the First Degree.”
As their studio albums sold in the millions, every single Alabama released to radio was hitting #1, a stretch that would eventually include 21 consecutive chart-toppers. They repeated in this category on the strength of hits like “Dixieland Delight” and “The Closer You Get.”
Oak Ridge Boys
A mere three years after Barbara Mandrell made history by being the first artist to win two Entertainer awards, Alabama went her one better and won three. They remain one of only two acts to win this award three years in a row, doing so as their hits “Roll On (Eighteen Wheeler)” and “If You’re Gonna Play in Texas (You Gotta Have a Fiddle in the Band)” dominated the airwaves.
Few country artists command as much respect as Ricky Skaggs, a consummate singer and musician. Skaggs’ victory in this category signaled the resurgence of traditional country music, as he was the first winner since 1976 to not have achieved crossover hits on pop radio.
One of the most popular new traditionalists of the mid-eighties, McEntire achieved her commercial breakthrough with “Whoever’s in New England”, which was aided in popularity by her first of many high-concept music video clips. McEntire would eventually become the most nominated woman in history, scoring ten nominations over eleven years.
Hank Williams, Jr.
When Hank Williams, Jr. won the Music Video award the previous year, he reminded voters, “I make audio, too.” They finally got around to acknowledging his meaningful contributions to the genre, awarding him the first of two Entertainer trophies in 1987.
Hank Williams, Jr.
Hank Jr. may have waited a long time for some CMA love, but once it came, it was in droves. He won Album of the Year the same night he repeated in this category. His biggest hit of the year, “Young Country”, featured guest appearances by up and comers like Highway 101 and Marty Stuart.
Ricky Van Shelton
Hank Williams, Jr.
Three years after his most recent Male Vocalist trophy, megastar George Strait was named Entertainer of the Year. He would go on to have one of his biggest years at radio, with two multi-week #1 singles in the twelve months that followed his victory.
Ricky Van Shelton
While Randy Travis dominated the Male Vocalist race, George Strait was given his due again in the Entertainer category. He wore an Entertainer of the Year cowboy belt on the cover of Livin’ it Up, perhaps giving him good luck toward his second victory. He remains the most nominated in this category, and is only the second Hall of Famer to receive a nomination after being inducted into the Hall.
A mere year after winning the Horizon award, Garth Brooks was the Entertainer of the Year at the CMA Awards. He was breaking every sales record in the book by that point. Shortly before the ceremony, he became the first country artist to enter the overall album chart at #1, leading to a media frenzy that gained unprecedented exposure for both Garth and the genre he represented.
Given that he was already the biggest-selling country artist the world had ever seen, it was no surprise that Garth Brooks won his second Entertainer of the Year trophy in 1992. His continued popularity was fueled by sold out live shows that soon led to network specials showcasing his unique brand of arena country.
Brooks & Dunn
Vince Gill capped off an amazing night at the 1993 CMA Awards with his first victory in this category. It was his fifth win of the night, as he also took home Male Vocalist, Song, Album and Vocal Event. As he was also the show’s sole host, the collective exposure pushed him to multi-platinum sales.
Brooks & Dunn
The soft-spoken Gill won for a second year, which was no big surprise given his widespread popularity in Music City. He also went home with Album and Male Vocalist the same night, giving him a stunning fourteen trophies in only five years.
Brooks & Dunn
As one of the evening’s top nominees, Alan Jackson brought his parents as his special guests. After losing in every other category, he expressed relief that he finally won something, as going home empty handed would’ve been embarrassing. Jackson would eventually become one of the organization’s most awarded artists.
Brooks & Dunn
They were already winners of five CMA awards, due solely to their domination of the Vocal Duo category. But in 1996, they finally won another race, and it was a big one. Brooks & Dunn remain the only duo to win this award, with The Judds and Sugarland being the only other duos to receive nominations.
Brooks & Dunn
In a year when all five nominees had won this award before, it was Garth Brooks who returned to the winner’s circle, tying Alabama’s long-standing record of three victories in this category. Adding to the sense of déjà vu, this was the third year in a row where all five nominees were the same.
Brooks & Dunn
As hard as it is to believe that there were any records left for him to break by 1998, Garth Brooks shattered another one, becoming the first artist in the history of the CMA to win four Entertainer of the Year awards. By this time, Garth had already sold more than 60 million albums, and while he has yet to win this award again, he remains the top-selling solo artist of all time in the United States.
The odds seemed against Shania Twain, as she had never won a CMA award before and the last woman to win was Reba McEntire thirteen years earlier. Fittingly, McEntire was on hand to present the trophy to Twain, who won on the strength of Come On Over, which eventually became top-selling country album of all time and the top selling album of the decade from any genre.
The Dixie Chicks capped off a stunning three-year run at the CMA Awards with this victory, one of nine that they racked up since 1998. Within those three years, their first two albums each sold over ten million copies, and the band was widely credited for championing country radio and traditionalism while other top acts were crossing over to pop radio.
Brooks & Dunn
After winning two Male Vocalist and two Album of the Year honors in the previous three years, Tim McGraw finally won the CMA’s top award. It was a satisfying acknowledgment of an artist who’d had his talent underestimated in the first few years of his stardom, but built up a reputation for his stellar taste in choosing material.
Brooks & Dunn
Jackson’s win in 1995 came as he was reaching his commercial peak. In the years that followed, Jackson remained a successful and well-respected artist that got less attention every year when it came time to hand out awards. Then came the one-two punch of “Where Were You (When the World Stopped Turning)” and “Drive (For Daddy Gene)”, both of which were viewed as the very embodiment of all that makes country music unique and essential. This was one of five awards he was honored with that night.
Brooks & Dunn
Although the ACM had chosen Toby Keith as their standard bearer a few months earlier, the CMA stuck with the previous year’s winner Alan Jackson. By 2003, Jackson had evolved into an elder statesman for the genre, but still managed to stay relevant with hits both clever (“It’s Five O’Clock Somewhere”) and poignant (“Remember When.”)
Brooks & Dunn
Chesney’s long dry spell at the CMA’s came to a satisfying end as the superstar collected both Entertainer and Album of the Year trophies. He had been charting for eleven years before finally winning his first CMA award.
One of the most surprising and endearing wins in the history of this category, a shocked and humbled Urban accepted this award in New York City. He couldn’t have picked a better night to bring his Australian parents to the ceremony.
Brooks & Dunn
It’s pretty rare to come back and win this award for a second time, as most multiple wins have been consecutive in this category. But Kenny Chesney joined Garth Brooks and Alan Jackson as the only other artists to pull it off when he won in 2006, a club that would later be joined by Taylor Swift.
Chesney entered the elite company of Garth Brooks, Alabama, and Alan Jackson with his third victory in this category. Rascal Flatts, meanwhile, became the first group since the Dixie Chicks to score back-to-back nominations, a feat also accomplished by Alabama and the Oak Ridge Boys.
As Sugarland became only the third duo in history to receive a nomination and George Strait extended his record number of nominations to sixteen, Kenny Chesney tied Garth Brooks for the most wins in this category with his fourth victory. His popularity at radio and retail was remarkable, but it was Chesney’s highly attended summer stadium tours that earned him these wins.
Taylor Swift both made history and prevented it with her win in this category. She simultaneously became the youngest artist ever and the first female solo artist in ten years to take home the prize. She also kept Kenny Chesney from becoming the sole all-time champion in this category, as he remains tied with Garth Brooks with four wins to date.
Zac Brown Band
2010 shook up the category, with three first-time contenders in the running for the crown for the first time since 1981. Despite all the new blood, sixth time proved to be the charm for Brad Paisley, who finally won this award after five consecutive losses. Paisley’s persistent popularity helped him earn the nod in a year where the two previous winners weren’t even nominated.
Thirty years after Barbara Mandrell became the first woman to win this award twice, Swift became the second to do so. She won the award on the strength of her third set, Speak Now, which showcased her growing maturity as a songwriter and her growing appeal beyond her teenage and young adult fan base.
One of the most surprising wins in CMA history, few saw Blake Shelton’s victory coming. But it isn’t too surprising when you consider the number of artists who parlayed network television exposure into a win in this category. Perhaps in this new era of media saturation and minimal album sales, television may once again become a deciding factor when choosing the genre’s top star every year.
George Strait’s farewell tour helped return him to the category for the first time since 2009, earning him a record-extending eighteenth career nomination. Strait joins previous winners Taylor Swift (2009, 2011) and Blake Shelton (2012) in attempting a return to the winner’s circle. Luke Bryan earns his first nomination, just months after winning the ACM trophy. Jason Aldean, meanwhile, is hoping to get lucky the third time around.
Facts & Feats
(4) – Garth Brooks, Kenny Chesney
(3) – Alabama, Alan Jackson
(2) –Vince Gill, Barbara Mandrell, George Strait, Taylor Swift, Hank Williams, Jr.
(2) – Garth Brooks (1991-1992, 1997-1998), Vince Gill (1993-1994), Barbara Mandrell (1980-1981), George Strait (1989-1990), Hank Williams, Jr. (1987-1988)
(18) – George Strait
(12) – Alan Jackson
(11) – Brooks & Dunn
(10) – Reba McEntire
(9) - Garth Brooks, Kenny Chesney
(8) - Vince Gill, Merle Haggard, Brad Paisley
(7) – Keith Urban
(6) – Barbara Mandrell, Tim McGraw, Willie Nelson, Brad Paisley, Charley Pride, Keith Urban
(5) – Alabama, Loretta Lynn, Ronnie Milsap, Kenny Rogers
Most Nominations Without a Win:
(5) – Kenny Rogers
(4) – Toby Keith, Randy Travis
(3) – Jason Aldean, Waylon Jennings, The Judds, Oak Ridge Boys
Winners in First Year of Nomination:
Eddy Arnold (1967), Garth Brooks (1991), Glen Campbell (1968), John Denver (1975), Charlie Rich (1974), Taylor Swift (2009), Mel Tillis (1976), Shania Twain (1999), Keith Urban (2004), Hank Williams, Jr. (1987)
CMA Entertainers of the Year Who Have Never Won the ACM Award:
Eddy Arnold, Johnny Cash, Glen Campbell, Roy Clark, John Denver, Vince Gill, Alan Jackson, Tim McGraw, Ronnie Milsap, Brad Paisley, Charlie Rich, Blake Shelton, Ricky Skaggs, Taylor Swift, Mel Tillis, Keith Urban
ACM Entertainers of the Year Who Have Never Won the CMA Award:
Luke Bryan, Mac Davis, Mickey Gilley, Freddie Hart, Toby Keith, Kenny Rogers, Carrie Underwood
They’re as hope-dangling and ridiculous as they’ve ever been, those Country Music Association voters, and the CU staff has picked and predicted their 2013 awards below. Let us know what you think, and check back for our live blog on Wednesday at 7 p.m. CST!
Entertainer of the Year
Blake Shelton – Dan, Ben, Jonathan, Tara, Kevin
Dan: Sadly, it’s become hard to care about the night’s biggest prize. Swift and Strait are the two I can stomach right now, and neither of them actually had much to do with the country scene this past year—the former because she was flexing her pop muscles, the latter because he’s winding down.
Ben: I want to care, but I really don’t. There’s only one artist whom I could have supported unequivocally, and she didn’t get a nomination.
Jonathan: The CMAs have a tendency to lag a few years behind peak commercial trends, so I think Bryan will have to wait another year or two before he takes this award. While Bryan, Aldean, and Shelton could split votes among the bro contingent (presumably, to the benefit of Strait), I think Shelton’s visibility will be enough to earn him another win here.
Tara: This was Carrie Underwood’s year. I’m angry, unsurprised and completely apathetic about the rest of these contenders.
Kevin: Shelton won last year and if anything, his star has only shone brighter this year. That being said, if I was a CMA voter, I’d leave this category blank. Carrie Underwood was this year’s Entertainer of the Year.
Male Vocalist of the Year
Luke Bryan – Kevin
Eric Church – Ben, Jonathan, Tara, Dan
Luke Bryan - Dan, Ben, Jonathan, Tara
Blake Shelton – Kevin
Dan: Again, pretty indifferent here.
Ben: Church was between albums this year, but he’s the one whom I feel has represented country music the best. With Urban being past his commercial peak, I’m going to give the edge to Luke Bryan for his current red-hot momentum, but I honestly couldn’t care less which of the three dudebros gets it.
Jonathan: I’d replace four-fifths of this lineup with Gary Allan, Dierks Bentley, Darius Rucker, and Chris Young. If Bryan won’t win Entertainer of the Year, this will be his consolation prize.
Tara: I feel a little guilty rewarding Church’s residual awesomeness from Chief over Aldean’s admittedly solid year, but I’m still one redeeming single away from getting over “She’s Country.” Like Jonathan said, though, I think this is where the voters will reward Bryan.
Kevin: I’d give it to Bryan simply because he’s had a good year and has a good voice. Another Shelton win seems inevitable to me.
Female Vocalist of the Year
Carrie Underwood – Dan, Ben, Jonathan, Tara, Kevin
Miranda Lambert – Dan, Ben, Jonathan, Kevin
Kacey Musgraves – Tara
Dan: Who knows? Voters could give Lambert a record-tying (with Reba McEntire) four-peat, or maybe give Underwood her fourth trophy instead, or maybe give Swift a second one just to be zany, or dismiss the stats entirely and make a surprise investment in Musgraves. I can imagine any of those scenarios playing out.
Ben: I’ll probably be 100% Team Kacey at next year’s ACMs, but right now I want to see Underwood recognized for her incredible Blown Away era. As Dan noted above, this category is difficult to predict this year. I’m going to play it safe and bet on Lambert, but Kelly Clarkson is the only one without a shot.
Jonathan: Since there are far stronger albums than Blown Away in contention for Album of the Year, this is where I’d prefer to see Underwood recognized for the artistic gains she’s made during her current era. Lambert basically told voters to do just that during her acceptance speech for Female Vocalist of the Year during the ACMs a few months back, but it seems doubtful that they will. She seems poised to repeat, even though she’s coming off the most poorly received and lowest selling run of her career. Based on the quality of what was released during the eligibility period, I would have preferred to see Brandy Clark, Ashley Monroe, Kellie Pickler, and LeAnn Rimes squaring off against Underwood.
Tara: Just going out on a limb here with Musgraves; it feels like this category is due for a change. Or maybe that change will be a throwback to Underwood? One can hope.
Kevin: I think Lambert will win out of force of habit, with bonus votes for having the good taste to cover Musgraves and Clark before they both became breakout artists this year. Underwood made the best music and, as always, sang it better than the rest.
Vocal Group of the Year
The Band Perry
Eli Young Band
Little Big Town – Ben, Jonathan, Tara
Zac Brown Band – Dan, Kevin
The Band Perry – Kevin
Eli Young Band
Little Big Town – Dan, Ben, Jonathan, Tara
Zac Brown Band
Dan: I suppose that Little Big Town will repeat—but with “Your Side of the Bed” having doused their white-hot momentum, it’s hard to say for sure. Perhaps voters will finally throw Zac Brown Band the bone, if Brown’s Luke Bryan comments didn’t ruffle too many feathers. [Update: And ditto what Kevin says below.]
Ben: Little Big Town may have lost some steam with “Your Side of the Bed,” but they’re still going into the ring with a platinum album and two big hit singles, and they’re one of the only groups with multiple nominations this year. The trophy is theirs to lose.
Jonathan: Had The Band Perry scored more across-the-board support, I’d say they might have been able to pull off the upset here, but this remains Little Big Town’s to lose. Hopefully, a repeat victory will lend “Sober,” one of the year’s finest singles and arguably a new career-best for LBT, greater momentum at radio.
Tara: Cheers to that, Jonathan. Agreed.
Kevin: The Band Perry had a new album this year that was well-received. My personal pick is Zac Brown Band, only because I want last year’s Little Big Town win to start a new era in this category of acknowledging the overdue. Having the Dixie Chicks rack up four wins in five years is one thing. Rascal Flatts and Lady Antebellum dominating in the same way robbed the award of its luster. Last year, it got a little back. Let’s keep it going.
Vocal Duo of the Year
Big & Rich
The Civil Wars – Dan, Ben, Jonathan, Tara, Kevin
Florida Georgia Line
Love and Theft
Big & Rich
The Civil Wars
Florida Georgia Line – Dan, Ben, Jonathan, Tara, Kevin
Love and Theft
Dan: After years of sluggish Sugarland and shruggish Thompson Square, at least this year’s winning duo will have clear commercial heft behind them. Too bad I’m talking about Florida Georgia Line and not the also-quite-successful Civil Wars.
Jonathan: Same as it ever was: This category is years overdue to merge with Vocal Group. And the nomination for Sugarland is absurd.
Tara: I can’t decide what’s more amusing: Sugarland’s nomination or Florida Georgia Line’s inevitable win. (Although it does kind of feel like Sugarland is still haunting country radio with that new Band Perry single, no?)
Kevin: The Civil Wars. I swear they’re only nominating them so we can feel extra bad when they lose to Florida Georgia Line. (See: Rascal Flatts over Alison Krauss & Union Station, Martina McBride over Dolly Parton and Patty Loveless…)
New Artist of the Year
Florida Georgia Line
Kacey Musgraves – Dan, Ben, Jonathan, Tara, Kevin
Florida Georgia Line – Dan, Ben
Kacey Musgraves – Jonathan, Tara, Kevin
Dan: Musgraves is class valedictorian, and Moore’s a solid B+ student, but expect the boys of Florida Georgia Line to cruise in on baseball scholarship and come out on top.
Ben: Musgraves has a chance, but I don’t know if her critical clout will be enough to compete with the “Cruise” phenomenon.
Jonathan: That Musgraves is the night’s leading nominee gives me hope that she can overcome Florida Georgia Line’s commercial heft. That she had the balls to push “Follow Your Arrow” as a proper single puts me firmly in her corner.
Tara: Moore is my personal favorite here, but Musgraves outclasses them all. I’ll throw my optimism in with Jonathan and Kevin.
Kevin: This is a defining moment for the CMA’s. Musgraves will help restore their credibility. Florida Georgia Line will destroy what’s left of it. FWIW, Ricky Skaggs beat Lee Greenwood and Mark Chesnutt beat John Michael Montgomery. Then again, Rascal Flatts beat Nickel Creek and Terri Gibbs beat Rosanne Cash…
Album of the Year
Little Big Town, Tornado – Jonathan
Kacey Musgraves, Same Trailer Different Park – Dan, Ben
Blake Shelton, Based On a True Story…
Taylor Swift, Red
Carrie Underwood, Blown Away – Tara, Kevin
Little Big Town, Tornado – Ben, Tara
Kacey Musgraves, Same Trailer Different Park – Jonathan
Blake Shelton, Based On a True Story… – Dan
Taylor Swift, Red
Carrie Underwood, Blown Away – Kevin
Dan: Tough call. In recent years, the CMA has coalesced around the album with the most “story” value, whether that story was total domination (Fearless, My Kinda Party) or a respected artist finally hitting pay dirt (Revolution, Chief). Tornado seems like a fit for that second grouping, except that Little Big Town’s pay dirt was already last year. So the field seems open.
Ben: Of the four albums that have any real business being nominated for country awards, I consider the Musgraves set to be the strongest, but my gut says that it’s going to come down to either Shelton or Little Big Town. I’m going to be optimistic and predict an LBT victory.
Jonathan: I’m not nearly as bullish on Musgraves’ album as many others are, but it seems like this is safest place for voters to recognize her distinctive, critically acclaimed work. Tornado is my pick for the most consistently excellent set of this line-up; Red hits some glorious highs, but it’s also wildly uneven and has little business being recognized as a country album.
Tara:Tornado has some really fantastic production, and Blown Away is a stand-out showcase of Underwood’s interpretive abilities. Personal investment puts me in Underwood’s camp, but based on momentum and the fact that Musgraves is new, I think Little Big Town will take this.
Kevin: Musgraves has the most critical support, but Underwood made a much better album, in my opinion. I’m going out on a limb here and saying Underwood will win. My logic is that she had an incredible year and this is the best category to acknowledge that in. Also, a debut album has never won this award. There’s always a first time, but Musgraves has a lot of history up against her here.
Single of the Year
Florida Georgia Line, “Cruise”
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Miranda Lambert, “Mama’s Broken Heart” – Jonathan, Tara, Kevin
Kacey Musgraves, “Merry Go ‘Round” – Dan, Ben
Darius Rucker, “Wagon Wheel”
Florida Georgia Line, “Cruise” – Dan, Jonathan, Ben
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Miranda Lambert, “Mama’s Broken Heart”
Kacey Musgraves, “Merry Go ‘Round”
Darius Rucker, “Wagon Wheel” – Tara, Kevin
Dan: “Cruise” is the behemoth here, and behemoths tend to win Single.
Ben: Dan said it.
Jonathan: I’d like to think that a record-setting run atop Billboard’s ridiculous mongrel chart would be its own reward, but it probably won’t be.
Kevin: There have been some goofy winners in the past. “Elvira.” “Achy Breaky Heart.” “Bop.” But there aren’t any in the recent past. I think that “Wagon Wheel” allows the CMA to pick a big mainstream hit that has a bit of alt-country cred, should they decide against a Musgraves sweep.
Tara: I agree with Kevin that “Wagon Wheel” seems like a nice compromise for the voters. I’d be cool with any of the latter three winning, but to me, “Mama’s Broken Heart” has the most momentum from start to finish.
Song of the Year
“I Drive Your Truck” (Lee Brice) - Jessi Alexander, Connie Harrington and Jimmy Yeary
“Mama’s Broken Heart” (Miranda Lambert) – Brandy Clark, Shane McAnally and Kacey Musgraves – Kevin
“Merry Go ‘Round” (Kacey Musgraves) – Kacey Musgraves, Shane McAnally and Josh Osborne – Dan, Ben, Tara
“Pontoon” (Little Big Town) - Barry Dean, Natalie Hemby and Luke Laird
“Wagon Wheel” (Darius Rucker) - Bob Dylan and Ketch Secor – Dan, Jonathan
“I Drive Your Truck” (Lee Brice) - Jessi Alexander, Connie Harrington and Jimmy Yeary - Dan, Jonathan
“Merry Go ‘Round” (Kacey Musgraves) – Kacey Musgraves, Shane McAnally and Josh Osborne – Ben, Tara, Kevin
“Pontoon” (Little Big Town) - Barry Dean, Natalie Hemby and Luke Laird
“Wagon Wheel” (Darius Rucker) - Bob Dylan and Ketch Secor
Dan: “Wagon Wheel” is a proven standard, but voters will probably want to go with something newer, and I guess I do, too. There’s a decent chance that Musgraves will get acknowledged here with “Merry Go ‘Round,” but with two co-writes in the pool, her danger is vote-splitting—and if that does happen, I defer to Jonathan’s logic below. Plus, frankly, CMA voters love songs about deceased loved ones.
Ben: It’s definitely possible that vote-splitting may be turn out to be Musgraves’ undoing in this category, but my guess is that “Merry Go ‘Round” will ultimately overshadow “Mama’s Broken Heart,” and that this will be where she gets her trip to the podium.
Jonathan: I’m all-in for the idea of recognizing brilliant songs that should have been hits a decade ago. Next year, can we get Drive-By Truckers’ “Outfit” or Neko Case’s “Deep Red Bells,” please? This year, I just can’t see the CMA giving an award to Bob Dylan, and, as much as I’d love to see Brandy Clark win, I think the Musgraves co-writes will split votes. Which leaves a frivolous holdover from last year to face off against the only “truck” song in years that’s worth even half a damn. I think the latter pulls off the night’s only real upset.
Tara: Lots of solid choices here; even “Pontoon” has a melody worth respecting. “Merry Go ‘Round” just edges out “Mama’s Broken Heart” for me, but I think the voters will be more pointed with their choice and reward Musgraves for her breakout song.
Kevin: “Merry Go ‘Round” fits in well with previous female writer wins. Distinct point of view, attention to details, and some quiet feminist commentary. My pick is “Mama’s Broken Heart”, which I think is just brilliant. “Line your lips and keep them closed.” Wow.
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care”
Miranda Lambert, “Mama’s Broken Heart”
Little Big Town, “Tornado”
Dan: The Underwood clip was made to win this award, but I find it silly. Why does she have lie around all sexily on that bed in the tornado shelter?
Ben: Little Big Town’s “Tornado” is also a worthy contender, but Underwood’s “Blown Away” video is an absolute tour de force.
Jonathan: The idea that this could be how the Pistol Annies win a CMA award just makes my teeth hurt. As big a fan of hers as I may be, Miranda’s mugging in the video for “Mama’s Broken Heart” makes her laughable acting gig on Law & Order: Perverts Unit seem measured and subtle by comparison.
Kevin: Because why shouldn’t there be two winners in this category that give homage to Oz?
Tim McGraw with Taylor Swift and Keith Urban, “Highway Don’t Care” – Jonathan, Ben, Dan, Kevin, Tara
Jason Aldean with Luke Bryan and Eric Church, “The Only Way I Know”
Ben: Clarkson and Gill made the best record of the lot, but it doesn’t have the commercial muscle to pull off a victory, so I’m giving the edge to McGraw and Company.
Jonathan: Cosigning Ben’s comment, word for word.
Dan: “Highway Don’t Care” is kinda weird and meh, but it’s not “Boys ‘Round Here” and “The Only Way I Know”. For this, I am grateful.
Tara: I swear I’m not throwing this to Clarkson and Gill just because they’re Clarkson and Gill – I can stomach not one of these other songs. Part of me thinks Aldean and co. might take this, but McGraw and co. seems more likely.
Kevin: “Highway Don’t Care” made me enjoy both McGraw and Swift as singers, not just song pickers/songwriters. For that alone, the win.
Musician of the Year
Sam Bush (Mandolin) – Jonathan, Ben
Paul Franklin (Steel Guitar) – Kevin
Dann Huff (Guitar)
Brent Mason (Guitar)
Mac McAnally (Guitar)
Sam Bush (Mandolin)
Paul Franklin (Steel Guitar) – Jonathan, Ben, Kevin
Dann Huff (Guitar)
Brent Mason (Guitar)
Mac McAnally (Guitar)
Ben: I’ll be all for Paul Franklin next year thanks to Bakersfield, but this year I would like to see Sam Bush get his due.
Jonathan: Bush may not have a MacArthur fellowship like Chris Thile, but his progressive mandolin work is certainly overdue for recognition. Hard to begrudge Franklin, though, as Bakersfield is one of the year’s best albums.
Kevin: Until he wins. I will pick him until he wins.
Writing a song about a current event that pulls at the heartstrings is a difficult thing to accomplish without seeming opportunistic, not to mention that the part of current fades away over time and can potentially make a song seem irrelevant as a result. It’s inevitable, however, that such songs will be written, since one of the most emotional ways to respond to a tragedy is to process feelings through music.
So, a country song about the horrific event that occurred in Newtown, Connecticut, last December, a mere 7 months ago, is tasked with the delicate undertaking of striking that sensitive balance of honoring rather than exploiting. Although it seems impossible to do, Alan Jackson did it with “Where Were You (When the World Stopped Turning)” for the worst national tragedy in my lifetime. And while this may not turn out to have the same broad recognition as that untouchable musical moment, George Strait’s tribute to those who lost their lives in Newtown successfully does the same.
“I Believe” quietly displays a strong faith that expresses the solace felt by believing in a higher power that can help heal the most broken of hearts. Supported by gentle production, Strait tenderly sings of the lost “26 angels” with palpable reverence and hope. Strait’s voice is as solid as ever, including strong and mournful falsetto notes, which perfectly emotes the sincerity and compassion that a song of this magnitude requires. There are no lyrical or note-bending histrionics by Gentleman George here - just a tribute from a humble man conveying a simple sentiment of real heartbreak, buoyed by faith and hope.
Written by Dean Dillon, Bubba Strait & George Strait
An impressive run of hit singles and his visible Opry stardom gave him tremendous success as a singer, but it’s been Bill Anderson’s songwriting that’s kept him topping the country charts for decades longer than even his most successful contemporaries.
The man who’d become known as Whisperin’ Bill Anderson had always wanted to be a professional writer, but it was sports journalism that was his original goal. But as he was working his way through college as a radio disc jockey, he was inspired to try his hand at songwriting. An early attempt was “City Lights”, which ended up a smash hit for Ray Price and began a songwriting career that is still going strong 55 years later.
Soon, he was writing hits for himself as well as others. He earned his Whisperin’ moniker from his soft, conversational singing style, which found him speaking as often as singing. The sixties brought classic recordings like “The Tips of My Fingers”, which didn’t include the plural of tip when he recorded it, but was added when other artists like Roy Clark and Steve Wariner also had hits with it. He launched Connie Smith’s career with “Once a Day”, just a year after he released a country classic of his own, the #1 smash hit, “Still.”
In addition to his solo hits like “Po’ Folks” and “I Get the Feeling”, he had a series of successful duets with Jan Howard and with Mary Lou Turner. A collaboration with the latter, “Sometimes”, was his final #1 hit in 1975, after which his hits as an artists became fewer and far between. From this point on, his popularity as a performer would be limited to his Opry appearances, and when those shows became televised in the eighties, his colorful personality reached an entire new audience.
While he had plenty of songs recorded in the eighties and nineties, it’s been in the new century that Anderson had his most prolific songwriting renaissance. He’s co-written songs for contemporary artists such as Sara Evans and Sugarland. Amazingly, in his fifth decade of writing, he earned his first Song of the Year trophy for the Brad Paisley and Alison Krauss hit, “Whiskey Lullaby.” Just a couple of years later, he won a companion piece for his mantle, taking home honors for the George Strait hit, “Give it Away.”
Amazingly, these awards came after he was already inducted into the Country Music Hall of Fame, an honor he received in 2001. In addition to remaining a current songwriter on the charts, Anderson continues to document the incredibly legacy of country music, hosting popular concert reunions for country singers and songwriters of days gone by. He has also written successful memoirs and reflections on life, and can still be found on the Opry stage sharing some of those stories in between performances of the songs that have kept him on the stage for more than five decades.
The Tip of My Fingers, 1960
Po’ Folks, 1961
Mama Sang a Song, 1962
For Loving You (with Jan Howard), 1967
My Life (Throw it Away if I Want to), 1969
Sometimes (with Mary Lou Turner), 1975
Essential Singles by Other Artists:
City Lights (Ray Price), 1958
Once a Day (Connie Smith), 1964
The Cold Hard Facts of Life (Porter Wagoner), 1967
The Lord Knows I’m Drinking (Cal Smith), 1973
Whiskey Lullaby (Brad Paisley and Alison Krauss), 2004
The comfortingly reliable George Strait mixes it up a bit during his 1992-1993 run of singles with a cover of a beloved classic, hardcore country, a surprising country rocker, and a sweet love song for good measure.
Strait ably tackles the Hank Williams classic. He doesn't surpass the original, but it's cool that he brought the song back in 1992. Imagine if somebody tried to do that now.
This downbeat single finds a man searching for answers for why is lady is leaving him and he knows he'll find it from the example of his dad, because he's so much like him. In a clever twist, however, he doesn't ask his dad, but rather, asks his mom: “But if I'm so much like my dad, there must've been times you felt her way. So, tell me word for word what he said that always made you stay.”
It's always seemed counterintuitive for a song that begins with “When you hear twin fiddles and a steel guitar” to rock as hard as this song does, but the fact is that it's as catchy and infectious as all get-out, so almost all is forgiven.
I would have liked to have been listening to country music when this song was released as a single, as I'm sure it would have surprised me to hear Strait singing something sounding quite like this. The song promoting the dissolution of a relationship with no regrets is country, with a little groove and an over all chill vibe.
This song, however, portrays a lost relationship rife with regret. Strait's performance, supported by strains of lonely steel, fully captures the pain of losing a good love due to one's own negligence.
As the nineties began, George Strait was the reigning CMA Entertainer of the Year, a title noted on the belt buckle he wore on the cover of Livin’ it Up.
Around this time, Billboard switched to monitoring radio stations in real time, revealing just how often songs were really being played. So while all of his eighties #1 singles spent only a week at the top, all four of the #1 singles listed here spent multiple weeks in the penthouse, including two five-week runs at the top.
One of Strait’s most enduring hits, “Love Without End, Amen” foreshadowed the understated religiousness of future hits like “I Saw God Today.” A classic three act story song, it makes its point subtly and endearingly.
A minor hit for Cal Smith in 1968, Strait continues his tradition of reviving the country songs that inspired his style. It’s easy to see how this flew over the heads of many listeners when Smith first released it, but Strait’s smooth delivery helped get it some wider exposure 22 years later.
Nervy, nervous and a little unnerving, there’s a tension present here that is a bit jarring from the genre’s Sinatra. Sometimes bitter is just better, making this one of Strait’s most compelling singles to date.
Ever imagine what K.T. Oslin’s “Hold Me” would’ve sounded like if it had the same theme with a traditional song structure? Here’s your answer. It still sounds great today, though a bit more punch in the production would’ve helped a bit.
Western swing and wily wit, Strait shines on this comedic number. He plays it just straight enough to keep it on the right side of the line between good humor and silliness, never losing the self-awareness necessary to make it work.
As exciting as the prospect of George Strait singing a Gretchen Peters song might seem, she was definitely still honing her craft on this single that was co-written by Green Daniel. The concept is solid, and the imagery is vivid, but the parallels between the changing of the seasons and the impending changing of lovers aren’t drawn sharply enough.
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.
“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”
Written by veteran songwriter Sanger D. “Whitey” Shafer (who had previously supplied Strait with hits such as “Does Forth Worth Ever Cross Your Mind” and “All My Ex’s Live In Texas”), “Overnight Success” was released in the fall of 1989 as fourth and final single from George Strait’s album Beyond the Blue Neon. It peaked at a respectable #8, breaking a streak of eleven number-one hits, but continuing Strait’s run of Top Ten hits that stretched back seven years.
It’s a beautiful lyric, as one would expect from a songwriter such as Shafer, and Strait sings it effectively. Where the song comes up short is in the repetitive, limited-range melody, which lacks the pull needed to match the lyrical potency. The steel guitar imbues a fittingly mournful undertone to the song, but the composite recording has a lackadaisical feel that keeps the record from being as satisfying a listen as it could have been, or from being as memorable as Strait’s similar efforts in this vein.