More than thirty years into his legendary career, George Strait has released the most compelling single of his career with “Drinkin’ Man.”
An alcoholic examines his past and present with clear eyes, looking into the mirror while still holding on to the bottle. With sad resignation, he remembers the parents who worried about him, the friends that tried to save him, and the woman who loved him in spite of his affliction.
Strait isn’t known for dealing with such challenging subject matter, but his experience as a singer and remarkable growth as a songwriter have resulted in the genre’s best drinking song in recent memory. It’s something that Merle Haggard or George Jones would have produced at their peak.
I don’t know if radio can handle something this substantive from an artist that they tend to love most when he’s frivolous these days. But whether or not it receives wide airplay, this is the finest single that George Strait has ever released.
Written by Dean Dillon, Bubba Strait, and George Strait
Subtly clever, yet deceptively simple, with a strong undercurrent of heartache. In other words… classic Strait.
In an excellent lyric co-written by Dean Dillon, Royce Porter, and Hank “I Fall to Pieces” Cochran, the narrator tells his soon-to-be-ex-lover that he won’t miss her when she’s gone, won’t ever take her back, and won’t be haunted by her memory. He then reveals the sheer untruth of his claims by saying “Now if you’ll buy that… I got some ocean front property in Arizona…. If you’ll buy that I’ll throw the Golden Gate in for free.” He thus likens the impossibility of his moving on to that of obtaining ocean front property in a landlocked state.
Strait’s vocal interpretation is just straightforward enough to keep the song’s left-of-center metaphor from coming across as campy, keeping the undertone of sadness fully intact A simple steel-laden arrangement has helped the song age with dignity, making for yet another memorable classic Strait record that retains its appeal a full quarter century after its release.
Written by Dean Dillon, Hank Cochran, and Royce Porter
It’s rare that the melody of a song’s verses is just about as memorable and catchy as its chorus, but such is the case with George Strait’s “It Ain’t Cool to be Crazy About You.” Just hearing the first strains of the simple piano intro makes it almost impossible to get the tune out of your head once it’s there. What’s more, words like “suave” and “debonair” make it nearly irresistible to sing along with.
However, There’s more to this established earworm than a memorable tune. Strait adeptly portrays the imbalance of a relationship where he is much more invested than the woman happens to be. While he knows he’s being jerked around by her, he can’t help but be crazy about her anyway.
While it almost seems like just a catchy ditty on the surface, Strait’s delivery of a mix of sadness and regret, with a hint of frustration, turns this song into something substantive with a relatable scenario.
Is it good at being lightweight radio fluff? Again, yes.
“Lovin’ You Is Fun,” our first preview of Easton Corbin’s second album, is a smooth, steel-heavy two-stepper, which Corbin effortlessly eases into with his signature laid-back vocal style that repeatedly draws comparisons to George Strait. Not surprisingly, the lyrics don’t warrant much explanation, but the sonic packaging almost makes them seem inconsequential. Corbin gives a rapid-fire delivery of the song’s wordy verses, while Carson Chamberlain’s ’90′s-esque production, ripe with the twangy sounds that spell “country,” makes “Lovin’ You Is Fun” an easily accessible, likable cut.
After emerging as one of 2009′s most refreshing new talents with back-to-back chart toppers “A Little More Country Than That” and “Roll with It,” Corbin hasn’t had a hit single on the country charts since going Top 20 in 2010 with “I Can’t Love You Back.” Like his previous hits, “Lovin’ You Is Fun” is poised to act as a pleasant mood-breaker on increasingly rocked-up radio playlists. Of course, that’s not to say that I want to hear an entire album stacked with light romantic ditties. Corbin would do well to balance out the lighweight fare with material of greater depth.
That said, “Lovin’ You” is indeed fun, and it’s more than enough to make me very happy that Easton Corbin is back.
Vern Gosdin took a long and winding road to Nashville, but once he got there, he became one of the most significant traditional voices of his generation.
Born and raised in Alabama, Gosdin sang gospel with his family as a child. After a brief time in Chicago, Gosdin moved to California in the early sixties. As part of the West Coast country scene, he was one of the Hillmen alongside Chris Hillman, who would later be part of the Byrds, the Flying Burrito Brothers, and the Desert Rose Band.
Gosdin then formed a duo with his brother Rex. As the Gosdin Brothers, they had a minor hit with “Hangin’ On” in 1967. After a brief retirement in the first half of the seventies, Gosdin launched a solo career with the same single, and it went higher on the charts, thanks to harmony vocals provided by Emmylou Harris.
Gosdin had the classic journeyman experience as a Nashville recording artist, scoring hits for several different labels in the late seventies and throughout the eighties. He became known as the Voice, and influenced not only the singers that came after him, but even some of his peers of the time. In the late eighties, he reached a new career peak with Columbia Records, scoring eight top ten hits, with two #1 singles among them.
The absolute highlight of his tenure at Columbia was the award-winning “Chiseled in Stone.” Thought it didn’t hit the top five, it became Gosdin’s signature song and powered the veteran singer to his first gold record. His epic 1989 album Alone is often cited as his strongest work, as it was written in the wake of his failing marriage.
Gosdin didn’t have commercial success after leaving Columbia, but he did continue to record and perform up until his death in 2009. Stars like George Strait and Brad Paisley have since covered Gosdin tracks, and he is often cited as an influence among up and coming traditionalist singers.
Essential Singles:
Till the End, 1977
Today My World Slipped Away, 1982
If You’re Gonna Do Me Wrong (Do it Right), 1983
I Can Tell by the Way You Dance (You’re Gonna Love Me Tonight), 1984
Dean Dillon and George Strait are one of the finest songwriter and singer matches that country music has ever seen.
Why do they work so well together? I think it’s because George Strait has that everyman quality, a pure crooner that is as mainstream as it gets. Dillon, on the other hand, is so quirky and offbeat that his material can seem a little out there.
Strait is able to close the gap, which makes songs that would sound odd in another singer’s hands sound a bit surprising but still completely natural in Strait’s. Perhaps that’s why he pulls off Jim Lauderdale so well, too.
This is a standard country weeper with a mouthful of a title. Dillon took it to #25 in 1980, but Strait took it all the way to #1.
The 54th annual GrammyAdele Awards air this Sunday at 8 p.m. Eastern. Look for appearances by Miranda Lambert, Dierks Bentley and Lady Antebellum as well as country-ish performances by Jason Aldean, Glen Campbell (with the Band Perry and Blake Shelton), Taylor Swift and Carrie Underwood. We’ve picked and predicted the awards below – share your thoughts, and be sure to drop by on Sunday night for our live blog!
Album of the Year
Should Win
Adele, 21 -Dan, Kevin, Ben, Tara, Sam
Foo Fighters, Wasting Light
Lady Gaga, Born this Way
Bruno Mars, Doo-Wops & Hooligans
Rihanna, Loud
Will Win
Adele, 21 - Dan, Kevin, Ben, Tara, Sam
Foo Fighters, Wasting Light
Lady Gaga, Born this Way
Bruno Mars, Doo-Wops & Hooligans
Rihanna, Loud
Ben: Adele made some of the best and most memorable music of the year, and met with across-the-board critical and commercial success, so it’s hardly a stretch to say that she should and will emerge victorious here.
Tara: I don’t often agree with Bob Lefsetz, but his case for why 21 has resonated so well is spot on: “music trumps everything.” How true, and how refreshing that an album that embraced the hell out of this theme made such a commercial splash.
Sam: Lady Gaga is the only one of the nominees who can rival her for publicity in 2011, but Adele’s record sales should put her over the top. Oh, and it was a great record — not that that means anything where Grammy voters are concerned.
Dan: It helps that this is an especially lazy pool of nominees. 21 is certainly a strong album and a commercial landmark, but I do wish something like Kanye’s My Beautiful Dark Twisted Fantasy were here to help hold up the bar.
Kevin: Adele made the best album by a wide margin.
Record of the Year
Should Win
Adele, “Rolling in the Deep” - Dan, Kevin, Ben, Tara, Sam
Bon Iver, “Holocene”
Bruno Mars, “Grenade”
Mumford & Sons, “The Cave”
Katy Perry, “Firework”
Will Win
Adele, “Rolling in the Deep” - Dan, Kevin, Ben, Tara, Sam
Bon Iver, “Holocene”
Bruno Mars, “Grenade”
Mumford & Sons, “The Cave”
Katy Perry, “Firework”
Ben: The dramatic build-up nature, the simmering intensity, the all-guns-blazing chorus…“Rolling In the Deep” is all but untouchable.
Tara: As rousing a Top 40 hit as we’ve heard in years. I think we all know Adele will sweep.
Sam: I’m a Mumford & Sons fan, but it’s hard to top “Rolling in the Deep.” Anyone who votes for a Katy Perry song in this category should lose their Grammy voting rights permanently.
Dan: Long after it became overplayed, it was still more refreshing to me than everything else on the radio.
Kevin: Adele cut through the hype by being the best singer and the best songwriter. Amazing, isn’t it?
Song of the Year
Should Win
“All of the Lights” – Jeff Bhasker, Malik Jones, Warren Trotter & Kanye West - Dan
“The Cave” – Ted Dwane, Ben Lovett, Marcus Mumford & Country Winston
“Grenade” – Brody Brown, Claude Kelly, Philip Lawrence, Ari Levine, Bruno Mars & Andrew Wyatt
“Holocene” – Justin Vernon
“Rolling in the Deep” – Adele Adkins & Paul Epworth – Kevin, Ben, Tara
Will Win
“All of the Lights” – Jeff Bhasker, Malik Jones, Warren Trotter & Kanye West
“The Cave” – Ted Dwane, Ben Lovett, Marcus Mumford & Country Winston
“Grenade” – Brody Brown, Claude Kelly, Philip Lawrence, Ari Levine, Bruno Mars & Andrew Wyatt
“Holocene” – Justin Vernon
“Rolling in the Deep” – Adele Adkins & Paul Epworth - Dan, Kevin, Ben, Tara
Tara: “Rolling in the Deep” shines more as a record than as a composition, but it’s still memorable enough to nab this award, and I think it will.
Dan: Here’s where I’d love to see some variation. “All of the Lights” is a poetic, layered micro-drama. Plus, from a songwriting standpoint, I’ve never fully gotten over how “Rolling in the Deep” cribs its chorus from Gnarls Barkley’s “Crazy.”
Kevin: The British slang that the song is built around doesn’t stop “Rolling” from being the most universal of the five compositions.
Best New Artist
Should Win
The Band Perry - Sam
Bon Iver
J. Cole – Tara
Nicki Minaj – Dan, Kevin
Skrillex
Will Win
The Band Perry – Sam
Bon Iver – Dan, Kevin, Tara
J. Cole
Nicki Minaj
Skrillex
Tara: Bon Iver fits the Grammy mold the best. Personally, I’m not married to any of these acts, but I guess J. Cole piques my interest the most right now. This is totally one of those picks I’m going to regret in six months…
Sam: I think this one could be an upset win for the country world. “If I Die Young” was such an unexpected crossover hit, and I think it had more resonance than most other singles from the eligibility period. Plus the Band Perry is cuter than a basket full of puppies, which can only help them.
Dan: I think Bon Iver is the most fully realized act, and predict the band’s Song and Record nods will tip Grammy voters to vote for them like Adele’s did a few years ago. But Minaj’s potential excites me the most, and I had “Super Bass” on loop last year.
Kevin: Minaj is the most refreshing of the five, though Bon Iver’s the most Grammy-friendly.
Best Country Solo Performance
Should Win
Jason Aldean, “Dirt Road Anthem”
Martina McBride, “I’m Gonna Love You Through It”
Blake Shelton, “Honey Bee”
Taylor Swift, “Mean” - Dan, Kevin, Jonathan, Ben, Tara, Leeann, Sam
Carrie Underwood, “Mama’s Song”
Will Win
Jason Aldean, “Dirt Road Anthem” – Sam
Martina McBride, “I’m Gonna Love You Through It”
Blake Shelton, “Honey Bee”
Taylor Swift, “Mean” - Dan, Kevin, Jonathan, Ben, Tara, Leeann
Carrie Underwood, “Mama’s Song”
Ben: Swift outclasses the competition by miles.
Jonathan: A depressing line-up here, really. Swift’s single and performance are far and away the strongest of the five nominees, but she didn’t land the general field nominations that many people were expecting her to receive, so I do wonder if her support runs as deep this year as it did during the Fearless juggernaut. If she loses this one, I think it will be to the red-hot-but-I-don’t-get-it-at-all Aldean.
Tara: Embarrassing line-up. “Mean” is the only one that even comes close to Grammy worthy. I think Swift still has the voters on her side, but I could also see Aldean edging her out.
Sam: “Honey Bee?” “Dirt Road Anthem?” Really, Grammy voters? I guess we should be lucky they managed to put one good song in the category, even if it was probably an accident. However, I think voters are going to take a year off on the Swift love and give it to Aldean, because it’s the least country-sounding song in the category.
Dan: I could see Shelton’s familiarity prompting a win here, but suspect Grammy voters are still in Swift’s corner.
Kevin: They should just make the genre categories line up perfectly with the big three. This is really a race for Country Record of the Year anyway. Swift’s entry is the best.
Leeann: All of the songs on this are vanilla except for the Swift song, both in lyrics and execution. This is the inarguable standout song.
Best Country Duo / Group Performance
Should Win
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay”
Kenny Chesney with Grace Potter, “You and Tequila” – Kevin, Leeann
The Civil Wars, “Barton Hollow” - Dan, Jonathan, Ben, Tara, Sam
Thompson Square, “Are You Gonna Kiss Me or Not”
Will Win
Jason Aldean with Kelly Clarkson, “Don’t You Wanna Stay” - Dan, Jonathan, Ben, Tara, Leeann, Sam
Kenny Chesney with Grace Potter, “You and Tequila”
The Civil Wars, “Barton Hollow” – Kevin
Thompson Square, “Are You Gonna Kiss Me or Not”
Ben: It’s a super tough call for me to choose between The Civil Wars and Chesney and Potter. As much as I adore “You and Tequila,” I’m finally settling on The Civil Wars as my pick. However, I expect that Aldean and Clarkson will likely triumph over both.
Jonathan: Had the Civil Wars scored the Best New Artist nomination that they seemed primed for, I would be more bullish on their chances here. They’re still the only of the four nominees I’d even consider voting for, but Clarkson is the only proven Grammy commodity in this lot, and this is probably the least credibility-straining place to recognize Aldean.
Tara: Confession: I don’t really see the sparkle that others see in “You and Tequila.” The swampy “Barton Hollow” has my heart, but I think Aldean & Clarkson will have the Grammy voters’ hearts. And I’m always OK with a little K. Clarkson love.
Sam: “Barton Hollow” kicks the ass of every other song on the list, including the excellent Chesney/Potter collaboration, and if Grammy voters actually listened to the songs they vote for, it would probably win. However, the Aldean/Clarkson screamfest has the benefit of Kelly Clarkson’s name recognition and Aldean’s current popularity.
Dan: The Civil Wars wail like mad dogs on their track. But Aldean and Clarkson are both having a moment right now.
Kevin: The Civil Wars seem like Grammy catnip.
Leeann: My vote goes for the Chesney/Potter collaboration or The Civil Wars song, but I won’t be surprised if it goes to the powerhouse duet of Aldean and Clarkson based on crossover appeal. I hope, however, that it turns out that I’m not giving the Grammy voters enough credit.
Best Country Song
Should Win
“Are You Gonna Kiss Me or Not” – Jim Collins & David Lee Murphy
“God Gave Me You” – Dave Barnes
“Just Fishin’” – Casey Beathard, Monty Criswell & Ed Hill
“Mean” – Taylor Swift - Dan, Ben, Tara, Sam
“Threaten Me With Heaven” – Vince Gill, Amy Grant, Will Owsley & Dillon O’Brian - Kevin, Jonathan, Leeann
“You and Tequila” – Matraca Berg & Deana Carter
Will Win
“Are You Gonna Kiss Me or Not” – Jim Collins & David Lee Murphy
“God Gave Me You” – Dave Barnes
“Just Fishin’” – Casey Beathard, Monty Criswell & Ed Hill
“Mean” – Taylor Swift - Dan, Kevin, Jonathan, Ben, Tara, Leeann
“Threaten Me With Heaven” – Vince Gill, Amy Grant, Will Owsley & Dillon O’Brian – Sam
“You and Tequila” – Matraca Berg & Deana Carter
Ben: Gill’s “Threaten Me with Heaven” is mature and beautifully written, but ultimately, my heart still belongs to “Mean.”
Jonathan: Gill has a real shot at this because it’s the Grammys so Gill always has a real shot at anything he’s nominated for. He’d be a worthy winner here, too, as would “You and Tequila” or the more likely winner, “Mean.”
Tara: I wrestle with this one, but I think the freshness of “Mean” gives it an edge over Gill’s track for me. Gill could easily take this given he’s Grammy royalty, but I’ll predict the voters will stick with Swift.
Sam: It’s Vince Gill in a Grammy category. That’s why.
Dan: I’d be happy with any of those last three. Honestly, I even half-like “Just Fishin’” and “God Gave Me You” as songs.
Kevin: Can’t believe that Gill’s composition got a nod. I like Swift’s record the most, but as a song, “Threaten Me With Heaven” is jaw-droppingly good.
Leeann: I’d love to see Vince win another grammy, but I won’t be surprised or too disappointed if Swift takes this one.
Best Country Album
Should Win
Jason Aldean, My Kinda Party
Eric Church, Chief - Jonathan, Tara, Leeann
Lady Antebellum, Own the Night
Blake Shelton, Red River Blue
George Strait, Here For a Good Time - Kevin, Ben
Taylor Swift, Speak Now – Sam
Will Win
Jason Aldean, My Kinda Party – Dan
Eric Church, Chief
Lady Antebellum, Own the Night - Tara
Blake Shelton, Red River Blue
George Strait, Here For a Good Time
Taylor Swift, Speak Now - Kevin, Jonathan, Ben, Leeann, Sam
Ben: Church, Strait, and Swift have the three best albums, and of those three, Strait’s Here for a Good Time is the most fully realized, but I would expect that Swift’s crossover appeal and high sales numbers will lead voters to gravitate toward Speak Now.
Jonathan: The nomination for Lady Antebellum’s godawful album represents Grammy voting at its laziest. I don’t care how many people bought Own the Night: It’s terrible and, at some point, the over-rewarding of Lady A for their aggressively middlebrow, banal music has to stop. Church’s album would get my vote over Strait’s by just a hair and, even though I would’ve nominated it for Best Pop Album instead, Speak Now is Swift’s strongest set to date, so I won’t complain too loudly when she wins here.
Tara: Chief packs a killer, audacious punch…but I have this sinking feeling that Lady A will pull a repeat in this category. Look – I was (and probably still am) Lady A’s biggest advocate at Country Universe, but I can’t get behind the overblown success of their degenerating music. How will they ever be motivated to live up to the massive potential shown on Lady Antebellum if we keep rewarding them like this?
Sam: Quality-wise, Speak Now edges out Chief, though I think Chief deserves some recognition for its ambition. Speak Now was a commercial and an artistic triumph, though the only concern is that it was released so long ago that its impact may have faded from the voters’ memories. That might open the door for Lady Antebellum to win, which would be a shame. While I actually kind of liked Own the Night, there are three albums better than it in the category.
Kevin: Strait just keeps getting better lately. I think he’d win if it wasn’t for category crossover votes for Swift.
Leeann: I wish I cared about this category more this year than I actually do. It’s likely that either Strait or Swift will win the award, but I think Church’s album is the most interesting.
Best Americana Album
Should Win
Linda Chorney, Emotional Jukebox
Ry Cooder, Pull Up Some Dust and Sit Down
Emmylou Harris, Hard Bargain - Jonathan
Levon Helm, Ramble at the Ryman
Lucinda Williams, Blessed
Will Win
Linda Chorney, Emotional Jukebox
Ry Cooder, Pull Up Some Dust and Sit Down
Emmylou Harris, Hard Bargain
Levon Helm, Ramble at the Ryman – Dan
Lucinda Williams, Blessed - Jonathan, Ben, Sam
Jonathan: Of the four veterans nominated, only Harris’ album is anywhere close to her best work, but that rarely matters much. The vitriol directed at Chorney and her exploiting of NARAS’s new social networking initiatives to garner her nomination has reflected very, very poorly on a whole lot of Americana fans and has perpetuated an ugly “us-versus-them” attitude, but there’s no dressing up how poor Chorney’s album actually is, either. But she’s also the only one of the five nominees that anyone has been talking about during the entirety of the voting period… I give the edge to Williams on sales stats alone, but there’s really no frontrunner here.
Sam: Should win: Hayes Carll, KMAG YOYO and other American Stories (yeah, I know it wasn’t nominated). I actually kind of hope that Linda Chorney wins. For one thing, the outcry would be phenomenal. For another, it might shed some light on just how the voting is done, and is there a better way to do it. Do the voters know what Americana music is? Did they listen to any of the albums? I have nothing against any of the nominees, but Hayes Carll released one of the best albums of the year and had no chance in competing against legends like Emmylou, Ry Cooder and Levon Helm. Of the four legitimate nominees, Williams has gone the longest between Grammy wins, so maybe it’s her turn.
Dan: Levon has won for his last two albums. This one is a live set, so Lucinda could definitely unseat him, but still.
Best Bluegrass Album
Should Win
Alison Krauss and Union Station, Paper Airplane
Jim Lauderdale, Reason and Rhyme
Steve Martin and the Steep Canyon Rangers, Rare Bird Alert – Sam
The Del McCoury Band, Old Memories: The Songs of Bill Monroe
Ralph Stanley, A Mother’s Prayer
Chris Thile and Michael Staves, Sleep With One Eye Open – Jonathan
Will Win
Alison Krauss and Union Station, Paper Airplane - Jonathan, Dan, Ben, Tara, Sam
Jim Lauderdale, Reason and Rhyme
Steve Martin and the Steep Canyon Rangers, Rare Bird Alert
The Del McCoury Band, Old Memories: The Songs of Bill Monroe
Ralph Stanley, A Mother’s Prayer
Chris Thile and Michael Staves, Sleep With One Eye Open
Ben: I have no rationale for who should win, but I think we all know who will.
Jonathan: I can’t think of anything more foolhardy than betting against Alison Krauss at the Grammys.
Tara: What Ben said.
Sam: Honestly, I thought Krauss’ Paper Airplane was kind of tepid, while Rare Bird Alert was charming and energetic. Still, Krauss is the Jimmy Sturr of the Grammy bluegrass categories (all the polka fans should get that reference), so unless the voters decide to give Martin a lifetime achievement award of sorts, she’s got this one in the bag.
Dan: Steve Martin’s got a chance, but…
Best Folk Album
Should Win
The Civil Wars, Barton Hollow – Leeann
Steve Earle, I’ll Never Get Out of This World Alive - Jonathan, Sam
Fleet Foxes, Hopelessness Blues
Eddie Vedder, Ukelele Songs
Gillian Welch, The Harrow & The Harvest
Will Win
The Civil Wars, Barton Hollow - Jonathan, Ben
Steve Earle, I’ll Never Get Out of This World Alive - Dan
Fleet Foxes, Hopelessness Blues
Eddie Vedder, Ukelele Songs - Leeann, Sam
Gillian Welch, The Harrow & The Harvest
Ben: If my prediction of an Aldean-Clarkson victory for Duo/Group Performance comes true, I would expect that this is where voters will recognize The Civil Wars.
Jonathan: If NARAS were really committed to the idea of reducing the number of categories, they’d merge the Americana and Folk Album categories with Best Country Album and, considering how fast and loose they’re already playing with genre tags, they probably should do just that and let the chips fall where they may. Welch’s album is the only one of the five that really scans as “folk” music in any traditional sense, so who wins here will depend on whether or not voters are looking for something more traditional or contemporary. I’m guessing it’s the latter case, to the benefit of the Civil Wars.
Sam: Steve Earle released his best album in years with I’ll Never Get Out of This World Alive. The love songs were tender, the topical songs were sharp and insightful, and there weren’t any love songs about Condoleezza Rice. Eddie Vedder, on the other hand, is in Pearl Jam, so clearly he’s the odds-on favorite. Actually, Ukelele Songs got some pretty good reviews, and if Vedder’s vocals didn’t remind me so much of Bob Dylan’s current voice crossed with an injured goat, I might be more inclined to like it.
Dan: I can imagine a Fleet Foxes or Civil Wars win, but in the end, I’m still guessing Earle, the proven Grammy favorite.
Leeann: It’s sad that I care about this category far more than the Country Album category this year. I love The Civil Wars album the most, but the Welch, Vedder and Earl albums are great too. I’ll be happy to see any of them win, but I have a strange feeling that Vedder will take it.
“You’re Something Special to Me” is so laid back that it’s easy to miss the craftsmanship. As Strait channels a young Merle Haggard, a slow western swing arrangement surrounds him with warmth.
When people say he’s country music’s Sinatra, this is what they’re talking about.
The countdown continues. Scroll down to the bottom to hear samples of each song and to share your comments!
Top 40 Singles of 2011, Part Two: #30-#21
#30
Revelation Road
Shelby Lynne
Individual Rankings: #5 – Jonathan
It’s not for nothing that Tammy Wynette once claimed that Shelby Lynne had the best voice in country music, but, as Lynne has become increasingly subdued in the latter half of her career, she’s rarely explored the full range of her vocal talent. So when she unleashes that voice for the first time in a decade during the coda of “Revelation Road,” it may not be revelatory, but it sure is a most welcome return. – Jonathan Keefe
#29
My Name is Money
Sonia Leigh
Individual Rankings: Ben – #4
A clever lyrical personification of the Almighty Dollar. Sonia Leigh tears into the song with her gritty, powerful vocals while the snappy, genre-blending arrangement gives the single added spunk and sass. “My Name Is Money” is a delicious sonic confection from one of the 2011’s most dynamic and promising new talents. – Ben Foster
#28
God Only Knows
Natalie Maines
Individual Rankings: Kevin – #11; Tara – #14
Why? Because she can sing, and she nails a song that’s great to begin with. It’s not quite Lorrie Morgan singing “Don’t Worry Baby”, but it’s close. – Kevin John Coyne
#27
Codeine
Jason Isbell & The 400 Unit
Individual Rankings: #3 – Sam
One of the unlikeliest catchy songs of the year came from Jason Isbell. Sure, the content of the song is heartbreaking, but try listening to it and not singing along with “One of my friends is taking her in and giving her codeine.”- Sam Gazdziak
#26
Ghost on the Canvas
Glen Campbell
Individual Rankings: #10 – Kevin; #12 – Dan
Staring down his mortality, Campbell imparts a final message: Find me again in what I’ve left behind. In Campbell’s case – or Van Gogh’s, whose Wheatfield with Crows is referenced here – the remnants may be works of art. Others will have different sorts of canvases. One thing is universal: though most of the world will never see them, the ghosts will emerge for those who need them. – Dan Milliken
#25
Bleed Red
Ronnie Dunn
Individual Rankings: #5 – Kevin; #17 – Dan
Why? Because he can sing, and he sounds rejuvenated to be doing it as a solo artist. It’s a great song, but in lesser hands, it would’ve been sappy. – Kevin John Coyne
#24
The Cave
Mumford & Sons
Individual Rankings: #5- Sam; #16 – Leeann
Pop radio has managed to incorporate Lady Antebellum and Taylor Swift singles, to give just a couple examples. So would it kill country radio to add Mumford & Sons to the airwaves? Between Marcus Mumford’s hopeful lyrics (“But I will hold on hope/And I won’t let you choke/On the noose around your neck”) and Country Winston’s banjo, this song begged to be a crossover hit. – Sam Gazdziak
Very few artists could turn a borderline-trite hook into an invigorating anthem fit for the dance hall. Even fewer could do it so accessibly yet commandingly that you want to drop what you’re doing and have a Moonshine in his honor. Bottoms up, King George. – Tara Seetharam
When Wanda Jackson sings, “I’m wonderin’ where in the world could Jerry Lee be,” on her fantastic cover of Bob Dylan’s “Thunder on the Mountain,” Jack White’s on-point rockabilly arrangement makes it sound like Jerry Lee Lewis himself is playing in Jackson’s ace backing band. Though her voice may have lost some of its punch, Jackson’s delivery on “Thunder on the Mountain” finds the Queen of Rockabilly as feisty as ever. – Jonathan Keefe
#21
You Gonna Fly
Keith Urban
Individual Rankings: #8 – Tara; #9 – Jonathan
Urban strips the title phrase of all its pomposity but retains its punch with an assured, coolly confident performance. The song’s kicker, though, is the way it handles love’s ability to “fly us” to another plane, spiritually and emotionally, with matter-of-fact breeziness. “One, two, three / Baby don’t think twice / Just like that you got a brand new life” – how refreshingly uncomplicated. – Tara Seetharam
Our annual list concludes with a look at our ten favorite albums of 2011.
Check out Part One to see #11-#20, and look for our countdown of the year’s best singles tomorrow.
Top Twenty Albums of 2011, Part One: #10-#1
#10 Lady & Gentlemen
LeAnn Rimes
On the surface, Lady & Gentleman is a concept album, flying in the face of a genre whose gender bias sometimes feels like the elephant in the room. But as with the best concept albums, it’s not the concept that carries it. With her most thoughtful, vocally mature performances to date, Rimes herself is the heartbeat of the set, deftly navigating the songs with a blend of reverence and fearlessness.
And she has plenty of room to shine: rather than trying to rebirth a collection of classics, Rimes and her team tastefully reinvigorate the songs with production risks (“Swingin’”), lyrical twists (“Good Hearted Women”) and the occasional overhaul (“When I Call Your Name”). The result is an album that stands neither as a tribute nor as a statement, but as a unique body of work that earns its merits all on its own. – Tara Seetharam
Individual Rankings: Tara – #2; Ben – #8; Leeann – #9; Kevin – #10
Recommended Tracks: “Blue,” “Wasted Days and Wasted Nights,” “He Stopped Loving Her Today”
#9 KMAG YOYO
Hayes Carll
Texas has a long track record of producing talented, innovative songwriters, and The Woodlands native Carll is one of the best of his generation. With an eye for detail and a wry sense of humor, Carll proves to be a sympathetic narrator as he bemoans his fate in dealing with politics, the economy and relationships. And just when you think he’s pure smartass, he breaks out his sincerity with a song like “Grateful for Christmas.” – Sam Gazdziak
Individual Rankings: Sam – #1; Dan – #2
Recommended Tracks: “Stomp and Holler”, “Another Like You”, “Bottle in My Hand”
#8 American Folk Songbook
Suzy Bogguss
Over the last two decades, Suzy Bogguss has ably covered a lot of musical ground, including classic country, western swing, pop country, adult contemporary and jazz. With the unplugged American Folk Songbook, she is able to add folk to the list. This expansive 17-track set of traditional folk songs is the most stunning of her genre specific projects.
Without a misstep on the album, it finds Bogguss firmly in her element as both an effortless singer and adept song interpreter. What’s more, Suzy’s crystal clear voice blends perfectly with her own crisp, engaging productions. – Leeann Ward
Individual Rankings: #1 – Leeann; #1 – Ben
Recommended Tracks: “Shenandoah”, “Johnny Has Gone for a Soldier”, “Swing Low Sweet Chariot”
#7 Lorraine
Lori McKenna
A somber coffeehouse album, which admittedly makes for a bit of a plodding listen-through. Hang around, though; McKenna is chronicling the experience of the working-class family woman with the kind of depth and character we usually associate with people named Dolly and Merle. And like those forebears, she transcends her persona by finding the universal in it: “My life is pieces of paper that I’ll get back to later,” the key line of “The Most,” could be the lament of anyone trying to manage in the real world. - Dan Milliken
Recommended Tracks: “The Luxury of Knowing”, “The Most”, “Still Down Here”
#6 Barton Hollow
The Civil Wars
It’s almost scary how this duo just seems to get everything right. The level of emotional connectivity in their performances, not to mention their ethereal harmonies and stellar songwriting, is absolutely spellbinding. Just listen to the way they can repeat the refrain “I don’t love you, but I always will” in “Poison & Wine” such that each repetition successively rises in passion and urgency.
While they will most likely never be mainstream country stars, one would certainly hope that the excellent Barton Hollow is not the last we will hear from The Civil Wars. – Ben Foster
Recommended Tracks: “Poison & Wine,” “Barton Hollow,” “Forget Me Not”
#5 Here For a Good Time
George Strait
The best artistic choice that George Strait has ever made is taking more time between albums. Here For a Good Time is yet another high point in his ongoing 21st century renaissance. He’s tackling, even sometimes co-writing, compelling material that reflects the wisdom and life experience of the most distinguished voice that remains on country radio. – Kevin John Coyne
Recommended Tracks: “Drinkin’ Man”, “House Across the Bay”, “I’ll Always Remember You”
#4 Four the Record
Miranda Lambert
If Revolution was Lambert’s commercial crowning moment, Four the Record is her earned hissy fit – a foot stomp and a “my turn, folks.” That’s not to say her previous albums weren’t authentic; it’s just that Four the Record seems to be the most transparent reflection of Lambert the artist to date, flaws and all.
And that’s why it soars. Wonderfully weird, the collection of songs is best described as a tapestry of personalities, punctuated by some of the oddest –but coolest– production choices of the year. Where the album lacks in depth of songwriting, it makes up for in fiercely committed, layered performances.
She sneers old school style in “Fastest Girl In Town,” brilliantly spits in her mother’s face in “Mama’s Broken Heart” and eccentrically celebrates diversity in “All Kinds of Kinds.” But the album’s shining moments come in the form of palpable vulnerability: the trio of “Dear Diamond,” “Look at Miss Ohio,” and “Oklahoma Sky” is nakedly honest – the highest country music compliment. – Tara Seetharam
At age 54, Vince Gill’s voice shows absolutely no signs of deterioration. Moreover, his artistry continues to be as strong as it has ever been even after almost three-and-a-half decades in the business. Following his critically acclaimed and ambitious project, These Days, a box set of all original songs, Guitar Slinger somehow manages to stand up to Gill’s self-imposed high benchmark of excellence.
In fact, in a way, while this album is fresh, the sound of Guitar Slinger could also be a continuation of These Days, since many of its songs follow the genre variances of its predecessor, including rockers, easy listening and traditional country songs. As evidenced by this album, Gill is still at the top of his game both in musical talent and ability to capture a range of emotions with diverse themes and expert storytelling. – Leeann Ward
Recommended Tracks: “The Lucky Diamond Hotel”, “Who Wouldn’t Fall in Love with You”, “Buttermilk John”
#2 The Dreaming Fields
Matraca Berg
Matraca Berg has given us a good portion of country music’s most memorable compositions of the past twenty years, and her first new album since 1997 shows a pen still full of tricks. With a tight set of tracks that includes her own versions of songs recorded by Trisha Yearwood (“The Dreaming Fields”) and Kenny Chesney (“You and Tequila”), Berg displays the same subtle cleverness, instantly relatable emotional conflicts, and insightful perspective that have long been the hallmarks of her work.
She tenderly addresses such themes as spousal abuse (“If I Had Wings”) and the death of a loved one (“Racing the Angels”), but arguably the finest moment comes with the title track’s wistful meditation on the loss of a family farm that has remained for generations. Matraca Berg is nothing short of a musical treasure, and The Dreaming Fields reaffirms her status as the most talented singer-songwriter of her generation. – Ben Foster
Recommended Tracks: “If I Had Wings,” “Racing the Angels,” “The Dreaming Fields,” “Oh, Cumberland”
#1 Hell on Heels
Pistol Annies
For all of the lip-service that contemporary country acts give to the idea that country music tells real stories about real people, precious little country music in 2011 seemed to be about anything at all. Whether jockeying for some kind of authenticity cred that their music just didn’t support or rattling off list after pointless list of rural signifiers without an actual narrative or a greater point to make, many of the biggest country stars of the past year seemed completely divorced from the experiences of the real world around them.
Enter Pistol Annies– ostensibly a one-off side project for Miranda Lambert, Ashley Monroe, and Angaleena Presley– and their debut album, Hell on Heels. Not only is it the finest and most detailed chronicle of the current recession, the album stands as a much-needed reminder of both the depth of insight that country music offers in its best moments and the expertly-crafted escapism country music provides when things get a little too real.
Sure, there’s an element of playing dress-up to what the Pistol Annies are doing, but that fits perfectly with the album’s focus on finding ways to escape from day-to-day drudgery. Songs like “Bad Example” and the tongue-in-cheek, gold-digging title track make it clear that Lambert, Monroe, and Presley are in full control of their charades: The way Presley drawls, “Whistle it, ‘Randy,” at the bridge of “Lemon Drop” should erase any doubt that they’re in on the joke. That sense of fun is reflected in the album’s light-handed production and in the Annies’ winning performances.
That said, a devastating gut-check of a line like, “I’ve been thinking about all these pills I’m taking/I wash ‘em down with an ice cold beer/And the love I ain’t been making,” from “Housewife’s Prayer,” doesn’t happen by accident. What elevates Hell on Heels into an album of real depth is that the Annies realize that escapism only has value when you know exactly what it is you’re trying to escape from.
The color of the bride’s dress in a shotgun wedding, the thrift-store curtains hanging in a house that the landlord owns, the dings and dents in the side of a trailer: Pistol Annies get all of these details right, and they employ them with both a swagger they can actually back up and a sense of purpose that speaks to something greater than simply proving their country bona fides. – Jonathan Keefe
More than thirty years into his legendary career, George Strait has released the most compelling single of his career with “Drinkin’ Man.”
1986 | #1
Is it lightweight radio fluff? Yes.
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