Tag Archives: Glen Campbell

ACM Flashback: Single Record of the Year

As with the similar CMA category of Single of the Year, looking over the history of this category is the quickest way to get a snapshot of country music in a given year.  There is a quite a bt of consensus among the two organizations here, and it is very rare for the winner at one show to not at least be nominated at the other. The winners list here would make a great 2-disc set of country classics, at least for those who don’t mind a little pop in their country. The ACM definitely has more of a taste for crossover than its CMA counterpart, and the organizations have only agreed on 17 singles in the past four decades and change.

As always, we start with a look at this year’s nominees and work our way back to 1968.

2010

  • Zac Brown Band, “Toes”
  • Billy Currington, “People Are Crazy”
  • Lady Antebellum, “Need You Now”
  • Miranda Lambert, “White Liar”
  • David Nail, “Red Light”

There’s usually a “Huh?” nominee among the ACM list in recent years.  This year, it’s David Nail.  Good for him!  Currington hasn’t won yet for this hit, even though he got himself a Grammy nomination for it.  With Lady Antebellum reaching the upper ranks of the country and pop charts with “Need You Now”, my guess is that they’re the presumptive favorites. Then again, Miranda Lambert is a nominee for the third straight year, and she’s up for her biggest radio hit.

2009

  • Trace Adkins, “You’re Gonna Miss This”
  • Jamey Johnson, “In Color”
  • Miranda Lambert, “Gunpowder & Lead”
  • Heidi Newfield, “Johnny and June”
  • Brad Paisley, “Waitin’ On a Woman”

Adkins has been a fairly regular fixture on country radio since 1996, but this was his first major industry award.  He also won the ACM for Top New Male Vocalist in 1997.

2008

  • Gary Allan, “Watching Airplanes”
  • Big & Rich, “Lost in This Moment”
  • Kenny Chesney, “Don’t Blink”
  • Miranda Lambert, “Famous in a Small Town”
  • Sugarland, “Stay”

“Stay” swept the Song of the Year categories at all three industry shows, along with winning the ACM for Single Record.  Allan’s presence here shows that being a little West Coast can still help a guy at the ACMs.

2007

  • Heartland, “I Loved Her First”
  • Rascal Flatts, “What Hurts the Most”
  • George Strait, “Give it Away”
  • Josh Turner, “Would You Go With Me”
  • Carrie Underwood, “Before He Cheats”

George Strait earned his second ACM Single Record award a decade after his first (“Check Yes or No”) and two and a half decades after having his first radio hit.  Underwood won at the CMAs later that year.  “Give it Away” is one of a small group of ACM winners to not receive a nomination at the CMA ceremony.

2006

  • Gary Allan, “Best I Ever Had”
  • Brooks & Dunn, “Believe”
  • Brad Paisley, “Alcohol”
  • Sugarland, “Baby Girl”
  • Carrie Underwood, “Jesus, Take the Wheel”

In the battle of biblical hits, the CMA picked Brooks & Dunn but the ACM picked Carrie Underwood.  Much like George Strait would later win a CMA trophy for a different single (“I Saw God Today”), Underwood later triumphed at the CMA with “Before He Cheats.”

2005

  • Tim McGraw, “Live Like You Were Dying”
  • Brad Paisley with Alison Krauss, “Whiskey Lullaby”
  • Rascal Flatts, “Bless the Broken Road”
  • Keith Urban, “Days Go By”
  • Gretchen Wilson, “Redneck Woman”
  • Lee Ann Womack, “I May Hate Myself in the Morning”

Because McGraw picked up the trophy at the CMAs in 2004, the field was cleared for Womack to win the CMA later in 2005.  McGraw had won the ACM before for “It’s Your Love.”

2004

  • Brooks & Dunn, “Red Dirt Road”
  • Alan Jackson with Jimmy Buffett, “It’s Five O’ Clock Somewhere”
  • Alan Jackson, “Remember When”
  • Toby Keith, “American Soldier”
  • Randy Travis, “Three Wooden Crosses”

Among all the lead nominees, only Toby Keith wasn’t a previous winner. Still, the award went to the new alcoholic’s creed, winning over a more pensive Jackson track and a big comeback hit for Randy Travis.

2003

  • Kenny Chesney, “The Good Stuff”
  • Toby Keith, “Courtesy of the Red, White, and Blue (The Angry American)”
  • Trick Pony, “Just What I Do”
  • Keith Urban, “Somebody Like You”
  • Mark Wills, “19 Somethin'”

Chesney spent nearly two months at #1 with this hit, perhaps giving him the edge over the other mega-hits at radio from Keith, Urban, and Wills. As for the Trick Pony nomination, somebody really should find out what Heidi Newfield has on those ACM voters.

2002

  • Brooks & Dunn, “Ain’t Nothin’ ‘Bout You”
  • Diamond Rio, “One More Day”
  • Alan Jackson, “Where Were You (When the World Stopped Turning)”
  • Toby Keith, “I Wanna Talk About Me”
  • Travis Tritt, “It’s a Great Day to Be Alive”

Jackson’s powerful 9/11 reflection stands out as the only ballad among his four ACM Single Record victories.

2001

  • Toby Keith, “How Do You Like Me Now?!”
  • John Michael Montgomery, “The Little Girl”
  • Jamie O’Neal, “There is No Arizona”
  • Aaron Tippin, “Kiss This”
  • Lee Ann Womack with Sons of the Desert, “I Hope You Dance”

Toby Keith’s run of four consecutive nominations began this year. His album of the same name proved victorious that evening.  Womack’s massive hit became an instant standard, and is incidentally the most recent winner to also be a genuine crossover hit.

2000

  • Dixie Chicks, “Ready to Run”
  • Lonestar, “Amazed”
  • Tim McGraw, “Please Remember Me”
  • Brad Paisley, “He Didn’t Have to Be”
  • George Strait, “Write This Down”

As pop hits go, this one was a monster. “Amazed” even topped the Hot 100, the first country single to do so since “Islands in the Stream.”

1999

  • Faith Hill, “This Kiss”
  • Martina McBride, “A Broken Wing”
  • Shania Twain, “You’re Still the One”
  • Steve Wariner, “Holes in the Floor of Heaven”
  • The Wilkinsons, “26 Cents”

Hill and hubby Tim McGraw each have two ACM trophies in this category, one solo and one shared.

1998

  • Diamond Rio, “How Your Love Makes Me Feel”
  • Tim McGraw with Faith Hill, “It’s Your Love”
  • LeAnn Rimes, “How Do I Live”
  • George Strait, “Carrying Your Love With Me”
  • Trisha Yearwood, “How Do I Live (from “Con Air”)”

While Yearwood had won over Rimes at the Grammys a few weeks earlier, the ACM sidestepped the big controversy of the year and gave the trophy to the biggest hit in the bunch.

1997

  • Brooks & Dunn, “My Maria”
  • Deana Carter, “Strawberry Wine”
  • Tracy Lawrence, “Time Marches On”
  • LeAnn Rimes, “Blue”
  • George Strait, “Carried Away”

It’s rare that the ACM goes with the song that was least successful at radio, but don’t let that #10 peak of “Blue” fool you.  That hit was responsible for millions of record sales.

1996

  • Brooks & Dunn, “You’re Gonna Miss Me When I’m Gone”
  • Faith Hill, “It Matters to Me”
  • Tim McGraw, “I Like It, I Love It”
  • George Strait, “Check Yes or No”
  • Shania Twain, “Any Man of Mine”

It was a stroke of marketing brilliance: add two singles to a box set of a genre superstar. When the first single became one of his biggest hits, the box set quickly became the top selling in country music history.

1995

  • Joe Diffie, “Third Rock From the Sun”
  • Vince Gill, “Tryin’ to Get Over You”
  • Alan Jackson, “Livin’ On Love”
  • Tim McGraw, “Don’t Take the Girl”
  • John Michael Montgomery, “I Swear”

There have been a few wedding standards to win this award, though Montgomery’s hit didn’t cross over in its original form.

1994

  • Clint Black with Wynonna, “A Bad Goodbye”
  • Garth Brooks, “Ain’t Goin’ Down (‘Til the Sun Comes Up)”
  • Alan Jackson, “Chattahoochee”
  • Reba McEntire with Linda Davis, “Does He Love You”
  • Dwight Yoakam, “Ain’t That Lonely Yet”

Jackson won the ACM with his massive hit, but the McEntire/Davis duet and the Yoakam track were Grammy winners.

1993

  • John Anderson, “Straight Tequila Night”
  • Brooks & Dunn, “Boot Scootin’ Boogie”
  • Billy Ray Cyrus, “Achy Breaky Heart”
  • Collin Raye, “Love, Me”
  • Tanya Tucker, “Two Sparrows in a Hurricane”

Brooks & Dunn are among the most nominated artists in this category’s history, but this is their only victory.

1992

  • Clint Black, “Where Are You Now”
  • Garth Brooks, “Shameless”
  • Alan Jackson, “Don’t Rock the Jukebox”
  • Travis Tritt, “Here’s a Quarter (Call Someone Who Cares)”
  • Trisha Yearwood, “She’s in Love With the Boy”

This was Jackson’s first major industry award.

1991

  • Alabama, “Jukebox in My Mind”
  • Garth Brooks, “Friends in Low Places”
  • Vince Gill, “When I Call Your Name”
  • Alan Jackson, “Here in the Real World”
  • Shenandoah, “Next to You, Next to Me”

Garth-mania was beginning to peak in 1991. He swept the ACMs that  year.

1990

  • Clint Black, “Better Man”
  • Garth Brooks, “If Tomorrow Never Comes”
  • Patty Loveless, “Timber I’m Falling in Love”
  • Keith Whitley, “I’m No Stranger to the Rain”
  • Hank Williams & Hank Williams Jr., “There’s a Tear in My Beer”

Clint Black is one of only three artists in the last twenty years to win for their first proper single, with Carrie Underwood and LeAnn Rimes being the other two.

1989

  • Kathy Mattea, “Eighteen Wheels and a Dozen Roses”
  • K.T. Oslin, “I’ll Always Come Back”
  • Ricky Van Shelton, “I’ll Leave This World Loving You”
  • Randy Travis, “I Told You So”
  • Keith Whitley, “Don’t Close Your Eyes”

Mattea’s award-winning hit had such a high profile that it was even referenced in the dialog of the hit movie Rain Man.

1988

  • Restless Heart, “I’ll Still Be Loving You”
  • Ricky Van Shelton, “Somebody Lied”
  • George Strait, “All My Ex’s Live in Texas”
  • Randy Travis, “Forever and Ever, Amen”
  • Hank Williams Jr., “Born to Boogie”

Travis won for the second year in a row with what would become his signature hit.

1987

  • Alabama, “Touch Me When We’re Dancing”
  • Janie Fricke, “Always Have, Always Will”
  • The Judds, “Rockin’ With the Rhythm of the Rain”
  • Reba McEntire, “Whoever’s in New England”
  • Randy Travis, “On the Other Hand”

This was technically his first single, but when released under the name Randy Traywick, it bombed. Warner Bros. then released “1982” under Randy Travis, and it went top ten. They then re-released this song, and it became his first #1 hit.

1986

  • Lee Greenwood, “Dixie Road”
  • Waylon Jennings, Willie Nelson, Johnny Cash, Kris Kristofferson, “Highwayman”
  • The Judds, “Love is Alive”
  • Mel McDaniel, “Baby’s Got Her Blue Jeans On”
  • Hank Williams Jr., “I’m For Love”

So successful was this winning single that the four legends would go on to release future collaborations as the Highwaymen.

1985

  • Alabama, “When We Make Love”
  • Julio Iglesias & Willie Nelson, “To All the Girls I’ve Loved Before”
  • The Judds, “Why Not Me”
  • John Schneider, “I’ve Been Around Enough to Know”
  • Conway Twitty, “I Don’t Know a Thing About Love (The Moon Song)”

Say what you want about this winner, but it was popular enough to sell two million 45s.

1984

  • John Anderson, “Swingin'”
  • Anne Murray, “A Little Good News”
  • Willie Nelson & Merle Haggard, “Pancho  and Lefty”
  • Kenny Rogers & Dolly Parton, “Islands in the Stream”
  • Shelly West, “José Cuervo”

Another pop smash that moved two million 45s. Is there anybody over 30 who can’t sing along to the chorus?

1983

  • David Frizzell, “I’m Gonna Hire a Wino to Decorate Our Home”
  • Willie Nelson, “Always on My Mind”
  • Kenny Rogers, “Love Will Turn You Around”
  • Ricky Skaggs, “Crying My Heart Out Over You”
  • Sylvia, “Nobody”

Nelson’s had quite a few signature hits, but none bigger than this one.

1982

  • Rosanne Cash, “Seven Year Ache”
  • David Frizzell & Shelly West, “You’re the Reason God Made Oklahoma”
  • Barbara Mandrell, “I Was Country When Country Wasn’t Cool”
  • Ronnie Milsap, “(There’s) No Gettin’ Over Me”
  • Oak Ridge Boys, “Elvira”

This might be the most pop-flavored lineup in category’s history. Even the Mandrell hit doth protest too much.

1981

  • George Jones, “He Stopped Loving Her Today”
  • Johnny Lee, “Lookin’ For Love”
  • Dolly Parton, “9 to 5″
  • Eddie Rabbitt, “Drivin’ My Life Away”
  • Don Williams, “I Believe in You”

Jones capped his biggest comeback in a career defined by them with several awards for this classic hit.

1980

  • Charlie Daniels Band, “Devil Went Down to Georgia”
  • Larry Gatlin & The Gatlin Brothers Band, “All the Gold in California”
  • Crystal Gayle, “Half the Way”
  • Waylon Jennings, “Amanda”
  • Kenny Rogers, “Coward of the County”

West Coast represent!

1979

  • Crystal Gayle, “Talking in Your Sleep”
  • Loretta Lynn, “Out of My Head and Back in My Bed”
  • Willie Nelson, “Georgia On My Mind”
  • Waylon & Willie, “Mammas Don’t Let Your Babies Grow Up to be Cowboys”
  • Don Williams, “Tulsa Time”

In a category of superstars, the Gentle Giant of Country Music was the victor.

1978

  • Debby Boone, “You Light Up My Life”
  • Crystal Gayle, “Don’t it Make My Brown Eyes Blue”
  • Waylon Jennings, “Luckenbach, Texas (Back to the Basics of Love)”
  • Kenny Rogers, “Lucille”
  • Linda Ronstadt, “Blue Bayou”

All of these records made a big impact on both the country and the pop chart.

1977

  • Mickey Gilley, “Bring it On Home to Me”
  • Loretta Lynn, “Somebody Somewhere (Don’t Know What He’s Missin’ Tonight)”
  • Marty Robbins, “El Paso City”
  • Red Sovine, “Teddy Bear”
  • Waylon & Willie, “Good Hearted Woman”

A surprising win, perhaps fueled by the momentum of Gilley’s previous single, “Don’t the Girls All Get Prettier at Closing Time.”

1976

  • Glen Campbell, “Rhinestone Cowboy”
  • Freddie Fender, “Before the Next Teardrop Falls”
  • Mickey Gilley, “Overnight Sensation”
  • Willie Nelson, “Blue Eyes Crying in the Rain”
  • Kenny Starr, “The Blind Man in the Bleachers”

Campbell made quite the comeback with this one, and it later inspired the Dolly Parton film vehicle Rhinestone, which earned an ACM nomination of its own for the Tex Ritter Award.

1975

  • John Denver, “Back Home Again”
  • Merle Haggard, “Things Aren’t Funny Anymore”
  • Ronnie Milsap, “(I’d Be) A Legend in My Time”
  • Cal Smith, “Country Bumpkin”
  • Billy Swan, “I Can Help”

Smith may not have gotten all the recognition that his talent warranted, but he made two undeniable classics: “The Lord Knows I’m Drinking”, and his winner here.

1974

  • Merle Haggard, “If We Make it Through December”
  • Byron MacGregor, “The Americans”
  • Jeanne Pruett, “Satin Sheets”
  • Charlie Rich, “Behind Closed Doors”
  • Charlie Rich, “The Most Beautiful Girl”

Rich’s two hits were so big that even with vote-splitting, he still emerged the winner.

1973

  • Donna Fargo, “The Happiest Girl in the Whole U.S.A.”
  • Merle Haggard, “It’s Not Love (But It’s Not Bad)”
  • Johnny Rodriguez, “Pass Me By (If You’re Only Passing Through)”
  • Jerry Wallace, “If You Leave Me Tonight I’ll Cry”
  • Faron Young, “Four in the Morning”

Fargo was a local star on the West Coast before she broke through nationwide with this hit, dominating the 1973 ACM Awards as a result.

1972

  • Merle Haggard, “Carolyn”
  • Freddie Hart, “Easy Loving”
  • Loretta Lynn and Conway Twitty, “Lead Me On”
  • Loretta Lynn, “One’s On the Way”
  • Charley Pride, “Kiss an Angel Good Morning”

This gold-selling classic helped Hart triumph over the superstars of his day.

1971

  • Lynn Anderson, “Rose Garden”
  • Merle Haggard, “The Fightin’ Side of Me”
  • Anne Murray, “Snowbird”
  • Ray Price, “For the Good Times”
  • Sammi Smith, “Help Me Make it Through the Night”

Each one of these is a classic in its own right. In a battle of Kristofferson-penned hits, Price emerged victorious, though Smith won the CMA later that year.

1970

  • Glen Campbell, “Try a Little Kindness”
  • Johnny Cash, “A Boy Named Sue”
  • Merle Haggard, “Okie From Muskogee”
  • Billy Mize, “Make it Rain”
  • Elvis Presley, “Don’t Cry Daddy”
  • Freddy Weller, “Games People Play”
  • Tammy Wynette, “Stand By Your Man”

Haggard’s only victory in this category came on a night where he also won Album of the Year for the only time in several nominations.

1969

  • Glen Campbell, “Wichita Lineman”
  • Merle Haggard, “I Take a Lot of Pride in What I Am”
  • Merle Haggard, “The Legend of Bonnie and Clyde”
  • Merle Haggard, “Mama Tried”
  • Roger Miller, “Little Green Apples”

Miller’s known for his legendary songwriting, but his winning hit here was penned by Bobby Russell.

1968

  • Glen Campbell, “Burning Bridges”
  • Glen Campbell, “Gentle on My Mind”
  • The Gosdin Bros., “Hangin’ On”
  • Bobbie Gentry, “Ode to Billy Joe”
  • Merle Haggard, “Branded Man”
  • Merle Haggard, “I’m a Lonesome Fugitive”

A young Vern Gosdin made up half of the nominated Gosdin Bros., a nice historical footnote to the first year of this category. Glen Campbell’s victory was appropriately West Coast for the ACMs first attempt at honoring the national country music scene.

Facts & Feats:

Most Wins

  • (4) – Alan Jackson
  • (3) – Willie Nelson
  • (2) – Glen Campbell, Faith Hill, Tim McGraw, Kenny Rogers, George Strait, Randy Travis

Most Nominations

  • (12) – Merle Haggard
  • (8) – Willie Nelson
  • (6) – Brooks & Dunn, Alan Jackson, George Strait
  • (5) – Glen Campbell, Waylon Jennings, Tim McGraw
  • (4) – Garth Brooks, Toby Keith, Loretta Lynn, Brad Paisley, Kenny Rogers, Randy Travis

Most Nominations Without a Win

  • (4) – Toby Keith, Loretta Lynn, Brad Paisley
  • (3) – Alabama, Crystal Gayle, The Judds, Miranda Lambert, Hank Williams Jr.

Singles that Won Both the ACM and CMA Award:

  • Merle Haggard, “Okie From Muskogee”
  • Donna Fargo, “The Happiest Girl in the Whole U.S.A.”
  • Charlie Rich, “Behind Closed Doors”
  • Cal Smith, ‘Country Bumpkin”
  • Kenny Rogers, “Lucille”
  • George Jones, “He Stopped Loving Her Today”
  • Oak Ridge Boys, “Elvira”
  • Willie Nelson, “Always On My Mind”
  • Randy Travis, “Forever and Ever, Amen”
  • Kathy Mattea, “Eighteen Wheels and a Dozen Roses”
  • Garth Brooks, “Friends in Low Places”
  • Alan Jackson, “Chattahoochee”
  • John Michael Montgomery, “I Swear”
  • George Strait, “Check Yes or No”
  • Lee Ann Womack with Sons of the Desert, “I Hope You Dance”
  • Alan Jackson, “Where Were You (When the World Stopped Turning)”
  • Tim McGraw, “Live Like You Were Dying”

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Why Can’t I Buy This?

During the nineties boom, there was a mad rush to get the catalog of older country artists available on CD.  For older country albums, this wasn’t always the best approach.  Many of these discs had only ten tracks, so even with a handful of bonus songs, the entire running time could still be under 40 minutes. Some labels took the smart approach of pairing two albums to one disc, but for the most part, it was landmark albums or lengthy compilation discs.

The digital age has finally made it both practical and affordable to get those old albums. Vintage sets are now available from legends like Merle Haggard and Glen Campbell, and even not quite legends like Jeannie C. Riley. But there are still some glaring omissions that need to become more readily available.

Topping my wish list is Evangeline by Emmylou Harris.  Some tracks were included on her box sets, but the bulk of this album, the last one by Harris to gold, remains unavailable. Given that among those tracks is “I Don’t Have to Crawl” and “Oh Atlanta”, it’s really time to get a move on.

What albums would you like to be reissued, either as a CD or digital download?

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My Start in Country Music

The following article is by guest contributor and Country Universe commenter, Craig R.

My Start in Country Musicroger-miller
By Craig Ross

My memories only started collecting at age four. That year, 1969, my uncle was shot and seriously wounded in Vietnam. I had just started eating hamburgers for the first time. During the summer I saw Neil Armstrong walk on the moon on my parent’s bedroom black and white television set. And I knew the entire lyrics to only two songs, which I sang over and over again: “Raindrops Keep Falling on My Head” by B.J Thomas and “King of the Road” by the great Roger Miller. But growing up in a Baltimore suburb in a middle class, college educated black American home placed me in a rare position. My cousins listened to Motown, R&B, and some pop. The adults listened mainly to jazz. My parents were open to all types of music, and the one I fell in love with was country music.

In 1969 they still called it country-western music. And at that point in time it seemed to be everywhere. On the radio they played Roger Miller, Johnny Cash, Glen Campbell, and Eddy Arnold on pop stations. On television country music was coming into its own. In 1969 alone we watched Hee-Haw, The Porter Waggoner ShowThe Johnny Cash Show and The Glen Campbell Goodtime Hour. The first time I ever saw the great Louis Armstrong was on Cash’s show.

And of course, every sitcom seemed to be about the country living in 1969:  Green Acres, Petticoat Junction, The Beverly Hillbillies and Mayberry RFD. It may have been the perfect time to fall for country music. At four I liked the finger snapping of “King of the Road”, the cowboy hats, and the pretty lady singers in their wigs and gowns on television. I wasn’t dreaming of being a bull rider, a farmer or honky- tonk singer. But music defines you in some way. And at forty-four I realize now that I was being converted to a sound that would anchor the rest of my life. Country spoke to me in way no other music of my youth did. The very nature of the raw storytelling was addictive. Truth undiluted, unfiltered, uncalculated – can be a drug like no other.

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Grammy Flashback: Best Male Country Vocal Performance

Updated for 2009

While the Grammys have honored country music from the very first ceremony in 1959, they did not begin honoring by gender until 1965, when the country categories were expanded along with the other genre categories. This year, the 45th trophy for Best Male Country Vocal Performance will be awarded.

In a continuation of our Grammy Flashback series, here is a rundown of the Best Country Vocal Performance, Male category. It was first awarded in 1965, and included singles competing with albums until the Best Country Album category was added in 1995. When an album is nominated, it is in italics, and a single track is in quotation marks.

As usual, we start with a look at this year’s nominees and work our way back. Be sure to vote in My Kind of Country’s Best Male Country Vocal Performance poll and let your preference for this year’s race be known!

jamey-johnson-lonesome2009

  • Trace Adkins, “You’re Gonna Miss This”
  • Jamey Johnson, “In Color”
  • James Otto, “Just Got Started Lovin’ You”
  • Brad Paisley, “Letter to Me”
  • George Strait, “Troubadour”

As with the album race, this year’s contenders for Best Male Country Vocal Performance are a combination of unrecognized veterans and promising newcomers. In fact, none of this year’s nominees have won in this category, and only one of them – Brad Paisley – has a Grammy at all.

First, the veterans. Paisley has numerous ACM and CMA victories to his credit, including two each for Male Vocalist.  Although he’s been nominated for this award twice before, this is the first time he’s contended with a cut that can’t be dismissed as a novelty number. The touching self-penned “Letter to Me” is his best shot yet at taking this home.

Trace Adkins has been at this a bit longer than Paisley, but this is his first Grammy nomination. His crossover exposure from Celebrity Apprentice might help him out here, along with the fact that the song was considered strong enough by voters to earn a nomination of its own.

But the real veteran to watch out for is George Strait. After being nominated only twice for this category in the first 25 years of his career, voters have now given him three consecutive nominations. This is one of four nods he’s earned for the 2009 ceremony, and “Troubadour” is essentially the story of his epic career distilled into a radio-length song. It would be the perfect way to honor the man and his music in one fell swoop.

However, there’s a newcomer that might be a Grammy favorite already.  We just haven’t found out yet. Not James Otto, of course, who is nominated for his charming romantic romp “Just Got Started Lovin’ You”, but rather, Jamey Johnson. The recent Nashville Scene critics’ poll further confirmed the depth of his support among tastemakers, and his nominations for Best Country Song and Best Country Album indicate that he’s very much on the academy’s radar. It helps that he has the most substantial track of the five, and it’s the obvious choice for traditionalists, who have little reason to split their votes in this category. If voters aren’t considering legacy when making their selections, he has a great shot at this.

2008

  • Dierks Bentley, “Long Trip Alone”
  • Alan Jackson, “A Woman’s Love”
  • Tim McGraw, “If You’re Reading This”
  • George Strait, “Give it Away”
  • Keith Urban, “Stupid Boy”

The often offbeat Grammy voters have been surprisingly mainstream in this category for the past three years, a trend best exemplified by this lineup, which was the first in more than a decade to feature only top ten radio hits. Tim McGraw and Keith Urban were the only two who had won this before, and it was Urban who emerged victorious. “Stupid Boy” was a highlight of his fourth studio album, and this was the only major award that the impressive collection would win.

2007

  • Dierks Bentley, “Every Mile a Memory”
  • Vince Gill, “The Reason Why”
  • George Strait, “The Seashores of Old Mexico”
  • Josh Turner, “Would You Go With Me”
  • Keith Urban, “Once in a Lifetime”

Vince Gill returned to win in this category for a ninth time with “The Reason Why.” Not only is he, by far, the most honored artist in this category, his wins here account for nine of the nineteen Grammys currently on his mantle.

2006

  • George Jones, “Funny How Time Slips Away”
  • Toby Keith, “As Good As I Once Was”
  • Delbert McClinton, “Midnight Communion”
  • Willie Nelson, “Good Ol’ Boys”
  • Brad Paisley, “Alcohol”
  • Keith Urban, “You’ll Think of Me”

Urban’s biggest and probably best hit launched his second album to triple platinum and established him as a crossover artist. He gave a killer performance of the song on the show. Toby Keith was a first-time nominee here, and while he publicly groused that the Grammys put too little emphasis on commercial success in picking their nominations, he lost to the only track that was a bigger hit than his own.

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CMA Flashback: Male Vocalist

For a look back at the other major categories, visit our CMA Awards page.

2010

  • Dierks Bentley
  • Brad Paisley
  • Blake Shelton
  • George Strait
  • Keith Urban

Bentley and Shelton have never won, but they’re up against Strait, who has won five times, and Paisley and Urban, who’ve won three times each.  With the balance of commercial and critical success not significantly different across the category, this race could bring the night’s biggest surprise. But whatever happens, kudos to Paisley for earning his tenth nomination, and Strait for earning his twenty-fifth!

2009

  • Kenny Chesney
  • Brad Paisley
  • Darius Rucker
  • George Strait
  • Keith Urban

Just like in the Entertainer category, 80% of this race for the past three years had been Kenny Chesney, Brad Paisley, George Strait, and Keith Urban. This year, Darius Rucker took the fifth slot that was occupied by Alan Jackson in 2008 and Josh Turner in 2007.  Brad Paisley went on to win his third Male Vocalist prize.

brad-paisley2008

  • Kenny Chesney
  • Alan Jackson
  • Brad Paisley
  • George Strait
  • Keith Urban

After so many years on the sidelines, Paisley began to dominate the category, scoring his second consecutive Male Vocalist award. Meanwhile, Kenny Chesney tied Willie Nelson for most nominations without a win, though his seventh loss was accompanied by his fourth win for Entertainer.

2007

  • Kenny Chesney
  • Brad Paisley
  • George Strait
  • Josh Turner
  • Keith Urban

This was the year that Brad Paisley finally won, with his seventh nomination in eight years. The stars aligned for him, with a very successful tour, a new album that is selling strongly, and a continued hot streakat radio that was nearly unmatched. He still hasn’t had a single miss the top ten since “Me Neither” in 2000, a claim that even radio favorites like George Strait, Toby Keith, Brooks & Dunn, Tim McGraw and Rascal Flatts can’t call their own.

2006

  • Dierks Bentley
  • Kenny Chesney
  • Alan Jackson
  • Brad Paisley
  • Keith Urban

Urban became the first artist to win Male Vocalist three years in a row since George Strait did it in 1996-1998, right after Vince Gill’s 1991-1995 run. His acceptance letter, read by Ronnie Dunn, was the emotional highlight of the evening’s show.

2005

  • Kenny Chesney
  • Alan Jackson
  • Brad Paisley
  • George Strait
  • Keith Urban

No surprises here, as another multi-platinum year full of radio hits and a high-profile appearance at Live 8 kept Urban fresh on voter’s minds. The big shock was him walking away with Entertainer of the Year later that night.

2004

  • Kenny Chesney
  • Alan Jackson
  • Toby Keith
  • George Strait
  • Keith Urban

Urban hadn’t even been nominated for any CMA Awards in 2002 and 2003, after winning Horizon in 2001, but he came back with a bang, taking home Male Vocalist of the Year over the four other superstars in the category. He joined Chesney as the only other man in the running who had never won before; Chesney got the wonderful consolation prizes of Entertainer and Album of the Year the same night.

2003

  • Kenny Chesney
  • Alan Jackson
  • Toby Keith
  • Tim McGraw
  • Brad Paisley
  • George Strait

Things were getting tight in this category in 2003, with so many worthy contenders that ties resulted in six nominees, instead of the usual five. Still, voters chose to stick with last year’s winner, Alan Jackson, a sure indicator of his enduring popularity among CMA voters.

2002

  • Kenny Chesney
  • Alan Jackson
  • Toby Keith
  • Brad Paisley
  • George Strait

The other four men were merely placeholders, there to create a list around the obvious winner, Alan Jackson. As he swept the awards on the strength of his post-9/11 “Where Were You” and autobiographical “Drive”, the only real shock was that he was winning Male Vocalist for the first time, a result of the ridiculously slow turnover in this category during the 1990’s.

2001

  • Alan Jackson
  • Toby Keith
  • Tim McGraw
  • Brad Paisley
  • George Strait

Toby Keith has been a vocal critic of the CMA because he feels they’ve overlooked him, but he’s been up against some tough competition, with his popularity peaking at the same time that Alan Jackson, Kenny Chesney and Keith Urban were making a huge impact on the charts and at the CMA’s. Thankfully, he’s at least won in this category, so he won’t go down in history with Willie Nelson and Conway Twitty as one of the best male singers to never win it.

2000

  • Vince Gill
  • Alan Jackson
  • Tim McGraw
  • Brad Paisley
  • George Strait

On the same evening that his wife was crowned Female Vocalist, McGraw walked away with his second consecutive Male Vocalist award.

1999

  • Vince Gill
  • Alan Jackson
  • Tim McGraw
  • George Strait
  • Steve Wariner

Early on in his career, when McGraw was selling tons of records but being excluded from this category, he humbly said that he didn’t think he was a good enough singer to be nominated. His talents grew over the years, and he finally won in 1999.

1998

  • Garth Brooks
  • Vince Gill
  • Tim McGraw
  • Collin Raye
  • George Strait

Strait matched Vince Gill’s record of five wins in this category, defeating Gill and three other nominees who had yet to win in the category.

1997

  • Vince Gill
  • Alan Jackson
  • Collin Raye
  • George Strait
  • Bryan White

With no turnover in the category from the previous year, Strait won for the fourth time, again defeating his fellow mega-winner Gill, and three other stars who had never won before.

1996

  • Vince Gill
  • Alan Jackson
  • Collin Raye
  • George Strait
  • Bryan White

Jackson was already long overdue, and Collin Raye and Bryan White broke into the category for the first time. Nobody expected Gill to win for the sixth year in a row, but many were surprised to see former two-time winner George Strait collect a Male Vocalist award for the first time in ten years.

1995

  • John Berry
  • Vince Gill
  • Alan Jackson
  • John Michael Montgomery
  • George Strait

Even Gill was expecting to lose, so when his name was called out for the fifth year in a row, he was gamely applauding backstage for the winner, before suddenly realizing it was him and rushing out to the stage.

1994

  • John Anderson
  • Vince Gill
  • Alan Jackson
  • George Strait
  • Dwight Yoakam

Vince won for the fourth year in a row, even though fellow nominees John Anderson, Alan Jackson and Dwight Yoakam were seen as likely spoilers.

1993

  • John Anderson
  • Garth Brooks
  • Vince Gill
  • Alan Jackson
  • George Strait

Vince not only won his third Male Vocalist award this year, he also took home four other awards: Entertainer, Album, Song and Vocal Event.

1992

  • Garth Brooks
  • Joe Diffie
  • Vince Gill
  • Alan Jackson
  • Travis Tritt

A bunch of hot young stars dominated the ballot this year, with Gill emerging triumphant for the second time. Though they would continue to score hits for many years, Joe Diffie and Travis Tritt received their only nominations to date in this category.

1991

  • Clint Black
  • Garth Brooks
  • Vince Gill
  • Alan Jackson
  • George Strait

After Garth swept the ACM’s earlier that year, he was expected to do the same at the CMA’s, and he came close, winning Entertainer, Single and Album. But industry favorite Vince Gill took home Male Vocalist, an award that Garth Brooks would never receive, though he would win Entertainer a record four times.

1990

  • Clint Black
  • Garth Brooks
  • Rodney Crowell
  • Ricky Van Shelton
  • George Strait

For the second year in a row, the previous year’s Horizon winner took home Male Vocalist. Clint Black won easily over very distinguished competition.

1989

  • Rodney Crowell
  • Ricky Van Shelton
  • George Strait
  • Randy Travis
  • Keith Whitley

After winning Horizon in 1988, platinum-selling Ricky Van Shelton graduated into a Male Vocalist winner only one year later. Keith Whitley received a posthumous nomination; he won Single of the Year that same evening.

1988

  • Vern Gosdin
  • Ricky Van Shelton
  • George Strait
  • Randy Travis
  • Hank Williams, Jr.

It’s hard not to wince at the knowledge that the peerless Vern Gosdin only received one nomination in this category, but there was no stopping Travis from collecting his second win.

1987

  • George Jones
  • Ricky Skaggs
  • George Strait
  • Randy Travis
  • Hank Williams, Jr.

In a lineup that was a traditionalist’s dream, new star Randy Travis took home the trophy.  At the time, he was breaking sales records, enjoying a quadruple-platinum studio album in Always & Forever.

1986

  • George Jones
  • Gary Morris
  • George Strait
  • Randy Travis
  • Hank Williams, Jr.

Strait won his second consecutive Male Vocalist award on the strength of another huge year at radio and retail.

1985

  • Lee Greenwood
  • Gary Morris
  • Ricky Skaggs
  • George Strait
  • Hank Williams, Jr.

George Strait won the first of a record-matching five Male Vocalist awards, also taking home Album of the Year that same evening.

1984

  • Lee Greenwood
  • Merle Haggard
  • Gary Morris
  • Ricky Skaggs
  • George Strait

Greenwood’s Vegas vocals won him the award for the second time.

1983

  • John Anderson
  • Lee Greenwood
  • Merle Haggard
  • Willie Nelson
  • Ricky Skaggs

Greenwood looks pretty shabby against these other four nominees, taking home Male Vocalist in the same year Janie Fricke won for Female Vocalist. Is there a year in the history of the CMA’s where the winners of those two categories were collectively less impressive?

1982

  • Merle Haggard
  • George Jones
  • Ronnie Milsap
  • Willie Nelson
  • Ricky Skaggs

Pulling off the astonishing feat of winning both Male Vocalist and Horizon award, Emmylou Harris’ former bandmate was hugely rewarded for bringing bluegrass to the masses.

1981

  • George Jones
  • Ronnie Milsap
  • Willie Nelson
  • Kenny Rogers
  • Don Williams

It’s taken for granted that Jones is the greatest living male vocalist in country music; few would dare to argue otherwise. No surprise, then, that he won for the second year in a row.

1980

  • John Conlee
  • George Jones
  • Willie Nelson
  • Kenny Rogers
  • Don Williams

Nominated for the first time in his career, George Jones walked away with Male Vocalist of the Year, along with Single of the Year for “He Stopped Loving Her Today”.

1979

  • John Conlee
  • Larry Gatlin
  • Willie Nelson
  • Kenny Rogers
  • Don Williams

It’s hard to believe that the legendary showman never won Entertainer of the Year, but he did take home a much-deserved Male Vocalist award, at least.  Unfortunately, fellow nominee John Conlee would never be recognized at all, losing his first of two shots at this award.

1978

  • Larry Gatlin
  • Ronnie Milsap
  • Willie Nelson
  • Kenny Rogers
  • Don Williams

One of the most underrated artists in country music history got a well-deserved pat on the back, winning over four larger personalities in 1978.

1977

  • Larry Gatlin
  • Waylon Jennings
  • Ronnie Milsap
  • Kenny Rogers
  • Don Williams

Milsap set a record when he won for the third time in this category, which would stand until 1994, when Vince Gill won his fourth trophy.

1976

  • Waylon Jennings
  • Ronnie Milsap
  • Willie Nelson
  • Conway Twitty
  • Don Williams

After losing to Jennings the previous year, Milsap returned to collect his second Male Vocalist trophy in 1976. Conway Twitty lost again in his final appearance in the category.

1975

  • John Denver
  • Freddy Fender
  • Waylon Jennings
  • Ronnie Milsap
  • Conway Twitty

There was no love lost between Waylon Jennings and the CMA – he loathed the organization so much, he didn’t even show up at his Hall of Fame induction. This was the first of several CMA wins for Jennings, though the only one in this category that he would receive.

1974

  • Merle Haggard
  • Waylon Jennings
  • Ronnie Milsap
  • Charlie Rich
  • Cal Smith

Blind singer-songwriter and pianist Ronnie Milsap won for the first time; with Olivia Newton-John winning Female Vocalist the same night, pop was the flavor of the evening.

1973

  • Merle Haggard
  • Tom T. Hall
  • Charlie Rich
  • Johnny Rodriguez
  • Conway Twitty

The Silver Fox won on the strength of a great year at radio. He’s still considered one of the era’s finest and most under-appreciated vocalists.

1972

  • Merle Haggard
  • Freddie Hart
  • Johnny Paycheck
  • Charley Pride
  • Jerry Wallace

Charley Pride became the first artist to repeat in the category, winning for the second year in a row.

1971

  • Merle Haggard
  • Ray Price
  • Charley Pride
  • Jerry Reed
  • Conway Twitty

The CMA had a wealth of great male vocalists to choose from in the early years of the awards, and they finally got around to acknowledging Pride, who had been nominated four times already.

1970

  • Johnny Cash
  • Merle Haggard
  • Charley Pride
  • Marty Robbins
  • Conway Twitty

Merle Haggard dominated the show in 1970, winning Entertainer, Male Vocalist, Single and Album of the Year.

1969

  • Glen Campbell
  • Johnny Cash
  • Merle Haggard
  • Sonny James
  • Charley Pride

Cash was a huge winner in 1969, taking home five awards: Entertainer, Male Vocalist, Single, Album and Vocal Group (with wife June Carter Cash). He wouldn’t win again until after his death in 2003, when he took home another three awards.

1968

  • Eddy Arnold
  • Glen Campbell
  • Johnny Cash
  • Merle Haggard
  • Charley Pride

Crossover star Glen Campbell won in a year that is so impressive, all five nominees are now in the Hall of Fame. He also took home Male Vocalist the same evening.

1967

  • Eddy Arnold
  • Jack Greene
  • Merle Haggard
  • Sonny James
  • Buck Owens

Few casual country fans would recognize him today, but Jack Greene will forever go down in history as the first Male Vocalist winner at the CMA’s. He won on the strength of his signature hit “There Goes My Everything”, which also won Single of the Year and was the title track of his Album of the Year winner that same night.

Facts & Feats

Multiple Wins:

  • (5) – Vince Gill, George Strait
  • (3) – Ronnie Milsap, Keith Urban
  • (2) – Lee Greenwood, Alan Jackson, George Jones, Tim McGraw, Brad Paisley, Charley Pride, Randy Travis

Most Consecutive Wins:

  • (5) – Vince Gill (1991-1995)
  • (3) – George Strait (1996-1998), Keith Urban (2004-2006)

Most Nominations:

  • (25) – George Strait
  • (16) – Alan Jackson
  • (11) – Merle Haggard
  • (10) – Vince Gill
  • (10) – Brad Paisley
  • (8) – Kenny Chesney
  • (7) – Ronnie Milsap, Willie Nelson, Keith Urban
  • (6) – Don Williams
  • (5) – Garth Brooks, George Jones, Charley Pride, Kenny Rogers, Ricky Skaggs, Conway Twitty

Most Nominations Without a Win:

  • (8) – Kenny Chesney
  • (7) – Willie Nelson
  • (5) – Garth Brooks, Conway Twitty
  • (4) – Hank Williams, Jr.
  • (3) – John Anderson, Larry Gatlin, Gary Morris, Collin Raye
  • (2) – Eddy Arnold, Dierks Bentley, John Conlee, Rodney Crowell, Sonny James, Bryan White

Winners in First Year of Nomination:
Clint Black (1990), Glen Campbell (1968), Vince Gill (1991), Lee Greenwood (1983), George Jones (1980), Toby Keith (2001), Ronnie Milsap (1974), Charlie Rich (1973), Ricky Skaggs (1982), Randy Travis (1987), Keith Urban (2004)

CMA Male Vocalists of the Year Who Have Never Won the ACM Award:
Johnny Cash, Jack Greene, Waylon Jennings, Charley Pride, Ricky Van Shelton, Ricky Skaggs, Randy Travis, Don Williams

ACM Male Vocalists of the Year Who Have Never Won the CMA Award:
Garth Brooks (1990 & 1991), Kenny Chesney (2003), Larry Gatlin (1980), Mickey Gilley (1977), Freddie Hart (1972)

CMA Male Vocalists Who Have Also Won the Grammy for Best Country Vocal Performance, Male:
Glen Campbell, Johnny Cash, Vince Gill, Lee Greenwood, George Jones, Tim McGraw, Ronnie Milsap, Brad Paisley, Charley Pride, Charlie Rich, Kenny Rogers, Randy Travis, Keith Urban

Winners of the Grammy for Best Country Vocal Performance, Male Who Have Never Won the CMA Male Vocalist Award:
Garth Brooks, David Houston, Lyle Lovett, Roger Miller, Willie Nelson, Ray Price, Jerry Reed, Ralph Stanley, Dwight Yoakam

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Waylon Jennings & the .357’s, Waylon Forever

Waylon Jennings & the .357’s
Waylon Forever

If country music has taught us one thing over the last decade, it is to never underestimate an aging legend. With much of Nashville doing everything it can to zap tradition and creativity off the mainstream radar, recent efforts by Johnny Cash, Loretta Lynn, Glen Campbell, Porter Wagoner, and Dolly Parton, among others, have quietly upheld the genre’s standards, in many cases producing some of the finest records of those artists’ esteemed careers.

The standard approach among these sets has been to build on an artist’s proven strengths with a younger-minded producer who understands what made the artist great in the first place. It’s a very smart compromise, rejuvenating the old-fashioned while still honoring an artist’s essential identity, and given its successful track record, one might expect the posthumous Waylon Forever to follow the same path and thereby fall easily into the hallowed company of Cash’s American Recordings or Lynn’s Van Lear Rose.

But a cursory listen-through the eight tracks here will quickly put such notions to rest. Waylon Forever is not a hiply updated reminder of what its namesake did throughout his multi-decade career, even as it features no less than six songs Jennings had previously recorded (with “I Found the Body” and a cover of Cream’s “White Room” being the newbies). It might not even be prudent to call the set a proper “album.” It sounds more akin to an unfinished home experiment with a little extra shine, which makes sense given the unusual circumstances leading to its production: son Shooter began recording the project with Waylon in 1995 (which found the former sixteen years old and the latter seven years from death), and the two reportedly arranged the songs here with some of the younger Jennings’ then-inspirations (Nine Inch Nails, Skinny Puppy, Pink Floyd, Cream) in mind. The result is a disjointed, scrappy, often weird, and occasionally quite inspired set of recordings that longtime Waylon fans will find fascinating and everyone else will likely scratch their heads at.

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Glen Campbell, “Galveston”

Galveston
Glen Campbell
1969

Written by Jimmy Webb

Everything old becomes new again, especially in country music, which is as predictably cyclical as the rise and fall of the moon and sun. The string-drenched charm of Glen Campbell’s signature style is garnering hosannas rich with the joy of rediscovery, as it is used to interpret contemporary rock hits on his current record, Meet Glen Campbell.

It’s an effective project because Campbell has always been a quintessential singles artist, and the new record is like a brand new greatest hits collection culled from the best work of other performers. Among Campbell’s own best work, there are several classic country singles, four of which were million-sellers:  “Wichita Lineman,” “Rhinestone Cowboy,” “Southern Nights” and the focus of this entry: “Galveston.”

Released during the height of the Vietnam War, “Galveston” is the inner monologue of a young soldier dreaming of home. The lyrics are striking in their brevity, as a compelling story is told in a mere fourteen lines.    “Galveston, oh Galveston”, the full-voiced Campbell sings, “I still hear your sea winds blowin’, I still see her dark eyes glowin’. I was 21 when I left Galveston.”

As he’s on the battlefield, he’s wondering if she’ll still be waiting when he gets home, but his greatest fear isn’t that she’s forgotten him. It’s that she’ll be carrying the flame in vain: “I am so afraid of dying”, he wails, “before I dry the tears she’s crying.”

The production of the song is vintage Campbell, with sweeping orchestral strings and horns. Rather than swamp his performance, they underscore the powerful emotions he is expressing. They are the musical representation of the powerful sounds described in the lyric, both the “sea waves crashing” back home, and the “cannons flashing” on the battlefield.     The fear that he is feeling while under attack is overwhelming, but the desire to get back home and see Galveston and the girl who’s waiting there pushes him on.

Campbell’s vocal is beyond reproach, with a particularly chilling “Galveston, oh Galveston” right before his fear of death is confessed.   It’s an emotional release that is all the more powerful because of his restrained delivery of the lyric up until that point. And while writer Jimmy Webb didn’t pen it with Vietnam specifically in mind, the song had a heightened impact because of the climate it was released in. For similar reasons, this Campbell classic is worth revisiting today.

“Galveston” is the the latest in a series of articles showcasing Classic Country Singles. You can read previous entries at the Classic Country Singles page.

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Glen Campbell, Meet Glen Campbell

Glen Campbell
Meet Glen Campbell

It’s interesting how Glen Campbell covering contemporary rock songs also brings him back to his musical roots. When Johnny Cash took a similar route on his collaborations with Rick Rubin, it brought him back to the raw sound of his early days on Sun and Columbia. Here, Glen Campbell returns to the bright, shiny country-pop that wallpapered AM radio stations in the sixties and seventies, using compelling songs from a younger generation as his vehicle.

Surprisingly, it works. Campbell doesn’t transform the songs drastically from their original incarnations. Rather, he brings the pop flavors that lingered below the surface to the forefront, sweetening things up with layers of strings and his smooth vocals. His covers of the Travis hit “Sing” and Tom Petty’s “Walls” sound effortless, with Campbell’s voice and taste in production being a perfect match for the material.

The album is most effective when Campbell covers songs that take on added dimension when sung by an older man. Jackson Browne’s lament “These Days” is the highlight of the set, with the added gravitas of Campbell’s weathered voice bringing out deeper shades of regret and loneliness. On  Velvet Underground’s “Jesus,” Campbell sounds like a man asking for a path to salvation before it’s too late, rather than as a young man simply seeking direction in life.

A similar approach would have been more effective for Green Day’s “Good Riddance (Time of Your Life),” as Campbell’s strangely bouncy take lacks the subtle shades of bitterness and lingering affection underlying Billie Joe Armstrong’s masterful performance.    Campbell misses the mark in the other direction on “Sadly Beautiful,” which would have benefited from a more spirited production to draw out the emotional contrasts and contradictions present in the lyric.

Even on the album closer, where Campbell tackles the John Lennon chestnut “Grow Old With Me,” he overdoes it, leaning too heavily on the strings and sounding somewhat disconnected from the lyric. But overall, Meet Glen Campbell is a reminder of what a stylist he is, and how effective he can be when wrapping his voice around a good pop melody. If listeners do truly meet Glen Campbell for the first time here, they’ll get a good introduction to the man’s talents, though they’ll have to go back a good distance to discover his best work.

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Sound Off: Glen Campbell, "Good Riddance (Time of Your Life)"

In a surprising move, music legend and Country Music Hall of Famer Glen Campbell has chosen contemporary material for his upcoming covers album, Meet Glen Campbell.   One of the songs included is the modern standard  “Good Riddance (Time of Your Life)”, originally recorded by Green Day.

Here's the press release:

In a legendary music career that spans more than five decades, Glen Campbell has achieved chart-topping, platinum-selling pop and country success singing everyday tales of life, love, work and heartache. For Meet Glen Campbell, his inspired, dynamic new studio album, the music icon has returned to his longtime label home, Capitol Records. Meet Glen Campbell will be released on August 19 on CD, limited edition vinyl and digitally.

The songs on the album all strike a personal and musical chord with Campbell. He has reinterpreted and re-imagined both older and contemporary songs with his own signature vocal and guitar arrangements. A true musician’s musician, Campbell’s distinct guitar playing, along with th

e clarity and emotion of his powerful vocal performance, come together to give new life to the songs he selected for Meet Glen Campbell.

The influential singer, guitarist and stylist, who has long made others’ songs his own, is doing it again, recording high-spirited, emotionally charged versions of tracks that have personally moved and inspired him. Campbell’s intimate performances convey an autobiographical and deeply personal connection to the album’s songs, which include Travis’ “Sing,” Tom Petty’s “Angel Dream” and “Walls,” The Replacements’ “Sadly Beautiful,” U2’s “All I Want Is You,” The Velvet Underground’s “Jesus,” and Jackson Browne’s “These Days,” among others.

“I really like all of the songs and I had a great time recording them. While I didn’t write these songs, this sounds like a Glen Campbell album, which is important to me,” says Glen Campbell.

I can't wait to hear your reactions to this one. Please keep the comments focused on the music. Enjoy!

Listen: Good Riddance (Time of Your Life)

Official Site: Glen Campbell

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100 Greatest Women, #15: Tanya Tucker

100 Greatest Women

#15

Tanya Tucker

She was barely a teenager when she first appeared on the country music scene, but her voice had a tortured wisdom far beyond her years. Her early singles were dark and brooding slices of Southern Gothic, but over time she would mellow into one of the most consistently successful female country artists of all-time, with a span of hits stretching over three decades.

As a young child, Tucker was surrounded by music. Her older sister LaCosta was an aspiring country singer, and by the time Tanya turned eight, she had embraced the same dream. Her father Bo drove her across the West and Southwest, looking for opportunities for his youngest child and taking construction jobs wherever he could find them. She auditioned for a film in Utah, earning a small part, and sang at the Arizona State fair. In 1969, she was discovered by Mel Tillis, who put her on a show with him. This encouraged the family to move to Las Vegas, where Tucker was soon performing regularly.

While still shy of her thirteenth birthday, she recorded a demo tape that caught the attention of Billy Sherrill, head of A&R at Columbia. He was so impressed that he invited her to record for the label. On the first day that he presented her material, he played her what he thought would be the perfect song for a young teen artist: “The Happiest Girl in the Whole U.S.A.” Tucker hated it, and passed on the song. Sherrill was taken aback, but the next day he returned with another song, “Delta Dawn.” It was a dark and mysterious tale of a 41 year old woman who wandered around town, looking for the deceased lover who was supposed to make her his bride.

The song was a smash, and set the tone for a stunning series of Southern Gothic singles from the throaty young vocalist. Her first #1 single, 1973’s “What’s Your Mama’s Name”, was about an old man desperately searching for the love child he’d learned about in a letter years ago. “Would You Lay With Me (In a Field of Stone”) was a love song seeking a promise to share a grave. Her darkest hit was the #1 smash “Blood Red and Goin’ Down”, where Tucker is a young girl following her father from bar to bar until he finds his cheating wife and her lover. “He sent me out to wait, but scared I looked back through the door. And Daddy left them both soaking up the sawdust on the floor.”

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