I’d call this Jo Dee Messina’s B-material, but I’m pretty sure she’d have passed on this one, even though she’d sing it a lot better. I get that Ashton Shepherd is bringing country back to country, but a dull vocal isn’t improved by exaggerated twang. It just sounds forced.
Sara Evans was one of the most successful female artists from the earlier part of the last decade, which was not a particularly good era for women as a whole. Her ease with both pop-flavored and purely traditional country allowed her to adapt to quickly changing trends in the genre.
This makes her catalog a fascinating one to sample. In compiling this Starter Kit, it would be easy to just list the hits. But I’ve left off some of her more overexposed tracks in favor of some gems that either didn’t quite dominate the charts or wasn’t sent to radio at all. I think her crossover numbers haven’t aged that well, anyway.
Be sure to let me know what I missed in the comment threads!
The title track got all of the love, and the most airplay of the three low-charting singles from Evans’ debut album. But I think that this is the coolest little record, with Evans sounding like the female heir to Buck Owens as she can’t even feign sympathy for the ex who is now regretting his departure.
Besides the fact that Wilson has once again turned out a country pride anthem in the vein of “Redneck Woman”, she name drops several legends of Southern Rock while appropriating their style for her own.
Gretchen, I’ll give you a pass on Hank Jr. and Charlie Daniels, even though you sang about both of them on your first hit. But come on, the Allman Brothers Band? ZZ Top? Are you kidding?
In the Entertainer and Male Vocalist races, I’ve been making the case for fresh blood. In those categories, the routine nominees are mostly past their peaks, and there’s room to let some rising stars in on the action.
Oh, to be able to make the same case for the Female Vocalist race. Let’s take a look at last year’s nominees:
- Miranda Lambert
- Martina McBride
- Reba McEntire
- Taylor Swift
- Carrie Underwood
For the first time in this category’s history, I believe voters are facing a dilemma that plagued the Vocal Duo category for most of the nineties: there just aren’t enough worthy nominees to finish out the category.
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.
- 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.
- 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.
The ACM Awards has traditionally been overshadowed by the CMA Awards, despite its longer existence. This is for several reasons. First, the ACM originally existed to emphasize the West Coast country music scene, whereas the CMA Awards represented Nashville from the start. The ACM has also been more commercially-oriented from the beginning, as the history of this category proves. Eighteen of the last twenty winners in this ACM category are multi-platinum sellers, and the organization allowed greatest hits albums to compete for more than a decade.
Still, the ACM category has bragging rights of its own. Critically-acclaimed albums like Storms of Life, Trio, Killin’ Time and Crazy Ex-Girlfriend won at the ACMs but were overlooked by the CMAs. Additionally, women have also been far more successful at this ceremony. Only five women have ever won the CMA Album trophy, and one of them was Sissy Spacek! At the ACMs, women have dominated the category for the past three years, and the category has honored everyone from Loretta Lynn and Donna Fargo to K.T. Oslin and Shania Twain.
A special note about ACM flashbacks. Like the Grammys, the ACMs issue their award for a given year the following year, so the awards for 2009, for example, are given out in 2010. For the purposes of the flashbacks, Country Universe notes the year the award is presented. While the ACM first presented awards in 1966, the Album category wasn’t introduced until 1968.
As with other flashbacks, we begin with a look at this year’s nominees:
- Lady Antebellum, Lady Antebellum
- Miranda Lambert, Revolution
- Brad Paisley, American Saturday Night
- Carrie Underwood, Play On
- Zac Brown Band, The Foundation
Three previous winners – Miranda Lambert, Brad Paisley, and Carrie Underwood – compete against the debut albums of two hot bands. Lady Antebellum and Zac Brown Band each picked up a Grammy this year and are well represented on the rest of the ACM ballot. This is a very competitive race. Even the sales-friendly nature of the ACMs doesn’t help much here, as four of these albums are platinum and Lambert’s just went gold.
- Jamey Johnson, That Lonesome Song
- Montgomery Gentry, Back When I Knew It All
- George Strait, Troubadour
- Taylor Swift, Fearless
- Carrie Underwood, Carnival Ride
Taylor Swift became the third consecutive female artist to win in this category, a feat that would’ve seemed unthinkable earlier in the middle part of the decade, when country radio all but exiled women from radio.
Country radio was good to me for many years, but it also pigeonholed me. After my first album, I was expected to fill the slot on their playlist for ‘fun, up-tempo female.’ That provided me with a space to fill on that playlist, and a string of turntable hits, but in my entire career I had only two ballads that broke the Top 10.
There have been quite a few songs, songs that never got released as singles, that I felt were stronger than a lot of the singles that came out.
Lamenting the restraints that their former labels placed on their artistic freedom a common refrain of country artists once they go indie. But in Clark’s case, I see her point. Her first wave of hits included two ballads, but most of the biggest hits were uptempo rockers like “You’re Easy On the Eyes” and “Better Things To Do.” Her second wave was only three hits deep, a trio of upbeat numbers that all reached the top two. Radio essentially walked away when she took a turn for the serious.
The 201 Greatest Singles of the Decade, Part 8: #60-#41
“Long Trip Alone”
In a perfect world, this would be this decade’s wedding standard. – Kevin Coyne
Lush baritone against an effortlessly charismatic, enticing invitation to let Turner be “your man.” How can you resist? – Tara Seetharam
The 201 Greatest Singles of the Decade, Part 4: #140-#121
“Who Says You Can’t Go Home”
Bon Jovi featuring Jennifer Nettles
Packed as country music has been lately with rocked-up little singalongs, perhaps it was only natural that one of the leading bands in rocked-up little singalongs should cross over for a bit to show everybody how it’s done. It was newcomer Nettles, though, who stole this show, driving Bon Jovi’s ditty home with an infectiously joyful performance. – Dan Milliken
“God’s Gonna Cut You Down”
Peak: Did not chart
The arrangement is cool enough, but it’s Cash’s stoic, slicing vocal performance that makes his version of this song so memorable. – Tara Seetharam
Instead of bombarding our readers with a million Christmas posts, we thought it would be more efficient to gather a bunch of 2009’s Christmas singles and provide a quick rundown in one post. So, in no particular order, here are my thoughts on this year’s Christmas singles.
Carter Twins, “Let It Snow” (Listen)
This brother duo treats this lightweight classic with an unimaginative contemporary production. It does not bring anything interesting to the table and is, mercifully, an all in all forgettable track.
It’s a shame that the most talented act (besides Keith himself, of course) on Toby Keith’s Show Dog label has not gained any traction in the last couple of years. It seems that, so far, the only way Carters Chord will be heard is through digital downloads, as their very good 2008 studio album was only released in digital form. Likewise, they have just released a 2-song Christmas EP that contains a pretty version of “O Come, O Come Emanuel” and a sassy interpretation of “Santa Baby.” Both tracks are well produced with prominent dobro and acoustic guitar in the mixes. “Santa Baby” is less whimsical and more assertive than the original version. “O Come O Come Emanuel” is well sung with beautiful sister harmonies and very few vocal gymnastics.