Here’s hoping you haven’t gotten completely burned out on countdowns yet. 2009 was hardly a favorite musical year for many of us, but amid each year’s glut of throwaway items, there’s always a good’un or two (or forty). The following is the first installment of our Best Singles of 2009 list, which will conclude tomorrow morning. Best Albums will follow next week.
As with the Singles of the Decade feature, this countdown has been compiled through combination of four equally weighed Top 20 lists by Kevin, Leeann, Tara and myself. An inverted point system was applied to the individual rankings (#1 on a list meant 20 points, while #20 on the list meant 1 point). The songs were then ranked together by number of total points, greatest to least. The final result is another rather stylistically diverse set.
As always, we hope you enjoy the countdown, and welcome all the feedback you can muster. Happy New Year!
#40
Lady Antebellum, “Need You Now”
The trio puts a country spin on an old school pop sound, but without forsaking raw emotion. The highlight of the song is Hillary Scott’s smoky performance, which draws out all the anguish and regret you’d expect from a desperate, 1 AM lover’s call. – Tara Seetharam
#39
Joey + Rory, “Play the Song”
While Joey + Rory’s image appears to be squeaky-clean, it is fascinating that their songs have displayed some of the most attitude in the mainstream country music world. After releasing the sassy “Cheater, Cheater”, they have appealed to radio (the very people holding part of the duo’s career in their hands) to stop limiting their playlists with safe choices and to just “play the song.” – Leeann Ward (more…)
Can’t say that I’m loving country music in its 2009 version, though my steadfast allegiance to the genre runs deep, so I hold out hope as a new decade is about to begin. Tonight, I’m recommending ten tracks from albums that were released this year. I’ve avoided singles so there’s some sense of discovery. I look forward to discovering music that I missed through the comments!
Recommend Ten Tracks: 2009 Edition
Lorrie Morgan, “I’m Always On a Mountain When I Fall” from A Moment in Time
I love the effect that was created by having this album recorded live in the studio. It’s like hearing her in a smoky nightclub. This is by far my favorite track on the album, a loser’s lament that was quite worthy of revival.
Aaron Tippin, “Prisoner of the Highway” from In Overdrive
He already has the default voice of the overworked working man, so his world-weary vocal is a perfect fit for this song about an imprisoned by the freedom of the road.
Miranda Lambert, “The House That Built Me” from Revolution
I find her new album to be a bit unwieldy as a whole, but I love this particular track about a woman asking the new owner of her childhood home to allow her some time alone with the place that raised her. Having just sold our family home of thirty years, this song has been resonating with me, as we truly can’t go home again.
Todd Snider, “Money, Compliments, Publicity (Song Number 10)” from The Excitement Plan
The wry and witty folkster at his most wry and witty, yet still spilling out nuggets of brilliance from the corner of his mouth.
Carrie Underwood, “Someday When I Stop Loving You” from Play On
Don’t count me among the folks that wish that Underwood would just stick to simple songs like this with quiet arrangements that showcase her voice at its most tender. I like my pop-country and want some more, thank you very much. But for those of you who just want to hear that voice and the barest of accompaniment, this track is golden.
Patty Loveless, “When the Last Curtain Falls” from Mountain Soul II
Given the preference, I’ll take my Patty Loveless down from the mountain. I love that pure country voice contrasted against electric instrumentation. But the best reason to listen to Patty Loveless is to hear her wrap her voice around complicated and truly adult material that reflects the reality of life and love. This track could stand toe to toe with the best of her material to date.
Tim McGraw, “If I Died Today” from Southern Voice
It’s not nearly as accessible an assessment on one’s own morality as “Live Like You Were Dying”, but it’s a heck of a lot more believable than sixteen seconds on a bull named Fu Man Chu.
Love and Theft, “Slow Down” from World Wide Open
He’s talking to life and it’s a sadly beautiful conversation.
Holly Williams, “Birds” from Here With Me
This song is hauntingly gorgeous, a requiem for a dying love and a wishful hope for the new love that has yet to come.
Keith Urban, “Thank You” from Defying Gravity
Urban’s explorations of his demons have produced some of his best tracks, like “You’re Not My God”, and this one is a winner, a love letter to the wife that helped pull him away from the precipice.
Three weeks ago, I had a chance to chat with one of my favorite new acts, Joey +Rory. It has been over a year since their break through on CMT’s Can You Duet and several months since the release of their album The Life of A Song. So, Country Universe thought it would be a perfect time to catch up with them to see what’s been happening since the whirlwind of their recent success.
Not surprisingly, it was a pleasure to speak with them. They were very honest and down to earth. Along with telling us how they’re handling their new found fame, they didn’t shy away from expressing their feelings on current country music, songwriting and what they are and are not listening to these days.
How has life been since Can You Duet?
Joey: Well, in a lot of ways, in last year’s time, our lives have changed tremendously. But, also, in a lot of ways, we’re still the same in terms of our relationship, marriage and closeness. We’ve gone from having the farm out here and the little restaurant and Rory writing songs to being on the road visiting different cities every other night.
All the TV exposure has obviously heightened people’s awareness of who we are. We literally can hardly go anywhere without people knowing who we are in airports, gas stations and restaurants and places like that. I think in a sense all of a sudden we’re very recognizable and people want our autographs and pictures. So, that’s changed. It’s kind of been different for us to have that.
But as far as our relationship, we’re very much the same. We’re just as in love as we were a year and half ago. Our marriage is even stronger. There’s no more stress related to this because we get to do this together and travel everywhere together.
Rory: Our life here at home is just the same. There are more people that know us and when we go to the restaurant (the restaurant that Joey owns with Rory’s sister, Marcie), there are people from out of town that drive in all the time, but we’re the same. Everything’s exactly the same; it’s just expanded a lot.
Do you ever get frustrated by all the extra attention?
Joey: We’re really grateful for it. I think there’s times where life on the road can be very draining. Jetlag and everything else kind of comes with that. There are times when we might be completely tired and not want to be somewhere or feel like we just want to go to sleep. Sometimes, it is what it is. But we really appreciate it and we know it won’t always be this way. We just take it a day at a time. The fans are just fantastic. We have an opportunity to do our music, because we have fans. And we have people who want to meet us to tell us how we’ve impacted their lives. You know, if it weren’t for them buying our records and coming to our shows, we wouldn’t be able to be successful and do what we do. It’s all for them.
Joey, in your bio, you list The Judds as one of your major influences. I can even hear a young Wynona in your voice. What was it like to have Naomi as a judge? Was it more nerve wracking having someone you respect so much critique you?
Joey: We’d never met the Judds before the show. In fact, the very first concert I ever went to was, I think, when I was nine years old. My dad took me to a Judds concert in Indiana.
When we went and auditioned for the show, it wasn’t until we walked behind that curtain into the room that we knew who the judges were. You walk in and you’re taken back by it, but you can’t be at the same time, because you have a job to do. But throughout the whole show, Naomi was on our side from day one. She really liked what we did. She liked what we were, what we wore and our style of music. Coming from her, it was so well respected. You know, we all had to kind of critique ourselves and kind of take into account that everybody’s different, everybody has opinions. You just show up the next day and you just try to take it in and make those adjustments.
But for the most part, it was just a thrill to be around her. She had such an energy and presence in the room. Since the TV show she’s come to the restaurant. She’s featured in our “Cheater, Cheater” video. She’s been very supportive. I just received a letter from her, a card, two days ago, since we were on the CMT Awards. We’ve been to her house several times. I mean, we feel like we’re all just one big family now. It’s been an amazing year.
My favorite artist is Vince Gill and to have him just hanging out in my living room is just something I can’t even imagine.
Rory: Our daughter is an aspiring singer-songwriter. So, they had a big event about three nights ago that was sort of like “famous fathers and their daughters.” It was Heidi and me and Vince Gill and his daughter, Jenny and some other people. It was really a thrill. I was just like you. I’m a humongous Vince Gill fan. There’s a lack of realness I see in people. There’s lots of talent and a lot of hard work, but he’s one of those people that always seems like a real, average, everyday guy with extraordinary talent and a real big heart. I just loved seing him and he was wonderful. It was our first time meeting him. He really gushed over Joey and Joey’s voice. So, he was aware of us. Of course, we’re tickled by that. I’m like you, if he was in our living room this evening, having dinner and visiting…that would be a thrill.
I admit that I didn’t actually watch Can You Duet when it originally aired, because I didn’t really know much about it until after the big hype that surrounded it on some blogs. As you may already know, the world of blogging can be pretty harsh, but you guys managed to be very well liked throughout the run of the show. But it wasn’t really until I read that you had signed with Sugar Hill Records that I took a sudden interest. How did that marriage come together?
Rory: First off, we had a pretty strong sense that we weren’t going to win, even before the show was over. We just were not a major market act. Actually, we are a mainstream act. But mainstream has turned so far that people who are mainstream acts have to go somewhere else. And people that are rock acts, pop acts, they’re now all of a sudden mainstream acts or what mainstream labels want.
At the time of the show, we were under contract with RCA and Sony, since the final five were all under contract with them. When we knew we didn’t win, we asked Rene Bell right away if she was going to pick up the option to keep us and she said “No. We’re only going to focus on this one act (winners, Caitlin & Will).” She said, “You guys are free to go and do whatever you want.” So, they released us. American Idol, who also had us under contract because of the show, released us as well.
I’m an independent guy anyway. We have our own Indy record label that we started a few years ago called Giantslayer Records and we broke anew artist named Blaine Larsen. We created and put up his record, put it out and broke him into mainstream. So, we’ve really been working in that world for a long time. The one thing I knew was that we couldn’t champion ourselves. So, we were immediately thinking about Indy labels. I brought up Vanguard to a very good friend of mine and he had a relationship with the people there. He said that he’d be glad to call them. So, he did and it turns out that Vanguard and Sugar Hill were interested in getting involved in mainstream country. We had had a lot of exposure and they got up to speed on it quickly and they thought that we were authentic at the same time that we were commercial. It seemed like a good marriage and a good step into this mainstream world for them. So, we just sort of shook hands over the phone, cut our single, cut our record, put our record out. Our single was in the top 40 and our album was in stores before we actually had flown to L.A. and signed our record deal with them. They were just that trusting and able to work that part just on our word. So, it’s been a great marriage. We love ‘em; we really, really do.
When you went in to record, did you already have a vision for the sound of the record or was it highly influenced by the sounds of Vanguard/Sugar Hill’s previous output? Would your record sound the way it does no matter what company you were with?
Rory: It would have been this way. They really didn’t have any input on our producer or the songs, the sound or anything else. We had met Carl Jackson a long time before and we had wanted Carl to produce Joey anyway. Then we just sort of by accident became a duo for this TV show. So, Carl said, “Well, gosh, I’ll just produce both of you.” He’s a fan of my songwriting and I’m a fan of his. Both Joey and I love Carl’s production. He had done a record on Bradley Walker that’s one of our favorite records in five years—mostly the sounds and songs and everything. You know, we knew what we wanted to do a hundred percent. We’d never recorded with Carl, so the sound happened because of Carl, but he had the particular way of doing it. He’s very vocal heavy and very acoustic instrument heavy and that’s exactly what we wanted and wanted to be a part of. So, it wasn’t the Indy label influence at all for the sound of the album. What it was, I think, is that they recognized that’s what we were going to do. I think they realized that it was going to fit in their world also.
I was excited about Sugar Hill, but I was also excited about Carl Jackson, knowing of his previous work. Earlier, you mentioned Blaine Larsen. I know that he’s cut some of your songs, Rory. Is there a difference between the songs that you pitch to other people versus the songs that Joey + Rory would record?
Rory: Well, the only difference is there was never a Joey + Rory and so I’ve always just written songs. A lot of them I’ve put my heart and soul into and our lives into, but those songs are just largely ignored at all times, because they have some personal element or they’re not radio friendly. Whatever that is. The only difference is that we’re much more willing to be honest as artists than artists who would, maybe, cut our songs. No one’s willing to cut “Play the Song.” No one’s going to cut a number of songs that we have, like even “Cheater, Cheater.” So, it’s the same songwriting; it’s just that it’s more like we’re willing to be more honest, I think, and outside the box.
But now that we are a duo, we all the sudden do want to, not just by chance, write things that have part of our story and our heart and soul in it. Because that’s the way it would have been in the past. I would be writing songs really hoping Tim McGraw or someone else would cut the song and, hopefully, it would have some of what’s important to me in it. But now, all the sudden, we have the opportunity to write a hundred percent of what’s important to you, that you think is relatable to other people. You don’t have to wonder, is it relatable to Tim McGraw or to Sugarland. That’s not even an interest anymore. It’s like, we’ll just write a hundred percent from our perspective. That’s a very, very freeing thing for us.
Yeah, I imagine… Who are you listening to these days in country music? Assuming that you are listening to anybody in country music.
Rory: I listened to a bunch of albums here, recently, a bunch of new release albums that I personally thought were okay or not okay, somewhere in there, but okay. Then, the other day, I just got online and I downloaded an album that Carl Jackson had produced on Alecia Nugent. And I’d never even heard an Alecia Nugent record. We’ve met her, but we’ve never heard one. It just blew my mind, because it’s just like our record. It’s got the same kind of sound, same kind of production and it’s got a real focus of great songs on it, and great singing and great harmony. That’s what I’m listening to, because, in my opinion, it’s head and shoulders above all the other production and artistry that I’ve heard in the last six months.
Mainstream wise, we love Josh Turner and, basically, the really country things like…
Joey: Lee Ann Womack, Jamey Johnson
Rory, Yeah, yeah.
Joey: They’re very acoustic or they’re very country sounding and very traditional. That’s what we kind of lean toward.
Rory: What do you listen to now, Love?
Joey: I’d say I listen to Bradley Walker all the time. He’s a nice bluegrass artist that Carl Jackson did a record on.
We actually heard the new Holly Williams album. It was really, really great.
Rory: We really liked that.
Joey: we really did. We’re excited for her.
I discovered Bradley Walker, because Vince Gill sang on his record. In fact, I’ve discovered a lot of good music that way. So, maybe you guys could invite Vince to sing on your next album…just an unsolicited suggestion…something to think about (laughs).
Rory: (laughs) Yeah, that’d be great. Carl can probably make it happen. Maybe we’ll also invite Emmylou.
That would be awesome. That’s actually one of my favorite songs on your album. It’s gorgeous. There’s a lot to choose from, of course, but…
Rory: Thank You.
I already think I know the answer judging by our conversation today, but I have to ask: Is Joey + Rory a permanent act now? You’re not going to go back to doing your own things after this record, are you?
Joey: No…
Okay, good.
Joey: No, no. I tried for a long time to be a solo artist, because I never knew that there would be a platform for a married duo, a married couple. You know, it wasn’t something that Rory had wanted in the last twelve years. But now that we’re doing this together and traveling everywhere together, I would not have any desire to do this on my own or just go out in solo. We’re a duo in life because of our marriage and it just carries on into our careers; I think it’s the way it’s supposed to be.
Rory: I feel the same way. I really feel like this is her career and her opportunity and God has just given me a huge opportunity to be part of it. You know, I’m thrilled to death and having a great time. I think that we do have something special that we didn’t even know that we had. We’re having a good time spinning our wheels out there on the road, playing for people and we’re getting ready to do some more recording soon.
Well, I suppose it’s time to let you go. I just want to end by saying that I, along with many of the Country Universe readers, am a huge fan. So, I’m really glad that we had a chance to chat today and thank you for your time.
Joey: It was really nice to meet you. Hopefully, we’ll be able to come up to your neck of the woods, sometime.
Rory: It was sure nice to talk with you. Have a great morning.
It’s time for an album sales update, our first since May 23. Brad Paisley is off to a strong start with American Saturday Night, selling 130k in its first week. That’s about 70k less than his previous two studio albums – Time Well Wasted and 5th Gear – opened with, but not a terrible drop-off, considering the state of the music market.
Meanwhile, the new studio albums by Rascal Flatts and Keith Urban are slowing down considerably, now being outpaced on a weekly basis by 2008 releases by Taylor Swift, Zac Brown Band, Darius Rucker and Lady Antebellum.
Among younger acts with a new album in 2009, the most impressive sales are coming from Jason Aldean, while 2008 releases from Kellie Pickler, Billy Currington, and Randy Houser are showing new signs of life.
Biggest disappointments? It’s hard not to look in the direction of Martina McBride, who has barely cleared the 100k mark on her new studio set. Lee Ann Womack’s 2008 set just made it over that mark, too. Then again, one only needs to have sold 455 copies to make the chart this week, with the anchor position going to Wynonna with that total. Her covers album Sing – Chapter 1 has sold 41k to date.
Here are the latest totals for albums released over the past three years that are still charting:
2009
Rascal Flatts, Unstoppable – 842,000
Keith Urban, Defying Gravity – 452,000
Jason Aldean, Wide Open – 384,000
Kenny Chesney, Greatest Hits II – 281,000
Dierks Bentley, Feel That Fire – 219,000
Martina McBride, Shine – 104,000
John Rich, Son of a Preacher Man – 103,000
Eric Church, Carolina – 94,000
Rodney Atkins, It’s America – 88,000
Jake Owen, Easy Does It – 81,000
Randy Travis, I Told You So: Ultimate Hits – 78,000
Montgomery Gentry, For Our Heroes – 64,000
Willie Nelson & Asleep at the Wheel, Willie & The Wheel – 56,000
Steve Earle, Townes – 47,000
Colt Ford, Ride Through the Country – 45,000
Jason Michael Carroll, Growing Up is Getting Old – 45,000
Wynonna, Sing – Chapter 1 – 41,000
Hank Williams Jr. – 127 Rose Avenue – 34,000
Ryan Bingham, Roadhouse Sun – 15,000
Tracy Lawrence, Rock – 11,000
Darryl Worley, Sounds Like Life – 8,000
Holly Williams, Here With Me – 5,000
Charlie Robison, Beautiful Day – 3,000
Tanya Tucker, My Turn – 3,000
2008
Taylor Swift, Fearless – 3,464,000
Sugarland, Love on the Inside – 1,683,000
George Strait, Troubadour – 914,000
Alan Jackson, Good Time – 869,000
Darius Rucker, Learn to Live – 754,000
Kenny Chesney, Lucky Old Sun – 721,000
Zac Brown Band, Foundation – 681,000
Rascal Flatts, Greatest Hits Vol. 1 – 680,000
Lady Antebellum, Lady Antebellum – 674,000
Toby Keith, 35 Biggest Hits – 652,000
Jamey Johnson, That Lonesome Song – 509,000
Toby Keith, That Don’t Make Me a Bad Guy – 403,000
James Otto, Sunset Man – 374,000
Julianne Hough, Julianne Hough – 314,000
Kellie Pickler, Kellie Pickler – 261,000
Dierks Bentley, Greatest Hits – 255,000
Brad Paisley, Play – 247,000
Dolly Parton, Backwoods Barbie – 208,000
Tim McGraw, Greatest Hits Vol. 3 – 206,000
Billy Currington, Little Bit of Everything – 191,000
Trace Adkins, X – 185,000
Montgomery Gentry, Back When I Knew it All – 184,000
Joey + Rory, Life of a Song – 167,000
Blake Shelton, Startin’ Fires – 165,000
Eli Young Band, Jet Black and Jealous – 108,000
Lee Ann Womack, Call Me Crazy – 102,000
Craig Morgan, Greatest Hits – 81,000
Hank Williams III, Damn Right Rebel Proud – 80,000
Earle, has recently received considerable press regarding his beautiful and classy song that pays tribute to his mother. It’s been reported that before he sings the song at a show, he introduces it by saying that his father gets enough credit, but someone who does not is his mother. This is easily true about most spouses or ex spouses of famous people. So, it’s nice when an adult child takes advantage of his/her platform to rectify the oversight, which is something that Hank Williams Jr’s daughter has done as well.
Holly Williams sings a tribute to her selfless mother, simply titled “Mama.” While the song is as simple as the title, it is sweet and intriguingly revealing about her childhood. In “Mama”, Williams thanks her mom for shielding her from the emotional turmoil that undoubtedly plagued her as a result of a broken marriage to the famously rebel rousing, Hank Williams Jr. Through the sincere lyrics, we learn that while her mother had ample reason to turn her children against their father, she chose to put aside her natural emotional pain to ensure that they had a chance
to enjoy a meaningful relationship with him instead. She sings: “You did more good for me than you will ever know./I’ve seen mothers fill their children’s hearts with hate./But you knew better than to drag me down with you/You let me love my daddy just the same.”
Holly Williams smoky, yet sensitive vocal, is supported by the aid of pleasant and unobtrusive production, which mostly consists of tasteful mandolin, Dobro and light drums. While it’s not as intricate and subtle as Justin Townes Earle’s tribute to his Mama, it is equally as heartfelt and just as emotional.
#40
#39
Can’t say that I’m loving country music in its 2009 version, though my steadfast allegiance to the genre runs deep, so I hold out hope as a new decade is about to begin. Tonight, I’m recommending ten tracks from albums that were released this year. I’ve avoided singles so there’s some sense of discovery. I look forward to discovering music that I missed through the comments!
Three weeks ago, I had a chance to chat with one of my favorite new acts, Joey +Rory. It has been over a year since their break through on CMT’s Can You Duet and several months since the release of their album The Life of A Song. So, Country Universe thought it would be a perfect time to catch up with them to see what’s been happening since the whirlwind of their recent success.
Justin Townes Earle, son of Steve
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